The musical art of Belarus was formed on the basis of the national musical culture. And now it continues to develop in line with the preservation of national music, classical tradition, as well as popular styles and trends in the world.
A brief excursion into the history of Belarusian music
In Kievan Rus, and later in Belarus, it was very developed church liturgical music. In the XV century. a local type is formed famous chant"(the main type of ancient Russian liturgical singing. Its name comes from the neumenal signs (banners) used to record it. By the 17th century, it develops partes singing in Orthodox church music. Partes singing- a type of Western Russian polyphonic vocal music, which became widespread in Orthodox worship in the 17th century. and the first half of the 18th century. The number of voices - from 3 to 12, can reach 48. Belarusian musical monuments of that era - collections of works "Polotsk Notebook" and "Chimes".
Among the Belarusian folk instruments, the duda, zhaleika, beep, lyre, violin and cymbals are most widely used.
zhaleika- a wind reed musical instrument, beloved by the Slavic peoples, it has survived to this day in its original form - a wooden, reed or cattail tube with a bell made of horn or birch bark . cattail- high swamp grasses. Zhaleyka Also known as "zhalomeyka", "snot", "squeaker", "flat", "duda", etc.
V. Tropinin "Boy with a pity"
Cymbals- a stringed percussion musical instrument, which is a trapezoidal deck with stretched strings. The sound is produced by striking two wooden sticks or mallets with expanding blades at the ends.
Cymbals
Secular music of the Baroque era was originally played in large noble estates, and from the 17th century. began to develop in Belarusian cities. In the XVII-XVIII centuries. private theaters and chapels of the Polish-Lithuanian magnates Radziwill, Sapieha, Oginsky and others became centers of secular Belarusian musical culture. Among the famous composers of that time are Holland, Vanzhura and others.
The heyday of Belarusian culture and music begins at the end of the 19th century: Belarusian music schools, folk conservatories, theaters are opened. In the second half of the XX century. a new wave of flowering of Belarusian culture and music begins: the works of the famous pianist and composer of the 19th century. A.I. Abramovich are based on Belarusian melodies.
In 1927, the State Symphony Orchestra of the BSSR was founded, in 1930 - the State Folk Orchestra of the BSSR, in 1933. - The Belarusian Opera and Ballet Studio, in 1932 - the Belarusian Conservatory, in 1937 - the Belarusian Philharmonic, in 1938 - the Union of Composers of the BSSR. In 1940, the Belarusian Song and Dance Ensemble was organized under the leadership of G.R. Screens.
The leading musical groups in Belarus at present are the Presidential Orchestra of the Republic of Belarus, the National Orchestra of Symphonic and Variety Music conducted by M. Finberg, the State Academic Symphony Orchestra, the State Academic Choir named after. G. Shirma, National Academic Folk Choir of the Republic of Belarus. G.I. Tsitovich. Of course, it is impossible not to recall such musical groups as the Pure Voice vocal group, the Pesnyary vocal and instrumental ensemble, the Syabry vocal and instrumental ensemble and other popular musical groups, but our article is devoted to classical music, so we we will not develop it.
More than 30 international, republican and regional music festivals are held annually in Belarus: "Belarusian Musical Autumn", "Minsk Spring", the International Music Festival "Golden Hit", a jazz festival, chamber music festivals "Muses of Nesvizh", a festival of ancient and modern music in Polotsk and others. The most famous Belarusian music festival is the "Slavianski Bazaar in Vitebsk".
Napoleon Orda (1807-1883)
Belarusian writer and composer, musician, artist, teacher.
Born in the family estate of Vorotsevichi, Pinsk district, Minsk province (now Ivanovo district, Brest region).
He graduated from school in Svisloch, then entered Vilna University, where he studied mathematics. For participation in the activities of the illegal student society "Zoryane" he was arrested. After the suppression of the Polish uprising, in which he participated, in 1833 he moved to Paris. There he made friends with Adam Mickiewicz, Frederic Chopin. He took composition and piano lessons from him and from Franz Liszt. He also took drawing lessons in the studio of F. Gerard. Traveling in France, Austria, Scotland, Belgium, Holland, Spain, Portugal, North Africa, he painted landscapes, mainly city views.
Napoleon Orda died in Warsaw. According to the will, he was buried in Yanov (now Ivanovo, Brest region) in the family crypt.
Stanislav Moniuszko (1819-1872)
Belarusian and Polish composer, author of songs, operettas, ballets, operas; creator of the Belarusian and Polish national opera, a classic of vocal lyrics.
Born in the Minsk province. His father, Cheslav Moniuszko, captain of the Lithuanian cavalry regiment, ended his military career as an adjutant at the headquarters of Marshal Murat and settled here after Napoleon's Russian campaign.
Music Stanislav Moniuszko studied with his mother. Later he improved his skills in playing the organ in Warsaw, composition in Minsk, and choral conducting in Berlin. Served as organist.
In the early period of creativity he wrote vaudeville, musical comedies, comic operas. Author of orchestral compositions (fantastic overture "Fairy Tale" dedicated to Dargomyzhsky (1848); overtures "Cain" (1856), "Military" (1857) and others).
He wrote more than 15 operas, the opera "Pebbles" is the most famous. The premiere of the opera Rural Idyll (libretto by V. Dunin-Martsinkevich) took place at the Minsk City Theater in February 1852.
Nikolai Ilyich Aladov (1890-1972)
Belarusian Soviet composer, teacher. In 1910 he graduated from the St. Petersburg Conservatory as an external student. He taught at the State Institute of Musical Culture in Moscow.
In Minsk he was one of the organizers of the Belarusian Conservatory, in 1944-1948. was its rector, professor.
During the war years (1941-1944) he taught at the Saratov Conservatory.
N.I. Aladov is one of the founders of the symphonic, chamber-instrumental and chamber-vocal, cantata, choral genres of Belarusian music.
He is the author of the opera Andrei Kostenya (1947), the comic opera Taras on Parnassus (1927), the cantatas Over the Oressa River, etc., ten symphonies and other works. Created vocal cycles based on poems by Belarusian poets Y. Kupala, M. A. Bogdanovich, M. Tank.
Evgeny Karlovich Tikotsky (1893-1970)
Soviet Belarusian composer.
E. K. Tikotsky was born in St. Petersburg in a family with Polish roots.
His musical education was limited to two years of private lessons in piano and music theory, and he taught himself composition. He began composing at the age of 14, consulting a friend who studied at the St. Petersburg Conservatory. At his father's insistence, Tikotsky entered Petrograd University in 1914, where he studied physics and mathematics.
In 1915 he went to the front. After finishing his service, he moved to Bobruisk, where he taught at a music school. By this time, his first contacts with Belarusian folk music, which influenced his compositions, date back. The first major composition is a symphony written using Belarusian folk and revolutionary themes, it became one of the first works in this genre in the history of Belarusian music. Then there were a number of theatrical productions in Minsk, where the composer also moved after some time. Here Tikotsky worked on the radio and was engaged in teaching. In 1939 he wrote one of his most famous works - the opera "Mikhas Podgorny" (one of the first Belarusian operas in history). Another well-known patriotic opera by Tikotsky is Alesya, which was staged in 1944, after the liberation of Minsk from the fascist invaders.
