Analysis of the choral scores The forest spread out densely. Kolovsky — Choral score analysis

O. Kolovsky. Analysis choral score/ Choral art: collection of articles / ed. A. V. Mikhailov, K. A. Olkhov, N. V. Romanov. Leningrad "Music", - 1967. - p. 29-42

Textbooks on the analysis of musical works cannot fully satisfy students working on the score in terms of performance, since the course of analysis is a theoretical discipline and is not designed to cover a musical work comprehensively. The performer, in particular the conductor of the choir, must master the score as much as possible.

This essay is devoted to the methods of musical analysis of a choral score in a special class of conducting.

In short, the progress of work on the score is presented in the following form: the first stage is playing, listening to the music; the second - historical and aesthetic analysis (acquaintance with the work of the composer - the author of the score under study; reading special literature; reflections on the text, the general content of the works, its idea); the third is theoretical analysis (structure, thematism, the process of shaping, the function of cadences, harmonic and contrapuntal elements, issues of choral orchestration, etc.).

Of course, the proposed sequence is somewhat arbitrary. Everything will depend on the specific circumstances: on the degree of complexity of the work, on the giftedness of the student. If, for example, a talented and, moreover, erudite musician comes across an easy score, then he may not need much time for analysis - he will master it, as they say, in one sitting; but another situation may also arise, when a complex score will end up in the hands of an immature and not very sensitive performer - then one cannot do without a technique.

Unfortunately, future choir conductors are deprived of the opportunity to take classes in composition, although it is no secret that composing skills are of great benefit when studying music, allowing them to delve deeper and more organically into the process of shaping, to master the logic of musical development. How much simpler the "problem" of analysis would be if it were dealt with by people who had gone through the school of composition.

So, the student received a new score to learn. This may be a simple adaptation of a folk song, a fragment from the Oratorio or Mass, a new work by a Soviet composer. Regardless of the degree of complexity of the score, it must first be played on the piano. For a student who does not play the piano well, the task will, of course, become more complicated, but even in this case one should not refuse to play and resort to the help of a recorder or an accompanist. Of course, the activity of internal hearing and an excellent memory can largely make up for the lack of pianistic skills.

Playing and, of course, accompanying listening and memorization are needed not only for a preliminary acquaintance with the score, but in order, as they say, to “bite through” it, to understand it in in general terms meaning, idea of ​​the work and its form. The first impression must always be strong and definite; music should captivate, please - this is an absolutely necessary beginning for further work on the score. If this contact between the music and the performer did not occur from the very beginning, it is necessary to put the score aside, either temporarily or permanently. There can be several reasons why the work "did not like". Excluding extreme cases (the music is bad or the student is mediocre), most often this comes from the narrow cultural and musical horizons of the student, a limited circle of artistic sympathies, or, simply, bad taste. It happens that a form or a new musical language scares away, sometimes the very idea, the concept of a piece, turns out to be alien. In exceptional cases, this is a manifestation of fundamental intolerance towards a particular composer or style. However, be that as it may, if the work “did not come through,” it means that it remained incomprehensible both in content and in form. Therefore, further analysis is completely useless; it will bring nothing but formal results. It makes sense to start analyzing the score only when the student already knows, understands and feels the music, when he "likes" it.

Where to start? First of all, from the historical and aesthetic analysis, that is, from the establishment of links between a given work and phenomena of life, culture and art close to it. Thus, the subject of such an analysis will be not so much the work itself, as those phenomena that are somehow connected with it. This is necessary in order to ultimately penetrate deeper into the content of the studied score and further into its form through indirect connections. We should not forget that each piece of music is not an isolated phenomenon, but is, as it were, an element or a particle of a whole intonation-stylistic system in the artistic life of a certain era. This particle, as in a microcosm, reflects not only the stylistic features of musical phenomena adjacent in time, but also the characteristic features of a particular historical culture as a whole. Thus, the surest way to know this “microcosm” is from the general to the particular. However, in practice, a variety of situations arise. Let us imagine that a student has been given a score by one of the old masters of the 16th century to learn, and that this is his first encounter with this style. It is unlikely that there will be much use from the fact that the student will be engaged in diligent swotting and theoretical analysis of this single score. Of course, a colossal additional work will be required; firstly, you will have to replay dozens of scores by the same author and his contemporaries in order to get acquainted with the style in a broad sense; secondly, it will be necessary, as they say, to enter this distant era in all possible ways - through literature, painting, poetry, history, philosophy.

Only after such painstaking preparatory work can one count on finding the right “tone” for interpreting a given work.

And vice versa, another example: the student must prepare for learning and performance the score of a famous Russian composer of the 19th century. Of course, analysis will also be required here, but on a much smaller scale, since the music of this composer is “well-known”, his student knows the main works (is this always the case?), read something about his life and work, and finally something what I remember from lectures, etc. But even in such a favorable state of affairs, I still have to refresh some works (most likely symphonic and chamber-instrumental ones), get acquainted with new biographical materials, etc.

In practice, there may be other options. Of course, the higher the culture and erudition of a musician, the more extensive his musical "baggage", the sooner he goes through this stage of analysis. A student who is less musically and culturally prepared will have to put in a lot of work in order to rise to the level corresponding to the work, and after that have the right to concentrate on himself.

Musicians who completely neglect the method of historical analysis, considering it an unnecessary luxury and an invention of "non-musicians", always, to one degree or another, have shortcomings in their performance; their interpretation always smacks of an unpleasant "gag" that gets along well with stylistic eclecticism. True, sometimes you have to meet with a talented gag, but this does not change the essence of the matter.

It is a pitiful sight to see a capable student conducting some complex composition which he feels but does not really understand; he surrenders to the power of his emotions, his temperament, he even manages to faithfully and talentedly convey individual details, he gets excited and worries, and music, like a sphinx, remains unsolved. And after all, this misunderstanding, which can be perfectly combined with the "knowledge" of the score, almost always has one source - the lack of a broad outlook in the field of culture and art. This circumstance especially makes itself felt when something from J.‐S. Bach. Without blaming the teachers of special conducting, I still want to say that there is hardly any benefit from conducting the works of J.‐S. Bach at the piano!

Let's move on to concrete examples. It is necessary, for example, to make a historical and aesthetic analysis of one of the parts of Mozart's "Requiem" and Shostakovich's poem "January 9th".

The fact that both works are quite well known and are often performed in classrooms and at exams allows the analysis to be freed from some informational ballast, which is necessary in cases where we are talking about some rarely performed work by a little-known author.

It has already been said earlier that in order to conduct one piece, one must, if possible, become familiar with the composer's work as a whole. Few people actually do not know this, but few follow this principle. The true meaning of music is often replaced by a superficial orientation - so many symphonies have been written, so many operas, etc. But the main thing is how it sounds written. It is hard to imagine that there can be a choir student who does not know anything from Mozart, except for the Requiem. Some piano piece played in childhood is probably already stuck in the memory; maybe I remember one or two symphonies or something else. However, we can safely say that the vast majority of young choir conductors do not know Mozart's music well. To embark on the Requiem without the feeling that the head and heart are already full of the music of a brilliant artist is as absurd as to take on the score of Beethoven's 9th Symphony or Tchaikovsky's 6th without knowing the previous ones. All this does not mean that you need to study the whole of Mozart. On the contrary, one can get by with a minimum in the first case, but even this minimum will amount to a far from small number of compositions. Be sure to get acquainted with all the main genres in the work of Mozart, since in each of them some kind of new face his music. Better start with piano sonatas, then move on to piano concertos, listen to chamber ensembles (especially quartets and certainly a quintet in G minor) and it may be more thorough to linger on symphonic work, starting with the last three symphonies. It will not hurt to get acquainted with charming divertissements. And of course, a sense of Mozart's operatic style, at least for 2-3 operas, seems absolutely necessary. The list can be continued, but this is enough. Ultimately, the success of the analysis will be determined not by the number of things played and heard, but by the ability to delve into the music. The main task is to feel the spirit of Mozart's music, to get carried away by it, to feel the style, the nature of the musical language. Only those who deeply experience and understand the "sunny" essence of Mozart's music will find the right path to the dramatic and gloomy world of "Requiem". But even in the Requiem, Mozart remains Mozart, the tragedy of the Requiem is not tragedy in general, but Mozart's tragedy, that is, due to the general style of the composer's music.

We very often, unfortunately, try to lay short cuts between reality and a piece of music, forgetting that there is only one correct path, longer, but true - through style. The struggle to master style is perhaps the most concise formulation of the meaning of historical and aesthetic analysis. And with regard to Mozart's music, this is a particularly difficult task, because Mozart is "supported" from two sides by such colossi as Bach and Beethoven. And often dramatic pages of Mozart's music are performed "under Beethoven", and contrapuntal - "under Bach".

Simultaneously with the musical "excursion" it is advisable to read special literature. In addition to textbooks, it is useful to read primary sources - Mozart's letters, memoirs - to get acquainted with the statements of major artists about Mozart, etc. Finally, if time and circumstances permit, it is not harmful to delve into the socio-political and artistic environment of that time. As for the Requiem itself, not to mention the music, it also seems extremely important to clarify some details of the religious content of the funeral service, because focusing on the humanism of music, one should not at the same time forget about church attributes, forms and canons, which have found a certain reflection and in the music of Mozart. The question of the influence of church ideology on music is also related to the problem of style.

And one more thing: one cannot pass by the immortal art of the great poets, musicians and artists of the Renaissance; frescoes and paintings by Michelangelo and Raphael can "suggest" a lot in the interpretation of some numbers of the "Requiem"; a sensitive musician, with great benefit for himself, will also study the scores of the immortal Palestrina, filled with some kind of special purity and "holiness", and after all, there are "Palestrina" episodes in the score of the "Requiem"; Mozart firmly mastered the Italian school of choral voicing - light and transparent.

In general, it seems as if a large amount of work is being done around one work, but, firstly, not every score requires such an extensive analysis, and, secondly, a student, picking up a new score, still knows something about composer and his work, and about the era as a whole. Therefore, the work will consist in replenishment of knowledge, in additional analysis, some (large or smaller) part of which has already been done earlier in the learning process.

As for studying the score of a modern composer, then the performer will inevitably face difficulties of a different nature than when analyzing a work of classics, although the range of questions in both cases is the same. The work of even the greatest classic, who lived, say, 100 years or even more ago, according to a completely natural law of life, loses some of its vital content - it gradually fades, loses the brightness of its colors.

And so it is with the whole heritage: it is, as it were, "deployed" in relation to us, contemporaries, from the side of its beautiful, classical forms. That is why the conductor must first of all get to the bottom of the vital springs of the style of the classical score; his "super task" is that the old music in his interpretation is perceived as new, contemporary work. In absolute form, such a transformation is, of course, impossible, but striving for this ideal is the destiny of a true artist.

The strength of genuine contemporary art, on the contrary, lies in the fact that it first of all conquers and wins the heart with its connection with life. But the form of new music often scares away the conservative and lazy performer.

Now, briefly about Shostakovich's choral poem "January 9th". Here, too, one will have to deal first with the work of Shostakovich as a whole, paying primary attention to the central genre in his work - the symphonic one. Perhaps, first of all, you should get acquainted with the 5th, 7th, 8th, 11th and 12th symphonies, some quartets, a piano quintet, fugues in E minor and D minor for piano, the oratorio “Song of the Forests” and a vocal cycle on texts Jewish folk poetry. Shostakovich - the great symphonist of our time; in his instrumental frescoes, as in a mirror, the heroism, drama and joys of a man of our stormy and contradictory era are reflected; in terms of the scale of the events depicted, in terms of the power and sequence of the development of ideas, he knows no equal among the composers of our time; in his music there is always a note of ardent love, sympathy and struggle for a person, for human dignity; tragic episodes of Shostakovich's music are often the pinnacle of his grandiose concepts. The original style of Shostakovich is a complex amalgam of Russian-European origin. Shostakovich is the most faithful heir to the great art of the past, but he also did not pass by the huge conquests of outstanding composers of the 20th century. The seriousness, nobility and the greatest purposefulness of his art make it possible to put Shostakovich on the general line of development of European symphony, next to Beethoven, Brahms, Tchaikovsky and Mahler. The constructive clarity of his musical structures and forms, the extraordinary length of melodic lines, the variety in the modal basis, the purity of harmonies, the impeccable contrapuntal technique - these are some of the features of Shostakovich's musical language.

In a word, anyone who dares to take Shostakovich's work for learning will have to think a lot about his work, especially since there are still very few good books about him.

As far as the program is concerned, here too one cannot be complacent on the grounds that the theme of the revolution of 1905 is a well-known thing. We must not forget that this is history. So, we must try to get closer to the tragic event on Palace Square, to see it in our imagination, to feel and experience it, to revive in our hearts a civil feeling of pride for those who died for the great cause of liberation from the tsar's yoke. You need to set yourself up, so to speak, in the most sublime way. There are many ways to serve those who wish: historical documents, paintings, poems, folk songs, and finally cinema. Ideally, the performer should always strive to reach the level of the composer - the author of the work, and in this he will be helped to a large extent by his own concept and idea of ​​​​the composition, and not learned only from the composer's voice. This circumstance will give him the right to argue with the author and, perhaps, make some adjustments to the indicated tempos, dynamics, etc. In short, when receiving a score of, say, the same poem by Shostakovich, the conductor (if he creative person) should not only analyze and state what is in it, but also try to discover what, from his point of view, should be there. This is one of the ways to an independent and original interpretation. For the same reason, it is sometimes more useful to get acquainted first with the text of the score, and not with its music.

The final result of the historical and aesthetic analysis should be clarity in the general concept, in the idea, in the scope of the content, in the emotional tone of the work as a whole; moreover, preliminary conclusions regarding stylistics, musical language and form, which will be refined in the process of theoretical analysis.

And lastly, whether it is necessary to draw up the analysis in a written work. In no case. It is much more useful to make a habit of entering all the material on a given work in a thesis form into a special notebook. These can be: the conclusions of the analysis, their own thoughts and considerations, statements from the specialized literature, and much more. In the end, in the future, if necessary, it will be possible to make a small monograph about the work based on the data of the analysis (including the results of theoretical analysis). But this is after the performance of the score. Before the debut, it is better not to be distracted and make every effort to express yourself better in the language of music.

From form to content

Even at a music school, a student gets acquainted with the elements of music (mode, interval, rhythm, meter, dynamics, etc.), the study of which is included in the course of elementary music theory; then switches to harmony, polyphony, orchestration, score reading and finally completes his theoretical education with a course in the analysis of musical compositions. This course seems to have as its task a holistic, comprehensive analysis - in any case, the authors of textbooks in their introductory chapters declare such a profile; in fact, almost everything comes down to the study of musical compositional schemes, to the analysis of the architectonic structure, that is, to mastering the rules of musical "grammar".

Although the issues of thematic development are touched upon, but mainly in the limited scope of methods of motivated development, and then somehow “by eye” - where it is completely obvious.

This does not mean, however, that the study of the structure of musical works has lost its meaning. It is unlikely that the expediency of such a pedagogical discipline needs special argumentation. It may not be about canceling (at least for the first time) the architectonic criterion in analysis, but only about supplementing it with an analysis of a different plan, namely, an analysis of the process of shaping. How to do this, how to develop a method for doing so is the business of theorists. But practicing musicians, and choir conductors in particular, cannot wait; they begin to lose faith in the power of theory, many of them eventually stop taking the analytical method of studying music seriously, feeling cheated to some extent - so much was promised and so little delivered. This, of course, is unfair, but it also has its justification, because it turns out like this: theory leads, leads the student by the hand, and then, at the most decisive moment, at the culminating peak of theoretical education, when music, as they say, is within easy reach - leaves his. This interval between science and live music (however, in principle, it is quite natural) is currently too large, it must be significantly reduced. It seems that there are two ways to go: either resolutely move the theory of analysis to a more creative problem of shaping, or approach the existing theory through the highest and most conscious practice - through creativity-composition, i.e. by moving the problem of musical development in this way into the sphere of practice . The second path is more reliable and, apparently, the time will come when the course of analysis of musical works (at least for conductors) will turn from analytical into practical, but regardless of this, theory must also step forward, approach the requirements of modern practice. Solving such a problem at the scientific level is a difficult and long task. However, in such cases, when the theory is somewhat late, a technique can come to the rescue. Let's try to help young choir conductors with some practical advice which, in our opinion, will direct their attention in the right direction.

First, about the possible types of theoretical analysis aimed at studying the form of a musical work. There may be several of them, for example: harmonic - when the compositions are viewed solely from the point of view of its harmony; contrapuntal, obliging to pay special attention to the issues of voice leading; finally, the features of choral orchestration, structure, or patterns of thematic development can fall under the analytical "spotlight". Each of them (except the last one) has its own theoretical principles and methods of analysis developed in the corresponding pedagogical courses. One way or another, students are basically prepared for harmonic, contrapuntal, structural and, to some extent, vocal-textural analysis. But when embarking on a “performing” analysis, which is as much related to the field of mythology as a “holistic” one, many of them somehow lose ground under their feet, trying to talk at all costs about everything at once.

I had to read the written work of students, which is a uniform vinaigrette; something about the ideological content, a few words about harmony, texture, dynamics, etc. Of course, such a “method” is descriptive and has little in common with genuine science.

The methodology for analyzing the form of a choral score is presented to us in the following sequence. The student begins the theoretical study of the work only after he has thoroughly worked on it in historical and aesthetic terms. Consequently, he has the score in what is called "in the ears" and "in the heart", and this is the most reliable prevention against the danger of breaking away from the content in the process of analysis. It is more expedient to start with harmony, and without being distracted by anything else, look through (and, of course, listen to), chord by chord, the whole composition. cannot be guaranteed in every separate case interesting results of the analysis of harmony (not every work can be original enough in relation to the harmonic language), but "grains" will certainly be found; sometimes it is some complex harmonic revolution, or modulation, not accurately recorded by ear - upon closer examination, they turn out to be very important elements of the form, and therefore clarify something in the content of the music; sometimes it is a particularly expressive, formative cadence, etc. Finally, such a purposeful analysis will help to find the most “harmonic” episodes of the score, where the first word is behind the harmony, and, conversely, more harmonically neutral sections, where it only accompanies the melody or supports contrapuntal development.

