Find musical portraits. Methodological development on music on the topic: Portrait in music

Lesson summary

TeacherArkhipovaNS

Item Music

Class 5

Subject: Musical portrait. Can music express a person's character?

Lesson objectives: Be able to compare works of painting and music; respond emotionally to a piece of music and be able to access a person’s inner world through musical and visual images.

Lesson objectives:

Foster interest and love for musical and visual arts.

Introduce the genre of musical portraiture.

Compare works of music and painting.

Show how different types arts - literature, music and painting - in their own way and independently of each other embodied the same life content.

Planned results (URD)

subject

Development of inner hearing and inner vision as the basis for development creative imagination;

Deepening students' understanding of the visual properties of music with the help of comparative analysis works of music – “Song of Varlaam” by M. Mussorgsky and fine art – Repin’s paintings “Prototyakon”;

Metasubject

Regulatory

. own goal-setting skills in setting educational tasks in the process of perception, execution and evaluation musical compositions.

.to plan own actions in the process of perception and performance of music.

Cognitive

. identify expressive possibilities of music.

. find

. assimilate dictionary musical terms and concepts in the process of musical

activities

communicative

transmit own impressions of music, other art teachings in oral and written speech

.perform songs with a group of classmates

Personal

. to express yours emotional attitude to musical images in singing, when listening to musical works.

. be able to comprehend the interaction of arts as a means of expanding ideas about content musical images, their influence on the spiritual and moral development of the individual;

understand life content piece of music.

Subject

Developing the ability to reveal the properties of " pictorial music» thanks to the masterful use by composers and performers of the colors of musical speech(register, timbre, dynamic, tempo-rhythmic, modal)

Metasubject

. find community of music and other arts

Personal

.be able to comprehend interaction of arts as a means of expanding ideas about the content of musical images, their influence on the spiritual and moral development of the individual

Lesson type: combined - study new topic using ICT.

Lesson form: dialogue.

Musical material lesson:

M. Mussorgsky. Song of Varlaam. From the opera “Boris Godunov” (listening).

M. Mussorgsky. Dwarf. From the piano cycle “Pictures at an Exhibition” (listening).

G. Gladkov, poetry Yu. Entina. Song about paintings (singing).

Additional material: portraits of composers, reproductions of paintings, textbook 5th grade “Art.Music” T.I. Naumenko, V.V. Aleev

During the classes:

Organizing time.

The goal to be achieved by the student:

Prepare for productive work in class.

The goal that the teacher wants to achieve:

Help prepare students for productive work.

Tasks

Create a positive emotional mood;

Help you take the correct working posture;

Sit correctly. Well done! Let's start the lesson!

Entering into the topic of the lesson and creating conditions for conscious perception of new material

Communication UUD:

Ability to listen and reflect.

Personal UUD:

Formation of interest in music lessons.

- Read the epigraph to the lesson. How do you understand it?

Write on the board:

“Let moods remain the main essence of musical impressions, but they are also full of thoughts and images.”

(N.A. Rimsky-Korsakov)

Determining the topic of the lesson and setting the learning task.

Goal: readiness and awareness of the need to build a new way of action

What do you think will be discussed in class today?

- What do you guys think, can music express a person’s character, is it capable of doing this? We will try to answer this question with you today.

– Today you will get acquainted with the genre of musical portrait (Slide).

Primary consolidation stage

Cognitive UUD:

Introducing a new piece of music:

Regular UUD:

Ability to listen and analyze the nature of a musical work;

The ability to compare, see commonalities and differences;

The ability to see a problem and the desire to find answers to the questions posed.

Communication UUD:

The ability to listen to the opinions of comrades and express your own judgments.

Personal UUD:

Recognize and respond emotionally to the expressive features of music;

When looking at a picture, we include all our senses, not just vision. And we hear, but not only see, what is happening on the canvas.

Portrait in literature is one of the means artistic characteristics, which consists in the fact that the writer reveals the typical character of his heroes and expresses his ideological attitude towards them through the image of the heroes’ appearance: their figure, face, clothing, movements, gestures and manners.

In fine art, a portrait is a genre in which someone’s appearance is recreated. Along with external resemblance, the portrait captures spiritual world the person depicted.

Do you think music can paint a portrait and express a person’s character, his spiritual world, his experiences? (Composers, when creating a musical portrait, convey the thoughts and feelings of their characters with the help of musical intonation, melody, and the nature of the music.).

Musical portrait - This is a portrait of the character of the hero. Expressiveness and figurative power of intonation are inextricably fused in it. musical language. (Slide).

Pushkin’s work was also liked by the 19th century Russian composer Modest Petrovich Mussorgsky

Composer biography

Modest Mussorgsky was born on March 21, 1839 in the village of Karevo, Toropetsk district, on the estate of his father, the poor landowner Pyotr Alekseevich. His mother, Yulia Ivanovna, was the first to teach him to play the piano. At the age of ten, he and his older brother came to St. Petersburg to enroll in the School of Guards Ensigns. After graduating from the School, Mussorgsky was assigned to the Preobrazhensky Guards Regiment. Modest was seventeen years old. One of the Preobrazhensky comrades, who knew Dargomyzhsky, brought Mussorgsky to him. The young man immediately captivated the musician not only with his piano playing, but also with his free improvisations, and there he met Balakirev and Cui. This is how it began for young musician new life, in which Balakirev and the “Mighty Handful” circle took the main place. Soon the period of knowledge accumulation gave way to a period of active creative activity. The composer decided to write an opera in which his passion for large folk scenes and for depicting a strong-willed personality would be embodied.

