Portrait in musical works list. Musical portrait

Musical portraits of opera characters

Researchers agree that literary text and the music of the opera “St. Petersburg Gostiny Dvor” are in agreement, surprising for the development of art of that time. The music echoes the statements of the heroes of the comedy, skillfully reproducing the intonations of live speech - the cries of merchants and buyers in the shopping arcades. In this regard, Levasheva’s remark is interesting. She believes that the musical language of the opera “is of interest as one of the first remarkable experiments in creating a recitative, declamatory vocal style.”

The opera has an incredibly large number of characters for that time - 23 1. Many of them receive independent characteristics. Such an abundance of characters makes it difficult to analyze the portraits of the opera's characters. In this regard, for greater convenience of presentation, the characters will be combined into groups according to the principle of significance. First of all, we should highlight the main characters around whom the main conflict of the opera revolves. This is the merchant Skvalygin and the clerk Kryuchkodey. They are joined by Skvaligin's wife Solomonida and daughter Khavronya. Thus, the group of primary characters, to whom the second paragraph of the main part will be devoted, includes representatives of the same family (if we assume that Kryuchkodey is Khavronya’s fiancé).

The second group of characters consists of other representatives merchant environment. These are the merchants Pereboev, Protorguev, Razzhivin and Smekalin, who are debtors to Skvaligin. This also includes Skvaligin’s nephew, the merchant Khvalimov, as well as such minor characters as Officer Pryamikov, debtor Shchepetkova, creditor Krepyshkina, widow with children and other episodic characters.

Musical portraits of the main characters of the opera

The leading character of the opera, around whom the main intrigue revolves, is the merchant Ferapont Pafnutievich Skvalygin. Of the twenty issues depicting the life and everyday life of the merchants, Skvalygin participates in twelve 1 . At the same time, he has three solo statements that give the hero a versatile characterization.

All three arias are similar in musical means of expression. They are united by the moving flow of music, 2/4 time signature and G major key. Musical themes are intonationally close to each other 2. In the arias, due to the two-beat meter and elastic rhythm, the strong-willed qualities of the merchant, his lively, active character, aimed at enrichment, are revealed. Tonal unity in in this case does not contain any semantic meaning. Most likely, the key of G major was convenient for the first performer of the role of Skvalygin.

The merchant’s first aria, “Cut the slices,” according to Levashev, is an “aria of action.” Skvalygin gives instructions to his wife before guests arrive for the wedding, teaching her to be thrifty. Musical solution this number is typical for comic characters opera buffa. The use of short speech cues, the repetition of an unpretentious melody maintained in even durations, and fast pace create a comedic effect. In this case, there is a correspondence between the word and the music - melodic and rhythmic accents fall on the key words of the text:

At the moment when the debtor Shchepetkova and the creditor Krepyshkina come to the merchant’s house for the silver left as collateral, Skvalygin sings the aria “This is what the light has become now.” This solo statement of the hero has all the signs of an “aria of exposure.” The chosen leisurely pace of Moderato is suitable for an expressive, indignant monologue. A dotted rhythm appears in Skvaligin’s melody. Bassoons and first violins duplicate the melodic and rhythmic relief of the vocal part. The hero tries to portray sincere surprise and disappointment at the “injustice” reigning in the world:

But only the first two phrases have this sound; then, to the words “He’s messing with us with his speeches,” the buffoon patter, already familiar from the first aria, appears, and all the veneer of seriousness and indignation disappears:

Under number twenty-six, another solo statement by Skvaligin sounds - the aria “Everyone knows how to live like this.” It belongs to the popular opera XVIII literature centuries of the “characteristic aria” type. Here the hero himself talks about himself, outlining his life position. The music of this number is playful and carefree. It is based on dance rhythm Krakowiak with a characteristic shift of emphasis from a strong beat to a weak one. Throughout the entire aria, the last eighth of the bar is emphasized by the bright dynamics and trill of the first violins. Horns almost always enter on the second eighth of the bar and highlight weak share bright sonority (Forte):

Thus, all three of Skvaligin’s arias are similar in musical means of expression. They are united by the moving flow of music, 2/4 time signature and G major key. Musical themes are intonationally close to each other 2. In the arias, due to the two-beat meter and elastic rhythm, the strong-willed qualities of the merchant, his lively, active character, aimed at enrichment, are revealed. Tonal unity in this case does not contain any semantic meaning. Most likely, the key of G major was convenient for the first performer of the role of Skvalygin.

