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Musical illustrations for Pushkin's story "Snowstorm". theater music

Most recordings of musical illustrations by Georgy Sviridov sound in the following sequence:

1 Troika

2 Waltz

3 Spring and autumn

4 Romance

5 Pastoral

6 military march

7 Wedding

8 echoes of the waltz

9 Winter road

Georgy Vasilyevich Sviridov (1915-1998)

There is another performing version of the parts of this cycle, which most reliably reveals the intention of A.S. Pushkin:

1 Troika

2 Pastoral

3 Waltz

4 Wedding

5 March

6 Spring and autumn

7 Romance

8 echoes of the waltz

9 Winter road

Let's remember what an illustration is? This is an image of written words. An artistic illustration is a picture that can be seen with the eyes. A musical illustration is a picture that you can “see” (hear - imagine) with your ears and feel with your heart.

The play opens the cycle of musical illustrations “Troika” . You can read excerpts from Pushkin's story, depicting how Vladimir and Burmin, by the will of fate, became hostages of a snowstorm on the same evening. But, as it seems to us, Sviridov's music tells not at all about the vagaries of nature. This number illustrates the epigraph to the story:

Horses rush along the mounds

Trampling deep snow...

Here, on the sidelines god's temple

Seen lonely...

Suddenly a blizzard is all around;

Snow falls in tufts;

Black Raven, whistling its wing,

Hovering over the sleigh;

A prophetic groan says sadness!

The horses are hurried

Sensitively look into the dark distance,

Raising manes...

(Zhukovsky)

The mood, spiritual impulses of this music are wonderfully conveyed in an excerpt from the work of another great Russian classic, Nikolai Vasilyevich Gogol:

“And what Russian does not like to drive fast? Is it his soul, seeking to spin, take a walk, say sometimes; “Damn it all!” - Is it possible for his soul not to love her? Is it not to love her when something enthusiastically wonderful is heard in her? It seems that an unknown force has taken you on a wing to itself, and you yourself are flying, and everything is flying: miles are flying, merchants are flying towards them on the framing of their wagons, a forest is flying on both sides with dark formations of firs and pines, with a clumsy knock and a crow's cry, flying the whole road goes God knows where into the vanishing distance, and something terrible is contained in this quick flickering, where the disappearing object does not have time to appear - only the sky above the head, and the light clouds, and the moon trudging through, alone seem to be motionless.

Eh, trio! Bird troika, who invented you? To know among a lively people you could only be born, in that land that does not like to joke, but as an equal - smooth spread over half the world, and go count the miles until it fills your eyes.

This literary passage and Sviridov's music givecharacteristic Russian soul, Russian character . In a Russian person, feelings almost always take precedence over reason, and the “culprit” of all the events that took place in the story is not a snowstorm at all, but precisely this character trait. Therefore, the events described in the story are so close and understandable to us.

Secondthe number of this suite is called “Pastoral” .

Pastoral in Latin means "shepherd's". This is a piece of music that depicts scenes of serene rural life, pictures of nature.

Remember how the story begins:

“At the end of 1811, in an era memorable to us, the kind Gavrila Gavrilovich R. lived in his estate Nenaradovo. He was famous throughout the district for his hospitality and cordiality; every minute the neighbors went to him to eat, drink, play five kopecks in Boston with his wife Praskovya Petrovna, and some in order to look at their daughter, Marya Gavrilovna, a slender, pale seventeen-year-old girl.

This music is in tune with the first lines of the story.. He paints an idyllic picture of the life of the Russian province: measured, calm.

Talk about "Waltz" you can start like this:

“Women, Russian women were then incomparable. Their usual coldness disappeared. Their delight was truly intoxicating when, meeting the winners, they shouted: hurrah!... Which of the then officers does not admit that he owed the best, most precious award to a Russian woman? was even stronger. The appearance of an officer in these places was a real triumph for him ... ".

Although there is no description of the ball in the story, the story about the enthusiastic attitude of women towards the military gave Sviridov a reason to create an imagebalain his musical illustrations. The composer embodied this image in one of the most beloved and popular genres of music -waltz.

There really is no ball scene in Pushkin's story in which this"Waltz",but balls were an integral part of the life of the nobility, and even more so in the provinces. It was almost the only entertainment where one could not only meet with neighbors, but also chat and have fun. At the balls, young people got to know each other, and the first feelings of sympathy, affection, and love were born there. And, most likely, the first meeting with Vladimir took place at the ball.

