Find out from additional sources the history of the creation of the cantata. The history of the creation of the cantata "Alexander Nevsky" by S. Prokofiev
S. Prokofiev cantata “Alexander Nevsky”
The historical theme occupied a special and important place in the work of the Soviet composer Sergei Sergeevich Prokofiev. Among his works on similar topics, the cantata “Alexander Nevsky”, written for choir, mezzo-soprano and orchestra, stands out. In it, the composer continues the traditions leading from the operas " Ruslan and Lyudmila "M. Glinka and " Prince Igor » A. Borodina.
History of creation
The famous Soviet director Sergei Eisenstein in 1938 turned to Prokofiev with a proposal to write music for his new film dedicated to Alexander Nevsky. It showed the heroic feat of the Russian prince and his squad, who fought against the Teutonic crusading knights. The composer gladly accepted this offer, especially since Sergei Sergeevich himself had long been a fan of Eisenstein’s directorial talent and it was doubly pleasant for him to work with such a person. To fulfill the order, Prokofiev even went to Hollywood to familiarize himself with all the nuances of the musical design of films. There he met famous film directors: Mamulyan and Disney, and was also able to gain experience and expand his understanding of the possibilities of sound cinema. By the way, this is not the first such work of Prokofiev, because earlier he had already composed music for the film “Lieutenant Kizhe”.
Returning to Russia, the composer immediately set to work, and he constantly consulted and worked closely with Eisenstein. Usually the director showed Prokofiev a small fragment of footage so that he could compose music for it. But sometimes Sergei Sergeevich already composed the musical part in advance, and Eisenstein then built the visual sequence, adjusting to the music. Often Prokofiev had to spend whole days in the studio on Potylikha, where the filming was taking place, in order to take part in the process himself. Thanks to such close cooperation, the work proceeded quite quickly. The texts of the cantata were entrusted to the poet Vladimir Lugovsky, but some of them were composed by the composer himself.
The theme of the work required a thorough study of all materials related to this event, as well as familiarization with the music of Ancient Rus' and Catholic hymns of the Middle Ages. Sergei Sergeevich decided to act innovatively and present the musical version not in the form in which it could have been during the Battle of the Ice, but in the modern one. The same applied to Russian songs. Prokofiev did not go into detail about how this music sounded 700 years ago, but modernized it.
For the summer, Sergei Sergeevich went on vacation to the North Caucasus, but even there he continued to work on the score of “Alexander Nevsky”; returning to the capital in the fall, he successfully completed the musical part. Already on December 1, 1938, the premiere of the film with the brilliant music of Prokofiev took place, which immediately won the love of the public. The composer was very inspired by this success and decided to compose a cantata based on the musical part of the film. Over the next few months, he worked hard on the piece. The composer himself admitted that in reality everything was not as simple as it might seem at first glance. Prokofiev noted that it was easier for him to compose a new work than to come up with connections. Some parts of the score remained unchanged - this is the introduction, “Song of Alexander Nevsky” and “Rise up, Russian people”, but he had to significantly modify the remaining parts, and some fragments were completely deleted, for example, the music for the duel between the prince and the Teutonic master.
And the score itself required orchestration, since the previous version was completely unsuitable for performance in a concert hall and was designed to create experimental effects. In addition, the entire score, which consisted of separate episodes, had to be combined and subordinated to the laws of the vocal-symphonic cycle. In total, the cantata included seven different parts and each of them received its own name.
Interesting facts:
- A cantata is a vocal and instrumental work consisting of separate numbers and parts. They are all interconnected in meaning. The word cantata comes from the Italian “cantara” and means “to sing.”
- During a visit to Hollywood, Prokofiev received a very lucrative offer from a major American company to create film music; he was promised a salary of $10,000 a month. However, the composer refused such a generous offer, citing heavy workload in Moscow. In fact, he did not want to leave his family and homeland.
- While working on the music for the film, Prokofiev paid attention to all the details, including carrying out some sound engineering work. He noticed how the timbre of this or that sound would be colored, directed exactly into the microphone. Thus, strong direct sound could damage the film and give a rather harsh timbre. Then he came up with the idea of using this feature to record music characterizing the enemy camp. This timbre was perfect for depicting the crusaders. To achieve this, the composer asked the musicians to play fanfare themes very close to the microphone.
