Professional Belarusian music arose and developed during the existence of the USSR (1917–1991) as the musical culture of the Belarusian Soviet Socialist Republic (BSSR). Since 1991 Belarusian musical art has been developing in the conditions of an independent state. Composers who lived and worked in Belarus in the 18th–19th centuries did not leave much creative heritage from which a national school of composers could develop. That's why formation of the Belarusian composer school carried out in the 1920s.
In the 1920s the richest layers of Belarusian musical folklore are being actively developed. Belarus has the most unique in Europe musical folklore, in which songs relating to the 1st millennium BC have been preserved in an almost intact form. and the first centuries A.D. (in Europe and even in Russia these songs are irretrievably lost). These are calendar-ritual (carols, carnival, drawing, Yuryev, Trinity, Kupala, stubble) and family-ritual songs (native, wedding, funeral voices). Well presented and later song folklore(Cossack, barge, recruit, Chumat, songs of social protest, etc.).
In the early 1920s composers from the RSFSR - N. Churkin, N. Aladov, E. Tikotsky come to Belarus. They collect and record samples of Belarusian folklore (Churkin's collections "Belarusian folk songs”, “Belarusian folk songs and dances”) and on their basis create the first professional works of various genres.
They are at the origins of musical education. In 1924, the Minsk Musical College was opened, in 1932 - the Belarusian State Conservatory. Both educational institutions were headed by Aladov for some time. One of the first professors of the conservatory was E. Tikotsky. Since its opening, the conservatory has been preparing cadres of performing musicians, composers, and musicologists.
The first genres in which Belarusian composers work are vocal. It's processing folk songs(the most common genre initial stage Belarusian music), mass choral songs, romances. Large vocal compositions- cantatas, written by T. Shnitman (a composer who tragically died during the occupation in the Minsk ghetto) and N. Aladov (“10th year” - to the 10th anniversary of the October Revolution).
The first operas: "The Liberation of Labor" by Churkin (dedicated to the events of the revolution) and "Taras on Parnassus" by Aladov (a comic opera based on the plot of the anonymous poem of the 19th century of the same name), the musical comedy "Kitchen of Holiness" by Tikotsky (on an anti-religious plot). Symphonic music represented by Churkin's Symphony "Belarusian Pictures" (1925, quotes from 16 Belarusian folk songs were used), Tikotsky's 1st Symphony (1927), 2nd Symphony on Belorussian Themes. nar. Songs of Aladov (1930). In area chamber instrumental music Aladov's Piano Quintet (1925), "Kalykhanka" for string quartet Churkin (1927), suite for string quartet and piano "Simon-Music" by G. Pukst (1928) were created.
In the 1930s–50s the desire of Belarusian music to merge into the general Soviet musical process. The conservatory and the musical technical school educate the first domestic composers. In addition, in the 1930s one can see the lack of professionalism in Belarusian music, which will be overcome throughout the entire period. Themes of creativity in the 1930s: socialist construction, collectivization and industrialization. They were especially pronounced in vocal music. In the mass song, these are Pukst's songs about the first five-year plan "To the Hero of the Locomotive" and "Creative Steps", famous song I. Lyubana, which has become popular, “Be Healthy” and the song of S. Polonsky on the lyrics. Kupala "Vecharynka ў kalgas".
In 1933, Aladov's cantata "Over the Aresai Crayfish" was created, dedicated to the melioration of Polesie and collectivization Belarusian village.
In 1937, on the occasion of the 100th anniversary of Pushkin's death, a competition was announced for composing music based on Pushkin's texts. In Belarus, 3 cantatas were created: “Voivode” by P. Podkovyrov, “The Drowned Man” by M. Kroshner and “The Tale of the Bear” by A. Bogatyrev - this was a very successful debut of the composer - the future classic of Belarusian music.
Opera 30s: 3 compositions - “Mihas Padgorny” by Tikotsky (1938) on the theme of pre- and post-revolutionary life of the Belarusian village, the fight against fists and for personal happiness, “At the guns of Paless” Bogatyrev (1937) based on the story of Y. Kolas “Drygva ”, “Kvetka shchastsya” by A. Turenkov (1936) on the themes of Belarusian Kupala legends.
In the 1930s, the first Belarusian ballet"The Nightingale" by M. Kroshner (1938) based on the story Zm. Byaduli. Here the Belarusian folk dance is the basis musical dramaturgy and stage action.
Symphonic music of the 30s. associated with mastery of the genre song symphony. The most famous works: the 4th symphony "Belarus" by V. Zolotarev (1934), Aladov's Symphonyette in C major (1936).
IN war years on the territory of occupied Belarus, along with the partisan movement, actively developed partisan song. The most famous: “Partisans. partisans, Belarusian sons” (based on a text by Y. Kupala, written in 1941 and transferred by planes over the front line), “We went to the dzela overnight”, “Balada ab partisans to Galina”, “Song of great Kanstantsina Zaslonava”.
Belarusian composers were either at the front with weapons in their hands (V. Olovnikov, L. Abeliovich), or in evacuation (Bogatyrev, Churkin, Shneiderman).
Bogatyrev created 2 cantatas in wartime: “To the Belarusian partisans” on the same text by Y. Kupala and “Leningraders” to the verses of the Kazakh akyn Jamb at la. In 1943 he wrote the lyrical-dramatic Piano Trio.
Aladov creates symphonic compositions: the ballad "In Harsh Days" and the poem "From the Partisan's Diary" (in it, the theme "Ach, mein lieber Augustin" is used to show the Nazis).
After the war the work of composers, its themes and images are determined by the powerful dictates of the Union of Composers of the BSSR. A new generation of composers is coming to Belarusian music: G. Wagner, Yu. Semenyako, E¸ Tyrmand, E. Degtyarik. E. Glebov, D. Smolsky.
In Belarusian state theater opera and ballet, new compositions by national authors are staged: operas“Dzyachyna z Palessya” by Tikotsky (about the events of the Great Patriotic War, about the feat of a partisan girl), “Nadezhda Durova” by Bogatyrev (about the Patriotic War of 1812, about the feat of a “cavalry girl”), “Castus Kalinouski” by D. Lukas, Turenkov's “Clear Light” (about the unification of Western and Eastern Belarus in 1939), Semenyako's “Kalyuchaya Ruzha” (about the life of modern students); ballets Zolotarev's "Prince-Vozera" and Wagner's "The Padstow Bride". New symphonies, cantatas and oratorios, choral works, instrumental concerts, chamber music.
Only in the 1960s–80s When stylistic renewal takes place in Russia and in the world, Belarusian music reaches true professionalism. This is reflected in the genre of the symphony (Smolsky's 1st symphony, Glebov's 2nd symphony), and in opera, and especially in ballet. Belarusian ballet music for the first time becomes known in the world.
More operas were created during the 30th anniversary than during the entire previous period. Among them are 3 operas by Semenyako (“When the Leaves Fall”, “Zorka Venus”, “New Land”), 2 operas by S. Cortes (“Giordano Bruno”, “Mother Courage” after B. Brecht), Wagner’s opera “The Path of Life” , 2 operas by Smolsky (“The Gray Legend” after Korotkevich and “Fransys Skaryna”), the opera by V. Soltan “The Wild Hunt of King Stakh” after Korotkevich.
There is no less diversity in the field of ballet. Ballets are being created on the themes of modernity and recent history: Glebov's "Dream" and "Alpine Ballad", Wagner's "Light and Shadows", V. Kondrusevich's "Wings of Memory"; on the themes and plots of Russian and foreign literature: “After the Ball” by Wagner based on the story of L. Tolstoy, “Til Ulenspiegel” by Glebov based on the novel by the Belgian writer Charles de Coster, “ A little prince» Glebov based on the novel by Exupery; on the fabulous and legendary plots "The Chosen One" by Glebov, "Pinocchio" by Kondrusevich. A number of choreographic miniatures appear - "Belarusian partisan" by Glebov, "Patriotic etude" by Smolsky. According to the musical and dramatic principles, the Belarusian ballets of the 60-80s are alloys either with the musical-dramatic genre (opera - "Light and Shadows") or with the symphony ("Alpine Ballad", "The Chosen One").
Glebov's ballets Til Ulenspiegel and The Little Prince, as well as S. Cortez's ballet The Last Inca, received recognition abroad.
In modern Belarusian music, ballet still occupies one of the leading places. This is evidenced by such productions as "Passion" ("Rogneda") by A. Mdivani (an innovative ballet on the theme of the baptism of Rus' and ancient Belarusian history), "Macbeth" by V. Kuznetsov and others.
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In the 18th century Belarus was part of the Commonwealth. At the end of the century, the Commonwealth was divided by three states and ceased to exist as an independent political unit. Belarusian lands in 1795 they completely went to Russia, becoming the North-Western Territory of the Russian Empire.
Against the backdrop of complex political events, Belarus was going through a time of revitalization of spiritual life associated with the rooting of the ideas of the Enlightenment in the national culture. The development of science, education and art was prompted by the desire of the highest aristocratic strata of society to comply with European fashion and took place within the framework of a widely developed patronage. The patrons of the arts were in the second half of the 18th century. Belarusian magnates I. Khraptovich, A. Tizengauz, the families of the Radzivils, Oginskys, Sapieha, and others. Under their patronage, the development of new classicist architecture took place, magnificent garden and park ensembles were created, and arts and crafts developed.
