Lesson project: "Sunlight in music - his name is Mozart!" It's interesting for a musician

Mozart's brilliant music is bright, pure and unusually sincere. It is no coincidence that the Austrian composer Wolfgangt Amadeus Mozart is called "sunny composer"

A. S. Pushkin in his little tragedy “Mozart and Salieri” put into Salieri’s mouth the following wonderful words characterizing Mozart’s music: “What depth! What courage, and what harmony!” This succinct assessment celebrates the best qualities of the great composer's music.

P. I. Tchaikovsky wrote in one of his diaries: “In my deep conviction, Mozart is the highest, culminating point to which beauty has reached in the field of music. No one made me cry, tremble with delight, from the consciousness of my closeness to something that we call an ideal, like him.”

“Eternal sunshine in music, your name is Mozart,” exclaimed A. G. Rubinstein in his book “Music and Its Representatives.” Modern scientists have decided to use their scientific methods to find out what is so attractive about Mozart’s music, what makes it unique.

Independent studies have been conducted around the world by numerous physicians, psychologists and other specialists. They all eventually came to one thing - Mozart’s works are not only harmonious, deep and sunny music, it has a unique healing effect.

American scientists used brain scans (MRI) of people who listened to various music, including Mozart. All types of music activated the part of the cerebral cortex that perceives vibrations in the air caused by sound waves (the auditory center), and sometimes stimulated parts of the brain associated with emotions.

But only Mozart’s music activated almost ALL areas of the cerebral cortex (including those involved in motor coordination, spatial thinking, the visual process and higher processes of consciousness). As the scientists themselves noted, In a person listening to the music of Mozart, literally the entire cerebral cortex begins to “glow”.

The presence of an abundance of high-frequency sounds in Mozart's music makes it the most healing among all classical music. Sounds with frequencies from 3000 to 8000 Hz and higher cause the greatest resonance and carry the most powerful energy charge for the entire body.

Mozart is the “most suitable” composer for kids

A huge number of scientific studies conducted in many countries around the world indicate that Mozart’s harmonious, bright and exquisitely simple music has the strongest positive impact on the development of the child’s psyche, intelligence and creativity.

Perhaps Mozart, being a musical genius by nature, became a composer at the age of 4, which brought to his music a pure childish perception, which is subconsciously felt by all “admirers” of his work - including the youngest listeners.

From April 22 to 24, a musical marathon dedicated to the 125th anniversary of the birth of the great Russian and Soviet composer Sergei Prokofiev was held in Moscow and St. Petersburg under the leadership of artistic director of the Mariinsky Theater Valery Gergiev. More precisely, the marathon will last the whole year and spread across three continents. The artistic director of the Mariinsky Theater told TASS how he discovered Prokofiev’s music, why he calls him a sunny composer, and also about plans to create a cultural center named after Prokofiev in Nikolina Gora, where he lived for the last few years.

– Having observed you in recent years, I can say that you, Valery Abisalovich, treat your own birthdays without due respect and celebrate without the Caucasian scope.

– It’s impossible to forget completely, they always remind you of the approaching anniversary, but you’re right, I see no reason to organize noisy celebrations in your honor on May 2. I understand: this is far from the most significant event in the history of classical music.

– But you don’t miss memorable dates associated with the lives of outstanding Russian composers. You celebrated the 175th anniversary of Tchaikovsky’s birth with a concert of the Mariinsky Symphony Orchestra on May 7 last year in Klin, at the Pyotr Ilyich House-Museum.

– And before that we visited Votkinsk, the homeland of the great Tchaikovsky. As part of the Easter festival, they traveled to three dozen cities and everywhere they performed immortal works of the classic. Including May 7 in Klin. The concert began at eight in the evening and ended closer to midnight, but I asked permission to go into the house in which Pyotr Ilyich spent the last years of his life. I was even allowed to sit at Tchaikovsky’s piano and touch the keys of the instrument. You know, at that moment I felt something special. I try to avoid loud, pretentious phrases, but there is definitely a certain aura there, the bustle of the world does not destroy it, does not penetrate the walls...

