"Antonio Vivaldi" - View of the Ducal Palace in Venice. Theatrical concert in Rome in the 18th century. Thomson (translated by V. Zhukovsky). Enchanting colors to the music of A. Vivaldi. Antonio Vivaldi (1678-1741). Spring - Your love image ... On the threshold of his 50th birthday, our hero was full of energy and ideas. At the conservatory, Antonio perfectly combined studies of sacred and secular music.

"Ludwig van Beethoven" - Ludwig van Beethoven. Photos... I would really like to learn how to play the violin and piano like Beethoven! Beethoven died on March 26, 1827. Links. The uniqueness of Ludwig van Beethoven's talent... Review of the composer... And then I will be able to play my favorite compositions. Plan. Feedback about the composer. Me and Beethoven!!!

"Biography of Chopin" - He combined the classic form with melodic richness and fantasy. Chopin deeply mourned the whole music world. In April 1848 he went to London - to give concerts and teach. He turned the scherzo into an independent work. Chopin wrote his first piece of music at the age of 8. The second, in B minor, appeared a decade later.

"Joseph Haydn" - Great Master Haydn. Musical horizon. Haydn, Mozart, Beethoven. Concerto in C major. Travel. The father of the symphony. Haydn's marriage. Meeting with Mozart. The last joys of life. Haydn's life. Haydn's writings. Joseph Haydn. Haydn could not leave the country. The only school for Haydn. 104 symphonies. New offer.

"Franz Liszt" - Most of the composer's piano legacy is transcriptions and paraphrases of music by other authors. As a child, he was fascinated by gypsy music and cheerful dances of Hungarian peasants. Franz Liszt. In 1844, Liszt became bandmaster at the ducal court in Weimar. Liszt is considered a paramount figure in the history of music.

"Chopin's work" - Joined the Polish literary society. Early work. For Chopin, mazurkas are a symbol of the Motherland. Polonaise. For the rest of his life, Chopin lived in Paris, yearning for his homeland. In depth, the prelude or impromptu approaches the drama. Chopin's life is, as it were, divided into 2 parts. In 1838 Chopin and George Sand went to the island of Mallorca.

There are 26 presentations in total in the topic

"In this symphony... for the first time all the immense,
the marvelous power of Beethoven's creative genius"
P. I. Tchaikovsky

Starting the sketches of the "Heroic", Beethoven admitted: "I am not completely satisfied with my previous works, from now on I want to choose a new path."

"Since Beethoven there is no such new music which would not have an internal program" - this is how Gustav Mahler, a century later, outlined the contribution of the composer, who for the first time permeated the symphony with the breath of universal, philosophical ideas.

1. Allegro con brio
2. Funeral march. Adagio assai
3. Scherzo. Allegro vivace
4. Final. Allegro molto

Berliner Philharmoniker, Herbert von Karajan

Orchestra National de France, conductor Kurt Masur Beethoven Festival, Bonn, 2008

dir. J. Gardiner, Eroica Movie Supplement, 2003, BBC)

History of creation

The heroic symphony, which opens the central period of Beethoven's work and at the same time - an era in the development of European symphony, was born at the most difficult time in the composer's life. In October 1802, the 32-year-old, full of strength and creative ideas, was a favorite of aristocratic salons, the first virtuoso of Vienna, the author of two symphonies, three piano concertos, a ballet, an oratorio, many piano and violin sonatas, trios, quartets and other chamber ensembles, one name of which on the poster guaranteed a full hall at any ticket price, he learns a terrible verdict: the hearing loss that has been disturbing him for several years is incurable. The inevitable deafness awaits him. Fleeing from the noise of the capital, Beethoven retires to the quiet village of Geiligenstadt. On October 6-10, he writes a farewell letter, which was never sent: “A little more, and I would have committed suicide. Only one thing held me back - my art. Ah, it seemed unthinkable to me to leave the world before I had fulfilled everything to which I felt called ... Even the lofty courage that inspired me in beautiful summer days, disappeared. Oh Providence! Give me just one day of pure joy…”

He found joy in his art, embodying the majestic design of the Third Symphony - unlike any that existed until then. “She is some kind of miracle even among the works of Beethoven,” writes R. Rolland. - If in his subsequent work he moved further, then he never took such a big step right away. This symphony is one of the great days of music. She opens an era."

