Cycle of concert programs(Russia, 2010). 10 issues.
There are no more authoritative figures in modern musical culture than representatives of the world conducting elite. The creators of the cycle have chosen ten significant names of significance - Simon Rattle, Lorin Maazel, Daniel Barenboim, Maris Jansons, as well as their famous Russian colleagues,. Today they are universally recognized masters and leaders of the largest orchestras.
Each program is based on the performance of one of the named maestro with his orchestra.
Soloists: violinists Vadim Repin and Sergei Krylov, oboist Alexei Utkin, pianist Denis Matsuev and others.
The program is the most diverse - from I.S. Bach to A. Schoenberg and A. Pärt. All works are among the masterpieces of world music.
The host of the cycle is pianist Denis Matsuev.
1st release. .
Soloist Vadim Repin.
Program: I. Stravinsky. Symphony in three movements; M. Bruch. Violin Concerto No. 1 in G minor; L. Beethoven. Symphony No. 7.
2nd issue. Vladimir Fedoseev and the Bolshoi Symphony Orchestra. P.I. Tchaikovsky.
Program: L. Beethoven. Symphony No. 4.
Recorded at the Golden Hall of the Musikverein in Vienna.
3rd edition. "Maris Jansons and the Bavarian Radio Symphony Orchestra".
Program: R. Wagner. Introduction and "Death of Isolde" from the opera "Tristan and Isolde"; R. Strauss. Suite of waltzes from the opera "Der Rosenkavalier".
4th edition. "Daniel Barenboim and the West-Eastern Divan Orchestra".
Program: V.A. Mozart. Concerto No. 7 in F major for three pianos and orchestra. Soloists - Daniel Barenboim, Yael Karet, Karim Said. A. Schoenberg. Variations for Orchestra. G. Verdi. Overture to the opera "Force of Destiny".
5th edition. "Vladimir Spivakov and the National Philharmonic Orchestra of Russia.
Sergei Prokofiev. Concerto No. 3 for piano and orchestra. Symphony No. 1 "Classical". Soloist Denis Matsuev. Recorded at the Great Hall of the Moscow Conservatory in 2008.
6th edition. "Lauryn Maazel and the Arturo Toscanini Symphony Orchestra"
Program: Giacchino Rossini. Overture to the opera "Italian in Algiers"; Johannes Brahms. Symphony No. 2.
Recorded in the Great Hall of the Moscow Conservatory.
7th issue. Yuri Temirkanov and the Academic Symphony Orchestra of the St. Petersburg Philharmonic. D.D. Shostakovich.
8th edition. Yuri Bashmet and the Moscow Soloists Chamber Ensemble.
Program: Joseph Haydn - Concerto for cello and orchestra. Soloist Steven Isserlis (Great Britain), Niccolo Paganini - 5 caprices (arranged by E. Denisov for violin and chamber orchestra). Soloist Sergey Krylov (Italy); V.A. Mozart - Divertimento No. 1.
Recording in the BZK.
9th edition. Mikhail Pletnev and the Russian National Orchestra
The Russian National Orchestra will perform a suite from the ballet by P.I. Tchaikovsky "Swan Lake", composed by Mikhail Pletnev. Recording at the Bolshoi Theater of Russia as part of the Great RNO Festival, 2009.
10th edition. Valery Gergiev and the Mariinsky Theater Symphony Orchestra
The Mariinsky Theater Symphony Orchestra conducted by Valery Gergiev performs orchestral hits - overtures from operas by Rossini, Verdi, Wagner, waltzes from Tchaikovsky's ballets, fragments from Prokofiev's Romeo and Juliet.
Musical culture cannot exist without conductors, as well as the film industry without directors, the literary and publishing industry without editors, fashion projects without designers. The leader of the orchestra ensures the organic interaction of all instruments during the performance. The conductor is the main character on the stage of the Philharmonic, concert hall or any other music venue.
Virtuosi
The coherence of the symphony orchestra, the harmonious sound of numerous musical instruments is achieved due to the skill of the conductor. No wonder the most talented of them are awarded various high titles and titles, and among the people they are called "virtuosos". And indeed, the impeccable possession of the conductor's baton allows you to bring to each musician sitting in the orchestra pit, all the nuances of a creative impulse. A huge symphony orchestra suddenly begins to sound like a whole, and the musical composition is revealed in all its splendor.
