The meaning of the word "good" TopicViii: Types and types of choirs

Gregorian Church Choir

Perm Music College Choir

Most often, the choir includes four choral parts: sopranos, altos, tenors, basses. But the number of parts is, in principle, not limited, since each of these main parts can be divided into several relatively independent parts (this phenomenon among musicians is called division): in Vasily Titov’s partes concerts there are 12 or more choral parts; "Stabat Mater" by Krzysztof Penderecki is written for a triple choir of 4 voices each (a total of 12 choral parts).

The choir can sing with or without instruments. Singing without accompaniment is called a cappella singing. Instrumental accompaniment can include almost any instrument, one or more, or an entire orchestra. As a rule, during choir rehearsals, in the process of learning a piece written for a choir and orchestra, the orchestra is temporarily replaced by a piano; The piano is also used as an auxiliary instrument when learning choral works a cappella.

Story

Some of the first singing groups were ancient Greek choirs, used during tragedies. But unlike modern dramaturgy and in the theater he himself was not a character, but played the role of public opinion, which determined the choice of other characters. The ancient Greek choir always sang in one voice, either unaccompanied or accompanied by a kithara, which also played in unison with the choir.

Early Christianity adopted the ancient tradition, and until the 10th–12th centuries, choirs sang only in unison or octave. Then began the division of votes into low and high and the emergence of different parties for them. Until XV (and in church hymn- until the 17th century) the choir consisted only of men (with the exception of choirs of nuns).

Types of choirs

Under the name choir type understand the characteristics of the performing group by component groups singing voices. It is known that singing voices are divided into three groups - women's, men's and children's. Thus, a choir that combines the voices of one group is called homogeneous, and a choir that has combinations of female (or children's) and male voices or singing voices from all groups is called mixed. In performing practice, four types of choirs are common: women's, men's, children's, mixed.

• mixed choir (the most common type of choir) - consists of female and male voices. Women's voices consists of soprano and alto parts, male voices make up the tenor and bass parts. Within each part there is usually a division into first (higher) and second (lower) voices: sopranos I and II, altos I and II, tenors I and II, basses I and II;
• boys and youth choir- consists of the same four main parts as the mixed one, but the soprano part is performed by boys called treble voices, the alto part is performed by low boy voices; the tenor and bass parts in such a choir, as well as in a mixed one, are performed by men;
• male choir- consists of tenors and basses, with each part divided into two voices: first (high) and second (low) tenors and first and second basses. The part of the first tenors can be expanded with countertenor singers singing (in falsetto) an even higher part, tessitura located outside the normal male vocal range;
• women's choir- consists of sopranos and altos, with each part divided into two voices: first and second sopranos and first and second altos;
• children's choir- consists of two parts: sopranos (trebles) and altos, sometimes of three - sopranos (trebles) I and II, and altos; Other options are also possible.

The minimum number of singers in one choir is 3 people.

From the point of view of singing style, there are:

• academic choirs- singing in an academic manner. Academic style of singing is based on principles and criteria musical creativity and performances developed by professional musical culture and the traditions of centuries-old experience of opera and chamber genres;
• folk choirs- singing in a folk manner. Genre characteristics Russian folk choirs are: reliance on the local or regional tradition of everyday folk singing; use of natural register sound of voices; subvocal polyphonic singing of the song as the basis of choral polyphony.

Types of choral singing

Based on the number of participants there are:

• vocal and choral ensemble- from 12 to 20 participants;
• chamber choirs- from 20 to 30-50 participants;
• middle choirs- from 40 to 60-70 participants;
• large choirs- from 70 to 120 participants;
• combined choirs- up to 1000 participants, gathered for a period of time from different groups. Such compositions have the status of “happening performance” and do not actually belong to the performing arts, since they represent rather a propaganda and educational direction.

Choirs can have different statuses, for example, professional, amateur (amateur), church and educational choirs.

see also

Notes

Literature

• Anisimov A. I. Conductor-choirmaster. Creative and methodological notes.- L.: “Music”, 1976.- 160 p.
• Asafiev B.V. About choral art: Sat. articles / Comp. and comment. A. Pavlova-Arbenina.- L.: Music, 1980.- 216 p.
• Vinogradov K. Work on diction in the choir. - M.: Muzyka, 1967.
• Dmitrevskaya K. Russian Soviet choral music. Vol. 1M.: Soviet composer, 1974.
• Dmitrevsky G. Choral studies and choir management. - Muzgiz, 1957.
• Evgrafov, Yu. A. Elementary theory of manual choir control. - M.: Music, 1995
• Egorov, A. A. Theory and practice of working with a choir / A. A. Egorov. - L.; M.: Gosmuizdat, 1951.

