Name take my heart to the ringing distance. "Take my heart into the ringing distance..." I see, I hear, I'm happy

"Singer" Afanasy Fet

Take my heart to ringing distance,
Where, like a month behind a grove, sadness;
In these sounds on your hot tears
The smile of love gently shines.

O child! how easy it is among the invisible swells
Trust me in your song:
Higher, higher I swim the silvery way,
Like a shaky shadow behind the wing.

Take my heart to the ringing distance,
Where meek, like a smile, sadness,
And higher and higher I will rush along the silvery path
I am like a shaky shadow behind the wing.

Analysis of Fet's poem "To the Singer"

The origins of Fet's lyrics are in romantic poetry, more specifically, in the work of Heine, Byron, Lermontov. The general public became acquainted with the poems of Afanasy Afanasievich in the 1850s and 60s. Then, in Russian literature, practically the dictates of adherents of civil poetry, led by Nekrasov, were established. In their opinion, poetic works must certainly be written on the topic of the day. Fet, who believed that art should be interested only in beauty, fell somewhat out of place. Contemporaries did not accept his lyrics, considering it too incomprehensible, not reflecting actual problems society.

The worldview of Afanasy Afanasievich has always been close to ancient philosophy. It is in it that one should look for the roots of Fet's worship of beauty and nature. Of the Western thinkers, he valued Schopenhauer the most. The poet was well aware of the general tragedy of life, but the prevailing intonation of his lyrics still remained the delight caused by the contemplation of beauty, the rapture of love. Fet was distinguished by a unique ability - "to catch the elusive", to find an image and a name for what before him was only "a fleeting sensation of the human soul."

In his poems, Afanasy Afanasievich came as close as possible to music. Trying to express in words a vague, obscure mood, he often resorted to a melodious melody. Often the poet painted a sound picture using visual associations, which can be seen in the work "The Singer", written in 1857. The emotions caused by listening to the song, Fet is trying to clothe in specific images- “ringing distance”, “the smile of love gently shines”, the artist’s voice fades, only to return later, “to strike with a ringing tide of pearls”. Afanasy Afanasievich selects bright, non-trivial means artistic expressiveness. He does not intend for readers to interpret them literally. The task of paramount importance is to convey general mood. Combinations of words, interweaving of images should be perceived as a single musical chord, in which the harmony of the whole does not imply listening to individual sounds. The songlike nature of the poem is emphasized and compositional construction- in the final stanza, Fet, with minor changes, combines the first two verses of the initial stanza with the last two verses of the second stanza.

Music lesson in grade 6 on the topic “Take my heart into the ringing distance”

The purpose of the lesson: To realize the degree of influence of the creator's personality on the creation of a work of art by him, to reveal the expressive and semantic essence musical works and juxtaposition of musical images.

Lesson objectives:

Educational: to introduce the features of the vocal-instrumental genre "romance" in the work of Sergei Vasilyevich Rachmaninov.

Educational: to form the needs and abilities through the art to join the spiritual culture.

Developing: to develop a culture of artistic perception.

Equipment: works by S. Rachmaninov, E. Beketov “Lilac”, the text of the romance Yu. Nagibin story “Lilac”, fragment.

Technology: development technology cognitive interests, technology for the development of the perception of musical works.

During the classes

We will start today's lesson with an unusual question: do you follow fashion?

Pupils: The answers are different (more often boys answer negatively, girls answer positively).

You probably pay attention to how your peers are dressed, what they wear, what mobile phones enjoy what kind of music they listen to. Probably each of you has favorite work that we listen to or perform in a music lesson. Could you invite your friends to listen to your favorite classic?

Pupils: Most often they answer in the negative.

Why?

Students: She is not fashionable, but she still likes it.

Then why do you prefer to listen to this music alone? What does a person need to have in order to defend his priorities, to demonstrate them to others?

Students: Knowledge, courage, because the desire to look “like everyone else” makes a person keep his opinion to himself.

How would you react to a person who managed to defend his opinion and prove that certain music occupies one of the main places in his life?

Students: With great respect.

Why do you respect him?

Students: He strong man, Individuality, Personality.

