Old castle Mussorgsky story. Tale in music: Old castle
Cover of the first edition of "pictures from the exhibition" M. P. Mussorgsky (edited by N. A. Rimsky-Korsakov) 1886
The cycle "Pictures from the exhibition", consisting of 10 musical sketches and the intermediate "Walk", was created by the Russian composer Modesty Petrovich Mussorgsky in the period from 2 to 22 June 1874, but the idea of \u200b\u200bits creation arose before - in the spring of the same year. In this period, the composer Visited the exhibition of works dedicated to the work of the talented architect and designer Viktor Alexandrovich Gartman. More than 400 works were presented on it, among which were both the famous creations of the author and small sketches, some of which inspired the composer to create a cycle.
Speaking about the history of writing "pictures from the exhibition", it is impossible not to mention that during the life of V.A. Gartman was friendly with M.P. Mussorgsky, and the death of the comrade and the Creator close to the ideas of the "mighty bunch" became a serious blow to the composer.
Description of works
"Pictures from the exhibition" opens the intermedia " stroll"For the idea of \u200b\u200bthe author, this play depicts a composer walking through the picture of the paintings, it is repeated several times during the cycle.
Sketch " Gnome"Performed into the tonality of the Mi-Barth Minor, it is distinguished by the dynamics, lining of the lines, change the moments of voltage and tranquility. The sketch of the Gatman, who served as the basis for this melody, was not preserved, but it is known that the Christmas toy-Nutcracker has been depicted on it.
Slow, poetic, deep melody of the play " old lock"In the tonality of Sol-Diez Minor, reminiscent of living singing under the accompaniment of an old instrument, invites us for a walk along the Italian castle depicted on the watercolor artist. In the exhibition catalog, this picture of Gartman was not subject to.
A light, sunny, movable, light melody "comes to change" Old Castle " Tuilry Garden"In the tonality of C Major. To the middle it becomes more calm, as if nanny appear among the playing guys. The composition is completed by mixing two topics. According to the memoirs of the artist's associates, the Palace of Tuliiri, filled with walking children, was depicted.
« Skot"This is a gloomy, heavy melody that transmits the slow move of the cart, harmful by the will, in her musical canvas woven Slavic folk tunes. The sketchy is brightly drawn by musical means of the slender life of a simple people, is performed in the tonality of Sol-Diez Minor.
Based on the play " Ballet of unlucky chicks»Sketches are sketches to the costumes that Gartman developed for performing in the Bolshoi Theater. The play is written in the troton of F Major, it is a lightweight, extremely dynamic melody depicting a funny, chaotic dance, which by the end of the work becomes more ordered.
Music etude " Two Jews, rich and poor»Based on the drawings donated by the Gatman composer. The composition lies in the tonality of the C-Barth Minor, it resembles a living conversation of two characters, one of which is depicted using heavy, confident sounds, complemented by the Gypsy range, and the other - thin, melodies.
The next noisy and dynamic, fussy and lightweight play " Limoges. Market"Performed into the tonality of Mi-Barol Major, it brightly transmits the atmosphere filled with gossip and gossip market, whose life, for a second, renewed again. About the figure, inspiring the composer, almost nothing is known.
« Catacombs. With dead on dead"- Slow, gloomy work, the cold and the mystery of which are even more acute after the ease of the previous composition. Lifeless, then sharp, then quiet single-soul-walled dungeons in silence. This play is dedicated to the painting "Paris Catacombs".
Composition " Baba Yaga"This is a dynamic, expressive play, fully justifies its name. Sometimes it is filled with frenzy of full chords, sometimes becomes anxious and unstable, the play is distinguished by dissonsants and uneven accents. It is based on a sketch depicting the watch in the form of a dwelling of a mythical character.
Completes the cycle powerful, slow rhythm with major durations of the play " Bogatyr doors. In a capital city in Kiev" This is a loud solemn music based on Russian folk motifs, changing a quiet melody. It ends skillfully recreated with a piano bell ringing and code. The play is devoted to the sketch of the architectural gate in Kiev, developed by Gatman.
Pictures from the exhibition
old lock
"Pictures from the exhibition" - the well-known Suite M. P. Mussorgsky out of 10 plays with intermenia, created in 1874 in memory of the Mussorgsky artist and architect V. A. Gartman. It was originally written for piano, it was repeatedly arranged by various composers for the orchestra and processed in a variety of musical styles.