– This year you decided to hold a music marathon in honor of Sergei Prokofiev.

– The terminology is sports, but I don’t know how else to call a series of concerts that we didn’t start playing yesterday and won’t finish tomorrow. The most concentrated period occurred on April 22-24, including Sergei Sergeevich’s birthday. In three days we performed all seven symphonies of this sunny composer and many of his other works. No one has done this before, including the Mariinsky Theater team. But for the sake of Prokofiev, I am ready to become a marathon runner...

By the way, Sergei Sergeevich’s music was first performed in our theater exactly a century ago. In 1916, the premiere of the "Scythian Suite" took place, and the author was at the conductor's stand.

– Do you call Prokofiev a sunny composer because he was born in the village of Sontsovka in Donbass? But he has so many minor notes...

– No, not because of geographical coincidences. It seems to me that Sergei Sergeevich heard music through a spectrum of light, bright rays. He is not twilight or gloomy, although, you are right, there are many night scenes in his operas and ballets. And yet, Prokofiev’s incredible energy charge reveals him as a man of the sun, not of darkness.

– When did you discover it?

- Too early. I was about ten years old, I was just starting to learn to play the piano, and my first teacher Zarema Lolaeva gave me the task of learning a short C minor etude by Sergei Sergeevich. Of course, I had no idea who he was. In general, I still didn’t understand much, but that etude was played with a special feeling and mood. Before that, I also took on Mozart’s sonatas and Bach’s inventions, but the emotions were completely different. And Prokofiev’s music is daring and tart! – suddenly awakened my inner passion, hooked me and still doesn’t let go.

It so happened that I made my debut as a conductor at the then Kirov Theater in January 1978 with Sergei Sergeevich’s opera “War and Peace”.

By 1991, when the centenary of Prokofiev’s birth was celebrated, I had already been elected chief conductor of the theater. We must remember what time it was: we started the year in one country and ended in another. The Soviet Union was ordered to live a long time, the old world was collapsing, a new one was just emerging. The most difficult historical period! Nevertheless, in 1991 we played the premieres of three operas by Sergei Sergeevich, two of which - “The Gambler” and “Fiery Angel” - were performed on our stage for the first time, and “The Love for Three Oranges” had not been shown in Leningrad since 1926.

The fact that Prokofiev’s centenary occurred at the turning point of eras seems symbolic to me. Sergei Sergeevich was a restless, searching person. He entered the St. Petersburg Conservatory early, at the age of 13, left Russia soon after the 1917 revolution, worked successfully in the West, performed as a pianist, wrote music for Sergei Diaghilev’s ballets, had brilliant prospects, nevertheless, in the mid-30s, on the eve of the Great Terror, he decided to return to his homeland, where he composed works in praise of Stalin and even died with him on the same day - March 5, 1953...

– As a result, the country cried for the tyrant, and the death of the genius remained in the shadows. Those who accompanied him to Novodevichye carried flowers in pots, there were no others left, they were all taken apart for wreaths for the leader.

– You know, we don’t need to worry too much about such things. Somersaults of history should not become the main emphasis in a conversation about a gigantic figure on the scale of Prokofiev. The life of the great composer was not interrupted on March 5; his physical departure had nothing to do with the effect of the falling curtain.

– Nevertheless, there was a period of oblivion. Are you trying to rehabilitate Prokofiev in some way today?

– It seems to me that Sergei Sergeevich does not need volunteer lawyers and assistants. What we are doing now is not done only for his sake. This is a huge, important part of my life and, more importantly, the entire staff of the Mariinsky Theater.

– On April 23, Prokofiev’s birthday, you performed the cantata “For the twentieth anniversary of October” in the Mariinsky Concert Hall. Isn't it a strange choice?

- Absolutely not! This is a grandiose work. Revolutionary, bold! It is not inferior to the best symphonies and ballets of Sergei Sergeevich, but it sounds extremely rarely.

