Before getting acquainted with the various types of concert creativity, it is necessary to emphasize something in common in each of them. The determining factor for each kind of concert creativity will be one of the main types of art - music, words, dance, as well as singing, which is the most common synthetic combination of two types of art - words and music. Let us also note that, as mentioned above, all these types of art necessarily appear before us in synthesis with the art of acting.
At first glance, it is impossible to consider a pianist or a violinist an actor. Art history terminology has so far operated with two concepts - an actor and an artist. The first word from time immemorial denoted the performer of roles in the theater (“actor”), the second - a person who chose the performance of concert works of all kinds and genres as his profession. At the same time, in any kind of concert art, there is always an actor's beginning: the performer (musician, dancer, acrobat) always plays some role, since at this time he turns to thoughts, feelings, actions prescribed for him by the content of the performed work.
Here it is appropriate to recall the evolution of acting creativity. Once upon a time, the acting representation of a person's life took place in very conditional forms. In different eras, the conditionally plastic, conditionally declamatory beginning prevailed. Psychological spiritualization became characteristic of acting much later, when the theater had passed the stages of classicism and romanticism. Realism, which was established in the 19th century as a result of the interest that arose in a detailed study of human life in its social and psychological manifestations, demanded that art reflect reality, corresponding to a new level of its knowledge. The emerging realistic dramaturgy provided for the deepest immersion of the actor in the internal processes of the “life of the human spirit” during its stage embodiment. It could not but happen and there was a qualitative change in the essence of acting. Instead of a conventional, albeit outwardly plausible, depiction of human behavior, the art of embodying the spiritual, inner life of a person arose. The new actor had to be able to reproduce the processes of thinking, all the finest shades of human emotions and, of course, the physical truth of behavior at a level close to the model.
The assertion of realism in literature and music was marked in concert creativity not only by the renewal of the repertoire, but also by a change in the performing style and method. Formal music-making, pompous declamation, empty elegance of dance began to fade into the past. Everything became saturated with deep content. The concept of "singer" was gradually replaced by the concept of "singing actor". Ballerinas and dancers became ballet actors. Reciters and reciters were a thing of the past, they were replaced by storytellers and phrasebooks. The dominance of realism demanded from all performers a different, actor's approach to performance. Even from the performers of instrumental music today we have the right to demand accurate and subtle psychological penetration into the emotional and intellectual essence of the work being performed.
5 - 17 digits
Requirements for qualification in the ranks of the payment.
Higher professional education and at least 5 years of work experience in the profile or secondary vocational education and at least 10 years of work experience in the profile:
15 - 17 category - artists - concert performers - leading stage masters;
13 - 14 categories - artists - concert performers of the highest category.
Higher professional education and at least 3 years of work experience in the profile or secondary vocational education and at least 5 years of work experience in the profile:
10 - 12 categories - artists - concert performers of the first category.
Higher vocational education without presenting requirements for work experience or secondary vocational education and at least 3 years of work experience in the profile:
7 - 9 categories - artists - concert performers of the second category.
General secondary education without presenting requirements for work experience.
5 - 6 categories - artists - concert performers of the auxiliary composition.
Notes.
1. For artists - vocalists (opera and chamber), ballet dancers (soloists) and artists - soloists - instrumentalists, it is recommended to establish wage categories in the maximum amounts for the relevant categories.
2. For artists - concert performers of all genres, one should be guided by the Qualification characteristics of artists of the corresponding genres of theaters, music and dance groups.
named after Tchaikovsky in Moscow is the main stage of our country. Its auditorium can accommodate one and a half thousand seats. Concerts and festivals are held here, Russian and world celebrities perform.
The beginning of the creative path
The Tchaikovsky Grand Concert Hall began its existence in the first decade of the 20th century. At first, several theaters were located in this building in turn. Then the premises were given to V. Meyerhold and his troupe. Legendary productions of this famous director and teacher were staged here: The Inspector General, Mystery Buff, Woe to Wit and many others. In 1932, Vsevolod Emilievich moved to another building. And in the room where the Tchaikovsky Concert Hall is now located, a large-scale reconstruction was carried out. It was completed in 1940. The opening of the hall after restoration coincided with the centenary of the great composer P. I. Tchaikovsky. For this reason, the name of Pyotr Ilyich was given to the renovated concert venue. In the first season, the hall became known throughout the Union. During the difficult war years, concert activity did not stop. Music sounded within these walls even to the sound of air raid sirens. In the basement of the concert hall there was a bomb shelter, where artists and spectators descended during enemy air raids on Moscow. The building was practically not heated. But, despite this, the artists always performed exclusively in concert costumes.
