Sviridov Georgy Vasilievich(1915-1997) - an outstanding composer, pianist, People's Artist of the USSR (1970), Hero of Socialist Labor (1975).
Sviridov's early and late works differ so much that sometimes it even seems that they do not belong to the same composer.
In 1936, Sviridov entered the Leningrad Conservatory, where he became a student of D. D. Shostakovich. Years of hard, hard work, mastery of composing skills began. He began to master different styles, try his hand at various types of music - Sviridov composed violin and piano sonatas, the First Symphony, and a Symphony for string orchestra during his conservatory years. Sviridov works a lot in theater and cinema. This experience helped him in the creation of new major works, which appeared in the early 1950s. In November 1955, Sviridov, carried away by the poetry of Sergei Yesenin, wrote several songs based on his poems. They were followed by a number of others, and in a burst of high creative inspiration, in just two weeks, the many-part poem "In Memory of Sergei Yesenin" was born. It was first performed on May 31, 1956 in Moscow. Yesenin's lines, with their beauty and magical melodiousness, seem to be asking for music themselves. But the composer can read them in different ways. Sometimes in Yesenin they value only a “pure” lyricist, a “singer of love” with a guitar. Sviridov saw in him a great folk poet who loved Russia like a son. As always, Sviridov's music is not just a musical illustration for his favorite poems. The composer really knows how to "read" poetry, he is always very attentive and sensitive to the unique features of this or that author. The main line of the composer's work was clearly defined - the creation of vocal music, although instrumental works do not disappear from the sphere of his interests. At first, chamber genres prevailed in Sviridov's work - song, romance; but gradually he moves on to larger forms, in particular to oratorios. And each of his works is marked by spirituality. Following the oratorio "The Twelve" to the verses of A. Blok, the "Spring Cantata" to the verses of N. Nekrasov, the cantata "Wooden Rus'" to the verses of S. Yesenin, several choral works without accompaniment to his verses "In the Blue Evening", "Tabun" were written , “The soul is sad about heaven”, cantata “It is snowing” to the verses of B. Pasternak. These works are certainly mature, marked by high professionalism, filled with poetic images. As for the style, the urban song stream has become brighter and more prominent in them. In his late period of creativity, Sviridov seems to synthesize the harmony of being and the subtlety of feelings, which creates some even more weightless spirituality and sublimity. Examples of this - "Spring Cantata" to the words of Nekrasov (1972) with its amazing ease, fresh as spring drops, the first part, and one of the most striking works by Sviridov - Three choirs from the music for the tragedy by A. K. Tolstoy "Tsar Fedor Ioannovich" (1973). Here, the intonations of ancient cult chants acquire a modern sound and emotional sharpness. This music, perhaps, is close to the ancient hymns of early Christianity with their solemn sadness and a deep sense of the imperfection of human existence. The Concerto in Memory of A. A. Yurlov (1973) should also be noted - a kind of requiem in three slow mournful parts with a very refined and complex choral fabric, evoking sad and bright memories of an outstanding musician. This is a passionate, slow, painful funeral service, coming from the very depths of an agitated heart. In June 1979, when the 180th anniversary of the birth of A. S. Pushkin was celebrated, Sviridov's new composition "Pushkin's Wreath" was first performed - a concerto for the choir. These are ten numbers that make up a single whole. The ten poems to which the choirs were written are not related in content - they are made whole by music, sublime in mood and at the same time concrete in its imagery, and sometimes picturesqueness. Sviridov carries his own understanding of the folk, in which purity and chastity of feelings, boldness and rude, strong humor are so naturally combined. So, gradually, the main path of Sviridov looms - from young ardor through difficult problems to philosophical clarity and enlightenment, but everywhere Sviridov is exalted and his hero is great and handsome, Sviridov always emphasizes the best and loftiest in a person, everything is pathetically elevated with him! World-wide fame was brought to Sviridov by stunning choral cycles ("Decembrists" to the words of A. Pushkin and the Decembrist poets, "The Poem in Memory of Sergei Yesenin", "Pathetic Oratorio" according to V. Mayakovsky, "Five Songs about Russia" to the words of A. Blok, etc. .). However, Sviridov also worked in popular genres, for example, in the operetta ("Lights", "The Sea Spread Widely"), in the cinema ("Resurrection", "The Golden Calf", etc.), in the drama theater (music for the performances of A. Raikin , "Don Cesar de Bazan", etc.).
