Analysis of musical works. Ballet creativity of A.I. Khachaturian as a classic example of modern music The nature of the work Gayane Khachaturian's lullaby ballet

The ballet “Gayane” is notable, first of all, for the music of Aram Khachaturian, while experts rightly call the libretto stilted. It was written by screenwriter and librettist Konstantin Derzhavin in 1940 based on Khachaturian’s previous ballet “Happiness”. In “Gayane” the composer retained all the best that was in “Happiness” and significantly supplemented and developed the score. The ballet premiered in 1942, in Perm, where the Leningrad Opera and Ballet Theater was evacuated. Kirov. Then Soviet theaters often turned to Khachaturian’s ballet. “Gayane” was staged in Sverdlovsk, Yerevan, Kyiv, Riga, Novosibirsk, Chelyabinsk. At the Kirov Theater it was resumed two more times - in 1945 and 1952. “Gayane” was first staged on the stage of the country’s main musical theater, the Bolshoi, in 1957. We bring to your attention a recording of a much later production.

So, experts consider the music to be the main advantage of “Gayane”. “While still working on the music for the ballet “Happiness,” Khachaturian turned to Armenian folklore,” we read in the book “History of Modern Russian Music.” – All this was included in “Gayane”. And although there are few actual folk melodies in the ballet, the intonational nature of Armenian music is recreated through rhythmic, mode-harmonic features, bringing the work closer to the tradition of Russian classical “music about the East.” By the way, it was for the ballet “Gayane” that Khachaturian wrote “The Saber Dance,” which is often performed as an independent work. In terms of choreography, the ballet breaks up into separate performances. “Various solo numbers and duets, dramatic scenes, generally symphonized (“Cotton Picking”, “Cotton Dance”, “Dance of Pink Girls” and others), folklore dances (“Lezginka”, “Russian Dance”, “Shchalaho”, “Uzundara” ", "Gopak") - all this makes up the voluminous and contrasting score of the ballet" ("History of Contemporary Russian Music").

Why is there a place in Armenian history for hopak, Russian dance and other dances of the peoples of the USSR? At the end of this story, guests from the fraternal republics arrive at the Armenian collective farm for the harvest festival. But before that, a completely detective story unfolds on the mountain collective farm and its surroundings. A spy parachutes into the mountains of Armenia. He will keep an eye on the geologists - they, with the help of the smart shepherd Armen, discovered deposits of rare and valuable ore not far from the collective farm. Naturally, vigilant Soviet collective farmers will expose the enemy. But in parallel with the spy story, the ballet unfolds, of course, a love story. Shepherd Armen and the daughter of the collective farm chairman Gayane love each other, but every now and then they have to repel the attacks of the jealous Giko, Gayane’s admirer.

Today “Gayane” seems to be a monument to a special era of Soviet art, when the glorification of the brotherhood of peoples took on bizarre forms. But this does not prevent you from enjoying the mighty music of Aram Khachaturian and the high skill of the Bolshoi Theater ballet dancers.

Khachaturian's Concerto for Violin and Orchestra, written in 1940, belongs to the outstanding and most popular works of music. The popularity of Khachaturian's violin concerto is due to its great artistic merits. Pictures of the colorful, happy life of Armenia were reflected in the life-affirming and bright images of the concert, festive-dance and lyrically-soulful.

Having experienced the beneficial influence of the traditions of the Russian classical concert and Russian symphony, Khachaturian created a work marked by high skill and at the same time clearly folk. Authentic Armenian folk tunes are not used in the concert. However, all of his melody, modal-intonation structure, and harmony are an organic transformation of Armenian folk song, native to Khachaturian.

Khachaturian's violin concerto consists of 3 parts: the outer parts are fast, impetuous, full of dynamics and fire; the middle one is slow, lyrical. There are intonation connections between the parts of the concert and individual themes, which gives it integrity and unity.

Part 1 (Allegro, D minor) is written in the form of a sonata allegro. Already a short orchestral introduction captivates the listener with its energy and assertiveness and immediately brings it into the sphere of active action.

Part 2 (Andante sostenuto, A minor) represents the central lyrical image of the concert. It is in bright contrast to the outer parts. The violin acts here exclusively as a melodic, melodic instrument. This is a “song without words” in the oriental style, in which the intonations of Armenian folk tunes are organically implemented. It expresses sincere thoughts, thoughts about his native land, the artist’s love for his people, for the nature of the Caucasus.

The finale of the concert is a vivid picture of a national holiday. Everything is full of movement, aspiration, energy, fire, joyful inspiration. The music is of a dance nature; even when the song flows, the rhythm of the dance continues to sound. The sound range expands, the movement becomes more and more rapid. The sound of the orchestra and violin imitates folk instruments.

Having embodied brightly colorful musical scenes from the life of the people of Armenia in his violin concert, Khachaturian applied the technique of monothematism to the overall composition of his work: in the 2nd part of the concert, and especially in the finale, the themes of the 1st part are carried out. But varying the texture, tempo, rhythm, dynamics contributes to a change in their figurative meaning: the dramatic and lyrical images of part 1 now turn into images of a folk holiday, fun, exuberant and temperamental dancing. This transformation is in keeping with the optimistic concept of the concert.

Ballet "Gayane"

The ballet “Gayane” was written by Khachaturian in 1942. In the harsh days of the Second World War, the music of “Gayane” sounded like a bright and life-affirming story. Shortly before Gayane, Khachaturian wrote the ballet Happiness. In a different storyline revealing the same images, the ballet was, as it were, a sketch for “Gayane” in theme and music: the composer introduced the best numbers from “Happiness” into “Gayane”.

The creation of “Gayane,” one of Aram Khachaturian’s wonderful works, was prepared not only by the first ballet. The theme of human happiness - his living creative energy, the completeness of his worldview was revealed by Khachaturian in works of other genres. On the other hand, the symphonic nature of the composer’s musical thinking, the bright colors and imagery of his music.

The libretto of “Gayane,” written by K. Derzhavin, tells the story of how the young collective farmer Gayane emerges from the power of her husband, a deserter who undermines work on the collective farm; how she exposes his treacherous actions, his connection with saboteurs, almost becoming a victim of a target, almost becoming a victim of revenge, and finally, how Gayane learns a new, happy life.

1 action.

A new harvest is being harvested in the cotton fields of an Armenian collective farm. Among the best, most active workers is collective farmer Gayane. Her husband, Giko, quits working on the collective farm and demands the same from Gayane, who refuses to fulfill his demand. Collective farmers expel Giko from their midst. This scene is witnessed by the head of the border detachment, Cossacks, who arrived at the collective farm.

