"Plots" and "heroes" of the musical form. "Plots" and "heroes" of the musical form old rondo form

slide 2

What is form in music?

It is customary to call a musical form a composition, that is, the features of constructing a musical work: the ratio and methods of developing musical-thematic material, the ratio and alternation of keys.

slide 3

couplet form

What one sings - the soloist - is the singing of the song. Have you ever paid attention to how the song is composed? Especially such a song that many people can sing together - at a demonstration, on a campaign or in the evening at a pioneer fire. It seems to be divided into two parts, which are then repeated several times. These two parts - sang, otherwise, a verse (the French word couplet means a stanza) and a chorus, otherwise called a refrain (this word is also French - refrain).

slide 4

In choral songs, the chorus is often performed by the singer alone, and the choir picks up the chorus. The song does not consist of one, but usually of several verses. The music in them usually does not change or changes very little, but the words are different each time. The chorus always remains the same both in the text and in the music. Think of any pioneer song, or one of those that you sing when you go camping in the summer, and see for yourself how it is built. The form in which the vast majority of songs are written is therefore called the couplet form.

slide 5

SCHOOL SHIP Words: Konstantin Ibryaev Music: Georgy Struve And on a serene September day, And when February sweeps, School, school, you look like a ship running into the distance. Chorus: Now our watch is at the blackboard, So, a little bit we are all sailors. We are familiar with the thirst for discovery, Our roads are far away. 2Every year we enter together new class like a new port. And our dreams and songs, As always, we take on board. Chorus. Now our watch is at the blackboard, So it means that we are all sailors a little. We are familiar with the thirst for discovery, Our roads are far away. 3In the footsteps of Green's heroes, Through the pages good books We are under the invisible sail To sail straight with friends. Chorus. Now our watch is at the blackboard, So it means that we are all sailors a little. We are familiar with the thirst for discovery, Our roads are far away. 4 Will we become sailors, Will we lead a starship - We will never leave a Man overboard. Chorus. Now our watch is at the blackboard, So it means that we are all sailors a little. We are familiar with the thirst for discovery, Our roads are far away.

slide 6

ancient form of rondo

They are based on two (or - in a rondo - several) different thematic materials. The form in such cases is based on a comparison, development, and sometimes even a collision of these often contrasting, and sometimes even conflicting themes.

Slide 7

tripartite form

The three-part is built according to the scheme, which is usually depicted in letters like this: ABA. This means that the initial episode at the end, after the contrasting middle episode, is repeated. In this form, the middle parts of symphonies and sonatas, parts of suites, various instrumental pieces, for example, many nocturnes, preludes and mazurkas by Chopin, songs without words by Mendelssohn, romances by Russian and foreign composers are written.

Slide 8

two-part form

The two-part form is less common, as it has a shade of incompleteness, comparisons, as if “without conclusion”, without a result. Its scheme: AB. There are also musical forms based on a single theme. These are, first of all, variations, which can be more accurately called a theme with variations (a separate story in this book is also devoted to variations). In addition, many forms are built on the same theme. polyphonic music such as fugue, canon, invention, chaconne and passacaglia.

Slide 9

free form

that is, a composition not related to established standard musical forms. Most often, composers turn to free form when creating program works, as well as when composing all kinds of fantasies and medleys on borrowed themes. True, often in free forms there are features of tripartiteness - the most common of all musical constructions. It is no coincidence that the most complex, the highest of all musical forms - the sonata - is also basically three-part. Its main sections - exposition, development and reprise - form a complex three-part structure - a symmetrical and logically complete construction.

Slide 10

View all slides

Lesson Objectives:

musical material lesson:

Ø R. Wagner.

Ø E. Krylatov, poetry N. Dobronravova.

Additional material:

During the classes:

I. Organizational moment.

II. The topic of the lesson.

Lesson topic: What is a musical form. "Plots" and "heroes" musical form.

III. Work on the topic of the lesson.

art form is the content that has become visible.

I. Hofmiller

musical form-

1. Holistic, organized system expressive means of music (melody, rhythm, harmony, etc.), with the help of which its ideological and figurative content is embodied in a musical work.

2. Construction, structure of a musical work, the ratio of its parts. The elements of musical form are: motive, phrase, sentence, period. Various ways of developing and comparing elements lead to the formation of various musical forms. The main musical forms: two-part, three-part, sonata form, variations, couplet form, a group of cyclic forms, free forms, etc. The unity of the content and form of a musical work is the main condition and at the same time a sign of its artistic value.

It is customary to call a musical form a composition, that is, the features of constructing a musical work: the ratio and methods of developing musical-thematic material, the ratio and alternation of keys. Of course, each piece of music has its own unique features. However, over several centuries of development European music Certain regularities and principles have developed, according to which certain types of works are built.

With one of the musical forms, you are all, no doubt, very familiar. This is the couplet form in which songs are written. Similar to it is the ancient form of the rondo that originates from it. They are based on two (or - in a rondo - several) different thematic materials. The form in such cases is based on a comparison, development, and sometimes even a collision of these often contrasting, and sometimes even conflicting themes.