"Spring Cantata" (words by N. Nekrasov).
For mixed choir and symphony orchestra.
In total, there are 4 numbers in the cantata - the first and fourth numbers are performed by the choir + orchestra, the second - by the choir a capp., the third number - by the orchestra, thus. Sviridov expresses the versatility of the Russian people, Russian culture, the versatility of folk art.
Dedicated to memory Alexander Trifonovich Tvardovsky- Russian poet, editor-in-chief of the Novy Mir magazine, author of the poem Vasily Terkin, which vividly embodied the character of the Russian people and popular feelings of the era of the Great Patriotic War.
Nikolay Alekseevich Nekrasov(1821-1877) - Russian poet, publicist.
Nekrasov's later folk epic, the huge poem "Who Lives Well in Rus'" (1873 - 76), written in an extremely original size, could not have been completely successful by its author alone (about 5,000 verses). There is a lot of jokes in it, a lot of anti-artistic exaggeration and thickening of colors, but there are also many places of amazing power and accuracy of expression. The best thing about the poem are separate, episodically inserted songs and ballads. They are especially rich in the best, last part of the poem - "A Feast for the Whole World", ending with the famous words: "you are poor, you are abundant, you are powerful, you are powerless, mother Rus'" and with a cheerful exclamation: "in slavery, the saved heart is free , gold, gold, people's heart".
Chorus "Song"(second cantata number)
Musical-theoretical analysis:
The choir was written for a four-part mixed choir a capp. with divizi in every batch. The introduction is performed by a vibraphone (a percussion musical instrument related to metal idiophones, with a certain pitch. Invented in the USA in the late 1910s). 
The form of the work is a simple two-part.
According to the genre and nature of the performance, it is a cry - one of the ancient literary genres, characterized by lyrical and dramatic improvisation on the themes of misfortune, death, etc. It can be made out both in poetry and in prose. Crying has become widespread in traditional Russian ritual and everyday folk poetry.
The choir was built according to the principle of variation, i.e. the main theme that sounded in the chorus changes throughout the chorus: “Tell me why, young merchant…”
The second part of each sentence is repeated: 
except for the final sentence: 
which reflected all the pain transmitted in this work. This is also emphasized by the absence of active removal - the sound should simply “dissolve”. Drawn out dynamic nuance pppp – this confirms and gives just such a setting for the leader of the choir.
The first part of the work is performed by a female choir and consists of two sentences. The second part also consists of two sentences, but is performed by a male choir. That. the composer gave theatricality to the choir, dialogue, opposition. The dialogue takes place between a poor girl and a rich merchant. The idea of social inequality is clearly traced here.
The melodic line is close to a folk lingering song with elements of lamentation: descending m2 And b2, pauses at the end and at the beginning of phrases.
The tempo is very slow: molto adagio =72, adagio= 44 (varies by edition). Such a pace expresses thoughtfulness, the hardest experiences of the characters, and longing. Both parts end poco rit. That. the composer wanted to emphasize the melancholy, the hopelessness of the situation of the characters. This slowdown, as it were, puts an end to their thoughts and also gives them humility.
The rhythm in the work is subordinate to the word - longer durations on a syllable with an accent, shorter durations on an unstressed syllable. This is also inherent in the song as a genre.
Keys of the work c- mall. There are a large number of deviations in the tonality of III, VI, S steps.
The texture of the work is homophonic-harmonic with elements of polyphony of undertones.
The dynamics indicated by the composer are diverse: from nuance pp to the nuance ff, in some phrases, with fading to a nuance pppp. Each phrase uses dynamic strokes, which are as subordinate to the word as rhythm.
