"Forties, fatal..."
1.tell about the Great Patriotic War, about the significance of poetry during the years of the Second World War, to show that high patriotic feelings in the poetry of this time were combined with deeply personal experiences;
2. develop the skills of analyzing a poem, expressive reading of poems;
3. education of high patriotic feelings.
Lesson equipment: map, student drawings, records with melodies of military songs
During the classes
1. Song "Holy War"
2. Reading by students of the poem by D. Samoilov "Forties, fatal ..."
forties, fatal,
military and frontline
Where are the funeral notices
And echelon interchanges. Yandybaev
Rolled rails hum.
Spacious. Cold. High.
And fire victims, fire victims
They wander from west to east ... Pimenova
And this is me at the station
In your dirty earflap,
Where the asterisk is not authorized,
And cut out of a can. Leukhin
Yes, this is me in the world,
Skinny, funny and playful.
And I have tobacco in a pouch,
And I have a mouthpiece. Yegoshin
And I'm joking with the girl
And I'm lame more than necessary
And I break the solder in two,
And I understand everything. Vlasov
How it was! How did it coincide?
War, trouble, dream and youth!
And it all sunk into me
And only then I woke up! .. Emanaeva
forties, fatal,
Lead, gunpowder...
War walks in Russia,
And we are so young! Khomenko
3. Communication of the purpose of the lesson
4.Historical background (History teacher)
5.V.O.v in the poems of Russian poets (literature teacher)
Despite the fact that, it would seem, there is no time for art in the war, without it, a person could not live either at the front or in the rear, and poetry was the most popular genre.
Already on the third day of the war, a song was created that became a symbol of the unity of the people in the fight against the enemy - "Holy War", which became a symbol of the unity of the people in the fight against the enemy. Poems were written by Vasily Lebedev-Kumach. (Listening to the 2nd verse of the song)
^ History teacher:
Why is war called "holy"? (This is a war for a just cause, for their homeland, not offensive, but defensive. Such a war - for the freedom of the motherland, against the invaders - is justified. It is popular, because it unites the aspirations of the whole people, it is "sacred" - because the defense of the Fatherland, its families are the sacred duty of every person.)
^ 6. Reading analysis of poems.
1. Student's message about K. Simonov.
From the first days of the Great Patriotic War, Konstantin Simonov was at the front. He is a war correspondent for the Izvestia and Krasnaya Zvezda newspapers. During the war years, Simonov was one of the most famous poets in our country.
The poem "Wait for me", dedicated to the actress Valentina Serova, soon set to music, receives new life in the form of the most popular song, which was sung both in the rear and at the front. The theme of love becomes one of the leading in the poet's work. In the poem “Wait for me”, love and loyalty strengthened the soldier’s courage, his stamina and will to win.
^ 2. Reading the poem "Wait for me
Subject week of teachers of the Russian language and literature on the topic: "Formation of subject and key competencies of students in the classroom and extracurricular work"
Kozina T.N. - teacher of Russian language and literature of the municipal budget institution"Gymnasium with in-depth study in English No. 8 of Evpatoria of the Republic of Crimea.
Literature lesson in grade 6
Subject: Works about the Great Patriotic War. D. Samoilov's poem "Forties, fatal ...". Image of the tragedy of the people Love for the Motherland, responsibility for it in the years of severe trials.
Target: familiarize students with the content of the poem.
Tasks: 1. Help students imagine the events described, feel the tragic situation of the country and people during the war years.
2. To instill in children a sense of pride in their country, steadfastly going through the trials of the war years, faith in their people and historical optimism.
3. To develop in children the skill of expressive reading, the ability to find paths in the text and understand their connection with the meaning of the work, the ability to evaluate acting reading.
During the classes
I. Organizing time.
II. Knowledge update. Checking d / z.
What stage of the history of our country was discussed in the last literature lesson?
Whose poem are we talking about?
What is its theme? What thoughts and feelings does it evoke in us?
name artistic means that you wrote out of the poem? How do they convey the thoughts of the author?
Why did poets and writers write and write about the war?
Why do people know their works now, when there is no war?
III. Setting goals and objectives for the lesson. Motivation learning activities students.
1. Word of the teacher. Today we will get acquainted with another poem about the war. But it was written not in those terrible years, but 20 years later. Let's observe how the then very young poet David Samoilov sees the war, how he describes it to us, compare his poems with the poem by K. Simonov, improve our expressive reading and evaluate the reading of the actor.
