Symphony of frescoes by sofia kievskaya description. Antiquity and modernity. Frescoes of St. Sophia of Kiev V. Works of great famous and unknown masters

Target:

1. To expand the idea of ​​life prototypes and folk origins of music, to reveal the relationship between music and visual arts through works of painting and music.

Tasks:

Educational : Get acquainted with the concert symphony of V.G. Kiktas "Frescoes of St. Sophia of Kiev"; to show how music and visual arts reflect the creation of musical and artistic works by different means of artistic expression.

To acquaint with the concepts: "musical ornament", "fresco". The history of the origin of the fresco.

Developing: develop a conscious perception of music and paintings, imagination, vocabulary. Develop the skills of analyzing a piece of music; To develop performing skills: singing in an active singing position, working on diction in the songs performed.

Educational : to familiarize with the spiritual national culture, to foster a sense of patriotism, respect for the masterpieces of musical and visual arts. Develop the skill of listening culture, emotional responsiveness.

LESSON TYPE: Lesson - excursion

TECHNOLOGIES: information (protection of presentations)

activity ("creating an image to the music");

health-preserving (method of plastic movement,

vocal exercises, a mobile way of teaching);

FORMS OF WORK: frontal, individual, group (in pairs)

EQUIPMENT: computer with multimedia installation, DVD-player,

tape recorder, tambourines, triangle, two

bells (large, small), ratchets, caps,

shirts, musical instruments for buffoons

DIDACTICAL MATERIAL: presentation for the lesson, textbook, video,

music files. (V.G. Kikta concert symphony

for harp and orchestra "Frescoes of St. Sophia of Kiev",

fragments: "Ornament"; "Group portrait of daughters

Yaroslav the Wise "; "Buffoons". The song "Came

buffoons "(ensemble" Primordial Rus ", a poem for

choir and orchestra and Russian folk instruments,

composer M. Firsov).

HANDLING MATERIAL: test reference materials,

sketchbooks, pencils.

^ LESSON PROCESS

« There is music, which is coming to us,

and - the other, which requires,

so that we go to her».

Hungarian composer of the 19th century Franz Liszt

i.
Org. moment. (2 minutes) :

Slide 1 (The song "One Hundred Churches" is playing)

Fine art teacher:

Choose one of the 4 pictures on the board that matches your mood today and attach a green self-adhesive piece of paper on the board next to the corresponding picture (students attach their leaflets on the board next to the corresponding pictures)

1. 
   Homework check (3 min.)

Slide 2,3

Music teacher:

Guess what piece sounds, name it composer?

(excerpts from the works of P. Chesnokov "May my prayer be corrected", MS Berezovsky "Do not reject me in old age", "Dance of buffoons" from the opera "Snow Maiden" by N. Rimsky-Korsakov)

What genre of music do these pieces belong to?

Slide 4

(Russian sacred music, Russian folk music or Russian musical folklore)

“There is music that comes to us, and another that requires

so that we go to her. "Franz Liszt

Slide 5

These words of the great Hungarian composer fit into our today's lesson, where we will take a tour.

^ III. Explaining the new material (25 min.)

Fine art teacher:

Attention to the screen.

(Photo of the city of Kiev, Ukraine, Cathedral of St. Sophia of Kiev

against the background of the bell ringing)

Where do you think we are going to travel with you today?

(children's answers: To the cathedral, to the temple, to the church)

Yes, today we will make an excursion with you to Kiev to the Cathedral of St. Sophia of Kiev, which is an architectural monument of world importance.

We will make a journey through Ancient Russia, return to the origins of its culture. In today's lesson we will be able to:

Slide 6

• 
  Expand the idea of ​​life prototypes and folk origins of music;
• 
  Get acquainted with the concert symphony of V. G. Kikta "Frescoes of St. Sophia of Kiev";
• 
  Develop the skills of analyzing a piece of music;
• 
  Reveal the commonality of music and visual arts;
• 
  To acquaint with the concept of "Fresco", with the history of its origin;
• 
  Expand your understanding of the various types of ornament.

