Musical portrait – every person sounds! Musical portrait lesson

19.04.2019

Lesson No. 8 Musical portrait

It is interesting to compare the features of recreating the appearance of a person in literature, fine arts, music.

In music there cannot be a resemblance to a specific person, but at the same time it is no coincidence that it is said that “a person is hidden in intonation.” Since music is a temporary art (it unfolds and develops over time), it, like lyrical poetry, is subject to the embodiment of emotional states and human experiences with all their changes.

The word "portrait" in relation to musical art, especially for instrumental non-program music, is a metaphor. At the same time, sound recording, as well as the synthesis of music with words, stage action and extra-musical associations expand its capabilities. Expressing the feelings and moods of a person, embodying his various states, the nature of movement, music can evoke visual analogies that allow us to imagine what kind of person is in front of us.

ROERICH. Set design for the opera “Prince Igor”

Character, lyrical hero, narrator, narrator - these concepts are important not only in a literary work, but also in a musical one. They are necessary for understanding the content of program music, music for the theater - opera, ballet, as well as instrumental and symphonic music.

The intonation of the character more clearly reproduces external signs, manifestations of a person in life: age, gender, temperament, character, unique manner of speaking, moving, national characteristics. All this is embodied in music, and we seem to see a person.

Music can help you meet people from a different era. Instrumental works create images of various characters. F. Haydn admitted that he always composed music with characteristic types person. “Mozart’s themes are like an expressive face... You could write a whole book about female images V instrumental music Mozart" (V. Medushevsky).

GOLOVIN. Set design for the opera "Boris Godunov"

Artistic and creative task

Listen to excerpts from works by various composers: V.-A. Mozart and S. Prokofiev, A. Borodin and B. Tishchenko, J. Bizet and R. Shchedrin, A. Schnittke and V. Kikty. What portraits of people did you “see” in music? What means of expression give you the opportunity to present the characteristics of the characters and characters?

Make sketches of portraits of characters from your favorite musical compositions and give them a verbal description.

Creative works of students:

Vorontsova Anastasia

After listening W.A. Mozart Symphony No. 6", I imagined the image of a girl who is gentle, kind and affectionate. But suddenly, she is worried and worried about something, but then she finds out something sad and sad. She is upset and speechless.

Peace in Worry

Somewhere on the edge of this life

My soul will be brighter...

And the sleeping thoughts will groan...

Leave, leave quickly...

I break through the window of hearts,

Where does my soul fly now...

Finding peace in anxiety...

So the soul is resurrected again...

After every line written

I remember you alone...

After the phrase there are three eternal dots...

And like a candle I quietly burn out...

You can barely hear the beating of life...

I just don't understand why...

And any movement is deadly...

I will accept it without reserve...

Lorchenko Sergey

After listening to Prokofiev’s work “Dance of the Knights,” I imagined a dry clearing in the evening, where there was a lonely old dried tree, and nearby big Stone. And here in this clearing two knights meet, they incinerate each other with evil glances, and so they take out their swords from their knives and a long and deadly fight begins. And the knight wounded his opponent right in the shoulder, he slowly fell to the ground, but the wounded knight found strength and bravely stood and made a fatal blow to the heart. Wounded in the shoulder, the knight returned home to his children and wife.

Vorontsova Ekaterina

After listening V.A. Mozorta Serenade No. 13, I imagined the image of a reserved and determined person who shows some kind of sympathy for another person, but tries not to show it. A poem was written about this feeling:

I hide my love for you at the bottom of my soul,

But you still can’t hide it, -

It comes through in everything,

And people notice

And they even ask: “What are you sad about?”

Kanemori Taira

Ulyana Lomakina

IN Symphonies No. 40 by W.A. Mozart"Bold" I “saw” a portrait of a child who never sits still. He jumps, has fun, jumps, runs, frolics. After listening to the work of S.S. Prokofiev’s “Waltz”, I saw a portrait of a man who was also a very perky person. He is captivated by this melody and dances.

