Pictures from the exhibition- one of the best masterpieces in Russian piano music(1874). In form it is a suite consisting of ten pieces, each of which reflects the content of one of the paintings by the artist Viktor Aleksandrovich Hartmann.

Victor Hartmann especially clearly showed himself not so much as an artist, but as a talented architect, who formed his own style in architecture called the “Russian style.”

For Modest Petrovich Mussorgsky, he was a very close friend, so sudden death Hartmann at a young age (only 39 years old!) literally shocked the composer.

A year after this tragic event, at the suggestion of Stasov, an exhibition of paintings by Victor Hartmann was held, dedicated to his memory. However the best monument The artist received a piano cycle written by his friend.

The idea for its creation came to Mussorgsky while visiting an exhibition, and within three weeks the cycle was ready! Some paintings can hardly even be called paintings. These are more like sketches, sketches, sometimes just outlines for theatrical costumes.

Only two paintings have a Russian theme - the rest of the drawings are “foreign”. The entire cycle consists of ten plays (pictures) connected by one leitmotif called “Walk”.

This is Mussorgsky himself, who walks around the exhibition hall and from time to time stops in front of another painting that interests him (click on the pictures to enlarge them). Here they are:

Picture No. 1 Gnome.

Picture No. 2 " old lock» - the image of the old medieval castle has not survived.

Picture No. 3 “Tuileries Garden” - this picture depicted the garden in the Tuileries Palace (Paris). The weather is beautiful, the nannies are walking with the children. The painting also did not survive.

Picture No. 4 “Cattle” (“Sandomierz cattle”, as defined by Mussorgsky himself). The painting depicted a Polish cart drawn by oxen; in the music, the effect of approaching and then moving away from this huge cart with squeaking wheels is clearly audible. The painting also did not survive.

Picture No. 5 “Ballet of unhatched chicks.” In principle, this is not so much a painting as a sketch for ballet costumes for the dance of canary chicks (three-part form).

Picture No. 6 “Two Jews: rich and poor.” For Hartmann, these characters did not exist in one picture. There were two paintings: “A rich Jew in a fur hat”:

and “Poor Jew”: Both Jews are of Polish origin (Sandomierz Jews). At Mussorgsky's they have a conversation, during which each reveals his own character.

Picture No. 7 “Limoges Market” (France): market noise, hubbub, gossip, bustle. The painting also did not survive.

Picture No. 8 “Catacombs. Roman tomb" or "With the dead in a dead language." On foreground Hartmann portrayed himself. To the right you can barely see the dimly lit skulls.

Picture No. 9 “The Hut on Chicken Legs” (Baba Yaga). Hartmann has just a sketch of a clock. Mussorgsky has the image of “evil spirits”.

Picture No. 10 “Bogatyr Gate. In the capital city of Kyiv." The painting represents the project of the Kyiv Gate. This gate was never built, but it was planned to build it after the unsuccessful assassination attempt on Emperor Alexander II and his miraculous escape. Mussorgsky's play sounds like a triumph of Orthodoxy, very realistically depicting the festive bell ringing.

Personally, I became acquainted with “Pictures” at the age of ten: my mother bought a record of Svyatoslav Richter playing. The impression was so vivid that I long years I literally dreamed of taking at least one look at the pictures that inspired Mussorgsky to create this miracle.

Today, thanks to the Internet, this has become real. However, what I saw greatly disappointed me: Mussorgsky’s music is many times superior to the original source in its artistic value!

In addition, paintings were sold at the exhibition. Obviously, they were sold after the exhibition, so only 6 paintings remained in the public domain. You can see them on my blog. Of course, these are just reproductions, and even in electronic form, but still better than nothing.

The fate of this piano cycle is very interesting. Firstly, it was not published during the author’s lifetime and, accordingly, was not performed even once during the composer’s lifetime.

Secondly, this work became famous thanks to its orchestral arrangement French composer Maurice Ravel, a recording of this arrangement was published half a century after Mussorgsky's death.

However, the cycle was written specifically for piano! I don’t know about anyone, but personally I like this option the most. Moreover, I never thought that Richter’s performance could ever take a back seat for me; I could not imagine a performer who could “outplay” Svyatoslav Richter himself in this masterpiece!

But today I am literally captivated by Mikhail Pletnev’s interpretation. I think it’s the best and that’s why I chose it to post on my blog.

