Outstanding Russian choral conductors. With a wave of the hand A short biography of a Russian conductor

Cycle of concert programs(Russia, 2010). 10 issues.

There are no more authoritative figures in modern musical culture than representatives of the world conducting elite. The creators of the series chose ten significant names - Simon Rattle, Lorin Maazel, Daniel Barenboim, Maris Jansons, as well as their famous Russian colleagues. Today they are universally recognized masters and directors of major 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 Alexey 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 host of the cycle 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 issue. Vladimir Fedoseev and the Bolshoi Symphony Orchestra. P.I. Tchaikovsky.
Program: L. Beethoven. Symphony No. 4.
Recording in the Golden Hall of the Musikverein in Vienna.

3rd edition. "Maris 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 issue. "Daniel Barenboim and the West-Eastern Divan Orchestra."
In the program: V.A. Mozart. Concerto No. 7 in F major for three pianos and orchestra. Soloists: Daniel Barenboim, Yael Karet, Karim Said. A. Schoenberg. Variations for orchestra. G. Verdi. Overture to the opera "Force of Destiny".

5th issue. "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. Recording in the Great Hall of the Moscow Conservatory in 2008.

6th issue. "Lorin Maazel and the Arturo Toscanini Symphony Orchestra"
Program: Giacchino Rossini. Overture to the opera "Italian in Algiers"; Johannes Brahms. Symphony No. 2.
Recording in the Great Hall of the Moscow Conservatory.

7th issue. Yuri Temirkanov and the Academic Symphony Orchestra of the St. Petersburg Philharmonic. D.D. Shostakovich.

8th issue. Yuri Bashmet and the chamber ensemble "Moscow Soloists".
In a programme: 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 - Divertimento No. 1.
Registration in the BZK.

9th issue. Mikhail Pletnev and the Russian National Orchestra
The Russian National Orchestra will perform a suite from the ballet by P.I. Tchaikovsky's "Swan Lake", composed by Mikhail Pletnev. Recording at the Bolshoi Theater of Russia as part of the Great RNO Festival, 2009.

10th issue. Valery Gergiev and the Mariinsky Theater Symphony Orchestra
The Mariinsky Theater Symphony Orchestra conducted by Valery Gergiev will perform orchestral hits - overtures from operas by Rossini, Verdi, Wagner, waltzes from Tchaikovsky's ballets, fragments from Prokofiev's ballet Romeo and Juliet.

Musical culture cannot exist without conductors, just like the film industry without directors, the literary and publishing industry without editors, and fashion projects without designers. The orchestra leader ensures the organic interaction of all instruments during the performance. The conductor is in charge actor on the stage of the Philharmonic, concert hall or any other music venue.

Virtuosos

The coherence of a symphony orchestra and the harmonious sound of numerous musical instruments is achieved through the skill of the conductor. It is not for nothing that the most talented of them are awarded various high ranks and titles, and are popularly called “virtuosos.” Indeed, impeccable control of the conductor’s baton allows each musician sitting in the orchestra pit to convey all the nuances of the creative impulse. A huge symphony orchestra suddenly begins to sound like a single whole, and musical composition at the same time it reveals itself in all its splendor.

Famous conductors are united on the basis of skill; they all went through school high art, popularity and recognition of the general public did not immediately come to them. It has gained popularity over the years. For the most part, well-known conductors, in addition to their concert activities, teach, 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 results in endless rehearsals. Some famous 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 high level performance of musical works. At the same time, general mutual understanding is necessary, which will subsequently serve as the key to successful concert activities.

Famous opera conductors

In the world music hierarchy there are names that everyone knows. The names of famous opera conductors can be found on posters, billboards, their names are called cruise ships. This popularity is well deserved, since few people are still able to devote their entire lives, without a trace, to music. The most famous conductors travel around the world, touring with various musical groups or leading orchestras in major music centers. Opera performances require special coordination of the orchestra when accompanying vocal parts, arias and cavatinas. 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 impresarios know the working style and character traits of each person. This helps them make the right choice.

Famous conductors of Russia

Music, especially opera, has many components. There is also an orchestra, which includes a variety of instruments: winds, strings, bows, percussion. Soloists, vocal performers, choir and other participants in the performance. The disparate fragments of the opera performance are united into one whole by the director of the performance and the conductor of the orchestra. Moreover, the latter actively participates in the action from beginning to end. In Russia there are conductors who, with their music, direct opera along the only true path that leads the viewer to real art.

Famous conductors of Russia (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.
• Gorenshtein Mark Borisovich.
• Diaghilev Sergei Alexandrovich.
• Evtushenko Alexey Mikhailovich.
• Ermakova Lyudmila Vladimirovna.
• Kabalevsky Dmitry Borisovich.
• Kazhlaev Murad Magomedovich.
• Kogan Pavel Leonidovich.
• Lundstrem Oleg Leonidovich
• Mravinsky Evgeniy Alexandrovich.
• Svetlanov Evgeny Fedorovich.
• Spivakov Vladimir Teodorovich.