2. Recording the topic. Viewing a presentation that contains short story about the poet D. Samoilov.
3. Preparation for expressive reading. Independent reading silently.
4. Reading aloud. Students read the poem aloud.
5. Let's listen to the poem again performed by the master of the artistic word. (phono-chrestomathy) Conversation:
Compare the two performances of the poem. Which reading do you find more expressive and why?
Who was better able to convey this change - the student or the actor? Why?
6. Vocabulary work.
Let's think about the poem. Do you understand everything?
What do the words and phrases mean: FATAL, FROZEN USHANKA, NON-STATE Asterisk, Pouch, Mouthpiece Typesetting, Joker, SOLDERING IN TWO BREAKING?
(We write down the words, explain and select, where possible, synonyms.)
7. Analysis of the poem. Conversation:
What is the poem about? What is its theme?
How does the poet portray war?
Which artistic technique used in the first quatrain? What feelings do the epithets convey?
What syntactic means help the author convey the fullness of the picture? (Homogeneous members of the sentence, repeated unions give detailed description young fighter, his character and cheerful mood).
What do the expressions “... it sunk into me ...”, “... woke up outside ...”? (The war leaves a deep imprint in the soul of a person: a person remembers the tragedy of the war years all his life, comprehending it deeper and deeper with age.) What is the name of this trail?
Look at the end of the poem. How do you understand what a "ring composition" is? Why does the author use this technique?
In what way does the poet briefly and expressively convey the scale of the national tragedy? (“The war is walking around Russia ...” - personification.)
8. Let's draw conclusions and write them down in a notebook.
Theme of the poem: The Great Patriotic War.
Main thoughts: 1). The war became a great tragedy for all our people, bringing us death and destruction. Millions of people lost their blood and experienced suffering.
2). But the Russian people steadfastly endure all trials. The young fighter, although wounded, is full of optimism: he is cheerful, cheerful and, of course, believes in his victory.
Conclusion: The poem depicts the unnaturalness of war and the inflexibility of the spirit of our people.
9. Work with the textbook. Reading an article.
What new did you learn from the article?
10. Repeated reading of the poem. ( It is possible - according to the stanza)
12. Reading mini essays.
IY. Summary of the lesson. Compare the poems of Simonov and Samoilov. What do they have in common and how do they differ?
Y. Homework:
Learn the poem by heart.
Quote message Masterpieces of piano music: Camille Saint-Saens - symphonic poem "Dance of Death"
Tannhäuser: Good afternoon... Glad to see you again and... sorry for some temporary absence...) Today I propose to listen to a very famous f-th masterpiece by Camille Saint-Saens... This recognized classic has a lot of wonderful music. as a rule, very melodic and "soft" ... Remember his "Swan" from "Carnival of the Animals" ... Symphonic poem"Dance of Death" was written in a completely different vein... However, below you can read the history of the creation of music and its features... It's hard to say better than professionals...) I just supplemented the material with a few pictures... By the way, the material invites us to argue on the topic of various "dances of death" ... See you ...
Piano duet Anastasia and Lyubov Gromoglasov. Recorded from a concert in the Small Hall of the Moscow Conservatory
Camille Saint-Saens. Symphonic poem "Dance of Death" op.40
10.08.2011
Orchestra composition: 2 flutes, piccolo flute, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, xylophone, timpani, cymbals, triangle, bass drum, harp, solo violin, strings.
History of creation
Saint-Saëns turned to the genre of the symphonic poem a decade and a half after Liszt. The French composer became interested in Liszt's poems even in his youth: "They showed me the path, following which I was destined to later acquire the" Dance of Death "," Omphala's Spinning Wheel "and other works." The four symphonic poems of Saint-Saens (1871-1876) differ significantly from Liszt's, continuing the tradition of French program symphonism founded by Berlioz: "It was Berlioz who shaped my generation and, I dare say, it was well formed," Saint-Saens asserted.
The differences between Saint-Saens and Liszt are especially clearly revealed when referring to the common program prototype - the "dance of death" common in the Middle Ages. Liszt finds philosophical depth and tragedy in them, inspired by an old Italian fresco in a concert paraphrase on the theme of Dies irae (Last Judgment) for piano and orchestra. Saint-Saens in a symphonic poem with a solo violin embodies the same plot, not without a sarcastic grin, following the French poetry of his day.
In 1873, the composer's attention was drawn to a poem by the poet and physician Henri Casalis (1840-1909), who wrote under the pseudonym Jean Lagor. It bore the ironic title "Equality, Brotherhood" and described the dance of skeletons at midnight in winter to the sound of the violin of Death. On this text, the composer composed a romance, and a year later used his music for a symphonic poem called "Dance of Death".
