Frescoes of Sophia of Kiev summary. Frescoes of Sophia of Kiev. Other works by Valery Kikta

V. Kikta "Frescoes of St. Sophia of Kiev"

Music lesson in 6th grade

Teacher - Denisova I.A.

MAOU secondary school №45

Kaliningrad

• The cathedral, founded in 1037 by the Grand Duke of Kiev Yaroslav the Wise, has preserved to this day not only the richness of ancient architecture, but also the picturesque decoration of the 11th century.

• V Sophia of Kiev two types of monumental painting - mosaics and frescoes - are harmoniously combined. Mosaics highlight the main parts of the interior - the central dome and the altar. All the rest of the space, the second floors ("polati", or choirs), both staircases and open galleries that surrounded Church of St. Sophia of Kiev in antiquity, were decorated with frescoes.

"Christ Almighty"

At the zenith of the central dome Hagia Sophia of Kiev, in a medallion - a huge half-length image of Christ the Almighty.

"Oranta"

The gaze of those entering the cathedral is captured by the majestic monumental figure of the praying Mother of God - Orants(God's wisdom), placed in the vault of the altar.

• 260 square meters of original mosaics of the 11th century and about three thousand square meters of fresco painting have survived to this day.
• The murals closely intertwined secular and religious principles, merging into a solemn hymn to the power of the Old Russian state, its glory.

Valery Grigorievich Kikta

A modern composer, born in Ukraine in 1941, and received his musical education in Moscow. In his major works, the composer refers to the intonations and images of Christian Slavic culture. He, like a chronicler, carefully preserves the events of antiquity for posterity, saturating them with his own intonation.

Concert Symphony for harp with the orchestra "Frescoes of St. Sophia of Kiev" by V. Kikta

• "Frescoes" were created in the seventies, during the era of stagnation, when the very fact of turning to the temple in creativity was bold enough, as it could lead to serious consequences. This theme became fashionable much later.
• The appearance of this work could have been exclusively an internal need of the composer, caused by the indelible impression of the fresco cycle in the church of Hagia Sophia in Kiev.
• "Frescoes" - a modern artist's view of the events of antiquity. The author carries out the idea of ​​the eternity of the living past through the convergence of the arts - music and ancient painting.

"Frescoes" is a work with features of mixed genre. The subtitle "concert symphony for harp and orchestra" captures the concert quality and symphony of the idea. The type of composition resembles a suite (nine-movement work):

1 Ornament 1 2 The beast attacks the rider 3 Ornament 2 4 Group portrait of Yaroslav's daughters

Wise 5 Mikhailovsky aisle 6 Fighting mummers 7 Musician 8 Buffoons 9 Ornament 3

No. 1, No. 3, No. 9 "Ornament"

• A motley string of musical pictures and images, in which the unity of heaven and earth is revealed, is held together by the musical theme "Ornament". It sounds in Frescoes several times. These are the feelings that cover you when you are present in this temple: this is the feeling that Yaroslav the Wise was here, that the central events related to the history of Kievan Rus took place here.

“Ornament” is both beauty, and originality, and variability….

• There are two layers of sound in this fragment. The first one is the descending melodic singing of the violins, the tremolo of which creates a quivering, unsteady, graceful sound. The second is the repeated five-sound descending intonations of the harp, which sound indefinitely, indistinctly, like flickering candles. This is how the composer paints the images of mysterious and sophisticated girls - the daughters of the prince, depicted by unknown master painters on the frescoes of the cathedral, the future queens of France, Norway and Hungary.

• In The Fight of the Mummers, the harsh short rhythms of the xylophone in different registers are interspersed with the tense murmur of the harp. The fast pace of the music, its non-stop movement enhances the bright, joyful and disturbing character of the movement.

• One of the most dramatic parts of the symphony. Music paints the image of a lonely violinist. The composer uses the timbre of the solo viola, which imitates the sound of an ancient stringed instrument - the whistle, the ancestor of the modern violin. The background for the main theme of this movement is a monotonous long sound and echoes of a harp.

• In "Buffoons" the composer draws "a careless tribe of merry vagabonds." This part is built on short dance repetitive intonations with buffoonery, mockery, non-stop movement, rattling of stringed instruments, chiming of bells, imitation of balalaika and flute tunes.

• According to the composer, "Frescoes" express the whole gamut of feelings that the image of native Kiev evokes with its unique artistic heritage. This piece is deeply personal. It was created with the desire to capture the moment when frescoes came to life and sounded for the composer under the dome of the temple. The more interesting is the fact that the "Frescoes of St. Sophia of Kiev" have become extremely popular and are constantly heard in concert performance, on television and radio.

eternity alive

past through

convergence

arts - music

and ancient

painting.

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MINISTRY OF EDUCATION AND SCIENCE OF YOUTH AND SPORT OF UKRAINE

LVIV NATIONAL ACADEMY OF ARTS

FACULTYARTISTICART AND RESTORATION

ESSAY

on the topic of: "Frescoes of the CathedralsofaiKeyeva»

Completed by: Onipko Zh.S.