Every famous Russian conductor can successfully lead any foreign symphony orchestra; 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

Famous conductors of the world are talented musicians recognized by the general public.

Pavel Kogan

The most famous Russian conductor, who has been giving the world his art for more than forty years. His popularity is unprecedented. The maestro's name is on the list of the ten greatest modern conductors. The musician was born into a family of famous violinists, Leonid Kogan and Elizaveta Gilels. Since 1989, he has been the permanent artistic director, as well as the 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 a laureate of the State Prize of Russia and bears the title “People’s Artist of Russia.” Pavel Kogan also has many awards, including the Order of Merit for the Fatherland and the Order of the Arts.

Herbert von Karajan

The world-famous 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 acquired basic 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 Richard Strauss' opera Salome. In the period from 1929 to 1934 he was the Chief Kapellmeister in the theater of the German city of Ulm. Then Karayan stood at the orchestra's podium for a long time Vienna Philharmonic. At the same time he performed Charles Gounod's opera "Walpurgis Night".

The conductor's finest hour 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 Karajan".

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 accustomed to conducting, and in 1939 he made his debut - young Bernstein performed the composition with a small orchestra own composition under called The Birds.

Thanks to his high professionalism, Leonard Bernstein quickly gained popularity and, already in his young years, led the New York Philharmonic Orchestra. Being comprehensive creative person, the conductor studied literature. He has written about a dozen books dedicated to music.

Valery Gergiev

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

After graduating from the conservatory in 1977, the young conductor was accepted as an assistant at the Kirov Theater. Yuri Temirkanov became his mentor, and already in 1978 Valery Gergiev stood at the controls and performed Prokofiev’s opera “War and Peace”. In 1988, he replaced Yuri Temirkanov, after his departure to the Leningrad Philharmonic.

The year 1992 was marked by the return to the Kirov Theater of its historical name "Mariinskii Opera House". The theater public of St. Petersburg, in order to attend opera performances, signs up in advance, months in advance. Today Valery Gergiev is the chief conductor of the theater and its artistic director.

Evgeniy Svetlanov

The famous conductor, Russian and international, Evgeniy Fedorovich Svetlanov (1928-2002) left a noticeable mark on the cultural heritage of Russia. He holds 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 on the stage of the Bolshoi Theater in a production of Rimsky-Korsakov's opera "The Pskov Woman". From 1963 to 1965 he was chief conductor of the Bolshoi Theater. During his work, the level of opera performances increased 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 Vladimir Teodorovich Spivakov was born in 1944 in the city of Ufa. He graduated from the Moscow Conservatory in 1968 and postgraduate studies in 1970.

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

Currently, he is the permanent director and conductor of the Moscow Virtuosi chamber symphony orchestra, which he personally organized in 1979. He has performed with European orchestras and US musical groups. He has conducted at the La Scala Theatre, the Accademia Cecilia, the Philharmonic of the German city of Cologne and the 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. Winner of four State Prizes of the Russian Federation.

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

He began active concert activity in 1976, and two years later received a teaching position at the Moscow Conservatory. In 1996, Yuri Bashmet created the “Experimental Viola Department”, where viola parts in symphonic, opera and chamber music are studied. At the same time he received the title of professor at the Moscow Conservatory. Currently engaged in active charitable and social activities.

G. Lomakin(1811-1885). The fame of a talented singing teacher came to Lomakin early and quickly spread throughout northern capital. He was invited to teach in many educational institutions: cadet, naval and page corps, in the lyceum, drama school, at the School of Law (where P.I. Tchaikovsky studied at that time). It was at this school that G.Ya met. 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”, “importance and skill in conducting a choir” inherent in Lomakin, which played a noticeable role in the career of our fellow countryman. In 1862, together with famous composer M.A. Balakirev Lomakin organized a free music school- for the enlightenment and education of the people. At school G.Ya. Lomakin not only created a new wonderful choir, but also managed to organize the education of future music teachers. Many of his students became famous musicians: singers, choral conductors, teachers. Gavriil Yakimovich devoted the last years of his life to composing work: before that, he could only write music in fits and starts, during the short hours between classes with choirs. During that period, he created a number of works for the choir and wrote several romances. And in 1883, when M.A. became the manager of the Court Chapel. Balakirev, Lomakin also received a rare opportunity to publish his works. He gave them to finalize and edit proof sheets last days own life.

A. Arkhangelsky (1846-1924)

Court Chapel.

Independent Choir (1880).

Chapel of Count Sheremetyev.

S.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).

Regent of the Synodal Choir (1886-1907).

