Dance the ravel your gigantic dance. There are more complex rules for highlighting hits.
Quest Source: Decision 2952. Unified State Examination 2017. Russian language. I.P. Tsybulko. 36 options.
Task 17. Place all punctuation marks: indicate the number (s) in the place of which (s) should (s) be a comma (s).
Dance (1) Ravel (2) your gigantic (3) dance
Dance (4) Ravel! Cheer up (5) Spaniard!
Spin (6) History (7) cast millstones,
Be a miller's wife in the terrible hour of the surf!
About bolero (8) sacred dance fight!
(N. A. Zabolotsky)
Solution.
In this task, you need to put commas that highlight introductory words or appeals.
1. Find in the text words that answer the question "who, what?". If such a word is in the nominative case, but is not the subject of the sentence, this is an appeal. Separate with commas.
Dance (1) Ravel(2) his gigantic (3) dance (accusative),
Dance (4) Ravel! Cheer up (5) Hispanic!
Spin (6) Story(7) cast millstones (accusative),
Be a miller's wife in the terrible hour of the surf!
ABOUT bolero(8) sacred dance fight!
2. Find introductory words in the text.
There are no introductory words in this passage.
3. We write out the numbers, in the place of which commas should be in the sentence.
In response, we write in numbers without spaces and commas, in any order.
Answer: 1245678 or any sequence of these numbers.
Music lesson in 7th grade
Theme: Paintings folk life. M. Ravel "Bolero"
Target: To introduce students to the composer M. Ravel and his work. Show the relationship of rhythm with other elements of the musical language on the example of the choreographic painting "Bolero" by M. Ravel.
During the classes:
But the people are alive, and their song is alive,
Dance, Ravel, your gigantic dance.
Dance Ravel! Cheer up Spaniard!
Turn, history, cast millstones,
Be a miller's wife in the terrible hour of the surf!
Oh, bolero, sacred battle dance!
N. Zabolotsky.
1. The teacher's story about M. Ravel and his work "Bolero"
Maurice Ravel (03/07/1875-12/28/1937) - French composer. Musical education received at the Paris Conservatoire. During the First World War he was a volunteer in the French army. He lived mainly in Paris and its environs. Like many others outstanding composers he toured a lot as a performer of his works in Europe and America. In 1928 He was elected an honorary doctorate from Oxford University. Character traits his work: frequent reference to Spanish folklore, clarity of thought, elegance, attraction to dance forms and rhythms.
Here is how Ravel himself spoke about music: “ great music, I am convinced of this, always comes from the heart.
Today in the lesson we will get acquainted with one of the works of Ravel - "Bolero". But before we listen, let's find out what this word means? Bolero - spanish dance, a choreographic picture that was created by the composer for famous dancer Ida Rubinstein in 1928 According to the composer himself, the dance action should have unfolded under open sky and necessarily against the backdrop of the plant's scenery, so that the workers and workers of the shops are gradually involved in general dance. Everyone knew, oddly enough, Ravel's predilection for plants and factories. He admired them during his journey. In front of the factories on the road to Vezina, he liked to walk and talk, pointing to the sky: "Factory and Bolero."
Now we will listen to this piece. Try to trace what changes throughout the play and what remains the same? On the sheets I gave you, mark the changes in the music against the words, if you see fit. And also with the numbers 1, 2, 3 mark the names musical instruments who enter and continue main theme dance.
2.Listening to music.
T: What has changed throughout the work, and what has remained unchanged? (children's answers)
Only the dynamics changes, i.e. the volume of the sound, and the key changes at the end of the piece. The tempo remains unchanged and has a bewitching effect on the listener, the melody is repeated in an even, moderate pace and built on the repetition of the same intonation.
famous conductor Toscanini, when performing Bolero, made a noticeable acceleration, to which Ravel himself remarked “only you and no one else are allowed this way!”
W: What's the way?
That's right, major, life-affirming. And the melody also remains unchanged and sounds alternately with different instruments What are these tools, name them.
The beginning floats out of silence, against the background of a barely audible fraction of a snare drum. The flute and bassoon begin the melody, the dynamics gradually increase. New solo instruments - trumpet and saxophone, the sound becomes compact, weighty. The theme is intercepted by violins and at the very end they are joined by a big drum, cymbals and tam-tam.
