Alexander Borodin. Hero of Russian music

Alexander Borodin. Hero of Russian music

Borodin was a uniquely talented composer and outstanding scientist. His not so extensive musical heritage, however, puts him on a par with the greatest Russian composers.

Biography

Alexander Borodin was born in St. Petersburg in 1833 from an extramarital affair between the Georgian prince Luka Stepanovich and Evdokia Antonova. To hide the origin of the boy, he was recorded as the son of a serf servant of the prince - Porfiry Borodin. Alexander was raised by his mother, but in society he was presented as her nephew.

As a child, the boy learned three foreign languages ​​- French, German and English.

In 1850, Borodin entered the Medico-Surgical Academy, but while studying medicine, he continued to study chemistry, which became his life's work.

In 1858, Borodin received the title of Doctor of Science and went abroad for three years - to German Heidelberg, and then to Italy and France. In Heidelberg, Borodin met the talented Russian pianist Ekaterina Protopopova, whom he later married. In 1869 they adopted a 7-year-old girl.

Over the next two decades, Borodin's career at the Academy developed brilliantly: in 1864 he became a professor, and in 1872 he played an important role in founding women's medical courses.

Diligently engaged in science, Borodin at the same time did not leave music, although he considered it just his hobby. And, despite the fact that Borodin was indeed a successful scientist, it was music that immortalized his name.

Upon returning to Russia, great changes took place in Borodin's life, thanks to his acquaintance with Mily Balakirev and his circle, which also included composers Modest Mussorgsky, Caesar Cui and Nikolai Rimsky-Korsakov. Borodin also became a member of this circle, known as the Mighty Handful. The composers of The Mighty Handful saw the development of Russian national music as their goal.

Borodin's main works are three symphonies, two string quartets, a symphonic picture, 16 romances and songs, and several works for piano - not such a meager heritage for a composer who wrote from time to time. And besides, all these works are excellent examples of classical music.

However, for about 18 years, all of Borodin's thoughts as a composer were connected with the main work of his life - the brilliant opera Prince Igor, which was never completed.

They say that...
M. I. Glinka’s sister L. I. Shestakova recalled: “He loved his chemistry more than anything, and when I wanted to speed up the end of his musical work, I asked him to take it seriously; instead of answering, he asked: “Have you seen on Liteiny, near Nevsky, a toy store, on the sign of which is written: “Fun and business?” To my remark: “What is it for?” - he answered: "But, you see, for me music is fun, and chemistry is business."
Borodin's friends were very worried that the work on the opera "Prince Igor" was again interrupted. Rimsky-Korsakov came and told the composer that Igor must be finished at all costs.
- You, Alexander Porfiryevich, are engaged in trifles that any person can do in various charitable societies, and only you can graduate from Igor.

The great composer and scientist died during the carnival evening on February 15 (February 27), 1887. He was only 53 years old. He was buried at the cemetery of the Alexander Nevsky Lavra next to his friends: Mussorgsky, Dargomyzhsky, Serov.

Prince Igor was completed by Rimsky-Korsakov and Glazunov, and premiered at the Mariinsky Theater in 1890.

The intoxicating music from this opera gained popularity abroad when the musical "Kismet" was staged on Broadway, in which fragments of the work of the great Russian composer were used.

Sounds of music

"Prince Igor"

The plot for the opera was suggested to the composer by V. Stasov, he also sketched the first version of the libretto, based on the work of ancient Russian literature The Tale of Igor's Campaign. The "Word" told about the unsuccessful campaign of the brave Prince Igor against the Polovtsians - nomadic eastern tribes. The composer liked the plot. However, he was forced to constantly break away from creating an opera in favor of scientific activity, so the work on the work dragged on for years. The composer himself wrote the libretto, and, wanting to recreate the era as best as possible, he first studied the monuments of ancient Russian literature, as well as the works of scientists that had anything to do with the plot he had chosen.

Despite the fact that the composers of The Mighty Handful were full of enthusiasm for Prince Igor, Borodin suddenly lost interest in the opera and did not touch it for a long time, ignoring the persuasion of his friends. Instead, he took up the Second Symphony, which he also composed in fits and starts, in between his scientific activities. Ironically, the person who convinced the composer to take up the forgotten opera again was Borodin's friend, the young doctor Shonorov, and not at all the composers of The Mighty Handful. For example, N. Rimsky-Korsakov repeatedly tried to push Borodin to completion. But to no avail. He urged the composer to return to the orchestration of the Polovtsian Dances, literally stood over him while he worked with the score in pencil (to speed up the process), and covered it with a thin layer of gelatin so that the musical lines would not be erased.

Since Borodin did not have time to complete the opera, the composers Glazunov and Rimsky-Korsakov finished it. The premiere took place in 1890. Glazunov restored the overture from memory, which he had heard more than once performed by the author. This opera, though unfinished, has become an exceptional piece of music, based on a large-scale plot that tells about a fierce struggle and sincere love.

The action begins in the ancient Russian city of Putivl, where Prince Igor, leaving his wife, is going on a campaign against the Polovtsy under the leadership of Khan Konchak, together with his son and his retinue. Against the backdrop of military events, the plot is complicated by the love relationship between Igor's son, Prince Vladimir, and the Khan's daughter, Konchakovna.

The overture begins in a thoughtful mood that blossoms into riotous, rebellious colors, anticipating the contrasting scenes and events unfolding in the opera. Together with the sounds of military appeals, florid and spicy oriental themes associated with the image of Khan Konchak sound here, and the expressive lyrical melody of the strings reflects the emotional experiences of a loving heart, woven into the musical canvas.

Polovtsian dances sound at the moment when the action of the opera is transferred to the Polovtsian camp. Where Prince Igor and his son are languishing in captivity of Khan Konchak.

Surprisingly, the khan treats the captives hospitably. He is even ready to let Igor go if he gives his word not to raise his sword against the Polovtsians. However, Igor boldly declares that, having gained freedom, he will again gather his regiments against the khan. To dispel the gloomy thoughts of the prince, Konchak orders the slaves to sing and dance. At first, their song is heard, full of sadness and gentle charm, but then suddenly it is replaced by a wild warlike dance of men. The powerful sounds of the drum explode like a storm, starting a frantic dance: everyone glorifies the valor and strength of the khan. Following this, we seem to hear the clatter of hooves - dashing riders galloping on horses - this frantic rhythm again gives way to the gentle melody of slave girls, until finally an unbridled dance breaks in with renewed vigor. The previous themes follow each other, accelerating the pace, anticipating a grand, violent, unbridled and warlike finale.

String Quartet No. 2

Being engaged in science, Borodin wrote music mainly for modest chamber ensembles. In the middle of his career, Borodin will return to his favorite form - the String Quartet No. 2 will be created in 1881.

Despite the mood of light sadness that permeates the entire work (the quartet was written immediately after the death of his friend MP Mussorgsky), it is dedicated to his beloved wife. The 3rd movement (sounds arranged for string orchestra) opens with a gentle expressive cello melody, supported by a delicate accompaniment. Then the melody is picked up by other instruments and, developing, brings us to the 3rd part, which is more excited. Soon the lyrical melody sounds again, returning the pensive mood, in which the last breaths of the strings subside.

Symphony No. 2 "Bogatyrskaya"

The dawn of Borodin's creative forces is associated with the composition of the Second "Bogatyr" symphony and the opera "Prince Igor". Both works were created in the same years, so they are strongly related to each other in content and musical structure.

The second symphony - his greatest work Borodin created for 7 years.

