Khachaturian as a classic example of modern music. Ballet A

Ballet in. 4 acts. Comp. A. I. Khachaturian (partially used the music of his own ballet Happiness), scenes. K. N. Derzhavin. December 9, 1942, Treasury im. Kirov (on the stage of the Perm Theater), ballet. H. A. Anisimova, art. N. I. Altman (set) and T. G. Bruni (cost … Ballet. Encyclopedia

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Khachaturian's Violin Concerto, written in 1940, is one of the most outstanding and most popular pieces of music. The popularity of Khachaturian's violin concerto is due to its great artistic merit. The life-affirming and vivid images of the concert, festive-dance and lyrical-heartfelt, reflected pictures of the colorful, happy life of Armenia.

Having experienced the beneficial influence of the traditions of the Russian classical concerto and Russian symphony, Khachaturian created a work marked by high skill and at the same time brightly folk. The concert does not use authentic Armenian folk melodies. However, all of his melody, modal-intonation structure, harmony are an organic implementation of the Armenian folk songs native to Khachaturian.

Khachaturian's violin concerto consists of 3 parts: extreme parts - fast, impetuous, full of dynamics, fire; the middle one is slow, lyrical. There are intonational connections between the parts of the concerto and individual themes, which gives it integrity and unity.

Movement 1 (Allegro, D minor) is written in sonata allegro form. Already a short orchestral introduction captures the listener with its energy and assertiveness and immediately introduces it into the sphere of active action.

Movement 2 (Andante sostenuto, in A minor) is the central lyrical image of the concerto. It is brightly contrasted with respect to the extreme parts. The violin acts here exclusively as a melodious, melodic instrument. This is a “song without words” in the oriental style, in which the intonations of Armenian folk tunes are organically translated. It expresses sincere thoughts, thoughts about his native land, the artist's love for his people, for the nature of the Caucasus.

The finale of the concert is a vivid picture of a national holiday. Everything is full of movement, striving, energy, fire, joyful inspiration. The music is danceable; even when the song is flowing, the rhythm of the dance continues to sound. The range of sound expands, the movement becomes more and more impetuous. In the sound of the orchestra and violin, folk instruments are imitated.

Having embodied in his violin concerto brightly colorful musical pictures from the life of the people of Armenia, Khachaturian applied the technique of monothematism in the general composition of his work: in the 2nd part of the concerto and especially in the finale, the themes of the 1st part are carried out. But the variation in texture, tempo, rhythm, dynamics contributes to a change in their figurative meaning: the dramatic and lyrical images of part 1 are now turning into images of a folk holiday, fun, violent and temperamental dance. This transformation corresponds to the optimistic concept of the concerto.

Ballet "Gayane"

The ballet "Gayane" was written by Khachaturian in 1942. In the harsh days of the Second World War, the music of "Gayane" sounded like a bright and life-affirming story. Shortly before "Gayane" Khachaturian wrote the ballet "Happiness". In a different storyline revealing the same images, the ballet was like a sketch for "Gayane" in terms of theme and music: the composer introduced the best numbers from "Happiness" into "Gayane".

The creation of Gayane, one of Aram Khachaturian's finest works, was prepared not only by the first ballet. The theme of human happiness - his living creative energy, the fullness of his worldview was revealed by Khachaturian in works of other genres. On the other hand, the symphony of the composer's musical thinking, the bright colors and imagery of his music.

The libretto “Gayane”, written by K. Derzhavin, tells how the young collective farmer Gayane gets out of the power of her husband, a deserter who undermines work on the collective farm; how she exposes his treacherous actions, his connection with saboteurs, almost becoming a victim of a target, almost becoming a victim of revenge, and finally, about how Gayane learns a new, happy life.

1 action.

A new crop is being harvested in the cotton fields of an Armenian collective farm. Collective farmer Gayane is among the best, most active workers. Her husband, Giko, quits his job on the collective farm and demands the same from Gayane, who refuses to fulfill his demand. The collective farmers expel Giko from their midst. The witness of this scene is the head of the border detachment, Kazakov, who arrived at the collective farm.

