Conductors of the Soviet era. Famous conductors Famous Russian conductors of the 20th 21st century

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It cannot exist without conductors, as well as the film industry without directors, the literary and publishing sphere without editors, fashion projects without designers. The orchestra leader ensures the seamless interaction of all instruments during performance. The conductor is the main character on the stage of the philharmonic society, concert hall or any other musical venue.

Virtuosos

The harmony of the symphony orchestra, the harmonious sound of numerous musical instruments is achieved through the skill of the conductor. No wonder the most talented of them are awarded various high titles and titles, and the people call them "virtuosos". Indeed, the impeccable mastery of the conductor's baton allows to bring to every musician sitting in the orchestra pit, all the nuances of a creative impulse. A huge symphony orchestra suddenly begins to sound as a whole, while the musical composition reveals itself in all its splendor.

Well-known conductors unite on the basis of skill, they all went through the school of high art, popularity and recognition of the general public did not immediately come to them. Popularity has been gaining over the years. Most of the well-known conductors, in addition to concert activities, are engaged in teaching, conduct training courses for young musicians, as well as master classes.

Self-sacrifice

The art of conducting an orchestra requires many years of practice, continuous improvement, which translates into endless rehearsals. Some well-known conductors are distinguished by their special creative tenacity, bordering on self-sacrifice, when personal life is relegated to the background and only music remains. However, this situation is good for art.

The most famous conductors are bound by contracts with certain musical groups, and this gives them the opportunity to achieve a high level of performance. At the same time, a general understanding is necessary, which will subsequently serve as the key to successful concert activities.

Famous opera conductors

There are names in the world musical hierarchy that everyone knows. The names of famous opera conductors can be found on posters, billboards, cruise ships are named after them. This popularity is well deserved, since few people are still able to devote their whole life, without a trace, to music. The most famous conductors travel all over the world, tour with various bands or lead orchestras in major music centers. Opera performances require a special orchestral coherence accompanied by vocal parts, arias and cavatina. In all music agencies, you can find out the names of famous opera conductors who can be invited for a season or a series of performances. Experienced impresario know the style of work and personality traits of each. This helps them make the right choice.

Famous conductors of Russia

Music, especially opera music, has many components. Here is the orchestra, which includes a variety of instruments: winds, strings, bows, percussion. Soloists, vocal performers, choir and other participants in the performance. Scattered fragments of the opera performance are brought together by the director of the performance and the conductor of the orchestra. Moreover, the latter is actively involved in the action from start to finish. There are conductors in Russia who, with their music, direct the opera along the only true path that leads the viewer to real art.

Famous Russian conductors (list):

Alexandrov Alexander Vasilievich.
Bashmet Yuri Abramovich.
Borisovna.
Vladimirovich.
Bronevitsky Alexander Alexandrovich.
Vasilenko Sergey Nikiforovich.
Garanyan Georgy Abramovich.
Gergiev Valery Abisalovich.
Gorenstein Mark Borisovich.
Aleksandrovich.
Alexey Evtushenko.
Ermakova Lyudmila Vladimirovna.
Kabalevsky Dmitry Borisovich.
Kazhlaev Murad Magomedovich.
Kogan Pavel Leonidovich.
Lundstrem Oleg Leonidovich
Mravinsky Evgeny Alexandrovich.
Svetlanov Evgeny Fedorovich.
Spivakov Vladimir Teodorovich.

Every well-known Russian conductor can successfully lead any foreign symphony orchestra, just a few rehearsals are enough for this. The professionalism of the musicians helps to overcome the difference in styles.

World celebrities

World famous conductors are talented musicians recognized by the general public.

Pavel Kogan

The most famous Russian conductor, who has been giving his art to the world for over forty years. Its popularity is unprecedented. The name of the maestro is on the list of the ten greatest contemporary conductors. The musician was born into a family of renowned violinists, Leonid Kogan and Elizaveta Gilels. Since 1989, he has been the permanent artistic director and Chief Conductor of the Moscow State Symphony Orchestra (Moscow State Symphony Orchestra). At the same time, he represents Russia in major music centers in America.

Pavel Kogan performs all over the world with the best symphony orchestras, his art is considered unsurpassed. The maestro is Russia, he bears the title of "People's Artist of Russia". Pavel Kogan also has many awards, including the Order of Merit to the Fatherland and the Order of the Arts.

Herbert von Karajan

World renowned Austrian-born conductor Herbert von Karajan (1908-1989) was born into a family of Greek immigrants. At the age of eight he entered the Mozarteum Conservatory in Salzburg, where he studied for 10 years and received his initial conducting skills. At the same time, young Karayan mastered playing the piano.

The debut took place in 1929 at the Salburg Festival Theater. Herbert conducted the opera "Salome". In the period from 1929 to 1934 he was the Chief Kapellmeister at the theater in the German city of Ulm. Then Karajan stood for a long time at the conductor's stand of the Vienna Philharmonic Orchestra. At the same time he performed with Charles Gounod's opera "Walpurgis Night".

The finest hour for the conductor came in 1938, when Richard Wagner's opera "Tristan and Isolde" in his performance was a huge success, after which Herbert began to be called "Miracle Karayan".