Three-part and two-part forms are also common in musical practice. The three-part is built according to the scheme, which is usually depicted in letters like this: ABA. This means that the initial episode at the end, after the contrasting middle episode, is repeated. In this form, the middle parts of symphonies and sonatas, parts of suites, various instrumental pieces, for example, many nocturnes, preludes and mazurkas by Chopin, songs without words by Mendelssohn, romances by Russian and foreign composers are written. The two-part form is less common, as it has a shade of incompleteness, comparisons, as if “without conclusion”, without a result. Its scheme: AB.

There are also musical forms based on a single theme. These are, first of all, variations, which can be more accurately called a theme with variations. In addition, many forms of polyphonic music, such as fugue, canon, invention, chaconne and passacaglia, are built on the same theme. The stories "polyphony", "fugue", "variations" introduce you to them.

There is also a so-called free form in music, that is, a composition that is not associated with established standard musical forms. Most often, composers turn to free form when creating program works, as well as when composing all kinds of fantasies and medleys on borrowed themes. True, often in free forms there are features of tripartiteness - the most common of all musical constructions.

It is no coincidence that the most complex, the highest of all musical forms - the sonata - is also basically three-part. Its main sections - exposition, development and reprise - form a complex three-part structure - a symmetrical and logically complete construction. You will read about this in the story dedicated to the sonata.

PROGRAM MUSIC

You are listening to a piano or violin concerto, a Mozart symphony or a Beethoven sonata. While enjoying beautiful music, you can follow its development, how different musical themes replace one another, how they change, develop. Or you can reproduce in your imagination some pictures, images that sounding music. At the same time, your fantasies will certainly be different from what another person who listens to music with you imagines. Of course, it does not happen that you feel the noise of battle in the sounds of music, and someone else - an affectionate lullaby. But stormy, formidable music can evoke associations with the rampant elements, and with a storm of feelings in a person’s soul, and with a formidable roar of battle...

There are many pieces of music in which the composer in one form or another explains their content to the listeners. So, Tchaikovsky called his first symphony "Winter Dreams". He prefaced the first part of it with the heading "Dreams on a winter road", and the second - "A gloomy land, a foggy land".

Program music is such instrumental music, which is based on a “program”, that is, some very specific plot or image.

Programs are of different types. Sometimes the composer retells in detail the content of each episode of his work. So, for example, did Rimsky-Korsakov in his symphonic picture "Sadko" or Lyadov in "Kikimor". It happens that, referring to well-known literary works, the composer considers it sufficient only to indicate this literary source: meaning that all listeners know him well. This is done in Liszt's Faust Symphony, Tchaikovsky's Romeo and Juliet, and many other works.

There is also a different type of programming in music, the so-called pictorial, when there is no plot outline, and the music draws one kind of image, picture or landscape. Such are Debussy's symphonic sketches of The Sea. There are three of them: "From dawn to noon at sea", "The play of the waves", "The conversation of the wind with the sea". And “Pictures at an Exhibition” by Mussorgsky are called so because in them the composer conveyed his impression of some of the paintings by the artist Hartmann. If you haven't heard this music yet, try to get to know it by all means. Among the pictures that inspired the composer are “Gnome”, “ old lock”, “Ballet of unhatched chicks”, “Hut on chicken legs”, “Bogatyr gates in ancient Kyiv” and other characteristic and talented sketches.

HISTORY OF CREATION

Wagner met the legend of Lohengrin in 1841, but only in 1845 did he sketch out the text. The following year, work began on the music.

A year later, the opera was completed in clavier, and in March 1848 the score was ready. The premiere scheduled in Dresden did not take place due to revolutionary events. The production was carried out thanks to the efforts of F. Liszt and under his direction two years later, on August 28, 1850 in Weimar. Wagner saw his opera on stage only eleven years after the premiere.

The plot of Lohengrin is based on various folk tales freely interpreted by Wagner. In coastal countries, among peoples living along the banks of large rivers, poetic legends about a knight sailing in a boat drawn by a swan are widespread. He appears at the moment when a girl or a widow, abandoned and persecuted by everyone, is in mortal danger. The knight frees the girl from her enemies and marries her. They live happily for many years, but suddenly the swan returns, and the stranger disappears as mysteriously as he appeared. Often, "swan" legends were intertwined with tales of the Holy Grail. The unknown knight then turned out to be the son of Parsifal, the king of the Grail, who united around him the heroes who guard the mysterious treasure, which gives them miraculous strength in the fight against evil and injustice. Sometimes legendary events were transferred to a certain historical epoch - to the reign of Henry I the Fowler (919-936).

The legends of Lohengrin inspired many medieval poets, one of them is Wolfram Eschenbach, whom Wagner brought out in his Tannhäuser.

In the words of Wagner himself, Christian motives the legends of Lohengrin were alien to him. The composer saw in her the embodiment of eternal human aspirations for happiness and sincere, selfless love. The tragic loneliness of Lohengrin reminded the composer of his own fate - the fate of an artist who brings people high ideals of truth and beauty, but meets with misunderstanding, envy and malice.

