The owner of the manufactory learned about the decree of the king. The decision to open manufactories, regardless of estates
She was born on October 24, 1931 in the city of Chistopol (now Tatarstan). Father - Gubaidullin Asgat Masgudovich, geodetic engineer. Mother - Gubaidullina Fedosia Fedorovna (nee Elkhova), teacher.
S.A. Gubaidulina is one of the largest and most profound composers of the second half of the 20th century. In her work, one can feel the desire for an organic unification of the properties of the art of the West and the East, the impact of ideas of a spiritual and religious order. Through faith it comes to the meaning of creativity. "I am a religious Orthodox person and I understand religion literally as re-ligio - the restoration of the connection between life and the height of ideal attitudes and absolute values, the constant re-creation of the legato of life. Life tears a person apart. He must restore his integrity - this is religion. In addition spiritual restoration, there is no more serious reason for composing music" (cited by: V. Kholopova. Sofia Gubaidulina. Guide to works. M., 2001. P. 3-4).
Gubaidulina's parents were not musicians. Father, A.M. Gubaidullin, headed the department of geodesy at the Kazan Civil Engineering Institute, was a practically working geodesist. Grandfather, Masgud Gubaidullin, was a mullah.
The family moved to Kazan (1932), and after 3 years Sonya entered a music school. In 1946, she began to study at the Kazan Musical Gymnasium - in piano and composition, and in 1949 she was admitted to the piano department of the Kazan Conservatory. Good teachers she had since childhood, and at the conservatory her piano teachers were L. Lukomsky and the famous theoretician of pianism G. Kogan. Composition classes also continued - under the guidance of A. Leman. Upon graduation, she received a diploma as a professional pianist.
In 1954 S. Gubaidulina entered the Moscow Conservatory as a composer and moved to Moscow. After a short stay in the class of Y. Shaporin, she moved to N. Peiko, whose strong composing professionalism impressed her more. Professional contact with the piano was not abandoned either: almost until the end of the conservatory, classes with J. Zak continued. Of the works of this period, it should be noted the vocal cycle "Facelia" to the words of M. Prishvin (1957), from which the composer began counting her works.
In 1959, Gubaidulina graduated from the Moscow Conservatory with a degree in composition and in the same year entered the postgraduate course at the Moscow Conservatory, in the class of V. Shebalin. Her keynote creative life during this period, there was a parting word said to her by D. Shostakovich: "I wish you to go your" wrong "path." In 1961 she was admitted to the Union of Composers. In 1962, the first author's concert was held, with the performance of the Piano Quintet, "Phacelia" and Chaconne for piano.
Sofia graduates from graduate school in 1963 and chooses the fate of a freelance artist. She is completely immersed in composing music. He finds his livelihood by writing music for films. In total, she designed about 25 films, including the well-known "Mowgli" (cartoon, 1971) and "Scarecrow" (dir. R. Bykov, 1983). In the same 1963, for "Allegro rustico" for flute and piano, he received first prize at the All-Union Competition for Young Composers.
An important milestone on creative way composer was the creation of "Five Etudes for harp, double bass and percussion" (1965), in which her author's individuality became apparent.
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The composer's interest in the philosophy and color of the East manifested itself in the cantatas "Night in Memphis" on texts from ancient Egyptian lyrics and "Rubaiyat" on the verses of Khaqani, Hafiz and Khayyam (1968, 1969). In 1969-70 she collaborated at the Moscow Experimental Electronic Music Studio, where she was also a member of the artistic council. The studio was headed by E. Murzin; in particular, composers E. Denisov, A. Schnittke, and theorist P. Meshchaninov worked in it. Gubaidulina wrote an electronic play "Vivente - non vivente" ("Living - non-living", 1970) here, and she used the new acoustic experience gained in the future. All this time it was performed very little, published, was known only to a narrow circle of musicians, the Union of Composers treated it unkindly, up to the words "such branches should be chopped off with an axe." In 1979, in the report of T. Khrennikov, she was mentioned in the "black list" of 7 domestic composers.
The deterioration of the public, including concert and musical, environment in the late 1960s and throughout the 1970s raised the question of spiritual and professional survival for many artists of Gubaidulina's circle. Salvation for Gubaidulina was her support from talented domestic performers who persistently included her works in their concert performances: S. Yakovenko, V. Tonha, G. Rozhdestvensky, G. Kremer, F. Lips, Yu. Nikolaevsky, V. Popov, and Monighetti, P. Meshchaninov, L. Mikhailov, L. Davydova, A. Bakhchiev, B. Berman.
Gubaidulina's work is characterized, on the one hand, by the comprehension of deep philosophical concepts through her works, and, on the other hand, by the intensive enrichment of the sounding musical intonation. For example, in "A Night in Memphis" the Zen Buddhist idea of dissolving one's "I" in the world around was manifested. In search of bright expressiveness of sound, she, a pianist by education, gradually studied the properties of all other instruments - strings, wind, percussion, organ - and heard new expressive possibilities in them. In particular, a real school the latest ways playing the cello became her "Ten Preludes" (etudes) for this instrument (V. Tonha, a regular performer for decades). The vocal and instrumental parts in "Rubaiyat" are based on new techniques. Her participation in the improvisational group "Astrea" served as a great enrichment of her musical fantasy, where from 1975 to 1981 her partners were composers V. Artemov and V. Suslin, since 1991 - the father and son of Suslin.
Rare concert performances brought great success to Gubaidulina. Such was the embodiment of her "Hour of the Soul" - a concert for solo percussion and a symphony orchestra with a solo singer on the verses of M. Tsvetaeva in the Tchaikovsky Concert Hall (1976, performed in Moscow - 1981). Her exaltation of the role of all kinds of percussion instruments, including oriental ones, also corresponded to her search for a new musical expressiveness. M. Pekarsky is a regular percussionist.
