The founders of the professional school of composers of the Urals. Musicians of the Urals Composers of the Urals message
Birthday February 16, 1925
Ural composer, author of many songs popular among the people, front-line soldier, Honorary Citizen of the Sverdlovsk Region and Yekaterinburg, People's Artist of Russia
Biography
Evgeny Rodygin was born in the family of Pavel Alexandrovich, an accountant, and Elena Nikolaevna, a housewife. He spent his childhood in the city of Lysva, was fond of reading, chess, photography, showed an ability in mathematics and music. In 1937 he moved with his parents to Nizhnyaya Salda. By that time, the boy had mastered the button accordion and was accepted into a circle led by Mikhail Staroorletsky.
Shortly before the war, Yevgeny was enlisted in the commandant's platoon of the 158th motorized rifle division based in Kalinin. During the war years, he went from private to senior sergeant, often spoke at the forefront. In 1944 he was awarded the medal "For Courage". On April 23, 1945, he was seriously wounded on the Oder River.
After the end of the war, he entered the composition department of the Ural State Conservatory. In 1950 he graduated from the conservatory, after which he worked with the Ural State Russian Folk Choir. Songs written in the 50s brought the young composer popularity. He toured a lot in the Soviet Union, also visited Poland, Czechoslovakia, the GDR.
Now Yevgeny Pavlovich continues to engage in musical creativity, in winter he is fond of winter swimming - he bathes in an ice hole in Lake Shartash. In 1998 he became an honorary citizen of Yekaterinburg. Well-known is the classic song by E. P. Rodygin “Oh, curly mountain ash”.
Most famous songs
- Ural mountain ash (Oh, curly mountain ash)
- New settlers are coming (Hello, virgin land)
- white snow
- Where are you running, dear path
- Song about Sverdlovsk
- Linen is mine
Film music
- In the power of gold (Sverdlovsk Film Studio, 1957)
Operettas
- The space is wide
- Happiness difficult roads
Musical culture of the Urals
The musical culture of the Urals is characterized by a variety of national. traditions and socio-cult. forms of manifestation of music. activities. Muses. the life of the region is represented by M.K. Russian, Bashk., Udm. and other peoples. In the process of colonization U. rus. from the 11th-12th centuries Russian was formed here. M.K. Rus. music folklore brought to U. from dec. regions of Russia, enriched the ethnically diverse picture of the local people. music creativity. Lv. Russian folklore has developed under the predominant influence of the North-Russian. traditions. One of its notable features is the proximity of villages. and mountains. cultures, due to the spread of the z-dsky type of settlement to U. The first folklore records in Russia with music text were collected in the 18th century. in the Ur.-Siberian lands by K. Danilov, who served with the Demidovs.
Naib. old centers of professional Russian. M.K.U. associated with schools of Orthodox choral singing. In the temples of the Stroganov Ur.-Pomor and Kama estates in the XVI-XVII centuries. there was a singing "Usolskaya" school, among the masters of which a swarm of izv. S.Golysh, I.Lukoshkov, F.Subbotin. Russian reforms. churches of the late 17th century, which caused the forced resettlement of schismatics in Ukraine, led to a parallel existence in the 18th-20th centuries. two traditions of Russian. religious singing: Old Believer, basically monodic-choral, which retained the skills of singing according to banners, or hooks, and polyphonic, adopted by the official "Nikon" church. Distributed in Russia through Ukrainian and Western-Russian. temples, partesnoe polyphony was supported and adopted by the Stroganov school at the end of the 17th century. The future clergymen studied the skill of polyphonic singing a`sarela in monasteries, temples, later in spiritual schools and seminaries. Singing was a compulsory subject of parochial schools and early. uch. Strong folklore and song traditions, well-established prof. church singing schools, as well as free singing classes. and regency courses organized by A. Gorodtsov, F. Uzkikh and others contributed to maintaining a high level of Russian choral culture. us. U.
History of instrumental Russian. music in U. goes back to the practice of playing on Nar. tools. Becoming a prof. music lawsuit is connected with the instruments of Europe. origin. Amateur solo and ensemble performance on them has become widespread since the 18th century. thanks to mining engineers, lawyers, and other specialists who came to the U. from Europe and c. Russia (in particular, the charter and educational program of the St. Petersburg Mining Cadet Corps provided for compulsory training of students in music). Polit. exiles.
An important component of music. life ur. were orc., incl. military-regimental, introduced in Russia by Peter I. Ork. organized in border centers, provinces. city (Orenb., Perm), at large state-owned and private factories (Ekat., Nizhny Tagil, etc.). Traditions of attracting regimental, zdskih orcs. to participate in official celebrations survived into the 20th century. During the 19th century decomp. functioned on W. by composition, post. and vr. orc. groups intended for musical and theatrical performances, ball service, concert and entertainment programs of the Irbit Yarm., summer seasons in privileged mountains. gardens, resorts, etc. Among known on U. in the 19th century. Kapellmeisters Orc. - violinists V. Meshchersky, Ya. and I. Tikhacheki, L. Goyer, M. Krongold, L. Vinyarsky and others. began to carry out educational functions. In their repertoire appeared products. classical music.
K ser. 19th century an increase in the number of establishments, the influx of foreign and Russian. specialists contributed to raising the level of M.K.U., which attracted the attention of performers and musical theater troupes. Their activities have intensified in connection with the development of navigation along the Kama and the commissioning of the railway.
By the end of the XIX century. in the organization of music. W.'s life has undergone significant changes; in Perm and Ekat. music-dramatic circles were formed, private muses were opened. schools. In the halls of nobles and societies. coll. by amateurs with the participation of soloists-guest performers, op. productions, complex concert programs. At the head of the music cases were few. prof. - graduates of St. Petersburg, Moscow. and the Warsaw Conservatory and amateur musicians V.Vsevolozhsky, V.Bolterman, I.Dyagilev, S.Gedgovd, E.Peterson, G.Naglovsky in Perm, S.Gilev, P.Davydov, S. Hertz, G.Svechin, E .Schneider, P.Kroneberg in Ekat. and others. In 1894, the first op. theater. In Ekat. in 1900 dir. Siberian Bank I. Makletsky built a concert hall. In the beginning. XX c.Ur. otd. Imperial Russian. music ob-va were formed in Perm (1908) and Ekat. (1912). In Ekat. after the opening of op. theater (1912) on the basis of the music. class IRMO, hands. V. Tsvetikov, created the first in U. muses. school (1916).
Events of 1917 and civil. the war disrupted the activities of church singing schools, theatrical and concert and musical educational organizations, led to the liquidation of the department. IRMO, to the departure of prominent musicians. In the work clubs, military units, schools established the practice of universal education roar. hymns, songs, marches. Rallies and concerts were organized in theaters and concert halls, culminating in the mass singing of the Internationale. The concerts of the musical-theatrical brigades of the "Blue Blouse" at enterprises have become widespread. In op. theaters due to lack of production. rev.-polit. subjects, experiments were carried out to update the content of classical op. So, "Life for the Tsar" by M. Glinka (before establishing itself in the version of "Ivan Susanin") was staged in Sverdl. titled "Hammer and Sickle" (1925). State. order for production roar. content led to the emergence of many superficial ideologized op.
Under these difficult conditions, a relatively high level of prof. and amateur M.K. In op. troupes of Perm and Sverdl. talented soloists sang. Orc. op. theaters post. gave symphony concerts (conductors I. Palitsyn, A. Margulyan and others). Development of M.K. contributed to the discovery of music. schools and schools in Perm (1924) and Orenb. (1927). In 1929 in Sverdl. music uch-beginning prof. training in performing on the folk. instruments, which later allowed the creation of concert ensembles and orc. nar. tools. From the second floor. In the 1920s, music was regularly aired. local radio transmissions. Management Sverdl. music radio broadcasting was headed by the composer V. Trambitsky.
At the turn of the 1920s and 1930s, the accelerated industrialization of Ukraine, which led to the growth of its population, required an expansion of the network of cultural institutions. Music theaters. comedies opened in Sverdl. (1933) and Orenb. (1936). In the region c. were organized by the state philharmonic, uniting dec. instrumental ensembles, choir and dance groups, music and literature. lecture halls. C. place in the structure of Sverdl. Philharmonic took the first and only symphonic orc in U. (1936) in ch. with conductor M. Paverman. A conservatory was created in Sverdl. (1934), music. school in Chelyab. (1935) and Magnitogorsk (1939).
A noticeable phenomenon was the development of thin. amateur performances. Social the principles of musical and aesthetic education of the working people assumed the educational activities of professional musicians. under their arms. in the mountains., zdskih and villages. clubs worked chamber-vocal, choral, orc., op. mugs. In order to identify the best performers, art reviews were held. amateur performances.
In the implementation of the party.-state. thin The politics of the 1930s were marked by the strengthening of administrative-command methods of managing culture. Fast. Central Committee of the All-Union Communist Party of Bolsheviks of April 23. 1932 "On the restructuring of literary and artistic organizations" marked the beginning. the approval of Stalinist forms of ideologization of culture, incl. introduction of a hierarchically centralized system of creative unions. Lv. otd. The Union of Composers of the USSR (Sverdl.) was formed by 1939. Its origins were the composers M. Frolov (previous board), V. Trambitsky, V. Zolotarev, V. Shchelokov and others. . lang.
The repressions of the 1930s also affected the fate of musicians, for example, orc artists. Sverdl. theaters op. and ballet (V. Volak, G. Kozlovitsky, I. Petkevich) and musical comedy (A. A. Vaker).
During the war ur. the land became a haven for those evacuated to the U. from Leningrad. theaters op. and ballet them. S.M. Kirov (Perm) and Maly op. (Orenb.), for composers S. Prokofiev, D. Kabalevsky, pianist G. Neuhaus, musicologists V. Zukkerman, M. Druskin and others. Their activities contributed to raising the level of M.K. and the creation of music in U. uch. institutions, performing groups. So, in 1943 in Sverdl. was opened Wed. special music. school at Ur. conservatory, in 1945 in Perm - choreographic school. In 1943 a philharmonic society was organized in Kurgan, in Sverdl. philharmonic appeared acad. choir chapel (art director Z.Ishutina) and Ur. nar. choir (art director L. Christiansen), in 1944 a choir chapel was created in Magnitogorsk (art director S. Eidinov). Great work was done by the concert brigades, which carried out tens of thousands of performances in French. and in the rear. Mn. the musicians went to French, not all of them returned from the battlefield.
Late 40s - early. 50s for the development of music. lawsuits in the USSR were unfavorable. Fast. Central Committee of the All-Union Communist Party of Bolsheviks "About the opera" Great Friendship "by V. Muradeli" dated February 10. 1948 consolidated the principles of the party-state. hands culture. Reproaches of "formalism" addressed to the leading creators of owls. music, forcing them to public self-repentance led to further suppression of their creative potential. The opera by V. Trambitsky "Thunderstorm" (according to A. Ostrovsky) was withdrawn from the production in Leningrad. theater them. S. Kirov. The complete rejection of the new foreign music of the 20th century, its long-term absence in the concert, theater and educational programs impoverished the domestic M.K. Successes were achieved in the promoted song-choir genre (B. Gibalin, L. Lyadova, E. Rodygin). Acquired from the first years of owls. authorities experience org-tion obshchenar. festivities, accompanied by mass singing of songs, was used in the "Song Holidays" in U. Since 1957, Sverdl actively participated in their organization. region choral society in ch. with G. Rogozhnikova. Television has played an important role in the popularization of popular pop songs since the late 1950s. Song became the basis of symphonic works. ur. composers N. Puzeya, G. Toporkov and others.
In the 1950s, Sverdl were discovered in the U. region music-drama and Chelyab. op. theaters. Lv. In the 1940s and 1950s, the theme was staged in the ballet The Stone Flower by A. Friedlander, op. "Okhonya" by G. Beloglazov, op. "Mark Beregovik" by K. Katsman and in other op. composers W.