And in other heroes, Wagner's tales were attracted by living human features. Elsa, saved by Lohengrin, with her naive, simple soul, seemed to the composer the embodiment of elemental force folk spirit. She is opposed to the figure of the evil and vindictive Ortrud, the personification of everything inert, reactionary. In separate replicas actors, in the side episodes of the opera, one can feel the breath of the era when Lohengrin was created: echoes of the hopes and aspirations of the progressive people of Germany in the 1840s are heard in the king’s calls for unity, in Lohengrin’s readiness to defend the homeland and his faith in the coming victory. This interpretation of old legends is typical of Wagner. Myths and legends were for him the embodiment of a deep and eternal folk wisdom, in which the composer was looking for an answer to the questions of his time that worried him.

PLOT

On the banks of the Scheldt River, near Antwerp, King Henry the Fowler gathered the knights, asking them for help: the enemy again threatens his possessions. Count Friedrich Telramund appeals to royal justice. Dying, the Duke of Brabant entrusted him with his children - Elsa and little Gottfried. One day Gottfried mysteriously disappeared. Friedrich accuses Elsa of fratricide and demands her trial. As a witness, he names his wife Ortrud. The king orders to bring Elsa. Everyone is amazed at her dreamy appearance and strange enthusiastic speeches. Elsa says that in a dream a beautiful knight appeared to her, who promised her help and protection. Listening to Elsa's ingenuous story, the king cannot believe in her guilt. Friedrich is ready to prove his case in a duel with those who stand up for Elsa's honor. The cry of the herald is far away, but there is no answer. Friedrich is already triumphant. Suddenly, on the waves of the Scheldt, a swan appears, drawing a rook; in it, leaning on a sword, stands an unknown knight in shining armor. Coming ashore, he affectionately says goodbye to the swan, and he slowly swims away. Lohengrin declares himself Elsa's protector: he is ready to fight for her honor and call her his wife. But she must never ask the name of the deliverer. In a fit of love and gratitude, Elsa swears eternal fidelity. The duel begins. Friedrich falls, struck down by Lohengrin; the knight generously grants him life, but exile awaits him for slander.

That same night, Friedrich decides to leave the city. He angrily reproaches his wife: it was she who whispered false accusations against Elsa and awakened in him ambitious dreams of power. Ortrud mercilessly ridicules her husband's cowardice. She will not back down until she has avenged herself, and the weapons in her fight will be pretense and deceit. Not christian god, in which Friedrich blindly believes, and the ancient vengeful pagan gods will help her. Elsa must be forced to break her oath and ask the fatal question. It is not difficult to sneak into Elsa's confidence: seeing a humble, poorly dressed woman instead of the former arrogant and proud Ortrud, Elsa forgives her former anger and hatred and calls to share her joy. Ortrud begins an insidious game: she humbly thanks Elsa for her kindness and warns her against trouble with feigned concern - the stranger did not reveal Elsa's name or family, he may suddenly leave her. But the girl's heart is free from suspicion. Morning comes. People gather in the square. The wedding procession begins. Suddenly, Elsa's path is blocked by Ortrud. She threw off the mask of humility and now openly mocks Elsa, not knowing the name your future spouse. Ortrud's words cause general confusion. It intensifies when Frederick publicly accuses an unknown knight of witchcraft. But Lohengrin is not afraid of the malice of enemies - only Elsa can reveal his secret, and he is sure of her love. Elsa stands in embarrassment, struggling with internal doubts - the poison of Ortrud has already poisoned her soul.

wedding ceremony finished. Elsa and Lohengrnn are left alone. Nothing disturbs their happiness. Only a light cloud overshadows Elsa's joy: she cannot call her husband by name. At first, timidly, caressing, and then more and more insistently, she tries to find out the secret of Lohengrin. In vain Lohengrin reassures Elsa, in vain reminds her of duty and oath, in vain he assures her that her love is dearer to him than anything in the world. Unable to overcome her suspicions, Elsa asks the fatal question: who is he and where did he come from? At this time, Friedrich Telramund bursts into the chambers with armed soldiers. Lohengrin draws his sword and kills him.

The day is occupied. Knights gather on the banks of the Scheldt, ready to go on a campaign against enemies. Suddenly, the joyful cliques of the people fall silent: four nobles carry the corpse of Friedrich covered with a cloak: they are followed by the silent, grief-stricken Elsa. The appearance of Lohengrin explains everything, Elsa did not keep her oath, and he must leave Brabant. The knight reveals his name: he is the son of Parsifal, sent to earth by the brotherhood of the Grail to protect the oppressed and offended. People must believe in the messenger of heaven; if they have doubts, the power of the Grail Knight disappears, and he cannot remain on earth. The swan reappears. Lohengrin sadly says goodbye to Elsa, predicts a glorious future for Germany. Lohengrin frees the swan, it disappears into the water, and little Gottfried, Elsa's brother, turns into a swan by Ortrud's witchcraft, emerges from the river. Elsa cannot bear the separation from Lohengrin. She dies in her brother's arms. And on the waves of the Scheldt, a shuttle glides, carried away by the white dove of the Grail. In the canoe, sadly leaning on a shield, stands Lohengrin. The knight leaves the earth forever and retires to his mysterious homeland.

