Analysis of choral scores. Kolovsky - Analysis of the choral score A significant place in the work of O.P. Kolovsky is interested in choral arrangements of folk and revolutionary songs

03.11.2019

O. Kolovsky. Analysis of the choral score / Choral art: collection of articles / ed. A. V. Mikhailov, K. A. Olkhov, N. V. Romanov. Leningrad “Music”, - 1967. - p. 29-42

Textbooks on the analysis of musical works cannot fully satisfy students working on the score from a performance perspective, since the analysis course is a theoretical discipline and is not designed to comprehensively cover a musical work. The performer, in particular the choir conductor, must master the score as much as possible.

This essay is devoted to the methods of musical analysis of a choral score in a special conducting class.

Briefly, the progress of work on the score is presented in the following form: the first stage is playing, listening to the music; the second - historical and aesthetic analysis (familiarity with the work of the composer - the author of the score being studied; reading specialized literature; reflection on the text, the general content of the works, its idea); the third is theoretical analysis (structure, thematism, process of formation, function of cadences, harmonic and contrapuntal elements, issues of choral orchestration, etc.).

Of course, the proposed sequence is somewhat arbitrary. Everything will depend on specific circumstances: on the degree of complexity of the work, on the talent of the student. If, for example, a talented and, in addition, erudite musician comes across an easy score, then he may not need much time for analysis - he will master it, as they say, in one sitting; but a different situation may arise when a complex score ends up in the hands of an immature and not very sensitive performer - and then it is no longer possible to do without a technique.

Unfortunately, future choral conductors are deprived of the opportunity to study in a composition class, although it is no secret that skills in composition are of great benefit when studying music, they allow you to delve deeper and more organically into the process of formation, and master the logic of musical development. How much easier the “problem” of analysis would be if it were done by people who had gone through the school of composing.

So, the student received a new score to learn. This can be a simple process folk song, a fragment from an Oratorio or Mass, a new work by a Soviet composer. Regardless of the degree of complexity of the score, first of all it must be played on the piano. For a student who does not play the piano well, the task will, of course, become more difficult, but even in this case one should not refuse to play and resort to the help of a recorder or accompanist. Of course, the activity of the inner ear and excellent memory can largely compensate for the lack of pianistic skills.

Playing and, naturally, the accompanying listening and memorization are needed not only for preliminary familiarization with the score, but in order, as they say, to “get to the bottom of” it, to understand in general terms the meaning, idea of the work and its form. The first impression should invariably be strong and definite; the music should captivate you and please you - this is an absolutely necessary beginning for further work on the score. If this contact between the music and the performer does not occur from the very beginning, it is necessary to put the score aside - temporarily or permanently. There may be several reasons why you “didn’t like” the work. Except for extreme cases (the music is bad or the student is untalented), most often this comes from the student’s narrow cultural and musical horizons, a limited range of artistic sympathies, or simply bad taste. It happens that the form or new musical language is intimidating, sometimes the idea itself, the intention of the work, turns out to be alien. In exceptional cases, this is a manifestation of fundamental intolerance towards a certain composer or style. However, be that as it may, if the work “did not reach,” it means that it remained incomprehensible both in content and in form. Consequently, further analysis is completely useless; it will bring nothing but formal results. It makes sense to start analyzing the score only when the student already knows, understands and feels the music, when he “likes” it.

Where to start? First of all, from a historical and aesthetic analysis, i.e. from establishing connections between a given work and related phenomena of life, culture and art. Thus, the subject of such analysis will be not so much the work itself, but rather those phenomena that are in one way or another connected with it. This is necessary in order to, through indirect connections, ultimately penetrate deeper into the content of the score being studied and further into its form. We should not forget that each musical work is not an isolated phenomenon, but is, as it were, an element or particle of an entire intonation-stylistic system in the artistic life of a certain era. This particle, like a microcosm, reflects not only the stylistic features of neighboring musical phenomena, but also the characteristic features of a particular historical culture as a whole. Thus, the surest way to understand this “microcosm” is from the general to the specific. However, in practice a variety of situations arise. Let us imagine that a student has received a score from one of the old masters of the 16th century to learn, and that this is his first encounter with this style. It is unlikely that there will be much benefit from the fact that the student engages in diligent chiselling and theoretical analysis of this single score. Of course, a tremendous amount of additional work will be required; firstly, you will have to replay more than a dozen scores by the same author and his contemporaries in order to become familiar with the style in a broad sense; secondly, it will be necessary, as they say, to enter this distant era in all possible ways - through literature, painting, poetry, history, philosophy.

Only after such painstaking preparatory work can one count on finding the right “tone” for the interpretation of a given work.

And vice versa, another example: a student must prepare for learning and performance the score of a famous Russian composer of the 19th century. Of course, analysis will be required here too, but on a much smaller scale, since the music of this composer is “well-known”, the student knows his main works (is this always the case?), has read something about his life and work, and finally something what I remembered from lectures, etc. But even with this favorable state of affairs, you will still have to refresh your memory of some works (most likely symphonic and chamber instrumental), get acquainted with new biographical materials, etc.

In practice, other options may arise. Of course, the higher the culture and erudition of a musician, the more extensive his musical “baggage”, the sooner he passes this stage of analysis. A less musically and generally culturally prepared student will have to put in a lot of work in order to rise to the level corresponding to the work, and then have the right to concentrate on it.

Musicians who completely neglect the method of historical analysis, considering it an unnecessary luxury and an invention of “non-musicians,” always, to one degree or another, feel shortcomings in their performance; their interpretation always smacks of an unpleasant “gag”, which coexists perfectly with stylistic eclecticism. True, sometimes you have to meet with a talented gag, but this does not change the essence of the matter.

It is a pitiful spectacle to see a capable student conducting some complex composition which he feels but does not really understand; he surrenders to the power of his emotions, his temperament, he even manages to accurately and talentedly convey individual details, he gets excited and worries - and the music, like the sphinx, remains unsolved. And this misunderstanding, which can be perfectly combined with “knowledge” of the score, almost always has one source - the lack of a broad outlook in the field of culture and art. This circumstance especially makes itself felt when something from I.-S. falls under the hot hand of the conductor. Bach. Without blaming teachers of special conducting, I would still like to say that it is unlikely that there is any benefit from conducting the works of I.-S. Bach with piano!

Let's move on to specific examples. For example, it is necessary to make a historical and aesthetic analysis of one of the parts of Mozart’s “Requiem” and Shostakovich’s poem “January 9th”.

The fact that both works are quite well known and are often performed in classrooms and exams allows the analysis to be freed from some informational ballast, which is necessary in cases where we are talking about some rarely performed work by a little-known author.

It was already said earlier that in order to conduct one work, it is necessary, if possible, to become familiar with the composer’s work as a whole. Few people, strictly speaking, do not know this, but few people follow this principle. The true meaning of music is often replaced by a superficial orientation - so many symphonies, so many operas, etc. have been written. But the main thing is how what is written sounds. It is difficult to imagine that there could be a choir student who does not know anything from Mozart except the Requiem. Some piano piece played in childhood is probably already stuck in your memory; Maybe I remember one or two symphonies or something else. However, we can safely say that the overwhelming majority of young choir conductors do not know Mozart’s music well. To begin “Requiem” without the feeling that your head and heart are already full of the music of a brilliant artist is as absurd as taking on the score of Beethoven’s 9th symphony or Tchaikovsky’s 6th symphony without knowing the previous ones. All this does not mean that you need to study all of Mozart. On the contrary, you can get by with the minimum for the first case, but even this minimum will amount to quite a large number of essays. It is imperative to get acquainted with all the main genres in Mozart’s work, since each of them reveals some new facet of his music. It is better to start with piano sonatas, then move on to piano concertos, listen to chamber ensembles (especially quartets and certainly the G minor quintet) and perhaps linger more thoroughly on symphonic works, starting with the last three symphonies. It wouldn't hurt to get acquainted with the charming divertissements. And of course, it seems absolutely necessary to have a sense of Mozart’s operatic style, at least from 2-3 operas. The list can be continued, but this is enough. Ultimately, the success of the analysis will be determined not by the amount of music played and listened to, but by the ability to delve into the music. The main task is to penetrate the spirit of Mozart’s music, get carried away by it, feel the style and character of the musical language. Only those who deeply experience and understand the “sunny” essence of Mozart’s music will find the right path into the dramatic and dark world of “Requiem”. But even in the “Requiem” Mozart remains Mozart, the tragedy of the “Requiem” is not a tragedy at all, but a Mozartian tragedy, that is, determined by the general style of the composer’s music.

In our country, unfortunately, very often they try to pave the shortest path between reality and a piece of music, forgetting that there is only one correct path, a longer one, but the correct one - through style. The struggle to master the style is, perhaps, the most laconic formulation of the meaning of historical and aesthetic analysis. And with regard to Mozart’s music, this is a particularly difficult task, because Mozart is “supported” on both sides by such colossuses as Bach and Beethoven. And often the dramatic pages of Mozart’s music are performed “to Beethoven,” and the contrapuntal pages to “Bach.”

Simultaneously with the musical “excursion”, it is advisable to read specialized literature. In addition to textbooks, it is useful to read primary sources - Mozart’s letters, memoirs about him - to become familiar with the statements of major artists about Mozart, etc. Finally, if time and circumstances permit, it is not harmful to delve into the socio-political and artistic situation of that time. As for the “Requiem” itself, not to mention the music, it also seems extremely important to understand some of the details of the religious content of the funeral service, for while focusing on the humanism of music, one must not at the same time forget about the church attributes, forms and canons, which are well reflected and in the music of Mozart. The question of the influence of church ideology on music also relates to the problem of style.

And one more thing: you can’t pass by immortal art great poets, musicians and artists of the Renaissance; frescoes and paintings by Michelangelo and Raphael can “suggest” a lot in the interpretation of some numbers of the “Requiem”; a sensitive musician, with great benefit, will also study the scores of the immortal Palestrina, filled with some special purity and “holiness”, and yet there are “Palestrina” episodes in the score of the “Requiem”; Mozart firmly grasped the Italian school of choral voice - light and transparent.

In general, it seems like there is a large amount of work around one piece, but, firstly, not every score requires such an extensive analysis, and, secondly, a student, picking up a new score, still already knows something about the composer and his work, and about the era as a whole. Therefore, the work will consist of replenishing knowledge, additional analysis, some (more or less) part of which has already been done earlier in the learning process.

As for studying the score of a modern composer, the performer will inevitably face difficulties of a different nature than when analyzing a classic work, although the range of questions in both cases is the same. The work of even the greatest classic, who lived, say, 100 years ago, or even more, according to a completely natural law of life, loses a certain share of its vital content - it gradually fades, loses the brightness of its colors.

And this is how things are with the entire heritage: it is, as it were, “unfolded” in relation to us, contemporaries, from the side of its beautiful, classical forms. That is why the conductor must first of all get to the bottom of the vital springs of the style of the classical score; his “super task” is that old music in his interpretation is perceived as new, modern work. In absolute form, such a transformation is, of course, impossible, but striving for this ideal is the destiny of a true artist.