"Waltz"brings us into the atmosphere of the ball. From the very first bars, a joyful, upbeat mood is created. We imagine carriages pulling up to the house, how the guests getting out of them hear the sounds of a waltz reaching them. And finally, they enter the hall sparkling with lights and immediately fall into the cycleWaltz.

And in the midst of this human cycle, in this crowd, the eyes of Marya Gavrilovna and Vladimir meet, and everything that happens around ceases to exist for them. A gentle light theme of love appears, sounding on woodwind instruments, emphasizing the fragility and trembling of the nascent feeling.

But then they woke up ... And again we are in the hall sparkling with lights, among dancing couples.

Pushkin describes in sufficient detail in the story the scenes of Vladimir and Burmin wandering in a snowstorm. But note that in Sviridov's musical illustrations there is no play called "The Snowstorm". We already talked about the peculiarities of the Russian character when we listened to the first play. All the recklessness of the main characters, which led to such unusual consequences, is conveyed in the music that sounded excited and impulsive. (“Troika”)

fourth fragment ( “Wedding” ) the composer takes us to a small church where the wedding ceremony takes place. What is a wedding? How do you think the music that depicts the wedding ceremony should sound?

Have you noticed that this music does not sound festive and solemn? It sounds very reverent, sad, gloomy. “I entered the church dimly lit by two or three candles. The girl was sitting on a bench in a dark corner of the church; the other one was rubbing her temples... An old priest came up to me with a question: “Would you like me to start?” “Begin, begin, father,” I answered absently. The girl was raised. She seemed to me not bad... An incomprehensible, unforgivable frivolity... I stood beside her in front of the alai; the priest was in a hurry; three men and a maid supported the bride and were busy only with her. We got married. “Kiss,” they told us. My wife turned her pale face towards me. I wanted to kiss her ... she cried out: “Ay. Not him! Not him!” and fell unconscious.

The middle of the cycle is a bright cheerful "March". Let us turn to the text: “Meanwhile the war was over. Our regiments were returning from abroad. The people fled to meet them ... Unforgettable time! Time of glory and delight! How hard it hit Russian heart at the word fatherland!” This is how the victory over Napoleon is described in the story “The Snowstorm”.

In another work by A. Pushkin - in the novel "Eugene Onegin" the following words are heard:

Napoleon waited in vain

Intoxicated with the last happiness,

Moscow kneeling

With the keys of the old Kremlin:

No, my Moscow did not go

To him with a guilty head.

In the play March”The atmosphere of celebrations, the rise of patriotic feelings of the people of Russia is vividly conveyed.

In our opinion, G.V. Sviridov illustrated such lines by A.S. Pushkin:

“Women, Russian women were then incomparable. Their usual coldness is gone. Their delight was truly intoxicating when, meeting the winners, they shouted: hurrah!And they threw caps into the air .”

IN county towns and in the villages the general enthusiasm, perhaps, was even stronger than in the capitals. The appearance of an officer in these places was a real triumph for him, and a man in a tailcoat felt bad in his neighborhood.

Which of the officers does not admit that he owed the best and most precious award to a Russian woman? In music "Marsha“The cheerfulness of the Russian military, the enthusiasm for victory, the humor and recklessness of youth come to the fore ...

The lines of Marina Tsvetaeva echo the mood of Pushkin's lines and the music of G. Sviridov:

You, whose wide overcoats

Reminds me of sails

Whose spurs jangled merrily

And whose eyes are like diamonds

A trace was carved on the heart, -

Charming dandies

Years past!

With one fierce will

You took the heart and the rock, -

Kings on every battlefield

And at the ball.

The hand of the Lord guarded you

And a mother's heart. Yesterday -

Little boys, today -

Officer! All the peaks were small for you

And soft - the most stale bread,

Oh, young generals of their destinies!..

Play “Spring and autumn” treated simply as a picture of nature. But you can find another solution.

Let's turn to Pushkin again - “... Marya Gavrilovna's life went on as usual. Vladimir no longer existed: he died in Moscow, on the eve of the entry of the French. His memory seemed sacred to Masha; at least she cherished everything that could remind him: books he had once read, his drawings, notes and poems he had transcribed for her. Neighbors, having learned about everything, marveled at her constancy.

There is a good Russian proverb - Time heals. That's whysixththis cycle is called“Spring and autumn” . As in nature one season replaces another, so in human life one feeling is replaced by another. The loss is made up for with new experiences. The spring feeling of love for Vladimir was replaced by the fall of loss and sad memories. But spring new love will surely come to her heart!