MUSIC

Lohengrin is one of Wagner's most complete and perfect operas. It reveals with great fullness the rich spiritual world, the complex experiences of the characters. The opera vividly depicts a sharp, irreconcilable clash of the forces of good and truth, embodied in the images of Lohengrin, Elsa, the people, and dark forces, personified by the gloomy figures of Friedrich and Ortrud. The music of the opera is distinguished by rare poetry, sublime spiritualized lyricism.

This is already evident in the orchestral introduction, where a vision of the beautiful kingdom of the Grail arises in the transparent sound of the violins - the country of an unrealizable dream.

In the first act, the free alternation of solo and choral siena is permeated with an ever-increasing dramatic tension. Elsa's story "I remember how I prayed, grieving my soul" conveys the fragile, pure nature of the dreamy, enthusiastic heroine. The chivalrous image of Lohengrin is revealed in the solemnly sublime farewell to the swan "Swim back, O my swan." The quintet with the choir captures the concentrated meditation that engulfed those present. The act ends with a large ensemble, in the joyful jubilation of which the angry remarks of Friedrich and Ortrud are drowned.

The second act is full of sharp contrasts. Its beginning is shrouded in an ominous twilight, an atmosphere of evil machinations, which is opposed by the bright characterization of Elsa. The second half of the act has a lot of bright sunlight, movement. Everyday scenes - the awakening of the castle, warlike choirs of knights, a solemn wedding procession - serve as a colorful backdrop for the dramatic collision between Elsa and Ortrud. Elsa's small arioso "O light-winged wind" is warmed by joyful hope, trembling expectation of happiness. The subsequent dialogue emphasizes the dissimilarity of the heroines: Ortrud's appeal to pagan gods has a passionate, pathetic character, Elsa's speech is permeated with cordiality and warmth. The extended ensemble scene of the dispute between Ortrud and Elsa at the cathedral - Ortrud's vicious slanders and Elsa's hot, excited speech - impresses with dynamic mood swings. A large build-up leads to a powerful quintet with a choir.

There are two scenes in the third act. The first is entirely devoted to the psychological drama of Elsa and Lohengrin. In the center of her love duet. In the second great place occupy crowd scenes. A brilliant orchestral interlude introduces you to the lively atmosphere of the wedding feast with militant cries, the sound of weapons and ingenuous melodies. The wedding choir "Joyful Day" is full of jubilation. The dialogue between Lohengrin and Elsa "A heart tenderly burns with a wondrous fire" is one of the best episodes of the opera; wide flexible lyrical melodies with amazing depth convey a change of feelings - from intoxication with happiness to collision and catastrophe.

The second painting opens with a colorful orchestral intermezzo built on the roll call of the trumpets. In Lohengrin's story "In a foreign land, in a distant mountainous kingdom", a transparent melody draws a majestic bright image of the messenger of the Grail. This characterization is complemented by a dramatic farewell "Oh my swan" and a mournful, impetuous appeal to Elsa.

¾ R. Wagner. Intermission to III action. From the opera "Lohengrin" (hearing).

Vocal and choral work.

¾ R. Wagner. Intermission to Act III. From the opera "Lohengrin" (hearing).

¾ E. Krylatov, poetry N. Dobronravova. I only believe in masts and dreams (singing).

IV. Summary of the lesson.

V. Homework.

Lesson 18

Topic: "Art form is the content that has become visible"

Lesson Objectives:

Ø Learn to perceive music as an integral part of every person's life.

Ø Educate emotional responsiveness to musical phenomena, the need for musical experiences.

Ø Formation of the listener's culture on the basis of familiarization with the highest achievements of musical art.

Ø Meaningful perception of musical works (knowledge of musical genres and forms, means musical expressiveness, awareness of the relationship between content and form in music).

Music material of the lesson:

Ø W. A. ​​Mozart.

Ø F. Schubert. Serenade (listening).

Ø E. Krylatov, poetry N. Dobronravova. I only believe in masts and dreams (singing).

Ø A. Zatsepin, poetry L. Derbeneva. There is only a moment (singing).

Additional material:

During the classes:

I. Organizational moment.

II. The topic of the lesson.

Theme of the lesson: “Art form is the content that has become visible”

