Musical genres: instrumental concert. Instrumental concert Instrumental concert history of development

20.06.2019

Lesson objectives:

Educational: to introduce students to the origin and development of the instrumental concert genre using the example of the concert “The Four Seasons” by A. Vivaldi, to consolidate ideas about various types of concerts, to expand ideas about program music.
Developmental: continue to introduce the best examples of Baroque music.
Educational: cultivate emotional responsiveness to perception classical music, develop interest and respect for the musical heritage of composers from other countries.

Equipment: multimedia projector, textbook G.P. Sergeeva, E.D. Kritskaya “Music” for 6th grade, a creative notebook for this textbook, phonographs for the textbook “Music” for 6th grade, workbook, musical dictionaries.

Lesson plan:

1. Organizational moment.
2. The Baroque era - composers, genres, musical images.
2.1. Development of the concert genre in the work of A. Vivaldi.
2.2. The history of the ballet “The Seasons”.
2.3. Contemporary performers and performing groups.
3. Homework.

PROGRESS OF THE LESSON

1. Organizational moment

Greeting in the form of a vocal chant performed by the teacher:

- Hello, guys, hello! (Gradual upward movement from the first degree to the fifth according to the sounds of the tonic triad).
Children's answer:

“Hello, teacher, hello!” (Complete repetition of the original chant).

2. Studying new material.

Music inspires the whole world, supplies the soul with wings, promotes the flight of imagination,
music gives life and joy to everything...
She can be called the embodiment of everything beautiful and sublime.

Plato

Teacher: In the very first music lesson in 6th grade, we talked about musical diversity: music can be vocal and instrumental. The topic of our lesson today is “ Instrumental concert" Please name the genres of instrumental music and possible lineups of performers. (Children name the genre of symphony, concerto, vocalise, song without words, sonata, suite and performing compositions - solo music, ensemble orchestral music). Look up the meaning of the word "Concert" in music dictionaries.

(Children look for the given word and read the found definition aloud).

Student: Concert (it. concerto from lat. – concerto– I compete) are called:

1. Public performance of musical works.
2. The genre of a large musical work of a virtuosic nature for a soloist with an orchestra, most often written in the form of a sonata cycle.
3. Polyphonic vocal or vocal-instrumental music, based on the comparison of two or more parts. The concert is built in three parts (fast - slow - fast).
In the history of music there are concerts for a solo instrument and an orchestra, for an orchestra without soloists; in Russian music in the 18th century the genre of sacred music arose choral concert.

Teacher: In the textbook (pp. 108-110), in the visual series, we will consider reproductions of the painting “Spring” by S. Botticelli and reliefs by F. Goujon. What artistic style of music would you use to soundtrack these works of art? The topic of today's lesson is “Instrumental Concert”. You will get acquainted with the origin and development of the genre of chamber music - the instrumental concert. Remember what the artistic style in culture and art is called? European countries in the period from 1600-1750; the works of which composers belong to the Baroque era. (Children must define these words from the topic “Images of Sacred Music of Western Europe”, name the name of J.S. Bach, textbook p. 66). You correctly stated the meaning of this word. Baroque is one of the most beautiful and sophisticated styles in art. Supposedly derived from the Portuguese expression pleurabarocco- a pearl of a bizarre shape. Indeed, Baroque is a pearl in a chain of changing artistic values in painting, architecture, sculpture, literature, music

For the Baroque master it was important to capture the divine beauty of life. Baroque like artistic style inherent expressiveness, splendor, dynamics. Baroque art sought to directly influence the feelings of viewers and listeners and emphasized the dramatic nature of human emotional experiences. It was with the emergence of the Baroque that music first fully demonstrated its capabilities for in-depth and multifaceted embodiment of the world of human emotional experiences. On leading place musical and theatrical genres came to the fore, primarily opera, which was determined by the characteristic Baroque desire for dramatic expression and combination various types art. This was also evident in the field of religious music, where the leading genres were spiritual oratorio, cantata, and passions. At the same time, a tendency was revealed towards the separation of music from words - towards the intensive development of numerous instrumental genres. The highest achievements are represented by Baroque culture in fine arts(Rubens, Van Dyck, Velazquez, Ribera, Rembrandt), in architecture (Bernini, Puget, Coisevoux), in music (A. Corelli, A. Vivaldi, J. S. Bach, G. F. Handel). The Baroque era is considered to be from 1600-1750. During these one and a half centuries, musical forms were invented that, having undergone changes, exist today.

In today's lesson you will get acquainted with the cycle of concerts “The Four Seasons,” which is the pinnacle of A. Vivaldi’s work. Antonio Vivaldi - Italian violinist, composer and teacher.

Vivaldi's creative heritage is extremely large. It covers about 700 titles. Among them are 19 operas. But most importantly historical significance His creativity was the creation of a solo instrumental concert. About 500 works were written in this genre. Many of his concertos were written for one or more violins, two for two mandolins, and a few for unusual music, such as two violins and two organs. Writing concertos for string instruments, the composer was one of the first to turn to composing music for wind instruments, which were considered primitive and uninteresting for composers. The oboe, horn, flute, and trumpet sounded full and harmonious in his concert. A.Vivaldi wrote the concerto for two trumpets to order. Obviously, the performers wanted to prove that beautiful and virtuosic music can be played on the trumpet. To this day, the performance of this concert is proof of the highest skill of the performer. The composer wrote a lot of music for the bassoon - more than 30 concertos for bassoon and orchestra. Among wind instruments, Vivaldi gave particular preference to the flute with its delicate, soft timbre. In the parts assigned to the flute, it sounds in full voice, showing all your virtues.

In the work of A. Corelli, the concerto grosso (comparison of the entire ensemble with several instruments) was formed. A. Vivaldi took a step forward compared to his predecessor: he formed the genre of the solo concert, which differed significantly in the scale of development, dynamism and expressiveness of the music. The concert compositions alternated solo and orchestral parts, based on “well-organized contrast.” The principle of contrast determined the three-part form of the concert: 1st movement – fast and energetic; 2nd – lyrical, melodious, small in shape; Part 3 is the finale, lively and brilliant. The solo instrumental concert was designed for a wide audience, for which there were elements of entertainment, some theatricality, manifested in the competition between the soloist and the orchestra - in the constant alternation of tutti and solo. This was precisely the meaning of the concert, the music.

