Gusli sadko, old Russian violin and singing arrows. Gusli sadko, old Russian violin and singing arrows "An old song in a new way"
"Where the song flows, there lives happily"
Since ancient times, the Slavs have held in high esteem self-sounding instruments. To this day, we know the sounds of flooding bells and bells. And in early Middle Ages they were accompanied by all sorts of whistling and crackling brunchalkas, churingas, beaters.
Such tools were made from improvised means. For example, a brunchalka can be reconstructed even now. If, during the cooking of soup, a small tubular bone is taken out of the broth and a hole is made in the middle for the thread, it will whistle during rotation.
brunchalka
Old Russian daredevils loved to play tricks on the girls who were guessing at Christmas time. Having climbed onto the roof of the hut, they began to rotate the brunchal over the chimney. Then a pleasant whistle turned into a mystical buzz that frightened superstitious girls.
What does brunchalka sound like?
A wooden plate, churinga, operated on a similar principle. By the way, among the natives of Australia, a thin wooden plate with the image of sacred signs is called churinga. According to their beliefs, the soul of a person and his ancestors is in the churinga, and, having lost it, the owner dies.
In Rus' musical instruments also served in many ways as amulets. So, in the view of the Slavic tribes, whistling and ringing could scare away evil spirits. The bell was hung around the neck of the cow not only so that she would not get lost, but also so that neither the goblin nor the other dark force didn't get bored.
Scientists also refer to musical instruments as “singing arrows”, which were performed in Rus' very interesting feature. Archers made holes in ordinary arrows so that during their rapid flight they whistled terribly and frightened the enemy.
In Slavic cities, archaeologists find a large number of prototypes of modern and popular musical instruments. Nowadays, the drum is an indispensable member of both a rock band and symphony orchestra. His predecessor - beat - was also popular with the Slavs. It was made of iron, which was beaten with a mallet and used as church bell. Beat for a long time entrenched in the Russian musical tradition, and after the church schism, it remained a signal instrument for the Old Believers.
What does it sound like
You will be surprised, but already in the early Middle Ages, the main instrument of Russian buffoons was the violin, or rather, its Slavic prototype - the whistle. It was a pear-shaped wooden bowed instrument with three strings. We can only guess about the bows that they were made in the shape of a bow: there is no material confirmation of this, since not a single whole bow has yet been discovered. But archaeologists find wooden pegs on which strings made from animal veins were stretched. Of course, the fullness of the sound of an ancient horn cannot be compared with the sound of modern violin. However, even then the first steps were taken in amplifying the sound with the help of a wooden soundboard and cuts in it, which provide sound resonance.
Horn
The whistle and the violin are very different from each other both in appearance and in the way of playing. The more unsightly Old Russian beep has only 3 strings, which are located in the same plane. Therefore, the melody is extracted only with the help of the first string, while the other two remain not clamped. On the violin, each of the 4 strings occupies its own plane, so the musical range is much wider.
What does the horn sound like
The violin - the queen of the symphony orchestra - appeared in Russia only after the Europeanization of Russian society by Peter I. We know about its predecessor that it was an absolutely secular instrument, which in Orthodoxy was forbidden to be played in church. Although in Western Europe similar violin prototypes were full participants in church services.
"Without songs, the world is small"
It was quite easy to establish how they played the whistle, which cannot be said about playing the traditional harp. This instrument remained alive in the memory of a Russian person thanks to the fairy tale about the harpman Sadko descending to the bottom of Lake Ilmen. By the way, it is the harp that is considered the most ancient Russian plucked instrument, and not the balalaika, which became widespread only in the 17th century.
Gusli
The appearance of the harp and the manner of playing it has changed beyond recognition over the centuries. The traditional harp in the 18th century was replaced by historical ones, and those - by orchestral ones. To determine how the “Sadko instrument” was played, historians had to compare the knowledge of the conservatory staff and the experience of the old-timers of remote villages, where even before the war, historical harps were popular.
How did the ancient Russian gusli sound?
Modern harps were specially created for folklore orchestras. Their design made it possible to achieve a noticeable amplification of the sound, since the psaltery was not originally intended to be played in public.
