The scarlet rose hips were in bloom and there were dark linden alleys. Oh those dark alleys

IF SOMEONE CALLED SOMEONE...

Name famous work Salinger - "The Catcher in the Rye" - a line from a song mistakenly reproduced by the main character.
The song, in turn, was set to music by verses by Robert Burns.

This poem had a story...

Around 1785, the carefree life of young Burns came to an end. He met a girl who captured his heart forever. This was Jean Armor - the daughter of a wealthy peasant, distinguished by a penchant for Puritan intolerance and arrogance.
Jean's father did not want to hear about her marriage to a poor man, who had also acquired the reputation of a troublemaker and an atheist. Robert and Jean met secretly, in the evening, somewhere in a field, in the rye, or on an empty threshing floor. Burns dedicated these moving, heartfelt lines to these meetings:

Making my way to the gate
A field along the boundary...

The young people swore an oath of eternal fidelity to each other and entered into a secret marriage. Jean's father, who learned about this, strongly opposed his daughter's alliance with Burns. He demanded that the notary destroy Robert and Jean's marriage document and forced his daughter to "confess her sins" to the priest. Then, threatening her with a parental curse, he sent her to relatives in another city.
Burns decided to leave his native Scotland forever for a colony in Jamaica, or even join the army.
But Robert knew nothing about the fact that his parents suppressed the will of his beloved girl and forcibly took her to another city. He thought that Jean herself had cheated on him, had forgotten their former love, had preferred a man from her circle to him - she had become engaged to some rich contractor or small landowner.
Burns' grief and indignation knew no bounds. Burns wrote to his friend David Bryce, who had gone to Glasgow, about his breakup with Jean:
“You know all the details of this story, which is quite gloomy. I can’t imagine what Jean is thinking about his behavior now, but only one thing is clear: because of her, I became completely unhappy. Never has a person loved so much, or rather, adored, not idolized a woman like me; and, I must tell the truth, completely between us, that I still love her, love her desperately, in spite of everything; but I won’t say a word to her, even if we see each other, although I don’t want that. My poor, dear, unfortunate Jean! How happy I was in her arms! And I grieve not because I lost - most of all I suffer for her. I foresee that she is on the way - I’m afraid to say it - to eternal destruction. And those, who made a fuss and expressed such indignation at the thought of her becoming my wife, perhaps someday they will see her in circumstances that will become the cause of true grief for them. Of course, I do not wish this on her: may the Almighty God forgive her ingratitude and betrayal towards me, as I forgive her with all my heart...
I often try to forget her: I indulged in all sorts of entertainment, had a wild time, went to Masonic meetings, participated in drunken parties and other pranks, but all in vain. There is only one cure left: the ship will soon return home, which will take me to Jamaica, and then goodbye, dear old Scotland, goodbye to you, dear ungrateful Jean, never, never again for me to see you!..”

R.Wright-Kovaleva

* * *

Making my way to the gate
Field along the boundary,
Jenny is soaked to the skin
In the evening in the rye.

It's very cold girl
Gives the girl a shiver:
I soaked all my skirts,
Walking through the rye.

If someone called someone
Through the thick rye
And someone hugged someone,
What will you take from him?

And why do we care?
If at the boundary
Someone kissed someone
In the evening in the rye!..

Viktor Vasilyevich Pleshak (born November 13, 1946, Leningrad) - Soviet and Russian composer, Honored Artist of the Russian Federation, author of more than 700 songs, author of more than a hundred compositions for musical theater.

He graduated from the Leningrad State Conservatory named after N. A. Rimsky-Korsakov with a degree in choral conducting in 1970 and composition in 1981, in 1969-1975 he was a teacher at the Leningrad Institute of Culture named after N. K. Krupskaya, in 1975-1980 years - head of the musical department of the Lensoviet Theater. Author of more than 40 works for musical theater. His musical performances are staged in various theaters across the country (the most famous of them are “Lovely Sinners”, “Incognito from St. Petersburg”, “The Night Before Christmas”, “The Canterville Ghost”). Victor Pleshak - author of musical comedies, musical fairy tales, music for folk instruments, choirs, symphonic plays and pop songs(more than 400 songs and romances) performed by Joseph Kobzon, Eduard Khil, Mikhail Boyarsky, Igor Sklyar, Victor Krivonos, Marina Kapuro, Anna Kovalchuk and other famous artists.
Lives and works in St. Petersburg.

