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Subtitles
Russian
00:00:03
thirty-third lecture of our cycle,00:00:05
composer Ivan Sokolov about the music of the last00:00:08
lecture, we analyzed00:00:09
very colorfully from 1 to 6 from Sanatana, without00:00:13
performing simply as a single00:00:16
composition, we tried to approach the ten00:00:19
sonata MSK Levin, I said that 7 it is in00:00:22
general and the climax at the point of the00:00:24
golden ratio for 10 to 1000:00:27
this is a film, this is six point00:00:30
two there, that is, the beginning of the 7th sonata,00:00:33
so I made out the sixth, briefly00:00:38
flipped the page and saw an essay00:00:42
on 63 two plays, I already talked about the00:00:47
corrections that it dilutes, as if peppy is00:00:51
interspersed00:00:52
these large sonatas are 1 particular ones, which the00:00:55
reporting experience begins with only 2 62 64 6800:01:00
70 and the odd ones are small pieces00:01:04
that are absolutely no less significant00:01:09
than the sonatas, this is a very characteristic00:01:12
feature of Scriabin that his little things00:01:15
sometimes turn out to be more significant than00:01:19
large things, just like symphonies00:01:25
so to speak, 1 2 3 and large00:01:29
orchestral works according to mx will also accept and suddenly00:01:32
turn out to be no more00:01:33
significant than the little things,00:01:36
he himself said and here about their 42 number00:01:39
five more significant rank than the third00:01:42
symphony, many in a fit of,00:01:44
so to speak, delight in front of this00:01:48
work but I I think that there is00:01:50
truth here and these two very short00:01:54
plays, experience 63,00:01:57
two poems, mask and strangeness, the theme of the mask,00:02:04
we remember Lermontov’s masquerade in general,00:02:08
the mask is a symbol of the night, a symbol of romanticism,00:02:13
we hide our face at night, we make00:02:18
ourselves absolutely faceless, so to speak,00:02:22
in front of this certain universe, we open00:02:26
our inner face inner essence00:02:29
but cypher that the carnival of00:02:31
noise is also a continuation of the idea00:02:33
of a masquerade, so Lermontov and Schumann00:02:37
and many other examples can be00:02:41
given from under the mysterious cold00:02:45
half mask your voice sounded to me00:02:49
as gratifying as a dream the audience brought me eyes and00:02:53
smiled and sly lips those interested can00:02:56
look at the correct text,00:02:57
but in any case, both in the block and we will find00:03:02
a lot very much00:03:04
about the mask, even the soul and the mask in general,00:03:11
what actually began,00:03:14
what began to happen at the end of the00:03:17
nineteenth century,00:03:19
Tchaikovsky’s Nutcracker,00:03:21
a ballet about dolls, a ballet about a certain00:03:26
fictional world of the Rachmaninovs, slept an overcoat,00:03:31
parsley, a clone, to be afraid all this is, as it were,00:03:37
hiding the human personality of a living00:03:41
organism trembling, this is the Art Nouveau style,00:03:46
then into the world of art by00:03:49
Benoit Lancer and Somov, paintings that00:03:54
very often depicted the world of the 18th century,00:03:58
these people in wigs are all approximately00:04:01
the same, faceless, as if00:04:04
then Stravinsky’s nightingale opera then00:04:10
parsley Stravinsky's ballet remember00:04:12
glory these are two birds living and00:04:15
artificial Andersen's fairy tale about the00:04:18
Chinese emperor here is00:04:21
Stravinsky's parsley ballet Debussy a box of00:04:25
toys also about 11 13 13 years in00:04:30
that Ravil child and magic where all00:04:33
things become hatch living waltz of the grass00:04:37
or where all living00:04:39
Viennese melodies become00:04:41
artificial and broken and much much00:04:45
much more cello sonata00:04:47
on Debussy in which he writes the second movement00:04:50
Aperol prays to the moon00:04:53
Schoenberg Lunar Pierrot and, in general, the whole00:04:57
Shostakovich,00:04:58
starting from the early days with these puppet moments of his,00:05:02
starting with the end of the 15th00:05:04