According to Stasov, who nicknamed the symphony “Bogatyrskaya”, Borodin represented the image of Bayan in the third, slow movement, the image of Russian heroes in the first, and the scene of a daring Russian feast in the finale.

The first musical motif of the symphony, resolute and persistent, from which the music of the entire 1st movement grows, creates a powerful image of Russian heroes.

The lyric-epic character is most vividly embodied in the third movement, the unhurried Andante. It is perceived as the story of the folk storyteller Bayan about the glorious feats of arms of Russian heroes and ancient princes. The solo song of the clarinet against the background of soft chord modulations of the harp resembles the sound of the harp. Accompanying the calm speech of the singer.

Great is the historical significance of the Second Symphony. It became the first example of epic symphonism, which, along with genre painting and lyrical drama, became one of the types in Russian symphonic music.

More about Borodino

Borodin loved chamber music, in contrast to some members of the Mighty Handful, who regarded it as a Western, academic genre. However, even in his youth, Borodin wrote the Piano Quartet in A minor, the creation of which he was inspired by Mendelssohn and Schumann. Later, in this genre, he will write two more beautiful string quartets.

The romances and songs of Borodin are very expressive. The Sleeping Princess immerses us in the mood of peace and thought, so beloved by Ravel, Debussy and Stravinsky. In The Sea Princess, the call of the legendary Lorelei sounds, gently luring the traveler into the abyss of water. "Song of the Dark Forest" is a real epic picture.

In addition to the symphonies, Borodin has another orchestral work of outstanding skill - the Symphonic Picture "In Central Asia". It was written by Borodin on the occasion of the 25th anniversary of the reign of Emperor Alexander II. This work brought European fame to Borodin. He never directly used Russian folk songs in his works, but their melody shaped the features of his own style.

Test your knowledge

What instrument did Borodin learn to play as a child?

1. piano
2. Violin
3. Flute

What profession did Borodin begin to study in 1850 in St. Petersburg?

1. Composer
2. Violinist

What was Borodin's profession?

1. Doctor
2. Surgeon
3. Scientist

What was Borodin's wife by profession?

1. Pianist
2. Teacher
3. Chemist

Who proposed to Borodin the plot for the opera "Prince Igor"?

1. Stasov
2. Gogol
3. Pushkin

What works did Borodin work on simultaneously with the opera Prince Igor?

1. String Quartet No. 2
2. Symphony No. 2
3. Symphony No. 3

To whom did Borodin dedicate his String Quartet No. 2

1. to his wife
2. M. P. Mussorgsky
3. Caesar Cui

To whom did Borodin dedicate the Symphonic Picture “In Central Asia?

1. Nicholas I
2. Alexander II
3. Alexander I

Which of the contemporary composers of Borodin contributed to the development of Russian music?

1. M. P. Mussorgsky
2. M. A. Balakirev
3. A. K. Glazunov

What community did Borodin belong to?

1. "French Six"
2. "Mighty bunch"
3. "Free Artists"

What is the name of Borodin's most famous opera?

1. "Prince Igor"
2. "Prince Oleg"
3. "Princess Yaroslavna"

What is the character of the Second Symphony?

1. lyrical
2. dramatic
3. epic

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Borodin. "Polovtsian Dances" from the opera "Prince Igor" (fragment), mp3;
Borodin. Overture from the opera "Prince Igor", mp3;
Borodin. Symphony No. 2:
Part I. Allegro (fragment), mp3;
Part III Andante (fragment), mp3;
Borodin. Quartet No. 2. III part. Andante, mp3;
3. Accompanying article, docx.

SYMPHONY CREATIVITY BORODIN.

BOGATYR SYMPHONY.

Symphonic works include: 3 symphonies (1867, 1876, 1887); musical picture "In Central Asia" (1880).

The composer did not announce any program for the Bogatyr Symphony. And yet there are clear features of programming. Stasov wrote about this: "Borodin himself told me more than once that in the slow part he wanted to draw Bayan, in the first part - a meeting of Russian heroes, in the finale - the scene of a heroic feast with the sound of a harp, with the jubilation of the great Russian crowd." This is what gave Stasov a reason to call the Bogatyrskaya symphony (Mussorgsky called it "heroic Slavic"). All these paintings are united by a single patriotic idea - the idea of ​​love for the motherland and the glorification of the heroic power of the people.

I PART – written in sonata allegro form. The embodiment of heroic images. The main part is close to Russian epic melodies, it is performed by woodwinds.

The side part is close to lyrical folk songs. It expresses the lyrical feelings of not one person, but a whole mass of people. Draws the expanse of the Russian steppe.

The development is built according to Borodin's favorite epic, pictorial principle. It is built on the alternation of heroic episodes that resemble battles, epic feats, and lyrical, more personal moments built on the development of a side part.

After a concise reprise of the code, he asserts the first theme with great force.

II PART - swift scherzo. It is connected with the previous part by the shortest link - one extended chord.

The first theme of the scherzo rapidly breaks out of the depths of the basses against the background of the octave repeated by the horns, and then carries it down, as if “without taking a breath”.

The 2nd theme sounds softer, although it retains a masculine character.

The melody of the trio is covered with oriental bliss.

III PART –Andante, written in sonata allegro form. It can be called a heroic epic song. It draws the image of Bayan - the legendary ancient Russian singer. This part is perceived as a story of a folk narrator about the glorious battles and exploits of the ancient knights.

The main part is the chords of the harp drawing strings on the harp of Bayan.

The side part sounds like a continuation of the main part. But the mood here becomes different, as if the narrator moved from a story about a peaceful life to a story about disturbing and formidable events.

IV PART - Allegro. Music captures with its scope, brilliance, cheerfulness and extraordinary grandeur.

The main party is a sweeping, wildly cheerful theme, the prototype of which is the folk song “I’ll go to the Tsar City”.

The side part is more lyrical and calm. It has the character of glorification and sounds against the background, as it were, of “overflows of the sonorous harp”.

The symphony ends with music full of valiant prowess and irrepressible fun.

ROMANCES by A.P. BORODIN

Vocal creativity of Borodin is small in volume. He wrote a total of 16 romances and songs to the texts of A.S. Pushkin, A. Tolstoy, Heine, A. Nekrasov, as well as to his own texts. They can be divided into 3 groups.

1. Romances embodying the images of folk epic and fairy tales:

"Song of the Dark Forest", "Sleeping Princess".

2. Lyrical sketches and psychological statements and psychological sketches:

“My songs are full of poison”, “for the shores of the distant homeland”.

3. Household and humorous romances:

"Arrogance", "People have something in the house."

"Sleeping Princess" written on Borodin's own text. This romance juxtaposes the images of the sleeping princess, evil fantastic creatures and the hero-liberator.

"Song of the Dark Forest" contains a more specific heroic image. Borodin himself composed the words in the spirit of the old folk songs of the freemen (no wonder the author gave his romance a subtitle - "The Old Song"). In this romance, Borodin showed folk images of the past, he emphasized in them what was close to modernity - elemental strength and an unstoppable desire for freedom.

"For the shores of the distant homeland" by genre - elegy. It was written in 1881 under the impression of Mussorgsky's death. The music of this romance blends ingeniously with Pushkin's text. The mood of deep restrained sadness, courageous grief, sharpness and pain of experiences distinguish this work of the composer.

"arrogance" - a humorous romance based on the verses of A.K. Tolstoy, in which the main features of this genre in the composer's work are clearly visible. Borodin was not characterized by biting mockery, caustic irony. His romances are distinguished by good-natured comedy. But arrogance is a public vice. Therefore, by expressing it, the composer approaches social satire - a genre so popular in the work of Dargomyzhsky and Mussorgsky.