The ability to discover the tonal plan of the whole work is also very valuable, i.e., to find the main, supporting tonal functions in the motley picture of deviations and modulations and to catch their interconnection.

Turning to contrapuntal analysis, one must proceed from what style this composition belongs to - polyphonic or homophonic-harmonic. If to polyphonic, then contrapuntal analysis can turn into the main aspect of the theoretical study of music. In a work of homophonic-harmonic style, one should pay attention not only to contrapuntal structures (theme and opposition, canon, fugato), but also to elements of polyphony that do not have structural certainty. It can be different kind echoes, pedals, melodic passages, figurations, individual imitations, etc. It is very important to detect (and most importantly, to hear) meaningful melodic “veins” in the chord-harmonic texture, to determine their specific weight and degree of activity in shaping. As for contrapuntal episodes and structures, their analysis should not make it difficult for a student who owns the technical resources of polyphony. The difficulty here is of a different kind; one must train one's ear not to get lost in the complex plexus of voices and always find the main voice even in polyphony. To this end, it is useful to specifically practice at the piano: slowly and very quietly play polyphonic fragments, carefully listen not to “every voice”, as is usually recommended, but to the process of interaction of voices.

Next in line is the analysis of the structure of the score. There are a sufficient number of textbooks at the disposal of the student (the textbook “Musical Form” by I. Sposobin and “The Structure of Musical Works” by L. Mazel should be offered) and therefore we can limit ourselves to some general remarks. Unfortunately, one has to face the facts when students narrow down the tasks of such an analysis, confining themselves only to the question of compositional schemes; scheme found - goal achieved. This is the deepest delusion, since the patterns of structure are manifested primarily in the interconnections and subordination of small-scale constructions - motives, phrases, sentences. To master the constructive side of works means to understand the rhythmic relationships between individual structures, the logic of structural periodicities and contrasts. By the way, I have noticed more than once that a musician-conductor who has a good feeling and understanding of the constructive, so to speak, “material” side of music, is never in danger of falling under the inertia of timing. In the end, it is not so important to know whether the three-part form, for example, in such and such a work, or the two-part form with a reprise; it is much more useful to get to the bottom of his constructive idea, to rhythm, in the broadest sense of the word.

As a result of the work already done on the score, it is possible to draw some significant conclusions regarding its structural-harmonic features and thereby move towards the problem of style, so to speak, from form. However, the most difficult problem is still ahead - shaping in the process. It should be said in advance that here, as in art in general, the first word belongs to the innate sense of musical logic; no most impeccable theory can make a musician. But we should not forget something else: theoretical awareness organizes the creative process, gives it clarity and confidence. Sometimes fears are expressed - whether we analyze too much, whether this will ruin the music. False fears. With the deepest and most detailed analysis, the lion's share still remains for the share of intuition; a true musician will never stop feeling in the first place. Theory will only help him feel smarter.

Analysis helps both the "dry" and the "emotional" musician equally; he can “ignite” the first, “cool” the other.

Even in the process of structural-harmonic and contrapuntal analysis, questions of musical and thematic development usually arise from time to time, but this happens, as a rule, in the form of a statement of individual facts; so it was, and so it was. In order to understand to some extent the process of shaping, it is no longer possible to “jump” over the beats; you will have to go along a difficult and long path, approximately the one along which the composer moves when composing a work. Here the starting point will no longer be a period, not a harmonic function, but a theme.

Here, from the topic, through all the vicissitudes and nooks and crannies of its development, to get analytical thought to the final cadence, without missing a single link - the task of the procedural study of a musical work. This is never fully achieved. Somewhere there will be “gaps” where the intellect does not penetrate and where one will have to rely on intuition. However, even if the main, main line in the development of the form is only outlined, then the goal has been achieved.

Such an analysis is best done behind the instrument, when circumstances allow sufficient gathering and concentration. With a high culture of inner hearing, however, one can do without the piano. It is impossible to predict how many times you will have to play and listen to the entire score and separate places; at least many times. An analysis of this kind will require tremendous creative effort, focus, and time. And understandably, it is not an easy task to break through the emotional and figurative essence of music to the hidden springs of its logic and calculation.

In practical terms, I would like to give the student the following advice: pay attention to caesuras (including pauses) between constructions, to how phrase “clings” to phrase, sentence to sentence; learn to observe the life of the "atoms" of musical speech - intonations, how some of them develop, vary, sing, others form a kind of ostinato, or "pedal" (Asafiev's expression); do not be surprised by unexpected and sharp melodic, harmonic and rhythmic turns - they are justified by artistic and figurative logic, keep the entire musical fabric in sight, do not separate the melody from the harmony, the main voices from the minor ones - clearly feel the structure of each construction in all its dimensions; always keep in mind the main theme - the idea of ​​the work - it will not let you turn off the road; and another very important detail - never lose touch with the text.

It would be good for young choir conductors, while improving their musical culture, to go beyond compulsory textbooks and get acquainted with theoretical primary sources, in which, of course, there is no pedagogical system, but creative thought lives on. I would like to recommend first of all to read some of the works of B. Asafiev, and maybe start directly with his work “Musical Form as a Process”. Of particular value to this book is the fact that its author, a composer, has the gift of touching the most subtle aspects of the creative process.

The last stage is the analysis of choral orchestration. As you know, there is no comprehensive treatise on this issue, at least in Russian, and in the books of P. Chesnokov, A. Egorov, G. Dmitrevsky, although they set out the basics of choral studies, but mainly in the amount of elementary information, without digressions into the problem of choral styles. Therefore, the student does not always clearly imagine what should be paid attention to when getting acquainted with the choral "handwriting" of a particular composer. Leaving aside the well-known standards regarding the arrangement of voices in a choral chord, the sound and expressive possibilities of registers and ranges, let's touch on some issues of the style of choral writing. It seems that, opening the score for analysis not for the first time, the student must first of all answer the main question: does the orchestration correspond to the style of the work as a whole - has it spoiled the author’s intentions in any way, in other words, whether the score will sound exactly in the way that the music requires (is there an overload in the chord and voices, is the texture monotonous, are the tutti passages instrumented too fluidly, is there not enough air in the score and do the voices interfere with each other, or vice versa - does the texture have sufficient structural strength, etc.). Such an "examination" should be arranged not only for a young composer, but also for a venerable author, because even the latter may encounter miscalculations, oversights, or, at best, less successful-sounding episodes. And the main task here, of course, is not to find mistakes, but to ensure that a critical position awakens the necessary sensitivity to vocal and choral problems. After that, you can already deal with other issues, such as: which choral ensembles (male choir, female choir, men with violas, women with tenors, etc.) does the composer prefer; what is the meaning of timbre in the score; what is the relationship between dynamics and orchestration; in which parties it is preferable to present thematic material; what are the features of solo and tutti sounding, the methods of polyphonization of chord texture, etc. The question of the semantic and phonetic correspondence of words with music also adjoins here.

On the analysis of choral orchestration, one can, in essence, complete the theoretical study of the score. Will go further special questions daily work and performance concept.

Do I need to record the analysis? It seems to be practically impossible. Separate conclusions, considerations, even some details do not interfere with writing down for yourself. The performer does not need theoretical ideas, as such, but that what he understands and extracts from music returns to music again. For this reason, there is no illustrative analysis in this section of the essay; true analysis must be alive—when the music completes the words, and the words complete the music.

Conclusion

It would be just as wrong to confine oneself to theoretical analysis as, on the contrary, to abandon it altogether. The study of the form of a work must necessarily be preceded or accompanied (depending on the circumstances) by thoughtful work around it - acquaintance with music, literature, historical works and other materials. Otherwise, the analysis may fail and its more than modest results will only disappoint the student. It must be remembered firmly and once and for all: only when a whole world of feelings, thoughts and ideas is already connected with the music of the score - every discovery, every detail in form will immediately become a discovery or detail in content. The final result of the analysis should ideally be such an assimilation of the score, when each note "falls" into the content, and each movement of thought and feeling finds its structure in the form. A performer (whether he is a soloist or a conductor) who has mastered the secret of the synthesis of content and form is usually referred to as an artist and a master in conveying the style of a work.

The score should always be in front of the student studying it, as it were, in two planes - large and small; in the first case, it is approached for a detailed theoretical study, in the second, it is removed in order to make it easier to connect it with other phenomena of life and art, to penetrate more accurately and deeper into its content.

It can be foreseen in advance that a young conductor will say: “Well, all this is clear, but is it necessary to analyze, for example, such a score as “The bell rattles monotonously” arranged by A. Sveshnikov?”. Yes, indeed, such a score will not require special analytical work, but the skill in its interpretation will depend on many factors: on the conductor’s knowledge of Russian folk songs, on his general and musical culture and, last but not least, on how many and how large and complex scores were analyzed before this unpretentious-looking work had to be dealt with. but something else is also known: he was a great master in the transmission of I. Bach's Passions and was the first in our country to conduct I. Stravinsky's Les Noces.

Kolovsky Oleg Pavlovich (1915-1995)

Kolovsky Oleg Pavlovich (1915-1995) - Russian (Soviet) choral conductor, professor at the Leningrad Conservatory, teacher of polyphony, form analysis, choral arrangement. Led a military ensemble. O.P. Kolovsky is known for his articles on the choral work of Shostakovich, Shebalin, Salmanov, Sviridov. A number of articles are devoted to the analysis of choral scores and the song basis of choral forms in Russian music.

MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION

Federal State Educational Institution

TYUMEN STATE ACADEMY OF CULTURE, ARTS AND SOCIAL TECHNOLOGIES

"APPROVE"

Director of the MTIH Institute

_________________ / /

"_____" _____________ 2011

Training and metodology complex

for students of specialty 050601.65 "Music education"

"_____" _____________ 2011

Considered at the meeting of the Department of Choral Conducting "______" _______ 2011 Protocol No. __________

Meets the requirements for content, structure and design.

Volume 20 pages.

Head department __________________

"______" _____________ 2011

Considered at a meeting of the CMD of the Institute of Music, Theater and Choreography

"______" _______2011 protocol No. ______

Corresponds to the Federal State Educational Standard of Higher Professional Education and the curriculum of the educational program.

"AGREED":

Chairman of the CMD __________________

"______" _____________ 2011

"AGREED":

Director of the Scientific Library __________________

EXPLANATORY NOTE

One of the leading subjects in the cycle of special disciplines of the specialty 050601.65 "Music Education" is the discipline "Class of choral conducting and reading of choral scores".

When compiling the teaching materials for the discipline "Class of choral conducting and

reading choral scores” is based on the following normative documents:

State educational standard of higher vocational education for the specialty 050601.65 "Music Education", approved by the Ministry of Education and Science Russian Federation 30.01.2005 (registration number 000);

Basic curriculum TGAKIST in the specialty 050601.65

"Music education" from 27g.;

The discipline "Class of choral conducting and reading of choral scores" is studied throughout the entire period of study for 5 years in the form individual lessons student with a teacher, it is also assumed that students will work independently to deepen and consolidate knowledge.

The total labor intensity of the discipline is 470 hours:

Kinds classes

Total hours

classroom classes

Independent work

Total hours

Distribution of hours by semester classroom independent

Practical

Practical

Based on the results of studying the discipline "Class of choral conducting and reading choral scores", a knowledge test is carried out:

· in full-time- individual lessons of a student with a teacher 229 hours,

independent work of students 241 h.

· in absentia- individual lessons of a student with a teacher 64

h., independent work of students 406 h.

The purpose of the discipline "Class of choral conducting and reading of choral scores" is to prepare students for further professional practical activities as music teachers in general education school, institutions of preschool education and additional education of children.

The discipline "Class of choral conducting and reading of choral scores" has the following tasks:

acquaintance with choral music, works of various eras, styles, with the work of foreign, Russian composers, with the best examples

folk song creativity;

Obtaining knowledge and skills in the technique of conducting a choir, as well as singing

choral parts with conducting at the level of metronoming;

familiarization with the main issues of choral studies and methods of working with the choir;

mastering the skills of reading scores and independent work on choral scores, their performance on the piano, transposition of simple works;

development of the ability to implement in practical work on the score

knowledge and skills acquired in the learning process;

Starting to study the discipline "Class of choral conducting and reading choral scores", the teacher faces certain important tasks.

a trained musician capable of independent work, as well as awakening curiosity, nurturing the will to be creative, diligence, discipline, a sense of responsibility for oneself and the choir.

When deciding whether to include certain works in the work plan, the teacher must take into account the differences in the level of musical training of a particular student, personal natural musical talent. But, in addition to the student's professional data - musicality, hearing, vocal voice, piano proficiency, it is equally important to take into account his personal qualities: will, energy, determination, artistry - traits necessary for the formation of a future specialist - a music teacher. The future music teacher should develop a good ear for music, a sense of rhythm and tempo, gain knowledge of the musical form and style of works during classes in conducting and reading choral scores. Like any musician, a music teacher should deeply study elementary music theory, solfeggio, harmony, analysis of musical compositions, music history. Starting from the first days of training, it is necessary to strive to ensure that the lesson is comprehensive, and not limited to studying the technical methods of conducting and reading choral scores. The upbringing of independence, the disclosure and development of the individual talent of a student-musician is one of the most important tasks of a teacher.

When playing a choral score on the piano, it is necessary to take into account the peculiarities of the sound of this work in the choir: breathing, tessitura conditions of voices, peculiarities of sound science and phrasing (based on the literary text), balance of choral parts (based on the style of presentation - homophonic-harmonic or polyphonic), etc. e. The game of the score must be gradually brought to an artistic level. Knowledge of voices when reading scores implies their performance with subtext and precise execution of intonational and rhythmic features. In works of a homophonic-harmonic warehouse, the student must be able to sing chords vertically, and in works with elements of polyphony, he must sing the "conductor's line", that is, all the introductions that the conductor must show.

Considering the future direction of the work of a music teacher, it is extremely important for a student to know the school repertoire, the repertoire of the vocal ensemble and, of course, a good command of voice, pure intonation, and diction. An important component of the subject is the work on the works of the school repertoire: songs, choirs for children of classical composers, transcriptions for children's composition, folk songs. No less important for creative work is knowledge of other types of arts: literature, painting, architecture.

The teacher must build the educational material in the order of its gradual complication, cover the works of all musical styles, directions, creative schools of different eras.

Lessons in the class of choral conducting and reading of choral scores should be based on a detailed study of choral works, before conducting, preparing them to be performed on the piano. The process of working on a piece should begin with a thorough analysis of the given score. The analysis of choral scores involves the analysis of the form of the work, individual phrases, the definition of phrasing, climaxes, the clarification of dynamics, agogics, and the plan of performance.

An approximate plan for the analysis of a choral work:

1. general analysis content: subject, plot, main idea;

3. the composer, his biographical data, the nature of his work, the place and significance of the work under study in the composer's work;

4. musical-theoretical analysis: form, tonal plan, texture of presentation, metro-rhythm, intervals, role of accompaniment;

5. vocal-choral analysis: type and type of choir, characteristics of choral parts (range, tessitura, voice leading, vocal load),

6. features of the ensemble, building, sound science and breathing; the vocal quality of the literary text, diction features, as well as the definition of vocal and choral difficulties and ways to overcome them;

7. performing analysis: drawing up a plan for the artistic performance of a work (tempo, dynamics, agogics, musical phrasing).

Assignments received by students in the classroom are performed independently and are checked by the teacher in subsequent classes. A necessary condition for the control of independent work of students is the writing of an annotation, which sets out in writing the main parameters of the specified plan.

Works studied in the conducting class should be located

according to the degree of complexity of conducting skills, in such a way that to

By the end of the training, the student had knowledge of a vast and varied

choral material, both classical music and compositions

The subject "Class of choral conducting and reading of choral scores" of scores for students of the specialty 030700 "Music Education" is combined and involves an individual approach to each

student. Depending on the degree of musical preparation of the game on

piano, development musical ear student and others individually

personal conditions, the teacher can choose an individual form

work. The volume of studied choral works on conducting can

vary and be supplemented by reading choral scores, since before

these disciplines, when studying, the same vocal

choral and technical tasks.

First course

Acquaintance with the subject "Conducting" as an art form, its

importance in the arts. Technical means of conducting, the concept of "conductor's apparatus": body, face, hands, eyes, facial expressions, articulation.

The main position of the conductor, setting the body, hands, head. The hand, its plasticity. The basic principles and nature of movements in conducting: expediency, accuracy, rhythm. Conductor's movements in medium dynamic sound, medium tempo.

The structure of the movement of shares in the schemes of conducting. Studying the methods of entry and end: three moments of entry - attention, breathing, entry; transition to the end, preparation, end.

Conducting in 2/4, 3/4, 4/4 time signatures at moderate and moderately fast tempos, with legato, non legato sound science, dynamic shades mf, f, p. Mastering the introduction on different beats of the measure, techniques for performing the simplest types of fermata: removable, non-removable, fermata on the bar line, fermata on a pause.

The division of a piece of music into parts, basic concepts: period, sentence, phrase. Pauses and caesuras between phrases, breathing, methods of conducting them. Basic skills of working with a tuning fork.

During the 1st year of study, a student goes through 8–10 simple works of a harmonic warehouse, with a simple texture of presentation, from 1–2 to 2–3 voices (including 2–3 of school curriculum), and 4–6 works on reading choral scores. Acquaintance with folk songs, their arrangements a cappella and with accompaniment for a homogeneous choir. Acquaintance with the choral scores of classical composers a cappella and with accompaniment for a homogeneous choir.

