Shurale ballet libretto summary. The use of fragments of music from the ballet F.Yarullin "Shurale" in piano lessons in the middle and senior classes of the music school

According to Homer, the goddess Aphrodite was born near the coast of the city of Paphos in Cyprus and was the daughter of Zeus and Diony (Διώνης). Then West wind Zephyr pushed her into the sea and after that she emerged naked and beautiful from the sea.

According to Hesiod, Aphrodite was born from foam, which was formed from the seed of Uranus, which fell into the sea off the coast of the island of Kitira, and also with the help of the Zephyr wind, she ended up off the coast of Cyprus, where she came ashore in all her glory.

The beautiful goddess got her name from the word foam (ἀφρός) - Aphrodite (Ἀφροδίτη).

Aphrodite in ancient Greek mythology and religion was the goddess of love, sexuality, beauty, pleasure and procreation.

The attributes of Aphrodite are the belt, myrtle, roses, poppy, doves, sparrows, dolphin, swans, golden bowl.

Aphrodite goddess of love

Beauty and love have always had great importance in the lives of gods and men.
The beauty of Aphrodite, her grace, passion and love inspired every living being. Everyone wanted her presence. Accompanied by Eros, Aphrodite appeared on Olympus. The gods, seeing the beautiful Aphrodite, could not take their eyes off her, the birds glorified the goddess with their singing. Everyone who saw Aphrodite had hearts filled with love, those who did not obey her were punished by the goddess.

No one could resist Aphrodite, with the exception of three virgin goddesses: Athena, Artemis and Hestia.

Hera, the patroness of marriages, married the beautiful Aphrodite to Hephaestus, perhaps the ugliest of the gods. Hephaestus was the legitimate son of Zeus and Hera, he grew up away from his parents and became a great blacksmith. Hephaestus was a god of fire, unlike the attractive male gods, he was lame, he had very dark skin and a dark beard. Ugliness, however, did not become an obstacle in order to conquer the most beautiful women.

Aphrodite and Ares

Aphrodite was unfaithful to Hephaestus, soon after the wedding, she began dating Ares, the god of war. But there is nothing secret for Helios - the god of the sun, who told Hephaestus that his wife had a lover. In a rage, Hephaestus wanted to kill Ares, but after thinking, he asked Helios not to tell anyone yet, and he himself began to come up with a plan on how to take revenge on the offenders.

First, he forged a thin, almost invisible net and attached it over the bed, then he told his wife that he needed to leave and as soon as her husband left home, Aphrodite sent a messenger to Ares to inform him of Hephaestus's departure.

During a date between Aphrodite and Ares, a net made by Hephaestus falls on the lovers and they are trapped. Here Hephaestus appears with Zeus and other gods and begins to laugh loudly at the helpless lovers. When they were nevertheless released, they dispersed in different directions, Aphrodite went to her homeland, Cyprus, Ares - to Thrace, to the war.

Aphrodite and Adonis

Aphrodite, in order to punish the wife of the king of Cyprus, Smyrna, because she considered her daughter Mirra the most beautiful, inspired Mirra with love for her father. On a dark night, she came to her father in bed, who came from a feast and was drunk.

In the morning, Mirra realized the full horror of mortal sin, ran into the forest and hid there. Aphrodite found her and turned her into a tree, later Adonis was born from the bark of the tree. Aphrodite was amazed at the extraordinary beauty of the boy and, in order to protect him, gave him up to Persephone in the dark kingdom.

When Adonis grew up he became handsome man with a beautiful body and a divine face. Persephone fell madly in love with him and refused to give him back to Aphrodite. The goddesses began to argue, Zeus had to intervene and resolve their dispute. Zeus said that Adonis would spend a third of his time next to Aphrodite, the other third next to Persephone, and the rest of the time at his discretion. As a result, it turned out that Adonis lived in the realm of the dead for four months and eight with Aphrodite, who successfully applied her magic belt.