2 action.

Relatives and friends try to entertain Gayane. Giko's appearance in the house causes the guests to disperse. 3 strangers come to Giko. Gayane learns about her husband's connection with the saboteurs and about his intention to set fire to the collective farm. Gayane's attempts to prevent the criminal plan are in vain.

3 action.

The proud camp of the Kurds. A young girl Aisha is waiting for her lover Armen (Gayane's brother). Armen and Aisha's date is interrupted by the appearance of three strangers looking for a way to the border. Armen, volunteering to be their guide, sends for Kazakov's detachment. The saboteurs have been arrested.

In the distance, a fire flares up - this is a burning collective farm. Cossacks with a detachment and the Kurds rush to the aid of the collective farmers.

4 action.

The collective farm, revived from the ashes, is preparing to start its working life again. On this occasion, there is a holiday in the collective farm. Gayane's new life begins with the new life of the collective farm. In the struggle with her deserter husband, she asserted her right to an independent working life. Now Gayane also recognized a new, bright feeling of love. The holiday ends with the announcement of the upcoming wedding of Gayane and Kazakov.

The action of the ballet develops in two main directions: the drama of Gayane, pictures of folk life. As in all the best works of Khachaturian, the music of "Gayane" is deeply and organically connected with the musical culture of the Transcaucasian peoples and, most of all, with the Armenian people native to him.

Khachaturian introduces several genuine folk melodies into the ballet. They are used by the composer not only as a bright and expressive melodic material, but in accordance with the meaning they have in folk life.

The compositional and musical-dramatic techniques used by Khachaturian in "Gayane" are extremely diverse. In ballet, integral, generalized musical characteristics acquire predominant importance: portrait sketches, folk-everyday, genre pictures, pictures of nature. They correspond to complete, closed musical numbers, in the sequential presentation of which bright suite-symphonic cycles are often formed. The logic of development, which unites independent musical images into a single whole, is different in different cases. So, in the final picture, a large cycle of dances is united by the ongoing holiday. In some cases, the alternation of numbers is based on figurative, emotional contrasts between lyrical and cheerful, impetuous or energetic, courageous, genre and dramatic.

The musical and dramatic means are also clearly differentiated in the characteristics of the characters: integral portrait sketches of episodic characters are contrasted with a through dramatic musical development in the part of Gayane; various dance rhythms underlying the musical portraits of Gayane's friends and relatives are opposed by Gayane's improvisationally free, lyrically rich melody.

Khachaturian consistently pursues the principle of leitmotifs in relation to each of the characters, which gives the images and the whole work a musical value and stage specificity. Due to the variety and development of Gayane's melodies, Gayane's musical image acquires much greater flexibility in comparison with other ballet characters. The image of Gayane is revealed by the composer in a consistent development, as her feelings evolve: from hidden grief (“Dance of Gayane”, No. 6) and the first glimpses of a new feeling (“Dance of Gayane”, No. 8), through a struggle full of drama (act 2) - to a new bright feeling, a new life (introduction to act 4, No. 26).

“Dance of Gayane” (No. 6) is a mournful, restrained monologue. Its expressiveness is concentrated in a penetrating and at the same time tense melody.

A different circle of images conveys another “arioso” of Gayane - “Dance of Gayane” (No. 8, after meeting with the head of the border detachment Kazakov) - excited, tremulous, as if foreshadowing the beginning of a new, bright feeling. And here the composer adheres to strict economy of expressive means. This is a harp solo built on wide passages.

Now follows "Lullaby" (No. 13), where the characters' opening melody, measured, still bears traces of the drama of the previous scene. But as it develops, the same theme in the sound of violins, with a variation that activates the melody, in a new, more intense harmonization, acquires a wider lyrical meaning. A further change in the theme completely breaks the scope of the lullaby: it sounds like a dramatic monologue by Gayane.

The portrait of Gayane, given by the composer in a variety of ways, is distinguished at the same time by an amazing musical unity. This is especially clear in the example of the duet with Kazakov. And here the composer strives to preserve the general image of the heroine: the same wide, improvisational melody, deeply lyrical, but for the first time bright, major; the same intimacy, intimacy of the sound of solo instruments.

