A piece of music that shows a portrait of the hero. Portrait in literature and music
Music section publications
Musical portraits
Z inaida Volkonskaya, Elizaveta Gilels, Anna Esipova and Natalia Sats are real stars of past centuries. The names of these women were known far beyond the borders of Russia; music lovers around the world were waiting for their performances and performances. "Kultura.RF" talks about creative way four outstanding female performers.
Zinaida Volkonskaya (1789-1862)
Orest Kiprensky. Portrait of Zinaida Volkonskaya. 1830. State Hermitage
After the death of his teacher, Sergei Prokofiev wrote: “I turned out to be her last student-winner from that colossal phalanx of laureates whom she trained in her factory”.
Natalia Sats (1903-1993)
Natalia Sats. Photo: teatr-sats.ru
Since childhood, Natalia was surrounded by creative people. Friends of the family and frequent guests of the Moscow house were Sergei Rachmaninov, Konstantin Stanislavsky, Evgeny Vakhtangov and other artists. And her theatrical debut took place when the girl was barely a year old.
In 1921, 17-year-old Natalia Sats founded the Moscow Theater for Children (modern-day RAMT), where she remained its artistic director for 16 years. Pavel Markov, one of the most respected Russian theater critics, recalled Sats as "A girl, almost a girl, who swiftly and energetically entered the complex structure of Moscow theatrical life and forever retained a responsible understanding of her life and creative recognition"... She strove to create a theater that would become for children of all ages a portal to the light and fairy world, a place of unlimited imagination - and she succeeded.
The cult German conductor Otto Klemperer, having seen Sats's directorial work at the children's theater, invited her to Berlin and offered to stage Giuseppe Verdi's opera Falstaff at the Kroll Opera. For Sats, this production turned out to be a real breakthrough: she became the world's first female opera director - and without exaggeration, a world famous theatrical figure. Her other foreign opera productions were also successful: The Ring of the Nibelungen by Richard Wagner and The Marriage of Figaro by Wolfgang Amadeus Mozart in the Argentinean Teatro Colon. Buenos Aires newspapers wrote: “Russian artist-director created new era in the art of opera. The play [The Marriage of Figaro] is deeply psychological, as is the case only in drama, and this is new and attractive to the viewer. ".
After returning to the USSR in 1937, Natalia Sats was arrested as the wife of a "traitor to the Motherland." Her husband, Israel's People's Commissar for Internal Trade, Weitzer, was accused of counter-revolutionary activities. Sats spent five years in the Gulag, and after her release she left for Alma-Ata, since she had no right to return to Moscow. In Kazakhstan, she opened the first Alma-Ata Theater for Young Spectators, where she worked for 13 years.
In 1965, Natalia Sats, having already returned to the capital, founded the world's first Children's Musical Theatre... She staged not only children's performances, but also "adult" operas by Mozart, Puccini, and included "serious" musical classics in her symphony subscriptions.
V last years Life Natalia Sats taught at GITIS, founded a charitable foundation to promote the development of art for children and wrote many books and manuals on musical education.
Elizabeth Gilels (1919-2008)
Elizaveta Gilels and Leonid Kogan. Photo: alefmagazine.com
Elizaveta Gilels, the younger sister of the pianist Emil Gilels, was born in Odessa. Family worldwide famous performers was by no means musical: father Gregory served as an accountant at a sugar factory, and mother Esther was in charge of the household.
Liza Gilels first picked up the violin at the age of six, and the basics of musical art were taught by the famous Odessa teacher Pyotr Stolyarsky. As a teenager, Gilels declared herself as a prodigy: in 1935, the young violinist won second prize at the All-Union Competition of Music Performers. And in 1937, when she was 17, Elizabeth, as part of a delegation of Soviet violinists, made a splash at the Eugene Ysaye Competition in Brussels. The first prize of the competition was awarded to David Oistrakh, the second - to the performer from Austria, and Gilels and her colleagues shared the places from third to sixth. This triumphant victory made Elizaveta Gilels famous both in the Soviet Union and beyond.
When Soviet musicians returned from Belgium, they were greeted by a solemn procession, which was attended by the talented, but still unknown violinist Leonid Kogan. He presented his bouquet to Elizaveta Gilels, whose talent he always admired: this is how the future spouses met. True, they did not immediately become a couple. Gilels recently became a star, actively performed and toured, and was also older. But one day she heard the performance of an unknown violinist on the radio. The virtuoso game amazed her, and when the announcer announced the name of the performer - and it was Leonid Kogan - Gilels became his big fan.
The musicians got married in 1949. Gilels and Kogan played in a duet for many years, performed compositions for two violins by Johann Sebastian Bach, Antonio Vivaldi, Eugene Isay. Gradually, Elizabeth abandoned her solo career: in 1952, the couple had a son, Pavel Kogan, he became a famous violinist and conductor, and two years later, a daughter, Nina, a gifted pianist and talented teacher, appeared.