In the late 1950s and 1960s, the network of uch. institutions, the programs of which provided for the music. education: institute of culture (Chelyab., Perm), music, music-pedagogical and cultural-educational schools, music. f-you at pedin-ta and peduch-shchah, children's schools of arts-in. With many enterprises, universities, technical schools, schools created high fur boots of culture, classes in which were also lecturers-musicologists.
Lv. the concert-performing school was represented by the string quartet. N. Myaskovsky, pianist I. Renzin, balalaika player V. Blinov, singer V. Baeva, etc. The repertoire of op. theaters U. A number of productions of owls. op. successfully carried out Perm. theater op. and ballet.
Amateur music. art in the 60-70s was characterized by the spread of author's songs, especially among the youth, students. On W. were org. amateur song clubs. The growing polit. the topicality of the author's song and the repertoire of rock bands predetermined the development of these areas as an underground art. In the second floor. 80s thanks to the rock bands "Nautilus Pompilius", "Agatha Christie" and others, who received the Shir. fame, Sverdl.-Ekat. became one of the rock music.
Opening from the 70s variety department. in Sverdl. music uch-sche, Chelyab. in-those cultures contributed to the development of the traditions of classical jazz and the maintenance of a high prof. level pl. pop groups U. Acad. music the art of U. 70-80s was represented by such talented musicians as the laureate of the State. pr. USSR composer V. Kobekin (1987), ch. conductor and chief dir. Sverdl. op. theater E. Brazhnik and A. Titel, laureates of the international. and All-Union competitions pianist N. Pankova, domrist T. Volskaya, bayan player V. Romanko, ch. conductor of the symphony orchestra Sverdl. Philharmonic Society V. Kozhin and others. Choir societies were transformed into music. dec. types of music claims (1987).
At the turn of the 80s and 90s, when new opportunities opened up for the manifestation of personal initiative by the organizers of the muses. cases, at U. beginning. to form numerous independent musical-theatrical and concert groups: ensemble, orc., choral (including church singing), dance. Removal of the status of closed cities from large industrial enterprises. c. U. allowed the development of bilateral foreign ties. In U. began to be regularly held international. music festivals: piano duets (Yekat), organ music (Chelyab.), solo performances (Perm). Lv. performers have stepped up touring activities abroad, more widely began to participate in international. competitions. The skill of children's music has increased. teams. Music opening. lyceums (including choirs) and children's philharmonics (Yekat., 1979 and Chelyab., 1984) - evidence of a new approach to the development of music. children's abilities. This is the source of future success.
Lit.: From the musical past. Issue. 1. M., 1960; Issue. 2. M., 1965; Composers of the Urals. Sverdlovsk, 1968; On the music and musicians of the Urals. // Scientific and methodological notes of the Ural State Conservatory. Issue. 3. Sverdlovsk, 1959; Parfentiev N.P., Parfentieva N.V. Stroganov school in Russian music of the XVI-XVII centuries. Chelyabinsk, 1994; Belyaev S.E. Musical education in the Urals: origins, traditions. Yekaterinburg, 1995; Belyaev S.E. Figures of musical culture of the Urals of the XVI-beginning of the XX centuries. Bibliographic reference book. Yekaterinburg, 1999.
Ural branch of the Union of Composers of the Russian Federation
620014 Ekaterinburg, March 8 Ave., 14, office 412.
Phone: +7-371-45-45 Fax: +7-371-65-55
Email: [email protected]
The history of the creation of the Ural branch
late 20s - early 30s
The first professional composers come to Sverdlovsk: V.N. Trambitsky, M.P. Frolov, V.A. Zolotarev, N.R. Bakaleinikov, V.I. Shchelokov. It is thanks to their activities that the Urals have their own school of composition.
April 13, 1929
Premiere of the first Ural opera on the stage of the Sverdlovsk Opera House. Its author was the young Victor Trambitsky. According to the critics of those years, the success of the opera "The Gadfly" was ensured, first of all, by the music, as well as the wonderful work of the conductor V. Lossky.
1932
In the same year, when the Union of Soviet Composers was created in the country by the decision of the party authorities, its Organizing Committee was formed in Sverdlovsk. The composers Frolov, Zolotarev, Trambitsky, who entered it, formulated its goal in the following way: "... to unite the composing forces of the Urals, organize them to create musical works on Soviet themes ...".
autumn 1935
In the recently opened Conservatory, its first director, M.P. Frolov, organizes the composer department, where he leads the class of composition [theory of composition]. The famous Ural composers later became the first students: B.D. Gibalin, G.N. Beloglazov, then N.M. Khlopkov, N.M. Puzey, V.A. Laptev and others.
May 16, 1939
Date of birth of the composer organization in the Urals: on this day, the first meeting of the Union of Soviet Composers of the city of Sverdlovsk took place. MP Frolov was elected the first chairman of the Sverdlovsk organization.
November 1941
The Sverdlovsk branch of the SSK, together with the Regional Department of Arts, the Literary Center of the Union of Writers of the Urals and the Union of Composers of the USSR, announce a competition for the creation of a mass Red Army song, as well as a song about the Urals - a forge of military weapons. Already by the beginning of 1942, many applications were received. The first prize was given to the song of Tikhon Khrennikov, who lived in Sverdlovsk at that time, "Urals fight great" to the verses of Agnia Barto.
August 5, 1944
The premiere of the first Ural ballet took place at the Sverdlovsk Opera House. The "Stone Flower" by Alexander Friedlander was staged by choreographer K. Muller on the libretto based on the stories of P. Bazhov, the composer himself was behind the conductor's stand.
late 50s
Under the guidance of B.I. Pevzner, young musicologists N. Andreeva, M. Blinova, I. Grankovskaya, L. Marchenko, V. Mezrina, V. Palmova, Zh. Sokolskaya, V. Khlopkova, L. Shabalina, G. Tarasov and others began work on a book of essays "Composers of the Urals" [published in the Central Ural book publishing house in 1968].
September 1961
The first meeting of the Youth section at the Sverdlovsk SC, and a month later - the first of a series of numerous concerts. Inspired by the idea of promoting new music, the section included composers N. Berestov, V. Bibergan, E. Gudkov, V. Kazenin, M. Kesareva, S. Manzhigeev, G. Seleznev; musicologists N. Vilner, L. Marchenko; performers L. Belobragina, L. Bolkovsky, V. Gorelik, A. Kovaleva, Yu. Morozov and others. The youth section existed until 1965.
January 1966
The Sverdlovsk organization of the USSR IC was transformed into the Ural organization of the RSFSR IC, bringing together composers and musicologists from the three largest regions of the Urals - Sverdlovsk, Chelyabinsk, Perm, as well as Tyumen and Orenburg. Since then, regularly, once every few years, large creative reports, the so-called Plenums of the Board, are held, presenting the listeners with a wide panorama of Ural music.
May 1972
IV Plenum of the Board of the Ural Composers' Organization "Towards the 50th Anniversary of the Formation of the USSR". Five days included two symphony concerts, an opera performance [K. Katsman's "Malchysh-Kibalchish", chamber, choral, children's music concerts and performances by students-composers, a concert of folk instruments orchestra.
October 1973
Release of the record "Ural Souvenir", dedicated to the 250th anniversary of Sverdlovsk. Symphonic and chamber works by V. Bibergan, B. Gibalin, M. Kesareva, G. Toporkov are recorded on two discs.
April 1975
The first of a series of concerts of Ural music in the sister city of Sverdlovsk Pilsen [Western Czech Republic]. For the first time, the work of Ural authors is so widely represented abroad. Subsequently, such concerts, including joint concerts with Czech composers, became a tradition: in the 1970s and 1980s, more than twenty of them took place in Sverdlovsk and Pilsen.
April 1979
The 4th Congress of the Union of Composers of the RSFSR is taking place in Moscow, the music of the Ural authors is a great success, the criticism especially singles out Gerald Toporkov's Fourth Symphony.
December 1979
The Ural Composers' Organization is celebrating its 40th anniversary. The 10th Plenum of the Board includes six concerts of different genres, from a symphony at the Philharmonic to a song at the Borodulinsky state farm, a demonstration of new music on record and a discussion following the results.
November 1981
Birth of the contemporary music club "Camerata". The author of the idea and permanent presenter, musicologist Zh.A. Sokolskaya, defines the concept of "Camerata" as follows: "Performance of chamber works by contemporary composers, meetings with Ural authors and leading performers of the city, premiere screenings of new compositions, discussions on problems of chamber music."
March 1982 XI Plenum of the Board of the Ural Composers' Organization "Towards the 60th Anniversary of the Formation of the USSR". In nine concerts of the festival, an impressive panorama of the creativity of the composers of the Urals is unfolded. Two symphony [one of them - in Chelyabinsk], two chamber, choral, children's, song concerts, listening to recorded operas and showing the music of students of the composer department - the most significant works of recent years are presented here, the best performing forces of the region are involved.
May 1982
Under the leadership of A. Nimensky, the Youth section of the "new wave" is emerging. It included composers V. Barykin, A. Byzov, T. Kamysheva, T. Komarova, A. Korobova, N. Morozov, E. Samarina, S. Sidelnikov, M. Sorokin, A. Tlisov, musicologist L. Barykina, as well as Permians I. Anufriev, V. Gruner, I. Mashukov, V. Pantus, N. Shirokov. Regular meetings of the section are devoted to showing and discussing new, including unfinished works, listening to the latest in modern music. Numerous concerts in the cities of the Sverdlovsk region, in Perm, radio and television programs introduce listeners to the work of young Ural authors.
May 23, 1983
An independent branch of the Union of Composers of Russia is being created in Chelyabinsk. Its basis was formed by members of the Ural Composers' Organization - V.Vekker, E.Gudkov, V.Semenenko, M.Smirnov and others.
December 1983
XII Plenum of the Board of the Ural Composer Organization "Creativity of the Young". The concert halls of the Philharmonic, the Conservatory, the Palace of Pioneers are provided to young authors - recent graduates and students of the composer's faculty.
May 1985
The Union of Composers of the RSFSR holds a Plenum of the Board in Sverdlovsk. The big music festival is called "Great feat of the front and rear" [Composers of Russia - the 40th anniversary of the Victory of the Soviet people in the Great Patriotic War]. The halls of the Opera Theater ["The Prophet" by V. Kobekin and "My Sisters" by K. Katsman], the Theater of Musical Comedy ["The Queen and the Bicycle" by S. Sirotin), the Philharmonic Society, the Conservatory, the Cinema and Concert Theater "Cosmos", the Palace of Culture of UZTM, the Palace of Youth are overcrowded. Along with the works of the Urals, the music of the leading Soviet composers - R. Shchedrin, A. Petrov, B. Tishchenko, A. Schnittke, M. Tariverdiev, M. Kazhlaev and many others.
February-March 1987
XIV Plenum of the Board of the Ural composer organization "Music and Life". Two symphonic, three chamber, choral, song, student, children's and folklore concerts. In a few days, the Sverdlovsk audience met with already familiar works and witnessed a large number of premieres at various concert venues [Philharmonia, Conservatory, Musical College, Musical and Pedagogical Institute, District Officers' House, UZTM Palace of Culture, etc.].
November 1987
Awarding the State Prize of the USSR to Vladimir Kobekin's opera "The Prophet" [Sverdlovsk Opera and Ballet Theatre, director A. Titel, conductor E. Brazhnik, staged in 1984].
December 1989
Music festival dedicated to the 50th anniversary of the Ural composer organization. Retrospective of the best works of the past and premieres. Concerts of symphonic, chamber, choral, organ and children's music, an opera performance, a performance by the Ural Folk Choir and the Orchestra of Russian Folk Instruments on the stage of the Opera House; song concert-meeting with participation of A. Pakhmutova, L. Lyadova, E. Rodygin, V. Kazenin, V. Bibergan and others ".
April 1990
The creative report of the Ural Composer Organization in Moscow, which has already become traditional in previous years. On the stage of the All-Union House of Composers, works by A. Byzov, V. Goryachikh, L. Gurevich, K. Katsman, M. Kesareva, V. Kobekin, O. Nirenburg, N. Puzey, E. Samarina are heard.