A different principle underlies the musical description of other characters: Nune and Karen, Gayane's brother Armen, the Kurdish girl Aisha.

The "portrait" of Aisha, a young Kurdish girl, is written brightly and convexly - "Aisha's Dance" (No. 16). The composer managed to combine a long, unhurried, oriental melody, whimsically rhythmic, with a clear and smooth movement of the waltz, giving the music the character of soft lyricism.

In the Dance of Aisha, the variational principle of development is combined with the three-hour form; dynamics, movement - with clarity symmetrical construction.

"Dance of the Pink Girls" (No. 7) is distinguished by extraordinary freshness, grace and grace of movement. Its melody is extremely clear in drawing, as if it combines the clarity of a marching tread, giving vivacity to the music, and the whimsicalness of dance rhythms.

"Saber Dance" (No. 35), energetic, temperamental, in its design is associated with the tradition of showing strength, prowess, dexterity at folk festivals. Fast tempo, strong-willed uniform rhythm, chanting of the melody, sonorous and sharp orchestral sounds - all this reproduces the speed and rhythm of movements, saber blows.

One of the brightest numbers of the "Dance Suite" 4 acts - "Lezginka". It strikes a very subtle, sensitive penetration into the essence of folk music. Everything in Lezginka comes from listening to folk music. Lezginka is an example of how Khachaturian, entirely based on the principles of folk music, freely and boldly develops them to the scale of symphonic thinking.

History of creation

Shortly after graduating from the conservatory, in the late 1930s, Khachaturian received an order to write music for the ballet Happiness. The performance, with a story traditional for that time about a happy life “under the Stalinist sun” and an equally traditional motif of espionage and enemies of the Soviet regime, was being prepared for a decade of Armenian art in Moscow. Such decades devoted to art, in turn, of all the republics that are part of the USSR, were held regularly. The composer recalled: “I spent the spring and summer of 1939 in Armenia, collecting material for the future ballet “Happiness”. It was here that the deepest study of the melodies of the native land, folk art began ... ”The intense work on the ballet lasted half a year. In September, the ballet was staged at the Armenian Opera and Ballet Theatre, and a month later it was shown in Moscow and was a great success as the first attempt of this genre in Armenian music. However, shortcomings were noted in it, relating, in particular, to the script and musical dramaturgy. A few years later, the composer returned to this idea, focusing on a new libretto written by the famous theater critic and philologist K. Derzhavin (1903-1956). The reworked ballet, called "Gayane" - after the name of the main character, was being prepared for staging at the Leningrad Opera and Ballet Theater named after Kirov (Mariinsky). However, the outbreak of the Great Patriotic War broke all plans. The theater was evacuated to Perm. The composer also came there to continue joint work on the ballet. “In the autumn of 1941 ... I returned to work on the ballet,” Khachaturian recalled. “Today it may seem strange that in those days of severe trials there could be talk of a ballet performance. War and ballet? Concepts are really incompatible. But, as life has shown, there was nothing strange in my plan to depict ... the theme of a great nationwide upsurge, the unity of people in the face of a formidable invasion. The ballet was conceived as a patriotic performance, affirming the theme of love and loyalty to the Motherland. In November 1942, the composer wrote in his diary: “At the request of the theater, after the end of the score, I completed the “Dance of the Kurds” - the same one that later became known as the “Sabre Dance”. I started composing it at three o'clock in the afternoon and worked without interruption until two o'clock in the morning. In the morning of the next day, the orchestral voices were rewritten and a rehearsal took place, and in the evening - a dress rehearsal of the entire ballet. "Saber Dance" immediately made an impression on the orchestra, and on the ballet, and on those present in the hall ... "

Libretto by K. Derzhavin. Choreographer N. Anisimova.

Characters

Hovhannes, chairman of the collective farm. Gayane, his daughter. Armen, shepherd. Nune. Karen. Kazakov, head of the geological expedition. Unknown. Giko. Aisha. Ishmael. Agronomist. Geologists. Head of the Border Guard.