“Sensitively following the tastes of that time, striving to get closer to the feelings of Pushkin’s contemporaries, the composer introduces “romance without words” into his cycle, emphasizing that it was the favorite genre of urban music of that time.”

But is it possible to compare Sviridov's music with everyday romance?! By the intensity of emotions and passions "Romance” can be compared with a symphony! Music is not static, it sounds in development and movement, which can only be heard in large musical forms!

The culmination of Pushkin's story is the moment of declaration of love, and the culmination of musical illustrations is "Romance". Both passages are dialogues. They match emotionally. Dynamics and timbres of instruments symphony orchestra follow Pushkin's text.

First holding theme - the beginning of the explanation. “I love you,” said Burmin, “I love you passionately…” (Marya Gavrilovna blushed and bowed her head still lower). Violin and cello solo in the orchestra.

Second theme holding . “I acted carelessly, indulging in a sweet habit, the habit of seeing and hearing you every day ...” The oboe and flute are the soloists in the orchestra, the melody becomes more excited.

Third holding theme. “Now it is too late to oppose my fate; memories of you, your dear, incomparable image will henceforth be the torment and joy of my life; but I still have to fulfill the heavy duty to reveal to you a terrible secret and put an insurmountable barrier between us ... ”-“ she always existed, ”Marya Gavrilovna interrupted with vivacity,“ I could never be your wife ... ”“ Yes, I know, I feel that you would be mine, but - I am the most unfortunate creature ... I am married! The music accurately conveys the confusion of the main characters' feelings.

Fourth theme holding . “I am married,” Burmin continued, “I have been married for the fourth year and I don’t know who my wife is, and where she is, and whether I should ever see her.” The trumpet solo sounds in fortissimo, reaches its climax, here one can hear the pain and despair of a person who is forced to answer for the recklessness of youth.

Fifth theme. “I don’t know the name of the village where I got married; I don't remember from which station I left. At that time, I thought so little of the importance of my criminal leprosy that, having driven away from the church, I fell asleep and woke up the next day in the morning, at the third station already. The servant who was with me then died on the campaign, so that I have no hope of finding the one on whom I played a trick so cruelly and who is now so cruelly avenged.

My God. My God! - said Marya Gavrilovna, seizing his hand, - so it was you! And you don't recognize me?

Burmin turned pale… and threw himself at her feet…”

The emotional intensity in the fifth performance subsides, as if the hero resigns himself to his fate. The theme is played by the clarinet and violin, then by the cello. After everything experienced, the heroes do not have enough emotions for joy. The music sounds light, sad, detached...

In what everyday romance will you meet such a tragedy, passion and such an unpredictable denouement!?

Eighthillustration number is called “Waltz echoes” .

Intonation is similar to"Waltz", but this music sounds completely different... Light sadness, light quiet sadness permeate this work, like a memory of the first youthful love that continues to live in the heart, but gives way to another feeling - mature and deep.

The piece completes the musical illustrations "Winter road" . This number echoes intonation with the first number"Troika",but it sounds much calmer, more peaceful. This story is over, but life is an endless road on which new meetings await us...

When you listen to this number, you involuntarily remember Pushkin's lines:

Through wavy mists

The moon is creeping

To sad glades

She pours a sad light.

On the winter road, boring

Troika greyhound runs

Single bell

Tiring noise.

Something is heard native

IN long songs coachman:

That revelry is remote,

That heartache....

No fire, no black hut,

Wilderness and snow.... Meet me

Only miles striped

Come across alone...

The end pieces frame the musical illustrations, like a picture frame or a book cover.

“Music illustrations- Sviridov's symphonic pieces - not only captured the images of Pushkin's story, but also filled them with new thoughts and feelings, consonant with modern listeners. The composer gave the genre of illustrations more deep meaning, abandoning the simple musical accompaniment events of the story, he turned each play into an independent composition. The brightness and persuasiveness of the images of Sviridov's music made possible their second life in cinema, in concert hall, V musical theater“A ballet was staged to this music.”

“Everything is mixed up, any of the leaders of modern directing considers himself entitled to do whatever he likes with the creations of the classics, which were once considered great, inviolable. God, how much mockery the tsarist censorship endured for its interference in literature, and this interference is absolutely insignificant next to what modern theater workers are doing with the connivance of the state and in the absence of any criticism! G. Sviridov, 1980

Sviridov began working for the musical theater during the war. He wrote music for the performances of theaters evacuated to Siberia. By the same time, the creation of the operetta “The Sea Spread Widely” dates back to

tells about the life and struggle of the Baltic sailors in the besieged Leningrad.