symphony, we go into the world of puppets of his youth00:05:09
remembers all this, it was not by chance that it arose00:05:15
in art not only Russian and00:05:18
French but also around the world, and here, of00:05:21
course, this play Scriabin’s mask00:05:24
tells us that Scriabin felt00:05:27
this and was in the ausle of00:05:30
this world00:05:39
and00:05:41
a00:05:45
[music]00:06:49
mask experience 63 number one mysterious and00:06:55
this is a constant00:06:58
this is the intonation of the question on which the00:07:01
only thing this whole play is built on00:07:04
intonation questions remember Varum Schumann00:07:08
we have already discussed the genesis of this intonation00:07:11
this is00:07:13
Haydn’s last sonata in E flat00:07:18
major with you in major second movement00:07:21
this is also Beethoven’s sonatas00:07:24
for behind and at farewell the second part of00:07:29
the separation00:07:30
is his hands of noise on this and the famous00:07:35
theme from the death of the gods of factors00:07:39
[music]00:07:43
well, all these are options, of course not which,00:07:47
but still we feel this00:07:50
interrogatively here that00:07:53
what looks further the mystery of the00:07:56
feeling of no one some kind of riddle of this world00:08:02
he whimsically designates these strange00:08:05
chords00:08:06
options government codes and the second00:08:09
piece strangeness and there you are here00:08:15
too almost Prokofiev they were already00:08:20
familiar with Prokofiev Prokofiev had already00:08:22
come to him00:08:23
accepted brought him an arrangement from the first00:08:27
part of the divine poem but of course00:08:31
Scriabin absolutely did not know Prokofiev’s music00:08:34
although he had already been written for00:08:37
driving and maybe even the first00:08:39
concert of the tenth year he could have heard00:08:43
at that time, but he was not interested in it,00:08:45
but these opus 56 that we did not00:08:49
analyze there was a play with irony,00:08:52
also something new, but Lyadov already had00:08:56
without a grimace00:08:58
absolutely new, Lyadov even00:09:01
has pictures where he draws these countries of00:09:06
gnomes of some kind of devils who00:09:08
are a knot in the head of the GPS and Baba Yaga00:09:12
is and this strangeness is00:09:15
to listen to when the00:09:17
[music] starts,00:09:58
very much and I won’t play this whole piece00:10:01
but already it is clear that this is the sister of00:10:06
that riddle about page 52 number two,00:10:09
which you remember we gave and flew away, this is00:10:25
the world of these unearthly00:10:28
creatures that surrounded00:10:34
Scriabin in this lecture, I will also analyze the next opus00:10:38
after the sonata, these are three etudes, experience 65 of00:10:43
this too about the same time, this is a00:10:47
very unusual opus because,00:10:49
firstly, this is the last sketch, and00:10:52
secondly, Scriabin writes, he wrote them in00:10:55
Switzerland and she writes what debauchery00:10:57
I wrote from here in parallel, but our00:11:01
first is it time in parallel major00:11:06
sevenths, what horror is this 2 and the00:11:09
final fall in parallel00:11:12
fifths 3 territorial parallel00:11:14
fifth it was a synonym for the forbidden00:11:17
incompetent and bad in music but in such00:11:20
school Omsk scholar sky terminology00:11:25
but of course also in the impressionist I dare to00:11:30
penetrate of a later time it00:11:32
was completely possible had plastics they00:11:35
were used by Hindemith and so on here and00:11:39
Prokofiev already had mazurka plays at that00:11:43
time00:11:44
in parallel art, there’s nothing00:11:47
wrong with that, he scraped together mastered00:11:49
it, and of course, here’s my friend or the ears of beetles,00:11:55
he expressed a wonderful idea00:11:57
that these parallelisms already00:12:02
anticipate not only the organ that00:12:05
was it’s00:12:06
just that the organs of the register were taken and there00:12:10
this 9th overtone is large but it was00:12:14
highlighted but this is electronic music00:12:17
which didn’t even exist yet00:12:20
some very remote00:12:23
project ideas but if you Scriabin00:12:27