Theme 19 (6)

N. A. Rimsky-Korsakov

The versatility of the creative and social activities of Nikolai Andreevich Rimsky-Korsakov (1844-1908) - composer, teacher, music writer and editor, conductor and propagandist of Russian music. Reflection in his work of the history and life of the people; wide appeal to national folklore.

Childhood years in Tikhvin. First exposure to music. Studying at the Naval Corps in St. Petersburg (1856-1862). Passion for music, attending opera and concerts, classes with Canille. Acquaintance with Balakirev and his role in the development of talent and the formation of Rimsky-Korsakov's artistic views. Foreign voyage (1862-1865). Completion and successful performance of the First Symphony; creation of other works for the orchestra.

Work on the opera "Pskovityanka" on a historical plot. The growth of the composer's fame. The beginning of pedagogical work at the conservatory (1871). Improvement of composer's skill. Passion for folk songs and the creation of song collections. Appeal to folk-everyday and fairy-tale plots in the operas "May Night" and "Snow Maiden".

The period of highest creative maturity; creation of the best works for orchestra in the 80s (“Scheherazade”, “Spanish Capriccio”), Belyaevsky Circle. Work on the completion and editing of the works of Mussorgsky and Borodin ("Boris Godunov", "Khovanshchina", "Prince Igor"), performances as a conductor. A new flowering of operatic creativity since the mid-90s. Solidarity of Rimsky-Korsakov with the moods of the advanced part of Russian society during the years of the revolution of 1905-1907. Creation of the opera-satire "The Golden Cockerel". Rimsky-Korsakov's struggle for realism and nationality of Russian musical art. Pupils and followers of Rimsky-Korsakov. Worldwide recognition of the composer.

Brief review of the creative heritage. Genre and thematic richness of Rimsky-Korsakov's works. The leading position of the opera; the predominance of fabulous-epic works. Folk-genre basis of symphonic music; the role of software in it. Suites, symphonies and one-movement works for orchestra. Chamber vocal music. Works of other genres. Books and articles

Rimsky-Korsakov about music. "Chronicle of my musical life" as an example of a creative autobiography.

From the music of Rimsky-Korsakov at the biographical lesson, you can listen to the song of the Varangian guest and the song of the Indian guest from the opera Sadko.

"Scheherazade". The appeal to "Scheherazade" gives a reason to restore and significantly supplement students' ideas about the symphony orchestra. By the end of the third year of study, they have already accumulated a certain auditory experience from communication with symphonic music and some knowledge in the field of instrumentation. The colorful sound of the Rimsky-Korsakov orchestra, the programmatic nature of the suite enhance the perception of the music, and the solo episodes of almost all instruments make it easier to recognize their voices. In a conversation about the orchestra, which becomes a kind of introduction to the study of orchestral composition, questions can be raised that will help students comprehend a number of concepts related to orchestral music, and in the future to navigate them independently. The main ones are: types of orchestras, different in instrumental composition and purpose (repertoire); modern symphony orchestra, orchestral groups and their instrumental composition, arrangement of groups on the concert stage; conductor functions; concept of score.

Arabic fairy tales "A Thousand and One Nights" as a source of the content of the suite's music. Fabulous, oriental character of the music. Picturesqueness and colorfulness of musical images; expressive role of orchestral timbres. The structure of the cycle. Auditory and visual (according to musical examples from the textbook) revealing the expressive qualities of the main themes of the introduction. Analysis of the sonata structure of the first movement, its main themes. Comparison of contrasting images in the second part, variational development of the main theme. Song and dance features of the themes of the third part, its lyrical warehouse. Alternation of themes of the previous parts in the finale. Program and thematic content codes.

Opera "Snow Maiden". The Snow Maiden by Rimsky-Korsakov best suits the tasks of educational work, although the teacher has the right to replace it with some other fairy tale opera. At the same time, it is more difficult to conduct lessons on The Snow Maiden than to acquaint children with Ivan Susanin and Prince Igor. Firstly, there is a danger of simplifying, reducing the theme of the opera to a children's fairy tale about the Snow Maiden girl. On the other hand, the philosophical beginning of the work, its pagan pantheism and ritualism, special poetry are far from the worldview of modern teenagers. To bring the work of Rimsky-Korsakov closer to the perception of schoolchildren, an appeal to the wonderful poetic text of A. N. Ostrovsky and the construction of classes in the form of a kind of musical and literary composition will help. This, however, does not exclude the traditional methodical approach to the study of opera. It is based on the alternation of fragments of music with the reading of Ostrovsky's text. The expressive reading of a poetic text by a teacher is a prerequisite for the realization of the high artistic merits of a work and for the lively, emotional perception of literary images by schoolchildren.

So, after parsing and listening to the introduction to the prologue, the lines of text from the monologue of Spring and her appeal to the birds, preparing the "Song and Dance of the Birds", are naturally perceived. The appearance of Frost and his dialogue with Spring is read according to the text of Ostrovsky, in which the following scene with the Snow Maiden is motivated. Her aria and arietta are the musical center of the prologue. In the scene of seeing off the carnival, the first of the choruses and the final scene, from the appearance of the Snow Maiden, are heard.

Limited time does not allow you to focus on the first action. The meaning of what is happening in it is necessary for understanding everything that follows: it is explained by the teacher with a selection of text fragments.

In the second act, one can refer to the lines from the wise sayings of Berendey in his dialogue Bermyata (the second phenomenon), Kupava's complaint (without listening to the music of the duet) and the tsar's sentence ("Honest people, worthy of the death penalty of his wine ..."). The musical numbers of the action, which are traditionally disassembled and listened to, are the Procession of King Berendey and his cavatina. The slow, quiet, soulful music of the aria makes a more noticeable impression with its fragile beauty after reading its text from the libretto, which sings of the mighty, full of miracles of nature.

The last two actions require less attention and time, and the choice of fragments of poetic text to read here is more limited. If the choir “Ay, there is a little lint in the field” and “Dance of buffoons” are only listened to with explanatory comments, then Lel’s song is very indicative for the analysis of expressive means, construction features. Further plot development is briefly retold, and Mizgir's arioso serves as a musical illustration of what is happening in the night forest.

The last act begins with the scene of the Snow Maiden with Spring, from which its initial text is read with cuts until the farewell of Spring with the Snow Maiden, including the text of the choir in color. The high poetry of these lines evokes the warmth and aromas of spring days, bringing man closer to nature. In the unity of man and nature - one of the fundamental ideas of the opera. In the melting scene, in the last words of Berendey and the final chorus, the fusion of text and music is perceived in their unity as the result of the creation of two great representatives of Russian art. Before listening to the arioso of the Snow Maiden, the theme of Yarila the Sun, the transformed theme from the arietta of the prologue, are highlighted in the music of the opera, the image of the Snow Maiden is compared in the finale with her appearance in the prologue.

When studying this topic, use:

Abstract №27 (6)

Visual aids:

Reproductions from the Tretyakov Gallery guide

Set of portraits of composers

3. Audio guide:

1. "Nikolai Andreevich Rimsky-Korsakov"

4. Video tutorial:

1. N.A. Rimsky-Korsakov's opera The Snow Maiden

ABSTRACT No. 27 (6)

NIKOLAI ANDREEVICH RIMSKY-KORSAKOV.

(1844 - 1908)

Main works:

- 15 operas: "Sadko", "The Golden Cockerel", "Kashchei the Immortal", "The Tsar's Bride", and others.