From floor-length arafans, kokoshniks and song art. Russian folk choirs with the title “academic” - as recognition highest level stagecraft. Read more about the path of the “populists” at big stage- Natalya Letnikova.

Kuban Cossack Choir

200 years of history. The songs of the Cossacks are either a horse march or a walking sortie to “Marusya, one, two, three...” with a valiant whistle. 1811 - the year the first one was created choir group in Russia. Alive historical monument carried through the centuries Kuban history and singing traditions of the Cossack army. At the origins were the spiritual educator of Kuban, Archpriest Kirill Rossinsky and regent Grigory Grechinsky. Since the middle of the 19th century, the group not only participated in divine services, but also gave secular concerts in the spirit of reckless Cossack freemen and, according to Yesenin, “merry melancholy.”

Choir named after Mitrofan Pyatnitsky

A team that has proudly called itself “peasant” for a century now. And let them perform on stage today professional artists, and not the usual vociferous Great Russian peasants from Ryazan, Voronezh and other provinces - the choir represents folk song in amazing harmony and beauty. Every performance causes admiration, just like a hundred years ago. The first concert of the peasant choir took place in the hall of the Noble Assembly. The audience, including Rachmaninov, Chaliapin, Bunin, left the performance shocked.

Northern Folk Choir

A simple rural teacher Antonina Kolotilova lived in Veliky Ustyug. She gathered folk song lovers for handicrafts. On a February evening they sewed linen for orphanage: “The even, soft light falling from the lightning lamp created a special coziness. And outside the window the February bad weather was raging, the wind whistled in the chimney, rattled the boards on the roof, threw snow flakes at the window. This discrepancy between the warmth of a cozy room and the howling of a snow blizzard made my soul a little sad. And suddenly a song began to sound, sad, drawn-out...” This is how the northern chant sounds - 90 years. Already from the stage.

Ryazan Folk Choir named after Evgeniy Popov

Yesenin's songs. In the homeland of the main singer of the Russian land, his poems are sung. Melodic, piercing, exciting. Where White birch- either a tree or a girl, frozen on the high bank of the Oka. And the poplar is certainly “silver and bright.” A choir was created based on a rural folklore ensemble the village of Bolshaya Zhuravinka, which has been performing since 1932. Ryazan choir lucky. The leader of the group, Evgeny Popov, himself wrote music for the poems of his fellow countryman, who had an amazing sense of beauty. They sing these songs as if they are talking about their lives. Warm and gentle.

Siberian folk choir

Choir, ballet, orchestra, children's studio. The Siberian choir is multifaceted and in tune with the frosty wind. Concert program“The Coachman's Tale” is based on musical, song and choreographic material from the Siberian region, like many of the group’s stage sketches. The creativity of Siberians has been seen in 50 countries around the world - from Germany and Belgium to Mongolia and Korea. What they live about is what they sing about. First in Siberia, and then throughout the country. What happened with Nikolai Kudrin’s song “Bread is the Head of Everything,” which was first performed by the Siberian Choir.

Voronezh Russian Folk Choir named after Konstantin Massalinov

Songs in the front line in those difficult days when, it would seem, there is no time for creativity at all. The Voronezh choir appeared in the workers' village of Anna at the height of the Great Patriotic War- in 1943. The first to hear the songs of the new band were in military units. First big concert- with tears in his eyes - he passed through Voronezh liberated from the Germans. The repertoire includes lyrical songs and ditties that are known and loved in Russia. Including thanks to the most famous soloist of the Voronezh choir - Maria Mordasova.

Volga Folk Choir named after Pyotr Miloslavov

“A steppe wind walks across the stage of the Chatelet Theater and brings us the aroma of original songs and dances,”- wrote the French newspaper L’Umanite in 1958. Samara town introduced the Volga region's song heritage to the French. The performer is the Volga Folk Choir, created by the decision of the Government of the RSFSR in 1952 by Pyotr Miloslavov. Unhurried and mental life along the banks of the great Volga and on stage. Ekaterina Shavrina began her creative career in the team. The song “Snow White Cherry” was performed for the first time by the Volga Choir.

Omsk Folk Choir

Bear with a balalaika. The emblem of the famous team is well known both in Russia and abroad. “Love and pride of the Siberian land,” as critics dubbed the group on one of their foreign trips. “The Omsk Folk Choir cannot only be called a restorer and custodian of old folk songs. He himself is a living embodiment folk art our days"- wrote British The Daily Telegraph. The repertoire is based on Siberian songs recorded by the founder of the group, Elena Kalugina, half a century ago and bright pictures from life. For example, the suite “Winter Siberian Fun”.