I invite you to enjoy getting to know this “pearl” of the Russian piano heritage, and even in an absolutely wonderful version:

Piano Cycle (1874)

Orchestration by Maurice Ravel (1922)

Orchestra composition: 3 flutes, piccolo flute, 3 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, alto saxophone, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, snare drum, whip, rattle , dishes, big drum, tom-tom, bells, bell, xylophone, celesta, 2 harps, strings.

History of creation

1873 was a difficult year for Mussorgsky. Friends stopped gathering in the evenings at L.I. Shestakova, Glinka’s sister, who became seriously ill. V. Stasov, who always morally supported the composer, left St. Petersburg for a long time. The final blow There was a sudden, in the prime of life and talent, death of the artist Victor Hartmann (1834-1873). “What horror, what grief! - Mussorgsky wrote to Stasov. - On Victor Hartmann’s last visit to Petrograd, we walked with him after the music along Furshtadtskaya Street; near some alley he stopped, turned pale, leaned against the wall of some house and could not catch his breath. Then I didn't give of great importance this phenomenon... Having tinkered quite a bit with suffocation and heartbeats... I imagined that this was the fate of nervous natures, mainly, but I was bitterly mistaken - as it turns out... This mediocre fool mows down death without reasoning...”

The following year, 1874, on the initiative of the returning Stasov, a posthumous exhibition of Hartmann's works was organized, which presented his oil works, watercolors, sketches from life, sketches of theatrical scenery and costumes, and architectural projects. There were also some products made by the artist’s hands - tongs for cracking nuts, a clock in the form of a hut on chicken legs, etc.

The exhibition made a huge impression on Mussorgsky. He decided to write a programmatic piano suite, the content of which would be the works of the late artist. The composer interprets them in his own way. Thus, a sketch for the ballet “Trilby”, depicting tiny chicks in shells, turns into “Ballet of the Unhatched Chicks”, a nutcracker in the form of a bow-legged gnome becomes the basis for a portrait of this fabulous creature, and a clock-hut inspires the musician to a play depicting the flight of Baba. Yagi on a broom.

The piano cycle was created very quickly - in three weeks of June 1874. The composer reported to Stasov: “Hartmann is boiling, just like Boris was boiling - sounds and thoughts hang in the air, I swallow and overeat, barely have time to scratch on paper... I want to do it faster and more reliably. My face is visible in the interludes... What a good job.” By “physiognomy”, visible in the interludes, the composer meant connections between numbers - images of Hartmann. In these sequences, called “Walk,” Mussorgsky painted himself walking through the exhibition, moving from one exhibit to another. The composer finished the work on June 22 and dedicated it to V.V. Stasov.

At the same time, in the summer of 1874, “Pictures” with the subtitle “Memories of Victor Hartmann” were prepared by the composer for publication, but were published only in 1886, after the composer’s death. It took several more years for this deeply original, unparalleled work to enter the pianists’ repertoire.

The brightness of the images, their picturesqueness, and piano coloring pushed for an orchestral embodiment of “Pictures.” A page of the orchestration of one of the parts of the cycle, “The Old Castle,” has been preserved in the Rimsky-Korsakov archive. Later, Rimsky-Korsakov's student M. Tushmalov made an orchestration, but it remained unperformed. In 1922, Maurice Ravel, who was a passionate admirer of Mussorgsky's work, also turned to this work. His brilliant orchestral version of “Pictures at an Exhibition” quickly conquered the concert stage and became as popular as the original piano version of the work. The score was first published by the Russian Music Publishing House in Paris in 1927.

Music

The first number - "Walk" - is based on a broad melody in Russian national character, with the variable meter characteristic of folk songs, performed first by a solo trumpet, and then supported by a choir brass instruments. Gradually, other instruments join in, and after the sound of tutti, the second number begins without interruption.

This is "Gnome". It is characterized by bizarre, broken intonations, sharp leaps, sudden pauses, tense harmonies, transparent orchestration using celesta and harp. All this vividly paints a fantastic and mysterious image.

“Walk”, significantly shortened compared to the initial one, takes the listener to the next picture - “The Old Castle”. The bassoon, sparingly supported by the lonely sound of the second bassoon and the pizzicato of the double basses, sings a melancholy serenade. The melody moves to the saxophone with its characteristic expressive timbre, then is sung by other instruments to the accompaniment that imitates the sound of a lute.

A short “Walk” leads to the “Tuileries Garden” (its subtitle is “Children’s Quarrel after Play”). This is a lively, joyful scherzo, permeated with cheerful hubbub, running around, and the good-natured cooing of nannies. It passes quickly, giving way to bright contrast.