Vocal-choral analysis:
Choir ranges:
General range of the choir:
The tessitura for the choir is comfortable. The balance of votes is maintained. You can even say that all parts sound "velvety", "deep". The average voice tessitura of each porti is very precisely chosen by the composer. All votes are on an equal footing. With such dynamics, this tessitura, as they say, makes goosebumps run all over the body. The choir sounds incredibly even and voluminous in this tessitura.
In terms of complexity, all parties are on an equal footing, with the exception of a somewhat higher than average tessitura T in the last sentence, but the dynamics ff greatly simplifies the implementation at the moment.
The articulatory, dictional ensemble within a separate part and the general choral one is important, since the word is the main expressive means in the song. The composer emphasized this separately by naming the number “Song”, and not, say, “Love”, which would significantly change the strokes, performance techniques, perhaps even the tempo, but would not change the main theme - the theme of love.
Conducting difficulties:
A very slow tempo should remain slow at all times, it should be comfortable for both the leader of the choir and the performers. Roughly speaking, you need to relax and enjoy this pace. Since the pace of modern life has been accelerated almost to the limit of human capabilities, such works as "The Song" simply do not fit there, but the task is worth it - to enter. Therefore, it is very important that rehearsal moments and performance moments be moments, perhaps, of meditation, relaxation - both for the choir and conductor, and for the listener.
Dynamics should be natural, not simulated, should be repelled during performance, also from the word, as the composer was repelled. But for this it is necessary that each member of the choir and the leader understand “What?” song. By answering this question, the dynamic picture will immediately fall into place, as will the tempo.
Integrated music lesson (integration with visual arts) (Grade 2)
Theme: Snowy winter in G. Sviridov's cantata, B. Pasternak's poem and paintings by Russian artists.
Purpose: to introduce G. Sviridov's cantatas to the verses of B. Pasternak, to enrich the vocabulary, to introduce the word "cantata" into the passive vocabulary; introduce B. Pasternak's poem "It's snowing ..."
During the classes.
Knowledge update.
Children! Do you think the southern and northern winters are different? (Yes) What do you think, what winter is in Italy, and in Africa?
And what is a bright sign of northern winter? (snow) Is snow the same everywhere? (No) Where is it more? (in the bosom of nature, in the country)
And what snow? (cold, invigorating). Describe it.
Work on the topic of the lesson.
Children, I will now read to you a poem by B. Pasternak. Listen to him. "It is snowing"
Boris Pasternak
It is snowing
It's snowing, it's snowing.
To the white stars in the blizzard
Stretching geranium flowers
For the window frame.
It's snowing and everything is in turmoil
Everything takes flight,
black stairs steps,
Crossroad turn.
Like a weirdo
From the top staircase
Sneak around playing hide and seek
The sky is coming down from the attic.
It's snowing, it's snowing
It's snowing and everything is in turmoil:
whitewashed pedestrian,
surprised plants,
Crossroad turn.
Children, how different things can be said about snow! about your feelings! What words did Boris Leonidovich Pasternak choose to describe snow? Look at the first 2 quatrains on your desks. Snow like white stars. Why did he write like that?
Now we will listen to how the composer Georgy Vasilyevich Sviridov (1915-1998) composed small cantatas to the verses of B. Pasternak. Sviridov was very fond of snowy Russia, with its numerous villages, peasant songs and amusements. (The teacher shows paintings on the themes "Winter in the Paintings of Russian Artists" and "Winter Fun"). All his work is distinguished by song and is associated with peasant folklore.
Children, cantata (from Italian cantore), which means to sing, is a piece of music intended for one or more soloists, choir and orchestra)
Let's listen to this music. Sit comfortably and close your eyes. What music? (cold, but bright, sparkling). What picture of nature do you imagine when you listen to this music? (We feel cold, chilliness, but the mood of the music is bright, joyful. Phrases are like snowflakes.)