III. Work on the topic of the lesson.

The content is both “images of changeable fantasies” and “dreams”, running, wandering, finding calm and completeness only in the sharpness and certainty of the form. Before of the emergence of the work, the idea does not yet exist, it is not formalized, not realized. And only after how a work is created, we can judge all the merits of its content - not because the form is more important, but because the world is arranged in such a way that content outside the form cannot exist .That is why studying a musical form means studying music, how it is made, what paths a musical thought follows, what components it consists of, forming composition and dramaturgy a musical work. Already in how the work is formed, what means of expression come to the fore in it, the composer’s intention is guessed. What makes up the musical sound, forming the form of music? Musicians know that composers often call their works not by names, but by indications of keys: Prelude in C major, Sonata in B minor, etc. This means that the choice of a musical mode - major and minor, as well as a specific key, contains deep meaning. It is known that many composers even had favorite keys with which they associated certain figurative representations. Perhaps when Mozart turned to the key of D minor, and Messiaen wrote about the meaning of F-sharp major in his works, these composers were subjective (as, probably, those musicians who have “color hearing”, that is, they associate the sound certain tonalities with certain colors). However, their music convinces us of the vivid expressiveness of the chosen keys, of their deep figurative validity. Of course, the mournful and at the same time sublime D minor in "Lacrimosa" from Mozart's Requiem sounds completely different in Gluck's elegiac-sad Melody from the opera "Orpheus and Eurydice" or in Schubert's dreamy Serenade. After all, the choice of tonality in itself is not important, but its connection with the idea, image, means of musical expression.

¾ W. A. ​​Mozart. Requiem. Lacrimosa (listening).

¾ F. Schubert. Serenade (listening).

Vocal and choral work.

¾ E. Krylatov, poetry N. Dobronravova. I only believe in masts and dreams (singing).

¾ A. Zatsepin, poetry L. Derbeneva. There is only a moment (singing).

IV. Summary of the lesson.

Each element of the musical form is the main carrier of the content: by the way the music sounds, what dominates in it, what are the features of its structure, we can judge about musical image, character, mood.

V. Homework.

Learn lyrics and definitions.

Lesson 19

Theme: From the whole to the details

Lesson Objectives:

Ø Learn to perceive music as an integral part of every person's life.

Ø To develop an attentive and benevolent attitude towards the world around.

Ø Educate emotional responsiveness to musical phenomena, the need for musical experiences.

Ø To develop interest in music through creative self-expression, manifested in reflections on music, one's own creativity.

Ø Formation of the listener's culture on the basis of familiarization with the highest achievements of musical art.

Ø Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

Ø W. A. ​​Mozart. Overture from the opera "The Marriage of Figaro" (listening).

Ø F. Schubert. Organ grinder. From vocal cycle"Winter Way" (listening).

Ø E. Krylatov, poetry N. Dobronravova. I only believe in masts and dreams (singing).

Ø A. Zatsepin, poetry L. Derbeneva. There is only a moment (singing).

Ø E. Kolmanovsky, poetry L. Derbenev, I. Shaferan. Moscow serenade (singing).

Ø A. Rybnikov, poetry R. Tagore. The last poem. From the movie "You never dreamed" (singing).

Additional material:

During the classes:

I. Organizational moment.

II. The topic of the lesson.

III. Work on the topic of the lesson.

THE WEDDING OF FIGARO (Le nozze di Figaro) - opera buffa by W. A. ​​Mozart in 4 acts, libretto by L. da Ponte. Premiere: Vienna, May 1, 1786, conducted by the author.

When Mozart decided to write The Marriage of Figaro, there were already works on the theme of The Barber of Seville - G. Paisiello (1782), F. L. Benda and others. It is generally accepted that the success of Paisiello's opera prompted Mozart to turn to Beaumarchais's second play on Figaro . Perhaps this motive played known role but, of course, it was not decisive. The popularity of both plays by Beaumarchais, their artistic perfection, wit, and, above all, social sharpness attracted the sympathy of Mozart, a man and artist who was aware of the humiliating position of a musician in feudal society. The image of Figaro, a representative of the rising third estate, defending human dignity, personified the democratic ideas of his time. However, in Austria Beaumarchais's comedy was banned, and in order to obtain permission to stage the opera, it was necessary to make concessions to censorship. Therefore, when reworking the comedy into a libretto, many of Figaro's lines had to be omitted. However, it is not these abbreviations of the text that determine the nature of the work, which retained the anti-feudal orientation of Beaumarchais's comedy.

The opera clearly expresses the idea of ​​the superiority of a smart, enterprising and courageous native of the people over a depraved, arrogant and hypocritical nobleman. Mozart not only retained the basic and most important ideological motifs of comedy; he rethought, deepened and enriched the images of the characters, boldly dramatized the action. His countess feels deeper and thinner than in a comedy. Her experiences are dramatic, although she remains a character in a comic opera. Purely buffoonish images are also enriched, such as, for example, Marcellina. The moment she finds out that Figaro is her son, the melos of her party changes unrecognizably: a sincere, excited feeling displaces the usual intonations for a comedic character. A new understanding of the system of operatic drama found expression in the expansion of the role of ensembles: in Mozart's opera their number (14) is equal to the number of arias. If earlier the action was revealed in recitatives, and arias and ensembles were, as it were, a stop in the development of the plot, then in Mozart they also move the action. By the inexhaustibility of inspiration, the rarest expressiveness of "The Wedding of Figaro" - milestone in the history of world musical theatre.

