Kirjahaku

Libretto by O. Vinogradov after "The Tale of Igor's Campaign". In 1797, the first reports appeared about the discovery of a manuscript containing a collection of works, among them The Tale of Igor's Campaign. It was published three years later. However, in 1812, during the Fire of Moscow, the manuscript was destroyed. Fortunately, a handwritten copy survived along with printed copies of The Tale, a work regarded as the most exemplary monument to ancient Russian literature. By analyzing the content of the story, researchers established the date of its creation as 1187, but the name of its brilliant writer remains to this day unknown. The Tale had a strong impact on the development of modern culture, inspiring scientists, writers, translators, artists and composers. The first to come to mind is, of course, the opera Prince Igor by A. P. Borodin. Approximately one hundred years later, a new musical interpretation appears, in a genre seemingly rather far-removed from epic literature - choreography. The premiire of B. I. Tishchenko's ballet Yaroslavna took place on June 30, 1974 at the Leningrad Academic Malyi Theater of Opera and Ballet. OrchestraContents:M. Bialik. About Boris TishchenkoIndex of Boris Tishchenko's Works Included in This Exact Collection (with the Numbers of Volumes)M. Bialik. YaroslavnaTHE FIRST ACT INTRODUCTION RUSSIAN LAND IS MOANING INTESTINE STRIFE THE PERISHED ONE MOANING AT THE PERISHED ONE YAROSLAVNA SVYATOSLAV IGOR'S GUARD JOURNEY PREPARATIONS GLORY TO IGOR YAROSLAVNA AND IGOR JOURNEY STARTS ECLIPSETHE SECOND ACT INTRODUCTION JOURNEY CONTINUES DESOLATE FIELD THE FIRST BATTLE WITH POLOVTSIANS PLAYING WITH THE POLOVTSIAN GIRLS NIGHT BEFORE THE SECOND BATTLE NIGHT PREMONITIONS POLOVTSIAN CAMP IDOLTHE THIRD ACT INTRODUCTION CALLS ARROWS THE SECOND BATTLE DEATH'S STEPPE YAROSLAVNA'S LAMENTATION IGOR AT THE POLOVTSIAN CAMP IGOR'S ESCAPE BOY THE PLOUGHMAN RETURN CALL PRAYER

Fortepiannoe tvorchestvo Borisa Tischenko - javlenie sovershenno unikalnoe. Ono obladaet kachestvami, kotorye chrezvychajno redko sochetajutsja v fortepiannoj muzyke: monumentalnym simfonicheskim razmakhom, blestjaschej spetsificheski fortepiannoj tekhnikoj, neischerpaemym bogatstvom obrazov, jarkostju i individualnostju tematicheskikh i konstruktivnykh idej. I ni odno iz etikh kachestv ne prinositsja v zhertvu drugomu. "Ja schitaju rojal nekim analogom ili dazhe proektsiej orkestra. I ja pishu dlja rojalja s takim zhe tschaniem v oblasti golosovedenija, tematizma, kak i dlja orkestra: on dlja menja tot ideal, k kotoromu ja stremljus, ne pytajas, konechno, podrazhat orkestru", - govorit avtor. V fortepiannykh sonatakh Tischenko chuvstvuetsja kolossalnyj orkestrovyj opyt odnogo iz krupnejshikh simfonistov XX veka i zamechatelnogo kontsertirujuschego pianista. Kazhdaja iz desjati sonat imeet svoju kontseptsiju, vse oni ne pokhozhi drug na druga, no v ljuboj iz nikh avtor uznaetsja bukvalno po neskolkim taktam - nastolko jarko projavljaetsja lichnost kompozitora.Pjataja sonata Tischenko javljaet soboj jarkij primer kharakternoj dlja kompozitora protsessualnoj dramaturgii. Vse chetyre chasti zdes nerazryvno spajany, ustremleny - cherez konflikt i katarsis - k finalu-meditatsii, vyvodjaschij vse predshestvujuschee razvitie na novyj, vysoko otreshennyj, otstranennyj uroven. V osnove pervykh dvukh chastej tsikla - konflikt dejstvennosti i tishiny, pri etom - konflikt proizvodnyj, proistekajuschij iz samoj prirody tischenkovskogo "rastsvetajuschego" tematizma. Tak, razorvannyj risunok iz vikhrevykh popevok postepenno obretaet mnogogolosnyj ornament; iz mnogogolosija obrazujutsja "navisajuschie" tjazhelovesnye zvukokompleksy - slovno predvestniki kakoj-to zataennoj ugrozy, zvuchaschie nastorozhenno, opaslivo, ukhodjaschie v tishinu...Prodlevaet dramaturgicheskoe dvizhenie bolee dejstvennaja vtoraja chast. Zdes, na ostrom izlomannom garmonicheskom fone, zhivet i "dyshit" otryvistaja, ostinatnaja pulsatsija. Ee zatukhanie v kontse chasti, kazhetsja, predpolagaet simvolicheskij konets - slovno zamedljajuschijsja puls chelovecheskogo serdtsa.Kratkoe Intermetstso - svoego roda katarsis v dramaturgii. Volnoobraznye, "nebesnye" arpedzhio, kazhetsja, "ochischajut" garmonicheskij fon (kak nekij signal - sejchas "podnimetsja zanaves" i nachnetsja sovershenno inoe dejstvie).Zakljuchaet sonatu medlennyj, otstranennyj final - liriko-dramaticheskaja meditatsija-monolog na "russkoj pochve". V osnove tematizma - neozhidannaja pesennaja tema, proniknuvshaja v instrumentalnyj zhanr; tema, vyzyvajuschaja opredelennye assotsiatsii s khrestomatijnoj "Gljazhu v ozera sinie". Vozvraschajutsja vikhrevye passazhi iz pervoj chasti, zvuchaschie zdes pereosmyslenno - smirenno-sozertsatelno, kak nekij posledejstvennyj katarsis, nastupivshij posle dramy.

V tvorchestve vydajuschegosja rossijskogo kompozitora sovremennosti Borisa Tischenko vokalnaja muzyka zanimaet znachitelnejshee mesto. Pomimo krupnykh vokalno-simfonicheskikh opusov (simfonija "Marina", Rekviem na stikhi A. Akhmatovoj, Shestaja simfonija), peru Tischenko prinadlezhit pjat tsiklov dlja golosa i fortepiano, a takzhe rjad vokalnykh ansamblej dlja drugikh sostavov. Belyj aist - coch. 10, 1958 g. Redaktsija 1997 g.Soderzhanie:ProsbaTvojo litsoTak ne budetBelyj aist