Ideas and thoughts M. P. Mussorgsky (1839-1881), a brilliant self-taught composer, in many ways ahead of his time and laid the road to the musical art of the XX century. In this article we will try to most fully characterize the list of works of Mussorgsky. Everything written by a composer, who considered himself the follower A. S. Dargomyzhsky, but went further, it differs in deep penetration into psychology not only a separate person, but also the masses of the people. Like all members of the "mighty bunch", Modest Petrovich inspired the national destination in his activities.

Vocal music

The list of works of the Mussorgic works of this genre covers three types of moods:

• Lyrical in early compositions and turning into later in Lyrco-tragic. The vertex becomes created in 1874 the cycle "Without the Sun".
• "Folk pictures." These are sketches and sketches from the life of the peasants ("Lullaby to the Yeremushka", "Svetik Savishna", "Calicistrat", "Siercot"). Their climax will be "Trepak" and "forgotten" (cycle "Dance of death").
• Social satire. These include the romance "goat", "Seminarist", "Classic", created during the 1860s of the subsequent decade. The top becomes Suit "Rajak", in which the Satir Gallery was embodied.

In the list, the "Children's" vocal cycle and "Songs and Dance of Death" are created on its own words in 1872, in which everything is filled with tragic sentiments.

In the ballad "Forgotten", created by the impression of the picture V. V. Vereshchagin, subsequently destroyed by the artist, the composer and the author of the text opposed the image of the soldier lying on the field and gentle melody, which the peasant sings his son, promising a meeting with his father. But her child will never see him.

"Bloch" from Goethe with glitter and always performed Fyodor Shalyapin on Bis.

Means of musical expressiveness

M. Mussorgsky updated the entire musical language by taking the score of the speech and peasant songs. His harmony is completely unusual. They correspond to new feelings. They dictate the development of experience and mood.

Operas

It is impossible not to include on the list of works of Musorgsky its opera creativity. For 42 years of life, he managed to write only three operas, but what! "Boris Godunov", "Khovovshchina" and "Sorochinsky Fair". In them, he boldly connects the tragic and comic traits, which reminds of the works of Shakespeare. The image of the people acts the fundamental principle. In this case, personal features are attached to each character. Most of the composer worries the native country during the troubles and shocks.

In Boris Godunov, the country stands on the threshold of the Troubles. It reflects the relations of the king and the people as a single person, which is animated one idea. The People's Drama "Hovhanshchina" composer wrote on his own libretto. In it, the composer was interested in Streletsky Riot and church split. But he did not have time to orchesting it and died. She graduated from Orchestra N. A. Rimsky-Korsakov. The role of the definition in the Mariinsky Theater was performed by F. Shalyapin. It does not have the usual main characters. The Company does not oppose the personality. Power is in the hands of one, then another character. It is recreated by episodes of the struggle of the old reaction world against Petrovsky reforms.

"Pictures from the exhibition"

Creativity for piano is represented by the composer in one cycle created in 1874. "Pictures from the exhibition" are a unique work. This is a suite of ten variekteric plays. As a virtuoso-pianist, M. Mussorgsky took advantage of all the expressive possibilities of the instrument. These musical works of Mussorgsky are so bright and virtuosically affecting their "orchestrality" sound. Six plays under the general name "Walk" are written in the tonality of a Barol Major. The rest are in Si Minor. By the way, they were often shifted for the orchestra. M. Ravill it managed to be better than all. The vocal motifs of the composer with their recitationality, song and declamination were organically entered this work M. Mussorgsky.

Symphony creativity

A number of Music Works Modest Mussorgsky creates in this area. The most important is "Ivanov's Night on Bald Mount." Continuing the topic of the city of Berliosis, the composer depicted Shabash Witch.

He first showed Russia evil fantastic paintings. The main thing for him was the maximum expressiveness at a minimum of the funds used. Contemporaries did not understand novelty, and took her for the inefficientness of the author.

In completion, it is necessary to name the most famous works of Mussorgsky. In principle, we almost listed them all. These are two large opera on the historical theme: "Boris Godunova" and "Hovhanchina" put on the best global scenes. These are the vocal cycles "without the Sun" and "Songs and Dance of Death", as well as "pictures from the exhibition".