– Still would! The cantata is based on quotes from Marx, Engels, Lenin and Stalin.

– It all starts with Feuerbach, and then – yes, there are the classics of Marxism-Leninism in full, even expanded composition... I’ll say a seditious thought: in this company I’m interested in Prokofiev. It interests me so much that for the sake of it I’m ready to re-read the works of all four.

– Including Joseph Vissarionovich?

– If necessary to understand what Sergei Sergeevich did.

– He also wrote “Zdravitsa” for Stalin’s 60th birthday. Did you want to please him?

“It wasn’t a matter of opportunism or a desire to please. The cantata is very bright, talented, fully demonstrating the composer's gift, technique and skill of the author. This time we did not perform it, but at one time we played it in New York along with the cantata “For the twentieth anniversary of October”. This caused a strong reaction from overseas critics, and they gave me a hard time. The New York Times devoted an entire newspaper page to analyzing our speech.

– When was this?

– In 1996. The Americans carelessly entrusted me with the opening of a new music festival at Lincoln Center. The organizers wanted to hear something interesting and original. I didn't think for long...

– Do you think Prokofiev regretted returning to the USSR in 1936?

- Hard to say. He chose a difficult fate, and in the end he lost and gained a lot. It’s stupid now, decades later, to try to evaluate the pros and cons for another person. I don’t think anyone knows the truth and can speak on someone else’s behalf. Even Prokofiev’s youngest son and my friend Oleg Sergeevich, who unfortunately died untimely in 1997, did not undertake to assert anything. For the last year and a half of his life, we communicated closely, and I carefully but persistently raised the topic: was Prokofiev mistaken in deciding to return? Oleg Sergeevich could not give a definite answer. There was so much tragedy in their lives...

Suffice it to remember that Sergei Sergeevich’s first wife Lina, mother of Oleg and Svyatoslav, was exiled to Mordovian camps in 1948.

– A Spanish woman, who followed her husband to a foreign country and was left here by him for the sake of another woman, spent eight years in the Gulag...

- Yes, a terrible story. The sons knew and understood everything, this probably left an imprint on their attitude towards their father. Of course, returning to Russia, Prokofiev could not foresee either the family drama or the fact that in a few years the war would begin and he would have to go into evacuation. It would have been calmer to sit out the hard times in some prosperous Switzerland, but, apparently, something told Sergei Sergeevich: in Moscow and Leningrad he had more opportunities to realize himself than in New York or Paris.

– Maybe he was tired of competing with Stravinsky and Rachmaninov, who were better received in Europe and America?

– You know, everything is relative. The same Diaghilev at first sympathized with Prokofiev, then turned towards Stravinsky... He could deliberately add pepper, awakening the competitive spirit between two talented composers. Not everyone agrees with me, but I am convinced that it was in the late 30s, during the war and after the Victory, that Prokofiev wrote perhaps his best works. I'm not sure that in the West he would have created the 5th and 6th symphonies or the 7th and 8th sonatas.

Before finally returning to the USSR, Sergei Sergeevich came here on extensive tours. He was received fantastically. “The Love for Three Oranges” was staged at the Kirov Theater in such a way that it could not help but captivate the author’s heart. He experienced a shock, a real triumph. I think this became a powerful argument for Prokofiev, a positive emotion in favor of returning. I don’t insist, but this is my version.

Yes, in Soviet Russia, Sergei Sergeevich did not have the same peace of mind; due to various squabbles, his health deteriorated, but creatively he won. It was here that he got wonderful performers - Oistrakh, Gilels, Richter, Rostropovich, who perfectly felt what Prokofiev wanted to express with the help of notes...

The music for the films “Alexander Nevsky” and “Ivan the Terrible” stands out. The composer had a sincere friendship with Eisenstein. Their meeting was a great success, a real gift for both. It’s the same as if Rachmaninov had never met Chaliapin. There would be trouble! And so the nuggets found each other...

– Let's return to the Prokofiev marathon. You already mentioned that it didn’t start for you last weekend...

