Portrait in music and painting

Target: Children's awareness of the relationship between the two types of art, music and painting through a portrait.

Tasks:

1. To acquaint with the “musical portraits” created by M.P. Mussorgsky and S.S. Prokofiev and portraits created by artists I.E. Repin and R.M. Volkov.
2. Continue work on developing the skill of analyzing a musical work and a work of fine art.
3. Contribute to the formation of interest in the history of their Fatherland.

Vocal and choral work:

1. When learning musical fragments, achieve the image of the character of the hero by voice.
2. Work on clear pronunciation of the text.

Lesson equipment:

Computer (disk, presentation with reproductions of paintings).

Lesson structure

1. Hearing: Song of Varlaam from the opera by M.P. Mussorgsky "Boris Godunov".
2. Discussion of the “musical portrait”.
3. Learning an excerpt from "The Song of Varlaam".
4. Comparison of the “musical portrait” and the portrait of I. Repin “Protodeacon”.
5. Learning an excerpt from "Kutuzov's Aria".
6. Acquaintance with the portrait of R.M. Volkov “Kutuzov”.
7. Comparison of two "portraits".
8. Song learning
9. Conclusion.

Work form

1. Frontal
2. group

During the classes

Teacher

Musical portrait. Mikhail Yavorsky.

We have a lot of strange things in life,
For example, I dreamed for many years
Even tried more than once
Write a musical portrait.

For nature, I found a person -
The standard of nobility and honor,
A contemporary from our century
Lived a life without lies and without flattery.

And today, I'm painting a portrait,
Not an easy job, believe me
A music stand will replace an easel for me
Instead of paints, brushes - only notes.

The stave will be better than the canvas,
I will write everything on it and play it,
This drawing will not be simple,
But I don't lose my hope.

To make the features look softer,
There will be more minor sounds,
And the opportunities here are great.
Not to the detriment of musical science.

The score will not be simple,
Only I will not break the musical law,
And this portrait will be like this -
Everyone will hear his heart and soul in him.

It won't hang on the wall
He is not afraid of moisture and light,
And, of course, I would like
May he live for many years.

Continuing the theme “Can we see the music”, today in the lesson we will talk, as you may have guessed from the poem, about the portrait in music and painting. What is a portrait?

Students.

A portrait is an image of a bottom man.

Teacher.

And so, we listen to the first portrait.

Hearing: Varlaam's song from M.P. Mussorgsky "Boris Godunov".

Teacher.

Based on the nature of the musical work, what can be said about this character? What qualities does he have?

Students.

This hero is cheerful, you can feel the strength in him.

Re-listening.

Fragment learning.

Teacher.

Is the force good or evil?

Students.

The power is still evil. The music is powerful, which means that the hero is very powerful, at the same time rampant, cruel, everyone is afraid of him.

Teacher.

What means of musical expression does the composer use when depicting this “hero”?

Students.

Teacher.

And the intonation of which song is used by the composer to portray this character?

Students.

Russian folk dance

Teacher.

Based on the means of musical expression you have listed, what do you think this person looks like outwardly?

Students.

This man is elderly, with a beard, the look is angry and domineering.

A portrait of I. Repin "Protodeacon" is shown.

Teacher.

Let's think, is there any similarity between our “musical hero” and the person depicted in this picture? And if there is, then which one?

Students.

There is a resemblance. The man depicted in the picture is also elderly, with a beard.

Teacher.

Guys, pay attention to the look of this man. Try to portray this look. What is he?

Students.

The look is sharp, predatory, evil. Eyebrows are thick, black, wide apart, which makes the look heavy and domineering. The picture, as in music, is in dark colors.

Teacher.

We have compared two portraits - musical and artistic. The musical portrait belongs to the pen of the Russian composer M.P. Mussorgsky (Varlaam's song from the opera "Boris Godunov"), the second portrait belongs to the brilliant Russian portrait painter I. Repin (the portrait is called "Protodeacon"). Moreover, these portraits were created independently of each other.

Viewing an excerpt from the opera “Boris Godunov” (“Song of Varlaam”).

Teacher.

Guys, why do you think such portraits as Varlaam, the archdeacon, appeared?

Students.

The composer and artist saw such people and portrayed them.

Teacher.

Listening to the “Song of Varlaam” and looking at the painting “Protodeacon”, what do you think, how do the artist and composer treat such people, equally or differently. Justify your answer.

Students.

Both the composer and the artist do not like such people.

Teacher.

Indeed, when Mussorgsky saw the “Protodeacon,” he exclaimed: “Yes, this is my Varlaamishche! This is a whole fire-breathing mountain!”

I.E. Repin in the portrait of “Protodeacon” immortalized the image of deacon Ivan Ulanov, from his native village of Chuguevo, about whom he wrote: “... nothing spiritual - he is all flesh and blood, pop-eyed, yawning and roaring ...”.

Teacher.