Ensemble scenes add apt touches to Skvaligin’s portrait. In general, ensembles predominate in opera (12), Skvalygin participates in nine of them. Most of them are “quarrel ensembles.” Such are, for example, the scenes of Skvaligin with the ladies (I d. No. 9), with poor merchants (III d. No. 19, 20) and two duets with Khvalimov (I d. No. 3, 4).

The two above-mentioned ensembles of Skvalygin and Khvalimov from the first act are meaningfully and dramatically close to the rich merchant’s aria from the third act “Everyone knows how to live like this.” We can say that they anticipate this solo statement, because in the dispute with Khvalimov they formulated for the first time life positions Skvaligina.

The duet “Be ashamed, part” is rapidly unfolding. The vocal parts of the ensemble members are intonationally close. Khvalimov’s initial phrase is repeated by Skvalygin at a different height, then the expressive recitative intonations of a furious argument penetrate into their parts. Such melodic unity suggests that the characters experience the same feeling of amazement and disagreement with each other’s opinions.

Skvalygin receives a slightly different musical description in the trio “We will just watch and have fun,” since his like-minded people - his wife Solomonida and his future son-in-law Kryuchkodey - participate in the ensemble. The heroes are inspired by the general idea of ​​enrichment, but even in this situation Skvalygin is somewhat opposed to the rest of the ensemble members. This disunity is outlined in the second sentence of the initial period, where Skvalygin enters later than the others and sings the general text, but belatedly:

A clear manifestation of this technique is found in the middle section, in which Skvalygin solo performs a text that clearly characterizes him as a greedy person, carried away by the thought of profit and wealth 1:

I'll keep watch myself

I won't sleep at night.

In that fun I find fun,

Millions to save.

The above lines paint a portrait of a person for whom the meaning of life lies in wealth. But the rest of the ensemble members consider money only a means to achieve another goal, which will be discussed later, and therefore do not echo Skvalyagin’s vocal part. However, the literary opposition of Skvalygin to Solomonida and Kryuchkodey in the middle part of the number does not find a vivid embodiment in music - the parts of all ensemble members are the same

The first act of the opera ends with the trio “I announce to you ahead,” in which Skvalygin and two ladies who came for their goods participate. The stage situation prepares the listener for a conflict conversation - an “ensemble-quarrel”. The espressivo stage direction and movement in small fractional durations in the accompaniment at the fast tempo of Allegro set the tone for the intense tone of the sound. Skvalygin zealously defends his wealth; his vocal part is based on the sounds of triads, which shows the merchant’s firmness and confidence in his words. In the second section of the ensemble, where Skvalygin addresses each of the ladies in turn, a dotted rhythm appears in the vocal part. This ensemble reveals new facet the image of the merchant as a selfless, even to the point of comic effect, defender of his wealth.

The second act removes the conflict, transferring the listener’s attention to the ritual and everyday sphere. But already at the very beginning of the third act, the emotional sphere of the first act returns. The plot takes place in a shopping mall Gostiny Dvor, where Skvalygin comes to demand the return of debts from small merchants. The two ensemble scenes that follow one after the other, “Well, my friend” and “Give me a raise for the shop,” like the previous number, belong to the “quarrel ensemble” type. But if in the trio “I announce to you ahead” Skvalygin defended himself from the attacks of the ladies, then here, feeling himself the master of the situation, the merchant himself is the instigator of the conflict.

The ensemble “Well, my friend” is not preceded by a conversational episode; the act immediately begins with musical number. Skvalygin leaves his shop and, alternately approaching Razzhivin and Protorguev, starts a conversation about debts. Under the influence of the stage situation, which develops at the moment of ensemble singing, a very free and organic form takes shape (alternating a pair of periodicities with subsequent “closure” - ab ab c).

By means of music, the composer aggravates the conflicting nature of the dialogues, due to tonal opposition. Skvalygin’s part is set out in his “leittonality” - G major. The hero feels very comfortable because the current situation is beneficial to him. The poor merchants seem to adapt to the height taken by Skvalygin, but the joyless mood changes the modal coloring of their statements - they respond to the “oppressor” in the G minor of the same name.