The power of true modern art, on the contrary, lies in the fact that it first of all captivates and wins the heart with its connection with life. But the form of new music often scares away the conservative and lazy performer.

Now, briefly about Shostakovich’s choral poem “January 9th”. Here we will also have to deal first with Shostakovich’s work as a whole, paying primary attention to the central genre in his work - the symphonic. Perhaps first of all you should get acquainted with the 5th, 7th, 8th, 11th and 12th symphonies, some quartets, a piano quintet, E minor and D minor fugues for piano, the oratorio “Song of the Forests” and a vocal cycle based on texts Jewish folk poetry. Shostakovich is the great symphonist of our time; his instrumental frescoes reflect, as if in a mirror, the heroism, drama and joys of man in our turbulent and controversial era; in terms of the scale of the events depicted, in terms of the power and consistency of the development of ideas, he has no equal among contemporary composers; in his music there is always a note of ardent love, sympathy and struggle for man, for human dignity; tragic episodes of Shostakovich's music are often the pinnacles of his grandiose concepts. Shostakovich's original style is a complex amalgam of Russian-European origin. Shostakovich is the truest heir to the great art of the past, but he also did not ignore the enormous achievements of outstanding composers of the 20th century. The seriousness, nobility and great purposefulness of his art make it possible to place Shostakovich on the general line of development of European symphony, next to Beethoven, Brahms, Tchaikovsky and Mahler. The constructive clarity of his musical structures and forms, the extraordinary length of melodic lines, variety in the modal basis, purity of harmonies, impeccable contrapuntal technique - these are some of the features of Shostakovich’s musical language.

In a word, anyone who dares to pick up Shostakovich’s work for learning will have to think a lot about his work, especially since there are still very few good books about him.

As for the program, here too we cannot be complacent on the grounds that the theme of the 1905 revolution is a well-known thing. We must not forget that this is already history. This means that we must try to get closer to the tragic event on Palace Square, to see it in our imagination, to feel and experience it, to revive in our hearts a civic sense of pride for those who died for the great cause of liberation from the tsarist yoke. You need to tune yourself, so to speak, to the most elevated mood. There are many ways available to those who wish: historical documents, paintings, poems, folk songs, and finally cinema. Ideally, the performer should always strive to reach the level of the composer - the author of the work - and in this he will be greatly helped by his own concept and idea of the composition, and not learned only from the composer’s voice. This circumstance will give him the right to argue with the author and, perhaps, make some adjustments to the indicated tempos, dynamics, etc. In short, when receiving the score of, say, the same Shostakovich poem, the conductor (if he is a creative person) must not only analyze and state what is in it, but also try to discover what, from his point of view, should be there. This is one of the ways to an independent and original interpretation. For the same reason, it is sometimes more useful to first become familiar with the text of the score rather than with its music.

The final result of historical and aesthetic analysis should be clarity in the general concept, in the idea, in the scope of the content, in the emotional tone of the work as a whole; moreover, preliminary conclusions regarding stylistics, musical language and form, which will be refined in the process of theoretical analysis.

And lastly, is it necessary to formalize the analysis in written work? In no case. It is much more useful to make it a habit to write all the material on a given work in a thesis form in a special notebook. This can be: conclusions of analysis, your own thoughts and considerations, statements from specialized literature, and much more. In the end, in the future, if necessary, it will be possible to make a short monograph about the work based on the analysis data (including the results of theoretical analysis). But this is after the performance of the score. Before your debut, it is better not to be distracted and make every effort to express yourself better in the language of music.

From form to content

While still at the music school, the student becomes familiar with the elements of music (mode, interval, rhythm, meter, dynamics, etc.), the study of which is included in the course of elementary music theory; then switches to harmony, polyphony, orchestration, score reading and, finally, completes his theoretical education with a course in the analysis of musical works. This course seems to have as its task a holistic, comprehensive analysis - in any case, the authors of the textbooks declare such a profile in their introductory chapters; in fact, almost everything comes down to the study of musical compositional schemes, to the analysis of the architectural structure, that is, to mastering the rules of musical “grammar”.

Issues of thematic development, although they are touched upon, are mainly in the limited sphere of methods of motivic development, and then somehow “by eye” - where this is completely obvious.

This does not mean, however, that the study of the structure of musical works has lost its meaning. It is unlikely that the feasibility of such a pedagogical discipline requires special argumentation. We may not be talking about abolishing (at least for the first time) the architectonic criterion in the analysis, but only supplementing it with an analysis of a different kind, namely, an analysis of the process of formation. How to do this, how to develop a method for doing so, is a matter for theorists. But practicing musicians, and choir conductors in particular, cannot wait; they begin to lose faith in the power of theory, many of them eventually stop taking the analytical method of studying music seriously, feeling somewhat deceived - so much was promised, and so little was given. This, of course, is unfair, but it also has its justification, for it turns out this way: theory leads, leads by the hand, the student, and then, at the most decisive moment, at the culminating peak of theoretical education, when music, as they say, is just a stone's throw away - leaves his. This interval between science and live music (however, in principle, quite natural) is currently too large, it needs to be significantly reduced. It seems that you can go in two ways: either decisively move the theory of analysis towards a more creative problem of form-building, or approach the existing theory through the highest and most conscious practice - through creativity-composition, i.e. by thus moving the problem of musical development into the sphere of practice . The second way is more reliable and, apparently, the time will come when the course of analysis of musical works (at least for conductors) will turn from analytical into practical, but regardless of this, theory must step forward, closer to the requirements of modern practice. Solve this problem on scientific level- the matter is difficult and long. However, in such cases, when the theory is somewhat delayed, a technique can come to the rescue. Let's try to help young choir conductors with some practical advice, which, in our opinion, will direct their attention in the right direction.

Firstly, about possible types of theoretical analysis aimed at studying the form of a musical work. There can be several of them, for example: harmonic - when works are viewed exclusively from the angle of its harmony; contrapuntal, - obliging special attention to issues of voice guidance; finally, the analytical “spotlight” may include features of choral orchestration, structure, or patterns of thematic development. Each of them (except the last) has its own theoretical principles and analysis methods developed in the corresponding pedagogical courses. One way or another, students are mainly prepared for harmonic, contrapuntal, structural and, partly, vocal-textural analysis. But when starting a “performing” analysis, which to the same extent belongs to the realm of mythology as a “holistic” one, many of them somehow lose ground, trying to talk at all costs about everything at once.

I had to read the students’ written work, which was a formal vinaigrette; something about ideological content, a few words about harmony, texture, dynamics, etc. Of course, such a “method” is descriptive in nature and has little in common with genuine science.

The methodology for analyzing the form of a choral score is presented to us in the following sequence. The student begins the theoretical study of a work only after he has thoroughly worked on it in historical and aesthetic terms. Consequently, he has the score, as they say, “in the ears” and “in the heart,” and this is the most reliable prevention against the danger of becoming detached from the content during the process of analysis. It is more advisable to start with harmony, and without being distracted by anything else, look through (and, of course, listen), chord by chord, the entire composition. It is impossible to guarantee in each individual case interesting results from the analysis of harmony (not every work can be sufficiently original in terms of harmonic language), but “grains” will certainly be discovered; sometimes it is some complex harmonic turn, or modulation, not accurately recorded by the ear - upon closer examination, they turn out to be very important elements of the form, and therefore, clarify something in the content of the music; sometimes it is a particularly expressive, formative cadence, etc. Finally, such a targeted analysis will help to detect the most “harmonic” episodes of the score, where the first word is behind harmony, and, conversely, more harmonic-neutral sections, where it only accompanies the melody or supports contrapuntal development.

The ability to discover the mode-tonal plan of the entire work is also very valuable, that is, in the motley picture of deviations and modulations, find the main, supporting tonal functions and grasp their interrelation.

Moving on to contrapuntal analysis, we must proceed from what style the given composition belongs to - polyphonic or homophonic-harmonic. If we turn to polyphonic, then contrapuntal analysis can turn into the main aspect of the theoretical study of music. In a work of homophonic-harmonic style, attention should be paid not only to contrapuntal structures (theme and antiposition, canon, fugato), but also to elements of polyphony that do not have structural definiteness. These can be various types of echoes, pedals, melodic moves, figurations, individual imitations, etc. It is very important to discover (and most importantly, hear) meaningful melodic “veins” in the chord-harmonic texture, determine their specific weight and degree of activity in shaping. As for contrapuntal episodes and structures, their analysis should not be difficult for a student who knows the technical resources of polyphony. The difficulty here is of a different kind; you need to train your hearing not to get lost in a complex interweaving of voices and to always find the main voice, even in polyphony. For this purpose, it is useful to specifically practice at the piano: slowly and very quietly play polyphonic fragments, listen carefully not to “each voice,” as is usually recommended, but to the process of interaction of voices.

Next in line is an analysis of the structure of the score. There are a sufficient number of textbooks at the student’s disposal (the textbook “Musical Form” by I. Sposobin and “The Structure of Musical Works” by L. Mazel should be suggested) and therefore we can limit ourselves to some general comments. Unfortunately, we have to deal with facts when students narrow the tasks of such analysis, limiting themselves only to the issue of compositional schemes; scheme found - goal achieved. This is a profound misconception, since the patterns of structure are manifested primarily in the interconnections and subordination of small-scale constructions - motives, phrases, sentences. Mastering the constructive side of works means understanding the rhythmic relationships between individual structures, the logic of structural periodicities and contrasts. By the way, I have noticed more than once that a musician-conductor who has a good sense and understanding of the constructive, so to speak, “material” side of music is never in danger of falling under the inertia of timing. In the end, it is not so important to know whether a three-part form, for example, in such a work or a two-part form with a reprise; it is much more useful to get to the bottom of its constructive idea, to the rhythm, in in a broad sense this word.

As a result of the work already done on the score, it is possible to draw some significant conclusions regarding its structural and harmonic features and thereby move towards the problem of style, so to speak, from form. However, the most difficult problem still lies ahead - shaping in the process. It should be said in advance that here, as in art in general, the first word lies with the innate sense of musical logic; The most flawless theory cannot make a musician. But we should not forget something else: theoretical awareness organizes the creative process, gives it clarity and confidence. Sometimes concerns are expressed about whether we are analyzing too much and whether this will ruin the music. Unnecessary fears. With the deepest and most detailed analysis, intuition still retains the lion's share; a true musician will never stop feeling first. Theory will only help him feel smarter.

Analysis helps the “dry” and the “emotional” musician equally; he can “ignite” the first, and “cool” the other.

Even in the process of structural-harmonic and contrapuntal analysis, questions of musical and thematic development usually arise from time to time, but this happens, as a rule, in the form of a statement of individual facts; so it was, and so it became. In order to understand to some extent the process of formation, one can no longer “jump” over beats; will have to do the hard thing and long way, approximately along which the composer moves when composing a work. Here the starting point will no longer be a period, not a harmonic function, but a theme.

