Debussy. “Bergamas Suite. Television. Detective agency "Moonlight of Debussy before impressionism"

other motives. Thus, the theme of the refrain (A) when first carried out consists of two unequal sentences - 11 bars and 6 bars. There are at least four different motifs in these 17 bars. The first episode (B) also consists of four motives, one of which is derived from the refrain. In addition, there are motives that have obvious connections with the Prelude (at the level of melodic, rhythmic and textural elements).

EXAMPLE 23. Minuet (Berga. Chas suite)

EXAMPLE 23a. Prelude (Bergamas Suite)

EXAMPLE 24. Minuet (Bergamas Suite)

EXAMPLE 24a. Prelude (Bergamas Suite)

Thus, already in this play Debussy demonstrates inexhaustible imagination and freedom in form. But the main thing is an original refraction of the genre of ancient dance, beyond any stylization.

Moonlight Clair de lune

Andante, tres expressif (Andante is very expressive), Des-dur, 9/8

Moonlight is a masterpiece of the young Debussy, one of his most repertoire piano pieces. It exists in various arrangements: for violin, for cello, for orchestra.

“With Moonlight we enter a new universe,” said Halbreich®." Indeed, this is Debussy’s first work in the field of sound landscape, and the night landscape, especially his favorite, moreover, the lunar landscape. It is enough to recall the names of later works to imagine Debussy’s “night” theme: And the moon descends on the once former temple. Terrace of dates in the moonlight, piano Nocturne, orchestral Nocturnes, Scents of the Night, romance Starry Night...

The play is full of charm and subtle sound aroma. A special role is played by the phonism of singing thirds and parallelisms of descending soft-sounding seventh chords. And thirds are an interval that meant a lot to Debussy (it’s no coincidence that he has a prelude Alternating thirds, study for thirds,"tert" prelude of the Sails).

The tonality of Des-dur (Cis-dur) of matte coloring probably also meant a lot to Debussy: this is the tonality of the piano Nocturne, the orchestral postlude of Pelleas, the arioso of Pelleas from the third act, the Moret symphony, the preludes Fairies are lovely dancers. Gate of the Alhambra All this, except Nocturne, was written much later.

Paradoxical as it may seem, Moonlight is connected by thin threads with Prelude to Afternoon of a Faun. The meaning of the two plays is contrasting (night - day), but at the same time there are clear parallels between them. Firstly, both pieces are in the same, rather rare time signature of 9/8. Secondly, with the main key of E-dur, Faun begins in cismoll - a single-pitched scale for Des-dur, in which Moonlight is written. Third, there is a motif in the opening theme of Moonlight that will then appear in the opening bars of Faun.

Lockspeiser E., Halbreich N Or. cit. R. 558.

EXAMPLE 25. Moonlight (Bergamas Suite)

EXAMPLE 25a. Afternoon of a Faun

p doux et expressif

Finally, the phonism of the sound of the third theme in Moonlight is clearly flute (the main theme of Faun is assigned to the flute). In a three-part form, where the middle section is at a more mobile tempo and where the melody sounds against the background of flowing figurations, Debussy’s favorite element is embodied, the one associated with the flowing stream of air, water, light - solar or lunar. And this is also a parallel with Faun.

The abandonment of square structures becomes the norm for rhythmic organization and indicates a new sense of musical time. So, for example, the first sentence is eight bars, and the second is eighteen.

In the area of ​​dynamics, the main thing is laid down: the predominance of pianopianissimo and only two measures in the entire piece forte. This is precisely the relationship that will become characteristic of most of Debussy's works.

It is interesting that in the second sentence, when the melody rises to the upper register and a chord texture appears, and when any romantic composer would have written forte, Debussy's dynamics remain pianissimo (despite the modest, almost imperceptible crescendo). Debussian trepidation, languid understatement, and refinement of feeling are already hidden here. There is still a climax - in the middle section there is one forte bar, after which there is a quick (two bars) fading of the sound - first two pianos, then in the reprise three pianos. And in the code after pianissimo - morendo jusqu"d la fin (freezing until the very end).