While visiting Lyudmila Ivanovna Shestakova, Glinka’s sister, Mussorgsky met Vladimir Vasilyevich Nikolsky. He was a philologist, literary critic, and specialist in the history of Russian literature. He drew Mussorgsky's attention to the tragedy "Boris Godunov". Nikolsky expressed the idea that this tragedy could become wonderful material for an opera libretto. These words made Mussorgsky think deeply. He immersed himself in reading Boris Godunov. The composer felt: an opera based on “Boris Godunov” could become a surprisingly multifaceted work.

By the end of 1869 the opera was completed. Mussorgsky dedicated his brainchild to his circle comrades. In the dedication, he unusually clearly expressed the main idea of the opera: “I understand the people as a great personality, animated by a single idea. This is my task. I tried to solve it in the opera.”

Then there were many more works that are worthy of attention... On March 28, 1881, Mussorgsky passed away. He was barely 42 years old. World fame came to him posthumously.

The opera "Boris Godunov" turned out to be the first work in the history of world opera in which the fate of the people was shown with such depth, insight and truthfulness.

The opera tells about the reign of Boris Godunov, a boyar who was accused of murdering the legitimate heir to the throne, the little Tsarevich Dmitry.

Our attention in today's lesson will be focused on most interesting character operas - Varlaam.

Varlaam sings a song about the siege of Kazan by the troops of Ivan the Terrible.

Now let's see how the composer described this man in music. Listen to musical speech the hero in such a way as to introduce him appearance, and his character.

- Let's listen to Varlaam sing his famous song“As it was in the city in Kazan.”

Listening to Varlaam's song from the opera Boris Godunov by M. P. Mussorgsky. (Slide).

The sound of the Song of Varlaam as recorded by F.I. Chaliapin (at the same time we complete the task: listen to the musical speech of the hero so as to imagine both his appearance and his character, pay attention to the actor’s voice).

– How do you imagine Varlaam singing such a song?

How do the nature of the performance and the nature of the musical language reveal the character and even the appearance of this person? (violent, loud music...)

Now open the textbook, paragraph 23, p. 133 and look at Ilya Repin’s painting “Protodeacon”

Guys, take a close look at Ilya Repin’s painting “Protodeacon,” describe who you see in front of you. ( Before us is a portrait of an archdeacon - this is such a spiritual rank in Orthodox Church. We see an elderly man, with a long gray beard, overweight, he has an angry expression on his face / which is given to him by curved eyebrows. He has a big nose big hands- in general, a gloomy portrait. He probably has a low voice, maybe even a bass.)

You saw everything correctly and even heard his low voice. So, guys, when this picture appeared at the exhibition of the Itinerant artists, the famous musical critic V. Stasov saw on it a character from Pushkin’s poem “Boris Godunov” - Varlaam. Modest Petrovich Mussorgsky reacted in exactly the same way, when he saw the “Protodeacon” he exclaimed: “So this is my Varlaamishche!”

What do Varlaam and Protodeacon have in common? (These are images of powerful, tough people, monks and priests, typical of Ancient Rus').

comparison table expressive means.

I. Repin painting “Protodeacon”

M. P. Mussorgsky “Song of Varlaam”

A huge figure, holding his hand on his stomach, gray beard, knitted eyebrows, red face. Gloomy colors. The character is arrogant and domineering.

Dynamics: loud music, melody – jumps up, timbre – brass. Singing voice – bass. The nature of the performance is shouts at the end, a rough manner of performance.

U - Pictures and operas have one thing in common important feature: this is an opportunity to show a person’s character in words, music, and images.

What do the picture and the song have in common?

D - What the picture and the song have in common is that they show unbridled character, rudeness, a tendency to gluttony and revelry.

You're right, it's collective image. This type of people was encountered in Rus' at that time. What is common is not only external resemblance, but also certain character traits. The main thing between them is the unbridled nature, the rudeness of nature, the tendency to gluttony and revelry.

What helped the composer and the artist, independently of each other, create such similar images? (There were such people in Rus'.)

What colors did the artist use to paint this portrait? (The artist uses rich colors, where darker colors predominate.)

Despite various means expressiveness, in fine arts - these are colors, in literature - words, in music - sounds. They all told and showed about one person. But still, the music emphasized and suggested those aspects that would not have been immediately noticed.

Vocally choral work

Cognitive UUD

Getting to know the melody and words new song

Communicative UUD

Interaction with the teacher in the process musical and creative activities;

Participation in a choral performance of a piece of music.

Personal UUD:

Formation of performing skills;

The embodiment of the character of the song in your performance through singing, words, intonation.

Chanting.

Learning phrases

Singing difficult melodic turns.

Working on the text.

A song that will help us remember the names of fine arts genres is called "Song about paintings""composer Gennady Gladkov.

Listening to a song.

What genres of painting are sung about in the song?

In music, what are the genres?

Singing in chorus.

Think and tell me, could each of you become the hero of a portrait?

Many of you acted as artists and painted portraits of your friends

In what form is the song written?