Ural Folk Choir

Performances at the fronts and in hospitals. The Urals not only provided the country with metal, but also raised morale with whirlwind dances and round dances, the richest folklore material of the Ural land. The Sverdlovsk Philharmonic brought together amateur groups from the surrounding villages of Izmodenovo, Pokrovskoye, Katarach, and Laya. “Our genre is alive”, - they say in the team today. And preserving this life is considered the main task. Like the famous Ural “Seven”. “Drobushki” and “barabushki” have been on stage for 70 years. Not a dance, but a dance. Eager and daring.

Orenburg Folk Choir

Down scarf as part stage costume. Fluffy lace intertwined with folk songs and in a round dance - as part of the life of the Orenburg Cossacks. The team was created in 1958 to preserve the unique culture and rituals that exist “on the edge of vast Rus', along the banks of the Urals.” Every performance is like a performance. They perform not only the songs that the people composed. Even at the dances literary basis. “When the Cossacks Cry” is a choreographic composition based on a story by Mikhail Sholokhov from the life of village residents. However, every song or dance has its own story.

This article about the choir as a singing group. See also other meanings of this word.

Gregorian Church Choir

Perm Music College Choir

Most often, the choir includes four choral parts: sopranos, altos, tenors, basses. But the number of parts is, in principle, not limited, since each of these main parts can be divided into several relatively independent parts (this phenomenon among musicians is called division): in Vasily Titov’s partes concerts there are 12 or more choral parts; Stabat Mater by Krzysztof Penderecki is written for a triple choir of 16 voices each (for a total of 48 choral parts).

The choir can sing with or without instruments. Singing without accompaniment is called a cappella singing. Instrumental accompaniment can include almost any instrument, one or more, or an entire orchestra. As a rule, during choir rehearsals, in the process of learning a piece written for a choir and orchestra, the orchestra is temporarily replaced by the piano; The piano is also used as an auxiliary instrument when learning choral works a cappella.

Types of choirs

Depending on the gender and age of the singers, choirs can be classified as follows:

• mixed choir(the most common type of choir) - consists of female and male voices. Women's voices make up the soprano and alto parts, while men's voices make up the tenor and bass parts. Within each part there is usually a division into first (higher) and second (lower) voices: sopranos I and II, altos I and II, tenors I and II, basses I and II;
• boys and youth choir- consists of the same four main parts as the mixed one, but the soprano part is performed by boys - treblets, the alto part - countertenor - by young men singing in falsetto; the tenor and bass parts in such a choir, as well as in a mixed one, are performed by men;
• male choir- consists of tenors and basses, with each part divided into two voices: first (high) and second (low) tenors and first and second basses. The part of the first tenors can be expanded by countertenor singers singing (in falsetto) an even higher part, tessitura located outside the normal male vocal range;
• women's choir- consists of sopranos and altos, with each part divided into two voices: first and second sopranos and first and second altos;
• children's choir- consists of two parts: sopranos (trebles) and altos, sometimes of three - sopranos (trebles) I and II, and altos; Other options are also possible.

The minimum number of singers in one choir is 3 people.

From the point of view of singing style, there are:

• academic choirs- singing in an academic manner, based on the standard of European academic (opera and concert) singing tone;
• folk choirs- singing in a folk manner.

Types of choirs

Based on the number of participants there are:

• small choirs- from 12 to 20 participants;
• chamber choirs- from 12 to 30-50 participants;
• middle choirs- from 40 to 60-70 participants;
• large choirs- from 70 to 120 participants;
• combined choirs- up to 1000 participants, gathered temporarily from different teams. Such compositions have the status of “happening performance” and do not actually belong to the performing arts, since they represent rather a propaganda and educational direction.

Choirs can have different statuses, such as professional, amateur, church and educational choirs.