Dark night. A figure of the unknown appears in the thick net of rain. Listening carefully and looking around, he frees himself from the parachute lines. By checking the map, he is convinced that he is at the target.

The rain subsides. Far away in the mountains, the lights of the village flicker. The stranger throws off his overalls and remains in his tunic with stripes for wounds. Limping heavily, he walks away towards the village.

Sunny morning. Spring work is in full swing in the collective farm gardens. Slowly, lazily stretching, Giko goes to work. The girls of the best brigade of the collective farm are in a hurry. With them, the foreman is a young cheerful Gayane. Giko stops the Girl. He tells her about his love, wants to hug her. A young shepherd Armen appears on the Road. Gayane joyfully runs towards him. High in the mountains, near the camp of shepherds, Armen found shiny pieces of ore. He shows them to the Girl. Giko looks jealously at Armen and Gayane.

During the rest hours, the collective farmers start dancing. Suitable about. He wants Gayane to dance with him, tries to hug her again. Armen protects the girl from importunate courtship. Giko is furious. He is looking for a reason to fight. Grabbing the basket of seedlings, Giko throws it furiously. He doesn't want to work. The collective farmers reproach Giko, but he does not listen to them and attacks Armen with raised fists. Between them is Gayane. She demands that Giko leave immediately.

Collective farmers are outraged by Giko's behavior. The young collective farmer Karen comes running. He says that guests have arrived. A group of geologists led by the head of the expedition, Kazakov, enters the garden. They are followed by an unknown. He hired himself to carry the geologists' luggage and stayed with them.

Collective farmers warmly welcome visitors. Restless Nune and Karen start dancing in honor of the guests. Dancing and Gayane. The guests also watch with admiration the dance of the shepherd Armen. A signal is given to start work. Hovhannes shows visitors the collective farm gardens. Gayane is left alone. Everything pleases her eyes. The girl admires the distant mountains, the fragrant gardens of her native collective farm.

The geologists are back. Gayane advises Armen to show them the ore he brought. Armen's find interested geologists. They are ready to go exploring right now. Armen shows the route on the map, undertakes to accompany the geologists. At this moment, an unknown person appears. He keeps a close eye on Armen and the geologists.

Road trips are over. Gayane tenderly says goodbye to Armen. Giko, who approaches, sees this. Seized with jealousy, he threatens after the shepherd. An unknown person's hand rests on Giko's shoulder. He pretends to sympathize with Giko, and inciting his hatred, slyly offers friendship and help. They leave together.

After work, Gayane's friends gathered. Karen plays the tar. The girls perform an old Armenian dance. Kazakov enters. He stayed at the house of Hovhannes.

Gayane and her friends show Kazakov the flowery carpet they have woven, and start a game of hide and seek. Drunk Giko arrives. The game gets frustrated. Collective farmers try to persuade Giko, who is again chasing Gayane, and advise him to leave. After seeing off the guests, the collective farm chairman tries to talk to Giko. But he does not listen to Hovhannes and persistently sticks to Gayane. The angry girl sends Giko away.

Geologists are returning from the campaign together with Armen. Armen's find is not an accident. A rare metal deposit has been discovered in the mountains. Kazakov decides to examine him in detail. Giko, who lingered in the room, becomes a witness to this conversation.

Scouts bowels are going to go. Armen tenderly gives his girlfriend a flower brought from the mountainside. This is seen by Giko, passing by the windows with the unknown. Armen and Hovhannes are sent along with the expedition. Kazakov asks Gayane to save the bag with ore samples. Gayane hides him.

Night has come. An unknown person enters Gayane's house. He pretends to be sick and collapses in exhaustion. Gayane helps him up and hurries for water. Left alone, he jumps up and starts looking for the materials of the geological expedition.

Returning Gayane understands that the enemy is in front of her. Threatening, the unknown person demands that she tell where the geologists' materials are located. During the fight, the carpet that covered the niche falls. There is a bag with pieces of ore. An unknown person ties Gayane, takes a bag and, trying to hide the traces of the crime, sets fire to the house.