Innovative discoveries were also made by Gubaidulina in the sound of the button accordion, which in the 20th century turned from a folk instrument into an academic one. Here F. Lips (later abroad - E. Moser) became a permanent collaborator of the composer. In 1978, the play "De profundis" ("From the depths") was written for the accordion solo, which became the most performed in the world. contemporary work for this tool. Outstanding in terms of the depth of musical thought and the brightness of sound discoveries was the composition "Seven Words of Christ" for cello, button accordion and strings (1982).
With increased attention to the richness of musical intonation, the performer is of particular importance for Gubaidulina. So, the violin concerto "Offertorium" ("Sacrifice", with the idea of the death and resurrection of Christ, 1980/1982/1986), was originally conceived with the thought of G. Kremer, in which the composer saw "a performer capable of sacrificing to Music through the utmost dedication sounding string." From this composition, whose regular performer was G. Kremer, the world fame of the author began.
Gorbachev's "perestroika" brought a turning point in Gubaidulina's fate: since 1985, her position as a virtually banned composer began to change. Rapidly, within a few years, she gains worldwide recognition. At an international festival in the USA in 1988, the headline in one of the newspapers reads: "The West discovers the genius of Sofia Gubaidulina." The composer is personally present at his concerts in different countries Oh. For example, in 1989 she travels to Japan (Tokyo and Kobe), London, Amsterdam, Vienna, her concerts are held in New York and Louisville. In 1990, the first festival of her music took place in her homeland - in Sverdlovsk (now Yekaterinburg). In the same year she received a German scholarship to stay in Worpswede. On the occasion of the 60th anniversary of the composer, an international festival is held in Turin (Italy), a series of concerts in other countries of the world. Then, in 1991, she marries P. Meshchaninov, with whom she was friends for many years. As a music theorist, he had a significant influence on the composer's interest in numerical calculations in the course of her composition. In 1992, they settled in Germany, in Appen near Hamburg, retaining Russian citizenship. According to Gubaidulina, she found an opportunity to fulfill her old dream - to live in complete silence.
During the decade of 1986-96, Gubaidulina created a whole series of works from among the largest and most significant. The symphony "I Hear... It Has Been Silent..." in 12 parts (1986), dedicated to G. Rozhdestvensky, goes far from the traditions of this genre. The name symbolizes the importance of not only sounding, but also silence, pausing. In connection with the dedication to the conductor, the semantic center of the work becomes the unique solo of the conductor, consisting of only gestures, with the orchestra silent. The monumental work is philosophical and sustained in the parallel dramaturgy of two semantic lines: static major (as if eternal light) and the tragic efforts of a person ending in a crash. According to the existentialist position of the author, the concept does not lead to a final statement, but leaves an unresolved issue.
"Hallelujah" for choir, orchestra, organ, treble soloist and color projectors (1990) can be compared with an icon in severity and purity of emotional tone. Through the "gamut of colors" the symbolism of the "sacrifice of light" is carried out in the sequence from light to dark colors. The idea of the work is connected with the idea of the Eucharist, conciliar sacrifice and subsequent resurrection. The finale is colored by the bright singing of a treble boy to a genuine old Russian melody and the text "Let the lips be fulfilled."
"From the Book of Hours" for cello, orchestra, male choir and reader (1991) - a work based on verses from the book "On Monastic Life" by R.M. Rilke, where the main character is a Russian monk confessing to God (the solo cello is identified with him). In accordance with Rilke's image of darkness as a divine mystery, Gubaidulina's music plays an important role in the low register: the cello solo, the male choir, and the ultra-low sonority of individual instruments.
As one of the most performed, a cantata-type work stood out - "Now it's always snow" for chamber choir and chamber ensemble in 5 parts to verses by G. Aigi (1993). Gubaidulina in this poet is attracted by the depth of poetry, the capacity of metaphors and great value close to her own artistic elements - pauses and rhythm. The vocal cycle "Roses" (1972) was previously written on his poems, the poem "And the festivities are in full swing" influenced the creation of an instrumental work for cello and orchestra of the same name (1993). The musical language of the "Snows" is characterized by various methods of vocal expression and stereophony: singing, singing with an admixture of breath, whispering, speech, etc. are used in the choral parts, the singers move around the hall during the performance, creating a variety of spatial effects. In the central part of the cycle, there is an allusion to a cleansing snowstorm. Surrounding parts ("Record: ARORNATIS") contrast it with an apophatic representation - the invisibility of God. The finale brings catharsis, through a childishly pure image - "the country was like a lawn ...". The composition of the cantata is one of the most strictly organized in the composer's work (used number series Fibonacci, Lucas and their derivatives).
Gubaidulina's biggest vocal cycle was Hanging Songs (15 songs) to verses by K. Morgenstern for voice and ensemble of instruments (double bass, drums, etc., 1996). It is the only one by this author for combining serious expression of music with childishly surrealistic plots of texts - about a midnight mouse, an aesthetic caress, a lone knee walking, a confessing worm, a moon sheep. The absurdist climax is the purely gestural, soundless "Night Song of the Fish".
Concerto for viola and orchestra (1996), commissioned by the Chicago Symphony Orchestra, dedicated to Y. Bashmet, written by the author freely, without numerical calculations. Gloomy and significant, it has a clear dramaturgy of contrasts: as if the improvisational flight of the solo viola is opposed by the monolithic "speaking" of the strings, the incorporeality of the harmonics of the strings - the gloomy voices of Wagner tubas in a low register. At the festival in honor of the 70th anniversary of the composer in 2001, a concert was performed in the hall of church cathedrals of the Cathedral of Christ the Savior in Moscow, performed by Y. Bashmet under the direction of V. Gergiev.
