(It is unfortunate that the format of the site does not allow to include graphics in the text - this will void the possibility here to see the musical quotations in in question. All this is in the original.)
Despite the one-part and a relatively smallthe volume, the composition is given the composer, apparently, difficult and lasted for 10 years (from 1907 to 1917.) - an extensive period.That is, the start has been made yet on the 3rd year of studies at the conservatory (16 years) at the time of "provocative experiences of youth," and over the Sonata was already a fairly mature age with the "Classical Symphony".As we shall see later - this work was worth it!Moreover, the longer the written work, the more events going on during this period, the more thoughts are born and more significant and deeper idea.Of course, a brilliant essay combines and boyish enthusiasm and skill of the composer's mature, fully realized.
significant that the creation of this masterpiece captures between 14 and 17 years - the years, according to Miaskovsky marked with certain fractures in Prokofiev's outlook towards the depth, emotional wealth.Not only growing up, but also the beginning of World War I were probably the cause.Emotional images palette extends from violent, sometimes explosive energy to quivering lyricism, and even full of "frozen", detachment.During this period the composer aware of the presence of life, in addition to the unbridled elements, and more universal grief and universal peace and quiet.
From an early age Prokofiev accompanied by two important things: the desire for theatricality and the exposure fears.And, of course, all of this was evident in the Third Sonata, so for a second you can not forget the most vivid imagery thinking composer.In addition to his natural inclination, enthusiastic spirit of the times, and he still wanted to write "emotional and contagious music," a catchy, sonorous, contrast.
Another important point - the movie is booming at the time.This kind of art immediately captured by Prokofiev and inevitably influenced his compositional style.Eisenstein (genius filmmaker who set to music by Prokofiev film "Alexander Nevsky" and "Ivan the Terrible"), hit the "ability Prokofiev instantly infected by the visual impression and transfer music essence of the artistic image was captured on film."Here I want to add that in the rest of the music is not written for the movie, we can often easy to catch a variety of purely cinematic effects.
But most importantly, in my opinion, it is, despite the abundance of rebelliousness and audacity, sharpness and taunts in his music - a great melody , and this romantic sonata in particular (but remember the brilliant theme of the 2nd piano concertobegun in the same period!), melody, which, unfortunately, often overlooked by some teachers and performers.However, the lyrics Prokofiev, according to many researchers, "largely devoid of sensuality, love, eroticism, it is mostly contemplative, representing Good as opposed to evil, having often sarcastic, and even humorous tone."Maybe.Somewhere, in some ways.However, everyone decides for himself how this is true in every case.I, in any case, much doubt.And not only doubt, but generally I do not support.Just sure that it is not.
theatrical nature of the contrast "open-face masks and" gives rich possibilities for the imagination of the pianist.The probability of simultaneous holding of the hero in a few images (some kind of matryoshka) significantly expands the boundaries of interpretations.A children's fears of the composer can be felt in the more mature works.It seems that he is in his mature years to be a big baby.Suffice it to read his autobiography, written strikingly sincere and just to make sure to say.
I was unable to find out anything about the authentic version of this sonata is likely and such does not exist (though to be honest, I did not kill her in the quest).Therefore, all the images to which I appeal, in this work, it's my own fantasy dictated samòy music Sonata structure, its texture, intonations, etc .. And in any case, even in the presence of the composer's official program, each teacher orperformer, in my opinion, should personally peruse the musical fabric of the work, and for compliance with the program, and for finding your own way to an adequate interpretation of images - so to speak, to "privatize" the content.
I want to introduce you not one, but several parallel manner possible, although it is clear that they can be set.And, of course, these images do not need to be taken seriously, deeply going into detail and trying to follow the logic of their lives and relationships in the product.I suggest only some basis, a kind of impetus to the imagination.Remember Rachmaninoff Etude-picture "Little Red Riding Hood."Of course, neither of which Little Red Riding Hood Sergey thought while composing this masterpiece, and generally it is not a children's composer.Simply said, probably the first thing that came to mind because he was tortured with questions about the program of studies.Remote, of course, like the "opposition" Wolf and Little Red Riding Hood, but certainly as something too small, not serious.Especially for such a giant like Sergei Rachmaninoff, who profoundly experienced human grief, I felt instinctively all the misery and misfortunes that befell not just a lot of people - entire nations, and felt responsible for almost all the injustice in the world!Here's where to look for the program and find images!Although, of course, and it is possible that someone more inspiring "tragedy" Little Red Riding Hood.
