Do not lose your Spaniard. What does music rhythm tell about
1Rok. 2%.
The integrity of the image of poetry and life.
M. Ravel. Bolero. The image of a people's dance.
“ Oh, Bolero,
holy Dance Battle! "
"Bolero - spanish folk dance originated in Spain at the end of the XVIII century.
Such a bolero is dancing under the accompaniment of the guitar and the drum, and the dancing themselves are repeated on the cassays additionally complex rhythmic figures flying into an unusually whimsical pattern.
From the encyclopedia of art
Joseph Maurice Ravel (Ravel)
(1875-1937)
Amazing dynamic strength, the rapid impulse of his music shows that the raw was the perfect master of his art.
Emil Vetermoz.
Ravel Maurice Joseph was born March 7, 1875 In a small French town of Siburn, not far from the Spanish border. There is nothing surprising in the Spanish affections of the French composer. After all, his mother Maria Delurg was Spanish.
This is, above all, the famous Russian Theater Worker Sergey Pavlovich Dyagilev with his "Russian ballet" and "Russian seasons" in Paris.
"Bolero" Maurice Ravel is a symphonic shinder of the twentieth century. "Bolero" appeared in 1928. . On writing "bolero" raid raised Ida Rubinstein - Famous Russian ballerina, student Mikhail Fokina, the famous Russian balletmaster-innovator.
But people alive, and the song is alive,
Dance, raw, your giant dance.
Dance, Row! Do not be sad, Spaniard!
Rotary, history, cast millstones,
Be Melnichikha in the Terrible Hour of the Surf!
Oh, Bolero, sacred battle dance!
N. Zabolotsky
- What is the main thing in the music of this work?
- What is the character? Is he changing or not?
- How many topics are in the work?
- Which of the means of musical expressiveness remain unchanged, and which changes? (intonation, tempo, timbre, dynamics, power, register, rhythm, construct).
Thank you per attention!
"Bolero" ra
Alexander Makapara
Written: 1928.
What is: work for the orchestra; It was originally conceived as music for ballet formulation; Popularity has acquired as a brilliant orchestral play.
Duration: about 15 minutes.
The reason for extraordinary popularity: hypnotic impact of a constant multiple times of a repeated rhythmic figure, against the background of which two topics are also conducted many times, demonstrating the extraordinary growth of emotional voltage and introducing new and new tools into the sound.
Nikolay Zabolotsky
So raw, dance bolero!
For those who do not change the music to the feather,
There is a celebration of the world in this world -
Pumping violins scary and sad
And this dance of slow peasants ...
Spain! I'm getting drunk again!
Flower Dreams sublime trembling,
Again your image is on with me
For the remote Grand Pyreneev!
Alas, silence, insistered Madrid,
And there is no Dolores Ibarrury with him!
But the people alive and the song is alive.
Dance, raw, your giant dance.
Dance, Row! Do not be sad, Spaniard!
Rotary, history, cast millstones,
Be Melnichikha in the Terrible Hour of the Surf!
Oh, Bolero, sacred battle dance!
Ravel in 1928
This year, fifty-three years later. Behind the recent tour of America - "Crazy Tour", as the rage himself described it, in Canada and the United States ("I see magnificent cities, delicious landscapes, but tired of the triumphs" - from the letter to Helen Jourdan-Moramon from February 10, 1928) . Ahead is awarded the honorary degree of Dr. Oxford University. Ravel on top of composer skill. His masterpieces such as piano cycles "Reflection" (1905) and "Night Gaspar" (1908) and Suite "Cucumbnic Cuppene" (1917), Opera Spanish Hour (1907), "Spanish Rhaseodia" (1907), ballet "Daphnis and Chloe" (1912), Rapseody "Gypsy" (1924) and other works. After 1928, he will have to write two of his piano concert (1931) - one for the left hand, which will be rated by the Austrian Pianist Paul Wittgenstein (who lost his right hand in war - the First World War), and the second - Sol Major - "not only for one right hand "(As a composer joked) - an amazing masterpiece with which the world introduced a wonderful pianist Margarita Long and the unsurpassed interpreter of which is the Italian pianist Arturo Benedetti Miklangelget. She prepared a concert under the leadership of the author and with the triumph performed him during his concert tour of Europe and America, together with the raw, who then spent as a conductor.
But this one - the 28th - year was the year of "bolero".