The continuous search for the expressiveness of sound led Gubaidulina to the development of quarter-tone musical intervals. A particular sonic aura emerged in her Music for Flute, Strings and Percussion (1994), Quaternion for four cellos (1996), where half of the strings were tuned 1/4 step down. New opportunities opened up to the composer when mastering the Japanese koto, thanks to his acquaintance with K. Sawai ("In the Shadow Under the Tree", 1998).
Festivals with Gubaidulina's music became periodic, which testified to her recognition as a classic of world music: 1993, 1995, 1996 - in Russia, 1995 - in Paris and Lockenhaus, 1998 - in Dornach and Avignon. The most significant celebration was the festival in 2001 in Moscow and Kazan, where the Center for Contemporary Music named after S.A. Gubaidulina (2001/2002).
On the verge of millennia, Gubaidulina received an order from Stuttgart for a gospel composition, which was the monumental "Passion according to John" for soloists, two mixed choirs, organ and orchestra (2000). The music here is subordinated to the word given in the Gospel of John, in the design of the work - the intersection of the problems of faith and the fate of the world. Texts from the Gospel of John are intertwined with lines from the Revelation of John the Evangelist (Apocalypse), which leads to the concept of a "terrible catharsis": the death of Christ and the shedding of the seven bowls of wrath. In her "Passion" Gubaidulina put great concern for humanity: "All the terrible, last questions of the "Passion" should not be pushed aside ... Such a push aside is not true. They, these questions, are so great that they cannot be morally overcome "Such a moral overcoming is an illusion. Moreover, these questions cannot be 'removed': to 'remove' such a thing is to take sin upon one's soul." The end of the "Passion" was "Easter according to John" for the same cast of performers (2001).
Prizes and honorary titles: Prince of Monaco Prize (1987), Honored Art Worker of the RSFSR (1989), Kusevitsky Prize, USA (1990, 1994), Franco Abbiato Prize, Italy (1991), Prize at the 7th International Festival of Women Composers in Heidelberg (1992) ), State Prize of Russia (1992), Ludwig Spohr Prize, Germany (1995), Imperiale Prize, Japan (1998), Prize of the Bible and Culture Foundation, Germany (1999), Leoni Sonning Music Prize, Denmark (1999), Order "Pour le merite" ("For Valor" in Science and Art), Germany (2000), Goethe Medal, Germany (2001), "Polar Music Prize", Stockholm (2002), "Federal Cross of Merit", Germany (2002), "Living Composer - 2003", France.
Books about S. Gubaidulina: V. Kholopova, E. Restagno. Sofia Gubaidulina. M., 1996 (in Italian - Turin, 1991); V. Tsenova. Numerical secrets of Sofia Gubaidulina's music. M., 2000 (in German - Berlin, 2001); V. Kholopova. Sofia Gubaidulina. Guide. M., 2001; M. Kurtz. Sofia Gubaidulina. Stuttgart, 2001.
Details
to the central district library and rural libraries new literature of the publishing house "Kitap" was received. We bring them to your attention.
1. Academic dictionary in 10 volumes. T. 9. (U-Sch) / F. G. Khisamutdinova, - Ufa: Kitap, 2017.-980 p.
2. Akhmetkuzhin, A. A. (Askhal Akhmet-Khuja) Hearts Connect: Songs and Romances. ON bash. lang.-Ufa: Kitap, 2017.-200 p.
3. Biktimerova, F. I'm still small: poems. - Ufa: Kitap, 2017.-80 p.
4. Ganiev N. R. Just a moment: Poems. On tat. lang. - Ufa: Kitap, 2017.-112 p.
5. Galiaskarova, G. M. Dandelions with parachutes: poems, riddles, fairy tales. On bash. lang.-Ufa: Kitap, 2017.-92 p.
6. Gizatullina, G. M. Prayer of my love: a story, stories. On bash. lang.- Ufa: Kitap, 2017.-284 p.
7. Zainap Biisheva: articles, creative portraits, dedications, memories. In bash., rus. lang.- Ufa: Kitap, 2017.-272 p.
8. Zainetdinova, R. G. The warmth of a downy shawl: stories. In Bash. - Ufa: Kitap, 2017.-88 p.
9. Zakiev, A. M. A bee with butterfly wings: stories, stories. On tat. lang. - Ufa: Kitap, 2017.- 176 p.
10. Golden drop: Bashkir folk tales. On bash. lang.-Ufa: Kitap, 2017. - 24 p.
Kaipova L. Z. (Liliya Sakmar)
11. To live worthy is a feat!: poems, poems. - Ufa: Kitap, 2017.- 200 p.
12. Maslennikov D. B., Yakovlev, A. V. Dobro: poems. - Ufa: Kitap, 2017. - 160 p.
13. Mullagalieva Z. M. Gora in a white scarf: fairy tales, legends, legends. On tat. lang. - Ufa: Kitap, 2017. - 176 p.
14. Rasul, T. (Baymurzina, T. R.) I saw my father in a dream: poetry. On bash. lang. - Ufa: Kitap, 2017. - 88 p.
15. Salmanov, R.V. Music is my life: a story, articles, memoirs. - Ufa: Kitap, 2017.- 172p.
16. Safina, A. G. A good neighbor is God's grace: novels, short stories, short stories. On bash. lang. - Ufa: Kitap, 2017. - 144 p.
17. Fazlutdinov, K. N. (K. Fazly) Village blown away by the wind: satire and humor. On bash. lang.- Ufa: Kitap, 2017.-140p.
