Landscape in musical works examples. "Musical Landscapes". Musical lesson in the preparatory group. Doing creative work
Pictures of the changing seasons, the rustling of leaves, bird voices, the splashing of waves, the murmur of a stream, thunderclaps - all this can be conveyed in music. Many famous people were able to do this brilliantly: their musical works about nature became classics of the musical landscape.
Natural phenomena, musical sketches of flora and fauna appear in instrumental and piano works, vocal and choral works, and sometimes even in the form of program loops.
“The Seasons” by A. Vivaldi
Antonio Vivaldi
Vivaldi's four three-movement violin concertos dedicated to the seasons are without a doubt the most famous nature music works of the Baroque era. The poetic sonnets for the concerts are believed to have been written by the composer himself and express the musical meaning of each part.
Vivaldi conveys with his music the rumble of thunder, the sound of rain, the rustling of leaves, the trills of birds, the barking of dogs, the howling of the wind, and even the silence of an autumn night. Many of the composer's remarks in the score directly indicate one or another natural phenomenon that should be depicted.
Vivaldi “The Seasons” – “Winter”
"The Seasons" by J. Haydn
The monumental oratorio “The Seasons” was a unique result of the composer’s creative activity and became a true masterpiece of classicism in music.
Four seasons are sequentially presented to the listener in 44 films. The heroes of the oratorio are rural residents (peasants, hunters). They know how to work and have fun, they have no time to indulge in despondency. People here are part of nature, they are involved in its annual cycle.
Haydn, like his predecessor, makes extensive use of the capabilities of different instruments to convey the sounds of nature, such as a summer thunderstorm, the chirping of grasshoppers and a chorus of frogs.
Haydn associates musical works about nature with the lives of people - they are almost always present in his “paintings”. So, for example, in the finale of the 103rd symphony, we seem to be in the forest and hear the signals of hunters, to depict which the composer resorts to a well-known means - . Listen:
Haydn Symphony No. 103 – finale
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“Seasons” by P. I. Tchaikovsky
The composer chose the genre of piano miniatures for his twelve months. But the piano alone is capable of conveying the colors of nature no worse than the choir and orchestra.
Here is the spring rejoicing of the lark, and the joyful awakening of the snowdrop, and the dreamy romance of white nights, and the song of a boatman rocking on the river waves, and the field work of peasants, and hound hunting, and the alarmingly sad autumn fading of nature.
Tchaikovsky “Seasons” – March – “Song of the Lark”
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“Carnival of Animals” by C. Saint-Saens
Among musical works about nature, Saint-Saëns’ “great zoological fantasy” stands out for chamber ensemble. The frivolity of the idea determined the fate of the work: “Carnival,” the score of which Saint-Saëns even forbade publication during his lifetime, was performed in its entirety only among the composer’s friends.
The instrumental composition is original: in addition to strings and several wind instruments, it includes two pianos, a celesta and such a rare instrument in our time as a glass harmonica.
The cycle has 13 parts describing different animals, and a final part that combines all the numbers into a single piece. It’s funny that the composer also included novice pianists who diligently play scales among the animals.
The comic nature of “Carnival” is emphasized by numerous musical allusions and quotes. For example, “Turtles” perform Offenbach’s cancan, only slowed down several times, and the double bass in “Elephant” develops the theme of Berlioz’s “Ballet of the Sylphs”.
Saint-Saëns “Carnival of the Animals” – Swan
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Sea elements by N. A. Rimsky-Korsakov
The Russian composer knew about the sea firsthand. As a midshipman, and then as a midshipman on the Almaz clipper, he made a long journey to the North American coast. His favorite sea images appear in many of his creations.
This is, for example, the theme of the “blue ocean-sea” in the opera “Sadko”. In just a few sounds the author conveys the hidden power of the ocean, and this motif permeates the entire opera.
The sea reigns both in the symphonic musical film “Sadko” and in the first part of the suite “Scheherazade” - “The Sea and Sinbad’s Ship”, in which calm gives way to storm.
Rimsky-Korsakov “Sadko” – introduction “Ocean-sea blue”
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“The east was covered with a ruddy dawn...”
Another favorite theme of nature music is sunrise. Here two of the most famous morning themes immediately come to mind, having something in common with each other. Each in its own way accurately conveys the awakening of nature. This is the romantic “Morning” by E. Grieg and the solemn “Dawn on the Moscow River” by M. P. Mussorgsky.
In Grieg, the imitation of a shepherd's horn is picked up by string instruments, and then by the entire orchestra: the sun rises over the harsh fjords, and the murmur of a stream and the singing of birds are clearly heard in the music.
Mussorgsky's Dawn also begins with a shepherd's melody, the ringing of bells seems to be woven into the growing orchestral sound, and the sun rises higher and higher above the river, covering the water with golden ripples.
Mussorgsky – “Khovanshchina” – introduction “Dawn on the Moscow River”
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It is almost impossible to list everything in which the theme of nature is developed - this list will be too long. Here you can include concertos by Vivaldi (“Nightingale”, “Cuckoo”, “Night”), “Bird Trio” from Beethoven’s sixth symphony, “Flight of the Bumblebee” by Rimsky-Korsakov, “Les Goldfishes” by Debussy, “Spring and Autumn” and “ winter road"Sviridov and many other musical pictures of nature.
Music 4th grade
Subject:
Target: - introduce students to the life and work of the Russian composer S.V. Rachmaninov.
Contribute to the development of musical horizons, musical thinking, musical speech.
To promote a love of music and nature.
Equipment: portrait of S.V. Rachmaninov, landscapes of the seasons, music - cassettes: S.V. Rachmaninov "Spring Waters".
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Music 4th grade
Subject : Musical landscape. Sergei Vasilyevich Rahmaninov.
Target: - introduce students to the life and work of the Russian composer S.V. Rachmaninov.
To promote the development of musical horizons, musical thinking, musical speech.
To promote a love of music and nature.
Equipment: portrait of S.V. Rachmaninov, landscapes of the seasons, music - cassettes: S.V. Rachmaninov "Spring Waters".
DURING THE CLASSES
- Organizing time.
- Announcing the topic of the lesson.
Today, guys, we will talk to you about landscape in music.
What is a landscape? (pictures of nature)
Some of you will ask, how is landscape connected with music? Today we will find out what relationship landscape has to music.
III. Learning new material.
Look at the blackboard. What is shown?(pictures of nature, numbering is required under them)
What pictures of nature are depicted?(spring landscape, summer, autumn and winter landscapes)
What is the difference?(color range).
Do the paintings give you the same impression and feelings?
Look, with the help of such paintings, an artist can express his mood, his feelings, choosing the right colors. And composers, in their time, reflect color scheme thoughts, feelings, moods with the help of music.
The great Russian composer Sergei Vasilyevich Rachmaninov used music to paint pictures of nature, which in turn are called “musical landscape”.
Let's look at the portrait of S.V. Rachmaninov. What can you tell about this person looking at the portrait?
Sergei Vasilyevich Rachmaninov was born on April 1, 1837 on his parents’ estate, located fifty miles from Novgorod.
A penchant for music was a characteristic feature of the Rachmaninov family. Musical talent S.V.R. was already discovered in early childhood. According to his mother, Lyubva Petrovna, “even when he was very little, he loved to hide in the corner and listen musical game" The composer graduated from the Moscow Conservatory in composition and piano classes. Worked in opera house, parallel to Bolshoi Theater Rachmaninov regularly performed as a symphony conductor. He wrote many operas, sonatas, songs for orchestra and choir, and romances. Especially famous is the romance by S.V.R. “Spring Waters”, written to the words of F.I. Tyutcheva.