In the musical culture of that time, the spiritual and actively developing secular music, professional performing activities and amateur (most often aristocratic) music-making developed, court privately owned and school musical theaters coexisted. In the second half of the XVIII century. laid the foundation for the development national composer creativity and created the first samples of opera, orchestral, chamber-instrumental and chamber-vocal music.
The spread of the ideas of the Enlightenment on the territory of Belarus became an incentive for the development of theatrical art and the emergence of musical opera and ballet theater. In a relatively short time, the entire territory of Belarus was covered with a network of musical theaters. In the 50s of the XVIII century. the Nesvizh and Slutsk theaters of the Radzivils arose, in the 70s and 80s the Slonim theater of Michal Kazimir Oginsky, the Grodno theater of Antony Tyzengauz, the Ruzhany and Drachin theaters of Sapieha, the Shklovsky theater of Semyon Zorich were created.
Gained the greatest fame Slonim Theater M. Kaz. Oginsky. It was notable for its huge size, grandiose capacity of the auditorium and excellent opportunities for artistic design of performances. Progressive "machinery" provided unusual effects that could amaze the imagination of even a modern viewer: a cavalcade of horses freely entered the stage, and with certain manipulations, the stage turned into a lake, on which small boats and fake ships floated.
The troupes of Belarusian magnate theaters, which most often included serf artists, were well trained. Due to the high level of skill, the Grodno ballet troupe later became the basis of the Warsaw theater, and the Shklov one formed the core of the theater in St. Petersburg. The repertoire of the magnate court theaters consisted mainly of Western European operas and ballets. A very small part was occupied by the works of national authors. Performing groups were formed from professional musicians, among which a significant part were foreign performers specially invited for this purpose. Local musicians (serfs and freemen) were at first in the minority, but over time their number steadily increased. Belarusian artists could be trained abroad, where the magnate sent them at his own expense, or they could acquire the skills of singing, dancing, playing musical instruments from foreigners right in the chapel or opera and ballet troupe.
A special social group among the artists of the musical theater were high-society amateur musicians, which, in particular, included Michal Kazimir Oginsky and Matej Radizivil.
Michal Kazimir Ogiński (1728 - 1800) – political figure, philanthropist, enlightened music lover and composer, - came from an ancient noble family. He received a versatile education, made a military career, was repeatedly elected to the Sejm and actively participated in political life. The diplomatic position of the hetman of the Grand Duchy of Lithuania made it possible to often travel abroad. In the 50s of the XVIII century. Oginsky visited Berlin, Vienna, Paris and St. Petersburg, in the 80s - Aachen, Brussels, Amsterdam, The Hague, visited the cultural centers of England, in the 90s - was in Prussia and Silesia, after which he returned to the territory of the Grand Duchy (in Vilna and Warsaw). During his travels, the hetman made personal contacts with the crowned persons, as well as with famous philosophers, writers, artists and musicians. Friendly relations connected the hetman with Haydn, to whom he proposed the plot of the oratorio "Creation of the World".
After his marriage to Alexandra Sapega in 1761, Michal Kazimir received the Slonim economy and began active patronage in the Slonim region. In a short time, on his initiative, a canal was built that connected the basins of the Baltic and Black Seas, roads were laid through the Polissya swamps, manufactories and printing houses were opened. By the mid-80s, Oginsky founded an art center in Slonim with a grandiose theater for staging operas and ballets, where there were two opera and ballet troupes and a highly professional orchestra, which contemporaries compared with Mannheim. Well-known Western European and local architects, artists, composers, conductors, singers, instrumentalists came to this "estate of muses". Talented musicians and dancers were educated at the theater school.
Michal Kazimir has shown himself in a variety of creative ways. He drew well, wrote poetry and opera librettos, composed music, and played several musical instruments. In his youth, he took lessons from famous Western European violinists. Then he continued to improve his skills at home: he soloed in violin concertos, played the first violin part in his home orchestra, participated in the performance string quartets Haydn, Boccherini, Stamitz. In addition to the violin, he mastered the art of playing the clarinet, for which he received the nickname "hetman-clarinet" from his contemporaries. It is also known that he was a wonderful harpist and made changes to the technical characteristics of this instrument.
The musical creativity of Oginsky was also diverse. According to indirect evidence, he was the author of five operas, the scores of which have not been preserved. At present, 12 songs without accompaniment in the manuscript of 1770 and 14 songs accompanied by two violins and a bass, published in the Warsaw editions of 1768, have been found and introduced into modern musical practice. own words. These laconic songs express the ideas of simplicity and naturalness inherent in the era. The unifying image of the cycle is the young peasant woman Kasia, who inspires the refined young philosopher, on whose behalf the story is being told, to create lyrical and instructive, philosophical and humorous musical sketches. The titles of the songs (“Ab Shchyrym Hearts”, “Unfortunate Good Days”, “Kotsik - Verabey”, “Ab Swimming”, “Rose Thickets”, “Ab Masks”, etc.) testify to the shades of mood and reflect the instructive experience that the narrator extracts from a variety of life phenomena.
For his songs M. Kaz. Oginsky chooses the traditional couplet form. Their melody is a typical example of the classical style and has characteristic rounded endings. It should be noted that the vocal part, probably for ease of performance, is dubbed by the violin. In the rhythm of the songs there are figures of polonaise and minuet. The transparent texture becomes more complicated only in the opening and closing performances-ritornellos. In building artistic image each miniature is dominated by a singing voice.
One of the brightest representatives of Belarusian musical amateurism of the second half of XVIII V. was Matei Radzivil (1751 - 1821) - a talented poet, composer, public figure, who lived in Nesvizh for many years. After the death of his father, Matei, his mother married the Lithuanian hetman, governor of the Vilna prince Michal Kazimir Radziwil ("Rybonka") - the owner of Nesvizh, the creator of the opera and ballet theater and the chapel. The boy's childhood passed in this center of muses, where Matei acquired and musical education.
After completing his general education in 1770, M. Radzivil went to see the world. He visited Dresden, Gdansk, Prague, Karlovy Vary, got acquainted with the achievements musical art.
In the late 70s, Radzivil returned to Nesvizh, where he communicated a lot with his stepbrother Karol Stanislav Radzivil (Pane Kokhanku) - a major patron of the arts, who contributed to the rise of the Nesvizh theater. At that time, world celebrities D. Albertini and J. Dusik worked in the theater, operas by Paisiello, Cimarosa, Sarti and Holland were staged on the stage. The Nesvizh Chapel almost daily gave concerts, where, among others, Haydn's works were performed.
In the 80s, Matei Radzivil became a Vilna castellan and received land in Novogrudok and other places in Belarus and Poland. At the same time, the creative activity of the philanthropist intensified - he created the libretto of the opera "Agatka" with music German composer J. Holland, staged in Nesvizh in 1784, and in 1786 wrote the opera Voyt of the Village in Alba, where he was a librettist, composer and performer of one of the main roles.
In 1790, M. Radzivil was appointed guardian of the young Dominic, who, after the death of his father, "Pane Kohanku", remained the sole heir to all the lands. Because of this, Matej Radzivil was forced to stay in Nesvizh during the second partition of the Commonwealth. Nevertheless, he supported the uprising of T. Kosciuszko, armed several rebel detachments, and gave freedom to the peasants who decided to join the rebels. M. Radzivil remained in Nesvizh until the end of his days, where he was buried.
From the musical creativity of the amateur composer, divertissement and 6 polonaises for chamber orchestra, 3 piano polonaises, a serenade for a string quartet and a sonata for violin and piano are known. These works, written in 1788-1797, are dedicated to the Saxon Elector Anthony and Princess Anna, with whom Radziwil was friendly. All works are the same in style. They are characterized by light images, simple means of expression, clear forms and all-pervading consonance.
Divertimento for orchestra consists of three parts: Allegro moderato - Adagio - Allegro scherzando. The musical language of the work is characterized by the influence of the classical style, flight themes reminiscent of the Mannheim style, clear tonic-dominant harmony, transparent texture and symmetry of form. This composition can be attributed to examples of everyday music-making with features of the musical style of the era.
The most prominent composers whose life in late XVIII century was associated with Belarus, are Osip Kozlovsky and German composer Jan Holland.
Osip Kozlovsky (1757 - 1831 ) - comes from a family of Belarusian nobles. In Russia, O. Kozlovsky was ranked among the founders of the national school of composers. He is the author of the famous hymn "Thunder of victory, resound" (to the words of G. Derzhavin, 1791), many orchestral, musical, theatrical and chamber works.
Osip Antonovich Kozlovsky was born in the Slavgorod region, on the Kozlovsky farm near the former Propoisk, in a poor noble family. The boy's musical talent was noticed by his uncle, V. F. Trutovsky - famous musician, chamber-guslist at the court of Catherine II, collector of Russian folk songs. He took the seven-year-old Osip to study in Warsaw, in the chapel at the Cathedral of St. Jan, where Kozlovsky acquired the skills of a chorister, violinist and organist. From 1773 to 1786 the musician worked as a tutor in the house of Counts Ogiński, teaching Michal Kleofas and his sister Józef. From 1786 to 1796, O. Kozlovsky served as an officer in the Russian army, was a participant in the capture of Ochakov. After enrolling in the retinue of Prince G. Potemkin, he was transferred to St. Petersburg. Here in 1791 he created a solemn polonaise "Thunder of victory, resound", after which he gained fame as a composer. From 1799, Kozlovsky served in the Directorate of the Imperial Theaters, first as an inspector, and from 1803 as director of music. He directed orchestras, organized court festivities, oversaw the training of musicians in theater school. In 1819, due to a serious illness, the composer left the service and, apparently, stopped his creative activity. In the 20s of the XIX century. the musician briefly visited Belarus, visited Zalesie, the estate of Michal Kleofas Oginsky, and the estate of the philanthropist L. Rokytsky in Gorodishchi. O. Kozlovsky died in St. Petersburg in 1831.