The cycle of concerts “The Seasons” is the pinnacle of A. Vivaldi’s creativity.
I suggest you listen to the 1st part of the concert. (The 1st part plays, the teacher does not name the title).
– What time of year can this music be associated with? ? (Students determine the initial intonation, character of the music, fast pace, contrasts of dynamics, artistic moments - imitation of birdsong, it’s spring).

The world we live in is full of all kinds of sounds. The rustling of leaves, the rumble of thunder, the sound of the sea surf, the whistle of the wind, the purring of a cat, the crackling of burning wood in the fireplace, the singing of birds...
In time immemorial, man realized that there are different sounds: high and low, short and long, muffled and loud. But sounds themselves are not music. And when a person began to organize them to express his feelings and thoughts, music arose.
How would you describe the melody? (Possible answers from children: you can clearly hear where the orchestra is playing and where the solo violin sounds. the melody performed by the orchestra; the melody is in a major mode, very clear, bright, easy to remember, in a dance rhythm. The melody performed by the soloist is much more complex, it masterly, beautiful, decorated with musical chants, similar to birdsong).

Imitating bird sounds has been popular among musicians of all times. Bird singing was imitated in ancient times, and such imitations are still found in musical folklore different nations. Thinkers, scientists, and musicians searched for the origins of music in the singing of birds. The “musicality” of many birds never ceases to amaze. It is not for nothing that the nightingale has become one of the symbols of art in general, and comparison with it is praise for the singer. Composers of the Baroque era wrote a lot of beautiful “bird” music - “Swallow” by C. Daquin, “Calling”, “Chicken” by F. Rameau, “The Nightingale in Love” and “The Nightingale - the Winner” by F. Couperin, numerous “Cuckoos” by Couperin, A. Vivaldi, B. Pasquini, etc. Are the musical themes of the orchestra and the soloist related? (The musical themes have the same rhythm, bright dynamic excitement, the breath of space in nature, the joy of life is felt).
– Which instrument was the most perfect in the Baroque era?

How few string instruments A.Vivaldi used compared to modern orchestras. In the original version, according to the composer's plan, there are only five strings. Modern string ensembles began with small orchestras consisting of five, then ten, twelve, fourteen instruments. The violin is the most important instrument of the orchestra, the Cinderella of the modern symphony orchestra. Until now, it is the most perfect instrument of all stringed instruments. She has a wonderful sound and incredible range. During the time of Vivaldi and Bach, the best instruments in history were made. In the small Italian town of Cremona, beautiful and unique violins were made. Let's remember the names of Stradivari, Amati, Guarneri. The small town was famous for its craftsmen. Over the past three hundred years, no one has been able to make better violins than the masters of Cremona. In his work, A. Vivaldi showed the brightness and beauty of the sound of the violin as a solo instrument.

Music is one of the art forms. Like painting, theater, poetry, it is a figurative reflection of life. Each art speaks its own language. Music - the language of sounds and intonations - is distinguished by its special emotional depth. It was this emotional side that you felt when listening to the music of A. Vivaldi.

Music has strong impact on the inner world of a person. It can bring pleasure or, on the contrary, cause strong mental anxiety, encourage reflection and reveal previously unknown aspects of life to the listener. It is music that is given the ability to express feelings so complex that they are sometimes impossible to describe in words.

Think, is it possible to stage a ballet to this music? When a soloist and an orchestra compete in skill, they must certainly play for the audience. It is in this constant alternation of the sound of the orchestra and the bright-sounding solo violin, in the feeling of theater and discussion, in the harmony and harmony of the musical form that the characteristic features of Baroque music are felt. When listening to the first part of the concert again, listen to the sounding musical fabric. The melodic voice is combined with continuous, strictly defined accompaniment. This is in contrast to the works of the previous period, where polyphony played a dominant role - the simultaneous sound of several melodies of equal importance.

So, A. Vivaldi’s concert “The Seasons” consists of four parts. The name of each part corresponds to the name of the season. The development of the musical image of each part is based not only on the comparison of the sound of the solo violin and the tutti of the orchestra. In the concert, the music follows the images of poetic sonnets, with which the composer reveals the content of each of the concerts of the cycle, i.e. there is some program. There are suggestions that the sonnets were written by the composer himself. Let us turn to the translations of the sonnet, which became a kind of concert program. The textbook on pp. 110-111 offers two translation options. Which one, in your opinion, most closely matches musical image 1st part of the “Spring” concert? By what means of expressiveness does a literary text convey a person’s mood, his spiritual and emotional state associated with the arrival of spring? A. Vivaldi, using a literary program in his concert, was the founder of program music. In the 19th century, program music arose - a work based on a literary basis.

Program music is a type of instrumental music. These are musical works that have a verbal, often poetic program and reveal the content imprinted in it. The program can be a title indicating, for example, the phenomena of reality that the composer had in mind (“Morning” by E. Grieg for G. Ibsen’s drama “Peer Gynt”) or the one that inspired him literary work work (“Romeo and Juliet” by P.I. Tchaikovsky – overture – fantasy based on tragedy of the same name W. Shakespeare).
Let's move on to working with the textbook. On page 109. you are offered the main theme of the 1st part of the concert “Spring”. I will remind you of its sound by playing the instrument. Can you hum this melody? Let's sing a tune. Knowing the means of musical expression, characterize this musical theme(students describe the melody, mode, duration, tempo, register, timbre). Is this a recurring theme? Which musical form(rondo, variations) has the 1st movement of the concerto been written? What principle of development (repetition or contrast) does the composer use in the music of the 1st movement? Are there any visual episodes? If there are, then determine their necessity and confirm with an example from literary text. Can you hum the melody performed by the soloist? (Difficult to perform, virtuosic passages, like a gust of wind, trills of birds). Compare with a graphic representation of the melody (ascending movement, small durations, etc.). The need to create programmatic instrumental music appeared in Italy back in the 17th century. At that moment when images of heroic deeds and pastoral idylls, pictures of the underworld and natural forces - the raging sea, rustling leaves - came into fashion in opera; the orchestra played a dominant role in such scenes. In comparison with instrumentalist composers of the Baroque era, A. Vivaldi discovered great talent in this area. For a long time, Vivaldi was remembered thanks to J. S. Bach, who made several transcriptions of his works. Six Vivaldi concertos for piano and organ, which for a long time were considered to have been written by Bach himself, were arranged. The work of A. Vivaldi had a great influence on the formation of the creative style of J. S. Bach, especially Vivaldi’s first violin concertos.