The brilliant author was buried in St. Petersburg to the Soviet power, making redevelopment, destroyed his grave, poured this place asphalt and made a bus stop. So we belong to the recognized world geniuses.

Vocal Cycle "Children's"

"No one applied to the better that we have, with more tenderness and greater depth. He [Mussorgsky] is unique and will remain unique thanks to his art without contrived receptions, without despervant rules. Never such a sophisticated perception was expressed as simple means of expression "

K. Debussy on the cycle "Children's" (9).

"The" Children's "vocal cycle, created at the turn of the 60s and 1970s, became the highest incarnation of the vocal chamber of the vocal chamber of the vocal chamber. After all, it is precisely the first song of the future cycle - "with nanny" - the composer mentions in a number of plays, performing a certain artistic task ("Savishna", "Siercot", "Lullaby Yeremushki" and others). Seven small songs united by the vision of the children's world, their appearance caused genuine delight among musicians surrounding Mussorgsky, "writes E.E.Dundard (12). In turn, V.V. Tasov expresses his impressions as follows: "Everything that is poetic, naive, cute, a little bit, good-natured, adorable, childishly hot, dreamy and deeply touching child in the world, was here in Forms of unprecedented, still nobody touched "(34). V. Stasov and C. Kyui among Russian music critics, and for them and Western European composers F. Sheet and K. Debussy gave an enthusiastic assessment of "children's". What are the reasons for this huge success of modest vocal plays about children?

Let's start with the history of the creation of the "Children's" cycle. We turned to various sources: letters M.P. Mussorgsky, memories of contemporaries, works of researchers (33). Our musical culture is considered one of the world's largest. Modest Petrovich, undoubtedly, in a number of Russian composers belongs one of the first places. His music is a great national heritage, it has a Russian creature. Pskov land became the cradle of this all-hours. Tatyana Georgievna Mussorgskaya, the grand-niece of the composer, said that the nanny in the house was revered as an equal member of the family, "the most faithful person." She lived next to the nursery, he fed from the Lord's table and, moreover, "headed" by a samovar, which "noisy" almost around the round day - at any time on the first demand was served hot, "from the key", tea. "Nyanyushka intelligent and good" had his own voice, could not only arrange a drainage to children, but even to count the Barin himself and "told him on you." In this regard, the opinion of Academician D. S. Lihachev about the attitude of the advanced nobles to his serfdom is interesting. According to the scientist, the Lords with servants and peasants were often established good relations - it was attached to the sustainability of everyday life. True intellectuals never humiliated weak, did not show their superiority - a typical feature of a cultural person. The estate of Mussorgsky was like a charitable home, and the landowners - the merciful owners, compassion and sympathize with the sorrow of others. This undoubtedly had a huge impact on the formation of the future composer. To create such romances as "Savishna", "Syarota", "Naughty", the image of the yurodoye in Boris Godunov, it was necessary not only to see "humiliated and offended", but also to empathize with them. As old-timers told, Barchuk did not have to drive friendship with the peasant children. Tatyana Georgievna Mussorgskaya told: "Dad often recalled the words of my grandfather Filaret Petrovich - the child must grow surrounded by children." In the family album, Mussorgsky kept photography, where Philaret and Modest starred in peasant pants and shirts. This once again confirms that parents tried even outwardly to separate their children from the peers-serf. The fact that Modest communicated with the peasant children and their parents was in the outstanding, there is a testimony of the composer himself: "No wonder in his childhood, the men loved to listen to the songs and sang them." The edge of this has long been considered a song. But it was time for childhood in Karev ended. In 1849, parents took Filaret and Modest to St. Petersburg to determine their studies. For Modest, a new, Petersburg, period, the longest in his short life began. At the end of March 1868, Mussorgsky probably managed to break out a short time from St. Petersburg to visit the grave of her mother's beloved and arrange her remembrance in the church, as he did before. Modest Petrovich stopped, of course, in his Karev, whose owner was listed. Meetings with the old-timers of the manor inspired memories of childhood, about Nyan. As you know, Mussorgsky hasnden to the musical designs until "enters the time to record." And, returning to Petersburg, he composes the song "Child" (on the manuscript the author's date "April 26, 1868"). This is the first name, there were also such options: "Tell me, Nyanyushka", "Child with Nanny", "Child". In the "Children's" cycle, the song will be included under No. 1 with the final and well-known name "with nanny". This Mussorgsky dedicated his work to Alexander Sergeevich Dargomyzhsky - "Great Teacher of Music Truth", as Modest Petrovich will write. He also lost to the first song, after which Dargomyzhsky said: "Well, this pushing me for the belt." Alexander Nikolaevna Purgolda was Alexander Nikolaevna Purgold, in marriage Masas, singer, teacher, participant of the Balakirevsky mug. Musorgsky himself, apparently, attached particular importance to this work. In a letter L.I.Shestakova, he writes: "A particle of what life gave me, I portrayed in music images ... I would like to me that's what. So that my actors spoke on stage, as living people say ... My music should be the artistic reproduction of human speech in all the finest bends of it. Here is the ideal to which I strive ("Savishna", "Syarota", "Yeremshka", "Child") ". Recognition of songs by friends prompted the composer to compose four more plays: "In the corner", "beetle", "with a doll", "for the coming dream." These five works on the proposal of Stasov received the common name "Children's. Episodes from children's life. " The critic was admired by the cycle: "What a thread of pearls and diamonds, what for unheard of music!" "Children's" heard Repin, calling her "truly wonderful thing", and, conquered by the "painting" of all five scenes, drew a capital sheet for a cycle. In 1872, the music publisher V. Bessel printed a "nursery" with the drawings of Repin, and the fans of music in Russia and abroad could meet with it. In Weimar, the Grand Sheet lost the "Children's", and she led him to all those present in delight. Mussorgsky, the fenced sheet, found out about it and shared his joy with Stasov: "I never thought that the leaf, in small exceptions, selecting the colossal plots, could seriously understand and evaluate the" children's ", and most importantly, to admire it; After all, all the same children in it are Russians, with a strong local turn. "

