Kolovsky - Analysis of the choral score. The use of choral works by M.V. Antseva for female composition in the practice of working with a training choir Analysis of choral scores the forest is spread
Analysis of the choral score.
Compiled by: Senior Lecturer
department of choral conducting and
solo singing of the Faculty of Music
Bogatko I.S.
Perm 2013
Choral work analysis
Musical-theoretical analysis of the work (tonal plan, form, cadences, the nature of the development of musical thought, size, texture features, tempo).
Vocal-choral analysis: type and type of choir, voice ranges, tessitura, ensemble, system, intonation, vocal-choral, rhythmic, diction difficulties).
Performing analysis of the work; (the connection of music with the text, the definition of caesuras, the establishment of the tempo, the nature of the work, dynamics, strokes, climax).
List of works.
1 course
Choral works to study
Arensky A. Anchar. Nocturne
Agafonnikov V. Flax was sown across the river.
Bely V. Steppe
Boyko R. 10 choirs at A. Pushkin station
Vasilenko S. Dafino wine. Like in the evening. On the mountains two gloomyclouds. Blizzard. Steppe.
Grechaninov A. The stream amuses us. In a fiery blaze. Aboveimpregnable toughness. Light is quiet. After the storm. At dawn.
Gounod C. Night
Davidenko A. Vsevpered. Barge haulers. The sea roared furiously.
Darzin E. Past. Broken pines.
Dvorak A. Pir. Choirs from the cycle "On Nature"
Debussy K. Winter. Tambourine
Egorov A. Taiga. Nikitich. Lullaby. Lilac. Song.
Ippolitov-Ivanov M. Novgorod epic. Forest. Night.
Kastalsky A. Under a large tent. Rus.
Korganov T. Sees a deer in the water.
Kasyanov A. Autumn. The sea does not foam.
Caldara A. Stabatmater
Kalinnikov V. Lark. Winter. On the old mound. Us starsthe meek shone. Autumn. Forest. Oh, what an honor to the young man. merk starschick and go out. Condor. Elegy.
Koval M. Ilmen-lake. Leaves. Tears. There would be a storm, or something.
Kravchenko B. Russian frescoes (optional)
Cui C. Nocturne. Wake up song birds. Two roses. The sun is shiningtse. Storm clouds. Dream.
Kolosov A. Rus.
Lasso O. Soldier's serenade. Oh, if only you knew. matona.
Lensky A. Past. Russian land. January 9. Cliff and sea. Arrangements of folk songs (optional).
Lyatoshinsky B. Autumn. Oh, ty, my mother. In a clean field. Water flows.
Makarov A. "City of Unfading Glory" from the suite "River Bogatyr"
Mendelssohn F. Choirs to choose from.
Muradeli V. Response to the message of A. Pushkin.
Novikov A. In the forge. Oh, you field. Love. Merry feast.
Popov S. Like the sea.
Poulenc F. White snow. Sadness. "I'm afraid of the night" from the cantata "Lik human"
Ravel M. Three birds. Nicoletta.
Sveshnikov A. In the dark forest. Ah, you are a wide steppe. Down the mother along the Volga.
Sviridov G. "Pushkin's wreath": No. 1, 3, 7, 8, 10. "Night clouds" -No. 2. Blue in the evening. clear fields. Spring and the sorcerer. Choirs onpoems by Russian poets.Slonimsky S. Four Russian songs.
Sokolov V. Povien-povien, storm-weather. Are you rowan, ripple nushka.
Taneev S. Adeli. Tower ruin. Venice at night.
Tchaikovsky P. Without pores, but without time. Not a cuckoo in the cheeseboron. The cloud slept. Nightingale. What silenced funvoice. Blessed is he who smiles. Choirs from the Liturgy (optional).
Chesnokov P. August. Alps. In winter. The dawn is warm. Forest. Along yes alongriver. Dubinushka. It's not a flower that wilts in the field. Liturgical choirs (optional).
Shebalin V. Winter road. The mother sent thoughts to her son. Stepan Razin.White-sided chirping. Cliff. Message to the Decembrists. Cossackdrove a horse. Soldier's grave.
Shostakovich D. Ten Poems. (choirs to choose from).
Schumann R. Good night. Toothache. In the forest. On Lake Constance.
Shchedrin R. 4 choirs at st. A. Tvardovsky.
Schubert F. Love. Night.
Choral works for sight reading and transposition.
Bortnyansky D. It is worthy to eat. Cherubic number 2.
Vekki O. The Shepherd and the Shepherdess.
Davidenko A. The sea moaned furiously. Prisoner. Barge haulers.
Dargomyzhsky A. Petersburg Serenades.
Glinka M. Patriotic song.
Grechaninov A. Frog and ox.
Egorov A. Song.
Zinoviev A. Autumn.
Ippolitov-Ivanov M. Sharp axe. Pine.
Kalinnikov V. Elegy.
Kastalsky A. At the gate, gate. Rowanberry.
Kodai 3. Evening song.
Costle G. Mignon.
Sheet F. The onset of spring.
Mendelssohn F. Run with me. As frost fell on a spring night.Above her grave. Premonition of spring.
Prosnak K. Prelude.
Rachmaninov S. We sing to you.
Rimsky-Korsakov N.A. Ai in the field of lime. You rise the red sun.
Salmanov V. "Oh, dear comrades" from the oratorio "The Twelve".
Slonimsky S. Leningrad white night.
TaneevS. Serenade. Pine.
Tchaikovsky P. "Liturgy of St. I. Chrysostom": No. 9, 13.A golden cloud spent the night
Chesnokov P. Spring calm. Behind the river, behind the fast one. Thought after thought.
Shebalin V. Winter road.
Schumann R. Evening star. Good night. Night silence.
Schubert F. Love. distant.
Shchedrin R. How dear is a friend. The war has passed. Quiet Ukrainian night.
Eshpay A. Song about springs.
2 course
Choirs with accompanimentForstudy.
Original choral works:
Glinka M. Polonaise. Glory to the Russian people.
Debussy K. Lilac.
Ippolitov-Ivanov M. Morning. Peasant feast.The approach of spring. Flowers.Leaves rustle in the garden. In May.
Novikov A. Grass. Hey, let's go. And the rain is pouring.
Schumann R. Gypsies.
Schubert F. Shelter.
Choirs from oratorios and cantatas.
Harutyunyan A. Cantata about the Motherland No. 1, 4, 5.
Britten B . Missa brevis in D
Bruckner A. Requiemd- mall. Big mass.
Brahms I. German Requiem:№ 4.
Vivaldi A. Gloria: No. 1, 4, 7.
Handel T. Oratorio "Samson": "Smitten Samson"
Grieg E. Olaf Trigvasson (single room).
Dvorak A. Requiem (choir performances). ThoseDeum(fully)
Kabalevsky D. Requiem: Introduction, Remember, Eternal glory, Black stone.
Kozlovsky O, Requiem (movements by choice).
Makarov A. Suite "River Bogatyr". ABOUT
ABOUT rf K. Karmina Burana: No. 1, 2, 5, 8, 10, 20, 24, 25.
Prokofiev S. Ivan the Terrible (choir numbers).
Poulenc F. Face of a man (parts by choice)
Salmanov V. Twelve (separate parts or in full).
Sviridov G. "Pathetic Oratorio": Wrangel's Flight,To the heroes of the battle of Perekop, There will be a garden city, The poet and the sun " Poem in memory of S. Yesenin ": Winter sings, Threshing,Night on Ivan Kupala, Peasant
Guys. " Pushkin wreath ": No. 5, 6. "Night clouds" No. 5. " Ladoga" № 3, 5.
Tchaikovsky P. Moscow: No. 1, 3, 5.
Shostakovich D. "Song of the Forests": Future walk. "The sun is shining over our Motherland, Stenka Razin.
Choirs from operas;
Bizet G. "Carmen": scenes 24, 25, 26.
Beethoven L. "Fidelio" (department of choirs).
Borodin A. "Prince Igor": Glory, Yaroslavna's scene with the girls,Scene at Galitsky, Polovtsian dances with a choir,Finale of the 1st act,
Wagner R. "Lohengrin": Wedding choir. "Tannhauser": March.
Verdi D. "Aida": choral scenes. "Othello": choral scenes from 1, 3 acts.
Verstovsky A. "Askold's Grave": Oh, girlfriends, boil, potion.Chorus and song of Torop.
Gershwin A. "Porgy and Bess": separate choirs.
Glinka M. "Ivan Susanin": Polish Act, Glory."Ruslan and Lyudmila": Introduction, Final 1 act,Oh, you are the light, Lyudmila.
glitch X. "Orpheus": individual choirs.
Gounod C. "Faust": Waltz. "Romeo and Juliet: Choir of Courtiers.
Dargomyzhsky A. "Mermaid": Oh, you, heart, Braid, wattle. How we brewed beer on the mountain.As in the upper room-svetlitsa.
Delib L. "Lakme": choir and stage in the market.
Kozlovsky O. "Oedipus Rex": 1st choir of the people.
Mussorgsky M. "Boris Godunov": Scene of the coronation,Scene at St. Basil'sScene under Kromy (completely and separate fragments), "Sorochinskaya Fair": Choir from 1 act. "Khovanshchina": Meeting and glorification of Khovansky,Scene in the Streltsy Sloboda (completely and separate frag.).
Rimsky-Koreakov N.A. "Pskovityanka": Meeting the Terrible,Grozny's entry into Pskov, Veche Scene; "Sadko": Chorus of trade guests,Whether the height, the height under heaven. "Snegurochka": Chorus of blind guslars,Scene in the reserved forestAnd we sowed millet, Pcarnival, Opera finale.
« The Legend of the Invisible City of Kitezh":Wedding train. "The Tsar's Bride ": Love potion, Yar-hop. " May Night": Millet.
Smetana B. "The Bartered Bride": separate choirs.
Kholminov A. "Chapaev": With us, Petenka.
Tchaikovsky P. "Eugene Onegin": Chorus of peasants, Ball at the Larins. " Queen of Spades ": Choir of Walkers,Chorus of guests, Shepherdess Pastoral. "Mazeppa": Chorus and lamentation of the mother, Folk scenes, Execution scene. "Oprichnik": The duck swam in the sea,Wedding choir "Glory".
Choral works for sight reading and transposition
Borodin A. "Prince Igor": Fly away on the wings of the wind.
Verstovsky A. "Askold's grave": Two choirs of fishermen,By the valley stood a white birch, Ah, girlfriends.
Verdi J. "Nebuchadnezzar": You are beautiful, oh, our Motherland. "Aida ": Who is there (2 act).
Glinka M. "Ruslan and Lyudmila": Oh, you are the light of Lyudmila,The bird won't wake up in the morning. "Ivan Susanin ": Wedding song.
Dargomyzhsky A. "Mermaid": Three choirs of mermaids.
Mussorgsky M. "Khovanshchina": Dad, Dad, come out to us.
Petrov A. "Peter I": Final chorus from the opera.
Tchaikovsky P. "The Snow Maiden": Seeing off Shrovetide.
Chesnokov P. Spring rolls.
3 course
Polyphonic choral works to study.
Original choral works
Arkadelt Ya. Swan at the moment of death.
Vecky Oh, it's better not to be born.