Act 2

Relatives and friends try to entertain Gayane. Giko's appearance in the house forces the guests to leave. 3 strangers come to see Giko. Gayane learns about her husband’s connection with saboteurs and his intention to set fire to the collective farm. Gayane's attempts to prevent the criminal plan are in vain.

Act 3.

Proud camp of the Kurds. A young girl Aisha is waiting for her lover Armen (Gayane’s brother). Armen and Aisha's date is interrupted by the appearance of three strangers looking for the way to the border. Armen, having volunteered to be their guide, sends for Kazakov’s detachment. The saboteurs were detained.

In the distance, a fire flares up - it is a collective farm that has been set on fire. Cossacks with a detachment and Kurds rush to the aid of collective farmers.

4 action.

The collective farm, reborn from the ashes, is preparing to begin its working life again. On this occasion there is a holiday on the collective farm. With the new life of the collective farm, Gayane’s new life begins. In the struggle with her deserter husband, she asserted her right to an independent working life. Now Gayane has learned a new, bright feeling of love. The holiday ends with the announcement of the upcoming wedding of Gayane and Kazakov.

The action of the ballet develops in two main directions: the drama of Gayane, pictures of folk life. As in all of Khachaturian’s best works, the music of “Gayane” is deeply and organically connected with the musical culture of the Transcaucasian peoples and, most of all, with his native Armenian people.

Khachaturian introduces several authentic folk melodies into the ballet. They are used by the composer not only as bright and expressive melodic material, but in accordance with the meaning they have in folk life.

The compositional and musical-dramatic techniques used by Khachaturian in “Gayane” are extremely diverse. Integral, generalized musical characteristics acquire predominant importance in ballet: portrait sketches, folk and genre pictures, pictures of nature. They correspond to complete, closed musical numbers, in the sequential presentation of which bright suite-symphonic cycles often develop. The logic of development that unites independent musical images into a single whole is different in different cases. Thus, in the final picture, a large cycle of dances is united by the ongoing celebration. In some cases, the alternation of numbers is based on figurative, emotional contrasts of lyrical and cheerful, impetuous or energetic, courageous, genre and dramatic.

Musical and dramatic means are also clearly differentiated in the characteristics of the characters: solid portrait sketches of episodic characters are contrasted with end-to-end dramatic musical development in Gayane’s part; The varied dance rhythms that underlie the musical portraits of Gayane’s friends and relatives are contrasted by Gayane’s improvisationally free, lyrically rich melodies.

Khachaturian consistently applies the principle of leitmotifs to each of the characters, which imparts musical value and stage specificity to the images and the entire work. Thanks to the diversity and development of Gayane’s melodies, her musical image acquires much greater flexibility in comparison with other ballet characters. The image of Gayane is revealed by the composer in a consistent development, as her feelings evolve: from hidden sorrow (“Dance of Gayane”, No. 6) and the first glimpses of a new feeling (“Dance of Gayane”, No. 8), through a struggle full of drama (Act 2) - to a new bright feeling, a new life (introduction to Act 4, No. 26).

“Dance of Gayane” (No. 6) is a mournful, restrained monologue. His expressiveness is concentrated in a soulful and at the same time intense melody.

A different circle of images is conveyed by another “arioso” of Gayane - “Dance of Gayane” (No. 8, after a meeting with the head of the border detachment Kazakov) - excited, tremulous, as if foreshadowing the beginning of a new, bright feeling. And here the composer adheres to strict economy of expressive means. This is a harp solo built on wide passages.

Now follows “Lullaby” (No. 13), where the characters’ introductory melody, measured, still bears traces of the drama of the previous scene. But as it develops, the same theme in the sound of the violins, with variations activating the melody, in a new, more intense harmonization, acquires a broader lyrical meaning. A further change in the theme completely violates the framework of the lullaby: it sounds like a dramatic monologue of Gayane.

The portrait of Gayane, given by the composer in a variety of ways, is at the same time distinguished by its amazing musical unity. This is especially clear in the example of the duet with Kazakov. And here the composer strives to preserve the general image of the heroine: the same broad, improvisational melody, deeply lyrical, but for the first time light, in a major key; the same intimacy and chamberness of the sound of solo instruments.

A completely different principle underlies the musical depiction of other characters: Nune and Karen, Gayane’s brother Armen, the Kurdish girl Aisha.

The “portrait” of Aisha, a young Kurdish girl, is painted brightly and prominently - “Aisha’s Dance” (No. 16). The composer managed to combine a drawn-out, leisurely, oriental melody, whimsically rhythmic, with a clear and smooth waltz movement, giving the music the character of soft lyricism.

In "Aisha's Dance" the variational principle of development is combined with a three-hour form; dynamics, movement - with clarity and symmetrical construction.

“Dance of the Pink Girls” (No. 7) is distinguished by its extraordinary freshness, elegance and grace of movement. Its melody is extremely clear in design, as if it combines the clarity of a marching gait, which imparts cheerfulness to the music, and the whimsicality of dance rhythms.

“Dance with Sabers” (No. 35), energetic, temperamental, in its design is connected with the tradition of showing strength, prowess, and dexterity at folk festivals. Fast tempo, strong-willed uniform rhythm, chanting of melody, ringing and sharp orchestral sounds - all this reproduces the speed and rhythm of movements, saber strikes.

One of the bright numbers of the “Dance Suite” of Act 4 is “Lezginka”. It is striking in its very subtle, sensitive insight into the essence of folk music. Everything in Lezginka comes from listening to folk music. “Lezginka” is an example of how Khachaturian, based entirely on the principles of folk music, freely and boldly develops them to the scale of symphonic thinking.

Artist N. Altman, conductor P. Feldt.

The premiere took place on December 9, 1942 at the S. M. Kirov Opera and Ballet Theater (Mariinsky Theater), Molotov (Perm).

Characters:

• Hovhannes, chairman of the collective farm
• Gayane, his daughter
• Armen, shepherd
• Nune, collective farmer
• Karen, collective farmer
• Kazakov, head of the expedition
• Unknown
• Giko, collective farmer
• Aisha, collective farmer
• Agronomist, collective farmers, geologists, border guards and the head of the border guard

The action takes place in Armenia in the 1930s of the 20th century.

Dark night. An unknown figure appears in a thick network of rain. Listening warily and looking around, he frees himself from the parachute lines. After checking the map, he makes sure that he is at the goal. The rain is subsiding. Far away in the mountains the lights of the village flicker. The stranger takes off his overalls and remains in his tunic with stripes for being wounded. Limping heavily, he goes towards the village.