V. Yankelevich, reflecting on the philosophy of moonlight as such in Debussy, expressed interesting thoughts that deserve to be widely quoted:

“Moonlight... the Debussian nocturne has little in common with the romantic moonlight, since this moonlight is only an occasion to reveal the poet’s dreams and thoughts. Night for Debussy is what heightens his senses; and they are for us [...] like an unexpected mercy. These feelings penetrate our soul all the more deeply because they are absolutely unobtrusive: they reflect a certain state of naivety - a condition for poetic inspiration [...]. After all, our dreams often arise from the blow of the wind, from the smell of wisteria, which awaken in us exciting memories, a feeling of nostalgia for the past spring [...].

In contrast to all subjectivity [...]Debussy remains, so to speak, in harmony with the natural elements, [...] with universal life. He feels immersed in the universal music inherent in nature. This music envelops us equally well as in sunlight, and in the moonlight of the night [...]. One can compare Debussy's music with ecstasy - the ecstasy of prayer. His bright gaze is in in a certain sense mirror outside world. In the hallucinatory images into which this music immerses us, where is Claude Debussy himself? Claude Debussy forgot about himself, Claude Debussy united in ecstasy with the night and with the light, with the light of midday, the darkness of midnight...”^.

Poetically and very succinctly said about the main thing for understanding Debussy's music.

Passepied

Allegretto ta pop troppo, fls-moll, 4/4

The finale of the suite is the most extensive piece. And she is full of charm, not inferior to Moonlight in this. Its idea is movement. But a lot is embodied in this continuous movement.

The 4/4 time signature does not correspond to the paspier rhythm - an ancient dance in 6/8 or 3/8. Perhaps Debussy used this name precisely as a symbol of rapid and continuous movement? But there are still allusions to the music of that era when paspier was included in the suites, and, above all, in the ascetic texture of the two-voices, in the approach to the sound of the harpsichord.

The elegant melody (extraordinarily extended for Debussy) is accompanied by a continuous staccato in even eighth notes.

nementa (in the spirit of Albertian basses), evoking a vision of a horse race. But not the dramatic leap that is in Schubert’s Tsar of the Forest, and not that dramatic leap by Vronsky from the novel by L.N. Tolstoy Anna Karenina. No! Nice, peaceful picture. One can imagine a horseback ride in the Bois de Boulogne. But under this outer layer of content, many different subtle emotions are embodied, as if this race was mixed with a string of memories of something light, pleasant, seductively tender, bright, associated with the walk. V. Yankelevich writes quite correctly that Debussy feels the mystery of things even where, it would seem, there is no mystery. “He presents the poetic mystery, the mystery of the atmosphere of familiar phenomena, everyday events as a dream”^K And this is said precisely in relation to Paspier.

The play is French in its very spirit. It has French sophistication, subtlety, elusiveness of sensations, lightness and charm. Motifs and themes are layered onto a continuous ostinato background. of different nature, among which are dreamy, fragile, languidly tender, bell-like, sonorous. A kaleidoscope of motifs is combined with a subtle play of tonal colors, with a flexible, relaxed rhythmic organization, with the overlay of triplets in quarters on smooth movement eighth.

Paspier's form is a complex three-part one (the main theme varies with each new repetition) with a multi-themed middle part and a varied reprise, in which the middle is on a new theme:

A (a-b-a,)

C (s-s1-e-G-e,-move) Aj (a^-g-aj)

It is difficult to agree with Yu. Kremlev, who, in addition to Lunny

light, calls all the pieces in the suite “contrived,” while there is nothing more natural and already very original in this wonderful suite.

For piano (1901) Pour le piano

About 10 years separate Bergamasco Suite from the suite Pour le piano. This is the decade of rapid evolution of the composer, the period of opera creation. Perhaps some pieces in the suite were written a little earlier. But the fact remains: Pour le piano -

"Jankelevitch V. Debussy et le myst^re de I"instant. P. 19.

one of the first post-Pelleas works. The harmonic language has become significantly more complex. Debussy uses chains of unresolved seventh and non-chords, juxtaposition of triads of distant tonalities, and whole-tone patterns in both harmony and melody.