Verdi J. 4 spiritual choirs.
Gabrieli A. Young maiden.
Grechaninov A. Swan, crayfish and pike.
Glazunov A. Down the mother, along the Volga.
Kodály 3. Hungarian psalm.
Lasso O. Shepherd. Goose song. Echo.
Marenzio L. How many lovers.
Monteverdi K. Farewell. Your clear gaze is so beautiful and bright.
Morley Tenderness burns in your face.
Palestrina J. Spring wind. Oh, he's been in the grave for a long time.
Rimsky-Koreakov N. The moon floats. Old song.A golden cloud spent the night. Tatar full.You are already a garden. Wild in the north.
Sveshnikov A. You are a garden.
Sokolov V. Where can a girl go with grief?
Taneev S. Alps. Sunrise. Evening. On the grave.Tower ruin. Look how dark.Prometheus. I saw a cliff through the clouds. In the days when over the sleepy sea. There are two gloomy clouds over the mountains.
Tchaikovsky P. Liturgy of St. I. Chrysostom: No. 6, 10, 11, 14.Cherubic Hymn No. 2. Our Father.
Chesnokov P. There was a baby.
Shebalin V. Above the mounds.
Shchedrin R. Willow, willow.
Choirs from operas:
Borodin A. "Prince Igor": Chorus of the villagers.
Berlioz T. "The Condemnation of Faust": Brander's Song and Choir.
Vasilenko S. "The Legend of the Invisible City of Kitezh":Choir of the people "Woe has befallen".
Wagner R. "Meistersingers": Glory to art.
Glinka M. "Ivan Susanin" ": Introduction. "Ruslan and Lyudmila": He will die, he will die.
Dargomyzhsky A. "Mermaid": Healthy choir.
Mozart W. "Idomeneo": Run, save yourself.
Rimsky-Koreakov N. "The Tsar's Bride":choral fughetta "Sweeter than honey". "Snow Maiden ": I have never been scolded by treason(from the final 3 days)
Ravel M. "Child and Magic": Choir of shepherds and shepherdesses.
Shostakovich D. "Katerina Izmailova": Glory.
Choirs from oratorios and cantatas
Harutyunyan A. Cantata about the Motherland: No. 3 "The Triumph of Labor".
Bartok b. Cantataprofana. № 1, 2, 3.
Bach I.S. Secular cantatas:№ 201 D- dur"Attention", No. 205 D-dur "Chorus of Winds", No. 206D- dur"Opening Chorus", No. 208 F-dur "Final Choir", Mecca h- molI: № 1, 3, 15, 16, 17.
Beethoven L. MassC- dur: 1st hymn
Berlioz G. Requiem: otd. numbers.
Britten B. War requiem. MassinD.
Brahms I. German Requiem: No. 1, 2, 3, 6, 7.
Vivaldi A. Gloria: No. 5, 12
Verdi G. Requiem: No. 1, 2, 7.
Haydn I. Seasons: No. 2, 6, 9, 19.
Handel G. "Alexander Fest": No. 6, 14, 18. " Messiah": No. 23, 24, 26, 42. " Judas Maccabee": No. 26. "Samson": No. 11, 14, 26, 30, 32, 49, 59.
Davidenko A. From the joint oratorio "The Way of October": On
tenth verst, The street is worried.
Degtyarev S. "Minin and Pozharsky": separate issues.
Dvorak A. Requiem: individual numbers. Stabat Mater No. 3.
Yomeli N. Requiem: individual numbers.
Mozart W. Requiem: No. 1, 4, 8, 9, 12.
Honegger A. "King David": No. 16, 18 and Final chorus. "Joan of Arc at the stake: Finale of the oratorio.
Ravel M. Daphnis and Chloe: Choirs from suites 1 and 2.
Reger M. Requiem: complete and separate numbers.
Scriabin A. Symphony 1: Glory to Art (final).
Stravinsky I. Symphony of Psalms: complete and separate numbers.
Smetana B. "Czech Cantata".
Taneev S. "John of Damascus": complete and separate numbers. "After reading the psalm ": No. 1, 4.
Faure G. Requiem: individual numbers.
Hindemith A. "Eternal": complete and separate numbers.
Tchaikovsky P. "To the 200th anniversary of the monument to PeterI»: Fugue.
Schubert F. Mass As-dur. Private rooms. Mass Es-dur: Separate numbers.
Shimanovsky K. Stabatmater: № 1, 4, 5, 6.
Schumann R. "Paradise and Peri":№8, 11, Requiem: individual numbers.
Shostakovich D. Song of the Forests: No. 7 Glory.
Shchedrin R. "The Sealed Angel": individual numbers and in full.
Choral works in the keys "TO".
Baya T. OboneJesu
Bortnyansky D. Concerto for choir No.I.
Gastoldi T. Heart, do you remember
Calvisius S. I am a man.
Lasso O. All day daytime.I was told. How did you manage.
Lechner L. Oh, how cruel my fate is to me.
Meyland Ya. The heart rejoices in the chest.
ScandeliusA. To live on earth.
Friderichi D. Song of society.
Hasler G. Ah, I sing with a smile.
Chesnokov P. Spirit. choirs.
Shostakovich D. As in an immemorial year.
Choral scores for transposition
Venosa J. Sancti spiritus.
Verdi J . Laudi alla virgine Maria fragments )
Dargomyzhsky A. Petersburg Serenades: From a Country, a Faraway Country.Raven flies to raven.I drink to Mary's health. Goblin at midnight. On the calm waves.
Ippolitov-Ivanov M. Pine.
Kodály 3. Hello Janos.
Lottie A. Miserere
Mendelssohn F. In the south.
Muradeli V. Impatiable dreams.
Rechkunov M. Sharp axe. Autumn.
Taneev S. Serenade. Pine. Venice at night.
Tchaikovsky P. Evening.
Schubert F. Lipa.
O. Kolovsky. Choral score analysis / Choral art: collection of articles / ed. A. V. Mikhailov, K. A. Olkhov, N. V. Romanov. Leningrad "Music", - 1967. - p. 29-42
Textbooks on the analysis of musical works cannot fully satisfy students working on the score in terms of performance, since the course of analysis is a theoretical discipline and is not designed to cover a musical work comprehensively. The performer, in particular the conductor of the choir, must master the score as much as possible.
This essay is devoted to the methods of musical analysis of a choral score in a special class of conducting.
In short, the progress of work on the score is presented in the following form: the first stage is playing, listening to the music; the second - historical and aesthetic analysis (acquaintance with the work of the composer - the author of the score under study; reading special literature; reflections on the text, the general content of the works, its idea); the third is theoretical analysis (structure, thematism, the process of shaping, the function of cadences, harmonic and contrapuntal elements, issues of choral orchestration, etc.).
Of course, the proposed sequence is somewhat arbitrary. Everything will depend on the specific circumstances: on the degree of complexity of the work, on the giftedness of the student. If, for example, a talented and, moreover, an erudite musician comes across an easy score, then he may not need much time for analysis - he will master it, as they say, in one sitting; but another situation may also arise, when a complex score will end up in the hands of an immature and not very sensitive performer - then one cannot do without a technique.
Unfortunately, future choir conductors are deprived of the opportunity to take classes in composition, although it is no secret that composing skills are of great benefit when studying music, allowing them to delve deeper and more organically into the process of shaping, to master the logic of musical development. How much simpler the "problem" of analysis would be if it were dealt with by people who had gone through the school of composition.
So, the student received a new score to learn. This may be a simple adaptation of a folk song, a fragment from the Oratorio or Mass, a new work by a Soviet composer. Regardless of the degree of complexity of the score, it must first be played on the piano. For a student who does not play the piano well, the task will, of course, become more complicated, but even in this case one should not refuse to play and resort to the help of a recorder or an accompanist. Of course, the activity of internal hearing and an excellent memory can largely make up for the lack of pianistic skills.
Playing and, of course, accompanying listening and memorization are needed not only for a preliminary acquaintance with the score, but in order, as they say, to “bite through” it, to understand in general terms the meaning, idea of the work and its form. The first impression must always be strong and definite; music should captivate, please - this is an absolutely necessary beginning for further work on the score. If this contact between the music and the performer did not occur from the very beginning, it is necessary to put the score aside, either temporarily or permanently. There can be several reasons why the work "did not like". Excluding extreme cases (the music is bad or the student is mediocre), most often this comes from the narrow cultural and musical outlook of the student, a limited circle of artistic sympathies, or, simply, bad taste. It happens that a form or a new musical language scares away, sometimes the very idea, the concept of a piece, turns out to be alien. In exceptional cases, this is a manifestation of fundamental intolerance towards a particular composer or style. However, be that as it may, if the work “did not come through,” it means that it remained incomprehensible both in content and in form. Therefore, further analysis is completely useless; it will bring nothing but formal results. It makes sense to start analyzing the score only when the student already knows, understands and feels the music, when he "likes" it.
Where to start? First of all, from the historical and aesthetic analysis, that is, from the establishment of links between a given work and phenomena of life, culture and art close to it. Thus, the subject of such an analysis will be not so much the work itself, as those phenomena that are somehow connected with it. This is necessary in order to ultimately penetrate deeper into the content of the studied score and further into its form through indirect connections. We should not forget that each piece of music is not an isolated phenomenon, but is, as it were, an element or a particle of a whole intonation-stylistic system in the artistic life of a certain era. This particle, as in a microcosm, reflects not only the stylistic features of musical phenomena adjacent in time, but also the characteristic features of a particular historical culture as a whole. Thus, the surest way to know this “microcosm” is from the general to the particular. However, in practice, a variety of situations arise. Let us imagine that a student has been given a score by one of the old masters of the 16th century to learn, and that this is his first encounter with this style. It is unlikely that there will be much use from the fact that the student will be engaged in diligent swotting and theoretical analysis of this single score. Of course, a colossal additional work will be required; firstly, you will have to replay dozens of scores by the same author and his contemporaries in order to get acquainted with the style in a broad sense; secondly, it will be necessary, as they say, to enter this distant era in all possible ways - through literature, painting, poetry, history, philosophy.
Only after such painstaking preparatory work can one count on finding the right “tone” for interpreting a given work.
And vice versa, another example: the student must prepare for learning and performance the score of a famous Russian composer of the 19th century. Of course, analysis will also be required here, but on a much smaller scale, since the music of this composer is “well-known”, his student knows the main works (is this always the case?), read something about his life and work, and finally something what I remember from lectures, etc. But even in such a favorable state of affairs, I still have to refresh some works (most likely symphonic and chamber-instrumental ones), get acquainted with new biographical materials, etc.
In practice, there may be other options. Of course, the higher the culture and erudition of a musician, the more extensive his musical "baggage", the sooner he goes through this stage of analysis. A student who is less musically and culturally prepared will have to put in a lot of work in order to rise to the level corresponding to the work, and after that have the right to concentrate on himself.
Musicians who completely neglect the method of historical analysis, considering it an unnecessary luxury and an invention of "non-musicians", always, to one degree or another, have shortcomings in their performance; their interpretation always smacks of an unpleasant "gag" that gets along well with stylistic eclecticism. True, sometimes you have to meet with a talented gag, but this does not change the essence of the matter.
