The vocal cycle "Children's. M.P.Morusorgsky

14.06.2019

Biography Haruki Murakov Haruki Murakami emphasis

Large vocal cycle dedicated to children, Mussorgsky conceived in the spring of 1868. Perhaps this thought came across the chat with the children of Stasov, who in those years he often visited. No songs for children, and vocal poetic miniatures, revealing the spiritual world of the child, his psychology - this is what was the focus of the composer. He began to compose on his own texts and not by chance, after completing the same cycle number, "with nanny", Mussorgsky made a significant dedication to the "great teacher of musical truth, Alexander Sergeevich Dargomyzhsky". It was half a year before the death of Dargomyzhsky, who highly appreciated the experience of a young author and advised to continue to work. However, Mussorgsky, occupied at that time, the end of Boris Godunova, postponed it for a long time. Only in early 1870, four more rooms were written - "in the corner", "Beetle", "with a doll" and "for the dream dream." The last two plays, "cat sailor" and "on a stick" appeared only in 1872. There were two more - "dream sleep" and "quarrel of two children." Their composer played friends, but did not record, and in the final version of the cycle they are missing.

"Children's" is a completely unusual, who did not have previously analogues. These are not songs, not romances, but subtle vocal scenes, in which the world of the child is surprisingly revealed, deeply and lovingly reveals. There was no information about when the cycle was performed for the first time. It is only known that he often sang a young amateur A. N. Purgold, sister of wife Roman Corsakov, together with her who took the hot part in the life of a musical circle, grouping around Dargomyzhsky. Shortly after writing, in 1873, the "children's" was published by V. Bessel in the elegant design of Repin and immediately received the recognition of the public. Bessels at the same time, together with some other writings of young Russian composers, sent the "children's" sheet, which came from her delight. The brother of the publisher reported Mussorgsky that his writing of the sheet "to such an extent stirred up that he loved the author and wishes to devote to him the UNE" BLUETTE "(bauble. - L.M). "I am lylish or not in music, but in the" Children's ", it seems, nonsense, because the understanding of children and look at them as a person with a kind of world, and not like funny dolls, should not recommend the author with a stupid party, - wrote Mussorgsky Stasov. - ... I never thought to leave the leaf, in small exclusions selecting the colossal plots, could seriously understand and appreciate the "children's", and most importantly, enthusiastically with her: all the same children in it are Russians, with a strong local turn .. . "

Six of the seven cycle numbers have initiations. "In the corner" - Viktor Alexandrovich Gartman, to a friend of the composer, an artist and an architect, soon died in the heyday from the heart disease (his posthumous exhibition inspired the composer on one of his best creations - the cycle "pictures from the exhibition"). "Beetle" is dedicated to the ideological inspiration of the composer mug, the author of the wing name Mighty handful of Vladimir Vasilyevich Stasov. Over the play "With Doll" stands the inscription "Dedicated to Tanyushka and Goggy Mussorgsky" - niece of the composer, children of his older brother Filaret. "The Sasha Cui's sleep is dedicated to Sasha, and the last number," went on a stick ", which has another title -" in the country ", - Dmitry Vasilyevich and Polyksgen Steasov (Brother V. V. Stasov and his wife). Only "Cat Sailor" remained without dedication.

Music

In the "Children's" dominant melodized recycling, transmitting the finest shades of speech. Accompaniment is stingy, emphasizing the features of the melodic line, helping to create a bright, expressive image.

No. 1, "with nanny", is distinguished by the amazing flexibility of the melody supported by a harmoniously inventive accompaniment. №2, "In the corner", - the scene between an angry nanny and a punished child. The stormy, accusing intonations of the nanny opposed the phrase of the child, initially justifying, complaints, whimping, and then, when the baby convinces itself in innocence, turning into an aggressive cry. №4, "With a doll", - monotonous lullaby, which girl points out his doll. Monthly entanglement is interrupted by an impatient exclamation (in the imitation of Nyan: "Trepa, it is necessary to sleep!"), And then, the leisurely lullabies again unfolds again, smiling at the end - the doll fell asleep. №5, "For the coming dream," may be the brightest, - the evening prayer of the child. The girl prays for her loved ones, relatives, comrades for games. Its speech all accelerates in an infinite listing of names and suddenly stupid ... It is necessary to confuse the name to the nurse - how further? - And her griming answer, after which the slow completion of prayer follows: "Lord, humbly and sinful me!" And fast, on one sound, the question: "So? Nyanyushka? " №6, "Cat Sailor", - a slaughtered tweak, built on an agitated pulsating rhythm, with witty sound emotional techniques in accompaniment - a story about the cat, which started the paw in a cage with bullfire. Completes the cycle Live Scene "I drove on a stick." Initially, this is a cheerful trip on an imaginary horse (spectacating on one note), a conversation with a friend, merry jumps. But the baby fell. To his moans and complaints calmly, motherly answers his mother, distracting him from pain. And now the calm boy jumps again.