You will once again turn to the music of the 1st part of the “Spring” concert, but the listening experience will be unusual: you will both listen and watch a fragment of the ballet “The Four Seasons” to the music of A. Vivaldi, staged by the outstanding French choreographer R. Petit. The ballet is performed by the Marseille troupe.

The play “Seasons” was staged by different choreographers on different music. Many composers wrote music on this topic, such as A. Vivaldi, P. I. Tchaikovsky, A. Glazunov, etc. There were different versions of performances: these are four seasons, four seasons of life, four times of day. Today's performance by choreographer R. Petit is based on Balanchine's theme. Let's turn to the Encyclopedia "Ballet".

George Balanchine, born 1904, American choreographer. His work contributed to the formation of a new direction in choreography. He staged dramatic, comedic, and farcical ballets, often based on a simple plot, where the action was revealed through the means of dance and pantomime; the style of ballet was largely determined decorative design, which had a certain meaning. This direction in his work received the greatest development after 1934. Balanchine began creating ballets to music that was not intended for dance (suites, symphonies, including the Four Seasons concert). In these ballets there is no plot; the content is revealed in the development of musical and choreographic images.

The thought of creating a ballet on Balanchine's theme, a plotless ballet, neoclassical, dance for dance's sake, visited the choreographer. The result of this desire is the creation of the ballet “The Seasons”. Roland is a man - an impressionist, susceptible to impressions. Thanks to the fantastic music of A. Vivaldi and the creative imagination of the choreographer, today's performance was staged. One of the distinctive features of R. Petit as a choreographer is the simplicity and clarity of the choreographic text. R. Petit is a person who can create in absolutely all directions and in all genres: he choreographed dances for films, many revues for musicals, dramatic performances. He staged performances where dance was something divine, something that brings pleasure and joy to those who are in auditorium. R. Petit is a person who loves everything beautiful. For his choreography, he is always guided by only one criterion - beauty, a harmonious combination of musicality and beauty.

The ballet "The Four Seasons" is performed in one of the most beautiful squares in the world - Piazza San Marco in Venice. The divine architecture of the square is the backdrop for this performance. The artists who perform the performance are legendary, as they were the stars of the 70-80s. This is Domenic Colfuni, Denis Gagno, Louis Gebanino. Their creativity and talent were highly appreciated by R. Petit. In particular, Domenique Colfuni is one of Petit’s most beloved ballerinas. D. Colfuni was a ballerina of Paris National Opera, but at the request of R. Petit she left for Marseille. For her, R. Petit created many performances, in particular, the play “My Pavlova”. Just as A. Pavlova was once the ideal for choreographer M. Fokin, D. Colfuni became the same “Pavlova” for R. Petit. (View a fragment of the ballet “Seasons”, “Spring”).

The interest of professional musicians in the music of the Baroque era does not dry up. In 1997, the famous Italian harpsichordist and baroque expert Andrea Marcon created the Venice Baroque Orchestra. Over the course of four years, this group gained fame as one of the best ensembles of baroque instrumental performance, primarily as a convincing interpreter of the music of Antonio Vivaldi. Numerous concerts and opera productions of the orchestra in many European countries have received wide recognition not only among the general public, but also among music critics. The orchestra, with its performances, gave listeners a new interpretation of the works of A. Vivaldi, F. Cavalli, B. Marcello.

In the past concert season, there were concerts in 28 US cities with violinist Robert McDuffie, tours in Japan and Korea with the participation of violinist Giuliano Carmignolo, and a program of works by Antonio Vivaldi was performed in one of the best concert halls in Amsterdam - Concertogebouw. Participating in various festivals in Austria, Switzerland and Germany, the orchestra performed with such famous soloists as Magdalena Kozena, Cecilia Aartoli, Vivica Geno, Anna Netrebko, Victoria Mullova.
The orchestra's extensive discography has received many prestigious awards. It includes recordings of violin concertos by Vivaldi and Locatelli, an album of symphonies and concertos for strings by Vivaldi, and many works by Baroque composers performed by outstanding musicians of our time.

Interest in the music of A. Vivaldi does not dry out. His style is recognizable to wide range listeners, the music is bright and does not lose its colors. An example of this is the appeal of the modern choreographer R. Petit to the music of Vivaldi and his wonderful production of the ballet “The Seasons”, the creation of new instrumental orchestras.

What is the secret of such popularity of A. Vivaldi’s music? Listening to the music of a composer from the distant past, what made a person happy and sad? What did he strive for, what did he think about and how did he perceive the world? Music by A. Vivaldi, the music of the past is understandable. The feelings, thoughts and experiences of modern man have not changed at all compared to the past. This is the joy of life, the perception of the world around us, which in Vivaldi’s music is positive and life-affirming. Concertos in the work of A. Vivaldi were a continuation of the development of the instrumental concert genre, having received a finished form that became a model for subsequent generations of European composers.

3. Homework: assignment in a creative notebook on the topic “Instrumental concert”.

History of the origin and development of the genreCONCERT.

Good afternoon, dear friends, music lovers! I welcome you to the next meeting of our Music Living Room! Today we will talk about the musical genre.

You all know the word “concert” well. What does this term mean? (listener responses). Concerts are different. Let's list them. (Meeting participants pull out notes listing the types of concerts:

Symphony concert

Concert of Russian pop stars

Classical music concert

Concert of Russian folk music

Wind music concert

Early music concert

Concert of the Governor's Orchestra of Russian Folk Instruments "

Concert of Bolshoi Theater soloists

Artist's solo concert

Benefit performance (a spectacle or performance in a theater, the proceeds from which go to one of the participating artists or an entire group, for example, a choir, orchestra), etc.

