1. Brief excursion in the world history of guitar performance.
2. The penetration of the guitar into Russia ( late XVII century).
3. The first "School of playing the six- and seven-string guitar" by I. Geld.
4. A.O. Sichra and seven-string guitar.
5. Leading Russian guitarists of the 19th century: M.T.Vysotsky, S.N.Aksenov, N.N.Lebedev.
6. The first guitar masters - I.A. Batov, I.G. Krasnoshchekov.
7. Six-string guitarists of the 19th century - M.D. Sokolovsky, N.P. Makarov.
8. Publishing activities of V.A. Rusanov and A.M. Afromeev.
9. Andres Segovia and his concerts in Russia.
10. Guitar at the All-Union competition in 1939.
11. Performing activity A.M. Ivanov-Kramskoy.
12. Guitarists of the 50-70s of the XX century: L. Andronov, B. Khlopovsky, S. Orekhov.
13. Guitar in the system of musical education.
14. Guitar art of the 70-90s of the XX century: N.Komolyatov, A.Frauchi, V.Tervo, A.Zimakov.
15. Jazz guitar.
The path of development of the guitar in Russia was long and complicated. The final design of the guitar in the world as we know it took place only in the 18th century. Before that, there were harbingers of the guitar - the Greek cithara, lyre, lute, Spanish viola. The classical six-string guitar had and has its famous performers, composers, masters. Mauro Giuliani and Fernando Carulli, Matteo Carcassi and Fernando Sor, Francisco Tarrega and M. Llobet, Maria Luisa Anido and Andres Segovia - each of them left a noticeable mark on the guitar art.
Until the 18th century, the guitar was not widely used in Russia. With the arrival of M. Giuliani and F. Sor, her popularity increased markedly. However, we recall that the Italian composers Giuseppe Sarti and Carlo Cannobio, who served at the court of Catherine II, were the first to bring the guitar to Russia; later they were joined by French musicians.
Ignaz Geld is from the Czech Republic. Fate brought him to Russia in 1787. Lived in Moscow, Petersburg. He played six- and seven-string guitars. Taught game lessons. In 1798, two schools of guitar playing came out: one - for the six-string, the other - a little earlier - for the seven-string. He has written and published many compositions for guitar, for voice and guitar. He died in Brest-Litovsk.
One of the brightest propagandists of the seven-string guitar and the founder Russian school the guitarist and composer A.O. Sikhra (1773-1850) became the player on it. Some researchers associate the appearance of the seven-string guitar in Russia with this musician.
Andrei Osipovich Sikhra - was born in Vilna. Since 1801 he began to live in Moscow, where he gave lessons, performed in various concerts. In 1813 he moved to St. Petersburg, where he published "Collection of a number of plays, which contains mostly Russian songs with variations and dances." Organized the issue of a guitar magazine. He brought up a galaxy of Russian guitarists, including: S.N. Aksyonov, V.I. Morkov, V.S. Sarenko, V.I. Svintsov, F.M. Zimmerman and others. Author of a huge number of plays, arrangements of Russian folk songs. At the insistence of his student V. Morkov, A. O. Sikhra wrote "Theoretical and Practical School for the Seven-String Guitar" and dedicated it to all guitar lovers. The first edition - 1832, the second - 1840. He was buried at the Smolensk cemetery in St. Petersburg.
If A.O. Sikhra lived and worked mainly in northern capital, then M.T. Vysotsky was devoted to Moscow with all his heart.
Mikhail Timofeevich Vysotsky - was born in 1791 in the estate of the poet M. M. Kheraskov. Here he received his first guitar lessons from S.N. Aksyonov. From 1813 he lived in Moscow, where he became widely famous performer, teacher and composer.
What sounds! I am still
Sweet sounds I;
I forget eternity, heaven, earth,
Himself.
(M. Lermontov)
Among the students: A.A. Vetrov, P.F. Beloshein, M.A. Stakhovich and others. Author of many pieces for guitar, mainly fantasies and variations on folk themes ("Spinner", "Troika", , near the bridge", "A Cossack rode across the Danube"...). Shortly before his death he wrote and published " practical school for a seven-string guitar in 2 parts "(1836). He died in 1837 in deep need.
Semyon Nikolaevich Aksyonov (1784-1853) - a student of A.O. Sikhra, was born in Ryazan. Released " New magazine for a seven-string guitar", in which he published his own fantasies and variations ("Among the flat valley"). Through the efforts of Aksyonov, "Exercises" by A.O. Sikhra were published. He was considered the best guitar virtuoso in Moscow (along with M.T. Vysotsky). He republished the school of I. Geld. Introduced flageolets. Whether S. N. Aksyonov had students is not known, except for the case of several lessons for Vysotsky. Basically, his labor activity was connected with service in various departments.
Nikolai Nikolaevich Lebedev is one of the best Siberian guitarists. Years of life 1838-1897. Eyewitnesses compared his game with the game of M.T. Vysotsky: the same miraculous talent as an improviser, sincerity and sincerity of performance, love for Russian song. Biographical information- are scarce. It is known that N.N. Lebedev was an officer. He could take guitar lessons from his father, an amateur guitarist. He worked as a clerk at various mines. Occasionally gave concerts that amazed everyone present with the mastery of the instrument.
The performing arts of guitar playing would not progress without top-notch instruments. In Russia, their masters appeared soon after the emergence of wide interest in this instrument. The Russian Stradivarius was called the contemporaries of Ivan Andreevich Batov (1767-1839), who made about a hundred excellent instruments in his life - violins, cellos, balalaikas. From the hands of an outstanding master, ten guitars came out, which sounded in the hands of I.E. Khandoshkin, S.N. Aksyonov, M.T. Vysotsky.
No less famous master was Ivan Grigoryevich Krasnoshchekov; all musical Moscow played on his guitars. The performers appreciated Krasnoshchekov's instruments for their warm and gentle sound, for the elegance and beauty of the finish. One of the guitars (played by the famous gypsy Tanya, who admired A.S. Pushkin with her playing and singing) is kept in the Glinka Museum of Musical Culture (Moscow).
In addition to the guitars of Batov and Krasnoshchekov, the guitars of the brothers Arhuzen (Fyodor Ivanovich, Robert Ivanovich), F.S. Paserbsky, M.V. Eroshkin were famous in Moscow and St. Petersburg. Their instruments were not inferior in strength and beauty of tone to the guitars of Western masters. From Russian six-string guitarists most famous acquired by N.P. Makarov (1810-1890) and M.D. Sokolovsky (1818-1883).
Nikolai Petrovich Makarov is a unique personality: a lexicographer who published the Complete Russian-French Dictionary (1866), the German-Russian Dictionary (1874), the Encyclopedia of the Mind, or Dictionary of Selected Thoughts (1878); a writer who wrote several novels and many articles, a bright virtuoso performer on the six-string guitar, organized an international competition for the best instrument and for the best composition for the guitar (Brussels, 1856). before the advent of the modern school." Makarov, as a guitarist-musician, earned himself an honorable place among its immortal composers; [...] he also did a lot to improve the design of the guitar (lengthening the neck to the 24th fret - two octaves, strengthening the neck with a screw). Makarov discovered the extraordinary guitar master Scherzer […]. Thanks to the material support of Makarov, Mertz wrote many compositions for the guitar. He could rightfully be proud of his love of the guitar […]" .
Mark Danilovich Sokolovsky was born near Zhitomir. Early mastered the guitar in the schools of Giuliani, Legnani, Mertz. Gave several successful concerts in Zhytomyr, Vilna, Kyiv. In 1847 he performed for the first time in Moscow, attracting the attention of the musical community. After a series of concerts in Moscow, St. Petersburg, Warsaw, he went on a European tour (1864-1868): London, Paris, Vienna, Berlin. Everywhere - an enthusiastic reception. In 1877 it took place last concert(in St. Petersburg, chapel hall). Buried in Vilna. His programs included works by Paganini, Chopin, Giuliani, Carulli, Mertz.
