Presentation on the topic: “N.A. Rimsky-Korsakov-composer-storyteller.”
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Presentation on music on the topic: “Nikolai Rimsky-Korsakov - composer and storyteller.” 7th grade student “B” of secondary school No. 635 Solovyova Alexandra
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Nikolai Rimsky-Korsakov composer-storyteller “For me, the world of folk legends, fairy tales, epics, the world of A.S. Pushkin’s fairy tales will remain an inexhaustible source of inspiration until the end of my life” N.A. Rimsky-Korsakov N.A. Rimsky-Korsakov composed 15 operas. Of these, 9 were created based on fairy-tale plots. Friends called him a composer-storyteller.
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N. A. Rimsky-Korsakov became famous as a composer and storyteller. Folk epics, fairy tales, legends, and fairy-tale heroes attracted the composer with their poetry and beauty. The folk songs that he carefully collected and recorded fascinated him forever with their beautiful melodies, modest grace and sincerity. He was very interested in the history of Rus', especially the era of Ivan the Terrible. The action of his operas “The Pskov Woman” and “The Tsar’s Bride” dates back to this time. "Pskovite" "The Tsar's Bride"
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He, like Mussorgsky, liked Gogol's stories with their rich everyday pictures, descriptions of folk rituals and fantastic stories. He chose “May Night” and “The Night Before Christmas” from all the stories and wrote operas based on them. "May Night" "The Night Before Christmas"
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The fantastic and real worlds are intertwined in the epic opera “Sadko”, in the heroic-patriotic opera “The Tale of the Invisible City of Kitezh and the Maiden Fevronia”, in the poetic spring fairy tale “The Snow Maiden”, in the magical “The Tale of Tsar Saltan”. “The Tale of the Invisible City of Kitezh and the Maiden Fevronia” “The Snow Maiden” “The Tale of Tsar Saltan”
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The most famous operas of Rimsky-Korsaky
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“The Snow Maiden” Opera (1881) based on the fairy tale of the same name by Alexander Ostrovsky (1873). The opera was composed in the summer of 1880 in a remote Russian village. The composer later said that not a single work was given to him with such ease and speed as “The Snow Maiden”. In 1881, the opera was completed.
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The optimistic idea of the opera - the glorification of the powerful life-giving forces of nature that bring happiness to people - is rooted in folk poetry. “The Snow Maiden” at the same time embodies the idea of the great transformative power of art. The opera contrasts two worlds - the real and the fantastic, which, according to the composer, personify “the eternal, periodically appearing forces of nature.” 1885. Berendeyki. Costumes by Viktor Vasnetsov for the opera
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Rimsky-Korsakov said: “I am convinced that The Snow Maiden is my best work.”
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“The Tale of Tsar Saltan” Opera in four acts with a prologue (seven scenes) by Nikolai Rimsky-Korsakov. Libretto by Vladimir Belsky based on the fairy tale of the same name by A. S. Pushkin. Elena Tsvetkova as Militrisa (1900)
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"Sadko" Opera in seven scenes. The libretto was written by the composer himself based on Russian epics about the guslar Sadko. Fyodor Chaliapin as a Varangian guest, 1897
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“Kashchei the Immortal” (“autumn tale”) is a one-act opera in three scenes by Nikolai Rimsky-Korsakov. The libretto was written by Rimsky-Korsakov himself with the participation of S.N. Rimskaya-Korsakova according to the script by E.M. Petrovsky, who in turn was based on a plot from Russian folklore. The opera was written in 1901-1902. Ivan Ershov as Kashchei (Mariinsky Theatre, Petrograd, 1918)
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“The Golden Cockerel” The last opera by Nikolai Andreevich Rimsky-Korsakov, written in 1908 based on the fairy tale of the same name by A.S. Pushkin.
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THANK YOU FOR YOUR ATTENTION!