Checked by: Mykolyuk N.M.

1. History of St. Sophia Cathedral

2. Construction of St. Sophia Cathedral

3. Protection of an architectural monument

4. Frescoes of St. Sophia of Kiev

5. Fresco "Portrait of the family of Yaroslav the Wise"

Bibliography

1. History of St. Sophia Cathedral

The State Architectural and Historical Reserve Sophia Kievskaya - "Sofia Museum" is located in the center of Kiev. On the territory of the reserve, whose area is 5 hectares, there is a remarkable beauty monument of domestic architecture of the XI-XVIII centuries. The most valuable building of the reserve is St. Sophia of Kiev - a world monument of architecture and monumental painting of the XI century. It rises majestically in the center of the ensemble.

Sophia Cathedral in Kiev was built during the heyday of Kievan Rus, a large East Slavic state, the cradle of three peoples - Ukrainian, Russian and Belarusian.

The Old Russian state reached the pinnacle of its power during the reign of Prince Vladimir Svyatoslavich (978-1015) and his son Yaroslav the Wise (1019-1054).

With the introduction of Christianity in the Old Russian state, the intensive construction of stone Christian churches began. The best builders and artists of their time were involved in their creation, the artistic and technical achievements of the era were used. The temples were decorated with wall paintings, stone carvings, and became real works of art. Simultaneously with the construction of stone temples, important urban planning tasks were solved. During the construction of the first stone church in the center of Kiev - Desyatinnaya (989-996) - Prince Vladimir Svyatoslavich significantly increased and strengthened the territory of the city. During the time of Vladimir's son, Yaroslav the Wise, large-scale construction began in Kiev. The territory of the Kremlin was expanded by more than 8 times and surrounded by new defensive ramparts. In the same period, the Metropolitan Church, the St. Sophia Cathedral, was built, which became the main monumental structure of the city.

2. Construction of the St. Sophia Cathedral

In the annals, the laying of the cathedral dates back to 1017 or 1037. Surely the construction of the St. Sophia Cathedral was carried out in the 20-30s of the XI century.

Around the St. Sophia Cathedral - the central building of the Yaroslavl city - there were stone churches, boyar palaces, dwellings of the townspeople, and the courtyard of the metropolis was fenced with a wall. Until now, only the St. Sophia Cathedral and the ruins of the Golden Gate, the main entrance to ancient Kiev, have survived from the 11th century.

The name of the cathedral "Sophia" comes from the Greek word "sophia", which means "wisdom". Dedicated to the "wisdom of Christian teaching", the Sophia Cathedral, according to the plan of the creators, was supposed to establish Christianity in Russia. Built as the main, metropolitan temple of Kievan Rus, St. Sophia Cathedral was in ancient times the social and cultural center of the state. Here the ceremonies of "landing" of the princes on the throne of Kiev, receptions of foreign ambassadors took place; the Kiev veche gathered near the walls of St. Sophia Cathedral, annals were kept at St. Sophia Cathedral, and Yaroslav the Wise created the first known library in Ancient Russia.

Already in the 11th century, contemporaries appreciated the St. Sophia Cathedral as an outstanding work of art. The first Russian Metropolitan Hilarion, an outstanding publicist of his time, wrote about him: "The Church is wondrous and glorious to all the neighboring countries, as if another would not appear in all earthly midnight from east to west."

During its centuries-old history, Sophia of Kiev survived the invasion of enemies, robberies, partial destruction, repairs and reconstruction.

In one of the most difficult periods in the history of ancient Kiev - the capture of the city by the hordes of Batu Khan in 1240 - most of the architectural structures were turned into ruins. Sophia Cathedral survived. However, plundered and devastated, St. Sophia Cathedral lost its former beauty and grandeur, although it remained the city's main functioning temple. During the XIV - XV centuries, the people of Kiev had to fight against the Lithuanian and Polish feudal lords, as well as against the Crimean Tatars, who devastated the city with predatory raids. In 1416, Kiev was sacked and burned by Khan Edigey, in 1482 - Mengli Giray.

In the 16th century, the oppression of the Polish feudal lords intensified. In the context of the seizure of Ukrainian lands, enslavement and forcible catholicization of the population in 1596, the Brest Religious Union was concluded, which aimed to unite the Orthodox and Catholic churches under the leadership of the Pope. The Catholic clergy and the Uniates began the liquidation of the Orthodox Church. Sophia Cathedral, captured by the Uniates, completely dilapidated. The roof decayed, the vaults of the galleries collapsed, and many wall paintings perished.

In the 30-40s of the 17th century, Metropolitan of Kiev Peter Mohyla took Sophia of Kiev away from the Uniates and established a male monastery at the temple. Sophia Cathedral was partially renovated, wooden monastery buildings were built around it, and the entire territory was surrounded by a high wooden fence. Piotr Mohyla attracted the Italian architect Octaviano Mancini to work in the cathedral.

The 17th century was marked by the national liberation struggle of the Ukrainian people under the leadership of Bohdan Khmelnytsky and the reunification of Ukraine with Russia. In 1654, the people of Kiev approved the historical decisions of the Pereyaslav Rada in the St. Sophia Cathedral. The reunification caused a great political and cultural rise in Ukraine.

