Prokofiev. "Children's Music

Preliminary work: You will need to make a layout of a large book with the title "Children's Music" on the cover and on the pages of which the names of musical pieces from the collection are written. Portrait of the composer at work: at the piano or with notes in his hands. The costume of the Mistress of the Copper Mountain consists of a crown and a long sundress or dress with sequins sewn on them.

Presenter: Hello guys! I am glad to welcome you to our musical lounge.

(The play by S.S. Prokofiev "Morning" from his collection "Children's Music" sounds. On the table or wall is a portrait of the composer.)

Our meeting begins with the sounds of the beautiful play "Morning" by the great Russian composer Sergei Sergeevich Prokofiev. (Shows a portrait of the composer.) I think that you are all well acquainted with this name: after all, the works of Sergei Prokofiev are well known to all of us. Today we will try to take a short tour of his plays, which he created especially for children. As another said famous composer Dmitry Borisovich Kabalevsky: “Children should especially be grateful to Sergei Prokofiev, because none of the composers devoted so much to children beautiful works How is he". But today we will spend our journey with one musical companion, or rather, a companion. Let the amazing sorceress - the Mistress of the Copper Mountain, the heroine of Sergei Sergeevich Prokofiev's ballet "The Tale of the Stone Flower" - become our assistant. But the Mistress of the Copper Mountain must come to us with her music. So, I again turn to the collection "Children's Music". (Picks up collection.)

We started our conversation with the play "Morning", and now the second play from this collection - "Evening" - will sound. (She turns over the pages of the collection.) It is interesting because the composer later included this theme in his ballet about the stone flower and the Mistress of the Ural Mountains. Listen, what a wonderful melody in this play. It makes you remember a quiet day and calms, as if saying: "Tomorrow morning will come, and everything will be fine again."

(The play "Evening" sounds.)

Now, I think, the Mistress of the Copper Mountain herself should come to us. (The Mistress of the Copper Mountain appears.)

Mistress of Copper Mountain: Beautiful tales about my Ural land became known for ballet. The storyteller and composer Sergei Sergeevich Prokofiev told us about the beauty of the Ural Mountains and the magic associated with the nature of this unusual region. But I want us to turn over the pages of his amazing collection "Children's Music" once again. It contains 12 miniatures written for piano performance. All pieces have their own titles, which help to better imagine the musical artistic image. Here, for example, is a play that is called a whole line from a poem - "A month walks in the meadows." (He turns over the right page.) The composer himself recalled that his play “A Month Walks Over the Meadows” was composed when he lived in nature, in a house with a balcony overlooking the Oka River. In the evenings S.S. Prokofiev admired the moon, which walked through the glades and meadows.

presenter: The music of this piece resembles a drawn-out Russian song, as if it helps to feel the coolness of a summer evening.

(The play “The Moon Walks Over the Meadows” sounds.)

I hope, dear guest, that you did not come to us empty-handed.

Mistress of the Copper Mountain: Of course, I brought you a handful of magic diamonds as a gift. But not simple, but musical. You have already said that the pieces from the collection "Children's Music" became parts of the ballet "The Tale of the Stone Flower". And now the light, dreamy "Waltz" will sound, which in the ballet was called the "Waltz of Diamonds". (Flips the page of the collection.)

"Waltz of Diamonds" sparkled -

Invites everyone to the ball.

It burns with gems

He tells us about a fairy tale.

(The Waltz of Diamonds sounds, which can be illustrated with a choreographic performance.)

Presenter: In the collection "Children's Music" there is another dance that makes us remember the music of Italy.

Mistress of Copper Mountain: I know you are talking about a dance called "Tarantella". (Opens the required page of the collection.) Yes, the tarantella melody resembles a swift fiery Italian dance. It seems that we got to a fun carnival, where everyone is having fun, singing and spinning.

(The play "Tarantella" sounds; a choreographic demonstration is possible.)

presenter: You know, dear Mistress of the Copper Mountain, because Sergei Sergeevich Prokofiev still has a lot of music written for children. This suite "Winter bonfire", musical fairy tale"Peter and the Wolf", children's songs. Now we will listen and watch the staging of this song, which the guys really like. She was called - "Chatterbox", and the words for her were written by the famous poetess - Agniya Barto.

Mistress of Copper Mountain: What is this song about?

presenter: About how one talkative girl named Lidochka did not want to admit that she was a talker. She tried to speak slowly and separately, but her speech all the time strayed into a tongue twister and the audience understood that Lidochka was actually a big chatterer. So, the song of Sergei Sergeevich Prokofiev "Chatterbox".