Of all the portraits, I would choose a portrait of a child. In this portrait (“Symphony No. 40 by W.A. Mozart”) I see a little girl, about 5-7 years old, playing. The smile never leaves her face, she is very cheerful and sincere. Her eyes seem to fill the gray world around her with fun, her eyes seem to invite us to play with her, forget ourselves and return for a second to childhood.

Lena Novoselova

After listening to the work Mozart's "Lament for Love", I imagined the image of a couple in love, who are in a quarrel, but love each other very much. I imagine how they are fighting: the girl is crying, the guy, barely holding back his tears, is trying to explain the whole situation to her. But she doesn't seem to hear him. And so they decide to break up. They are taking this separation hard. But, when the feelings seem to have passed and thoughts about him or her no longer constantly wander in their heads, they try to find a replacement, but they understand that there is no such or such person in the world anymore. In the hope that he or she will forgive each other, talk again and make up! In the future, I just want to imagine them happy and with several children!

You can part with love,

The pain will disappear little by little,

But only by deceiving myself,

We cannot deceive God.

These are lines from Talkov's song "My Love"....

Danya Vershinina

After listening to the piece Mozart "Turkish March", I saw a parade, a large bright crowd of people, with drums, pipes, horns and other musical instruments. I imagined one young soldier standing at the end of the line, stammering, terribly positive, cheerful, trying to play an instrument. And another person introduced himself, completely opposite to the man, sitting in the stands, a grandfather, a grandfather of about eighty years old, sitting and tears flowing from his eyes, he looks at the young soldier and sees himself....sees himself in his youth....I imagined an ordinary parade, an ordinary parade for our time, for that young man, but very bitter and touching for that sick veteran who defended our Motherland.

Anya Ivashina

After listening to the song W.A.Mozart "Allegro", I imagined some kind of cheerful court ball, many noble people were dancing there, they were having fun, talking and eating. I saw" young guy who liked the girl. He didn't dare approach. But, daring and gaining confidence, he approached her and asked for her hand. And then... this very moment... she agrees. Everyone congratulates them, everyone is happy for them.

When I listened to the song S. Prokofiev "Ballet Romeo and Juliet. Dance of the Knights" I imagined the area where the same dance performed by knights takes place. At first there was some tension, and then everything “subsided”. It became calmer.

Of these two portraits, I would choose about knights. This graceful violin playing and amazing organ playing. The compatibility here is amazing! As I already wrote, the dance of the knights takes place there. Clean field. Two knights, before the battle, begin to dance. Starting rough and tense, but continuing slowly and calmly. Their grace, their manner of performance. I liked it very much!

Danil Kalachev

I listened to the piece Prokofiev "Dance of the Knights" I imagined a troubled time of war in the Middle Ages, columns of knights in forged heavy armor with swords and spears, moving into battle with foreigners. Horses pull huge guns behind them. The spirit of martial law appears thanks to the difficult musical instruments: drums, trumpet. The tension of the situation is made clear by the disturbing playing of the violin. In the middle of the work, heavy music gives way to a calm lyrical melody; at that moment I imagined women, old people and children who, with anxiety and love, were accompanying their heroes to war.

Aleshina Katya

After listening to music V.A. Mozart's "Requiem for a Dream", I was presented with a situation: when you go to your cherished dream, you overcome all the difficulties on your way, but suddenly... everything collapses, your dream never came true, it seems this is the end, because this was your goal in life. But sooner or later, every dream either comes true or doesn’t come true, but we shouldn’t be upset if something doesn’t work out for you. After all, when a dream has come true, you look for a new dream, and do everything to fulfill it, although even without doing anything, the dream can suddenly come true, because everyone’s dreams are different.