In the 17th - 18th centuries, intensive stone construction began in Kiev.

In 1697, a great fire destroyed the wooden buildings of the St. Sophia Monastery. Two years later, by decree of Peter I, the construction of new stone houses around St. Sophia Cathedral began.

Construction continued until 1767. During this period, a bell tower, a refectory, a bakery (bakery), the metropolitan's house, the western gate (Zaborovsky Gate), the monastery wall, the southern entrance tower, the Fraternal Corps, and the bursa were built at the St. Sophia Cathedral. In the architecture of these buildings and in the appearance of St. Sophia Cathedral after renovations, we find the characteristic features of Ukrainian baroque architecture of the 17th-18th centuries. In the 19th century, partial reconstructions of buildings were carried out. Around St. Sophia Cathedral towered the patronal Irininskaya and St. George churches, stone princely and boyar palaces, wooden dwellings of Kievans.

This is how the magnificent architectural ensemble of the monastery was formed.

3. Protection of an architectural monument

In 1934, the State Architectural and Historical Reserve Sophia Kievskaya was created, which includes St. Sophia Cathedral and monastic buildings of the 18th century.

The creation of the Sophia Kievskaya reserve opened a new page in the life of monuments, and first of all, the ancient St. Sophia Cathedral. There were ample opportunities for research and restoration of architecture, wall paintings. Famous Soviet scientists I. V. Morgilevsky, M. K. Karger, N. I. Kresalniy, Yu. S. Aseev, V. G. Levitskaya, V. N. Lazarev, S. A. Vysotsky, L. P. Kalenichenko, E. S. Mamolat, etc. On the basis of the restoration of wall paintings in St. Sophia of Kiev, a modern school of Ukrainian monumental restorers has grown.

As a result of research and restoration work carried out in museums, a reconstruction of the original appearance of St. Sophia Cathedral was created, hundreds of meters of murals from the 11th century were cleared on the walls, fragments of ancient mosaic floors were uncovered, medieval graffiti inscriptions were deciphered, and the remains of buildings of the 11th century were found on the territory of the reserve. XII centuries, restored monuments of the XVIII century.

The opening of the Sofia Museum made the monuments open to the public. Architecture and wall paintings provide an opportunity to get acquainted with artistic values. For a long time, only St. Sophia Cathedral was a museum on the territory of the reserve. Now expositions have been created in buildings of the 18th century.

However, Sofia Kievskaya, as before, remains the main and most valuable object of inspection. It attracts an endless stream of tourists from all over Ukraine, from foreign countries. Every year, about two million people visit the Sophia Kievskaya Reserve, who seek to get acquainted with the wonderful creation of world culture.

At present, St. Sophia Cathedral stands among the former monastic buildings - valuable monuments of Ukrainian architecture of the 18th century. With its festive architecture, it stands out among the surrounding buildings and adorns the overall silhouette of the city. Sophia Cathedral and surrounding architectural monuments of the 18th century.

Inside the cathedral, architectural forms of the 11th century are mostly preserved. These are the walls of the main core of the building, twelve baptismal pillars dividing the interior space into five naves, pillars and arches of the galleries, as well as thirteen domes with light drums. The main dome, placed at the intersection of the longitudinal and transverse naves, illuminates the central dome space.

In the 18th century, second floors with domes were built over one-story galleries and open arches were laid. Inside, the windows in the walls of the cathedral were scattered, a large arch was made in the place of the ancient entrance. The western two-tier triple arcade in the central dome part (similar to the southern and northern) and the ancient choirs above it have not been preserved. Therefore, the central domed space, which in ancient times had the shape of an equal-ended cross, changed its original appearance in the western part.

Of particular value are the wall paintings of St. Sophia of Kiev in the 11th century - 260 square meters of mosaics (images made from cubes of multi-colored smalt) and about 3,000 square meters of frescoes made with water-based paints on wet plaster. The surviving mosaics and frescoes are the third part of all the painting that adorned the building in the old days. By the 17th century, the first known renovations of the frescoes of Sofia, made with glue paints, date back to the 17th century. At the turn of the XVII - XVIII centuries. all the walls of the cathedral were plastered and whitewashed. Over this layer, during the 18th century, the walls were covered with oil paintings. In the 19th century, the frescoes were opened, but they were again restored with oil, while basically preserving the ancient drawing. In places where the frescoes were lost, additions of plaster and painting were made. Basically, this painting has a religious content, but for us it is valuable for its artistic merits - drawing, color scheme, compositional techniques, the transfer of the inner world of a person.

4. Frescoes of St. Sophia of Kiev

The combination of mosaics and frescoes in a single decorative ensemble is a characteristic feature of St. Sophia of Kiev. Sparkling colorful mosaics adorn the main dome and central apse, drawing the attention of those entering the altar of the temple.