Every time the time came for Adonis to leave the realm of the dead, nature came to life: the fields were green, flowers and trees blossomed, and a wonderful aroma filled the atmosphere. Aphrodite rarely appeared on Olympus and lived with her young lover in the mountains and forests. Adonis became a hunter and they, along with Aphrodite, rejoiced at their closeness.

Soon Ares found out about Aphrodite's love for Adonis. He was able to forget his love for her, blinded by passion and jealousy, he turned into a boar and killed Adonis.

There was no limit to Aphrodite's grief, the tears of the goddess dripped to the ground and white anemones and red poppies immediately sprouted...

Aphrodite (myth of ancient Greece)

Until now, no one knows exactly where the beautiful Aphrodite came from. Some consider her the daughter of Zeus and Dione, while others claim that the beautiful Aphrodite was born from sea foam. As if, when the drops of blood of the wounded Uranus fell to the ground, one of them fell into the sea and formed foam, from which the beautiful goddess arose. So it is heard in her name: Af-ro-di-ta - foam-born. But be that as it may, it is very good that there is Aphrodite in the world - the beautiful, golden-haired goddess of love and beauty. Aphrodite gives happiness to all who faithfully serve her.
So she gave happiness to the artist Pygmalion, who once lived on the wonderful island of Cyprus. It was very good artist, but there was one oddity in it. He just couldn't stand women, spent the whole day doing his favorite work and lived in solitude among his magnificent sculptures.
Once he made a statue of a girl of extraordinary beauty out of shiny ivory. As if alive, she stood before her creator. It seemed that she was breathing - her white skin was so tender and transparent. It seemed that life was about to glow in her beautiful eyes and she would speak, laugh. The artist stood for hours in front of his wonderful creation, and the matter ended with the fact that he passionately fell in love with the statue he created himself, as if it were a living being. He gave all the warmth of his heart to his beloved. Even the enamored Pygmalion forgot about work. He gave the lifeless statue magnificent jewelry made of gold and silver, dressed it in luxurious clothes. He brought flowers to his beloved and decorated her head with wreaths. Often Pygmalion touched her cool snow-white shoulder with his lips and whispered:
- Oh, if you were alive, my beautiful, how happy I would be!
But the statue remained cold and indifferent to his confessions. Pygmalion suffered, but could not help himself. He stopped leaving the house and spent all his time in his workshop. And finally he decided to turn to the gods. Only they can help him.
Soon came the festivities in honor of the goddess Aphrodite. Pygmalion killed a well-fed calf with gilded horns and, when fragrant fragrant smoke streamed in the air, raised his hands to the sky:
– Oh, almighty gods and you, golden-speaking Aphrodite! If you hear my prayers, give me a wife as beautiful as my favorite statue!
Before he had time to utter the words of prayer, a fire flared up brightly on his altar. This means that the gods heard his request. But will they fulfill it?
The artist returned home and, as always, went to the studio. But what does he see? Pygmalion was afraid to believe his eyes. A miracle happened! His statue came to life. She breathed, her eyes looked tenderly at the artist, and her lips smiled affectionately at him.
This is how the all-powerful goddess rewarded the artist Pygmalion for his loyalty.

Aphrodite is born from the foam of the sea. Aphrodite, one of the most revered goddesses of Olympus, was born from the snow-white foam of the sea waves near the island of Cyprus. [therefore they call her Cyprida, "Born in Cyprus"], and from there sailed to the sacred island of Cythera [from the name of this island another nickname came from her - Kythera]. On a beautiful shell she reached the shore. The goddess was surrounded by young ory, the goddess of the seasons, dressed her in gold-woven clothes, crowned with a wreath of flowers. Wherever Aphrodite stepped, everything blossomed there, and the air was filled with fragrance.

Beautiful Aphrodite! Her eyes burn with the wondrous light of love, as deep as the sea from which she emerged; her skin is white and tender, like the sea foam that gave birth to her. Tall, slender, golden-haired, Aphrodite shines with her beauty among the gods of Olympus. The goddess of love and beauty, Aphrodite reigns over the whole world, and even the gods are subject to her. Only Athena, Hestia and Artemis are not subject to her power.

