Lesson #11

Topic: Writers and poets about music and musicians

Target. Reveal common features connections between music and literature, analyzing musical, poetic and prose works.

Lesson type . Integrated.

Lesson objectives.

Educational :

• developing the ability to analyze and compare musical and literary works;

  development of a sense of artistic expression;

  acquaintance with new works of art;

  expanding ideas about the composer G.V. Sviridov and about his music.

Developmental :

• the formation of students’ aesthetic taste, the ability to conduct dialogue, reason, and highlight the main idea of ​​a work;

  development of research capabilities;

  developing interest in music through creative self-expression;

  development of imaginative thinking.

Educational :

• drawing attention to the work of the Russian composer, writer, poet,

  determining the significance of the role of music in human life;

  nurturing a sense of love for the Motherland;

  nurturing emotional responsiveness to works of art.

Equipment.

Computer, music center, video series for a musical work, video series with portraits of the composer G.V. Sviridov, portraits of the writer Pasternak, video series of G.V.’s native places. Sviridova

Listening material.

G.V. Sviridov “Zapevka” to the verses of I. Severyanin, G.V. Sviridov cantata “It’s snowing”

DURING THE CLASSES

Musical greeting.

Log check.

Repetition of covered material:

• Whose portraits are these? (writer Shukshin and composer Gavrilin)

  Why did I put these portraits next to each other?

  Composer Gavrilin, composer of what century? (20v)

  What is the name of his piece of music that we listened to in the last lesson? ("Chimes")

  What gave you the impetus to write such a musical work? Shukshin's stories

  What are “Chimes”? Symphony-action

  What is a symphony - an action? Somewhere between opera and oratorio, it has words and music.

  What's happened program symphony? A symphony with a specific content, which is set out in the program or expressed in the title.

  What permeates the entire work? - ringing a bell.

  What is a chapel? A group of performers with an orchestra, or a choir of singers

  Symphony - performance written for...? Soloists, choir and percussion instruments.

  What were they called? musical numbers? “Evening music”, “Prayer”, “Merry at heart”.

  What is each piece about? Evening music - without words, a slow piece, an image of the evening; "It's fun at heart" - folk festival with jokes and jokes; “Prayer” - a monk reads a prayer, an appeal to God.

4. New topic:

Let's imagine that one composer left us his sound message.

What can you say about this composer? What country is this composer from? What does he want to tell us?
Listening to “Zapevka” by I. Severyanin, G.V. Sviridov.



Is this a Russian composer? (Yes).

Why did you decide so? (Student answer options).

What is this piece of music about? (About Russia, about the Temple, about our Motherland)

How does he feel about his homeland?

(Student answer options: the composer glorifies his Motherland, admires it, loves it, etc.)

Who performed this piece? ( Mixed choir. The music sounded without accompaniment).

In addition to the music, there was also poetic text. Co-authorship of two creative people: musician and poet.

The choir “Zapevka” by the Russian composer G.V. Sviridov, based on the verses of I. Severyanin, was performed.

About Sviridov:

Georgy Vasilievich Sviridov , , - , ) - Soviet and Russian composer, pianist.

Russian composer, born on one of the cold December evenings of 1915. in the town of Fatezh, Kursk region. In a wooden house that stood near the Usozha River. In spring and summer, the city was surrounded by green gardens, where you could hear the singing of nightingales. Kursk folk songs surrounded the composer since childhood. Throughout his life, G.V. Sviridov will carry his love for native nature, native land. Today in Fatezh, in the apartment where the composer lived, there is an apartment - a museum, an art school. Before school in 2006 A bust of G.V. Sviridov was installed.

Just think, it’s also work -
This is a carefree life:
Listen to something from the music
And pass off the joke as your own...
(A. A. Akhmatova)

The topic of our lesson: “ Writers and poets about music and musicians"

Writers and poets - masters of words - tried to describe it in words, but no one was able to fully reveal the secret of sounds. No wonderRussian composer A. N. Serov said: “Music conveys what cannot or almost cannot be expressed in words.” “Music is perhaps the most wondrous creation of man, his eternal mystery and delight,” the words of the writer Viktor Astafiev.

– Listening to Sviridov’s music more than once, the 20th century Russian writer Viktor Petrovich Astafiev wrote a story about music, about Sviridov, where he calls him with the capacious word “Master”. Let's get acquainted with a fragment of the story “The Lay of the Master”.

U. – What is Astafiev’s attitude towards music, where does music come from, what does it give to a person? Why does Viktor Petrovich call Sviridov a master?

Music is a wonderful creation, an eternal mystery, a delight.
Nature - the sound of the wind, the rustle of grass, the sound of falling leaves.
Man brings back all the best.
U. – What is music for you?
(Student answer options: mother’s lullaby, beauty, feelings...)
U. – There is one secret in the story; the answer to the question is hidden here: what unites all types of art?
Where do creative people get their ideas? - From the life around us. A master is one who knows how to see, hear and tell everything in his work...

