Модест Петрович Мусоргский - Promenade - текст песни, слова, перевод, видео

"Pictures from the exhibition" - the cycle of piano plays of the Russian composer Modest Petrovich Musorgsky. Written in 1874 in memory of the Mussorgsky, artist and architect Victor Gartman.

Pieces

"Pictures from the exhibition" - a bright sample of software music with its own characteristics. It is in the original way the pictures from real life with fabulous fiction and images of the past are combined. Pieces "Pictures" are associated with each other to the intermedia "Walk" depicting the passage of the Mussorgsky ("My physiognomy in the Intermones is visible") along the gallery and the transition from the picture to the picture. Such topics and the construction of the cycle are unique in classical musical literature.

Mussorgsky, according to contemporaries, was an excellent pianist, literally fascinated listeners, sitting down for the tool, and could depict anything. However, he wrote to the instrumental music relatively little, most of all attracted his opera. The opera thinking penetrated into the "pictures", and they are perceived as a musical "theater of one actor." With the help of one piano, the author applies the techniques of intonation dramaturgy produced by them, dynamizes the figurative development of music by bold opposition, sudden contrasts, unexpected thematic transformations [11]. Mussorgsky puts the task of creating a psychological portrait, penetration into the depths of his characters, which fundamentally distinguishes his work from ordinary sketches of Gatman.

The author gave the names of the plays in a particular language, depending on the subject; For each play, well-established Russian names are also.

PROMENADE (FR. Walk). Si-Farol Major. The topic of this play is repeated throughout the cycle several times. It resembles Russian folk sneakers: the melody begins in one voice ("Spelling") and picked up by the "chorus". In the melody itself, a five-simple way for folk songs - Pentatonics, she sounds in the range of a low female voice, as if imitating the People's Maneru. (The same structure has melodies, for example, in the plays of the Tchaikovsky "July" and "November" from the "Seasons" cycle.) The play is variable size - 5/4 and 6/4 through the beat, the free rhythm of the disintegration "does not fit" in The scheme of rhythmic patterns of Western classical music - but alternating size is very approximately reflecting the alternation of strong and weaknakes: the start of melodic phrases go every time on different stakes of the tact. Everything in this play is a melody, tonality, rhythm, pace - works to create a sensation of light, expanse and spiritual purity.

In this topic, Mussorgsky simultaneously depicted himself, moving from the picture to the picture: "My physiognomy in the Intermediates is visible," he wrote Stasov. Melodic line in most intermenids is played hardly, in which it sometimes see the imitation of the author's gait.

The topic "Walks" in the nameless intermenids varies, showing the change in the mood of the author; The tonality also changes, modulation preparing the listener to the next play. Initially, the intermediate sounds in every interval, then more and less often, as if the viewer is more immersed in the paintings and less draws attention to the transitions.

Interestingly, the Mussorgsky himself in letters to friends called the play "pictures" by the word intermezzo, considering, apparently, the "walk" of the leading theme and the Tracting Form as Rondo [12]. Because of this building, the "pictures" is sometimes called Rondo Sitoy