Cinema Biography of Songs

The authors of the exhibition Music in the Cinema Music associated with cinema have a long history. Long before the creation of the sound cinema “The Great Dumb,” as it was customary to call cinema before the appearance of sound -reproducing equipment, was not absolutely “silent”. The demonstration of the film was certainly accompanied by music performed by a tape. Especially often, Taperes turned to dance music: Polks, Waltz, Caadrilians, Mazurk, Polonaes, etc.

One of the dancing, which created the emotional sound background of the silent cinema, is mentioned in E. Bagritsky’s poem “The Great Dumb”: “The pursuit rushes invariably under the rabid fuel -shaped thunder”. The poem ends with lines, where the perception of what is happening on the screen is associated not only with the visual, but also in a sound way, although in this case it is by no means positive.

Tapers at one time were many professional musicians, whose work was the Golden Fund of Soviet Art: D. Shostakovich, Yu. Shaporin, G. Sviridov, V. Solovyov-Sedom and other composers. With the advent of sound cinema, they continued the creative activity related to cinema, and, in addition to the works of other genres who received universal recognition, became authors of music for a number of films.

In this area, the composers faced already more complex tasks. The music sounding in the cinema was supposed to strengthen the emotional perception of the events taking place on the screen, deepen the semantic load of action, dynamize it or reduce the severity of the tension, promote the audience interpretation of the images of the heroes, play the role of the commentator, characterize the era in which events are developing, etc.

In addition, the dynamics of the film required a special approach to creativity. The composer was limited by certain segments of the time in which one or another musical material corresponding to the visual series had to be “laying”.

The film-opera by the time of the appearance of cinema, music associated with the audience has existed for several centuries and it was originally created to demonstrate not in cinemas, but in musical theaters. By the beginning of the 20th century, the Golden Fund of Opera and Ballet Music was accumulated, and from the middle of the X, an educational project began to be carried out in the USSR, designed to introduce the general public with the great achievements of domestic opera and ballet art.

The main means of its implementation was cinema. He allowed to reproduce the creations of outstanding composers, written long before the birth of cinema, and the operas of Tchaikovsky-Evgeny Onegin, the Queen of Spades, Iolanta, Rimsky-Korsakov-“Tsar’s bride”, Shostakovich-“Katerina Izmailova” and many others came to the large screen. The musical autographs of the creators of some of the works that, thanks to cinema, have received new life, are stored in the manuscripts of the Russian National Library.

Here, in particular, is the manuscript of Arioso Joland from the opera of the same name by Pyotr Ilyich Tchaikovsky, written on the libretto of Modesto Ilyich Tchaikovsky according to the drama of the Danish poet and playwright Henry Hertz, “The daughter of the King of Rene”. The adaptation of the opera was carried out by the screenwriter and director Vladimir Gorikker at the Riga film studio.

In the city of Pyotr Ilyich Tchaikovsky, who always dreamed of spreading his music, in a letter to N. Thanks to cinema, the audience of the opera, if the whole people did not switch, as Tchaikovsky dreamed, then began to include millions of spectators. The performance of an opera work on stage and the creation of a feature film-opera are significantly different. Despite the artistry of many opera singers, the specifics of the sound recovery and the sound of vocalists do not allow them to easily and freely move in the frame.

In this regard, the role of each character of the opera is played by two artists: a film actor works in front of the camera, and an opera singer is working in front of a microphone after shooting. Such a sequence of action creates difficulties for both performers. The actor must take breathing correctly, simulating singing, and the vocalist should strive to ensure that his articulation coincides with the articulation of the character acting on the screen.

In the film-Opera “Iolanta”, the role of the main character was played by the novice theater and film actress Natalya Rudnaya, who graduated from Boris Schukin in the same G. Theater school. Behind the scenes, the voice of the star of the Bolshoi Theater Galina Oleinichenko sounded. Another work of Ruda and Oleinichenko in this genre and with the same director V. Gorikker was the opera “Tsar’s bride” N.

But here they worked on images of different heroines: Natalya Rudnaya starred in the role of Lyubashi, and Galina Oleinichenko voiced the party of Martha. The primary source of this work-the score of the opera Rimsky-Korsakov, written by the composer’s hand-is also stored in the manuscripts of the Russian National Library 2. The Operetta film is other musical kin-janm, which combined acting and vocal skills, which, like the opera, became a new life in the cinema, became operetta.