Aphrodite awakens love in the hearts of gods and mere mortals, in the hearts of animals and birds. When she walks on the ground, all the animals follow her in pairs, and in this procession of theirs the deer safely walks next to the bloodthirsty wolf, and the ferocious lions fall at the feet of the goddess, like playing puppies. She gives beauty and youth to girls, blesses happy marriages. In gratitude for their marriage, the girls before the wedding sacrificed belts woven by them to Aphrodite.

But not only girls pray to Aphrodite. Widowed women also revere her and ask her to let them enter into new marriage. The goddess is merciful, and she often condescends to the requests of mortals. After all, although Hymen is involved in the marriage itself, linking couples with its strong bonds, it is Aphrodite who arouses in people that love that ends with their marriage.

Nicknames for Aphrodite.

On a golden chariot drawn by sparrows, she rushes to earth from Olympus, and all people are looking forward to her help in their love affairs.

Aphrodite patronized all love. If that was love, rough, unbridled, then it was under the jurisdiction of Aphrodite Pandemos ("People's"); if it was an exalted feeling, then Aphrodite Urania (“Heavenly”) patronized him.

The feeling that Aphrodite instilled in people is wonderful, and therefore many of her nicknames were affectionate, reflecting her beauty. She was called “golden”, “violet-crowned”, “sweet-sweet”, “beautiful-eyed”, “variegated”.

Pygmalion. Those who faithfully serve her, Aphrodite gives happiness. This is what happened to Pygmalion, king of the island of Cyprus. He was also a sculptor and loved only art, he avoided women, he lived very secluded. Many Cypriot girls felt tender and devoted love for him, but he himself did not pay attention to any of them. Then the girls prayed to Aphrodite: “O golden Cyprida! Punish this proud man! Let him himself experience the torments that we have to endure because of him!”

Once Pygmalion sculpted from shiny ivory the image of a girl of extraordinary beauty. It seemed that she was breathing, that she was about to leave her place and speak. The master looked at his creation for hours and fell in love with the statue he created himself. He gave her precious jewelry, dressed her in luxurious clothes ... The artist often whispered: “Oh, if you were alive - how happy I would be!”

Aphrodite brings the statue to life. The days of the feast of Aphrodite have arrived. Pygmalion made rich sacrifices to the goddess and prayed that she would send him a wife as beautiful as his statue. The sacrificial flame flared up brightly: the beautifully curly goddess accepted the sacrifice of Pygmalion. Pygmalion returned home, went up to the statue and suddenly noticed that the ivory had turned pink, as if scarlet blood was flowing through the veins of the statue; touched her with his hand - the body became warm: the heart of the statue beats, eyes shine with life. The statue has come to life! They called her Galatea, Aphrodite made their marriage happy, and all their lives they praised the greatness of the goddess who gave them happiness.

Mirra, Adonis and Artemis. Aphrodite gave happiness to those who loved and loved, but she herself also knew unhappy love. Once Mirra, the daughter of one of the kings, refused to read Aphrodite. The angry goddess severely punished her - inspired a criminal love for her own father. He was deceived and succumbed to temptation, and when he found out that it was not an outside girl with him, but own daughter cursed her. The gods took pity on Mirra and turned her into a tree that gives fragrant resin. It was from the cracked trunk of this tree that the beautiful baby Adonis was born.

Aphrodite put it in a casket and gave it to Persephone to raise. Time has passed. The child grew up, but the goddess of the underworld, fascinated by his beauty, did not want to return him to Aphrodite. The goddesses had to turn to Zeus himself for a solution to the dispute. The father of gods and people, having listened to the disputants, decided: a third of the year Adonis is with Persephone, a third with Aphrodite, a third with whom he himself wishes. So Adonis became the companion and lover of Aphrodite.

However, their happiness did not last long. Adonis somehow angered Artemis, and during the hunt he was mortally wounded by a huge boar. From the blood of Adonis grew a rose, and from those tears that Aphrodite shed mourning him - anemones.

Worship of Aphrodite.

