Publications in the Music section

Musical portraits

Zinaida Volkonskaya, Elizaveta Gilels, Anna Esipova and Natalia Sats are real stars of past centuries. The names of these women were known far beyond Russia; their performances and productions were awaited by music lovers around the world. "Kultura.RF" talks about the creative path of four outstanding performers.

Zinaida Volkonskaya (1789–1862)

Orest Kiprensky. Portrait of Zinaida Volkonskaya. 1830. State Hermitage Museum

After the death of his teacher, Sergei Prokofiev wrote: “I turned out to be her last winning student from that colossal phalanx of laureates whom she trained at her factory.”.

Natalia Sats (1903–1993)

Natalia Sats. Photo: teatr-sats.ru

Since childhood, Natalia has been surrounded by creative people. Friends of the family and frequent guests of the Moscow house were Sergei Rachmaninov, Konstantin Stanislavsky, Evgeny Vakhtangov and other artists. And her theatrical debut took place when the girl was barely a year old.

In 1921, 17-year-old Natalia Sats founded the Moscow Theater for Children (modern RAMT), of which she remained artistic director for 16 years. One of the most authoritative Russian theater critics, Pavel Markov, recalled Sats as “a girl, almost a girl, who quickly and energetically entered the complex structure of Moscow theater life and forever retained a responsible understanding of her life and creative recognition”. She sought to create a theater that would become for children of all ages a portal to a bright and fairy-tale world, a place of unlimited imagination - and she succeeded.

The cult German conductor Otto Klemperer, having watched Satz's directorial work in the children's theater, invited her to Berlin and offered to stage Giuseppe Verdi's opera Falstaff at the Kroll Opera. For Satz, this production turned out to be a real breakthrough: she became the world's first female opera director - and, without exaggeration, a world-famous theater figure. Her other foreign opera productions also became successful: “The Ring of the Nibelung” by Richard Wagner and “The Marriage of Figaro” by Wolfgang Amadeus Mozart at the Argentine Teatro Colon. Buenos Aires newspapers wrote: “The Russian artist-director created a new era in the art of opera. The play [The Marriage of Figaro] is deeply psychological, as only happens in drama, and this is new and attractive to the viewer.”.

After returning to the USSR in 1937, Natalia Sats was arrested as the wife of a “traitor to the Motherland.” Her husband, People's Commissar of Domestic Trade of Israel Weitzer, was accused of counter-revolutionary activities. Sats spent five years in the Gulag, and after her release she left for Alma-Ata, since she did not have the right to return to Moscow. In Kazakhstan, she opened the first Alma-Ata Theater for Young Spectators, where she worked for 13 years.

In 1965, Natalia Sats, having already returned to the capital, founded the world's first Children's Musical Theater. She staged not only children's performances, but also “adult” operas by Mozart and Puccini, and included “serious” musical classics in her symphony tickets.

In the last years of her life, Natalia Sats taught at GITIS, founded a charitable foundation for promoting the development of art for children, and wrote many books and manuals on music education.

Elizaveta Gilels (1919–2008)

Elizaveta Gilels and Leonid Kogan. Photo: alefmagazine.com

Elizaveta Gilels, the younger sister of pianist Emil Gilels, was born in Odessa. The family of world-famous performers was by no means musical: father Gregory served as an accountant at a sugar factory, and mother Esther kept house.

Lisa Gilels first picked up the violin at the age of six, and she was taught the basics of musical art by the famous Odessa teacher Pyotr Stolyarsky. While still a teenager, Gilels declared herself a child prodigy: in 1935, the young violinist received second prize at the All-Union Competition of Performing Musicians. And in 1937, when she was 17, Elizaveta, as part of a delegation of Soviet violinists, made a splash at the Eugene Ysaïe Competition in Brussels. The first prize of the competition was awarded to David Oistrakh, the second - to a performer from Austria, and Gilels and her colleagues shared places from third to sixth. This triumphant victory glorified Elizaveta Gilels both in the Soviet Union and abroad.

When Soviet musicians returned from Belgium, they were greeted by a solemn procession, a participant of which was the talented, but in those years still unknown violinist Leonid Kogan. He presented his bouquet to Elizaveta Gilels, whose talent he always admired: this is how the future spouses met. True, they did not immediately become a couple. Gilels had recently become a star, actively performed and toured, and was also older. But one day she heard a performance by an unknown violinist on the radio. The masterly performance amazed her, and when the announcer announced the name of the performer - and he was Leonid Kogan - Gilels already became his big fan.