(Video about the Cathedral of St. Sophia of Kiev, pictures with frescoes.

against the background of V. Kikt's music "Ornament")

^ Slide 7 (video)

At the behest of Prince Yaroslav the Wise, at the beginning of the XI CENTURY, the majestic Cathedral of St. Sophia was erected in Kiev. It was believed that Saint Sophia is a symbol of the wisdom of God. Until our time, the cathedral continues to amaze with its amazing splendor, unique multicolor frescoes, snow-white carvings of the altar, gold mosaic vaults.

^ Fine art teacher:

Please note that the cathedral is decorated with frescoes.

Who knows what a fresco is?

Slide 8

Fresco(from ital. affresco - fresh), it is performed on wet plaster, one of the wall painting techniques, the opposite of a secco (dry painting). When dried, the lime contained in the plaster forms a thin transparent calcium film, which makes the fresco durable.

At present, the term "fresco" can be used to refer to any wall painting, regardless of its technique (a secco, tempera, oil painting, acrylic paints, etc.). For the first time this term appeared in the treatise of the Italian artist Cennino Cennini (1437). Sometimes they paint with tempera on an already dry fresco.

^ Fine art teacher:

A student will tell us about the history of the fresco.

Story

The exact date of the appearance of the frescoes is unknown, but already in the period of the Aegean culture (2nd millennium BC), fresco painting became widespread. It was painting with paints, where glue or casein was used as a binder, and the technique itself was close to a secco. The availability of raw materials (lime, sand, colored minerals), the relative simplicity of the painting technique, as well as the durability of the works led to the great popularity of fresco paintings in the ancient world. In Christian art, fresco has become a favorite way of decorating the internal and (less often) external walls of a stone church.

In Ancient Russia, the technique of mural painting was mainly mixed - painting with water paints on raw plaster was supplemented with tempera-glue technique (background, upper registrations) with various binders (egg, animal and vegetable adhesives).

Let's take a closer look at the elements that adorn the Kiev Cathedral.

Slide 9

Yes, they are decorated with an ornament. Let's remember, what is an ornament?

Children's answer.

Ornaments are a sequential repetition of individual patterns or a whole group of them. The main purpose of the ornament is to decorate the surface of an object, to emphasize its shape. The rhythmic repetition of one or more elements (motives) of the ornament is called rapport.

^ Fine art teacher:

What types of ornaments do you already know?

Slide with pictures of types of ornaments.

For its motives, the ornament can be:
- geometric, consisting of various geometric elements;
- meander - in the form of continuous broken lines, widely used in the art of Ancient Greece and got its name from the meandering river Meander;
- vegetable, composed of drawings of stylized flowers, fruits, leaves, branches, etc.;

The language of each ornament is closely related to the history and culture of the people, their perception of the environment.

^ Music teacher:

Slide 10

All this splendor already in the XX century inspired the composer Valery Grigorievich Kikte with beautiful, vivid images, which he embodied in the Concert Symphony for Harp and Orchestra "Frescoes of St. Sophia of Kiev". The selection of the harp as a solo instrument is an association with the sound of Slavic gusli. The harp is present here as a symbol of antiquity, introducing at the same time an element of narrative and a certain temporal spatiality, as if soaring under the domes of the temple into Infinity.

^ A short message about composer learner with presentation.

Slide 11

Approximate information.

^ Valery Grigorievich Kikta(b. October 22, 1941 in the village of Vladimirovka, Volnovakhsky district, Donetsk region, Ukraine) - composer, professor of the conservatory. In 1960 he graduated from the Moscow Choral School, in 1965 - the composer department of the Moscow Conservatory. In 1967-1993 he was the leading music editor of the publishing house "Soviet Composer". Since 1968 - member of the Union of Composers of the USSR, since 1989 - member of the Board of the Union of Moscow Composers and Chairman of the Musical Theater Commission of the Union of Moscow Composers, since 2006 - Secretary of the Union of Composers of Russia. Since 1989 - a member of the editorial board of the magazine "Ballet". Has performed at the World Congress of Harpists in Geneva on the theme "Music for the Harp in Russia" (2002). Since 2004 - Chairman of the Russian Choral Society (Moscow). Author of works of various genres - V. G. Kikta wrote 11 ballets ("Dubrovsky", "Vladimir the Baptist", etc.), symphonic works ("Ukrainian carols, chants and vesnyanka", "Frescoes of St. Sophia of Kiev"), oratorios and cantatas, instrumental concerts , choral works, works for organ, harp, music for children and youth and others. Vocal cycle on the verses of A. Pushkin "Awakening".

