Musical works about nature: a selection of good music with a story about it. The play “In the Cave of the Mountain King” from the suite “Peer Gynt” based on the drama by Henrik Ibsen

Music is the art of intoned meaning. That is, there are no words - but there is meaning. By extracting combinations of sounds of different heights and durations from musical instruments, a person is able to speak in another way, different from the verbal one - to express his thoughts and feelings, to share his fantasies.

We selected popular instrumental compositions created by famous musicians of the past, and gave short comments. Many of these works have author's titles, epigraphs and verbal explanations that refer to the literary source, reveal the content of the music or at least hint at it (after all, the composers themselves wanted to be understood!) - such music is called software. In other cases, clues can be found in the musical sound itself - it is interesting to discuss them and try to hear them. This could be the key to classical music for a child.

Toccata and Fugue in D minor

Johann Sebastian Bach

The organ was one of the main instruments in church music of the Baroque era (XVII - first half of the 18th century). And even more than just an instrument: organs were not made, but built as majestic architectural structures. Several rows of keys for the hands, a row of pedals for the feet and hundreds of sparkling pipes - the power of the sound of the organ resembles a huge orchestra: changing timbres, it can imitate a flute, oboe, trumpet, trombone... Bach loved the organ so much for this variety. You touch the organ keys (“tocca-ta” - from Italian toccare, “touch”), and a powerful exclamation shakes everything around - the sound of the toccata is sometimes compared to the voice of God.

Performed by: Karl Richter

Prelude in C major from the cycle “The Well-Tempered Clavier”, volume 1

Johann Sebastian Bach

Prelude is an introduction before something important. The musician seems to be trying out an instrument: he plucks the strings of a lute, harp, guitar, harpsichord, piano, and grand piano. This is how music is born. Experts in the symbolism of early music associate the Prelude in C major and say that Bach depicted the flapping of an angel’s wings in it. More precisely, the Archangel Gabriel, who descends to earth to inform the young Virgin Mary that she will become the mother of Christ.

Performed by: Ton Kopman

"Cuckoo"

Louis Claude Daquin

One of best examples onomatopoeia in music. The composer himself gave this play a title and thus suggested what it depicts: the noise of the forest, the voice of a cuckoo in the distance. In addition, in “Cuckoo” you can also hear echoes of the time when the composition was created. The first half of the 18th century in France - the Rococo era (Rocaille - decorative element in the form of a curl of a shell). At royal receptions It is known that Louis Claude Daquin, as a boy of six years old, performed in front of Louis XIV himself - the “Sun King”., in the living rooms, decorated according to the tastes of the era (swirls of ornaments on the walls, elegant furniture on bent legs), a harpsichord sounded - a lacy melody with the same abundance of decorations. Competing with delicious dishes and entertaining conversation, the musician tried to attract the attention of listeners with funny inventions. “The Cuckoo” by Daquin, like the plays of other great French harpsichordists (“ Butterflies" And " Small windmills"François Couperin, " Tambourine"Jean-Philippe Rameau), corresponded to the atmosphere of "luxury and cheerful beauty."

Performed by: Robert Aldwinkle (harpsichord)

Concerto No. 4 in F minor (“Winter”) from the cycle “The Seasons”

Antonio Vivaldi

Italian composer Antonio Vivaldi wrote more than 500 concertos Concert -musical composition, usually for a solo instrument with an orchestra.. About half of them are for string orchestra with solo violin. It is not surprising: after all, he himself was a brilliant, very temperamental virtuoso violinist. The most popular were four concerts, for which, presumably, the composer himself wrote poetic comments in the form of sonnets. From sonnets we learn that music depicts pictures of nature and scenes from people's lives corresponding to the four seasons Sonnet for the concert “Winter”:
Numb over the fresh snow,
Under the sharp wind blowing in the pipe,
Run, stamping your boots,
And shivering and shivering in the cold.

And still find the saving flame
And, having warmed up, forget the trouble.
And again hurry with uncertain steps, Slide until you fall on the ice.

Flounder, get up and fall again
On the plane of the ice cover,
And everyone strives for the hearth, home.

And hear there, warming your soul in comfort,
Like Boreans flying from iron gates...
There is still joy in winter!
(translated by David Samoilov). Since each concert has three movements (fast, slow, fast again), Vivaldi depicted twelve such scenes in total. On the one hand, this music can be perceived as pure expression, an expression of emotions. But it is interesting that the composer assumed a more specific content and, in addition to the sonnets, accompanied the notes with remarks. Thus, in the first part of the “Winter” concert it is directly stated: your teeth are chattering from the cold, but you are stamping your feet to keep warm. The second part is the warmth of a cozy home, a fire in the fireplace and falling asleep. The third part - cold and warm winds push each other in the sky.

Performed by: Berlin Philharmonic Orchestra, Nigel Kennedy (violin)

Flute solo from the opera "Orpheus and Eurydice"

Christoph Willibald Gluck

The myth of Orpheus and Eurydice is not only about the power of love trying to defeat death, but also about the powerful power of music. The rulers of the kingdom of the dead are captivated by the enchanting beauty of Orpheus' voice and the sounds of his lyre and allow him the incredible - to take his young wife, who died from a snake bite, back to the world of the living. The most tender melody for the flute sounds at the moment when the entrance to Elysium finally opens before Orpheus - the ancient paradise, where the disembodied shadow of the beautiful Eurydice grieves in separation from her beloved. Unlike the myth, the opera has a happy ending, which is typical for the era of classicism.

