Tamara Platonovna Karsavina begged for a long time for a dance, but we prayed in vain. Bolero Ravel
"Bolero" by Ravel
Alexander Maikapar
Written: 1928.
What it is: a work for orchestra; was originally intended as music for a ballet production; gained popularity as a brilliant orchestral piece.
Duration: about 15 minutes.
The reason for its extraordinary popularity: the hypnotic effect of an unchanged rhythmic figure repeated many times, against the background of which two themes are also repeated many times, demonstrating an extraordinary increase in emotional tension and introducing more and more new and new tools.
Nikolay Zabolotsky
So, Ravel, let's dance the bolero!
For those who will not change music to a pen,
There is an original holiday in this world -
The melody of the bagpipes is meager and sad
And this dance of slow peasants...
Spain! I'm drunk on you again!
Cherishing the flower of a sublime dream,
Again your image burns before me
Beyond the distant edge of the Pyrenees!
Alas, the tormented Madrid fell silent,
And Dolores Ibarruri is not with him!
But the people live and their song lives.
Dance, Ravel, your gigantic dance.
Dance, Ravel! Cheer up, Spaniard!
Rotate, History, cast millstones,
Be a miller in the menacing hour of the surf!
Oh, bolero, sacred battle dance!
Ravel in 1928
Ravel turned fifty-three this year. Behind is a recent tour to America - a “crazy tour,” as Ravel himself described it, across Canada and the United States (“I see magnificent cities, delightful landscapes, but the triumphs tire me” - from a letter to Hélène Jourdan-Morange dated February 10, 1928) . Ahead - the award of an honorary doctorate degree Oxford University. Ravel at the pinnacle of his composing skills. Such masterpieces of his have already been created as piano cycles"Reflections" (1905) and "Night Gaspard" (1908) and the suite "Tomb of Couperin" (1917), the opera "The Spanish Hour" (1907), "The Spanish Rhapsody" (1907), the ballet "Daphnis and Chloe" (1912) , rhapsody "Gypsy" (1924) and other works. After 1928, he had to write his two piano concertos (1931) - one for the left hand, which Ravel was commissioned by the Austrian pianist Paul Wittgenstein (who lost his right hand in the war - the First World War), and the second - G major - “not only for one right hand"(as the composer joked) is an amazing masterpiece with which the wonderful pianist Margherita Long introduced the world and whose unsurpassed interpreter is the Italian pianist Arturo Benedetti Michelangeli. She prepared the Concerto under the direction of the author and triumphantly performed it during her concert tour of Europe and America together with Ravel, who then acted as conductor.
But this - the 28th - year was the year of "Bolero".
Ravel's Spanish and Russian connections
We owe the birth of this work to the intertwining of two life lines in the fate of Ravel, this Frenchman - the Spanish and, oddly enough... Russian lines. Ravel's Russian connections gave an external impetus to the writing of the second part of this ballet performance. Spanish - that inner strength, which prompted Ravel to write “Bolero”, in other words, again, as he had done more than once, to turn to Spanish theme, Spanish folklore, try to convey the Spanish spirit and flavor. But I’ll tell you in order and start with those very external reasons, the spark that ignited Ravel's inspiration.
Already long years Ravel is associated with Russian cultural figures, especially the composers who conquered Paris in the early 900s. This is, first of all, the Russian theater figure Sergei Pavlovich Diaghilev with his “Russian Ballet” and “Russian Seasons” in Paris. It was by order of Diaghilev that Ravel wrote the ballet Daphnis and Chloe back in 1912. But the Russian philanthropist was not the only customer, although his role, both in this project and in many others associated with the largest composers of the time, was absolutely exceptional. No wonder the square in front of the Grand Opera House in Paris bears his name - Place Diaghilev! The ballet's libretto was also written by Russian choreographer Mikhail Fokin. Daphnis was performed by the Russian dancer Vaslav Nijinsky, and the scenery was designed by Leon Bakst. We can talk a lot about the impression that Russian art made on Ravel and, in particular, musical culture. Only one the clearest example- Ravel's orchestration of Mussorgsky's Pictures at an Exhibition.
But now we’re not talking about that, but only about one representative of the Russian intelligentsia in Paris - the wonderful dancer Ida Rubinstein. Who hasn't admired her talent? Valentin Serov captured her on famous portrait, stored in the Russian Museum in St. Petersburg. It was she who inspired Ravel to write Bolero.