Spanish and Russian ties rates
By the birth of this work, we are obliged to weave two life lines in the fate of Ravel, this Frenchman is the lines of Spanish and, oddly enough ... Russian. Russian ties rates gave an external impetus to writing the second part of this ballet presentation. Spanish - the inner force that prompted Ravel to write exactly the "Bolero", in other words, again, as he had already had, to appeal to the Spanish theme, Spanish folklore, try to pass the Spanish spirit and color. But I'll tell you in order and start with the most external reasons, that spark that I buried the inspiration of Ravel.
For many years, rare is connected with the figures of Russian culture, especially with composers who conquered Paris at the beginning of the 900s. This is, first of all, a Russian theater figure Sergey Pavlovich Dyagilev with his "Russian ballet" and "Russian seasons" in Paris. It was by order of Dyagileeva Ravel in 1912 he wrote a ballet "Daphnis and Chloe". But not only the customer was the Russian patron, although his role, both in this project, and in many others associated with the largest composers of that time, completely exceptional. No wonder the area in front of the theater of the Grand Opera in Paris wears his name - Place Diaghilev! The libretto of the ballet was also written by the Russian balletmaster Mikhail Fokin. Daphnis performed Russian dancer Vaclav Nizhinsky, the scenery wrote Leon Bakst. You can tell a lot about the impression that the Russian art and, particular, musical culture has been made on Ravel. One is just the brightest example - orchestration to the raw "pictures from the exhibition" Musorgsky.
But now it's not about this, but only one representative of the Russian intelligentsia in Paris is a wonderful dancer Ide Rubinstein. Who just admired her talent. Valentin Serov captured her on the famous portrait stored in the Russian Museum in St. Petersburg. It was she who walked Ravel to writing "Bolero."
Ida Rubinstein conceived to fulfill the Grand Opera in Paris the choreographic composition on music already then written "Waltz" Ravel. But one of this orchestral play in order to present it in the theater play, it was not enough. And then she turned to the Ravill with a request to write another work for this production. It was decided that it would be a "bolero".
So we approached the issue of Spanish ties Ravel. First of all, they gave themselves to know in the literal sense of the word at the genetic level: the mother's mother was Spanish (by the way, the father of this French composer was an outcomes from Switzerland). The future composer appeared in a small Spanish
What does music rhythm tell about
- A variety of triples in the dance genres.
- The originality of the rhythm of the Mazurka (on the example of the Mazurka Si-Bf Major, Op. 7 No. 1 F. Chopin).
- The ceremonial flow, expressed in the music of Polionisa (on the example of Polionize in Major, Op. 40 No. 1 F. Chopin).
- The implementation of Spanish folk rhythms in Bolero M. Ravel.
Music material:
- F. Chopin. Mazurka Si-Barol Major, Op. 7 No. 1. Fragment (hearing);
- F. Chopin. Polonza la major, op. 40 No. 1. Fragment (hearing);
- M. Ravel. "Bolero" (hearing);
- Struve, verses A. Barto. "Battama" from cantata for choir and soloist "Pigeon of the World" (singing, musical and rhythmic movements).
Feature activities:
- Realize intonational-shaped, genre features of music (taking into account the criteria submitted in the textbook).
- Compare and identify musical works of different genres and styles (taking into account the criteria presented in the textbook).
- Creatively interpret the content of musical works in singing, in a musical and rhythmic movement.
Just as musical rhythms, as diverse and musical dimensions. For example, size 3/4, just called the main sign of the Waltz, to the same extent is mandatory for the Mazurka, and for Polionize, and for Bolero! At the same time, despite the overall size, these genres are very difficult to confuse each other.
Let us turn to the genres of Mazurka and Polionize.
Mazurka
Mazurka is an ancient Polish dance, performed in the fast pace. He arose in the XII century in the peasant environment among Mazurov, bold Polish riders, and therefore in the Mazurka we see movements resembling prison. The dance was accompanied by a play on a voyage. Usually four, eight or twelve couples participated in it.
As it often happened, the people's dance came to the dance halls, the salons, elegant living rooms and changed her appearance there. Starting from the XIII century, Mazurka is known as a ball dance not only in Poland, but also in many European countries.
But it was not so easy to "cope" with Mazurka. It is very characteristic of her music. Does not dance smoothly and apartely. Fire dance!
... when the Mazurka thunder thunder,
In a huge hall, everything trembled,
Parquet cracked under the heel ...
So describes Mazurka Alexander Sergeevich Pushkin.
But Mazurka is not only musical accompaniment of dance. Like waltz, she became instrumental music. Very loved Mazurki Polish composer F. Chopin. In the form of this folk dance, he composed a lot of piano plays.
This is how the Mazurka Si-Flat Major F. Chopin sounds.