People made sacrifices to Aphrodite Pontia ("Marine"), hoping that she would protect them during sea ​​voyages, and Aphrodite Limenia ("Port"), the patroness of harbors and ships standing in them.

Many animals and plants were dedicated to Aphrodite. As the goddess of love and fertility, she owned roosters, doves, sparrows and hares, that is, those creatures that, according to the Greeks, were the most prolific; as a sea goddess she was served by dolphins. Of the plants, many flowers were dedicated to Aphrodite, including violets, roses, anemones, poppies - flowers are given to loved ones to this day; and from the fruits - an apple, a fruit that, in ancient marriage rites, the bride gave to the groom.

Nude Aphrodite.

Since Aphrodite was the goddess of beauty, she (the only one of all the great Olympian goddesses!) Was quite often depicted naked. As the Greeks thought, in contrast to Artemis, who killed Actaeon, who accidentally saw her nakedness, or from Athena, who for the same struck the son of one of her nymphs, Tiresias, with blindness, Aphrodite treated her favorably in this form. Yes, this is understandable - after all, it was impossible to realize the full beauty of the goddess when she was dressed in spacious and shapeless Greek clothes.

The first to dare to depict a naked Aphrodite was the Greek sculptor Praxiteles, a man immensely in love with beauty. female body. They say that he sculpted Aphrodite from marble more than ten times, and among these statues of his was Aphrodite of Cnidus - a statue for which in ancient times thousands of people came to Cnidus, where she was located - just to look at her.

Aphrodite, Greek, Latin Venus - the goddess of love and beauty, the most beautiful of the goddesses ancient myths.

Its origin is not entirely clear. According to Homer, Aphrodite was the daughter of Zeus and the rain goddess Dione; according to Hesiod, Aphrodite was born from sea foam, fertilized by the sky god Uranus, and emerged from the sea on the island of Cyprus (hence one of her nicknames: Cyprida).

One way or another, but in any case, thanks to her beauty and all sorts of charms, Aphrodite became one of the most powerful goddesses, before which neither gods nor people could resist.

In addition, she had a whole detachment of helpers and assistants: the goddesses of female charm and beauty - the haritas, the goddesses of the seasons - the mountains, the goddess of persuasion (and flattery) Peyto, the god of passionate attraction Himer, the god of love attraction Pot, the god of marriage Hymen and the young god love Eros, from whose arrows there is no escape.

Since love plays a huge role in the lives of gods and people, Aphrodite has always been in high esteem. Those who showed respect for her and did not skimp on sacrifices could count on her goodwill. True, she was a rather fickle deity, and the happiness she bestowed was often fleeting. Sometimes she worked genuine miracles, which only love is capable of. For example, the Cypriot sculptor Pygmalion was revived by Aphrodite marble statue the woman he fell in love with. Aphrodite protected her favorites wherever she could, but she also knew how to hate, because hatred is the sister of love. So, the timid young man Narcissus, to whom the jealous nymphs reported that he neglects their charms, Aphrodite made him fall in love with himself and take his own life.

Oddly enough, Aphrodite herself was not very lucky in love, since she did not manage to keep any of her lovers; She was not happy in marriage either. Zeus gave her the most unprepossessing of all gods, the lame, always sweaty blacksmith god Hephaestus, as her husband. To console herself, Aphrodite became close to the god of war Ares and bore him five children: Eros, Anteroth, Deimos, Phobos and Harmony, then with the god of wine Dionysus (she gave birth to his son Priapus), and also, among others, with the god of trade Hermes. She even consoled herself with a mere mortal, the Dardanian king Anchises, from whom Aeneas was born to her.

In the world of myths, life has always been rich in events, and Aphrodite often took the most active part in them; but her benevolence towards the Trojan prince Paris had the most far-reaching consequences. In gratitude for the fact that Paris called Aphrodite more beautiful than Hera and Athena, she promised him the most beautiful of mortal women as his wife. She turned out to be Helen - the wife of the Spartan king Menelaus, and Aphrodite helped Paris kidnap her and take her to Troy. This is how it started Trojan War, which you can read about in the articles "Menelaus", "Agamemnon" and many others. Naturally, in this story, Aphrodite helped the Trojans, but the war was not her part. For example, as soon as she was scratched by the spear of the Achaean leader Diomedes, she ran away crying from the battlefield. As a result of a ten-year war, in which all the heroes of that time and almost all the gods participated, Paris died, and Troy was wiped off the face of the earth.