What's the mood?

What's the pace?

Give the name of this song. (children's answers)

Why does the song have this name?

3. Musical images

- We got acquainted with two completely different vocal portraits, and the next musical image will sound without words. This is the work “Gnome” from the piano cycle by M.P. Mussorgsky's "Pictures at an Exhibition" - a musical portrait of a little fairy-tale creature, made with extraordinary artistic power. It was written under the impression of a painting by W. Hartmann, a close friend of the composer.

Mussorgsky remembered the sketch Christmas decorations- a gnome, a small, clumsy freak with crooked legs. This is how the artist depicted nutcrackers. ---Listen to this piece and think about what mood the gnome is in, what his character is, what do you imagine with this music?

The sound is “The Dwarf” by M.P. Mussorgsky. (Children's answers)

- Guys, how did you imagine the gnome? ( In the music you can hear a limping gait and some sharp, angular jumps. One feels that this dwarf is lonely, he is suffering.)

· The play by M.P. Mussorgsky is very picturesque. Listening to it, we clearly imagine how little man waddled, ran a little and stopped - it’s hard to run on such short and thin legs. Then he got tired, walked slower and still diligently and clumsily. It looks like he's even angry at himself for it. The music stopped. Probably fell.

Guys, if you were artists, after listening to this music, what colors would you use to paint this gnome?

That's right, he moves really angularly, in jumps. The funny gnome is turned by the composer into a deeply suffering person. You could hear him moaning, complaining about his fate. He is pulled out of his native fairy-tale element and given to people for amusement. The dwarf tries to protest, to fight, but a desperate cry is heard... Guys, how does the music end? ( It doesn't end as usual, it kind of breaks off.)

You see, guys, “Gnome” is not just an illustration of a picture, it is a deeper image created by the composer.

Independent work

Cognitive UUD

Developing the ability to comprehend the information received.

Regular UUD:

Awareness of what has already been learned and what needs to be further learned

Assessing the quality of learning.

Communication Uud:

Interaction in the process of checking work results.

Personal UUD

Formation of a positive attitude and interest in musical activity

Now you have to take the test and then evaluate your work yourself

Who rates their work as “5” and “4”?

Homework

CognitiveUUD

Music Search

Regulatory UUD

Goal setting.

Which musical genres most capable of conveying the portrait features of the hero?

Listen to homework.

“Diary of musical observations” - pp. 26-27.

LIST OF REFERENCES 1. Abyzova E.N. "Pictures from an Exhibition." Mussorgsky - M.: Music, 1987. 47s. 2. Abyzova E.N. “Modest Petrovich Mussorgsky” - 2nd edition M.: Music, 1986. 157 p. 3. Vershinina G.B. “...Free to speak about music” - M.: “New School” 1996 p. 192 4. Fried E.L. “Modest Petrovich Mussorgsky”: Popular monograph - 4th ed. - Leningrad: Music, 1987. p.110 5. Feinberg S.E. “Pianism as an art” - M.: Music, 1965 p. 185 6. Shlifshtein S.I. “Mussorgsky. Artist. Time. Fate". M.: Music. 1975

Musical portrait

It is interesting to compare the features of recreating a person’s appearance in literature, fine arts, and music.

In music there cannot be a resemblance to a specific person, but at the same time

It is no coincidence that it is said that “a person is hidden in intonation.” Because music is an art that is temporary O e (it unfolds, develops in time), it, like lyric poetry, is subject to embodiment emotional states, human experiences with all their changes.

The word "portrait" in relation to musical art, especially for instrumental non-program music, is a metaphor. At the same time, sound writing, as well as the synthesis of music with words, stage action and extra-musical associations expand its capabilities. Expressing the feelings and moods of a person, embodying his various states, the nature of movement, music can evoke visual analogies that allow us to imagine what kind of person is in front of us.

N. Roerich. Russian artist (1874-1947) Sketch for the set of the opera “Prince Igor”

Character, lyrical hero, narrator, narrator - these concepts are important not only in literary work, but also musically. They are necessary to understand the content program music, music for the theater - opera, ballet, as well as instrumental and symphonic.

The intonation of the character more clearly reproduces external signs, manifestations of a person in life: age, gender, temperament, character, unique manner of speaking, moving, national characteristics. All this is embodied in music, and we seem to see a person.

Music can help you meet people from a different era. Instrumental works create images of various characters.

F. Haydn admitted that he always composed music with characteristic types person. “Mozart’s themes are like an expressive face...

You could write a whole book about female images V instrumental music Mozart" (V. Medushevsky).

Portrait of the composer in literature and cinema

The portrait of any cultural and artistic figure is created primarily by his works: music, paintings, sculptures, etc., as well as his letters, memoirs of contemporaries and works of art about him, which arose in subsequent eras.

"Mozart's Universe" (Irina Yakushina) this is the name of one of the books about life and creativity Wolfgang Amadeus Mozart(1756-1799), Austrian composer, author of immortal musical compositions - Symphonies No. 40, “Little Night Serenade”, “Rondo in Turkish Style”, “Requiem”.

P Why is Mozart's music compared to the Universe? Apparently, because it reveals various phenomena of life in a varied and deep way, its eternal themes: good and evil, love and hate, life and death, beautiful and ugly. Contrasts of images and situations constitute the main driving force of his music, which helps listeners understand his life credo: “Life is incomparably beautiful on the beloved land!”