HISTORY OF CREATION

The plot of the opera is borrowed from the comedy of the famous French playwright P. Beaumarchais (1732-1799) Crazy Day, or The Marriage of Figaro (1781), which is the second part of the dramatic trilogy (the first part - The Barber of Seville, 1773 - served as the basis for the opera of the same name by D. Rossini). Comedy appeared in the years immediately preceding french revolution(first staged in Paris in 1784), and due to its anti-feudal tendencies caused a huge public outcry. Mozart's "The Marriage of Figaro" attracted not only the liveliness of the characters, the swiftness of the action, the comedic witticism, but also the socio-critical orientation. In Austria, Beaumarchais's comedy was banned, but Mozart's librettist L. da Ponte (1749-1838) obtained permission to stage the opera. When reworked into a libretto (written in Italian) many comedy scenes were cut, and Figaro's publicistic monologues were released. This was dictated not only by the requirements of censorship, but also by the specific conditions of the opera genre. Nevertheless, the main idea of ​​Beaumarchais's play - the idea of ​​the moral superiority of the commoner Figaro over the aristocrat Almaviva - received an irresistibly convincing artistic embodiment in the music of the opera.

Hero of the opera lackey Figaro - typical representative third estate. Cunning and enterprising, a mocker and wit, boldly fighting the almighty nobleman and triumphing over him, he is outlined by Mozart with big love and sympathy. The opera also depicts realistically the images of Figaro's fervent and tender friend Susanna, the suffering countess, the young Cherubino, seized by the first excitement of love, the haughty count and traditional comic characters - Bartolo, Basilio and Marcellin.

Mozart began composing music in December 1785, finishing it five months later; the premiere took place in Vienna on May 1, 1786, with little success. The opera gained true recognition only after a performance in Prague in December of the same year.

PLOT

The Countess is saddened by her husband's indifference. Susanna's story of his infidelity hurts her heart deeply. Sincerely sympathizing with her maid and her fiancé, the Countess willingly accepts Figaro's plan - to call the Count into the garden at night and send him on a date instead of Susanna Cherubino, dressed in a woman's dress. Susanna immediately begins to dress up the page. The sudden appearance of the Count throws everyone into confusion; Cherubino is hidden in the next room. Surprised by his wife's embarrassment, the Count demands that she open the locked door. The countess stubbornly refuses, assuring that Susanna is there. The count's jealous suspicions intensify. Deciding to break the door, he and his wife go to get the tools. The clever Susanna releases Cherubino from his hiding place. But where to run? All doors are locked. In fear, the poor page jumps out the window. The returned count finds Susanna laughing at his suspicions behind a locked door. He is forced to ask his wife for forgiveness. Figaro, who has run in, reports that the guests have already gathered. But the count in every possible way delays the beginning of the holiday - he is waiting for the appearance of Marcellina. The housekeeper sues Figaro: she demands that he either repay her old debt or marry her. The wedding of Figaro and Susanna is postponed.

The court decided the case in favor of Marcelina. The count triumphs, but his triumph is short-lived. It suddenly turns out that Figaro is the son of Marcelina and Bartolo, who was kidnapped by robbers as a child. Touched, Figaro's parents decide to get married. Now we have two weddings to celebrate.

The countess and Susanna did not leave the thought of teaching the count a lesson. The Countess decides to put on a maid's dress herself and go on a date night. Under her dictation, Susanna writes a note, making an appointment for the count in the garden. During the holiday, Barbarina must hand it over.

Figaro chuckles at his master, but, having learned from the simpleton Barbarina that Susanna wrote the note, he begins to suspect his bride of deceit. In the darkness of the night garden, he recognizes Susanna in disguise, but pretends to take her for a countess. The count does not recognize his wife, disguised as a maid, and drags her into the gazebo. Seeing Figaro declaring his love to the imaginary countess, he raises a fuss, calls people to publicly convict his wife of treason. He refuses to pray for forgiveness. But then the real Countess appears, having removed her mask. The count is disgraced and asks his wife for forgiveness.

MUSIC

"The Wedding of Figaro" - household comic opera, in which Mozart - the first in the history of musical theater - managed to vividly and comprehensively reveal live individual characters. Relationships, collisions of these characters determined many features of the musical dramaturgy of Le nozze di Figaro, gave flexibility and variety to its operatic forms. The role of ensembles associated with stage action, often freely developing.

The rapidity of movement, heady fun permeate the opera's overture, introducing into the cheerful atmosphere of the events of the "crazy day".

In the first act, ensembles and arias naturally and naturally alternate. The two successive duets of Susanna and Figaro attract with grace; the first - joyful and serene, in the playfulness of the second disturbing notes slip through. The wit and courage of Figaro are captured in the cavatina "If the master wants to jump", the irony of which is emphasized by the dance rhythm. Cherubino's quiveringly excited aria “I can't tell, I can't explain” outlines the poetic image of the page in love. The tercet expressively conveys the count's anger, Basilio's embarrassment, and Susanna's anxiety. The mocking aria "The Frisky Boy", sustained in the nature of a military march, accompanied by the sound of trumpets and timpani, draws the image of an energetic, temperamental and cheerful Figaro.

