Analysis of the cantata “Alexander Nevsky”. WITH

S.S. Prokofiev,

cantata, Alexander Nevsky”

The cantata Alexander Nevsky arose on the basis of the music for the film of the same name by Sergei

Eisenstein, released in 1938. The exceptional success that fell on

share of the film and comparable only to Chapaev, allowed Prokofiev to make

film music, an independent work and transfer it to the concert hall stage,

changing almost nothing in it, with the exception of some orchestration details.

Personnel management, visibility of images is one of the characteristic features of Prokofiev’s music in general and

this work in particular. The listener seems to see what is happening on stage, even

if behind the musical impressions there are no impressions of watching a film.

Cantata Alexander Nevsky - a monumental work for choir, mezzo-soprano and

orchestra. Text by the poet V. Lugovsky and the composer himself.

Alexander Nevsky occupies the most important place in Prokofiev’s work, affirming in it

heroic-epic national theme, which then develops in the opera War and Peace, in

music to Ivan the Terrible, in the Fifth Symphony and in some other works. This new one

the valuable side of Prokofiev’s talent is characterized by its constant and deep interest in

people and their history.

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 what it really sounded during the Battle of the Ice, and in what we are in now

I imagine her. It’s exactly the same with the Russian song: it had to be given in a modern warehouse,

leaving aside the question of how it was sung 700 years ago.

The composer's approach to the historical theme is noteworthy.

Prokofiev has a surprisingly correct feeling historical era.

But strict, like ancient frescoes, images of antiquity in Alexandra Nevsky permeated at the same time keen sense our modernity. The soulless iron music of the crusaders is perceived, in essence, as a characteristic of modern aggressive and reactionary forces - the cantata was written during the era of rampant fascism in Western Europe.

The music of Alexander Nevsky embodied the best features of Prokofiev's work -

the universality of the style, capable of embodying Russian heroic images with equal force,

soulful lyrics, harsh, mechanized images of invaders. Composer

combines pictorial episodes with song and choral scenes, close

operatic oratorio style. The breadth of musical generalizations does not interfere with the visible

concreteness of individual images.

In the structure of the cantata itself one can trace the features of a symphonic poem, where the first part is

prologue, second and third - exposition, characterizing two opposing forces: Russian knights in the person of Alexander and knights Livonian Order. The fourth and fifth parts are a development in which the culmination and central number of the entire cantata is, of course, the fifth - the battle scene on Lake Peipsi.

The sixth part is an episode, a lament for the fallen soldiers, the only solo number in the whole thing

work (mezzo-soprano). And finally, the seventh part - finale, reprise, triumph and

the triumph of the victorious Russian soldiers.

The basis of the musical characteristics of the crusaders is the chorale created by Prokofiev

in the familiar Bach style. Thanks to special harmonic and orchestral techniques

he takes on dark and harsh features. Harmonic, timbre and rhythmic sides

prevail in it over the melody; characterized by tense dissonant combinations,

ostinato mechanical rhythm; roaring piercing brass (often with mutes), percussion.

The characteristics of Russians are dominated by the song principle, clear diatonic

harmony; The orchestra is dominated by strings. There is a whole string of sad melodies and

mournful, majestic and heroic, daring and cheerful. There is a clear sense of continuation in them.

epic traditions of Glinka and the Kuchkists, refracted, however, through the originality

Prokofiev style. Prokofiev in Alexander Nevsky came to the creation of an organic

modern epic musical style on a strongly national basis.

“Rus under the Mongol yoke”-- a short symphonic prologue introducing the harsh atmosphere of the era of events. Archaic chants with wildness dominate

sobbing grace note, with widely spread unisons, sounding at the very

the highest and lowest instruments, thereby creating the impression of immeasurable distance,

huge spaces.

In the epic Song about Alexander Nevsky arises main topic Russia, its

invincibility and greatness (And that was the case on the Neva River”).