Aphrodite was clearly a goddess of Asia Minor origin and, apparently, goes back to the Phoenician-Syrian goddess Astarte, and she, in turn, to the Assyrian-Babylonian goddess of love Ishtar. The Greeks adopted this cult already in ancient times, most likely through the islands of Cyprus and Cythera, where Aphrodite was worshiped especially zealously. Hence such nicknames of the goddess as Cyprida, Paphia, the Paphos goddess - from the city of Paphos in Cyprus, where there was one of the most magnificent temples of Aphrodite (see also the article "Pygmalion"), from Cythera (Cythera) - Kythera. Myrtle, rose, apple, poppy, doves, dolphin, swallow and linden were dedicated to her, as well as many magnificent temples - not only in Paphos, but also in Knida, Corinth, Alabanda, on the island of Kos and in other places. From the Greek colonies in southern Italy, her cult spread to Rome, where she was identified with the ancient Italic goddess of spring, Venus. The largest of the Roman temples of Aphrodite-Venus were those at the Forum of Caesar (temple of Venus the Ancestor) and at the Via Sacre (Sacred Road) to the Roman Forum (temple of Venus and Roma). The cult of Aphrodite fell into decline only after the victory of Christianity. However, thanks to poets, sculptors, artists and astronomers, her name has survived to this day.

Beauty and love attract artists of all times, so Aphrodite was depicted, perhaps, more often than all other characters of ancient myths, including in vase paintings, frescoes of Pompeii; unfortunately, about the fresco "Aphrodite emerging from the waves", created in the end. 4th c. BC e. Apelles for the temple of Asclepius on Kos, we know only from the words of ancient authors who call it "unsurpassed". The most famous of the reliefs is the so-called Aphrodite of Ludovisi, a Greek work of the 460s. BC e. (Rome, National Museum in Thermae).

The statues of Aphrodite are among the masterpieces of ancient plastic art. This is primarily "Aphrodite of Cnidus", created, probably by Praxiteles for the Cnidus temple in the 350s. BC e. (Copies are available in Vatican Museums, in the Louvre in Paris, in the New York Metropolitan Museum of Art and in other collections), "Aphrodite of Cyrene" - a Roman copy of a Hellenistic statue of the 2-1 centuries. BC e. (Rome, National Museum at Thermae), "Capitolian Aphrodite" - a Roman copy of a Hellenistic statue of ser. 3 in. BC e. (Rome, Capitoline Museums), "Venus Mediciy" - a Roman copy of the statue of Cleomenes, 2nd century. BC e. (Uffizi Gallery, Florence) and others. About the highest level the skill of the Greek sculptors who sculpted Aphrodite is evidenced by the finds of several Greek statues that ancient authors do not mention at all, for example, “Aphrodite from Sol” (2nd century BC, Cyprus Museum in Nicosia) or the famous “Aphrodite of Melos” (con 2nd century BC, found in 1820, Paris, Louvre).

Artists of the new time were fond of Aphrodite no less than ancient ones: their paintings and sculptures are almost impossible to count. Among the most famous paintings include: "The Birth of Venus" and "Venus and Mars" by Botticelli (1483-1484 and 1483, Florence, Uffizi Gallery, and London, National Gallery), "Sleeping Venus" by Giorgione, completed after 1510 by Titian (Dresden Gallery), " Venus and Cupid" by Cranach the Elder (c. 1526, Rome, Villa Borghese), "Venus and Cupid" by Palms the Elder (1517, Bucharest, National Gallery), "Sleeping Venus" and "Venus and the Lute Player" (Dresden Gallery), "Birth Venus”, “Triumph of Venus” and “Venus and Mars” by Rubens (London, National Gallery, Vienna, Kunsthistorisches Museum, Genoa, Palazzo Bianco), “Sleeping Venus” by Reni (after 1605) and Poussin (1630, both paintings in the Dresden Gallery), Venus with a Mirror by Velasquez (c. 1657, London, National Gallery), Boucher's Toilet and Venus Comforting Cupid (1746, Stockholm, National Museum, and 1751, Washington, National Gallery ). From contemporary works let's name at least "Aphrodite" by R. Dufy (c. 1930, Prague, National Gallery), "Venus with a lantern" Pavlovich-Barilli (1938, Belgrade, Museum contemporary art), “Sleeping Venus” by Delvaux (1944, London, National Gallery) and the engraving “The Birth of Venus” by M. Shvabinsky (1930).