After the end of the Second World War, the hall began to be used for performances not only by musicians working in the academic direction. Drama actors, pop artists, dance groups and foreign performers began to appear on this stage. Since 1962, the International Tchaikovsky Competition has been held in this hall.
Second half of the 20th century
In the 58-59 season. an important event happened. The Tchaikovsky Concert Hall became the owner of a new organ. It was created by Rieger-Kloss, located in Czechoslovakia. In the 70s, it was reconstructed by Russian masters.
At the end of the 20th century, the Tchaikovsky Hall began to be positioned as the most important stage of the Moscow Philharmonic. The number of concerts with each season began to increase and gradually reached about 300 per year. Various festivals, including international ones, began to be held here. Concerts were organized. In addition, performances began to play in the hall.
Century 21
Now the Tchaikovsky Concert Hall is the most famous and prestigious in the country. Major festivals are held here, various projects are being implemented. And the Philharmonic itself is the leading concert organization of our country. The number of projects and various events organized by this cultural institution is increasing every year. Increasingly, artists from other countries come on tour and participate in festivals. Such world celebrities as Alfred Brendle, Patricia Ciofi, Maurizio Pollini and so on perform in the Tchaikovsky Concert Hall. And also give concerts world-famous orchestras: the London Symphony, the Vienna Philharmonic, the Berlin Ensemble "12 Cellists", the Bavarian Radio and many others.
On the stage of the hall. P. I. Tchaikovsky, the best and most famous Russian groups and performers perform, talented debutants get a chance to loudly declare themselves.
Other halls of the Philharmonic
Hall of the Gnessin Institute.
Hall named after S. Rachmaninov.
"Orchestrion".
Concerts
The Tchaikovsky Concert Hall offers its audience various events. From reading children's fairy tales to festivals.
Concerts that you can listen to in the Pyotr Ilyich Tchaikovsky Hall:
- "With love to Russia".
- "Gusli Jazz".
- "All facets of music".
- "From baroque to jazz-rock".
- "Musical Journeys".
- "Saturday Symphony Concerts for Children".
- "The Sunny World of A. Pushkin".
- "Singing shrines of Ancient Russia".
- "Blind Man's Buff, Doll, Leapfrog".
- "Ballerina Enchantress".
- "Classics in Russian".
- "Entertaining lessons in musical literature".
- "International Festival of Actual Music".
And many others.
Artists
The P. I. Tchaikovsky Concert Hall gathered a large team on its stage. It includes orchestras, choirs, ensembles and soloists.
Philharmonic artists:
- "Wolves and Sheep" (ensemble).
- Jazorkestr named after O. Lundstrem.
- Choir named after M.E. Pyatnitsky.
- Oleg Akkuratov.
- Large Symphony Orchestra.
- Alexander Gradsky.
- "Orfarion" (ensemble).
- Academic Symphony Orchestra.
- "Bach Ensemble".
- Daniel Kogan.
- "Soloists of Moscow" (ensemble).
- Choral chapel.
- "Kalinka" (dance ensemble).
- Brass Band of Russia.
- Natalia Gutman.
- Schnittke Orchestra.
Specialization: Concert folk instruments
Qualification: Concert performer. Teacher
What does a concert performer, chamber ensemble artist, orchestra artist, ensemble artist, accompanist, teacher do?
Acts as:
- solo instrumentalist,
- concert performer,
- artist of various types of ensembles,
- musician,
- a teacher of the whole complex of disciplines of a special cycle in professional musical educational institutions within the framework of the chosen specialty.
What can a concert performer do?