Guitar performance in Russia has experienced a number of ups and downs and crises associated with political and economic events in the country and abroad. A new interest in the guitar sometimes arose due to the vigorous activity of publishers, theorists, and teachers. So, at the beginning of the 20th century, playing music on the guitar received support thanks to the popularization talent of V.A. Rusanov (1866-1918), who published the magazines "Guitar" and "Music of the Guitarist" with the publication of his own historical and theoretical articles; the first part of his school was published.
The Tyumen guitarist, teacher and publisher M. Afromeev (1868-1920) made a great contribution to the development of guitar performance through his publishing activities. In 1898-1918, he literally flooded Russian music stores with collections of pieces for guitar, self-study books, schools for both six- and seven-string guitars. For a number of years he published the magazine "Guitarist".
IN Soviet time interest in the guitar increased significantly as a result of Andres Segovia's tour in the USSR. "My memory with great pleasure resurrects in my soul four trips to the Soviet Union and all the friends I left there." The concerts of 1926, 1927, 1930 and 1936 revealed to the listeners such sound possibilities of the guitar, such a richness of timbres that they had analogies with the orchestra. The secret of the effect of Segovia's guitar was in a wonderful alloy of incomparable craftsmanship and fine taste. Following the tour of the famous Spaniard in the USSR, 7 albums of works from the guitarist's repertoire were published, and the Soviet guitarist P.S. Guitar classes were also opened in a number of musical educational institutions, where the activities of such teachers as P.S.Agafoshin, P.I.Isakov, V.I.Yashnev, M.M.Gelis and others yielded results. In 1939, at the All-Union Review of Performers on Folk Instruments, the winners were: A. Ivanov-Kramskoy (first prize) and V. Belilnikov (a 13-year-old boy received a second prize (!)). Another participant - K. Smaga - received a diploma. A. Ivanov-Kramskoy (a student of P. S. Agafoshin) performed the following program at the competition: F. Sor "Variations on a Theme of Mozart", J. Bach "Prelude", F. Tarrega "Memories of the Alhambra", F. Tarrega "Moorish dance". From V. Belilnikov's program (class of V. I. Yashnev) we managed to find out only one piece - F. Sor "Variations on a Theme of Mozart". K. Smaga performed "Prelude" by J.S. Bach, "Memories of the Alhambra" by F. Tarrega and several other pieces. Nevertheless, even the listed compositions give an idea of the degree of professional skill of the contestants of that time.
Alexander Mikhailovich Ivanov-Kramskoy (1912-1973) learned to play the violin at the Children's Music School, and the Musical College. October revolution Graduated from the guitar class of PS Agafoshin. Then, for some time, he took a conducting course with K.S. Saradzhev at the Moscow Conservatory. He gave many concerts around the country, played on the radio and on television.
The game of the Honored Artist of the RSFSR (1959) A.M. Ivanov-Kramskoy is devoid of cheap effects, it is characterized by a certain restraint. However, the guitarist has his own face, individual methods of sound production and his own repertoire, which includes the musician's own compositions. Masterfully accompanied famous vocalists - I.S. Kozlovsky, N. Obukhova, G. Vinogradov, V. Ivanova, I. Skobtsov, instrumentalists - L. Kogan, E. Grach, A. Korneev ... A. M. Ivanov-Kramskoy - author a large number compositions for guitar: two concertos, "Tarantella", "Improvisation", a cycle of preludes, dance pieces, adaptations of folk songs and romances, etudes. Wrote and published a school of guitar playing (reprinted many times). For many years, A.M. Ivanov-Kramskoy taught at the music school at the Moscow Conservatory (over 20 graduates, including N. Ivanova-Kramskaya, E. Larichev, D. Nazarmatov and others). He died in Minsk on the way to his next concert.
Along with A.M. Ivanov-Kramskoy, the talent of L.F. Andronov, B.P. Khlopovsky, S.D. Orekhov was revealed in the 50-60s of the XX century. Different fates, different education, but they were united by the military and post-war hard times.
Lev Filippovich Andronov was born in 1926 in Leningrad. Studied at music studio from V.I.Yashnev, then graduated from the Children's Music School in the guitar class of P.I.Isakov and in the accordion class of P.I.Smirnov. Early began to give concerts solo and in duet with VF Vavilov (in 1957 the duet became a laureate of the All-Union and International Youth Festivals). In 1977 he graduated from the Leningrad State Conservatory as an external student, class of Professor A.B. Shalov. Recorded several records, including "Concerto for guitar with chamber orchestra" by B. Asafiev. Had creative connections with many famous guitarists peace; was repeatedly invited to tour abroad, but due to the fault of officials of the USSR, he did not receive permission. Due to several heart attacks, he died before reaching the age of 60.
Boris Pavlovich Khlopovsky (1938-1988) after graduation music school them. Gnesinykh (1966) worked as a teacher in his native school and the Moscow State Institute of Culture, in the orchestra of folk instruments of the All-Union Radio and Television, performed in solo concerts with the balalaika player V. Mineev, the domrist V. Yakovlev. In 1972, at the I All-Russian Folk Instruments Competition, he received the 2nd prize and the title of laureate (in the program: Villa-Lobos "Five Preludes", Ivanov-Kramskoy "Concert No. 2", Vysotsky "Spinner", Tarrega "Dreams" , Narimanidze "Rondo"). His son, Vladimir, continued family traditions, graduated from the music school at the Moscow Conservatory, then - GMPI. Gnesins; in 1986 he became a diploma winner of the III All-Russian competition of performers on folk instruments. Another son, Pavel, is also a professional guitarist.
Sergei Dmitrievich Orekhov (1935-1998) - in the opinion of many Moscow guitarists, comparable to M.T.Vysotsky. He studied at the circus school, took guitar lessons from the Moscow guitarist V.M. Kuznetsov. I did a lot of hard work on my own. He worked in gypsy groups, speaking with Raisa Zhemchuzhnaya. Created a duet of seven-string guitars with Alexey Perfilyev. He traveled all over the country with concerts, visited Bulgaria, Yugoslavia, Czechoslovakia, France, Poland. He had "an amazing virtuoso technique [...], that is, lightness, flight with depth and elegance of sound", "a free, uninhibited manner of playing, improvisation coming from the depths of the Russian guitar school". S.D. Orekhov - the author of famous concert arrangements of Russian songs and romances - "Here the postal troika rushes", "Dremlyut weeping willows"," Everything is quiet, "etc. He recorded a number of records.
Great help For many years, the all-Union recording company Melodiya, which annually releases recordings of Soviet and foreign performers in large numbers, has been helping to spread guitar art in the country for many years. Only in the 50-60s she released 26 discs: A. Segovia - 4, Marie-Louise Anido - 2, M. Zelenka - 1, A. Ivanov-Kramskoy - 10, E. Larichev - 3, L. Andronov - 1, B. Okunev - 2, etc. Later, recordings by N.Komolyatov, A.Frauchi, Paco de Lucia were added to them... Starting from the 90s of the XX century, large-circulation CDs of Russian musicians, both of the older generation and of the young, began to appear.
Analyzing the state of guitar performance in Russia in the 60-70s of the XX century, it should be noted a serious lag vocational training guitarists, unlike balalaika players, domrists, accordion players. The root cause of such a lag (weak technical equipment and "amateurism" in musicians playing music at competitions was especially manifested) was seen in the late entry of the guitar into the system of musical education.
Despite the fact that guitar classes arose in the very first years of Soviet power (starting from 1918), the attitude towards the instrument in government, incl. and in the field of culture, it was mixed. The guitar was considered a cult instrument of the bourgeois environment, against which the forces of the Komsomol organizations fought. Learning to play the guitar in musical institutions went sporadically, on an amateur basis, which again belittled the assessment of the instrument by professional musical circles. The breakthrough took place only when guitarists who graduated from universities, in particular the Ural State Conservatory, entered the concert life of the country. One of the first graduates who received diplomas of higher education were M.A. Prokopenko, Ya.G. Pukhalsky, K.M. Smaga (Kiev Conservatory), A.V. Mineev, V.M. Guitar classes have been opened at the GMPI. Gnesins, in the conservatories of Leningrad, Gorky, Saratov ...
Among the guitarists of the new generation (70-90 years of the XX century), there appeared performers who raised guitar music-making to academic heights. These are N.A.Komolyatov, A.K.Frauchi, V.V.Tervo, A.V.Zimakov.