The next picture is called "Cattle". Hartmann depicted a heavy cart drawn by oxen on huge wheels under this name. Measured movement with heavy chords dominates here; against its background, a tuba sings a drawn-out melancholy song, in which, however, one can feel the gloomy hidden power. Gradually, the sonority expands, grows, and then fades away, as if a cart is disappearing in the distance.

The next “Walk” in a modified form - with the theme in a high flute register - prepares for the “Ballet of the Unhatched Chicks” - a charming, graceful scherzino with fancy harmonies, transparent orchestration, and numerous grace notes imitating the twitter of birds.

Directly following this number is a sharply contrasting everyday scene, “Samuel Goldenberg and Shmuile,” usually called “Two Jews - rich and poor.” Stasov wrote about her: “Two Jews sketched from life by Hartmann in 1868 during his travels: the first is a rich, fat Jew, smug and cheerful, the other is poor, skinny and complaining, almost crying. Mussorgsky greatly admired the expressiveness of these pictures, and Hartmann immediately gave them to his friend...” The scene is based on a comparison of imperious energetic intonations in the unisons of wooden and string groups and a solo trumpet with a mute - with a general movement in small triplets, with mordents and grace notes, a curling vine, as if choking with a plaintive tongue twister. These themes, initially held separately, then sound simultaneously, in counterpoint in different keys, creating a duet that is unique in color.

“Limoges. Market. ( Big news)" - the name of the next issue. Initially, the composer introduced him with a small program: “Big news: Mr. Pusanjou has just found his cow Runaway. But the Limoges gossips do not quite agree on this case, because Madame Ramboursac acquired beautiful porcelain teeth, while Mr. Panta-Pantaleon’s nose, which is bothering him, remains red all the time, like a peony.” This is a brilliant capriccio, based on a continuous fussy movement with capricious, changeable, teasing intonations, roll calls of instruments, frequent changes in dynamics, ending tutti fortissimo - the gossips reached ecstasy in their chatter. But everything ends abruptly with the fortissimo of trombones and tubas intoning one sound - si.

Without a break, attacca, the next number enters in sharp contrast - “Catacombs (Roman Tomb)”. This is only 30 bars of gloomy chords, sometimes quiet, sometimes loud, depicting a gloomy dungeon in the mysterious light of a lantern. In the painting, according to Stasov, the artist depicted himself, with a lantern in his hand, examining the catacombs. This number is like an introduction to the next one, which comes without interruption - “With the dead in a dead language.” In the manuscript, the composer wrote: “Latin text: with the dead in a dead language. It would be nice to have the Latin text: the creative spirit of the deceased Hartmann leads me to the skulls, calls to them, the skulls quietly glow.” In mournful B minor, a modified “Walk” theme is heard, framed by quiet tremolos and horn chords reminiscent of a chorale.

“The Hut on Chicken Legs” is again an emphasized contrast. Its beginning depicts the rapid flight of Baba Yaga on a broomstick: wide leaps, alternating with pauses, turn into uncontrollable movement. The middle episode - with a more intimate sound - is filled with mysterious rustles and wary sounds. The orchestration is original: against the background of continuous tremulous sounds of flutes, Baba Yaga’s theme, consisting of short chants and formed in the first section, is intoned by a bassoon and double basses. Then it appears on the tuba and low strings, accompanied by tremolo and pizzicato strings, individual celesta chords, while the harp sounds a modified version of it. Unusual colors give a special touch of witchcraft and magic. And again a rapid flight.

Without a break, attacca, the finale begins - “The Bogatyr Gate (in the capital city of Kyiv).” This is a musical embodiment of the architectural design of the Kyiv city gates, which Hartmann saw in the ancient Russian style, with an arch decorated with an ancient helmet and a gate church. His first theme, majestic, similar to an epic chant, in the powerful sound of brass and bassoons with a contrabassoon, is reminiscent of the theme of “Walking”. It is expanding more and more, filling the entire sound space, interspersed with the ancient church znamenny chant “Be baptized in Christ”, presented in a more intimate manner, in strict four-voices wooden instruments. The number, like the entire cycle, concludes with a solemn and festive ringing of bells, conveyed by the full sound of the orchestra.

L. Mikheeva

In 1922, Maurice Ravel completed the orchestration of Mussorgsky's Pictures at an Exhibition, a work of extraordinary originality both in terms of the music itself and its pianistic embodiment. True, in “Pictures” there are many details that can be imagined in an orchestral sound, but for this it was necessary to find colors on your palette that organically merge with the original. Ravel accomplished this synthesis and created a score that remains an example of skill and stylistic sensitivity.