Leonard Bernstein

American conductor (1918-1990), born into a family of Jewish immigrants. Musical education began for Leonard as a child, he learned to play the piano. However, the boy gradually became involved in conducting, and in 1939 he made his debut - the young Bernstein performed with a small orchestra a composition of his own composition called The Birds.

Thanks to his high professionalism, Leonard Bernstein quickly gained popularity and, at a young age, led the New York Philharmonic Orchestra. Being an all-round creative person, the conductor was engaged in literature. He wrote about a dozen books on music.

Valery Gergiev

The famous conductor Gergiev Valery Abisalovich was born on May 2, 1953 in Moscow. At the age of nineteen he entered the Leningrad Conservatory. As a student, he took part in the international competition of conductors in Berlin, where he took second place.

After graduating from the Conservatory in 1977, the young conductor was admitted as an assistant to the Kirov Theater. He became his mentor and already in 1978 Valery Gergiev stood at the console and played Prokofiev's opera "War and Peace". In 1988, he replaced Yuri Temirkanov, after he left for the Leningrad Philharmonic.

The year 1992 was marked by the return of the Kirov Theater to its historical name "Mariinsky Theater". Theatrical audience of St. Petersburg, in order to get to opera performances, is registered in advance, months in advance. Today Valery Gergiev is the theater's chief conductor and artistic director.

Evgeny Svetlanov

The renowned conductor, Russian and worldwide, Evgeny Fedorovich Svetlanov (1928-2002) left a noticeable mark on the cultural heritage of Russia. Has the titles "Hero of Socialist Labor" and "People's Artist of the USSR". He is a laureate of the Lenin and State Prizes of the USSR.

Svetlanov's creative career began immediately after graduating from the Gnessin Institute in 1951. He continued his studies at the Moscow Conservatory in the class of opera and symphony conducting and composition.

The debut took place in 1954 at the Bolshoi Theater in the production of Rimsky-Korsakov's opera "The Woman of Pskov". From 1963 to 1965 he was the chief conductor of the Bolshoi Theater. During the period of his work, the level of opera performances rose noticeably.

In 1965-2000. combined work as artistic director and chief conductor of the State Symphony Orchestra of the USSR (later Russia).

Vladimir Spivakov

Russian conductor Spivakov Vladimir Teodorovich was born in 1944 in the city of Ufa. In 1968 he graduated from the Moscow Conservatory, in 1970 graduate school.

Mastery Vladimir Spivakov studied at the Gorky Conservatory under Professor Israel Gusman. Later he took a special course in the USA, with Leonard Bernstein and Lorin Maazel.

At present, he is the permanent leader and conductor of the Moscow Virtuosi chamber symphony orchestra, which he personally organized in 1979. Has performed with European orchestras and musical groups in the United States. Conducted at the Teatro alla Scala, the Academy of Cecilia, the Philharmonic Society of the German city of Cologne and French Radio. He is the President of the International House of Music in Moscow.

Yuri Bashmet

Russian conductor Bashmet Yuri Abramovich was born on January 24, 1953 in Rostov-on-Don. People's Artist of the USSR. Laureate of four State Prizes of the Russian Federation.

Graduated from the Moscow Conservatory in 1976. In 1972, while still a student, he acquired the viola-violin of the Italian master Paolo Testore, made in 1758. Bashmet still plays this unique instrument today.

He began an active concert career in 1976, and two years later received a teaching position at the Moscow Conservatory. In 1996, Yuri Bashmet created the "Experimental Viola Chair", where he studies viola parts in symphonic, opera and chamber music. Then he received the title of professor of the Moscow Conservatory. Currently he is engaged in active charitable and social activities.

December 10, 2014

Musical culture cannot exist without conductors, as well as the film industry without directors, literary and publishing activities without editors, fashion projects without designers. The orchestra leader ensures the seamless interaction of all instruments during the performance. The conductor is the main character on the stage of the philharmonic society, concert hall or any other musical venue.

Virtuosos

Self-sacrifice

The most famous conductors are bound by contracts with certain musical groups, and this gives them the opportunity to achieve a high level of performance of musical works. At the same time, a general understanding is necessary, which will subsequently serve as the key to a successful concert activity.

Famous opera conductors

Famous conductors of Russia

Famous Russian conductors (list):

Alexandrov Alexander Vasilievich.
Bashmet Yuri Abramovich.
Bezrodnaya Svetlana Borisovna.
Bogoslovsky Nikita Vladimirovich.
Bronevitsky Alexander Alexandrovich.
Vasilenko Sergey Nikiforovich.
Garanyan Georgy Abramovich.
Gergiev Valery Abisalovich.
Gorenstein Mark Borisovich.
Diaghilev Sergey Alexandrovich.
Alexey Evtushenko.
Ermakova Lyudmila Vladimirovna.
Kabalevsky Dmitry Borisovich.
Kazhlaev Murad Magomedovich.
Kogan Pavel Leonidovich.
Lundstrem Oleg Leonidovich
Mravinsky Evgeny Alexandrovich.
Svetlanov Evgeny Fedorovich.
Spivakov Vladimir Teodorovich.

Every well-known Russian conductor can successfully lead any foreign symphony orchestra, just a few rehearsals are enough for this. The professionalism of musicians helps to overcome both the language barrier and the difference in styles.

World celebrities

World famous conductors are talented musicians recognized by the general public.