The chorus is unison (which is typical for epic narratives) and is built on alternation

we fought as we fought!” more lively and picturesque. The sounds of battle, the rattling of weapons,

the blows of the swords are conveyed in the orchestra by a combination of: dry pizzicato, grace notes in wooden

accompanied by drums (drum, tambourine). At the same time, the plucking of the harps gives

music character epic story. The melody is distinguished by variable size (2/4 and

3/4), corresponding to the rhythm of the verse.

The harmonic structure of the entire movement is strictly diatonic.

Part 3 - Crusaders in Pskov- makes a sharp contrast with the previous one and

itself is internally contrasting (in the middle there is a Russian theme).

In the part Crusaders in Pskov, opposing images collide for the first time.

Hard, with sharp consonances, menacing-sounding heavy copper, severe ascetic

chorale and warlike fanfares contrast the characteristics of the enemies with mournful

melodies and trembling emotionality of the sound of the strings, embodying the people's grief.

The main melody of the choir breathes with combat prowess and courage.

In the orchestral introduction of the Crusaders there are frightening dissonances - like stone

blocks falling one on top of the other, and at the same time - like a piercing scream and groan,

standing in a conquered city. This music plays three times before the start of each

three sections of this part. The dominant timbre color is copper, some of which are

mutes.

The appearance of the knights is a mixture of hypocrisy and cruelty. The sombre orchestral introduction gives way to

the quiet “holy” singing of “Regegrinus” - the chorale of the crusaders. But in the orchestra - threatening

figure y brass instruments and contrabassoon. Here comes the four-stroke bass

chromatic theme (like an old basso ostinato). The triad do-

sharp minor with a dissonant B-sharp sound.

During the second performance (second varied stanza), the chorale already sounds fanatical -

frantically. From measure 5 to measure 17, all voices arranged in an octave repeat

fortissimo the same, dull motive” (G-sharp and F-sharp). There are new ones in the orchestra

menacing themes - the war signal of the crusaders and the inexorably descending chromatic

All this comes together into a stunning symphony of horror and destruction.

Part 4:

Get up Russian people , born of Russian folk song.

Rus', oppressed, majestic and mournful, now appears from the other side - heroic.

The choir is remarkable for its activity and rhythmic energy (remember the intention

Prokofiev to give a Russian song in a modern refraction). This choir was very popular in

years of the Great Patriotic War. He truly is a fighting patriot

A brief introduction to the choir appears like an alarm bell (the alarm bell sounds

orchestra throughout the first part of the choir). Its main melody contains chased

inviting intonations, especially its second half.

Characterized by sudden shifts from E-flat major to C-flat major with the words, Alive

honor and honor to the fighters”, as well as from E-flat major to D major when moving to middle

The beautiful D major theme of the middle movement (the chorus is written in tripartite form),

performed by altos and then basses, its plasticity resembles some themes from

Glinka's Ruslan; she embodies the image of the Motherland: Native in Rus', great in Rus'

not to be an enemy.” This theme will be heard in the 5th and 7th parts of Alexander Nevsky.

The center of the cantata is a grandiose picture of the Battle of 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 a brave theme, “Get up, Russian people,” and mocking buffoon tunes, and the rapid rhythm of the jump of Russian horsemen. The battle episode ends with an almost visible picture of a disaster (the crusaders fall through the ice).

5th part - Battle on the Ice - central number of the cantata. He is

grandiose development, where the main dramatic themes directly collide,

sounded in previous issues, and new Russian themes also appear. Ice

The massacre makes me remember the Sich at Kerzhenets. Both films compete in

picturesqueness, tangibility of the battle scene, which contains a huge

drama.

First, a gloomy winter landscape is given - a frozen lake in a frosty haze. Shaking background

(strings), colored by deep, dark juxtapositions of triads in C minor and

G sharp minor; ominous "croaking" sounds of violas sul ponticello (playing technique

bowed at the stand).

