Vocal works by Schubert. Schubert's vocal works
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Municipal budgetary educational institution
Secondary school No. 3 of Tolbazy village
Open Music Lesson
"Musical image in the work
Franz Schubert "
Held:
music teacher
Kirillova Z.I.
village Tolbazy
Lesson topic: "Musical image in the work of Franz Schubert"
The purpose of the lesson: the formation of emotionally conscious perception of a musical image on the example of the ballad "Forest Tsar" by F. Schubert.
Tasks:
educational - to introduce the concept of "musical ballad", with the biography of F. Schubert, to define the musical image in the ballad "Forest Tsar";
developing - to develop communication skills, skills in independent work with information, the ability to analyze and synthesize the information received;
educational - education of a personal attitude to music, aesthetic taste.
Musical material: F. Schubert song-ballad "Forest Tsar", inserted into the presentation.
Equipment: computer, video projector, musical instrument.
Additional material: presentation for the lesson, printed version of the table for filling in according to the options and biography of F. Schubert with questions, T.I. Naumenko, V.V. Aleev textbook on music grade 7.
During the classes
I.Organizing time. Communication of the topic and purpose of the lesson.
Slide 1
– Good afternoon, dear guys, dear guests. Today in the lesson we will get acquainted with the very famous work of the composer Franz Schubert, we will define the musical image that the composer Schubert conveyed in his song.
II. Repetition of the past.
– What images exist in music? (Lyrical, epic, dramatic).
Slide 2 (Click on the ovals after the hand appears on them).
– What works of Franz Schubert are you already familiar with and what image prevails in them? ("Ave Maria", "Barcarole", "Trout" - a lyrical image).
III. Learning new material.
1) - What kind of person was Schubert if he could create such lyrical works? We will be able to answer this question after self-familiarization with the composer's biography. I will distribute printed text and questions to which you will answer to each desk.
or .
(Completing the assignment on the desks. Each couple reads the biography of the composer and answers 3-4 questions, which are distributed by the teacher on separate sheets of paper with a version of the biography).
Slide 3
2) Questions to check the progress of the work.
Who is Franz Schubert?
When and where was Schubert born?
Who were Schubert's parents?
Where did Schubert receive his musical education?
How old was Schubert admitted to the court chapel?
How old was Schubert when he started composing?
What works were most famous during the life of Schubert?
How many songs did F. Schubert write?
What role does the piano accompaniment play in Schubert's songs?
Which singer began to promote Schubert's work?
What kind of person was Schubert?
What was the name of Schubert's musical meetings with friends?
Which composer did Schubert idolize?
What musical direction was Schubert representing?
When did the real success come to Schubert?
How many years did Schubert live?
(The teacher, naming the serial number, asks questions. Each student answers his own question in order, the biography of Schubert is built from the answers. All answers appear on the slide.)
Slides 4-6 (Click on each question after a hand appears on it).
3) Listening to the ballad "Forest Tsar" by F. Schubert in Russian.
– Listen to one of Schubert's most famous works and answer the following questions:
Slide 7
– What feelings does music express?
– What image did the composer convey in his music?
– Who is performing this piece of music?
(Listening to the ballad. Children's answers to the questions posed.)
– What is the name of this work?
– What is a ballad?
Slide 8
– This is a solo narrative song with a fantasy element. In it, the composer created a vivid picture in which the subtlest shades of human feelings are revealed.
Slide 9
– How many characters are there in the ballad?
– What does the theme of each character sound like?
– What intonation prevails in the characters' speech?
– What did you hear in the accompaniment?
– Let's summarize our findings using the text in the tutorial on page 42. Fill in the table you see on the slide.
Slide 10
Option
Characters
Speech
Melody
Musical accompaniment
I
II
FOREST KING
– You will work according to options: 1 option characterizes the speech, melody and accompaniment of the father, son and narrator, and option 2 - the Forest Tsar.
.
(A fragment of the table is distributed according to the options. Children fill it out using the textbook (p. 42). Check the filling of the table by slide.)
Slide 10 (Click on each square after the hand appears on it).
– Listen to the ballad again, follow the text (text on page 40 in the textbook) and answer the following questions:
– How was Schubert able to convey the tragedy, pain and cry of the human soul?
– How does the plot develop in the ballad?
– What role does the piano play in the piece?
Slide 11
(Listening to a ballad in Russian with a lecture. Children's answers to questions.)
– The ballad of Franz Schubert "The Forest King" is an example of a dramatic work. It is a whole scene with the participation of various actors.
4) The history of the creation of the ballad "Forest Tsar" by F. Schubert.
– The ballad is based on a poem by the German poet Johann Wolfgang Goethe.
Slide 12
– The best translation of Goethe's ballad into Russian almost two centuries ago was made by Vasily Andreevich Zhukovsky, a contemporary of Alexander Pushkin, a peculiar, very subtle, deeply lyrical poet.
– F. Schubert was fascinated by the poetry of W. Goethe. She excited, captivated the imagination, mind, soul of the young composer. Schubert composed the ballad "The Forest Tsar" when he was only 18 years old.
Slide 14
– Here is how one of Schubert's friends describes the birth of this song: “We found Schubert in a completely heated state, loudly reading from the book of the Forest Tsar. He walked with the book several times up and down the room, suddenly sat down, and in a very short time the ballad appeared on paper. On the same evening, "The Forest Tsar" was performed and received with enthusiasm. "
IV. Anchoring.
– To conclude our lesson, I suggest that you perform a test on options. You have pieces of paper on your desk on which you will write down the answers to my questions.
Slide 14 (Click on the questions on the options one by one).
(Execution of test tasks by options. Mutual check.)
Option 1
Option 2
1. In which country was F. Schubert born?
A) France
B) Italy
In Austria
2. How many songs did Schubert write?
A) 600
B) 500
B) 400
3. Who is the author of the German text of the ballad?
A) Schiller
B) Goethe
C) Shakespeare
4. How many characters are in the song-ballad "Forest Tsar"?
A) 4
B) 5
AT 6
5. The speech of which character in the ballad sounds gentle, smooth, soft, enticing?
A) Father
B) Forest king
C) Son
6. What in the musical accompaniment of the ballad helps you to experience the dramatic image?
A) Dotted rhythm
B) The rhythm of the march
C) The rhythm of a frantic race
7. What images influenced the construction of the entire musical development?
A) Love and hate
B) Life and death
C) War and Peace
1. How many years did F. Schubert live?
A) 27
B) 31
B) 37
2. How old was Schubert who wrote The Forest King?
A) 28
B) 23
B) 18
3. Who did the best translation of the ballad?
A) Pushkin
B) Lermontov
C) Zhukovsky
4. What is the image in the song-ballad "Forest Tsar"?
A) Lyric
B) Dramatic
C) Epic
5. What does the speech of the author, father and son sound like?
A) Excitedly
B) enticing
C) insinuatingly
6. What character is characterized by a smooth, rounded, melodic melody?
A) Son
B) Father
C) the Forest King
7. What is the character of the ballad as a whole?
A) Quiet and calm
B) Worried and anxious
C) Cheerful and mischievous
Option 1
Option 2
1.In
2.A
3. B
4.A
5 B
6.In
7.B
1.B
2.V.