An approximate list of works studied in the 1st year

conducting

Processing folk songs: Quail (in the arr. D. Ardentov). Sing, songbird. The night is coming. By berries. Dwarf (arr. A. Sveshnikov). Oberek.

Gray bird. Rechenka. Time to sleep. Will I go, will I go out. Where are you, little ring?

(arr. Vl. Sokolov). Do not rage, violent winds (arr. A. Yurlov). Wei, breeze (arr. A. Yuryan). Nightingale stray (arr. M. Antseva). Like on an oak tree (arr. Yu. Slavnitsky).

A. Alyabiev. More flowers of all. Song about a young blacksmith.

M. Antsev. Autumn. Willow. The waves dozed off.

L. Beethoven. Anthem of the night

R. Boyko. Morning. North.

R. Glier. Hymn to the great city.

M. Glinka. Ah, you night. Patriotic song.

A. Dargomyzhsky. From a country, a country far away. I drink to Mary's health.

M. Ippolitov - Ivanov. Oh, native land. Sharp axe.

F. Mendelssohn. Memory.

G. Purcell. Evening song.

V. Rebikov. Mountain peaks. The grass is green. The bird sings in the air.

A. Flyarkovsky. Native land.

R. Schuman. Night. House by the sea.

R. Shchedrin. Morning.

Arrangements of folk songs: You, my field (arr. M. Balakireva). Vistula (sample A. Ivannikova), Cuckoo (sample A. Sygedinsky).

A. Alyabiev. Winter road.

I. Bach. Spring song.

L. Beethoven. The praise of nature by man.

I. Brahms. Lullaby.

R. Wagner. Wedding choir (from the opera "Lohengrin").

A. Varlamov. Mountain peaks. A lone sail turns white.

M. Glinka. The wind howls in the open field.

R. Glier. In the blue sea

A. Grechaninov. Lullaby.

C. Cui. May Day, Verbochki. Spring morning.

K. Molchanov. Remember.

N. Rimsky-Korsakov. Height, heavenly height (from the opera "Sadko").

N. Rukin. Raven flies to raven.

P. Tchaikovsky. Lullaby in the storm.

L. Beethoven. Anthem of the night

Z. Kodai. In the green forest.

C. Cui. Everywhere snow. The waves dozed off. Spring morning.

F. Mendelssohn. Memory.

W. Mozart. Summer evening. Friendship song.

I. Ozolin. The forest spread out densely.

G. Purcell. Evening song.

A. Sveshnikov. The evening fades.

G. Struve. Bird cherry.

A. Skulte. Nowadays.

K. Schwartz. How the fog fell.

V. Yakovlev. Winter evening.

Second course

Deepening knowledge and improving the conducting skills acquired by students in the first year.

Determination of the functions of the right and left hands. The independent role of the left hand in showing sustained sounds, the entry of voices at different times of the beat, showing different nuances: pp, p, mp, mf, f, ff.

Development of smooth, coherent conductor's movements at a moderate pace, with an average sound strength. Conducting complex 4/4, 6/4 time signatures, familiarization with six-part and two-part schemes based on simple choral texture for 2–3 and 3–4 voice homogeneous choirs. The concept of staccato, and methods of conducting it.

Mastering slow tempo and change of tempo: piu mosso, meno mosso, acceleration, deceleration, compression, expansion.

The study of fermata, their meaning and performance techniques: a filmed fermata at the beginning, middle and end of the work. Fermata on a pause in the middle of the work and methods of its execution. Non-removable fermata, methods of its execution.

Mastery of various dynamic shades: crescendo, diminuendo, subito forte, subito piano, pianissimo, fortissimo. Mastering the techniques of conducting accents and syncopation.

Inclusion in the program of choral compositions for homogeneous, youthful, incomplete choir compositions, homophonic-harmonic works for mixed choir a cappella and with accompaniment. During the 2nd year of study, the student passes 8–10 works of a harmonic warehouse, with a simple texture of presentation, from 1–2 to 2–3 voices (including 2–3 from the school curriculum), and 4–6 works reading choral scores.

It is obligatory to work with a metronome: mastering the skills of determining the tempo by the metronome, following the metronomic author's instructions.

An approximate list of works studied in the 2nd year

conducting

Works without accompaniment

Arrangements of folk songs: Green flax, Path in the damp forest, Nightingale stray (arr. M. Antseva). Weave, weave, cabbage. Wattle fence (arr. S. Blagobrazova). Steppe and steppe all around. Among the valleys are flat. As for the river, but for Daria. Borodino (Russian folk songs). River (sample Vl. Sokolov). At the gates, the gates of the fathers (arr. M. Mussorgsky). The sea needs a thin seine (arr. A. Yuryana). Weisya, weya, cabbage (arr. V. Orlova).

K. Weber. Hunter song. In the boat

J. Weckerlen. Shepherdess.

I. Galkin. Wherever you go.

E. Grieg. Good morning.

A. Dargomyzhsky. Wild in the north. From a country, a country far away.

M. Ippolitov - Ivanov. Pine.

C. Cui. Spring song.

F. Mendelssohn. Run with me On South.

S. Monyushko. Evening song.

T. Popatenko. By the stream. Snow falls.

G. Sviridov. You sing me that song.

M. Ciurlionis. I will sing you a song of songs. I made beds in the garden.

F. Schubert. What a night. Linden. Silence.

R. Schuman. Spring flowers. Good night. Dream.

Works with piano accompaniment

Arrangements of folk songs: I'm burying gold (arr. A. Koposov). Vistula (arr. A. Ivannikova).

M. Antsev. My bells.

A. Arensky. Tatar song.

I. Bach. Be with me.

L. Beethoven. Walking song.

J. Bizet. Chorus of boys (from the opera "Carmen").

Chorus of hunters (from the opera "Free shooter").

G. Verdi. Chorus of Slaves (from the opera "Aida"). Choir of courtiers (from the opera

"Rigoletto").

M. Glinka. Lark.

R. Glier. Spring. Hello winter guest. The grass is green. Over flowers and grass.

Strings of golden chant. Oh, if in a grove (from the opera Orpheus).

A. Grechaninov. Spring came. Bird cherry.

A. Dargomyzhsky. We love. Hush, hush (from the opera "Mermaid").

M. Ippolitov-Ivanov. Morning.

D. Kabalevsky. Song about happiness.

V. Kalinnikov. Spring.

C. Cui. Dawn burns lazily. May the heavens be full of confusion and thunder.

V. Makarov. Birds Have Arrived (from the choral suite "River Bogatyr").

N. Rimsky-Korsakov. Not the wind, blowing from above.

A. Rubinstein. Mountain peaks.

S. Taneev. Mountain peaks.

P. Tchaikovsky. Choir of Flowers (from music to the spring fairy tale "The Snow Maiden").

Snowdrop.

P. Chesnokov. Spring rolls. The sun, the sun is rising. Uncompressed strip. Dawn in the morning.

Works on reading choral scores

B. Bartok. Gay, gay, black crow. Spring. Counting.

L. Beethoven. Anthem of the night

V. Kikta. Many summers.

M. Koval. Ilmen-ozaro.

Z. Kodai. In the green forest.

C. Cui. Water.

M. Lyudig. Lake.

F. Mendelssohn. Memory.

W. Mozart. Summer evening. Friendship song.

I. Ozolin. The forest spread out densely.

G. Purcell. Evening song.

A. Skulte. Nowadays.

V. Shebalin. Cliff. Lily of the valley. Wormwood. Wild grapes . Winter road.

R. Schuman. Lotus. Mountain girl.

Third course

Consolidation and improvement of knowledge and conducting skills acquired in the first courses.

Acquaintance with complex and asymmetrical meters, conducting in 5/4 time according to a five beat pattern (3+2 and 2+3) in moderate movement. Conducting in 5/4, 5/8 time signatures in a two-part pattern (3+2 and 2+3) in fast motion.

Techniques for crushing the main metric unit in 2/4, 3/4, 4/4 sizes at a slow pace, getting to know alla breve conducting.

Conducting in 3/4 and 3/8 time signatures in fast motion (for one).

Techniques for conducting homophonic and simple polyphonic

During the 3rd year of study, the student passes 8-10 works

homophonic-harmonic and simple polyphonic, with elements of imitation, undertones, canon (including 2-3 from the school curriculum), also 3-4 works on reading choral scores.

It is obligatory to work with a metronome: mastering the skills of determining the tempo by the metronome, following the metronomic author's instructions.

An approximate list of works studied in the 3rd year

conducting

Works without accompaniment

Arrangements of folk songs: Povian, povien, storm-weather (arr. Vl. Sokolov). The grass dries, withers in the field (arr. V. Orlova). You are a river, my river. You do not stand, stand, well (arr. A. Lyadov). The dusk of the night fell to the ground (arr. A. Arkhangelsky). On the boat, Is the sparrow at home? (arr. A. Sveshnikov). Braid, wattle (arr. N. Rimko-Korsakov). The sea needs a thin net, I grew up across the river (arr. A. Yuryan). Shchedrik (arr. N. Leontovich). My dear round dance (arr. T. Popova). Oh yes, you, Kalinushka (arr. A. Novikov). Oh you, river, river (Bulgarian folk song).

M. Balakirev. Above the prophets.

R. Boyko. A blizzard broke out. The fields are compressed. minutes. Winter road. Blue in the evening.

D. Bortnyansky. Glory to the Father and the Son.

E. Botyarov. Winter.

V. Kalinnikov. Winter. Oh, honor whether the young man.

V. Kikta. Many summers.

M. Koval. Ilmen-ozaro.

C. Cui. Water.

M. Lyudig. Lake.

L. Marenzio. The buds opened up again.

F. Mendelssohn. Forest. On South. Spring song. As frost fell on a spring night.

G. Purcell. Song Thrush.

M. Partskhaladze. The sea is sleeping.

M. Rechkunov. Autumn. Sharp axe. Pine trees are silent.

V. Salmanov. Poetry. Song. Youth.

I. Stravinsky. At the Savior in Chigis. Ovsen.

S. Taneev. Venice at night. Evening song. Serenade. Pine.

P. Tchaikovsky. The cloud slept. Worthy to eat. Evening.

P. Chesnokov. Come, let us please Joseph. It's not a flower that wilts in the field. Glory.

Only begotten son.

Y. Chichkov. Clouds are melting in the sky.

R. Schuman. Night silence. Good night. Summer song. Rosemary.

Works with piano accompaniment

Arrangements of folk songs. And we sowed millet (sample by N. Rimsky-Korsakov).

Hello, winter guest, A rowan tree stood in the field (arr. A. Alexandrov).

Start a round dance (arr. S. Polonsky).

A. Borodin. Take heart, princess. Fly away on the wings of the wind (choirs from the op. "Prince

I. Brahms. Spring came.

G. Verdi. Hush, hush (from the opera "Rigoletto").

M. Glinka. Polonaise. Do not grieve, dear child. Lel the mysterious (from the opera

"Ruslan and Lyudmila"), Cleared up, overflowed (from the opera "Ivan Susanin")

R. Glier. Spring. Evening.

A. Grechaninov. Prisoner. Autumn. Snowdrop. Spring came.

C. Gounod. March of the Soldiers (from the opera "Faust"). Chorus of the courtiers (from the opera "Romeo and

Juliet").

E. Grieg. Sunset.

A. Dargomyzhsky. Marriage, marriage. Braid, wattle (from the opera "Mermaid").

M. Ippolitov-Ivanov. Morning. Peasant feast.

D. Kabalevsky. Our children (No. 4 from Requiem). Good morning. You hear

C. Cui. Birds, May the skies be full of confusion and thunder.

M. Mussorgsky. Swimming, swimming swan. Dad, dad (from the opera "Khovanshchina").

E. Napravnik. Choir of girls (from the opera "Dubrovsky").

N. Rimsky-Korsakov. The song of a lark is louder. That the sun is red so early

opera "The Tale of Tsar Saltan"). Like on bridges, on viburnum (from the opera

"The Legend of the City of Kitezh"). Chorus of blind guslars (from the opera "The Snow Maiden").

P. Tchaikovsky. A duck bathed in the sea (from the Oprichnik opera). Whether to seat

trouble in the dark forest (from the opera "The Enchantress"). I will curl, curl a wreath (from the opera

"Mazepa").

P. Chesnokov. Night. Uncompressed strip. Leaves. Bird cherry. Peasant feast.

Apple tree. green noise.

Works on reading choral scores

A. Banchieri. Villanelle.

F. Belassio. Villanelle.

I. Brahms. Rosemary.

H. Kalyuste. Round dance. Everyone is on the swing.

Z. Kodai. Shepherd dance. Gypsies ate salty cheese

V. Muradeli. Dreams are touchy. Creek. Wind

N. Nolinsky. Oh, fields, you, fields.

V. Rebikov. The violet has faded. Autumn song. The bird sings in the air. The evening dawn is fading.

S. Taneev. Venice at night. Serenade. Pine.

A. Flyarkovsky. Native land. Taiga song.

P. Hindemith. Song of skillful hands.

F. Schubert. Musical moment.

R. Schuman. Night. House by the sea.

Fourth year in college

Consolidation and deepening of knowledge and improvement of conducting skills acquired in previous courses.

Acquaintance with complex and asymmetrical dimensions. Conducting in 7/4 time according to the seven-beat scheme in moderate, moderately fast movement. Conducting in 7/8 time according to the tripartite (3+2+2, 2+3+2, 2+2+3) scheme in fast and moderately fast movement.

Techniques for splitting the main metric unit in 2/4, 3/4, 4/4 sizes at a slow pace, improving alla breve conducting skills.

Conducting in 3/4 and 3/8 time signatures in fast motion (for one)

Mastering the pace of presto and largo, long crescendo, diminuendo.

Improving the techniques of conducting homophonic and simple

canonical presentation.

During the 4th year of study, the student passes 8-10 works on

conducting (including 2-3 from the school curriculum), also 3-4

works on reading choral scores. Included in the program

conducting and reading choral scores, homophonic and simple polyphonic works with elements of imitation, undertones, canon.

It is obligatory to work with a metronome: mastering the skills of determining the tempo by the metronome, following the metronomic author's instructions.

An approximate list of works studied in the 4th year

conducting

Works without accompaniment

D. Arakishvili. About the poet.

M. Balakirev. Above the prophets.

R. Boyko. Winter road. Enchanted winter.

S. Vasilenko. Like in the evening. Dafino - wine.

B. Gibalin. The islands are floating.

A. Grechaninov. In a fiery blaze.

A. Dargomyzhsky. A storm clouds the sky. I drink to Mary's health.

E. Darzin. Broken pines.

A. Egorov. Song. Lilac.

V. Kalinnikov. Lark. Summer passes. Elegy.

M. Koval. Wedding. Ilmen lake. Tears.

F. Mendelssohn. Premonition of spring. As frost fell on a spring night.

M. Partskhaladze. Lake.

K. Prosnak. Sea. Barcarolle. Prelude.

T. Popatenko. Snow falls.

G. Sviridov. The son met his father. Where is our rose? Blizzard.

B. Snetkov. The sea is sleeping.

P. Tchaikovsky. Legend. No time, no time. Nightingale.

P. Chesnokov. August. Alps. I'll eat you. Worthy to eat.

V. Shebalin. Winter road. birch. The mother sent thoughts to her son. The Cossack drove the horse

D. Shostakovich. Executed. The belated volleys fell silent.

F. Schubert. Night. Love.

R. Schuman. In the forest. I remember a rural quiet garden. Dream. Singer. Sleeping lake. Mountain girl.

R. Shchedrin. First ice. What a dear friend.

Works with piano accompaniment

Russian n. n. in arr. S. Rachmaninov. Burlatskaya.

L. Beethoven. Kyrie, Sanctus (from Mass C–dur).

I. Brahms. Ave Maria.

A. Borodin. Glory to the red sun. Yaroslavna's scene with the girls (from the opera

"Prince Igor").

G. Verdi. You are beautiful, oh our Motherland (from the opera Nebuchadnezzar).

G. Galynin. The tsar rode through the village from the war (from the oratorio "The Girl and Death").

J. Gershwin. How to sit here? (from the opera "Porgy and Bess").

M. Glinka. Oh, you, light Lyudmila (from the opera "Ruslan and Lyudmila"), We are good

river (from the opera "Ivan Susanin").

E. Grieg. Choir of the people (from the opera "Olaf Trygvasson").

D. Kabalevsky. Happiness, School years, Our children (No. 4 from Requiem).

D. McDowell. Old pine.

S. Monyushko. Mazurka (from the opera The Terrible Yard).

M. Mussorgsky. Not a falcon flies in the sky (from the opera "Boris Godunov"), Batya,

dad (from the opera "Khovanshchina")

N. Rimsky-Korsakov. Song about the Head (from the opera "May Night"). What is it in

bridges, along the viburnum (from the opera "The Legend of the City of Kitezh").

G. Sviridov. "Poem in memory of Sergei Yesenin" (separate parts).

P. Tchaikovsky. Let's drink and be merry (from the opera The Queen of Spades). No, no

here is a bridge. I will curl, I will curl a wreath. Mary's scene with the girls (from the opera

"Mazepa").

F. Schubert. Shelter.

R. Schuman. Gypsies. "Paradise and Peri" (separate parts of the oratorio).

Works on reading choral scores

I. Arkadelt. Swan. Ave Maria.

D. Buxtehude. Cantate Domino (canon).

A. Gabrieli. Ave Maria.

G. Caccini. Ave Maria.

L. Cherubini. Tercet for the glory of the major scale (canon).

C. Monteverdi. Like roses on the lawn.

W. Mozart. ABC. Children's games. Listen how the sounds are crystal clear (from the opera "The Magic Flute").

J. Palestrina. Ave Regina.

G. Pergolesi. Stabat Mater (movements from a cantata of your choice).

A. Scarlatti. Fugue.

R. Schuman. Dreams. Message (from Spanish songs).

Fifth year

Consolidation and deepening of knowledge, improvement of conducting skills acquired in previous courses. Improving the skills and techniques of conducting in complex meter, variable meter.