Ida Rubinstein decided to perform a choreographic composition on the stage of the Grand Opera in Paris to the music of Ravel's "Waltz" that had already been written. But this orchestral piece alone, in order to present it in theater performance, was not enough. And then she turned to Ravel with a request that he write another work for this production. It was decided that it would be "Bolero".
This brings us to the question of Ravel’s Spanish connections. First of all, they made themselves known in literally words at the genetic level: Ravel’s mother was Spanish (by the way, this father French composer was a native of Switzerland). The future composer was born in a small Spanish
Slide 1
Presentation on the topic: Maurice Ravel “Bolero” Obysova T.G. Music teacher at Municipal Budgetary Educational Institution “Secondary School No. 15”, Novomovskovsk, Tula Region.
Slide 2
MAURICE RAVEL
Slide 3
1928
BOLERO
Slide 4
Born on March 7, 1875 in the city of Cibourg in the south of France. The city of Sibur was located on the very border with Spain, where at that time his father was serving as a travel engineer, a passionate lover of music, who instilled this love in his son. In 1889, Ravel entered the Paris Conservatory, where he graduated in piano. Ravel developed an interest in improvisation after becoming acquainted with the work of the extravagant composer Erik Satie, as well as a personal meeting with composer and pianist Ricardo Vignes. It was after this that Maurice developed a passion for writing. On last year training, he ended up in the class of Gabriel Faure. On his initiative, Ravel composed a cycle of works to Spanish melodies - “Habanera”, “Pavane for the Death of the Infanta”, “Ancient Minuet”.
About Maurice Ravel:
Slide 5
When you listen to the music of this composer, you get the impression that you are watching the work of an artist creating his canvas. However, like most composers, Maurice Ravel's work was not recognized for some time. Only after speeches in his defense by the largest cultural figures of France, R. Roland and G. Fauré, was Ravel awarded the Grand Prix of Rome. This allowed him to go on a three-year internship in Italy.
Slide 6
During the First World War, Maurice worked as a truck driver at an airfield. After serving for more than a year, Ravel was demobilized after two serious wounds. After the war, the emotional element began to predominate in Ravel's music. Therefore, from composing operas, he moves on to creating instrumental plays and writes the suite “Tomb of Couperin”. Around the same time, Maurice Ravel met the famous Russian producer and director S. Diaghilev, who was staging “Russian Seasons” in Paris.
Slide 7
Ravel tours a lot: he performs on tours in Italy, Holland and England. And everywhere he was met with an enthusiastic reception from grateful admirers. Commissioned by the Russian conductor S. Koussevitzky, Ravel performs a brilliant orchestration of “Pictures at an Exhibition” by M. P. Mussorgsky. All this happens while Maurice is working on his most famous work, Bolero. In it the composer tried to combine classical traditions with the rhythms of Spanish music. The idea of this work belongs to famous ballerina Ida Rubinstein.
Slide 8
In 1932, Ravel again tours Europe with the outstanding pianist Margarita Long. At the same time, he begins work on a new work - the ballet "Joan of Arc". However, he ends up in car accident, and the work stops. Beginning in 1933, Ravel suffered from a serious neurological disease, possibly a consequence of a traumatic brain injury he received in a car accident. The last work seriously ill composer was “Three Songs” for the first sound film “Don Quixote”. They were written for the Russian singer F.I. Chaliapin.
Slide 9
“Ancient Minuet” (1895) “Pavane for the Death of the Infanta” (1899) “Play of Water” for piano (1901) “Reflections” for piano (1905) “Spanish Rhapsody” for symphony orchestra(1907) "The Spanish Hour", opera (1907) "Gaspard of the Night", or "Ghosts of the Night" for piano (1908) "Daphnis and Chloe", ballet (1912) "The Grave of Couperin" (1917) "The Child and the Magic", opera (1925) “Bolero” for symphony orchestra (1928) Concerto No. 1 in G major for piano and symphony orchestra Concerto No. 2 in D major for piano (left hand) and symphony orchestra, dedicated to Paul Wittgenstein
LIST OF WORKS BY MAURICE RAVEL.
Slide 10
Dance that originated in late XVIII century (according to some sources, created around 1780 by the dancer Sebastian Cerezo), was accompanied by singing and playing the guitar and drum. The characteristic musical and rhythmic figures were emphasized by the sound of castanets. In the first years of its existence, the bolero was called “the apotheosis of tenderness,” but soon the dance became dramatized, imbued with the spirit of knightly heroism.