Malkov Felix

I listened to the music Rodion Shchedrin for the ballet “Anna Karenina” (last act). I imagine a woman who is rushing about in despair, making a choice between life and death, which will instantly end her mental suffering, her shame and condemnation in society. Something is brewing in Anna Karenina important decision, and this is emphasized by the orchestra, in which a real disaster is brewing. The power of the music increases, creating an oppressive feeling, foreshadowing something terrible. I imagine a woman driven to the limit and desperately walking towards death, just a moment more and she will take this irreversible step. The music perfectly conveys the approach of the train and, accordingly, the inevitable approach of the tragic denouement. And it happens: the last sounds (the grinding sound of a departing train) make it clear that Anna Karenina’s life was cut short.

The music made a big impression on me Alfred Schnittke "Flight", written for the film "Tale of Wanderings". I imagined a man soaring above the earth, free, in love, wanting to achieve his bright and pure dream. It’s as if he’s waving to us and inviting us to follow him, affirming by his example that every person can fly if they want, everyone who has kindness, hope, sincerity, philanthropy and compassion, in a word, who has a soul! The piercing (sound of violins) and exciting (bells) music of A. Schnittke, like a magic wand, leads us to a world where good reigns and our secret desires come true.

Safronova Natasha

Listening to the oratorio “Nagasaki” by A.G. Schnittke, before my eyes, pass the terrible consequences of the war, the losses that filled the hearts with indescribable sadness of the loss of a loved one.

For this composition. In my opinion, the poems by V.S. Vysotsky “Mass Graves” are the best fit:

On mass graves don't put up crosses,

And widows do not cry for them,

Someone brings bouquets of flowers to them,

And the Eternal Flame is lit.

Here the earth used to rear up,

And now - granite slabs.

There is not a single personal destiny here -

All destinies are merged into one.

And in Eternal Flame a tank on fire is visible,

Burning Russian huts

Burning Smolensk and the burning Reichstag,

The burning heart of a soldier.

There are no tear-stained widows at mass graves -

Stronger people come here.

There are no crosses on mass graves,

But does that make it any easier?..

And I must admit, I cry reading these lines, listening to this oratorio.

Musical portrait

It is interesting to compare the features of recreating a person’s appearance in literature, fine arts, and music.

In music there cannot be a resemblance to a specific person, but at the same time

It is no coincidence that it is said that “a person is hidden in intonation.” Because music is an art that is temporary O e (it unfolds, develops in time), it, like lyric poetry, is subject to the embodiment of emotional states, human experiences with all their changes.

The word “portrait” in relation to the art of music, especially instrumental non-program music, is a metaphor. At the same time, sound recording, as well as the synthesis of music with words, stage action and extra-musical associations expand its capabilities. Expressing the feelings and moods of a person, embodying his various states, the nature of movement, music can evoke visual analogies that allow us to imagine what kind of person is in front of us.

N. Roerich. Russian artist (1874-1947) Sketch for the set of the opera “Prince Igor”

Character, lyrical hero, storyteller, narrator - these concepts are important not only in a literary work, but also in a musical one. They are necessary for understanding the content of program music, music for the theater - opera, ballet, as well as instrumental and symphonic music.

Music can help you meet people from a different era. Instrumental works create images of various characters.

F. Haydn admitted that he always composed music keeping in mind the characteristic types of people. “Mozart’s themes are like an expressive face...

You could write a whole book about female images in Mozart’s instrumental music” (V. Medushevsky).

Portrait of the composer in literature and cinema

The portrait of any cultural and artistic figure is created primarily by his works: music, paintings, sculptures, etc., as well as his letters, memoirs of contemporaries and works of art about him, which arose in subsequent eras.

"Mozart's Universe" (Irina Yakushina) this is the name of one of the books about life and creativity Wolfgang Amadeus Mozart(1756-1799), Austrian composer, author of immortal musical works - Symphonies No. 40, “Little Night Serenade”, “Rondo in Turkish Style”, “Requiem”.