Alexander Dmitrievich Kastalsky (1856-1926).

Synodal Choir (regent since 1901).

Pavel Grigorievich Chesnokov (1877-1944).

Private spiritual choir A.P. Kayutova.

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

Regent of Moscow churches.

Nikolai Mikhailovich Danilin (1856-1945).

Synodal Choir (1910-1918).

Kayutov private choir (1915-1917).

Leningrad Academic Chapel.

USSR State Choir.

Sveshnikov Alexander Vasilievich(1890-1980), choral conductor, National artist USSR (1956), Hero of Socialist Labor (1970). In 1936-37 artistic director State Choir USSR, organized on the basis of the vocal ensemble of the All-Union Radio that he created in 1928; in 1937-1941 - Leningrad. chapels; from 1941 - State Russian Song Choir (later State Academic Russian Choir of the USSR). Organizer (1944) and director of the Moscow. Choir 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), Azerbaijan. SSR (1972). Student A.V. Sveshnikova. Since 1958, artistic director and chief conductor of the Republic. rus. choir chapel (since 1973 named after him). Professor Musical Pedagogist. Institute named after Gnessins (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 of the Kazan State Conservatory.

Minin Vladimir Nikolaevich (b. 1929), choral conductor, People's Artist of the USSR (1988). Student V.G. Sokolova, A.V. Sveshnikova. Since 1972 hands. Moscow founded by him. chamber choir, since 1987 (simultaneous) artistic director of the State. rus. choir. Since 1978 professor (in 1971-79 rector) Musical pedagogy. Institute named after Gnesins. USSR State Prize (1982).

Dmitryak Gennady Aleksandrovich – choral and opera-symphony conductor, Honored Artist of Russia, artistic director and chief conductor State Academic Choir of Russia named after A.A. Yurlov and the Moscow Kremlin Chapel, Associate Professor of the Department of Choral Conducting Russian Academy music named after Gnessin.

Requirements for a choral conductor

Excellent command of conducting technique;

Be able to correctly place choir members into parts in accordance with their singing voice and range;

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

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

Genres choral music

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

CANON(Greek norm, rule) - polyphonic. musical. form based. on a strict continuous imitation, in which. the voices repeat the melody of the leading voice, entering before 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 imitated simultaneously (Canon 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 passes into its beginning, so the voices can re-enter any number of times. In the canon with a “variable indicator” (Vl. Protopopov), during imitation, the melodic pattern and rhythm are preserved, but the intervals change. Canonical imitation, in one form or another, is often used in choirs. op.; There are plays written in the form of K. (“Echo” by O. Lasso, “Song of the Lark” by F. Mendelssohn, arrangement by N.A. Rimsky-Korsakov “I Walk with the Loaches”, etc.).

KANT(from Latin, cantus - singing, song) - a type of ancient choral or ensemble song a cap. Originated in the 16th century. in Poland, later - in Ukraine, from the 2nd floor. 17th century - in Russia, becoming widespread as an early type of city song; to the beginning 18th century - a favorite genre of home, everyday music. At first the cant is a song-hymn of religious content, later it is imbued with secular themes; edges appear. lyrical, pastoral, table, comic, camp, etc. In the era of Peter the Great, panegyric cants, the so-called. viva; performed by choirs of singers during festivals and triumphal processions, accompanied by cannon fire, fanfare and bell ringing. Stylistic features of edging: couplet form, subordination musical rhythm poetic; rhythmic clarity and smoothness of the melody; predominantly 3-voice structure with parallel movement of the 2 upper voices, bass is often melodically developed; imitation also occurs. In the cant 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). Cants were distributed in handwritten collections, without indicating the authors of the text and music, although poems by modern poets Trediakovsky, Lomonosov, Sumarokov and others were often used. The first images were made according to the type of cant. adv. songs. Gradually the cant became more complex, acquiring the features of a romance. Later (in the 19th century), soldiers', drinking, student, and partly revolutionary songs were created on the basis of cant. The influence of Kant is also found in Russian. classical music, Glinka (“Glory” from the opera “Ivan Susanin”), etc.

CANTATA(Italian cantare - sing) - a work for solo singers, choir and orchestra, of a solemn or lyrical-epic nature. Cantatas can be choral (without soloists), chamber (without choir), with or without piano accompaniment, single-movement or consist of several complete numbers. A cantata usually differs from an oratorio (which is similar in means of expression) in its smaller size, uniformity of content, and less developed plot. The cantata originated in Italy (17th century), first as a piece for singing (as opposed to a sonata). This means that the cantata takes its place in the work of J. S. Bach, who wrote cantatas on spiritual, mythological and everyday subjects. In Russia, the cantata appeared in the 18th century and reached development in the 19th and 20th centuries: solo theatrical cantata (“Black Shawl” by Verstovsky), greeting, anniversary, lyrical, lyrical-philosophical cantatas (“Farewell songs of the students of the Catherine and Smolny Institutes” by Glinka ; “Moscow”, “To Joy” by Tchaikovsky; “Svitezianka” by Rimsky-Korsakov; “John of Damascus”, “After the Reading of the Psalm” by Taneyev; “Spring”, “Bells” by Rachmaninov; “Cantata for the opening of the monument to Glinka” by Balakirev, etc. d.).