3.V.
4.B
5.A
6.In
7.B
Slide 15
Answers for mutual verification: 7 - "5", 6 - "4", 5 - "3", 4 - "2".
V. Lesson summary.
– What work of Franz Schubert did we meet today in the lesson?
– What is the image in the song-ballad "Forest Tsar"?
Slide 16
– What in music helped us to feel the dramatic image created by the composer?
(Evaluation of student work. Grading for work in the lesson.)
Vi. Homework.
– Draw a drawing that matches the character of F. Schubert's "The Forest King" ballad.
– Thanks for your creative work. Goodbye.
Nefteyugansk District Municipal Educational Budgetary Institution
"Salym secondary school number 2"
Musical image
in the music of Franz Schubert
Author's development of a music lesson in grade 7
teachers of the highest qualification category
Udyurova Oksana Alexandrovna
e-mail:
year 2014
Lesson topic:
Musical image in the music of Franz Schubert
The lesson was conducted according to the program of D. B. Kabalevsky, used by the educational complex “Music. Grade 7 "T. I. Naumenko, V. V. Aleeva
Lesson type: learning new material lesson
Teaching methods used:
verbal
visual
practical
problem-search
independent work
work with the textbook
project
oral control
testing
mutual control
Used teaching techniques:
explanation
practical tasks
problem situation
analysis and synthesis
comparison and contrast
Forms of organizing cognitive activity:
individual
pair-group
collective
frontal
Means of education:
mp3 with a recording of a piece of music
textbook and didactic materials for the lesson
computer and multimedia projector
presentation for the lesson
Open music lesson in grade 7
Theme of the quarter: Musical image.
Lesson topic: Musical image in the work of F. Schubert.
The purpose of the lesson: the formation of emotionally conscious perception of a musical image on the example of the ballad "Forest Tsar" by F. Schubert.
Tasks:
- educational - to acquaint with the concept of "musical ballad", with the biography of F. Schubert, determine the musical image in the ballad "Forest Tsar";
- developing - to develop communication skills, skills in independent work with information, the ability to analyze and synthesize the information received;
- educational - fostering a personal attitude to music, aesthetic taste.
Musical material: F. Schubert song-ballad "Forest Tsar", inserted into the presentation.
Equipment: computer, video projector, musical instrument.
Additional material: presentation for the lesson, printed version of the table for filling in according to the options and biography of F. Schubert with questions, T. I. Naumenko, V. V. Aleev textbook on music grade 7.
During the classes.
Organizing time. Communication of the topic and purpose of the lesson.
Slide 1
- Good afternoon, dear guys, dear guests. Today in the lesson we will get acquainted with the very famous work of the composer Franz Schubert, we will define the musical image that the composer Schubert conveyed in his song.
II. Repetition of the past.
- What images exist in music? (Lyrical, epic, dramatic).
Slide 2 (Click on the ovals after the hand appears on them).
- What works of Franz Schubert are you already familiar with and what image prevails in them? ("Ave Maria", "Barcarole", "Trout" - a lyrical image).
III. Learning new material.
1). - What kind of person was Schubert if he could create such lyrical works? We will be able to answer this question after self-familiarization with the composer's biography. I will distribute printed text and questions to which you will answer to each desk.
APPENDIX 1 or 3.
(Completing the assignment on the desks. Each couple reads the biography of the composer and answers 3-4 questions, which are distributed by the teacher on separate sheets of paper with a version of the biography).
Slide 3
2). Questions to check the progress of the work.
Who is Franz Schubert?
When and where was Schubert born?
Who were Schubert's parents?
Where did Schubert receive his musical education?
How old was Schubert admitted to the court chapel?
How old was Schubert when he started composing?
What works were most famous during the life of Schubert?
How many songs did F. Schubert write?
What role does the piano accompaniment play in Schubert's songs?
Which singer began to promote Schubert's work?
What kind of person was Schubert?
What was the name of Schubert's musical meetings with friends?
Which composer did Schubert idolize?
What musical direction was Schubert representing?
When did the real success come to Schubert?
How many years did Schubert live?
(The teacher, naming the serial number, asks questions. Each student answers his own question in order, the biography of Schubert is built from the answers. All answers appear on the slide.)
Slides 4-6 (Click on each question after a hand appears on it).
3). Hearing of the ballad "Forest Tsar" by F. Schubert in Russian.
- Listen to one of the most famous works of Schubert and answer the following questions:
Slide 7
- What feelings does the music express?
- What image did the composer convey in his music?
- Who is performing this piece of music?
(Listening to the ballad. Children's answers to the questions posed.)
- What is the name of this work?
- What is a ballad?
Slide 8
- This is a solo narrative song with fantasy elements. In it, the composer created a vivid picture in which the subtlest shades of human feelings are revealed.
Slide 9
- How many characters are there in the ballad?
- What is the theme of each character?
- What intonation prevails in the characters' speech?
- What did you hear in the accompaniment?
- Let's summarize our findings using the text in the textbook on page 42. Fill in the table that you see on the slide.
Slide 10
Option
Characters
Speech
Melody
Musical accompaniment
II
FOREST KING
You will work according to options: 1 option characterizes the speech, melody and accompaniment of the father, son and narrator, and option 2 - the Forest Tsar.
APPENDIX 2.
(A fragment of the table is distributed according to the options. Children fill it out using the textbook (p. 42). Check the filling of the table by slide.)
Slide 10 (Click on each square after the hand appears on it).
- Listen to the ballad again, follow the text (text on page 40 in the textbook) and answer the following questions:
- How was Schubert able to convey the tragedy, pain and cry of the human soul?
- How does the plot develop in the ballad?
- What role does the piano play in the piece?
Slide 11
(Listening to a ballad in Russian with a lecture. Children's answers to questions.)
- The ballad of Franz Schubert "The Forest King" is an example of a dramatic work. It is a whole scene with the participation of various actors.