The cycle consists of three plays, which is becoming typical for many of Debussy’s works of different genres. Despite the rather large time distance that separates Bvrgamas Suite from Pour le piano, they are close in their neoclassical orientation, the resurrection of genres music XVIII century. But what is this “neoclassicism”? It is uniquely combined with impressionism. Debussy uses allusions to the work of composers of the era of Bach, Scarlatti, Couperin, but at the same time demonstrates what can be done with ancient genres, forms, even some principles of development in modern times, in the new aesthetic conditions of impressionism.

Prelude

Assez anime et tresritme (Quite lively and very rhythmic), A-moll, 3/4

The energetic, fast Prelude is perhaps the only work by Debussy in which the composer “remembers” Bach. A single rhythmic and textural formula, based on the movement of sixteenth notes, is maintained throughout almost the entire prelude, only twice interrupted by a chord martellato and ends with a recitative-improvisational coda. The Prelude is characterized by Bach’s “seriousness” and significance. The low, booming register of the main theme is like heavy, organ bass. The continuous formation of the theme is reminiscent of baroque forms such as unfolding. The continuous movement of sixteenth notes also follows Bach (as in the Prelude s-toI from Volume I of the KhTK), the recitative-improvisation in the coda resembles the end of the same prelude. All this suggests that the allusions to Bach's music were intentional.

EXAMPLE 26. Prelude (For piano)

Tempo di cadenza

EXAMPLE 26a. Bach. Prelude in c-moll, Volume I of the Kharkiv Theater

At the same time, in harmony and in the construction of form, this is typical Debussy. It cleverly veils the edges of the form. Thus, four bars, which are perceived as an introduction giving a rhythmic pulsation, actually contain an important thematic material(motif a, see diagram), on which the contrasting sections of the form are built.

Scheme No. 1. Prelude (For piano)

			Middle part
			a, (16) bi (22)			a2 -(21)
		(derivative				cadence (16)

The second topic (b) is original. In the motor skills of the 16th, a hidden lower voice emerges (melody in even quarters) in the spirit of Gregorian chant. The lengthy development of the theme covers 37 bars. In addition to these two themes, the first section also contains a third: chordal martellato fortissimo, in which parallelisms of increased triads predominate (the image of a bell ringing - it seems to burst into liturgical singing). But this one would seem new topic(c) is essentially a variant (and figurative transformation) of the motive of entry (a).

The middle section switches to a completely different figurative plane, although it is based on the motives of the exposition (a and b). It is built on a continuous tremulous second tremolo (opera Pelleas and Melisande!), against the background of which motive a is developed first, then motive b. The tonality is unstable, relying heavily on the whole-tone scale. But the main thing is that in this section the Pelleas tritone d-as is almost continuously emphasized on the strong beat. Everything connected with him in Debussy’s music is always mysterious and disturbing.

"" The letters in the diagram are motives, the numbers are the number of bars in the motive. This form of notation will remain in subsequent schemes.

But. The chorale theme moves into a high register (here the imitation of the timbre of the celesta or bells comes into force), becomes fragile and restless; As a continuation of the main grain, major eighth triplets are superimposed on the beat of 16th notes like the ringing of high bells.

The number of measures in motives shows new type temporary organization. Organic unsquareness underlies the entire play. Each topic in a new implementation always appears in a different scale dimension, that is, its structure changes all the time, some elements disappear, others appear.

Sarabande

Avec un elegance grave et lente (With elegant seriousness, slowly), cis-moll, 3/4

Sarabande is one of Debussy's most expressive piano pieces. And Debussy would later turn to this genre more than once again and thereby attract the attention of composers of a new generation to it. In rhythm and movement, Debussy retains the main features of Q/a with an emphasis on the second beat) of this genre.