Tikotsky is one of the founders of the Belarusian school of composers. His compositions, created in a classical and romantic manner, are filled with folk motifs. He played an important role in the development of the Belarusian musical culture of the 20th century. In addition to these two operas, he also created the opera Anna Gromova, the operetta The Kitchen of Sanctity, 6 symphonies, a piano trio, a sonata-symphony for piano and other works.
Isaac Isaakovich Luban (1906-1975)
Born in the Mogilev province. He graduated from the Music College in Minsk, composition class. He worked as the artistic director of the Belarusian Radio, in 1937-1941. - Artistic Director of the Song and Dance Ensemble of the Belarusian Philharmonic. Member of the Great Patriotic War. Since 1945 lived in Moscow.
He is the author of the suite "The Border in Songs" (lyrics by P. Brovka, P. Glebka, I. Shapovalov), pieces for cymbals and bayan, songs for the choir, soloists and vocal ensembles, music for drama performances and films (including film The Clock Stopped at Midnight, 1958).
Anatoly Vasilievich Bogatyrev (1913-2003)
Belarusian Soviet composer and teacher, founder of the Belarusian national school of composers, professor.
Born in Vitebsk, graduated from the Belarusian State Conservatory named after A. V. Lunacharsky in 1937. Since 1948 he taught at the Belarusian Academy of Music.
A.V. Bogatyrev is the author of two operas: In the Forests of Polesie (based on the novel by Y. Kolas "Drygva", staged in 1939) and Nadezhda Durova, which was staged in 1946 by the Soviet Opera Ensemble of the All-Russian Theater Society.
Pyotr Petrovich Podkovyrov (1910-1977)
Soviet Belarusian composer. He graduated from the Belarusian State Conservatory in composition, where he taught for many years.
Author of the opera "Pavel Korchagin" (based on the novel "How the Steel Was Tempered" by N. Ostrovsky), the cantata "The Pioneer Bonfire of the World" for soloists, choir and symphony orchestra (lyrics by E. Fireflower, 1951), the cantata "The Ballad of the Four Hostages" (lyrics A. Kuleshova, 1954), 3 symphonies, numerous works for piano, oboe, flute, clarinet. He wrote music for dramatic performances, made adaptations of Belarusian folk songs.
Lev Moiseevich Abeliovich (1912-1985)
Belarusian Soviet composer. He studied with famous composers V. A. Zolotarev and N. Ya. Myaskovsky.
He created 4 symphonies, a concerto for piano and orchestra, a piano cycle "Frescoes", vocals in memory of D. Shostakovich. He is the author of vocal cycles, choirs, songs, romances, music for radio performances. He wrote music to poems by Belarusian poets Y. Kolas, M. Tank, A. Mitskevich, M. Bogdanovich.
Heinrich Matusovich Wagner (1922-2000)
Born in Poland. From 1939 he lived in Minsk. Graduated from the Belarusian State Conservatory. A. V. Lunacharsky (now the Belarusian State Academy of Music) in piano and composition. He worked as an accompanist of the Belarusian Radio, a teacher at the Department of Musical Education at the Minsk Pedagogical Institute.
He created the vocal-symphonic poems "Forever Alive" (1959) and "To the Heroes of Brest" (1975).
He wrote 3 symphonies, concertos with orchestra: for piano (1964, 1977, 1981), for cello (1975), for harpsichord (1982), for violin (1985) and for cymbals with folk instruments orchestra (1985).
Kim Dmitrievich Tesakov (b. 1936)
He graduated from the Gomel Musical College and the Novosibirsk Conservatory (class of composition). In 1966-1968. taught at the Belarusian Conservatory and the Musical College in Minsk. In 1969-1971. was the head of the editorial office of musical literature of the publishing house "Belarus". Since 1972 - a teacher at the secondary specialized music school at the Belarusian Conservatory.
The music of K. Tesakov is characterized by scale, figurative and dramatic generalization, and philosophical depth. He relies in his work on folk song traditions. He is the developer of the original genre of the radio opera (“Crimson Dawn” based on the novels by I. Melezh “People in the Swamp” and “Breath of Thunderstorm”, 1978); Wormwood is a bitter herb based on the novel by A. Osipenko Zhito, 1987).
K. Tesakov is the author of 3 oratorios, 2 cantatas, 2 symphonies, concertos for cymbals and orchestra, works for violin, cello and piano, for clarinet and piano, for oboe and piano, for trumpet and piano, as well as works for choir, cycles romances to the verses of G. Vyatkin, music for 7 dramatic performances, music for films.
Dmitry Bronislavovich Smolsky (b. 1937)
Soviet and Belarusian composer, music teacher.
Born in Minsk in the family of Belarusian musician Bronislav Smolsky. Has been writing music since the age of 12. He graduated from the Belarusian Conservatory in the composition class of A. V. Bogatyryov, where he also completed postgraduate studies. He taught at the Musical College in Mogilev, at the Belarusian Conservatory.
Author of the operas The Gray Legend (1978), Francysk Skaryna (1980), oratorios for the reader, soloists, choir and symphony orchestra My Motherland (1970), 4 symphonies, concertos for pianoforte, cymbals and chamber orchestra, numerous songs , music for performances and films.
Viktor Nikolaevich Kopytko (b. 1956)
Composer and musical figure. A versatile musician, author of operas, symphonic, chamber and choral compositions, music for theater and cinema. A feature of V. Kopytko's work is the synthesis of linguistic principles and compositional techniques from different eras, their generalization in his own individual author's style. His music is heard in concerts and at music festivals around the world.
Born in Minsk in a family of musicians (mother is a professional pianist, father is an amateur). He studied at the eleven-year secondary special music school at the Belarusian State Conservatory, and then at the Leningrad Conservatory. N. A. Rimsky-Korsakov.
The main works of V.N. Kopytko: operas "The Girl Who Stepped on Bread" (opera-parable after G.Kh. Andersen. Libretto by Y. Borisov and V. Kopytko with the participation of V. Kotova (1980-81). Benjamin Britten;
“His Wives” (opera-burlesque based on Antosha Chekhonte and other motives. Libretto by Yu. His Wives"). Dedication: "To my son Daniel" .
Compositions for orchestra: Little Symphony for 15 performers in 5 movements (1985), Playing Chekhov, suite for small symphony orchestra in 5 movements (1987), Adagio for Adolf, piece for chamber orchestra (1989), Three Intermezzos for chamber orchestra or instrumental ensemble (1994, 2002), Promenade, piece for string orchestra with flute solo (2010), Lento per Leni for string orchestra (2010-2011).
In addition, he wrote a huge number of piano pieces, for solo voices and chamber orchestra, chamber instrumental music, chamber vocal music, works for the choir, music for films, cartoons, drama and puppet shows and much more.