4). The history of the creation of the ballad "Forest Tsar" by F. Schubert.
- The ballad is based on a poem by the German poet Johann Wolfgang Goethe.
Slide 12
- The best translation of Goethe's ballad into Russian almost two centuries ago was made by Vasily Andreevich Zhukovsky, a contemporary of Alexander Pushkin, a peculiar, very subtle, deeply lyrical poet.
- F. Schubert was fascinated by the poetry of W. Goethe. She excited, captivated the imagination, mind, soul of the young composer. Schubert composed the ballad "The Forest Tsar" when he was only 18 years old.
Slide 14
- This is how one of Schubert's friends describes the birth of this song: “We found Schubert in a completely heated state, loudly reading from the book of the Forest Tsar. He walked with the book several times up and down the room, suddenly sat down, and in a very short time the ballad appeared on paper. On the same evening, "The Forest Tsar" was performed and received with enthusiasm. "
IV. Anchoring.
- In conclusion of our lesson, I suggest that you perform the test on options. You have pieces of paper on your desk on which you will write down the answers to my questions.
Slide 14 (Click on the questions on the options one by one).
(Execution of test tasks by options. Mutual check.)
Option 1
Option 2
1. In which country was F. Schubert born?
A). France
B). Of Italy
V). Austria
2. How many songs did Schubert write?
A). 600
B). 500
V). 400
3. Who is the author of the German text of the ballad?
A). Schiller
B). Goethe
V). Shakespeare
4. How many characters are in the song-ballad "Forest Tsar"?
A). 4
B). 5
V). 6
5. The speech of which character in the ballad sounds gentle, smooth, soft, enticing?
A). Father
B). Forest king
V). Son
6. What in the musical accompaniment of the ballad helps you to experience the dramatic image?
A). Dotted rhythm
B). The rhythm of the march
V). The rhythm of a frantic ride
7. What images influenced the construction of the entire musical development?
A). Love and hate
B). Life and death
V). War and Peace
1. How many years did F. Schubert live?
A). 27
B). 31
V). 37
2. How old Schubert wrote
"King of the Forest"?
A). 28
B). 23
V). eighteen
3. Who did the best translation of the ballad?
A). Pushkin
B). Lermontov
V). Zhukovsky
4. What is the image in the song-ballad "Forest Tsar"?
A). Lyrical
B). Dramatic
V). Epic
5. What does the speech of the author, father and son sound like?
A). Excitedly
B). Enticingly
V). Insinuatingly
6. What character characterizes
smooth, rounded, melodic melody?
A). Son
B). Father
V). Forest king
7. What is the character of the ballad as a whole?
A). Quiet and calm
B). Agitated and anxious
V). Cheerful and mischievous
Option 1
Option 2
1.In
2.A
3. B
4.A
5 B
6.In
7.B
1.B
2.V.
3.V.
4.B
5.A
6.In
7.B
Slide 15
Answers for mutual verification: 7 - "5" 6 - "4" 5 - "3" 4 - "2"
V. Lesson summary.
- What work of Franz Schubert did we meet today in the lesson?
- What is the image in the song-ballad "Forest Tsar"?
Slide 16
- What in music helped us to feel the dramatic image created by the composer?
(Evaluation of student work. Grading for work in the lesson.)
Vi. Homework.
- Draw a drawing corresponding to the character of the ballad "The Forest King" by F. Schubert.
- Thank you for your creative work. Goodbye.
This work considers it its task to characterize the style of Schubert's songs: the peculiarities of melody, harmony, piano part, the ratio of words and music.
Schubert was the first great romantic composer. There are many things that bring him closer to the representatives of the Viennese classical school: simplicity, clarity, harmonious balance, which testify to the classical features of his work.
An organic combination of romantic and classical features is characteristic of all of Schubert's work, including song.
In the songwriting of Schubert, there is a close union of poetic text and music.
Schubert achieved a high artistic result thanks to the disclosure of the spiritual world of a person, in the reproduction of his feelings, experiences, moods.
An important feature of Schubert's song is the composer's ability to express even the most complex content using the most simple means. This enhances the artistic impact, increases the clarity of his music.
Schubert wrote a number of his songs in the genres of serenade, lullaby, and barcarole. Schubert made extensive use of dance and march elements to enrich his expression.
Schubert's songwriting is distinguished by an amazing richness and variety. They were written on the poems of about a hundred poets, in general there was a breadth of coverage of German and Austrian poetry in Schubert's songs.
Schubert's songs are also very diverse in content. The theme of nature occupies an important place in Schubert's songs. The composer always painted nature through the perception of it by the hero. In particular, the composer was attracted by the water element - both the peacefully babbling stream ("The Beautiful Miller's Woman", a number of songs from the "Winter Path", etc.), and the wide expanses of the calm and stormy sea.
Along with bright feelings, suffering and sorrow are reflected in Schubert's songs. An important place in his songs is occupied by the theme of loneliness, unrequited love. The variety of Schubert's song melodies is generated by the variety of content embodied in the songs, by the richness of the range of their images. The vocal part has always remained the basis of the song for Schubert.
Schubert's lyrical melody is the main variety of his melody. Vocal melodies are closely connected with songwriting.
An important quality of Schubert's melody is its special harmony and beauty. Diatonic music dominates the melody of Schubert's songs. He used chromaticisms, subordinate to diatonic. Noticeable are the disguised "discontinuous chromaticisms", for example, in the song "AveMaria"To Scott's text.
Smooth melodic movement is often combined with movement over the sounds of triads.
The circle of chords in the melodic movement of Schubert expands. The composer used a double dominant melodiously over the sounds in the song "The Miller and the Stream" from "The Beautiful Miller Woman" (second section).
A special position in melody is occupied byVthe degree of harmony with its dual function of the tonic quint and prima dominant in the song "Gretchen at the Spinning Wheel" to the text of Goethe. Schubert used this technique in songs full of drama (Organ Grinder from The Winter Path), which created a feeling of incompleteness, a question.
The wide range of melody results in the use of different registers of the voice. Comparison of registers in one melody gives it a special "volume", emotional fullness, for example, in the song "Sleep Calmly" from "Winter Way".
The melodic movement, which can be defined as whirling, is very widely represented in Schubert's songs. Circling around unstable steps is used in short constructions, for example, in the vocal part of The Forest King to Goethe's text.
Often, Schubert used pitch syncopation (that is, a high pitch emphasizes sound on a weak or relatively weak beat). A classic example is the song "Organ Grinder" from "Winter Road".