- for orchestra: 3 symphonies, music. the painting "Sadko", "Serbian Fantasy", "Fairy Tale", "Symphonietta on Russian Themes", "Spanish Capriccio", "Scheherazade", "Bright Holiday".

- concerts, ensembles for various instruments with an orchestra.

- piano works.

- 79 romances, vocal duets, trios and others.

Rimsky-Korsakov was born on March 6, 1844 in the Novgorod province, in the town of Tikhvin. The composer's father, a former governor, had a house. Mother is the daughter of a serf. The family was musical. Nicky, as his parents affectionately called him, showed his musical talent very early. From the age of 6 they began to teach him music, and by the age of 11 he had achieved great success. Nika was engaged in obligatory exercises with laziness, but he liked to change the end in the performed play.

But not only music was then interested in young Nick. He was much more attracted by the romance of the sea - a passion that developed under the influence of his older brother, Voin Andreevich, a sailor officer, a member of long expeditions, who had the rank of Rear Admiral. Nick was captivated by the idea of ​​becoming a sailor. Finally his dream came true. At the age of 12, he entered the Naval Corps in St. Petersburg.

The Cadet Corps dramatically changed the way of his life. Everything in it was subordinated to military orders. But the young cadet quickly got used to it, became friends with high school students, among whom were the future writer, author of "Sea stories" K. Stanyukovich and artist V. Vereshchagin. Nicholas studied well. For six years he was always in the "top ten" of the Cadets. So he was given a weekly vacation. He began to attend concerts, opera.

But Nikolai's musical education left much to be desired. Therefore, since 1859, he began to study with F. A. Canille - a musician, pianist, connoisseur of Russian music. Through Canille, the young musician met Balakirev, Cui, Mussorgsky, Stasov. This is what determined his future path. He begins work on his first serious work - the First Symphony. But in parallel, he takes exams in the Naval Corps, and then, as a midshipman, goes on a round-the-world voyage on the Almaz military training clipper. The journey lasted 3 years. The clipper visited England, America, Brazil, Italy, Spain, France.

The return to music happened very quickly. The composer's debut was Symphony No. 1, then the symphonic picture "Sadko", the symphony "Antar" appeared. But the biggest work of the first period was the opera The Maid of Pskov. The completion of the opera coincided with a happy event in the life of the composer - he married N. N. Purgold, a talented pianist, a participant in the musical evenings of the Balakirev circle, a regular performer of works by fellow composers. Mussorgsky affectionately called it - "our favorite orchestra."

At the same time, Rimsky-Korsakov worked a lot on collections of Russian songs. At first, he recorded and harmonized 40 songs from a talented amateur singer T. Filippov, and then he began to look for them himself, Russian folk songs of various genres. He was especially interested in ancient game and ritual songs. This is how the collection "One Hundred Russian Folk Songs" appeared.

In 1871, Rimsky-Korsakov became a professor at the St. Petersburg Conservatory. Shortly thereafter, he was invited to take the place of the inspector of the brass bands of the maritime department. To match the last position, he learned to play wind instruments. In the mid-70s, he also assumed the duties of director of the Free Music School, replacing Balakirev.

In 1905, Rimsky-Korsakov took the side of revolutionary-minded students, for which he was expelled from the professorship. His return to the conservatory was a major victory for the democratic forces.

In the spring of 1908, Rimsky-Korsakov began to suffer from heart disease, but he continued to work on the textbook Fundamentals of Orchestration. The last entries were made by him on June 7th. And on the night of June 8, the composer died.

OPERA CREATIVITY OF N.A.RIMSKY-KORSAKOV.

ON THE. Rimsky-Korsakov wrote 15 operas of different content:

1. The Maid of Pskov is a historical opera.

2. "Mozart and Salieri" - historical opera.

3. "The Tsar's Bride" - a historical opera.

4. "Snow Maiden" - an epic fairy tale.

5. "The night before Christmas" - a fairy tale.

6. "Golden Cockerel" - a fairy tale.

7. "The Tale of Tsar Saltan" - a fairy tale.

9. "The Legend of the Invisible City of Kitezh" is a fantastic opera.

10. "Servilia".

11. "Pan Governor".

12. "Sadko".

13. "Mlada" - opera-ballet.

14. "Koschey the immortal" - a fairy tale.

15. Boyar Vera Sheloga.

OPERA "SNOW MAIDEN".

Genre: a combination of epic fairy tales with lyrical drama.

History of creation. Plot: Rimsky-Korsakov was very fond of nature, especially spring. After reading A. Ostrovsky's "spring tale", where folk wisdom is intertwined with the world of feelings, I decided to write an opera based on the plot of this tale. The action of the opera takes place in the fabulous kingdom of the Berendeys, where all people are kind and fair, and love art. Lies and deceit are considered crimes. Berendei worship nature and the sun. Rimsky-Korsakov showed the ancient customs and rituals.

Libretto: N.A. Rimsky-Korsakov.

Heroes of the opera:

Mythical heroes Semi-fantastic, Real heroes:

semi-real heroes:

Father Frost; Snow Maiden - flute. Kupava

Spring - horn; The image is fabulously cold Mizgir - bass clarinet

Goblin. and full of lyricism at the same time. Bobyl, Bobylikha

Lel - (clarinet) shepherd,

symbol of eternal magic

the power of art.

Berendey - king, personification

wise government, true

father of his people.

In the opera The Snow Maiden, Rimsky-Korsakov uses leitmotifs - sustained musical characteristics.

Composition: prologue and 4 acts (solo numbers predominate).

Idea and dramaturgy: comparison and development of 2 different spheres: the world of people and the world of nature. Showing ancient rituals, authentic folk songs.

PROLOGUE

The action of the prologue takes place far, far away, beyond the impenetrable forests, where the fabulous country of the Berendeys lies. Shaggy fir trees stand waist-deep in snowdrifts, and Goblin and other evil spirits nest in deep hollows. It's cold in the land of the Berendeys.

The orchestral introduction introduces the listener into the realm of nature. Among the many chants and melodic themes on which the introduction is based, two stand out.

The harsh and domineering theme of Santa Claus contrasts vividly with the soft, warm theme of Spring.

ATthe cry of a rooster breaks and Leshy announces the end of winter. Spring descends to earth and reports that the Yarilo-Sun in anger turned away from the Berendeys, giving their land to the power of Santa Claus, because the Snow Maiden, the child of Santa Claus and Spring, lives in their reserved forest. The Snow Maiden is allowed to live near the beredey, and Leshy as a guard.

1. Songs and dances of birds. The orchestral accompaniment is filled with onomatopoeic motifs - bird tunes recorded by Rimsky-Korsakov. In the music one can clearly hear the cry of the cuckoo, the knock of the woodpecker, the clicking, whistling and clattering of other birds. And against this background, 2 folk tunes sound: “The birds have gathered”, “The eagle of the governor”.

2. Aria of the Snow Maiden “To walk with girlfriends on a berry”. FROMHowling 15 years, the Snow Maiden lived in the forest thicket, hidden there from human eyes, and from the gaze of Yarila, destructive for her. The Snow Maiden yearns for the warmth of human feelings. She likes everything about Berendey. It is pleasant for her to listen to the songs of the shepherd Lelya, she wants to walk with her friends, dance, repeat his songs after Lelya.She sings about this in her first aria. The music of this aria is light, elegant and graceful. The coldish timbre of the flute constantly accompanies the Snow Maiden at the beginning of the opera.

3. Arietta Snegurochka "I heard, I heard .." expresses a feeling of longing for people. The lyrical melody is built on semitone intonations. Harmony consists of major and minor triads and their inversions.