The orchestration of Pictures at an Exhibition is performed not only with exceptional ingenuity, but also with fidelity to the character of the original. Small amendments were made to it, but almost all of them are related to the specific sound of the instruments. Essentially they came down to a change in nuances, a variation in repetitions, a cut of one “Walk” repeated twice, and the addition of one bar in the accompaniment to the melody “ Ancient castle"; a longer duration than in the original of the organ section in the “Bogatyr Gate” and the introduction of a new rhythm in the brass parts exhaust the list of changes made to the score. All this doesn't break general Mussorgsky's music, changes in details arose while working on the score, and they were minimal.

The orchestration of Pictures at an Exhibition, as always with Ravel, is based on precise calculation and knowledge of each instrument and possible timbre combinations. Experience and ingenuity suggested to the composer many characteristic details of the score. Let us recall the glissando of the strings (“The Dwarf”), the magnificent alto saxophone solo (“The Old Castle”), the fantastic coloring of the “Ballet of the Unhatched Chicks”, the grandiose sound of the finale. Despite all their unexpectedness, Ravel's orchestral discoveries convey the inner essence of Mussorgsky's music and are included in the structure of his images very organically. However, as already noted, the piano texture of the “Pictures” has features of orchestralness; this created favorable conditions for the work of a thoughtful and inspired artist, like Ravel.

Ravel turned to the orchestration of Pictures at an Exhibition, having already had experience working on the score of Khovanshchina. In addition, he was the author of orchestral editions of his own piano works, and these scores were perceived as originals, not transcriptions. Such statements are impossible in relation to Pictures at an Exhibition, but the high dignity of the orchestration of Mussorgsky’s brilliant work is undeniable. This confirms its continued success with the public since its first performance, which took place in Paris on May 3, 1923, under the baton of S. Koussevitzky (This date is given by N. Slonimsky in his book “Music since 1900.” A. Prunier indicates another - May 8, 1922 .).

Ravel's orchestration of Pictures at an Exhibition also caused some criticisms: she was reproached for not being sufficiently consistent with the spirit of the original, did not agree with changes in several bars, etc. These reproaches can sometimes be heard in our time. However, the orchestration still remains the best among others; it has rightfully entered the concert repertoire: it was played and continues to be played the best orchestras and conductors from all countries.

Theme of the quarter: In the concert hall.

Lesson type: generalization lesson.

Type of lesson: lesson analysis.

Lesson objectives: development of emotions, fantasy, imagination of students in the comparative perception of musical, artistic, literary works.

Objectives: to teach children to feel the poetry, musicality and picturesqueness of artistic images; consolidation of the concepts of character, intonation, tempo, dynamics, image.

Methods: conversation, dialogue, verbal drawing, graphic modulation, comparison.

Equipment: audio recording, synthesizer, album sheets, colored pencils, illustrations for plays based on paintings by W. Hartmann, portrait of M. Mussorgsky.

Material: textbook “Music” 4th grade.

Form of work: group, individual.

Technology: integration of music, painting, literature.

During the classes.

On the board there is a portrait of the composer M. Mussorgsky (Figure 1) and illustrations for the paintings of W. Hartmann (with the names of the plays on the reverse side, Figure 2).

Picture 1

Figure 2

1. Organizational moment.

2. Musical greeting (in the key of C major).

3. Introductory conversation by the teacher.

Teacher: Here, guys, is a portrait of the great Russian composer Modest Petrovich Mussorgsky, who created many wonderful works. We will talk about his piano suite “Pictures at an Exhibition”. How many of you can explain what a piano suite is?

Children: Piano – written for piano. A suite is a series of pieces united by a common theme.

Teacher: What other piano suites do you know?

Children: “Children's Album”, “Seasons” by P.I. Tchaikovsky.

Teacher: Okay... How did Mussorgsky get the idea to create this suite, what prompted him?

Children: talk about the artist W. Hartmann.

Teacher: How did the composer decide to write the suite, how did he connect all the pieces?

Children: Play “Walk”. It is a recurring theme.

Teacher: Why did he do that?

Children: talk about an art gallery, exhibition (exhibition-display).

4. Generalization and analysis of plays.

(Listening to the play “Walk”).

Teacher (reads a poem):

Once he sat sadly on a stump under the tree
And he patched his cap with a long needle.

(Listening to the play “Gnome”).

Children: verbal drawing of the image of a gnome. Musical characteristics of the play.

Teacher: Please open your textbook on page 79 and read the poems that were written for the next play.

The old song about happiness sounds again,
And a sad voice is heard over the river.
A sad song, an eternal song, a sad voice...