The tragic death of Mozart at the age of 35 has given rise to many speculations about the death of the composer, who was in the prime of his creative powers. One of them - the poisoning of Mozart by his contemporary, the socially recognized court composer Antonio Salieri (1750 -1825), formed the basis of A. Pushkin’s small tragedy “Mozart and Salieri”, an opera by N. Rimsky-Korsakov, modern films and dramatic performances.

Gives viewers a different interpretation of the relationship between the two composers film director M. Forman - creator of the film “Amadeus”, winner of five Academy Awards: the distraught old man Salieri, who is rescued from a suicide attempt, in confession tells the priest about his feelings and experiences that he experienced while watching Mozart's talent flourish. The final part of the film captures the moments of the production of the opera “The Magic Flute” and the creation of “Requiem”.

Read a little tragedy

A.S. Pushkin. Mozart and Salieri. Listen here.

Consider the illustrations of M. Vrubel.

Watch excerpts from the film "Amadeus". What features of the characters of Mozart and Salieri do these works reveal to you?

What experience of relationships between people do you gain as a result of acquaintance with works of art?

Listen to fragments of Mozart's works that you are familiar with.

Mozart Figaro's Aria from the opera "The Marriage of Figaro". Listen here.

What feelings expressed in Mozart's music are consistent with the feelings of the modern listener?

Listen to a modern adaptation of one of Mozart's works. Why do famous performers turn to creative interpretations of Mozart's music?

Mozart Symphony No. 40 in a modern arrangement. Listen here.

Read literary works in which an image-portrait of the composer is drawn (excerpts from the novel by D. Weiss “The Sublime and the Earthly” Listen Here, poems by L. Boleslavsky, V. Bokov, etc.).

Yu. Voronov Mozart. Listen here.

Mozart Fantasia in D minor. Listen here.

Mozart Fantasia in D minor lit. Listen here.

Lev Boleslavsky. Requiem. Listen Here

Class Quarter Theme Can we see the music.

Lesson topic: Portrait in music and fine arts. (using health-saving technologies)

1. Entrance and exit to the song “I want to see music” by G. Struve.

2.Musical greeting.

3.. “Songs about paintings” by G. Gladkov (verse 3).

4. “Song of Varlaam” by M. P. Mussorgsky from the opera “Boris Godunov”.

5. Conversation on the painting “Protodeacon” by I. Repin.

6. Physical education minute.

7. “Song about the little trumpeter” by S. Nikitin.

The purpose of the lesson: to deepen students’ understanding of the visual properties of music through a comparative analysis of works - “The Song of Varlaam” by M. P. Mussorgsky and the painting “Protodeacon” by I. Repin

Educational:

Develop inner hearing and inner vision as the basis for the development of creative imagination;

Give the concept of “musical portrait” using the example of “Song of Varlaam”;

To teach how to compare works of music and fine art (how different types of art - in their own way and independently of each other, embodied the same life content;

Understand the meaning of colors and shades;

Give an idea of the “Mighty Handful” community.

Educational:

Cultivate interest in the history and culture of Russia;

Formation of aesthetic taste of students;

Cultivating moral and patriotic qualities in students through the history of their native country and the musical heritage of the Russian people.

Educational:

Develop vocal-choral skills;

Intensify educational and creative activities;

Equipment: multimedia projector and screen, computer, disks, presentation, exhibition of children's drawings, piano.

Technologies: critical thinking, interactive learning, ICT.

During the lesson, students acquire knowledge about the genre of musical portraiture, the ability to analyze works of music and painting, skills in comparing works of musical and fine art, research activities, and working with modern by electronic means training. In order for the work in the lesson to be pedagogically correct and at the same time beneficial to health, the following conditions must be met:

– The room should be well ventilated before the start of the lesson. While singing, students breathe deeply and deeply, so the air must be clean, and then at this time the lungs will actually develop, and there will be no poisoning from dusty air.

– In view of the fact that singing is a useful natural gymnastics, it is necessary to extract the greatest benefit from it for children.

– All students should be in the teacher’s field of vision, so that he can constantly monitor the children’s attention, interest, fatigue, posture while singing, performing creative tasks.

During the classes.

Epigraph of the lesson: “How similar music is to man! She has human face in the moments when you suddenly see her with your own eyes” A. Suuman.

Organization of the beginning of the lesson. Psychological mood of children for the lesson.

Hello guys. Before starting the lesson, look at each other, think about

something good, smile at each other.

Musical greeting.

Teacher: The bell has rung for you, it’s time for us to start the lesson! (mood reflection is carried out)

Teacher: Hello guys! I am glad to see you beautiful and healthy.

Students: Hello!

Teacher: How are you feeling?

Students: The same as always.

Teacher: It's time for us to study.

Students: Yes, yes, yes.

Teacher: Will you try?

Students: Just like always.

PPreparation for the main stage of the lesson.

Before moving on to the new topic of our lesson, let's remember the topic of the 3rd quarter. "Can we see the music?)

Our lessons combine painting and music. In musical language, to paint means to awaken certain memories in our hearts with sounds, and certain images in our minds. (O. Balzac).