The distant sound of a Teutonic horn is heard - the signal of the crusaders, familiar already from the 3rd

parts. The famous episode of the Crusaders' race begins, entitled in the film Skok

pigs (Pig is a wedge-shaped combat formation of the Teutonic army). Accurate

visual device - evenly alternating chords in string basses sul ponticello

It conveys the characteristic fractional tapping and horse stomping of an approaching detachment.

Prokofiev was looking for a timbre here, which he himself characterized as unpleasant for the Russian

ear. In the music for the film, he boldly used the possibilities of sound recording. Signal in the scene

The carnage was played by a horn specially recorded with distortion. In the cantata

in a similar place it is performed by the English horn and trombone with a mute.

A new, purely battle episode begins in E-flat major. There is an acute

the buffoon's theme (close to Kamarinskaya), clearly distinguishable among the sounds of battle.

Then follows a new section: Andante - a higher level of dramatic tension.

The music of the crusaders becomes fierce and menacing, more confident and swift

Russian music. A new topic appears, full of enthusiasm and daring. Her sound in the film

corresponds to the episode of the Russian attack.

The heroic Russian theme is heard again (from the chorus, “Rise up, Russian people”).

Until now, the struggle between hostile themes has been expressed in their alternating contrast

carrying out. The climactic pages of Carnage are a series

simultaneous combinations of these topics. Each of them retains its tonal and timbre

coloring The themes of the Crusaders (chorale and signal) sound in C sharp minor in the brass

instruments with mutes, Russian themes (heroic and daring) - in various major keys

string tonality.

Thus, as a result of the polyphonic technique, polytonal combinations arise, creating enormous harmonic tension corresponding to the dramatic

The picture of the death of the knights is vividly depicted: the cracking of ice, dark cold waves,

flooding the battlefield.

Severe mourning music expresses the tragic nature of what happened. Ends

a picture of the Battle of the Ice with the most tender dawn sound of the theme - “On the native land”

not to be an enemy”, (from the middle section of the 4th movement) - in a high register, accompanied by tremulous strings. This lyrical, landscape ending gives completeness to the whole picture.

In addition, the musical integrity of Ledovoy’s huge and rich picture

The carnage is manifested in the rondo-shape of its structure.

Repetitive moments (the repetition is not exact, but dynamic) - the music of the crusaders; contrasting episodes - Russian music. The highest dynamic moment is the simultaneous combination of both themes.

Part six - Dead Field- the only solo aria in the cantata that has the features

people's lamentation. She captivates with the severity of the melody, depth and sincerity

feelings. This is a song for mezzo-soprano and orchestra.

sounds especially moving after the grandiose battle scene. Dead Field is one of

best cantata numbers. This is the grief of the Motherland for the dead, embodied in symbolic

the image of a bride mourning the glorious falcons, her grooms, good fellows.

Naturally, Prokofiev bases the mournful melody of the song on the intonations of folk

cry, which is especially emphasized in the orchestral introduction.

Prokofiev managed to create in the Dead Field a deeply expressive and strict Russian

a melody that stands among the classic samples. Subtly and peculiarly implemented by him

folk song intonations. Such, for example, is an air seventh (C - B-flat),

given at a distance.

In harmonic language, along with the revolutions of the natural minor (C minor), it is characteristic

expressive use of A-flat minor triads within C minor.

Interestingly, this is a deep and dark juxtaposition of the minor tonic and minor VI

steps have been known in Russian music since Ruslan's aria about the dead field. In Alexandra

Nevsky it is repeatedly used by Prokofiev to create a gloomy color -

Let us remember the beginning of the Crusaders in Pskov (C-sharp - A) and the beginning of the Battle of the Ice -

C - G sharp (A flat).

In the middle of the song (from the words, “Who lies, chopped with swords”) there is a Russian theme from the 3rd

parts of a cantata. This sad, excited melody represents the development of more

calm main theme.