The great idea matured little by little, over many years. According to friends, the first thought about her was raised by the French general, the hero of many battles, J. B. Bernadotte, who arrived in Vienna in February 1798 as the ambassador of revolutionary France. Impressed by the death of the English general Ralph Abercombe, who died from wounds received in the battle with the French at Alexandria (March 21, 1801), Beethoven sketched the first fragment of the funeral march. And the theme of the finale, which arose, perhaps, before 1795, in the seventh of 12 country dances for orchestra, was then used twice more - in the ballet "The Creations of Prometheus" and in the piano variations of Op. 35.

Like all Beethoven's symphonies, with the exception of the Eighth, the Third had a dedication, however, immediately destroyed. Here is how his student recalled this: “Both I and his other closest friends often saw this symphony rewritten in the score on his table; above, on the title page, was the word “Buonaparte”, and below “Luigi van Beethoven” and not a word more ... I was the first to bring him the news that Bonaparte had declared himself emperor. Beethoven was furious and exclaimed: "This one too ordinary person! Now he will trample on all human rights with his feet, follow only his ambition, he will put himself above all others and become a tyrant! “Beethoven went to the table, grabbed the title page, tore it from top to bottom and threw it on the floor.” And in the first edition of the orchestral voices of the symphony (Vienna, October 1806), a dedication to Italian read: “Heroic symphony, composed to honor the memory of one great man, and dedicated to His Serene Highness Prince Lobkowitz by Luigi van Beethoven, op. 55, No. III.

Presumably, the symphony was performed for the first time at the estate of Prince F. I. Lobkowitz, a well-known Viennese philanthropist, in the summer of 1804, while the first public performance took place on April 7 of the following year at the An der Wien Theater in the capital. The symphony was not successful. As one of the Viennese newspapers wrote, “the audience and Mr. van Beethoven, who acted as a conductor, were dissatisfied with each other that evening. For the public, the symphony is too long and difficult, and Beethoven is too impolite, because he did not even honor the applauding part of the audience with a bow - on the contrary, he considered the success insufficient. One of the listeners shouted from the gallery: “I will give a kreuzer so that it all ends!” True, as the same reviewer ironically explained, close friends of the composer claimed that “the symphony was not liked only because the public was not artistically educated enough to understand such a high beauty, and that in a thousand years it (the symphony), however, will action". Almost all contemporaries complained about the incredible length of the Third Symphony, putting forward the First and Second as a criterion for imitation, to which the composer gloomily promised: “When I write a symphony that lasts a whole hour, the Heroic will seem short” (it goes 52 minutes). For he loved it more than all his symphonies.

Music

According to Rolland, the first part, perhaps, "was conceived by Beethoven as a kind of portrait of Napoleon, of course, not at all like the original, but the way his imagination painted him and how he would like to see Napoleon in reality, that is, as the genius of the revolution." This colossal sonata allegro opens with two powerful chords from the entire orchestra, in which Beethoven used three, rather than two, as usual, horns. main topic, entrusted to the cellos, outlines a major triad - and suddenly stops at an alien, dissonant sound, but, having overcome the obstacle, continues its heroic development. The exposition is multi-dark, along with heroic images, bright lyrical images appear: in affectionate replicas of the linking part; in comparison of major - minor, wooden - side strings; in the motivic development that begins here, in the exposition. But the development, collisions, struggle are embodied especially brightly in the development, which for the first time grows to grandiose proportions: if in Beethoven's first two symphonies, like Mozart's, the development does not exceed two-thirds of the exposition, here the proportions are directly opposite. As Rolland so eloquently writes, we are talking about the musical Austerlitz, about the conquest of the empire. Beethoven's empire lasted longer than Napoleon's. Therefore, achieving it took more time, because he combined both the emperor and the army in himself ... Since the time of the Heroic, this part has served as the seat of a genius. At the center of development is a new theme, unlike any of the themes of the exposition: in a strict choral sound, in an extremely distant, moreover, minor key. The beginning of the reprise is striking: sharply dissonant, with the imposition of the functions of the dominant and tonic, it was perceived by contemporaries as false, a mistake by the horn player who entered at the wrong time (it is he who, against the backdrop of the hidden tremolo of the violins, intones the motive of the main part). Like development, the code that used to play a minor role grows: now it becomes the second development.

