Date added: April 28, 2014 at 16:20
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- 22.80 KbMusic J. Ozolinya
Sl. A. Braudele
The forest is dense
The literary text of the work was written by Anna Yurievna Brodele. Born September 16, 1910. Latvian writer. Born into a forester's family. Published since 1927. For participation in underground work she was imprisoned (1932 - 1936). She studied at the Lithuanian Institute. M. Gorky in Moscow.
The turning point in the consciousness of the old intelligentsia is reflected in the play “Teacher Straush” (1949)
Braudele's most significant prose is the story "Margot" (1950), the novel "Quiet Town" (1967) about the struggle for Soviet power in bourgeois Latvia. Novels from collective farm life: “Blood of the Heart” and “Loyalty.” The stories “Blue Sparrow” and “This is My Time” are dedicated to the problems of youth. She was awarded two orders, as well as medals. She died on September 29, 1981.
The musical text of the work was written by Janis Adolfovich Ozolin. Born on May 30, 1908, in the city of Emava. Latvian Soviet choral conductor, composer and teacher. Honored Artist of the Latvian SSR. Rector and Associate Professor of the Conservatory in Riga. One of the main conductors of song festivals. Author of many choral works, as well as romances, arrangements of folk songs, music for theater and cinema. From 1930 – 1941 taught in secondary schools in Jelgava and Riga. From 1942 to 1944 he was the conductor of the choir of the State Art Ensemble of Latvia in the SSR in Ivanovo, for which he created the first Latvian military-patriotic mass songs. From 1944 - 1953 artistic director and conductor of the State Choir of Latvia SSR, from 1946 - 1948 artistic director of the State Philharmonic Society of Latvia SSR. Since 1951, teacher (since 1965 professor) and rector of the Latvian Conservatory. One of the main conductors of all song festivals in Soviet Latvia. J. Ozolin is the author of numerous successive choral songs with a developed melodic beginning. (“Song of the Latvian Riflemen”, “Song of the Fishermen”, “My Motherland”, “Ivushka”, “The Path of the Song” - a poem for a male choir and symphony orchestra, a cycle of vocal miniatures based on poems by R. Gamzatov, etc.), works for the spiritual orchestra (fantasy suite “Evening in a Fishing Village”, overture “Immortal Youth”, etc.), music for drama and puppet theaters, cinema.
Literary text
The forest is dense...
Clouds float over the forest into the distance,
the blue of the river sparkles,
the sun knits lace.
Gray flock of light clouds
flies to the east and melts,
and, waving the branches after,
The birches send greetings to them.
Visit the places
where we hovered in our dreams!
There will be all dreams and dreams
brought to life by us.
This choral work celebrates the beauty of nature. Nature yesterday, today, and tomorrow – was, is and will be beautiful. Nature evokes bright feelings in people. One cannot help but admire her, because we know how powerful, unique and eternal nature is, how good our Motherland is. Wherever fate throws a person, wherever he finds himself, the soul will still live in the Motherland, where he has corners of nature to which he trusted his thoughts, his feelings, his dreams...
Musical - theoretical analysis.
The work is written in a simple couplet form.
The choral score is 12 bars long.
The period consists of three musical sentences. Each sentence is divided into 2 phrases.
The third sentence is a repetition of the second without change.
The forest is dense... 1 fr.
Clouds float over the forest into the distance, 2 fr.
The blue of the river sparkles, 3 fr.
The sun knits lace.4 fr.
The rhythmic pattern of this choir is simple, expressed by the following groupings:
The work is written in the key of F major. Variable meter is simple, two- and three-part. Simple size ¾, 2/4. The style of presentation is homophonic-harmonic. The work is dominated by monorhythm in 1, 3, 5, 7 bars, 2, 4, 6, 8 bars.
Example vol. 1-2
An important means musical expressiveness is dynamics. Dynamics of this work represented by the following quantities: p, mp, mf, as well as a lot of moving dynamics: crescendo, diminuendo.
Example vol. 7-8.
One of the means of artistic expression is tempo - a certain sphere of images, emotions, moods.
The tempo of the piece is moderate (slow).
Example: t.1 – 2
This work is performed acappella, the distribution of musical thematic material between the choral parts occurs as follows: the melodic line runs in part S1, and S2 and A harmoniously support it.
Example: vol. 5 – 6
Lado, the tonal plan of the work is very simple and traditional. The main key of the work is F major. And only in 6 volumes. The composer uses the harmonic form of major (with a lowered 6th degree).
Example: vol. 5 – 6
The harmonic language of the work “The Dense Forest Spreads” is completely determined by the mode-tonal plan - it is very simple. These are triads and inversion of triads (T, S, D).
Example: vol.3 – 4
The style of presentation is homophonic-harmonic. The texture of a choral work is determined by the content and expressive capabilities of the choral parts. In the work “The Forest Spreads Dense” two main functions can be distinguished choral parts: melodic (associated with the conduct of musical thought - upper voice), and harmonic (accompaniment function - middle, lower voice).
Example: vol. 1 – 2
Vocal - choral analysis
The work “The Forest Spreads Deep” was written for a homogeneous female three-voice choir a cappella. Let's consider the range of each choral part separately:
Ranges of choral parts:
Overall range of the choir:
All choral parts are written within the notes of the working range.
With the exception of part - A, their theme begins in a small octave and therefore you need to start singing more quietly on P.
Diction is the most important element in choral art. The word helps the listener understand the composer’s intention, idea and image of the work. Diction is one of the means of conveying the words of the literary text of a choral work to the audience. Vocal-choral diction implies clear pronunciation. According to the rules of orthoepy, the consonant at the end of a word is transferred to the first syllable of the following word:
Lesra-ski-nus-dre-mu-chiy...
Far-float-wu-tna-dle-so-mtu-chi,
Ble-sche-tre-chki-si-ne-va
The sun is so warm.
Sometimes in a group of consonants one of them is not pronounced:
Sun - /sun/
The work mainly uses valuable breath, with the exception of 1-2 volumes, 3-4 volumes.
Choir structure
Since the piece is performed acappella, much attention must be paid to intonation. Clean tuning is the first and most important quality of choral singing. Many factors contribute to the development and maintenance of pure choral structure.
The acappella structure is based on the modal and harmonic features of music intonation and its acoustic patterns.
Considering the melodic structure of choral parts, we are faced with intervals that present difficulties in intonation.
S1-t. 4-5 interval m.6 in an upward movement. Performed wide, in a high position:
A - interval part 4 in upward and downward movement. Must be performed in a low position:
There is a danger of lowering intonation when repeating one sound several times: t.1 (S2), t.3, t.5 (A), t.7 (S2).
The intervals and seconds between the parts S1 and S2 also create difficulty in intonation.
Having analyzed the intervals of the choir parts horizontally and vertically, we can conclude that the voice leading in the parts is different. S1 - smooth, progressive, wavy. And parties S2 and A
on the contrary, they are very static, as if motionless - on one note and only sometimes lead the melody step by step, up and down.
Example: t.5-6
The basis good sound– correct singing breathing. The main type of breathing and singing is considered to be lower - costal - diaphragmatic. One of the main conditions for proper singing breathing is complete freedom of the upper chest and neck. The work uses general choral breathing in phrases and sentences.
The third phrase is performed using chain breathing (5 – 8 volumes)
Performance analysis
When starting to work on a work, it is necessary to imagine its main artistic images. the main task the performer – to convey to the listener all the richness and significance of the content of the work.
The nature of sound science in music is directly dependent on the content - legato. The piece is performed a cappella. There are no dynamic difficulties. The subtext is the same for everyone. The tessitura of the choral parts and the entire choir is comfortable.
Comfortable tessitura and simple rhythm create favorable conditions for building a choral ensemble.
You need to learn the piece in batches. The conductor's gesture should be small and smooth. The conductor and singers need to pay attention to the culture of sound.
The main dynamic zone of the work (P) is quite natural for conveying a calm, contemplative mood. The dynamics are average from PP – mf.
Each phrase contains moving nuances (crescendo, diminuendo)
The second phrase of the 1st sentence begins with mp.
The second sentence begins with mf. At the end there is a diminuendo.
Each verse has a dynamic development.
This work teaches you to be attentive to nature. To love and take care of her, teach her to see the beautiful.
Short description
When starting to work on a work, it is necessary to imagine its main artistic images. The main task of the performer is to convey to the listener all the richness and significance of the content of the work.
The nature of sound science in music is directly dependent on the content - legato. The piece is performed a cappella. There are no dynamic difficulties. The subtext is the same for everyone. The tessitura of the choral parts and the entire choir is comfortable.
Comfortable tessitura and simple rhythm create favorable conditions for building a choral ensemble.
You need to learn the piece in batches. The conductor's gesture should be small and smooth. The conductor and singers need to pay attention to the culture of sound.
Analysis of the choral score.
Compiled by: senior lecturer
Department of Choral Conducting and
solo singing Faculty of Music
Bogatko I.S.
Perm 2013
Analysis of a choral work
Musical theoretical analysis of the work (tonal plan, form, cadences, the nature of the development of musical thought, size, texture features, tempo).
Vocal-choral analysis: type and type of choir, ranges of voices, tessitura, ensemble, structure, intonation, vocal-choral, rhythmic, diction difficulties).
Performance analysis of the work; (connection of music with text, definition of caesuras, establishment of tempo, nature of the work, dynamics, strokes, climax).
List of works.
1 course
Choral works to study
Arensky A. Anchar. Nocturne
Agafonnikov V. They sowed flax across the river.
Bely V. Steppe
Boyko R. 10 choirs at A. Pushkin station
Vasilenko S. Dafino wine. Like in the evening. There are two gloomy ones in the mountainsclouds. Blizzard. Steppe.
Grechaninov A. The stream makes us happy. In a fiery glow. Aboveunapproachable steepness. The world is quiet. After a thunderstorm. At dawn.
Gounod S. Night
Davidenko A. All-forward. Barge haulers. The sea moaned furiously.
Darzin E. The Past. Broken Pines.
Dvorak A. Peer. Choirs from the cycle "About Nature"
Debussy K. Winter. Tambourine
Egorov A. Taiga. Nikitich. Lullaby. Lilac. Song.
Ippolitov-Ivanov M. Novgorod epic. Forest. Night.
Kastalsky A. Under the big tent. Rus.
Korganov T. Sees a doe in the water.
Kasyanov A. Autumn. The sea does not foam.
Caldara A. StabatMater
Kalinnikov V. Lark. Winter. On the old mound. We have starsthe meek ones beamed. Autumn. Forest. Oh, what an honor to the fellow. The stars dimmedchickpeas and go out. Condor. Elegy.
Koval M. Ilmen-lake. Leaves. Tears. There would have been a storm or something.
Kravchenko B. Russian frescoes (optional)
Cui C. Nocturne. Cheer up, songbirds. Two roses. The sun is shiningtse. Storm clouds. Dream.
Kolosov A. Rus'.
Lasso O. Soldier's serenade. Oh, if only you knew. Matona.
Lensky A. The Past. Russian land. January 9. Cliff and sea. Arrangements of folk songs (optional).
Lyatoshinsky B. Autumn. Oh, my mother. In a clean field. Water is flowing.
Makarov A. “City of Unfading Glory” from the suite “River-Bogatyr”
Mendelssohn F. Choirs to choose from.
Muradeli V. Response to A. Pushkin’s message.
Novikov A. In the forge. Oh, you, field. Love. Merry feast.
Popov S. Like on the sea.
Poulenc F. White snow. Sadness. “I’m afraid of the night” from the cantata “The Face” human"
Ravel M. Three birds. Nicoletta.
Sveshnikov A. In a dark forest. Oh, you wide steppe. Down on mother along the Volga.
Sviridov G. "Pushkin's Wreath": No. 1, 3, 7, 8, 10. "Night Clouds" -No. 2. Blue in the evening. Clear fields. Spring and the sorcerer. Choirs onpoems by Russian poets.Slonimsky S. Four Russian songs.
Sokolov V. Wither and wither, stormy weather. Are you a rowan or a ripple? nushka.
Taneev S. Adeli. The ruin of the tower. Venice at night.
Tchaikovsky P. Without time, without time. Not a cuckoo in the dampBor. The cloud spent the night. Nightingale. That the fun has stoppedvoice. Blessed is he who smiles. Choirs from the Liturgy (optional).
Chesnokov P. August. Alps. In winter. The dawn is warming. Forest. Along and alongriver. Dubinushka. Not a flower in a field withers. Liturgical choirs (optional).
Shebalin V. Winter road. The mother sent her thoughts to her son. Stepan Razin.White-sided chirping. Cliff. Message to the Decembrists. Cossackdrove the horse. Soldier's grave.
Shostakovich D. Ten poems. (choirs to choose from).
Schumann R. Good night. Toothache. In the forest. On Lake Constance.
Shchedrin R. 4 choirs at the station. A. Tvardovsky.
Schubert F. Love. Night.
Choral works for sight reading and transposition.
Bortnyansky D. It is worthy to eat. Cherubimskaya No. 2.
Vekki O. The Shepherd and the Shepherdess.
Davidenko A. The sea moaned furiously. Prisoner. Barge haulers.
Dargomyzhsky A. Petersburg serenades.
Glinka M. Patriotic song.
Grechaninov A. Frog and ox.
Egorov A. Song.
Zinoviev A. Autumn.
Ippolitov-Ivanov M. With a sharp axe. Pine.
Kalinnikov V. Elegy.
Kastalsky A. At the gate, gate. Rowanushka.
Kodaly 3. Evening song.
Costle G. Mignon.
Leaf F. The Coming of Spring.
Mendelssohn F. Run with me. Like frost fell on a spring night.Over her grave. Premonition of spring.
Prosnak K. Prelude.
Rachmaninov S. We’ll sing for you.
Rimsky-Korsakov N.A. Oh, there's a sticky thing in the field. You rise, red sun.
Salmanov V. “Oh, dear comrades” from the oratorio “The Twelve.”
Slonimsky S. Leningrad White Night.
TaneevS. Serenade. Pine.