What examples have we already used to trace the connection between music and fine art? Music and visual arts are very closely related. No wonder the artist I. Repin said: “I can’t imagine life without music.”

(portrait showing)

What is the basis for creating works of art? (life)

Explanation of a new topic. Come on, guys, let's listen to an excerpt from the song and you will understand what we are going to talk about today.

Verse 3 of “Songs about Pictures” by G. Gladkov sounds.

A little history.

More than a hundred years ago, in the second half of the 19th century, two remarkable communities of advanced artists and musicians appeared in Russian art.

Five talented young composers who passionately loved Russian music and the Russian people united in creative union to fight together to preserve folk art, for the creation of national Russian music in the tradition laid down by Mikhail Ivanovich Glinka, who in his works talked about the life common people and developed Russian national music based on folklore.

The union of these composers was called the “Mighty Handful”. The community included: the talented twenty-year-old musician Mily Alekseevich Balakirev, the young military engineer Caesar Antonovich Cui, the eighteen-year-old guards officer Modest Petrovich Mussorgsky, the chemist Alexander Porfirievich Borodin and the still very young sailor Nikolai Andreevich Rimsky-Korsakov. What united them all passionate love to music. The name “The Mighty Handful” was given by the famous Russian art critic Vladimir Vasilyevich Stasov. “How much poetry, feeling, talent there is in a small but already mighty group of Russian musicians...”

The circle was headed by Mily Alekseevich Balakirev. Mikhail Ivanovich Glinka considered him his successor in Russian music.

Of all the composers " Mighty bunch"The most original talent was possessed by Modest Petrovich Mussorgsky, who showed especially big interest To folk life and to the Russian people. He was 18 years old at the time.

He recently graduated from the School of Guards Ensigns in St. Petersburg, and served for some time in the Preobrazhensky Guards Regiment. But he soon realized that the main occupation in his life would be music and left the service. He created many nationally vibrant musical images, which reveal the uniqueness of the Russian character. These images live in his works. The full power of his talent was revealed in the opera “Boris Godunov” based on Pushkin’s tragedy. This is a real masterpiece opera music. In Pushkin's tragedy, the composer was attracted by the opportunity to recreate in opera the awakening of the power of the people. Which results in open discontent, and in the end in a spontaneous uprising.

The story is accompanied by a presentation.

We will talk about such images – musical portraits – today. Do you think music can paint a portrait?

“Songs about paintings” by G. Gladkov sounds (verse 3).

And the music of M. P. Mussorgsky will help us figure it out.

A musical portrait is a description of the hero's character through music. The expressiveness and visual power of the intonations of the musical language are inextricably interconnected in it. A musical portrait is special. After all, this is a portrait inner world a person (his feelings, thoughts, moods, character), who is difficult to see with the eyes, but can be felt.

Listening to “Song of Varlaam” from the opera “Boris Godunov” by M. P. Mussorgsky (video).

Purpose: to consider how music can embody appearance a person, his disposition and character.

The hero of a musical work will now enter our office. We don't know what he looks like. But music will help us paint his portrait. Listen to the hero’s musical speech so as to imagine both his appearance and his character.

Before the hearing, you will receive a task, to which you will then give a reasoned answer.

First group (1st row) . You have been given epithets. Let's read them: brave, powerful, kind, gentle, bright, dashing, violent, bright, calm, powerful. Your task is to listen to the number and try to determine the character of Varlaam and his song using these epithets. You can add your own if you have any other impressions.

Second group (2nd row).

While listening to music, try to compare color scheme with a musical character, see color palette, which arose in your imagination from the episode you were listening to. - Before the hearing, you will receive a task, to which you will then give a reasoned answer.

Second group. We know that colors and sounds are friends with each other, helping in work. They, like wizards, can create any mood, any picture. You just need to reveal the secret of this magic.

While listening to music, try to compare the color scheme with the musical character, to see the color palette that arose in your imagination from the episode you were listening to.

What musical colors did the composer use to paint this musical portrait? How does the manner of performance reveal the character of the hero?

(The singer’s low voice, his thick bass, the constantly loud sound of the song, the menacing, bestial intonations in his voice, the wild cry of Varlaam (Hey!) with a joyful intonation in his voice, singing about the death of people.). His soul is the soul of a robber.

(The rollicking, almost dance-like character of the orchestral introduction, fast pace, the use of different registers in the orchestra, which constantly rush up and down.)

What words can describe the main intonation of the melody?

Children (choose on the board suitable words(valiant, powerful, mighty, kind, gentle, bright, dashing, violent, thick, bright).

Varlaam is a fugitive monk living free, wild life.

A story about M. P. Mussorgsky's visit to the exhibition. On which he saw “Protodeacon” by Repin. “I saw the “Protodeacon” created by our glorious Ilya Repin. Why, this is a whole fire-breathing mountain! And Varlaamishch’s eyes look after the viewer. What a terrible scope of the brush, what a blessed expanse!”

What helped the composer and artist create such similar images?

This is a portrait of the character of the hero; the expressive and pictorial power of the intonations of the musical language are inextricably fused in it. When this picture appeared at the exhibition of the Peredvizhniki, the famous music critic V. Stasov saw in the character of this picture one of the truest, deeply national Russian types. “Varlaamishche” from Pushkin’s “Boris Godunov” - this is how he defined the colorful figure depicted in the portrait. In the same way, Mussorgsky, seeing the “protodeacon,” exclaimed: “So this is my Varlaamishche! This is a whole fire-breathing mountain!”

