Spiritual works of Western and Russian composers. Sacred music in the works of composers of the 19th - 20th centuries

Spiritual works of Western and Russian composers. Sacred music in the works of composers of the 19th - 20th centuries
Spiritual works of Western and Russian composers. Sacred music in the works of composers of the 19th - 20th centuries
16.06.2019
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Federal Agency for Culture and Cinematography

Kemerovo State University of Culture and Arts

Scientific Library

Sacred music in creativity

Russian composers

Bibliographic list

Kemerovo

Editorial board: V.P. Kashina Computer design: Sergeev A.V. Responsible for the issue: V.A. Gavrilova Sacred music in the works of Russian composers: bibliographic list / Comp. V.P. Kashina. - Kemerovo: NB KemGUKI. - 19 p.

Introduction ………………………………………………………………… .. 4 From the compilers …………………………………………………… …… ... 5 General part …………………………………………………………… .. 7Persons ………………………………………… ……………………… eight

Introduction

Sacred music is the progenitor of all Russian musical creativity. At all times, it was the sphere of application of the creative forces of outstanding Russian composers. The motives for which they turned to spiritual genres were different - from internal religious attitudes to aesthetic preferences. The music of the Russian Orthodox Church is the source of musical classics up to the present day. It finds its natural reflection in the work of composers working in the genres of spiritual and musical compositions. But due to its deep soil, this musical plan, often perceived as folklore, is included by composers in works of secular musical genres. Russian composers brought into world culture the original techniques of musical writing inherent only in Russia. Their artistic method is based on ancient church genres, enriched with intonations of Russian folklore and the achievements of professional composer creativity. These traditions are continued by contemporary Russian composers. The purpose of the bibliographic list "Sacred music in the work of Russian composers" is to facilitate the search for sources of information about the life and work of composers who created in the genre of sacred music.

From compilers

The presented bibliographic list is devoted to works written both in the genre of sacred music and other genres written on spiritual subjects. The bibliography "Sacred music in the works of Russian composers" consists of two parts. The general part includes works characterizing specific forms and genres of church music. The second part is devoted to the personalities of composers (both famous and undeservedly forgotten) who created in the genre of sacred music. Within the sections and subsections, the material is arranged in alphabetical order. Bibliographic characteristics of documents are carried out in accordance with GOST 7.1-2003 “Bibliographic record. Bibliographic description. General requirements and rules of drawing up ". Abbreviations of words generally correspond to GOST 7.12-93 “Bibliographic record. Abbreviation of words in Russian. General requirements and rules "Works related to various parts are duplicated by indicating their serial number at the end of the corresponding part of the list. The bibliographic list is compiled on the basis of the materials of the Fund of the Music Department of the Scientific Library of the KemSUKI, and includes mainly articles from the magazines" Music Academy "," Vstrecha " , "Early music". The personalities of composers, whose work is poorly covered in periodicals, are represented by articles from fundamental research on the history of Russian music. The publication is intended for students, teachers of the Faculty of Musical Arts and all those who are interested in the history of Russian sacred music. assistance for independent work of students in the training courses "History of Russian Music", "History of Russian Music of the 20th Century", "History of Russian Choral Music", "History of Russian Choral Music of the 20th Century" and in specialty classes.

A COMMON PART

    Gulyanitskaya N. Notes on the stylistics of modern spiritual and musical compositions [Text] / N. Gulyanitskaya // Mus. academy. - 1993. - No. 4. - S. 7-13; 1994. - № 1. - P. 18-25 Gurieva N. The polyphonic liturgy of the end of the 17th century and its authors [Text] / N. Guryeva // Early music. - 2000. - No. 3. - S. 8-10. Denisov N. New sphere of creativity [Text] / N. Denisov // Mus. academy. - 1998. - No. 3-4. - S. 42-45. I. V. Koshmina Russian sacred music [Text]: in 2 books / IV Koshmina - M .: Vlados, 2001. Levashev E. From Glinka to Rachmaninoff (Sacred music of the Fatherland) [Text] / E. Levashev // Muz. academy. - 1992. - No. 2. - S. 2-13. Paisov Y. Resurrection of the ideal (Chants to the saints in contemporary music of Russia) [Text] / Y. Paisov // Muz. academy. - 1993. –№ 4. - S. 152-154. Plotnikova N. Sing to our God ("Cherubic song") [Text] / N. Plotnikova // Meeting. - 1998. - No. 3. - S. 26-27. Protopopov V. Music of the Russian liturgy (Problems of cyclicity) [Text] / V. Protopopov // Muses. academy. - 1997. - No. 1. - S. 30-37. Protopopov V. Music of the Initial Psalm in the All-Night Vigil [Text] / V. Protopopov // Muses. academy. - 1999. - No. 1. - S. 1-10. Rapatskaya L.A. The history of Russian music: from Ancient Rus to the "Silver Age" [Text] / L.A. Rapatskaya. - M .: Vlados, 2001 .-- 384 p. Russian sacred music of the XX century [Text] // History of modern Russian music: in 3 issues - M., 2001. - Issue. 3. - S. 398-452. Russian music at school [Text]: methodological essays. - M .: Miros, 1998 .-- 256 p. I. G. Umnova Refraction of the traditions of sacred music in the work of modern domestic composers [Text] / IG Umnova // Orthodoxy - Culture - Education - Kemerovo: materials interregion. scientific-practical conf. - Kemerovo: Kemerovo. state Academy of Culture and Arts, 2002. - S. 392-388.

Personalities

V.A. Agafonnikov (b. 1936)

    Plotnikova N. Bright national style [Text] / N. Plotnikova // Meeting. - 2001. - No. 12. - C ... ..; 2002. - No. 1. - S. 19-21.

A.V. Alexandrov (1883-1946)

    Plotnikova N. Hymn to the Russian soul [Text] / N. Plotnikova // Meeting. - 2003. - No. 7. - S. 24-25.

M.V. Antsev (1865-1945)

    Plotnikova N. From the textbook to the liturgy [Text] / N. Plotnikova // Meeting. - 2002. - No. 7. - S. 24-25.

A.S. Arensky (1861-1906)

    Music as light as a stream [Text] // Meeting. - 2002. - No. 5. - S. 17-18.

V.P. Artyomov (b. 1940)

    Artemov V. To find living value [Text] / V.Artemov // Muz. academy. - 1996. - No. 1. -S. 72-74.

A.A. Arkhangelsk (1846-1924)

    Plotnikova N. Great lord of harmony [Text] / N. Plotnikova // Meeting. - 1999. - No. 1-2.- P.27-28. Obolensky P. Chronicle of a musical life [Text] / P. Obolensky // Muses. academy. - 1994. - No. 1. - S. 95-98.

A.M. Arkhangelsk (1863-1915)

    Plotnikova N. To the native shores [Text] / N. Plotnikova // Meeting. - 2002. - No. 2. - S. 19-20.

A.M. Astafiev (1873-1956)

    Plotnikova N. And Regent and teacher [Text] / N. Plotnikova // Meeting. - 2001. - No. 11. - S. 25-27.

ON. Afanasyev (1821-1898)

    Plotnikova N. Belongs to Russia [Text] / N. Plotnikova // Meeting. - 1999. - No. 4. - S. 23-24.

N.I. Bakhmetyev (1807-1891)

    Plotnikova N. Landowner and musician [Text] / N. Plotnikova // Meeting. - 2001. - No. 10. - S. 23-25.

V.D. Benevsky (1864-1930)

    Plotnikova N. Conductor, teacher, composer [Text] / N. Plotnikova // Meeting. - 2002. - No. 11. - S. 22-24.

