4023 rub

Guitar tuner with auto switching Flight FAT-46G.

The tuner turns on and off automatically. To turn it on, move the tuner head to a vertical position. To turn off the tuner, move the tuner head to a horizontal position.

The power saving feature automatically turns off the device if it is not used for more than 5 minutes.

Mounting method: clip

Frequency range: A subcontra octave A0 (27.50 Hz) – Up to the fifth octave C8 (4186 Hz)
Accuracy: +-1 Sep
Calibration: 440 Hz
Power: 3B (CR2032 lithium battery)

467 rub

Zoom G5N is a multi-effects processor for guitarists. When designing the G5n, the primary goal was to create the finest collection of guitar effects ever offered to guitarists. In G5n you'll find dozens of keys, from "FunkSauce" to "Texas Toast", and from "Carlos" to "Heavensent".

The G5n guitar processor includes 68 high-quality DSP effects, plus 10 realistic amp and cabinet emulators ever created by the Zoom Sound Lab.

The G5n offers you a fresh take on not only essential guitar effects such as overdrive, distortion, compression, EQ, delay, reverb, flanger, phaser, vibrato and chorus, but also unique multi-effects such as Seq Filter, Gold Drive, Reverse Delay, HD Hall and OSC Echo.

You can connect the G5n directly to your PA system or audio interface using one of 10 all-new amp and cabinet emulators.

Zoom is constantly recruiting talented professional guitarists to collaborate with us to unlock the rich capabilities that the G5n offers. The processor includes 100 new hand-crafted patches designed to recreate the best guitar sound best musicians of recent decades, such as Eddie Van Halen, Jimi Hendrix, Jimmy Page, Carlos Santana, Michael Schenker and Brian May. Plus, there are completely new styles and combinations available specifically for G5n players.

The modern sound of "Lead BGN" will help you stand out from the crowd, while "Phazed" will recreate the intense sound of a tube amp with a phaser. The “UFO” patch will set up a parametric EQ in the style of the lead guitarist of the band of the same name, and “DreamWorld” will ideally combine crunchy overdrive, enhanced with Tape Echo (tape delay) and reverb.

With ZOOM Guitar Lab software, you'll always be able to discover new effects, amp and cabinet emulators, and gain access to an ever-expanding library of exclusive patches created by professional guitarists.

The setup process is simple and intuitive, thanks to the unique large display that allows you to quickly add, remove or reorder effects. On a regular pedalboard, performing such tasks requires much more effort. The G5n also features four independent displays to help you find your perfect sound. Memory banks are recalled very easily and generally replicate the experience of using a stompbox. You can store up to 200 of your own effects chains in the device's memory as patches, each of which can be accessed by simply pressing a footswitch.

The G5n's expression pedal allows you to smoothly control tone, volume, or selected parameters in real time, and effects are triggered on the fly using stompbox-style footswitches. And when you're playing your guitar solo, the G5n's built-in output amplifier will come in handy. A dedicated Tap Tempo footswitch helps you easily synchronize your rhythm patterns and delay times with the beat and bring order to your sound.

The G5n processor is capable of handling complex tasks that would normally require an arsenal of stompboxes, amps and cabinets. You can apply up to nine effects and amp and cabinet models simultaneously. Combine them into a chain in any order you like. The G5n has the capabilities of hundreds of full-fledged pedalboards rolled into one compact, easy-to-use device.

Number of simultaneous effects: 9
Number of programmable tone sets/patches: 200
A/D conversion: 24 bit, 128x oversampling
D/A conversion: 24 bit, 128x oversampling
Signal processing: 32 bit
Display: 4 LCD displays 128x32 dots, 1 LCD display 256x32 dots

22814 rub

The Altai Comus of Pavel Potkin is one of the modifications of the famous “Comus of Potkin”. There are also Vladimir Potkin's comuses, which are distinguished by a gentle, soft sound, while Pavel Potkin's comuses can be called a more masculine instrument. Pavel Potkin's instrument is small, with an enlarged "horseshoe", with a lower sound, with deep vibrations. The instrument is fragile and requires careful handling; it is advisable to store it in a case, preferably a wooden one, since such a case prevents deformation of the tongue and moisture ingress.

803 rub

Electric-acoustic guitar 39 inches with cutaway.
Top deck: lime plywood.
Bottom deck: lime plywood.
Shell: linden plywood.
Neck: linden.
Frets: yellow.
Neck face and bridge: maple.
Pickup: 3-band equalizer.
Additionally: chrome plated cover.
Strings: 3 nylon + 3 steel

3671 rub

The Fellowes I-Spire Series footrest elevates your feet to ensure a correct and comfortable position while working. The non-slip textured surface prevents your feet from sliding on the surface of the stand and makes its use comfortable. Stylish design fits harmoniously with any interior.

2600 rub

4840 rub

Advanced Steinberg UR12 audio interface in a compact and durable metal case with a maximum operating mode of 24 bit/192 kHz. This model has a discrete Yamaha D-PRE microphone preamplifier with support for +48 V phantom power. The device is also equipped with various interfaces and connectors, namely an XLR microphone input, a Hi-Z instrument TRS input, as well as a 2 x RCA stereo line output and a jack connector for connecting headphones. Steinberg UR12 allows hardware signal monitoring with zero latency. Support for Windows, Mac OS and iOS operating systems is available. It is possible to work with iPad via the Camera Connection Kit or Lightning to USB Camera Adapter.

Supports modes up to 24-bit/192 kHz
Durable all-metal housing

Microphone input MIC D-PRE (balanced, XLR):
Maximum input level +0 dBu
Input impedance 4 kOhm
Gain range +10 dB... +54 dB
Guitar input HI-Z (unbalanced, TRS):
Maximum input level +8.5 dBV
Gain range +/-0 dB ... +40 dB
Line output MAIN OUTPUT (unbalanced, RCA)
Maximum input level +6 dBV
Output impedance 600 ohms
Headphone output PHONES 1/2
Maximum input level 6 mW + 6 mW at 40 ohms

System Requirements:
Dual-core Intel or AMD processor
RAM: 2 GB
Disk space: 4 GB
Screen resolution: 1280 x 800
OS: WindowsXP/Vista/7/8/8.1; Mac OS X 10.7/10.8/10.9/10.10; iOS 6 or higher
An Internet connection is required to install and activate Cubase AI software.