Tchaikovsky P. "Liturgy of St. I. Chrysostom": No. 9, 13.The golden cloud spent the night
Chesnokov P. Spring calm. Beyond the river, beyond the fast one. Thought after thought.
Shebalin V. Winter road.
Schumann R. Evening star. Good night. Night silence.
Schubert F. Love. Far away.
Shchedrin R. How dear a friend is. The war has passed. Quiet Ukrainian night.
Eshpai A. Song about springs.
2nd year
Accompanied choirsForstudying.
Original choral works:
Glinka M. Polonaise. Glory to the Russian people.
Debussy K. Lilac.
Ippolitov-Ivanov M. Morning. Peasant feast.Spring is approaching. Flowers.The leaves in the garden are rustling. In May.
Novikov A. Grass. Hey, let's go! And the rain is pouring down.
Schumann R. Gypsies.
Schubert F. Shelter.
Choirs from oratorios and cantatas.
Harutyunyan A. Cantata about the Motherland No. 1, 4, 5.
Britten B . Missa brevis in D
Bruckner A. Requiemd- moll. Big mass.
Brahms I. German Requiem:№ 4.
Vivaldi A. Gloria: No. 1, 4, 7.
Handel T. Oratorio "Samson": "Samson is slain"
Grig E. Olaf Trygvasson (separate rooms).
Dvorak A. Requiem (choral numbers). ThoseDeum(fully)
Kabalevsky D. Requiem: Introduction, Remember, Eternal Glory, Black stone.
Kozlovsky O, Requiem (optional parts).
Makarov A. Suite "River-Bogatyr". ABOUT
ABOUT rf K. Carmina Burana: No. 1, 2, 5, 8, 10, 20, 24, 25.
Prokofiev S. Ivan the Terrible (good numbers).
Poulenc F. The Human Face (optional parts)
Salmanov V. Twelve (parts or all).
Sviridov G. “Pathetic Oratorio”: Wrangel’s Flight,To the heroes of the Battle of Perekop, There will be a garden city, The poet and the sun. " Poem in memory of S. Yesenin": Winter sings, Threshing,Night of Ivan Kupala, Peasant
Guys. " Pushkin's Wreath": No. 5, 6. "Night Clouds" No. 5. " Ladoga" No. 3, 5.
Tchaikovsky P. Moscow: No. 1, 3, 5.
Shostakovich D. “Song of the Forests”: A Future Walk. "The sun is shining over our Motherland,” “ Stenka Razin."
Choirs from operas;
Bizet J. “Carmen”: scenes 24, 25, 26.
Beethoven L. “Fidelio” (choir section).
Borodin A. “Prince Igor”: Glory, Scene of Yaroslavna with the girls,Scene at Galitsky, Polovtsian dances with choir,Finale of the 1st act,
Wagner R. “Lohengrin”: Wedding Choir. "Tannhäuser: March.
Verdi D. “Aida”: choral scenes. "Othello": choral scenes from acts 1, 3.
Verstovsky A. “Askold’s Grave”: Ah, girlfriends, Brew, potion.Choir and Torop's song.
Gershwin A. “Porgy and Bess”: separate choirs.
Glinka M. “Ivan Susanin”: Polish Act, Glory."Ruslan and Lyudmila": Introduction, Act 1 Finale,Oh, you are light, Lyudmila.
Glitch X. "Orpheus": separate choirs.
Gounod S. “Faust”: Waltz. "Romeo and Juliet": courtiers' choir.
Dargomyzhsky A. “Mermaid”: Oh, you, heart, Braid yourself, wattle fence. How we brewed beer on the mountain.Like in a bright room.
Delibes L. “Lakme”: choir and scene in the market.
Kozlovsky O. “Oedipus the King”: 1st choir of the people.
Mussorgsky M. “Boris Godunov”: Coronation Scene,Scene at St. Basil's,Scene near Kromy (entirely and individual fragments), “Sorochinskaya Fair”: Chorus from 1 act. "Khovanshchina": Meeting and glorification of Khovansky,Scene in Streltsy Sloboda (in full) and separate fragments).
Rimsky-Koreakov N.A. "Pskovite": Meeting of Grozny,Entry of Grozny to Pskov, Veche Stage; "Sadko": Choir of trade guests,Is it the height, the height of heaven? "Snow Maiden": Choir of Blind Guslars,Scene in a reserved forestAnd we sowed millet, Pcarnival celebrations, The finale of the opera.
« The Legend of the Invisible City of Kitezh":Wedding train. "The Tsar's Bride: Love potion, Yar-hop. " May Night": Millet.
Smetana B. “The Bartered Bride”: separate choirs.
Kholminov A. “Chapaev”: Here, Petenka.
Tchaikovsky P. “Eugene Onegin”: Peasant Choir, Ball at the Larins'. " Queen of Spades": Walking Choir,Guest Choir, Shepherdess Pastoral. "Mazeppa": Chorus and mother's lamentation, Folk scenes, Execution scene. "Oprichnik": A duck was swimming at sea,Wedding choir "Slava".
Choral works for sight reading and transposition
Borodin A. “Prince Igor”: Fly away on the wings of the wind.
Verstovsky A. “Askold’s grave”: Two choirs of fishermen,There was a white birch tree near the valley, Ah, girlfriends.
Verdi J. “Nebuchadnezzar”: You are beautiful, oh, our Motherland. "Aida": Who is there (act 2).
Glinka M. “Ruslan and Lyudmila”: Oh, you are the light Lyudmila,The bird won't wake up in the morning. "Ivan Susanin": Wedding song.
Dargomyzhsky A. “Rusalka”: Three choirs of mermaids.
Mussorgsky M. “Khovanshchina”: Dad, Dad, come out to us.
Petrov A. “Peter I”: Final chorus from the opera.
Tchaikovsky P. “The Snow Maiden”: Farewell to Maslenitsa.
Chesnokov P. Spring is rolling.
3rd year
Polyphonic choral works for study.
Original choral works
Arkadelt Ya. Swan at the moment of death.
Vecky Oh, it's better not to be born.
Verdi G. 4 spiritual choirs.
Gabrieli A. Young maiden.
Grechaninov A. Swan, crayfish and pike.
Glazunov A. Down the mother, along the Volga.
Kodaly 3. Hungarian Psalm.
Lasso O. Shepherd. Goose song. Echo.
Marenzio L. How many lovers.
Monteverdi K. Farewell. Your clear gaze is so beautiful and bright.
Morley Tenderness burns in your face.
Palestrina J. Spring wind. Oh, he's been in the grave for a long time.
Rimsky-Koreakov N. The month floats. Old song.The golden cloud spent the night. Tatar is full.You're a garden. In the wild north.
Sveshnikov A. You are a garden.
Sokolov V. Where can a girl go out of grief?
Taneev S. Alps. Sunrise. Evening. At the grave.The ruin of the tower. Look how dark it is.Prometheus. I saw a cliff from behind a cloud. On days when over the sleepy sea. There are two gloomy clouds in the mountains.
Tchaikovsky P. Liturgy of St. I. Chrysostom: No. 6, 10, 11, 14.Cherubic Hymn No. 2. Our Father.
Chesnokov P. The baby was walking.
Shebalin V. Above the mounds.
Shchedrin R. Willow, willow.
Choirs from operas:
Borodin A. “Prince Igor”: Choir of villagers.
Berlioz T. “The Damnation of Faust”: Brander’s Song and chorus.
Vasilenko S. “The Legend of the Invisible City of Kitezh”:Choir of the people "Woe has befallen".
Wagner R. “Die Meistersinger”: Glory to Art.
Glinka M. “Ivan Susanin”: Introduction. "Ruslan and Lyudmila”: He will die, he will die.
Dargomyzhsky A. “Rusalka”: Healthy Choir.
Mozart V. “Idomeneo”: Run, save yourself.
Rimsky-Koreakov N. “The Tsar’s Bride”:choral fugetta "Sweeter than honey". "Snow Maiden: I have never been scolded by betrayal(from the final 3 days)
Ravel M. “Child and Magic”: Choir of Shepherds and Shepherdesses.
Shostakovich D. “Katerina Izmailova”: Glory.
Choirs from oratorios and cantatas
Harutyunyan A. Cantata about the Motherland: No. 3 “Triumph of Labor”.
Bartok B. Cantataprofana. № 1, 2, 3.
Bakh I.S. Secular cantatas:№ 201 D- dur"Attention", No. 205 D-dur "Chorus of the Winds", No. 206D- dur"Opening Choir", No. 208 F-dur "Closing Choir", Mecca h- molI: № 1, 3, 15, 16, 17.
Beethoven L. MassC- dur: 1st anthem
Berlioz G. Requiem: dep. numbers.
Britten B. War Requiem. MassinD.
Brahms I. German Requiem: No. 1, 2, 3, 6, 7.
Vivaldi A. Gloria: No. 5, 12
Verdi G. Requiem: No. 1, 2, 7.
Haydn I. Seasons: No. 2, 6, 9, 19.
Handel G. “Alexander Festus”: No. 6, 14, 18. “ Messiah": No. 23, 24, 26, 42. " Judas Maccabee": No. 26. "Samson": No. 11, 14, 26, 30, 32, 49, 59.
Davidenko A. From the joint oratorio “The Path of October”: On
ten miles away, the street is worried.
Degtyarev S. “Minin and Pozharsky”: separate numbers.
Dvorak A. Requiem: separate numbers. Stabat Mater No. 3.
Yomeli N. Requiem: separate numbers.
Mozart W. Requiem: No. 1, 4, 8, 9, 12.
Honegger A. “King David”: No. 16, 18 and Final Chorus. "Joan of Arc at the stake: Finale of the oratorio.
Ravel M. “Daphnis and Chloe”: Choirs from Suites 1 and 2.
Reger M. Requiem: complete and separate numbers.
Scriabin A. 1st Symphony: Glory to Art (finale).
Stravinsky I. Symphony of Psalms: complete and individual numbers.
Smetana B. “Czech Cantata.”
Taneyev S. “John of Damascus”: complete and separate numbers. "After reading the psalm": No. 1, 4.
Faure G. Requiem: separate numbers.
Hindemith A. “Eternal”: complete and separate numbers.
Tchaikovsky P. “To the 200th anniversary of the monument to PeterI": Fugue.
Schubert F. Mass As-major. Private rooms. Mass Es-dur: Individual rooms.
Shimanovsky K. StabatMater: № 1, 4, 5, 6.
Schumann R. “Paradise and Peri”:№8, 11, Requiem: separate numbers.
Shostakovich D. “Song of the Forests”: No. 7 Slava.
Shchedrin R. “The Sealed Angel”: separate numbers and in full.
Choral works in the keys "C".
Baya T. OboneJesu
Bortnyansky D. Concerto for choir No.I.
Gastoldi T. Heart, do you remember
Kalvisius S. I am a man.
Lasso O. All day long.I was told. How did you do it?
Lechner L. Oh, how cruel my fate is to me.
Meyland Ya. The heart rejoices in the chest.
ScandeliusA. To live on earth.
Friederici D. Song of Society.
Hasler G. Ah, I sing with a smile.
Chesnokov P. Spirit. choirs.
Shostakovich D. Like in the immemorial year.
Choral scores for transposition
Venosa J. Sancti spiritus.
Verdi J . Laudi alla virgine Maria ( fragments )
Dargomyzhsky A. Petersburg serenades: From a country, a distant country.The raven flies to the raven.I drink to Mary's health. At midnight the goblin. On calm waves.
Ippolitov-Ivanov M. Pine.
Kodaly 3. Hello, Janos.
Lottie A. Miserere
Mendelssohn F. In the South.
Muradeli V. Touchy dreams.
Rechkunov M. With a sharp axe. Autumn.
Taneyev S. Serenade. Pine. Venice at night.
Tchaikovsky P. Evening.
Schubert F. Lipa.
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GOU SPO VO "Vologda Regional Music College"
"Choral conducting"
Analysis of Russian choral treatment folk song"On the Hill, on the Mountain" by Oleg Pavlovich Kolovsky
4th year students of the specialty
Vasilyeva Alena
Teacher class:
L.P. Paradovskaya
Vologda 2014
1.General information about the composer and processing
Kolovsky musical composer choral
A) Information about the life and work of the composer.
Oleg Pavlovich Kolovsky 1915 -1995
A wonderful Russian choral conductor, professor at the Leningrad Conservatory, teacher of such disciplines as: polyphony, form analysis, choral arrangement. Oleg Pavlovich also led the military ensemble.
O.P. Kolovsky is known for his articles on the choral works of Shostakovich, Shebalin, Salmanov, and Sviridov. A number of articles are devoted to the analysis of choral scores and the song basis of choral forms in Russian music.
"Analysis of vocal works"
Authors:
Ekaterina Ruchevskaya,
Larisa Ivanova,
Valentina Shirokova,
Editor:
O.P. Kolovsky
A significant place in the work of O.P. Kolovsky is interested in choral arrangements of folk and revolutionary songs:
"The sea groaned in rage"
"Ah, Anna-Susanna"
"Three little gardens"
"Pskov choruses"
“Live, Russia, hello”
"Mother Volga"
“The winds blew”
“How did the girls go?”
“We have good fellows”
"Toril Vanyushka path"
"Ditties"
“You are my corolla”
"Oh you, darling"
“The girls sowed flax”
"Russian song folklore - This is the richest treasury of Russia's original culture. Here we not only admire scatterings of amazing melodies, but comprehend the imagery and beauty of the Russian poetic word, connect the vast temporary space that contains the centuries-old fate of our native land and its people, with our consciousness and soul we reverently touch the soul of our people and thereby preserve the continuity of the past with the future."
IN. Chernushenko.
B) Processing.
- all sorts of things modification original musical notation text musical works. IN past, V Western Europe, was widespread polyph O n ical O b work tunes Gregorian chorale, served before 16 century basis all polyphony But th music. IN 19-20 centuries big meaning etc And found treatment folk melodies, which more often called their harmonize A tion. Russian culture impossible introduce without folk songs. Ime n But Russian song accompanies person on throughout all his life: from cradle before graves
Many composers turned to the genre of choral arrangements of Russian folk songs. Folk song occupied a special place in the work of M.A. Balakirev - the collection “Forty Russian Folk Songs”, M.P. Mussorgsky - four Russian folk songs: “You rise, rise, red sun”, “At the gate, father’s gate”, “Say dear maiden”, “Oh, my will is your will”.