The composer became famous for his symphonic and piano polonaises, a number of operas, melodramas and music for the tragedies of V. Ozerov, Y. Knyazhnin, P. Katenin, etc. Derzhavin, A. Sumarokov, Y. Neledinsky-Meletsky and other Russian poets).
During his life, O. Kozlovsky created many works. He signed all his compositions "amateur", although, in essence, he was a highly professional composer. The reason for this was the social origin of the musician: he was an impoverished nobleman who constantly needed patronage support, and if for many nobles composing music was more of a whim, for O. Kozlovsky it was an urgent need.
German composer Jan David Holland (1746 - 1827) entered the history of Belarusian music as the author of the first national opera "Agatka", written on the libretto of the Belarusian philanthropist, librettist and composer M. Radzivil.
Jan David Holland was born on March 17, 1746 in the German city of St. Andreasberg. From 1771 he lived in Hamburg. In this city, since 1776, he took the post of director of music for the Hamburg cathedral, where he was lucky to work in collaboration with F. E. Bach. From the mid 70s to the early 80s of the XVIII century. symphonies, cantatas, oratorios, vocal and instrumental pieces by Holland were constantly performed in concerts.
In 1782, the composer moved to the Commonwealth and worked at the court of the owner of Nesvizh, Karol Radzivil (Pane Kohanka). In Nesvizh, Holland created the comic operas "Agatka, or the Arrival of the Master", "Someone else's wealth is not for the future", the ballet "Orpheus and Eurydice", a string quartet and a cantata dedicated to his patron Karol Radziwill. It is known that in 1790 the musician worked in Grodno and Warsaw, and from 1802 for the next 23 years he taught music theory at the Faculty of Literature and Liberal Arts of Vilna University, led the choir and orchestra. He summarized the experience of pedagogical activity in the musical-theoretical work "Academic treatise on the real art of music." Of the works of this period, there is a six-voice canon dedicated to the Russian Emperor Nicholas I (1826), and various clavier pieces (preludes, rondos, polonaise, marches), combining classical and sentimentalist features. J. D. Holland died in Vilna in 1827.
Great importance for the Belarusian musical culture has a comic opera by J. D. Holland “Agatka, or the Arrival of the Master”. Its premiere took place on September 17, 1784 in Nesvizh and was timed to coincide with the arrival of King Stanislav-August. The popularity of this opera was so great that after the premiere it did not leave the stages of Warsaw, Krakow, Lublin, Poznan and Lvov for forty years.
The genre of the work was defined by the authors (composer J. Holland and librettist M. Radzivil) as "operetta". The content of "Agatka" also corresponded to the unpretentious plots of comic operas. The young serf orphan Agatka loves the village boy Antek Tsalka. Their marriage is being prevented by the elder Piyashka, who wants to marry Agatka to another - Antek Gaydak. A chain of comic misunderstandings arises from the same names of the characters. The guardian of the girl Valenta and the old maid Platyukhova try to help the couple in love, but their efforts are in vain. Only a wise master, the owner of the village, destroys Piyashka's intrigue and gives happiness to those in love. The finale of the opera is the glorification of the just master.
In the plot, lines characteristic of operas of that time were revealed: lyrical-idyllic (the love of a peasant couple, described as a pastoral scene), dramatic (obstacles in the way of lovers to happiness), comedic-satirical (concentrated in the images of Valenta, Piyashka and Platyukhova) and panegyric-didactic (intervention of a good master, which resolves all contradictions). At the same time, in Agatka, one could clearly feel the local flavor, which manifested itself in the characteristic social conflict of the times of serfdom.
The opera consists of three actions. A clear structure is built according to the classical principle of "three unities" (place, time and action). The musical language of the opera is close to the norms of the classical style, although in the aria of Valenta from the first act there is a Slavic flavor. Agatka and Antek Tsalka are endowed with the most detailed musical characteristics (they are shown in several arias and ensembles). The style of their musical speech is close to Italian opera arias, distinguished by nobility and sophistication of intonations.
Ensemble and choral episodes of "Agatka" are solved in the traditions of lyric-comic operas. So, the final chorus is built on the principle of vaudeville verses, where the solo sing of each character alternates with a chorus refrain.
In "Agatka" a small composition of the orchestra was used (oboes, horns, trumpets and string group). The overture, thematically unrelated to the content of the opera, creates a festive mood and anticipates a happy ending.
“Agatka” by Ya. D. Holland laid the foundation for the development of the traditions of the Belarusian musical theater, becoming the first opera dedicated to local heroes and reflecting (albeit not at the level of music) the local flavor.
BELARUSIAN MUSIC OF THE XIX CENTURY
The first half of the 19th century, the century of romanticism in European art, became for Belarus the time of attempts to form a national school of composers.
Romantic tendencies in Belarusian art of the first half of the 19th century. expressed their interest in national history and folk art. Writer and ethnographer P. Shpilevsky revealed the way of life of Belarusians in essays and articles in Russian and Belarusian periodicals. Belarusian writers Ya. Chechot, Ya. Barshchevsky, V. Dunin-Martsinkevich, A. Rypinsky and V. Korotynsky for the first time focus on living Belarusian language and use folklore motifs in their work, which was reflected in the achievements of Belarusian literature of that time - the poems "Taras on Parnassus" and "Aeneid upside down". Romantic trends are also manifested in Belarusian painting, in the paintings of artists J. Dammel, Y. Aleshkevich, K. Rusetsky, N. Orda, I. Khrutsky and others.
The musical life of Belarus is experiencing an upsurge associated with its general democratization. Concerts of symphonic, chamber-instrumental, oratorio music are held in cities and towns, estates and churches. Symphonies and oratorios by Haydn, Mozart and Beethoven, chamber-instrumental works by I. Pleyel, L. Boccherini, K. Stamitz are performed. For the needs of cities, local city orchestras are created (the city symphony orchestra appeared in Minsk in 1803), small chamber ensembles, as well as orchestras at educational institutions - gymnasiums, seminaries, boarding schools. Music from the privilege of the highest circles of society is turning into a more democratic form of art, accessible to all segments of the population.
One of the forms of musical life are mugs And salons. In the first thirty years of the XIX century. especially popular in Belarus are the salons of Count R. Tizengauz in Zheludok, Grodno province, Count L. Rokitsky in Gorodischi, Minsk province, Prince M. Kl. Oginsky in Zalesye. Gradually, musical circles also appear in the houses of the middle nobility, among writers, musicians, poets - in the house of relatives of the composer S. Monyushko, at the father of the composer F. Miladovsky, etc. The music and drama circle, headed by V. Dunin-Martsinkevich, is famous which was staged the Belarusian opera S. Monyushko "The Villager" (based on "Idyll" by Dunin-Martsinkevich).
In the 20s - 50s XIX years V. big role in the training of Belarusian professional musicians musical hostels. These private educational institutions ensured the acquisition of sufficiently serious performing skills, which contributed to the growth of the professionalism of Belarusian performing musicians.
The most important political event of the second half of the 19th century was the defeat of the national liberation movement due to the suppression of the uprising of 1863-1864. This had a negative impact on the development of Belarusian culture. The Belarusian printed word was banned, the Belarusian language, which was declared a “product of Polonization,” was no longer taught in schools. Many national writers who took part in the uprising were exiled to Siberia.
Only by the beginning of the 1980s was there an upsurge in the development of Belarusian culture. Fundamental research appeared in the field of Belarusian ethnography and folklore, among which are "Materials for the Study of the Life and Language of the Russian Population of the North-Western Territory" by P. Shein (1887 - 1902) and ten issues of "Belarusian Collection" by E. Romanov (1885 - 1910). The works of scientists proved that the Belarusian people have a rich culture and the right to develop it. The collection of folklore and ethnographic materials contributed to the development of literature, and the appearance of musical folklore notes later, already in the 20th century. influenced the development of musical art.
The 80-90s also saw the beginning of the activity of Belarusian classic writers: M. Bogdanovich, Ya. Kupala, Ya. Kolos. Noticeable rise in the area visual arts. The realistic method is typical for the painting of N. Silivanovich, S. Zaryanko, A. Goravsky, F. Ruschits, S. Bogush. Their canvases glorify the beauty of the nature of Belarus and the life of its people. Activities are of great importance musical societies which hold public concerts, musical evenings, lectures on the life and work of great composers and musicians in Belarusian cities. Special educational institutions operate under the societies, tours of outstanding Russians and foreign performers. The Minsk Musical Society, one of the organizers of which was the composer Mikhail Yelsky, arose in 1880.
In 1890, the city winter theater was opened in Minsk (now the building of the Yanka Kupala Drama Theater), in which she began working opera entreprise, which for the first time introduced Minsk residents to foreign and Russian opera performances.