The first film "Arshin Mal Alan" operetta of the Azerbaijani composer U.Gajibekova was released after the Great Patriotic War in the city of Nikolai Mikhailovich Strelnikov - - lawyer and musician by education 3 composer, conductor, musical critic was an active musical and public figure. The circle of his communication included many Soviet and foreign composers. Probably, thanks to him, the musical community of Leningrad got the opportunity to directly get acquainted with the Austrian composer, one of the representatives of the Novovensky music school Alban Berg.

Strelnikov met with Berg in Vienna in the spring of G. Nikolai Strelnikov became one of the creators of the Sovetskaya Operetta genre. However, of all the works he wrote in this genre 4, only the “Solder” was preserved in the repertoire of theaters, which he created in the city of manuscripts of the Russian National Library stored the score of this operetta, rewritten and edited by the composer’s son, Boris Strelnikov.

Boris Nikolaevich Strelnikov - - musicologist, teacher, lecturer, author of works about music and musicians 5, prepared this score for the third production of Solder, held in the city of the theater by that time, counted 23 years of his history. It was founded in the city of Operetta was filmed in the city of the film by Roman Tikhomirov, Tamara Semina played the role of Nastya Batmanova, and Tamara Milashkin Ballet in the cinema was performed by another musical phenomenon in cinematography-a ballet film.

In this genre, the ballets of Romeo and Juliet S. Prokofiev, Anna Karenina R. Shchedrin, “young lady and bully” D. Shostakovich and others were removed. In addition, ballet performances were fillet: “Cinderella” called “Crystal shoe” by S. Prokofiev, “Swan Lake” and “Sleeping Beauty” by P. Tchaikovsky, etc. Among ballet adaptations, there is “Raymonda” by A. Glazunov, written by the composer for the plot of the medieval knightly legend.

This was the first ballet of the composer G. Guard score - the musical autograph of Glazunov - is stored in the Russian National Library. It was later performed in the editorial offices of various choreographers, among whom were such outstanding masters as Konstantin Sergeyev, Yuri Grigorovich and others. The others followed this adaptation, one of them was the shooting of the film in the production of Grigorovich.

Music in the cartoon music is equal, and sometimes the leading participant in the entire complex of artistic means in such a genre as a multiplier film. So, the works of classic composers became the basis of many cartoons. Prokofiev "Petya and Wolf." The classic ballet of P. Tchaikovsky “The Nutcracker” formed the basis of the same drawn animated film in different cartoons were played by plays from “Pictures from the exhibition” M.

The Mussorgsky and “Children's Album” P. used independent musical works in these and other films of this kind that gained well -deserved fame. But more often the music for cartoons was written on purpose. Famous composers worked in the animation genre: A. Tsfasman, R. Shchedrin, E. Artemyev, A. Shnitka, S. Gubaidullina and many others. The beginning of music in animated films was laid by V.

It was his composition that sounded in the very first Soviet sound cartoon. Vladimir Mikhailovich Khhnevyov - the author of operas, ballets, symphonic and chamber works, as well as music for the feature films of the “Club of the Empire” Mumb, “The Servant of the Two Lord”, “Academician Pavlov”. He wrote music to popular science films. The manuscripts of the Russian National Library stores his musical manuscripts-the scores for the films: “Architecture of Leningrad”, “Architecture of Uzbekistan”, “Ivan Kulibin”, “Universe”, “Hermitage”, “Repin Penators” The shooting of the latter of the film mentioned here was dedicated to the opening of the museum of the I.

Repin "Penates". In connection with this event, a landscape-documentary film with music V. In addition to all of the above, in the cheap archive there are preparatory and musical materials for the animated film "Post". Initially, the cartoon, created in the city, became the first work of the artist and director-multiplier Mikhail Mikhailovich Zaskhanovsky, who was the author of illustrations for the poem “Post” by Samuel Yakovlevich Marshak, published by a separate book in the dictates of Tsrykhanovsky from this book and became the basis of the cartoon.

To work on the musical content of the film, Tsekhanovsky sent a cheap book with his changes introduced to the poet's text. A letter is also applied to the book, where the director draws the composer's attention to the “cinematic form” of the film, on which “some formal musical moments depend.” In the film, Marshak's poem has changed significantly. Instead of the actually existing writer and traveler Boris Zhitkov, a friend of Marshak, the main character was a fictional character - Boris Prutkov, who, accompanied by his poodle, travels to different cities and countries.