Tell me, did we get the attitude of the authors towards their characters?

Students.

Kon

Teacher.

Have you met such portraits in our time?

Students.

No.

Teacher.

And why don't they create such portraits in our time?

Students.

Because there are no such people today. There were many such “heroes” in past centuries. Such priests were typical for that time. Today there are no such priests.

Teacher.

That is, art reflects the reality around us.

Now we will get acquainted with one more musical portrait.

Listening to Kutuzov's aria from S.S. Prokofiev "War and Peace".

Learning an aria.

The class is divided into three groups and receives the following tasks:

1st group - gives a verbal portrait of the character (external and “internal”);

2nd group - selects one portrait corresponding to the given piece of music from the proposed video sequence, substantiates the answer;

3rd group - compares the resulting portrait with the given piece of music.

Students justify their answers based on the means of musical and artistic expression used by the composer and artist.

Teacher.

You and I met with another portrait, directly opposite to Varlaam. Kutuzov's aria from the opera by S.S. Prokofiev's "War and Peace" and before us is the painting by Roman Maksimovich Volkov "Kutuzov".

Who is Kutuzov.

Students.

General who defeated Napoleon in the War of 1812.

Teacher.

What character traits of the hero are emphasized by the composer, and which ones by the artist?

Students.

The composer emphasizes majesty, strength, nobility, feeling for the Motherland. The artist emphasizes his services to the Motherland, nobility, intelligence.

Teacher.

And how do both the composer and the artist relate to this hero?

Students.

They respect him, are proud that he is their compatriot.

Teacher.

Students.

Of course

Teacher.

To what previously studied piece of music is this aria close in spirit?

Hearing or singing an excerpt from an aria.

Students.

To the “Bogatyr Symphony” by A.P. Borodin.

Teacher.

Listening to the aria and looking at the picture, can Kutuzov be called a hero. Justify your answer.

Students.

Yes, because it combines all three qualities - Strength, Mind, Good.

Teacher.

Can Varlaam be called a hero?

Students.

No, it has Strength, Mind, but no Good.

(Both portraits on the board)

Teacher.

And why were the portrait of Kutuzov created by Prokofiev and Volkov and Borodin's "Bogatyr" symphony and Vasnetsov's painting "Bogatyrs"?

Students.

Because such people, heroes really existed.

Teacher.

Today we will learn a song whose heroes have Strength, Intelligence, Goodness. And their main strength is friendship. Song from the movie "Midshipmen, forward!" "Song of Friendship"

Song learning.

Conclusion:

1. What portraits and their authors did we meet in the lesson?
2. How are the same characters portrayed in music and painting?
3. What makes us understand such a "kinship" between music and painting?

Portrait in music and fine arts

1.Music in works of fine art

Often artists and sculptors depict musicians and musical instruments, such as the violin, in their works. Portraits of violinists, genre scenes with violinist musicians, still lifes with a violin are known. The sound of the violin is very expressive. Her voice is often compared to that of a human. The violin can sing, cry, speak...

The violin embodies the aesthetics of the sound of the human voice and is able to convey all the best that is in it. It is no coincidence that the highest praise for the skill of the violincha is a comparison of his playing with a human voice:the violin sings, cries, yearns. Every violin that comes to life in the rouxkah master, has its own character.

The violin appeared in Europe at the end of the 15th century. She was a favorite instrument of wandering musicians who entertained people at festivities, fairs, weddings, in taverns and taverns. As a folk instrument, the violin has survived to this day in Bulgaria, Hungary, Poland, and Romania.

The violin also played in aristocratic circles - in palaces, castles, rich houses - as well as in churches. At the French court, ensembles of violinists were created, which played during the awakening and meals of the king and, of course, performed dance music at court balls.

The best violins were created by the Italian masters Amati, Stradivari, Guarneri.

Look at the still lifes violin - original portraits of violins.

Sandro Botticelli (1445-1510 Italy). Angels

Raoul Dufy (1877-1953) France. Violin

Dmitry Zhilinsky (1927 USSR) violist

Agree each of these pictures has a foreheadcenturies, their impressions arise. Looking at these pictures, everyone hears a different mu tongue. What? The voice of the violin becomes especially audible when the artist depicts the violin in the hands of the violinist. Unity instRument and performer gives rise to high artisticexperiences and thoughts that can be called inspiration.This feeling pervades all the paintings.

Listen to the sound of musical works composed for the violin by composers of different times:

Answer the question:

What did this music tell you? Determine which of the pictures is consonant with this or that work.

Exercise 1.

Listen again:

1."Chaconne" I.-S. Bach.

2. "Melody I" P. Tchaikovsky

3. Sopseg t o g th ss o No. 1 for two violins,harpsichord, piano and strings A. Schnittke. See links above.

Definewhich picture matchesone essay or another. Now let's analyze together musical new language of compositions, after listening to them again.