Since 1966, Elizaveta Gilels began teaching at the Moscow Conservatory. Violinists Ilya Kaler, Alexander Rozhdestvensky, Ilya Grubert and other talented musicians were her students. After the death of Leonid Kogan in 1982, Gilels was engaged in systematizing his legacy: preparing books for printing and publishing records.
Preview:
Methodical development of a lesson on the subject Music
Grade 3, lesson number 7 ("Music" by G. P. Sergeev, E. D. Kritskaya)
Topic: Portrait in music
Goals:
Educational
- the formation of an emotional attitude to music, understanding of music;
- development of a culture of speech;
- comparison of musical images and character assessment.
Developing
- perception of musical images;
- the ability to distinguish between musical fragments;
- the ability to compare facts, analyze and express your point of view.
Educational
- to deepen knowledge about the means of musical expression - dynamic shades, strokes, timbre, intonation;
- using the knowledge gained in drawing up a musical portrait.
Lesson Objectives:
- to form the culture of the listener;
- to give an idea of expressive and pictorial intonations;
- to acquaint with the means of musical expression (timbre, dynamics, strokes), their role in creating character, image;
- bring up in children positive features character.
Lesson type: use and consolidation of acquired knowledge
Planned results
Subject:
- the formation of the ability to conduct an intonational-figurative analysis of the work.
Personal:
- be tolerant of other people's mistakes and other opinions;
- not be afraid of your own mistakes;
- be aware of the algorithm of their actions.
Metasubject:
Regulatory
- independently recognize expressive and pictorial features music;
- accept and retain learning objectives;
- to be included in the process of solving the assigned tasks.
Cognitive
- with the help of the teacher to navigate in their system of knowledge and realize the need for new knowledge;
- understand artistic content piece of music;
Communicative
- the ability to hear, listen and understand others, participate in collective performance.
- to distinguish between figurativeness and expressiveness in musical portraits;
- to independently reveal the means of the musical-figurative embodiment of the characters.
Concepts and terms that will be introduced or consolidated during the lesson:
portrait in music, intonation, expressiveness, depiction.
Forms of work in the lesson:
listening, intonation-figurative analysis, choral singing.
Educational resources:
- Textbook “Music. Grade 3 "authors E.D. Cretan, G.P. Sergeeva; 2017 Nov.
- CD-disk “Complex of lessons on music. Grade 3 "
- Phono-restomacy. Grade 3;
- Piano.
Technological lesson map
Lesson steps | Stage task | Teacher actions | Student activities |
1. Organizational moment (1-2 min) |
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2. Statement of the educational problem |
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"Portrait in Music" |
3.Knowledge update |
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4. Assimilation of new knowledge and methods of action |
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5. Actualization of the acquired knowledge |
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6. Homework information |
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7. Vocal and choral work |
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8. Summing up |
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During the classes
- Organizing time.
Teacher: Hello guys!
To see a smile and a joyful look -
This is happiness, so they say!
Check if everyone is prepared for the lesson.
- Statement of the educational problem.
Teacher: In the last lesson, we talked about how music describes the morning in nature.
One of the works depicted the beauty of the morning nature, and the other expressed the feelings of a person in the morning. Remember what these pieces of music were called?
Children's answers: P. Tchaikovsky "Morning Prayer", E. Grieg "Morning"
Teacher: If music speaks about a person's feelings, then it has….
Children's answers: expressiveness.
Teacher : And if, listening to music, we “see” pictures of nature, “hear” her voices, then there is….
Children's answers: depictiveness.
Teacher: Can music represent the person himself?
Children's answers ...
Teacher: What is the name of the image of a person in the artist's painting? In music?
Children's answers: Portrait.
Teacher: Right. The topic of our lesson is Musical Portrait.
- Knowledge update
Teacher: Look at a pictorial portrait, what can he tell us about?
(Working with a portrait of the composer S. Prokofiev)
Children's answers: about a person's appearance, age, clothes, mood ...
Teacher: Can music describe a person's appearance, age, clothes?
Children's answers: No, just the mood.
Teacher: The epigraph or introduction to our lesson says: "A person is hidden in every intonation." How can music depict a person?
Children's answers: With the help of intonation.
Teacher: But they have to be very expressive so that we can understand them.
Pre-Chorus "Different Guys" (performed by groups)
- Assimilation of new knowledge and methods of action
Teacher: Today we will get acquainted with two musical portraits, they were created by the composer S. Prokofiev (entry in a notebook). Let's read the poem that became the basis for one of them.
Reading Agnia Barto's poem "Chatterbox"
That chatterbox Lida, they say,
This is Vovka invented.
And when should I talk?
I have no time to chat!
Drama circle, photo circle,
Horkruzhok - I want to sing
For drawing circle
Everyone also voted.
And Marya Markovna said,
When I walked out of the hall yesterday:
"Drama circle, circle by photo
This is too much.
