How to play dance of the knights on piano
Dance Of The Knights (from Romeo And Juliet) Sheet Music | Sergei Prokofiev
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Product Details
- Artist Sergei Prokofiev
- Score Type Interactive, PDF, Included with PASS
- Writer Serge Prokofiev
- Format Digital Sheet Music
- Pages 8
- Arrangement Piano Solo
- Publisher Hal Leonard Europe
- Product ID 35220
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Sergei Prokofiev "Dance of the Knights": history, content, interesting facts
Sergei Prokofiev "Dance of the Knights" (Montagues and Capulets)
Romeo and Juliet.
This beautiful but tragic love story of two noble young people from noble Italian families came to us from the Middle Ages, and retold by the poetic text of the great Shakespeare, it became immortal and is successfully used in various art forms to this day. For example, lovers of classical music are well aware of the symphonic poem by Hector Berlioz and overture-fantasy by Pyotr Ilyich Tchaikovsky , and besides this, one of the most outstanding interpretations of this story about true love was the ballet by Sergei Prokofiev . In the innovative performance of the Soviet composer there are many bright and bewitching numbers, and one of them is the “Dance of the Knights”, the music of which attracts, excites and attracts with some unknown force.
The history of the creation of " Dance of the Knights " by Prokofiev, interesting facts and the content of the work, read on our page.
History of creation
Sergei Prokofiev, who accepted the revolutionary transformations in Russia very skeptically and went abroad in the spring of 1918, greatly missed his homeland.
Already at the end of 1932, the composer, tired of traveling abroad, confidently told reporters that he intended to finally return to the Soviet Union, whose life he carefully watched from the news from the press. He dreamed of traveling around his native country, getting acquainted with shock construction projects such as Dneprostroy, and reflecting in his future works the enthusiasm of the people and the gigantic successes of the young state.
Returning to Moscow in 1934, Prokofiev immediately joined the creative life of the country, as he tried with all his heart to get used to and get to know the new Russia. Sergei Sergeevich met with old friends: Myaskovsky, Asafiev, and from the bottom of his heart rejoiced at their success, and was also interested in the work of young composers. He enjoyed the air of his homeland and, at every opportunity, went out into nature to admire its beauties. It was a long-awaited contact with Russia, which had an inspiring effect on the composer.
At that time, the main creative task of the composer was to win the recognition of domestic listeners. He was fascinated by the idea of a new musical performance with a story about a new person and heroic overcoming of obstacles. Prokofiev read a lot of works by Soviet writers, as well as get acquainted with opera and ballet librettos. However, in the autumn of 1934, Sergei Sergeevich learned from correspondence with Asafiev that in Leningrad the head of the literary department of the Maly Opera Theater, Adrian Piotrovsky, was considering two opera plots for staging, both based on Pushkin: Peter the Great's Moor and The Captain's Daughter. Prokofiev went to Leningrad, but the matter ended only with an acquaintance with Adrian Ivanovich. On New Year's Eve, Piotrovsky again called Prokofiev to his place, and this time to choose a plot for the ballet. However, all the subjects provided to the composer were again not modern, but from the Middle Ages. Nevertheless, the proposed Shakespearean story about "Romeo and Juliet" was very interested in Sergei Sergeyevich, since it was in the musical material for this story that he could fully embody the lyrical imagery that overwhelmed him.
The composer's imagination was so inflamed that he, together with Adrian Piotrovsky, theater director Sergei Radlov, could spend hours discussing the scenario of the planned ballet. At first everything went well, but something unexpected happened. The management of the opera house refused to sign the contract, but Prokofiev, having caught fire with the idea of creating " Romeo and Juliet ", did not despair. He returned to Moscow and found an opportunity to sign an agreement to stage the ballet with the Bolshoi Theatre. In addition, the composer was provided with separate apartments in a holiday home in Polenovo, where theater artists usually rested, so that during the summer months he would write music for the future performance in a calm atmosphere. Sergei Sergeevich had to compose 58 numbers, many of which should be dance. So. following the laws of the genre, carefully considering all the details of the performance, and acting as a true musician - playwright, he decided to characterize the family of one of the warring Verona families - the Capuleti, in a solemn, stern and march-like "Dance of the Knights".