- When creating film music, the composer had to experiment with “inverted” orchestration in order to find original effects.
Content
It is difficult to imagine another equally significant work in classical music born from film music. The entire structure of the cantata is maintained in a seven-part form with a strict logic of internal parts. Researchers note the presence of sonata form features in the work. Moreover, Prokofiev does this quite subtly, avoiding clear schemes of the sonata cycle, in the comparison and development of two conflicting images. In general, the cantata was greatly influenced by the principles of cinema, with its rapid development of editing. In addition, Prokofiev widely applies the principle of sound recording and in his music one can clearly hear the croaking of a raven, military signals, the neighing of horses, and the cracking of ice.
"Rus under the Mongol yoke"- first part of the cantata. Researchers note that it is the most compressed and undeveloped of all. This is a kind of introduction to the entire cycle. The music very vividly conveys the deserted space, creating a mournful mood. Prokofiev very subtly managed to emphasize the feeling of time and emptiness through a combination of very high and very low sounds, sounding in unison. The wild alien Mongolian theme is carried out along with the sad tunes of wide breathing.
"Song about Alexander Nevsky"– the second part, which is very significant. It symbolizes the “Theme of Rus'”, expressing its invincible power. The choir performs a melody very close to Russian epics. However, Prokofiev transformed this tune, giving it dynamics and adding energy. The sound of harps imitating the plucking of harps gives a special epic quality.
“Song about Alexander Nevsky” - listen
"Crusaders in Pskov"– the third part, permeated with an atmosphere of horror and grief. The extreme parts of this episode convey enemy images, and the middle - the deep suffering of defeated people. In this movement, Prokofiev uses the theme of a Catholic chorale, sung by a choir in Latin. The rough, dissonant sound only enhances the effect of this theme and highlights the middle episode, in which the Russian melody returns, only it conveys folk lamentation. It is in this episode that the two warring camps collide for the first time.
“Get up, Russian people!”- the fourth part of the cantata. This choir is made in the genre of a heroic squad song. Only in the middle of the choir does the lyrical-epic theme “There is no enemy in native Rus'” appear, sounding smoothly and lightly.
“Get up, Russian people!” - listen
Plot, history of the creation of the cantata "Alexander Nevsky" BRIEFLY
- Cantata Alexander Nevsky - The most famous piece (fragment) from this cantata is the Battle of the Ice. This cantata carries a patriotic and heroic style. At the end the final choir performs: Arise, Russian people.
This cantata shows how Prince Alexander Nevsky stood up to defend his Motherland along with his soldiers against the Swedes.
"Rus under the Mongol yoke"
"Song about Alexander Nevsky"
"Crusaders in Pskov"
"Get up, Russian people"
"Battle on the Ice"
"Dead Field"
"Alexander's entry into Pskov"- In 1938, Sergei Eisenstein's film "Alexander Nevsky" with music by Sergei Prokofiev was released on cinema screens in our country. It was an alarming time: Hitler's fascism had already begun its barbaric invasion of European countries and the threat of a fascist invasion loomed over the whole world. There were less than three years left before the war with the Germans, and the plot of the film was based on the events of another war, but the same with the German invaders.
The cantata "Alexander Nevsky", a monumental work for choir, mezzo-soprano and orchestra, was created by Prokofiev in 1939 based on the film score. The text for the cantata was written by the poet Vladimir Lugovskoy and the composer himself. The cantata sounded like a decisive warning, like a formidable reminder of what awaits the enemy who decides to attack our Motherland. Despite the fact that the music was previously composed for the film, in the cantata it acquired its own dramaturgy, its own development, its own form, and became a new and completely independent musical and dramatic work.
“Alexander Nevsky” occupies the most important place in Prokofiev’s work, establishing in it a heroic-epic national theme, which then develops in the opera “War and Peace”, in the music for “Ivan the Terrible”, in the Fifth Symphony and in some other works. This new valuable side of Prokofiev’s talent was revealed in the atmosphere of Soviet art, characterized by its constant and deep interest in the people and their history.