From the field of plastics it is necessary to mention at least G.R. Paolina Borghese as Venus" (1807, Rome, Villa Borghese), "Aphrodite" by B. Thorvaldsen (c. 1835, Copenhagen, Thorvaldsen Museum), "Venus the Victorious" by O. Renoir (1914), "Venus with a Pearl Necklace" A. Maillol (1918, in the London Tate Gallery), "Venus" by M. Marini (1940, USA, private collection). In the collection of the Prague National Gallery- “Venus” by Khoreyts (1914) and “Venus of Fertile Fields” by Obrovsky (1930); the sculpture "Venus emerging from the waves" was created in 1930 by V. Makovsky. In this regard, it is interesting to note that the famous statue of J. V. Myslbek "Music" (1892-1912) is a creative processing of an antique sample. As it turned out from his creative heritage, he created it on the basis of a thorough study of the "Venus of the Esquiline" (1st century BC). Of course, composers also sang Aphrodite. At the turn of the 18th and 19th centuries. Vranitsky wrote program symphony Aphrodite, early 20th century the orchestral "Hymn to Venus" was created by Manyar, Orff wrote in 1950-1951. stage concert "Triumph of Aphrodite".

Of the many poetry dedicated to Aphrodite, the oldest of all, apparently, are the three "Hymns to Aphrodite", which tradition ascribes to Homer. In poetry, Aphrodite is often referred to as Cythera (Kythera), the Queen of Paphos, Paphia:

"Run, hide from the eyes,
Cythera is a weak queen! .. "
- A. S. Pushkin, "Liberty" (1817);

"At the Paphos queen
Let's ask for a fresh wreath ... "
- A. S. Pushkin, "Krivtsov" (1817);

“As a faithful son of the pathos faith…”
- A. S. Pushkin, "To Shcherbinin" (1819). Here the pathos faith is love.

Sections: Music

Plan

1. Introduction. The history of the creation of the ballet F. Yarullin "Shurale"
2. Main part: Musical characterization of images
3. Guidelines

1. Introduction. The history of the creation of the ballet F. Yarullin "Shurale"

Farid Yarullin's ballet "Shurale" is the first Tatar ballet, pride national music. It was created in 1941 in a short time by a young talented composer on a libretto by Ahmed Faizi based on fairy tale of the same name Gabdulla Tukay. Ballet captivates with brightness musical images, originality and colorfulness of the national color. The premiere of the Shurale ballet was timed to coincide with the opening of the Decade of Tatar Art and Literature in Moscow. However, work on the production was interrupted due to the outbreak of the Great Patriotic War. The composer was called to the ranks Soviet army. In 1943 he died. The premiere of the ballet took place in Kazan only in 1945. In 1950, the ballet was staged with great success at the Leningrad Opera and Ballet Theater named after S.M. Kirov in the orchestral version by V. Vlasov and V. Fere. In 1955, the new production in Moscow on stage Bolshoi Theater where the party main character performed by Maya Plisetskaya. Later, she noted that the role of Syuyumbike is one of her favorite parts. Shortly after the premiere in Moscow, the Shurale ballet began its triumphal procession in many theater scenes peace.

Shurale is a traditional image of the Tatar folk tales, goblin, appearance which resembles bizarre forest driftwood and twigs, so it is perceived as a product of violent folk fantasy.