In the melodies of many of Schubert's songs, there is a lyrical shift of cadences, which enhances the dynamism of the music. Cadenzas of this kind are found in six songs from The Beautiful Miller Woman - for example, On the Road, Pause, The Hunter, etc.
In terms of color, Schubert's chromatic sequences are perceived in connection with the characteristics of gloomy states of mind.
The ascending sequence is limited to two links in the song "Gretchen at the Spinning Wheel" to Goethe's lyrics, which emphasizes the development of Gretchen's feelings.
In Schubert's melodic song melodies, turns with repetitions, which are used in melodies of various types, stand out. "Light" repetitions of sound are typical for folk songs, for example, in the song "Trout" to the text of Schubert.
A study of Schubert's songs shows that he attracts certain tonalities in connection with lyrics of a specific nature.
C major is the lightest and brightest in color.
The G major key of Schubert's is used for light and calm love songs, such as the song "Wild Rose" to the lyrics by Goethe.
An important role in Schubert's song compositions belongs to detentions with acute dissonance, primarily of a few seconds. A well-known example is the musical embodiment of the screams of horror of a child in The Forest King, based on Goethe's text.
The most important expressive value in Schubert is acquired by the fretonal indeterminacy of intervals (first of all, thirds, sixths). It is subtly used, for example, in the song "Favorite Color" from "The Beautiful Miller Woman".
Various types of harmonic repainting of not one sound, but a whole melodic turn can be found in the well-known "Evening Serenade" on the text of Rellshtab.
In the overwhelming majority of Schubert's songs, the piano part corresponds to the direct natural capabilities of the instrument for which it was written. Schubert's piano parts are distinguished by intonation, thematic fullness. The latest in the piano parts of Schubert's songs is related to their relationship with the vocal part.
Schubert's musical sketches of the water element are always subtle and deeply meaningful. Musical images of the stream by Schubert, for example, in the song "Where" from "The Beautiful Miller Woman", the composer gives the embodiment of the emotions that the stream evokes in the hero's soul.
Schubert's new use of the "through" figurative movement was associated with the nuances of the content of various sections of the work. Schubert discovered the possibilities of such a variation of figurations already in the song Gretchen at the Spinning Wheel.
Later, the composer completely renewed the texture, keeping only the rhythmic formula. The most famous example is the song "Forest Tsar".
In songs in which sharp contrasts collide, the construction (postludes) is built on the basis of the previous material or acts as a generalization - a summary summing up the clash of conflicting principles ("Sleep Calmly" from "The Winter Path").
The tendency to interpret the final constructions as a generalization of the previous development is observed in many of Schubert's songs. The endings of this kind of conclusion, giving different "emotional understanding", can be noted in the song "Sleep Calmly" from the song cycle "Winter Path".
F. Schubert carried out a reform of the song genre. He was the first great representative of a new romantic trend in music, and one of the leading features of romanticism is attention to the feelings and experiences of an individual. The specific features of Schubert as a romantic artist also played a role.
The most important support for Schubert in his song reform was the folk song art of Austria and Germany. Schubert relied on all the achievements of German and Austrian professional music - above all on the achievements of the representatives of the Viennese classical school. Schubert, with breadth, depth and truthfulness, captured in his songs the structure of thoughts and feelings, the spiritual life of people of his era.
Bibliography.
Wulfius P.A. Classical and romantic tendencies in the work of Schubert.-M., 1974.
Konen V. - Schubert. - M., 1959.
Vasina - Grossman V. Romantic songXIXcentury. - Moscow, 1966.
Khokhlov Yu.N. Song creativity of Schubert.-Moscow, 1955.
Goldschmidt G. Franz Schubert: Life Path - M., 1968.
Schubert belongs to the first romantics (the dawn of romanticism). In his music, there is still no such condensed psychologism as in the later romantics. This is a composer - a lyricist. The basis of his music is inner experiences. It conveys love and many other feelings in music. In the last work, the main theme is loneliness. It covered all genres of that time. I introduced a lot of new things. The lyrical nature of his music predetermined his main genre of creativity - the song. He has over 600 songs. Songwriting has influenced the instrumental genre in two ways:
The use of song themes in instrumental music (the song "The Wanderer" became the basis of the piano fantasy, the song "The Girl and Death" became the basis of the quartet).
Penetration of songwriting into other genres.
Schubert is the creator of the lyric-dramatic symphony (unfinished). Song thematicism, song exposition (unfinished symphony: I-th part - gp, pp. II-I part - pp), the principle of development is the form, like that of the verse, finished. This is especially noticeable in symphonies and sonatas. In addition to the lyric song symphony, he also created an epic symphony (C-dur). He is the creator of a new genre - vocal ballad. Creator of romantic miniatures (impromptu and musical moments). Created vocal cycles (Beethoven had an approach to this).
Creativity is enormous: 16 operas, 22 piano sonatas, 22 quartets, other ensembles, 9 symphonies, 9 overtures, 8 impromptu, 6 musical moments; music related to everyday music making - waltzes, langlers, marches, more than 600 songs.
Life path.
Born in 1797 on the outskirts of Vienna - in the city of Lichtenthal. Father is a school teacher. A large family, all were musicians, played music. Father taught Franz to play the violin, and his brother taught the piano. A familiar choir director - singing and theory.
1808-1813
Years of study at Konvikte. This is a boarding school that trained court singers. There Schubert played the violin, played in the orchestra, sang in the choir, and participated in chamber ensembles. There he learned a lot of music - the symphonies of Haydn, Mozart, the 1st and 2nd symphonies of Beethoven. Favorite work - Mozart's 40th symphony. In Konvikt, he became interested in creativity, so he abandoned the rest of the subjects. In Convicte, he took lessons from Salieri since 1812, but their views were different. In 1816, they parted ways. In 1813 he left Convict because his studies interfered with creativity. During this period he wrote songs, 4-handed fantasy, 1st symphony, wind works, quartets, operas, piano works.
1813-1817
He wrote the first song masterpieces ("Margarita at the Spinning Wheel", "Forest Tsar", "Trout", "Wanderer"), 4 symphonies, 5 operas, a lot of instrumental and chamber music. After Konvikt, Schubert, at the insistence of his father, finishes teaching courses and teaches arithmetic and alphabet at his father's school.
In 1816 he left school and tried to get the position of a music teacher, but failed. The connection with his father was severed. The period of disasters began: he lived in a damp room, etc.
In 1815 he wrote 144 songs, 2 symphonies, 2 masses, 4 operas, 2 piano sonatas, string quartets and other works.