The composer's approach to the historical theme is noteworthy. Prokofiev has a surprisingly accurate sense of the historical era. But strict, like ancient frescoes, images of antiquity in “Alexander Nevsky” are imbued with that keen sense of our modernity. The soulless "iron" music of the crusaders is perceived, in essence, as a characteristic of modern aggressive and reactionary forces.
Prokofiev is not interested in directly turning to ancient musical material. It seemed to him more “profitable” to give the music of the crusaders, he writes, “not in the form in which it actually sounded during the Battle of the Ice, but in the form in which we now imagine it. It’s the same with the Russian song: it’s not necessary was given in a modern warehouse, leaving aside the question of how it was sung 700 years ago."
The musical characterization of the crusaders is based on a chorale created by Prokofiev in the familiar “Bach” style. Thanks to special harmonic and orchestral techniques, it acquires dark and harsh features. The harmonic, timbre and rhythmic aspects prevail in it over the melody; characterized by tense dissonant combinations and ostinato mechanical rhythm; roaring piercing brass (often with mutes), percussion.
The characterization of Russians is dominated by the song principle, clear diatonic harmonies; The orchestra is dominated by strings. There is a whole string of sad and mournful melodies, majestic and heroic, daring and cheerful. In them one can clearly sense the continuation of the epic traditions of Glinka and the Kuchkists, refracted, however, through the originality of Prokofiev’s style. Prokofiev in "Alexander Nevsky" came to the creation of an organic modern epic musical style on a strongly national basis.
The cantata has seven parts, each of them represents a complete number:
"Rus under the Mongol yoke"
"Song about Alexander Nevsky"
"Crusaders in Pskov"
"Get up, Russian people"
"Battle on the Ice"
"Dead Field"
"Alexander's entry into Pskov"y4nu6gnvsh
Novgorod Prince Alexan performed many military exploits - what short answers...
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- The cantata is an example of a Soviet historical and heroic epic. The work reflects pictures of the enemy invasion, the patriotic upsurge of the entire people, the decisive battle, mourning the fallen and glorifying the Motherland. The author used contrasting means to depict the opposing forces: expressive diatonic melodies are characteristic of the Russian themes in the cantata, while the crusaders are represented by emphatically dissonant music in the Catholic style, based on the stylized Latin hymn Peregrinus expectavi.
- here's your search.
History of creation
At the beginning of 1938, the largest Soviet film director Sergei Eisenstein conceived a big sound film about Alexander Nevsky. He decided to involve Prokofiev, whom he had known well since the 1920s, as the author of the music. Being a long-time admirer of his remarkable directorial talent, I gladly accepted the offer, the composer recalled. Soon he went on his last trip abroad, and in Hollywood he specially studied the technique of musical design for films, although he himself was no longer a novice in this matter: he had previously written the music for the film Lieutenant Kizhe. Upon returning from the trip, Prokofiev set to work. It proceeded in the closest collaboration with Eisenstein. The work proceeded in two ways: either the director showed the composer a completed piece of film, leaving him to decide what the music for it should be, or Prokofiev wrote this or that musical episode in advance, and Eisenstein built the visual sequence based on this music. It also happened that the director told Prokofiev about some episode, illustrating it with pencil drawings, and then filmed it based on the finished score.
This creative community was based on the boundless trust of artists in each other. Prokofiev was convinced that the famous director turned out to be a very subtle musician, while Eisenstein was amazed by Prokofiev’s ability to instantly become infected with a visual impression and convey in music the essence of the artistic image captured on film. The next day he will send me music that... will permeate my editing structure with sound counterpoint, the law of structure of which he carries away in the rhythmic figure that his fingers tapped, the director said, recalling how Prokofiev, while watching the filmed episodes, tapped some complex rhythmic structures on the arm of a chair. The text for the vocal fragments was written partly by Prokofiev himself, partly by the poet Vladimir Lugovskoy (1901-1957).