BOLERO - Spanish folk couples dance. The pace of movement is moderate, time signature 3-beat. The rhythmic pattern is often close to the rhythm of the polonaise.
Slide 11
As a rule, a bolero consists of 5 parts. Part 1 - choreographic depiction of a walk. In the middle part, which is improvisational in nature, the dancers take turns demonstrating their skills. The “flying” movements of men are particularly complex, thanks to which, researchers believe, the dance received the name “bolero” (Spanish volar - to spin - in common speech it turned into bolar).
Slide 12
Co-arrangement of parts, their strict sequence in development main topic allowed us to convey the dance element of Spanish music. The famous Russian ballerina Anna Pavlova included “Bolero” in her repertoire.
Slide 13
In the 1st half of the 19th century, the bolero, usually performed in Spain on the days national holidays on the streets and squares, goes on stage. Interest in the genre begins to appear abroad: dance is included in ballets and operas, inspires composers to create numerous songs and romances, as well as instrumental works.
Slide 14
The sight of a large symphony orchestra performing Bolero is perhaps one of the most striking musical spectacles. Few people remember that this music was originally intended for ballet. But, having overcome the boundaries of genres as well as criticism and self-criticism, Bolero remains the most “massive” phenomenon of symphonic culture.
Slide 15
Composition of tools. First the woodwinds sound - flute, clarinet, oboe, bassoon.
Slide 16
Gradually they are joined by groups of copper wind trumpets with a mute,
saxophones are new instruments primarily used in jazz,
Slide 17
then horn and celesta
Slide 18
Solo trombone, trumpets.
Slide 20
This is how the composer himself (Ravel) characterizes “Bolero”: The peculiarity of “Bolero” is its immutability. ‘This is dance music that should be played smoothly moderate pace; it is built on the persistent repetition of the same melody and harmony, the monotonous rhythm of which is constantly beaten by the drum. The only element of variety in it is the ever-increasing orchestral crescendo.
Slide 21
Ravel himself saw in this music a large dance scene unfolding on outdoors, with the participation of a huge crowd of people. “Bolero” has been staged on stage more than once as a ballet. According to Ravel himself, it was necessary to include the factory building in the decoration so that the men and women leaving the workshops would gradually be involved in the general dance. Why did Ravel himself have such an idea? Rather, because during his travels in the Rhineland he visited several large factories, which he constantly admired, or rather, these factories became his passion. Ravel pointed out one of these factories in front of which he loved to walk: “The factory from Bolero.” And, of course, in the apparent mechanicalness of the movement (due to the repeated repetition of two themes), the image of a grandiose mass dance-procession is gradually revealed. The music produces a hypnotizing, bewitching impression.
Slide 22
N. Zabolotsky calls “Bolero” a “sacred battle dance”: But the people are alive, and their song is alive, Dance, Ravel, your gigantic dance. Dance, Ravel, don't be discouraged, Spaniard! Turn, history, cast millstones! Be a miller in the menacing hour of the surf! Oh, Bolero, the sacred dance of battle!
Slide 23
And here are several paradoxical situations and statements related to the history of this work. Maurice Ravel: “Is Bolero my masterpiece? Unfortunately, this is empty music! After one of the performances of "Bolero" unknown to the composer the lady exclaimed: “Crazy!” Ravel, grinning, said: “She understood!” Maurice Ravel to George Gershwin: “Be careful, you will end up writing Bolero!”
Job source: Decision 2952. Unified State Exam 2017. Russian language. I.P. Tsybulko. 36 options.
Task 17. Place all punctuation marks: indicate the number(s) in whose place(s) there should be a comma(s).
Dance (1) Ravel (2) your gigantic (3) dance,
Dance (4) Ravel! Cheer up (5) Spaniard!
Rotate (6) History (7) cast millstones,
Be a miller in the menacing hour of the surf!
O bolero (8) sacred dance of battle!
(N.A. Zabolotsky)
Solution.
In this task you need to use commas to highlight introductory words or references.
1. Find words in the text that answer the question “who, what?” If such a word is in the nominative case, but is not the subject of the sentence, this is an appeal. Separate with commas.
Dance (1) Ravel(2) his gigantic (3) dance (accusative case),
Dance (4) Ravel! Cheer up (5) Hispanic!
Rotate (6) Story(7) cast millstones (accusative case),
Be a miller in the menacing hour of the surf!