When listening to Bach's Chaconne (finale of Partita No. 2), pay attention to the fact that this piece was written by the composer for solo violins. This bannerthat piece, the power of which reaches the organ and even the orchestratrovo sounding, one of the musicologists (F. Wolfrum) cf.nile with "a sonic giant threatening to break the tender body violins." Determine the nature of the play.

Pay attention to how the melody combines in the sound of the violincomes with chords. This polyphonic texture is performed by one instrument - the violin, and the listener gets the impressionsimultaneously sounding melody and accompaniment.

Think about whether the emotional state of the main theme is preserved until the end of the work? Of course, you noticed that in the process of music development, various shades of feelings appear - grief, impulse, anxiety. Several melodies, as if growing out of the initial intonations, are constantly changing their appearance. The line of image development can be compared to big waves. The main principle of the development of musical thought in this composition is variation.

Chaconne - originally a folk dance, known in Spain since the end of the 16th century, of a lively character, accompanied by singing and playing the castanets. Over time, the chaconne spread throughout Europe, becoming a slow dance of a stately nature. In France, the chaconne becomes a ballet dance, introduced into the finals of stage works. In the XVII-XVIII centuries. included in multi-part instrumental compositions (suite, partita). Chaconne themes are small, with a clear dance-metric basis. For the violin, Bach wrote works in various genres - concertos with an orchestra, sonatas, partitas.

"Melody" for violin and piano by P. Tchaikovsky is an example of a lyric-dramatic image. This essay has the author's subtitle ("Memories of a native place").

The quivering, immediacy of the lyrical statement-revelation is emphasized not only by the repetitions of the main melody (the return of the same thought), its undulating movement, the soaring passages of the violin, but also by the syncopated rhythm of the accompaniment on the piano.

Obviously, you heard the contrast of the middle part of the “Melody”: the tempo accelerates, the rhythmic movement becomes more frequent, elements of dance appear, the melody resembles the finest lace (high register, patterns of melodic pattern), the expressive overtones of the piano seem to sing (finish) the melody of the violin. At the culmination of the piece - an expressive violin trill - the piano performs the main theme, entering into a dialogue with the violin. Recall a similar dialogue between the soloist and the piano part that arose in S. Rachmaninov's Vocalise.

The major mode, which remains unchanged throughout the whole piece, also has a certain expressive meaning.

Why does the composer, using the three-part form of the piece, leave the light major color unchanged?

"Melody" by Tchaikovsky can be compared with the painting by D. Zhilinsky "Violist".

Are there common features in music and painting?

What distinguishes these two artistic images?

3. Sonsegto ggosso No. 1 by Alfred Schnittke

Conseg t o g th ss o No. 1 for two violins,harpsichord, piano and strings by Alfred Schnittke -music of a modern composer.

Listen to the opening bars of the Schnittke concerto, in which the violins sound, and then compare this sound with the main melody of Bach's Chaconne. Are there similarities between them? Both themes are similar to each other in their passion, excitement, energy, drama. The same tragic minor, the same recitative melody.

Surely, you are convinced that the strong-willed, purposeful initial theme (according to Schnittke, this theme was created by him under the influence of the style of A. Vivaldi), the composer opposes another world - evil, hostile. Distorting the sound of pure violin timbres "influxes" are perceived by listeners as an intrusion of forces that oppose the activity of the main theme.

What do you find in common (or different) when comparing Schnittke's concerto with Pugni's painting "Violin"?

You probably noticed that the figurative structure of two modern works of art - a concerto and a painting - is different. The loneliness of the violin on a light background, the contrast of blue, light beige and green (with a pattern) tones. The static, immobility of the picture differs from the dynamic, energy-filled modern intonations and rhythms of music.

4. Portrait of Niccola Paganini in music, painting, sculpture

Consider the portrait of Niccola Paganini (1782 - 1840) - an Italian, embodied in sculpture by S. Konenkov (1874-1971 USSR)

and in painting E. Delacroix (1798-1863) France

The unusualness of his appearance is associated with the transfer of the main quality of his nature - his passion for playing his favorite musical instrument.

Niccolo Paganini (1782-1840) - the name of this Italian composer and virtuoso violinist XIX in. known to the whole world. His skill on the violin was so perfect and inimitable that there were rumors that he was helped by evil spirits to perform the most difficult passages of his works. It is no coincidence that one of the playsPaganini was called "Devil's Trills".

One of Paganini's most famous compositions was Caprice No. 24. Caprice translated from Frenchwhim, whim.His melody was repeatedly repeated in his compositions as a tribute to the memory of the violinist - virtuoso by various composers. As well as
and Bach's Chaconne, Caprice No. 24 written by Paganini for solo violin. The expressive possibilities of the instrument in solo sound are revealed especially brightly.
Repetitions of a short initial intonation with an active rhythmic pattern allow you to quickly memorize it.