Choose yourself, my friend,
One some circle ".
Well, I chose from the photo ...
But I also want to sing
And for a drawing circle
Everyone also voted.
And what about the chatterbox Lida, they say,
This is Vovka invented.
And when should I talk?
I have no time to chat!
Teacher: Describe the heroine of the poem!
Children's answers: A little girl, a schoolgirl, cute, funny, but too talkative, is called Lida.
Teacher: What musical intonations can express Lida's character?
Children's answers: light, bright, fast ...
Teacher: What musical intonations can her movements or voice represent?
Children's answers: very quick, hasty, like a tongue twister.
Teacher: Let's listen to the song the composer made.
Listening to the song.
Teacher: How did the music create the portrait of Lida? What is her character?
Children's answers: Kind, cheerful mood and very quick speech.
Teacher: What can you call this song?
Children's answers: Cheerful talker ...
Teacher: Let's note in the notebook (entry in the notebook: "Chatterbox Lida", the girl's speech is depicted)
- Updating the knowledge gained
Teacher: And if there are no words in the music, it is performed only musical instruments, will she be able to create an image of a person?
Children's answers ...
Teacher: Now we will listen to one more musical portrait, and you guess whose it is. And the music will tell us - if she talks about a man, she will be marching, if about a woman - dance, if the hero is an adult, the music will sound serious and heavy, if a child - playfully and easily.
Listening to the musical fragment by S. Prokofiev "Juliet is a girl"
Children's answers: Music speaks about a woman, there is dance in it, the heroine is a young or little girl, the music sounds fast, easy, fun.
Teacher: What can you do with music?
Children's answers: dance, play, jump or run.
Teacher: Everything is correct. This heroine's name is Juliet, and we listened to a fragment of the ballet Romeo and Juliet, which tells the love story of very young heroes. And Juliet is depicted waiting for a meeting with her lover, so she does not sit still, and she really runs and jumps and dances with impatience. Do you hear?
Re-listening to a fragment
Teacher: What did the music depict more: the movements or the speech of the heroine?
Children's Answers: Movement
Teacher: Let's write down: "Juliet", movements are depicted (writing in a notebook)
- Homework
The drawing is a riddle. Draw one object that belongs to either Chatterbox Lida or Juliet.
- Vocal and choral work
Teacher: Can we create a portrait of someone in chorus?
Children's answers ...
Teacher: Let's sing a song about a little puppy taking a walk.
Repeating the words of the song in groups:
Verse 1 - Row 1, Verse 2 - Row 2, Verse 3 - Row 3, Verse 4 - everything.
Work on the canted performance of the melody in verses and the abrupt sounding in the chorus.
Performance of the song.
- Summarizing. Reflection
Teacher. What was unusual / interesting in the lesson?
Children's answers ...
Teacher. Have we completed all the tasks?
Children's answers ...
Teacher. What did you like or dislike most of all?
Children's answers ...
Portrait in Music and Fine Arts
1.Music in works of art
Often, artists and sculptors in their works depict musicians and musical instruments, such as a violin. Known are portraits of violinists, genre scenes with violin musicians, still lifes with a violin. The sound of the violin is very expressive. Her voice is often compared to that of a human. The violin can sing, cry, speak ...
The violin embodies the aesthetics of the sound of the human voice and is able to convey all the best that is in it. It is no coincidence that the highest praise for the skill of the squeakcha is comparing his playing with a human voice:the violin sings, cries, yearns. Every violin that comes to life in rukah master, has its own character.
The violin appeared in Europe at the end of the 15th century. She was a favorite instrument of traveling musicians who entertained people at festivities, fairs, weddings, in taverns and pubs. As a folk instrument, the violin has survived to this day in Bulgaria, Hungary, Poland, Romania.
The violin sounded in aristocratic circles - in palaces, castles, in rich houses - as well as in churches. At the French court, ensembles of violinists were created, who played during the awakening and meals of the king and, of course, performed dance music at court balls.
The best violins were created by the Italian masters Amati, Stradivari, Guarneri.
See still lifes with violin - a kind of portraits of violins.
Sandro Botticelli (1445-1510 Italy). Angels
Raoul Dufy (1877-1953) France Violin
Dmitry Zhilinsky (1927, USSR) Violinist
Agree each of these pictures has a foreheadcentury, their impressions arise. Looking at these pictures, everyone hears a different mu language. Which one? The voice of the violin becomes especially audible when the artist depicts the violin in the hands of the violinist. Unity instrument and performer gives rise to high artisticexperiences and thoughts that can be called inspiration.This feeling permeates all pictures.
Hear how musical works composed for violin by composers of different times sound:
Answer the question:
What did this music tell you? Determine which of the paintings is consonant with this or that work.
Exercise 1.
Listen again:
1."Chaconne" I.-S. Bach.