- owns a significant solo, chamber-ensemble and orchestral repertoire, including works from different eras, genres and styles;
- is able to present his own performance interpretation,
- possesses stage artistry, skills of work in various theater and concert groups,
- possesses the skills of arranging musical works;
- owns modern methods of pedagogical work in different parts of music education
Where does a concert performer work?
- theatres,
- philharmonic,
- concert organizations,
- creative unions and societies;
- institutions and organizations in the field of culture and art,
- musical education institutions.
Who teaches concert performers?
Training of concert performers of the Department of the Conservatory Faculty:
- departments of the performing faculty:
- Department of Special Piano (Head E. A. Levitan, Professor, Honored Art Worker of the Russian Federation),
- Department of Folk Instruments and Orchestral Conducting (Head V. G. Lebedev, People's Artist of the Russian Federation, Honored Artist of the Russian Federation, full member of the Petrovsky Academy of Sciences and Arts, laureate of the I. Arkhipova Foundation Prize, artistic director and chief conductor of the State Russian Folk Orchestra " Malachite", professor);
Among the teachers are talented musicians, Honored Artists of the Russian Federation, People's and Honored Artists of the Russian Federation, laureates and students of various All-Russian and international competitions:
- N. N. Malygin (Honored Worker of Culture of the Russian Federation, Professor);
- V. I. Lavrishin (Honored Art Worker of the Russian Federation, Professor);
- BF Smirnov (Honored Worker of the Higher School of the Russian Federation, Professor, Doctor of Arts);
- A. Yu. Nechaev (winner of the international competition, associate professor);
- I. I. Shchedrin (Honored Worker of the Higher School of the Russian Federation, Professor, Candidate of Philosophical Sciences)
- V. G. Gerasimov (Honored Artist of the Russian Federation, professor);
- E. A. Bolodurina (Honored Worker of Culture of the Russian Federation, Dean of the Faculty of Music and Education, Professor, Candidate of Pedagogical Sciences);
- B. P. Poteryaev (Honored Worker of Culture of the Russian Federation, Professor);
- V. D. Moroz (Honored Artist of the Russian Federation, Associate Professor)
- T. V. Stadnichenko (Honored Artist of the Russian Federation, Associate Professor);
- M. V. Ivashkov (winner of international competitions and all-Russian competitions, associate professor)
- A. V. Chernov (winner of international competitions, associate professor);
- V. N. Shulga (associate professor);
- T. V. Burnatova (associate professor)
- V. A. Grekhov (associate professor);
- S. V. Koshevoy (Senior Lecturer)
- A. S. Sultanova (Senior Lecturer)
- E. Ya. Lebedeva (Senior Lecturer)
- and others.
What subjects does the future concert performer study?
- special tool;
- orchestra class
- conducting
- ensemble
- performance history
- history and current state of domestic and foreign music,
- art history,
- solfeggio,
- harmony,
- polyphony,
- music pedagogy and psychology,
- music informatics,
- aesthetics
- method of learning to play the instrument,
- special tool,
- accompanist class,
- computer arrangement;
- and much more.
Studying the concert as a special organizational and artistic form, based on the historical development of this phenomenon in the history of social and cultural activities, one should consider the types of concert activities. Tracing the history of the concert, its modification in each time period, we become witnesses of the decomposition of this phenomenon into types and genres. This decomposition is an inevitable process, given the versatility of this stage form and its ability to change according to the socio-cultural needs of the population.
The main features of the concert activity are:
· Genre variety of performed numbers;
the number and popularity of concert participants and the degree of their employment in the temporary space in other places;
type and capacity of the concert venue (philharmonic hall, sports palace, etc.);
time and audience of the concert.
For the first time, a definition of a concert with an indication of its types is given in the third edition of the Great Soviet Encyclopedia “Concert, a public performance of artists according to a specific, pre-compiled program. Types of concert - musical (symphonic, chamber, piano, violin, etc.), literary (artistic reading), variety (light vocal and instrumental music, humorous stories, parodies, circus acts, etc.).