From the theme, through all the twists and turns of its development, to reach with analytical thought to the final cadence, without missing a single link, is the task of the procedural study of a musical work. This is never fully possible. There will be “gaps” somewhere where the intellect does not penetrate and where you will have to rely on intuition. However, even if the main, main line in the development of the form is only outlined, then the goal has been achieved.

Such analysis is best done at the instrument, when circumstances allow you to sufficiently gather and concentrate. With a high culture of inner hearing, however, you can do without a piano. It is impossible to predict how many times you will have to play and listen to the entire score and individual passages; at least many times. Analysis of this kind will require enormous creative effort, concentration and time. And it is clear that it is not an easy task to break through the emotional and figurative essence of music to the hidden springs of its logic and calculation.

In practical terms, I would like to give the student the following advice: pay attention to caesuras (including pauses) between constructions, to how phrase after phrase, sentence after sentence “clings”; get used to observing the life of the “atoms” of musical speech - intonations, how some of them develop, vary, are sung, others form a kind of ostinato, or “pedal” (Asafiev’s expression); do not be surprised by unexpected and sharp melodic, harmonic and rhythmic turns - they are justified by artistic and figurative logic, keep the entire musical fabric in sight, do not separate melody from harmony, main voices from secondary ones - clearly feel the structure of each construction in all its dimensions; always keep in mind the main theme - the idea of the work - it will not let you go astray; and another very important detail - never lose touch with the text.

It would be good for young choral conductors, while improving their musical culture, to go beyond the compulsory textbooks and get acquainted with theoretical primary sources, in which, naturally, there is no pedagogical system, but creative thought lives on. I would like to recommend first of all reading some of the works of B. Asafiev, and maybe start directly with his work “Musical Form as a Process”. What makes this book especially valuable is the fact that its author-composer has the gift of touching on the most subtle aspects of the creative process.

The last stage is the analysis of choral orchestration. As is known, there is no comprehensive treatise on this issue, at least in Russian, and in the books of P. Chesnokov, A. Egorov, G. Dmitrevsky, although they set out the basics of choral studies, but mainly in the volume of elementary information, without excursions into the problem of choral styles. Therefore, the student does not always have a clear idea of what to pay attention to when becoming familiar with the choral “handwriting” of a particular composer. Leaving aside the well-known standards regarding the arrangement of voices in a choral chord, the sound and expressive capabilities of registers and ranges, let us touch upon some issues of the stylistics of choral writing. It seems that, opening the score for analysis, not for the first time, the student is obliged first of all to answer the main question: does the orchestration correspond to the style of the work as a whole - has it not spoiled the author’s intentions in any way, in other words, will the score sound exactly the way the music requires it (is there any overload in the chords and voices, is the texture monotonous, are the tutti places too loosely instrumented, is there “not enough air” in the score and are the voices interfering with each other, or vice versa - is the texture sufficient structural strength, etc.). Such an “exam” must be arranged not only to the young composer, but also to a venerable author, because even the latter may encounter miscalculations, oversights, or, in best case scenario, less successful-sounding episodes. AND the main task here, of course, not in finding errors, but in ensuring that a critical position awakens the necessary sensitivity to vocal and choral problems. After this, you can already move on to other questions, such as: what choral ensembles (male choir, female choir, men with altos, women with tenors, etc.) the composer prefers; what is the significance of timbre coloring in the score; what is the relationship between dynamics and orchestration; in which games the thematic material is presented more preferably; what are the features of solo and tutti sound, techniques for polyphonizing chord textures, etc. This also includes the question of the semantic and phonetic correspondence of words with music.

By analyzing the choral orchestration one can, in essence, complete the theoretical study of the score. Next will be specific issues of daily work and performance concepts.

Do I need to record the analysis? It seems that this is practically impossible. It doesn’t hurt to write down individual conclusions, considerations, even some details for yourself. The performer does not need theoretical ideas as such, but what he has meaningful and extracted from the music returns to the music. For this reason, there is no revealing analysis in this section of the essay; real analysis must be alive - when the music complements the words, and the words complement the music.

Conclusion

It would be just as wrong to limit oneself to theoretical analysis as, on the contrary, to abandon it altogether. The study of the form of a work must necessarily be preceded or accompanied (depending on the circumstances) by thoughtful work around it - familiarity with music, literature, historical works and other materials. Otherwise, the analysis may not work and its more than modest results will only disappoint the student. We must remember firmly and once for all: only when a whole world of feelings, thoughts and ideas is already associated with the music of the score - every discovery, every detail in form will immediately become a discovery or detail in content. The final result of the analysis should ideally be such an assimilation of the score when every note “falls” into the content, and every movement of thought and feeling finds its structure in the form. A performer (no matter whether he is a soloist or a conductor) who has mastered the secret of synthesis of content and form is usually spoken of as an artist and a master in conveying the style of a work.

The score should always be in front of the student studying it, as it were, in two plans - in large and small; in the first case, it is brought closer for detailed theoretical study; in the second, it is pulled back so that it is easier to connect it with other phenomena of life and art, or rather to penetrate deeper into its content.

One can foresee in advance that the young conductor will say: “Okay, all this is understandable, but is it necessary to analyze, for example, such a score as “The bell rattles monotonously” arranged by A. Sveshnikov?” Yes, indeed, such a score will not require special analytical work, but the skill in its interpretation will depend on many reasons: on the conductor’s knowledge of Russian folk songs, on his general and musical culture and, last but not least, on how much and how it was large and complex scores were analyzed before I had to tackle this seemingly simple work. In the past, the outstanding figure in choral art M. Klimov brilliantly performed small choral miniatures in his arrangement, but something else is known: he was a great master in the transfer of “The Passion” J. Bach and was the first in our country to conduct I. Stravinsky’s Les Noces.

Kolovsky Oleg Pavlovich (1915-1995)

Kolovsky Oleg Pavlovich (1915-1995) - Russian (Soviet) choral conductor, professor at the Leningrad Conservatory, teacher of polyphony, form analysis, choral arrangement. He led a 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.

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MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION FSBEI HPE "ORYOL STATE INSTITUTE OF ARTS AND CULTURE" FACULTY OF ARTISTIC CREATIVITY DEPARTMENT OF CHORAL CONDUCING

Course work

The use of choral works by M.V. Antseva for female members in the practice of working with a training choir

§4. Vocal and choral analysis

Conclusion

Bibliography

Introduction

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

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

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

A comprehensive analysis of this composition, presented in the course work, will make it possible to more accurately organize the practical activities of learning the work with the training choir of students from the Department of Choral Conducting of OGGIK. This explains the relevance of the research being carried out.

choral vocal antsev text

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

§2. Analysis of poetic text

Count Alexey Konstantinovich Tolstoy was from childhood a person close to the imperial house: he was a childhood friend of the future Emperor Alexander II (son of Nicholas the First), then his aide-de-camp, then his huntsman, and most importantly, a very close comrade. He knew very well what was happening inside the imperial palace and outside - in a society burdened by censorship and all kinds of prohibitions. It was against this background that the idea for the poem “My Bells” arose - its theme was not the bell flowers that accidentally fell under the hooves of the rider’s horse.

My bells, steppe flowers! Why are you looking at me, Dark blue ones?

And what are you ringing about On a cheerful day in May, Shaking your head among the unmown grass? The horse carries me like an arrow On an open field;

He tramples you under him, hits you with his hoof. My bells, steppe flowers! Don't curse me, Dark Blues! I would be glad not to trample you,

Glad to rush past, But the reins cannot hold the indomitable run! I fly, I fly like an arrow, I only kick up dust;

The horse carries me dashingly, - And where? Don't know! He is a learned rider, He was not brought up in the wilderness, He is familiar with snowstorms, He grew up in an open field;

And your patterned saddle cloth does not shine like fire, My horse, my horse, the Slavic horse, Wild, rebellious! There is space for us, horse, with you!

Having forgotten the small world, We fly at full speed Towards an unknown goal. How will our run end? Is it joy? sad? Man cannot know - God alone knows!

Will I fall on the salt marsh and die from the heat? Or the evil Kyrgyz-Kaysak, with a shaved head, will silently draw his bow, lying under the grass,

And suddenly he will catch up with me with a copper arrow? Or will we fly into the bright city with the throne Kremlin? The streets are wonderfully buzzing with the sound of bells,

And in the square the people, in noisy anticipation, see: a bright message is coming from the west. In kuntushas and checkmen, with forelocks, with a mustache,

The guests ride on horses, waving their maces, arms akimbo, the formation stands out decorously behind the ranks, the wind blows their sleeves behind their backs.

And the owner came out onto the porch, majestic; His bright face Shines with new glory; He was filled with the sight of both love and fear,

The Monomakh Cap is burning on his forehead. “Bread and salt! And in good time! - Says the sovereign. - For a long time, children, I have been waiting for you To the Orthodox city!

And they answered him: “Our blood is one, And in you we have been the master’s tea for a long time!” The bells are ringing louder, the harp is heard,

The guests sat around the tables, Honey and mash are flowing, The noise flies to the far south To the Turk and the Hungarian - And the sound of Slavic ladles is not to the Germans' heart!

Goy, my little flowers, little flowers of the steppe! Why are you looking at me, Dark blue ones? And what are you sad about On a cheerful day in May, Shaking your head among the unmown grass?

In this work, patriotic feelings come to the fore. lyrical hero. It recreates a majestic picture of the unification of lands around Moscow, the unification of Rus', and the expansion of its borders. The poet shows how representatives numerous peoples come to Moscow and ask the Russian Tsar to take them under his protection. The king is happy about this and accepts it with fatherly care and love. The picture of the feast given in the penultimate stanza creates an atmosphere of general rejoicing and joy. The poet expresses the hope that Rus' will be a strong power, capable of repelling the enemy’s attack at the right time. Literary analysis. The poem is interesting from the point of view of composition and organization of space. It gives a large-scale image of Russia, shown from many angles. The reader witnesses a gradual expansion of space: first, a field dotted with bells appears to his gaze, he sees a rider galloping on a horse, rushing into an unknown distance. Then a picture of the capital city opens before the reader’s gaze, where a meeting of the Russian Tsar with representatives of other peoples takes place. Tolstoy recreates here the most important stage in the life of the country: the unification of Russian lands around Moscow, which led to the strengthening of the power and greatness of Rus'. Towards the end of the poem, the space narrows again, and the reader again sees a picture of the Russian field, which is dear to the lyrical heart.

§3. Music-theoretical analysis

The choral composition is based on M.V. Antsev's "Bells" contains a verse characterized by simplicity and clarity. The size of the work is 6/8. Moving contrasting dynamics, fast tempo (allegro), inter-bar fermatas make this music quite interesting in its melodic and harmonic sound. The work is written in the key of fis-moll with deviations in A-dur and h-moll.

The first verse begins with the chorus SII (2 bars) in the main key. In the third measure, SI and A enter. The third verse begins with the lead SI (2 measures) in the key of A-dur, after which SI and A also enter. Next comes a symmetrical sequential repetition of the musical material in the key of h-minor.

In the work, along with tonic harmony, triads of the secondary degrees of the mode - II, III and VII - are used.