What are snowflakes anyway? What kind of snowflakes have you seen? Let's get a look. What color are snowflakes? When are they best seen, against what background? When, for example, did you catch a snowflake on a white mitten, or when did you notice a snowflake on a dark jacket?
Now we will draw a snowflake. We took a sheet of blue cardboard so that the snowflake was even more noticeable and seemed even more beautiful. Look at the board, I also have a sheet drawn. Where will we draw the snowflake? How do we arrange it on the sheet. In this corner? in this corner? (no) where? in the middle. Right. I found the middle and put a dot. What will the snowflake look like? small? No, for the whole sheet. Right. Like this (the teacher shows on the blackboard). And now I will decorate our snowflake. Like this. You can draw, decorate your snowflake as you like. We started drawing. They took brushes, found the middle, Sviridov's music will help you.
Who got the special snowflake? Who wants to talk about her?
Let's do an exhibition. Let's admire our snowfall in silence! What all the snowflakes are beautiful and fluffy.
Lesson #11
Topic: Writers and poets about music and musicians
Target. Identify common features of the connection between music and literature by analyzing musical, poetic and prose works.
Lesson type . Integrated.
Lesson objectives.
formation of the ability to analyze, compare musical and literary works;
development of a sense of the artistic word;
acquaintance with new works of art;
expansion of ideas about the composer G.V. Sviridov and his music.
the formation of the aesthetic taste of students, the ability to conduct a dialogue, reason, highlight the main idea of the work;
development of research abilities;
development of interest in music through creative self-expression;
development of figurative thinking.
drawing attention to the work of the Russian composer, writer, poet,
determination of the significance of the role of music in human life;
fostering a sense of love for the motherland;
education of emotional responsiveness to works of art.
Educational :
Educational :
Educational :
Equipment.
Computer, music center, video series for a piece of music, video series with portraits of the composer G.V. Sviridov, a portrait of the writer Pasternak, video series of G.V. Sviridova
Listening material.
G.V. Sviridov "Zepevka" on the verses of I. Severyanin, G.V. Sviridov cantata "It's snowing"
DURING THE CLASSES
Whose portraits are these? (writer Shukshin and composer Gavrilin)
Why did I put these portraits side by side?
Composer Gavrilin, composer of what century? (20v)
What is the name of his piece of music that we listened to in the last lesson? ("Chimes")
What gave impetus to writing such a piece of music? Shukshin's stories
What are "Calls"? Symphony-action
What is a symphony - action? Something between opera and oratorio, it has words and music.
What is a software symphony? Symphony, with a specific content, which is stated in the program or expressed in the title.
What pervades the whole work? - ringing bells.
What is a chapel? A group of performers with an orchestra, or a choir of singers
Symphony - the action was written for ....? Soloists, choir and percussion instruments.
What were the musical numbers called? "Evening Music", "Prayer", "Fun in the Soul".
What is each piece about? Evening music - without words, slow work, image of the evening; “Fun at heart” - folk festival with jokes and jokes,; "Prayer" - a monk, reads a prayer, an appeal to God.
Musical greeting.
Log check.
Repetition of the material covered:
4. New theme:
Imagine that one composer left us his sound message.
What can be said about this composer? What country is this composer? What does he want to tell us?
Listening to "Zepevka" by I. Severyanin, G.V. Sviridov.
Is this a Russian composer? (Yes).
Why did you decide so? (Children's answers).
What is this piece of music about? (About Russia, about the Temple, about our Motherland)
How does he feel about his country?
(Student answers: the composer sings of his Motherland, admires her, loves her, etc.)
Who performed this piece? (Mixed choir. Music sounded without accompaniment).
In addition to music, there was also a poetic text. Co-authorship of two creative people: a musician and a poet.
The choir "Zapevka" by the Russian composer G.V. Sviridov to the verses of I. Severyanin sounded.
About Sviridov:
Georgy Vasilievich Sviridov , , - , ) is a Soviet and Russian composer and pianist.