Improving the skills and techniques of conducting choral scores with a grouping of measures, in various meters according to nine-beat, twelve-beat, five-beat schemes. Mastering, similarly to the previous meters, conducting complex meters in three-part, four-part schemes.

Improving the skills and techniques of conducting choral works with alternating simple and complex meters.

Mastering the techniques of conducting all musical tempos, strokes musical expressiveness, long dynamic changes, change of rates, sizes, grouping of measures.

During the 5th year of study, the student passes 4–6 works on

conducting, as well as 3-4 works on reading choral scores.

Included in the program for reading choral scores are homophonic and

simple polyphonic works with elements of imitations, canon,

Choral scenes from Russian and Russian operas are included in the conducting program.

foreign composers, parts (fragments of parts) of large vocal-symphonic works (cantatas, oratorios, choral suites, choral cycles, choral concerts) of domestic, foreign, contemporary composers of various creative schools and trends.

It is obligatory to work with a metronome: mastering the skills of determining the tempo by the metronome, following the metronomic author's instructions.

Discipline "Class of choral conducting and reading of choral scores"

in semester 9 ends with an exam, in which the student must demonstrate all the skills and knowledge acquired in the learning process.

An approximate list of works studied in the 5th year

conducting

Works without accompaniment

A. Arensky. Anchar.

M. Glinka. Venetian night.

A. Grechaninov. Behind the river, yar-hops. In a fiery blaze.

C. Gesualdo. I am silent.

V. Kalinnikov. Autumn. Elegy. Condor. Summer passes. On the old mound. The meek stars shone for us.

A. Kastalsky. Rus.

A. Lensky. Past. Seeing the bride. Majestic young.

B. Lyatoshinsky. The moon creeps across the sky. Autumn.

F. Mendelssohn. Song of the Lark. Farewell to the forest.

K. Prosnak. Prelude. Sea. There would be a storm, right?

F. Poulenc. Sadness. The night is terrible for me.

B. Snetkov. The sea is sleeping.

P. Tchaikovsky. Not a cuckoo in a damp forest.

P. Chesnokov. Alps. August. The dawn is warm.

V. Shebalin. The mother sent thoughts to her son. The Cossack drove the horse. Soldier's grave.

Twilight in the valley.

K. Shimanovsky. Stabat Mater (separate parts).

R. Schuman. Song of Freedom. Storm.

R. Shchedrin. I was killed near Rzhev. To you fallen.

Works with piano accompaniment

Processing of Russian n. P. M. Kraseva. Don't wake me up young.

A. Harutyunyan. Cantata about the Motherland (separate parts).

I. Bach. Be with me (No. 1 from Cantata No. 6)

L. Beethoven. Choir of Prisoners (from the opera "Fidelio"). Kyrie, Sanctus (from Mass C–dur).

Sea calm and happy sailing.

J. Bizet. Scene No. 24 from the opera Carmen.

I. Brahms. Ave Maria.

B. Britten. Missa in D (separate parts). This little child (from the suite "Rite

carol", op. 28).

A. Borodin. Glory to the red sun (from the opera "Prince Igor").

G. Verdi. Finale of the 1st day from the opera "Aida".

J. Haydn. Gloria (from "Nelson Mass").

C. Gounod. On foreign rivers.

A. Dargomyzhsky. Choral suite from 1 act. Zazdravny choir. Three choirs of mermaids (from the opera "Mermaid").

G. Handel. Samson died (from the orat. "Samson"). Movements No. 3, 52 (from the oratorio

"Messiah").

M. Koval. Oh you mountains Ural mountains, Forest, mountains (from the oratorio "Emelyan

Pugachev).

V. Makarov. "The Bogatyr River", separate parts from the choral suite.

W. Mozart. The sea sleeps peacefully. Run, leave (from the opera Idomeneo).

M. Mussorgsky. Not a falcon flies in the sky (from the opera "Boris Godunov").

Scenes No. 6, 7, 8 (from the opera "Khovanshchina").

N. Rimsky-Korsakov. For raspberries, for currants (from the opera The Maid of Pskov).

Glory. Yar-Hmel (from the opera "The Tsar's Bride"). Choir of the Blind

guslyarov (from the opera "The Snow Maiden"). Oh, trouble is coming, people (from the opera "The Legend of

the city of Kitezh and the virgin Fevronia).

G. Rossini. Parts No. 1, 9, 10 from "Stabat Mater".

G. Sviridov. Winter sings. Threshing. Night under Ivan Kupala. Garden City (from

"Poems in memory of Sergei Yesenin").

B. Sour cream. How can we not have fun (from the opera "The Bartered Bride").

P. Tchaikovsky. Interlude "The Sincerity of the Shepherdess" (from the opera "The Queen of Spades").

"Glory" (from op. "Oprichnik"). Grew up near Tyn (from the opera "Cherevichki"). No,

there is no bridge here (from the opera "Mazeppa"). Seeing off Maslenitsa (from music to

spring fairy tale "Snow Maiden"). With a small key. The hour has struck (from cantata

"Moscow")

P. Chesnokov. Apple tree. Peasant feast. Green noise.

F. Schubert. Shelter. Victory song Miriam (choirs No. 1, 3)

R. Schuman. Gypsies. Choirs 6,7, 8 (from the speech "Paradise and Peri"). Requiem (selected

Works on reading choral scores

A. Alyabiev. Winter road.

L. Beethoven. Spring call. Sing with us.

J. Bizet. March and choir (from the opera "Carmen").

R. Boyko. Morning. A blizzard is blowing. Heart, heart, what's wrong with you.

I. Brahms. Lullaby. Rosemary.

A. Varlamov. A lone sail turns white.

V. Kalistratov. Talyanka.

V. Kikta. Tula songs No. 2B. Mozart. ABC. Children's games. Listen how the sounds are crystal clear (from the opera "The Magic Flute").

C. Cui. Spring morning. Let confusion and thunder.

G. Lomakin. Evening dawn.

F. Mendelssohn. On the far horizon. Sunday morning.

A. Pakhmutova. My land is golden (parts to choose from the choral cycle).

S. Rachmaninov. Island. Six choirs for female (children's) voices.

N. Rimsky-Korsakov. A golden cloud spent the night. Not the wind, blowing from above. Chorus of Birds (from the opera "The Snow Maiden").

A. Scarlatti. Fugue.

P. Tchaikovsky. Nightingale. A golden cloud spent the night. Neapolitan song. Chorus of children, nannies and others (from the opera The Queen of Spades).

P. Chesnokov. Apple tree. Green noise. It is worthy to eat (from "Liturgy for Women's Voices").

F. Schubert. Musical moment. Serenade.

R. Schuman. Dreams. Message (from Spanish songs)

4. Requirements for the final exam

by discipline"Class of choral conducting and reading of choral scores"

for students of specialty 050601.65 "Musical education"

1. To be able to play one work a cappella by heart, observing all the techniques of musical expressiveness, try to convey the sound of the choir in the game.

text, optionally, with clocking. Sing choral verticals in cadence turns, culminations, when changing sections (parts).

3. Be able to play one piece with piano accompaniment,

accompaniment and choral score.

4. Sing the parts of the soloist (soloists), accompanying on the piano.

5. Conduct by heart both of these works.

6. Be able to analyze both works, know the history and time of their creation,

form, make a vocal-choral analysis, give examples from other works of choral creativity performed by composers.

State exam

"Conducting a concert program performed by the choir"

At the state exam, the graduate is obliged to perform two works with the educational choir - one a cappella and one accompanied by piano. The preparation and conduct of the state exam is a crucial stage in the work of a teacher with a graduate. The program of the state exam is selected in advance and must correspond to the capabilities of the choir and the graduate, it is also necessary to approve the programs at the departments of choral conducting and music education. The teacher in the discipline "Class of choral conducting and reading of choral scores" must carefully prepare the graduate student for classes with the choir, paying special attention to the methodology of the upcoming classes. Personally present at the rehearsals of the choir class with his graduate, the teacher has the opportunity to help him in his work, tactfully and skillfully, directing the rehearsal process.

At the stage of rehearsal work, the graduate uses various methods and techniques of conducting, which make it possible to achieve the highest quality performance of the concert program of the state exam by the training choir. Based on a holistic initial analysis of the works, the graduate draws up an approximate plan for rehearsal work. It can be: determination of the simplest and most difficult choral fragments, ways to overcome difficulties on the basis of vocal-choral, intonation and metro-rhythmic work with choral parts. Such a plan is necessary, it is the basis for achieving the main goal - the high-quality performance of the concert program of the state exam by the educational choir.

5. Educational and methodological support

Main literature

1. Bezborodova, Lyudmila Alexandrovna. Conducting: textbook. allowance for ped. universities and music colleges / . - Moscow: Flinta, 2000. - 208 p.

2. Bezborodova, Lyudmila Alexandrovna. Conducting: textbook. allowance / . - Moscow: Flint, 20s.

3. Romanovsky, dictionary /. - Ed. 4th, add. - Moscow.: Music, 2005. - 230 p.

4. Svetozarova, secular choral music a carpella of the 19th–early 20th century: a notographic guide / . - St. Petersburg: SPbGPU, 2004. - 161 p.

5. Semenyuk, V. Notes on choral texture / V. Semenyuk. - Moscow, 2000.

6. Ukolova, Lyubov Ivanovna. Conducting: textbook / L. Ukolova. Moscow: VLADOS, 2003. - 207 p. + notes.

7. Reader on conducting. Choral works in complex asymmetrical and variable sizes: a textbook for conducting and choral faculties of music universities / comp. : Magniog. state conservatory. - Magitogorsk, 2009. - 344 p.

8. Reader on conducting. Choirs from operas by foreign composers (accompanied by piano) / comp. . - Moscow: Music, 1990. - Issue. 6. - 127 p.

additional literature

1. To help the conductor-choirmaster. Choral works of Russian composers: notographic index / comp. ; resp. for issue . - Tyumen, 2003. - 69 p. - Issue. 1.

2. To help the conductor-choirmaster. Arrangements for the choir of Russian composers: notographic index / comp. ; resp. for issue . - Tyumen, 2003. - 39 p. - Issue. 2.

3. To help the conductor-choirmaster. Choral works by foreign composers: notographic index / comp. ; resp. for issue - Tyumen, 2003. - 40 p. - Issue. 3.

4. Lyozin, vocal-motor informativeness

conductor technique in professional training of a choirmaster [Text]: monograph / . - Tyumen: RIC TGAKI, 2009. - 144 p.

5. Romanova, Irina Anatolyevna. Issues of history and theory

conducting: textbook. allowance / - Yekaterinburg: Polygraphist, 1999. - 126 p.

6. Logistics

Requirements for the logistics of the discipline "Class

Choral Conducting and Reading Choral Scores" for students of the specialty 050601.65 "Music Education" are substantiated by the state educational standard of the HPE, and are as follows:

availability of pianos and grand pianos in sufficient quantity for conducting lessons in conducting, in the class - two instruments each;

the presence of conductor stands, in the class - at least one;

availability of a library, music library, audio and video recordings;

availability of the necessary sound equipment (tape recorders, music centers, CD, DVD, CD-audio players);

· the presence of a music room with a fund of musical recordings of concerts, festivals, master classes held by the university.

1. Explanatory note……………………………………………………….2

reading choral scores…………………………………………………..5

4. Requirements for the final exam……………………………………..17

5. Educational and methodological support of discipline

5.1 literature basic

5.2 Additional literature…………………...........………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………….

6. Logistics…………………………………… 19

Main questions

1. Analysis of the score in the work of the conductor

2. Brief annotation of the choral score

3. Plan for a detailed analysis of the choral score

4. Methodical literature

a) Method of analysis

b) Exemplary analyzes of choral scores

Target: Determine the value of score analysis in the work of a choir conductor. Analyze all the points of the main questions of the analysis of the choral score. To identify all the performance difficulties in working on the choral score for the maximum disclosure of the musical image.

Analysis of the score in the work of the conductor

Conducting is a difficult and complex art that requires great knowledge, bright musical performance, strong-willed qualities, and outstanding organizational skills.

All the diverse activities of the conductor are ultimately concentrated around one goal - the work on the work. The work of a conductor on a choral work consists of three successive stages:

Independent study;

Rehearsal work with the choir;

Concert performance.

It is difficult to say which of the stages is more important - they are all interconnected. There is no doubt, however, that the basis of all the work of a conductor is the first stage, when not only a comprehensive study of the work takes place, but also the fundamentals of the performing idea are thought out. It is no coincidence that such great importance is attached to the independent work of students in the educational process.

Conductor-choral pedagogy has developed certain methods of independent work of the conductor on the piece, prior to learning and performing it with the choir. They are:

Piano performance;

Vocal and intonation development;

Conducting and technical development;

These methods - the result of the experience of the best choir conductors of the past - have now become accepted and unshakable. However, it is not uncommon for choir conductors (especially novice amateur choir directors) to neglect some of them, thereby significantly reducing the effectiveness of their work. With the main attention to the conductor's technical side, much less space is given, for example, to the independent vocal and intonation mastering of the work, and the analytical side sometimes simply falls out of the novice conductor's field of vision. This is largely facilitated by the insufficient methodological development of the analysis of choral scores.

Analysis of choral scores is one of the means of independent study of a choral work by a conductor.

The need to analyze a work as a prerequisite for preparing a conductor to work with a choir has developed in the process of many years of experience of the best Soviet conductors and teachers. Requirements for the analysis of choral scores, formulated by the luminaries of Russian and Soviet choral art P.G. Chesnokov (1877 - 1944) and N.M. Danilin (1878 - 1945), are also put forward in the well-known works of G.A. Dmitrevsky, A.A. Egorov, K.K. Pigrov, K.B. Birds, V.G. Sokolov, I.I. M.F. Svetozarova and others. Serious attention is paid to this issue in manuals devoted to the methodology of working with an amateur choir.

The significance of a deep and comprehensive analysis of the choral score for the education and work of a choral conductor basically boils down to the following:

Firstly, the analysis of the score contributes to a better assimilation by the conductor of the musical and literary text of the work, which, as you know, he must know perfectly (by heart). Conscious - on the basis of a comprehensive analysis - the study of the score is fundamentally different from the often used rote memorization, usually short-lived and much less effective in work.

Secondly, the analysis of the score is necessary to identify the technical, stylistic, vocal and other features of the work, to determine the difficulties that may arise in the process of learning and performing. When working with a group and being usually limited in time, the conductor must do everything possible in his independent preparation to take into account in advance the various details of his work with the choir.

Thirdly, on the basis of the analysis, the conductor establishes the performing main questions of the work and determines specific means of expression for its creative expression.

Fourthly, work on the analysis of the score significantly enriches the conductor's knowledge in the field of music history, harmony, polyphony, musical form, choral studies, and conducting. The ability to be well versed in matters of general and musical culture contributes to his improvement as a performer and significantly increases his authority as a team leader. The constant accumulation of this knowledge is a necessary condition for the work of a conductor.

In addition, the work on the analysis of the work brings up the ability to correctly express one's thoughts, which is also important for the conductor, as the leader of the team.

Thus, the significance of the analysis of a choral work is not limited to the scientific and theoretical side - it is very important for practical conductor's work.

The study analysis of the choral score is done in writing. Depending on the tasks facing the student and the degree of his special training, there may be two type analysis: a brief annotation and a detailed analysis.

The purpose of creating brief annotation is the establishment of basic data about the work and the work of its author.

An annotation should be made for each piece studied in the conducting class (at least 5 pieces per semester). Having 40 - 50 abstracts for the final exam, the student accumulates significant creative and scientific baggage, which is always useful in work.

Other requirements are set when creating detailed score analysis, which in educational practice is usually called a written work on the analysis of the score.

Written work is submitted for each examination or test in conducting (hence, every semester). One written work is also submitted for the exam in choral studies. That. during the period of study, the student must complete 8-10 written works on a detailed analysis of choral scores.

For analysis, in agreement with the teacher, one of the works studied in the conducting class is selected (primary attention is recommended to be given to works for mixed choir a cappella- the most typical for choral performing practice). At the same time, it is necessary to strive to ensure that students in the learning process work on the analysis of works of various styles and genres.

The size of a written work is determined by the size and complexity of the analyzed work, as well as the degree of depth of analysis. The usual size of the work is 12-15 pages of a school notebook format. However, when students are just starting to master the skills of analysis, it can be somewhat smaller (10-12 pages). Subsequently, the size of the work, as a rule, increases to 15-20 pages.

The work must be written competently, neatly, legibly and carefully edited. It must be accompanied by the score of the analyzed work (in its entirety) with the numerical designations of measures, to which references are made during the analysis. If the work is analyzed large form with accompaniment, then it is not necessary to write out the accompaniment part - it is enough to limit yourself to the necessary musical examples.

Regardless of the features of the work and the level of special training of the student, the analysis of each choral score should consist of the following main sections:

General information about the work;

Literary text analysis;

Analysis of musical expressive means;

Choral texture analysis (vocal-choral analysis);

Development of performing Key issues.

The difference in the requirements for students in the analysis of scores in different courses is:

In the increasing complexity of the analyzed works;

In the growing demands on the quality of analysis, its depth and versatility;

It should also be borne in mind that while all sections of the Core Questions are important and necessary, not all of them are of equal importance. The sections devoted to the analysis of the choral texture and the development of the performing main questions are the main ones, while others are, to a certain extent, auxiliary in nature, which, however, should not affect their theoretical level. Therefore, the question arises about aspect of analysis, i.e. about its purpose. The author must have a very good idea of ​​the purpose of his work in order to accurately define his tasks. For the conductor, the main task of analysis is to identify specific choral performing means necessary to reveal the content of the work. Therefore, the analysis of the choral texture for the performer of a choral work is the main task: not an analysis “in general”, but an analysis of the vocal and choral features of the work and the development of performing main questions based on knowledge and understanding of these features. It is always important to remember this in order to avoid a chaotic and inconsistent presentation without a clear and definite goal, which, unfortunately, is often found in student work.

Often, too, when analyzing the score, an excessively large place is given to the description of the composer's life path and the characteristics of his work. Information about the authors of the work should be brief. The main attention should be paid to the direct analysis of the work itself.

In the analysis of choral texture, the definition of specific methods of choral presentation(choral writing) used in this work, as well as identifying features choral style composer. These are the most difficult sections. In addition, work on them is hampered by the lack of a sufficiently complete and systematically presented educational and methodological material - the least developed in choral theory.

The specific results of the analysis, its quality in each case depends on many factors, the most important of which are: the general musical and theoretical knowledge of the author, his special choral knowledge (knowledge of choral studies), experience in conducting and choral work, analytical abilities and skills. We pay special attention to the importance of educating a conductor analytical skills. For a conductor as an organizer and leader of a performance, rational-analytical abilities and skills are no less important than emotional-intuitive qualities. Only their combination gives rise to true professionalism.

For the development of analytical skills of choir conductors, the course of choral studies is of great importance, one of the main tasks of which is a deep and systematic study of the features of choral texture, expressive means of the choir, and specific methods of choral writing. No less important is the study of the genre and stylistic patterns of choral music, both in relation to the work of individual composers and choral genres in general. Considerable help in this can also be provided by a course in the analysis of musical works, where more space should be given to choral creativity - not only in the main issues of structural analysis, but also textural, choral.

Work on the analysis of a work is a matter that requires great attention and a real creative attitude. Analysis of the score and its study in the technical and performing areas. The main issues are mutually enriching processes. If familiarity with general information about the work and its authors is an important prerequisite for the practical creative development of the score, then without knowledge of the score, all its details, it is impossible to exhaustively analyze its musical and expressive means, the features of the choral presentation, and develop performing main questions. Therefore, work on the analysis of the score should begin with the first acquaintance with it and continue until the work is finally mastered by the conductor. At the same time, it should be borne in mind that without fulfilling all the requirements for studying a choral work in the conducting class (performing the piano, singing choral parts, intonation of chords, careful conductor-technical work), its exhaustive, deep and comprehensive analysis is impossible.

Brief annotation of the choral score

The annotation consists in a concise presentation of the main data about the work, in a specific fixation of indicators of tempo, meter, modal and tonal features, features of form, texture, etc. The following is recommended Key abstract questions :

Title of the work. Year of creation.

Type of choral creativity and choral genre.

If the work being analyzed is part of a larger composition, general information about the entire cycle (number and name of parts, composition of performers ..)

The composition of the performers (for choral works with accompaniment and soloists).

Form (definition of the form with indication of the parts and their size - the number of measures).

Tonality (basic, modulation, deviations).

The pace and nature of the performance (translation). Metronome.

Meter and size.

rhythmic features.

Dynamics.

Sound science.

Invoice (general type of invoice).

The composition of the choir.

Ranges of choral parts and the overall range of the entire choir.

Tessitura.

Choral performances.

The abstract can be supplemented with brief information about the composer's work (list the main works), as well as some of the most significant performance notes. If there are other editions of the analyzed work, they should be indicated.

Creating such annotations is a relatively simple matter, the main thing is the ability to clearly formulate answers to all the questions indicated in the Main Questions.

The main and most common types of choral scores are: choral miniature a cappella and a large-form choir with instrumental accompaniment.

Their annotation quite fully covers all the necessary issues that arise in the process of a student's work on this section of the conductor-choral specialty.

Plan for a detailed analysis of the choral score

General information about the work and its authors

General information about the work. The exact and detailed title of the work. Year of creation. Authors of music and texts. Type of choral creativity (chorus a cappella, chorus with accompaniment). Choral genre (choral song, transcription, miniature, large form, adaptation, part of an oratorio, cantatas, suites, a scene from an opera, etc.). If the work being analyzed is part of a larger composition, then the rest of its parts should be briefly described in order to have a general idea of ​​the entire cycle (the composition of the performers, the number and name of the parts, the role of the choir, etc.).

Information about the life and work of the composer. Years of life. General characteristics of creativity. Main works. A more detailed description of choral creativity.

literary text

Comparison of the text used by the composer with the literary original; changes and their causes. If the text used is a fragment of a larger work (poem, poem, etc.), it is necessary to give a general description of the entire work.

Presentation of the literary text (write out the entire text used).

Relationship between text and music. The degree of their compliance. The embodiment of literary themes and images by means of music. The relationship between the structure of the text and the form of the choral work.

MINISTRY OF CULTURE

GBOU VPO KEMEROVSK STATE UNIVERSITY OF CULTURE AND ARTS

COURSE WORK

ANALYSIS OF CHOROV P.G. CHESNOKOVA

2nd year student of the Institute of Music

"Choral Conducting":

Zenina D. A.

Teacher:

Gorzhevskaya M.A.

Kemerovo - 2013

Introduction

this work is devoted to the study of some of the works of Pavel Grigorievich Chesnokov, namely: The Choir "The Dawn Is Warm", "Alps", "Forest" and "Spring Calm".

For a full definition of Chesnokov's work, it is necessary to make a historical and stylistic review of the era when the composer under study worked, that is, the end of the 19th - beginning of the 20th centuries.

Since choral art has a textual basis behind it, in this case the poetry of the 19th century, we also need to carefully study the era of creation of these poets.

The main part of our work will be devoted directly to the analysis of musical works. First, it is necessary to make a musical and theoretical analysis in order to understand the general form of the studied works, their harmonic features, the composer's writing techniques, and the tonal plan.

The second chapter of the main part will be a vocal-choral analysis, in which we need to identify specific choral and performance features, nuance, melodic movement, tessitura and range.

Coming to the first chapter, I would like to say that Pavel Grigorievich Chesnokov was a man of deep decency, who preserved until his advanced years the naive simplicity and immediacy of his poetic and sensitive soul. He had a persistent and stubborn character, reluctantly abandoned opinions drawn up earlier, and was direct in judgment and statements. These are the personal characteristics of the composer we are studying.

.Historical - stylistic overview

1.1Historical and stylistic analysis of the era of the late XIX - early XX centuries

The new period of historical development that Russia entered at the end of the 19th century was characterized by significant changes and shifts in all areas of social and cultural life. The deep processes that took place in the socio-economic structure of Russia left their mark on the diverse phenomena that marked the development of social thought, science, education, literature and art.

Pavel Grigorievich Chesnokov was born in 1877. The Russian policy of this time becomes regulating economic and social relations. During the reign of Nicholas II, a high growth of industry is observed; the highest economic recovery in the world at that time. By the beginning of World War I, Russia had ceased to be a predominantly agricultural country. Expenses for public education and culture increased 8 times. Thus, we observe that in the pre-war period - during the formation of Pavel Grigorievich Chesnokov as a person - Russia occupied the first positions in world politics.

In the culture of Russia in the late XIX - early XX centuries, a fruitful creative upsurge is also observed. The spiritual life of society, reflecting the rapid changes that took place in the face of the country at the turn of the two centuries, the turbulent political history of Russia in this era, was distinguished by exceptional richness and diversity. “In Russia at the beginning of the century there was a real cultural renaissance,” wrote N.A. Berdyaev. “Only those who lived at that time know what a creative upsurge we experienced, what a breath of spirit captured the Russian souls.” The creativity of Russian scientists, figures of literature and art has made a huge contribution to the treasury of world civilization.

Late XIX - early XX century. were an exceptionally fruitful period in the development of Russian philosophical thought. In an atmosphere of acute conflicts that tore apart society, painful ideological searches Russian religious philosophy flourished, becoming one of the most striking, if not the most striking phenomenon in the spiritual life of the country. A kind of religious renaissance was the work of a galaxy of brilliant philosophers - N.A. Berdyaev, V.V. Rozanov, E.N. Trubetskoy, P.A. Florensky, S.L. Frank and others. Based on the relevant traditions of Russian philosophy, they asserted the priority of the personal over the social, saw the most important means of harmonization public relations in the moral self-improvement of the individual. Russian religious philosophy, the beginnings of which were inseparable from the foundations of Christian spirituality, has become one of the peaks of world philosophical thought, focusing on the theme of the creative vocation of man and the meaning of culture, the theme of the philosophy of history and other issues that always excite the human mind. A peculiar response of outstanding Russian thinkers to the upheavals experienced by the country at the very beginning of the 20th century was the collection "Milestones" published in 1909. The articles in the collection were written by N.A. Berdyaev, S.N. Bulgakov, P.B. Struve, S.L. Frank, who belonged to the liberal camp because of their political sympathies.

Intense, in the struggle of various directions, the literary life of Russia proceeded, marked by the work of many outstanding masters who developed the traditions of their predecessors. In the 90-900s, the "great writer of the Russian land" L.N. Tolstoy continued his activities. His publicistic speeches devoted to the topical problems of Russian reality invariably caused a great public outcry. The apogee of A.P. Chekhov's creativity falls on the 90s - early 900s. An outstanding representative of the older generation of writers of the late XIX - early XX century. was V.G.Korolenko. Fictionist-artist, courageous publicist V.G.Koroleiko consistently spoke out against any arbitrariness and violence, no matter what clothes - counter-revolutionary or, on the contrary, revolutionary - they don't put on. In the first half of the 90s of the XIX century. began the writing activity of A.M. Gorky, who put his talent at the service of the revolution. The works of such writers as I.A. Bunin, V.V. Veresaev, A.I. Kuprin, A.N. Tolstoy, N.G. Garin-Mikhailovsky, E.V. .Chirikov and others.

By the 80s - early 90s of the XIX century. the origins of Russian symbolism go back, which in the 90s is formed into a more or less definite modernist literary trend, speaking under the banner of the theory of "art for art's sake". A number of talented poets and novelists belonged to this trend (K.D. Balmont, Z.N. Gippius, D.S. Merezhkovsky, F.K. Sologub, V.Ya. Bryusov, etc.).

At the turn of the two centuries, the creative activity of A.A. Blok, who was part of the circle of junior symbolists, began. The poetry of A.A. Blok, imbued with a premonition of the inevitability of fundamental changes in the life of the country, historical catastrophes, was in many respects in tune with the public mood of the era. At the beginning of the XX century. N.S. Gumilyov, A.A. Akhmatova, M.I. Tsvetaeva create works that have become brilliant examples of Russian poetry.

Shortly before the start of the First World War, a new trend arose in the literary arena - futurism, whose representatives announced a break both with the traditions of the classics and with all modern literature. In the ranks of the Futurists, a poetic biography of V.V. Mayakovsky began.

The activity of the Moscow Art Theater, founded in 1898 by K.S. Stanislavsky and V.I. Nemirovich-Danchenko - the largest directors and theater theorists.

The Mariinsky Theater in St. Petersburg and the Bolshoi Theater in Moscow remained the most important centers of opera culture. The activities of the "private stages" - first of all, the "Russian Private Opera", which was founded in Moscow by the famous philanthropist S.I. Mamontov, also acquired great importance. She played a significant role in the artistic education of the great singer F.I. Chaliapin.

Realistic traditions in painting were continued by the Association of Traveling Art Exhibitions. Such major representatives of the Wanderers as V.M. Vasnetsov, P.E. Repin, V.I. Surikov, V.D. Polenov and others continued to work. II Levitan paints his famous landscapes. A place of honor in the Russian artistic environment, which abounded with talents, belongs to V.A. Serov, a brilliant master who showed himself in the most brilliant way in various fields of painting. The canvases of N.K. Roerich are devoted to the historical theme. In 1904, tragically cut short life path the largest Russian battle painter V.V. Vereshchagin, who died along with Admiral S.O. Makarov on the battleship Petropavlovsk.

At the end of the 90s of the XIX century. in the Russian artistic environment, a modernist trend is taking shape, represented by the World of Art group. Its ideological leader was A.N. Benois, a gifted and subtle artist and art historian. The work of M.A. Vrubel, the most talented painter, sculptor, graphic artist and theater decorator, was associated with the "World of Art". The abstractionist direction is also emerging in Russian painting (V.V. Kandinsky, K.S. Malevich).

At the turn of two centuries, masters of Russian sculpture worked - A.S. Golubkina, P.P. Trubetskoy, S.T. Konenkov.

One of the remarkable features of the cultural life of this period was patronage. Patrons took an active part in the development of education, science and art. Thanks to the participation of enlightened representatives of the Russian commercial and industrial world, the Tretyakov Gallery, the Shchukin and Morozov collections of new Western painting, the Private Opera of S.I. Mamontov, the Moscow art theater and so on.

By the beginning of the XX century. Russian music (both classical and modern) is gaining more and more worldwide recognition. At this time, the great master of opera, composer N.A. Rimsky-Korsakov, continued to create. In the field of symphonic and chamber music, genuine masterpieces were created by A.K. Glazunov, S.V. Rakhmaninov, A.N. Skryabin, M.A. Balakirev, R.M. Glier and others.

The choral music of the pre-revolutionary era reflected features that later became characteristic of the entire Russian musical culture. The performances of the masses as active forces in the public life of Russia gave rise to the ideas of "universality", "jointness". Under the influence of these ideas, which penetrated the entire Russian artistic culture, the role of the choral principle increased in music.

In the development of the concert genre of choral music, two main trends became characteristic: along with the appearance of large vocal and symphonic works created on the basis of problems of a philosophical and ethical nature, choral miniatures (choral romances) and choirs of large forms arose, reflecting the sphere of a person’s spiritual life and his connections. with nature. Due to the context of this work, we will dwell in more detail on the study of choral miniatures (a cappella choir).

As mentioned above, the rapid development of choral genres was determined primarily by social factors. The reason for their expressive possibilities is the new needs of society, dictated by the changed historical conditions.

It should be noted that a prominent role in the establishment of a purely choral genre, in the development of its forms, types of choral presentation and methods of choral writing was played in the 80s and 90s by the "Belyaev circle" in St. united around the Russian musical figure and publisher M. F. Belyaev, and representing younger generation"New Russian Music School". Despite the fact that, according to the definition of B.V. Asafiev, “in terms of quality ... there were not so many outstanding individual choirs” (Russian music of the 19th and early 20th centuries), and they mainly belonged to the composers of the so-called “Moscow school” , the contribution of Petersburgers to the formation and development of this direction musical creativity had a certain meaning. With their compositions they brought a lot of new things to the genres of choral music. First of all, it is necessary to include large-scale choirs with the accompaniment of Oedipus, The Defeat of Sennacherib and Joshua by M. P. Mussorgsky. They were the first in the direction of the intensification of musical dramaturgy and the monumentalization of the secular choral style. A qualitatively new stage in the development of the genre of choral miniature a cappella was opened by choral arrangements and choral arrangements by Rimsky - Korsakov, Mussorgsky, Cui, Balakirev, A. Lyadov.

The individual stylistic features of the composers who wrote music for the a cappella choir reflected the heterogeneity and dynamics of the development of Russian music of this period. An important role in its disclosure was played by the synthesis of modern music and poetry. Many works of poets of the second half of the 19th century served as the basis for choral compositions. Mastering modern poetry allowed composers to establish a wider connection with life and listeners, reflect the increased conflict of the surrounding world and develop an appropriate figurative and emotional structure of music. Thanks to the appeal to a variety of poetic sources and penetration into their figurative sphere, the ideological - thematic content choral music, the musical language became more flexible, the forms of works became more complex, choral writing was enriched.

In their works, the authors paid great attention to the means of vocal-choral technique and methods of choral presentation. Their music is full of dynamic shades, articulatory expressive means occupy an important place in it. The most common method of choral presentation, which allows diversifying the choral texture, was the division of the part (divisi).

The choral music of composers from St. Petersburg, despite its unequal value, contributed to the expansion of the repertoire of many choirs. Overcoming the vocal and technical difficulties inherent in the works of M. Mussorgsky, N. Rimsky - Korsakov, C. Cui, A. Rubinstein, A. Arensky, A. Lyadov, M. Balakirev, as well as in the best compositions of A. Arkhangelsky, A. Kopylova, N. Cherepnina, F. Akimenko, N. Sokolova, V. Zolotareva, contributed creative growth choral performance.

Composers, grouped around the Russian Choral Society in Moscow and responding to its needs, wrote homophonic music built on the basis of tonal and harmonic functions. The wide development of the performing activities of the wonderful choirs stimulated the creativity of a whole galaxy of composers in this area. In turn, truly artistic works a cappella, which absorbed the best traditions of Russian professional and folk singing, contributed to the vocal enrichment and growth of the performing skills of the choirs.

A great merit in raising this genre to the level of an independent, stylistically separate type of musical creativity belongs to Sergei Ivanovich Taneev (1856 - 1915). His compositions were the highest achievement in Russian pre-revolutionary choral art and had a huge impact on the galaxy of Moscow "choir composers", representing a new direction (which included Pavel Grigorievich Chesnokov). S. I. Taneyev, with his authority as a highly gifted composer, a major musical and public figure, a deep musician, thinker, scientist and teacher, had a huge impact on the development of Russian choral culture.

Almost all Moscow "choir composers", many of whom were direct students of Taneyev, were influenced by his creative attitudes, principles and views, reflected both in creativity and in pedagogical requirements.

Taneyev's interest in the a cappella choral genre was also caused by the growth of choral music-making in Russian musical life at the end of the 19th century.

Taneyev wrote only secular choral music. At the same time, his works cover many life topics: from conveying thoughts about the meaning of life through images of nature (which we will later observe in the analyzed works of P. G. Chesnokov) to revealing deep philosophical and ethical problems. In terms of poetry, Taneyev preferred the poems of F. Tyutchev and Y. Polonsky, which we also observe in P. G. Chesnokov: it is noteworthy that both Taneyev and Chesnokov have choirs based on the same literary sources, for example, the one we are considering choir "Alpy" on Tyutchev's verses.

It should also be noted that the interest in the “Russian element”, striving for ancient Russian traditions, became characteristic of the late 19th - early 20th centuries. The idea of ​​the originality of Russian cult music received practical development in the work of Alexander Dmitrievich Kastalsky (1856 - 1926). And Alexander Tikhonovich Grechaninov (1864 - 1956) followed the path of a conscious synthesis of different styles, taking the melody of the Znamenny chant as a basis and striving to “symphonize” the forms of church singing.

Finally, completing the first chapter of our work, let us dwell on the work of Pavel Grigorievich Chesnokov himself (1877 - 1944) - one of major representatives Russian choral culture, prominent choir director and conductor of the Russian Choral Society, music teacher and methodologist. It should be noted that B. Asafiev in his book “On Choral Art” in the chapter “Choral Culture” does not even touch on the analysis of the work of P. G. Chesnokov and only briefly mentions in one footnote: “The choral works of P. G. Chesnokov sound great ... , but all of them are more superficial and poorer in terms of the content of Kastalsky's choirs. Chesnokov's style is just a magnificent craft.

In the pre-revolutionary period of his life, he devoted himself to the creation of cult music. It should be noted that romance intonations were introduced into his arrangements of authentic old chants. The church choirs of Chesnokov, which absorbed the turns of the Russian lyrical romance (for example, “Your Secret Suppers”), caused criticism from the adherents of “purity church style"for "languor inappropriate to the temple." The composer was also criticized for his passion for elegant chords of a multi-tert structure, in particular, non-chords of various functions, which he introduced even into the harmonization of ancient chants. K. B. Ptitsa in his book “Masters of Choral Art at the Moscow Conservatory” writes the following about this: “Maybe the strict ear and keen eye of a professional critic will notice in his scores the saloon of individual harmonies, the sentimental sweetness of some turns and sequences. It is especially easy to come to this conclusion when playing a score on the piano, without a sufficiently clear idea of ​​​​its sound in the choir. But listen to the same piece performed live by the choir. The nobility and expressiveness of the vocal sound to an enormous extent transform what was heard on the piano. The content of the work appears in a completely different form and is able to attract, touch, delight the listener.

The huge popularity of Chesnokov's compositions was determined by their spectacular sound, born of his outstanding vocal and choral flair, understanding of nature and expressive possibilities. singing voice. He knew and felt the "secret" of vocal and choral expressiveness. “You can sort through all the choral literature over the past hundred years, and there is little to be found equal to the mastery of the choral sound of Garsnikov,” the prominent Soviet choir leader G.A. Dmitrievsky.

2 Historical and stylistic analysis

V. became for the culture of Russia a period of its unprecedented rise. The Patriotic War of 1812, having stirred up the entire life of Russian society, accelerated the formation of national self-consciousness. On the one hand, it once again brought Russia closer to the West, and on the other hand, it accelerated the formation of Russian culture as one of the European cultures, closely connected with the Western European currents of social thought and artistic culture, and exerting its own influence on it.
Western philosophical and political teachings were assimilated by Russian society in relation to Russian reality. The memory of the French Revolution was still fresh. Revolutionary romanticism, brought to Russian soil, caused close attention to the problems of the state and social structure, the issue of serfdom, and so on. A key role in the ideological disputes of the XIX century. played the question of the historical path of Russia and its relationship with Europe and Western European culture. This led to the division in the Russian intelligentsia into Westerners (T.M. Granovsky, S.M. Solovyov, B.N. Chicherin, K.D. Kavelin) and Slavophiles (A.S. Khomyakov, K.S. and I. S. Aksakov, P. V. and I. V. Kireevsky, Yu. F. Samarin).
Since the 40s. under the influence of Western utopian socialism, revolutionary democracy begins to develop in Russia.

All these phenomena in the social thought of the country largely determined the development of the artistic culture of Russia in the 19th century, and above all, its close attention to social problems, publicism. rightly called the "golden age" of Russian literature, the era when Russian literature not only acquires its own identity, but, in turn, has a serious impact on world culture.

Theater, like fiction, in the XIX century. begins to play an increasing role in the public life of the country, taking on partly the role of a public tribune. Since 1803, the Russian stage has been dominated by imperial theaters. In 1824, the troupe of the Petrovsky Theater was finally divided into opera and drama, thus creating the Bolshoi and Maly theatres. In St. Petersburg, the leading theater was the Alexandrinsky.

The development of the Russian theater in the middle - second half of the 19th century is inextricably linked with A.N. Ostrovsky, whose plays to this day do not leave the stage of the Maly Theater.

In the first half of the XIX century. the birth of a national music school. In the first decades of the XIX century. dominated by romantic tendencies, manifested in the work of A.N. Verstovsky, who used historical subjects in his work. The founder of the Russian musical school was M. I. Glinka, the creator of the main musical genres: operas ("Ivan Susanin", "Ruslan and Lyudmila"), symphonies, romances, who actively used folklore motifs in his work. A. S. Dargomyzhsky, the author of the opera-ballet "The Triumph of Bacchus" and the creator of the recitative in the opera, acted as an innovator in the field of music.

In the first half of the XIX century. classical ballet and French choreographers (A. Blache, A. Tityus) dominated. The second half of the century is the birth of classical Russian ballet. Its pinnacle was the production of ballets by P.I. Tchaikovsky ("Swan Lake", "Sleeping Beauty") by the St. Petersburg choreographer M.I. Petipa.

The influence of romanticism in painting manifested itself primarily in the portrait. The works of O. A. Kiprensky and V. A. Tropinin, far from civil pathos, affirmed the naturalness and freedom of human feelings. The idea of ​​the romantics about a person as a hero of a historical drama was embodied in the canvases of K. P. Bryulov (“The Last Day of Pompeii”), A.A. Ivanov "The Appearance of Christ to the People"). The attention to national, folk motifs characteristic of romanticism was manifested in the images of peasant life created by A. G. Venetsianov and the painters of his school. The art of landscape is also experiencing a rise (S. F. Shchedrin, M. I. Lebedev, Ivanov). By the middle of the XIX century. comes to the fore genre painting. The canvases of P. A. Fedotov, addressed to events in the life of peasants, soldiers, petty officials, demonstrate attention to social problems, a close connection between painting and literature.

Russian architecture of the first third of the XIX century. developed in the forms of late classicism - Empire style. These trends were expressed by A. N. Voronikhin (Kazan Cathedral in St. Petersburg), A. D. Zakharov (reconstruction of the Admiralty), in the ensembles of the center of St. Petersburg built by K. I. Rossi - the building of the General Staff, the Alexandria Theater, the Mikhailovsky Palace, as well as in Moscow buildings (projects by O.I. Bove, Bolshoi Theater D.I., Gilardi). Since the 30s 19th century in architecture, the "Russian-Byzantine style" is manifested, which was expressed by K. A. Ton (the creator of the Cathedral of Christ the Savior (1837-1883), the Grand Kremlin Palace, the Armory).

In the first decades of the XIX century. in the literature there is a noticeable departure from the educational ideology, a predominant attention to the person and his inner world, feel. These changes were associated with the spread of the aesthetics of romanticism, which involved the creation of a generalized ideal image opposed to reality, the assertion of a strong, free personality disregarding the conventions of society. Often the ideal was seen in the past, which caused an increased interest in national history. The emergence of romanticism in Russian literature is associated with the ballads and elegies of V. A. Zhukovsky; writings of Decembrist poets, as well as early works A. S. Pushkin brought to him the ideals of the struggle for the "oppressed freedom of man", the spiritual liberation of the individual. The Romantic movement laid the foundations of the Russian historical novel (A.A. Bestuzhev-Marlinsky, M.N. Zagoskin), as well as the tradition of literary translation. Romantic poets first introduced the Russian reader to the works of Western European and ancient authors. V.A. Zhukovsky was a translator of the works of Homer, Byron, Schiller. We still read the Iliad translated by N.I. Gnedich.

Traditions of Romanticism in the 1820s and 30s preserved in the work of lyric poets who addressed the experiences of the individual (N.M. Yazykov, F.I. Tyutchev, A.A. Fet, A.N. Maikov, Ya.P. Polonsky).

Koltsov Alexey Vasilievich - poet. Koltsov's poetry is the most developed expression of the literary style of the urban philistinism (petty and middle urban bourgeoisie) of the first third of the 19th century. Koltsov's early poetic experiments represent imitations of Dmitriev's poems<#"justify">Tyutchev's poetry was defined by researchers as philosophical lyrics, in which, according to Turgenev, the thought "never appears naked and abstract to the reader, but always merges with the image taken from the world of the soul or nature, penetrates it, and itself penetrates it inseparably and inseparably." This feature of his lyrics was fully reflected in the poems "Vision" (1829), "As the ocean embraces the globe of the earth ..." (1830), "Day and Night" (1839), etc.

But there is another motive, perhaps the most powerful and determining all the others; this is formulated with great clarity and force by the late V.S. Solovyov, the motive of the chaotic, mystical fundamental principle of life. "And Goethe himself did not capture, perhaps as deeply as our poet, the dark root of world existence, did not feel so strongly and did not realize so clearly that mysterious foundation of all life, natural and human, - the foundation on which the meaning is based. cosmic process, and fate human soul and the whole history of mankind. Here Tyutchev really is quite original and, if not the only one, then probably the strongest in all poetic literature.

.Analysis of musical works

1 Musical - theoretical analysis

In our work, for a detailed analysis, 4 choirs of P. G. Chesnokov are taken: two choirs to the verses of F. Tyutchev "Alps" and "Spring calm", a choir to the verses of A. Koltsov "Forest" and a choir to the verses of K. Grebensky "The dawn is warming ".

Chorus "Dawn is glimmering" op. 28, No. 1 is the most typical work for Chesnokov's choral work. As Chesnokov himself writes: “Starting to study the approximate analysis below, it is necessary to get acquainted in detail with the music of this” composition, first according to the piano presentation, and then according to the choral score. After that, you need to carefully read all the explanations, comparing them with the notation and notes in the score.

The work we are analyzing is written in three-part form. The first movement ends at bar 19; the second movement, beginning in the 19th, lasts until the middle of measure 44; at the end of measure 44, the third movement begins. The end of the second part and the beginning of the third are expressed clearly and definitely. This cannot be said about the end of the first part; it ends in the middle of bar 19, and the only means of separating it from the middle section is the small caesura at the top. Guided by the analysis of Chesnokov himself, we will consider in detail each part of the work.

The first 18.5 bars form a two-part form that ends with a full cadenza in the main key of G major.

The first period (bars 1-6) consists of two sentences (bars 1-3 and 4-6) ending with incomplete cadences. The subsequent sentence (bars 7-10) Chesnokov proposes to refer to the first period as an addition, stipulating this by two criteria: 1) the increased fifth of the dominant in the second sentence of the period (A sharp, v. 5) urgently requires an additional final musical sentence; 2) this sentence is “a characteristic phrase indivisible into motives with a fixed nuance: phrases of this nature in various modifications will be found in similar conclusions throughout the entire work.”

The first sentence (Chesnokov calls it "the main one") consists of two phrases, each of which has two motives. The first two motives merge into one nuance, and the second phrase consists of two independent motives that do not form a single nuance of the phrase. The second sentence (“subordinate clause”) is exactly the same in terms of phrases, motives, and nuances as the first one. In the final (“code”) sentence, Chesnokov singles out the baritone part as “the leading melodic pattern”. In the first phrase (bars 7-8) in the parts of the "second plan" we meet with such a nuance, which is called the "truncated top". The general nuance of the first phrase (cresc.) does not reach the end, does not have its peak, and at the end of the phrase comes to the original quiet nuance, which was at the beginning of the phrase. This is due to the descent of motives in the "part of the original plan" - the baritone part. Therefore, the "supporting party" is the pinnacle of its cresc. should have been "truncate" so as not to obscure the "party of the original plan" and not leave the general ensemble. In this case, such a nuanced feature is not so pronounced.

The second phrase (bars 9-10) is inseparable into motives. Formally, splitting this phrase is possible, but the presence in the text of one word and the common fixed nuance p allows us to say that this phrase is a single whole.

It should also be noted, analyzing the first period, we can assume that this period consists of three equal sentences.

In the second period, new musical material is observed and some changes are found in the musical structure. The second period consists of two sentences. At the end of the first sentence, there is a deviation into the key of B major ("Phrygian cadenza"), and the end of the second sentence returns us to the main key of G Major.

In the second period, we observe something new, which was not in the first period, namely, the three-motif addition of the phrase: "The reeds rustle just a little audibly." The trimotivity of the first phrase does not allow us to say that it constitutes an independent sentence, since it does not have a cadence behind it. The symmetry of two phrases is achieved by the 2nd motive (in the first sentence) and the 3rd motive (in the second sentence), which unite the entire phrase into a single nuance.

The “subordinate clause” is constructed in a completely different way compared to the “main clause”. Since the first sentence was expanded due to the three-motive nature, in order to preserve the total volume of the period, the second sentence has to be compressed.

The first phrase, carried out by sopranos and altos, (“The fish splashes loudly”) of the second “subordinate” sentence is formally divided into motives. Therefore, the first phrase has a common unchanging nuance mf. The repetition of the first phrase in basses and tenors is absolutely not subject to any changes. The second phrase, which completely completes the first part of the work, is also static and inseparable, having a common fixed nuance p.

We turn to the analysis of the second part of the work. It should immediately be noted the tonal feature that meets the rules for constructing a musical form. In connection with the dominance of the main tonality in the first and third parts of the work, in the middle part (bars 19-44) we observe the complete absence of this tonality in G major.

In structure, this part is slightly larger than the first and its form contrasts with the form of the first part, which also meets the rules for constructing a musical form.

The second part consists of three episodes written in the form of a period.

Let's take a look at the first episode. The main sentence (bars 20-24) consists of two symmetrical but different phrases. The first phrase has one plan, and the second two. The next two phrases of the subordinate clause (bars 25-28) are subdivided into motifs (three-motifs). The second phrase does not give a cadenza and therefore does not give a normal conclusion to the period.

The second period (episode) seems to us completely different tonally, textually, planned, rhythmically, although the first episode passes into the second (from the incompleteness of the first).

The second episode has two plans throughout. In the first sentence, the planned leadership belongs to the alto part, and in the second sentence, to the soprano part. The first sentence has no cadence. Due to this, in this case, we can talk about the unity of the nuance of the proposal. Although proportionality and symmetry does not give grounds to deny that we have the form of a period. This is confirmed by the presence of a full cadence in the second sentence.

The first sentence of the third episode (bars 38-40) also has no cadence. But for the same reasons as in the second episode, we believe that this is a period form (proportionality, symmetry, the presence of a full cadence in the second sentence). In this case, we again observe two-dimensionality. The dominant plan in the whole episode belongs to the soprano part. Accompanying is the part of the first tenors. The second plan is given to the parts of altos, second tenors and basses. The second sentence of the third episode is the final part of the second part and the culmination of the entire work under consideration. Throughout the sentence there is a nuance f. The second sentence ends with a full cadenza in B major, which is also the dominant key of G major. Accordingly, after the fermata, which separates the two parts of the work, we observe a return to the main key of G major on the nuance of p.

The third movement is an abbreviated reprise of the first movement. The first period of the first part became the constituent of the entire third part. Only now the additional sentence of the period of the first part in the reprise has become a subordinate clause.

The first sentence (bars 44-48) is written in the form of a compressed period. Chesnokov confirms this by the presence of a median cadence between two sentences. The second sentence is not a period. But due to their final nature, together with the first sentence, according to Chesnokov, they constitute a compressed two-part form.

Thus, we conducted a theoretical analysis of the chorus "Dawn is glimmering".

Choir "Alps" op. 29 No. 2 (to lyrics by F. Tyutchev) is a landscape sketch, a picture of nature. Tyutchev's poem is written in a two-part meter (trochee) and, in its rhythm and mood, involuntarily gives rise to an association with Pushkin's poem "The Winter Road" ("The moon makes its way through the wavy mists"), not to mention the first word "through", which immediately suggests these associations.

Both poems convey the mood of a person alone with nature. But there is a certain difference in them: Pushkin's poem is more dynamic, the person in it is a participant in the process, and Tyutchev's is the reverence of a person contemplating the majestic mountains, their mysterious world, overwhelming this greatness and the power of a mighty nature.

Tyutchev's picture of the majestic mountains is "drawn" in two different states - night and morning (typical Tyutchev images). The composer closely follows literary text. Like the poet, the composer also divides the work into two parts, just as different and contrasting in their mood.

The first part of the choir is slow, restrained, paints a picture of the Alps at night, in which an almost mystical chilling horror in front of these mountains is conveyed - a severe and gloomy coloring in a minor key (G minor), the sound of an incomplete mixed choir, with divisi in all parts. From 1-3 vols. the image of a gloomy night that enveloped the mountains is conveyed by an unusually quiet, as if gradually floating sound, without bass, and then in the next phrase the basses are quietly turned on to the word "Alps", which gives a feeling of hidden threat and power. And in the second phrase (bars 7-12), the theme is played by the basses in octave unison (Chesnokov’s favorite technique, as a manifestation of the Russian national trait of choral arrangement, a unique example of which is his play “Do not reject me in old age” (op. 40 No. 5) for mixed choir and bass soloist - octave). This bass theme is clearly associated with the theme of the Terrible Sultan from the famous Scheherazade by Rimsky-Korsakov. At the same time, the soprano and tenor freeze, “dead” on the note G. Together, this creates a gloomy, even tragic image.

Again, attention should be paid to harmony - colorful, juicy, with the use of seventh and non-chords (2-3 tt.), more coloristic than functional.

In the second stanza, “By the power of a certain charm” (bars 12-16), the composer uses imitation between tenors and sopranos, which, combined with the upward direction of the melody, creates a sense of movement, but this movement fades (in accordance with the text). The second stanza at the same time and the entire first part ends on the nuance ppp and the D major triad, which is the dominant in same key the first part is only in the major mood (G major). The second part immediately contrasts with a lively tempo, a light register, the sound of the major of the same name, and an inviting fourth intonation. main topic"But the east will only turn red." The second part uses motifs 1-6 vols. the first stanza and the second stanza, vols. 13-16. From this, a certain synthesis and a new quality arise as a result of motivational development. The conduct of the voices of the entire second movement will be subject to imitative development, which subsequently leads to a general climax, to a high register and the solemn sound of a full mixed choir. The climax sounds at the very end of the work on the last magnificent polyphonic harmonically colorful chords of the choir (“And the whole resurrected family shines in crowns of gold!”, tt. 36-42). Chesnokov skillfully plays with timbres and registers of voices, turning the divisi on and off. Through constant deviations and modulations, the entire choir ends in the key of A major.

Choir "Forest" op. 28 No. 3 (to lyrics by A. Koltsov) is an epic picture imbued with the spirit and influence of Russian folk song creativity, organically combined with Chesnokov's own creative personality. This composition is characterized by poetic sincerity, full of deep lyrical reflection, contemplation and grace, combined with the traschism characteristic of the Russian people, singing "sobbing", with a huge climax on fff.

Koltsov's poetry is imbued with a synthesis of book poetry and peasant song folklore. The nationality of the poem "Forest" primarily comes from the epithets used by the poet, such as "Bova the strong man", "do not fight", "you say". Also in folk art, comparisons are often found, to which Koltsov refers in the poem we are studying. For example, he compares the image of the forest with a hero (“Bova the strong man”), who is in a state of struggle with the elements (“... hero Bova, you have fought all your life”).

In connection with such moods of the poem, Chesnokov's music is imbued with tragedy, elemental movement. The whole work is written in a mixed form: the cross-cutting strophic form, inherent in almost all works written on the basis of verse, synthesizes with couplet, a kind of refrain (singsong), coming from the connection of the work we are considering with folk art. You can also see the tripartiteness here. The first part (like an exposition, vols. 1-24) consists of two episodes, two themes. The first part (refrain) “What, a dense forest, has become thoughtful” (bars 1-12), written in a complex meter 5/4 (again characteristic of folklore) resembles a unison chant inherent in a folk song in all voices with a bass overtone at the end of each phrase repeating the last word: “thoughtful”, “foggy”, bewitched”, “uncovered”.

The composition begins in the key of C minor on the general nuance f, but nevertheless, for the time being, it bears the character of “calm tragedy”.

The second theme, which makes up the second episode, “You stand, drooped and do not fight” (bars 13-24) passes into the key of the fifth low step G flat minor, size 11/4 (footnotes to the nationality) and the general nuance p. Rhythmically, the second theme does not differ much from the first (the predominance of quarter and eighth notes). There are some changes in the interval-melodic plan: the general direction of the melody has changed - the first theme had a downward perspective of movement, and the second one had an upward one; also in the first theme, the eighths constituted the motive of mourning, and in the second, the eighths acquired auxiliary properties. In the second phrase “the cloak fell to the feet” (bars 19-24), performed by the tenors, we see a return to the first theme (solo) only in a different key (D flat major) and slightly changed melodically, performed on a separate nuance mf. Sopranos and altos in unison pass along the semitone motif in F - F flat - F on the nuance of p. We have already come across this technique in other Chesnokov's choirs (Alpy choir). Then the theme moves to basses, the principle of emphasizing the theme and unison sounding of other voices remains on the opposite nuance.

Then begins a large second part (tt. 24 - 52). It begins with the introduction of the first theme in the main key of C minor, melodically modified. This is due to interrogative intonations. Therefore, at the end of the first phrase, an elevated mi bekar appears (“Where did the high speech go?”), And the second phrase even changed the perspective of the movement and went up (“Proud strength, young valor?”). The theme in the basses is carried out according to Chesnokov's favorite technique - the unison of the octave. Further, the tension associated with the text of the poem begins to grow. And we observe how the refrain theme is developed by the canon (bars 29-32). Bars 25-36 we can designate as the first climactic wave (the second part has elements of development) - a change in the melody of the main theme, a canonical development. On the words “She will open the black cloud” (tt. 33-36), the first climax passes. It is performed in the key of F minor on the general nuance of ff. From bar 37 begins the second wave of culminating development. On the perspective of movement (ascending) we get the memory of the second theme of the first part. First, the theme is carried out in B flat major (bars 37-40), where the presence of the second low step (C flat) does not allow us to feel the major inclination of the key. Then from 41-44 vols. comes the brightest episode of the work. It was written in E-flat major. Since the general state of the composition is a state of struggle, here we see in the music the power of opposition of the forest (“It will spin, it will play out, your chest will tremble, stagger”). Tt. 45-48 - development of an auxiliary motive through sequential development. Further, the second wave brings us to the common climax of the whole work. The same theme is being pursued as in vols. 33-36 only in the general nuance fff. The presence of a common climax in this particular place is also determined by the text of the poem, the music depicts the element of a storm that opposes the image of the forest (“The storm will cry like an evil witch and carry its clouds over the sea”).

Tt. 53-60, separated by fermata, constitute, in our opinion, a link between the second and third (reprise) parts. It synthesizes in itself two developed elements in the second climactic wave: the theme of enlightenment and an auxiliary motive. The link brings us back to the state of storytelling. The third reprise part follows the same principle as the first. A large developmental second part explains the conciseness and abbreviation of the recapitulation. The whole piece ends in the main key of C minor on the common nuance f, gradually fading away.

Thus, we can conclude that the first and third parts depict us a narrative, a kind of button accordion, singing about distant times. The middle part takes us to the time of the immediate existence of the forest, its struggle with the elements. And the third part brings us back to Bayan.

Choir "Spring Calm" op. 13 No. 1 (to the words of F. Tyutchev) differs significantly from the works we have previously considered. This is a picture where some of Tyutchev's important worldview ideas, embodied in Chesnokov's music, lay down.

The romantic image of spring in his work is an anticipation of novelty, rebirth, renewal of nature.

The key feature of Tyutchev's creative worldview is that nature for him is not just a poetic background, a landscape of the soul of a lyrical hero, but a special subject of a symbolic image, a projection of human experiences, a necessary material for philosophical reflections about the world, its origin, development, relationships and opposites.

The work of P. G. Chesnokov is written in strophic form, divided into three small parts, fluidly pouring into one another.

Submitting to the semantic side of the text, the first part is the very pinnacle of sound tension, cummination, from which we will observe a gradual pacifying fading, calming.

The first part, the first stanza (bars 1-9) begins because of the measure with a weak beat on the general nuance mf (we will not find this nuance louder in the text). The beginning of the music on a weak beat gives us a feeling of instability, unbalance of the spirit, tension. We will meet the mf nuance further in the second stanza, and basses - octavists will join there, but it gives reason to say that the climax in the first stanza is the interjection “o”, from which the whole work begins. It's like a kind of exclamation, a cry - a high emotional point.

It is very remarkable that we first encounter the tonic in the 9th bar, and then it falls on a weak beat of the bar without a third tone. I would like to note that the emotional tension in music is insatiable, empty. Such emptiness is given by the quintality of the melody, the terts-free dominant with which everything begins. We also notice in the 3rd measure, when the third appears, that the composer uses a minor dominant, which does not create gravity in the tonic, in resolution.

Having met with the tonic, the work spills over into the second stanza (bars 9-16), where, as mentioned above, Chesnokov's favorite basses, the octavists, join, which last only the first two measures. The rest of the stanza takes place on the organ point "re", which also emphasizes the inner tragedy of the music. Again, we notice that the second stanza (“Blowing the breeze”) begins with a weak beat due to the measure, first in the bass part that appeared, separately pronounce, then in the soprano, alto and tenor parts. General development perspective: from mf to diminuendo to p. We see a slight enlightenment in bar 13, when the major dominant appears. Nevertheless, the general state is still tense. This proves by the beginnings of words on a weak beat (“the flute sings”, “from afar”). The bass part on the organ point “D” takes us to the third movement (bars 17-25), which is marked by calm (“light and quiet”). On the nuance p from the melodic top, the melody begins to gradually descend on the diminuendo, the bass part gradually disappears, the chords become saturated, full - the music and the text have come to a common resolution. The whole work ends with the alternate holding of fifths on the word “float”, first in basses, then in tenors, and then in altos and sopranos. Again, music has pictorial properties - the endless buoyancy of light, "empty" clouds.

I would like to note how the peculiarity of this work is the simplicity of harmony, persistence throughout the entire composition in one key.

2 Vocal - choral analysis

Chorus "Dawn is glimmering" op. 28 No. 1 (to lyrics by K. Grebensky) is mixed in its type, written in many voices for 4 parts: soprano, alto, tenor, bass.

For performance, this choir causes some difficulties due to the use of rich harmony, constantly changing nuances, and figurativeness in music.

The general range of the first period is from the G of the major octave to the D of the second octave. The average "comfortable" tessitura, smooth melodic movement (practically without interval jumps) determines the general calm state ("silence"). Divisi is observed in sopranos, in basses (predominates).

The range of the second period (bars 9-18) does not change. Visual elements appear only in music. Begins with a nuance p in soprano, alto and tenor parts. The soprano part is divided into two voices in the interval of the third, in the 11th bar, subvocally, by the divisi technique, the bass part enters. The second sentence begins with soprano and alto parts, forming sonorous triads with bright soprano thirds (pictorial).

The second part, the first period (bars 18-27), the general range of which is the F becar of a large octave - the salt of the second octave, again begins with the soprano, alto and tenor parts. The auxiliary bass part starts at bar 20. The second sentence now has clear pictorial properties of the image of an owl. This is indicated by the inscription above the 23rd measure - muffled. It starts with a nuance p, is divided into two planes: soprano, alto - tenor. The two-planness has its continuation in the second period as well (tt. 27-34). First, in the words “Away above the mirror water”, the dominant plan belongs to the alto part, the secondary one to the tenors and basses. In the second sentence (“Shine, like a peephole”), as in the first sentence, it is separately pronounced on mf, the soprano part in high tessitura comes to the fore. The parts of altos, tenors and basses become secondary.

In the third period, which ends the entire second movement, we observe the emergence of two parts in high tessitura - sopranos and tenors - to the fore. Soprano range - B of the first octave - G sharp of the second octave. The tenor range is B of the small octave - F sharp of the first octave.

Separated from the second part by fermata, the third part (bars 42-50) returns to a state of calm, silence. The two-dimensionality disappears, the parties at the same time in the same rhythm go to the end. Return to the middle tessitura. range, as in the first parts: salt of a large octave - re of the second octave. Everything ends in the main key of G Major (“silence”).

Choir "Alps" op. 29 No. 2 (to lyrics by F. Tyutchev) - mixed polyphonic choir. As noted above, the first part of the entire work is an image of the awesome night Alps.

The choir begins with a nuance p with soprano, alto and tenor parts and without a bass part (as we have already noted). The high tessitura of tenors is noteworthy (begins with the G of the first octave). The bass part enters in measure 4, split into three voices. The tenor part is also divided into two voices. It turns out that seven voices enter the word "Alps" (in the 4th measure) on the common nuance pp. The melody is almost motionless.

As already mentioned, the octave bass theme begins from the 7th measure (reminiscent of the theme of the Terrible Sultan from Rimsky-Korsakov's Scheherazade), and the rest of the voices seemed to freeze on the sound of "sol" on the general nuance p. The range of the entire score of this phrase is from A counteroctave to G of the first octave.

After the dominant key in D major, the composition passes into its second, light, part of the eponymous major (G major). In the general rhythmic movement, music begins to develop from the nuance p to mf. Then we again observe the imitative development between tenors and sopranos (bars 32-37) and the approach to the general climax of the whole work. On the organ point Mi (bars 38-42), in a single rhythmic movement, the parties perform colorful chanting harmonies and finish the work in the light key of A major.

Choir "Forest" op. 28 No. 3 (to lyrics by A. Koltsov) mixed and polyphonic. In the previous chapter, we came to the conclusion that this choir was written in the national spirit. Therefore, the inherent verse (bars 1-12), from which the whole work begins, passes in unison with all parts. At the end of each phrase, on the last word, an undertone (divisi) joins in the bass part. The bass part is in high tessitura. It is noteworthy that the first phrase ends with the tonic - the intonation of the statement, and the second phrase "Has it been clouded with dark sadness?" due to its interrogative intonation, it ends in the fifth step.

The chorus, ending in the key of E flat minor, the work passes into the second part of G flat minor. This part is contrastingly calm in comparison with the first: in the general rhythmic movement (the predominance of quarter notes) on the nuance p, in the range of B flat, the melody seems to stand still. According to the words “The cloak fell at the feet” (bars 19-22), the melody, interval-melodically similar to the theme of the sing-along, develops in the tenors, then in the basses. The rest of the voices stand on a semitone motif (this method of Chesnokov's letter has already been repeatedly discussed). In the unstable D-flat major (due to the fifth low step) in the general rhythmic movement of the quarter notes, the first major part of the chorus ends.

Then the developmental part of the chorus begins with climactic waves. The melody of the sing-along in the main key is transformed here. Due to the growing tension, the interrogative intonations of the phrases in the first two measures (bars 25-26), only two parties sing in unison: sopranos and altos. The tenor part is in the opposite ascending motion, and the octave basses are on the organ point in C. Then in tt. 27-28 the parties change places: soprano, altos - ascending movement, tenors - the changed theme of the chant.

Further, we see the polyphonic canonical development of the theme on the nuance f: tenors - basses - sopranos - altos. The first culmination point (bars 33-36), which came in F minor, is sung in the range A flat - F in opposite movements: sopranos and tenors pass in a downward movement, altos stand unchanged to flat, basses have an upward movement.

Then comes the connecting theme, formed from the motifs of the main themes, in B flat major (bars 37-40) on the nuance mf. Tt. 41-44 begin the second wave of the climactic development with the lightest, heroic episode in the affirmative E-flat major key. Heroism, stability confirms the upward movement along the sounds of the triad in even quarter notes with an approach to cresc. to every peak.

Further, on the nuance f by sequential development (two links: C minor, F minor), developing the second motive of the sing-along, the music comes to a general climax. The climax (bars 49-52) runs under the general nuance fff on the same principle as the previous climax.

Next, we see a connection (bars 53-60) between the developmental part and the reprise, built by analogy with the connection that was made between the first climax and the second climax wave. Due to the function of linking two rather large sections, the implementation of modulation from F minor to C minor, the theme is performed three times.

The reprise follows the same pattern as the first part. As mentioned earlier, for the G-flat minor theme, the sing-along runs in the main key in even quarter notes in all parts.

Choir "Spring Calm" op. 13 No. 1 (to lyrics by F. Tyutchev) mixed and polyphonic.

Despite the general state marked at the top of the work “Quietly”, the composition begins with the most intense climax. We have already talked about the out-of-bar beginning on a weak beat, about the so-called "terminal" harmony and the appearance of the tonic only in the 9th measure.

The first stanza, the culmination of the entire work, begins at the top, in a high tessitura ranging from A to Mi. The melody develops from a tense peak on a downward movement on diminuendo to a relative fifth "empty" calmness. The second phrase begins with a confident strong beat, in the range reaching the salt of the second octave. But the tension subsides towards the end, and the first stanza flows smoothly into the second.

The second stanza (bars 9-16) also begins with a weak beat in bass octaves on the tonic "re". The mf nuance is preserved. The theme is picked up by the soprano, alto and tenor parts (vol. 10), also from a weak beat in the middle tessitura on a tonic triad. The bass part is held on the organ point "d" and nuanced separately (p).

The middle tessitura shows us that the overall tension has become less than in the first stanza. On the symmetrical movement of sopranos, altos and tenors, the music leads us to the third stanza, to calmness. Tt. 17-25 are marked by the nuance p. Again, the melody begins peaks in the range of D of the small octave - F of the second octave. The gradual descent, the departure of the bass organ point, the saturation of the harmony, the even symmetrical movement of sopranos, altos and tenors in quarter and half notes justify the words "Light and quiet clouds float above me." A remarkable ending on the tonic fifth, which alternately repeats first in basses, then in tenors, then in altos and sopranos. As if taking off upwards, showing endlessly floating clouds.

At the end of this long chapter, some conclusions can be drawn. The four choirs of P. G. Chesnokov that we analyzed were of different moods, different characters and genres. In the epic global "Forest" we met with the imitation of a folk song. This proves the presence of a unison chant, descending singing motifs, polyphonic canonized development, colossal climaxes. In "Spring Calm" we also encountered the subtle subordination of music to the meaning of the text. A special choir "Alps", so terrifyingly depicting the night Alps, and in the second part singing a solemn hymn to the mighty great mountains. The unique sound-imaging picture “The Dawn is Warming” impresses with its sensitivity to the text. This choir especially shows the richness of Garschin's harmony. The presence of endless nons and seventh chords, altered steps, imitative development, constant change of keys.

Conclusion

P. G. Chesnokov is a great master of voice leading. In this regard, he can be put on a par with the famous Mozart and Glinka. With the dominance of the homophonic-harmonic warehouse, with the beauty and brightness of the harmonic vertical, one can always easily trace the smooth line of the melodic movement of each voice.

His vocal and choral flair, understanding of the nature and expressive possibilities of the singing voice have few equals among the composers of domestic and foreign choral literature. He knew and felt the "secret" of vocal and choral expressiveness.

As a composer, Chesnokov still enjoys great popularity. This is due to the freshness and modernity of his "sweetened" harmony, clarity of form, smooth voice leading.

When learning Chesnokov's works, some difficulties may arise in the performance of Chesnokov's "rich harmony", in its constant movement. Also, the complexity of Garsnikov's works lies in a large amount of undertones, in the nuance of individual parts, in the conclusion of the dominant and secondary plans of the melodic movement.

We got acquainted in this work with outstanding works of choral literature. The choir "Alps" and the choir "Forest" are vivid sketches, picturesque images of what is happening in the text. Choir "Forest" - an epic song, an epic, showing us the image of the Forest in the form of "Bova the Strongman" - the hero of Russian folk tales. And the choir "Spring Calm" is significantly different from all other choirs. A sketch of the state through nature, modest in harmony, but, as always, pictorial in its content.

Analysis of the choral score.

Compiled by: Senior Lecturer

department of choral conducting and

solo singing of the Faculty of Music

Bogatko I.S.

Perm 2013

Choral work analysis

Musical-theoretical analysis of the work (tonal plan, form, cadences, the nature of the development of musical thought, size, texture features, tempo).

Vocal-choral analysis: type and type of choir, voice ranges, tessitura, ensemble, system, intonation, vocal-choral, rhythmic, diction difficulties).

Performing analysis of the work; (the connection of music with the text, the definition of caesuras, the establishment of the tempo, the nature of the work, dynamics, strokes, climax).

List of works.

1 course

Choral works to study

Arensky A. Anchar. Nocturne

Agafonnikov V. Flax was sown across the river.

Bely V. Steppe

Boyko R. 10 choirs at A. Pushkin station

Vasilenko S. Dafino wine. Like in the evening. On the mountains two gloomyclouds. Blizzard. Steppe.

Grechaninov A. The stream amuses us. In a fiery blaze. Aboveimpregnable toughness. Light is quiet. After the storm. At dawn.

Gounod C. Night

Davidenko A. Vsevpered. Barge haulers. The sea roared furiously.

Darzin E. Past. Broken pines.

Dvorak A. Pir. Choirs from the cycle "On Nature"

Debussy K. Winter. Tambourine

Egorov A. Taiga. Nikitich. Lullaby. Lilac. Song.

Ippolitov-Ivanov M. Novgorod epic. Forest. Night.

Kastalsky A. Under a large tent. Rus.

Korganov T. Sees a deer in the water.

Kasyanov A. Autumn. The sea does not foam.

Caldara A. Stabatmater

Kalinnikov V. Lark. Winter. On the old mound. Us starsthe meek shone. Autumn. Forest. Oh, what an honor to the young man. merk starschick and go out. Condor. Elegy.

Koval M. Ilmen-lake. Leaves. Tears. There would be a storm, or something.

Kravchenko B. Russian frescoes (optional)

Cui C. Nocturne. Wake up song birds. Two roses. The sun is shiningtse. Storm clouds. Dream.

Kolosov A. Rus.

Lasso O. Soldier's serenade. Oh, if only you knew. matona.

Lensky A. Past. Russian land. January 9. Cliff and sea. Arrangements of folk songs (optional).

Lyatoshinsky B. Autumn. Oh, ty, my mother. In a clean field. Water flows.

Makarov A. "City of Unfading Glory" from the suite "River Bogatyr"

Mendelssohn F. Choirs to choose from.

Muradeli V. Response to the message of A. Pushkin.

Novikov A. In the forge. Oh, you field. Love. Merry feast.

Popov S. Like the sea.

Poulenc F. White snow. Sadness. "I'm afraid of the night" from the cantata "Lik human"

Ravel M. Three birds. Nicoletta.

Sveshnikov A. In the dark forest. Ah, you are a wide steppe. Down the mother along the Volga.

Sviridov G. "Pushkin's wreath": No. 1, 3, 7, 8, 10. "Night clouds" -No. 2. Blue in the evening. clear fields. Spring and the sorcerer. Choirs onpoems by Russian poets.Slonimsky S. Four Russian songs.

Sokolov V. Povien-povien, storm-weather. Are you rowan, ripple nushka.

Taneev S. Adeli. Tower ruin. Venice at night.

Tchaikovsky P. Without pores, but without time. Not a cuckoo in the cheeseboron. The cloud slept. Nightingale. What silenced funvoice. Blessed is he who smiles. Choirs from the Liturgy (optional).

Chesnokov P. August. Alps. In winter. The dawn is warm. Forest. Along yes alongriver. Dubinushka. It's not a flower that wilts in the field. Liturgical choirs (optional).

Shebalin V. Winter road. The mother sent thoughts to her son. Stepan Razin.White-sided chirping. Cliff. Message to the Decembrists. Cossackdrove a horse. Soldier's grave.

Shostakovich D. Ten Poems. (choirs to choose from).

Schumann R. Good night. Toothache. In the forest. On Lake Constance.

Shchedrin R. 4 choirs at st. A. Tvardovsky.

Schubert F. Love. Night.

Choral works for sight reading and transposition.

Bortnyansky D. It is worthy to eat. Cherubic number 2.

Vekki O. The Shepherd and the Shepherdess.

Davidenko A. The sea moaned furiously. Prisoner. Barge haulers.

Dargomyzhsky A. Petersburg Serenades.

Glinka M. Patriotic song.

Grechaninov A. Frog and ox.

Egorov A. Song.

Zinoviev A. Autumn.

Ippolitov-Ivanov M. Sharp axe. Pine.

Kalinnikov V. Elegy.

Kastalsky A. At the gate, gate. Rowanberry.

Kodai 3. Evening song.

Costle G. Mignon.

Sheet F. The onset of spring.

Mendelssohn F. Run with me. As frost fell on a spring night.Above her grave. Premonition of spring.

Prosnak K. Prelude.

Rachmaninov S. We sing to you.

Rimsky-Korsakov N.A. Ai in the field of lime. You rise the red sun.

Salmanov V. "Oh, dear comrades" from the oratorio "The Twelve".

Slonimsky S. Leningrad white night.

TaneevS. Serenade. Pine.

Tchaikovsky P. "Liturgy of St. I. Chrysostom": No. 9, 13.A golden cloud spent the night

Chesnokov P. Spring calm. Behind the river, behind the fast one. Thought after thought.

Shebalin V. Winter road.

Schumann R. Evening star. Good night. Night silence.

Schubert F. Love. distant.

Shchedrin R. How dear is a friend. The war has passed. Quiet Ukrainian night.

Eshpay A. Song about springs.

2 course

Choirs with accompanimentForstudy.

Original choral works:

Glinka M. Polonaise. Glory to the Russian people.

Debussy K. Lilac.

Ippolitov-Ivanov M. Morning. Peasant feast.The approach of spring. Flowers.Leaves rustle in the garden. In May.

Novikov A. Grass. Hey, let's go. And the rain is pouring.

Schumann R. Gypsies.

Schubert F. Shelter.

Choirs from oratorios and cantatas.

Harutyunyan A. Cantata about the Motherland No. 1, 4, 5.

Britten B . Missa brevis in D

Bruckner A. Requiemd- mall. Big mass.

Brahms I. German Requiem:№ 4.

Vivaldi A. Gloria: No. 1, 4, 7.

Handel T. Oratorio "Samson": "Smitten Samson"

Grieg E. Olaf Trigvasson (single room).

Dvorak A. Requiem (choir performances). ThoseDeum(fully)

Kabalevsky D. Requiem: Introduction, Remember, Eternal glory, Black stone.

Kozlovsky O, Requiem (movements by choice).

Makarov A. Suite "River Bogatyr". ABOUT

ABOUT rf K. Karmina Burana: No. 1, 2, 5, 8, 10, 20, 24, 25.

Prokofiev S. Ivan the Terrible (choir numbers).

Poulenc F. Face of a man (parts by choice)

Salmanov V. Twelve (separate parts or in full).

Sviridov G. "Pathetic Oratorio": Wrangel's Flight,To the heroes of the battle of Perekop, There will be a garden city, The poet and the sun " Poem in memory of S. Yesenin ": Winter sings, Threshing,Night on Ivan Kupala, Peasant

Guys. " Pushkin wreath ": No. 5, 6. "Night clouds" No. 5. " Ladoga" № 3, 5.

Tchaikovsky P. Moscow: No. 1, 3, 5.

Shostakovich D. "Song of the Forests": Future walk. "The sun is shining over our Motherland, Stenka Razin.

Choirs from operas;

Bizet G. "Carmen": scenes 24, 25, 26.

Beethoven L. "Fidelio" (department of choirs).

Borodin A. "Prince Igor": Glory, Yaroslavna's scene with the girls,Scene at Galitsky, Polovtsian dances with a choir,Finale of the 1st act,

Wagner R. "Lohengrin": Wedding choir. "Tannhauser": March.

Verdi D. "Aida": choral scenes. "Othello": choral scenes from 1, 3 acts.

Verstovsky A. "Askold's Grave": Oh, girlfriends, boil, potion.Chorus and song of Torop.

Gershwin A. "Porgy and Bess": separate choirs.

Glinka M. "Ivan Susanin": Polish Act, Glory."Ruslan and Lyudmila": Introduction, Final 1 act,Oh, you are the light, Lyudmila.

glitch X. "Orpheus": individual choirs.

Gounod C. "Faust": Waltz. "Romeo and Juliet: Choir of Courtiers.

Dargomyzhsky A. "Mermaid": Oh, you, heart, Braid, wattle. How we brewed beer on the mountain.As in the upper room-svetlitsa.

Delib L. "Lakme": choir and stage in the market.

Kozlovsky O. "Oedipus Rex": 1st choir of the people.

Mussorgsky M. "Boris Godunov": Scene of the coronation,Scene at St. Basil'sScene under Kromy (completely and separate fragments), "Sorochinskaya Fair": Choir from 1 act. "Khovanshchina": Meeting and glorification of Khovansky,Scene in the Streltsy Sloboda (completely and separate frag.).

Rimsky-Koreakov N.A. "Pskovityanka": Meeting the Terrible,Grozny's entry into Pskov, Veche Scene; "Sadko": Chorus of trade guests,Whether the height, the height under heaven. "Snegurochka": Chorus of blind guslars,Scene in the reserved forestAnd we sowed millet, Pcarnival, Opera finale.

« The Legend of the Invisible City of Kitezh":Wedding train. "The Tsar's Bride ": Love potion, Yar-hop. " May Night": Millet.

Smetana B. "The Bartered Bride": separate choirs.

Kholminov A. "Chapaev": With us, Petenka.

Tchaikovsky P. "Eugene Onegin": Chorus of peasants, Ball at the Larins. " Queen of Spades ": Choir of Walkers,Chorus of guests, Shepherdess Pastoral. "Mazeppa": Chorus and lamentation of the mother, Folk scenes, Execution scene. "Oprichnik": The duck swam in the sea,Wedding choir "Glory".

Choral works for sight reading and transposition

Borodin A. "Prince Igor": Fly away on the wings of the wind.

Verstovsky A. "Askold's grave": Two choirs of fishermen,By the valley stood a white birch, Ah, girlfriends.

Verdi J. "Nebuchadnezzar": You are beautiful, oh, our Motherland. "Aida ": Who is there (2 act).

Glinka M. "Ruslan and Lyudmila": Oh, you are the light of Lyudmila,The bird won't wake up in the morning. "Ivan Susanin ": Wedding song.

Dargomyzhsky A. "Mermaid": Three choirs of mermaids.

Mussorgsky M. "Khovanshchina": Dad, Dad, come out to us.

Petrov A. "Peter I": Final chorus from the opera.

Tchaikovsky P. "The Snow Maiden": Seeing off Shrovetide.

Chesnokov P. Spring rolls.

3 course

Polyphonic choral works to study.

Original choral works

Arkadelt Ya. Swan at the moment of death.

Vecky Oh, it's better not to be born.

Verdi J. 4 spiritual choirs.

Gabrieli A. Young maiden.

Grechaninov A. Swan, crayfish and pike.

Glazunov A. Down the mother, along the Volga.

Kodály 3. Hungarian psalm.

Lasso O. Shepherd. Goose song. Echo.

Marenzio L. How many lovers.

Monteverdi K. Farewell. Your clear gaze is so beautiful and bright.

Morley Tenderness burns in your face.

Palestrina J. Spring wind. Oh, he's been in the grave for a long time.

Rimsky-Koreakov N. The moon floats. Old song.A golden cloud spent the night. Tatar full.You are already a garden. Wild in the north.

Sveshnikov A. You are a garden.

Sokolov V. Where can a girl go with grief?

Taneev S. Alps. Sunrise. Evening. On the grave.Tower ruin. Look how dark.Prometheus. I saw a cliff through the clouds. In the days when over the sleepy sea. There are two gloomy clouds over the mountains.

Tchaikovsky P. Liturgy of St. I. Chrysostom: No. 6, 10, 11, 14.Cherubic Hymn No. 2. Our Father.

Chesnokov P. There was a baby.

Shebalin V. Above the mounds.

Shchedrin R. Willow, willow.

Choirs from operas:

Borodin A. "Prince Igor": Chorus of the villagers.

Berlioz T. "The Condemnation of Faust": Brander's Song and Choir.

Vasilenko S. "The Legend of the Invisible City of Kitezh":Choir of the people "Woe has befallen".

Wagner R. "Meistersingers": Glory to Art.

Glinka M. "Ivan Susanin" ": Introduction. "Ruslan and Lyudmila": He will die, he will die.

Dargomyzhsky A. "Mermaid": Healthy choir.

Mozart W. "Idomeneo": Run, save yourself.

Rimsky-Koreakov N. "The Tsar's Bride":choral fughetta "Sweeter than honey". "Snow Maiden ": I have never been scolded by treason(from the final 3 days)

Ravel M. "Child and Magic": Choir of shepherds and shepherdesses.

Shostakovich D. "Katerina Izmailova": Glory.

Choirs from oratorios and cantatas

Harutyunyan A. Cantata about the Motherland: No. 3 "The Triumph of Labor".

Bartok b. Cantataprofana. № 1, 2, 3.

Bach I.S. Secular cantatas:№ 201 D- dur"Attention", No. 205 D-dur "Chorus of Winds", No. 206D- dur"Opening Chorus", No. 208 F-dur "Final Choir", Mecca h- molI: № 1, 3, 15, 16, 17.

Beethoven L. MassC- dur: 1st hymn

Berlioz G. Requiem: otd. numbers.

Britten B. War requiem. MassinD.

Brahms I. German Requiem: No. 1, 2, 3, 6, 7.

Vivaldi A. Gloria: No. 5, 12

Verdi G. Requiem: No. 1, 2, 7.

Haydn I. Seasons: No. 2, 6, 9, 19.

Handel G. "Alexander Fest": No. 6, 14, 18. " Messiah": No. 23, 24, 26, 42. " Judas Maccabee": No. 26. "Samson": No. 11, 14, 26, 30, 32, 49, 59.

Davidenko A. From the joint oratorio "The Way of October": On

tenth verst, The street is worried.

Degtyarev S. "Minin and Pozharsky": separate issues.

Dvorak A. Requiem: individual numbers. Stabat Mater No. 3.

Yomeli N. Requiem: individual numbers.

Mozart W. Requiem: No. 1, 4, 8, 9, 12.

Honegger A. "King David": No. 16, 18 and Final chorus. "Joan of Arc at the stake: Finale of the oratorio.

Ravel M. Daphnis and Chloe: Choirs from suites 1 and 2.

Reger M. Requiem: complete and separate numbers.

Scriabin A. Symphony 1: Glory to Art (final).

Stravinsky I. Symphony of Psalms: complete and separate numbers.

Smetana B. "Czech Cantata".

Taneev S. "John of Damascus": complete and separate numbers. "After reading the psalm ": No. 1, 4.

Faure G. Requiem: individual numbers.

Hindemith A. "Eternal": complete and separate numbers.

Tchaikovsky P. "To the 200th anniversary of the monument to PeterI»: Fugue.

Schubert F. Mass As-dur. Private rooms. Mass Es-dur: Separate numbers.

Shimanovsky K. Stabatmater: № 1, 4, 5, 6.

Schumann R. "Paradise and Peri":№8, 11, Requiem: individual numbers.

Shostakovich D. Song of the Forests: No. 7 Glory.

Shchedrin R. "The Sealed Angel": individual numbers and in full.

Choral works in the keys "TO".

Baya T. OboneJesu

Bortnyansky D. Concerto for choir No.I.

Gastoldi T. Heart, do you remember

Calvisius S. I am a man.

Lasso O. All day daytime.I was told. How did you manage.

Lechner L. Oh, how cruel my fate is to me.

Meyland Ya. The heart rejoices in the chest.

ScandeliusA. To live on earth.

Friderichi D. Song of society.

Hasler G. Ah, I sing with a smile.

Chesnokov P. Spirit. choirs.

Shostakovich D. As in an immemorial year.

Choral scores for transposition

Venosa J. Sancti spiritus.

Verdi J . Laudi alla virgine Maria fragments )

Dargomyzhsky A. Petersburg Serenades: From a Country, a Faraway Country.Raven flies to raven.I drink to Mary's health. Goblin at midnight. On the calm waves.

Ippolitov-Ivanov M. Pine.

Kodály 3. Hello Janos.

Lottie A. Miserere

Mendelssohn F. In the south.

Muradeli V. Impatiable dreams.

Rechkunov M. Sharp axe. Autumn.

Taneev S. Serenade. Pine. Venice at night.

Tchaikovsky P. Evening.

Schubert F. Lipa.