Nikolai Andreevich Komoliatov was born in 1942 in Saransk. In 1968 he graduated from the Music College at the Moscow Conservatory (class of N.A. Ivanova-Kramskaya), and in 1975 - in absentia - from the Ural State Conservatory (class of A.V. Mineev). Constantly gives concerts; recorded records, CDs. He was the first to play E.Denisov's sonata for flute and guitar (with A.V. Korneev). Interpreter and propagandist of new original music for guitar (I. Rekhin - a five-part suite, a three-part sonata; P. Panin - two concertos, miniatures, etc.). Since 1980, together with A.K. Frauchi, he opened a guitar class at the GMPI. Gnesins. Currently - Honored Artist of the Russian Federation, professor. Dozens of guitarists graduated from his class, including many laureates, such as A. Zimakov. Each all-Russian and international competition of performers on folk instruments is represented by two or three students of N.A. Komoliatov (see booklets for competitions).
In the 70s, the Moscow guitarist Alexander Kamilovich Frauchi (1954) revealed his talent. After studying at the music school at the Moscow Conservatory (class of N.A. Ivanova-Kramskaya), A.K. Frauchi continued his education at the correspondence department of the Ural Conservatory (class of A.V. Mineev and V.M. Derun), while simultaneously working as a soloist regional philharmonic society. In 1979 he won the second prize at the II All-Russian competition of performers on folk instruments, and in 1986 he successfully completed the international competition in Havana, receiving the first prize and a special prize. Moreover, the performance of the Soviet musician at the competition made a sensation with his skill, and temperament, and clever interpretation of the works (at the same competition, another Soviet guitarist, Vladimir Tervo, won the III prize, he also caused a lively response in the guitar public). After the Cuban competition, A. Frauchi participated in the Five Stars in Paris festival, and since then he has annually traveled to all countries of the world with concerts.
A. Frauchi combines intensive concert activity with teaching work at the GMPI. Gnesins. Among his students are laureates of all-Russian and international competitions - A. Bardina, V. Dotsenko, A. Rengach, V. Kuznetsov, V. Mityakov ... Today A. K. Frauchi is the chairman of the Association of Guitarists of Russia. His credo is the separation of the guitar from folk instruments, because. the guitar, according to him, has its own culture, history, repertoire, international distribution, school, and in the civilized world exists separately, like a piano or a violin. This, in his opinion, lies the future of guitar performance in Russia. A.K. Frauchi - Honored Artist of the Russian Federation, professor.
Vladimir Vladimirovich Tervo (1957) graduated from the Music College. Gnesins (class of V.A. Erzunov) and the Moscow State Institute of Culture (class of A.Ya. Aleksandrov). Laureate of three competitions - all-Russian (1986, III prize), international (Havana, 1986 III prize; Barcelona, 1989, III prize) - did not stop there: he entered the Ural Conservatory and graduated brilliantly in 1992 in the class of associate professor V.M. .Deruna.
Aleksey Viktorovich Zimakov is a Siberian, born in (1971) and raised in Tomsk. He received his first guitar lessons from his father. In 1988 he graduated from the Tomsk Musical College, and in 1993 - GMPI. Gnesins (class of N.A. Komoliatov). Exceptionally virtuoso, plays the most complex works. The first of the guitarists was awarded the first prize at the All-Russian competition of performers on folk instruments (Gorky, 1990). In addition, he won first prizes at two international competitions(1990, Poland; 1991, USA). Lives and works in Tomsk (teacher of his native school). Constantly tours in Russia and foreign countries. The repertoire adheres to classical works.
The competitions of the 90s of the XX century and the victories of Russian guitarists confirm that the professional guitar school has noticeably grown, strengthened and has the prospect of further development.
The guitar showed itself worthy in one more direction - in jazz music-making. Already on early stage Since the advent of jazz in America, the guitar has taken a leading (if not leading) place among other jazz instruments, especially in the blues genre. In this regard, a number of professional jazz guitarists came to the fore - Big Bill Bronze, John Lee Hooker, Charlie Christian, later Wills Montgomery, Charlie Byrd, Joe Pass. Of the European guitarists in the 20th century, Django Reinhard, Rudolf Daschek and others are noticeable.
In Russia, interest in jazz guitar arose due to jazz festivals held in different cities of the country (Moscow, Leningrad, Tallinn, Tbilisi). Among the first performers - N. Gromin, A. Kuznetsov; later - A. Ryabov, S. Kashirin and others.
Aleksey Alekseevich Kuznetsov (1941) graduated from the Oktyabrskaya Revolution Music College, class of domra. He got carried away with the guitar not without the influence of his father - A.A. Kuznetsov Sr., who for many years played the guitar in the State Jazz of the USSR, then symphony orchestra under the direction of Y. Silantiev, in the quartet of B. Tikhonov. A.A. Kuznetsov, Jr. also worked for about 13 years in the variety symphony orchestra under the direction of Y. Silantyev, then - in the State Symphony Orchestra of Cinematography. How a jazz guitarist showed himself at the Moscow Jazz Festivals in solo and various ensembles(The duet of guitarists Nikolai Gromin - Alexei Kuznetsov gained especially great popularity). Many are recorded on phonograph records. Known as an ensemble player and soloist in such ensembles as the Leonid Chizhik Trio, the ensembles of Igor Bril and Georgy Garanyan. Since the 1990s, he has been working as a consultant at the Accord music salon, where he gives a master class on jazz guitar, and gives concerts in the Masters of Jazz and Guitar in Jazz cycles. People's Artist of the Russian Federation (2001).
Andrey Ryabov (1962) - graduate of the Leningrad Music College. Mussorgsky in the class of jazz guitar (1983). He received public recognition in a duet with Estonian guitarist Tiit Pauls (the album "Jazz Tete-a Tete" was released). Then he played in the quartet of pianist A. Kondakov, in the ensemble of D. Goloshchekin. In the early 90s he moved to the USA, where he gave concerts with famous American musicians jazz by Attima Zoller, Jack Wilkins. He created his own trio and is currently considered one of the best jazz guitarists.
Since the jazz guitar received proper recognition in Russia relatively recently, it appeared in the system of musical education in the last quarter of the 20th century (and even later in the university). Achievements in the field of technology on acoustic and electrified guitars, the use of electronics, the inclusion of elements of "flamenco", classical style, the development of teaching methods, the exchange of experience with foreign musicians - all this gives reason to consider the guitar in this genre of music as one of the promising instruments.
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Ways of development of guitar art in Russia are peculiar and original. Being a five-string guitar, it was brought to Russia by Italian musicians in the 18th century, but it did not become widespread, remaining an exotic decoration. Later, at the beginning of the 19th century, the Russian public got acquainted with the "Spanish" six-string guitar, which by that time had become quite popular in Europe. It was introduced in Russia by well-known foreign musicians-guitarists M. Giuliani, F. Sor and others.
The victory in the Patriotic War of 1812 greatly accelerated the growth of national self-consciousness, caused an upsurge in patriotic feelings and sentiments in all sectors of society. Interest in the historical past of the Motherland, in folk art, in particular in folk song, is growing rapidly. Urban romance is gaining wide popularity. Based on everyday folklore, he represents a kind of layer of Russian musical culture with a characteristic structure and melos, with expressive means inherent only to him.
Academician B. Asafiev wrote about this in his work “ musical form as a process”: “Psychological realism with its analysis of personal spiritual life did not yet exist, romantics did not yet rage, putting forward a culture of feeling, and the masses were already eager to hear “simple speech” and heartfelt and exciting melody; for the domination of nepotism, sensitivity, the cult of “simple morals” of simple-hearted people and “domesticity”, tenderness before nature, quiet contemplation was approaching. The intonations corresponding to all this evoked in the music romance melos, sincere, cordial; both words and melody for the most part not pretending to a long development, they were fanned by a single intonational system - “sounding from heart to heart” ”1.