Pavel Kogan

Pavel Kogan performs all over the world with the best symphony orchestras, his art is considered unsurpassed. The maestro is a laureate of the State Prize of Russia, he bears the title "People's Artist of Russia". Pavel Kogan also has many awards, including the Order of Merit to the Fatherland and the Order of the Arts.

Herbert von Karajan

The debut took place in 1929 at the Salburg Festival Theater. Herbert conducted Richard Strauss's opera Salome. In the period from 1929 to 1934 he was the Chief Kapellmeister at the theater in the German city of Ulm. Then Karajan stood for a long time at the conductor's stand of the Vienna Philharmonic Orchestra. At the same time he performed with Charles Gounod's opera "Walpurgis Night".

The finest hour for the conductor came in 1938, when Richard Wagner's opera "Tristan and Isolde" in his performance was a huge success, after which Herbert began to be called "Miracle Karayan".

Leonard Bernstein

American conductor Leonard Bernstein (1918-1990) was born into a family of Jewish immigrants. Musical education began for Leonard as a child, he learned to play the piano. However, the boy gradually became involved in conducting, and in 1939 he made his debut - the young Bernstein performed with a small orchestra a composition of his own composition called The Birds.

Valery Gergiev

After graduating from the Conservatory in 1977, the young conductor was admitted as an assistant to the Kirov Theater. Yuri Temirkanov became his mentor, and already in 1978 Valery Gergiev stood at the console and played Prokofiev's opera War and Peace. In 1988, he replaced Yuri Temirkanov, after his departure to the Leningrad Philharmonic.

Evgeny Svetlanov

In 1965-2000. combined work as artistic director and chief conductor of the State Symphony Orchestra of the USSR (later Russia).

Vladimir Spivakov

Russian conductor Spivakov Vladimir Teodorovich was born in 1944 in the city of Ufa. In 1968 he graduated from the Moscow Conservatory, in 1970 graduate school.

Mastery Vladimir Spivakov studied at the Gorky Conservatory under Professor Israel Gusman. Later he took a special course in the USA, with Leonard Bernstein and Lorin Maazel.

Yuri Bashmet

Russian conductor Bashmet Yuri Abramovich was born on January 24, 1953 in Rostov-on-Don. People's Artist of the USSR. Laureate of four State Prizes of the Russian Federation.

G. Lomakin(1811-1885). The fame of the talented singing teacher came to Lomakin early and quickly spread throughout the northern capital. He was invited to teach in many educational institutions: cadet, naval and pages corps, in a lyceum, a theater school, a law school (where PI Tchaikovsky was studying at that time). In this school G.Ya. Lomakin with art critic V.V. Stasov. The outstanding Russian critic more than once noted the "excellent school", "the right path of learning", "innate talent", "the value and skill in leading the choir" inherent in Lomakin, which played a significant role in the career of our fellow countryman. In 1862, together with the famous composer M.A. Balakirev Lomakin organized a free music school - for enlightenment and education of the people. At the school G.Ya. Lomakin not only created a wonderful new choir, but also managed to organize the education of future music teachers. Many of his students have become famous musicians: singers, choral conductors, teachers. Gavriil Yakimovich devoted the last years of his life to composing work: before that he could only work on composing music in snatches, in short breaks between classes with choirs. During that period, he created a number of works for the choir, wrote several romances. And in 1883, when M.A. Balakirev, Lomakin received a rare opportunity to publish his works. He devoted the last days of his life to their revision and correction of proof sheets.

A. Arkhangelsky (1846-1924)

Court chapel.

Independent Choir (1880).

Chapel of Count Sheremetyev.

C.V. Smolensky (1848-1909)

Director of the Synodal School (1889-1901).

Director of the court singing chapel (1901-1903).

Director of private regency courses (St. Petersburg)

V.S. Orlov (1856-1907).

Choir of the Russian Choral Society (1878-1886).

Chapel of the Russian Choral Society (1882-1888).

Choir director of the Synodal Choir (1886-1907).

Alexander Dmitrievich Kastalsky (1856-1926).

Synodal Choir (choir director since 1901).

Pavel G. Chesnokov (1877-1944).

Private spiritual choir A.P. Kayutova.

Choir of the Russian Choral Society (1916-1917).

Regent of Moscow temples.

Nikolai Mikhailovich Danilin (1856-1945).

Synodal Choir (1910-1918).

Private choir of Kayutov (1915-1917).

Leningrad Academic Capella.

State Choir of the USSR.

Sveshnikov Alexander Vasilievich(1890-1980), choral conductor, People's Artist of the USSR (1956), Hero of Socialist Labor (1970). In 1936-37, he was artistic director of the USSR State Choir, organized on the basis of the vocal ensemble of the All-Union Radio, which he created in 1928; in 1937-1941 - Leningrad. chapels; from 1941 - State Choir of Russian Song (later State Academic Russian Choir of the USSR). Organizer (1944) and director of the Moscow. choral school (since 1991 Academy of Choral Art named after S.). Professor (since 1946), rector (1948-74) Moscow. conservatory. USSR State Prize (1946).

YURLOV Alexander Alexandrovich (1927-73), choral conductor, People's Artist of the RSFSR (1970), Azerb. SSR (1972). Student A.V. Sveshnikov. Since 1958, artistic director and chief conductor of the Republic. Russian choir chapel (since 1973 his name). Professor of Musical-ped. Institute named after Gnesins (since 1970). USSR State Prize (1967).