Let's see how the poet conveyed the image of the poem.(listening to the teacher read a poem, comparing the poem with the landscapes on the board)
reading a poem
The snow is still white in the fields,
And in the spring the waters are noisy -
They run and wake up the sleepy shore,
They run and shine and shout...
They say all over:
“Spring is coming, spring is coming!
We are messengers of young spring,
She sent us ahead!”
Spring is coming, spring is coming!
And quiet, warm May days
Ruddy, bright round dance
The crowd cheerfully follows her.
What feelings did this poem make you feel?
Which picture is close to conveying this mood?
And S. Rachmaninov, guys, was able to convey similar feelings in his romance “Spring Waters,” which represents the image of the poem, while simultaneously introducing into it new dynamics, swiftness, accessible only musical expression.
Listening to the music “Spring Waters”
How does music make you feel?
What mood is it permeated with?
What pictures do you imagine when listening to this music?
Which landscape on the board conveys the theme of this music?
GENERALIZATION. A joyful premonition of an imminent spring literally permeates the romance. The music sounds especially light and sunny, the movement of the music is swift, seething, covering a huge space, like a powerful and cheerful stream of spring waters, breaking all barriers. There is nothing more opposite in feeling and mood to the recent torpor of winter with its cold silence and fearlessness. In “Spring Waters” there is a bright, open, enthusiastic feeling, captivating listeners from the very first bars. The music of the romance seems to be deliberately constructed in such a way as to avoid everything soothing and lulling; there are almost no melodic repetitions in it, with the exception of those phrases that are emphasized by the whole meaning of musical and poetic development: “Spring is coming, spring is coming!” the endings of almost all melodic phrases are ascending; they contain even more exclamations than the poem.
VI Lesson summary
- Which composer did you meet today?
What did you find out about him?
How do you understand the name “musical landscape”?
How can you express your attitude to nature, to current events, and to life in general?
Yes! Poets create poems with the help of words and rhymes; artists use paints to create paintings; composers can express their feelings through music.
V. Homework(you can start during the remaining time in class)
Creative work.
Write on pieces of paper what time of year, what time of day you love most. What in nature makes you happy and what makes you sad? Try to describe it in one short story.
Landscape in music
The depiction of nature in art has never been a simple copying of it. No matter how beautiful the forests and meadows are, no matter how the elements of the sea attract artists, no matter how they enchant the soul Moonlight night– all these images, being captured on canvas, in poetry or sounds, evoked complex feelings, experiences, and moods. Nature in art is spiritualized, it is sad or joyful, thoughtful or majestic; she is what a person sees her.
The theme of nature has long attracted musicians. Nature gave music sounds and timbres that were heard in the singing of birds, in the murmur of streams, in the noise of a thunderstorm. Sound-imagery as an imitation of the sounds of nature can be found already in the music of the 15th century - for example, in the choral plays by K. Janequin “Birdsong”, “The Hunt”, “The Nightingale”.
Thus, the path was laid out for music to master its landscape and visual capabilities. Gradually, in addition to imitating sounds, music learned to evoke visual associations: in it, nature not only began to sound, but also sparkled with colors, colors, highlights - it became visible. “Musical painting” - this expression of the composer and critic A. Serov is not just a metaphor; it reflects the increased expressiveness of music, which has opened up another figurative sphere - the spatial-pictorial one.
Among the bright musical paintings associated with the image of nature is P. Tchaikovsky’s cycle “The Seasons”. Each of the twelve plays in the cycle represents an image of one of the months of the year, and this image is most often conveyed through the landscape.
The theme of the seasons, their reflection in nature is the basis of the content of this work, supported by a poetic epigraph from Russian poetry that accompanies each play.
Despite the poetic original source, Tchaikovsky’s music is vividly picturesque – both in a generalized emotional sense, associated with the “image” of each month, and in terms of musical imagery.
Here, for example, is the play “April”, which is given the subtitle “Snowdrop” and is preceded by an epigraph from a poem by A. Maykov:
Blue, pure snowdrop - flower,
And next to it is the last draft of snow.
Last dreams of past grief
And the first dreams of a different kind of happiness...
As often happens in lyric poetry, image early spring, first spring flower associated with the awakening of human strength after winter torpor, the darkness of frost and blizzards - to new feelings, light, sun. A small flower growing right from under the snow becomes a symbol of these fresh feelings, a symbol of the eternal desire for life.
If Tchaikovsky’s music - with all its vivid imagery - is still aimed at conveying the mood, the experience caused by the first flowering of spring, then in the work of other composers one can find a vivid visual image, accurate and specific. Franz Liszt wrote about it this way: “A flower lives in music, as in other forms of art, for not only the “experience of a flower”, its smell, its poetic enchanting properties, but its very form, structure, the flower as a vision, as a phenomenon is not may not find its embodiment in the art of sound, for in it everything, without exception, that a person can experience, experience, think through and feel finds embodiment and expression.”
The shape of a flower, the vision of a flower, is tangibly present in the introduction to I. Stravinsky’s ballet “The Rite of Spring.” An amazing natural phenomenon - the opening of buds and stems - is captured in this music, conveying, in the words of B. Asafiev, “the action of spring growth.”
The initial tune-theme, performed by the bassoon, in its outline resembles the structure of a stem, which constantly stretches and rushes upward. Just as the stem of a plant gradually grows overgrown with leaves, the melodic line throughout the entire sound also “overgrows” with melodic echoes. The shepherd's flutes gradually turn into a thick musical fabric in which the chirping of birds can be heard.
The landscape in music can probably be likened to the landscape in paintings - the pictures of nature that composers turned to are so diverse. Not only the seasons, but also the times of day, rain and snow, forest and sea elements, meadows and fields, earth and sky - everything finds its sound expression, sometimes literally striking in its visual precision and power of impact on the listener.
The creation of many landscape images belongs to impressionist composers (impressionism is an artistic movement that developed in Western Europe in the last quarter of the XIX- early 20th century). In their work, themes requiring special musical visualization, including themes of a landscape nature, were widely developed.
The musical landscape of the impressionists is an area of detailed development of all means of expression that give the sound color, visibility, and picturesqueness. Picturesqueness is already present in the titles of the works: for example, “Sails”, “Wind on the Plain”, “Steps on the Snow” (all these are the names of preludes by C. Debussy), “A Wonderful Evening”, “Wild Flowers”, “Moonlight” (romances K. Debussy), “The Play of Water”, “Reflections” (piano pieces by M. Ravel) and so on.
The need to embody such complex and subtle images in music has led to an increase in spatial and colorful musical possibilities. The harmonies became more tart, the rhythms more refined, and the timbres more refined. The music of the Impressionists revealed the ability to convey not only colors, but also highlights and shadows - as, for example, in “The Play of Water” by M. Ravel. Such possibilities of music turned out to be in tune with impressionist painting; Perhaps never before have these two arts been so close to each other.
Turning to poetry, impressionist composers chose works that also had a clearly expressed colorful, picturesque element. Here is one such poem; its author is the poet Paul Verlaine.
An endless row of fences and wild grapes;
The expanse of distant blue mountains; tart aroma of the sea.
The windmill is like a scarlet lighthouse on the light greenery of the valley;
The foals run freely near the coastal snags.
Sheep lush on the slopes, flowing like a river -
They are bright green on the carpets, whiter than milk.
Lace of foam behind the stern, and a sail over the water,
And there, in the Sunday azure, the copper call of bells.
If there was a genre of landscape in poetry, then this poem would fully meet its requirements. Each of its lines is an independent image, and taken together they form a single picture of a Sunday summer landscape.
