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лекции о музыке
лекции о классической музыке
иван глебович соколов
композитор соколов о музыке
от баха до наших дней
классическая музыка
фортепиано
композитор Скрябин
музыка Скрябина
иван соколов
Александр Скрябин
композитор скрябин
курс лекций Соколова
о композиторах
классическая русская музыка
скрябин прелюдии
скрябин опус 13
скрябин поэма опус 32
скрябин опус 45
скрябинопус 42
скрябин​
соколов_лекции​
о_композиторах
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00:00:03
fourth lecture of our series Kampala
00:00:06
transaq Olaf music we delved into the
00:00:10
work of Scriabin experience 45 three plays are
00:00:17
very short plays but in my opinion
00:00:21
they mark a new period in creativity
00:00:25
I what average later I don’t know
00:00:29
these plays open the third volume
00:00:32
so probably a late three-volume set of Scriabin's
00:00:35
piano music, but purely in terms of
00:00:43
content
00:00:44
they are unusual, firstly, they are very
00:00:46
short, but Scriabin had short works
00:00:48
before, here is opus 33 on, for
00:00:51
example, number three arrival or experience 16
00:00:53
number 4 number five last two tides
00:00:57
2 of 16 opus here is brevity and on 45
00:01:02
number two, a
00:01:03
fancy poem point fantasy,
00:01:06
it lasts about 20 seconds in total, even
00:01:11
shorter than these with people, such
00:01:15
names also appear in the curmudgeon for
00:01:18
unusual ones and he switches to the French
00:01:21
language and in the notation of tempo tempo in the
00:01:25
notation of character in the notation of
00:01:27
names why French why not
00:01:30
in Italian, remember, and in Ferranda,
00:01:34
this non-existent word is still a
00:01:37
little Italian and sounding, it
00:01:39
gravitates towards some completely different world, it’s
00:01:42
already here, and these three plays are a leaf from the
00:01:49
album, a
00:01:50
whimsical poem and a prelude,
00:01:55
look, until the 45th opus there was little or none at all
00:02:01
he didn’t have three from three
00:02:05
plays
00:02:06
such a triad is through antithesis the synthesis of the
00:02:11
triad
00:02:12
this is the beginning of the continuation the end of the triad
00:02:18
in general the whole world is divided into three for example here
00:02:22
in schools we write an essay
00:02:26
introduction statement of the conclusion yes we
00:02:32
come to a lesson on the analysis of
00:02:34
musical form and the first lesson begins with
00:02:38
that is
00:02:39
the core of the development cadence dialectics
00:02:44
philosophy thesis and antithesis synthesis and so
00:02:49
on and so on everything absolutely
00:02:51
begins with this we need to
00:02:54
say something, formulate some thought
00:02:57
briefly
00:02:58
if we want to express something, then we need to
00:03:02
expand this thought to explain the complete
00:03:07
rhetorical disposition passed this is an
00:03:11
antithesis to show to prove
00:03:16
that thoughts are by contradiction
00:03:17
and then when we even go deeper into the
00:03:20
different pros and cons,
00:03:22
at the end we will bring this thought again and
00:03:25
emphasize when I tell it as a student and
00:03:28
even give such an example, but
00:03:30
even in telephone conversations we usually
00:03:33
when we call, we immediately take the bull by the horns, they listen, we
00:03:37
say, you have a
00:03:40
lecture summary, Ivan Ivanovich, but I
00:03:43
don’t, let me write it off,
00:03:45
and then we start talking
00:03:49
about what happened at other lectures, what the
00:03:52
weather is, what concerts, and when we’ve already
00:03:56
talked about everything at the end, everything there’s a
00:03:58
lot of us too, well, that means you won’t
00:04:01
let me copy the lecture there tomorrow or send it to me
00:04:03
in notes this evening, that is,
00:04:06
this is a three-part structure that
00:04:13
consciously or unconsciously
00:04:14
permeates our entire lives and therefore all the elements, all
00:04:21
some musical works,
00:04:24
paintings they everything in general then 3 often this and
00:04:28
this triad you and d u with grain
00:04:32
a lot three ADC in the late period this is
00:04:35
one of the first if not 1 leaf from the
00:04:39
album
00:04:41
[music]
00:05:41
I would bring this piece to Nikolaevich
00:05:45
Naumov
00:05:46
and he explained it to me on this in the play the
00:05:49
theme of the golden ratio is the climax
00:05:57
[music] the
