Who want to be a millionaire? 10/21/17. Questions / answers.
Program "Who wants to be a millionaire?"
Questions and answers.
Dmitry Ulyanov and Alexander Rappoport
Fireproof Amount: 200,000 rubles.
1. 500 rubles
What is a person who does nothing called?
A. festive
b. idle
C. jubilee
D. solemn
2. 1000 rubles
What do they say about a person with bad intentions: "Holds ...?"
A. mouth shut
b. stone in the bosom
C. gunpowder dry
D. nose in tobacco
3. 2000 rubles
What do they say about the breakdown of a device?
A. ran
B. crawled
C. suffered
D. flew
4. 3000 rubles
How does the name of the song of the beat quartet "Secret" - "Vagabond Blues ..." end?
D. dogs
In which former republic of the USSR, the currency is not the euro?
5. 5000 rubles
C. Kazakhstan
D. Estonia
6. 10 000 rubles
What play did Lope de Vega write?
A. "Tutor of Rhetoric"
b. "Dance teacher"
C. "Vocal teacher"
D. "Physical Education Teacher"
7. 15 000 rubles
How did the students call the professor in the film “Operation Y and Other Adventures of Shurik”?
A. burdock
B. Hogweed
D. Thistle
8. 25 000 rubles
Who has a monument erected in front of the Theater of the Russian Army in Moscow?
A. Kutuzov
C. Suvorov
9. 50 000 rubles
What was the name of the gunboat that fought alongside the Varyag cruiser against the Japanese squadron?
A. "Japanese"
b. "Korean"
C. "Chinese"
D. "Russian"
10. 100 000 rubles
What did Joseph Brodsky not advise to do in one of the poems?
A. open window
B. put the kettle on
C. leave the room
11. 200 000 rubles
What did the centurion constantly wear as a symbol of his power?
A. Turtle shell bracelet
B. wide black belt
C. vine stick
D. lance with flag
12. 400 000 rubles
In which city in 1960 did the USSR national team become the European football champion?
A. in Paris
B. in Madrid
D. in London
Winning - 200,000 rubles.
Vitaly Eliseev and Sergey Puskepalis
Fireproof Amount: 200 000 rubles
1. 500 rubles
How to finish the proverb: "The spool is small ..."?
A. yes remote
B. yes strong
C. yes dear
D. yes smelly
2. 1000 rubles
What did Matthias Rust plant near the Kremlin?
B. spot on cap
C. airplane
D. potatoes
3. 2000 rubles
What is the name of George Danelia's film?
A. Winter Biathlon
b. "Autumn marathon"
C. Spring Triathlon
D. "Summer Regatta"
4. 3000 rubles
Which of these is not a confectionery?
A. meringues
b. manti
C. chak-chak
D. gozinaki
5. 5000 rubles
What is the most disrespectful nickname given to police officers?
B. patricians
C. pharaohs
6. 10 000 rubles
Who doesn't have horns?
A. at the ocelot
B. in deer
C. giraffe
D. goitered gazelle
7. 15 000 rubles
What Moscow building is higher than a hundred meters?
A. Ivan the Great Bell Tower
B. monument to Peter I
C. Troitskaya Tower of the Kremlin
D. Cathedral of Christ the Savior
8. 25 000 rubles
Which country has never won the European Football Championship?
b. Belgium
D. Portugal
9. 50 000 rubles
What name did Veniamin Kaverin come up with for the sailboat, and not Jules Verne?
A. Forward
B. "Duncan"
C. "Holy Mary"
D. Pilgrim
10. 100 000 rubles
What is the fort mentioned in the old expression "walking the fert"?
A. army rank
B. the old name of the queen
C. letter of the alphabet
D. last name of the mayor
11. 200 000 rubles
What is the surname of the Russian general in the James Bond film A View to a Kill?
b. Gogol
C. Dostoevsky
Winning - 0 rubles.
Sati Casanova and Andrey Grigoriev-Apollonov
Fireproof Amount: 400,000 rubles.
1. 500 rubles
What, according to the well-known phraseological unit, can cause rabies?
A. fat
2. 1000 rubles
What is the name of the railway line that branches off the main track?
C. branch
3, the website says. 2000 rubles
What do those invited to the buffet most often do without?
A. no snacks
b. no chairs
C. without plugs
d. no shoes
4. 3000 rubles
What is not meant to be flown?
A. helicopter
B. quadcopter
C. hang glider
D. omnibus
5. 5000 rubles
Who were the girlfriends from the poem "Tamara and I" by Agnia Barto?
A. flower girls
B. cooks
C. nurses
D. swimmers
6. 10 000 rubles
Who competes in the White Rook Tournament?
A. shipbuilders
b. young chess players
C. yachtsmen
D. ice sculpture masters
7. 15 000 rubles
What is the programmer's slang for obscure characters resulting from an encoding failure?
A. gorillas
B. peacocks
C. cockroach
D. krakozyabry
8. 25 000 rubles
What is the name of the main assembly of the vacuum cleaner?
A. compressor
b. carburetor
C. transfer case
D. combustion chamber
9. 50 000 rubles
Which of the following marine life is a fish?
A. spiny lobster
B. squid
C. cuttlefish
D. sea Horse
10. 100 000 rubles
What was located in the middle of Lubyanka Square before the installation of a monument to Dzerzhinsky there?
A. fountain
B. monument to General Skobelev
C. flower bed
d. church
11. 200 000 rubles
What was different about the First Symphony Ensemble, created in Moscow in 1922
A. the musicians played while standing
B. played without notes
C. there was no conductor
D. the musicians were self-taught
Winning - 0 rubles.
The boundary between noise and music is subjective: people who love classical music call pop music noise, and vice versa - those who love light music perceive academic works as incomprehensible noise.