1. Sunny morning. Spring work is in full swing in the collective farm gardens. Taking his time, Giko lazily goes to work. The girls of the best brigade of the collective farm are in a hurry. With them is the foreman - a young, cheerful Gayane. Giko stops her, talks about his love, wants to hug her. A young shepherd, Armen, appears on the road. Gayane joyfully runs towards him. High in the mountains, near the shepherds' camp, Armen found pieces of ore and shows them to Gayane. Giko watches them jealously.

During rest hours, collective farmers start dancing. Giko wants Gayane to dance with him and tries to hug him. Armen protects the girl from annoying advances. Giko is furious and is looking for a reason to quarrel. Grabbing a basket of seedlings, Giko furiously throws it and rushes at Armen with his fists. Gayane stands between them and demands that Giko leave.

A young collective farmer, Karen, comes running and announces the arrival of guests. A group of geologists led by the head of the expedition, Kazakov, enters the garden. An unknown person follows them. He hired out to carry the geologists' luggage and stayed with them. Collective farmers warmly welcome visitors. The restless Nune and Karen begin to dance in honor of the guests. Gayane also dances. The guests watch Armen's dance with admiration. The signal to start work sounds. Hovhannes shows visitors the gardens. Gayane is left alone. She admires the distant mountains and gardens of her native collective farm.

Geologists are returning. Armen shows them the ore. The find of the shepherd has interested geologists and they are going to explore. Armen undertakes to accompany them. An unknown person is watching them. Gayane tenderly says goodbye to Armen. Giko, seeing this, is overcome with jealousy. The unknown person sympathizes with Giko and offers friendship and help.

2. After work at Gayane’s friends gathered. Kazakov enters. Gayane and her friends show Kazakov the carpet they have woven and start a game of blind man's buff. A drunk Giko arrives. The collective farmers advise him to leave. After seeing the guests off, the collective farm chairman tries to talk to Giko, but he does not listen and annoyingly pesters Gayane. The girl angrily drives Giko away.

The geologists and Armen return from the hike. Armen's discovery is not an accident. A rare metal deposit was discovered in the mountains. Giko, who lingers in the room, witnesses the conversation. Geologists are getting ready to go. Armen tenderly gives Gayane a flower brought from the mountain slope. Giko sees this as he walks past the windows with the unknown man. Armen and Hovhannes set off along with the expedition. Kazakov asks Gayane to keep the bag with ore samples.

Night. An unknown person enters Gayane's house. He pretends to be sick and falls exhausted. Gayane helps him get up and hurries to get water. Left alone, he begins to look for materials from the geological expedition. Returning Gayane understands that she faces an enemy. Threatening, the unknown person demands that Gayane hand over the materials. During the fight, the carpet covering the niche falls. There is a bag with pieces of ore. An unknown person takes the bag, ties Gayane and sets the house on fire. Fire and smoke fill the room. Giko jumps out the window. There is horror and confusion on his face. Seeing a stick forgotten by an unknown person, Giko realizes that the criminal is his recent acquaintance. Giko carries Gayane out of the house engulfed in flames.

3. Starry night. High in the mountains there is a camp of collective farm shepherds. A squad of border guards passes by. Shepherd Ishmael entertains his beloved Aisha by playing the pipe. Aisha begins a smooth dance. The shepherds gather. Armen arrives, he brought geologists. Here, at the foot of the cliff, he found ore. Shepherds perform the folk dance “Khochari”. They are replaced by Armen. Burning torches in his hands cut through the darkness of the night.

A group of mountaineers and border guards arrives. The mountaineers carry the parachute they found. The enemy has penetrated Soviet soil! There was a glow over the valley. There is a fire in the village! Everyone rushes there.

The flames are raging. In its reflections the figure of an unknown person flashed. He tries to hide, but collective farmers are running from all sides towards the burning house. The unknown person hides the bag and gets lost in the crowd. The crowd subsided. An unknown person catches up with Giko, asks him to remain silent and gives him a wad of money for this. Giko throws money in his face and wants to apprehend the criminal. Giko is wounded but continues to fight. Gayane comes running to help. Giko falls. The enemy points his weapon at Gayane. Armen arrives in time and snatches a revolver from the enemy, who is surrounded by border guards.

4. Autumn. The collective farm reaped a bountiful harvest. Everyone comes together for the holiday. Armen hurries to Gayane. Armena stops the kids and starts a dance around him. Collective farmers carry baskets of fruit and jugs of wine. Guests invited to the holiday from the fraternal republics arrive - Russians, Ukrainians, Georgians. Finally Armen sees Gayane. Their meeting is full of joy and happiness. People flock to the square. Here are the old friends of the collective farmers - geologists and border guards. The best brigade is awarded a banner. Kazakov asks Hovhannes to let Armen go to study. Hovhannes agrees. One dance gives way to another. Nune and her friends dance, striking the ringing tambourines. The guests perform their national dances - Russian, dashing Ukrainian hopak.

Tables are set right there in the square. With their glasses raised, everyone praises free labor, the indestructible friendship of the Soviet peoples, and the beautiful Motherland.

At the end of the 1930s, Aram Khachaturian (1903-1978) received an order for music for the ballet “Happiness”. The performance, with a traditional plot for that time about a happy life “under the Stalinist sun,” was being prepared for the Decade of Armenian Art in Moscow. Khachaturian recalled: “I spent the spring and summer of 1939 in Armenia, collecting material for the future ballet “Happiness.” It was here that the deepest study of the melodies of my native land and folk art began.” Six months later, in September, the ballet was staged at the Armenian Opera Theater and the ballet named after A. A. Spendiarov, and a month later it was shown in Moscow. Despite great success, shortcomings were noted in the script and musical drama.

A few years later, the composer returned to work on music, focusing on a new libretto written by Konstantin Derzhavin (1903-1956). The revised ballet, named after the main character “Gayane,” was being prepared for production at the State Academic Opera and Ballet Theater named after S. M. Kirov, but the outbreak of the Great Patriotic War ruined all plans. The theater was evacuated to the city of Molotov (Perm), where the composer arrived to continue work.