Architect and, speaking in modern language, designer Viktor Aleksandrovich Gartman entered the history of the XIX century art as one of the founders of "Russian style" in architecture. It was distinguished by the desire for Russian identity and the wealth of imagination.
At the end of 1870, in the house of Stasov, Mussorgsky first saw with a 36-year-old artist. Hartman had a character's liveliness and easily in a friendly communication, and warm friendship and mutual respect were established between him and Mussorgsky. Therefore, the sideline death of Gatman in the summer of 1873 at the age of 39 shook Mussorgsky to the depths of the soul.
In February - March 1874 in the Imperial Academy of Arts at the initiative of Stasov and with the assistance of the St. Petersburg Society of Architects, a posthumous exhibition was held from about 400 works of Hartman, created in 15 years, - drawings, watercolors, architectural projects, sketches of theatrical scenery and costumes, sketches artistic products. There was a lot of sketches brought from foreign journey at the exhibition.
A visit to the Musician exhibition was the impetus to the creation of a musical "walk" on the imaginary exhibition gallery. It turned out a series of musical paintings, which only partly resemble the works seen; Basically, the plays became the result of the free flight of the composer's awakened fantasy. As a basis for the "exhibition", Mussorgsky took the "foreign" figures of Gatman, as well as two sketch of Russian topics. The exhibited works were sold, so today the location of most of them is unknown. From the drawings mentioned in the cycle now you can restore six.
The idea of \u200b\u200bcreating piano suite arose in the days of the exhibition, and in the spring of 1874 some "pictures" from the future cycle improved by the author. But finally the idea was formed in the summer. The whole cycle was written in creative approach in just three weeks from 2 to 22 June 1874. The operating name of the suite was "Gartman". Stasova, whose help for Mussorgsky meant a lot, he dedicated to Suit.
During the life of the Mussorgsky "Pictures" was not published and not performed, although we received approval in the "mighty bunch" environment. They were published only five years after the death of the composer, in 1886, in the editorial office of N. A. Rimsky-Korsakov. But the recognition of the general public came only after Maurice Romans, according to the same editorial office, Roman Corsakov created his famous orchestration in 1922, and in 1930 its first gramography was published.
Suite is a bright sample of software music with its own characteristics. It is in the original way pictures from real life with fabulous fiction and images of the past. Pieces - "Pictures" are associated with each other the intermedia "Walk" depicting the passage along the gallery and the transition from the picture to the picture. Such topics and the construction of suite are unique in classical musical literature.
Mussorgsky, according to the reviews of contemporaries, was an excellent pianist, literally fascinated listeners, sitting down for the tool, and could depict anything. However, he composed relatively little tool music, he was most attracted by opera. Mussorgsky puts the task of creating a psychological portrait, penetration into the depths of his characters, which fundamentally distinguishes his work from ordinary sketches of Hartman.
The topic of the walk is repeated throughout the suite several times. She resembles Russian folk sneakers: the melody begins in one voice ("Spelling") and picked up by the "chorus". In this theme, Mussorgsky simultaneously portrayed himself, moving from the picture to the picture: "My physiognomy is visible in the Intermones," he wrote Stasov. The melodic line in most intermenids is played hardly, in which it sometimes see the imitation of the author's gait.
The topic "Walk" varies, showing the change in the mood of the author; The tonality is also changing, the modulation of preparing the listener to the next play.
The play is based on Watercolor Gatman, drawn when he studied architecture in Italy (the sketch was not preserved, as the exhibited works were sold, so today the location of most of them is unknown, including the "old castle"). In the accompanying program to the curl of Mussorgsky Stasov, he wrote that in this play I was depicted "medieval castle, in front of which the Troubadour sings his song." But at the Hartmanna, neither one of two paintings depicting a medieval landscape with a lock, the troubadour was not. He was invented by Mussorgsky, reviving the landscape. Pensive, smooth melody sounds against the background of the measured, monotonous accompaniment. It causes a contemplative lyrical mood. From the song Trubadura, the Knight's Middle Ages can, music transfers what the artist depicted with paints.
The middle part, moving to the major, creates a lumen, which then replaces sadness again, then the first theme returns, gradually subsided, as if immersing in sleep. Suddenly the loud final completes the play short "goodbye."