The poem - a fairy tale of the classic of Tatar literature G. Tukay sounds like a hymn native land, the richness and beauty of its nature, the poetry of folk fantasy.

A young peasant named Byltyr, thanks to his resourcefulness and courage, defeats the evil and insidious Shurale. The idea of ​​the poem is glorification human mind, its superiority over forces hostile to man. Ballet libretto added storylines from other folk Tatar fairy tales, in particular, about girls - birds. In the ballet, Byltyr saves not only himself, but also the girl - the bird Syuyumbike, from whom Shurale stole wings. significant place are occupied by folk-genre paintings depicting the life of a Tatar village, a wedding celebration.

2. Main part: Musical characterization of images

The main principle of the musical dramaturgy of ballet is the contrasting opposition of two opposing forces, presented on the one hand, real images Bytyr and the people, on the other - the fabulously sinister world of forest evil spirits, headed by Shurale.

Main feature musical characteristic real heroes- the proximity of music to folk song origins, melody, softness of sound, simplicity and plasticity of rhythmic patterns. Hostile to man fantasy creatures, on the contrary, are characterized by bizarrely capricious rhythms, sharply dissonant harmony.

This opposition of two musical spheres makes it possible not only to create bright stage images but also to reveal the very essence of the idea of ​​the work. Embodied in the image of Byltyr best qualities people: nobility, courage, sense of humor. It is Byltyr who is the main character of the play, a fighter against evil and violence, and therefore the music that characterizes him is distinguished not only by warmth, sincerity, but also by masculinity.

The image of the bird girl Syuyumbike is deeply impressive in the ballet. This is a fabulous, beautiful, snow-white bird, which only away from people turns into charming girl. Her theme is light, impetuous, airy and expresses the carefree playfulness of a graceful bird girl. The wonderfully beautiful theme of Syuyumbike runs through the entire ballet, develops and changes depending on situations and emotional experiences heroines. Calm, smooth when Syuyumbike appears with her girlfriends, this theme in the scene with Shurale grows into an emotionally rich, dramatic one. Measured movement becomes restless, tense. The anxiety intensifies more and more, and from the broad pathetic theme there is only one pulsating chant (the theme of wings). Subsequently, it becomes the leitmotif of mental suffering, unrest Syuyumbike. IN last time the theme of Syuyumbike takes place in the final, after the death of Shurale. Acquiring a victorious and jubilant character, it seems to affirm the victory of the forces of light.

The image personifying evil is Shurale. Torturing and killing people is the highest pleasure for him. His strength is in his fingers, with which he can tickle to death. However, a human is stronger than Shurale. He defeats him with cunning, intelligence, the depth of his love for Syuyumbika.

The musical characteristic of Shurale is distinguished by brokenness of rhythm, chromaticisms, the composer uses a peculiar scale that combines whole-tonality and pentatonicity.

Successful in terms of brilliance and imagery of music are scenes of gatherings of forest evil spirits. Skillfully weaving pentatonic into sharp consonances and into unusual harmonic sequences, F. Yarullin preserves the national flavor throughout the ballet, thereby emphasizing its national identity, because gins, shaitans, shurales, ubyrs are the creations of the Tatar folk fantasy. The dance of the witches is simple harmonic language, the usual major-minor modal basis, but the broken melody and "grouchy", chromatic grace notes give the witches' music that unusual, inhuman character that is inherent in all evil spirits. Ubyrs (fire witches) are very nimble, they fly, turning into a fireball, and the music is sharp. When Shaitan appears, a general frenzied dance of all evil spirits flares up.

Folk scenes are good in ballet. Saturating the music of these scenes with intonations and rhythms folk songs and dancing, the composer reproduced lively, realistic pictures of village life. Here F. Yarullin uses the rhythms characteristic of the Tatar folk dance melodies, takmaks. good example serves " Children's dance”, humorous dances of the matchmaker and matchmaker.

Based on folk musical and poetic traditions, widely using techniques classical ballet both in the disclosure of images and in the development musical material, F.Yarullin created a wonderful musical stage work, which laid the foundation for successful development Tatar national ballet art and deserved recognition in his country and abroad.

