The author of the musical work is the funeral of the doll. Children's classical music

"Collection of Easy Pieces for Children" op. 39 occupies a special place in Tchaikovsky's piano heritage both in terms of its subject matter and the peculiarities of piano presentation. It is difficult to name a composition in Russian children's piano literature more popular than "Children's Album" by P. I. Tchaikovsky.

The first mention of the idea " children's album" refers to February 1878. At that time he was on a long trip abroad. In a letter to P. Jurgenson: “Tomorrow I will start writing a collection of miniature plays for children. I have been thinking for a long time that it would not hurt to contribute as far as possible to the enrichment of children's musical literature, which is very poor. I want to make a whole series of little passages of unconditional lightness and with child-friendly titles, like in ".

At the time of the creation of the "Children's Album" Tchaikovsky was in the prime of his creative powers. But for the composition addressed to children, the composer undertook for the first time.

"Children's Album" op. 39 was written in May 1878. The history of its creation is inextricably linked with Kamenka, a large Ukrainian village near Kyiv, a favorite place for creativity and recreation of the composer. Kamenka is the "family nest" of the large noble family of the Davydovs. One of the owners of the Kamensky estate, Lev Vasilyevich Davydov, was a friend of Tchaikovsky and the husband of his beloved sister Alexandra Ilyinichna.

Much in the "Children's Album" is connected with the atmosphere of the Davydovs' house. home furnishings Alexandra Ilyinichna was a model family life. It was hard to imagine a happier people, and Pyotr Ilyich was seized with such tenderness and joy at the sight of this, that for a long time connected the idea of ​​\u200b\u200bthe life of the Cayenne inhabitants with the embodiment of earthly prosperity.

Tchaikovsky dedicated his cycle of children's plays to Volodya Davydov, one of the numerous children of Lev Vasilievich and Alexandra Ilyinichna. The composer's nephew at that time was six and a half years old. The title page read: “Children's album. Collection of easy plays for children. Imitation of Schumann.

This album reflects Child's world, outlined by the composer with amazing sensitivity and subtle understanding of children's perception of life. Tchaikovsky loved children, he was ready to mess around with the guys for hours, enjoying their chatter, experiencing sharp feeling pity for sick children, seeking to bring joy and pleasure to every child with whom he met. And the children felt this love, became attached to Tchaikovsky, seeing in him a tender and caring friend.

The cycle of 24 plays is connected by a single theme. It presents a colorful world of children's games, dances and random impressions. It is divided into microcycles. The first of them can be called "morning".

Lord God! Save, warm up
Make us better, make us better.
Lord God! Save, save!
Give us the power of your love.

"Winter morning"

The strict reflection of "Morning Prayer" is replaced by a stormy, full of disturbing forebodings "Winter Morning". Pyotr Ilyich himself was born in a small town. It seems that in "Winter Morning" he portrayed his baby impression. As if the kid looked out the window and saw the street covered with snow and the frozen windows in the house opposite.

Freezes. Snow crunches. Fog over the fields.
From the huts early smoke is carried in clubs.
A purple tint glistens silver of the snows;
With a needle-hoar frost, as if with white fluff,
The bark is humiliated along dead branches.
I love through the glass a brilliant pattern
To amuse your eyes with a new picture;
I like to watch in silence how early sometimes
The village cheerfully meets winter ...

"Mother"

Peace in the soul of the hero of the cycle returns "Mom". The gentle, affectionate, melodious sounds of the play "Mama" seem to soothe, explain something. Probably, such were the memories of Pyotr Ilyich himself about his mother. Not without reason, all his life he remembered her wonderful eyes, smooth, dignified movements, deep chest voice.

Mom, very very
I love you!
So love that at night
I don't sleep in the dark.
I peer into the darkness
Dawn hurry.
I love you all the time
Mommy, I love it!
Here the dawn shines.
Here is the dawn.
Nobody in the world
There is no better mother!

« »

The second major section is "Home games and dances" ("Game of horses", "March of wooden soldiers"). It opens with, perhaps, the most cloudless, childishly naive pieces of the "Album" - the mischievous toccatina "Game of Horses" and the toy "March of the Wooden Soldiers". These are "boys' games".

"Horse Game"

Boys are very interested in playing horses.

I'm on my golden-headed horse
I sat down and rushed around the house, around the room,
Past the table, whatnots and bedside tables,
Past the cat lying on the sofa,
Past the grandmother sitting with knitting,
Past the ball and the toy box.

"March of the Wooden Soldiers"

And in the toy box there are brand new, beautiful soldiers that just attract you. They are just like real ones, you can line them up and send them to the parade. Here is a toy army minting a step in a funny march.

At-two, left, right,
At-two, left, right,
We go easy and fun.
At-two, left, right,
At-two, left, right,
Let's sing a wooden song.

The next three numbers are "girls' games" ("puppet trilogy")

This is also a game (after all, the heroes of the action are puppets), and like the puppets coming to life in The Nutcracker, here the puppets also “come to life”. Three pieces of the minicycle ("Illness", "Funeral", " New doll”) are perceived as a reflection of genuine, “real” life.

"Doll Disease"

A slow, viscous movement (during an illness, it’s usually “boring” after all) with sad intonations of the melody, where, like sighs, it conveys the sad mood of a girl whose doll is sick.

"Doll Funeral"

The miracle did not happen, the doll died. Solemnly and strictly, as in a real funeral procession, the funeral march sounds. All the toys came to the funeral. The music of the "Funeral March" conveys the gloomy coloring and the very movement of the procession of toys, as if passing in front of the listener.

"New Doll"

But life does not stand still and the girl is given a new doll. And she starts spinning in a fast dance with a new girlfriend.

"Waltz"

"Waltz" is the beginning of a miniature dance suite that combines three numbers ("Waltz", "Polka", "Mazurka") and completes a series of "home" pieces.

In letters written a few days before the beginning of the composition of the "Children's Album", the composer writes: "There are many guests, and in the evening I will have to accompany for the sake of my dear nieces, who are very fond of dancing."

"Polka"

The whirling waltz is replaced by a cheerful "Polka"

"Mazurka"

But the mazurka sounded!
Mazurka - dance anywhere!
Perky light and cheerful,
I ask you to dance, gentlemen!

Further, the composer sends the child on an exciting "journey". First, in Russia (“Russian Song”, “A Man Plays the Harmonica”, “Kamarinskaya”), then in Europe (“Italian”, “Old French”, “German” and “Neapolitan” songs).

It is not difficult to see an autobiographical motive here. The composer also traveled a lot in Russia and abroad, but he always gave his heart to Russia..

“I grew up in the wilderness, from childhood, the earliest, imbued inexplicable beauty characteristic features of the Russian folk music"- wrote Tchaikovsky.

Tchaikovsky made strict demands on the processing of a folk song: "It is necessary that the song be written down, as far as possible, in accordance with the way the people perform it."

So in the "Russian Song" the composer turned to the Russian folk dance song "Are you my head, my little head."

Throw a flower into the stream
The stream will carry him away.
Sing me a nightingale song -
Your heart will become more cheerful.

"The man plays the harmonica"

In the play "A Man Plays the Harmonica" intonational turns and harmonic moves are played out, which are characteristic of Russian single-row harmonicas.

"Kamarinskaya"

"Kamarinskaya" is built on one of the variants of the well-known Russian folklore theme and balalaika tune is imitated there.