Appeared in last decade In the 18th century, the seven-string guitar, with its harmonic structure and timbre coloring, turned out to be very close to the nature of Russian folk songs and the genre of urban romance that arose on its basis. Its use to accompany the voice made it possible to most subtly reveal the lyricism of intimate experiences that make up the main theme of urban romance. The best works of this genre, created by A. Alyabyev, A. Varlamov, Titovs and other talented composers, entered the golden fund of Russian music.
Russian musicians, realizing what great possibilities lie in the seven-string guitar, begin to create a solo repertoire for it as well. First, they transcribe for her excerpts from popular operas and other works by Russian and foreign composers. Then they create variational cycles, quite complex in texture and concert in nature, based on folk melodies. (As shining example let's name A. Sykhra's variation cycle on the theme of the Russian song "Among the Flat Valley".) In addition to variations, miniatures are created, elegant and melodic, touching the soul of a simple Russian person. There are also attempts to create large form, in particular the sonata, concerto for guitar and orchestra.
Russian virtuoso guitarist and composer Andrey Osipovich Sikhra (1773-1850)
The extraordinary popularity of the seven-string guitar attracted talented musicians to it. An outstanding role in the creation of the national guitar school belongs to Andrey Osipovich Sikhra. A wonderful virtuoso guitarist, a talented composer, he is undoubtedly the founder of the Russian school of playing the seven-string guitar.
A. Sikhra was born in 1773 in Vilna (now Vilnius) in the family of a music teacher. In his youth, he gave concerts as a harpist, played the six-string guitar. Then he became interested in the seven-string guitar, which he devoted his whole life to. In 1801, the musician moved to Moscow, where he began to create a repertoire for the seven-string guitar and study with his first students.
Sychra, a talented musician, friendly and charming person, soon became the idol of numerous students and admirers.
After the expulsion of Napoleon from Russia, Sykhra moved to St. Petersburg, which he did not leave until the end of his life (he died in 1850). Here he, already a mature musician and teacher, creates his own school of playing the seven-string guitar...
A. Sikhra was not only a talented, but also a highly educated musician. He was highly valued by M. Glinka, A. Dargomyzhsky, A. Varlamov, A. Dubuk, D. Field and many other figures national culture. famous singer O. Petrov studied guitar with Sychra. Russian Biographical Dictionary historical society called Sychra "the patriarch of Russian guitarists". Of his students, the most famous are S. Aksenov, N. Alexandrov, V. Morkov, V. Sarenko, V. Svintsov.
If Sichra was recognized as the head of the St. Petersburg school of the seven-string guitar with its characteristic strict “academic” style, then Mikhail Timofeevich Vysotsky is rightfully considered the founder of the Moscow school, whose life and work is another page in the history of Russian guitar art.
Among the students of Vysotsky, the most famous were P. Beloshein, A. Vetrov, I. Lyakhov, M. Stakhovich and others.
The era of Sichra and Vysotsky is the "golden age" of the Russian seven-string guitar. Its wide dissemination contributed to the democratization of musical art.
Variation cycles of Russian guitarists-composers are created on the basis of Russian folk songs. This unique layer of Russian musical culture is an important source for the study of folklore.
The Russian seven-string guitar, which sounded in the hands of talented musicians, inspired poets and writers to create beautiful lines of poetry.
A. Pushkin called the guitar "sweet-voiced". Words full of lyricism dedicated to this instrument can also be found in M. Lermontov, A. Fet, I. Bunin, A. Grigoriev, L. Tolstoy, A. Ostrovsky, M. Gorky.
The guitar is depicted in many paintings by Russian and Western European artists: V. Tropinin, V. Perov, I. Repin, An. Watteau, B. Murillo, Fr. Khalsa, P. Picasso and others.
In the middle of the 19th century, interest in the guitar fell not only in Russia, but also in Europe. However, in late XIX- the beginning of the 20th century, the seven-string guitar begins to reassert itself. This was largely facilitated by the activities of enthusiastic musicians who tried to restore the traditions of Sichra and Vysotsky. The most famous of them were A. Solovyov and V. Rusanov.
Outstanding Russian guitarist and teacher Alexander Petrovich Solovyov (1856-1911)
Alexander Petrovich Solovyov (1856-1911) - a prominent performer and teacher. He brought up many gifted students, such as V. Rusanov, V. Uspensky, V. Yuryev, V. Berezkin and others; created the School (published in 1896), which was the best at that time.
Valerian Alekseevich Rusanov (1866-1918) is a well-known historiographer and propagandist of the Russian seven-string guitar. He organized the publication of the all-Russian magazine "Guitarist" (1904-1906).
In the period after the Great October Socialist Revolution, M. Ivanov, V. Yuryev, V. Sazonov, R. Meleshko did a lot to popularize the seven-string guitar. They created schools and tutorials for this instrument, original compositions, adaptations and transcriptions, compiled numerous collections. M, Ivanov wrote the book "Russian seven-string guitar". These musicians constantly performed as soloists and accompanists in concerts, recorded on gramophone records.
In the post-war years, a new generation of seven-string guitar players has grown up, which adequately continues the rich traditions of the national performing school. Among them: V. Vavilov, B. Okunev, B. Kim, S. Orekhov, A. Agibalov. During this time, the repertoire of the seven-string guitar was replenished with works by composers N. Chaikin, B. Strannolyubsky, N. Narimanidze, N. Rechmensky, G. Kamaldinov, L. Birnov and others.
Nowadays, there is a growing interest in the world in the Russian seven-string guitar. We express the hope that further history this beautiful original musical instrument new glorious pages will be inscribed.
From the history of the seven-string guitar. XVIII—XIX century
In our time, it is almost impossible to imagine a Russian folk song without a seven-string guitar. However, it gained popularity, displacing the balalaika from the everyday life of the urban population, relatively recently - in the 19th century. Since then, every person gifted with musical abilities, along with a love for folk songs and Russian culture, has paid tribute to this wonderful musical instrument, although, of course, today the six-string guitar is much more in demand and popular both among pop professionals and in the circle of musical lovers.
Russian musicians and seven-string guitar
The guitar was the favorite instrument of many famous Russian musicians. A. Alyabyev, A. Varlamov, A. Zhilin, I. Khandoshkin and many other figures of national musical culture of the 18th-19th centuries preferred the Russian seven-string guitar. In this article we will talk about only some of them: G. A. Rachinsky, A. E. Varlamov, A. A. Alyabiev, P. A. Bulakhov, O. A. Petrov.
Gavrila Andreevich Rachinsky
Gavrila Andreevich Rachinsky (1777-1843) was born in Novgorod-Seversky, Ukraine. A wonderful violinist and composer, he was very fond of the seven-string guitar, often played it in concerts, composed variations and pieces. For many years, Rachinsky's life was connected with Moscow. In 1795-1797, he studied at the gymnasium at Moscow University, and then worked there for quite a long time as a music teacher. From 1823 to 1840 G. Rachinsky was again in Moscow. It was during this period that he repeatedly toured in St. Petersburg and other cities of Russia, which brought him fame as an outstanding artist.
Characteristically, as early as 1817, in Moskovskie Vedomosti (Nos. 24 and 27), G. Rachinsky notified of a subscription to the publication of his twenty works for violin and seven-string guitar. Among the ten guitar compositions, two variation cycles on the themes of Russian folk songs "I walked through the flowers" and "Young Young", as well as five polonaises, a waltz, a march and a fantasy were mentioned. But for reasons unknown to us, it was not possible to publish them.
A man of versatile culture, "Voltairian", as they said then, G. Rachinsky was close to Moscow literary circles in which his name was very popular. On various literary evenings he often played variations on the themes of Russian and Ukrainian folk songs. At one of these evenings, dedicated to the memory of the poet and playwright N. N. Nikolev (his poems formed the basis of such popular songs, as “Fly higher, rush”, “In the evening the rouge of the dawn”), G. Rachinsky performed his works both on the violin and on the guitar. Those who gathered in the house of the pupil of the poet I. Maslov, a great admirer of the seven-string guitar, the author of compositions for it, were delighted with the skill of the musician. “That evening,” noted the journal Son of the Fatherland (1817, No. 9), “the violin in Rachinsky’s hands and the guitar itself were animated under his fingers and made him wonder.”
It is known that the fantastic musician created for the seven-string guitar the fantasies “In the Evening I Was at the Post Office” and “On the Bank of the Desna”.