Sarabande's music is full of unearthly sadness and tenderness. The mood of the play echoes one of Pelleas' scenes. The composer almost imperceptibly introduces in the middle of the piece a laconic quote(one might say, a hidden quote) from the orchestral introduction to the 3rd scene of Act I (the first meeting of the young heroes). Quote - Mélisande's motif at its most sung and most beautiful version. In this form, this motif personifies both the first call of love and the sadness of presentiment. Debussy veils its appearance in Sarabande, giving the motive not as a whole, but only its “tail”. He seems to hide the quote and at the same time emphasizes it with the dynamics of mezzo forte (the first time), mezzo piano (the second time) surrounded by piano and pianissimo, as well as the general cis-moll tonality of the play and this scene. So modestly, unobtrusively, Debussy fixes attention on this quote.

EXAMPLE 27. Sarabande (For piano)

EXAMPLE. 27". Pelleas and Mélisande (I - 3)

Sarabande's themes are Debussy's wonderful melodic find: these are melodic lines thickened with seventh chords, non-chords (occasionally and triads), sounding sometimes tart, sometimes soft, but with enormous internal tension. Very expressive opening theme, set out in seventh chords in natural cis-moll, although quite vague, because sometimes it is perceived as gis-moll. The harmonic coloring is exquisite. The composer goes even further in the boldness of harmony in the second theme (the beginning of the middle section). It is built on parallelisms of fourth-second chords with a very specific timbre coloring. But the most impressive melody is the third: whole clusters of seventh chords in two hands, which sound with piercing sadness. The main thing: in mood and intonation, all melodic lines follow from the quote, they are born of it and the meaning that the composer put into this theme in the opera. So Sarabande became the first pianoforte play, with the meaning of which you can o r t h e r a l l u s i o n i n t o t h e p r e c t i c e c e n t

o pers.

IN the texture of the piece is an original contrast between a chordal melody and strict archaic unisons, or a contrast between dissonant chords and consonances of triads. Thus, in the reprise, the first theme is harmonized not with seventh chords, as in the beginning, but with triads (it begins with the triad of the second low degree for cis-moll, forte). Her character changes dramatically. From fragile and mysteriously tender, she turns into solemn, as if recalling another moment of the opera: “I am Prince Golo.” Thus, Sarabande has a double bottom, with a hidden meaning.

Toccata

У1/(Zhivo), cis-moll, 2/4

The finale of the cycle is the embodiment of the idea of ​​movement (like Paspier), or rather, the joy of movement. A brilliant, light, lively virtuoso piece. Paspier is also a movement, but different than in Toccata. There is an almost visible picture, here the composer transfers everything to an abstract plane. In essence, the idea is not new - the idea of ​​motor pieces by Bach, Vivaldi and their contemporaries. The Toccata is close to the Prelude that opens the Pourlepiano Suite. But if that one has “seriousness”, the massiveness of Bach’s organ pieces, then Toccata is closer to the light clavier pieces of French harpsichordists. Its texture is based on the special feeling of “keyboarding” of a pedalless instrument. Here, in particular, the texture of ancient keyboard pieces is combined - dry, monophonic, played with two hands, where the music is devoid of bright thematicism (i.e., based on figurations, sequencing, harmonic modulations) and a texture in which an expressive melodic line appears.

From ancient clavier pieces - the principle of unfolding the fabric in a continuous movement of 16 durations. Moreover, the rhythm of the Toccata is maintained from the beginning of the piece to the end without any deviations (enough rare case in Debussy). But with the continuous movement of 16s, Debussy does amazing things. Athematic music (in the Baroque spirit) is replaced here by the phonism of a pedal piano. And this is a turn to modern sonorism. Such a contrast is interesting in itself. Here, they say, look how it was then and what can be done with the same material now on a modern piano and with the means of modern harmony. T o n e o c l a s s i c i s m a n d t h e n a b a l d i n d e v a t i o n The whole piano style is based on ancient music.

Debussy combines the baroque principle of development (on a single rhythmic-textural formula) with the continuous renewal of texture and decorating it with fresh harmonic colors, unusual tonal comparisons, and modulations. Thus, at the beginning, Toccatas cis-minor - E-major are quickly replaced by chromatic sequences with an unstable tonal center. The middle section begins in a distant C major, which quickly gives way to an erratic wandering through keys.