Russian musical culture much more appreciated the focus of the performer not on the audience, but on his inner world. Music was the connecting thread between man and higher powers. And although the ritual function of songs and melodies has practically disappeared after centuries, music continues to be a means that immerses us in itself and helps to cope with any problems.
sadko tool
Alternative descriptions. (Slavic) stringed plucked musical instrument among the peoples of Europe (Est. Kannele, Latvian. Kokle, Lit. Kankles, Finnish. Kantele), the Volga region (Tat. Guslya, Chuvash. Kesle, Mar. Kyusle, Udm. Krez)
Ancient Russian folk stringed plucked musical instrument
knee harp
Musical instrument of the epic Sadko
stringed musical instrument
The instrument that made the entire underwater kingdom dance
Samogudy
Made Yaga dance
Musical instrument Sadko
Old Russian likeness of a harp
Bojan's tool
Musical instrument of the fabulous Sadko
Wing tool
Ancient stringed plucked instrument
recumbent harp
. "harp" Sadko
Spring tool
Tool in the hands of Sadko
Sadko strings
Ancient Russian musical instrument
Russian ancient stringed plucked musical instrument
Ancient Russian folk plucked instrument
Russian stringed musical instrument
Musical instrument of the epic Sadko
. "Harp" Sadko
Zh. pl. (thick, and buzz, and buzz) a kind of recumbent harp, piano, in four octaves, without keys; the player touches the wire strings with his fingers. The cymbals are smaller, and the strings are struck with hooks. Perm. digging, a boot with a root, a knee, a kokora, for building ships. Gusli my thoughts, my song is my thought! The sonorous gusli bring a thought over the mountains, take it out from behind the mountains. Gusli samogudy: they wind themselves up, play themselves, dance themselves, sing songs themselves. The harp is fun, but worse than a nut (they won’t saturate). Speech to the mute, festivities to the naked, goslings to the hungry. The belly is not a harp: not eating will not fall asleep. Nasad sold (a barn of bread), and bought a harp. The wife does not harp, after playing, you can’t hang it on the wall. In words, that on the harp, but in reality, that on the balalaika. In words, as on a harp (at ease), but do not raise your hands. his business is going like a harp. Geese in a harp, ducks in pipes, crows in boxes, cockroaches in drums. Guseltsy know the owner. Goslings are good (gooses, gooses, goslings, goslings), but the guslist is not good. gusliar, guslyar, playing the harp. Gooseman or gooseman m. master, working, building a harp. Guselnik perm. factory woodpile. Goose, related to or belonging to the harp. Guslistov, guslyar; guslistkin, guslyarkin, he belongs to her. Guselnikov, gooseman, to the builder of the gusli belongs. gossip, gossip, gossip; sing, play, have fun. Goose-like, similar to a harp, striped, furrowed, path-like, as if striated along the strings. a guslyak roamed in his head, hops, which are bred on the Guslitsa River, Bogorodsky district
Old Russian music. tool
Anna Krivosheina
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| Vladimir Ivanovich developed a unique method of restoring tools, recognized as the most advanced today: authentic parts found during excavations in reconstructed tools are left dark, while restored, supplemented parts are highlighted by restorers in a different, lighter color. “I don’t want to deceive the viewer,” says Vladimir Ivanovich, “let people know what was found and what we added.” On the left in the photo - "magic pipes", snuffled: while they sounded, the dancers simply could not stop. |
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In Veliky Novgorod, which keeps on its land the treasures of the centuries-old history of Rus', there lives a man whose hands everyone calls golden - the artist, scientist, restorer Vladimir Ivanovich Povetkin. It is to him that they turn when it is necessary to restore and read the crumbled into many pieces birch bark, his hands were entrusted with the most ancient book- "Novgorod Psalter". However, he himself considers the Center of Musical Antiquities he created in Novgorod to be his life's work. This center has collected the most unique collection musical instruments Ancient Rus' restored by his hands. And most importantly, these instruments, silent for many, many centuries, sounded again thanks to the efforts of Vladimir Ivanovich! And listening to their voices, plunging into the world of sounds of Ancient Rus', its music, you discover in a new way its character, its hopes, its attitude. This is an extremely painstaking work and a feat of a scientist and artist, fascinated by the beauty of the distant, but painfully native world that opened before him.
Vladimir Ivanovich, how did it happen that you began to study and collect musical instruments of Ancient Rus'?
I was engaged in painting, sculpture, made copies of ancient miniatures for historical department Novgorod museum. Then, when there were no opportunities for creativity (such was the time), and I didn’t want to work for the future, I didn’t want to go under the cloth and I was looking for the use of my abilities, I had the opportunity to do the reconstruction of wooden household items of the ancient Novgorodians. And this work, by chance, turned out to be connected with musical instruments.