The second act begins with bright lyrical episodes. The countess's aria "God of Love" attracts with lyricism and noble restraint of feeling; the plasticity and beauty of the vocal melody are combined in it with the subtlety of the orchestral accompaniment. Cherubino's aria "The Heart Excites" is full of tenderness and love languor. The finale of the act is based on a free alternation of ensemble scenes; dramatic tension builds up in waves. Following the stormy duet of the count and countess, a tercet follows, beginning with Susanna's mocking remarks; the following scenes with Figaro sound vividly, brightly, swiftly. The act ends with a large ensemble in which the triumphant voices of the Count and his accomplices are contrasted with the parts of Susanna, the Countess and Figaro.

In the third act, the duet of the count and Susanna stands out, captivating by the truthfulness and subtlety of the characteristics; his music simultaneously conveys the cunning of a charming maid and the genuine passion and tenderness of a deceived count. The duet of Susanna and the Countess is designed in transparent, pastel colors; voices echo softly, accompanied by oboe and bassoon.

The fourth act begins with a small naive-graceful aria of Barbarina "Dropped, lost." Susanna's lyrical aria "Come, my dear friend" is fanned with quiet poetry moonlit night. Finale music broadcasting complicated feelings heroes, sounds muffled at first, but gradually fills with joyful glee.

Consider one of the most cheerful works in the history of music - Mozart's Overture to his opera Le nozze di Figaro. The German musicologist G. Abert, characterizing the Overture, writes about its ongoing musical movement, which “trembles everywhere and everywhere, then laughs, then slowly giggles, then triumphs; in a swift flight, more and more of its sources arise .. Everything rushes to the face

MUNICIPAL STATE EDUCATIONAL INSTITUTION FOR ADDITIONAL EDUCATION OF CHILDREN
Penzhinsky Children's Art School

SCRIPT OF THE CONVERSATION
"LITERARY AND MUSICAL HEROES IN THE WORKS OF COMPOSERS - CLASSICS"

for secondary school students

Compiled by: Selezneva T. I.,

piano and music teacher

theoretical disciplines of PDSH

With. Kamenskoye

2016

Conversation script

"Literary and musical heroes in the works of classical composers"

Good afternoon our dear viewers. Welcome to the world of music and literature. Meeting with the beautiful is always a holiday. By tradition, on New Year's Eve, we invite secondary school students to concerts prepared by students of the piano department. The topics of conversations are very diverse, the works represent different styles and directions to musical art. Today we decided to hold our event together with 4th grade students.

Young musicians prepared a small concert program, made presentations on composers, and students of a comprehensive school will introduce us to the heroes of literary works, read poetic passages. To make the event more interesting, we included quizzes, tests, viewing and listening to excerpts from musical works in our program.

Any work has content and image, reveals some topic.

The theme can be heroic, patriotic, lyrical, fabulous.

Let's give examples of literary and musical works on heroic, fairy tale, lyric-dramatic, lyrical-psychological, everyday subjects. (Children list)

Each work has a character, mood, image.

In a poem, we can present a picture of nature, an image of a person (sad or cheerful, brave or cowardly, etc.). If in a literary work a poet or writer conveys the mood with the help of words, then in music, the content is revealed through sounds, notes.

Dmitry Eremenko opens our program, he will perform two diverse works, after listening to them, please determine the character, mood, come up with a name for the musical image.

Sounds "Etude" and "Sonatina" (Eremenko Dmitry)

In the repertoire of our musicians there are works that differ in style and direction. Let's remember what musical trends in music and literature are found, what distinguishes classical works from modern ones. (Baroque style, classical, romantic, impressionism).

Sounds "Etude" and "Samba" (Deinega Polina)

Musical works, like literary works, have their own genre. In literature, this is a story, a story, a poem, an epic, a story, a novel, a fable. Musical genres include: opera, ballet, concerto for some instrument, operetta, musical, symphonic works.

Each genre is subdivided into certain types: vocal, dance, instrumental.

Sounds "Waltz" performed by Vasina Elizaveta. it instrumental piece, It has character traits waltz dance. Name the characteristics of this dance. (Three-quarter size, graceful character, refer to ballroom dancing).

Many composers, before writing a work, turn to a literary source. Let's remember what fairy tales you read, what is your favorite fairy tale hero.

Children list works and authors.

Teacher. Now the young musicians will list us the works that are written in fairy tales.

Children list pieces of music.

Teacher. I suggest you play a video game: identify the hero by the costume.

(Display video files)

Guys, you know literary and musical heroes, you know that to stage a musical performance, you need music and a literary image, a plot. To see the play, I suggest going to Musical Theatre. What is the theater made of?

Children. The theater is made up of a stage auditorium, lodges, balconies, curtains, lighting fixtures, orchestra pit, holds, grates, etc.

Which one then musical performance did we watch?

Children. We watched Cinderella, The Nutcracker, Romeo and Juliet.

Teacher. What is the name of the performance in which the actors do not say anything, only dance and use gestures.

Children. Such a performance is called ballet (from the word ballo - “to dance”).

Teacher. List the parts of ballet.

Children. Pas de deux, padet - trois, divertissement, the final scene - the apotheosis.