lived to see the electronic era until the 50s00:12:30
which is quite not so completely impossible 7th00:12:33
century 2nd year of birth he was still 90 years old he00:12:38
found in the fifties already the time of the00:12:41
initial first compositions that cold00:12:44
so on he would, I think, be drunk00:12:47
adherents of electronic music here is the beginning00:12:49
of this00:12:50
and here in the nose yes here00:12:57
[music] here are00:13:10
the pants, the cover of the sound A flat has a00:13:14
runny nose and below this Ilyushka strange00:13:23
sounding very interesting place there is in the00:13:26
middle of this from here as an adli00:13:31
concrete it is added to this00:13:36
but but to add in the middle to the screw00:13:42
and this technique will be used by Messian in the00:13:51
tenth looking at the baby Jesus in the00:13:55
gaze of the spirit of joy, then we will00:13:57
analyze our Messianic time and remember00:14:00
this small00:14:01
fragment, then there will also be00:14:06
several more options like this with00:14:08
screws 2 a slow mystical etude and00:14:13
these beauties of these spicy large00:14:17
sevenths00:14:20
[music]00:15:00
and00:15:08
[music]00:15:51
not it is necessary to explain that this beat is all about a00:15:54
blizzard chord in which there are many00:15:57
big sevenths in the second version you see00:16:02
here and C flat otherwise you can do a fish00:16:05
mole and here and00:16:08
F sharp G you can make Barbara and00:16:12
B flat A here there is a seventh apparently00:16:17
this one version of the canopy they are with the field and of course the most00:16:22
spectacular youtube 3 3 of 65 opuses00:16:26
that were often played play at Tchaikovsky competitions00:16:30
scream screw00:16:37
and the second part00:16:40
[music]00:17:01
this is powerful to00:17:04
them peres such we recognize in these00:17:08
carry echoes of the forest king schubert00:17:11
as we already said before and this is a poem,00:17:23
but it’s interesting at the interesting beginning00:17:31
quintana, also hidden in the bromide of Revska00:17:35
McCarthy, fifths, quarts, and I’ll reverse everything,00:17:38
reversible intervals, and the00:17:43
funniest thing for me in this sketch happens at the very00:17:46
end, there00:17:47
’s this designation, sparkling,00:17:50
glowing, left rudder,00:17:52
that’s what went wrong, you’ll play them00:17:54
slowly on the left hand, pay attention00:17:57
[music]00:18:06
this is such a make-up similar to the page that00:18:09
should sound quickly and sweeping away everything like00:18:14
something like the end of the world really, but the00:18:16
left hand plays what00:18:21
than the astrologer from the00:18:23
opera by Rimsky-Korsakov the golden00:18:26
cockerel00:18:27
in the opera the golden cockerel written00:18:30
shortly before writing this and the miracle there00:18:33
you are, the end of the world is happening, well, the cockerel00:18:36
pecks00:18:37
Tsar Dadon on the forehead, the Tsar dies, and00:18:41
let us remember that Pushkin wrote the fairy tale00:18:44
after the uprising of the Decembrists who00:18:47
wanted to overthrow the Tsar, by the way, and00:18:50
if uber the Tsar, then the Tsar you are a god for the00:18:54
Russian people means he dies on everything in00:18:58
the world00:18:59
that happened during the revolution in the00:19:01
seventeenth year, the connection is in00:19:04
general logical,00:19:06
Scriabin00:19:09
didn’t know the opera The Golden Cockerel, it’s understandable and00:19:12
natural, not some kind of quote from00:19:14
Rim Korsakov, but it’s00:19:15
funny and an accidental coincidence00:19:19
that00:19:21
suddenly turns out to be not as much as they were00:19:24
accidental and even more not accidental is that it00:19:29
begins after 700:19:31
it is what we will be doing00:19:32
next time to deal with that and the golden00:19:35
cockerel00:19:50
the cockerel00:19:51
says and kiriku to the kingdom and lying on its side00:19:56
and if something is unfavorable shadows qq00:20:00
beware be on the alert here are two versions00:20:04
of this theme but they begin with the00:20:06