It is a pitiful sight to see a capable student conducting some complex composition which he feels but does not really understand; he surrenders to the power of his emotions, his temperament, he even manages to faithfully and talentedly convey individual details, he gets excited and worries, and music, like a sphinx, remains unsolved. And after all, this misunderstanding, which can be perfectly combined with the "knowledge" of the score, almost always has one source - the lack of a broad outlook in the field of culture and art. This circumstance especially makes itself felt when something from J.‐S. Bach. Without blaming the teachers of special conducting, I still want to say that there is hardly any benefit from conducting the works of J.‐S. Bach at the piano!
Let's move on to specific examples. It is necessary, for example, to make a historical and aesthetic analysis of one of the parts of Mozart's "Requiem" and Shostakovich's poem "January 9th".
The fact that both works are quite well known and are often performed in classrooms and at exams allows the analysis to be freed from some informational ballast, which is necessary in cases where we are talking about some rarely performed work by a little-known author.
It has already been said earlier that in order to conduct one piece, one must, if possible, become familiar with the composer's work as a whole. Few people actually do not know this, but few follow this principle. The true meaning of music is often replaced by a superficial orientation - so many symphonies have been written, so many operas, etc. But the main thing is how it sounds written. It is hard to imagine that there can be a choir student who does not know anything from Mozart, except for the Requiem. Some piano piece played in childhood is probably already stuck in the memory; maybe I remember one or two symphonies or something else. However, we can safely say that the vast majority of young choir conductors do not know Mozart's music well. To embark on the Requiem without the feeling that the head and heart are already full of the music of a brilliant artist is as absurd as to take on the score of Beethoven's 9th Symphony or Tchaikovsky's 6th without knowing the previous ones. All this does not mean that you need to study the whole of Mozart. On the contrary, one can get by with a minimum in the first case, but even this minimum will amount to a far from small number of compositions. Be sure to get acquainted with all the main genres in the work of Mozart, since each of them opens up some new facet of his music. It is better to start with piano sonatas, then move on to piano concertos, listen to chamber ensembles (especially quartets and certainly a quintet in G minor) and maybe dwell on symphonic work more thoroughly, starting with the last three symphonies. It will not hurt to get acquainted with charming divertissements. And of course, a sense of Mozart's operatic style, at least for 2-3 operas, seems absolutely necessary. The list can be continued, but this is enough. Ultimately, the success of the analysis will be determined not by the number of things played and heard, but by the ability to delve into the music. The main task is to feel the spirit of Mozart's music, to get carried away by it, to feel the style, the nature of the musical language. Only those who deeply experience and understand the "sunny" essence of Mozart's music will find the right path to the dramatic and gloomy world of "Requiem". But even in the Requiem, Mozart remains Mozart, the tragedy of the Requiem is not tragedy in general, but Mozart's tragedy, that is, due to the general style of the composer's music.
We very often, unfortunately, try to lay the shortest paths between reality and a piece of music, forgetting that there is only one correct path, longer, but true - through style. The struggle to master style is perhaps the most concise formulation of the meaning of historical and aesthetic analysis. And with regard to Mozart's music, this is a particularly difficult task, because Mozart is "supported" from two sides by such colossi as Bach and Beethoven. And often the dramatic pages of Mozart's music are performed "under Beethoven", and contrapuntal - "under Bach".
Simultaneously with the musical "excursion" it is advisable to read special literature. In addition to textbooks, it is useful to read primary sources - Mozart's letters, memoirs - to get acquainted with the statements of major artists about Mozart, etc. Finally, if time and circumstances permit, it is not harmful to delve into the socio-political and artistic environment of that time. As for the Requiem itself, not to mention the music, it also seems extremely important to clarify some details of the religious content of the funeral service, because focusing on the humanism of music, one should not at the same time forget about church attributes, forms and canons, which have found a certain reflection and in the music of Mozart. The question of the influence of church ideology on music is also related to the problem of style.
And one more thing: one cannot pass by the immortal art of the great poets, musicians and artists of the Renaissance; frescoes and paintings by Michelangelo and Raphael can "suggest" a lot in the interpretation of some numbers of the "Requiem"; a sensitive musician, with great benefit for himself, will also study the scores of the immortal Palestrina, filled with some special purity and "holiness", and after all, there are "Palestrinian" episodes in the score of the "Requiem"; Mozart firmly mastered the Italian school of choral voicing - light and transparent.
In general, it seems as if a large amount of work is being done around one work, but, firstly, not every score requires such an extensive analysis, and, secondly, a student, picking up a new score, still knows something about composer and his work, and about the era as a whole. Therefore, the work will consist in replenishment of knowledge, in additional analysis, some (large or smaller) part of which has already been done earlier in the learning process.
As for studying the score of a modern composer, then the performer will inevitably face difficulties of a different nature than when analyzing a work of classics, although the range of questions in both cases is the same. The work of even the greatest classic, who lived, say, 100 years or even more ago, according to a completely natural law of life, loses some of its vital content - it gradually fades, loses the brightness of its colors.
And so it is with the whole heritage: it is, as it were, "deployed" in relation to us, contemporaries, from the side of its beautiful, classical forms. That is why the conductor must first of all get to the bottom of the vital springs of the style of the classical score; his “super task” is to make old music in his interpretation perceived as a new, modern work. In absolute form, such a transformation is, of course, impossible, but striving for this ideal is the lot of a true artist.
The strength of genuine contemporary art, on the contrary, lies in the fact that it first of all conquers and wins the heart with its connection with life. But the form of new music often scares away the conservative and lazy performer.
Now, briefly about Shostakovich's choral poem "January 9th". Here, too, one will have to deal first with the work of Shostakovich as a whole, paying primary attention to the central genre in his work - the symphonic one. Perhaps, first of all, you should get acquainted with the 5th, 7th, 8th, 11th and 12th symphonies, some quartets, a piano quintet, fugues for piano in E minor and D minor, the oratorio “Song of the Forests” and a vocal cycle on texts Jewish folk poetry. Shostakovich - the great symphonist of our time; in his instrumental frescoes, as in a mirror, the heroism, drama and joys of a man of our stormy and contradictory era are reflected; in terms of the scale of the events depicted, in terms of the power and sequence of the development of ideas, he knows no equal among the composers of our time; in his music there is always a note of ardent love, sympathy and struggle for a person, for human dignity; tragic episodes of Shostakovich's music are often the pinnacle of his grandiose concepts. The original style of Shostakovich is a complex amalgam of Russian-European origin. Shostakovich is the most faithful heir to the great art of the past, but he also did not pass by the huge conquests of outstanding composers of the 20th century. The seriousness, nobility and the greatest purposefulness of his art make it possible to put Shostakovich on the general line of development of European symphony, next to Beethoven, Brahms, Tchaikovsky and Mahler. The constructive clarity of his musical structures and forms, the extraordinary length of melodic lines, the variety in the modal basis, the purity of harmonies, the impeccable contrapuntal technique - these are some of the features of Shostakovich's musical language.
In a word, anyone who dares to take Shostakovich's work for learning will have to think a lot about his work, especially since there are still very few good books about him.
As far as the program is concerned, here too one cannot be complacent on the grounds that the theme of the revolution of 1905 is a well-known thing. We must not forget that this is history. So, we must try to get closer to the tragic event on Palace Square, to see it in our imagination, to feel and experience it, to revive in our hearts a civil feeling of pride for those who died for the great cause of liberation from the tsar's yoke. You need to set yourself up, so to speak, in the most sublime way. There are many ways to serve those who wish: historical documents, paintings, poems, folk songs, and finally cinema. Ideally, the performer should always strive to reach the level of the composer - the author of the work, and in this he will be helped to a large extent by his own concept and idea of the composition, and not learned only from the composer's voice. This circumstance will give him the right to argue with the author and, perhaps, make some adjustments to the indicated tempos, dynamics, etc. In short, when receiving the score of, say, the same poem by Shostakovich, the conductor (if he is a creative person) should not only analyze and state what is in it, but also try to discover what, from his point of view, should be there. This is one of the ways to an independent and original interpretation. For the same reason, it is sometimes more useful to get acquainted first with the text of the score, and not with its music.
The final result of the historical and aesthetic analysis should be clarity in the general concept, in the idea, in the scope of the content, in the emotional tone of the work as a whole; moreover, preliminary conclusions regarding stylistics, musical language and form, which will be refined in the process of theoretical analysis.
And lastly, whether it is necessary to draw up the analysis in a written work. In no case. It is much more useful to make a habit of entering all the material on a given work in a thesis form into a special notebook. These can be: the conclusions of the analysis, their own thoughts and considerations, statements from the specialized literature, and much more. In the end, in the future, if necessary, it will be possible to make a small monograph about the work based on the data of the analysis (including the results of theoretical analysis). But this is after the performance of the score. Before the debut, it is better not to be distracted and make every effort to express yourself better in the language of music.
From form to content
Even at a music school, a student gets acquainted with the elements of music (mode, interval, rhythm, meter, dynamics, etc.), the study of which is included in the course of elementary music theory; then switches to harmony, polyphony, orchestration, score reading and finally completes his theoretical education with a course in the analysis of musical compositions. This course seems to have as its task a holistic, comprehensive analysis - in any case, the authors of textbooks in their introductory chapters declare such a profile; in fact, almost everything comes down to the study of musical compositional schemes, to the analysis of the architectonic structure, that is, to mastering the rules of musical "grammar".
Although the issues of thematic development are touched upon, but mainly in the limited scope of methods of motivated development, and then somehow “by eye” - where it is completely obvious.
This does not mean, however, that the study of the structure of musical works has lost its meaning. It is unlikely that the expediency of such a pedagogical discipline needs special argumentation. It may not be about canceling (at least for the first time) the architectonic criterion in analysis, but only about supplementing it with an analysis of a different plan, namely, an analysis of the process of shaping. How to do this, how to develop a method for doing so is the business of theorists. But practicing musicians, and choir conductors in particular, cannot wait; they begin to lose faith in the power of theory, many of them eventually stop taking the analytical method of studying music seriously, feeling cheated in some way - so much was promised and so little delivered. This, of course, is unfair, but it also has its justification, because it turns out like this: theory leads, leads the student by the hand, and then, at the most decisive moment, at the culminating peak of theoretical education, when music, as they say, is within easy reach - leaves his. This interval between science and live music (however, in principle it is quite natural) is currently too large, it must be significantly reduced. It seems that there are two ways to go: either resolutely move the theory of analysis to a more creative problem of shaping, or approach the existing theory through the highest and most conscious practice - through creativity-composition, i.e. by moving the problem of musical development in this way into the sphere of practice . The second path is more reliable and, apparently, the time will come when the course of analysis of musical works (at least for conductors) will turn from analytical into practical, but regardless of this, theory should also step forward, approach the requirements of modern practice. Solving such a problem at the scientific level is a difficult and long task. However, in such cases, when the theory is somewhat late, a technique can come to the rescue. Let's try to help young choir conductors with some practical advice that we think will direct their attention in the right direction.