Nikolai Andreevich Rimsky-Korsakov
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Nikolai Andreevich Rimsky-Korsakov (March 6, 1844 - June 8, 1908) Presentation by: Olga Kolpakova, student of the music and choral studio “Echo” Teacher: Nina Valentinovna Dorofeeva
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House on the Tikhvinka River, where the composer was born. Rimsky-Korsakov was born in the small town of Tikhvin, Novgorod province of the Russian Empire. The composer's father, Andrei Petrovich Rimsky-Korsakov (1784-1862), served for some time as the Novgorod vice-governor, and then as the Volyn civil governor. Mother - Sofya Vasilievna - the daughter of a serf peasant woman and a wealthy landowner Skaryatin, a fairly educated woman.
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In 1856, his father took young Nikolai to the Naval Cadet Corps, from which he graduated with honors in the spring of 1862. By that time, the composer's father had died (in 1861) and the Rimsky-Korsakov family moved to St. Petersburg. The composer learned to play the piano at home, and then at a boarding school, where music lessons were among other general education disciplines. It is known that since childhood the composer was passionate about music, became acquainted with the works of Rossini, Beethoven, Meyerbeer, Mendelssohn
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In 1861, Canille introduced Rimsky-Korsakov to Mily Balakirev. The young composer immediately became a member of the Balakirev circle (“The Mighty Handful”), which had a decisive influence on the formation of his personality and aesthetic views of the composer. At that time, in addition to its head, Balakirev, and Rimsky-Korsakov himself, the circle included Caesar Cui and Modest Mussorgsky. Balakirev, who supervised the work of his younger colleagues, not only suggested the right compositional solutions for the works they created, but also helped his comrades with instrumentation.
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Finding himself in a professional musical environment, Rimsky-Korsakov decides to devote himself to the art of music, but, having received an appointment to the Almaz clipper after graduating from the Naval Corps, he sets off on a three-year voyage around the world.
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Returning to St. Petersburg, Rimsky-Korsakov continued his serious studies in music: he completed the first symphony, “Overture on Russian Themes”, “Serbian Fantasy”, the symphonic painting “Sadko” (1867) and the suite for orchestra “Antar” (based on the Arabian fairy tale by O. Senkovsky). In 1871, Rimsky-Korsakov became a professor at the St. Petersburg Conservatory in the class of instrumentation, music theory and composition, and in 1872 the Mariinsky Theater staged his first opera, “The Pskov Woman” (based on the drama of the same name by L. May).
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Among the composer's famous works in this period are "The Snow Maiden" and others. Some fragments became independent works, as was the case with Dubinushka. The opera Sadko, staged in 1897 on the Moscow private Russian opera stage, was an undoubted success, repeated in St. Petersburg. The same fate awaited the opera “Mozart and Salieri” based on Pushkin’s text – in 1898 it was successfully performed in Moscow, in 1899 – in St. Petersburg. Then "The Tsar's Bride" was written.
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re-orchestrated the opera “Boris Godunov” and some other works by Mussorgsky, took an active part in the completion of the opera “Prince Igor” by Borodin and in the orchestration of “The Stone Guest” by Dargomyzhsky. The composer’s long-term teaching activity was reflected in the work of his students, among them Lyadov, Sacchetti, Glazunov.
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The composer died on June 20, 1908 on his estate near Luga.