(Listening to the play “Old Castle”).

(Listening to the play “Ballet of Unhatched Chicks”).

Children: verbal drawing of an image. Musical characteristics.

There on unknown paths
Traces of unseen beasts
There's a hut there on chicken legs
It has no windows or doors.

(Listening to the play “The Hut on Chicken Legs”).

Children: verbal drawing of an image. Musical characteristics.

Teacher: And now we will get acquainted with another piece from the suite - “The Bogatyr Gate”.

Is it from that city from Murom,
From that one from the heroic courtyard
From that village and Karacharova
A burly, kind fellow was leaving...

(Listening to the play “Bogatyr Gate”).

Children: verbal drawing of an image. Musical characteristics.

Teacher: Guys, I suggest you make a drawing for one of your favorite plays. Try to express the musical image, character, mood in the drawing.

5. Creative work of students.

Children: draw to musical fragments from plays.

Teacher: The gallery opens (unfolds the illustrations on the board with the outer side, Figure 3).

Figure 3

Children: attach their drawings to the board under Hartmann’s illustrations. Several students explain why they chose this piece and depicted it in this particular color scheme, Figure 4.

Figure 4

Conclusion:

Teacher: Did you feel like creators today?

Teacher: So you were able to express your feelings, emotions, fantasy in your drawings. What helped you with this?

Children: Music, poetry, paintings.

Teacher: How else can you express your feelings during a music lesson?

Children: Songs.

Teacher: Then let's all sing together...

(Performance of “The Music Lesson” from the musical “The Sound of Music” by Rogers. The song “If There Were No Schools”).

6. Summary and analysis of the lesson.

Teacher: Today you and I have created our own art gallery, in which everyone expressed what they felt and saw in the music of M. Mussorgsky. Well done! We did a very good job. Thank you. The lesson is over.

Mineeva Irina Valentinovna

Music teacher, Municipal Educational Institution Secondary School No. 3, p. High Mountain, Republic of Tatarstan

School is the most amazing laboratory because the future is created there .

Plan - summary of the competitive lesson

5th grade.

Half-year theme: “Music and art»

3rd quarter theme: "Can We See the Music."

Topic: “Pictures from an Exhibition” M.P. Mussorgsky

Target: Compare means of expression musical and pictorial pictures and sketches.

Tasks: 1. Educational : Evoke an emotional response to music.

Foster a sense of respect and love for

the works of M. P. Mussorgsky and V. A. Hartmann.

2. Educational : Introduce pieces from the piano suite “Pictures at an Exhibition.” Determine means musical expressiveness.

3.Developing . Develop the ability to analyze musical works, compare the means of expression with the content of the works.

Lesson equipment: audio recording - CD, presentation, dictionary of aesthetic emotions, sheet music according to V.A. Sheremetyev, mood maps.

Synthesizer, music Center, multimedia installation

Lesson type: combined.

Technologies used in the lesson:

1. 1. 1. Personality-oriented.

Technology of developmental education.

Technology of intonation-figurative analysis of a musical work.

Technology of associative-figurative thinking.

Technology of using CMD.

ICT technology.

Methods:

1. Method of observing music (Asafiev B.V.).

   Method of musical generalization (Kabalevsky D.B., Abdullin E.B.).

   The method of “running ahead” and returning to what has been covered (Kabalevsky D.B., Abdullin E.B.).

   Method of plastic intonation.

   Detection method genre affiliation musical compositions.

   Method of vocal intonation.

7. Method of using associations

Lesson Plan

Organizing time

Chant.

Work using the tables of V.A. Sheremetyev. (Musical notation)

Blitz survey and game “Pictures”. (Checking the material covered).

Suite “Pictures at an Exhibition”, M.P. Mussorgsky, V.A. Hartmann. (Acquaintance with new material).

Physical exercise.

Pieces from the suite: “Ballet of Unhatched Chicks”, “Hut on Chicken Legs”, “Heroic Gate” - listening and analysis.

Working with mood maps.

Comprehension and consolidation of the covered topic. (Answers on questions).

Reflection.

It's fun to walk together. V. Shainsky. (Gift from teacher).

Homework.

Summarizing. Ratings.

During the classes

Organizing time:

• musical greeting;

  meeting the guys;

Chant. “I sing, I sing well,” “We ran across the banks.”

Musical notation. Analysis and execution of exercises from the tables of V.A. Sheremetyev.

Checking the completed material.

• Today I invite you to visit an art gallery. But in order to get there, we need to find the key. Ready? Then let's begin.