Fell in love with Teresa Coffin. She sang in the choir in Lichtenthal Church. Her father passed her off to a baker. Schubert had a lot of friends - poets, writers, artists, etc. His friend Spout wrote about Goethe Schubert. Goethe did not answer. He had a very bad character; he did not like Beethoven. In 1817, Schubert met the famous singer Johann Vogl, who became an admirer of Schubert. In 1819 he made a concert tour of upper Austria. In 1818 Schubert lived with his friends. For several months he served as a home teacher for Prince Esterhazy. There he wrote a Hungarian divertissement for piano four hands. Among his friends were: Spaun (wrote memoirs about Schubert), poet Mayrhofer, poet Schober (Schubert wrote the opera “Alphonse and Estrella” on his text).
There were often meetings of Schubert's friends - Schubertiada. Vogl was often present at these Schubertiads. Thanks to the Schubertiads, his songs began to spread. Sometimes his individual songs were performed at concerts, but operas were never staged, symphonies were never played. They published very little of Schubert. The 1st edition of the songs was published in 1821 at the expense of admirers and friends.
The beginning of the 20s.
The dawn of creativity - 22-23 g. At this time he wrote the cycle "The Beautiful Miller", the cycle of piano miniatures, musical moments, the fantasy "Wanderer". Schubert's everyday life continued to be heavy, but he did not lose hope. In the mid-1920s, his circle broke up.
1826-1828
Last years. A hard life was reflected in his music. This music has a dark, heavy character, the style changes. V
songs have more declamation. Less roundness. The harmonic basis (dissonances) becomes more complicated. Songs to verses by Heine. Quartet in D minor. At this time, the symphony in C major was written. During these years, Schubert once again applied for the position of court conductor. In 1828, the recognition of Schubert's talent finally began. His author's concert took place. He died in November. He was buried in the same cemetery with Beethoven.
Song creativity of Schubert
600 songs, collection of late songs, collection of latest songs. The choice of poets is important. He began with the work of Goethe. I ended up with a tragic song on the Heine. He wrote "Relshtab" on Schiller.
Genre - vocal ballad: "The Forest King", "Grave Fantasy", "To the Assassin's Father", "Agaria's Complaint". The genre of the monologue is “Margarita at the spinning wheel”. The genre of the folk song "Rosette" by Goethe. Song-aria - "Ave Maria". Serenade genre - “Serenade” (Relstab serenade).
In his melodies he relied on the intonation of the Austrian folk song. The music is clear and sincere.
The connection of music with text. Schubert conveys the general content of the verse. The melodies are wide, generalized, plastic. Part of the music marks the details of the text, then more recitativeness appears in the performance, which then becomes the basis of Schubert's melodic style.
For the first time in music, the piano part has acquired such a meaning: not an accompaniment, but a bearer of a musical image. Expresses an emotional state. Musical moments arise. “Margarita at the Spinning Wheel”, “Forest Tsar”, “The Beautiful Miller's Woman”.
The ballad "The Forest King" by Goethe is constructed as a dramatic refrain. It has several goals: dramatic action, expression of feelings, narration, author's voice (narration).
Vocal cycle "The Beautiful Miller"
1823 20 songs to the poems of V. Müller. Cycle with sonata development. The main theme is love. In the cycle there is a hero (miller), an episodic hero (hunter), the main role (stream). Depending on the state of the hero, the stream gurgles either joyfully, vividly, or violently, expressing the miller's pain. On behalf of the stream, the 1st and 20th songs sound. This brings the cycle together. The last songs reflect serenity, enlightenment in death. The general mood of the cycle is still light. The intonation system is close to everyday Austrian songs. Wide in intonation of chants and sounds of chords. In the vocal cycle, there is a lot of chanting, chanting and little recitative. The melodies are broad and generalized. Basically, the forms of songs are verse or simple 2- and 3-part.
1st song - "Let's hit the road". B major, vigorous. This song is on behalf of the brook. He is always portrayed in the piano part. Exact couplet form. The music is close to Austrian folk songs.
2nd song - "Where". The miller sings, G-dur. The piano has a gentle murmur of a stream. The intonations are wide, melodious, close to Austrian melodies.
6th song - “Curiosity”. This song has quieter, subtle lyrics. More detailed. H-dur. The form is more complex - a non-repertoire 2-part form.
1st part - “No stars, no flowers”.
The 2nd part is larger than the 1st. Simple 3-part form. Turning to the stream - 1st section of 2nd part. The murmur of the brook appears again. This is where the major-minor comes in. This is characteristic of Schubert. In the middle of the 2nd movement, the melody becomes recitative. An unexpected turn in the G-dur. In the reprise of the 2nd section, the major-minor appears again.
Song form diagram
A - C
CBC
11 song - "My". There is a gradual increase in lyrical joyful feeling in it. It is close to Austrian folk songs.
12-14 songs express the completeness of happiness. The turning point in development takes place in song No. 14 (Hunter) - c-moll. The fold resembles hunting music (6/8, parallel sixth chords). Further (in the following songs) there is an increase in sadness. This is reflected in the piano part.
15 song - “Jealousy and pride”. Reflects despair, confusion (g-moll). 3-part form. The vocal part becomes more declamatory.
16 song - "Favorite color". h-moll. This is the mournful climax of the entire cycle. In music there is stiffness (astinatal rhythm), constant repetition of fa #, sharp detentions. Comparison of h-minor and H-dur is characteristic. Words: “Into the green cool….”. In the text, for the first time in the cycle, the memory of death. Further, it will permeate the entire cycle. Couplet form.
Gradually, towards the end of the cycle, sad enlightenment occurs.
19 song - “The Miller and the Stream”. g-moll. 3-part form. It's like a conversation between a miller and a brook. Middle in G-dur. Again there is the murmur of a brook at the piano. Reprise - the miller sings again, again in g-moll, but the murmur of the brook remains. At the end, enlightenment is G-dur.
20 song - “Lullaby of the Brook”. The brook calms the miller at the bottom of the stream. E-dur. This is one of Schubert's favorite tonalities (Linden's Song in Winter's Way, 2nd movement of the unfinished symphony). Couplet form. Words: "Sleep, sleep" from the face of the stream.
Vocal cycle "Winter Way"
Written in 1827. 24 songs. The same as “The Beautiful Miller's Woman”, to the words of V. Müller. Despite the 4 years difference, they are strikingly different from each other. The first cycle is bright in music, and this tragic one reflects the despair that gripped Schubert.