Intensive performing activity of Belarusian musicians became a stimulus for creativity. Talented Belarusian violinists and pianists, such as M. Yelsky, I. Glinsky, K. Martsinkevich and others, were the creators of a significant part of their own performing repertoire. The composition of music by outstanding performers became the main form of composing practice in the second half of the 19th century. They wrote instrumental concertos, fantasies, variations, concert polonaises and mazurkas, and miniatures.
At the turn of the XVIII - XIX centuries, he worked Michal Kleofas Ogiński (1765 - 1833) - the author of the world-famous polonaise "Farewell to the Motherland", a composer whom Polish musicologists consider the predecessor of F. Chopin. He was the nephew of Michal Kazimir Oginsky and always felt like a patriot of his native land.
A well-known political figure, musician and composer was born on September 25, 1765 in the Guzov estate near Warsaw. In 1772, Michal's father was appointed ambassador to Vienna and took his family with him for one year. Seven-year-old Michal was lucky enough to visit Vienna Opera which made an indelible impression on him. Since 1773, mother and son returned to Guzov, where Michal Kleofas was able to receive a systematic home education under the guidance of the French tutor Jean Raleigh and music teacher Osip Kozlovsky. Kozlovsky taught Oginsky how to play the clavier and violin, the theory and history of music, and composition, having managed to give him a solid musical knowledge. The teacher and student visited the residence of M. Kaz together. Oginsky in Slonim, where they attended theatrical performances and concerts of the chapel.
M. Cl. Oginsky made a swift political career- at the age of 19 he became a deputy of the Sejm, at 25 - he took the post of ambassador, worked in Holland and England, France and Germany, Austria, Italy, Russia. Everywhere Oginsky sought to get acquainted with the musical life of the country, to feel its spirit. He was personally acquainted with Haydn and Mozart, took lessons from the famous violinists of that time G. Viotti, P. Baio and others.
Since 1792, Michal Casimir was in the position of treasurer of the Grand Duchy of Lithuania. In 1794, he became a participant in the uprising of T. Kosciuszko. After the defeat of the uprising, Oginsky was deprived of all possessions and emigrated abroad. Counting on the revival of the Grand Duchy with the help of Napoleon, he wrote in his honor the opera "Zelis and Valcour, or Bonaparte in Cairo" to his own libretto.
During the accession of Alexander I, Oginsky got the opportunity to return to his homeland. After swearing allegiance to the Russian Emperor, in 1802 he arrived in St. Petersburg, hoping to negotiate with Alexander I on the revival of the Grand Duchy of Lithuania. Having failed in this enterprise, M. Kl. Oginsky succeeds in property matters - his family estates are returned to him. In the same 1802, M. Kl. Oginsky moved to his estate Zalesye near Smorgon, where he remained for 20 years. During this time, Zalesye became large cultural center. At this time, Oginsky composes chamber-vocal and instrumental miniatures, and also writes musical and aesthetic notes, which were later included in his book Letters on Music.
The philanthropic activity of M. Kl was also active. Oginsky. In Zalesye, Smorgon and Molodechno, he opened schools for local youth at his own expense, took care of reducing taxes from peasants. Frequently visiting Vilna, he prepared his polonaises and romances for publication (they appeared in Vilna in 1817), established contacts with the local intelligentsia, and became involved in the work of Vilna University. Having taken the side of Russia during the war of 1812, at the end of hostilities he returned to Zalesye again.
In 1822 Oginsky left Belarus forever. He spent the last years of his life in Italy, where he was engaged in literary and musical-editing activities. Here he published his latest works, memoirs and Letters on Music. In 1833 M. Kl. Oginsky died.
important place in the creative heritage of Oginsky occupy polonaises which the composer wrote throughout his life. Among the 26 examples of this genre are pastoral, pompously solemn, fanfare and profoundly contemplative. Textured solutions of polonaises range from extremely simple (melody and chord accompaniment) to rich timbre-register effects. Oginsky's compositions are traditional in form - they are mostly three-part with contrasting middle sections. The lyricism and psychological orientation of the polonaises bring these works closer to the style of the romantics. Waltzes, mazurkas, gallop and minuet are known among other piano compositions of the composer.
bright representative Belarusian composer creativity of the first half of the 19th century. is Napoleon Orda (1807 - 1883) - a wonderful musician and artist, a native of the nobility. Born on February 11, 1807 in the parental estate of Vorotsevichi, Kobrin district, Grodno province. From childhood, the boy was imbued with the beauty of Belarusian nature and the melodiousness of folk songs, which throughout his life served as a source of inspiration for him both in music and in painting.
N. Orda received a good education at home, general, musical and artistic. At the age of twelve, he was admitted to a gymnasium in the city of Svisloch, after which he entered the Faculty of Physics and Mathematics at Vilna University.
In 1827, the Horde was expelled from the university for belonging to the secret student society "Zoryane", close to the organizations of the Decembrists. The young man was arrested, spent 15 months in prison, and after his release he was ordered to live only in his native estate under a kind of "house arrest".
In 1831 the Horde emigrates abroad. On foot, he walked around Austria, Italy, Switzerland, and from 1833 he settled in Paris. Here he became close to the poet A. Mickiewicz and the composer F. Chopin, from whom he began to take music lessons. Horde became permanent member musical evenings in Chopin's house, where he often performed his own piano compositions. Not forgetting his passion for painting, N. Orda began systematic studies with the landscape painter Pierre Girard.
In 1838, in Paris, on the initiative of N. Orda, “ Music album from the works of Belarusian and Polish composers. A little later in Paris, Horde's own piano compositions (polonaises, waltzes, serenades, mazurkas, lullabies) were published, which won the approval of F. Chopin and F. Liszt. Great influence on Belarusian musician had an acquaintance with the brilliant Hungarian pianist and composer F. Liszt, from whom the Horde received advice to seriously engage in composition. Gradually, the authority of the Horde in the musical circles of France grew, and in 1843 he was offered the position of director Italian opera in Paris.
In 1856, N. Orda decides to return to his homeland. He again settled in his estate Vorotsevichi, where he created his best paintings and musical works. In 1873 N. Orda's Grammar of Music was published in Warsaw, in which he summarized his knowledge of harmony. In 1875 - 1978. N. Orda publishes in Warsaw Albums of views of the Grodno, Minsk, Vilna, Kovno, Volyn, Podolsk and Kyiv provinces. Many of these paintings depict unique monuments history and culture of Belarus, many of which were later lost.
Continuing active creative activity in Vorotsevichi, the Horde regularly publishes its results in Warsaw. In 1882, the composer published 14 of his best polonaises and several songs there. In 1883, he again came to Warsaw to publish the next series of his Albums, but he suddenly felt sharp deterioration health and April 26, 1883 dies.
Among the musical compositions of the Horde, the most famous are piano polonaises, distinguished by their scale, vivid virtuosity, richness and variety of texture - features that characterize the best examples of works of this genre in world musical literature. At the same time, the polonaises of the Horde are characterized by a song beginning, which distinguishes Slavic music, as well as a lyrical interpretation of fanfare and dramatic intonations. They also revealed an inclination towards romantic poetry, towards enriching the range of images with dramatic and tragic elements.
These works can be called an "encyclopedia" of romantic harmony, which manifested itself in sequencing, modulation types, tonal plans and texture. The composer widely uses alterations of chords of subdominant and dominant groups, various non-chord sounds, such as delays, rises. The most interesting polonaises No. 4 Es-dur, No. 14 E-dur, concert polonaise for orchestra No. 13 D-dur, polonaise No. 5 in h-moll
ami funeral march, No. 8 in F-dur with features of a barcarolle, polonaises No. 3 in a-moll and No. 6 in H-dur with features of a nocturne. The impact of Belarusian folk melos is noticeable in Polonaise No. 10 in G-dur and in the middle part (trio) of Polonaise No. 1 in f-moll.
The most significant figure in the Belarusian composer's work of the second half of the 19th century. is Mikhail Karlovich Elsky (1831 – 1904) – outstanding violinist, a talented composer, active musical and public figure, music writer and folklorist.
Mikhail Yelsky was born on October 8, 1831 in Dudichi, the family estate of the Yelsky landowners in the Igumen district of the Minsk province, into a musical family. Mikhail's father Karl Stanislavovich, a well-known amateur violinist in Belarus, became the first music teacher for his son. In 1846 - 1847. Mikhail studied at the German gymnasium in the city of Lodzon (East Prussia), where he took music lessons from the violinist Endom. Returning to Minsk in 1847, Yelsky became an apprentice to the teacher K. Krzhizhanovsky. The first concert performances of the young violinist take place in Minsk.
Yelsky continued his further general and musical education in Vilna. He studies at the Vilna Noble Institute. After graduating in 1849, for some time he became a volunteer at Kyiv University.
From the beginning of the 1950s, an intense concert activity musician. M. Elsky gives concerts in Belarus, Ukraine, Lithuania and Poland. His repertoire includes works by J. S. Bach, J. Haydn, W. A. Mozart, L. Beethoven, J. Viotti, A. Vieton and L. Spohr. In 1852, Yelsky's first compositions, violin miniatures, were published in Kyiv.