Purpose of the lesson: Expanding and deepening children’s understanding of the visual possibilities of musical art.

Lesson objectives:

1. Development of creative thinking, attention and memory.
2. Comparison and identification of similar and different features in the music of different composers.
3. Mastering the skills of plastic intonation.
4. Consolidating the ability to identify means of musical expression by ear.

Musical material: L. van Beethoven Piano Sonata No. 14 “Moonlight”, C. Debussy “Moonlight”.

Equipment for the lesson:

1. Piano.
2. DVD player. TV or video projector.
3. Portraits of L. Beethoven, G. Guicciardi, C. Debussy.
4. Audio recordings of “Lunnaya” Beethoven sonatas, “Moonlight” by Debussy.
5. Beethoven L. Piano Sonata No. 14 “Moonlight” – clavier.
6. Colored cards (colored cardboard).

Lesson structure:

1. Organizational moment. The main stage of the lesson.
2. Conversation.
3. Listening and Analysis piece of music(“Moonlight Sonata” by Beethoven).
4. Plastic intonation.
5. Listening and analyzing a piece of music (“Moonlight” by C. Debussy).
6. Watching a video on music by Debussy, analysis, comparison.
7. Drawing up a color palette of lunar colors (application).
8. Lesson summary. Generalization and consolidation of acquired knowledge.

Lesson progress

1.

Teacher: (application: presentation - slide No. 2).

Plunging into a deep sleep, the soul
I will let you go into the open space of the night, -
Fly over the sea and over the land,
Over the desert and in the dense forest.
The night covered the earth with a blanket
Dreams, fantasies, fairy tales and dreams...
The stars and the moon look tired,
Protecting peace, tranquility and dreams.

It was no coincidence that I started our lesson today with poetry, since it will be dedicated to the most mysterious, romantic, fabulous and poetic time of day. The heroine of our lesson is a beautiful and bewitching night luminary, the queen of the night is Her Majesty the Moon. We will call our lesson “Moon Melody”, because today we will hear works by composers from different eras and countries, but all these works are dedicated to the moon.

2.

To begin with, I suggest you play associations. What thoughts, emotions, experiences do you experience when hearing the words Night, Moon? What associations do you have with these concepts?

Children's answers.

(Next on the presentation slide (attachment: presentation – slide number 3) words appear that can be associated with the night landscape: “mystery”, “romance”, “danger”, “fear”, “fantasy”, “coldness”, “magic”, “loneliness”, “mystery”, “fun”, “light”, “joy”, “cheerfulness”, etc. Invite the children to choose the appropriate words).

Summarizing the children's answers and the words on the cards.

Teacher: Different people They perceive the moon and the night in different ways: for some it is a time of danger, anxiety and loneliness, and for others it is the most romantic time of the day, when poets write poetry, magic happens, lovers meet.

Many artists, musicians, and poets dedicated their creations to the moon. Now we will go on a musical journey and hear the music of the great German composer Ludwig van Beethoven.

(Attachment: presentation – slide number 4)

Teacher: Look at the portrait of the composer. What do you think is the character of the person depicted in the portrait? What kind of life did he live?

Children's answers.

Teacher: in Beethoven’s gaze we feel severity, severity. Before us is a man of unbending fortitude, strength of character, because the composer’s whole life was an endless struggle with fate, with a serious illness from which he suffered from the age of 25. It was deafness. For a composer, losing his hearing is a death sentence. creative path!.. But not for Beethoven: with his works he again and again proved to humanity that he would not submit to his illness, his fate.