Performed by: Chamber Orchestra of the Leningrad Philharmonic, conductor Viktor Fedotov

Symphony No. 40 in G minor, part 1

Wolfgang Amadeus Mozart

What is the secret of this music, so memorable and popular? In many melodies you can hear the intonations of human speech, here it is the speech of an excited person. This is how we speak - hesitantly, repeatingly - when we are overwhelmed with feelings. And this symphony begins amazingly. Without an introduction, without preparation, without loud chords calling for attention, but immediately, suddenly - with the trust and sincerity characteristic of children and lovers (it is no coincidence that this melody is close to the aria of Cherubino - the young page in love from Mozart’s opera “The Marriage of Figaro”).

Overture from the opera “The Marriage of Figaro”

Wolfgang Amadeus Mozart

The overture is an orchestral introduction to the opera; it sets us up for the upcoming performance. In opera buffa Opera buffa ( Italian opera buffa - “comic opera”) is the Italian designation for comic opera.“The Marriage of Figaro” overture sets the atmosphere of joyful bustle and anticipation of the holiday. There are many heroes in it, each with their own character and their own intentions - romantic or mercantile. The plot is complicated, but it develops rapidly - just as the overture is fast-paced. This music also reflects the character of the main character, who persistently and impatiently pushes the action to bring it to a happy ending.

Performed by: English Baroque Soloists, conducted by John Eliot Gardiner

Symphony No. 5 in C minor, part 1

Ludwig van Beethoven

Performed by: Claudio Arrau

Mazurka in A minor, op. 68, No. 2

Frederic Chopin

Mazurka - Polish folk dance, fast, energetic, with circling and jumping. In the 19th century it began to be performed at all European balls. As a child, living in Poland, Chopin more than once observed how the mazurka was danced during rural holidays to the sounds of a small village orchestra. The composer's fate was such that throughout his entire life adult life He spent time away from his homeland and missed it very much. Remembering Poland, he composed more and more mazurkas; There are about 60 of them in total, and they are very different in character - sometimes they imitate an ensemble of village instruments, sometimes a ballroom orchestra. But many of Chopin's mazurkas are deeply sad, such as the Mazurka in A minor. This is no longer so much a dance as a lyrical memory of it.

Performed by: Grigory Sokolov

Overture "A Midsummer Night's Dream" based on the comedy by William Shakespeare

Felix Mendelssohn

The overture was conceived as a finished work. Small in size, it contains all the variety of content of Shakespeare's play and conveys its flavor. The first chords of the overture are the beginning of a fairy tale, the expectation of a miracle. The action takes place in a magical night forest, full of mysterious rustles. Is the wind rustling in the leaves? No, these are small elves circling, their transparent wings flashing - their movement conveys the main theme of the overture and thereby sets the tone for the entire work. Here are their majestic rulers - the forest king Oberon and his wife Titania. There are also lyrical images in the overture: two pairs of young lovers got lost in a thicket - and, it seems, they were also confused in their relationships. Lyricism gives way to comedy: clumsy commoners, dancing, rehearsing a performance for the morning performance in the night forest. For some reason, one of them has the head of a donkey and screams like a donkey - this is the forest spirit Puck, a famous naughty man and prankster, who has fooled everyone with his witchcraft; his laughter can be guessed in the music. Never mind, in the end he will fix everything - this will be the end of the fairy tale and the overture.

Performed by: Boston Symphony Orchestra, conducted by Seiji Ozawa

Plays "Pierrot" and "Harlequin" from the cycle "Carnival"

Robert Schumann

Schumann - master of creation musical portraits. In the cycle of piano miniatures Thumbnail - a short one-part play.“Carnival” he presented a whole series of characters, whose characters are expressed, among other things, through their manner of movement. Here comes Pierrot - he is so thoughtful and sad that he does not notice how again and again he stumbles over his long sleeves. But Harlequin is agile, fast, and flashes here and there, managing to somersault as he runs. Real people coexist with the masked characters. The cycle contains the plays “Chopin” and “Paganini”, in which Schumann conveyed the images of his outstanding contemporaries, imitating their musical style.

Performed by: Evgeny Kisin

Overture to the opera "Carmen"

Georges Bizet

Blinding light of the midday sun, Spain. The well-dressed crowd gathered for the bullfight is noisy in anticipation of the main participant in the events. And here he comes - a handsome bullfighter, a hero and a favorite of the public: already in the first, fast part of the overture, the famous theme of his march is stated. The celebration of life is felt even more acutely when it borders on mortal risk - the second, slow part marks the invasion of tragedy.

Performed by: Vienna Symphony Orchestra, conductor Herbert von Karajan

The play “In the Cave of the Mountain King” from the suite “Peer Gynt” based on the drama by Henrik Ibsen

Edvard Grieg

Trolls and mountain spirits are the main characters in the folklore of Norway, the homeland of the composer Edvard Grieg. Trolls are ferocious, cruel, stubborn and hostile to humans. This is exactly how they appear in the composer’s most famous orchestral work, “In the Cave of the Mountain King.”

The Troll Lord marches, surrounded by his retinue, to his throne. The procession moves from afar. Along the way, more and more trolls join her, they appear from every crevice, from behind every rock ledge. In the darkness of the cave, the flame of torches flares up. And now this is no longer a procession, but a frantic dance. The trolls praise their king with wild cries. It’s creepy... But how simply it’s done: the melody is repeated invariably, but the number of instruments is added, the volume increases, and the tempo accelerates.