Choolds

"Joshua", choir for soloists, choir and fp ;; So.: 1866 (1st Ed.), 1877 (2nd Ed.); Enterprise: Nadezhda Nikolaevna Roman Corsakova; Ed.: 1883 (as amended and tools N. A. Rimsky-Korsakov).

"Shamil Marsh", for tenor, bass, choir and orchestra; So.: 1859; Entertainment: Alexander Petrovich Arsenyev.

"The defeat of Senneterhiba" for the choir with the orchestra to J. N. G. Bairon from the "Jewish melodies"; So.: 1867 (1st Ed.), 1874 (2nd Ed.; Posbersgsky's attack: "The second presentation, improved by the observations of Vladimir Vasilyevich Stasov"); invoice: Milia Alekseevich Balakirev (1st Ed.); Vladimir Vasilyevich Stasov (2nd Ed.); ed.; 1871 (1st ed. For choir with F-p.).

"Oh, you, drunken tetra" (from Pakhomych's pretties), song on the words of the composer; So.: 1866; Enterprise: Vladimir Vasilyevich Nikolsky; Ed.: 1926 (as amended by A. N. Rimsky-Korsakov).
"WITHOUT SUN", the vocal cycle on the words A. A. Golenishchev-Kutuzov (1. "In four walls"; 2. "You didn't recognize me in the crowd"; 3. "Effected idle noisy day"; 4. "Whary" ; 5. "Elegy"; 6. "Over the river"); So.: 1874; Entertainment: A. A. Golenchev-Kutuzov; Ed.: 1874.
"Jolly hour", a drinking song on the words A. V, Koltsova; So.: 1858; invoice<: Василию Васильевичу Захарьину; изд.: 1923.
"Evening Song" for the words A. N. Plesech; So.: 1871; Entertainment: Sofier Vladimirovna Serbina (Fortunato); Ed.: 1912 (in free ed. V. G. Karatygin), 1929 (auth. Ed.)
"Vision", Romance for the words A. A. Golenishchev-Kutuzov; So.: 1877; Enterprise: Elizabeth Andreevna Gulevich; Ed.: 1882 (as amended by N. A. Rimsky-Korsakov), 1934 (auth. Ed.).
"Where are you, the stall", the song on the words N. P. Grekova; So.: 1858; Entertainment: And, L. Grublburg; Ed.: 1909 (only with Franz. Text), 1911 (with Russian. And it. Text in Ed. V. G. Karatgin).
"Hopak", song on words from the poem "Gaidamaki" T. G. Shevchenko in Per. L. A. Maya; So.: 1866; Enterprise: Nikolay Andreevich Rimsky-Korsakov; Ed.: 1933.
"The souls of the skies quietly flew the hornible", Romance for the words A. K. Tolstoy; So.: 1877; Ed.: 1882 (as amended by N. A. Rimsky-Korsakov), 1934 (auth. Ed.).
"Children's" (episodes of children's life), the vocal cycle on the words of the composer (1. "with nanny"; in.: 1868; Env.: A. S. Dargomyzhsky; 2. "In the corner", C.: 1870; .: V. A. Gartman; 3. "Beetle"; in.: 1870; Env.: V. V. Stasov; 4. "With a doll", lullaby; Operation: 1870; Entertainment: Tane and Gogh Mussorgsky; 5. "For the coming dream"; Operation: 1870; Sasha Cyu); Ed.: 1871 (№ 2, 3, 4), 1872 (FULLY) and 1907 (with the addition of songs "Cat Sailor" and "went on a stick").
"Children's Song" on the words L. A. Maya from Rusnatsky Songs (No. 2 "Nana") Op.: 1868; Ed.: 1871.
"The winds blow, the winds of the violent", the song on the words A. V. Koltsova; So.: 1864; Enterprise: Vyacheslav Alekseevich Loginov; Ed.: 1909 (Paris; only with Franz. Text), 1911 (as amended by V. G. Karatygin), 1931 (Avt. Ed.)
"Jewish song" on the words L. A. Maya (from "song song"); So.: 1867;
Enterprise: Philaret Petrovich and Tatiana Pavlovna Mussorgsky; Ed.: 1868.