The cantata genre has developed in creativity Soviet composers, especially in essays on historical, patriotic and modern theme(“Alexander Nevsky” by Prokofiev, Symphony-cantata “On the Kulikovo Field” by Shaporin, “Cantata about the Motherland” by Harutyunyan, etc.). The modern German composer K. Orff wrote stage cantatas (Carmina Burana and others).

MADRIGAL(Italian) -lyrical song in native language (unlike chants in Latin, language), initially monophonic. In the early Renaissance (14th century) it was performed in 2-3 voices. In the late Renaissance (16th century) he occupied the center, a place in secular music, representing a single-part or multi-part vocal composition of a polyphonic composition for 4-5 voices; was also distributed outside of Italy. The madrigal genre is predominantly lyrical, closely related to the poetic text (even to the point of illustrating individual words). Having developed in aristocratic circles, the melodic madrigal (unlike frotolla, villanelle, chanson, etc.) is far from folk music and is often too sophisticated; At the same time, it also had a progressive meaning, expanding the range of images and expressive means. The English madrigal of the 16th-17th centuries is simpler, associated with folklore, and more emotional. (T. Morley, D. Dowland, D. Wilby). By the 17th century The madrigal departs from the vocal polyphonic style, emphasizing the solo voice with instrumental accompaniment. Outstanding masters of the madrigal (at different stages of its development) were Arkadelt, Willart, A. Gabrieli, Palestrina, Marenzio, Gesualdo, Monteverdi.

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

OPERA CHORUS- one of the main components of a modern opera performance. In connection with the era, genre, and personality of the composer, the chorus in the opera plays a different role from creating an everyday background, a decorative element, a participant in the prologue, interludes to chapters. acting person. In opera seria (“serious opera”, 17th-18th centuries), the choir was almost absent, in opera buffa (“ comic opera", 18th century) appeared sporadically (for example, in the finales). The role of the chorus as a bearer of the image of the people in the operas of Gluck and Cherubini has been strengthened, although often the chorus. the scenes in them have an oratorio-static character. Greater dramatic significance was given 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 heroic people; in Meyerbeer's opera, the participation of the choir emphasizes the dramatic climaxes. In 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, choruses are of a genre nature, close to folk song and dance (op. Monyushko, Smetana). Rus. secular choral art was first represented by opera choirs (18th century, op. Fomin, Pashkevich, etc.); and in the future the choirs occupy great place in Russian operas, being “the cornerstone dogma and affirmation of nationality and democracy” (B. Asafiev). Opera and choral creativity of Russian. composers is exceptionally diverse.

In historical and patriotic operas (“Ivan Susanin” by Glinka, “Prince Igor” by Borodin, “The Woman of Pskov” by Rimsky-Korsakov, etc.), the chorus becomes the main character, along with the heroes. Especially ( great importance acquired a choir in Mussorgsky’s folk musical dramas (“Boris Godunov”, “Khovanshchina”), where the image of the people is presented in a multifaceted way, in development. In Russian everyday operas by Verstovsky (“Askold’s Grave”), Dargomyzhsky (“Rusalka”), Serov (“Enemy Power”), Tchaikovsky (“Cherevichki”, “The Enchantress”) and others, there is a close connection with folk song. National identity reflected in the choral scenes of operas related to 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. by Glinka, Verstovsky, Rimsky-Korsakov). The choir is also used in oratorio, usually in the prologue, epilogue (operas by Glinka, Serov, Rubinstein, Borodin, etc., in the performance of hymns, etc. (“The Maid of Orleans” by Tchaikovsky, “Khovanshchina” by Mussorgsky, etc.). Traditions active participation of the choir in Russian classical opera are continued in Soviet musical creativity: the operas of 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, etc., many national operas contain separate choirs and developed choral scenes. Operatic choir group has its own specifics of performance: this is, first of all, great brightness, convexity of nuances (similar to decorative design), emphasis of the text, its ability to “fly through the orchestra” in auditorium. Since the opera chorus is often on the move, special confidence and independence are required for each member. To develop these qualities, in some groups singers learn timing when 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 choirmasters; at the same time, in order to achieve synchronicity of performance, some advance is made to the conductor’s “points” (more or less, depending on the depth of the choir).