– The whole of 2016 is passing under the sign of Prokofiev. Already this year we have performed his works in various countries - in Cuba, Chile, Mexico, the USA, England, Germany, on trips to Russian cities - from Vladivostok and Tomsk to Kemerovo and Ulan-Ude... The Easter festival is ahead. , where Sergei Sergeevich’s music will again be heard, tours to China, Switzerland, France, Belgium, Holland...

It’s impossible to list everything!

– It’s clear that you don’t expect thanks, but if we assume that Sergei Sergeevich saw your efforts, do you think he would be a little happier?

“It seems to me that he would have thought that maybe he did the right thing by returning to Russia, since he is still so valued and honored here.”

– A year ago you said that your friends bought and gave you Prokofiev’s dacha in Nikolina Gora, which was in disrepair, for your birthday. Realtors were going to demolish the composer's dilapidated house and sell the land. This, fortunately, did not happen. Have your plans to create a cultural center where Prokofiev lived for the last few years changed?

- Of course not. I donated the dacha to my own charitable foundation. The point is not who is formally the owner. It is important to preserve the historical and cultural monument. The foundation has had a number of successful projects, its employees have the necessary experience... Until it comes to reconstruction, certain bureaucratic formalities must be observed, but, as they say, the process is underway. The house will not be abandoned, that's for sure. All it takes is time.

– Knowing you a little, I can assume that after finishing this marathon race, you will move on to the next distance. Which one?

– I think that the abundance of Prokofiev’s music heard at the Mariinsky Theater in no way offends the memory of Tchaikovsky, Glinka, Mussorgsky, Stravinsky, Rachmaninov, Rimsky-Korsakov... By September 25 of this year, in other words, for the 110th anniversary of Dmitry Shostakovich, together with his son Maxim, we will prepare program cycle. Dmitry Dmitrievich has not created many operas and ballets, in this sense the theater is limited in its choice, but in terms of symphonies it is ahead of the rest, which the Mariinsky Theater “takes advantage of” with great pleasure. We have played and will continue to play Shostakovich around the world.

So we do not stand still, we continue to move forward.

Interviewed Andrey Vandenko

Here is a list of 10 composers you should know. Of each of them it can be said with certainty that he is the greatest composer who ever lived, although in fact it is impossible, and indeed impossible, to compare music written over several centuries. However, all of these composers stand out among their contemporaries as composers who composed music of the highest caliber and sought to push the boundaries of classical music to new limits. The list does not contain any order, such as importance or personal preference. Just 10 great composers you should know.

Each composer is accompanied by a quotable fact of his life, remembering which you will look like an expert. And by clicking on the link to the last name, you will find out his full biography. And of course, you can listen to one of the significant works of each master.

The most important figure in world classical music. One of the most performed and respected composers in the world. He created in all genres that existed in his time, including opera, ballet, music for dramatic performances, and choral works. The most significant in his legacy are considered to be instrumental works: piano, violin and cello sonatas, concertos for piano, violin, quartets, overtures, symphonies. The founder of the romantic period in classical music.

Interesting fact.

Beethoven first wanted to dedicate his third symphony (1804) to Napoleon; the composer was captivated by the personality of this man, who seemed to many at the beginning of his reign a real hero. But when Napoleon proclaimed himself emperor, Beethoven crossed out his dedication on the title page and wrote only one word - “Heroic”.

"Moonlight Sonata" by L. Beethoven, listen:

2. (1685-1750)

German composer and organist, representative of the Baroque era. One of the greatest composers in the history of music. During his life, Bach wrote more than 1000 works. His work represents all the significant genres of that time, except opera; he summarized the achievements of musical art of the Baroque period. The founder of the most famous musical dynasty.

Interesting fact.

During his lifetime, Bach was so underrated that less than a dozen of his works were published.

Toccata and Fugue in D minor by J. S. Bach, listen:

3. (1756-1791)

The great Austrian composer, instrumentalist and conductor, representative of the Vienna Classical School, virtuoso violinist, harpsichordist, organist, conductor, he had a phenomenal ear for music, memory and the ability to improvise. As a composer who excelled in any genre, he is rightfully considered one of the greatest composers in the history of classical music.