Ultimately, I would like not to impose any particular interpretation, but fundamentally like "infect" this form of creativity to the product in general and of the Sonata in particular.
Imagination must be always on the musician, but simply "enumerate" the notes can now be any soulless computer.But, in order to create his own interpretation (and the value of performance is in it!), Compelling images needed, at least for himself.
Remember Akhmatova, her poem "Creativity»:
happens that some languor;
ears does not stop the chimes;
subsides rumble of thunder in the distance.
unrecognized and captive votes
I chudyatsya and complaints and groans,
Narrows some secret circle,
But this abyss whisper and calls
He stands all alone winning sound.
so quiet around him irreparably,
Heard as the grass grows in the forest,
How on earth comes with a knapsack famously ...
But already heard word
and light alarm bells rhyming, -
ThenI begin to understand,
And just dictated lines
lay down in the snow-white notebook.
1936
In my opinion, this sonata can be a kaleidoscope of childhood memories of Prokofiev, sunk into the soul of the composer who left a mark on his memory.And maybe the most profound meditation on the fate of the world, or even prophecy.However, it might be just a dream.Or even all together!These images have little contact with each other, I was not able to build a logical story from beginning to end, but it will most likely not.Individual episodes follow one another, it turns so bright mosaic, which is intricately linked to a thematism permanently transformed, sometimes beyond recognition.Even a set of seemingly unrelated images may, at least approximately, to make certain the whole, which gradually, sometimes suddenly crystallized the idea (as in painting, when the apparent first isolated spots suddenly form a well-recognizable image).The idea, which can force a lot to think about.And that alone will cause the product of sound in a special way - so the interpretation is born!
However, nothing does not prevent every attempt to build a logical chain of images and events that could result in a harmonious narrative.
And the last thing I want to preface the talk of the Sonata - its shape.The form itself is not the subject of my analysis, and I just want to agree on terms.This one-piece Sonata, although the sonata allegro and a bit unusual, especially reprise.Total turns 5 episodes have quite sharp edges.But the word "episode" I need for a smaller division, so I will call them parts.So, in one-part Sonata will conditionally 5 parts.
And now, bearing in mind all of the above, will open notes Sonata.Here, at first, it's simple - Allegro tempestoso , ieviolently, violently, passionately, frenetic, furious (everything that comes to mind when describing the storm - thunder and lightning!) is consistent with the first bars of the work.The rate is desirable close to the limit of operation rehearsal mechanics grand piano keys, at least 160 a quarter, but I would recommend pordka pace of 180 beats per minute.The account is necessary to conduct "on time", ie,dimensional unit of the musical sentence to be a stroke.And the faster the pace, the easier it is to achieve this.
course, where will the intonation can be taken briefly retreat from the pace - somewhere slightly overexpose a long note or a pause somewhere to place where, on the contrary, preload.Agogics has not been canceled, in any case, do not turn off the musician!
{Case 1} The first two measures - it is obvious thunder, frightening, sometimes even terrifying, so it seems to me to play them as a single sonic mass on fortissimo , without differentiating the upper notes, and without isolating the third and the first chords in Tirol,so that this kind of ta-ta-tàm tàm not become dominant.Massing for this image seems to me first of all, the speaker - a continuous crescendo the third beat to break into a call-up the topic of the right hand, or, on the contrary, to shade her entry, producing a hefty sound exfoliated to the top of the second bar - like making a threatening attack,- and more retreating to the beginning of the third.Both cycles, of course, on the one pedal.
{Case 2} Alternatively, you can treat the first two cycles as the explosion and the rapid appearance of smoke on an imaginary stage image of evil, a kind of "Mephisto" is not necessarily of "Faust" by Goethe, but something very similar to it, dancingsinister tarantella.In this case, the dancing style became dominant, requiring excellent rhythm, clarity of twenty-four triplet eighth and only slightly excessive underscore chords.
{Option 1} The very beautiful theme, sounding as if by tube, it is possible to imagine two sub-options - big, aggressive, at one nuance, one sweeping stroke, as the fanfares accompanying the passage of Zeus in his chariot across the heavens.
Alternatively, in accordance with the melodic pattern, draw it very assertive in the 3rd and 4th bars, but droops in the 5th and 6th, forming a melodic arc in the emotional, of pitch and dynamic sense - as the state of mind of a frightened personstruggling with fear, but the passer to the elements.