But there is another meaning of this word. Concert - musical genre. This is what the story will be about today. You will briefly learn about the history of the origin and development of the genre and hear fragments of concerts created by great masters in different historical eras.

What is a concert? The word is formed from concerto - harmony, agreement and concertare - compete) - a piece of music, most often for one or more solo instruments with an orchestra.Indeed, the relationship between the solo instrument and the orchestra in a concert contains elements of both “partnership” and “rivalry.”. There are also concertos for one instrument - without orchestra (concertos -solo) , concertos for orchestra - without strictly defined solo parts, concerts for voice (or voices) with orchestra and concerts for choir . The creator of such a concert is considered to be the Russian composer Dmitry Bortnyansky.

BACKGROUND.

The concerto appeared in Italy at the turn of the 16th-17th centuries as a vocal polyphonic work church music(the so-called spiritual concert) and developed from polychorany and comparison of choirs, widely used by representatives Venetian school. Works of this kind could be called both concerts (concerti) and motets (motetti); later J. S. Bach called his polyphonic cantatas concerts.

Representatives of the Venetian school widely used spiritual concert instrumental accompaniment.

Baroque concert.

By the beginning of the 18th century. Several types of concerto came into use. In concerts of the first type, a small group of instruments is a concertino (concertino, “ small concert") - was contrasted with a larger group, which was called, like the work itself, concerto grosso (concerto grosso, “big concert”). Among famous works This type is 12 Concerto Grosso (op. 6) by Arcangelo Corelli, where the concertina is represented by two violins and a cello, and the Concerto Grosso by a wider cast of string instruments. Concertino and concerto grosso are connected by basso continuo (“constant bass”), which is represented by a typical baroque music accompaniment of a keyboard instrument (most often a harpsichord) and a bass string instrument. Corelli's concertos consist of four or more movements.

A fragment of A. Corelli's concert sounds

Another type of baroque concerto was composed for a solo instrument with an accompanying group called ripieno or tutti. Such a concert usually consisted of three parts, withfirst almost always had the form of a rondo: the introductory orchestral section (ritornello), in which the main thematic material of the movement was exhibited, was repeated in whole or in fragments after each solo section. Solo sections usually gave the performer the opportunity to show off his virtuosity. They often developed ritornello material, but often consisted only of scale-like passages, arpeggios and sequences. At the end of the movement the ritornello usually appeared in its original form.Second , the slow part of the concert was lyrical character and was composed in free form. Fastfinal part It was often of a dance type, and quite often the author returned to the rondo form in it. , one of the most celebrated and prolific composers of the Italian Baroque, wrote numerous recitals, including four violin concertos known asSeasons .

I suggest listening to 3 hours. Concert “Summer”, which is called “Thunderstorm”

Finale of the Concerto in A minor for violin and orchestra (“Moscow Virtuosi”)

Vivaldi also has concertos for two or more solo instruments, which combine elements of the forms of solo concerto, concerto grosso and even a third type of concerto - only for orchestra, which was sometimes called concerto ripieno.

Among best concerts The Baroque era can be called Handel's works, and his 12 concertos (op. 6), published in 1740, are written on the model of Corelli's concerto grosso, whom Handel met during his first stay in Italy.

Concerts by I.S. Bach, including seven concertos for clavier, two for violin and six so-called. The Brandenburg concertos, in general, also follow the model of Vivaldi's concertos: they, like the works of others Italian composers, Bach studied very zealously.

Fragment of the Brandenburg Concerto No. 3 G major

Classical concert.

Although sons , especially Carl Philipp Emanuel and Johann Christian, played an important role in the development of the concert in the second half of the 18th century; it was not they who raised the genre to new heights, but . In numerous concertos for violin, flute, clarinet and other instruments, and especially in 23 keyboard concertos, Mozart, who had an inexhaustible imagination, synthesized the elements of a baroque solo concert with the scale and logic of form classical symphony. In Mozart's late piano concertos, the ritornello turns into an exposition containing a number of independent thematic ideas, the orchestra and soloist interact as equal partners, and in the solo part a previously unprecedented harmony between virtuosity and expressive tasks is achieved. Even , which qualitatively changed many traditional elements of the genre, clearly regarded the manner and method of the Mozart concerto as an ideal.

Mozart Concerto for 3 pianos and orchestra

Beethoven Concerto for Violin and Orchestra

The second and third movements in Beethoven's concerto are connected by a short passage, followed by a cadenza, and such a connection highlights the strong figurative contrast between the movements even more clearly. The slow movement is based on a solemn, almost hymnic melody, which provides ample opportunity for its deft lyrical development in the solo part. The finale of the concert is written in the form of a rondo - this is a moving, “playful” part in which a simple melody, with its “chopped” rhythm reminiscent of folk violin tunes, is interspersed with other themes, although they contrast with the rondo’s refrain, but retain the general dance structure.

Nineteenth century.

Some composers of this period (for example, Chopin or Paganini) completely retained the classical concerto form. However, they also adopted the innovations introduced into the concerto by Beethoven, such as the solo introduction at the beginning and the integration of the cadence into the form of the movement (a cadence is a solo episode that serves as a link between parts). A very important feature of the concert in the 19th century. was the abolition of the double exposition (orchestral and solo) in the first part: now the orchestra and soloist performed together in the exposition. Such innovations are characteristic of the great piano concertos of Schumann, Brahms, Grieg, Tchaikovsky and Rachmaninov, the violin concertos of Mendelssohn, Brahms, Bruch and Tchaikovsky, and the cello concertos of Elgar and Dvorak. Another kind of innovation is contained in Liszt's piano concertos and in some works by other authors - for example, in Berlioz's symphony for viola and orchestra Harold in Italy, in Busoni's Piano Concerto, where he introduces male choir. In principle, the form, content and techniques typical of the genre changed very little during the 19th century. The concerto has held its own in competition with program music, which has had a strong influence on many instrumental genres in the second half of this century. Stravinsky And , do not stray far (if at all) from the basic principles classical concert. For the 20th century characterized by the revival of the concerto grosso genre (in the works of Stravinsky, Vaughan Williams, Bloch and ) and the cultivation of the concerto for orchestra (Bartok, Kodaly, ). In the second half of the century, the popularity and vitality of the concert genre remained, and the situation of “the past in the present” is typical in such various essays, like John Cage concertos (for prepared piano), (for violin), Lou Harrison (for piano), Philip Glass (for violin), John Corigliano (for flute) and György Ligeti (for cello).