Alexander Nevsky was released on December 1, 1938 and immediately won enormous success. This success gave the composer the idea of writing a cantata based on the music for the film. He devoted the winter of 1938-1939 to this work. The task turned out to be very difficult. Sometimes it’s easier to write a completely new play than to come up with spikes, he complained to his loved ones. It was necessary to completely re-orchestrate all the music, since the previous orchestration was designed for the use of electronic means used in recording film music, various effects associated with the approach and distance of an instrument from the microphone, etc. In addition, from the scattered fragments sounding throughout the film, it was necessary to compose harmonious sections of the vocal-symphonic cycle. Cantata, which received Op. 78, consists of seven parts, Rus' under the Mongol yoke, Song about Alexander Nevsky, Crusaders in Pskov, Arise, Russian people, Battle of the Ice, Field of the Dead and Alexander's Entry into Pskov, absorbed all the best that was in film music. On May 17, 1939, its premiere took place in the Great Hall of the Moscow Conservatory.
Music
Sergei Sergeevich Prokofiev / Sergei Prokofiev
The music of Alexander Nevsky embodied the best features of Prokofiev's work - the universality of a style capable of embodying Russian heroic images, soulful lyrics, and harsh, mechanized images of invaders with equal force. The composer combines pictorial episodes with song and choral scenes, close to the operatic oratorio style. The breadth of musical generalizations does not interfere with the visible concreteness of individual images.
Rus' under the Mongol yoke is a short symphonic prologue introducing the harsh atmosphere of the era and events. Archaic chants with a wild, sobbing grace note dominate, with a wide range of - NEED 3 WORDS
- Sergei Prokofiev. Cantata Alexander Nevsky
Every nation has its own national heroes who are loved, honored and remembered. Their names remain for centuries, and their moral character is not only not erased in the memory of their descendants, but, on the contrary, becomes brighter and lighter over time. This fully applies to Alexander Nevsky. This name in Rus' is still pronounced with special pride and respect.
The Novgorod prince Alexander Yaroslavich performed many military feats. His army heroically fought the Swedes on the Neva River. For the victory over the enemy, the people nicknamed the Grand Duke Nevsky.
Soon after the Battle of the Neva, detachments of German crusading knights moved to Rus'. Their banners were embroidered with black crosses, and there were black crosses on the shields of the knights.
In the spring of 1242, a bloody massacre took place on Lake Peipus.
Alexander Nevsky was in the thick of the battle. The battle (battle) was going on all around such that the ice of the lake became hot. The Russians fought fiercely. And how can one fight without fury when children and women are left behind, villages and cities are left behind, the native land with a short and sonorous name remains - Rus' (O. Tikhomirov).
Historical events associated with the name of the Russian prince Alexander Nevsky are reflected in works of various arts. The artist P. Korin created the triptych Alexander Nevsky, which consists of three independent paintings-parts that form a single whole.
Two more outstanding works of the same name are devoted to the same topic: the film by S. Eisenstein and the cantata by S. Prokofiev.
The word cantata comes from the Italian cantara, which means to sing. The cantata consists of several numbers (parts). Designed for individual singers (soloists), choir and orchestra.
Sergei Prokofiev approached the historical topic in a very unique way. He had a true sense of the historical era. The ancient images of Alexander Nevsky were imbued with a keen sense of modernity. Remember what was happening in the world in the late 30s? Fascism is rampant in Western Europe. And the iron music of the crusaders sounded like a characteristic of modern aggressive forces.
The cantata Alexander Nevsky was written to texts by the poet Vladimir Lugovsky and the composer himself. It is intended for mezzo-soprano, mixed choir and orchestra.
The cantata originated from the music for the film of the same name, which was staged in 1938 by the outstanding Soviet film director Sergei Eisenstein. The picture told about the heroic struggle of the squad of Alexander Nevsky with the Teutonic knights-crusaders. This film has become a classic of Soviet cinema. He is an amazing example of the collaboration between director and composer. This has never happened in the history of music. The music was born under the direct impression of the film footage.