You were introduced to this piece in elementary school. Listen again

The bright unusual personality of Paganini was reflected in his works by artists and sculptors. The musical portrait of Paganini was created by S. Rachmaninov, who wrote “Variations on a Theme of Paganini”. A ballet was staged to this music at the Bolshoi Theater in Moscow.

In "Variations on a Theme of Paganini" or "Rhapsody on a Theme of Paganini" by S. Rachmaninov (written in 1934), you will hear the features of such a genre as a concerto for piano and orchestra. Listen First, there are clearly two images. The first is based on the variation of Paganini's theme, which sounds every time in a new form - sometimes light and graceful, sometimes assertive and menacing. Secondly, the performance of this theme moves from the orchestra, its individual groups (violin) to the piano. The second image - lyrical - is built on a truly Russian, song, Rachmaninoff theme. This theme - an image of inspired light lyrics - begins calmly and serenely. You will be able to hear its development on your own. Gradually, it gains strength, sounds passionately and solemnly, like a bright anthem to Beauty, to Man. In the endthe sound of the theme seems to melt away, freezing formingtripartite construction. It was the contrast of images, their symphonic development that served as the reason for creating a ballet to this music.

Fragment of the ballet to music by S. V. Rachmaninov "Rhapsody on a Theme of Paganini"

Answer the question:

1. In what form is the interpretation of the caprice written?

(b. in 1913)

Pay attention to the similarities and differences with the main theme of Paganini's Caprice No. 24. The beginning of the "Variations" sounds menacing and decisive, then the composer uses a variety of development techniques in which the main theme either sounds the same as Paganini's, or acquires new features. A characteristic feature of the development of the theme of Caprice No. 24 in
this work is its constant recognition. The sound of the orchestra and solo piano gives us reason to assume that this is the genre of the concerto for piano and orchestra (as in Rachmaninoff).

In "Variations" we hear a lot of dramatization
image, the intrusion into the sound of active rhythms, giving the music anxiety and severity, the emergence of new orchestral colors, harsh sonorities (harmonies).
The lyrical implementation of the theme of Caprice No. 24 is practically absent. Thus, the composer Lutosławski "read" Paganini's famous theme of Caprice No. 24 in a new way, creating, under the influence of his time, the tense rhythms of life in the 20th century, another version
interpretation of an ageless classical melody.

Answer the questions:

2. What features of the theme Paganini emphasizes
composer in his variations?

3. What brings new to her sound?

How did V. Zinchuk hear and perform the masterpiece of world musical classics? Note the exact repetition of the melody of Caprice No. 24 by the solo guitar. At the same time, non-stop movement is enhanced in rock processing, which gives the music an assertive, and often aggressive character.The emotional intensity of the sound is facilitated by a fast tempo, which accelerates even more at the end of the piece. The excited nature of the piece is supported by a hard, elastic rhythm of accompaniment, with the emphasis on the function of percussion tools.

What remains unchanged compared to
Caprice Paganini? Variation form. Pay attention to the final section of the play - the coda. There are several handlers in it
times emphatically repeats the sound of the tonic, dot. Such a conclusion, perhaps, has a certain meaning: classical music is understandable to modern listeners!
It is no coincidence that Zinchuk released several CDs called
"Neoclassic". Neo means “new”, classic means “exemplary”.

Eventuallywe have come to the conceptinterpretation.
After all, it is the creative assimilation of works of art, associated with its special, selective reading: in processing and transcription, in artistic reading, directorial script, acting role, musical performance.
You yourself, when you try to penetrate into the idea of ​​a composer, an artist, also interpret the work.

Interpretations like the ones you met in this lesson are transcriptions of a piece of music (Paganini's Caprice) for other instruments:
piano and orchestra, rock bands - and combine the trinity of "composer - performer - listener". In fact, they are an image-portrait of the outstanding violinist N. Paganini, whose music was heard and recreated each in his own way by composers from different countries, in this case they are also performers.

5. Task 2

You listened to N. Paganini's interpretation of Caprice No. 24.

Compare three interpretations of Caprice No. 24 by N. Paganini.

Answer the questions:

1. What features of N. Paganini's masterpiece are emphasized by composers and performers?

2. Which of the three interpretations did you like the most and why?

6. Task 3

Readexcerpt from the story of K. Paustovsky "String".

A shell fragment tore the strings on the violin. There is only one left, the last one. The musician Egorov did not have spare strings, and there was nowhere to get them, because it happened in the autumn of 1941 on a besieged island in the Baltic Sea, where the soldiers fought off the continuous attacks of the Germans.

The war found several actors in Ezel - men and women. During the day, the men, along with the fighters, dug trenches and repelled German attacks, while the women bandaged the wounded and washed the fighters' underwear. At night, if there was no fight, the actors staged concerts and performances in small clearings in the forest.

Well, - you say, - of course, in the dark you can
listen to music, but it is not clear how the actors managed to play performances in the night forest. What could the audience see in this darkness? ... As soon as the performance began, the audience directed narrow beams of pocket electric flashlights at the actors. These rays flew all the time, like little fiery birds, from one face to another...