To create a certain image, the composer uses various means of musical expression, one of which is contrasting dynamics. The dynamic range extends from piano-pianissimo to forte. Along with the moving dynamics of crescendo and diminuendo, the composer uses a juxtaposition of different levels of dynamic organization.

Also, to reveal the artistic image of M.V. Antsev uses fermata, which is one of the most effective expressive means in music, since a sudden stop, a sharp disruption of the established metro - rhythmic pulse, and, finally, the simple appearance of a long sound among more mobile ones attract the attention of listeners. In this case, an interbar fermata was used, which means a caesura in sound. The conductor should remove the sound of the choir, leaving his hands in the “attention” position. After enduring the caesura, continue control.

§ 4 Vocal-choral analysis

Work by M.V. Antsev's "Bells" was written for a three-voice female choir. The composer worked a lot with choirs, knew the specifics of their sound and took it into account in his compositions, so the choral parts are presented in convenient tessitura. The ranges of choral parts are as follows:

* soprano I - e1- f2,

* soprano II - c1 - e2,

* alt - a - c2.

Let us analyze the tessitura conditions of choral parts. Due to the fact that the score does not use a very large range, the tessitura of the individual parts is generally convenient. Tessitura high fragments in parts are usually found in the climax zones of the work and are associated with bright dynamics, so performing them will not be difficult. However, the choirmaster must be sensitive to the performance and not allow the sound to be forced. In the part SI, SII and A, sounds of the upper register on forte are found in the 14-16th and 18-20th bars. In part A there are sounds of the lower register, therefore the choirmaster needs to ensure that the altos sing without straining, freely, with good support, vocally form the sound correctly, and do not force it.

When analyzing the main vocal difficulties, we should touch upon breathing issues. Without proper breathing there cannot be a beautiful musical sound. This work contains both direct (choral) breathing and chain breathing, where the singers silently catch their breath within sustained notes. The inhalation should be simultaneous and organized, as well as silent. In its activity and volume, the inhalation should correspond to the tempo and content of the work.

The basis of high-quality intonation is, as is well known, good melodic and harmonic structure. The melodic lines of the voices combine movement along the sounds of chords with progressive movement and moves at wide intervals. All large intervals in the ascending and descending movement are intoned as follows, the first sound is stable, the second is wide. A particular difficulty in intonation of intervals is the execution of wide intervals. In measures 14 and 16, SI has jumps to the sixth.

A necessary stage of the conductor’s work on the work is the consideration of dictionary difficulties, which include the simultaneous clear pronunciation of consonants not only at the end of phrases, but also in the middle of the word. All consonants in words are transferred to the next syllable. In the literary basis of a choral work there are words and phrases in which several consonants appear in a row, for example, “beats with his own” and others. In these cases, several consonants in a row are pronounced clearly and briefly. In literary texts there are many words with hissing words: “bells”, “rush”, “about what”. All available sibilant consonants should be pronounced extremely quickly and simultaneously.

As for orthoepy, the following letter combinations are found in words:

* “xia”, “sya” (pronounced “sa”, “s” without b) in the words “rush”, “swinging”;

* “th” is pronounced very briefly in the words “arrow”, “dashing”, “by yourself”;

* clearly pronounce the consonant “r” - with an exaggerated sound.

Summarizing the problems of diction, we should dwell on such an important point as the simultaneous closure of words with a consonant at the end at the same time by the entire choir.

§5. Features of working with the conductor's score

Having chosen a piece, the choirmaster must carefully study it. To do this, you should analyze the composition, play it on the piano, if possible, listen to a recording of a musical work performed by famous choirs, if there is one, find the most difficult places in the score in terms of intonation of the melodic lines of the parts, ensemble, conducting and think through ways to overcome them, outline a general execution plan. Along with learning the score by heart (singing voices, playing the piano), the conductor must analyze the work as fully as possible in different directions. The choirmaster's detailed preliminary study of the score ends with him learning the music by heart. Studying the score with your eyes is not enough. It is necessary to repeatedly play the choral arrangement of the romance in parts and be able to mentally imagine the choral colors in its entirety. A deep knowledge of the score will ensure readiness to learn it with the choir and will allow you to competently answer questions that arise for the singers in the process of learning.

The next stage is a historical and aesthetic analysis, which involves establishing connections between a given work and related phenomena of life, culture and art. To competently perform the choral composition “Bells,” you should familiarize yourself with the work of M.V. Antsev in general, to get into the spirit of his music. Getting acquainted with Tolstoy’s work, you can read several of his poems on similar topics, see whether M.V. often addressed him. Antsev to the poetry of Count Alexei Konstantinovich.

A separate stage of the conductor’s work with the score is to find out those gestures with the help of which he will create an artistic image of the composition while controlling the choir. Regarding practical control techniques, the conductor can practice beforehand: put the score on the console and conduct, mentally imagining the sound of the composition studied in detail.

The entire work from beginning to end is performed in a complex 6/8 time signature, but the conductor will not have any difficulties with timing the scheme, since the tempo of the work is quite flexible, so the conducting scheme will be two-beat.

Before you start conducting, you need to count one empty bar in order to mentally imagine the tempo and character of the work. Since at the beginning of the work the composer puts a dynamic piano nuance, the amplitude should be small; it is better to use the wrist type of technique. In order for the gesture to be readable with fine technique, the domestic conductor, teacher-methodologist Ilya Aleksandrovich Musin, in his work “Conducting Technique,” recommended moving the hands a little forward from the body, then the gestures will not merge with the conductor’s body. Changes in the level of dynamic organization in conducting should be expressed by changes in the amplitude of the gesture. With a contrasting change in dynamic nuance (from p to f), the gesture should be strong-willed, large in amplitude and with a clear, precise aftertaste. However, it is necessary to calculate the amplitude of the gesture so that the choir does not force the sound and this fragment does not “fall out” from the general context of the work. Each phrase, in addition to the dynamic nuances written by the composer, has an internal development. The conductor is required to clearly show transitions with a gradual increase and decrease in dynamics, changing the amplitude of the gesture, and precise releases at the end of phrases. The pickups should be small in amplitude so that the endings do not “stand out,” but at the same time very specific, so that the choir closes the sound at the same time.

The outlined plan for conducting the score can only convey in general terms the general guidelines for conducting. Listening to what is being heard, the conductor must immediately react correctly to the singers’ intonation of the musical material and use special gestures to raise or lower the intonation of individual choral parts. Such gestures are more suitable for the rehearsal process. As well as a rehearsal of simultaneous withdrawals and entries in the hands of the leader. When decorating the image artistically, the conductor should concentrate on finishing the phrases and ask the singers to carefully monitor changes in conducting and react sensitively to the conductor’s hand.

§6. Development of a rehearsal work plan

Having chosen a piece, the choirmaster must carefully study it. To do this, you need to analyze the composition, find the most difficult places in the score in terms of intonation of the melodic lines of the parts, ensemble, conducting and think through ways to overcome them, outline a general performance plan. Along with learning the score by heart (singing voices, playing the piano), the conductor must analyze the work as fully as possible in different directions. A deep knowledge of the score will ensure readiness to learn it with the choir and will allow you to competently answer questions that arise for the singers in the process of learning.

The process of learning with a choir is divided into three stages:

· acquaintance of the team with the work;

· the process of its technical development;

· work on a work in artistic terms.

Or - introductory, technical and artistic.

At the first stage of getting to know the work, it is necessary to arouse interest among the performers. For this purpose, you can use different methods of familiarizing the choir with the work: playing it on the piano while simultaneously singing the main thematic material with words; a story about the work and its authors; content transfer; showing the main features; use of sound recording. You can also sing a piece from a solfeggio sheet from beginning to end or in parts, playing the piano and watching the intonation.

At the second, technical stage, musical and literary material is learned, the basic elements of vocal and choral technique are practiced (intonation, rhythm, diction, character of sound, ensemble, etc.). At the second stage, rehearsals should be carried out in parts, groups and jointly. You need to disassemble the work in small parts. The order of learning them can be different; it is not necessary to sing from the beginning all the time. The most difficult passages that require practice should be sung slowly, stopping at sounds or chords that cause particular difficulty. When learning the score, you should spend a long time solfege the musical material in the mf dynamics, accompanying the choir’s singing by playing the instrument, singing separately the wide moves in the choral parts, building a chord vertical.

The process of learning a piece and working on the artistic and technical side of performance is very complex; it requires the manager to have a lot of experience, knowledge and skill. We can take as a basis the well-known sequence of this process:

· analysis of the work by parts,

· work on overcoming technical difficulties,

· artistic finishing of the work.

This is precisely the sequence in the process of mastering a musical work by a choir - from the initial analysis by the choir to concert performance. A lot here depends on the skill and skill of the leader himself, on the choir, as well as on the degree of difficulty of the piece being learned.

Conclusion

The repertoire plays a big role in working with the choir, which determines the creative personality of the choir. When selecting the repertoire, the director must take into account the gradual improvement of technical skills and the artistic and performing growth of the choir. The leader must always keep in mind the capabilities of the given team, its quality composition, and degree of preparedness.

Over time, each choral group develops a certain repertoire direction, accumulating repertoire baggage corresponding to the composition of the participants, singing style, and creative tasks.

The main task of academic choirs is to promote all the best that has been created and is being created in choral music of the academic style: Russian, Soviet and foreign classics, which is a strong and reliable school of choral academic singing. It is the classics that most closely correspond to the academic style in choral performance, the established characteristics, and the developed laws of academic choral singing.

From what has been said, it is clear that the choir director must thoroughly know the piece to be learned, having studied it as a musician, specialist choirmaster, teacher and conductor. In accordance with this requirement, in the analysis of the essay, the student must argue his “vision” of the artistic and figurative content of the work, justify his individual interpretation of the music, outline performing and specially conducting techniques with the help of which he will bring this interpretation to life, provide technical (including including vocal and choral) difficulties that may be encountered in rehearsal work, and outline ways to overcome them.

So, work on a work begins with getting to know it as a whole. The immediate impressions that the performer gets from the first playback or listening allow him to feel the degree of expressiveness of the music and avoid far-fetched, preconceived judgments. The reconstruction of a musical image, more or less close to that intended by the author, depends on the conductor, on his musical and auditory ideas. Developing this ability is difficult. She comes with experience of practical work with the choir, as a result of long-term rehearsal and concert activities of the choir group. But it is necessary for the conductor to strive for an internal hearing of the choral sound. The more complete and clear the initial idea of the work, the more fruitful all subsequent work will be, the easier it is to see in it the contours of the future performance plan.

It is important for the choir conductor to warn the singers against the “false peak”, to show the actual direction of the phrase, to teach them to overcome the psychological and physiological inertia of the voice. Only when the specific difficulties associated with vocals are overcome, when each singer and the entire choir feel their technical mastery and gain the necessary freedom of expression, will a full, expressive, truly artistic performance become possible.

Having comprehensively analyzed this work, we more accurately organized practical activities for learning the work with the choir.