Tevlin Boris Grigorievich Choral Conductor, Professor (1981), Head of the Department of Choral Conducting of the Moscow State Conservatory named after P.I. Tchaikovsky (1993-2007). People's Artist of the Russian Federation (1995).

Kazachkov Semyon Abramovich (1909-2005) - teacher, professor, head of the department of choral conducting at the Kazan State Conservatory.

Minin Vladimir Nikolaevich (b. 1929), choral conductor, People's Artist of the USSR (1988). Pupil V.G. Sokolova, A.V. Sveshnikov. Since 1972 hand. founded by him Mosk. chamber choir, since 1987 (simultaneously) artistic director of the State. Russian chorus. Since 1978 professor (in 1971-79 rector) Musical ped. Institute named after Gnesins. USSR State Prize (1982).

Dmitryak Gennady Aleksandrovich - choral and opera and symphony conductor, Honored Art Worker of Russia, artistic director and chief conductor of the A.A. Yurlov and the Moscow Kremlin Capella, Associate Professor of the Department of Choral Conducting of the Russian Academy of Music. Gnesin.

Choral conductor requirements

It is excellent to master the conducting technique;

To be able to correctly place the choir members in parts in accordance with their singing voice and range;

Easily navigate in all the variety of musical works of different styles, eras, trends, know the theoretical foundations of recording and reading choral scores;

Have a fine ear for music, a sense of rhythm, and a developed artistic taste.

Choral music genres

VILLANELLA(Italian village song) -Italian song of the 15-16th centuries, mainly 3-voiced, with pairs of al. movement of voices, lively character, lyrical or humorous content.

CANON(Greek norm, rule) - polyphonic. musical. form based. on a strict continuous, imitation, at which. the voices repeat the melody of the leading voice, starting earlier than the previous one ends. The canon is distinguished by the number of voices, the intervals between them (Canon in prima, fifth, octave, etc.), the number of themes simulated at the same time (Canon is simple; double, for example, in No. 4 of Mozart's Requiem, etc.), the form of imitation (Canon in increase, decrease). In the so-called endless canon, the end of the melody goes to its beginning, so the voices can re-enter any number of times. In the canon with a "variable indicator" (V. Protopopov), during imitation, the melodic pattern and rhythm are preserved, but the interval changes. Canonical imitation, in one form or another, is often used in the chorus. cit .; there are plays written in the form of K. ("Echo" by O. Lasso, "Song of the Lark" by F. Mendelssohn, arr. NA Rimsky-Korsakov "I walk with a loach", etc.).

KANT(from Latin, cantus - singing, song) - a kind of old choral or ensemble song a cap. It arose in the 16th century. in Poland, later - in Ukraine, from the 2nd sex. 17th century - in Russia, becoming widespread as an early type of urban song; to the beginning. 18th century - a favorite genre of home, everyday music. First, a kant-song-hymn of religious content, later imbued with secular themes; edges appear. lyrical, pastoral, drinking, comic, hiking, etc. In the Peter's era, panegyric cants were popular, the so-called. vivatas; performed by choirs of singers during festivities and triumphal processions, accompanied by cannon firing, fanfare and bell ringing. Stylish features of Kant: couplet form, subordination of musical rhythm to poetic one; rhythmic clarity and smoothness of the melody; predominantly 3-voice structure with parallel movement of 2 upper voices, bass is often melodiously developed; imitation also occurs. In cante there is a natural relationship between melody and harmony, balance of harmonic functions - subdominants, dominants, tonics. B. Asafiev points out that “in the evolution of music in the second half of the 18th and early 19th centuries. kant becomes a kind of short encyclopedia of the triumphant homophonic style ”(“ Musical form as a process ”, L., 1963, p. 288). Kant was distributed in manuscript collections, without instructions from the authors of the text and music, although the verses of modern poets Trediakovsky, Lomonosov, Sumarokov and others were often used. bunk bed songs. Gradually the edging became more complicated, acquiring the features of a romance. Later (in the 19th century), soldiers', drinking, student's, and partly revolutionary songs were created on the basis of cant. The influence of Kant is also found in Rus. classical music, by Glinka ("Glory" from the opera "Ivan Susanin"), etc.

CANTATA(Italian cantare - to sing) - a work for solo singers, choir and orc., solemn or lyric-epic character. Cantatas can be choral (no soloists), chamber (no choir), with or without piano accompaniment, one-movement or consist of several completed numbers. The cantata usually differs from oratorio (similar to it in means of expression) in its smaller size, homogeneity of content, and less developed plot. The cantata originated in Italy (17th century) first as a piece for singing (in contrast to the sonata). This means that the cantata takes its place in the works of J.S.Bach, who wrote cantatas on spiritual, mythological and everyday subjects. In Russia, the cantata manifested itself in the 18th century, reached development in the 19th and 20th centuries: solo theatrical cantata ("Black Shawl" by Verstovsky), welcoming, jubilee, lyrical, lyric and philosophical cantatas ("Farewell songs of the pupils of the Catherine and Smolny Institutes" by Glinka ; "Moscow", "To the Joy" of Tchaikovsky; "Svitezianka" by Rimsky-Korsakov; "John Damascene", "After Reading the Psalm" by Taneyev; "Spring", "Bells" by Rachmaninov; "Cantata for the opening of the monument to Glinka" by Balakirev, etc. etc.).