So, we get acquainted with his symphonic work "Frescoes of St. Sophia of Kiev" he wrote it in honor of the 1000th anniversary of the baptism of Rus.

And we will continue to make an excursion, only this time a musical one of the frescoes of the cathedral. A motley string of musical pictures and images in which the unity of the heavenly and the earthly is revealed is held together by the musical theme, which is a guide to the symphony, which, like a refrain, is repeated in them several times.

Let's do a little research. Examine the drawings on your desk.

Find repetitions in drawing and sheet music. Who has already found it?

Explain your train of thought.

^ One student shows on the screen with an explanation(First, we find a repetition of a pattern in a pictorial ornament. These are the initial and last patterns. We observe the same repetitions in a musical fragment in the form of short durations on the bottom line. So both of these fragments are an ornament).

Listen to the fresco from which the symphony begins.

^ Listening to the snippet

Try to give it a name? (Ornament) How did you feel when you listened to Ornament?

Why do you think the composer called this part of the piece "Ornament?"

What genre of Russian musical folklore does this theme resemble?

What musical instrument does the composer imitate in this theme? (harp)

Slide 12

This genre resemblance to Russian folklore is not accidental - this is how the composer reflects the era of Ancient Rus: "Ornament" - says the composer - is the most significant image. These are the feelings that overwhelm you when you are present in this temple: this is the feeling that Yaroslav the Wise was here, that central events related to the history of Kievan Rus took place here, and the thought - how many times was Kievan Sophia destroyed, and it was always revived in all its beauty "...

The symphony has 9 frescoes and each musical fresco has its own name.

Slide 13

1.
Ornament 1

2.
The beast attacks the rider

3.
Ornament 2

4.
Group portrait of the daughters of Yaroslav the Wise

5.
Mikhailovsky Chapel

6.
The fight of the mummers

7.
Musician

8.
Buffoons

9.
Ornament 3

Fine art teacher:

- Open the textbook Music Grade 6, 60 pages, before us is a picturesque fresco "Group portrait of the daughters of Yaroslav the Wise."

Slide 14

Music teacher:

The fourth movement of the concert symphony is called "Group portrait of the daughters of Yaroslav the Wise"

You already know what a fresco is (painting on wet plaster). This means that the music here should sound not simple, but picturesque. While listening to a fragment, you need to determine the common features of music and art.

You have paired elements of musical and pictorial expression on your tables.

(handouts, test reference materials)

^ Fine art teacher:

- In your table, one of the characteristics of pictorial expressiveness is - color .

- Let's remember what color is?

Slide 15

Color images (deb.

^ Music teacher:

One of the characteristics of musical expressiveness is form, and among the indicated forms it is rondo .

Slide 16

Rondo - a musical form in which the main theme (refrain) is repeated at least 3 times, alternating with different episodes: A B A C A ... A - the main theme - refrain.

Two-part Rondo Form

А В A + B + A + C + A, where А - refrain, ВС - episodes

IV. Students' independent work in pairs (2 min).

We work in pairs, one of you is an artist, looking at a fresco, identifies an element of painting and emphasizes it, the other is a musician, finds an element of musical speech in accordance and also emphasizes it.

Slide 17

Check each other, the musicians will check the artists, and the artists will check the musicians and put the number of correct answers ...

^ Correct answer

Slide 18

Let's analyze the music:

Slide 19

1.
Where do you think the action takes place in this fresco?

2.
What testifies to this?

3.
Do you think that the portrayal of the girls of the future Queen of France, Norway, Hungary is more fantastical, fabulous or reality?