If we imagine both types of sounds on a plane, then the musical sound, the tone, will look like a strictly periodic oscillation, and the noise will look like chaotic. In nature, however, noise and sound are side by side; only man classifies them.
Closer to the 19th century, in the era of romanticism, noise sounds began to take root in European classical music as musical colors. By the beginning of the 20th century, when the existing musical language had come to a standstill, innovative artists saw noise as an opportunity for modern man to communicate with the outside world. In the environment of Russian futurism, ideas arose to introduce, on the one hand, music into production (in such a way that it had a stimulating effect on workers), and on the other hand, machines into music (creating, for example, symphonies based on the sounds of factories). From the mid-1920s, even among schoolchildren, pioneers, noise orchestras became very popular, where the whole surrounding life sounded.
In the early 1930s, with the advent of sound films, experiments with noise appeared in cinema. At the same time, experimental music appears in the West, primarily associated with the names of John Cage, Pierre Schaeffer, Edgard Varèse, reflecting a lot on the theme of noise. Continuing after the war in the Mecca of modern avant-garde artists - German Darmstadt, these experiments even led to a kind of taboo on traditional (in the everyday sense) musical sounds: they began to extract any sounds from instruments, except for the actual musical ones. So, the movement of the bow across the string is replaced by the movement of the bow along the string, or the bow itself is replaced by a piece of foam; various parts of the instrument are used to extract various kinds of noise, and so on.
The distinction between tools and non-tools began to blur, and the whole world became a kind of tool. Any sound (including noise) for the musician has become simply a means of expression.
Abstract
We come across many stereotypes about classical music.
Myth #1: Classics are the pinnacle of music. According to this myth, European classical music is the pinnacle of the evolution of musical art. In fact, in addition to the European one, there are several other great classical musical traditions in parallel: Iranian, Arabic, Chinese classics, which have not changed for a long time.
Myth #2: Classics are recorded once and for all. The existence of musical notation, as it were, implies that the music is finally fixed and can be easily reproduced at any time. In fact, musical notation gives only conditional indications, and only by understanding well the many other circumstances of creating music can a musician reproduce it adequately. Therefore, listeners of classical music go to listen not to the work itself, but to its interpretation. Otherwise, there would be no difference between a school student and a famous maestro.
Myth #3: Classics should be listened to in a concert hall. This tradition is only about two hundred years old, but it is already dying. When she was really alive, most of the music was played by people for themselves. Later, music lovers began to form societies, hire orchestras and build concert halls. This is how the philharmonic appeared Philharmonic- (from the Greek phileo - "I love" and harmonia - "harmony, music")..
Myth #4: Classics are hard to understand. The division of music into “serious” and “light” by the middle of the 20th century led to the idea that academic music cannot be frivolous, and the listener should be tuned in to listening to something sublime. In fact, there are also frivolous things in academic music.
Myth #5: Listening to classical music requires special skills. It is understood that the performers do not allow a single false note, and the listeners must have some absolute pitch. In fact, absolute pitch is just a kind of memory, the ability to remember the pitches of sounds. Another kind of musical ear is relative ear, when a person remembers the intervals between notes; it's just a skill that develops through practice.
Myth #6: All classics are masterpieces of great composers. In reality, it happens that a masterpiece does not belong to a great composer at all, and the work of a great composer, on the contrary, is rather weak. It is customary to attribute all the most outstanding and innovative to composers who have become great. For example, Bach is credited with inventing and introducing the so-called equal temperament and modern keyboard fingering. In fact, this is not the case, and in his time Bach was considered an old-fashioned composer. If we confine ourselves in music only to masterpieces, then it will be impossible to understand how a masterpiece differs from a non-masterpiece and why it is a masterpiece. A simple modern listener is unlikely to distinguish Mozart from Salieri.
Abstract
The idea of reconstructing forgotten music and generally forgotten culture is a modernist idea. In the XVI-XVII centuries there was no such thing as early music. So, the opera went on, as a rule, for several performances, after which a new one was written. True, if you dig into the documents of the past, you can find indications that some musicians thought that it was possible to play music written before on instruments that were contemporary to these works. But in general, the history of the discovery of early music began in 1901, when the first concert society of ancient musical instruments was founded.
In the 20th century, there was even a fashion for fakes to the music of the Baroque era. This music itself was revealed gradually. So, Vivaldi became famous only
in the 20s of the XX century.
In the 1960s, the trend of authentic performance began to develop: its leaders - Gustav Leonhardt, Nikolaus Arnoncourt, the Keuyken brothers - put forward the thesis that music should be performed on the instruments for which it was written, and in accordance with the rules of that era, when the music was composed. They began to study theoretical works, treatises, author's manuscripts with characteristic features of the record. And so you take the text, take the instrument that, say, Mozart played, and the composer's language begins to come to life: the instrument itself dictates how to pronounce the Mozart text.
Gradually, the authentic movement spreads to almost all music, not so much ancient, but already classical: Beethoven, Tchaikovsky, Mahler. In order not to disturb the internal balance of the music, they began to perform it with such compositions and on those instruments for which it was created, thus gradually taking away the repertoire from the traditional symphony orchestra.
Abstract
It seems that an orchestra must have a conductor, just as a car must have a driver. However, the conductor in the orchestra appeared only in the 19th century. It can be considered that the era of conducting as a separate profession began only with Beethoven's symphonic music.
Naturally, in any ensemble there was always one leader or several (usually the first violin or harpsichordist), and for the time being there was no need for a separate person armed with an inaudible instrument in the form of a stick. But gradually the orchestras began to grow - the number of participants in the concert began to number in the hundreds. At the same time, in the era of romanticism, the cult of the hero appeared, who rises above the crowd. So the figure, which was originally assigned a technical role, received the exclusive right to interpretation. In general, all symphonic music of romanticism is arranged in such a way that this form of music-making turns out to be convenient and logical.