The cantata genre was developed in the work of Soviet composers, especially in works on a historical, patriotic and contemporary theme ("Alexander Nevsky" by Prokofiev, Symphony-cantata "On the Kulikovo Field" by Shaporin, "Cantata about the Motherland" by Harutyunyan, etc.). The contemporary German composer K. Orff wrote stage cantatas (Carmina Burana and others).

MADRIGAL(ital.) - lyric song in the native language. (as opposed to chants in Latin, lang.), originally monophonic. During the early Renaissance (14th century), it was performed in 2-3 voices. In the late Renaissance (16th century) it took the center, a place in secular music, representing a single-part or multi-part vocal composition of a polyphonic warehouse for 4-5 voices; was distributed outside Italy. The madrigal genre is predominantly lyrical, closely related to the poetic text (up to the illustration of individual words). Having formed in aristocratic circles, madrigal in melody (unlike frotolla, villanella, chanson, etc.) is far from folk music, often too sophisticated; at the same time, it also had a progressive meaning, expanding the range of images and expressive-pictorial means. Simpler, connected with folklore, the English madrigal of the 16-17th centuries is emotional. (T. Morley, D. Dowland, D. Wilby). By the 17th century. madrigal departs from the vocal polyphonic style, highlighting the solo voice with instrumental accompaniment. Outstanding masters of madrigal (at different stages of its development) were Arcadelt, Villart, A. Gabrieli, Palestrina, Marenzio, Gesualdo, Monteverdi.

MOTET(from French mot - word) - vocal genre. polyphonic. music. Initially in France (12-14 centuries) several were combined in a motet. (most often 3) independent melodies with different texts: in the lower voice (tenor) - church. chants in Latin text, on average (motet) and upper (triplum) - love or comic songs in spoken French. The Catholic Church fought against such "vulgar motets", opposing them (from the 15th century) with polyphonic chants in a single Latin text. Madrigals were written for the chorus a cap. (from the end of the 16th century and with accompaniment), consisted of several (2, 3 and more) sections, in polyphonic, often in chord store. In the 17th century. there were motets for soloists-singers with instrumental accompaniment.

OPERA CHOIR- one of the main components of a modern opera performance. In connection with the era, genre, personality of the composer, the choir in the opera plays a different role from creating a household background, a decorative element, a participant in the prologue, interludes to ch. character. In the opera-seria ("serious opera", 17th-18th centuries) the chorus was almost absent, in the opera-buffa ("comic opera", 18th century) it appeared sporadically (for example, in the finals). The role of the chorus as the bearer of the image of the people in the operas by Gluck and Cherubini has been strengthened, although often the chorus. the scenes in them have an oratorio-static character. Greater dramatic significance was attached to the chorus in Western European operas of the first third of the 19th century, in Rossini (William Tell), Verdi (Nabucco, Battle of Legnano), with their images of a heroic people; in the opera by Meyerbeer, the participation of the chorus emphasizes the dramatic climaxes. In the lyric opera of the 19th century. the choir contributes to the creation of an appropriate atmosphere, national color, mood (op. Bizet, Verdi, Gounod); in folk opera, choirs are of a genre nature, close to folk songs, dances (op. Monyushko, Smetana). Rus. secular choral art was first presented by opera choirs (18th century, op. Fomin, Pashkevich, and others); and in the future, choirs occupy a large place in Russian. operas, being "the cornerstone dogma and affirmation of nationality and democracy" (B. Asafiev). Opera and choral creativity rus. composers are extremely diverse.

In historical and patriotic operas (Ivan Susanin by Glinka, Kpyaz Igor by Borodin, The Woman of Pskov by Rimsky-Korsakov, etc.), the chorus becomes the main character, along with the heroes. Especially (the chorus acquired great importance in the folk musical dramas of Mussorgsky (Boris Godunov, Khovanshchina), where the image of the people is presented in a multifaceted manner, in development. In Russian everyday operas by Verstovsky (Askold's Grave), Dargomyzhsky (The Mermaid) , Serov ("The Power of the Enemy"), Tchaikovsky ("Cherevichki", "The Enchantress"), etc. there is a close connection with the folk song. National originality is reflected in the choral scenes of operas connected with oriental themes ("Ruslan and Lyudmila" by Glinka, " The Demon "by Rubinstein," Prince Igor "by Borodin, etc.). Choral means are used in the depiction of fairy-tale, fantastic plots (op. Glinka, Verstovsky, Rimsky-Korsakov). The chorus is also used oratorically, usually in the prologue, epilogue (opera Glinka, Serov, Rubinstein, Borodin, etc., in the performance of hymns, etc. ("The Maid of Orleans" by Tchaikovsky, "Khovanshchina" by Mussorgsky, etc.) The traditions of the active participation of the chorus in Russian classical opera are continued in Soviet musical creativity: O the pens of the Russian Soviet composers "War and Peace", "Semyon Kotko" by Prokofiev, "The Decembrists" by Shaporin, "Katerina Izmailova" by Shostakovich, "Emelyan Pugachev" by Koval, "Quiet Don" and "Virgin Soil Upturned" by Dzerzhinsky, "October" by Muradeli, " Virineya ”by Slonimsky and others, many national operas contain separate choirs and well-developed choral scenes. The opera choral collective has its own specifics of performance: it is, first of all, great brightness, convexity of nuance (similar to decorative design), accentuation of the text, its ability to "fly through the orchestra" into the audience. Since the opera choir is often in motion, special confidence and independence of each of its participants is necessary. To develop these qualities in some groups, singers are taught timing while studying their parts. The presence of mise-en-scenes, in which the choir does not see the conductor, necessitates the so-called. broadcasts (conductor's tempo) conducted from behind the scenes by the choirmaster; at the same time, in order to achieve synchronicity of performance, some anticipation of the conductor's "points" is made (more or less, depending on the depth of the choir's location).

