Belarusian composer and karate singer. Creativity of Belarusian composers - founders of the professional composer school (Zolotarev, Churkin, Aladov, Tikotsky, Bogatyrev)

16.06.2019

Proverbs where there are numbers Folk definition of a proverb

Cutugno with his wife. Biography. "I cheated, but I have only one woman of heart!"

Nar. muses. the claim in Belarus comes into contact with the plank beds. music rus. and ukr. people, zap. and south. Slavs. means. a group of old songs is associated with calendar rites that existed among farmers. peoples. Christmas carols, schedrovka, vesnyanka, volochebny, Yuryevsky, Troitsky, Kupala, stubble, Kosar, and autumn songs are widespread. The songs of the family ritual cycle are diverse: wedding, christening, lullabies, lamentations. Round dance, play, dance and comic songs are widely represented. Lyric. songs are divided into genre-thematic groups: love, ballad, Cossack, recruit, soldier, chumak, peasant freemen's songs. In the development of the Belarusian. muses. folklore played an important role in Rus. revolutionary. working song beginning. 20th century She influenced the Belarusian melody. bunk bed songs. Some bunks. songs are created on the next. Belarusian poets (M. Bogdanovich, Y. Kupala, Y. Kolas, K. Builo). With the Sov. the authorities have new bunks. songs that develop the traditions of the pre-revolutionary. songs and drawing content from sovr. life. Mn. songs were created by amateur composers and nar. chorus. collectives (choirs of the villages of Bolshoye Podlesye, Ozyorshchina, Prisynki, etc.). Antique bunks. Belarusian. the songs are basically monophonic, often performed in a heterophonic manner. They are characterized by a wavy melody of a compressed range with progressive movement and leaps to a fourth or fifth, developed ornamentation, flexibility of rhythm, and a variety of performing techniques. The songs are diatonic. Syllabicity is characteristic of the texts (when singing, there are inserted vowels that form artificial syllables). Even sizes and a varied metric are most typical. There are complex and sweeping beats. Polyphony in bunks. the song of Belarus began to develop in the 80s. 19th century Main the melody is performed in the lower voice, and in the upper one (the so-called "eyeliner") - solo improvisation. There are 3-voice accords. Songs in everyday life are performed without accompaniment, with the exception of comic and ditties, which are sung to the accompaniment of a harmonica (button accordion). A number of Belarusian folk songs are used in the works of Russian and Polish classical composers: in Chopin's Big Fantasy, Glazunov's First Symphony, the operas The Snow Maiden and Mlada by Rimsky-Korsakov, Lithuanian Rhapsody, Three Symphonic Songs by Karlovich, operas Moniuszko (a native of Belarus) and others.

Belarusian folk song "You, chyrvonaya Kalina"

Belarusian. bunk bed dance. The melodies are usually 2-beat and are played at a fast tempo. The melody develops by means of sequences, there are syncopations. Most of the dances reflect labor processes ("Lenok", "Bulba"), Man's attitude to the surrounding nature ("Blizzard"), a significant place is occupied by plot dances ("Yurochka", "Lyavonikha", "Polka-Yanka").

Among the Belarusian. bunk bed The most common instruments are cymbals. In the bunk. In everyday life, the range of their sound does not exceed 1.5 octaves, there is no established scale. Modern reconstructed cymbals - three-octave, chromatic - form the basis of the Belarusian orchestra. bunk bed tools. Button accordions, harmonica and violin are also widespread; from drums - a tambourine and a small drum; wind instruments - a pipe and a pity. Popular bunks. instr. ensembles consisting of cymbals, harmonica, tambourine or violin; harmonica, tambourine or violin. These compositions are often joined by a pipe and clarinet. Traditions. tool in plank beds. ensembles were bunk. cello-basetlya, in the present. time almost disappeared from performing practice. Already at the end. 19th century Duda (bagpipes) and lyre (lera), which were also extremely popular in the past, are gradually falling out of use.

In the 17th century. in Belarus, spiritual edging appears. One of the edges created by a Belarusian. enlightener Afanasy Filippovich and placed in his "Diariusha" (1645-46), was the first sample of Belarusian music notation. melodies (Kiev. notation on a five-line stave). The first published musical sample is Belarusian. bunk bed songs - "Kupala on Ivan" ("Vilensky Vestnik", 1817). Song tunes were published in magazines and newspapers, in sheet music supplements to ethnographic. works and sat. song texts (P.V.Shein, E.R. Romanov, I.A. small sat. (Z. Radchenko, I. G. Bychko-Mashko). Wide systematic work on collecting and studying Belarusian. muses. folklore began only after the Great Oct. socialistic revolution.

From the end. 16th century in Belarus, the school is developing, since the 18th century. - serf t-r, in the performances of which the chorus was included. music, songs, dances, instruments. tunes. Since the 40s. 19th century the muses are activated. life in Minsk, Vitebsk, Grodno (mainly concerts of guest performers and local amateurs, performances of visiting theater troupes). In 1852 a comic was staged in Minsk. opera "Selyanka" by Moniuszko on libre. V.I.Dunin-Martsinkevich. Operetta M. Ya. Kimont "Zalety" ("Matchmaking") after the same name. comedy Dunin-Martsinkevich was shown Belorus. music-dram. circle in Vilnius (1915). Much attention was paid to music in the performances of the First Belarusian. the troupes of I. T. Buinitsky (early 20th century; songs and dances for interludes were selected and processed by the Polish comp. L. Rogowski, and the Lithuanian comp. S. Shimkus).

Great Oct. socialistic the revolution and the formation of the BSSR (1919) marked the beginning of the flourishing of the nat. muses. lawsuit. In 1918-19 in Vitebsk, Minsk, Mogilev, Gomel, Bobruisk, plank beds were opened. conservatories, later transformed into muses. technical schools. Moose. schools are created in different ways. cities of Belarus. Belorus acquired particular importance. muses. technical school in Minsk (1924), on the basis of the opera and ballet classes to-rogo in 1930 was opened by the State. opera and ballet studio, and in 1933 - Belarusian. Opera and Ballet Theater; symph. the orchestra of the technical school became the basis of the symphony. Orchestra Belorus. radio (1928), Belarusian ensemble. bunk bed instruments - orchestra of plank beds. Philharmonic instruments (1937). In 1932, Belarus was opened. Conservatory, in 1937 Belarusian. Philharmonic, uniting symph. orchestra, orchestra nar. instruments, Belarusian ensemble. songs and dances, chorus. chapel, instr. and wok. ensembles, a group of soloists. In 1940 the Belarusian was organized. ensemble of song and dance under the hands. GR Shirmy, transformed in 1955 into the State. chorus. chapel. Composers of Belarus in 1938 united into the Union of Composers (in 1932-38 there was a section of composers at the Union of Writers of the BSSR, then the Belarusian branch of the CK USSR). During the years of the fascist occupation, Belarusian artists. opera and ballet theaters combined participation in front-line brigades with performances in performances of the fraternal republics; in the 1943-44 season, the t-ra collective worked in Gorky and Kovrov, and in the fall of 1944 resumed activities in the liberated Minsk. Belarusian. the song and dance ensemble toured the country.