The romance by C. Debussy, created on the basis of this poem, gives the poetic image even greater depth. The composer introduces an element of movement, lively and cheerful, but this movement is also figurative, it, as in Verlaine’s poem, seems to be captured.
The initial figure of the accompaniment - a quintole (a rhythmic group of five sounds) - resembles a pattern - either a pattern of endless fences, or a lace of foam, but we feel that this pattern is definitely connected with the images of the poem.
So, we see that landscape in music is present in all the richness of its manifestations - both as a “mood landscape” (for example, in Tchaikovsky), consonant with the landscape paintings of I. Levitan and V. Serov, and as a dynamic landscape that conveys the processes occurring in nature (for Stravinsky), and as a colorful painting that contains diverse manifestations of the beauty of the surrounding world (for the Impressionists).
Landscape images in music allow us to see how much music has learned from painting in conveying the appearance and vision of nature. And maybe, thanks to such music, our perception of nature becomes richer, fuller, more emotional? We begin to see and feel details better, perceive colors and moods, and hear unique music in everything. “Nothing in musicality can compare with the sunset,” wrote C. Debussy, and this musicality of perception of the world becomes equal to the perception of its boundless beauty. The ability for such perception lies the secret of a person’s spirituality - the highest of all inherent principles.
Municipal educational institution
"Voronovskaya average comprehensive school»
636171, Tomsk region, Kozhevnikovsky district, village. Voronovo, st. Proletarskaya, 17
cont. tel. 31208, tel/fax 31208; mail: [email protected] INN 7008004715
Abstract on the topic:
"Music and Fine Arts"
(materials for the student essay competition “Krugozor”)
Performed:
Turchkov Alexander
8th grade student
Supervisor:
Kunitsyna Anna Vladimirovna
music teacher
Tomsk – 2011
1. Introduction……………………………………………………….. 2 – 3
2. Images of painting in music …………………………………… 4 – 11
3. Landscape in music…………………………………………….. 11 – 16
4. “Musical painting” of fairy tales and epics……………………. 16 – 18
5. Conclusion………………………………………………………. 19
6. List of used literature…………………………….. 20
Introduction
Music can be studied in different ways.
We can talk about musical works, learn to understand them and admire their sound.
You can devote lessons to the works of great composers and performers to see how much effort goes into creating even the lightest and most cheerful music.
You can finally, step by step, master musical notation, learn to sing, play various musical instruments, comprehending musical science as if from the inside.
I set before myself target: the study of music in unity with what gives birth to and surrounds it: with life, nature, customs, beliefs, poems, fairy tales, paintings and much, much more.
Tasks:
· learn to observe, compare, contrast, see the big in the small;
· learn to understand that the world is one, and what such understanding serves;
· learn all this with the help of music, because music can tell you everything;
· learn to listen to music.
All these are different ways to get involved with music.
But one day I have a question: what is music?
Is it true that this is a miracle born from the Cosmos, from the movement of the planets, from itself? After all, the great Edvard Grieg said: “Words sometimes need music, but music does not need anything.” Is it so? Yes and no.
Yes, because each art is valuable in its own right, it speaks about itself in its own language, it never invades the domain of another art. Sound cannot compete with color, just as sculpture cannot compete with poetry, just as in nature air does not compete with fire. This very opposition seems absurd. Every thing on Earth is valuable in itself and from this point of view does not need anything.
No, because there is a universal connection between phenomena and its laws are immutable. So, for the melody to sound, it requires a tight stretched string, and the string gives an expressive sound only in contact with a special type of wood, processed in a special way - and all this is far beyond the boundaries of music itself. This happens with all other things in the world: for something, ink and paper, brushes and paints are required, for something, the flow of rivers and the flowering of meadows, and from this point of view, everything needs everything.
Images of painting in music
If the connection between music and literature is indisputable and obvious, then music and fine art form a more complex union. The reason lies in their nature: after all, music and poetry are temporary arts, they interact in a single flow of sound, a single beat of the rhythmic pulse. Fine art is a spatial phenomenon: it inscribes its lines and forms into the natural world, enriches it with colors and colors. Music, it would seem, has nothing to do with it at all: it has its own artistic field, and its meeting with painting, if possible, is only on “neutral territory” - for example, in an opera or musical performance, where the action requires both musical expression and decorative design.
However, studying the vast area of program music, we find in it not only songs and fairy tales, poems and ballads, not only titles inspired by literary images - such as, for example, “Scheherazade” by N. Rimsky-Korsakov, “Peer Gynt” by E. Grieg or "Blizzard" by G. Sviridov. In music, it turns out, symphonic paintings and etudes-paintings, frescoes and prints have long existed. The names of the musical works reflect the images that inspired them - “Forest” and “Sea”, “Clouds” and “Mists”, as well as “Bogatyr Gate in Kyiv”, “Old Castle”, “Roman Fountains”.
It turns out that not only literature, but also fine art can give birth to musical sounds.
“What the will of the gods enviously divided is united by the goddess Fantasy, so that each Sound knows its own Color, through each leaf shines a sweet Voice, calling Color, Song, Aroma as brothers,” wrote the German romantic poet Ludwig Tieck. But if the “envious will of the gods” separated sound and color, drawing boundaries between the arts, then it did not affect the natural world, where everything still lives and breathes in the unity of its manifestations. Each art, striving to create its own full-fledged world, is able to say more than what is traditionally attributed to it.
The forest is like a painted tower,
Lilac, gold, crimson,
A cheerful motley wall
Standing above a bright clearing.
Birch trees with yellow carving
Glisten in blue azure.
This is how I. Bunin described paints autumn nature in his poem "Falling Leaves". The above excerpt is a genuine poetic landscape; in it, every image is saturated with picturesque color: the forest is like an elegant mansion, decorated with carvings. Even this small example shows that literature has enough visual arts– her colorful epithets and metaphors paint a bright and voluminous visual image.
But musical landscapes are also colorful in their own way - what shades of the seasons, what colors, what butterflies can sometimes be “seen” in music!
And without questioning the temporary nature musical art, let’s try to answer the question: what in music can give the sound visibility?
1. What is a “musical space”?
2. How does it express itself in sounds?
Let us remember the echo in the forest or in the mountains, the echo as a natural “carrier” of sound space.
Let's listen to the sound of the echo and try to understand what its spatial effect is. Isn't it true, the outlines of space depend on
the proximity or distance of the echo, and accordingly the degree of loudness of its sound?
Thus. One of the most important carriers of space in music is volume dynamics. Awareness of this point led musicians to the discovery of a huge layer of expressive means associated with the distribution of volume levels in a piece. It is noteworthy that in music these levels are called shades or nuances - but this is a definition from the field of painting! Maybe the first creators musical definitions felt an organic connection between two seemingly distant arts: words often reveal the secrets of their origin.
Shades of musical dynamics have their own scale: the lower indicator of this scale is pp (pianissimo) means extremely quiet performance, upper - ff (fortissimo) – extremely loud. Between these extremes there are a number of intermediate nuances: p (piano) - quietly, mp – moderately quiet, mf - moderately loud f - loud. In the texts of musical works one can even find such notes as ppp And fff , indicating special expressiveness of the performance.
If we compare a work of painting and music from the point of view of dynamics, then here too it is obvious that the object depicted on foreground painting, “sounds” louder than what makes up its background. This peculiar “loudness” of the image is expressed in its size, in greater detail, and in the intensity of the colorful embodiment. The background can only represent vague outlines of objects, gradually disappearing on the horizon.
Relief and background - these spatial concepts, which by their nature go back to fine art, have acquired universal meaning in the dramaturgy of any work of art. In music, in addition to the simple echo effect, they are embodied in the combination of a solo voice and instrumental or choral accompaniment, in the organization of operatic dramaturgy, where against the background of cross-cutting scenes sometimes a close-up appears - arias, arioso, ensembles, in the sequence of the main and secondary themes in a sonata form.