Tell me how much is here musical images? (one)
That's right, one is the image of Spanish folk dance in great development. If you didn't know it was a dance, what would you imagine while listening to this music? (children's answers)
Pay attention to the epigraph to our lesson. Many researchers saw in "Bolero" tragic scene imminent catastrophe. Remember this essay by Ravel. You will meet him many times in your life. This is one of the favorite works of conductors and listeners.
3. Song performance.
"The Song of Tourists" by K. Molchanov - performance in character by the whole class, optionally by groups. Work on vocal and choral skills.
4. The results of the lesson, assessment.
Place all punctuation marks: indicate the number(s) that should be replaced by a comma(s).
Explanation (see also Rule below).
Let's put punctuation marks.
Commas 1 and 2; 4; 5; 6 and 7; 8 for hits.
The interjection O is not separated from the treatment according to the rules.
Answer: 1245678
Answer: 1245678
Relevance: Current academic year
Difficulty: normal
Codifier section: Punctuation marks in sentences with words and constructions not grammatically related to sentence members
Rule: Introductory words and appeal. Task 18 USE.
Task 18 tests the ability to punctuate words that are not grammatically related to the sentence. These include introductory words (constructions, phrases, sentences), plug-in constructions and appeals.
In the USE 2016-2017, one part of tasks 18 will be presented in the form of a narrative sentence with introductory words
Dacha (1) can be (2) called the cradle from which for each of us began to comprehend the world, at first limited to a garden, then a huge street, then plots and (3) finally (4) the entire country side.
The other part (judging by the demo and the book by I.P. Tsybulko Model Exam Materials 2017) will look like this:
Put punctuation marks: indicate the number (s) in the place of which (s) in the sentence should (s) be a comma (s).
Listen (1) maybe (2) when we leave
Forever this world, where the soul is so cold,
Perhaps (3) in a country where they do not know deceit,
You (4) will be an angel, I will become a demon!
Swear then to forget (5) dear (6)
For old friend all the happiness of heaven!
May (7) the gloomy exile, condemned by fate,
You will be paradise, and you will be the universe to me!
(M.Yu. Lermontov)
Consider the rules and concepts necessary to perform of this type assignments.
17.1 The general concept of introductory words and the basic rule for their selection.
Introductory words are words (or phrases) that are not grammatically related to the sentence and introduce additional semantic shades. For example: Obviously communication with children develops many good qualities in a person; Fortunately the secret remains a secret.
These meanings are conveyed not only by introductory words, but also introductory sentences. For example: evening, Do you remember, the blizzard was angry ... (Pushkin).
Adjoining the input units insert structures which contain various additional remarks, amendments and clarifications. Plug-in constructions, like introductory ones, are not connected with other words in the sentence. They abruptly tear up the offer. For example: Journals of foreign literature (two) I ordered to send to Yalta ; Masha talked to him about Rossini (Rossini was just coming into fashion) about Mozart.
The main mistake of most writers is associated with inaccurate knowledge of the list of introductory words. Therefore, first of all, you should learn which words can be introductory, which groups of introductory words can be distinguished and which words are never introductory.
GROUPS OF INTRODUCTORY WORDS.
1. introductory words expressing the speaker's feelings in connection with what was said: fortunately, unfortunately, unfortunately, to annoyance, to horror, to misfortune, what good ...
2. introductory words expressing the speaker's assessment of the degree of reliability of what he said: of course, undoubtedly, of course, indisputably, obviously, certainly, probably, probably, probably, probably, probably, probably, apparently, apparently, in essence, in fact, I think ... This group of introductory words is the most numerous.
3. introductory words indicating the sequence of thoughts presented and their connection with each other: firstly, so, therefore, in general, means, by the way, further, however, finally, on the one hand… This group is also quite large and treacherous.
4. introductory words indicating the techniques and ways of formulating thoughts: in a word, in other words, in other words, rather, more precisely, so to speak ...
5. introductory words indicating the source of the message: they say, in my opinion, according to ..., according to rumors, according to information ..., according to ..., in my opinion, I remember ...
6. introductory words, which are the speaker's appeal to the interlocutor: you see (whether), you know, understand, forgive, please, agree ...
