Михаил Коллонтай - Баллада 5. Вурдалак - текст песни, слова, перевод, видео

Then I hesitated greatly in the name. In English, it is still vampire, but in Russian? Nevertheless, the “vampire” in Russian sounds, it seemed to me, more in their way. In addition, an allusion arises with the poem by Pushkin. Well, let there be a “ghoul”. Moreover, this even more focuses on the plot of Merim.

"Masha and the Bear". Why does the bear have a linden leg? Come on, understand. Skirla - she creaks so. But why does he have a prosthesis? Is he a bear or not really? And he goes slowly, and the leg rhythmically repeats: Skirly ... Skirly ... Skirly ... Skirly ... But the sound of the leg is like this Pushkin dog on the grave gnaws a bone, right? Or maybe this bear is a bone of a car, huh? Skirly ... Skirly ... The strange plot chose Merima, right? It is possible that with the same sound this lokis and marital duties performs, with his Masha, that is, Julia, and she is Pani Ivinskaya. Maybe he doesn’t have this linden prosthesis instead of his leg, but instead of something else? Because it creaks something too loud. And fast.

It is clear that we are talking about the very first motive of ballads. I will never transport it! That is, this prosthesis is like the basis of the universe, and both the bear and Masha are only the decoration of this inhuman force.

I nevertheless prescribed some “decoration”-this is Polish-Ground-Slavic Sawn and dance. Therefore, there are all the time either the waltz, or something like that, and there is just a mast, as an “insert episode” (p. 54-55).

But in general - how torn the “ghosts” are torn, so collected in a single musical space and “ghoul”, and the following ballads.

Another part is the mile of this count, that is, the bear-medveda. Already on page 50, in the 3rd system you can see this. And then-a huge episode starting from Tempo Iniziale on page 57. Even his deaf-powerful roar, the voice of a tube (as in Parsley, right?), And then I was written (p. 58, system 4 and further) . It is possible, if you like, so naive-programmic here to interpret that starting with page 55, starting with Modo I, there is a scene of the column of the Count with a bear and the countess, because there is a contrapunctic compound of Skirla and a bear leitmotiv, which quickens everything, comes to paroxysm , and then the bear before-o-olgo and slowly leaves, continuing to enthusiastically aspire a tub. I don’t remember if I thought so when I composed, but something similar comes out.

The most interesting thing is that I wrote this and next play, on duty in the monastery ...

Well, then decipher yourself, as a desperate pan, Ivinskaya does not understand who Count Michael is and behaves defiantly with him (p. 59, from the 2nd system and further). Sighs of Count Michael (he thinks that love - on page 60, system 4); how the intonations of the count acquire more and more excited and bear features (p. 63, system 3); And all this on a counterpoint either a waltz, or something. I can’t further specify, there is rather symphonic, general development: well, what are these terrible unisins in Presto on page 67? How can I explain this?

A conscious game with Chopin’s style is also added to this, it was already in Mazurka, it seems to me quite obvious, and music on page 69 is almost plagiarism, at least textured.

I, and I myself am afraid of this crunch of broken bones at the junction of pages 70 and 71 ...

I don’t know how to fill with sound with the very end of the ballad. But, of course, I could finish only that way, this is probably understandable.