00:06:00
climax of the continuation is the G further
00:06:03
[music]
00:06:04
[applause]
00:06:06
except for the action of the entire period and the 8th bar
00:06:14
ended in the sixth at the beginning of the sixth
00:06:18
factors climax and the G at the beginning in
00:06:24
3 bars and he was just telling me you
00:06:28
can listen my lecture on the golden
00:06:30
ratio, where I remember all this in detail,
00:06:34
which is curious, I already said that
00:06:39
the works of many composers, especially
00:06:43
Scriabin, can be perceived as one
00:06:45
grandiose creation, and when I
00:06:48
realized this idea, I began to develop it, I thought,
00:06:52
where is the grandiose creation in this one
00:06:55
Scriabin's climax, the golden
00:06:58
ratio turned out to be here 45 opus,
00:07:03
more precisely 44 with fractions, that is, somewhere in the
00:07:07
middle of the 45th
00:07:09
bite, the thing is that Scriabin has 4074
00:07:12
opus, but the numbers 50 and 55 are missing in
00:07:19
his,
00:07:20
that is, after the bite of 49, 51 immediately comes so
00:07:23
that before 50 we bite we can’t say,
00:07:28
maybe he was in America, he wrote Lego
00:07:31
hand rollers which disappeared somewhere,
00:07:33
maybe he didn’t like it later,
00:07:35
she’s looking to destroy this play, we
00:07:37
can’t say why there are no 52 and 55 opuses, but it
00:07:42
turns out 72 opuses, and now if you 7
00:07:46
from 2 we multiply by 0.62 how this is done
00:07:49
to understand the golden ratio
00:07:52
we just get 44 with fractions so I
00:07:56
discovered this
00:07:57
and when I discovered this I was reading
00:08:00
Florensky’s book a new book a new volume of his
00:08:04
collected works
00:08:06
which are West editions from a double and a
00:08:07
gog title you Trubachev to his
00:08:11
relatives and there was that well, in the
00:08:17
preface it began that the path of
00:08:19
Florensky’s
00:08:20
creative path in the center, like the golden
00:08:24
ratio, has the year 17 and is divided in the
00:08:29
seventeenth year around November at
00:08:36
this point of the golden ratio into two
00:08:39
parts, the revolution before and after and in this
00:08:45
Tommy was first published and his
00:08:47
article on the golden ratio
00:08:50
Florensky's article is not Slavic when he wrote
00:08:56
his works, he wrote them as a rule
00:08:58
at night he went to bed and before going to bed on the date of the
00:09:05
year and time that's when I these
00:09:10
notes they were used in the book
00:09:14
when I started reading the work of the eagle, that
00:09:16
section, then I saw that it was started
00:09:22
and there write there 2:35 October 25,
00:09:27
1717 you are here exactly
00:09:30
amazing and completely and Scriabin Anzhi
00:09:34
Gentle when he dies why did he
00:09:38
address this topic here
00:09:40
the answer because he always did not
00:09:41
address because first of all, intuition, something
00:09:45
grandiose,
00:09:46
even which he had never dreamed of, in this
00:09:52
play, or that when there were still a lot of
00:09:54
secrets,
00:09:55
leaves from the album were written, but the young ladies
00:10:01
started albums, poets wrote from
00:10:03
Pushkin Lermontov, many leaves from the
00:10:04
album in whose album Scriabin writes
00:10:08
this kind music it seems to be like a
00:10:11
trinket
00:10:12
for what to render boma this is a hero this is a
00:10:16
trinket but the content of this trinket
00:10:20
firstly it seems to cover all the
00:10:24
most secret springs of the universe of the universe
00:10:27
Scriabin's biography here is the first
00:10:29
sound E-flat
00:10:31
is the middle of the teacher's keyboard is it
00:10:36
true that some keyboards are up to the finish like
00:10:38
this, for example, but if they give it to the middle
00:10:42
between the myth and Scriabin, as it were,
00:10:45
starts from the center, remember, remember the beginning of the
00:10:53
third of the ballad and there are other works
00:10:56
that begin with this note, they didn’t think
00:10:58
and it’s not even that important geometrically,
00:11:03
mathematically this is exactly this center
00:11:05
or no, but let’s remember Bach’s Prelude at
00:11:08
home vividly, the main thing is that it’s like Scriabin
00:11:13
is writing a letter to God a letter to God,
00:11:17
dear God, I pray to you, this is in
00:11:21
general essence a prayer,
00:11:24
strange as it may seem, it’s like music that seems to be
00:11:28
completely far from