Rhythmic drawing of the Mazurka far from the size of the smoothness of the Waltz. It is full of sharp and angular intonations, sharp accents.
Polonaise
Another three-tong dance is polona. He also has a Polish origin, which is visible even from his name. In French, the word Polonaise means "Polish", it is also written in Italian - Polacca, the name "Polish" was distributed in Russia
Polonaise is a solemn ball dance-procession, so in his three-headedness, not a light circle of the Waltz, and the ceremonial flow of the court ladies and their cavaliers - a semi-forgotten picture of the long-lasting time.
I wonder what Polonaise, like a Mazurka, at first was not a ballroom dance. In the XVI century, he was performed at weddings and solemn ceremonies, accompanied by singing. Only later, Polonaise became courtier and purely instrumental dance - a symbol of the Polish National Spirit.
In full-range, which composed for Piano F. Chopin, we hear "the arrival of people speaking with the valiant courage against all the most unfair" - so said Ferenz Sheet of Polionize F. Chopin.
Bolero
Let us turn to one dance - Bolero.
Three-hearty Bolero - dance born in Spain, in his rhythm concluded a characteristic knock of the kastaniet, expressed in rhythmic sound-painting.
The traditions of Music Bolero with a huge brightness embodied in his "bolero" for the Orchestra M. Ravel. Thin, deep comprehending of the National Spirit of this Spanish dance was so accurate that the name of the Retal is the French composer of the first half of the twentieth century - still binds to Spain.
"Spain is my second homeland," said Ravel often. Spanish theme passes red drink through his entire creative path: "Spanish Rhapsody", "Spanish Hour", "Bolero" and other Spanish motifs are constantly found in his piano and vocal plays. In his Spanish empty, Spain lives and breathes with its unique paints, the aroma of her gardens, the movements of her folk dance.
Element of dance permeates all the work of Ravel. But in no composer's product, this fascinating power of dance rhythms manifested itself so brightly and unrestrained, as in the symphonic play "Bolero".
Music "Bolero" in the shortest possible time won widespread recognition worldwide, truly popular popularity. Two or three years old, as an essay, going beyond the limits of concert halls, became the property of all sorts of arranger who had portrays for the most unexpected ensembles.
The famous theme "Bolero" was dispersed on the street, people even who did not suspect her origin. "Bolero", quite unexpectedly for Ravel, brought him such a fame to him, which only great classic composers are honored.
What is the "secret" of a huge charm of this work?
First of all, in the rare beauty of the theme.
Binding in the easiest sound of the flute against the background of an absolutely unchanged rhythmic formula (two small drums of PP), this topic repeatedly repeats all the time on the same rhythmic background, but every time in the new instrumental "clothes." From the repeat, the power of the sound increases from the repeatter with inexorable perseverance, the timbre palette flourishes, the dynamic voltage is enhanced. The new appearance of the topic is a new paint. After the flute - the clarinet, then the FAGOT in a high register, behind it the small clarinet, then the Oboe d "Cupid. When the general strength of the orchestra has already reached a famous intensity, the composer entrustes the topic with two voices - flute and pipe with Surdine. Next, the melody sounds alternately in several Saxophones, Flute, supported by the French and Crafts, Goboe, English Horn and Clarinets, finally, joined the tombone, after which the melody is transferred to the whole composition of wooden tools and saxophone. So this is growing and taking up this uncounting avalanche.
N. Zabolotsky, who devoted his poem "Bolero" to the wonderful creation of the French master, deliberately calls the "Spaniard". And it sounds like the highest award!
So raw, dance bolero!
For those who will change the music to the feather,
There is a celebration of the world in this world -
Pumping violins scary and sad
And this dance of slow peasants ...
Spain! I'm getting drunk again!
But people alive, and the song is alive.
Dance, raw, your giant dance,
Dance, Row! Do not be sad, Spaniard!
Rotary, history, cast millstones,
Be Melnichikha in the Terrible Hour of the Surf!
Oh, Bolero, sacred battle dance!
"Spaniard" Ranel in this poem of Zabolotsky appears as a musician who managed to be like a true Spaniard, to enter the initial element of Spanish folk rhythms, capture them with fascinating beauty and raise a modest peasant dance on a pedestal of universal admiration.
Questions and tasks:
- What unites and what distinguishes the Mazurka and polonaz? Tell us on the example of Mazurki Si-Flat Major and Poloneza La Major F. Chopin.
- What is the reason for such a strong impact of the music "Bolero" M. Ravel? Is it only rhythm involved in creating a musical image of this work?
- "Bolero" is written in the form of variations. Is it possible to consider the selection by the composer of this form by natural? Why?