First, about the possible types of theoretical analysis aimed at studying the form of a musical work. There may be several of them, for example: harmonic - when the compositions are viewed solely from the point of view of its harmony; contrapuntal, obliging to pay special attention to the issues of voice leading; finally, the features of choral orchestration, structure, or patterns of thematic development can fall under the analytical "spotlight". Each of them (except the last one) has its own theoretical principles and methods of analysis developed in the corresponding pedagogical courses. One way or another, students are basically prepared for harmonic, contrapuntal, structural and, to some extent, vocal-textural analysis. But when embarking on a “performing” analysis, which is as much related to the field of mythology as a “holistic” one, many of them somehow lose ground under their feet, trying to talk at all costs about everything at once.
I had to read the written work of students, which is a uniform vinaigrette; something about the ideological content, a few words about harmony, texture, dynamics, etc. Of course, such a “method” is descriptive and has little in common with genuine science.
The methodology for analyzing the form of a choral score is presented to us in the following sequence. The student begins the theoretical study of the work only after he has thoroughly worked on it in historical and aesthetic terms. Consequently, he has the score in what is called "in the ears" and "in the heart", and this is the most reliable prevention against the danger of breaking away from the content in the process of analysis. It is more expedient to start with harmony, and without being distracted by anything else, look through (and, of course, listen to), chord by chord, the whole composition. Interesting results of harmony analysis cannot be guaranteed in each individual case (not every work can be sufficiently original in terms of harmonic language), but “grains” will certainly be found; sometimes it is some complex harmonic revolution, or modulation, not accurately recorded by ear - upon closer examination, they turn out to be very important elements of the form, and therefore clarify something in the content of the music; sometimes it is a particularly expressive, formative cadence, etc. Finally, such a purposeful analysis will help to find the most “harmonic” episodes of the score, where the first word is behind the harmony, and, conversely, more harmonically neutral sections, where it only accompanies the melody or supports contrapuntal development.
The ability to discover the tonal plan of the whole work is also very valuable, i.e., to find the main, supporting tonal functions in the motley picture of deviations and modulations and to catch their interconnection.
Turning to contrapuntal analysis, one must proceed from what style this composition belongs to - polyphonic or homophonic-harmonic. If to polyphonic, then contrapuntal analysis can turn into the main aspect of the theoretical study of music. In a work of homophonic-harmonic style, one should pay attention not only to contrapuntal structures (theme and opposition, canon, fugato), but also to elements of polyphony that do not have structural certainty. These can be various types of echoes, pedals, melodic passages, figurations, individual imitations, etc. It is very important to detect (and most importantly, hear) meaningful melodic “veins” in the chord-harmonic texture, to determine their specific weight and degree of activity in shaping. As for contrapuntal episodes and structures, their analysis should not make it difficult for a student who owns the technical resources of polyphony. The difficulty here is of a different kind; one must train one's ear not to get lost in the complex plexus of voices and always find the main voice even in polyphony. To this end, it is useful to specifically practice at the piano: slowly and very quietly play polyphonic fragments, carefully listen not to “every voice”, as is usually recommended, but to the process of interaction of voices.
Next in line is the analysis of the structure of the score. There are a sufficient number of textbooks at the disposal of the student (the textbook “Musical Form” by I. Sposobin and “The Structure of Musical Works” by L. Mazel should be offered), and therefore we can confine ourselves to some general remarks. Unfortunately, one has to face the facts when students narrow down the tasks of such an analysis, confining themselves only to the question of compositional schemes; scheme found - goal achieved. This is the deepest delusion, since the patterns of structure are manifested primarily in the interconnections and subordination of small-scale constructions - motives, phrases, sentences. To master the constructive side of works means to understand the rhythmic relationships between individual structures, the logic of structural periodicities and contrasts. By the way, I have noticed more than once that a musician-conductor who has a good feeling and understanding of the constructive, so to speak, “material” side of music, is never in danger of falling under the inertia of timing. In the end, it is not so important to know whether the three-part form, for example, in such and such a work, or the two-part form with a reprise; it is much more useful to get to the bottom of his constructive idea, to rhythm, in the broadest sense of the word.
As a result of the work already done on the score, it is possible to draw some significant conclusions regarding its structural-harmonic features and thereby move on to the problem of style, so to speak, from form. However, the most difficult problem is still ahead - shaping in the process. It should be said in advance that here, as in art in general, the first word belongs to the innate sense of musical logic; no most impeccable theory can make a musician. But we should not forget something else: theoretical awareness organizes the creative process, gives it clarity and confidence. Sometimes fears are expressed - whether we analyze too much, whether this will ruin the music. False fears. With the deepest and most detailed analysis, the lion's share still remains for the share of intuition; a true musician will never stop feeling in the first place. Theory will only help him feel smarter.
Analysis helps both the "dry" and the "emotional" musician equally; he can “ignite” the first, “cool” the other.
Even in the process of structural-harmonic and contrapuntal analysis, questions of musical and thematic development usually arise from time to time, but this happens, as a rule, in the form of a statement of individual facts; so it was, and so it was. In order to understand to some extent the process of shaping, it is no longer possible to “jump” over the beats; you will have to go along a difficult and long path, approximately the one along which the composer moves when composing a work. Here the starting point will no longer be a period, not a harmonic function, but a theme.
Here, from the topic, through all the vicissitudes and nooks and crannies of its development, to get analytical thought to the final cadence, without missing a single link - the task of the procedural study of a musical work. This is never fully achieved. Somewhere there will be “gaps” where the intellect does not penetrate and where one will have to rely on intuition. However, even if the main, main line in the development of the form is only outlined, then the goal has been achieved.
Such an analysis is best done behind the instrument, when circumstances allow sufficient gathering and concentration. With a high culture of inner hearing, however, one can do without the piano. It is impossible to predict how many times you will have to play and listen to the entire score and separate places; at least many times. An analysis of this kind will require tremendous creative effort, focus, and time. And understandably, it is not an easy task to break through the emotional and figurative essence of music to the hidden springs of its logic and calculation.
In practical terms, I would like to give the student the following advice: pay attention to caesuras (including pauses) between constructions, to how phrase “clings” to phrase, sentence to sentence; learn to observe the life of the "atoms" of musical speech - intonations, how some of them develop, vary, sing, others form a kind of ostinato, or "pedal" (Asafiev's expression); do not be surprised by unexpected and sharp melodic, harmonic and rhythmic turns - they are justified by artistic and figurative logic, keep the entire musical fabric in sight, do not separate the melody from the harmony, the main voices from the minor ones - clearly feel the structure of each construction in all its dimensions; always keep in mind the main theme - the idea of the work - it will not let you turn off the road; and another very important detail - never lose touch with the text.
It would be good for young choir conductors, while improving their musical culture, to go beyond compulsory textbooks and get acquainted with theoretical primary sources, in which, of course, there is no pedagogical system, but creative thought lives on. I would like to recommend first of all to read some of the works of B. Asafiev, and maybe start directly with his work “Musical Form as a Process”. Of particular value to this book is the fact that its author, a composer, has the gift of touching the most subtle aspects of the creative process.
The last stage is the analysis of choral orchestration. As you know, there is no comprehensive treatise on this issue, at least in Russian, and in the books of P. Chesnokov, A. Egorov, G. Dmitrevsky, although they set out the basics of choral studies, but mainly in the amount of elementary information, without digressions into the problem of choral styles. Therefore, the student does not always clearly imagine what should be paid attention to when getting acquainted with the choral "handwriting" of a particular composer. Leaving aside the well-known standards regarding the arrangement of voices in a choral chord, the sound and expressive possibilities of registers and ranges, let's touch on some issues of the style of choral writing. It seems that, opening the score for analysis not for the first time, the student must first of all answer the main question: does the orchestration correspond to the style of the work as a whole - has it spoiled the author’s intentions in any way, in other words, whether the score will sound exactly in the way that the music requires (is there an overload in the chord and voices, is the texture monotonous, are the tutti passages instrumented too fluidly, is there not enough air in the score and do the voices interfere with each other, or vice versa - does the texture have sufficient structural strength, etc.). Such an “examination” should be arranged not only for a young composer, but also for a venerable author, because even the latter may encounter miscalculations, oversights, or, at best, less successful-sounding episodes. And the main task here, of course, is not to find mistakes, but to ensure that a critical position awakens the necessary sensitivity to vocal and choral problems. After that, you can already deal with other issues, such as: which choral ensembles (male choir, female choir, men with violas, women with tenors, etc.) does the composer prefer; what is the meaning of timbre in the score; what is the relationship between dynamics and orchestration; in which parties is it preferable to present the thematic material; what are the features of solo and tutti sounding, the methods of polyphonization of chord texture, etc. The question of the semantic and phonetic correspondence of words with music also adjoins here.
On the analysis of choral orchestration, one can, in essence, complete the theoretical study of the score. Then there will be special questions of daily work and performance concept.
Do I need to record my analysis? It seems to be practically impossible. Separate conclusions, considerations, even some details do not interfere with writing down for yourself. The performer does not need theoretical ideas, as such, but that what he understands and extracts from music returns to music again. For this reason, there is no illustrative analysis in this section of the essay; true analysis must be alive—when the music completes the words, and the words complete the music.
Conclusion
It would be just as wrong to confine oneself to theoretical analysis as, on the contrary, to abandon it altogether. The study of the form of a work must necessarily be preceded or accompanied (depending on the circumstances) by thoughtful work around it - acquaintance with music, literature, historical works and other materials. Otherwise, the analysis may fail and its more than modest results will only disappoint the student. It must be remembered firmly and once and for all: only when a whole world of feelings, thoughts and ideas is already connected with the music of the score - every discovery, every detail in form will immediately become a discovery or detail in content. The final result of the analysis should ideally be such an assimilation of the score, when each note "falls" into the content, and each movement of thought and feeling finds its structure in the form. A performer (whether he is a soloist or a conductor) who has mastered the secret of the synthesis of content and form is usually referred to as an artist and a master in conveying the style of a work.
The score should always be in front of the student studying it, as it were, in two planes - large and small; in the first case, it is approached for a detailed theoretical study, in the second, it is removed in order to make it easier to connect it with other phenomena of life and art, to penetrate more accurately and deeper into its content.
It can be foreseen in advance that a young conductor will say: “Well, all this is clear, but is it necessary to analyze, for example, such a score as “The bell rattles monotonously” arranged by A. Sveshnikov?”. Yes, indeed, such a score will not require special analytical work, but the skill in its interpretation will depend on many factors: on the conductor’s knowledge of Russian folk songs, on his general and musical culture, and, last but not least, on how much and how it was large and complex scores were analyzed before this unpretentious-looking work had to be taken up. I. Bach and was the first in our country to conduct I. Stravinsky's Les Noces.
Kolovsky Oleg Pavlovich (1915-1995) Kolovsky Oleg Pavlovich (1915-1995) - Russian (Soviet) choral conductor, professor at the Leningrad Conservatory, teacher of polyphony, form analysis, choral arrangement. Led a military ensemble. O.P. Kolovsky is known for his articles on the choral work of Shostakovich, Shebalin, Salmanov, Sviridov. A number of articles are devoted to the analysis of choral scores and the song basis of choral forms in Russian music.
Main questions
1. Analysis of the score in the work of the conductor
2. Brief annotation of the choral score
3. Plan for a detailed analysis of the choral score
4. Methodical literature
a) Method of analysis
b) Exemplary analyzes of choral scores
Target: Determine the value of score analysis in the work of a choir conductor. Analyze all points of the main questions of the analysis of the choral score. To identify all the performance difficulties in working on the choral score for the maximum disclosure of the musical image.