Processed by N.A. Rimsky-Korsakov were distinguished by a wealth of techniques and sweets of choral writing: “The fence is braided”, “I walk with the vine”, “Lipenka in the field”.
Arrangements of folk melodies were carried out by many major composers: I. Haydn, L. Beethoven, J. Brahms, P. I. Tchaikovsky, A. K. Lyadov, Kostalsky, A. Davidenko, A. Alexandrov, D. Shostakovich (“How young am I?” -baby").
Many arrangements are also made by choirmasters. Outstanding choral conductor, director of the State Academic Choir of the USSR
A.V. Sveshnikov made the most interesting arrangements of Russian folk songs: “Down along Mother Volga”, “How I go to the fast river”, “Oh, you are a little night”, “Grushitsa”.
Interest in folk songs does not wane; modern harmonies and rhythms are introduced into choral arrangements, bringing them closer to independent compositions on folk themes. It was precisely this third method of processing that O.P. Kolovsky used in this work.
While working on the Russian folk song “On the Hill, on the Mountain,” Oleg Pavlovich made an original arrangement of a free type, using the genre of a dance song of a comic, playful nature, intonationally close to the Russian folk dance “Barynya.”
On the hill, on the mountain
On the hill, on the mountain,
Walk right, on the mountain.
In the young man's yard,
Walk right, in the yard.
The good horse played out,
Good black horse,
Walk right, raven.
He hits the ground with his hoof,
It hits the earth, it hits the earth,
Walk to the right, it hits the ground.
Bel knocked out a pebble,
Knocked out, knocked out,
Go right, knocked it out.
The wife sold her husband
Sold, sold,
Go right, I sold it.
For a penny roll,
For the roll, for the roll,
Walk to the right, behind the roll.
I came home and repented:
I should ask for three rubles, oh,
I wish I could buy three horses, oh.
Oh, oh, oh, oh!
Use of folk blank verse.
2. Music-theoretical analysis
The form is verse-variation, consists of 8 couplets, where the verse is equal to the period, i.e. stanza of a poetic text. A period consists of 8 clock cycles.
Outline of the work.
Outline of the first four verses
1 sentence 2 sentence
Scheme of verses 5 and 7.
1 sentence 2 sentence
4 bars 4 bars (chorus role)
1 phrase 2 phrase 1 phrase 2 phrase
2 bars 2 bars 2 bars 2 bars
3 sentence
1 phrase 2 phrase
2 measures 2 measures
Verse 6 scheme
1 sentence 2 sentence
4 bars 4 bars
1 phrase 2 phrases 1 phrase 2 phrase
2 bars 2 bars 2 bars 2 bars
3 sentence
1 phrase 2 phrase 3 phrase
2 bars 2 bars 2 bars
Scheme of verse 8.
1 sentence 2 sentence
1 phrase 2 phrase 1 phrase 2 phrase
2 bars 2 bars 2 bars 2 bars
3 sentence
1 phrase 2 phrase
2 measures 4 measures
(expansion due to shouts of “oops”)
Conventionally, this work can be divided into 3 sections, where the first section includes the 1st to 4th verses, each of which is an open unfinished period, where its resolution is heard at the beginning of the next verse.
The period is normative, consists of two sentences of a square structure of 4 measures each. The sentence has 2 phrases of 2 measures. The second sentence acts as a chorus.
The middle section is developmental, consists of 3 couplets:
5 k. - “Knocked out a white pebble...”
6 k. - “The husband’s wife sold...”
7 k. - “For a penny roll...”
The period of the middle section is non-standard, consisting of three sentences with a different number of bars, due to the repetition of the chorus. The fifth and seventh verses consist of 3 sentences of 4 bars. And each of them has 2 phrases of two measures.
Large scale verse 6. It includes 16 measures.
First sentence:
The second sentence is “Sold, sold, go right, sold...”
These sentences are equal and are divided into two phrases of 2 measures, and the third sentence is expanded by repeating the chorus with new text and key (cis minor):
The last (third) section is presented to us in one verse:
In form, this couplet is a non-normative period, consisting of 3 sentences.
The first sentence “I came home...” - bar 4; second sentence “I would like to ask for three rubles...” - 4 bars; the third sentence “I wish I could buy three horses...” - 6 bars, expanded by shouts of “oh” from the entire choir.
In O. P. Kolovsky’s adaptation of “On the Hill, on the Mountain,” each verse has its own logical development and presentation in different types choir. Let's look at each verse in more detail.
First verse: bass solo sounds, here they play the role of lead singer. The tune begins with a T, then follows with an upward leap of a fourth as it fills out. Next are the intonations of “Barynya” in the second sentence, where the repeating tertian tone and its filling sound. Here is the dynamics of mf.
The next verse is performed mixed composition. In the first phrase the theme is carried out by the altos, and in the second phrase the theme is taken over by the soprano part.
The basis and principle of formation in this treatment is the repetition of melodic-thematic elements (melody, rhythm, meter, tonal plan), which is typical for Russian folk songs. Here, in each verse, the intonation of the first verse is found, which appears in different voices throughout the work.
The whole choir sounds in the fourth verse. Here the theme is assigned to the alto part, the soprano has the upper voice. The range increases from part 5 to part 8, where part 8 can be observed between the parts of the female choir, as well as between the parts of the male choir.
Oleg Pavlovich knew Russian folk songs exactly, so in his treatment he follows the basic textural principle, using subvocality and variation. Using the sounds of different groups of the choir, both solo and duet between parts.
The middle section is interesting because it reveals the different timbres of the choir members. The fifth verse is performed by the male group of the choir, where the tenors are soloing on the lower ascending tetrachord of Mixolydian and natural D, and the basses have a descending, repeating incremental movement from 1 to 5.
In the second sentence, in the chorus, the bass solos against the background of the harmonic support of the tenors, then the theme of the chorus is taken over by a female group. They perform in G major. They sound against the background of a G major triad, followed by resolution into a dominant second chord (to the original key) with the release of a fifth tone in the second tenors. In this way, a gamophonic-harmonic style of writing arises,
and the sixth verse is presented to us in reverse. It begins with a female three-part voice, with the tenors picking up, sounding in the background of the second of the female choir group.
In the seventh verse, the theme returns to the basses again, where they tell us that the wife sold her husband for a penny roll, and the tenors and female cast shout “oh,” as if with mockery, ridicule. In the second sentence, we hear the intonation of “Lady” in the male group, and in the third - in the female group in the sixth against the background of the second in the men, based on D2 with the subsequent resolution of that in T.
The eighth verse represents the apotheosis of the entire treatment. Here there is a bright dynamics - ff, and a semantic culmination “I came home, repented...”. The last verse is performed by the entire choir, with six voices. The topic is carried out in the upper voices. The second and third sentences sound like a roll call between girls and boys, like a tongue twister. Reception of recitation.
The work ends with general shouts of “oh” in the seconds, followed by the resolution of that third.
O. P. Kolovsky’s adaptation of “On the Hill, on the Mountain” reflects the humor, irony, and sarcasm that comes from dance songs and ditties. Here are hidden traits of the Russian character: a wife can say anything she wants to her husband, make fun of him. Other nations do not have this attitude. What is ironic here is that the wife, having sold her husband, repented and groaned that she had sold too cheap.
The musical image is precisely revealed in the following joys of musical expressiveness:
· at a fast tempo - Soon, = 184, but in many publications the metronome is not indicated)
· in dynamics - from p to ff
· in performing touches - accents
· in changing sizes -
· in rhythmic groups -
· in different textures - mixed: melodic, gamophonic-harmonic, subvocal polyphony, which forms harmonic verticals
The key of the work is D Mixolydian (major with a low seventh degree). There are deviations in G major and cis minor.
Ladotonal plan.
In his treatment, Oleg Pavlovich widely uses D Mixolydian. Natural D major appears only in the fifth verse “Knocked out a white pebble...”, in the third sentence of the 7th verse “For the roll, for the roll...”. In the middle section, deviations appear in G major in the first sentence of verse 6 for women (“The husband’s wife sold ...”) and in cis moll in the third sentence for men. The eighth verse also sounds in G major, but the recitation is in D major.
The main organizational principle in dance songs is rhythm. Here you can find the simplest types of bipartiteness:
But in dance songs you can also find an interpretation of odd sizes:
Of significant importance for dance songs are the characteristic rhythmic turns, which largely determine the features of the Russian dance step - the combination of the main beat with its fragmentation:
The first phrase of each verse is built on the technique of slowing down the second beat, favorite in many songs:
A rhythmic contrast arises between the leisurely chant of the initial phrase of the verse and the twice faster, clear rhythmic movement of the second sentence.
Thus, we encounter here complex size and polymetry:
There are also intra-bar syncopations here:
O.P. Kolovsky writes his arrangement at a fast tempo, where a quarter is equal to 184, which is typical for dance songs. But the metronome is not indicated in some publications, so the author’s indication of “Coming Soon” may also date from another metronome.
Harmonic analysis.
In harmonic terms, chords with non-chord sounds are often found:
In addition to the simple chords T, D, S, and their inversions, more complex colors appear, such as DD (Double Dominant), the seventh second chord with a low third, D7/D with a low fifth, D7 to G major, the first second in D Mixolydian.
In Oleg Pavlovich Kolovsky’s arrangement, half-tone intonations are found that are not typical for folk music:
You can of course imagine this as G Lydian (4+).
In this verse, parallel triads are heard, considered as subvocal polyphony, forming harmonic verticals.
3. Vocal and choral analysis
The arrangement of the RNP “On the Hill, on the Mountain” was written for a professional academic mixed four-voice choir with divisi elements in the upper voices. The latter lead to five and even six voices.
Choir range.
The largest range is in the soprano part, which is duodecima. Part of the lower, middle and upper tessitura was used. Sopranos will cope with the given tessitura, since the lower notes will sound on p and the upper notes on ff.
The range of altos covers the major none. They use medium and high tessitura. Basically, violas will use a mixed sound.
The tenor range is represented by the minor decima. Medium and high tessitura were used. Tenors will sound quite bright and rich, since this is their working tessitura.
Small range of bass. It constitutes a pure octave. The voices are used in a working tessitura, so it will be convenient for the basses to perform their part here.
The choir is mostly a natural ensemble. But it will be difficult to perform ff in the 8th verse (climax). The first sopranos and tenors sound “A”, the second tenors, altos and second sopranos have transitional notes that need to be smoothed out - sung with a feeling of the chest register.
In the gamafon-harmonic texture, the background sounds a nuance quieter, revealing the colorfulness of the theme:
In polyphonic performance, the themes of the melody and second ones are important:
Features of intonation.
Performing this work a cappella requires singers to have a good understanding of the main key with their inner ear, hearing deviations into other keys. Also difficult for accurate intonation will be the relationship between the background and the overlapping melody. So in the 5th verse in the second sentence, the melody of the bass is revealed at the tonic organ point. Tenors should sing the note “D” with a constant increase in its pitch in order to stay in key and not “go away” into a lower key. In the third sentence of the same verse, the basses need to think in a different key - G major, the third degree should be intonated with a tendency to rise. In the third sentence of the sixth verse (“The husband’s wife sold..”), the bass sounds in cis minor against the background of the second. Here there will be a difficult place for basses, since from the female second they will need to adjust to a new key and anticipate “B sharp”:
Women's second should sound bright. The female group must perform it confidently, since there is a crossover here - G sharp for the basses and natural G for the altos.
The structure is complicated by the introduction of the parts at different times: in the 7th verse, the bass sounds the theme, and the rest of the choir shouts “oh”. To begin with, you should learn these shouts separately, with clapping, timing, counting, and then just sing along with the solo part. The basses here need to confidently lead their theme and not lose their tempo and rhythm.
In addition, in this processing there are such intervals as part 4, part 5, part 8, thirds and sixths. They need to be intoned while maintaining a single vocal position. Sing the lower sound in the same way as their upper one. You can offer singers the technique of singing notes in reverse: first sing the upper note, then the lower one, or first the lower one, and then the upper one. Take the intonation of intervals before the work above the work, in chanting. Pure intervals are intoned steadily. The minor sixth is a fairly wide interval, so the poet intonates it towards a narrowing.
There are chromatic steps. When changing the Mixolydian mode to natural major, the 7th degree is intonated high, with a tendency to rise and resolve into the tonic. And 7 is Mixolydian, it sounds to bekar, intonated as low as possible.
It is also important to build unisons between parts. For example, in the third verse there is a unison between altos and sopranos. For altos, the “D” note is included in the working unison; for girls, this note will sound quite bright and juicy, but for sopranos, this may be difficult, even though this is their working range, but problems may arise in the ensemble due to the different sound of timbres . There will also be difficulty in octave unisons. It is important that each part hears the main key.
Difficulties may appear in the following: coming into unison after intervals:
The following technique should be used: repeating the interval until unison, then hitting unison, and then moving to a new interval. Each interval should be sung according to the conductor’s hand, on a sustained fermata.
Chords with second combinations are difficult to intonate, as well as the second quintuplet, the dominant to G major, and the double dominant.
These chords should be built from the bass (B - A - T - C)
Difficulties may arise when playing sixth chords, since the third tone is at the bottom and needs to be intoned especially cleanly, with a tendency to rise.
When working on a word, it is important to identify the specifics of working on a folk song. This is the timbre scoring of choral parts and a characteristic dialect. For example, the emphasis of “go right” shifts, falls on the syllable “on the hill”, “I wish I could ask”, we can find the same examples in songs such as “In the Dark Forest”, “Behind the Forest”, “How young and young I am” "
But since this is a treatment of the third type (the essay is equated to free), Oleg Pavlovich emphasizes the large proportion in the word “at the young man.” But the word “sold” is dated differently, where we can find stress on different syllables.
We often hear recitations, tongue twisters, and chanting of texts.
“Knocked out, knocked out, go right, knocked out”
“The wife of her husband sold it, go right, she sold it”
“For the kalach, for the kalach, go right for the kalach”
“I should ask for three rubles, three rubles, three rubles”
“I wish I could buy three horses, three horses, three horses.”