8290 rub

The Hohner Marine Band Deluxe 2005/20 A is a modernized model of the classic Marine Band 1896/20. Unlike the traditional version, its body is not covered with paint, but is made of very hard wood and varnished with a special compound. Lids

3757 rub

Zoom UAC-2 is an ultra-fast two-channel audio interface for Mac or PC. Take your audio quality to the next level.

With UAC-2, you can add two high-quality (24-bit/192 kHz) audio channels to any USB 2.0 or USB 3.0-equipped Windows or MacOS computer, or even your iPad. The UAC-2 features USB 3.0 SuperSpeed ​​technology, which provides low-latency signal transmission and includes advanced features such as 4x upsampling, Loopback and MIDI I/O. Connect any microphone, musical instrument, or any other line-level source, and you can use the UAC-2 to play audio on stage, record to a digital audio workstation, or simply enjoy high-quality audio at home or work. You can also use the UAC-2 audio interface for online media presentations, podcasts, game broadcasts and much more.

Live performance
Now you can get the most out of your laptop during every performance with the UAC-2 portable audio interface, which can be powered directly from USB (no AC adapter required). It's always ready to travel, and USB 3.0 SuperSpeed ​​technology ensures high-quality audio wherever you go.

Media presentations, podcasts, games and online broadcasts
Broadcast the results or process of your creativity, take your video game experience to the next level, or share your experiences with the world. Loopback lets you combine the signal from connected microphones, instruments, and other line-level sources with background music or any other audio track playing on your computer. You can then use the combined signal in your online streaming software.

Recording and archiving
By combining the UAC-2 audio interface with a digital audio workstation (DAW), you can create stunning audio in any environment. You can connect a wide range of microphones, musical instruments and any other linear signal sources. Direct Monitoring allows you to overdubbing with zero latency. Sync your MIDI controllers, sound modules and drum machines to record and save the resulting audio in high quality. The UAC-2 audio interface packs everything you need into a compact package.

Computer audio quality
Do you think your speakers or headphones sound good? Try connecting them to your computer via UAC-2, rather than using the standard audio outputs, for an unparalleled experience. Now you can enjoy high quality audio streaming up to 24-bit/192 kHz.

Full compatibility
The UAC-2 audio interface is particularly flexible. It can be connected to any device, from outdated laptops with USB 2.0 support, to the latest generation computers with MacOS or Windows operating systems and USB 3.0 support. Alternatively, you can plug it straight into the mains and connect it to your iPad using a Lightning-to-USB adapter or the Apple Camera Connection kit.

MIDI Capabilities
The UAC-2 features MIDI (in/out) connectors that provide unparalleled synchronization accuracy between your computer and devices such as electronic keyboards, controllers, drum machines, synthesizers and samplers.

USB 3.0 SuperSpeed
UAC-2 supports USB 3.0 SuperSpeed ​​transfer protocol, which is ten times faster than USB 2.0 and six times faster than FireWire 800. What's in store for you? Low latency, which will greatly improve the performance of audio recording and processing software. In addition, you can provide a stable data stream that is not affected by digital signal jitter, eliminating the need to connect external sources as the main clock.

The UAC-2 audio interface features high-tech components such as the Burr Brown PCM4202 A/D converter and the AKM AK4396 D/A converter. In addition, the UAC-2 can perform quadruple upsampling during both D/A and A/D conversion. In other words, when the sampling frequency is 44.1 kHz or 48 kHz, the UAC-2 processes the signal at high quality, which is 176.4 kHz or 192 kHz. With analog-to-digital conversion, this results in reduced extraneous noise, while with digital-to-analog conversion, this results in increased sound clarity and fidelity.

Borodin's second ("Bogatyrskaya") symphony

Borodin's Second (“Bogatyrskaya”) Symphony

Alexander Porfiryevich Borodin (1833-1887) was one of the most outstanding and versatile figures of Russian culture of the nineteenth century. Brilliant composer, tireless public figure and teacher, Borodin is also known as a major scientist who enriched domestic science valuable research in the field of chemistry.

In the early sixties of the century before last, Borodin became close to the wonderful Russian composer Mily Alekseevich Balakirev, around whom many advanced musicians rallied in those years. Now, when we talk about the “Mighty Handful,” as V.V. called the Balakirev circle. Stasov, we mean, first of all, the community of five Russian composers - Balakirev, Borodin, Cui, Mussorgsky and Rimsky-Korsakov. Creative activity the remaining participants of the Balakirev circle left a less significant mark on the history of Russian musical culture.

In the article “25 years of Russian art”, published in 1883, V.V. Stasov wrote: “Borodin composed little in terms of quantity, much less than his other comrades, but his works, all without exception, bear the stamp of full development and deep perfection... Borodin’s talent is equally powerful and amazing both in symphony, and in opera, and in romance. Its main qualities are gigantic strength and width, colossal scope, swiftness and impetuosity, combined with amazing passion, tenderness and beauty.”

This description, which was given to Borodin by one of the luminaries of Russian musical thought, contains a laconic, but deep and accurate assessment creative heritage great composer. Indeed, it is not very extensive. The opera “Prince Igor”, three symphonies (the third remained unfinished) and the symphonic picture “In Central Asia", two string quartets, a piano quintet and some other chamber instrumental ensembles, a dozen small piano pieces and two dozen songs and romances - this is a list of Borodin's main works.

This list contains “a little, but a lot,” as the old saying goes. For “Prince Igor”, and symphonies, and quartets, and romances by Borodin belong to the highest achievements of Russian musical classics. Borodin deeply comprehended and with the power of genius revealed in his work the national power of the Russian people, their greatness, the structure of their thoughts, the beauty and nobility of feelings. Continuing Glinka's traditions of Russian music, Borodin turned to the inexhaustible riches of Russian songwriting, to the images of Russian heroic epic and soulful folk lyrics.

In 1869, the composer began work on the opera “Prince Igor”, in which the images of the greatest monument were embodied ancient Russian literature- “Tales about Igor’s Campaign.” The idea of ​​Borodin’s Second Symphony, which was later called “Bogatyrskaya” by the composer’s friends, also dates back to 1869.