00:11:29
some kind of Christian then 4 ha moose
00:11:33
who in the choir and church choir we will hear
00:11:36
anyway what Scriabin did is
00:11:40
always his unique prayer
00:11:43
and for him art was certainly a
00:11:47
religion
00:11:48
then the very tonality mega worm openwork
00:11:53
here are two poems opus 44 they are in C major
00:11:59
tables 33 experience is also in C major love
00:12:02
Scriabin to the house zhoru to the king of all
00:12:06
keys in C major, this is not like some
00:12:09
symbol of God the father, the main one,
00:12:12
so to speak, and here, starting
00:12:17
around opus 45, he develops a love for E flat major, what’s the
00:12:22
matter here, several very important opuses, don’t
00:12:27
give in major ones, but there is such a
00:12:30
theory that this is a Masonic tonality
00:12:33
associated with the Freemasons, Mozart has a lot of
00:12:36
past and major abnormal works
00:12:39
in the late period
00:12:40
from the magic flute Kevin State 3a
00:12:44
symfony quintet there and so on and so
00:12:49
forth, but I would not
00:12:54
develop this topic now,
00:12:55
I have another explanation for the fifth circle
00:12:58
and I gave a lecture where there was such a
00:13:04
white board, maybe it will be possible I can
00:13:09
find it for me now I will briefly repeat
00:13:11
the contents of this lecture this is a fifth
00:13:16
helical circle corresponding to the tonal
00:13:19
power circle with the colors C major
00:13:22
this is red then there is G major
00:13:27
orange and then each hunter follows the colors of the rainbow
00:13:29
wants to know where the
00:13:31
pheasant sits and
00:13:33
red orange yellow green blue blue
00:13:37
violet and these seven colors
00:13:42
correspond to the
00:13:43
house heat G major e major in A major in E major
00:13:47
e major and forest with a knife in
00:13:50
these 7
00:13:51
keys I’ll add that
00:13:57
Scriabin’s minor is gradually at this time already
00:14:02
Scriabin ceases to exist, denies the minor, he says that
00:14:06
music is joy, music is a hymn of love,
00:14:10
victory, aspiration to heaven and the minor
00:14:14
should not exist in art in this
00:14:17
minor, which the romantics loved so much,
00:14:20
he denies he only has opus 51
00:14:24
number two for the minor prelude at this
00:14:27
time there will also be F-sharp minor on 7
00:14:29
of 4
00:14:30
apostille from 4 number two, a special case
00:14:33
such where, as if we hear, there is no need there,
00:14:36
Scriabin is returning and Nastya’s channel will talk
00:14:39
about this later, but what to do with
00:14:43
the other five keys of my that are not
00:14:46
included in kind because F-sharp minor is
00:14:50
purple and then the road ends have you
00:14:55
ever seen a very bright
00:14:57
rainbow sometimes if
00:15:00
the rainbow is very bright after purple we
00:15:05
also saw a small edge 8 and it turns
00:15:11
pink again it seems to be done
00:15:15
a little each
00:15:16
pay attention although it is very rare I
00:15:18
saw it several times in England, by
00:15:20
the way,
00:15:21
because in England there are very often rainbows,
00:15:23
in general, the weather there is so close, very
00:15:27
sea-ocean rains, and this
00:15:31
interested me and I decided that the rainbow
00:15:35
has a reverse side, that these are, as it were,
00:15:38
invisible, like the invisible side of the moon,
00:15:40
there is an invisible the colors of the rainbow because
00:15:44
after violet comes, as it were,
00:15:46
ultraviolet, which corresponds to
00:15:48
making ultraviolet rays of radiation,
00:15:51
we don’t see them, but they exist, as it were,
00:15:55
too so violet that we
00:15:57
don’t even see anymore, and this is
00:15:59
ultraviolet,
00:16:00
this is the next channel, there is paklin in that
00:16:03
circle this that is, this fish more major
00:16:05
then goes and then comes the key of A
00:16:10
flat major where there is a little more
00:16:12
pink, that is, a gradual transition from
00:16:16
purple to red then E flat
00:16:20
major, here is the middle key, so to speak,
00:16:24
between C major and we F sharp
00:16:27
major and then B-flat major where there is no
00:16:31
longer a battle major trying to peach flower
00:16:33
color where 50 percent blue and 50 percent
00:16:38
red combination of incredibly delicate
00:16:41
such
00:16:42
purple lilac
00:16:45
here is lilac or he can ask for
00:16:46
normal lilac this is just years major he
00:16:49
also intuitively felt E-flat major
00:16:52