Well-known conductors are united on the basis of skill, they all went through the school of high art, it took them a while to gain popularity and recognition from the general public. Popularity is gained over the years. For the most part, well-known conductors, in addition to concert activities, are engaged in teaching, conduct training courses for young musicians, as well as master classes.
self-sacrifice
The art of conducting an orchestra requires many years of practice, continuous improvement, which results in endless rehearsals. Some well-known conductors are notable for their special creative perseverance, bordering on self-sacrifice, when personal life is relegated to the background and only music remains. However, this situation is good for art.
The most famous conductors are bound by contracts with certain musical groups, and this gives them the opportunity to achieve a high level of performance of musical works. At the same time, mutual understanding is necessary, which will subsequently serve as a guarantee of successful concert activity.
Notable opera conductors
There are names in the world musical hierarchy that everyone knows. The names of famous opera conductors can be found on posters, billboards, cruise ships are named after them. This popularity is well-deserved, since few people are still able to devote their entire lives, without a trace, to music. The most famous conductors travel all over the world, tour with various musical groups or lead orchestras in major music centers. Opera performances require a special coherence of the orchestra, accompanied by vocal parts, arias and cavatina. In all music agencies you can find out the names of famous opera conductors who can be invited for a season or a series of performances. Experienced impresarios know the style of work and character traits of each. This helps them make the right choice.
Famous conductors of Russia
Music, especially opera, has many components. Here is the orchestra, which includes a variety of instruments: wind, string, bow, percussion. Soloists, performers of vocal parts, choir and other participants in the performance. Disparate fragments of an opera performance are united into one whole by the director of the performance and the conductor of the orchestra. Moreover, the latter actively participates in the action from beginning to end. There are conductors in Russia who, with their music, direct the opera along the only true path that leads the viewer to real art.
Famous conductors of Russia (list):
- Alexandrov Alexander Vasilievich.
- Bashmet Yuri Abramovich.
- Bezrodnaya Svetlana Borisovna.
- Bogoslovsky Nikita Vladimirovich.
- Bronevitsky Alexander Alexandrovich.
- Vasilenko Sergey Nikiforovich.
- Garanyan Georgy Abramovich.
- Gergiev Valery Abisalovich.
- Gorenstein Mark Borisovich.
- Diaghilev Sergei Alexandrovich.
- Evtushenko Alexei Mikhailovich
- Ermakova Ludmila Vladimirovna
- Kabalevsky Dmitry Borisovich.
- Kazhlaev Murad Magomedovich.
- Kogan Pavel Leonidovich.
- Lundstrem Oleg Leonidovich
- Mravinsky Evgeny Alexandrovich.
- Svetlanov Evgeny Fyodorovich.
- Spivakov Vladimir Teodorovich
Every well-known Russian conductor can successfully lead any foreign symphony orchestra, a few rehearsals are enough for this. The professionalism of musicians helps to overcome both the language barrier and the difference in styles.
World celebrities
Famous conductors of the world are talented musicians recognized by the general public.
Pavel Kogan
The most famous Russian conductor who has been giving the world his art for more than forty years. Its popularity is unprecedented. The maestro's name is on the list of the ten greatest contemporary conductors. The musician was born in the family of famous violinists, Leonid Kogan and Elizaveta Gilels. Since 1989, he has been the permanent artistic director, as well as the Chief Conductor of the MGASO (Moscow State Symphony Orchestra). At the same time he represents Russia in the major musical centers of America.
Pavel Kogan performs all over the world with the best symphony orchestras, his art is considered unsurpassed. The maestro is a laureate of the State Prize of Russia, has the title of "People's Artist of Russia". Pavel Kogan also has many awards, including the Order of Merit for the Fatherland and the Order of the Arts.
Herbert von Karajan
The world famous conductor of Austrian origin Herbert von Karajan (1908-1989) was born into a family of Greek immigrants. At the age of eight, he entered the Mozarteum Conservatory in Salzburg, where he studied for 10 years and received basic conducting skills. At the same time, young Karajan was learning to play the piano.
The debut took place in 1929 at the Salburg Festival Theatre. Herbert conducted the opera Salome by Richard Strauss. In the period from 1929 to 1934 he was Chief Kapellmeister at the theater in the German city of Ulm. Then Karajan stood for a long time at the conductor's stand of the Vienna Philharmonic Orchestra. Then he performed with Charles Gounod's opera "Walpurgis Night".
The finest hour for the conductor came in 1938, when Richard Wagner's opera "Tristan and Isolde" performed by him was a huge success, after which Herbert was called "Miracle Karajan".