October 1, 1990
The Studio of electro-acoustic music was created at the Ural Conservatory. Since then, the works of its leader T. Komarova, as well as graduates V. Volkov and Sh. Gainetdinov have been included in the programs of Russian and foreign electronic music festivals more than once [Bellagio, Italy, 1994; DeKalb, USA, 1994; Bourget, France, 1995, 1997].
December 1990
Festival "Young Composers of the Urals". The scope of creative searches, the gallery of new and already familiar names, the variety of genres of concerts and the subsequent resonance made the Festival a kind of result of many years of activity of the Youth Section of the 80s.
March 1992
On the stage of the All-Union House of Composers in Moscow, the music of the Ural authors again sounds. This time the young people are reporting. Chamber compositions by I. Anufriev, V. Barykin, V. Gruner, E. Samarina, D. Suvorov, A. Tlisov, N. Shirokov are performed.
April 1992
Festival "Modern Composers for Children and Youth". Along with venerable performers and groups, many concerts are also attended by children - students of music and choir schools in the city. But they have to go on the stages of the Conservatory and the Philharmonic! In addition, within the framework of the Festival, there is a Concert-presentation of a new collection "Pieces of the Ural Composers for Piano" [Soviet Composer Publishing House] and an author's concert by M. Bask, a composer actively working in the genre of music for young people.
June 15, 1993
Organization of the Perm branch of the Union of Composers of Russia. Its basis was formed by members of the Ural Composers' Organization - I. Anufriev, O. Belogrudov, V. Gruner, I. Mashukov, N. Shirokov.
October 1993
The first International Festival of New Music "Game and Contemplation" in Yekaterinburg. The five philharmonic concerts feature works by composers from Argentina, Brazil, Germany, Canada, as well as music from Muscovites and the Urals; creative meetings with guests are held at the Conservatory. The festival offers a new concept of the life of the Ural music: now it sounds in the context of world novelties, performed by top-class musicians [M. Pekarsky's ensemble and others] and attracts unprecedented attention of the public.
April 1994
International festival "Three days of new music at the Ural Conservatory". In the big hall of the Conservatory sounds the musical avant-garde from Austria, Sweden and Yekaterinburg; the festival also includes an author's evening of the Armenian composer Avet Terteryan.
June 1995
The release of the album of piano pieces by Ekaterinburg authors "Children about children". With this action, the Ural branch of the Union of Composers of Russia begins its own publishing activity: the collection is completely prepared on its own. The album "Children about Children" is the first professional musical publication in the city.
April 1996
Festival "New Music - New Names". There are works by students and recent graduates of the Ural Conservatory. The festival ends with a concert-meeting with the participants of the Youth section of the 60s.
December 1997
Festival "Music before Christmas". The Municipal Chamber Orchestra "BACH", the Ural Orchestra of Folk Instruments, the Municipal Choir "Domestik" and other performers introduce the public to the new music of composers from Yekaterinburg, Perm, Chelyabinsk.
April 1998
On the initiative of the Union of Composers, there is a competition for the best performance of works by Yekaterinburg authors among students of the city's music schools. The April concert of young laureates is the result of competitive selections.
September 1998
Under the guidance of young composers Olga Viktorova and Oleg Paiberdin, the Contemporary Music Club was founded, which was later reorganized into the New Music Workshop "AUTOGRAPH". Regular meetings are dedicated to listening to and discussing new European music. Numerous concerts and actions in Yekaterinburg, Moscow, the virtual journal of the Workshop introduce listeners to the work of young Ural authors.
October 1998
The book "Composers of Yekaterinburg" [the author of the project and compiler Zh.Sokolskaya] is published - a fundamental 400-page publication, which for the first time reflects the history of the formation of a composer organization in the Urals. A series of essays-portraits about each member of the SC was written by musicologists of different generations. The book is provided with serious reference material and richly illustrated.
November 1998
Festival "Musical offering to Yekaterinburg". Timed to coincide with the 275th anniversary of the city, it includes chamber, choral and symphonic premieres. There are also works that participated in the Competition for the creation of an overture dedicated to the anniversary of Yekaterinburg, including the winning "Anniversaries" by A. Nimensky.
September 1999
Festival "60 years of Ural music".
September 2001
Festival "Sound and Space".
December 2001
Chamber Music Festival "December Evenings".
May 2002
International festival "Lines of Avet Terteryan".
September 2003
New Music Festival "Festspiel".
October 2005
Days of new music in Yekaterinburg.
September 2006
The Ural Academic Philharmonic Orchestra, in connection with the 70th anniversary of its founding, has announced an International Competition for the creation of symphonic music for children. Composers A. Zhemchuzhnikov (“Lion's Vacation” for reader and symphony orchestra), V. Kobekin (Symphonic fairy tale “Gingerbread Man”), A. Krasilshchikova (“A simple story about little Ludwig”, forest sketches for symphony orchestra) participated from the Ural Branch of the NC of Russia , A. Pantykin (fairy tale for reciter, flute, bassoon, 3 trombones, tuba and symphony orchestra "Flum-pam-pam").
A. Pantykin was awarded the Second Prize and the Audience Choice Award
A. Krasilshchikova became a diploma winner of the competition
November 2006
November 5 marks the 70th anniversary of the Honored Worker of Arts of the Russian Federation, composer Leonid Gurevich. His anniversary creative evening was held in the Big Concert Hall of the Ural State Conservatory. M. P. Mussorgsky. The concert featured compositions from different years. Participated: Symphony Orchestra of UGK Students (conductor Enhe), Folk Instruments Orchestra of UGK Students (conductor V. Petushkov), Choir of Students of the Conducting and Choral Faculty of the UGK (head - Professor V. Zavadsky), Concert Children's Choir "Gloria" (head E. Bartnovskaya ). Soloists: N. Kaplenko, I. Parashchuk, S. Pozdnyakova, Y. Kravchuk.
December 2006
"Days of New Music in Yekaterinburg".
EVENTS of the season 2006-2007
Musicologist Tatyana Kaluzhnikova was awarded the honorary title "Honored Artist of the Russian Federation"
Composer Evgeny Shchekalev became a laureate of the Sverdlovsk Region Governor's Prize for outstanding achievements in literature and art in 2006 (the Fifteen Dedications to the Native Land project for soloists, three choirs, a symphony orchestra, a reciter, a synthesizer and a piano). In addition, Vladimir Kobekin's composition, Symphonic Tale for Children "Gingerbread Man", was nominated for the Governor's Prize.
Laureate of international competitions, composer and pianist Elena Samarina was awarded a Diploma at the International Piano Duet Competition in Japan (Tokyo, March 2007).
On February 22, in the Yekaterinburg Musical Lounge “LEYA”, the first performance of the chamber opera “Galochka” by the honored worker of arts of the Russian Federation, composer Maxim Bask, written on the plot of the story of the same name by A. Averchenko, was held with great success.
February 27 in Yekaterinburg (DK named after M. Lavrov) and March 16 in the Organ Hall of Chelyabinsk was the author's evening of the honored worker of arts of the Russian Federation, composer Yevgeny Shchekalev. March 18 in the Chamber Hall of the Sverdlovsk State Academic Philharmonic held a creative evening of the honored worker of arts of the Russian Federation, composer Andrey Byzov.
On March 25, in Paris, within the framework of the Music of Our Time festival, the choral cycle of the composer Olga Viktorova "Homo cantans" was performed (Performers: Chamber Choir "Artemis", director Cyril Rolt-Gregorio and women's choir "Pour raison de beaute", director Bernard Tom).
On March 27, the Saratov State Academic Opera and Ballet Theater hosted the world premiere of the opera "Margarita" by the Honored Art Worker of the Russian Federation, composer Vladimir Kobekin.
The book Neuhaus: Gustav. Henry. Stanislav”, one of the authors of which is a member of our organization, musicologist, doctor of art history, professor Boris Borodin. The presentation of the named book took place in Moscow: March 19 - at the State Museum of Musical Culture named after. M. I. Glinka, March 21 - at the Moscow State Conservatory. P. I. Tchaikovsky, March 23 - in the B. Pasternak Museum in Peredelkino.
EVENTS of the 2007 season
Fifth Children's and Youth Competition "Musical Stars"
RUSSIAN YOUTH FORUM
EVENTS of the season 2008
Days of new music in Yekaterinburg:
Festival Music of Yekaterinburg composers for children and youth (dedicated to the Year of the Family)
The third competition for young musicians of Yekaterinburg for the best performance of works by Ural composers "Look into the Future"
EVENTS of the season 2009
Sixth Children's and Youth Competition "Musical Stars"
"Jubilee festival" 70 years of Ural music ".
The Youth Section of the Ural branch of the Union of Composers of the Russian Federation was created, the chairman Zhemchuzhnikov Alexander.
On the basis of the Youth section, the PENGUIN CLUB functions, which conducts interesting extraordinary non-standard projects.
Chairmen of the Ural Composer Organization:
1939-1944 Frolov M.P.
1944-1948 Trambitsky V.N.
1948-1952 Shchelokov V.N.
1952-1959 Gibalin B.D.
1959-1961 Beloglazov G.N. chairmen of the Ural branch,
Ural branch of the Union of Composers of the Russian Federation
(until 1966 Sverdlovsk department)
societies. org. composers and musicologists, contributing to the development of creativity, performance and distribution of Ural music. authors. Formed in 1939 by the Organizing Committee, headed by MP Frolov (chairman of the department in 1939-44). V. N. Trambitsky (chairman in 1944-48), V.I. Shchelokov (chairman in 1948-52), N.R. Conservatory B.D. Gibalin (chairman in 1952-59), N.M. Khlopkov and others. In the 1940-50s, graduates of Leningrad became members of the Union. (A.G. Fridlender, K.A. Katsman, L.B. Nikolskaya) and Uralsk. conservatories: G.N. Beloglazov (presiding in 1953-61), N.M. Puzey (presiding in 1961-66, 77-88), G.N. P.Rodygin and others Ur. The department of the SC united composers from Sverdl., Permsk., Chelyab., Orenb., Tyumensk. region In 1961, the country's first youth section was opened under the SC, consisting of: M. Kesareva, V. Bibergan, V. Kazenin (since 1930 chairman of the SC of Russia), N. Berestov (since 1979 chairman of the SC of Yakutia), S. Manzhigeev (since 1979 chairman of the NC of Buryatia), E. Gudkov (), musicologists N. Vilner, L. Marchenko. The organizer of the youth section of the new generation (since 1982) was A. Nimensky (since 1995 the chairman of the department of the SC). In 1983, independent companies were formed. office in Chelyabinsk, in 1993 - in Perm.
The Union holds regular creative. meetings with demonstration and discussion of new products. Form, reporting yavl. plenums (every 3-4 years), festivals, participation in the All-Russian, All-Union congresses of composition. in Moscow, performances in the cities of the Urals and other regions of the country, abroad. In order to improve the conditions for creative labor at the department operates fund SC. Since 1981, regular meetings with students have been held at the "Camerata" club, headed by Zh. Sokolskaya. In the 1990s, the URO SK united approx. 40 musicians. Among them Nar. artists of Russia K.Katsman, E.Rodygin; more than 10 Honored. workers claim., Laureates of the State. (V.A. Kobekin) and Leninsk Komsomol Prizes (E. Rodygin, S. Sirotin, E. Shchekalev), Governor's Prize (V. Kobekin, musicologist T.I. Kaluzhnikova), etc. Ur. composers yavl. winners of the International competitions (O.Ya. Nirenburg, L.I. Gurevich, M.A. Basok, E.N. Samarina, A.B. Byzov and others), regular participants of the International. festivals. (V. Kobekin in Germany, V.D. Barykin in Austria, etc.). Distribution ur. music is facilitated by the organization in the Urals of the release of CDs with recordings of compositions by members of the Ural Branch of the UK performed by ur. musicians.