ORATORIO(from lat, wow - I say, I pray) - a large piece of music for choir, soloists, orc .; comp. from vocal ensembles, arias, recitatives, completed orchestral numbers., the oratorio arose in Italy, at the turn of the 16th and 17th centuries, almost simultaneously with cantata and opera, and is similar in structure to them. It differs from cantata in its larger size, unfolded plot, epic-dramatic character, from opera, in the predominance of the narrative element over the dramatic, development. The oratorio developed from dramatized laud (spiritual hymns of praise), performed in special rooms at the church - oratorios. A special type of oratorio - Passion; in terms of structure and type, the oratorio also includes the Mass, Requiem, Stabat Mater, and others. The oratorio genre reaches its highest peak in the works of Bach and especially Handel, who created the type of heroic-epic oratorio; Haydn's oratorios are marked by genre-everyday and lyrical-philosophical features. In the 19th century. manuf. The oratorio genre was created by Mendelssohn, Schumann, Berlioz, Brahms, Dvorak, Liszt, Verdi, and others, in the 20th century. - Honegger, Britten and others. The first means the Russian oratorio "Minin and Pozharsky" by Degtyarev; a number of oratorios were created by A. Rubinstein (Babylonian Pandemonium, Paradise Lost, etc.). In the operas of Russian classics, methods of the oratorical style are widely used in the form of large choral scenes (Ivan Susanin, Ruslan and Lyudmila by Glinka, Judith by Serov, Prince Igor by Borodin, Sadko by Rimsky-Korsakov, etc.). The oratorio genre is widely used by Soviet composers in the embodiment of historical and contemporary themes ("Emelyan Pugachev" by Koval, "The Legend of the Battle for the Russian Land" by Shaporin, "Song of the Forests" by Shostakovich "Guarding the World" by Prokofiev, "Requiem" by Kabalevsky, " Mahogany "Zarina and others).

SONG- the simplest and most common form of vocal music, combining a poetic image with a musical one. Characteristic of a song is the presence of a complete, independent, melodic melody, simplicity of structure (usually a period or 2-, 3-part. Form). The music of the song corresponds to the general content of the lyrics, without its detailing (for example, in a very common verse song). There are folk and professional (production by composers) songs that differ in genres, origin, style, etc. The genre of choral song is widespread: folk song (peasant and city), Soviet mass song, dep. choirs of Russian and Soviet composers. In Western European music, choral song was cultivated by romantic composers (Weber, Schubert, Mendelssohn, Schumann, Brahms). In a figurative sense, the term song. or a song (to emphasize the epic, solemnity, poetic sublimity of the work) is used in the titles of major musical compositions, cantatas (for example, "Song of Fate", "Triumphal Song" by Brahms).

CHORAL- religious chants in the Catholic and Protestant churches. The Protestant polyphonic chant (introduced in the 16th century by the leaders of the Reformation) was sung by the entire community in German (contrasted with the unison Gregorian chant sung in Latin by special male singers). Choral melodies are characterized by a sedentary rhythm. Choral storehouse (or simply chorale) is usually called. chord presentation in even lengths in a slow movement.

The Soviet era was generous with talents. The names of the brilliant Soviet pianists, violinists, cellists, singers and, of course, conductors have entered the history of world culture. At this time, the modern idea of the role of the conductor - leader, organizer, master - was formed.

What were they, the musical leaders of the Soviet era?

Five portraits from the gallery of outstanding conductors.

NIKOLAY GOLOVANOV (1891-1953)

Already at the age of six, during a walk, Nikolai tried to conduct a military orchestra. In 1900, the young music lover was admitted to the Synodal School. Here his vocal, conducting and composing abilities were revealed.

Having already become a mature master, Golovanov will write with great love about the years of study: "The Synodal School gave me everything - moral principles, foundations of life, the ability to work a lot and systematically, instilled sacred discipline."

After several years of work as choir director, Nikolai entered the composition class of the Moscow Conservatory. In 1914 he graduated with a small gold medal. Throughout his life, Nikolai Semenovich wrote spiritual chants. He continued to work in this genre even when religion was proclaimed "the opium of the people."

Fragment of performance of Tchaikovsky's overture "1812"

In 1915, Golovanov was admitted to the Bolshoi Theater. It all started with the humble position of assistant choirmaster, and in 1948 he became chief conductor. Relations with the renowned theater were not always smooth: Nikolai Golovanov had to endure many grievances and disappointments. But it was not them that remained in history, but brilliant interpretations of Russian opera and symphonic classics, bright premieres of works by contemporary composers and the first radio broadcasts of classical music in the USSR with his participation.