ORATORIO(from Latin, wow - I say, I pray) - a large musical work for choir, soloists, orchestra; comp. from vocal ensembles, arias, recitatives, complete orchestral numbers., the oratorio arose in Italy at the turn of the 16th-17th centuries, almost simultaneously with the cantata and opera and is close in structure to them. It differs from the cantata in its larger size, developed plot, epic-dramatic character, and from the opera in the predominance of the narrative element over the dramatic development. The oratorio developed from dramatized laudas (spiritual hymns of praise) performed in special rooms at the church - oratorios. Special type oratorio - Passion; in structure and type, the oratorio also includes the mass, requiem, “Stabat Mater”, etc. The oratorio genre reaches its 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 prod. 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. Rubinstein created a number of oratorios (“Babylonian Pandemonium”, “Paradise Lost”, etc.). The operas of Russian classics widely use oratorio style techniques 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 when embodying historical and modern themes (“Emelyan Pugachev” by Koval, “The Tale of the Battle for the Russian Land” by Shaporin, “Song of the Forests” by Shostakovich, “On Guard of the World” by Prokofiev, “Requiem” by Kabalevsky, “ Mahogany" Zarina et al.).

SONG- the simplest and most widespread form of vocal music, combining a poetic image with a musical one. Characteristic of a song is the presence of a complete, independent, melodious melody, simplicity of structure (usually a period or 2-, 3-part form). The music of the song corresponds to the general content of the text, without detailing it (for example, in a very common verse song). There are folk and professional (produced by composers) songs, differing in genres, origin, composition, etc. The common genre of choral song is: folk song (peasant and urban), Soviet mass song, department. choirs of Russian and Soviet composers. In Western European music, choral song was cultivated by romantic composers (Weber, Schubert, Mendelssohn, Schumann, Brahms). IN figuratively the term song. or song (to emphasize the epic, solemnity, poetic sublimity of the work) are used in the titles of major musical works, cantatas (for example, “Song of Fate”, “Triumphal Song” by Brahms).

CHORAL- religious chant in the Catholic and Protestant churches. The Protestant polyphonic chorale (introduced in the 16th century by figures of the Reformation) was performed by the entire community at German(contrasted with the unison Gregorian chant, which was sung in Latin special male choristers). The melodies of the chorale are characterized by a sedentary rhythm. The chorale (or simply chorale) is usually called. chord presentation of uniform durations in slow motion.

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

What they were like music leaders Soviet era?

Five portraits from the gallery of outstanding conductors.

NIKOLAI 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 and great love will write about the years of study: “The Synodal School gave me everything - moral principles, principles of life, the ability to work hard and systematically, instilled sacred discipline.”

After several years of working as regent, 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 the performance of Tchaikovsky's overture "1812"

In 1915, Golovanov was accepted into the Bolshoi Theater. It all started with a modest position as an assistant choirmaster, and in 1948 he became the chief conductor. Relations with the famous theater were not always smooth: Nikolai Golovanov had to endure many insults and disappointments. But it is not they who remain in history, but the brilliant interpretations of Russian opera and symphonic classics, brilliant 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 couldn’t stand the middle. The indifferent middle. And in nuance, and in phrasing, and in attitude to the matter.”

Although Golovanov had no student 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 became the center of Gauck's interests. For several years he led the symphony orchestra of the Leningrad Philharmonic, and in 1936 he headed the newly created State Symphony Orchestra of the USSR. He didn’t miss the theater, he only regretted that he never had a chance to stage his favorite “ Queen of Spades» Tchaikovsky.

A. Honegger
Pacific 231

In 1953, Gauk became the chief conductor of the Great Symphony Orchestra of the USSR State Television and Radio. This work was very intense and interesting. The orchestra played the programs, as they say, live. In 1961, the maestro was “politely” sent into retirement.

Gauk's joy was pedagogical activity. Evgeny Mravinsky, Alexander Melik-Pashaev, Evgeny Svetlanov, Nikolai Rabinovich - all of them were students of the maestro.

Evgeniy Mravinsky, himself already a renowned master, will write to his teacher in a congratulatory letter: “You are our only conductor who carries the traditions of a truly great culture.”

EVGENY MRAVINSKY (1903–1988)

Mravinsky's entire life was connected with St. Petersburg-Leningrad. He was born into a noble family, but in difficult years he had to deal with “non-noble” affairs. For example, work as an extra at the Mariinsky Theater. An important role in his fate was played by the personality of the theater director, Emil Cooper: “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 left university and entered the Petrograd Conservatory. At first the student worked diligently on composition, and then became interested in conducting. In 1929, he came to Gauck’s 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's first meeting with the music of Dmitry Shostakovich took place. 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 subjected me to a genuine interrogation, demanding from me an answer to all the doubts that arose in him. But already on the fifth day of our work together, I realized that this method is absolutely correct.”