In the portrait of “Protodeacon” I.E. Repin immortalized the image of deacon Ivan Ulanov, from his native village of Chuguevo, about whom he wrote: “... nothing spiritual - he is all flesh and blood, googly eyes, gaping and roaring...”. The painting depicts a huge monk living wildly, loving to eat and drink. The center of the picture is a giant belly, strong hand, clutching a staff, red nose. The evil look of a person indifferent to other people is striking. His soul is the soul of a robber.

But when Repin painted his picture, he did not have in mind the image of Varlaam and vice versa...

It’s just that different types of art depicted the image of the monk in different ways - the composer created a song, and the artist painted a portrait.

In music, unlike painting, the image of the character and mood of the hero comes to the fore, and appearance can be imagined through imagination and fantasy. In a pictorial portrait, the opposite is true. So, a musical portrait is a portrait of the character of the hero.

Watch a video clip from the opera “Boris Godunov”.

Are music and visual arts really so closely related to each other?

- Does music have imagery?

So we analyzed the “Song of Vaarlam” and even found a portrait very similar to Vaarlam. Let's listen to this piece again. And you will draw your own monk at home.

And now, with your performance, you will draw a portrait of the hero of this song. (I’m playing the melody of Nikitin’s “Song of the Little Trumpeter.”

Objective: formation of correct breathing, promotion of normal voice development, protection of the voice from diseases.

Exercise “Palms” and “Deposit”.

Performance of “Song of the Little Trumpeter” by Krylova and Nikitin.

Be sure to connect it with the 70th anniversary of the Victory and hold a conversation “Children of War”.

Could such a person as Varlaam accomplish the feat that the little trumpeter accomplished?

Each person, due to his imagination and fantasy, can imagine visual images. If the work is programmatic, then the visual images will coincide in the main, but at the same time differ in details. This statement expresses the essence of the musical portrait genre.

Summing up the lesson. Assessment of student performance. Posting grades in the diary.

D\z: draw “your Varlaam.”

I thank everyone for a wonderful lesson.

Exit from class to G. Struve’s song “I want to see music.”

Publications in the Music section

Musical portraits

Zinaida Volkonskaya, Elizaveta Gilels, Anna Esipova and Natalia Sats are real stars of past centuries. The names of these women were known far beyond Russia; their performances and productions were awaited by music lovers around the world. "Culture.RF" talks about creative path four outstanding performers.

Zinaida Volkonskaya (1789–1862)

Orest Kiprensky. Portrait of Zinaida Volkonskaya. 1830. State Hermitage Museum

After the death of his teacher, Sergei Prokofiev wrote: “I turned out to be her last winning student from that colossal phalanx of laureates whom she trained at her factory.”.

Natalia Sats (1903–1993)

Natalia Sats. Photo: teatr-sats.ru

Since childhood, Natalia has been 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 RAMT), artistic director which she remained for 16 years. One of the most authoritative Russian theater critics, Pavel Markov, recalled Sats as “a girl, almost a girl, who quickly and energetically entered into the complex structure of Moscow theatrical life and forever retained a responsible understanding of her life and creative recognition» . She sought to create a theater that would become for children of all ages a portal into a bright and fairy world, a place of unlimited imagination - and she succeeded.

The cult German conductor Otto Klemperer, having watched Satz's directorial works in children's theater, invited her to Berlin and offered to stage Giuseppe Verdi’s opera Falstaff at the Kroll Opera. For Satz, this production turned out to be a real breakthrough: she became the world's first female opera director - and, without exaggeration, a world-famous theater figure. Her other foreign opera productions also became successful: “The Ring of the Nibelung” by Richard Wagner and “The Marriage of Figaro” by Wolfgang Amadeus Mozart at the Argentine Teatro Colon. Buenos Aires newspapers wrote: “The Russian artist-director created new era in the art of opera. The play [The Marriage of Figaro] is deeply psychological, as only happens 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, People's Commissar of Domestic Trade of Israel 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 did not have the right to return to Moscow. In Kazakhstan, she opened the first Alma-Ata theater young viewer, 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 and Puccini, and included “serious” musical classics in her symphony tickets.

IN last years Natalia Sats taught at GITIS, founded a charitable foundation for promoting the development of art for children, and wrote many books and manuals on music education.

Elizaveta Gilels (1919–2008)

Elizaveta Gilels and Leonid Kogan. Photo: alefmagazine.com

Elizaveta Gilels, younger sister pianist Emil Gilels, 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 kept house.

Lisa Gilels first picked up the violin at the age of six, and she was taught the basics of musical art by the famous Odessa teacher Pyotr Stolyarsky. While still a teenager, Gilels declared herself a child prodigy: in 1935, the young violinist received second prize at the All-Union Competition of Performing Musicians. And in 1937, when she was 17, Elizaveta, as part of a delegation of Soviet violinists, made a splash at the Eugene Ysaïe Competition in Brussels. The first prize of the competition was awarded to David Oistrakh, the second - to a performer from Austria, and Gilels and her colleagues shared places from third to sixth. This triumphant victory glorified Elizaveta Gilels both in the Soviet Union and abroad.