As in no other medieval building, the mosaic is combined extremely freely with the fresco. Basically, the border between them runs along the line of the slate cornice. This is what we see in wim and on domed pillars. But as recent restoration surveys have shown, the frescoes were located above this line on the western slopes of the northern and southern girth arches, where under the mosaic medallions depicting the martyrs of Sebastia there are figures of two martyrs made in fresco technique, as well as on the entire western girth arch.

Here, the medallions with half-figures of the martyrs of Sebaste were not made in smalt, but painted al fresco. We do not know why the work of the mosaicists was suddenly interrupted and they were not even given the opportunity to complete the mosaic decoration. Probably, the reason for this was Yaroslav's impatient desire to see the finished painting of the temple as soon as possible. Kiev. Kiev Sofia. fresco Descent into Hell. Prophets. Fragment. XI-XVII centuries.

Frescoes adorn the lower part of the vima walls and pillars up to the slate cornice, going beyond it only in the above marked places, three branches of the central cross, all four aisles and choirs. This main core of fresco decoration dates back to the era of Yaroslav, if not entirely, then at least in its main parts. We tend to consider the 60s of the 11th century as the upper chronological limit of the latest frescoes from this complex. As for the frescoes of the outer gallery, baptismal and towers, they already belong to a different era - to the 12th century. The question of their exact date can be resolved only after a careful analysis of their style.

In ancient times, frescoes adorned all the side walls of St. Sophia Cathedral, galleries, towers and choirs. In the 17th century, the original painting was partially updated with glue paint during repairs. At the turn of the XVII-XVIII centuries, the ancient frescoes of St. Sophia Cathedral in Kiev, damaged at that time, were plastered and whitewashed. In the 18th century, new oil paintings were made on the original wall paintings, which met the requirements of the era. In the middle of the 19th century, the frescoes were cleared from under the murals of the 18th century and again covered with oil painting, which was not of artistic value, although its plots basically repeated the iconographic scheme of the ancient frescoes that had survived by that time. Fresco images have been preserved to a greater or lesser extent in all the ancient rooms of the cathedral, and primarily on the walls of the central domed space. In the central domed space we see multi-figure gospel scenes of a narrative nature - about the deeds and sacrifice of Christ, about the spread of Christian doctrine. In ancient times, compositions were placed in chronological order in a circle, from left to right, from top to bottom, in three registers. The opening scenes of the cycle were depicted on the vault of the transept and the western part of the central nave. None of the frescoes of the upper register has survived to this day.

The scenes of the middle register are placed under the arch above the triple arcades and begin in the northern part of the transept with two compositions - "Peter's Denial" and "Christ before Caiaphas". Further, the narrative moves to the southern part of the transept, where the composition "Crucifixion" is placed. The remaining frescoes of the middle register have not been preserved.

The frescoes of the lower register are placed above the octagonal pillars of the transept. On the northern wall of the St. Sophia Cathedral, the scenes "The Descent of Christ into Hell" and "The Appearance of Christ to the Myrrh-Bearing Women" are preserved, on the southern wall - "The Faith of Thomas" and "the sending of the disciples to preach." Along with the last composition on the adjacent wall, we see the final scene of the entire gospel cycle - "The Descent of the Holy Spirit."

In the side altars - the altar and the deacon - we see cycles of fresco compositions telling about the Virgin Mary (chapel of Joachim and Anna) and the deeds of the Apostle Peter (chapel of Peter and Paul).

The murals of the southern altar (Mikhailovsky) are dedicated to the Archangel Michael, who was considered in Russia the patron saint of Kiev and the princely squad. The frescoes of the extreme northern altar tell about St. George, the spiritual patron of Prince Yaroslav the Wise.

An interesting cycle of fresco paintings has been preserved in the choir stalls. These are the subjects "Abraham's Meeting of the Three Wanderers", "Hospitality of Abraham", "The Sacrifice of Isaac", "Three Youths in the Fiery Cave", "The Last Supper", "The Miracle in Cana of Galilee, etc. window and door openings, emphasize the lines of arches and vaults, run down the planes of pylons and pillars, pass over the floors like a panel. , expressiveness of images, colorfulness, organic connection with architecture.

The entire ensemble of murals of St. Sophia of Kiev in its content was subordinated to a single plan - the promotion of Christian doctrine and the establishment of feudal power. At the same time, the murals of the main temple of the state were supposed to reflect the greatness of Kievan Rus, its international recognition, the role of the Kiev princely house in the political life of Europe. Therefore, in Sofia, a large place is given to secular compositions.

5. Fresco Portrait of the family of Yaroslav the Wise

Of particular value among the frescoes of St. Sophia Cathedral is a group portrait of the family of Yaroslav the Wise. The composition was located on the northern, western and southern walls of the main nave. About the central part of this composition, placed on the western wall, which has not been preserved, is known from Abraham's drawing of 1651. The figure shows Yaroslav the Wise with a model of St. Sophia Cathedral in his hand, Yaroslav's wife, Princess Irina. They go to the figure of Christ, which, perhaps, stood Prince Vladimir and Olga - the founders of Christianity in Russia. Yaroslav and Irina were followed by sons and daughters in a solemn procession. From this large composition, four figures have been preserved on the south wall of the central nave and two on the north.

