(Greek choros), ..1) a singing group (from 12 people; female, male, children's or mixed) ... 2) A piece of music for choral performance ... 3) In the ancient Greek theater, an obligatory collective participant, a collective protagonist of the performance. It is also used in the modern theater. --- in Western Christian churches, originally a place in front of the altar, intended for choristers; later, the entire eastern (altar) part of the temple. --- a river in the Far East of Russia, in the Khabarovsk Territory, the right tributary of the Ussuri. 453 km, basin area 24.7 thousand km2. The average water consumption is 387 m3/s. Floating.---see. Gor.

2. pl. choirs, ov. A piece of music intended to be performed by such a group. Execute x. || Wed. HYMN, CANZONA, CONCERT, ODE, CHORAL.

3. pl. No, trans. About voices, statements of many people. H. indignant exclamations. Choir (adv.) - 1) about singing: together, in a group (sing in chorus); 2) trans. about the statement, actions, etc.: message, together (answer the question in unison).

4. pl. choirs, ov, obsolete A cluster, a multitude of someone X. angels. "On the ocean of air ... choirs of slender luminaries float quietly in the fog" (Lermontov).

Small academic dictionary of the Russian language

choir

A, pl. choirs and choirs, m.

1. East

An obligatory collective participant in ancient Greek tragedy and comedy.

Singing group performing vocal works.

Gypsy choir. Conduct the choir.

The theater had an exemplary choir and first-class soloists. Yuriev, Notes.

A piece of music intended to be performed by a group of singers.

I did not write a cantata for the school anniversary, but simply a choir, which the pupils should sing at the celebration. Tchaikovsky, Letter to N. F. Meck, 27 Sept. 1885.

|| what.

The totality of any sounds emitted, sounding at the same time.

The birds flopped heavily into the water, and soon their contented quacking joined the numerous chorus of duck voices. Korolenko, In desert places.

For a moment there was silence of deep charm, which was immediately replaced by a chorus of enthusiastic exclamations. L. Andreev, Angel.

3. whom or Which. Obsolete

A group of musicians who play the same instruments (as part of an orchestra or separately).

And unanimously thundered from the balcony, Amid the consoling ringing of Plates, spoons and knives, The whole choir of Uhlan trumpeters. Lermontov, Tambov Treasurer.

|| what.

A set of identical musical instruments performing a piece of music, sounding simultaneously.

Chorus of violins.

The Bacchantes, with cries and laughter, Made a grape feast, And the chorus of tympans, flutes and lyres Merged noisily with the distant echo. A. K. Tolstoy, Crimean essays.

4. trans.; whom.

A set, a group of people, according to expressing some kind of judgment, opinion, etc.

About one estate of the Heirs, an angry chorus Starts an obscene argument. Pushkin, Eugene Onegin.

|| what.

A lot of the same opinions, judgments, etc., expressed at the same time.

Chorus of ridicule.

Killed! .. Why sobs now, Empty praises an unnecessary choir. Lermontov, Death of a Poet.

5. what. Trad.-poet.

Cluster, multitude (celestial bodies).

Frosty night, the whole sky is clear; The marvelous choir of heavenly luminaries Flows so quietly, so in harmony. Pushkin, Eugene Onegin.

Choirs of slender luminaries float quietly in the fog. Lermontov, Demon.

6. in meaning adv. chorus.

b) all at once, simultaneously, together (about some kind of statement).

The rest of the grooms thanked Kapiton Averyanych in chorus. Ertel, Gardenins.

7. Muses.

In stringed musical instruments - paired, tripled, etc. strings.

(Greek χορός)

Compiled dictionary of foreign words of the Russian language

choir

(Greek choros). The combination of several singers with different voices, or instruments, to perform a polyphonic work. 2) in ancient comedies and tragedies, a certain number of singers representing the people. 3) in the organ: tubules of the same kind.