4.
What features does a musical fresco have? Find these features on the walls of our office.

^ Words on the walls of the study:

trepidation,

elegance,

mysteriousness,

anxiety,

emotion,

enthusiasm,

confusion,

inspiration,

melancholy,

gloom,

threatening,

conviviality,

^ Music teacher:

Try to name the next mural

Slide 20

the fresco "Skomorokhi" sounds

What, in your opinion, are the elements of musical speech that are most clearly manifested here?

(clanging of stringed instruments, non-stop movement, ringing of bells, balalaika and flute tune)

What name would you give this music? What do you think she is talking about?

("Buffoons")

Slide 20

(Listening to the part in full, answers to the questions posed).

Remember who the buffoons are? Why were these people so loved in Russia?

Slide 21

(Vocal-theatrical warm-up 4 min.)

Let's try to travel back in time and try on a buffoon craft. And the Russian folk song "The buffoons have come" (ensemble Primordial Rus') will help us in this. Listen ...

- work with text on the screen; (the words of the song are spoken)

- learning the melodic line;

- performance with theatricality: (instruments, caps are distributed , shirts).

We reincarnate, and at the end of this performance, we will choose the best buffoon-singer, buffoon-musician, buffoon-dancer.

The winners are awarded medals: "Skomorokha-singer", "Skomorokh-musician", "Skomorokh-dancer".

Slide 22

Attention sounds next mural ("Musician")

Guess what is the name of this fresco? ("Musician")

^ Fine art teacher:

Slide 23

Try to depict what fresco was in front of the composer's eyes when it was painted, decorate this fresco with the appropriate ornament. This way you will complete your own mini-project.

(Students draw sketches of frescoes with ornaments - mini fresco project)

^ V. Independent work of students to the music "Musician"

On one of the walls between the windows of the central domed drum, the upper part of the mosaic figure of the Apostle Paul survived, and above the supporting arches supporting the drum of the main dome - the image of Christ in the image of the Priest and the half-lost image of the Mother of God.

Of the four mosaic images in the sails of the dome drum, only one has survived - the Evangelist Mark on the southwestern sail.

In the supporting arches of the central dome, 15 of the 30 mosaic images in the medallions of the Sebastian martyrs have been preserved. The lost mosaics were painted in oil again in the 19th century.

The central place in the interior decoration of St. Sophia of Kiev is occupied by the mosaics of its main apse. Above which there has been preserved a mosaic composition "Deesis", arranged in the form of three medallions with half-figures, and on two pillars of the eastern arch in front of the apse, a mosaic composition "Annunciation" in the form of full-length figures has been preserved: the Archangel Gabriel in the north-east and the Virgin Mary in the south. east pillars. Classical clarity, plasticity, strict proportionality, soft drawing of figures connects the works of art of St. Sophia of Kiev with the best examples of the ancient art of Hellas.

A significant place in the decoration of the temple is given to mosaic ornaments that adorn the framing of the concha, the side parts of the main apse and its horizontal belts, window openings and the inner verticals of the supporting arches. Both plant motives of ornaments and purely geometric ones are used. The conch of the central apse is framed with a colorful floral ornament in the form of circles with palmettos inscribed in them, and above the slate cornice separating the figure of Oranta from the Eucharistic composition there is a very beautiful strip of purely geometric ornament. Thin white lines on a dark blue background shimmer with a mother-of-pearl effect. Other ornaments are also spectacular, each of which is original and beautiful.

Frescoes adorn the lower part of the walls of the vima and pillars up to the slate cornice, extending beyond it only in the above marked places, three branches of the central cross, all four side-chapels and choir stalls. 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, the baptismal and the towers, they already belong to a different era - to the 12th century. The question of their exact date can only be resolved after a careful analysis of their style.

Among the frescoes of the Cathedral of Hagia Sophia, several images of non-church, secular content have been preserved. For example, two group portraits of the family of the Grand Duke of Kiev Yaroslav the Wise and several everyday scenes - a bear hunt, performances of buffoons and acrobats.