Interesting fact.

While still a child, Mozart memorized and recorded the Miserere (cat. chant on the text of the 50th Psalm of David) by the Italian Gregorio Allegri, having listened to it only once.

"Little Night Serenade" by W.A. Mozart, listen:

4. (1813-1883)

German composer, conductor, playwright, philosopher. He had a significant influence on European culture at the turn of the 19th and 20th centuries, especially modernism. Wagner's operas are stunning in their grandiose scale and eternal human values.

Interesting fact.

Wagner took part in the failed revolution of 1848-1849 in Germany and was forced to hide from arrest by Franz Liszt.

"Ride of the Valkyries" from R. Wagner's opera "Walkyrie", listen

5. (1840-1893)

Italian composer, central figure of the Italian opera school. Verdi had a sense of the stage, temperament and impeccable skill. He did not deny operatic traditions (unlike Wagner), but on the contrary developed them (the traditions of Italian opera), he transformed Italian opera, filled it with realism, and gave it the unity of the whole.

Interesting fact.

Verdi was an Italian nationalist and was elected to the first Italian parliament in 1860, following the declaration of Italian independence from Austria.

Overture to D. Verdi's opera "La Traviata", listen:

7. Igor Fedorovich Stravinsky (1882-1971)

Russian (American - after emigration) composer, conductor, pianist. One of the most significant composers of the twentieth century. Stravinsky's creativity is consistent throughout his entire career, although the style of his works was different in different periods, but the core and Russian roots remained, which were evident in all his works; he is considered one of the leading innovators of the twentieth century. His innovative use of rhythm and harmony has inspired and continues to inspire many musicians, not just in classical music.

Interesting fact.

During World War I, Roman customs officers confiscated Pablo Picasso's portrait of Stravinsky as the composer was leaving Italy. The portrait was painted in a futuristic manner and customs officers mistook these circles and lines for some kind of encrypted secret materials.

Suite from I.F. Stravinsky's ballet "Firebird", listen:

8. Johann Strauss (1825-1899)

Austrian composer of light music, conductor and violinist. "King of Waltzes", he created in the genre of dance music and operetta. His musical heritage includes more than 500 waltzes, polkas, quadrilles and other types of dance music, as well as several operettas and ballets. Thanks to him, the waltz became extremely popular in Vienna in the 19th century.

Interesting fact.

Johann Strauss's father is also Johann and also a famous musician, so the "Waltz King" is called the youngest or son, his brothers Joseph and Eduard were also famous composers.

Waltz by J. Strauss "On the Beautiful Blue Danube", listen:

9. Sergei Vasilyevich Rahmaninov (1873-1943)

Austrian composer, one of the outstanding representatives of the Viennese classical music school and one of the founders of romanticism in music. During his short life, Schubert made significant contributions to orchestral, chamber and piano music that influenced an entire generation of composers. However, his most striking contribution was to the development of German romances, of which he created more than 600.

Interesting fact.

Schubert's friends and fellow musicians would get together and perform Schubert's music. These meetings were called "Schubertiads". Some first fan club!

"Ave Maria" by F.P.Schubert, listen:

Continuing the theme of great composers you should know, new material.

“Eternal sunshine in music - your name is Mozart!”

1. Acquaintance with the work of W. A. ​​Mozart.
2. Determination of the most important stylistic features of the composer’s work (the predominance of bright, joyful moods, lively melodies) using the example of “A Little Night Serenade”.

Musical material:

1. W. A. ​​Mozart. A little night serenade. Part IV. Fragment (listening);
2. W. A. ​​Mozart, Russian text by A. Leikina. "Magic bells" Fragment of the chorus “Listen, how crystal clear the sounds” from the opera “The Magic Flute” (singing, playing children’s musical instruments)

Description of activities:

1. Establish a connection between the nature of the melody and the nature of the content of the musical work.
2. Compare the characters of melodies in musical works of different composers.
3. Play children's musical instruments

Wolfgang Amadeus Mozart was born and lived in Austria, but his music is known and loved by the whole world. This music is full of light, joy and beauty. This is probably why the Russian composer Anton Rubinstein called Mozart Helios - the sun god.