The melodic pattern of Skvaligin’s part is built from short cues that are “finished” by the orchestra. The melody is based on a major tonic triad, which gives a confident tone to the statements of a large merchant:

The trio of Skvaligin, Pereboev and Smekalin “Give me an increase for the shop” is built on the same principle as the previous one, therefore the means of characterizing the rich merchant remain the same.

Skvalygin participates in three large ensemble scenes: the sextet “We beat our heads for a treat”, which ends the second act, the sextet from the third act “Honest Gentlemen” and the final octet with the choir “Reign, Holy Truth”. The named ensembles are “ensembles of agreement”, they relieve the open tension of “ensembles-quarrels”, slow down the development of action, and two of them serve as the finale. These numbers complement the characterization of the hero, revealing new facets of his image.

The sextet “We beat our heads for a treat” refers to a type of “ensemble of agreement” - “ensemble of farewell”. All characters divided into guests who thank you for the reception, and hosts who invite you to continue wedding ceremony. Trying to pretend to be a hospitable host, Skvalygin, who is accustomed to subjugating everyone to his will, communicates with the guests in an orderly tone, and the invitation from his lips sounds threatening.

The sextet “Honest Gentlemen” is interesting from the point of view of plot development. Skvalygin and Kryuchkodey turn to the merchants with an invitation to attend the wedding feast. The merchants, confused - the politeness of the two villains frightens them - decide whether to succumb to persuasion dangerous people. As a result, the scene becomes two-dimensional: on the one hand, the invitation of Skvaligin and Kryuchkodey, on the other, heated disputes between the merchants.

Summing up the analysis of Skvalygin’s musical portrait, we can say that he receives a complete and comprehensive description. At the same time, the merchant is not presented one-sidedly in the opera; the qualities of the character are revealed during the action of the opera. Skvalygin is depicted in various living conditions, and each time he receives new musical touches to his portrait. Thrifty home owner zealous defender his property, a ruthless moneylender - all these facets of Skvalygin’s image have a musical embodiment. But one feature of the depiction can be highlighted this character- Skvalygin is alone and opposed to all the other characters - imaginary allies betray him at the right opportunity. Perhaps in this way the authors of the opera wanted to convey to the listener a simple truth about one of the greatest riches in the world - about friends. As it says folk wisdom: “Don’t have a hundred rubles, but have a hundred friends.”

According to the plot of the opera, the personality of Skvalygin is closely connected with such a character as the retired registrar Kryuchkodey, who also receives a bright, versatile characterization in the opera. He has two solo statements: the aria “Oh, what a time these days” and the aria from the third act “I deliberately made this sample in front of you.”

According to the plot, in his second aria, “I made this sample on purpose in front of you,” Kryuchkodey boasts to Skvalygin how cleverly he knows how to deceive people. In terms of content, this statement is a “characteristic aria.” It is indicative with what words Kryuchkodey characterizes himself: “I am a hook. I'm a bitch. Boorish. Amka. I'm a top. I'm nitpicking. I'm hanging on." These words are accompanied by a characteristic winding melody, as if drawing “hooks”:

Kryuchkodey’s first aria, “Oh, what a time it is now,” is close in type to the “complaint aria.” The mournful, minor coloring of the music parodies the style of lyrical expression, which creates comic effect. The melody repeats the same turn, acquiring an obsessive character. The solo statement of Kryuchkodey is accompanied by flutes, which with their coldish timbre emphasize the callousness and heartlessness of the character. The text contains a hint of another vice not alien to the scribes - drunkenness:

My dear, zucchini:

The burner is burning, burning,

That scribes have little income,

It’s too small and she’s running out of money.

Confirmation of this idea can be found in the trio “We will just watch and have fun.” Kryukdey in the central section of the ensemble, together with Solomonida, glorifies wealth as a symbol of idleness and continuous drunkenness.

In the sextets “We hit with our heads for a treat” and “Honest Gentlemen”, Kryuchkodey’s part approaches in style the statements of Skvaligin, which shows the flexibility and duplicity of Kryuchkodey’s character, capable of adapting, when it is advantageous, to a stronger and more powerful person.