Beethoven was born in Germany, in small town Bonnet. At about 20 years old, he moved to Vienna, the capital of Austria. Where he lives until the end of his days. In Vienna, he met a beautiful young girl, 16-year-old Giulietta Guicciardi. Beethoven fell in love with this beauty (attachment: presentation – slide number 5), and this, of course, flattered young Juliet. Beethoven immortalized the name of his beloved by dedicating to her one of his most famous works - Piano Sonata No. 14, which was called “Moonlight”. “Moonlight Sonata” is the composer’s reflections alone with nature, where he reveals his feelings for Juliet Guicciardi. Before listening, questions aimed at comprehension: A) The nature of the music, images. What mood is conveyed in the music? B) Did Juliet love Beethoven? How did their relationship develop? (Attachment: presentation – slide number 6) Winter evening decorated the windows, The sky split into snowflakes. Moonlight, like music, is beautiful He went down to the frozen houses. And the “Moonlight Sonata” sounded, It’s like a bright angel has arrived... Ludwig Van Beethoven himself once Sitting at the cold window: It was just as dark winter evening, Maybe the fluffy cat was sleeping nearby. And, throwing a warm blanket over my shoulders, The composer wrote the music. The sky was filled with stars, like diamonds, Moonlight - Bohemian glass, And the houses are covered in snowflakes, as if in rhinestones, And the wine sparkled in the crystal.

Listening to “Moonlight Sonata” in audio recording.

Children's answers to questions posed before the audition. The teacher's summary of what the children said.

3. Plastic intonation.

The teacher performs the initial period of the “Moonlight” sonata on the piano.” Next there is a conversation about the nature of the accompaniment (3 rising notes, reminiscent of the movement of waves) and about the features of the melodic line (the theme at the height of one note, performed in a dotted rhythm, gives the music a masculine character, but with a tinge of despair). Children are invited to convey the features of the pattern of melody and harmony through plastic movements. For this purpose, children are divided into 3 groups: “harmony” and “melody” and “bass voice”.

Harmony group:

With smooth hand movements, similar to the movements of waves, he reproduces the ascending direction of arpeggio sounds in the air. In the process of “intonation,” the exact correspondence of hand movements and harmony sounds and the expressiveness of gestures are assessed.

Melody group:

With a gathered palm at the same height, he “intonates” the sounds of a melodic voice. Accurate reproduction of dotted rhythm and expressiveness of gestures are assessed.

“Bass” group: downward, smooth movements of the hands, as if “plunging” into depth.

4.

Teacher: So, our musical journey along the “lunar path” continues. This time we go to France at the beginning of the twentieth century.

At this time, a new direction in painting with a very beautiful but complex name began to spread throughout Europe - IMPRESSIONISM. (Attachment: presentation – slide number 7). Paintings by impressionist artists - Claude Monet, Auguste Renoir and others (Attachment: presentation – slides No. 8, 9, 10) – were full of bright colors and light; Artists always painted their paintings outdoors, in the lap of nature, so we seem to feel the blowing of the wind, the swaying of tree leaves, the beating of warm air, the riot of colors of nature.

You may ask, how is impressionism in painting connected with music and, moreover, with the moon? In our previous lessons, we talked more than once about the fact that all types of art are interconnected, that painting, architecture, poetry and music have a lot in common! So, impressionism originated in painting, and also manifested itself in music. One of the impressionist composers was a Frenchman (Attachment: presentation – slide number 11). Debussy liked to give very poetic, “picturesque” titles to his musical works: “Footprints in the Snow,” “Fallen Leaves,” “The Sea: From Dawn to Noon.” Indeed, it’s as if this is not a piece of music, but a painting painted not with colors, but with sounds! Note that many of Debussy's works involve paintings of nature.

Today we will hear and even see one of the works of C. Debussy. It, just like Beethoven’s sonata, is dedicated to the night. The title of the work is “Moonlight”.

Before listening, questions aimed at comprehension:

1. Which instrument is the soloist in this piece?
2. Character, mood of the music (gentle, calm, peaceful, serene)

Listening to an audio recording of “Moonlight” by Debussy (arranged for harp).

Children's answers to questions posed earlier. There is a conversation about the harp and the correspondence of its timbre to the music of C. Debussy. (Attachment: presentation – slide number 12)

5.

Teacher: We will combine our second listening with watching a video to Debussy’s music.

Your task is to completely immerse yourself in the music and enjoy its sound. And the most attentive guys will probably hear some difference between the first and second version (in the video, arrangement for piano). Imagine that you are an impressionist artist. In front of you is a palette of paints. You want to draw a night landscape with reflections of moonlight on the surface of the sea, on the leaves of trees, etc. Your painting will become an illustration of the music you are about to hear. What colors will dominate in your painting?