(A dramatization of the song "Chatterbox." An audio recording of the song "Chatterbox" may sound, or the children can sing it themselves.)

Mistress of Copper Mountain: A wonderful song, it is so funny and understandable. The music of Sergei Sergeevich Prokofiev perfectly conveys the change of mood of the heroine of the song. To extend the impression of the song, let's listen to the play "Fifteen" by S.S. Prokofiev from his collection "Children's Music". (Opens the appropriate page.)

The music of "Pyatnashek" is fast, playful. After all, each of us has ever played tag - catch-up. So the melody of this piece conveys rapid movement, running.

(The play "Fifteen" sounds.)

Presenter: The time has come for our esteemed guest to return to her Copper Mountain. I want us to say goodbye to the music too. Sergei Sergeevich Prokofiev has final piece titled "Fairy Tale". Let it sound in the end. (We open the desired page.) After all, each of us likes to listen to fairy tales before going to bed, so that later we have an interesting magical dream. So the play "Fairy Tale" at first resembles a lullaby with its unhurried, "rocking" melody.

Mistress of Copper Mountain: Imagine guys mysterious, dark forest, in which somewhere flare up magic light rotten lights, yes the owl screams. But, here I am passing on gray wolf Ivan Tsarevich, saved Vasilisa the Beautiful from Koshchei the Immortal - the forest came to life. The heroes galloped away - and again silence, the fairy tale ended, and its listeners fell asleep.

Presenter: We would like to thank our guest for a wonderful meeting with music.

Mistress of Copper Mountain: For me, the best gratitude would be that the children liked the meeting with the music of the composer Sergei Sergeevich Prokofiev. (.The Mistress of the Copper Mountain leaves.)

presenter: So our meeting in the living room with the music of Sergei Sergeevich Prokofiev came to an end. We are always waiting for you in our living room for new meetings with other composers.

April 23, 2016 marks the 125th anniversary of the birth of the composer, pianist and conductor S.S. Prokofiev.

“Many composed for little music lovers, but few paid as much attention to this area of creativity, as much serious thought and warmth of heart as Prokofiev paid. His children's music is not just a gift great artist children."

From April 25 to April 29, kindergarten No. 3 "Pearl" was held at MDOBU theme week, dedicated to creativity S.S. Prokofiev.

Sergei Sergeevich was both a conductor and a pianist, he wrote operas, ballets, concertos, music for films and musical performances. He dedicated many wonderful works to children.

Here is a wonderful album by S. Prokofiev "Children's Music". piano music for children has quite a long and rich tradition, and it was not easy to say a new word in this genre. The composer very accurately felt the intonations and images close to the children in the breath of modern life. And this, perhaps, is the main secret of the popularity of "Children's Music", which seems to have become akin to the perception of children for several generations. All pieces included in the collection have program titles. These are watercolor landscape sketches("Morning", "Evening", "Rain and Rainbow"). AT senior group"Anchor" music director offers a journey through the pages of the composer's works using a multimedia presentation.

At the lesson, the children not only listened to music, but also performed plastic studies to the music of S.S. Prokofiev's "The Tale of the Stone Flower", waltzed to the beautiful music of "Waltz".

The composer S. Prokofiev has a lot of music written for children. One of them - symphonic tale"Peter and the wolf". The composer, creating a fairy tale, wanted to help children "enter" the world of symphonic music. Many (even adults!) symphonic music seems complex and incomprehensible. S.S. Prokofiev was the first who decided to introduce the children to the instruments of the symphony orchestra in a fascinating way, in the form of a fairy tale. Olga Nikolaevna told the children that each character of the fairy tale is portrayed by a musical instrument similar in character to him, each character has his own melody, which always sounds when he appears. Pupils listened to the melody of the sounding instrument determined the corresponding hero. The music director encouraged the children to search means of expression(movements, facial expressions, gestures) for transmission characteristic features musical fairy tale characters.

AT preparatory group"Mayachok" conducted by OOD on interactive whiteboard on acquaintance with the symphonic fairy tale "Peter and the Wolf". Pupils distinguished orchestral music, choosing the timbres of musical instruments corresponding to the nature of the music and the heroes of the fairy tale. The bird is troublesome, nimble, nimble, and the theme of the bird is the same - sometimes fast, agile, sometimes light, fluttering, jerky, sometimes more smooth, fussy, flying. The flute represents the bird. The sound of the flute is light, light, high. The voices of the bird and the flute are very similar. The old grandfather is portrayed by a strict, unhurried, grumbling melody. And the music is slow, conveys his heavy tread. Grandpa's voice is low. Its melody is played by the bassoon, the lowest woodwind instrument.