Russian composer Alexander Egorovich Varlamov (1801-1848), author of various popular romances and songs, which are considered by many to be folk
Alexander Yegorovich Varlamov (1801-1848), the creator of many of the most popular romances, was a master of the guitar. He showed early musical talent: on his own, the boy learned to play the piano, violin, cello, and guitar. At the age of ten, his father sent him to St. Petersburg, where he was enrolled in the staff of the Court Singing Chapel as a minor chorister. Noticing the boy's excellent abilities, the director of the chapel, the outstanding Russian composer D. Bortnyansky, began to supervise his studies. According to A. Varlamov himself, he owes it to D. Bortnyansky for the excellent vocal school and subtle knowledge vocal art. Having completed his musical education, A. Varlamov served for four years as a chorister teacher in the church at the Russian embassy in The Hague. Here he already acts not only as a singer, but also as a guitarist. On February 19, 1851, the St. Petersburg newspaper Severnaya Pchela wrote in the article “Memoirs of A. E. Varlamov”: “In another concert (in Brussels), out of pleasing the artist who gave the concert, (he) played the Rode Variations on the guitar. The purity and fluency of playing a melodic instrument, unknown to many listeners of that time, aroused loud applause; the next day, in the French newspapers in Brussels, an expression of general gratitude was placed for the pleasure brought to the public. His performance in The Hague was not the only one; later, already in Russia, he often performed as a guitarist in concerts and in the home circle.
In 1823 Varlamov returned to his homeland. He earns a living by giving lessons in various educational institutions and private homes. At this time, the composer composes a lot, often performs his romances in concerts and in a friendly circle, but does not publish them. Since 1832, having received the position of bandmaster and "composer of music" of the Moscow Imperial Theaters, he settled in Moscow. Here Varlamov finds recognition and support in the Moscow artistic environment. His talent was appreciated by the famous tragedian PS Mochalov, himself a singer and songwriter; the poet and actor N. G. Tsygankov, to whose words A. Varlamov wrote a number of his romances; M. S. Shchepkin, A. N. Verstovsky and other figures of Russian culture.
The composer's collection of romances, published in 1833 in Moscow, brought him great fame. His songs spread with extraordinary speed and were sung by representatives of all classes. Especially famous was A. Varlamov's romance "Red Sundress", which sounded, according to the composer N. Titov, "both in the living room of a nobleman and in a peasant's chicken hut."
A. Varlamov wrote about 150 romances, most to the words of Russian poets, some to folk and his own texts. It is characteristic that the texture of the accompaniment of many of his romances is purely "guitar", for this instrument was especially fond of him. A. Varlamov composed not only romances, but also theatrical and ballet music.
The last years of the composer's life are connected with St. Petersburg. Here he worked on a collection of folk songs "Russian Singer", which remained unfinished. In 1848 A. Varlamov died suddenly. At the Museum of Musical Culture. Glinka in Moscow kept the manuscript of Varlamov's composition for voice, accompanied by the Research Institute of the seven-string guitar.
Russian composer Alexander Alexandrovich Alyabyev (1787-1851), author of the famous song "Nightingale" to the verses of Anton Delvig
The versatile gifted composer Alexander Alexandrovich Alyabyev (1787-1851) also wrote for the guitar. Many creations of his vocal lyrics were far ahead of their era. He enriched Russian music with new content, reflected in it the best, progressive aspirations. An advanced man of his time, a participant in the Patriotic War of 1812, he introduced into Russian vocal lyrics the motives inherent in the civil poetics of the Decembrists, the motives of patriotism, love of freedom, thoughts about the hard lot of the people, sympathy for the oppressed. Many of his works have become a phenomenon of enduring value.
Among his friends are the future Decembrists A. Bestuzhev-Marlinsky, P. Mukhanov, F. Glinka; writers A. Griboedov, V. Dal, V. Odoevsky, the famous partisan poet D. Davydov; composers A. Verstovsky and M. Vielgorsky.
Alyabyev's creative heritage is great: 6 operas, 20 vaudevilles, many works for orchestra and chamber ensembles, piano pieces, choral works, over 150 romances. Being an excellent connoisseur of the seven-string guitar, he masterfully arranged for it and the orchestra the works of A. Sikhra and S. Aksenov. They were first performed by concert guitarist V. Svintsov in 18271. In turn, the guitarists made brilliant arrangements of Alyabyev's romances.
P. A. Bulakhov. V. I. Radivilov
Played the seven-string guitar and Pyotr Aleksandrovich Bulakhov (c. 1793-1835), the father of the author of many popular romances P. P. Bulakhov. He lived in Moscow, was a wonderful singer. Playing the guitar well, he often accompanied himself in concerts.
Interesting arrangements for guitar and orchestra belong to V. I. Radivilov, famous violinist and a balalaika player. So, on April 2, 1836, in a duet with P. Delvig, a student of M. Vysotsky, he played his composition for violin and guitar with an orchestra. In the same concert, Delvig performed variations on the theme of the Russian song "I'll tell you, mother, my head hurts" on a seven-string guitar.
Mikhail Ivanovich Glinka
He was interested in the guitar and the founder of the Russian classical music Mikhail Ivanovich Glinka. His introduction to Spanish folklore during a trip to Spain in 1845 was largely due to Spanish guitarists. The tunes of F. Castillo and especially F. Murciano, whom M. Glinka called "an amazing guitarist", served as material for him to create such wonderful works as "Night in Madrid" and "Jota of Aragon".
M. Glinka not only knew the guitar and many guitarists well, but also played it himself. Famous composer and pianist A. Dubuc recalled: “Mikhail Ivanovich Glinka often listened to the play of O. A. (the famous opera singer O. A. Petrov, a student of Sichra), it happened that he himself took the guitar and picked up chords on it”2.
Russian Opera singer and guitarist Osip Afanasyevich Petrov (1807-1878). Portrait by Konstantin Makovsky (1870)
Interestingly, the outstanding singer Osip Afa-nasyevich Petrov (1807-1878) was an outstanding guitarist who studied with A. Sikhra. The undoubted recognition of his achievements is evidenced by the fact that A. Sikhra placed his arrangement of Gaberbir's etude in his School. O. Petrov learned to play the guitar back in early childhood. Curious facts about this, as well as about the existence of the guitar in Russian province, leads V. Yastrebov: “It should be assumed that Petrov learned to play the guitar while still in the cellar ... The guitar then enjoyed the general love of the urban population and only around 1830 gave way to the harmonica. Other guitarists reached remarkable perfection and gained fame in several provinces; Kladovshchikov, who brought wine from the Don to Elizavetgrad, belonged to such well-known players; he himself got acquainted with this art in Moscow from some local virtuoso (from M. Vysotsky - A. Sh., L. M.), and from him ... Petrov learned and learned so well that there was no better guitarist in the whole city : “His fingers ran along the strings as if they were alive, in the words of one of his Elizavetgrad acquaintances, Osip Afanasyevich” 3.
Of course, the uncle's cellar was not a place for a gifted young man. Chance brings him to a visiting theater troupe, which he joined in 1826. On October 10, 1830, Petrov made his stage debut. Mariinsky Theater In Petersburg. Diligence and talent soon made O. A. Petrov one of best performers opera parts.
The great singer loved the guitar until the end of his life. In St. Petersburg, he became a student of A. Sikhra, having the most serious intentions regarding the guitar. Friendly relations connected him with V. Morkov, V. Sarenko and other guitarists.
Seven string guitar had a great influence on the formation of Russian romance lyrics. Accompanied by the guitar, romances were sung both in the high-society salon, and in the modest dwelling of the craftsman, and sometimes in the peasant's hut!
The seven-string guitar also had a certain influence on Russian piano music, this is especially clearly seen in the work of A. Dubuc, who, under the impression of M. Vysotsky's playing, began to actively develop folklore material.
Late XVIII—mid 19th century- the heyday of the art of playing the seven-string guitar, a unique cultural layer of enduring value.