The sharpest contrast forms the second part. For the first time, the place of a melodious, usually major andante is occupied by a funeral march. Established during the French Revolution for mass actions in the squares of Paris, this genre turns in Beethoven into a grandiose epic, an eternal monument to the heroic era of the struggle for freedom. The grandeur of this epic is especially striking if one imagines a fairly modest composition of the Beethoven orchestra: only one horn was added to the instruments of the late Haydn and double basses were singled out as an independent part. The tripartite form is also extremely clear. The minor theme of the violins, accompanied by chords of strings and tragic peals of double basses, ending with a major chorus of strings, varies several times. Contrasting trio - bright memory- with the theme of wind instruments according to the tones of the major triad also varies and leads to a heroic apotheosis. The reprise of the funeral march is much more extended, with new variants, up to the fugato.

The scherzo of the third movement did not appear immediately: initially, the composer conceived a minuet and brought it to a trio. But, as Rolland figuratively writes, studying a notebook of Beethoven's sketches, “here his pen bounces ... Under the table is a minuet and its measured grace! The ingenious boiling of the scherzo has been found!” What associations this music did not give rise to! Some researchers saw her as a resurrection ancient tradition- games on the hero's grave. Others, on the contrary, are a harbinger of romanticism - an air dance of elves, like the scherzo created forty years later from Mendelssohn's music for Shakespeare's comedy "A Dream in midsummer night". Contrasting in figurative terms, thematically, the third movement is closely connected with the previous ones - the same major triad calls are heard as in the main part of the first movement, and in the bright episode of the funeral march. The scherzo trio opens with the calls of three solo horns, giving rise to a sense of the romance of the forest.

The finale of the symphony, which the Russian critic A.N. Serov compared with a "holiday of peace", is full of victorious jubilation. His sweeping passages and powerful chords of the entire orchestra open, as if calling for attention. It focuses on the enigmatic theme, which is played in unison by the pizzicato strings. The string group begins a leisurely variation, polyphonic and rhythmic, when suddenly the theme goes into the bass, and it turns out that the main theme of the finale is completely different: a melodious country dance performed by woodwinds. It was this melody that was written by Beethoven almost ten years ago with a purely applied purpose - for the ball of artists. The same country dance was danced by people who had just been animated by the titan Prometheus in the finale of the ballet "The Creations of Prometheus." In a symphony, the theme inventively varies, changing the key, tempo, rhythm, orchestral colors and even the direction of movement (the theme in circulation), then it is compared with the polyphonically developed starting theme, then with a new one - in the Hungarian style, heroic, minor, using the polyphonic technique of double counterpoint. As one of the first German reviewers wrote with some bewilderment, “the finale is long, too long; skillful, very skillful. Many of its virtues are somewhat hidden; something strange and sharp…” In the dizzyingly fast coda, the booming passages that opened the final sound again. Powerful chords of tutti complete the holiday with victorious rejoicing.

The Vienna Society of Music Lovers has preserved an authorized copy of the Third, Heroic, symphony, dated August 1804 (Napoleon was proclaimed emperor on May 18, 1804). A copy of the score of the symphony says: "Written in honor of Bonaparte." This destroys the beautiful legend about the angry composer - the opponent of all royal power, who allegedly removed the dedication to Napoleon Bonaparte when he found out that Napoleon had declared himself emperor. In reality, Beethoven was simply going on tour to Paris. After the trip fell through, Napoleon Bonaparte was no longer interested in the composer.

Two years later, in the first edition of 1806, the Third Symphony (the former Buonaparte Symphony) was given the name Heroic and was dedicated to Prince Franz Joseph Maximilian von Lobkowitz.