Leonard Bernstein
American conductor Leonard Bernstein (1918-1990), born to Jewish immigrant parents. Musical education began for Leonard as a child, he learned to play the piano. However, the boy gradually became involved in conducting, and in 1939 he made his debut - the young Bernstein performed a composition of his own composition called The Birds with a small orchestra.
Thanks to his high professionalism, Leonard Bernstein quickly gained popularity and, already at a young age, led the New York Philharmonic Orchestra. Being an all-round creative person, the conductor was engaged in literature. He wrote about a dozen books on music.
Valery Gergiev
The famous conductor Valery Abisalovich Gergiev was born on May 2, 1953 in Moscow. At the age of nineteen he entered the Leningrad Conservatory. As a student, he participated in the international conducting competition in Berlin, where he took second place.
After graduating from the conservatory in 1977, the young conductor was accepted as an assistant at the Kirov Theatre. Yuri Temirkanov became his mentor, and already in 1978 Valery Gergiev stood at the podium and played Prokofiev's opera War and Peace. In 1988, he replaced Yuri Temirkanov after he left for the Leningrad Philharmonic.
The year 1992 was marked by the return to the Kirov Theater of its historical name "Mariinsky Theatre". The theatrical audience of St. Petersburg, in order to get to opera performances, is recorded in advance, months in advance. Today Valery Gergiev is the chief conductor of the theater and its artistic director.
Evgeny Svetlanov
The famous conductor, Russian and world, Evgeny Fedorovich Svetlanov (1928-2002) left a noticeable mark on the cultural heritage of Russia. He has the titles of "Hero of Socialist Labor" and "People's Artist of the USSR". He is a laureate of the Lenin and State Prizes of the USSR.
Svetlanov's creative career began immediately after graduating from the Gnessin Institute in 1951. He continued his studies at the Moscow Conservatory in the class of opera and symphony conducting and composition.
The debut took place in 1954 on the stage of the Bolshoi Theater in a production of Rimsky-Korsakov's opera The Maid of Pskov. From 1963 to 1965 he was the chief conductor of the Bolshoi Theatre. During his work, the level of opera performances noticeably increased.
In 1965-2000 combined work as artistic director and chief conductor of the State Symphony Orchestra of the USSR (later Russia).
Vladimir Spivakov
Russian conductor Spivakov Vladimir Teodorovich was born in 1944 in the city of Ufa. In 1968 he graduated from the Moscow Conservatory, in 1970 he completed his postgraduate studies.
Mastery Vladimir Spivakov studied at the Gorky Conservatory with Professor Israel Gusman. Later he took a special course in the USA, with Leonard Bernstein and Lorin Maazel.
Currently, he is the permanent leader and conductor of the Moscow Virtuosi chamber symphony orchestra, which he personally organized in 1979. He has performed with European orchestras and US musical groups. Conducted at the La Scala Theatre, the Cecilia Academy, the Philharmonic of the German city of Cologne and the French Radio. He is the president of the International House of Music in Moscow.
Yuri Bashmet
Russian conductor Bashmet Yuri Abramovich was born on January 24, 1953 in Rostov-on-Don. People's Artist of the USSR. Laureate of four State Prizes of the Russian Federation.
In 1976 he graduated from the Moscow Conservatory. In 1972, while still a student, he purchased a viola viola by the Italian master Paolo Testore, made in 1758. Bashmet still plays this unique instrument today.
He began active concert activity in 1976, and two years later he received a teaching position at the Moscow Conservatory. In 1996, Yuri Bashmet created the "Experimental Viola Department", where the study of viola parts in symphonic, opera and chamber music takes place. Then he received the title of professor at the Moscow Conservatory. Currently engaged in active charitable and social activities.
G. Lomakin(1811-1885). The fame of a talented singing teacher came to Lomakin early and quickly spread throughout the northern capital. He was invited to teach at many educational institutions: the cadet, naval and page corps, the lyceum, the theater school, the law school (where P.I. Tchaikovsky studied at that time). In this school, G.Ya. met. Lomakin with art critic V.V. Stasov. The outstanding Russian critic has repeatedly noted Lomakin's "excellent school", "the right path of learning", "innate talent", "significance and skill in leading the choir", which played a significant role in the career of our fellow countryman. In 1862, together with the famous composer M.A. Balakirev, Lomakin organized a free music school - to enlighten and educate the people. At school G.Ya. Lomakin not only created a wonderful new choir, but also managed to organize the education of future music teachers. Many of his pupils became famous musicians: singers, choir conductors, teachers. Gavriil Yakimovich devoted the last years of his life to composing work: before that, he could only compose music in fits and starts, during short hours of breaks between classes with choirs. During that period, he created a number of compositions for the choir, wrote several romances. And in 1883, when M.A. Balakirev, Lomakin also received a rare opportunity to publish his works. He devoted the last days of his life to their revision and editing of proof sheets.