Notes

Literature

• Anisimov A. I. Conductor-choirmaster. Creative and methodological notes.- L.: “Music”, 1976.- 160 p.
• Asafiev B.V. About choral art: Sat. articles / Comp. and comment. A. Pavlova-Arbenina.- L.: Music, 1980.- 216 p.
• Vinogradov K. Work on diction in the choir. - M.: Muzyka, 1967.
• Dmitrevskaya K. Russian Soviet choral music. Vol. 1.- M.: Soviet Composer, 1974.
• Dmitrevsky G. Choral studies and choir management. - Muzgiz, 1957.
• Evgrafov, Yu.A. Elementary theory of manual choir control. - M.: Music, 1995
• Egorov, A. A. Theory and practice of working with a choir / A. A. Egorov. - L.; M.: Gosmuizdat, 1951.
• Zhivov, V.L. Performing analysis of a choral work. - M.: Music, 1987.
• Zhivov V.L. Choral performance: Theory. Methodology. Practice. - M.: Vlados, 2003.
• Ilyin V. Essays on the history of Russian choral culture. - M.: Soviet Composer, 1985.
• Kazachkov S. A. Choir conductor - artist and teacher / Kazan. state Conservatory. - Kazan, 1998. - 308 p.
• Kazachkov S. A. From lesson to concert. - Kazan: Kazan University Publishing House, 1990. - 343 p.
• Lokshin D. Wonderful Russian choirs and their conductors. - M.: Muzgiz, 1963.
• Nikolskaya-Beregovskaya K. F. Russian vocal and choir school: From antiquity to the 21st century - M.: Vlados, 2003. ISBN 5-691-01077-8
• In memory of A.V. Sveshnikov. Collection of articles ed. S. Kalinina. - M.: Music, 1998.
• In memory of N. M. Danilin. Letters, memories, documents. - M.: Soviet Composer, 1987.
• Bird K. Masters of choral art at the Moscow Conservatory. - M.: Muzyka, 1970.
• Sivizyanov A. The problem of muscular freedom of the choir conductor. - M.: Muzyka, 1983. - 55 p.
• Romanovsky N.V. Choral Dictionary. - L.: Music, 1980
• Samarin V. Choral dance. - M.: Music, 2011.
• Sokolov V. Work with the choir. - M.: Music, 1967.
• Teneta-Barteneva L.B. Lebedev Konstantin Mikhailovich. (Essay on life and creative path outstanding choral conductor and teacher). - M.: 4th branch of Voenizdat, 2002
• Chesnokov P. G.. Choir and its management. A manual for choral conductors. Ed. 3rd - M., 1961.
• Shamina L.V. Work with an amateur choir. - M.: Muzyka, 1981. - 174 p.

Links

• // Encyclopedic Dictionary of Brockhaus and Efron: In 86 volumes (82 volumes and 4 additional ones). - St. Petersburg. , 1890-1907.
• Academic Big Choir of the Russian State University for the Humanities. One of the oldest choirs in Russia

see also

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Synonyms:

See what “Choir” is in other dictionaries:

- yohor... Russian word stress

choir- chorus, a, plural h. s, ov and s, ov ... Russian spelling dictionary

ferret- ferret/... Morphemic-spelling dictionary

Noun, m., used. compare often Morphology: (no) what? choir, what? horu, (see) what? choir, what? in chorus, about what? about the choir; pl. What? choirs and choirs, (no) what? choirs and choirs, why? choirs and choirs, (I see) what? choirs and choirs, what? choirs and choirs, about what? O… … Dictionary Dmitrieva

CHORUS, chorus, plural. choirs and (obsolete) choirs, male (Greek choros). 1. In ancient Greek drama, a group that performed in a performance with singing or dancing (source). 2. transfer About someone, something, constantly staying together, in one group (poet.). "Frisky maiden... ... Ushakov's Explanatory Dictionary

choir- a, m. choeur m. , gr. choros. 1. A group of singers performing a vocal piece together; singing group. BAS 1. The 14 Vignerons who received medals sang a chorus of gratitude. 1833. ABT 6 298. 2. military, obsolete. Orchestra. And thundered together with... ... Historical Dictionary Gallicisms of the Russian language

- (Greek choros). Connecting several singers with in different voices, or instruments, for performing a polyphonic work. 2) in ancient comedies and tragedies, a certain number of singers representing the people. 3) in an organ: of the same kind... ... Dictionary foreign words Russian language

This article is about a music label called "CHORUS". See also other meanings of this word. “CHOR” (HOR, CHORUS Records, CHORUS Music) is a Russian label, music publishing house, specializing in rock music, independent music and the work of Egor... ... Wikipedia

FERRET- FERRET, polecat (fur), the skin of a small predatory animal, a ferret. In the USSR, there are 2 types of ferrets: the black, or forest, ferret, common in the forest belt of the European part, and the white, or steppe, ferret, common in the forest-steppe, steppe and partly... ... Concise encyclopedia household

chorus- chorus in good condition choir. good rating Dictionary: S. Fadeev. Dictionary of abbreviations of the modern Russian language. St. Petersburg: Politekhnika, 1997. 527 p. chorus I wanted to deceive, they figured out the grade in the student record book. education and science... Dictionary of abbreviations and abbreviations

Male, Lat. a meeting of singers for harmonious singing. Male, female, mixed choir. | A gathering of selected musicians to make music together. | Most performed by voices, music on full number votes. Bad good boy. A crowd of 300 votes. Is yours… … Dahl's Explanatory Dictionary

Hora- a unique practice focused on strengthening endurance in all its manifestations: mental, intellectual and physical.