Sviridov's operetta became the first musical and dramatic work, devoted to war. It was staged in several theaters and did not leave the stage for many years. And in 1960, Sviridov's operetta became the basis for a musical television film, which was made on Central Television.

Among other works written by Sviridov for the theater, one can single out the music for the performances Othello, Ruy Blas, and In a Busy Place.

Here it is impossible not to mention that Sviridov was the creator of a new musical genre, which he designated as "Musical Illustration". The cycle dedicated to A. Pushkin's story "The Snowstorm" is made in this genre. The composer retells the literary work to the listeners in the language of music.

Pushkin's story "The Snowstorm" is included in the collection "Tales of the late Ivan Petrovich Belkin". The underlying theme of this work is the vicissitudes of fate, which ultimately lead to a happy ending. A snowstorm that symbolizes the earthly life of a person, controlled by unknown forces (a fateful case in which the poet believed) brought in an unexpected way the main characters, who, perhaps, by fate itself, were destined to be together.

We dedicate our work to our mother, who taught Russian language and literature at school for more than forty years, taught us to take care of the literary text and read “between the lines”.

One example of such an approach to the study of a literary work is the acquaintance with G.V. Sviridov’s musical illustrations for the story “The Snowstorm” by A.S. Pushkin.

This material can be used in the preparation of integrated lessons of literature and music.

Most of the recordings of musical illustrations by G. Sviridov sound in the following sequence:

Troika

Waltz

Spring and autumn

Romance

Pastoral

military march

Wedding

echoes of the waltz

Winter road

In the textbook G.P. Sergeeva “Music”, Grade 6, an analysis of this work is given in the traditional sequence.

And in our work we took as a basis the video recording of the speech Large Symphony Orchestra conducted by V. Fedoseeva in the concert hall named after P.I. Tchaikovsky (recorded in 2005), because We believe that the interpretation of V. Fedoseev (namely, a certain order of numbers) most reliably reveals Pushkin's intention:

Troika

Pastoral

Waltz

Wedding

Spring and autumn

Romance

echoes of the waltz

Winter road

Already at the beginning of the article, we drew attention to two inaccuracies - G.P. Sergeeva writes, that “the events in Pushkin’s story take place at the beginning of the 19th century, in 1811–1812…”. And now let's turn to A.S. Pushkin. The events of the story begin at the end of 1811, Vladimir died in 1812, and at the end of the story Burmin says to Marya Gavrilovna: "... death and three years of lamentations ...". Consequently, the action of the story ends in 1815 (and not in 1812!). In addition, G.V. Sviridov wrote nine musical illustrations, not seven, as G.P. Sergeyev. Plays " Waltz echoes” And " Winter road” carry a great semantic load and play an important role in revealing the content and ideas of A.S. Pushkin.

We do not agree that in the playbook " Troika”, “Spring and autumn”, “Pastoral” are described only as pictures of nature, “ Waltz" And " Romance” – household genres, “March”- only as an image of the heroes of Russia.

We want to express our point of view, our thoughts about the Musical illustrations by G.V. Sviridov to the story of A.S. Pushkin "Snowstorm".

Let's remember what an illustration is? This is an image of written words. An artistic illustration is a picture that can be seen with the eyes. A musical illustration is a picture that you can “see” (hear – imagine) with your ears and feel with your heart.

The play opens the cycle of musical illustrations "Troika". G.P. Sergeeva invites students to read excerpts from Pushkin's story, depicting how Vladimir and Burmin, by the will of fate, became hostages of a snowstorm on the same evening. But, as it seems to us, Sviridov's music tells not at all about the vagaries of nature. This number illustrates the epigraph to the story:

Horses rush along the mounds
Trampling deep snow...
Here, aside the temple of God
Seen lonely...
Suddenly a blizzard is all around;
Snow falls in tufts;
Black Raven, whistling its wing,
Hovering over the sleigh;
A prophetic groan says sadness!
The horses are hurried
Sensitively look into the dark distance,
Raising manes...
(Zhukovsky)

The mood, spiritual impulses of this music are wonderfully conveyed in an excerpt from the work of another great Russian classic, Nikolai Vasilyevich Gogol:

“And what Russian does not like to drive fast? Is it his soul, seeking to spin, take a walk, say sometimes; “Damn it all!” – should his soul not love her? Is it not to love her when something enthusiastically wonderful is heard in her? It seems that an unknown force has taken you on a wing to itself, and you yourself are flying, and everything is flying: miles are flying, merchants are flying towards them on the framing of their wagons, a forest is flying on both sides with dark formations of firs and pines, with a clumsy knock and a crow's cry, flying the whole road, God knows where, into the vanishing distance, and something terrible is contained in this quick flickering, where the disappearing object does not have time to appear - only the sky above the head, and light clouds, and the moon trudging through, alone seem to be motionless.