Evgeny Alexandrovich Glebov (1929-2000)
Soviet Belarusian composer. From a family of priests. Born in the Smolensk region. From a young age, he was attracted to music. He independently learned to play the mandolin, guitar, balalaika and already in his youth began to compose various musical works (songs, romances, plays). But by profession he was far from music. While studying at the Roslavl Railway College, he led the student choir and orchestra. While working in Mogilev, he made friends with students of the Mogilev Musical College and began to study the basics of music. He tried to enter a music school, but the director, having learned that Glebov did not know music and had never come across a musical literacy, refused due to unsuitability. But, being persistent, he entered the conservatory in Minsk. He studied successfully, although it was difficult for him, including financially.After graduating from the conservatory in 1956, Evgeny Glebov became a teacher of theoretical disciplines at the Minsk Musical College, combining pedagogical and creative activities with the work of the head of the musical department and conductor at the Theater for Young Spectators. Since 1971, he taught a composition class at the Belarusian State Conservatory. Evgeny Glebov trained more than 40 students. His famous students are Leonid Zakhlevny, Yadviga Poplavskaya, Vasily Rainchik, Eduard Khanok, Vyacheslav Kuznetsov, Vladimir Kondrusevich, Dmitry Dolgalev.
E. Glebov worked in various genres, but his symphonic compositions and ballets are best known. The composer's style was formed under the influence of D. D. Shostakovich and, to some extent, the early I. F. Stravinsky. His works are distinguished by deep polyphony, thematic development, and original orchestration. Glebov's opera The Master and Margarita is considered a classic of Belarusian musical literature.
Konstantin Evgenievich Yaskov (b. 1981)
Born in the city of Vetka, Gomel region. Belarusian composer, teacher of musical disciplines at the Belarusian State University of Culture and Arts and the Institute of Modern Knowledge. Previously, he taught at the composition department of the Belarusian State Academy of Music. Organizer of the International Festival of Contemporary Academic Music "Dialogues", one of the founders and chairman of the Association of Young Belarusian Composers.
He received his musical education in piano and composition at the Grodno Musical College.
Author of orchestral works by Prophet, music for 19 strings and viola to Mikhas Bashlakov's poem "Lily on Dark Water" (2006); "Adagio" for symphony orchestra (2007); "Lulla.by" for string orchestra (2010); "Dreams of Zamkavay Gara" for orchestra and cymbals. Author of chamber, choral, vocal works, as well as scientific publications.
It is impossible not to mention in this article such well-known Belarusian composers as Igor Mikhailovich Luchenok, Vladimir Georgievich Mulyavin, Vladimir Vladimirovich Olovnikov, Eduard Semyonovich Khanok, who worked in various musical genres, but mainly and most fruitfully - in song.
The active work of Belarusian composers and musicians began long before the creation of the creative union that united them. In 1919 G. Pukst's songs appeared, E. Tikotsky wrote music in Bobruisk. A few years later, in Mstislavl, amateur singers and musicians put on the first Belarusian opera on a revolutionary theme: "The Emancipation of Labor" by N. Churkin. The 1920s were marked by the beginning of the creative path of N. Aladov, who wrote romances based on Kupala's verses... These people became the pride of the Belarusian musical art. The 1930s were especially fruitful, when in a short time a choir, a philharmonic society, the Belarusian State Conservatory were created in the republic, which managed to make five graduations of performing faculties and two (1937 and 1941) of composing faculties before the war.
The Decree of the Central Committee of the All-Union Communist Party of Bolsheviks "On the restructuring of literary and artistic organizations" (1932) contributed to the rallying of disparate forces, the emergence of creative unions, including the Union of Composers of Belarus.
And it began with a section at the Writers' Union: Protocol No. dated 2.07.1933 "Abstvareni avtanomnaya sektsy kampazitaraў pry Argkamitetse Sayuz pismennikaў. Afarmlenniy sektsyi ўskatsi on comrades Dunts i Lynkov".
In 1934, the I All-Belarusian Conference of Composers took place, in accordance with the decision of which the composer section at St. Petersburg was renamed the Organizing Committee of the Union of Composers of Belarus (since 1938, the Union of Soviet Composers of Belarus). Until 1992, this public organization was part of the Union of Composers of the USSR; since 1999 it has become the Belarusian Union of Composers. As it was written in the Charter: "the creation of the Union of Campaigners is to sadze the creation of high-quality creatives, the creative growth of the campaigners, the creation of material and everyday minds for creative people." All 8 chairmen of the BSC have attached paramount importance to the implementation of these goals throughout its 70-year history.
The first "leader" of the Belarusian composers was the Honored Artist of the BSSR Isaac Lyuban, who back in 1929 created the first song in Belarus on a partisan theme - "The Song of the Dukor Partisans". In the pre-war years, his song "Be healthy, live rich" was widely known. During the Great Patriotic War, Lyuban, like other cultural figures, volunteered for the army, graduated from political instructor courses, and soon fought on the Western Front as a commissar of a rifle battalion. None of the fighters even suspected that their political instructor was the author of a song that everyone knew and loved very well. The composer wanted to write a song about a future victory, although it was still the spring of 1942. There was neither Stalingrad nor the Kursk salient yet, but there was already a great battle near Moscow. Seventeen versions of the texts proposed by fellow soldiers had to be rejected, and only the eighteenth was liked by everyone. The words of the chorus: "Let's drink for the Motherland, let's drink for Stalin!" - knew, without exaggeration, everyone. The co-authors of these poems are a former miner, battalion private Matvey Kosenko and a professional poet, an employee of an army newspaper, Arseniy Tarkovsky. In May 1942, the song "Our Toast" was performed in Moscow at a concert of masters of Belarusian art and was a great success. It was sung by the People's Artist of the USSR Larisa Alexandrovskaya.
The peoples of the Soviet Union got acquainted with Belarusian music even earlier, during the first Decade of Literature and Art of Belarus in Moscow (1940). Operas performed on it: "Mikhas Padgorny" by E. Tikotsky, "Kvetka Shchastsya" by A. Turenkov, "At the Pushchas of Paless" by A. Bogatyrev, the ballet "Salavey" by M. Kroshner became evidence of the high level of the Belarusian Soviet musical culture (A. Bogatyrev received Stalin Prize for his opera). Today it is difficult to imagine that so many major works, one might say, phenomena in the musical life of the republic, were performed in one year. Even earlier, in 1939, they were staged on the stage of the Belarusian Opera House. Speaking of traditions, how can one not remember Vasily Zolotarev, a student of Balakirev and Rimsky-Korsakov, who brought "notes" of the Russian, St. Petersburg school to Belarusian music. His ballets "Prince-Lake", "The Tale of Love", the symphony "Belarus" entered the golden fund of the Belarusian musical culture. He taught Podkovyrov, Olovnikov, Bogatyrev, who later became the second chairman of the board of the Union of Composers. Anatoly Vasilyevich Bogatyrev is the founder of the modern Belarusian school of composers, whose work covers almost all musical genres. Continuing the traditions of classical music, including Russian, he is a deeply national composer. In the difficult war and post-war years, he, heading the union of composers, influenced the formation of many creators with his chamber ensembles, as well as life-affirming choirs, cantatas "Leningraders", "Belarusian partisans".