Chorus, Evening in the Rye "" - a choral miniature written to a poem by Robert Burns (translation by Marshak).

a brief description of

poetic text

Samuil Yakovlevich Marshak (1887 - 1964) - Soviet poet, playwright, translator, literary critic.
S.Ya. Marshak is the author of classic translations of sonnets by William Shakespeare, songs and ballads of Robert Burns, poems by William Blake, W. Wordsworth, J. Keats, R. Kipling, E. Lear, A. A. Milne, J. Austen, as well as works of Ukrainian , Belarusian, Lithuanian, Armenian and other poets. He also translated poems by Mao Zedong.

Robert Burns (1759-1796) - British (Scottish) poet, folklorist, author of numerous poems and poems written in the so-called “Lowland Scots” and English.

The poetry of Robert Burns gained wide popularity in the USSR thanks to the translations of S. Ya. Marshak.
Marshak first turned to Burns in 1924, systematic translations began in the mid-1930s, the first collection of translations was published in 1947, and in the posthumous edition (Robert Burns. Poems in translations by S. Marshak. - M., 1976) 215 works, representing approximately two-fifths of Robert Burns's poetic legacy. Marshak's translations are far from a literal rendering of the original, but they are characterized by simplicity and ease of language, an emotional mood close to Burns's lines. In the 1940s, an article appeared in the London Times arguing that Burns was incomprehensible to the British and had only limited regional significance. As one of the counterarguments in reviews of the article, Burns’s enormous popularity in the USSR was cited. In 1959, Marshak was elected honorary chairman of the Burns Federation in Scotland.

R. Burns's poem "Evening in the Rye" has its own special history of creation. Jenny, who is discussed in the poem, was the poet’s wife, her full name Jean Armor. Their love went through many life trials and difficulties, but despite this, Robert and Jean, having overcome all the obstacles and prohibitions of Jean's parents, were able to officially become husband and wife. The poems dedicated to Jenny are difficult to count. One of these poems was “Evening in the Rye”

Making my way to the gate
Field along the boundary,
Jenny is soaked to the skin
In the evening in the rye.
It's very cold girl
Gives the girl a shiver:
I soaked all my skirts,
Walking through the rye.
If someone called someone
Through the thick rye
And someone hugged someone,
What will you take from him?
And why do we care?
If at the boundary
Someone kissed someone
In the evening in the rye!..

According to its concept, the poem at first glance may seem uncomplicated, simple. But in this simplicity lies all the charm, which the composer probably noticed. There are no dramatic detailed pictures in this poem; it conveys more an atmosphere of, albeit simple, but very tender feelings, which ultimately received a small lyrical sketch. Pleshak, through the prism of his perception, conveyed the intent of the text in a special way. He created a small musical picture, giving it a slight irony. The music was written by Pleshak in a modern style, with sudden harmonic transitions, major and minor seventh chords, non-chords, etc., which made the work very colorful.
The composer used all the verses of the poem in his chorus.

Music-theoretical analysis

structural features

Chorus, Evening in the Rye "" is a choral miniature consisting of 2 parts: 1 hour - consists of 16 bars (a square period of 8 bars);
2 hours - 18 bars (3rd sentence - 8 bars, 4th - 10 bars). The very form of the poem and its content determined the composer’s choice of genre choral miniatures. The work, consisting of 34 bars, although small in volume, is very meaningful and colorful.

The main key of the work is e-moll. IN this work The minor key gave the work a special lyrical coloring. In the 1st part of the work there are short-term deviations in the 3rd step (4th and 12th bars), which, in turn, created a light coloration of the sound.
The beginning of the 2nd movement begins in A minor, despite the minor scale, thanks to the various seventh chords (B major, M min, Um 7, etc.) the music is perceived lighter.

The composer achieved very beautiful harmonies thanks to modern harmonic language. In modern harmony, consonances of the nethertz structure, bifunctional and polyfunctional chords play an important role. As well as sudden harmonic transitions, which is also present in this work (for example, bars 19-20). It is worth noting that each sentence ends with resolution through D 7 6 to the tonic of E minor. Comparatively, Part 2 contains the most “harmonic” episodes of the score, where the first word belongs to harmony. It is also denser in sound.
In part 1, on the contrary, there is more emphasis on individual melodic lines, which are alternately led by the soprano and tenor. Here the music sounds more transparent. Against the background of the leading melody of the tenors, the female choir sounds unstable chords (bars 9-10, bars 12), which cause a feeling of unsteadiness.”