“In the fall of 1941, I returned to work on the ballet,” Khachaturian recalled. - Today it may seem strange that in those days of severe trials we could talk about a ballet performance. War and ballet? The concepts are truly incompatible. But as life has shown, there was nothing strange in my plan to depict the theme of a great national upsurge, the unity of people in the face of a formidable invasion. The ballet was conceived as a patriotic performance, affirming the theme of love and loyalty to the Motherland. At the request of the theater, after finishing the score, I completed “Dance of the Kurds” - the same one that later became known as “Dance with Sabers”. I started composing it at three o'clock in the afternoon and worked without stopping until two o'clock in the morning. The next morning the orchestral voices were transcribed and a rehearsal took place, followed in the evening by a dress rehearsal for the entire ballet. “The Saber Dance” immediately made an impression on the orchestra, the ballet, and those present in the hall.”

The first performers of the successful premiere in Molotov were Natalya Dudinskaya (Gayane), Konstantin Sergeev (Armen), Boris Shavrov (Giko).

The music for the ballets “Gayane” and “Spartacus” is among Khachaturian’s best works. The music of “Gayane” is distinguished by its wide symphonic development with the use of leitmotifs, bright national color, temperament and colorfulness. It organically includes authentic Armenian melodies. Gayane's lullaby, imbued with a tender feeling, is memorable. For many decades, the “Sabre Dance”, full of fire and courageous strength, was a real hit, reminiscent of “Polovtsian Dances” from the opera “Prince Igor” by Borodin. The constant trampling rhythm, sharp harmonies, and whirlwind tempo help create a vivid image of a strong, courageous people.

Musicologist Sofya Katonova wrote: “Khachaturian’s merit was both the reproduction of the characteristic traditions and genres of ancient Armenian art, and their transmission in a specific style of folk performance. It was important for the composer, turning to a modern theme in “Gayane,” to capture not only the authentic features of the era, but also the appearance and mental makeup of his nation, borrowing its inspired creative manner of reflecting the surrounding life.”

The choreographer of the play "Gayane" Nina Anisimova (1909-1979) was a student of the famous Agrippina Vaganova, an outstanding character dancer of the Kirov Theater from 1929 to 1958. Before working on Gayane, Anisimova had experience staging only a few concert numbers.

“The theater’s appeal to this musical work,” wrote ballet scholar Marietta Frangopulo, “expressed the aspirations of Soviet choreographic art to embody heroic images and, in connection with this, an appeal to large symphonic forms. Khachaturian's vibrant music, full of drama and lyrical sounds, is replete with Armenian folk melodies, developed in the techniques of a broad symphonic development. Khachaturian created his music on the combination of these two principles. Anisimova set herself a similar task. "Gayane" is a performance of rich musical and choreographic content. Some ballet numbers - such as the duet of Nune and Karena, Nune's variation - were subsequently included in many concert programs, just like "Sabre Dance", the music of which is often performed on the radio. However, the inferiority of the ballet’s dramaturgy greatly weakened its impact on the viewer, which led to the need to rework the libretto several times and, in accordance with this, the stage appearance of the performance.”

The first changes in the plot basis occurred already in 1945, when the Kirov Theater, returning to Leningrad, finalized “Gayane”. The prologue disappeared from the play, the number of saboteurs increased to three, Giko became Gayane’s husband. New heroes appeared - Nune and Karen, their first performers were Tatyana Vecheslova and Nikolai Zubkovsky. The scenography also changed, Vadim Ryndin became the new artist. The play was reworked at the same theater in 1952.

In 1957, the ballet “Gayane” was staged at the Bolshoi Theater with a new illustrative and naturalistic script by Boris Pletnev (3 acts, 7 scenes with a prologue). Choreographer Vasily Vainonen, director Emil Kaplan, artist Vadim Ryndin, conductor Yuri Fayer. The main roles at the premiere were danced by Raisa Struchkova and Yuri Kondratov.

Until the end of the 1970s, the ballet was successfully performed on Soviet and foreign stages. Among the interesting decisions, one should note Boris Eifman’s graduation performance (1972) at the Leningrad Maly Opera and Ballet Theater (the choreographer later created new editions of the ballet in Riga and Warsaw). The choreographer, with the consent of the music author, abandoned spies and scenes of jealousy and offered the viewer a social drama. The plot told about the first years of the formation of Soviet power in Armenia. Gayane Giko's husband - the son of the kulak Matsaka - cannot betray his father. Gayane, who grew up in a poor family, sincerely loves her husband, but supports the new government headed by Armen. I remember how the “red wedge” of Komsomol members “historically” crushed Matsak. A concession to old stereotypes was the murder of his own son by a rich father. The premiere was danced by Tatiana Fesenko (Gayane), Anatoly Sidorov (Armen), Vasily Ostrovsky (Giko), German Zamuel (Matsak). The play ran for 173 performances.

In the 21st century, the ballet “Gayane” disappeared from theater stages, primarily due to an unsuccessful script. Certain scenes and numbers from Nina Anisimova’s performance continue to be performed annually in graduation performances of the Vaganova Academy of Russian Ballet. “Sabre Dance” remains a frequent guest on concert stages.

A. Degen, I. Stupnikov

A. Khachaturian ballet “Gayane”

The ballet “Gayane” stands apart not only in its musical heritage A.I. Khachaturian , but also in the history of ballet theater. This is a striking example of a work of art created by political order. “Gayane” holds the undeniable palm in terms of the number of productions. At the same time, each subsequent librettist changed the plot outline of the performance to suit the historical moment, and the composer, in turn, redrew the score so that it corresponded to the new dramaturgy. But, no matter how the images of the main characters are interpreted, no matter how the plot concept changes, this ballet was enthusiastically received by the audience on all stages of the world where it was performed, thanks to the originality of the music, which harmoniously combined classical principles and a pronounced national character.

Read a summary of Khachaturian's ballet "" and many interesting facts about this work on our page.

Characters	Description
Hovhannes	collective farm manager
	foreman of the best collective farm brigade, daughter of Hovhannes
Armen	beloved Gayane
Giko	Armen's rival
Nune	Gayane's friend
Karen	collective farm worker
Kazakov	head of a group of geologists
Unknown

Summary of “Gayane”

The plot takes place in the 30s of the 20th century in Armenia, not far from the border. On a dark night, near a mountain village, an Unknown Man appears, plotting sabotage. In the morning, the village residents go to work in the garden. Among them is the foreman of the girls' collective farm brigade, the beautiful Gayane, with whom two young people, Giko and Armen, are in love. Giko tries to tell the girl about his feelings, but she rejects his advances.