18. Khabir Galimov. Great folk singer. Book-album. In Russian, Bash., Tat. lang. - Ufa: Kitap. 2017.
19. Sharifullina, E. M. Seven Flowers of Love: Novels and Stories. On bash. lang. - Ufa: Kitap, 2017.-280 p.
20. Shitova, S. N. Ufa is historical. Book two: Wooden architecture. - Ufa: Kitap, 2017.-336 p.
Yakhina Guzel Shamilevna Zuleikha opens her eyes: [novel] / Guzel Yakhina; foreword L. Ulitskaya.- Moscow: AST Publishing House: Editorial Board of Elena Shubina, 2016.- 508 p.- (Prose: feminine)
In the novel Zuleikha Opens Her Eyes by Guzeli Yakhina, the author described the life of women using the example of the main character Zuleikha: their experiences, attitudes to what is happening, unwillingness to die, but also rejection of life in such hellish conditions of exile. The novel begins in the winter of 1930 in a remote Tatar village. The peasant woman Zuleikha, along with hundreds of other settlers, is sent in a heating wagon along the eternal hard labor route to Siberia. Dense peasants and Leningrad intellectuals, the declassed element and criminals, Muslims and Christians, pagans and atheists, Russians, Tatars, Germans, Chuvashs - all will meet on the banks of the Angara, daily defending their right to life from the taiga and the ruthless state. The novel "Zuleikha opens her eyes" was shortlisted for the "Big Book" award.
Murakami Haruki. Norwegian Forest / Haruki Murakami; per. from Japanese by A. Zamilova. - Moscow: E Publishing House, 2016. - 384 p. - (Cult Classic)
norwegian forest"- first of all, a sensational world bestseller. " norwegian forest"
is the story of Watanabe and his women, the story of life and death, love and longing.
The novel shows the usual everyday life Japanese student in the 60s. It is shown how the hero grows up, observes the world around him, and most importantly, how he builds relationships with girls. The book is written in the form of memoirs of the hero, who is already 37 years old. After reading you are in mixed feelings. This is a significant, almost fundamental part Japanese culture, which Murakami generously allows us to look into. The genre of the book can be defined as drama, psychology.
Nekrasov Anatoly. Maternal love / A. Nekrasov. - Moscow: AST Publishing House, 2016. - 256 p. - (Bestsellers of esotericism).
book from new series Esoteric Bestsellers explores an unusual topic - motherly love. We consider that side of maternal love, which gradually brings a lot of suffering and grief to parents, children and society as a whole. Every reader will find many useful information to apply in your life. Read, think, observe life and you yourself will find many examples of what you read.
Green John. The Fault in Our Stars: A Novel/John Green; Per. from English. O. Myshakova, D. Rumyantseva. - Moscow: AST Publishing House, 2016. - 286 p.
John Green is a wonderful writer who manages to write about teenagers, their weaknesses, strengths and relationships with peers and adults. One of these works is the book "The Fault in the Stars".
The novel "The Fault in the Stars" is an ordinary story about two teenagers who fell in love with each other with fury and self-forgetfulness of their first feelings. They are like everyone else: rebels and pranksters. If not for one but. They are sick with cancer, already in a severe degree.
"The Fault in the Stars" is a book that takes the soul of any reader. There is an expectation of tragedy in it, but this did not prevent the author from adding notes of humor. First love, feelings, jealousy, fear, expectation of death - everything is intertwined here. Teenagers are trying to find happiness in their last remaining days.
The novel made an impression on the whole world. In 2012, he gets to the first lines of the ratings of the sets printed publications. All over the world, the book is published and sold in huge editions.
In our library, this wonderful holiday is celebrated with various events: the anniversaries of Bashkir writers and poets are celebrated, we remember those famous people who contributed to the development of our republic, we talk about Bashkortostan, because everyone should know the history of their native land, respect any nation, its customs and culture, introducing the symbols of a sovereign republic. We devoted our first event to the work of the wonderful Bashkir children's writer F. Gubaidullina in connection with her anniversary and spent an evening - a portrait called "I am writing with joy ...".
She writes poetry, fairy tales, stories, plays, scripts for children. Through a fascinating plot, interesting images, the writer seeks to awaken in young readers an aesthetic taste, a thoughtful perception of phenomena. environment. Farzana Gubaidullina writes about the beauty of her native land, about the power of good and the impotence of evil. Her works play an important role in shaping ecological culture, educate children a sense of patriotism. Many of the author's works have been translated into Russian and included in textbooks for preschool and primary education. Some poems, riddles, fairy tales in Russian were published on the pages of the Belskie prostory magazine and the Istoki newspaper.
After familiarizing the children with her biography and a brief creative activity, the attention of the children was drawn to the fact that Farzana Gubaidullina still translates stories into Russian, fairy tales of such Bashkir writers writing for children as Rashit Sultangareev, Fakiya Tuguzbaeva, Mukarama Sadikova, Rail Baibulatov, Gulnur Yakupova, Tamara Ganieva, Nazhiya Igizyanova and others. , also the songs “Dance, children!”, “Protect your country!”, “Salam”, “Do not tear snowdrops!”, “Hurry”, “Salavat”, “Spring has come”, “Beads” were written to the words of F. Gubaidullina , "My school", "I love my language".
Farzana Gubaidullina has the title of Excellence in Education in Russia.
The children read the author's poems with great pleasure, loud readings of her short stories, fairy tales. A unique collection "Anthology of Children's Literature" was presented for children of middle and older school age, compiled by Farzana Khaibullovna based on the works of Bashkir authors, ranging from oral folk art to the works of young authors.
Singing in her work the beauty of our Bashkir land, the unique nature, traditions and customs, she puts in the souls of children respect for elders, interest in their land, reverence for parents, goodwill towards each other, respect for native nature teaches to love the Motherland.
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Attention! The slide preview is for informational purposes only and may not represent the full extent of the presentation. If you are interested in this work, please download the full version.