Who are these Russian children? Where does such knowledge of children's psychology?

At the time of creating the Mussorgsky vocal cycle, he lived in a brother's family, whose children grew in front of the composer. Modest Petrovich was the godfather of the nephew George. Baptism took place in the court Mariinsky Church in Pavlovsk, where the spouses had two cottages. Tatyana Georgievna repeated more than once that her father was a favorite nephew of the composer. Modest Petrovich him is idle and treated him as his native son. When George studied in the sea corps, he was all his free time at Uncle, since by this time the parents left St. Petersburg to the Ryazan estate belonging to the wife of Filaret Petrovich. By the birthday of Modest Petrovich gave the nephew Bronze candlestick into two candles with the image of the knight. This candlestick Mussorgsky especially shook as a family relic, as the composer worked under it. The last keeper was Tatiana Georgievna. However, the candlestick disappeared during the blockade when the house was fired. But forever remained the most expensive gift - the famous Uncle devoted to his nephews "with a doll" from the "Children's" cycle. On a music sheet of play, the author's date "December 18, 1870. Tanyushka and Goggy Mussorgsky. " So, maybe the composer "wrote off" "Children's" from his nephews. And in addition, I used to observe the children when there were friends in the houses in St. Petersburg, at the cottages. The memories of the contemporaries of the composer also speak in favor of this assumption. For example, this is: "Kyi's children loved him very much [Mussorgsky] for playing with them, he did not make any condescelliousness and hung with them guys, from the soul ..." However, the episodes described by Mussorgsky clearly not County and no remind of Pavlovsk, with his luxury palaces, parks. Yes, and small heroes of the play in St. Petersburg children are not similar. In the "Children's" captured pictures of the village life, and this village is very far from the capital, with obvious Pskov, talking and features. And although the composer does not specifically call a place of action, but in the text it felt that it is familiar to him well and close. The first play of the cycle "With Nanny" is written by first person: "Tell me, Nyanyushka, tell me, sweet." The fact that the nanny of the Mussorgsky was the master to tell the fairy tales, the composer mentioned in the lines of "autobiography": "Under the immediate influence of the nanny, he got acquainted with Russian fairy tales." The wise and good Karevian nanny knew also many legends, sayings and used them in all cases of life. In the play, the child asks the nanny to tell about something good - a good fairy tale, cheerful: "You know, Nyanyushka: You're talking about Buku! "The child is more interesting to listen to about the king, who chrome:" As stumbled, so the mushroom will grow, "or about the island is wonderful," where neither the pears of bulk are growing and growing. " This is the island is quite real - it is standing on the Zizhigitsky lake and is called long. There and now you can take a bucket of strawberries with blueberries or raspberries in half a day. And do not resemble the main actors "Children's" - Dad, Mom, Nanny, two brothers Misha and Vassenka and "Grandmother of Old" - a family of Mussorgsky - Father, mother, brothers Philaret and Modesta, Naniy Ksenia Semenovna and grandmother Irina Egorovna . The attention of the "similarity" with the life of the play "Sleep coming" is even more attracted. Here, the nanny teaches to pray a serf girl who is brought by brothers with a cousin. In the "prayer" of the cycle and in the "confessional paintings" the same names: Aunt Katya, Aunt Natasha, Aunt Masha, Aunt Paras ... Uncle Volodya, Grisha, Sasha, and children: Filk, Vanka, Mitka, Petka, Dasha, Pasha, Dunyash ... Looks like a play "Beetle" is also inspired by the memories of the Childhood of the composer. Such games, such a close communication with nature is possible only in a small rural estate, and not at the cottage in Pavlovsk. "I played there, on the sand, behind the arbor, where birchings; I built a house from the rauchinki of the maple, those that my mother, my mother herself, herself. " The cradle of this brilliant, mighty sensitivity of the Mussorgsky is his homeland, the land of Pskov, it was here for the first time the composer heard him who noted in one of the letters, "the sound of a native string ..."