The response Russian theme is permeated with bitter sadness (in string instruments). Flexible

Teutonic signal. This Russian theme will then appear in the middle part of the Dead Field.

The chorale in the reprise is varied (occupies a higher register) and is strengthened by the support of the theme

in the orchestra. At the very end, the introductory music and chorale sound again, which gradually

quiets down.

7th part - Alexander’s entry into Pskov. In the choral finale, glorifying Russia-

winner, the familiar Russian themes of the cantata are combined in a more powerful sound:

a song about Alexander Nevsky and a bright melody from the middle part of the choir, Get up, people

Russians.” The first one, truly heroic theme is given here in magnification, and then in double

increase (already at the very end of the finale). Featuring a four-part choral presentation

(instead of unison) it takes on a hymn, solemn character. At the same time with

the melody sounds in chorus and in the orchestra. The second theme is also given at a slower pace and more

broad choral presentation. In addition to these two, a new funny story arises in the finale.

dance theme of the choir (“Have fun, sing, dear mother Rus'”) and buffoon tunes from the 5th

In Alexander Nevsky, the very course of musical development is extremely convincing

the victory of the living human folk principle over cruelty and violence is affirmed.

The dramaturgy of the cantata is based on the sharp contrast of these two opposite worlds.

It is interesting that in Alexander Nevsky it is impossible to single out any one end-to-end

Russian theme running through the entire cantata. There are several such topics. Characteristic

Russians are complex (characteristics of the crusaders as well). In the course of development in connection with

New themes arise with new moments of action (for example, the victorious onslaught of the Russians

troops in the Battle of the Ice is expressed by the appearance of a perky, daring theme). This method

musical characteristics and development of images are typical of Prokofiev.

The harmony and integrity of the composition of the entire cantata are remarkable. At its center is

The Battle of the Ice is a dramatic peak. This part develops the main

themes of the work. Along the edges of the cantata there are epic choral parts based

on the theme of a song about Alexander Nevsky.

Alexander Nevsky was for Prokofiev the first experience of embodying a great

heroic theme. He addresses her a second time in the opera by Semyon Kotko (based on the novel

V.P. Kataeva, I am the son of the working people”), but on a modern plot telling about

events of the civil war in Ukraine.

LESSON: S.S. Prokofiev. Cantata "Alexander Nevsky". Alexander's image,

image of the Russian people.

peculiarities musical language cantatas;

Lesson Objectives

educational:

Reinforce the concepts: “cantata”, “contrast”, “ musical painting", "expressiveness and

figurativeness";

Assess the significance of the work of the great Russian composer S. Prokofiev in embodiment

complete image 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:

To develop the skills and creative skills of each student;

Vaccinate careful attitude to the history of your people;

Show multidimensionality and harmony various types art to create an image

Alexander Nevsky;

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 ear for intonation and Creative skills students;

develop the ability to analyze a musical work.

Musical material:

S. Prokofiev Cantata “Alexander Nevsky”

Part 2 – “Song about Alexander Nevsky”,

Part 4 – “Rise up, Russian people”,

Part 5 – “Battle on the Ice”,

Part 6 – “Dead Field”.

Equipment: computer, CD, portraits of S. Prokofiev and S. Eisenstein,

presentation, handouts: table to fill out,

structure of the cantata.

DURING THE CLASSES

Stage 1: Organizing time, repetition of the material covered:

Hello guys. (slide 1)

In front of you on the screen are the names of different genres, which can be combined into one topic, the topic with which you have been working for several lessons. What do you think this topic is?

Absolutely right - vocal genres. What else can you add by looking at this page?

Of course, the genres of cantata and oratorio are highlighted in the same color. What do you know about them? Name characteristic features these genres. (slide 2)

Today in classwe will get acquainted with the work of vocal - instrumental genre

Cantata.

Please look at the screen (slide 3): in front of you are photographs of brilliant people of the 20th century. One of them is a composer, the other is a film director. What do you think might unite them?