Therefore, diction plays an important role in this treatment. It is important to clearly and clearly pronounce consonant sounds and attach them to the subsequent syllable:
You - bi - va - lvy - bi - va - lho - di; for ka - la - chza - ka - la - chho - di; about - si - to - me, etc.
Vowels are sung and reduced if they are not stressed:
Go, on the mountain, sold, in the yard, black, with a hoof, for a penny, home - the vowel “o” here will sound between “a” and “o”.
The choir will also be required to perform general choral breathing of 4 measures. Mainly chain, flow, support on bonded durations. At the end of the 8th verse in the 3rd sentence, the breath is taken in 2 measures, due to pauses.
The nature of the sound generally depends on the word and the nature of the work. Namely - humor, mockery, ridicule, joke, fervor. From here the sound will be ringing. In legato sound design, a clear, sung word using a soft attack will be required at the beginning of the verses.
By using light non legato at the end of the first sentence of each verse and in the choruses, active, fast pronunciation of words with fine articulation will be required.
The eighth verse is played wide, here the conductor can use an extension using the "legatissimo" gesture. But on accents, a firm attack and marcato sound control are used.
Execution plan.
The musical text and the song text mutually enrich each other. In the processing, a kind of performance takes place: the wife repents that she was cheap when she sold her husband for a penny roll, but she could have sold it for three rubles and bought three horses with it. In response, people are ironic, mocking, sarcastic. This is expressed in different dynamics (from pp to ff), recitation and imitation everyday speech, “market” speech.
In terms of dynamics, the processing is very bright, there are only minor dim and cresc in each verse, mainly mf and f dynamics. The semantic and dynamic climax occurs in the eighth verse, where the entire choir is fortissimo.
In my performance, the 8th verse will sound wide, and the recitation will be at the original tempo, but it is important that there is no acceleration and the quarter remains equal to 184. In my performance, there will also be a slowdown and a fermata at the end of the sixth verse:
It will be interesting for listeners what exactly the wife sold her husband for, so I would like to prepare listeners for the next verse and tell them that she sold her husband for a penny roll.
Also, pianissimo and piano are used when the choir plays the role of a background, so as not to drown out the leading part, or is used for sharp contrast:
Conductor's difficulties.
The conductor’s task is to identify the genre through such means of musical expressiveness as conductor’s strokes, sound engineering, words, diction, dynamics, timbre colors of singers, verse-variation form.
The following gestures are used here: legato, non legato, morcato.
Works in five-beat meter are conducted at a fast pace according to a two-beat scheme, but in this arrangement the five-beat measure, as an exception, fits into a three-beat scheme. This is where uneven shares arise:
It is conducted according to a three-part scheme, the four partition fits into a two-part scheme:
They are summed up in 2 measures. One two-beat bar is conducted at a time.
The main difficulty for the conductor is the VDP, which is practiced when counting in quarters or eighths.
The conductor's task is to show the precise entry on the first beat and the release of the first, second and third beats. It is important to show voices entering at different times.
Here right hand la legato leads the theme of the bass, and the left hand gives precise aftertaste for short introductions of eighth notes due to the “throw of the hand.” Also here a general choral introduction and withdrawal of 1, 2, 3, 4 beats is necessary.
The conductor needs to show syncopation with extreme precision.
It is important to pay attention to the accents; you need to prepare the chorus in advance by swinging your arm and making a power strike.
The conductor must unite the idea and not lose it in pauses. A pause is a continuation.
The gesture on the forte should be more full, especially at the climax. When sounding non-legato, the brush is light, collected, active, and on accents it is extremely energetic.
The most important thing is that the conductor must show the sound control of different parts: sopranos in the 3rd verse, altos in the fourth, basses in the 5th verse of the second sentence, and sopranos and altos in the third sentence. The conductor's task is to practice the chants to help the choir with gestures.
This arrangement was performed by many choirs, including the choir of the Astrakhan Conservatory, the Novgorod Chapel, and the choir of the St. Petersburg Conservatory.
Used Books
1. “Choral Dictionary.” Romanovsky
2. “Choral literature.” Usova
3. “Fundamentals of Russian folk music.” T. Popova
4. “Methods of teaching choral conducting.” L. Andreeva
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MINISTRY OF CULTURE
GBOU VPO KEMEROVSK STATE UNIVERSITY OF CULTURE AND ARTS
COURSE WORK
ANALYSIS OF CHOIR P.G. CHESNOKOVA
2nd year student at the Institute of Music
"Choral conducting":
Zenina D. A.
Teacher:
Gorzhevskaya M.A.
Kemerovo - 2013
Introduction
This work is devoted to the study of some of the works of Pavel Grigorievich Chesnokov, namely: Choir “The Dawn Is Warming”, “Alps”, “Forest” and “Spring Calm”.
To fully determine Chesnokov’s work, it is necessary to make a historical and stylistic review of the era when the composer under study worked, i.e., the end of the 19th - beginning of the 20th centuries.
Since choral art has a textual basis, in this case poetry of the 19th century, we also need to carefully study the era of creation of these poets.
The main part of our work will be devoted directly to the analysis of musical works. First, it is necessary to carry out a musical theoretical analysis in order to understand the general form of the works being studied, their harmonic features, the composer’s writing techniques, and the tonal plan.
The second chapter of the main part will be vocal-choral analysis, in which we need to determine specific choral and performing features, nuance, melodic movement, tessitura and range.
Having started the first chapter, I would like to say that Pavel Grigorievich Chesnokov was a man of deep decency, who preserved the naive simplicity and spontaneity of his poetic and sensitive soul until his old age. He had a persistent and stubborn character, was reluctant to give up previously formed opinions, and was straightforward in his judgment and statements. These are personal characteristics the composer we are studying.
.Historical and stylistic review 1.1Historical and stylistic analysis of the era of the late XIX - early XX centuries The new period of historical development, which Russia entered at the end of the 19th century, was characterized by significant changes and shifts in all areas of social and cultural life. The profound processes taking place in the socio-economic structure of Russia left their mark on the diverse phenomena that marked the development of social thought, science, education, literature and art. Pavel Grigorievich Chesnokov was born in 1877. Russian politics of this time becomes regulating economic and social relations. During the reign of Nicholas II, there was a high growth of industry; the highest economic growth in the world at that time. By the beginning of the First World War, Russia had ceased to be a predominantly agricultural country. Expenditures on public education and culture increased 8 times. Thus, we observe that in the pre-war period - during the formation of Pavel Grigorievich Chesnokov as a person - Russia occupied the first position in world politics. In the culture of Russia at the end of the 19th and beginning of the 20th centuries, a fruitful creative upsurge was also observed. The spiritual life of society, reflecting the rapid changes that occurred in the face of the country at the turn of two centuries, the turbulent political history of Russia in this era, was distinguished by exceptional richness and diversity. “In Russia at the beginning of the century there was a real cultural renaissance,” wrote N.A. Berdyaev. “Only those who lived at that time know what a creative upsurge we experienced, what a breath of spirit swept through Russian souls.” The creativity of Russian scientists, literary and artistic figures has made a huge contribution to the treasury of world civilization. The end of the 19th - the beginning of the 20th century. were an exceptionally fruitful period in the development of Russian philosophical thought. In an environment of acute conflicts that tore apart society and painful ideological quests, Russian religious philosophy flourished, becoming one of the most striking, if not the most striking, phenomenon in the spiritual life of the country. The work of a galaxy of brilliant philosophers - N.A. Berdyaev, V.V. Rozanov, E.N. Trubetskoy, P.A. Florensky, S.L. Frank and others - became a kind of religious renaissance. Based on the relevant traditions of Russian philosophy, they asserted the priority of the personal over the social, and saw the most important means of harmonizing social relations in the moral self-improvement of the individual. Russian religious philosophy, the beginnings of which were inseparable from the foundations of Christian spirituality, became one of the pinnacles of world philosophical thought, focusing on the theme of man's creative vocation and the meaning of culture, the theme of the philosophy of history and other issues that eternally concern the human mind. A unique response of outstanding Russian thinkers to the upheavals experienced by the country at the very beginning of the 20th century was the collection “Vekhi” published in 1909. The articles included in the collection were written by N.A. Berdyaev, S.N. Bulgakov, P.B. Struve, S.L. Frank and others who, due to their political sympathies, belonged to the liberal camp. Tense, in struggle various directions The literary life of Russia took place, marked by the work of many outstanding masters who developed the traditions of their predecessors. In the 90-900s he continued his activities " great writer Russian land" by L.N. Tolstoy. His journalistic speeches, dedicated to the topical problems of Russian reality, invariably caused great public resonance. The 90s - early 900s marked the apogee of A.P. Chekhov's work. An outstanding representative of the older generation of writers of the late XIX - early XX centuries was V.G. Korolenko. The fiction writer, courageous publicist V.G. Koroleyko consistently opposed any arbitrariness and violence, no matter what clothes they wore - counter-revolutionary or, on the contrary, revolutionary. In the mid-90s of the 19th century, the writing activity of A. M. Gorky began, who put his talent at the service of the revolution. The works of such writers as I. A. Bunin and V. V. Veresaev were a significant phenomenon in the development of the realistic trend in Russian literature. , A.I. Kuprin, A.N. Tolstoy, N.G. Garin-Mikhailovsky, E.V. Chirikov and others. By the 80s - early 90s of the XIX century. The origins of Russian symbolism go back, which in the 90s formed into a more or less definite modernist literary movement, acting under the banner of the theory of “art for art’s sake.” A number of talented poets and fiction writers belonged to this movement (K.D. Balmont, Z.N. Gippius, D.S. Merezhkovsky, F.K. Sologub, V.Ya. Bryusov, etc.). At the turn of two centuries began creative activity A.A. Blok, who was part of the circle of junior symbolists. The poetry of A. A. Blok, imbued with a premonition of the inevitability of fundamental changes in the life of the country, historical catastrophes, was in many ways in tune with the public mood of the era. At the beginning of the 20th century. N.S. Gumilev, A.A. Akhmatova, M.I. Tsvetaeva create works that have become brilliant examples of Russian poetry. Shortly before the outbreak of the First World War, a new movement arose in the literary arena - futurism, whose representatives announced a break with both the traditions of the classics and with all modern literature. The poetic biography of V.V. Mayakovsky began among the futurists. In the development of domestic theatrical arts a huge role was played by the activities of the Moscow Art Theater, founded in 1898 by K.S. Stanislavsky and V.I. Nemirovich-Danchenko - the largest directors and theater theorists. The most important centers of operatic culture remained the Mariinsky Theater in St. Petersburg and Grand Theatre in Moscow. The activities of “private stages” also acquired great importance - primarily the “Russian Private Opera”, which was founded in Moscow famous philanthropist S.I. Mamontov. She played a significant role in the artistic education of the great singer F.I. Chaliapin. The realistic traditions in painting were continued by the Association of Traveling Art Exhibitions. Such major representatives of itinerant painting as V.M. Vasnetsov, P.E. Repin, V.I. Surikov, V.D. Polenov and others continued to work. At the end of the 19th century. I.I. Levitan paints his famous landscapes. A place of honor in the Russian artistic environment, which was teeming with talents, belongs to V.A. Serov, a brilliant master who showed himself in the most brilliant way in various fields of painting. The paintings of N.K. Roerich are devoted to historical themes. Tragically ended in 1904 life path the largest Russian battle painter V.V. Vereshchagin, who died together with Admiral S.O. Makarov on the battleship "Petropavlovsk". At the end of the 90s of the XIX century. in the Russian artistic environment is developing modernist movement, presented by the World of Art group. Its ideological leader was A.N. Benois, a gifted and subtle artist and art historian. The work of M.A. Vrubel, a talented painter, sculptor, graphic artist and theater decorator, was associated with the “World of Art”. The abstractionist direction also emerged in Russian painting (V.V. Kandinsky, K.S. Malevich). At the turn of two centuries, masters of Russian sculpture worked - A.S. Golubkina, P.P. Trubetskoy, S.T. Konenkov. One of the remarkable features of the cultural life of this period was patronage. Patrons took an active part in the development of education, science, and art. Thanks to the participation of enlightened representatives of the Russian commercial and industrial world, the Tretyakov Gallery, the Shchukin and Morozov collections of new Western painting, the Private Opera of S.I. Mamontov, the Moscow Art Theater, etc. were created. By the beginning of the 20th century. Russian music (both classical and modern) is gaining ever wider world recognition. At this time he continued to create Great master operatic composer N.A. Rimsky-Korsakov. In the field of symphonic and chamber music, true masterpieces were created by A.K. Glazunov, S.V. Rachmaninov, A.N. Scriabin, M.A. Balakirev, R.M. Gliere and others. The choral music of the pre-revolutionary era reflected features that later became characteristic of the entire Russian musical culture. Performances of the masses as active active forces In the public life of Russia, ideas of “universality” and “togetherness” were generated. Under the influence of these ideas, which penetrated the entire Russian artistic culture, the role of the choral element in music increased. In the development of the concert genre of choral music, two main trends became characteristic: along with the appearance of large vocal and symphonic works created on the basis of philosophical and ethical problems, choral miniatures (choral romances) and choirs of large forms arose, reflecting the sphere of a person’s spiritual life and his connections with nature. Due to the context of this work, we will dwell in more detail on the study of choral miniatures (chorus a cappella). As mentioned above, the rapid development of choral genres was primarily due to social factors. The reason for their expressive capabilities is the new needs of society, dictated by changing historical conditions. It should be noted that a prominent role in the establishment of the purely choral genre, in the development of its forms, types of choral presentation and techniques of choral writing was played in the 80-90s by the “Belyaev circle” in St. Petersburg - a group of musicians led by N. Rimsky-Korsakov, united around the Russian musical figure and publisher M. F. Belyaev, and representing the younger generation of the “New Russian Music School”. Despite the fact that, according to B.V. Asafiev’s definition, “in terms of quality... there were not so many outstanding individual choirs” (Russian music of the 19th and early 20th centuries), and they mainly belonged to composers of the so-called “Moscow school” , the contribution of St. Petersburg residents to the formation and development of this direction of musical creativity was of