Lit.: Composers of the Urals. Sverdlovsk, 1968; Composers of Yekaterinburg. Yekaterinburg, 1998; Problems of modern music. culture: the turn of the century // Abstracts of reports of the All-Russian. conf., dedicated 60th anniversary of Ural music. Yekaterinburg, 1999.
L.K.Shabalina
Ural Historical Encyclopedia. - Ural Branch of the Russian Academy of Sciences, Institute of History and Archeology. Yekaterinburg: Academbook. Ch. ed. V. V. Alekseev. 2000 .
See what the "Ural branch of the Union of Composers of the Russian Federation" is in other dictionaries:
URAL BRANCH OF THE UNION OF COMPOSERS OF RUSSIA- (until 1966 Sverdl branch). Main in 1932 (officially approved on May 16, 1939) by V.N. Trambitsky and M.P. Frolov. In different years UO TFR was headed by V.I. . In 1961… … Yekaterinburg (encyclopedia)
Shchelokov, Vyacheslav Ivanovich- This article should be wikified. Please, format it according to the rules for formatting articles. Wikipedia has articles about other people with that surname, see Shchelokov ... Wikipedia
Russian Soviet Federative Socialist Republic- RSFSR. I. General Information The RSFSR was formed on October 25 (November 7), 1917. It borders in the northwest on Norway and Finland, in the west on Poland, in the southeast on China, the MPR, and the DPRK, as well as on the union republics that are part of to the USSR: to the west with ... ...
Russian Soviet Federative Socialist Republic, RSFSR (public education and cultural and educational institutions)- VIII. Public education and cultural and educational institutions = The history of public education on the territory of the RSFSR goes back to ancient times. In Kievan Rus, elementary literacy was widespread among different segments of the population, about which ... ... Great Soviet Encyclopedia
Magnitogorsk State Conservatory
Department of Choral Conducting
Graduation abstract
Creative portrait of the Ural composer Vladimir Sidorov
Cantata “In the Urals Factory” (No. 7 “Scarecrow”, No. 8 “Old Song”)
Completed by: 5th year student
Deev Konstantin
Consultant teacher:
Art. teacher Silagina N.S.
CHAPTER 1
The development of composer creativity in the southern Urals
The history of the Urals is one of the brightest and most heroic pages in the history of Russia. At the end of the 16th century in the Southern Urals, as a result of the construction of a number of border fortifications, the lands were settled by Russian colonists and settlers from among the peoples of the Volga region. With the emergence of Russian Cossack settlements, new opportunities for the general cultural development of the region appear. Settlers bring here Russian writing and traditions of folk art.
At the end of the 17th and beginning of the 18th centuries, a large-scale mining and metallurgical industry was greatly developed in the Urals. Artisans and miners, charcoal burners and woodcutters, carpenters, masons and other working people raised her to her feet. In the Cossack villages, Orthodox churches were built and parochial schools attached to them. They were the main cultural centers of the emerging settlements. One of such centers in the Southern Urals was the village of Magnitnaya, founded in 1743. (8)
Musically, the South Ural region for a long time remained a provincial backwater of Russia. And although concerts, musical meetings were held in our area in the 18th and 19th centuries, musical literature was subscribed and musical instruments were sold, it is not necessary to talk about the developed musical culture of that time. (2)
The musical culture of the Southern Urals began to develop actively from the end of the 19th century. Particular interest in music was shown by the richest South Urals, who had their own small orchestras and choirs, which gave performances and open concerts. One of the brightest representatives of this layer of society were the Pokrovsky brothers and the manager of the distillery M.D. Ketov. Among the residents of Chelyabinsk, there were even such conversations: “In order to enter the Pokrovsky or Ketov for work, you must certainly be able to sing or play an instrument.” (2)
The musical culture of this period manifested itself mainly in the form of amateurism. “The repertoire was based on old Cossack songs, which did not lose their significance even at the beginning of the 20th century. The collection “Songs of the Orenburg Cossacks”, compiled by the centurion A.I. Myakutin and published in 1905, was very popular.” (8)
At the end of the 19th and beginning of the 20th centuries, famous musicians increasingly often come to the South Urals on tour. The impetus for the activation of the concert activity of performers from the central cities of Russia was the construction of the Trans-Siberian Railway. It is known, for example, that in 1892 F.I. Chaliapin, who was still a novice opera artist, visited Zlatoust with concerts. In 1903, 26-year-old G. Morgulis arrived in Chelyabinsk, who essentially became the initiator of the musical culture of the Southern Urals. (2)
A turning point that radically changed the life of the Cossack villages was the grandiose construction of a metallurgical giant. During this period, the first sprouts of the musical culture of Magnitostroy were born, which absorbed the fruitful ideas of musical pedagogy and musical education of the 1920s. “From the first days of construction, talented and highly educated musicians came here. They laid the foundation for a genuine musical and, more broadly, artistic culture. Thanks to them, it was possible to largely preserve what may have been lost in other cultural centers of the country: the focus of all musical work on a broad, professionally equipped education, and the high spiritual content of creative actions, and renewed links with the artistic culture of the past.” (8) The activities of such remarkable musicians as L. Averbukh, V. Dekhterev, M. Novikov, N. Gurevich, L. Weinstein became a powerful impetus for the development of the musical culture of Magnitostroy.
The South Ural land has brought up a whole galaxy of musicians, many of whom have made a significant contribution to the development of national music. Names such as V. Krylov (the founder of professional training to play the button accordion), N. Faktorovich (one of the founders of the Philharmonic Symphony Orchestra), E. Filippova (for many years she was the chief conductor of the operetta theater), I. Zak (laid a solid foundation in the activity Chelyabinsk Opera and Ballet Theater named after M.I. Glinka), S.G. Eidinov - a musician - a legend (the creator of the first professional choir chapel), musical Magnitogorsk cannot be imagined without this amazing person, they are the pride of the culture of the Southern Urals. (2)
In the post-war years, the work of amateur composers began to actively develop. It mainly reflected the inner world of human experiences, the response to the events taking place in the city and in the South Ural region. At the heart of the melody, the features of folk songs were clearly manifested. Shutov Ivan Iosifovich is one of the first amateur composers of the Southern Urals. “In his music, as in a clear river, everything that makes up the soul of a Russian person was reflected: his love, pain, the story of his life, places dear to the heart.” The composer wrote many works (songs) about the Urals, glorifying the beauty, expanse of their native land, diligence, courage of her sons and daughters. (2)
Among the first founders who laid the foundation for professional composer activity in the Chelyabinsk region, the figures of E. Gudkov and M. Smirnov stand out, who began working in the 60s. It was they who wrote the first pages of the musical chronicle of Chelyabinsk. This is confirmed by the musicologist S. Gubnitskaya in the article “Until the New Ural Dawns”: “Gudkov and Smirnov are representatives of the older generation of Chelyabinsk composers, the formation of composer creativity in our area is associated with their names ... Their work is always a direct response to the most important events of our days, it is a reflection of the feelings and aspirations of a Russian person.” (9)
In the 1970s, an association of composers was formed in Chelyabinsk, represented by bright, unique talents. And in May 1983, the Chelyabinsk branch of the Union of Composers of the RSFSR was opened. In the same year (December 18) in Sverdlovsk the 12th plenum of the composers' organization of the Urals was held, dedicated to the work of young authors. Today these are well-known names among amateur and professional musicians: Yu.E. Galperin, V.P. Vekker, V.Ya. Semenenko, V.A. Sidorov, A. Krivoshey and others. Their work is a bright and interesting direction in the musical life of the region and has a significant impact on the development of the musical culture of the Urals.
The favorite theme of the Ural composers is the theme of the Motherland, its historical past, everyday life of the present, reflected in the works of E. Gudkov (oratorio “Russia gave me a heart”), M. Smirnov (cantata “Glory to our state”), V. Gibalin (cycle “Happiness difficult roads”) and others.
There is not a single major event in the life of the country that would not resonate in the works of the Ural composers: Yu. Galperin cantata “Victory Spring”, written for the 30th anniversary of the victory over fascism, M. Smirnov “Glory to the victorious people”, V. Sidorov oratorio “The Tale of the Magnetic Mountain”, dedicated to the 50th anniversary of the Magnitogorsk Iron and Steel Works and others.
With all the breadth of the creative interests of the Ural composers, the multiplicity of themes, different figurative amplitude, one theme is clearly traced that unites all authors: this is the theme of the native Ural region, glorifying labor exploits, the spiritual beauty and strength of the Urals, the unique nature of the stone belt, our present day. Composers' appeal to regional poetry and literature made it possible not only to deeply master the history, traditions, modern problems of their region, but also to create new opportunities for their comprehension, to combine the originality and originality of the sound image of the Urals with the general trends and movements of the modern musical language, the stylistic features of the work of each composer . These are, first of all, songs to the verses of the Ural poets I. Palmov, G. Suzdalev, B. Ruchyev, V. Timofeev, L. Tatyanicheva and others. Among the most striking works are “Rus' is reflected in the Urals” by E. Gudkov, “Happiness of difficult roads” by V. Gibalin, “The Urals is a golden land”, “Ilmen-lake”, “The Ural Mountains” by M. Smirnov, “Magnitogorsk bridges” , “At the factory - a city”, “Song about a beloved city” by V. Sidorov and others.
The organic interaction of the Ural literature and music is the fruitful basis on which interesting musical works of various genres were born. A very extensive and significant part of the work, which is represented by vocal-choral, cyclic, cantata-oratorio genres - the opera “Anosov” by V.P.
oratorios: V. Semenenko “Poem about Magnitogorsk” to the verses of Ural poets, “Name of the Iron People's Commissar”, “Gray Ural” by M. Smirnov, “I walk the earth” by Y. Galperin, “Russia gave me a heart” by E. Gudkoy on words by V. Sorokin, cantatas: “The Key of the Earth” to the words of L. Chernyshev, “Glory to Our Power” by M. Smirnov, “Victory Spring” by Y. Halperin to verses by Ural poets, “Bright Day” by E. Gudkov to the words of N. Rubinskaya , choral cycles: “The Seasons” by E. Gudkov, “Autumn Harmonies”, “Eternal Flame” by V. Gibalin, “Babia Sands” by Y. Galperin, “Beloved Land” by Sirotin and others.
The activity of the Ural composers is a bright and interesting page in the musical life of the region. The genre range of the music of the South Urals is wide and practically includes everything - from a song to a symphony. Since chapters 2 and 3 will focus on the work of the Magnitogorsk composer Vladimir Alexandrovich Sidorov, I would like to pay attention to the development of composer creativity in the city of Magnitogorsk. In general, it is “…very modest in scope and achievements, and as a phenomenon of the musical and cultural process, it is at the stage of formation of professional traditions.” (13)
For a long time, the musical environment for creating a composer's potential in Magnitogorsk objectively did not exist. This is explained by the unification of cultural policy, based on the fulfillment of a social order with the involvement of venerable composers, which sharply reduced the need for their own professional staff. Thus, until the beginning of the 90s, only amateurs showed interest in the composition. Among their compositions there are “academic” choral and instrumental opuses, works in folklore style, rock and pop compositions, bard songs. In comparison with professionals, their work is not so versatile and is limited mainly to one or two genre directions. Most of the works were created in the genres of vocal music.
Typical song traditions that continue the line of Soviet mass music can be traced in the works of Viktor Vaskevich, Evgenia Karpunina, Alexander Nikitin, Irina Kurdakova, Vladimir Braitsev, Ivan Kapitonov, Tamila Yaes. In their work there are various elements of compositional technique, which testifies to the skillful, thoughtful selection of musical and expressive means aimed at embodying certain images, at conveying the subtlest nuances of moods. For example, the songs of V. Vaskevich “Veterans”, V. Braitsev “Memory”, I. Kapitonov “We need the world like air” are a fusion of melodic turns of urban everyday romance, march songs and active dance rhythms. The influence of the “sensual” intonations of the lyrical-everyday song can be traced in V. Vaskevich’s “Christmas Romance”, I. Kapitonov’s “Years”, V. Braitsev’s “What is lived, is lived”. A. Nikitin in his own compositions and arrangements of folk songs subtly uses the possibilities of both choral sounding and expressive techniques of choral intonation. In the works of E. Karpunina, we will find a song-composition (“Anti-war song”), a song-scene (“Figaro”), a song-romance (“From Lermontov”) and a stylization play (“Dancing Piano”).