7. introductory words indicating an assessment of the measure of what is being said: at the most, at least...
8. introductory words showing the degree of commonness of what was said: happens, happens, as usual...
9. introductory words expressing the expressiveness of the statement: joking aside, it's funny to say, to be honest, between us...
17.1. 1 ARE NOT INTRODUCTORY WORDS and therefore the following words are not separated by commas in the letter:
literally, as if, in addition, all of a sudden, after all, here, out, hardly, after all, ultimately, hardly, even, precisely, exclusively, as if, as if, just, meanwhile, almost, therefore, therefore, approximately, approximately, moreover, moreover, simply, decisively, as if ... - this group includes particles and adverbs, which most often turn out to be erroneously isolated as introductory.
according to tradition, according to the advice ..., according to the instructions ..., according to the demand ..., according to the order ..., according to the plan ... - these combinations act as non-separated (not separated by commas) members of the sentence:
On the advice of her older sister, she decided to enter Moscow State University.
By order of the doctor, the patient was put on a strict diet.
17.1. 2 Depending on the context, the same words can act either as introductory words or as members of a sentence.
MAY and MAY BE, SHOULD BE, SEEMS (seemed) act as introductory if they indicate the degree of reliability of the reported:
Maybe, I will come tomorrow? Our teacher has been gone for two days; May be, he is ill. You, should be, for the first time you meet with such a phenomenon. I, Seems, I saw him somewhere.
The same words can be used as predicates:
What can a meeting with you bring me? How can a person be so optional! This should be yours independent decision. All this seems very suspicious to me. Note: you can never throw out its predicate from a sentence, but the introductory word can.
OBVIOUSLY, POSSIBLY, VISIBLY turn out to be introductory if they indicate the degree of reliability of the statement:
You, obviously Do you want to apologize for what you did? Next month I Maybe I'm going to rest. You, it is seen Would you like to tell us the whole truth?
The same words can be included in the predicates:
It became obvious to everyone that another way to solve the problem had to be found. This was made possible thanks to the coordinated actions of the fire brigade. The sun is not visible because of the clouds.
PROBABLY, TRUE, EXACTLY, NATURALLY turn out to be introductory when indicating the degree of reliability of the reported (in this case they are interchangeable or can be replaced by words of this group that are close in meaning) - You, probably (=must be) and you don't understand how important it is to do it on time. You, right, and there is the same Sidorov? She, exactly, was a beauty. All these arguments naturally So far, only our guesses.
The same words turn out to be members of the sentence (circumstances) - He correctly (=correctly, the circumstance of the mode of action) translated the text. I don't know for sure (=probably a modus operandi), but he must have done it to spite me. The student accurately (=correctly) solved the problem. This naturally (=in a natural way) led us to the only correct answer.
BTW is an introductory word if it indicates a connection of thoughts:
He good athlete. By the way He also studies well.
The same word does not act as an introductory word in the meaning of "at the same time":
I'll go for a walk, by the way I'll buy some bread.
BY THE WAY turns out to be an introductory word, indicating the connection of thoughts:
Her parents, friends and, by the way, best friend against travel.
This word can be used as a non-introductory word in the context:
He made a long speech, in which, among other things, he noted that he would soon become our boss.
FIRST of all, as an introductory word, it indicates the connection of thoughts:
First of all(= firstly), is it even necessary to raise such a sensitive topic?
The same word can act as a circumstance of time (=first):
First of all, I want to say hello from your parents.
It must be said that in the same phrase "first of all" can be considered as an introductory, or not, depending on the will of the author.
REALLY, DEFINITELY, DEFINITELY, ACTUALLY will be introductory if they indicate the degree of reliability of the reported:
From this hill really(= exactly, in fact, without any doubt), the most best view. Undoubtedly(=really, really), your child is capable of music. He, undoubtedly read this novel. - or at the reception of the formulation of thoughts - Here, actually and the whole story.
The same words are not introductory if they appear in other meanings:
I really am what you imagined me to be (=really, actually). He was undoubtedly a talented composer (= no doubt, actually). She is certainly right in offering us such a simple way to solve the problem (=very, quite right). I didn't really have anything against the school, but I didn't want to go to this one (= in general, exactly). The words "really" and "unconditionally", depending on the intonation proposed by the speaker, may in the same context be either introductory or not.