After the end of the Great Fatherland. War of 1941-45 in Belarus, the activity of all muses is restored. collectives and institutions, formed by the State. bunk bed choir of the BSSR (1952, artistic director G. I. Tsitovich), State. the dance ensemble of the BSSR (1959, artistic director S. V. Drechin), the choir (1946) and the Belarusian pop orchestra. radio and television (1958), the Minsk Chamber Orchestra (1968), the People's Commissars are organized. opera studios, symph. and plank beds. orchestras, instru. ensembles.

By the 20s. the beginning of the activity of the Belarusian. composers who laid the foundations of prof. muses. schools. Among the works of H. H. Churkin, the symphonietta (1925), the first Belarusian, is of particular importance. symph. work; the composer also created the opera "Emancipation of Labor" (1922, post. 1924), songs and romances on the lyrics. Y. Kupala and Y. Kolas. NI Aladov spoke with php. quintet (1925), cycles of romances (on words by Ya. Kupala and M. Bogdanovich, 1923), comic. opera "Taras na Parnassus", cantata "Ten Years" (both 1927). E.K. Tikotsky wrote the 1st Symphony (1929). Mass songs were created in these years by A.E. Turenkov, G.K.Pukst, I.I.Luban.

In the 30s. manufactures are created. decomp. genres: muses. comedies "The Kitchen of Holiness" by Tikotsky (1931), "Koksagyz" by Churkin (1939), cantatas "Over the Oresa River" by Aladov (1933), "The Tale of the Bear" by A. V. Bogatyrev (1937, words by A. Pushkin) , 1st symphony of Pukst (1934), symphonies "Chelyuskintsy" (1935) and "Belarus" (1936), which worked in Minsk, Russian. composer V. A. Zolotarev, "Belarusian suite" Turenkov (1933), symphonietta Aladov (1936), instr. concerts by E.K. Tikotsky (for trombone), A.K. Klumov (for piano), G. Stolov (for violin), fp. and violin pieces by Klumov. S. V. Polonsky, V. A. Efimov, n. F. Sokolovsky, I. I. Lyuban - the author of the popular song "Bless you".

Stage performances Belorus. t-ra opera and ballet operas "Mikhas Podgorny" by Tikotsky (1939), "In the Pushchas of Polesie" by Bogatyrev (1939), "Flower of Happiness" by Turenkov (1940), the first Belarusian. ballet "Nightingale" M. E. Kroshner (1939) laid the foundation for the nat. muses. theater. All these performances were shown in Moscow during the 1st decade of the Belarusian. arts and literature (1940).

During the Great Fatherland. war 1941-45 chap. the theme of creativity is Belarusian. composers becomes heroic. fight of owls. people against fasc. invaders, in particular the partisan movement that took on grandiose proportions. In addition to numerous. songs (N. I. Aladov, A. V. Bogatyrev, A. K. Klumov, I. I. Lyuban, S. V. Polonsky, G. K. Pukst, N. F. Sokolovsky, E. K. Tikotsky, M.E.Shneiderman and others), the cantatas "Leningraders" (1942) and "Belarusian Partisans" (1943) by Bogatyrev, symphony-ballad "In Severe Days" by Aladov (1942), opera "Alesya" by Tikotsky (1944) are devoted to this topic , Belarusian Opera and Ballet Theater). Echoes of war are heard in the symphony. and chamber instruments. manuf. without an announced program (Pukst's 2nd Symphony, 2nd ed. 1943; fp. Bogatyrev's Trio, 1943; 2nd Aladov Quartet, 1943). A. K. Klumov created a satir. comedy "The Adventures of Fritz" (1944).

Belarusian. operatic creativity in the 50s. closely related to the heroic-patriotic. theme. Created and performed on the stage Belorus. opera and ballet t-ra the first Belarusian. historical. opera "Kastus Kalinovsky" by D. A. Lucas (1947), operas "Girl from Polesie" by Tikotsky (1953, based on the opera "Alesya"), "Nadezhda Durov" by Bogatyrev (1956), dedicated. Fatherland. war of 1812, Turenkov's "Clear Dawn" (1958) about the people's struggle for the reunification of Belarus in 1939, the first Belarusian. opera for children "Marinka" Puksta (1955). In 1949, the premiere of the ballet "Prince-Lake" by Zolotarev took place, based on the Belarusian. bunk bed legends. In 1958, GM Wagner's lyric and comedy ballet The Fake Bride was staged.

In the vocal-symph. and symph. genres Belarusian. music reflects major events in the history of the people and its present. life: cantatas "Belarus" by Bogatyrev (1949), "Forty Years" by Aladov (1956), "Steppe Fields" by Kuznetsov (1958), "In Memory of Konstantin Zaslonov" by Semenyako (1958), vocal symphony. poem "Forever Alive" by Wagner (1959), symph. the poem "Partisan true story" by Olovnikov (1952, 3rd ed. 1960), and others. music genres of symphonies (N.I. Aladov, A.V.Bogatyrev, P.P. Podkovyrov, G.K. . I. Cherednichenko) and instr. concert (D.R.Kaminsky, P.P. Podkovyrov, E.M. Tyrmand). DR Kaminsky, along with the piano, violin and cello, was the first to use cymbals as a solo instrument; his experience was then developed by E. G. Degtyarik, E. A. Glebov, D. B. Smolsky and others. Belarusian. chamber instr. music - fp. P.P. Podkovyrov's quintet, fp. trio of L. M. Abeliovich, sonatas by A. V. Bogatyrev for piano, violin and cello, etc .; chamber-wok. music is represented by cycles of A.V. Abeliovich (on words by M. Bogdanovich, F. I. Tyutchev, R. Burns), A. V. Bogatyrev (on words by J. Kupala, A. Kuleshov and W. Shakespeare) A. Lukas (on lyrics by L. Ukrainka), G. K. Pukst (to words by A. Zvonak) and others. V. V. Olovnikov (a cycle about the heroes of the Great Patriotic War of 1941-45) works in the field of song. Yu. V. Semenyako ("Oh, the green forests are rustling", etc.), P. P. Podkovyrov ("Zubrenok," and others), D. A. Lucas ("The clear sun has risen," and others). The music of the BSSR anthem was written by N. P. Sokolovsky (1955). In the 60s and early. 70s Belarusian on stage. t-ra opera and ballet post. comic. operas "The Thorny Rose" (1960) and "When the Leaves Fall" (1968) Semenyako, his opera-poem "The Star of Venus" (1970) about the Belarusian. poet M. Bogdanovich, ballets "Dream" (1961), "Alpine Ballad" (1967) and "The Chosen One" (1969) by Glebova, "Light and Shadows" (1963), "After the Ball" (1971) by Wagner. The first experience of creating a television opera belongs to Wagner (Morning, 1967). In pl. genres Belarusian. music composers R. P. Butvilovsky, S. A. Kortes, I. M. Luchenok, D. B. Smolsky, K. D. Tesakov, O. G. Yanchenko and others are actively working. symph. music of the 60s and early. 70s Among means. manuf. of this genre - cantata "Belarusian Songs" and monologues about V. I. Lenin for bass and Bogatyrev's orchestra, oratorios "Bells", "Light, Dawn" and a concert for voice with Glebov's orchestra, vocal symphony. the poem "Ashes" by Cortes and others. The genre of instruments is widely represented. concert (A. V. Bogatyrev, R. P. Butvilovsky, G. M. Wagner, D. R. Kaminsky, S. A. Kortes, O. G. Yanchenko). Chamber instrumentation is significant. ensembles of N.I. Aladov, D.R.Kaminsky, vok. cycles of E. M. Tyrmand, D. B. Smolsky, choral works. A. V. Bogatyreva, E. M. Tyrmand. The songs of I.M. Luchenko won popularity. Mn. composers work in the field of pop music and cinema.