A significant place in the work of I. Kurdakova, V. Vaskevich, E. Karpunina is given to works for children. They significantly enrich the repertoire of children's performing groups and contribute to the development of the traditions of this direction in the art of music. The most popular are Irina Kurdakova's vocal cycle “All the Year Round - Cheerful Year”, the songs-skits “Old Drummer” by Viktor Vaskevich, “Rainbow” by Evgenia Karpunina.
In the field of entertainment culture, the most famous authors are Vitaly Titov, Vladimir Lekarchuk, Evgeny Korablev, Vladimir Tyapkov, Alexei Baklanov and others. Rock music, pop music, jazz, bard song - these are the typical directions of their work. Each of the musicians turns to a form of expression close to him and does it at a level that allows his works to find their listener.(13)
A certain part of the works created in the genres of tourist, dance-lyrical and stylized folk songs often exist as urban folklore. The trend, typical of their amateur activities, is that the functions of author and performer are combined in one person. “The variety of genre and style orientations allows composers to embody polar attitudes and convey a contrasting figurative-emotional state of perception of reality. Philosophical understanding of life, poetic contemplation, high spirituality, glorification of “earthly” joys, nihilistic denial – such is the world of music by amateur authors.” (13) They also give preference to vocal music. The range of its varieties is very wide: from works written in the traditions of professional choral art, stylized or arranged in the national spirit (songs of the Ural Cossacks, Tatar, Bashkir songs), mass songs to compositions using the “attributes” of hard rock and disco.
The composing activity of the teachers of the department of folk instruments of the Magnitogorsk Conservatory Rafail Bakirov and Alexander Mordukhovich is presented in a different perspective. Composer activity is for them the second specialty along with the main one - performing and pedagogical. The leading place in his creative work is occupied by music written for folk instruments: bayan, accordion, balalaika. However, the genre palette of works is quite diverse - symphony, sonata, suite, concerto, variation, miniature, song cycle.
Both composers are in great demand in Magnitogorsk. Their works replenish not only the performing, but also the pedagogical repertoire of students and pupils of music schools. “Professional, in terms of skill, the work of composers is guided by certain national traditions. In the works of Rafail Bakirov, the song and dance culture of the Tatar people is refracted in various ways. In addition to song arrangements, he creates a number of works: a Tatar triptych for balalaika and orchestra, a suite on Tatar folk themes for an ensemble of folk instruments, and others that cite folk material and use the development principles characteristic of the latter, emphasizing the national flavor.
The stylistic features of Jewish music influence many of the compositions of Alexander Mordukhovich, who strives to recreate the richness and expressiveness of the national musical language through typical intonational and meter-rhythmic features. Both composers - A. Mordukhovich and R. Bakirov - also turn to Russian folk music, using in their work different ways of mastering it (from quoting to generalizing through the national style).” (13)
1983 can be considered a milestone in the formation of the traditions of composer creativity in the city of Magnitogorsk, when the city found its first professional composer, a graduate of the Magnitogorsk Musical College, and then the Ural Conservatory. His work will be discussed in more detail in the next chapter.
Summing up all the above, I would like to note once again that professional composer activity in Magnitogorsk concentrated in those areas that were associated with the tradition of amateur music making. Obviously, it was amateur singing and playing folk musical instruments that led to the emergence of amateur composer creativity. The subsequent development of professional performance (mainly choral and folk instruments) stimulated the formation of appropriate professional composer skills.
Review of V.A. Sidorov's work.
A kind of starting point in the formation of the traditions of composer creativity in the city of Magnitogorsk can be considered 1983, associated with the appearance here of its first professional composer, a native of Magnitogorsk Vladimir Sidorov.
Vladimir Aleksandrovich was born on October 1, 1956. His parents were not musicians, but the atmosphere of the holiday always reigned in the house. The family often sang to the accordion, gathering for gatherings. Little Volodya began to show interest in this instrument as early as infancy. And at the age of 12, he entered the music school No. 2 and studied accordion with teacher V.M. Braitsev.
In the same years, V. Sidorov takes his first steps in composing. His first work, an adaptation of the Russian folk song “Merry Geese”, was performed by the author at the city competition for young bayan players and was awarded a certificate of honor. During his studies at a music school, the young composer composes and performs etudes and plays at school concerts. Subsequently, 28 etudes and pieces for button accordion were included in the collection, and were recently published by the Magnitogorsk publishing house.
During the years of study at the school at the theoretical department, V. Sidorov takes his first steps in composition in various musical genres. These are romances on verses by Russian poets, in the genre of chamber instrumental music - a sonata for button accordion (“Children's”) in 3 parts, a string quartet No. 1 in 5 parts. Among the works for the orchestra - "Russian Fairy Tale", a symphonic suite and others. (Appendix No. 1)
In 1977, after graduating from the Magnitogorsk Musical College and already having an initial experience as a composer, V. Sidorov entered the Ural State Mussorgsky Conservatory. At the entrance exam in composition, to the judgment of a strict commission, a Fantasia on the theme of the Russian folk song “Because of the Blue Mountains”, written for an orchestra of folk instruments, was presented. With admission to the conservatory, the further path was determined - the path of a professional composer.
During the years of study at the university in the class of V.D. Bibergan, and then - V.A. Kobekin, a large number of diverse works were created, the first performers of them were students of the conservatory. To name just a few of the works of this period - a chamber opera based on the play by M. Maeterlinck "The Blind", an overture for a symphony orchestra, various choral works, a trio for flute, violin and cello, six gentle romances for baritone with piano, a concertino for three trumpets with piano and others (Appendix No. 1). As a student, the composer successfully collaborates with groups in Magnitogorsk. By order of the Magnitogorsk Iron and Steel Works, for the 50th anniversary of the enterprise, the oratorio “The Tale of Magnetic Mountain” was written, which was first performed by the Magnitogorsk State Choir under the direction of S.G. Eidinov, and for the orchestra of Russian folk instruments of the Magnitogorsk Musical College (head A. N. Yakupov) the suite “My Happiness” was written to the verses of our countrywoman R.A. Dyshalenkova. This work received wide appreciation from the audience at the zonal competition of folk instrument orchestras.
Going on creative expeditions to the Ural villages, V. Sidorov gets acquainted with folklore, collects various songs and melodies. These recordings form the basis of the cantata "Ural Cossack Songs", which was presented at the final state exam of the Conservatory in 1983. The arrival of Vladimir Alexandrovich to work in his native city, his active social activities take amateur composer creativity to another level of existence.
Since 1983, V. Sidorov has been living and working in the city of Magnitogorsk. While teaching at a music school, he fruitfully continues to engage in composing activities. In 1985 he became a Member of the Music Fund of the Union of Composers of the USSR, is an active participant in seminars for creative youth, plenums of the Svedlovsk and Chelyabinsk branches of the Union of Composers of the USSR. Since 1995, Associate Professor at the Magnitogorsk State Conservatory
The creative individuality of the composer manifests itself in various genres. These are chamber instrumental works, chamber vocal works, songs, choral and orchestral compositions, musical and dramatic works. As a multifaceted artist, Vladimir Sidorov also shows himself in children's themes. In addition to choral cycles for young performers, he wrote the musical Tales of Grandfather Skrip, the opera The Little Prince, and many songs.
A large place in the composer's work is occupied by songs with a variety of themes. The historical and geographical range of literature addressed by Vladimir Alexandrovich is wide. He actively cooperates with the Ural poets. On the verses of Vasily Nikolaev, the song "Monument", a suite of 5 songs "Flowers - Children", eight songs on the verses of Valery Timofeev, songs on the verses of Lyudmila Tatyanicheva, Vladilen Mashkovtsev, Boris Ruchyev, Nina Kondratkovskaya, Rimma Dyshalenkova, Vasily Makarov and other. The thematic range of songs is very wide: the theme of the native land is revealed in songs dedicated to Magnitogorsk: “Song of the beloved city”, “Magnitogorsk makes noise”, “House with three windows”, “The only first Magnitogorsk” and others, the theme of love and friendship is reflected in the songs “Expectation”, “Letters”, “Remember me”, “Reassessment of values” and others. Many songs were written by the composer on his own texts: “A friendly agreement”, “Magnitogorsk plays hockey”, “To friends, “I feel good with you” and others. Among the songs to the verses of foreign poets: “Rejection of serious poetry” (Anonymous 3rd century BC, ancient Rome), “On a suburban train” (W. Joshi, India), “I was a modest girl” (from vagant ), “Shela Oh, Nil” (R.Burns), “Unfathomable Sky” (F.H.Daglarja, Turkey), “Like You” (R.Dalton, Salvodor) and others. The diversity of the composer's poetic interests, from oriental poetry to contemporaries of Magnitogorsk, is reflected in chamber vocal music, choral compositions, musical and dramatic works. Among the romances and songs are “Five Gentle Romances” for baritone and piano (on verses by various poets), vocal cycles for soprano and piano on verses by Solomeya Neris and Garcia Lorca and others. (Appendix No. 1)
The choirs written over the years reflect various figurative and stylistic spheres of the composer’s work, from works with a folk basis (“Carol” for unaccompanied mixed choir, “Two stoneflies” for women’s choir, violin and piano) to dramatic and serious ones (choral suite from the opera - legends “The Conquest of Novgorod”, “The Legend of the Magnetic Mountain” oratorio for a reader, choir and orchestra). Despite the diversity of choral works, their melodic verse is basically the same. The clarity of thinking, the democratism of the language, the focus on simplicity of expression are primarily due to the nature of the musician. The word for him is not only an impulse, it defines the image, style, structure. Indicative in this respect are both choral works (cantatas: "Ural Cossack Songs", "Fredman's Message", "In the Factory Ural" and others), and musical and dramatic works (the musical phantasmagoria "Cynics", lyrical hymns to Old Testament texts "Song of Song of King Solomon”, “Requiem” on biblical stories and texts by Nietzsche, Schopenhauer and other works). The images of his vocal and choral works are visible, concrete, personified.
The composer is biased in the choice of poetic text. His appeal to certain poets is connected with the proximity of their spiritual world, with their interest in the psychology of the conflicting relationship between man and the surrounding world. Semantic capacity, “materiality” of metaphors, high intelligence of verses, their apparent simplicity, hiding a complex philosophical meaning - these composer's stylistic qualities of poetry are organically embodied in music (four choirs to verses by Eastern poets, “Alexander Blok's Love” - a monodrama in 5- these pictures, “The Conquest of Novgorod” - an opera-tradition). In the genre of “light” music, V. Sidorov wrote “Trouble from a Gentle Heart” - a vaudeville based on a play by V. Sollogub, “Advice to Beginner Cooks” - four choirs without accompaniment to texts from a cookbook. I would like to note that the scripts and librettos of all musical and dramatic works were written by the composer himself. Many vocal-choral and musical-dramatic works are designed for highly professional performance, as they contain significant technical, textural, harmonic difficulties that require great emotional impact. It is in the interpretations of this music that the choral performing style is manifested, combining technical skill, vocal, dynamic and rhythmic flexibility with content, sincerity, emotional sounding of the timbre colors of the parties and the spiritual significance of the performance.
In cyclical works, V. Sidorov almost never indicates the nature of the performance of music, putting down only the metric rhythm. The composer believes that musical thematicism speaks for itself. If the music is of a solemn or dance character, then there is no need to explain it in any other terms. The performer in such works is given freedom of interpretation within the given text. Examples of such works are the choral poem on the verses by Andrey Voznesensky “Masters”, the cantata “In the Urals at the factory”. Among the large-scale compositions there are works written not for concert performance, but for individual listening. The work “Requiem” was created in studio conditions and is not intended for the concert stage, the same can be said about the cantata “Fredman's Message”, written for a reader, choir and harpsichord based on the works of K. M. Belman (Sweden).