Subject: Domestic musical literature of the XX century (4th year of studying the subject)
The purpose of the lesson: to acquaint students with the personality and work of the greatest composer of the twentieth century
Lesson objectives:
- reveal the originality of the composer's personality;
- to acquaint with the creative style of the composer;
- consolidate the skills of analytical thinking and analysis of music by ear;
- expand the scope of emotional perception, creative imagination, outlook;
- consolidate public speaking skills.
Lesson type: combined (lesson duration 1.5 academic hours)
Lesson provision: multimedia projector, presentation, CD player, audio recordings of works by S. Gubaidulina.
DURING THE CLASSES
I. Organizational moment
Setting for work and a friendly atmosphere, concentration of attention and activation of the thinking of the guys.
II. Repetition of the material covered
Continuing the conversation about Russian music of the second half of the 20th century, let's repeat the topics of previous lessons, remembering the names of composers, their music, styles, trends, themes, ideas, images. To do this, you will need to complete several tasks.
1. Fill in the table ( Appendix 1.1
).
2. Select from the table works written in genres presented in an unconventional way or combining features of various genres.
3. Name the themes, ideas, images in the music of Russian composers of the twentieth century.
4. Recall the writers and poets, on whose plots the works of modern domestic composers are written.
5. Summarize concepts and definitions in a table ( Appendix 1.2
).
6. Practical work to consolidate the material covered and introduce a new topic.
Listen to the work ( Appendix 2 ) and answer the following questions:
- determine the genre of music, paying attention to the composition of the performers (suggested answers: the author of the music is a modern composer; the composition of the performers is not typical, the instruments of pop and symphony orchestras coexist in parallel and organically, perhaps this is a symphonic poem or a symphonic picture, a concert);
- determine the style (suggested answers: classical, jazz, pop - polystylistics);
- determine the compositional technique (suggested answers: sonoristics, electronic music);
– exchange of opinions and impressions.
The music played - Concerto for two orchestras, pop and symphony - belongs to a major contemporary composer, now living, world-famous and in demand Sofia Asgatovna Gubaidulina, whose work is the topic of our lesson.
III. Working with a presentation
slide 1. Title page, theme.
Slide 2. Her music is complex, as our current world is not simple. It is cosmic, as it is abstracted from everyday life. At times, her music is transparent and bright, for it was born from the female soul, subtly feeling all the shades of life. The composer is attracted to extremes, and therefore she calls some of her works: “Noise and Silence”, “Alive and Not Alive”, “Light and Dark”.
Slide 3. A close friend and colleague of Sofia Gubaidulina Alfred Schnittke said about her: “The predominance of the mysterious is not only its essence, but also professional quality. It is incomprehensible, and therefore it is a phenomenon. And besides - having no analogies.
slide 4. According to a number of contemporaries, Sofia Gubaidulina is the first composer in the world. They say about her that she is "a female composer with male creative power", "a philosopher, an experimenter". The essence of her creative aspirations can be expressed in the lines of the English poet William Blake: “There is the known, and there is the unknown, and between them there are doors. If the doors of perception were open, then man would see things as they really are—infinite.”
Slide 5. Sofia Asgatovna Gubaidulina was born on October 24, 1931 in the city of Chistopol, in the family of a young engineer-surveyor Asgat Masgudovich, the son of a prominent Tatar mullah, who was expected to become a mufti, and a teacher of elementary grades of a comprehensive school Elkhova Feodosia Feodorovna. In 1932 the family moved to Kazan. The father, as the son of a mullah, experienced oppression for a long time. The upbringing of three children lay entirely on the shoulders of the mother, who gave all her energy and talent to give her three daughters a good upbringing and education.
slide 6. Like all ordinary children, the three sisters spent most of their time in the courtyard of the house. In winter, they rode sleds and homemade skis made by dad, and in summer they went swimming in the Kazanka River. There was also time for musical entertainment. Sonechka, who was about four or five years old, danced to the sounds of the harmonica of a neighbor's boy, with the rapture of a child's soul, always creating some kind of image. Often, the adults of neighboring houses became spectators of spontaneously arising children's "concerts". Once such a concert became fateful, her abilities were noted. Parents got excited about the idea of teaching girls music. So the piano "Locksmith" appears in the house, on which the first experiments with sound begin. The girls tried to pluck the strings with their fingers, played the sound on the pedals, put sheets of paper and a towel on the strings, again and again discovering the unexplored sound richness of this amazing miracle instrument.
Slide 7-8. At the age of 5, Sonechka entered a music school, which she later called the "temple of childhood", where she was constantly drawn and attracted. “I felt good only when I crossed the threshold of a music school. From that moment on, I was in a sacred space: the sounds coming from the classrooms formed a kind of polytonal sonor…”. The girl experienced a great feeling of love for the first music teacher Ekaterina Pavlovna Leontyeva and the director of the music school Ruvim Lvovich Polyakov, whom she called her "spiritual father". These two people taught the young student to love Bach, Mozart, Beethoven. Soon her first real concerts begin.
slide 9. At the age of 15, Sofia enters the music school in the piano class with the teacher M.A. Pyatnitskaya and optionally composes music. In 1949 he graduated from college with honors.
Slides 10-11. Five years later, he graduated with honors from the Kazan Conservatory in two specialties - piano and composition - under professors G. Kogan and A. Leman. The pianist student never had a fear of the audience, on the contrary, she flourished on stage. The girl had all the data to become a virtuoso performer, however, in the direction of A. Leman, Sofia Gubaidulina entered the Moscow Conservatory in 1954 at the faculty of composition. The leading teachers-composers of that time were three professors: D. Kabalevsky, Yu. Shaporin, A. Khachaturyan. Sophia studied first in the class of Yu. Shaporin, with whom the freshman did not develop mutual understanding, because. the professor could not accurately read her original scores, and then in the class of N. Peiko.