Analysis of the score in the work of the conductor
Conducting is a difficult and complex art that requires great knowledge, bright musical performance, strong-willed qualities, and outstanding organizational skills.
All the diverse activities of the conductor are ultimately concentrated around one goal - the work on the work. The work of a conductor on a choral work consists of three successive stages:
Independent study;
Rehearsal work with the choir;
Concert performance.
It is difficult to say which of the stages is more important - they are all interconnected. There is no doubt, however, that the basis of all the work of a conductor is the first stage, when not only a comprehensive study of the work takes place, but also the fundamentals of the performing idea are thought out. It is no coincidence that such great importance is attached to the independent work of students in the educational process.
Conductor-choral pedagogy has developed certain methods of independent work of the conductor on the piece, prior to learning and performing it with the choir. They are:
Piano performance;
Vocal and intonation development;
Conducting and technical development;
These methods - the result of the experience of the best choir conductors of the past - have now become accepted and unshakable. However, it is not uncommon for choir conductors (especially novice amateur choir directors) to neglect some of them, thereby significantly reducing the effectiveness of their work. With the main attention to the conductor's technical side, much less space is given, for example, to the independent vocal and intonation mastering of the work, and the analytical side sometimes simply falls out of the novice conductor's field of vision. This is largely facilitated by the insufficient methodological development of the analysis of choral scores.
Analysis of choral scores is one of the means of independent study of a choral work by a conductor.
The need to analyze a work as a prerequisite for preparing a conductor to work with a choir has developed in the process of many years of experience of the best Soviet conductors and teachers. Requirements for the analysis of choral scores, formulated by the luminaries of Russian and Soviet choral art P.G. Chesnokov (1877 - 1944) and N.M. Danilin (1878 - 1945), are also put forward in the well-known works of G.A. Dmitrevsky, A.A. Egorov, K.K. Pigrov, K.B. Birds, V.G. Sokolov, I.I. M.F. Svetozarova and others. Serious attention is paid to this issue in manuals devoted to the methodology of working with an amateur choir.
The significance of a deep and comprehensive analysis of the choral score for the education and work of a choral conductor basically boils down to the following:
Firstly, the analysis of the score contributes to a better assimilation by the conductor of the musical and literary text of the work, which, as you know, he must know perfectly (by heart). Conscious - on the basis of a comprehensive analysis - the study of the score is fundamentally different from the often used rote memorization, usually short-lived and much less effective in work.
Secondly, the analysis of the score is necessary to identify the technical, stylistic, vocal and other features of the work, to determine the difficulties that may arise in the process of learning and performing. When working with a group and being usually limited in time, the conductor must do everything possible in his independent preparation to take into account in advance the various details of his work with the choir.
Thirdly, on the basis of the analysis, the conductor establishes the performing main issues of the work and determines the specific expressive means for its creative embodiment.
Fourthly, work on the analysis of the score significantly enriches the conductor's knowledge in the field of music history, harmony, polyphony, musical form, choral studies, and conducting. The ability to be well versed in matters of general and musical culture contributes to his improvement as a performer and significantly increases his authority as a team leader. The constant accumulation of this knowledge is a necessary condition for the work of a conductor.
In addition, the work on the analysis of the work brings up the ability to correctly express one's thoughts, which is also important for the conductor, as the leader of the team.
Thus, the significance of the analysis of a choral work is not limited to the scientific and theoretical side - it is very important for practical conductor's work.
The study analysis of the choral score is done in writing. Depending on the tasks facing the student and the degree of his special training, there may be two type analysis: a brief annotation and a detailed analysis.
The purpose of creating brief annotation is the establishment of basic data about the work and the work of its author.
An annotation should be made for each piece studied in the conducting class (at least 5 pieces per semester). Having 40 - 50 abstracts for the final exam, the student accumulates significant creative and scientific baggage, which is always useful in work.
Other requirements are set when creating detailed score analysis, which in educational practice is usually called a written work on the analysis of the score.
Written work is submitted for each examination or test in conducting (hence, every semester). One written work is also submitted for the exam in choral studies. That. during the period of study, the student must complete 8-10 written works on a detailed analysis of choral scores.
For analysis, in agreement with the teacher, one of the works studied in the conducting class is selected (primary attention is recommended to be given to works for mixed choir a cappella- the most typical for choral performing practice). At the same time, it is necessary to strive to ensure that students in the learning process work on the analysis of works of various styles and genres.
The size of a written work is determined by the size and complexity of the analyzed work, as well as the degree of depth of analysis. The usual size of the work is 12-15 pages of a school notebook format. However, when students are just starting to master the skills of analysis, it can be somewhat smaller (10-12 pages). Subsequently, the size of the work, as a rule, increases to 15-20 pages.
The work must be written competently, neatly, legibly and carefully edited. It must be accompanied by the score of the analyzed work (in its entirety) with the numerical designations of measures, to which references are made during the analysis. If a work of a large form with accompaniment is being analyzed, then it is not necessary to write out the accompaniment part - it is enough to confine oneself to the necessary musical examples.
Regardless of the features of the work and the level of special training of the student, the analysis of each choral score should consist of the following main sections:
General information about the work;
Literary text analysis;
Analysis of musical expressive means;
Choral texture analysis (vocal-choral analysis);
Development of performing Key issues.
The difference in the requirements for students in the analysis of scores in different courses is:
In the increasing complexity of the analyzed works;
In the growing demands on the quality of analysis, its depth and versatility;
It should also be borne in mind that while all sections of the Core Questions are important and necessary, not all of them are of equal importance. The sections devoted to the analysis of the choral texture and the development of the performing main questions are the main ones, while others are, to a certain extent, auxiliary in nature, which, however, should not affect their theoretical level. Therefore, the question arises about aspect of analysis, i.e. about its purpose. The author must have a very good idea of the purpose of his work in order to accurately define his tasks. For the conductor, the main task of analysis is to identify specific choral performing means necessary to reveal the content of the work. Therefore, the analysis of the choral texture for the performer of a choral work is the main task: not an analysis “in general”, but an analysis of the vocal and choral features of the work and the development of performing main questions based on knowledge and understanding of these features. It is always important to remember this in order to avoid a chaotic and inconsistent presentation without a clear and definite goal, which, unfortunately, is often found in student work.
Often, too, when analyzing the score, an excessively large place is given to the description of the composer's life path and the characteristics of his work. Information about the authors of the work should be brief. The main attention should be paid to the direct analysis of the work itself.
In the analysis of choral texture, the definition of specific methods of choral presentation(choral writing) used in this work, as well as identifying features choral style composer. These are the most difficult sections. In addition, work on them is hampered by the lack of a sufficiently complete and systematically presented educational and methodological material - the least developed in choral theory.
The specific results of the analysis, its quality in each case depends on many factors, the most important of which are: the general musical and theoretical knowledge of the author, his special choral knowledge (knowledge of choral studies), experience in conducting and choral work, analytical abilities and skills. We pay special attention to the importance of educating a conductor analytical skills. For a conductor as an organizer and leader of a performance, rational-analytical abilities and skills are no less important than emotional-intuitive qualities. Only their combination gives rise to true professionalism.
For the development of analytical skills of choir conductors, the course of choral studies is of great importance, one of the main tasks of which is a deep and systematic study of the features of choral texture, expressive means of the choir, and specific methods of choral writing. No less important is the study of the genre and stylistic patterns of choral music, both in relation to the work of individual composers and choral genres in general. Considerable help in this can also be provided by a course in the analysis of musical works, where more space should be given to choral creativity - not only in the main issues of structural analysis, but also textural, choral.
Work on the analysis of a work is a matter that requires great attention and a real creative attitude. Analysis of the score and its study in the technical and performing areas. The main issues are mutually enriching processes. If familiarity with general information about the work and its authors is an important prerequisite for the practical creative development of the score, then without knowledge of the score, all its details, it is impossible to exhaustively analyze its musical and expressive means, the features of the choral presentation, and develop performing main questions. Therefore, work on the analysis of the score should begin with the first acquaintance with it and continue until the work is finally mastered by the conductor. At the same time, it should be borne in mind that without fulfilling all the requirements for studying a choral work in the conducting class (performing the piano, singing choral parts, intonation of chords, careful conductor-technical work), its exhaustive, deep and comprehensive analysis is impossible.
Brief annotation of the choral score
The annotation consists in a concise presentation of the main data about the work, in a specific fixation of indicators of tempo, meter, modal and tonal features, features of form, texture, etc. The following is recommended Key abstract questions :
Title of the work. Year of creation.
Type of choral creativity and choral genre.
If the work being analyzed is part of a larger composition, general information about the entire cycle (number and name of parts, composition of performers ..)
The composition of the performers (for choral works with accompaniment and soloists).
Form (definition of the form with indication of the parts and their size - the number of measures).
Tonality (basic, modulation, deviations).
The pace and nature of the performance (translation). Metronome.
Meter and size.
rhythmic features.
Dynamics.
Sound science.
Invoice (general type of invoice).
The composition of the choir.
Ranges of choral parts and the overall range of the entire choir.
Tessitura.
Choral performances.
The abstract can be supplemented with brief information about the composer's work (list the main works), as well as some of the most significant performance notes. If there are other editions of the analyzed work, they should be indicated.
Creating such annotations is a relatively simple matter, the main thing is the ability to clearly formulate answers to all the questions indicated in the Main Questions.
The main and most common types of choral scores are: choral miniature a cappella and a large-form choir with instrumental accompaniment.
Their annotation quite fully covers all the necessary issues that arise in the process of a student's work on this section of the conductor-choral specialty.
Plan for a detailed analysis of the choral score
General information about the work and its authors
General information about the work. The exact and detailed title of the work. Year of creation. Authors of music and texts. Type of choral creativity (chorus a cappella, chorus with accompaniment). Choral genre (choral song, transcription, miniature, large form, adaptation, part of an oratorio, cantatas, suites, a scene from an opera, etc.). If the work being analyzed is part of a larger composition, then the rest of its parts should be briefly described in order to have a general idea of the entire cycle (composition of performers, number and name of parts, role of the choir, etc.).
Information about the life and work of the composer. Years of life. General characteristics of creativity. Main works. A more detailed description of choral creativity.
literary text
Comparison of the text used by the composer with the literary original; changes and their causes. If the text used is a fragment of a larger work (poem, poem, etc.), it is necessary to give a general description of the entire work.
Presentation of the literary text (write out the entire text used).
Relationship between text and music. The degree of their compliance. The embodiment of literary themes and images by means of music. The relationship between the structure of the text and the form of the choral work.
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MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION FSBEI HPE "OREL STATE INSTITUTE OF ARTS AND CULTURE" FACULTY OF ARTISTIC CREATIVITY DEPARTMENT OF CHORAL CONDUCTING
Course work
The use of choral works by M.V. Antseva for the female composition in the practice of working with a training choir
§4. Vocal-choral analysis
Conclusion
Bibliography
Introduction
Modern musicology makes high demands on the researcher. Among them, the most important is not only a deep theoretical comprehension of the object under consideration, an exhaustive and versatile idea of it, but also its practical development. To do this, it is not enough to have a good understanding of the general issues of the history of music and to master the "traditional" method of theoretical analysis - one needs one's own creative experience in this area of musical art.