a certain significance. With their compositions they introduced a lot of new things into the genres of choral music. These, first of all, must include large-form choirs with accompaniment “Oedipus”, “The Defeat of Sennacherib” and “Joshua” by M. P. Mussorgsky. They were the first in the direction of intensifying musical dramaturgy and monumentalizing the secular choral style. A qualitatively new stage in the development of the genre of a cappella choral miniature was opened by choral arrangements and choral arrangements by Rimsky - Korsakov, Mussorgsky, Cui, Balakirev, A. Lyadov. The individual stylistic features of the composers who wrote music for the a cappella choir reflected the heterogeneity and dynamics of the development of Russian music of this period. The synthesis of modern music and poetry played an important role in its development. Many works by poets of the second half of the 19th century served as the basis for choral works. Mastering modern poetry allowed composers to establish a broader connection with life and listeners, reflect the increased conflict in the world around them and develop an appropriate figurative and emotional structure of music. Thanks to the appeal to various poetic sources and penetration into their figurative sphere, the ideological and thematic content of choral music expanded, the musical language became more flexible, the forms of the works became more complex, and choral writing was enriched. In their compositions, the authors paid great attention to the means of vocal and choral technique and methods of choral presentation. Their music is rich in dynamic shades, and articulatory means of expression occupy an important place in it. The most common method of choral presentation, allowing for diversification of the choral texture, was the division of the part (divisi). The choral music of St. Petersburg composers, despite its disparity, contributed to the expansion of the repertoire of many choirs. Overcoming the vocal and technical difficulties inherent in the works of M. Mussorgsky, N. Rimsky - Korsakov, Ts. Cui, A. Rubinstein, A. Arensky, A. Lyadov, M. Balakirev, as well as best essays A. Arkhangelsky, A. Kopylov, N. Cherepnin, F. Akimenko, N. Sokolov, V. Zolotarev, contributed to the creative growth of choral performance. Composers grouped around the Russian Choral Society in Moscow and responding to its needs wrote homophonic music, built on the basis of tonal-harmonic functions. The widespread development of the performing activities of remarkable choral groups stimulated the creativity of a whole galaxy of composers in this area. In turn, truly artistic a cappella works, which absorbed the best traditions of Russian professional and folk singing, contributed to the vocal enrichment and growth of the choirs' performing skills. Much credit for raising this genre to the level of an independent, stylistically separate type of musical creativity belongs to Sergei Ivanovich Taneyev (1856 - 1915). His compositions were the highest achievement in Russian pre-revolutionary choral art and had a huge influence on the galaxy of Moscow “choral composers” who represented a new direction (which included Pavel Grigorievich Chesnokov). S.I. Taneyev, with his authority as a highly gifted composer, a major musical and public figure, a profound musician - thinker, scientist and teacher, had a huge influence on the development of Russian choral culture. Almost all Moscow “choral composers”, many of whom were Taneyev’s direct students, were influenced by his creative attitudes, principles and views, reflected both in his creativity and in his pedagogical requirements. Taneyev’s interest in the a cappella choral genre was also caused by the growth of choral music-making in Russian musical life at the end of the 19th century. Taneyev wrote choral music only with secular content. Moreover, his works cover many life topics: from conveying thoughts about the meaning of life through images of nature (which we will subsequently observe in the analyzed works of P. G. Chesnokov) to revealing deep philosophical and ethical problems. In terms of poetry, Taneyev gave preference to the poems of F. Tyutchev and Ya. Polonsky, which we also see in P. G. Chesnokov: it is noteworthy that both Taneyev and Chesnokov have choruses based on the same literary sources, for example, the one we are considering choir “Alps” based on Tyutchev’s poems. It should also be noted that the interest in the “Russian element”, striving for ancient Russian traditions, became characteristic of the late 19th and early 20th centuries. The idea of the originality of Russian cult music received practical development in the work of Alexander Dmitrievich Kastalsky (1856 - 1926). And Alexander Tikhonovich Grechaninov (1864 - 1956) followed the path of conscious synthesis of different styles, who took the melody of Znamenny chant as a basis and sought to “symphonize” the forms of church singing. Finally, concluding the first chapter of our work, let us dwell on the work of Pavel Grigorievich Chesnokov himself (1877 - 1944) - one of the largest representatives of Russian choral culture, a prominent regent and conductor of the Russian Choral Society, a music teacher and methodologist. It should be noted that B. Asafiev in his book “On Choral Art” in the chapter “Choral Culture” does not even touch upon an analysis of the work of P. G. Chesnokov and only briefly mentions in one footnote: “The choral works of P. G. Chesnokov sound excellent... , but they are all more superficial and poorer in content than Kastalsky’s choirs. Chesnokov’s style is just a magnificent craft.” In the pre-revolutionary period, he devoted his life to the work of cult music. It should be noted that romance intonations were introduced into his adaptations of authentic ancient chants. Chesnokov’s church choirs, which absorbed the phrases of Russian lyrical romance (for example, “Your Secret Suppers”), drew criticism from adherents of “purity of church style” for “languor inappropriate for a church.” The composer was also criticized for his passion for elegant chords of a multi-third structure, in particular non-chords various functions, which he even introduced into the harmonization of ancient chants. K. B. Ptitsa in his book “Masters of Choral Art at the Moscow Conservatory” writes the following about this: “Perhaps the strict ear and keen eye of a professional critic will note in his scores the salon quality of individual harmonies, the sentimental sweetness of some turns and sequences. It is especially easy to come to this conclusion when playing the score on the piano, without a sufficiently clear idea of its sound in the choir. But listen to the same piece performed live by a choir. The nobility and expressiveness of the vocal sound greatly transforms what was heard on the piano. The content of the work appears in a completely different form and is capable of attracting, touching, and delighting the listener.” The enormous popularity of Chesnokov's compositions was determined by their spectacular sound, generated by his outstanding vocal and choral flair, understanding of the nature and expressive capabilities of the singing voice. He knew and felt the “secret” of vocal and choral expressiveness. “You can look through all the choral literature over the last hundred years and you will find few equal to Checheskov’s mastery of choral sound,” the prominent Soviet choral figure G.A. told his students. Dmitrievsky. 2 Historical and stylistic analysis V. became a period of unprecedented growth for Russian culture. The Patriotic War of 1812, having shaken up the entire life of Russian society, accelerated the formation of national identity. On the one hand, she is Once again brought Russia closer to the West, and on the other hand, accelerated the formation of Russian culture as one of the European cultures, closely connected with Western European trends in social thought and artistic culture, and exerting its own influence on it. All these phenomena in the social thought of the country largely determined the development of artistic culture Russia XIX c., and above all, her close attention to social problems, journalism.c. is rightly called the “golden age” of Russian literature, the era when Russian literature not only acquires originality, but, in turn, has a serious influence on world culture. Theater, like fiction, in the 19th century. begins to play an increasingly important role in the public life of the country, partially taking on the role of a public platform. Since 1803, imperial theaters have dominated the Russian stage. In 1824, the troupe of the Petrovsky Theater was finally divided into opera and drama, thereby creating the Bolshoi and Maly theaters. In St. Petersburg, the leading theater was the Alexandrinsky. The development of Russian theater in the mid-second half of the 19th century is inextricably linked with A.N. Ostrovsky, whose plays have not left the stage of the Maly Theater to this day. In the first half of the 19th century. a national music school is born. First decades XIX V. dominated romantic tendencies, manifested in the work of A.N. Verstovsky, who used historical subjects in his work. The founder of the Russian music school was M. I. Glinka, the creator of the main musical genres: opera ("Ivan Susanin", "Ruslan and Lyudmila"), symphonies, romance, who actively used folklore motifs in his work. An innovator in the field of music was A. S. Dargomyzhsky, the author of the opera-ballet “The Triumph of Bacchus” and the creator of recitative in the opera. In the first half of the 19th century. Classical ballet and French choreographers (A. Blache, A. Tityus) dominated. The second half of the century is the time of the birth of classical Russian ballet. Its pinnacle was the production of ballets by P.I. Tchaikovsky ("Swan Lake", "Sleeping Beauty") by St. Petersburg choreographer M.I. Petipa. The influence of romanticism in painting was manifested primarily in portraiture. The works of O. A. Kiprensky and V. A. Tropinin, far from civil pathos, affirmed the naturalness and freedom of human feelings. The romantics’ idea of man as a hero of historical drama was embodied in the paintings of K. P. Bryulov (“The Last Day of Pompeii”), A.A. Ivanov "The Appearance of Christ to the People"). The attention to national and folk motifs characteristic of romanticism was manifested in the images of peasant life created by A. G. Venetsianov and the painters of his school. The art of landscape is also experiencing a rise (S. F. Shchedrin, M. I. Lebedev, Ivanov). By the middle of the 19th century. Genre painting comes to the fore. The canvases of P. A. Fedotov, addressed to events in the lives of peasants, soldiers, and minor officials, demonstrate attention to social problems and a close connection between painting and literature. Russian architecture of the first third of the 19th century. developed in the forms of late classicism - Empire style. These trends were expressed by A. N. Voronikhin (Kazan Cathedral in St. Petersburg), A. D. Zakharov (reconstruction of the Admiralty), in the ensembles of the center of St. Petersburg built by K. I. Rossi - the building of the General Staff, the Alexandria Theater, the Mikhailovsky Palace, as well as in Moscow buildings (projects by O.I. Bove, Bolshoi Theater D.I., Gilardi). Since the 30s 19th century the “Russian-Byzantine style” is manifested in architecture, the exponent of which was K. A. Ton (creator of the Cathedral of Christ the Savior (1837-1883), the Grand Kremlin Palace, and the Armory). In the first decades of the 19th century. in literature there is a noticeable departure from educational ideology, primary attention to man and his inner world and feelings. These changes were associated with the spread of the aesthetics of romanticism, which involved the creation of a generalized ideal image contrasted with reality, the assertion of a strong, free personality, disregarding the conventions of society. Often the ideal was seen in the past, which caused increased interest in national history. The emergence of romanticism in Russian literature is associated with the ballads and elegies of V. A. Zhukovsky; the writings of the Decembrist poets, as well as the early works of A. S. Pushkin, introduced into it the ideals of the struggle for the “oppressed freedom of man”, the spiritual liberation of the individual. The romantic movement laid the foundations of the Russian historical novel (A.A. Bestuzhev-Marlinsky, M.N. Zagoskin), as well as the tradition of literary translation. Romantic poets first introduced the Russian reader to the works of Western European and ancient authors. V.A. Zhukovsky was a translator of the works of Homer, Byron, and Schiller. We still read the Iliad in N.I.’s translation. Gnedich. Traditions of romanticism of the 1820-30s. preserved in the works of lyric poets who addressed the experiences of the individual (N.M. Yazykov, F.I. Tyutchev, A.A. Fet, A.N. Maikov, Ya.P. Polonsky). Koltsov Alexey Vasilievich - poet. Koltsov's poetry is the most developed expression literary style urban philistinism (petty and middle urban bourgeoisie) of the first third of the 19th century. Koltsov's early poetic experiments represent imitations of Dmitriev's poems<#"justify">Tyutchev's poetry was defined by researchers as philosophical lyricism, in which, according to Turgenev, thought “never appears naked and abstract to the reader, but always merges with an image taken from the world of the soul or nature, is imbued with it, and itself penetrates it inseparably and inextricably.” This feature of his lyrics was fully reflected in the poems “Vision” (1829), “How the ocean embraces the globe...” (1830), “Day and Night” (1839), etc. But there is one more motive, perhaps the most powerful and determining all the others; this is formulated with great clarity and power by the late V.S. Solovyov’s motive of the chaotic, mystical fundamental principle of life. “And Goethe himself did not capture, perhaps as deeply as our poet, the dark root of world existence, did not feel so strongly and was not so clearly aware of that mysterious basis of all life - natural and human - the basis on which meaning is based the cosmic process, and the fate of the human soul, and the entire history of mankind. Here Tyutchev is truly quite unique and, if not the only one, then probably the most powerful in all poetic literature." .Analysis of musical works 1 Musical - theoretical analysis In our work, for a detailed analysis, 4 choirs by P. G. Chesnokov are taken: two choirs to the poems by F. Tyutchev “Alps” and “Spring Calm”, a choir to the poems by A. Koltsov “Forest” and a choir to the poems by K. Grebensky “The Dawn is Warming” " Chorus “The Dawn Is Warming” op. 28, No. 1 is the most typical work for Chesnokov’s choral work. As Chesnokov himself writes: “Starting to study the following rough analysis, it is necessary to get acquainted in detail with the music of this work, first from the piano presentation, and then from the choral score. After this, you need to carefully read all the explanations, comparing them with the notations and notes in the score.” The work we are analyzing is written in a three-part form. The first movement ends at measure 19; the second part, starting at the 19th, lasts until the middle of measure 44; from the end of measure 44 the third movement begins. The end of the second part and the beginning of the third are clearly and definitely expressed. The same cannot be said about the end of the first part; it ends in the middle of bar 19, and the only means of separating it from the middle part is a small caesura placed at the top. Guided by the analysis of Chesnokov himself, we will consider in detail each part of the work. The first 18.5 bars form a two-part form that ends with a full cadence in the root key of G major. The first period (vol. 1-6) consists of two sentences (vol. 1-3 and 4-6), ending with incomplete cadences. Chesnokov proposes to classify the subsequent sentence (vol. 7-10) as an addition to the first period, conditioning this on two criteria: 1) the raised fifth of the dominant in the second sentence of the period (A-sharp, t. 5) urgently requires an additional final musical sentence; 2) this sentence is “a characteristic phrase indivisible into motives with a fixed nuance: phrases of this nature in various modifications will be found in similar conclusions throughout the entire essay.” The first sentence (Chesnokov calls it “the main one”) consists of two phrases, each of which has two motives. The first two motives merge into one nuance, and the second phrase consists of two independent motives that do not form a single nuance of the phrase. The second sentence (“subordinate clause”) is exactly the same in phrases, motives, and nuances as the first. In the final (“code”) sentence, Chesnokov singles out the baritone part as the “leading melodic pattern.” In the first phrase (bars 7-8) in the “secondary” parts we encounter such a nuance, which is called a “truncated peak”. The general nuance of the first phrase (cresc.) does not reach the end, does not have its peak, and at the end of the phrase it returns to the original quiet nuance that was at the beginning of the phrase. This is due to the descent of motives in the “part of the original plan” - the baritone part. Therefore, the “supporting parties” are at the top of their cresc. had to be “truncated” so as not to overshadow the “party of the original plan” and not leave the general ensemble. In this case, such a nuanced feature is not expressed so clearly. The second phrase (vols. 9-10) is inseparable into motives. Formally, fragmentation of this phrase is possible, but the presence in the text of one word and the general fixed nuance p allows us to say that this phrase constitutes a single whole. It should also be noted that when analyzing the first period, we can assume that this period consists of three equal sentences. In the second period, new musical material is observed and some changes are found in the musical structure. The second period consists of two sentences. At the end of the first sentence there is a deviation into the key of B major (“Phrygian cadence”), and the end of the second sentence returns us to the main key of G Major. In the second period we observe something new that was not there in the first period, namely, the three-motive composition of the phrase: “The reeds rustle just barely audibly.” The three-motive nature of the first phrase does not allow us to say that it constitutes an independent sentence, since it does not have a cadence behind it. The symmetry of two phrases is achieved by the 2nd motive (in the first sentence) and the 3rd motive (in the second sentence), uniting the entire phrase into a single nuance. The “subordinate clause” is constructed completely differently compared to the “main clause”. Since, due to the three-motivation, the first sentence was expanded, in order to preserve the total volume of the period, the second sentence needs to be compressed. The first phrase, used by sopranos and altos, (“The fish will splash loudly”) of the second “subordinate” clause is formally divided into motives. Therefore, the first phrase has a common, unchanged nuance mf. The repetition of the first phrase in basses and tenors does not undergo any changes at all. The second phrase, which completely completes the first part of the work, is also static and inseparable, having a common fixed nuance p. Let's move on to the analysis of the second part of the work. One should immediately note a tonal feature that corresponds to the rules of constructing a musical form. Due to the dominance of the main tonality in the first and third parts of the work, in the middle part (vol. 19-44) we observe a complete absence of this key G major. In structure, this part is slightly larger than the first and its shape contrasts with the shape of the first part, which also meets the rules for constructing a musical form. The second part consists of three episodes written in period form. Let's look at the first episode. The main sentence (vt. 20-24) consists of two symmetrical, but different phrases in construction. The first phrase has one plan, and the second has two. The next two phrases of the subordinate clause (vol. 25-28) are divided into motives (three-motive). The second phrase does not provide a cadence and therefore does not provide a normal ending to the period. The second period (episode) appears to us to be completely different, tonally, textually, planally, rhythmically, although the first episode transitions into the second (from the incompleteness of the first). The second episode has two plans throughout. In the first sentence, the planned primacy belongs to the alto part, and in the second sentence - to the soprano part. The first sentence has no cadence. Due to this, in this case we can talk about the unity of the nuance of the proposal. Although proportionality and symmetry do not give grounds to deny that we have a period form. This is confirmed by the presence of full cadence in the second sentence. The first sentence of the third episode (vols. 38-40) also does not have a cadence. But for the same reasons as in the second episode, we believe that this is a period form (proportionality, symmetry, the presence of a full cadence in the second sentence). In this case, we again observe two-planeness. The dominant plan in the entire episode belongs to the soprano part. Accompanying is the part of the first tenors. The background is given to the parts of altos, second tenors and basses. The second sentence of the third episode is the final sentence of the second part and the culmination of the entire essay under consideration. Throughout the sentence there is a nuance f. The second sentence ends with a full cadence in B major, which is also the dominant key of G major. Accordingly, after the fermata separating the two parts of the work, we observe a return to the main key of G major on the nuance p. The third part is an abbreviated reprise of the first part. The first period of the first part became part of the entire third part. Only now the additional clause from the period of the first part in the reprise has become a subordinate clause. The first sentence (vols. 44-48) is written in the form of a compressed period. Chesnokov confirms this due to the presence of a middle cadence between the two sentences. The second sentence is not a period. But due to their final nature, together with the first sentence, according to Chesnokov, they form a compressed two-part form. Thus, we conducted a theoretical analysis of the choir “The Dawn is Warming.” Choir "Alps" op. 29 No. 2 (to lyrics by F. Tyutchev) is a landscape sketch, a picture of nature. Tyutchev’s poem is written in a two-part frame (trochee) and, in its rhythm and mood, involuntarily gives rise to an association with Pushkin’s poem “Winter Road” (“The moon makes its way through the wavy fogs”), not to mention the first word “through”, which immediately suggests these associations. Both poems convey the mood of a person alone with nature. But there is a certain difference in them: Pushkin’s poem is more dynamic, the person in it is a participant in the process, and Tyutchev’s is the reverence of a person contemplating the majestic mountains, their mysterious world, overwhelming with this grandeur and the power of mighty nature. Tyutchev’s picture of the majestic mountains is “painted” in two different states - night and morning (characteristic Tyutchev images). The composer sensitively follows the literary text. Like the poet, the composer also divides the work into two parts, also different and contrasting in their mood. The first part of the choir is slow, restrained, paints a picture of the night Alps, which conveys the almost mystical chilling horror of these mountains - the harsh and gloomy coloring of a minor key (G minor), the sound of an incomplete mixed choir, with divisi in all parts. From 1-3 vols. the image of a gloomy night enveloping the mountains is conveyed in an unusually quiet, as if gradually floating sound, without bass, and then in the next phrase the bass is quietly turned on for the word “Alps”, which gives a feeling of hidden threat and power. And in the second phrase (vol. 7-12) the theme is carried out by the basses in octave unison (Chesnokov’s favorite technique, as a manifestation of Russian national trait choral arrangement, a unique example of which is his play “Do not reject me in my old age” (op. 40 no. 5) for a mixed choir and bass-octave soloist). This bass theme is clearly associated with the theme of the Terrible Sultan from the famous “Scheherazade” by Rimsky-Korsakov. At the same time, the soprano and tenor freeze, “dead” on the note G. Together, this creates a gloomy, even tragic image. Again, you should pay attention to the harmony - colorful, rich, using septs and non-chords (2-3 volumes), more coloristic than functional. In the second stanza of “By the Power of a Certain Charm” (vol. 12-16), the composer uses imitation between tenors and sopranos, which, combined with the upward direction of the melody, creates a sense of movement, but this movement fades away (in accordance with the text). The second stanza at the same time and the entire first part ends on the nuance ppp and the D major triad, which is the dominant in the same key of the first part only in the major mood (G major). The second part immediately introduces a contrast with its lively tempo, light register, sound eponymous major, inviting fourth intonation main topic“But the east will only turn red.” The second part uses motifs from volumes 1-6. first stanza and second stanza 13-16 volumes. From this, a certain synthesis and new quality arises as a result of motive development. The conduct of the voices of the entire second part will be subject to imitative development, which subsequently leads to a general climax, to a high register and the solemn sound of a full mixed choir. The climax sounds at the very end of the work on the last magnificent polyphonic harmoniously colorful chords of the choir (“And the whole resurrected family shines in crowns of gold!”, vols. 36-42). Chesnokov masterfully plays with timbres and registers of voices, now turning divisi on and off. Through constant deviations and modulations, the entire choir ends in the key of A major. Choir "Forest" op. 28 No. 3 (to lyrics by A. Koltsov) is an epic picture, imbued with the spirit and influence of Russian folk songwriting, organically combined with Chesnokov’s own creative individuality. This composition is characterized by poetic sincerity, filled with deep lyrical reflection, contemplation and grace, combined with trashism characteristic of the Russian people, singing “sobbing”, with a huge climax at fff. Koltsov’s poetry is imbued with a synthesis of book poetry and peasant song folklore. The nationality of the poem “Forest” primarily comes from the epithets used by the poet, such as “Bova is a strong man,” “you don’t fight,” “you speak.” Also in folk art comparisons are often encountered, which Koltsov refers to in the poem we are studying. For example, he compares the image of the forest with a hero (“Bova the strong man”), who is in a state of struggle with the elements (“... the hero Bova, you have fought battles all your life”). In connection with such moods of the poem, Chesnokov’s music is imbued with tragedy and spontaneous movement. The entire work is written in a mixed form: the end-to-end strophic form, inherent in almost all works written on the basis of verse, is synthesized with a couplet, a certain refrain (chant), coming from the connection of the work we are considering with folk art. The tripartite structure can also undoubtedly be seen here. The first part (like an exposition, vols. 1-24) consists of two episodes, two themes. The first part (refrain) “What, the dense forest, is thoughtful” (vol. 1-12), written in a complex 5/4 time signature (again typical of folklore) resembles a unison chorus inherent in a folk song in all voices with a bass echo at the end of each phrase , repeating the last word: “thoughtful”, “foggy”, enchanted”, “uncovered”. The composition begins in the key of C minor on the general nuance of f, but nevertheless for now it bears the character of “calm tragedy.” The second theme, which makes up the second episode, “You stand, droop and do not fight” (vol. 13-24) goes into the key of the fifth low degree G flat minor, size 11/4 (footnotes to the nationality) and the general nuance p. Rhythmically, the second theme is not very different from the first (the predominance of quarter notes and eighth notes). In the interval-melodic plan, there are some changes: the general direction of the melody has changed - the first theme had a descending perspective of movement, and the second - an ascending one; Also, in the first theme, the eighth notes constituted the singing motif, and in the second, the eighth notes acquired auxiliary properties. In the second phrase “the cloak fell at the feet” (vol. 19-24), carried out by the tenors, we see a return to the first theme (chorus) only in a different key (D flat major) and slightly changed melodically, carried out on a separate nuance mf. Sopranos and altos move in unison along the half-tone motif F - F flat - F on the nuance p. We have already encountered this technique in other Chesnokov choirs (the Alps choir). Next, the theme moves to the bass, the principle of highlighting the theme and the unison sound of other voices on the opposite nuance remains. Next begins the large second part (vols. 24 - 52). Begins with the first theme in the main key of C minor, modified melodically. This is due to interrogative intonations. Therefore, at the end of the first phrase, a raised mi bekar appears (“Where did the high speech go?”), and the second phrase even changed the perspective of movement and headed upward (“Proud strength, young valor?”). The theme in the bass is carried out according to Chesnokov’s favorite technique - octave unison. Next, the tension associated with the text of the poem begins to grow. And we observe how the refrain theme is developed by the canon (vt. 29-32). We can designate measures 25-36 as the first culminating wave (the second part has elements of development) - a change in the melody of the main theme, a canonical development. The words “She will open a black cloud” (vol. 33-36) mark the first climax. It is performed in the key of F minor on the general nuance of ff. At bar 37, the second wave of climactic development begins. According to the perspective of movement (ascending), we are reminded of the second theme of the first part. First, the theme is carried out in B flat major (bars 37-40), where the presence of a second low degree (C flat) does not allow us to feel the major mood of the key. Then from 41-44 vols. the brightest episode of the work begins. It is written in E flat major. Since the general state of the composition is a state of struggle, here we see in the music the strength of the forest’s opposition (“It will spin, it will play out, your chest will tremble, it will stagger”). Tt. 45-48 - development of an auxiliary motive through sequential development. Next, the second wave brings us to the general climax of the entire work. The same topic is discussed as in vol. 33-36 only in the general nuance of fff. The presence of a general climax in this particular place is also determined by the text of the poem; the music depicts the element of a storm, opposing the image of a forest (“The storm will cry like an evil witch, and carries its clouds over the sea”). Tt. 53-60, separated by fermata, constitute, in our opinion, a link between the second and third (reprise) parts. It synthesizes two developed elements in the second culminating wave: the theme of enlightenment and the auxiliary motive. The link returns us to the state of the narrative. The third reprisal part follows the same principle as the first. The large developmental second part explains the conciseness and abbreviation of the reprise. The entire work ends in the main key of C minor on the general nuance f, gradually fading away. Thus, we can conclude that the first and third parts depict to us a narrative, a kind of accordion singing about distant times. The middle part takes us into the direct existence of the forest, its struggle with the elements. And the third part brings us back to Bayan. Chorus “Spring Calm” op. 13 No. 1 (to lyrics by F. Tyutchev) differs significantly from the works we have previously considered. This is a picture that contains some of Tyutchev’s important worldview ideas, embodied in Chesnokov’s music. The romantic image of spring in his work is an anticipation of novelty, rebirth, and renewal of nature. A key feature of Tyutchev’s creative worldview is that for him nature is not just a poetic background, a landscape of the soul of a lyrical hero, but a special subject of symbolic depiction, a projection of human experiences, necessary material for philosophical reflection on the world, its origin, development, relationships and opposites. The work of P. G. Chesnokov is written in a strophic form, divided into three small parts, flowing into one another. Submitting to the semantic side of the text, the first part is the very peak of sound tension, a culmination, from which we will observe a gradual pacifying fading, calming. The first part, the first stanza (bars 1-9) begins from behind the bar with a weak beat on the general nuance mf (we will not find a louder nuance than this in the text). The beginning of the music on a weak beat gives us a feeling of instability, imbalance of spirit, tension. We will meet the mf nuance further in the second stanza, and there the bass octavists join in, but it gives reason to say that the climax point is precisely in the first stanza, the interjection “o”, with which the entire work begins. It's like a kind of exclamation, a cry - a high emotional point. It is very noteworthy that we meet the tonic for the first time in the 9th measure, and then it falls on the weak beat of the measure without a third tone. I would like to note that the emotional tension in music is unsaturated and empty. Such emptiness is given by the fifthness of the melody, the beatless dominant with which everything begins. We also notice in the 3rd measure, when the third appears, that the composer uses a minor dominant, which does not create gravity in the tonic, in the resolution. Having met the tonic, the work flows into the second stanza (bars 9-16), where, as mentioned above, Chesnokov’s favorite basses - octavists - join in, holding only the first two bars. The rest of the stanza takes place at the organ point “D”, which also emphasizes the internal tragedy of the music. Again we notice that the second stanza (“Letting in the Breeze”) begins on a weak beat due to the beat first in the emerging bass part, separately nuanced, then in the soprano, alto and tenor parts. General development perspective: from mf to diminuendo to p. We see a little enlightenment in bar 13, when the major dominant appears. But nevertheless, the general condition still remains tense. This is proven by the beginnings of words on the weak beat (“the pipe sings”, “from afar”). The bass line on the organ point “D” takes us to the third part (vol. 17-25), which is marked by calm (“light and quiet”). On the nuance p from the melodic top, the melody gradually begins to descend diminuendo, the bass line gradually disappears, the chords become rich, full - the music and text have come to a common resolution. The entire work ends with alternating fifths on the word “float”, first in the basses, then in the tenors, and then in the altos and sopranos. Again the music has visual properties- the endless buoyancy of light, “empty” clouds. I would like to note how the peculiarity of this work is the simplicity of the harmony, which remains in one key throughout the entire composition. 