"Total to give people - that's what is needed now in art," the thought expressed
MP Mussorgsky, not only not lost its meaning and relevance, but with a new
The strength and life affectingly sounds today.

Mussorgsky M.P. "Children's"

Modest Petrovich Mussorgsky (r. 1839 - 1881) - Russian composer, pianist. Born in the village of Karevo, now the Kuninsky district of the Pskov province. From the age of 6 began to play the game on the piano under the leadership of the mother. By the same time, the first experiments of musical improvisation were inspired by tales of nanny - a fortress peasant.

Pictures of rustic life left a deep mark in the minds of the future composer. According to his brother Philaret, he is already with the adolescent years "... belonged to all folk and peasant with special love ..."

In 1849 he entered the Petropavlovsk school in St. Petersburg, and in 1852 -56 he studied at the school of Guards submaroes. At the same time he studied the game on piano in Pianist A. Herke. In 1852, it was published its first essay for Piano Piano "Podsporkovka". In 1856, at the end of the school was produced in officers. Two years later, he retired and came close to music.

The decisive impact on his musical and general development was acquainted with A.S. Dargomyzhsky, M.A. Balakirev, V.V. Stasov Mussorgsky joined the group of young composers "Mighty hand", united under the slogan of the struggle for the advanced national art around Balakirev.

Under his leadership, Mussorgsky began to engage in composition. At the head of his creative interests there was a opera genre. ("Boris Godunov", "Hovanshchina", "Sorochinskaya Fair")

He shared many of the views of Russian revolutionary enlighteners - N.G. Chernyshevsky, N.A. Dobrolyubova, under the influence of which his creative principles were formed.

The main means of the characteristic of the image served for the Mussorgsky Live intonation of human speech. He developed the creative principles of Dargomyzhsky, who called the "Great Teacher of Truth."

The shades of speech intonation in the works of Mussorgsky are very diverse: from a simple ordinary dialect or intimate confidence conversation to a melodic declamation passing into a song.

The best in the chamber-vocal work of the composer are three vocational cycles. Among them, the cycle "Children's" (1868 -72), texts M.P. Mussorgsky. I think before writing music, Mussorgsky was made sketches of scenes of all numbers and prose "stanza" of words were created.

And in some rooms, the text followed the musical manner created by the composer for the piano. Perhaps the process of creating music and text came in parallel. Truly hard to look into the creative laboratory of the composer from the outside. We can assume this or judge on the external signs of the work. In several rooms, the composer has been dedicated.