Today we will get acquainted with the life and work of just such a person who lived and worked on turn of XIX-XX centuries. This is a Russian composerSergei Vasilyevich Rahmaninov (showing a portrait). Pay attention to the years of his life, he was not yet thirty years old, and the 20th century came, a turning point for Russia. The collision of the new with the old in all spheres of life, including art. The time associated with the First World War and the revolutions that engulfed all of Russia. How do you think, how composers, artists, poets should have behaved, having felt the influence of the new time?

Students: Keep up with the times, look for new ways to embody your creativity, look for new means of expression.

You are right, many have done just that, merging with new ideas of transforming society. And many reproached S.V. Rachmaninoff in old-fashioned for not abandoning traditions classical art. And he said: “I don’t want, for the sake of what I consider only fashion, to change the tone that constantly sounds in me, through which I hear the world". How do you understand his words?

You are absolutely right, because every person's soul is both joyful and sad, and this can be told with music.

S.V. Rachmaninov was called greatest composer and pianist of all times, and as a pianist he has traveled all over the world. And wherever he performed, he was given a bouquet of white lilacs. For the composer, lilac was a symbol of the Motherland. Why do you think?

Students: Childhood memories, a lot of lilac where he was born, a favorite flower. (lilac image)

You are right, Rachmaninov's birthplace is the Novgorod region. Here he was filled with old tunes, chimes, here in him “boundless love for Russia and for everything Russian, folk. And even in his music he used the image of lilac.

Listen to the romance of S.V. Rachmaninoff “Lilac” and tell us what feelings, sensations the composer put into the music?

Romans S.V. Rachmaninoff "Lilac" Lemeshev

The romance tells about love, tenderness, in the music one feels transparency, the crystalness of the air, easy breath fragrant branches.

And you are right, dreamy, thoughtful intonations grow into a singsong melody. The freshness of the early spring morning emanates from the music of the romance "Lilac". This is no coincidence. What do you think could be the inspiration for writing this romance?

Students: Perhaps the composer was happy because he felt the scent of lilacs, saw the beauty of nature, he was just fine, and perhaps love came to the composer ...

You are right, it was the best time of the composer's life, because he spent every spring and early summer in Ivanovka. In one of his letters later, Rachmaninov wrote: “It was here for a long time, when I was still very young, that I worked well.” These memoirs of the composer formed the basis of a fragment of the storyY. Nagibina "Lilac".

Reading a fragment of the story by Yu. Nagibin "Lilac"

“Heavy thunderstorms, which were not allowed at the beginning of June ... exacerbated the confusion in the universe. And the lilac blossomed all at once, in one night it boiled in the yard, and in the alleys, and in the park. And when Verochka Skalon ran out into the garden in the morning,... she gasped,... struck by the wondrous splendor of the lilac riot. Verochka carefully parted the branches and, a step away, saw Seryozha Rachmaninov, the nephew of the owners of the estate. He raised the brushes of lilac with his palms and immersed his face in them. When he raised his head, his forehead, nose, cheeks and chin were wet, and petals and tubes of flowers were glued to his eyebrows with a thin string of mustaches. He chose a medium-sized brush and carefully took it into his mouth, as if he was going to eat it, then just as carefully pulled it out of his mouth and swallowed something. Verochka followed suit, and her mouth filled with bitter cold moisture. She grimaced, but nevertheless repeated the experiment. I tasted white, then blue, then purple lilac - each had its own flavor. White is like licking a cork from my mother's French perfume; purple gives off ink; the most delicious - blue lilac, sweetish, smelling of lemon peel ... "

Why do you think Rachmaninoff tried to taste lilac? Wasn't there enough fragrance in the air in the garden?

Students: The different color of the lilac made him want to compare not only the aroma, but the taste.

Did you notice different intonations in the melody of the romance, or was it saturated with one color?

Students: There was a development in the melody that filled it with a whole color palette. For example, in the second part of the romance, more intense intonations sound. They express feelings of excitement and dreams of happiness.

Then with what colors would you depict this romance and why?

Students: You need to take transparent, light, tender watercolor paints(pink, lilac, blue, green), because the music is airy, tender, transparent, refined, filled with the scent of lilac.