this and peach flower and then there
00:16:56
are the last two keys before
00:16:59
red C major 7 which are almost
00:17:04
red but with a slight tint of blue,
00:17:08
that is, I would say burgundy
00:17:13
raspberry and burgundy B flat raspberry
00:17:16
to burgundy maybe there are some more
00:17:19
precise words for these shades but
00:17:22
the percentage of blue decreases and disappears
00:17:25
completely again in C major,
00:17:27
but it’s interesting that these colors are all kind
00:17:32
of invisible from F sharp yes yes and
00:17:35
therefore tut.by wars data E-flat
00:17:38
amiga my central ones among them and this is
00:17:41
the most
00:17:42
invisible the farthest color between
00:17:45
visible
00:17:46
to major and F-sharp major, but that’s what’s
00:17:48
interesting and that’s why here it’s the most
00:17:53
mystical light and that’s why
00:17:56
Scriabin apparently felt that my mid major is
00:17:58
the most mystical and unearthly tonality,
00:18:02
although it seems like Beethoven’s 5th concert is so what,
00:18:07
what could be more earthly, so to speak,
00:18:09
and others examples of such a
00:18:12
heroic broom major candy for
00:18:16
winds and piano and but much more
00:18:20
I’m not saying that this works
00:18:22
for the classics, so to speak, not even for all romantics
00:18:26
it works, but for Scriabin it almost
00:18:29
always also doesn’t always work renfe
00:18:32
jacket firewall flat major tonality of
00:18:35
fortresses and cities,
00:18:36
here is the raspberry ringing, you know there is such an
00:18:40
expression before the ringing is of a crimson
00:18:43
color and there may be another explanation for
00:18:45
this word crimson and this E-flat
00:18:50
major is very important for
00:18:54
Scriabin and this is the tonality of this leaf
00:18:57
from the album
00:18:58
and what happens in the settings a fancy
00:19:01
poem
00:19:03
is a certain time machine, as if we
00:19:08
are moving from this world of ours to another
00:19:12
completely different world very short in C major
00:19:16
20 seconds ate now I’ll try to play
00:19:18
[music]
00:19:34
and at the end there is a huge long affirmation the
00:19:43
last measure of the pause with the firm that horse
00:19:48
finally sex then Corden
00:19:51
Nina tonic not at the apartments like that here we have an
00:19:53
octagon such an example I call
00:19:58
time machines a bizarre whim
00:20:02
as aesthetic principles this is what will
00:20:08
soon begin with Prokofiev and
00:20:10
Shostakovich Stravinsky Bartok
00:20:14
ugly bizarre strange and terrible
00:20:18
and
00:20:19
as a principle of art Scriabin until
00:20:24
almost the end of his life he
00:20:29
felt the divine energy of this
00:20:31
a ball to their music and he rejected all
00:20:35
the ugly rejections in the already
00:20:40
broken vessel of Scriabin’s music and
00:20:42
will experiment with different
00:20:46
feelings and moods with colors and take a
00:20:49
seemingly ugly fragment and make perfection out of
00:20:52
it and the same thing will
00:20:55
happen in other forms of art but
00:20:58
this moment of whimsicality,
00:21:00
it’s like Scriabin looks into the
00:21:04
modernity of the twentieth century already in the fact that
00:21:08
what we will do with you
00:21:10
after
00:21:11
Scriabin we will study the ugly and
00:21:14
study the strange bizarre we will
00:21:17
change our priorities we will
00:21:23
try to rebuild ourselves to
00:21:25
find the key to the works
00:21:28
other composers whom we
00:21:32
don’t seem to understand at first, we will try to
00:21:34
change ourselves, it’s very difficult to change
00:21:37
ourselves
00:21:38
in order to understand why it’s brilliant that at the
00:21:41
first second or fifth listening
00:21:44
we actively don’t like it, and that’s actually
00:21:48
why I’m talking about this
00:21:51
because there’s a path I’ve made myself in
00:21:56
my youth, maybe even like in my
00:21:58
childhood, I thought if I don’t like this thing,
00:22:03
it means it’s bad
00:22:05
and even like it, and how many people have it
00:22:09
been published and this thing is played by
00:22:13
good musicians, it’s more true that I
00:22:17
don’t understand I I listened 10 20-30 times
00:22:22
some things that were alien to me due to
00:22:24
arthritis, Berg’s violin concerto, which
00:22:27
appeared in the performance of Rozhdestvensky and
00:22:29
Kagan,
00:22:30
or Mahler’s symphony, Brooke’s
00:22:33
punished symphony, which then appeared on