A. Arkhangelsky (1846-1924)
Court chapel.
Independent Chorus (1880).
Chapel of Count Sheremetyev.
C.V. Smolensky (1848-1909)
Director of the Synodal School (1889-1901).
Director of the court choir (1901-1903).
Director of private regency courses (St. Petersburg)
V.S. Orlov (1856-1907).
Choir of the Russian Choral Society (1878-1886).
Chapel of the Russian Choral Society (1882-1888).
Regent of the Synodal Choir (1886-1907).
Alexander Dmitrievich Kastalsky (1856-1926).
Synodal choir (regent since 1901).
Pavel Grigorievich Chesnokov (1877-1944).
Private spiritual choir A.P. Kayutova.
Chorus of the Russian Choral Society (1916-1917).
Regent of Moscow churches.
Nikolai Mikhailovich Danilin (1856-1945).
Synodal choir (1910-1918).
Private choir Kayutov (1915-1917).
Leningrad Academic Chapel.
State Choir of the USSR.
Sveshnikov Alexander Vasilievich(1890-1980), choir conductor, People's Artist of the USSR (1956), Hero of Socialist Labor (1970). In 1936-37 he was artistic director of the State Choir of the USSR, organized on the basis of the All-Union Radio Vocal Ensemble he created in 1928; in 1937-1941 - Leningrad. chapels; since 1941 - the State Russian Song Choir (later the State Academic Russian Choir of the USSR). Organizer (1944) and director of the Moscow. choral school (since 1991 Academy of Choral Art named after S.). Professor (since 1946), rector (1948-74) Moscow. conservatory. State Prize of the USSR (1946).
YURLOV Alexander Alexandrovich (1927-73), choral conductor, People's Artist of the RSFSR (1970), Azerbaijan. SSR (1972). Pupil A.V. Sveshnikov. Since 1958, artistic director and chief conductor of the Rep. Russian choir chapel (since 1973 named after him). Professor of Musical Ped. institute. Gnesins (since 1970). State Prize of the USSR (1967).
Tevlin Boris Grigoryevich choir conductor, professor (1981), head of the department of choral conducting at the P. I. Tchaikovsky Moscow Conservatory (1993-2007). People's Artist of the Russian Federation (1995).
Kazachkov Semyon Abramovich (1909-2005) - teacher, professor, head of the department of choral conducting at the Kazan State Conservatory.
Minin Vladimir Nikolayevich (b. 1929), choir conductor, People's Artist of the USSR (1988). Student V.G. Sokolova, A.V. Sveshnikov. Since 1972 hands. founded by him Moscow. chamber choir, since 1987 (at the same time) artistic director of the State. Russian choir. Since 1978 professor (in 1971-79 rector) Musical-ped. institute. Gnesins. State Prize of the USSR (1982).
Dmitryak Gennady Alexandrovich - choral and opera and symphony conductor, Honored Artist of Russia, artistic director and chief conductor of the State Academic Choir of Russia named after A.A. Yurlov and Capella "Moscow Kremlin", Associate Professor of the Department of Choral Conducting of the Russian Academy of Music. Gnesinikh.
Requirements for a choir conductor
Excellent command of conducting technique;
To be able to correctly place the members of the choir in parts in accordance with their singing voice and range;
Easily navigate the whole variety of musical works of different styles, eras, directions, know the theoretical foundations of recording and reading choral scores;
Have a fine ear for music, a sense of rhythm, and a developed artistic taste.
Genres of choral music
VILLANELLA(Italian village song) - Italian song of the 15th-16th centuries, mainly 3-voice, with par al. movement of voices, lively character, lyrical or humorous content.