2. "Melody I" P. Tchaikovsky
3. Conseg t о g th ss about No. 1 for two violins,harpsichord, piano and strings A. Schnittke. See links above.
Determinewhich picture is consonantthis or that composition. Now let's analyze together musician the new language of the compositions, having listened to them again.
While listening to Bach's Chakona (finale of Partita No. 2), pay attention to the fact that this piece was written by the composer for violin solo. This bannerthis piece, the power of which reaches the organ and even the orchestrasounding sound, one of the musicologists (F. Wolfrum) comparedneil with "the sound giant threatening to break the tender body violins ". Define the character of the play.
Pay attention to how in the sound of the violin the melody combinesit goes with chords. This polyphonic texture is performed by one instrument - the violin, and the listener gets the impressionsimultaneously sounding melody and accompaniment.
Think about whether the emotional state of the main theme is preserved until the end of the work? You have certainly noticed that in the process of the development of music, various shades of feelings appear - grief, impulse, anxiety. Several melodies, as if growing out of the initial intonations, constantly change their appearance. The line of development of an image can be compared to big waves. The main principle of the development of musical thought in this composition is variation.
Chaconne - originally folk dance, known in Spain since the end of the 16th century, of a lively character, accompanied by singing and playing castanets. Over time, the chaconne spread throughout Europe, becoming a slow dance of a stately character. In France, the chaconne becomes a ballet dance, is introduced to the finals of stage works. In the XVII-XVIII centuries. included in multi-part instrumental compositions (suite, partita). Chaconne themes are small, with a clear dance-metric basis. For violin, Bach wrote works in various genres - concerts with an orchestra, sonatas, partitas.
"Melody" for violin and piano by P. Tchaikovsky is an example of a lyric-dramatic image. This essay has the author's subtitle ("Recollection of the native place").
The tremulousness, spontaneity of the lyric utterance-revelation is emphasized not only by the repetitions of the main melody (the return of the same thought), its wave-like movement, flying violin passages, but also by the syncopated rhythm of the piano accompaniment.
Obviously, you heard the contrast in the middle part of "Melody": the tempo accelerates, the rhythmic movement becomes more frequent, elements of dance appear, the melody resembles the finest lace (high register, melodic patterns), the expressive echoes of the piano seem to sing (finish) the violin melody. At the climax of the piece - the expressive trill of the violin - the piano performs the main theme, engaging in dialogue with the violin. Remember the analogous dialogue between the soloist and the piano part that arose in S. Rachmaninov's "Vocalise".
The unchanged major mode throughout the piece has a certain expressive value.
Why does the composer, using the three-part form of the piece, leave the light major color unchanged?
Tchaikovsky's "Melody" can be compared with the painting "Viola" by D. Zhilinsky.
Whether there is a common features in music and painting?
What distinguishes these two artistic images?
3. Consegto ggosso No. 1 by Alfred Schnittke
Conseg t about g go ss about No. 1 for two violins,harpsichord, piano and strings by Alfred Schnittke -music of a contemporary composer.
Listen deeply to the opening bars of Schnittke's concert, in which the violins sound, and then compare this sounding with the main melody of Bach's "Chaconne". Are there any similarities between them? Both themes are similar to each other in their passion, excitement, energy, drama. The same tragic minor, the same recitative melodic structure.
Surely, you are convinced that the strong-willed, purposeful initial theme (according to Schnittke, this theme was created by him under the influence of A. Vivaldi's style), the composer opposes another world - an evil, hostile one. The "influxes" distorting the sound of the pure timbres of the violin are perceived by the listeners as an invasion of forces opposing the activity of the main theme.
What do you find in common (or different) when you compare Schnittke's concert with Puni's painting The Violin?
You have probably noticed that the figurative structure of two contemporary works of art - a concert and a painting - is different. The loneliness of the violin on a light background, the contrast of blue, light beige and green (with a pattern) tones. The static, stillness of the picture differs from the dynamic, filled with energy of modern intonations and rhythms of music.
4. Portrait of Niccola Paganini in music, painting, sculpture
Consider the portrait of Nikkola Paganini (1782 - 1840) - the Italian, embodied in the sculpture by S. Konenkov (1874-1971 USSR)
and in painting by E. Delacroix (1798-1863) France
The unusual appearance of his appearance is associated with the transmission of the main quality of his nature - his passion for playing his favorite musical instrument.
Niccolo Paganini (1782-1840) - the name of this Italian composer and violin virtuoso XIX v. known all over the world. His skill on the violin was so perfect and inimitable that there were rumors that an evil spirit helped him to perform the most difficult passages of his works. Not by chance, one of the playsPaganini received the name "Devil's Trills".
One of the most famous works by Paganini was Caprice No. 24. Caprice translated from French -whim, whim.His melody was repeatedly repeated in their compositions as a tribute to the memory of the violin virtuoso by various composers. As well as
and Bach's Chaconne, Caprice No. 24 by Paganini for solo violin. The expressive possibilities of the instrument in a solo sound are revealed especially brightly.