The idea of ​​the symphony was in direct connection with the steadily growing interest of the advanced Russian public in the Russian epic that clearly manifested itself in the sixties. At the very beginning of the sixties, Russian scientists P.V. began to publish, for example, extensive collections of epics. Kireevsky and P.N. Rybnikov. Masters also showed great interest in Russian epics. Mighty bunch", who were attracted to these amazing monuments of creativity of our people not only by the echoes of the heroic past of our Motherland, but also artistic images, created by folk fantasy and reflecting the titanic power, fearlessness and ingenuity of the Russian people.

Borodin's closest friend, the great Russian composer N.A. Back in 1867, Rimsky-Korsakov created the symphonic painting “Sadko”, which in the first edition was called “Episode from an epic”. In the nineties, Rimsky-Korsakov, already a mature master, revised this work, and then wrote one of his own best operas“Sadko” is based on the plot of the same Novgorod epic, deeply revealing its content and boldly introducing folk singing narration techniques into the opera score. The composer himself noted in the Chronicle of My Musical Life: it is the epic recitative that “sets my Sadko apart” from all my operas, and perhaps not only mine, but also operas in general.” And he immediately explained: “This recitative is not a spoken language, but a kind of conventional epic tale or chant... Passing like a red thread through the entire opera, this recitative imparts to the entire work that national, epic character that can be fully appreciated only by a Russian person.” .

It is also known that other members of the “Mighty Handful” were keenly interested in Russian epic, in particular epic, tunes. These tunes were recorded by M.A. Balakirev (in the early sixties) and M.P. Mussorgsky, who partially used his notes while working on the opera “Boris Godunov,” and partially communicated them to Rimsky-Korsakov, who processed some of them and then included them in his collection “One Hundred Russian Folk Songs.” So, for example, the epic tune “About Volga and Mikula” (“Svyatoslav lived for ninety years”), included in this collection, was recorded by Mussorgsky and passed on to Rimsky-Korsakov, who created his own adaptation of this Northern Russian epic on this basis. We meet other epics in Rimsky-Korsakov’s collection, for example, “About Dobrynya.” The composer took the melody and text of the epic from the “Collection of Russian Folk Songs”, published by M. Stakhovich in 1952-1856.

Thus, the great masters of the “Mighty Handful” in this regard continued the work of Glinka, who in his “Ruslan” laid the solid foundations of Russian epic music. One cannot help but recall here the immortal name of Pushkin, who in the poem “Ruslan and Lyudmila” and in other works created classic examples of the artistic translation of the images of the epic epic. Pushkin did not yet have scientifically reliable records of epics. But in “words”, “stories”, “tales” and “stories”, as epics were once called, he, with brilliant insight, saw inexhaustible artistic treasures. The great Russian poet understood their value primarily because already with youth comprehended the charm and beauty of the Russian folk art. As a child, he listened to the fairy tales of his nanny Arina Rodionovna, and then he himself looked for and recorded folk songs, epic tales and melodies.

Let us also recall that a year before his death, Pushkin began work on commenting on “The Tale of Igor’s Campaign” and, comparing this gigantic monument of Russian epic with the work of poets of the 18th century, noted that they “all together did not have as much poetry as is found in lamentation.” Yaroslavna, in the description of battle and flight." It would not be an exaggeration to say that from some of Pushkin’s pages, marked by the special, incomparable solemnity of Russian speech inherent in him alone, threads stretch to the majestic images of the Lay.

So, when starting to work on “Prince Igor” and on the Second Symphony, Borodin relied not only on Glinka’s traditions, which were continued by the members of the Balakirev circle, but also on the creative experience of Pushkin, who first raised Russian epic poetry to the heights of artistic classics.

Begun in 1869, Borodin's Second Symphony was completed only in 1876, since part of this time was spent working on the opera and the first string quartet, and the composer composed music only in fits and starts, conducting intense research activities during these years. The first movement of the symphony, completed in 1871, made an unusually strong impression on the composer’s friends, to whom he showed this movement. The symphony was first performed on February 2, 1877 under the baton of E.F. Napravnik (1836-1916) - an outstanding conductor and composer, Czech by birth, who, like many of his compatriots, found a second home in Russia.

In the already mentioned article by V.V. Stasov writes that Borodin’s Second Symphony has a programmatic character: “... Borodin himself told me more than once that in Adagio he wanted to draw the figure of a “accordion”, in the 1st part - a meeting of Russian heroes, in the finale - a scene of a heroic feast, with the sound gusel, with the rejoicing of the great crowd." These words of Stasov are for us the key to understanding the program of Borodin’s “Bogatyr” symphony. The symphony begins with an energetic first theme, which is carried out by the whole string group orchestra, while the horns and bassoons emphasize stops on sustained notes:

Already from the first bars, the listener gets the impression of that “giant power” that Stasov wrote about. Brief, expressive melodic phrases alternate with heavy “stomping” beats, enhancing the feeling of heroic power that arises at the very beginning of the symphony.

You should pay attention to the construction of the first bars, which is unique not only rhythmically, but also in terms of mode. Despite the fact that the symphony is written in the key of B minor, in the example we have given, the sounds D and D sharp alternate, although the latter, it would seem, belongs not to B minor, but to B major. Such variability is one of characteristic features Russian folk song creativity. It is also necessary to emphasize that the melodic riches of Russian folk song do not fit into the usual framework of “European” major and minor, and that Russian composers have widely developed and are developing these riches in their work. It is in the national origins of Russian musical culture that the variety of means used by Borodin in the Second Symphony to reveal the images of the heroic epic of the Russian people is rooted.

The development of the first theme takes it beyond the low and middle registers. Following the first segment of this theme, which gives rise to the idea of ​​the heroic tread of the knights and the mighty blows of the armor on the ground, a joyful, lively response from the woodwind instruments is heard in the upper register, as if the sun was sparkling on gilded helmets and shields:

Masterfully juxtaposing both sections of the first theme, the composer achieves an amazing picturesqueness, almost physical tangibility of the images of the “meeting of Russian heroes” depicted in the first part of the symphony. These images are expressively highlighted by the second theme, which in its melodic structure is also extremely close to Russian folk song:

This theme is first sung by cellos, and then it moves on to flutes and clarinets, acquiring the character of a pipe melody, and finally, it is presented in full sound by a string group. Carrying out both topics (in other words, “ main party" and "side part") forms the first section of the sonata-symphonic form in which this part is written, that is, its exposition. It ends with the final part, built mainly on the material of the first theme and ending with solemn chords.

