From ptiz_siniz
(Olga Vedyokhina)

A. Pushkin

(fragment from "Eugene Onegin")

Brilliant, half-air,
obedient to the magic bow,
Surrounded by a crowd of nymphs
Worth Istomin; she is,
One foot touching the floor
Another slowly circles
And suddenly a jump, and suddenly it flies,
It flies like fluff from the mouth of Eol;
Now the camp will soviet, then it will develop,
And he beats his leg with a quick leg.

P. Vyazemsky

Quatrain under the drawing of L.I. Keel (foot of Maria Taglioni)

I'm sorry, sorceress! Sylph fleeting
She flew up into the clouds. Happy way!
But prose is here in spite of ethereal poetry:
Tell me, why put a wing in a shoe?

Emily Dickinson

I dance on pointe shoes
Science has not passed -
But sometimes the fun spirit
So winged in me -

What - know the ballet, I'm the basics -
The whole Troupe - turning white -
I would look at my flight -
And I will accept anger.

Let in a haze of gas and flowers
I don't slide to the ramp -
Let the leg in the air - easy -
Like a Bird - I don't hold -

Let me not spin in a pirouette -
To knock down the wind into foam -
Until I'm blown away
Furious "bis" -

And let no one know
Posters do not rumble -
But my Theater is full of dance -
There is a gala performance.

Translation by Vera Markova

A. Akhmatova

Tamara Platonovna Karsavina

Like a song you compose light dance -
He told us about glory, -
There is a blush on pale cheeks,
Darker and darker eyes.

And every minute more and more prisoners,
Forgotten their existence
And leans again in the sounds of the blessed
Your flexible body.

N. Gumilyov

Tamara Platonovna Karsavina
For a long time we prayed for you to dance, but we prayed in vain,

You smiled and refused dispassionately.

The poet loves the high sky and ancient stars,
Often he writes ballads, but rarely does he go to ballet.

Sadly I went home to look into the eyes of silence.
The rhythms of the movements of the former rang and sang in me.

Only so sweetly familiar silence suddenly blossomed.
As if a mystery had approached, or the moon had become the sun.

The string of an angelic harp has broken, and I hear a sound.
I see two white stalks of arms thrown high.

Night lips like velvety red flowers...
So, you are still dancing, who refused there!

In a blue tunic from the night sky, a tightened camp
Suddenly, the rapidly flooded with light fog breaks.

Quickly serpentine lightning draws a light foot -
Sees, probably, such visions blessed Degas,

If for bitter happiness and sweet flour
He was accepted in the blue-crystal high Lord's paradise.

... I woke up in the morning, and the morning rose that day radiantly.
Was I happy? But my heart was languishing with gratitude.

M. Kuzmin

T.P. Karsavina

Half the sky in a distant street
The swamp clouded the dawn,
Only a lone skater
Draws lake glass.
Capricious runaway zigzags:
Another flight, one, another...
Like the point of a diamond sword
The monogram is cut by an expensive one.
In the cold glow, isn't it
And you lead your pattern,
When in a brilliant performance
At your feet - the slightest glance?
You are Columbine, Salome,
You are not the same every time
But brighter and clearer,
The word "beauty" is golden.

G. Ivanov

To the album by T. P. Karsavina

The gaze of a ballet dancer
Scenes green semicircle,
In a cloud of light fog
Shoulder outlines and hands.

Violins and sonorous horns
As if exhausted by the struggle
But golden and spacious
The dome is like the sky above you.

Invisible wings fly
The heart is carried away, trembling,
Up, where the cupids turn pink,
Holding a cornucopia.

V. Khodasevich

Giselle

Yes Yes! In blind and tender passion
Get over it, burn it out
tear your heart apart like a letter
Go crazy, then die.

So what? move grave stone
Again you have to over yourself
Again to love and kick your leg
Moonlight blue on stage.

A. Tarkovsky

Ballet

The violin chirps, the drum hums,
And the flute whistles in Alsatian,
A cardboard sob enters the stage
With a painted doll from a fairy tale.