Repetitions of a short initial intonation with an active rhythmic pattern allow you to quickly memorize it.
You got acquainted with this work in primary school... Listen again
The bright unusual personality of Paganini was reflected in their works by artists and sculptors. The musical portrait of Paganini was created by S. Rachmaninov, who wrote Variations on a Theme of Paganini. To this music in The Bolshoi Theater a ballet was staged in Moscow.
In "Variations on a Paganini Theme" or "Rhapsody on a Paganini Theme" by S. Rachmaninov (the work was written in 1934), you will hear features of such a genre as a concert for piano and orchestra. Listen First, two images stand out clearly here. The first is based on varying the theme of Paganini, which sounds every time in a new form - now light and graceful, now assertive and menacing. Secondly, the performance of this theme moves from the orchestra and its individual groups (violins) to the piano. The second image, a lyrical one, is built on a truly Russian, song, Rachmaninoff theme. This theme - the image of inspirational light lyrics - begins calmly and serenely. You will be able to hear its development on your own. Gradually, it is gaining strength, sounds passionately and solemnly, like a bright hymn to Beauty, to Man. In the endthe sound of the theme seems to melt away, fading away formingthree-part construction. It is the contrast of images, their symphonic development that gave rise to the creation of a ballet to this music.
Fragment of the ballet to music by S. V. Rachmaninov "Rhapsody on a Theme of Paganini"
Answer the question:
1. In what form is the interpretation of the caprice written?
(b. in 1913)
Pay attention to the similarities and differences with the main theme of Caprice No. 24 by Paganini. The beginning of "Variations" sounds menacing and resolute, then the composer uses various methods of development, in which main topic now it sounds the same as in Paganini, now it acquires new features. Characteristic feature development of the theme of Caprice No. 24 in
this work is its constant recognition. The sound of the orchestra and piano solo gives us reason to assume that this is the genre of a concert for piano and orchestra (like Rachmaninov's).
In Variations we hear a lot of dramatization
images, intrusion into the sound of active rhythms, giving the music anxiety and severity, the emergence of new orchestral colors, hard sonorities (harmonies).
Lyrical performances of the theme of Caprice No. 24 are practically absent. So, the composer Lutoslawski "read" the famous theme of Caprice No. 24 by Paganini in a new way, creating, under the influence of his time, "the intense rhythms of life of the 20th century, another version
interpretation of timeless classical melody.
Answer the questions:
2. What features of the theme does Paganini emphasize?
a composer in his variations?
3. What brings new to its sound?
How did V. Zinchuk hear and perform the masterpiece of world musical classics? Pay attention to the exact repetition of Caprice's melody No. 24 on the lead guitar. At the same time, non-stop movement is intensified in the rock treatment, which gives the music an assertive, and often aggressive character.The emotional intensity of the sound is facilitated by a fast tempo, which at the end of the piece is even more accelerated. Excited character of the piece is supported by a rigid, elastic rhythm of accompaniment, with emphasis on the function of percussion tools.
What remains unchanged in comparison with
The caprice of Paganini? Variations form. Pay attention to the final section of the piece - the code. There are several handlers in it.
once emphatically repeats the sound of the tonic, point. Such a conclusion, perhaps, has a certain meaning: classical music is understandable to modern listeners!
It is no coincidence that Zinchuk released several CDs entitled
"Neoclassic"... Neo means "new", classics - "exemplary".
Eventuallywe came to the concept -interpretation.
After all, it is the creative assimilation of works of art associated with its special, selective reading: in adaptations and transcriptions, in art reading, director's script, acting role, musical performance.
You yourself, when you try to penetrate into the idea of a composer, an artist, also interpret the work.
Interpretations like the ones you met in this lesson are transcriptions of a piece of music (Caprice by Paganini) for other instruments:
piano and orchestra, rock groups - and they combine the trinity of "composer-performer-listener". In fact, they are the image-portrait of the outstanding violinist N. Paganini, whose music was heard and recreated by each in his own way. different countries, in this case, being at the same time performers.
5 task 2
You have listened to N. Paganini's interpretation of Caprice No. 24.
Compare three interpretations of Caprice No. 24 by N. Paganini.
Answer the questions:
1. What features of N. Paganini's masterpiece are highlighted by composers and performers?
2. Which of the three interpretations did you like best and why?
6 task 3
Readan excerpt from the story "The String" by K. Paustovsky.
A shell fragment broke the strings on the violin. There is only one left, the last one. The musician Yegorov did not have spare strings, and there was nowhere to get them, because it took place in the fall of 1941 on a besieged island in the Baltic Sea, where the soldiers fought off the continuous attacks of the Germans.