See also:

• Konen V. History of foreign music from 1789 to the middle of the 19th century. Beethoven. "Heroic Symphony"
• Music of the French Revolution of the 18th century, Beethoven. Third Symphony
• E. Herriot. Beethoven's life. "Heroic"

"Heroic" is one of the most important milestones in musical development from the classical period to the era of romanticism. The work marked the beginning of a mature creative way composer.

History of creation Symphonies No. 3 Beethoven, which has the name "Heroic", the content and many interesting facts read about the product on our page.

History of creation and premiere

Composition of the third symphony Ludwig van Beethoven began immediately after the end of the second symphonic work in the key of D major. Nevertheless, many well-known foreign researchers believe that its writing began long before the premiere of the second symphony. There is visible evidence for this assertion. Thus, the themes used in the 4th movement are borrowed from the 7th number in the cycle "12 country dances for the orchestra".

The collection was published in 1801, and the composition of the third major symphonic work began in 1804. The first 3 movements bear a marked resemblance to the themes from opus 35, which includes a large number of variations. Two pages of the first part are borrowed from the Vielgorsky Album, composed in 1802. Many musicologists also note a noticeable resemblance of the first movement to the overture to the opera Bastien et Bastien. V.A. Mozart . At the same time, opinions regarding plagiarism in this regard are different, someone says that this is an accidental similarity, and someone that Ludwig intentionally took the topic, slightly modifying it.

Initially, the composer dedicated this musical composition Napoleon. He sincerely admired him political views and convictions, but this lasted only until Bonaparte became the French emperor. This fact completely crossed out the image of Napoleon as a representative of the anti-monarchy.

When Beethoven's friend informed him that Bonaparte's coronation ceremony had taken place, Ludwig was furious. Then he said that after this act, his idol fell to the status of a mere mortal, thinking only about his own benefit, and comforting his ambitions. In the end, all this will lead to tyranny under the rule, the composer confidently declared. With all his anger, the musician tore the first page of the composition, on which the dedication was written in calligraphic handwriting.

When he came to his senses, he restored the first page, writing on it the new title "Heroic".

From the autumn of 1803 to 1804, Ludwig was engaged in the creation of the score. For the first time, listeners were able to hear the new creation of the author a few months after graduation at Eisenberg Castle in the Czech Republic. The premiere took place in the capital of classical music, Vienna, on April 7, 1805.

It is noteworthy that due to the fact that the premiere of another symphony by another composer took place in the concert, the audience could not unambiguously respond to the composition. At the same time, most critics expressed a positive opinion on the symphonic work.

Interesting Facts

• When Beethoven was informed of Napoleon's death, he chuckled and said that he wrote the "Funeral March" for this occasion, referring to the second movement of the 3rd symphony.
• Beethoven was a great admirer of Napoleon Bonaparte. The composer was attracted by his commitment to democracy, and the initial desire to interfere with the monarchical system. It was this historical figure that the essay was originally dedicated to. Unfortunately, the French emperor did not justify the hopes of the musician.
• At the first listening, the audience could not appreciate the composition, considering it too long and drawn out. Some listeners in the hall shouted rather rude phrases in the direction of the author, one daredevil offered one kreuzer so that the concert would end sooner. Beethoven was furious, so he refused to bow to such an ungrateful and uneducated audience. Friends consoled him with the fact that the complexity and beauty of music could be understood only after several centuries.
• After listening to this work, he was delighted, he wrote that it is very rare to hear the perfect embodiment of a sad mood.

• Instead of a scherzo, the composer wanted to compose a minuet, but subsequently changed his own intentions.
• Symphony 3 sounds in one of Alfred Hitchcock's films. The circumstances under which the musical fragment is played out infuriated one of the ardent admirers of the work of Ludwig van Beethoven. As a result, a person who noticed the use of music in the film sued the famous American film director. Hitchcock won the case because the judge did not see anything criminal in the incident.
• Despite the fact that the author tore the first page of his own work, he did not change a single note in the score during the subsequent restoration.
• Franz von Lobkowitz was best friend who supported Beethoven in all situations. It is for this reason that the composition was dedicated to the prince.
• In one of the museums dedicated to the memory of Ludwig van Beethoven, manuscripts of this work have been preserved.