In our world, endurance is one of the key qualities that allow you to achieve success. To meet the requirements of a modern constantly changing society, and not to be among the outsiders, a person must work efficiently and hard. But without stamina, this is often a path to burnout. Using the practice of the Choir allows you to do the same amount of work, but at the same time be in active physical, intellectual and mental state, minimizing your fatigue. Particular attention in Chora is paid to mental and intellectual endurance, after all, in modern world Most people are engaged in work that does not require physical effort.

In the process, Chora allows for constant support, pumping and strengthening of the psychophysical and evolutionary natural potential.

The key principle of Choir practice is combination of pressure and resistance, similar to the harmony inherent in the Eastern philosophical principle of “yin-yang”. This is manifested in every exercise - the interaction of masculine and feminine principles, strength and pliability. This principle can also be justified from the point of view of the Western concept of evolution - species are forced to resist and adapt to pressure natural environment This is how life develops.

From the point of view of physical practice, pressure and resistance promote internal heating, which, when breathing is connected correctly, improves harmonious energy exchange in the body. At the same time, the spiritual and physical are united together: by firmly fixing in an extremely supportive position or plunging into forceful action, a person achieves state of integrity.

Master the Hora level intelligence is impossible- practice plays a key role, and all the work is in it fulfills instinct.

Classes according to the Choir system are held in training mode, each of which lasts from one and a half to two hours. At the same time, the development of sustainable changes and results takes place in comfortable and gradual pace. You can practice Hora both in a group and individually - under the supervision of the leader, which can take into account the characteristics of the practitioner as much as possible and optimize the load. Work using the Hora technique is done in pairs. Doing exercises does not require special sports training, but they can be done only under the supervision of a specialist. You cannot practice Hora on your own.

Advantages The chorus before other methods can be briefly formulated as follows:

• Adaptation to modern man;
• Clarity and pragmatism;
• Naturalness;
• Unity of rest and action;
• Uniqueness;
• Evolutionary potential.

To the basic principles The choirs include:

• Instinctive-evolutionary support;
• Instinctive-evolutionary type of breathing;
• Instinctive-evolutionary concentration of attention.

Except general program classes, in Chora there are modifications, in particular women's program oriented towards sex appeal.

Chora allows you not only to achieve optimal mental state, but also get rid of from a number of diseases. In particular, this practice has proven itself well in the restoration of the spine, allowing the healing process to occur naturally and holistically.

Three) or more people performing the same part.

Most often, the choir includes four choral parts: sopranos, altos, tenors, basses. But the number of parts is, in principle, not limited, since each of these main parts can be divided into several relatively independent parts (this phenomenon among musicians is called division): in Vasily Titov’s partes concerts there are 12 or more choral parts; "Stabat Mater" by Krzysztof Penderecki is written for a triple choir of 4 voices each (a total of 12 choral parts).

The choir can sing with or without instruments. Singing without accompaniment is called a cappella singing. Instrumental accompaniment can include almost any instrument, one or more, or an entire orchestra. As a rule, during choir rehearsals, in the process of learning a piece written for a choir and orchestra, the orchestra is temporarily replaced by the piano; The piano is also used as an auxiliary instrument when learning choral works a cappella.

Story

Some of the first singing groups were ancient Greek choirs, used during tragedies. But unlike modern drama and theater, he himself was not a character, but played the role of public opinion, which determined the choice of other characters. The ancient Greek choir always sang in one voice, either unaccompanied or accompanied by a kithara, which also played in unison with the choir.

Early Christianity adopted the ancient tradition, and until the 10th-12th centuries, choirs sang only in unison or octave. Then began the division of votes into low and high and the emergence of different parties for them. Until the 15th century (and in church chant - until the 17th century), only men were in the choir (with the exception of choirs of nuns).

Types of choirs

Under the name choir type understand the characteristics of the performing group by the constituent groups of singing voices. It is known that singing voices are divided into three groups - women's, men's and children's. Thus, a choir that combines the voices of one group is called homogeneous, and a choir that has combinations of female (or children's) and male voices or singing voices from all groups is called mixed. In performing practice, four types of choirs are common: women's, men's, children's, mixed.