Watch a video to music by C. Debussy (arrangement for piano). (A video clip to the music “Moonlight” by Debussy is presented in the author’s video tutorial “The Magic Screen”). Video options can be selected by following the link

http://video.yandex.ru/search.xml?text=%D0%BB%D1%83%D0%BD%D0%BD%D1%8B%D0%B9+%D1%81%D0%B2%D0 %B5%D1%82+%D0%B4%D0%B5%D0%B1%D1%8E%D1%81%D1%81%D0%B8

Children's answers.

6.

Teacher, summing up the children's answers:

Debussy’s light music also determines the color scheme of the illustrations for “Moonlight” – muted tones, shades of silver and yellow. The video fills us with peace and tranquility. There is no place for passions or drama of Beethoven’s “Moonlight Sonata”.

7.

Compilation color palette. Children are given multi-colored cards. Task: choose colors that could be used to illustrate Debussy's music. You need to make a small composition from the selected cards.

Children's answers with explanations and stories about their composition.

8.

We listened to two works with essentially the same title by two composers from different eras, countries, and artistic movements. It’s amazing how differently composers perceive the same natural phenomena, seasons, times of day! Everyone puts their own meaning, their own content into music, based on their life experience and character. I'm sure your moon themed creations will also be different from each other. Our walk “under the moon” is coming to an end, and I would like to check how you remember new material (quick survey on the topic covered: presentation – slide number 13):

1. What was Beethoven's name?
2. What century did he live in?
3. What country did he live in?
4. What illness did Beethoven suffer from?
5. What is the name of Sonata No. 14?
6. Who is it dedicated to?
7. What was Debussy's name?
8. What century did he live in?
9. What country did he live in?
10. Which artistic direction does he represent?
11. How is “impressionism” translated?
12. Which piece did you like best?

Homework: Make an applique “Moonlight” from colored cards.

Suite for piano:

1. “Prelude”
2. “Minuet”
3. “Moonlight” (Clair de lune)
4. Passepied

It is difficult to speak with confidence about " Bergamasco Suite"(The name is obviously not from an ancient Italian dance, but from a term by Verlaine (“...masques et bergamasques..." in “Clair de lune” from the first series of “Fetes galantes.”), since this is a work that originated originally in 1890, it was remade and completed more than once, receiving its final form only in 1905, in the era of full maturity Debussy.

In the first, second and fourth movements of the Bergamasco Suite (“ Prelude», « Minuet" And " Paspier") neoclassical tendencies are strong. The Prelude and Minuet probably had especially many later alterations and additions - these parts most strongly reflect Debussy's later style. Such a collision of old with new makes them somewhat far-fetched. Paspier is more naive and fresh (albeit more verbose, less compact in form), since here Debussy is further away from stylization and uses found materials more freely impressionistic contrasts and spots of colors.

But the best part of the suite should, of course, be called the nocturne " Moonlight"(perhaps this is the part that was originally called “Sentimental Walk”). “Moonlight” is one of the most charming inspirations of the tender and fragile romanticism of early Debussy, who still uses harmonic means very carefully, but already finds very subtle and refined ones among them.

The music of this piece undoubtedly contains the image of flowing water (which brings it closer to the play “On a Boat” from “ Little Suite"), but the emotional content is much deeper and more poetic. The “fluidity” of the entire lyrical landscape is amazingly plastic, the form slowly unfolds and closes with rare naturalness and softness. The melos, for all its fluidity, still forms a very noticeable and memorable pattern of large, smooth waves due to sequential repetitions and amplifications of the main chants, as well as due to clear climaxes. Despite the likely later improvements of the play, the early Debussy is everywhere felt with lyrical-romantic accents, which were later lost. Once again a possible prototype of this music comes to mind, both distant and close in its emotional structure - distant in terms of dramatic tension, but close in terms of poetic spirituality. This is the duet of Marina and the Pretender from “

The series Moonlight Detective Agency aired in 1985 on ABC. The title is a play on words. Moonlighting is not only moonlight itself, but also in the jargon - “part-time job”, “hack job”.