The second part of the prologue is dedicated to the ancient rite of seeing off Maslenitsa. A straw effigy (Maslenitsa) was dressed up and carried along the streets with singing, and burned in the evening, that is, they tried to hasten the arrival of spring.

4. Choir "Farewell, Maslenitsa". The melody of the choir is built on the melodic turns of ancient ritual songs.

But now Bobyl notices the Snow Maiden. Berendei freeze in surprise, struck by her beauty. Together with Bobilikha, he takes her to his house. Trees and bushes bow to the Snow Maiden, saying goodbye to her.

1 ACTION

Spring has come to the land of the Berendeys. The Snow Maiden lives with Bobyl and Bobylikh. Here is Lel. He sings 2 songs for the Snow Maiden. But he is bored with the cold Snow Maiden, who wants to kiss for songs. And, leaving the flower she gave, Lel runs away to the cheerful girls. The Snow Maiden is upset, her heart is squeezed by longing.

5. Arietta Snegurochka “How painful it is here, how hard it is for the heart ..” - the Snow Maiden sings, lamenting both Lelya and Father Frost, who deprived her of her heart warmth.

Next to the fragile Snow Maiden, another image appears - Kupava's Berendey. She tells of a meeting with the handsome Mizgir, a wealthy merchant guest.

Mizgir appears. According to custom, he must give gifts to the girls - Kupava's girlfriends, in order to redeem the bride. They sing wedding songs. But Mizgir sees the Snow Maiden and forgets about everything in the world. He promises her untold riches for love. The Berendeys are outraged. There had never been such a betrayal in their country. They all advise Kupava to seek protection from Tsar Berendey.

2 ACTION

The action takes place in the palace of Tsar Berendey, where goodness, justice,

love for everything beautiful - and in people, and in nature, and in art. Tsar Berendey is busy drawing. But he cannot feel happy. He is worried about the disgrace of Yarila, the incomprehensible cooling of both nature and human hearts.

Kupava runs in tears and asks for the protection of the king. Shocked by the grief of Kupava and the betrayal of the groom, the king orders Mizgir to be brought to court.

5. Procession of King Berendey is a solemn fairy-tale march. The loud exclamations of trumpets, trombones and other wind instruments are in stark contrast to the light pizzicato violins.

The trial of Mizgir is not long. No one doubted his guilt, and he does not justify himself. Severe is the king's sentence - eternal exile awaits him. But Mizgir wants to look at the Snow Maiden for the last time.

Here comes the Snow Maiden. With her beauty, she captivates everyone, including the king.

6 Berendey's Cavatina sounds a quiet, enthusiastic hymn of almighty nature:"Mighty nature is full, full of miracles ..". Berendey's voice is echoed by the cello with its measured swaying melody, affectionate and lulling.

And the king understood why Yarilo was angry with them. Such beauty cannot be cold. And Tsar Berendey decides: tomorrow, on the first day of summer - Yarilin's day - to marry all brides and grooms before the face of the rising sun. And among the lovers there should be a Snow Maiden with her chosen one. Mizgir asks for a delay in exile, and promises to plant love in the heart of the Snow Maiden. Berendey agrees. The people glorify the wisdom of Berendey.

3 ACTION

On the eve of Yarilin's Day - the holiday of the sun - young people lead round dances to the truly folk song "Ay, there is a linden in the field." The old people treat themselves to beer and gingerbread. Tsar Berendey comes out to the people. The buffoons danced. Lel sang his wonderful song.

7. Lel's song "The cloud agreed with the thunder ..". The appearance of Lelya is almost always accompanied by gentle overflows of the clarinet (sometimes the oboe). This song begins with a clarinet solo playing an authentic tune. In the introduction there are pictorial features - imitation of thunder (tremolo timpani). The melody of the song is based on folk phrases and chants.

As a reward for the song, the tsar offers Lel to choose a girl. The Snow Maiden asks Lel to choose her, but Lel, understanding the grief of the offended Kupava, chooses her. All the Berendeys disperse, and only the yearning Snow Maiden remains in the forest clearing.

8. Arioso Mizgir "On the warm blue sea ..". Mizgir in his arioso prays to the girl for love.

He offers the Snow Maiden a priceless pearl for her love. But the girl does not understand his feelings, and she runs away. Mizgir is chasing her. The forest comes to life, turning into an impenetrable thicket, the ghostly image of the Snow Maiden flickers in the distance. Goblin lures Mizgir into the wilderness. The meadow returns to its original form. Lel and Kupava come out. They are happy. The Snow Maiden, who has run in, reproaches Kupava. Lel advises the Snow Maiden to learn to love from Kupava.

4 ACTION

In a magical lake, in an impenetrable thicket, hiding from people, Spring lives. The Snow Maiden asks Mother Spring to endow her with a feeling of love. Spring gives a wreath, the flowers of which have miraculous powers - and at the same moment the whole world is transformed for the Snow Maiden. Mizgir appears. His devoted love touches the girl's heart. Happy Mizgir leads her to the king. But the Snow Maiden is afraid of the sun's rays. The sun is rising.

Yarilin's day is coming - the holiday of summer. Tsar Berendey blesses young couples. Mizgir brings her to the king. To the question of the king about her love, the Snow Maiden replies: “Ask me a hundred times, I will answer a hundred times that I love him.” And at that moment, a ray of the rising sun illuminates her. Experiencing incomprehensible feelings, she begins to melt.

9. Arioso of the Snow Maiden “But what is the matter with me ..” (melting scene). If at first the solo violin and flute color the music in warm tones (“But what about me!? Bliss or death”), then on the words “I love and melt ..” the wind and harp (glissando) join, which allows you to feel, as it were, melting , dissolving melody.

Mizgir rushes into the lake. And Yarilo gives people light and warmth. Thus, peace and harmony reign again between nature and people.

10. Final choir "Light and power, god Yarilo .." - built on the growth of strength. The first stanza is sung by Lel. The second - the Berendey Choir, and the third - the ensemble of soloists.

The music of "The Snow Maiden" is imbued with love for people, nature, faith in the beauty of man and the high recognition of art, awakening all the best in a person, faith in the triumph of truth and goodness.

SYMPHONY SUITE "SCHEHERAZAD".

The poeticization of the East by Russian composers was reflected in various musical genres. All of them are characterized by colorful magical images and pictures of nature, originality and originality of the intonational language. Suffice it to name the second, "Polovtsian" act from the opera "Prince Igor" by A.P. Borodin, "The Persian Choir" in the opera "Ruslan and Lyudmila"

M.I. Glinka. Genuine and imaginary, the "Russian East" combines savagery, violence, spontaneity and sophistication, languor, bliss, fairy tale, magic, charm.

For several hundred years now, people have been captivated and excited by the adventures of Sindbat the Sailor, who embarked on distant and dangerous wanderings, the fate of the intelligent and enterprising Aladdin, the story of Ali Baba, who, having learned the miraculous words: “Sesame, open!”, mastered the countless treasures of forty robbers, the legend and authenticity of the personality of the all-powerful and nominal caliph of Baghdad Harun al-Rashid.

The hero of the fairy tales "1001 Nights" has long been loved by both children and adults. A collection of these fairy tales appeared in the 18th century in France. From French, the tales were soon translated into many other languages. "1001 Nights" is a truly folk composition. It was created by many generations of different peoples of the East: Arabs, Persians, Indians. The symphonic suite "Scheherazade" was written in just two months. In the four parts of this musical tale, one can not only hear, but also see miracles. The wise and beautiful Scheherazade tells the formidable Sultan Shahriar about them.