How much fun we have today -
Everyone started dancing to the Kamarinsky.
Mom dances, dad dances, I dance,
Sisters are dancing, my whole family is dancing.
Grandma is dancing, grandfather is dancing,
Dancing brother and neighbor

"Italian", "Old French", "German" and "Neapolitan" songs are a kind of "pages from a traveler's diary": their melodies were recorded by the composer during a trip abroad in 1878.

Tchaikovsky told how in Florence, in Italy, on the street, he once heard a ten-year-old boy playing with a guitar, surrounded by a crowd of people. "He sang in a wonderfully thick bass voice with a warmth that is rarely found in real artists." The text of the song, heard from a street boy-singer, struck the composer with the contrast of the appearance of the child-performer and the tragic content, and he remade this song into a piece for the piano.

In "The Neapolitan Song" Tchaikovsky used a truly folk Italian melody. This piece is one of the most famous melodies. Pyotr Ilyich himself also loved this music, and on its basis he subsequently created the famous "Neapolitan Dance" for the ballet "Swan Lake". In the listener's imagination, a picture of a cheerful Italian carnival clearly arises - Tchaikovsky watched it more than once when he was in Italy.

I have loved this evergreen land forever!
Ah, Naples, a place dear to my heart,
I won't part with you
My Naples, never.
Everything around here is mine -
And they gave boundless, and elegant buildings,
And the streets are not long, and the old squares,
And boats on the sand, and Vesuvius itself in the distance.

The "Old French Song" embodies a French folk melody.

In The German Song, Tchaikovsky uses a Tyrolean motif. And it also looks like an old and popular dance in Germany and Austria - Lendler.

The wanderings are ending. The final microcycle of the "Children's Album" (No. 19-24) - a peculiar

"Homecoming".

"Nanny's Tale"

"Baba Yaga"

From the sharp chords of "Nanny's Tale" the nightmare of "Baba Yaga" seems to grow

"Sweet dream"

A terrible dream is replaced by a sweet-sensual "Sweet Dream"

Peace of mind comes in the last three pieces, the final microcycle of the Album.

"Song of the Lark"

It opens with "Song of the Lark" - morning, the end of nightmares and languid dreams. This is a musical landscape with the image of a lovely bird and its unforgettable trills.

She is replaced by the play "The Organ Grinder Sings". This play is a genre-characteristic sketch, the sounds of which depict an old man. He twists the handle of the hurdy-gurdy and beautiful drawn-out sounds pour out of it. Another Italian (Venetian) motif is taken as the basis of the play "The Organ Grinder Sings". An unpretentious, but wisely calm theme dispels the gloomy thoughts of a child.

"In the church"

The collection ends with the play "In the Church". Thus, the first and last numbers connected by a kind of arch; common in both cases is a solemn enlightened religious principle. The majestic and mournful choir "In the Church" is based on the true church theme of the penitential psalm.

Tchaikovsky's collection is one of the best examples of children's musical literature. "Children's Album" is the most valuable contribution to world piano literature, which served as an example for a number of collections written by composers from different countries. Under the undoubted influence of Tchaikovsky are almost all Russian composers - authors of children's plays.

Let us recall the collections of Grechaninov, Gedik, Kabalevsky and many other albums and individual children's plays.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http:// www. allbest. en/

Discipline: Analysis of a musical work

Analysis of the three-part form of the musical work "New Doll"

1. Information about the composer and his work

Tchaikovsky Pyotr Ilyich (1840-1893), composer, conductor, teacher.

Born on May 7, 1840 in a village at the Kamsko-Votkinsk plant (now the city of Votkinsk, Udmurtia) in the family of a mining engineer. In 1850, the family moved to St. Petersburg, and Tchaikovsky entered the School of Law, from which he graduated in 1859.

He received the rank of titular councilor and a position in the Ministry of Justice. But the love of music turned out to be stronger - in 1862 the young man passed the exams at the then newly opened St. Petersburg Conservatory. In 1863, he left the service, and after graduating with a silver medal from the conservatory (1866), he was invited to take up a professorship at the Moscow Conservatory.

In 1866, Tchaikovsky wrote the First Symphony ("Winter Dreams"), in 1869 - the opera "Voevoda" and the fantasy overture "Romeo and Juliet", in 1875 - the famous First Piano Concerto, in 1876 -- Swan Lake ballet".

At the end of the 70s. the composer experienced a severe mental crisis associated with an unsuccessful marriage, in 1878 he left teaching. Nevertheless, it was precisely in this year that one of his best works was created - the opera "Eugene Onegin" based on the plot of A. S. Pushkin.

The real pinnacle was the opera The Queen of Spades (1890), also based on a story by Pushkin. In 1891 Tchaikovsky wrote his last opera, Iolanta. He also composed music for ballets: The Sleeping Beauty, 1889; The Nutcracker, 1892. The rise of Tchaikovsky as a symphonist is revealed in his Sixth Symphony (1893).

The composer constantly turned to small forms. He is the author of 100 romances, which are the pearls of vocal lyrics, as well as more than 100 piano pieces (including the cycles "The Seasons", 1876, and "Children's Album", 1878). Tchaikovsky's work was highly appreciated during his lifetime - in 1885 he was elected director of the Russian musical society, in 1892 he became a corresponding member of the French Academy of Fine Arts, in 1893 - an honorary doctorate from the University of Cambridge.

Pyotr Ilyich spent the last years of his life in Klin near Moscow, where in 1892 he bought a house (since 1894 the composer's museum).

2. Characteristics of the cycle

The time of creation of the "Children's Album" P.I. Tchaikovsky.

"Children's Album" by P.I. Tchaikovsky belongs to the cycle of piano pieces.

The composer's intention of writing baby cycle can be attributed to February 1878. Tchaikovsky was on a trip abroad. In one of his letters to acquaintances, he announces his desire to create a small collection of easy plays for children's performance. The vacation was completely over in May 1878. Musical numbers are interconnected in small microcycles. The depth of the subtext, the difficult life period, was hidden under the melodic intonations of Tchaikovsky. "Children's Album", the history of which is connected with the family of the composer's sister, deserves to be called a masterpiece.

Analysis of the pieces included in the "Children's Album" by P.I. Tchaikovsky

With extraordinary sensitivity and subtle understanding of child psychology, the composer reflected in the "Children's Album" the life and life of the children of the environment that surrounded him every day. There are 24 pieces in the "Children's Album" that are not connected by a single theme. All the plays of the cycle are programmatic, each contains a specific plot, a lively poetic content. The collection captures a wide range of images. This:

pictures of nature - " Winter morning"," Song of the Lark ".

children's games - "Game of horses", "Doll illness", "Doll funeral", "New doll", "March of wooden soldiers".

Russian characters are vividly depicted folk tales- "Nanny's Tale", "Baba Yaga", Russian folk art - "Russian Song", "A Man Plays the Harmonica", "Kamarinskaya".

songs of other peoples - "Italian song", "Old French song", "German song", "Neapolitan song".

The cycle contains elements of figurativeness - "The Organ Grinder Sings" and onomatopoeia - "Song of the Lark".

Tchaikovsky, without resorting to simplification, draws the rich inner world of a child in the plays "Morning Reflection", "Sweet Dream" and "Chorus".

Pieces included in the "Children's Album":

1.morning prayer

2. Winter morning

3. The game of horses

5. March of wooden soldiers

6. Disease of the doll

7. Doll funeral

8.New doll

9. Waltz 10. Mazurka

11. Russian song

12. A man plays the harmonica

13.Kamarinskaya

15.Italian song

16. Old French song

17. German song

18. Neapolitan song

19. Nanny's tale

20. Baba Yaga

21. Sweet Dream

22. Song of the lark

23. Organ grinder sings

24. In the church

3. A holistic musical-theoretical analysis of the analyzed work

musical piece Tchaikovsky composer

The nature and programming of the play "The New Doll".

The play "New Doll" is a subtle psychological sketch - the joy of a girl about a wonderful gift - a new doll.

The play is very joyful, swift, flying. The girl is so happy new toy! Together with her doll, she spins, dances and, probably, feels very happy. The performing means are rhythmic and textural monotony: in the extreme parts of the piece, the repetition of a rhythmic figure - a quarter and an eighth, and in the middle - two eighths separated by pauses. In the extreme parts, the development and variety of wonderful expressiveness, flight, soft aspiration of the melody will be helped by the dynamics and subtle articulatory indications set by the author. These parts are performed as if "in one breath", achieving gradual dynamics.

In the middle part of the piece, the "breathing" melody is traced behind the flexibility of intonations and the continuity of the development of music. In the dynamics accurately presented by the author, the climax falls on bars 24-25. Without changing the general joyful mood, pauses appear in the melody between short motifs of two sounds, conveying, as it were, rapid breathing. By the end of the middle part, the excitement passes; the music of the first part returns.

"The New Doll" is a program play. Its name "programs" the mood and content, already underway an idea of ​​what to expect before listening to the first sounds of the piece.

Musical analysis of the play.

In the melody are heard emotional feelings, the joy of the girl to the new doll.

The tonality of the product is Bb-dur (B b major), with a key of 2 signs-si? mi?

The size of the work - 3/8

The form of the play is three-part

Tempo-Allegro (coming soon)

3) Structural analysis period.

The play has a period of non-square structure.

Thematically, parts 1 and 3 are similar, because 3 is a repetition of part 1. Part 2 is the middle of the whole play (climax).

The main tone of the play "New Doll" Bb-dur. During the performance of the work, this tonality practically does not undergo changes caused by deviations and modulations.

The work has a rhythmic motif. The characteristic rhythmic formula, the abstract aspect of the melody.

Hosted on Allbest.ru

Similar Documents

Description of the cycle "Children's Music" - the first work by Prokofiev, written in the genre of piano miniatures. Peculiarities musical style composer. Performing and methodical analysis of the play "Tarantella". Analysis of the nature and form of the work.

abstract, added 01/09/2015


Brief biographical information about the life path of the great Russian composer, conductor, teacher P.I. Tchaikovsky. Personality and special traits creative individuality Tchaikovsky. Works written by a famous composer.

presentation, added 03/15/2011


Biography of P.I. Tchaikovsky. creative portrait composer. A detailed analysis of the finale of the Second Symphony in the context of the upcoming re-instrumentation for the orchestra of Russian folk instruments. Stylistic features of orchestration, analysis of the symphonic score.

thesis, added 10/31/2014


Perception of musical works. Difficulties in comparing objects music world. Sound timbres musical instruments symphony orchestra. The thought process of a dichotomous plan. Identification of the nature of a piece of music.

abstract, added 06/21/2012


Biography of the composer, conductor and musical and public figure P.I. Tchaikovsky. Musical-theoretical analysis of the choir "Nightingale". Lyrical character, harmonic and metrorhythmic features of the solo. Vocal-choir and conductor difficulties.

term paper, added 03/20/2014


Brief biography of Russian musicians and composers V.M. Blazhevich and A. Gurilev. The history of the appearance and development of the genres "concert" and "nocturne". Analysis of the technical and artistic aspects of the musical works of the authors and their formative components.

term paper, added 05/24/2015


Biography of Pyotr Ilyich Tchaikovsky - Russian composer, conductor, teacher, musical public figure, music journalist. Contribution to Orthodox sacred music and pedagogical activity. Main works: operas, ballets, symphonies.

presentation, added 03/15/2015


The path to mastery and creativity of the composer Giuseppe Verdi. Origins and principles of polyphony of musical works. Traditional opera form. Typical forms of differentiation of vocal parts in ensembles. Analysis of polyphonic variations in Verdi's works.

abstract, added 06/10/2011


The harmonic language of modern music and its embodiment in the music of the famous Russian composer S.S. Prokofiev, his worldview and creative principles. Features of the composer's piano work, analysis of the musical language of the play "Sarcasms".

term paper, added 01/30/2011


Studying life path And musical creativity Elvis Aron Presley. Debut on famous show country music "Louisiana Hayride". Contract with RCA Victor. "Golden" single and first film. Army period. New album "Elvis - Special Return".

Irina Chichina
Analysis of the play "March of the Wooden Soldiers" from the "Children's Album" by P. I. Tchaikovsky

Musical language is very good at conveying feelings and moods. In order to "draw" anything with music or "tell" about something, composers resort to the help of ordinary, verbal language. It can be just one word in the title plays.

The first outstanding collection of music for children in Russian piano literature was « children's album» P.I. Tchaikovsky. It contained a whole children's country, the big world of a child, told in sounds.

« children's album» is not only huge artistic value, but also extremely useful for educating children's musicality.

« children's album» , op. 39 was written by P.I. Tchaikovsky in May 1878. and is dedicated to his beloved nephew Volodya Davydov. While visiting my sister in Kamenka, near Kyiv, « family nest» large noble family of the Davydovs and often, listening to the play of Volodya's favorite, who was then 6 years old, Pyotr Ilyich was amazed at the poverty of the repertoire for beginners. He loved to walk with his nephews, arranged fireworks, musical performances, dance evenings, took part in games, enjoyed the spontaneity of children. It was then that he decided to create album of songs for children.

On title page first edition full title cycle: « children's album. Collection of lungs plays for children(imitation of Schumann). The writing of P. Tchaikovsky". Indeed, one can trace the connection « children's album» P.I. Tchaikovsky with a similar work by R. Schumann « Album for youth» . Both composers speak to children surprisingly clearly and simply, and at the same time seriously, without any "tweaking". Collections captivate with their lyricism. « children's album» Tchaikovsky is perceived as Russian music, as a series of pictures dedicated to the life and life of Russian children. Pyotr Ilyich strove to ensure that his music was lively and exciting, so he showed interest even in the external design of the publication plays - to pictures, to the collection format.

IN « children's album» P.I. Tchaikovsky 24 pieces not related to the same topic. In each play contains a specific plot, lively poetic content, but several relatively independent plot lines can be noted. The collection captures a wide range of images.

« March of the wooden soldiers» (No. 5, on a par with "Game of horses"(No. 3, refers to "gaming" children's cycle plays, This "boys games". Perhaps these are the most cloudless, children's naive plays« Album» .

« March of the wooden soldiers» is funny march, to the sounds "toy" orchestra with flutes and a drum, as if minting a toy army step wooden soldiers. This "toy" emphasized by very subtle means - quiet (piano) and even very quiet (pianissimo, at the very beginning, performance. In this miniature, the composer draws musical image accurate and economical means of expression - a sense of puppetry and woodenness conveyed by the clarity of the rhythmic pattern, the accuracy of the stroke. All play performed extremely clearly, evenly, strictly, at a moderate pace. For piano texture P.I. Tchaikovsky the significant role of the chord type of presentation is characteristic. The close arrangement of chords, the consistency of rhythm and strokes figuratively convey well-coordinated movements toy soldiers marching in close formation to the beat of the drummer.

Play written in a simple three-part form. middle plays sounds secretly and even a little threatening, thanks to the change of fret (La Minor) and the application of Neapolitan harmony. But in terms of dynamics, this part does not go beyond the sonority of the piano.

In the reprise, the original sonority is restored again, even quieter than in the middle. plays, as if "toy" the army is removed.

P.I. Tchaikovsky when writing« Album» achieved its goal by creating small masterpieces that are memorable plays close and understandable to every child.

Related publications:

Dear colleagues, thank you very much for sharing your work, so many interesting things, unusual material can be found. That's what I decided.

Dear colleagues. Most recently, in our group "Sunflowers" (children 2-3 years old, sports entertainment took place. We named.

I spied on such an uncomplicated game on a social network. I printed it out, cut it out, “laminated” it with tape and the game is ready. Of course you can.

By the Day of the Elderly in my group (2nd junior group) the album "My grandparents" was created. They took an active part in its creation.

Musical and didactic game "Dance-song-march" (senior group) Main activity: musical Product of activity (result): development of memory and ear for music. Form: integrated Duration:.

Design of wooden spatulas "A gift to your beloved mother" Tasks: 1. Educational: learn to create patterns according to the model, using a variety of patterns.

Tchaikovsky P.I. "Children's Album

(methodological and performance analysis)

Children's teacher music school№1 Semenova Marina Aleksandrovna
Cycle of piano pieces "Children's Album", op. 89, written by P.I. Tchaikovsky in May 1878, dedicated to his beloved nephew Volodya Davydov and published by P. Yurgenson in October of the same year.
On the title page of the first edition, the full name of the cycle: “Children's Album. Collection of light plays for children (imitation of Schumann). Composition by P. Tchaikovsky.
Tchaikovsky's love for children is widely known. He treated with great tenderness, for example, his nephews, or the pupil of the composer's brother M.P. Tchaikovsky, the deaf-mute boy Volodya Konradi. It is also known how persistently the composer worked to open a school in Maidanovo. Tchaikovsky could spend hours with children, take part in games, enjoy their immediacy. Children paid the composer with sincere affection and love. The bright, joyful world of a child is reflected in the work of Tchaikovsky. Suffice it to recall the cycle of "Children's Songs" (the full title is "16 Songs for Children to the verses of A.M. Pleshcheev and other poets", op. 543 or the ballet extravaganza "The Nutcracker", op. 71).
With extraordinary sensitivity and a subtle understanding of child psychology, the composer reflected in the "Children's Album" the life and life of the children of the environment that surrounded him every day.
There are 24 pieces in the "Children's Album" that are not connected by a single theme. All the plays of the cycle are programmatic, each contains a specific plot, a lively poetic content.
The collection captures a wide range of images. These are pictures of nature - "Winter Morning", "Song of the Lark", children's games - "Game of Horses", "Doll Disease", "Doll Funeral", "New Doll", "March of Wooden Soldiers". The characters of Russian folk tales are vividly depicted - "Nanny's Tale", "Baba Yaga", Russian folk art - "Russian Song", "A Man Plays the Harmonica", "Kamarinskaya", songs of other peoples - "Italian Song", "Old French song”, “German song”, “Neapolitan song”. The cycle contains elements of figurativeness - "The Organ Grinder Sings" and onomatopoeia - "Song of the Lark". Tchaikovsky, without resorting to simplification, draws the rich inner world of a child in the plays "Morning Reflection", "Sweet Dream" and "Chorus".
The songs of various nations are based on authentic folk melodies. "Russian Song" is built on the theme of the song "Have you a head, my little head." Folk Italian melodies are "Neapolitan Song", previously included in the ballet "Swan Lake" and "Italian Song". Another Italian folk melody formed the basis of the play "The Organ Grinder Sings". The theme of the "Old French Song" is also genuine, and was subsequently used in the opera " Maid of Orleans».
. Robert Schumann's "Album for Youth" is widely known, which Tchaikovsky imitates. He expressed his love for Schumann in some piano compositions, for example, in the piece "Un poco di Schuman", op.72. or in one of the variations of op.19.
Schumann's influence on Tchaikovsky's piano style can be seen, for example, in the similarity of texture, rhythm and dynamics, but in the "Children's Album", paradoxically, it is expressed to a lesser extent, the genre themes of these collections are rather similar. The plays “The Bold Rider”, “The Merry Peasant”, “Soldier's March”, “Winter”, “Sicilian Song” by Schumann correspond to works similar in theme from the Tchaikovsky cycle: “Game of Horses”, “A Man Plays the Harmonica”, “March of Wooden Soldiers”, “Winter Morning”, “Italian Song”.
If we talk about continuity, then we should note the similarity of the musical language of the "Children's Album" with the melody and texture of the piano style of M.I. Glinka. His waltzes, nocturnes, polkas, mazurkas, the pieces "Feeling" and "Innocence" are the direct predecessors of "Waltz", "Mazurka", "Polka" and other pieces from the "Children's Album".
"Children's Album" was published several times during the life of the author. Nowadays, there are a large number of domestic and foreign publications. The cycle is published in full and in parts, and individual plays are included in various collections. In some publications, for various reasons, individual plays were withdrawn from the Children's Album. In the Muzgiz edition of 1929. the play "The Doll's Funeral" was not included under the pretext of her tragic, and from the same edition of 1935. the play "Choir" (formerly called "In the Church") was withdrawn as generally unacceptable.
In the autograph of the "Children's Album", the designations of tempo and character are given in Russian, but already in the first edition of Jurgenson, which the author reviewed and corrected, the terminology has changed significantly. For example, the character of the piece "Morning Reflection" in the autograph is designated "Quietly", and in Jurgenson's edition the designation of the tempo Andante (Calmly) is prescribed. In the play "A Man Plays the Harmonica" - in the autograph "Quite Slowly", and in the 1st edition - Adagio (Slowly).
In the autograph of the play "The Organ Grinder Sings" there is no author's designation of the tempo. In the publication of Jurgenson - Andante. In a number of editions, this tempo is denoted in different ways. Edited by E. Golubev - Andantino, published by Peters - Moderato. In the latter, the author's designations of tempo are generally distorted in many respects. In the plays “Morning Reflection” and “Doll’s Illness”, Lento is arbitrarily written out, in “Russian Song”, “Kamarinskaya” and part I of the “Neapolitan Song” - Commodo, “Song of the Lark” - Lentamente. The editor's complete misunderstanding of the nature of the music is demonstrated in the designation of the Andante tempo in the play "Winter Morning".
In autograph I, the period of the play "German Song" is sustained on the unchanged bass Es (in the first quarter of the bar), the same is in the reprise. However, already in Jurgenson's edition, the unchanged organ item is missing. All subsequent editions are based on Jurgenson's edition. The variant with the same organ point is very attractive - it is in good agreement with the nature of the music and can be considered as a kind of author's version.
In the preface to the edition of the "Children's Album", editor E. Golubev points out "the incorrect designation of the rhythmic figure in the "German Song" in all editions of the album in the third bar from the end of two eighth notes with a dot, followed by a dotted line and two eighths, as everywhere in similar places. The error arose as a result of a mistake by the author himself. This argument cannot be accepted. Why should the author act in a reprise exactly by analogy, because the reprise sounds more convincing with an even more emphasized dotted line.
All Russian and Soviet editions accurately reproduce the articulation and dynamics of the autograph and the first edition. However, in many foreign publications these designations are distorted. In the already mentioned edition of Peters, editor W. Niemann arbitrarily corrects the author's instructions. In this edition, the translations of the titles of the plays into German, French and English are also arbitrary. The play "Game of Horses" is translated as "Little Cavalryman", "March of Wooden Soldiers" - "Soldier's March", "A Man Plays the Harmonica" - "Song of the Peasant", and "Mama" is translated as "My Mommy". Incorrect translations also distort the nature of the music, do not give children a complete picture of it. The element of play is lost in the plays “Game of Horses” and “March of the Wooden Soldiers”, “Mother” is translated in a cloyingly sugary way, no idea is given about the specificity of the work “A Man Plays the Harmonica”.
From all that has been said, it follows that it is better to refer to the domestic editions of the "Children's Album", in which the author's text is accurately captured.
Although the texture, melody, harmony, rhythm, articulation, dynamics, ornamentation, fingering and pedalization of the "Children's Album" are sometimes complex, they take into account the level of development of children, their performance capabilities.
Tchaikovsky did not use complex keys and tonal shifts. Of the 24 pieces, 19 were written in major keys, and of the 5 minor ones, only the pieces “The Doll's Illness” and “The Doll's Funeral” (G minor and C minor) sound really gloomy. The major keys are dominated by C major, D major, F major, B-flat major, E-flat major, which give the whole cycle a bright joyful sound.
The ratio of tempos in the cycle is thought out and built on contrasts. Here is what A.A. Nikolaev, a researcher of Tchaikovsky’s piano work, wrote: typical features. Here, as if on a reduced scale, in a simplified presentation, almost all the technical formulas found in The Four Seasons and in other miniatures by Tchaikovsky are presented.
It is interesting that Tchaikovsky, who never taught children and had little contact with the issues of learning to play the piano, showed an excellent knowledge of piano presentation accessible to children's hands.
In the entire collection, for example, there is not a single octave or chord that is wider than within the limits of a seventh. In no piece we will find a simultaneous combination of the extreme registers of the keyboard, requiring a wide distance between the hands. The lower register (counter- and subcontra-octaves) are not used at all, and sounds in the highest octaves are found only in the piece "Song of the Lark". Much simpler in design is the very fabric of these works. The usual multi-element presentation, imitations, echoes characteristic of Tchaikovsky are almost absent here.
Chord technique occupies a predominant place in the series of these pieces, but as we noted above, chords are used everywhere taking into account the physical capabilities of a child's hand.
The chord accompaniment in the left hand part is typical for such pieces as Waltz, Mazurka, Italian Song, German Song, Neapolitan Song, Organ Grinder Sings, i.e. for such musical pictures, where the melodious character in the right-hand part is supported by the accompaniment, clearly revealing the harmonic basis.
Another type of piano presentation is an almost continuous harmonization of the melody, forming a movement with chords located in both hands. We see such a picture in "Morning Prayer", in modern transcription - "Morning Reflection", the plays "Winter Morning", "March of Wooden Soldiers", "Funeral of a Doll", "Nanny's Tale", etc. A particularly dense chordal fabric is found in the piece “A Man Plays the Harmonica”, where the sound of the harmonica is imitated by the witty technique of using the dominant seventh chord in a close arrangement, which sounds rather piercing and sharp in the middle register of the piano.
To all that has been said, it must be added that in the plays "Morning Reflection", "Winter Morning", "Game of Horses", "Mother", "Russian Song", "Nanny's Tale", "Chorus" the quartet warehouse is clearly felt. The melody is extremely expressive. The composer generously draws it as if from a cornucopia. Diverse and rhythm. The harmonic structure of the pieces is simple and accessible. Ornamentation is organically woven into the melodic line of the plays "Polka", "Italian Song", "Song of the Lark".
Let's focus on articulation and dynamics. The composer finds the exact intonations that sometimes convey even the most subtle, subtle shades of expressiveness of human speech. Studying the "Children's Album" can be an excellent school of articulation.
I. Braudo in his major work "Articulation" outlined the scale of connectedness and dismemberment in the following table:
"Connectedness"
1. Acoustic legato or legatissimo
2. Legato
3. Dry legato
"Dismemberment":
4.Deep non legato
5.Non legato
6.Metrically defined non legato
"Brevity":
7. Soft staccato
8. Staccato
9. Staccatissimo (as short as possible)
Of course, the above table is only a diagram, because the degrees of connectedness, brevity and dissection are truly limitless, but all the types of articulation given are available in the "Children's Album" from legato and legatissimo in the pieces "Mother", "Old French Song", "Sweet Dream" to staccatissimo in the works "Baba Yaga" and "The Game of Horses". In many pieces, the combination of well-defined legato, non legato, staccato, slurs, accents is necessary to create an image, which will be discussed in detail later.
The dynamics are also carefully marked. The composer uses both its gradual development and sudden changes in subtle gradations of sonorities. But nowhere in the cycle is ff indicated - the author prescribes the scale of dynamics ppp-f. In the works of the cycle, Tchaikovsky used mainly simple shapes that are easy to analyze.
It should be recognized that the fingering of some editions is unsuccessful - it often does not agree with the meaning of the music, is inconvenient and difficult to remember. When analyzing individual pieces, fingering options for the author of the work will be offered.
Pieces from Tchaikovsky's piano collection are invaluable pedagogical and artistic material. To create images, the performer will have to use the entire arsenal of musical means of expression.
The study of works will allow young pianists to show creative initiative, to read each in their own way.
The "Children's Album" can be performed in its entirety or individual pieces should be included in the repertoire of young performers. The following microcycles can be built on its material:
1. "Doll's illness", "Doll's funeral", "New doll".
2. Waltz, Mazurka, Polka, March of Wooden Soldiers.
3. "Russian song", "A man plays the harmonica", "Kamarinskaya".
4. "Italian song", "Old French song", "German song", "Neapolitan song".
5. "Nanny's Tale", "Baba Yaga".
Other solutions can be found when combining plays.
Author methodological manual does not give musical examples, tk. the notes of the "Children's Album" are ubiquitous. When reading the work, you need to have them in front of you. We emphasize that the reader will inevitably encounter some repetitions, since in a number of plays similar artistic and pianistic tasks are set.
Let's move on to the performing and pedagogical analysis of the cycle's plays.

1. Morning meditation

The play introduces the child into the world of complex experiences. In a work resembling a sarabande, there is a strict four-voice (the student can imagine the sound of a quartet string instruments). In the chorale, the author avoids harmonic complications and is content with simple cadence formulas. It should be emphasized the sharp sound of seconds in 6.8, 10.21 measures, the introductory seventh chord on the tonic organ point (bars 17.19).
Carefully work with the student on voice leading, the melodiousness of each voice, but pay special attention to the sound of moving sopranos and bass.
Articulation and dynamics should emphasize the expressiveness of the piece. Although in bars 1,2,7-12 legato is not written out by the author - it is implied. It is important to achieve a soft, melodious legato sound in all voices. It will be provided by appropriately selected fingering (when repeating chords, fingers should not be changed).
In one case, the expressiveness of speech intonations is emphasized by leagues - reliance on strong beats of measures, in the other - by syncopations on the second or third beat. The teacher will also draw the student's attention to the fact that the accentuated strong beat and soft syncopation sometimes follow one another (measures 17.19).
When working on dynamics, pay close attention to the instructions in the text - first a small “fork” in bars 3-5, then a partial climax mf in bar 8 and a bright climactic f in bar 12. At the end of the piece, the music gradually fades and dissolves into pp.
In the rhythmic figure characteristic of the sarabande - a quarter with a dot - the eighth, students often do not listen to the full stop. Rhythmically you need to play in the part of the right hand and the dotted line - the eighth with a dot - the sixteenth, take into account that in all cases the eighth is accented; this gives the rhythm additional elasticity.
Particular work should be done on the tonic organ point, using the rehearsal possibilities of the piano, and playing the bass and tenor parts in a differentiated manner. To do this, the support from the fifth finger is removed (it gently repeats the organ point) and transferred to the remaining fingers. In a melodious tenor part, a strong first finger can naturally play the accents in bars 17 and 19 - to support the expressiveness of the soprano, to strengthen the sound of the chord. In this fragment, also feel the "talking" pauses in bars 16 and 18.
A piece may use a delayed pedal to mark changes in harmonies. 17, 19 and the last three measures can be pronounced on one pedal. This is facilitated by the organ point.
When playing holistically, students tend to drag out the tempo; the desire to overcome the chord vertical and find a natural, unhurried, fluid movement in the rhythm of the sarabande will help.
The relatively simple texture of the work does not mean that it is easy and accessible for the student to understand. The performance of a piece requires a sufficient amount of attention from the child, he must clearly show the polyphony of the piece, take into account the harmonic, phrasing, articulatory, dynamic, rhythmic features of the work. Only work on the conscious mastery of all components of the interpretation will lead to its meaningfulness.
2. Winter morning

The play captures not only a picture of a snowy, frosty winter morning, but also the psychological mood of the child. The work begins with a joyful D major, which soon modulates into parallel minor as if the joy is overshadowed by cloudy weather.
A potential mistake of the student is the division of music into separate links by measures, so the teacher should pay attention to the fact that each eight measures of the extreme parts of the piece must be pronounced in one breath, as if under a common league. Appropriate pianistic movements should be found so that each cell (measure) is integral part general movement. The collected hands are positionally transferred with soft, economical, synchronous movements. Along the way, springy spring supports with clear resolutions alternate within each bar, a general crescendo is carried out with culminations in bars 5 and 13 and the subsequent diminuendo.
Track the accuracy of the dotted rhythm, emphasize the roll calls in the soprano and alto parts in bars 5-8 and the soprano and tenor parts (bars 13-16). The same with slight changes in the reprise.
Contrasting middle part the play is very expressive. Its metricity (the same rhythm is repeated in each two-bar) must be overcome by performing means in the same way as in the extreme parts of the piece, to combine the two-bars, to pronounce them in one breath in a melodious, penetrating sound. Expressive accents should not delay movement. Do not smooth out dissonances. In bars 25-40, it is important to emphasize the bass line, which gives the fragment a special charm. You should work on the accuracy of the rhythmic figure - the eighth with a dot - the sixteenth, hear the roll call of the soprano and alto. Draw the student's attention to the clear, melodious performance of the culminating dotted line of this figure in bars 28 and 32, which runs synchronously in all voices. Movement rushes towards it, as if summing up the previous constructions.
In bars 39-40, the mysteriousness of p can be emphasized by a barely noticeable slowdown in tempo. You can also slow down a little at the end of the play.
In the extreme parts of the piece in each bar, the accentuation of strong beats can be supported by the pedal, and in the middle part and coda the pedal should help to reveal the melodic and harmonic features of the texture.
The difficulty of this work lies also in the fact that it is designed for a good reaction of the student, his ability to think at a fast pace.
3. Horse game
The student must introduce himself actor galloping on a stick or a toy horse. The bright colorful little toccata is reminiscent of the pizzicato Scherzo from Tchaikovsky's 4th symphony.
When determining tempo and movement, it is important to proceed from the fact that the metric unit here is a measure, and not an eighth. Musical thought fits into a four-bar.
From beginning to end, the piece is sustained in a four-part quartet chord structure. What happens naturally in the sound of a string quartet, where each voice is performed by a different person, is not at all easy to perform on the piano. Natural sound can be achieved if the student feels the change of harmonies, the logic of voice leading, and hears modulations. In chords, you need to achieve sound evenness, harmony.
Staccato is performed with the smallest movements of the brush with the tips of the fingers matched. The teacher will make sure that the student does not make any unnecessary movements over the keyboard, and with repeated notes, he uses a double rehearsal of the piano. Each subsequent sound or chord is played before the keys are fully raised. You should choose your fingering well to avoid unnecessary hand transfers.
When learning a piece, the student often touches extraneous keys. The chords sound dirty. Multiple repetitions do not improve the situation. Raise the fingers not participating in the game a little, they should not touch the keys. Crescendo and diminuendo are achieved by increasing or decreasing the intensity of touching the keys. At the moment of sonority amplification, the hand “connects” to the fingers, and then the forearm, and when the sound decreases, they gradually “turn off”. These pianistic techniques should be preserved even when moving to a fast tempo. If you apply only uniform vertical movements, then this will inevitably lead to rapid fatigue of the hands.
We emphasize that in order to master the piece, persistent work at a slow pace is necessary. After a thorough mastery of a piece at a slow pace, one should not immediately move on to a fast one. Often, some inexperienced young pianists make this transition all at once, and as a result, a piece at a fast tempo does not work out. In a slow tempo, the pianist gets used to a certain type of slow movement. If we go directly to a fast pace, then the hands begin to work hard and get tired quickly, the skills acquired at a slow pace are destroyed, and automation of movements cannot be achieved. At a fast pace, the fingers expend less effort - the shoulder and forearm take on part of the work, the sound becomes lighter and more defined, you should play closer to the keys. The transition from slow to fast pace should be gradual, so that the hands gradually get used to the new type of movement. It is necessary to find 5-7, and in some cases more intermediate gradations of tempo, from slow to the desired fast, achieving in each the accuracy of pronouncing the music. If there are roughnesses in the next faster pace, you should return to the previous pace, continue to grind the fragment that did not turn out. The teacher must carefully monitor the complex process of gradual automation of movements, make their own adjustments.
The principle of transition from slow to fast tempo applies not only to the play "The Game of Horses", it is universal and can be widely applied in pedagogical practice.

Already in the title itself lies the meaning of the work, which emphasizes the author's remark - "With great feeling and tenderness." It is necessary to establish what the child sees in this image, how he can capture it in interpretation.
The play is written in a polyphonic polyphonic manner. The bass and soprano sing in decima almost throughout its entire length, but their articulatory tasks are different. The lower voice is marked legatissimo (short slurs in each bar should not be taken into account, they correspond to the movement of the bow of string instruments according to a long tradition). The articulation of the right hand part conveys a variety of speech intonations. The great mastery of Tchaikovsky is manifested in the fact that up to 31 measures there is no reliance on strong beats in the presentation, and unfinished cadences are used in harmony, which emphasizes the through movement of music. His achievement is the main performance difficulty.
So from bars 1-8 and 17-24 in the right-hand part, the articulation slurs begin on the downbeats and gently resolve on the upbeats of the following bars. From the second half of bars 8 to 12 and from bars 24 to 28, short leagues, uniting two quarters each, follow one after the other, causing association with a pendulum. It also should not disturb the through development of music. Warn the student against possible error: left hand often out of solidarity plays with the same articulation as the right one. Elastic hand movements and well-chosen fingering will help to achieve legatissimo in the left hand part.
A precisely drawn out dynamic plan leads to a soft climax in measure 30, after which the young pianist should feel a good expressive "talking" pause. In the last six bars of the piece, the reliance on the strong beats of every second bar contrasts with the previous presentation, emphasizing the completeness of the utterance.

5. March of wooden soldiers

To embody the image, the young pianist must achieve the lightness, sonority of staccato, the “toy” sonority of the “March of the Wooden Soldiers”, to the sounds of a “toy” orchestra with flutes and a drum.
It is necessary to work on the elasticity and accuracy of the rhythm. In one case (bars 2-4) in the first half of the bar, the indicated dotted line - the eighth with a dot and the sixteenth are pronounced under the league, and in the second half the dot is replaced by a pause. In another case (bars 7, 15), pauses are placed in both the first and second half of the bars. These fine details must be followed exactly. Piano techniques require short, quick, precise movements of pointed, rounded fingertips. It is important to work on the chasing of chords and dotted rhythm, pay attention to the fingering; for example, rehearsals in 8, 16, 40 bars are best played with different fingers (sometimes they can be transferred to the right-hand part to make it easier).
The play never goes beyond r and rr. Accents should not disturb the dynamics, they further emphasize the “toylike” nature of the music.
A short pedal helps to better hear the exact sound of the texture, the strong beats of the measures, the accentuation of the chords.
It is necessary to warn the student against accelerating the pace, precisely following the author's instructions Moderato (Moderately).

6. Doll sickness

The play is one of the easiest in the "Children's Album", but it is fraught with certain difficulties. Pupils usually convey her character well - the doll is sick, suffering, moaning, complaining.
A common mistake is hearing only the vertical. Meanwhile, the young pianist should feel three sounding layers in horizontal development - melody, bass and harmony. Each of these elements of the composition has its own expressiveness. Merging together, they form harmony. Work on a melodious melody, expressive bass and harmonies that follow one another. When combining layers, you need to pay attention to the fact that each of them is independent, and, at the same time, to their subordination, help to find the sound ratio. Students, for example, usually "sit down" on a melodic note and do not feel the need to continue the melodic line. You can learn the melody separately, without pauses at a more mobile pace, in order to better feel its development. Gather harmonies vertically into a chord: it will be easier to hear them. Fingers will help in working on the sound, as if fused with the keys, taking them “close”, “warmly”, softly.
We note the great gradualness of the dynamic development, for example, the approach to the climax f in bars 21-24, followed by diminuendo, small dynamic influxes in bars 31-34 and, finally, the final “fork”, at the end of which you can slow down the tempo.
An excessively slow tempo is unacceptable, at which all the elements of the piece will inevitably fall apart - it is necessary to find a smooth fluid pulsation.
"Doll Disease" can be a good school for pedaling. In every measure except 9-16, gently take the dotted quarter-delay pedal in the left hand part and listen to it along with the melodic note until the end of the measure, and then gently release it when a new bass comes in. The same is true for every next step. In the second eight bar, also take the dotted quarter pedal in the right hand part and attach the harmony to the melodic note of the next bar.
The teacher should follow the pedaling technique so that the pedal is taken smoothly, not pressed to the bottom and does not cause a large number of overtones, which would be in conflict with the transparent nature of the music. You also need to pay attention to the discipline of the fingers. If they overdo the bass or harmony, then the next harmony will have overtones of the previous one.

7. Doll funeral

In a solemn funeral procession, gloomy in C minor, a funeral march sounds. At first, the funeral procession is far away, then it gets closer and closer, now it is already next to us, and then it starts to move away. In accordance with this, a dynamic plan is built (the play begins with pp, gradually develops to mf, and again returns to pp). Its accuracy is very important for revealing the image. As with every funeral march, attention should be drawn young pianist to a rhythmic figure (a half note, a dotted eighth note, a sixteenth note, and a half note again—students often turn a dotted eighth note and a sixteenth note into a triplet). In different performance situations, this game sounds differently - either as a mannered gait, or at the climax - chased, ominous. The gloomy nature of the music is emphasized by heavy chords and intervals in the accompaniment, which must be well coordinated with the melodic line. It is especially necessary to emphasize in the culmination of the seventh accod of the double dominant: it usually appears in Tchaikovsky in the most tense fragments.
The articulation is dominated by measured gait non legato. Expressive leagues in bars 17, 18, 21 and 22 must be heard to the end, but not connected with the next sixteenth. Legato (bars 31-33) should sound melodious, setting off the dominant touch.
The child should be aware that this is a puppet funeral and treat it like a game.

Waltz - pair dance, based on smooth whirling, one of the most common dance genres. In the work of Tchaikovsky, he took a worthy place. It is necessary to acquaint the young pianist with analogues - two or three samples from symphonies, operas, ballets or piano waltzes, for example, with "Nata Waltz" or the piece "December" from "The Seasons". It is useful to show him waltz "pas" or even teach him how to dance (children rarely know how to waltz these days). It is advisable to turn to a figurative comparison - the student must imagine that the waltz is performed at a holiday at school or at home.
The play is written in a complex three-part form in its small format version.
First of all, you need to take care of the waltz.
The left hand part is pronounced lightly, with a soft leaning on the bass. In the second period, the bass line acquires a certain independence, which should be emphasized.
When working on a melody, strive for melodiousness, clarity, plasticity, pay attention to syncopations in 2-4 measures. Light accents and pauses should not interrupt the movement. One should think of a through development, as if the bar line disappears under the influence of the element of dance. The melodic line tends to intermediate "intonation points" at bars 5, 7, 9 (also in the second phrase), and then to a small climax at bar 17. Further, the action is dynamized, the author writes out mf from 18 and f from 26 bars, which should not lead to weighting of syncopations, accents, or slowing down of movement. Short leagues and staccato give this piece a special elegance. The same is true in reprise. When performing the first part of the piece and the reprise with two hands, you need to make sure that the bass and chords in the part of the left hand are organically woven into the general outline of the non-stop waltz movement, find a good balance
melodic bass line and harmony.
In the middle part, students sometimes do not feel polymetry - combinations of a three-part waltz accompaniment with a two-part part of the right hand, do not feel two-voice. Sometimes the sonority is forced, which leads to a dull two-part (out of "sympathy" the left plays along with the right). The second phrase of the middle section can be played a little quieter, and at the end of it, slow down the tempo a little.
Carefully selected fingering can help the artistic performance of a piece. In the left hand part, in bars 1-16 and a similar fragment in the 5th reprise, the finger should be taken only on the bass.
Pedalization will help to identify danceability: connecting a delayed bass pedal with chords.

9. New doll

This is a subtle psychological sketch - the joy of a girl about a wonderful gift - a new doll.
When working on a play, the teacher and the young musician face "pitfalls". Performing means must be able to overcome rhythmic and textural monotony: in the extreme parts of the piece, the repetition in the right-hand part of the rhythmic figure - a quarter and an eighth, and in the middle - two eighths separated by pauses, which is further exacerbated by the monotonous texture of the accompaniment throughout the entire piece. In the extreme parts, the development and variety of wonderful expressiveness, flight, soft aspiration of the melody will be helped by the dynamics and subtle articulatory indications set by the author. These parts should be performed as if “in one breath”, to achieve gradual dynamics, melodious legato in measures 1-5, 10-13. The expressive pronunciation of "speaking" leagues (bars 6-9, 14-17) will help to reveal lively speech intonations. The same is true in the reprise. In the middle part of the piece and the coda, the student must find a subtle, "breathing" melody, follow the flexibility of intonations and the continuity of the development of music. In the dynamics accurately presented by the author, the climax falls on bars 24-25.
The left-hand part has its own difficulties - in each bar, in a group of repeated two-eighth notes, a soft support falls on the first, which should not interfere with the continuity in the development of music.
When playing a piece with two hands, make sure that the melody and accompaniment are in harmony. The left party followed the right all the time, like a thread behind a needle, and the change of harmonies in each measure was listened to.
For sound evenness and detection of articulation, we can advise you to play all the thirds in the accompaniment with only 2 and 4 fingers, and the melody of the middle part 2 and 3.
The pedal can be taken on strong beats of measures and a little more densely (but not longer) at climaxes by gently touching the foot on the foot of the pedal not to the bottom, so as not to cause unnecessary overtones and contribute to the transparency of the music.

10. Mazurka

The name of the Polish folk dance "Mazurka" comes from "mazur" - the name of the inhabitants of Mazovia. The mazurka is characterized by a tripartite meter and rhythm with a frequent shift in emphasis to the second and third beats of measures. These features must be taken into account by the performer. In the middle section of the dance from bar 19, the accent is emphasized first, and then in bars 32 and 33 and sf on the third beat. Often there is a second beat - tenuto on half (bars 1-4 and further in similar places), as well as a short league (bars 5, 13, 15). In some cases, both the second and third beats can be accented: for example, in bars 19 and 23, you need to gently show the second beat in the part of the right hand, and then the accent in the left on the third. At the same time, one should not forget about strong beats, find their “balance” with syncopations.
Scrupulous work is needed on the pronunciation of the short league and staccato in bar 5, staccato in bar 7, dotted lines in bars 16-18, the combination of staccato in the right-hand part and tenuto in the left (the first beat of bars 1-4 and further in similar fragments).
The dynamics change due to the change in performing situations: it gradually builds up in bars 21-23, 23-26, 28-31, and in bars 5, 19, 23, 27 and 31 is associated with a sudden change in mf-p.
The combination of lively rhythms, clear articulation and dynamics can lead to an interesting reading of the mazurka, a graceful graceful dance.
A distinct, precise touch of the matched fingertips on the piano keyboard, a slow tempo, a clear hearing of the harmony, a carefully selected fingering, as well as pedalization that helps to mark the strong beat, then the syncopation, will complete the work on interesting play.
11. Russian song

"Russian Song" is built on a genuine folk melody "Have you a head, my little head." This is an example of Russian folk sub-voiced polyphony, in which four-parts alternate with two- and three-parts.
With the same melody, the music varies due to the moving bass and undertones.
The song is written in periodic variable meter with alternating 6/4, 4/4 and 2/4 (except for the last six measures). To make the meter understandable to children, the author put down 2/4 everywhere, so you need to read 6/4, like 3 times

Quote message Through the pages of "Children's Album" by Tchaikovsky. Music in pictures

I have already referred to this wonderful work here:

Today, all the pieces from this album will be performed by the Gnessin Virtuosos Chamber Orchestra. Artistic director and conductor Mikhail Khokhlov. Videos made using drawings young artists IV children's festival Arts "January Evenings" (2010)

In March 1878, P.I. Tchaikovsky arrived at the estate of his sister Alexandra Ilyinichna Davydova.

AND menie A . I. Davydova
Now the museum of P.I. Tchaikovsky and A.S. Pushkin

In Kamenka, he fell unexpectedly, like snow on his head, and made a joyful commotion. The children of Alexandra Ilyinichna gave him such a concert that he had to plug his ears. Again the house resounded with "sweet, heavenly" sounds. Pyotr Ilyich settled comfortably in his room and was already scribbling something at his desk. A few days later he said:

Here, these pichugs, - he pointed to the children, - certainly want me to write "everything to the drop" in their album. I will write, do not be afraid. Write and play!

And he wrote for the "Children's Album" and played them with children.

Various children's games, dances, random impressions found their place in the album. Music both happy and sad ...

morning prayer

Lord God! Save, warm up
Make us better, make us better.
Lord God! Save, save!
Give us the power of your love.

Winter morning

Mother

Mom, very very
I love you!
So love that at night
I don't sleep in the dark.
I peer into the darkness
Dawn hurry.
I love you all the time
Mommy, I love it!
Here the dawn shines.
Here is the dawn.
Nobody in the world
There is no better mother!

Kostas Kubilinskas

Horse game

On my horse I fly like a whirlwind,
I really want to become a brave hussar.
Dear horse, riding on you
I gallop across the meadow famously with the breeze.

Brand new, beautiful soldiers and attract to them. They are just like real ones, you can line them up and send them to the parade. So they know how to march like real ones, but it’s so great that it just pulls you to march with them.

March of the wooden soldiers

We are wooden soldiers
We march left-right.
We are the guardians of the fairy gates,
We guard them all year round.
We march clearly, bravo.
We are not afraid of obstacles.
We protect the town
Where does music live?

While playing, children invent the most incredible stories. Looking at them, Pyotr Ilyich also came up with his own story and told it to the children, and not just told it. This story fit into three plays, which the children heard.

The first story told about the girl Sashenka, who loved to play with her doll. But suddenly the doll got sick. The doll lies in the crib, complains. He asks for a drink.

Doll sickness

The girl is very sorry for her doll. Doctors are called to her, but nothing helps. The doll is dead.

The play "Doll's Illness" is followed by "Doll's Funeral".

Everyone came to the funeral, all the toys. After all, they loved the doll so much! A small toy orchestra accompanies the doll: The monkey plays the trumpet. The bunny is on the drum, and the Bear strikes the timpani. Poor old teddy bear, he's soaked with tears.

Doll funeral

The doll was buried in the garden, next to a rose bush, and the whole grave was decorated with flowers. And then, one day, my father's friend came to visit.

He had a box in his hands.

- This is for you, Sashenka! - he said.
“What is it?” Sashenka thought, burning with curiosity.

A friend untied the ribbon, opened the lid and handed the box to the girl ...

There lay lovely doll. She had big blue eyes. When the doll was shaken, the eyes opened and closed. A pretty little mouth smiled at the girl. Blond curly hair fell over her shoulders. And from under the velvet dress, white stockings and black patent leather shoes were visible. A real beauty!

Sashenka looked at the doll and couldn't get enough of it.

- Well. What are you? Take it, it's yours, - said my father's friend.

The girl reached out and took the doll out of the box. A feeling of joy and happiness overwhelmed her. The girl impulsively pressed the doll to her chest and whirled around the room with her, as if in a waltz.

What a blessing to receive such a gift! Sasha thought.

New doll

The petals have grown cold
Open lips, childishly wet, -
And the hall floats, floats in lingering
Songs of happiness and longing.
The radiance of chandeliers and the swell of mirrors
Merged into one crystal mirage -
And it blows, the ball wind blows
The warmth of fragrant fans.

I. Bunin

Waltz

Mazurka

"I grew up in the wilderness, from my earliest childhood, I was imbued with the inexplicable beauty of the characteristic features of Russian folk music," wrote Tchaikovsky. The composer's childhood impressions, his love for folk songs and dances are reflected in three plays"Children's Album": these are "Russian Song", "A Man Plays the Harmonica" and "Kamarinskaya".

Kamarinskaya

In Kamarinskaya, a balalaika tune is imitated. And it was written in the form of variations, which is very characteristic of Russian music.