ABOUT bolero(8) sacred dance fight!
2. Find introductory words in the text.
There are no introductory words in this passage
3. We write down the numbers where commas should appear in the sentence.
From ptiz_siniz
(Olga Vedyokhina)
A. Pushkin
(fragment from “Eugene Onegin”)
Brilliant, half-airy,
I obey the magic bow,
Surrounded by a crowd of nymphs,
Worth Istomin; she,
One foot touching the floor,
The other slowly circles,
And suddenly he jumps, and suddenly he flies,
Flies like feathers from the lips of Aeolus;
Now the camp will sow, then it will develop,
And with a quick foot he hits the leg.
P. Vyazemsky
Quatrain under the drawing by L.I. Carina (leg of Maria Taglioni)
Sorry, sorceress! A fleeting sylph
She flew up into the clouds. Bon voyage!
But the prose here is in spite of ethereal poetry:
Tell me, why put the wing in the shoe?
Emily Dickinson
I'm dancing on pointe shoes
Didn't pass science -
But sometimes the spirit of fun
So they wing in me -
What - know the basics of ballet -
The whole Troupe - turning white -
I would like to see my flight -
And I will accept anger.
Let it be in a haze of gas and flowers
I won't slide towards the ramp -
Let your foot in the air - easily -
Like a Bird - I don’t hold -
Let me not twirl in a pirouette -
To knock the wind into foam -
Until I'm blown away
Furious "encore" -
And let no one know -
The posters don't make noise -
But my Theater is full of dance -
There is a gala performance.
Translation by Vera Markova
A. Akhmatova
Tamara Platonovna Karsavina
Like a song, you compose a light dance -
He told us about glory, -
There is a blush on the pale cheeks,
Darker and darker eyes.
And every minute there are more and more prisoners,
Forgotten their existence,
And bows again in the sounds of the blissful
Your flexible body.
N. Gumilev
Tamara Platonovna Karsavina
We begged you for a dance for a long time, but we prayed in vain,
You smiled and refused emotionlessly.
Loves high sky and the ancient stars the poet,
He often writes ballads, but rarely goes to the ballet.
I went home sadly to look the silence in the eye.
The rhythms of movements that were not former rang and sang in me.
Only the sweetly familiar silence suddenly blossomed.
It was as if the mystery had approached or the moon had become the sun.
The string of the angel's harp has broken, and I hear the sound.
I see two white stems of arms thrown high.
Lips of the night, like velvet red flowers...
So, it’s you who refused there who is dancing after all!
In a blue tunic from the night sky, a tightened figure
Suddenly the fog, rapidly filled with light, breaks apart.
The light leg quickly draws serpentine lightning -
Blessed Degas probably sees such visions,
If for your bitter happiness and sweet flour
He was received in the blue-crystal high heaven of God.
...I woke up in the morning, and the morning rose that day radiantly.
Was I happy? But my heart languished with grateful melancholy.
M. Kuzmin
T.P. Karsavina
Half the sky in a distant street
The swamp has obscured the dawn,
Only a lonely skater
Draws lake glass.
Capricious runaway zigzags:
Another flight, one, another...
Like the tip of a diamond sword
The monogram is cut by the road.
In the cold glow, isn't it,
And you lead your pattern,
When in a brilliant performance
At your feet - the slightest glance?
You are Columbine, Salome,
Every time you are no longer the same
But the flame is growing clearer,
The word "beauty" is golden.
G. Ivanov
To the album of T. P. Karsavina
The gaze of a balletomaniac,
Scenes green semicircle,
In a cloud of light fog
Shoulders outline and arms.
Violins and sonorous horns
As if exhausted from the struggle,
But golden and spacious
A dome like the sky above you.
Invisible wings are blowing,
The heart is carried away, trembling,
Upwards, where the cupids turn pink,
Holding a cornucopia.
V. Khodasevich
Giselle
Yes Yes! In blind and tender passion
Get over it, burn out,
Tear your heart into pieces like a letter,
Go crazy, then die.
So what? Move gravestone
Again you have to get over yourself
Love again and kick your leg
Moonlight blue on stage.
A. Tarkovsky
Ballet
The violin squeals, the drum hums,
And the flute whistles in Alsatian,
A cardboard weevil drives onto the stage
With a painted doll from a fairy tale.
Her partner takes her out from there,
Putting his hand under her thigh,
And drags him by force to the hotel yard
To the pirates for sure flour.