Notes
1 See: Ladies' magazine. 1827. No. 7. S. 18.
2 Guitarist. 1904. No. 5. S. 4.
3 Yastrebov V. Osip Afanasyevich Petrov / Russian antiquity. 1882. Vol. XXXVI.
Producer's column
A couple of years ago, when it was reported in the press that the number of DJ players sold exceeded the number of guitars in London's musical instrument shops for a year, it seemed that the plastic world had finally won. But suddenly, with the advent of the spring of 2001, companies with guitar songs began to appear in the yards again, in the metro at every step you meet young people with characteristic black cases behind their backs, everything seems to fall into place. The balance is being restored, and this is happening thanks to, among others, such guys as the team of the Russian Guitar Portal site. The portal combines several sites on the guitar theme and was created with the cooperation of professionals from the Internet and from the guitar..
IN music app for the first New Year's magazine, a joint project of the Publishing House "Salon Audio Video" and the portal site - "Guitarists of Russia" was released. The name of the disc is fully consistent with the content, it contains guitar music of various styles and directions performed by the masters of the instrument. We deliberately try to avoid the epithet "the best" so as not to cause disputes about tastes. Along with eminent professionals, the work of young virtuosos is presented here. The music is so diverse that I think everyone can find something for themselves.
Evgeny Ilnitsky "Papa John".
GUITARS OF RUSSIA
Even though the guitar is one of the most popular musical instruments, guitar music in Russia is semi-underground. Musicians this genre often known only to experts. Every day we hear them playing dozens of times on the radio and do not know their names. These people, as a rule, work behind the backs of popular artists as session musicians, and a rare national hit does without their participation. Working with pop artists is a way for many to make a living, but their own creative ambitions find expression in guitar music. Guitar music does not have a regular serious press, somewhere occasionally there are "non-promoted" concerts, albums recorded with their own money are released in small editions. We hope that the publication of our disc will at least partially fill this gap.
The guitar is a truly folk instrument, millions of children learn in the summer in the yards and in the winter in the porches all these "ladders" and "asterisks", master the "barre" and "brute force". Talking with famous musicians, it turns out that many started in exactly the same way, with songs with a guitar in a company where a person who owns a guitar always enjoys authority. It was the guitar, innovations in the extraction and processing of its sound that determined the development of all popular music in the second half of the 20th century. And it is no coincidence that the past century was called the age of the guitar, the age of rock and roll.
Alexey Kuznetsov- Patriarch of the national guitar school, author of popular teaching aids and one of the best jazz musicians countries that participated in many famous projects together with many jazz stars Russia. For a long time, Kuznetsov worked in the USSR State Radio and Television Symphony Orchestra and the Cinematography Orchestra, where he collaborated with such classics as Mikael Tariverdiev and Mikhail Petrov, participated in recording music for Russian films "Cruel Romance", "17 Moments of Spring" and many others. Our collection presents a piece by Alexei Kuznetsov, performed by him in a duet with another oldest Russian guitarist - Nikolai Gromin, with whom Kuznetsov played back in the 50s.
Dmitry Chetvergov- guitarist-generalist, freely playing in any style. For many years, Chetvergov has been the most sought-after session guitarist in Russia, having recorded an incredible number of guitar parts with the stars of national popular music. In solo work, Dmitry experiments with modern sounds And music technology. The two pieces presented in the collection perfectly illustrate this fact. The composition Propeller-Chet uses a sample from the Propellerheads, hence the name.
Dmitry Maloletov- is a leading Russian specialist in the "piano technique" of playing the guitar (two-handed tapping). As a studio and live musician, he has worked with many Russian stars. Some characteristic quotes from an interview with Dmitry Maloletov: "... the guitar for me is not just an artisan's tool, it is a kind of field of knowledge - the science of the guitar, in which I am more of an experimenter than a professor. I am convinced that two-handed tapping is a new step in the development of the guitar. ", "to play for all occasions - from flamenco to atonal fusion - this is the specificity of our Russian guitarists."
Ivan Smirnov- composer, virtuoso guitarist, creator of a unique direction that opens up new ways of development contemporary music and returning musical creativity to domestic roots. Smirnov's style harmoniously combines the most modern, most relevant musical forms with the Russian worldview. For the past few years, the press has recognized Smirnov as the best acoustic guitarist Russia. Leading world-class performers (guitarists Al Di Meola, Alan Holdsworth) are familiar with Smirnov's work and highly appreciate it. His first album "Carousel Grandfather" was called by critics at the time of release "a musical sensation" and sold a record circulation for this kind of music.
Igor Boyko- guitarist, composer, paying a lot of attention to improvisation. The defining direction in creativity is music in the style of jazz fusion. Igor, like most of the guitarists featured on the album, works with pop stars on concert venues and in the studio. Already for a long time takes part in the Valery Syutkin Ensemble as an instrumentalist and author; he has long-standing creative ties with jazz singer, composer and pianist Sergei Manukyan. Igor recorded several solo albums. In addition to a rich concert activity, Igor Boyko is engaged in educational and pedagogical work, being the author of two books on guitar art.
Not so long ago Valery Didula was busker, in this role traveled half of Europe. He studied guitar in the homeland of flamenco - in Spain. Last year, Didula was recognized the best guitarist in their homeland - Belarus. Now he lives and works in Russia and. is preparing to release his second album. Valery's style is author's flamenco music, Latin American acoustic guitar music in modern fashionable dance arrangements. Currently, he works closely with many popular music performers.
May Lian on the professional stage since 1984, in the late 80s and early 90s he worked in the theater of Alla Pugacheva. After that, over three years of travel, he gained experience in session work in 14 European countries. Returning to Russia in 1993, he released the country's first video school of playing the guitar, the circulation of the two parts of the video school is approaching 500,000 copies. Mei Lian's instrumental compositions are notable for their vivid images and non-standard harmonic construction. individual style performance, using shades oriental flavor, makes this guitarist easily recognizable on the stage.
Alexander Vasilenko has solid experience in orchestral work. In the late 70s, while still a very young man, he began in the State Orchestra of Latvia "Neptune", in subsequent years he worked in the USSR State Radio and Television Orchestra conducted by A. Petukhov and in the orchestra of the State Academic Bolshoi Theater. And in 1994 he won 1st place in the Blues Guitar nomination in the guitar competition of the TV program Jam. Such contrasting stages of the creative path characterize the width of Alexander Vasilenko's stylistic range - from academic music to rock.
Levan Lomidze- blues guitarist Georgian origin. creative activity began at the Tbilisi Philharmonic under the patronage of Vakhtang Kikabidze (the drummer in the ensemble where Lomidze played was the son of Vakhtang). In the late 80s, Levan Lomidze's group became "the first Georgian rock band to release a record." In the early nineties, he moved to Moscow with the Blues Cousins. The energy of the musicians can only be envied, since the appearance of music clubs and to this day, the group of Levan Lomidze has remained the most actively concert blues group in the capital. Levan dedicated the work presented in our collection to his wife Madonna Lomidze.
Composition "Summer Light", written and performed by a Moscow guitarist Dmitry Rantsev impressed us with her energy, melody and finds in phrasing. Dmitry is mainly known to the listener for his work in the group of Leonid Agutin. The presented piece was recorded in collaboration with bassist Sergei Zakharov, keyboardist Alexander Smirnov and arranger Roman Trofimov.
Anton Tsygankov- a very young guitarist, the hope of domestic guitar music. Anton, as well as his colleagues in the guitar workshop, works with pop performers, steadily improving his professional skills, and has already managed to distinguish himself by winning prizes in several guitar competitions. Experts predict a great future for him.
The material was prepared by Evgeny Ilnitsky (Papa John) and Sergey Tynku (stnk). Thanks for help in preparing the disc to Alexander Avduevsky (Cyco), Serge Ivanov, Dmitry Frolov (DF), Nastya, Fingy.
Seven-string classic-body guitar modeled after the late 19th century in mahogany, maple, wenge and spruce
Ways of development of guitar art in Russia are peculiar and original. Being a five-string guitar, it was brought to Russia by Italian musicians in the 18th century, but it did not become widespread, remaining an exotic decoration. Later, at the beginning of the 19th century, the Russian public got acquainted with the "Spanish" six-string guitar, which by that time had become quite popular in Europe. It was introduced in Russia by well-known foreign musicians-guitarists M. Giuliani, F. Sor and others.