Pupils perform the task: a bird - a flute, a duck - an oboe, a cat - a clarinet, Petya - stringed instruments, grandfather - bassoon. All this was accompanied by a comparative display of excerpts from the fairy tale and the simultaneous display and sound orchestral music according to a symphonic tale. This is the end of Prokofiev's symphonic fairy tale, in which there is a lot of cheerful and funny music, a lot of witty musical finds. This is not just a fairy tale, but a fairy tale textbook. The composer wrote it in order to introduce children to the instruments of a symphony orchestra, to teach them to recognize their sound.

In the preparatory group "Fairy Tale" a theatrical performance based on the symphonic fairy tale "Peter and the Wolf" was held for pupils of junior and middle groups. Costumes and music by S. Prokofiev helped the children to reincarnate and more vividly convey the character of the characters.

Exhibition in kindergarten creative works children of senior and preparatory groups for musical works wonderful composer.

All Prokofiev's works for children are a vivid artistic display unique world childhood. Music by S.S. Prokofiev introduces the little ones and listeners into wonderful world new images. The artistic task of teachers is to be “ good magician", to help the child boldly enter this light, wonderful world music by Sergei Sergeevich Prokofiev.

One of the greatest composers XX century, Sergei Prokofiev (April 23, 1891), also created many works for children. Melodic, bright, inventive, understandable and pleasant to a pure child's soul. They said about him that he was able to keep a piece of a child's heart in himself throughout his life. "Three Oranges", "Cinderella", " Stone Flower", "Malachite Box", piano cycle"Children's Music" and, of course, the famous symphonic fairy tale "Peter and the Wolf" are deservedly included in the number of timeless classics, children's works "for all time".

And in our time, children are interested and responsive to these and other creations. brilliant composer. The bright, crystal clear, heartfelt sound of Prokofiev's works echoes kindly in children's hearts. Great Examples of Organization music lessons on the work of Sergei Prokofiev are collected on the pages of this section.

Artistic display of the unique world of childhood in the works of S.S. Prokofiev.

Contained in sections:

Music and choreography. Musical development of preschoolers, materials for music teachers

Showing publications 1-10 of 38 .
All sections | Prokofiev S.S., composer.

Abstract of the lesson in music "S. S. Prokofiev "Morning" Entrance children: « cheerful wind» Muses Dunayevsky. They stop on a semicircle in the center of the hall. - Today is such a wonderful day. Let's wish everyone a good morning and good mood with a cheerful song. Children sing a song « Good morning» HE. Arsenevskaya Today at...

ECOLOGICAL TALE BASED ON THE WORKS OF S.S. PROKOFIEV"PETER AND THE WOLF" Target: Education love and careful attitude to nature, feelings good relations to all living things, to maintain cleanliness in the ecological environment. Tasks: Formation of elementary environmental knowledge and ...

Prokofiev S.S., composer. - A cycle of notes on music "Patriotism in the music of S. S. Prokofiev"

Publication "A cycle of abstracts on music "Patriotism in the music of S. S...." Lesson topic: “Patriotism in the music of S. S. Prokofiev” Purpose: to promote the development of a sense of patriotism in students through listening to the works of S. S. Prokofiev. Tasks: Personal: - to form a steady interest in classical music; - Develop the ability to emotionally...

MAAM Pictures Library

Musical lesson based on Prokofiev's fairy tale "Peter and the Wolf" Purpose: to instill in children an interest in the world of music; to introduce children to the main musical terms and instruments, the development of creative abilities in children by means of music Tasks: 1. To introduce the themes of the heroes of the fairy tale S.S. Prokofiev "Peter and the Wolf". 2. Fix in children ...

Compendium of musical notes “Introduction to the symphonic fairy tale by S. S. Prokofiev“ Peter and the Wolf ”for older children preschool age Purpose: to instill in children a keen interest in the world of music; in a fun and exciting way to introduce children to basic musical terms and ...

Purpose: To educate children's interest in the world of music; introduce children to basic musical terms and instruments; develop Creative skills in children through music. Tasks: Educational: 1. Recall musical themes heroes of the fairy tale by S. Prokofiev "Peter and the Wolf". 2....

Prokofiev S.S., composer. - Development of the thematic lesson "Creativity of S. S. Prokofiev"

Slad with a portrait of the composer M.R: Children, today you will get acquainted with the music of the composer Sergei Sergeevich Prokofiev, you will learn a lot of new things from his life. Sergei Sergeevich was born on April 23 in a small Ukrainian village. The childhood of the future composer was happy. Around -...