Russian composer, born on one of the cold December evenings in 1915. in the city of Fatezh, Kursk region. In a wooden house that stood by the Usozha River. In spring and summer, the city was buried in the greenery of gardens, where you could hear the singing of nightingales. Kursk folk songs have surrounded the composer since childhood. Throughout his life, G.V. Sviridov will carry love for his native nature, his native land. Today in Fatezh, in the apartment where the composer lived, there is an apartment - a museum, an art school. Before school in 2006 a bust of G.V. Sviridov was erected.
Think it's work too
This carefree life
eavesdrop on music
And jokingly pass off as your own ...
(A. A. Akhmatova)
The topic of our lesson: Writers and poets about music and musicians»
Writers and poets - masters of the word - tried to describe it in words, but no one was able to fully reveal the secret of sounds. not without reasonThe Russian composer A. N. Serov said: “Music proves what words cannot or almost cannot express.” "Music may be the most marvelous creation of man, his eternal mystery and delight," - the words of the writer Viktor Astafiev.
– Listening more than once to the music of Sviridov, the Russian writer of the 20th century Viktor Petrovich Astafiev wrote a story about music, about Sviridov, where he calls him the capacious word "Master". Let's get acquainted with a fragment of the story "The Word about the Master".
U. - What is Astafiev's attitude to music, where does music come from, what does it give a person? Why does Viktor Petrovich call Sviridov a master?
Music is a marvelous creation, an eternal mystery, a delight.
Nature - the sound of the wind, the rustle of grass, the sound of falling leaves.
Man - returns all the best.
W. - And what is music for you?
(Student answers: mother's lullaby, beauty, feelings ...)
U. - There is one secret in the story, the answer to the question is hidden here: what unites all types of art?
Where do creative people get their ideas from? - From the life around us. The master is the one who knows how to see, hear and tell everything in his work...
We found out that the main genre is vocal works. Relationship between music and literature. Sviridov always turns to poets who, like him, are concerned about the theme of the Motherland, the beauty of nature, and historical events. Favorite poets were: A. Blok, A. S. Pushkin, V. Mayakovsky.
Listen to Pasternak's poem "It's snowing":
"It's snowing" Boris Pasternak
It's snowing, it's snowing.
To the white stars in the blizzard
Stretching geranium flowers
For the window frame.
It's snowing and everything is in turmoil
Everything takes flight,
black stairs steps,
Crossroad turn.
It's snowing, it's snowing
As if not flakes are falling,
And in the patched coat
The sky descends to the ground.
Like a weirdo
From the top staircase
Sneak around playing hide and seek
The sky is coming down from the attic.
Because life doesn't wait.
Do not look back - and Christmas time.
Only a short interval
Look, there is a new year.
The snow is falling, thick, thick.
In step with him, those feet,
At the same pace, with that laziness
Or with the same speed
Maybe time passes?
Maybe year after year
Follow as it snows
Or like the words in a poem?
It's snowing, it's snowing
It's snowing and everything is in turmoil:
whitewashed pedestrian,
surprised plants,
Crossroad turn.
After finishing " "In 1965, Sviridov conceived the next small cantata, this time to the verses of B. Pasternak (1890-1960). Pasternak's poetry never left the composer indifferent.
Cantata - vocal and instrumental work for soloists, and the orchestra.
"It's snowing" is Sviridov's appeal to Pasternak's poetry after many decades of reflection.
For his little cantata, Sviridov selected three poems from the last period of the poet's work, united by the theme "artist and time."
The 1st movement, “It is snowing”, conveys the measured, non-stop course of time: sopranos and altos sing monotonously, on the same note, the orchestral part fascinates with the repetition of two unsteady chords, a lulling descending intonation. In the 2nd part, "Soul", the monotonous whirling reminds of the even course of time in the 1st. Here, the meager accompaniment with lingering sounds, against which a simple tune in the spirit of an urban song unfolds, creates a feeling of inner concentration, detachment from everything external.
We listen part 1 It's snowing
What musical image did G. Sviridov create? lyrical sketch of winter nature
How does the accompaniment of the choir sound?