From there, the partner takes it out,
Putting her hand under her thigh,
And drags by force to the hotel yard
To the pirates for sure flour.

They sharpen daggers and twist their mustaches,
And stomp their heels to the beat,
Pocket at once take out the watch
And wildly sparkle with squirrels, -

Like, it's time to cut! But in strawberry tights
In your swan starch
The prima takes off easily over the ramp,
And something vibrates in the hall.

Stage bullshit magical current
Finds, like a nightingale's whistle,
And tries your will by the tooth
Cold calculation of the ballerina.

And all this sweat, this makeup, this glue,
Embarrassing your taste and feelings,
Already captured your soul.
So what is art?

Probably the connection will be guessed
Between the stage and Dante's hell,
Otherwise, where would the area come from
With all this riffraff around?

I. Brodsky

Mikhail Baryshnikov

Classical ballet is a castle of beauty,
whose gentle tenants from the prose of harsh days
squealing orchestral pit
separated. And the bridges are closed.

In the imperial soft plush we squeeze the ass,
and, wings cursively thighs,
beauty, with whom you will not lie,
in one leap he flies out into the garden.

We see the forces of evil in brown tights
and an angel of kindness in an inexpressible bundle.
And able to awaken from Elysian hibernation
ovation for Tchaikovsky and Co.

Classic ballet! The Art of Better Days!
When your grog hissed and kissed on both
and reckless drivers raced, and bobeobi was sung,
and if there was an enemy, then he was Marshal Ney.

Domes turned yellow in the pupils of the policemen.
In which they were born, in those nests they died.
And if something went up in the air,
it was not a bridge, but Pavlova was.

How glorious in the evening, far away from All Russia,
Baryshnikov to mature. His talent hasn't faded!
Leg effort and torso cramp
with rotation around its own axis

give birth to that flight, which the soul
as the girls were waiting, ready to get angry!
And what about where it comes out to land -
the earth is solid everywhere; I recommend USA.

N. Zabolotsky
(who hardly saw Ida Rubinstein in 1928 and anticipated the appearance ballet performances to the music of Ravel)

Bolero

So, Ravel, let's dance the bolero!
For those who will not change music to a pen,
There is an original holiday in this world -
The chant of bagpipes is meager and sad
And this dance of slow peasants...
Spain! I'm drunk on you again!
Having cherished the flower of a sublime dream,
Again your image burns before me
Far beyond the Pyrenees!
Alas, tormented Madrid fell silent,
All in the echoes of a passing storm,
And there is no Dolores Ibarruri with him!
But the people are alive, and their song is alive.
Dance, Ravel, your gigantic dance,
Dance Ravel! Cheer up Spaniard!
Turn, History, cast millstones,
Be a miller's wife in the terrible hour of the surf!
Oh, bolero, sacred battle dance!

V. Gaft

"Fuete"

E. Maximova

It all started with Fuete
When the earth starts spinning
Like a virgin in the nude
Excited with embarrassment,
Suddenly spun in the dark.
Oh, just don't stop
Don't get lost in the hustle and bustle
Let my head spin
Together with the Earth in Fuete.
Oh, just don't stop
And if it's only a dream
Let it last as long as possible
My Beautiful Dream - Fuete!
It all started with Fuete!
Life is perpetual motion
Don't Look for Beauty
Stop for a moment
When she's on top.
Stop sometimes
For that moment it's dangerous
She is always on the move
And that's why she's beautiful!
Oh, just don't stop...

Tate Ash

Baltic choreography

... in the fingers woke up the liveliness of the hawthorn
Joseph Brodsky
midnight.
gloomy palace hunger is fully felt outside,
even the venerable staircase thrusts predatorily into the palisade.
people are over.
the sky fell into puddles a few days ago.
so it lies - near the trash, on a broken bottom,
looking up at the rooftops...

squeezing a firefly in a handful,
hawthorn wanders along the parapets -
looking for
where to grow him.

the darkness staggers, the bridge trembles, Judith.
the water jet spits out the black goo.
a bird swollen with wetting will
sleep on the shoulder of a bush.

sometimes flashes
near the balcony
the same hawthorn (essence, habits, shadows of the same length).
to call, to talk,
but the thoughts of like individuals are equally removed.

dawn.
a line of cobblestones is preparing to capture the road.
but until the asphalt shell cracked,
in the headlights, a hawthorn branch suddenly arches like Baryshnikov -
hesitate -
and straighten up in a wild spiked pas.