Author: Stavenko Larisa Sergeevna, music director the highest category MBDOU "Kindergarten No. 119" of the city of Kurgan. Musical and didactic manual Lapbook "Symphonic fairy tale "Peter and the Wolf" by S. Prokofiev. On the pages of the folder there are various pockets in which...

MBOU DOD "GDD (U) T im. N. K. Krupskaya

MHS "VITA"

Methodical development

Analysis piano pieces S. Prokofieva

"Children's Music"

Performed by Tikhonova I. M.,

piano teacher

2015

"Children's Music" by S. Prokofiev

Piano works by S. Prokofiev are one of the most interesting pages his creativity. They are characterized by light and joy, youthful enthusiasm and energy, as well as deeply lyrical features.

The Children's Music cycle, opus 65, created in 1935, consists of 12 easy pieces. "Children's Music" - these are pictures of nature and children's fun, a sketch summer day from morning to evening. Following the example of children's plays by R. Schumann and P. Tchaikovsky, they all have program titles that help to better understand the content of the works. The music attracts with its novelty of style, captivates with the intonation structure of melodies, harmonic colors, and modulations characteristic of a mature composer. All pieces are written in three-part form with elements of sonatinity.

S. Prokofiev is very inventive in creating a piano presentation. He uses jumps, crossings, clusters, organ point, ostinato rhythmic figures.

The whole cycle is permeated with Russian song color, folk intonation turns.

World piano children's music has rich long-standing traditions, so Prokofiev faced tasks of great artistic complexity. He handled them brilliantly. S. Prokofiev managed to convey the worldview of the child himself, and not create music about him or for him.

No. 1. "Morning".

The picture of the day, filled with walks and games, stories and songs that make up the content of the Children's Music cycle, opens with the play Morning. S. Prokofiev creates an expressive musical image through clear harmonies and light melody. Silence, peace, the joy of meeting a child who has awakened from sleep with a new day - this is the content of this beautiful play.

A sense of sonic perspective is achieved here by using the extreme registers of the piano. Important role while playing the right pedal. It must be remembered that the pedal should be pressed after a sound or chord is heard, and the pedal must be removed exactly together with the removal of the sound or chord.

C major triads in both hands should sound soft but deep; in the bass, the lower sound is emphasized, in the right-hand part, the upper sound is emphasized.

Expressive remarks in the second half of bars 1, 3, 5, 7 are performed strictly legato.

The middle episode is divided into two parts. The first one is built on a coloristic juxtaposition of the full-sounding, slowly flowing gravemente melody in the bass and the softly swaying background of gentle eighths in the middle and high registers. These eighths can be represented as if in a violin sound. Leagues of two notes should not break the continuous melodic thread of the accompaniment: creating a wave-like and measured movement is the goal of the performance.

The right hand in this episode should move smoothly and flexibly. Chopin in similar cases liked to say: "The brush must breathe." The fingers gently touch the keys without digging deep into them. On the contrary, the fingers of the left hand, leading the main melody, penetrate deep into the keyboard, feeling the bottom of the key.

It is necessary to ensure that each long note is not accentuated, the performer must have enough "breath" for large melodic segments (they are marked with leagues).

In the second part of the middle, right and left hand change roles. Despite the low register and constant pedaling, a heavy sound should be avoided.

No. 2. "Walk".

How wonderful to take a walk on a warm sunny morning! You can walk along the paths for a long, long time, see a lot of new and interesting things, you can even get a little lost and get lost in unfamiliar places, but then safely return home and tell about your adventures with a laugh.

The work is permeated with a lively rhythm that creates a sense of movement.

All non-league quarter notes are sung non-legato, and eighth-note triplets that are not slurred are nonetheless legato.

An important condition for a good performance of this piece is a sense of the two-bar nature of the musical material. Specifically, this means that the first beat in bars 1, 3, 5, and other bars is slightly accentuated, while in bars 2, 4, 6, and similar, it is easy to play. Emphasized long notes in right hand should be sung. From the 20th bar, a two-voice appears in the right hand; the first statement of the theme, sounding piano, is interrupted in the 24th measure by the introduction of an imitating voice, sounding mezzo forte. Both voices are played extremely legato with exact observance of dynamic instructions.

The student's attention should be drawn to the fact that the a tempo episode (bars 32-33) sounds truly orchestral, where the soft cues of the cellos respond to the melodious expressive phrases of the violas.

The sonority of the part of the left hand in the first part of the work is soft, flying, the performer's fingers easily play on the surface of the keys. A completely different feeling must be developed to perform the melodic line in the right-hand part. The pads should merge with the keys and not strike, but sink together with the keys until the deepest pressing is possible.