The victory in the Patriotic War of 1812 greatly accelerated the growth of national self-consciousness, caused an upsurge of patriotic feelings and sentiments in all sectors of society. Interest in the historical past of the Motherland, in folk art, in particular in folk song, is growing rapidly. Urban romance is gaining wide popularity. Based on everyday folklore, he represents a peculiar layer of Russian musical culture with a characteristic structure and melos, with expressive means inherent only to him.
Academician B. Asafiev wrote about this in his work “Musical Form as a Process”: “There was no psychological realism with its analysis of personal spiritual life, romantics had not yet raged, putting forward a culture of feeling, and the masses were already eager to hear“ simple speech ”and heartfelt and exciting melody; for the domination of nepotism, sensitivity, the cult of “simple morals” of simple-hearted people and “domesticity”, tenderness before nature, quiet contemplation was approaching. The intonations corresponding to all this evoked in the music romance melos, sincere, cordial; both the words and the melody, which for the most part did not claim to have a long development, were fanned by a single intonation system - “sounding from heart to heart” 1 .
The seven-string guitar that appeared in the last decade of the 18th century, with its harmonic structure and timbre coloring, turned out to be very close to the nature of Russian folk songs and the genre of urban romance that arose on its basis. Its use to accompany the voice made it possible to most subtly reveal the lyricism of intimate experiences that make up the main theme of urban romance. The best works of this genre, created by A. Alyabyev, A. Varlamov, Titovs and other talented composers, entered the golden fund of Russian music.
Russian musicians, realizing what great possibilities lie in the seven-string guitar, begin to create a solo repertoire for it as well. First, they transcribe for her excerpts from popular operas and other works by Russian and foreign composers. Then they create variational cycles, quite complex in texture and concert in nature, based on folk melodies. (As a striking example, let's name A. Sychra's variation cycle on the theme of the Russian song "Among the Flat Valley".) In addition to variations, miniatures are created, elegant and melodic, touching the soul of a simple Russian person. Attempts are also being made to create a large form, in particular a sonata, a concerto for guitar and orchestra.
Andrey Osipovich Sikhra
Russian virtuoso guitarist and composer Andrey Osipovich Sikhra (1773-1850)
The extraordinary popularity of the seven-string guitar attracted talented musicians to it. An outstanding role in the creation of the national guitar school belongs to Andrey Osipovich Sikhra. A wonderful virtuoso guitarist, a talented composer, he is undoubtedly the founder of the Russian school of playing the seven-string guitar.
A. Sikhra was born in 1773 in Vilna (now Vilnius) in the family of a music teacher. In his youth, he gave concerts as a harpist, playing the six-string guitar. Then he became interested in the seven-string guitar, which he devoted his whole life to. In 1801, the musician moved to Moscow, where he began to create a repertoire for the seven-string guitar and study with his first students.
Sychra, a talented musician, friendly and charming person, soon became the idol of numerous students and admirers.
After the expulsion of Napoleon from Russia, Sykhra moved to St. Petersburg, which he did not leave until the end of his life (he died in 1850). Here he, already a mature musician and teacher, creates his own school of playing the seven-string guitar...
A. Sikhra was not only a talented, but also a highly educated musician. He was highly valued by M. Glinka, A. Dargomyzhsky, A. Varlamov, A. Dubyuk, D. Field and many other figures of national culture. The famous singer O. Petrov learned to play the guitar from Sichra. The Biographical Dictionary of the Russian Historical Society called Sykhra "the patriarch of Russian guitarists". Of his students, the most famous are S. Aksenov, N. Alexandrov, V. Morkov, V. Sarenko, V. Svintsov.
If Sichra was recognized as the head of the St. Petersburg school of the seven-string guitar with its characteristic strict "academic" style, then Mikhail Timofeevich Vysotsky is rightfully considered the founder of the Moscow school, whose life and work is another page in the history of Russian guitar art.
Among the students of Vysotsky, the most famous were P. Beloshein, A. Vetrov, I. Lyakhov, M. Stakhovich and others.
The era of Sichra and Vysotsky is the "golden age" of the Russian seven-string guitar. Its wide dissemination contributed to the democratization of musical art.
Variation cycles of Russian guitarists-composers are created on the basis of Russian folk songs. This unique layer of Russian musical culture is an important source for the study of folklore.
The Russian seven-string guitar, which sounded in the hands of talented musicians, inspired poets and writers to create beautiful lines of poetry.
A. Pushkin called the guitar "sweet-voiced". Words full of lyricism dedicated to this instrument can also be found in M. Lermontov, A. Fet, I. Bunin, A. Grigoriev, L. Tolstoy, A. Ostrovsky, M. Gorky.
The guitar is depicted in many paintings by Russian and Western European artists: V. Tropinin, V. Perov, I. Repin, An. Watteau, B. Murillo, Fr. Khalsa, P. Picasso and others.
In the middle of the 19th century, interest in the guitar fell not only in Russia, but also in Europe. However, in the late XIX - early XX centuries, the seven-string guitar begins to reassert itself. This was largely facilitated by the activities of enthusiastic musicians who tried to restore the traditions of Sichra and Vysotsky. The most famous of them were A. Solovyov and V. Rusanov.
Outstanding Russian guitarist and teacher Alexander Petrovich Solovyov (1856-1911)
Alexander Petrovich Solovyov(1856-1911) - a prominent performer and teacher. He brought up many gifted students, such as V. Rusanov, V. Uspensky, V. Yuryev, V. Berezkin and others; created the School (published in 1896), which was the best at that time.
Valerian Alekseevich Rusanov(1866-1918) - a famous historiographer and promoter of the Russian seven-string guitar. He organized the publication of the all-Russian magazine "Guitarist" (1904-1906).
In the period after the Great October Socialist Revolution, M. Ivanov, V. Yuryev, V. Sazonov, R. Meleshko did a lot to popularize the seven-string guitar. They created schools and tutorials for this instrument, original compositions, adaptations and transcriptions, compiled numerous collections. M, Ivanov wrote the book "Russian seven-string guitar". These musicians constantly performed as soloists and accompanists in concerts, recorded on gramophone records.
In the post-war years, a new generation of seven-string guitar players has grown up, which adequately continues the rich traditions of the national performing school. Among them: V. Vavilov, B. Okunev, B. Kim, S. Orekhov, A. Agibalov. During this time, the repertoire of the seven-string guitar was replenished with works by composers N. Chaikin, B. Strannolyubsky, N. Narimanidze, N. Rechmensky, G. Kamaldinov, L. Birnov and others.
Nowadays, there is a growing interest in the world in the Russian seven-string guitar. We express the hope that new glorious pages will be written in the future history of this beautiful original musical instrument.
Notes
1 Asafiev B. Musical form as a process. 2nd ed. L., 1971, p. 257.
Shared observations - Sergey Tyncu
Of course, there are many more of them (breeds and hybrids). But if we talk about the main basic ones, or rather the first ones that came to mind, that is, the most frequently encountered by the author, then here they are, such as described below. It was easy to put several names under each of the items, but I would not want to give anyone a reason to be offended if the person himself sees and presents himself a little differently than the author. Therefore, we will leave the names for private conversations.
Teacher Wise
These seemingly modest ministers of the church of guitar perfection are perhaps the strictest judges for almost all guitarists. If only you knew how much their tired eyes have seen in this life and where their strong fingers did not run. The wise teachers who give private lessons know and can do everything, so against their background, any guitarist feels naked and imperfect. They look like successful people. A stable income, no bosses, no need to go on tours and concerts, a loyal army of devoted fans from among the students, good opportunities to barter musical equipment to a kneeling flock. But often (not always, really) for many people in their speeches and their music there is so much boredom ... that such a teacher in your mind is no longer wise at all, but (cloudy? muddy? boring?) ...