2 Vocal - choral analysis Chorus “The Dawn Is Warming” op. 28 No. 1 (to lyrics by K. Grebensky) is mixed in type, written in polyphony for 4 parts: soprano, alto, tenor, bass. For performance, this choir poses some difficulties due to the use of rich harmony, constantly changing nuances, and figurativeness in the music. The general range of the first period is from G of the major octave to D of the second octave. The average “comfortable” tessitura, smooth melodic movement (virtually without interval jumps) determines the general calm state (“silence”). Divisi is observed in sopranos, in basses (prevails). The range of the second period (bars 9-18) does not change. Only in music do visual elements appear. Begins with the nuance p with sopranos, altos and tenors. The soprano part is divided into two voices in the interval of third; in the 11th measure, subvocally, using the divisi technique, the bass part enters. The second sentence begins with the soprano and alto parts, forming sonorous triads with bright soprano thirds (imagery). The second part, the first period (bars 18-27), the general range of which is F becar of the large octave - G of the second octave, begins again with the parts of sopranos, altos and tenors. The auxiliary bass line starts at bar 20. The second sentence now has clear pictorial properties of the image of an eagle owl. The inscription above bar 23 speaks about this - dully. It begins with the nuance p and is divided into two planes: sopranos, altos - tenors. The two-plane nature continues in the second period (vols. 27-34). First, on the words “And in the distance above the mirror water,” the dominant plan belongs to the alto part, the secondary one belongs to the tenors and basses. In the second sentence (“Shine like a peephole”), as in the first sentence, nuanced separately on mf, the soprano part in high tessitura comes to the fore. The parts of altos, tenors and basses become secondary. In the third period, which ends the entire second part, we see the coming to the fore of two parts in high tessitura - sopranos and tenors. The range of soprano is B of the first octave - G sharp of the second octave. The range of tenors is B of the small octave - F sharp of the first octave. Separated from the second part by a fermata, the third part (vol. 42-50) returns to a state of calm and silence. The two-plane nature disappears, the parts run simultaneously to the end in a single rhythm. Return to middle tessitura. Range, same as in the first parts: G of the major octave - D of the second octave. Everything ends in the main key of G Major (“silence”). Choir "Alps" op. 29 No. 2 (to lyrics by F. Tyutchev) - mixed polyphonic choir. As noted above, the first part of the entire work is an image of the terrifying night Alps. The choir begins with the nuance p with the parts of sopranos, altos and tenors and without the bass part (as we have already noted). The high tessitura of the tenors is noteworthy (starts with G of the first octave). The bass line enters at bar 4, divided into three voices. The tenor part is also divided into two voices. It turns out that for the word “Alps” (in the 4th measure) seven voices enter on the general nuance pp. The melody is almost motionless. As already mentioned, from the 7th bar the octave theme of the bass begins (reminiscent of the theme of the Terrible Sultan from Rimsky-Korsakov’s “Scheherazade”), and the rest of the voices seemed to freeze on the sound “sol” on the general nuance p. The entire score of this phrase ranges from A counter octave to G first octave. After the dominant key of D major, the composition moves into its second, light, part of the same major (G major). In the general rhythmic movement, from the nuance p, the music begins to develop to mf. Then we again observe the imitative development between tenors and sopranos (vol. 32-37) and the approach to the overall climax of the entire work. At the organ point E (vol. 38-42), in a single rhythmic movement, the parties carry out colorful cadence harmonies and end the work in the light key of A major. Choir "Forest" op. 28 No. 3 (to lyrics by A. Koltsov) mixed and polyphonic. In the previous chapter we came to the conclusion that this choir was written in a folk spirit. Therefore, the inherent chorus (vol. 1-12), from which the entire work begins, is performed in unison by all parts. At the end of each phrase, on the last word, an echo (divisi) is added to the bass line. The bass line is played in a high tessitura. It is noteworthy that the first phrase ends on a tonic - the intonation of a statement, and the second phrase “Have you become clouded with dark sadness?” due to its interrogative intonation, it ends at the fifth stage. The chorus, ending in the key of E flat minor, moves into the second part of G flat minor. This part is contrastingly calm compared to the first: in the general rhythmic movement (predominance of quarter notes) on the p nuance, in the B flat-D flat range, the melody seems to stand still. From the words “The cloak fell at my feet” (vols. 19-22), a melody, intervalically and melodically similar to the theme of the chorus, develops in the tenors, then in the basses. The remaining voices are based on a half-tone motif (this technique of Chesnokov’s writing has already been discussed several times). In the unstable D flat major (due to the low fifth degree) the general rhythmic movement of quarter notes ends the first major part of the choir. Next, the developmental part of the choir begins with culminating waves. The melody of the chorus in the main key is transformed here. Due to the growing tension and questioning intonations of the phrases in the first two bars (bars 25-26), only two parts sing in unison: sopranos and altos. The tenors part moves in the opposite upward movement, and the octave basses stand on the organ point C. Then in vol. Parts 27-28 change places: sopranos, altos - ascending movement, tenors - changing theme of the chorus. Next we see the polyphonic canonical development of the theme on the f nuance: tenors - basses - sopranos - altos. The first climax (bars 33-36), which occurs in F minor, is sung in the range of A flat - F in opposite movements: sopranos and tenors move in a downward movement, altos stand on a constant C flat, basses have an upward movement. Next comes a connecting theme, formed from the motives of the main themes, in B flat major (bars 37-40) on the mf nuance. Tt. 41-44 begin the second wave of climactic development with the brightest, heroic episode in the affirmative E flat major key. Heroism and stability are confirmed by the upward movement along the sounds of the triad in even quarter notes with an approach to cresc. to every vertex. Further, on the nuance f, by sequential development (two links: C minor, F minor), developing the second motive of the chorus, the music approaches the overall climax. The climax (vt. 49-52) passes under the general nuance fff according to the same principle as the previous climax. Next we see a connection (vols. 53-60) between the development part and the reprise, constructed by analogy with the connection that was made between the first climax and the second climactic wave. Due to the function of connecting two rather large sections, implementing modulation from F minor to C minor, the theme is carried out three times. The reprise follows the same pattern as the first part. As mentioned earlier, after the G flat minor theme, the chorus runs in the main key with even quarter notes in all parts. Chorus “Spring Calm” op. 13 No. 1 (to lyrics by F. Tyutchev) mixed and polyphonic. Despite the general condition marked “Calm” at the top of the work, the composition begins with the most intense climax. We have already talked about the off-beat beginning on the weak beat, about the so-called “stepless” harmony and the appearance of the tonic only in the 9th measure. The first stanza, the culmination of the entire work, begins at the top, in a high tessitura ranging from A to E. The melody develops from a tense peak along a descending movement on a diminuendo to a relative fifth “empty” calm. The second phrase begins with a confident downbeat, reaching the G of the second octave in the range. But the tension subsides towards the end, and the first stanza smoothly flows into the second. The second stanza (bars 9-16) also begins with a weak beat in the bass-octaves on the tonic “D”. The mf nuance is preserved. The theme is picked up by the parts of sopranos, altos and tenors (vol. 10) also from a weak beat in the middle tessitura on the tonic triad. The bass line is held on the organ point “D” and is nuanced separately (p). The middle tessitura shows us that the overall tension has become less than in the first stanza. With the symmetrical movement of sopranos, altos and tenors, the music leads us to the third stanza, to calm. Tt. 17-25 are marked by the nuance p. Again, the melody begins with peaks in the range D of the small octave - F of the second octave. The gradual descent, the departure of the bass organ point, the richness of the harmony, the even symmetrical movement of sopranos, altos and tenors in quarter notes and halves justify the words “Lightly and quietly the clouds float above me.” A noteworthy ending is on the tonic fifth, repeated alternately first by the basses, then by the tenors, then by the altos and sopranos. As if flying upward, showing endlessly floating clouds. Concluding a large chapter, we can draw some conclusions. The four choirs of P. G. Chesnokov that we analyzed were of different moods, different characters and genres. In the epic global “Forest” we encountered an imitation of a folk song. This is proven by the presence of a unison chorus, descending singing motifs, polyphonic canonized development, and colossal climaxes. In “Spring Calm” we are also faced with the subtle subordination of music to the meaning of the text. The special choir “Alps”, so horrifyingly depicts the night Alps, and in the second part sings a solemn hymn to the power of the great mountains. The unique sound-representing painting “The Dawn Is Warming” amazes with its sensitivity to the text. This choir especially shows the richness of Checheskov's harmony. The presence of endless nons and sevenths of chords, altered steps, imitative development, constant change of keys. Conclusion P. G. Chesnokov is a great master of voice training. In this regard, he can be put on a par with the famous Mozart and Glinka. Given the dominance of the homophonic-harmonic structure, with the beauty and brightness of the harmonic vertical, one can always easily trace the smooth line of melodic movement of each voice. His vocal and choral flair, understanding of the nature and expressive capabilities of the singing voice have few equals among composers of domestic and foreign choral literature. He knew and felt the “secret” of vocal and choral expressiveness. As a composer, Chesnokov still enjoys great popularity. This is explained by the freshness and modernity of its “sweetened” harmony, clarity of form, and smooth voice leading. When learning Chesnokov’s works, some difficulties may arise in performing Chesnokov’s “rich harmony”, in its constant movement. Also, the complexity of Cheschenkov’s works lies in the large amount of subvocality, in the nuances of individual parts, in the derivation of the dominant and secondary plans of the melodic movement. In this work we became acquainted with outstanding works of choral literature. The “Alps” choir and the “Forest” choir are bright sketches, pictures of what is happening in the text. The chorus “Forest” is an epic song, an epic, showing us the image of the Forest in the form of “Bova the Strongman” - a hero of Russian folk tales. And the choir “Spring Calm” is significantly different from all other choirs. A sketch of a state through nature, modest in harmony, but as always picturesque in its content. Analysis of the choral score. Compiled by: senior lecturer Department of Choral Conducting and solo singing of the Faculty of Music Bogatko I.S. Perm 2013 Analysis of a choral work Musical theoretical analysis of the work (tonal plan, form, cadences, the nature of the development of musical thought, size, texture features, tempo). Vocal-choral analysis: type and type of choir, ranges of voices, tessitura, ensemble, structure, intonation, vocal-choral, rhythmic, diction difficulties). Performance analysis of the work; (connection of music with text, definition of caesuras, establishment of tempo, nature of the work, dynamics, strokes, climax). List of works. 1 course Choral works to study
Arensky A. Anchar. Nocturne Agafonnikov V. They sowed flax across the river. Bely V. Steppe Boyko R. 10 choirs at A. Pushkin station Vasilenko S. Dafino wine. Like in the evening. There are two gloomy ones in the mountains Grechaninov A. The stream makes us happy. In a fiery glow. Above Gounod S. Night Davidenko A. All-forward. Barge haulers. The sea moaned furiously. Darzin E. The Past. Broken Pines. Dvorak A. Peer. Choirs from the cycle "About Nature" Debussy K. Winter. Tambourine Egorov A. Taiga. Nikitich. Lullaby. Lilac. Song. Ippolitov-Ivanov M. Novgorod epic. Forest. Night. Kastalsky A. Under the big tent. Rus. Korganov T. Sees a doe in the water. Kasyanov A. Autumn. The sea does not foam. Caldara A. StabatMater Kalinnikov V. Lark. Winter. On the old mound. We have stars Koval M. Ilmen-lake. Leaves. Tears. There would have been a storm or something. Kravchenko B. Russian frescoes (optional) Cui C. Nocturne. Cheer up, songbirds. Two roses. The sun is shining
Western philosophical and political teachings were assimilated by Russian society in relation to Russian reality. The memory of the French Revolution was still fresh. Revolutionary romanticism, brought to Russian soil, aroused close attention to the problems of state and social structure, the issue of serfdom, etc. Key role in ideological disputes of the 19th century. played the question of the historical path of Russia and its relationship with Europe and Western European culture. This entailed a division in the Russian intelligentsia into Westerners (T.M. Granovsky, S.M. Solovyov, B.N. Chicherin, K.D. Kavelin) and Slavophiles (A.S. Khomyakov, K.S. and I S. Aksakov, P.V. and I.V. Kireevsky, Yu.F.
Since the 40s. under the influence of Western utopian socialism, revolutionary democracy begins to develop in Russia.
Kolosov A. Rus'.
Lasso O. Soldier's serenade. Oh, if only you knew. Matona.
Lensky A. The Past. Russian land. January 9. Cliff and sea. Arrangements of folk songs (optional).
Lyatoshinsky B. Autumn. Oh, my mother. In a clean field. Water is flowing.
Makarov A. “City of Unfading Glory” from the suite “River-Bogatyr”
Mendelssohn F. Choirs to choose from.
Muradeli V. Response to A. Pushkin’s message.
Novikov A. In the forge. Oh, you, field. Love. Merry feast.
Popov S. Like on the sea.
Poulenc F. White snow. Sadness. “I’m afraid of the night” from the cantata “The Face” human"
Ravel M. Three birds. Nicoletta.
Sveshnikov A. In a dark forest. Oh, you wide steppe. Down on mother along the Volga.