The musicians got married in 1949. Gilels and Kogan played in a duet for many years, performing works for two violins by Johann Sebastian Bach, Antonio Vivaldi, and Eugene Ysaÿe. Elizabeth gradually abandoned her solo career: in 1952, the couple had a son, Pavel Kogan, who became a famous violinist and conductor, and two years later their daughter Nina, a gifted pianist and talented teacher, appeared.

Since 1966, Elizaveta Gilels began teaching at the Moscow Conservatory. Her students were violinists Ilya Kaler, Alexander Rozhdestvensky, Ilya Grubert and other talented musicians. After the death of Leonid Kogan in 1982, Gilels was engaged in systematizing his legacy: preparing books for publication and releasing recordings.

Portrait in music and painting

Target: The children's awareness of the relationship between the two forms of art, music and painting, through portraiture.

Tasks:

1. Introduce the “musical portraits” created by M.P. Mussorgsky and S.S. Prokofiev and portraits created by artists I.E. Repin and R.M. Volkov.
2. Continue to work on developing the skill of analyzing a piece of music and a work of fine art.
3. Contribute to the formation of interest in the history of your Fatherland.

Vocal and choral work:

1. When learning musical fragments, try to portray the character of the hero in his voice.
2. Work on clear pronunciation of the text.

Lesson equipment:

Computer (disk, presentation with reproductions of paintings).

Lesson structure

1. Listening: Song of Varlaam from the opera by M.P. Mussorgsky “Boris Godunov”.
2. Discussion of “musical portrait”.
3. Learning an excerpt from “The Song of Varlaam.”
4. Comparison of the “musical portrait” and the portrait of I. Repin “Protodeacon”.
5. Learning an excerpt from “Kutuzov’s Aria”.
6. Acquaintance with the portrait of R.M. Volkov “Kutuzov”.
7. Comparison of two “portraits”.
8. Learning a song
9. Conclusion.

Form of work

1. Frontal
2. Group

During the classes

Teacher

Musical portrait. Mikhail Yavorsky.

There are a lot of strange things in our lives,
For example, I dreamed for many years
I even tried more than once,
Write a musical portrait.

For nature I found a man -
The standard of nobility and honor,
A contemporary from our century,
He lived his life without lies and without flattery.

And today, I “draw” a portrait,
It’s not an easy job, believe me,
My music stand will replace my easel
Instead of paints and brushes - only notes.

The staff will be better than the canvas,
I’ll write everything on it and play it,
This drawing will not be simple,
But I don’t lose my hope.

To make the features look softer,
There will be more minor sounds,
And the opportunities here are great,
Not to the detriment of music science.

The score will not be simple,
But I won’t break the law of music,
And this portrait will be like this:
Everyone will hear his heart and soul.

It won't hang on the wall
He is not afraid of moisture and light,
And, of course, I would like
May he live for many years.

Continuing the theme “Can we see music”, today’s lesson will focus on, as you may have guessed from the poem, portraits in music and painting. What is a portrait?

Students.

A portrait is an image of a bottom person.

Teacher.

And so, let's listen to the first portrait.

Hearing: Varlaam's song from the opera by M.P. Mussorgsky “Boris Godunov”.

Teacher.

Based on the nature of the musical work, what can be said about this character? What qualities does he have?

Students.

This hero is cheerful, you can feel the strength in him.

Repeated listening.

Learning a fragment.

Teacher.

Is the force good or evil?

Students.

The force is, after all, evil. The music is powerful, which means the hero is very powerful, at the same time riotous, cruel, everyone is afraid of him.

Teacher.

What means of musical expression does the composer use when portraying this “hero”?

Students.

Teacher.

And what song's intonation is used by the composer to portray this character?

Students.

Russian folk dance

Teacher.

Based on the means of musical expression you listed, what do you think this person looks like externally?

Students.

This man is elderly, with a beard, an angry and domineering look.

The portrait of I. Repin “Protodeacon” is shown.

Teacher.

Let's think, is there any similarity between our “musical hero” and the person depicted in this picture? And if so, which one?

Students.

There are similarities. The man depicted in the picture is also elderly, with a beard.

Teacher.

Guys, pay attention to this man’s gaze. Try to portray this look. What is he like?

Students.

The look is sharp, predatory, evil. The eyebrows are thick, black, and splayed, which makes the look heavy and imperious. The picture, like in music, is in dark colors.