Thought about music, however, develops not only through the efforts of musicologists. A prominent place in musicology is occupied by the work of practicing musicians. A live connection with practice, a direct feeling of the creative process of composing or performing music - this is what especially attracts researchers.
In this work, attention is paid to the creative heritage of the Soviet composer and teacher M.V. Antseva. With the revival of choral singing in Russia, the women's choirs of Antsev are becoming increasingly popular, as they are distinguished by simple harmony, light texture and melody. Many of his choral works were written to the verses of Russian classical poets, including the choral composition “The Bells” to the verses of Count A.K. Tolstoy.
A comprehensive analysis of this composition, presented in the course work, will more accurately organize practical activities for learning the work with the training choir of students of the Department of Choral Conducting of the OGGIK. This explains the relevance of the study.
choral vocal antsev text
Mikhail Vasilyevich Antsev was born in Smolensk on September 30, 1895. He came from a simple family: his father was a cantonist who served in the army for over 25 years, his mother was a Smolensk bourgeois. In early childhood, M. Antsev lost his father, and he was raised by his stepfather. After graduating from the gymnasium, Mikhail Vasilievich studied at the Warsaw Conservatory in the violin class with L. Auer. Then he entered the St. Petersburg Conservatory, from which he graduated in 1895 in composition with Rimsky-Korsakov.
In 1896, the musical and pedagogical activity of the composer began. He devoted a lot of strength and energy to pedagogical work as a teacher of choral singing and other musical disciplines in general and special educational institutions. Obviously, it was at this time that he wrote a number of textbooks relating to choral art, among them: “Brief information for chorus singers”, “Note terminology” (a reference dictionary for teachers, singers and musicians), “Elementary theory of music in connection with the teaching of school choral singing”, “Methodical reader of class choral singing” and others.
At the same time, M. Antsev worked fruitfully as a composer. He composed for the symphony orchestra, for the violin, wrote romances, children's songs. He wrote "Cantata for the 100th anniversary of A. Pushkin", "Hymn in memory of the 100th anniversary of the Patriotic War of 1812". Both large-form works are intended for choir and orchestra performances.
Of the choral works of a lyrical nature created during this period, one can name: “Lotus”, “Willow”, “Spring”, “The air breathes with aroma”.
The revolutionary events that took place in Russia could not remain out of sight of a sensitive, impressionable artist. They found a response in his choral works. Full of revolutionary pathos, the choir “Do not cry over the corpses of fallen soldiers” was first performed in St. Petersburg in 1905.
After the Great October Socialist Revolution, M.V. Antsev led a wide musical and social activities. In 1918, in Vitebsk, he organized the People's Conservatory, where he taught theoretical disciplines. There, for two years, he led the State Choir he created. On the initiative of Mikhail Vasilyevich, a circle of Belarusian folk songs arose. The circle served mainly the factory districts and the Red Army units.
M. Antsev lived his last years in Moscow. Here, in 1934, he was elected an honorary member of the Expert Commission at the Moscow City Committee of Circle Breeders and performed these duties on a voluntary basis for three years, in 1936-1938. he was a member of the Attestation and Expert Commission at the Department of Arts.
In the post-October period, M. Antsev actively switched to revolutionary topics. He wrote music to the words of Demyan Bedny, Yakub Kolas, Yanka Kupala and other Soviet poets. In addition, the composer showed interest in folk songs, mainly Belarusian, and processed them for choir and solo singing with piano (Oh, share, etc.).
The range of his work is quite wide. He is the author of several textbooks on choral art and the performance of children's songs, romances, and pieces for violin. However, choral work attracted the attention of the composer most of all. He wrote over 30 a cappella choirs and with accompaniment, many choral adaptations of folk songs.
Mikhail Vasilievich Antsev - lyric composer. This is already evidenced by the names of his choirs: "Spring Waters", "Sunrise", "Sea Silence", "Bright Twinkling Stars". Possessing a fine artistic taste, the composer paid close attention to the selection of texts. He turned to the poems of A. Pushkin, F. Tyutchev, A. Tolstoy, M. Lermontov, I. Nikitin, A. Fet and other poets. M. Antsev's choirs are imbued with free contemplation, they lack a strong, dramatic development.
Although M. Antsev was a student of N. Rimsky-Korsakov, his work is rather close to P. Tchaikovsky. The melody in his choirs is expressive, calm, and easy to remember. It is simple, unpretentious, based on the prevailing intonations of the city song, hence the accessibility of its perception. Most often, the composer uses the sequential development of the most expressive turns of the melody with the exact construction of the initial link.
The continuous harmonic development hides the dissection inherent in the sequence movement, and gives the melody a greater solidity.
M. Antsev worked a lot with choirs, he knew the specifics of their sound and took it into account in his compositions, so the choral parts are presented in convenient tessitura.
Unfortunately, the creative heritage of Mikhail Vasilyevich Antsev has not yet been studied, but it is undoubtedly of great interest.
After the October Revolution, he was one of the first composers who turned to revolutionary themes in his work (the choirs "In Memory of Heroes", "Song of the Struggle", 1922). Author of works for violin and piano, choirs, romances, arrangements of folk songs, teaching aids, including the books “Brief information for chorus singers ...” (1897), “Preparatory course in elementary music theory in connection with the teaching of choral singing” (1897), “Note terminology. Reference Dictionary…” (Vitebsk, 1904).
Of his choral compositions, cantatas, women's and children's choirs a cappella and with piano accompaniment ("Waves Dozed off", "Bells"), arrangements of folk songs are popular in choirmaster pedagogical practice. His mixed choirs such as "Sea and Cliff", "Willow", "Tears", "Collapse", "Song of Struggle" are especially famous. The Requiem “Do not cry over the corpses of fallen soldiers” (1901) to the words of L. Palmin is distinguished by expressiveness and civil pathos. The composer also has spiritual works - a cycle of chants of the Divine Liturgy and individual chants.
The author of the literary text of the choral work "The Bells" is the famous poet and playwright Count Alexei Konstantinovich Tolstoy. Born on August 24, 1817 in St. Petersburg. He spent his early childhood in Ukraine, on the estate of his uncle A. Perovsky, a writer known in the 1920s. under the pseudonym Pogorelsky. Received a home education, was close to court life. He traveled a lot in Russia and abroad, from 1836 he served in the Russian mission in Frankfurt, in 1855 he participated in the Sevastopol campaign. He died in his Chernigov estate.
As Tolstoy himself believed, his penchant for poetry was unusually promoted by nature, among which he grew up: “The air and the view of our large forests, passionately loved by me, made a deep impression on me. It left an imprint on my character and my life ... ”The admiration for the splendor of his native land is clearly heard in Tolstoy’s poems, especially in his landscape lyrics. The colors of his poetic sketches are bright and juicy. In his lyrics, Tolstoy likes to turn to folk poetry for images, verbal formulas. Hence the frequent comparison of natural phenomena with human life, hence the special melodiousness, a special language close to a folk song.
Love for folk art, interest in folklore was reflected not only in Tolstoy's lyrical poems. The poet's appeal to the epic, to the genre of the ballad, beloved by romantics, is also largely due to his attention to Russian folk poetry, to its ancient roots. In the epic "Ilya Muromets" (1871), Tolstoy resurrects the image of the famous hero, "grandfather Ilya", who longs for freedom and independence even in old age and therefore leaves the princely court of Vladimir the Red Sun. Drawing the heroes of Kievan Rus, Tolstoy admires their courage, selflessness and patriotism, but does not forget that these are living people, ready to love and enjoy the beauty of the world. Therefore, many of his ballads and epics sound sincere, and their characters are attractive.
Tolstoy writes ballads and epics not only based on folk epic epics, he also refers to Russian history. In ballads, Tolstoy admires old rituals and customs (“Wooing”, 1871), sings of the Russian character, which even the Mongol-Tatar yoke could not change (“Snake Tugarin”, 1867).
Alexei Konstantinovich Tolstoy tried his pen not only in the genre of poetry. The image of Kozma Prutkov and his famous aphorisms is Tolstoy with his cousins Alexei, Alexander and Vladimir Zhemchuzhnikov. He wrote well-known plays of historical content "The Death of Ivan the Terrible", "Tsar Fyodor Ioannovich", "Tsar Boris". Tolstoy's satire impressed with its courage and mischief.
Tolstoy began writing poetry very early. Tolstoy always valued the mastery of verse, although critics sometimes reproached him either for “bad” (inaccurate) rhyme, or for an unsuccessful, too prosaic, in their opinion, turn of speech. Meanwhile, it is precisely thanks to these "shortcomings" that the impression of improvisation is created, Tolstoy's poetry acquires a special liveliness and sincerity. Tolstoy himself understood this feature of his work: “Some things must be minted, while others have the right and should not even be minted, otherwise they will seem cold.”
In the late 30s and early 40s, two fantastic stories were written (in French) - "The Family of the Ghoul" and "Meeting in Three Hundred Years". In May 1841, Tolstoy first appeared in print, publishing a separate book, under the pseudonym "Krasnorogsky" (from the name of the Red Horn estate), the fantastic story "Ghoul". He spoke very favorably about the story of V.G. Belinsky, who saw in her "all the signs of a still too young, but, nevertheless, a wonderful talent." Tolstoy was in no hurry to publish his poems. The first large selection of his poems appeared only in 1854 on the pages of Nekrasov's Sovremennik, and the only lifetime collection was published in 1867. It included many now widely known poems, including Bells.
§2. Analysis of a poetic text
Count Alexei Konstantinovich Tolstoy was from childhood a person close to the imperial house: he was a childhood friend of the future emperor Alexander II (son of Nicholas I), then his adjutant wing, then his master of the hunt, and most importantly, a very close friend. He knew very well what was happening inside the imperial palace, and outside - in a society that was burdened by censorship and all sorts of prohibitions. It was against this background that the idea of \u200b\u200bthe poem “My Bells” arose - its theme was by no means flowers, bells, which accidentally fell under the hooves of the rider's horse.
My bells, Flowers of the steppe! Why are you looking at me, Dark Blues?
And what are you ringing about On a merry May day, Shaking your head among the uncut grass? The horse carries me with an arrow On the open field;
He tramples you under him, Beats with his hoof. My bells, Flowers of the steppe! Don't curse me, Dark Blues! I would be glad not to trample you,
I'm glad to rush past, But the bridle can't hold the indomitable run! I fly, I fly with an arrow, I only kick up dust;
The horse carries me dashing - And where? Don't know! He is a learned rider Not brought up in a hall, He is familiar with snowstorms, He grew up in an open field;
And your patterned saddle does not shine like fire, My horse, horse, Slavic horse, Wild, recalcitrant! We have a horse, space with you!
Forgetting the close world, We fly at full speed To an unknown goal. How will our run end? Is it joy? twist? Man can not know - only God knows!
Will I fall on the salt marsh To die from the heat? Or the evil Kirghiz-Kaisak, With a shaved head, Silently draws his bow, Lying under the grass,
And suddenly he will overtake me with a copper arrow? Or will we fly into the city of light With the throne of the Kremlin? Wonderfully the streets are buzzing with the rumble of bells,
And people in the square, In noisy expectation Sees: from the west comes a bright message. In kuntush and chekmen, With forelocks, with a mustache,
The guests ride horses, They wave their maces, Arm on their hips, Chinno's formation stands behind the formation, The wind inflates their sleeves behind their backs.
