Анатолий Скрипай - С.С. Прокофьев Сарказмы ор.17 - текст песни, слова, перевод, видео

The images of the first “sarcasm” (F-moll, Tempestoso, 1912) with their teasing and evil ironicism, a devilish grin, Kolko, a mocking acute, cause associations with the “satanic poem” of Scriabin, although the intonation system and the nature of harmony are completely different.

In the “furious” triton moves, frightening chromatics of harmony and melodics, the “Mephistophelian” beginning is pronounced in the general dynamics of the energetic motor movement.

The second “sarcasm” (E-Moll, Allegro Rubato, 1913) is full of spicy nonaccordal consonant, sophisticated-dinovable, broken-dramatic bursts, grotesque rhythmic fragments and temporal shifts (in the harmony and rhythm of this “sarcasm”, the effect of the Late Scriabin style is tangible.) . Despite the more blurred than in all other "sarcasm", the palm of the play as a whole, the major-minor with tonic on Mi is clearly revealed in its cadans. At the basis of color - spots, glare, pedal "fogs".

The third "sarcasm" (ALLEGRO PRECIPITATO, 1913) is composed in the "unifying" tonality with the predominance of B-Moll. It is also clear in the elements of politicalNality (B-moll and fis-moll, written separately in the right and left hands). Its complex tonic: SI-Bemol-Re-Bemol-F-Sol-Bemol-la (the first appeal of Nonakorda VI steps B-Moll) organizes the palmar base. Extremely important cadanse deviations in F-Dur. This, first of all, determine the dominant position of B-moll with a general political-based basis of “sarcasm”. The restless nature of music in its rebellious figurative subtext can be brought to associations with the “scene under the crums” of Mussorgsky (the main theme is associated with the choir “diverged, walked”, despite the entire large -scale difference of the compared).

The following is a purely grotesque, parody-sarcous episode with the Singhiozzando remark (that is, “sobbing”), preceding the melting lyrical, intimate average section. The artistic task of the peculiar “breakdown into sincereness” was performed by the composer subtly and masterfully (namely the “breakdown”, given the general approach of Prokofiev to the lyrical sphere of images in this cycle).

The somewhat pretentious fourth “sarcasm” (1914), written on two tonal centers-F-Dur and Des-Moll, has a Smanioso remark (“furiously”, “frantically”). His music is frantically swift. The deliberate melodic break of the main theme (moves according to the sounds of increased soberness), rhythmic asymmetry and heavy syncopes of a harsh, alarm of the middle episode, just as attracting attention, frantic whirlwinds and sharp quarter complexes indicate the image of clowdish jokes. But, delving into the strange eccentric of this music, we discover its internal, as if hidden under an acting mask of increased expression, the severity of the statement (for example, sparkling sounds at the top), sarcastic bitterness and breakdown. It is enough to pay attention to the psychologically final completion of “sarcasm”: frozen bass, melodic indifference, fatigue and resentment ...

The fifth "sarcasm" (C-dur, Precipitossissimo, 1914) is most penetrated. This is a truly tragic play, written with depth, inspiration and skill of figurative embodiment. We have already given her author’s program of typically Gogol's “laughter through tears”. However, the perception of its programminess is extremely contradictory (“There is no sarcasm in music. There is strength and mental health,” says A. Orelovich in the article “On the piano music of the early period of the work of S. S. Prokofiev” (Sat. Prokofieva ”, M., 1962, p. 132).). At the heart of “sarcasm” - two contrasting images, two principles embodied in a simple three -part form.