In order to enrich the curriculum, I offer a number of fragments from the clavier of Farid Yarullin's ballet "Shurale" edited by L. Batyrkaeva. The piano score was released in 1971 by the Muzyka publishing house. In this arrangement, the composer's music has repeatedly sounded in theaters and concert halls. These fragments can be used as an addition to the Tatar repertoire classical music, which can be recommended to students of music schools as piano pieces. Recommendations are offered below, which discuss the difficulties of performing these arrangements and methods for overcoming them. The pieces are recommended for performance in the middle and senior classes of music school.

1. "Exit of Byltyr". The music that characterizes him is distinguished by warmth, sincerity and melodiousness. When learning a piece, it is necessary to pay attention to the chants characteristic of Tatar music: you need to achieve the execution of the phrase in one breath, not disturb the smooth flow of the melody, listen to long sounds to achieve the integrity of the phrases. Accompanied by swinging chords. The complexity of the accompaniment is in the smooth transition from bass to chords.
   This piece corresponds to the 4th grade level. Can be recommended to more advanced grade 3 students. (Annex 1)
2. "Dance of the Witches" The piece is distinguished by the simplicity of the harmonic language, the usual major-minor modal basis. The dance of the witches is based on the juxtaposition of unexpected movements: sharp and smoother. But the broken melody and "grouchy", "croaking" chromatic group grace notes give the witches' music that unusual, inhuman character that is inherent in all evil spirits.
   The attention of the performer should be directed to the visual moments of the music.
   Before starting work with the piece, the essence of the rhythmic difficulties caused by polyrhythm and syncopation should be explained to the student. When learning, pay attention to the decorations in the right hand, which should be performed easily. This piece corresponds to the 7th grade level. (Annex 2)
3. "Krasovanie Byltyr". The character of the play is lyrical. The complexity of the performance lies in the ability to plastically carry out a flexible, long melodic phrase against the background of a waltz accompaniment. The attention of the performer should be directed to the part of the left hand, which must be learned separately, achieving a free transfer of the hand from the bass to the chords. The vivid expressiveness of the melody, its striving for the culminating peak oblige me to carefully work out the accompaniment.
   This play can be introduced into the program of 4-5 grades. (Annex 3)
4. "Solo Syuyumbike". Syuyumbike is a fabulous image. In accordance with the image, the music is colorful, songful, sincere. Cheerful, mobile and dance character of the piece requires special attention to work on fine technique. Sixteenth durations should sound easy, without weighing down the movement of the melody. It is necessary to pay attention to active races, complicated by grace notes, where the emphasis falls on the main beats, and the grace notes must be played easily and softly.
   In accompaniment, there are big jumps from bass to chords, which will require special attention. Work is also needed on the rhythmic pattern (within-bar syncopations), as well as on possible, but not desirable, jerks to the last weak beat of the measure.
   Based on the above difficulties, this play can be offered to senior students of the Children's Music School. (Annex 4)
5. Duet of Byltyr and Syuyumbike. By nature - a lyrical, excited play. The difficulty lies not only in the performance of the melody in one breath, but also in the ratio of the sonority of the melody and the accompaniment.
   The accompaniment, by creating harmonic background and pulsation, should help the melody to keep the wholeness of the phrase. Therefore, the accompaniment should be played quietly and easily, as if stringing bass and chords on the smooth movement of the melody, complementing its sound and helping its development.
   Feeling horizontal movement musical fabric contributes to the achievement of large breathing, both in the melodic line and in accompaniment. The play can be recommended for the repertoire of the sixth and seventh grades of the music school. (Annex 5)

Literature:

1. Batyrkaeva L. Piano score of F. Yarullin's ballet Shurale. - Kazan: Tatar book publishing house, 1987.
2. Bakhtiyarova Ch. "Farid Yarullin". - Kazan: Tatar book publishing house, 1960.
3. Raimova S. History of Tatar music: tutorial. - Kazan: KSPI, 1986.