S.S. Klitin offers the following classification of concert programs:
types of concert creativity:
· philharmonic;
· literary;
Variety;
concert genres:
Philharmonic (serious academic concert);
Variety (everything else).
varieties of the concert program (variety concert):
solo concert (one performer)
group concert (many performers, different genre numbers)
theatrical (with elements of theatrical without dramaturgy)
children (especially for children, taking into account the age characteristics of this audience.)
concert - performance (with all dramatic canons)
The division into genres depends on the nature of the repertoire performed in a given concert program, either philharmonic or pop. The assignment of genres to philharmonic or pop genres is directly related to the repertoire being performed.
Philharmonic concerts include:
· Symphonic: concerts of symphony orchestras performing symphonies, cantatas, oratorios, suites, overtures, scenes from musical performances, etc. They can be carried out taking into account soloists - vocalists, instrumentalists, or a choir;
· Chamber: concerts of chamber orchestras or ensembles performing musical works of small forms - sonatas, trios, quartets, quintets, etc. chamber concerts can also be held with the participation of soloists - vocalists or instrumentalists;
· Concerts of choirs, dance groups: choir, chapel, song and dance ensemble, dance ensemble, etc.
· Concerts of brass bands, orchestras or ensembles of folk instruments;
· Concerts of solo performers performing with the classical repertoire: readers - masters of the artistic word, artists - vocalists (opera and chamber), soloists - instrumentalists, ballet soloists. They can be accompanied by accompanists - accompanists, ensembles and orchestras.
· Musical and literary concerts, in concerts in which musical and literary and dramatic works are performed by instrumentalists, vocalists, readers - masters of the artistic word, ballet dancers;
· Concerts - lectures: thematic lectures on the work of composers, writers, outstanding performers, on musical and literary works, accompanied by the performance of relevant works and excerpts from them.
Variety concerts include:
· Concerts of pop symphony and pop orchestras, jazz orchestras and ensembles, pop and instrumental ensembles performing light instrumental music;
· Concerts of vocal, vocal-instrumental and vocal-dance ensembles. Operetta ensembles performing light vocal musical works;
· Concerts of vocalists of musical comedy, variety art and folk song performers;
· Concerts of artists of the conversational genre (actors of drama, puppet theatres, variety art, feuilletonists, coupletists, etc.);
· Theatrical variety performances, as well as concerts of variety groups with a theatrical program (miniature theaters, music halls, ensembles of variety dance, pantomime, ice ballet);
· Concerts of pop-folk bands performing light, entertaining repertoire;
· Concerts of artists of sports and circus, or variety circus genres.
HELL. Zharkov in his book “Social and cultural foundations of variety art: history, theory, technology” speaks about the selection of a variety concert as an independent type of concert and gives a detailed concept and its classification, considering the classification of A.A. Klitina imperfect, this type of concerto according to the method of constructing programs.
"Variety concert" is a kind of result and a qualitative indicator of the activity of a huge team of specialists in the complex process of creating a variety concert, a wide variety of art forms are synthesized, which differ significantly in their artistic language, means of expression. Therefore, a variety concert is an important event in the creative life of many performers, whose actions are completely subject to the same specific laws and patterns.
Variety concert was formed as a concept based on the above terms. A pop concert can be dedicated to one problem, one collision, and the performers are one person or a single team. The internal structure of the concert numbers allows them to easily adapt to different show conditions.
"Variety concert" is one of the types of public performances, in which various types of arts are involved in a certain form and with the help of specific expressive means: music, literature, choreography, theater.
Depending on the content, structure and nature, variety concerts can be divided into the following types: divertissement, thematic, theatrical and reporting.
"Divertissement" (combined) concerts are made up of pop numbers of various genres. They, as a rule, do not have a plot structure, their characteristic features are effectiveness, a diverse composition of participants. The compilation of divertissement variety concert programs, where one number is not directly related to another, is an alternation of genres, styles, scale of numbers, and is determined by the harmony and integrity of the concert.
"Thematic concerts" are built on a single plot basis, timed to coincide with holidays and anniversaries. The leader of such concerts is the link, he carries out the main idea through all the numbers, stringing each piece performed on it. In a thematic concert, all numbers are selected in accordance with the theme. The program is compiled from the ensembles, works available in the repertoire, or new ones are being prepared. Between the numbers in such a concert there should be thematic links of the presenter. Characteristic features: integrity, completeness, synthetic, imagery.