Fire and smoke fill the room. Giko jumps out the window. Horror and confusion on his face. Seeing a stick forgotten by an unknown person, Giko realizes that the criminal is his recent acquaintance. He carries the girl out of the house on fire.

Starlight Night. High in the mountains there is a camp of collective farm shepherds. Passes a squad of border guards. Shepherd Izmail entertains his beloved girl Aisha by playing the flute. Aisha starts a smooth dance. Attracted by the music, the shepherds gather. And here is Armen. He brought geologists. Here, at the foot of the cliff, he found precious ore. Shepherds perform folk dance "Khochari". They are replaced by Armen. Burning torches in his hands cut through the darkness of the night.

A group of highlanders and border guards arrive. Highlanders carry the parachute they found. The enemy has penetrated Soviet soil! A glow broke out over the valley. The village is on fire! Everyone rushes there.

The flame is raging. In the reflections of the fire flashed the figure of an unknown person. He tries to hide, but collective farmers run from all sides to the burning house. The unknown person hides the bag and gets lost in the crowd.

The crowd subsided. At this moment, an unknown person overtakes Giko. He asks him to be silent and for this he gives a wad of money. Giko throws money in his face and wants to apprehend the criminal. Giko is injured but continues to fight. Gayane runs to help. Giko falls. The enemy aims a weapon at Gayane. Armen came to the rescue and grabs a revolver from the enemy, who is surrounded by border guards.

Autumn. The collective farm had a bountiful harvest. Everyone converges on a holiday. Armen hurries to Gayane. On this wonderful day, he wants to be with his beloved. Armena stops the kids and starts a dance around him.

Collective farmers are baskets of fruit, jugs of wine. Arriving invited to the festival guests from the fraternal republics - Russians, Ukrainians, Georgians.

Finally, Armen sees Gayane. Their meeting is full of joy and happiness. People flock to the square. Here are the old friends of the collective farmers - geologists and border guards. The best brigade is awarded a banner. Kazakov asks Hovhannes to let Armen go to study. Hovhannes agrees.

One dance follows another. Hitting the sonorous tambourines, Nune and her friends dance. Guests perform their national dances - Russian, dashing Ukrainian hopak, lezginka, warlike mountain dance with sabers and others.

There are tables on the square. With raised glasses, everyone praises free labor, the indestructible friendship of the Soviet peoples, and the beautiful Motherland.

Ballet in four acts

Libretto by K. Derzhavin

Characters

Hovhannes, chairman of the collective farm

Gayane, his daughter

Armen, shepherd

Nune

Karen

Kazakov, head of the geological expedition

Unknown

Giko

Aisha

Ishmael

Agronomist

Head of the Border Guard

Geologists

Sunny morning. Spring work is in full swing in the collective farm gardens. Slowly, lazily stretching, Giko goes to work. The girls of the best brigade of the collective farm are in a hurry. With them, the foreman is a young cheerful Gayane. Giko stops the girl. He tells her about his love, wants to hug her. A young shepherd Armen appears on the road. Gayane joyfully runs towards him. High in the mountains, near the camp of shepherds, Armen found shiny pieces of ore. He shows them to the girl. Giko looks jealously at Armen and Gayane.

During the rest hours, the collective farmers start dancing. Suits Giko. He wants Gayane to dance with him, tries to hug her again. Armen protects the girl from importunate courtship. Giko is furious. He is looking for a reason to fight. Grabbing the basket of seedlings, Giko throws it furiously. He doesn't want to work. The collective farmers reproach Giko, but he does not listen to them and attacks Armen with raised fists. Between them is Gayane. She demands that Giko leave immediately.

After work, Gayane's friends gathered. Karen plays the tar. The girls perform an old Armenian dance. Kazakov enters. He stayed at the house of Hovhannes.

Collective farmers are baskets of fruit, jugs of wine. Arriving invited to the festival guests from the fraternal republics - Russians, Ukrainians, Georgians.

There are tables on the square. With raised glasses, everyone praises free labor, the indestructible friendship of the Soviet peoples, and the beautiful Motherland.