No. 3. "Fairy tale".

One of my favorite childhood hobbies is listening to stories. How good it is to sit down next to your grandmother and be carried away in dreams to another, Magic world, as if in reality, experience amazing events, become one of the fairy-tale heroes!

"Fairy Tale" from Prokofiev is really a fairy tale in the children's sense. Russian melodies dominate here, unfolding against the background of a clearly rhythmic movement. How stingy and laconic are the strokes, and how correctly the growing threat that breaks into the worldly narrative is depicted in the music!

When working on a work, you need to achieve the correct execution of the rhythmic figure two sixteenth and eighth. It should be clear in rhythm, but soft, unobtrusive. Each group should be separated by an almost imperceptible withdrawal of the hand. In bars 9, 10, 14, 22, 26, 27, legato applies to all notes. The hand is nowhere to be removed.

In the 15th and 16th measures, the seconds in the parts of both hands are played softly and on the pedal. Notes marked with a dash sound especially deep and full.

The last two chords that complete the piece are played non legato and piano.

No. 4. "Tarantella".

Like P. Tchaikovsky, who included in his “ children's album» dances and songs different peoples, S. Prokofiev devotes a place in his collection "Children's Music" to tarantella - a Neapolitan folk dance.

The energetic, sunny, cheerful nature of this number is conveyed by the elastic rhythmic pulsation of triplets in eighths and a fast pace.

Emphasis everywhere belongs to the author; unnecessary, additional accents should be avoided. After the accented sound, you should immediately reduce the volume of the sound and perform the rest of the sounds easily. The accents often do not match in the parts of both hands, which is some difficulty for the performer. Eighths, marked with a staccato sign, are removed sharply, but easily.

The figures in the left-hand part present a significant difficulty, when there is a continuous triplet figuration in the right hand (in bars 6, 18, 22, 26 and others). These places must be taught separately, following the exact match of the eighths in both hands.

In no case should the middle part be slowed down; a single tempo should be maintained throughout the piece.

The final part - the solemn finale national holiday; jubilant fanfares sound joyfully.

No. 5. "Repentance".

“Repentance” is, perhaps, the only play in the cycle that touches on the realm of serious, sad, even gloomy feelings. This miniature subtly and expressively draws a psychological drama, a difficult moment in a child's life. He is ashamed and bitter about his misdeed, but sincere repentance brings forgiveness and the play ends peacefully and tenderly.

Be careful not to overindulge slow pace. The expressive performance of this piece, warmed by a warm feeling, does not imply sentimentality or protracted movement. In bars 9-12, the melody sounds in octave doubling at a distance of two octaves. This technique was loved by Schumann. In such cases, the selection of the lower voice sounds beautiful.

The reprise is somewhat varied. Through the movement of the eighths, the theme should clearly emerge.

The last eight measures express peace. Harp-like moves in the part of the left hand alternate with expressive remarks in the part of the right hand.

No. 6. "Waltz".

This captivating, lyrical waltz is all imbued with extraordinary grace and freedom. This is high poetry. Amazing in its beauty, the melody strikes with a huge range. The middle part is distinguished by greater tension, excitement, the melody in it becomes more fractional, in the form of sequences against the background of active eighths of accompaniment.

The student is given not only sound, but also technical tasks. The characteristic waltz accompaniment formula must be carefully worked out: the bass sound is always taken with the movement of the hand from top to bottom and, as it were, held by the finger, and the chords are taken with a slight movement of the hand from the keyboard upwards.

The feeling of melodic phrasing makes us consider the first sound of the sixth measure as the end of the first phrase, and the second sound of the twelfth measure as the end of the second phrase. The sounds of the melody, marked with a dash, should be especially melodious and lingering.

Great attention should be paid to caesuras. In the middle part, it is desirable to phrase in large segments, feeling the eight-bar length of the phrases.

No. 7. "Procession of grasshoppers."

The composer paints a picture of a fabulous procession of grasshoppers. The extreme parts are like a fast mass march; in the middle, the general rapid movement turns into a solemn procession.

Brightness, brilliance, energy, humor - all these qualities characteristic of Prokofiev are presented here in full.

When performing the first theme, it is necessary to feel the attraction to the fourth measure of each phrase and not to emphasize the previous strong beats.

The teacher's attention should also include monitoring the student's accurate transmission of the sharp rhythmic pattern of the musical fabric; it is especially important to play sixteenth notes briefly in bars 1-2, 9-10 and other similar measures.