When I systematized the library foundation at school, I was interested in notes of the 1950 release. It was a cycle "Children's" M.P. Mussorgsky. I took notes for analysis.

Such simple and typical images and situations in which the child falls, but every time they are popular and ingeniously solved by the composer.

In the first issue "with a nanny," - dedicated to Alexander Sergeyevich Dargomyzhsky, - expressive melodiclamation, many strokes, agogs *, constantly changing meter, the atonal development of musical material. Child, worrying, asks to tell the nanny about the "Buku of Scary":

Tell me, nanny, tell me, honey,
About Togo about Bukka scary like that beech
In the forests wandered like that beech to the forest of children wearing ...

In the second, - "in the corner", Dedicated to Viktor Alexandrovich Gartman, - bright pictusivity. Against the background of the vocal party, we, literally, see how in the piano accompaniment "unwinds" a tangle with knitting nanny. And how are you good intonational "throws" with nanny "Ah you, a pitchpie! .. In the corner! In the corner! " The intonation just repeats the speech:

Oh, you, squad! The tangle unlocked
The rods confused! Ah! All loops lowered!
Stocking all spanish ink!
In the corner! In the corner! I went to the corner! Pickup!

After the solo nanny melody, the child sounds capriciously, justifying, as if "cannuchits" for nanny forgiveness:

I did nothing, nyanyushka,
I did not touch stockings, Nyanyushka!
The tangle opened the kitten,
And river scattering kittens.
And Misha was Painka,
Misha was clever.

The child believes in his infallibility, looking for disadvantages of the nanny and, in the end, is indignant in the hearts "unfair" punishment:

And the nanny is evil, old
Nanny nanny is blurred;
Misha pure, combed,
And the nanny cape on the side.
Nanny Misheku offended
In vain in the corner put
Misha will no longer love her nanyushka, that's what!

Surprisingly exactly the melody follows the text and "fades" in the mood of the child.

In the third room - "Beetle", Dedicated to Vladimir Vasilyevich Stasu, - "Meeting" of a child with Zhukov: His fright, then a bivent story. "Siskness" is achieved by musical means of expressiveness - rhythm, jumps in melodies, strokes, dynamics.

At the same time, in the Piano Party, we hear "smoke" intonation within the prison. At the beginning of the number of the melody is ordered, then "climbs", then, as if,. Turning through obstacles, "falls" and rises again. We "see" how the beetle moves and develops "drama" between the beetle and the child. Tremolo, then the rapid takes off the chromatism to the accent and again tremolo: we hear the buzzing of the beetle, we see it takes off and kick!

And flew out, I hit the temple! -
It tells the baby further ... With the striking accuracy, the music "Dorishes" all this simple "conflict" between the beetle and the child. The texture is simple, but so inventive.

The fourth number "With Doll", is devoted to Tanyushka and Goggy Mussorgsky, (composer's nephews) - this is a lullaby child's song, full of naive fantasy:

Trepa, Bai, Bai, Trepa, Sleep, Tsight, Take you!
Trepa, you need to sleep! Trepa Sleep, Tsight! Trepa Buka Eat
Gray wolf take, in the dark forest will demolish!

The fifth number - "I went on a stick" - a moving game with a wandeman's chalwan stick. At first, uniform syncopes, the eighth, the exclamations in the vocal party create an image of a rhythmic horse horsepie with a rider.

Gay! Gop, gop, gop! Gop, gop, gay, look! Gay! Gay!
Gay, look! Gop, gop, gop, gop, gop! Gop, gop, gop, gop, gop,
Gay! Gay, gay, gay, gay! Ta-Ta Ta Ta-Ta Ta-Ta Ta Ta-Ta-Ta ...
Gradually, the movement accelerates: the eighth are replaced by triols, then the rhythm "comes down" - syncopes appear, duoles, again triols, sixteenth, who, "without holding", "fall" in Sforzando:

Oh! Oh, hurt! Oh, leg! Oh, hurt! Oh, leg!

The room is complex rhythm and intonational for vocalist and technically - for the accompanist.