Presentation for a music lesson: “Scheherazade” by N. A. Rimsky-Korsakov
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Music lesson in the 5th grade on the topic The work was completed by Ekaterina Izotova, a student of grade 5b at the State Budget Educational Institution Lyceum No. 329 of the Nevsky District of St. Petersburg, 2014 - 2020 academic year
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Nikolai Andreevich Rimsky-Korsakov Scheherazade
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N.A. Rimsky-Korsakov composed the symphonic suite “Scheherazade” based on the famous Arabian fairy tales “A Thousand and One Nights”. The suite resembles a symphony consisting of four movements
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Sultan Shahriar, convinced of the treachery and infidelity of women, vowed to execute each of his wives after the first night, but Sultana Sheherazade saved her life by managing to keep him busy with fairy tales, telling him them for a thousand and one nights, so that Shahriar, motivated by curiosity, He constantly postponed her execution and finally completely abandoned his intention. Scheherazade told him many miracles, quoting poets’ poems and song lyrics, weaving fairy tale into fairy tale and story into story. The composer attached the following program to the score:
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“Scheherazade” is a symphonic suite “Scheherazade”, one of the best symphonic works of the Russian composer N. A. Rimsky-Korsakov, written in 1888. Rimsky-Korsakov created “Scheherazade” under the influence of the Arabian fairy tales “A Thousand and One Nights”. “Scheherazade” in its form and style is a symphonic suite, that is, a multi-part cyclic musical work written for a symphony orchestra. Also, the form of “Scheherazade” as a suite is due to the fact that the composer, in the process of working on it, created parts of a musical work, each of which had its own programmatic character and its own name. But later “Scheherazade”, as a suite as a whole, acquired more and more the nature of the symphony's form. As a result, Rimsky-Korsakov writes a single general program for the symphonic suite “Scheherazade”, removing the proper names of the parts of the symphonic suite and making the latter numbered A little about the suite
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In Shahriyar's theme there is a commanding unison of woodwind instruments, painting the image of a strong and imperious sultan, the mighty ruler of his state, free to freely dispose of the life and death of his subjects. But Scheherazade's theme is tender and languid, performed by a melodious solo violin. In it you can hear the magic of the Arabian night, and the enchanting voice of the young storyteller, and the full of mystery flavor of wondrous oriental narratives. Tools that draw heroes:
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In the first part of the suite - “The Sea and the Ship of Sinbad” - the music depicts a picture of a vast sea space: Scheherazade talks about the legendary sailor Sinbad, who sets sail. By painting the sea so amazingly colorfully and accurately, Rimsky-Korsakov undoubtedly turned to his memories associated with sea voyages. The main part of the sonata allegro is the image of the wavering sea. It is based on the theme of Shahriar, but now it becomes the theme of the hero of the fairy tale - the brave traveler Sinbad, while maintaining a stern character. Contrasting with it is a light side theme - the theme of Sinbad's ship. Its music surprisingly subtly conveys the breath of the sea element, depicts an endless series of waves with white “lambs” on the crests, the ship of Sinbad the Sailor sailing across the calm expanse of the ocean. But the turbulence of the sea gradually increases, and now the music depicts the greatness of the raging elements. But by the end of the part, everything calms down, and the music again depicts a picture of the gently splashing peaceful sea. Shahriyar’s theme brightens, as if the despotic ruler, under the influence of beautiful fairy tales, softened and grants Scheherazade one more day of life to hear the continuation of “The Sea and the Ship of Sinbad”
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The second part - “The Tale of Prince Kalender” Here a new character appears - the prince, and Scheherazade, as it were, gives the word to him. This is how a story arises within a story, a fairy tale within a fairy tale. The composer creates a musical portrait of Kalender, and then depicts his fantastic adventures. The third movement is the most lyrical in the suite. It is called “The Tsarevich and the Princess” and is a kind of lyrical love duet. But the particularly striking part of the suite is the finale, which combines the themes of all previous movements. He stands out for his bright orchestral fantasy and fiery temperament. The composer called this part “A Holiday in Baghdad and a Ship Crashing on a Rock with a Bronze Horseman.” This festive character is revealed in the change of various themes, the play of rhythms, timbres. An extensive coda, which serves as the conclusion of the entire cycle, paints an independent picture of the majestic formidable sea and a ship crashing on a rock “Young Prince and Princess” “Holiday in Baghdad. Conclusion"
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In the epilogue of the suite, Shahriyar's theme becomes soft and calm, because the cruel Sultan is pacified. For the last time, as the conclusion of the fairy tale, the theme of the young Scheherazade sounds. This ends the suite. “Scheherazade” is one of the most striking works depicting the world of the musical East. It uses the principle of picturesqueness, a comparison of episodes of different nature, united by the theme of Scheherazade, reminding us that all this is the story of one person - the charming storyteller Scheherazade. There is no consistent plot in the suite's program, and there are no explanations for the content of the tales. This suite is one of the examples of Rimsky-Korsakov's epic symphonism. It displays the same principles of epic musical dramaturgy (contrast, comparison of images) as in the composer’s epic operas. These principles are manifested both in the structure of the suite as a whole, and within individual parts of the work. "The Story of Prince Calendar"
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Thank you for your attention! Be sure to read the fairy tale "A Thousand and One Nights"