The central section (development) of this part contains the development of musical images of the first section (exposition), leading to a large build-up, which prepares an even more powerful, even more solemn presentation of the first theme. Here, in the third section (that is, in the reprise), both segments of the “heroic” theme are presented in a brilliant, full-voiced presentation. The presentation of the second theme, which is assigned to the oboe in the reprise and then moves on to string instruments, is also somewhat different from the exposition. The first movement ends with a majestic unison of the orchestra, with enormous power proclaiming the first theme.

The second movement of the symphony is called the Scherzo. Stasov does not tell us anything about the program of this part, but we can easily guess from the nature of the music that here the composer painted a picture of heroic games and amusements, often found in Russian epics. The Scherzo is written in three-part form, with its first section, repeated after the second section, built on two themes.

The Scherzo begins a short introduction. Against the background of the booming timpani beats, a bright, inviting chord of a brass band sounds. And in response to this call, a rapid sound stream arises, evoking the idea of ​​a jump or run, giving way to a kind of waving of a weapon, which can be seen in the short, accented phrases of the second topic of this section:

Bogatyrsky symphony Borodin composer

Great tension is achieved by carrying out this “theme of heroic fun”, alternating with the first, lighter and more rapid theme. And the middle section of the Scherzo is built on a wonderful melodious melody, contrasting with both themes of the first section, which is widely developed:

Passing at first in the tunes of woodwind instruments, this theme is then heard in the string group. At the moment of climax, the ringing chords of the harp burst into the accompaniment of the melody, already here evoking the “loud strings of button accordions”, which will sound even more expressively in the third part of the symphony. The final section of the Scherzo is built on the first two themes, being a repetition, and partly a development, of the first section of this part of the symphony.

The third part of the symphony paints, according to the composer himself, which he told Stasov, the image of the ancient Russian singer-storyteller, Bayan. This name comes from the legendary Bayan, who became a household name and was mentioned in “The Tale of Igor’s Campaign,” who “didn’t let ten falcons into a flock of swans, but laid his prophetic fingers on living strings.” During the period of the creation of Prince Igor, Borodin studied the Lay especially carefully. The image of Bayan, poeticized by Pushkin and Glinka in “Ruslan and Lyudmila”. He also attracted the author of the “Bogatyr” Symphony.

At the beginning of the third movement of the symphony, the harp chords accompanying the brief clarinet chorus sound like the introduction of the gusli, preceding the epic narrative. And the first theme of this part, entrusted to the horn, soloing against the background of chords of the harp and string group, has the character of a narrative, melodious and leisurely:

Subsequent themes already introduce elements of drama associated with the epic nature of this part, with its content, which we perceive as a story about heroic deeds. The roll call of wind instruments sounds alarmingly on a short, expressive theme:

The gradually increasing tremolo of the strings leads to an increase in tension, emphasized by menacing descending strokes. Against their background, another brief dramatic theme appears in a low register, intertwines with them, and then rapidly develops:

Following a brief build-up, a powerful climax from the entire orchestra, and a four-bar woodwind call built on the second theme, the first epic theme resounds powerfully, heralding the victorious outcome of the battle that the previous episodes of this movement were undoubtedly the story of. Their echoes pass through the orchestra once again, before the familiar opening chords of the harp, the opening chorus of the clarinet and a short phrase of the horn return us to the image of the prophetic Bayan, chanting the military exploits of Russian heroes to the sounds of the harp.

The third and fourth parts of the “Bogatyr” Symphony, as directed by the composer, are performed without interruption. The hum of the timpani fades, but the sustained notes of the second violins connect these parts of the symphony. Its ending, as already mentioned, depicts, according to the author’s plan, “the scene of a heroic feast, with the sound of the harp, with the rejoicing of a great crowd of people.” It is therefore understandable that the composer decided to directly link the images of the narrative of heroic deeds heard in the third part of the symphony with the images of the folk festival contained in its finale.

Many epics mention an “honorable feast,” which concluded the military labors of the heroes whom the people honored. At the beginning of the finale, we seem to hear the footsteps of people gathering for such a feast. Lively short phrases of violins appear, pipes and harps are played, imitated by a harp, and, finally, the theme of folk fun thunders in the orchestra:

It is replaced by another theme, also lively, but somewhat more lyrical:

It appears first in the clarinet, which comes closest in timbre to the pipe and therefore generally plays a very significant role in Russian symphonic music. But soon this topic is included in the picture of popular fun. The composer strives here to preserve the national flavor of Russian folk instrumental music: the “pipe” melody sounds in the upper register of the woodwinds, and it is accompanied by “harp” chords of the harp, supported by a string group, the sounds of which are produced here not with bows, but with plucking - also for creating a timbre close to the harp.

The presentation of these two themes constitutes the exposition, that is, the first section of the finale of the symphony, built in sonata-symphonic form. In the development, that is, in the second section of this movement, the composer masterfully develops both themes: in the loud exclamations of the trombones we can easily recognize, for example, the melodic outlines of the first theme, and in a large build-up (shortly before the reprise) - the second theme. But, whatever the internal contrasts that the composer uses to depict individual episodes of the folk festival, the general mood of the finale is distinguished by amazing integrity, from its first bars to the final section, which contains both main themes.

The composer brilliantly embodied in musical images his plan, conveyed to us by Stasov: in the finale of the symphony, indeed, a picture of a folk festival unfolds, crowning glorious deeds, sparkling with stormy fun and heroic prowess.

So, in Borodin’s “Bogatyr” symphony, “things have been done for a long time” are glorified days gone by, legends of deep antiquity." And yet this work is deeply modern. The work of the great Russian masters is distinguished by the strength of artistic generalizations and ideological orientation, which is largely consonant with the progressive aspirations of our society.