V. Sidorov created many instrumental and orchestral works. The most popular are compositions written for an orchestra or an ensemble of Russian folk instruments. More than once “Three Russian Folk Songs” (“Mustache”, “Swan”, “Mistress”), the suite “My Happiness” to the verses of R. Dyshalenkova, written for a vocal ensemble and orchestra of Russian folk instruments, “Buryat triptych” were sounded at concerts more than once . The composer wrote two suites for bayan, "Three Curiosities" for an ensemble of folk instruments, three Russian songs for a synthesizer and an ensemble of folk instruments. Among the works for the symphony orchestra, one can name the “Russian Fairy Tale” - a symphonic suite, an orchestral suite from the oratorio “The Tale of the Magnetic Mountain”, the anthem “Holy Rus'” and others.
Instrumental music is quite diverse. A large place is occupied by works written for the piano: “Five Principles” for a well-prepared piano; variations, “Prelude, Etude and Improvisation”, “Youth Concerto” for piano and orchestra and others (Appendix No. 1). Chamber-instrumental compositions are presented for different instruments - trumpets, violin, cello, flute, oboe, double bass, viola. Thus, it can be noted that in the composer's creative baggage there are works of various genres, for various compositions and categories of performers.
In the creative piggy bank of V. Sidorov, there are not only musical compositions, but also poetry collections, prose. In 1992, the first poetry collection Night in a Cold Compartment was published. (Poems in rhyme and without), and in 1997, poems and verses “Allegory of Irony” were published. About the “Allegory of Irony” Rimma Andriyanovna Dyshalenkova said: “The published collection of his poems is marked by avant-garde searches for the shortest form, that is, one metaphor is enough. It kind of comforts your aesthetic heart.” (From a personal conversation with the poetess).
In conclusion of the chapter, I would like to cite a number of statements by poets who collaborated with the composer in different years: Alexander Borisovich Pavlov was born in 1950 in Magnitogorsk. Graduated from the M.A. Gorky Literary Institute, author of more than 10 collections of poetry, laureate of the regional prize “Eaglet”. Member of the Writers' Union of Russia. “...Vladimir selects real poetry for his songs, adds and enhances the sound range inherent in it. As a composer, he perfectly understands the phonic organization of the poet's soul…”
Boris Dubrovin is a famous Moscow poet, veteran of the Great Patriotic War, author of 32 books, laureate of all-Union, all-Russian and international competitions: “I am fascinated by your music and was glad to meet a serious and very talented composer. You are a true artist and master who can do everything. Let's hope that our "Parovoz" will fly forward ... "
Mashkovtsev Vladilen (1929-1997) was born in Tyumen. Graduated from the M.A. Gorky Literary Institute, member of the USSR Writers' Union, author of more than 15 books: “Vladimir Sidorov is a talented composer, his music is often hypnotic, bursts into life as a phenomenon ...”
Cantata “In the Urals Factory”
Like the hieroglyph Pythagoras
You hear the music of the heavenly spheres.
But the music of the Magnitogorsk mountains,
You see like a formidable Lucifer.
R. Dyshalenkova
(Dedication to V. Sidorov).
The cantata “In the Urals Factory” was written for unaccompanied mixed choir in 1986 in 1986. The work was created in creative collaboration with the Ural poetess Rimma Dyshalenkova.
Rimma Andriyanovna Dyshalenkova was born in 1942 in Bashkiria. Her working life in Magnitogorsk began at her cement plant, where Rimma Andriyanovna worked for 10 years: “The beginning of fate is unclear, comparable to firing in kilns. I started my life in Magnitogorsk sorting bricks.” These poetic lines, taken from the poem “Introduction” (5), indicate that the poetess knows firsthand about the difficult working life. In poems about sorting bricks, about hard work at the factory, one of the already famous Ural poets, Boris Ruchyev, saw real factory lyrics. He advised R. Dyshalenkova to enter the literary institute, giving her a recommendation. Thus began the years of study at the Moscow Literary Institute named after M.A. Gorky.
Participation of R. Dyshalenkova in the affairs of the Magnitogorsk literary association, studies at the M.A. Gorky Literary Institute (which she graduated in 1974), communication with Boris Ruchev, Nina Georgievna Kondratkovskaya of blessed memory, Yuri Petrov, Stanislav Meleshin, Vladilen Mashkovtsev - all these are not only the facts of her personal biography, but also of her literary work.
In 1978, her first book was published. The collection of poems “Four Windows”, published by the capital's publishing house “Sovremennik”, brings the poetess recognition as a writer. The main theme of the poems is the working Urals, the “fire resistance” of the Ural character (“Working Hostel”, “Crane Operators”, “In the Workshop” and others). There are many interesting lines dedicated to childhood, first love, motherhood (“Mom”, “Dog and Boy”, “Wedding” and others). “No one with such tenderness was able to confess his love for the hard-working Magnitogorsk, as Rimma Andriyanovna in her “Lullaby Tram”. You need to experience fatigue yourself after thundering night shifts in order to feel ... the accuracy of her lines about how “with a melted smile, guiltily sinks into sleep - a tired lullaby car. And the factories subside, and the flowers bloom, and the avenues meet the lullaby tram” (6).
In 1979, R. Dyshalenkova became a member of the Writers' Union of Russia. And in 1985, her second book "Ural Quadrille" was published, including poems and a poem. This is a lyric that prompts reflection on the meaning and purpose of life, on the beauty of human labor. The collection includes poems about the greatness of the native land, about the moral continuity of generations of the working class of the Urals. “Rimma Dyshalenkova speaks about her small homeland in such images that no one has found before her. And before us appears the image of Russia: “the springs have peasant eyes, the orphan gaze of affectionate daisies”, and “the birches are gray-eyed and bright, as if the tearful widows of Russia” (6; 4).
In 1992, a collection of civil and lyrical poems "From the height of the earth" was published. It embodies the relationship between people, the beauty and tragic doom of the South Ural nature, which the modern industrial civilization of the region has put on the brink of survival. The collection also includes two poems - "Running on cement" and "Ural quadrille".
Today, the place of work of R. Dyshalenkova is the television company "TV - IN" of the Magnitogorsk plant. The “handwriting” of her programs is canonical: Rimma Andriyanovna invites people to the studio who have something to tell their fellow countrymen. Her new book is about to be published, revealing the talent of the poetess from a completely unexpected side - this is cast prose, consisting of two parts: the prose “Farewell word about the healer” and a selection of poems “Alatyr-stone-Belovodye-Arkaim.”
“Rimma Andriyanovna is the ruler of a territory not marked on any map - the territory of wisdom. She has an impeccable command of the most unyielding material in the world – the word” (6). Her reputation is recognized by such masters of the word as our famous countryman Nikolai Voronov, laureate of the State Prize named after M. Gorky Valentin Sidorov, secretary of the Writers' Union of Russia Konstantin Skvortsov and others.
R. Dyshalenkova collaborates a lot and fruitfully with the composers of the Ural region. Not only songs, but also works of a large form were written to her poems. Among the compositions are: “Waltz of Metallurgists” by Lyadova, “Meeting at the Magnetic Mountain”, “Coke Pie”, “Feast for Blacksmiths” by A. Nikitin, “Slavyanka” by A. Mordukhovich, “Ivashka Spoons” by V. Semenenko, theater music by A. .Krivosheya and others.
Particularly close co-creation took place with the composer of the Magnitogorsk Conservatory V. Sidorov. The songs “Flying up to Chelyabinsk”, “Knock on my door”, “Winter with summer” were written to the verses of R. Dyshalenkova. Of the major works - a suite for the vocal ensemble “My Happiness”, which includes the poems “Like Beyond the River”, “The Wind Touched the Reeds”, “My Happiness”, “Honey Was Infused, It’s Time to Feast” and the cantata “In the Urals Factory”.
In 1980, R. Dyshalenkova begins to write a poem in dances, songs, parables, conspiracies and ditties "Ural Quadrille". She shared her ideas with V. Sidorov. The composer was attracted by the plot and the unusual form of building the cycle, and he plunges into work on a new composition with pleasure.
The form of construction of the poetic text was based on the ancient construction of the Ural quadrille. Previously, in a village or industrial settlement, this action gathered many participants and spectators. Each new action in the quadrille was announced by the leader, shouting importantly: “Figure first! Second…”etc. The dance unfolded into games, songs, gatherings. In total, there are 12 figures in the poetic source (3, 4). The composer includes in the cantata 9 figures and one poem “Skhodka” (in the cantata it is No. 6 “Old Men Argue”), taken from the cycle of poems by R. Dyshalenkova “Songs of the Old Urals”.
The poem "Skhodka" had its own fate. Initially, it was part of the poem "Ural Quadrille", but being censored, it was excluded due to its ideological orientation. Later, due to social changes, “Skhodka” entered the cycle of poems “Songs of the Old Urals” (3). The composer, creating a cantata, turned to the original source, taking all the numbers that made up the manuscript (including the Gathering).
The theme of the poetic content of the work reflects various pictures of the life of working people. The main character is the common people from the Ural hinterland. The central number of both the poem and the cantata is No. 6 “The Old Men Discuss”. The idea of the issue is to reveal the historical connection between the old and the young generations.
The cantata was written for unaccompanied choir and consists of 10 parts:
No. 1 Round dance; No. 2 Ivashkin spoons; No. 3 Girlish slander; No. 4 Young women whisper; No. 5 Brook-bride; No. 6 Old people argue; No. 7 Scarecrow; No. 8 Old song; No. 9 Mummers; No. 10 Along the quadrille
(only numbers will be shown below).
The genre is based on a choral song. A choral polyphonic song includes not only a melodic basis, but also a variety of polyphony techniques. It is this genre that combines the depth and objectivity of content, the epic scope of musical development with the simplicity and accessibility of form (7).
It is no coincidence that the composer writes a work for the choir without accompaniment. Here it is difficult to "hide" behind the texture - everything is decided by a bright, expressive song melody and a fairly developed polyphony. Choral numbers have clear and specific features of the song genre. There is a combination of meaningfulness and intelligibility, the melodic material is national in spirit and form.
Although the composer called his work a cantata, it should not be considered from the perspective of a classical cantata. Firstly, the parts are so short in terms of sound duration that it would be more appropriate to call them numbers, so at first glance it is difficult to determine the cyclic development of the form and function of the parts. The principle of connecting parts is more like a suite construction. You can point to some parts that carry a semantic load. So No. 1 “Round Dance” is the introduction, No. 10 “Along the Quadrille” is the conclusion, No. 6 “Old Men Argue” and No. 8 “Old Song” are culminating.
No. 1, as mentioned above, is an introductory part not only in terms of shaping the structure of the cantata, but also in the poetic cycle. This is a picture of nature, depicting the rich Urals, the working Urals and the resting Urals. A picture of the life of the Ural people opens before the listener from different sides: on one side - “smoky blast furnaces smoke”, on the other - “fairs are noisy”.
Among the parts of the cantata, one can identify “male” and “female” numbers. The “male” numbers include #2, #6 and #8. The second number paints a picture of the work of folk craftsmen. It is written in a lively, jocular manner, ridiculing the “betrayal” of spoons by their master. The sixth number is a labor song about the hard everyday life of the working people in the spirit of the daring songs. Here, faith in justice, hope for better times are heard in everything, and at the end of the number - a clear threat to the offenders. From this number, you can draw a logical thread to the next “male” number - “Old Song”, where the images and thoughts embedded in the poetic text receive further development, leading to a culmination. These two parts are the most weighty in the cantata. (No. 8 will be discussed in more detail below).