The frescoes of St. Sophia of Kiev, like most of the monuments of this kind, have their own long and long-suffering history. This story is the clearest example of that barbaric attitude towards ancient monuments, which often found its place in the 18th and 19th centuries. and as a result of which more than one hundred outstanding works of art died.

The fate of the Kiev frescoes was continuously connected with the fate of the church of St. Sofia. As the building collapsed, its frescoes also deteriorated. They not only faded from time to time and received various mechanical damage, but also crumbled from the dampness of leaking roofs. In 1596 the cathedral was occupied by the Uniates, in whose hands it remained until 1633, when Peter Mogila took it away from the Uniates, cleansed it and renewed it. From this time, the era of repeated refreshing of frescoes begins. In 1686 the cathedral underwent a new renovation through the efforts of Metropolitan Gideon. There is a fairly widespread belief that all the frescoes were whitewashed by the Uniates. (See, for example: N. M. Sementovsky. Decree. Op., P. 74; S. P. Kryzhanovsky. About the ancient Greek wall painting in the Kiev Sophia Cathedral. - "Northern Bee", 1843, No. 246 (2. XI), pp. 983–984; No. 247 (3.XI), pp. 987–988.)

In 1843, in the altar of the chapel of the Monks Anthony and Theodosius, the accidentally collapsed upper part of the plaster exposed traces of old fresco painting. The clerk of the cathedral, together with the priest Archpriest T. Sukhobrusov, reported this discovery to the academician of painting FG Solntsev, who was at that time in Kiev to observe the renovation of the great church of the Kiev-Pechersk Lavra. In September 1843, he received an audience with Nicholas I in Kiev and presented the sovereign with his brief note on the St. Sophia Cathedral. In this note, it was proposed, for the sake of preserving the famous temple "in due splendor", to free the old fresco from plaster and "but the possibility of renewing [it], and then, where it will be impossible to fulfill this, then upholster the walls and domes with copper and paint them again with the image of the ancients. sacred events of our church, especially those that took place in Kiev. " After examining the newly discovered frescoes in St. Sophia Cathedral on September 19, 1843, Nicholas I ordered Solntsev's note to be sent to the Synod, which received support there. Solntsev, who acted all the time as a major specialist in the field of restoration business and an expert on ancient Russian art, who in fact was a person not only of a pronounced bad taste, but also of very limited knowledge.

In July 1844, work began to clean the walls of new plaster and new painting that lay on top of the old frescoes. These works were carried out in the most primitive way. In total, 328 single-person wall frescoes were discovered in Sofia Kievskaya (including 108 half-lengths), and 535 were again painted (including 346 half-lengths) (Skvortsev. Op. Cit., Pp. 38, 49.)

After the "restoration" work in 1844-1853. the painting of St. Sophia of Kiev has undergone minor changes. In 1888 and 1893, in connection with the repair of the iconostasis, individual images untouched by the restoration were discovered ( 8 figures on the pillars of the triumphal arch, among them the figure of the great martyr Eustathius, 6 figures in the side chapels). (See N. I. Petrov. Historical and topographical sketches of ancient Kiev. Kiev, 1897, p. 132; N. Palmov. To the proposed restoration of the Kiev-Sophia Cathedral. - "Proceedings of the Kiev Theological Academy", 1915, April, p. 581.)

The question of new frescoes made in the 17th – 19th centuries was much easier to solve. in addition to the old ones (at wime, central ship and other places). Since they had nothing to do with the original iconographic system, it was decided to cover these frescoes with a neutral tone, which made it possible to more clearly identify the main architectural lines of the interior. This is how the ugliest "Cathedrals", "Nativity of Christ", "Meeting" and other examples of painting were hidden from the eyes of the modern viewer, which is why the inner view of St. Sophia of Kiev endlessly won. A researcher of the frescoes of St. Sophia of Kiev should always remember that they in no way stand up to comparison in terms of authenticity with mosaics.