Music lesson in 6th grade "Instrumental concert"

Lesson objectives:

Educational: to introduce students to the origin and development of the instrumental concert genre using the example of the concert “The Four Seasons” by A. Vivaldi, to consolidate ideas about various types of concerts, to expand ideas about program music.

Developmental: continue to introduce the best examples of Baroque music.

Educational: to cultivate emotional responsiveness to the perception of classical music, to develop interest and respect for the musical heritage of composers from other countries.

Lesson plan:

PROGRESS OF THE LESSON

1. Organizational moment

Greeting in the form of a vocal chant performed by the teacher:

- Hello, guys, hello! (Gradual upward movement from the first degree to the fifth according to the sounds of the tonic triad).
Children's answer:

“Hello, teacher, hello!” (Complete repetition of the original chant).

2. Studying new material.

Plato

Teacher: In the very first music lesson in 6th grade, we talked about musical diversity: music can be vocal and instrumental. The topic of our lesson today is “Instrumental Concert”. Please name the genres of instrumental music and possible lineups of performers. (Children name the genre of symphony, concerto, vocalise, song without words, sonata, suite and performing compositions - solo music, ensemble orchestral). Look up the meaning of the word "Concert" in music dictionaries.

(Children look for the given word and read the found definition aloud).

Student: Concert (it. concerto from lat. – concerto– I compete) are called:

1. Public performance musical works.
2. The genre of a large musical work of a virtuosic nature for a soloist with an orchestra, most often written in the form of a sonata cycle.
3. Polyphonic vocal or vocal-instrumental music, based on the comparison of two or more parts. The concert is built in three parts (fast - slow - fast).
In the history of music there are concerts for a solo instrument and orchestra, for an orchestra without soloists; in Russian music in the 18th century the genre of spiritual choral concert arose.

Teacher: In the textbook (pp. 108-110), in the visual series, we will consider reproductions of the painting “Spring” by S. Botticelli and reliefs by F. Goujon. What artistic style of music would you use to soundtrack these works of art? The topic of today's lesson is “Instrumental Concert”. You will get acquainted with the origin and development of the genre of chamber music - the instrumental concert. Remember the name of the artistic style in the culture and art of European countries in the period from 1600-1750; the works of which composers belong to the Baroque era. (Children must define this word from the topic “Images of Sacred Music Western Europe", name I.S. Bach, textbook p.66). You correctly stated the meaning of this word. Baroque is one of the most beautiful and sophisticated styles in art. Supposedly derived from the Portuguese expression pleurabarocco- a pearl of a bizarre shape. Indeed, Baroque is a pearl in the chain of changing artistic values in painting, architecture, sculpture, literature, music

For the Baroque master it was important to capture the divine beauty of life. Baroque as an artistic style is characterized by expressiveness, splendor, and dynamics. Baroque art sought to directly influence the feelings of viewers and listeners and emphasized the dramatic nature of human emotional experiences. It was with the emergence of the Baroque that music first fully demonstrated its capabilities for in-depth and multifaceted embodiment of the world of human emotional experiences. Musical and theatrical genres, primarily opera, took the leading place, which was determined by the characteristic Baroque desire for dramatic expression and a combination of various types of art. This was also evident in the field of religious music, where the leading genres were spiritual oratorio, cantata, and passions. At the same time, a tendency was revealed towards the separation of music from words - towards the intensive development of numerous instrumental genres. The highest achievements of Baroque culture are represented in the fine arts (Rubens, Van Dyck, Velazquez, Ribera, Rembrandt), in architecture (Bernini, Puget, Coisevox), in music (A. Corelli, A. Vivaldi, J. S. Bach, G. F. Handel). The Baroque era is considered to be from 1600-1750. During these one and a half centuries, musical forms were invented that, having undergone changes, exist today.

In today's lesson you will get acquainted with the cycle of concerts “The Four Seasons,” which is the pinnacle of A. Vivaldi’s work. Antonio Vivaldi is an Italian violinist, composer and teacher.

Vivaldi's creative heritage is extremely large. It covers about 700 titles. Among them are 19 operas. But the main historical significance of his work was the creation of a solo instrumental concert. About 500 works were written in this genre. Many of his concertos were written for one or more violins, two for two mandolins, and a few for unusual music, such as two violins and two organs. Writing concertos for string instruments, the composer was one of the first to turn to composing music for wind instruments, which were considered primitive and uninteresting for composers. The oboe, horn, flute, and trumpet sounded full and harmonious in his concert. A.Vivaldi wrote the concerto for two trumpets to order. Obviously, the performers wanted to prove that beautiful and virtuosic music can be played on the trumpet. To this day, the performance of this concert is proof of the highest skill of the performer. The composer wrote a lot of music for the bassoon - more than 30 concertos for bassoon and orchestra. Among wind instruments, Vivaldi gave particular preference to the flute with its delicate, soft timbre. In the parts assigned to the flute, it sounds in full voice, showing all its merits.

The cycle of concerts “The Seasons” is the pinnacle of A. Vivaldi’s creativity.
I suggest you listen to the 1st part of the concert. (The 1st part plays, the teacher does not name the title).
– What time of year can this music be associated with? ? (Students determine the initial intonation, the nature of the music, fast tempo, contrasts in dynamics, artistic moments - imitation of birdsong, it’s spring).

Imitating bird sounds has been popular among musicians of all times. The singing of birds was imitated in ancient times, and such imitations are still found in the musical folklore of different peoples. Thinkers, scientists, and musicians searched for the origins of music in the singing of birds. The “musicality” of many birds never ceases to amaze. It is not for nothing that the nightingale has become one of the symbols of art in general, and comparison with it is praise for the singer. Composers of the Baroque era wrote a lot of beautiful “bird” music - “Swallow” by C. Daquin, “Calling”, “Chicken” by F. Rameau, “The Nightingale in Love” and “The Nightingale - the Winner” by F. Couperin, numerous “Cuckoos” by Couperin, A. Vivaldi, B. Pasquini, etc. Are the musical themes of the orchestra and the soloist related? (The musical themes have the same rhythm, bright dynamic excitement, the breath of space in nature, the joy of life is felt).
– Which instrument was the most perfect in the Baroque era?