Number Six - "Cat Sailor" - miniature - a scene, an excited story of the girl about what she seen by her cunning practitioners. Here is the abundance of strokes, nuances, the expressive moves of the melody, Glyssando, depicting the "ripples" of the cat's paw on a cage with a bird, development to the climax and a blow of the girl with fingers past a cat, in a cage.

The number of intonational capricious Moderato-complaint ends:

Mom, what a solid cell! My fingers hurt, mom, mom!
Here in the most tips, here so smoke, whiches so ...
No, what is the cat, mom ... eh? - The girl is surprised already with irony.

The final phrase in the piano party, "take-off" from the lower register to the top from Piano - to Forte and Sforzando - the cat is rapidly disappearing - this scene is completed.

I suggested notes Irina Valeryevna for familiarization. She liked the music. The vocal cycle "Children's" demanded a big professional and performance work.

Essentially, the musical language of the cycle was a proclaimer of a modern modernist style with his complex lado-harmonic language and a tone plan, more often - its absence, unexpected intonation, melodic turns.

Work on the cycle, and then the execution of it in concerts came for me and for the accompanism officer Odarkchuk I.V. Real test for professional maturity. But the joy of satisfaction was no less.

Despite the complexity of the music language, the "Children's" cycle was well adopted by the public and with us, in DSHI in April 1989, and in November 1991 - in the concert hall of the Gatchina Palace in the school subscription concert, and in Nikolskaya DMS - in January 1993 of the year.

This miniature completed the main romance cycle of memoirs.

Supplement should be.

In world music there are three ingenious children's cycles: "Children's album" Robert Shuman, "Children's Album" Peter Tchaikovsky and "Children's" Modest Musorgsky. If the "children's album" of Shuman is, first of all, the look of an eternal adult and eternal child, and if the Tchaikovsky's children's album is a set of melodic intonation masterpieces, which are simultaneously for a child and for an adult. That "children's", like Musorgsky, is a unique work.

"Vocal scenes - episodes from children's life belong to the lyrical pages of Mussorgsky's creativity. This is not children's music written in pedagogical academic purposes and not in order to be performed by the children themselves. These are songs for adults, but written on behalf of the child. In a cycle, eight songs, their images are very different - both sad, and funny, but they are all permeated with sincere love for children. In these vocal miniatures, distant memories of the Rustic Childhood of Mussorgsky were embodied, as well as sensitive observations of the lives of small friends of the composer. Mussorgsky did not just love children from the side. He knew how to communicate with them in their language and understand them, think by children's images. V.Komarov, daughter D.Stasova, who knew Mussorgsky from childhood and called him "Musorian" recalled: "He did not pretend to us, did not speak the false language, how can adults with children in homes, where they are friendly with their parents ... we They talked to him completely freely as with equal. The brothers, too, did not spend him, told him all the incidents of her life ... "

One of the ingenious properties of great artists is the ability to be in place of another and from his face to create a work. In this cycle, Mussorgsky managed to become a child again and speak from his face. It is interesting to notice that here Mussorgsky is not only the author of the music, but also words. Songs scenes were written at different times, that is, not according to the principle of "conceived - done" and not for some order. They were going to the cycle gradually and were published after the author's death. Some of the songs remained not recorded on paper, although they were performed by the composer in a close circle of friends. For us, they remained only in the memories of contemporaries. This is a "fantastic sleep of a child", "Quarrel of two children." We can hear a cycle of seven plays-scenes.

The first of the scenes "with nanny" was created in the spring of 1868. Mussorgsky showed her deep-maintained friend to the composer Dargomyzhsky, and he won it to continue this great undertaking. In 1870, four more scenes appeared, and under the general title "Children's" plays were published in St. Petersburg in V.Bessel's publishing house. Two years later, two more plays appeared, but they were published much later under the editor of N.A. Rimsky-Korsakov under the general name "in the country" in 1882.
In addition to this cycle, Mussorgsky had another "Children's Music": "Children's Corners" (scherzo for piano), "From childhood memories" ("Nanny and I", "First Punishment" for Piano), Children's Song "Garden" , ah, in the saddle. "

The "Children's" cycle is one of the few works of Mussorgsky, who was lucky to see the light and to meet a good location, not only from the public, but even critics. "The execution of the scenes" Children's "in the best Petersburg music circles was not the end, - wrote V.Stasov. Even retrograde and enemies could already dispute the talency and novelty of these small in size, but large in the content and value of the masterpieces ".