"Desire", romance for the words of Gaines in Per. M. I. Mikhailova; So.: 1866; Entertainment: Nadezhda Petrovna is leaving ("in memory of her court I have to"); Ed.: 1911 (as amended by V. G. Karatygin), 1933 (Avt. Ed.).
"Forgotten", vocal. So.: 1874; Entertainment: V. V. Vereshchagin; Ed.: 1874 (not allowed to issue light) and 1877.
"Evil Death", a tombstone for voice from F -p. on the words of the composer; Op.: 1874 (under the impression of the death of N. P. Podiechinina); Ed.: 1912 (as amended by V. G. Karatygin, who has seen the last 12 clocks).
"A lot of tears grew up a lot," romance for the words of Gayne (in Per. M. I. Mikhailov); So.: 1866; Enterprise: Vladimir Petrovich is crowd; Ed.: 1933.
"Calistratt", song on the words N. A. Nekrasov (somewhat modified); So.: 1864; Enterprise: Alexander Petrovich is crowd; Ed.: 1883 (as amended by N. A. Rimsky-Korsakov), 1931 (auth. Ed.)
"Classic", music. Pamphlet on the words of the composer; So.: 1867; Enterprise: Hope of Nadezhda Petrovnaitina; Ed.: 1870.
"Goat", a secular fairy tale on the words of the composer; So.: 1867; Enterprise: Alexander Porfiryevich Borodina; Ed.: 1868.
"Lullaby Yeremushki", song on the words N. A. Nekrasova; So.: 1868; Enterprise: "Great Teacher of Music Truth, Alexander Sergeevich Dargomyzhsky"; Ed.: 1871.

"Cat Sailor", a song on the words of the composer for the "Children's" cycle (see), No. 6; So.: 1872; Ed.: 1882 (as amended by N. A. Rimsky-Korsakov, together with the song "I went on a stick" under the general name "in the country") and 1907 (as the number 6 of the "Children's" cycle).
"Leaves noise is sad," music. the story of the words A. N. Plesechev; So.: 1859; Enterprise: Mikhail Osipovich Mikishin; Ed.: 1909 (Paris, with one Franz. Text), 1911 (with Russian text, as amended by V. G. Karatygin), 1931 (Avt. Ed.).
"Baby", romance for the words A. N. Plesechev; So.: 1866; Enterprise: L. V. Azaryaeva, ed.: 1923.
"I have a lot of termes and gardens", romance for the words A. V. Koltsova; So.: 1863; Enterprise: Platon Timofeevich Borispold; Ed.: 1923.

"Prayer", romance for the words M. Yu. Lermontov; So.: 1865; Enterprise: Yulia Ivanovna Mussorgskaya; Ed.: 1923.
"Incomprehensible", romance for the words of the composer; So.: 1875; Enterprise: Mary Izmailovna Kostyrine; Ed.: 1911 (as amended by V. G. Karatygin), 1931 (Avt. Ed.).
"But if I could meet with you," the romance for V. S. Kurochina; So.: 1863; Enterprise: Hope of Nadezhda Petrovnaitina; Ed.: 1923, 1931 (Avt. Ed.).

"Night", fantasy for the words A. S. Pushkin; So: 1864 (1st Ed.), 1871
(2nd ed. With free statement of Pushkin poems); Enterprise: Hope of Nadezhda Petrovnaitina; Ed.: 1871 (2nd Ed.), 1923 (1st Ed.), 1931 (Avt. Ed.). "Naughty", a song on the words of the composer; So.: 1867; En.: Vladimir Vasilyevich Stasov; Ed.: 1871.
"Oh, the honor of whether it is young Len's spinship", the song on the words A. K. Tolstoy;
So.: 1877; Ed.: 1882 (as amended by N. A. Rimsky-Korsakov), 1934 (auth. Ed.).