Among musicologists and folklorists - L. D. Auerbach, G. S. Glushchenko, T. A. Dubkova, V. I. Elatov, A. B. Ladygina, L. S. Mukharinskaya, I. G. Nisnevich, S. G Nisnevich, B. S. Smolsky, K. I. Stepantsevich, G. I. Tsitovich, G. R. Shirma, T. A. Shcherbakova and others; among the singers - plank beds. art. USSR L.P. Aleksandrovskaya, T.N. Nizhnikova, pl. art. BSSR L. F. Alekseeva, A. D. Arsenko, Z. I. Babiy, I. M. Bolotin, L. F. Brazhnik, V. F. Volchanetskaya, L. I. Galushkina, A. M. Generalov, V I. Glushakov, S. M. Danilyuk, M. I. Denisov, S. Yu. Drucker, P. I. Zasetskiy, M. A. Zyuvanov, V. M. Malkova, R. V. Mlodek, I. P Saykov, NN Serdobov, ID Sorokin, VM Chernobaev, TI Shimko; conductors - pl. art. BSSR T.M. Kolomiytseva, L.V. Lyubimov, Hon. active lawsuit in the BSSR I.S.Abramis, I.A.Gitgarts, M.E.Shneiderman, Hon. artist of the BSSR V.V. Kataev; choral conductors - pl. artist of the USSR G. I. Tsitovich, G. R. Shirma, bunk. art. BSSR A. Kogadeev, Hon. active lawsuit in the BSSR G. N. Petrov, V. V. Rovdo; violinists - honored. art. BSSR A. L. Bessmertny, L. D. Gorelik; pianists - honored. art. BSSR E. Ya. Efron; cymbalists - plank beds. art. USSR I.I.Zhinovich, pl. art. BSSR A. A. Ostrometsky, Hon. art. BSSR V. A. Burkovich, S. M. Novitsky, H. I. Shmelkin.

In the BSSR there are State. symph. orchestra, Minsk chamber orchestra, orchestra of nar. instruments, academic choir, radio and television choir, State. bunk bed choir, song and dance ensemble of the Red Banner Belarusian. military districts (founded in 1938), a concert and variety orchestra of radio and television, a conservatory and specials. average muses. school (Minsk), 12 muses. schools, 96 muses. schools. The Institute of Art History, Ethnography and Folklore of the Academy of Sciences of the BSSR (founded in 1957) has a music sector.

Literature: Pryvalayu N., People's Musical Instruments of Belarus, "Records of the Adzelu Humanitarian Navuk", book 4 - Pratsy cathedra ethnagraphii, v. 1, sshytak 1, Minsk, 1928; Belyaev V., Belarusian folk music, L., 1941; Nisnevich S., Remarks on the melodic and modal structure of the Belarusian folk song, "News of the Academy of Sciences of the Byelorussian SSR", 1948, No. 3; her, Belarusian symphonic music, Minsk, 1959; her, the Belarusian folk song at the musical dramatists of the national operas i ballet, Minsk, 1962; Mastatstva Soviet Belarus. Zbornik artykulayu, Minsk, 1955; Tsitovich G., Nisnevich I., Byelorussian SSR, M., 1957 (Musical culture of the union republics); Sizko V.A., Belarusian Soviet Opera, Minsk, 1959; Maisters of the Belarusian scene, Minsk, 1960; Smolsky B.S., Belarusian Musical Theater, Minsk, 1963; Elatov V.I., Lada foundations of Belarusian folk music, Minsk, 1964; his, Rhythmic Foundations of Belarusian Folk Music, Minsk, 1966; his, Melodic Foundations of Belarusian Folk Music, Minsk, 1970; Churko Yu.M., Belarusian Ballet, Minsk, 1966; Nisnevich I., Nisnevich S., Essays on the history of Soviet Belarusian musical culture, L.-M., 1966, L.-M., 1969; Zhuravlev D.N., Composers of Soviet Belarus, Minsk, 1966; Mukharinskaya LS, Melodic language of modern Belarusian folk song, Minsk, 1966; her, Belarusian folk partisan song, Minsk, 1968; Words to the great maystroyu stsena, Minsk, 1967; G. G. Kuleshova, Belarusian Soviet Opera, Minsk, 1967; Stepantsevich K.I., Belorussian concert, Minsk, 1968; History of music of the peoples of the USSR, vols. I-IV, M., 1970-72; History of Belarusian Savets Music, Minsk, 1971.

I. G. Nisnevich

The active work of Belarusian composers and musicians began long before the creation of a creative union that united them. In 1919 G. Pukst's songs appeared, E. Tikotsky wrote music in Bobruisk. A few years later in Mstislavl amateur singers and musicians stage the first Belarusian opera on a revolutionary theme: "The Emancipation of Labor" by N. Churkin. The 20s were marked by the beginning of the creative path of N. Aladov, who wrote romances to the poems of Kupala ... These people became the pride of the Belarusian musical art. The 1930s were especially fruitful, when in a short time a choir chapel, a philharmonic society, the Belarusian State Conservatory were created in the republic.

The resolution of the Central Committee of the All-Union Communist Party of Bolsheviks "On the restructuring of literary and artistic organizations" (1932), it contributed to the rallying of disunited forces, the emergence of creative unions, including the Union of Composers of Belarus.

And it began with a section at the Writers' Union: Protocol No. from 2.07.1933 "Ab starenni atanomnai sektsyi kampazitaraў pry Argkamitese Sayuza pismennikў. Afarmlenne getay sektsyi ўsklasci on comrades Duntsa i Lyn'kova".

