The history of the creation of the march of wooden soldiers by Tchaikovsky. Children's classical music

Quote message Through the pages" children's album"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 wooden soldiers

We 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 was completely wet with tears.

Doll funeral

The doll was buried in the garden, next to 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 childhood, the earliest, imbued inexplicable beauty characteristic features of the Russian folk music," wrote Tchaikovsky. Childhood impressions of the composer, his love for folk song, dance 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.

P.I. Tchaikovsky "Children's Album"

It is known that Pyotr Ilyich Tchaikovsky loved children very much and understood them well. This is what he says famous phrase about what flowers, music and children make up the best decoration life. It is not surprising that the children's theme literally permeates all of his work, and the collection of plays "Children's Album" was the first such work in Russia. Later, this cycle was included in the golden fund of compositions written especially for children. It's not just a collection, it's the whole world, Wonderland, retold in sounds.

History of creation

Tchaikovsky was prompted by two factors to write a collection of short plays especially for children. First, they served as an example Robert Schumann. Pyotr Ilyich also wanted to compose a cycle of simple pieces, like an "Album for Youth", which children could freely perform.Secondly, to the idea of ​​composing such a work, Tchaikovsky prompted communication with his nephews. It is known that the composer was very warm to the children of his sister, often visited them, told different stories about his travels, played with them, and also listened with interest to all their stories.

Tchaikovsky first mentions his intention to compose a collection of children's plays on February 26, 1878, in a letter to his publisher while in Florence. A month later, the composer begins work on the cycle. On April 30, 1878, during a visit to his sister A.I. Davydova in Kamenka, he writes to P.I. Jurgenson, reporting on his work on the "Children's Album".

There is no information about the very process of composing the cycle, it is known that it was written by the composer rather quickly. About a month later, in his letter to N.F. von Meck Peter Ilyich wrote that he had composed all the plays and now it would take another month and a half to put the cycle in order and edit everything.

On June 29, in his letter to the publisher, Tchaikovsky sent the manuscripts of all the works written at that time, including a collection of children's plays.

Researchers suggest that the idea of ​​dedicating the collection to his nephew Volodya Davyvod came to Tchaikovsky after the end of work on the essay. It is known that in the summer of 1878 the composer spent a lot of time with him in Kamenka. There is no dedication in the autograph of the collection, but in his letter to N.F. von Meck Tchaikovsky already tells in detail that he decided to dedicate the cycle to his nephew, who loves music very much and even promises to become a musician. It is obvious that Tchaikovsky expressed his decision to the publisher at a personal meeting in late September, early October 1878.

Interesting Facts

• It is known that Tchaikovsky received 240 rubles from the publishing house for his work. This is the price set by the composer himself - 10 rubles for each piece.
• Researchers believe that the reason that prompted the composer to start writing a collection of children's plays could be very vivid impressions from a street singer's song heard in Florence. Tchaikovsky even wrote about this incident in a letter to his brother on March 27, 1878. The composer was especially shocked by the performance of such a “non-childish” song by a boy singer, which in his interpretation did not sound as tragic as in the original.

• There is another factor that influenced Tchaikovsky's decision to compose the "Children's Album" - this is communication with Kolya Conradi (a pupil of the composer's brother). It is known that with Kolya and with M.P. He spent part of the winter of 1877-1878 as Tchaikovsky. Together they visited the sights, traveled a lot.
• Initially, Tchaikovsky conceived a slightly different order of the pieces, which was already changed in the first edition, carried out with his participation.
• Despite the fact that the collection was originally intended specifically for children, it has firmly entered the global musical literature and it is often performed even professional artists. Suffice it to recall the version of Ya.V. Flier, which is familiar to many thanks to the surviving audio recordings. The versions of M. Pletnev and V. Postnikova are a highly artistic example. Pletnev brings his vision to the reading of this work. He changes the order of the numbers, putting forward his own version of the collection's dramatic concept.
• Pyotr Ilyich highly appreciated the first edition of his collection, but he still did not like some points. Yes, he was sorry about appearance"Children's Album". He wanted the format of the collection to be different, since it would be very inconvenient for Volodya (to whom the composition is dedicated) to look at the notes while playing. The composer also had complaints about the illustrations.