The theme is similar to the 1st cycle (also the theme of love). The action in the 1st song is much less. The hero leaves the city where his girlfriend lives. His parents leave him and he (in winter) leaves the city. The rest of the songs are lyrical confessions. The predominance of a minor key. Tragic songs. The style is completely different. If we compare the vocal parts, then the melodies of the 1st cycle are more generalized, reveal the general content of the poems, broad, close to Austrian folk songs, and in "Winter Way" the vocal part is more declamatory, there is no song, much less close to folk songs, it becomes more individualized.
The piano part is complicated by sharp dissonances, transitions to distant keys, anharmonic modulations.
Forms get more complicated too. Forms are full of cross-cutting development. For example, if the verse form, then the verse varies, if the 3-part, then the reprises are greatly changed, dynamized (“By the brook”).
There are few major songs, and even a minor penetrates into them. These bright islands: "Linden", "Spring Dream" (the culmination of the cycle, No. 11) - romantic content and harsh reality are concentrated here. Section 3 - laughing at yourself and at your feelings.
1 song - “Sleep well” in d-moll. Measured rhythm of July. "I came in a strange way, I will leave a stranger." The song begins with a high climax. Couplet-variation. These verses are varied. 2nd verse - d-moll - “I can't hesitate to beat”. Verse 3-1 - "Don't wait any longer here." 4th verse - D-dur - "Why interfere with peace." Major, as a memory of a beloved. Already inside the verse, the minor returns. The end is in minor key.
3rd song - “Frozen Tears” (f-moll). Oppressive, heavy mood - "Tears flow from my eyes and freeze on my cheeks." In the melody, an increase in recitativeness is very noticeable - “Oh, these tears”. Tonal deviations, complicated harmonic warehouse. 2-part form of end-to-end development. There is no recapitulation as such.
4th song - "Numbness", c minor. A very broadly developed song. Dramatic, desperate character. "I am looking for her tracks." Complex 3-part form. The outer parts consist of 2 topics. 2nd theme in g-moll. "I want to sink to the ground." Interrupted cadences prolong development. Middle part. Enlightened As-dur. "Oh, where are the old flowers?" Reprise - 1st and 2nd theme.
5th song - "Linden". E-dur. The e-moll penetrates the song. Couplet-variation form. The piano part depicts rustling leaves. Verse 1 - "At the entrance to the city, a linden tree." Calm, serene melody. There are very important piano moments in this song. They have a pictorial and expressive character. The 2nd verse is already in e-moll. "And in a hurry, distant." A new theme appears in the piano part, the theme of wanderings with triplets. In the 2nd half of the 2nd verse, a major appears. "Here are the branches rustling." The piano piece draws gusts of wind. Against this background, a dramatic recitative sounds between 2 and 3 verses. "Wall, cold wind." 3rd verse. "Now I am wandering far in a foreign country." The features of the 1st and 2nd verse are connected. The piano part has the theme of wanderings from the 2nd verse.
7th song - “By the stream”. An example of the through dramatic development of the form. It is based on a 3-part form with strong dynamization. E-moll. The music is frozen, sad. "Oh, my turbulent stream." The composer strictly follows the text, modulations take place in cis-moll on the word “now”. Middle part. "On the ice I'm a sharp stone." E-dur (speech about the beloved). There is a rhythmic revival. Ripple acceleration. Triplets appear in sixteenths. "I will leave the happiness of the first meeting here on the ice." The reprise is heavily modified. Strongly expanded - in 2 hands. The theme goes to the piano part. And in the vocal part, the recitative “I recognize myself in a frozen stream”. Rhythmic changes appear further. 32 durations appear. A dramatic climax towards the end of the play. Many deviations - e-moll, G-major, dis-moll, gis-moll - fis-moll – g-moll.
11 song - "Spring Dream". Semantic culmination. A-dur. Light. There are, as it were, 3 spheres:
memories, sleep
sudden awakening
a mockery of your dreams.
1st section. Waltz. Words: "I dreamed of a cheerful meadow."
2nd section. Sharp contrast (e-moll). Words: "The cock crowed suddenly." A rooster and a raven are a symbol of death. In this song there is a rooster, and in song 15 there is a raven. Comparison of tonalities is typical - e-moll - d-moll - g-moll - a-moll. The harmony of the II low level at the tonic organ point sounds harshly. Sharp intonations (there are nones).
3rd section. Words: "But who there flowers decorated all the windows for me." A minor dominant appears.
Couplet form. 2 verses, each of which consists of these 3 contrasting sections.
14 song - "Gray hair". Tragic character. C-moll. A wave of hidden drama. Discordant harmonies. There is a similarity with the 1st song (“Sleep Calmly”), but in a distorted, sharpened version. Words: "I decorated my forehead with frost ...".
15 song - "Crow". C-moll. Tragic enlightenment due to
behind figurations with triplets. Words: "A black raven followed me on a long journey." 3-part form. Middle part. Words: "Raven, strange black friend." The melody is declamatory. Reprise. It is followed by a piano conclusion in low register.
20 song - "Track post". The rhythm of the step appears. Words: "Why did it become difficult for me to walk along the big roads?" Distant modulations - g-moll - b-moll - f-moll. Couplet-variation form. Comparison of major and minor. 2nd verse - G-dur. 3rd verse - g-moll. Important code. The song conveys stiffness, numbness, the spirit of death. This manifests itself in the vocal part (constant repetition of one sound). Words: "I see a pillar - one of many ...". Distant modulations - g-moll - b-moll - cis-moll - g-moll.
24 song - “Organ grinder”. Very simple and deeply tragic. A-moll. The hero meets the unfortunate organ grinder and invites him to endure grief together. The whole song is at the fifth tonic organ point. Quints depict a hurdy-gurdy. Words: "Here is the organ-grinder standing sadly outside the village." Constant repetition of phrases. Couplet form. 2 verses. At the end there is a dramatic climax. Dramatic recitative. It ends with the question: "Do you want us to endure grief together, do you want us to sing together to a hurdy-gurdy?" There are diminished seventh chords at the tonic organ point.
Symphonic creativity
Schubert wrote 9 symphonies. During his lifetime, none of them was fulfilled. He is the founder of the lyric-romantic symphony (unfinished symphony) and the lyric-epic symphony (No. 9 - C-dur).