In 1934, the I All-Belarusian Conference of Composers was held, in accordance with the decision of which the Composers' Section at St. Petersburg was renamed the Organizing Committee of the Union of Composers of Belarus (since 1938 the Union of Soviet Composers of Belarus). Until 1992, this public organization was part of the Union of Composers of the USSR; since 1999 it has become the Belarusian Union of Composers. As it was written in the Charter: "meta starennya Sayuza kampazitaraў - sadzeinichats starennya vysokamastatskih creations", to creative growth kampazitaraў, to create materiyal i everyday washings for creativity ". Throughout its 70-year history, all 8 chairpersons of the BSK have given priority to the implementation of these goals.

The first "leader" of the Belarusian composers was the Honored Artist of the BSSR Isaak Lyuban, who back in 1929 created the first song on a partisan theme in Belarus - "The Song of the Dukor Partisans". In the pre-war years, his song "Byvaitse zdarovy, zhyvitse bagata" was widely known. During the Great Patriotic War, Lyuban, like other cultural figures, volunteered for the army, graduated from courses for political instructors and soon fought on the Western Front as commissar of a rifle battalion. None of the fighters even suspected that their political instructor was the author of a song that everyone knew and loved very well. The composer wanted to write a song about a future victory, although it was still the spring of 1942. There was not yet Stalingrad or the Kursk Bulge, but there was already a great battle near Moscow. Seventeen versions of the texts proposed by fellow soldiers had to be rejected, and only the eighteenth was liked by everyone. Chorus words: "Let's drink to the Motherland, let's drink to Stalin!" - knew, without exaggeration, everyone. The co-authors of these poems are a former miner, private battalion Matvey Kosenko and a professional poet, an employee of the army newspaper Arseny Tarkovsky. In May 1942, the song "Our Toast" was performed in Moscow at a concert of masters of Belarusian art and was a great success. People's Artist of the USSR Larisa Aleksandrovskaya sang it.

The peoples of the Soviet Union got acquainted with Belarusian music even earlier, during the first Decade of literature and art of Belarus in Moscow (1940). Operas performed on it: "Mikhas Padgorny" by E. Tikotsky, "Kvetka shchatsya" by A. Turenkov, "At the Pushchas of Palessya" by A. Bogatyrev, ballet "Salavey" by M. Kroshner became evidence of the high level of Belarusian Soviet musical culture (A. Bogatyrev received Stalin Prize for his opera). Today it is difficult to imagine that so many major works, one might say, phenomena in the musical life of the republic sounded in one year. Even earlier, in the 39th, they were staged on the stage of the Belarusian opera house. Speaking about traditions, how not to recall Vasily Zolotarev, a student of Balakirev and Rimsky-Korsakov, who brought "notes" to the Belarusian music of the Russian, St. Petersburg school. His ballets "Prince-Lake", "A Story of Love", symphony "Belarus" entered the golden fund of Belarusian musical culture. He taught Podkovyrov, Olovnikov, Bogatyrev, who later became the second chairman of the board of the Union of Composers. Anatoly Vasilyevich Bogatyrev is the founder of the modern Belarusian school of composition, whose work covers almost all musical genres. Continuing the traditions of classical music, including Russian, he is a deeply national composer. In the difficult war and post-war years, heading the Union of Composers, he influenced the formation of many creators with his chamber ensembles, as well as life-affirming choirs, cantatas "Leningraders", "Belarusian Partyzans".

In 1943, the Union of Composers of Belarus resumed its activities in Moscow, which managed to gather most of the surviving composers in a short time. In 1944, after the liberation of the capital of Belarus, composers and opera theater artists returned to Minsk. Tikotsky brought the opera "Alesya" ("Girl from Polesie"), which has become, one might say, a musical symbol of Belarus. He wrote it in Gorky, in a bomb shelter. Minsk was in ruins, the halls, instruments, notes were not preserved, the most valuable things were restored from memory. The composers' union approached its first post-war congress in 1947 with noticeable successes. This year the first national post-war opera (and the first Belarusian opera on a historical plot) "Kastus Kalinovsky" by D. Lukas was staged.

Famous weekly "musical Wednesdays" began to be held with listening to new compositions, concert activity was resumed. Having replaced A. Bogatyrev as chairman of the board of the Union of Composers in 1949, N. Aladov, who was educated in St. Petersburg, was one of the organizers and teachers of the Belarusian Conservatory. Author of over 260 pieces of music, including: the opera "Andrei Kostenya", the musical comedy "Taras on Parnassus". He laid the foundations for the artistic treatment of folk songs, many genres of professional musical art.

E. Tikotsky headed the Union of Composers for 13 years (from 1950 to 1963). At this time, the union was replenished with young graduates of the Belarusian State Conservatory. Among them are G. Wagner, Y. Semenyako, E. Glebov, D. Smolsky, I. Luchenok, S. Cortes, G. Surus. The collection and study of recordings of folklore and folk songs is becoming more active. The works of G. Shirma, G. Tsitovich, L. Mukharinskaya are recognized. The most important achievements in the genre of vocal music include the creation of the State Anthem of the BSSR (September 1955) by the composer N. Sokolovsky (famous for the famous song "Neman") and the author of the text M. Klimkovich.

In subsequent years, the work of E. Tikotsky on the post of "leaders" of the union was adequately continued by D. Kaminsky, G. Shirma, Yu. Semenyako. The union became a highly professional creative organization (perhaps the only member with an incomplete higher education was Vladimir Mulyavin, an unusually gifted musician and composer, whose entry into the union was unanimously supported both in Minsk and in Moscow).

Since 1980, the era of I. Luchenok began in the BSK, who heads it to this day. The Union organizes republican and international music festivals, holds numerous concerts and meetings with listeners, actively participates in the decades of Belarusian art and the Days of Belarusian Culture in Russia, Ukraine, Lithuania, Uzbekistan. Numerous commissions work: propaganda of Belarusian, military-patriotic music, musical and aesthetic education of children and youth, musicology and criticism, ethnomusicology and folklore. Music literature and gramophone records are published. Composers actively travel to creative business trips to collect materials for new works. It became more difficult to carry out all this after "perestroika", when the state could no longer provide the creative union with such support as before.

Today BSK and the Belarusian Republican Youth Union are reviving the best traditions of this long-term friendship. For example, they jointly hold a charity event "The Chernobyl Way - the Road of Life". With the support of the BSK, the republican center for creative and scientific youth resumes its work. Over the past years, a professional composer school has been created.

The musical art of Belarus was formed on the basis of the national musical culture. And now it continues to develop in line with the preservation of national music, classical tradition, as well as styles and trends popular in the world.