How few string instruments A. Vivaldi used compared to modern orchestras. In the original version, according to the composer's plan, there are only five strings. Modern string ensembles began with small orchestras consisting of five, then ten, twelve, fourteen instruments. The violin is the most important instrument of the orchestra, the Cinderella of the modern symphony orchestra. Until now, it is the most perfect instrument of all stringed instruments. She has a wonderful sound and incredible range. During the time of Vivaldi and Bach, the best instruments in history were made. In the small Italian town of Cremona, beautiful and unique violins were made. Let's remember the names of Stradivari, Amati, Guarneri. The small town was famous for its craftsmen. Over the past three hundred years, no one has been able to make better violins than the masters of Cremona. In his work, A. Vivaldi showed the brightness and beauty of the sound of the violin as a solo instrument.

Music has a strong impact on a person's inner world. It can bring pleasure or, on the contrary, cause strong mental anxiety, encourage reflection and reveal previously unknown aspects of life to the listener. It is music that is given the ability to express feelings so complex that they are sometimes impossible to describe in words.

So, A. Vivaldi’s concert “The Seasons” consists of four parts. The name of each part corresponds to the name of the season. The development of the musical image of each part is based not only on the comparison of the sound of the solo violin and the tutti of the orchestra. In the concert, the music follows the images of poetic sonnets, with which the composer reveals the content of each of the concerts of the cycle, i.e. there is some program. There are suggestions that the sonnets were written by the composer himself. Let us turn to the translations of the sonnet, which became a kind of concert program. The textbook on pp. 110-111 offers two translation options. Which of them, in your opinion, most closely matches the musical image of the 1st part of the “Spring” concert? By what means of expressiveness does a literary text convey a person’s mood, his mental and emotional state associated with the arrival of spring? A. Vivaldi, using literary program in his concert, he was the founder of program music. In the 19th century, program music arose - a work based on a literary basis.

Program music is a type of instrumental music. These are musical works that have a verbal, often poetic program and reveal the content imprinted in it. The program can be a title indicating, for example, the phenomena of reality that the composer had in mind (“Morning” by E. Grieg for G. Ibsen’s drama “Peer Gynt”) or the literary work that inspired him (“Romeo and Juliet” by P. I. Tchaikovsky - overture - fantasy based on the tragedy of the same name by W. Shakespeare).
Let's move on to working with the textbook. On page 109. you are offered the main theme of the 1st part of the concert “Spring”. I will remind you of its sound by playing the instrument. Can you hum this melody? Let's sing a tune. Knowing the means musical expressiveness, characterize this musical theme (students characterize the melody, mode, duration, tempo, register, timbre). Is this a recurring theme? In what musical form (rondo, variations) was the 1st part of the concert written? What principle of development (repetition or contrast) does the composer use in the music of the 1st movement? Are there any visual episodes? If there are, then determine their necessity and confirm with an example from a literary text. Can you hum the melody performed by the soloist? (Difficult to perform, virtuosic passages, like a gust of wind, trills of birds). Compare with a graphic representation of the melody (ascending movement, small durations, etc.). The need to create programmatic instrumental music appeared in Italy back in the 17th century. At that moment when images of heroic deeds and pastoral idylls, pictures of the underworld and natural forces - the raging sea, rustling leaves - came into fashion in opera; the orchestra played a dominant role in such scenes. In comparison with instrumentalist composers of the Baroque era, A. Vivaldi discovered great talent in this area. For a long time, Vivaldi was remembered thanks to J. S. Bach, who made several transcriptions of his works. Six Vivaldi concertos for piano and organ, which for a long time were considered to have been written by Bach himself, were arranged. The work of A. Vivaldi had a great influence on the formation creative style J. S. Bach, especially the first violin concertos of Vivaldi.

The play “Seasons” was staged by different choreographers to different music. Many composers wrote music on this topic, such as A. Vivaldi, P. I. Tchaikovsky, A. Glazunov, etc. There were different versions of performances: these are four seasons, four seasons of life, four times of day. Today's performance by choreographer R. Petit is based on Balanchine's theme. Let's turn to the Encyclopedia "Ballet".

George Balanchine, born 1904, American choreographer. His work contributed to the formation of a new direction in choreography. He staged dramatic, comedic, and farcical ballets, often based on a simple plot, where the action was revealed through the means of dance and pantomime; The style of the ballet was largely determined by the decorative design, which had a certain meaning. This direction in his work received the greatest development after 1934. Balanchine began creating ballets to music that was not intended for dance (suites, symphonies, including the Four Seasons concert). In these ballets there is no plot; the content is revealed in the development of musical and choreographic images.

The thought of creating a ballet on Balanchine's theme, a plotless ballet, neoclassical, dance for dance's sake, visited the choreographer. The result of this desire is the creation of the ballet “The Seasons”. Roland is a man - an impressionist, susceptible to impressions. Thanks to the fantastic music of A. Vivaldi and the creative imagination of the choreographer, today's performance was staged. One of the distinctive features of R. Petit as a choreographer is the simplicity and clarity of the choreographic text. R. Petit is a person who can create in absolutely all directions and in all genres: he choreographed dances for films, many revues for musicals, and dramatic performances. He staged performances where dance was something divine, something that brings pleasure and joy to those in the audience. R. Petit is a person who loves everything beautiful. For his choreography, he is always guided by only one criterion - beauty, a harmonious combination of musicality and beauty.

The ballet "The Four Seasons" is performed in one of the most beautiful squares in the world - Piazza San Marco in Venice. The divine architecture of the square is the backdrop for this performance. The artists who perform the performance are legendary, as they were the stars of the 70-80s. This is Domenic Colfuni, Denis Gagno, Louis Gebanino. Their creativity and talent were highly appreciated by R. Petit. In particular, Domenique Colfuni is one of Petit’s most beloved ballerinas. D. Colfuni was a ballerina at the Paris National Opera, but at the request of R. Petit she went to Marseille. For her, R. Petit created many performances, in particular, the play “My Pavlova”. Just as A. Pavlova was once the ideal for choreographer M. Fokin, D. Colfuni became the same “Pavlova” for R. Petit. (View a fragment of the ballet “Seasons”, “Spring”).