It wouldn't have happened without the moon either.

Full version of the song from the series intro

The creator of the series, Glenn Gordon Keron, learned from the channel’s management that the new show would be a detective story. “Oh yes, another detective that the American audience is missing,” said Caron. However, no one paid attention to his opinion. After some time, they finally managed to agree on creating a “romantic line” in the story.

The main characters of the series David and Maddie

Caron cites William Shakespeare's The Taming of the Shrew as the main source of inspiration for the plot. Actually, the “Atomic Shakespeare” series is a direct parody of the classic work, a real costume adaptation.

Parody series “Atomic Shakespeare”

Parody and grotesquerie became the signature features of the series' scripts. There are many elements here that could be classified as “surreal.” Actors often break the fourth wall. They address the audience from the screen, discuss their characters, the actions written in the script, and discuss the plot. In one of the episodes, before it starts, the performers of the main characters discuss the timing of the footage, thereby trying to “pull” time.

Heroes address the audience

Orson Welles himself recorded an address to the audience before the episode “The Dream Sequence Always Rings Twice”. This was his last filming on television. He will die in a week.

Orson Welles previews the episode

Orson Welles appears in the series in person

The series was experimental in nature, part of it was stylized as a black and white film. Moreover, it was the most expensive episode filmed on television at that time. Its budget was $2 million. Film noir, thriller, comedy and television shows were all genres parodied in the series. They even planned to film a Western episode, but the idea was never realized. Similar stylizations have become distinctive feature series. The viewer never knew how the plot would develop further.

Series “The Dream Sequence Always Rings Twice”

The actors could emerge from the mise-en-scène onto the set, showing the underside of the series' set. The narrative may include the process of casting actors for one of the roles. And in an episode that ends with a writers' strike, the actors are forced to come up with their own text on the fly.

Self-irony is the main trump card of the series

Filming the series “Moonlight Detective Agency” was very difficult

The filming of the series was not cloudless. The characters of the main characters made themselves felt characters, and the process itself was very difficult. Often the creators simply did not have time to film the episode in time. They had several options: include elements of the main characters' memories into the plot (read: show fragments of past episodes) or simply delay the airing. The latter happened so often that a promotional video was aired that showed the producers waiting for the new episode. However, this was the most elegant way out of the situation.

The series became an iconic show of the 80s

In 1986, an episode of the series was announced with elements in 3D format. The sponsor of the project was the Coca Cola company. The viewing glasses (40 million pairs were made) were to be distributed through the periodical press. But due to the writers' strike, the episode was never produced.

Cover of the 3D series press kit

3D series press kit spread

Whoopi Goldberg, Pierce Brosnan, Bruce Willis's wife Demi Moore - that's far from full list"guest stars" who starred in the series. They could be themselves or play some role. For example, Rocky Balboa once appeared in the series. But the most unexpected guest on the show was definitely Timothy Leary.

Timothy Leary starred in an episode of Moonlight Detective Agency

The series was canceled due to declining ratings. Their reason was considered to be the resolution and completion of the main romantic line. But it is worth noting that there were more compelling reasons. Cybill Shepherd's pregnancy, Bruce Willis's film career and their tense relationship film set played their role. Not long ago there was a rumor about a possible film version of the series. Whether the modern film industry will accommodate such freedom of expression is still a question.

The show was popular with viewers. And it has earned the love and recognition of professionals. Thus, one of the episodes of the animated series “Alvin and the Chipmunks” parodies the style of the “Moonlight Detective Agency”.

Fragment of the episode "Dreamlighting" of the TV series "Alvin and the Chipmunks"

The Indian television series One Plus One, released in 1997, is an unofficial parody of Moonlight Detective Agency.

Fashion designer Igor Chapurin presents a collection inspired by the series

The collection of domestic designer Igor Chapurin “Spring-Summer 2017” was inspired by the aesthetics of the 80s and was dedicated to the famous TV series. It was called “Moonlighting”.