Картинки с выставки - 8. Катакомбы. Римская гробница, h - текст песни, слова, перевод, видео

Catacombae. Sepulcrum Romanum (from lat. - “catacombs. Roman tomb”). SI minor. In the picture, Gartman portrayed himself, V. A. Kenel and a guide with a lantern in his hand in Roman catacombs in Paris. On the right side of the picture, weakly lit skulls are visible.

A gloomy dungeon with a tomb is depicted in music by lifeless unisos in two octaves (the acoustics of “ghostly” overtones are used), then sharp, then quiet (“echo”). Among these chords, like the shadows of the past, a slow melody emerges. The "catacombs" hang on an unstable chord, moving on to the next scene.

Cum Mortuis in Lingua Mortua (with lat. - “with dead in the dead language”). SI minor. From the "catacombs", against the backdrop of a quiet tremolo in the upper register, there is a minor variation of the "walk", in which the author speaks with the spirit of Gartman: "Okay, Latin text: the creative spirit of the deceased Hartmann leads me, appeals to the skulls, the skulls were quietly lit up." (In some editions, the name is given with the mistake: “Con more ...”; in the manuscript of the Mussorgsky Latin title, there is no at all.)

The word Stasov in his letter to Rimsky-Korsakov:

In the same second part ["Pictures from the exhibition"] there are several lines of unusually poetic. This is the music on the picture of the Hartmann “Parisian catacombs”, all consisting of skulls. The garbage is first depicted a gloomy dungeon (long stretched chords, often orchestral, with large farmas). Then the topic of the first promenade goes to Tremolando in Minor-these are lights in the turtles, and then suddenly the magical, poetic call of Hartmann to Mussorgsky is heard ...

The dialogue, starting in a woeful minor, gradually passes into major tonality, withdrawing the listener out of hopelessness and denoting reconciliation with irreversible.

As if returning home with Gartman, the author completes the cycle with two plays on Russian topics.