Of course general work work on the work, it is not at all difficult to guess that this is work on a film. (slide 4)

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. 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 pencil drawings, and then did the shooting based on the finished music.

“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 Great hall Moscow Conservatory.

There is a question mark in front of you (slide 5). What would you like to know about this work?

Stage 2: The guys formulate the goal of the lesson. Lesson objectives are indicated on the board.

The topic is written down in a notebook.

So we want to know:

The structure of a cantata;

How the image of the Russian people is presented in the cantata;

How is the image of Prince Alexander Nevsky characterized in music?

Stage 3: learning new material

The cantata, which is the genre the composer chose for his work, consists of seven parts (slide 6) - open your printouts -

"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."

Analyze the names of the parts and tell me - what two figurative lines can the music of the work be divided into?

Undoubtedly, this is the image of the Russian people, led by Prince Alexander Nevsky, and the image of the enemy invaders, these are the Mongols and the Crusaders. In his work, S. Prokofiev gave vivid musical characteristics to these images, using various means of expression.

How is the image of Alexander Nevsky presented in the work? (slide 7)

In order to answer this question, you need to listen to the music of the second part of the cantata"Song about Alexander Nevsky." Think about how Alexander Nevsky appears to you in this music? Define his musical portrait.

A piece of music plays

What is the nature of the music played?

Children's answers. Narrative, majestic, measured, similar to ancient Russian epic, the chant spreads far over the expanses of the Russian land.

How did A. Nevsky appear to you, how do you see him in music? courageous, strong, reliable, confident defender - a hero. Before us is an epic hero.The music is majestic and strict (imitationfolk songs of greatness).It looks like a fresco by an ancient Russian painter who depicted a warrior stern and devoted to his homeland.

Can this music also be a characteristic of the Russian people? Of course.

Bright musical picture, depicting the Russian people, is the fourth part of the cantata "Get up, Russian people." This choir is a famous patriotic Russian song, a call to defend the native land. In which the composer conveys the mood, the state of the Russian people, their determination and courage. Alexander threw out a cry, and as if new Russian warriors were growing out of the ground. Simple, peaceful people took up arms and joined the ranks of defenders. In hard times, everyone is a warrior. This rule always applies, in any era. If the Motherland is in danger, people unite and come to its defense. (slide 8)

A piece of music plays

What image does this song have? Where does this part begin?

Children's answers.

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 Rus', this alarming bell ringing is called an alarm. What is an alarm?A signal to gather people in the event of a disaster, given by the ringing of a bell. The ringing of the bell called for help and raised the alarm.

In the melody, in its persistently repeated energetic intonations, one can hear battle cries, calls. The rhythm of the march emphasizes the heroic nature of the music.

In “Alexander Nevsky” it is impossible to single out any one cross-cutting Russian theme running through the entire cantata. There are several such topics. The characteristics of Russians are complex. As development progresses, new themes emerge in connection with new moments of action.

Fifth movement of the cantata "Battle on the Ice" (slide 9). In it, Prokofiev presents two troops, for each of them he wrote his own music, his own theme:

I invite you to listen to fragments of the cantata and determine musical characteristic troops of German knights and troops of Russian soldiers. To do this, you need to fill out the table and more accurately determine the means of expression used by the composer.

German knights

Russian cavalry

A musical fragment plays (knights). Children work with a table.

How does the composer characterize the German knights? Is this melody close to us? Is she dear to us? Why?

Children's answers:-Cold, angry, static, as if lifeless.

Mechanical step, monotonous singing

This is music that is not native to us; behind it are hidden the evil faces of the conquerors.

In order to emphasize the foreignness of this music, the composer took as a basis a church song - a chorale. This is a Catholic chant. The Crusaders are Catholics. And Rus' is an Orthodox country. One of the reasons for the attack on our country by German knights was the desire to make Rus' a Catholic country. That is why Prokofiev wrote a Catholic chorale for the theme of the attack and specifically looked for a timbre that would be unpleasant to the Russian ear.