Mozart's fate was amazing. Many of you have probably heard the expression “talented like Mozart.” This is what they say when they want to talk about a person who is unusually gifted and outstanding. Mozart lived only 36 years. But he managed to create a lot of musical works - 50 symphonies, 19 operas, sonatas, songs and other works of various genres.

In those days, when there was no electricity, no radio, no television, no computers, people rode horses or in carriages, wore white powdered wigs, men wore camisoles and lace pantaloons, and women wore beautiful long dresses, namely In those distant times, Wolfgang Amadeus Mozart lived and worked.

Wolfgang's father, Leopold Mozart, was a court musician in the city of Salzburg and gave music lessons.

The boy's unusual talent manifested itself very early. Already at the age of 3, he discovered an amazing and persistent interest in music: as soon as he heard sounds, Wolfgang abandoned all fun and rushed towards them.

The kid could listen for hours to how Sister Nannerl practiced the harpsichord. It was difficult to tear him away from the instrument: while pressing the keys, the child listened carefully for a long time, noisily rejoicing when he found the harmonies he liked, then he began to select the motives of songs familiar to him, entire passages from the plays he had heard.

One day, three-year-old Wolf walked up to the instrument and hit the keys with both palms. A sharp piercing sound was heard! The kid covered his ears in horror and... lost consciousness. After this incident, he treated the instrument with great care, as if it were a living creature with magical properties. He talked to him, stroked him, listened to each sound for a long time and rejoiced noisily when he found harmonious consonances.

After making sure that his little son was attracted to music, the father decided to slowly start lessons with him.

When Wolfgang was six years old, the entire Mozart family went to Munich. The Elector of Munich listened to the performance of Wolfgang and his sister Nannerl and praised them. After this, returning home, the young virtuosos began to study music even more diligently, and in the fall of 1862 the children performed in Vienna in front of the imperial court.

The Mozart family visited all the largest cities in Europe - Paris, London, Geneva, Amsterdam. The trip lasted four years and turned into a triumphal procession.

Thus began the difficult creative path of the great composer. Already as a child, Mozart worked a lot.

The little virtuoso performer in a white wig with a pigtail and a heavy embroidered gold camisole, given to a boy at the imperial court, looked like a funny doll. Still would!

A child who masters the instrument! Hurry up to see! Hurry up to hear! The little musician will play the harpsichord according to the notes! And from memory! With your eyes closed! And with the keyboard covered with a scarf! With two hands! With one hand! And with one finger! He will guess any note named from the audience... He will play any unfamiliar works from sight... And his musical improvisations on any topic are simply unique... Hurry! Hurry...

The concerts of the Mozart children lasted 4-5 hours and caused a storm of surprise and admiration. Wolfgang's program was especially striking in its difficulty. The little virtuoso played the harpsichord, violin and organ. He improvised musical works on a given theme and played unfamiliar works on the spot. You can’t say anything - a real child prodigy, that is, a gifted child.

Little Wolfgang Amadeus Mozart was a sunny boy. He almost always smiled, like a gentle spring sun. Because music lived in him... Heavenly, sunny, joyful music! Music filled his entire being. Music was his breath. Music was his vision. Music was his ear.

Listen to one of the most charming opera excerpts - the chorus from the fairy-tale opera "The Magic Flute". It’s called “Listen to how crystal clear the sounds are”; you will immediately feel the lightness and naturalness of the melody. This is probably why such music is easily remembered by both adults and children.

Do you know what other music the composer W. A. ​​Mozart created? We are all familiar with Mozart's music without even realizing it.

Listen to the Lullaby “Sleep, my joy, sleep” (sings):

Sleep, my joy, sleep.
The lights in the house went out.
The birds fell silent in the garden.
The fish fell asleep in the pond.