Here Yaroslav - the builder of the city and the founder of the metropolitan church - acted as the successor of the work of his great-grandmother Olga and father Vladimir, who did a lot to unite the Slavic tribes, strengthen Kievan Rus and establish equal relations with Byzantium and other countries. Yaroslav's family members also played a prominent role in the political life of Europe: the prince's wife was the daughter of the Swedish king, his two sons were married to Byzantine princesses, and his daughters were queens of France, Norway, and Hungary. According to the writer of that time Hilarion, Russia was “known and heard by all four ends of the earth.” Unfortunately, only the figures of Yaroslav’s children on the southern and partly on the northern walls have survived from this fresco composition to this day. The drawing by the Dutch artist tells about the rest of the images. A. van Westerfeld, who saw the fresco in the middle of the 17th century.

The fresco was badly damaged during the restoration of the 19th century. On the south wall, on top of the fresco, figures of great martyrs were depicted in oil, on the north wall - saints. The clearing of these frescoes was carried out after the organization of the Sofia Reserve in 1934-1935. On the northern wall of St. Sophia Cathedral, in addition to the fresco, three figures depicted in the 18th century, and the head of the saint - in the 19th century are visible.

The fact that the fresco composition is poorly preserved and the absence of the original inscriptions make it difficult to reconstruct the entire scene and identify each of the figures. Although the four figures on the southern wall are widely known as portraits of Yaroslav's daughters, there are scientific hypotheses that identify these images as male (in particular, the first two figures with candles in their hands). The portrait of the family of Yaroslav the Wise, placed in the center of the cathedral, served to assert princely power. And now, looking at the people depicted in the portrait, we recall the connections of the Kiev princely house with the largest states of Europe.

The same semantic line continues in the murals of the two stair towers of the cathedral. At present, scientists have proved (Doctor of Historical Sciences S. A. Vysotsky) that the frescoes tell about an important political and cultural event in the life of Kievan Rus in the middle of the 10th century - about the arrival of the Kievan princess Olga in the capital of Byzantium and about the honor accorded to her by Emperor Constantine Porphyrogenitus.

In both the northern and southern towers, the picturesque story begins at the bottom and continues, respectively, as one rises upwards.

The frescoes of the northern tower show the solemn entry of Olga into Constantinople. From this composition, only fragments of individual scenes depicting the Empress with her retinue and Emperor Roman (son of Constantine Porphyrogenitus) on a white horse survived. On the upper landing of the stairs, a large composition “Princess Olga at the reception of Konstantin Porphyrogenitus” has been preserved. In its left part there is an emperor sitting on a throne in the palace, and two bodyguards armed with spears and shields. In the right part of the composition, Princess Olga is depicted in the center. On her head is a crown, from under which a white transparent kerchief falls on her shoulders.Next to Olga are women from her retinue.

The main composition in the southern tower is the Hippodrome fresco, which tells about the second reception of the princess by the emperor - at the Constantinople hippodrome, where she witnessed equestrian competitions.

In the upper part of the tower, the image of the hippodrome palace is well preserved - a large three-story building, in the open galleries of which spectators were located. On the right, Emperor Constantine Porphyrogenitus sits in the imperial box. The artist convincingly conveyed his portrait features - expressive eyes, a large hooked nose, and a beard. Nearby is Princess Olga in a light robe, with her arms folded across her chest. The fresco compositions "Acrobats" and "Buffoons", where musicians play stringed, percussion and wind instruments (among them a pneumatic organ), are apparently associated with performances at the hippodrome. On the walls of both towers, ornaments, symbolic drawings and numerous hunting scenes are clearly visible: "Hunting for a bear", "Fighting mummers", "Hunting for a boar", etc. These frescoes tell about the life of the feudal court, about hunting, about animal and vegetable world of Kievan Rus.

The frescoes of the towers are a unique monument of medieval monumental art and an important historical source, testifying to the cultural ties between Kievan Rus and Byzantium.

Interesting murals have been preserved in the former baptismal of the cathedral. The fresco composition of the 11th century “The Forty Martyrs of Sebaste” attracts attention here. The room became baptismal at the turn of the 11th-12th centuries, when an apse was built into the arch of the gallery. art of that time. Remarkable monuments of ancient plastic art have survived to this day - ornamental slate slabs of the parapets of the choir, a carved marble sarcophagus, in which are the remains of Prince Yaroslav the Wise, buried in 1054. In the artistic design of the ancient cathedral, floors played an important role: in the central part they were mosaic, in the side naves, in the choirs, in the tomb - ceramic, decorated with colored glaze. Fragments of ancient floors have survived to this day.

Old Russian inscriptions were discovered on the walls of the cathedral - graffiti scratched with a sharp object on frescoed plaster. Of particular value are graffiti containing information about historical events and culture of Kievan Rus. A unique graffito is the ancient Slavic alphabet, which sheds light on the history of the origin of the Cyrillic alphabet.

Of the works of art of the 18th century in Sofia, a carved wooden gilded iconostasis, gilded copper doors in a narthex, and individual fragments of painting have been preserved.