Continuing the patriotic traditions of Russian music, dating back to Glinka’s “Ivan Susanin,” Borodin, both in “Prince Igor” and in the “Bogatyr” symphony, embodied the idea of ​​​​the national power of the Russian people, an idea developed by the revolutionary democrats of the last century, who saw in this power the guarantee of the victory of the liberation movement in Russia and the emancipation of the creative forces of our great people. Therefore, Borodin’s Second Symphony played a special role in the history of the development of Russian instrumental music, laying the foundation for the epic, “heroic” line of Russian symphonism.

This line was continued and developed in the works of such outstanding Russian composers as Taneyev, Glazunov, Lyadov and Rachmaninov, who in his youth created the symphonic poem “Prince Rostislav” based on the plot from “The Tale of Igor’s Campaign”. Creative experience Borodin had a beneficial effect on musical culture West Slavic peoples. For example, the last symphony (“From the New World”) by Antonin Dvořák, in which the national liberation ideas of the progressive Czech public were vividly embodied, thanks to its epic coloring and, in particular, the courageous heroism of the finale, allows us to speak of close proximity to the heroic images of Borodin’s symphonism.

Borodin’s “Heroic” Symphony, distinguished by the depth and nobility of its patriotic concept and the vivid concreteness of its musical images, belongs to the highest achievements Russian musical classics, marking new stage on the path of development of domestic symphonic music.

The fruitfulness of assimilation of Borodin's epic traditions is evidenced by the best works of those composers in whose work the continuity with Borodin's music, with its heroic masculinity and heroic strength is especially clearly felt.

As examples, one can name at least the symphonies of R.M. Gliere (the most monumental of them is the third - “Ilya Muromets”), N.Ya. Myaskovsky, B.N. Lyatoshinsky, V.Ya. Shebalin, cantata by S.S. Prokofiev “Alexander Nevsky”, symphony-cantata by Yu.A. Shaporin “On the Kulikovo Field” and his oratorio “The Legend of the Battle for the Russian Land”.

And, although “Alexander Nevsky” and “On the Kulikovo Field” take us seemingly into the distant past, these works, as well as “The Tale of the Battle for the Russian Land,” which tells about the years of the Great Patriotic War, are deeply modern in concept and in the content of musical images born of the heroics of the days of the socialist period. The works of talented poets and composers of that era also show a tendency towards heroic-epic images.

Used literature: Igor Belza, Borodin’s Second “Heroic” Symphony (ed. 2) Moscow, Muzgiz 1960.

Alexander Borodin. Hero of Russian music

Borodin was a uniquely talented composer and an outstanding scientist. His not so extensive musical heritage, however, puts him on a par with the greatest Russian composers.

Biography

Alexander Borodin was born in St. Petersburg in 1833 from an extramarital affair between the Georgian prince Luka Stepanovich and Evdokia Antonova. To hide the boy’s origins, he was recorded as the son of the prince’s serf servant, Porfiry Borodin. Alexander was raised by his mother, but in society he was presented as her nephew.

Even as a child, the boy learned three foreign languages– French, German and English.

In 1850, Borodin entered the Medical-Surgical Academy, but while studying medicine, he continued to study chemistry, which became his life’s work.

In 1858, Borodin received the title of Doctor of Science and went abroad for three years - to Heidelberg, Germany, and then to Italy and France. In Heidelberg, Borodin met the talented Russian pianist Ekaterina Protopopova, whom he later married. In 1869 they adopted a 7-year-old girl.

Over the next two decades, Borodin's career at the Academy developed brilliantly: in 1864 he became a professor, and in 1872 he played an important role in the founding of women's medical courses.

While diligently studying science, Borodin at the same time did not give up his studies in music, although he considered it just his hobby. And, despite the fact that Borodin was indeed a successful scientist, it was music that immortalized his name.

Upon returning to Russia, great changes took place in Borodin's life, thanks to his acquaintance with Mily Balakirev and his circle, which also included composers Modest Mussorgsky, Cesar Cui and Nikolai Rimsky-Korsakov. Borodin also became a member of this circle, known as the “Mighty Handful.” The composers of the “Mighty Handful” saw their goal as the development of Russian national music.

Borodin's main works are three symphonies, two string quartets, a symphonic painting, 16 romances and songs and several works for piano - not such a meager legacy for a composer who wrote from time to time. And besides, all these works are excellent examples of classical music.

However, for about 18 years, all Borodin’s thoughts as a composer were connected with the main work of his life - the brilliant opera “Prince Igor”, which was never completed.

They say that...
M. I. Glinka’s sister L. I. Shestakova recalled: “He loved his chemistry most of all, and when I wanted to speed up the completion of his musical work, I asked him to take it seriously; instead of answering, he asked: “Have you seen a toy store on Liteiny, near Nevsky, on the sign of which it is written: “Fun and business?” To my remark: “What is this for?” - he answered: “But, you see, for me music is fun, and chemistry is business.”
Borodin's friends were very concerned that there was again a break in work on the opera Prince Igor. Rimsky-Korsakov came and told the composer that “Igor” must be completed at all costs.
- You, Alexander Porfiryevich, are busy with trifles that any person can do in various charitable societies, but only you can finish “Igor”.

The great composer and scientist died during a carnival evening on February 15 (February 27), 1887. He was only 53 years old. He was buried in the cemetery of the Alexander Nevsky Lavra next to his friends: Mussorgsky, Dargomyzhsky, Serov.

“Prince Igor” was completed by Rimsky-Korsakov and Glazunov, and the premiere took place on stage Mariinsky Theater in 1890.

The intoxicating music from this opera gained popularity abroad when the musical Kismet was staged on Broadway, in which fragments of the work of the great Russian composer were used.

The Sound of Music

"Prince Igor"

The plot for the opera was suggested to the composer by V. Stasov, who also sketched the first version of the libretto, based on the work of ancient Russian literature “The Tale of Igor’s Campaign.” The Lay told about the unsuccessful campaign of the brave Prince Igor against the Polovtsy - nomadic eastern tribes. The composer liked the plot. However, he was forced to constantly take time away from creating the opera in favor of scientific work, so work on the work lasted for years. The composer himself wrote the libretto, and, wanting to recreate the era as best as possible, he first studied the monuments of ancient Russian literature, as well as the works of scientists who had any relation to the plot he had chosen.