The war found several actors in Ezel - men and women. During the day, the men, along with the soldiers, dug trenches and repulsed German attacks, while the women bandaged the wounded and washed the soldiers' linen. At night, if there was no fight, the actors arranged concerts and performances in small glades in the forest.
Well, - you say, - of course, in the dark you can
listen to music, but it is not clear how the actors managed to act out in the night forest. What could the audience see in this darkness? ... As soon as the performance began, the audience pointed narrow beams of pocket electric flashlights at the actors. These rays all the time flew like small fiery birds, from one face to another ...
The spectators never pointed the beams of flashlights at Egorov. He always played in the dark, and the only point of light that he often saw in front of him was a large star. She lay at the edge of the sea like a forgotten lighthouse.
The strings on the violin were torn, and Egorov could no longer play. At the very first night concert, he told invisible spectators about this. Suddenly, out of the forest darkness, a young voice answered uncertainly:
And Paganini played on one string too ...
Paganini! How could Yegorov be equal with him, with a great musician!
Yet he slowly raised the violin to his shoulder. The star burned calmly at the edge of the bay. Its light flickered, and did not sparkle, as always. Egorov began to play. And suddenly one string began to sing with the same strength and tenderness as all the strings could sing.
Electric flashlights immediately flashed. For the first time their rays hit Yegorov's face, and he closed his eyes. It was easy to play, as if Paganini's dry, light fingers were moving the bow over a disfigured violin.
In the short intermission of the war, in a deep forest, where it smelled of heather and smoke, Tchaikovsky's melody rang and grew, and from its languid melody it seemed that the heart would burst, could not stand it. And the last string really could not withstand the force of sounds and broke. Immediately the light of the flashlights flew from Yegorov's face to the violin. The violin was silent for a long time. And the lights went out. The crowd of listeners only sighed.
Egorov had nothing to play on. He became an ordinary soldier in an ordinary detachment. And during one night battle he gave his life for the Motherland. He was buried in rough sandy ground. The soldiers handed Yegorov's violin to the pilot who was flying to Leningrad. ... The pilot took the violin to the famous conductor. He took it with two fingers, weighed it in the air and smiled: it was an Italian violin that had lost weight from old age and many years of singing.
I will hand it over to the best violinist of our orchestra, the conductor said to the pilot.
Where is this violin now - I do not know. But wherever she is, she plays beautiful melodies, familiar to us and loved by us, like every word of Pushkin, Shakespeare and Heine. She plays Tchaikovsky's melodies, making the listeners' hearts tremble with pride for the genius of her country, for the genius of man.
Answer the questions:
1. What melody from the works of P. Tchaikovsky familiar to you could have sounded at a night concert?
2. What do you know about the Italian violinist Paganini?
3. Which one famous works you listened?
4. Remember literary works in which music is one of the main characters.
It turns out that a person can sound…. In the notes, musical phrases, melodies, his character is revealed, his "face" is depicted. It is known that a portrait painted by an artist is able to convey the essence of a person, leaving a certain secret. Every part of the face, every bend of the body on the canvas resurrects us as a person, while preserving something intimate.
Music, like any other art form, brings something beautiful to life. She conveys the mood, charging a person with positive. Very often we look for ourselves in the lines of songs, we try to catch any note and compare it with our personality.
Imagine these two greatest forms of art together - painting and music! Portrait of a man in music. Interesting?
A musical portrait is ...
First of all, it is an art that reveals your soul, musically conveys emotions and character of a person. This is yours, personal, unique, like the person himself. With the help of a musical portrait, you look at yourself from different angles, revealing ever deeper facets of your inner world. The melody, written off actually from your "I", contributes to the improvement of the spiritual state - you cannot argue with that! After listening to certain music, you experience emotions. And if this is the music of your soul? Did you have to look at it from the outside? This is an indelible impression - reality takes on a different shape: love, beauty, boundlessness ...
How is a musical portrait made up?
Have you ever wondered what peace is? Sometimes, at some moments, you feel some kind of peace of mind. You don't care about anything, you walk the endless paths, there, deep inside. When thoughts are lost and you are immersed in something more that cannot be described. This something rises deep within, from the most secret chambers of the heart.
How many people are able to read the unknown world?
A musical portrait can only be created by a genius, a genius of the soul. He can not only read, but also reproduce it in music, feel, understand your thinking, consciousness, open will. Play the music that is playing inside you.
All the fullness of the art of creating a musical portrait lives in a unique environment of the intuitive world. In order to create it, the composer needs a personal contact with the person or a personal photo or video. When all the information about a person is collected, the musician records a portrait in the studio, providing high-quality sound to the melodies. In practice, it also happened that the composer writes a musical portrait in the presence of the person he is writing about. But in any case, with or without a personal meeting, the quality will not change. In any case, this will be what is called - a musical image of the inner world.
Want to hear what a musical portrait sounds like?