In the first scene "With nanny" The children's impressions of the Mussorgsky were reflected from the nanic fairy tales, from which he in his memoirs "sometimes did not sleep at night." Images of two fairy tales are crowded in the child's head. One "Bukka is terrible ... like that beech to the forest of children wearing, and as he gnawed their white bones ...". And the second is funny - about the chromonal king ("As will turn into a mushroom," the mushroom will grow ") and the sneezing queen (" How to sneezes - glass in Davegi! "). All the music of the scene is permeated by folk speakers, creating a flavor of Russian fabulousness. At the same time, the author brightly shows the perception of the magic of the impressionable child's soul.

"In the corner" - The second play-scene of their Mussorgsky "Children's" cycle. The plot is simple: nanny, angry with leprosy his little pet, puts it in the corner. And the punished squad in the corner is offended by the kitten - it all did it, and not Misha. But complaints of sobbing intonations, pronounced in music, ("I didn't do anything, Nyanyushka) give out Misha: he feels bitter offense and his guilt. But his children's consciousness can not reconcile this first in the life of the "contradiction". Trying to get out of the predicament, he begins to tease the nanny. Complaints intonations are replaced by naughty, mischievous ("and nanny is evil, old ...") But they also heard the notes of humility. Such a deep psychological understanding by the author of a kindergarten is the uniqueness of the music of this cycle.

"Bug" - The third play-scene from the "Children's" cycle is a mysterious story with the beetle, which struck the child's imagination. On the house built from Luchok, the village of Sla Zhuk, "Huge, black, terrible," buzzing and moves the mustache and, hazing, hits him in the temple. Frightened, the child attached, a little breathe ... suddenly sees - the beetle is helplessly lies on the back, "only wings tremble." "What was it with a beetle? I hit me, and myself fell! ". In music with great wit and emotion, an agitated tone of children's change change is heard: the blow and falling the beetle is replaced by fear, anxiety. The ultimate question shows the limitless surprise of the boy in front of the whole incomprehensible and mysterious world.

"With doll" - The fourth play of the "Children's" cycle is devoted to the composer with his little nephews "Tanya and Gogue Mussorgsky" it was also called "lullaby". The girl points out his doll "Trepa", saying the nannine bike about Buku and a gray wolf and, dried by Rhythm Bayukanya, brings the "Trepa" a magical dream about the "Wonderful Island, where neither zaughty, do not sow, where the pears are blurred, day and night birds singing Golden. " Delicate entanglements with a lullaby, with its crystal ringing seconds, slides like a mysterious vision from the world of child dreaminess.

"Sleep coming" - The fifth sketch of the "Children's" cycle is a gift to the Mussorgsky kiss, the newborn son Cui Sasha. The little heroine of the scene is laying in front of a dream of a memorized prayer, diligently mentioned in her and dad with mom, and brothers, and an old grandmother, and all the astubs and uncle, and the numerous yard friends "and the filter, and a Vanka, and Mitka, and Petka ..." . Interestingly, the mood is reflected in music, with what the names are pronounced: the elders are focused and seriously, but when it comes to the courtyard children, the seriousness will disappear and frisky children's speakers sound. On Dunyushka "Prayer" is interrupted. How about? Nanny, of course, will tell ...

"Cat Sailor" - Sixth Scene from the "Children's" cycle - a sample of children's humor, a story about a small home incident. The cunning cat burst into the cage with bullfinch, prepared already to give his sacrifice, and at the same moment it was slammed by his little girl. Her fingers hurt, but she is satisfied: the bullfin is saved, and the darling-cat is punished.

"We went on a stick" - The seventh play of the "Children's" cycle. This is a jesting game sketch, sketching from nature: the baby famously jumps on a wand near the cottage, imagining that he "went to Yukki" (surrounding village). In music, a comical syncopyed ("chromary"), the rhythm is depicted to ride a removal, which in the most interesting place ... stumbles and, by defeating the leg, roars. Mother consoles her serzhinka, which serves as a reason for funny lyrical intermezzo (small retreat). Finally, the fun Sergeink again sits on her wand and, stating that he was already "going to Yukki", the same gallop was in a hurry: "Guests will be ...".