In musicological literature, when characterizing performance, it is customary to single out three of its components: the composer, the performer and the listener. Another important element of the performing act is left without attention - a musical instrument, with the help of which the performer realizes the author's intention, recreating it in live sound. This is explained by the fact that in most types of musical performance the musician is not directly related to the quality of the instrument. Another thing is the choir, which is a living organism, formed in accordance with the artistic tastes and criteria of the choirmaster - the master who created it. This organism can be flexible and clumsy, understanding and slow-witted, benevolent and aggressive, enthusiastic and indifferent. The spirituality of the choral instrument requires a special attitude towards it, since this feature of it makes it both the most intelligent and receptive, and the most unstable and changeable. The latter circumstance is due to the fact that its main qualitative parameters (brightness and beauty of sound, purity of intonation, unity of the ensemble, timbre richness, loudness, overall vocal range, articulatory "mechanism") cannot be fixed for a long time, but are recreated and updated at each rehearsal. conductor-choirmaster, who in the choral genre is not only a performer, but also the author of the instrument (like a violin maker) and its tuner (like a piano tuner).

52

In the history of Russian choral studies, many definitions of the concept of "choir" were given: from "assembly of singing" to "ensemble of singing unisons". Here are some of them:

“The choir is such a collection of singers, in the sonority of which there is a strictly balanced ensemble, a precisely adjusted system and artistic, clearly developed nuances” (PG Chesnokov) 1 .

“A choir is a more or less numerous group of “singers performing a vocal work” (A.S. Egorov) 2 .

“A choir is a group of singers organized for joint performance. In the choir, the quantitative and qualitative ratio of voices must be observed, ensuring the possession of all the elements of choral sonority, necessary for the implementation of the performing tasks facing it” (GA Dmitrevsky) 3 .

“The choir is an organized group of singers... In the understanding of the Soviet listener, the choir is a creative group whose main purpose of performing activity is the ideological, artistic and aesthetic education of the masses” (K.K. Pigrov) 4 .

“A choir is a team that is sufficiently proficient in the technical and artistic and expressive means of choral performance necessary to convey thoughts, feelings, and ideological content that are embedded in a work” (Vl.G. Sokolov) 5 .

“A choir is a singing group performing vocal music with instrumental accompaniment or a cappella” (N.V. Romanovsky) 6 .

“The choir is a large vocal and performing group, which, through the means of its art, truthfully, artistically fully reveals the content and form of the performed works and, through its creative activity, contributes to the ideological and artistic education of the masses. As a musical and performing "instrument" choir

1 Chesnokov P.G. Chorus and management. - M., 1961. - S. 25-26. 2 Egorov A.S. Theory and practice of managing the choir. - L.; M., 1951. - S. 13.

3 Dmitrevsky GL. Choir and choir management. - M., 1957. - S. 3.

4 Pigrov K.K. Choir leadership. - M., 1964. - S.21.

6 Sokolov Vl. Choir work. - 2nd ed.-M., 1983. - S. 5.

6 Romanovsky N.V. Choral dictionary. - M., 1980. - S. 124.

The concept of the choir

is an ensemble of vocal unisons” (V.I. Krasnoshchekov) 1 .

As you can see, in each of these definitions, the emphasis is either on structural organization, or on technical and artistic parameters, or on goals and objectives. Having linked together the various essential features that different authors put into the concept of "chorus" and critically assessing them, the author of this book considers it possible to propose the following generalizing formulation: choir- This is a vocally organized performing group, the basis of which is an ensemble of intonation, dynamic and timbre fused groups with artistic and technical skills necessary to embody the musical and poetic text of the work in live sound. This definition, perhaps, quite accurately establishes the distinctive features of the concept, its content and boundaries.

According to the composition of voices, the choir is homogeneous (male, female, children's) and mixed(i.e. consisting of male and female or male and children's voices). Another category - boys' choirs - requires clarification, since it can be represented by a homogeneous choir (if only boys sing in it) and mixed (if young men singing male parts sing along with the boys).

A normal full mixed choir consists of four parts: soprano, alto, tenor and bass. But sometimes in a mixed choir one or even two choral parts from heterogeneous groups of voices are missing (for example, the part of altos or tenors). Such a composition is usually called an incomplete mixed choir. In professional choral performance, this type of choir, as a rule, does not occur. Among amateur choirs, it is quite common. Particularly often, an incomplete mixed composition is found in amateur factory and club activities, in schools, colleges and universities. So, for example, the situation is quite typical when only 5-6 men sing in a choir with 40 participants. In this case, most often tenors and basses are combined into one choral part.