A musical portrait has two types of creation:
1) Improvisation (impromptu) is the recreation of the author's feelings immediately into the recording
2) The prescribed piece is a complex composition, elaborated to the smallest detail, in notes. This kind of composition can be arranged later. This melody looks like a piece, on which you need to work for a certain time.
Musical portrait - historical heritage and an exclusive gift
It's very hard to surprise a modern person, isn't it? Imagine that you receive yourself as a gift - your inner world, feelings and experiences that are familiar and dear to you for a long time? .. Only clothed in the language of music. This is not only relevant and new for our world, it seems incredible and unimaginable!
When ordering a musical portrait, you can make a gift to your loved one. After all, the author can write a musical portrait of you personally, or, for example, express your feelings for a loved one - depict him as you see him! A musician can paint a portrait about love, friendship, etc. In a musical portrait, you can embody all the versatility of a personality!
You can learn about the service and order a musical portrait
Portrait in literature and music
A good painter must paint two main things: a person and a representation of his soul.
Leonardo da Vinci
From the experience of the visual arts, we know how important the appearance of a model is to a portrait. Of course, the portrait painter is interested in the latter not in itself, not as a goal, but as a means - an opportunity to look into the depths of a person. It has long been known that a person's appearance is associated with his psyche, his inner world. On the basis of these interrelationships, psychologists, doctors, and just people with developed observation and the necessary knowledge "read" information about the mental properties of a person by the iris of the eye (eyes - "mirror of the soul", "window of the soul", "gate of the soul"), features face, hand, gait, mannerisms, favorite posture, etc.
Most of all, his face can tell about a person. not without reason he believed that the face is "the soul of a person"; as the Russian philosopher said, "it's like a navigator's map." Lido is the "plot" of the book "Personality". It is no coincidence that changing a face sometimes means becoming a different person. This interdependence of external and internal gave impetus to the artistic fantasy of writers - V. Hugo in The Man Who Laughs, M. Frisch in Call Myself Gantenbein. It is the disfigurement of the face that seems to the hero of D. Oruzll's novel "1984" as the final destruction of his personality. The hero of Kobo Abe's novel "Alien Lido", forced by circumstances to make a mask for himself, under its influence begins to live a double life. A mask that hides a face - the right to a different "image", a different character, a different value system, a different behavior (remember Souvestre and M. Allen and the film versions of their books, the story " Bat"I. Strauss ...).
Given how much a description of appearance can tell, writers often use it to characterize a character. The skillfully made description makes the character's appearance almost "alive", visible. We seem to see individually unique provincials " Dead souls". The heroes of L. Tolstoy are in relief.
Not only how a person looks, but also the environment around him, the circumstances in which he exists, also carry information about the character. This was well understood, for example, by Pushkin, introducing Onegin to the reader in the first chapter of his novel, in verse. The author has few expressive strokes of the personal "I" of the character ("young rake", "how dandy London is dressed"), and it is supplemented by many details of Onegin's upbringing, his high life with balls, theaters, flirts, fashions, salons, dinners.
Obviously, the ability of "circumstances of action" to testify about people found its extreme expression in the short story of the modern German writer Hermann Hesse " Last summer Klingsor ". The artist Klingsor, in order to write a self-portrait, turns to photographs of himself, parents, friends and lovers, for successful work he even needs stones and mosses - in a word, the whole history of the Earth. However, art tried the other extreme - the complete cutoff of the environment from the person, which we see on the canvases of the great painters of the Renaissance: Leonardo da Vinci, Raphael's pictures of nature are deliberately distanced from the coarsely painted faces that attract the attention of the viewer. Or we hear in operas: Onegin's central aria-portrait “You wrote to me, don’t deny it” is in no way connected with the everyday sketches around it - the girls' song “Maidens, beauties, darlings, friends”; confessing his feelings to Liza Yeletsky in Tchaikovsky's The Queen of Spades, as if not noticing the hustle and bustle of the noisy ceremonial St. Petersburg ball. Contrast organizes the viewer's or listener's attention, directing it to the "close-up" and relaxing against the "background."
Describing the color of hair and eyes, height, clothes, gait, habits, circumstances of the hero's life, the writer does not at all seek to create a "visual line" artwork... His true goal in this (and completely conscious) lies much further: to consider the human soul in outward signs. This is how Quentin de Latour, a prominent French portrait painter of the 18th century, said about it: “They think that I grasp only the features of their faces, but without their knowledge I plunge into the depths of their soul and take it entirely”.
How does music portray a person? Does she embody the visible? To understand this, let's compare three portraits of the same person - an outstanding German composer late XIX- early XX centuries by Richard Strauss.