French composer M. Ravel made a wonderful orchestral arrangement of suite. In his instrument "Pictures from the exhibition" are often performed in symphony concerts.
Presentation
Included:
1. Presentation, PPSX;
2. Music sounds:
Mussorgsky. Pictures from the exhibition:
Walk (in symphonic execution), mp3;
Old castle (in 2 versions: in symphonic and piano), MP3;
3. Accompanying article, DOCX;
4. Shells for execution by teacher, JPG.
Pictures from the exhibition - One of the best masterpieces in Russian piano music (1874). In shape, this is a suite, consisting of ten plays, each of which reflects the content of one of the paintings by the artist Viktor Alexandrovich Gartman.
Viktor Gartman especially pronounced himself not so much by the artist as a talented architect, who formed his own style in the architecture called "Russian style".
For Modest Petrovich Mussorgsky, he was a very close friend, so the sudden death of Gatman at a young age (only 39 years old!) Literally shocked the composer. 
A year after this, the tragic event at the proposal of Stasov was held an exhibition of paintings by Viktor Gartman, dedicated to his memory. However, the best monument to the artist became a piano cycle written by his friend.
The idea of \u200b\u200bhis creation appeared at Mussorgsky during a visit to the exhibition, and after three weeks the cycle was ready! Some paintings are even difficult to call the paintings. It is rather sketches, sketches, sometimes just hint towards theatrical costumes.
Only two pictures have Russian topics - the rest of the drawings are "overseas". The whole cycle consists of ten plays (pictures) associated with one leitmotif called "Walk".
It is Musorgsky himself, who strives at the exhibition hall and stops from time to time before the next, who was interested in his picture (click on the pictures to increase them). Here they are:
Wallpaper №1 Gnome.
Wallpaper №2 "Old Castle" - an image of an old medieval castle is not preserved.
Wallpaper №3 "Tuilry Garden" - a garden was depicted in this picture at the Palace of Tuileries (Paris). Beautiful weather, nynechki walk with children. The picture is also not preserved.
Picture №4 "cattle" (Sandomirsky Cattle, by definition of Mussorgsky himself). The picture was depicted by the Polish cart, harnessed by oxen, the effect of approximation is clearly heard in music, and then removing this huge carton with creaky wheels. The picture is also not preserved.
Wallpaper №5 "Ballet of unlucky chicks." In principle, this is not as much picture as a sketch for ballet costumes for dance of chicks canary (three-inclusive form).
Wallpaper №6 "Two Jews: Rich and Poor." At Gartman, these characters did not exist on one picture. There were two paintings: "A rich Jew in a fur hat":
and the "poor Jew": both Jews - Polish origin (Sandomira Jews). Mussorgsky has a conversation, during which everyone reveals its character.
Wallpaper №7 "Limoges Market" (France): Market noise, Galdeg, gossip, bustle. The picture is also not preserved.
Picture №8 "Catacombs. Roman tomb "or" With the dead on the Dead language. " In the foreground, Gartman depicted himself. On the right, you can hardly notice a weakly lit skull.
Wallpaper №9 "Hut on Courish Legs" (Baba Yaga). Hartmanna has only a sketch of the clock. Mussorgsky has an image of "unclean power."
Wallpaper №10 "Bogatyr Gate. In a capital city in Kiev. " The picture is a project of a Kiev gate. These gates were not built, but their construction was planned after an unsuccessful attempt on Emperor Alexander II and his wonderful rescue. The play of Mussorgsky sounds like the celebration of Orthodoxy, very realistic portrait of the festive bell chime.
Personally, I met the "pictures" at the age of ten: Mom bought a record with a record of the game of Svyatoslav Richter. The impression was so bright that I literally dreamed of at least one eye to look at those pictures that inspired Mussorgsky to create this miracle.
Today, thanks to the Internet, it became real. However, he saw greatly disappointed me: Mussorgsky's music is very surpassed by the original source for its artistic value!
In addition, at the exhibition paintings were sold. Obviously, they were sold after the exhibition, so there are only 6 paintings in free access. You can see them on my blog. Of course, these are just reproductions, and even in the electronic version, but still better than nothing.
The fate of this piano cycle is very curious. First, he was not published during the author of the author and, accordingly, was not fulfilled at once during the life of the composer.