The Scheherazade suite is not only a series of picturesque oriental paintings, but also a duel between two opponents: Shahriar and Scheherazade. The weapon of the Sultan is brute force, the weapon of the narrator is a poetic gift, her boundless fantasy. Who will win?

The symphonic suite "Scheherazade" by Rimsky-Korsakov (1888) is a program work. All 4 parts are united not only by one idea, but also by common musical themes. So, the theme of Scheherazade appears in all parts. When composing the suite, the composer first intended to give each movement its own name. However, later he abandoned this idea, considering it more useful for listeners to freely follow their imagination.

I PART begins with an introduction in which 2 contrasting themes sound.

The theme of King Shahriar - a formidable and cruel lord is performed by wind instruments in a low register.

The theme of the young and beautiful Scheherazade is always heard in solo violin.

Part I was originally called by Rimsky-Korsakov "Picture of the sea with Sinbad's ship sailing on it" . Her music surprisingly subtly conveys the breath of the sea element, draws an endless series of waves, the ship of Sinbad the Sailor, sailing across the calm expanse of the ocean. But the excitement of the sea is gradually growing, and now the music draws the grandeur of the raging elements. But by the end of the part, everything calms down, and the music again depicts a picture of the gently splashing peaceful sea.

II PART - "The Story of the Tsarevich-Kalender". Here a new character appears - the prince, and Scheherazade, as it were, passes the word to him. So there is a story within a story, a fairy tale within a fairy tale. The composer creates a musical portrait of Calender, and then depicts his fantastic adventures. The theme of the Calendar is built on the intonations of oriental folk songs, it sounds in the bassoon part.

III PART - the most lyrical in the suite, it was called"Prince and Princess"

Music is full of light, hot sun, sweet languor.

The first theme (of the Tsarevich) is broad, melodious.

The second theme (Princess) - dance character - creates a graceful, feminine image.

IV PART is the most striking of the entire suite. It combines the themes of all the previous parts. The composer called this part"A picture of a folk festival in Baghdad". This festive character is revealed in the change of various themes, the play of rhythms and timbres. The extensive coda, which serves as the conclusion of the whole cycle, draws an independent picture of the majestic menacing sea and the ship crashing against the rock.

In the epilogue, the theme of Shahriar becomes soft and calm, because the cruel sultan is pacified. For the last time, as the end of the tale, the theme of the young Scheherazade sounds. The suite ends with it.

"Scheherazade" is one of the brightest works depicting the world of the musical East. It uses the principle of picturesqueness, comparison of episodes of different character, united by the theme of Scheherazade, which reminds us that all this is the story of one person - the charming fairy-tale-teller Scheherazade. There is no consistent plot in the program of the suite, and there are no explanations for the content of the fairy tales.

4023 rub

Tuner for guitar with auto inclusion Flight FAT-46G.

The tuner turns on and off automatically. To turn on, bring the tuner head to a vertical position. To turn off the tuner - bring the tuner head to a horizontal position.

The power saving function automatically turns off the device if it is not used for more than 5 minutes.

Mounting method: clip

Frequency Response: A subcontroctave A0 (27.50 Hz) – Up to the fifth octave C8 (4186 Hz)
Accuracy: +-1 Sept
Calibration: 440 Hz
Power supply: 3V (lithium battery type CR2032)

467 rub

The Zoom G5N is a multi-effects processor for guitarists. When developing the G5n processor, the main goal was to create the best collection of guitar effects ever offered to guitarists. You'll find dozens of keys in the G5n, from "FunkSauce" to "Texas Toast", and from "Carlos" to "Heavensent".

The G5n guitar processor includes 68 high-quality DSP effects, plus 10 realistic amp and cabinet emulators that have ever been created by the Zoom Sound Lab.

The G5n will offer you a fresh take on not only essential guitar effects such as overdrive, distortion, compression, EQ, delay, reverb, flanger, phaser, vibrato and chorus, but also unique multi-effects such as Seq Filter, Gold Drive, Reverse Delay, HD Hall and OSC Echo.

You can connect the G5n directly to your PA system or audio interface using one of 10 brand new amp and cabinet emulators.

Zoom is constantly hiring talented professional guitarists to collaborate to unlock the rich possibilities that the G5n has to offer. The processor comes with 100 new hand-crafted patches designed to recreate the best guitar sounds of the best musicians of recent decades, such as Eddie Van Halen, Jimi Hendrix, Jimmy Page, Carlos Santana, Michael Schenker and Brian May. In addition, there are brand new Styles and Combinations at your disposal, prepared especially for guitarists using the G5n.

The modern-sounding "Lead BGN" patch will make you stand out from the crowd, while "Phazed" will recreate the intense sound of a tube amp with a phaser. The "UFO" patch will set up a parametric EQ in the style of the lead guitarist of the band of the same name, and "DreamWorld" will perfectly combine crunchy overdrive, enhanced with Tape Echo (tape delay) and reverb.

Thanks to ZOOM Guitar Lab software, you'll always find new effects and amp and cabinet emulators, as well as access to an ever-growing library of exclusive patches created by professional guitarists.

The setup process is simple and intuitive, thanks to the unique large display that allows you to quickly add, remove or reorder effects. On a normal pedalboard, these tasks require much more effort. The G5n also features four independent displays to help you find your perfect sound. The memory banks are very easy to recall and generally replicate the feel of using a stompbox. You can store up to 200 of your own effects chains in the unit's memory as patches, all of which can be accessed by simply pressing the footswitch.

The G5n Expression Pedal lets you seamlessly control tone, volume, or selected parameters in real time, while effects are triggered on the fly with stompbox-style footswitches. And when you're playing your guitar solo, the G5n's built-in output amplifier will come in handy. The dedicated Tap Tempo footswitch makes it easy to sync your rhythm patterns and delay times with the beat and bring order to your sound.

The G5n is capable of handling complex tasks that would normally require an arsenal of stompboxes, amps and cabinets. You can apply up to nine effects and amp and cabinet models at the same time. Combine them in a chain in any order you like. In terms of its capabilities, the G5n is equal to hundreds of full-fledged pedalboards, assembled in one compact and easy-to-use device.

Number of simultaneous effects: 9
Number of Programmable Voice/Patch Sets: 200
A/D conversion: 24-bit, 128x oversampling
D/A conversion: 24-bit, 128x oversampling
Signal processing: 32 bit
Display: 4 LCD displays 128x32 dots, 1 LCD display 256x32 dots

22814 rub

The Altai comus of Pavel Potkin is one of the modifications of the famous "Potkin comus". There are also Vladimir Potkin's komuses, which are distinguished by a gentle, soft sound, while Pavel Potkin's komuses can be called a more masculine instrument. Pavel Potkin's instrument is small, with an enlarged "horseshoe", with a lower sound, with deep vibrations. The instrument is fragile, requires careful handling, it is desirable to store it in a case, preferably a wooden case, since such a case prevents the tongue from deforming and moisture from entering.

803 rub

Electric Acoustic Guitar 39" with cutout.
Top deck: lime plywood.
Bottom deck: lime plywood.
Shell: lime plywood.
Fretboard: linden.
Frets: yellow.
Neck and bridge: Maple.
Pickup: 3-band EQ.
Optional: chrome lid.
Strings: 3 nylon + 3 steel

3671 rub

The Fellowes I-Spire Series kickstand elevates your feet for a proper and comfortable working position. The non-slip embossed surface prevents feet from sliding on the surface of the stand and makes it comfortable to use. Stylish design blends harmoniously with any interior.