Question for the students: name the outstanding graduates and teachers of the Moscow Conservatory.
After graduating in 1963 from postgraduate studies at the Moscow Conservatory under V. Shebalin and becoming a member of the Union of Composers, she chose the path of a free artist. Experiencing material need, her only income was composing music for films.
Question for students: to remember and name the names of composers who worked in the genre of film music.
slide 12. Focusing on the photograph of the slide, ask the question: why does the first synthesizer in Russia bear the unusual name ANS?
In the 60s in Moscow, on the basis of the Museum of A.N. Skryabin, under the guidance of physicist Evgeny Murzin, the Moscow Electronic Studio was opened. The search for new sonic possibilities led the young composer to this laboratory of electronic music. Working hand in hand with E. Denisov, A. Schnittke, E. Artemiev, Sofia Gubaidulina experimented with electronic timbres and wrote the only electronic piece “Vivente - non vivente”, because she preferred to work with “live” instruments.
slide 13. In 1975, Sofia Asgatovna, together with two other composers Vyacheslav Artemov and Viktor Suslin, formed the Astreya avant-garde music ensemble. The group was created for collective playing without any notes and preliminary learning, on exotic instruments, in order to do without the influence of any vocational school. V. Artemov was engaged in collecting such instruments in various folklore expeditions. These were the Uzbek-Tajik dutar, Georgian panduri, chonguri, salmuri, Armenian canon, Chukchi arar, Japanese koto, sheng and others. They were fascinated by the opportunity to give live life to musical sound without killing it in the score. "Ecstatic-demonic" playing awakened in Gubaidulina a "shamanic" beginning, which attracted her especially to percussion instruments.
In 1979, at the VI Congress of Composers, in the report of T. Khrennikov, Gubaidulina's music was severely criticized, and she was included in the so-called "Khrennikov's Seven" - the "black list" of 7 domestic composers of the avant-garde direction. The music of these composers was not performed anywhere, as it was officially banned. By 1991, four out of seven, including Gubaidulina, had left Russia.
Question for students: remember the 1st Congress of Composers in 1948 and draw parallels.
slide 14.“I wish you to go your “wrong” way,” - such parting words are still on final exam D. Shostakovich spoke in support of the graduate Gubaidulina at the conservatory. “It is amazing that such a person found the most important words that are still a support for me. In essence, he wished me to be myself, in no case subject to any external circumstances, external assessments. He supported my independence, my desire for freedom.” This "wrong way" eventually led the composer to worldwide recognition.
Slides 15. S. Gubaidulina is the author of more than 100 symphonic works, compositions for soloists, choir and orchestra, instrumental ensembles, music for theater, cinema and cartoons. Among them are well-known to us "Scarecrow", "Mowgli", "Man and his bird". Her usual lifestyle is non-stop composing with her phone turned off.
Slides 16. In response to the correspondent's question, “What drives your work?”, Sofia Asgatovna answered the following: “The most important thing is the sound of the world, the sound of everything that surrounds me. Everything sounds: objects, plants, people, earth, stars. If a person concentrates, he will hear it. But this sound is too complex to record, but I want to fix it somehow ... "
Slides 17-18. A striking feature of the composer's music is the almost complete absence of "absolute" music. Fantastically well-read, philosophically educated. Most of her compositions have verses set to music, or hidden among musical lines, or a ritual, or some kind of instrumental action. Some compositions reveal her fascination with mystical ideas or Christian symbolism.
Its literary sources are the verses of ancient Egyptian and Persian poets, poetry by F. Dancer, M. Tsvetaeva, G. Aigi. B. Pasternak, O. Mandelstam, R. M. Rilke, M. Lyando, N. Bokov and others were also close in spirit and creativity.
Question to the students: which of the listed poets was associated with the city of Chistopol - the birthplace of S. Gubaidulina?
Slides 19-20. main topic the composer's work is a religion, which she opposes to the debilitating vanity of life. From childhood memories: “When my parents realized that I was religious, they were horrified. It was forbidden! So I began to hide my emotional, religious life from adults, but it continued to flourish within me. Music, naturally associated with religion and sound, has itself become sacred to me. There is no greater reason for composing music than restoring, through music, the spiritual integrity of a person who is being torn apart by life. Works of religious content occupy a large place in her work. Among them are compositions for percussion, vocal and instrumental "Easter according to John", "Seven words", "Alleluia", "Passion according to John". In them, the main artistic images-ideas are God-eternity, the universe-creation, man-creature, apocalypse-retribution, chaos-harmony.
Questions to students: the life and work of which composer were also closely connected with religion? Recall the composers who addressed the theme of the East.
Slide 21. For Russian composers, the theme of the East has always been attractive.
Gubaidulina was no exception, especially since not only Russian blood flows in her. Sofia Asgatovna herself, answering the question of which people she considers herself to be, says: “I feel that, in general, there are four bloods in me, because on the paternal side, I am a Tatar. On the maternal side, a Slav. But a very large role the director of the music school played for me. I perceived him as a second father. This is Jewish blood, and my most important teachers are Jews. And spiritual food - from German culture. In a word, the most diverse sources lived in me. " One of the most important tasks that Sofia Asgatovna sets herself is to combine the features of the cultures of the West and the East. Her work is a rare but vivid example of such a fusion. There is no oriental melody in her works, but only images of eastern and western sensations and thoughts naturally merge into one new whole, just as two bloods of East and West merge in her blood.