After filming a certain episode of the film, Eisenstein called Prokofiev. Sergei Sergeevich looked through the footage, as if absorbing it into himself, trying to feel the character and rhythm of each scene. Then he went home and the next day brought the finished music, which amazed with the brightness of the images.
The visibility of images is the most characteristic feature of Prokofiev's music. His powers of observation and ability to capture and convey in music the voices of people, their gestures and movements are amazing. In this regard, the very process of creating music for Alexander Nevsky is interesting - under the direct impression of the film footage.
The director of the film Alexander Nevsky S. Eisenstein spoke about this well:
Tmen Hall. But not so much that in the reflections of the screen you can’t catch his hands on the arms of the chair: these huge, strong Prokofiev hands, with steel fingers covering the keys, when with all the elemental fury of his temperament he brings them down on the keyboard...
A picture runs across the screen.
And along the arm of the chair, trembling nervously, like the receiver of a Morse telegraph, Prokofiev’s mercilessly precise fingers move. Is Prokofiev beating time? No. He hits a lot more. He's in about
Performers: mezzo-soprano, mixed choir, symphony orchestra.
History of creation
At the beginning of 1938, the largest Soviet film director Sergei Eisenstein conceived a big sound film about Alexander Nevsky. He decided to involve Prokofiev, whom he had known well since the 1920s, as the author of the music. “Being a long-time admirer of his wonderful directorial talent, I gladly accepted the offer,” the composer recalled. Soon he went on his last trip abroad, and in Hollywood he specially studied the technique of musical design for films, although he himself was no longer a novice in this matter: he had previously written the music for the film “Lieutenant Kizhe”.
Upon returning from the trip, Prokofiev set to work. It proceeded in the closest collaboration with Eisenstein. The work proceeded in two ways: either the director showed the composer a completed piece of film, leaving him to decide what the music for it should be, or Prokofiev wrote this or that musical episode in advance, and Eisenstein built the visual sequence based on this music. It also happened that the director told Prokofiev about some episode, illustrating it with pencil drawings, and then filmed it based on the finished score.
This creative community was based on the boundless trust of artists in each other. Prokofiev was convinced that the famous director “turned out to be a very subtle musician,” while Eisenstein was amazed by Prokofiev’s ability to instantly become infected with a visual impression and convey in music the essence of the artistic image captured on film. “The next day he will send me music that... will permeate my editing structure with sound counterpoint, the law of structure of which he carries away in the rhythmic figure that his fingers tapped,” the director said, recalling how Prokofiev tapped his fingers while watching filmed episodes some complex rhythmic structures on the arm of the chair. The text for the vocal fragments was written partly by Prokofiev himself, partly by the poet Vladimir Lugovskoy (1901-1957).
“Alexander Nevsky” was released on December 1, 1938 and immediately became a huge success. This success gave the composer the idea of writing a cantata based on the music for the film. He devoted the winter of 1938-1939 to this work. The task turned out to be very difficult. “Sometimes it’s easier to write a completely new play than to come up with spikes,” he complained to his loved ones. It was necessary to completely re-orchestrate all the music, since the previous orchestration was designed for the use of electronic means used in recording film music, various effects associated with the approach and distance of an instrument from the microphone, etc. In addition, from the scattered fragments sounding throughout the film, it was necessary to compose harmonious sections of the vocal-symphonic cycle. Cantata, which received Op. 78, consists of seven parts - “Rus under the Mongol yoke”, “Song about Alexander Nevsky”, “Crusaders in Pskov”, “Rise up, Russian people”, “Battle of the Ice”, “Dead Field” and “Alexander’s Entry into Pskov ", - absorbed all the best that was in film music. On May 17, 1939, its premiere took place in the Great Hall of the Moscow Conservatory.
Music
The music of “Alexander Nevsky” embodies the best features of Prokofiev’s work - the universality of a style capable of embodying Russian heroic images, soulful lyrics, and harsh, mechanized images of invaders with equal force. The composer combines pictorial episodes with song and choral scenes, close to the operatic oratorio style. The breadth of musical generalizations does not interfere with the visible concreteness of individual images.