- During listening, pay attention to the rhythmic imitation of the sound of the kastaniet. What does it bring music to the perception?
- What do you think, why are the dances of all musical genres differ in the greatest rhythmic characterity?
Presentation
Included:
1. Presentation, PPSX;
2. Music sounds:
Ravel. Bolero, mp3;
Chopin. Mazurka B-DUR, OP. 7 No. 1, MP3;
Chopin. Polonaise A-DUR, OP. 40 No. 1, MP3;
3. Accompanying article, DOCX.
Slide 1.
Presentation on the topic: Maurice Ravel "Bolero" search for T.G. Music teacher MBOU "SOSH No. 15" Novomovskovsk Tula region.
Slide 2.
Maurice Ravel
Slide 3.
1928
BOLERO
Slide 4.
Born on March 7, 1875 in the city of Sibur in the south of France. The city of Sybur was at the very border with Spain, where at that time his father served as an engineer, a passionate music lover, who attacked this love to his son. In 1889, Ravel entered the Paris Conservatory, which was finished in the Piano Class. Interest in improvisation, appeared at Ravel after acquaintance with the work of the extravagant composer Erica Sati, as well as a personal meeting with the composer and Pianist Ricardo Vinet. It was after that Maurice had a passion for writing. In the last year of study, he got into class to Gabriel Food. On his initiative, Ravel composed a cycle of works on Spanish melodies - "Khabaneru", "Pavan on the death of Infanta", "Antique Menuet".
About Maurice Rather:
Slide 5.
When listening to the music of this composer, it creates an impression that you see, at the work of the artist creating his cloth. However, like most composers, the creativity of Maurice Ravel was not recognized for some time. Only after the speeches in his defense of the largest cultural figures of France R. Rolan and the city of Forewill was awarded a large Roman Prize. This allowed him to go on a three-year internship in Italy.
Slide 6.
During World War I, Maurice worked as a truck driver at the airfield. He served for more than a year, Ravel was demobilized after two serious injuries. After the war in music, the emotional beginning began to prevail. Therefore, from the work of the operator, he moves to the creation of instrumental plays and writes Suite "Cucumbnic Cuppene". At about the same time, Maurice Ravel meets with the famous Russian producer and director S. Dyagilev, in Paris "Russian seasons".
Slide 7.
Retal toured a lot: stands with tours in Italy, Holland and England. And everywhere he met the enthusiastic reception of grateful admirers. At the request of Russian Conductor S. Kusiewitsky Ravel performs a brilliant orchestration of "pictures from the exhibition" M. P. Mussorgsky. All this happens during the work of Maurice over its most famous work "Bolero". In Him, the composer tried to combine classical traditions with the rhythms of Spanish music. The idea of \u200b\u200bthis work belongs to the famous ballerina Ide Rubinstein.
Slide 8.
In 1932, Ravel again performs a tour of Europe along with an outstanding pianist Margarita Long. At the same time, he begins work on a new product - ballet "Jeanne D" Ark ". However, it falls into a car disaster, and the work stops. Starting since 1933, the rare suffered from a serious neurological disease, which was perhaps the consequence of the cranial injury, Which he received in a car accident. The last work of a seriously sick composer was "three songs" to the first sound film "Don Quixote". They were written for the Russian singer F. I. Shalyapin.
Slide 9.
"Ancient Menuet" (1895) "Pavan to Death Infanta" (1899) "Water Game" for Piano (1901) "Reflections" for Piano (1905) "Spanish Rhapsody" for Symphony Orchestra (1907) "Spanish Hour", Opera ( 1907) "Night Gaspar", or "Night Ghosts" for Piano (1908) "Daphnis and Chloe", Ballet (1912) "Mogila Coopen" (1917) "Child and Magic", Opera (1925) "Bolero" for the Symphony Orchestra (1928) Concerto No. 1 Salt Major for Piano and Symphony Orchestra Concert No. 2 D Major for Piano (Left Hand) and Symphony Orchestra, is dedicated to Paul Wittgenstein
List of works Maurice Ravel.
Slide 10.
The dance that emerged at the end of the 18th century (according to some sources, was created about 1780 by the dancer Sebastian Hereso), was accompanied by singing and playing guitar and drum. Characteristic musical and rhythmic figures were emphasized by knocking knocks. In the first years of the existence of Bolero called "apotheosis of tenderness," but soon the dance is dramatized, saturating the spirit of knightly heroic.
Bolero - Spanish Popular Dance. Moderate movement pace, 3-tight musical size. Rhythmic drawing is often close to the rhythm of Polionisa.