They sharpen their daggers and twirl their mustaches,
And they stomp their heels to the beat,
Pocket watches take out at once
And the squirrels sparkle wildly, -
Like, it's time to cut! But in strawberry tights,
In your swan starch,
Prima flies over the ramp easily,
And something vibrates in the hall.
Stage nonsense magic current
Finds you like a nightingale's whistle,
And tests your will to the teeth
Cold calculation of a ballerina.
And all this sweat, this makeup, this glue,
Confusing your taste and feelings,
They have already taken possession of your soul.
So what is art?
Probably the connection will be guessed
Between the stage and Dante's Inferno,
Otherwise, where would the area come from?
With all this riffraff nearby?
I. Brodsky
Mikhail Baryshnikov
Classical ballet is a castle of beauty,
whose gentle tenants from the harsh prose of days
the sawing pit of the orchestra
separated. And the bridges are closed.
We squeeze our butts into imperial soft plush,
and, winged with cursive thighs,
a beauty you won't lie with,
in one leap he flies out into the garden.
We see the forces of evil in brown tights,
and an angel of goodness in an indescribable package.
And has the power to awaken from Elysian hibernation
ovation from Tchaikovsky and Co.
Classic ballet! The art of better days!
When your grog hissed and they kissed you on both sides,
and the reckless drivers raced, and bobeobi was sung,
and if there was an enemy, then it was Marshal Ney.
The pupils of the policemen had yellow domes.
In which nests they were born, they died in those nests.
And if anything flew into the air,
it was not a bridge, but Pavlova.
How glorious it is in the evening, in the distance of All Rus',
Baryshnikov to mature. His talent has not faded!
Leg strain and torso cramp
with rotation around its own axis
give birth to the flight whose soul
how the girls were waiting, ready to get angry!
What about where it will land, -
the ground is hard everywhere; I recommend the USA.
N. Zabolotsky
(hardly having seen Ida Rubinstein in 1928 and anticipating the appearance of ballet performances to Ravel’s music)
Bolero
So, Ravel, let's dance the bolero!
For those who will not change music to a pen,
There is an original holiday in this world -
The melody of the bagpipes is meager and sad
And this dance of slow peasants...
Spain! I'm drunk on you again!
Cherishing the flower of a sublime dream,
Again your image burns before me
Beyond the distant edge of the Pyrenees!
Alas, the tormented Madrid fell silent,
All in the echoes of the passing storm,
And Dolores Ibarruri is not with him!
But the people live, and their song lives.
Dance, Ravel, your gigantic dance,
Dance, Ravel! Cheer up, Spaniard!
Rotate, History, cast millstones,
Be a miller in the menacing hour of the surf!
Oh, bolero, sacred battle dance!
V. Gaft
"Fouette"
E. Maximova
It all started with Fouette,
When the Earth began to rotate,
Like a virgin in nakedness,
Flustered with embarrassment,
Suddenly it spun around in the darkness.
Oh, just don't stop,
Don't get lost in the bustle,
Let my head spin
Together with the Earth in Fouette.
Oh, just don't stop,
And if it's just a dream,
Let it last as long as possible
My wonderful dream - Fouette!
It all started with Fouette!
Life is perpetual motion,
Don't turn to Beauty
Stop for a moment
When she's at her best.
Stop sometimes
For that moment it's dangerous
She's always on the move
And that's why she's beautiful!
Oh, just don't stop...
Tate Ash
Baltic choreography
... the liveliness of hawthorn awakened in my fingers
Joseph Brodsky
after midnight.
the gloomy palace hunger is fully noticeable outside,
even the venerable staircase pokes predatorily into the palisade.
people are over.
the sky fell into puddles a few days ago.
That’s how it lies - near the trash, on the broken bottom,
peering into the rooftops...
squeezing a firefly in a fistful,
hawthorn wanders along the parapets -
looking for
where to grow.
The darkness is shaking, the bridge is trembling, Judas.
A water cannon spits out black slurry.
a bird swollen from getting wet will
sleep on the shoulder of a bush.
sometimes it flashes
near the balcony scree
the same hawthorn (essence, habits, shadows of the same length).
I would like to call, talk,
but the thoughts of similar individuals are equally distant.
it's dawning.
A formation of cobblestones is being prepared to seize the road.
but until the asphalt shell cracked,
in the headlights, a hawthorn branch will suddenly bend like Baryshnikov -
will hesitate -
and straightens up in a wild, spiky step.