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

In 1938, Mravinsky won the First All-Union Conducting Competition and was immediately appointed director 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 rehearsals, and this team will become proud national culture.

Rehearsal of the Leningrad Philharmonic Orchestra

It is not so often in the history of music that we come across examples where a conductor works with one ensemble for several decades. Evgeny Mravinsky led the Philharmonic Orchestra for half a century, his younger colleague Evgeny Svetlanov led the State Orchestra for 35 years.

Dmitri Shostakovich, Symphony No. 8

EVGENY SVETLANOV (1928–2002)

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

Almost immediately after graduating from the conservatory, Svetlanov came to the Bolshoi Theater and mastered all the theater classics. In 1963 he became the theater's chief conductor. Together with him, the troupe goes on tour to Milan, to La Scala. Svetlanov brings “Boris Godunov”, “Prince Igor”, “Sadko” to the demanding public.

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

M. Balakirev, symphony No. 2, finale

When working with the State Conservatory, 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 “non-opera” singer Alexander Gradsky to play the extremely complex role of the Astrologer, which added even more originality to the performance.

Concert “Hits of the Outgoing Century”

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

The return of little-known works to the concert stage has become one of the key tasks for maestro Gennady Rozhdestvensky.

GENNADY ROZHDESTVNSKY (BORN 1931)

Conductors playing instruments or composing music are not uncommon. But conductors who can talk about music are rare. Gennady Rozhdestvensky is a real unique person: he can talk and write fascinatingly about musical works different eras.

Rozhdestvensky studied conducting from his father, the famous conductor Nikolai Anosov. Mom, singer Natalya Rozhdestvenskaya, did a lot to develop her son’s artistic taste. Not yet graduating from the conservatory, Gennady Rozhdestvensky was accepted into the Bolshoi Theater. His debut was Tchaikovsky's The Sleeping Beauty. In 1961, Rozhdestvensky headed the Bolshoi Symphony Orchestra Central television and radio broadcasting. At this time, the conductor's repertoire preferences emerged.

He mastered the music of the twentieth century with great interest, and also introduced the public to “non-hit” compositions. Musicologist, Doctor of Art History Viktor Tsukkerman admitted in a letter to Rozhdestvensky: “I have long wanted to express my deep respect and even admiration for your selfless, perhaps even ascetic activity in performing either undeservedly forgotten or little-known works.”

A creative approach to the repertoire determined the maestro’s work with other orchestras - well-known and not so well-known, youth and “adult” ones.

All aspiring conductors dream of studying with Professor Rozhdestvensky: for 15 years now he has been heading 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 passes through itself the flow emitted by the score, and then tries to transmit it to the audience."

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

Itai Talgam

Famous conductor from Israel and a consultant who helps leaders in business, education, government, medicine and other fields become “conductors” of their teams and achieve harmony through collaboration.

Itay Talgam argues that leadership skills are universal, and the communication styles of a conductor with an orchestra are in many ways similar to the relationship between a boss and employees in a company. But there is no universal principle for organizing such relationships. The author shares observations about the methods of orchestra management observed by great conductors and divides them into six conventional categories.

1. Dominance and control: Riccardo Mutti

Italian conductor Riccardo Mutti has an eye for detail and is very meticulous in managing the orchestra both during rehearsals and performances. All the nuances of the game are concentrated in his gestures: he notifies the musicians of the changing tone long before they have to rebuild. Mutti controls every step of his subordinates, no one and nothing remains without his attention.

Total control is due to the fact that the conductor himself feels pressure from the top management: the board of directors or the ever-present spirit of the great composer. Such a leader is always subject to condemnation from the ruthless super-ego.

The dominant leader is unhappy. His subordinates respect him, but do not love him. This was especially clearly demonstrated in the example of Mutti. There was a conflict between him and the top management of the Milan opera house La Scala. The conductor outlined his demands to his superiors, and if they were not met, he threatened to leave the theater. He hoped that the orchestra would take his side, but the musicians declared a loss of confidence in the leader. Mutti had to resign.

In your opinion, this conductor's stand is a throne? For me, this is a desert island where loneliness reigns.

Riccardo Mutti

Despite this, Riccardo Mutti is considered one of the greatest conductors of the 20th century. Itai Talgam says that at seminars on personnel management, the majority of students said that they would not want such a manager. But to the question: “Is his leadership effective? Can he force his subordinates to do their jobs?” - Almost everyone answered in the affirmative.

A dominant leader does not believe in the ability of employees to self-organize. He takes full responsibility for the result, but demands unquestioning obedience.

When it works

This tactic is valid if there are problems with discipline in the team. The author gives an example from Mutti's biography and talks about his experience working with the Israel Philharmonic Orchestra. This is a wonderful team, but its style of work was formed at the intersection of European, Mediterranean and Middle Eastern cultures. The diversity of traditions led to a lack of formal discipline within the orchestra.