In 1943, the Union of Composers of Belarus resumed its activities in Moscow, which managed to gather most of the surviving composers in a short time. In 1944, after the liberation of the capital of Belarus, composers, artists of the opera house returned to Minsk. Tikotsky brought the opera "Alesya" ("The Girl from Polissya"), which has become, one might say, the musical symbol of Belarus. He wrote it in Gorky, in a bomb shelter. Minsk was in ruins, the halls, instruments, notes were not preserved, the most valuable things were restored from memory. The union of composers approached its first post-war congress in 1947 with notable success. This year, the first national post-war opera (and the first Belarusian opera on a historical plot) "Kastus Kalinovsky" by D. Lucas was staged.
The famous weekly "musical Wednesdays" began to be held with listening to new compositions, concert activity was resumed. N. Aladov, who replaced A. Bogatyrev as chairman of the board of the Union of Composers in 1949, was educated in St. Petersburg and was one of the organizers and teachers of the Belarusian Conservatory. Author of more than 260 pieces of music, including: the opera "Andrey Kostenya", the musical comedy "Taras on Parnassus". He laid the foundations for the artistic processing of folk songs, many genres of professional musical art.
E.Tikotsky headed the Union of Composers for 13 years (from 1950 to 1963). At this time, the union was replenished with young graduates of the Belarusian State Conservatory. Among them are G.Wagner, Y.Semenyako, E.Glebov, D.Smolsky, I.Luchenok, S.Kortes, G.Surus. The collection and study of folklore records and folk songs is being activated. The works of G. Shirma, G. Tsitovich, L. Mukharinskaya receive recognition. The most important achievements in the genre of vocal music include the creation of the National Anthem of the BSSR (September 1955) by the composer N. Sokolovsky (who became famous for the famous song "Neman") and the author of the text M. Klimkovich.
In subsequent years, the work of E. Tikotsky as the "leaders" of the union was worthily continued by D. Kaminsky, G. Shirma, Yu. Semenyako. The union became a highly professional creative organization (perhaps its only member with an incomplete higher education was Vladimir Mulyavin, an unusually gifted musician and composer, whose entry into the union was unanimously supported both in Minsk and Moscow).
Since 1980, the era of I. Luchenko began in the BSC, who heads it to this day. The Union organizes republican and international music festivals, holds numerous concerts and meetings with listeners, actively participates in the decades of Belarusian art and the Days of Belarusian culture in Russia, Ukraine, Lithuania, Uzbekistan. Numerous commissions work: propaganda of Belarusian, military-patriotic music, musical and aesthetic education of children and youth, musicology and criticism, ethnomusicology and folklore. Musical literature and recordings are published. Composers actively go on creative business trips to collect materials for new works. It became more difficult to carry out all this after "perestroika", when the state could no longer provide the creative union with such support as before.
Today BSK and the Belarusian Republican Youth Union are reviving the best traditions of this long-term friendship. For example, they jointly hold a charity event "Chernobyl Way - the Road of Life". With the support of BSK, the republican center of creative and scientific youth resumes its work. Over the past years, a professional composer school has been created.
Nar. music the lawsuit in Belarus is in contact with the people. Russian music. and Ukrainian people, app. and south. Slavs. Means. a group of old songs is associated with calendar rites that existed among farmers. peoples. Carols, schedrovkas, stoneflies, drag, Yuryev, Trinity, Kupala, stubble, Kosar, autumn songs are widespread. The songs of the family ritual cycle are diverse: wedding, christening, lullabies, lamentations. Round dance, game, dance and comic songs are widely represented. Lyric. songs are divided into genre-thematic groups: love, ballad, Cossack, recruit, soldier, Chumat, songs of peasant freemen. In the development of Belarusian. music Russian folklore played a big role. revolutionary work song 20th century She influenced Belarusian melodics. nar. songs. Some Nar. songs created on the next Belarusian poets (M. Bogdanovich, Ya. Kupala, Ya. Kolas, K. Buylo). At the Sov. power appeared new bunks. songs that develop pre-revolutionary traditions. songs and drawing content from modern. life. Mn. songs created by amateur composers and nar. choir. collectives (choirs of the villages of Bolshoe Podlesye, Ozershchina, Prisynki, etc.). Ancient Nar. Belarusian the songs are basically monophonic, often performed in a heterophonic manner. They are characterized by a wave-like melody of a compressed range with stepwise movement and jumps by a fourth or a fifth, developed ornamentation, rhythmic flexibility, and a variety of performing techniques. The songs are diatonic. The texts are characterized by syllabicity (when singing, there are interstitial vowels that form artificial syllables). The most characteristic are even sizes, various metrics. There are complex and sour beats. Polyphony in folk. song of Belarus began to develop in the 80s. 19th century Main the melody is performed in the lower voice, and in the upper (so-called "eyeliner") - solo improvisation. There are 3-voice consonances. Songs in everyday life are performed without accompaniment, with the exception of comic and ditties, which are sung to the accompaniment of the harmonica (bayan). A number of Belarusian folk songs are used in the works of Russian and Polish classical composers: in Chopin's Grand Fantasy, Glazunov's First Symphony, the operas The Snow Maiden and Mlada by Rimsky-Korsakov, Lithuanian Rhapsody, Three Symphonic Songs by Karlovich, operas Monyushko (a native of Belarus) and others.
Belarusian folk song "You, red viburnum"
Belarus. nar. dance melodies are, as a rule, 2-meter long and are performed at a fast pace. The melody develops through sequences, there are syncopations. For the most part, the dances reflect labor processes ("Lenok", "Bulba"), the relationship of man to the environment ("Blizzard"), a significant place is occupied by plot dances ("Yurochka", "Lyavonikha", "Polka-Yanka").
Among Belarusians. nar. Instruments most common cymbals. In Nar. In everyday life, their sound range does not exceed 1.5 octaves; there is no established scale. Modern reconstructed cymbals - three-octave, chromatic - form the basis of the Belarusian orchestra. nar. tools. Bayans, harmonicas, and the violin are also common; from drums - a tambourine and a small drum; wind - a pipe and a pity. Popular people. instr. ensembles consisting of cymbals, harmonica, tambourine or violin; harmonica, tambourine or violin. These compositions are often joined by a fife and a clarinet. Traditional instrument in Nar. ensembles was nar. cello-basetl, present. time almost disappeared from performing practice. Already from con. 19th century the duda (bagpipe) and lira (lera), which were also exceptionally popular in the past, are also gradually falling out of use.
In the 17th century spiritual cants appear in Belarus. One of the cants, created by a Belarusian. educator Afanasy Filippovich and placed in his "Diariush" (1645-46), was the first example of Belarusian musical notation. melodies (Kyiv notation on a five-line stave). The first published musical sample Belarusian. nar. songs - "Kupala on Ivan" ("Vilna Bulletin", 1817). Song tunes were published in magazines and newspapers, in musical appendices to ethnographic. work and Sat. song texts (P. V. Shein, E. R. Romanov, I. A. Serbov, N. A. Yanchuk and others), came out otd. small sat. (Z. Radchenko, I. G. Bychko-Mashko). Wide systematic. work on collecting and studying Belarusian. music folklore began only after the Great Oct. socialist. revolution.