In 1860, to improve his performing skills and complete his musical education, the composer traveled to France and Germany. In Paris, he communicates with the famous Belgian violinist A. Vieutan, in Munich he studies composition with the German composer and conductor F. Lachner.
After returning to Dudichi, Yelsky often gives concerts in Minsk and Vilna. Among his performances own compositions Fantasy "Spring" is especially popular with listeners.
In 1860 - 1862 Yelsky's musical-critical activity begins. In the 70s - 80s. 19th century out of print his works on music, among which "About musical talent”, “Music in our country and abroad”, “Memories from the musical past of Lithuania”. Each of them contained the most valuable information about the history of Belarusian music of the past centuries and the 19th century. In the same years, Yelsky collected and recorded Belarusian folk melodies.
In 1880, the composer played a leading role in organizing a musical society in Minsk. He performed in concerts of the society, giving the proceeds from them in favor of this musical association. In 1902, in Dudichi, the famous Belarusian violinist and composer celebrated the 50th anniversary of his creative activity in the circle of friends and admirers of talent. Yelsky died in 1904 in his estate Rusinovichi.
Mikhail Yelsky wrote about a hundred compositions, including two violin concertos, "Brilliant Fantasy" on original themes, "Fantasy" on the themes of Polish folk melodies, Sonata-Fantasy, fantasy "Spring", concert mazurkas "Memories of Warsaw", "Memories of Kiev", "Memories of Vilna", "Dance of Spirits", "Dance of Death", huge number of polonaises, variations, miniatures. Characteristic his work is a brilliant virtuosity. In its lineage are two concertos for violin and orchestra - a tribute romantic tradition XIX century, when every concert violinist wrote works in this genre for himself.
Not all of Yelsky's works have survived. The Concerto No. 2 op. 26, published in 1902 and dedicated Polish composer, teacher and conductor S. Noskovsky. In this one-movement composition, various techniques of violin technique are skillfully used. Among the concert mazurkas, the "Dance of Death" op. 24, devoid of drama, but pathetically elevated.
BELARUSIAN MUSIC OF THE XX CENTURY (GENERAL CHARACTERISTICS)
Professional Belarusian music arose and developed during the existence of the USSR (1917–1991) as the musical culture of the Belarusian Soviet Socialist Republic (BSSR). Since 1991 Belarusian musical art has been developing in the conditions of an independent state. The composers who lived and worked in Belarus in the 18th-19th centuries did not leave a significant creative legacy that could form a national school of composers. That's why formation of the Belarusian composer school carried out in the 1920s.
In the 1920s the richest layers of Belarusian musical folklore are being actively developed. Belarus has the most unique in Europe musical folklore, in which songs relating to the 1st millennium BC have been preserved in an almost intact form. and the first centuries A.D. (in Europe and even in Russia these songs are irretrievably lost). These are calendar-ritual (carols, carnival, drawing, Yuryev, Trinity, Kupala, stubble) and family-ritual songs (native, wedding, funeral voices). Later song folklore is also well represented (Cossack, burlak, recruit, Chumat, songs of social protest, etc.).
In the early 1920s composers from the RSFSR - N. Churkin, N. Aladov, E. Tikotsky come to Belarus. They collect and record samples of Belarusian folklore (Churkin's collections "Belarusian Folk Songs", "Belarusian Folk Songs and Dances") and on their basis create the first professional works of various genres.
They are at the origins of musical education. In 1924, the Minsk Musical College was opened, in 1932 - the Belarusian State Conservatory. Both educational institutions were headed by Aladov for some time. One of the first professors of the conservatory was E. Tikotsky. Since its opening, the conservatory has been preparing cadres of performing musicians, composers, and musicologists.
The first genres in which Belarusian composers work are vocal. These are arrangements of folk songs (the most common genre of the initial stage of Belarusian music), mass choral songs, and romances. Major vocal compositions - cantatas, write T. Shnitman (composer who tragically died during the occupation in the Minsk ghetto) and N. Aladov ("10th year" - to the 10th anniversary of the October Revolution).
The first operas: "The Liberation of Labor" by Churkin (dedicated to the events of the revolution) and "Taras on Parnassus" by Aladov (a comic opera based on the plot of the anonymous poem of the 19th century of the same name), the musical comedy "Kitchen of Holiness" by Tikotsky (on an anti-religious plot). Symphonic music represented by Churkin's Symphony "Belarusian Pictures" (1925, quotes from 16 Belarusian folk songs were used), Tikotsky's 1st Symphony (1927), 2nd Symphony on Belorussian Themes. nar. Songs of Aladov (1930). In area chamber instrumental music Aladov's Piano Quintet (1925), "Kalykhanka" for string quartet Churkin (1927), suite for string quartet and piano "Simon-Music" by G. Pukst (1928) were created.
In the 1930s–50s especially strong is the desire of Belarusian music to merge into the general Soviet musical process. The conservatory and the musical technical school educate the first domestic composers. In addition, in the 1930s one can see the lack of professionalism in Belarusian music, which will be overcome throughout the entire period. Themes of creativity in the 1930s: socialist construction, collectivization and industrialization. They were especially pronounced in vocal music. In the mass song, these are Pukst's songs about the first five-year plan "To the Hero of the Locomotive" and "Creative Steps", the famous song by I. Lyuban, which has become popular, "Be Healthy" and the song by S. Polonsky on the lyrics. Kupala "Vecharynka ў kalgas".
In 1933, Aladov's cantata "Over the Aresai Crayfish" was created, dedicated to the reclamation of Polesye and the collectivization of the Belarusian village.
In 1937, on the occasion of the 100th anniversary of Pushkin's death, a competition was announced for composing music based on Pushkin's texts. In Belarus, 3 cantatas were created: “Voivode” by P. Podkovyrov, “The Drowned Man” by M. Kroshner and “The Tale of the Bear” by A. Bogatyrev - this was a very successful debut of the composer - the future classic of Belarusian music.
Opera 30s: 3 compositions - “Mihas Padgorny” by Tikotsky (1938) on the theme of pre- and post-revolutionary life of the Belarusian village, the fight against fists and for personal happiness, “At the guns of Paless” Bogatyrev (1937) based on the story of Y. Kolas “Drygva ”, “Kvetka shchastsya” by A. Turenkov (1936) on the themes of Belarusian Kupala legends.
In the 1930s, the first Belarusian ballet "The Nightingale" by M. Kroshner (1938) based on the story Zm. Byaduli. Here, the Belarusian folk dance is the basis of musical dramaturgy and stage action.
Symphonic music of the 30s. associated with mastery of the genre song symphony. The most famous works: the 4th symphony "Belarus" by V. Zolotarev (1934), Aladov's Symphonyette in C major (1936).
IN war years on the territory of occupied Belarus, along with the partisan movement, actively developed partisan song. The most famous: “Partisans. partisans, Belarusian sons” (based on a text by Y. Kupala, written in 1941 and transferred by planes over the front line), “We went to the dzela overnight”, “Balada ab partisans to Galina”, “Song of great Kanstantsina Zaslonava”.
Belarusian composers were either at the front with weapons in their hands (V. Olovnikov, L. Abeliovich), or in evacuation (Bogatyrev, Churkin, Shneiderman).
Bogatyrev created 2 cantatas in wartime: “To the Belarusian partisans” on the same text by Y. Kupala and “Leningraders” to the verses of the Kazakh akyn Jamb at la. In 1943 he wrote the lyrical-dramatic Piano Trio.
Aladov creates symphonic compositions: the ballad "In Harsh Days" and the poem "From the Partisan's Diary" (in it, the theme "Ach, mein lieber Augustin" is used to show the Nazis).
After the war the work of composers, its themes and images are determined by the powerful dictates of the Union of Composers of the BSSR. A new generation of composers is coming to Belarusian music: G. Wagner, Yu. Semenyako, E¸ Tyrmand, E. Degtyarik. E. Glebov, D. Smolsky.
The Belarusian State Opera and Ballet Theater staged new compositions by national authors: operas“Dzyachyna z Palessya” by Tikotsky (about the events of the Great Patriotic War, about the feat of a partisan girl), “Nadezhda Durova” by Bogatyrev (about the Patriotic War of 1812, about the feat of a “cavalry girl”), “Castus Kalinouski” by D. Lukas, Turenkov's “Clear Light” (about the unification of Western and Eastern Belarus in 1939), Semenyako's “Kalyuchaya Ruzha” (about the life of modern students); ballets Zolotarev's "Prince-Vozera" and Wagner's "The Padstow Bride". New symphonies, cantatas and oratorios, choral works, instrumental concertos, and chamber music are being created.
Only V 1960s–80s , when stylistic renewal takes place in Russia and in the world, Belarusian music reaches true professionalism. This is reflected in the genre of the symphony (Smolsky's 1st symphony, Glebov's 2nd symphony), and in opera, and especially in ballet. Belarusian ballet music for the first time becomes known in the world.
More operas were created during the 30th anniversary than during the entire previous period. Among them are 3 operas by Semenyako (“When the Leaves Fall”, “Zorka Venus”, “New Land”), 2 operas by S. Cortes (“Giordano Bruno”, “Mother Courage” after B. Brecht), Wagner’s opera “The Path of Life” , 2 operas by Smolsky (“The Gray Legend” after Korotkevich and “Fransys Skaryna”), the opera by V. Soltan “The Wild Hunt of King Stakh” after Korotkevich.