"Bolero" by Ravel

Alexander Maykapar

Written: 1928

What is: a piece for orchestra; was originally conceived as music for ballet performance; gained popularity as a brilliant orchestral piece.

Duration: about 15 minutes.

The reason for the extraordinary popularity: the hypnotic effect of a rhythmic figure that remains unchanged many times, against which the two themes are also repeated many times, demonstrating an extraordinary increase in emotional tension and introducing more and more new and new tools.

Nikolai Zabolotsky

So, Ravel, let's dance the bolero!

For those who will not change music to a pen,

There is an original holiday in this world -

The chant of bagpipes is meager and sad

And this dance of slow peasants...

Spain! I'm drunk on you again!

Having cherished the flower of a sublime dream,

Again your image burns before me

Far beyond the Pyrenees!

Alas, tormented Madrid fell silent,

And there is no Dolores Ibarruri with him!

But the people are alive and their song is alive.

Dance, Ravel, your gigantic dance.

Dance Ravel! Cheer up Spaniard!

Turn, History, cast millstones,

Be a miller's wife in the terrible hour of the surf!

Oh, bolero, sacred battle dance!

Ravel in 1928

This year, Ravel turned fifty-three years old. Behind a recent tour of America - "crazy tour", as Ravel himself described it, across Canada and the United States ("I see great cities, delightful landscapes, but triumphs are tiring" - from a letter to Helene Jourdan-Morrange dated February 10, 1928). Ahead is the award of an honorary doctorate from Oxford University. Ravel is at the top of his composing skills. Such masterpieces as piano cycles"Reflections" (1905) and "Night Gaspard" (1908) and the suite "Tomb of Couperin" (1917), the opera "Spanish Hour" (1907), "Spanish Rhapsody" (1907), the ballet "Daphnis and Chloe" (1912) , Rhapsody "Gypsy" (1924) and other works. After 1928 he would have to write two of his piano concertos(1931) - one for the left hand, which the Austrian pianist Paul Wittgenstein will order for Ravel (who lost his right hand in the war - World War I), and the second - in G major - "not only for one right hand"(as the composer joked) - an amazing masterpiece, which was introduced to the world by the wonderful pianist Margarita Long and whose unsurpassed interpreter is the Italian pianist Arturo Benedetti Michelangeli. She prepared the Concerto under the guidance of the author and performed it with triumph during her concert tour of Europe and America together with Ravel, who was then acting as a conductor.

But this - the 28th - year was the year of "Bolero".

Ravel's Spanish and Russian connections

We owe the birth of this work to the interweaving of two life lines in the fate of Ravel, this Frenchman - the Spanish lines and, oddly enough ... Russian. Ravel's Russian connections gave an external impetus to writing the second part of this ballet performance. Spanish - toy inner strength, which prompted Ravel to write precisely "Bolero", in other words, again, as he had more than once, turn to Spanish theme, Spanish folklore, to try to convey the Spanish spirit and flavor. But I will tell you in order and I will start with those very external causes, that spark that ignited Ravel's inspiration.

Already long years Ravel is associated with figures of Russian culture, especially with composers who conquered Paris in the early 900s. It is, first of all, Russian theatrical figure Sergei Pavlovich Diaghilev with his "Russian Ballet" and "Russian Seasons" in Paris. It was on the order of Diaghilev that Ravel wrote the ballet Daphnis and Chloe back in 1912. But not only the customer was a Russian philanthropist, although his role, both in this project and in many others related to major composers of that time, absolutely exceptional. No wonder the square in front of the Grand Opera in Paris bears his name - Place Diaghilev! The libretto of the ballet was also written by the Russian choreographer Mikhail Fokin. Daphnis was performed by the Russian dancer Vaslav Nijinsky, and the scenery was designed by Leon Bakst. You can talk a lot about the impression that Russian art made on Ravel and, in particular, musical culture. Only one clearest example- Ravel's orchestration of "Pictures at an Exhibition" by Mussorgsky.