P Why is Mozart's music compared to the Universe? Apparently because it reveals diverse and deeply various phenomena life, her eternal themes: good and evil, love and hate, life and death, beautiful and ugly. Contrasts of images and situations constitute the main driving force his music, which helps listeners understand him life credo: “Life is incomparably beautiful on our beloved land!”

The tragic death of Mozart at the age of 35 has given rise to many speculations about the death of the composer, who was in the prime of his creative powers. One of them - the poisoning of Mozart by his contemporary, the socially recognized court composer Antonio Salieri (1750 -1825), formed the basis of A. Pushkin’s small tragedy “Mozart and Salieri”, an opera by N. Rimsky-Korsakov, modern films and dramatic performances.

Gives viewers a different interpretation of the relationship between the two composers film director M. Forman - creator of the film “Amadeus”, winner of five Academy Awards: the distraught old man Salieri, who is rescued from a suicide attempt, in confession tells the priest about his feelings and experiences that he experienced while watching Mozart's talent flourish. The final part of the film captures the moments of the production of the opera “The Magic Flute” and the creation of “Requiem”.

Read a little tragedy

A.S. Pushkin. Mozart and Salieri. Listen here.

Consider the illustrations of M. Vrubel.

Watch excerpts from the film "Amadeus". What features of the characters of Mozart and Salieri do these works reveal to you?

What experience of relationships between people do you gain as a result of acquaintance with works of art?

Listen to fragments of Mozart's works that you are familiar with.

Mozart Figaro's Aria from the opera "The Marriage of Figaro". Listen here.

What feelings expressed in Mozart's music are consistent with the feelings of the modern listener?

Listen to a modern adaptation of one of Mozart's works. Why famous performers turn to a creative interpretation of Mozart's music?

Mozart Symphony No. 40 in a modern arrangement. Listen here.

Read literary works, in which an image-portrait of the composer is drawn (excerpts from the novel by D. Weiss “The Sublime and the Earthly” Listen Here, poems by L. Boleslavsky, V. Bokov, etc.).

Yu. Voronov Mozart. Listen here.

Mozart Fantasia in D minor. Listen here.

Mozart Fantasia in D minor lit. Listen here.

Lev Boleslavsky. Requiem. Listen Here

Introduction

Modern musicology places high demands on the researcher. Among them, the most important is not only a deep theoretical understanding of the object under consideration, a comprehensive and versatile understanding of it, but also its practical development. To do this, it is not enough to have a good understanding of general issues history of music and master the “traditional” methods of theoretical analysis - you need your own creative experience in this area of musical art.

The idea of music, however, is developed not only through the efforts of musicologists. The works of practicing musicians occupy a prominent place in musicology. Living connection with practice, direct sensation creative process composing or performing music is what particularly attracts researchers.

In this work, attention is paid to the creative heritage Soviet composer and teacher M.V. Antseva. Happy rebirth choral singing In Russia, Antsev women's choirs are becoming increasingly popular, as they are distinguished by simple harmony, light texture and melody. Many of his choral works were written to poems by Russian classical poets, including the choral composition “Bells” to poems by Count A.K. Tolstoy.

A comprehensive analysis of this composition, presented in course work, will allow you to organize more accurately practical activities on learning a piece with training choir students of the Department of Choral Conducting of OGGIC. This explains the relevance of the research being carried out.

Creative portraits of authors of musical and literary texts

choral vocal antsev text

Mikhail Vasilyevich Antsev was born in Smolensk on September 30, 1895. He came from a simple family: his father was a cantonist who served as a soldier for over 25 years, his mother was a Smolensk bourgeois. In very early childhood, M. Antsev lost his father, and he was raised by his stepfather. After graduating from high school, Mikhail Vasilyevich studied violin with L. Auer at the Warsaw Conservatory. Then he entered the St. Petersburg Conservatory, from which he graduated in 1895 in composition class with Rimsky-Korsakov.