Secondly, the fame to this work came due to the orchestral processing of the French composer Maurice Ravel, the recording of this processing came out after half a century after the death of Mussorgsky.
However, the cycle was written precisely for piano! I do not know how to whom, but personally, it is precisely this option that I like most. Moreover, I never thought that the execution of Richter could ever move away for me to the background, did not imagine the performer who could "replay" the Svyatoslav Richter himself in this masterpiece!
But today I am literally conquered by the interpretation of Mikhail Plenev. I consider it the best and therefore it was her chosen to place on his blog.
I suggest you enjoy acquaintance with this "pearl" of the Russian piano heritage, and even in a completely wonderful version of the performance:
Piano cycle (1874)
Orchestration Maurice Ravel (1922)
The composition of the orchestra: 3 flutes, flute piccolo, 3 bouse, English horn, 2 clarinet, bass clarinet, 2 Bassoon, counterphagot, saxophone-alt, 4 French horn, 3 pipes, 3 trombones, tube, litales, triangle, small drum, scribble , plates, big drum, tamam, bells, bell, xylophone, chest, 2 harp, string.
History of creation
1873 was difficult for Mussorgsky. Friends stopped gathering in the evenings from L.I. Shestakova, Sisters Glinka, severely ill. V. Stasov, always morally supported the composer, left for a long time from St. Petersburg. The last blow was sudden, in the heyday and talent, the death of the artist Viktor Gartman (1834-1873). "What a horror is that for grief! - wrote Mussorgsky Stasov. - In the last check in Viktor Gartman in Petrograd, we walked with him after the music in Furstadt Street; Which alley he stopped, turned pale, leaned against the wall of some house and could not catch his breath. Then I did not give a lot of things to this phenomenon ... By the order by the order himself with the suffocation and heartbeats ... I imagine that it was a fate of nervous natures, most of the advantage, but bitterly mistaken - as it turns out ... This lack of diol death mows, not arguing ... "
In the following, 1874, on the initiative of the returned Stasov, a posthumous exhibition of the works of Gatman was organized, on which its work was presented with oil, watercolor, sketches from nature, sketches of theatrical scenery and costumes, architectural projects. There were some products made by the artist's hands, - Tongs for splitting nuts, watches in the form of a hut on the chicken legs, etc.
The exhibition made a huge impression on Mussorgsky. He decided to write a software piano suite, the content of which would be the works of the late artist. Interprets their composer in its own way. So, the sketch of the Ballet "Trillby", depicting tiny chicks in shells, turns into "ballet of unwanted chicks", tongs for nuts in the form of a curved gnome become the basis of the portrait of this fabulous creature, and the hut watches inspire a musician on a play, drawing a batable Yagi on the lobby.
The piano cycle was created very quickly - for three weeks of June 1874. Stasova composer reported: "Hartman boils, as Boris, - sounds and thought in the air hung, swallowed and coming, barely time to scratch on paper ... I want to make it sooner and more reliable. My physiognomy in the intermondes is visible ... how well it works. " Under the "physiognomy", prominent in the intermenia, the composer meant the bundles between the numbers - the images of Gatman. In these bundles, called "Walk", Mussorgsky painted himself, walking around the exhibition, moving from one exhibit to another. The composer finished work on June 22 and dedicated her V.V. Stasov.
At the same time, in the summer of 1874, "pictures" with the subtitle "Memory of Victor Gartman" were prepared by the composer to the press, but published only in 1886, after the death of the composer. For a few more years it took that this is deeply original, which does not have analogue work entered the repertoire of pianists.
Brightness of images, their painting, piano colors pushed to the orchestral embodiment of "pictures". The Archive of the Roman Corsakov preserved the orchestration page of one of the parts of the cycle - "Old Castle". Later, the student of the Roman-Korsakov M. Tushmalov made an orchestration, but it remained unfulfilled. In 1922, Maurice Ravel, a passionate fan of Mussorgsky's creativity, also appealed to this work. His brilliant orchestral embodiment of the "pictures from the exhibition" quickly won the concert pop and it became as popular as the genuine piano version of the work. The score was first published by the Russian music publishing house in Paris in 1927.
Music
The first number is "Walk" - based on a wide melody in the Russian folk character, with a variable meter characteristic of folk songs, performed first solo pipes, and then supported with a church of copper tools. Other tools are gradually connected, after the Tutti sound without a break begins the second number.