• mixed choir(the most common type of choir) - consists of female and male voices. Women's voices make up the soprano and alto parts, while men's voices make up the tenor and bass parts. Within each part there is usually a division into first (higher) and second (lower) voices: sopranos I and II, altos I and II, tenors I and II, basses I and II;
• boys and youth choir- consists of the same four main parts as the mixed one, but the soprano part is performed by boys called treble voices, the alto part is performed by low boy voices; the tenor and bass parts in such a choir, as well as in a mixed one, are performed by men;
• male choir- consists of tenors and basses, with each part divided into two voices: first (high) and second (low) tenors and first and second basses. The part of the first tenors can be expanded with countertenor singers singing (in falsetto) an even higher part, tessitura located outside the normal male vocal range;
• women's choir- consists of sopranos and altos, with each part divided into two voices: first and second sopranos and first and second altos;
• children's choir- consists of two parts: sopranos (trebles) and altos, sometimes of three - sopranos (trebles) I and II, and altos; Other options are also possible.

The minimum number of singers in one choir is 3 people.

From the point of view of singing style, there are:

• academic choirs- singing in an academic manner. The academic style of singing is based on the principles and criteria of musical creativity and performance, developed by professional musical culture and the traditions of centuries of experience in the opera and chamber genres;
• folk choirs- singing in a folk manner. The genre characteristics of Russian folk choirs are: reliance on the local or regional tradition of everyday folk singing; use of natural register sound of voices; subvocal polyphonic singing of the song as the basis of choral polyphony.

Types of choral singing

Based on the number of participants there are:

• vocal and choral ensemble- from 12 to 20 participants;
• chamber choirs- from 20 to 30-50 participants;
• middle choirs- from 40 to 60-70 participants;
• large choirs- from 70 to 120 participants;
• combined choirs- up to 1000 participants, gathered temporarily from different teams. Such compositions have the status of “happening performance” and do not actually belong to the performing arts, since they represent rather a propaganda and educational direction.

Choirs can have different statuses, for example, professional, amateur (amateur), church and educational choirs.

see also

Write a review about the article "Choir"

Notes

Literature

• Anisimov A. I. Conductor-choirmaster. Creative and methodological notes.- L.: “Music”, 1976.- 160 p.
• Vinogradov K. Work on diction in the choir. - M.: Muzyka, 1967.
• Dmitrevskaya K. Russian Soviet choral music. Vol. 1.- M.: Soviet Composer, 1974.
• Dmitrevsky G. Choral studies and choir management. - Muzgiz, 1957.
• Evgrafov, Yu. A. Elementary theory of manual choir control. - M.: Music, 1995
• Egorov, A. A. Theory and practice of working with a choir / A. A. Egorov. - L.; M.: Gosmuizdat, 1951.
• Zhivov V.L. Choral performance: Theory. Methodology. Practice. - M.: Vlados, 2003.
• Ilyin V. Essays on the history of Russian choral culture. - M.: Soviet Composer, 1985.
• Kazachkov S. A. Choir conductor - artist and teacher / Kazan. state Conservatory. - Kazan, 1998. - 308 p.
• Kazachkov S. A. From lesson to concert. - Kazan: Kazan University Publishing House, 1990. - 343 p.
• Krasnoshchekov V. Questions of choral studies. - M.: Muzyka, 1969.
• Lokshin D. Wonderful Russian choirs and their conductors. - M.: Muzgiz, 1963.
• Nikolskaya-Beregovskaya K. F. Russian vocal and choir school: From antiquity to the 21st century - M.: Vlados, 2003. ISBN 5-691-01077-8
• In memory of A.V. Sveshnikov. Collection of articles ed. S. Kalinina. - M.: Music, 1998.
• In memory of N. M. Danilin. Letters, memories, documents. - M.: Soviet Composer, 1987.
• Pigrov K. Choir leadership. - M.: Muzyka, 1964. - 220 p.
• Bird K. Masters of choral art at the Moscow Conservatory. - M.: Muzyka, 1970.
• Romanovsky N.V. Choral Dictionary. - L.: Music, 1980
• Samarin V. Choral dance. - M.: Music, 2011.
• Sokolov V. Work with the choir. - M.: Music, 1967.
• Teneta-Barteneva L. B. Lebedev Konstantin Mikhailovich. (Essay on the life and creative path of an outstanding choral conductor and teacher). - M.: 4th branch of Voenizdat, 2002
• Shamina L.V. Work with an amateur choir. - M.: Muzyka, 1981. - 174 p.]
• Riemann, Hugo.: CD-ROM / transl. with him. B. P. Jurgenson, add. rus. department - M. : DirectMedia Publishing, 2008.