A brief excursion into the history of Belarusian music

In Kievan Rus, and later in Belarus, it was very developed church liturgical music. In the XV century. a local type is formed znamenny chant "(the main type of Old Russian liturgical singing. Its name comes from the invalid signs (banners) used to write it. By the 17th century. part singing in church Orthodox music. Part singing- a type of Western Russian polyphonic vocal music that became widespread in Orthodox worship in the 17th century. and the first half of the 18th century. The number of votes - from 3 to 12, can reach 48. Belarusian musical monuments of that era - collections of works "Polotsk Notebook" and "Chimes".

Duda, zhaleika, whistle, lyre, violin and cymbals are the most widespread among Belarusian folk instruments.

Pity- a wind reed musical instrument, beloved by the Slavic peoples, it has survived to this day in its original form - a wooden, reed or reed tube with a horn or birch bark socket ... Rogoz- high marsh grasses. Zhaleika It is also known under the name "zhameyka", "snuffle", "pechelka", "flytnya", "duda", etc.

V. Tropinin "A Boy with a Pity"

Cymbals- stringed percussion musical instrument, which is a trapezoidal deck with stretched strings. The sound is produced by striking two wooden sticks or beaters with expanding blades at the ends.

Cymbals

Secular music of the Baroque era originally sounded in large noble estates, and from the 17th century. began to develop in Belarusian cities. In the XVII-XVIII centuries. the centers of secular Belarusian musical culture are private theaters and chapels of the Polish-Lithuanian magnates Radziwills, Sapegas, Oginsky and others. Famous composers of that time included Holland, Vanzhura, and others.

The flourishing of Belarusian culture and music began in the late 19th century: Belarusian music schools, folk conservatories, and theaters were opened. In the second half of the XX century. a new wave of flourishing of Belarusian culture and music begins: the works of the famous pianist and composer of the 19th century. A.I. Abramovich are based on Belarusian melodies.

In 1927, the State Symphony Orchestra of the BSSR was founded, in 1930 - the State People's Orchestra of the BSSR, in 1933. - Belarusian Opera and Ballet Studio, in 1932 - the Belarusian Conservatory, in 1937 - the Belarusian Philharmonic, in 1938 - the Union of Composers of the BSSR. In 1940, the Belarusian Song and Dance Ensemble was organized under the leadership of G.R. Screens.

The leading musical ensembles of Belarus are currently the Presidential Orchestra of the Republic of Belarus, the National Symphony and Pop Music Orchestra conducted by M. Finberg, the State Academic Symphony Orchestra, the State Academic Choir Capella named after M. G. Shirma, National Academic Folk Choir of the Republic of Belarus named after G.I. Tsitovich. Of course, it is impossible not to recall such musical groups as the vocal group "Pure Voice", the vocal-instrumental ensemble "Pesnyary", the vocal-instrumental ensemble "Syabry" and other popular musical groups, but our article is devoted to classical music, so we we will not develop in it.

More than 30 international, republican and regional music festivals are held annually in Belarus: “Belarusian Musical Autumn”, “Minsk Spring”, International Music Festival “Golden Hit”, jazz festival, chamber music festivals “Muses of Nesvizh”, festival of ancient and contemporary music in Polotsk and others. The most famous Belarusian music festival is “Slavianski Bazaar in Vitebsk”.

Napoleon Orda (1807-1883)

Belarusian writer and composer, musician, artist, teacher.

Born in the family estate Vorotsevichi, Pinsk district, Minsk province (now Ivanovsky district, Brest region).

He graduated from high school in Svisloch, then entered the Vilnius University, where he studied mathematics. For participation in the activities of the illegal student society "Zoryane" he was arrested. After the suppression of the Polish uprising, in which he participated, in 1833 he moved to Paris. There he made friends with Adam Mickiewicz, Frederic Chopin. Took lessons in composition and piano playing from him and Franz Liszt. He also took drawing lessons at the studio of F. Gerard. Traveling to France, Austria, Scotland, Belgium, Holland, Spain, Portugal, North Africa, he painted landscapes, mainly city views.

Died Napoleon Orda in Warsaw. According to his will, he was buried in Yanov (now Ivanovo, Brest region) in the family crypt.

Stanislav Moniuszko (1819-1872)

Belarusian and Polish composer, author of songs, operettas, ballets, operas; the creator of the Belarusian and Polish national opera, the classic of vocal lyrics.

Was born in the Minsk province. His father, Czeslaw Moniuszko, captain of the Lithuanian cavalry regiment, ended his military career as an adjutant at the headquarters of Marshal Murat and settled here after Napoleon's Russian campaign.

Stanislav Moniuszko studied music with his mother. Later he improved his organ playing in Warsaw, composition - in Minsk, choral conducting - in Berlin. He served as an organist.

In the early period of his creative work he wrote vaudeville, musical comedies, comic operas. Author of orchestral works (fantastic overture "Fairy Tale" dedicated to Dargomyzhsky (1848); overtures "Cain" (1856), "Military" (1857) and others).

He has written more than 15 operas, the opera "Pebbles" is the most famous. The premiere of the opera Rural Idyll (libretto by V. Dunin-Martsinkevich) took place at the Minsk City Theater in February 1852.

Nikolay Ilyich Aladov (1890-1972)

Belarusian Soviet composer, teacher. In 1910 he graduated from the St. Petersburg Conservatory as an external student. He taught at the State Institute of Musical Culture in Moscow.

In Minsk he was one of the organizers of the Belarusian Conservatory, in 1944-1948. was its rector, professor.

During the war years (1941-1944) he taught at the Saratov Conservatory.

N.I. Aladov is one of the founders of the symphonic, chamber instrumental and chamber vocal, cantata, choral genres of Belarusian music.

He is the author of the opera Andrei Kostenya (1947), the comic opera Taras na Parnassus (1927), the cantatas Above the Oressa River, etc., ten symphonies and other works. He created vocal cycles to the verses of the Belarusian poets Y. Kupala, M. A. Bogdanovich, M. Tank.

Evgeny Karlovich Tikotsky (1893-1970)

Soviet Belarusian composer.

E. K. Tikotsky was born in St. Petersburg into a family with Polish roots.

His musical education was limited to two years of private lessons in piano and music theory, and he studied composition on his own. He began composing at the age of 14, consulting with a friend who studied at the St. Petersburg Conservatory. At the insistence of his father, Tikotsky entered Petrograd University in 1914, where he studied physics and mathematics.

In 1915 he went to the front. After completing his service he moved to Bobruisk, where he taught at a music school. His first contacts with Belarusian folk music, which influenced his compositions, date back to this time. The first major work is a symphony, written with the use of Belarusian folk and revolutionary themes; it became one of the first works in this genre in the history of Belarusian music. Then there was a number of theatrical performances in Minsk, where after a while the composer also moved. Here Tikotsky worked on the radio and was engaged in teaching. In 1939 he wrote one of his most famous works - the opera Mikhas Podgorny (one of the first Belarusian operas in history). Another famous patriotic opera by Tikotsky is "Alesya", it was staged in 1944, after the liberation of Minsk from the Nazi invaders.

