Let`s talk about music to a smile? Whether
It is possible to laugh at what is expensive what you love? At whom as it turns out. But if you joke loving - history does not object. There are numerous examples of scientific comic folklore - scientists big jokers too. There is also a musical “playful folklore“, it is not less extensive, maybe, - is less known.
Let`s remember how often musicians laughed at colleagues or at the fact that they did. And it did not weaken their selfless love to the business at all.
It is possible to speak about music grandiloquently. d about lzhno to tell to about music it is poetical (how many verses are devoted to it - incredibly!) . It is necessary to tell about music solemnly and festively - because she in himself a small celebration and a holiday. And it is possible - with the smile loving and understanding. As spoke and composers, performers, conductors, that is the most involved in it people speak about it.
“Rimsky-Korsakov absolutely crazy went“
Old well-known story. The 19th century for the Russian music - the most real “gold“. For tiny time own vocational national school was built, were given on - the mountain the world masterpieces well-known and immortal. The Russian music not only entered, even rushed into the general musical context of Europe, but also could be ahead of her in many tendencies and the directions.
Novelty was shown in many respects. Those who though slightly - he is slightly familiar with music basics, remember the standard sizes: two quarters, three quarters, four quarters (and some other). The musical size is an alternation of strong and weak shares, actually that, as defines a pulsation in music. The listed usual sizes - are very convenient both for execution, and for perception - owing to the symmetry.
But, creating own school, it is necessary to address own sources that the Russian composers did with scope and with surprising own finds. N. Rimsky-Korsakov wrote a set of operas which libretto were based either on fairy tales, or on historical material. He addressed and the bylina. To the well-known bylina - about the Novgorod gusla player Sadko. In the libretto tried to keep an epic verse which in itself has unusual structure. Well how “to put“ on the usual sizes the epic speech, for example: “ Goy you, the Garden - Sadko, kind Was well done! fallen in love to us the speech daring. Gy you, the Garden - Sadko, rutting, gostiny sn! You are a gusla player the simple, not trade guest“ (Or “ you are the Garden - Sadko, nice a hammer c“).
Here also the chorus had to study the difficult place: “ Will be red day in half of day, we will have a feast in a floor - a feast “. The composer “laid“ the text on 11 quarters.
However the chorus could not cope with such unusual size on rehearsals in any way. Here dawned on the visiting Italian conductor (there is a version that the composer prompted to him), and he thought up “training“ on 11 quarters. Training sounded so: “ Rimsky-Korsakov went absolutely crazy “. Just 11 syllables, 11 quarters. The chorus instantly started singing, the problem was solved. The premiere was magnificent: Shalyapin, as the Sea Tsarevna - Vrubel`s wife of N. Zabel - Vrubel, scenery of the artist K. Korovin sang.
This amusing story already - a legend that is as as there was - unclear. But it is known, is retold in every possible way. And presently, when learning the difficult play with a difficult size of 11 quarters, many use this phrase. With big love treating also epic Sadko, and Rimsky-Korsakov. Ask
How to write symphonies? - it was the question which tormented one young man, and he treated it to Mozart.
- Why at once symphonies, begin with ballads, - Mozart advised.
- Yes, but you wrote symphonies, and to you also 10 years were not.
- But I asked nobody then how to write symphonies .
is cheerful or gloomy?
Y. Brahms was a remarkable composer and the outstanding personality. His all life was devoted to music. Many phrases - Brahms`s aphorisms are known, for example:
To write music not so difficult, it is the most difficult - to cross out excess notes .
And some stories from his life when it demonstrated uncommon sense of humour at work are still known. Once his publisher made edification to the composer: say, too gloomy you write, and people want to leave a concert cheerful. The pozitivchik should add. In several days Brahms came to the publisher with new work which was called: “ I Cheerfully descend in a grave“ . Playing in a duet with the mediocre cellist, Brahms gave out on a grand piano fortissimo (too loud sound). “But I do not hear myself“, - the unlucky cellist begged. “Lucky person“, - Brahms muttered.
Cheerful Rossini and collection of tortures
is connected With a name of the Italian composer a huge number of cheerful stories. Their everything cannot be retold.
- You taste my paste better! - he when his friend began to extol Rossini`s opera “The Seville barber“ told.
- Thank God, it is the maid all laying overturned, and that I thought, someone dared to play the overture to “Tangeyzer here! “ - the composer who did not love Wagner joked (the Italian and German composers were in eternal rivalry).
When Rossini was told that are going to deliver him a monument during lifetime, he declared that for such money (cost was - 20000 liras) it also willingly will stand on a pedestal.
And well-known rossiniyevsky: “ Give me the account from a laundry, and I will set it to music “ sounds even not a joke. Would put.
Rossini was told that one mutual friend collected a very good collection from tools of tortures.
- And the piano is there ? - the composer asked. - Is not present? Means, this person did not study in the childhood to music... .
Ability to play a trick on itself, to remember ridiculous stories and not to be afraid to tell them - one of signs of big talent. Fedor Shalyapin`s dialogue with the carrier:
- And you, the barin, what do you do?
- Yes here I sing.
- I not about that. I ask what you work? To sing - all of us will eat it. These amusing stories can be continued and continued by
. Musicians - the people cheerful.
But most of all I like the famous and remarkable statement of the author of the well-known opera “Faust“ Charles Gounod: “Being young, I spoke about myself: “I“. Twenty five years spoke: “I and Mozart“. In forty years: “Mozart and I“. And now I speak quietly: “Mozart“ .
And in it, not too playful aphorism - wisdom of the person taking an internal view passed by itself and others. And as continuation - the remark of the philosopher and musicologist Theodor Adorno: Not we listen to music, and music listens to us ... And as we listen to it, so she also hears us. That at us inside.
About what we love we often say lyrically, we can be expressed and solemnly, and it is natural. But it is possible, certainly it is possible to play a trick on what you love. It is not so difficult to joke without scabrousness, without grin or a grin, without unruliness of tone. Ability to smile where is most for you important - frequent human quality. The main thing - to continue to love.