Sviridov G. "Pushkin's Wreath": No. 1, 3, 7, 8, 10. "Night Clouds" -No. 2. Blue in the evening. Clear fields. Spring and the sorcerer. Choirs onpoems by Russian poets.Slonimsky S. Four Russian songs.
Sokolov V. Wither and wither, stormy weather. Are you a rowan or a ripple? nushka.
Taneev S. Adeli. The ruin of the tower. Venice at night.
Tchaikovsky P. Without time, without time. Not a cuckoo in the dampBor. The cloud spent the night. Nightingale. That the fun has stoppedvoice. Blessed is he who smiles. Choirs from the Liturgy (optional).
Chesnokov P. August. Alps. In winter. The dawn is warming. Forest. Along and alongriver. Dubinushka. Not a flower in a field withers. Liturgical choirs (optional).
Shebalin V. Winter road. The mother sent her thoughts to her son. Stepan Razin.White-sided chirping. Cliff. Message to the Decembrists. Cossackdrove the horse. Soldier's grave.
Shostakovich D. Ten poems. (choirs to choose from).
Schumann R. Good night. Toothache. In the forest. On Lake Constance.
Shchedrin R. 4 choirs at the station. A. Tvardovsky.
Schubert F. Love. Night.
Choral works for sight reading and transposition.
Bortnyansky D. It is worthy to eat. Cherubimskaya No. 2.
Vekki O. The Shepherd and the Shepherdess.
Davidenko A. The sea moaned furiously. Prisoner. Barge haulers.
Dargomyzhsky A. Petersburg serenades.
Glinka M. Patriotic song.
Grechaninov A. Frog and ox.
Egorov A. Song.
Zinoviev A. Autumn.
Ippolitov-Ivanov M. With a sharp axe. Pine.
Kalinnikov V. Elegy.
Kastalsky A. At the gate, gate. Rowanushka.
Kodaly 3. Evening song.
Costle G. Mignon.
Leaf F. The Coming of Spring.
Mendelssohn F. Run with me. Like frost fell on a spring night.Over her grave. Premonition of spring.
Prosnak K. Prelude.
Rachmaninov S. We’ll sing for you.
Rimsky-Korsakov N.A. Oh, there's a sticky thing in the field. You rise, red sun.
Salmanov V. “Oh, dear comrades” from the oratorio “The Twelve.”
Slonimsky S. Leningrad White Night.
TaneevS. Serenade. Pine.
Tchaikovsky P. "Liturgy of St. I. Chrysostom": No. 9, 13.The golden cloud spent the night
Chesnokov P. Spring calm. Beyond the river, beyond the fast one. Thought after thought.
Shebalin V. Winter road.
Schumann R. Evening star. Good night. Night silence.
Schubert F. Love. Far away.
Shchedrin R. How dear a friend is. The war has passed. Quiet Ukrainian night.
Eshpai A. Song about springs.
2nd year
Accompanied choirsForstudying.
Original choral works:
Glinka M. Polonaise. Glory to the Russian people.
Debussy K. Lilac.
Ippolitov-Ivanov M. Morning. Peasant feast.Spring is approaching. Flowers.The leaves in the garden are rustling. In May.
Novikov A. Grass. Hey, let's go! And the rain is pouring down.
Schumann R. Gypsies.
Schubert F. Shelter.
Choirs from oratorios and cantatas.
Harutyunyan A. Cantata about the Motherland No. 1, 4, 5.
Britten B . Missa brevis in D
Bruckner A. Requiemd- moll. Big mass.
Brahms I. German Requiem:№ 4.
Vivaldi A. Gloria: No. 1, 4, 7.
Handel T. Oratorio "Samson": "Samson is slain"
Grig E. Olaf Trygvasson (separate rooms).
Dvorak A. Requiem (choral numbers). ThoseDeum(fully)
Kabalevsky D. Requiem: Introduction, Remember, Eternal Glory, Black stone.
Kozlovsky O, Requiem (optional parts).
Makarov A. Suite "River-Bogatyr". ABOUT
ABOUT rf K. Carmina Burana: No. 1, 2, 5, 8, 10, 20, 24, 25.
Prokofiev S. Ivan the Terrible (good numbers).
Poulenc F. The Human Face (optional parts)
Salmanov V. Twelve (parts or all).
Sviridov G. “Pathetic Oratorio”: Wrangel’s Flight,To the heroes of the Battle of Perekop, There will be a garden city, The poet and the sun. " Poem in memory of S. Yesenin": Winter sings, Threshing,Night of Ivan Kupala, Peasant
Guys. " Pushkin's Wreath": No. 5, 6. "Night Clouds" No. 5. " Ladoga" No. 3, 5.
Tchaikovsky P. Moscow: No. 1, 3, 5.
Shostakovich D. “Song of the Forests”: A Future Walk. "The sun is shining over our Motherland,” “ Stenka Razin."
Choirs from operas;
Bizet J. “Carmen”: scenes 24, 25, 26.
Beethoven L. “Fidelio” (choir section).
Borodin A. “Prince Igor”: Glory, Scene of Yaroslavna with the girls,Scene at Galitsky, Polovtsian dances with choir,Finale of the 1st act,
Wagner R. “Lohengrin”: Wedding Choir. "Tannhäuser: March.
Verdi D. “Aida”: choral scenes. "Othello": choral scenes from acts 1, 3.
Verstovsky A. “Askold’s Grave”: Ah, girlfriends, Brew, potion.Choir and Torop's song.
Gershwin A. “Porgy and Bess”: separate choirs.
Glinka M. “Ivan Susanin”: Polish Act, Glory."Ruslan and Lyudmila": Introduction, Act 1 Finale,Oh, you are light, Lyudmila.
Glitch X. "Orpheus": separate choirs.
Gounod S. “Faust”: Waltz. "Romeo and Juliet": courtiers' choir.
Dargomyzhsky A. “Mermaid”: Oh, you, heart, Braid yourself, wattle fence. How we brewed beer on the mountain.Like in a bright room.
Delibes L. “Lakme”: choir and scene in the market.
Kozlovsky O. “Oedipus the King”: 1st choir of the people.
Mussorgsky M. “Boris Godunov”: Coronation Scene,Scene at St. Basil's,Scene near Kromy (entirely and individual fragments), “Sorochinskaya Fair”: Chorus from 1 act. "Khovanshchina": Meeting and glorification of Khovansky,Scene in Streltsy Sloboda (in full) and separate fragments).
Rimsky-Koreakov N.A. "Pskovite": Meeting of Grozny,Entry of Grozny to Pskov, Veche Stage; "Sadko": Choir of trade guests,Is it the height, the height of heaven? "Snow Maiden": Choir of Blind Guslars,Scene in a reserved forestAnd we sowed millet, Pcarnival celebrations, The finale of the opera.
« The Legend of the Invisible City of Kitezh":Wedding train. "The Tsar's Bride: Love potion, Yar-hop. " May Night": Millet.
Smetana B. “The Bartered Bride”: separate choirs.
Kholminov A. “Chapaev”: Here, Petenka.
Tchaikovsky P. “Eugene Onegin”: Peasant Choir, Ball at the Larins'. " Queen of Spades": Walking Choir,Guest Choir, Shepherdess Pastoral. "Mazeppa": Chorus and mother's lamentation, Folk scenes, Execution scene. "Oprichnik": A duck was swimming at sea,Wedding choir "Slava".
Choral works for sight reading and transposition
Borodin A. “Prince Igor”: Fly away on the wings of the wind.
Verstovsky A. “Askold’s grave”: Two choirs of fishermen,There was a white birch tree near the valley, Ah, girlfriends.
Verdi J. “Nebuchadnezzar”: You are beautiful, oh, our Motherland. "Aida": Who is there (act 2).
Glinka M. “Ruslan and Lyudmila”: Oh, you are the light Lyudmila,The bird won't wake up in the morning. "Ivan Susanin": Wedding song.
Dargomyzhsky A. “Rusalka”: Three choirs of mermaids.
Mussorgsky M. “Khovanshchina”: Dad, Dad, come out to us.
Petrov A. “Peter I”: Final chorus from the opera.
Tchaikovsky P. “The Snow Maiden”: Farewell to Maslenitsa.
Chesnokov P. Spring is rolling.
3rd year
Polyphonic choral works for study.
Original choral works
Arkadelt Ya. Swan at the moment of death.
Vecky Oh, it's better not to be born.
Verdi G. 4 spiritual choirs.
Gabrieli A. Young maiden.
Grechaninov A. Swan, crayfish and pike.
Glazunov A. Down the mother, along the Volga.
Kodaly 3. Hungarian Psalm.
Lasso O. Shepherd. Goose song. Echo.
Marenzio L. How many lovers.
Monteverdi K. Farewell. Your clear gaze is so beautiful and bright.
Morley Tenderness burns in your face.
Palestrina J. Spring wind. Oh, he's been in the grave for a long time.
Rimsky-Koreakov N. The month floats. Old song.The golden cloud spent the night. Tatar is full.You're a garden. In the wild north.
Sveshnikov A. You are a garden.
Sokolov V. Where can a girl go out of grief?
Taneev S. Alps. Sunrise. Evening. At the grave.The ruin of the tower. Look how dark it is.Prometheus. I saw a cliff from behind a cloud. On days when over the sleepy sea. There are two gloomy clouds in the mountains.
Tchaikovsky P. Liturgy of St. I. Chrysostom: No. 6, 10, 11, 14.Cherubic Hymn No. 2. Our Father.
Chesnokov P. The baby was walking.
Shebalin V. Above the mounds.
Shchedrin R. Willow, willow.
Choirs from operas:
Borodin A. “Prince Igor”: Choir of villagers.
Berlioz T. “The Damnation of Faust”: Brander’s Song and chorus.
Vasilenko S. “The Legend of the Invisible City of Kitezh”:Choir of the people "Woe has befallen".
Wagner R. “Die Meistersinger”: Glory to Art.
Glinka M. “Ivan Susanin”: Introduction. "Ruslan and Lyudmila”: He will die, he will die.
Dargomyzhsky A. “Rusalka”: Healthy Choir.
Mozart V. “Idomeneo”: Run, save yourself.
Rimsky-Koreakov N. “The Tsar’s Bride”:choral fugetta "Sweeter than honey". "Snow Maiden: I have never been scolded by betrayal(from the final 3 days)
Ravel M. “Child and Magic”: Choir of Shepherds and Shepherdesses.
Shostakovich D. “Katerina Izmailova”: Glory.
Choirs from oratorios and cantatas
Harutyunyan A. Cantata about the Motherland: No. 3 “Triumph of Labor”.
Bartok B. Cantataprofana. № 1, 2, 3.
Bakh I.S. Secular cantatas:№ 201 D- dur"Attention", No. 205 D-dur "Chorus of the Winds", No. 206D- dur"Opening Choir", No. 208 F-dur "Closing Choir", Mecca h- molI: № 1, 3, 15, 16, 17.
Beethoven L. MassC- dur: 1st anthem
Berlioz G. Requiem: dep. numbers.
Britten B. War Requiem. MassinD.
Brahms I. German Requiem: No. 1, 2, 3, 6, 7.
Vivaldi A. Gloria: No. 5, 12
Verdi G. Requiem: No. 1, 2, 7.
Haydn I. Seasons: No. 2, 6, 9, 19.
Handel G. “Alexander Festus”: No. 6, 14, 18. “ Messiah": No. 23, 24, 26, 42. " Judas Maccabee": No. 26. "Samson": No. 11, 14, 26, 30, 32, 49, 59.
Davidenko A. From the joint oratorio “The Path of October”: On
ten miles away, the street is worried.
Degtyarev S. “Minin and Pozharsky”: separate numbers.
Dvorak A. Requiem: separate numbers. Stabat Mater No. 3.
Yomeli N. Requiem: separate numbers.
Mozart W. Requiem: No. 1, 4, 8, 9, 12.
Honegger A. “King David”: No. 16, 18 and Final Chorus. "Joan of Arc at the stake: Finale of the oratorio.
Ravel M. “Daphnis and Chloe”: Choirs from Suites 1 and 2.
Reger M. Requiem: complete and separate numbers.
Scriabin A. 1st Symphony: Glory to Art (finale).
Stravinsky I. Symphony of Psalms: complete and individual numbers.
Smetana B. “Czech Cantata.”
Taneyev S. “John of Damascus”: complete and separate numbers. "After reading the psalm": No. 1, 4.
Faure G. Requiem: separate numbers.
Hindemith A. “Eternal”: complete and separate numbers.
Tchaikovsky P. “To the 200th anniversary of the monument to PeterI": Fugue.
Schubert F. Mass As-major. Private rooms. Mass Es-dur: Individual rooms.
Shimanovsky K. StabatMater: № 1, 4, 5, 6.
Schumann R. “Paradise and Peri”:№8, 11, Requiem: separate numbers.
Shostakovich D. “Song of the Forests”: No. 7 Slava.
Shchedrin R. “The Sealed Angel”: separate numbers and in full.
Choral works in the keys "C".
Baya T. OboneJesu
Bortnyansky D. Concerto for choir No.I.
Gastoldi T. Heart, do you remember
Kalvisius S. I am a man.
Lasso O. All day long.I was told. How did you do it?
Lechner L. Oh, how cruel my fate is to me.
Meyland Ya. The heart rejoices in the chest.
ScandeliusA. To live on earth.
Friederici D. Song of Society.
Hasler G. Ah, I sing with a smile.
Chesnokov P. Spirit. choirs.
Shostakovich D. Like in the immemorial year.
Choral scores for transposition
Venosa J. Sancti spiritus.
Verdi J . Laudi alla virgine Maria ( fragments )
Dargomyzhsky A. Petersburg serenades: From a country, a distant country.The raven flies to the raven.I drink to Mary's health. At midnight the goblin. On calm waves.
Ippolitov-Ivanov M. Pine.
Kodaly 3. Hello, Janos.
Lottie A. Miserere
Mendelssohn F. In the South.
Muradeli V. Touchy dreams.
Rechkunov M. With a sharp axe. Autumn.
Taneyev S. Serenade. Pine. Venice at night.
Tchaikovsky P. Evening.
Schubert F. Lipa.