AND, Then she turned out to be a celebrity. Further, we will talk about our findings. Thus(=so), our results do not contradict those obtained by other scientists. She is smart, beautiful and, finally she is very kind to me. What, in the end you want from me? Usually sentences containing the above words complete a series of enumerations, the words themselves have the meaning "and more". In the context above, the words "firstly", "secondly", "on the one hand", etc. may occur. "Thus" in the meaning of the introductory word turns out to be not only the completion of the enumeration, but also the conclusion.
The same words are not distinguished as introductory in the meanings: "in this way" = "in this way":
Thus he was able to move the heavy cabinet.
Usually in the previous context there are circumstances of time, for example "at first". "then" = "then, after that":
And then he became a famous scientist.
"Finally" = "in the end, finally, after all, as a result of everything":
Finally, all cases were successfully completed. Usually, in this sense, the particle "-something" can be added to the word "finally", which cannot be done if "finally" is an introductory word. In the same meanings as indicated above for "finally", the combination "in the end" is not an introductory combination:
In the end (=as a result) an agreement was reached.
HOWEVER is introductory if it is in the middle or at the end of a sentence:
Rain, however, has been going on for the second week, despite the forecasts of weather forecasters. How I deftly do it, however!
"However" is not introductory at the beginning of a sentence and at the beginning of a part complex sentence when it acts as an adversarial conjunction (=but): However, people did not want to believe in his good intentions. We did not hope to meet, but we were lucky.
We draw attention to the fact that sometimes the word “however” can also be at the beginning of a sentence, but does not perform the function of a union: However, it's incredibly difficult.
IN GENERAL is introductory in the sense of "generally speaking" when it indicates the way thoughts are framed:
His works, at all, is of interest only to a narrow circle of specialists. In other senses, the word "in general" is an adverb in the sense of "in general, completely, in all respects, under all conditions, always":
Ostrovsky is to the Russian theater what Pushkin is to literature in general. Under the new law, smoking in the workplace is generally prohibited.
MY, YOUR, OUR, YOUR are introductory, indicating the source of the message:
Your child, In my, caught a cold. This, In your, proves something? The word "in his own way" is not introductory: He is right in his own way.
OF COURSE is most often introductory, indicating the degree of reliability of the statement:
We, Certainly ready to help you with everything.
Sometimes this word is not isolated if intonation is distinguished by a tone of confidence, conviction. In this case, the word "of course" is considered an amplifying particle: I certainly would agree if you warned me in advance.
In any case, it is more often introductory and is used to evaluate:
I, anyway I don't want to be reminded of it. These words, anyway testify to the seriousness of his attitude to life.
In the meaning of "always, under any circumstances" this combination is not introductory:
I anyway was supposed to meet him today and talk to him.
IN REALLY, it is NOT introductory more often, speaking in the meaning of "really" - Petya is really well versed in computers. I really don't belong here. Less often, this phrase turns out to be introductory if it serves to express bewilderment, indignation - What are you, Indeed, are you making a smart guy out of yourself?
In turn, it can be introductory when it indicates the connection of thoughts or the way the thought is formed:
Among the many contemporary writers interest is Vladimir Sorokin, and among his books, in its turn, you can highlight the "Roman". Asking me to help him with his work, he, in its turn, also did not mess around. The same phrase can be non-introductory in the meanings "in response", "on my part" (= when the turn comes) - Masha, in turn, told about how she spent the summer.
MEAN is introductory if it can be replaced by the words "therefore", "therefore":
The message is complex Means, it must be submitted today. The rain has already stopped Means we can go for a walk. If she fights us so hard Means she feels right.
This word may turn out to be a predicate, close in meaning to "means":
The dog means more to him than the wife. When you are truly friends with a person, it means that you trust him in everything. "So" can be between the subject and the predicate, especially when they are expressed in infinitives. In this case, the "mean" is preceded by a dash:
To be offended means to recognize oneself as weak. To be friends means to trust your friend.