In literature, the combination of relief and background manifests itself in the relations between central and minor characters, actions, pictures.
However, the concept of “minor” in art is conditional. In any authentic work of art the role of the background in relation to the close-up is not mechanically illustrative, but semantic. The artist’s choice of details is not random, even if it is just a framing landscape, details of clothing or the interior of a home. Here, for example, is P. Fedotov’s painting “Breakfast of an Aristocrat.” How much can be seen in such seemingly insignificant things as a bitten piece of bread - the only food of an impoverished aristocrat, next to a book about oysters! And the beautiful interior of his room is not just a frame in which an image of a human figure is placed, but a valuable world of excellent objects in its own right, clearly contrasting with the comedy of the plot.
Another concept universal for all arts, which also originates in painting, is contrast.
Contrast, which initially arose as a comparison of colors or scales, that is, a purely spatial phenomenon, gradually captured the sphere of music. Contemporary music is already unthinkable without contrasts: major and minor, fast and slow tempo, loud or quiet sonority, high or low registers. Contrasts used in music often have enormous visual potential, depending on the content of the work. After all, in art it is not the contrast of techniques that is important, but the contrast of meanings.
E. Drobitsky’s painting “Life and Death” is an example of a direct comparison of two eternal philosophical categories. The way they relate to each other has found its plastic expression in many details.
The contrast of light and dark in this picture is similar to the contrast of light and shadow: the light figure of Life has detailed facial features - soft, feminine, and detail in the depiction of clothes and even hairstyle. The dark figure of Death represents only a silhouette - without a face, without details, but this silhouette exactly matches the silhouette of the light figure. The only detail is concentrated in the hands of a dark figure - the objects that are depicted here symbolize the possible outcome of life: wealth, many written pages. The bright figure conceals only possibilities - in her hands is only the embryo of life - with all future deeds and achievements.
The contrast of colors in painting can be likened to the contrast of major and minor modes in music, which corresponds to the mood, the contrast of registers, creating a “darker” and a “lighter” sound.
The song “Sleep Well” (No. 1 from F. Schubert’s “Winter Reise” cycle) uses the principle of modal contrast - the juxtaposition of minor and major. Here we can talk about the psychological depth of music, conveying duality emotional state hero. The first song in the cycle - one of the composer's most tragic works - it still contains glimmers of hope for possible overcoming of misfortunes.
The contrast of musical and visual character can be found in numerous “landscape” plays.
This example is the beginning of the prelude by C. Debussy “Sails”. The vivid picturesqueness of the prelude, of course, lies not only in the simple technique of juxtaposing registers. However, the initial “sketch” of the work is precisely in the contrast of the light sail inflated by the sea wind and the dark surface of the water, the entire vast expanse of the sea.
When we talk about registers, we use the words “high”, “low”, “medium”. The concept of “pitch” applies not only to registers, but to all musical tones. “Pitch” is one of the key concepts music - means distribution musical sounds in space.
It is known that music is built on only seven notes.
This is a C major scale, consisting of seven notes: do, re, mi, fa, salt, la, si.
The notes differ in pitch - each subsequent note of the scale is higher than the previous one. But this means that the basis of sound difference also lies in a spatial concept. The high and low sound of a voice, a choir, an orchestra is the basis of the expressiveness of music, and along with the movement in time (rhythm), there is a movement of music in space: down to the gloomy rumble of the bass, up to the shining sonority of the high voices. It is no coincidence that the first examples of music combining these voices at the same time arose in the space of cathedrals, in their architecture reflecting the aspiration to the heights.
Choral music is works created for church choir; their sound, as well as the arrangement of choral performers in the cathedral, embodied the idea of a single spiritual space - choral, cathedral. Perhaps this is why the great thinker Goethe so insisted on the kinship of architecture and music: the cathedral as a symbol of silenced music, music as the aspiration of the lines of the cathedral.
When music is called a temporary art, they mean the inevitability of its movement in time. Music is not comprehended in the simultaneity of all its constituent sounds, but is listened to gradually, from beat to beat. But also the work visual arts so often it is impossible to cover the whole! Not only spatial multi-subject compositions, but even individual paintings require sequential consideration and take time. This means that music, although it is a temporary art, carries within itself the features of spatiality, just as fine art, which is spatial in nature, has the qualities of temporary art. So we see that in the life of art everything is interconnected.
If music had developed only as a temporary art, then it would probably have cultivated what is associated with the processes of movement - metric dimensions, rhythms, durations. However, not to a lesser, but even to a greater extent, its spatial capabilities developed and deepened.
The invention of new instruments is a continuous search for timbres capable of expressing not only a variety of sounds, but also a variety of colors and shades. The invention of chords and chord combinations filled music with color capable of expressing the most complex visual associations. The introduction of polyphony and contrasting registers made it possible to distinguish between light and dark sounds in the bizarre musical fabric...
Following the phenomena, concepts came, and now musicians made their own words that had previously been the exclusive property of artists: gamma, tone and halftone, tint and nuance, musical color, color, cold and warm timbres, light and gloomy melodies. Thus, the musical space not only received its outlines, it acquired its “inhabitants”, who have their own unique appearance, color, and flavor.
The musical space breathes and pulsates, expands and contracts, amazes with the colorfulness of sound combinations and thins out to a single sound. The art of sounding space - this definition is quite suitable for music, which has long been given over to the power of choral and orchestral performances. But even beyond complex polyphonic works: isn’t a lonely singing voice a sounding space?
The spatial possibilities of music, the inherent property of sound imagery - this is the reason that music is subject to the embodiment of the ideas of fine art. Whether we are looking at a portrait, admiring a landscape or a still life - all these images have their own musicality, and all this can be conveyed in sounds in their own way.
Landscape in music
The depiction of nature in art has never been a simple copying of it. No matter how beautiful the forests and meadows were, no matter how the elements of the sea attracted artists, no matter how the moonlit night enchanted the soul - all these images, being captured on canvas, in poetry or sounds, evoked complex feelings, experiences, moods. Nature in art is spiritualized, it is sad or joyful, thoughtful or majestic; she is what a person sees her.
The theme of nature has long attracted musicians. Nature gave music sounds and timbres that were heard in the singing of birds, in the murmur of streams, in the noise of a thunderstorm. Sound-imagery as an imitation of the sounds of nature can be found already in the music of the 15th century - for example, in the choral plays by K. Janequin “Birdsong”, “The Hunt”, “The Nightingale”.
Thus, the path was laid out for music to master its landscape and visual capabilities. Gradually, in addition to imitating sounds, music learned to evoke visual associations: in it, nature not only began to sound, but also sparkled with colors, colors, highlights - it became visible. “Musical painting” - this expression of the composer and critic A. Serov is not just a metaphor; it reflects the increased expressiveness of music, which has opened up another figurative sphere - the spatial-pictorial one.
Among the bright musical paintings associated with the image of nature is P. Tchaikovsky’s cycle “The Seasons”. Each of the twelve plays in the cycle represents an image of one of the months of the year, and this image is most often conveyed through the landscape.
The theme of the seasons, their reflection in nature is the basis of the content of this work, supported by a poetic epigraph from Russian poetry that accompanies each play.
Despite the poetic original source, Tchaikovsky’s music is vividly picturesque – both in a generalized emotional sense, associated with the “image” of each month, and in terms of musical imagery.
Here, for example, is the play “April”, which is given the subtitle “Snowdrop” and is preceded by an epigraph from a poem by A. Maykov:
Blue, pure snowdrop - flower,
And next to it is the last draft of snow.