(The teacher divides the class into several groups. Asks questions to each group in turn. For the correct answer, you can award points, give cards - anything at the teacher’s discretion.)

Blitz survey

What is a “software work”?

Does the introduction occur at the beginning or at the end of the piece?

How many notes are there in music?

What is "tempo"?

What is the name of an ensemble consisting of three performers?

What is "opera"?

What is the name of a large number of people singing together?

What is "dynamics"?

What is the name of an ensemble consisting of two people?

What form does the song take?

Well done. We only have a short distance to go to the treasured key. Now the task is for the whole class.

Game "Pictures"

(On slides 2-6 association objects are depicted. From them you need to remember the song and perform one verse)

Congratulations, after going through a difficult path, you get the key. Let's open the door and see what's interesting at the exhibition. (Slide 7).

Look at these pictures, they are different. But something unites them. What do you think? (They are in the same exhibition.)

Right. And another one common feature: for each of these pictures the Russian composer of the 11th century M.P. Mussorgsky composed a play. (Slide 8). He compiled a cycle from these plays and called it “Pictures at an Exhibition.” (Slide 9). In music, this phenomenon is called a suite - from the French “sequence”, “row”.

Now let’s open our notebooks and write down what a suite is. This is a cycle of plays that are different in character, but united by one artistic concept.

M.P. Mussorgsky was very an unusual person. The music he wrote was not understood by his contemporaries; his composer friends often harshly criticized what he wrote. Meanwhile, in the works of this composer there are a lot of visual, colorful moments, humor and musical pranks.

Piano Suite“Pictures from an Exhibition” was written based on the work of the artist and architect V.A. Hartman. (Slide 10) He was one of Mussorgsky's few friends. Unfortunately he died when he was only 39 years old. A year after his death, an exhibition of works was organized talented artist. Mussorgsky was shocked and excited. In just three weeks he created this suite for piano. As the basis for the “exhibition,” Mussorgsky took Hartmann’s “foreign” drawings, as well as two of his sketches on Russian themes. The exhibited works were sold, so today the whereabouts of most of them are unknown. Of the drawings mentioned in the series, six can now be restored. The result is a series of musical paintings that only partially resemble the works seen; Basically, the plays were the result of the free flight of the composer’s awakened imagination.

Let's take a closer look at this cycle and try to prove that Mussorgsky did not just write musical arrangement to each drawing, but created his own " music pictures”, sometimes completely different from Hartmann’s sketches, offered his own vision. (Slide 11) Each of the 10 plays is small scene. The cycle-suite is held together by the linking play “Walk,” in which the composer depicted himself moving from painting to painting.

– But first we will take a little rest. Physical exercise.

The class raises its hands - this is it,

The head turned - that's two.

We spread our arms wider, turned - three, four,

Press them firmly to your shoulders - that's five.

All the guys sit down quietly - that's six.

– There are ten pictures in total, but we will focus on three. (Slide 12.) "Ballet of the Unhatched Chicks"

• Victor Hartmann drew 17 sketches for the ballet, in which, as Stasov wrote, “a group of little pupils and pupils of the theater school performed, dressed up as canaries and briskly running around the stage. Others were inserted into eggs, as if into armor.” Let's listen to how Mussorgsky was able to portray this scene and think - what is the character of this music? We use the dictionary of aesthetic emotions.

(The play “Ballet of the Unhatched Chicks” is played)

What means of musical expression did the composer use? (Slide 13) (High register, fast tempo, fancy sharp rhythm, lots of decorations )

Right. Now look at this picture (fairytale hut.) (Slide 14) (We don’t say the name). What do you see here? (Beautiful, bright house. It seems to be made of something delicious.)

Well done. Indeed, a festive hut. Mussorgsky depicted the owner of this house, and the result was a completely different story, completely different from Hartmann’s drawing. Listen and think about the name of the owner of the hut.

(The play “The Hut on Chicken Legs” plays)

What is the owner's name? (Baba Yaga)

Why did you decide so? What means of musical expression did the composer use in this music? (The piece starts quietly and then gets very loud with howls and jumping)

Right. It seems that she is flying on her broom with a whistle and noise. Tell me, are the drawing and music similar in this play? (No, here the composer came up with his own story, which is not similar to the drawing.)

Do you think the music could have become a continuation of the picture? (You can suggest composing mini-fairy tales and decorating them at home.)

The suite ends with the picture “The Bogatyr Gate” based on the sketch by the artist Hartmann “City Gate in Kyiv”. (Slide 15.) This play is close to Russian in intonations folk songs. Let's listen and determine the character of this music

(A fragment of the play “Bogatyr Gate” is played)

What characteristic did you find in the dictionary of aesthetic

emotions for this fragment? (The character is majestic, solemn.)