1 Krasnoshchekov V.I. Questions of choral science. - M., 1969. - S. 81-82.

54 Chapter 3. Chorus as a performing "instrument"

Three) or more people playing the same part.

Most often, the choir includes four choral parts: soprano, alto, tenor, bass. But the number of parties is not limited in principle, since each of these main parties can be divided into several relatively independent parties (this phenomenon is called divisi by musicians): in Vasily Titov's part concerts there are 12 or more choral parts; "Stabat Mater" by Krzysztof Penderecki was written for a triple choir with 4 voices each (a total of 12 choral parts).

The choir may sing with or without instruments. Singing unaccompanied is called singing a cappella. Instrumental accompaniment can include virtually any instrument, one or more, or an entire orchestra. As a rule, at choir rehearsals, in the process of learning a work written for choir and orchestra, the orchestra is temporarily replaced by a piano; the piano is also used as an auxiliary instrument when learning choral works a cappella.

Story

Some of the earliest singing groups were the ancient Greek choirs used during tragedies. But unlike modern drama and theater, he himself was not a character, but played the role of public opinion, which determined the choice of other characters. The ancient Greek choir always sang in one voice, either unaccompanied or to the kithara, which also played in unison with the choir.

Early Christianity adopted the ancient tradition, and until the 10th-12th centuries, choirs sang only in unison or octave. Then began the division of votes into low and high and the emergence of different parties for them. Until the 15th century (and in church hymns - until the 17th century), only men were in the choir (with the exception of the choirs of nuns).

Types of choirs

under the name choir type understand the characteristics of the performing group by the constituent groups of singing voices. It is known that singing voices are divided into three groups - women's, men's and children's. Thus, a choir that unites the voices of one group is called homogeneous, and a choir that has combinations of female (or children's) and male voices or singing voices of all groups is called mixed. In performing practice, four types of choirs are common: women's, men's, children's, mixed.

• mixed choir(the most common type of choir) - consists of female and male voices. The female voices are the soprano and alto parts, the male voices are the tenor and bass parts. Within each part, there is usually a division into first (higher) and second (lower) voices: sopranos I and II, altos I and II, tenors I and II, basses I and II;
• boys and youths choir- consists of the same four main parts as the mixed one, but the soprano part is performed by boys called trebles, the alto part is performed by low boy voices; the parts of tenors and basses in such a choir, as well as in a mixed one, are performed by men;
• male choir- consists of tenors and basses, with the subdivision of each part into two voices: first (high) and second (low) tenors and first and second basses. The part of the first tenors can be expanded with countertenor singers singing (in falsetto) an even higher part, which is outside the usual male vocal range in tessitura;
• female choir- consists of sopranos and altos, with the subdivision of each part into two voices: first and second sopranos and first and second altos;
• children's choir- consists of two parties: soprano (treble) and altos, sometimes from three - sopranos (treble) I and II, and altos; other options are also possible.

The minimum number of singers in one choral part is 3 people.

From the point of view of the manner of singing, there are:

• academic choirs- singing in an academic manner. The academic style of singing is based on the principles and criteria of musical creativity and performance, developed by professional musical culture and the traditions of the centuries-old experience of opera and chamber genres;
• folk choirs- singing in a folk manner. The genre features of Russian folk choirs are: reliance on the local or regional tradition of everyday folk singing; use of natural register sounding of voices; subvocal-polyphonic chant of the song as the basis of choral polyphony.

Types of choral singing

By the number of participants there are:

• vocal and choral ensemble- from 12 to 20 participants;
• chamber choirs- from 20 to 30-50 participants;
• middle choirs- from 40 to 60-70 participants;
• large choirs- from 70 to 120 participants;
• combined choirs- up to 1000 participants, gather for a while from different teams. Such compositions have the status of "happing performance" and do not belong to the performing arts proper, as they are more of a propaganda and educational direction.

Choirs may have different status, such as professional, amateur (amateur), church and training choirs.