Tikotsky is one of the founders of the Belarusian school of composition. His compositions, created in a classical and romantic manner, are filled with folk motives. He played an important role in the development of the Belarusian musical culture of the 20th century. In addition to the two above-mentioned operas, he also created the opera Anna Gromova, the operetta The Kitchen of Holiness, 6 symphonies, a piano trio, a sonata-symphony for piano and other works.

Isaac Isaakovich Luban (1906-1975)

Was born in the Mogilev province. He graduated from a musical college in Minsk, class of composition. He worked as the artistic director of the Belarusian Radio, in 1937-1941. - Artistic director of the Song and Dance Ensemble of the Belarusian Philharmonic. Member of the Great Patriotic War. Since 1945 lived in Moscow.

He is the author of the suite "The Border in Songs" (lyrics by P. Brovka, P. Glebka, I. Shapovalov), pieces for cymbals and button accordion, songs for chorus, soloists and vocal ensembles, music for drama performances and films (including the movie "The clock stopped at midnight", 1958).

Anatoly Vasilievich Bogatyrev (1913-2003)

Belarusian Soviet composer and teacher, founder of the Belarusian national school of composition, professor.

Born in Vitebsk, graduated from the A. V. Lunacharsky Belarusian State Conservatory in 1937. From 1948 he taught at the Belarusian Academy of Music.

A.V. Bogatyryov is the author of two operas: In the Pushchas of Polesye (based on Y. Kolas's story Drygva, staged in 1939) and Nadezhda Durova, which was staged in 1946 by the Soviet Opera Ensemble of the All-Russian Theater Society.

Pyotr Petrovich Podkovyrov (1910-1977)

Soviet Belarusian composer. He graduated from the Belarusian State Conservatory, class of composition, where he taught for many years.

Author of the opera "Pavel Korchagin" (based on the novel by N. Ostrovsky "How the Steel Was Tempered"), cantata for soloists, chorus and symphony orchestra "Pioneer Fire of the World" (lyrics by E. Ognetsvet, 1951), cantata "Ballad of Four Hostages" (lyrics A. Kuleshova, 1954), 3 symphonies, numerous works for piano, oboe, flute, clarinet. He wrote music for dramatic performances, made arrangements of Belarusian folk songs.

Lev Moiseevich Abeliovich (1912-1985)

Belarusian Soviet composer. He studied under the famous composers V. A. Zolotarev and N. Ya. Myaskovsky.

Created 4 symphonies, concertos for piano and orchestra, piano cycle "Frescoes", vocalization in memory of D. Shostakovich. He is the author of vocal cycles, choirs, songs, romances, music for radio plays. He wrote music to the verses of the Belarusian poets Y. Kolas, M. Tank, A. Mitskevich, M. Bogdanovich.

Heinrich Matusovich Wagner (1922-2000)

Was born in Poland. From 1939 he lived in Minsk. Graduated from the Belarusian State Conservatory. A. V. Lunacharsky (now the Belarusian State Academy of Music) in piano and composition. He worked as an accompanist of the Belarusian Radio, a teacher at the Department of Music Education at the Minsk Pedagogical Institute.

Created vocal and symphonic poems Forever Alive (1959) and Heroes of Brest (1975).

He wrote 3 symphonies, concertos with an orchestra: for piano (1964, 1977, 1981), for cello (1975), for harpsichord (1982), for violin (1985) and for cymbals with an orchestra of folk instruments (1985).

Kim Dmitrievich Tesakov (b. 1936)

Graduated from the Gomel College of Music and the Novosibirsk Conservatory (composition class). In 1966-1968. taught at the Belarusian Conservatory and the Music College in Minsk. In 1969-1971. was the head of the editorial board of musical literature of the publishing house "Belarus". Since 1972 - teacher at the secondary special music school at the Belarusian Conservatory.

K. Tesakov's music is characterized by scale, figurative and dramatic generalization, philosophical depth. In his work, he relies on folk song traditions. He is the developer of the original genre of radio opera ("Crimson Dawn" based on the novels of I. Melezh "People in the Swamp" and "Breath of the Thunderstorm", 1978); "Wormwood is a bitter grass" based on the story of A. Osipenko "Zhito", 1987).

K. Tesakov is the author of 3 oratorios, 2 cantatas, 2 symphonies, concerts for cymbals and orchestra, works for violin, cello and piano, for clarinet and piano, for oboe and piano, for trumpet and piano, as well as works for chorus, cycles romances to verses by G. Vyatkin, music for 7 dramatic performances, music for films.

Dmitry Bronislavovich Smolsky (b. 1937)

Soviet and Belarusian composer, music teacher.

Born in Minsk in the family of the Belarusian musician Bronislav Smolsky. Has been composing music since the age of 12. Graduated from the Belarusian Conservatory, class of composition A.V. Bogatyrev, postgraduate studies there. He taught at the Music School in Mogilev, at the Belarusian Conservatory.

Author of the operas The Gray Legend (1978), Francysk Skaryna (1980), the oratorio for the reader, soloists, chorus and symphony orchestra "My Motherland" (1970), 4 symphonies, concerts for piano, cymbals and chamber orchestra, numerous songs , music for performances and films.

Victor Nikolaevich Kopytko (b. 1956)

Composer and musical figure. Musician of versatile trends, author of operas, symphonic, chamber and choral compositions, music for theater and cinema. A feature of V. Kopytko's work is the synthesis of linguistic principles and compositional techniques of different eras, their generalization in his own individual author's style. His music is performed in concerts and at music festivals around the world.

Born in Minsk into a family of musicians (mother is a professional pianist, father is an amateur). He studied at the secondary specialized music school-eleven at the Belarusian State Conservatory, and then at the Leningrad Conservatory named after I. N. A. Rimsky-Korsakov.

The main works of V.N. Kopytko: operas "The Girl Who Stepped on Bread" (opera-parable after G. H. Andersen. Libretto by Yuri Borisov and V. Kopytko with the participation of V. Kotova (1980-81). Opera staged on Leningrad television in 1983. Dedicated to Benjamin Britten;

"His Wives" (burlesque opera based on Antosha Chekhonte and other motives. Libretto by Yuri Borisov and V. Kopytko (1988, final version - 2005; the opera was staged by the National Academic Opera Theater of the Republic of Belarus with the title "Blue Beard and His Wives "). Dedication: "To my son Daniel" .

Works for orchestra: Little Symphony for 15 performers in 5 parts (1985), "We Play Chekhov", suite for small symphony orchestra in 5 parts (1987), "Adagio for Adolf", piece for chamber orchestra (1989), Three Intermezzo for chamber orchestra or instrumental ensemble (1994, 2002), Promenade, piece for string orchestra with solo flute (2010), Lento per Leni for string orchestra (2010-2011).