This bright composition, which is part of the second scene of the first act, was created by Prokofiev already in June. At the end of July, he finished the second act, at the end of August - the third, and put his autograph on the clavier of the ballet on August 8th.
Interesting facts
- Since Prokofiev’s music to Ballet “Romeo and Juliet” at the Bolshoi Theater was initially unchanged, the composer, without waiting for the premiere, from the musical material of the play in 1936, decided to compose the suits. It turned out three cycles, the second of them, which later won the greatest popularity, opened with the composition "Dance of the Knights".
- The first performer of the role of Juliet was the outstanding ballerina Galina Ulyanova, who then recalled that Prokofiev's music was very unusual for the artists and, while rehearsing the ballet numbers, they mentally sang their own, more convenient melodies for performance.
Subsequently, Juliet became the ballerina's favorite heroine, and she danced her so that the audience involuntarily burst into tears.
- According to Prokofiev's biographers, the composer took the theme of "Dance of the Knights" from his "repositories". Once he composed it at the request of a pianist who was looking for a theme for variations.
- "There is no sadder story in the world than Prokofiev's music in ballet..." - this catchphrase appeared immediately after the musical material of the ballet "Romeo and Juliet" was presented for the first time at a meeting of artists of the orchestra and ballet troupe of the Bolshoi Theater.
- Directors often use the music of Sergei Prokofiev's "Dance of the Knights" in their films. For example, this work can be heard in films such as Between the Trees (2015). Eisenstein in Guanajuato (2015), Parasomnia (2008), Hysteria (2000), Dance Machine (1990).
- At the present time, "Dance of the Knights" is considered one of the most famous works of Prokofiev.
This is evidenced by the fact that it is continuously used by the creators of advertising and musicians of various modern musical directions. For example, the popular English pop singer Robbie Williams inserted the motif of the composition into his single called "Have fun like a Russian." - In Nazi Germany, the music of Sergei Prokofiev was officially banned. The Nazis considered him a "degenerate" innovative composer
- After Prokofiev's return to his homeland, representatives of the Russian conservatory in Paris declared the composer a traitor and "destroyer of culture".
Contents of the "Dance of the Knights"
Sergei Prokofiev's ballet, which tells the sad story of the noble lovers Romeo and Juliet, consists of three acts, including nine scenes. In the first picture, we find ourselves in the atmosphere of the ancient city of Verona, get acquainted with the main character - Romeo and learn about the blood feud of two noble Italian families - the Montagues and the Capulets.
In the second picture, which is the beginning of a tragic story, there is an acquaintance with Juliet, who is getting ready for the ball, where she will meet her fiancé, a relative of the Duke - the young Count Paris. Already the guests are gathering for the holiday, where, in order not to be recognized, Romeo and his friends come in masks. The scene begins, which in the score is number thirteen and is called the "Dance of the Knights." The heavy measured tread of the composition's accompaniment and the bouncing dotted rhythm of the fanfare-trisonic motifs of the melodic line superimposed on it create a kind of majestic and militant image of the harsh medieval life.
The work, written by the composer in a complex three-part form, in the key of E minor, in four-part march time signature and Allegro pesante tempo indication, begins with a “solo” accompaniment that predetermines the nature of the music in advance. The very theme of the knightly march performed by violins and clarinets begins two measures later with an energetic procession through the sounds of the tonic triad.
The first two-bar phrase, angular and self-confident in its character, ends with the sound "si", from which the same triumphant second introduction of the theme immediately begins, completely repeating the first, but only by the sounds of the dominant chord. The punctuated rhythm of the marching theme, sounding against the background of a gloomy accompaniment of brass, low wood and strings, as well as powerful beats of the bass drum, speaks of the primary purpose of the composition - knightly dance.