One instrument in the museum's exposition - the lyre-shaped harp of the 12th century, drew my attention to itself with its inconsistencies in artistic appearance: there was some kind of large hole in their upper part, and there was also a hole in the soundboard, like a guitar. I thought: “Could a medieval master have made such a mistake, lost a sense of artistic proportion?” - and then I remembered: this is a reconstruction, only part of the instrument is original, and the other, tinted to match the color of the original, is an addition to modern researchers. I showed the workers of the historical department to the initial letters from the missal of the XIV century: there were no holes at all on the harp depicted there! So the questions started...
In 1978, the staff of the Novgorod Museum-Reserve asked me to restore the harp of the 11th century, an elongated five-stringed instrument that came from the chemical laboratory of the Hermitage. On one of the fragments of the harp, a carved inscription "Slovisha" has been preserved. It was a responsible job in all respects.
I thought that I would do the most necessary, and then musicians, musicologists, folklorists would start working. But everyone was waiting for the result from me. And I am not a musician, but since then, since the mid-70s, I have been dealing with the most serious problems of musical archeology.
And what did you manage to recover?
To date, many have been restored. different types signal and musical instruments of ancient Novgorod, from the night watchman's mallet to the legendary harp. And according to Novgorod, we can judge about music world throughout ancient Rus'. But first of all, of course, we are interested in Novgorod. After all, here are not just well-preserved various objects ancient life, Novgorod is and cultural capital medieval European world. Already in the 10th century, the most beautiful and most complex musical instruments sounded here - stringed ones.
But it is believed that in history everything develops from simple to complex?
Yes, we live with this belief* But you know, when archaeologists discover layers of the 12th, 11th, 10th centuries, it's just a joy for the eyes: all things are more beautiful than one another. These are only fragments of things, but you understand that each fragment was once a luxurious item, carved, created with impeccable artistic taste! None of the scientists have really said this yet. These are things of extraordinary beauty, including musical instruments. Fillies for three-stringed bow horns are performed with the highest skill, easily, as if the song was sung - this requires a lot of experience! And the first settlers have already come to Novgorod with such tools, that is, their history is even longer. It is assumed that Europe bowed instruments came through Bulgaria around the 9th century. Imagine how close to the 9th century the 20-30s of the 10th century, the earliest material evidence of bowed musical instruments, discovered in Novgorod, dates back to this time! There are no such finds in Europe yet, but in Novgorod there is a whole series of them! The musical tradition is part of the oral poetic heritage that we should be proud of. And if we do not know the ancient songs of our people, then we do not know anything about our entire culture! After all, what does the people show to other people? Their songs, music, their dances, clothes, their ability to build a house, grow bread, feed themselves, feed others - all this determines nationality. And in our country, they try to define nationality with empty patriotic words, often foreign ones.
Why, in your opinion, is it so important and necessary for every nation to preserve its national traits, your culture?
If you know well and preserve the traditions of your people, then you will respect the traditions of other peoples and it is on this basis that you will be able to preserve a good relationship with them - not on gray internationalism, internationalism or globalism, as they say now (the term is new, but the idea is the same - to level, lubricate, mix all nationalities, if we talk about music: be sure to add traditional music jazz, modern avant-garde elements, Odessa motives and turn into a gray mess).
We explain in lectures that each nation is given its own beauty. If peoples preserve this beauty, then the face of the earth remains beautiful. If a person lives in harmony with nature, his clothes correspond to nature, and his activities, and this is very beautiful. When we mix everything, the face of the earth becomes gray, nondescript, ugly.
They say: "It is necessary to keep the Russian spirit in the soul, and clothes are external." Nothing like this! If this were the case, the Japanese imperial family would not be photographed in their traditional clothes, Indira Gandhi or the rulers of the Arab states would not wear their traditional clothes. Now, in fact, there is a struggle between the worlds: one world wants to preserve its traditions, historically proven, well-established, and the other wants to mix everything into a gray mass. And I support the former, because it is beautiful, but I am an artist and focus on beauty, I am guided by a sense of beauty, including when reconstructing musical instruments. I do not want to add or subtract, but I strive to be as accurate as possible, because the culture of the Middle Ages is so high that we must learn from medieval people a sense of harmony and beauty. You just need to try to delicately enter their world and understand what it is and give it the right assessment.