CANON(Greek norm, rule) - polyphonic. musical. form based. on a strict continuous, imitation, under which. the voices repeat the melody of the leading voice, entering before it ends with the previous one. The canon is distinguished by the number of voices, the intervals between them (Canon in prima, fifth, octave, etc.), the number of topics imitated simultaneously (simple canon; double, for example, in No. 4 of Mozart's Requiem, etc.), the form of imitation (Canon in increase, decrease). In the so-called infinite canon, the end of the melody passes into its beginning, so the voices can re-enter any number of times. In the canon with a “variable indicator” (Vl. Protopopov), during imitation, the melodic pattern and rhythm are preserved, but the interval changes. Canonical imitation, in one form or another, is often used in chorus. op.; there are plays written in the form of K. (“Echo” by O. Lasso, “Song of the Lark” by F. Mendelssohn, arr. N.A. Rimsky-Korsakov “I Walk with a Loafer”, etc.).
KANT(from lat, cantus - singing, song) - a kind of old choral or ensemble song a cap. Originated in the 16th century. in Poland, later - in Ukraine, from the 2nd sex. 17th century - in Russia, having become widespread as an early type of urban song; to the beginning 18th century - a favorite genre of home, everyday music. At first, the cant is a hymn-song of religious content, later it is imbued with secular themes; edges appear. lyrical, pastoral, drinking, comic, marching, etc. In the era of Peter the Great, panegyric cantes, the so-called. viva; performed by choirs of singers during festivities and triumphal processions, accompanied by cannon fire, fanfare and bell ringing. Style features of Kant: couplet form, subordination of musical rhythm to poetic; rhythmic clarity and smoothness of the melody;, mainly a 3-voice warehouse with a parallel movement of the 2 upper voices, the bass is often melodically developed; there is also imitation. In the cante there is a natural correlation of melody and harmony, balance of harmonic functions - subdominants, dominants, tonics. B. Asafiev points out that “in the evolution of music in the second half of the 18th and early 19th centuries. Kant becomes a kind of brief encyclopedia of the triumphant homophonic style” (“Musical Form as a Process”, L., 1963, p. 288). Kants were distributed in handwritten collections, without indicating the authors of the text and music, although poems by modern poets Trediakovsky, Lomonosov, Sumarokov and others were often used. The first arr. nar. songs. Gradually, the edging became more complicated, acquiring the features of a romance. Later (in the 19th century), soldiers', drinking, student, and partly revolutionary songs were created on the basis of cant. The influence of Kant is also found in Russian. classical music, Glinka's ("Glory" from the opera "Ivan Susanin"), etc.
CANTATA(Italian cantare - to sing) - a work for singer-soloists, choir and orchestra, solemn or lyrical-epic character. Cantatas can be choral (without soloists), chamber (without choir), with or without piano accompaniment, in one movement or consist of several completed numbers. From the oratorio (similar to it in terms of means of expression), the cantata usually differs in its smaller size, uniformity of content, and less developed plot. The cantata originated in Italy (17th century), first as a piece for singing (in contrast to the sonata). This means that the cantata takes its place in the work of J. S. Bach, who wrote cantatas on spiritual, mythological and everyday subjects. In Russia, the cantata appeared in the 18th century and reached its development in the 19th and 20th centuries: a solo theatrical cantata (Verstovsky’s Black Shawl), greeting, anniversary, lyrical, lyric-philosophical cantatas (Glinka’s Farewell Songs of the Ekaterininsky and Smolny Institutes). ; "Moscow", "To Joy" by Tchaikovsky; "The Svitezyanka" by Rimsky-Korsakov; "John of Damascus", "After reading the Psalm" by Taneyev; "Spring", "The Bells" by Rachmaninov; "Cantata for the opening of the monument to Glinka" by Balakirev, etc. d.).
The genre of cantata was developed in the work of Soviet composers, especially in works on historical, patriotic and modern topics (Alexander Nevsky by Prokofiev, Symphony-cantata "On the Kulikovo Field" by Shaporin, "Cantata about the Motherland" by Arutyunyan, etc.). The modern German composer K. Orff wrote stage cantatas (Carmina Burana and others).
MADRIGAL(Italian) - lyrical song in native language. (unlike chants in lat, lang.), originally monophonic. In the early Renaissance (14th century) it was performed in 2-3 voices. In the era of the late Renaissance (16th century), it occupied the center, a place in secular music, representing a single-part or multi-part vocal composition of a polyphonic warehouse for 4-5 voices; was distributed outside of Italy. The madrigal genre is predominantly lyrical, closely connected with the poetic text (up to the illustration of individual words). Formed in aristocratic circles, the melodic madrigal (unlike frotolla, villanella, chanson, etc.) is far from folk music, often too sophisticated; at the same time, it also had a progressive meaning, expanding the range of images and expressive means. More simple, associated with folklore, emotional English madrigal of the 16th-17th centuries. (T. Morley, D. Dowland, D. Wilby). By the 17th century the madrigal departs from the vocally polyphonic style, emphasizing the solo voice with instrumental accompaniment. Outstanding masters of the madrigal (at different stages of its development) were Arkadelt, Villart, A. Gabrieli, Palestrina, Marenzio, Gesualdo, Monteverdi.