Spectators have never directed the beams of flashlights at Yegorov. He always played in the dark, and the only point of light he often saw in front of him was a large star. She lay on the edge of the sea like a forgotten lighthouse.

The strings on the violin were torn, and Yegorov could no longer play. At the very first nightly concert, he told this to invisible spectators. Suddenly, from the darkness of the forest, a young voice answered uncertainly:

And Paganini played on one string...

Paganini! How could Yegorov equal him, the great musician!

Still, he slowly lifted the violin to his shoulder. The star burned calmly at the edge of the bay. Her light flickered, not shimmered, as always. Egorov played. And suddenly one string sang with the same force and tenderness as all the strings could sing.

Immediately flashed electric lights. For the first time, their beams hit Yegorov's face, and he closed his eyes. It was easy to play, as if Paganini's dry, light fingers were moving the bow over the mutilated violin.

In the short intermission of the war, in the dense forest, where there was a smell of heather and burning, Tchaikovsky's melody rang and grew, and from its languid melody, it seemed that the heart would burst, could not stand it. And the last string really could not withstand the force of the sounds and broke. Immediately the light of the flashlights flew from Yegorov's face to the violin. The violin was silent for a long time. And the lights went out. The crowd of listeners only sighed.

Egorov had nothing to play on. He became an ordinary fighter in an ordinary detachment. And during one night battle he gave his life for the Motherland. He was buried in rough sandy earth. The fighters handed Yegorov's violin to a pilot who flew to Leningrad. ...The pilot took the violin to a famous conductor. He took it with two fingers, weighed it in the air and smiled: it was an Italian violin, lost weight from old age and many years of singing.

I will give it to the best violinist of our orchestra, the conductor said to the pilot.

Where is this violin now - I do not know. But wherever she is, she plays beautiful melodies, familiar to us and loved by us, like every word of Pushkin, Shakespeare and Heine. She plays Tchaikovsky's melodies, making the listeners' hearts tremble with pride for the genius of their country, for the genius of man.

Answer the questions:

1. What melody from the compositions of P. Tchaikovsky familiar to you could sound at a night concert?

2. What do you know about the Italian violinist Paganini?
3. Which of his famous works have you listened to?

4. Remember literary works in which music is one of the main characters.

Music section publications

Musical portraits

Zinaida Volkonskaya, Elizaveta Gilels, Anna Esipova and Natalia Sats are real stars of past centuries. The names of these women were known far beyond the borders of Russia, music lovers all over the world were waiting for their performances and productions. "Culture.RF" tells about the creative path of four outstanding performers.

Zinaida Volkonskaya (1789–1862)

Orest Kiprensky. Portrait of Zinaida Volkonskaya. 1830. State Hermitage

After the death of his teacher, Sergei Prokofiev wrote: “I turned out to be her last winning student from that colossal phalanx of laureates that she prepared at her factory”.

Natalia Sats (1903–1993)

Natalia Sats. Photo: teatr-sats.ru

Since childhood, Natalia has been surrounded by people of creativity. Family friends and frequent guests of the Moscow home were Sergei Rachmaninov, Konstantin Stanislavsky, Evgeny Vakhtangov and other artists. And her theatrical debut took place when the girl was barely a year old.

In 1921, 17-year-old Natalia Sats founded the Moscow Theater for Children (modern RAMT), of which she remained artistic director for 16 years. One of the most respected domestic theater critics, Pavel Markov, recalled Sats as a "a girl, almost a girl, who quickly and energetically entered the complex structure of Moscow theatrical life and forever retained a responsible understanding of her life and creative recognition". She aspired to create a theater that would become for children of all ages a portal to a bright and fabulous world, a place of unlimited fantasy - and she succeeded.

The cult German conductor Otto Klemperer, having seen Sats' directorial work at the children's theater, invited her to Berlin and offered to stage Giuseppe Verdi's opera Falstaff at the Kroll Opera. For Sats, this production turned out to be a real breakthrough: she became the world's first female opera director - and, without exaggeration, a world-famous theatrical figure. Her other foreign opera productions also became successful: Der Ring des Nibelungen by Richard Wagner and The Marriage of Figaro by Wolfgang Amadeus Mozart at the Argentine Teatro Colon. The newspapers of Buenos Aires wrote: “The Russian artist-director created a new era in the art of opera. The performance [“The Marriage of Figaro”] is deeply psychological, as it happens only in drama, and this is new and attractive to the viewer.”.

After returning to the USSR in 1937, Natalia Sats was arrested as the wife of a "traitor to the motherland." Her husband, People's Commissar for Internal Trade of Israel Weitzer, was accused of counter-revolutionary activities. Sats spent five years in the Gulag, and after her release she left for Alma-Ata, as she had no right to return to Moscow. In Kazakhstan, she opened the first Alma-Ata Theater for Young Spectators, where she worked for 13 years.