At that moment, when Mutti's baton froze in the air in anticipation of the first notes, one of the musicians decided to move his chair. There was a creak. The conductor stopped and said: “Gentlemen, I don’t see the words ‘creaking of a chair’ in my score.” From that moment on, only music sounded in the hall.

When it doesn't work

In all other cases, and especially when the work of employees is related to. Mutti's management style eliminates the possibility of mistakes, which often lead to new discoveries.

2. The Godfather: Arturo Toscanini

Star conductor Arturo Toscanini showed maximum participation in the life of the orchestra at rehearsals and on stage. He did not mince words and scolded the musicians for mistakes. Toscanini became famous not only for his talent as a conductor, but also for his professional temper.

Toscanini took every failure of his subordinates to heart, because the mistake of one is the mistake of everyone, especially the conductor. He was demanding of others, but no more than of himself: he came to rehearsals in advance and did not ask for privileges. Each musician understood that the conductor was sincerely concerned about the result, and was not offended by insults for inaccurate playing.

Toscanini demanded full dedication from the musicians and expected impeccable performance. He believed in their talent and was focused at concerts. It was clear how proud he was of his “family” after a successful performance.

An important motivator for employees of such a team is the desire to work well “for their father.” Such leaders are loved and respected.

When it works

In cases where the team is ready to accept the three basic principles of family culture: stability, empathy and mutual support. It is also important that the manager has authority, is competent in his field, has professional achievements. Such a leader should be treated like a father, so he must be smarter and more experienced than his subordinates.

This management principle is often resorted to when the team is going through difficult times. During the period of strengthening of trade unions, large companies introduce slogans such as “We are one family!” Management strives to improve working conditions, provides employees with the opportunity to receive additional education, conducts corporate events and provides subordinates with a social package. All this is aimed at motivating employees to work for the sake of the bosses who care about them.

When it doesn't work

In some modern organizations, where relationships between people are sometimes more important than formal hierarchy. In such groups, deep emotional involvement is not implied.

Such a management principle requires not only the authority and competence of the leader, but also the ability of subordinates to meet the expectations placed on them. Itay Talgam talks about his experience studying with conductor Mendy Rodan. He demanded a lot from the student and perceived his every failure as a personal defeat. This pressure, coupled with abuse, depressed the author. He realized that such a teacher would help him get a diploma, but would not cultivate a creative personality in him.

3. According to instructions: Richard Strauss

The author says that many managers present at his seminars were only amused by Strauss’s behavior on stage. Visitors chose him as a potential leader only on the basis that with such a boss they wouldn’t have to bother themselves much with their work. The conductor's eyelids are lowered, he himself looks distant and only occasionally glances at one or another section of the orchestra.

This conductor does not aim to inspire, he only restrains the orchestra. But if you take a closer look, it becomes clear what is the basis of such a management principle - following instructions. Strauss is not focused on the musicians, but on the notes, even if the orchestra is playing his work. By this, he shows how important it is to strictly follow the rules and clearly perform the work, without allowing one’s own interpretations.

It is worth understanding that the lack of interpretations and discoveries in music is not a bad thing. This approach allows us to reveal the structure of the work and play it as the author intended.

Such a leader trusts his subordinates, requires them to follow instructions and believes that they can comply with them. This attitude flatters and motivates employees, and they gain self-confidence. The main disadvantage of the approach is that no one knows what will happen if a situation arises that is not specified in the instructions.

When it works

A similar management principle works in different cases. Sometimes it is as comfortable as possible for calm professionals who are accustomed to working according to the letter of the law. Sometimes providing employees with mandatory instructions is simply necessary, for example, when interacting with different groups of subordinates.

The author gives an example of his experience working with the orchestra and rock band Natasha’s Friends. The problem arose because the band members arrived at the end of the second hour of a three-hour rehearsal. They were confident that nothing would prevent them from devoting the rest of the day to music, without thinking about the fact that orchestra rehearsals are subject to stricter time frames.

When it doesn't work

The principle of management based on following instructions does not work where creativity and the creation of new ideas should be encouraged. Like absolute obedience to the leader, following instructions implies the absence of mistakes, leading to new discoveries. It can also deprive employees of their professional enthusiasm.

The author gives an example from the biography of conductor Leonard Bernstein. The Israeli Philharmonic Orchestra, under his direction, rehearsed the finale of Mahler's symphony. When the conductor gave the signal for the brass to enter, there was silence in response. Bernstein looked up: some of the musicians had left. The fact is that the end of the rehearsal was scheduled for 13:00. It was 13:04 on the clock.