This is "Gnome." It is characterized by bizarre, broken intonations, sharp jumps, sudden pauses, tense harmonies, transparent orchestration using Chelets and Harp. All this brightly draws a fantastic and mysterious image.
"Walk", significantly abbreviated compared to the initial, translates the listener to the next picture - "old castle". Fagot, Skapor supported by the lonely sound of the second Baby and pizzicato of double bass, seals the melancholic serenade. The melody proceeds to the saxophone with its characteristic expressive chain, then it hits with other instruments for the accompaniment, imitating the sound of Lute.
A short "walk" leads to the "Tuilder Garden" (his subtitle - "Quarrel of children after the game"). It is a living, joyful scherzo, penetrated by a cheerful gomon, a running, good-natured shoal of nannies. It sweels quickly, replacing a bright contrast.
The following picture is called "cattle." Gartman depicted a heavy cart for huge wheels under this title. Here is a measuring movement with heavy chords; On his background, Tuba sing a long dreary song in which, however, a sullen hidden force is felt. Gradually, the belligence is growing, growing, and then subsides, as if the wagon is hidden away.
Another "walk" in a changed form - with the topic in a high flute register - prepares the "ballet of unwanted chicks" - charming graceful schercino with bizarre harmonies, transparent orchestration, numerous forelags imitating bird twitter.
Directly behind this number, the household scene "Samuel Goldenberg and Shmuel", usually called "two Jews - rich and poor" should be sharply contrasting it. Stasov wrote about her: "Two Jews drawn from Nature by Gartman in 1868 during his journey: the first is a rich fat Jew, smug and cheerful, the other is poor, skinny and complaining, almost crying. Mussorgsky strongly admired the expressiveness of these pictures, and Gartman now gave them to his friend ... "The scene is built on a comparison of power energetic intonations in unions of wooden and string groups and solo pipes with Surdine - with a common movement of small triols, with Mordets and Forms, Curved Bind, as if choking a complainant patter. These topics, first spent apart, then sound at the same time, counterpoint in different tones, creating a unique on the color of the duet.
"Limoges. Market. (Greater news) "- the name of the next room. Initially, the composer preceded him with a small program: "Greater news: Mr. Pewseja has just found his cow a runaway. But the Limoges of Kumushki do not quite agree on this case, because Mrs. Rambourssak acquired a wonderful porcelain teeth, meanwhile, as Mr. Panta-Pantaleo, the nose prevents him remains red, like Peony. " This is a brilliant capricchio, based on a continuous fussy movement with capricious, volatile, teasing intonation, toolboxes, frequent change of dynamics, the ending Tutti Fortissimo - the grinders reached ecstasy in its chatter. But everything is sharply breaking the fortissimo trombones and tubes that intonating one sound - s..
Without a break, Attacca, the next number is incorporated by a sharp contrast - "Catacombs (Roman Tomb)". These are only 30 closures of gloomy chords, then quiet, then loud, drawing a gloomy dungeon in the mysterious light of the lantern. In the picture, according to the testimony of Stasov, the artist portrayed himself, with a lantern in the hand of inspecting the catacombs. This number is like joining the next, coming without a break - "with the dead in the dead language." In the manuscript, the composer wrote: "Latin text: with the dead in the dead language. Okay, the Latin text: the creative spirit of the deceased Gatman leads me to the turtles, appeals to them, the skulls were quietly lit up. " In the sorrows of Minor, a changed theme "Walk" in the frame of the quiet tremolo and chords of winds resembling chorals sounds.
"The hut on the couch legs" - again underlined the contrast. Its beginning pains the rapid flight of Baba-Yagi on the lobby: wide jumps, alternating with pauses, are moving into an uncontrollable movement. The average episode is in a more chamber sound - filled with mysterious shores, alert sounds. Orchestration Orchestration: Against the background of continuous tremoly sounds, flutes the theme of Baba-Yagi, consisting of brief speakers and formed in the first section, intonate a baroon and double bass. Then she appears at the tubol and low strings accompanied by tremolo and pizzicato string, individual chords of the Cheesets, while the harp sounds its changed option. Unusual paints give a special shade of witchcraft, the wolf. And again rapid flight.