And the owner came out on the porch majestic; His bright face Shines with new glory; He was filled with the look of both love and fear,
On his forehead is the Cap of Monomakh. "Bread and salt! And good luck! - Says the sovereign. - For a long time, children, I have been waiting for you In the Orthodox city!
And they answered him: “Our blood is one, And in you we have been Tea of the master since ancient times!” The ringing of bells is louder, the harp is heard,
The guests sat around the tables, Honey and mash are pouring, Noise flies to the far south To the Turks and the Hungarians - And the sound of the Slavic ladles is not to the Germans' heart!
Goy you, my flowers, Flowers of the steppe! Why are you looking at me, Dark Blues? And what are you sad about On a merry May day, Shaking your head among the uncut grass?
In this work, the patriotic feelings of the lyrical hero come to the fore. It recreates a majestic picture of the unification of the lands around Moscow, the unification of Rus', the expansion of its borders. The poet shows how representatives of numerous nations come to Moscow and ask the Russian tsar to take them under his protection. The king is glad of this, accepts with paternal care and love. The picture of the feast given in the penultimate stanza creates an atmosphere of general rejoicing and joy. The poet expresses the hope that Rus' will be a strong power, capable of repelling the blow of the enemy at the right time. Literary analysis. The poem is interesting from the point of view of composition and organization of space. It gives a large-scale image of Russia, shown in many angles. The reader becomes a witness to the gradual expansion of space: first, a field dotted with bells appears to his gaze, he sees a rider galloping on a horse, striving for an unknown distance. Then, before the reader's eyes, a picture of the capital city opens, where the meeting of the Russian tsar with representatives of other peoples takes place. Tolstoy recreates here the most important stage in the life of the country: the unification of Russian lands around Moscow, which led to the strengthening of the power and greatness of Rus'. By the end of the poem, the space narrows again, the reader's gaze is again presented with a picture of the Russian field, which is dear to the heart of the lyrical.
§3. Musical-theoretical analysis
At the heart of the choral work by M.V. Antsev's "Bells" is a couplet, which is characterized by simplicity and clarity. The size of the product is 6/8. Mobile contrast dynamics, fast tempo (allegro), interbar fermats make this music quite interesting in terms of its melodic and harmonic sound. The work is written in the key of fis-moll with deviations in A-dur and h-moll.
The first verse begins with the verse SII (2 measures) in the main key. In the third measure, SI and A enter. The third verse begins with the verse SI (2 measures) in the key of A-dur, after which SI and A also enter. Then there is a symmetrical sequence repetition of the musical material in the key of h-moll.
In the work, along with tonic harmony, triads of side steps of the mode - II, III and VII are used.
To create a certain image, the composer uses various means of musical expression, one of which is contrast dynamics. The dynamic range extends from piano-pianissimo to forte. Along with the mobile dynamics of crescendo and diminuendo, the composer uses a juxtaposition of different levels of dynamic organization.
Also, to reveal the artistic image of M.V. Antsev uses a fermata, which is one of the most effective expressive means in music, since a sudden stop, a sharp violation of the established subway - rhythmic pulse, and, finally, simply the appearance of a long sound among more mobile ones attract the attention of listeners. In this case, an interbar fermata was used, which means a caesura in sound. The conductor should remove the sound of the choir, leaving his hands in the “attention” position. Having withstood the caesura, continue driving.
§ 4 Vocal-choral analysis
The work of M.V. Antseva "The Bells" was written for a three-part female choir. The composer worked a lot with choirs, knew the specifics of their sound and took it into account in his compositions, so the choral parts are set out in convenient tessitura. Choir ranges are as follows:
* soprano I - e1- f2,
* soprano II - c1 - e2,
* alt - a - c2.
Let us analyze the tessitura conditions of choral parts. Due to the fact that not a very large range is used in the score, the tessitura of individual parts is generally comfortable. Tessitura high fragments in parts are usually found in the climax areas of the work and are associated with bright dynamics, so their performance will not be difficult. However, the choirmaster must be sensitive to the performance and not allow the sound to be forced. In the SI, SII and A parts, the upper register sounds on the forte occur in the 14-16th and 18-20th measures. In part A, there are sounds of the lower register, therefore, the choirmaster needs to ensure that the violas sing without straining, freely, on good support, vocally and correctly shape the sound, do not force it.
Analyzing the main vocal difficulties, one should touch on breathing issues. Without proper breathing, there can be no beautiful musical sound. In this work, both direct (general choral) breathing and chain breathing are found, where the singers silently catch their breath inside sustained notes. Inhalation should be simultaneous and organized, as well as silent. In terms of its activity and volume, the breath should correspond to the tempo and content of the piece.
The basis of high-quality intonation is, as is known, a good melodic and harmonic system. The melodic lines of the voices combine movement along the sounds of chords with progressive movement and moves at wide intervals. All large intervals in the ascending and descending movement are intoned as follows, the first sound is stable, the second is wide. A feature of the complexity in the intonation of intervals is the execution of wide intervals. In the 14th and 16th bars, the SI has jumps to the sixth.
A necessary stage in the work of a conductor on a piece is the consideration of dictional difficulties, which include the simultaneous clear pronunciation of consonants not only at the end of phrases, but also in the middle of a word. All consonants in words are carried over to the next syllable. In the literary basis of a choral work, there are words and phrases in which several consonants stand in a row, for example, “beats with one’s own” and others. In these cases, several consecutive consonants are pronounced clearly and briefly. In the literary text there are many words with hissing: “bells”, “rush”, “about what”. All available hissing consonants should be pronounced extremely quickly and simultaneously.
As for orthoepy, the letter combinations in words are as follows:
* "sya", "sya" (pronounced "sa", "s" without b) in the words "rush", "swaying";
* "y" is pronounced very briefly in the words "arrow", "dashing", "yourself";
* clearly pronounce the consonant "r" - with an exaggerated sound.
Summing up the diction problems, one should dwell on such an important point as the simultaneous closing of words with a consonant at the end at the same time by the whole chorus.
§5. Peculiarities of working with the conductor's score
Having chosen a work, the choirmaster must carefully study it. To do this, you should analyze the composition, play it on the piano, if possible, listen to a recording of a musical work performed by famous choirs, if any, find the most difficult parts of the score in terms of intonation of the melodic lines of the parts, ensemble, conducting and think over ways to overcome them, outline a common execution plan. Along with learning the score by heart (singing voices, playing the piano), the conductor must analyze the work as fully as possible in different directions. A detailed preliminary study by the choirmaster of the score ends with the fact that he learns the music by heart. Studying the score "with the eyes" is not enough. It is necessary to repeatedly play the choral arrangement of the romance in parts and be able to mentally imagine the choral colors in its entirety. A deep knowledge of the score will ensure readiness to learn it with the choir and will allow you to competently answer questions that arise in the singing process in the process of learning.
The next stage is a historical and aesthetic analysis, which involves the establishment of links between this work and the phenomena of life, culture and art close to it. In order to competently perform the choral composition “The Bells”, you should familiarize yourself with the work of M.V. Antsev as a whole, to feel the spirit of his music. Getting acquainted with the work of Tolstoy, you can read several of his poems on a similar topic, trace how often M.V. Antsev to the poetry of Count Alexei Konstantinovich.
A separate stage of the conductor's work with the score is to find out those gestures with which he will create an artistic image of the composition, controlling the choir. With regard to practical methods of control, the conductor can practice beforehand: put the score on the console and conduct, mentally imagining the sound of a composition studied in detail.
The whole work is sustained from beginning to end in the complex meter 6/8, but the conductor will not have any difficulties with the timing of the scheme, since the tempo of the work is quite mobile, so the conducting scheme will be two-part.
Before conducting, you need to count one empty measure in order to mentally imagine the tempo and character of the work. Since at the beginning of the work the composer sets the dynamic nuance of the piano, the amplitude should be small, it is better to use the brush type of technique. In order for the gesture to be readable with fine technique, the Russian conductor, teacher-methodologist Ilya Alexandrovich Musin, in his work “The Conducting Technique”, recommended moving the hands slightly forward from the body, then the gestures would not merge with the conductor’s body. Changes in the level of dynamic organization in conducting should be expressed by a change in the amplitude of the gesture. With a contrasting change in dynamic nuance (from p to f), the gesture should be strong-willed, large in amplitude and with a clear, precise auftact. However, it is necessary to calculate the amplitude of the gesture in such a way that the chorus does not force the sound and this fragment “does not fall out” of the general context of the work. Each phrase, in addition to the dynamic nuances written out by the composer, has an internal development. The conductor is required to clearly show transitions with a gradual increase and decrease in dynamics, changing the amplitude of the gesture, and precise removals at the end of phrases. Removals should be small in amplitude so that the endings “do not stand out”, but at the same time very specific so that the chorus closes the sound at the same time.
The outlined plan for conducting the score can only convey in general terms the general guidelines for conducting. Listening to the sound, the conductor must immediately correctly respond to the intonation of the musical material by the singers and raise or lower the intonation of individual choral parts with special gestures. Such gestures are more suitable for the rehearsal process. As well as the rehearsal of simultaneous removals and introductions on the hands of the leader. When artistically finishing the image, the conductor should concentrate on finishing the phrases and ask the singers to carefully follow the changes in conducting, to react sensitively to the conductor's hand.
§6. Development of a rehearsal work plan
Having chosen a work, the choirmaster must carefully study it. To do this, it is necessary to analyze the composition, find the most difficult parts of the score in terms of intonation of the melodic lines of the parts, ensemble, conducting and think over ways to overcome them, outline a general performance plan. Along with learning the score by heart (singing voices, playing the piano), the conductor must analyze the work as fully as possible in different directions. A deep knowledge of the score will ensure readiness to learn it with the choir and will allow you to competently answer questions that arise in the singing process in the process of learning.
The process of learning with the choir is conditionally divided into three stages:
familiarization of the team with the work;
the process of its technical development;
Work on a work of art.
Or - introductory, technical and artistic.
At the first stage of acquaintance with the work, it is necessary to arouse the interest of the performers. For this purpose, you can use different methods of familiarizing the choir with the work: playing on the piano while singing the main thematic material with words; a story about the work, its authors; content transfer; showing the main features; use of sound recording. You can also sing the work from the solfeggio sheet from beginning to end or in parts, playing the piano and watching the intonation.
At the second, technical stage, musical and literary material is learned, the main elements of vocal and choral technique (intonation, rhythm, diction, sound character, ensemble, etc.) are worked out. At the second stage, rehearsals should be carried out in parts, groups and joint. You need to disassemble the work in small parts. The sequence of their learning can be different, it is not necessary to sing all the time from the beginning. The most difficult parts that require practice should be sung slowly, stopping at sounds or chords that cause particular difficulty. When learning the score, one should spend a long time solfegging the musical material in the mf dynamics, accompanying the singing of the choir with playing the instrument, singing separately the wide moves in the choral parts, building the chord vertical.
The process of learning a work and working on the artistic and technical side of the performance is very complicated; It requires a lot of experience, knowledge and skills from the leader. You can take as a basis the well-known sequence of this process:
analysis of the piece by parts,
work on overcoming technical difficulties,
Artistic decoration of the work.