From con. 16th century school has been developing in Belarus, since the 18th century. - a serf tr, in the performances of which the choir was included. music, songs, dances, instr. tunes. From the 40s. 19th century music is activated. the life of Minsk, Vitebsk, Grodno (main arr. concerts of guest performers and local amateurs, performances by visiting theater troupes). In 1852, a comedy was staged in Minsk. Opera "The Peasant Woman" by Moniuszko in libre. V. I. Dunin-Martsinkevich. Operetta M. Ya. Kimont "Zalyoty" ("Matchmaking") based on one. Comedy Dunin-Martsinkevich was shown Belorus. music-drama. circle in Vilnius (1915). A great place was given to music in the performances of the First Belarusian. troupes of I. T. Buynitsky (beginning of the 20th century; songs and dances for interludes were selected and processed by the Polish composer L. Rogovsky, the Lithuanian composer S. Shimkus).
Great Oct. socialist. revolution and the formation of the BSSR (1919) marked the beginning of the flowering of the nat. music lawsuit. In 1918-19, bunks were opened in Vitebsk, Minsk, Mogilev, Gomel, and Bobruisk. conservatories, later transformed into muses. technical schools. Muses. schools are created in different cities of Belarus. Belarus acquired special significance. music technical school in Minsk (1924), on the basis of the opera and ballet classes to-rogo in 1930 the State. studio of opera and ballet, and in 1933 - Belorus. tr opera and ballet; symp. the orchestra of the technical school became the basis of the symphony. Orchestra Belarus. radio (1928), Belarusian ensemble. nar. instruments - orchestra nar. philharmonic instruments (1937). Belorus opens in 1932. conservatory, in 1937 Belorus. Philharmonic, which united the symphony. orchestra, orchestra instruments, Belarusian Ensemble. songs and dances, choir. chapel, instr. and wok. ensembles, group of soloists. In 1940 Belorus was organized. song and dance ensemble G. R. Shirma, transformed in 1955 into the State. choir. chapel. Composers of Belarus in 1938 united in the Union of Composers (in 1932-38 there was a section of composers under the Union of Writers of the BSSR, then the Belarusian branch of the CK of the USSR). During the years of fascist occupation, artists Belorus. Opera and ballet teams combined participation in front-line brigades with performances in performances by the teams of the fraternal republics; in the 1943-44 season, the team of the t-ra worked in Gorky and Kovrov, and in the fall of 1944 resumed activities in the liberated Minsk. Belarus. the song and dance ensemble toured the country.
After the end of the Great Fatherland. of the war of 1941-45 in Belarus, the activity of all muses is restored. collectives and institutions are formed by the State. nar. chorus of the BSSR (1952, artistic director G. I. Tsitovich), State. Dance Ensemble of the BSSR (1959, artistic director S.V. Drechin), choir (1946) and concert-variety orchestra Belorus. Radio and Television (1958), Minsk Chamber Orchestra (1968), Nar. opera studios, symphony and Nar. orchestras, instr. ensembles.
By the 20s. refers to the beginning of the Belarusian. composers who laid the foundations of prof. music schools. Among the works of H. H. Churkin, the symphonietta (1925) is of particular importance - the first Belarusian. symp. work; the composer also created the opera The Emancipation of Labor (1922, post. 1924), songs and romances on the lyrics. Ya. Kupala and Ya. Kolas. N. I. Aladov performed with piano. quintet (1925), cycles of romances (to lyrics by Y. Kupala and M. Bogdanovich, 1923), comic. the opera Taras on Parnassus, the cantata Ten Years (both 1927). E. K. Tikotsky wrote the 1st symphony (1929). Mass songs were created during these years by A. E. Turenkov, G. K. Pukst, I. I. Lyuban.
In the 30s. productions are created. dec. genres: music comedies "The Kitchen of Holiness" by Tikotsky (1931), "Koksagyz" by Churkin (1939), cantatas "Over the Oresa River" by Aladov (1933), "The Tale of the Bear" by A. V. Bogatyrev (1937, lyrics by A. S. Pushkin) , the 1st symphony of Pukst (1934), the symphonies "Chelyuskintsy" (1935) and "Belarus" (1936) who worked in Minsk Rus. composer V. A. Zolotarev, Turenkov's "Belarusian Suite" (1933), Aladov's symphonyette (1936), instr. concertos by E. K. Tikotsky (for trombone), A. K. Klumov (for piano), G. Stolov (for violin), piano. and violin pieces by Klumov. S. V. Polonsky, V. A. Efimov, n. F. Sokolovsky, I. I. Lyuban - the author of the popular song "Be Healthy".
Performances on stage Belorus. teacher of opera and ballet operas "Mikhas Podgorny" by Tikotsky (1939), "In the forests of Polesye" by Bogatyryov (1939), "The Flower of Happiness" by Turenkov (1940), the first Belarusian. ballet "The Nightingale" by M. E. Kroshner (1939) marked the beginning of the national. music theater. All these performances were shown in Moscow during the 1st Decade of Belarusians. claims and literature (1940).
During the years of the Great Fatherland. wars of 1941-45 ch. theme of Belarusian creativity. composers becomes heroic. owl fight. people against fascism. invaders, in particular, the guerrilla movement that assumed grandiose proportions. In addition to numerous songs (N. I. Aladov, A. V. Bogatyrev, A. K. Klumov, I. I. Lyuban, S. V. Polonsky, G. K. Pukst, N. F. Sokolovsky, E. K. Tikotsky, M. E. Shneiderman and others), the cantatas "Leningraders" (1942) and "Belarusian Partisans" (1943) by Bogatyryov, the symphony-ballad "In Harsh Days" by Aladov (1942), the opera "Ales" by Tikotsky (1944) are devoted to this topic , Belarusian Opera and Ballet Company). Echoes of the war are heard in the symphony. and chamber instruments. prod. without an announced program (Pukst's 2nd symphony, 2nd edition, 1943; pianoforte trio Bogatyrev, 1943; Aladov's 2nd quartet, 1943). A. K. Klumov created a satire. comedy "The Adventures of Fritz" (1944).
Belarus. opera in the 1950s closely connected with the heroic-patriotic. topic. Created and performed on the stage of Belorus. t-ra of opera and ballet the first Belarusian. historical the opera "Kastus Kalinovsky" by D. A. Lucas (1947), the operas "The Girl from Polesye" by Tikotsky (1953, based on the opera "Alesya"), "Nadezhda Durova" by Bogatyryov (1956), dedicated to. Fatherland. war of 1812, Turenkov's "Clear Dawn" (1958) about the struggle of the people for the reunification of Belarus in 1939, the first Belarusian. opera for children "Marinka" Puksta (1955). In 1949, the premiere of the ballet "Prince-Lake" by Zolotarev took place, based on a Belarusian. nar. legends. In 1958, GM Wagner's lyric-comedy ballet The Fake Bride was staged.