But now it's not about that, but only about one representative of the Russian intelligentsia in Paris - the wonderful dancer Ida Rubinstein. Who just did not admire her talent. Valentin Serov captured it on famous portrait kept in the Russian Museum in St. Petersburg. It was she who inspired Ravel to write "Bolero".

Ida Rubinstein decided to perform on the stage of the Grand Opera in Paris a choreographic composition to the music of Ravel's Waltz, already written at that time. But this one orchestral piece in order to introduce it to theatrical performance, was not enough. And then she turned to Ravel with a request that he write another work for this production. It was decided that it would be "Bolero".

So we approached the issue of Ravel's Spanish connections. First of all, they made themselves known in the literal sense of the word at the genetic level: Ravel's mother was Spanish (by the way, the father of this French composer was from Switzerland). Future composer was born in a small spanish

What does he talk about musical rhythm

1. A variety of implementation of the triplet in dance genres.
2. The peculiarity of the rhythm of the mazurka (on the example of the mazurka in B-flat major, Op. 7 No. 1 by F. Chopin).
3. A ceremonial tread, expressed in the music of the polonaise (on the example of the polonaise in A major, Op. 40 No. 1 by F. Chopin).
4. The transformation of Spanish folk rhythms into M. Ravel's Bolero.

Music material:

1. F. Chopin. Mazurka in B flat major, Op. 7 No. 1. Fragment (hearing);
2. F. Chopin. Polonaise in A major, Op. 40 No. 1. Fragment (hearing);
3. M. Ravel. "Bolero" (listening);
4. G. Struve, lyrics by A. Barto. “Tamtams are beating” from the cantata for choir and soloist “The Dove of Peace” (singing, musical and rhythmic movements).

Characteristics of activities:

1. Recognize intonation-figurative, genre features music (taking into account the criteria presented in the textbook).
2. Compare and identify musical works of different genres and styles (taking into account the criteria presented in the textbook).
3. Creatively interpret content musical works in singing, in musical-rhythmic movement.

Just as musical rhythms are diverse, so are musical time signatures. For example, the size 3/4, just named the main feature of the waltz, is equally obligatory for the mazurka, the polonaise, and the bolero! At the same time, despite the common size, these genres are very difficult to confuse with each other.

Let us turn to the genres of mazurka and polonaise.

Mazurka

Mazurka is an old Polish dance performed at a fast pace. It arose in the 12th century among the peasants among the Masurians, courageous Polish riders, and therefore in the mazurka we see movements reminiscent of spurring. The dance was accompanied by playing the bagpipes. Usually four, eight or twelve couples participated in it.

As often happened, folk dance came to dance halls, salons, elegant living rooms, and there he changed his appearance. Since the 13th century, the mazurka has been known as a ballroom dance not only in Poland, but also in many European countries.

But it was not so easy to "handle" the mazurka. Her music is very distinctive. Does not allow dancing smoothly and decently. Fire dance!

... When the mazurka thundered,
Everything in the great hall was trembling,
The parquet cracked under the heel...

This is how Alexander Sergeevich Pushkin describes the mazurka.

But the mazurka is not only musical accompaniment dance. Like the waltz, it became instrumental music. The Polish composer F. Chopin was very fond of mazurkas. In the form of this folk dance he composed many piano pieces.

This is how the mazurka in B-flat major by F. Chopin sounds.

The rhythmic pattern of the mazurka is far from the measured smoothness of the waltz. It is full of sharp and angular intonations, sharp accents.