There is no less diversity in the field of ballet. Ballets are being created on the themes of modernity and recent history: Glebov's "Dream" and "Alpine Ballad", Wagner's "Light and Shadows", V. Kondrusevich's "Wings of Memory"; on the themes and plots of Russian and foreign literature: “After the Ball” by Wagner based on the story by L. Tolstoy, “Til Ulenspiegel” by Glebov based on the novel by the Belgian writer Charles de Coster, “The Little Prince” by Glebov based on the story by Exupery; on the fabulous and legendary plots "The Chosen One" by Glebov, "Pinocchio" by Kondrusevich. A number of choreographic miniatures appear - "Belarusian partisan" by Glebov, "Patriotic etude" by Smolsky. According to the musical and dramatic principles, the Belarusian ballets of the 60-80s are alloys either with the musical-dramatic genre (opera - "Light and Shadows") or with the symphony ("Alpine Ballad", "The Chosen One").
Glebov's ballets Til Ulenspiegel and The Little Prince, as well as S. Cortez's ballet The Last Inca, received recognition abroad.
In modern Belarusian music, ballet still occupies one of the leading places. This is evidenced by such productions as "Passion" ("Rogneda") by A. Mdivani (an innovative ballet on the theme of the baptism of Rus' and ancient Belarusian history), "Macbeth" by V. Kuznetsov and others.
The active work of Belarusian composers and musicians began long before the creation of the creative union that united them. In 1919 G. Pukst's songs appeared, E. Tikotsky wrote music in Bobruisk. A few years later, in Mstislavl, amateur singers and musicians put on the first Belarusian opera on revolutionary theme: "The Emancipation of Labor" by N. Churkin. The 1920s were marked by the beginning of the creative path of N. Aladov, who wrote romances based on Kupala's verses... These people became the pride of the Belarusian musical art. The 1930s were especially fruitful, when in a short time a choir, a philharmonic society, the Belarusian State Conservatory were created in the republic, which managed to make five graduations of performing faculties and two (1937 and 1941) of composing faculties before the war.
The Decree of the Central Committee of the All-Union Communist Party of Bolsheviks "On the restructuring of literary and artistic organizations" (1932) contributed to the rallying of disparate forces, the emergence of creative unions, including the Union of Composers of Belarus.
And it began with a section at the Writers' Union: Protocol No. dated 2.07.1933 "Abstvareni avtanomnaya sektsy kampazitaraў pry Argkamitetse Sayuza pismennikau. Afarmlenniy sektsyi ўskatsi on comrades Dunts i Lynkov".
In 1934, the I All-Belarusian Conference of Composers took place, in accordance with the decision of which the composer section at St. Petersburg was renamed the Organizing Committee of the Union of Composers of Belarus (since 1938, the Union of Soviet Composers of Belarus). Until 1992 this public organization was an integral part of the Union of Composers of the USSR; since 1999 it has become the Belarusian Union of Composers. As it was written in the Charter: "the creation of the Union of Campaigners is to sadze the creation of high-quality creatives, the creative growth of the campaigners, the creation of material and everyday minds for creative people." All 8 chairmen of the BSC have attached paramount importance to the implementation of these goals throughout its 70-year history.
The first "leader" of the Belarusian composers was the Honored Artist of the BSSR Isaac Lyuban, who back in 1929 created the first song in Belarus on a partisan theme - "The Song of the Dukor Partisans". In the pre-war years, his song "Be healthy, live rich" was widely known. During the Great Patriotic War, Lyuban, like other cultural figures, volunteered for the army, graduated from political instructor courses, and soon fought in Western front in the position of commissar of the infantry battalion. None of the fighters even suspected that their political instructor was the author of a song that everyone knew and loved very well. The composer wanted to write a song about a future victory, although it was still the spring of 1942. There was no Stalingrad yet, no Kursk Bulge, but there was already a great battle near Moscow. Seventeen versions of the texts proposed by fellow soldiers had to be rejected, and only the eighteenth was liked by everyone. The words of the chorus: "Let's drink for the Motherland, let's drink for Stalin!" - knew, without exaggeration, everyone. The co-authors of these poems are a former miner, battalion private Matvey Kosenko and a professional poet, an employee of an army newspaper, Arseniy Tarkovsky. In May 1942, the song "Our Toast" was performed in Moscow at a concert of masters of Belarusian art and was a great success. sang it People's Artist USSR Larisa Alexandrovskaya.
The peoples of the Soviet Union got acquainted with Belarusian music even earlier, during the first Decade of Literature and Art of Belarus in Moscow (1940). Operas performed on it: "Mikhas Padgorny" by E. Tikotsky, "Kvetka shchastsya" by A. Turenkov, "At the Pushchas of Paless" by A. Bogatyrev, the ballet "Salavey" by M. Kroshner became evidence of the high level of the Belarusian Soviet musical culture (A. Bogatyrev received Stalin Prize for his opera). Today it is difficult to imagine that so many major works, one might say, phenomena in the musical life of the republic, were performed in one year. Even earlier, in 1939, they were staged on the stage of the Belarusian Opera House. Speaking of traditions, how can one not remember Vasily Zolotarev, a student of Balakirev and Rimsky-Korsakov, who brought "notes" of the Russian, St. Petersburg school to Belarusian music. His ballets "Prince-Lake", "The Tale of Love", the symphony "Belarus" entered the golden fund of the Belarusian musical culture. He taught Podkovyrov, Olovnikov, Bogatyrev, who later became the second chairman of the board of the Union of Composers. Anatoly Vasilyevich Bogatyrev is the founder of the modern Belarusian school of composers, whose work covers almost all musical genres. Continuing the tradition classical music, including Russian, he is a deeply national composer. In difficult military and post-war years he, heading the union of composers, influenced the formation of many creators with his chamber ensembles, as well as life-affirming choirs, cantatas "Leningraders", "Belarusian partisans".
In 1943, the Union of Composers of Belarus resumed its activities in Moscow, which managed to gather most of the surviving composers in a short time. In 1944, after the liberation of the capital of Belarus, composers, artists of the opera house returned to Minsk. Tikotsky brought the opera "Alesya" ("The Girl from Polissya"), which became, one might say, musical symbol Belarus. He wrote it in Gorky, in a bomb shelter. Minsk was in ruins, the halls, instruments, notes were not preserved, the most valuable things were restored from memory. The union of composers approached its first post-war congress in 1947 with notable success. This year the first national post-war opera was staged (and the first Belarusian opera in historical plot) "Kastus Kalinovsky" by D. Lucas.
The famous weekly " musical environments"With listening to new compositions, concert activity was resumed. N. Aladov, who replaced A. Bogatyrev as chairman of the board of the Union of Composers in 1949, was educated in St. Petersburg, was one of the organizers and teachers of the Belarusian Conservatory. The author of more than 260 musical works, among which: the opera "Andrey Kostenya", the musical comedy "Taras on Parnassus". He laid the foundations for the artistic processing of folk songs, many genres of professional musical art.
E. Tikotsky headed the Union of Composers for 13 years (from 1950 to 1963). At this time, the union was replenished with young graduates of the Belarusian State Conservatory. Among them are G.Wagner, Y.Semenyako, E.Glebov, D.Smolsky, I.Luchenok, S.Kortes, G.Surus. The collection and study of folklore records and folk songs is being activated. The works of G. Shirma, G. Tsitovich, L. Mukharinskaya receive recognition. TO major achievements in the genre of vocal music should be attributed to the creation national anthem BSSR (September 1955) by the composer N. Sokolovsky (who became famous for the famous song "Neman") and the author of the text M. Klimkovich.
In subsequent years, the work of E. Tikotsky as the "leaders" of the union was worthily continued by D. Kaminsky, G. Shirma, Yu. Semenyako. The union became a highly professional creative organization (perhaps its only member with an incomplete higher education was Vladimir Mulyavin, an unusually gifted musician and composer, whose entry into the union was unanimously supported both in Minsk and Moscow).
Since 1980, the era of I. Luchenko began in the BSC, who heads it to this day. The Union organizes republican and international music festivals, holds numerous concerts and meetings with listeners, actively participates in the decades of Belarusian art and the Days of Belarusian culture in Russia, Ukraine, Lithuania, Uzbekistan. Numerous commissions work: propaganda of Belarusian, military-patriotic music, musical and aesthetic education of children and youth, musicology and criticism, ethnomusicology and folklore. Published musical literature, records. Composers actively go on creative business trips to collect materials for new works. It became more difficult to carry out all this after "perestroika", when the state could no longer provide creative union support like before.
Today BSK and the Belarusian Republican Youth Union are reviving the best traditions of this long-term friendship. For example, they jointly hold a charity event "Chernobyl Way - the Road of Life". With the support of BSK, the republican center of creative and scientific youth resumes its work. Over the past years, a professional composer school has been created.
An outstanding role in the development of the musical life of the republic was played by the activities of V. Zolotarev.