Unfinished symphony
Written in 1822 in h-moll. Written at the time of the creative dawn. Lyric and dramatic. For the first time, a personal lyric theme became the basis for a symphony. Song penetrates into it. It permeates the entire symphony. It manifests itself in the character and presentation of themes - melody and accompaniment (as in a song), in form - a complete form (like a verse), in development - it is variational, the sounding of the melody is close to the voice. The symphony has 2 movements - h-minor and E-dur. Schubert began to write the third part, but gave up. It is characteristic that before that he had already written 2 piano 2-part sonatas - Fis-dur and e-moll. In the era of romanticism, as a result of free lyrical expression, the structure of the symphony changes (a different number of parts). Liszt has a tendency to compress the symphonic cycle (Faust Symphony in 3 parts, Dont's symphony in 2 parts). Liszt created a one-part symphonic poem. Berlioz has an expansion of his symphonic cycle (Fantastic Symphony - 5 parts, Symphony “Romeo and Juliet” - 7 parts). This happens under the influence of programmaticity.
Romantic features are manifested not only in songwriting and two particulars, but also in tonal relationships. This is not a classic relationship. Schubert takes care of the colorful tonal balance (G.P. - h-minor, P.P. - G-dur, and in P.P.'s reprise - in D-dur). The third ratio of tonalities is typical for romantics. In the second part G.P. - E-dur, P.P. - cis-moll, and in the reprise by P.P. - a-moll. Here, too, is the third ratio of tonalities. A romantic feature is also the variation of themes - not the division of themes into motives, but the variation of the whole theme. The symphony ends in E major, and it itself in h minor (this is also typical for romantics).
Part I - h-moll. The introduction theme is like a romantic question. It is in lower case.
G.P. - h-moll. Typical song with melody and accompaniment. The clarinet and oboe are the soloists, and the strings accompany. The form, like the verse, is complete.
P.P. - not contrasting. She is also a song one, but she is also a dance one. The topic is the cello. Dotted rhythm, syncopation. Rhythm is, as it were, a link between the parts (because it is also in the PP in the second part). A dramatic break occurs in it in the middle, it is a sharp fall (transition to c-minor). In this turning point, the theme of G.P. intrudes. This is a classic feature.
Z.P. - built on the theme of PP .. G-dur. The canonical conduct of the theme for different instruments.
The exposition is repeated - like in the classics.
Development. On the verge of exposure and development, the theme of the introduction arises. Here she is in e-moll. The theme of the introduction (but dramatized) and the syncopated rhythm from the accompaniment of P.P. are involved in the development. The role of polyphonic techniques is enormous here. There are 2 sections in development:
1st section. The topic of the introduction to the e-moll. The ending has been changed. The theme comes to a climax. Enharmonic modulation from h-moll to cis-moll. Next comes the syncopated rhythm from PP .. Tonal plan: cis-moll - d-moll - e-moll.
2nd section. This is a converted intro theme. Sounds menacing, imperative. E-moll, then h-moll. The theme is first in the brass, and then goes canon in all voices. A dramatic climax, built on the theme of the introduction by the canon and on the syncopated rhythm of PP. Next to it is a major climax - D-dur. Before the reprise there is a roll call of woodwind.
Reprise. G.P. - h-moll. P.P. - D-dur. In P.P. again there is a turning point in development. Z.P. - H-dur. Roll calls between different instruments. The canonical conduct of PP .. On the verge of recapitulation and coda, the theme of the introduction sounds in the same key as at the beginning - in h-minor. All the code is built on it. The theme sounds canonical and very mournful.
Part II. E-dur. Sonata form without elaboration. There are landscape lyrics here. In general, it is bright, but there are flashes of drama in it.
G.P.. Song. The theme is for violins, and for the bass - pizzicato (for double basses). Colorful harmonic combinations - E-major - e-minor - C-major - G-major. The theme has lullaby intonations. 3-part form. It (the form) is complete. The middle is dramatic. Reprise by G.P. abbreviated.
P.P.. The lyrics are more personal here. The theme is also song. In it, just like in P.P. Part II, syncopated accompaniment. He connects these topics. Solo is also a romantic trait. Here the solo is first at the clarinet, then at the oboe. The keys are chosen very colorfully - cis-moll - fis-moll - D-major - F-major - d-minor - Cis-major. 3-part form. The middle is variation. There is a reprise.
Reprise. E-dur. G.P. - 3-part room. P.P. - a-moll.
Code. Here all the themes seem to dissolve in turn. Elements of G.P.
Lesson topic: “Images of songs by foreign composers. F. Schubert "
Problematic question: What is the contemporaneity of F. Schubert's music?
The purpose of the lesson:
to get acquainted with the songwriting of the Austrian romantic composer F. Schubert in the recordings of great singers from different countries of the world, who managed to convey in their performance all the novelty and charm of the genre of F. Schubert's song.
Music and video material:
F. Schubert "Trout".
F. Schubert 4 part "Forellen Quintete".
"Santa Lucia" F. Schubert. R. Loretti.
"Ave Maria" F. Schubert. A. Callas.
"Serenade". F. Schubert. I. Arkhipova.
Fine material:"Fishermen" by A. Guillaume.
During the classes
I... Organizing time.
II... Homework check.
Written work on cards
III... Introduction to the topic of the lesson.
He lives on earth without wings:
It seems that this sky is breathing
It seems that the distance is calling you ... V. Semernin
2. "Santa Lucia" sounds performed by Robertino Loretti.
Santa Lucia (Italian Santa Lucia) is a popular Neapolitan folk song. Was published by Teodoro Cottrau (1827-1879) in 1849. The text of the song describes the colorful coastal town of Santa Lucia not far from the east coast, about 200 km away is the town of Santa Lucia with the lake of the same name (South Africa) Portuguese sailor Manuel Perestelo who escaped from a shipwreck made it to the lake and named it by this beautiful name. Now the area around Santa Lucia is both a park and an entertainment center. depth - no more than one and a half meters and a length of eighty-five kilometers - is under the protection of UNESCO and includes five different ecosystems. More than a thousand hippos and several thousand crocodiles live in the lake in their natural environment. The shores of the lake are continuous protected subtropical forests with many wild animals and birds.
In Santa Lucia they tell about the belief: Adam and Eve, as we all know, sinned in paradise, after that they came to God to confess, and he expelled them from paradise to earth. Then humanity was formed, well, then you know. But God himself very much regretted this, he missed people and was ready to accept them back, and only his pride did not allow him to do this. And then he said: “I will create a paradise on earth and I will call it Santa Lucia. No matter how people sinned in this heavenly place, everything will be forgiven them. And all good things will be blessed three times! "
This is truly a heavenly place!