Without a break, Attacca, the final joins the "Bogatyr Gate (in the Uchol city in Kiev)." This is a musical embodiment of the architectural project of the Kiev City Gate, which Gartman saw in ancient Russian style, with an arch, decorated with an old helmet and a gate church. His first theme, the greatest, similar to the epic entry, in the powerful sound of copper and heads with counterpad, reminds the topic "Walking". It is growing increasingly, fills all the sound space, interlacing with the ancient church bannyary sneaking "Elitsa in Christ the baptized", filed more chamber, in strict four-riding wooden tools. Causes a number, like the whole cycle, a solemn and festive bell tall, conveyed by the ropted orchestra.
L. Mikheeva
In 1922, Maurice Ravel graduated from the orchestration of the "pictures from the exhibition" of the Mussorgsky - the work is unusually peculiar and in the music itself and according to its pianistic incarnation. True, in "Pictures" there are many details that can be imagined in the orchestral sound, but for this it was necessary to find paints on their palette, organically merging with the original. Ravel carried out such a synthesis and created the score, which remained an example of skill and stylistic sensitivity.
The orchestration of the "pictures from the exhibition" was performed not only with exceptional ingenuity, but also by loyalty to the character of the original. Small amendments were made to it, but almost all of them are associated with the specifics of the sound of the tools. Essentially, they drove to the change of nuances, the varying of repetitions, a bill of one "walk", repeated twice, and adding one clock in accompaniment to the "antique castle" melody; A large duration than in the original, the organ point in the "Bogatyr Gate" and the introduction of a new rhythm in the copper batch exhaust the list of changes made to the score. All this does not violate the general nature of Mussorgsky music, the changes in the details arose when working on the score, and they were minimal.
The orchestration of the "pictures from the exhibition", as always, at Ravel, is based on the exact calculation and knowledge of each tool and possible timbers. Experience and ingenuity suggested by the composer a lot of characteristic parts of the score. Recall the Glissando stringed ("Gnome"), magnificent solo altove saxophone ("Old Castle"), fantastic flavor of the "ballet of unlucky chicks", the grand sound of the final. With all its surprise, the orchestral finds of Ranel transmit the inner essence of Mussorgsky's music, it is included in the system of its images very organic. However, as already noted, in the piano texture of "pictures" there are features of orchestrality, it created a favorable prerequisites for working a thoughtful and inspirational artist, which was rare.
Ravel turned to the orchestration of "pictures from the exhibition", already having experience in the Handishbird score. In addition, he was the author of the orchestra's editors of his own piano works, and these scores were perceived as originals, not translating. In relation to the "pictures from the exhibition" such statements are impossible, but the high dignity of the orchestration of the brilliant work of Mussorgsky is undoubtedly. This confirms his unchangeable success in the public starting from the first execution held in Paris on May 3, 1923 under the control of S. Kosvitsky (this date is given by N. Slonimsky in his book "Music Since 1900". A. Pruneer indicates the other - May 8, 1922 .).
Ravelian orchestration "pictures from the exhibition" caused individual critical comments: it was reproached in insufficient compliance with the spirit of the original, did not agree with changes in several clocks, etc. These reproaches can be heard sometimes in our time. However, still the orchestration remains the best among others, she rightfully entered the concert repertoire: the best orchestras and conductors of all countries played and continue to play.
An open lesson on music in grade 4 according to the Critian program
Theme lesson : Mpmorgian "pictures from the exhibition"
The purpose of the lesson: Acquaintance with music from piano suite "Pictures from the exhibition" -
"Old lock"
Tasks:
To be able to hear the executing tools, determine and compare the character, mood of music, the means of musical expressiveness;
Call the idea of \u200b\u200bcreating suite;
Educate love for music Mussorgsky;
Form interest in the subject, aesthetic education of students; The horizons about the composer and its works.
Planned result: Show a personal attitude in the perception of musical works, the emotional responsiveness of students.
Equipment: Computer, discs with music, music textbooks E.D. Cretan, grade 4.
On the desk: Portraits of composers of P. Tchaikovsky and M. Mussorgsky, pictures for musical works M. Mussorgsky, Pictures of musical instruments: Cello, Piano.
On the tables of students: Table of emotional states, test quiz, lyrics for "Change Mala", music textbook 4 class, E.D. Krit.
Organizing time:
Musical greeting:
Teacher: Today, friends like yesterday, our day begins in the morning,
In all languages \u200b\u200bthey say, they say millions of guys
U-SA: Good morning!