Numbers 3 and 4 are “female”. The conversation is conducted on behalf of young girls. In No. 3, a ritual scene of divination, the sentence of a loved one, is drawn. The penetratingly intimate tone conveys the magical atmosphere of mystery. The transparent musical fabric, combined with recitative phrases, clearly draws the scene, as the girls tell fortunes and whisper. #4 is about the life of a young wife who is apparently forced into marriage with a rude, uncouth man. But the music and the text convey rather than suffering and longing, but a mockery of the stupid husband, who is waiting for retribution for the mistreatment of his wife. In music, the development goes from a whisper to a decisive statement.
No. 5 can be called “mixed”. This is a wedding song, which depicts the ritual scene of matchmaking. The part is built on a dialogue between a guy and a girl. The girl expresses thoughts and hopes for a married life.
No. 9 also applies to weddings. The immediate development of the thematic material creates the impression of an unfolding theatrical scene. In the form of a dialogue between the male and female parties, a picture is drawn of the flirting of the bridesmaids and groomsmen. A relaxed and playful mood is achieved through the stylization of folk ditties.
Finally, No. 10 performs the function of a conclusion in both textual and musical materials. The thematic thread stretches from the first issue to the last as a third-person story about today. This number is a kind of result of the whole cycle, telling that after so much time people remember the traditions and customs of their ancestors.
(No. 7 "Scarecrow" will be considered in detail).
Thus, seemingly unrelated parts, upon closer examination, turn out to be a logically built cycle.
Revealing the musical image of each part, the composer uses the entire palette of timbre colors of the voices. The image of a young girl (No. 3) is carried by the viola solo part; there are choirs where whole parts solo (No. 5, No. 8), contrasting comparisons of the female composition with the male (No. 6, No. 8, No. 9) enliven perception, theatricalize (the principle of dialogue); in No. 10, the choral vocalization “says” something that cannot be said in words. In several choirs, the contrast ratio of individual parts to the entire tutti choir. The composer often uses divisions in parts (No. 3 - alto and tenor, No. 4 - tenor and bass, No. 5 - soprano). At the conclusion of No. 7, the composer introduces bass octaves.
As mentioned earlier, the cantata is dominated by songs with a characteristic couplet-variation form (No. 2, No. 5, No. 6, No. 8), but there are also parts with a predominant 3-partness (No. 1, No. 4). Reprisal is felt in #4 and #5. Numbers 3, 7, 9 are in the form of a through development, number 10 is close to a 2-part reprise form, although reliance on coupletness can be traced everywhere. It is difficult to identify pure forms in the cantata, since almost all are synthesized.
One of the patterns in the development of musical material, I would call the desire to dynamize the final (often reprise) sections. This manifests itself in the compaction of the texture, the use of “loud” dynamics. The climactic section most often falls on the finale (No. 1, No. 8, No. 10). In reprise No. 7, the theme is given in magnification.
One of the characteristic features of the Russian national singing school is the predominance of linear horizontal thinking. Almost every number has sub-voice polyphony, imitations that line up in a sounding vertical, where clear harmony (classical systems) or sonorous clusters prevail. The polyphonic warehouse of presentation does not completely replace the homophonic-harmonic one.
The harmonic analysis of the cantata turned out to be very interesting and unusual. Here we can meet a variety of systems from simple T-S-D relationships (No. 9) to modality (No. 3).
The composer skillfully uses the acoustically rich seventh chords of the secondary steps: II, VI, III, VII, S7. In some parts, there is a constant tonal variability (more often between parallel keys). There are numbers with prevailing bright plagal (No. 6) or authentic (No. 8) turns; it is possible to combine several tonal centers (g - Es - No. 5).
Bright deviations, bold modulations using a minor dominant, a harmonic subdominant, tonics of the same name along with the traditional modes of the major-minor system. In No. 3, the high fourth step (Lydian mode) forms a support on Uv5/3 (b - d - fis).
We can trace polyharmonic relationships (No. 1), where VI, II, D functions sound on a constant dominant bass.
The complex harmonic language of some parts requires the utmost care from both the performers and the conductor.
In each part of the cantata, the composer indicates a clear timing. After reviewing the entire work, one can say that mobile, even fast tempos prevail (6 numbers). Some parts are clearly danceable (No. 2, No. 9, No. 10). Often there is a 3-part meter: No. 2 - 6/8, No. 3 - 6/4, No. 4 -3/4, but bipartite prevails: No. 1, No. 4 - C, No. 8 - 4/4, No. 5, No. 9 - 2/4, No. 10 - 2/4 by 3/4.
Additional attention should be paid to #3, #7, #10. They combine variable, often complex sizes: No. 3 - 6/4 by 5/4, No. 7 - 11/8 by 8/8, No. 10 - 2/4 by 3/4. In numbers 4 and 7 in the rhythmic pattern - syncopations.
Some numbers include elements of sound representation: in No. 2 - the emphasis on “2i” () creates a feeling of stomping during the dance, in No. 4 the bass part is built through a quarter pause, depicting sighs that reflect the meaning of the text. In No. 7, on the word “break”, the composer indicated the approximate pitch of the sound, offering to perform it with a cry, and in No. 3, the viola solo is performed in a fixed recitative, also reflecting the text.
In terms of nuance, numbers are more often built on the contrasting comparison of “p” and “f”, applying the principle of dynamization. Only two parts should stand out in this regard: No. 5 can be called “quiet” - the predominant nuance from “pp” to “mf”, only the last few bars are played on “f”. No. 6, on the contrary, is “loud” - only 6 bars in the middle of the movement are given on “r”.
The choirmaster should pay attention to these features during work, then, having overcome the performance difficulties, the music will come to life.
In terms of tessitura and dynamic, there will hardly be any difficulties, since V. Sidorov takes into account the natural abilities of the performers. A comfortable range and a logical development of musical thought are the key to a good tuning and ensemble.
Now, No. 7 "Scarecrow" and No. 8 "Old Song" will be considered in more detail.
"Scarecrow" strikes with its childish immediacy, naivety. Reminiscent of bright popular prints or buffoons comic fun and fables.
The image of the scarecrow comes to life, it is spiritualized, human feelings are characteristic of it:
“The village scared grief to grieve ...
The scarecrow is crying, it wets the tears ... "
The eccentric image is emphasized by the bright speech characteristics characteristic of the folk dialect, sayings, sayings:
“I dressed up the scarecrow of the kids,
They made a head out of a bucket ...
wear brocade scarecrows outfit
Important speeches are spoken ...
…say, scarecrows do not live life like that ...
…sparkled frightened, frightened...
... ran to help honest people…"
(The underlined words are the most colorful).
It should be noted that the composer sensitively captures the intonations and mood of the verse, coloring and emphasizing them in the musical canvas. “Important speeches are spoken” - a slight dynamic rise (and intonational), but the next episode - the mood changes “the scarecrow started to grunt ...” - the “p” dynamics, a single rhythmic ensemble is lost (soprano and basses are separate “sharp” eighths), the tenor is generally turned off , unstable sharp harmony - a tritone constantly sounds. (see appendix No. 3, 2 digit, 6 beat, third digit)
“The village scared grief to grieve…” as if (excitedly) laments the scarecrow – in the score of stretta B-T-S+A, one intonational motif runs in the keys h-moll – cis-moll – d-moll, the tessitura constantly rises. Sharpness is given by altered steps, forming Um5/3. (4th digit, 2nd measure)
“Nothing to say, then local ...” mystery, abstraction from reality, dreams - in music this is “drawn” by an unusual harmony of seventh chords, a nuance of “p”. (2 digit)
The poetic text in this choir plays a dominant role, which V. Sidorov successfully embodies, giving the choral parties a recitative-declamatory nature of presentation. The structure of the choir is based on the development of two themes. The first (number 1) is more melodious, vocal, gets a lot of development in the future, the second theme (number 2), as it was said - choral recitation, almost does not change.
Schematically, the structure of the choir looks like this: A B A1 B1 A2 - in general, the shape of the choir can be defined as three-five-part.
The choir begins with an imitation of the first theme in the keys of D-dur - tonic (alto), A-dur - dominants (tenor), h-moll - VI steps, parallel key (soprano), after which h-moll is fixed (A sharp - introductory step), after the strett-s “Hung on the sides” (2 figures, 8 measures) in the keys h - cis - d we come to fis - the dominant h-moll.
In this episode, the conductor needs to be attentive to the metro-rhythmic pattern. Size 11/8 is complex, with constantly changing grouping. Grouping options 11/8 = 2+2+3+2+2; =3+3+3+2; =2+3+2+2+2; =2+2+2+2+3.
After a quarter pause, the next section (“Whatever the hell ...”) gets a new color. Instead of the original D-dur, there is a replacement for the minor key of the same name (d-moll). We fall into a flat sphere (in harmony VI seventh chord, V natural seventh chord, S seventh chord, T sixth chord, II seventh chord, stop at D). It is this tonal shift that gives a feeling of dreaminess and “unusualness”. Size 8/8 is grouped 2+3+3.
“They wear scarecrows in a brocade outfit” (2 figure, 5 measure). The soprano melody is duplicated by all voices in a parallel movement. Linearity builds into harmonic seventh chords.
A new version of the first theme, against the background of the organ point C - the theme in the original key of D-dur, the next bar is A-dur on the organ point G (3rd figure).
“The scarecrow cries, smears tears” - the second theme returns, but it is in a new version, instead of 6 measures - 4; size is not 8/8, but 11/8.
The final recapitulation section “started since then…” is the return of theme A, but in an increase (6th figure). The choral unison joyfully proclaims the end of all the misfortunes of the ridiculous scarecrow. The share of humor falls on the discrepancy between the solemn, majestic musical finale and the literary text:
“It has started since then in that people
Listen to the scarecrow in the garden.” (6 digit)
The second phrase is even more pompous - for all divisi parts, the first theme in the chord presentation (6th figure, 4th measure) sounds on the organ tonic point (d-la).
In the last section, the composer sets the time signature to 8/8, but after carefully studying the musical and textual fabric, one can catch the variable meter of quarters, not eighths (4/4; 3/4 5/4; 2/4 4/4).
In a conversation with the composer, who agreed with this interpretation, Vladimir Sidorov emphasizes that the poetic text here plays a dominant and organizational role. Choirmasters who will perform this work in the future should pay attention to this remark.
Choir "Scarecrow" is very interesting, but also quite difficult in terms of performance. Fast tempo (quarter = 216), changing meter, complex harmonic language with deviations and comparisons, adherence to dynamic nuances require increased attention.
There are uncomfortable diction episodes (4 digits). In the bass part, the chant of two sixteenths ends in -oy. The next vowel is “o”, they must be separated.
Elements of sound writing - the choir depicts the fall of a scarecrow - “breakdown” - only speech, without a certain height (4 figures, 2 measures).
In contrast to all the difficulties of performance, it must be pointed out that the tessitura is convenient for all voices, the ensemble of voices is even almost everywhere, there are no tense, forced episodes, which contributes to the preservation of the order.
“Old Song” is No. 8 in the cycle “In the Factory Urals” and was written for a 4-voice mixed choir. As the name implies, the number is a work in the spirit of an old folk song, introducing the listener to the world of the harsh working class everyday life. The composer resorted to traditional Russian folklore, reflecting the idea embodied in the poet's text. Precisely using the means of expression, form and the whole complex of musical values, the author has achieved a wonderful fusion of the literary text and composer's skill.
Despite the compactness and shortness of the issue, one can trace the logic of its development. This song is comparable to a large work, where the beginning is clearly defined - the main core, the growth of all means of expression to the climax and the end, as the statement of the main idea. Music subtly conveys the meaning of the verbal text with an absolutely clear couplet-variation form. The form was chosen by the composer not by chance: couplet gives the number clarity, rigor of construction, ease of perception when listening, and is also a sign of song. Variation, on the other hand, allows achieving artistic expressiveness and interesting development in a short time within a strict framework.
There are four verses and a conclusion in the number. Each verse reflects its own mood and idea and leads to a common climax, carrying its function in the cyclical number.
The first verse has the function of singing. It is logical to perform it in the bass part and on the “r” nuance. You can immediately say about the powerful core laid down here. The quiet sound of low voices is most suitable for reflecting the text, and also suggests how far the development can reach to the climax.