Cheerful huckster
They love music very much and all their lives would like to work somewhere near the guitars. And they did it. Free schedule, good income, easy fuss with tools. My own boss. From the outside, it looks like an illustration to the painting "life is good." However, one should never idealize the existence of, for example, an elite prostitute... or a guitar huckster. Cons are everywhere. All these guys have bad karma. They sell all sorts of instruments, both good and bad. If we talk about the latter, then, using their sociability and good erudition to the fullest, they have to lie a lot and manipulate facts, giving out frank nonsense as truth, praising this or that log.
pop eagle
These guys are very good at playing and for the most part got decent music. education. As a rule, they lack one style and for themselves they prefer to cut fusion with elements of everything in the world. In other scenarios, they could become first-rate guitar stars, but ... “the institute exams session” is the traditional story that it is impossible to live on such music, so you need to get a job with the stars of Russian pop music, where they pay normally, and the content of the work itself does not cause no difficulty in terms of professional skills. Of course, there are not enough rich (and most importantly non-greedy) pop stars for everyone, so someone has to pull the strap of a hired laborer in domestic rock projects. Of course, the first years of work in our show business, they think that this is all temporary, that they will someday go to real music, will record an album and give themselves to art, breaking out of the vicious circle of “barge haulers on the Volga”. As a rule, none of this is realized, and if the album, in the end, does appear, then the number of its listeners is so small that "you cannot kindle the fire of joy on these firewood."
fashion blogger
Narrow profile specialist
Infinitely in love with a certain style - jazz, blues, reggae, flamenco, metal, etc. This person can be like a professional working in some musical project or an educational institution, or simply a frantic enthusiast who happily dives to such depths that just to understand them, appropriate special training will be needed. It is impossible not to respect such enthusiastic people, even though they are not always understood and not always needed by others. But, of course, sometimes they can be envied - they found their passion, gave themselves to it and became happy.
Hungry junkie
This person receives inspiration and good mood at the moment of buying a new guitar or amplifier. Most of my free time is devoted to shopping. This person always keeps track of domestic and Western flea markets. He is aware of all prices. He buys the most interesting guitars. There is only one trouble with these tools - after some time they cease to please and the body begins to ask for a new dose. Accordingly, such people are always in the business of worries. They need to have time to sell the old and buy a new one. Perpetual motion, Paganini would say about them. Very often, Hungry Addicts make hucksters. But not always, because in order to be successful in bare business, you need to focus on purchasing instruments that are popular on the market, and not on your personal taste, which more and more rare models are able to please.
family prisoner
This person can always be recognized by a slightly haunted sad look. The problem is that he always lacks everything. Money to buy dream instruments, time to play according to your wishes, talent to go out on high level craftsmanship, bottles of beer for Have a good mood. He seems to be trying his best and trying to grab both money and time, but family, work ... and as a result, relationships with the guitar, with all the love for it, are not in the first place, which makes them extremely upset. Sometimes such people manage to carve out an evening or two a week for rehearsals in the company of the same tortured prisoners of city life. Sometimes they even perform in public somewhere. But this is always so little that their hearts do not have time to be filled with happiness.
Reluctant Maniac
As a rule, this is already an elderly person with traces of sleepless nights and excesses of alcohol. He is covered in tattoos and hair, dressed like a real rock musician - you can't confuse him with anyone. Once upon a time, he decided that music is the main thing in his life. And since then, he has directed all his strength, means and thoughts only to music. He saves on everything, he does not have a decent job, there is no family. But there are constant rehearsals and attempts to climb up somewhere. And success seems to be constantly wandering around, and the sea of acquaintances have already become real musicians, and you are storming and storming your first height. Becoming a real pro, having regular concerts, going on tours and making a living with music does not work. But you do not give up and until old age you beat your head against doors that are closed to you. To admit to yourself that being a musician is not your thing, or that you can’t make music that is interesting for people - you have neither the strength nor desire for such confessions - you consider them weakness and betrayal. Your acquaintances have long been accustomed to the fact that you do not go to bars with them, because instead of a few mugs of beer you can buy new strings, time at the rehearsal space and other necessary things for a brighter future, in which no one but you believes.
Successful Pro
A successful pro is distinguished by two factors. He, firstly, plays music that he himself likes and to the creation of which he himself had a hand. And, secondly, he is always full of creative plans. He constantly lives in the future, with some projects and ideas, of which he has a wagon and a small cart. He has no financial problems to buy the necessary equipment, he has no problems with concerts. All the main life issues have been resolved and therefore he is all in creativity. He approaches instruments as paints with which he wants to express certain moments in his art.
high manager
These people do not work in music, but they managed to arrange everything in such a way that it is possible to pay enough attention to music. They do not climb to the top of Olympus. They just enjoy. They have a good source of income, they have time and money, they have associates, they have the opportunity to rehearse in pleasant conditions and occasionally perform, again not for money and fame, but simply for themselves and some of their friends. As a rule, they play quite decently and not every spectator will distinguish them from professionals. But it's no coincidence that a blissful manager is a manager - he has a good idea of what the life of a professional musician is, the struggle for a place in the sun and other things. So he doesn't go there. Everything suits him anyway - he organized everything perfectly. And eat a fish and sit in a Bentley.
Tavern labukh
Music for such people is just a job. And not the most beloved. All your life you play the same other people's songs in front of a drinking, eating crowd. Few people, starting to study the guitar, dream of eventually getting into a tavern on a permanent basis in order to play “shizgara” until gray-haired mudey. However, in the end, not everyone has a choice. It cannot be said that playing covers in pubs is a very tragic lot. Not at all, especially if after this musical work you can drink half of the fee there. It even has its own romance. Very often, taverns have some interesting past. But they almost never have a future. Unless such work is something temporary, episodic, due to youth, etc. There is a sea of sad irony in all this - many musicians dream of getting into a tavern in order to have some kind of income, and many dream of breaking out of it.
brave young lady
Most people on planet Earth are firmly convinced that football and guitars are not at all women's activities. However, despite this smack of chauvinism point of view, there are many girls who, by personal example, are trying to prove their right to football and the guitar. We can say that these are brave young ladies, because they have to deal with social stereotypes. It cannot be said that the use of female hands in guitarism is such a hopeless undertaking. Women are in demand in show business. First, this women's groups of all calibers - from taverns to pop projects of the federal level, and, secondly, even if the group is not entirely female, the presence of a pretty girl on stage is always an element of attraction. Jeff Beck figured this out a long time ago. In general, there were always girls trying to play the guitar, although there were never many of them. Well, maybe one in five hundred guys with guitars.
session monster
Enthusiastic guys who have a huge fleet of guitars and gadgets. These "call men" can play almost any style, mixing different techniques like a dexterous bartender drinks in cocktails. Usually, these guys have very little time, because they are busy in dozens of different projects, and when not busy, they devote themselves to learning something new and unusual for themselves. Not all of these professionals are pleasant to listen to. It often happens that because of the universality suffers some artistic value their games. But when you come across a really gifted musician, then his varied game you can really enjoy.
Optimistic "student"
This is the temporary state of a person who is all in the future. And his luck, and his failures - all this is yet to come. In the meantime, he is learning to play, creating bands, trying to compose his first material, happily trying out new guitars and gaining fresh knowledge of the big rock and roll showbiz. Of course, such a person is full of optimism, because if you do not believe in success and a bright future, then why even get down to business. Of course, as statistics show, 99% of such optimists will not achieve anything musically interesting and significant. But on the other hand, there will remain positive memories of how you and your friends once made a group a long time ago and tried to build a project.
Comes from childhood
Once upon a time, in their youth, they seriously sat on guitarism. And then they grew up, started some adulthood. But music remained in their lives. And the guitar is still at home, having moved into the category of male hobbies somewhere next to “drink beer” and “watch football” on Fridays after work. That is, without excessive fanaticism. Occasionally and purely for the soul. You can call it a habit. Of course, they continue to follow the guitar world, communicate with fellow guitar hobbies, and even attend some guitar concerts, and even master classes. But there is no passion in it. You can call it retired guitarism. Very often, the guitar hobby simply closes some kind of emptiness in life and the fear of being alone with the ordinary. The guitar in this case plays the role of a lifeline and a close friend, to whom a person does not turn so often, but it is quite effective in terms of beneficial influence on state of mind. Let's be honest, the lives of so many people are pretty boring things; the guitar in this case is a way to escape and brighten up this boredom. Why not?