“Rus under the Mongol Yoke” is a short symphonic prologue that introduces the harsh atmosphere of the era and events. Archaic chants with a wild “sobbing” grace note dominate, with widely spaced unisons sounding from the highest and lowest instruments, thereby creating the impression of immeasurable distance and vast spaces. In the epic “Song of Alexander Nevsky” the main theme of Russia, its invincibility and greatness arises (“And that was the case on the Neva River”). In the part “Crusaders in Pskov”, opposing images collide for the first time. The harsh, with sharp harmonies, menacing-sounding heavy brass, harsh ascetic chorale and warlike fanfares characterize the enemies are contrasted with mournful tunes and the tremulous emotionality of the sound of the strings, embodying the people's grief. The main melody of the choir “Get up, Russian people”, born of Russian folk song, breathes combat prowess and courage. The center of the cantata is a grandiose painting of the “Battle on the Ice”. The picturesque introduction paints a picture of the morning landscape on the shores of Lake Peipsi. And then, gradually growing and accelerating, a terrible inhuman force approaches with an inexorable pace. Against a persistently hammered-in ostinato background, the Catholic chorale from the third movement sounds, reaching the point of frenzy. They are contrasted with the brave theme “Get up, Russian people”, and mocking buffoon tunes, and the rapid rhythm of the galloping of Russian horsemen. The battle episode ends with an almost visible picture of the disaster (the crusaders fall through the ice). The sixth part, “Dead Field,” is the only solo aria in the cantata that has the features of a folk lament. She captivates with the severity of the melody, the depth and sincerity of feeling. The victorious and patriotic finale is distinguished by its bright, festive orchestration, the ringing of bells, and the sound of Russian themes that appeared earlier. The majestic sound of the chorus “In Rus' is dear, in Rus' there is no great enemy” completes the cantata.
1.Org. moment.
Greetings.
2. Checking homework.
Performance of the song “My Russia”.
What genres of vocal music do you know?
What is a song? Name the genres of the song. Give an example.
What is romance? Give an example.
- Today in the lesson we will get acquainted with the cantata genre of vocal - instrumental creativity.
- Do you know what a cantata is?
A cantata is a large work consisting of several parts. It is usually performed in a concert hall by a choir, orchestra and solo singers.
Today in class we will listen to fragments of the cantata “Alexander Nevsky”.
- Do you know who Alexander Nevsky is? Alexander - Grand Russian Duke, born in November 1220 In 1236 he was placed under the reign of Novgorod, since his father Yaroslav went to reign in Kyiv, and in 1239 he married the Polotsk princess Alexandra Bryachislavna . In honor of his victory in the battle with the Swedes on the Neva River, he was given the nickname Nevsky.
In the conditions of terrible trials that befell the Russian lands, Alexander Nevsky managed to find the strength to resist the Western conquerors, gaining fame as a great Russian commander, and also laid the foundations for relations with the Golden Horde. In the conditions of the devastation of Rus' by the Mongol-Tatars, he, through skillful policies, eased the burdens of the yoke and saved Rus' from complete destruction. “The preservation of the Russian land,” says Solovyov, “from troubles in the east, famous exploits for faith and land in the west brought Alexander a glorious memory in Rus'. Alexander Nevsky was elevated to the ranks of saints for his merits.
S.S. Prokofiev, a Russian composer, admiring the exploits of the Russian prince, wrote a musical work - a cantata, which he called “Alexander Nevsky”.
The cantata “Alexander Nevsky” was written to texts by the poet Vladimir Lugovsky and the composer himself. It is intended for mezzo-soprano, mixed choir and orchestra. The cantata arose from the music for the film of the same name, which was staged in 1938 by the outstanding Soviet film director Sergei Mikhailovich Eisenstein. The film and its music, created shortly before the Great Patriotic War, resurrected on the screen the heroic struggle of Alexander Nevsky's squad with the Teutonic crusading knights.
The cantata has seven parts: Each part amazes with the brightness of its images. Listening to music alone, it’s as if you’re seeing frames of a film in front of you - the endless plains of Rus', Pskov devastated by the Germans, watching the battle on Lake Peipsi, the terrifying advance of the Crusaders, the rapid attacks of the Russians, the death of knights in the cold waves of the lake.