ON the contrary, it is introductory if it indicates a connection of thoughts:
He didn't mean to hurt her, uh vice versa tried to ask her forgiveness. Instead of playing sports, she, vice versa sitting at home all day.
The combination "and vice versa" is not an introductory combination, which can act as homogeneous member sentences, it is used as a word that replaces the whole sentence or part of it:
In the spring, girls change: brunettes become blondes and vice versa (i.e. blondes become brunettes). The more you study, the higher marks you get, and vice versa (i.e. if you study a little, the marks will be bad; the comma before "and" appears at the end of the part of the sentence - it turns out, as it were, a compound sentence, where "on the contrary" replaces its second Part). I know that he will fulfill my request and vice versa (i.e. I will fulfill it, there is no comma before "and", since "vice versa" replaces a homogeneous clause).
It is AT LEAST introductory if the score matters:
Misha, at least, knows how to behave, and does not pick his teeth with a fork.
This phrase can be used in the meanings "not less than", "the least", then it is not isolated:
At least she would know that her father did not live in vain. At least five of the class must take part in cross-country skiing.
FROM THE POINT OF VIEW is introductory in the sense of "according to":
From my grandmother's point of view, the girl should not wear pants. her answer, from the point of view of the examiners worthy of the highest praise.
The same turnover can have the meaning "in relation to" and then it is not introductory:
Work is progressing according to plan in terms of timelines. If we evaluate the behavior of the heroes of some literary works from point of view modern morality, then it should be considered immoral.
IN PARTICULAR, it stands out as introductory if it indicates the connection of thoughts in the statement: She is interested, in particular, the question of the contribution of this scientist to the development of the theory of relativity. The firm accepts Active participation in charitable work and in particular, helps orphanage № 187.
If the combination IN PARTICULAR turned out to be at the beginning or at the end of the connecting structure, then it is not separated from this structure (this will be discussed in more detail in the next section):
I love books about animals, especially about dogs. My friends, in particular Masha and Vadim, vacationed this summer in Spain. The indicated combination is not distinguished as an introductory one if it is connected by the union "and" with the word "generally":
The conversation turned to politics in general and the latest government decisions in particular.
MAINLY it is introductory, when it serves to evaluate some fact, highlight it in the statement: The textbook should be rewritten and, mainly, add such chapters to it ... The room was used for solemn occasions And, mainly for the organization of ceremonial dinners.
This combination may be part of the connecting construction, in which case, if it is at its beginning or end, it is not separated from the construction itself by a comma:
Many Russian people mainly intellectuals did not believe the promises of the government.
In the meaning of "first of all", "most of all", this combination is not introductory and is not isolated:
He was afraid of writing mainly because of his illiteracy. What I like most about him is his relationship with his parents.
FOR EXAMPLE will always be introductory, but is formatted differently. It can be separated by commas on both sides:
Pavel Petrovich is a person who is extremely attentive to his appearance, For example He takes good care of his nails. If "for example" appears at the beginning or at the end of an already isolated member, then it is not separated from this turnover by a comma:
In many big cities, For example in Moscow, unfavorable ecological situation. Some works of Russian writers, For example"Eugene Onegin" or "War and Peace", served as the basis for the creation feature films not only in Russia, but also in other countries. In addition, after "for example" there can be a colon, if "for example" is after the generalizing word before a number of homogeneous members:
Some fruits can cause allergies, For example: oranges, tangerines, pineapple, red berries.
17.1.3 There are special cases of punctuation in introductory words.
To highlight introductory words and sentences, not only commas, but also dashes, as well as combinations of dashes and commas, can be used.
These cases are not included in the course. high school and are not used in the exam tasks. But some turns, often used, need to be remembered. Here are some examples from Rosenthal's Punctuation Guide.
So, if the introductory combination forms an incomplete construction (any word restored from the context is missing), then it is highlighted with a comma and a dash: Makarenko repeatedly emphasized that pedagogy is based On the one side, on boundless trust in a person, and with another- on high requirements to it; Chichikov ordered to stop for two reasons: On the one side to give the horses a rest, with another- to relax and refresh yourself(the comma before the subordinate clause is "absorbed" by the dash); On the one side, it was important to make an urgent decision, but caution was required - with another.