This is how (by no means an angel, but a living person) Romain Rolland saw him: “He still looks like an adult absent-minded child with pouting lips. Tall, slender, rather elegant, arrogant, he seems to belong to a finer race than other German musicians among whom he is. Contemptuous, jaded with success, highly demanding, he is far from being with the rest of the musicians in a peaceful, humble relationship, like Mahler. Strauss is no less nervous than he ... But he has a great advantage over Mahler: he knows how to rest, Easily excitable and sleepy, he is saved from his nervousness thanks to the inertial force of inertia; it has features of Bavarian looseness. I am sure that after those hours when he lives an intense life and when his energy is expended extremely, he has hours of non-existence, as it were. Then you notice his wandering and half-asleep eyes. "
Two other portraits of the composer - sound ones - were "painted" by him in the symphonic poem "The Life of a Hero" and in the "Home Symphony". Musical self-portraits are in many ways similar to the description of R. Rolland. However, let us think about which aspects of the personality are "voiced". It is unlikely that, listening to music, we would have guessed that the prototype is "tall, slender, rather elegant", that he has "the appearance of an adult sensible child with pouting lips" and "wandering and half-asleep eyes." But here are other features of Strauss-man, revealing his emotional world (nervousness, slight excitability and drowsiness) and important character traits (arrogance, narcissism) are conveyed by music convincingly.
Comparison of the portraits of R. Strauss illustrates a more general pattern. The language of music is not particularly conducive to visual associations, but it would be rash to completely discard such a possibility. Most likely, the external, physical parameters of the personality can only partially be reflected in the portrait, but only indirectly, indirectly, and to the extent that they are in harmony with the mental properties of the personality.
One more observation is easy to make. A pictorial portrait through its external appearance seeks to capture the deep features of the personality, while a musical portrait has the opposite opportunity - "grasping the essence" of a person (his emotional nature and character), allows for enrichment with visual associations. A literary portrait, occupying an intermediate place between them, contains an informative description and appearance, and the emotionally characteristic "core" of the personality.
So, any portrait contains emotion, but it is especially significant in a musical portrait. We are convinced of this by a noticeable phenomenon in the world musical culture- miniatures by the late 17th - early 18th century French composer Francois Couperin, composed for the harpsichord, the forerunner of the modern piano. Many of them depict people well known to the composer: the wife of one of the organists of the royal church, Gabriel Garnier (La Garnier), the wife of the composer Antoine Forcre (The Magnificent, or Forcre), the bride of Louis XV, Maria Leszczynska (Princess Marie) , young daughter of the Prince of Monaco, Antoine I Grimaldi ("Princess de Chabeil, or Muse of Monaco"). Among the "models" there are people who clearly surrounded the composer ("Manon", "Angelica", "Nanet"), and even relatives. In any case, the method of reconstruction human personality one: through individual emotion. His Manon is cheerful and carefree, solemnly stately appears in the ceremonial portrait of Antonin, the face of Mimi is painted in more lyrical tones. And all of them are like a continuation of the portrait gallery, collected in the book of the prominent writer and philosopher Jacques de La Bruyere "Characters, or Morals of the Present Century."
The operatic aria is also related to a detailed description of the emotional world of a person. It is curious that in the Italian opera of the 17th - early 18th centuries there was a tradition of highlighting in the aria the main emotion of the character, the main affect. The main emotions gave life to the types of arias: arias of grief, arias of anger, arias of horror, elegy arias, bravura arias and others. Later, composers try to convey not one all-encompassing state of a person, but a complex of inherent emotions and thereby achieve a more individual and deep characterization. Such as in the cavatina (that is, the output aria) by Lyudmila from the opera "Ruslan and Lyudmila" by Glinka. The composer is clearly inspired by the Pushkin image:
She is sensitive, modest,
Marital love is true
A bit windy ... so what?
She is even nicer than that.
Lyudmila's aria consists of two sections. The first, introductory, - an appeal to the father - is imbued with light sadness, lyricism. A wide, chanting melody, sounding at a slow tempo, is interrupted, however, by flirtatious phrases.
In the second, main section, we learn the main features of the heroine: cheerfulness, carelessness. Accompanied by polka-dancing chords, the melody quickly overcomes complex leaps and rhythmic "bends" (syncopations). The high coloratura soprano of Lyudmila is ringing, shimmering.
Here is another musical portrait, "written" already without the participation of voice - the play "Mercutio" by Sergei Prokofiev from the piano cycle "Romeo and Juliet". Music radiates overflowing energy. Fast tempo, elastic rhythms, free transitions from the lower register to the upper register and vice versa, bold intonational breaks of the melody "revive" the image of a merry fellow, a "daring fellow" who "speaks more in one minute than hears in a month", a joker, a joker, not who knows how to remain inactive.
Thus, it turns out that the personality in music is not simply endowed with some kind of emotion invented by the author, but certainly one that is especially indicative of the original (a literary prototype, if such, of course, exists). And one more important conclusion: realizing that “one but fiery passion” nevertheless schematizes the personality, “drives” it into a two-dimensional plane space, the composer tries to arrive at a certain set of emotional touches; the multicolored "palette" of emotions allows to outline not only the emotional world of the character, but, in fact, something much more - the character.
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