“Song about Alexander Nevsky”- second part of the cantata. The music is majestic and austere. It looks like a fresco by an ancient Russian painter who depicted a warrior stern and devoted to his homeland. The song talks about the Russian victory over the Swedes and gives a warning: “Whoever comes to Rus' will be beaten to death.” Both the text and music are in an epic spirit. The vocal part is performed by a unison choir - male voices, supplemented by altos. The main melody is narrative and measured.
The “Song of Alexander Nevsky” reproduces features characteristic of the tunes of many ancient Russian epics.
In the middle part of the song, the narration becomes more agitated and the tempo quickens. In accordance with the rhythm of the verse, two- and three-beat sizes replace each other in music. The orchestra reproduces the sounds of battle - the clanking of weapons, the blows of swords. Harps imitate the sound of harps that accompanied epic songs in the old days.
(talk about the three-part form) When listening again, work with cards.
“Get up, Russian people"- the fourth part. This is a choral song of a completely different nature. Not a story about past events, but a call to fight for Russian soil. During the Great Patriotic War, the choir “Rise up, Russian people” was often heard on the radio. The film “Alexander Nevsky” was shown to soldiers of the Soviet Army at the fronts.
For a long time, there has been a custom in Rus' to announce important events by striking an alarm bell. The orchestral introduction to the choir imitates the alarming and menacing bell sounds that later accompany the singing of the choir in its first part. In the melody, in its persistently repeated energetic intonations, battle cries and appeals are heard. The rhythm of the march emphasizes the heroic nature of the music.
- What is an alarm? ( A signal to gather people in the event of a fire or other disaster, given by the striking of a bell. The sounds of the alarm. Ring the alarm - 1) by ringing a bell to notify of a disaster, to call for help; = 2) trans. raise the alarm, draw public attention to something. danger).
Is there a three-part form in this fragment?
When listening again, work with cards.(children identify the three-part form of music by ear and show cards)
Describe each part of the musical fragment .
- In Russian folklore and in the works of composers there are works that glorify heroes, defenders of the Motherland. Today we will get acquainted with r.n.p. “Soldiers, brave boys.”
- What is r.n.p.?
When listening to a song, determine its genre and try to understand what the song is about?
- What genre should we classify the song? What is the song about?
Learning in an ensemble with a teacher.
3. Lesson summary.
What did we talk about in class today?
What is the topic of our lesson?
What new did you learn in class today?
What is a cantata?
What composer did we meet today?
What piece did we listen to today?
What song did we learn today?
What is this song about?
4.Homework
Learn the definitions in your notebook.
An analysis of S. Prokofiev's cantata "Alexander Nevsky" helps the teacher tell students in detail about the musical images created by the composer. Show what means of musical expressiveness the master used to depict the musical characteristics of characters, pictures of nature, and human feelings.
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Analysis of the cantata by S.S. Prokofiev "Alexander Nevsky"
Features of the musical language of the cantata;
Lesson Objectives
- educational:
Reinforce the concepts: “cantata”, “contrast”, “musical painting”, “expressiveness and
Fineness";
Assess the significance of the work of the great Russian composer S. Prokofiev in embodiment
A holistic image of the Russian people as defenders of the Motherland;
Analyze the musical language of the work using the expressive means of music:
Tempo, register, timbre, melody, mode, intonation, dynamics.
- developing:
Instill a caring attitude towards the history of your people;
Develop the ability to analyze, compare, generalize;
Improve vocal and choral skills.
- educational:
Awaken and educate children’s patriotic feelings, pride in the heroes of the Fatherland;
Tasks:
- continue to get acquainted with the genres of vocal music;
- develop students’ ear for intonation and creative abilities;
- develop the ability to analyze a musical work.
Musical material:
S. Prokofiev Cantata “Alexander Nevsky”
Equipment: computer, CD, portrait of S. Prokofiev, presentation.
Seven centuries have passed, but people know and revere A. Nevsky, and works of various types of art help to convey his image to descendants, “to call through the past to the present.”
Cantata - vocal and instrumental work for soloists,choir and orchestra.