Interest in the music of A. Vivaldi does not dry out. His style is recognizable to a wide range of listeners; his music is bright and does not lose its colors. An example of this is the appeal of the modern choreographer R. Petit to the music of Vivaldi and his wonderful production of the ballet “The Seasons”, the creation of new instrumental orchestras.

3. Homework: assignment in a creative notebook on the topic “Instrumental concert”.

Instrumental concert

This word itself is, of course, familiar to you, especially in its first meaning. “A concert,” says the musical dictionary, “is a public performance of works according to a pre-compiled program.”

But the fact is that this word has another meaning: this is the name of an essay for some musical instrument(or voices) accompanied by an orchestra. But why is it called that? And why did the competition participants have to play the concert?

This word can be translated as “competition,” thus “Concerto for Piano and Orchestra” is a competition between a pianist and a symphony orchestra.

When you're interested in watching sports competition? When the “opponents” are equal in strength and skill, right? Because if a weak and strong team or a master of sports competes with an amateur beginner, then it is already clear in advance who will win. And this is not at all interesting.

The concert involves a competition between some musical instrument and... a whole symphony orchestra. That's it! Is it really possible for any tiny flute or fragile, graceful violin to win or at least, in sports language, “make a draw” with such a bulk? What kind of competition is this?

Magnificent, my friends, wonderful competition! Since the strength, power and brilliance of a symphony orchestra are contrasted with the talent of the soloist performer, his skill, achieved over years and years of hard work. I’ll tell you a secret that the winner is almost always the one who at first glance seems weakest. The soloist subjugates the orchestra. Of course, only if he is a real musician, a talented performer, because for him this is a very serious test. And when there is no skill and talent, the orchestra wins. But what a sad victory this is. There is victory, but there is no music.

Concert music. You won’t find any difficulties in it! Passages that are complex to the point of puzzling, strong chords, rapidly rolling scales... These are all so-called technical difficulties, testing the fluency of the fingers, the strength of the blow - in a word, the skills of the performing musician. And the composer, when creating a concert, always thinks about how the musician can show all his skills in this work.

However, if the composer thought only about this, if the concert consisted only of problems and ingenious puzzles, it could not be called a real work of art. Such a work would lack the most important thing - thought, content.

Here is what Tchaikovsky writes about the concert: “There are two equal forces here, that is, a powerful orchestra, inexhaustibly rich in colors, with which it fights and wins (subject to the talent of the performer) a small, nondescript, but strong-willed opponent. There is a lot of poetry in this struggle and an abyss of combinations that are tempting for the composer.”

If the pages of the book could begin to sound after these words, we would immediately hear the bright, full-sounding chords of the orchestra - the beginning of the First Piano Concerto. With the first sounds of this music, it’s as if joy itself bursts into the hall. How small and weak the pianist sitting at the piano seems. The powerful sound of the orchestra seemed to isolate it from the hall with a thick wall.

And into this jubilant mass of sounds a mighty bell poured new voice. “Listen! - the measured, solemn chords seem to be telling us. - Listen! You can't help but hear me." And we hear, we hear perfectly the sonorous, strong voice of the piano. The violins burst out in a wide melody and, taming their unbridled rejoicing, the orchestra gradually fell silent.

Now only the piano sounds... Masterly chords and passages replace each other, dressing the melody in a sparkling, rich outfit. But the orchestra has not yet come to terms with it. He will not give in so easily, he will not give up without a fight. A passionate argument breaks out. The main theme is heard either in the orchestra or in the piano part... Yes, of course, this is, first of all, wonderful music. Real music, not just puzzling, virtuoso tricks.

Usually the concert music is bright, joyful and elegant. I must tell you that the word “concert” is translated not only as “competition”, but also as “agreement”. This means that the competition is always friendly.

But, of course, while listening to a concert, you will sometimes feel sad, and dream, and think about something. Sometimes the music can be very dark, even tragic. For example, in Shostakovich’s violin concerto or in the Third Piano Concerto, which we will talk about later. However, this happens much less frequently.

The subtle and expressive musical color of Felix Mendelssohn's violin concerto is combined here with the rigor of form. The composer achieved here that high drama, which allows us to talk about his connection with Beethoven's symphonic traditions. At the same time, the concert is filled with the spirit of romanticism - from the first to the last note. It concentrated the most characteristic features of Mendelssohn's work - lyricism, songfulness, grace, a sense of beauty and harmony of the surrounding world.

A concerto is a large, multi-movement work (although there are also one-movement concerts). Typically there are three parts. The first is the most effective, “the main area of struggle.” The second is slow, lyrical. Her images are often associated with nature. The third part is the finale. The music of the finale is often especially cheerful, fast-paced and brilliant.

What does this structure resemble? Well, of course, a symphony! A little symphony. Only with new actor- soloist.

Unlike a symphony, a concert has a so-called cadenza - a large episode that the soloist performs without an orchestra. It is interesting that in ancient times, when the concert form was just beginning to emerge, the cadenza was composed not by the composer, but by the performer himself. The composer only indicated the place where it should be (usually in the first movement). Then the cadenza was like an insert number in which the soloist showed all his skills and demonstrated the capabilities of the musical instrument. It is not difficult to guess that the musical merits of such a cadenza were, for the most part, not particularly great and did not play a big role in the content of the work.

He was the first to write a cadenza for a pianist in his Fourth Piano Concerto. Since then this has become the rule. Cadenzas have ceased to be “alien” in the general music of the concert, although to this day they retain virtuosity and brilliance and still provide the opportunity for the performer to show real skill, to demonstrate all the capabilities of a musical instrument, be it a piano or a flute, a violin or a trombone.

We say that a concert is a competition, but first of all, it is, of course, a very serious test for the soloist, a serious test for the title of a real performing musician.

Now you probably understand why performing a concert is always included in the competition program.

And if the soloist is real, talented musician, Then...