Last dreams of past grief
And the first dreams of a different kind of happiness...
As often happens in lyrical poetry, the image of early spring, the first spring flower is associated with the awakening of human strength after winter torpor, the darkness of frost and blizzards - to new feelings, light, sun. A small flower growing right from under the snow becomes a symbol of these fresh feelings, a symbol of the eternal desire for life.
If Tchaikovsky’s music - with all its vivid imagery - is still aimed at conveying the mood, the experience caused by the first flowering of spring, then in the work of other composers one can find a vivid visual image, accurate and specific. Franz Liszt wrote about it this way: “A flower lives in music, as in other forms of art, for not only the “experience of a flower”, its smell, its poetic enchanting properties, but its very form, structure, the flower as a vision, as a phenomenon is not may not find its embodiment in the art of sound, for in it everything, without exception, that a person can experience, experience, think through and feel finds embodiment and expression.”
The shape of a flower, the vision of a flower, is tangibly present in the introduction to I. Stravinsky’s ballet “The Rite of Spring.” An amazing natural phenomenon - the opening of buds and stems - is captured in this music, conveying, in the words of B. Asafiev, “the action of spring growth.”
The initial tune-theme, performed by the bassoon, in its outline resembles the structure of a stem, which constantly stretches and rushes upward. Just as the stem of a plant gradually grows overgrown with leaves, the melodic line throughout the entire sound also “overgrows” with melodic echoes. The shepherd's flutes gradually turn into a thick musical fabric in which the chirping of birds can be heard.
The landscape in music can probably be likened to the landscape in paintings - the pictures of nature that composers turned to are so diverse. Not only the seasons, but also the times of day, rain and snow, forest and sea elements, meadows and fields, earth and sky - everything finds its sound expression, sometimes literally striking in its visual precision and power of impact on the listener.
The creation of many landscape images belongs to impressionist composers (impressionism is an artistic movement that developed in Western Europe in the last quarter of the 19th - early 20th centuries). In their work, themes requiring special musical visualization, including themes of a landscape nature, were widely developed.
The musical landscape of the impressionists is an area of detailed development of all means of expression that give the sound color, visibility, and picturesqueness. Picturesqueness is already present in the titles of the works: for example, “Sails”, “Wind on the Plain”, “Steps on the Snow” (all these are the names of preludes by C. Debussy), “A Wonderful Evening”, “Wild Flowers”, “Moonlight” (romances K. Debussy), “The Play of Water”, “Reflections” (piano pieces by M. Ravel) and so on.
The need to embody such complex and subtle images in music has led to an increase in spatial and colorful musical possibilities. The harmonies became more tart, the rhythms more refined, and the timbres more refined. The music of the Impressionists revealed the ability to convey not only colors, but also highlights and shadows - as, for example, in “The Play of Water” by M. Ravel. Such possibilities of music turned out to be in tune with impressionist painting; Perhaps never before have these two arts been so close to each other.
Turning to poetry, impressionist composers chose works that also had a clearly expressed colorful, picturesque element. Here is one such poem; its author is the poet Paul Verlaine.
An endless row of fences and wild grapes;
The expanse of distant blue mountains; tart aroma of the sea.
The windmill is like a scarlet lighthouse on the light greenery of the valley;
The foals run freely near the coastal snags.
Sheep lush on the slopes, flowing like a river -
They are bright green on the carpets, whiter than milk.
Lace of foam behind the stern, and a sail over the water,
And there, in the Sunday azure, the copper call of bells.
If there was a genre of landscape in poetry, then this poem would fully meet its requirements. Each of its lines is an independent image, and taken together they form a single picture of a Sunday summer landscape.
The romance by C. Debussy, created on the basis of this poem, gives the poetic image even greater depth. The composer introduces an element of movement, lively and cheerful, but this movement is also figurative, it, as in Verlaine’s poem, seems to be captured.
The initial figure of the accompaniment - a quintole (a rhythmic group of five sounds) - resembles a pattern - either a pattern of endless fences, or a lace of foam, but we feel that this pattern is definitely connected with the images of the poem.
So, we see that landscape in music is present in all the richness of its manifestations - both as a “mood landscape” (for example, in Tchaikovsky), consonant with the landscape paintings of I. Levitan and V. Serov, and as a dynamic landscape that conveys the processes occurring in nature (for Stravinsky), and as a colorful painting that contains diverse manifestations of the beauty of the surrounding world (for the Impressionists).
Landscape images in music allow us to see how much music has learned from painting in conveying the appearance and vision of nature. And maybe, thanks to such music, our perception of nature becomes richer, fuller, more emotional? We begin to see and feel details better, perceive colors and moods, and hear unique music in everything. “Nothing in musicality can compare with the sunset,” wrote C. Debussy, and this musicality of perception of the world becomes equal to the perception of its boundless beauty. The ability for such perception lies the secret of a person’s spirituality - the highest of all inherent principles.
“Musical painting” of fairy tales and epics
The whimsical, magical, fantastic world of fairy-tale creativity found its expression in music in different ways. A fairy tale could become the basis for the plot of an opera, ballet or instrumental composition, but along with the embodiment of its content it grew, became more and more picturesque and visible. music world her images. Appearance fairy-tale heroes, forest, underwater and mountain fabulous landscapes and kingdoms, birds and animals - in a word, all the wealth of the visible magical world received its sound expression. Thanks to music, we learned that in a fairy tale all the sounds are special, magical: falling snowflakes rustle unusually, and goldfish dance in the water in a special way, and the flight of the fairytale Little Humpbacked Horse is completely different, not like ordinary horse racing.
Here is one example of such “magical” music – “Dance of the Golden-finned and Silver-scaled Fishes” from N. Rimsky-Korsakov’s opera “Sadko”. Already in the very title of this brightly expressive musical fragment created by the great musical storyteller (N. Rimsky-Korsakov wrote seven operas written in fairy tales), one can see the subtle figurativeness and picturesqueness of the musical concept. All means of music - from flexible and whimsical melodic lines to the timbre diversity of the orchestra - are aimed at creating a colorful musical picture. Many musicians called the opera "Sadko" an encyclopedia of fairy tales musical language XIX century.
This opera also contains many portrait fairy-tale images. The difference in the depiction of fairy-tale heroes from musical portraits real people is to introduce the mysterious, enigmatic, associated with the incomprehensible magical world.
On the one hand, the deep lyricism of the musical statements of fairy-tale characters, on the other, the atmosphere of a fairy tale that envelops their characteristics and actions - this duality is genuine artistic discovery composer. B. Asafiev, comparing the work of N. Rimsky-Korsakov and the “outstanding poet of Russian fairy tales” M. Vrubel, wrote that in a number of scenes in “Sadko” “Vrubel’s visions can be heard.”
The beautiful Swan Princess, depicted in M. Vrubel’s painting, is not just an illustration to the “tale of Tsar Saltan” by A. Pushkin, it is a generalized image of female fairy-tale images. In some ways it is akin to the image of the Sea Princess Volkhova from the opera “Sadko”, also filled with inexpressible charm - and at the same time mysterious, incomprehensible. When the Sea Princess sings her wonderful lullaby song, she puts a lot of lyrical feeling into it. There are intonations in the music folk song, giving Volkhov the warm, lively features of a real girl.
Thanks to music, many well-known and beloved fairy tales have been supplemented and enriched. musical sounds. We heard what music Masha danced to in The Nutcracker, heard not only the music of the dance itself, but the entire festively decorated hall - the Christmas tree, New Year's toys, snowflakes outside the window. P. Tchaikovsky, as good wizard, just touched my fairy tale with a magic wand musician - and she immediately came to life, filled with the charm of a real holiday, a warm and deep feeling - and as if she became a reality, a part of our lives.