What tools convey the fantasy of the picture? celesta
W. - Look what G.V. says. Sviridov about poetry: “To me, the poetic word seems extremely important, weighty. It weighs a hundred and a thousand times more than the word of a prose writer. These are words that are selected by a poet, a genius… And they make a strong impression on me…”
We saw how poetry became an inspiration for a musician to create a piece of music.
How talented Sviridov did it. If a person does something very well, better than others, what do we call him?
Wu - (Master.)
Conclusion.
W. - We saw that literature and music can be an inspiration for creative people. There are common genres. There are common means of expression. People of creative professions draw ideas for their works from real life.
Literature, music always
Union of art and kindness,
Union of the great, earthly,
So close, dear
Arts.
Udras A.F.
chanting.
6. Song
The artistic director of the St. Petersburg Academic Capella, People's Artist of Russia, Professor Vladislav Chernushenko invited the ensemble of the Boys' Concert Choir to participate in the performance of Georgy Sviridov's cantata "It's snowing".
"It's snowing" consists of only three numbers and is therefore considered the smallest cantata in Russian choral music. Sviridov wrote it in 1965 to the verses of Boris Pasternak, for a women's choir, an ensemble of boys and a symphony orchestra.
Boris Pasternak, close to music in his life and musical in his poetry, nevertheless, for some reason, never once attracted the attention of composers. Sviridov was the discoverer of the great poet in music. For his little cantata, the composer selected three poems from the last period of Pasternak's work, united by the theme "artist and time." These are "It's snowing ...", "Soul" and "Night".
The premiere of the cantata took place on December 21, 1966 in Moscow, in the Great Hall of the Conservatory. "It's snowing," according to music critics, "appears to listeners as a classic example of subtlety and precision in expressing great content with minimal means. Sviridov refuses everything external, optional, threatening with verbosity, achieving the ultimate "capacity" of each intonation and each musical image.
According to the author's plan, the boys' choir takes part in the performance of the third and last number of the cantata. However, contrary to the existing tradition, Vladislav Alexandrovich asked the boys to also perform a soprano line in the first number of the cantata, placing the choir on the stage in such a way that the sound of the female alto group and the boyish treble was antiphonal.
Work on the composition, orchestral rehearsals with Vladislav Chernushenko and the performance of the cantata in the hall of the Academic Capella - all this gave the boys an unforgettable experience during the autumn holidays.
Influence of poetry on classical music
1. The poetry of Boris Pasternak and the music of Georgy Sviridov
Read an excerpt from the poem "It's snowing" by Boris Pas ternak (1890-1960),to which Georgy Sviridov(1915-1998) composed the eponymouscantata and then listen to the music itself.
G. Sviridov
|
It's snowing, it's snowing |
It's snowing, it's snowing |
Maybe year after year |
It's snowing, it's snowing |
|
It's snowing, it's snowing |
The snow is falling, thick, thick, |
It's snowing, it's snowing |
Listen to a snippet
Pay special attention to the timbre brilliance of the orchestra, the expressiveness of the sound of stringed instruments,
celesta , flutes, alternating parts of the female choir.
Answer the question:
Is it just a lyrical sketch winter nature?
2. Analysis of B. Pasternak's poem "It's snowing"
Most of Boris Leonidovich's later poems on the theme of nature are dedicated to winter. The poem "It's snowing" is one of them. It was written in 1957.
This is a lyrical work about the transience of human life:
Maybe year after year
Follow as it snows
Or like the words in a poem?
“It is snowing” is the name of the poem, and with these words it begins:
It's snowing, it's snowing...
This phrase runs like a refrain through the entire work: it is repeated in every stanza, except for the fourth and fifth, and in the last it sounds three times. Thanks to the personifications “it is snowing”, “the sky is coming down”, the unity of the lyrical hero with the world around him, their emotional and psychological equality is emphasized. Everything that the lyrical hero sees is shrouded in a white veil. His gaze moves from top to bottom, from object to object.