MOTET(from the French mot - word) - a vocal genre. polyphonic. music. Initially, in France (12-14 centuries), several were combined in a motet. (most often 3) independent melodies with different texts: in the lower voice (tenor) - church. chant in Latin text, in the middle (motet) and upper (triplum) - love or comic songs in colloquial French. The Catholic Church fought against such "vulgar motets" by contrasting them (from the 15th century) with polyphonic hymns to a single Latin text. Madrigals were written for the choir a cap. (from the end of the 16th century and with accompaniment), consisted of several (2, 3 or more) sections, in a polyphonic, often in a chordal warehouse. In the 17th century there were motets for solo singers with instrumental accompaniment.
OPERA CHORUS- one of the main components of the modern opera performance. In connection with the era, genre, individuality of the composer, the choir in the opera plays a different role from creating a domestic background, a decorative element, a participant in the prologue, interludes to ch. acting person. In the opera seria ("serious opera", 17-18 centuries), the choir was almost absent, in the opera buffa ("comic opera", 18 century) it appeared sporadically (for example, in the finals). The role of the choir as the bearer of the image of the people in the operas of Gluck and Cherubini has been strengthened, although often the choir is. scenes in them have an oratorio-static character. Greater dramatic significance was attached to the chorus in the Western European operas of the first third of the 19th century, by Rossini (William Tell), Verdi (Nabucco, Battle of Legnano), with their images of the heroic people; in Meyerbeer's opera, the participation of the choir emphasizes dramatic climaxes. In the lyric opera of the 19th century. the choir contributes to the creation of an appropriate atmosphere, national color, mood (op. Bizet, Verdi, Gounod); in the folk-household opera, the choirs are of a genre nature, close to the folk song, dance (op. Monyushko, Smetana). Rus. secular choral art was first represented by opera choirs (18th century, op. Fomin, Pashkevich, and others); and in the future, choirs occupy a large place in Russian. operas, being “the cornerstone dogma and affirmation of nationality and democracy” (B. Asafiev). Opera and choral creativity Rus. composers is exceptionally diverse.
In historical-patriotic operas (Glinka's Ivan Susanin, Borodin's Prince Igor, Rimsky-Korsakov's The Maid of Pskov, etc.), the choir becomes the protagonist, along with the characters. Especially (the choir acquired great importance in the folk musical dramas of Mussorgsky ("Boris Godunov", "Khovanshchina"), where the image of the people is presented in many ways, in development. In Russian everyday operas by Verstovsky ("Askold's Grave"), Dargomyzhsky ("Mermaid") , Serov ("The Enemy Force"), Tchaikovsky ("Cherevichki", "The Enchantress"), etc. there is a close connection with the folk song. National originality is reflected in the choral scenes of operas related to oriental themes ("Ruslan and Lyudmila" by Glinka, " The Demon" by Rubinstein, "Prince Igor" by Borodin, etc.). Choral means are used in the depiction of fabulous, fantastic plots (op. Glinka, Verstovsky, Rimsky-Korsakov). The chorus is also used in oratorio, usually in the prologue, epilogue (opera Glinka, Serov, Rubinstein, Borodin, etc., performing hymns, etc. (Tchaikovsky's The Maiden of Orleans, Mussorgsky's Khovanshchina, etc.) The traditions of the choir's active participation in Russian classical opera are continued in Soviet musical creativity: operas by Russian Soviet composers "War and Peace", "Semyon Kotko" by Prokofiev, "Decembrists" by Shaporin, "Katerina Izmailova" by Shostakovich, "Emelyan Pugachev" by Koval, "Quiet Don" and "Virgin Soil Upturned" by Dzerzhinsky, "October" by Muradeli, " Virineya" by Slonimsky and others, many national operas contain separate choirs and developed choral scenes. The opera choir has its own performance specifics: it is, first of all, great brightness, convexity of nuance (similar to decorative design), emphasis on the text, its ability to “fly through the orchestra” into the auditorium. Since the opera choir is often in motion, special confidence and independence of each of its members is necessary. To develop these qualities, in some groups, singers learn timing when studying their parts. The presence of mise-en-scenes, in which the choir does not see the conductor, necessitates the so-called. broadcasts (conductor pace) conducted from behind the scenes by choirmasters; at the same time, in order to achieve synchronization of performance, some lead is made to the conductor's "points" (more or less, depending on the depth of the choir).