Despite the fact that the composers of The Mighty Handful were full of enthusiasm for Prince Igor, Borodin suddenly completely lost interest in the opera and did not touch it for a long time, ignoring the entreaties of his friends. Instead, he set to work on the Second Symphony, which he also composed in fits and starts, in between his scientific activities. Ironically, the person who convinced the composer to take up the forgotten opera again was Borodin’s friend, the young doctor Shonorov, and not the composers of The Mighty Handful. For example, N. Rimsky-Korsakov repeatedly tried to push Borodin to completion. But to no avail. He encouraged the composer to return to the orchestration of the Polovtsian Dances, literally stood over him while he worked on the score with a pencil (to speed up the process), and covered it with a thin layer of gelatin so that the musical lines would not be erased.

Since Borodin did not have time to complete the opera, it was completed by composers Glazunov and Rimsky-Korsakov. The premiere took place in 1890. Glazunov reconstructed the overture from memory, which he had heard performed by the author more than once. This opera, although unfinished, became an exceptional piece of music, based on a large-scale plot that tells about both fierce struggle and sincere love.

The action begins in the ancient Russian city of Putivl, where Prince Igor, leaving his wife, together with his son and retinue, is preparing to go on a campaign against the Polovtsy under the leadership of Khan Konchak. Against the backdrop of military events, the plot becomes more complicated love relationships between Igor’s son, Prince Vladimir, and the khan’s daughter, Konchakovna.

The overture begins in a pensive mood that blossoms into riotous, rebellious colors that anticipate the contrasting scenes and events that unfold in the opera. Along with the sounds of military calls, ornate and spicy oriental themes associated with the image of Khan Konchak are heard here, and the expressive lyrical melody of the strings reflects the emotional experiences of a loving heart, woven into the musical outline.

Polovtsian dances sound at the moment when the action of the opera is transferred to the Polovtsian camp. Where Prince Igor and his son are languishing in captivity of Khan Konchak.

Surprisingly, the khan treats the captives hospitably. He is even ready to let Igor go if he gives his word not to raise a sword against the Polovtsians. However, Igor boldly declares that, having gained freedom, he will again gather his regiments against the khan. To dispel the prince’s gloomy thoughts, Konchak orders the slave girls to sing and dance. At first their song is heard, full of sadness and gentle charm, but then suddenly it is replaced by the wild warlike dance of men. The powerful sounds of the drum explode like a storm, starting a frantic dance: everyone glorifies the valor and strength of the khan. Following this, we seem to hear the clatter of hooves - dashing riders are galloping on horses - this frantic rhythm again gives way to the gentle melody of the slave girls, until finally the unbridled dance bursts in with renewed vigor. The previous themes follow each other, accelerating the tempo, leading up to a grandiose, violent, unbridled and warlike finale.

String Quartet № 2

While pursuing science, Borodin wrote music mainly for modest chamber ensembles. In the middle creative path Borodin would return to his favorite form - String Quartet No. 2 would be created in 1881.

Despite the mood of light sadness that permeates the entire work (the quartet was written immediately after the death of his friend M. P. Mussorgsky), it is dedicated to his beloved wife. 3rd part (arranged for string orchestra) opens with a gentle expressive melody of cellos, supported by delicate accompaniment. Then the melody is picked up by other instruments and, developing, brings us to the 3rd movement, which is more agitated. Soon the lyrical melody sounds again, returning the pensive mood in which the last breaths of the strings fade away.

Symphony No. 2 “Bogatyrskaya”

Dawn creative forces Borodin is associated with the composition of the Second “Bogatyr” Symphony and the opera “Prince Igor”. Both works were created in the same years, so they are strongly related to each other in content and musical composition.

The second symphony - my own greatest work Borodin created it over the course of 7 years.

According to Stasov, who nicknamed the symphony “Bogatyrskaya,” Borodin presented the image of Bayan in the third, slow movement, the image of Russian heroes in the first, and the scene of a daring Russian feast in the finale.

The first musical motive of the symphony, decisive and persistent, from which the music of the entire 1st movement grows, creates mighty image Russian heroes.

The lyrical-epic character is most clearly embodied in the third movement - the leisurely Andante. It is perceived as the story of the folk storyteller Bayan about the glorious feats of arms Russian heroes and ancient princes. The solo song of the clarinet against the backdrop of the soft chordal tints of the harp resembles the sound of a gusli. Accompanying the singer's calm speech.

Great historical significance Second Symphony. It became the first example of epic symphonism, which, along with genre-picturesque and lyric-dramatic, became one of the types in Russian symphonic music.

More about Borodino

Borodin loved chamber music, unlike some members of the “Mighty Handful”, who regarded it as a Western, academic genre. However, even in his youth, Borodin wrote the Piano Quartet in A minor, the creation of which was inspired by Mendelssohn and Schumann. Later, he would write two more beautiful string quartets in this genre.

Borodin's romances and songs are very expressive. “The Sleeping Princess” plunges us into the mood of peace and thoughtfulness, so beloved by Ravel, Debussy and Stravinsky. In “The Sea Princess,” the call of the legendary Lorelei sounds, gently luring the traveler into the abyss of the waters. "Song of the Dark Forest" is a true epic.

In addition to the symphonies, Borodin has another orchestral work, distinguished by outstanding skill - the Symphonic Picture “In Central Asia”. It was written by Borodin on the occasion of the 25th anniversary of the reign of Emperor Alexander II. This work brought Borodin European fame. He never directly used Russian folk songs in his works, but their melodies shaped the features of his own style.

Test your knowledge

What instrument did Borodin learn to play as a child?

1. Piano
2. Violin
3. Flute

What profession did Borodin begin to study in 1850 in St. Petersburg?

1. Composer
2. Violinist

What was Borodin's profession?

1. Doctor
2. Surgeon
3. Scientist

What was the profession of Borodin's wife?

1. Pianist
2. Teacher
3. Chemist

Who suggested Borodin the plot for the opera “Prince Igor”?

1. Stasov
2. Gogol
3. Pushkin

What works did Borodin work on simultaneously with the opera “Prince Igor”?