To create a clear and light character in the extreme parts, a short, straight pedal is needed.

No. 8. "Rain and rainbow."

There is nothing in this musical picture from the traditional methods of depiction in rain music; there is no flow of staccato eighths alternating in both hands, no stormy passages throughout the keyboard and other simple attributes of the naturalistic school. Here the author conveys state of mind child in dull, rainy weather and a joyful childish smile with which the child meets the appearance of a beautiful rainbow encircling the sky.

This piece is very idiosyncratic with its phonic effects and bold layering of spots. Numerous cases of the composer using dissonant chords and intervals should be perceived as a means of coloristic influence on the listener. These harmonies should not be taken abruptly, but in a melodious touch.

The play reveals to the performer the interesting coloristic possibilities of the instrument.

No. 9. "Fifteen".

Fifteen is a fun children's game. She brings a lot of joy to the children, everywhere laughter, vanity, running around ...

This number is essentially a highly artistic etude, in which the composer set a number of specific technical tasks for the performer. There are many touches of Prokofiev's pianism in "Pyatnashki" with its bold leaps and use of various registers. There are basically two tasks here: mastering the rehearsal technique in fast movement by changing fingers on one key and mastering the texture of the toccata type with elements of jumps and crossing of the hands. The piece is useful for developing finger fluency.

For a satisfactory solution of both problems prerequisite is a rhythmic excerpt. The tempo of the piece is determined according to the student's ability to perform the piece, having heard each sound quite clearly and distinctly.

No. 10. "March".

"March" - a masterpiece of conciseness and accuracy of intonation - belongs to the best pages of the collection. He is full of vivacity, clarity, a kind of Prokofiev's humor.

To convey the character of this piece, it is necessary to achieve the utmost accuracy in the execution of all, even the most insignificant details of the musical text. The student should understand all the fingering instructions, the distribution of large and small accents, and the features of the dynamics.

The movements of the performer's hands should be subordinated to the sound image of this episode. For example, in bars 7-8, separate small leagues of two notes (with emphasis on the first one) are performed by plunging the hand into the keyboard (on the first ligated note) and removing the hand (on the second).

The middle episode is divided into two phrases of 4 measures each. It is desirable that the underlined notes should not be accentuated exaggeratedly, but would form a melodic line.

No. 11. "Evening".

The last two issues of the collection "Children's Music" are transferred to the setting of an evening landscape. The play "Evening" is unusually good! S. Prokofiev made the melody of this play one of the leitmotifs of his ballet The Tale of the Stone Flower. Calmly melodious, clear melody, tinged with unexpected turns, at first glance, complicating the tonality, but in reality emphasizing and strengthening it.

In order for a thoughtful, tender theme to sound beautiful, you need to take care of the second sound plane. The student will have to seriously study the part of the left hand, which in the first twelve measures should resemble in sonority a choir singing softly behind the stage.

A small interlude with replicas imitating each other (next eight measures) prepares a brighter performance of the main melody, and the left-hand part is given in a somewhat varied form.

The middle part is built on long organ points, which should not be intrusive, but at the same time should be constantly felt, giving the impression of wide space and calm contemplation.

No. 12. "The moon walks over the meadows."

The last piece in the Children's Music cycle is one of Prokofiev's most poetic pages. The day ended, night fell on the earth, stars appeared in the sky, sounds subsided, everything fell asleep. This play is similar in character to the previous one. Its melodic melody is perceived as a truly folk song.

The ligature is not phrasing here. The end of a slur does not always mean the end of a phrase and does not necessarily involve taking your hand off the keyboard. The teacher must find the boundaries of phrases, guided by a musical flair; thus, the caesura is naturally felt at the end of bars 5, 9, and 13. So, you need to “remove” your hand, “breathe” before starting a new phrase.

The first measure of the piece is a short introduction. Here is given the beginning of a measured, swaying movement, which passes into the part of the left hand.

The syncopated execution of the theme in bars 22-15 from the end is very difficult to perform. While observing the maximum legato, one must be attentive to the smoothness of the melodic line and avoid jerks on individual chords.

Work on the piece "The Moon Walks Over the Meadows" will be of great benefit for the development of the student's musicality and his sound mastery.

References

1. Delson V. Yu. Piano creativity and the pianism of Prokofiev. M., 1973.

2. Nestiev I. V. Prokofiev. M., 1957.

3. Musical encyclopedic dictionary. M., 1990.

Sergei Sergeevich Prokofiev - the greatest children's composer of the 20th century

XX century - hard times when it happened terrible wars and the great achievements of science, when the world plunged into apathy and rose again from the ashes.