Kryuchkodey's solo and ensemble statements are very expressive and at the same time are not similar to each other in terms of musical expressiveness. The only thing that is constantly present in the clerk's parts is the deliberately exaggerated mechanicalness of the movement of the music at a fast tempo and three-beat meter. The melody with its emphatically sharp musical intonation clearly paints a portrait of a picky, harmful official.

The musical portrait of Skvaligin's wife Solomonida is expressive. Almost all vocal numbers, in which she participates, outline her vicious addiction to alcohol. One may recall the remark of the everyday life writer Pylyaev about merchants’ wives: “The merchants’ wives did not drink beer or play checkers, but the mistress of the house quietly took her guest to the bedroom, as if for a conversation, and secretly brought her a glass there until she got drunk.” .

Solomonida has one solo statement. The opera opens with a conversational dialogue with Skvalygin about the upcoming wedding, which develops into Solomonida’s aria “My Dear Hubby.”

Aria gives an ambiguous portrait of a merchant's wife. On the one hand, in communication with her husband she manifests herself as an obedient wife. Soft, affectionately pleading, seemingly apologetic intonations of the melody combined with at a moderate pace and in muted sonority they characterize a person who knows his “sins”:

Allegro moderato

But unexpectedly last words Each stanza ends with a sharp dynamic increase, sounding affirmative, assertive and persistent.

In the second part of the aria, due to the fragmentation of durations (eighths and quarters are replaced by sixteenths and eighths), the effect of accelerating movement occurs, and a dynamic development is outlined towards the end of number 1. The orchestra, slowly following the melody throughout the entire number and intertwining it with echoes, sounds brightly in forte at the end.

The comments to the score indicate that the melody of the aria is based on the theme of the folk girl’s song “I Walk in the Svetlitsa” and was borrowed by the authors either from Trutovsky’s collection, where it is placed under No. 27, or from the Lvov-Pracha collection (No. 54). ABOUT folk origin This theme is indicated by its non-square structure (6 bars), and the melody itself, harmonized within classical harmony, is losing its folk flavor.

Thus, we can conclude that, despite the canons of classicist drama about the one-dimensionality of character characteristics, the main characters of the opera are presented in many ways. For the most part they are characterized through solo vocal utterances. The combination of all the musical characteristics of the characters in a number of solo and ensemble statements contributes to the creation of a bright, convex portrait.

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.

Purpose of the lesson: to deepen students’ understanding of the visual properties of music with the help comparative analysis 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 development 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 the arts - 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;

Nurturing moral and patriotic qualities in students through history home country, 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, ic.

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 attitude children to class.

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 art 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 outstanding 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.

Musical portrait- this is a description of the character of the hero through music. Expressiveness and figurative power of intonation are inextricably interconnected in it. musical language. A musical portrait is special. After all, this is a portrait of a person’s inner world (his feelings, thoughts, moods, character), which 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 musical speech of the hero so as to imagine him 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 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, the fast tempo, 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 “to a girl, almost a girl, who quickly and energetically entered into the complex structure of the 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 work in 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, world famous theatrical 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 musical art she was taught 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.

Municipal educational institution

Bolshevo Secondary School No. 6

with in-depth study of subjects

artistic and aesthetic cycle

__________________________________________________________

"Musical Portrait"

Open lesson in 6th grade

During the seminar

“Creative development of personality in the lessons of HEC”

Music teacher

Shpineva V.I.,

Korolev

2007

Lesson TOPIC: Musical portrait (6th grade).

The purpose of the lesson : formation in students of the concept of a musical portrait and artistic means of creating a portrait in various types of art.

Tasks:

expanding the general cultural horizons of students;

formation of a culture of singing;

the formation of a deep, conscious perception of works of art;

development of artistic taste;

nurturing creative activity.

Lesson form : integrated lesson.

Equipment : piano, music Center, reproductions of paintings, projector, screen.

DURING THE CLASSES.

Organizing time. Musical greeting.

Teacher. Guys! You and I have already seen more than once how diverse the world of art is. Today we will talk about one of the genres of art – portraiture.

What are the features of this genre?

In what types of art can you create a portrait?

Give examples.

Students answer questions and give their own examples.