Teacher.

We compared two portraits - musical and artistic. The musical portrait was written by the Russian composer M.P. Mussorgsky (Varlaam’s song from the opera “Boris Godunov”), the second portrait belongs to the brilliant Russian portrait painter I. Repin (the portrait is called “Protodeacon”). Moreover, these portraits were created independently of each other.

View an excerpt from the opera “Boris Godunov” (“Song of Varlaam”).

Teacher.

Guys, why do you think such portraits as Varlaam, the archdeacon, appeared?

Students.

The composer and artist saw such people and depicted them.

Teacher.

Listening to the “song of Varlaam” and looking at the painting “Protodeacon,” how do you think the artist and composer treat such people, the same or differently. Justify your answer.

Students.

Both the composer and the artist do not like such people.

Teacher.

Indeed, when Mussorgsky saw “Protodeacon,” he exclaimed: “Yes, this is my Varlaamishche! This is a whole fire-breathing mountain!”

I.E. Repin in the portrait of “Protodeacon” immortalized the image of deacon Ivan Ulanov, from his native village of Chuguevo, about whom he wrote: “... nothing spiritual - he is all flesh and blood, pop-eyed eyes, gaping and roaring...”.

Teacher.

Tell me, did we get the attitude of the authors towards their characters?

Students.

Con

Teacher.

Have you come across such portraits in our time?

Students.

No.

Teacher.

Why don’t they create such portraits in our time?

Students.

Because in our time there are no such people. In past centuries there were many such “heroes”. Such priests were typical of that time. There are no such clergymen these days.

Teacher.

That is, art reflects the reality around us.

Now we will introduce you to another musical portrait.

Listening to Kutuzov's aria from the opera by S.S. Prokofiev “War and Peace”.

Learning an aria.

The class is divided into three groups and given the following tasks:

1st group – gives a verbal portrait of the character (external and “internal”);

2nd group – selects one portrait corresponding to a given piece of music from the proposed video sequence, substantiates the answer;

3rd group – compares the resulting portrait with a given piece of music.

Students justify their answers based on the means of musical and artistic expression used by the composer and artist.

Teacher.

We have become acquainted with another portrait, directly opposite to Varlaam. Kutuzov's aria from the opera by S.S. was performed. Prokofiev’s “War and Peace” and before us is a painting by Roman Maksimovich Volkov “Kutuzov”.

Who is Kutuzov?

Students.

The commander who defeated Napoleon in the War of 1812.

Teacher.

Which character traits of the hero are emphasized by the composer, and which by the artist?

Students.

The composer emphasizes majesty, strength, nobility, and concern for the Motherland. The artist emphasizes his services to the Motherland, nobility, and intelligence.

Teacher.

How do both the composer and the artist feel about this hero?

Students.

They respect him and are proud that he is their compatriot.

Teacher.

Students.

Certainly

Teacher.

Which previously studied piece of music is this aria close in spirit to?

Listening to or performing an excerpt from an aria.

Students.

To “The Heroic Symphony” by A.P. Borodin.

Teacher.

Listening to the aria and looking at the picture, can Kutuzov be called a hero? Justify your answer.

Students.

Yes, because he combines all three qualities - Strength, Intelligence, Goodness.

Teacher.

Can Varlaam be called a hero?

Students.

No, he has Strength, Intelligence, but no Good.

(Both portraits are on the board)

Teacher.

And why were the portrait of Kutuzov created by Prokofiev and Volkov and Borodin’s “Heroes” symphony and Vasnetsov’s painting “Bogatyrs”?

Students.

Because such people, heroes, actually existed.

Teacher.

Today we will learn a song whose heroes have Strength, Intelligence, and Goodness. And their main strength is friendship. Song from the movie “Midshipmen, forward!” “Song of Friendship.”

Learning a song.

Conclusion:

1. What portraits and their authors did we meet in class?
2. How are the same characters portrayed in music and painting?
3. What does this “kinship” between music and painting give us to understand?

Lesson summary

TeacherArkhipovaNS

Item Music

Class 5

Topic: Musical portrait. Can music express a person's character?

Lesson objectives: Be able to compare works of painting and music; respond emotionally to a piece of music and be able to access a person’s inner world through musical and visual images.

Lesson objectives:

Foster interest and love for musical and visual arts.

Introduce the genre of musical portraiture.

Compare works of music and painting.

Show how different types of art - literature, music and painting - in their own way and independently of each other embodied the same life content.

Planned results (URD)

subject

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

Deepening students' understanding of the visual properties of music through a comparative analysis of a work of music - "Song of Varlaam" by M. Mussorgsky and fine art - Repin's painting "Prototyakon";

Metasubject

Regulatory

. own the ability to set goals in setting educational tasks in the process of perceiving, performing and evaluating musical compositions.

.to plan own actions in the process of perception and performance of music.

Cognitive

. identify expressive possibilities of music.

. find

. assimilate dictionary of musical terms and concepts in the process of musical

activities

communicative

transmit own impressions of music, other art teachings in oral and written speech

.perform songs with a group of classmates

Personal

. to express your emotional attitude to musical images in singing, when listening to musical works.

. be able to comprehend the interactions of the arts as a means of expanding ideas about the content of musical images, their influence on the spiritual and moral development of the individual;

understand life content of a musical work.

Subject

Developing the ability to reveal the properties of “pictorial music” through the masterful use by composers and performers of the colors of musical speech(register, timbre, dynamic, tempo-rhythmic, modal)

Metasubject

. find community of music and other arts

Personal

.be able to comprehend interaction of arts as a means of expanding ideas about the content of musical images, their influence on the spiritual and moral development of the individual

Lesson type: combined - studying a new topic using ICT.

Lesson form: dialogue.

Musical lesson material:

M. Mussorgsky. Song of Varlaam. From the opera “Boris Godunov” (listening).

M. Mussorgsky. Dwarf. From the piano cycle “Pictures at an Exhibition” (listening).

G. Gladkov, poetry Yu. Entina. Song about paintings (singing).

Additional material: portraits of composers, reproductions of paintings, textbook 5th grade “Art.Music” T.I. Naumenko, V.V. Aleev

During the classes:

Organizing time.

The goal to be achieved by the student:

Prepare for productive work in class.

The goal that the teacher wants to achieve:

Help prepare students for productive work.

Tasks

Create a positive emotional mood;

Help you take the correct working posture;

Sit correctly. Well done! Let's start the lesson!

Entering into the topic of the lesson and creating conditions for conscious perception of new material

Communication UUD:

Ability to listen and reflect.

Personal UUD:

Formation of interest in music lessons.

- Read the epigraph to the lesson. How do you understand it?

Write on the board:

“Let moods remain the main essence of musical impressions, but they are also full of thoughts and images.”

(N.A. Rimsky-Korsakov)

Determining the topic of the lesson and setting the learning task.

Goal: readiness and awareness of the need to build a new way of action

What do you think will be discussed in class today?

- What do you guys think, can music express a person’s character, is it capable of doing this? We will try to answer this question with you today.

– Today you will get acquainted with the genre of musical portrait (Slide).

Primary consolidation stage

Cognitive UUD:

Introducing a new piece of music:

Regular UUD:

Ability to listen and analyze the nature of a musical work;

The ability to compare, see commonalities and differences;

The ability to see a problem and the desire to find answers to the questions posed.

Communication UUD:

The ability to listen to the opinions of comrades and express your own judgments.

Personal UUD:

Recognize and respond emotionally to the expressive features of music;

When looking at a picture, we include all our senses, not just vision. And we hear, but not only see, what is happening on the canvas.

Portrait in literature is one of the means of artistic characterization, which consists in the fact that the writer reveals the typical character of his heroes and expresses his ideological attitude towards them through the image of the appearance of the heroes: their figure, face, clothes, movements, gestures and manners.

In fine art, a portrait is a genre in which someone’s appearance is recreated. Along with the external resemblance, the portrait captures the spiritual world of the person depicted.

Do you think music can paint a portrait and express a person’s character, his spiritual world, his experiences? (Composers, when creating a musical portrait, convey the thoughts and feelings of their characters with the help of musical intonation, melody, and the nature of the music.).

Musical portrait - This is a portrait of the character of the hero. It inextricably merges the expressiveness and visual power of the intonations of the musical language. (Slide).

Pushkin’s work was also liked by the 19th century Russian composer Modest Petrovich Mussorgsky

Composer biography

Modest Mussorgsky was born on March 21, 1839 in the village of Karevo, Toropetsk district, on the estate of his father, the poor landowner Pyotr Alekseevich. His mother, Yulia Ivanovna, was the first to teach him to play the piano. At the age of ten, he and his older brother came to St. Petersburg to enroll in the School of Guards Ensigns. After graduating from the School, Mussorgsky was assigned to the Preobrazhensky Guards Regiment. Modest was seventeen years old. One of the Preobrazhensky comrades, who knew Dargomyzhsky, brought Mussorgsky to him. The young man immediately captivated the musician not only with his piano playing, but also with his free improvisations, and there he met Balakirev and Cui. Thus began a new life for the young musician, in which Balakirev and the “Mighty Handful” circle took the main place. Soon the period of accumulation of knowledge gave way to a period of active creative activity. The composer decided to write an opera in which his passion for large folk scenes and for depicting a strong-willed personality would be embodied.

While visiting Lyudmila Ivanovna Shestakova, Glinka’s sister, Mussorgsky met Vladimir Vasilyevich Nikolsky. He was a philologist, literary critic, and specialist in the history of Russian literature. He drew Mussorgsky's attention to the tragedy "Boris Godunov". Nikolsky expressed the idea that this tragedy could become wonderful material for an opera libretto. These words made Mussorgsky think deeply. He immersed himself in reading Boris Godunov. The composer felt: an opera based on “Boris Godunov” could become a surprisingly multifaceted work.

By the end of 1869 the opera was completed. Mussorgsky dedicated his brainchild to his circle comrades. In the dedication, he unusually clearly expressed the main idea of ​​the opera: “I understand the people as a great personality, animated by a single idea. This is my task. I tried to solve it in the opera.”

Then there were many more works that are worthy of attention... On March 28, 1881, Mussorgsky passed away. He was barely 42 years old. World fame came to him posthumously.

The opera "Boris Godunov" turned out to be the first work in the history of world opera in which the fate of the people was shown with such depth, insight and truthfulness.

The opera tells about the reign of Boris Godunov, a boyar who was accused of murdering the legitimate heir to the throne, the little Tsarevich Dmitry.

Our attention in today's lesson will be focused on the most interesting character in the opera - Varlaam.

Varlaam sings a song about the siege of Kazan by the troops of Ivan the Terrible.

Now let's see how the composer described this man in music. Listen to the musical speech of the hero so as to imagine his appearance and his character.

- Let's listen to Varlaam sing his famous song “As it was in the city in Kazan.”

Listening to Varlaam's song from the opera Boris Godunov by M. P. Mussorgsky. (Slide).

The sound of the Song of Varlaam as recorded by F.I. Chaliapin (at the same time we complete the task: listen to the musical speech of the hero so as to imagine both his appearance and his character, pay attention to the actor’s voice).

– How do you imagine Varlaam singing such a song?

How do the nature of the performance and the nature of the musical language reveal the character and even the appearance of this person? (violent, loud music...)

Now open the textbook, paragraph 23, p. 133 and look at Ilya Repin’s painting “Protodeacon”

Guys, take a close look at Ilya Repin’s painting “Protodeacon,” describe who you see in front of you. ( Before us is a portrait of a protodeacon - this is a spiritual rank in the Orthodox Church. We see an elderly man, with a long gray beard, overweight, he has an angry expression on his face / which is given to him by curved eyebrows. He has a large nose, large hands - in general, a gloomy portrait. He probably has a low voice, maybe even a bass.)

You saw everything correctly and even heard his low voice. So, guys, when this picture appeared at the exhibition of Peredvizhniki artists, the famous music critic V. Stasov saw in it a character from Pushkin’s poem “Boris Godunov” - Varlaam. Modest Petrovich Mussorgsky reacted in exactly the same way, when he saw the “Protodeacon” he exclaimed: “So this is my Varlaamishche!”

What do Varlaam and Protodeacon have in common? (These are images of powerful, tough people, monks and priests, typical of Ancient Rus').

Comparative table of expressive means.

I. Repin painting “Protodeacon”

M. P. Mussorgsky “Song of Varlaam”

A huge figure, holding his hand on his stomach, gray beard, knitted eyebrows, red face. Gloomy colors. The character is arrogant and domineering.

Dynamics: loud music, melody – jumps up, timbre – brass. Singing voice – bass. The nature of the performance is shouting at the end, a rough manner of performance.

U-One important feature is inherent in painting and opera: it is the ability to show a person’s character in words, music, and images.

What do the picture and the song have in common?

D - What the picture and the song have in common is that they show unbridled character, rudeness, a tendency to gluttony and revelry.

You are right, because this is a collective image. This type of people was encountered in Rus' at that time. What is common is not only external similarity, but also certain character traits. The main thing between them is the unbridled nature, the rudeness of nature, the tendency to gluttony and revelry.

What helped the composer and the artist, independently of each other, create such similar images? (There were such people in Rus'.)

In the portrait of “Protodeacon” I. E. Repin immortalized the image of deacon Ivan Ulanov, from his native village of Chuguevo, about whom he wrote: “... nothing spiritual - he is all flesh and blood, pop-eyed, gaping and roaring...”.

What colors did the artist use to paint this portrait? (The artist uses rich colors, where darker colors predominate.)

Despite the different means of expression, in fine art it is paint, in literature it is the word, in music it is sounds. They all told and showed about one person. But still, the music emphasized and suggested those aspects that would not have been immediately noticed.

Vocal choral work

Cognitive UUD

Getting to know the melody and lyrics of a new song

Communicative UUD

Interaction with the teacher in the process of musical and creative activity;

Participation in a choral performance of a piece of music.

Personal UUD:

Formation of performing skills;

The embodiment of the character of the song in your performance through singing, words, intonation.

Chanting.

Learning phrases

Singing difficult melodic turns.

Working on the text.

A song that will help us remember the names of fine arts genres is called "Song about paintings""composer Gennady Gladkov.

Listening to a song.

What genres of painting are sung about in the song?

In music, what are the genres?

Singing in chorus.

Think and tell me, could each of you become the hero of a portrait?

Many of you acted as artists and painted portraits of your friends

In what form is the song written?

What's the mood?

What's the pace?

Give the name of this song. (children's answers)

Why does the song have this name?

3. Musical images

- We got acquainted with two completely different vocal portraits, and the next musical image will sound without words. This is the work “Gnome” from the piano cycle by M.P. Mussorgsky's "Pictures at an Exhibition" is a musical portrait of a small fairy-tale creature, executed with extraordinary artistic power. It was written under the impression of a painting by W. Hartmann, a close friend of the composer.

Mussorgsky remembered a sketch of a Christmas tree decoration - a gnome, a small, clumsy freak with crooked legs. This is how the artist depicted nutcrackers. ---Listen to this piece and think about what mood the gnome is in, what his character is, what do you imagine with this music?

The sound is “The Dwarf” by M.P. Mussorgsky. (Children's answers)

- Guys, how did you imagine the gnome? ( In the music you can hear a limping gait and some sharp, angular jumps. One feels that this dwarf is lonely, he is suffering.)

· The play by M.P. Mussorgsky is very picturesque. Listening to it, we clearly imagine how the little man waddled, ran a little and stopped - it’s difficult to run on such short and thin legs. Then he got tired, walked slower and still diligently and clumsily. It looks like he's even angry at himself for it. The music stopped. Probably fell.

Guys, if you were artists, after listening to this music, what colors would you use to paint this gnome?

That's right, he moves really angularly, in jumps. The funny gnome is turned by the composer into a deeply suffering person. You could hear him moaning, complaining about his fate. He is pulled out of his native fairy-tale element and given to people for amusement. The dwarf tries to protest, to fight, but a desperate cry is heard... Guys, how does the music end? ( It doesn't end as usual, it kind of breaks off.)

You see, guys, “Gnome” is not just an illustration of a picture, it is a deeper image created by the composer.

Independent work

Cognitive UUD

Developing the ability to comprehend the information received.

Regular UUD:

Awareness of what has already been learned and what needs to be further learned

Assessing the quality of learning.

Communication Uud:

Interaction in the process of checking work results.

Personal UUD

Formation of a positive attitude and interest in musical activities

Now you have to take the test and then evaluate your work yourself

Who rates their work as “5” and “4”?

Homework

CognitiveUUD

Music Search

Regulatory UUD

Goal setting.

What musical genres are most capable of conveying the portrait features of a hero?

Listen to homework.

“Diary of musical observations” - pp. 26-27.

LIST OF REFERENCES 1. Abyzova E.N. "Pictures from an Exhibition." Mussorgsky - M.: Music, 1987. 47s. 2. Abyzova E.N. “Modest Petrovich Mussorgsky” - 2nd edition M.: Music, 1986. 157 p. 3. Vershinina G.B. “...Free to speak about music” - M.: “New School” 1996 p. 192 4. Fried E.L. “Modest Petrovich Mussorgsky”: Popular monograph - 4th ed. - Leningrad: Music, 1987. p.110 5. Feinberg S.E. “Pianism as an art” - M.: Music, 1965 p. 185 6. Shlifshtein S.I. “Mussorgsky. Artist. Time. Fate". M.: Music. 1975

MUSIC AND OTHER ARTS

Lesson 25

Topic: Musical portrait. Can music express a person's character?