In 1896, the composer's musical and pedagogical activities began. He devoted a lot of strength and energy to pedagogical work as a teacher of choral singing and other musical disciplines in general education and special education. educational institutions. Obviously, it was at this time that he wrote a series of teaching aids related to choral art, among them: “ Brief information for singers-choristers”, “Note terminology” (reference dictionary for teachers, singers and musicians), “Elementary theory of music in connection with the teaching of school choral singing”, “Methodological anthology of class choral singing” and others.

At the same time, M. Antsev worked fruitfully as a composer. He composed for symphony orchestra, for violin, wrote romances and children's songs. He wrote “Cantata for the 100th anniversary of A. Pushkin”, “Hymn in memory of the 100th anniversary Patriotic War 1812." Both large works are intended to be performed by a choir and orchestra.

Among the choral works of a lyrical nature created during this period, we can name: “Lotus”, “Willow”, “In Spring”, “The Air Breathes Fragrance”.

The revolutionary events taking place in Russia could not remain out of sight of the sensitive, impressionable artist. They found a response in his choral works. Full of revolutionary pathos, the chorus “Don’t cry over the corpses of fallen soldiers” was first performed in St. Petersburg in 1905.

After the Great October Socialist Revolution M.V. Antsev conducted extensive musical and social activities. In 1918, in Vitebsk, he organized the People's Conservatory, where he taught theoretical disciplines. There, for two years, he led the State Choir he created. On the initiative of Mikhail Vasilyevich, a circle of Belarusian folk songs arose. The circle served mainly factory areas and Red Army units.

Their last years M. Antsev lived in Moscow. Here in 1934 he was elected an honorary member of the Expert Commission at the Moscow City Committee of Circle Leaders and performed these duties on a voluntary basis for more than three years, in 1936-1938. he was a member of the Attestation and Expert Commission at the Administration for the Arts.

In the post-October period, M. Antsev actively switched to revolutionary themes. He wrote music to the words of Demyan Bedny, Yakub Kolas, Yanka Kupala and others Soviet poets. In addition, the composer showed interest in folk songs, predominantly Belarusian, arranged them for the choir and solo singing with piano (Oh, share, etc.).

The range of his creativity is quite wide. He is the author of several textbooks concerning choral art and the performance of children's songs, romances, and plays for the violin. However, choral creativity most of all attracted the composer's attention. He has written over 30 a cappella and accompanied choirs, many choral arrangements folk songs.

Mikhail Vasilievich Antsev - composer-lyricist. This is evidenced by the names of his choirs: “Spring Waters”, “Sunrise”, “Silence of the Sea”, “Bright Twinkling of Stars”. Possessing a thin artistic taste, the composer paid deep attention to the selection of texts. He turned to the poems of A. Pushkin, F. Tyutchev, A. Tolstoy, M. Lermontov, I. Nikitin, A. Fet and other poets. M. Antsev's choruses are imbued with free contemplation; they lack strong, dramatically intense development.

Although M. Antsev was a student of N. Rimsky-Korsakov, his work is rather close to P. Tchaikovsky. The melody in his choirs is expressive, calm, and easy to remember. It is simple, unpretentious, based on the existing intonations of a city song, hence the accessibility of its perception. Most often, the composer uses sequential development of the most expressive turns of the melody with the precise construction of the initial link.

Continuous harmonic development conceals the dismemberment inherent in sequential movement and gives the melody greater solidity.

M. Antsev worked a lot with choirs, knew the specifics of their sound and took it into account in his compositions, therefore choral parts presented in convenient tessitura.

Unfortunately, the creative heritage of Mikhail Vasilyevich Antsev has not yet been studied, but it is undoubtedly of great interest.

After October revolution was one of the first composers to turn to revolutionary themes in his work (choirs “In Memory of Heroes”, “Song of Struggle”, 1922). Author of works for violin and piano, choirs, romances, arrangements of folk songs, textbooks, including the books “Brief information for choir singers...” (1897), “Preparatory course in elementary music theory in connection with the teaching of choral singing” (1897), “Note terminology. Reference Dictionary..." (Vitebsk 1904).