M.S. Berezovsky (1745-1777)

    M.S. Berezovsky [Text] // History of Russian music: in 3 issues. / ed. A. Kandinsky. - M., 1999. - Issue. 1. - S. 206-210. Rytsareva M. Composer M. S. Berezovsky [Text] / M. Rytsareva. - L .: Muzyka, 1982 .-- 142 p.
See also No. 10

D.S. Bortnyansky (1751-1825)

    D.S. Bortnyansky [Text] // History of Russian music: in 3rd issue. // ed. A. Kandinsky. - M., 1999. - Issue 1. - S. 210-225. Rytsareva M. Composer D.S. Bortnyansky [Text] / M. Rytsareva. - L .: Muzyka, 1979 .-- 255 p.
See also No. 10

Yu.M. Butsko (b. 1938)

    Butsko Y. Give Russia all my work, my life [Text] / Y.Butsko // Muz. life. - 1999. - No. 4. - S. 11-13. Dubinets E. Signs of Yuri Butsko's style (Znamenny chant in the twentieth century) [Text] / E. Dubinets // Muz. academy. - 1993. - No. 1. - S. 49-52. Karaban M. Multidimensionality of modal space and principles of fuzzy logic [Text] / M. Karaban // Mus. academy. - 2001. - No. 4. - S. 49-54.

A.E. Varlamov (1801-1848)

    Plotnikova N. Music - you need a soul [Text] / N. Plotnikova // Meeting. - 2003. -No. 8. - P.25-27.

A.N. Verstovsky (1799-1862)

    Plotnikova N. The mighty power of feelings [Text] / N. Plotnikova // Meeting. - 2003. - No. 12. - S. 29-30.

M.A. Vinogradov (1809-1888)

    Plotnikova N. The musician has no leisure [Text] / N. Plotnikova // Meeting. - 2004. - No. 2. - S. 16-17.

P.M. Vorotnikov (1810-1876)

    Plotnikova N. In the traditions of the old school [Text] / N. Plotnikova // Meeting. - 2002. - No. 9. - S. 19-21.

V.A. Gavrilin (1939-1999)

    Meshcheryakova N. “John Damaskin” by Taneyev and “Chimes”: dialogue at a distance of a century [Text] / N. Meshcheryakova // Muses. academy. - 2000. - No. 1. - S. 190-195. Tevosyan A. Concert in three parts in memory of V. Gavrilin [Text] / A. Tevosyan // Muses. academy. - 2000. - No. 1. - S. 184-190.

M.I. Glinka (1804-1857)

    Kompaneisky N. Influence of Glinka's compositions on church music [Text] / N. Kompaneisky // Russian musical newspaper. - 2004. - № 6. - P. 8. Plotnikova N. Enter the courtyard of Christ [Text] / N. Plotnikova // Meeting. - 2004. - No. 5. - S. 15-17. Plotnikova N. "Tie the spirit of peace" [Text] / N. Plotnikova // Meeting. - 2001. - No. 4. - S. 21-23.
See also No. 5

NS. Golovanov (1891-1953)

    Luzanova A. Prayer response [Text] / A. Luzanova // Meeting. - 2002. - No. 8. - S. 25-27.

A.T. Grechaninov (1864-1956)

    Plotnikova N. With faith and prayer [Text] / N. Plotnikova // Meeting. - 2001. - No. 9. - S. 22-23. Rakhmanova M.P. A.T. Grechaninov [Text] / MP Rakhmanova // History of Russian music: in 10 volumes - M., 1997. - T. 10-A. - S. 170-216.
See also # 10.11

G.P. Dmitriev (b. 1942)

    Georgy Dmitriev "I found my theme" [Text] / G. Dmitriev // Muz. life. - 2000. - No. 10. - S. 9-11.

A.P. Esaulov (1800-1850)

    Plotnikova N. In harmony with the big world [Text] / N. Plotnikova // Meeting. - 1999. - No. 8. - S. 22-23.

MM. Ippolitov-Ivanov (1859-1935)

    Plotnikova N. Melodies of Orthodox antiquity [Text] / N. Plotnikova // Meeting. - 2003. - No. 1. - S. 21-23.

V.S. Kalinnikov (1870-1927)

    N. Plotnikova An ardent worker [Text] / N. Plotnikova // Meeting. - 2001. - No. 3. - S. 17-19.

V.Yu. Kalistratov (b. 1942)

    Kalistratov V. Look with a note [Text] / V. Kalistratov, A. Tevosyan // Muses. academy. - 1994. - No. 4. - S. 16-22.

N.N. Karetnikov (born 1930)

    Selitsky A. “I wrote for the Lord and for myself” [Text] / A. Selitsky, N. Karetnikov // Muz. academy. - 1996. - No. 3-4. - S. 33-34.

HELL. Kastalsky (1856-1926)

    Kastalsky A. About my musical career and my thoughts about church music [Text] / A. Kastalsky // Muz. life. - 1991. - No. 13-14. - S. 20-22. Zvereva S.G. HELL. Kastalsky [Text] / S. G. Zvereva // History of Russian music: in 10 volumes - M., 1887. - T. 10 A. - S. 274-306.
See also # 10.11

V.G. Kikta (b. 1941)

    Nikolaeva E. Valery Kikta: at the turn of the century [Text] / E. Nikolaeva // Muz. academy. - 2001. - No. 4. - S. 42-48. Nikolaeva E. Liturgical frescoes by Valery Kikta [Text] / E. Nikolaeva // Musical education. - 2004. - No. 1. - S. 41-44. Tevosyan A. History of one dedication [Text] / A. Tevosyan // Muses. academy. - 1997. - No. 1. - S. 48-51.

A.I. Kiselev (b. 1948)

    Manorov O. Renewing traditions [Text] / O. Manorov // Music and time. - 2003. - No. 4. - P. 12.

NS. Klenovsky (1853-1915)

    Plotnikova N. In accordance with the ancient chant [Text] / N. Plotnikova // Meeting. - 2002. - No. 3. - S. 22-23.

M.G. Kollontai (b. 1952)

    Ivanova I. Afterword to one premiere (Agnus Dei) by M. Kollontai [Text] / I. Ivanov // Muses. academy. - 2003. - No. 2. - S. 35-39. Stepanova I. M. Kollontai. Creativity - a path of knowledge or a yoke? [Text] / I. Stepanova // Mus. academy. - 1995. - No. 1. - S. 20-26.

N.I. Companionable (1848-1910)

    Plotnikova N. Musical worker [Text] / N. Plotnikova // Meeting. - 2000. - No. 7. - S. 22-23.

A.A. Kopylov (1854-1911)

    Plotnikova N. Sincerely loved his art [Text] / N. Plotnikova // Meeting. - 2001. - No. 8. - S. 24-25.

A.F. Lviv (1798-1870)

    Plotnikova N. From the depths of the soul [Text] / N. Plotnikova // Meeting. - 2001. - No. 5. - S. 20-22. Zolotnitskaya L. Musician from the imperial family [Text] / L. Zolotnitskaya // Muses. life. - 1994. - No. 11-12. - S. 37-39.

A.K. Lyadov (1855-1914)

    Plotnikova N. The goodness and beauty of the church melody [Text] / N. Plotnikova // Meeting. - 2003. - No. 9. - S. 21-23.

IN AND. Martynov (b. 1946)

    Grachev V. About “pious minimalism” in the works of Vladimir Martynov [Text] / V. Grachev // Muz. academy. - 2004. - No. 1. - S. 12-19.
See also No. 1.11

M.P. Mussorgsky (1839-1881)

    Golovinsky G. Mussorgsky and the Old Russian singing tradition: experience of practical development of the problem [Text] / G. Golovinsky, A. Konotop // Muses. academy. - 1993. - No. 1. - S. 203-206. P. Shcherbakova "Life, wherever it affects ...": Liturgical element in the works of Mussorgsky [Text] / P. Shcherbakov // Muz. academy. - 1999. - No. 2. - S. 127-131.
See also No. 12

A.A. Olenin (1865-1944)

    Plotnikova N. So that music enters the soul [Text] / N. Plotnikova // Meeting. - 2000. - No. 9. - S. 25-28.