Cantata “Alexander Nevsky” by S.S. Prokofiev
A monumental work for choir, mezzo-soprano and orchestra. The cantata was created in 1938-1939. based on the music for the film of the same name by S. Eisenstein. The textual basis of the poet V. Lugovsky and the composer himself.
“Alexander Nevsky” was released on December 1, 1938 and immediately became a huge success. This success gave the composer the idea of writing a cantata based on the music for the film. From scattered fragments heard throughout the film, it was necessary to assemble harmonious sections of the vocal-symphonic cycle. The work proceeded very quickly and on May 17, 1939, its premiere took place in the Great Hall of the Moscow Conservatory.
“Alexander Nevsky” occupies the most important place in the composer’s work. Prokofiev. Establishes a heroic-epic national theme in this work.
The basis of the musical characteristics of the Germans is the chorale, created by Prokofiev in the familiar Bach style. Thanks to harmonic and orchestral techniques, it acquires dark and cruel features.
In Russian music, the song principle dominates, and strings predominate in the orchestration. There is a whole string of melodies: sad, mournful, majestic, heroic, daring and cheerful.
The cantata has 7 movements.
1. “Rus under the Mongol yoke”
2. “Song about Alexander Nevsky”
3. “Crusaders in Pskov”
4. “Get up, Russian people”
5. “Battle on the Ice”
6. "Dead Field"
7. “Alexander’s entry into Pskov”
“Rus under the Mongol yoke” is an introduction. A small orchestral picture of a three-part structure. The wild Mongolian theme, like a heavy heel, crushed the Russian land, and the joyless, broadly drawn-out tunes.
“Song about Alexander Nevsky” for male choir and altos. The form of construction is a three-part reprisal. This is the beginning of events given in an epic sense - a story about the recent victory of the Russians over the Swedes (“And that was the case on the Neva River”), about the upcoming new test (“We will not give up Russian land”). “Whoever comes to Rus' will be beaten to death” is the main idea of this part.
“Crusaders in Pskov” makes a sharp contrast with the previous issue. The appearance of the crusaders is a mixture of hypocrisy and cruelty. The sombre introduction of the orchestra is replaced by “holy” singing. The melodic line of the chorale is poorly developed (within a few notes), which shows the characters' fixation on one thought.
The second and third numbers of the cantata represent an exposition of opposing forces.
“Get up, Russian people” - calling chorus. The oppressed Rus' before us is shown in a new guise - heroic. The choir is remarkable for its activity and rhythmic energy.
Interesting fact: this choir was often listened to by soldiers during the Great Patriotic War, as a catalyst for fighting for their Fatherland.
“Battle on the Ice” is the central number of the cantata. It represents a huge development. Here we hear new Russian themes.
At the beginning, a winter landscape is presented - a frozen lake in the frosty darkness. The appearance of the Crusaders - the sound of the Teutonic horn. The musical theme of the Russians is the sound of the trumpet melody “Rise up, Russian people.” The highest dynamic moment is the simultaneous combination of both themes.
“Dead Field” - a song for mezzo-soprano and orchestra (the only solo number) is one of the best numbers in the cantata. This is the grief of the Motherland for the dead. Incarnated in the symbolic image of a bride mourning “glorious falcons, her suitors, good fellows.” The mournful melody of the song is based on folk intonations, emphasized in the orchestral introduction.
“Alexander’s Entry into Pskov” is a number glorifying Rus'. The beginning of the song is the already familiar melody of “Songs about Alexander Nevsky”, but with a different literary text. After the orchestral passage, folk rejoicing sounds (“Have fun, sing, dear mother Rus'”). Then the middle part from “Rise up, Russian people” appears. The finale of the final number sounds very powerful due to the high tessitura of the entire choir and dynamics (fff).
Conclusion: In the cantata “Alexander Nevsky,” dedicated to distant historical events, Prokofiev glorified the victory of the people in a just struggle against the invaders, the victory of humanity over cruelty and violence.
In his work, S. Prokofiev gave vivid musical characteristics to the characters in the cantata, using various means of musical expression.