same thing with this triad and Scriabin of00:20:10
course willy-nilly it is not of course00:20:13
by chance that he took and quoted00:20:21
quoted this theme at the beginning00:20:24
7 right away we already talked about the cockerel about the fact00:20:26
that it is a symbol fire symbol of revolution00:20:29
symbol of the end of the world rooster red rooster00:20:33
fire that burns everything burns in this00:20:36
fire everything and this cockerel00:20:39
I will sing one story that the00:20:42
son of a wonderful person told me00:20:49
Dmitry for the shoulder00:20:51
slier liquid Leopold Mitch his dad00:20:55
Dimitri's finger was a very diverse00:20:59
talent of00:21:00
a person and he and he played the part of the trumpet in the big theater00:21:05
in this opera and00:21:08
somehow he mixed up for and played instead of the00:21:13
top of the00:21:17
park, or vice versa, and everything00:21:20
depends on this, you can hear the trumpets and all the people00:21:23
were approaching in the wrong direction and the whole00:21:25
stage was shuffling around00:21:26
went in the other direction and the conductor was00:21:30
such a check by the last name of a [ __ ] and he got00:21:34
angry,00:21:35
took off his shoe and threw a bit in the code or a00:21:39
use teacher shoes almost at the00:21:43
performance of yours it was at a rehearsal00:21:44
between a funny moment happened like that,00:21:48
whatever the connection between the opera The00:21:55
Golden Cockerel and the seventh sonata and these00:21:58
etudes that were written maybe even a00:22:00
little earlier than the 7th sonata, it is certainly00:22:04
another such funny episode from the00:22:06
biography of Scriabin with which we00:22:09
will finish this lecture in 1907, here are the first dio00:22:19
vulture seasons in Paris, Diaghilev00:22:23
summoned all the Russian greats composers00:22:26
in Paris, a presentation of Russian00:22:29
art was arranged for the first time in France, they learned the00:22:32
Soviet dances of Bratina,00:22:35
they learned the amazing music of00:22:38
Rimsky-Korsakov, Scheherazade,00:22:41
and Rimsky-Korsakov himself managed to drag him00:22:46
to Paris with incredible difficulty, because00:22:50
the revolution of 905 led to the fact that00:22:54
many musicians migrated and00:22:57
Rachmaninov lived in dress to me00:22:59
Scriabin went to Italy Chaliapin Gorky00:23:03
also many Stravinsky and so they all00:23:06
gathered there and Scriabin came from00:23:10
Italy everyone is sitting at the Lyadov table and everyone00:23:15
is asking Scriabin what are you doing00:23:17
Alexa Nikolaevich and I’m writing a mystery and00:23:19
immediately trouble begins monologue that everyone00:23:23
will die from tobacco, it will be00:23:27
wonderful music that everyone00:23:29
will merge in one impulse and at some point he gets00:23:32
carried away and starts talking and in general everyone will understand00:23:37
that God would take me for my sins I’m not delighted the00:23:42
ecstasy itself everything is already like so straight00:23:48
block he yes yes well of course of course of course00:23:50
I here he gave a little too much and00:23:56
the voice of00:23:57
Anatoly Lyadov rang out very soberly and00:24:00
his friend who knew that he would not00:24:02
simplify batik what a living god you are00:24:06
just simply a cockerel and everyone laughed00:24:10
cockerel yes yes yes titushka00:24:12
and cockerel you were already written just like that and of00:24:15
course Scriabin forgot I accidentally quoted all this about it00:24:18
in the eleventh00:24:20
year in the film and the rehabilitation of my cockerel,00:24:22
but friends, we are already starting the 7th sonata,00:24:27
which we will talk about next time,00:24:29
thank you and all the bestDescription:
Скрябин и его загадочные сонаты в лекции Ивана Соколова. Рады видеть вас - каждую неделю новая лекция из цикла "От Баха до наших дней". С вами легенда Московской консерватории композитор Иван Соколов. 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 Подписывайтесь на наш канал и нажимайте колокольчик - каждую неделю новая публикация.
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