The composition is a classic four-part cycle, in which each of the parts plays a specific dramatic role:

1. Allegro con brio reflects the heroic struggle, is an exposition of the image of a just, honest man (the prototype of Napoleon).
2. The funeral march plays the role of a gloomy culmination.
3. The scherzo performs the function of changing the nature of musical thought from tragic to victorious.
4. The finale is a festive, jubilant apotheosis. Victory for real heroes.

The tonality of the work is Es-dur. On average, listening to the entire piece takes between 40 and 57 minutes, depending on the tempo chosen by the conductor.

First part, initially, was supposed to draw the image of the Great and invincible Napoleon, a revolutionary. But after Beethoven decided that it would be a musical embodiment of revolutionary thought, of future changes. Key is basic, sonata form is allegro.

Two powerful tutti chords open the curtain and set you in a heroic mood. Bravura betrays triple meter. The exposition includes many different thematic topics. So the pathos is replaced by gentle and light images that prevail in the exposition. Like compositional technique allows you to highlight the climactic section in the development, in which the struggle takes place. The center uses a new theme. The coda grows and is accepted by many musicologists as a second development.

The second part- grief, expressed in the genre of a funeral march. Eternal glory to those who fought for justice and did not return home. The music of the piece is a monument of art. The form of the work is three-part reprise with a trio in the middle. The tonality is parallel minor, gives all the means to express sadness and sadness. The reprise unfolds for the listener new variants of the original theme.

The third part- a scherzo in which clear features can be traced minuet , for example, tripartite size. One of the main solo instruments can be called French horn . The part is written in the main key.

The final- this is a real feast in honor of the winner. The power and sweep of the chords capture the listener's attention from the first bars. The theme of the movement is soloed by pizzicato strings, which adds to its mysteriousness and mutedness. The composer skillfully varies the material, changing it both rhythmically and with the help of polyphonic techniques. This development sets the listener up to perceive new topic- counterdance. It is this topic that is further development. Tutti chords are a logical and powerful conclusion.

Beethoven's third symphony is certainly bright and memorable music. This has allowed many modern film directors and producers to use musical material in own works. It is worth noting that the composition is more popular in foreign cinema.

• Benefactor (2015);
• From Chef (2015);
• Girls in front of pigs (2013);
• Hitchcock (2012);
• Green Hornet (2011);
• Rock and Chips (2010);
• Frankenhood (2009);
• Soloist (2009);
• When Nietzsche Wept (2007);
• Heroica (2003);
• Mr. Holland's Opus (1995).

Symphony No. 3 "Heroic"- this is a real pathos, written in notes. A hand is felt in every beat. It is from this composition that one can trace the unique, inimitable style of the author.

Video: Listen to Beethoven's Eroica Symphony

The date of the:

Lesson topic: Ludwig van Beethoven "Heroic".

"Call for Courage"

Tasks:

- to form an idea about the work of L. van Beethoven;

- to develop the ability to understand the features of dramaturgy in music, to compare musical images;

- cultivate interest and love for classical music, artistic taste.

Formed UUD

Cognitive:

- analyze, generalize, prove, draw conclusions, build logically sound reasoning;

- compare objects according to specified criteria.

Regulatory:

- determine the purpose, problem in the activity;

- put forward versions, choose the means to achieve the goal in the group;

- work according to the plan, referring to the goal;

- evaluate the degree and ways of achieving the goal in the learning situation.

Communicative:

- express your opinion, arguing it, confirming it with facts;

- understand the position of the other;

- use speech means in accordance with the situation of communication and the communicative task;

- organize work in a group (independently determine roles, ask questions, choose solutions);

- to overcome conflicts - to negotiate with people.

Personal:

- develop a respectful and friendly attitude towards other people;

- be aware of your emotions;

- be aware of their character traits, interests, goals, positions.

Equipment for the lesson: multimedia equipment, player, computer, SMART board, piano.