However, a symphony orchestra without a conductor is still possible. This was the First Symphony Ensemble, or Persimfans. It was formed in Moscow in 1922 and existed for more than ten years. The author of the idea was Lev Moiseevich Tseitlin, an outstanding violinist - under his authority, musicians from various orchestras and theaters gathered and gave their first concert.
Persimfans developed a system for how a group without a leader could play a score together: firstly, a special way of seating the orchestra players on the stage - in a circle, partly with their backs to the viewer. Secondly, the conventions that marked key places in the scores. Sixteen rehearsals were spent on the very first concert, and then, with the improvement of the method of work, they became less and less, and gradually there were about six of them for each program.
Persimfans took symphonic music beyond the philharmonic venues and performed it, for example, in the workshops of factories - this was an innovative idea in the spirit of that time. He worked on the principle of a chamber ensemble: all participants in the process were equal, although there was an asset responsible for choosing a work, preliminary studying the score and developing a performance concept.
Persimfans published his own magazine with details about the music he performed, handed out questionnaires in which he asked the opinion of the audience - it was a whole musical organization with its own philosophy and style. In 1927, it was Persimfans who brought Prokofiev to the Soviet Union. Lunacharsky awarded the ensemble with the title of the honored collective of the republic, and the government allocated a cash prize - the first and last support from the state.
In 1929, when Lunacharsky was dismissed, the party patrons of the ensemble began to lose their posts one by one: it turned out that the party members who sympathized with Persimfans turned out to be Stalin's opponents on the issue of land. In 1930, all these people were removed from leadership, then the famous trials began and it became clear that the end of Persimfans was not far off.
In addition, the working conditions of the musicians at their main places gradually became such that they simply did not have time to rehearse and eventually decided to disperse.
In 2008, the activities of Persimfans were resumed in Moscow.
Jazz vinyl cover
The history of Soviet jazz begins in the early 1920s, more precisely since 1922, when the first Soviet jazz ensemble, or, as it was then called, "jazz band", was organized in Moscow. The first performance of the ensemble took place in October 1922 in The Great Hall of the State Institute of Theater Arts and it went very well. Shortly before this, the poet Valentin Parnakh published several articles on jazz and, in fact, was the first to bring it to public attention.
Much has been done to popularize jazz in these years. Leonid Varpakhovsky(in Moscow) and Julius Meitus(in Kharkov), who organized jazz ensembles. Jazz in our country in those years took its first steps. And therefore, it is not surprising that the repertoire of these ensembles was of a random nature and focused mainly on the music heard from American ensembles touring in the USSR in 1926 under the direction of Frank Withers (with Bechet and Smith), and the Negro operetta "Chocolate Boys" under the direction of Sam Wooding. The Sam Wooding Ensemble was one of the most popular Harlem ensembles in those years, often touring Europe; the performance aroused great interest among Soviet listeners. A heated controversy about jazz began, which continued for a long time.
Orchestra conducted by Leopold Teplitsky. Poster
Creation in 1927 of an orchestra under the direction of Alexandra Tsfasman ("AMA Jazz") in Moscow and almost simultaneously with the orchestra conducted by Leopold Teplitsky in Leningrad, marked the beginning of professional jazz in the USSR. The repertoire of these orchestras consisted mainly of works by foreign authors, jazz transcriptions of works by classical composers, blues and spirituals. Teplitsky, sent by the People's Commissariat for Education to New York and Philadelphia to study music for silent films, returned to Leningrad greatly impressed by Paul Whiteman's orchestra. The style of P. Whiteman's orchestra, outwardly brilliant and polished, although not genuine jazz, nevertheless played a significant role in its development. The style of this orchestra went down in history under the name "symphojazz".
In 1929, another jazz orchestra was created in Leningrad under the direction of George Landsberg And Boris Krupyshev ("Leningrad jazz chapel"), which includes in the program of concert performances, in addition to foreign pieces, works by young Soviet authors who worked in the field of jazz - Alexei Zhivotov, Genrikh Terpilovsky, Nikolay Minkh and others. Their style was distinguished by the seriousness of aesthetic aspirations and some academicism. "Jazz Chapel" lasted until 1935 and made a significant contribution to the development of Soviet jazz.
In March 1929, the premiere took place "TEA Jazz" organized by the actor of the Leningrad Theater of Satire Leonid Utyosov and trumpeter Yakov Skomorovsky. "TEA Jazz", i.e. theatrical jazz, built his performances according to a certain scenario, including pop numbers, songs, dances, sketches, etc. in the program. It was for this group that he began to write music Isaac Dunayevsky. Although the orchestra's repertoire was based on the song, jazz instrumental works were often included in its programs. New orchestras have appeared - Ya. Skomorovsky, G. Landsberg, A. Tsfasman, and A. Varlamova, (created in 1933 and performed for some time with the Negro singer Celestina Kool) - performed mainly instrumental music close to jazz. The main place in the repertoire of A. Varlamov's orchestra was occupied by his own arrangements, made with great skill. The orchestra began to record on records. At that time, A. Varlamov's orchestra was the jazz orchestra that came closest to understanding the true jazz style.