This is exactly the sequence in the process of mastering a musical work by the choir - from the initial analysis by the choir to the concert performance. A lot depends here on the skill and ability of the leader himself, on the choir, as well as on the degree of difficulty of the work being learned.
Conclusion
An important role in working with the choir is played by the repertoire, which determines the creative face of the choir. When selecting the repertoire, the leader must take into account the gradual improvement of technical skills and the artistic and performing growth of the choir. The leader must always keep in mind the capabilities of this team, its qualitative composition, and the degree of preparedness.
Each choral group eventually develops a certain repertoire direction, accumulates repertoire baggage that corresponds to the composition of the participants, singing style, and creative tasks.
The main task of academic choirs is to promote all the best that has been created and is being created in academic style choral music: Russian, Soviet and foreign classics, which is a strong and reliable school of academic choral singing. It is the classics that most closely matches the academic style in choral performance, the established features, and the developed laws of academic choral singing.
From what has been said, it is clear that the leader of the choir must thoroughly know the work to be learned, having studied it as a musician, specialist choirmaster, teacher and conductor. In accordance with this requirement, in the analysis of the composition, the student must argue his “vision” of the artistic and figurative content of the work, substantiate his individual interpretation of music, outline the performing and specially conducting techniques with which he will bring this interpretation to life, provide for technical (including including vocal and choral) difficulties that may be encountered in rehearsal work, and outline ways to overcome them.
So, work on a work begins with getting to know it as a whole. Immediate impressions arising from the first playing or listening to the performer allow one to feel the degree of expressiveness of the music, to avoid far-fetched, prejudiced judgments. Recreation of the musical image, more or less close to the one conceived by the author, depends on the conductor, on his musical and auditory ideas. It is difficult to develop this ability. She comes with the experience of practical work with the choir, as a result of long-term rehearsal and concert activity of the choir. But the conductor needs to strive for inner hearing of the choral sound. The fuller and brighter the initial idea of the work, the more fruitful all subsequent work will proceed, the easier it is to see in it the contours of the future performing plan.
It is important for the conductor of the choir to warn the singers against the “false peak”, to show the real direction of the phrase, to teach them to overcome the psychological and physiological inertia of the voice. Only when the specific difficulties associated with vocals are overcome, when each singer and the entire choir feel their technical mastery and acquire the necessary freedom of self-expression, will a full-fledged, expressive, truly artistic performance become possible.
Having comprehensively analyzed this work, we organized the practical activities of learning the work with the choir more correctly.
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- 22.80 KbMuses. I. Ozolinya
Sl. A. Brodele
The forest spread out dense
The literary text of the work was written by Anna Yurievna Brodele. She was born on September 16, 1910. Latvian writer. Born in the family of a forester. Published since 1927. For participation in underground work she was imprisoned (1932 - 1936). She studied at the Lithuanian Institute. M. Gorky in Moscow.
The turning point in the minds of the old intelligentsia is reflected in the play "Teacher Straush" (1949)
The most significant prose of Brodele is the story "Margo" (1950), the novel "Quiet Town" (1967) about the struggle for Soviet power in bourgeois Latvia. Novels from collective farm life: "Blood of the Heart" and "Loyalty". The novels "The Blue Sparrow", "This is my time" are devoted to the problems of youth. She was awarded two orders, as well as medals. Died September 29, 1981.
The musical text of the work was written by Janis Adolfovich Ozolin. Born on May 30, 1908, in Emava. Latvian Soviet choir conductor, composer and teacher. Honored Art Worker of the Latvian SSR. Rector and Associate Professor of the Conservatory in Riga. One of the main conductors of song festivals. Author of many choral works, as well as romances, adaptations of folk songs, music for theater and cinema. From 1930 - 1941 taught at general education schools in Jelgava and Riga. From 1942 to 1944 he was the conductor of the choir of the State Art Ensemble of Latvia in the SSR in Ivanovo, for which he created the first Latvian military-patriotic mass songs. From 1944-1953 artistic director and conductor of the State Choir of the Latvian SSR, from 1946-1948 artistic director of the State Philharmonics of the Latvian SSR. Since 1951 he has been a teacher (since 1965 a professor) and rector of the Latvian Conservatory. One of the main conductors of all song festivals in Soviet Latvia. J. Ozolin is the author of numerous successive choral songs with a developed melodic beginning. (“Song of the Latvian Riflemen”, “Song of the Fishermen”, “My Motherland”, “Ivushka”, “The Way of the Song” - a poem for male choir and symphony orchestra, a cycle of vocal miniatures based on poems by R. Gamzatov, etc.), works for spiritual orchestra (fantasy suite "Evening in a Fisherman's Village", overture "Immortal Youth", etc.), music for drama and puppet theaters, cinema.
literary text
The forest spread out densely...
In the distance, clouds float over the forest,
blue rivers shine,
the sun knits lace.
Gray-haired flock of light clouds
flies and melts to the east,
and, waving branches after,
birch trees send them greetings.
Visit places
where we hovered dreams!
All dreams and dreams will be
put into practice by us.
In this choral work, the beauty of nature is sung. Nature yesterday, today and tomorrow - was, is and will be beautiful. Nature evokes bright feelings in a person. It is impossible not to admire her, because we know how powerful, unique and eternal nature is, how good our Motherland is. Wherever fate throws a person, wherever he finds himself, the soul will still live in the Motherland, where he has corners of nature, to which he trusted his thoughts, his feelings, his dreams ...
Musical-theoretical analysis.
The work is written in a simple couplet form.
The volume of the choral score is 12 bars.
The period consists of three musical proposals. Each sentence is divided into 2 phrases.
The third sentence is a repetition of the second without change.
The forest spread out densely ... 1fr.
In the distance, clouds float over the forest, 2 fr.
Shines river blue, 3 fr.
The sun knits lace.4 fr.
The rhythmic pattern of this choir is simple, expressed by the following groupings:
The work is written in the key of F-major. The variable meter is simple, double and triple. The size is simple ¾, 2/4. The presentation is homophonic-harmonic. The work is dominated by monorhythm in 1, 3, 5, 7 measures, in 2, 4, 6, 8 measures.
Example v. 1-2
An important means of musical expression is dynamics. The dynamics of this work is represented by the following values: p, mp, mf, as well as a lot of moving dynamics: crescendo, diminuendo.
Example t. 7-8.
One of the means of artistic expression is tempo - a certain sphere of images, emotions, moods.
The pace of the work is moderate (slowly).
Example: v.1 - 2
This work is performed acappella, the distribution of musical - thematic material between the choral parts is as follows: the melodic line runs in the part S1, and S2 and A harmoniously support it.
Example: v. 5 - 6
The Lado tonal plan of the work is very simple and traditional. The main key of the piece is F major. And only in 6 m. The composer uses the harmonic form of major (with a reduced 6th step).
Example: v. 5 - 6
The harmonic language of the work "The dense forest spreads" is completely determined by the modal-tonal plan - it is very simple. These are triads and inversion of triads (T,S,D).
Example: v.3 - 4
Warehouse presentation - homophonic - harmonic. The texture of a choral work is conditioned by the content and expressive possibilities of the choral parts. In the work “The dense forest spreads”, two main functions of the choral parts can be distinguished: melodic (associated with the conduct of musical thought - the upper voice), and harmonic (the accompaniment function - the middle, lower voice).
Example: v. 1 - 2
Vocal-choral analysis
The work "The dense forest spreads" was written for a homogeneous female three-part choir a cappella. Consider the range of each choral part separately:
Choir ranges:
General range of the choir:
All choral parts are written within the notes of the working range.
With the exception of the part - A, their theme begins in a small octave and therefore you need to start singing quieter on P.
Diction is the most important element in choral art. The word helps the listener to understand the composer's intention, the idea and image of the work. Diction is one of the means of conveying the words of the literary text of a choral work to the audience. Vocal-choral diction implies a clear pronunciation. According to the rules of orthoepy, a consonant at the end of a word is transferred to the first syllable of the next word:
Lesra-ski-went-dre-mu-chi ...
Away-float-wu-tna-dle-so-mtu-chi,
Bl-sche-tre-chki-si-ne-va
So-sun-vya-same-true-same-va.
Sometimes in a group of consonants one of them is not pronounced:
Sun - / sun /
The work mainly uses valuable breathing, with the exception of 1-2 tt., 3-4 tt.
Chorus system
Since the work is performed acappella, great attention should be paid to intonation. Clean tuning is the first and most important quality of choral singing. Many factors contribute to the development and maintenance of pure choral tuning.
The acappella structure is based on the modal and harmonic features of the intonation of music, its acoustic patterns.
Considering the melodic structure of choral parts, we are faced with intervals that present difficulty in intonation.
S1- t. 4-5 interval m.6 in an upward movement. Performed widely, in a high position:
A - interval ch.4 in ascending and descending movement. Should be performed in a low position:
There is a danger of lowering intonation when repeating one sound several times: v.1 (S2), v.3, v.5 (A), v.7 (S2).
The intervals, seconds between parts S1 and S2 also create difficulty in intoning.
After analyzing the intervals of the choral parts horizontally and vertically, we can conclude that the voice leading in the parts is different. S1 - smooth, gradual, wavy. A parts S2 and A
on the contrary, they are very static, as if motionless - on one note and only sometimes lead the melody step by step up and down.
Example: v.5-6
The basis of a good sound is proper singing breathing. The main type of breathing and singing is the lower - costal - diaphragmatic. One of the main conditions for proper singing breathing is complete freedom of the upper chest and neck. The work uses general choral breathing in phrases and sentences.
The third phrase is performed on a chain breath (5 - 8 tt.)
Performance Analysis
Getting to work on a work, it is necessary to present its main artistic images. The main task of the performer is to convey to the listener all the richness and significance of the content of the work.
The nature of sound science in music is directly dependent on the content - legato. The piece is performed a cappella. There are no dynamic difficulties. The subtext is the same for everyone. The tessitura of the choral parts and the entire choir is comfortable.
Comfortable tessitura, uncomplicated rhythm create favorable conditions for building a choral ensemble.
You need to learn the work in batches. The conductor's gesture should be small and smooth. The conductor and the singers need to pay attention to the culture of sound.
The main dynamic zone of the work (P) is quite natural for conveying a calm contemplative mood. Average dynamics from PP – mf.
In each phrase there are moving nuances (crescendo, diminuendo)
The second phrase of the 1st sentence starts with mp.
The second sentence starts with mf. At the end of diminuendo.
Each verse has a dynamic development.
This work teaches to be attentive to nature. To love and cherish her to teach to see the beautiful.
Short description
Getting to work on a work, it is necessary to present its main artistic images. The main task of the performer is to convey to the listener all the richness and significance of the content of the work.
The nature of sound science in music is directly dependent on the content - legato. The piece is performed a cappella. There are no dynamic difficulties. The subtext is the same for everyone. The tessitura of the choral parts and the entire choir is comfortable.
Comfortable tessitura, uncomplicated rhythm create favorable conditions for building a choral ensemble.
You need to learn the work in batches. The conductor's gesture should be small and smooth. The conductor and the singers need to pay attention to the culture of sound.
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