There was a time when in our country almost from all open windows one could hear "O sole mio", "Jamaica" and other famous songs performed by an Italian boy Robertino Loretti... He began to sing almost from the very birth, which is not so unusual for Italy. Everybody in this country sings, and most Italians have beautiful strong voices. A different future awaited the child, and his voice was not only beautiful and strong. He was unique. Therefore, at the age of six, the boy became a soloist of the church choir, and at eight he sang in the choir of the Rome Opera House.
I suggest you mentally travel to Italy. What do you know about this country? What is she famous for? (Historical monuments, composers, singers, the appearance of an opera.)
IV... Work on the topic of the lesson.
1. Poetry is a sounding art. Public reading of poetry in salons, living rooms and simply in an intimate life makes up her living existence. The fashion for reading poetry in the salon gives rise to a special genre: recitation accompanied by musical accompaniment of the piano gets the name melodeclamation.
In the 17th century, such a genre as song is especially popular.
What is a song?
2. Lesson topic message
The first and most prolific romantic composer in the genre of song is Franz Schubert. The song as a genre occupies a leading place in his work. During his short life (1797-1828), he wrote more than 600 songs, which affected the spread of this genre in Europe. His songs are small scenes with a specific plot, in which the accompaniment accompanied, and sometimes illustrated the meaning of the words. Schubert used the texts of about a hundred poets in his songs. His life has always been difficult, his music has always been light and joyful. Images of nature occupy a significant place in Schubert's songwriting, and they are also reflected in instrumental compositions.
And this becomes the manifesto of romantic composers, revealing the impulses of the soul through metaphors of landscapes, flowers, natural elements.
3. removed about his songs.
“I sang songs and sang them for many, many years. When I sang about love, it brought me suffering, when I sang about suffering - it turned into love. So love and suffering were tearing my soul apart. "
4. Hearing
Fragment "Ave Maria" by F. Schubert performed by M. Callas;
Fragment of "Serenade" by F. Schubert performed by I. Arkhipova
5. Listening to the song "Trout".
6. Questions for students:
What image is captured in the song "Trout"? (Lightweight, fun, carefree, playful.)
What picture does the accompaniment help to paint? (Splashing water, movement of water, movement of a fish.)
7. Perception of the painting by A. Guillaume "Fishermen".
The French impressionist painter Armand Guillaumen was a sales agent by profession and from 1860 he worked for the Paris-Orleans railway company. However, his love of painting led him to the Suisse Academy in Paris. There he met C. Pissarro and P. Cezanne, thanks to whom he learned to work in the open air. The artist loved to paint on the Atlantic coast of France, the Cote d'Azur. Unlike many impressionists, Guillaume worked with wide brushes, using intense, bright colors that covered large surfaces. He worked primarily in the landscape genre. The presented painting was exhibited for the first time in 1886 and belongs to the mature works of the artist, when he, fascinated by plein-air painting, created his best works. Other famous works: "The Seine". 1867-1868 exhibited at the Hermitage in St. Petersburg; "Landscape with Ruins". 1897 at the Pushkin Museum. in Moscow ...
8. Conversation to identify the features of the embodiment of a musical and artistic image.
Compare this song with the painting "Fishermen" by A. Guillaume. Are there anything similar in them? (content….)
What can you say about their expressiveness? (colorful, in a major scale ...)
What feeling and mood are expressed in the picture, and what - in the song? (The picture expresses tension, anticipation, anticipation of something ...; in the song - joy, flirtatiousness, playfulness, happiness ...)
4. Hearing "Forellen - Quintet" by F. Schubert
How has the musical image of the song changed? (mood changes, character ...)
V... Lesson summary.
Did you like the music of F. Schubert?
What contributed to the spread of the song genre in Europe? (removed.)
What place does the song take in the work of F. Schubert? (Leading, the main thing.)
What distinguishes F. Schubert's songs? (These are small scenes with a specific plot, in which the accompaniment accompanied and sometimes illustrated the meaning of the words.)
What is the contemporaneity of F. Schubert's music? (a modern person is able to admire nature, life around, experience a sense of beauty)
What role can she play in your life? (Can reveal to us the beauty of the world and feelings)
What do you remember the most? What interested you? (music by F. Schubert, bel canto)
Vii... D / Z
Exercise
Mini-project "Songs by F. Schubert".
List of used literature:
Music lessons. Lesson development for grades 5-6 (, "Education", 2013)
Creative notebook "Music", grade 6 (, "Education", 2012)
Used materials and Internet resources
Musical material:
1. Phono-restomatology for grade 6 (,)
2.http: // www. / track / robertino-loretti / mp3 / santa-lucia / - "Santa Lucia" by Robertino Loretti
3.http: /// search /% D0% BC% D0% B0% D1% 80% D0% B8% D1% 8F% 20% D0% BA% D0% B0% D0% BB% D0% BB% D0% B0% D1% 81% 20ave% 20maria - Maria Callas, "Ave Maria" F. Schubert
4.http: /// search /% D0% A8% D1% 83% D0% B1% D0% B5% D1% 80% D1% 82% 20% D0% BB% D0% B5% D0% B1% D0% B5% D0% B4% D0% B8% D0% BD% D0% B0% D1% 8F% 20% D0% BF% D0% B5% D1% 81% D0% BD% D1% 8F% 20% D1% 81% D0% B5% D1% 80% D0% B5% D0% BD% D0% B0% D0% B4% D0% B0 - "Serenade" by F. Schubert, I. Arkhipov
Sources of image borrowing:
1.http: /// p / w1280h1024 / 28 / fea2 /. jpg
- portrait of F. Schubert
2.http: //i1.2photo. ru / k / b / 384032.jpg - slide background
3.http: // sr. gallerix. ru / 1284574174 / G / 1112689204 / - painting "Fishermen" by A. Guillaume
4.http: // www. wallpapersdb. org / wallpapers / world / village_1920x1440.jpg - slide background
5.http: /// zemlya-i-nedvijimost / zemlya-i-nedvijimost-v-mire / 37-nedvizhimost-v-italii. html - Colosseum
6.http: // img. mota. ru / upload / wallpapers / 2011/10/05/10/05/27885 / mota_ru_1100515-crop. jpg - Italy
7.http: // www. /source/images/articles/406.jpg - Italy
8.http: // planetaa. org / images / Kultyra / 11610000.jpg - Italy
9.http: // everytour. ro / poze / oferte / opera_scala8591.jpg - Milan Theater
10.http: // www. /article/the-opening-of-the-bolshoi-theater/5.jpg?5245997148256952516 - Bolshoi Theater
Additional material:
1.http: // www. / watch? v = ZG2chV_cNxI - video "Forellen Quintet" by F. Schubert