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19. Zinovieva, L.P. Vocal tasks of auftact in choral conducting / L.P. Zinovieva. - St. Petersburg: Composer, 2007. - 152 p.

20. Kuznetsov, Yu. M. Experimental studies of emotional expressiveness of the choir / Yu. M. Kuznetsov. - M.: 2007. - 198 p.

21. Semenyuk, V.O. Choral texture. Performance problems. - M.: LLC Publishing House "Composer", 2008. - 328 p.

22. Kuznetsov, Yu. M. Practical choral studies. Training course in choral studies / Yu. M. Kuznetsov. - M.: 2009. - 158 p.

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When compiling teaching materials for the discipline “Class of Choral Conducting and

reading of choral scores" is based on the following normative documents:

· State educational standard of higher professional education for specialty 050601.65 “Music education”, approved by the Ministry of Education and Science of the Russian Federation on January 30, 2005. (registration number 000);

· Basic curriculum of TGKIST in specialty 050601.65

“Music education” from 27;

The discipline “Class of Choral Conducting and Reading Choral Scores” is studied throughout the entire period of study for 5 years in the form of individual student lessons with a teacher, and independent work of students to deepen and consolidate knowledge is also expected.

The total labor intensity of the discipline is 470 hours:

Kinds

classes

Total hours

Classroom

classes

Independent work

Total

hours

Distribution of hours by semester

classrooms

independent

Practical

Based on the results of studying the discipline “Class of choral conducting and reading choral scores”, a knowledge test is carried out:

· in person- individual student lessons with a teacher 229 hours,

independent work of students 241 hours.

· in absentia- individual student lessons with a teacher 64

hours, independent work of students 406 hours.

The purpose of the discipline “Class of choral conducting and reading choral scores” is to prepare students for further professional practical activities as music teachers in secondary school, institutions of preschool education and additional education for children.

The discipline “Class of Choral Conducting and Reading of Choral Scores” has the following tasks:

acquaintance with choral music, works of various eras, styles, with the work of foreign and Russian composers, with the best examples

folk song creativity;

·gaining knowledge and skills in choir conducting and singing techniques

choral parts with conducting at the level of metronomy;

·familiarization with the main issues of choral studies and methods of working with the choir;

· mastering the skills of reading scores and independent work on a choral score, performing them on the piano, transposing simple works;

·development of the ability to implement in practical work on the score

knowledge and skills acquired in the learning process;

When starting to study the discipline “Class of Choral Conducting and Reading Choral Scores,” the teacher faces certain important tasks.

a trained musician capable of independent work, as well as awakening curiosity, nurturing the will to creativity, hard work, discipline, and a sense of responsibility for oneself and the choir.

When deciding on the inclusion of certain works in the work plan, the teacher must take into account differences in the level of musical training of a particular student, and personal natural musical talent. But, in addition to the student’s professional data - musicality, hearing, vocal voice, piano proficiency, it is equally important to take into account his personal qualities: will, energy, determination, artistry - traits necessary for the formation of a future specialist - a music teacher. Future teacher music during classes in conducting and reading choral scores should develop a good ear for music, a sense of rhythm and tempo, and gain knowledge on issues of musical form and style of works. Like any musician, a music teacher must deeply study elementary music theory, solfeggio, harmony, analysis of musical works, and music history. Starting from the first days of training, it is necessary to strive to ensure that the lesson is comprehensive, and not limited only to the study of technical techniques of conducting and reading choral scores. Nurturing independence, discovering and developing the individual talent of a music student is one of the most important tasks of a teacher.

When playing a choral score on the piano, it is necessary to take into account the peculiarities of the sound of this work in the choir: breathing, tessitura conditions of the voices, peculiarities of sound design and phrasing (based on the literary text), the balance of choral parts (based on the style of presentation - homophonic-harmonic or polyphonic), etc. d. The playing of the score must be gradually brought to an artistic level. Knowing the voices when reading scores presupposes their execution with subtext and precise execution of intonation and rhythmic features. In works of a homophonic-harmonic nature, the student must be able to sing chords vertically, and in works with elements of polyphony, the student must be able to sing the “conductor’s line,” i.e., all the introductions that the conductor must show.

Considering the future direction of the music teacher’s work, it is extremely important for the student to know the school repertoire, the repertoire of the vocal ensemble and, of course, good command of the voice, clear intonation, and diction. An important component of the subject is work on works from the school repertoire: songs, choirs for children by classical composers, arrangements for children, folk songs. No less important for creative work knowledge of other types of arts: literature, painting, architecture.

The teacher must arrange educational material in order of its gradual complication, covering works of all musical styles, movements, and creative schools of different eras.

Classes in choral conducting and reading choral scores should be based on a detailed study of choral works, before conducting, preparing them for performance on the piano. The process of working on a piece should begin with a thorough analysis of the given score. Analysis of choral scores involves analyzing the form of the work, individual phrases, determining phrasing, climaxes, clarifying dynamics, agogics, and performance plan.

Approximate plan for analyzing a choral work:

1. general analysis of the content: theme, plot, main idea;

3. the composer, his biographical data, the nature of his work, the place and significance of the work being studied in the composer’s work;

4. musical theoretical analysis: form, tonal plan, texture of presentation, meter rhythm, intervals, the role of accompaniment;

5. vocal-choral analysis: type and type of choir, characteristics of choral parts (range, tessitura, vocal performance, vocal load),

6. features of the ensemble, structure, sound control and breathing; vocality of a literary text, dictionary features, as well as identification of vocal and choral difficulties and ways to overcome them;

7. performance analysis: drawing up a plan for the artistic performance of a work (tempo, dynamics, agogics, musical phrasing).

The assignments students receive in class are completed independently and checked by the teacher in subsequent classes. A necessary condition for monitoring students’ independent work is writing an annotation, which sets out in writing the main parameters of the specified plan.

Works studied in conducting class should be located

according to the degree of complexity of conducting skills, in such a way that

At the end of his studies, the student had knowledge of a wide and varied

choral material, both musical classics and compositions

The subject “Class of choral conducting and reading choral scores” of scores for students of specialty 030700 “Music education” is combined and requires an individual approach to each

to the student. Depending on the degree of musical preparation for playing

piano, the student’s musical ear development and other individual

personal conditions, the teacher can choose an individual form

work. The volume of choral works studied in conducting can

vary and be supplemented by reading choral scores, since before

these disciplines, when studying, can perform the same vocal

choral and technical tasks.

First course

Introduction to the subject “Conducting” as a form of art, its

significance among the arts. Technical means of conducting, the concept of “conducting apparatus”: body, face, hands, eyes, facial expressions, articulation.

The main position of the conductor, positioning of the body, arms, head. The hand, its plasticity. Basic principles and nature of movements in conducting: expediency, accuracy, rhythm. Conductor's movements in medium dynamic sound, medium tempo.

The structure of the movement of beats in conducting patterns. Studying the techniques of introduction and ending: three moments of introduction - attention, breathing, introduction; transition to the end, preparation, ending.

Conducting in sizes 2/4, 3/4, 4/4 at moderate and moderate-fast tempos, with sound control legato, non legato, dynamic shades mf, f, p. Mastering the introduction on various beats of a bar, techniques for performing the simplest types of fermata: removable, non-removable, fermata on the bar line, fermata on a pause.

Dividing a musical work into parts, basic concepts: period, sentence, phrase. Pauses and caesuras between phrases, breathing, techniques for conducting them. Basic skills in working with a tuning fork.

During the 1st year of study, the student goes through 8–10 simple works of a harmonic nature, with a simple texture of presentation, from 1–2 to 2–3 voices (including 2–3 from the school curriculum), and 4–6 works on reading choral scores. Introduction to folk songs, their a cappella transcriptions and accompaniment for a homogeneous choir. Introduction to choral scores of classical composers a cappella and accompaniment for a homogeneous choir.

Approximate list of works studied in the 1st year

on conducting

Arrangements of folk songs: Quail (arranged by D. Ardentov). Sing, songbird. Night is already coming. For berries. Dwarf (arranged by A. Sveshnikov). Oberek.

Gray bird. Rechenka. Time to sleep. Will I go, will I go out. Where are you, little ring?

(sample Vl. Sokolov). Do not rage, the winds are violent (arranged by A. Yurlov). Wei, breeze (arranged by A. Yuryan). The vagrant nightingale (sample M. Antsev). Like on an oak tree (sample by Yu. Slavnitsky).

A. Alyabyev. More than all the flowers. Song about a young blacksmith.

M. Antsev. Autumn. Willow. The waves fell asleep.

L. Beethoven. Hymn of the night.

R. Boyko. Morning. North.

R. Gliere. Hymn to a great city.

M. Glinka. Oh, you night. Patriotic song.

A. Dargomyzhsky. From a country, a distant country. I drink to Mary's health.

M. Ippolitov - Ivanov. Oh, my native land. With a sharp axe.

F. Mendelssohn. Memory.

G. Purcell. Evening song.

V. Rebikov. Mountain peaks. The grass is turning green. A bird sings in the air.

A. Flyarkovsky. Native land.

R. Schumann. Night. House by the sea.

R. Shchedrin. Morning.

Arrangements of folk songs: You, my field (arranged by M. Balakirev). Vistula (sample by A. Ivannikov), Kukushechka (sample by A. Sygedinsky).

A. Alyabyev. Winter road.

I. Bach. Spring song.

L. Beethoven. Praise of nature by man.

I. Brahms. Lullaby.

R. Wagner. Wedding choir (from the opera "Lohengrin").

A. Varlamov. Mountain peaks. A lonely sail is white.

M. Glinka. The wind howls in an open field.

R. Gliere. In the blue sea.

A. Grechaninov. Lullaby.

C. Cui. May Day, Verbochki. Spring morning.

K. Molchanov. Remember.

N. Rimsky–Korsakov. Height, height under heaven (from the opera “Sadko”).

N. Rukin. The raven flies to the raven.

P. Tchaikovsky. Lullaby in a storm.

L. Beethoven. Hymn of the night.

Z. Kodaly. In the green forest.

C. Cui. There's snow everywhere. The waves fell asleep. Spring morning.

F. Mendelssohn. Memory.

W. Mozart. Summer evening. Song of friendship.

Ya. Ozolin. The forest is dense.

G. Purcell. Evening song.

A. Sveshnikov. The evening is fading.

G. Struve. Bird cherry.

A. Skulte. Nowadays.

K. Schwartz. How the fog fell.

V. Yakovlev. Winter evening.

Second course

Deepening knowledge and improving conducting skills acquired by students in the first year.

Determination of the functions of the right and left hands. The independent role of the left hand in showing sustained sounds, the entry of voices at different beat times, showing different nuances: pp, p, mp, mf, f, ff.

Development of smooth, coherent conducting movements at a moderate tempo, with average sound strength. Conducting complex sizes 4/4, 6/4, familiarization with six-beat and two-beat schemes based on simple choral texture for 2-3 and 3-4 voice homogeneous choirs. The concept of staccato and its conducting techniques.

Mastering slow tempo and changing tempo: piu mosso, meno mosso, acceleration, deceleration, compression, expansion.

Study of fermata, their meaning and performance techniques: removed fermata at the beginning, middle and end of the work. Fermata paused in the middle of the piece and techniques for its execution. Non-removable fermata, techniques for its implementation.

Mastery of various dynamic shades: crescendo, diminuendo, subito forte, subito piano, pianissimo, fortissimo. Mastering the techniques of conducting accents and syncopation.

Inclusion in the program of choral works for homogeneous, youthful, part-time choirs, homophonic-harmonic works for mixed choirs a cappella and with accompaniment. During the 2nd year of study, the student goes through 8–10 works of a harmonic nature, with a simple texture of presentation, from 1–2 to 2–3 voices (including 2–3 from the school curriculum), and 4–6 works on reading choral scores.

Working with a metronome is required: mastering the skills of determining the tempo using the metronome, following the author’s metronomic instructions.

Approximate list of works studied in the 2nd year

on conducting

Unaccompanied works

Arrangements of folk songs: Green flax, A path in a damp forest, A flying nightingale (arranged by M. Antsev). Hang, hang, cabbage. The wattle fence is braided (sample by S. Blagoobrazov). Steppe and steppe all around. Among the valleys are flat. Like across the river, and beyond Daria. Borodino (Russian folk songs). River (sample Vl. Sokolov). At the gate, the priest's gate (model by M. Mussorgsky). The sea needs a thin net (sample by A. Yuryan). Weigh, weave, cabbage (model by V. Orlov).

K. Weber. Hunter's song. In the boat.

J. Weckerlen. Shepherdess.

I. Galkin. Wherever you go.

E. Grieg. Good morning.

A. Dargomyzhsky. In the wild north. From a country, a distant country.

M. Ippolitov - Ivanov. Pine.

C. Cui. Spring song.

F. Mendelssohn. Run with me. On South.

S. Monyushko. Evening song.

T. Popatenko. By the stream. Snow falls.

G. Sviridov. You sing that song for me.

M. Ciurlionis. I'll sing you a song of songs. I made beds in the garden.

F. Schubert. What a night. Linden. Silence.

R. Schumann. Spring flowers. Good night. Dream.

Works accompanied by piano

Arrangements of folk songs: I’m already burying gold (arranged by A. Koposov). Vistula (sample by A. Ivannikov).

M. Antsev. My bells.

A. Arensky. Tatar song.

I. Bach. Be with me.

L. Beethoven. Marching song.

J. Bizet. Boys' Choir (from the opera "Carmen").

Hunters' Chorus (from the opera "Free Shooter").

G. Verdi. Chorus of slaves (from the opera "Aida"). Court Choir (from the opera

"Rigoletto")

M. Glinka. Lark.

R. Gliere. Spring. Hello, winter guest. The grass is turning green. Over flowers and grass.

Strings of golden melody. Oh, if in the grove (from the opera “Orpheus”).

A. Grechaninov. Spring came. Bird cherry.

A. Dargomyzhsky. We love it. Hush, hush (from the opera “Rusalka”).

M. Ippolitov–Ivanov. Morning.

D. Kabalevsky. A song about happiness.

V. Kalinnikov. Spring.

C. Cui. The dawn is slowly burning out. Let the skies be full of confusion and thunder.

V. Makarov. The birds have flown in (from the choral suite “River-Bogatyr”).

N. Rimsky-Korsakov. Not the wind blowing from above.

A. Rubinstein. Mountain peaks.

S. Taneev. Mountain peaks.

P. Tchaikovsky. Choir of flowers (from the music for the spring fairy tale “The Snow Maiden”).

Snowdrop.

P. Chesnokov. Spring is coming. The sun, the sun is rising. Uncompressed strip. It's dawn in the morning.

Works on reading choral scores

B. Bartok. Gay, gay, black raven. Spring. Counting book.

L. Beethoven. Hymn of the night.

V. Kikta. Many summers.

M. Koval. Ilmen-ozaro.

Z. Kodaly. In the green forest.

C. Cui. Water.

M. Ludig. Lake.

F. Mendelssohn. Memory.

W. Mozart. Summer evening. Song of friendship.

Ya. Ozolin. The forest is dense.

G. Purcell. Evening song.

A. Skulte. Nowadays.

V. Shebalin. Cliff. Lily of the valley. Wormwood. Wild grapes . Winter road.

R. Schumann. Lotus. Mountain girl.

Third year

Consolidating and improving the knowledge and conducting skills acquired in the first courses.

Introducing complex and asymmetrical time signatures, conducting in 5/4 in a five-beat pattern (3+2 and 2+3) with moderate movement. Conducting in sizes 5/4, 5/8 according to a two-beat pattern (3+2 and 2+3) in fast movement.

Techniques for breaking up the basic metric unit in 2/4, 3/4, 4/4 at slow tempos, introduction to conducting alla breve.

Conducting in 3/4 and 3/8 time signatures in fast movement (on time).

Techniques for conducting homophonic and simple polyphonic

During the 3rd year of study, a student completes 8–10 works

homophonic-harmonic and simple polyphonic, with elements of imitations, subvocality, canon (including 2-3 from the school curriculum), also 3-4 works on reading choral scores.

Working with a metronome is required: mastering the skills of determining the tempo using the metronome, following the author’s metronomic instructions.

Approximate list of works studied in the 3rd year

on conducting

Unaccompanied works

Arrangements of folk songs: Povyan, povyan, stormy weather (arranged by Vl. Sokolov). The grass dries and withers in the field (sample by V. Orlov). You, my river, little river. Don’t just stand there, stand still, well (arranged by A. Lyadov). The darkness of the night fell to the ground (sample by A. Arkhangelsky). On a boat, is the sparrow at home? (sample by A. Sveshnikov). Braided, wattle fence (model by N. Rimsky-Korsakov). The sea needs a thin net, I grew up across the river (arranged by A. Yuryan). Shchedrik (model by N. Leontovich). My dear round dance (arranged by T. Popov). Oh yes you, Kalinushka (arranged by A. Novikov). Oh, little river, little river (Bulgarian folk song).

M. Balakirev. Prophets from above.

R. Boyko. The blizzard cleared up. The fields are compressed. Minutes. Winter road. Blue in the evening.

D. Bortnyansky. Glory to the Father and the Son.

E. Botyarov. Winter.

V. Kalinnikov. Winter. Oh, what an honor to the fellow.

V. Kikta. Many summers.

M. Koval. Ilmen-ozaro.

C. Cui. Water.

M. Ludig. Lake.

L. Marenzio. The buds have bloomed again.

F. Mendelssohn. Forest. On South. Spring song. Like frost fell on a spring night.

G. Purcell. Song thrush.

M. Partskhaladze. The sea is sleeping.

M. Rechkunov. Autumn. With a sharp axe. Pines are silent.

V. Salmanov. Poetry. Song. Youth.

I. Stravinsky. At Spas's in chigis. Autumn.

S. Taneev. Venice at night. Evening song. Serenade. Pine.

P. Tchaikovsky. A cloud spent the night. Worthy to eat. Evening.

P. Chesnokov. Come, let us please Joseph. It is not a flower that withers in a field. Glory.

Only begotten son.

Yu. Chichkov. The clouds are melting in the sky.

R. Schumann. Night silence. Good night. Summer song. Rosemary.

Works accompanied by piano

Arrangements of folk songs. And we sowed millet (model by N. Rimsky-Korsakov).

Hello, winter guest, A mountain ash stood in the field (sample by A. Alexandrov).

Start a round dance (model by S. Polonsky).

A. Borodin. Take heart, princess. Fly away on the wings of the wind (choruses from the op. “Prince”

I. Brahms. Spring came.

G. Verdi. Hush, hush (from the opera “Rigoletto”).

M. Glinka. Polonaise. Don’t worry, dear child. Lel the mysterious (from the opera

"Ruslan and Lyudmila"), Walked around, spilled (from the opera "Ivan Susanin")

R. Gliere. Spring. Evening.

A. Grechaninov. Prisoner. Autumn. Snowdrop. Spring came.

C. Gounod. March of soldiers (from the opera "Faust"). Courtiers' Chorus (from the opera "Romeo and

Juliet").

E. Grieg. Sunset.

A. Dargomyzhsky. Matchmaker, matchmaker. Braid yourself, wattle fence (from the opera “Rusalka”).

M. Ippolitov–Ivanov. Morning. Peasant feast.

D. Kabalevsky. Our children (No. 4 from Requiem). Good morning. You hear

C. Cui. Birds, May the skies be filled with confusion and thunder.

M. Mussorgsky. The swan floats and floats. Dad, Dad (from the opera “Khovanshchina”).

E. Guide. Girls' choir (from the opera "Dubrovsky").

N. Rimsky–Korsakov. The singing of a lark is louder. Why is the sun red so early (from

opera "The Tale of Tsar Saltan"). Like on bridges, on Kalinovs (from the opera

"The Tale of the City of Kitezh"). Chorus of Blind Guslars (from the opera “The Snow Maiden”).

P. Tchaikovsky. A duck was swimming at sea (from the opera “The Oprichnik”). Should I seat

trouble in dark forest(from the opera “The Enchantress”). I will curl, I will curl a wreath (from the opera

"Mazepa")

P. Chesnokov. Night. Uncompressed strip. Leaves. Bird cherry. Peasant feast.

Apple tree. Green noise.

Works on reading choral scores

A. Banchieri. Villanelle.

F. Belassio. Villanelle.

I. Brahms. Rosemary.

H. Kaljuste. Round dance. Everyone is on the swing.

Z. Kodaly. Shepherd's dance. Ate gypsy salted cheese

V. Muradeli. Dreams are touchy. Creek. Wind

N. Nolinsky. Eh, fields, you fields.

V. Rebikov. The violet has already bloomed. Autumn song. A bird sings in the air. The evening dawn is fading.

S. Taneev. Venice at night. Serenade. Pine.

A. Flyarkovsky. Native land. Taiga song.

P. Hindemith. Song of skillful hands.

F. Schubert. Musical moment.

R. Schumann. Night. House by the sea.

Fourth year in college

Consolidating and deepening knowledge and improving conducting skills acquired in previous courses.

Introduction to complex and asymmetrical dimensions. Conducting in 7/4 time according to a seven-beat pattern in moderate, moderately fast movement. Conducting in 7/8 time according to a three-beat (3+2+2, 2+3+2, 2+2+3) pattern in fast and moderately fast movement.

Techniques for crushing the basic metric unit in sizes 2/4, 3/4, 4/4 at slow tempos, improving conducting skills alla breve.

Conducting in 3/4 and 3/8 time signatures in fast motion (on time)

Mastering presto and largo tempos, long crescendo, diminuendo.

Improving conducting techniques for homophonic and simple

canonical presentation.

During the 4th year of study, a student completes 8–10 pieces of literature

conducting (including 2-3 from the school curriculum), also 3-4

works on reading choral scores. Included in the program by

conducting and reading choral scores, homophonic and simple polyphonic works with elements of imitations, subvocality, and canon.

Working with a metronome is required: mastering the skills of determining the tempo using the metronome, following the author’s metronomic instructions.

Approximate list of works studied in the 4th year

on conducting

Unaccompanied works

D. Arakishvili. About the poet.

M. Balakirev. Prophets from above.

R. Boyko. Winter road. Enchantress in winter.

S. Vasilenko. Like in the evening. Dafino - wine.

B. Gibalin. The islands are floating.

A. Grechaninov. In a fiery glow.

A. Dargomyzhsky. The storm covers the sky with darkness. I drink to Mary's health.

E. Darzin. Broken pine trees.

A. Egorov. Song. Lilac.

V. Kalinnikov. Lark. Summer is passing. Elegy.

M. Koval. Wedding. Ilmen lake. Tears.

F. Mendelssohn. Premonition of spring. Like frost fell on a spring night.

M. Partskhaladze. Lake.

K. Prosnak. Sea. Barcarolle. Prelude.

T. Popatenko. Snow falls.

G. Sviridov. The son met his father. Where is our rose? Blizzard.

B. Snetkov. The sea is sleeping.

P. Tchaikovsky. Legend. Without time, without time. Nightingale.

P. Chesnokov. August. Alps. I'll eat for you. Worthy to eat.

V. Shebalin. Winter road. Birch. The mother sent thoughts to her son. The Cossack drove his horse

D. Shostakovich. Executed. The belated volleys fell silent.

F. Schubert. Night. Love.

R. Schumann. In the forest. I remember the rural quiet garden. Dream. Singer. Sleeping lake. Mountain girl.

R. Shchedrin. First ice. How dear a friend.

Works accompanied by piano

Russian n. p. in arr. S. Rachmaninov. Burlatskaya.

L. Beethoven. Kyrie, Sanctus (from the Mass C– major).

I. Brahms. Ave Maria.

A. Borodin. Glory to the red sun. Yaroslavna's scene with the girls (from the opera

"Prince Igor").

G. Verdi. You are beautiful, oh, our Motherland (from the opera “Nebuchadnezzar”).

G. Galynin. The king was riding through the village after the war (from the oratorio “The Girl and Death”).

J. Gershwin. How can I sit here? (from the opera Porgy and Bess).

M. Glinka. Oh you, light Lyudmila (from the opera “Ruslan and Lyudmila”), You are good with us

river (from the opera “Ivan Susanin”).

E. Grieg. People's Chorus (from the opera "Olaf Trygvasson").

D. Kabalevsky. Happiness, School Years, Our Children (No. 4 from Requiem).

D. McDowell. Old pine.

S. Monyushko. Mazurka (from the opera "The Terrible Court").

M. Mussorgsky. It’s not a falcon that flies across the sky (from the opera “Boris Godunov”), Dad,

Dad (from the opera “Khovanshchina”)

N. Rimsky-Korsakov. Song about the Head (from the opera “May Night”). What is it in

bridges, along Kalinov bridges (from the opera “The Tale of the City of Kitezh”).

G. Sviridov. “Poem in memory of Sergei Yesenin” (separate parts).

P. Tchaikovsky. Let's drink and have fun (from the opera " Queen of Spades"). No, no

there is a bridge here. I will curl, curl a wreath. Scene of Maria with the girls (from the opera

"Mazepa")

F. Schubert. Shelter.

R. Schumann. Gypsies. “Paradise and Peri” (separate parts of the oratorio).

Works on reading choral scores

Ya. Arkadelt. Swan. Ave Maria.

D. Buxtehude. Cantate Domino (canon).

A. Gabrieli. Ave Maria.

G. Caccini. Ave Maria.

L. Cherubini. Terzetto for the glory of the major scale (canon).

C. Monteverdi. Like roses on the lawn.

W. Mozart. ABC. Children's games. Listen to how crystal clear the sounds are (from the opera “The Magic Flute”).

J. Palestrina. Ave Regina.

J. Pergolesi. Stabat Mater (parts from a cantata to choose from).

A. Scarlatti. Fugue.

R. Schumann. Dreams. Message (from Spanish songs).

Fifth year

Consolidating and deepening knowledge, improving conducting skills acquired in previous courses. Improving conducting skills and techniques in complex time signatures and variable time signatures.

Improving the skills and techniques of conducting choral scores with grouping of measures, in various sizes according to nine-beat, twelve-beat, five-beat schemes. Mastery, similar to the previous sizes, of conducting complex sizes in three-part, four-part schemes.

Improving the skills and techniques of conducting choral works with alternating simple and complex sizes.

Mastering the techniques of conducting all musical tempos, touches of musical expressiveness, long-term dynamic changes, changing tempos, meters, grouping of bars.

During the 5th year of study, a student completes 4–6 works in

conducting, as well as 3-4 works on reading choral scores.

Homophonic and

simple polyphonic works with elements of imitations, canon,

Choral scenes from Russian and Russian operas are included in the conducting program.

foreign composers, parts (fragments of parts) of large vocal and symphonic works (cantatas, oratorios, choral suites, choral cycles, choral concerts) of domestic, foreign, modern composers of various creative schools and directions.

Working with a metronome is required: mastering the skills of determining the tempo using the metronome, following the author’s metronomic instructions.

Discipline "Class of choral conducting and reading of choral scores"

in the 9th semester ends with an exam in which the student must demonstrate all the skills and knowledge acquired during the learning process.

Approximate list of works studied in the 5th year

on conducting

Unaccompanied works

A. Arensky. Anchar.

M. Glinka. Venice night.

A. Grechaninov. Beyond the river there is bright hop. In a fiery glow.

C. Gesualdo. I am silent.

V. Kalinnikov. Autumn. Elegy. Condor. Summer is passing. On the old mound. The gentle stars shone for us.

A. Kastalsky. Rus.

A. Lensky. The past. Seeing off the bride. Great to the young.

B. Lyatoshinsky. The moon is creeping across the sky. Autumn.

F. Mendelssohn. Song of the lark. Farewell to the forest.

K. Prosnak. Prelude. Sea. There would have been a storm or something.

F. Poulenc. Sadness. I'm afraid of the night.

B. Snetkov. The sea is sleeping.

P. Tchaikovsky. Not a cuckoo bird in a damp forest.

P. Chesnokov. Alps. August. The dawn is warming.

V. Shebalin. The mother sent thoughts to her son. The Cossack was driving his horse. Soldier's grave.

Dusk in the valley.

K. Szymanowski. Stabat Mater (separate parts).

R. Schumann. Song of Freedom. Storm.

R. Shchedrin. I was killed near Rzhev. To you, fallen ones.

Works accompanied by piano

Processing of Russian n. P. M. Kraseva. Don't wake me up young.

A. Harutyunyan. Cantata about the Motherland (separate parts).

I. Bach. Be with me (No. 1 from cantata No. 6)

L. Beethoven. Prisoners' Chorus (from the opera "Fidelio"). Kyrie, Sanctus (from the Mass C– major).

Sea calm and happy sailing.

J. Bizet. Scene No. 24 from the opera "Carmen".

I. Brahms. Ave Maria.

B. Britten. Missa in D (separate parts). This little child (from the suite “Rite

Carol", op. 28).

A. Borodin. Glory to the red sun (from the opera “Prince Igor”).

G. Verdi. Finale of the 1st episode from the opera “Aida”.

J. Haydn. Gloria (from Nelson's Mass).

C. Gounod. On the rivers of a foreign land.

A. Dargomyzhsky. Choral suite from 1 d. Healthy choir. Three choirs of mermaids (from the opera "Rusalka").

G. Handel. Samson died (from the orator “Samson”). Parts No. 3, 52 (from the oratorio

"Messiah").

M. Koval. Oh, you mountains, the Ural Mountains, Forest, mountains (from the oratorio “Emelyan

Pugachev").

V. Makarov. “River-Bogatyr”, separate parts from the choral suite.

W. Mozart. The sea sleeps serenely. Run, leave (from the opera “Idomeneo”).

M. Mussorgsky. It is not a falcon that flies across the sky (from the opera “Boris Godunov”).

Scenes No. 6, 7, 8 (from the opera “Khovanshchina”).

N. Rimsky-Korsakov. For raspberries, for currants (from the opera “The Pskov Woman”).

Glory. Yar-khmel (from the opera " The Tsar's Bride"). Choir of the Blind

Guslyarov (from the opera “The Snow Maiden”). Oh, trouble is coming, people (from the opera “The Tale of

the city of Kitezh and the maiden Fevronia").

G. Rossini. Parts No. 1, 9, 10 from Stabat Mater.

G. Sviridov. Winter sings. Threshing. Night under Ivan Kupala. Garden City (from

"Poems in memory of Sergei Yesenin").

B. Sour cream. How can we not have fun (from the opera “The Bartered Bride”).

P. Tchaikovsky. Interlude “The Sincerity of the Shepherdess” (from the opera “The Queen of Spades”).

“Glory” (from the op. Oprichnik). She grew up near Tyn (from the opera “Cherevichki”). No,

there is no bridge here (from the opera “Mazeppa”). Farewell to Maslenitsa (from the music for

spring fairy tale "The Snow Maiden"). From a small key. The hour has struck (from cantata

"Moscow")

P. Chesnokov. Apple tree. Peasant feast. Green noise.

F. Schubert. Shelter. Miriam's song of victory (choirs no. 1, 3)

R. Schumann. Gypsies. Choirs 6,7, 8 (from the oration “Paradise and Peri”). Requiem (separate

Works on reading choral scores

A. Alyabyev. Winter road.

L. Beethoven. Spring call. Sing with us.

J. Bizet. March and choir (from the opera "Carmen").

R. Boyko. Morning. A blizzard is blowing. Heart, heart, what's wrong with you.

I. Brahms. Lullaby. Rosemary.

A. Varlamov. A lonely sail is white.

V. Kalistratov. Talyanka.

V. Kikta. Tula songs No. 2B. Mozart. ABC. Children's games. Listen to how crystal clear the sounds are (from the opera “The Magic Flute”).

C. Cui. Spring morning. Let there be confusion and thunder.

G. Lomakin. Evening dawn.

F. Mendelssohn. On the distant horizon. Sunday morning.

A. Pakhmutova. My golden land (parts to choose from the choral cycle).

S. Rachmaninov. Island. Six choirs for women's (children's) voices.

N. Rimsky-Korsakov. The golden cloud spent the night. Not the wind blowing from above. Choir of birds (from the opera "The Snow Maiden").

A. Scarlatti. Fugue.

P. Tchaikovsky. Nightingale. The golden cloud spent the night. Neapolitan song. Choir of children, nannies and others (from the opera “The Queen of Spades”).

P. Chesnokov. Apple tree. Green noise. It is worthy to eat (from “Liturgy for Women’s Voices”).

F. Schubert. Musical moment. Serenade.

R. Schumann. Dreams. Message (from Spanish songs)

4. Requirements for the final exam

by discipline“Class of choral conducting and reading choral scores”

for students of specialty 050601.65 "Musical education"

1. Be able to play one piece a cappella by heart, observing all the techniques of musical expressiveness, try to convey the sound of the choir in the game.

text, optional, with timing. Sing choral vertical lines in cadences, climaxes, and when changing sections (parts).