“White stars”, “geranium flowers”, “window binding”, “black staircase steps”, “crossroad turn”, “firmament” – everything comes into view through the falling snow. Gradually, the snowfall intensifies: “white stars” turn into flakes, and in the sixth stanza - “the snow is thick, thick.”
Everything merges into a single whole, an illusion of movement, circulation is created. The lyrical hero becomes an integral part of this magical, bewitching, fabulous action. And we, without suspecting it, plunge into this world and, picked up by snowflakes, find ourselves in a cycle.
The feeling of movement in the poem is created through the use of present tense verbs (“stretch”, “let off”, “goes off”, “passes”). A special role is played by the verb “goes”, which is used ten times in the text.
“It is snowing” gives poetic speech a smoother, melodious sound. The parallelism of the lines "it's snowing" - "life does not wait" emphasizes the ideological intent of the verse.
The lyrical hero plays a special role in this poem. He deeply feels, but is not carried away by his feelings and experiences. Seeing the beauty surrounding it, we also comprehend the meaning of the universe,meaning of life. This is the beauty of Boris Pasternak's poetry.
3. Task 2.
Listen again to "It's snowing" G. Sviridova. Observing the development of the melody and comparing the poetic, musical images, as well as the image of the painting "The Yard in St. Petersburg" by M. Dobuzhinsky.
Perform "It's snowing" along with the recording.
Answer the questions:
1. What does the metric uniformity of music resemble? How did the composer, depicting the landscape, convey the non-stop passage of time, express the idea of its infinity?
2. What expressive role does the alternation of the parts of the female choir play: alto - soprano?
3. How does the choir accompaniment sound? What instruments give the music a feeling of fantastic, bell-like, aspiration upwards? In what mode does the music of this part of the cantata sound?
Watch the FILM about the instrument of the symphony orchestra - CHELESTA
Listen to "It's snowing" performed by contemporary musician Sergei Nikitin.
He sings these verses in his own way. Compare with the music of G. Sviridov.
4. Georgy Sviridov - a bright representative of Russian art
Music, the nature of the native country, the fate of a person ... It is these “beginnings” that feed the inspiration of composers, poets, writers, their reflections on the meaning of life, the beauty of their native land, the spiritual beauty of a person and talented people who can rightfully be proud of the Fatherland .
In his work, G. Sviridov constantly refers to vocal genres. Surprisingly sensitive in his romances and choral works, he refers toword , masterfully emphasizing its meaning and expressiveness with correctly found musical intonations, rhythm, colorful timbres of voices and orchestra. The composer's music is rooted in the life of the Russian people, in their spiritual warehouse and character, in the nature of Russia.
5. G. Sviridov "Pushkin wreath"
In June 1979, when the 180th anniversary of the birth of A. S. Pushkin was celebrated,Sviridov's new composition "Pushkin's Wreath" was first performed - a concerto for the choir.
These are ten numbers that make up a single whole. The ten poems to which the choirs are written are not related in content - they are made whole by music, sublime in mood and at the same time concrete in its imagery, and sometimes picturesqueness.
Remember A.S. Pushkin's poem "Winter Morning".
Frost and sun; wonderful day!
You are still dozing, my lovely friend -
It's time, beauty, wake up:
Open eyes closed by bliss
Towards the northern Aurora,
Be the star of the north!
Evening, do you remember, the blizzard was angry,
In the cloudy sky, a haze hovered;
The moon is like a pale spot
Turned yellow through the gloomy clouds,
And you sat sad -
And now ... look out the window:
Under blue skies
splendid carpets,
Shining in the sun, the snow lies;
The transparent forest alone turns black,
And the spruce turns green through the frost,
And the river under the ice glitters.
Gliding through the morning snow
Dear friend, let's run
impatient horse
And visit the empty fields
The forests, recently so dense,
And the shore, dear to me.
This poem opens the concert for the choir "Pushkin's Wreath".
Listen
And now listen to another piece from "Pushkin's Wreath" -
Answer the question:
2. Why do you think Georgy Sviridov's work is compared to a song?