The melody in this work is mainly smooth and progressive. This is primarily due to the very nature of the work. If we consider it from the point of view of phrasing, then at its peak the melody tends upward, and towards the end of the sentence it seems to fall back down, in the same way with dynamic shades. Towards the middle of each sentence there is a crescendo, especially in part 1, and towards the end - the fork goes towards fading.
Thus, we can safely say that the composer used very flexible dynamics in this work, which gave the sound a special beauty.

The size of this work is 3/4, there is an alternation of the size in the 2nd movement by 2/4 (19, 23, 30, 33 bars). This is primarily due to the structure of the poem. The alternation of size coincides with a change in harmony, which emphasizes the change of colors in the musical fabric.

The rhythm of this work has its own difficulties. A special feature of the work is the dotted rhythm, from which the first 2 measures of each phrase begin (for example: 1-2, 9-10, 17-18 measures, etc.). All the voices in the choir do not always enter at the same time and have the same rhythmic pattern, that is, polyrhythm predominates.
There are ligated notes (in the tenor part there are 7-8 bars and in the alto part – the 3rd bar). Entry of voices from the 2nd beat or from the 2nd eighth of the 1st beat (tenor - 1st measure, women's voices– from bars 9 to 14, basses 5-6, bars 13-14). This applies to a greater extent to the 1st part, where there is a gradual layering of voices, transferring the main melodic line from one part to another. The 2nd part is rhythmically simpler, there is already a dense choral texture, everyone moves in a single rhythmic pattern.
A special feature of this part are the half notes (20, 24, 28 bars), which emphasize the change in harmony. They briefly, as it were, pause the musical line to allow the colorful chords to sound longer.

The tempo of this work, Mode rato, does not change throughout the entire choir; there are slight deviations from the main tempo, which is associated with the highlighting of the culminating peaks of the phrases, the culmination of the entire work. Despite this tempo, there is agogic movement within musical phrases and sentences, thanks to which the music becomes mobile, light and flexible.” At the end of the 2nd movement there are 2 fermatas (28 and 33 bars), which emphasize the culminating peaks. At the end, from bars 29 to 32, the tenor and soprano alternately carry out their themes, the slightly “excited” movement of their melodic line rushes towards the end of the work and then, closer to the fermata, the music slows down.

The main dynamics of this work p (1st part), mp (2nd part). There is flexible dynamics - crescendo and diminuendo. Dynamics, like other means of expression, is very closely related to the figurative sphere of music and poetic text. The work is lyrical in nature, in which it sings about tender feelings. It was precisely this dynamic that recreated the sophisticated, fragile image of a young girl against the backdrop of the unsteady and transparent colors of nature. This is especially true for part 1. In the 2nd part, due to the dense choral texture, the musical fabric itself, the dynamics of the mp, become denser.

Vocal and choral analysis

Choral score, “Evening in the Rye” was written for a mixed 4-voice choir,
a cappella.
The general range of the entire choir: G – a 2 – the range is quite wide, so this work is designed for performance choir group with sufficiently developed vocal and choral skills.
Each part is located in a convenient tessitura, so the general tessitura conditions for this choir are favorable.

Batch range:

Soprano: d 1 -a 2
Altos: as-h 1
Tenor: H-a 1
Bass: G-c 1

high notes

In this choir, the soprano part is mainly located in the middle tessitura. This is due, first of all, to the nature of the music itself (and the meaning of the poem), where there are no violent outbursts of emotions, but on the contrary, there is transparency and lightness.
The soprano part does not always lead the main melodic line. For example, from measures 9 to 12, together with the violas, they create a very unsteady and transparent background. This instability is expressed in the combination of chords:
(in 9 volumes): T and triads of a tonality of a distant degree of kinship - dis-moll, due to the combination of these chords in the melodic line of sopranos and altos, m2 is formed;
(in 10 t): S and mind5/3. Against the background of the leading tenor part, these chords seem to create a background, light and transparent.

Intonation difficulties

In the melodic structure, it is very important to correctly intonate the moves on m2 (in 9t), where you need to sing the note dis 1 (for 1 soprano) and ais 1 (for 2 sopranos) pointedly, close. The 1st soprano has a third tone, which is also worth paying attention to. It needs to be sung brighter so that the minor coloring of the chords can be heard in the vertical scale (the same applies to bar 12).
In beat 10 there is a mind5/3. When singing this chord, the root tone should be sung sharply (fis 1), the third - dully (a 1), the fifth also dully (c 2).