The moon is shining in the sky,
The moon is looking out the window.
Close your eyes quickly
Sleep, my joy, sleep!

Everything in the house has been quiet for a long time,
It's dark in the cellar and kitchen.
Not a single door creaks,
The mouse is sleeping behind the stove.

Someone sighed behind the wall,
What do we care, dear?
Close your eyes quickly
Sleep, my joy, sleep!

My little bird lives sweetly.
There are no worries, no hassles.
Plenty of toys, sweets,
Lots of fun things to do.

You’ll hurry to get everything,
If only the baby didn't cry.
If only it were like this all day!
Sleep, my joy, sleep.

At one time, this song was the theme song for the television program “Good Night, Kids!” But its music was written by Mozart. But that's not all. Do you know this children's song (sings):

Once upon a time there lived a gray goat with my grandmother,
That's how, that's how, little gray goat,
That's it, that's how it is, little gray goat.

Grandma loved the goat very much,
Grandma loved the goat very much,
That's how, that's how, I loved you very much,
That's how, that's how, I loved it very much.

The goat decided to take a walk in the forest,
That's how, that's how, take a walk in the forest,
That's how, that's how, take a walk in the forest.

Gray wolves attacked the goat,
That's how, that's how gray wolves are,
That's how, that's how gray wolves are.

All that's left of the goat are the horns and legs,
That's how, that's how, horns and legs,
That's how, that's how, horns and legs.

This song is also Mozart's music. It turns out that Mozart, who lived more than 200 years ago, wrote music for songs that, in their popularity and longevity, broke all existing world music records. It turns out that each of us knew them from infancy.

In the unusually musical city of Vienna, day and night one could hear either wonderful singing or violin playing. Listen to Mozart's "Little Night Serenade" and you will understand what kind of music it is. Even the simplest music was extraordinarily beautiful. After all, Mozart wrote it!

Serenade. Silence, the heat of the day has gone, a clear, warm evening is coming.
“Sereno... that's what they called the warm evening weather. It was on such an evening that “serenades” were heard - evening songs of gentlemen in love, which they brought under the windows of their beloved. Serenades were performed in the open air by small orchestras.

1. Did you like the music of W. A. ​​Mozart?
2. What kind of Mozart music did you listen to today?
3. Is it possible to distinguish the music of W. A. ​​Mozart from the music of other composers?
4. What characterizes his music? (Joyful beginning, major key, melody, grace.)
5. Remember the names of W. A. ​​Mozart's songs.
6. What was the nature of the music?

Time will pass, but the name of Mozart will still be on the lips of grateful listeners. He is the author of unforgettable musical works. Mozart was sincerely convinced that music should give people pleasure, and he always followed this rule, composing melodies to which our hearts still respond with warmth and delight today.

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Once upon a time there lived a little gray goat with my grandmother (a nursery rhyme), mp3;
Mozart. Magic bells, mp3;
Mozart. Little night serenade, mp3;
Mozart. Sleep, my joy, sleep , mp3;
3. Accompanying article, docx.

The poet Konstantin Balmont once called Sergei Prokofiev “a sunny rich man.” Indeed, “Prokofiev’s sunshine is diverse, his music is bright like the sun, warm like the sun, and it covered the globe as the sun’s rays cover it.”
A cycle of short piano pieces - Fleetingness - was written under the influence of the poems of Konstantin Balmont. Two lines from his poem were chosen by Prokofiev as an epigraph.

“In every fleeting moment I see worlds.
Full of changing rainbow play."

"Fleetingness"
Visions fugitives, Op. 22

“Fragments” of the composer’s major plans, and sometimes simply lyrical deviations from major works, are the twenty piano miniatures created - “Fleetiness”, op. 22 (1915-1917).
“No. 5 was composed first, No. 19 was the last,” says Prokofiev, “the order in the collection was established for artistic reasons, and not for chronological reasons.