17.2 The general concept of treatment and the basic rule for its selection.
First included in USE assignments in 2016-2017. Students will have to look for appeals in poetic works, which greatly complicates the task.
Addresses are words that name the person to whom the speech is addressed. The call has the form nominative case and pronounced with a special intonation: Tatiana, dear Tatiana! With you now I shed tears. Addresses are usually expressed by animate nouns, as well as adjectives and participles in the meaning of nouns. For example: Use life living . IN artistic speech nouns can also be inanimate nouns. For example: Noise, noise obedient sail ; Don't make noise rye, ripe ear.
Personal pronouns You And You, as a rule, act not in the role of appeal, and as a subject: Sorry, peaceful valleys, and you , familiar mountain peaks, and you , familiar woods!
17.1.2. There are also more complex rules for selecting hits.
1. If the appeal at the beginning of the sentence is pronounced with an exclamatory intonation, then an exclamation mark is placed after it (the word following the appeal is capitalized): Old man! Forget about the past; A young native of Naples! What did you leave on the field in Russia?
2. If the appeal is at the end of the sentence, then a comma is placed before it, and after it - the punctuation mark that is required by the content and intonation of the sentence: Think master of culture; hello to you people of peaceful labor!; Are you here, cute?; You are a pig brother…
3.Duplicate calls are separated by a comma or exclamation mark: The steppe is wide, the steppe is deserted Why are you looking so cloudy?; Hello, wind, stormy wind, tailwind world history! ; Vaska! Vaska! Vaska! Great!
4. Homogeneous appeals connected by a union And or Yes, do not separate with a comma: sing along people, cities and rivers! sing along mountains, steppes and fields!; Hello, sunshine and happy morning!
5. If there are several appeals to one person who are in different places sentences, each of which is separated by commas: Ivan Ilyich, dispose, brother, about snacks; ... I therefore Thomas, isn't it better Brother, breake down?
6. If the common appeal is “broken” by other words - members of the sentence, then each part of the appeal is separated by commas general rule: Stronger equine, bey, hoof, chasing a step! ; For blood and tears, thirsting for retribution we see you forty one year.
This is certainly not a song, but the cycle is named so, but I want to remember this work. The reason for the extraordinary popularity of Ravel's Bolero is the hypnotic effect of a rhythmic figure that is unchanged many times, against which the two themes are also repeated many times, demonstrating an extraordinary increase in emotional tension and introducing more and more new instruments into the sound.Ravel's bolero." src="http://mtdata.ru/u24/photo33FF/20457091642-0/big.jpeg#20457091642" alt="The story of one song. Ravel's bolero." width="649" height="823" />
!} So, Ravel, let's dance the bolero! We owe the birth of this work to the interweaving of two life lines in the fate of Ravel, this Frenchman - the Spanish lines and, oddly enough ... Russian. Ravel's Russian connections gave an external impetus to writing the second part of this ballet performance. Spanish - by the inner force that prompted Ravel to write exactly "Bolero", in other words, again, as he had done more than once, turn to the Spanish theme, Spanish folklore, try to convey the Spanish spirit and color.
For those who will not change music to a pen,
There is an original holiday in this world -
The chant of bagpipes is meager and sad
And this dance of slow peasants...
Spain! I'm drunk on you again!
Having cherished the flower of a sublime dream,
Again your image burns before me
Far beyond the Pyrenees!
Alas, tormented Madrid fell silent,
All in the echoes of a passing storm,
And there is no Dolores Ibarruri with him!
But the people are alive and their song is alive.
Dance, Ravel, your gigantic dance.
Dance Ravel! Cheer up Spaniard!
Turn, History, cast millstones,
Be a miller's wife in the terrible hour of the surf!
Oh, bolero, sacred battle dance!
Nikolay Zabolotsky
Already long years Ravel is associated with figures of Russian culture, especially with composers who conquered Paris in the early 900s. It is, first of all, Russian theatrical figure Sergei Pavlovich Diaghilev with his "Russian Ballet" and "Russian Seasons" in Paris. It was on the order of Diaghilev that Ravel wrote the ballet Daphnis and Chloe back in 1912. Ravel was inspired to write Bolero by Ida Rubinstein.