At its peak (in the 4th cycle) if the melody is committed above all (the interval la-up clearly should seek up to third, but did not fall to a sixth), but the voice of darts and strength leaving him.And this is happening against the backdrop of "howling wind 'in the left hand (the chromatic aberration, we will meet more than once!), Where the accents are not only underscores the bass as the fifth pillar of the finger to jump over a large range.
{Case 2} Or, continuing the theme of "Mephisto", you can imagine his triumphant song, in which he "allowed near the rooster" (and bearing in mind its essence with horns and hooves, we can say "give a goat").But it did not bother him, he was not trying to sing like Caruso, it is important - to express their state of triumph!A skachkàh in his left hand, you can submit it to powerful jumps and rapid movements on the stage.
most important - in the first embodiment to avoid the fragmentation of mental images of storms and pipe threads into pieces of poltakta (and even more so for the quarters!) - It will destroy everything.This game, like someone said of the great, will certainly not bezobràznoy but bezòbraznoy - exactly!I repeat: think only-stroke!
In the second embodiment, it is not critical and it is possible to think in poltakta.
Next "shestitakt" the previous one, but with more fervor bòlshim.
{Option 1} In the 14th and 15th beats thunder subside, anticipating the appearance of the 16th cycle of the new, quiet, in my opinion, at the same time timid and sly threads tarantella, the initial fragment which Prokofiev famously borrowed from Saint-Sanz from the finale of the 2nd piano concerto.
As rain begins, this theme creates Flight drops his innocent and nezlonamerenny images of nature, and has not scary.
henchmen in the left hand should not obscure the long notes in the right measure 17. It is necessary to hear the third B're calming down, rolls over in the third of the sixteenth re-fa, as if asking a question:
Here we signed very helpfulme speaker.
And just need to listen to the same motif in bar 19, as if in answer to the 17th question of tact.
Echoes magnificent pipe threads in contact with the 20 th to the 26 th, secco , if the shadow of the former power, becoming a grotesque, if not a comic character.From the "violent winds" were left only memories - the 20th cycle la-la-lyab salt, in the 21st - G solb-fa-mi.But this will manifest itself more chromaticism.More
slightly distant rumble rumble intermittently in cycles 21, 23 and 25, trying to scare us with their sudden forte , but we have to have no case.I think, on forte in these cycles, despite secco , you need to take the pedal one quarter, creating this sort of frightening sound wave, although these attempts it already serious.
{Option 2} A different way prepared for us, "Mephistopheles".Putting in the 14th and 15th cycles handsome mask and pretending to be "their", from the 16th cycle sports in general, it is dance, dance the tarantella.But he was bored just have fun, to do evil more fun!Modified theme greatness, secco , in the 20th measure its hidden sound - thinks evil.And here he is tolknёt someone, then someone will substitute the leg, and then will come to the ramp and his face slightly open to spectators that they are not forgotten, "who is in charge!"All this can be heard in the sudden forte in bars 21, 23 and 25.
Here are two different ways, but it can be a third option!
{Option 3} In the 14th and 15th beats our "Mefistofele" suddenly notices that a round dance joined by something divine - a girl - a slender, fragile, delicate, airy and 'the list goes on. "He stops in admiration, and began in the 16th cycle theme from Saint-Saens draws ITS dance, full of elegance and grace.He was for some time disarmed, its Temko in secco completely lost its greatness and look ridiculous!He was spellbound, in the 20th cycle rises to her and trying to dance with her, but it turns ridiculous, embarrassing, it loses its rhythm stumbles - and it can be heard in the sudden forte in bars 21, 23 and 25.
back to the Option {1}, you can imagine that we are in the garden, in the gazebo, so vividly and directly feel what is going on around.Nearby are large, beautiful trees, familiar to us from childhood.And here in the rain runs breeze, barely swaying thin branches - this can be heard in the new theme, like a harp, free and serene, appeared in cycle 29.
At the same time it is echoed by the left hand and the duo later be further developed.Threefold repetition of this theme forms the first wave, to the 35th cycle, in which each new holding occurs on a higher level and crescendo , allowing think breeze becoming stronger.However, as long as it does not violate the state of tranquility.
The second wave started in the 37 th cycle, and bass sounds, and with the left the duo gradually begins to resemble a howl - significantly enhanced the wind starts to shake and thick branches.There crescendo much greater.Good is not the end - Breaking with the 44th cycle still growing, shaking the trees, and, finally, one can not stand, and with a roar falls (bars 52-53), causing our great regret and related tree touching memories aboutwhich will be discussed further - in the second part.This is the first of the three disasters that we have to survive in this sonata.What is it?