When Soviet musicians returned from Belgium, they were greeted by a solemn procession, a participant of which was the talented, but in those years 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 had recently become a star, actively performed and toured, and was also older. But one day she heard a performance by an unknown violinist on the radio. The masterly performance amazed her, and when the announcer announced the name of the performer - and he was Leonid Kogan - Gilels already became his big fan.

The musicians got married in 1949. Gilels and Kogan long years played in a duet, performed works for two violins by Johann Sebastian Bach, Antonio Vivaldi, Eugene Ysaï. Elizabeth gradually abandoned solo career: in 1952 the couple had a son, Pavel Kogan, he became famous violinist and conductor, and two years later his daughter Nina appeared, a gifted pianist and talented teacher.

Since 1966, Elizaveta Gilels began teaching at the Moscow Conservatory. Her students were violinists Ilya Kaler, Alexander Rozhdestvensky, Ilya Grubert and other talented musicians. After the death of Leonid Kogan in 1982, Gilels was engaged in systematizing his legacy: preparing books for publication and releasing recordings.

Lesson No. 8 Musical portrait

It is interesting to compare the features of recreating a person’s appearance in literature, fine arts, and music.

In music there cannot be a resemblance to a specific person, but at the same time it is no coincidence that it is said that “a person is hidden in intonation.” Since music is a temporary art (it unfolds and develops over time), it, like lyrical poetry, is subject to the embodiment of emotional states and human experiences with all their changes.

The word “portrait” in relation to the art of music, especially instrumental non-program music, is a metaphor. At the same time, sound recording, as well as the synthesis of music with words, stage action and extra-musical associations expand its capabilities. Expressing the feelings and moods of a person, embodying his various states, the nature of movement, music can evoke visual analogies that allow us to imagine what kind of person is in front of us.

ROERICH. Set design for the opera “Prince Igor”

Character, lyrical hero, storyteller, narrator - these concepts are important not only in a literary work, but also in a musical one. They are necessary for understanding the content of program music, music for the theater - opera, ballet, as well as instrumental and symphonic music.

The character's intonation more clearly reproduces the external signs and manifestations of a person in life: age, gender, temperament, character, unique manner of speaking, moving, national characteristics. All this is embodied in music, and we seem to see a person.

Music can help you meet people from a different era. Instrumental works create images of various characters. F. Haydn admitted that he always composed music keeping in mind the characteristic types of people. “Mozart’s themes are like an expressive face... You could write a whole book about female images in Mozart’s instrumental music” (V. Medushevsky).

GOLOVIN. Set design for the opera "Boris Godunov"

Artistic and creative task

Listen to excerpts from works by various composers: V.-A. Mozart and S. Prokofiev, A. Borodin and B. Tishchenko, J. Bizet and R. Shchedrin, A. Schnittke and V. Kikty. What portraits of people did you “see” in music? What means of expression give you the opportunity to present the characteristics of the characters and characters?

Make sketches of portraits of characters from your favorite musical compositions and give them a verbal description.

Creative works of students:

Vorontsova Anastasia

After listening W.A. Mozart Symphony No. 6", I imagined the image of a girl who is gentle, kind and affectionate. But suddenly, she is worried and worried about something, but then she finds out something sad and sad. She is upset and speechless.

Peace in Worry

Somewhere on the edge of this life

My soul will be brighter...

And the sleeping thoughts will groan...

Leave, leave quickly...

I break through the window of hearts,

Where does my soul fly now...

Finding peace in anxiety...

So the soul is resurrected again...

After every line written

I remember you alone...

After the phrase there are three eternal dots...

And like a candle I quietly burn out...

You can barely hear the beating of life...

I just don't understand why...

And any movement is deadly...

I will accept it without reserve...

Lorchenko Sergey

After listening to Prokofiev’s “Dance of the Knights,” I imagined a dry clearing in the evening, where there was a lonely old dried tree, and nearby a large stone. And here in this clearing two knights meet, they incinerate each other with evil glances, and so they take out their swords from their knives and a long and deadly fight begins. And the knight wounded his opponent right in the shoulder, he slowly fell to the ground, but the wounded knight found strength and bravely became he did death blow in heart. Wounded in the shoulder, the knight returned home to his children and wife.

Vorontsova Ekaterina

After listening V.A. Mozorta Serenade No. 13, I imagined the image of a reserved and decisive person who shows some kind of sympathy for another person, but tries not to show it. A poem was written about this feeling:

I hide my love for you at the bottom of my soul,

But you still can’t hide it, -

It comes through in everything,

And people notice

And they even ask: “What are you sad about?”

Kanemori Taira

Ulyana Lomakina

IN Symphonies No. 40 by W.A. Mozart"Bold" I “saw” a portrait of a child who never sits still. He jumps, has fun, jumps, runs, frolics. After listening to the work of S.S. Prokofiev’s “Waltz”, I saw a portrait of a man who was also a very perky person. He is captivated by this melody and dances.

Of all the portraits, I would choose a portrait of a child. In this portrait (“Symphony No. 40 by W.A. Mozart”) I see a little girl, about 5-7 years old, playing. The smile never leaves her face, she is very cheerful and sincere. Her eyes seem to fill the gray world around her with fun, her eyes seem to invite us to play with her, forget ourselves and return for a second to childhood.