2600 rub

4840 rub

Advanced Steinberg UR12 audio interface in a compact and durable metal case with a maximum operating mode of 24 bit/192 kHz. This model features a Yamaha D-PRE discrete mic preamp with +48V phantom power support. The unit is also equipped with a variety of interfaces and connectors, including an XLR mic input, a Hi-Z TRS instrument input, and a 2 x RCA stereo line output. and a headphone jack. Steinberg UR12 allows hardware monitoring of the signal with zero delay. Support for Windows, Mac OS and iOS operating systems is available. It is possible to work with the iPad through the Camera Connection Kit or Lightning to USB Camera Adapter.

Support modes up to 24-bit/192 kHz
Rugged all-metal body

Microphone input MIC D-PRE (balanced, XLR):
Maximum input level +0 dBu
Input impedance 4 kΩ
Gain range +10 dB... +54 dB
Guitar input HI-Z (unbalanced, TRS):
Maximum input level +8.5 dBV
Gain range +/-0 dB ... +40 dB
MAIN OUTPUT (unbalanced, RCA)
Maximum input level +6 dBV
Output impedance 600 ohm
Headphone output PHONES 1/2
Maximum input level 6 mW + 6 mW at 40 ohms

System requirements:
Dual-core Intel or AMD processor
RAM: 2 GB
Disk space: 4 GB
Screen resolution: 1280 x 800
OS: WindowsXP/Vista/7/8/8.1; Mac OS X 10.7/10.8/10.9/10.10; iOS 6 or higher
Internet connection required to install and activate Cubase AI software

8290 rub

The Hohner Marine Band Deluxe 2005/20 A is a modernized model of the classic Marine Band 1896/20. Unlike the traditional version, its body is not covered with paint, but is made of very hard wood and varnished with a special composition. Lids

3757 rub

Zoom UAC-2 is an ultra-fast two-channel audio interface for Mac or PC. Take your audio quality to the next level.

With UAC-2, you can add two high-quality (24-bit/192kHz) audio channels to any computer with a USB 2.0 or USB 3.0 port running Windows or MacOS, or even your iPad. The UAC-2 features USB 3.0 SuperSpeed ​​technology for ultra-low latency signal transmission and includes advanced features such as quad upsampling, loopback and MIDI I/O. Connect any microphone, musical instrument, or any other line-level source and you can use the UAC-2 to play audio on stage, record to a digital audio workstation, or simply enjoy high-quality audio at home or at work. You can also use the UAC-2 audio interface for online media presentations, podcasts, game streaming, and more.

Live show
Now you can get the most out of your laptop during every gig with the portable UAC-2 audio interface that can be powered directly from USB (no AC adapter required). It's always ready to go, and USB 3.0 SuperSpeed ​​technology keeps you high quality audio wherever you go.

Media presentations, podcasts, games and live streaming
Broadcast the results or process of your creation, take your gaming experience to the next level, or share your experience with the world. The Loopback function allows you to combine the signal from connected microphones, instruments and other line-level sources with background music or any other audio track playing on your computer. You can then use the resulting signal in your live streaming software.

Recording and archiving
By combining the UAC-2 audio interface with a digital audio workstation (DAW), you can create amazing sound quality in any environment. You can connect a wide range of microphones, musical instruments and any other line level source. The Direct Monitoring feature will allow you to overdub with zero latency. Synchronize your MIDI controllers, sound modules and drum machines to record and save the resulting sound in high quality. The UAC-2 audio interface packs everything you need in a compact package.

Audio quality on a computer
Do you think your speakers or headphones sound good? Try connecting them to your computer via UAC-2 instead of using the standard audio outputs and you are guaranteed an experience like no other. Now you can enjoy high quality audio streaming up to 24-bit/192kHz.

Full compatibility
The UAC-2 audio interface is particularly flexible. It can be connected to any device, from legacy laptops with USB 2.0 bus support, to the latest generation of MacOS or Windows computers with USB 3.0 support. Plus, you can plug it straight into the mains and connect it to your iPad with a Lightning-to-USB adapter or the Apple Camera Connection kit.

MIDI Capabilities
The UAC-2 is equipped with MIDI (in/out) connectors that provide unparalleled precision in synchronization between your computer and devices such as electronic keyboards, controllers, drum machines, synthesizers and samplers.

High Speed ​​USB 3.0 SuperSpeed
UAC-2 supports the USB 3.0 SuperSpeed ​​data transfer protocol, which is ten times faster than USB 2.0 and six times faster than FireWire 800. What's in store for you? Low latency, which will greatly improve the performance of the recording and audio processing software. In addition, you will be able to provide a stable data stream that is not affected by the effects of digital signal phase jitter (jitter), and therefore there is no need to connect external sources as a master clock generator.

The UAC-2 audio interface features high-tech components such as the Burr Brown PCM4202 analog-to-digital converter and the AKM AK4396 digital-to-analog converter. In addition, the UAC-2 can perform 4x upsampling during both digital-to-analog and analog-to-digital conversions. In other words, when the sampling frequency is 44.1 kHz or 48 kHz, the UAC-2 processes the signal in high quality, which is 176.4 kHz or 192 kHz. With analog-to-digital conversion, this reduces extraneous noise, and with digital-to-analog conversion, this provides increased clarity and fidelity of sound.

January 16th, 2013 02:40 am

Domestic musicologists distinguish two types of Russian symphonism:
conflict (lyrical-dramatic),
epic.
The representative of the first type is Tchaikovsky, for example; the second - Borodin.
Wholeness in an epic symphony is of a different kind than in a conflict one.
The cycle of the epic symphony does not fall apart, because each movement represents one facet of life (lyricism, drama, comedy).
Together, these parts create a complete picture of the world.
Borodin is the author of an epic symphony, recognized as a standard.
Standard one: cycle.
The first part embodies the heroic.
The ratio of tempo (Allegro) and dense orchestration is interesting.
A purely Borodino effect of symphonic dynamic monumentalism is created.
Dynamic monumentalism is a voluminous, inactive sound mass, which is devoted to a rapid pace that does not correspond to its capabilities.
Borodin was the first in Russian music to break the law of mass and speed.
The second part is the scherzo.
For Borodin, this is a tradition.
The second part embodies the idea - the world as a game.
Flickering masks.
This part most reveals the characteristic feature of Borodin's personality - humor.
The third part contains two figurative spheres - lyrics and drama.
The finale repeats the idea of ​​the first part in a generalized form.
The idea of ​​merging the hero and the masses.
Second standard: interpretation of sonata form.
The sonata form of the epic symphony differs from the sonata form of the conflict symphony.
First, the theme.
The theme of the epic symphony is built on common intonations; has a connection with Russian folklore.
Such thematism has no need for further development; it basically has a complete structure.
All the themes of the symphony have no development, Borodin only repeats them at a different height.
The topic of GP is a unique phenomenon.
It contains national duality:
heavy thirds and fourths with a heavy "fall" to the main tone - purely Russian,
its intonational initial outline is something oriental.
Its modal solution is unique:
Russian variability III stage,
Phrygian minor with IV lowered (found in oriental music).
Its reference tones outline the main tonal zones of the piece:
start of development - c-mill,
PP in reprise - Es (Dis)-dur.
HP and PP have common intonations.
The second "bell" part of the GP is similar to the initial intonation of the PP.
This is the basis for the subsequent convergence of topics.
The development of the epic symphony also differs from the r. conf. symp.
It is dominated by the idea of ​​wholeness (immutability).
The fragmentation of the theme is not aimed at destroying the theme, but at bringing it closer to other themes based on common intonations.
The hybrid GP and PP appears almost immediately - 5 beats from c.6.
It develops on its own.
On its basis, a polytonal canon is created (v. 7).
After that, GP and PP sound one after another as a natural continuation of each other.
The tonal plan of the HP in development is very interesting: c (Phrygian, with an oscillating third) - g - f - d.
Big stroke principle:
as a carrier of modal functionality, Borodin puts forward not a chord, tone or tonality, but integral modal complexes.
Another manifestation of this principle: the development in development is directed towards more and more powerful themes.
Scherzo.
His tempo is at the limit of performing possibilities - whole = 108 (!).
The tonality of F-dur is acquired gradually.
At the beginning, a dominant non-chord sounds without a fifth to h-moll.
Thanks to the enharmonic substitution (bass is taken away from fis to c), the tonality F-dur is formed.
According to Beethoven's principle, HP gradually emerges.
The trio has an oriental character.
The third part.
Andante, Des-dur.
sonata form.
HP - lyrical-epic sphere.
Block SP and PP (e-C-As) - dramatic.
General programming - Borodin wanted to draw the figure of Bayan:
first, guselnye busts (harp), then a song about "the affairs of bygone days" (horn solo).
The development follows from the RFP, which creates an extraordinary flexibility of form.
The final.
H-dur.
The theme of the GP is close to the folk song “I will go under Tsargorod”.
(It was used by Balakirev in "100 Years").
HP and PP constitute the epic opposition of the masculine principle to the feminine principle.