Links

This article or section contains or external references, but the sources of individual statements remain unclear due to the lack of footnotes. Statements not made may be questioned and removed. You can improve the article by providing more accurate citations to your sources.

Excerpt characterizing the Chorus

Only the recognition of this feeling in him made the people, in such strange ways, from the disgrace of an old man, choose him against the will of the tsar as representatives people's war. And only this feeling brought him to that highest human height from which he, the commander-in-chief, directed all his strength not to kill and exterminate people, but to save and take pity on them.
This simple, modest and therefore truly majestic figure could not fit into that deceitful form of a European hero, ostensibly controlling people, which history had invented.
For a lackey there cannot be a great person, because the lackey has his own concept of greatness.

November 5 was the first day of the so-called Krasnensky battle. Before the evening, when after many disputes and mistakes of generals who went to the wrong place; after sending out adjutants with counter-orders, when it became clear that the enemy was fleeing everywhere and there could not be and would not be a battle, Kutuzov left Krasnoye and went to Dobroye, where the main apartment had been transferred that day.
The day was clear and frosty. Kutuzov, with a huge retinue of generals dissatisfied with him and whispering behind him, rode to Dobroy on his fat white horse. Along the entire road, groups of French prisoners taken that day (seven thousand of them were taken that day) crowded around the fires, warming up. Not far from Dobroye, a huge crowd of ragged, bandaged and wrapped prisoners was buzzing with conversation, standing on the road next to a long row of unharnessed French guns. As the commander-in-chief approached, the conversation fell silent, and all eyes stared at Kutuzov, who, in his white cap with a red band and a cotton overcoat, sitting hunched over his stooped shoulders, was slowly moving along the road. One of the generals reported to Kutuzov where the guns and prisoners were taken.
Kutuzov seemed preoccupied with something and did not hear the general’s words. He squinted his eyes with displeasure and peered carefully and intently at those figures of the prisoners who presented a particularly pitiful appearance. Most of The faces of the French soldiers were disfigured by frostbitten noses and cheeks, and almost all had red, swollen and festering eyes.
One group of Frenchmen stood close to the road, and two soldiers - the face of one of them was covered with sores - was tearing a piece of meat with their hands. raw meat. There was something scary and animalistic in that quick glance that they cast at those passing by, and in that angry expression with which the soldier with the sores, looking at Kutuzov, immediately turned away and continued his work.
Kutuzov looked at these two soldiers carefully for a long time; Wrinkling his face even more, he narrowed his eyes and shook his head thoughtfully. In another place, he noticed a Russian soldier, who, laughing and patting the Frenchman on the shoulder, said something affectionately to him. Kutuzov shook his head again with the same expression.
- What are you saying? What? - he asked the general, who continued to report and drew the commander-in-chief’s attention to the captured French banners that stood in front of the front of the Preobrazhensky regiment.
- Ah, banners! - said Kutuzov, apparently having difficulty tearing himself away from the subject that occupied his thoughts. He looked around absently. Thousands of eyes from all sides, waiting for his word, looked at him.
He stopped in front of the Preobrazhensky Regiment, sighed heavily and closed his eyes. Someone from the retinue waved for the soldiers holding the banners to come up and place their flag poles around the commander-in-chief. Kutuzov was silent for a few seconds and, apparently reluctantly, obeying the necessity of his position, raised his head and began to speak. Crowds of officers surrounded him. He looked carefully around the circle of officers, recognizing some of them.
– Thank you everyone! - he said, turning to the soldiers and again to the officers. In the silence that reigned around him, his slowly spoken words were clearly audible. “I thank everyone for their difficult and faithful service.” The victory is complete, and Russia will not forget you. Glory to you forever! “He paused, looking around.
“Bend him down, bend his head,” he said to the soldier who was holding the French eagle and accidentally lowered it in front of the banner of the Preobrazhensky soldiers. - Lower, lower, that’s it. Hooray! “Guys,” with a quick movement of his chin, turn to the soldiers, he said.
- Hurray rah rah! - thousands of voices roared. While the soldiers were shouting, Kutuzov, bending over the saddle, bowed his head, and his eye lit up with a gentle, as if mocking, shine.
“That’s it, brothers,” he said when the voices fell silent...
And suddenly his voice and expression changed: the commander-in-chief stopped speaking, and a simple man spoke, an old man, it is obvious that he now wanted to tell his comrades the very thing he needed.
There was a movement in the crowd of officers and in the ranks of soldiers to hear more clearly what he would say now.
- Here's what, brothers. I know it’s difficult for you, but what can you do? Be patient; not long left. Let's see the guests out and then rest. The king will not forget you for your service. It’s difficult for you, but you’re still at home; and they - see what they have come to,” he said, pointing to the prisoners. - Worse than the last beggars. While they were strong, we did not feel sorry for ourselves, but now we can feel sorry for them. They are people too. Right, guys?
He looked around him, and in the persistent, respectfully perplexed glances fixed on him, he read sympathy for his words: his face became lighter and lighter from an senile, meek smile, wrinkled like stars in the corners of his lips and eyes. He paused and lowered his head as if in bewilderment.
- And even then, who called them to us? Serves them right, m... and... in g.... - he suddenly said, raising his head. And, swinging his whip, he galloped, for the first time in the entire campaign, away from the joyfully laughing and roaring cheers that upset the ranks of the soldiers.
The words spoken by Kutuzov were hardly understood by the troops. No one would have been able to convey the content of the field marshal’s first solemn and, at the end, innocently old man’s speech; but the heartfelt meaning of this speech was not only understood, but that same, that very feeling of majestic triumph, combined with pity for the enemies and the consciousness of one’s rightness, expressed by this, precisely this old man’s, good-natured curse - this very (feeling lay in the soul of every soldier and was expressed by a joyful cry that did not cease for a long time. When after this one of the generals turned to him with a question about whether the commander-in-chief would order the carriage to arrive, Kutuzov, answering, unexpectedly sobbed, apparently being in great excitement.