Geologists led by group leader Kazakov arrive in the village, and the figure of Unknown flashes among them. Armen shows Kazakov and his comrades pieces of ore that he accidentally found in the foothills, and accompanies the group to this place. It turns out that he managed to discover deposits of a rare metal. When the Unknown finds out about this, he enters Hovhannes’s house, where the geologists are staying, wanting to steal documents and ore samples. Gayane catches him at the crime scene. To cover his tracks, the Unknown sets fire to the house where the girl is. But Giko saves Gayane and exposes the stranger, who is taken away by the border guards who arrive. The apotheosis of the ballet becomes a common celebration, at which all the characters glorify the friendship of peoples and the Motherland.

In the modern version of the ballet, only the love triangle of Gayane, Armen and Giko remains from the original plan. Events take place in an Armenian village. Among its inhabitants is the young beauty Gayane, with whom Armen is in love. Armen's unlucky rival Giko wants to break their love. He tries with all his might to win the girl's favor. He fails and decides to take revenge. Giko arranges for the beauty to be kidnapped, but rumors of the crime quickly spread throughout the village. Outraged residents help Armen find and free Gayane, while Giko is forced to flee from the contempt of his fellow villagers. The ballet ends with a cheerful wedding, where everyone dances and has fun.

Duration of the performance
Act I	Act II	III Act
35 min.	35 min.	25 min.

Photo:

Interesting Facts:

• The author admitted that “Gayane” occupies a special place in his heart and work, since it is “the only ballet on a Soviet theme that has not left the stage for 25 years.”
• Dance divertissement, which includes “Sabre Dance”, “Lezginka”, “Lullaby” and other numbers from the ballet, has remained an indispensable part of the performances of graduates of the Academy of Russian Ballet for almost 50 years. Vaganova.
• The most popular “Sabre Dance” throughout the world was not originally included in the Gayane score. But shortly before the premiere, the director of the theater asked Khachaturian to add a dance number to the final act. The composer at first flatly refused, but then changed his mind and in just 11 hours was able to create a real masterpiece. Giving the choreographer the score for this number, he wrote angrily on the title page: “Damn it, for the sake of the ballet!”
• Contemporaries claimed that the incendiary " Saber dance “Even Stalin was forced to stomp his feet to the beat every time - that’s why the piece was played on the radio almost every day.

• The music for the ballet “Gayane” was brought to its author Aram Khachaturian high award - the Stalin Prize, 1st degree.
• Three symphonic suites, which Khachaturian “carved out” from the ballet score, brought world fame to the music of “Gayane”.
• “Sabre Dance” has become the most recognizable music from the ballet “Gayane”. In the USA, Khachaturian began to be called “Mr. Saberdance” (“Mr. Saber Dance”). Its motif can be heard in films, cartoons, and figure skating programs. It has been played on American jukeboxes since 1948 and became the first recording by the Chicago Symphony Orchestra.
• The two main creators of the first version of the ballet “Gayane”, librettist Konstantin Derzhavin and choreographer Nina Anisimova, were not just a creative tandem, but were a married couple.
• In 1938, a dark streak came in the life of the future director of “Gayane” Nina Anisimova. She, a world-famous dancer, was accused of participating in theatrical banquets, the guests of which were often representatives of foreign delegations, and was sentenced to 5 years in the Karaganda labor camp. She was saved by her husband, librettist Konstantin Derzhavin, who was not afraid to stand up for the dancer.
• In the 40-70s of the last century, the ballet “Gayane” could be seen on foreign theater stages. During this period, the play was staged several times in the German Democratic Republic, Germany, Czechoslovakia, Bulgaria, and Poland.
• The motif of the “Sabre Dance” can be heard in the animated series “The Simpsons”, in the cartoon “Madagascar 3”, the sixth episode of the cartoon “Well, Just Wait!”, in the films “Lord of Love”, “Paper Birds”, “City of Ghosts”, “ Clueless Defense", "A Simple Wish", "Uncle Tom's Cabin", "The Twilight Zone" and others.

Popular numbers from the ballet “Gayane”

Saber dance - listen

Lezginka - listen

Waltz - listen

Lullaby - listen

History of the creation of "Gayane"

I first became interested in ballet in 1939. The reason for this was a friendly conversation between the composer and Soviet party leader Anastas Mikoyan, who, on the eve of the decade of Armenian art, expressed the idea of ​​​​the need for the emergence of a national Armenian ballet. Khachaturian enthusiastically plunged into the work process.

The composer was faced with a difficult task - to write music that would become a fertile basis for choreographic production and at the same time have a well-recognized national identity. This is how the ballet “Happiness” appeared. The libretto for it was written by Gevork Hovhannisyan. A deep immersion into the world of national musical culture, the rhythms and melodies of the Armenian people, coupled with the original talent of the composer, did their job: the performance, staged at the Armenian Opera and Ballet Theater, was brought to Moscow, where it was a great success. However, critics did not fail to point out the disadvantages of “Happiness”, primarily the dramaturgy, which turned out to be much weaker than the music. The composer himself realized this best of all.

In 1941, at the suggestion of the management of the Leningrad Opera and Ballet Theater. Kirov, began working on an updated version of the ballet with a different libretto, written by the famous literary and theater critic Konstantin Derzhavin. He left many fragments of the score intact, preserving all the most interesting findings that distinguished the first edition. The new ballet was named “Gayane” - in honor of the main character, and it was this performance that took over the baton of “Happiness” in preserving the traditions of Armenian national music and culture on the ballet stage. Work on “Gayane” began in Leningrad, and continued in Perm, where with the beginning of the war the composer was sent into evacuation, as was the theater troupe of the Kirov Theater. The conditions in which Khachaturian's new musical brainchild was born corresponded to the harsh wartime. The composer worked in a cold hotel room, where the only furnishings were a bed, a table, a stool and a piano. In 1942, 700 pages of the ballet score were ready.

Productions

The premiere of “Gayane” fell on December 9, 1942. These days, the heroic battle for Stalingrad was unfolding at the front. But the hall of the Perm Opera and Ballet Theater was full. The action unfolding on stage to the life-affirming music of Khachaturian strengthened the belief in victory in the souls of the audience. Nina Anisimova, one of the brightest character dancers of the Kirov (now Mariinsky) Theater, who studied with Agrippina Vaganova herself, made her debut as the director of the four-act performance. A brilliant school, a deep understanding of the nature of national dance and an impeccable sense of style allowed Nina Alexandrovna to create a performance that became entrenched in the theater’s repertoire for many years. From the very beginning of work on the ballet, Anisimova had the dream of “creating her own Armenia.” For this purpose, she invited an Armenian dancer, who showed her elements of Armenian folk dance.