In 1965, Natalia Sats, having already returned to the capital, founded the world's first Children's Musical Theater. She staged not only children's performances, but also "adult" operas by Mozart, Puccini, and included "serious" musical classics in symphony subscriptions.

In the last years of her life, Natalia Sats taught at GITIS, founded a charitable foundation for promoting the development of art for children, and wrote many books and manuals on musical education.

Elizaveta Gilels (1919–2008)

Elizaveta Gilels and Leonid Kogan. Photo: alefmagazine.com

Elizaveta Gilels, the younger sister of pianist Emil Gilels, was born in Odessa. The family of world-famous performers was by no means musical: father Grigory worked as an accountant at a sugar factory, and mother Esfir was a housewife.

Lisa Gilels picked up the violin for the first time at the age of six, and the famous Odessa teacher Peter Stolyarsky taught her the basics of musical art. As a teenager, Gilels declared herself to be a child prodigy: in 1935, the young violinist received second prize at the All-Union Competition of Performing Musicians. And in 1937, when she was 17, Elizaveta, as part of a delegation of Soviet violinists, made a splash at the Eugene Ysaye Competition in Brussels. The first prize of the competition was awarded to David Oistrakh, the second prize was awarded to a performer from Austria, and Gilels and her colleagues shared places from third to sixth. This triumphant victory glorified Elizabeth Gilels both in the Soviet Union and beyond.

When Soviet musicians returned from Belgium, they were greeted by a solemn procession, the participant of which was a talented, but in those years still unknown violinist Leonid Kogan. He handed his bouquet to Elizabeth Gilels, whose talent he always admired: this is how the future spouses met. True, they did not immediately become a couple. Gilels recently became a star, actively performed and toured, besides she was older. But one day she heard the performance of an unknown violinist on the radio. The virtuoso game struck her, and when the announcer announced the name of the performer - and he was Leonid Kogan - Gilels already became his big fan.

The musicians got married in 1949. Gilels and Kogan played in a duet for many years, performed compositions for two violins by Johann Sebastian Bach, Antonio Vivaldi, Eugene Ysaye. Gradually, Elizabeth abandoned her solo career: in 1952, the couple had a son, Pavel Kogan, he became a famous violinist and conductor, and two years later, daughter Nina, a gifted pianist and talented teacher, appeared.

Since 1966, Elizaveta Gilels began to teach at the Moscow Conservatory. Violinists Ilya Kaler, Alexander Rozhdestvensky, Ilya Grubert and other talented musicians were her students. After the death of Leonid Kogan in 1982, Gilels was engaged in the systematization of his heritage: preparing books for printing and releasing records.

Preview:

Methodological development of a lesson on the subject of Music

Grade 3, lesson No. 7 (“Music” by G. P. Sergeeva, E. D. Kritskaya)

Topic: Portrait in music

Goals:

Educational

• formation of an emotional attitude to music, understanding of music;
• development of speech culture;
• comparison of musical images and evaluation of characters.

Educational

• perception of musical images;
• the ability to distinguish musical fragments;
• the ability to compare facts, analyze and express one's point of view.

educational

• deepen knowledge about the means of musical expression - dynamic shades, strokes, timbre, intonation;
• the use of the acquired knowledge in the preparation of a musical portrait.

Lesson objectives:

• to form a culture of the listener;
• give the concept of expressive and pictorial intonations;
• introduce the means of musical expressiveness (timbre, dynamics, strokes), their role in creating a character, image;
• instill positive character traits in children.

Lesson type: use and consolidation of acquired knowledge

Planned results

Subject:

• the formation of the ability to conduct an intonational-figurative analysis of the work.

Personal:

• be tolerant of other people's mistakes and other opinions;
• not be afraid of your own mistakes;
• understand the algorithm of its action.

Metasubject:

Regulatory

• independently recognize the expressive and visual features of music;
• accept and retain learning tasks;
• be involved in the problem solving process.

cognitive

• with the help of a teacher, navigate in their system of knowledge and realize the need for new knowledge;
• understand the artistic and figurative content of a musical work;

Communicative

• the ability to hear, listen and understand others, to participate in a collective performance.
• to distinguish between pictorial and expressiveness in musical portraits;
• independently reveal the means of musically figurative embodiment of the characters.

Concepts and terms that will be introduced or consolidated during the lesson:

portrait in music, intonation, expressiveness, figurativeness.

Forms of work in the lesson:

listening, intonational-figurative analysis, choral singing.

Educational Resources:

• Textbook “Music. Grade 3 "authors E.D. Kritskaya, G.P. Sergeev; 2017
• CD-ROM “Complex of lessons in music. Grade 3"
• Phonochrestomathy. 3rd grade;
• piano.