This music symbolizes the power of the Russian people.

Tell me, which play do you remember most? And why?

What do you think made it so bright and memorable?

Tell me, do all the “musical pictures” coincide in content with the artist’s drawings? Which ones were different?

Were we able to prove that Mussorgsky proposed his own vision, sometimes different from his friend’s sketches?

On the board you see different faces that convey different moods. You have them on your leaves too. Among these mood maps, select those that correspond to our plays.

"Joy".

"Anger".

"Attention". It turns out that this is the mood this music evoked in us. Yes guys different music can affect us in different ways. And it’s better to listen to good, beautiful music.

Reinforcing the covered topic.

What new did you learn today? (Slide 16.)

What is the name of the suite based on sketches and pictures by the artist Hartmann? ("Pictures at an Exhibition")

Which Russian composer composed this suite? (M.P. Mussorgsky.)

Remember the names of the plays you listened to. ("Ballet of the Unhatched" Chicks", "Hut on Chicken Legs", "Bogatyr Gate".)

How many pieces are there in the suite cycle? (10 plays.) (Slide 17.)

For which instrument was the “Pictures at an Exhibition” series written? (For piano.)

Reflection.

• You still have some sun on your desk. Depict your mood from the lesson on it. Draw the outline of the sun’s mouth. (Slide 18.)

The gift is a song.

• Guys, do you like gifts? As a gift from me - a song by the 20th century composer-songwriter Vladimir Shainsky (Slide 19.) “It’s fun to walk through the open spaces together.” A song about friendship. After all, friendship helps people to be kind and sympathetic.

And you will help me sing along. (Slide 20.) (Slide 21.)

12.Home. task: We opened the diaries and wrote down - come up with a mini-fairy tale and try to design it as a baby book. Ratings.

M.P. Mussorgsky "Pictures at an Exhibition"

It is impossible to imagine the piano work of Modest Mussorgsky without the famous cycle “Pictures at an Exhibition”. Bold, truly innovative musical solutions were implemented by the composer in this essay. Bright, satirical images, theatricality – that’s what characterizes this cycle. Listen to the works, find out Interesting Facts and the history of creation, as well as read the musical annotations for each number in this article.

History of creation

Modest Mussorgsky was a sympathetic person by nature, so people were drawn to him and tried to establish friendly relations with him. One of the composer's best friends was the talented artist and architect Victor Hartmann. They spent a lot of time talking and often met, discussing art. The death of such a close-minded person horrified the musician. After a tragic event Mussorgsky recalled that when last meeting I didn’t pay attention to the terrible state of the architect’s health. He thought that such attacks in breathing were the consequences of active nervous activity, which is so characteristic of creative people.

A year after Hartmann’s death, at the behest of Stasov, a huge exhibition was organized, which included the works of a talented master from watercolors to oils. Of course, Modest Petrovich could not miss this event. The exhibition was a success. Artwork produced the strongest impression on the composer, so he immediately began composing a cycle of works. That spring, 1874, the writer limited himself to improvisation, but in the summer all the miniatures were ready in just three weeks.

Interesting Facts

• Modest Mussorgsky wrote this cycle of works for piano; the most successful orchestration was created famous composer Maurice Ravel. The selection of timbres fully corresponds to the images. The premiere of the orchestrated version took place in the fall of 1922 in Paris. After the first performance, the forgotten “Pictures at an Exhibition” regained popularity. Many world-famous conductors wanted to perform the cycle.
• The cycle was never published during the author's lifetime. The first publication took place only five years after his death.
• There are 19 orchestrations of this suite.
• Hartmann's gnome is a nutcracker with crooked legs.
• About four hundred different exhibits were presented at the exhibition. Mussorgsky chose only a few of the most striking paintings, in his opinion.
• Unfortunately, the samples of the drawings from which the miniatures were painted were lost.
• Despite the fact that the inspiration was the work of Hartmann, the cycle was dedicated to Stasov, who provided enormous assistance and assistance in the implementation of Mussorgsky's plans.
• The editors of the first collection published in print belong to the genius Rimsky-Korsakov. At the same time, as a teacher at the conservatory, the composer tried hard to correct all sorts of author’s “mistakes.” Thus, the works have lost a lot, they have lost their innovation. Nevertheless, the circulation sold out quite quickly. The second edition was under the leadership of Stasov, who did not change anything in the manuscripts. The popularity of this edition did not live up to the critic's hopes; pianists believed that they were too difficult to perform.