So, we see that fairy tales themselves are very musical: the heroes in them willingly sing and dance, and very often these songs and dances become part of the magical world of miracles, holidays and bright hopes. And maybe that's why fabulous music so picturesque that it contains all the ideas of the magical, mysterious, that it is a person’s dream of beauty embodied? It's no coincidence that they are beautiful fairy tale images in the imagination of artists they surpass all imaginable beauty that is found in reality.
So in folk art The main thing that determines the viability of any people finds its expression - its deep love of life, rich imagination, poetic attitude to beauty, patriotism and remarkable strength - not predatory, not barbaric, but wise and right.
Fairy tales, legends, legends, epics from century to century pass on to descendants the rich experience of the people. Good and evil, strength and weakness, reality and fiction in their endless string of artistic incarnations form a powerful poetic stream of eternal images, which are called the great word “tradition”.
Conclusion
In conclusion, it can be noted that music is complicated story its relationship with other forms of art. In the community with whom she was born, grew, strengthened and comprehended the world. Music has become a very independent and developed art, it continues its noble partnership with words and verse, it is full of colors and images. In the same way, both poetry and painting convey the music of the surrounding world in their own way, because art strives for the completeness of each of its statements. Sometimes art relies only on its own capabilities, extracting from them the ability to say more than it is intended by nature. Poetry, music, painting remain themselves, but creative possibilities Each of these types of art increases many times over; any theme, any image is subject to them.
Color and paint in music, rhythm and tonality in painting, melodiousness and melody of poetry are only a small part of verbal metaphors that reveal the deep interweaving of art forms.
We will grow and mature, we will discover new works, read new books. And with the acquisition of experience, we will again and again become convinced of how everything in life is interconnected, how things, actions, and destinies of people are connected by thousands of invisible threads. You cannot harm one thing so as not to cause damage to everything else. People born on the same land are basically alike. Therefore, the art they create can be close and understandable to everyone: it tells about everything, it is universal.
Bibliography
· www.Wikipedia.ru
· Naumenko T.I., Aleev V.V. Textbook for general education educational institutions. – 3rd ed., stereotype. – M.: Bustard, 2001
Art talks about the beauty of the Earth.
Landscape in music, literature, painting.
A. Pushkin called art a “magic crystal”, through the boundaries
which the people, objects and phenomena around us are seen in a new way
usual life.
At all times, painters, composers and writers have embodied in their works various natural phenomena that excited them. Through the feelings and experiences that arise in them when perceiving the majestic sea or mysterious stars, endless plains or a smooth bend of a river, they convey their vision of the world.
Thanks to works of art - literary, musical, picturesque - nature always appears before readers, listeners, and spectators in different ways: majestic, sad, tender, jubilant, mourning, touching. These images continue to attract a person, touching the finest strings of his soul, helping him to touch the unique beauty native nature, to see the unusual in what is familiar and everyday, give everyone the opportunity to develop a sense of belonging to native land, to my father's house.
Landscape (French paysage - view, image of some area) is a genre dedicated to the depiction of nature. In European art, landscape emerged as an independent genre in the 17th century.
Landscape - poetic and musical painting
History of the development of landscape in Russian painting
Venetsianov and his students were the first to turn to the Russian landscape in their work.
Under blue skies
Magnificent carpets,
The snow lies shining in the sun.
The transparent forest alone turns black,
And the spruce turns green through the frost,
And the river glitters under the ice.
A.S. Pushkin. ("Winter morning")
Slide 1 “Winter” Nikifor Krylov. (1802-1831)
Nikifor Krylov painted his painting “Winter” in 1827. This was the first Russian winter landscape.
Krylov painted the landscape seen from the studio window within a month. The outskirts of the village appear, the residents are busy with everyday affairs: in the foreground a woman with a yoke carries full buckets of water, a man leads a horse towards her by the bridle, behind the woman with a yoke are two other women who have stopped to talk. In the distance you can see a forest, and beyond it an endless plain. There is white snow all around, bare trees. The author masterfully captured the atmosphere of the Russian winter. Such an amazingly sincere and simple winter landscape is a rare phenomenon in Russian painting. half of the 19th century century. The painting was first presented at an exhibition at the Academy of Arts, where it was well received by contemporaries, who noted “the charmingly captured winter lighting, the nebulosity of the distance and all the differences of the cold well preserved in memory.”
The landscapes of Grigory Soroka, Venetsianov’s favorite student, are captivating and sad. And I'm afraid to break this silence. As if waking up, nature will lose its irrevocable kindness and tenderness and peace. Grigory Sorokin is a serf of the landowner Miliukov.Grigory Vasilievich Soroka (1823-1864)Grigory Vasilyevich Soroka is a student of A.G. Venetsianov, one of the most talented and beloved. A serf of the Tver landowner N.P. Milyukov, a neighbor and good friend of A.G. Venetsianov. Taken by the master to his yard on the Ostrovki estate, Soroka was apparently noticed there by the artist, and, with Miliukov’s permission, the master took him to his village of Safonkovo. Like all of Venetsianov’s students, Soroka works mainly from life, draws a lot, paints landscapes, portraits, and interiors. A.G. Venetsianov tried to redeem him from captivity, but did not have time due to tragic death. After his death, Grigory Vasilyevich Soroka committed suicide.
And only almost a quarter of a century later, an artist was destined to appear in Russian art, about whom a poet could say: “He breathed life with nature alone, understood the babbling of a stream, and understood the conversation of tree leaves, and he heard the vegetation of grass...” Savrasov. He tried to find in the simplest, most ordinary things those intimate, deeply touching, often sad features that are so strongly felt in the Russian landscape and have such an irresistible effect on the soul.
In 1871, Savrasov created his own famous masterpiece- painting “The Rooks Have Arrived” (Tretyakov Gallery, Moscow). He painted it from life in the village of Molvitino, Kostroma province. The artist loved to depict spring, and in this picture he managed to subtly and convincingly show its first signs: darkened March snow, melt water, air saturated with spring moisture, a sky covered with dark clouds, birds fussing over their nests. Every detail of the landscape expresses a keen sense of anticipation for spring. This is probably why the picture was so loved by the Russian audience, who, in the harsh and long winter, eagerly awaited the arrival of spring and its first messengers - the rooks.
The picture shown on the mobile art exhibition, attracted the attention of many. The famous art historian Alexandre Benois called it guiding star for a whole generation of landscape masters of the 19th century. I.N. Kramskoy, who saw the painting at the exhibition, spoke about it like this: “Savrasov’s landscape is the best, and it is really beautiful, although Bogolyubov is also there... and Shishkin. But all these are trees, water and even air, and the soul is only in “Rooks.”
People, as if for the first time, saw in their paintings both the transparent spring air and the reviving birch trees filled with spring sap; We heard the cheerful, hopeful, joyful hubbub of birds. And the sky doesn’t seem so gray and joyless, and the spring dirt is soothing and pleasing to the eye. It turns out that this is what Russian nature is like - gentle, thoughtful, touching! It is thanks to the picture Alexey Kondratievich Savrasov(1830-1897) “The rooks have arrived”, Russian artists felt the songfulness of Russian nature, and Russian composers felt the landscape nature of Russian folk song.