Eh, trio! Bird troika, who invented you? To know among a lively people you could only be born, in that land that does not like to joke, but as an equal - smoothly scattered for half the world, and go count the miles until it fills your eyes.

This literary passage and Sviridov's music give characteristic Russian soul, Russian character. In a Russian person, feelings almost always take precedence over reason, and the “culprit” of all the events that took place in the story is not a snowstorm at all, but precisely this character trait. Therefore, the events described in the story are so close and understandable to us. They are also consonant with the lines of the bard Alexander Rosenbaum:

“Love, so love.
Walk, so walk.
Shoot, shoot…”

The second number of this suite is called "Pastoral".

Pastoral in Latin means "shepherd's". This is a piece of music that depicts scenes of serene rural life, pictures of nature.

Remember how the story begins:

“At the end of 1811, in an era memorable to us, the good Gavrila Gavrilovich R. lived in his estate Nenaradovo. He was famous throughout the district for his hospitality and cordiality; every minute the neighbors went to him to eat, drink, play five kopecks in Boston with his wife Praskovya Petrovna, and some in order to look at their daughter, Marya Gavrilovna, a slender, pale seventeen-year-old girl.

This music is in tune with the first lines of the story. . He paints an idyllic picture of the life of the Russian province: measured, calm.

Talk about "Waltz" G.P. Sergeeva begins like this:

Although there is no description of the ball in the story, the story about the enthusiastic attitude of women towards the military gave G. Sviridov a reason to create an image bala in his musical illustrations. The composer embodied this image in one of the most beloved and popular genres of music - waltz.

With this thought G.P. Sergeeva perhaps one could agree. But let's listen to Sviridov's music.

There really is no ball scene in Pushkin's story in which this "Waltz", but balls were an integral part of the life of the nobility, and even more so in the provinces. It was almost the only entertainment where one could not only meet with neighbors, but also chat and have fun. At the balls, young people got to know each other, and the first feelings of sympathy, affection, and love were born there. And, most likely, the first meeting with Vladimir took place at the ball.

"Waltz" brings us into the atmosphere of the ball. From the very first bars, a joyful, upbeat mood is created. We imagine carriages pulling up to the house, how the guests getting out of them hear the sounds of a waltz reaching them. And finally, they enter the hall sparkling with lights and immediately fall into the cycle Waltz.

But then they woke up ... And again we are in the hall sparkling with lights, among dancing couples.

The fourth fragment (“ Wedding”), the composer takes us to a small church where the wedding ceremony takes place. What is a wedding? How do you think the music that depicts the wedding ceremony should sound?

G.P. Sergeeva invites students to answer the question - why the minor coloring at the end of the piece is replaced by a light major chord, obviously leading the children to think about the happy ending of the story.

And, in our opinion, the whole point is that G.V. Sviridov used elements of polyphony in this piece, where very often a minor work ends on the tonic of the major of the same name.

The middle of the cycle is a bright cheerful "March". Let's turn to the textbook G.P. Sergeeva: “Meanwhile, the war was over. Our regiments were returning from abroad. The people fled to meet them ... Unforgettable time! Time of glory and delight! How strongly the Russian heart beat at the word fatherland!” This is how the victory over Napoleon is described in the story “The Snowstorm”.

In another work of A. Pushkin - in the novel "Eugene Onegin" the following words are heard:

Napoleon waited in vain
Intoxicated with the last happiness,
Moscow kneeling
With the keys of the old Kremlin:
No, my Moscow did not go
To him with a guilty head.

In the play March”The atmosphere of celebrations, the rise of patriotic feelings of the people of Russia is vividly conveyed.

In the county towns and villages, the general enthusiasm was perhaps even stronger than in the capitals. The appearance of an officer in these places was a real triumph for him, and a man in a tailcoat felt bad in his neighborhood.

Which of the officers does not admit that he owed the best and most precious award to a Russian woman? In music " Marsha“It is not the heroism and patriotism of the Russian military that come to the fore, but their cheerfulness, enthusiasm for victory, humor and recklessness of youth ...