Slide 11.
As a rule, the bolero consists of 5 parts. Part 1 - choreographic image of a walk. In the middle part, improvisational in nature, dancing alternately demonstrate their art. "Flight" differ in particular difficulty in the nature of the movement of men, thanks to which researchers believes, dance and got the name "Bolero" (Spanish VOLAR - spinning - in the ordinary speech turned into bolar).
Slide 12.
The consistency of parts, their strict sequence in the development of the main topic allowed us to transfer the dance element of Spanish music. The famous Russian ballerina Anna Pavlova included "Bolero" into his repertoire.
Slide 13.
In the 1st half of the XIX century Bolero, usually speaking in Spain in the days of national holidays on the streets and squares, goes to the scene. Interest in the genre begins to manifest themselves abroad: the dance is included in the ballets and operas, inspires composers to create numerous songs and romances, as well as instrumental works.
Slide 14.
The view of the Great Symphony Orchestra performing "Bolero" is hardly one of the brightest musical spectacles. Few people remember that initially this music was intended for ballet. But, overcoming the boundaries of the genre just as criticism and self-criticism, "bolero" remains the most "mass" phenomenon of symphonic culture.
Slide 15.
The composition of the tools. First, wooden brass - flute, clarinet, oboe, bassoon.
Slide 16.
Gradually they are joined by groups of copper brass tubes with Surdina,
Saxophones are new tools that are mainly used in Jazz
Slide 17.
then horn and chest
Slide 18.
Soling trombone, pipes.
Slide 20.
This is how the composer itself is characterized by the "bolero": the feature of "bolero" is unchanged. 'This is dance music that should be executed in a level moderate pace; It is built on a stubborn repetition of the same melody and harmony, the same rhythm of whom all the time is fought off the drum. The only element of diversity in it is all the increasing orchestral Crescendo '.
Slide 21.
Ravel himself saw in this music a large dance scene, unfolding outdoors, with the participation of a huge crowd of the people. "Bolero" was not raised on the scene in the form of a ballet. In the opinion of the rage, there was a chassis of the plant in the scenery, so that workers and female workers leaving the workshops were gradually involved in the overall dance. Why was such an idea of \u200b\u200bthe rage? Rather, because during his journey through the Rhine Region, he visited several large factories, which he was constantly enthusiastic, or rather, these plants became his addiction. One of these factories, in front of which he loved to walk, Ravel pointed: "Plant from" Bolero ". And, of course, in the apparent mechanic movement (due to the repeated repetition of two topics), the image of a grand mass dance march is gradually revealed. Music produces a hypnotizing, fascinating impression.
Slide 22.
N. Zabolotsky calls "Bolero" "the sacred dance of the battle": but the people are alive, and the song is alive, dance, rake, their gigan dance. Dance, Rather, do not be sad, Spaniard! Rotating, history, cast millstones! Be Melnichikha in the Terrible Hour of the Surf! Oh, Bolero, sacred battle dance!
Slide 23.
But several paradoxical situations, statements related to the history of this essay. Maurice Ravel: "" Bolero "- my masterpiece? Unfortunately, it's empty music! " After one of the executions of "Bolero", the unknown composer lady exclaimed: "Crazy!". Ravel, grinning, said: "She understood!" Maurice Ravel - George Gershwin: "Be careful, you will end in that I will write" Bolero "!".
Task Source: Decision 2952. EGE 2017. Russian. I.P. Tsybulko. 36 options.
Task 17.Arrange all punctuation signs: Specify the number (s), on the site of which (s) should stand the comma (s).
Dance (1) Ravel (2) His Goligan (3) Dance,
Dance (4) Ravel! Do not lose (5) Spaniard!
Rotary (6) History (7) cast millstones,
Be Melnichikha in the Terrible Hour of the Surf!
Oh Bolero (8) Sacred Dance Battle!
(N. A. Zabolotsky)
Decision.
In this task you need to put commas that allocate introductory words or circulation.
1. Find the word in the text that answer the question "Who, what?". If such a word is in the nominative case, but is not in the proposal to be subject to, this appeal. We allocate commas.
Dance (1) Retow(2) His GICH (3) dance (accusative case),
Dance (4) Retow! Don't be sad (5) hispanic!
Rotary (6) History (7) cast millstones (accusative case),
Be Melnichikha in the Terrible Hour of the Surf!
ABOUT bolero (8) sacred dance Fight!
2. Find input words in the text.
In this passage there are no introductory words
3. We write out the numbers in which the commas should stand in the sentence.