During these years, the repertoire of jazz orchestras gradually expanded with works by Soviet composers. Orchestras will memorize jazz suites D. Shostakovich, A. Zhivotov, jazz rhapsodies by I. Dunayevsky, plays by G. Terpilovsky, G. Landsberg, N. Minkh, Y. Khait, A. Varlamov, L. Schwartz, A. Tsfasman, L. Diderikhs, Dm. and Dan. Pokrassov and others. In 1938, in The State Jazz Orchestra is being created in Moscow(artistic director M. Blanter, chief conductor V. Knushevitsky). At the same time, the orchestra of the All-Union Radio Committee was organized, which at first was led by A. Varlamov, and then A. Tsfasman. Soviet jazz music began to play regularly on the radio. In 1940, a similar team was created N. Minhom on the Leningrad radio. In the same period, jazz groups appeared in the Union republics. Recordings of some orchestras of this period have been preserved, by which we can judge the artistic and performing level of the leading Soviet jazz orchestras (led by L. Utesov, A. Varlamov, J. Skomorovsky, A. Tsfasman, V. Knushevitsky and etc.). This level is quite high, and now we can appreciate the ingenuity and freshness of thinking of the composers and arrangers, the virtuosity of the soloists.
In the late 1930s, jazz orchestras also appeared in the Union republics: G State Jazz Orchestra of Azerbaijan (conductor T. Kuliyev), State Jazz Orchestra of Armenia (conductor A. Ayvazyan), State Jazz Orchestra of Georgia (conductor R. Gabichvadze).
Leningrad Jazz Chapel. Poster
Among the instrumental themes of this section, a number of the most popular and widely performed melodies of the 1930s by jazz bands are presented. Unfortunately, much of what was created in the 1920s could not be found due to the lack of musical material. Recordings of Soviet jazz music on records began to be made in the late 1920s, so one can only get an idea of the jazz music of that time from eyewitness accounts.
The earliest examples of the themes included in this section are from the repertoire Leningrad Jazz Chapel(penned by G. Landsberg). This "Wind from the Neva" N. Minha(1929), written in the tradition of early swing with Dixieland influences and "Jazz Fever" G. Terpilovsky(1929) - a piece whose character and sequence of sections of the form are influenced by the "ragtime" style.
The traditions of Soviet jazz of the 30s are largely reflected in the music A. Tsfasman And A. Varlamova. It is important to emphasize that the then still young authors, along with an accurate sense of the style of the genre and following the most valuable that had been accumulated in jazz music in general by that time, clearly showed those individual traits that contributed to the formation and development of early Soviet jazz. Their instrumental pieces seem to be typical examples of Soviet jazz music of the 1920s and 1930s, although, of course, they are not limited to them.
Claviers and songbooks were the source of song material for this section. If we recall the history of jazz in the 30s, then not only in our country, but also in other countries, the thematic material for jazz compositions was mainly vocal music. It is enough to remember the topics George Gershwin, Jerome Kern and Kurt Weill- they were both songs and the basis for many instrumental jazz arrangements and improvisations. In our country, even the term "song jazz" appeared, with which TEA-jazz by L. Utyosov with music by I. Dunayevsky. Dunayevsky's popular songs were soon picked up by Soviet jazz orchestras - many instrumental paraphrases, fantasies, arrangements appeared; in jazz ensembles, musicians improvised on these themes. It is to the number of such themes that the melodies included in this collection belong. Song melodies equally well-known in instrumental jazz music are themes L. Knpper, M. Blanter, Y. Hayt, V. Pushkov and songs specially written for jazz A. Tsfasman and A. Varlamov.
Performance of the State Jazz of the RSFSR conducted by Leonid Utyosov on Sverdlov Square in Moscow on May 9, 1945
During the Great Patriotic War, Soviet musical art actively contributed to the mobilization of the spiritual forces of the people for the victory over fascism. Soviet jazz and pop music, as part of Soviet musical culture, also throughout the war years, with its major, life-affirming art, instilled optimism, strengthened morale at the front and in the rear, and contributed to unshakable confidence in defeating the enemy.
From the very first days of the war, musicians are included in front-line life. Jazz orchestras prepare their new programs in the shortest possible time and go to the front. Variety and jazz orchestras of Alexander Varlamov, Alexander Tsfasman, Viktor Knushevitsky, Boris Karamyshev, Claudia Shulzhenko, Dmitry Pokrass, Leonid Utesov, Isaac Dunayevsky, Boris Rensky, Yuri Lavrentiev, Yakov Skomorovsky, Nikolay Minkh and many others. And how many amateur ensembles and orchestras were organized in military units! During the Great Patriotic War, Soviet jazz gravitated more toward song genres. During this period, many beautiful songs were created. Born during the war years, they still live. The high spiritual spirit of these songs provided them with a long life even after the victorious end of the war. Songs like "Dark night" N. Bogoslovsky, "Evening on the road" V. Solovyov-Sedogo live today not only as works of the song genre, but also as instrumental jazz compositions.
During the war, orchestral works for jazz were created A. Tsfasman, A. Varlamov, A. Ostrovsky and others. Another interesting fact is the appearance during this period of some American jazz compositions in the repertoire of Soviet jazz orchestras. So, in the records of 44 - 45 years. some plays are played D. McHugh, K. Porter, I. Berlin, G. Miller and others. This, of course, had a positive effect on the work of Soviet composers and arrangers working in this genre, especially in the field of instrumentation. It should be noted that during the war years, the “Russian theme” sounded noticeably in American jazz as well. Glenn Miller Orchestra, for example, often performed in concerts "Polyushko-field" And "Dubinushka" in tactfully done handling; Benny Goodman Orchestra- processing fragments of a symphonic fairy tale "Peter and the Wolf" S. Prokofieva, "Intermezzo for Clarinet with Jazz Orchestra" A. Tsfasman and a number of other works by Soviet authors.
Soviet composer Alexander Naumovich Tsfasman (1906-1971)
In the post-war period, further paths for the development of jazz in the USSR gradually began to be determined. The attraction of orchestras to various genres has become more noticeable. Front-line musicians became the leaders in the variety orchestra of the All-Union Radio. He was led V. Knushevitsky, Then there were many recordings of light music written by D. Shostakovich, V. Solovyov-Sedym, M. Blanter, A. Tsfasman, Y. Milyutin, A. Polonsky, A. Arsky, V. Knushevitsky, A. Ayvazyan and etc.