Of his choral works, cantatas, women's and children's choirs a cappella and with piano accompaniment (“The Waves Slumbered,” “Bells”), and arrangements of folk songs are popular in choirmaster pedagogical practice. He is especially famous for his mixed choirs, like “Sea and Cliff”, “Willow”, “Tears”, “Collapse”, “Song of Struggle”. The Requiem “Do not cry over the corpses of fallen soldiers” (1901) to the words of L. Palmin stands out for its expressiveness and civic pathos. The composer also has spiritual compositions - a cycle of hymns from the Divine Liturgy and individual hymns.

Author of the literary text of the choral composition “Bells” - famous poet and playwright Count Alexei Konstantinovich Tolstoy. Born on August 24, 1817 in St. Petersburg. Early childhood spent in Ukraine, on the estate of his uncle A. Perovsky, a writer famous in the 20s. under the pseudonym Pogorelsky. He received a home education and was close to court life. He traveled widely throughout Russia and abroad, from 1836 he served in the Russian mission in Frankfurt, and in 1855 he participated in the Sevastopol campaign. He died on his Chernigov estate.

As Tolstoy himself believed, his penchant for poetry was unusually facilitated by the nature among which he grew up: “The air and the sight of our large forests, which I passionately loved, made a deep impression on me. Which left an imprint on my character and on my life...” Admiration for splendor native land can be clearly heard in Tolstoy’s poems, especially in his landscape lyrics. The colors of his poetic sketches are bright and rich. In his lyrics, Tolstoy likes to turn to images and verbal formulas folk poetry. Hence the frequent comparison of natural phenomena with human life, hence the special melodiousness, special language, close to a folk song.

Love to folk art, interest in folklore was reflected not only in Tolstoy’s lyrical poems. The poet's appeal to the epic, to the ballad genre, beloved by the romantics, is also largely explained by his attention to Russian folk poetry, to its ancient roots. In the epic “Ilya Muromets” (1871), Tolstoy resurrects the image of the famous hero, “Grandfather Ilya,” who yearns for freedom and independence even in old age and therefore leaves the princely court of Vladimir the Red Sun. Drawing heroes Kievan Rus, Tolstoy admires their courage, dedication and patriotism, but does not forget that these are living people, ready to love and enjoy the beauty of the world. That’s why many of his ballads and epics sound sincere, and their characters are attractive.

Tolstoy writes ballads and epics not only based on folk epic epic, he also turns to Russian history. In his ballads, Tolstoy admires old rituals and customs (“Matchmaking,” 1871) and glorifies the Russian character, which even the Mongol-Tatar yoke could not change (“Snake Tugarin,” 1867).

Alexey Konstantinovich Tolstoy tried his pen not only in the genre of poetry. The image of Kozma Prutkov and his famous aphorisms is Tolstoy with his cousins Alexei, Alexander and Vladimir Zhemchuzhnikov. He is the author of famous historical plays “The Death of Ivan the Terrible”, “Tsar Fyodor Ioannovich”, “Tsar Boris”. Tolstoy's satire was striking in its boldness and mischief.

Tolstoy began writing poetry very early. Tolstoy always valued the mastery of verse, although critics sometimes reproached him for “bad” (inaccurate) rhyme, or for an unsuccessful, too prosaic, in their opinion, turn of phrase. Meanwhile, it is precisely thanks to these “shortcomings” that the impression of improvisation is created; Tolstoy’s poetry acquires a special liveliness and sincerity. Tolstoy himself understood this feature of his work: “Some things should be minted, but others have the right and should not even be minted, otherwise they will seem cold.”