The play "Clouds" from the cycle "Nocturnes"

Claude Debussy

Debussy wrote a short literary program for this small orchestral piece Program(V instrumental music) — verbal presentation of the content of a musical work.. It lacks a plot and characters, nothing is said about human experiences: ““Clouds” is a motionless image of the sky with slowly and melancholy floating and melting gray clouds; moving away, they go out, gently shaded by white light.” Debussy was looking for a way to convey in music the change of color, the difference in lighting, he tried to bring music closer to the paintings of the Impressionists. You should not look for beautiful extended melodies in the play (after all, the melody expresses human feelings, but there is no person here). Short motives-calls are like the voices of nature itself. The impressionistic sound arises due to colorful combinations of chords and the peculiar distribution of instrument timbres: strings act in an unusual background role, short motives are assigned to woodwinds and French horns. The flute and harp unison in the middle of the piece stands out like a white cloud.

Performed by: Boston Symphony Orchestra, conductor Claudio Abbado

March of Chernomor from the opera “Ruslan and Lyudmila”

Mikhail Glinka

Chernomor's march in the opera "Ruslan and Lyudmila" accompanies the ceremonial entrance of the evil dwarf wizard (and the removal of his miraculous beard!). Pushkin's fantastic image was perfectly embodied in Glinka's music. Amazing transformations occur in the march: what is exaggeratedly menacing suddenly turns small and funny, and again menacing, and again funny. The powerful sound of the entire orchestra is responsible for the horror ( tutti- from Italian. “everything”) and trumpet fanfares, for the magical - bells, and for the comical - “that” chords of high woodwinds and the squeak of a piccolo flute. To be afraid or not to be afraid - that is the question!

Performed by: Bolshoi Theater Orchestra, conductor Yuri Simonov

“Polovtsian Dances” from the opera “Prince Igor”

Alexander Borodin

“Polovtsian Dances” is a scene from the opera “Prince Igor”, which is often performed separately as a concert work. According to the plot, Khan Konchak organizes a holiday in honor of the captured Prince Igor in order to end hostility with Russia. Night. The summer heat gradually subsides, and an action of unprecedented beauty and luxury unfolds before the Russian prince. The seductively languid dance of the slaves with smooth, flexible movements gives way to the frantic dance of men, demonstrating their unbridled strength (the author himself called this dance “wild”), and then even more rapid, light Kim dance boys. The dancers replace each other again and again, eventually uniting in a common dance with cries of praise to the khan. Of the series of world-famous melodies of this fragment, the first one that accompanies the dance of the slaves especially stands out - an example of a unique combination of styles. A sad tune with an abundance of flexible turns could be Russian folk song(which is consistent with the plot - after all, it is not Polovtsian beauties who are dancing, but captives: in the opera, the dance is accompanied by the singing of a female choir with the words “Fly away on the wings of the wind to your native land, our native song...”). However, the accompaniment with a syncopated rhythm Syncope - shifting the emphasis from a strong beat to a weak beat. and spicy sounds are designed in a distinctly oriental style.

Performed by: Berlin Philharmonic Orchestra, conductor Herbert von Karajan

“Walk”, “Gnome”, “Old Castle”, “Ballet of the Unhatched Chicks”, “Two Jews, Rich and Poor”, “Baba Yaga” and other plays from the “Pictures at an Exhibition” series

Modest Mussorgsky

Mussorgsky wrote the piano cycle “Pictures at an Exhibition” after visiting the posthumous exhibition of one of his artist friends, Victor Hartmann. Hence the exceptional variety of content (portraits of fairy-tale characters alternate with sketches of real life, comic scenes with reflections on death, and from the Roman catacombs in Paris we are transported to the “Bogatyr Gate” of Kiev). The cycle begins with a “Walk”, which is repeated after each subsequent piece: in this theme the composer depicted himself moving from picture to picture. If you listen carefully, you will notice that the character of the “Walk” changes depending on the author’s impressions of what he saw. Since painting captures frozen moments, and music unfolds in time, Mussorgsky makes scenes out of pictures. Baba Yaga forcefully pushes her mortar off the ground, accelerates, and flies. The dwarf hobbles with a limp. Under the walls of the old castle, the Troubadour sings a song. The chicks - or children dressed as chicks - are scurrying and chirping funny (in Hartmann's sketches for the children's ballet of the Bolshoi Theater Julius Gerber's ballet "Trilby" staged by Marius Petipa in Bolshoi Theater(1871).- costumes in the form of unopened shells). And in the play “Samuel Goldenberg and Shmuile” (in Soviet editions - “Two Jews, Rich and Poor”) Mussorgsky combined the two heroes of separate portraits of Hartmann: here you can hear the plaintive babble of the petitioner, interrupted by the rude rebuke of the rich man.

There are dozens of adaptations of “Pictures” for orchestras of various compositions, jazz bands and rock groups. The most famous one belongs to Maurice Ravel - created almost 50 years after the original, it was she who contributed to the worldwide popularity of Mussorgsky's work.

Performed by: Svyatoslav Richter

Symphony No. 1 (“Winter Dreams”), part 1

Pyotr Tchaikovsky

Tchaikovsky called his First Symphony “Winter Dreams”, and gave its first movement a slightly more detailed designation - “Dreams on the Winter Road”. Behind the image of “dreams” are personal memories and a whole series of “winter” poems by Russian poets Before listening, you can read “ winter road" and Pushkin's "Demons" - then Tchaikovsky's music will acquire the necessary subtext., folk songs and romances about the endless snowy ones, the troika rushing through them and the aching lyrical feeling into which the soul plunges under the quiet “tiring” ringing of a bell. The image of boundless space is conveyed by the bassoon and flute, duplicating each other with a distance of two octaves. The “heartfelt melancholy” of the initial melody gives way to blizzard harmonies: a caustic staccato motif invades the smooth movement Staccato- abrupt execution of sounds..