In the 2nd part, in the harmonic language there are sharp, sudden harmonic transitions into chords of a distant degree of kinship. Therefore, in a vertical system, when connecting chords, it is very important for each part to hear its intervallic progression. IN in this case The soprano has comparatively fewer difficult places in the melodic line.
In 10 and 20 t-x (at 1 soprano), where the move is first on m3, then on b3, it should be performed in this way: fis 1 - a 1; a 1 - f 1 ;

In measure 27, where the 1st soprano jumps to m6, then to m3, we perform it like this: fis 1 -d 2; d 2 - f 2 .

The viola part in this work performs largely a harmonic function, therefore, in harmonic terms, it plays a very important role.
(In bars 13-14, against the background of the tenor leading melodic line, it acts as a counter-addition).
The viola part should perform all the difficult passages in this piece with intonation correctly.

Intonation difficulties

At 1, 7, 15 bars: e 1 - c 1 (b3); c 1 dis 1 (b2).

At 2 o'clock, at 17 and 18 t-x, each subsequent note -do- should be pulled up.
A very difficult move: in 20 t., where you need to sit well on the note b (d 1 -b);

Transition from 21 to 22 t., d 1 - as (uv4), it’s also good to sit down here; in the same measure, the move as - c 1 (b3) the third must be sent higher, sharper. In bar 32, the sound fis 1 is to sing sharply high.

From the point of view of melodic structure, difficulties in this part may arise in the 2nd movement, which is replete with various seventh chords. Due to this, difficult moves are formed in the tenor melodic line.

Intonation difficulties

In bars 19-20 a jump is formed on uv5 down (f 1
etc.................

Felix, terribly angry and dissatisfied, walked through the forest.

Today was a terrible day. He was woken up at the crack of dawn, sent to business negotiations with Ukraine, and it started to rain. But if the first two phenomena could still be somehow endured, then Poland was completely unprepared for the last. He didn't even take an umbrella with him. And now he was paying for his carelessness.

The beautiful dress, which was once lush and pink, lost all its beauty after the rain and hung like an ugly rag on the body.

I will never go beyond my boundaries for anything in my life. - Felix muttered, but suddenly became cheerful.

The forest is over. Ahead was the native rye field, which had to be crossed to get home.

Finally. - Poland rushed forward with all his might.

After the rain, the field looked unusually beautiful: ripe, tight ears of grain on thin stalks, as if having washed themselves during a downpour, swayed in the wind and affectionately whispered in some language they understood.

Not so bad…

Poland even stopped. The field seemed to hypnotize. I wanted to plunge into this dark sunny abyss and stay in it forever. Taking a deep breath, Felix stepped towards the ears of corn.

...He walked for quite a long time. The rain had barely stopped, and it was very difficult to move - my feet were stuck in the wet ground. It was getting cooler, but the wet dress was not warm at all.

Felix! Felix, wait!

Poland looked around in surprise. Lithuania hurried towards him through the thick rye. Green eyes glittered with alarm, Brown hair disheveled. There was an expression of concern on his face.

Russia let me go for a while, I ran to you, and they told me that you are with Ukraine, but you will return soon, and it’s raining outside... Are you okay?

Poland really liked the uptight Lithuania. He turned pale and stuttered so funny that you wanted to hug him close and cuddle him.

Well... Sort of yes.

Lithuania breathed a sigh of relief. To be honest, he hated it when Felix went somewhere without him. Of course, Poland was not a child who needed a 24-hour nanny. After all, Poland in his pink dresses looked more like a girl who needed to be protected from all sorts of... Russians.

Lithuania glanced sideways at his friend. A light breeze gently played with Poland's hair, the gaze of his large green eyes was fixed on the ground, and his lips were slightly parted. Now Poland looked so sweet, so close, so dear.

Felix, I...

Shut up, Lit.

Poland wrapped his arms around Lithuania's waist. Their eyes met. And the world disappeared. Toris saw in front of him only a small universe, colored in green color. All I saw in front of me were pink, bitten lips. And it made me smile. So many years have passed, but Poland has not changed at all.

Felix, I...

He never finished. Something soft and wet touched my lips. Something very much reminiscent of Poland's lips. “So many years have passed, and you still haven’t learned to kiss,” a thought flashed somewhere. And then Lithuania closed his eyes and deepened the kiss.

Fool, Lit. I said “be quiet.” And you are completely incomprehensible. - Felix muttered embarrassedly.