Lena Novoselova

After listening to the work Mozart's "Lament for Love", I imagined the image of a couple in love, who are in a quarrel, but love each other very much. I imagine how they are fighting: the girl is crying, the guy, barely holding back his tears, is trying to explain the whole situation to her. But she doesn't seem to hear him. And so they decide to break up. They are taking this separation hard. But, when the feelings seem to have passed and thoughts about him or her no longer constantly wander in their heads, they try to find a replacement, but they understand that there is no such or such person in the world anymore. In the hope that he or she will forgive each other, talk again and make up! In the future, I just want to imagine them happy and with several children!

You can part with love,

The pain will disappear little by little,

But only by deceiving myself,

We cannot deceive God.

These are lines from Talkov's song "My Love"....

Danya Vershinina

After listening to the piece Mozart "Turkish March", I saw a parade, a large bright crowd of people, with drums, pipes, horns and other musical instruments. I imagined one young soldier standing at the end of the line, stammering, terribly positive, cheerful, trying to play an instrument. And another person introduced himself, completely opposite to the man, sitting in the stands, a grandfather, a grandfather of about eighty years old, sitting and tears flowing from his eyes, he looks at the young soldier and sees himself....sees himself in his youth....I imagined an ordinary parade, an ordinary parade for our time, for that young man, but very bitter and touching for that sick veteran who defended our Motherland.

Anya Ivashina

After listening to the song W.A. Mozart "Allegro", I imagined some kind of cheerful court ball, many noble people were dancing there, they were having fun, talking and eating. I “saw” a young guy who liked a girl. He didn't dare approach. But, daring and gaining confidence, he approached her and asked for her hand. And then... this very moment... she agrees. Everyone congratulates them, everyone is happy for them.

When I listened to the song S. Prokofiev "Ballet Romeo and Juliet. Dance of the Knights" I imagined the area where the same dance performed by knights takes place. At first there was some tension, and then everything “subsided”. It became calmer.

Of these two portraits, I would choose about knights. This graceful violin playing and amazing organ playing. The compatibility here is amazing! As I already wrote, the dance of the knights takes place there. Clean field. Two knights, before the battle, begin to dance. Starting rough and tense, but continuing slowly and calmly. Their grace, their manner of performance. I liked it very much!

Danil Kalachev

I listened to the piece Prokofiev "Dance of the Knights" I had a vague idea war time in the Middle Ages, columns of knights in forged heavy armor with swords and spears moved into battle with foreigners. Horses pull huge guns behind them. The spirit of martial law appears thanks to the difficult musical instruments: drums, trumpet. The tension of the situation is made clear by the disturbing playing of the violin. In the middle of the work, heavy music gives way to a calm lyrical melody; at that moment I imagined women, old people and children who, with anxiety and love, were accompanying their heroes to war.

Aleshina Katya

After listening to music V.A. Mozart's "Requiem for a Dream", I was presented with a situation: when you go to your cherished dream, you overcome all the difficulties on your way, but suddenly... everything collapses, your dream never came true, it seems this is the end, because this was your goal in life. But sooner or later, every dream either comes true or doesn’t come true, but we shouldn’t be upset if something doesn’t work out for you. After all, when a dream has come true, you look for a new dream, and do everything to fulfill it, although even without doing anything, the dream can suddenly come true, because everyone’s dreams are different.

Malkov Felix

I listened to the music Rodion Shchedrin for the ballet “Anna Karenina” (last act). I imagine a woman who is rushing about in despair, making a choice between life and death, which will instantly end her mental suffering, her shame and condemnation in society. Some important decision is brewing in Anna Karenina, and this is emphasized by the orchestra, in which a real catastrophe is brewing. The power of the music increases, creating an oppressive feeling, foreshadowing something terrible. I imagine a woman driven to the limit and desperately walking towards death, just a moment more and she will take this irreversible step. The music perfectly conveys the approach of the train and, accordingly, the inevitable approach of the tragic denouement. And it happens: the last sounds (the grinding sound of a departing train) make it clear that Anna Karenina’s life was cut short.

The music made a big impression on me Alfred Schnittke "Flight", written for the film "Tale of Wanderings". I imagined a man soaring above the earth, free, in love, wanting to achieve his bright and pure dream. It’s as if he’s waving to us and inviting us to follow him, affirming by his example that every person can fly if they want, everyone who has kindness, hope, sincerity, philanthropy and compassion, in a word, who has a soul! The piercing (sound of violins) and exciting (bells) music of A. Schnittke, like a magic wand, leads us to a world where good reigns and our secret desires come true.

Safronova Natasha

Listening to the oratorio “Nagasaki” by A.G. Schnittke, before my eyes, pass the terrible consequences of the war, the losses that filled the hearts with indescribable sadness of the loss of a loved one.

For this composition. In my opinion, the poems by V.S. Vysotsky “Mass Graves” are the best fit:

On mass graves don't put up crosses,

And widows do not cry for them,

Someone brings bouquets of flowers to them,

And the Eternal Flame is lit.

Here the earth used to rear up,

And now - granite slabs.

There is not a single personal destiny here -

All destinies are merged into one.

And in Eternal Flame a tank on fire is visible,

Burning Russian huts

Burning Smolensk and the burning Reichstag,