Dance of the Sugar Plum Fairy from the ballet “The Nutcracker”

Pyotr Tchaikovsky

The Dance of the Sugar Plum Fairy is one of the most famous fragments of the ballet; it has received a life separate from the performance and is heard in symphony concerts, cartoon films and television programs. The Sugar Plum Fairy is the mistress of the land of sweets, the mistress of the magical palace in Confiturenburg. From the first sounds of her dance, we are transported into an enchanted fairy-tale world, where there is no place for anything dark, gloomy and evil. Gentle crystal ringing celesta promises miracles and happiness (even the name of this instrument is from Italian celesta translated as “heavenly”). At the premiere of the ballet, the effect of the miracle was further enhanced by the fact that no one had heard the celesta in Russia before: Tchaikovsky brought this instrument, new to us at that time, from Paris and more than a year I asked my friends to keep the secret. Similar to a miniature piano, but with metal or glass plates inside, the celesta has taken root in the symphony orchestra. The sound, reminiscent of the ringing of bells, has become a symbol of the fabulously beautiful, unearthly.

Performed by: Philharmonic Orchestra, conductor John Lanchbury

Symphonic Suite “Scheherazade”, part 1

Nikolai Rimsky-Korsakov

The literary prototype of the work is the collection of Arabian fairy tales “One Thousand and One Nights.” It is curious that Rimsky-Korsakov first titled all four parts of the suite Suite - a piece of music made up of several independent parts, contrasting to each other, but united by a common idea., and then removed the titles, not wanting to deprive the listener of freedom of imagination. The composer left an introductory commentary, which briefly retells the story of Scheherazade and Sultan Shahriyar.

At the beginning and end of each movement, a recognizable melody of the solo violin sounds, reminiscent of the intricate patterns of luxurious oriental fabrics, the flexible movements of an oriental dancer, and the leisurely oriental speech decorated with numerous epithets - this is the leitmotif Leitmotif(from German Leitmotiv — “main, leading motive”) — a motive that returns repeatedly throughout the work in connection with the characteristics of a character, feeling, situation, object, etc. Scheherazade. Shahryar's leitmotif, menacing and commanding, opens the work. And he, calmed down, sounds at the very end - She-he-razada found how to pacify the angry temper of the Sultan.

Today, the names of the movements, known from Rimsky-Kor-sakov’s book of memoirs “Chronicle of My Musical Life,” are almost always communicated to the listener, although the picturesque nature of the music makes it possible to do without explanations. The first part is the first fairy tale, “The Sea and Sinbad’s Ship.” The water element in it appears alive and changeable. The waves roll slowly and lazily, foam on the crest, scatter into small splashes sparkling in the sun, and the ship glides along the surface. But although seemingly gentle at first, the sea can show its formidable power at any moment - and now wave after wave rolls in and collapses. Rimsky-Korsakov, a former gar-demarin, depicted the sea like no other.

Performed by: State Academic Symphony Orchestra of the USSR, conductor Evgeny Svetlanov

Symphonic fairy tale “Kikimora”

Anatoly Lyadov

Anatoly Lyadov was very fond of everything magical and fantastic. How whimsical was it? fairy tale character, the more he liked him. While entertaining his children, the composer himself even came up with and drew funny fairy-tale freaks. Inspired by the description of Kikimora from the book “Tales of the Russian People,” Lyadov decided to depict her in music Lyadov prefaced his orchestral piece with the following text, borrowed from “Tales of the Russian People” by Ivan Sakharov: “Kikimora lives and grows with a magician in the stone mountains. From morning to evening, the cat Bayun amuses Kikimora and tells tales from overseas. From evening until broad daylight, Kikimora is rocked in a crystal cradle. Exactly seven years later, Kikimora will grow up. She's a thin, dark-haired Kikimora, but her head is as small as a thimble, and her body can't be compared to a straw. Kikimora knocks and thunders from morning to evening; Kikimora whistles and hisses from evening until noon; from midnight to broad daylight he spins hemp tow, twists hemp yarn, and warps silk warp. Kikimora keeps evil on his mind for all honest people.”. In a short piece for orchestra, the composer told the entire biography of a fairy-tale creature. The slow initial section is Kikimora’s childhood. Gloomy Mountain landscape, where the sun almost never penetrates. The magical lullaby motif of the cat Bayun is a peace that seems to last forever. But baby Kiki-Mora is already making herself known: her piercing squeak (piccolo flute and go-boy) makes everything around her tremble... And freezes again. You can only hear the light ringing of the crystal cradle in which Kikimora is rocked (the same celes sounds as in the dance of the Sugar Plum Fairy by Tchaikovsky). The fast, impetuous music of the second section depicts a matured Kikimora. She scurries around the forest and plays pranks: knocks, rattles (here the composer uses a xylophone, rare for an orchestra), scares everyone who comes across her... And yet Lyadov’s Kiki-Mora is not evil. Just quirky and strange, just like the world she inhabits.

Version: Russian national orchestra, conductor Mikhail Pletnev

Music for the ballet "Petrushka"

Igor Stravinsky

The ballet “Petrushka” is a unity of music by Stravinsky, scenography by Alec-Saint-dra Benois, choreography by Mikhail Fokine and performance by Vaslav Nijinsky. Although listening to music separately is no less interesting than watching a ballet, it is still advisable to know the plot. Petersburg at the beginning of the last century. The Maslenitsa celebration is an elegant, noisy, joyful crowd. There is a lot of entertainment on the spacious Champ de Mars square: barrel organs are playing, mechanical ballerinas are dancing, the cries of barkers are heard from different sides, trying to lure spectators into their booths - the color of the mass folk scenes is intended to highlight the dramatic essence of the work. The appearance of the Magician attracts everyone's attention, the colorful noise subsides, and mysterious music plays: the Magician brings his dolls to life, and the viewer finds himself in another story. A play within a play is enacted: Petrushka suffers from unrequited love for the Ballerina (his leitmotif sounds like a sad lyrical cry). The beautiful, insensitive doll prefers to him the elegant, albeit rude Arab. In the battle with Arab, Parsley dies. But this is just a puppet show - the festivities continue. You can hear the strumming of an accordion and snatches of city songs (“Along along Piterskaya”, “Oh you, the canopy, my canopy”). A man plays the pipe, showing off a trained bear, a masked devil jokingly scares people walking, a merchant starts dancing with the gypsies. All this is visible and tangible. Do you still feel sorry for Petrushka? No need to worry! The magician takes away the broken doll, but Petrushka’s funny face appears in the crowd, thumbing his nose at everyone: the hero’s leitmotif completes the ballet.

Performed by: Columbia Symphony Orchestra. Conductor: Igor Stravinsky

March from the opera “The Love for Three Oranges”

Sergei Prokofiev

This march best expresses the character of a fairy-tale comedy - defiantly bright, eccentric, uncontrollably cheerful, just like the character of one of its heroes - the never-dull jester Truffa the Iceman: according to the plot, he must certainly make the Prince laugh and stir up the mood. And indeed, the elastic rhythm of the march is such that it is impossible to sit still: the bold trumpet motif, the distinct beat of the snare drum - it is difficult to imagine more life-affirming music. She accurately reflected Sergei’s attitude Sergeevich Prokofiev

Children's room Arzamas

Verbal images, fused with the soul and acquired value beyond their narrower meaning, however, also have, so to speak, physical beauty when considered as sound, as melody. Understood even from the perspective of their most material essence, they are again not devoid of the ability to generate some hidden vibration of the auditory nerves, to cause some more general, little conscious emotional states, who are more than full expression gives tonal art. The words of a language always live for both the poet and the reader as acoustic perceptions that have a certain artistic influence. And no matter how the theory of poetry as the art of visible images underestimates this significance of the sensual, auditory, tonal, poets still instinctively grasp that it is very important point poetic influence, so that if some take care at least to avoid visible disharmony between sound expression and content, others may, by innate inclination or consciously, place the burden of just such harmony at the expense of everything pictorial or intellectual that affects the imagination and mind .

Characteristic in this regard is the reaction against Lessing's principle, which occurred very early in the circles of German and English romantics and was later picked up by French neo-romantics or symbolists. We have already indicated, speaking about the creative mood, what kind of performance Novalis or Tick associate with lyrical excitement, what they consider musical element more important than the thought itself that is expressed. Such poets as Keathe and Tennyson in England, probably proceeding from a sense of the musical mood that precedes the formalized idea and the individual word in the process of creation, want to completely consciously ignore certain meaning and paintings to suggest experiences through simple sound, through sound impressions “maximum of sound” and “minimum of sense”, is the most obvious feature of this entire trend in English literature after 1830. Many of Tennyson’s poems are striking in their vacuity, their “minimum meaning,” while great place They are occupied by sound painting - “maximum melodies.” Musical-sound combinations, a rich development of everything externally formal, be it a combination of vowels and consonants or a rhythmic-strophic structure, are used not only to help internal movements that are more elusive to the mind, but also as a means of conveying objectively visual, accessible to perception. The rhythm and music of the verse want to enchant the ear, reminiscent of the beat of horse hooves and the roar of shells (in the poem “Light Cavalry”), or recalling the visual picture with brilliant assonances and alliterations (in the poem “Stream”), or painting with the sounds of the ringing of a Christmas bell: “Peace and kindness, kindness and peace, peace and kindness for all mankind."

Later, thanks to Dante Gabriel Rossetti, this trend in musical poetry turns into modern symbolism, expressed in the works of Yates and Wilde, which can be placed next to such French poets as Verlaine, Samen and Greg, and with German ones - Stefan George and Hofmannsthal.

In France, precisely as a reaction against the plastic and pictorial poetry of the Parnassian school, which gave exemplary works in the persons of Heredia and François Copé and led verse to possible technical perfection after Hugo, a tendency towards illogical poetry appeared, where image and idea are nothing, and sound is everything. Verlaine, Malarme and others discovered in language new tool, through which, in addition to the imagination, they acted directly on the soul. Equally disgusted by the academic coldness of the Parnassians and the prosaic and formless nature of the naturalists, who saw only visible reality or crude passions and instincts, the Symbolists turned to the most subtle moods, to the mysteries of the soul, striving to create musical poetry. Through skillfully selected sounds and through freely dissected verse, vers libre, which does not recognize the old monotonous architectonics and allows at every step the so-called enjambement, poets, followers of Verlaine, turned the word almost into an end in itself, got lost in the dark play of words and went to extremes , a new formalism that bordered on tasteless mannerism. Their main goal was to impose the principle “Ut musica ut poesis”, to convince readers that in poetry, as the first verse of Verlaine’s new “Poetics” declares:

This direction in lyricism was also significantly influenced by Baudelaire, to whom the Symbolists returned with delight as their true teacher. Malarmé adapts his aesthetic to Baudelaire's sonnet “Correspondences” (“Smells, flowers and sounds respond to each other”); Verlaine professes real fanaticism in relation to the one from whom, due to spiritual kinship, he borrows the titles of his “Saturn Poems” and “Cursed Poets”; Arthur Rimbaud extracts his lyrical stanza and elements of The Alchemy of Verse from The Flowers of Evil. Baudelaire's verse showed extraordinary musical and rhythmic qualities and fully corresponded to its author's theory of a “mysterious prosody” that “took deeper roots in the soul than classical poetry suspected” and allows a poetic phrase to imitate one or another line (straight, curved, steep, zigzag, spiral, parabola), thus approaching music again. This school of poetry was also influenced by the works of Wagner, which combined music with poetry and was greeted with enthusiasm by all gifted writers. I immediately felt how poor the language is for expressing affective and general inner life and how music almost directly affects the central nervous system, creating all the desired illusions, all phantasmagoria. “For poets, the need inevitably arose,” notes Valery, a student of symbolism, “to oppose something to a dangerous rival, the owner of such deceptive and strong excitement for human soul". Wasn’t even painting in 1885 looking for some kind of relationship with music in order to increase its power of suggestion through it? Hence the consciousness among the Symbolists that it is necessary to put into poetry something of the secrets of tones in order to achieve from language effects similar to those produced by purely sonorous factors.

It turns out that one must not think, but listen to the verse, since the words themselves, beyond their abstract meaning, can speak to feelings. Moreover, some fans of musical verse believed that with the help of sound painting it was possible to create even ideas, and Banville, for example, tries to awaken the idea of ​​\u200b\u200bthe comic “through consonances, through the influence of words, through the almighty magic of rhyme.” Banville himself is not a symbolist, but this is undoubtedly the path of symbolism that he would have followed if the rational elements in his poetry, the logical and the plastic, had not occupied as much space as the musical-rhythmic ones. In this regard, Verlaine, the forerunner of the Symbolists, shows incomparably more common sense and in understanding the possibilities of poetry than such a German lyricist as Rilke, for example, who constructs descriptions of landscapes and even dramatic scenes with the help of purely acoustic elements. The difficulties here, in connecting sensations from different areas, due to the basic emotional tone, are as great as in music, which causes the most definite pictorial effects. U Chinese philosopher Le Tzu tells the story of a musician who, playing the zither and imagining climbing high mountains or the sound of a stream, evoked similar impressions in his listeners. In a gloomy mood while traveling in rainy times, this musician again conveyed the corresponding feelings and ideas. And at the end he said to his companion: “You hear perfectly well what is in my soul. The pictures you evoke are the same as my mood. It is impossible for me to hide with my tones." In poetry, this evocative power of tones and sounds should be understood very conditionally. Through the special coloring of vowels or consonants, through their shine or their dark color and weak articulation, it is truly possible to significantly clarify the ideas about the things directly depicted; but to think that this is enough to neglect any participation of the imagination means to completely shift the center of gravity in poetic art.

The Russian symbolic school also came out in defense of the new principle, since in it, of course, we have serious poets, and not mediocre followers of everything fashionable. Andrei Bely argues this way:

“To deny verbal art the play with words as with sounds, or to belittle the significance of this play, means to look at a living language as a dead, unnecessary whole that has completed the circle of its development: there is a whole class of people whose hearing has been castrated by bad upbringing and false views on language and who consider the sophistication of verbal instrumentation to be an idle occupation: unfortunately, among art critics, the majority are castrati of hearing... Meanwhile, the ability to aesthetically enjoy not only a figurative image, but also the very sound of a word, regardless of its content, is extremely developed among word artists.”

And, emphasizing how few observations have yet been made in the nature of verbal instrumentation, and in particular about alliteration and assonance, which are only the surface of deeper melodic phenomena, Bely adds: “We only vaguely sense that the work of a true artist of words is capable of exciting our ear by itself.” selection of sounds and that there is a still elusive parallel between the content of the experience and the sound material of the words that shapes it.”

Along the way, we should note that not only the literary word, but also ordinary speech knows this relationship between sounds and symbolic meaning, so famous words inherent already because of a certain sound combination and in addition to any basic meaning, this or that tendency. But systematic observations in this direction have not yet been made.

Quoting Baratynsky's poem:

Look: young freshness.

And in the autumn of years she captivates,

And she has a gray-haired flyer.

Doesn't steal lanit roses:

He himself is defeated by beauty.

He looks and does not continue his path,

White notes:

“... carefully analyzing line by line, we begin to understand that the entire poem is built on “e” and “a”, first comes “e”, then “a”: the decisiveness and cheerfulness of the final words seem to be connected with the open sound “a” ... Alliteration and assonance are hidden here... And that there is a series of alliterations here, we will be convinced if we emphasize the alliterative sounds... Here (in first three lines) three groups of alliterations:

1) on “l”, 2) on nasal sounds (m, n), 3) on dental sounds (d, t), i.e. for 12 not clearly alliterating letters there are 23 clearly alliterating ones (twice as many).”

And, quoting another poem by the same Baratynsky, beginning with the lines:

The lure of affectionate speeches.

You can't make me crazy...

Bely explains: “As it develops, the melancholic tone of the poem turns into a tone of gloomy determination and anger, and accordingly melancholic instrumentation ( mnl) changes: like pipes, teeth enter and through h switch to whistling in a line that is sarcastic in meaning:

We have cited these opinions and observations as well as reproaches to critics who look only for social moods and ideas in poetry and who have “the fear of loving the very flesh of the expression of the artist’s thoughts: words, a combination of words,” since only this way explains the new extreme to which supporters reach musical painting, who do not recognize the plot, ideas and pictures in poetry and reduce verbal art to a risky play of sounds and vague images, to a set of words that mean nothing, but pretend to be a reflection of internal rhythms or symbols of innermost moods. One or two typical poems of symbolism will convince us of what great violence they sometimes allow themselves to the word, forcing it to say things that it cannot say, and to feel how premeditation and mannerism vainly strive to take on the role of artistic instinct. Verlaine's strange "Twilight of a Mystical Evening" reads: where there is a lot of onomatopoeia and sonorous words, but little meaning. The author completely deviates from the normal poetic way of speaking, as well as from generally accepted spelling, throwing out, following the example of Malarme, both the main letters and the system of punctuation marks. These examples of poetic music reduced to dangerous wordplay, programs verbal art, ignoring everything logical and clearly stated in favor of acoustic effects, and the latter do not have the universality and regularity that is inherent in rhythms and sounds instinctively found in a creative mood. Therefore, the understanding of this kind of symbolism is limited to a very narrow circle of amateurs, and the art of such poets as Gheorghe and his followers will never, with its one-sided formalism and its esoteric inspirations, acquire the influence and significance of older ones. literary movements. Achieving a strict stylization of the contemplated and a noble distance from everything temporary and everyday, everything that is morality and worldview, the inspirer of the poets grouped around the magazine “Blätter für die Kunst” (1892-1919), the enemy of the naturalists and romantics of the Heine school, supports the principle: “ Poems should be inexplicable, their purpose is to awaken feelings and make the inexpressible sound.” But a certain coldness and some kind of sought-after and dark impressionism leave us indifferent to this music of the inexpressible in the soul. Hofmannsthal also cannot cover up with his tonal word game the ideological emptiness of his lyrics. Much more natural and naively mystical in comparison with him and George is their contemporary R. M. Rilke, likewise a fan of the music of words, exquisite rhyme and assonance, who professes: “Ich bin eine Saite, über breite Resonanzen gespannt.” (“I am a taut string with a wide resonance.”) Gheorghe’s merit lies only in what he gives with his “hieratic art” - this poetic cursive writing, where the original image of the letter is barely perceptible - a rebuff to the modern lyrical routine, using long-unsuitable means.

Verbal illustration in the classroom literary reading.

Illustration- a method of creative work by students, used in reading lessons, as well as when writing essays and presentations. Illustrations are taken ready-made, pre-selected, or created by the children themselves. Oral (verbal) drawing techniques are used. Verbal illustration (drawing)- this is a person’s ability to express his thoughts and feelings based on a read fairy tale, fable, story, poem. In no case should verbal drawing turn into a retelling of the work. I begin learning verbal drawing by creating genre (story) pictures. At the same time, we must remember that the verbal picture is static, the characters in it do not move, do not speak, they seem to be “frozen”, as if in a photograph, and do not act, as on the screen. At the first stage of teaching verbal drawing, it is advisable to use the so-called “dynamic” picture that gradually appears before the children’s eyes.

At the first stage of learning verbal drawing, a visual support is needed, for which you can use the so-called “dynamic” picture that gradually appears before the children’s eyes. Moreover, after the students verbally describe each detail of the drawing, any interior, or character, pictures corresponding to those just “drawn” orally are gradually attached to the demonstration sheet of paper. The arrangement of the elements of the picture is discussed with the children. Thus, as the work progresses, a complete picture of the episode is created, which serves as a visual support for the ideas that have arisen in the students’ imaginations. In addition, you can also use a demonstration manual of three sheets, which are attached one on top of the other to the board sequentially, and as the oral picture appears, they are revealed to the children.

At the next stage, you can use the following techniques:

An episode is selected for illustration and discussed in general outline plot future painting, the location of its main elements, color. A pencil sketch is made, then verbal description illustrations.

Children “draw” a picture with words, and then compare it with the corresponding illustration in a children’s book or in a textbook on literary reading.

At the following stages of teaching oral illustration, the following techniques are used:

1) an episode is selected for verbal drawing;

2) the place where the event occurs is “drawn”;

3) are depicted characters;

4) the necessary details are added;

5) the contour drawing is “colored.” The complexity of the work is possible due to the fact that “coloring” will be carried out along with “drawing”; secondly, during the transition from a collective form of work to an individual one.

Just on final stage In teaching oral illustration, you can invite children to make verbal drawings to the text on their own, without visual support. (“There is no illustration in the textbook. Let’s try to create it ourselves.”) Verbal drawing (illustration) increases the emotional level of perception literary text. Usually verbal pictures are drawn for those episodes that are especially important for understanding ideological plan story. If the description is illustrated, then the most beautiful and at the same time accessible paintings for children are selected.

Verbal drawing of landscape illustrations is usually done for poetic texts. When working on lyrical work The technique of verbal drawing should be used with extreme caution, since when reading the lyrics, clear visual ideas should not arise, everything should not be expressed in detail, and poetic images cannot be concretized by separating them.

Bibliography:

Goretsky V.G. and others. Literary reading lessons from textbooks “Native Speech”: Book. 1, 2, 3; Book for teachers. - M., 1995.