The image of a doomed, tired people from oppression and work is also achieved through the harmonic plan - the melody, built on the sounds of a tonic triad, reaches the octave range already in the first measure. There is no subdominant harmony in the entire verse: two measures - T, two measures - D with minimal change. But the impetus for development is already laid in the first strong-willed fourth intonation, in the upward movement of the first melodic moves and in the openness of the period (see Appendix No. 3,1 figure).
The second verse is the second wave of development: changes have been made to almost the entire musical plan. The nuance from “r” rises to “mr”, while the verbal text is given to two extreme parties - soprano and bass, and alto and tenor create harmonic fullness on a closed mouth. The direction of movement of the melody changes from ascending to descending, thus a melodic minor appears. The appearance of an altered step (VI high step) introduces a flavor of kinship with Russian folk music (2nd figure).
The third verse is another round of dynamic growth. The melody of the first verse returns, undergoing a number of changes: the dynamics intensifies to “mf”, the theme runs through the altos and basses in unison. Unison performance creates a feeling of the call of the people, as a large close-knit group, driven by a single thought, a single goal (3rd figure). In the third figure, the fourth measure, the tenors enter the canon, connecting with the alto and bass, and after four measures, in the same canon, the soprano part is also connected there. This development naturally leads to a climactic rise - the fourth verse, where all voices are combined into a single, affirming voice (4th figure). The monolithic sound is given by the use by the composer of the homophonic-harmonic texture of presentation in the nuance “f”. In the fifth digit, all fractional units disappear, and all voices sound in a single quarter rhythm, which gives hymn features. And the double repetition of the fourth verse (5th figure) is reproduced as an all-affirming beginning. Using the traditional elements of folk songs, the composer resorts to a huge gap between parts, reaching up to tenths, which gives the effect of surround sound. The climax gradually reaches its climax, dynamically growing from “f” to “fff”. The last bars of the number sound stunning in their scale. The last chord of all choral parts sounds affirmatively - unison (5th figure, 8th measure).
All means of musical expressiveness are selected and built to best reflect the development of images embedded in the text.
In the solo in the bass part, chants are used (a similar situation is in the number 3 in the viola and bass parts). But as the voices are connected, the rhythmic figures become more monotonous, depicting a declamatory speech that affirms the main idea. Thus, the entire last verse is built only on the movement in quarters.
The nuance is also used as the image develops. From “p” by connecting voices and “raising” the nuance to “fff”, a sensation of a huge sound wave is achieved.
Throughout the movement, the tonality of d-moll does not change. In the first verse, only one chromatic sound is used - cis, meaning harmonic mode. In the second digit, the sound “h” appears (VI high degree), marking the melodic minor. The part ends on the unison sound “d”, as a statement of the tonic.
All types of combinations of voices are used in the part: from the solo part (number 1) to tutti (number 4, 5) through ensemble ones. The leading part here is the bass part - it is always entrusted with the text and melody in the main form. The rest of the voices are either turned off, then dubbed in unison or a third, then they perform a vocalization. Thus, ensembles are created: bass and soprano (number 2), bass and alto with the connection of a tenor (number 3).
The range of each voice makes it easy to play the part. Basically, a melody is used within an octave, in the soprano part - a big decimal. It is noteworthy that the lower half of the range is used in the initial couplets, gradually “rising” to the number 4. In the last two figures (4 and 5), the upper part of the tessitura is used in the parts of all voices. This achieves the effect of dynamizing the musical material, the image, while the gap between the voices is practically preserved.
When the choirmaster works with this part, all the features of this number should be taken into account. First, the construction of the part in the sense of dynamization deserves due attention. The conductor must achieve a gradual (!) rise in nuance as the voices are connected. This is most difficult in transitions from the first digit to the second, where all the voices enter immediately after the solo bass part, and from the second to the third, where the alto and bass again solo after the four-part. The louder sounding of the 2nd digit compared to the digits 1 and 3 should be avoided due to the number of voices.
Starting from the number 3, at the junctions of poetic lines, the canonical introduction of voices is used and their further alignment into a single rhythmic figure. This technique creates the impression of a continuous flow of quarters, contributing to the creation of the image. The conductor must ensure that the development of musical thought does not stop from the number 3 until the end of the movement, filling in the cadences with solo statements of individual parts.
Attention should also be paid to the parallel movement of voices in thirds (2 digits) and in unison (3 digits). Each quarter creates a clear harmony of the vertical. The conductor must achieve the simultaneous capture of all sounds of a well-built interval or chord and timely removal in all parts. At the same time, the main goal should still be the linear movement of the melody. This should be especially achieved in the vocalization of the number 2 and in the numbers 4 and 5, when the even movement of quarters can weigh down the musical fabric.
Of particular difficulty for the conductor-choirmaster is the successful capture of the tempo. It should be as close as possible to the specified chronometer recommended by the composer. The wrong choice of tempo will change the figurative structure of the part: a faster tempo will not make it possible to show the breadth and melodiousness of the first couplets, and a slower one will burden the last numbers and stop the movement to the coda.
In conclusion, I would like to dwell on the performers who collaborated earlier and perform the music of V. Sidorov today.
The first performers of the songs of the novice composer were two vocal and instrumental ensembles created by V. Sidorov at the Levoberezhny Palace of Culture and Technology of the Magnitogorsk Iron and Steel Works (“Magniton”) and at the Palace of Culture “Builders” (“Echo”). In 1975, VIA "Echo" participates in the regional competition in the city of Zlatoust with the performance of a cycle of songs written by the composer to the verses of Boris Ruchyev. This performance was marked by a diploma and the title of laureate.
While studying at the Ural Conservatory, V. Sidorov continues close cooperation with the musicians of the city of Sverdlovsk. He wrote a large number of songs for the "Jupiter" ensemble, consisting of fellow students. Numerous radio recordings were made by this ensemble. So the composer's music began to gain popularity.
In Magnitogorsk, Vladimir Alexandrovich composes music for various compositions and groups. The first performer of choral compositions was the Magnitogorsk State Chapel under the direction of S. G. Eidinov: Oratorio “The Tale of Magnetic Mountain”, cantata “In the Urals Factory”. Some numbers of the cantata were performed in concerts by the Municipal Chamber Choir (headed by S. V. Sindina). An interesting interpretation was the music written for the orchestra of folk instruments performed by the orchestra of the music school (head A.N. Yakupov) and the conservatory (head S.A. Bryk), the ensemble “Native tunes” (head V. S. Vaskevich, P. A. Tsokolo).
“... Literally a storm of applause was caused by the performance of adaptations of three Russian folk songs: “Mustache”, “Swan”, “Mistress”. It is curious that the Magnitogorsk composer V. Sidorov wrote these works for a synthesizer with an ensemble. The use of an electronic instrument, however, turned out to be quite justified and brought many new timbre colors to the score. On this unforgettable evening, the musicians played a lot and with pleasure for the “encore”…” (Information bulletin “Narodniki”, Moscow, No. 1 (13), 1996) and “…The Ensemble of Professors – that’s how jokingly calls “Native Tunes” the director himself… In “Three Russian Folk Songs” arranged by the composer V. Sidorov, the “professors” sang for the first time. According to many, this is one of the best numbers of their program. Lyrics from the song “Right, there is no money!” the public is madly in love ... ”(Magnitogorsk News, No. 21, 1997)
A lot of work was done with soloists, performers of vocal music to create audio recordings and magnetic albums. Among them: I. Gventsadze, A. Kosterkina, T. Borisovskaya, T. Omelnitskaya, L. Bogatyreva, K. Vikhrova. Here are examples of some of the statements of these performers: “... It is gratifying to meet a composer who has absorbed in his work all the best and innermost things that have always distinguished a Russian song: melody and breadth of soul, humor and prowess. And all this is done taking into account modern musical trends and trends. In my opinion, the main thing in the work of Vladimir Sidorov is the inseparable connection between his songs and folklore…”, “…Vladimir Sidorov's chamber vocal compositions reveal deep and philosophical categories of being. This is an organic synthesis of the musical thinking of our contemporary with the heights of world classical poetry. These compositions are characterized by an interweaving of mysterious and beautifully sounding harmonic turns, enveloping “Her Majesty” the melody, with polyphonic texture and attention to barely noticeable semantic nuances. Working on the vocal lyrics of Vladimir Sidorov and recording several cycles on the radio, I got a truly creative satisfaction from coming into contact with interesting, extraordinary music. I think that these compositions are simply necessary for students of conservatories to expand their stylistic experience, improve vocal and technical techniques and enrich the spiritual palette ... ”(Irakli Gventsadze, laureate of international competitions, associate professor of the Magnitogorsk State Conservatory).
“... When I entered VMMU, fate brought me together with Vladimir Aleksandrovich Sidorov. Our meeting was a creative impetus for Vladimir Alexandrovich and a stimulus for my creative growth. Thanks to Vladimir Alexandrovich, I now have my own repertoire and my artistic face ... Everything that I sing is written by Vladimir Alexandrovich Sidorov. This is a multi-faceted creative person with whom I am interested to work, and I hope that he is too. Our duet was formed on the basis of a free creative choice, and what we met, did, do, seems to me to be some kind of natural pattern ... ”(Larisa Bogatyryova., The Voice of Magnitogorsk Youth newspaper, 1995)
During 1990-1998, the composer released audio albums, including both solo albums and collections of various artists: Tatyana Omelnitskaya “Why did I cheat on you”, Larisa Bogatyryova “After the rain on Thursday”, “Bitter”, Kristina Vikhrova “The joy of love ”; “R-Revolutionary Songs”, “Feast for Friends - Children”, “When Love is Gone”, “If You Hear a Love Song”, “Allegory of Irony. are not separated”, “Vladimir Sidorov. Chamber vocal music”
On the occasion of the 25th anniversary of the composer's activity in the art of music, the Magnit publishing house decided to implement a project to publish a series of collections by genre from the vast creative baggage of Vladimir Aleksandrovich Sidorov. For the first time, choral, vocal and instrumental works were published. Each series is colorful, music collections are accompanied by audio cassettes with recordings of this music performed by the best musicians of Magnitka.
1. Vikhanskaya A.M. On some features of the development of the cantata in Russia //
Materials of the scientific-practical conference “Past and present
Russian choral culture.” - Leningrad, 1981.
2. Volfovich M.V. Musicians of the Southern Urals. - Chelyabinsk, 1991.
3. Dyshalenkova R. From the height of the earth // Book of poems and poems. -
Chelyabinsk, 1992
4. Dyshalenkova R. Ural quadrille // Poetry and poem. - Chelyabinsk, 1985.
5. Dyshalenkova R. Four windows // Poems - M., 1978.
6. Kaganis V. The territory of wisdom of Rimma Dyshalenkova // Magnitogorsk
7. Kolovsky O.P. Russian choral song. (traditions, modern
practice).// Collected works of the Moscow State Pedagogical Institute named after the Gnessins, issue 37.
8. Miroshnichenko S.M. The formation of choral performance in the South
Ural. - Magnitogorsk, 1999.
9.Murygina S. Julius Galperin Cycle of choral miniatures “Babi Sands”.//
Abstract. As a manuscript. - Magnitogorsk, 1999.
10. Nikitin K.N. Traditional and innovative in Soviet choral music
60-70s.// Materials of the scientific-practical conference “The Past
and the present of Russian choral culture.” - Leningrad, 1981.
11. Sidorov V.A. Catalog of compositions. - Magnitogorsk, 1999.
12. Sinetskaya T. Catalog of works by composers of the Southern Urals. -
Chelyabinsk, 1996.
13. Chernova E.V. Musical life of the city of Magnitogorsk in the 80-90s
(on the problem of the functioning of musical art).// Dissertation.
As a manuscript. - Magnitogorsk, 2000.
Magnitogorsk 2001
Additional and related information can be found on the following websites:
www.vlsid.narod.ru - the most complete picture of the composer's work, works of various genres, a catalog of works, pages of performers, journalism, reviews, etc.