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Notes

Literature

• Anisimov A.I. Conductor-choirmaster. Creative and methodological notes. - L .: "Music", 1976. - 160 p.
• Vinogradov K. Work on diction in the choir. - M .: Muzyka, 1967.
• Dmitrevskaya K. Russian Soviet choral music. Issue. 1.- M.: Soviet composer, 1974.
• Dmitrevsky G. Choir studies and choir management. - Muzgiz, 1957.
• Evgrafov, Yu. A. Elementary theory of manual control of the choir. - M.: Music, 1995
• Egorov, A. A. Theory and practice of working with the choir / A. A. Egorov. - L.; Moscow: Gosmuzizdat, 1951.
• Zhivov V. L. Choral Performance: Theory. Methodology. Practice.- M.: Vlados, 2003.
• Ilyin V. Essays on the history of Russian choral culture. - M .: Soviet composer, 1985.
• Kazachkov S. A. Choir conductor - artist and teacher / Kazan. state Conservatory. - Kazan, 1998. - 308 p.
• Kazachkov S. A. From lesson to concert. - Kazan: Publishing House of Kazan University, 1990. - 343 p.
• Krasnoshchekov V. Questions of choral studies. - M .: Muzyka, 1969.
• Lokshin D. Remarkable Russian choirs and their conductors.- M.: Muzgiz, 1963.
• Nikolskaya-Beregovskaya K.F. Russian vocal and choral school: From antiquity to the XXI century - M .: Vlados, 2003. ISBN 5-691-01077-8
• In memory of A. V. Sveshnikov. Collection of articles, ed. S. Kalinina.- M.: Music, 1998.
• In memory of N. M. Danilin. Letters, memoirs, documents. - M .: Soviet composer, 1987.
• Pigov K. Management of the choir. - M .: Music, 1964. - 220 p.
• Bird K. Masters of choral art at the Moscow Conservatory. - M .: Muzyka, 1970.
• Romanovsky N.V. Choral dictionary. - L .: Music, 1980
• Samarin W. Choreology. - M.: Music, 2011.
• Sokolov V. Work with the choir. - M .: Music, 1967.
• Teneta-Barteneva L. B. Lebedev Konstantin Mikhailovich (Essay on the life and career of an outstanding choral conductor and teacher). - M .: 4 branch of the Military Publishing House, 2002
• Shamina L.V. Work with an amateur choir.- M .: Muzyka, 1981.- 174 p.]
• Riemann, Hugo.: CD-ROM / per. with him. B. P. Yurgenson, add. Russian department - M. : DirectMedia Publishing, 2008.

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Excerpt characterizing the Choir

Only the recognition of this feeling in him made the people, in such strange ways, from an old man who was in disfavor, choose him against the will of the tsar to be representatives of the people's war. And only this feeling put him on that highest human height, from which he, the commander-in-chief, directed all his forces not to kill and exterminate people, but to save and pity them.
This simple, modest and therefore truly majestic figure could not fit into that deceitful form of a European hero, supposedly controlling people, which history invented.
For a lackey there can be no great person, because the lackey has his own idea of ​​greatness.