The cast of the premiere performance was truly stellar. In the role of Gayane, Natalia Dudinskaya, the theater's prima and public favorite, appeared on stage; her partners were Konstantin Sergeev, Nikolai Zubkovsky, Tatyana Vecheslova, Boris Shavrov. The success of the premiere was due not only to the talent of the artists, but also to the dramaturgy of the performance, the leitmotif of which was the defense of the native land from enemies.

After returning to Leningrad in 1945, the Kirov Theater showed “Gayane” on its native stage, but with some plot changes and updated scenography created by artist Vadim Ryndin. In 1952, the play was revised again.

On May 22, 1957, the premiere performance of the ballet “Gayane” took place at the Bolshoi Theater. Director Vasily Vainonen, based on the proposed libretto by Boris Pletnev, made a ballet out of the original four-act version, consisting of a prologue, 3 acts and 7 scenes. For this edition of the ballet, Khachaturian reworked almost a third of the music written before. The parts of Gayane and Armen were brilliantly performed by Bolshoi soloists Raisa Struchkova and Yuri Kondratov. In total, the ballet “Gayane” went through three editions on the Bolshoi stage. The last of them was published in 1984.

Until the early 1980s, the ballet was performed with constant success on the stages of domestic and foreign theaters. One of the most interesting artistic solutions was proposed by Boris Eifman, who staged “Gayane” as his graduation performance in 1972 on the stage of the Leningrad Maly Opera and Ballet Theater. The choreographer focused on social drama. The period of formation of the Soviet order in Armenia was chosen as the historical background for the plot. Giko in this version turned into Gayane's husband. Being the son of the fist Matsak, he cannot renounce his father. His wife Gayane comes from a poor family and she has to choose between her love for her husband and her beliefs. The main character makes a choice in favor of the new power, which is represented in the ballet by Armen. The performance, in Eifman's artistic interpretation, has 173 performances.

In the 21st century, the ballet “Gayane” virtually disappeared from the stage. The main reason for this was the scenario, which had lost its social relevance. But “Gayane” still remains one of the main cultural symbols of Armenia. The repertoire of the Armenian Academic Opera and Ballet Theater named after. Spendiarov's ballet by Khachaturian takes pride of place. The performance, staged by People's Artist of Armenia Vilen Galstyan, was a huge success not only in Russia, but also abroad - in Egypt, Turkey, Bahrain, and the United Arab Emirates. In 2014, the ballet “Gayane”, after almost a half-century break, was shown at the Mariinsky Theater in St. Petersburg, where more than 50 years ago the play began its long journey across theater stages around the world. Galstyan, who in this case also acted as a screenwriter, removed all plot lines related to political motives from the libretto. All that remains from the original ballet is the soul-touching love story and the music of Aram Khachaturian, mesmerizing with its energy.

Individual dance numbers written by the composer for "" - such as "Lezginka", "Waltz", "Lullaby" and, of course, the unsurpassed " Saber dance ”, - have long stepped beyond the boundaries of ballet and acquired an independent life. They are the decoration of many concerts, they are danced on all stages of the world, and their popularity is only growing over the years. Their original music and choreography have depth, sincerity, passion, love - everything that is close and understandable to every human heart.

Video: watch the ballet “Gayane” by Khachaturian

After the success of Aram Khachaturian’s first ballet “Happiness” at the ten-day period of Armenian art in Moscow, the management of the Leningrad Opera and Ballet Theater named after S. M. Kirov ordered a new ballet from the composer. The libretto written by Konstantin Derzhavin that year was based on some of the plot moves of the ballet “Happiness,” which allowed Khachaturian to preserve in the new work the best that was in his first ballet, significantly complementing the score and developing it symphonically.

In 1943, the composer received the Stalin Prize, 1st degree, for this ballet, which he contributed to the fund of the USSR Armed Forces. Later, based on the music for the ballet, the composer created three orchestral suites. In the mid-1950s, the Bolshoi Theater turned to the ballet “Gayane”. Based on a new libretto by Boris Pletnev, Aram Khachaturian significantly changed the ballet score, rewriting more than half of the previous music

Characters

• Hovhannes, chairman of the collective farm
• Gayane, his daughter
• Armen, shepherd
• Nune, collective farmer
• Karen, collective farmer
• Kazakov, head of the geological expedition
• Unknown
• Giko, collective farmer
• Aisha, collective farmer
• Ishmael
• Agronomist
• Geologists
• Head of Border Guard

The action takes place in Armenia today (i.e. in the 30s of the 20th century).

Stage life

Leningrad Opera and Ballet Theater named after S. M. Kirov

Characters

• Gayane - Natalia Dudinskaya (then Alla Shelest)
• Armen - Konstantin Sergeev (then Semyon Kaplan)
• Nune - Tatyana Vecheslova (then Fairy Balabina)
• Karen - Nikolai Zubkovsky (then Vladimir Fidler)
• Giko - Boris Shavrov
• Aisha - Nina Anisimova

Characters

• Gayane - Raisa Struchkova (then Nina Fedorova, Marina Kondratyeva)
• Armen - Yuri Kondratov (then Yuri Goffman)
• Mariam - Nina Chkalova (then Nina Timofeeva, Nina Chistova)
• Georgiy - Yaroslav Sekh
• Nunne - Lyudmila Bogomolova
• Karen - Esfandyar Kashani (then Georgy Solovyov)

The performance was performed 11 times, the last performance was on January 24 of this year.

Author of the libretto and choreographer Maxim Martirosyan, production designer Nikolai Zolotarev, conductor Alexander Kopylov

Characters

• Gayane - Marina Leonova (then Irina Prkofieva)
• Armen - Alexey Lazarev (then Valery Anisimov)
• Nerso - Boris Akimov (then Alexander Vetrov)
• Nune - Natalya Arkhipova (then Marina Nudga)
• Karen - Leonid Nikonov
• Lezginka - Elena Akhulkova and Alexander Vetrov

The performance was performed 3 times, the last performance was on April 12th.