Text by Galina Levasheva.

Presentation

Included:
1. Presentation - 10 slides, ppsx;
2. Sounds of music:
Tchaikovsky. Concerto for piano and orchestra No. 1. I. Allegro non troppo e molto maestoso (fragment), mp3;
Rachmaninov. Concerto for piano and orchestra No. 3. I. Allegro (fragment), mp3;
Mendelssohn. Concerto for violin and orchestra. I. Allegro molto appassionato (fragment), mp3;
Beethoven. Concerto for piano and orchestra No. 4. I. Allegro moderato. Cadence, mp3;
3. Accompanying article, docx.

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1. The concept of a concert, specifics, classification

A concert is a special complete stage form, which is based on a number, its own laws of construction, its own artistic principles and their “conditions of the game”. Each of them has its own characteristics in form and content.

Concerts come in many different types:

· mixed (musical numbers, artistic readings, scenes from plays, etc.),

· variety (light vocal and instrumental music, humorous stories, circus acts etc.),

· musical,

· literary.

The most common is a divertissement (combined) concert, which may include: singing, music, dancing, skits, parodies, etc. Such a concert, especially a theatrical one, is a work of stage pop art, and vital role it belongs to the director.

Also, a concert - (German - “competition”) - a competition in skill, its demonstration.

1) A piece of music for one or more solo instruments and orchestra.

2) Public performance of musical works.

3) Public performance of works of small forms, competition of different genres and types of performing arts.

The concert is perhaps the most popular and publicly accessible form of cultural and educational work, characterized by significant educational potential. Main function concert - the formation of aesthetic taste and aesthetic feelings, familiarization with the world of beauty. Finally, a successful concert, whether professional or amateur, is always a good opportunity to relax after working day, relieve fatigue and tension, get a boost of energy for working week. The practical methodology provides for a number of requirements and conditions that should be taken into account by directors: high ideological content of the repertoire being performed; its artistic value; genre diversity, especially when we're talking about about a concert for a mixed audience; high quality performance of numbers and episodes; originality of the numbers performed, variety of genres; proper quality of dramaturgical basis and appropriate level of directing.

A concert is a public performance of musical works according to a pre-compiled program. During the Middle Ages, the concert had a musical and instrumental character. Only members of aristocratic, noble families could be invited to it. It was organized for a small number of guests and was closed from prying eyes. The first public concerts were organized in the second half of the 18th century and were purely musical.

The first entertaining concert, with the introduction of a well-thought-out program, was organized in England. They were held in theaters, beer bars with a stage, and in music halls hotels. Types of concerts are independent programs, the originality of which is determined by the objectives, the needs of the viewer, and the aesthetic needs of a specific audience. The main types of concerts can be defined:

1. Solo - a concert of one performer, whose popularity, combined with a deep and vibrant repertoire, can maintain unflagging interest throughout the evening. Recitals also include: concerts choreographic group, choir, one ensemble, orchestra, as a single organism.

2. Concert-divertissement - combined, mixed. Determined by the performance of artists of different genres.

3. Academic, Philharmonic - concert organizations whose goal is to promote highly artistic and musical works (and sometimes various types of pop art and performing arts). The genres performed in such concerts are quite complex in form and content and require special preparedness from the audience.

4. Chamber concerts - (translated as "room") - by the sound of the repertoire, by the nature of the performance, intended for a small room, for a small circle of listeners.

4. Thematic concert - a concert of one dominant theme. She, like a rod, strings and groups everything around herself artistic components concert. Here the genres can be different.

6. Concert-review - (from French "panorama", "review") - a review on a specific topic, its plot, its course, presentation of numbers of various genres, a combination of the pathetic and the comic.

Conventionally, reviews can be divided into 2 types:

1) Revue extravaganza.

2) Chamber revue.

In (1) the decisive factor is the combination of the significance of the content with vivid entertainment. The staging of a revue extravaganza is typical for musical halls and pop groups of this type. In revue extravaganzas, the main components are a variety of variety, circus and other dramatic performances, large groups, dance groups, and pop orchestras. Music plays the main role. Scene The solution in the revue extravaganza is distinguished by the effective use of the technical capabilities of the stage.

7. A pop concert is the pinnacle of entertainment; they pay less attention to chamber music, especially instrumental music, and serious genres. Main place: pop song, humor, dance.

8. Gala concert - (from French “big”) - a particularly festive, solemn spectacle that attracts the public.

9. A show is a magnificent spectacle with the participation of pop stars, circus, jazz, sports, etc., in which the spoken words, as the most complete expression of the content of the work being performed, turn out to be a hidden entourage of scenery, light, and technical capabilities.

10. Concert-shatan - entertainment events with different programs in bars, restaurants, hotels, concert halls.

Organizing concerts is an administrative and technical process. It consists of several stages:

2. Scenario development. Director's preparation of the project;

3. Invitations of star performers;

4. Technical support for the concert;

5. Decorating holidays with design solutions;

6. Administrative control and processing of transfers of performers and participants.

Various kinds of celebrations, presentations of albums of favorite artists, concert tours world stars and state stage, corporate and public holidays, sports competitions all year round gather tens of thousands of people in stadiums, squares, concert halls, parade grounds. Entire teams of specialists work to organize each event.

The basis of the concert is the numbers. Depending on their content, structure and character, the following types of concerts are distinguished: divertissement, thematic, theatrical and reporting. Divertimento concerts are composed of musical numbers various genres. They are usually plotless. Thematic concerts are held in clubs in connection with holidays and anniversaries.

Recently, theatrical concerts have become very popular - a type of thematic concert in which numbers are combined into a single whole. The theatrical concert is a synthesis of various musical genres. Theatrical thematic concerts are organized in connection with major events of a political nature, significant dates. They are part of a ceremonial meeting, the end of amateur art shows, music celebrations, and music festivals.

Unlike a thematic concert, a theatrical concert, in addition to the theme, has its own clear storyline. As a rule, a theatrical concert structurally looks like this: a prologue, the main part of the program, consisting of episodes and theatrical numbers, and a finale. Amateur music hall programs have become widespread, bringing together various genres pop art. Drawing up such a program is one of the most important and difficult aspects of organizing concert activities.

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