The age when people lost and found art again, when was born new music, new painting, a new picture of the universe.

Much of what was valuable before was lost or lost its meaning, giving way to something new, not always better.

A century when classical melodies began to sound quieter, less bright for adults, but at the same time revealed their amazing potential for the younger generation. One might even say that in in a certain sense Since the 20th century, the classics have lost something important for adults, but somehow sounded especially vivid for children.

This is guaranteed by the popularity of the melodies of Tchaikovsky and Mozart, the incessant excitement that arises around the animated creations of the Disney studio, whose works are valuable precisely for the very music that sounds for fairy-tale characters and those who are shown their stories on the screens.

There are many other examples, and the most significant is the music of Sergei Sergeevich Prokofiev, a composer whose hard and hard work made him one of the most, if not the most recognizable, cited, performed composers of the 20th century.

Of course, Prokofiev did a lot for the "adult" music of his time, but what he did as a children's composer is unimaginably more valuable.

Prokofiev attached particular importance to the pianoforte

Sergei Sergeevich Prokofiev is a prominent figure among the musicians of the twentieth century. He was the most famous composer Soviet Union and at the same time became one of the most significant musicians for the whole world.

He created music, simple and complex, in some ways very close to the bygone "golden age" of the classics, and in some ways unimaginably distant, even dissonant, he was always looking for something new, developing, making his sound like nothing else.

For this, Prokofiev was loved, idolized, admired, full houses always gathered at his concerts. And at the same time, at times he was so new and self-willed that they did not understand him, so much so that once at one of the concerts half the audience got up and left, and another time the composer was almost declared an enemy of the Soviet people.

But still he was, he created, he amazed and delighted. He delighted adults and children, created, like Mozart, like Strauss and Bach, something new that no one before him could come up with. For Soviet music Prokofiev became what he had become for Russian music just a century earlier.

“The composer, like the poet, sculptor, painter, is called to serve the person and the people. He must decorate human life and protect her. First of all, he is obliged to be a citizen in his art, to sing of human life and lead a person to a brighter future,” - thus, echoing Glinka in his own words, Prokofiev saw his role.

As a children's composer, Prokofiev was not only inventive, melodic, poetic, bright, they say that he was able, keeping a piece of childhood in his own heart, to create music that was understandable and pleasant to the children's heart, as well as to those who still remembered how it was to be a child .

About the Three Orange Princesses

Throughout his life, Prokofiev worked on form, style, manner of performance, on rhythm and melody, on his famous polyphonic patterning and dissonant harmony.

All this time he created both children's music and adult music. One of Prokofiev's first children's works was the opera in ten scenes, The Love for Three Oranges. Written based on fairy tale of the same name Carlo Gozzi, this work was light and cheerful, as if inspired by the traditional sound of mischievous Italian theater.

The work told about princes and kings, good magicians and evil witches, about enchanted curses and how important it is not to become discouraged.

"Love for Three Oranges" was a reflection young talent Prokofiev, who sought to combine his nascent style with fresh memories of a carefree childhood.

A new tune for an old fairy tale

No less significant, but more mature and, perhaps, more striking, much more famous work Prokofiev became Cinderella.

This ballet, dynamic, marked by elements beautiful music romanticism, which the author had mastered and supplemented by that time, was like a sip fresh air when clouds were gathering over the world.

"Cinderella" was released in 1945, when the fire died down in the world great war, she seemed to call to be reborn, to reject darkness from the heart and smile at the new life. Its harmonious and gentle sound, the inspiring motif of the light fairy tale by Charles Perrault and the excellent staging of the distance old history a new, life-affirming beginning.

“... I am especially glad that I saw you in a role that, along with many other images of world fiction, expresses the wonderful and victorious power of a childish, obedient to circumstances and true to oneself purity ... That power is dear to me in its menacing contrast to that, also age-old, deceitful and cowardly , kowtowing court element, the current forms of which I do not like to madness ... "

This is how Boris Pasternak wrote to Galina Ulanova about her role in the ballet Cinderella, thus making a compliment not only to the performer of the role, but also to its creator.

Ural tales

Prokofiev was not only a composer, but also an excellent pianist.

The last children's work of Sergei Sergeyevich came out after his death, they say that even on the fateful day he worked on orchestrating the numbers of the Stone Flower.

Sonorous and unlike anything, but for some reason very close to many, evocative contact with something mysterious and beautiful, the melodies of this work gave musical life no less unusual and unlike anything else Ural tales P.P. Bazhov.