And now another topic.

A musical fragment sounds (Russian cavalry). Children work with a table.

Is it similar to the theme of conquerors? What is she like?

Children's answers: dazzlingly bright, flying, she is alive, fast, one might say dashing

or dashing, daring, cheerful, a little like a Russian dancer.

How do you think music can paint us a picture of a battle? How did Prokofiev describe the struggle between the German knights and the Russian army?

Listening to a piece of music.

What happened to themes in music? - They got mixed up

The image of the Russian people would be incomplete without the music of the next part of the cantata

"Dead Field" (slide 10). 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.

A piece of music plays

Stage 4: summing up the lesson

What did you learn in class today? Have you received answers to your questions?

Have all lesson objectives been achieved?

Students' answers.

Analyze the results of your work in class and draw conclusions about the possibilities expressive means music in creating opposite, dissimilar images.

Students' answers.

CONCLUSION: 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.

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.” Thanks to this, we know his famous words...(slide 11).

Yours homework. (slide 12)

Thank you for the lesson.

Cast: 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 completely new play“Why 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.

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 Peipsi.

“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 rage when children and wives are left behind, villages and cities are left, motherland with a short and sonorous name - Rus'...” (O. Tikhomirov).

Historical events associated with the name of the Russian prince Alexander Nevsky are reflected in the works different 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.

Wordcantata comes from the Italian "cantare", meaning "to sing". The cantata consists of several numbers (parts). Designed for individual singers (soloists), choir and orchestra.

Very unique approach to historical theme. 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 amazing example community of 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:

“The hall is dark. 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 a Morse telegraph receiver, Prokofiev’s mercilessly clear fingers move. Is Prokofiev beating time? No. He hits a lot more. In the tapping of his fingers, he catches the law of structure, according to which on the screen in montage the durations and tempos of individual pieces are crossed with each other, and both of them, taken together, are intertwined with the actions and intonation of the characters.

...The next day he will send me music, which with the same sound counterpoint will permeate my montage structure, the law of the structure of which he carries away in the rhythmic figure that his fingers tapped.

It seems to me that, besides this, he is either whispering or purring to himself. But the face is so concentrated. It can only be like this when a person listens to the system of sounds rushing outside or to the sound system passing within himself. God forbid you speak to him at this time!”

The cantata has seven parts:

I. Rus' under the Mongol yoke;

II. Song about Alexander Nevsky;

III. Crusaders in Pskov;

IV. Get up, Russian people;

V. Battle on the Ice;

VI. Dead Field;

VII. Alexander's entry into Pskov.

The music of the cantata amazes with the brightness of its images. Listening to it, it’s as if you’re seeing frames of a film in front of you - the endless plains of Rus', Pskov devastated by the Teutons, 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.

"Rus under the Mongol yoke" - a short symphonic prologue introducing 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.

Pskov meets the winners. Again the song is happy, joyful. High ringing echoes curl around her melody like a sparkling thread, wonderfully merging with the crimson chime of festive bells.

In Rus' it is big,
Native in Rus'
No enemy!

The choral finale, glorifying victorious Rus', combines Russian themes of the cantata: a song about Alexander Nevsky, the theme of the middle part of the choir “Rise up, Russian people.”

Miraculously transformed, as if dressed in festive attire, they did not, however, lose their mighty strength... Let the enemies remember: “Whoever comes to us with a sword will die by the sword. This is where the Russian land stands and will stand.”

This music, which became the main participant in the film about great love to the Motherland, about the selfless struggle against the cruel invaders, about the glorious victory over the enemy, Prokofiev foreshadowed the victory of the people in the fight against the fascist invaders. Today, this music, having left the silver screen, lives a full independent life.

1. Musical genre - cantata

2. The history of the creation of the cantata “Alexander Nevsky”

3. Contents and main themes of the cantata “Alexander Nevsky”