The middle episode of the first part is based on a combination of a chivalric theme and an intimidating “feud theme”, which includes two elements: the first is rude and knocking, the second is stubborn and offensive. Initially, the cruel "theme of enmity" is viciously brought out by horns , and subsequently in the key of F minor, supported by the piano, it is transferred to trombones , tubas and then trumpets . The thematic development in the middle section follows the principle of displacement.
The marching theme gradually becomes subordinate, and the "theme of enmity" takes on a dominant position and leads to the first climax of the work. This is followed by the third, reprise section of the first part, which includes only the first sentence of the knightly march theme. After it, after a pause on the last beat, without a link, with the author's indication of Moderate tranquillo, the middle section of the composition begins, sharply contrasting in nature to the first movement. In its meaning, this is a three-part minuet, to the sounds of which Juliet and Paris dance. Charming music, depicting a sophisticated image of Juliet, grows out of gentle sounds flutes against the background of muffled accompaniment of pizzicato violins, cellos and double basses, as well as soft glissando of mute violas .
The third, final part of the composition is a reprise of the first part, presented by the author in an abridged version.
Despite the fact that there is no “theme of enmity” in the thematic material, the music leaves a strong emotional impression with its relief.
« Romeo and Juliet ". Today, this ballet by Sergei Prokofiev, whose history was not simple from the very beginning, is the most repertoire ballet successfully performed on the world's best stages. The splendor and mighty power of the music of the innovative work was not immediately accepted, since it was believed that it was simply impossible to display Shakespeare's passions in the language of ballet, but the composer-innovator succeeded in doing so. He conveyed all the drama and passion of Shakespeare's work through musical sounds, and a vivid example of this is " Dance of the Knights "- a work that has deservedly gained worldwide popularity.
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Sergei Prokofiev "Dance of the Knights"
Is it possible to learn to play the piano at an "old" age?
Of course, you immediately imagined a gray-haired lady of 80 years old. But in music, as in ballet, "adult" age comes earlier: by the age of 18. Hands have formed and are already "hardened"; the shoulders on which we carry the problems of everyday life, work, life, are also hopelessly clamped. The older the person, the more difficult it is to relax. Started playing piano at 30 at 90% of cases will never be able to play Beethoven's "Für Elise" in its original unsimplified version at the right tempo, and not just the one that "begins with a trill". A considerable layer of piano music will remain closed for performance.
In addition to individual physical abilities, the result depends on motivation. Motivation is the reason why, as an educator, it is more interesting for me to work with adults than with some children.
As a child, my parents did not enroll in a music school, but I always wanted to. Some fell in love with classical music only in adulthood. We would like to play our favorite pop music and variety shows. And someone's children "go to the music room", and looking at them, the parents wanted to catch up with the children.
And at this point the question arises: is it too late to drink Borjomi?
After all, playing a musical instrument is not just akin to learning a foreign language; but a language that requires physical coordination and quick reactions.
B At 40 or 50 years old, you are already a professional in some useful business with a bold background. If at the same time you voluntarily wanted to feel like a "zero", an inept student, then you really need it, and you - come to me. It is never too late to drink for interesting medium-difficult classics, pop music or Borjomi variety shows.
Warning! Dear beginner adults! To avoid misunderstandings, before reading further, please pay attention to another post and even read it carefully.
It contains answers to questions that you may have:
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And now - slides. To visually outline the process, I will show a few examples of my "older" students.
Two students, 20 years old and 70 years old. Both are engaged in the first month. It would seem that young hands, “not constrained by arthritis”, should grasp movements faster? For children, yes. Adults have nothing of the sort. After 18-20 years, the hands of all age categories are approximately in an equal situation, the rest depends on individual characteristics.
Stephanie, 20, came to me a month ago from scratch. Plays at this stage are so short that they cannot motivate with their beauty and pleasantness. Therefore, it is important to play together, to accompany.
This is what hands and fingers look like after 3 sessions. Not the most difficult case, but even a very good one.
And here is Joelle, she is 72 years old and this is her first lesson.
Joelle's hands are much softer, more flexible and relaxed than the hands of the girl in the previous video.
1st year of study.