In addition, he has written a huge number of piano pieces, for solo voices and chamber orchestra, chamber instrumental music, chamber vocal music, works for choir, music for films, cartoons, drama and puppet shows and much more.

Evgeny Alexandrovich Glebov (1929-2000)

Soviet Belarusian composer. From a family of priests. Was born in the Smolensk region. From a young age he was attracted by music. He independently learned to play the mandolin, guitar, balalaika, and already at a young age began to compose various pieces of music (songs, romances, plays). But by profession he was far from music. While studying at the Roslavl Railway College, he led the student choir and orchestra. While working in Mogilev, he made friends with the students of the Mogilev School of Music and began to study the basics of music. I tried to enter a music school, but the director, having learned that Glebov did not know notes and had never come across a musical literacy, refused due to professional incompetence. But, being persistent, he entered the conservatory in Minsk. He studied successfully, although it was difficult for him, including financially.After graduating from the conservatory in 1956, Yevgeny Glebov became a teacher of theoretical disciplines at the Minsk School of Music, combining teaching and creative activities with the work of the head of the musical department and conductor at the Theater of the Young Spectator. From 1971 he taught a composition class at the Belarusian State Conservatory. Evgeny Glebov has trained over 40 students. His famous students are Leonid Zakhlevny, Yadviga Poplavskaya, Vasily Rainchik, Eduard Khanok, Vyacheslav Kuznetsov, Vladimir Kondrusevich, Dmitry Dolgalev.

E. Glebov worked in various genres, but the most famous are his symphonic works and ballets. The composer's style was formed under the influence of D. D. Shostakovich and partly the early I. F. Stravinsky. His works are distinguished by deep polyphony, thematic development, and original orchestration. Glebov's opera "The Master and Margarita" is considered a classic of Belarusian musical literature.

Konstantin Evgenievich Yaskov (b. 1981)

Born in the city of Vetka, Gomel region. Belarusian composer, teacher of musical disciplines at the Belarusian State University of Culture and Arts and the Institute of Contemporary Knowledge. Previously, he taught at the Composition Department of the Belarusian State Academy of Music. Organizer of the International Festival of Contemporary Academic Music "Dialogues", one of the founders and chairman of the Association of Young Belarusian Composers.

He received his musical education in the class of "piano" and "composition" at the Grodno Musical College.

Author of orchestral works Prophet, music for 19 strings and viola to the poem by Mikhas Bashlakov "Lily on Dark Water" (2006); "Adagio" for symphony orchestra (2007); Lulla.by for string orchestra (2010); "Dreams Lock the Gars" for orchestra and cymbals. The author of chamber, choral, vocal works, as well as scientific publications.

It is impossible not to mention in this article such well-known Belarusian composers as Igor Mikhailovich Luchenok, Vladimir Georgievich Mulyavin, Vladimir Vladimirovich Olovnikov, Eduard Semyonovich Khanok, who worked in various musical genres, but mainly and most fruitfully in song.

The outstanding role in the development of the musical life of the republic was played by the activities of V. Zolotarev.

In the pre-war years, the creative activity of E. Tikotsky, N. Churkin, G. Puksta actively developed. The operas "Mikhas Podgorny" by E. Tikotsky, "In the forests of Polesye" by A. Bogatyrev, and the ballet "Nightingale" by M. Kroshner were outstanding events. During the Great Patriotic War, the struggle against the Nazi occupation became the main theme of musical art. In the post-war period, the pedagogical activity of A. Bogatyrev was extremely important as an educator of the majority of Belarusian composers of subsequent generations. Vasily Andreevich Zolotarev(1873-1964) - Russian and Soviet composer and teacher. Lecturer at the Moscow State Conservatory named after P.I.Tchaikovsky. Honored Artist of the RSFSR (1932). People's Artist of the BSSR (1949). Laureate of the Stalin Prize of the second degree (1950) V. A. Zolotarev was born on February 23 (March 7), 1873 in Taganrog (now the Rostov Region). He graduated from the Court Singing Chapel in St. Petersburg, receiving the specialty of a violinist in the class of Professor P. A. Krasnokutsky. He became a composer at the St. Petersburg Conservatory, where he met the "great teachers" MA Balakirev, AK Lyadov, NA Rimsky-Korsakov, about whom he later published his memoirs. Then he began teaching at the Court Chapel. A. V. Bogatyrev, M. S. Vainberg, B. D. Gibalin, K. F. Dankevich, M. I. Paverman graduated from V. A. Zolotarev's class here.

In 1905 he left St. Petersburg, for some time he worked at the Moscow Conservatory. In 1918, being a professor, he left to teach in Rostov-on-Don, then in Krasnodar and Odessa. Since the mid-1920s, V.A.Zolotarev taught at the Kiev Lysenko Institute of Music and Drama.