3. Be able to play one piece with piano accompaniment,

accompaniment and choral score.

4. Sing the parts of the soloist(s), accompanying on the piano.

5. Conduct both of these works by heart.

6. Be able to analyze both works, know the history and time of their creation,

form, make a vocal and choral analysis, give examples from other works of choral creativity of the performed composers.

State exam

“Conducting a concert program performed by a choir”

At the state exam, the graduate is required to perform two works with the student choir - one a cappella and one accompanied by piano. Preparing and conducting the state exam is an important stage in the work of a teacher with a graduate. The state exam program is selected in advance and must correspond to the capabilities of the choral group and the graduate; it is also necessary to approve the programs at the departments of choral conducting and music education. A teacher in the discipline “Class of Choral Conducting and Reading Choral Scores” must carefully prepare the graduate student for classes with the choir, paying special attention to the methodology of the upcoming classes. By personally attending choral class rehearsals with his graduate, the teacher has the opportunity to help him in his work, tactfully and skillfully, directing the rehearsal process.

At the stage of rehearsal work, the graduate uses various methods and technical techniques of conducting, allowing him to achieve the highest quality performance by the training choir of the concert program of the state exam. Based on a holistic initial analysis of the works, the graduate draws up a rough plan for rehearsal work. This could be: identifying the simplest and most difficult choral fragments, ways to overcome difficulties based on vocal-choral, intonation and metro-rhythmic work with choral parts. Such a plan is necessary; it is the basis for achieving the main goal - high-quality performance by the educational choir of the concert program of the state exam.

5. Educational and methodological support

Main literature

1. Bezborodova, Lyudmila Alexandrovna. Conducting: textbook. manual for teachers universities and music colleges / . – Moscow: Flinta, 2000. – 208 p.

2. Bezborodova, Lyudmila Alexandrovna. Conducting: textbook. allowance / . – Moscow: Flinta, 20с.

3. Romanovsky, dictionary /. - Ed. 4th, add. – Moscow: Music, 2005. - 230 p.

4. Svetozarova, secular choral music a carpella XIX – early XX centuries: notographic reference book /. – St. Petersburg: SPBGPU, 2004. – 161 p.

5. Semenyuk, V. Notes on choral texture / V. Semenyuk. – Moscow, 2000.

6. Ukolova, Lyubov Ivanovna. Conducting: textbook / L. Ukolova. Moscow: VLADOS, 2003. – 207 p. + notes.

7. Reader on conducting. Choral works in complex, asymmetrical and variable sizes: a textbook for conducting and choral departments of music universities / comp. : Magniog. state conservatory – Magitogorsk, 2009. – 344 p.

8. Reader on conducting. Choirs from operas by foreign composers (accompanied by piano) / comp. . – Moscow: Music, 1990. – Issue. 6. – 127 p.

additional literature

1. To help the conductor-choirmaster. Choral works of Russian composers: notographic index / comp. ; resp. per issue . – Tyumen, 2003. – 69 p. – Vol. 1.

2. To help the conductor-choirmaster. Arrangements for the choir of Russian composers: notographic index / comp. ; resp. per issue . – Tyumen, 2003. – 39 p. – Vol. 2.

3. To help the conductor-choirmaster. Choral works by foreign composers: notographic index / comp. ; resp. per issue – Tyumen, 2003. – 40 p. – Vol. 3.

4. Lyozin, vocal-motor information content

conducting technique in the professional training of a choirmaster [Text]: monograph /. – Tyumen: RITs TGAKI, 2009. – 144 p.

5. Romanova, Irina Anatolyevna. Questions of history and theory

conducting: textbook. manual / – Ekaterinburg: Polygraphist, 1999. – 126 p.

6. Logistics support

Requirements for material and technical support of the discipline “Class

choral conducting and reading choral scores" for students of specialty 050601.65 "Music education" are justified by the state educational standard of higher professional education, and are as follows:

· presence of grand pianos and upright pianos in a quantity sufficient for conducting classes, two instruments per class;

· presence of conductor's stands, at least one in the classroom;

· availability of a library, music library, audio and video recordings;

· availability of the necessary audio equipment (cassette recorders, stereos, CD, DVD, CD-audio players);

· the presence of a music room with a fund of musical recordings of concerts, festivals, master classes conducted by the university.

1. Explanatory note…………………………………………………….2

readings of choral scores……………………………………………………………..5

4. Requirements for the final exam……………………………………..17

5. Educational and methodological support of the discipline

5.1 basic literature

5.2 additional literature………………………......……………18

6. Logistics……………………………………19

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 the personal characteristics of the composer we are studying.

.Historical and stylistic review

1.1Historical and stylistic analysis of the era of the late XIX - early XX centuries

New period 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 policy 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.

The literary life of Russia flowed intensely, in the struggle of various directions, marked by the work of many outstanding masters who developed the traditions of their predecessors. In the 90-900s, the “great writer of the Russian land” L.N. Tolstoy continued his activities. His journalistic speeches, dedicated to topical problems of Russian reality, invariably caused great public resonance. The 90s and early 900s marked the apogee of A.P. Chekhov’s creativity. An outstanding representative of the older generation of writers of the late 19th - early 20th centuries. was V.G. Korolenko. The fiction writer, artist, courageous publicist V.G. Koroleiko consistently spoke out against any arbitrariness and violence, no matter what clothes they wore - counter-revolutionary or, on the contrary, revolutionary. In the first half of the 90s of the XIX century. A. M. Gorky’s writing career began, putting his talent at the service of the revolution. A significant phenomenon in the development of the realistic trend in Russian literature were the works of such writers as I.A. Bunin, V.V. Veresaev, A.I. Kuprin, A.N. Tolstoy, N.G. Garin-Mikhailovsky, E.V. .Chirikov et al.

By the 80s - early 90s of the XIX century. the origins of Russian symbolism go back, which in the 90s was formed into a more or less definite modernist literary movement, which acted 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, the creative activity of A.A. Blok, who was part of the circle of younger symbolists, began. 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.

The activities of the Moscow Art Theater, founded in 1898 by K.S. Stanislavsky and V.I., played a huge role in the development of domestic theatrical art. Nemirovich-Danchenko - the largest directors and theater theorists.

The most important centers of operatic culture remained the Mariinsky Theater in St. Petersburg and the Bolshoi Theater in Moscow. The activities of “private stages” also acquired great importance - primarily the Russian Private Opera, which was founded in Moscow by the 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 replete 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, a modernist movement is emerging, represented 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, the great master of operatic art, composer N.A. Rimsky-Korsakov, continued to create. In the field of symphonic and chamber music, true masterpieces were created by A.K. Glazunov, S.V. Rachmaninov, A.N. Skryabin, 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. The performances of the popular masses as active forces in the public life of Russia gave rise to the ideas of “universality”, “togetherness”. 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 determined primarily by 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 importance. 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 choral miniature a cappella 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 surrounding world 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 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 full of 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 in the best works of A. Arkhangelsky, A. Kopylova, N. Cherepnin, F. Akimenko, N. Sokolov, V. Zolotareva, 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 works of a cappella, 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. At the same time, 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 fascination with elegant chords of a multi-third structure, in particular non-chords of 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 go through all the choral literature over the last hundred years and you will find little that equals Gareshkov’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, it once again brought Russia closer to the West, and on the other hand, it accelerated the formation of Russian culture as one of the European cultures, closely connected with Western European currents of social thought and artistic culture, and exerting its own influence on it.
Western philosophical and political teachings were assimilated Russian society in relation to Russian reality. The memory of French Revolution. 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 historical path 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.

All these phenomena in the social thought of the country largely determined the development of the artistic culture of Russia in the 19th century, and above all, its close attention to social problems, journalism. is rightly called the “golden age” of Russian literature, an era when Russian literature not only acquires its 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 Russian stage Imperial theaters dominate. 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.

Development of Russian theater in the middle - second half XIX century 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. In the first decades of the 19th century. Romantic tendencies prevailed, 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). TO mid-19th century V. 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 implied the creation of a generalized ideal image, opposed to reality, the affirmation of a strong, free personality, disregarding the conventions of society. Often the ideal was seen in the past, which aroused increased interest in Russian history. The emergence of romanticism in Russian literature is associated with the ballads and elegies of V. A. Zhukovsky; works of the Decembrist poets, as well as early works A.S. Pushkin brought 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 of the literary style of the 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 bar 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 as the first in terms of phrases, motives, and nuances. 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. It should immediately be noted that there is 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 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 the Russian national trait of 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 soloist - octave). 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” (vols. 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 movement immediately introduces a contrast with its lively tempo, bright register, the sound of the eponymous major, and the inviting fourth intonation of the main theme “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 (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 verse, a certain refrain (chanting), 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 vols 41-44. 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 downbeat 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 at 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 begins to gradually 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, music has pictorial 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. Next 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” (vol. 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 culminating 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 motif 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, the so-called “third-free” 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 and half notes 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.

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GOU SPO VO "Vologda Regional Music College"

"Choral conducting"

Analysis of the choral arrangement of the Russian 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, I. Brahms, P. I. Tchaikovsky, A. K. Lyadov, Kostalsky, A. Davidenko, A. Alexandrov, D. Shostakovich (“Like I was young”).

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.

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,

Go right, in the yard.

The good horse played out,

Good black horse,

Walk right, black man.

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. - “I 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 of chorus. 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 by a mixed cast. 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 a male choir group, where the tenor solos on the lower ascending tetrachord of Mixolydian and natural D, and the bass has a descending, repeating incremental movement from 1 to 5.

In the second sentence, in the chorus, the bass solos against the backdrop of harmonic support from 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 female three-part voices, 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 are both bright dynamics - ff, and the 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 “White pebble knocked out...”, 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 tertian tone, D7/D with a low fifth, D7 to G major, the first second in D Mixolydian.

In Oleg Pavlovich Kolovsky’s arrangement there are half-tone intonations 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 rise in order to stay in key and not “go” 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 sound, 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. Small sixth - the interval is quite wide, so the poet intonates to narrow it.

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 rich, 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, followed by 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 equal 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 sold her husband, go right, she sold”

“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.

Using light non legato at the end of the first sentence of each verse and in choruses will require active, fast pronunciation of words with fine articulation.

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 of everyday speech, “bazaar” 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 touches, 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 the short introductions of eighth notes due to the “throwing 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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Analysis of choral scores. Kolovsky - Analysis of the choral score A significant place in the work of O.P. Kolovsky is interested in choral arrangements of folk and revolutionary songs

From form to content

Conclusion

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Similar documents

When compiling teaching materials for the discipline “Class of Choral Conducting and

reading of choral scores" is based on the following normative documents:

· Basic curriculum of TGKIST in specialty 050601.65

“Music education” from 27;

Third year

Fourth year in college

Fifth year

State exam

“Conducting a concert program performed by a choir”

Send your good work in the knowledge base is simple. Use the form below

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”

IN. Chernushenko.

B) Processing.

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