1. String Quartet No. 2
2. Symphony No. 2
3. Symphony No. 3

To whom Borodin dedicated his String Quartet No. 2

1. To his wife
2. M. P. Mussorgsky
3. To Caesar Cui

To whom did Borodin dedicated the Symphonic painting “In Central Asia?

1. Nicholas I
2. Alexander II
3. Alexander I

Which of Borodin's contemporary composers contributed to the development of Russian music?

1. M. P. Mussorgsky
2. M. A. Balakirev
3. A. K. Glazunov

Which community did Borodin belong to?

1. "French Six"
2. "The Mighty Handful"
3. "Free Artists"

What is the name of Borodin's most famous opera?

1. "Prince Igor"
2. "Prince Oleg"
3. "Princess Yaroslavna"

What character does the Second Symphony have?

1. Lyrical
2. Dramatic
3. Epic

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Borodin. “Polovtsian Dances” from the opera “Prince Igor” (fragment), mp3;
Borodin. Overture from the opera “Prince Igor”, mp3;
Borodin. Symphony No. 2:
Part I Allegro (fragment), mp3;
Part III Andante (fragment), mp3;
Borodin. Quartet No. 2. III part. Andante, mp3;
3. Accompanying article, docx.

Orchestra composition: 2 flutes, 2 piccolos, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, triangle, harp, strings.

History of creation

Borodin's second symphony is one of the peaks of his work. It belongs to the world symphonic masterpieces, thanks to its brightness, originality, monolithic style and ingenious implementation of Russian images folk epic. The composer conceived it at the beginning of 1869, but worked on it with very long breaks, caused both by his main professional responsibilities and by the implementation of other musical ideas. The first part was written in 1870. Then he showed it to his comrades - Balakirev, Cui, Rimsky-Korsakov and Mussorgsky, who made up the so-called Balakirev circle or the Mighty Handful (the definition of their senior mentor and ideological leader, art critic V. Stasov). What was shown aroused genuine enthusiasm among friends. Hot and quick to respond to loud definitions, Stasov immediately called her “Lioness.” Mussorgsky proposed the name Slavic Heroic for it. However, Stasov, who was no longer thinking about the emotional definition, but about the name with which the music would live, suggested: Bogatyrskaya. The author did not object to this interpretation of his plan, and the symphony remained with him forever.

It was still very far from ending. There are many distractions - teaching at the Medical-Surgical Academy, where Borodin holds the position of professor, teaching at the Women's Medical Courses, numerous public duties, including editing the popular science magazine "Knowledge". The latter lasted only one season, since the government, dissatisfied with the atheistic orientation of the magazine, “recommended” Borodin to leave the editorial office. Finally, the composer was distracted by the creation of other works. During these same years, fragments of the opera “Prince Igor” appeared, in which “heroic” notes were also very strong. The symphony was only completed in 1876. Its premiere took place on February 2, 1877 at one of the concerts of the Russian Musical Society in St. Petersburg under the direction of E. F. Napravnik.

The symphony, despite the lack of an announced program, has clearly programmatic features. Stasov wrote about this: “Borodin himself told me more than once that in the adagio he wanted to draw the figure of Boyan, in the first part - a meeting of Russian heroes, in the finale - a scene of a heroic feast with the sound of the gusli, with the rejoicing of a great crowd.” Actually, this interpretation gave Stasov the reason for the name Bogatyrskaya.

Music

The first part is based on a comparison of two images. The first is a powerful unison theme performed by the strings, as if trampling, heavy and dumpy. It is complemented, somewhat softening the severity, by a more lively motive, intoned by woodwinds. A side theme - a broad song melody performed by cellos - seems to depict the expansive Russian steppe. The development is based on the alternation of heroic, intense episodes, evoking associations with battles, epic feats, with lyrical, more personal moments, in which a secondary theme, as a result of development, acquires a jubilant character. After a condensed reprise, the first theme is affirmed with gigantic force in the coda of the movement.

The second movement is a fast-paced scherzo, the first theme of which quickly bursts out from the depths of the bass against the backdrop of an octave repeated by the horns, and then rushes down, as if “without taking a breath.” The second theme sounds somewhat softer, although it still retains its masculine character. In its peculiar syncopated rhythm one can hear the sounds of the mad galloping of steppe horses across the endless expanses. The trio captivates with its melodic charm, and as often with Borodin, the melody is filled with oriental bliss. But the middle episode is short - and the rapid run resumes, gradually fading away, as if carried away into the unknown.

The third part, designed, according to Borodin himself, to convey the image of Boyan, the legendary ancient Russian singer, is narrative in nature and unfolds in a smooth, calm movement. The harp chords imitate the plucking of the psaltery strings. After a few bars of an introduction intonated by the clarinet, the horn begins to sing a poetic melody belonging to best pages composer's music. However, the calm narrative does not last long: new motives introduce a vague sense of threat, the colors become thicker and darker. Initial clarity is gradually restored. The piece ends with a wonderful lyrical episode, in which the main melody sounds in all the fullness of its charm.

The repetition of the opening bars leads directly into the ending, which begins without a pause. His music captivates with its scope, brilliance, cheerfulness and at the same time greatness. Basic musical image - main topic sonata form - a sweeping, wildly cheerful theme in a sharp syncopated rhythm, which has its prototype in the folk choral song “I’ll go to the Tsar City.” It is complemented by a short “rubbish” oboe motif. The side theme is more lyrical and calm. It has the character of praise and sounds first from the solo clarinet, and then from the flute and oboe against the backdrop of a sort of “ringing harp”. These three themes are subject to varied and masterful development, the beginning of which is marked by a harsh and powerful sounding sequence in slow motion. Then the movement becomes more and more animated, the symphony ends with music full of brave prowess and uncontrollable fun.

A.P. Borodin "Bogatyr Symphony"

The “Bogatyr” Symphony is the pinnacle symphonic creativity Borodin. The work glorifies the patriotism and power of the Motherland and the Russian people. The clarity of sound, purity of timbres and incredibly beautiful melodies make you see the richness of your native lands. One after another, the melodies seem to open the door to history for us, returning us to the origins, to epic creativity.

It is no coincidence that the symphony is called “Bogatyrskaya”. Find out why the work has such a name, how the composition was created, and many others interesting facts can be found on our page.