Particular attention of visitors is attracted by genuine mosaics, frescoes and slate reliefs from St. Michael's Golden-Domed Cathedral (early 12th century), stored in Sofia on the second floor. Comparing the murals of both temples, one can trace the stylistic changes in ancient Russian art during the period separating these monuments. In Mikhailov's painting there is more movement, more diverse poses, the proportions of the figures are elongated, the mosaic smalt is somewhat larger than that of Sophia, green tones combined with purple, pink, and gray-white predominate in the palette of mosaics. In the paintings, the strengthening of the graphic principle is noticeable, especially in the interpretation of robes. It is believed that the well-known ancient Russian artist Alipiy from the Kiev-Pechersk Lavra took part in the creation of the Mikhailovsky murals.

The names of the painters are unknown. Only in the Mikhailovsky side altar has the Greek inscription "George" survived, made on damp fresco plaster before applying paint on it. It is possible that this is the name of one of the artists who worked in the cathedral.

architectural fresco cathedral reserve

Bibliography

1. http://churchs.kiev.ua/index.php?catid=8:2010-09-03-18-33-19&id=297:2010-11-14-12-13-40&Itemid=17&option=com_content&view= article

2. http://sofiyskiy-sobor.polnaya.info/freski_sofiyskogo_sobora.shtml

3. http://ikons-allart.do.am/publ/istorija_khristianskogo_iskusstva/vizantijskij_period/freski_sofii_kievskoj/33-1-0-4

4. http://pidruchniki.com/11200611/kulturologiya/trupoviy_portret_rodini_svyatoslava_izbornik_svyatoslava_1073

Appendix

Fresco of the Apostle Paul

Stair tower fresco

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Architecture of St. Sophia of Kiev. The combination of mosaics and frescoes in a single decorative ensemble as a characteristic feature of St. Sophia of Kiev. Architecture of St. Cyril's Church. Golden Gate in Vladimir. St. Basil's Cathedral of the Intercession: shapes and colors.

V.G. Kikta: For Harp and Orchestra
Honored Art Worker of the Russian Federation and Ukraine, laureate of the Moscow Mayor's Award in the field of literature and art, laureate of the Union of Composers of Russia award, secretary of the board of the Union of Composers of Russia, member of the editorial board of the Ballet magazine, chairman of the board of the Russian Harp Society, president of the Foundation. I.S. Kozlovsky - all these are the titles and positions of Valery Kikta. Stereo&Video invites readers to get acquainted with one of the most striking opuses of the composer - "Frescoes of St. Sophia of Kiev".

Text Konstantin Yustov

When I met Valery Kikta at the Moscow Conservatory, I asked him to briefly describe Frescoes, but our conversation dragged on for several hours.

Let's start with the fact that composers rarely write concert pieces for the harp...
Certainly! Because it's hard (laughs). Even P.I. Tchaikovsky was with a harp on you; all harp cadenzas in his ballets are by A.G. Zabel. And in France it used to be: if you don’t write for the harp, you won’t get a diploma as a composer! If you don't play the harp, that means you're not a composer (laughs). Therefore, K. Debussy and M. Ravel knew this instrument so well. You try to take a C major chord on the piano and play something on the harp in parallel - but you simply won’t hear it! Sometimes they say: "Write for the harp as for the piano." This is not true, in no case do not write for the harp as for the piano.

The "murals" were completed in 1973. What are the circumstances of their birth?
When I first came to Kiev on tour as part of the choir A.V. Sveshnikov (in 1952), we thought about what sights to visit, and in the end we decided to go around the holy places. Sophia Kievskaya was then closed, and we were taken to the Kiev-Pechersk Lavra. We saw those monks who were gone in a year or two. Then everything was closed. Mentally, I returned to this. Later he came with the score, he wanted to lean it against the walls of Sofia, to receive a blessing. The frescoes still look majestic. Can you imagine how it was in the days of Yaroslav the Wise?

What can you tell about Vyacheslav Valeev's recording?
The National Orchestra of Ukraine has an interesting history: they recently celebrated their 90th anniversary. We do not have a single orchestra that would cross this line. And all because, when in 1918 Pavel Skoropadsky became the hetman of Ukraine, he first issued a decree on the creation of a national symphony orchestra, a national opera and a national chapel. Let's start with culture! Vyacheslav Valeev did a great job and even cleaned up the mistakes that arose during the rewriting.

We pass the floor to conductor Vyacheslav Valeev.
I was lucky to study with Valery Grigoryevich Kikta at the Moscow Conservatory in reading orchestral scores and instrumentation. At the very first lesson, literally from the doorway, I arrogantly declared: “I really like your Frescoes, and I will definitely perform them!” Valery Grigoryevich thanked me for such an "impulse" and began the lesson. Five years have passed ... I excitedly dial the teacher's number: “Valery Grigorievich, can I ask you for the orchestral voices of“ Frescoes ”for a concert and recording in Kiev?” Frankly, I was pleased to keep my word.