Prokofiev's music, which he did not hear on stage, and the fabulous, sacred motifs of The Malachite Box, The Mountain Master, The Stone Flower became the basis of a truly unique ballet that reveals not only amazing facets musical art, but also the world of hidden legends of the Ural Mountains, which has become accessible both to young listeners and to listeners who have preserved the youth of the spirit.

Prokofiev himself said that his children's music contains a lot of things that are important and bright for him.

The smells and sounds of childhood, the wandering of the moon across the plains and the cry of a rooster, something close and dear to the dawn of life - that's what Prokofiev put into his children's music, because it turned out to be understandable to him and to mature people, but, like him, preserved in heart a piece of childhood. Therefore, it became close to the children, whose world Prokofiev always sought to understand and feel.

About pioneers and gray predators

Of particular importance among the works of Prokofiev is the work "Peter and the Wolf". This work, where each character is performed by a separate musical instrument, specially written by the maestro for children, absorbed all the best that Sergei Sergeevich sought to perpetuate in music for his most sensitive audience.

A simple and instructive story about friendship, mutual assistance, knowledge of the world, about how everything works around and how a worthy person should behave, appears through Prokofiev's elegant and very lively music, complemented by the voice of a reader effectively interacting with various musical instruments in this symphonic tale.

The premiere of the work took place in 1936, one might say, by creating a fairy tale for children about a young pioneer, Prokofiev demonstrated that he had returned to his homeland forever.

An important role of the reader in the first version of "Peter and the Wolf" was played by Natalia Sats, who not only possessed an excellent performing talent, but was also the world's first woman opera director.

In the future, the work of Prokofiev, which won world fame, which became close and understandable to the children of the whole Earth, was repeatedly reprinted, embodied on the stage, on screens, on the radio.

"Peter and the Wolf" was embodied as a Disney cartoon, thanks to which the slightly modified Soviet pioneer became on a par with world famous fairy tale characters, which the studio gave the best animated birth.

Jazz, blues, rock variations of the symphonic fairy tale were released, in 1978 rock idol David Bowie played the role of the reciter of "Peter and the Wolf", and a short cartoon based on Prokofiev's fairy tale won the Golden Knight of the Oscar just recently - in 2007.

Of particular importance is the pedagogical value of "Petya and the Wolf" - a symphonic fairy tale is used, like many of Prokofiev's works, to teach young musicians in specialized schools, but, in addition, the story of the adventures of a brave and kind pioneer almost from its very appearance has become an element of general education. school curriculum by music.

For many years, Prokofiev's fairy tale has been helping to reveal to children the mystery of music, the right taste for symphonic classics, the idea of morality, of universal values.

In a simple and accessible form, Prokofiev managed to embody important and necessary things, for other ways of demonstrating which sometimes great efforts are spent and thick book volumes are written.

The most children's music

Last years Prokofiev spent his life outside the city, but continued to work despite a strict medical regime

In addition to Cinderella and The Stone Flower, there are many more works by Prokofiev written for children. Piano piece, soft and nostalgic "Tales of the Old Grandmother".

Mischievous and dynamic, similar in its daring to The Love for Three Oranges, is the ballet The Tale of the Fool Who Outwitted Seven Fools. Serious and wise "realistic" suite "Winter fire" on the verses of S. Marshak about the life of the pioneers.

Sparkling patter song "Chatterbox", inspired by the poems of Agnia Barto. Prokofiev created for children, as if for himself, with great pleasure.

But there are among the works children's composer Sergei Sergeevich Prokofiev is one that is, perhaps, of greater value than The Stone Flower or Cinderella. The piano cycle "Children's Music" - 12 pieces, telling in the author's inimitable light and gentle manner about the everyday life of children's days and those special moments that are so sharp, bright and unexpectedly able to turn these everyday life into a fairy tale, adventure or just a memory for life.

The piano cycle "Children's Music" has become a real treasure for teachers teaching children how to play the keys. Prokofiev himself - brilliant pianist, has managed to create something that is fully accessible only to children, designed for children who want to hear music extracted with their own hands from behind a black piano cover.

He made "Children's Music" fully meet not only the possibilities, but also the needs of a young pianist who is studying the secrets of sound. AT piano cycle combines smoothness and sharpness, transitions of rhythms and harmonies, the ability to use either the simplest or complex keyboard shortcuts in such a way that young virtuoso I could learn and, while learning, smile at my excellent results.

"Children's Music" - heartfelt, bright, filled with crystal purity and tenderness, unusualness and fabulousness, became Prokofiev's gift to novice pianists and their teachers, who received an easy and convenient means to keep their student's attention and develop abilities.