Listen to two versions of Rachmaninov's romance "Lilac" and answer the questions:

What is the difference between the two performances of this romance? What image does each of the performers create?

Romance by S. V. Rachmaninov “Lilac” performed by a female voice

Transcriptions of the romance performed by Sergei Rachmaninoff.

Students: Both options are the same in melody, rhythm, tempo, but different in imagery. After all, one of the options was performed by a soprano, the second - by a pianist .

You are absolutely right, you have heard the vocal and instrumental versions of the romance “Lilac”, while note that the piano part in the second version was performed by the author himself, Sergei Rachmaninov! This means that each performer, especially the author, put his images, feelings, sensations, emotions into music. How do you see the difference in musical images, what image does each of the performers create?

Students: In the first work (vocal performance) you can see vivid images reviving nature, hear the sound of the wind, the breath of spring. The second work (piano performance) draws, rather, the image of a person, his feelings, thoughts, excitement, experiences. This happens because the author himself performs the romance.

Having found out what is the difference between musical images, we will determine with what visual images they will be combined.

Students: Vocal performance - more transparency, saturation of fragrant air, an image of peace, serenity, contemplation. piano performance- excitement, improvisation, a feeling of happiness.

Listen to the work of Rachmaninoff, think about what name you can give it.

S.V. Rachmaninov "It's Good Here" Anna Netrebko

D.: lead various options and explain why.

What do you think is the main phrase?

D: "It's just me and God"

Why then the name of the romance: "It's good here"?

D: Good with God.

Where is God?

D: In my heart.

Right, this image called Lyrical-Psychological.(Write in the sun.)

You met with two images, the first: ...

D.: lyrical-philosophical and lyrical-psychological.

Nikolai Gedda - S. Rachmaninov, romance "DO NOT SING, BEAUTY, WITH ME ..." (verses by A. S. Pushkin)

Poems aloud n.s. - there is a moment .. (I.Z.) music. Leonid Kogan (violin), Nahum Walter (piano) - S. Rachmaninov - Romance for violin and piano in D minor op. 6

Summing up our lesson, we can draw the following conclusions:

Composer, artist, writer, as well as performer create their own image, expressing their inner state.

Visual images enhance the perception of listeners, make the original musical image more diverse and rich.

Homework: draw color scheme impressions from the romance "Lilac".