Materials for the lesson: Symphony No. 3 "Heroic" (fragment); symphony No. 5 (fragments) L. Beethoven; "To Elise" L. Beethoven; "Marmot" L. Beethoven; textbooks "Music. Grade 3" (E.D. Kritskaya, G.P. Sergeeva, T.S. Shmagina).

During the classes.

Musical greeting.

Teacher: - Guys, today we have the final lesson in the "Music in the Concert Hall" section. Did you get acquainted with some genres, musical instruments that can be heard in the concert hall. What do you remember?

(Children remember the concert genre, suites, flute and violin timbres, name familiar musical works.)

Teacher: - Well done! Today we have to get acquainted with the diverse world of Beethoven's music. His works are often performed in many concert halls. Write the topic down in your notebook.

But I will begin with a story about an event that took place in the spring of 1912. “In 1912, a terrible report ran around the newspapers about the sinking of the huge ocean steamer Titanic. Few of those who survived later told about various touching and terrible scenes of the death of individual people, and this was printed in the newspapers. There were few boats, they were enough in moments of disaster only for women and children. Big Orchestra, who served the rich public on the ship, could not count on boats or life belts. The musicians knew that they were not destined to escape, and they went with their instruments to the deck. If they gave themselves up to thoughts of loved ones, everyone would have experienced a terrible death alone, perhaps in a senseless death struggle with the elements, in madness. But the orchestra members, without saying a word, took out their instruments, sat down, as they always sat down in the orchestra, began to play the Beethoven symphony, which they had played so many times before, and to the immortal sounds of it, harmoniously, solemnly, remembering and performing each his own part, but hearing and listening to the whole , they left life with surprisingly high calmness, without ceasing to play, until the waves reached the instruments and the deck slowly sinking into the water sank.

L. van Beethoven "Symphony No. 3" ("Heroic", II part, 1 topic) – hearing

(Slow tempo, characteristic unhurried gait of movement, dotted rhythm, quiet sound, low register, melody rising up and drooping, helplessly “hanging”, groaning intonations, gloomy minor modal coloring of the theme).

What is the nature of the first theme? II parts of L. van Beethoven's Eroica Symphony? (funeral march)

- Why did L. van Beethoven introduce a funeral march into the Eroica Symphony? (commemorate the dead, bow the heads of the listeners before the fallen)

Doomed people listened to this music, and it poured courage into them, strengthened their will, saved them from panic. Beethoven's music sounded until the moment when the waves covered the deck along with the musicians.

Teacher: - What united the musicians in the hour of tragic death; helped to resist troubles and hardships; strengthened the spirit and will; helped accomplish a collective feat of courage? (music)

- What kind of music did the orchestra play at the most terrible moment of its life, before death?

("Symphony" by L. van Beethoven)

Teacher: - Guys, the very life and work of the great German composer Ludwig van Beethoven (1770 -1827) were full of relentless, intense struggle against the cruel blows of fate. (Children write down the name of the composer and years of life). And the main test that evil fate has prepared for him is deafness.

At the age of twenty-seven, Beethoven felt its first signs. Imagine the despair of the Musician: he does not hear! Hiding his illness from those around him, Beethoven became a closed, unsociable person. The medication prescribed by the doctors did not help. Beethoven is increasingly visited by thoughts of suicide. He even wrote a will to his brothers. But Beethoven was saved by courageous fortitude, titanic willpower and selfless love for his art. He heard music inner ear so he continued to compose. The proud words of the composer are known: "I will grab fate by the throat, it will not succeed in completely bending me."

And it is on such a spiritual upsurge that his best inspired works appear. And among them was the Third "Heroic" symphony. Now the choice of musicians becomes clear. Beethoven's symphony gave people support in a tragic moment of life, helped them to maintain their peace of mind and human dignity. (Children write down the name of the work)

Now let's find out with you what is symphony genre.

Symphony in Greek means consonance. it great work for symphony orchestra, usually consisting of four parts, dramaturgically connected with each other and revealing the composer's intention.

Children write the definition in a notebook.

One of the most famous symphonies of Ludwig van Beethoven is the Fifth Symphony.

The Fifth Symphony is a kind of challenge to fate by the composer, it is a battle of the human spirit with evil fate.