S.V. Panchenko (1867-1937)

    Plotnikova N. Musician, philosopher, prophet [Text] / N. Plotnikova // Meeting. - 2000.- No. 3. - S. 24-25.

N.M. Potulov (1810-1873)

    Plotnikova N. In a strict style [Text] / N. Plotnikova // Meeting. - 2002. - No. 12. - S. 20-21.

S.V. Rachmaninoff (1873-1943)

    Bobrov V. Peaks of Musical Orthodoxy [Text] / V. Bobrov // Muses. life. - 1998. - No. 12. - S. 27-29. Kandinsky A. "All-night vigil" by Rachmaninoff and Russian art at the turn of the century [Text] / A. Kandinsky / / Sov. music. - 1991. - No. 5. - S. 4-7; No. 7. - S. 91-97. Kandinsky A. Liturgy of St. John Chrysostom [Text] / A. Kandinsky // Muses. academy. - 1993. - No. 3. - S. 148-156. Rubtsova V. In the context of the "Silver Age" [Text] / V. Rubtsov // Muses. academy. - 2003. - No. 3. - p. 175-178. Chernushenko V. Come, let us bow to the "Vespers" S.V. Rachmaninov [Text] / V. Chernushenko // Muses. life. - 1988. - No. 24. - S. 20-22.
See also No. 5,10,11

ON. Rimsky-Korsakov (1844-1908)

    Plotnikova N. The soul is submissive to the sound [Text] / N. Plotnikova // Meeting. - 1998. - No. 4. - S. 25-26.

IN AND. Rubin (b. 1924)

    Rubin V. We must follow what is inherent in us by nature [Text] / V. Rubin // Muses. academy. - 2004. - No. 4. - S. 4-8. Rubin V. “My Rus, my life, can we suffer together? ..” [Text] / V. Rubin, A. Tevosyan // Muz. academy. - 1995. - No. 1. - S. 26-36. Tevosyan A. "The Song of Ascent" [Text] / A. Tevosyan // Muses. academy. - 1999. - No. 4. - S. 15-22.

A.G. Rubinstein (1829-1894)

    Gruzintseva N. "Christ" - a spiritual opera by Anton Rubinstein [Text] / N. Gruzintseva // Music and time. - 2001. - No. 6. - S. 22-30. Serebryakova L. Anton Rubinstein: to the mythology of fate [Text] / L. Serebryakova // Muses. academy. - 2000. - No. 4. - S. 158-163.

G.I. Ryutov (1873-1938)

    Plotnikova N. Heavenly melodies [Text] / N. Plotnikova // Meeting. - 2003. - No. 2. - S. 28-29.

G.V. Sviridov (1915-1998)

    Sviridov G. From different records [Text] / G. Sviridov // Muses. academy. - 2000. - No. 4. - S. 20-30. Paisov Y. Innovative features of Sviridov's choral style [Text] / Y. Paisov // Musical world of Georgy Sviridov. - M., 1990 .-- S. 199-216. Polyakova L. Inexpressible miracle [Text] / L. Polyakova // Muses. academy. - 1993. - No. 4. - S. 3-6. Polyakova L. Sviridov as a composer of the XX century [Text] / L. Polyakova // Musical world of Georgy Sviridov. - M., 1990 .-- S. 40-45. Listening to the music of the future [Text] // Meeting. - 2001. - No. 12. - S. 43-48.
See also No. 11

N.N. Sidelnikov (1930-1992)

    A wreath for Sidelnikov [Text] // Muses. academy. - 2001. - No. 1. - S. 106-119.

S.V. Smolensky (1848-1909)

    Celebrating the 150th anniversary of the birth of S. Smolensky [Text] // Muses. academy. - 1998. - No. 2. - S. 153-168.
See also No. 5

S.I. Taneyev (1856-1915)

    Plotnikova N. Space for artistic research [Text] / N. Plotnikova // Meeting. - 1999. - No. 7. - P. 21-23. Protopopov V. The world of ideals of S.I. Taneeva "On reading the psalm" [Text] / V. Protopopov // Muses. academy. - 2004. - No. 1. - S. 147-152.
See also No. 37

S.Z. Trubachev (1919-1995)

    Gulyanitskaya N. "Russia - rise!" (music by Sergey Trubachev) [Text] / N. Gulyanitskaya // Mus. academy. - 1999. - No. 3. - S. 76-82.

P.I. Turchaninov (1779-1856)

    Plotnikova N. The humble archpriest [Text] / N. Plotnikova // Meeting. - 2000. - No. 5-6. - S. 25-27.

V.A. Uspensky (b. 1939)

    Entelis N. The path of doubt is long, faith is difficult to acquire (Choral triptych of V. Uspensky) [Text] / N. Etelis // Muses. academy. - 1995. - No. 4-5. - S. 34-37.

P.I. Tchaikovsky (1840-1893)

    Anchugova A. Music for All Seasons [Text] / A. Anchugova // Meeting. - 2003. - No. 12. - S. 37-40. Plotnikova N. I will work hard for church music [Text] / N. Plotnikova // Meeting. - 2000. - No. 1. - S. 31-33. Chernushenko V. "I Believe" (About "Tchaikovsky's Liturgy) [Text] / V. Chernushenko // Muses. life. - 1988. - No. 21. - S. 19-20.
See also No. 5

N.N. Cherepnin (1873-1945)

    Keldysh Yu.V. N.N. Cherepnin [Text] / Yu.V. Keldysh // History of Russian music: in 10 volumes - M., 1997. - T. 10 A. - pp. 235-243.
See also No. 10

P.G. Chesnokov (1877-1944)

    Plotnikova N. Prayer wings of music [Text] / N. Plotnikova // Meeting. - 2001. - No. 2. - S. 19-21. Celebrating the 120th anniversary of the birth of P. Chesnokov [Text] // Muz. academy. - 1998. - No. 2. - S. 168-180.
See also # 10.11

A.G. Schnittke (1934-1998)

    Conversations with Alfred Schnittke [Text] / comp. A. Ivashkin. - M .: RIK Culture, 1994 .-- 304 p. Voblikova A. Liturgical symphonies by A. Schnittke in the context of the relationship between cult and culture [Text] / A. Voblikova // Muses. academy. - 1994. - No. 5. - S. 37-41. Kholopova A. Listening to Alfred Schnittke today [Text] / A. Kholopov // Muses. academy. - 1995. - No. 2. S. 28-32.

R.K. Shchedrin (b. 1932)

    Paisov Y. Choir in the works of Rodion Shchedrin [Text] / Y. Paisov. - M .: Composer, 1992 .-- 236 p.

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    • MUNICIPAL EDUCATIONAL INSTITUTION

    SECONDARY SCHOOL № 5

    “As if the interior of a cathedral -

    The vastness of the earth, and through the window

    Sometimes it is given to me to hear. "

    B.L. Pasternak

    REGIONAL COMPETITION OF CREATIVE WORKS OF STUDENTS "ETERNAL WORD"

    Music abstract

    “Sacred music in the works of Russian composers D.S. Bortnyansky, P.I. Tchaikovsky,

    S.V. Rachmaninov "

    Leader: Completed by: Music teacher Pupil 7 "G" class "

    Gurina Veronika Anatolyevna Milovanova Natalia

    Svetly

    1. Introduction. - 3

    2. Spiritual and church music in the works of D.S. Bortnyansky. - 4

    3. Spiritual and church music in the works of P.I. Tchaikovsky. - 5

    4. Spiritual and church music in the works of S.V. Rachmaninov. - 7

    5. Conclusion. - eight

    Introduction

    Over the millennium of Christianity in Russia, the Orthodox Church has accumulated a huge experience of singing , since the human voice cannot be surpassed by any musical instrument in terms of its impact. Through the centuries, amazingly beautiful chants have come down to us, they are striking in the diversity, sophistication and fullness of the melody.

    Church singing art has been very close to the Russian people for many centuries. Orthodox prayers were sung not only in churches and monasteries, but also at home. Church singing accompanied the entire life of an Orthodox person in Russia. Each great church holiday had its own musical flavor. Many chants were performed only once a year, on a specific day. Very special chants sounded during Great Lent - they created a penitential mood, and on Easter every church was filled with solemn and jubilant Sunday chants.

    In my work, I set myself the goal of showing the richness of the Russian spiritual musical heritage, using the example of the work of composers D.S. Bortnyansky, P.I. Tchaikovsky, S.V. Rachmaninov.

    The following tasks will help me to reveal this goal:

    Acquaintance with the spiritual and church culture of the Russian people;

    Acquaintance with innovations in the church choral music of composers;

    Acquaintance with genres of church and sacred music;

    Reflect the mood, the depth of feelings, the subtlest shades of the emotional state of composers.

    Bortnyansky Dmitry Stepanovich

    The development of Russian sacred music proceeded in complex and ambiguous ways, it absorbed much from the world musical culture - Polish, Italian, etc. However, in the 18th century there was a turn towards the most ancient Russian chants. This played a huge role in the work of many Russian composers, in particular, such global geniuses as D.S. Bortnyansky, P.I. Tchaikovsky and S.V. Rachmaninov. In Russian musical culture, a new style and new musical and choral forms have developed. One of the genres, quite new in form, but organically included in the Orthodox cultural tradition, is the spiritual concert. The names of the aforementioned composers are associated with the genre of the sacred concert.

    As you know, the favorite book of prayers in Russia has always been the Psalter. The prayer poetry of King David could give expression to any feeling - joy and sorrow, sorrow and exultation. Already in the 17th century, the poet Simeon of Polotsk made a poetic transposition of the Psalter, which was soon set to music and used outside the church, in household use. In the 18th century, sacred concerts were written by composers mainly in the words of the psalms. The author usually took not the whole psalm, but only some phrases-verses from the psalm, proceeding from his intention.

    The composer who brought this genre universal recognition was Dmitry Stepanovich Bortnyansky, the author of more than a hundred sacred concerts. D.S. Bortnyansky also worked very successfully in secular genres, but his spiritual concerts are recognized as the pinnacle of the composer's work.

    A spiritual choir concert gave great scope for personal creativity. A much more difficult creative task was to create music for chants included in the strict liturgical canon. Knowing well the human voices, Bortnyansky always wrote with ease and achieved excellent sonority. But the rich sound side of his chants does not serve as a purpose for him and does not obscure their prayer mood. That is why many of Bortnyansky's works are readily sung even now, touching those who are praying.

    He was the first to make an experiment in the harmonization of ancient church melodies, set forth in one voice in church-singing books, published by the Holy Synod for the first time in 1772. Bortnyansky has a few of these harmonizations: the irmos "Helper and Patron", "Virgin Today", "Come, we will please Joseph" and some others. In these transcriptions, Bortnyansky only approximately retained the character of church melodies, giving them a uniform size, putting them in the framework of the European keys of major and minor, for which it was sometimes necessary to change the melodies themselves, introduced chords into harmonization that were not characteristic of the so-called church modes of melodies.

    Sacred music in the work of the composer

    Tchaikovsky Pyotr Ilyich

    Great Russian composers of the 19th and early 20th centuries attended church services, and church singing often evoked a creative response and inspiration from them. M.A. Balakirev, N.A. Rimsky-Korsakov, A.K. Lyadov, M.M. Ippolitov-Ivanov and many other outstanding Russian composers. Separate chants from the main Orthodox service - the Liturgy - were written by D.S. Bortnyansky, M.I. Glinka, A.A. Alyabyev and others. But it was PI. Tchaikovsky undertook the task of creating a complete, complete musical composition, embracing all the chants that make up the Liturgy.

    Tchaikovsky was motivated by the desire to bring contemporary author's church singing creativity in line with the ancient traditions of Russian church singing culture. In one of his letters he wrote: “I want to try to do something for church music (in this respect, the composer has a huge and still barely touched field of activity). I recognize some merits for Bortnyansky, Berezovsky and others, but to what extent their music is not in harmony with the Byzantine style of architecture and icons, with the whole structure of the Orthodox service! "

    This desire resulted in two monumental works - "Liturgy" and "All-night vigil". Tchaikovsky wanted to create precisely ecclesiastical compositions that would be associated with the Orthodox divine service both in their structure and in their traditional sound.

    P.I. Tchaikovsky also turned directly to Old Russian music. In the "Vespers" written by him, many chants are harmonization of melodies of different chants. In one of his "Cherubic Songs", which the composer treasured most of all, he, in his words, "tried to imitate non-musical church singing," that is, the ancient singing written with a "banner." Tchaikovsky's Liturgy and Vespers are similar to a thesis and antithesis, and the cycle Nine Sacred Musical Compositions became the synthesis and the pinnacle of Pyotr Ilyich's church music.

    The composer's Peru owns the Liturgy of St. John Chrysostom "," All-night vigil ", cycle" Nine spiritual musical compositions ", Hymn in honor of Cyril and Methodius. Gaps of only a few years distance Tchaikovsky's church compositions from each other, but the semantic distances between them are much wider. This is especially true of the "Liturgy" and "All-night vigil". The difference between them was quite accurately defined by the composer himself: “In the Liturgy I completely submitted to my own artistic impulse. All-night vigil will be an attempt to return to our church its property, which was forcibly torn away from it. In it I am not an independent artist at all, but only a rewriter of ancient tunes. " Tchaikovsky became interested in the history of church singing, took up the study of everyday life, the charter, listened to and compared singing in the Lavra and other monasteries and churches in Kiev.

    Tchaikovsky's sacred music in the context of Russian culture appears to be a complex, ambiguous and, in spite of any "buts", a wonderful phenomenon.

    Sacred music in the work of the composer

    Rachmaninov Sergei Vasilievich

    Church music was also given great attention by S.V. Rachmaninov.

    Rachmaninov also studied Tchaikovsky's Liturgy as a model. However, unlike Kastalsky, in the Liturgy, Rachmaninov did not take ancient chants directly as a basis. In line with the stricter church singing tradition, Rachmaninov performed in his All-Night Vigil, which he wrote five years after the Liturgy.

    Rachmaninoff was one of the few who set his artistic task to recreate the spiritual musical culture of ancient Russia on a new level, and to clothe the divine services in the fabric of znamenny chants. After all, the znamenny singing is not only a homophonic form of music recorded with signs, but above all, the spiritual musical and culture of ancient Russia, taken as a legacy from the osmosis of John Damascene-Oktoikh.

    During Rachmaninoff's lifetime, a number of cases were known when his music brought healing. It has a spiritual richness, extraordinary majesty, brilliance, tenderness and dreaminess. She tells the world about God and about the beautiful Holy Russia that loves Him, singing glory to Him with its unique bell voice ... About Russia, whose vast expanses are adorned with majestic temples filled with miraculous icons, exalted prayers and spiritual chants ... knows, but little Seryozha Rachmaninov knew Her like that ...

    In the summer of 1990, returning to Russia from America, he writes the Liturgy of John Chrysostom. While working on the Liturgy, the composer often turns to the authoritative master of church music Alexander Kastalsky. So, the first attempt by Rachmaninoff to again clothe church prayer in the fabric of ancient Russian famous chants did not meet with sympathy. But it served as a preparatory step for the creation in five years of an even more majestic "All-night vigil", which served as a symbolic completion of the Russian period of the great artist's work, and which became his testament to Russia plunging into darkness. And, perhaps, in asserting his thought about the need to return the liturgical rule to Russian znamenny music, and about its deep connection with the legacy of Osmoglasia, Rachmaninov again stands up for the conductor's stand of the Bolshoi Theater in order to unforgettably perform the cantata of his teacher S.I. Taneeva "John Damascene".

    Conclusion.

    Music has always been and remains one of the important means of communication in the life of mankind. And, above all, already at the earliest stages of human development, sounds played a sacred, liturgical role, from the very beginning music served as the highest principle. With the help of singing, melody, harmonious consonances, people are given the gift of expressing and understanding the most secret aspirations, innermost impulses, reverence and love, that which cannot be expressed in any words. The spirit of the Russian people, the basis of its cultural life, was created by the Orthodox worldview.

    The whole wealth of sacred music, unfortunately, for many, even for specialists, remains “closed”. In everyday modern practice in Orthodox churches, mainly only late sacred music sounds, and even then it is often not the best examples, limited by the framework of church use. Therefore, many people, hearing singing in church, perceive it as something deeply alien to the Russian Orthodox tradition, and the idea that the singing that they are used to hearing in church now was formed under the influence of Western European Catholic music seems to many to be simply blasphemous.

    The revival of parishes and monasteries, the lifting of unspoken prohibitions on the participation of secular singers in church singing, the publication of gramophone records and cassettes with church chants, experiments on the restoration of old Russian tunes - all this led to the fact that of all types of church art, it was church singing that received at the end of the 20th century the greatest development.

    In nineteenth-century Russia, the work of Russian composers, even as popular as Tchaikovsky, remained the property of a relatively narrow circle of contemporaries. The only sphere of music to which all estates, without exception, were involved, each person individually, was the music played in the church. In an Orthodox church, as you know, there is a choral one, without instrumental accompaniment.

    But, as always with Tchaikovsky, there were reasons here and of a deeply personal nature, related to the field of moral quest. From skepticism towards religious dogmas, he more and more - especially during the creation of the All-night Vigil - gravitated towards Christian values. "... The light of faith is penetrating into my soul more and more ... I feel that I am leaning more and more towards this one stronghold of ours against all calamities. I feel that I am beginning to be able to love God, which I did not know before. ". The image of Christ was alive and real for the composer: "Although He was God, but at the same time he was a man, He suffered like us. We pity him, we love his ideal human sides in him" - this is a diary entry, an entry for yourself.

    Tchaikovsky, by his own admission, strove to overcome the excessive "Europeanism" instilled in Russian church singing at the end of the 13th - first half of the 19th century, which, according to Pyotr Ilyich, "is in little harmony with the Byzantine style of architecture and icons, with the whole structure of the Orthodox service!" The composer strove to "keep the ancient tunes intact", he wanted to return liturgical singing to its original sources, "to return our church to its property."

    The Liturgy of St. John Chrysostom, and then other spiritual works by Tchaikovsky, began to be performed outside the church in concerts. This fact, initially greeted with disapproval by a part of society, laid the foundation for a fruitful tradition continued by S.V. Rachmaninov, V.Kastalsky, dozens of other authors and - after a long break - revived in Russia today.

    L. Z. Korabelnikova

    Russian sacred choral music in the works of composers.

    One of the most pressing problems facing modern society is the danger of losing moral guidelines, the threat of spiritual impoverishment of the individual. In addition to economic difficulties, Russia is experiencing a crisis in the upbringing of the younger generation, so today it is especially important to turn to the traditional culture of our country, restore the threads that in previous times connected the older and younger generations, and revive continuity. It is necessary to convey to the youth those moral principles that are still alive in the people of the older generation, who have preserved the purity of thoughts, a feeling of love for their people, for their musical and poetic folklore. It must be remembered that the refusal to rely on the culture of the native people in the educational process leads to lack of spirituality and the lack of moral principles of the younger generation, while the preservation of folk culture is the basis of the moral health of any society.Aristotle wrote:“Music is capable of exerting a certain influence on the ethical side of the soul; and since music has such properties, then, obviously, it should be included in the number of subjects of education for young people. "The great Russian teacher Vasily Sukhomlinsky spoke about“That music, melody, the beauty of musical sounds are an important means of moral and mental education of a person, a source of nobility of the heart and purity of the soul. Music opens people's eyes to the beauty of nature, moral relations, work. Thanks to music, a person awakens ideas about the sublime, majestic, beautiful not only in the world around him, but also in himself. Music is a powerful means of self-education. "

    Russian sacred music is a whole layer of Russian Orthodox culture, somewhat forgotten in Soviet times. At the moment, in the modern world, there is a revival of spiritual values ​​and traditional ritual culture of the past. It is especially important to revive and know the Orthodox rituals of the Russian Orthodox Church, family values ​​and the peculiarities of the origin of Orthodox musical culture. The great Russian poet A.S. Pushkin wrote:"Old Russian church singing is undoubtedly one of the deepest works of our folk art."

    The work of Russian composers has always remained the property of a relatively narrow circle of contemporaries. The only sphere of music to which all estates, without exception, were involved, each person individually, was the music that sounded in the church, in the Orthodox church - choral music, without instrumental accompaniment.

    The works of Tchaikovsky -Liturgy of St. John Chrysostom (1878), All-night vigil(1881), Nine Spiritual and Musical Works and the chorus "Angel crying" -opened a new era in the history of Russian church singing. The need for national musical identity was the first to be seen. Probably, it is not by chance that in the same period they turned to spiritual and musical creativityM.A. Balakirev and N.A. Rimsky-Korsakov .

    The great Russian composer P. Tchaikovsky wrote:“The light of faith is penetrating more and more into my soul, I feel that I am leaning more and more towards this one stronghold of ours against all calamities. I feel that I am beginning to be able to love God, which I did not know before "... The image of Christ was alive and real for the composer:"Although He was God, but at the same time he was a man, He suffered as we do. We pity him, we love his ideal human sides in him."... The composer strove"keep the ancient tunes intact", wanted to return liturgical singing to its original sources,"return our church its property."

    Liturgy of St. John Chrysostom, and then other spiritual works of Tchaikovsky, began to be performed outside the church in concerts. Russian sacred music was written in Orthodox church musicS.V. Rachmaninov , V. Kastalsky, dozens of other authors, revived in Russia today.

    In the tenth century, an important event for the Russian people takes place - the Baptism of Rus (in 988). Prince Vladimir of Kiev (Krasno Solnyshko), following the example of his Grandmother Princess Olga, proclaimed the Christian faith in Russia, faith in one God - Jesus Christ. The rite of baptism of the Kievites took place in the waters of the Dnieper. The ambassadors sent by Vladimir to different countries, the ambassadors proclaimed their enthusiasm in the annals. The beauty of the service they saw in Greece, which was part of Byzantium, shocked them.

    Church singing in ancient times was monophonic, unison, male. This expressed the idea of ​​like-mindedness, uniting hearts and minds:"Let your tongue sing, and let your mind diligently reflect on the meaning of the chant."A distinctive feature of Russian Orthodox music is singing without musical accompaniment. a capella.

    In the eighteenth century, one of the most famous composers who wrote spiritual choral concerts was Maxim Sazontovich Berezovsky (1745-1777), he lived a short life of only thirty-two years, the musical creations of this wonderful Russian composer of the 18th century, for many years were not known to professional musicians and music lovers. A musically gifted child was brought to St. Petersburg from the town of Glukhov in Ukraine. In Glukhov, Ukraine, musicians were brought up to work at the court of Russian emperors. All-round talent allowed M. Berezovsky not only to sing, but also to play various instruments and compose music. Having graduated inKiev Academy , where he began to write his own works, in1758 year for exceptional vocal abilities he was sent to Petersburg, where he became a soloist inCourt Singing Chapel prince Peter Fedorovich , "Choir of the sovereign's singing clerks". A talented young court composer is sent at public expense to study in Italy, at the Bologna Philharmonic Academy. The title of a member of the Academy was honorary: he gave the right to be a conductor - the leader of a choir and orchestra. The Bologna Academy was glorified by Russian composers - M. Berezovsky, Dmitry Bortnyansky, Evstegney Fomin, etc. The destinies of Berezovsky and Bortnyansky are inextricably linked with the first Russian choir of "the sovereign's singing clerks" - the Court Choir Choir. Modern researchers attribute the formation of the choir to the year 1479, when the Dormition Cathedral of the Moscow Kremlin was consecrated. The music of M. Berezovsky of the undeservedly forgotten composer - his numerous sacred concerts, as well as opera and instrumental compositions, were opened by listeners many years after his death. Spiritual Concert M. Berezovsky - - one of the most significant works of this genre. A few biographical information that has survived to this day suggests that this work was composed by a musician at the age of 16-18, at a time when he was successful: his works were performed, the composer was given attention at the royal court. Concert"Do not reject me in old age"written on the words of the 70th psalm of David from the "Old Testament". His modern translation: “Do not reject me in my old age, when my strength will diminish, do not leave me. For my enemies speak against me, and those that lie in wait for my soul take counsel among themselves, saying ":“God left him; pursue and seize him, for there is no deliverer "God! Do not move away from me; My God! Hurry to help me (M. Berezovsky's concert sounds"Do not reject me in old age")

    Berezovsky is the author of sacred concerts, which are outstanding examples of the world choral art of the 18th century. His concert is especially widely known"Reject me not in old age."Most of Berezovsky's works have survived in manuscripts. Only individual compositions were published, which, in fact, brought him worldwide fame.

    With his return to his homeland, the composer did not find recognition in the musical world of Russia. Here his sacred music was not needed: the composer's style was considered outdated. Constant need, the inability to find an application for his creative powers led Berezovsky to a mental crisis. Insulted, humiliated, enduring poverty, want and all kinds of setbacks, Berezovsky in March1777 year fell ill with a fever and died on March 22 (April 2 ) 1777 year ... There is a version that the composer committed suicide.

    In the 80s of the XIX century N. Rimsky-Korsakov and P. Tchaikovsky turned to composing sacred music. Their search leads to the emergence of the so-called"New direction"in Russian sacred music, to which the work of P. Chesnokov, A. Grechaninov, A. Kastalsky belongs, and the peak of which was the work of S. Rachmaninov. (S. V. Rachmaninov. Sacred music.)

    Late 19th - early 20th centuries became a time of great historical trials for Russia - an extraordinary growth of national self-awareness, a search for a Russian idea, heightened interest in antiquity, in ancient Russian art, which A. Blok called "a new Russian revival".

    Rachmaninov was born into a musical family, musical abilities were passed on to him from his parents“I have to thank my grandmother for other powerful musical impressions”,- recalled Sergei Rachmaninov, who was a religious woman regularly attended church services and took her grandson with her. Possessing a great talent as a composer, Rachmaninov was an excellent conductor, a talented composer, and a virtuoso pianist. He was transferred from the St. Petersburg Conservatory to the Moscow Conservatory, where he showed outstanding musical abilities, which were noted by the great people of the twentieth century P. Tchaikovsky, S. Taneev, F. I. Shalyapin. Rachmaninov graduated from the Moscow Conservatory with a gold medal. His graduation work was the opera "Aleko", written on the subject of works by A.S. Pushkin. His contemporary I. Hoffman: “Rachmaninov was created from steel and gold: steel in his hands, gold in his heart…. I not only admired the great artist, but also loved the person in him. "The music of his works is distinguished by melodiousness, penetration, melody, deep lyricism, amazing figurativeness, deep emotionality and high artistic spirituality:"Melody is music, the main basis of all music, since a perfect melody implies and brings to life its harmonious design ... Melodic ingenuity, in the highest sense of the word, is the main goal of the composer."(S.V. Rachmaninov),

    Sergei especially remembered the chime of the distant Novgorod St. Sophia Cathedral. He remained in the memory of the composer for the rest of his life. “The bell-ringers were artists,” he wrote later, “four notes formed into a recurring theme, four weeping silver notes surrounded by an ever-changing accompaniment ... Several years later I composed a suite for two pianos ... - the bell of the Sophia Cathedral sang for me again ”. His friend, composer A.F. Gedike, wrote in his memoirs about S. Rachmaninov: “He was very fond of church singing and often, even in winter, got up at seven o'clock in the morning and left for the Androniev Monastery, where he stood a whole mass in a half-dark huge church, listening to the old, stern chants from the Octoechos, performed by monks in parallel fifths. It made a strong impression on him. "

    In his work, Sergei Rachmaninoff turned to sacred music in 1910, creating music for the Liturgy of St. John Chrysostom. Rachmaninoff's liturgy is an extraordinary phenomenon. Old Russian art, revived in the music of the Moscow school of the synodal school, had a huge influence on Rachmaninoff. For his choral work, Rachmaninov selected the texts of 20 chants, each of which was distinguished by its spiritualized originality. In the Liturgy, Rachmaninoff did not refer to genuine Znamenny or other Old Russian chants. Many parts of the "Liturgy" are imbued with warm lyricism, these are "Like Cherubim", "We Sing To Thee." At the same time, the composer never violates the strict simplicity of the liturgical order.

    Liturgy S.V. Rachmaninoff was first performed in 1910, in the hall of the Synodal School. Re-performances took place in the Great Hall of the Conservatory. Nevertheless, the composition has evoked many critical remarks in its time. Rachmaninoff was accused of violating traditions and the "non-church" character of the Liturgy. Excessive emotionality was also noted, which in some places the composer brought to his music. In a number of cases, the composer relies on the practice of antiphonic choir singing, achieving the full-sounding beauty of the choral texture. A strong impression is left by the episodes of the powerful merging of the two choirs at the culminating point of the development of the composition (The Fragment of the Only Begotten Son from the “Liturgy of St. John Chrysostom.” “Quiet Light” is based on the melody of the Kiev chant.

    The All-Night Vigil is dedicated to the memory of Stepan Vasilyevich Smolensky (1848-1909) - a researcher and expert in church singing, professor at the Moscow Conservatory, head of the Court Singing Chapel in St. Petersburg. In music to"All-night vigil"S.V. Rachmaninov's lyric-epic and philosophical-religious, deeply personal and universal, conciliar principles are closely intertwined. Something supremely beautiful and perfect appears in the All-Night Vigil. Vigil is the service of the Orthodox Church, which takes place in the evening on the eve of Sunday and holidays and combines the services of Vespers and Matins. The Sunday service occupies an exceptional place in church life. “This is a day that does not belong to time, but to eternity. This is a small Easter, which we have the good fortune to celebrate once a week. "

    "All-night vigil"was written in a difficult time for the country during the First World War (at the beginning of 1915). The solemn song, glorifying the beauty of the Russian land, the kindness and strength of people, the warmth of a mother's feeling, sounded like a confrontation with the injustice and inhumanity of war, as a response to human suffering. At the same time, Rachmaninov gave many charity concerts in favor of the victims at the front. The melodies of the All-night Vigil melodies revive the composer's childhood impressions of the bell ringing of the Novgorod Cathedral of St. Sophia, like chorales, the All-night Vigil music reflects feelings, reflections on life and death.

    The liturgical word and music constitute the integral fabric of the work, where all means of musical expression are aimed at conveying and deepening the liturgical meaning. This work was written for a twelve-part mixed choir, the score is extremely complex in vocal and choral terms and requires the highest professional skill from the performers. (fragment from the "All-night vigil").

    The closeness to the church tradition is revealed in the choice of presentation methods - often S. Rachmaninov uses the antiphonic (singing in two faces) principle of presentation, the bell two-ringing, which is manifested in the techniques of sound visualization, imitating the bell ringing in the Six Psalmy, which begins matins. The sacred choral works of S. Rachmaninoff are the most valuable contribution to Russian sacred music. This work goes far beyond the scope of church music, which belongs to both spiritual and secular art.

    In "All-night vigil"S. Rachmaninoff's ancient layers of church and folk song culture are woven into an inseparable whole. The ancient melody not only stands out in relief, but reveals and clarifies the melodic, intonational richness and beauty of the original source. The genius of the composer discovered the infinite depth of content, spiritual meanings and symbols hidden in the ancient tunes, the epic basis of the ancient chant with genuine symphony, the richness of opera images and the tension of dramatic development. The depth of personal religious feeling, admiration and admiration for the greatness of the Creator, prayerful enlightenment and deep repentance, concentrated reflection and a call for unity in the name of peace to the whole world - this is the content and humanistic pathos."All-night vigil" S. Rachmaninoff.

    This work could only be born in Russia. In all Russian choral art, it is difficult to find another composition in which the Russian character, images of native nature, high ethical and moral feeling were expressed more strongly. The voiced image of the Motherland can be used to define the idea of ​​Vigil. Of the 15 songs in the cycle, ten are written in genuine everyday chants: Znamenny, Greek, Kiev. The other five, which are original compositions, according to S. Rachmaninov, “were deliberately forged as Obikhod”. In the first seven numbers of Vespers, soft sonority and lyricism prevail. The exception is“Come and Worship” (no. 1)- a kind of epigraph invitation, which sounds solemn and strict, as an introduction to action.

    The chant "Now letting go" (No. 5) is like a serene lullaby. The choir "Theotokos, Virgin rejoice" (no. 6), familiar to you, completes the cycle of "Vespers". "Vespers", imbued with a light mood and quiet prayer, are replaced by dynamic ones, with bright timbre contrasts, accentuated rhythm and mighty climactic rises of the "Matins" chants. They carry an energetic, epic beginning, recalling the intonations of epic tales and fresco compositions.

    The chorus "Praise the Name of the Lord" sounds active and affirmative. The morning evangelism conveys joyful elation to the soul of a person who is entering the coming day.

    But "Vigil" created "for the temple, and this temple, according to the famous conductor Chernushenko, is all Russia, with the azure dome of the sky, with the boundless expanse of fields and forests, with an iconostasis, where the faces of the saints are captured - her best sons, with a kind, intelligent, beautiful people ... This music unites the past with the present, the present with the future. It unites us too - in love and devotion to his land ”. (fragment from "All-night vigil")

    The first performance of the Vespers took place on March 23, 1915 in the Column Hall of the Noble Assembly in Moscow. Within a month, this work was performed four times (the fee from two concerts was donated to the victims of the First World War).

    The success of the Synodal Choir was undoubtedly associated with the name of Rachmaninoff's close friend, conductor Nikolai Danilin.
    The Synodal School, along with the St. Petersburg Court Chapel, was one of the centers of professional singing culture. The school produced excellently trained choir directors for all of Russia, and its choir confidently won the position of the best in the world.
    Nikolai Danilin, choir director since 1910, raised the choir's skill to the highest level. They had friendly relations with Rachmaninov, he was with Nikolai Danilin when he was creating the choir score for Vigil. The work caused an enthusiastic reaction from the public, who heard in it a response to the events of the First World War, a reminder of the high moral destiny of man, of his duty to people and God. Last time"Vespers" was performed by the Synodal Choir at the end of 1916, in the concert hall of the Synodal School - where all the rehearsals took place. Rachmaninov, along with many representatives of the creative intelligentsia, did not accept the October Revolution and emigrated from Russia with his family. He believed that life without art was pointless for him. He believed that in the coming breakdown art, as such, could not exist and that all artistic activity in Russia ceases for many years. First he travels to Paris, then moves to Switzerland.

    “ I am a Russian composer, wrote Rachmaninov, and my Motherland left an imprint on my character and my views. My music is the fruit of my character, and therefore Russian music: the only thing I try to do when I compose is to make it directly and simply express what is in my heart”. In the 42nd year, Rachmaninoff gave a series of charity concerts (Detroit), which were a resounding success, the proceeds from which went to the needs of the Red Army. This fact once again confirms that this great composer was a real patriot of his Motherland, leaving us with a rich spiritual musical heritage, in which the theme of the Motherland is the main theme of Russia. On March 28, 43, after a serious illness, Rachmaninov died in the circle of his loved ones in Beverly Hills. After 1917, this work was not performed for many years, one of the first forbidden Russian sacred music was included in its concert performances by the chapel under the direction of Yurlov. On March 2, 1965, fragments of the All-night Vigil were performed, the soloist was Ivan Semyonovich Kozlovsky. This work began to be performed annually in full at the Moscow Church of All Who Sorrow, Joy on Bolshaya Ordynka, by the choir under the direction of the famous choir director Nikolai Matveyev. Today Rachmaninoff's Liturgy and Vigil are performed in concert halls all over the world, and excerpts are heard during services in Russian Orthodox churches: "We sing to you," "Virgin Mary, rejoice."N.F. Bunakov noted, "that children already have an embryo of love for the Motherland, and teachers should contribute to its correct development, it is necessary to rely on the instinctive nature of patriotism in raising children."

    V. Sukhomlinsky wrote:“Only that is destined to rise to the peak of moral beauty, who has something immensely dear, created by his own hands, from the path to this peak; who, by their labor and then, created the beauty of a small corner of their native land, and in this beauty, as in a magic mirror, the whole native land, all our great and beautiful Motherland was revealed to him. I would like to say to a person who is on the verge of life: may the most dear one always live in your heart! Let the Native Land enter your heart! "

    Knowing the colossal potential of the impact of music on the child's subconscious, the teacher in his activities must subtly and skillfully use all the functional capabilities of art, reveal the educational, cognitive and communicative purpose of music. Mission is service, the profession of a music teacher is based on love for children, which is a guide to high art.

    Music makes a person cleaner, kinder and nobler, thanks to its direct complex effect on a person. The participation of music in educational processes has acquired particular relevance at the present time. The beneficial effect on the human soul by means of art helps to form a morally strong personality, capable of overcoming difficulties, while maintaining a state of inner peace and a sense of self-confidence. In the hands of a music teacher, a piano is a huge resource for educating the younger generation.

    Acquaintance of children with the life and work of great Russian and foreign composers and with their great works that belong to the gold fund not only of our country, but also of other countries of the world, has a huge impact on the formation of the child's personality, on the development of his spiritual world. The use of various types of musical activities in the classroom helps to form the creative abilities of children. A modern music teacher should expand the possibilities of the subject to apply various forms of work in pedagogical activity: play, lecture, the method of computer graphics and museum pedagogy. In the hands of a piano music teacher, this is a huge educational resource.

    The famous Soviet composer D.B. Kabalevsky wrote that“... Each class is a choir! - this is the ideal to which this striving should be directed. "Choral singing of children is one of the main means of school musical education, the continuation of the choral work carried out in the classroom. Therefore, K. Ushinsky said literally the following:"When they start singing in our schools, then we can say that they have gone ahead."Choral singing contributes not only to the development of creative abilities and vocal and choral skills, but above all, contributes to the formation of spiritual values ​​and moral and aesthetic qualities of the younger generation.

    It is very important to form in children respect for the values ​​of the culture of their country, this is the way to foster patriotism, since a person always appreciates what is close and familiar to him from childhood. The famous teacher V.A. Sukhomlinsky wrote:“We strive to spiritualize the general human alphabet of morality with civic activity and initiative. Not just knowing what is good and what is bad, but acting in the name of the greatness and power of the Motherland. "

    Today there is a lot of talk about the spiritual revival of Russia. One of the most effective forms of implementing this direction is the study of folk art in a modern school. Disciplines are related to objects of art, in the system of modern education, unfortunately, are of secondary importance, but in fact they have a powerful educational impact on the harmonious development of the individual and on the formation of spiritual values ​​of the younger generation. Therefore, I believe that you need to combine lesson and extracurricular activities in your work, in order to expand the capabilities of the subject, in order to successfully implement musical activities and study the traditions of musical folklore.

    Bibliography:

    1.Perepelitsyn P.D. Liturgical singing of the Orthodox Church. The Legend of the Chronicles of the Beginning of Church Singing in Russia. (17 (Reader)).

    2.Lozovaya I.E., Shevchuk E.Yu. Church singing // Orthodox Encyclopedia: In 25 vols. / Under total. ed. Patriarch of Moscow and All Russia Alexy II. Volume "Russian Orthodox Church". - M., 2000, p. 599-610.

    3.Nikitina L.D. "History of Russian Music", M., Academy, 1999 - 272 p.

    4. Gurevich E.L. "History of Foreign Music", M., Academy, 1999. - 320s.

    5. Buluchevsky Yu. "A Brief Musical Dictionary for Students", Leningrad, Music, 1989. -238s.

    6.Rapatskaya L.A., Sergeeva G.S., Shmagina T.S. "Russian music at school", M., Vlados, 2003-. 320s.


    At the turn of the XIX - XX centuries. in all spheres of the spiritual life of society, the craving for the search for national roots has intensified. Russian secular music, which survived the culmination point of nationally distinctive expression in the genius work of M. P. Mussorgsky, increasingly entered the mainstream of stylistic and academic art, for example, in the work of the composers of the "Belyaevsky circle". The idea of ​​a new wave of "Russification" of music has matured in the depths of not secular, but religious and church art, which has long been in need of a cardinal renewal.

    By the beginning of the century, a group of composers had formed, who formed the school of the New Direction. In Moscow, at the Synodal School of Singing, Kastalsky, Grechaninov, Chesnokov, Tolstyakov, and Shvedov rallied around Smolensk. In St. Petersburg, this direction is represented by the names of Panchenko, Kompaneisky, Lisitsyn, Arkhangelsky. The main activity of composers was in the development of a znamenny chant. All of them were under the powerful influence of the views of Smolensky, who became the true ideologue of the New trend in Russian sacred music of modern times and to whom Rachmaninov dedicated his brilliant Vigil.

    Smolensky, thanks to his work with primary sources and such a deep penetration into the layers of Old Russian znamenny singing, observing the features of the structure, melody, rhythm of ancient chants, came to the reasonable conclusion that the Western European base is not suitable for framing these tunes, that the major-minor system comes into conflict with the whole scale of these tunes.

    The main principle of Smolensky is the rejection of European forms of harmony and counterpoint. He not only declared the enormous significance and artistic value of the znamenny chant, but also suggested creating new Russian harmony and counterpoint for the processing of ancient everyday melodies by deep penetration into its original features. Smolensky considered the previous arrangements of church tunes to be "the wandering of Russian singing thought along foreign paths."

    With the dawn of classical Russian music, the cult musical art in Russia receded into the background. The composers who fully focused on sacred music revealed a limited artistic horizon, often a craft approach to creative tasks. Dependence on church authorities, on the established "rules" for composing spiritual chants, had a negative effect. The largest classical masters only occasionally and by no means all (Glinka, Balakirev, Rimsky-Korsakov) created "transcriptions" (harmonization) of everyday tunes - usually on duty, working in the Court Singing Chapel. The work of Tchaikovsky, who set as his goal to overcome the clichés of spiritual choral writing and who created in the second half of the century a work of great artistic merit - "The Liturgy of John Chrysostom" and the much more modest score of "All-night Vigil", stood out mainly. The composer deliberately did not go beyond the boundaries of the so-called "strict style", only occasionally deviating from it. He, which is essential, did not seek to rely on the stylistics of ancient Russian art, did not use the language of folk songs (the latter is felt in the spiritual compositions of Rimsky-Korsakov).

    At the same time, an orientation towards this style can be found in the genres of secular music - opera and instrumental compositions by Mussorgsky (Boris Godunov and Khovanshchina, the final of Pictures at an Exhibition), Rimsky-Korsakov (Pskovityanka, Sadko , "Saltan" and "Kitezh", musical picture "Bright Holiday"). Tchaikovsky (behind-the-scenes choir in The Queen of Spades), Taneyev (cantata Ioann Damascene) and Arensky (Second Quartet) have examples of turning to everyday themes.

    In the 1890s, cult choral music once again entered a boom and reached significant heights in Kastalsky, Lyadov, Chesnokov, and especially in Rachmaninov. The activities of these masters (with the exception of Lyadov), together with the performing arts of outstanding choral groups, conductors, musical scientists, concentrated in Moscow, constituted the so-called "Moscow school" of sacred choral music of the late 19th and early 20th centuries. Representatives of this artistic direction sought to renew the choral genre with the traditions of the past by deepening and strengthening the folklore beginning in this area. Rachmaninoff's All-Night Vigil was the largest here.

    Choral works a cappella, related to the field of cult art, do not occupy a prominent place in the work of Russian classical composers. Until relatively recently, the sacred music of Rachmaninoff was also considered from this point of view. Meanwhile, this part of the composer's legacy is associated with the historically deep layers of Russian musical culture. The ancient Russian singing art, together with folklore, was, according to Rachmaninoff, the most important source and support of Russian musical culture as a whole, the focus of the historical memory of the people, their artistic feeling and aesthetic consciousness. Hence their wide national significance.

    Rachmaninoff's penchant for sacred music was strengthened by the influence of major authorities - S.V. Smolensky (director of the Synodal School), who taught a course in the history of Russian church music at the Moscow Conservatory and the famous composer and conductor of the Synodal Choir A.D. Kastalsky, author of outstanding works on folk songwriting ... Undoubtedly, the choral cult works of this master themselves played a decisive role in Rachmaninoff. “From the art of Kastalsky,” B.V. Asafiev emphasized, “Rachmaninoff’s magnificent cyclic choral compositions (“ Liturgy ”and, especially,“ Vespers ”) grew ... shoots "

    S. V. Rachmaninov also worked in the field of spiritual and choral music of the Orthodox tradition a cappella. The composer, turning to the revival of national musical traditions, was looking for an original and truly folk in the field of Orthodox singing. Attempts to get as close as possible to the spirit of the people contributed to the birth in his work of a new artistic language, new means and forms of expression, "colored with the unique Rachmaninov style." He interpreted spiritual compositions in the spirit of romanticism. The religious principle appeared in an aestheticized concert form. Religious, ancient, archaic appears for him in the form of national, folk.

    It is known that he conceived the idea of ​​this work in the early 1900s. No less important were the impressions of childhood - from the northern Russian nature, from ancient Novgorod with its cathedrals, icons and frescoes, bell ringing, with church singing. And the family atmosphere of childhood in Novgorod, where the original traditions of Russian life, their high spirituality were preserved, nourished the composer's artistic nature, his self-consciousness of a Russian person.