00:22:35
vinyl records, I listened to them for a long time
00:22:38
persistently and delved into them
00:22:40
until some islands appeared. then
00:22:43
beautiful places I like and this
00:22:47
principle and then the prisoners were called by
00:22:50
my composition professor hit the thieves
00:22:54
you don’t like vander let’s
00:22:56
listen to Tristan and Isolde five times in a
00:22:58
row hit him and this strange
00:23:03
whimsical poem leads us to the third
00:23:07
world of trimmer thesis and antithesis
00:23:11
and synthesis again in E-flat major prelude
00:23:15
and again a beautiful country and life here is
00:23:21
different we descended in this spaceship in a
00:23:25
second having traveled 15 light years there,
00:23:30
let’s assume and I’m speaking abstractly and
00:23:34
somewhere we surfaced woke up a
00:23:38
million years later a friend on another universe in in
00:23:41
another dimension in another world and so we
00:23:44
open this hatch, take the first step and
00:23:50
look around
00:23:53
[music]
00:25:20
cosmic music image of space which,
00:25:23
in my opinion, for the first time Scriabin
00:25:25
began to develop in 3 directions to fall and the
00:25:28
poem of Zinov's number plus 32 and of course
00:25:32
in my childhood I had such an album with
00:25:35
paintings of landscapes of the planets of the solar
00:25:39
system, for example, some
00:25:42
Czech artist painted a dust storm on Mars
00:25:46
or Saturn, so I looked at these
00:25:51
landscapes of these planets, of course he was not
00:25:54
there, but roughly so to speak from the point of
00:25:57
view of those photographs that were
00:25:59
available,
00:26:00
then the craving for alien space
00:26:03
when the lion Nikolayevich Naumov was doing with
00:26:07
Nasedkin them Alexey Arka what was
00:26:09
your students a mess sounds of the night
00:26:15
brilliant 4 parts of his suite in the free
00:26:19
air then this music was incomprehensible
00:26:22
but even more so to give them now honestly they
00:26:25
also don’t understand the look of the fat one but Lev
00:26:28
Nikolaich said that they came up with
00:26:32
such an image
00:26:35
music of lunar landscapes and this is
00:26:39
really the
00:26:40
body made six times smaller
00:26:44
people jump up take off as if
00:26:49
hovering above the ground
00:26:50
who is the most that the hands of the miser did when they
00:26:53
played the piano yes all this is incredibly
00:26:56
interesting friends we have sorted out opus 45 with you
00:26:59
along the way a lot of interesting
00:27:01
important things We also touched on the following that
00:27:05
25 lectures we will continue the journey through
00:27:08
this medium understood you Krepin we
00:27:11
will analyze another triad of opus 49 we will also
00:27:15
touch on many
00:27:18
many things that may help us to
00:27:23
better understand the fantastic beautiful
00:27:27
mysterious world of this brilliant
00:27:28
composer
00:27:30
whose name is Alexander Scriabin all the
00:27:32
best

Description:

Увлекательная лекция о мире видимом и не видимом. Классическая музыка -200 уникальных лекций "От Баха до наших дней". Иван Соколов - легенда Московской консерватории. Каждую неделю новая лекция о классической музыке! Подписывайтесь на канал и приглашайте друзей. Предыдущие лекции про Александра Скрябина: • Вступление — https://www.youtube.com/watch?v=zfGqN6Xql4M • Раннее творчество — https://www.youtube.com/watch?v=5rowPQrq-_4 • Мазурки Александра Скрябина — https://www.youtube.com/watch?v=BzRAXDH7lJY • 24 прелюдии, опус 11 — https://www.youtube.com/watch?v=OHErnCvP6E0 • Прелюдии, опус 13, 16 — https://www.youtube.com/watch?v=nPCoXxuBWtc • Прелюдии, опус 16. Начало — https://www.youtube.com/watch?v=lQH2xh2HQLo • Прелюдии, опус 16. Окончание — https://www.youtube.com/watch?v=yl3Xso4XeN4 • Поэма Опус 32 №1. https://www.youtube.com/watch?v=rDdctHdEEqg • Поэма Опус 32 №2. https://www.youtube.com/watch?v=8dOUThXidm0 • От опуса 32 к опусу 42. https://www.youtube.com/watch?v=07LPtv7ulps • Опус 42. №1-4. https://www.youtube.com/watch?v=FjWR4FES1-U • Этюд. Опус 42 №5. https://www.youtube.com/watch?v=nf1WBv91CKw • Три пьесы. Опус 45. https://www.youtube.com/watch?v=GfJCwdKP_Lc • Опусы 48, 49. https://www.youtube.com/watch?v=kSFoktUJI84 Будем рады Вашим комментариям. Как вы относитесь к творчеству Александра Скрябина? Подписывайтесь на наш канал и нажимайте колокольчик - каждую неделю новая публикация.

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