Moscow Musical Theater named after K. S. Stanislavsky and V. I. Nemirovich-Danchenko

“Suite from the ballet “Gayane”” is a one-act ballet. Author of the libretto and choreographer Alexey Chichinadze, production designer Marina Sokolova, conductor Vladimir Edelman

Characters

• Gayane - Margarita Drozdova (then Eleonora Vlasova, Margarita Levina)
• Armen - Vadim Tedeev (then Valery Lantratov, Vladimir Petrunin)
• Nune - A.K. Gaisina (then Elena Golikova)
• Karen - Mikhail Krapivin (then Vyacheslav Sarkisov)

Leningrad Maly Opera and Ballet Theater

Ballet in 3 acts. Libretto, choreography and composition - Boris Eifman, production designer Z. P. Arshakuni, musical director and conductor A. S. Dmitriev

Characters

• Gayane - Tatiana Fesenko (then Tamara Statkun)
• Giko - Vasily Ostrovsky (then Konstantin Novoselov, Vladimir Adzhamov)
• Armen - Anatoly Sidorov (then S. A. Sokolov)
• Matsak - Herman Zamuel (then Evgeniy Myasishchev)

Performances in other theaters

Bibliography

• Kabalevsky D.“Emelyan Pugachev” and “Gayane” // Soviet music: magazine. - M., 1943. - No. 1.
• Kabalevsky D. Aram Khachaturian and his ballet “Gayane” // Pravda: newspaper. - M., 1943. - No. 5 April.
• Keldysh Yu. New production “Gayane” // Soviet music: magazine. - M., 1952. - No. 2.
• Strazhenkova I."Gayane" - ballet by Aram Khachaturian. - M., 1959.
• Tigranov G.. - M.: Soviet composer, 1960. - 156 p. - 2750 copies.
• Armashevskaya K., Vainonen N."Gayane." Recent years of work // . - M.: Art, 1971. - P. 241-252. - 278 p. - 10,000 copies.
• Sheremetyevskaya N.“Gayane” // Musical life: magazine. - M., 1978. - No. 10.
• Esambaev M. Not only the word // Soviet culture: newspaper. - M., 1989. - No. 11 July.
• Antonova K. Celebration of life - celebration of dance // Benoir Lodge No. 2. - Chelyabinsk: Publisher Tatyana Lurie, 2008. - P. 151-152. - 320 s. - 1000 copies.

- ISBN 978-5-89851-114-2.

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Notes

• Links

on the website of the Aram Khachaturian Virtual Museum

Excerpt characterizing Gayane (ballet)
Emperor Napoleon had not yet left his bedroom and was finishing his toilet. He, snorting and grunting, turned first with his thick back, then with his overgrown fat chest under the brush with which the valet rubbed his body. Another valet, holding the bottle with his finger, sprinkled cologne on the emperor’s well-groomed body with an expression that said that he alone could know how much and where to sprinkle the cologne. Napoleon's short hair was wet and tangled over his forehead. But his face, although swollen and yellow, expressed physical pleasure: “Allez ferme, allez toujours...” [Well, even stronger...] - he said, shrugging and grunting, to the valet who was rubbing him. The adjutant, who entered the bedroom in order to report to the emperor about how many prisoners were taken in yesterday's case, having handed over what was needed, stood at the door, waiting for permission to leave. Napoleon, wincing, glanced from under his brows at the adjutant.
“Point de prisonniers,” he repeated the adjutant’s words. – Il se font demolir. Tant pis pour l "armee russe,” he said. “Allez toujours, allez ferme, [There are no prisoners. They force themselves to be exterminated. So much the worse for the Russian army. Well, even stronger...],” he said, hunching his back and exposing his fat shoulders.
“C"est bien! Faites entrer monsieur de Beausset, ainsi que Fabvier, [Okay! Let de Beausset come in, and Fabvier too.] - he said to the adjutant, nodding his head.
- Oui, Sire, [I'm listening, sir.] - and the adjutant disappeared through the door of the tent. Two valets quickly dressed His Majesty, and he, in a blue guards uniform, walked out into the reception room with firm, quick steps.
At this time, Bosse was hurrying with his hands, placing the gift he had brought from the Empress on two chairs, right in front of the Emperor’s entrance. But the emperor got dressed and went out so unexpectedly quickly that he did not have time to fully prepare the surprise.
Napoleon immediately noticed what they were doing and guessed that they were not yet ready. He didn't want to deprive them of the pleasure of surprising him. He pretended not to see Monsieur Bosset and called Fabvier over to him. Napoleon listened, with a stern frown and in silence, to what Fabvier told him about the courage and devotion of his troops, who fought at Salamanca on the other side of Europe and had only one thought - to be worthy of their emperor, and one fear - not to please him. The result of the battle was sad. Napoleon made ironic remarks during Fabvier's story, as if he did not imagine that things could go differently in his absence.
“I must correct this in Moscow,” said Napoleon. “A tantot, [Goodbye.],” he added and called de Bosset, who at that time had already managed to prepare a surprise by placing something on the chairs and covering something with a blanket.
De Bosset bowed low with that French court bow, which only the old servants of the Bourbons knew how to bow, and approached, handing over an envelope.
Napoleon turned to him cheerfully and pulled him by the ear.
– You were in a hurry, I’m very glad. Well, what does Paris say? - he said, suddenly changing his previously stern expression to the most affectionate.
– Sire, tout Paris regrette votre absence, [Sire, all of Paris regrets your absence.] – as it should, answered de Bosset. But although Napoleon knew that Bosset had to say this or the like, although he knew in his clear moments that it was not true, he was pleased to hear it from de Bosset. He again deigned to touch him behind the ear.
“Je suis fache, de vous avoir fait faire tant de chemin,” he said.
- Sire! Je ne m"attendais pas a moins qu"a vous trouver aux portes de Moscou, [I expected no less than to find you, sir, at the gates of Moscow.] - said Bosset.
Napoleon smiled and, absentmindedly raising his head, looked around to the right. The adjutant approached with a floating step with a golden snuff-box and offered it to her. Napoleon took it.
“Yes, it happened well for you,” he said, putting the open snuffbox to his nose, “you love to travel, in three days you will see Moscow.” You probably didn't expect to see the Asian capital. You will make a pleasant trip.
Bosse bowed with gratitude for this attentiveness to his (until now unknown to him) inclination to travel.
- A! what's this? - said Napoleon, noticing that all the courtiers were looking at something covered with a veil. Bosse, with courtly dexterity, without showing his back, took a half-turn two steps back and at the same time pulled off the coverlet and said:
- A gift to Your Majesty from the Empress.
It was a portrait painted by Gerard in bright colors of a boy born from Napoleon and the daughter of the Austrian emperor, whom for some reason everyone called the King of Rome.
A very handsome curly-haired boy, with a look similar to that of Christ in the Sistine Madonna, was depicted playing in a billbok. The ball represented the globe, and the wand in the other hand represented the scepter.
Although it was not entirely clear what exactly the painter wanted to express by representing the so-called King of Rome piercing the globe with a stick, this allegory, like everyone who saw the picture in Paris, and Napoleon, obviously seemed clear and liked it very much.
“Roi de Rome, [Roman King.],” he said, pointing to the portrait with a graceful gesture of his hand. – Admirable! [Wonderful!] – With the Italian ability to change his facial expression at will, he approached the portrait and pretended to be thoughtfully tender. He felt that what he would say and do now was history. And it seemed to him that the best thing he could do now is that he, with his greatness, as a result of which his son played with the globe in a bilbok, should show, in contrast to this greatness, the simplest fatherly tenderness. His eyes became misty, he moved, looked back at the chair (the chair jumped under him) and sat down on it opposite the portrait. One gesture from him - and everyone tiptoed out, leaving the great man to himself and his feelings.
After sitting for some time and touching, without knowing why, his hand to the roughness of the glare of the portrait, he stood up and again called Bosse and the duty officer. He ordered the portrait to be taken out in front of the tent, so as not to deprive the old guard, who stood near his tent, of the happiness of seeing the Roman king, the son and heir of their beloved sovereign.
As he had expected, while he was having breakfast with Monsieur Bosse, who had received this honor, in front of the tent the enthusiastic cries of the officers and soldiers of the old guard who had come running to the portrait were heard.
– Vive l"Empereur! Vive le Roi de Rome! Vive l"Empereur! [Long live the Emperor! Long live the Roman King!] - enthusiastic voices were heard.
After breakfast, Napoleon, in the presence of Bosse, dictated his orders for the army.
– Courte et energique! [Short and energetic!] - said Napoleon when he read the written proclamation immediately without amendments. The order was:
“Warriors! This is the battle you have longed for. Victory depends on you. It is necessary for us; she will provide us with everything we need: comfortable apartments and a speedy return to our homeland. Act as you acted at Austerlitz, Friedland, Vitebsk and Smolensk. May later posterity proudly remember your exploits to this day. Let it be said about each of you: he was in the great battle near Moscow!”
– De la Moscow! [Near Moscow!] - Napoleon repeated, and, inviting Mr. Bosset, who loved to travel, to join him in his walk, he left the tent to the saddled horses.
“Votre Majeste a trop de bonte, [You are too kind, Your Majesty," Bosse said when asked to accompany the emperor: he was sleepy and did not know how and was afraid to ride a horse.
But Napoleon nodded to the traveler, and Bosse had to go. When Napoleon left the tent, the screams of the guards in front of the portrait of his son intensified even more. Napoleon frowned.
“Take it off,” he said, pointing to the portrait with a graceful, majestic gesture. “It’s too early for him to see the battlefield.”
Bosse, closing his eyes and bowing his head, took a deep breath, with this gesture showing how he knew how to appreciate and understand the words of the emperor.