In music, which reflected the sad pages of Russian history and tragic contradictions to the modern era composer, not so many bright pages. Very often they are associated with the image of children - this is the image of the young Tsarevich Fedor in opera "", such and the vocal cycle "Children's".

There were no own children, but in 1868 he was often visiting Stasov, communicated with his children. One of the daughters of Vladimir Vasilyevich recalled that Modest Petrovich in communicating with them never fell into a primitive and fake tone, as adults often do, talking to children - and children felt free of them free, communicating on equal footing. It is then emerging by the composer the idea of \u200b\u200bthe vocal cycle dedicated to children, but it was not about children's songs that could sing small performers, but about romances are quite complex, designed for execution and perception of adults, but revealing the world of thoughts and feelings of the child . At the same time, the first romance was written - "with nanny", which dedicated to Dargomyzhsky. He approved the work of a young composer and recommended to continue. However, then more work on "", and to the vocal cycle, who received the title "Children's", he returns only after two years, writing another four romance in 1870. The composer returned to the work in 1872, creating the last three miniatures. True, he planned two more parts - the "quarrel of two children" and "sleep of a child", even composed them and fulfilled their friends, but did not record them.

The "Children's" cycle is seven subtle vocal scenes on its own texts, the main expressive means in which is a melodized cleattive. Piano batch is comparatively scoop, it takes a subordinate position.

The first number is "with a nanny" - might seem monotonous due to numerous repeated sounds, but this does not occur due to the change of harmony on repeating sounds and melodic jumps permanent syllables. And some monotoncy turns out to be a very expressive stroke - after all, the children say that as they ask for adults about something ("Tell me, Nyanyushka, tell me, sweet").

The second number is "in the corner" - it starts not from the children's speech, but from the angry replicas of another character - nanny. Her exclamations ("Ah you, a pursuit! The tangle spacing!") Drague against the background of the rapid movement of the eighth. Baby (apparently, the first time in his life faced with injustice) meets minor descending phrases - but only until he feels offended, and then the downward movement is replaced by ascending ("Misha will no longer love his nyanyushka, that's what!") .

The third number is "Beetle" - with the ultimate truthfulness reveals the worldview of the child: the mood is very easy to go from fear to surprise, and any event that adults adult is insignificant - such as the unexpected appearance of the beetle - becomes significant for the child. A sharp chord in climax resembles techniques that dramatic events are accompanied by the works in the "adults".

In the fourth romance - "with a doll" - a small heroine imitates the behavior of an adult, namely, nanny. Staying sleeping doll named Trepa, the girl sings a monotonous lullaby. A typical genre of Minor is combined with a major, and a cradle is interrupted by a clear exclamation from time to time: "Trepa, you need to sleep!"

"For the coming dream," an innocent prayer of a child. The kid, praying - as adults taught - about the health of loved ones, understands that he is busy seriously, and is trying to give his intonations. It almost succeeds for him, while he calls parents and other adults, but as soon as it comes to friends ("and the filter, and a Vanka, Mitka, and Petka"), the seriousness is replaced by the "patter", which is interrupted by an internal intonation: "How further ? "

"Cat Sailor" is an emotional story about a small home incident, an extremely excited child: the cat launched a paw in a cage with a bird. The eighth pulsation in the accompaniment emphasizes the emotion of the speech of a small heroine. The piano party is saturated with sound-proof techniques, transmitting and trembling birds, and crushing feline claws in a cage.

"I went on a stick" - a real "sketching from nature": the sharp rhythm of short phrases depicts the movement of a boy galloping on a stick. "Jump" is interrupted twice - a conversation with a friend of Vasya and an annoying incident: the boy fell and his hurt, his monster discovered phrases respond to the tender intonation of the mother. The reprise returns the former rhythmic movement - the pain is forgotten, the game continues.

The date of the first execution of the "children's" is unknown, but after the publication of the vocal cycle in 1873, he quickly acquired popularity. Publisher Bessel sent notes. It did not assume that his work would like the famous composer - after all, he most often preferred the plots of the grandiose. Contrary to these assumptions, "children's" led to delight.

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