It was a sunny, warm September day. Our old Zhiguli with a shabby green metal roof rack was quickly walking along a free road,
leaving the city. The road either rose slightly smoothly, then descended from the small hills of our Central Russian Upland, passing villages, fields and copses. Village houses began to look more cheerful, now they were upholstered with siding, metal fences were put up.
From afar, we saw an old woman hurrying out onto the carriageway with her hand raised. The son braked, but the car drove past her. She trotted over to us. He gave reverse and stopped.
- Will you pick me up? - she asked, - Tutochki not far.
Sitting in the back seat, she spoke for a long time and enthusiastically, what good people we are.
- ... the bus then an hour to wait. God bless you...
- good road built, I noticed.
- Well, the roads are well paved. Our new governor is trying. It's temporary for now. Let's choose it.
To the right, a small new cemetery with a chapel appeared.
- Here, we have a new cemetery. It has become good to bury: they will dig a grave, and bring it, and the priest will sing ...
She kept talking and saying that it became better to live and better to die, it seemed
that he wants to somehow please us in gratitude for the fact that we stopped the car.
“Here is my village, stop here,” he said to his son and handed him some small change, clenched in his fist.
- What do you? Don't, I said; but she put the money on the seat and with difficulty rather
got out than got out of the car. We started off and she smiled and waved to us.
The village and the asphalt were left behind. We were already driving through the field, along the soft earth of a country road, which went, meandering, now up and down along our Central Russian hills. The son kept looking at the navigator. We either skirted small copses, then again went out to deserted, abandoned fields. No car, no man, no housing, - only this desert and the sky with pre-autumn clouds above it, and sometimes a lonely bush flashes with its red, autumn foliage.
"How so? After all, it was agricultural land. So steel is not needed? - I thought.
The road kept winding, it seemed that we were going forward and then back. I began to worry that I might be lost. And no one to ask.
A man appeared in the distance. He walked towards us in the middle of the road. We were approaching his big awkward figure; he had a stick in his hand, which he raised, throwing the bag over his shoulder, threatening us. It was impossible to go around it: our "Zhigulyonka" would not have mastered the heap of dried clods of earth along the road drowned between them. The son stopped the car. I went out and said, greeting:
- Can you tell me where Fet's estate is? We are lost.
The man dropped his stick.
- Fet's grave? - he asked again and, pointing with a stick into the distance to the copse, he added, - You need to go there, behind the forest to the left, then across the field back, then again ...
In dirty clothes, he was huge and scary with a once torn, bumpy face in old scars, probably received in a fight or from dog bites.
“Come on, I’ll show you the way, and then you’ll take me to the city,” he suggested.
“No, we won’t be returning today,” I lied.
A jeep appeared from the direction of the coppice, and the peasant, raising his stick, aimed at him. There were three men in the jeep. They also did not want to take him, but, fearing a conflict, they nevertheless let him into the car. He climbed into it like a bear, and the jeep, having crossed the dry clods, parted with us.
We continued on our way, trying to keep in mind the turns the man spoke of. The uncultivated land was replaced by black arable land, and here is the tractor standing on it, and the man next to it. They asked if we were going right, it turned out right. A few more turns, and saw the dome of the church.
This is the village of Kleymenovo, which once belonged to the poet. We stopped near an old high church. I pushed the heavy iron gate of the fence, it slowly yielded, and we found ourselves in a yard with such huge, old trees that probably grew there during the life of the master, and younger, planted later firs. The sun shone warmly and brightly through the yellow foliage. The walls of the temple of ancient red brickwork rose high into the sky. Silence and silence all around.
The church is closed. Nobody around. In the fenced area, where there was once a cemetery, not a single grave, not a single mound remained. Only the pitiful flowers at the entrance, planted in the spring, said that someone had laid a hand on this earth.
We saw an open iron door and steps leading down. Went down. In the twilight near the left wall from the entrance, two graves were not immediately discerned. The walls of the crypt were recently whitewashed, and everything around: both the floor and the gravestones were covered with lime. A single electric bulb came down from a low ceiling; but there was no light.
On the last slab, someone cleared one word "Fet". Looking closely, I hardly read that this was the grave of the poet's wife. His grave is closer to the wall. They began to clean off the lime, sweeping it off the slabs as much as possible with their hands, revealing the inscriptions. The slabs were no longer the same as they had once been. On Fet's grave lay a withered viburnum branch with still red berries. I put it down again.
When they came out of the crypt, the late afternoon sun was somehow surprisingly shining; wind,
warm and affectionate, not at all autumnal, circling in the air Maple leaves, and, it seemed to me, from somewhere far away the words are heard:

The sun is setting and the wind has died down,
There is no trace of those clouds pierced by fires;
Here on the outskirts trembled alive and non-burning,
All this steppe illumined and extinguished beam.

Good morning.

(Play a tune the first part of the romance "I remember a wonderful moment")

Where is this passage taken from?

D.: From M.I. Glinka's romance "I remember a wonderful moment"

The previous lesson ended with the fact that we determined the form of the work, what is it?

D.: Three-part reprise form.

Why is the form reprisal?

D.: The third part is a repetition of the first.

Why then is it not a two-part reprise form?

D.: The reprise plays a role - the assertion that even though years have passed, love has remained.

Did Glinka manage to convey with music what Pushkin put into the lines of the poem? Why?

D.: Yes. He loved too.

Mikhail Ivanovich's feelings were deep for Ekaterina Ermolaevna Kern. Under the influence of love, the composer created another work for piano called “Waltz-Fantasy”.

As you listen, refer to the portraits of women on pages 22-23.

(Listening to a work based on excerpts by M.I. Glinka - “Waltz-Fantasy”)

Does this work fit the image of at least one girl?

D.: yes (each shows a portrait of a different lady)

All shown various portraits dear ladies, answer, on what basis did you choose this or that portrait?

D: Children's answers.