Ida Rubinstein decided to perform on the stage of the Grand Opera in Paris a choreographic composition to the music of Ravel's already written "Waltz". But this one orchestral piece in order to introduce it to theatrical performance, was not enough. And then she turned to Ravel with a request that he write another work for this production. It was decided that it would be "Bolero".
According to some sources, the bolero dance was created by the Spanish dancer Sebastiano Cerezo around 1780. Although it has always been in tripartite proportions, it is in different time divided in different ways: three equal shares in the first measure (three quarters, if expressed in a professional musical language), then on the strong beat of the next measure, a stop (dotted quarter note) and three short notes (eighth notes). One of the rhythmic variants of the bolero: the first measure is divided into short notes; in this case there are six of them (eighth notes), and instead of the first note there is a pause. The second cycle is the same as in the first version.
Subsequently, crushing becomes even finer. The pace of the classic bolero is moderate, one might even say restrained.
The movement is complete inner strength and passion. Such a bolero is danced to the accompaniment of a guitar and a drum, and the dancers themselves beat additionally complex rhythmic figures on castanets, interwoven into an unusually whimsical pattern. There are many varieties of bolero, characteristic for different areas Spain.
The paradox, however, is that none of these options match the rhythmic structure of Ravel's Bolero. To the remark of one musician (Cuban pianist and composer Joaquin Nin), Ravel replied: "It does not matter." "Of course, - agrees with Ravel René Chalu, the publisher of the composer's letters. - And yet the work, which is so popular and has won the whole world, is hardly accepted by the Spanish audience - solely because of the title." The circumstance noted above gives, by the way, a reason to think about the problem of authenticity or, as they say now, authenticity, " national flavor"in works on a national plot written by foreign composers. What is perceived in the outside world as a kind of musical emblem of a particular country is by no means always such for the inhabitants of this country itself.
As for the Spanish bolero itself, this dance inspired not only Ravel. Bolero was written by Beethoven (the processing of the bolero is included in his cycle "Songs different peoples"- Notebook 1, No. 19 and 20). This dance is included in operas and ballets - "The Blind of Toledo" by Megul, "Preciosa" by Weber, "Black Domino" and "The Silent from Portici" by Aubert, "Benvenuto Cellini" by Berlioz, " Swan Lake"Tchaikovsky and "Coppelia" by Delibes. Glinka, with his passion for Spain, used the bolero in his songs and romances ("Winner" "Oh, my wonderful maiden"). with a polonaise rhythm), Chopin wrote a piano piece called "Bolero" (Op. 19), but despite such a crop of boleros in European music, the first association that arises with this dance is, of course, Ravel's "Bolero".
At first it was a kind of composer's experiment: what effect can be achieved with the help of only one composer's means - orchestration. After all, a play that runs for fifteen minutes (a lot, in order to keep the listener's attention in constant tension), is built on only two persistently repeated themes without any development. In addition, there are no modulations in it, that is, transitions to different keys, in other words, changes in harmonic colors. And, finally, Ravel puts a hard limit on the tempo - according to the composer's intention, it should remain unchanged throughout the entire work.
So, "Bolero" is Ravel's real composer's trick. The composer himself described his work as follows: “This is a dance at a very restrained pace, completely unchanged both melodically, harmonically and rhythmically, and the rhythm is continuously beaten by the drum. The only element of diversity is introduced by the orchestral crescendo. for this dance.
Premiere of "Bolero" as ballet performance took place in Paris on November 20, 1928. Danced by Ida Rubinstein, scenery painted Alexander Benois. The triumph was complete. Here is the testimony of one of the eyewitnesses: “A dimly lit room in a Spanish tavern; along the walls, in the dark, revelers are talking at tables; in the middle of the room there is a large table, on which the dancer begins to dance ... The revelers do not pay attention to her, but gradually begin to listen, They are more and more animated by the obsession with rhythm, they rise from their seats, approach the table, unusually excited, they surround the dancer, who ends her performance in triumph. On that evening in 1928, we ourselves felt like these revelers. At first we did not understand that is happening, and only then realized ... ".