In the pre-war years, the creative activity of E. Tikotsky, N. Churkin, G. Pukst was actively developing. The operas “Mikhas Podgorny” by E. Tikotsky, “In the Forests of Polesye” by A. Bogatyrev, the ballet “The Nightingale” by M. Kroshner became a highlight. During the Great Patriotic War main theme musical art was the struggle against the fascist occupation. In the post-war period, the pedagogical activity of A. Bogatyrev was extremely important as the educator of the majority of Belarusian composers of subsequent generations. Vasily Andreevich Zolotarev(1873-1964) - Russian and Soviet composer and teacher. Lecturer at the Moscow State Conservatory named after P. I. Tchaikovsky. Honored Artist of the RSFSR (1932). People's Artist of the BSSR (1949). Laureate of the Stalin Prize of the second degree (1950) V. A. Zolotarev was born on February 23 (March 7), 1873 in Taganrog (now the Rostov region). He graduated from the Court Singing Chapel in St. Petersburg, having received the specialty of a violinist in the class of Professor P. A. Krasnokutsky. He acquired a specialty as a composer at the St. Petersburg Conservatory, where he met the “great teachers” M. A. Balakirev, A. K. Lyadov, N. A. Rimsky-Korsakov, about whom he later published his memoirs. Then he began teaching at the Court Chapel. A. V. Bogatyrev, M. S. Vainberg, B. D. Gibalin, K. F. Dankevich, and M. I. Paverman graduated from the class of V. A. Zolotarev.
In 1905 he left St. Petersburg and worked for some time at the Moscow Conservatory. In 1918, being a professor, he left to teach in Rostov-on-Don, then in Krasnodar and Odessa. From the mid-1920s, V. A. Zolotarev taught at the Kiev Music and Drama Institute named after N. V. Lysenko.
From 1931 to 1933, V. A. Zolotarev worked in Sverdlovsk at the P. I. Tchaikovsky Music College. Here his students were Boris Gibalin, P.P. Podkovyrov and Georgy Nosov. In 1933, V. A. Zolotarev moved to Minsk, where until 1941 he taught at the Belarusian Conservatory. Here he wrote the symphony "Belarus" (1934). L.A. Polovinkin, A.G. Svechnikov, M.E. Kroshner, D.A. Lukas, V.V. A. Zolotarev wrote 3 operas, among which stands out the opera The Decembrists (1925, a new edition of Kondraty Ryleev, 1957), the ballet Prince Lake (1949), 7 symphonies (1902-1962), 3 concerts, 6 strings quartets, cantatas, choirs, romances. A. Zolotarev died on May 25, 1964 in Moscow. CHURKIN Nikolay Nikolaevich(1869-1964) - owls. composer, folklorist Nar. art. BSSR (1949). Student of M. M. Ippolitov-Ivanov. Recorded more than 3000 Belarusian, Georgian, Armenian, Azeri, Polish, Literal, Taj. songs and dances, compiled folklore collections. One of the first prof. Belarusian composers, founder of the national genre symphony, nat. children's music. Author of the opera "Emancipation of Labor" (1922, Mstislavl), children's radio opera "Rukavichka" (1948, Minsk); music comedies "Kok-saghyz" (1939, Gorki), "Song of the Berezina" (1947, Bobruisk); 3 symphoniettes (1925-1955); suite for symphony and Nar. orchestras; 11 strings, quartets; romances, children's songs; processing of Nar. songs. ALADOV Nikolai Ilyich(1890-1972), Belarusian composer, People's Artist of Belarus (1955). Author of the first Belarusian works of symphonic and other genres. Opera "Andrey Kostenya" (1947), symphonies. One of the organizers of music education in Belarus. Professor of the Belarusian Conservatory (since 1946). In 1910, Nikolai Aladov graduated from the St. Petersburg Conservatory as an external student. Since 1923 he has been teaching at the State Institute of Musical Culture in Moscow. In Minsk since 1924, one of the organizers of the Belarusian Conservatory, in 1944-1948 its rector, professor. During the war years, from 1941 to 1944, he taught at the Saratov Conservatory. A music school in Minsk was named after N. Aladov, a memorial plaque was installed. Creation One of the founders of the symphonic, chamber-instrumental and chamber-vocal, cantata, choral genres of Belarusian music. Author of the opera "Andrey Kostenya" (1947), comic opera"Taras on Parnassus" (1927), cantatas "Over the Oressa River" and others, ten symphonies, vocal cycles based on poems by Y. Kupala, M. Bogdanovich, M. Tank, and other musical works Evgeny Karlovich Tikotsky(Belor. Yazhen Karlavich Tsikotski) (1893 - 1970) - Soviet Belarusian composer. People's Artist of the USSR (1955). Member of the CPSU (b) since 1948.E. K. Tikotsky was born on December 14 (26), 1893 in St. Petersburg in a family with Polish roots, his musical education was limited to two years of private piano and music theory lessons from Volkova-Bonch-Bruevich, he studied composition on his own. He began composing at the age of 14, consulting his friend Vladimir Deshevov, who studied at the St. Petersburg Conservatory. At the insistence of his father, Tikotsky entered Petrograd University in 1914, where he studied physics and mathematics. In 1915 he went to the front, in 1919-1924 he served in the Red Army. After finishing his service, he moved to Bobruisk, where he taught at music school. By this time, the first contacts of Tikotsky with the Belarusian folk music that influenced his writings. The composer's first major work, Symphony (1924-1927), written using Belarusian folk and revolutionary themes, became one of the first works in this genre in the history of Belarusian music. The music for a number of theatrical productions in Minsk also belongs to this period, where the composer himself moved after some time. In the capital of Belarus, Tikotsky worked on the radio and studied teaching activities. In 1939, he wrote one of his most famous compositions - the opera Mikhas Podgorny (one of the first Belarusian operas in history). Another well-known patriotic opera by Tikotsky - "Alesya" - was staged only in 1944, after the liberation of Minsk from the fascist invaders. During the war years, the composer was evacuated first to Ufa, then to Gorky. Upon his return to Belarus, Tikotsky became the head of the orchestra of the Belarusian State Philharmonic Society and chairman of the Belarusian branch of the USSR IC. Tikotsky is one of the founders of the Belarusian composer school. His works, written in a classical and romantic manner, are strongly influenced by folk motifs. One of the first Belarusian composers who composed operas and symphonies, he played an important role in the development of the Belarusian musical culture of the 20th century.E. K. Tikotsky died on November 23, 1970. He was buried in Minsk at the Eastern Cemetery. Major writings The operas Mikhas Podgorny (1939); Alesya (1942-1948), the second version of The Girl from Polesie (1952-1953) Anna Gromova (1970) Operetta The Kitchen of Holiness (1931) Orchestral works, concertos Six symphonies "Feast in Polesie", overture (1954) "Glory", overture (1961) Concerto for trombone and orchestra (1934) Concerto for piano and orchestra of Belarusian folk instruments (1953), edition for piano and symphony orchestra (1954) Two suites for orchestra of Belarusian folk instrumentsChamber worksPiano trio (1934)Sonata-symphony for pianoOther worksOratorios, songs, choirs, arrangements of folk songs, music for drama performances and films Anatoly Vasilyevich Bogatyrev(Belor. Anatol Vasilievich Bagatyrov) (1913-2003), Belarusian Soviet composer and teacher. People's Artist of the RSFSR (1981). People's Artist of the BSSR (1968). Laureate of the Stalin Prize of the second degree (1941). Member of the CPSU since 1954.