ORATORIO(from lat, wow - I say, I pray) - a major piece of music for the choir, soloists, orc .; comp. from vocal ensembles, arias, recitatives, completed orchestral numbers., the oratorio originated in Italy, at the turn of the 16th-17th centuries, almost simultaneously with the cantata and opera and is close in structure to them. It differs from the cantata in its larger size, detailed plot, epic-dramatic character, and from the opera in the predominance of the narrative element over the dramatic, development. The oratorio developed from dramatized lauds (spiritual laudatory hymns) performed in special rooms at the church - oratories. A special type of oratorio is the Passion; in terms of structure and type, the oratorio also includes the mass, the requiem, the Stabat Mater, and others. The oratorio genre reaches its peak in the works of Bach and especially Handel, who created the type of heroic-epic oratorio; Haydn's oratorios are marked by genre-domestic and lyrical-philosophical features. In the 19th century prod. The oratorio genre was created by Mendelssohn, Schumann, Berlioz, Brahms, Dvorak, Liszt, Verdi, and others; in the 20th century. - Honegger, Britten and others. The first means the Russian oratorio "Minin and Pozharsky" by Degtyarev; a number of oratorios were created by A. Rubinstein (“Babylonian pandemonium”, “Paradise Lost”, etc.). In the operas of the Russian classics, oratorio-style techniques are widely used in the form of large choral scenes (Ivan Susanin, Ruslan and Lyudmila by Glinka, Serov's Judith, Borodin's Prince Igor, Rimsky-Korsakov's Sadko, etc.). The genre of oratorio is widely used by Soviet composers when embodying historical and contemporary themes (“Emelyan Pugachev” by Koval, “The Legend of the Battle for the Russian Land” by Shaporin, “Song of the Forests” by Shostakovich, “On Guard for Peace” by Prokofiev, “Requiem” by Kabalevsky, “ Mahogany "Zarina and others).
SONG- the simplest and most common form of vocal music, combining a poetic image with a musical one. Characteristic for the song is the presence of a complete, independent, melodious melody, simplicity of structure (usually a period or 2-, 3-part form). The music of the song corresponds to the general content of the text, without detailing it (for example, in a very common couplet song). There are folk and professional (produced by composers) songs that differ in genre, origin, structure, etc. The genre of choral song is common: folk song (peasant and urban), Soviet mass song, otd. choirs of Russian and Soviet composers. In Western European music, the choral song was cultivated by romantic composers (Weber, Schubert, Mendelssohn, Schumann, Brahms). In a figurative sense, the term song. or a song (to emphasize the epic, solemn, poetic sublimity of a work) are used in the title of major musical works, cantatas (for example, Brahms' Song of Fate, Song of Triumph).
CHORAL- religious chant in the Catholic and Protestant churches. The Protestant polyphonic chant (introduced in the 16th century by the leaders of the Reformation) was sung by the entire community in German (as opposed to the unison Gregorian chant, which was sung in Latin by special male singers). The melodies of the chorale are distinguished by a sedentary rhythm. Choral warehouse (or simply chorale) is usually called. chord presentation by uniform durations in slow movement.
It would be unheard of arrogance on my part to talk about famous conductors of all times and peoples. On this subject, I can only provide you with a link to the opinion of more authoritative experts than me :). But my own opinion is also of some value, like any independent opinion of a thinking person, right? Therefore, I act as follows: I will try to identify the main stages in the development of directing art and the names of famous conductors associated with these stages. So it will be fair from all sides :)
- One of the early stages of conducting
associated with a very bulky object called "battuta". A kind of rod with which the main musical director hit the floor, measuring the beat. And with this same trampoline, in turn, the most ridiculous tragic incident in the musical world is connected. Composer, musician and conductor Jean-Baptiste Lully died of gangrene in 1687. And the reason was a leg injury while conducting with the help of a trampoline ...