Conductor Gennady Rozhdestvensky recalls the master this way: “He could not stand the middle. An indifferent middle. And in nuance, and in phrasing, and in relation to the matter. "

Although Golovanov did not have students-conductors, his interpretations of Russian classics became models for young musicians. Alexander Gauk was destined to become the founder of the Soviet conducting school.

ALEXANDER GAUK (1893-1963)

Alexander Gauk studied at the Petrograd Conservatory. He studied composition in the class of Alexander Glazunov, conducting in the class of Nikolai Cherepnin.

In 1917, the musical and theatrical period of his life began: he worked at the Petrograd Theater of Musical Drama, and then at the Leningrad Opera and Ballet Theater.

In the 1930s, symphonic music was at the center of Gauck's interests. For several years he directed the Leningrad Philharmonic Symphony Orchestra, and in 1936 he headed the newly created State Symphony Orchestra of the USSR. He did not miss the theater, he only regretted that he had not been able to stage his beloved "The Queen of Spades" by Tchaikovsky.

A. Onegger
Pacific 231

In 1953, Gauk became chief conductor of the USSR State Radio and Television Bolshoi Symphony Orchestra. This work was very intense and interesting. The orchestra played live programs, as they say. In 1961, the maestro was "politely" retired.

Pedagogical activity was a joy for Gauck. Evgeny Mravinsky, Alexander Melik-Pashaev, Evgeny Svetlanov, Nikolai Rabinovich - all of them were the maestro's students.

Evgeny Mravinsky, himself already a renowned master, will write to his teacher in a congratulatory letter: "You are our only conductor carrying the traditions of a true great culture."

EUGENE MRAVINSKY (1903-1988)

Mravinsky's entire life was associated with St. Petersburg-Leningrad. He was born into a noble family, but in difficult years he also had to deal with "non-noble" affairs. For example, work as an extra at the Mariinsky Theater. The personality of the head of the theater, Emil Cooper, played an important role in his fate: "It was he who introduced into me that" grain of poison "that connected me with the art of conducting for the rest of my life."

For the sake of music, Mravinsky dropped out of university and entered the Petrograd Conservatory. At first, the student diligently studied composition, and then became interested in conducting. In 1929 he entered the Gauck class and very quickly mastered the basics of this complex (or "dark", as Rimsky-Korsakov said) business. After graduating from the conservatory, Mravinsky became an assistant conductor of the Leningrad Opera and Ballet Theater.

In 1937 the conductor had his first meeting with the music of Dmitry Shostakovich. Mravinsky was entrusted with the premiere of his Fifth Symphony.

At first, Shostakovich was even frightened by the conductor's method of work: “About every measure, about every thought, Mravinsky made me a real interrogation, demanding from me an answer to all doubts that arose in him. But already on the fifth day of our joint work, I realized that this method is absolutely correct. "

After this premiere, Shostakovich's music will become a constant companion of the maestro's life.

In 1938, Mravinsky won the First All-Union Conducting Competition and was immediately appointed head of the Leningrad Philharmonic Orchestra. Many of the orchestra's artists were much older than the conductor, so they did not hesitate to give him “valuable instructions”. But very little time will pass, a working atmosphere will be established at the rehearsals, and this team will become the pride of the national culture.

Rehearsal of the Leningrad Philharmonic Orchestra

It is not so often in the history of music that there are examples when a conductor has been working with one ensemble for several decades. Evgeny Mravinsky headed the Philharmonic Orchestra for half a century, his younger colleague Evgeny Svetlanov directed the State Orchestra for 35 years.

Dmitry Shostakovich, Symphony No. 8

EVGENY SVETLANOV (1928-2002)

For Svetlanov, the Bolshoi Theater was familiar in a special sense of the word. His parents are soloists of the opera troupe. The future maestro made his debut on the renowned stage at a tender age: he played the young son of Cio-Cio-san in Puccini's opera Madama Butterfly.

Almost immediately after graduating from the conservatory, Svetlanov comes to the Bolshoi Theater, masters all theatrical classics. In 1963 he became the chief conductor of the theater. Together with him, the troupe goes on tour to Milan, to La Scala. Svetlanov brings to the judgment of the demanding public "Boris Godunov", "Prince Igor", "Sadko".

In 1965, he headed the USSR State Symphony Orchestra (the same one that was once directed by his teacher Alexander Gauk). Together with this group, which became academic in 1972, Svetlanov implemented a large-scale project - "Anthology of Russian symphonic music in gramophone records." The significance of this work was very precisely defined by the music director of Radio France, Rene Goering, who worked a lot with the conductor: “This is Svetlanov's real feat, another evidence of his greatness”.

M. Balakirev, symphony No. 2, finale

Working with GASO, the conductor does not forget about the Bolshoi Theater. In 1988, the production of The Golden Cockerel (directed by Georgy Ansimov) became a real sensation. Svetlanov invited the "neo-operatic" singer Alexander Gradsky to the super-difficult role of the Astrologer, which added even more originality to the performance.

Concert "Shlyagers of the Leaving Century"

Among the most important achievements of Evgeny Svetlanov is the introduction of a wide range of listeners to the music of the outstanding composer Nikolai Myaskovsky, which was very rarely performed by Soviet orchestras.

The return of little-known compositions to the concert stage became one of the key tasks for maestro Gennady Rozhdestvensky.