In the late 30s - early 40s they were written (on French) two science fiction stories - “The Family of the Ghoul” and “Meeting after Three Hundred Years.” In May 1841, Tolstoy first appeared in print, publishing a separate book, under the pseudonym “Krasnorogsky” (from the name of the Krasny Rog estate), fantastic story"Ghoul". He spoke very favorably about the story by V.G. Belinsky, who saw in her “all the signs of a still too young, but nevertheless remarkable talent.” Tolstoy was in no hurry to publish his poems. The first major collection of his poems appeared only in 1854 on the pages of Nekrasov’s Sovremennik, and the only collection during his lifetime was published in 1867. It included many now widely known poems, including “Bells.”

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:

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.
Continue to work on developing the skill of analyzing a piece of music and a work of fine art.
Contribute to the formation of interest in the history of your Fatherland.

Vocal and choral work:

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

Lesson equipment:

Computer (disc, presentation with reproductions of paintings).

Lesson structure

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

Form of work

Frontal
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 musical expressiveness 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 authoritative. 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, 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 verbal portrait character (external and “internal”);

2nd group – selects one portrait corresponding to the 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 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:

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

It turns out that a person can sound... In notes, musical phrases, melodies, his character is revealed and his “face” is depicted. It is known that a portrait painted by an artist is able to convey the essence of a person, leaving a certain secret. Every part of the face, every curve of the body on the canvas resurrects us as a person, while preserving something intimate.

Music, like any other form of art, brings something beautiful to life. It conveys the mood, charging a person with positivity. Very often we look for ourselves in the lines of songs, trying to catch any note and compare it with our personality.

Imagine these two greatest forms of art together - painting and music! Portrait of a man in music. Interesting?

A musical portrait is...

First of all, this is art that reveals your soul, musically conveys the emotions and character of a person. It is yours, personal, unique, like the person himself. With the help of a musical portrait, you look at yourself from different sides, revealing ever deeper facets of your inner world. A melody, actually copied from your “I”, helps to improve your spiritual state - you can’t argue with that! After all, listening to certain music, you experience emotions. What if this is the music of your soul? Did you have to look at it from the outside? This is an indelible impression - reality takes on different shapes: love, beauty, limitlessness...

How do you create a musical portrait?

Have you ever wondered what peace is? Sometimes, at some moments, you feel some peace of mind. Nothing worries you, you walk along endless paths, there, deep inside. When thoughts are lost and you are immersed in something more that cannot be described. This something rises deep from within, from the most secret chambers of the heart.

How many people are able to read the unknown world?
A musical portrait can only be created by a genius, a genius of the soul. He can not only read, but also play it into music, feel, understand your thinking, consciousness, open your will. Play the music that plays inside you.

The fullness of the art of creating a musical portrait lives in the unique environment of the intuitive world. In order to create it, the composer needs personal contact with a person or a personal photograph or video recording. When all the information about the person is collected, the musician records the portrait in the studio, providing the melody with high-quality sound. It has also happened in practice that a composer writes a musical portrait in the presence of the person he is writing about. But in any case, with or without a personal meeting, the quality will not change. In any case, this will be what is called a musical image of the inner world.

Do you want to hear what a musical portrait sounds like?

A musical portrait has two types of creation:

1) Improvisation (impromptu) is the recreation of the author’s feelings directly into the recording

2) A written piece is a complex, meticulously developed composition in notes. This kind of composition can later be arranged. This melody has the form of a piece that needs to be worked on for a certain time.

Musical portrait - historical heritage and an exclusive gift

It’s very hard to surprise a modern person, isn’t it? Imagine that you are receiving yourself as a gift - your inner world, feelings and experiences that have long been familiar and dear to you?.. Only expressed in the language of music. This is not only relevant and new for our world, it seems incredible and unimaginable!

By ordering a musical portrait, you can give a gift to your loved one. After all, the author can write a musical portrait of you personally or, for example, express your feelings for a loved one - portray him the way you see him! A musician can paint a portrait about love, friendship, etc. In a musical portrait you can embody all the versatility of your personality!

You can learn about the service and order a musical portrait