According to the composer, you corrected mistakes and inaccuracies in the score. It's true?
Yes, having received the musical material, I realized that it was impossible to play on it. The handwritten parts traveled from orchestra to orchestra, from city to city, and not only were they dilapidated, they also carried dozens of corrections, insertions, cuts, canceled cuts, had a wide variety of comments, including on the skill of my colleagues. In a word - the author himself will not understand. There was still time, and the decision came by itself: I began to type all the musical text. It was more like a transcript, but the orchestral parts turned out to be a feast for the eyes, in addition, I learned the score perfectly.

And under what circumstances did your cooperation with the National Orchestra of Ukraine begin?
I must say that the implementation of the project took place only thanks to the will of this team. In 2006, I had the opportunity to participate in the 1st Stefan Turchak International Conducting Competition. After the second round, the jury did not consider it possible to let me through to the final. The orchestra members had a different opinion and decided to award their prize by secret ballot, as a result of which I was given the right to hold a concert in the 2007/2008 season and record a CD. This is the most valuable award in my life! They trusted me and provided tremendous support to the young, unknown conductor! We did a full rehearsal cycle, played a concert, and only after that we began to write in the studio. What else can you dream of?

Did Kikta himself participate in the preparation of the concert and the recording of Frescoes?
Valery Grigoryevich took us to the Kiev Cathedral on the eve of the concert. He calculated the time perfectly, the rehearsal work was done, everything is ready, but one more step is needed. He did not speak much, but his words, intertwined with frescoes, the smell of wax and incense, sounded like the music of his compositions. Deep and simple about complex...

How was the recording of "Fresco"?
It was a pleasure to work with sound engineer Andrey Mokritsky. Since he constantly records this team, the balance was built in a matter of minutes. We were helped by the general director of the orchestra, Alexander Gornostai, who has a phenomenal ear. Unfortunately, during the recording of the symphony, my temperature rose to 39. My ears seemed to be stuffed with cotton. I drank about 3 liters of water during the shift! And what do you think? Recovered!
Mokritsky is a seasoned and tactful person. They wrote like this: I conduct, conduct "live speech", Andrey writes and monitors noise and balance, Alexander - for false or random sounds, Valery Grigorievich provides general guidance. As the piano is played with four hands, we listened with eight ears. As a result, everything was recorded in less than a shift.

Topic: Figurativeness in music

1. ComposerValery GrigorievichKikt "Concert Symphony for Harp and Orchestra"

Today we will continue talking about"bells" in Russian music. You know that all Russian composers addressed this theme. Modern composers in their musical compositions also develop this tradition. In this lesson, you will get acquainted with the work of V.G. Kikta, who uses concepts from the field of painting in the titles of his musical works:ornament, fresco, portrait.

Composer Valery Grigoryevich Kikta (born in 1941), a "child" of two Slavic cultures - Ukrainian and Russian, was born in Ukraine, studied at the Moscow Conservatory. In his musical compositions, he tells about the events of hoary antiquity or the recent past: in his musical frescoes there is always room for subtle landscape sketches, for psychological portraits. In dialogue with the voices of bygone times, he remains a staunch romantic lyricist. He intently... listens attentively to the sound aura of this or that epoch; penetrating into its core, he extracts intonations that are beautiful in their simplicity or whole melodies and builds on this solid foundation his own, original musical and architectural composition - either a temple leaving domes into the sky, or a modest chapel, or a medieval knight's castle.

Valery Grigoryevich Kikta wrote a concert symphony for harp and orchestra "Frescoes of St. Sophia of Kiev". It is dedicated to the 1500th anniversary of Kiev.

The composer composed it under the impression of the beauty and grandeur of the Hagia Sophia in Kiev, the main Orthodox church of Ancient Russia, erected at the behest of the Russian prince Yaroslav the Wise at the beginning of the 11th century.

In the 1st grade, you got acquainted with a fragment of a concert symphony for harp and orchestra "Frescoes of St. Sophia of Kiev" - "Ornament1".

Fresco - Wall painting, in ancient times it was called wall painting on wet plaster.

Ornament - A pattern based on the repetition and alternation of its constituent elements.

Portrait - Play anything damn, image

or a description of a person or group of people.

This part is similar to the genre of Russian musical folklore - the epic. The composer imitates in this theme the Russian folk musical instrument - Gusli. Such genre echoes of the 1st part of the symphony with folklore are not accidental - this is how the composer reflects the era of Ancient Russia and his perception of the ancient monument of Russian architecture.

2.Task1

Answer the questions:

1. What genre of Russian folklore is this part based on?

2. What musical instrument of Ancient Russia does the harp imitate?

3. Why is this part called "Ornament" and is repeated three times in the symphony?

3. Portrait in music and frescoes

The snow-white carving of the altar, the gold of the mosaic vaults, the multicolored frescoes and wall paintings of the cathedral inspired wonderful, vivid images to the composer. This is not an ordinary symphony: it does not have four parts, as is customary, but nine. In them, the composer refers not only to the spiritual images of the temple (“Ornaments”, “Group portrait of the daughters of Yaroslav the Wise”, “Mikhailovsky chapel”), but also to the images of folk life “The beast attacks the horseman”, “The fight of the mummers”, “Musician” , "Buffoons").

The shimmering mosaics of the Sophia Cathedral, its frescoes are a unique creation of Greek and Russian masters. These frescoes were in the XIX century. barbarously recorded with oil paints, and the “restoration” made distorted a number of images and much turned out to be irretrievably lost.

The themes of the frescoes included not only plots from the Gospel (“Good News” about the life of Jesus Christ), but also scenes of games at the Constantinople Hippodrome.

On the frescoes you can see the Byzantine emperor, chariots, musicians, buffoons in caps, mummers, persecution of bears, wolves, wild boars ... The portrait of Yaroslav was not preserved in the painting, but you can recognize his four daughters, harmoniously standing in a row with candles in their hands. The participation of Russian masters in this fresco painting is more than likely. This is evidenced by life-affirming motifs in the gospel figures, large-eyed female faces, strong, squat figures, and in the hippodrome scenes - the animals of our forests and even purely Russian hunting techniques. So the "heavenly and the earthly" united in the art of fresco painting of the Kiev Cathedral.

"Frescoes of St. Sophia of Kiev" by V. Kikta is a kind of large instrumental epic, which the composer himself called "concert symphony".

View ancient frescoes and listen to the 4th movement of the concerto symphony for harp and orchestra

The frescoes depict ghostly female figures walking one after another, most likely in the temple. The spirituality of the figures, the slowness of their steps testify to a certain emotional state that a person who comes to church to pray can experience. In the image of girls there is more mystery, fantasy, fabulousness than reality.

What are the characteristics of a musical fresco? Listen to the constantly repeating accompaniment - the monotonous sound of harp overflows. Against this background, in the upper register, there are wary, mysterious sounds
violin trills. The downward movement of sustained sounds is constantly repeated in this piece, which creates a feeling of immobility, a ghostly sound, and adds a flavor of mystery to it.

4. Task 2

Find similar and different features of the artistic embodiment of images in fresco painting and in music of the 2nd part of the symphony - "Group portrait of the daughters of Yaroslav the Wise".

5. Picturesque music

The contrast to the 4th part will be the 8th part of the symphony - Listen to the intonation that sounds at the beginning of the piece. In it you heard dance rhythms, bright accents. You were able to make sure that the main intonations are constantly repeated, they sound at different heights, with different timbres. The fast pace enhances the impression of incendiary movement. The composer skillfully imitates the sound of such Russian folk instruments as flutes (flute in a symphony orchestra), gusli (harp), balalaikas (strings). The role of percussion instruments in this part is also great, their ringing, rattling timbres create a feeling of fun and festivity.

Note that the sound of the repeated "buffoon" theme is intruded by a song melody that resembles the theme of "Ornament". She sounds twice. For the first time, distantly, against the backdrop of an accompanying harp. The rapid movement of the main intonation-singing up leads to the climax of the part. And here again a wide song melody sounds. She completes this genre scene. The picturesqueness of music is achieved by the composer in different ways: by the appearance of such sonorities that resemble bright, colorful spots, by creating the effect of removing the “crowd of merry tramps” (buffoons) at the end of the work.

Summing up our lesson, we can conclude that professional music is based on folk origins. Each composer consciously or unconsciously reflects in his works the spirit of his people, his time, referring to the unshakable spiritual values ​​that many generations of Russian people strove to follow. It is this kind of music that becomes close and understandable to us and future generations.

6. Task 3

Answer the questions:

1. Why did the composer introduce symphony dedicated to St. Sophia Cathedral, images of folk merry fellows and jokers - buffoons?

2. What features of the musical language can be noted in the 8th part of "Buffoons"?

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"Frescoes" were created in the seventies, during the era of stagnation, when the very fact of turning to the temple in creativity was bold enough, as it could lead to serious consequences. This theme became fashionable much later. The appearance of this work could have been exclusively an internal need of the composer, caused by the indelible impression of the fresco cycle in the church of Hagia Sophia in Kiev. "Frescoes" - a modern artist's view of the events of antiquity. The author carries out the idea of ​​the eternity of the living past through the convergence of the arts - music and ancient painting. "Frescoes" were created in the seventies, during the era of stagnation, when the very fact of turning to the temple in creativity was bold enough, as it could lead to serious consequences. This theme became fashionable much later. The appearance of this work could have been exclusively an internal need of the composer, caused by the indelible impression of the fresco cycle in the church of Hagia Sophia in Kiev. "Frescoes" - a modern artist's view of the events of antiquity. The author carries out the idea of ​​the eternity of the living past through the convergence of the arts - music and ancient painting.

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According to the composer, "Frescoes" express the whole gamut of feelings that the image of native Kiev evokes with its unique artistic heritage. This piece is deeply personal. It was created with the desire to capture the moment when frescoes came to life and sounded for the composer under the dome of the temple. The more interesting is the fact that the "Frescoes of St. Sophia of Kiev" have become extremely popular and are constantly heard in concert performance, on television and radio.

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