Sorry.” Toris laughed quietly and buried his head in the sunny, daisy-scented crown.

Will you accompany me?” Poland looked at him with puppy dog eyes.

Do I have a choice?

As once upon a time in childhood, they held hands and walked along the boundary. Both of them felt warm and joyful in their souls. And let them part at the gate, each of them will have the whole evening happy face. Both will smile happily all evening.

-Making my way to the gate
Field along the boundary,
Jenny is soaked to the skin
In the evening in the rye.

It's very cold girl
Gives the girl a shiver:
I soaked all my skirts,
Walking through the rye.

If someone called someone
Through the thick rye
And someone hugged someone,
What can you get from him? - Russia grinned slyly and glanced sideways at the pale Lithuania. - Doesn’t it remind you of anything?

N...No, Mr. Russia. But the poem is very beautiful.

Nothing, you say? Well, then you're free.

“It’s gone,” thought Toris, closing the door behind him with a shaking hand, “It’s gone.”

- And why do you care?
If at the boundary
Someone kissed someone
In the evening in the rye...- purple eyes sparkled mysteriously in the twilight, and a malicious grin appeared on his lips.

Ivan Braginsky knew everything about everyone. Ivan Braginsky knew why he was letting Lithuania go today. Ivan Braginsky knew why Toris returned so... Happy. And Russia knew for sure that more than once again, as if by chance, he would read these wonderful poems by Burns to Lithuania. Only now Jenny will need to be replaced by Felix...

Was wonderful spring,

They sat on the shore

She was in her prime,

His mustache was barely black...

The scarlet rose hips were blooming all around,

There was an alley of dark linden trees...

Then for some reason I imagined how my story begins - autumn, bad weather, a high road, a carriage, with an old military man in it... The rest all somehow came together by itself, came up - very easily, unexpectedly - like most of my stories.” .

Bunin quoted N. Ogarev’s poem, which is called an Ordinary Tale” (let’s pay attention to this!), combining two stanzas. Ogarev does it like that

It was a wonderful spring!

They sat on the shore -

The river was quiet, clear,

The sun was rising, the birds were singing;

The valley stretched beyond the river,

Calmly lushly green,

Nearby, a scarlet rosehip was blooming,

There was an alley of dark linden trees.

It was a wonderful spring! They sat on the shore. She was in the prime of her life, His mustache was barely black.

Oh, if only someone could see them<...>

Probably, Bunin and such people did not go unnoticed

lines of this poem:

I met them later in the world:

She was the wife of another

He was married, and about the past

There was not a word in sight<...>

The fact that “An Ordinary Tale” served as an impetus, an impulse for the creation of Dark Alleys is undoubtedly. But there is also a thematic and compositional connection between Ogarev’s poem and Bunin’s story. The line about the alley of dark linden trees appears twice in the story. At first Nadezhda is in tension

remembers the special moment of explanation with Nikolai Alekseevich

“There was a time, Nikolai Alekseevich, when I called you Nikolenka, and you remember me? And they deigned to read all the poems to me about all sorts of “dark alleys,” she added with an unkind smile.

For Nadezhda, it is not the poems themselves that are important, but the fact that Nikolai Alekseevich reads poems. Hence the dismissive “about all the kitty dark alleys.” Nevertheless, the transformation of the image of Ogarev’s poem in the memory of Nadezhda is essential for the story. “Dark alleys” are not only more natural, more accessible to Nadezhda’s consciousness than “dark linden alleys,” but the main thing is that this is a more generalized, emotionally deep image, containing something unsaid and disturbing. It is no coincidence that “Dark Alleys” became the title of not only the story, but also the book of Bunin’s stories.

And Nikolai Alekseevich recalls Ogarev’s lines, already calming down after meeting Nadezhda:

“Yes, of course, the best moments. And not the best, but truly magical! “The scarlet rose hips were blooming all around, there were dark linden alleys...” But, my God, what would happen next? What if I hadn't left her? What nonsense

Nikolai Alekseevich inspires himself and Nadezhda that “everything passes, everything is forgotten.” But Nadezhda thinks differently: “Everyone’s youth passes, but love is another matter,” “Everything passes, but not everything is forgotten.” Nikolai Alekseevich says about the passing of youth and love: “The story is vulgar, ordinary.” And talk again about the fact that his wife left him and his son grew up to be a scoundrel~ “However, all this is also the most ordinary, vulgar story" There is an obvious parallel here with the title (and partly with the content) of Ogarev’s poem.