• In all editions Soviet period Name last play"In the church" was specifically changed to "Choir".
• Interestingly, the idea of ​​creating such collections of miniatures for children was later addressed by such composers as A.S. Arensky, V.I. Rebikov, S.M. Maykapar.
• Exists a large number of arrangements children's collection Tchaikovsky for the most different instruments and even orchestras. For example, Vladimir Milman and Vladimir Spivakov made an arrangement for chamber orchestra. Thanks to the efforts of Robert Groslot, an arrangement for chamber orchestra and wind ensemble. There is a score of the "Children's Album" for the ensemble percussion instruments, which was revised by Anatoly Ivanov, and a little later, in 2014, an arrangement for string orchestra and percussion instruments, made by composer Dmitry Batin.

The "Children's Album" includes 24 plays that have their own individual title. The program content of the collection is built in a certain sequence: morning, afternoon and evening. In addition, several storylines are viewed in the cycle at once.

The first storyline reveals to the audience the images of the awakening of the child and the beginning of the day.

"Morning Prayer"- this is an incredibly beautiful, bright, contemplative play that evokes thoughts about God, about the soul. Tchaikovsky succeeded miraculously transfer to piano music choir singing. The melody of this piece seems to be woven from live intonations, thanks to a special presentation. The mood of concentration is also conveyed by uniform rhythmic movement, texture of presentation, simple harmonic language and light tonality.

Second play "Winter morning" brings a different mood to the morning peaceful atmosphere. Inclement weather (cold, with a snowstorm and a blizzard) is very accurately conveyed by the disturbed and transparently enlightened music that replaces it. The middle part introduces a certain shade of sadness, which further sets off the onset of the reprise.

"Winter Morning" (listen)

Third play "Horse Game" opens storyline toys and children's room. This short piece conveys the clatter of hooves very accurately thanks to the uniform rhythmic pulsation that brings it closer to the toccata. The image of the toy horses helps convey the three-part meter, which in this case sounds light and lively.

In a play "Mother" The music is very simple, but full of spiritual experiences. It is presented in the form of a duet: the lower voice has a warmer timbre, and the upper one is clear and bright. In general, this piece is very harmonious, soft, even the composer did not choose the meter by chance, since the three-part pattern gives the music roundness and softness.

In the play, Tchaikovsky reveals main image very clear rhythmic pattern and precise strokes. The composer managed to very accurately convey the clear, almost mechanical movements of the soldiers to the beat of the drummer.

March of the Wooden Soldiers (listen)

The following pieces (6,7,8,9), forming a small suite, reveal another storyline that tells about a complex, serious mental life small child, feeling everything as acutely as adults.

"Doll Disease" introduces a completely different figurative structure. Sad music conveys the experiences of a little girl who is so overplayed that she takes everything seriously and is very worried about her beloved doll. Interestingly built musical fabric a piece that does not have a continuous melody. Pauses, as well as mournful intonations, convey the "sighs" and "groans" of the doll. After a tense climax, everything ends with a "fading" coda.

Play "Doll Funeral" has another subtitle, which was given by the author himself - "In imitation of Schumann". In terms of figurative structure, this miniature is very similar to the "First Loss" by Robert Schumann from his "Album for Youth". The composer took the child's feelings seriously, displaying the genuine feelings of the little heroine.

"Waltz" quite suddenly breaks into the course of the story, replacing sadness and sadness with fun. Why waltz? This dance was one of the most popular and beloved in the 19th century, and it sounded not only at magnificent balls, but also at home holidays. "Waltz" from the "Children's Album" conveys the atmosphere of a home holiday.

"Waltz" (listen)

"New Doll"- this is a continuation of the fun, because the girl is very happy with her new toy. She dances and spins with her new doll. Music very accurately conveys the mood of a little girl, a feeling of delight and joy. The piece resembles a waltz, however, it sounds very fast, the usual 3/4 time signature is doubled.

Rapid Polish dance "Mazurka" continues the line of dance miniatures in the collection. But in Tchaikovsky it has a more chamber character, and therefore the first theme of the play is calm, elegiac.

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. The videos were made using drawings by young artists of the IV Children's Art Festival "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 was a beautiful doll there. 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 pieces of the "Children's Album": these are "Russian Song", "A Man Plays the Harmonica" and "Kamarinskaya".

Russian song Kamarinskaya

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

Changes in the composition of the cycle of the first edition by P.I. Jurgenson introduced it deliberately so as not to overload the imagination of children and soften the depth of the experiences of an adult when transmitting to young musicians.

In the autograph, an arched structure (small combinations of pieces) can be traced in the composition:

First three plays:

• 1. "Morning prayer".
• 2. "Winter morning".
• 3. "Mom".

Next two:

• 4. "Game of horses."
• 5. "March of wooden soldiers."

Doll Trilogy:

• 6. "New doll."
• 7. "Disease of the doll."
• 8. "The Funeral of a Doll" (from 4-8 plays can be combined into a small cycle called "Children's Games").

Three foreign dances grouped together:

• 9. "Waltz" (from 1-9 pieces can be called the 1st Children's cycle).
• 10. "Polka".
• 11. "Mazurka".

This is followed by three pieces in folk spirit and further without changes. Only two latest numbers in the autograph, they are arranged differently: first the play “In the Church” sounds, and then “The Organ Grinder Sings”.

There is a Hero in the cycle. His presence is felt in all plays. The main Hero has his own key D-dur. It symbolizes the presence of a character in a particular play, sometimes the composer is limited to one tone (sound) - D at the beginning of the play.

There is the main tonality of the G cycle - dur. It contains plays that characterize the fateful milestones in the life of the hero: "Morning Prayer", "Mother", "Song of the Lark", "The Organ Grinder Sings". There is a secondary tone of the e-moll cycle (the play is written in it - the epilogue "In the Church"). There are symbols: ostinato (lat. stubborn, stubborn) - repeated repetition of a melodic, rhythmic figure, or a harmonic turn, or sound. It is a symbol of the inevitability of time. In "Morning Prayer" it sounds light, "In the Doll's Sickness" - doomed, the middle of "Waltz" - an alarming background, in "Nanny's Tale" - a feeling of fear, "In the Church" - a fatal sound. Another symbol is the association (feeling) of the swing of the pendulum. This is the alternation of two opposite elements: either two sounds, or two harmonies, two keys, two images. It is a symbol of rebirth, repetition. For example: the title of the plays "Morning Prayer" and "In the Church" these plays are opposite. This is a symbol of dual unity: light - darkness, prologue - epilogue, written in parallel keys.

Winter morning.

Genre: Piano miniature in B minor from the cycle "Children's Album", op. 39.

The ghostly enlightened music draws a misty frosty morning. Light texture, slightly pointed rhythmic pattern of intermittent intonations create the impression of variability, unsteadiness, reminiscent of running light glare.

Music, as always with Tchaikovsky, develops very naturally, because it is easily perceived and remembered. Naturally, in particular, a slight increase in sonority in phrases that rise up, and attenuation, in motives going down. And since each ascending motive is followed by a descending one, such a development is perceived as naturally as inhalation and exhalation. It is not always realized, but always felt. Repetition in different voices the same intonation forces the pianist to take care of the transmission of this dialogue, so that the conversation of voices would be witty and interesting.

In the middle part there is a hint of some sadness. It can be emphasized by a warmer emotional tone of the sound of a descending melodic move. It is worth paying attention to how the middle part is built: in it, each voice acquires independence. The lower voice, filled with chromatisms and creating more complex harmonies, acquires a darker timbre. This sets off the onset of the reprise, that is, the middle part, in which everything that was in the first is repeated, and the bright lively character of the music is restored.

one compositional feature this play is worth noting. The main key of the piece is in B minor. The play ends in this key. It usually happens that the piece begins in the same key. Less commonly, the tonalities of the beginning and end are different. When this happens, it happens in works of a large scale, in which such a “discrepancy” between the keys of the beginning and the end is justified by the complex dramaturgy of the work. In plays of small form, in which such dramatic development does not occur, such discrepancies are little justified. This piece is a rare exception in this sense: it is both small in size and deviates from the traditional construction of its tonal plan. At the same time, it sounds very harmonious and natural - you don’t even immediately realize this originality of it.

March of wooden soldiers.

To embody the image, it is necessary to achieve lightness, staccato sonority, 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 measure, 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, strong beats measures, accentuation of chords.

It is necessary to warn against accelerating the tempo, precisely following the author's indication of Moderato (Moderately).

Doll disease.

When performed in horizontal development, there are three sounding layers - 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.

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 elements of the piece will inevitably fall apart - it is necessary to find a smooth fluid pulsation.

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 (half, dotted eighth, sixteenth and half again). In different performing situations, this game sounds differently - either as a mannered gait, or at the climax - chased, ominously. 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.

When performing, you should be aware that these are puppet funerals, and treat them like a game.

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 subvocal polyphony, in which the four-voice alternates with two- and three-voice.

With the same melody, the music varies due to the mobile 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 2/4, and 4/4 -2 times 2/4. This should be taken into account when the ratio of beats within measures, for example, in a 6/4 measure main support falls on the first long, and the third and fifth beats should be felt only as intermediate.

It is important to follow the intonational liveliness of the bass part from bar 13, accurately fulfilling the articulation prescribed by the author (a combination of expressive leagues, accents, staccato and non legato), while retaining the features of the meter.

The composer wrote out throughout the work f. Within its limits, find the gradations of sonority. Any forcing will contradict style features Russian song. To prevent this, you need to use unifying horizontal pianistic movements, read six-quarter and four-quarter bars as if under one common league.

musical composer Tchaikovsky

Genre: Piano miniature in C minor from the cycle "Children's Album", op. Z9.

In music written for children, one feels careful attitude to the experiences of the child, understanding their depth and significance. Listening to this play, you pay attention to the seriousness, genuineness of feelings little hero on the respect with which the composer treats the personality of the child.

It was no coincidence that Tchaikovsky gave the subtitle to his cycle “In imitation of Schumann”. This play unwittingly reminds of "The First Loss" from "Album for Youth" by R. Schumann.

The play is permeated with the characteristic rhythm of a typical funeral march, but this feature does not really make a funeral march out of the play. Sometimes in the literature one can come across the assertion that here Tchaikovsky reproduced the sound of the choir. It seems to us that this music can rather be imagined in an orchestral rather than a choral version. But be that as it may, both while performing and listening to this piece, one should not take everything too seriously. Still, the composer creates the impression of a funeral with sounds dolls: the element of the game here should not completely disappear.

This one-page play is written as a three-movement (favorite musical form P. Tchaikovsky in piano miniatures). If we imagine it in an orchestral sound, that the extreme (identical) parts are associated with wind instruments, while the music middle part could be performed by strings, for example, by a string quartet.

Notes

1 Here is a good opportunity to talk not only about the art of composing music and not only about the art of performing it, but also about the art of listening to it. Of course, no one has the right to forbid the listener to have certain ideas and fantasies, but sometimes these fantasies are initially directed in the wrong direction. The 20th century, with its cataclysmic world cataclysms, prompts - and this is quite natural - to look at many things in the past (and what came from the past) through the prism of this human experience. As a result, such popular work like Haydn's "Farewell" symphony, written as humorous or, to put it mildly, ironic, is perceived as tragic.

© Alexander MAYKAPAR