4. Guru: Herbert von Karajan

Maestro Herbert von Karajan hardly opens his eyes on stage and does not look at the musicians. He only expects his subordinates to magically consider his wishes. This was preceded by preliminary work: the conductor carefully explained the nuances of the game during rehearsals.

The Guru did not specify a time frame for the musicians or set a rhythm; he only listened carefully and conveyed the softness and depth of sound to the orchestra. The musicians were perfect for each other. They became interdependent conductors themselves and over and over again improved their skills in playing together.

Such an approach speaks of the leader’s arrogance: he acts bypassing accepted postulates and is always confident of success. At the same time, team members depend much more on each other than on the instructions of management. They have the power to directly influence the results of work. They are entrusted with additional responsibility, so being in such a team can be a psychologically difficult test for some. This management style is similar to Mutti dominance in that the leader is also unavailable for dialogue and imposes his vision of the organization on his subordinates.

When it works

When the work of a team is related to the creativity of employees, for example in the field of art. American artist Sol LeWitt hired young artists (several thousand in total), explained the concepts and gave some guidance. After which the subordinates set off to create without Levitt’s control. He was interested in the result, not submission in the process. A reasonable and wise leader, he understood that joint creativity only enriches the project. This is what made him the most exhibited artist in the world: throughout his life he held more than 500 solo exhibitions.

When it doesn't work

In each team, the appropriateness of this management principle depends on many individual factors. This approach often leads to failure, which is why, for example, Cadbury & Schweppes created a code corporate governance Cadbury, which describes procedures designed to protect the company from excessive managerial ego and convey important information to all participants in the process.

The author also tells an instructive story from his own experience. He wanted to start his work with the Tel Aviv Symphony Orchestra with a big innovation. Itai Talgam divided the string section into quartets and placed the winds between them. He suggested that this way each of the musicians could feel like a soloist. The experiment was a failure: the participants were unable to maintain communication while being far away from each other, so they performed extremely poorly.

5. Leader Dance: Carlos Klaiber

Carlos Kleiber dances on stage: he stretches out his arms, jumps, bends and sways from side to side. At other times, he leads the orchestra with just his fingertips, and at other times he simply stands and listens to the musicians. On stage, the conductor shares joy and multiplies it. He has a clear vision of the form and leads the musicians, but does this not as a leader, but as a solo dancer. He constantly requires subordinates to participate in interpretations and does not burden his instructions with details.

Such a leader manages processes, not people. It provides subordinates with space to introduce innovations and encourages them to create on their own. Employees share power and responsibility with the leader. In such a team, a mistake can be easily corrected and even transformed into something new. “Dancing” managers value ambitious employees, preferring them to those who are able to conscientiously carry out their work according to instructions.

When it works

A similar principle applies when an ordinary employee may have more relevant information than the boss. As an example, the author cites his experience working with counter-terrorism agencies. An agent in the field must be able to make decisions independently, sometimes violating direct orders from command, because he has the most complete and up-to-date knowledge of the situation.

When it doesn't work

When employees are not interested in the fate of the company. The author also claims that such an approach cannot be artificially imposed. This will only work if you are able to sincerely rejoice in the success of your employees and the results of their work.

6. Finding Meaning: Leonard Bernstein

The secret of Leonard Bernstein's interaction with the orchestra is revealed not on stage, but off it. The conductor did not want to separate emotions, life experience and aspirations from music. For each of the musicians, Bernstein was not only a leader, but also a friend. He invited not a professional, but a person to creativity: in his orchestras, music is performed, listened to and composed primarily by individuals, and only then by subordinates.

Bernstein performed for the musicians main question: "For what?" This was the point: he did not force people to play, but made it so that the person himself wanted to play. Everyone had their own answer to Bernstein’s question, but everyone equally felt involved in the common cause.

When it works

A dialogue between management and employees and giving their activities meaning will benefit any organization where the work of team members is not reduced to a set of similar actions. An important condition in this case is that employees must respect the leader and consider him competent.

When it doesn't work

Itai Talgam talks about a situation where he tried to apply Bernstein's method, but met only misunderstanding from his subordinates. The reason was that many of the musicians of the Tel Aviv Symphony Orchestra were much older and did not know him at all. The first rehearsal did not go very well. “Something is wrong,” Talgam told the orchestra. - I just don’t know what. Tempo, intonation, something else? What do you think? What can be fixed? One of the elderly musicians stood up and said: “Where we came from, the conductor did not ask us what to do. He knew what to do."

In the book “The Ignorant Maestro,” Itai Talgam not only talks about the management principles of great conductors, but also reveals three important qualities effective leader: ignorance, giving meaning to voids and motivational listening. The author talks not only about what a leader should be, but also about the role of subordinates in work communications. Universal principle there is no control, everyone effective leader produces it independently. And you can learn something and adopt some techniques from the six great conductors who are written about in this book.