The lines of Marina Tsvetaeva echo the mood of Pushkin's lines and the music of G. Sviridov:

You, whose wide overcoats
Reminds me of sails
Whose spurs jangled merrily
And the voices
And whose eyes are like diamonds
A trace was carved on the heart, -
Charming dandies
Years past!
With one fierce will
You took the heart and the rock, -
Kings on every battlefield
And at the ball.
The hand of the Lord guarded you
And a mother's heart. Yesterday -
Little boys, today -
Officer! All the peaks were small for you
And soft - the most stale bread,
Oh, young generals of their destinies!..

At the beginning of our work, we mentioned that in the textbook G.P. Sergeyeva play “Spring and autumn” treated simply as a picture of nature.

Let's turn to Pushkin again - “... the life of Marya Gavrilovna went on as usual. Vladimir no longer existed: he died in Moscow, on the eve of the entry of the French. His memory seemed sacred to Masha; at least she cherished everything that could remind him: books he had once read, his drawings, notes and poems he had transcribed for her. Neighbors, having learned about everything, marveled at her constancy.

There is a good Russian proverb - Time heals. That's why sixth this cycle is called “Spring and autumn”. As in nature one season replaces another, so in human life one feeling is replaced by another. The loss is made up for with new experiences. The spring feeling of love for Vladimir was replaced by the fall of loss and sad memories. But the spring of new love will certainly come to her heart!

Recall that in his textbook G.P. Sergeeva writes : “Sensitively following the tastes of that time, striving to get closer to the feelings of Pushkin’s contemporaries, the composer introduces “romance without words” into his cycle, emphasizing that it was the favorite genre of urban music of that time.”

But is it possible to compare Sviridov's music with everyday romance?! By the intensity of emotions and passions " Romance” can be compared with a symphony! Despite the fact that there are no main and side parts, the music is not static, it sounds in development and movement, which can only be heard in large musical forms! We will try to convince you of this.

The culmination of Pushkin's story is the moment of declaration of love, and the culmination of musical illustrations is "Romance". Both passages are dialogues. They match emotionally. The dynamics and timbres of the instruments of the symphony orchestra follow Pushkin's text.

The first introduction of the topic is the beginning of the explanation. “I love you,” said Burmin, “I love you passionately…” (Marya Gavrilovna blushed and bowed her head still lower). Violin and cello solo in the orchestra.

Second theme. “I acted carelessly, indulging in a sweet habit, the habit of seeing and hearing you every day ...” The oboe and flute are the soloists in the orchestra, the melody becomes more excited.

Third holding theme. “Now it is too late to oppose my fate; memories of you, your dear, incomparable image will henceforth be the torment and joy of my life; but it still remains for me to fulfill the heavy duty of revealing to you a terrible secret and placing an insurmountable barrier between us ... "-" she always existed, - interrupted Marya Gavrilovna with liveliness, - I could never be your wife ... "" Yes, I know, I feel that you would be mine, but - I am the most unfortunate creature ... I am married! The music accurately conveys the confusion of the main characters' feelings.

The fourth holding the theme. “I am married,” Burmin continued, “I have been married for the fourth year and I don’t know who my wife is, where she is, and whether I should ever see her.” The trumpet solo sounds in fortissimo, reaches its climax, here one can hear the pain and despair of a person who is forced to answer for the recklessness of youth.

My God. My God! - said Marya Gavrilovna, seizing his hand, - so it was you! And you don't recognize me?

Burmin turned pale… and threw himself at her feet…”

In what everyday romance will you meet such a tragedy, passion and such an unpredictable denouement!?

The eighth number of illustrations is called “ Waltz echoes.

Intonation is similar to "Waltz", but this music sounds completely different... Light sadness, light, quiet sadness permeate this work, like a memory of the first youthful love that continues to live in the heart, but gives way to another feeling - mature and deep.

The piece completes the musical illustrations "Winter road". This number echoes intonation with the first number "Troika", but it sounds much calmer, more peaceful. This story is over, but life is an endless road on which new meetings await us...

When you listen to this number, Pushkin's lines involuntarily come to mind:

Through the wavy mists
The moon is creeping
To sad glades
She pours a sad light.
On the winter road, boring
Troika greyhound runs
Single bell
Tiring noise.
Something is heard native
In the coachman's long songs:
That revelry is remote,
That heartache....
No fire, no black hut,
Wilderness and snow.... Meet me
Only miles striped
Come across alone...

The end pieces frame the musical illustrations, like a picture frame or a book cover.

We would like to end our work with a quote from G.P. Sergeeva, because we fully and completely agree with these words - “Musical illustrations - symphonic pieces by Sviridov - not only captured the images of Pushkin's story, but also filled them with new thoughts and feelings, consonant with modern listeners. The composer gave the genre of illustrations a deeper meaning, abandoning the simple musical accompaniment of the events of the story, he turned each play into an independent composition. The brightness and persuasiveness of the images of Sviridov's music made possible their second life in the cinema, in the concert hall, in the musical theater - a ballet was staged to this music.

The article was published in the journal "Russian literature" No. 3, 2010.

Annotation. The article deals with the comparison of fragments of the story "The Snowstorm" by A. Pushkin with musical illustrations by G. Sviridov in order to awaken the reader's imagination and emotional world students.

Keywords: musical illustrations, fragments of text, musical embodiment, means of comprehension, emotional world.

From the very first days of their appearance, Pushkin's works were not only the subject of numerous reviews, criticism, controversy, enthusiastic reviews and scathing reproaches, but at the same time became a source of inspiration for representatives of the most diverse types of art.

The most inclined to illustrate Pushkin are musicians; in musical illustrations the poet took a more prominent place than in others fine arts. Barely appeared Prisoner of the Caucasus» in 1823, as the famous composer Cavos and choreographer Didlo staged big ballet the content of the poem. “Ruslan and Lyudmila”, “Gypsies”, many small poems immediately after their appearance served as a theme or text for stage performances, romances, etc.” - writes Korganov V.D. in the book Pushkin in Music, published in 1899. (1, p.6-7.)

For two centuries, the name of Pushkin in the field of music far outstripped the names of many other Russian writers.

One of the most successful incarnations of Pushkin's works in Russian music of the 20th century belongs to Georgy Sviridov. First creative luck the composer was precisely the romances on the poet's verses. Already a mature master, he turned to illustrating Pushkin's Snowstorm.

Most complex nature interactions of arts - the coincidence of the aesthetic ideal, artistic thinking writer and composer, which is manifested in aesthetic views, stylistic manner of the authors different types arts.

Georgy Sviridov believed that: “Word and music, literature and music, a piece of music can exist only when it adds something to poetry or literary composition". (3, p. 81.) The composer's musical illustrations not only add "something" to Pushkin's work, but also give his musical interpretation, and therefore lead the reader to an in-depth reading of the story. The cycle of musical illustrations for "The Snowstorm" consists of nine paintings that follow the plot of the work ("Troika", "Waltz", "Spring and Autumn", "Romance", "Pastoral", "Military March", "Wedding", "Echoes Waltz", "Winter Road"). “The task of the composer is not at all to attribute the melody, the notes to the words…,” Sviridov noted, “here an organic combination of the word with the music must be created.” (3, p. 81.) The author follows the poet step by step, creating "blizzard" ups and downs, carefully preserving traditions Pushkin era, giving it even more spirituality with its extraordinary music.

The involvement of the composer's plots in the final lesson is accompanied by selective reading of fragments of the story, when preference is given to those fragments. artistic text, which found a soulful embodiment in musical illustrations.

After the sound of the first - "Troika" - the students note that Pushkin describes pictures of Russian village life, when the landowners visit each other ("neighbors constantly went to him ..." [Gavrila Gavrilovich]). Yes, and Marya Gavrilovna goes to the church (and returns from it) on a troika of horses sent by Vladimir ("[the coachman] took the reins, and the horses flew"). Burmin, hurrying to Vilna, to the regiment, having lost his way through a snowstorm, gets into the church for a wedding and ... leaves it ... Schoolchildren do not pass by the fact that the main events of the story take place in winter, so the melody simultaneously evoked memories of A.S. Pushkin's "Winter Road" and "Demons", which sounded even at the first lesson of the study of "Snowstorm". They reproduced in oral verbal illustrations pictures of the endless Russian plain covered with snow, saw a lonely running trio of horses with bells, when the snow flies from under the hooves, and even the author of the Snowstorm dozing in a wagon. (“A troika is a constantly present image in A.S. Pushkin’s story “The Snowstorm”. The beginning of the illustration “Troika” is fast, sharp, the music captures you. I immediately imagined a troika of horses running through the forest or in the middle of a wide field. The continuation of the melody is calm similar to the peaceful running of a horse.

Under this music, I see the picture most vividly when Masha goes to church on a troika sent by Vladimir. In front of me is her anxious face and her gaze fixed on the unknown…” — writes Liana P., a sixth grade student.)

The most famous and vivid illustration for the story is "Romance", which was used for a deeper immersion in the world of the characters' feelings: it contains Masha's feelings and doubts when she is about to leave parental home; her grief for the dead Vladimir and the dead father; sadness caused by uncertainty further fate. ("Romance" begins anxiously, but in moderate pace, then the melody fades away. And the piano begins main topic played by the violin. Music helps to immerse yourself deeply in the feelings of the characters. While listening, I clearly imagined Maria's experiences: grief for her dead father and Vladimir, sadness due to the uncertainty of fate. Then the slow, sad melody turns to a crescendo into an even more tragic one, and the violin passes its solo to the trumpet. Here, the anxiety and hopelessness of Masha's fate are very noticeable because of the loud minor solo and chords in accompaniment. But then the melody fades, the violin solos again, and the music disappears altogether. All the experiences of the characters are confused by a "blizzard" in their lives. “Romance” with its ups and downs resembles a blizzard, ”- Olya M., studying at a music school.)

In the painting "Wedding", the sixth graders feel an incomprehensible melancholy and anxiety, a premonition of trouble, something inevitable, which is also confirmed by Marya Gavrilovna's dream before running away from home. Music portends trouble: Vladimir will not arrive, having gone astray; Masha will marry an unknown person; the fate of the three will remain unclear ... (“A wedding is the moment where a snowstorm decides the fate of three heroes. The music is the saddest and most prophesying, something sinister is even heard in it. You immediately remember Marya Gavrilovna’s dream before running away from home, and together with the heroine you are waiting for what Vladimir got lost in a snowstorm, Masha got married to someone unknown ... The painting “Wedding” is filled with ambiguity, incomprehensibility and anxiety,” - Oksana K.)

The subtext of Pushkin's "Snowstorm" is the theme of the Patriotic War of 1812: Vladimir dies from wounds received in the Battle of Borodino; Burmin returns as a hero. The musical illustration "Military March" perfectly recreates the atmosphere historical era and allows students to feel more deeply the “delightful delight” of that “unforgettable”, “brilliant time”, when “the Russian heart beat strongly at the word fatherland”, because “the war with glory was over”. (“The melodies of Georgy Sviridov are sad and thoughtful, they make you think and empathize. The “Military March” enlivens the illustration with its solemn and joyful music. I imagined hussars on horseback, joyful women, bouquets of flowers. But it seems to me that the march reflects not only time of glory and delight after the victory of Russian soldiers in Patriotic war 1812, but also the fact that Burmin returns as a hero and fate again connects him with Masha, ”- Irina G.)

Turgenev believed that literary work, as in music, "it is necessary at the end to recall the original motive." (4, p.166.)

Georgy Sviridov masterfully completes the illustration with the painting “Winter Road”, which, thanks to the skillful repetition of the “original motive” (“Troika”), closes the circle and creates a single musical canvas.

Comprehension of the verbal fabric of the work in conjunction with music-interpretation allows schoolchildren to better understand the aspirations of the characters and the main idea of the Snowstorm: far-fetched, unnatural love of Masha and Vladimir under the influence of nature (blizzard), time, born true love disappears and opens the "road" for true feelings. The "blizzard" of life has calmed down and ahead - smooth and long road. (“And here is the denouement of the tangled story. The title is in perfect harmony with the meaning of the music and text. For me, “Winter Road” was a smooth transition from a snowstorm to a clear sky, from life’s turmoil to calmness, happiness and peace ... Masha and Burmin finally explained and, I think, they will be happy, ”- Alena N.)

Mapping literary text with musical works allows you to awaken the reader's imagination and the emotional sphere of students, encourages you to deeply live through many episodes of the text, expand the boundaries of verbal art by turning to music, see how one art is refracted in another, which allows you to activate the perceiving-interpretive activity of students, create a situation of educational dialogue at the lesson. Thus, the depth of perception of the text is achieved, the comprehension of the author's picture of the world, and most importantly, the full development of the reader's personality takes place.

(from lat. Illustratio - a visual image).
1) Fragments of music. works (or the whole work) performed during lessons, conversations, lectures by an illustrator pianist or ensemble or reproduced by means of mechanical recording (gramophone, tape recorder)
2) Programs made up of muses. productions, or improvisations, with which pianist-illustrators, ensembles (in large cinemas, sometimes orchestras) accompanied the screening of silent films (see Film music).
3) Music. accompaniment of television and radio programs about music - concerts, essays, musical educational, biographical, dedicated. the lives of musicians, etc. I. m. usually serve as the basis on which the entire transmission is built.
4) Small excerpts of music. prod. (sometimes several measures), found in special. books about music. Similar I. m. also note examples.

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