In 1946 Alexander Tsfasman organized a large variety orchestra ( "Symphojazz") at the Hermitage Theatre. Many talented young musicians - graduates of the conservatory - came to this orchestra. Subsequently, they could be seen among the best Soviet instrumentalists.
But jazz, as an improvisational art, naturally needed a creative "climate" of small ensembles - "combos". Therefore, jazz musicians who worked in large variety and symphony orchestras of radio and theaters, in addition to their main work, united with other musicians to play music together. In Moscow, one of these places was a restaurant "Metropol", where an amazingly harmonious jazz ensemble performed (Alexander Rivchun - clarinet, alto and tenor saxophones, Yan Frenkel - violin, Leonid Kaufman and Viktor Andreev - piano, Alexander Rosenwasser - double bass and Sergey Sedykh - drums). The jazz orchestra led by A. Shulman, composed mainly of musicians from the Radio Committee, played an important role in the development of Soviet jazz in those years.
Cinema was another center of jazz music. "Art". The orchestra conducted by Laci Olah, a magnificent virtuoso drummer, performed here. Along with the works of Soviet authors, the music from the film was a success. "Sun Valley Serenade". At that time, many of our orchestras performed it, and any arranger could find a version of the orchestration of melodies from this film (among them N. Minh, A. Tsfasman, E. Geigner and etc.).
There were orchestras and ensembles that performed the jazz repertoire in other cities: in Leningrad, Riga, Tallinn. In 1947, several records were released with recordings of small ensembles. The plays were a great success. "Happy day" A. Tsfasman And "Baby" I. Klyuchinsky. Until now, "Blossoming May" by A. Polonsky is still popular.
In 1949, the first in our country was held in Tallinn. jazz festival. In Leningrad, in the 1950s, an orchestra began its activities, bringing together young jazz musicians, among them G. Golstein, K. Nosov and others. helped the process of differentiation in this genre.
Acquaintance with music in the "be-bop" style influenced the style of a number of ensembles, the nature of improvisations. It was a transitional period from swing thinking to a new style, although swing music ("swing" means as a style) continued to live. Tribute was also paid to more traditional styles: in the mid-50s Vladimir Rubashevsky organized Dixieland in Moscow, which performed jazz classics and works by Soviet composers.
Large orchestras in those years mainly accompanied singers, although their repertoire included virtuosic and lyrical instrumental pieces, some of them of a jazz nature. During this period, the names of young composers, arrangers and conductors were first heard: V. Ludvikovsky, K. Orbelyan, P. Saul, A. Kalvarsky. Among the musicians, members of small jazz groups of the late 40s, early 50s, it is necessary to name saxophonists: Alexander Rivchun, Emil Geigner, Mikhail Yakon, Piro Rustambekov, Vladimir Kudryavtsev, pianists Leonid Kaufman, Evgeny Rokhlin, Alexander Osnovikov, accordionists Evgenia Vystavkin and Vyacheslav Semenov, drummer Boris Matveev.
A major role in the consolidation of creative forces around the genre in the 50s was played by dance music programs, which were created on the All-Union Radio. It was for these programs that they wrote their essays A. Eshpay, A. Babadzhanyan, Y. Frenkel, A. Ostrovsky. A number of themes from these programs have firmly entered the practice of dance and jazz ensembles.
Orchestra conducted by Oleg Lundstrem
In the early 1950s, a p/u jazz orchestra toured Moscow O. Lundstrem. Based at that time in Kazan, the orchestra showed very interesting and promising experiences in composing and performing jazz pieces using folklore ( "Dreams" A. Monasypova, "Tatar samba" A. Klyuchareva). At the end of the 1950s, the orchestra settled in Moscow and became one of the country's leading jazz bands, in which many talented jazz masters worked at various times.
Since the second half of the 1950s, the role of large orchestras in the republics of Transcaucasia - State Variety Orchestra of Azerbaijan conducted by R. Hajiyev, State Variety Orchestra of Georgia "Rero" conducted by K. Pevzner, State Orchestra of Armenia conducted by K. Orbelyan. In the programs of these groups, along with the song, jazz compositions constantly sounded. Among the instrumental topics of this section are works A. Tsfasman, A. Polonsky, O. Lundstrem, A. Eshpay, V. Ludvikovsky, U. Nayssoo, A. Monasypov.
Just as in the 1930s, during this period there were many songs that were not created specifically for jazz, but were performed a lot in jazz ensembles; there were many inventive treatments of these song themes. During this period, the songs of such famous masters as I. Dunayevsky And M. Blanter; the repertoire of jazz bands included songs melodies of the war years - V. Solovyov-Sedogo, N. Bogoslovsky, B. Mokrousov. Post-war song melodies, lyrical and humorous, were also often used for arrangements in large ensembles and for improvisations in "combos". Here it is enough to remember song themes T. Khrennikov, A. Babajanyan, A. Eshpay, V. Muradeli and others. Some of the songs sounded especially good in Dixieland (N. Budashkin and Yu. Milyutin).
Soviet saxophonist and composer Georgy Aramovich Garanyan (1934-2010)
In the late 50s - early 60s. Soviet jazz reached new frontiers.
What is typical for the formation of a new period of Soviet jazz in these years? Attitude towards jazz as a serious form of musical art, a deep study of the foundations of jazz music, close attention to more modern trends in jazz, a growing interest in the folklore of the peoples of our country, mastering the professional skill of playing instruments, comprehending the art of ensemble playing in a large orchestra. And, finally, the most important - young musicians have come to penetrate the secrets of the most complex art of improvisation.