Today, at our meeting, works of various musical genres will be performed, one of which is ballet. The ballet has a fabulous plot. This is The Sleeping Beauty by P. I. Tchaikovsky. This composer will be presented by Dmitry Eremenko

Student. Tells the biography of the composer, shows a presentation

Viewing a presentation.

Teacher. The content of Tchaikovsky's music covers the images of life and death, love, nature, childhood, the surrounding life, it reveals in a new way the works of Russian and world literature - A. S. Pushkin and N. V. Gogol, W. Shakespeare and Dante. Let's list these works.

Children. Opera "Eugene Onegin", " Queen of Spades”, overture - fantasy “Romeo and Juliet”, “Hamlet”. Ballets written on fairy tales " Swan Lake”,“ Nutcracker ”,“ Sleeping Beauty ”.

Teacher. And who wrote the fairy tale?

Children. French writer C. Perrault.

Teacher. Let's remember the content of the tale, the main characters.

Student. Retells the content of the story.

Teacher. How does the ballet end? (victory of good over evil, life over death)

Teacher. I suggest you watch an excerpt from the ballet "Sleeping Beauty"

Teacher. And now to go to next piece I suggest playing the game. Children are divided into two groups, ask each other questions in turn, the one who gives the most correct answers wins.

Questions are hints.

After which character is Rimsky-Korsakov's opera named? (Sadko)

What was the name sea ​​princess? (Volkhova)

What epic formed the basis of the plot of the opera "Sadko"

Who was Volkhov's father? (sea king)

The instrument played by Sadko? (gusli)

What does a flock of swans turn into? (In beautiful girls)

On the shore of which lake did Sadko sing his song? (Lake Ilmen)

Teacher. Guys, you remember the heroes of the epic well. And what do you know about the composer Rimsky-Korsakov and the opera, let's recall its components.

Student. Tells the biography of Rimsky-Korsakov.

Children. The components of the opera answer. Opera (in Latin opus) means action, work, composition. Refers to vocal genre, includes 4 actions.

It has an overture, introduction, epilogue, aria, arietta, ariose, divertissement, etc.

Teacher. Who will tell us the content of this epic?

Children. Read excerpts from the work.

Teacher. Let's listen to an excerpt from the opera Sadko.

Teacher. In literature classes, you memorize excerpts from works. Now Eremenko Dmitry will perform an excerpt for us, and you will determine the author and name the work.

Student. Reads an excerpt from Pushkin's fairy tale "The Tale of Tsar Saltan" (Eremenko D) Children determine a literary and musical work.

Teacher. We have already said that the composer composes the music, the writer writes the libretto, and the symphony orchestra performs the music.

We'll have a little competition. For each of the proposed letters, you need to make up the name of the tools, select the tools from them symphony orchestra and folk.

The game "Create an Orchestra" is being played.

Teacher. The guys would like you to name another Russian composer, in whose work there are a lot of romances written to the verses of A. S. Pushkin “I remember wonderful moment”, “Night marshmallow”, “The fire of desire burns in the blood”, “I am here, Inezilla”; E. Baratynsky "Do not tempt"; N. Kukolnik "The Lark", "Following", "Doubt"; Zhukovsky "Night review". In the work of this composer there is also an opera written based on Pushkin's poem. Name it and the main acting heroes what genre it belongs to.

Children. This is the opera "Ruslan and Lyudmila", a fabulous genre.

Teacher. I want to bring to your attention a music quiz. Excerpts from musical works will sound on the screen, and you must determine the name and composer of the work, and determine the fragment from the opera Ruslan and Lyudmila.

Themes are listened to in video and audio recordings.

In our conversation, we talked about opera and ballet. I would like to introduce you to symphonic works, but not with large symphonies, but with small miniatures, musical pictures. Why exactly for the orchestra, because there are a lot of instruments in the orchestra, so it's easier to draw a picture. In music small work called miniature. The prefix "mini" means "little". In Russian music, the master of such symphonic miniatures was Anatoly Konstantinovich Lyadov. (1855 - 1914).

Symphonic paintings called "Kikimora", "Magic Lake", "Baba Yaga".

In the musical fabulous picture» A. K. Lyadov depicted not only the “portrait” of Kikimora, but also her malicious character. « Kikimora (shishimora, maara) - evil spirit, the baby is a female invisible woman who lives in the house behind the stove and is engaged in spinning and weaving. The character of Kikimora is wonderfully depicted in the tale of A. N. Tolstoy .. Musical piece"Kikimora" is prefaced by such a program, taken in the form of an excerpt from I. Sakharov's collection "Tales of the Russian people."

Student. Reads a description of Kikimora.

Teacher. Let's listen to the piece.

Listening to the work "Kikimora"

Teacher. I suggest you do a test game.

Conducted test - game.

Conclusion

At our meeting, you all learned a lot of new things, discovered composers and poets that you may have heard about before, but you didn’t know very well how their work is interconnected. Now, when reading or listening to works, you will pay attention to the literary source, and remember the composer who wrote the opera or ballet on this plot.