A.P. Borodin is one of the monumental figures of the Russian composer school, one of the members. He is one of the first composers, the one thanks to whom Europe recognized and recognized Russian music. In this sense, his name is on a par with the name

Alexander Porfiryevich Borodin (1833 - 1887) lived a short life and died suddenly due to a heart attack.

"... like a cannonball hit him and pulled him out of the ranks of the living."

Unlike like-minded friends, this composer, having followed the traditional path, remained faithful to his main profession - chemistry (while - he retired, Rimsky-Korsakov left the naval service, Cui also did not remain a military engineer for long).

The name of Borodin in the nineteenth century. was widely known along with the largest Russian chemists both in Russia and in Europe: together with Professor N. Zinin, he carried out a real revolution (laying the foundations of the modern theory of plastics). In addition, the composer was a great teacher. He himself joked that he composes music when he is resting or sick. And his joke is true, since work on works often stretched not only for years, but for decades (he worked on the opera Prince Igor for 25 years and never completed it).

In the creative heritage of Borodin:

• 1 opera ("Prince Igor"),
• operetta with colloquial dialogues "Bogatyrs",
• 3 symphonies (No. 3 not finished),
• symphonic picture "In Central Asia",
• chamber, piano compositions, romances and songs,
• concerto for flute and piano and orchestra (lost).

Symphonies by A.P. Borodin

An important role in the creative biography of Borodin the symphonist was played by his First Symphony Es —dur (1867, first performed in December 1868). Thanks to her, the whole of Europe recognized the composer. Cui notes that in the symphony

"... a lot of power, ardor, fire and a significant degree of originality."

The author of one of the notes in the press described the symphony as "amazingly rich, of pure Beethoven beauty." It is she who opens the line of Russian epic symphonism, where the characteristic signs and features of the Russian symphony are outlined:

• breadth, slowness, calm, narrative, which implies an epic symphony;
• the absence of direct conflict clashes;
• picturesqueness.

The characteristic orchestra of the composer was also formed here.
It is in his work that the complete pair composition is determined, brass instruments become chromatic; the orchestra is distinguished by power, splendor, brightness, color richness.
Symphony No. 2 (1869-1876) affirms the traditions formed in Symphony No. 1, and is characterized by Stasov as follows:

“It has a national and program character. Here you can hear the ancient Russian heroic warehouse.

Although the symphony belongs to one of the most calm, narrative works, its power of influence is such that Mussorgsky called it the "Heroic Slavic Symphony". Relief and picturesqueness led to the fact that the program name "Bogatyrskaya" was assigned to the symphony. In addition, each of its parts received a program interpretation (thanks to Stasov):

"Collection of Russian bogatyrs", "Bogatyr's games", "Bayan's story", "Feast of bogatyrs".

Symphony No. 3 a-moll (unfinished) with a pronounced national flavor was first performed in Moscow in 1899 at the Moscow German Club conducted by V. S. Terentyev.

Opera works of Borodin

The widely known opera "Prince Igor" was created by the musician for 25 years, but remained unfinished. The premiere took place only in 1890 (October 23, staged by the Mariinsky Theatre), becoming a kind of monument to the composer, who by that time had already died. He worked on the libretto together with V. V. Stasov, who made an invaluable contribution to the process of creating the opera. So, there was a period when Borodin stopped working on the work, indicating two reasons for this:

• the complexity and scale of the work made the composer doubt that he could handle it;
• the genre of the literary primary source (“The Tale of Igor's Campaign”) did not imply a sharply conflicted confrontation necessary for the intensity of the development of the stage action.

And here Stasov came to the aid of the composer, proposing, in addition to the main conflict line of confrontation between nations (Russians-Polovtsy), a line of morality: on the one hand, the nobility and sublimity of Igor, on the other, the introduction of the figurative world of Prince Galitsky into the opera plot. Thus, operatic drama acquired an additional conflict. Thanks to the activities of Stasov and the complication of the plot, the master returns to work on the work.

Chamber music by A.P. Borodin

The composer believed that

“…chamber music is one of the most powerful means for developing musical taste and understanding…”.

Having acquired technical skills by mastering the Western European traditions in the field of chamber writing, the musician, in addition, masters the Glinka tradition, forming his own individual style, which is already evident in his early works.
Examples of chamber music include:

Quintet c-moll for piano and strings; "Tarantella" for piano four hands; "Polka" for piano four hands; String trio on the theme "How did I upset you"; Sextet, Quartet for flute, viola, oboe, cello, Piano and String Trio; String Quintet; 2 scherzos for piano four hands; four-hand "Allegretto"; vocal pieces; Quartet No. 1 A -dur (first performed in 1880 according to the manuscript); Quartet No. 2 in D —dur (1881).

Also, “Little Suite” for piano (orchestrated by A. Glazunov), “Paraphrases” (a musical joke created by the composers of the “Mighty Handful”, which aroused the admiration of Liszt and served as a pretext for attacks from musicians hostile to the “Kuchkist” direction, - notes V. Yakovlev). Among the vocal works are "The Song of the Dark Forest" (often performed as a choral work), the romances "For the shores of the distant homeland", "False Note", the ballad "Sea" and many others.

It was in chamber vocal music, which is often called the “creative laboratory” of the composer, that for the first time, - points out A.N. The Sleeping Princess”, “The Song of the Dark Forest”).

And that is why the comprehension of the "monumental Borodin" lies through his chamber "sketches", "watercolors", "etudes".
All the composer's work contains and to some extent always combines two principles: the epic and the lyrical. In comparison with the music of other composers, Borodin's style is distinguished by calmness, loftiness, nobility, and balance.
Continuing to develop the paths outlined by M. Glinka, Borodin nevertheless said his word in the history of the development of Russian musical culture:

• Tchaikovsky, he is the creator of the Russian quartet genre.
• Russia and the East. Interest in the Eastern world was relevant even earlier, but it is this composer who has the theme of friendship (the symphonic picture “In Central Asia” vividly demonstrates, where Russian and Eastern themes develop, uniting in the end).