Slides 22-23. The official cultural policy of the state demanded enlightenment and joy from music. The works of S. Gubaidulina were constantly criticized for "too gloomy coloring." Despite this, Sofia Asgatovna remained true to her individual style. She does not consider herself a member of any creative movement, direction, school, while using all the musical means that exist in the world. Her work is experiments with sound, which the composer "breathes" and becomes "visible". She strives for the perfection of rhythm and form, works with mathematical series of numbers, introduces the concept of consonant and dissonant rhythms. Strives for timbre sensitivity. Instead of traditional melody, there are the smallest musical intonations placed in various sound spaces - diatonic, chromatic, microchromatic. Pauses remain a traditional element of her compositional language, allowing you to hear what Gubaidulina values above all else - silence.
slide 24. New composing techniques required the creation of many different symbols that capture this music, so the recording of modern music is very different from the usual musical notation. Her scores are often referred to as sound documents.
slide 25. A musical instrument for a composer is always “a personality, a character in a drama”. She prefers to work with live instruments, complementing their traditional composition with exotic ones. The composer says that her attachment to instruments is akin to animals. “I remember that I bought a tar in Baku, brought it home and it, by itself, sounded all the time, it responded no matter what I did. I wanted to sing, and he answered me: he has such a timbre property - to answer. And then I just tried to repeat this impression with other "animals".
Slides 26-28. Photos of tools
Slides 29-31. Once, when Gubaidulina's music was banned, her salvation was the support of talented domestic performers who persistently included her works in their concert performances. Among the performers of her music were and are the largest musicians in the world: conductors M. Rostoropovich, G. Rozhdestvensky, V. Gergiev, A. Sladkovsky, violinists O. Kagan, G. Kremer, cellists Vl. Tonha, I. Monighetti, N. Gutman, N. Shakhovskaya, violist Yu. Bashmet, bassoonist V. Popov, double bass player A. Suslin, bayan players F. Lips, Yu. Shishkin, percussionist M. Pekarsky.
Slides 32. Today Sofia Gubaidulina is a living classic with a brilliant present. She has been awarded many prestigious awards, titles, titles from different countries of the world. Among them is POLAR MUSIC PRIZE (Sweden, 2002), which in the world of culture is usually equated with Nobel Prize. In her honor are held international competitions and festivals. In Kazan, on the occasion of the 75th anniversary of the composer, the Center for Contemporary Music was opened in the house where she lived.
Slides 33. Currently, Sofia Asgatovna lives and continues her active creative work in Germany, which has long become her second homeland.
Slides 34. The composer perceives his worldwide recognition as "an opportunity to work calmly."
IV. Independent work
- Now we will listen to the Concerto for koto, bass koto, sheng and symphony orchestra "In the shade of a tree" (Appendix 3). This spectacular music was written under the influence of a trip to Japan in 1998. The author recalls: “In Tokyo, I was given a Japanese koto instrument with silk strings. I received a gift from Kazoe Sawai, a virtuoso Japanese performer. Of course, I do not own the tradition of such a performance, but I don’t need it: for me, a koto is a living being. I do whatever I want with these silk strings, every touch with any object, be it a wooden, rubber or glass stick, a bow, the extraction of harmonics - everything gives rise to fantasies in me.
Listening task."Immerse yourself" in the musical space of the work and:
- mark your impressions, associations, feelings, emotions, sensations;
- imagine what the atmosphere of the musical space is filled with (light, sound, rhythm, movement, harmony, etc.);
- listen to timbre colors, new and unusual sounds of instruments;
- try to discover the idea of the work.
Discussion and comparison of musical impressions.
V. Lesson summary
1. A representative of what direction in music is S.A. Gubaidullin?
2. The sound of which instruments interested you, did you like it?
3. Your attitude to the personality and work of the composer. Opinion exchange.
Homework
1. Draw a “portrait” of the music you listened to, select a video sequence, come up with a program for the music (optional).
2. Write down the composer's works by genre.
List of used literature
- Averyanova O.I. Domestic Musical Literature of the 20th Century: A Textbook for Children's Music School: The fourth year of teaching the subject. M.: Music, 2004.
- Gorizontova V. She didn't leave her face. Kazan. - 2001. - No. 8. - P.15-19.
- Ostrovsky S.L. How to make a presentation for a lesson? M.: First of September, 2012.
- Pekarsky M. An offering to a beautiful lady, pleasant in every way. Kazan. - 2001. - No. 8. - P.44-50.
- Kholopova V.N. Counterpoint of Earth and Sky http://www.famhist.ru/famhist/gub/004c3edc.htm
- Kholopova V.N. Sofia Gubaidulina in creative communication with the world. Kazan. - 2001. - No. 8. - P.38-43.
- Sharipov V. Music phantoms. Kazan. - 2001. - No. 8. - P.32-37.
The remarkable Russian literary critic Vissarion Belinsky spoke of children's writers: a grace-filled, loving, meek, calm, childishly simple-hearted soul, a sublime, educated mind, an enlightened look at objects, and not only a vivid imagination, but also a lively poetic fantasy, capable of presenting everything in animated, iridescent images.Not to mention love for children and about a deep knowledge of the needs, features, shades childhood. Children's books are written for education, and education is a great thing: it decides the fate of a person ... "
Farzana Gubaidullina is one of those who was really born a children's writer, she is doing everything possible to raise a citizen of the new Bashkortostan, because the future of our republic depends on who we raise.
Her books "My mother is the sun ...", published by the publishing house "Kitap" in 2011 (in the Bashkir language), "The Fourth Miracle" (Ufa, "Kitap", 2015, in the Bashkir and Russian languages), "Anthology children's literature" (2012, 2014, in two volumes - in the Bashkir and Russian languages) are worthy highly appreciated readership.
Farzana Khaibullovna devoted more than a quarter of a century to children, their upbringing and education. Working with children for many years, she got to know their world, which is reflected in her work: poems, fairy tales, stories, plays and riddles in the Bashkir and Russian languages. Singing the beauty of the Bashkir land, its unique nature, traditions and customs, she instills in the souls of children an interest in her land, reverence for parents, goodwill towards each other, respect for nature, and teaches them to love the Motherland.