The mosaics, especially after the last clearing, look more or less the same as they were in the 11th century. The frescoes, on the other hand, have undergone many changes, their colors have weakened and withered from time to time, from whitewashing and from coating with hot linseed oil, which was used as a kind of primer when writing with oil (This linseed oil in many places soaked the surface of the old fresco so much that it gave it a shiny, as if polished character.); they have a lot of mechanical damage - scratches, dents, abrasions; in them, the old original recipes made by al secco have been lost quite often. To all this, it should be added that a number of frescoes have preserved (after the last restoration) later oil paintings, which, however subtle they may be, still distort the original form. In general, the state of preservation of the frescoes is far from the same: one comes across (albeit rarely) relatively well-preserved figures and faces, but much more often one has to deal with heavily damaged fragments. Apparently, here the decisive role was played by the "people" of Metropolitan Filaret and the "painting in the room master Focht", who mercilessly tore down the old painting. That is why the latter now looks more rustic and primitive than it was in its time. Due to the loss of the al secco formulas, the linear frame has become stronger in it, but due to the fading of paints and their saturation with drying oil, it is now perceived as more monochrome.

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

Music lesson in grade 6

Teacher - I.A. Denisova

MAOU SOSH №45

G. 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 Sofia Kievskaya two types of monumental painting are harmoniously combined - mosaics and frescoes. Mosaics highlight the main parts of the interior - the central dome and the altar. The rest of the space, the second floors ("polati" or choirs), both staircases and open galleries that surrounded Temple of St. Sophia of Kiev in ancient times, were decorated with frescoes.

"Christ the Almighty"

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

"Oranta"

The sight of those entering the cathedral is attracted by the majestic monumental figure of the praying Mother of God - Orants(the wisdom of God), housed in the vault of the altar.

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

Valery G. Kikta

Modern composer, born in Ukraine in 1941, and received his musical education in Moscow. In his major works, the composer turns to 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" V. Kikta

• The "frescoes" were created in the seventies, during the era of stagnation, when the very fact of turning to the temple in art was quite bold, as it could entail serious consequences. This theme became fashionable much later.
• The appearance of this work could be an exclusively internal need of the composer, caused by the indelible impression of the fresco cycle in the Church of St. Sophia in Kiev.
• "Frescoes" - a modern artist's view of the events of antiquity. The author pursues 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 a mixed genre. The subtitle "Concert Symphony for Harp and Orchestra" captures the concertness and symphony of the concept. The type of composition resembles a suite (nine-part piece):

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

Wise 5 Mikhailovsky side-chapel 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 heavenly and earthly is revealed, is held together by the musical theme "Ornament". She sounds in "Fresco" several times. These are the feelings that overwhelm you when you are present in this temple: this is the feeling that Yaroslav the Wise was here, that central events related to the history of Kievan Rus took place here.

"Ornament" is beauty, uniqueness, and changeability….

• There are two layers of sound in this fragment. The first is the descending melodic tunes of violins, the tremolo of which creates a tremulous, unsteady, graceful sound. The second is the repeating five-note descending intonations of the harp, which sound indefinitely, indistinctly, like flickering candles. So the composer draws 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 Struggle of the Mummers, the rigid 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 piece.

• One of the most dramatic parts of the symphony. The 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 horn, the ancestor of the modern violin. The background for the main theme of this movement is a monotonous long sound and harp echoes.

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

• According to the composer, "Frescoes" express the whole gamut of feelings that evoke the image of native Kiev with its unique artistic heritage. This work 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. All 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 of the living

past through

convergence

arts - music

and ancient

painting.

• http://fb.ru/article/229337/
• http://sofiyskiy-sobor.polnaya.info/
• http://keepslide.com/
• https://ru.wikipedia.org/wiki/

Valery Grigorievich Kikta Honored Artist of the Russian Federation and Ukraine, laureate of the Moscow Mayor's Office Prize in Literature and Art, laureate of the Union of Composers of Russia, Secretary of the Board of the Union of Composers of Russia, member of the editorial board of Ballet magazine, Chairman of the Board of the Russian Harp Society, President of the I.S. Kozlovsky - all these are the titles and positions of Valery Kikta.