The teacher's happiness is when the hands "stand up" on their own, and the wrists naturally relax, as in this video. The student is about 50 years old, but thanks to the softness of her hands, motor skills and coordination are easy for her.
The first complex rhythms: dotted quarter note and eighth note.
With clasped hands, past experience, natural musicality, and most importantly, singing in the lesson, singing can help a lot. Here I regret the loss of childish spontaneity, we are insanely embarrassed to sing, and even in front of a stranger!
If the teacher offers you a lot of songs in 4 hands - take it! You are very lucky. Ensembles are a grateful material for listening, singing with accompaniment, coordination, sense of rhythm. After several times of singing, the hands play almost by themselves by heart and finally begin to relax.
Laura, 27, plays a cool song "pidmanula pidvila", 4 hands.
In the video, a student is 40 years old, previously played the guitar. He plays "Khorovodnaya" from the Russian Artobolevskaya School, he fell in love with this collection very much. The piece is much more difficult than in the previous videos, it is good with sight reading and solfeggio - but hands! Clamped more than girls, bent into hooks (guitar deformity), the wrist does not hold yet.
2nd year of study.
There may still be seams with the hands, but skills of quick response are gradually acquired - for many, again, thanks to natural musicality, as in the video of a student of about 30 years old.
Adults often think that it is impossible to learn to play if "there is no ear". You can learn without hearing, but with your work and diligence, play as many pieces as possible and gradually develop the muses. memory. An example is a 40-year-old student in the next video, with his hands initially clamped to the limit.
Ensembles also become more difficult - we play Glinka, "The wind is blowing at the gate", at a tempo, of course, slower than proper.
Someone develops a certain confidence and even the beginnings of fluency. Denes Agay, Boogie.
Joel, now 73, is learning pieces such as Litovko's Melody in her second year. Plays well in class actually, but gets very nervous if I take pictures. I invite you to read a little more about her in the post
After the 3rd year.
Partial stagnation occurs if you do not maintain the rhythm of classes, skip, take a break, or run for a week or more. This happens to most of the people I work with - see post 9 about it0196
And someone is doing well - Prokofiev, Walk :
I start to give the first Bach, modestly, but still.
Warning! There is always the risk of wanting to play complex pieces or arrangements. It is better not to do this if you do not study regularly, or the teacher says that it is too early and there are no skills yet.
Here are the results beyond the strength of the pieces taken, which begged:
Inner excitement, chronic uncertainty and panic can prevent you from relaxing your hands and learning to play freely for your own pleasure. Because of them, for people who are especially sensitive to these emotions, their hands may remain wooden, and the ability to play will decrease. In this video, a student with an acute case of anxiety. In year 5 we are very slow to get results, the pieces are below the level of year 5, but thanks to her work at home she plays what she can and is happy.
After 5 years of study you can play the most pleasant and interesting repertoire.
"Memories" from EL Webber's Cats musical:
The best thing that can happen is to initially have very good data, time and opportunity to practice every day - and here is the result. The girl started at the age of 17, sat down at the piano for the first time. Here's how it plays at 23:
Improvisation to the music of Black Orpheus! -
Khachaturian, Masquerade Ball, Waltz
After four - seven years one of two options occurs:
- stagnation (the ceiling is reached) and expansion of the repertory at the same level - in case of impossibility of more intensive classes due to concomitant factors such as work-children-life.
This is the most common option.
- expansion of the repertoire "in depth", with an increase in the level of play - in the case of regular practice, good softness and motor skills. Occurs on rare occasions when skills and lifestyle allow.
It would be very interesting to know other opinions or experiences from both sides - both colleagues and "victims" :) Don't be silent if you have something to say!
Continuation of the discussion:
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Blog "What to Play?" - piano for adults, sheet music, video, analysis
I created for those who are trying to combine adult life and piano - it allows me to add analysis of pieces separately, and then summarize them into rubrics.
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Who is used to Vkontakte — group "Piano for adults"
Who is used to Facebook — page Masha Sharova Piano ; everything from LiveJournal and Wordpress is collected here + a music store in the "Menu" section.