In wok.-symp. and symphony. Belarusian genres. music reflects major events in the history of the people and its modern. life: cantatas "Belarus" Bogatyryov (1949), "Forty Years" Aladov (1956), "Steppe Fields" Kuznetsov (1958), "In Memory of Konstantin Zaslonov" Semenyako (1958), vocal-symphony. poem "Forever Alive" by Wagner (1959), symphony. the poem "Partisan Story" by Olovnikov (1952, 3rd edition 1960) and others. music genres of symphony (N. I. Aladov, A. V. Bogatyrev, P. P. Podkovyrov, G. K. Pukst, E. K. Tikotsky, from the end of the 50s also E. A. Glebov, V . I. Cherednichenko) and instr. concerto (D. R. Kaminsky, P. P. Podkovyrov, E. M. Tyrmand). D. R. Kaminsky, along with the piano, violin and cello, was the first to use cymbals as a solo instrument; his experience was then developed by E. G. Degtyarik, E. A. Glebov, D. B. Smolsky and others. Belarusian chamber-instr. music - fp. quintet of P. P. Podkovyrov, piano. trio by L. M. Abeliovich, sonatas by A. V. Bogatyrev for piano, violin and cello, etc.; chamber wok. music is represented by the cycles of A. V. Abeliovich (to lyrics by M. Bogdanovich, F. I. Tyutchev, R. Burns), A. V. Bogatyrev (to lyrics by Ya. Kupala, A. Kuleshov and W. Shakespeare), D A. Lukas (to lyrics by L. Ukrainka), G. K. Pukst (to words by A. Zvonak) and others. Yu. V. Semenyako (“Oh, the green forests are rustling”, etc.), P. P. Podkovyrov (“Zubryonok”, etc.), D. A. Lukas (“The clear sun has risen”, etc.). The music of the anthem of the BSSR was written by N. P. Sokolovsky (1955). In the 60s and early 70s Belarusian on stage t-ra opera and ballet post. comic operas "Prickly Rose" (1960) and "When the Leaves Fall" (1968) by Semenyako, his own opera-poem "The Star of Venus" (1970) about Belarusian. poet M. Bogdanovich, ballets "Dream" (1961), "Alpine Ballad" (1967) and "The Chosen One" (1969) by Glebov, "Light and Shadows" (1963), "After the Ball" (1971) by Wagner. The first experience of creating a teleopera belongs to Wagner ("Morning", 1967). In many Belarusian genres. composers R. P. Butvilovsky, S. A. Kortes, I. M. Luchenok, D. B. Smolsky, K. D. Tesakov, O. G. Yanchenko and others are actively working in music. symp. music of the 60s and early. 70s Among means. prod. of this genre - the cantata "Belarusian Songs" and monologues about V. I. Lenin for bass and Bogatyrev's orchestra, the oratorio "The Bells", "Shine, Dawn" and a concerto for voice and Glebov's orchestra, wok.-symphony. the poem "Ashes" by Cortes and others. The genre of instr. is widely represented. concerto (A. V. Bogatyrev, R. P. Butvilovsky, G. M. Wagner, D. R. Kaminsky, S. A. Kortes, O. G. Yanchenko). Significant chamber instruments. ensembles of N. I. Aladov, D. R. Kaminsky, wok. cycles of E. M. Tyrmand, D. B. Smolsky, choral works. A. V. Bogatyreva, E. M. Tyrmand. The songs of I. M. Luchenko gained popularity. Mn. composers work in the field of pop music and cinema.
Among musicologists and folklorists are L. D. Auerbach, G. S. Glushchenko, T. A. Dubkova, V. I. Elatov, A. B. Ladygina, L. S. Mukharinskaya, I. G. Nisnevich, S. G. Nisnevich, B. S. Smol'skii, K. I. Stepantsevich, G. I. Tsitovich, G. R. Shirma, T. A. Shcherbakova, and others; among singers - Nar. art. USSR L. P. Alexandrovskaya, T. N. Nizhnikova, Nar. art. BSSR L. F. Alekseeva, A. D. Arsenko, Z. I. Babiy, I. M. Bolotin, L. F. Brazhnik, V. F. Volchanetskaya, L. I. Galushkina, A. M. Generalov, V I. Glushakov, S. M. Danilyuk, M. I. Denisov, S. Yu. Saikov, N. N. Serdobov, I. D. Sorokin, V. M. Chernobaev, T. I. Shimko; conductors - nar. art. BSSR T. M. Kolomiytseva, L. V. Lyubimov, Honored. activity claim in the BSSR I. S. Abramis, I. A. Gitgarts, M. E. Shneiderman, honored. artist of the BSSR V. V. Kataev; choral conductors - nar. Artist of the USSR G. I. Tsitovich, G. R. Shirma, Nar. art. BSSR A. Kogadeev, merit. activity claim in the BSSR G. N. Petrov, V. V. Rovdo; violinists - Honored. art. BSSR A. L. Bessmertny, L. D. Gorelik; pianists - honored art. BSSR E. Ya. Efron; cymbalists - nar. art. USSR I. I. Zhinovich, Nar. art. BSSR A. A. Ostrometsky, Honored. art. BSSR V. A. Burkovich, S. M. Novitsky, X. I. Shmelkin.
In the BSSR there are State. symp. Orchestra, Minsk Chamber Orchestra, Nar. instruments, academic choir, radio and television choir, State. nar. choir, song and dance ensemble of the Red Banner Belarusian. military district (founded in 1938), a concert and variety orchestra of radio and television, a conservatory and with it special. average music. school (Minsk), 12 music. schools, 96 music. schools. The Institute of Art History, Ethnography and Folklore of the Academy of Sciences of the Byelorussian SSR (founded in 1957) has a music section.
Literature: Pryvalayu N., Folk Musical Instruments of Belarus, "Notes of the Addzel of the Humanitarian Sciences", book 4 - Pratsy catedra of ethnagraphy, v. 1, sshtak 1, Minsk, 1928; Belyaev V., Belarusian folk music, L., 1941; Nisnevich S., Notes on the melodic and modal structure of the Belarusian folk song, "Proceedings of the Academy of Sciences of the Belarusian SSR", 1948, No 3; her own, Belarusian Symphonic Music, Minsk, 1959; her own, Belarusian folk song in musical dramaturgy of national operas and ballet, Minsk, 1962; Art of Soviet Belarus. Zbornik artikulayu, Minsk, 1955; Tsitovich G., Nisnevich I., Belorussian SSR, M., 1957 (Musical culture of the Union republics); Sizko V. A., Belarusian Soviet Opera, Minsk, 1959; Masters of the Belarusian scene, Minsk, 1960; Smolsky B. S., Belarusian Musical Theatre, Minsk, 1963; Elatov V.I., Modal foundations of Belarusian folk music, Minsk, 1964; his, Rhythmic foundations of Belarusian folk music, Minsk, 1966; his, Melodic Foundations of Belarusian Folk Music, Minsk, 1970; Churko Yu. M., Belarusian Ballet, Minsk, 1966; Nisnevich I., Nisnevich S., Essays on the history of Soviet Belarusian musical culture, L.-M., 1966, L.-M., 1969; Zhuravlev D.N., Composers of Soviet Belarus, Minsk, 1966; Mukharinskaya L. S., Melodic language of modern Belarusian folk song, Minsk, 1966; her own, Belarusian folk partisan song, Minsk, 1968; The words of the grand master of the scene, Minsk, 1967; Kuleshova G. G., Belarusian Soviet Opera, Minsk, 1967; Stepantsevich K.I., Belarusian concert, Minsk, 1968; History of music of the peoples of the USSR, vols I-IV, M., 1970-72; History of Belarusian Savets music, Minsk, 1971.