Founder of the Belarusian National School of Composers. Professor (1960).A. V. Bogatyrev was born on July 31 (August 13), 1913 in Vitebsk (now Belarus). Graduated from the Belarusian State Conservatory named after A. V. Lunacharsky in 1937, class of V. A. Zolotarev. Since 1948 he was a teacher at the Belarusian Academy of Music, in 1948-1962 its rector. In 1938-1949 he was the chairman of the board of the Union of Composers of the BSSR. Deputy of the Supreme Council of the BSSR (1938-1959).A. V. Bogatyrev died on September 19, 2003. He was buried in Minsk at the Eastern Cemetery. Major writings Among the works of A. V. Bogatyrev of the Opera "In the Forests of Polesie" - based on the story "Drygva" by Y. Kolas, staged in 1939 "Nadezhda Durova" (1946), staged by the Ensemble of the Soviet Opera of the All-Russian theater society(1947) For soloists, choir and symphony orchestra Oratorios "Battle for Belarus" Cantatas "The Tale of the Medvedikh" on the verses of A. S. Pushkin (1937) "Belarusian Partisans" on the verses of Y. Kupala (1942) "Belarus" on the verses of Y. Kupala, P. Brovka, P. Trusa (1949) "Leningraders" to the verses of Dzhambul Dzhabaev (1942) "Belarusian songs" folk lyrics and Nil Gilevich (1967). State Prize BSSR (1969)"Drawings of the native land""Anniversary" Chamber and instrumental worksPiano trio (1943) Sonatas for violin and piano (1946), cello and piano (1951), piano (1958)
40. Historical image of the genres of opera and ballet in Belarus (Soviet period) In the 1930s and 1940s, performances appeared on the Soviet ballet scene heroic character. This time in the life of our country is the time of grandiose historical events, an unprecedented labor upsurge. Romance of exploits Soviet people found wide expression in art. New ideological and artistic tasks formed the worldview and aesthetic taste of the new viewer. choreographic art began to form new repertoire. The figures of the Soviet ballet sought to bring their art closer to life, to give performances a heroic-romantic character. New themes, new plots required an update of the dance language, the introduction of bright original national images onto the stage. Folk dance flavor led choreographers to enrich the classical vocabulary with elements of folk dance. The appeal to heroic and historical themes determined the path along which the development of the heroic genre went. This led to the creation of wonderful realistic ballets, built on a kind of plastic, harmoniously uniting classical dance with folk. In the stage performance of ballets of the heroic genre, the hero-wrestler triumphed. Real success accompanied heroic dance images, solved by means of a new plastic language, realistic images, poetically generalized. Artistic innovation in heroic genre closely connected with reality. The romantic is connected with the real, with the concrete experiences of the characters. The affirmation of humanistic ideals contributed to the strengthening of the revolutionary romantic principles in these ballets. Their heroes are characterized by the pathos of courageous, active overcoming of suffering, a deep conviction that the most inhuman conditions of existence are not able to destroy the spiritual beauty of the people:
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The folk musical art of Belarus comes into contact with the folk music of the Russian and Ukrainian people, the Western and Southern Slavs, a significant group of old songs is associated with calendar rites that existed among the agricultural peoples. Carols, schedrovkas, stoneflies, drag, Yuryev, Trinity, Kupala, stubble, Kosar, autumn songs are widespread. The songs of the family ritual cycle are diverse: wedding, christening, lullabies, lamentations. Round dance, game, dance and comic songs are widely represented. Lyrical songs are divided into genre-thematic groups: love, ballad, Cossack, recruit, soldier, Chumat, songs of peasant freemen. The Russian revolutionary workers' song of the early 20th century played an important role in the development of Belarusian musical folklore. She influenced the melody of the Belarusian folk song. Some folk songs were created to the words of Belarusian poets (M. Bogdanovich, Ya. Kupala, Ya. Kolas, K. Buylo). Under Soviet rule, new folk songs appeared, developing the traditions of pre-revolutionary songs and drawing content from modern life. Many songs were created by amateur composers and folk choirs (choirs from the villages of Bolshoye Podlesye, Ozershchina, Prisynki, and others). Ancient Belarusian folk songs are basically monophonic. They are characterized by wave-like melody of a compressed range with gradual movement and jumps, developed ornamentation, flexibility of rhythm, and a variety of performing techniques. The most characteristic are even sizes, various metrics. There are complex and sour beats. Polyphony in the folk song of Belarus began to develop in the 80s. 19th century The main melody is performed in the lower voice, and in the upper one (the so-called "eyeliner") - solo improvisation. There are 3-voice consonances. Songs in everyday life are performed without accompaniment, with the exception of comic and ditties, which are sung to the accompaniment of the harmonica (bayan). A number of Belarusian folk songs are used in the works of Russian and Polish classical composers: in Chopin's Grand Fantasy, Glazunov's First Symphony, the operas The Snow Maiden and Mlada by Rimsky-Korsakov, Lithuanian Rhapsody, Three Symphonic Songs by Karlovich, operas Monyushko (a native of Belarus) and others.
Belarusian composers.
U. G. Mulyavin (1941-2003)
Naradzіўsya ў mountains. Svyardlowsku (1941), pamer - 2003, Minsk.
Graduated from the Svyardlovsky musical school in the guitar class (1952).
People's Artist of Belarus (1979).
Honored dzeyach culture of the Republic of Poland (1991).
Member of the SC of Belarus (1986).
Asnounyya creations: the opera-prytcha "The Song of the Great Share", the musical performance "To the fullest voice", the vacal cycle "I am not a paeta", the song-instrumental campaign "Vanka - Vstanka", "Feast of All the War", "Vyanok Bagdanovich", songs, early Belarusian folk songs, music and dramatic performances, films.
U. U. Alounika(1919-1996) Naradzіўsya ў mountains. Babruisk (1919).
Graduated from the Belarusian dzyarzha canservatory under the class of the campus of Professor V. A. Zalatarov (1941).
Artists of Belarus deserved (1955).
Deserved dzeyach mastatstvaў Belarus (1957).
People's Artist of Belarus (1970).
Prafesar (1980).
Member of the SC of Belarus (1940).
Pamer near Minsk (1996).
Uladzimir Aloўnіkaў adnositstsa and pleiades of campazitars, yakіya sang masterful ablіchcha of Belarusian songs and singsong periods. The creatives of the campazitara are blessed with zmyastoўnasts, the actuality of the topic. In the works of adchuvayutstsa mighty traditions of the Russian kampazitar school, yakiya U. Aloўnіkaў upprynyaў svaygo tutor V. A. Zalatarov - the school of M. A. Rymskag-Korsakava and M. A. Balakirava. At that hour U. Aloўnіkaў - a lump of national master. Iago music, shchyraya and soulful, strymanaya and strict, masculine and ancestral, atrymala vodguk at the ear, uvayshla ў repertoire of ancestral and samadzean kalektyvs.
Yaўgen Paplavsky
On the 20th of February 1959, Yauhen Paplauska was born to the butcher of Porazava, Grodzenskaya Oblast. Graduated from the Belarusian Canservatory (Belarusian Academy of Music) in the class of Igar Luchanka and Dzmitry Smolskag in 1986. Syargey Slanimsk’s student of the Syargei Slanimsk and the St. Petsyarburg Canservatory and tam-sama braў udzel at the maystar-classes of Ton de Leyuva.
In 1991, in 1991, the organizers of the Minsk International Festival of Contemporary Chamber Music, like the right two skin bastards, and 1995.
3 1997 and 1999 with a scholarship from the Polish Urad, on the pasture of the Gdansk Academy of Music named after St. Manyushki over creations for the symphonic orchestra "Barbara Radzivil" and Electro-Acoustic Music Studios of the Academy of Music in Krakava over the cool creative projects. Udzelnіchaў at the summer courses Acanthe 2000 / Ircam.
Tikotsky Evgeny Karlovich
Biography:
Evgeny Karlovich Tikotsky (1893-1970)
Evgeny Karlovich Tikotsky was born on December 26, 1893 in St. Petersburg. He showed his talent for music very early. However, after graduating from a real school in 1911, at the insistence of his father, he entered the natural department of the psycho-neurological institute in St. Petersburg, having negotiated for himself the right to study at the same time in a music school. The first acquaintance with the musical-theoretical foundations, as well as a sincere friendship with the composer V. Deshevov, made E. Tikotsky desire to compose. He begins to write small pieces for the piano, tries to harmonize Russian folk songs, and has been working on his youthful symphony for more than a year. In February 1915, E. Tikotsky was drafted into the army, and he went to the front. In the summer of 1919, he joins the Red Army, in the fall, as part of the Eighth Division, he takes part in the liberation of Belarus from the White Poles.
Churkin Nikolay Nikolaevich
Biography:
Nikolai Nikolaevich Churkin (1869-1964)
Nikolai Nikolayevich Churkin, who devoted eight decades to serving music, was born on May 22, 1869, in a small town of Jalal-Ogly in the south of the Tiflis province (now the city of Stepanovan, Armenian SSR). In 1881, he was admitted to the Tiflis Military Paramedic School. At the school there was a brass band, a choir, a drawing class, which fascinated the boy much more than a future medical career. And when N. Churkin graduated from school in 1885, he was left as an educator and leader of the school brass band. In 1888, N. Churkin entered the composition class of M. Ippolitov-Ivanov at the Tiflis Musical College.
Zaritsky Eduard Borisovich
Composer.
In 1964 he graduated from the Minsk Musical Academy. school, in 1970 - Belarus. cons. according to class compositions by A. V. Bogatyrev.
Since 1970 he has been working in Belorus. philharmonic society (consultant conductor). Works: cantata (for soprano, choir and orc.) - Red Square (words by B. Shtormov, 1970); for orc. - Symphony (1969), Variations (1968); for oboe with orc. - concert (1970); for fp. - 6 preludes (1965), Variations (1967), Fugue on two themes (1968); for hlc. and f-p. - sonata (1968); for flute and piano - Rondo (1966); for cymbals and piano - concertino (1971); for voice and piano - wok. cycles on next A. Vertinsky (1971), on the lyrics. L. Hughes (1967); arr. Belarusian nar. songs.
Luchenok Igor Mikhailovich
Year of birth: 1938
Biography:
Igor Mikhailovich Luchenok (b. 1937)
Graduated from the Belarusian State Conservatory in the composition class of Professor A.V. Bogatyrev (1961), assistant trainee at the Leningrad Conservatory. ON THE. Rimsky-Korsakov under the guidance of Professor V.N. Salmanov (1965), graduate school of the Belarusian State Conservatory under the guidance of Professor T.N. Khrennikov. Laureate of the Lenin Komsomol Prize of the BSSR (1969), laureate of the All-Union Lenin Komsomol Prize (1972), Honored Artist of the BSSR (1973), laureate of the State Prize of the BSSR (1976). People's Artist of the BSSR (1982). People's Artist of the USSR (1987).
Dzmitry Branіslavavіch SMOLSKІ
Naradzіўsya ў mountains. Minsk (1937)
Graduated from the Belarusian Jarzhan Canservatory in the class of the campus of Professor A.V. Bagatyrov (1960), postgraduate studies under the patronage of Profesar Maskoskaya Canservatory M.I. Pyaiko (1967).
Laureate of the Lenin Prize of the Kamsamol of Belarus (1972).
Deserved dzeyach mastatstvaў Belarus (1975).
Laureate of the Dzyarzhan Prize of Belarus (1980).
Prafesar (1986).
People's Artist of Belarus (1987).
Member of the SC of Belarus (1961).