"Theatrical" - a kind of thematic concert with its own specific expressive means. The numbers of the concert are combined into a single whole based on a single plot. Theatrical variety concerts are a synthesis of various genres. These concerts are prepared and dedicated to major events, significant dates, they are part of the solemn meeting, the result of reviews of amateur groups, music holidays, and pop art festivals. A theatrical concert structurally looks like this: a prologue, a theatrical part of the program, which has a script consisting of episodes, and a finale.
"Theatricalization" is a technique based on the use of one or another (or all together) expressive means characteristic of the theater to create a unique, bright, artistic stage image inherent only in this concert. (11, p. 5)
"Concert-meeting" is a public performance of musical works, the content of which is distinguished not only by social significance, but also by a certain political topicality. The purpose of the concert-meeting is to have a mobilizing effect on the audience, emotionally ignite them, call for active action. The specificity of this concert is a combination of performances by masters of professional art and eyewitnesses of exciting events: artists, poets, composers, public figures. Protest songs, political songs, poems, film documents, slides are widely used in the concert-meeting. Political song concerts (zong rallies) can be attributed to this kind of concerts.
"Concert-interview" - is a dialogue with one or more participants in a variety concert.
The specificity of this concert lies primarily in the live communication between the presenter and the performer or author, which activates the interest of the listeners, makes it possible to make them participants in the concert. Preparing a concert-interview has a certain complexity. The host must have the qualities of an interviewer: be able to compose questions and ask them, direct the conversation in the right direction, constantly adjust it depending on the reaction of the audience.
"Monoconcert" - involves the performance of pop works by one performer or group in combination with oral performances, it has much in common with a solo concert. Its specificity lies in the fact that its participants not only perform, but themselves talk about their performing skills, tours, impressions from meetings with authors, directors, performers, from the concert program, which can be drawn up during the performance, taking into account requests and interests. spectators.
The “Requiem Concert” is of a solemn and mourning nature and consists of pop numbers, plotted into a program that includes a ceremony, processions, and performances by participants (for example, the Great Patriotic War). The specificity of this concert is the presence of a certain ritual, the activation of the viewer: a minute of silence, the laying of wreaths and flowers at the monuments of fallen soldiers. The requiem concert requires elements of theatricalization, an organic combination of the "facts" of life and the "facts" of art.
The following historical forms of variety performances can also be attributed to theatrical concerts.
“Review (fr. revue)” - panorama, review, the word is formed from the verb “revoir” - to see again. In the revue, theatricalization is widely used in the presentation and alternation of numbers of different genres. The basis of the performance is a theatrical concert with a striving for plot, for some kind of unity that would unite individual performances. The concert program, in fact, turns into a performance. In the foreground in the review - the brightness of the external form, a demonstration of the mastery of performing sophistication, pomposity. The performance is led by the presenters, who simultaneously comment on the performance and play the role of an entertainer.
The divertissement program is replaced by a review, which employs a large number of participants, the colorful design of the concert is characteristic. There are two types of communication in the revue - with stage partners and with the audience, and the system of communication between the performers and the audience is modified.
A large stage, often several venues require special staging facilities. The spectacle appears as a general plan, and the audience has to disperse their attention; distribute it among multiple objects. Instead of the role of an accomplice (as in other forms of variety art), in the revue the audience becomes, as in the theater, an audience of spectators. Here, techniques for activating the auditorium can be used.
The program of the review is based on a combination of three main elements: variety and circus performances, an extended pair or triple entertainer, and choreographic compositions.
Analyzing the concert as a special organizational and artistic form, it should be emphasized that this “phenomenon of art” has its own historical path, the development and formation of which was influenced by the spiritual needs of people, their interests and needs at a certain time period. Historically, the concert has changed and transformed. Today it acquires a new sound, determined by the ongoing changes in the life of society.
The variety of types and genres of concert programs is an irrefutable proof of the versatility of this form of cultural and leisure activities. This diversity allows you to satisfy the degree of needs of the modern viewer.
The combination of the above factors influenced and was the main one in the formation of the concert as a multifaceted form of cultural and leisure activities.