Polonaise

Another three-beat dance is the polonaise. He, too, is of Polish origin, as can be seen even from his name. In French, the word polonaise means "Polish", in Italian it is written like this - polacca, in Russia the name "Polish" was common.

The polonaise is a solemn ballroom dance-procession, therefore, in its triplet, one hears not the light whirling of a waltz, but the ceremonial tread of court ladies and their gentlemen - a half-forgotten picture of bygone times.

Interestingly, the polonaise, like the mazurka, was not at first ballroom dance. In the 16th century, it was performed at weddings and solemn ceremonies accompanied by singing. Only later did the polonaise become a court and purely instrumental dance - a symbol of the Polish national spirit.

In the polonaises that F. Chopin composed for the piano, we hear “the tread of people who act with valiant courage against all the most unjust” - this is what Franz Liszt said about the polonaises of F. Chopin.

Bolero

Let's turn to another dance - the bolero.

The three-part bolero - a dance that was born in Spain, included in its rhythm the characteristic knock of castanets, expressed in rhythmic onomatopoeia.

The traditions of bolero music were embodied with great brightness in his "Bolero" for orchestra by M. Ravel. Subtle, deep comprehension by him of the national spirit of this Spanish dance was so accurate that the name of Ravel, the French composer of the first half of the 20th century, is still associated with Spain.

“Spain is my second home,” Ravel often said. The Spanish theme runs like red drink through its entire creative way: "Spanish Rhapsody", "Spanish Hour", "Bolero", etc. Spanish motives constantly found in his piano and vocal pieces. In his Spanish opuses, Spain lives and breathes with its unique colors, the aroma of its gardens, the movements of its folk dances.

The element of dance permeates all of Ravel's work. But in no other work of the composer this bewitching power of dance rhythms manifested itself so brightly and unrestrainedly as in the symphonic piece "Bolero".

The music of "Bolero" in the shortest possible time has won wide recognition throughout the world, truly nationwide popularity. In less than two or three years, this work, having gone beyond concert halls, has become the property of all sorts of arrangers who have arranged it for the most unexpected ensembles.

The famous theme "Bolero" was whistled in the street by people who did not even suspect its origin. "Bolero", quite unexpectedly for Ravel, brought him such fame during his lifetime, which only great classical composers are awarded.

What is the "secret" of the enormous charm of this work?

First of all, in the rare beauty of the theme.

Born in the lightest sound of the flute against the background of an absolutely unchanged rhythmic formula (two snare drums pp), this theme is repeated many times all the time against the same rhythmic background, but each time in a new instrumental "clothes". From repetition to repetition, with inexorable persistence, the strength of the sound grows, the timbre palette flourishes, and the dynamic tension intensifies. New appearance of the theme - new paint. After the flute - a clarinet, then a bassoon in a high register, followed by a small clarinet, then an oboe d "cupid. When the overall sounding power of the orchestra has already reached a certain intensity, the composer entrusts the theme to two voices - a flute and a trumpet with a mute. Then the melody sounds alternately for several saxophones, flutes supported by horn and celesta, oboes, cor anglais and clarinets, finally enters the hitherto silent trombone, after which the melody is transmitted to the entire composition wooden tools and saxophone. This is how this unstoppable avalanche grows and expands.

N. Zabolotsky, who dedicated his poem "Bolero" to the remarkable creation of the French master, deliberately calls Ravel a "Spaniard". And that sounds like the ultimate reward!

So, Ravel, let's dance the bolero!
For those who will not change music to a pen,
There is an original holiday in this world -
The chant of the bagpipes is meager and sad
And this dance of slow peasants...
Spain! I'm drunk on you again!
But the people are alive, and their song is alive.

Dance, Ravel, your gigantic dance,
Dance Ravel! Cheer up Spaniard!
Turn, History, cast millstones,
Be a miller's wife in the terrible hour of the surf!
Oh, bolero, sacred battle dance!

The “Spaniard” Ravel in this poem by Zabolotsky appears as a musician who, like a true Spaniard, managed to enter the original element of Spanish folk rhythms, be captivated by their bewitching beauty and raise a modest peasant dance on a pedestal of universal admiration.

Questions and tasks:

1. What unites and what distinguishes a mazurka and a polonaise? Give the example of F. Chopin's Mazurka in B flat major and Polonaise in A major.
2. What is the reason for such a strong influence of the music of "Bolero" by M. Ravel? Is rhythm alone involved in the creation musical image this work?
3. "Bolero" is written in the form of variations. Can the composer's choice of this form be considered natural? Why?
4. While listening, pay attention to the rhythmic imitation of the sound of the castanets. What does it bring to the perception of music?
5. Why do you think dances are the most rhythmic of all musical genres?

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Ravel. Bolero, mp3;
Chopin. Mazurka in B-dur, Op. 7 no. 1, mp3;
Chopin. Polonaise A-dur, Op. 40 no. 1, mp3;
3. Accompanying article, docx.

slide 1

Presentation on the topic: Maurice Ravel "Bolero" Obysova T.G. Music teacher MBOU "Secondary School No. 15", Novomovskovsk, Tula Region.

slide 2

MAURICE RAVEL

slide 3

1928
BOLERO

slide 4

Born March 7, 1875 in the city of Ciboure in southern France. The city of Cibur was located on the very border with Spain, where at that time his father served as a railway engineer, a passionate lover of music, who instilled this love in his son. In 1889, Ravel entered the Paris Conservatoire, where he graduated in piano. Interest in improvisation appeared in Ravel after getting acquainted with the work of the extravagant composer Eric Satie, as well as a personal meeting with the composer and pianist Ricardo Viñes. It was after this that Maurice developed a passion for writing. On the last year training, he ended up in the class of Gabriel Foret. On his initiative, Ravel composed a cycle of works on Spanish melodies - "Habanera", "Pavane for the Death of the Infanta", "Antique Minuet".
About Maurice Ravel:

Slide 5

When you listen to the music of this composer, you get the impression that you are watching the work of the artist creating his canvas. However, like most composers, the work of Maurice Ravel was not recognized for some time. Only after the speeches in his defense by the largest cultural figures of France, R. Roland and G. Faure, Ravel was awarded a large Rome Prize. This allowed him to go on a three-year internship in Italy.

slide 6

During World War I, Maurice worked as a truck driver at an airfield. After serving for more than a year, Ravel was demobilized after two serious wounds. After the war, Ravel's music began to be dominated by an emotional element. Therefore, from composing operas, he moves on to creating instrumental pieces and writes the suite "The Tomb of Couperin". Around the same time, Maurice Ravel met the famous Russian producer and director S. Diaghilev, who was staging Russian Seasons in Paris.

Slide 7

Ravel tours a lot: he performs with tours in Italy, Holland and England. And everywhere he was met with an enthusiastic reception of grateful admirers. By order of the Russian conductor S. Koussevitzky, Ravel performs a brilliant orchestration of "Pictures at an Exhibition" by M. P. Mussorgsky. All this happens while Maurice is working on his most famous work, Bolero. In it, the composer tried to combine classical traditions with rhythms Spanish music. The idea for this piece belongs to famous ballerina Ide Rubinstein.

Slide 8

In 1932, Ravel again toured Europe with the outstanding pianist Marguerite Long. At the same time, he begins work on a new work - the ballet "Joan of Arc". However, he gets into a car accident, and the work stops. he received in a car accident. The latest work seriously ill composer was "Three Songs" to the first sound film "Don Quixote". They were written for the Russian singer F.I. Chaliapin.

Slide 9

"Old Minuet" (1895) "Pavane for the Death of the Infanta" (1899) "The Play of Water" for piano (1901) "Reflections" for piano (1905) "Spanish Rhapsody" for symphony orchestra(1907) The Spanish Hour, opera (1907) Gaspard at Night, or Ghosts of the Night for piano (1908) Daphnis and Chloe, ballet (1912) Couperin's Tomb (1917) The Child and the Magic, opera (1925) Bolero for symphony orchestra (1928) Concerto No. 1 in G major for piano and symphony orchestra Concerto No. 2 in D major for piano (left hand) and symphony orchestra, dedicated to Paul Wittgenstein
LIST OF WORKS OF MAURICE RAVEL.

Slide 10

The dance originated in late XVIII century (according to some sources, created around 1780 by the dancer Sebastian Cerezo), accompanied by singing and playing the guitar and drum. Characteristic musical and rhythmic figures were emphasized by the sound of castanets. In the early years of its existence, the bolero was called "the apotheosis of tenderness", but soon the dance becomes dramatized, saturated with the spirit of knightly heroism.
BOLERO - Spanish folk pair dance. The pace of movement is moderate, the musical time signature is 3 beats. The rhythmic pattern is often close to the rhythm of the polonaise.

Slide 11

As a rule, a bolero consists of 5 parts. Part 1 - a choreographic image of a walk. In the middle part, improvisational in nature, the dancers alternately demonstrate their art. Of particular complexity are the “flying” movements of men, thanks to which, researchers believe, the dance was called “bolero” (Spanish volar - spinning - in common speech turned into bolar).

slide 12

The arrangement of parts, their strict sequence in development main theme allowed to convey the dance element of Spanish music. The famous Russian ballerina Anna Pavlova included "Bolero" in her repertoire.

slide 13

In the first half of the 19th century, the bolero, usually performed in Spain during folk holidays on the streets and squares, goes to the stage. Interest in the genre is also beginning to emerge abroad: dance is included in ballets and operas, inspires composers to create numerous songs and romances, and instrumental works.

Slide 14

The view of a large symphony orchestra performing "Bolero" is perhaps one of the most striking musical spectacles. Few people remember that this music was originally intended for ballet. But, having overcome the boundaries of genres as well as criticism and self-criticism, "Bolero" remains the most "mass" phenomenon of symphonic culture.

slide 15

The composition of the instruments. First, woodwinds sound - flute, clarinet, oboe, bassoon.

slide 16

Gradually they are joined by groups of brass pipes with mute,
saxophones are new instruments mainly used in jazz,

Slide 17

then horn and celesta

Slide 18

Solo trombone, trumpets.

Slide 20

Here is how the composer himself (Ravel) characterizes the “Bolero”: The peculiarity of the “Bolero” is invariability. 'It dance music, which should be performed at an even moderate pace; it is built on the stubborn repetition of the same melody and harmony, the monotonous rhythm of which is constantly beaten by the drum. The only element of diversity in it is the ever-increasing orchestral crescendo’.

Slide 21

Ravel himself saw in this music a great dance scene unfolding in the open air, with the participation of a huge crowd of people. "Bolero" has been staged more than once in the form of a ballet. According to Ravel himself, the factory building should have been included in the decoration so that the workers and workers leaving the workshops would gradually be involved in a common dance. Why did Ravel himself have such an idea? Rather, because during his journey through the Rhineland he visited several large factories, which he constantly admired, or rather, these factories became his passion. On one of these factories, in front of which he liked to walk, Ravel pointed out: "The plant from the" Bolero "". And, of course, that in the seeming mechanicalness of the movement (due to the repeated repetition of two themes), the image of a grandiose mass dance-procession is gradually revealed. Music produces a hypnotizing, bewitching impression.

slide 22

N. Zabolotsky calls "Bolero" "the sacred dance of battle": But the people are alive, and their song is alive, Dance, Ravel, your gigantic dance. Dance, Ravel, don't be discouraged, Spaniard! Turn, history, cast millstones! Be a miller's wife in the terrible hour of the surf! Oh, Bolero, sacred battle dance!

slide 23

And here are some paradoxical situations, statements related to the history of this work. Maurice Ravel: “Is Bolero my masterpiece? Unfortunately, this is empty music! After one of the performances of "Bolero", a lady unknown to the composer exclaimed: "Crazy!". Ravel chuckled and said, "She got it!" Maurice Ravel - George Gershwin: "Be careful, you will end up writing "Bolero"!".