“Pictures at an Exhibition” is a unique suite woven from piano miniatures. The author helps the listener feel like a visitor to Hartmann's exhibition. The paintings change one after another, uniting the entire “Walk” cycle. Despite the fact that the suite has a program, the music paints fairly free images and plots, interconnected by the musical material of the first number. It changes depending on the author’s attitude towards what he sees. Thus it is traced through form work, it is constantly evolving. The alternation of numbers is carried out according to the contrasting principle.

Walk. The first number seems to draw steps. The melody is reminiscent of Russian folk song, not only by variable meter, but also by its own breadth and depth. The hero entered showroom. Slowly it approaches, the sonority increases, leading to the climax. In letters to Stasov you can read that the author depicts himself examining various exhibits. Light, cleanliness and spaciousness are the sensations that music gives. As mentioned earlier, the theme of the walk will permeate the suite from beginning to end, constantly changing. The only thing that will remain unchanged is the folk style and majesty.

"Walk" (listen)

Dwarf. Funny and at the same time touching number. A fantastic, slightly absurd creature, which is characterized by constant leaps and angularities in the melody, and also knows how to feel the world. Plaintive intonations show that the gnome is sad. This psychological picture reveals the versatility of the image. The development of the image is rapid. After reaching the climax, the composer again returns the “Walk” theme, significantly shortened compared to the first version, it connects the two numbers.

old lock. The lyrical hero approaches next piece art watercolor drawing, written in Italy. What he sees: an old medieval castle, in front of which a troubadour in love is singing. A sad melody flows from the lips young musician. Thoughtfulness, emotion and sadness permeate the musical number. The constantly repeating bass allows you to reproduce the music of the Middle Ages, the theme varies, reminiscent of live singing. The middle part is filled with light, which again gives way to dark shades. Everything gradually calms down, only last phrase fortissimo, destroys the silence. A short walk to the next picture allows you to modulate into the key of the next number in B major.

“Old Castle” (listen)

Tuileries Garden. A luxurious garden near the Tuileries Palace in Paris is filled with light and joy. Little children frolic and enjoy life in the company of nannies. The rhythm is fully consistent with children's teasers and counting rhymes. The work is polyphonic, two themes are carried out simultaneously, one of them is the image of children, and the other of nannies.

Cattle. The piece begins with a sharp fortissimo, this is a strong contrast. A heavy cart is moving. The two-beat meter emphasizes the simplicity and roughness of the melody. You can hear the creaking of wheels of heavy carts, the lowing of oxen and the joyless song of a peasant. Gradually the music fades away, the cart has gone far, far away. The theme of the first number comes in, but it sounds in a minor key. It conveys the mood lyrical hero, he is lost in his own thoughts.

Ballet of the Unhatched Chicks. The hero did not immediately pay attention to the next exhibit. Vivid sketches for the ballet "Trilby". A light and serene scherzo written in three-movement da capo form. This is the dance of the little canaries. Comedy and naivety literally permeate the number.

“Ballet of the Unhatched Chicks” (listen)

Samuel Goldberg and Shmuile or Two Jews - rich and poor. Modest Petrovich Mussorgsky especially admired two pictures at the exhibition. Figurative expressiveness manifested itself in this musical number. A special flavor is created using the gypsy color scheme. The second theme is filled with plaintive intonations. In the future, the themes will be connected and sound together. In the story, a poor Jew asks a rich man for help, but he does not agree. The last word turns out to be behind the rich man. This number is characterized by polytonality.

“Two Jews – rich and poor” (listen)

The first part of the cycle ends with a walk that almost completely repeats musical material first number.

Limoges. In a small town in France, the most notorious gossips gathered at the market. The hum of conversations does not stop for a second. There is a spirit of bustle and fun all around. One of the most cheerful and cheerful numbers in the suite. But the lyrical hero's gaze falls on another picture, the music stops and another number begins.

Catacombs. Everything seems frozen, hopelessness and pain dominate this work. The key of B minor has always been a symbol of tragic destiny. The intonation of the complaint conveys the horror of what he saw. The tonal instability determines the dramatic nature of the suite number. The composer seems to want to convey the irreparable feeling of loss that arose after the death of the talented artist Hartmann. The continuation of this number “With the dead in a dead language” sounds. The theme is based on a walk, which sounds slow and tragic. The feeling of grief is conveyed by dissonant harmonies. Tremolo in the high registers creates an atmosphere of tension. Gradually there is a modulation to major, which means that the person has accepted the fate prepared for him.