Мусоргский Модест Петрович - Ночь на Лысой горе
текст песни

Powerfully, on fortissimo, the rapid movement of strings begins, drawing the flight of witches. Triles of flutes along with Piccolo are piercing, heavy “steps” are heard in the baskets and the Litaur, the entire range of the orchestra from the flute-piccolo to double basses covers brief ascending and descending passages, the triols of which emphasize the convulsive and aggressiveness. Everyone cuts out individual signatures of the Valtorn, cornets. It seems that the sound is at the limit, but it is increasingly intensifying in the holler octaves of copper, tremolo violins, and the battles of smuggles. After separate torn-torn chords-renegles, the same frantic movement again begins, leading, after the scenes of the flute-piccolo and sharp bursts of string, to the appearance of the first designed topic- the double-flowing motive first at Goboy, then flute and strings (“entry in 2 series, collection of witches ", - writes Mussorgsky). After the general pause, a large drum with flat triols enters, against which the double-flowing motive sounds in a modified form, in different timbre and registers (“The theme D-Moll with low development is gossip”). In a powerful tutti, with alternating size, accompanied by blows of plates, the flute-piccolo flute is worshiped, the same topic develops. This episode ends with a rapid chromatic descending movement, turning into a rising and broken trill of strings. The next large section is the train of Satan, in marhe-shaped movement with a dashed rhythm, with roll calls of orchestral groups, a sharp change in dynamics (“The topic of a train without development with an answer in ES-Moll. The quiner nature in Es-Moll is a transbaven”), after which Witches praise begins - jerky chords of wooden tools in a variable size ending in trill. Again, almost like at the beginning, brief ascending and descending passages sound, after a general pause, the theme of gossip enters, various motives are interspersed. The whirlwind becomes more and more inherent in which the theme of gossip rises every now and then, musical material varies, and, finally, after a booming downward chromatic gamut, the string of string occurs - a shabash. In roll calls of orchestral groups, it arises, then the same Witches theme disappears; It changes, distortes, goes into a frantic dance. At the end of the Sabbath, elements of the introductory section (collection of witches) appear, a movement on a hill gamut arises, and the chords-free chords reach an inconceivable force. In the last vortex take -off of the string, evil spirits disappear.