The landscape by Ivan Ivanovich Shishkin “In the Wild North...” was written in 1891 based on the poem “Pine” by M. Yu. Lermontov. The work is done on canvas with oil. This work is kept in the Kiev Museum of Russian Art. On the canvas we see a pine tree that stands on the edge of a cliff and is ready to fall at any moment under the weight of the snow that flakes stick to its branches-arms. The top of the pine tree looks like the head of an eagle, which is about to break loose, flap its wings and be freed from an unbearable weight with relief. The gloomy dark blue sky is permeated with anxiety. The middle of the pine tree, closer to the trunk, looks like a skeleton that has lost its flesh-leaves during the winter. this work imbued with the spirit of loneliness and cold.
Read the poem by M.Yu. Lermontov “It’s lonely in the wild north”
It's lonely in the wild north
There's a pine tree on the bare top,
And dozes, swaying, and snow falls
She is dressed like a robe.
And she dreams of everything in the distant desert,
In the region where the sun rises,
Alone and sad on a burning cliff
A beautiful palm tree is growing.
In general, oak is one of the favorite trees of the landscape artist, who tirelessly depicted these magnificent titans created by unpredictable nature. In this canvas, Shishkin’s oak trees are magnificent heroes of the forest epic, with their mighty paw-branches spread wide. The trees are illuminated by the rays of the sun, which is about to leave the sky soon. The time of day depicted in the picture is evening. However, Shishkin masterfully emphasizes the unusual play of the luminary on the mighty trunks of oak trees.
Contemporaries called Shishkin “the patriarch of the forest,” and these words very accurately conveyed the artist’s attitude towards nature and art. The forest, which the painter loved selflessly, became the main character of his paintings. Shishkin did not just write nature: he, as a scientist, studied it. The master never tired of repeating to his students: “You can never put an end to the study of nature, you cannot say that you have learned it completely and that you don’t need to study anymore.” Shishkin was the first of the Russian painters of the 19th century to understand the importance and significance of sketches from nature. He knew the forest perfectly, the structure of every tree and plant.
“If pictures of the nature of our dear Rus' are dear to us, if we want to find our own, truly folk ways to depict its soulful appearance, then these paths also lie through your mighty forests, full of unique poetry.” - This is what Viktor Vasnetsov wrote to landscape painter Ivan Shishkin.
“This boy will still show himself; no one, including himself, has any idea about the possibilities hidden in him.” - These are the words of the artist Kramskoy about the Russian artist Fyodor Vasiliev. Vasiliev lived only 23 years, but he managed to do so much. His excited brush told people so much about the greatness and mystery of nature.
Painting “Birch Grove” (1879). In the foreground, not entire trees are depicted, but only flexible white trunks. Behind them are silhouettes of bushes and trees, and around them is the emerald green of a swamp with a clearing full of dark water.
The gift of color sensations is the kind of luxury that elevates a person” - this statement by the scientist Petrashevsky can be fully attributed to the work of Kuindzhi.
“The illusion of light was his God, and there was no artist equal to him in achieving this miracle of painting. Kuindzhi is an artist of light,” wrote Repin in 1913.
A contemporary of A. Savrasov and I. Shishkin, he brought the magic of light to the landscape. The natural world on his canvases is like a fairy-tale palace, where a person is visited by beautiful and eternal dreams.
The simple beauty of the Central Russian strip did not attract the attention of artists for a long time. Boring, monotonous flat landscapes, gray
the sky, spring thaw or summer grass withered by the heat... What's poetic about this?
Russians artists of the 19th century V. A. Savrasov, I. Levitan, I. Shishkin and others discovered the beauty of their native land.
Levitan's paintings require slow viewing. They do not overwhelm the eye, they are modest and precise, like Chekhov's stories. So few notes and so much music. great poet Levitan's nature, he fully felt the inexplicable charm of the Russian landscape, and in his paintings he was able to convey love for the Motherland, unembellished by anything, beautiful in its spontaneity.
The canvas “Fresh Wind” is also marked by a mood of joy. Volga” (1895, Tretyakov Gallery, Moscow). The free wind covers the water with light ripples, fills the sails, and drives light clouds across the sky. With the help of sonorous, fresh colors, the master conveys the dazzling whiteness of the steamship and clouds slightly gilded by the sun, the bright blue of the sky and river.
In “The Quiet Abode” the artist managed to show a generalized image of nature in a fresh and emotional way. Levitan repeated the same motif of the temple, reflected in calm and clear river water, in the painting “Evening Bells” (1892, Tretyakov Gallery, Moscow).
Levitan is recognized as one of the most subtle and soulful landscape painters. With the work of Levitan, the concept of “mood landscape” entered Russian painting. The ability to objectively convey the beauty of nature in all the diversity of its changing manifestations and at the same time, through the landscape, to express the state of the human soul and its subtlest experiences were precious qualities of the artist’s talent. The picture, permeated with a jubilant mood, “ Golden autumn“is a kind of farewell hymn to the last flowering of nature: the extraordinary brightness of colors, the “burning” of gold of birches, the multicolored cover of the earth. Painted with brilliant skill, the landscape is distinguished by a complex color scheme and a variety of pictorial surfaces, on which textured colorful strokes stand out.
Probably, it is about the paintings “Golden Autumn” and “Fresh Wind. Volga” Grabar wrote: “...They instilled cheerfulness and faith in us, they infected and raised us. I wanted to live and work.”
But Levitan has few such life-affirming and joyful landscapes.
The canvas “Spring” is imbued with quiet sadness. Big Water” (1897, Tretyakov Gallery, Moscow). The color of the picture is very harmonious. With the help of subtle color nuances, the artist conveys the fresh charm of the coming spring. Thin tree trunks are permeated with dim sunlight. Their fragility and grace are emphasized by clear reflections in the water. This emotional and heartfelt picture of nature conveys the depth of human feelings and experiences. A lonely boat near the shore and modest peasant houses on the horizon remind of the presence of a person.
Plyos is a small provincial town on the banks of the Volga, where Levitan worked for three years (1888-1890). Here Levitan first found those motifs and plots that subsequently immortalized his name, and, at the same time, the name of Ples. Zolotoy Plyos is one of the masterpieces created by Levitan at this time. With amazing sensitivity, this canvas conveys the feeling of peaceful silence, the soft glow of the pre-sunset light, the gentle haze of fog floating over the sleeping river... Everything is filled with a precious feeling of the integrity and beauty of being, and it seems that the bell will now strike and the canvas will tremble to the beat his blows. Levitan rented part of a white stone house with a red roof for some time.
The philosophical make-up and dramatic inner world the artist, his reflections on the frailty of human existence in the face of eternity.
Levitan's painting Lake (Rus)(1895, State Russian Museum, St. Petersburg) - last big picture artist, on which he worked for a long time and with inspiration. Perhaps he did not make so many preparatory studies and sketches for any of his works. It is known that in the process of creation Lakes the artist more than once traveled for sketches to the Tver province, to places that once served as the basis for the painting Above eternal peace. But in comparison with the last one in Lake one hears not mournful, but solemn music of nature. Lake produces strong impression with its bright, festive sound, a “chime” that unites the high blue sky, through which snow-white clouds float, and the wonderful freedom of a blue lake, on the near shore of which the reeds agitated by the fresh wind are green, and on distant shores one can see villages and white temples and bell towers raising their heads to the sky.
Wonderful day, centuries will pass,
They will also be in eternal order
The river flows and sparkles,
And the fields to breathe in the heat.
Fedor Tyutchev
Read words of the Russian poet I. Bunin.
No, it’s not the landscape that attracts me,
It’s not the colors that the greedy gaze will notice,
And what shines in these colors:
Love and joy of being.
How do you understandwords of the Russian poet I. Bunin?
Quote from the French writer A. de Saint-Exupéry: “You cannot see the most important things with your eyes, only your heart is vigilant.”
Assignment: o explain the meaning?