Anton, look at the woman in the portrait, can you tell what she is?

D.: Children's answers. (no)

Artists of the 19th century depicted people as indefinite, mysterious, as strangers saw them.

Listening to the work, you could not decide on a picture that is more suitable for musical image, because the composer, composing the work, was surrounded different women, opposite in appearance, but were different images constantly sounded?

D.: One image was repeated periodically.

Whose image is this?

D.: ….

(playing musical lines on page 20)

What does this tune sound like?

D.: Yes, to the tune of the romance "I remember a wonderful moment"

Right, so this melody is assigned ....?

D.: Ekaterina Ermolaevna Kern.

Why is she repeating herself, because Katenka was not around, Glinka was abroad.

D.: He does not remember, because he loves.

Why do you think this title was given to the work?

D.: Waltz - because in the rhythm of a waltz ...

Fantasy, since all the feelings experienced by the lovers were deep, but both of them were not free and not very decisive, so there could be no question of practical implementation.

I propose to get acquainted with the life and work of just such a person who lived and worked at the turn of the XIX-XX centuries. This is the Russian composer Sergei Vasilyevich Rachmaninov. Pay attention to the years of his life, he was not yet thirty years old, and the 20th century came, a turning point for Russia. The collision of the new with the old in all spheres of life, including art. How do you think, how composers, artists, poets should have behaved, having felt the influence of the new time?

D.: Keep up with the times, look for new ways to embody your creativity, look for new means of expression.

You are right, many have done just that, merging with new ideas of transforming society. And many reproached S.V. Rachmaninoff in old-fashionedness for not abandoning the traditions of classical art. And he said: “I don’t want for the sake of what I consider only fashion,

change the tone that constantly sounds in me, through which I hear the world around. How do you understand his words?

You are absolutely right, because every person's soul is both joyful and sad, and this can be told with music.

S.V. Rachmaninoff has been called the greatest composer and pianist of all time, and as a pianist he traveled the world. And wherever he performed, he was given a bouquet of white lilacs. For the composer, lilac was a symbol of the Motherland. Why do you think?

D: Childhood memories, a lot of lilac where he was born, a favorite flower.

You are right, Rachmaninov's birthplace is the Novgorod region. Here he was filled with old melodies, bell ringing, here he awakened in him “boundless love for Russia and for everything Russian, folk. And even in his music he used the image of lilac.

Listen to the romance of S.V. Rachmaninoff “Lilac” and tell us what feelings, sensations the composer put into the music?

(listening to S.V. Rachmaninov's romance "Lilac" No. 1 performed by Sergei Rachmaninov.)

D: The romance tells about love, tenderness, in the music one can feel the transparency, the crystalness of the air, the light breath of fragrant branches.

And you are right, dreamy, thoughtful intonations grow into a singsong melody. The freshness of the early spring morning emanates from the music of the romance "Lilac". This is no coincidence. What do you think could be the inspiration for writing this romance?

D.: Perhaps the composer was happy because he felt the scent of lilac, saw the beauty of nature, he was just fine, and perhaps love came to the composer ...

The main phrase in the romance: "I will go my own happiness search". What is the image of the romance? (open the sun)

D.: Lyrical-philosophical (the search for happiness is the main philosophical theme) (write in the sun)

Listen to the task:

(Performance of the first musical line of the romance "Lilac" by S.V. Rachmaninov)

Work plan:

In search of happiness, the composer spent every spring and early summer in Ivanovka. In one of his letters later, Rachmaninov wrote: “It was here for a long time, when I was still very young, that I worked well.”

These memoirs of the composer formed the basis of a fragment of the story by Yu. Nagibin "Lilac".

«» He chose a medium-sized brush and carefully took it into his mouth, as if he was going to eat it, then just as carefully pulled it out of his mouth and swallowed something. Vera tasted white, then blue, then purple lilac - each had its own taste. White is like licking a cork from my mother's French perfume; purple gives off ink; the most delicious - blue lilac, sweetish, smelling of lemon peel ... "

Why do you think Rachmaninoff tried to taste lilac? Wasn't there enough fragrance in the air in the garden?

D.: The different color of lilac made him want to compare not only the aroma, but the taste.