Technological map of the lesson

Lesson stages	Stage task	Teacher actions	Student activities
1. Organizational moment (1-2 minutes)	greetings; class readiness test	welcomes students checks readiness for the lesson	greet teachers organize your workplace
2. Statement of the educational task	create motivation to work in the classroom; determine the topic of the lesson repetition of terms: expressiveness, figurativeness	In the last lesson, we talked about how music describes the morning in nature. One of the works depicted the beauty of morning nature, and the other expressed the feelings of a person in the morning. Can music portray the person himself? If we were artists, what would we call the person depicted? And in music?	students listen to the teacher, answer questions students formulate the topic of the lesson "Portrait in Music"
3.Updating knowledge	repetition of learned knowledge; application of knowledge during the lesson	Read the epigraph or introduction to our lesson: A person is hidden in every intonation. How can music represent a person?	students read the textbook, answer the question
4. Assimilation of new knowledge and ways of action	musical work analysis algorithm	Read the poem "Chatterbox", name the author, try to describe the portrait of this girl in your own words. What musical intonations can represent her movement or voice? Listening to the song "Chatterbox" How did music create her portrait?	students read the poem aloud, analyze the character and behavior of the girl. answer the teacher's questions, make up a figurative and sound portrait of Lida listening and analyzing music make a decision, make a decision
5. Actualization of acquired knowledge	application and consolidation of knowledge	Sounds like Juliet Whose portrait is it: male or female, childish or adult, what movements or voices can be heard in the music, what mood and character?	students listen and analyze music, answer the teacher's questions draw conclusions
6. Information about homework	homework instruction	Draw a riddle drawing by which we can guess whose portrait you liked more.	students write homework in a diary
7. Vocal and choral work	development of vocal and musical abilities of students	Let's remember the song-portrait about the "Cheerful Puppy" How will we fulfill it?	students remember the words and melody of the song, analyze the ways of performance and means of musical expression sing a song
8. Summing up	reflection	What was different about the lesson? Have we completed all the tasks?	The students answer the teacher's questions and analyze their work in the lesson.

During the classes

1. Organizing time.

Teacher: Hello guys!

To see a smile and a joyful look -

Here it is happiness, so they say!

Check if everyone is ready for the lesson.

1. Statement of the educational task.

Teacher: In the last lesson, we talked about how music describes the morning in nature.

One of the works depicted the beauty of morning nature, and the other expressed the feelings of a person in the morning. Do you remember what these pieces of music were called?

Children's answers: P. Tchaikovsky "Morning Prayer", E. Grieg "Morning"

Teacher: If music speaks about the feelings of a person, then it has ....

Children's answers: expressiveness.

Teacher : And if, while listening to music, we "see" pictures of nature, "hear" her voices, then it has ....

Children's answers: figurativeness.

Teacher: Can music portray the person himself?

Children's responses...

Teacher: What is the name of the person in the artist's painting? In music?

Children's answers: Portrait.

Teacher: Correctly. The topic of our lesson is Musical Portrait.

1. Knowledge update

Teacher: Look at the picturesque portrait, what can he tell us?

(Work with a portrait of the composer S. Prokofiev)

Children's answers: about a person's appearance, age, clothes, mood ...

Teacher: Can music describe a person's appearance, age, clothing?

Children's answers: No, just the mood.

Teacher: The epigraph or introduction to our lesson says: "A person is hidden in every intonation." How can music represent a person?

Children's answers: With intonation.

Teacher: But they must be very expressive so that we can understand them.

Singing "Different guys" (performed by groups)

1. Assimilation of new knowledge and ways of action

Teacher: Today we will get acquainted with two musical portraits, they were created by the composer S. Prokofiev (notebook entry). Let's read the poem that became the basis for one of them.

Reading Agnia Barto's poem "Chatterbox"

That chatterbox Lida, they say,
This Vovka invented.
And when should I talk?
I don't have time to talk!

Drama circle, photo circle,
Horkruzhok - I want to sing,
For the drawing circle
Everyone voted too.

And Marya Markovna said,
When I walked yesterday from the hall:
"Drama circle, photo circle
It's too much of something.

Take your pick, friend
Just one circle."

Well, I chose from the photo...
But I also want to sing
And for the drawing circle
Everyone voted too.

And what about the talker Lida, they say,
This Vovka invented.
And when should I talk?
I don't have time to talk!

Teacher: Describe the heroine of the poem!

Children's answers: A little girl, a schoolgirl, pretty, cheerful, but too talkative, her name is Lida.

Teacher: What musical intonations can express Lida's character?

Children's answers: light, bright, fast ...

Teacher: What musical intonations can represent her movements or voice?

Children's answers: very fast, hasty, like a tongue twister.

Teacher: Let's listen to the song that the composer turned out.

Listening to a song.

Teacher: How did the music create Lida's portrait? What character does she have?

Children's answers: Kind, cheerful mood and very fast speech.

Teacher: What is the name of this song?

Children's answers: Cheerful talker ...

Teacher: Let's note in the notebook (notebook entry: "Chatterbox Lida", the girl's speech is shown)

1. Actualization of acquired knowledge

Teacher: And if there are no words in music, it is performed only by musical instruments, can it create an image of a person?

Children's responses...

Teacher: Now we will listen to another musical portrait, and you guess whose it is. And the music will tell us - if she talks about a man, marching will appear in it, if about a woman - dancing, if the hero is an adult, the music will sound serious and heavy, if a child - playfully and easily.

Listening to a musical fragment by S. Prokofiev "Juliet - a girl"

Children's answers: Music speaks of a woman, it has danceability, the heroine is a young or little girl, the music sounds fast, easy, fun.

Teacher: What can you do with music?

Children's answers: dance, play, jump or run.

Teacher: All right. This heroine's name is Juliet, and we listened to a fragment of the ballet "Romeo and Juliet", which tells the love story of very young heroes. And Juliet is depicted at the moment of waiting for a meeting with her lover, so she can’t sit still, and she really runs, and jumps, and dances with impatience. Do you hear?

Repeated listening to a fragment

Teacher: What did the music depict more: the movements or the speech of the heroine?

Children's answers: Movement

Teacher: Let's write down: "Juliet", movements are shown (notebook entry)

1. Homework

The drawing is a mystery. Draw one item that belongs to either Chatterbox Lida or Juliet.

1. Vocal and choral work

Teacher: And in chorus, can we create someone's portrait?

Children's responses...

Teacher: Let's sing a song about a little puppy who went for a walk.

Repetition of the words of the song in groups:

1st verse - 1st row, 2nd verse - 2nd row, 3rd verse -3rd row, 4th verse - all.

Work on cantilena performance of the melody in verses and jerky sound in the chorus.

Performance of the song.

1. Summarizing. Reflection

Teacher. What was unusual/interesting in the lesson?

Children's responses...

Teacher. Have we completed all the tasks?

Children's responses...

Teacher. What did you like or dislike the most?

Children's responses...

It turns out that a person can sound .... In notes, musical phrases, melodies, his character is revealed, his “face” is depicted. It is known that a portrait painted by an artist is able to convey the essence of a person, leaving some mystery. Every part of the face, every curve of the body on the canvas resurrects us as a person, while maintaining something intimate.

Music, like any other art form, embodies something beautiful. It conveys the mood, charging a person with positive. Very often we look for ourselves in the lines of songs, trying to catch any note and match it with our personality.

And imagine these two greatest art forms together - painting and music! Portrait of a man in music. Interesting?

Musical portrait is...

First of all, it is art that reveals your soul, musically conveys the emotions and character of a person. It is yours, personal, unique, like the person himself. With the help of a musical portrait, you examine yourself from different angles, revealing ever deeper facets of your inner world. The melody written off actually from your “I” contributes to the improvement of the spiritual state - there is no arguing with that! After all, listening to certain music, you experience emotions. And if it is the music of your soul? Did you have to look at it from the outside? This is an indelible impression - reality takes on a different shape: love, beauty, infinity ...

How is a musical portrait composed?

Have you ever wondered what peace is? Sometimes, in certain moments, you feel some peace of mind. You don't care about anything, you walk on endless paths, there, deep inside. When thoughts are lost, and you are immersed in something more that cannot be described. This something rises from deep within, from the most secret chambers of the heart.

How many people are able to read the unknown world?
A musical portrait can only be created by a genius, a genius of the soul. He can not only read, but also play it into music, feel, understand your thinking, consciousness, open your will. Play the music that plays inside you.

All the fullness of the art of creating a musical portrait lives in a unique environment of the intuitive world. In order to create it, the composer needs personal contact with a person or a personal photograph or video recording. When all the information about a person is collected, the musician records a portrait in the studio, providing the melody with high-quality sound. In practice, it also happened that the composer writes down a musical portrait in the presence of the person he writes about. But in any case, with or without a personal meeting, the quality will not change. In any case, this will be what is called - a musical image of the inner world.

Do you want to hear how a musical portrait sounds?

A musical portrait has two types of creation:

1) Improvisation (impromptu) is the re-creation of the author's feelings immediately into the recording

2) A written piece is a complex, elaborate composition in notes. This kind of composition can later be arranged. This melody has the appearance of a work on which you need to work for a certain time.

Musical portrait - historical heritage and exclusive gift

Modern man is very hard to surprise, isn't it? Imagine that you receive yourself as a gift - your inner world, feelings and experiences that have long been familiar and dear to you? .. Only clothed in the language of music. This is not only relevant and new to our world, it seems incredible and unimaginable!

By ordering a musical portrait, you can make a gift to your loved one. After all, the author can write a musical portrait of you personally or, for example, express your feelings for your loved one - portray him the way you see him! A musician can paint a portrait about love, friendship, and so on. In a musical portrait, you can embody all the versatility of a person!

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