Write down in a creative notebook in prose or poetic form, impressions of any natural phenomenon, which amazed you with its beauty.
Select pieces of music that are in tune with the paintings of Russian artists. What artistic associations arise in your imagination?
Listen to music:
S.I.Taneev “Pine” based on lyrics by Y. Lermontov.
“You are my field” Russian folk song.
It is necessary to analyze and compare it with literary text and artists’ paintings.
Literary pages
Listen to poems about nature:Native. D.Merezhkovsky
Autumn evening. F. Tyutchev.
Read aloud two literary works written in the 20th century, find intonation, tempo, and vocal dynamics to convey the emotional state reflected in these works.
Everything is in a fading haze
|
Everything is in a melting haze: Hills, copses. The colors are not bright here And the sounds are not harsh. The rivers are slow here Foggy lakes, And everything slips away From a quick glance. There's not much to see here Here you need to take a closer look, So that with clear love My heart was full. |
It's not enough to hear here Here you need to listen So that there is harmony in the soul They poured in together. So that they suddenly reflect Clear waters All the beauty of shy Russian nature. |
N. Rylenkov
To an unknown friend
This morning is sunny and dewy, like an undiscovered land, an unknown layer of heaven, this is the only morning, no one has gotten up yet, no one has seen anything, and you yourself are seeing for the first time. The nightingales are finishing their spring songs, dandelions are still preserved in quiet places, and perhaps the lily of the valley is whitening in the dampness of the black shadow. Lively summer birds began to help the nightingales.<…>The restless chatter of blackbirds is everywhere, and the woodpecker is very tired of looking for live food for his little ones, so he sat down on a branch far from them just to rest.
Get up, my friend! Gather the rays of your happiness into a bundle, be brave, start the fight, help the sun! Listen, and the cuckoo has begun to help you. Look, a harrier is swimming over the water: this is not an ordinary harrier, this morning he is the first and only one, and now the magpies, sparkling with dew, came out onto the path<…>. This morning is the only one, not a single person has ever seen it in all globe: only you and your unknown friend see.
And for tens of thousands of years people lived on earth, accumulating joy, passing it on to each other, so that you would come, pick it up, gather its arrows into bundles and rejoice. Be brave, be brave!
And again my soul will expand: fir trees, birch trees, and I can’t take my eyes off the green candles on the pine trees and the young red cones on the fir trees. Fir trees, birch trees, how good!
M. Prishvin
Answer the questions;
* What thoughts of the poet and writer, revealing the secrets of our native Russian nature, help us feel its beauty? Highlight key words that are important to you in these texts.
What works of art do you associate with these literary images?
Select reproductions of landscapes by Russian artists that are in tune with them.
Artistic and creative tasks
Prepare a computer presentation on the topic “Landscape in literature, music, painting.” Justify your choice of works of art.
Imagine yourself as a sound engineer, choose the ones you know musical compositions, which can be used to voice the literary works presented above. Read them to this music.
Listen to music:
Autumn.G.Sviridov;
The Legend of the Invisible City of Kitezh. Introduction;
Answer the question: Which of these musical works is voiced by F. Tyutchev’s poem about nature?
Remember music lessons. Listen to Valery Gavrilin's music again. Is it consonant with the paintings of I. Levitan?
Visible music
Listeners all over the world know and love the masterpieces of musical classics - “The Seasons” - a series of concerts by the Italian composer XVIII
V. Antonio Vivaldi(1678-1741) and cycle piano pieces Russian
19th century composer Pyotr Ilyich Tchaikovsky(1840-1893). Both compositions belong to program music: they have titles and are accompanied by poetic lines - sonnets of the composer himself in Vivaldi concerts and poems by Russian poets for each of the 12 plays of the cycle Tchaikovsky.
A. Vivaldi "The Seasons" for string orchestra.
Spring is coming! And a joyful song Shepherd bagpipe sound |
P.I. Tchaikovsky "Seasons" - cycle for piano
12 plays - 12 pictures from Tchaikovsky’s Russian life received epigraphs from poems by Russian poets during publication:
And don’t rush after the troika
And sad anxiety in my heart
Hurry up and put it out forever."
N.A.Nekrasov
"Christmas time." December:
Once on Epiphany evening
The girls wondered
A shoe behind the gate
They took it off their feet and threw it."
V.A.Zhukovsky
"Snowdrop". April Listen
"The blue one is clean
Snowdrop: flower,
And next to it is draughty
The last snowball.
Last tears
About the grief of the past
And the first dreams
About other happiness..."
A.N. Maikov
"White Nights". May Listen
"What a night! What a bliss everything is like!
Thank you, dear midnight land!
From the kingdom of ice, from the kingdom of blizzards and snow
How fresh and clean your May flies out!”
A.A.Fet
"Barcarolle". June Listen
"Let's go ashore, there are waves
They will kiss our feet
Stars with mysterious sadness
They will shine on us"
A.N. Pleshcheev
"The Mower's Song" July:
"Get itchy, shoulder. Swing your arm!
Smell it in your face, Wind from noon!"
A.V.Koltsov
"Harvest". August:
"People with families
They began to reap
Mow to the roots
Tall rye!
In frequent shocks
The sheaves are stacked.
From carts all night
The music will hide."
A.V.Koltsov
"Hunting". September:
"It's time, it's time! The horns are blowing:
Hounds in hunting gear
Why are they already sitting on horses?
Greyhounds jump in packs."
A.S. Pushkin
In Russian landscapes-moods - poetic, pictorial and musical - images of nature, thanks to the amazing songfulness of intonations, melodies that last like an endless song, like the melody of a lark, convey the lyrical desire of the human soul for beauty, helping people to better understand the poetic content of sketches of nature.
These are the words I used to describe my impressions of I. Levitan’s painting
"Spring. Big Water" expert on Russian painting M. Alpatov:
Thin, like candles, girlishly slender birches look like the very ones that have been sung in Russian songs from time immemorial. The reflection of birch trees in clear water seems to be their continuation, their echo,
melodic echo, they dissolve in the water with their roots, their pink branches merge with the blue of the sky. The contours of these bent birch trees sound like a gentle and sadly plaintive pipe; from this choir, individual voices of more powerful trunks burst out, all of them are contrasted with a tall pine trunk and the dense greenery of spruce.
Pay attention to the epithets in the description of the picture. Why did the author use musical comparisons?
I can imagine how wonderful it is now in Rus' - the rivers have overflowed, everything is coming to life. No better country than Russia... Only in Russia can there be a real landscape painter.
I. Levitan
Why did a simple Russian landscape, why a walk in the summer in Russia, in the village, through the fields, through the forest, in the evening in the steppe, used to put me in such a state that I lay down on the ground in some kind of exhaustion from the influx of love for nature, those inexplicable sweet and intoxicating impressions that the forest, steppe, river, distant village, modesta church, in a word, everything that made up the wretched Russian landscape of our native land? Why all this?
P. Tchaikovsky
What attracts composers and artists to Russian nature?
Complete a task of your choice
Listen to fragments of program works by A. Vivaldi and P. Tchaikovsky. How does this music make you feel?
Find in them similar and different features, expressive means that convey the composers’ attitude to nature. What distinguishes Russian music from Italian?
What visual and literary associations emerge from these works? Match the poems to the music played.
Listen to modern arrangements classical works drawing nature. What's new? contemporary performers into the interpretation of melodies you know?
Artistic and creative task
Select reproductions of landscape paintings. Write a short story about one of the paintings in a creative notebook, find musical and literary examples for it.
Musical works: P.I. Tchaikovsky cycle of piano pieces “The Seasons”; A. Vivaldi. Concerto for string instruments “The Seasons”; (fragments).
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