I. G. Nisnevich
His songs are known and loved by the whole country. Everyone sings his melodies: from young to old. His name is heard far beyond the borders of Belarus. Igor Mikhailovich Luchenok - People's Artist of the USSR and Belarus, Laureate of the State Prize, holder of the Orders of Francysk Skaryna and Friendship of Peoples, Honored Art Worker. Today is the maestro's birthday.
As always, Igor Mikhailovich immediately invites you to the house. But we were not the only ones who decided to congratulate the famous Belarusian composer.
So that in your life and work there is only, as they say, faith, hope, love and health!
In his years, Igor Mikhailovich Luchenok feels like 27 - forever young in soul and heart. Therefore, a birthday is a special occasion for joy, especially when relatives, friends, fans and many famous personalities congratulate.
Igor Luchenok, composer, People's Artist of Belarus, Honored Art Worker:
It was about 10 years ago when I arrived in Kazakhstan. There I have a good friend Nursultan Abishevich Nazarbayev. And as I remember now, they met me, congratulated me… Kazakhstan! Imagine! And I remember it very much.
Famous artists never forget about the birthday of the master of musical tact. For example, Iosif Kabzon, with whom Igor Luchenok has been on good terms for many years. However, the maestro always knew how to make friends, so it is not surprising that his friends say only good words about him.
Vladimir Provalinsky, Honored Artist of the Republic of Belarus:
He is decent. If he said a word, he remembers it, no matter who asks. Some kind of miracle will come and say: “Igor Mikhailovich, help!”. He will always help!
Igor Mikhailovich Luchenok does not like to praise himself. His songs can tell the main thing about him: “Alesya”, “May Waltz”, “My Dear Compatriots”, “Belarusian Polka”, “Verasy”, “Veronica”, “You need to be at home for a while”, “Letter from the 45th” . The compositions to which the composer wrote music can be listed for hours. Some of them are especially dear to the master.
Igor Luchenok, composer:
Four works. These are “My native kut” (Yakub Kolas), “Spadchyna” (Yanka Kupala), “Cranes on Palessia are lying” (Ales Staver)And "May Waltz".
Igor Mikhailovich Luchenok graduated from three conservatories: Belarusian, Leningrad, Moscow. He wrote hundreds of instrumental works. It is he who is the author of the anthem of the Belarusian capital - "Song about Minsk". This melody is beaten every hour by the chimes on the Minsk City Hall.
Igor Luchenok, composer:
I have never chased gold, silver, or any perks. Never! I just served the Soviet Union. I am the People's Artist of the USSR, and I am very proud of it!
And this is that rare shot when Igor Mikhailovich picks up an accordion and starts playing. This instrument is a gift from my father. But still, it is more customary to see the maestro at the piano.
Igor Mikhailovich Luchenok does not draw a line under his work. And today he cannot live a single day without a musical beat. There are new unfinished scores on his piano.
We wish the famous composer long life and fulfillment of all his creative ideas!
An outstanding role in the development of the musical life of the republic was played by the activities of V. Zolotarev.
In the pre-war years, the creative activity of E. Tikotsky, N. Churkin, G. Pukst was actively developing. The operas “Mikhas Podgorny” by E. Tikotsky, “In the Forests of Polesye” by A. Bogatyrev, the ballet “The Nightingale” by M. Kroshner became a highlight. During the Great Patriotic War, the main theme of musical art was the struggle against the fascist occupation. In the post-war period, the pedagogical activity of A. Bogatyrev was extremely important as the educator of the majority of Belarusian composers of subsequent generations. Vasily Andreevich Zolotarev(1873-1964) - Russian and Soviet composer and teacher. Lecturer at the Moscow State Conservatory named after P. I. Tchaikovsky. Honored Artist of the RSFSR (1932). People's Artist of the BSSR (1949). Laureate of the Stalin Prize of the second degree (1950) V. A. Zolotarev was born on February 23 (March 7), 1873 in Taganrog (now the Rostov region). He graduated from the Court Singing Chapel in St. Petersburg, having received the specialty of a violinist in the class of Professor P. A. Krasnokutsky. He acquired a specialty as a composer at the St. Petersburg Conservatory, where he met the “great teachers” M. A. Balakirev, A. K. Lyadov, N. A. Rimsky-Korsakov, about whom he later published his memoirs. Then he began teaching at the Court Chapel. A. V. Bogatyrev, M. S. Vainberg, B. D. Gibalin, K. F. Dankevich, and M. I. Paverman graduated from the class of V. A. Zolotarev.
In 1905 he left St. Petersburg and worked for some time at the Moscow Conservatory. In 1918, being a professor, he left to teach in Rostov-on-Don, then in Krasnodar and Odessa. From the mid-1920s, V. A. Zolotarev taught at the Kiev Music and Drama Institute named after N. V. Lysenko.