At the end of the 50s, a group of then very young musicians appeared in Moscow, which was called the Golden Eight. It included saxophonists Georgy Garanyan And Alexey Zubov, trumpeter Viktor Zelchenko, trombonist Konstantin Bakholdin, pianist Yuri Rychkov, drummer Alexander Salganik. This group became the basis of the youth orchestra of the Central House of Arts (at first it was led by Boris Figotin, then - Yuri Saulsky), who received a silver medal and the title of laureate at the jazz competition of the VI World Festival of Youth and Students in Moscow. Communication with foreign colleagues was a very important milestone in the development of Soviet jazz. Members of the Central House of Arts Orchestra, like other Moscow musicians, discovered new stylistic horizons for themselves and, probably, this time can be considered the beginning of a new stage in the development of Soviet jazz music. The growth of public interest in jazz was expressed in the creation jazz clubs in Leningrad (1958) and in Moscow (1960) with the active assistance of the city committees of the Komsomol. Soon jazz clubs began to open in other cities of the Soviet Union. These clubs set as their goal the creation of jazz ensembles, performances in lectures, the study of Soviet and foreign jazz music.
Soviet trumpeter and composer German Konstantinovich Lukyanov (b. 1936)
In the early 60s, several interesting youth jazz bands appeared: "Seven Dixieland Boys" And "Jazz Doctor" playing traditional jazz, "Experimental Quintet" A. Liskovich, quartet Y. Vikhareva, quintets V. Rodionova, R. Vilksa and others (Leningrad). In these ensembles, domestic music, arrangements of Soviet songs, and their own compositions are increasingly heard.
In the early 60s. many young people who are fond of jazz have switched from listening to jazz to playing music, sometimes without professional musical training. During this period, many amateur jazz ensembles were born, in which the level of performance lagged behind the level of the repertoire. Probably, this process was natural for that time, but over time, the most talented and inquisitive musicians who decided to become professionals began to separate from this general mass of amateurs. It was during this period that the intuitive process of comprehending jazz was replaced by a purposeful, systematic approach to the subject.
One of the brightest phenomena of the late 50s and early 60s was the “combo” recording, which included young Moscow musicians from the former "Golden Eight" Orchestra of the Central House of Arts. They were joined by a trumpeter who came from Leningrad German Lukyanov and Moscow pianist Boris Rychkov. A series of compositions performed by this line-up became the first professional studio recording of the new wave of Soviet jazz. It is noteworthy that the musicians improvised not only on classical jazz themes, but also on well-known Soviet song themes ( "Dark night", "Lonely Accordion" and etc.).
Here it is not possible to highlight many important aspects and events in the development of Soviet jazz during this period, but it is necessary to dwell on the most important milestones in the development of modern domestic jazz. This is a period of formation, training in Soviet jazz, comprehension of a new style, and it is impossible to imagine it without studying the classical jazz samples of that time. The groups Benny Goodman, Duke Ellington, Willie Ruff - Dwyke Mitchell, Thad Jones - Mel Lewis, Kurt Edelhagen, Michel Legrand, as well as a number of other interesting groups of socialist countries, among them: Orchestra of Gustav Brom(Czechoslovakia), pianist Adam Makovich, ensemble Zbigniew Namyslovsky(Poland), etc.
Jazz Ensemble of Igor Bril. Vinyl disc "Earth Morning". 1978 Cover
As a thematic material for compositions, along with melodies of classical and modern jazz famous Soviet song themes, of course, those that, according to their harmonic plan and intonation-melodic structure, could find an organic implementation in jazz. Among them, of course, are those “evergreen” songs that fed the imagination of jazz musicians many years ago, and those new song themes that arose in these years ( T. Khrennikov, A. Eshpay, A. Fattah, A. Flyarkovsky etc.), a large stock of instrumental themes also appeared; song themes, in addition to their arrangements for big band and combos, are more often interpreted by ensembles of the Dixieland style.
In international jazz practice, instrumental themes during this period appeared much more than ever before.
In our country, jazz works during this period were created by both professional composers and jazz musicians, of whom the most creatively gifted began to increasingly turn to composing music. Among professional composers, in the Union of Soviet Composers, there is an increasing interest in modern forms of jazz and pop music. After the meeting on pop music in 1962, held by the Secretariat of the Union of Composers of the USSR, the role of the pop instrumental music commission of the Moscow composers' organization, which united composers working in this genre, increased. A number of widely performed on the concert stage, recorded on the radio and on records appeared. jazz and symphonic jazz compositions B. Trotsyuk, I. Yakushenko, M. Kazhlaev, V. Rubashevsky, V. Terletsky, Yu. Saulsky, K. Orbelyan, U. Nayssoo, V. Oyakyaer. Many of these authors worked with passion in the style "progressive", "Third Stream" (jazz symphony by B. Trotsyuk, concertos for jazz orchestra by M. Kazhlaev and I. Yakushenko), the work of others was drawn to the combination of jazz writing with the features of a particular national musical tradition ( K. Orbelyan, U. Nayssoo, M. Kazhlaev), others were close to more traditional jazz forms. The themes of some of these compositions were widely used in small improvisational compositions. They are among the topics printed in this section.
The desire for their own creativity arises in many improvising jazz musicians. This natural desire in the 60s, and later in the 70s, was realized in the fact that a lot of Soviet jazz themes. However, only the themes marked by the features of creative individuality (in form, in harmonic-intonational structure or in rhythmic structure) are included in the anthology of domestic jazz themes published in our collection.
In a number of cases, these are topics that in one way or another include elements of folklore, for example, - created in the 60s. Topics A. Tovmasyan, G. Garanyan, G. Lukyanov and others. Among the themes that are guided by the general canonical examples of jazz, but marked by the originality of the author's handwriting, are the themes written in the 60s and 70s. G. Holstein, Yu. Markin, A. Kozlov. N. Levinovsky, I. Bril, B. Frumkin, L. Chizhik, A. Kroll and others. The work of Soviet composers and musicians has significantly intensified due to the revival of concert and festival life in Soviet jazz.