Teacher. The outstanding Italian painter, sculptor, architect, scientist, engineer Leonardo da Vinci said that “painting and music are like sisters, they are desired and understood by everyone.” After all, you may not know the language that Beethoven or Raphael spoke, you just need to watch, listen and think...

Continuing this thought, I would now like to invite you to consider a reproduction of the painting “The Swan Princess” by the Russian artist M.A. Vrubel.On the screen is a slide “The Swan Princess” by M. A. Vrubel.

Questions about the painting :

Describe the Swan Princess by Mikhail Vrubel.

What artistic means does the artist use?

What impression does this picture make on you?

Students answer questions emphasize the mystery, proud beauty of the fairy-tale bird girl, and celebrate the extraordinary gift of the painter who created the portrait of the fantastic creature. This is a fabulous bird girl, whose majestic beauty is characteristic folk tales. Her eyes are wide open, as if she sees everything today and tomorrow. Her lips are closed: it seems that she wants to say something, but is silent. The kokoshnik crown is strewn with emerald semi-precious stones. White airy veil frames fine features faces. Huge snow-white wings, with the sea rippling behind them. A fabulous atmosphere, everything seems to be enchanted, but we hear the beat of a living Russian fairy tale.

Teacher. In which literary work Are we meeting the Swan Princess? How does the author describe it?

Students answer questions by saying “The Tale of Tsar Saltan” by A.S. Pushkin. The teacher recalls lines from this work in which a portrait of the Swan Princess is given.

Teacher. We looked at a pictorial portrait, read a description of the character’s appearance in a literary work. But many composers have turned to this plot. I’ll now play you a fragment of a work by a Russian composer of the 19th century. What kind of work is this?

The teacher plays a fragment from N.A. Rimsky-Korsakov’s opera “The Tale of Tsar Saltan” on the piano.

Students recognize this work and say that it also contains a portrait of the Swan Princess.

Teacher. The French composer C. Saint-Saëns wrote “The Great Zoological Fantasy “Carnival of Animals”, which also features the Swan theme.

Listen to “The Swan” by Saint-Saëns and describe the character of the music.

The teacher plays the piano.

Student answers : Calm tempo, the accompaniment depicts a slight swaying of the waves, against which an unusually beautiful melody sounds. It is very expressive and therefore easy to remember. At first it sounds quiet, and then gradually the dynamics intensify, and the melody sounds like a hymn to beauty. It sounds broad, like a splash of a wave, and then it seems to gradually calm down and everything freezes.

Teacher. Pay attention to this point: in music, as in the visual arts, it is important not only to simply depict, convey the external appearance, but also to penetrate into the deep, spiritual essence of the character. This play is a prime example of this.

Students are shown a slide with two portraits: V.L. Borovikovsky “Portrait of M. Lopukhina” and A.P. Ryabushkin “Portrait of a Moscow girl XVII century."

Teacher. Now, guys, look at these two portraits, listen to the piece of music and think about which portrait this music is more suitable for and why.

Questions :

What is the nature of the music, its tempo, means of expression, what's your mood?

What are girls' characters depicted by artists?

Which portrait does this music best suit and why?

Answers: The music is romantic, “lacey”, conveys a feeling of calm and thoughtfulness. The portrait of Lopukhina evokes the same feelings.

Teacher. We looked at a picturesque portrait and listened to a musical portrait that was in tune with it. And now let’s sing in chorus the song that you and I learned: “Teacher’s Waltz” by A. Zaruba.

Students get up from their tables, form a choir and sing the song they learned in previous lessons.

Teacher. Think about what portrait this music paints for us?

Answers: Before us is a portrait of a teacher. The character of the music is smooth, measured, calm, like the character of a teacher.

Students take their seats.

Teacher. Listen to one piece now and try to answer the question: is it possible to see a portrait in this music? If so, whose?

The phonogram “Song of a Soldier” by A. Petrov plays .

Answers: The playful nature of the music paints an expressive portrait good soldier, who went through the battle and remained alive.

Homework : draw a portrait of this soldier.

Teacher. In conclusion, you and I will use musical means to create the image of our homeland, performing the Russian Anthem.

The guys get up.

Teacher. The anthem is a solemn song, majestic and proud. She is free, like the vast expanses of our Motherland; leisurely, like the flow of our deep rivers; sublime, like our hills and mountains; deep, like our protected forests. We sing the Russian Anthem and see Red Square, St. Basil's Cathedral, the Kremlin, our hometown, our street, our home...