From 1931 to 1933, V. A. Zolotarev worked in Sverdlovsk at the P. I. Tchaikovsky Music College. Here his students were Boris Gibalin, P.P. Podkovyrov and Georgy Nosov. In 1933, V. A. Zolotarev moved to Minsk, where until 1941 he taught at the Belarusian Conservatory. Here he wrote the symphony "Belarus" (1934). L.A. Polovinkin, A.G. Svechnikov, M.E. Kroshner, D.A. Lukas, V.V. A. Zolotarev wrote 3 operas, among which stands out the opera The Decembrists (1925, a new edition of Kondraty Ryleev, 1957), the ballet Prince Lake (1949), 7 symphonies (1902-1962), 3 concerts, 6 strings quartets, cantatas, choirs, romances. A. Zolotarev died on May 25, 1964 in Moscow. CHURKIN Nikolay Nikolaevich(1869-1964) - owls. composer, folklorist Nar. art. BSSR (1949). Student of M. M. Ippolitov-Ivanov. Recorded more than 3000 Belarusian, Georgian, Armenian, Azeri, Polish, Literal, Taj. songs and dances, compiled folklore collections. One of the first prof. Belarusian composers, founder of the national genre symphony, nat. children's music. Author of the opera "Emancipation of Labor" (1922, Mstislavl), children's radio opera "Rukavichka" (1948, Minsk); music comedies "Kok-saghyz" (1939, Gorki), "Song of the Berezina" (1947, Bobruisk); 3 symphoniettes (1925-1955); suite for symphony and Nar. orchestras; 11 strings, quartets; romances, children's songs; processing of Nar. songs. ALADOV Nikolai Ilyich(1890-1972), Belarusian composer, People's Artist of Belarus (1955). Author of the first Belarusian works of symphonic and other genres. Opera "Andrey Kostenya" (1947), symphonies. One of the organizers of music education in Belarus. Professor of the Belarusian Conservatory (since 1946). In 1910, Nikolai Aladov graduated from the St. Petersburg Conservatory as an external student. Since 1923 he has been teaching at the State Institute of Musical Culture in Moscow. In Minsk since 1924, one of the organizers of the Belarusian Conservatory, in 1944-1948 its rector, professor. During the war years, from 1941 to 1944, he taught at the Saratov Conservatory. A music school in Minsk was named after N. Aladov, a memorial plaque was installed. Creation One of the founders of the symphonic, chamber-instrumental and chamber-vocal, cantata, choral genres of Belarusian music. Author of the opera "Andrei Kostenya" (1947), the comic opera "Taras on Parnassus" (1927), the cantata "Over the Oressa River" and others. , ten symphonies, vocal cycles on verses by Y. Kupala, M. Bogdanovich, M. Tank, other musical works Evgeny Karlovich Tikotsky(Belor. Yazhen Karlavich Tsikotski) (1893 - 1970) - Soviet Belarusian composer. People's Artist of the USSR (1955). Member of the CPSU (b) since 1948.E. K. Tikotsky was born on December 14 (26), 1893 in St. Petersburg in a family with Polish roots, his musical education was limited to two years of private piano and music theory lessons from Volkova-Bonch-Bruevich, he studied composition on his own. He began composing at the age of 14, consulting his friend Vladimir Deshevov, who studied at the St. Petersburg Conservatory. At the insistence of his father, Tikotsky entered Petrograd University in 1914, where he studied physics and mathematics. In 1915 he went to the front, in 1919-1924 he served in the Red Army. After finishing his service, he moved to Bobruisk, where he taught at a music school. By this time, Tikotsky's first contacts with Belarusian folk music, which influenced his compositions, date back. The first major work of the composer - Symphony (1924-1927), written using Belarusian folk and revolutionary themes, became one of the first works in this genre in the history of Belarusian music. The music for a number of theatrical performances in Minsk also belongs to this period, where the composer himself moved after some time. In the capital of Belarus, Tikotsky worked on the radio and was engaged in teaching. In 1939, he wrote one of his most famous compositions - the opera Mikhas Podgorny (one of the first Belarusian operas in history). Another well-known patriotic opera by Tikotsky - "Alesya" - was staged only in 1944, after the liberation of Minsk from the fascist invaders. During the war years, the composer was evacuated first to Ufa, then to Gorky. Upon his return to Belarus, Tikotsky became the head of the orchestra of the Belarusian State Philharmonic Society and chairman of the Belarusian branch of the USSR SC. Tikotsky is one of the founders of the Belarusian composer school. His works, written in a classical and romantic manner, are strongly influenced by folk motifs. One of the first Belarusian composers who composed operas and symphonies, he played an important role in the development of the Belarusian musical culture of the 20th century.E. K. Tikotsky died on November 23, 1970. He was buried in Minsk at the Eastern Cemetery. Major writings The operas Mikhas Podgorny (1939); Alesya (1942-1948), the second version of The Girl from Polesie (1952-1953) Anna Gromova (1970) Operetta The Kitchen of Holiness (1931) Orchestral works, concertos Six symphonies "Feast in Polesie", overture (1954) "Glory", overture (1961) Concerto for trombone and orchestra (1934) Concerto for piano and orchestra of Belarusian folk instruments (1953), edition for piano and symphony orchestra (1954) Two suites for orchestra of Belarusian folk instrumentsChamber worksPiano trio (1934)Sonata-symphony for pianoOther worksOratorios, songs, choirs, arrangements of folk songs, music for drama performances and films Anatoly Vasilyevich Bogatyrev(Belor. Anatol Vasilievich Bagatyrov) (1913-2003), Belarusian Soviet composer and teacher. People's Artist of the RSFSR (1981). People's Artist of the BSSR (1968). Laureate of the Stalin Prize of the second degree (1941). Member of the CPSU since 1954.
Founder of the Belarusian National School of Composers. Professor (1960).A. V. Bogatyrev was born on July 31 (August 13), 1913 in Vitebsk (now Belarus). Graduated from the Belarusian State Conservatory named after A. V. Lunacharsky in 1937, class of V. A. Zolotarev. Since 1948 he was a teacher at the Belarusian Academy of Music, in 1948-1962 its rector. In 1938-1949 he was the chairman of the board of the Union of Composers of the BSSR. Deputy of the Supreme Council of the BSSR (1938-1959).A. V. Bogatyrev died on September 19, 2003. He was buried in Minsk at the Eastern Cemetery. Major writings Among the works of A. V. Bogatyrev of the Opera "In the Forests of Polesie" - based on the story "Drygva" by Y. Kolas, production of 1939 "Nadezhda Durova" (1946), production by the Soviet Opera Ensemble of the All-Russian Theater Society (1947) For soloists, choir and symphony orchestraOratorios "The Battle for Belarus" Cantatas "The Tale of the Medvedikh" to the verses of A. S. Pushkin (1937) "Belarusian partisans" to the verses of Y. Kupala (1942) "Belarus" to the verses of Y. Kupala, P. Brovka, P. Trus ( 1949) "Leningraders" to the verses of Dzhambul Dzhabaev (1942) "Belarusian songs" folk lyrics and Nil Gilevich (1967). State Prize of the BSSR (1969) "Drawings of the native land" "Anniversary" Chamber and instrumental worksPiano trio (1943) Sonatas for violin and piano (1946), cello and piano (1951), piano (1958)
40. Historical image of the genres of opera and ballet in Belarus (Soviet period) In the 1930s and 1940s, performances of a heroic nature appeared on the Soviet ballet scene. This time in the life of our country is a time of grandiose historical events, an unprecedented labor upsurge. The romance of the exploits of the Soviet people is widely reflected in art. New ideological and artistic tasks formed the worldview and aesthetic taste of the new viewer. Choreographic art began to form a new repertoire. The figures of the Soviet ballet sought to bring their art closer to life, to give performances a heroic-romantic character. New themes, new plots required an update of the dance language, the introduction of bright original national images onto the stage. Folk dance flavor led choreographers to enrich the classical vocabulary with elements of folk dance. The appeal to heroic and historical themes determined the path along which the development of the heroic genre went. This led to the creation of wonderful realistic ballets, built on a kind of plasticity, harmoniously combining classical dance with folk dance. In the stage performance of ballets of the heroic genre, the hero-wrestler triumphed. Genuine success accompanied the heroic dance images, solved by means of a new plastic language, realistic, poetically generalized images. Artistic innovation in the heroic genre is closely connected with reality. The romantic is connected with the real, with the concrete experiences of the characters. The affirmation of humanistic ideals contributed to the strengthening of the revolutionary romantic principles in these ballets. Their heroes are characterized by the pathos of courageous, active overcoming of suffering, a deep conviction that the most inhuman conditions of existence are not able to destroy the spiritual beauty of the people:
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