Since the 60s. and to the present in different cities and republics of our country are held jazz festivals. In Moscow, such a festival takes place every two years (since 1978). Jazz weeks are organized in Leningrad, Yaroslavl, Donetsk, Novosibirsk, Tbilisi… In 1967, besides Soviet bands, musicians from Poland, Sweden, the USA, Finland, and Switzerland took part in the Tallinn festival.
In 1962, for the first time on foreign jazz festival left the Soviet ensemble consisting of: A. Kozlov, A. Tovmasyan, N. Gromin, A. Bulanov, A. Egorov, whose performance at the Warsaw Jazz Festival (1962) was a great success. From that moment on, regular performances of our jazz musicians at foreign festivals began, for example, the group of G. Garanyan-N. Gromin (in Prague), "Leningrad Dixieland", big band led by V. Ludvikovsky, led by O. Lundstrem, K. Orbelyan, A. Kroll (in Warsaw and Prague). In the future, starting from the 70s. the geography of performances by Soviet jazz ensembles is expanding. Along with participating in festivals and concerts in the socialist countries, our jazz musicians travel to India (A. Kuznetsov, T. Kurashvili, N. Levinovsky), West Berlin (Arsenal under A. Kozlov), England and Italy ( the trio of V. Ganelin), to France (L. Chizhik), to the FRG (I. Bril), to Holland (G. Lukyanov), to the USA (orchestra led by K-Orbelian).
Alexey Batashev. The book "Soviet Jazz". Cover
Starting in the 60s, then in the 70s and 80s. musical-theoretical thought seeks to analyze and generalize the processes taking place in the genre of jazz music in general and in Soviet jazz in particular. Books on the subject include: "Birth of Jazz", "Blues and the 20th century" W. Konen, Job A. Batasheva "Soviet Jazz", brochure V. Mysovsky and V. Feiertag "Jazz" and a number of others. The development of the genre is also helped by various articles in Soviet music magazines, appearances in newspapers, radio and television programs, and the varied activities of a number of the best jazz clubs in our country.
The professionalization of jazz musicians was greatly facilitated by the introduction of systematic musical education, which was expressed in the opening in 1974 of pop-jazz departments in music schools of the RSFSR and some other republics, and now in a number of higher educational institutions. The first domestic teaching aids in the field of jazz music were created: "Fundamentals of Jazz Improvisation" (I. Bril), "Harmony in Jazz" (Y. Chugunov), "Arrangement" (G. Garanyan), a range of manuals for playing instruments. Along with special educational institutions, studios have appeared that unite jazz lovers; the most famous among them is the "Studio of musical improvisation" at the D / K "Moskvorechye".
Soviet saxophonist and composer Alexei Semyonovich Kozlov (b. 1935)
It is impossible to present this long period of development of Soviet jazz (from 1957 to the present day) as something unambiguous. So, for example, in the 70s. began a period of searching for new means of expression, a new style. Many jazz musicians, both in the USSR and around the world, initially did not accept rock music, which was popular in those years, although later they did not pass by its most interesting features. As a result, some adherents of exclusively jazz thinking began to work in the field of new genre alloys. This process can be traced, in particular, on the example of the activities of the Arsenal ensemble and the work of its leader, a saxophonist and composer Alexey Kozlov striving to combine in his compositions elements of jazz, chamber music and folklore, and recently involving elements of pantomime. Some of them are presented in the collection. The desire to combine jazz style with new trends in its own way manifested itself in creativity N. Levinovsky, I. Bril, L. Chizhik, a number of topics which are also included in the collection. But some musicians kept their commitment to jazz in its most characteristic, pure form, the trends of rock and fusion music touched them to a much lesser extent. Here one could mention a number of our musicians who still perform compositions in the styles of "hard bop", "cool", referring to modal jazz. This is first of all G. Lukyanov with his ensemble "Kadans", adhering to the style he chose many years ago in his work. This - G. Holstein, Yu. Markin, D. Goloshchekin, A. Kuznetsov, M. Okun, V. Sadykov and others. A number of musicians develop in their work and performing activities free jazz style with elements of aleatoric and grotesque theatricalization, are musicians from Lithuania- V. Ganelin. V. Chekasin, P. Vishnyauskas and etc.
In the late 70s and 80s. developed very rapidly national schools of soviet jazz in various regions of our country. This was especially evident at the Moscow Jazz Festival in 1982, dedicated to the 60th anniversary of the formation of the USSR (it was also the year of the 60th anniversary of Soviet jazz). The combination of folklore with modern jazz, especially with its modal forms, turned out to be more organic than attempts to fuse folklore with jazz in earlier jazz styles. Successful searches in this direction were demonstrated by musicians from Transcaucasia, Kazakhstan, Central Asia, the Baltic States, and a number of autonomous republics of the RSFSR. Unfortunately, in this edition it was not possible to present many themes from the compositions created by talented musicians from our republics.
During this period, in different years, the bearers of a good school in the traditions jazz mainstream were and continue to be big bands V. Ludvikovsky, O. Lundstrem, K. Orbelyan, Y. Saulsky, A. Kroll, G. Gachicheladze, A. Kalvarsky, B. Rychkov, G. Rozenberg. Some of them ( orchestras of O. Lundstrem, K. Orbelyan, A. Kroll, G. Rosenberg) are working successfully even now - they give a lot of concerts, participate in jazz festivals, and record on records. Their educational, popularizing role in jazz is hard to overestimate. Large orchestras attract the special attention of composers who have retained many years of fidelity to jazz music: the collection includes themes A. Eshpay, M. Kazhlaeva, I. Yakushenko, A. Mazhukov, V. Dolgov.