The lines of Casalis's poem are prefaced to the score as a program:
Zipper, hedgehog, hedgehog, Death with a heel
Beats the beat on the gravestone,
At midnight, Death sings a dance,
Whack, whack, whack, plays the violin.The winter wind blows, the night is dark,
Lindens creak and plaintively moan,
Skeletons, whitening, emerge from the shadows,
They rush and jump in long shrouds.Zipper, hedgehog, hedgehog, everyone is fussing,
The sound of the bones of the dancers is heard.
...................
...................
But ts-s! suddenly everyone leaves the round dance,
They run, pushing, - the rooster crowed.
..................
..................
The poem is dedicated to Caroline Montigny-Remory, whom Saint-Saens called "his dear sister in art."
She was a gifted pianist and often played music together with the composer. Letters from Saint-Saëns to Caroline have survived, spanning some four decades, beginning in 1875.
The premiere of "Dance of Death" took place on January 24, 1875 in Paris, at the Column Concerts, and was a great success - the poem was repeated at the request of the public. However, 20 months later, in the same Paris, she was booed.
M.P. Mussorgsky
The opinions of the members of the Mighty Handful turned out to be just as different after the tour of Saint-Saens in November-December 1875 in Russia, where he himself conducted the Dance of Death.
V. V. Stasov
Mussorgsky and Stasov strongly preferred Liszt's work of the same name, and Saint-Saens's poem was characterized as follows: "A chamber miniature in which the composer reveals tiny thoughts inspired by a tiny versifier" (Mussorgsky); "an orchestral piece, although embellished with a graceful and piquant instrumentation in modern style, but candy, small, most likely "salon", one might say - helicopter, frivolous "(Stasov).
N.A. Rimsky-Korsakov
Rimsky-Korsakov and Cui argued with them. The first sincerely admired the poem, the second called it "charming, elegant, musical, highly talented."
I.E. Repin Portrait of Ts.A. Cui
Comparing the two Dances of Death, Cui wrote: “Liszt treated his theme with extreme seriousness, depth, mysticism, and the unshakable blind faith of the Middle Ages. M. Saint-Saëns, like a Frenchman, looked at the same problem lightly, playfully, semi-comically, with nineteenth-century skepticism and denial.
And Liszt himself highly appreciated Saint-Saens' Dance of Death, especially the "wonderful brilliance" of the score, and made a piano transcription of it, which he sent to Saint-Saens in 1876.
In those years, the Dance of Death orchestra struck with its unusualness.
The composer introduced a xylophone into it, designed to convey the sound of the bones of dancing skeletons (four and a half decades earlier, Berlioz, in the finale of the Fantastic Symphony, first used the technique of playing violins and violas with a bow shaft to create a similar effect). The French edition of the score explains that "a xylophone is an instrument made of wood and straw, similar to a glass harmonica", and you can find it at the publishers', on the same Place Madeleine in Paris.
The solo violin is also a member of the orchestra, on which Death plays his devilish dance, at the tempo of a waltz (possibly inspired by Liszt's Mephisto-Waltz), according to the author's instructions. The violin is tuned unusually: the two upper strings form an interval not of a pure fifth, but of a tritone, which was not accidentally called “diabolus in musica” (the devil in music) in the Middle Ages.
Music
The poem is framed by an introduction and conclusion with inventive sound effects. The harp against the background of the sustained sound of the horn and the chord of the violins with 12 beats, imitating the bells, heralds midnight. Cellos and pizzicato double basses quietly beat out the rhythm. There are sharp sounds like a tuned solo violin. The waltz begins. The sonority gradually grows, new instruments enter, there is a dialogue between the solo violin and the xylophone, doubled by woodwinds. Then the round dance of the dead is drawn in scherzo fugato, as Liszt liked to do when incarnating the Mephistopheles images. The theme sounds passionately, enticingly in the central major episode, where again the violin comes to the fore to the accompaniment of the harp. In the subsequent development, one can also hear an ominous knock - perhaps Death, beating his heel on the gravestone (solo timpani), and the howling of the wind (chromatic passages of wooden ones), but the rhythm of the waltz is obsessively, stubbornly preserved. The revelry of diabolical forces ends at a noisy climax. The oboe in complete silence imitates the cry of a rooster. For the last time, the devilish violin enters, and the echoes of the dance dissipate and fade into a barely audible sound of strings against the background of a flute buzzing in a low register.
“It’s hard to get rid of the poignantly uncomfortable feeling when listening to this music, in which there are so few emotions calculated and so frighteningly bared mockingly bleak visions of non-existence ...”, sums up the Soviet researcher of Saint-Saens’ creativity Yu. Kremlev.
A. Koenigsberg