The symphony begins with an epigraph motif. (An epigraph is a short saying that conveys the main idea.) About this musical epigraph, Beethoven himself said: “Thus fate knocks at the door.” The entire 1st part of the symphony is built on this motive-epigraph.

Listen to a fragment of the symphony and determine by the sound of the music who wins the human spirit, will or fate in part 1?

(Children write down the title of the work, listen to the music and find out that the motive of fate sounds menacing and strong, so the person loses in this duel.)

Teacher: - Indeed, in part 1 the victory remains with the evil fate, but the composer in each part shows us the relentless struggle of the human will and spirit with blows from fate. The epigraph motif sounds differently: now menacingly and close, now deafly and far away, as if reminding of oneself. But with each part, the struggle becomes more and more intense.

Listen to the sound of the finale, the last 4th part. That we will hear the victory of the human spirit or defeat?

(Children listen to the finale and answer that the human spirit and will win.)

Teacher: - Quite right, the composer from part to part reveals his plan: "from darkness to light, through heroic struggle to victory." And the fourth part - the final - already sounds like a victorious procession, singing the joy of life and faith in bright ideals.

The world of Beethoven's music is diverse. In addition to symphonies, the composer wrote many works for the piano: these are sonatas, plays, songs. Each work reveals to us a piece inner world composer: his thoughts, feelings, moods.

Listen to a fragment of the famous play “For Elise” Think about why this work is so loved by everyone?

Children listen and express their opinions.

Teacher: - Indeed, the sound of music is very light, gentle, a little excited. Researchers of Beethoven's work cannot unequivocally say to which girl the composer dedicated this work. But the love, tenderness, trepidation and poetry that sound in it win the hearts of listeners.

No less famous and beloved is the song "Marmot", written by the composer in his youth to the verses of the German poet Goethe.

The lyrical hero of the song is a Savoyard boy wandering around Germany with a trained marmot. (Savoy is a historical region in southeastern France at the foot of the Alps.) Every time the famine in the Alpine valleys became unbearable, the Savoy poor sent their children with trained marmots to roam the streets of the cities of wealthy Germany. At fairs, in hotels and on famous shopping streets, Savoyard boys performed various tricks with their four-legged pets, often accompanying their performances with singing to the barrel organ. (A hurdy-gurdy is a box inside which sounding pipes, furs and a wooden or metal roller with spiked cams are placed in several rows. Turning the handle, the organ grinder could play 6-8 melodies recorded on the roller.)

Sounds like a video clip. Children determine the nature of the work (sincerely, gently, gently, ingenuously, touching)

Lesson summary 1) Is it true that Beethoven "told" in the "Heroic Symphony" only about himself: about his feelings, experiences; about your struggle with the disease? (Oh no)

2) Is it true that Beethoven expressed the feelings and thoughts of millions of people of that time in his Eroica Symphony? (X - yes)

3) "Through struggle - to victory" - is this the main idea of ​​Beethoven's "Heroic Symphony"? (X - yes)

4) Is it true that in such a work as a symphony, composers reveal to the audience their attitude to what has worried a person at all times - Love, Kindness, Beauty. Nature, Friendship, Loyalty, Heroism? (X - yes)

5) Is it true that a classical symphony is a one-movement piece of music? (Oh no)

6) Is it true that a classical symphony is a multi-part piece of music? (X - yes)

7) Is it true that there are three movements in a classical symphony? (Oh no)

8) Is it true that there are four movements in a classical symphony? (X - yes)

9) Is it true that the word "symphony" in Greek means "dissonance"? (Oh no)

- How would you translate the word "symphony" from Greek?

Symphony (Greek, “consonance”) is a multi-part piece of music for the orchestra.

- Epochs, generations change, but Beethoven's immortal music still excites and pleases people's hearts.

Reflection

"My mood"

(“I liked it”, “I remained indifferent to the lesson”, “I didn’t like it”)

- Draw the mood with which you finished the lesson. Explain why.

- What qualities of a partner help to work in a group? (the ability to listen to the opinion of another, the ability to negotiate, the ability to carefully, respectfully treat the position of another, ...)

Teacher: Thank you for the lesson.