Nikiforova O.I. Psychology of perception of fiction. - M., 1972.

http://www.pedagogyflow.ru/flowens-641-1.html

http://fullref.ru/job_cf28d84de3278e2be75ee32f39c7a012.html

Fragment of the lesson “Discoveries of new knowledge” on the topic “Balmont Konstantin Dmitrievich Poem “Autumn””

Target: create conditions for skills development expressive reading, student learning literary device“personification” and teaching verbal drawing.

Personal results

Develop communication skills during collective discussion of children’s performances

To develop the ability to evaluate one’s own knowledge and skills in literary reading

To develop the ability to orally evaluate the work of their classmates in the form of judgment and explanation

Meta-subject results

Regulatory universal learning activities:

Evaluate your own results educational activities using self-assessment sheets

Formulate the goal and objectives of educational activities using the teacher’s introductory dialogue

Realize and accept learning task

Cognitive universal educational activities:

Learn to formulate a learning task by answering questions problematic issue

Gain new knowledge: extract information presented in different forms(text, table, diagram, drawing, etc.)

Communicative universal educational activities:

Communicate your position to other people

Engage in educational collaboration with the teacher and classmates

Construct a conscious oral statement

Subject results

Learn to identify the main idea of ​​a work and its mood

Learn to use the technique of personification.

Task "Word drawing".

Goals:

• formation of an idea about different styles speeches: business speech and verbal picture;
• training in the use of language tools, taking into account the tasks and conditions of communication.

Russian language textbook “To the secrets of our language”, 2nd grade, authors M.S. Soloveichik, N.S. Kuzmenko.

DURING THE CLASSES

1. Updating knowledge

Note #1 opens on the board:

A forest giant appeared from the thicket of the forest. How beautiful he was against the white background of the birch forest! Huge horns. The legs are long and slender. He's all brown, and his legs look like they're wearing white stockings.

- Let's read it. Can you guess who this giant is?
– Determine the name of the entry. (Text)
– Prove that this is a text. (Several sentences that say the same thing and reveal the general idea)
Entry #2 opens:

Elk is a cloven-hoofed animal of the deer family. Length up to 3m, height up to 2m. Weight from 200 to 500 kg. Males have large spade-shaped horns. Females do not have horns. Lives in the forests of Eurasia and North America. The color is brown, with white stripes on the legs.

- Let's read it. Signal: text or no text. Prove that the text.

2. Identification of features of business speech and verbal picture

– Can we say that the two texts say the same thing?
– Did they talk about the moose in the same way in text No. 1 and text No. 2? (Differently.)
- Signal: in which text the speech is strict, businesslike. What is the speech in text No. 1? (Emotional.)
- Signal: in which text we see how the author relates to the one he is talking about. (In text No. 1) How does the author feel about the moose? (The author admires the animal.)
– And in text No. 2 you can understand whether he likes the elk or not? Why then did the author create text No. 2? (To tell us the exact scientific information about the moose. Tell us about it appearance, habitat.)
– For what purpose did the author create text No. 1? (To draw our attention to the beauty of this beast, to its greatness. The author paints a picture with words.)
-What picture did you see? (...) An illustration appears (Elk against the background of a birch forest)
So, one and the same thing can be said in different ways: you can say it in a businesslike way (like a scientist), or you can paint it with words.

3. Work in groups

Students are given a table with empty cells and cards.

Your task is to determine which features are typical for business speech and which are typical for picturesque speech.

Check: fill out the table on the board.

4. Training in the use of language tools, taking into account the tasks and conditions of communication

– We will use the knowledge we have acquired about speech.
– You have two entries in front of you. Let's read it.

Text No. 1:

Here comes spring! This is noticeable in everything. The Earth took such a position relative to the Sun that it began to receive more heat and light. The air temperature increased by several degrees. Previously, the snowdrifts were soft, like snow. And now they have become prickly and crusty. The sky is blue - blue. There are drops ringing in the sun. Everyone is happy about spring. I'm very happy about her too.

Text No. 2:

March is the first month of spring. How the sun shines! The snow melted and began to melt. P.t.kli streams. I love spring!

– What do these records have in common? (These are texts. The texts talk about the first month of spring.)
– The author of text No. 1 should have draw with words early spring, and the author of text No. 2 should have tell it scientifically about the first spring month. Do you think the authors coped with the assigned tasks? Are there “extra” sentences in the texts?
- Will be working in pairs: in each text, find “extra sentences” and, if possible, transfer them to another text.

Check: it turns out which sentences are “extra” and why. As a result of editing, the following texts are obtained:

Text No. 1:

Here comes spring! This is noticeable in everything. How the sun shines! Previously, the snowdrifts were soft, like snow. And now they have become prickly and crusty. The sky is blue - blue. There are drops ringing in the sun. Everyone is happy about spring. I'm very happy about her too!

Text No. 2:

March is the first month of spring. The Earth took such a position relative to the Sun that it began to receive more heat and light. The air temperature increased by several degrees. The snow melted and began to melt. P.t.kli streams.

5. Write down edited texts by solving spelling problems

Examination. What spellings? What actions did you perform to find out the required letters?

(Students evaluate their classmates’ answers with signals: agree-disagree)

6. Lesson summary. Reflection

– What discoveries did you make in class today? (You can speak in different ways: in a businesslike manner (like a scientist) or draw with words.)

Fill out the card.

– Today’s lesson was interesting...
- It was difficult in class today...
- I can praise myself...

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