Lesson objectives: analyze the variety of connections between music and fine arts; find associative connections between artistic images of music and other forms of art; distinguish the characteristic features of types of art (taking into account the criteria presented in the textbook); perceive and compare musical intonations of various meanings while listening to music.

Materials for the lesson: portraits of composers, reproductions of paintings, musical material.

During the classes:

Organizing time:

Listening: K. Debussy. "Sail".

Read the epigraph to the lesson. How do you understand it?

Write on the board:

“Let moods remain the main essence of musical impressions,
but they are also full of thoughts and images"
(N. Rimsky-Korsakov)

Lesson topic message:

What do you guys think, can music express a person’s character, is it capable of doing this? We will try to answer this question with you today.

Work on the topic of the lesson:

When looking at a picture, we include all our senses, not just vision. And we hear, and not just see, what is happening on the canvas. Our gaze, according to the figurative definition of Alexander Ivanovich Herzen, becomes “listening.”

Guys, take a close look at Ilya Repin’s painting “Protodeacon”, who do you see in front of you, describe . (Before us is a portrait of an archdeacon - this is a spiritual rank in the Orthodox Church. We see an elderly man, with a long gray beard, overweight, he has an angry expression on his face, which is given to him by curved eyebrows. He has a large nose, large hands - in general, a gloomy portrait. He probably has a low voice, maybe even a bass voice.)

You saw everything correctly and even heard his low voice. So, guys, when this picture appeared at the exhibition of Peredvizhniki artists, the famous music critic V. Stasov saw in it a character from Pushkin’s poem “Boris Godunov” - Varlaam. Modest Petrovich Mussorgsky reacted in exactly the same way, when he saw the “Protodeacon” he exclaimed: “So this is my Varlaamishche!”

What do you think allowed these two deep and accurate observers to see in the portrait the resemblance to the character from the opera “Boris Godunov”?

It is probably that each of the works - Pushkin’s “Boris Godunov”, and Mussorgsky’s opera of the same name, and Repin’s “Protodeacon” - has one important feature - vividly and authentically - in word, music, image, showing the character of a person.

Between Varlaam and Protodeacon there is, of course, something in common, connected not only with character. Protodeacon is a spiritual rank. Varlaam is a monk who escaped from the monastery and went on a spree in a tavern on the Lithuanian border. He is similar to Repin’s character - huge, pot-bellied, “has a bald forehead, a gray beard, a thick belly.” However, this is not the most important thing that unites and brings together these generally independent images that arose independently of each other. The main thing between them is the unbridled nature, the rudeness of nature, prone to gluttony and revelry.

Listen to how Varlaam sings his famous song “As it was in the city in Kazan” in Mussorgsky’s opera. Pay attention to the timbre of his voice, to the features of the music - violent, unbridled, deliberately loud. Note also the manner of performance: after all, the artist always tries to emphasize the most important thing in the character of the hero.

Listening: M. Mussorgsky. Song of Varlaam from the opera "Boris Godunov".

How did Varlaam appear to you? (Noisy, violent, with an unbridled temper.)

Remember what role details play in works of fine art, how they complement the appearance of the hero, merge with him, and communicate something that cannot be conveyed by other means.

For example, the famous painting “Girl with Peaches” - isn’t this a single image? Tenderness, youth, and the gentle sun literally permeate the picture, where every detail, every stroke is filled with the charm of the main character.

But here is a completely different musical portrait.

It was “painted” by the great master of vocal lyricism F. Schubert.

In the center of the image is Margarita, sitting at a spinning wheel and singing about her love.

If Varlaam’s portrait features were conveyed through the nature of the music and the manner of its performance, then in the song “Margarita at the Spinning Wheel” everything is important: the meaning of the words, the nature of the melody, and the bright imagery of the musical performance.

The portrait of Margarita in this song is drawn against the background of an important everyday detail - a buzzing spindle.

Listening: F. Schubert. "Margarita at the Spinning Wheel" Words by J. W. Goethe.

Margarita is also among the charming female images. But she, having already known love and suffering, is characterized by great depth and emotionality. Her song is an image, a picture, including several plans: external (pictorial), lyrical, psychological.