Napoleon spent the entire day of August 25, as his historians say, on horseback, inspecting the area, discussing the plans presented to him by his marshals, and personally giving orders to his generals.
The original line of Russian troops along Kolocha was broken, and part of this line, namely the Russian left flank, was driven back as a result of the capture of the Shevardinsky redoubt on the 24th. This part of the line was not fortified, no longer protected by the river, and in front of it there was only a more open and level place. It was obvious to every military and non-military person that the French were supposed to attack this part of the line. It seemed that this did not require many considerations, there was no need for such care and troubles of the emperor and his marshals, and there was no need at all for that special highest ability called genius, which they so like to attribute to Napoleon; but the historians who subsequently described this event, and the people then surrounding Napoleon, and he himself, thought differently.
Napoleon drove across the field, thoughtfully peered at the area, shook his head with himself in approval or disbelief, and, without informing the generals around him of the thoughtful move that guided his decisions, conveyed to them only final conclusions in the form of orders. Having listened to the proposal of Davout, called the Duke of Ecmul, to bypass the Russian left flank, Napoleon said that this did not need to be done, without explaining why it was not necessary. To the proposal of General Compan (who was supposed to attack the flushes) to lead his division through the forest, Napoleon expressed his consent, despite the fact that the so-called Duke of Elchingen, that is, Ney, allowed himself to note that movement through the forest was dangerous and could upset the division .
Having examined the area opposite the Shevardinsky redoubt, Napoleon thought for a while in silence and pointed to the places where two batteries were to be set up by tomorrow to operate against the Russian fortifications, and the places where field artillery was to be lined up next to them.
Having given these and other orders, he returned to his headquarters, and the disposition of the battle was written under his dictation.
This disposition, about which French historians speak with delight and other historians with deep respect, was as follows:
“At dawn, two new batteries, built in the night, on the plain occupied by the Prince of Eckmuhl, will open fire on the two opposing enemy batteries.
At the same time, the chief of artillery of the 1st Corps, General Pernetti, with 30 guns of the Compan division and all the howitzers of the Dessay and Friant divisions, will move forward, open fire and bombard the enemy battery with grenades, against which they will act!
24 guards artillery guns,
30 guns of the Compan division
and 8 guns of the Friant and Dessay divisions,
Total - 62 guns.
The chief of artillery of the 3rd Corps, General Fouche, will place all the howitzers of the 3rd and 8th Corps, 16 in total, on the flanks of the battery, which is assigned to bombard the left fortification, which will total 40 guns against it.
General Sorbier must be ready, at the first order, to march with all the howitzers of the Guards artillery against one or another fortification.
Continuing the cannonade, Prince Poniatowski will head towards the village, into the forest and bypass the enemy position.
General Compan will move through the forest to take possession of the first fortification.
Upon entering the battle in this way, orders will be given according to the actions of the enemy.
The cannonade on the left flank will begin as soon as the cannonade of the right wing is heard. The riflemen of Moran's division and the Viceroy's division would open heavy fire when they saw the beginning of the attack of the right wing.
The Viceroy will take possession of the village [of Borodin] and cross his three bridges, following at the same height with the divisions of Morand and Gerard, which, under his leadership, will head to the redoubt and enter the line with the rest of the army.
All this must be done in order (le tout se fera avec ordre et methode), keeping the troops in reserve as much as possible.
In the imperial camp, near Mozhaisk, September 6, 1812."
This disposition, written in a very unclear and confused way, if we allow ourselves to regard his orders without religious horror at Napoleon’s genius, contained four points - four orders. None of these orders could be or were carried out.
The disposition says, first: that the batteries set up at the place chosen by Napoleon with the Pernetti and Fouche guns aligned with them, a total of one hundred and two guns, open fire and bombard the Russian flashes and redoubts with shells. This could not be done, since the shells from the places appointed by Napoleon did not reach the Russian works, and these one hundred and two guns fired empty until the nearest commander, contrary to Napoleon’s orders, pushed them forward.