History of creation

Epic images, as well as symphonic forms, have always attracted the composer's attention. In 1869 Borodin a wonderful idea came to mind about creating a symphony that personifies all the Russian power set out in epics. Despite the fact that the first part of the composition was completed in 1870 and shown to friends Balakirevsky circle, the work progressed quite slowly. The main reason for long breaks in musical activity was that Alexander Borodin was an outstanding chemist, and often professional activity was his priority. Moreover, at the same time, the composition of a larger-scale work was underway, namely the opera “ Prince Igor"(from here it is worth highlighting the relatedness of the two works).

As a result, the second symphony was completed only seven years later, in 1876. The premiere took place in February of the following year under the auspices of the Russian Musical Society in St. Petersburg. The composition was conducted by the amazing 19th century conductor E.F. Guide. The entire world of St. Petersburg society was gathered for the presentation. The hall rejoiced. The second symphony certainly created a sensation.

An equally successful Moscow premiere followed in the same year. The incomparable Nikolai Grigorievich Rubinstein conducted. It is noteworthy that during the listening, society was divided into two sides according to their impressions: some recognized that the author was able to fully portray the power and invincibility of Rus', while others tried to challenge the use of Russian folklore in secular music.

One of the listeners was a Hungarian composer and excellent pianist F. Liszt. After the speech, he decided to support Alexander Borodin and showed him his own respect as a professional of the highest level.

Currently, the “Bogatyr Symphony” is one of the works included in the permanent repertoire of many symphony orchestras peace.

Interesting facts

• When I first heard the piece, Modest Mussorgsky I was pleasantly surprised. He suggested calling the work “Slavic Heroic,” but the name did not stick.
• Work on the symphony continued for seven whole years. The fact is that Borodin simply did not have time to compose music, since at the same time he was active as a professor, which obligated him to conduct “Women’s medical courses.”
• IN documentary film“Sergey Gerasimov. Bogatyr Symphony", the work is a leitmotif that permeates the entire life path great film director of the USSR.
• The first performance of the symphony was highly appreciated not only by the composer’s compatriots, but also by famous foreign musicians. F. Liszt, after listening, was shocked to the core; after the premiere, he approached Borodin and advised him to follow his own feelings in music and not listen to the cries of spiteful critics, since his music always has a clear logic and is performed skillfully.
• The third and fourth parts form a single mini-cycle, as a result of which they are performed without interruption.
• It is worth noting that in those days Russian composers wrote little in the “symphony” genre, therefore Alexander Porfiryevich Borodin, along with Rimsky-Korsakov And Tchaikovsky are considered the founders of the Russian classical symphony.
• In many ways, the Second Symphony is similar to the opera Prince Igor. The fact is that the writing proceeded in parallel. Often a composer borrowed themes from an opera and inserted them into a symphony, or, conversely, originally composed them for a symphony and used them in an opera. So the main theme in the symphony was intended to exposition the image of Russians in the opera “Prince Igor”.
• The first theme is based on the intonations of the well-known burlatsky labor song “Hey, let’s whoop!”
• Few people know, but initially Stasov proposed calling the symphonic work “Lioness”. But after he really rethought the plan of Alexander Borodin, great critic proposed to call it “Bogatyrskaya”. The idea came to him after the composer told him about the programmatic nature of music.
• The work was seriously edited by two masters of composition and arrangement, namely Nikolai Rimsky-Korsakov and Alexander Glazunov. Today, this edition is performed more often than the original version.
• The main theme of the finale is folk song“I’ll go to Constantinople.”

The work of Alexander Borodin is mainly based on epic Russian images that evoke pride in the listeners for the Fatherland.

The composition consists of four classical parts, the only difference is that the author swapped the second and third parts in the structure in order to realize his own compositional idea.

The genre of the symphony is epic, which determines the presence of images corresponding to the theme, which include the powerful hero defending the Motherland and the Bayan-storyteller.

It is noteworthy that the work does not have a clear programmatic concept (since there is no literary source at the heart of the symphony), but programmatic features stand out. In connection with this fact, each part can have conventional names:

• Part I – Sonata allegro. "Meeting of heroes."
• Part II – Scherzo. "Game of Heroes"
• Part III – Andante. "Song of Bayan"
• Part IV – Final. "Heroic Feast"

Alexander Borodin told Stasov about this name for the units. It is worth noting that the composer did not insist on introducing a specific program, allowing the listener to come up with images himself. This feature is largely characteristic of the creativity of the participants " Mighty bunch”, and manifests itself only in a gravitation towards software.

The dramatic development is built on the technique of contrasting dynamization, typical of an epic symphony; in order to better understand the full meaning intended by the author, it is necessary to examine each part in more detail.

The sonata allegro is built on two contrasting parts: the first part has a stern, courageous character and is performed in unison, personifying heroic power and strength, the second theme is filled with vital energy, demonstrating youthful prowess and quickness of mind. The part is actively developing, new musical material is already in development, showing the scene of the battle of the heroes, the beginning of the action is taking place. The ending is a crushing sound of the main “heroic” theme.

The scherzo contrasts in character with the previous movement. It can be considered that in dramatic terms it represents an emotional release.

The third and fourth parts must be understood as a single whole. Andante is a Bayan tale, which determines the corresponding set of figurative and instrumental techniques, such as imitation of the sound of the gusli using the harp, the presence of a variable size characteristic of the tale. The internal development of the part is built on the solemn proclamation of the “heroic” theme in the reprise, which thereby prepares for the beginning of a new part, which is marked as the “feast of the heroes.” The finale is characterized by the use of timbres that are bright for Russian culture - pipes, gusli, balalaikas. The symphony ends with a fantastic riot of musical colors, reflecting the prowess and energy of the Russian people.

Change of brightly contrasting scales musical paintings, connected at the same time by intonation unity - here main principle Borodin's symphony, manifested in many of his creations.

The “Bogatyr” Symphony is a chronicle of Ancient Rus' in music. Thanks to talent Alexandra Borodina and his boundless love for Russian history, the epic direction became widespread and actively developed in the work of such composers as Taneev, Glazunov and Rachmaninov. The second symphony represents a special symbol of Russia, its culture and identity, which will not fade over the years, but will gain power every year.

Video: listen to the “Bogatyr Symphony”