Uh: Good morning! From these words begins his day of the defector.
U-SA: Good morning!
Uh: Good morning!
All: Good morning!
During the classes:
Sounds Music P. Tchaikovsky "Variations on Rococo theme"(4 cl. 5h. No. 2 disk)
Uh: What work did you listen to? Name it.
U-Xia: Variations on Rococo theme.
U-Xia: P.I. Tchaikovsky.
Uh: What are the variations?
U-SA: development, changing music. When, the same music sounds in different versions, develops, changes.
Uh: What does Rococo mean?
U-Xia: This is a French word, which means a sink translated into Russian.
Uh: Where did this style originally originally originated? What does this mean?
U-SA: in architecture. Which means sophistication, grace, elegance. It is its image that was often placed in the center of the ornament.
(Drawing in the style of Rococo p.76, tutorial)
Uh: What is the difference between musical works in Rococo style?
U-Xia: sophistication, grace, graziness?
Uh: What means of musical expressiveness it was achieved?
(work on the table)
U-SA: a leisurely paced, a quiet speaker, elegant rhythm, major.
Uh: What are the intonations we hear in Tchaikovsky's music?
U-Xia: joking, marching, lyrical, sincere.
Uh: What do these intonations give music?
U-Xia: Russian character.
Uh: For what tool the composer wrote this work?
U-Xia: for cello with orchestra.(Show Cello Image)
Ust: Who will sollece on the cello?
U-Xia: Mstislav Rostropovich.
(Fizminutka)
Uh: Today in the lesson we will get acquainted with the music from the suite of the Russian composer M.
Mussorgsky "Pictures from the exhibition".(portrait of the composer)
We have already acquainted with some of them.
Name those plays from the suite that you know. (refer to drawings on the board)
U-Xia: "Baba Yaga", "Gnome", "ballet of unlucky chicks."
What is suite?
U-SA: a series, sequence of variekractic plays.
Uh: Remember the idea of \u200b\u200bcreating suite?
After the death of a friend M.P. Mussorgsky, artist Viktor Gartman, composer selected for himself 10 most liked paintings and wrote music to them in the form of suite.
After each picture, the intermedy sounds, which is called "Walk", i.e. Transition from one picture to another. Intermedia is a detached work that has nothing to do with the plot.
"Walk" - hearing.
The composer interpreted the artist's pictures in his own way. For example: Hartmanna in the figure was depicted watches in the form of a hut on curious legs. And Mussorgsky in his music decided to show the hut inhabited. He called this picture "Baba Yaga".
Uh: let's together with you mentally moved to the Middle Ages, during the times of locks and knights, beautiful ladies, trumperatures and minstrels - stray singers.
(Figure p.79, tutorial)
Uh: How did we see the castle in the picture?
U-SA: gray, gloomy, mysterious.
Uh: Now compare with Mussorgsky's music.
"Old Castle" - Hearing(disk 4 cl. 5h. No. 3)
Uh: How did this music sound?(Emotional state table)
Wen: Quiet, mysterious, fascinating.
Uh: What does this music tell? Is the mood change in music?
U-SA: the memory of the past of this castle, where there were joy, and sadness, where life was sometime.
Uh: What means of musical expressiveness the composer achieved this?
U-Xa: quiet dynamics, gradually growing and sinking, calm temp., Minor.
Uh: What tool sounded?
U-Xia: Piano.
Uh: What did the accompaniment resemble you?
U-Xia: troubadur songs.
Uh: Why does the picture ends with a loud chord?
Uh: What would you tell about this music picture? What would draw?
Let this task be home.
Total lesson:
Test quiz
- Who is the composer of the work "pictures from the exhibition"?
- According to the sketches of which artist, the work of "Pictures from the exhibition" M.P. Mussorgsky?
- What is suite?
- How many parts in the stud "pictures from the exhibition" M.P. Mussorgsky?
- What is intermedia?
- How is the intermedia called in a suite?
(students read questions and answers, compare them, noted the correct answers)
The teacher announces an assessment for the lesson. Recorded homework.
Uh: The lesson ends, soon change. Let's do the song.
"Change Mala" - execution.
MOU-SOSH with. Loginovka
Open music lesson:
MP Mussorgsky "pictures from the exhibition" - "Old Castle»
4th grade
music Teacher Boyko T.I.