From 1931 to 1933 V. A. Zolotarev worked in Sverdlovsk at the P. I. Tchaikovsky Music College. Here his students were Boris Gibalin, P.P. Podkovyrov and Georgy Nosov. In 1933 V. A. Zolotarev moved to Minsk, where until 1941 he taught at the Belarusian Conservatory. Here he wrote the symphony "Belarus" (1934). L. A. Polovinkin, A. G. Svechnikov, M. E. Kroshner, D. A. Lukas, V. V. Olovnikov and other V. A. Zolotarev wrote 3 operas, among which the opera "The Decembrists" (1925, new version of "Kondraty Ryleev", 1957), the ballet "Prince-Lake" (1949), 7 symphonies (1902-1962), 3 concerts, 6 strings stand out. quartets, cantatas, choirs, romances. A. Zolotarev died on May 25, 1964 in Moscow. CHURKIN Nikolay Nikolaevich(1869-1964) - owls. composer, folklorist. Nar. art. BSSR (1949). Disciple of M. M. Ippolitov-Ivanov. Recorded over 3000 Belarusian, Georgian, Armenian, Azerb., Polish, Lit., Tajik. songs and dances, compiled folklore collections. One of the first prof. Belarusian. composers, founder of nat. genre symphony, nat. children's music. Author of the opera "Emancipation of Labor" (1922, Mstislavl), the children's radio opera "Rukavichka" (1948, Minsk); muses. comedies "Kok-sagyz" (1939, Gorki), "Song of the Berezina" (1947, Bobruisk); 3 symphoniettes (1925-1955); suite for symphony. and plank beds. orchestras; 11 strings, quartets; romances, children's songs; processing bunks. songs. ALADOV Nikolay Ilyich(1890-1972), Belarusian composer, People's Artist of Belarus (1955). The author of the first Belarusian symphonic and other genres. Opera "Andrey Kostenya" (1947), symphonies. One of the organizers of music education in Belarus. Professor of the Belarusian Conservatory (since 1946). In 1910, Nikolai Aladov graduated from the Petersburg Conservatory as an external student. Since 1923 he has been teaching at the State Institute of Musical Culture in Moscow. In Minsk since 1924, one of the organizers of the Belarusian Conservatory, in 1944-1948 its rector, professorDuring the war years, from 1941 to 1944, he taught at the Saratov ConservatoryA music school in Minsk was named after N. Aladov, a memorial plaque was installed. Creation One of the founders of the symphonic, chamber-instrumental and chamber-vocal, cantata, choral genres of Belarusian music. Author of the opera "Andrei Kostenya" (1947), the comic opera "Taras on Parnassus" (1927), cantatas "Over the Oressa River", etc. , ten symphonies, vocal cycles on poems by Y. Kupala, M. Bogdanovich, M. Tank, other pieces of music Evgeny Karlovich Tikotsky(Belarusian. Yaggen Karlavich Tsikotski) (1893 - 1970) - Soviet Belarusian composer. People's Artist of the USSR (1955). Member of the CPSU (b) since 1948. K. Tikotsky was born on December 14 (26), 1893 in St. Petersburg into a family with Polish roots, his musical education was limited to two years of private piano lessons and music theory with Volkova-Bonch-Bruevich, he studied composition on his own. He began composing at the age of 14, consulting with his friend Vladimir Deshevov, who studied at the St. Petersburg Conservatory. At the insistence of his father, Tikotsky entered Petrograd University in 1914, where he studied physics and mathematics. In 1915 he went to the front, in 1919-1924 he served in the Red Army. After completing his service he moved to Bobruisk, where he taught at a music school. Tikotsky's first contacts with Belarusian folk music, which influenced his compositions, date back to this time. The first major work of the composer - Symphony (1924-1927), written with the use of Belarusian folk and revolutionary themes, became one of the first works in this genre in the history of Belarusian music. This period also includes music for a number of theatrical performances in Minsk, where after a while the composer himself moved. In the capital of Belarus, Tikotsky worked on the radio and was engaged in teaching. In 1939 he wrote one of his most famous works - the opera Mikhas Podgorny (one of the first Belarusian operas in history). Another famous patriotic opera by Tikotsky - "Alesya" - was staged only in 1944, after the liberation of Minsk from the Nazi invaders. During the war, the composer was evacuated, first in Ufa, then in Gorky. Upon his return to Belarus, Tikotsky became the head of the orchestra of the Belarusian State Philharmonic Society and the chairman of the Belarusian branch of the USSR Investigative Committee. Tikotsky is one of the founders of the Belarusian school of composition. His compositions, written in a classical and romantic manner, are strongly influenced by folk motives. One of the first Belarusian composers to write operas and symphonies, he played an important role in the development of Belarusian musical culture of the 20th century. K. Tikotsky died on November 23, 1970. He was buried in Minsk at the Eastern cemetery. Major works Operas "Mikhas Podgorny" (1939); "Alesya" (1942-1948), second version "Girl from Polesie" (1952-1953) "Anna Gromova" (1970) Operetta "Kitchen of Holiness" (1931) Orchestral works, concerts Six symphonies "Feast in Polesie", overture (1954) "Glory", overture (1961) Concerto for trombone and orchestra (1934) Concerto for piano and orchestra of Belarusian folk instruments (1953), version for piano and symphony orchestra (1954) Two suites for Orchestra of Belarusian folk instruments Chamber works Piano trio (1934) Sonata-symphony for piano Other works Oratorios, songs, choirs, arrangements of folk songs, music for drama performances and films Anatoly Vasilievich Bogatyrev(Belorussian Anatol Vasilyevich Bagatyro) (1913-2003), Belarusian Soviet composer and teacher. People's Artist of the RSFSR (1981). People's Artist of the BSSR (1968). Laureate of the Stalin Prize, second degree (1941). Member of the CPSU since 1954.

Founder of the Belarusian National School of Composers... Professor (1960) A. V. Bogatyryov was born on July 31 (August 13) 1913 in Vitebsk (now Belarus). Graduated from the A. V. Lunacharsky Belarusian State Conservatory in 1937, class of V. A. Zolotarev. Since 1948 he was a teacher of the Belarusian Academy of Music, in 1948-1962 its rector. In 1938-1949, the chairman of the board of the Union of Composers of the BSSR. Deputy of the Supreme Council of the BSSR (1938-1959). V. Bogatyrev died on September 19, 2003. He was buried in Minsk at the Eastern cemetery. Major works Among the works of A. Bogatyrev Operas "In the Forest of Polesye" - based on the story "Drygva" by Y. Kolas, staged in 1939 "Nadezhda Durov" (1946), staged by the Soviet Opera Ensemble of the All-Russian Theater Society (1947) For soloists, chorus and symphony orchestra Oratorios "Battle for Belarus" Cantata "The Tale of the Bear" to the verses of A. Pushkin (1937) "To the Belarusian partisans" to the verses of Y. Kupala (1942) "Belarus" to the verses of Y. Kupala, P. Brovka, P. Trus ( 1949) "Leningraders" on the verses of Dzhambul Dzhabayev (1942) "Belarusian songs", folk words and Nil Gilevich (1967). State Prize of the BSSR (1969) "Drawings of the Native Land" "Jubilee" Chamber Instrumental Works Piano Trio (1943) Sonatas for violin and piano (1946), cello and piano (1951), piano (1958)

40. The historical image of the genres of opera and ballet in Belarus (Soviet period) In the 1930s and 1940s, performances of a heroic character appeared on the Soviet ballet stage. This time in the life of our country is a time of grandiose historical events, an unprecedented labor upsurge. The romance of the exploits of the Soviet people is widely reflected in art. New ideological and artistic tasks formed the worldview and aesthetic taste of the new viewer. Choreographic art began to form a new repertoire. The figures of the Soviet ballet tried to bring their art closer to life, to give the performances a heroic and romantic character. New themes, new plots demanded an update of the dance language, the introduction of bright, distinctive national images on the stage. Folk dance coloring led choreographers to enrich the classical vocabulary with elements of folk dance. The use of heroic and historical themes determined the path along which the development of the heroic genre went. This led to the creation of wonderful realistic ballets, built on a kind of plasticity, harmoniously combining classical dance with folk. In the stage embodiment of the ballets of the heroic genre, the hero-wrestler triumphed. True successes accompanied heroic dance images, solved by means of a new plastic language, realistic, poetically generalized images. Artistic innovation in the heroic genre is closely connected with reality. The romantic connects with the real, with the specific experiences of the heroes. The assertion of humanistic ideals contributed to the strengthening of the revolutionary romantic principles in these ballets. Their heroes are characterized by the pathos of courageous, active overcoming of suffering, a deep conviction that the most inhuman conditions of existence cannot destroy the spiritual beauty of the people: