International Bayan and Bayanists Festival. XXIX International Festival "Bayan and accordionists

From December 13 to December 17, 2017 in Moscow, in the Concert Hall of the Russian Academy of Music. Gnesins, the traditional annual International Festival "Bayan and Bayanists" will take place.

This is a pre-anniversary festival; exactly one year later, in 2018, the festival will celebrate its 30th anniversary.

This forum is one of the most prestigious and authoritative among international events for accordionists and accordionists: musicians of different generations and national schools take part in it, thus confirming its high status. The artistic director of the festival is its founder, People's Artist of Russia, Professor Friedrich Robertovich Lips.

Over the years, the poster of the festival concerts was decorated with the names of Y. Kazakov, A. Belyaev, V. Semyonov, A. Sklyarov, Y. Drangi, O. Sharov, A. Dmitriev, Y. Shishkin, V. Romanko, M. Ellegard (Denmark) , M. Rantanen (Finland), H. Nota (Germany), E. Moser (Switzerland), M. Dekkers (Holland), V. Zubitsky (Ukraine), M. Bonnet and M. Azzola (France), Art Van Damme (USA), Frank Morocco (USA); among the ensembles - the Ural trio of accordionists, the Quartet of N. Rizol (Ukraine), the Quintet "Russian Timbre", the trio of V. Kovtun, the quartet of A. Muzikini (France) ...

The festival carries out a great educational work, providing a unique opportunity to hear modern Russian and world achievements in the field of accordion art. At the same time, it opens up new talents – not only recognized masters, but also bright young performers demonstrate their art here.

Solo and ensemble music-making is widely represented at the festival; the wide scope of the repertoire reflects the panorama of the whole variety of bayan art: from classical to jazz, from popular pop to avant-garde…

December 13 at the opening of the festival will perform the Orchestra of the Moscow State Institute of Music. A. G. Schnittke "Vivat, accordion!", Artistic director and conductor - Professor Valentina Bobysheva; laureates of international competitions: Makar Bogolepov, Aidar Salakhov; accordion duet "Inspiration"; ensembles "Russian Renaissance" and "Elegato".

On December 14, students of the Petrozavodsk Conservatory named after I. A. K. Glazunova - Nikita Istomin and Alexei Dedyurin and students of the St. Petersburg Conservatory. N. A. Rimsky-Korsakov - Dmitry Borovikov, Evgenia Chirkova, Artyom Malkhasyan, Vladimir Stupnikov, Artur Adrshin, Nikolai Teleshenko, Arkady Shkvorov, Nikolai Ovchinnikov, Charm Ensemble.

December 15 - concert by Nikita Vlasov (accordion, Russia) and Vladislav Pligovka (bayan, Belarus)

On December 16, Dmitry Khodanovich will perform; Honored Artist of Russia, composer Vladimir Bonakov and Andrey Dmitrienko (bayan) take part in the concert.

December 17 - Solemn closing of the XXIX International Festival "Bayan and Bayanists". The final concert will be a colorful kaleidoscope of various styles and genres; plus, it will be a brilliant parade of original harmonicas!

Russian, Liven, Talyanka, Turtle, Saratov harmonica will be presented by the Ensemble of Harmonists of the Russian Academy of Music. Gnesinykh, Artistic director Pavel Ukhanov. The trio of Caucasian national harmonicas "Pshina" has in its repertoire arrangements of incendiary Caucasian songs and tunes.

As part of the Quartet Tango en Vivo- a well-known bandoneonist, a graduate of the Russian Academy of Music. Gnessin Ivan Talanin. The ensemble was on the air on the oldest tango radio "La 2×4" and caused great success on the popular TV channel throughout Latin America "Telefe" ...

Musette in combination with Latin American ones - salsa, tango and bossa nova, as well as jazz, classical music, music of the Balkans, the East, gypsies and Slavic folk music will be performed by the famous Dobrek Bistro Quartet (Austria), consisting of: Alexey Bits ( violin), Krzysztov Dobrek (accordion), Luis Ribeiro (percussion), Alexander Lakner (double bass).

Within the framework of the XXIX International Festival "Bayan and bayan players" a competition is held for students of music schools and colleges in Russia; creative meetings with famous accordion teachers.

The festival program also includes a meeting of the Interregional Bayan and Accordion Association; screening of the documentary film “Music by Sofia Gubaidulina for bayan. Creative meeting of Sofia Gubaidulina and Friedrich Lips with students of the Royal Academy of Music in Copenhagen (Denmark, 2014)”.

Since 1993, at the initiative of the RAM them. Gnesins and the Organizing Committee of the festival, a special prize was established: "Silver Disc" - for merits in the bayan art. Among the awardees are leading performers, composers, teachers, musical figures and master instrument designers. The presentation of the Silver Discs of 2017 will take place at the closing of the festival.

Press Service of XXIX International Festival"Bayan and accordionists"

Musical instrument: Bayan

The timbre palette of currently existing musical instruments is extremely rich, because each of them has its own unique voice. For example, in the violin it is melodiously charming, in the trumpet it is piercingly brilliant, in the celesta it is transparent crystal. However, there is one instrument that has the rare ability to imitate various timbres. It can sound like a flute, clarinet, bassoon, and even like an organ. This instrument is called button accordion and it can rightfully be called a small orchestra. Bayan, with its great artistic potential, is capable of much - from the accompaniment of simple folk songs to complex masterpieces of world classics. Enjoying great popularity, it also sounds on large concert stages and is an invariable participant in festive feasts; it is not for nothing that the button accordion is called the “soul of the Russian people”.

Bayan is one of the most advanced varieties of harmonica, which has a chromatic scale.

Read the history and many interesting facts about this musical instrument on our page.

Sound

Bayan, which has a rich musical and expressive potential, opens up great opportunities for performers for creativity. The bright sound is rich, expressive and melodious, and the thinnest thinning gives the timbre a special brilliance. The instrument can play beautiful romantic melodies, as well as dramatic dark pieces of music.

The sound on the button accordion is formed due to the vibration of the reeds in the voice bars under the action of air, which creates a fur chamber and is characterized by a special dynamic plasticity. It is possible to perform the most delicate transparent piano and fanfare forte on the instrument.

Bayan, due to its design features (the presence of registers), has a diverse timbre palette of sound - from full-sounding organ to soft and warm violin. The accordion tremolo is very similar to the violin tremolo, and the dynamic volume of the instrument gives the impression that a full orchestra is playing.

Button accordion range quite large and is 5 octaves, starting from "mi" of a large octave and ending with "la" of the fourth.

A photo:

Interesting Facts:

• An instrument called "button accordion" exists only in Russia; in other countries, such instruments are called push-button accordions.
• The forerunner of the button accordion, the "Liven" accordion, had unusually long furs, almost two meters. Such an accordion could wrap itself around.
• In Moscow there is the world's largest museum of harmonicas, one of the varieties of which is the button accordion.

• In Soviet times, the best individually assembled concert button accordions "Russia" and "Jupiter" made at the Moscow state factory and distinguished by high sound quality were very expensive. Their cost was equal to the price of a domestic passenger car, and sometimes even two, depending on the brand.Now the cost of a concert multi-timbre button accordion is quite high and reaches 15 thousand euros.
• The first concert multi-timbre button accordion was created in 1951 for the accordionist Y. Kuznetsov.
• On concert button accordions there is a very convenient device - the register switch is located under the chin of the performer, which allows the musician not to be distracted during the performance.
• At one time, electronic button accordions were produced in the Soviet Union, but this innovation did not take root, because at the same time synthesizers came into use, which became widespread.
• The sound of the button accordion during the Great Patriotic War raised the morale of the soldiers, inspired them to heroic deeds. It sounded everywhere: in dugouts, on halts and on the battlefields.
• The sound of the button accordion is very effectively used in their compositions by modern musical groups, such as Lyube, Vopli Vidoplyasov, Billy’s Band.
• Well-known companies for the production of professional concert bayans, which are in demand and have proven themselves, are located in Russia - this is the Moscow factory "Jupiter" and "Tula Harmonica", as well as in Italy: "Bugari", "Viktoria", "ZeroSette", " Pigini", "Scandalli", "Borsini".
• In recent years, the word "button accordion" is often used to refer to a stale, "shabby", "bearded" already old joke or anecdote.

Button accordion design

The accordion, which is a rather complex structure, consists of two main sections: left and right, interconnected with fur.

1. Right side of the instrument- this is a box of rectangular shape, with a neck and a soundboard attached to it, with mechanisms built into it. When a key is pressed, the mechanism raises the valves, thereby passing air to the resonators with voice bars and reeds.

For the manufacture of the box and the deck, resonant wood species are used: spruce, birch, maple.

A grill is attached to the box, as well as register switches (if any are provided by the design) that serve to change the timbre. The box also contains two large straps to secure the instrument during performance.

On the fretboard, in chromatic order, there are playing keys in three, four or five rows.

2. Left body- this is also a rectangular box, in which on the outside there is the left keyboard of the instrument, containing five, and sometimes six rows of buttons: two are basses, the remaining rows are ready-made chords (major, minor, seventh chords and reduced seventh chords). On the left body there is a register for switching a ready-made or selective sound extraction system, as well as a small strap with which the left hand sets the fur chamber in motion.

In the left case there is a deck with complex mechanisms for extracting sounds in two systems for the left hand: ready-made and ready-elective.

The fur chamber, attached to the body with frames, is made of special cardboard and pasted over with a cloth on top.

The weight of a multi-timbre concert button accordion reaches 15 kg.

Bayan varieties

The large bayan family is divided into two groups: ordinary bayans and orchestral ones.

Ordinary ones have two types, which differ from each other in the accompaniment systems in the left hand: ready-made and ready-selective.

• A ready-made accompaniment system consists of basses and ready-made chords.
• Ready-to-elective has two systems: ready-made and elective, which are changed using a special register. The selective system has a full chromatic scale, which increases the performance capabilities of the instrument, but at the same time complicates the playing technique.

Orchestral button accordions, due to their design features, having a keyboard only on the right side of the body, are also divided into two types:

• first - the instruments differ in their pitch range: double bass, bass, tenor, alto, prima, and piccolo;
• the second - differ in timbre: bayan-pipe, bassoon , flute, clarinet , oboe.

Application and repertoire

The range of application of the button accordion is very wide, it can also be heard on the stages of large concert halls as a solo, ensemble, orchestral instrument and in amateur ensembles and orchestras of folk instruments. Groups consisting only of accordion players are very popular. Very often, the button accordion is used as an accompanying instrument or just in everyday life at various family holidays.

The instrument is very versatile, it performs works by composers of past eras, as well as music of modern genres: jazz, rock and techno.

The compositions of I.S. Bach V.A. Mozart , N. Paganini, L.V. Beethoven , I. Brahms, F. Liszt , C. Debussy, D. Verdi , J. Bizet. D. Gershwin, G. Mahler, M. Mussorgsky, M. Ravel, N. Rimsky-Korsakov, A. Scriabin, D. Shostakovich, P. Tchaikovsky, D. Verdi and many other classics.

Today, more and more modern composers write different works for the instrument: sonatas, concertos and original pop plays. L. Prigozhin, G. Banshchikov, S. Gubaidulina, S. Akhunov, H. Valpola, P. Makkonen, M. Murto – their musical compositions for bayan sound very impressive on the concert stage.

Works for button accordion

N. Chaikin - Concerto for button accordion and orchestra (listen)

P. Makkonen - "Flight over time" (listen)

Performers

Since the button accordion was gaining popularity very quickly in Russia, the performing arts on it developed very intensively. In connection with the constant improvement of the instrument, more and more creative possibilities opened up before the musicians. Particularly noteworthy is the contribution to the development of the performing skills of innovative accordionists: A. Paletaev, who was the first to switch to a five-finger fingering instead of the previously used four-finger, thereby increasing the technical capabilities of the instrument; Y. Kazakov - the first performer on a multi-timbre ready-to-select button accordion.

The Russian bayan school is now very well known throughout the world, and the performing arts are now increasingly flourishing. Our musicians constantly become laureates of various international competitions. A lot of young performers enter the big concert stage, but it is necessary to single out the names of such outstanding musicians as I. Panitsky, F. Lips, A. Sklyarov, Yu. Vostrelov, Yu. Tkachev, V. Petrov, G. Zaitsev, V. Gridin , V. Besfamilnov, V. Zubitsky, O. Sharov, A. Belyaev, V. Romanko, V. Galkin, I. Zavadsky, E. Mitchenko, V. Rozanov, A. Poletaev, who contributed a significant contribution to the development of the modern performing school.

Bayan history

Each instrument has its own history, and the button accordion also has a backstory. It began in ancient China in the 2-3 millennium BC. It was there that the instrument was born, which is the progenitor of the modern button accordion. Sheng is a reed wind musical instrument representing a body with bamboo or reed tubes attached in a circle with copper reeds inside. In Russia, he appeared during the Mongol-Tatar yoke, and then along the trade routes came to European countries.

In Europe at the beginning of the 19th century, using the principle of sheng sound production, the German organ maker Friedrich Buschmann invented a mechanism that helped him in tuning instruments, and which later became the forerunner of the accordion. Somewhat later, the Austrian of Armenian origin K. Demian modified the invention of F. Bushman, transforming it into the first accordion.

In Russia, the harmonica appeared in the second quarter of the 19th century, it was brought from abroad, bought at fairs from foreign merchants as a curiosity. The instrument, which could play a melody and accompany, quickly gained popularity among urban and rural residents. Not a single festival took place without her participation, the accordion, along with the balalaika, became a symbol of Russian culture.

In many Russian provinces, workshops began to be created, and then factories that made their own local varieties of accordions: Tula, Saratov, Vyatka, Lebanese, Bologoev, Cherepovets, Kasimov, Yelets.

The first Russian accordions had only one row of buttons, they became two-row in the second half of the 19th century, by analogy with the design, which was then improved in Europe.

The musicians-harmonists were mostly self-taught, but they performed miracles of performing skills, despite the fact that the instrument was rather primitive in design. One of these nuggets was a worker from the city of Tula N.I. Beloborodov. Being an avid harmonist, he dreamed of creating an instrument that would have more performance possibilities.

In 1871, under the leadership of N.I. Beloborodov, master P. Chulkov created a two-row accordion with a full chromatic scale.

At the end of the 19th century, in 1891, after improvement by the German master G. Mirwald, the accordion became three-row, with a chromatic scale arranged in series along oblique rows. Somewhat later, in 1897, the Italian master P. Soprani patented his new invention - the extraction of ready-made major and minor triads, dominant seventh chords on the left keyboard. In the same year, but in Russia, master P. Chulkov at the exhibition presented an instrument with bent mechanics in the "left hand", which also made it possible to extract ready-made chords with one keystroke. Thus, the accordion was gradually transformed and became an accordion.

In 1907, the master designer P. Sterligov. on behalf of the musician-harmonist Orlansky-Titarenko. a complex four-row instrument was made, called "Bayan", in memory of the ancient Russian storyteller. The instrument was rapidly improved and already in 1929 P. Sterligov invented the button accordion with a ready-to-select system on the left keyboard.

The growing popularity of the tool is accompanied by its constant development and improvement. The timbre capabilities of the button accordion make it truly unique, because it can sound like an organ or like wind and string instruments. Accordion in Russia we are popularly loved - it is both an academic instrument that sounds from the stage in a large concert hall, and a symbol of good mood, amusing people on a rural mound.

Video: listen to button accordion

FOREWORD

The collections "Bayan and Bayanists" received well-deserved recognition from a wide range of readers - teachers, students, concert musicians, leaders of amateur art groups. In fact, this series was the realization of a long-standing dream of accordionists to create a theoretical basis for accordion art, which has achieved significant success over the past two or three decades. The materials published in the collections sum up these achievements and outline the ways for further improvement of the art of playing the button accordion.

This issue includes four articles, the authors of which are well-known methodologists, teachers and performers.
The collection opens with an article by V. Zinoviev "Instrumentation of piano works for bayan orchestra". Vladimir Mikhailovich Zinoviev was born in 1939 in Gorky. He received his musical education at the Perm Musical College, and then at the Gnessin Musical and Pedagogical Institute, where he graduated from the bayan class of the Honored Art Worker of the RSFSR Associate Professor A.E. Onegin and from the conducting class of the Honored Art Worker of the RSFSR and. about. Professor A. B. Pozdnyakov. Zinoviev began his teaching career at the Novomoskovsk Music College, where he led the accordion orchestra and the orchestra of folk instruments. In 1968, he moved to teaching at the Gnessin Institute; in 1970 he became the artistic director of the institute bayan orchestra. Zinoviev's activity was highly appreciated at the 2nd Moscow Youth Festival of Russian Folk and Soviet Music: the orchestra led by him was awarded the first prize.
Working with the accordion orchestra, Zinoviev gained a wealth of experience in instrumentation, which he shares on the pages of this book. The article "Instrumentation of Piano Works for the Bayan Orchestra" contains several chapters: the author introduces the reader to the various compositions of bayan orchestras and the design of scores, considers orchestral functions and orchestration techniques that contribute to enriching the sound of instruments of the same timbre, and analyzes in detail the features of the instrumentation of piano works. All the main points are clearly illustrated with musical examples.

The next article - "On Arrangements and Transcriptions" - was written by a talented bayan player Friedrich Robertovich Lips. He was born in 1948 in Yemanzhelinsk, Chelyabinsk Region. He started playing the button accordion at the age of five. He studied at the children's music school, then at the Magnitogorsk Musical College, which he graduated with honors in three years; He received further musical education at the Gnessin Musical and Pedagogical Institute (accordion class of Honored Art Worker of the RSFSR Associate Professor S. M. Kolobkov) and as an assistant. Currently, Lips combines his teaching work at the Gnessin Institute with a wide concert activity. He has repeatedly performed in various cities of our country and abroad. In 1969, he took part in the International Bayan and Accordion Competition in Klingenthal (GDR) and received a gold medal and the title of laureate.
Outstanding performing skills and excellent knowledge of the capabilities of the modern concert button accordion allowed the young musician to create many transcriptions that were included in his concert repertoire.

In the article “On Arrangements and Transcriptions”, Lips gives a brief historical overview of the genre of transcriptions, analyzes its origins and essence, and gives valuable recommendations regarding the transcription of piano works for bayan. With vivid evidence, the author asserts the artistic value of this genre and acts as a passionate propagandist of the classical musical heritage.
The authors of the article "Works by Yu. N. Shishakov in the repertoire of bayan players" - V. Belyakov and V. Morozov work at the Ufa Institute of Arts. Vyacheslav Filippovich Belyakov was born in 1939 in Moscow. In 1959 he graduated from college, and in 1963 - the Gnessin Institute, class of Professor N. Ya. Chaikin. In his student years, Belyakov led amateur art activities, worked as a teacher at a children's music school. Upon graduation, he travels to Ufa, where he is offered to head the department of folk instruments at the Institute of Arts; since 1974 he has been vice-rector of the institute. For his great scientific and pedagogical work, he was awarded the academic title of Associate Professor. Belyakov is also known as a talented performer who performed not only in our country, but also abroad - in Austria, Italy, France, Sweden, Czechoslovakia, India, Nepal, Latin American countries, etc.; he is a laureate of the International Competition in Klyungenthal (1962). In 1968, Belyakov was awarded the title of Honored Artist of Bashk. ASSR, and in 1974 Honored Art Worker of the RSFSR.

Vladimir Gavrilovich Morozov was born in 1944 in Ufa. He received his musical education at the Ufa Musical College and at the Gnessin Musical and Pedagogical Institute. After graduating from the institute, he worked at the music school in the city of Salavat; since 1974 he has been teaching at the Ufa Institute of Arts.

In their article, the authors talk about the creative biography of the Soviet composer, Honored Artist of the RSFSR Yuri Nikolaevich Shishakov, who made a significant contribution to button accordion literature, and analyze in detail two of his works - the Concerto for button accordion with an orchestra of Russian folk instruments and the Sonata for button accordion.

The article "Performance as a form of existence of a musical work" belongs to the methodologist and teacher Yuri Timofeevich Akimov. He was born in 1934 in Moscow. He studied at the Moscow Musical College named after the October Revolution, then at the Musical and Pedagogical Institute named after the Gnessins (class of Honored Art Worker of the RSFSR, Associate Professor A. A. Surkov); in 1962 he completed postgraduate studies at the Moscow Institute of Culture. During his studies, Akimov taught at a music school for several years; from 1059 to 1970 he worked at the Institute of Culture, first as a teacher, and then as head of the department of folk instruments. In 1968 he was approved with the academic rank of assistant professor. In 1970, Akimov moved to teaching at the Gnessin Institute; since 1974 he has been the head of the department of folk instruments of this institute.

Akimov's name is widely known among accordion players: he is known as the author of methodological works, including " Progressive school playing the button accordion”, many adaptations, arrangements, and also as a compiler of a number of repertoire and pedagogical collections.
In the article "Performance as a Form of Existence of a Musical Work" Akimov makes an attempt to reveal from the standpoint of Marxist-Leninist philosophy one of the complex issues of musical aesthetics - the concept of "musical work" - and in this regard to determine the role of the performer in its creation. Comparing various philosophical concepts, the author concludes that only “remaining true to the idea of ​​the composer. and at the same time feeling the pulse of modernity”, the performer can create a bright creation and make the work “public consciousness”. In connection with the problem raised, the article discusses some topical issues of accordion art.
A. Basurmanov

• V. ZINOVEV. Instrumentation of piano works for bayan orchestra
• F. LIPS. About translations and transcriptions
• V. BELYAKOV, V. MOROZOV. Works by Yu. N. Shishakov in the repertoire of bayan players
• YU. AKIMOV. Performance as a form of existence of a musical work

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