Valery Grigorievich Kikta Modern composer, was born in Ukraine in 1941, and received his musical education in Moscow. In his major works, the composer turns to intonations and images of Christian Slavic culture. He, like a summer scribe, carefully preserves the events of antiquity for posterity, saturating them with his own intonation.

Concert symphony for harp and 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 quite bold, as it could entail serious consequences. This theme became fashionable much later. The appearance of this work could be an exclusively internal need of the composer, caused by the indelible impression of the fresco cycle in the Church of St. Sophia in Kiev. "Frescoes" - a modern artist's view of the events of antiquity. The author pursues 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 a mixed genre. The subtitle "Concert Symphony for Harp and Orchestra" captures the concertness and symphony of the concept. The type of composition resembles a suite (nine-part work): 1 Ornament 1 2 The beast attacks the rider 3 Ornament 2 4 Group portrait of the daughters of Yaroslav the Wise 5 Mikhailovsky side-chapel 6 Fighting mummers 7 Music NT 8 Buffoons 9 Ornament 3

№1, №3, №9 "Ornament" A colorful string of music of linen pictures and images, in which the unity of heavenly and earthly is revealed, is held together by the musical theme "Ornament". She sounds in "Fresco" several times. These are the feelings that overwhelm you when you are present in this temple: this is the feeling that Yaroslav the Wise was here, that central events related to the history of Kievan Rus took place here. "Ornament" is beauty, uniqueness, and changeability….

№4 "Group portrait of the daughters of Yaroslav the Wise" This fragment has two layers of sound. The first is the descending melodic tunes of violins, the tremolo of which creates a tremulous, unsteady, graceful sound. The second is the repeating five-note descending intonations of the harp, which sound indefinitely, indistinctly, like flickering candles. So the composer draws 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.

№6 "The Fight of the Mummers" In "The Fight of the Mummers" the rigid 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 piece.

№7 "Music NT" One of the most dramatic parts of the symphony. Music draws the image of a lonely music nta violinist. The composer uses the timbre of the solo viola, which imitates the sound of an ancient stringed instrument - the horn, the ancestor of the modern violin. The background for the main theme of this movement is a monotonous long sound and harp echoes.

№ 8 "Skomorokhs" In "Skomorokhs" the composer draws "a careless tribe of merry vagabonds." This part is built on short dance repetitive intonations with buffoonery, mockery, non-stop movement, clanging of strings, chimes of bells, imitation of balalaika and flute tunes.

According to the composer, "Frescoes" express the whole gamut of feelings that evoke the image of native Kiev with its unique artistic heritage. This work 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. All 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.

The Cathedral of Saint Sophia was founded in 1037 by the great Russian prince Yaroslav the Wise, in honor of the 50th anniversary of the adoption of Christianity in Russia, has preserved to this day not only the richness of ancient architecture, but also the picturesque decoration of the 11th century. In Sofia Kievskaya, two types of monumental painting are harmoniously combined - mosaics and frescoes. Mosaics highlight the main parts of the interior - the central dome and the altar. The rest of the five-nave space, the second floors, both staircases and open galleries, were decorated with frescoes. 260 square meters of mosaics and about three thousand square meters of fresco painting have survived to this day.

The murals, plots, placement of images are subordinated to a clear ideological concept arising from the appointment of the Cathedral of St. Sophia of Kiev as the main temple of the Old Russian feudal state. Dedicated to Sophia as a symbol of wisdom, the Kiev Hagia Sophia, its architecture and painting were supposed to assert and strengthen the Christian doctrine, and with it feudal power.

Most of the frescoes of St. Sophia of Kiev, among which the sole depictions of saints prevail, are executed in a bold and energetic manner. In the faces of the artists, in every possible way, they emphasize the large eyes intently fixed on the viewer. Since in Sofia Kievskaya the Greek masters worked side by side with the Russians, it is not difficult to explain the presence of Russian features in a number of images.

Frescoes of St. Sophia Cathedral in Kiev