- In the 17th century the role of the conductor
very often performed by the leading musicians of the orchestra. Sometimes they were organists or harpsichordists, but more often they were violinists. Probably, the expression “first violin” came from this tradition? And here I want to name the following, a fairly modern name: Willy Boskowski. As a violinist and conductor, for several decades of the 20th century he was the concertmaster of the famous Vienna Philharmonic Orchestra. And this orchestra, by tradition, never had a chief conductor. Boskowski often conducted in the manner of Strauss himself, with a violin in his hand.
- Late 18th, 19th century musical works
became so complicated that the next logical step was the formation of the profession of a “liberated” conductor. Now the works are performed not only by their own composition, but also by other colleagues in the workshop. And over time, there is a clear separation between the types of activity: a conductor is no longer necessarily a composer! Some of the first professional conductors who managed to gain an international reputation were Hans von Bülow And Herman Levy.
- It is impossible not to mention such an event - the appearance of a conductor's baton.
This happened in the 19th century, and the appearance of this important instrument, which was determined at that time, remains traditional today. And the inventor is considered a German composer and conductor Louis Spur.
- There is a truly revolutionary moment in the history of conducting.
Namely: the conductor turns to face the orchestra and back to the audience! Honestly: I can’t imagine something, but what was it like before? Couldn't the maestro conduct while facing the audience, but with his back to the musicians?! Well, be that as it may, this event is celebrated as special. And in this regard, I remember the most penetrating, heartbreaking fragment: a completely deafened Beethoven conducts the premiere of his Symphony No. 9. Execution completed. The composer is unable to hear any sounds. Standing with his back to the audience, he cannot even see the reaction of the audience. And then the musicians turn him around to face the audience and Beethoven sees what a triumph his new work has caused.
- Finally, I will allow myself to voice my personal affection :).
How unexpectedly I found out for myself: it is difficult for me to judge the professionalism of a conductor, therefore, in my assessments, I "get" such qualities as artistry and a sense of humor. This is probably why I single out two of the conductors of the 20th century: Gennady Rozhdestvensky And Daniel Barenboim. With the recording of the speech of the latter, I end this post:
The name of Herbert von Karajan in the world consciousness is inseparably linked with Salzburg. The conductor, who was born in 1908 in Salzburg, for decades shaped the cultural life of Mozart's city in his own way and was at the head of events.
In the footsteps of the conductor
Walking around the city of Salzburg, you constantly find yourself in places associated with the life and work of an outstanding conductor. The life-size bronze statue, located in the center of the Salzburg Old Town, next to the Makart footbridge, in the garden of the Raiffeisen Bank, commemorates Herbert von Karajan. An inscription on a memorial plaque in a nearby building states that Karajan was born in this house on April 5, 1908. The city of Salzburg honored its famous son by naming one of the notable squares in the Festival District Herbert von Karajan Platz.
His grave is located in the cemetery in Anif - a small place near the city of Salzburg, where Herbert von Karajan lived for many years. Over time, the grave became a place of pilgrimage for admirers of Karayan's talent from all over the world.
Herbert von Karajan and the Salzburg Summer Festival
In the postwar years, the era of Herbert von Karajan began in Salzburg. In 1948 he conducted Gluck's opera production of Orfeo for the first time, in 1956 he was appointed artistic director, and in 1957 he made his directorial debut in Beethoven's opera Fidelio.
In 1960, Herbert von Karajan solemnly opened the newly built building of the Grand Festival Hall of the theater complex with a production of Richard Strauss' opera The Rosenkavalier and proclaimed the beginning of a new era. Even when Karajan, starting from September 1960, was no longer the only artistic director, and since 1964 he was on the board of directors, he still always remained the one who holds the threads of the enterprise in his hands and makes the most important decisions: as "the last autocratic lord", referring to a saying in one of the obituaries after his death in 1989.
In 1967 he founded the Salzburg Easter Festival, which he directed until his death: every year he staged an opera production in collaboration with the Berlin Philharmonic Orchestra, made available by the Berlin Senate, subsequently organizing Holy Trinity concerts in Salzburg.
Era of Karayan
Karajan contributed to giving the Salzburg Summer Festival international status. Whereas in previous decades the ensemble of the Vienna State Opera led the cast, today Salzburg has become a meeting place for multilingual world stars who, as freelance artists, are at home on famous stages from Milan to New York.
It began to attract numerous guests from abroad.
The conductor for many decades in a row, like no one else, not only personified the musical scene, but also accelerated the development of musical documentation. In the last years of his life, with great interest and energy - mainly under his own direction of the orchestra - he collected and documented musical masterpieces for the world.
