The plot of the ballet bakhchisarai fountain summary. Boris asafiev bakhchisarai fountain libretto. History of creation. Ballet music material

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Excerpt characterizing the Bakhchisarai fountain (ballet)

- Well, well fellows are sleeping? - said Petya.
- Who is asleep and who is like that.
- Well, what about the boy?
- Spring then? He collapsed there, in senets. Sleeping with fear. I was glad that I was.
For a long time after that, Petya was silent, listening to the sounds. Footsteps were heard in the darkness and a black figure appeared.
- What are you sharpening? - asked the man, going up to the wagon.
- But to sharpen the master's saber.
“It's a good thing,” said the man who seemed to Petya to be a hussar. - Do you have a cup left?
- And over there by the wheel.
The hussar took the cup.
“It’s probably light soon,” he said, yawning, and walked somewhere.
Petya should have known that he was in the forest, in Denisov’s party, a mile from the road, that he was sitting on a wagon taken from the French, near which horses were tied, that Cossack Likhachev was sitting under him and sharpening his saber, that a big black spot to the right - a guardhouse, and a red bright spot below to the left - a burning fire, that the person who came for a cup is a hussar who wanted to drink; but he knew nothing and did not want to know it. He was in a magical realm, in which there was nothing like reality. A big black spot, maybe there was a guardhouse, or maybe there was a cave that led into the very depths of the earth. The red spot may have been fire, or perhaps the eye of a huge monster. Maybe he is as if sitting on a wagon now, but it may very well be that he is not sitting on a wagon, but on a terribly high tower, from which if he fell, he would fly to the ground all day, a whole month - all fly and never reach ... It may be that just a Cossack Likhachev is sitting under the wagon, but it may very well be that this is the kindest, bravest, most wonderful, most excellent person in the world, whom no one knows. Maybe it was as if the hussar was passing by for water and went into the hollow, or maybe he had just disappeared from sight and completely disappeared, and he was not there.
Whatever Petya saw now, nothing would have surprised him. He was in a magical realm in which anything was possible.
He looked up at the sky. And the sky was as magical as the earth. It was clearing in the sky, and clouds flew quickly over the tops of the trees, as if revealing the stars. Sometimes it seemed that the sky was clearing and showing a black, clear sky. Sometimes it seemed that these black spots were clouds. Sometimes it seemed that the sky was high, rising high above the head; sometimes the sky descended completely, so that you could reach it with your hand.
Petya began to close his eyes and sway.
The drops were dripping. There was a quiet talk. The horses laughed and fought. Someone was snoring.
- Burning, burning, burning, burning ... - whistled a sharpened saber. And suddenly Petya heard a harmonious chorus of music playing some unknown, solemnly sweet hymn. Petya was musical, just like Natasha, and more than Nikolai, but he never studied music, never thought about music, and therefore the motives that suddenly occurred to him were especially new and attractive to him. The music played louder and louder. The melody grew, passed from one instrument to another. What is called a fugue was happening, although Petya had not the slightest idea of ​​what a fugue was. Each instrument, sometimes similar to a violin, sometimes to trumpets - but better and cleaner than violins and trumpets - each instrument played its own and, without having finished playing the motive, merged with another, which began almost the same, and with the third, and with the fourth , and they all merged into one and again scattered, and again merged, now in the solemn church, now in the brightly brilliant and victorious.
“Oh, yes, it's me in a dream,” Petya said to himself, swinging forward. - It's in my ears. Or maybe this is my music. Well, again. Go ahead my music! Well!.."
He closed his eyes. And from different sides, as if from afar, sounds fluttered, began to harmonize, scatter, merge, and again everything combined into the same sweet and solemn hymn. “Oh, what a charm it is! As much as I want and how I want, ”Petya said to himself. He tried to lead this huge choir of instruments.
“Well, quieter, quieter, freeze now. - And the sounds obeyed him. - Well, now it's fuller, more fun. Even more joyful. - And from an unknown depth rose the intensifying, solemn sounds. - Well, voices, bother! " - Petya ordered. And at first, from afar, male voices were heard, then female voices. The voices grew, grew in a steady solemn effort. Petya was scared and joyful to listen to their extraordinary beauty.
The song merged with the solemn victorious march, and drops dripped, and burning, burning, burning ... the saber whistled, and again the horses fought and whinnied, not breaking the chorus, but entering it.
Petya did not know how long this went on: he was enjoying himself, all the time he was amazed at his pleasure and regretted that there was no one to tell him. Likhachev's gentle voice woke him up.
- Done, your honor, spread the guardian in two.
Petya woke up.
- It's dawn, really, it's dawn! He cried.
Horses previously unseen were visible to their tails, and a watery light could be seen through the bare branches. Petya shook himself, jumped up, took out a ruble from his pocket and gave Likhachev, waving, tasted the saber and put it in its sheath. The Cossacks untied the horses and tightened the girths.
“Here's the commander,” said Likhachev. Denisov came out of the guardhouse and, calling to Petya, ordered to get ready.

Quickly in the semi-darkness they dismantled the horses, tightened the girths and sorted them out according to commands. Denisov stood at the guardhouse, giving the last orders. The party's infantry, plopping with a hundred feet, walked forward along the road and quickly disappeared between the trees in the predawn fog. Esaul ordered something to the Cossacks. Petya kept his horse on the bit, eagerly awaiting the order to sit down. Having been washed with cold water, his face, especially his eyes, burned with fire, a chill ran down his spine, and in his whole body something was trembling quickly and evenly.
- Well, are you all ready? - said Denisov. - Come on horses.
The horses were served. Denisov got angry with the Cossack because the girths were weak, and, having scolded him, sat down. Petya took hold of the stirrup. The horse, out of habit, wanted to bite him on the leg, but Petya, not feeling his own weight, quickly jumped into the saddle and, looking back at the hussars who had moved behind in the darkness, drove up to Denisov.
- Vasily Fedorovich, will you entrust me with something? Please… for God's sake… ”he said. Denisov seemed to have forgotten about Petya's existence. He looked back at him.
- About one you pg "osh," he said sternly, "to obey me and not to meddle.
During the entire journey Denisov did not speak a word more with Petya and drove in silence. When we arrived at the edge of the forest, it was already noticeably brightening in the field. Denisov talked something in a whisper with the esaul, and the Cossacks began to drive past Petya and Denisov. When they had all passed, Denisov touched his horse and rode downhill. Sitting on their backs and sliding, the horses descended with their riders into the hollow. Petya rode next to Denisov. The tremors in his entire body intensified. It became brighter and brighter, only the fog hid distant objects. Having driven down and looking back, Denisov nodded his head to the Cossack who was standing beside him.
- Signal! He said.
The Cossack raised his hand, a shot rang out. And at the same instant there was the sound of pounding horses in front of them, shouts from different directions, and more shots.
At the same instant, as the first sounds of stomping and shouting were heard, Petya, hitting his horse and releasing the reins, without listening to Denisov shouting at him, galloped forward. It seemed to Petya that all of a sudden, like the middle of the day, it was brightly dawning the minute the shot was heard. He galloped to the bridge. Cossacks galloped along the road ahead. On the bridge he ran into a straggler Cossack and rode on. Ahead, some people — they must have been the French — were running from the right side of the road to the left. One fell into the mud under the feet of Petya's horse.
Cossacks crowded around one hut, doing something. A terrible cry came from the middle of the crowd. Petya galloped up to this crowd, and the first thing he saw was the pale face of a Frenchman with a trembling lower jaw, holding on to the shaft of a pike directed at him.
- Hurray! .. Guys ... ours ... - Petya shouted and, giving the reins to the heated horse, galloped forward along the street.
Shots were heard ahead. Cossacks, hussars and Russian ragged prisoners who fled from both sides of the road, all loudly and awkwardly shouted something. A dashing Frenchman, without a hat, with a red scowling face, in a blue greatcoat, fought off the hussars with a bayonet. When Petya jumped up, the Frenchman had already fallen. Again he was late, it flashed through Petya's head, and he galloped over to where he heard frequent shots. Shots rang out in the courtyard of the manor house where he had been with Dolokhov last night. The French sat there behind a fence in a dense garden overgrown with bushes and fired at the Cossacks who were crowding at the gate. Approaching the gate, Petya in the powder smoke saw Dolokhov with a pale, greenish face, shouting something to people. “Take a detour! Infantry wait! " - he shouted, while Petya drove up to him.
- Wait? .. Uraaaa! .. - Petya shouted and, without hesitating a single minute, galloped to the place where the shots were heard and where the powder smoke was thicker. A volley was heard, and empty bullets squealed into something. The Cossacks and Dolokhov jumped up after Petya into the gate of the house. The French, in the wavering thick smoke, some threw down their weapons and ran out of the bushes to meet the Cossacks, others ran downhill to the pond. Petya galloped on his horse along the courtyard and, instead of holding the reins, waved both hands strangely and quickly, and farther and farther knocked off the saddle to one side. The horse, having run up to the fire smoldering in the morning light, rested, and Petya fell heavily on the wet ground. The Cossacks saw how quickly his arms and legs twitched, despite the fact that his head did not move. The bullet pierced his head.
After talking with a senior French officer, who came out to him from behind the house with a handkerchief on a sword and announced that they were surrendering, Dolokhov dismounted and walked over to Pete, who was lying motionless, with outstretched arms.
“Ready,” he said, frowning, and went to the gate to meet Denisov, who was on his way to see him.
- Killed ?! - Denisov cried out, seeing from afar that familiar to him, undoubtedly lifeless position, in which Petya's body lay.
“Ready,” Dolokhov repeated, as if pronouncing the word gave him pleasure, and quickly went to the prisoners, who were surrounded by dismounted Cossacks. - We will not take! - he shouted to Denisov.
Denisov did not answer; he rode up to Petya, dismounted from the horse and with trembling hands turned Petya's already pale face, stained with blood and mud, towards him.
“I'm used to something sweet. Excellent raisins, take all of them, ”he remembered. And the Cossacks looked back in surprise at the sounds similar to a dog barking, with which Denisov quickly turned away, went up to the fence and grabbed it.
Among the Russian prisoners recaptured by Denisov and Dolokhov was Pierre Bezukhov.

About the party of prisoners in which Pierre was, during his entire movement from Moscow, there was no new order from the French authorities. This party on October 22 was no longer with the troops and carts with which it left Moscow. Half of the convoy with breadcrumbs, which followed the first crossings, was repulsed by the Cossacks, the other half went ahead; there were not one more infantry cavalrymen who were walking in front; they all disappeared. The artillery, which had been visible in front of the first crossings, was now replaced by the huge wagon train of Marshal Junot, escorted by the Westphalians. A wagon train of cavalry items rode behind the prisoners.
From Vyazma, the French troops, formerly marching in three columns, were now marching in one heap. Those signs of disorder that Pierre noticed at the first halt from Moscow have now reached their last degree.
The road they followed was paved on both sides by dead horses; ragged people, backward from different teams, constantly changing, then joined, then again lagged behind the marching column.
Several times during the campaign there were false alarms, and the soldiers of the convoy raised their guns, fired and ran headlong, crushing each other, but then they gathered again and scolded each other for their vain fear.
These three assemblies, marching together - the cavalry depot, the depot for prisoners and Junot's wagon train - still constituted something separate and integral, although both of them, and the third, were quickly melting away.
The depot, which had one hundred and twenty carts at first, now had no more than sixty; the rest were repulsed or abandoned. From Junot's convoy, several carts were also left and recaptured. Three carts were plundered by the backward soldiers who came running from the Davout corps. From the conversations of the Germans, Pierre heard that more guards were placed on this wagon train than for the prisoners, and that one of their comrades, a German soldier, was shot at the orders of the marshal himself for the fact that a silver spoon belonging to the marshal was found on the soldier.
Most of these three gatherings melted depot of prisoners. Of the three hundred and thirty people who left Moscow, now there were less than a hundred. The prisoners, even more than the saddles of the cavalry depot and than Junot's wagon train, weighed down the escorting soldiers. Junot's saddles and spoons, they understood that they could be useful for something, but why was it necessary for the hungry and cold soldiers of the convoy to stand guard and guard the same cold and hungry Russians, who were dying and lagging behind the road, whom they had ordered to shoot - that was not only incomprehensible, but also disgusting. And the escorts, as if afraid in the woeful situation in which they themselves were, not to surrender to their feeling of pity for the prisoners and thereby worsen their situation, treated them especially gloomily and severely.
In Dorogobuzh, while, having locked the prisoners in the stable, the escort soldiers left to plunder their own shops, several people of the captured soldiers dug under the wall and fled, but were captured by the French and shot.
The previous order, introduced at the exit from Moscow, so that the captured officers should go separately from the soldiers, has long been destroyed; all those who could walk walked together, and Pierre from the third crossing had already joined again with Karataev and the purple bow-legged dog, which chose Karataev as its master.
With Karataev, on the third day of leaving Moscow, he developed the same fever from which he lay in the Moscow hospital, and as Karataev weakened, Pierre moved away from him. Pierre did not know why, but since Karataev began to weaken, Pierre had to make an effort on himself in order to approach him. And coming up to him and listening to those quiet groans with which Karataev usually lay down on halts, and feeling the now intensifying smell that Karataev was emitting from himself, Pierre moved away from him and did not think about him.
In captivity, in a booth, Pierre learned not with his mind, but with his whole being, life, that man was created for happiness, that happiness is in himself, in the satisfaction of natural human needs, and that all misfortune comes not from lack, but from surplus; but now, in these last three weeks of the campaign, he learned a new, consoling truth - he learned that there is nothing terrible in the world. He learned that since there is no position in which a person would be happy and completely free, there is no position in which he would be unhappy and not free. He learned that there is a border of suffering and a border of freedom, and that this border is very close; that the man who suffered because one leaf was wrapped in his pink bed suffered just as he suffered now, falling asleep on the bare, damp earth, cooling one side and warming the other; that when he used to put on his narrow ballroom shoes, he suffered in the same way as now, when he walked already barefooted (his shoes had long been disheveled), with sore feet. He learned that when he, it seemed to him, of his own free will married his wife, he was no more free than now, when he was locked up for the night in the stable. Of all that later he called suffering, but which he almost did not feel then, the main thing was his bare, worn out, chilled legs. (Horse meat was tasty and nutritious, the saltpeter bouquet of gunpowder used instead of salt was even pleasant, there was not much cold, and it was always hot on the move during the day, and there were bonfires at night; the lice that ate the body pleasantly warmed me.) One thing was hard. at first it is the legs.
On the second day of the march, having examined his sores by the fire, Pierre thought it was impossible to step on them; but when everyone got up, he walked with a limp, and then, when he warmed up, he walked without pain, although in the evening it was more terrible to look at his feet. But he did not look at them and thought about something else.
Now only Pierre understood the whole force of a person's vitality and the saving power of shifting attention, invested in a person, similar to that saving valve in steam engines, which releases excess steam as soon as its density exceeds a known norm.
He did not see or hear how retarded prisoners were shot, although more than a hundred of them had already died in this way. He did not think about Karataev, who was weakening every day and, obviously, soon had to undergo the same fate. Pierre thought even less of himself. The more difficult his position became, the more terrible the future was, the more independent of the position in which he was, joyful and reassuring thoughts, memories and ideas came to him.

On the 22nd, at noon, Pierre walked uphill along a muddy, slippery road, looking at his feet and at the unevenness of the path. From time to time he glanced at the familiar crowd surrounding him, and again at his feet. Both were equally his own and familiar to him. Lilac bow-legged Gray merrily ran along the side of the road, occasionally, to prove his dexterity and contentment, holding his hind paw and jumping on three and then again on all four rushing with barking at the crows that were sitting on the falling. Gray was more fun and smoother than in Moscow. On all sides lay the flesh of various animals, from human to horse, in varying degrees of decomposition; and the wolves were not allowed by the walking people, so that Gray could gorge himself as much as he wanted.

Fountain of Bakhchisarai Libretto by N. Volkov

Ballet in four acts

Characters

Prince Adam Pototsky, Polish tycoon

Maria, his daughter

Vaclav, the groom of Mary

Kettlebell, Crimean Khan

Zarema, beloved wife of Giray

Nurali, warlord

Castle manager

Chief of the Guard

Abbot

Tatar scout

Giray's second wife

Maid

Polish lords and ladies, eunuchs, Tatars, Poles.

First action.

Bright moonlit night. The castle of Prince Pototsky. A park adorned with ancient bronze statues. In the center of the stage is the main entrance to the castle. The windows are brightly lit, the shadows of the dancers flicker through them.

With the first bars of the introduction to the waltz, Vaclav runs onto the stage. He was already overtaking Maria, who was running away from him, but suddenly she disappeared. It seemed to him that her dress flashed in the alley. He ran there, but Mary is not there either.

At this moment (the second phrase of the waltz) Maria appears from behind the castle - from a completely different side. She is surprised to see Wenceslas here. Stealthily approaches him from behind and playfully covers the eyes of the young man with his hands. Vaclav recognizes her immediately. They shake hands with each other and, happy, continue the serene dance-game.

But Maria thought that someone had walked along the park alley. She was embarrassed: outsiders could see her playful, loving treatment of Vaclav. Young people quietly walk around the stage and, not seeing anyone, resume the dance-game. Vaclav is so fascinated by Maria that, in a fit of delight, he kisses her.

Maria was confused. She is offended, embarrassed. Full of remorse, Vaclav asks for forgiveness. Maria believes him. Their dance-game resumes again. Chu! Someone is really walking down the alley. "Let's run!" - say the lovers to each other and quickly disappear.

They left on time. The manager of the castle enters the site, calling the servants. They bring vessels of wine, goblets, fruit bowls and quickly arrange them on the tables.

Flickering between the trees, a Tatar spy sneaks up. He runs across the stage, climbs onto the balcony of the castle and looks out the window ... Something frightened him off. A moment - and he disappears among the trees.

The chief of security and two guards run out: they are looking for an enemy spy. By order of the chief, everyone disperses in different directions.

The stage is empty for a moment. But Maria runs out from behind the castle, followed by Wenceslas. Continuing their game, excited, joyful, they hide in the castle.

The front doors swing open, the servants line up. Pototsky with his daughter opens the procession of guests to the park.

The polonaise is over. Guests are located in the park. Krakowiak. Two young men are eager to show their prowess and skill in fencing. They are joined by two experienced old fencers. A warlike sword dance.

Two girls come up to the boys and, taking their sabers in their hands, dance a variation, imitating the fencers.

The owner of the house asks his daughter to dance for the guests. Maria agrees. The boys help her to take off her cape. Vaclav takes his lute and plays.

Variation of Mary. It is followed by the variation of Wenceslas. Delighted with his dance, the girls surround Wenceslas and take him to the park, where guests leave at the invitation of the owner of the house.

Maria searches for Wenceslas in the park, but does not find him and wants to leave. At this moment, Vaclav appears. They run up to each other.

A duet begins, full of confessions and chaste gentle affection. Suddenly the sounds of a dashing mazurka burst in. The guests scared the lovers, and they run away embarrassedly.

The mazurka is being performed. The owner of the house dances with one or the other lady and finally with Maria. This is a general delight.

Again the common dance ... And suddenly confusion. The bleeding chief of the castle guards is looking for his master. "Tatars!" - he manages to say, falling dead.

Pototsky calls guests to arms. Men bare their sabers and rush into the park under the leadership of the prince.

The women scatter.

Like a wild beast, the Tatar commander Nurali jumps out onto the stage. He gives the order: "On the attack!" Poles crowded by the Tatars appear from all sides.

Here Nurali easily overcomes two Polish youths. Several Tatars and Poles roll across the stage in hand-to-hand combat. The priest runs, trying to protect the woman clinging to him with a cross, but falls under the blow of the Tatar. Here the young man jumps up on the table and fights off the Tatars pressing on him. A cleverly thrown lasso pulls him to the floor, and a huge Tatar strangles the Pole. Here is a strong old man grabbed a forged jug and beats it on the heads of the Tatar soldiers who surrounded him, but falls from the blow with a dagger. In a hot duel with a young Pole, Nurali easily emerges victorious.

New detachments of Tatars are rushing to the burning castle. The ranks of his defenders are thinning. Pototsky appears. "Poland, come to me!" - his call is heard. Remnants of Polish soldiers are running towards him from all sides. They are surrounded and pressed by the Tatars. Nurali enters into a duel with Pototsky and kills him. The Tatars destroy every single Pole. By order of Nurali, the Tatars rush after him, leaving the stage strewn with the corpses of the defenders of the castle.

The door of the burning castle opens, Wenceslas make their way through the smoke and flames with a saber in hand and Maria with her lute; Mary's face is covered with a scarf.

Wenceslas sees a Tatar, leaves Maria on the steps of the castle and engages in battle with the Tatar. A moment - and the enemy falls.

The path is clear! Maria runs up to Wenceslas, but they are attacked by another Tatar. Vaclav knocks down this one too ... Another one ... and this one is killed ... Embracing Maria, Vaclav runs towards the exit, but suddenly stops as if spellbound at the sight of Girey and his retinue. Girey also stops when he sees Maria and Wenceslas huddled together.

Nurali dashes towards Vaclav, but Giray stops him and slowly walks to the middle of the stage. He raises his hand and with a majestic, slightly mocking gesture invites the young man to him.

Vaclav attacks Giray with a raised saber. Giray makes a short, barely noticeable movement, and Vaclav falls at Giray's feet, pierced by his dagger. Giray calmly steps over the corpse, walks up to Maria and, with a sharp movement, rips off the veil from her.

Seeing the beauty, he almost cries out with delight, wants to rush to her, but some force in her gaze stops him, and he suddenly bows before her in deep bow. Following Giray, Nurali and the warriors slowly bow down before Maria.

Second action.

Harem in the Giray palace in Bakhchisarai. In the first and second plan of the stage, three curtains - carpets - are lowered from above.

Morning. Two eunuchs are standing - the caretaker of the harem and his assistant. Giray's wives, yawning and stretching, pass between the carpets, past the eunuchs. Those, observing the order, recount them and make various comments.

Here, breaking the lazy languor of the harem, three frolic gossips ran. The eunuch had to shout at them. Here are two women who raised a scandal over a jug. The eunuchs took the jug from them and drove them both out. Here is one of the wives bragging about her jewelry, and three others envy her and ask her to try them on at least for a moment. Some beauty passes proudly, considering herself a rival of Zarema. A sycophant swirls around her, showering with compliments. Here are two women, with the air of conspirators, hiding by the carpet and mysteriously whispering about something. A eunuch sneaks up on them, wants to eavesdrop, but frightened them off - the conspirators fled.

Girey's beloved wife, Zarema, comes out, surrounded by maids. The eunuchs smile ingratiatingly and bow low to her.

Zarema wants to know what the day ahead holds for her. One of the attendants predicts by her hand: "Love awaits you." Zarema is happy. She looks with pleasure in the mirror, which are helpfully held by two slaves.

The curtains-carpets are raised, and Zarema with her attendants enters the harem. There is a fountain in the middle. All around there are wide ottomans and two special beds under canopies - for Giray and Zarema. Everywhere there are pillows, carpets, jugs, fruit bowls. Zarema approaches the fountain, admires its streams, and then leaves, accompanied by the maids.

Quietly, sideways, pressing against the walls, Giray's old wives appear. Their faces are hidden, their clothes are dark. The eunuchs wanted to drive them out, but they were sorry. In groups, young wives gradually enter the harem (in the same order as they went in the previous picture, between the carpets).

Zarema appears again. She is accompanied by obsequious bows, envious glances and gossip of rivals. Zarema sits down on her bed. He goes through the jewelry in the casket and laughs at the amusements of other wives.

One of the women gathered a circle around her and, dancing, tells something. The other is also surrounded by girlfriends, begging her to dance; she is not up to it - here is Zarema, her rival.

A group of beauties threw themselves on Giray's bed and started a fuss there. The eunuchs drive them away. Another group chases after a butterfly, but the butterfly flew away, and again it became sad in a gilded cage.

The assistant to the caretaker of the harem brings Zarema a dish with selected fruits. In agreement with other wives, one of them substitutes a leg for him. The eunuch falls, the fruit crumbles, the women are delighted. They pick up the fruit and begin fun game... Some are throwing apples to each other, who are trying to get them into the eunuchs, who are dancing with fruits, and three even managed to hang on the caretaker of the harem and. spin it. Having played naughty, the wives, at a sign from one of them, suddenly throw off their light dresses and, throwing them up, circle the stage.

The eunuchs rush to clean up the mess. They grab anyone and throw them on the floor. The caretaker of the harem has already swung his whip at one of the most playful ones, but he remained with his hand raised. Everyone froze, hearing the growing noise - it was Giray's troops returning.

Wives and eunuchs headlong rush to the huge grate through which Bakhchisarai Street and the galloping warriors are visible. Following the other wives, Zarema jumps up from his bed: “Girey! Rather, more like a mirror, jewelry! " She is helped by maids, eunuchs. An agitated Zarema takes off her luxurious robe - she is ready to meet Giray.

The carpet curtain falls. A group of Giray's warriors runs along the foreground, followed by the second. Nurali passes, and with him two bodyguards. The commanding tone of the commander - and the bodyguards take their places. Shout Nurali - all prostrate themselves.

Girey runs in. Behind him, four soldiers are carrying a stretcher with the captive Mary. It is half-covered with a light blanket. The stretcher stops. Giray's gesture - and Nurali at his feet. Giray's order - and Nurali sends the soldiers with the stretcher further, entrusting Maria to her future servant.

Giray does not take his eyes off Maria, his hands reach out to her. Maria meets his eyes, flinches and turns away. They carry her away. Nurali's order - soldiers and bodyguards are running away. Finally, Nurali himself leaves.

The carpet curtain rises, Giray enters the harem. All are waiting for him, having fallen on their faces. Only Zarema cannot hold back her impulse, runs to Giray, for a moment clings to him, dances in front of him, happy, trembling. But Girey doesn't see anything. He looks to where they took Maria. He does not notice how the eunuchs take off his cloak, helmet, chain mail and put on a robe and a precious skullcap, and does not notice Zarema caressing him.

Zarema is confused, does not understand what is happening with Giray. He examines himself - maybe she is not dressed as he likes?

Beseechingly stretches out her hands to him, calls him ... Finally, Girey saw her. His cold, strange look completely killed Zarema.

She shrank and, not understanding what had happened, interrupts the dance.

Giray sinks onto his bed, but immediately jumps up. The maid introduces Mary. The wives saw her. They fussed, whispered.

Suddenly Zarema ran into her. She drew back. I got worried.

Giray tries to contain his impulse, but cannot; runs up to Mary and bows before her in a respectful, deep bow.

As if all the wives were blown away by the wind. Frightened, they hid in all directions and looked out, watching what was happening - they had never seen Giray like that.

And Girey shows Maria with a broad gesture: everything that she sees around, he puts at her feet. Maria shuddered and turned away.

Zarema staggered, ran to her box, grabbed a mirror, looks, compares herself to Maria.

Giray doesn't want to bother Maria. Let the maid take her to her chambers. Maria leaves slowly. Girey reaches out to her. She turns around, makes a pleading gesture to Giray, but ... he is terrible, his gaze is aflame ... hurry, hurry to leave! The maid takes Maria away.

Girey hardly comes to his senses. The eunuchs sit him down and, trying to amuse him, order his wives to dance.

The wives dance with the dishes on which are fruits, and they bring them to Giray. A girl - a child of a harem - dances a dance with bells. Young women dance with jugs and vases of fruit, trying to attract Giray's attention. But he does not see what is happening around. Then the eunuchs take out Zarema, who dances for Giray to the accompaniment of other wives.

Zarema puts all the power of feeling into her dance. But Girey does not look at her ... Zarema's movements take on a nervous, impetuous character, she rushes about, suffers, rushes to Girey ... but he turns away with displeasure.

Gathering her last strength, Zarema tries to resume her dance. But Girey gets up, absorbed in thinking about Maria, walks past Zarema and, turning sharply away, rushes to the doors that closed behind Maria. With a huge effort of will, he manages to restrain himself and sink to the bed.

Simultaneously with him, exhausted Zarema falls exhausted on her bed.

This moment is used by the second wife; she begins her dance, with which she tries to attract Giray's attention. Emboldened, he approaches Giray and even hugs his knees.

Girey jumps up, rushes to the door. The eunuchs are running after him. In despair, Zarema rushes after Girey, but other wives block her path, mock her, mimic her, depicting how Girey greeted Maria. Now Zarema is rejected - she is not afraid of them.

But then Zarema breaks out of their cool, looks around. Jump after Giray. Stop: I remembered how he loved her braids, hands ... No, no, she would not let him go! Zarema rushes to the door, through which Maria went, and behind her Girey, but ... does not dare!

The wives were worried. Someone sympathizes with her, someone is glad of Zarema's grief, but everyone is alarmed.

Zarema dances, remembering Giray's caresses, talks about her grief, asks for sympathy and help. And suddenly ... Girey returns. He did not dare to go in to Mary, but he saw her, and therefore he is happy and exhausted ...

Frightened wives scatter. Only Zarema dared to shout: "Girey!"

The khan shuddered ... He turned, looked at Zarema and immediately became calm, cold. Slowly, cautiously, he approaches Giray Zarema. She hugs him. Sternly and coldly, Girey takes off Zarema's hands. Her hands fell ... And the dance of despair and grief begins.

Zarema rushes about. Either she reminds Girey of their love, then she begs him to at least look at her, then she screams about her grief and asks to save her ... Girey does not hear. He thinks about Mary and wants to leave the harem.

Zarema rushes to him, wraps her arms around him. They stand for a long time, looking into each other's eyes. Girey slowly removes Zarema's hands from his shoulders, turns away and leaves.

Zarema froze as if her hands were hanging. Girey passed by ... He stopped ... Perhaps a feeling of pity held him for a moment ... No, no! Everything is over. Girey strides impetuously and decisively to the door. He turns sharply, looks at Zarema ... No! Leaves.

Zarema swayed. Only now she came to her senses. A dash after Giray ... and falls unconscious.

Third action. Maria's room in the Girey's palace. In the corner, under a canopy, is a luxurious bed. Maria sits, plays the lute, recalls her native Poland.

Maria sighed heavily. She put down the lute. She got up, walked, looked around her luxurious prison again. How cold, how alien it is here! .. Startled, ran and fell on her bed.

Girey enters quietly. He is afraid to disturb Maria, but wants to explain to her. Girey bows respectfully to her, again says that everything around him, and he himself, his heart and mind, belong to her.

Maria does not understand him. She's scared. It has the blood of Wenceslas and her father!

Giray takes her hand. He came to calm her down and tell her of his love. Maria does not understand him, asks to leave.

And it seemed to Giray that she called him ... He rushes to her, and this impulse completely deprives Mary of her strength; helpless, she finds herself in the hands of Giray. No, he won't touch her! Maria is the deity of Giray!

Girey slowly kneels down, wants to touch Maria, but does not dare. With an effort of will, he forces himself to leave her. With a deep bow, he leaves as carefully as he entered.

Only now did Maria wake up. Kettlebell! .. No! The girl is crying.

Happy days come to life again, dear images of father, Wenceslas, homeland come to life ... Dance.

Alas, she's in captivity ... She's scared. The only thing left from the past is the lute. Kneeling down, Maria hugs the lute and freezes.

The maid enters. Touches Maria on the shoulder. The prisoner shudders ... "Do not be afraid!" - the maid soothes, leads Maria to the box, puts her to bed. She takes her rug and lies down by the door herself ... Falls asleep ... Silence.

Zarema creeps in, stumbles upon a sleeping maid ... With an inaudible, dexterous cat-like jump, she leaps over the maid ...

Looks around ... sees Maria ... Carefully approaches her, wakes her up and picks her up from the bed: "Hush! .. for God's sake, hush! .." Zarema approaches the lying servant and, making sure that she is sleeping, turns to Mary: Kettlebell; I ask you, I pray on my knees, leave him! "

Maria does not understand Zarema. She hopes that Zarema will help her get away from here, and asks her about it ... But Zarema does not believe her. Get away from Giray ?! Zarema cannot understand this, Maria is lying. She tells Maria how Girey caressed her, how he loved her ...

"Give me my Girey!" she screams.

Maria wants to calm Zarema, but she does not understand her ... Hatred, anger grips Zarema.

Zarema has a dagger in her hands, she runs up to Maria, swings ... Maria does not run away, she is ready for death ... and this obedience stops Zarema. Zarema falls, sobbing.

And suddenly she sees Giray's skullcap, forgotten by him here. Grabbing the skullcap, Zarema shouts to Maria: "You are lying, Girey was here with you!" Having exhausted her strength, she throws the skullcap at Maria's feet and falls herself.

The maid had long since woken up and fled for help. Girey runs in. A eunuch and a maid are following him.

Zarema saw Giray, raised her dagger and ran to Maria. Girey barely has time to catch Zarema's hand. A short struggle - and Zarema, like a snake, slips out of Girey's hands ... A moment - and she stabs Maria in the back with a dagger ...

Maria leans on the column ... slowly turns, sees Giray frozen in horror. "For what?" - as if she asks.

Quietly, quietly sinking ... Now my head fell, my hand ... it's all over!

Girey shuddered. With a wide gesture, he seems to throw the veil from his eyes. He saw Zarema, drew his dagger, rushed to her, swung ... but Zarema opens her arms and herself puts her breast under the blow ... "To die by your hand is happiness!"

Girey understood this ... retreats, thinking. No, he will invent another, terrible execution for Zarema. The order - and Zarema is captured by the eunuch.

Slowly, Girey puts the dagger into its sheath ...

Fourth act.

The courtyard of the Bakhchisarai Palace. Girey sits on the throne in deep oblivion. Around him, the advisers are talking among themselves.

The kettlebell is immovable.

Excitement behind the scenes: Nurali return from the raid with a detachment of warriors.

Nurali appears at the gate, respectfully approaches the khan and reports ...

One group of selected warriors who have just returned from a campaign enters ... another, a third ...

The kettlebell is immovable.

Nurali orders to bring in a large group of beautiful female captives. The warriors show the captives to Giray, put rich booty at his feet ...

The kettlebell is immovable.

One of Giray's captives asks to let them go ... A blow with a whip, and she is thrown away ... All the captives fall ...

Immovable Girey.

By order of Nurali, Giray's bodyguards bring in Zarema ...

Kettlebell is immovable!

Zarema is brought to Giray. The khan ordered the execution of Zarema.

Maybe he changed his mind, forgave? In vain is Nurali waiting for at least some sign of Giray ... The bodyguards take Zarema away, then lift her up to a high wall ... The wind blows Zarema's clothes ... From here it will be thrown down onto the stones ... Zarema turns to Giray for the last time ...

But Girey is motionless.

At a sign from Nurali, the bodyguards drop Zarema ... Everyone froze ... They turned to Giray ...

Suddenly the khan came out of a state of daze. He jumped up, and at once a frantic Tatar dance arose! Sweeping away everything in its path, a horde rushes, jubilant warriors, led by the brave and strong Nurali, gallop! Everything for Giray! And he froze again.

The soldiers stopped, raising Nurali high on their hands.

Girey woke up. He looked around, dismissed everyone with a tired gesture.

One Nurali crawls to Giray, begs him to return to his former life, to military campaigns.

No, Giray wants to be alone! By his order, Nurali also leaves.

Girey alone at the Fountain of Tears. Memories pass in line before him.

Here Girey stopped, as then ... seeing Maria for the first time back in Poland ... So he takes her hand and, like in a harem, shows that everything around belongs to her ... So he tries to caress her. Now Zarema is killing her ... He rushes to Zarema ...

But his powers are betraying him ... His hands are falling ... And Girey bows low before the Fountain of Tears, as he once bowed to Mary ...

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FEDERALSTATEBUDGETARYEDUCATIONALESTABLISHMENT

HIGHERPROFESSIONALEDUCATION

MOSCOWSTATEUNIVERSITYCULTUREANDARTS

FACULTY:choreographic,correspondencebranch

CourseworkWorkontheoryandstoriesmusicalarts

Onsubject:"BalletsB.V.Asafieva"FlameParis "and"Bakhchisaraithe fountain"

Performed:

2nd year student gr. 06208z

Shatrova N.S.

Checked by: Aleksenko N.V.

Introduction

Chapter I. Ballet B.V. Asafiev "The Flame of Paris"

1.1 Short story ballet creation

1.2 Folk musical material in ballet

1.3 Musical characteristics of court scenes

Chapter II. Ballet "Fountain of Bakhchisarai"

2.1 History of creation. Ballet music material

2.2 Maria is the main romantic image of ballet

2.3 Musical characteristics of the image of Zarema

2.4 Musical characteristics of the image of Giray

Conclusion

List of sources used

Introduction

Academician Boris Vladimirovich Asafiev played a crucial role in the history of Soviet ballet. A musician with a wide scientific horizon, deep thought, he influenced the development of Soviet music with his numerous works of musicology and composition. Being an extremely prolific composer, who composed in different genres: musical and theatrical (ballet, opera, music for drama performances, films), in symphonic (program symphonies, instrumental concerts), in the chamber (romances, songs, works for various musical instruments, ensembles), Asafiev focused his interests on theatrical music and, above all, on ballet. His work in this genre began in the 1910s and continued through the 40s inclusive.

The first work of Asafiev, written in the Soviet era, was a ballet on the revolutionary theme "Carmagnola". In the same 1918 he over the fairy-tale-romantic ballet "Solveig" to the music of Grieg, and in 1922 - over the children's extravaganza ballet "Eternally Fresh Flowers". Over the next ten years, Asafiev did not write ballets and returned to ballet creativity only at the end of 1931 (ballet "Triumph of the Republic", or "The Flame of Paris").

A large group of ballets by B.V. Asafieva is characterized by the composer's appeal to classical, mainly Russian, literature and to folk poetry. These are ballets based on Pushkin's plots: The Fountain of Bakhchisarai (1932-1934), Prisoner of the Caucasus"(1936-1937)," Count Nulin "(1940-1941)," The Stone Guest "(1943-1946)," The Young Peasant Woman "(1945-1946). On the plots of Lermontov: "Ashik-Kerib" (1939); Gogol - "The Night Before Christmas" (1937); Kuprin - "Shulamith" (1940); Balzac - "Lost Illusions" (1934-1935); Dante - "Francesca da Rimini" (1943-1946). Ballets based on folk tales- "Snow Maiden" (1941), "Lada" (1943), " Spring fairy tale"(1946).

Asafiev strove to create ballets, diverse in plot and genre relations: tragic and everyday, romantic-legendary, lyric-psychological, fairytale and comedy. One gets the impression that the composer proceeded from the belief in the extremely broad possibilities of the ballet genre and the applicability of almost any subject in this area.

Asafiev's ballets are built as integral, organically developing symphonies. Each episode of the performance is inextricably linked with the form of the whole and performs a specific function of the general conceptual design. Therefore, one cannot exclude or rearrange individual numbers in the composer's ballets without risking disrupting the harmony of the form of the work.

Asafiev is characterized by the desire to apply in his works the principles and stylistic techniques of classical art, mainly Russian. At the same time, Asafiev was guided by the achievements of not only the Russian classical ballet, but also of Russian classical opera. Making extensive use of the forms and means of the ballet genre, the composer in his best works achieves the harmony of the musical and dramatic unity of the ballet composition, introduces into them features of symphonic development, elements of cantata.

Among the extensive ballet heritage of B.V. Asafiev, two works are clearly distinguished - "The Flame of Paris" and "The Fountain of Bakhchisarai". They serve as examples of Asafiev's different and, in both cases, interesting solutions to the problem of the ballet genre. A more detailed examination of these works makes it possible to identify the most important stylistic features of the composer's ballet work.

ChapterI. Ballet"FlameParis "

1.1 Briefhistorycreationballet

Ballet "The Flames of Paris", staged in 1932 on stage Leningrad Theater opera and ballet. CM. Kirov, for a long time remained in the repertoire of the capital's theaters. In 1947, Asafiev created a new version of the ballet, where he made some abbreviations of the score and rearranged individual numbers. But the musical drama of the ballet as a whole has remained unchanged. Its genre can be defined as a folk heroic drama.

Playwright N. Volkov, artist V. Dmitriev and the composer himself took part in the creation of the ballet's script and libretto. The authors chose the historical and social aspect of the interpretation of the plot, which determined a number of essential features of the work as a whole. The content is based on events from the history of the French revolution in the early 90s of the 18th century: the capture of the Tuileries, participation in the revolutionary actions of the Marseilles sailors, the revolutionary actions of the peasants against their feudal rulers. Were used and some plot motives, as well as images of some characters from historical novel F. Gra “The Marseilles” (peasant woman Jeanne, commander of the battalion of the Marseilles).

Composing the ballet, Asafiev, according to him, worked "not only as a playwright-composer, but also as a musicologist, historian and theorist and as a writer, not disdaining the methods of the modern historical novel." The results of this method were reflected, in particular, in the historical reliability of a number of characters. The Flame of Paris portrays King Louis XVI, the cooper's daughter Barbara Paran (in the ballet - the peasant Jeanne), the court actress Mirelle de Poitiers (in the ballet she was named Diana Mirel).

According to the libretto, the musical drama of The Flames of Paris is based on the opposition of two musical spheres: the musical characteristics of the people and the aristocracy. The people are given the main place in the ballet. Three acts are dedicated to his portrayal - the first, third and fourth, and partly also the second act (its finale). The people are represented in a variety of different constituent social groups. French peasants meet here - Jeanne's family; soldiers of revolutionary France and among them the commander of the Marseille battalion - Philippe; the actors of the court theater, acting on the side of the people during the events, are Diana Mirel and Antoine Mistral. At the head of the camp of aristocrats, courtiers, reactionary officers was Louis XVI and the Marquis de Beauregard, the owner of vast estates.

The attention of the authors of the libretto is focused on the depiction of historical events, due to which the individual musical characteristics are almost completely absent in The Flame of Paris. The personal fates of individual heroes occupy a subordinate place in him in the broad picture of the history of revolutionary France. Musical portraits of the characters are, as it were, replaced by their generalized characteristics as representatives of a particular socio-political force. The main opposition in ballet is the people and the aristocracy. The people are characterized in dance scenes of an effective type (revolutionary actions of the people, their struggle) and genre character (cheerful festive scenes at the end of the first act, the beginning of the third and in the second scene of the last act). Taken together, the composer creates a multifaceted musical characterization of the people as the collective hero of the work. In the outline of the people the main role playing revolutionary song and dance themes. They sound at the most important moments of the action, and some of them run through the whole ballet and to a certain extent can be called leitmotifs characterizing the image of the revolutionary people. The same applies to the depiction of the aristocratic world. And here the composer confines himself to a generalized musical description of the royal court, aristocracy, and officers. In describing feudal-aristocratic France, Asafiev uses intonations and stylistic means of musical genres that have become widespread in the aristocratic court life of royal France.

1.2 Ondearmusicalmaterialvballet"FlameParis "

In the ballet "The Flames of Paris", Asafiev's desire to write a work of a monumental synthetic type was clearly manifested. The choreographic action is supported in it by the introduction of the vocal-choral principle. The idea of ​​creating this kind of synthetic musical-choreographic-vocal dramas became widespread in the 1920s.

In his ballet, the composer included three songs of the French Revolution: "Marseillaise", "Carmagnola", "Ca ira", and he used these songs in accordance with the character of each of them. Thus, the Marseillaise, with its features of a heroic anthem march, always appears only in choral sounds in episodes of a heroic revolutionary upsurge. The dancing nature of "Carmagnola" allowed the composer to use it in song-choral and dance scenes. As for the third song - "Ca ira" - its marching rhythm made it best suited for dramatic scenes depicting the revolutionary struggle of an insurgent people.

Revolutionary themes are introduced by the composer at the most important, turning points of the action. The Marseillaise sounds at the end of the first act, when the peasants join the Marseillais and go with them to revolutionary Paris. The Marseillaise plays a dramaturgically important role in the finale of the second act, where its melody prompts Diana Mirel, who is frozen in despair near Antoine's corpse, to complete the work begun by her deceased friend.

In the finale of the third act, the indignation of the people with the traitorous king is poured out in an angry, mocking Carmagnole. The theme "Carmagnola" is used here by the composer as the basis for the large first section of the finale, where the music conveys the revolutionary spirit of the people. The choral stanzas of the song alternate with orchestral versions. On the whole, a form is formed that is close to the rondo, in which the choral sound of Carmagnola is the refrain, and its orchestral variants serve as episodes.

On the theme of the song "Ca ira", the second section of the finale of the third act - the beginning of the storming of the royal palace - is built, as well as the first scene of the fourth act, where the revolutionary people break into the palace and attack the royal stronghold. Last time revolutionary themes appear at the end of the entire ballet. “Carmagnola” is used here as a fast-paced, life-affirming dance (Presto), unfolding in a chain of colorful variations, while “Ca ira” is performed with solemn exaltation (Maestoso) in a powerful orchestral sound.

The composer created colorful everyday pictures of folk life in the ballet. Dances are grouped here in suites and turned into large genre scenes. The music of these scenes is notable for its liveliness and energy, expressing the feelings of the joyful enthusiasm of the people.

In folk dance scenes, the composer strives to reproduce the stylistic features of various folk song and instrumental melodies, mostly French. In the dance suites of the ballet, the prevalence of the genre-characteristic principle over the classical one is noticeable. Using folklore material, Asafiev either subjects it to free processing, or is limited to intonation or rhythmic turns characteristic of French folk music. It is necessary to point out the predominance of the rondo form in the dance scenes of ballet, which is undoubtedly the closest to folk music and convenient for creating a multifaceted portrait of the people. In the construction and planning of dance genre scenes, one can notice a certain dramatic, compositional concept. They are located by Asafiev so that each subsequent turns out to be larger, larger than the previous one. This expansion of the composition of folk scenes, their consistent monumentalization is due to the principle of dramatic growth, the merging of the actions of individuals and separate groups of the revolutionary people into a single heroic impulse for liberation.

The dances of the first act, located in the finale of the second scene, express the joyful, cheerful mood of the people, united on the occasion of their first victory (the release of Gaspard). The finale of the picture is a large dance suite of several numbers. The whole finale is framed by farandola - the most popular French folk dance. Repeated carrying out of the theme of farandols affirms the state of enthusiasm and energy that dominates the people.

Originally, the farandola is presented as a miniature rondo, in which the first of three episodes contrasts with the energetic theme of the refrain. in the final construction of the scene, the farandola is enriched by the introduction of thematic material from other dances. as a whole, the dance sieve of the first act forms a three-part composition; at the same time, the repetition of the farandola theme introduces the features of a roundness into it.

The dance sieve of the third act has an abundance of bright themes and a great breadth of composition. It includes the Auvergne, the Marseilles dances and the Basque dance. The Auverne dance - the most common of them - has the character of a peasant minuet, based on a courageous and simple melody. The music expresses casual fun and at times is tinged with humorous tones. The folk color of the dance is given by sustained fifths in the accompaniment, the discrepancy of accents in the melody and in the accompaniment, occurring due to the combination of different meters (two and three-beat).

In the Marseilles dance, the features of heroism are already appearing, which are especially vivid in the main theme, aspiring ascending according to the sounds of tonic triad.

The dance suite is completed by the temperamental Basque Dance, which contains many different melodies. They are united by the bolero rhythm, which repeats throughout all the episodes of the extreme parts (a complex three-part form). main topic built on a simple, but very prominent and courageously decisive downward movement of the melody. The unhurried sad theme of the middle section, composed in the Sicilian genre, contrasts with the melodies of the outer sections and sets off the dominant strong-willed character of the dance.

The entire third act is a monumental folk scene, where decisive, heroic dances are especially emphasized; their sequence forms a single line of growth of heroism (dance of the Marseilles and Basques, "Carmagnola" and "Ca ira"). The integrity of the act is emphasized by the tonal frame - the tonic meaning of G major at the beginning and end of the act.

Dramatic ballet scenes play an important role in the depiction of the revolutionary people. The music of these scenes is for the most part very tense, has a pathetically excited character. Hence the numerous contrasts of rhythms and tempos (mostly fast). Frequent change of texture. At the same time, the composer in most cases refuses to use holistic song and dance numbers and gives the music of dramatic scenes the character of continuous dynamic development.

Dramatic scenes, as a rule, appear at the key moments of the action, combining individual episodes of each picture into a single coherent whole. Such a dramatic knot in the first picture of the ballet is the scene of the attack of the Marquis's servants on the Gaspard family. The scene of the people's attack on the castle of the Marquis and the release of Gaspard in the second scene has a similar dramatic function. The music of this scene is sustained in a heroic-dramatic style, close to the style of Gossek, Megul and Beethoven.

Particularly impressive in the ballet is the central episode of the first scene of the fourth act - the invasion of the Tuileries and the scene of the battle with the royal guards. Musically and dramatically, this scene was made by Asafiev magnificently. At the beginning of the action, as if from afar, the sound of the song "Ca ira" is heard - this is the people going to attack the royal castle. Listening to the sound of the song, the crowd of courtiers freezes in confusion and anxiety. The music that characterizes their condition becomes confused and dramatic - the impression of the inevitability of the death of the old world is created.

But then the revolutionary people burst into the palace. The battle scene begins. There is a lot of illustration in it - weapon strikes, shots, noise effects, but in general, Asafiev is by no means limited to such external illustrativeness, he seeks to recreate the atmosphere of revolutionary struggle, and here he uses musical material of the heroic and pathetic Beethoven style for this purpose. The heroic pathos is especially vividly felt at the moment of the people's victory, when fragments from Beethoven's “victorious symphony” (“Egmont”) sound invitingly and jubilantly.

The heroic line finds its completion in the last picture of the ballet, in the center of which stands the solemn Adagio (Es-dur) - a kind of procession hymn. Its stately, masculine and broad melody of a hymn-like character is set off by the firm and decisive tread of the accompanying bass.

In the final picture of the ballet, other lines of characterization of the people are completed: the suite of dances (country dance, pas de deux, variations and coda) serves as a natural continuation of the genre scenes of the previous acts, and the sound of the songs "Carmagnola" and "Ca ira" concludes the development of revolutionary heroic images.

1.3 Musicalcharacteristiccourtiersscenes

In Asafiev's ballets, as already mentioned above, two worlds of images turned out to be opposed to each other - the world of a revolutionary people, full of energy, enthusiasm and heroic pathos, and the world of the aristocracy. Each of these worlds is musically characterized by its own range of intonations, and for the most part not composed by the composer, but borrowed from the corresponding sources of folk and professional creativity. To characterize the people, as we have already seen, revolutionary songs of that era, material from the works of composers close to the revolution (Megul, Gossek) or reflecting its heroism (Beethoven) were selected. The same is done with respect to the world of the aristocracy, where the main source musical characteristics the music of the court life of pre-revolutionary France and the work of composers who somehow reflected this life (Lully, Gluck and others) became. Asafiev complements the borrowed samples with his own, written in the same style.

In the scenes depicting court life, Asafiev also used ancient ceremonial, heavy-weight solemn dances such as the sarabanda, chacons and graceful, gallant dances of the 17th-18th centuries (Lully's gavotte).

The music of the second act is generally distinguished by a leisurely, important movement, at times set off by light, graceful numbers of gallant dances. Musical numbers The second act can be divided into three groups: one of them is represented by intermission and sarabanda and recreates the atmosphere of the court world, the second - by the anthem and chakona, which are associated with the development of dramatic action (a dramatic plot of the conspiracy is played to the sound of the anthem). Between the two indicated groups of numbers, there is a third group - interlude - a performance by the artists of the court theater. Sideshow music is notable for its characteristics central images actors - Diana Mirel and Antoine. Strictly speaking, they also do not have individual characteristics, but Asafiev skillfully emphasizes the main features of their images - the lyricism of Diana's appearance, the masculinity of Antoine's image. Diana is initially depicted by the fragile, tenderly graceful motif of the popular gavotte Lully, while Antoine is depicted in a major, somewhat heroic variation.

The development of the action leads to the tragic death of the actor, after which the heartfelt sorrowful Adagio of the solo viola begins to sound, the sad and expressive melody of which resembles Bach's cantilena.

Adagio should be ranked among the best act numbers. In meaning, it is a kind of requiem for Antoine, but at the same time it reflects Diana's feelings, the depth of her grief. Thus, the image of Diana appears on two levels: as an actress of the court theater (Lully's gavotte) and as a suffering woman (Adagio).

While working on the ballet, Asafiev strove to create a compositionally harmonious musical form. In his own words, he wanted “ballet as a whole as a piece of music to take the form of a monumental symphony, realized by means of musical theater". However, this idea did not receive a sufficiently vivid embodiment due to the fact that the musical drama of the ballet, in general, turned out to be insufficiently symphonic. The composer interpreted the first act of the ballet as "an exposition of the revolutionary sentiments of France", the second act - as a symphonic andante; the third is a "dramatic scherzo", and the fourth is the "finale of a heroic symphony."

The symphonic nature of the music of "The Flame of Paris" is manifested only in certain features: in the constant use of certain song themes that have acquired the meaning of leitmotifs (themes of revolutionary songs), in the tonal, intonational, genre relationship of various actors, in large constructions of individual paintings and scenes. You can indicate the unifying role of some keys: B-dur for the first act and G-dur for the third.

Means of other genres are used in musical drama: the principle of succession of parts, their contrasting comparison is taken from the symphony; from the opera - the use of the chorus.

The music of the ballet attracts with its great simplicity, melodiousness, an abundance of folk melodies, very convenient for dancing. The strong point of ballet music lies in the composer's selection and use of material related to the era depicted. Asafiev noted that "The Flame of Paris" is a kind of "visual musical reader", since in the ballet "everything that is most characteristic of the music of the third estate is presented in quotations and retellings."

ChapterII. Ballet"Bakhchisaraithe fountain"

2.1 Historycreation. Musicalmaterialballet

Among best works Asafiev, undoubtedly, should be attributed to his two Pushkin ballets: "Fountain of Bakhchisarai" and "Prisoner of the Caucasus." Both of them belong to the romantic genre of "choreographic poems". The composition of both ballets is based on comparisons of two different national spheres (cultures) - Slavic (Russian, Polish) and Eastern (Caucasus, Crimea). In both cases, the composer strives for a true depiction of the era and the entire setting of the action, makes extensive use of musical genres and other means typical of the musical life of the depicted time and place of action. asafiev composer ballet creativity

The Fountain of Bakhchisarai was the first Soviet ballet on the Pushkin theme. The idea of ​​creating the ballet belonged to the playwright and art critic N.D. Volkov, who outlined the script and attracted Asafiev to its development. Pushkin's poem was largely developed by them, supplemented and transformed into a dramatically effective ballet libretto. A scene appeared in the Polish castle, episodes of the Tatars' raid, the capture and death of Mary, the scene of the execution of Zarema developed. The content of the poem formed the basis of a four-measure ballet performance, framed by a prologue and an epilogue.

The dramaturgy of the ballet is multifaceted. The contrasting construction of the action gives it harmony and relief. The music creates vivid, expressive contrasts between Polish and Oriental scenes, genre episodes and lyric-dramatic scenes in which characters of different characters are juxtaposed. Already in the first act, a comparison of two national cultures: Polish and Tatar. The lyrical image of Marie stands out against the background of the lush, glittering scenes of the holiday. In the second act, a new strong contrast arises: between everyday dance scenes and the emotional drama of Zarema. The third act is especially saturated with contrasts. It is based on the collision of three individual images: the elegiac-sad Mary, the passionate-dramatic Zarema and the heartfelt noble Giray. Finally, in the fourth act, the wild dance of the Tatar riders is contrasted with the harsh drama of the execution of Zarema and the sublime lyrics of the romantic image of Girey. So, throughout the ballet, the method of contrasting comparisons was carried out, as the basis of the musical and dramatic composition of the work.

The score of the "Bakhchisarai Fountain" is harmoniously reflected best features creative image of Asafiev - an artist and erudite scientist. The composer strove, in his words, “at all costs to preserve methodically ... the era of Pushkin” and, more broadly, to convey in the music of the ballet, in its general artistic structure, “that romantic that characterizes the progressive Russian society on the approaches to Decembrism, and that, which in turn is associated with the flaming national revolutionary ideals of Poland. All this was vividly reflected in the poetry of Pushkin, Mitskevich, Shelley and Byron. "

In search of a typical melody of Pushkin's time, Asafiev could not ignore the work of M.I. Glinka, since the spirit of the music of the Pushkin era found its highest and typical expression in the work of the great musician-contemporary of the poet. But Asafiev used in his ballet not Glinka themes, but melodies of other composers of that era, marked by the same general stylistic features as Glinka's melody - nobility, classical poise, plasticity of drawing.

The music of the "Bakhchisarai Fountain" (prologue and epilogue) includes Gurilev's romance "The Fountain of the Bakhchisarai Palace", surprisingly well expresses the enlightened and elegic mood of Pushkin's poems. The second "quote" from Russian musical life in the 1920s and 1930s was the piano nocturne by J. Field, which is close in its melodic nature to Gurilev's romance. The nocturne theme characterizes Maria in ballet. Interesting. that this "quote" also reminds us of Glinka. The Fildov nocturne, chosen by Asafiev, is stylistically related to the piano compositions of Glinka himself and organically forms part of the general Pushkin-Glinka structure of music. These quotes are in many ways typical of the lyrical thematic of ballet in general. In the same intonation plan, Asafiev composed many of his own themes. Thus, a whole series of episodes appears in the ballet, the melody of which is of a romance nature and, therefore, is close to the genre of romance, which is so widespread in musical culture Pushkin-Glinka era. Traits of romance are felt in the episode "Mary's Entry" (second act) and in other numbers of the ballet dedicated to the lyrical appearance the main character works.

The ballet score contains other musical and stylistic features reminiscent of the Russian music of the Pushkin era. An example is the overture (Adagio, Allegro molto D-dur). She has no thematic connections with ballet. With its lighthearted, cheerful, lively character, the overture rather contrasts with the dramatic content of the action. But such a contrast is typical of ballet overtures from the 1820s.

Asafiev made extensive use of the waltz genre in his ballet, raised by Glinka to a high degree of artistry and poetry, and then developed in the works of Tchaikovsky and Glazunov. In the "Fountain of Bakhchisarai" the waltz receives various interpretations. In the waltz duet of Mary and the youth (first act), the poetic side of the image of Mary is revealed. And in the waltz of slaves (the fourth act), an oriental flavor is manifested.

The musical image of the era is also conveyed by means of instrumentation. In many episodes of the score of the ballet, Asafiev puts forward the part of the harp, an instrument widespread in the home musical life of those times. In the prologue, the melody of Gurilev's romance is played by the violin and cello (accompanied by a harp). The harp is used to play a variation of the Mari song-like style.

2.2 Maria-mainromanticimageballet

In the "Bakhchisarai Fountain" - a lyrical and psychological ballet, the main attention of the composer, in contrast to "The Flame of Paris", is drawn to the heroes of the drama, to their individual musical and psychological characteristics, which are consistently developed in the richness and variety of feelings and experiences of the characters. The main participants in the action are outlined through their typical intonations and leitmotifs.

The romantically beautiful, sublime appearance of the princess occupies a central place in the ballet. In the musical characteristics of Mary, elements of the Polish national flavor naturally predominate, but, in addition, there are also Russian-Slavic features. The musical characterization of Mary is given a significant place in the first and third acts of the ballet. The image of Mary is purely lyrical.

The central lyric number of the first act is "Nocturne of Mary and the Youth", for which Asafiev used the melody of the famous Nocturne Field. In "Nocturne" the composer reveals the romantically enthusiastic feelings of lovers, and therefore he can be called "the theme of love". In this scene, Asafiev also introduces the oboe leitmotif and creates a broad symphonic development in which the original contemplative themes are transformed, turning into melodies of a passionate character.

If in the first act several numbers were devoted to the musical characterization of Mary, then in the third act the music of almost the entire action is connected with her image. The composer's attention is focused on the heroine's drama. Maria, having lost her homeland, loved ones, finding herself in a foreign land in the palace of Khan Girey, lives only with memories of the past. Only they distract Mary's thoughts from the sad reality. The beginning of the third act is a scene of the heroine's memories. Part of the material from the first act is found here. This is a variation on the theme of the song character and the main leitmotif of Mari, which henceforth becomes musically tragic fate heroines. The scene consists of several contrasting musical episodes. The light song theme from the first act is replaced by an episode of a plaintive-elegiac character, reminiscent of a sentimental romance. In the final section of the scene, the leitmotif of fate and short, restless phrases of woodwind, characterizing Maria's anxiety at the appearance of Giray, are succinctly held.

The scene of Maria with Giray naturally follows from the previous one. Noteworthy is the novelty musical means in the characterization of Mary in this scene. Maria's music is characterized by melodiousness, the breadth of melodic breathing, but here Asafiev turns to stingy, short melodic phrases with unstable harmonies, pauses, a change in tone, tempo. One of the characteristic phrases runs in triplets in a parallel movement of quarts against the background of a sustained chord. This phrase can be called the motive of "Mary's fright".

Elegy - memories of the ball. Here is a sadly brooding melody reminiscent of a waltz and two mazurkas sound. All dances sound muffled, which creates a feeling of unreality of what is happening. Gradually. inspired, Mary takes the past for reality. The colors brighten (the minor mazurka runs in major), the sonority increases. But the return of the main theme (the elegy is written in a complex three-part form) creates a sense of the hopelessness of Mary's grief.

In the scene of Mari with Zarema, the composer gives a direct comparison of two opposite female images and builds a large dramatic episode with a vivid symphonic development on contrasting material. The clash of the heroine with Zarema ends in a fatal outcome. However, death comes to Mary as deliverance. Only now the major key, in which the leitmotif sounded, is replaced by an enharmonically equal minor key. The orchestral presentation creates a special impression of fragility and fracture: the theme is played by the solo violin against the background of the muffled figuration of violas. The theme is overshadowed by the timbres of the clarinet sounding in a decim below, the harp playing with harmonics, as well as the quiet hum of the timpani. In terms of the orchestral flavor, this episode is undoubtedly inspired by the "melting scene" of the Snow Maiden. The theme that lingers in the upper register is replaced by gloomy chords of a low register, as if stopping the movement. Vivid juxtaposition of minor keys, changing registers, replacing movement with a stop - these are the means by which the composer draws the image of death. We can note the closeness of the image of Mary with the touching lyrical female characters of Rimsky-Korsakov: Snegurochka, Martha, Volkhova.

Of all the leitmotifs of Marie, the composer singles out the main one, as the most characteristic of her, but appearing in various refractions: as a playful and graceful oboe play, as a theme of passionate feelings, a sad parting with life. Running through the entire ballet, this leitmotif lends thematic integrity and unity to the musical characterization of Mari.

2.3 MusicalcharacteristicimageZaremy

The image of Zarema, an oriental beauty, strikes with the brightness of the heroine's emotional state. The hot, passionate, decisive nature of Zarema, violently experiencing her humiliation of an abandoned woman, is contrasted with the fragile appearance of Mary. The contrast of two female images is vividly reflected in the music of Zarema, endowed with dramatic features. Initially, the viewer sees the appearance of Zarema. In her first dance, moves for an increased second in melody and an ostinata rhythm with participation percussion instruments in the accompaniment emphasize the oriental character of her image. The unhurried movement of the melody, the free rhythmic structure, the richness of harmonic colors and tonal juxtapositions give the dance music a touch of languid lyrics.

However, not all of Zarema's part is sustained in an oriental spirit. Asafiev only once gives a sense of the national flavor - in the scene of Zarema with Girey. But with the onset of a dramatic situation, the composer translates the musical characteristics of Zarema into the dramatic sphere and no longer returns to eastern intonations.

The beginning of Zarema's drama is laid in her dance (Allegrretto elegiaco, d-moll), in which only a feeling of bewilderment and secret anxiety appears so far. The theme of the dance (the second among slave dances) is Zarema's leitmotif. It also serves as a melodic basis for other episodes of the third act that characterize Zarema's drama, and can be called the motive of suffering. It is interesting to note the intonation similarity of this leitmotif with the main leitmotif of Mari. Both leitmotifs are used by the author when revealing the inner drama experienced by the heroines. But all the same, Maria's leitmotif is more sophisticated, while Zarema's theme sounds simpler. The theme of Zarema is characterized by an active, strong-willed character. Asafiev gives the music of Zarema's dance a complaint, her doubt, anxiety.

In the scene with Giray (the finale of the third act), the image of Zarema and her leitmotif take on the leading role. He frames the stage like a dramatic introduction (Adagio, d-moll) and a conclusion (Allegro, d-moll), where the declamatory beginning prevails. The introduction is a large pathetic monologue of a violin solo, and in the conclusion the same theme sounds in a wide and rich unison of strings, trumpets and horns. The same leitmotif gets dance features in the episode. By slightly changing the theme, the composer conveys the heroine's growing despair. Zarema's leitmotif runs through the entire scene and holds together its episodes. The complex construction of the scene reflects the shades of the heroine's state of mind and conveys her tension and drama.

Suffering caused by jealousy forces Zarema to penetrate her rival. Maria's date with Zarema is the most powerful dramatic episode of the ballet in stage and musical terms. This scene opens with a large cello solo. It is written in the spirit of dramatic recitative, free improvisation, conveys the mystery of the situation and, with its restrained character, sets off the drama of the situation. The melodic turns of the introduction then turn into an expressive background against which the theme of Zarema - her story - looms. The musical development of the scene is based on a contrasting juxtaposition of the themes of Mari and Zarema, as well as a dynamic dynamic growth in five performances of the theme-story of Zarema. Orchestration plays a huge role here. The first conduction of the theme and story was entrusted to the cello, accompanied by restless piano figures. In the second lead, the cello melody gradually moves away from the theme drawing, passing into free declamatory phrases covering a wide range (over two octaves). In the third conduction, the theme of Zarema appears in the rich sound of violins, flutes, oboes and clarinets. Further, the general tension is intensified by the introduction of pathetic accompanying chords of brass, and, finally, in the last performance, the orchestral development reaches its climax: the theme sounds in a chord presentation on all strings, woods and harps, supported by the powerful sonority of the brass band, timpani and the introduction of a bass drum at the moment of the highest voltage.

The death of Maria plunges Zarema into a daze. The character of the music changes dramatically. The slow movement of the chords, their whimsical harmonic sequence, creates an ominous mood. This move is repeated in the fourth act. The scene of the execution of the zarema is built on it.

As you can see, the image of Zarema is also given in a broad and dramatically intense development. The composer shows Zarema as a romantic heroine endowed with great human passions. The role of dramatic development in depicting Zarema is so essential that quite often Asafiev turns her numbers into large stage constructions, where danceability is imbued with elements of symphonic development.

2.4 MusicalcharacteristicimageGiray

Complicated and multifaceted in the ballet is the characterization of Giray as an oriental barbarian, leader, warrior and Giray - romantic hero... The composer equates the characterization of Giray, the Tatar khan, with the wild appearance of the Tatar horde. Therefore, the entire scene of "Invasion of the Tatars" (first act) and the music of "March of Giray" (second act) equally give an idea of ​​the formidable strength of the Tatar conquerors and the unbridled passions of their leader, his cruelty. These episodes are characterized by a bright national flavor, and they are among the best "oriental" pages of ballet music.

The stage "Invasion" is magnificent in ballet for its theatricality and imagery. It is written in the rhythm of the march. Each section of it is marked by a long repetition of laconic motifs based either on chromatic movement, or on the intonation of a newt, or on the sounds of a diminished seventh chord. Melodic turns are distinguished by sharpness, severity of sound. But the rhythm gives this scene a special character. He plays a leading role here. Even strings, brass and harp are often used in purely rhythmic terms.

The "March of Giray" is very colorful, in which an interesting and characteristic melodic content is combined with an active and expressive rhythm. The quart passages opening the march sound like trumpet signals in various registers and resemble the Polovtsian trumpets in "Prince Igor" by Borodin.

The lyrical side of Giray's musical appearance is distinguished by the nobility and restraint of expression, the breadth and melodiousness of melodies. Such features are clearly visible in Giray's scene with Maria. Giray is characterized here by a melodious theme that appears in the courageous noble sound of the French horn. After the first restrained sound, the theme passes in warm singing of strings, in a higher register and with brighter harmonization and dynamics. Giray's inspiration grows. The onset of the climax is marked by a passionate "breakthrough" of feelings. However, then the tension subsides, and everything ends with a restrained mood (Giray's motive in unison, at the pace of Largo, As-major).

An important role in the characterization of Girey is played by the leitmotif of the Tatars from the first act. In the fourth act of the ballet, he takes on a completely different flavor. Here he characterizes Girey, who was reborn under the influence of a feeling of deep love. A short motive loses its sharpness of outlines and turns into a wide and intensely developing melody. The theme sounds calm and unhurried by the English horn against the background of sustained fifths of bassoons and a whimsical rhythm of percussion (snare drum and tambourine). With the help of such means, the oriental flavor is invariably preserved, the composer draws the image of the Tatar Khan in softened lyrical tones.

The long process of development of the image of Giray ends with the affirmation of a romantically sublime principle. Nothing can oust the beautiful appearance of Mary from Giray's memory. He is indifferent to the death of Zarema, not paying attention to the wild dance of the riders. By the way, it completely reproduces the material of the scenes "Invasion" and "Giray's March". V last scene in the fourth act, Girey appears immersed in thoughts of Mary. The music here is entirely lyrical. The composer again resorts to the dramatic method of "recollection" and builds Girey's scene on the alternation of Maria's main leitmotif and Girey's lyric motive.

The music of the ballet "Fountain of Bakhchisarai" is based on the principle of symphonic development. This mainly concerns the musical characteristics of the main characters. Symphony manifests itself in development - a change in leitmotifs and themes that are of great importance in one scene or another. Symphony is also manifested in the author's desire to combine numbers into scenes, which is revealed in dramatic situations actions. Thus, the music of the third act is a chain of continuously developing scenes. In the second act of the ballet, a number of numbers follow without interruption, forming a dramatic suite, where Zarema's disturbing forebodings are expressed. In the first act, the formidable music of Invasion unexpectedly invades the ball scene and turns into a tense, dramatic episode of The Flight of Mary and the Youth. The moving melody, the fast pace, the confused character of the music convey the despair of the heroes. The third act is distinguished by the greatest drama of the action and music in the scenes of Maria with Zarema and Giray. In terms of musical drama, this act resembles dramatic scenes in such operas by Tchaikovsky as, For example, Mazepa, The Enchantress.

All these features indicate the fruitfulness of Asafiev's efforts to enrich the genre of ballet with the stylistic and dramatic achievements of Russian opera classics. Asafiev's search in this direction allowed him to introduce a lot of essentially new and valuable things into the development of Soviet ballet in the early 1930s.

Conclusion

The Soviet ballet embodied a number of themes that deeply reveal various aspects of the people's intellectual culture; the development of new qualities of choreography and, mainly, the deepening of the expressive possibilities of ballet music made it possible to expand the artistic and imaginative boundaries of Soviet ballet. Asafiev's fruitful work played an important role in the enrichment and establishment of this genre. His passionate work in this area, wide knowledge of theoretical and historical processes taking place in music, made it possible to reveal the essence of Soviet ballet in a new way. Asafiev did not just write music for ballets. Each of his opus is the result of searches and generalizations. Asafiev's creative method in the field of ballet can be defined as a specific scientific and artistic generalization of observations on the phenomena of the life of society at different times and peoples. Asafiev approached the Composition of Ballets as a musicologist-practitioner, generalizing his knowledge not only in the field of music, but also general culture... Therefore, with great power of impressibility, he embodied the most seemingly non-ballet artistic images... Asafiev's ballets are notable for their acutely conflicting drama, consistently carried out through all the elements of the musical form.

Asafiev's ballets are often built on the contrasting opposition of two worlds. The main exhibition conflict in the ballet "The Fountain of Bakhchisarai" is based on the collision of the peaceful Polish way of life with the wild, swift, sweeping away everything in its path Tatar horde. If the Polish world is revealed with the help of rounded, classical slender forms, then the invasion of the Tatars is outlined by a “wild symphony” of spontaneous rhythm and warehouse. Having conceived to show two contrasting worlds in the ballet The Flames of Paris - the absolutist monarchy and the emerging power of the popular movement - Asafiev presented two fundamentally different plans in music as well. The atmosphere of the Tuileries is characterized by the intonations of court dance music (like a strict palace sarabanda); music of the people - free revolutionary song intonations through which the breath of the people is felt.

Listusedsources

1. Music of the Soviet ballet. Digest of articles. - State Music Publishing House, Moscow 1962.

2. Music and choreography of contemporary ballet. Digest of articles. - Publishing house "Muzyka", Leningrad branch 1974.

3. Asafiev B.V. Musical form as a process. - Publishing house "Music", Leningrad branch 1971.

4. Katonova S.V. Music in ballet. - State Music Publishing House, Leningrad 1961.

5. Bezuglaya G.A. Analysis of ballet and dance music. Tutorial. - Publishing House of the Polytechnic University, St. Petersburg 2009.

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Boris Asafiev. Ballet "Fountain of Bakhchisarai"

Ballet to music Boris Asafiev in four acts. Libretto by N. Volkov.

Characters

Prince Adam, Polish tycoon

Maria, his daughter

Wenceslas, fiance of Mary

Giray, Crimean Khan

Zarema, Giray's beloved wife

Nurali, warlord

The manager of the castle, the chief of the guards, the Polish nobles and panenki, the abbot, the spy, the second wife of Giray, the servant, the eunuchs, the Tatars, the Poles

The action takes place in Poland and Bakhchisarai at the turn of the 18th - 19th centuries.

History of creation

Since the early 1930s, Asafiev has been actively working in the genre of the ballet. After a successful premiere " Flame of Paris”, First in Leneningrad, and then in Moscow, he first turned to Pushkin's subject. The idea of ​​creating a ballet based on Pushkin's poem "The Fountain of Bakhchisarai" (1821-1823) belonged to the playwright, art critic and theater critic N. Volkov (1894-1965), who first independently developed the script, and then attracted Asafiev to work on it. As a result, the lyric poem turned into a dramatic libretto with a scene in a Polish castle, a scene of Zarema's execution; new characters also appeared - the fiancé of Maria Vatslav (in Pushkin “she did not know love yet”), the military leader Nurali; Mary's father, unnamed in the poem, became Prince Adam.

Initially, Asafiev, following the example of The Flame of Paris, thought to use the music of the composers of the era of the events described. However, in the process of work, it turned out that this is unrealistic. From the previously selected material, only Gurilev's romance "The Fountain of the Bakhchisarai Palace" was useful (thus, Pushkin's poem, written in 1824, was also used in the ballet), which sounds in the prologue and epilogue of the ballet, as a frame framing it, and one of the nocturnes of Chopin's predecessor in this genre of J. Field, characterizing Mary.

Music was created quickly. The composer, in his words, strove "at all costs to preserve the melodiously ... the era of Pushkin," and besides, to convey "that romantic that characterizes the progressive Russian society on the approaches to Decembrism, and that with a flaming national revolutionary ideals of Poland. All this was vividly reflected in the poetry of Pushkin, Mickiewicz, Shelley and Byron ... This is not a restoration of romanticism, but an attempt to hear the era through Pushkin's poem and convey the emotions that worried the poet by free retelling. "

The Fountain of Bakhchisarai became the ballet master's debut of R. Zakharov (1907-1984). Rostislav Zakharov, who graduated from the Leningrad Choreographic School in 1926, and in 1932 as an external student - the directing department of the Leningrad Theater College in the class of S. Radlov, for seven years danced on the stage of the Kiev Theater, and in 1934 began working as a choreographer of the theater. Kirov (Mariinsky) in Leningrad. The Fountain of Bakhchisarai was the beginning not only of Zakharov's choreographic activity, but also of the ballet "Pushkinian" on the national stage. Zakharov introduced a new method of working on a ballet performance based on the Stanislavsky system. In the choreography of the ballet, the opposition of classical dance to colorful, full of elemental power is given oriental dances... There are no impersonal characters in the play. Both the soloists, the corps de ballet, and the mimists are involved in the action, become participants in the enacted drama, embody living images. Dances incorporate elements of pantomime, are constructed as monologues and dialogues, in which the actor speaks not with conventional gestures, which have long been accepted in ballet pantomime, but with dance movements that become carriers of feelings and thoughts.

Premiered on September 28, 1934 at the Leningrad Opera and Ballet Theater. Kirov (Mariinsky) was a great success. Ballet remains in the repertoire to this day.

Plot

Park in front of the castle of Prince Adam. There is a ball in the castle. The dancers can be seen through the large windows overlooking the terrace. Maria runs out into the park, Vaclav hurries after her - the lovers are happy. Polish soldiers with a captive Tatar appear. The guests poured into the park continue to have fun and dance. The head of the guard runs in with the news of the approach of the Tatars. Men take up arms. A Tatar detachment rushes in, a fight begins. Mary escapes from the flaming palace, guarded by Wenceslas. Girey rises in front of them. He rushes to Mary and stabs Wenceslas blocking his path.

His wives are having fun in Giray's harem. Girey, who has returned from the campaign, enters. Zarema rushes to him, but the thoughts of the khan are occupied by a beautiful captive. Zarema's attempts to attract the attention of the gentleman lead nowhere.

Girey comes to Maria's room. He tells the girl about his love, but she is faithful to the memory of Wenceslas. After Giray leaves, Maria takes a harp and plays the melody of a distant homeland on it. Night falls, but Maria cannot sleep. Zarema slips into her room and begs to return Giray's love to her. Maria assures the jealous woman that she does not love and will never love the khan. Zarema believes her, but suddenly her gaze notices the skullcap forgotten by Girey. The flame of jealousy flares up again. The awakened maid calls for help. Girey runs in, but Zarema manages to drive the dagger into her rival. The guard who appeared, Girey orders to take Zarema away.

In the courtyard of the Bakhchisarai Palace, Girey yearns for Mary. Nurali, who has returned from a successful campaign, shows him new captives, but Giray is indifferent. By his order, Zarema is thrown into the abyss. After the execution, he remains alone at the "fountain of tears" built in memory of Mary. Visions of the past arise before him. From afar, the singer's voice is heard:

The fountain of love, the fountain is alive! I brought you two roses as a gift. I love your incessant talk And poetic tears. Your silver dust sprinkles me with cold dew: Oh, pour, pour, sweet key! Murmur, murmur your truth to me ...

Music

The Fountain of Bakhchisarai is a lyric ballet-poem. Its composition is based on a contrasting juxtaposition of two different cultures - Slavic and Eastern. The music is distinguished by lyricism, subtle sound writing, and drama. The ballet score uses a system of leitmotifs - the musical characteristics of the characters.

Pushkin's poems are of great interest not only from the artistic point of view, but also from the point of view of studying the evolution of his literary tastes. In particular, at one time the poet was very fond of Byron's work and wrote several works in imitation of the famous Englishman. Among them is “The Fountain of Bakhchisarai” - a work dedicated, as the poet himself later admitted, to his beloved, whose name remains a mystery to his biographers to this day.

The history of the creation of the work

Some researchers note that Pushkin heard the romantic legend about the Crimean Khan while still in Petersburg. However, most likely, he recognized her during a visit to Bakhchisarai with the family of General Raevsky in the early autumn of 1820. Moreover, neither the palace nor the fountain itself made an impression on him, as they were in extreme desolation.

Work on the poem "The Fountain of Bakhchisarai" (the content is presented below) was started in the spring of 1821, but the poet wrote the main part during 1822. In addition, it is known that the introduction was created in 1823, and Vyazemsky made the final finishing and preparation for printing.

Who became the prototypes of the heroes of the poem "The Fountain of Bakhchisarai"?

One of the main characters of this work is Khan Girey, or rather Kyrym Giray, the sovereign of the Crimea, who ruled from 1758 to 1764. It was under him that the "Fountain of Tears" and many other structures appeared. Among them, the mausoleum stood out, in which, according to legend, was buried last love khana - Dilara-bikech, who died at the hands of a poisoner. By the way, some researchers believed that it was in memory of this girl that a mournful marble monument was built, exuding drops of water. Thus, it is possible that the real heroine, to whom the poem "The Fountain of Bakhchisarai" is dedicated, a summary of which is given below, was not at all a Polish woman named Maria. Where did this legend about the princess come from? Perhaps it was invented in the family of Sofya Kiseleva, nee Pototskaya, with whom the poet was very friendly.

Pushkin. Summary of the first part

In his palace, the sad Khan Girey forgot about peace and pleasure. He is not interested in war or the intrigues of enemies. He goes to the female half, where his beauties wives languish in longing for his caresses, and hears the song of the slaves, which they sing to the glory of the Georgian woman Zarema, calling her the beauty of the harem. However, the beloved of the sovereign herself no longer smiles, since the khan stopped loving her, and now young Maria reigns in his heart. This Polish woman has recently become an inhabitant of a harem and cannot forget her father's house and her position as the adored daughter of an old man's father and an enviable bride for many noble nobles who were looking for her hand.

How did this daughter of the gentry become a slave Hordes of Tatars poured into Poland and ravaged her father's house, and she herself became their prey and a precious gift to her ruler. In captivity, the girl began to yearn, and her only joy now is prayers before the image of the Blessed Virgin, which is illuminated by an inextinguishable lamp day and night. Maria is the only one who is allowed to keep symbols of the Christian faith in her cell-room in the Khan's palace, and even Girey himself does not dare to disturb her peace and loneliness.

The scene of the meeting of Maria and Zarema

Night has come. However, Zarema is not asleep, who sneaks into the Polish girl's room and sees the image of the Virgin Mary. The Georgian woman remembers her distant homeland for a second, but then her gaze falls on sleeping Maria. Zarema kneels before the Polish princess and begs her to return Giray's heart to her. The awakened Maria asks the beloved wife of the Khan what she needs from the unfortunate captive, who dreams only of going to her heavenly father. Then Zarema tells her that she does not remember how she ended up in the Bakhchisarai Palace, but captivity did not become a burden for her, since Girey fell in love with her. However, the appearance of Mary destroyed her happiness, and if she does not return the heart of the khan to her, she will stop at nothing. Having finished her speech, the Georgian disappears, leaving Maria to mourn her bitter lot and dream of death, which she thinks is preferable to the fate of the khan's concubine.

The final

Some time has passed. Maria went to heaven, but Zarema was unable to return Girey. Moreover, on the same night when the princess left this sinful world, the Georgian woman was thrown into the depths of the sea. The khan himself indulged in the joys of war in the hope of forgetting about the beautiful Polish woman who never reciprocated. But he did not succeed, and, returning to Bakhchisarai, Girey ordered to erect a fountain in memory of the princess, which the maidens of Taurida, who learned this sad story, called the “Fountain of Tears”.

"Bakhchisarai Fountain": Analysis of Heroes' Images

As already mentioned, one of the central characters of the poem is Khan Girey. Further, the author sins before history. After all, his hero is worried about the "intrigues of Genoa", that is, he lived no later than 1475, and the famous fountain was built in the 1760s. However, literary scholars consider such a separation from historical realities to be quite natural and inherent in romanticism.

As in some of Byron's poems, the “eastern hero” has his own European antagonist. However, Pushkin turns out to be Girey himself, who, having fallen in love with the Christian Mary, departed from his Eastern principles and habits. So, the passionate love of Zarema, who became a Mohammedan in the harem, is no longer enough for him. In addition, he respects the feelings of the Polish princess, including religious ones.

As for female images, Pushkin opposes the immaculate princess Maria to the eastern beauty Zarema, for whom the main thing in life is sensual love. Of all the three characters that are represented in the poem "The Fountain of Bakhchisarai" (a summary gives only a faint idea of ​​the original), Zarema is the most interesting. Her image balances the “orientalism” of Khan Giray and the “westernism” of the Pole, who dreams only of the kingdom of heaven. Following the Byron tradition, in the plot of the poem "The Fountain of Bakhchisarai" Pushkin (read the summary of this work above) leaves a lot of innuendo. In particular, the reader is informed that Mary died, but how and why he can only guess.

Another, but inanimate hero of the poem "The Fountain of Bakhchisarai" is the marble monument itself, erected by Giray. It seems to merge into a single whole the tears shed by Mary in front of the icon of the Blessed Virgin and the waters of the abyss in which the unfortunate Zarema died. Thus, the poem "The Fountain of Bakhchisarai" (the analysis of this work is still becoming the subject of discussions among literary scholars) became Pushkin's second Byronic poem and his tribute to romanticism.

Publishing history

The poem "The Fountain of Bakhchisarai", the summary of which is already familiar to you, was first published on March 10, 1824 in St. Petersburg. Moreover, the author of its foreword was Vyazemsky, who wrote it in the form of a dialogue between "Classic" and "Publisher". In addition, following the text of his poem "The Fountain of Bakhchisarai" (you already know the summary of this work), Pushkin ordered Vyazemsky to publish a story about the journey of the writer IM Muravyov-Apostol in Taurida. In it, the father of three famous Decembrists described his visit to the palace of Khan Giray and casually mentioned the legend concerning his love for Maria Pototskaya.

Ballet "Fountain of Bakhchisarai"

In 1934, the famous Soviet composer B. Astafiev had the idea to write music for a choreographic drama based on the work of A.S. Pushkin. The fact is that the poem "The Fountain of Bakhchisarai", a summary of which is presented above, has long attracted attention as a fertile ground for creating a spectacular musical performance... Soon, in collaboration with librettist director S. Radlov and ballet master R. Zakharov B. Astafyev created a ballet, which has not left the stages of many theaters in Russia and the world for more than 80 years.

Now you know what the “Bakhchisarai Fountain” is about - a poem by Pushkin, created by him in imitation of Byron during his southern exile.