In the 70s, a number of the most significant jazz ensembles received the status of professional philharmonic groups. This made it possible to regularly promote the best examples of jazz music.
The commission of pop and jazz instrumental music continues to work actively in the Moscow branch of the Union of Composers of the RSFSR. A number of talented Soviet jazz composers in the 70-80s. accepted as a member of the Union of Soviet Composers, the bureau of this commission takes an active part in organizing Soviet jazz festivals and concerts, in promoting the best examples of jazz music on Central Television and All-Union Radio (for example, the television program "Jazz Panorama").
Persimfans - the first symphony ensemble of the Moscow City Council - a symphony orchestra without a conductor. Honored Collective of the Republic (1927).
Organized in 1922 on the initiative of Professor L. M. Zeitlin of the Moscow Conservatory. Persimfans is the first symphony orchestra in the history of musical art without a conductor. The composition of Persimfans included the best artistic forces of the Bolshoi Theater Orchestra, the progressive part of the professorship and students of the orchestral faculty of the Moscow Conservatory. The work of Persimfans was headed by the Artistic Council, which was elected from among its members.
The basis of the orchestra's activities was the renewal of the methods of symphonic performance, based on the creative activity of the ensemble members. The use of chamber-ensemble methods of rehearsal work was also an innovation (at first by groups, and then by the whole orchestra). In the free creative discussions of the Persimfans participants, common aesthetic attitudes were developed, issues of musical interpretation, the development of instrumental playing technique and ensemble performance were touched upon. This had a great influence on the development of the leading Moscow schools of playing string and wind instruments, contributed to raising the level of orchestral playing.
Weekly subscription concerts of Persimfans (since 1925) with a variety of programs (in which a large place was given to the latest in modern music), in which the soloists were the largest foreign and Soviet artists (J. Szigeti, K. Zecchi, V. S. Horowitz, S. S. Prokofiev, A. B. Goldenweiser, K. N. Igumnov, G. G. Neugauz, M. V. Yudina, V. V. Sofronitsky, M. B. Polyakin, A. V. Nezhdanova, N. A. Obukhova, V. V. Barsova and others), have become an important component of the musical and cultural life of Moscow. Persimfans performed in the largest concert halls, also gave concerts in workers' clubs and houses of culture, at plants and factories, and went on tour to other cities of the Soviet Union.
Following the example of Persimfans, orchestras without a conductor were organized in Leningrad, Kyiv, Kharkov, Voronezh, Tbilisi; similar orchestras arose in some foreign countries (Germany, the USA).
Persimfans played a significant role in familiarizing a wide range of listeners with the treasures of world musical culture. Nevertheless, the idea of an orchestra without a conductor did not justify itself. In 1932 Persimfans ceased to exist. Other orchestras without a conductor, created according to his model, also turned out to be short-lived.
In 1926-29 the magazine Persimfans was published in Moscow.
Literature: Zucker A., Five years of Persimfans, M., 1927.
I. M. Yampolsky
First Symphony Ensemble of the Moscow City Council
symphony orchestra without a conductor. Honored Collective of the Republic (1927). Organized in 1922 on the initiative of Professor L.M. Zeitlin. The composition of Persimfans included orchestra members of the Bolshoi Theater, professors and students of the conservatory. The work of Persimfans was headed by an artistic council from among its members. From 1925 Persimfans gave weekly subscription concerts. Pianists K.N. Igumnov, G.G. Neuhaus, A.B. Goldenweiser, V.V. Sofronitsky, vocalists A.V. Nezhdanova, N.A. Obukhova, I.S. Kozlovsky, as well as foreign performers. Persimfans performed in the largest Moscow concert halls, in workers' clubs and houses of culture, at factories and factories. The Board in 1926-29 published the magazine "Persimfans" with a circulation of 1.7 thousand copies. Ceased to exist in 1932.
Literature: Zukker A., Five years of Persimfans, M., 1927.
Moscow. Encyclopedic reference book. - M.: Great Russian Encyclopedia. 1992 .
See what the "First Symphony Ensemble of the Moscow City Council" is in other dictionaries:
The First Symphony Ensemble of the Moscow City Council, symphony. orchestra without a conductor. Honored Collective of the Republic (1927). Organized in 1922 on the initiative of Professor Mosk. Conservatory L. M. Zeitlin. P. the first in the history of music. lawsuit va symph. orchestra without ... ... Music Encyclopedia
The first symphony ensemble of the Moscow City Council, the Simferopol orchestra without a conductor. Founded in 1922 on the initiative of Professor L. M. Zeitlin of the Moscow Conservatory; existed until 1932. Honored Collective of the Republic (1927). As part of P. ... ... Great Soviet Encyclopedia
- (The First Symphony Ensemble of the Moscow City Council), a symphony orchestra without a conductor. Worked in 1922 32 (organizer L. M. Zeitlin). Honored Collective of the Republic (1927). * * * PERSIMFANS PERSIMFANS (The First Symphony Ensemble of the Moscow City Council), ... ... encyclopedic Dictionary
- (short for the First Symphony Ensemble, also the First Symphony Ensemble of the Moscow City Council) an orchestra that existed in Moscow from 1922 to 1932. A distinctive feature of this orchestra was the absence of a conductor in it. First performance ... ... Wikipedia
- (The First Symphony Ensemble of the Moscow City Council) a symphony orchestra without a conductor. Worked in 1922 32 (organizer L. M. Zeitlin). Honored Collective of the Republic (1927) ... Big Encyclopedic Dictionary
Concert of Persimfans in the Great Hall of the Conservatory. Moscow. Persimfans The first symphony ensemble, a symphony orchestra without a conductor. Honored Collective of the Republic (1927). Organized in 1922 on the initiative of Professor L.M. Zeitlin. Part… … Moscow (encyclopedia)