In Prokofiev’s piano work, the cycle of pieces “Fleetingness”, however, occupies by no means a transient, “fleeting” position. Here the basic structure of the composer’s musical images in their specifically Prokofievian pianistic expression is embodied in an extremely compressed and condensed manner.

The importance of these plays was immediately felt by N. Ya. Myaskovsky:
“Fleetingness” is a series of plays that are small in size but large in internal content..., he wrote. - These are like instant recordings of momentary moods, capricious flashes of fantasy, moments of sudden spiritual concentration or pointless lyricism; Now it’s a light joke, like a ray of a smile, now a sharp, unexpectedly broken aphorism, now an excitedly indignant impulse, now, finally, some kind of weak-willed immersion in the otherworldly. The prevailing moods are soft, dreamy, humorous, and exquisitely simple, but thanks to the strong and stormy episodes interspersed among them, the whole does not acquire the character of monotony and monotony. ...In “Fleetingness” one can clearly feel some kind of organic deepening, enrichment of the author’s soul; one feels that the composer has already gone through a period of rapid - headlong - running and begins to pause, look around, notice that the universe manifests itself not only in stunning whirlwinds, but that, with constant movement, it is also characterized by moments of deep, soul-dissolving peace and silence ...".

The cycle of “Fleetingness” can be divided into several groups according to the nature of the images and moods expressed in them. First of all, they are tender, dreamy, sometimes fabulous and invariably truly lyrical. These are Nos. 1, 2, 8, 16, 17, 18, 20. This is also the most nationally expressed, intonationally Russian group of plays.
The lyrical orientation of the named “Fleetingnesses” leads Prokofiev further to “Tales of an Old Grandmother” and other masterpieces of his lyrical gift. Undoubtedly, the lyrical group of plays is the most important part of the cycle in terms of its overall significance in the composer’s work.

The second group consists of scherzo plays, playful, and sometimes playful and humorous. These are Nos. 3, 5, 10, 11. They are full of youthful cheerfulness. The world of this kind of images always worried the composer.

And, finally, the third group - plays that are acutely expressive, unbridled dynamic, and sometimes dramatic. These are Nos. 4, 14, 15, 19. They are generated not only by emotions of anxiety, anxiety, and conflict. They have very strong purely visual and theatrically effective moments, that is, something that will later receive its vivid development in the dramatic collisions of his opera and ballet scenes.

The remaining numbers of the cycle stand apart, solving a variety of figurative and linguistic problems (for example, “Fleetingness” No. 7, as if imitating a harp).

Looking at the entire cycle of plays with one glance, you are amazed at their natural truthfulness, ease of expression, absolute alienation of any mannerism, playing out “for show” any poignant and generally “interesting” passages. The “new simplicity” of this kind of lyrics is felt even in relatively complex, harmonically and rhythmically, structures. It also requires a kind of simplicity of interpretation - restraint and rigor, avoiding even the slightest hint of “imposition,” “openness” of emotional impact, performative rhetoric or “pose.”

Yes, the cycle of “Fleetingnesses,” without having a common plot-psychological outline, any specific tonal principle of connection or intonation community, still represents a holistic phenomenon. The plays are united not so much by their type and genre, which are often quite different, but by a single author’s attitude, a creative method.
V. Delson
source-http://www.belcanto.ru/prokofiev_visions.html

In August 1917, Balmont included his sonnet in Sergei Prokofiev’s album “What do you think about the sun”:

Child of the Gods, Prokofiev

You are a sunny rich man. You drink the sunset like honey.
Your wine is the dawn. Your harmonies, in the choir,
They are in a hurry to accept in a rushed conversation
Flowers dreaming of a melodious aroma.
Suddenly you are glad to bring down the night into a golden stream.
There are crumbly dawns somewhere far away
Like a string of pearls, and in their light dispute
The darkening garden grows in a menacing roar.
And you, forgetting yourself, but keeping the light
Steppe feather grass, watered in the spring,
In the flickering dreams, everything new, everything different,
I played questions and answers with a blade of grass,
And in your sound, dropping singing signs,
At night you play ball with the silver moon.