"Rejected", the experience of a cleatteen on the words of Yves. G. M.; So.: 1865; Ed.: 1923.

"Why, tell me, the shower-maiden", the song on the words of an unknown author; So.: 1858; Enterprise: Zinaida Afanasyevna Burtseva; Ed.: 1867. "Songs and Dance of Death", the vocal cycle for the words A. A. Golenishchev-Kutuzov (1. "Lullaby"; in.: 1875; Entertainume: Anna Yakovlevna Petrovoy-Sparrow; 2. "Serenade"; So.: 1875; Enterprise: Lyudmila Ivanovna Shestakova; 3. "Trepak"; in.: 1875; Entertainment: Osipa Afanasyevich Petrov; 4. "Communion"; in.: 1877; Encoder: Arsenia Arkadyevich Glenchevu-Kutuzov) ; Ed.: 1882 (as amended by I. A. Rimsky-Korsakov), 1928 (auth. Ed.)
"Song of the elder" on the words I. V. Guete (from Wilhelm Meister); So.: 1863; Enterprise: Alexander Petrovich is crowd; Ed.: 1909 (Paris, with one Franz. Text), 1911 (with Russian. Text as amended by V. G. Karatygin), 1931 (Avt. Ed.) "The song of Mephistofel" on the words I. V. Goethe (from Faust in Per, A. N. Strigovyskova); So.: 1879; Enterprise: Darya Mikhailovna Leonova; Ed.: 1883 (as amended by I. A. Rimsky-Korsakov), 1934 (auth. Ed.). "Pirushka", a story for voice and fp. on the words A. V. Koltsov; Op.:
1867; Entertainment: Lyudmila Ivanovna Shestakova; Ed.: 1868. "For mushrooms", a song on the words L. A. Maya; So.: 1867; Enterprise: Vladimir Vasilyevich Nikolsky; Ed.: 1868. "I went on a stick", the song on the words of the composer for the "Children's" cycle (see), No. 7; So.: 1872; Entertainment ,: Dmitry Vasilyevich and Polyksgen Steavovna Steasov; Ed.: 1882 (as amended by N. A. Rimsky-Korsakov, together with the song "Cat Sailor" under the general name "in the country") and 1907 (as the number 7 of the Cycle "Children's"). "Over the Don Garden Flowers", the song on the words A. V. Koltsova; So.: 1867;
Ed.: 1883 (as amended by N. A. Rimsky-Korsakov), 1929 (auth. Ed.). "Rajak", music, joke for voice with F-p. on the words of the composer; Op.:
1870; En.: Vladimir Vasilyevich Stasov; Ed.: 1871. "Running, it is broken down", the song on the words A. K. Tolstoy; So.: 1877; Enterprise: Olga Andreevna Golencheva-Kutuzova; Ed.: 1882 (as amended by N. A. Rimsky-Korsakov), 1934 (auth. Ed.). "Svetik Savishna", song on the words of the composer; So.: 1866; Enterprise:
Caesar Antonovich Kyu; Ed.: 1867. "Seminarist", a song on the words of the composer; So.: 1866; Entertainment: Lyudmila Ivanovna Shestakova; Ed.: 1870.
"Syarota", song on the words of the composer; So.: 1868; Enterprise: Catherine Sergeyevna Protopopova; Ed.: 1871,
"Svetley", the song on the words A. K. Tolstoy; So.: 1877; Enterprise: Anatoly Evgrafovich's finchikov; Ed.: 1882 (as amended by N. A. Rimsky-Korsakov).
"Sleep, Anya, the Peasant Son", a lullaby song on the words A. N. Ostrovsky (from the comedy "Voevoda"); So.: 1865; Enterprise: the memory of Yulia Ivanovna Mussorgskaya; Ed.: 1871 (2nd Ed.), 1922 (1st Ed.).
"Wanderer", romance for the words A. N. Plesechev; So.: 1878; Ed.: 1883 (as amended by N. A. Rimsky-Korsakov), 1934 (Avt. Ed.)
"Drinking-Beloboka", a joke for vote with F-p. On the words A. S. Pushkin (from the poems of "Strektunya-Beloboka" and "bells ring" - with minor changes); So.: 1867; Enterprise: Alexander Petrovich and Nadezhda Petrovnaitnina; Ed.: 1871.
"Tsar Saul", Jewish melody for the words J. N. G. Bairon in Per.
P. A. Kozlova; So.: 1863 (1st and 2nd Ed.); Enterprise: Alexander Petrovich is leaping (1st Ed.); Ed.: 1871 (2nd Ed.), 1923 (1st Ed.).
"What do you like love", romance for the words A. N. Ammosova; So.: 1860; Enterprise: Maria Vasilyevna Shilovskaya; Ed.: 1923.
"MEINES HERZENS SEHNSUCHB (" Heart Desire "), a romance for the German text of an unknown author; So.: 1858; Enterprise: Malvina Bamberg; Ed.: 1907.