November 8th is the last day of the Krasnensky battles; It was already dark when the troops arrived at their overnight camp. The whole day was quiet, frosty, with light, sparse snow falling; By evening it began to become clear. A black purple starry sky could be seen through the snowflakes, and the frost began to intensify.
The musketeer regiment, which left Tarutino in the number of three thousand, now, in the number of nine hundred people, was one of the first to arrive at the appointed place for the night, in a village on the high road. The quartermasters who met the regiment announced that all the huts were occupied by sick and dead Frenchmen, cavalrymen and staff. There was only one hut for the regimental commander.
The regimental commander drove up to his hut. The regiment passed through the village and placed the guns on the goats at the outer huts on the road.
Like a huge, multi-membered animal, the regiment set to work organizing its lair and food. One part of the soldiers scattered, knee-deep in the snow, into the birch forest that was to the right of the village, and immediately the sound of axes, cutlasses, the crackling of breaking branches and cheerful voices were heard in the forest; the other part was busy around the center of the regimental carts and horses, placed in a pile, taking out cauldrons, crackers and giving food to the horses; the third part scattered in the village, setting up headquarters rooms, selecting the dead bodies of the French lying in the huts, and taking away boards, dry firewood and straw from the roofs for fires and wattle fences for protection.
About fifteen soldiers behind the huts, from the edge of the village, with a cheerful cry, were swinging the high fence of the barn, from which the roof had already been removed.
- Well, well, together, lie down! - voices shouted, and in the darkness of the night a huge fence covered with snow swayed with a frosty crack. The lower stakes cracked more and more often, and finally the fence collapsed along with the soldiers pressing on it. There was a loud, crudely joyful cry and laughter.
- Take two at a time! bring the horn here! that's it. Where are you going?
- Well, at once... Stop, guys!.. With a shout!
Everyone fell silent, and a quiet, velvety pleasant voice began to sing a song. At the end of the third stanza, at the same time as the end of the last sound, twenty voices cried out in unison: “Uuuu!” It's coming! Together! Pile on, kids!..” But, despite the united efforts, the fence moved little, and in the established silence one could hear heavy panting.
- Hey you, sixth company! Devils, devils! Help us... we will also come in handy.
Of the sixth company, about twenty people who were going to the village joined those dragging them; and the fence, five fathoms long and a fathom wide, bending, pressing and cutting the shoulders of the puffing soldiers, moved forward along the village street.
- Go, or what... Fall, Eka... What happened? This and that... The funny, ugly curses did not stop.
- What's wrong? – suddenly the commanding voice of a soldier was heard, running towards the carriers.
- Gentlemen are here; in the hut he himself was anal, and you, devils, devils, swearers. I'll! – the sergeant major shouted and hit the first soldier who turned up in the back with a flourish. – Can’t you be quiet?
The soldiers fell silent. The soldier who had been hit by the sergeant-major began, grunting, to wipe his face, which he had torn into blood when he stumbled upon a fence.
- Look, damn, how he fights! My whole face was bleeding,” he said. in a timid whisper when the sergeant-major left.