Did you notice different intonations in the melody of the romance, or was it saturated with one color?

D.: There was a development in the melody that filled it with a whole color palette. For example, in the second part of the romance, more intense intonations sound. They express feelings of excitement and dreams of happiness.

Then with what colors would you depict this romance and why?

D.: pink, lilac, blue, green, because the music is airy, tender, transparent, refined, filled with the scent of lilac.

Listen to the second version of Rachmaninov's romance "Lilac"

(listening to S.V. Rachmaninov's romance "Lilac" No. 2 performed by a female voice.)

What is the difference between the two performances of this romance? What image does each of the performers create?

D.: Both versions are identical in melody, rhythm, tempo, but different in imagery. After all, one of the options was performed by a soprano, the second - by a pianist.

That's right, you heard the vocal and instrumental versions of the romance "Lilac", while paying attention that the piano part in the second version was performed by the author himself, Sergei Rachmaninov! So, every performer, especially the author, invested in music, what?

D.: their images, feelings, sensations, emotions.(Lesson conclusion)

Listen to the work of Rachmaninoff, think about what name you can give it.

(Hearing S.V. Rachmaninov "It's good here")

D.: Give different options and explain why.

What do you think is the main phrase?

D: "It's just me and God"

Why then the name of the romance: "It's good here"?

D: Good with God.

Where is God?

D: In my heart.

That's right, this image is called Lyrical-psychological.(Write in the sun.)

(Performance of the first musical line of the romance "It's good here" by S.V. Rachmaninov)

You met with two images, the first: ...

D.: lyrical-philosophical and lyrical-psychological.

Homework:draw the color scheme of impressions from the romances "Lilac" and "It's good here."

Goodbye.

“I don’t want, for the sake of what I consider only fashion, to change the tone that constantly sounds in me, through which I hear the world around me” “I don’t want, for the sake of what I consider only fashion, to change the tone that constantly sounds in me, through which I hear the world around me.” He believed that sooner or later they would hear him. And so it happened. He believed that sooner or later he would be heard. And so it happened.

Rachmaninoff and his music: Sincere and excited... Sincere and excited... Joyful and gloomy...as in life Joyful and gloomy...as in life Spreads like a path in a field... Spreads like a path in a field... Not invented, not imposed... Not invented, not imposed … Smooth breathing and natural pattern is felt… Smooth breathing and natural pattern is felt…

Grohotova Svetlana Viktor Joke. "Tea in the garden"

Yuri Nagibin. Lilac ...Verochka carefully parted the branches and, a step away from herself, saw Seryozha Rachmaninov, the nephew of the owners of the estate. He lifted the brushes of lilac with his palms and immersed his face in them. When he removed his head, his forehead, nose, cheeks and chin were wet... ...Verochka carefully parted the branches and saw Seryozha Rachmaninoff, the nephew of the owners of the estate, a step away from her. He lifted the brushes of lilac with his palms and immersed his face in them. When he removed his head, his forehead, nose, cheeks and chin were wet ...

S. V. Rachmaninov met F. I. Chaliapin in the Russian private opera Mamontov, where in 1897/98 Sergei Vasilievich worked as a conductor. From the very beginning of their acquaintance, a friendship arose between them. S.V. Rachmaninov met F.I. Chaliapin at the Mamontov Russian Private Opera, where in 1897/98 Sergei Vasilyevich worked as a conductor. From the very beginning of their acquaintance, a friendship arose between them. Sergei Vasilievich admired the talent of F.I. Chaliapin, his amazing musicality, his extraordinary ability to quickly learn not only his part, but the whole opera as a whole. Sergei Vasilievich admired the talent of F.I. Chaliapin, his amazing musicality, his extraordinary ability to quickly learn not only his part, but the whole opera as a whole.

Fedor Ivanovich Chaliapin Russian opera and chamber singer ( high bass),

“Notes are a simple recording, you need to make them music, as the composer wanted,” said the great Russian singer. “Only the truthful is beautiful” “Notes are a simple recording, you need to make them music, as the composer wanted,” said the great Russian singer. “Only the truthful is beautiful” From the opera “Prince Igor”.