"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 ... "

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 ...".

Mussorgsky. The vocal cycle "Children's".

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. Mussorgsky has invested in the "Children's" not only observation of children of his brother and children of Brother Stasov, but also your own impressions of childhood. In the evening, when half-day heat will decline, Mother Modinka, Julia Ivanovna sits down the piano. Little Modest listens, hopping breathing. Father puts around the hall, listening to the game of his wife. He "loves passion", especially the romances of Alyabyev and Varlamov. For his pleasure, Julia Ivanovna plays variations in Varlamian entanglements "At the dawn, you are not boudes" or "Red Sarafan" and another Alyabyevsky "nightingale". These plays listens to Peter Alekseevich with special pleasure. "The main thing is that own, Russian," he notes. The kid peels quietly from the chair, comes up to the piano and touches the keys. Quietly and timidly sounds melting tune. "Melnik, Modinka, - Mother rejoices - Want, will I teach you to play?" Music classes began from the five-year-old age with her mother, and later - with a governess-German. Modest classes went so well that at the nine-year-old aged he played a big concert of the film at a family party. Later, studying at the Saint Peter school in St. Petersburg, Modest was engaged in music with Anton Augustuschiy Herke and took part in home concerts (it was especially remembered to his speech at a charitable evening in the Stats-Lady Rumina). It became known about his talent to General Sutgof - the director of the school, who invited a young pianist to his home. The general had a daughter who also studied in hercus. Young Modest Mussorgsky played with her four hands. Support and approval of others caused the works of a novice composer in which the motives of childhood often appear. One of the first completed essays is the "childhood memories", for piano, which includes two plays: "Nanny and I" and "First Punishment".

The first of the scenes "with nanny" was created in the spring of 1968. Mussorgsky showed her deep-maintained friend to the composer Dargomyzhsky, and he won it to continue this great undertaking. In 1970, 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 musical circles was not the end," wrote V.Sasov. Even retrograde and enemies could already dispute the talency and novelty of these small in size, but large in the content and value of masterpieces. "

Essential interest represents musical language vocal scenes "Children's". Following the foundations found by the creation of a specific character, Mussorgsky commemorates the metric, harmonic and vocal basis, creating a "melody, doing a speech", transmitting the smallest nuances of emotions and the television of the characters of their chamber theater.

In the first scene 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.

The second play-sketch of their cycle of the Mussorgsky "Children's". 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.

The third play-sketch from the "Children's" cycle is a mysterious story with the beetle, which has struck the imagination of the child. 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.

The fourth play of the "Children's" cycle is devoted to the composer of his little nephews "Tanya and Goggy 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.

The fifth sketch of the "Children's" cycle is a gift to the Mussorgsky sander, the newborn son of 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 ...

Sixth scene from the "Children's" cycle is 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.

The seventh play cycle "Children's". 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 this wonderful music, we felt the warm and gentle attitude of the composer to the world of childhood. As sincere and poetically, M.P.Morusorgsky revealed the world of children's feelings, joys and chagrins. It is difficult to imagine more sincere and poetic embodiment of these images! All this because

Inna Astakhova

According to Khubova's book "Mussorgsky"

Moscow, Music Publishing House 1969

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The vocal cycle "Children's. M.P.Morusorgsky

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