It must be said that although this scenario was, of course, agreed with Ravel, the composer himself had a different idea of what he depicted with sounds. The main difference was that, according to Ravel's plan, the action was to take place on outdoors. Moreover, Ravel knew exactly where (and this should have been reflected in the scenery) - against the backdrop of the wall of the factory building! An unexpected and seemingly strange artistic decision. But if you know the circumstances of Ravel's biography, you won't be surprised. The composer has always had a passion for the industrial landscape. He admired the factories in Belgium and the Rhineland, which he saw when at one time - in the summer of 1905 - he traveled on board the yacht Aime. One statement by Ravel on this subject: “What I saw yesterday stuck in my memory and will remain forever, like the port of Antwerp. After a boring day on a wide river, between hopelessly flat, inexpressive banks, opens whole city pipes, bulks spewing flames and clouds of reddish and blue smoke. This is Haum, a giant foundry that employs 24,000 workers around the clock. Since Ruhrort is too far away, we moor here. So much the better, otherwise we would not have seen this amazing spectacle. We caught up with the factories when it was already getting dark. How can I convey to you the impression of this realm of metal, these blazing cathedrals, this wonderful symphony of whistles, the noise of drive belts, the roar of hammers that fall on you! Above them - a red, dark and flaming sky, In addition, a thunderstorm broke out. We returned terribly wet, in different moods: Ida was depressed and almost cried, I was also ready to cry, but with delight. How musical it all is!.. I will certainly use it."
The factory that Ravel imagined in "Bolero" actually existed and was located not far from the place where the composer bought a small house near Paris, which he called Belvedere. Walking here with friends, Ravel often said, pointing to this factory: "Factory from" Bolero "".
Leon Leiritz, artist, sculptor and decorator, a close friend of Ravel, made a model of the scenery for "Bolero". This layout was demonstrated at the Salon of Decorators during the composer's lifetime and received his full approval. Knowing this, the directorate of the Grad-Opera, staging "Bolero" after Ravel's death, entrusted Leitrits with the design of the performance. Serge Lifar, choreographer of Diaghilev's Russian Seasons, and at the time of this production (1938) former chief choreographer of the Opera, strongly protested against this plant. But the composer's brother Eduard Ravel, who knew well the artistic intentions of the author, showed firmness and threatened that he would not give permission for the production if his brother's will was not fulfilled. Ravel's will was carried out and the success was complete.
Spain, plant, bolero torero... (French Ravel). Involuntarily, another row arises in the mind: Spain, a tobacco factory, a habanera, a bullfighter ... Of course, "Carmen" (Bizet's Frenchman).
The life of "Bolero" as a brilliant orchestral, and not just a ballet stage piece, was given by Aturo Toscanini. 1930 Toscanini is preparing a performance of "Bolero" in Paris. At the same time, "Bolero" is conducted by Ravel himself. The composer, as already mentioned, gave a very great importance to ensure that the tempo of the piece is kept constant from beginning to end. It is this - with the continuously growing sound of the orchestra and the ostinato (that is, also continuous) beating the same rhythmic figure by the drum - that has a hypnotic effect on the listeners. And so, Ravel came to the rehearsal of Toscanini. famous conductor throughout the play made a noticeable acceleration. Then Ravel went up to the stage and drew the attention of the conductor to this. Toscanini answered very calmly and in a strong Italian accent: "You don't understand anything about your music. It the only way make her listen." "After the concert at which Toscanini repeated this acceleration," I quote René Chalu, "Ravel decided not to go to his dressing room with congratulations, but the Portuguese conductor Freitas Branco, who was in the hall, persuaded Ravel not to attract everyone's attention with such unkindness. Ravel allowed himself to be convinced, but, shaking hands with the maestro, he said to him: "Only you are allowed to do this! And no one else!" He did not want - and he was quite right - to establish a false tradition of performance among the musicians. However, contrary to Toscanini's opinion, the audience listened to "Bolero" without any acceleration of the tempo, and how they listened!"
The famous "Bolero" by Ravel found its embodiment in dance in the choreography of Maurice Béjart. Performed by Maya Plisetskaya and the troupe of Maurice Béjart "Ballet of the 20th century", Brussels Orchestra Royal Theater de la Monnet.
Bolero / Maurice Ravel - Bolero
Bolero | Maurice Ravel | Gran Gala of Dance Paris | Maurice Bejart
Using articleAlexander Maykapar
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