A child who loves nature will not mindlessly pick flowers, destroy nests, and offend animals. The perception of nature helps to develop such qualities as cheerfulness, emotionality, a sensitive, attentive attitude to all living things. As an example, we can name such fairy tales by Gubaidullina about plants and animals as "Gyulgizar", "Kuraikhylu", "Herringbone", "Roots", "Ant Nazykay", "Bak and Kvak", "Visiting the Wasp" and others.
Farzana Gubaidullina's books make the young reader think about the world around her. Getting acquainted with their content, children experience the course of events unfolding in the work, mentally act in an imaginary situation. This helps to bring up some ethical ideas about being, including love and respect for nature.
Farzana Gubaidullina's stories about animals that live next to us will not leave the reader indifferent. In the story "The Gift", the parents behave cruelly, forcing their son to leave their beloved dog; on the other hand, the little heroine of another story, "Chernush", picked up a wounded kitten and, against the wishes of her mother, takes care of him ...
Books by Farzana Gubaidullina help children to better understand, comprehend the world. In her poems, stories and fairy tales, objects familiar to the eye suddenly become unusual and attract the attention of a child. In the story "Who ate the soap?" a boy who has arrived in the village from the city suddenly notices that the pieces of toilet soap in a beautiful golden wrapper, which his grandmother gives him for washing, begin to disappear in some mysterious way. Chickens roam in the yard, led by a warlike rooster, a cat purrs affectionately, a dog dozes. The child is at a loss: which of them could steal the soap?! The secret is revealed unexpectedly - the thief turned out to be ... forty. By reading this story, which is not only written in a lively and accessible way, but also imbued with humor, children will learn about the habits of each animal depicted in it.
The works of Farzana Gubaidullina never lie on the bookshelves, they are in demand by readers, they are distinguished by the clarity and accessibility of the presentation of the material, they are written in a rich, juicy language close to folk. Another advantage of these books is that they are published in Russian and Bashkir. Now, when the Bashkir language is studied in every school, such books are especially needed, because there are not enough dictionaries. And when next to the Bashkir text there is Russian translation- this is amazing!
Farzana Gubaidullina made a great contribution to the translation into Russian of the works of Bashkir writers such as Rashit Sultangareev, Ravil Nigmatullin, Ravil Baibulatov, Nazhia Igezyanova, Tamara Ganeeva, Dina Talkhina, Beryan Baimov and many others. And the books of Russian-speaking writers of our republic, for example, Rim Akhmedov, Kamil Ziganshin, she translates into Bashkir.
Farzana Gubaidullina is the compiler of the Anthology of Children's Literature, published by the Kitap publishing house in two volumes. With this work, she made an invaluable contribution to the development of Bashkir children's literature.
A unique edition for children of middle and senior school age consists of small works by Bashkir authors, from oral folk art to works by young writers. This is a wonderful collection that shows the real wealth of Bashkir children's literature, the "Anthology" includes works by writers working in different genres and writing in different languages - Russian, Bashkir, Tatar, Chuvash. This is an invaluable treasury of literary wealth for children and adolescents; there has never been such a collection in the history of Bashkir literature. The author-compiler advertises not himself, but his brothers in the creative workshop, because some of the writers included in the collection are undeservedly forgotten. And the younger generation should know Amantai, the great scientist and poet, who wrote for children, and Shamun Fidai, who died very young, and Ravil Nigmatullin, and Rashit Nazar, who flashed bright lightning in the sky of Bashkir literature, and a great many others. It should be noted that Farzana Gubaidulina herself translated many of the authors included in the "Anthology" both from Bashkir and into Bashkir. The third volume is waiting for its turn at the Kitap publishing house named after Zainab Biisheva. Farzana Khaibullovna performed a truly titanic work, which is within the power of the whole institute. And this is far from the limit of the writer's creative quest, from whom we expect new books and accomplishments.
Tansulpan GARIPOVA,
Laureate of the State Prize named after Salavat Yulaev, International Prize of the Turkic-speaking peoples named after Mahmud Kashgari, Honored Worker of Culture of the Republic of Bashkortostan.
Farzana Khaibullovna Gubaidullina is from the Zianchurinsky district. After graduating from Sterlitamak Pedagogical Institute worked in the schools of Kumertau, then as a senior teacher at the BIRO at the Department of World and national culture. Since 2007, she worked in the Union of Writers of the Republic of Belarus - first as a literary consultant, and then as deputy chairman of the board of the Union of Writers of the Republic of Bashkortostan. In her native Bashkir language, she writes stories, fairy tales, poems, plays, scripts for children. He writes talentedly, fascinatingly, awakening in the child a love for native land, to his loved ones, to nature, developing his aesthetic taste, cultivating respect for the historical past of his small homeland and the whole country.
Her works have been translated into Russian and included in textbooks for preschool and primary education. During the years of work at BIRO (in 1997), she published an anthology on the culture of our republic "Bashkortostan - my home" - in two parts, in Russian for schoolchildren who do not speak Bashkir. The reader has been reprinted several times.
She translated many poems by other authors from Bashkir into Russian and from Russian into Bashkir. There are also songs based on her poems.
Farzana Khaibullovna - excellent student of public education Russian Federation, Honored Worker of Culture of the Republic of Bashkortostan.
Farzana Gubaidullina also hosts the radio program "Literary Environment" in the Bashkir language. The secretary of the section of children's literature at the Union of Writers of the Republic of Belarus finds new authors, guides them on their creative path, helps to find their name in literature.
Since 2007, she has been a member of the jury for checking the competitive works of children with visual impairments in the annual competitions held in the republic by specialists from the Library for the Blind.
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