Figurativeness, as is often the case in vocal music, lies in the accompaniment music: from the very first bars we seem to see and hear a spinning wheel with its measured buzz. Against this background, the lyrical confession of a lonely girl, yearning for her lover, sounds.

All the richness of her love, all shades of mood from hidden sadness to powerful upsurges of feeling are conveyed in the vocal part. But with all the dynamism of this lyrical statement, with all the ups and climaxes of the melodic line, we return again and again to the buzzing of the spinning wheel - the original motive that frames this spiritual musical portrait.

If the musical images of Varlaam and Margarita were mediated by verbal text, then in the next work the musical portrait is carried out without the help of words.

“Gnome” from M. Mussorgsky’s piano cycle “Pictures at an Exhibition” is a musical portrait of a small fairy-tale creature, performed with enormous artistic power. It was written under the impression of a painting by W. Hartmann. These are not only “pictures written by a musician, but these are small dramas in which the very essence of the phenomena of life is revealed - the soul of events, the soul of things, seems to shine through the sounds,” wrote B. Asafiev.

We have already said that not only in music, but also in the visual arts, it is important not just the image, the transfer of the external appearance, but penetration into the deep, spiritual essence of the character. The play "Gnome" is one example of such a work.

Listening: M. Mussorgsky. “Gnome” from the “Pictures at an Exhibition” series.

Through the limping gait and angular jumps of the fantastic freak, deep suffering suddenly appears - no longer at all fabulous, but living, human. The music dramatically changes its character: broken, bizarre rhythms and leaps, which have a brightly graphic character, give way to the downward movement of chords, the sound of which is imbued with the intonation of aching melancholy, pain, and loneliness.

Mussorgsky’s “Gnome” is no longer a simple illustration of W. Hartmann’s painting, it is a significant development and deepening of the image, about which the composer managed to say so much in his short play.

Questions and tasks:

1. Why do some musical works have a vivid portraiture?
2. What musical genres are most capable of conveying the portrait features of a hero?
3. What do the portraits of “Protodeacon” by I. Repin and Varlaam M. Mussorgsky have in common?
4. How does music convey the portrait of the Dwarf in M. Mussorgsky's play? What do you think the music says more about - the external appearance of the Dwarf or his inner world?
5. Name the works studied earlier in which portraits of heroes (characters) are embodied through music.
6. Complete the task in the “Diary of Musical Works” - pp. 26-27.

Presentation

Included:
1. Presentation - 11 slides, ppsx;
2. Sounds of music:
Debussy. Prelude "Sails", mp3;
Mussorgsky. Pictures from the exhibition. Two Jews, rich and poor (2 versions: symphony orchestra and piano), mp3;
Mussorgsky. Opera "Boris Godunov". Varlaam’s song “As it was in the city in Kazan”, mp3;
Schubert. Margarita at the spinning wheel, mp3;
3. Accompanying article - lesson notes, docx.

Municipal educational institution

Bolshevo Secondary School No. 6

with in-depth study of subjects

artistic and aesthetic cycle

__________________________________________________________

"Musical Portrait"

Open lesson in 6th grade

During the seminar

“Creative development of personality in the lessons of HEC”

Music teacher

Shpineva V.I.,

Korolev

2007

Lesson TOPIC: Musical portrait (6th grade).

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

Tasks:

expanding the general cultural horizons of students;

formation of a culture of singing;

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

development of artistic taste;

nurturing creative activity.

Lesson form : integrated lesson.

Equipment : piano, stereo system, reproductions of paintings, projector, screen.

DURING THE CLASSES.

Organizing time. Musical greeting.

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

What are the features of this genre?

In what types of art can you create a portrait?

Give examples.

Students answer questions and give their own examples.

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

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

Questions about the painting :

Describe the Swan Princess by Mikhail Vrubel.

What artistic media does the artist use?

What impression does this picture make on you?

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

Teacher. In what literary work do we meet the Swan Princess? How does the author describe it?

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

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

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

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

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

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

The teacher plays the piano.

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

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

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

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

Questions :

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

What are the characters of the girls depicted by artists?

Which portrait does this music best suit and why?

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

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

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

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

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

Students take their seats.

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

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

Answers: The playful nature of the music paints an expressive portrait of a brave soldier who went through battles and remained alive.

Homework : draw a portrait of this soldier.

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

The guys get up.

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

Students sing the Russian Anthem.

The teacher offers to summarize the lesson.

What did you learn in this lesson?

What piece of music did you like best?

Which painting made the strongest impression on you?

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

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