GENNADY ROZHDESTVENSKY (BORN. 1931)

Conductors playing instruments or composing music are not uncommon. Conductors who can talk about music, however, are rare. Gennady Rozhdestvensky is a real unique person: he can tell and write about musical works of different eras in a fascinating way.

Rozhdestvensky studied conducting with his father, the famous conductor Nikolai Anosov. Mom, singer Natalya Rozhdestvenskaya, did a lot to develop her son's artistic taste. Before graduating from the conservatory, Gennady Rozhdestvensky was admitted to the Bolshoi Theater. His debut was Tchaikovsky's Sleeping Beauty. In 1961, Rozhdestvensky became the head of the Grand Symphony Orchestra of the Central Television and Radio Broadcasting. At this time, the conductor's repertoire preferences emerged.

With great interest he mastered the music of the twentieth century, and also introduced the public to "non-slut" compositions. Musicologist, doctor of art history Viktor Tsukkerman admitted in a letter to Rozhdestvensky: "I have long wanted to express deep respect and even admiration for your selfless, maybe even selfless activity in performing either undeservedly forgotten or little-known works."

The creative approach to the repertoire determined the work of the maestro with other orchestras - well-known and not so famous, youth and "adults".

All novice conductors dream of studying with Professor Rozhdestvensky: for 15 years now he has been head of the Department of Opera and Symphony Conducting at the Moscow Conservatory.

The professor knows the answer to the question “Who is a conductor?”: “This is a medium between the author and the listener. Or, if you like, some kind of filter that lets the flow emitted by the score pass through itself and then tries to convey it to the audience. "

Film "Triangles of Life"
(with fragments of the conductor's performances), in three parts

A cycle of concert programs(Russia, 2010). 10 issues.

There are no more authoritative figures in contemporary musical culture than representatives of the world conductor's elite. The creators of the cycle have chosen ten significant names of significance - Simon Rattle, Lorin Maazel, Daniel Barenboim, Mariss Jansons, as well as their illustrious Russian colleagues,. Today they are recognized masters and leaders of the largest orchestras.

Each program is based on the performance of one of the named maestros with his orchestra.

Soloists: violinists Vadim Repin and Sergei Krylov, oboist Alexei Utkin, pianist Denis Matsuev and others.

The program is very diverse - from I.S. Bach to A. Schoenberg and A. Pärt. All works are among the masterpieces of world music.

The cycle leader is pianist Denis Matsuev.

1st issue. ...
Soloist Vadim Repin.
Program: I. Stravinsky. Symphony in three movements; M. Bruch. Concerto for violin and orchestra No. 1 in G minor; L. Beethoven. Symphony No. 7.

2nd edition. Vladimir Fedoseev and the Bolshoi Symphony Orchestra. P.I. Tchaikovsky.
Program: L. Beethoven. Symphony No. 4.
Recording at the Golden Hall of the Musikverein in Vienna.

3rd edition. "Mariss Jansons and the Bavarian Radio Symphony Orchestra".
Program: R. Wagner. Introduction and Death of Isolde from the opera Tristan and Isolde; R. Strauss. Suite of waltzes from the opera "Der Rosenkavalier".

4th edition. Daniel Barenboim and the West-East Divan Orchestra.
Program: V.A. Mozart. Concerto No. 7 in F major for three pianos and orchestra. Soloists - Daniel Barenboim, Yael Caret, Karim Said. A. Schoenberg. Variations for Orchestra. J. Verdi. Overture to the opera "The Force of Destiny".

5th edition. "Vladimir Spivakov and the National Philharmonic Orchestra of Russia.
Sergei Prokofiev. Concerto No. 3 for piano and orchestra. Symphony No. 1 "Classical". Soloist Denis Matsuev. Recorded at the Great Hall of the Moscow Conservatory in 2008.

6th edition. "Lorin Maazel and the Arturo Toscanini Symphony Orchestra"
Program: Giacchino Rossini. Overture to the opera "Italian Woman in Algeria"; Johannes Brahms. Symphony No. 2.
Recorded at the Great Hall of the Moscow Conservatory.

7th edition. Yuri Temirkanov and the Academic Symphony Orchestra of the St. D.D. Shostakovich.

8th edition. Yuri Bashmet and the Moscow Soloists chamber ensemble.
Program: Joseph Haydn - Concerto for cello and orchestra. Soloist Stephen Isserlis (Great Britain), Niccolo Paganini - 5 caprices (arranged by E. Denisov for violin and chamber orchestra). Soloist Sergei Krylov (Italy); V.A. Mozart - Divertissement No. 1.
Registration in the BZK.

9th edition. Mikhail Pletnev and the Russian National Orchestra
The Russian National Orchestra will perform a suite from the ballet by P.I. Tchaikovsky "Swan Lake", composed by Mikhail Pletnev. Recording in the State Academic Bolshoi Theater of Russia within the framework of the RNO Grand Festival, 2009.

10th edition. Valery Gergiev and the Mariinsky Theater Symphony Orchestra
Orchestral hits performed by the Mariinsky Theater Symphony Orchestra under Valery Gergiev include overtures from operas by Rossini, Verdi, Wagner, waltzes from Tchaikovsky's ballets, and excerpts from Prokofiev's ballet Romeo and Juliet.

Conductors of the Soviet era. Famous conductors Famous Russian conductors of the 20th 21st century

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