Vladimir Ivanovich, when did you first feel the charm ancient culture, an ancient worldview?
I studied at the Kursk Art and Graphic Pedagogical School, then received a diploma in Leningrad. I was always told: “You have to be original, create your own art world, to express oneself ”- in general, a familiar idea. But this is a terrible bomb thrown into everyday life creative people to separate us. She played fatal role: now many of the most talented Russian artists do not understand each other and are unlikely to understand, because everyone has his own separate creative world and everyone argues with others. And look at the folk tradition: you will not find two identical headdresses, costumes, but all needlewomen are united by a common worldview, everyone understands each other. They have common plots that could be seen in all houses: “beregini”, “fish”, “horseman” - but each has its own handwriting!
I gradually approached this world, trying to understand what an artist should do. There is a lot of selfish in only the author's, in folk tradition- no, let's remember, for example: gusli-samogudy - they themselves are buzzing! Shepherds in the Russian North say: the trumpet itself plays, not me. And it's not posturing, that's how people really feel. And I like this position, it makes a person more humane.
If we return to the instruments, they say the gusli is a Russian invention?
No. When artists call the concert gusli a Russian folk instrument, this is illiterate. The concert harp was invented in 1900 by Osip Ustinovich Smolensky and Nikolai Ivanovich Privalov, associates of Vasily Vasilyevich Andreev, the creator of the Great Russian orchestra. They actually created new musical instruments: balalaika, domra, beeps and, in particular, psaltery. These instruments are completely different from the traditional harp, neither in design, nor in the technique of playing them, nor in repertoire, nor in their purpose.
If speak about folk instruments- they belong to the ritual musical tradition, and in it the song, dance, instrumental music were an appeal to the spirits of nature during the holidays, which in principle differed from today. And the concert harp was created in order to delight the ears of people who came to concert halls(this is a different worldview), in fact, they only have the same name - “gusli”, and in all respects this is a completely different instrument. We should be proud of him as an invention of the 20th century.
And how did folk harps appear?
The constructive idea of the lyre-shaped harp is rooted in the deepest antiquity, in Egypt and Mesopotamia. The gusle-shaped plucked instrument was known to many peoples: we will find it in Africa, and in India, and in China, and in Japan, and among the Khanty-Mansi. To say that the folk harp is a primordially Russian musical instrument is wrong: its constructive idea was passed from people to people, from civilization to civilization, adapted in different parts of the world to specific geographical, economic, cultural conditions acquired a "national" face. Our national face, completely unknown to us, which archeology discovered for us, was the lyre-shaped harp. By the way, if Sadko was a historical person, what harp could he play? Only on lyre-shaped (although artists depict him with a later instrument, the so-called harp-psalter), other strings plucked instruments didn't exist at the time. We can call these harp folk, first of all, because they are sung in our songs, fairy tales, epics, they were part of our history, were used in the ritual life of our people.
What is the difference between traditional music and contemporary music?
Musical formulas for our ancestors were the same sacred things as an icon for a Christian: he does not have an art history view of the icon, for him the icon is always beautiful, its beauty is beyond doubt. So it is in the folk tradition: ritual tunes - wedding, Shrovetide, Ivan Kupala, the calls of birds, and so on - these are shrines, they are necessarily beautiful. But this is not the main thing, it goes without saying: all the sounds of even the simplest musical or household signal devices are built according to the laws of supreme beauty. The main thing is that the people participate in the creation of the world with these tunes, songs, they know on which day which song - with what intonations, with what content - should sound. In folk tradition, a person at a holiday is not an outsider, not a spectator, not an observer, not an appraiser, but a participant - he participates in the holiday with his clothes, appropriate song, dance and, if the ceremony requires it, crying.
And how do you manage to recreate goose tunes, with some kind of inner instinct?
No, no, by no means! A happy time came when, having received an impulse from archaeologists, we passed on our experience to folklorists, and, taking the restored working instruments, they went to the Pskov, then to the Novgorod region to collect evidence of the instrumental musical tradition, in particular the goose. And the discoveries have begun! The old-timers of the Pskov and Novgorod villages at first said that they would not be able to remember how they played in their youth, because it was 60 years ago. And then (a sounding instrument, it’s interesting to try!) They touched the strings, and suddenly the fingers began to remember something - and today the golden music library of the Russian national music replenished not with dozens, not hundreds, but with thousands of samples of the gusel game. In the villages, traces of a real goose tradition, ways of playing and ancient tunes have been preserved - this is perhaps the largest discovery in folklore of the 20th century! It became possible due to the beginning of the reconstruction of Novgorod medieval instruments.
Vladimir Ivanovich, I heard that your center was created very difficult.
We have many difficulties. Unfortunately, few people in Russia know or want to know about the ancient musical culture and rarely talk about discoveries in Novgorod. And in Novgorod itself, unfortunately, the authorities cannot understand the importance of these discoveries. The time will come, we will catch on, but sometimes we catch on late ...
Our center, because of the indifference, to put it mildly, of officials, was created very difficult, for a long time. And it would not exist if it were not for Dmitry Sergeevich Likhachev. He was not only the first to respond and sent his staff to record the voices of reconstructed ancient instruments in Novgorod, but also during for long years attracted other academicians, world-famous scientists, convinced that such a center was necessary, sent letters to the city administration, to the regional party committee* Then writers and journalists joined. And under pressure from the public began to build this building. This is a merit of the Russian public, I have to thank a lot of people!
Then appeared new problem- no one wanted to take this building on the balance sheet, and they were going to take it away from us. And in this most difficult moment Dmitry Sergeevich, chairman of the Soviet Cultural Fund, took our center to the balance of the fund as public organization. Since 1991 I have been the official director of the Center for Musical Antiquities. At one time we were even called commercial organization, but only in order to preserve the peculiarity of our program. We are not engaged in any commerce, because the restored ancient musical instruments are priceless, this is what the city should be proud of, what it should cherish and protect, this National treasure And world treasure. And we have to fight for survival...
How does your center work now?
People come and visit us different ages, different professions from different parts of Russia and the world. We give lectures on the history of Novgorod, or rather, on its musical history. And at lectures, our instruments are sure to sound, the choir is sure to sing. We show dance tunes with dances, and we choose songs according to the season, which holiday is closer.
The choir is led by Natalya Nikolaevna Popova, an outstanding specialist, there is no better one in Novgorod and in many cities around. At first glance, it seems that our program is simple: played, danced and sang - no, not every specialist is able to master such a high scientific program. It makes it possible to catch a sense of tradition, this is very important, no conservatory will teach this, and Natalya Nikolaevna does this thanks to her pedagogical talent, and her talent, knowledge. We have a gold-embroiderer Olga Pavlovna Shadurskaya, a top-class specialist with an artistic taste, also from God. I can only be proud of the employees of the center, you won't find the best today.
And one of our pupils charmed his beloved by playing the harp, as, by the way, it used to happen. Gusli is a symbol of masculinity, this is confirmed by all the documentary evidence that we collected on the expedition. And if a girl on stage plays the harp today, from the point of view of folk tradition, this is a violation of custom.
Finishing our lectures, we wish all the guests, no matter what nationality they may be, one thing - that in their wardrobe in case of a holiday there should be folk costume. It is advisable to sew it with your own hands: when you sew such clothes, you learn the history of your people better than by reading a study, you understand a lot and you can admire both the design and decorations, and how the clothes of one region differ from the clothes of another region. And of course, at least one real old ritual song must be learned: for a man - for men, for a woman - for women. After all, the song culture has collected all the experience of the people, this is not entertainment, these songs need to be leafed through like the Bible: each song has its own parable, each has its own purpose, its own meaning, its own poetic beauty, and if we touch these treasures, we will more respect myself. This is an opportunity to realize the beauty of your people, to feel like a part of it. And it's incredibly beautiful! So school bench I remember the slogan: "Take care of your culture like the apple of your eye."
Vladimir Ivanovich ended his story with wishes and did not say anything about the fact that the Center for Musical Antiquities really needs help. These wonderful people fighting with all their might so that we all do not again lose the treasure, only recently found. How few people know about the discoveries made here, in Russia, and above all in Novgorod! The center is constantly on the verge of extinction due to lack of money - and almost no one cares! And our common treasure exists only through the super efforts of a few people. Therefore, I appeal to all readers: if you want to help this noble work, call the editorial office.
to the magazine "Man Without Borders"
Determine the role and meaning of music in fairy tales.
1. To introduce musical fragments from the opera “Sadko” by N.A. Rimsky-Korsakov.
2. To consolidate the skill of listening and analyzing a piece of music.
3. To cultivate love for Russian art, a feeling of love for the Motherland.
Material:
Presentation; “Song of the Varangian Guest”, “Song of the Indian Guest”, “Song of the Vedenets Guest” from the opera “Sadko” by N.A. Rimsky-Korsakov; E. Ptichkin “Tales walk around the world”, dictionary of “emotions”.
During the classes
1. Organizational moment
Greeting to the melody of E. Grieg “Morning”.
Teacher:
Hello children.
I'm glad to see you
And hear you again.
students: We greet you!
2. Chanting
Singing to Rogers' melody from the film "The Sound of Music".
DO - additional from below,
RE - always under the first,
MI - on the first hid,
Between the second and first - FA,
SALT - stuck on the second,
Among the second and third - LA,
SI - look on the third,
And under the fourth again - TO.
3. Message of the topic of the lesson.
Literature and music are closely related to each other. Today we will meet with one of your favorite genres of literature - a fairy tale! Let's think about what role music can play in fairy tales. So, the topic of the lesson is “Music in a fairy tale”.
Question: What are the fairy tales that talk about music, musicians, musical instruments.
Answers: “The Bremen Town Musicians”, “Gingerbread Man”, “Cinderella” ...
Fairytale balls and feasts are not complete without music. In all fairy tales where there are carnivals, feasts, balls, music sounds.
4. Repetition of the material covered
Task: Having guessed the crossword puzzle, you will find out which fairy tale, or rather, fairy tale, we will get to know better.
Slide #5
Crossword
- Composer, author of the ballets "The Nutcracker", " Swan Lake". (Chaikovsky).
- A song without words, performed on any vowel sound. (Vocalise).
- On the rulers, between them, we have known the notes for a long time. On the additional one, we will write a note without error ... (DO).
- Composer - Founder Russian music”, the author of the opera “Ivan Susanin”. (Glinka).
- High female voice. (Soprano).
5. Learning new material
"Sadko" - fairy tale. Bylina is an old legend about a folk hero.
Question: What epic heroes do you know?
Answers: Ilya Muromets, Alyosha Popovich, Dobrynya Nikitich.
Sadko is a Novgorod singer, traveler, navigator who wanted to glorify Novgorod, to establish trade with different countries.
This is not just an epic, but a fairy tale.
Question: What fabulous thing happened to Sadko?
Answers: Sadko got into the underwater kingdom, met with sea king, his daughters.
Question: What instrument did Sadko play?
Answer: Sadko played the harp.
Gusli is an old Russian folk instrument.
Gusli are called yarovchatye or yavorchatye. These names come from the material from which they were made. Yavora - white maple.
Listening to the phonogram "Gusli". “Gusli of the 13th century. Folk Opera”, Album “Voice of Rus'”, Slavic authentic folklore.
The words of the teacher against the background of the sound of music:
As in the glorious New Town
There was Sadko, a cheerful fellow;
He did not have a golden treasury,
And he had only guselki yarovchaty;
I went to feasts - Sadko played,
He amused the merchants, the townspeople.
Russian composer N.A. Rimsky-Korsakov put the epic about Sadko as the basis of a musical work.
Question: What musical genre translated as “work”, “composition”?
Answer: Opera
Question: What is the name of the summary of an opera or ballet? It means "little book".
Answer: Libretto
Rimsky-Korsakov was not only a composer, but also a naval officer. He often went to sea, so he depicted it very colorfully in his works.
Slide #10
Rimsky-Korsakov wrote 15 operas. Among them: “The Snow Maiden”, “Golden Cockerel”, “Kashchei the Immortal”, “The Tale of Tsar Saltan”, “Sadko”…
Question: What can you say about the titles of these operas? Which literary genre underlies them?
Answer: Fairy tale.
By right, Rimsky-Korsakov is considered a composer-storyteller.
Question: Where can I listen to opera?
Answer: You can listen to the opera at the Opera House, on TV
Slide #11
Question: There is one of the most famous opera and ballet theaters in the world in our city.
Who knows the name of this theatre? Which of you has been there?
Answer: Mariinsky Theatre.
It got its name from the wife of Emperor Paul I, Maria Feodorovna.
Slide #12
Getting into the theater, we plunge into the atmosphere of fantasy, the world of scenery and the magic of sounds.
The opera opens with an introduction depicting the image of the sea. This image runs through the whole work. Under the guidance of a conductor, musicians create fantastic and real images.
Question: What is the name of a group of musicians in the theater?
Answer: Orchestra
6. Listening and learning musical fragments
The opera has a stage on the shore of Lake Ilmen. Sadko is going to go on a trip on ships and asks merchant guests to tell about their countries. Each of the guests talks about their country. The Varangian guest is about Scandinavia, the Indian guest is about India, and the Vedenets guest is about Italian city Venice.
Source used - DVD video "Sadko" by Rimsky-Korsakov, Kirov Opera and Ballet Theatre, Valery Gergiev.
The Varangian guest is the first to tell the story. (I play the first phrase).
Question: What can be said about the nature of the music?
Answer: Harsh, courageous, majestic music.
We learn the melody, then we listen to the first fragment “The Song of the Varangian Guest”.
Slide #13
Answer: Music is powerful, powerful, proud.
Answer: BAS.
The second is a story about his country Indian guest.
Question: How did Rimsky-Korsakov characterize this hero? (singing the song of the Indian guest).
Answers: The image of the Indian guest is mysterious, bewitching.
We learn the melody and listen to the second fragment “The Song of the Indian Guest”.
Slide #13
Task: Describe music using an emotion dictionary.
Answer: The music is slow, smooth, charming.
Answer: TENOR.
The last to sing about his country is the Vedenets guest.
Task: Determine the nature of the music.
Answer: The nature of the music is dancing, joyful, sincere.
We learn the initial phrase and listen to the third fragment “Song of the Vedenets guest”. Slide #13
Task: Describe the song using an emotion dictionary.
Answer: Charming, delightful, brilliant.
Question: Which of these countries would you advise Sadko to sail to?
Answer: We would advise Sadko to sail to Venice.
“And you keep a glorious path to Vedenets, take ringing songs there.”
Question: What musical means did N.A. use? Rimsky-Korsakov to create various images?
Answer: Tempo, dynamics, timbre, melody…
7. Student performance of the song
Slide #14
Execution by students of E. Ptichkin's song “Tales walk around the world”.
Appendix 2. Lyrics
8. Summing up the lesson.
Slide #15
Question: What, in your opinion, does a fairy tale acquire when music is heard in it?
Answers: Becomes more diverse, more interesting.
Question: What fairy tales could not exist without music?
Answer: Fairy tales, where there are balls, feasts, musicians, songs, dances
Marking
9. Homework
Rimsky-Korsakov painted the seas with musical colors different countries. And at home, with the help of paints, pencils and felt-tip pens on paper, draw the sea that you remember the most.
An epic opera in seven scenes by Nikolai Andreevich Rimsky-Korsakov on a libretto by the composer and V. I. Belsky, based on old Russian epics.
Characters:
Foma Nazarich, Sergeant SuperiorsTenor
Luka Zinovych, voivodanovgorodskieBas
Sadko, gusler and singer in NovgorodTenor
Lyubava Buslaevna, his young wifeContralto
Duda Bass
snot Tenor
1st remote, buffoonMezzo-soprao
2nd remote, buffoonMezzo-soprano
1st sorcerer Tenor
2nd Magus Tenor
Varangian overseasbass
Indian tradingTenor
Vedenetsky guestsBarton
ocean sea, the king of the seabass
Volkhov, the beautiful princess, his daughter Soprano
young, beloved
Vision - the elder mighty hero Baritone
in the form of a transitional Kalika
Novgorod people of both sexes and all classes, Novgorod and overseas merchant guests; shipbuilders, Sadko squad; buffoons - cheerful fellows, passable kaliks - gloomy old men; water, red maidens, white swans and miracles of the sea.
Ballet
Queen Vodyanitsa the Wise wife of the king of the sea, and his twelve elder daughters, who are married to the blue seas. Brooks are small grandchildren. Silver-scaled and gold-finned fish and other wonders of the sea.
Time of action: half-fairy-half-historical.
Scene: Novgorod and the sea-ocean.
History of creation
Already a list actors clearly indicates that this opera was semi-fairytale, like much in the legacy of N. A. Rimsky-Korsakov.
N. A. Rimsky-Korsakov has two works called “Sadko” - a musical picture for orchestra and an epic opera. The first was written in 1867 (and analyzed very objectively by the author himself in his Chronicle of My Musical Life), the second - almost thirty years later, in 1896. One can be amazed at how early Rimsky-Korsakov developed an interest in Russian antiquity and folk culture, and how deeply it developed throughout the composer's life.
At the beginning of the summer of 1894, Rimsky-Korsakov received a letter from the famous music historian N. F. Findeisen, in which he urged the composer to take up an opera based on the plot of Sadko. At the same time, he even offered his own plan for the libretto. This letter served as a new impetus for the composer's imagination. He began to think about opera. Rimsky-Korsakov shared his thoughts with VV Stasov, an outstanding connoisseur of Russian culture. He wrote him a long letter, in which he drew his attention to the numerous versions of the epic, urged him to present the paintings in the opera as widely and vividly as possible. real life and life of ancient Novgorod. It should be recognized that under the influence of Stasov, N. A. Rimsky-Korsakov somewhat changed the original plan of the opera, in particular, he created the first picture, which, according to the original plan, was not there.
The practical work of writing the libretto was undertaken by V. I. Belsky, who, after this first experience of cooperation with the composer, became his librettist when working on other operas (one of Rimsky-Korsakov’s notes: “... V. I. Belsky, with whom I had endless discussions of various operatic plots suitable for me”).
Work on the opera began in the summer of 1894 in Vechasha - a wonderful place where there was a large lake, a huge old garden, and wonderful swimming. “I remember that the place of writing (...) often served for me as long bridges from the shore to the bathhouse in the lake,” recalled Rimsky-Korsakov. - The footbridges went among the reeds: on the one hand, the large willows of the garden could be seen leaning, on the other, Lake Pesno was spread out. All this somehow disposed to thoughts about Sadko. The next summer the composer spent there, and now work on "Sadko" went on non-stop. The paintings were painted one after another (according to the original plan, that is, without Sadko's wife Lyubava and, therefore, without the third painting, which appeared later).
The opera was completed in the autumn of 1896. Its first publisher was MP Belyaev. In the same autumn, the opera was offered to the directorate Mariinsky Theater but met with a cold reception;
Emperor Nicholas II deleted it from the repertoire. The premiere of "Sadko" took place on the stage of the Moscow private opera of S. I. Mamontov on January 7, 1898 and was a great success.
Story and music
Introduction
(According to the original plan of the composer Lyubava, there was no Sadko's wife as a character in the opera. “In August (1895 - A.M.), when the draft of the entire opera was completed according to the original plan, we read in the Chronicle of My Musical Life by N. A. Rimsky-Korsakov, "I began to think about Sadko's wife. It's ridiculous to say, but at that time I had some kind of longing for the F minor key, in which I had not composed anything for a long time and which I did not yet have in Sadko This irresistible striving for the order in F minor irresistibly attracted me to the composition of Lyubava's aria. The aria was composed, I liked it and served to create the 3rd scene of the opera, the other text for which I asked Belsky to compose).
The choir of beautiful girls (“Deep-deep, Okian-Sea”) sounds marvelously, over which the coloratura (without words) of the princess of the sea hovers.
Sadko descends into the tower on a shell harnessed by killer whales. He stops in front of the Tsar; he has a harp in his hands. The king of the sea greets him menacingly. The princess begs the father not to be angry, but to ask Sadko to sing a song. Sadko plays and sings a laudatory song ("The blue sea is menacing, wide"). There are three verses in it, in each verse there are two parts: the first is melodious, wide, the second is a refrain-praise - cheerful, brilliant. In the third verse, the tsar and the princess themselves join Sadko. Then the king of the sea convenes his entire sea kingdom (trumpets of the underwater kingdom are heard; their signals are heard behind the scenes).
The fog is dissipating, in its place one can see the Volkhov River, wide, connected to Lake Ilmen, illuminated by the rays rising sun. Ships run along the river towards the lake. And now the team sings to them: “And thirty ships will run up the wide river, thirty ships and one ship. And all the ships are like falcons flying, and the Falcon is a ship like a light bird, a light bird, a white gyrfalcon ”(compare with the song of shipbuilders and squads in the fifth picture). All the characters that we saw in the first picture now came out to meet Sadko. And everyone marvels that "a wide river has flowed in Novgorod." And this river is the Volkhov. Everyone sings the glory of Sadko, Volkhov and the blue ocean-sea.
© Alexander MAYKAPAR