Students sing the Russian Anthem.

The teacher offers to summarize the lesson.

What did you learn in this lesson?

What piece of music did you like best?

Which painting made the strongest impression on you?

In what form of art would you like to create a portrait and who and how would you portray?

At the end of the lesson, students are asked to mark the most interesting answers of their friends, grades are given taking into account the opinions of the students.

Date: 12/09/2017 Date: 12/13/2017 Date: 12/23/2017

Class: 6 "B" Class: 6 "A" Class: 6 "B"

Topic: “Musical portrait”

Lesson type: deepening the topic, developing, problematic

The purpose of the lesson: Expand and deepen students’ understanding of the multifaceted connections between music and painting.

Lesson objectives:

Educational:

To form an idea of ​​the genre of musical portrait;

To introduce the creative community of composers of the “Mighty Handful”;

Teach children to feel poetry, musicality and picturesqueness artistic images.

Educational:

Development of research skills;

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

Deepening students' understanding of the visual properties of music through a comparative analysis of music - “The Song of Varlaam” by M. Mussorgsky and fine art - I. Repin’s painting “Protodeacon”;

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

Educators:

- nurturing a sense of beauty using the example of works of world music and artistic culture;

Formation of aesthetic taste of students;

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

Educational technologies used in the lesson: problem-based learning technology, information and communication technologies, critical thinking technology, group technology

Knowledge, abilities, and skills that students will update, acquire, and consolidate during the lesson: 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 electronic learning tools.

Equipment: computer, speakers, screen, presentation about the composers of the “Mighty Handful”.

During the classes

I. Organizational moment.

Hello guys! I am glad to see you all healthy and beautiful. In what mood did you come to my lesson? (...) I hope that after the lesson it will become even better. So, we continue our journey through the musical art gallery.

II. Repeating what has been covered and posing a new problem.

Guys, before moving on to the new section, let's remember theme III quarters.

(Sl. 1. “Can we see the music?”)

What is the purpose of the lessons this quarter? What should we find out?

(The connection between music and fine arts)

Guys, in what ways, in what examples and themes have we already traced this connection?

(Music can depict movement, various life images)

That's right, guys. And in these lessons, we were convinced that music and fine art, using different means of expression, can depict movement, all kinds of images, complementing each other.

And the topic of our lesson today is “Musical Portrait”. (Sl.2)

Guys, tell me, what is the meaning of the concept of “portrait” in fine art?

(Display visual characteristics models; this is a repetition in the lines and colors of a living face, where through a visual image the artist reveals inner world person)

Based on the topic of our lesson, do you think that today we will find out what the purpose of this lesson is?

(How music can paint a musical portrait)

Yes, guys. Today we will try to answer the question: can a musical portrait exist? ( problematic issue) (Sl.3)

And we will consider this concept using the example of the music of the Russian classical composer Modest Petrovich Mussorgsky.

IV. Bottom line.

Guys, can “The Song of Varlaam” be called a musical portrait?

What did the music portray to us?

(The character of a person, his inner world.)

So what is a musical portrait?

(A musical portrait is a portrait of the hero’s character.)

That's right, guys. 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. (Sl. 26)

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

- Does music have imagery?

- Can we see the music?

V. Creative activity students.

Guys, now let's try to become creators ourselves. Try to understand your internal state, hear the music of your soul and write a syncwine on the topic of our lesson. In it, try to reflect your attitude to what you saw and heard in the lesson. Let's remember the syncwine scheme. (Sl. 27)

(They compose a syncwine to M. Mussorgsky’s “Walk.”)

Well, now read to us all what you came up with.

(Reading your syncwines.)

Now let’s try to paint with our performance a musical portrait of the hero of the song that we learned in the last lesson, “Song about the Little Trumpeter.”

(Performance of “Song about the Little Trumpeter” by S. Nikitin)

VI. Reflection.

Guys, did you feel like creators today?

So you were able to express your feelings, emotions, fantasies?

What did you like and remember most about the lesson?

Guys, you have emoticons on your desks. When leaving the classroom, display your mood on the board.

(Students leave the class, attaching emoticons to the board.)