We found out that the main genre is vocal works. The connection between music and literature. Sviridov always turns to poets who, like him, are concerned with the theme of the Motherland, the beauty of nature, historical events. Favorite poets were: A. Blok, A. S. Pushkin, V. Mayakovsky.

Listen to Pasternak’s poem “It’s Snowing”:

"It's Snowing" Boris Pasternak

It is snowing, It is snowing.
To the white stars in a snowstorm
Geranium flowers stretch
For the window frame.

It's snowing and everything is in turmoil,
Everything starts to fly, -
Black staircase steps,
Crossroads turn.

It's snowing, it's snowing,
It's like it's not flakes that are falling,
And in a patched coat
The firmament descends to the ground.

As if looking like an eccentric,
From the top landing,
Sneaking around, playing hide and seek,
The sky is coming down from the attic.

Because life doesn't wait.
If you don't look back, it's Christmas time.
Only a short period,
Look, there's a new year there.

The snow is falling, thick and thick.
In step with him, in those feet,
At the same pace, with that laziness
Or at the same speed
Maybe time is passing?

Maybe year after year
Follow as the snow falls
Or like the words in a poem?

It's snowing, it's snowing,
It's snowing and everything is in turmoil:
White pedestrian
Surprised plants
Crossroads turn.

After finishing " “In 1965, Sviridov conceived the next small cantata, this time based on poems by B. Pasternak (1890-1960). Pasternak's poetry never left the composer indifferent.

Cantata – vocal and instrumental work for soloists, and orchestra.

“It’s Snowing” is Sviridov’s appeal to Pasternak’s poetry after many decades of reflection.

For his small cantata, Sviridov selected three poems from last period creativity of the poet, united by the theme “artist and time”.

The 1st part, “It’s Snowing,” conveys the measured, non-stop passage of time: sopranos and altos sing monotonously, on the same note, the orchestral part fascinates with the repetition of two unsteady chords, with a lulling descending intonation. In the 2nd part, “Soul”, the monotonous whirling is reminiscent of the smooth passage of time in the 1st. Here, the sparse accompaniment with drawn-out sounds, against the backdrop of which unfolds a simple tune in the spirit of a city song, creates a feeling of internal concentration, detachment from everything external.

Listen to part 1 It's snowing

Which musical image created by G. Sviridov? lyrical sketch of winter nature

What does the choir accompaniment sound like?

What instruments convey the fantastic nature of the picture? celesta

U. – Look what G.V. says. Sviridov about poetry: “To me, the poetic word seems extremely important and weighty. It weighs a hundred and a thousand times more than the word of a prose writer. These are words that were selected by a poet, a genius... And they make a strong impression on me..."
We saw how poetry became an inspiration for a musician to create piece of music.
How talentedly Sviridov did it. If a person does something very well, better than others, what do we call him?
Wu-xia – (Master.)

Conclusion.

U. – We saw that literature and music can be an inspiration for creative people. Eat general genres. There are common means of expression. Ideas people creative professions draw their works from real life.

Literature, music always
Union of art and goodness,
Union of the great, the earthly,
So close, dear
Arts.

Udras A.F.

Chanting.

6. Song

A small cantata based on poems by Boris Pasternak

Cast: women's choir, boys' ensemble, orchestra.

History of creation

After finishing “Wooden Rus'” in 1965, Sviridov conceived the next small cantata, this time based on poems by B. Pasternak (1890-1960). Although less noticeable, Pasternak’s poetry also passed through the composer’s entire life. The very first romances were written based on his poems, which Sviridov himself considered so imperfect that he did not even include them in the list of works.

Pasternak's poetry never left the composer indifferent. In his diaries, over the years, he returns to her in one way or another. In particular, about “Doctor Zhivago” there is the following entry: “Some deep (though far from comprehensive) thoughts of P about life, about Man and his purpose, about time, about the Revolution, which outraged Man...”.

“It’s Snowing” is Sviridov’s appeal to Pasternak’s poetry after many decades of reflection. It is curious that “this poet, close to music in his life and musical in his poems, nevertheless, apparently, has never before attracted the attention of composers,” writes A. Sokhor, a researcher of Sviridov’s work. “Sviridov, thus... acted as a pioneer, and not in the figurative, but in the literal sense of the word.”

For his small cantata, Sviridov selected three poems from the last period of the poet’s work, united by the theme “the artist and time.” These are “It’s snowing...” (1957), “Soul” (the date of writing is unknown, the poem was not published in the USSR and was taken by Sviridov from a foreign source) and “Night” (1956). The small cantata was completed in 1965, in the same year No. 3 was published in the last, 12th issue of the magazine “Soviet Music”. The premiere took place on December 21, 1966 in Moscow, in the Great Hall of the Conservatory.

Music

The 1st part, “It’s Snowing,” conveys the measured, non-stop passage of time: sopranos and altos sing monotonously, on the same note, the orchestral part fascinates with the repetition of two unsteady chords, with a lulling descending intonation. In the 2nd part, “Soul”, the monotonous whirling is reminiscent of the smooth passage of time in the 1st. Here, the sparse accompaniment with drawn-out sounds, against the backdrop of which unfolds a simple tune in the spirit of a city song, creates a feeling of internal concentration, detachment from everything external.

About the artist

How

Sviridov, Georgy (Yuri) Vasilievich (1915–1998), Russian composer.
Born December 3 (16), 1915 in Fatezh ( Kursk province) in the family of a postal worker. Father died during Civil War. After graduation music school in Kursk he studied at the Leningrad 1st Music College, and from 1936 at the composition department of the Leningrad Conservatory, from which he graduated in 1941 in the class of D. D. Shostakovich. Since 1956 he lived in Moscow; worked in theater and cinema, in 1968–1973 he headed the Union of Composers of the RSFSR.

As a composer, Sviridov made his debut with a cycle of romances based on poems by Pushkin (1935) - a striking work that is still in repertoire; in his early instrumental works (piano trio, string quartet, various piano works, etc.) the influence of Shostakovich was noticeable. But from the mid-1950s, starting with the magnificent Poem in Memory of Sergei Yesenin (1956), I decided individual style composer, who was rather the opposite of Shostakovich and his school. First of all, Sviridov focused on genres associated with Russian poetic word, - cantata, oratorio, vocal cycle (the lines between genres are often blurred for him), and all his highest achievements are connected precisely with this sphere, although among the few instrumental music The composer has real masterpieces, among them – A Little Triptych for Orchestra (1966) and Blizzard (musical illustrations for Pushkin’s story, 1974). In addition, the name of Sviridov is associated with the movement in national music, which is sometimes called the "new folk wave". The key milestones in this movement were the aforementioned Poem in Memory of Sergei Yesenin, the vocal cycle My Father is a Peasant (1957), cantata Wooden Rus'(1964) and the poem Departed Rus' (1977) based on Yesenin’s poems, as well as, to a very large extent, the cantata Kursk Songs (1964) based on authentic folk tunes and texts and a number of works based on Blok’s poems (in particular, vocal loops Petersburg Songs, 1964, and Six Songs, 1977), Nekrasova ( Spring cantata, 1972), Pushkin (Pushkin's Wreath, 1979). Sviridov also wrote on poems by Mayakovsky (for example, Pathetic Oratorio, 1959), Pasternak (“small cantata” Snow is falling, 1965), Lermontov, Khlebnikov, A.A. Prokokofiev, M.V. Isakovsky, A.T. Tvardovsky and translated texts by Shakespeare, Burns, Isahakyan.

The main feature of the composer’s style can be considered the reliance on primary national genres (almost all of his works have a song basis in one way or another) and on national intonation, speech and song (in this sense, Sviridov is a successor to Mussorgsky); Then we can talk about laconism and wise simplicity of forms, transparency of texture, etc. “Sviridov’s simplicity,” which has nothing to do with “simplification,” is in fact a complex phenomenon: in modern research it is sometimes compared with trends towards minimalism in Western culture, and the composer’s constant desire to work with words is considered as nostalgia for the primary inseparability of music and verse; Sviridov’s “neo-folklorism” can also be viewed in the same vein – finding roots. Since yet large base we can talk about nostalgia in connection with figurative world his music, which often sounds like a lament for a lost homeland, a farewell to a departed (“set sail”) Russia.

The shrillness of Sviridov’s intonation is uniquely manifested in that layer of his work that is associated with spiritual motives (understanding by this not “churchliness” in its pure form, but rather the state “near the church walls”). He was one of the first, very early, to turn to this layer, creating in 1973 three wonderful choruses for the tragedy of A.K. Tolstoy Tsar Fyodor Ioannovich and Choir concert in memory of A.A. Yurlov (a wonderful choirmaster who died early, one of best performers music by Sviridov). IN last decade Throughout his life, Sviridov constantly worked on choirs for Church Slavonic texts: some of them were included in the large choral cycle of Songs and Prayers, but most of what was written has not yet been published or performed.

Sviridov’s creative biography as a whole is amazing example internal freedom and independence with external full adaptation to existing political and social conditions: he received the title people's artist USSR, Hero star socialist labor, was a deputy Supreme Council RSFSR, laureate state awards, his music (from the film Time, Forward!) sounded (and sounds) in the news screensaver of the first state television channel; at the same time, you can often hear Sviridov’s melodies performed by street musicians (especially Waltz and Romance from Metel).

Sviridov Georgy Vasilievich(1915-1997) - outstanding composer, pianist, People's Artist of the USSR (1970), Hero of Socialist Labor (1975).

Early and later works Sviridov's works differ so much that sometimes it even seems that they do not belong to the same composer.

In 1936, Sviridov entered the Leningrad Conservatory, where he became a student of D. D. Shostakovich. Years of persistent, intense work began, mastering the skill of composition. He began to master different styles, try your hand at various types music - Sviridov composed violin and piano sonata, First Symphony, Symphony for string orchestra. Sviridov works a lot in theater and cinema. This experience helped him create new major works, which appeared in the early 1950s. In November 1955, Sviridov, carried away by the poetry of Sergei Yesenin, wrote several songs based on his poems. They were followed by a number of others, and in a burst of high creative inspiration, in just two weeks, the multi-part poem “In Memory of Sergei Yesenin” was born. It was first performed on May 31, 1956 in Moscow. Yesenin’s lines, with their beauty and magical melodiousness, seem to be asking to be set to music. But the composer can read them in different ways. Sometimes in Yesenin only the “pure” lyricist, the “singer of love” with a guitar is appreciated. Sviridov saw in him a great national poet who loved Russia like a son. As always, Sviridov’s music is not just a musical illustration of his favorite poems. The composer really knows how to “read” poetry; he is always very attentive and sensitive to the unique characteristics of this or that author. The main line of the composer's work has clearly emerged - the creation of vocal music, although instrumental works do not disappear from the sphere of his interests. At first, Sviridov’s work was dominated by chamber genres- song, romance; but gradually he moves to more large forms, in particular to oratorios. And each of his works is marked by spirituality. Following the oratorio “The Twelve” to the verses of A. Blok, “Spring Cantata” was written to the verses of N. Nekrasov, the cantata “Wooden Rus'” to the verses of S. Yesenin, several unaccompanied choral works to his poems “In the Blue Evening”, “Hed” , “The soul is sad about heaven”, cantata “It’s snowing” to poems by B. Pasternak. These works are certainly mature, marked by high professionalism, filled poetic images. As for the style, the urban song flow has become brighter and more prominent in them. In his late period of creativity, Sviridov seems to synthesize the harmony of being and the subtlety of feelings, which creates some kind of even more weightless spirituality and sublimity. Examples of this - "Spring Cantata" to the words of Nekrasov (1972) with its amazing lightness, fresh as spring drops, the first part, and one of the most striking works of Sviridov - Three choruses from the music to the tragedy of A. K. Tolstoy “Tsar Fyodor Ioannovich” (1973). Here the intonations of ancient cult chants acquire a modern sound and emotional poignancy. This music is perhaps close to the ancient hymns of early Christianity with their solemn sadness and deep feeling imperfections of human existence. It should also be noted “Concert in Memory of A. A. Yurlov” (1973) - a kind of requiem in three slow mournful parts with a very refined and complex choral texture, evoking sad and bright memories of an outstanding musician. This is a passionate, slow, painful funeral service, coming from the very depths of an agitated heart. In June 1979, when the 180th anniversary of the birth of A.S. Pushkin was celebrated, Sviridov’s new work “Pushkin’s Wreath” - a concert for choir - was performed for the first time. These are ten numbers that make up a single whole. The ten poems for which the choirs are written are not related to each other in content - they are made into a single whole by the music, sublime in mood and at the same time concrete in its imagery, and sometimes even picturesqueness. Sviridov brings his understanding of the folk, in which purity and chastity of feelings, daring and rough, strong humor are so naturally combined. So, gradually, Sviridov’s main path emerges - from youthful ardor through difficult problems to philosophical clarity and enlightenment, but everywhere Sviridov is sublime and his hero is great and handsome, Sviridov always emphasizes the best and highest in a person, everything is pathetically elevated in him! Sviridov's stunning choral cycles brought him worldwide fame ("Decembrists" to the words of A. Pushkin and the Decembrist poets, "Poem in Memory of Sergei Yesenin", "Pathetic Oratorio" after V. Mayakovsky, "Five Songs about Russia" to the words of A. Blok, etc. .). However, Sviridov also worked in popular genres, for example, in operetta ("Sparks", "The Sea Spreads Wide"), in cinema ("Resurrection", "Golden Calf", etc.), in drama theater (music for A. Raikin's plays , “Don Cesar de Bazan”, etc.).

“Spring Cantata” (words by N. Nekrasov).

For mixed choir and a symphony orchestra.

There are 4 numbers in total in the cantata - the first and fourth numbers are performed by a choir + orchestra, the second by an a capp. choir, the third number by an orchestra, i.e. Sviridov expresses the versatility of the Russian people, Russian culture, and the versatility of folk art.

Dedicated to memory Alexander Trifonovich Tvardovsky- Russian poet, editor-in-chief of the magazine " New world", the author of the poem "Vasily Terkin", which vividly embodied the character of the Russian people and the national feelings of the era of the Great Patriotic War.

Nikolai Alekseevich Nekrasov(1821-1877) – Russian poet, publicist.

Nekrasov's latest folk epic, the huge poem "Who Lives Well in Rus'" (1873 - 76), written in an extremely original meter, could not have been completely successful by its size alone (about 5,000 verses). There is a lot of buffoonery in it, a lot of anti-artistic exaggeration and thickening of colors, but there are also many places of amazing power and precision of expression. The best thing about the poem is the individual, occasionally inserted songs and ballads. The best, last part of the poem is especially rich in them - “A Feast for the Whole World”, ending with the famous words: “you and the poor, you and the abundant, you and the mighty, you and the powerless, Mother Rus'” and a cheerful exclamation: “in slavery the saved heart is free , gold, gold, people's heart."

Choir "Song"(second number of cantata)

Musical theoretical analysis:

The choir is written for four-voice mixed choir a capp. with divizi in every batch. The introduction is performed by a vibraphone (a percussion musical instrument belonging to the metal idiophones, with a certain pitch. Invented in the USA in the late 1910s).

The form of the work is simple two-part.

In terms of genre and nature of performance, it is a lament - one of the ancient literary genres, characterized by lyrical-dramatic improvisation on the themes of misfortune, death, etc. It can be written in both poetry and prose. Lamentation has become widespread in traditional Russian ritual and everyday folk poetry.

The choir was built according to the principle of variation, i.e. the main theme heard in the chorus changes throughout the entire choir: “Tell me why, young merchant...”

The second part of each sentence is repeated:


except for the final sentence:

which reflected all the pain conveyed in this work. This is also emphasized by the absence of active removal - the sound simply has to “dissolve”. Written out dynamic nuance pppp – this confirms and gives just such an installation for choir director.

The first part of the work is performed by a female choir and consists of two sentences. The second part also consists of two sentences, but is performed by a male choir. That. the composer added theatricality to the choir, dialogue, and opposition. The dialogue takes place between a poor girl and a rich merchant. The idea of ​​social inequality is clearly evident here.

The melodic line is close to a drawn-out folk song with elements of lamentation: descending m2 And b2, pauses at the end and at the beginning of phrases.

The tempo of the piece is very slow: molto adagio =72, adagio= 44 (depending on the edition). This pace expresses thoughtfulness, the difficult experiences of the characters, and melancholy. Both parts end poco rit. That. the composer wanted to emphasize the sadness and hopelessness of the characters’ situation. This slowdown seems to put an end to their thoughts and also gives them humility.

The rhythm in the work is subordinate to the word - longer durations on stressed syllables, shorter durations on unstressed syllables. This is also inherent in the song as a genre.

Keys of the work c- moll. Occurs a large number of deviations in tonality of III, VI, S steps.

The texture of the work is homophonic-harmonic with elements of polyphony of echoes.

The dynamics indicated by the composer are varied: from nuance pp down to the nuance ff, in some phrases, with fading to nuance pppp. Each phrase uses dynamic strokes, which are also subordinate to the word, like rhythm.

Vocal and choral analysis:

Ranges of choral parts:

Overall range of the choir:

The tessitura for the choir is comfortable. The balance of votes has been maintained. You can even say that all the parts sound “velvety”, “deep”. The average voice tessitura of each porti is very precisely chosen by the composer. All votes are on equal terms. With such dynamics, this tessitura, as they say, makes “goosebumps” run throughout the body. The choir sounds incredibly smooth and spacious in this tessitura.

In terms of difficulty, all games are on equal terms, with the exception of the slightly higher average tessitura T in the last sentence, but the dynamics ff significantly simplifies the execution of this moment.

The articulatory and dictionary ensemble within the individual part and the general choral ensemble is important, since the word is the main means of expression in a song. The composer emphasized this separately by calling the number “Song”, and not, say, “Love”, which would have significantly modified the strokes, techniques of performance, perhaps even the tempo, but would not have changed main topic– themes of love.

Conducting difficulties:

Very slow pace should remain slow at all times, it should be comfortable for both the choir leader and the performers. You need, roughly speaking, to relax and enjoy the pace. Because the pace modern life accelerated almost to the limit of human capabilities, then such works as “Song” simply do not fit in there, but the task is to fit it in. Therefore, it is very important that rehearsal moments and moments of performance are moments of perhaps meditation, rest - both for the choir and conductor, and for the listener.

The dynamics should be natural, not feigned, and should be based during performance, just as the composer was based on the word. But for this it is necessary that each choir member and director understand “What?” song. Having answered this question, the dynamic picture will immediately fall into place, as will the tempo.

In accordance with the objectives of the study, we analyzed various school music programs for the presence of works by G.V. Sviridov in them. In the program on music, ed. D. B. Kabalevsky, for example, there are only three works by G. V. Sviridov. In the fifth grade, during the third lesson of the first quarter, schoolchildren learn the melody from the 2nd part of the “Poem in Memory of Sergei Yesenin” “Winter Sings, Calls”. In vocal and choral work, the teacher seeks from students an accurate and energetic performance of the initial intonation of the ascending fourth and the “distinct sound of roll calls - ahs.” In the next lesson they listen to the whole of Part 2 and analyze it. The children's attention is drawn "first of all, to how the music vividly paints a picture of winter, conveys the feeling of snowfall, winter blizzard, wind and gradual calm." IN additional material The program offers the 8th part of the “Poem in Memory of Sergei Yesenin” - “Peasant Children”, as an example of the connection between musical and speech intonations, as “the mutual desire of speech for music and music for speech.” In this part of the poem, students’ attention is focused on “the colorfulness and expressiveness of the timbre: a male choir, imitation of the sound of an accordion and the ringing of bells (triangle, piano and bells).”

Overture by G. V. Sviridov “Time, forward!” to the film of the same name is studied in the 8th lesson in the third quarter of the sixth grade. This quarter's theme is "What is the power of music?" and the overture confirms in the best possible way that the strength of this music lies in its truth. After all, it expresses the spirit of the times when peaceful construction was underway, conveys the rhythm of life and aspirations for the future of the people of the era of building socialism. Particular attention is paid to the sound of the orchestra. The guys should clearly hear how “the constant beating of the pulse of today is conveyed by the fast, clear, abrupt sound of strings, a powerful dynamic build-up, and against this background a courageous, heroic theme trumpets, sounding like a hymn to the light, happy life". In our opinion, there are too few of these works by G.V. Sviridov in the music curriculum for secondary schools. The spiritual, moral, educational potential of the composer’s musical heritage is enormous, and in fact remains unclaimed.

Having studied the creative musical heritage of G.V. Sviridov, we came to the conclusion that it is necessary to include several more works by the composer in the music program, organically integrating them into the thematic content, without violating the basic principles of teaching. To do this, we have selected several works with a pronounced theme and focus on nurturing patriotic feelings (love of nature, people, Motherland, Fatherland). This material was distributed by year of study in accordance with the age characteristics of young children and teenagers. At the same time, the degree of difficulty in perceiving musical content was taken into account. The works we offer will contribute to the education of the younger generation.

2nd grade, 1st quarter “Three pillars in music - song, dance, march” we included in the appendix to the program the following works by G.V. Sviridov: “Merry March”, “Ancient Dance”, “Before Bed”. These works are accessible to younger schoolchildren, as they are short in sound, bright, and varied in character.

Fragment of the lesson with the inclusion of "Merry March"

U. Guys, today I invited a “whale” we know to our lesson. Do you recognize him or not? (plays "Merry March").

D. This “whale” is a march.

U. How did you guess?

D. It’s comfortable to walk to such music.

U. What is her character, who is she best suited for?

D. She is cheerful and active. She has a cheerful character. Children and schoolchildren can walk under it.

W. You are just great! This march was written by composer G.V. Sviridov. He really wrote it for you and called it very beautifully: “Merry March.” Do you want to walk to this music? Stand up and march merrily in place. Try to hear the point at the end of the music and stop with it (repeat listening with movements to the march).

U. You tried so hard that if composer G.V. Sviridov saw you, he would certainly praise you. Let us try to become composers for a while. Children's March Let's turn it into a soldier's. Let's think about how to do this together.

D. You need to play loudly and firmly.

U. Why?

D. The soldiers walk with a firm, clear step, so they need the same music.

(children tap the rhythm of the march on the table with their fists to the music).

U. Now help me turn your march into a puppet march. What do I need to do for this?

D. Play easily and with high sounds.

(children “walk” with their fingers on their palms to the music of the “puppet” march).

U. And now I want to test how carefully you can listen to music. I will now play “Merry March” from beginning to end, but I will turn it into a puppet or a military one. And you perform the movements in the character of the music.

(performed by the teacher in different registers).

U., So how did we manage to turn our march into different marches?

D. We changed the volume and pitch.

Fragment of a lesson including the play "Before Bed"

U. Guys, listen to the music and tell me which “whale” is visiting us today? (plays).

U. Can we sing it? How?

D. It can be sung “a-a-a” or with the mouth closed.

U. What can you do with this kind of music?

D. You can rock your favorite toy.

U. Why did you decide that?

D. She is smooth, calm, soothing.

U. Do you know the name of the song you can rock your baby to?

D. This song is called a lullaby.

U. Who on Earth sings the most beautiful lullabies?

D. Mother sings the most beautiful lullabies on Earth.

U. You see, guys, our lullaby is without words, and you guessed that you can fall asleep to it. This music was composed by composer G.V. Sviridov.

In the topic of the second quarter of 1st grade, in the topic “What does the music talk about,” you can include the play “Rain” from the piano “Album of Pieces for Children” by G. V. Sviridov. Using this work as an example, children will be able to see that music can depict many things, including the sounds of conveying the dripping of warm summer rain, a light breath of breeze, and the light from the rising sun. The perception of this play will certainly evoke in the children a feeling of admiring the beauty of nature, the play of its colors and sounds.

2nd grade, 2nd quarter "What does the music say?"

U. I see you have good mood. Why is it like this?

D. The weather is good outside.

D. Do you think nature is in a bad mood?

W. What happens then?

D. Nature is crying, it is raining.

U. I’ll now perform a piece for you, and you listen carefully and tell me what it’s about, what’s the mood in it?

G. V. Sviridov “Rain” (listening).

D. The mood is cheerful, it looks like rain.

U. Is it raining or raining?

D. Rain, because it is not heavy, but light. The droplets are small, warm and shiny.

U. Why did you decide that the droplets glitter?

D. Because the sun is shining. The music is bright.

U. Let's listen again, was our rain always in a good mood?

RE-LISTENING.

D. In the middle you can hear the rain getting heavier. He drummed on the roof. The wind must have started blowing.

U. Why did you decide that?

D. The music sounded loud. And then the wind sped away and the rain stopped.

U. What happened in nature, what happened?

D. She washed herself and became even more beautiful. The air became fresher. You can go for a walk.

U. Did you like this music? It was written by the composer G.V. Sviridov. He loved his homeland, Russian nature very much. I always admired her. I decided to tell all people about this and composed this an interesting play. Draw pictures at home and tell them about what you heard in this music.

3rd grade, 2nd quarter "Intonation"

We propose to include two plays by G.V. Sviridov - “The Jumper” and “The Stubborn Man”. This lesson can be taught by analogy with the third lesson of this quarter, when children listen to “Three Girlfriends” by D.B. Kabalevsky. Using the example of these plays, an understanding and distinction of the nature of music is consolidated, and positive personal qualities are cultivated in students.

4th grade, 1st quarter "Music of my people"

You can invite students to listen to the work “On the green, on the lawn” from the choral poem “Ladoga” based on poems by A. Prokofiev. This is a bright, festive composition. In it, songfulness is closely connected with folk origins, this ever-living element, without which no truly national artist can imagine himself. In this part of the poem, the composer skillfully and masterfully depicted the choir playing the people's favorite instrument - the balalaika. But the desire to convey the techniques of instrumental playing is not an end in itself. The composer poetizes the balalaika - an indispensable companion to all village holidays and folk festivals, attracting with its simplicity, spontaneously spilling out emotionality, and brightness. In his youth, G.V. Sviridov himself played the balalaika second in a club orchestra of folk instruments.

U. In first grade, you and I called the tree the symbol of our Russia. What kind of tree is this?

D. This tree is birch.

U. Did you know that there is also an instrument that is called the musical symbol of our homeland?

U. In the last lesson we listened to music and even “played in the orchestra.” What is this music called?

D. It’s called “The Moon Is Shining.”

U. To what people does it belong?

D. This is a Russian folk song.

U. What instruments did we “play”?

D. On the button accordion and the balalaika.

U. So the balalaika is the very musical symbol of Russia. At first the balalaika had two strings, and then another string was added to them. Everyone in Rus', young and old, knows how to play it: they strum it with their index finger or thumb right hand. And for almost three hundred years now, not a single celebration in the village can take place without her. But it happened that this simple instrument also amused royalty. This is one of the most favorite instruments among our people, which is why they call it the balalaika.

Balalaika plays
Balalaika sings
Make legs for the balalaika -
Balalaika will go!

This is how people sang and glorified this instrument.

G.V. Sviridov, known to you, played the balalaika in an orchestra in his youth, and when he graduated from the conservatory and became a composer, he composed a wonderful work, which he dedicated to this instrument and the title “On the green, on the lawn.”

LISTENING "ON THE GREEN, ON THE LAWN" from the vocal-choral cycle "KURSK SONGS"

U. Has music changed your mood?

D. It became fun, I even wanted to dance!

U.Is this music instrumental or vocal?

U. Did you notice which instrument was accompanying?

U. Listen again very carefully and tell me, was there any instrumental accompaniment here?

RE-HEARING.

D. No, a choir sang here, and instead of a balalaika they sang: “Trendy - brandy.”

W. I would like to point out to you guys that the words in this work are truly folk. There is such a word as “authentic”, which means genuine. G.V. Sviridov loved his people, his Fatherland very much, he often went to his " small homeland"to the Kursk region, I listened with what love they sang about the balalaika there, and wrote this interesting music. He dreamed of introducing the songs of the Kursk region to as many people as possible. His dreams came true. His works are often heard on television, radio, and concert halls in different cities of our vast Motherland.

5th grade, 4th quarter, “Can we hear the painting?

In the fourth lesson, the children are invited to listen to a piece from the “Album of Piano Pieces for Children,” called “The Bells Ringed.” In this lesson, after “listening” to I. Levitan’s painting “Evening Bells” and short story about the masters of bell making, you can invite the children to listen to the music of G.V. Sviridov.

After “listening” to I. Levitan’s painting “Evening Bells”:

U. Have you ever heard a bell ringing? Where can you hear him live?

D. Bell ringing can be heard in church, before the service.

U. Rus' has been famous for its bell ringing since time immemorial. They appeared in Rus' in the middle of the 9th century and became an integral part of church rituals. In addition, their ringing served as an alarm signal in case of fire, warned of the approach of an enemy, and in blizzards and blizzards, bell ringing helped travelers find their way to housing. Remember in which works we have already heard bells ringing?

D. Chorus “Rise up, Russian people” from S. S. Prokofiev’s cantata “Alexander Nevsky”, “Dawn on the Moscow River”, M. P. Mussorgsky.

U. Today we will listen to the music of the well-known composer G.V. Sviridov. Be careful and tell me what events, joyful or sad, does this work tell about?

HEARING.

D. This music speaks of something sad, and even alarming.

U. How does music convey a state of anxiety?

D. It is loud, heavy, sharp, sharp. It's as if each sound is called out separately.

U.You were very attentive, and therefore correctly noticed the mood in this work. After all, even at the very beginning, when one melody sounds, you can already feel anxiety and tension in it.

U. Now listen again and tell me, when the small bells start ringing, does the character of the music become calmer?

RE-LISTENING.

D. No, the music does not become calmer. Small bells sound shrill and intense. This makes my soul even sadder.

U. I agree with you. The bells sound very excited. They interrupt each other, as if they are trying to quickly notify people about something important, but sad. They want to warn someone about an alarming event.

U. Now let’s think about which work is closer in character to “The Bells Ringed”?

D. They are close in character to the Choir “Get up, Russian people.”

6th grade, 1st quarter "The transformative power of music"

Here the lesson is built entirely by analogy with the lesson proposed in the program. For listening, we recommend two works by G.V. Sviridov: “My Vague Nightingale” from the vocal cycle “Kursk Songs” and “Military March” from Musical Illustrations for the story “Blizzard” by A.S. Pushkin.

At the very beginning of the lesson, “out of silence,” the song “My Vague Nightingale” from the vocal-choral cycle “Kursk Songs” and “Military March” from “Musical Illustrations” by G. V. Sviridov sounds.

U. When you listened to the music, I looked at you very carefully.

While the first piece was playing, you sat very quietly and listened to the music, thinking. Why? What is this song about?

D. This song is about the plight of a woman in an old Russian village.

U. The girl was married against her will, not to the one she loved, but to a rich man. She lived there like a bird in a cage: there was wealth, but no happiness. Life in captivity is not a joy. Did you notice the tempo and mode in this song?

D. The tempo is slow, the scale is minor, and the music is very smooth.

U. Why does the composer use these means of expression?

D. To convey the content more deeply and express your attitude to what is happening.

U. Did music manage to change your mood?

U. Does the song sound like a Russian folk song?

D. Isn’t it Russian folk?

U. No, it was composed by G.V. Sviridov. In his homeland in the Kursk region, he heard a lot in his childhood folk songs. And when he became a composer, he himself began to compose songs in folk style. He was great at it. What about the second piece? You perked up noticeably when it sounded. Why?

There is a completely different mood here, a different character of the music. This is a military march. Defenders of the Fatherland return with victory.

U. What mood did the march give you?

D. Upbeat, festive.

U. What intonations is the music filled with?

D. With decisive, solemn, elevated intonations.

7th grade 1st half year "Musical image"

We propose to include the first part of the musical work" Winter morning"from the vocal-choral cycle "Pushkin's Wreath". This work vividly paints the image of Russian nature, its invigorating winter freshness and beauty.

7 class, 4th quarter "Our great "contemporaries"

We propose to devote one of the lessons (at the teacher’s choice) to

listening and analyzing a small choral cantata based on the poems of B. Pasternak “It’s snowing.” Older schoolchildren are already capable of “adult-like” assessment of the importance of time in a person’s life; the philosophical meaning of the tasks set by the composer and poet can already be fully revealed to them.

U. Guys, in the fifth grade we listened to and performed the music “Winter Sings, Calls” by G.V. Sviridov. Now you are already in the seventh grade, you have accumulated a lot of experience, and I want to invite you to “compose” music based on the poems of the poet Boris Pasternak. You will become more deeply acquainted with the work of this poet in 10th grade. His poetry is very thoughtful, philosophical, it makes you think about many serious problems of life.

It's snowing, it's snowing,
It's snowing, it's snowing,
To the white stars in the fog
Geranium flowers stretch
For the window frame.
It's snowing, it's snowing,
It's snowing, it's snowing,
It's snowing and everything is in confusion,
Everything starts to fly -
Black staircase steps,
Crossroads turn.
It's snowing, it's snowing,
It's snowing, it's snowing:

W. In what character would you compose music for these poetic lines?

U. Where will the melodic line be more developed?

U.What kind of melody would you compose for repeated words?

U. Who can try to sing melodic improvisation on this poetic text?

U. These poems were once read by G.V. Sviridov. We became acquainted with his work from the first lessons in first grade. Let's remember some of his works.

(the teacher performs on the piano fragments of the works “Merry March”, “Lullaby”, “Rain”, in the recording “On the green, on the lawn”, “Military March”, “Frost and Sun”).

U. Today we will get acquainted with one of the parts of the “Little Cantata” based on B. Pasternak’s poem “It’s Snowing” (listening).

U. What impression did the music make on you? Why? What does it sound like?

U. Who performs this piece?

D. Women's choir.

U. Which one? expressive role here the alternating parts of the female choir are played: altos - sopranos?

D. Sopranos have transparent music, while altos have mysterious music. When they replace each other, you seem to fall into a state of hypnosis.

U. Have you noticed how the accompaniment sounds?

D. Fascinating, fabulous! And at the same time spiritual.

U. Is this just a landscape of winter nature?

D. No, this is not just a picture of snowfall. This is time that cannot be stopped, it is endless.

U. This is an image of Time itself, which is contrasted with the theme of creativity. How is creativity intertwined with time? How do the years pass, like dispassionate snowfall or meaningfully, like “words in a poem”? The landscape, so familiar to all of us from childhood, is translated into this work by the poet and composer as a thought about the artist’s purpose.