November 5 was the first day of the so-called Krasnensky battle. Before evening, when, after many disputes and mistakes of the generals, who went to the wrong place; after sending out adjutants with counter-orders, when it had already become clear that the enemy was fleeing everywhere and that there could not be and would not be a battle, Kutuzov left Krasnoye and went to Dobroe, where the main apartment had been transferred that day.
The day was clear and frosty. Kutuzov, with a huge retinue of generals who were dissatisfied with him, whispering after him, rode on his fat white horse to Good. All along the road crowded, warming themselves by the fires, lots of French prisoners taken this day (there were seven thousand of them taken that day). Not far from Dobry, a huge crowd of ragged, bandaged and wrapped with whatever prisoners buzzed in conversation, standing on the road near a long line of unharnessed French guns. As the commander-in-chief approached, the conversation fell silent, and all eyes stared at Kutuzov, who, in his white hat with a red band and a wadded overcoat, sitting with a hump on his stooped shoulders, slowly moved along the road. One of the generals reported to Kutuzov where the guns and prisoners were taken.
Kutuzov seemed to be preoccupied with something and did not hear the words of the general. He screwed up his eyes in displeasure and peered attentively and intently into those figures of prisoners who presented a particularly pitiful appearance. Most of the faces of the French soldiers were disfigured by frostbitten noses and cheeks, and almost all had red, swollen and festering eyes.
One group of Frenchmen stood close by the road, and two soldiers - the face of one of them was covered with sores - were tearing a piece of raw meat with their hands. There was something terrible and animal in that cursory glance that they threw at the passers-by, and in that vicious expression with which the soldier with sores, glancing at Kutuzov, immediately turned away and continued his work.
Kutuzov looked at these two soldiers for a long time; Wrinkling even more, he narrowed his eyes and shook his head thoughtfully. In another place, he noticed a Russian soldier, who, laughing and patting the Frenchman on the shoulder, said something affectionately to him. Kutuzov again shook his head with the same expression.
- What are you saying? What? he asked the general, who continued to report and drew the attention of the commander-in-chief to the French taken banners that stood in front of the front of the Preobrazhensky regiment.
- Ah, banners! - said Kutuzov, apparently with difficulty breaking away from the subject that occupied his thoughts. He looked around absently. Thousands of eyes from all sides, waiting for his word, looked at him.
In front of the Preobrazhensky Regiment he stopped, sighed heavily and closed his eyes. Someone from the retinue waved for the soldiers holding the banners to come up and place them around the commander-in-chief with flagpoles. Kutuzov was silent for several seconds and, apparently reluctantly, obeying the necessity of his position, raised his head and began to speak. Crowds of officers surrounded him. He scanned the circle of officers with a keen eye, recognizing some of them.
– Thank you all! he said, addressing the soldiers and again to the officers. In the silence that reigned around him, his slowly spoken words were clearly audible. “Thank you all for your hard and faithful service. The victory is perfect, and Russia will not forget you. Glory to you forever! He paused, looking around.
“Bend down, bend down his head,” he said to the soldier who held the French eagle and accidentally lowered it in front of the banner of the Transfiguration. “Lower, lower, that’s it. Hooray! guys, - with a quick movement of your chin, turn to the soldiers, he said.
- Hooray ra ra! roared thousands of voices. While the soldiers were shouting, Kutuzov, bent over in his saddle, bowed his head, and his eye lit up with a meek, as if mocking, gleam.
“That’s what, brothers,” he said when the voices fell silent ...
And suddenly his voice and facial expression changed: the commander-in-chief stopped talking, and a simple, old man spoke up, obviously wanting to tell his comrades something very necessary now.
There was a movement in the crowd of officers and in the ranks of the soldiers in order to hear more clearly what he would say now.
“Here’s the thing, brethren. I know it's hard for you, but what can you do! Be patient; not long left. We'll send the guests out, then we'll have a rest. For your service, the king will not forget you. It is difficult for you, but you are still at home; and they - see what they have come to, ”he said, pointing to the prisoners. - Worse than the last beggars. While they were strong, we did not feel sorry for ourselves, but now you can feel sorry for them. They are also people. So guys?
He looked around him, and in the stubborn, respectfully bewildered glances fixed on him, he read sympathy for his words: his face became brighter and brighter from the senile meek smile, puckering up in stars at the corners of his lips and eyes. He paused and lowered his head as if in bewilderment.
- And then say, who called them to us? Serves them right, m ​​... and ... in g .... he suddenly said, raising his head. And, waving his whip, he galloped, for the first time in the whole campaign, away from the joyfully laughing and roaring cheers, upsetting the ranks of the soldiers.
The words spoken by Kutuzov were hardly understood by the troops. No one would have been able to convey the contents of the first solemn and at the end of the ingenuously old man's speech of the field marshal; but the heartfelt meaning of this speech was not only understood, but that same, that same feeling of majestic triumph, combined with pity for the enemies and the consciousness of one’s rightness, expressed by this, precisely this old man’s, good-natured curse, is the very (feeling lay in the soul of every soldier and was expressed in a joyful, long-lasting cry.When after that one of the generals turned to him with the question of whether the commander-in-chief would order the carriage to arrive, Kutuzov, answering, suddenly sobbed, apparently being in great agitation.

November 8 is the last day of the Krasnensky battles; it was already getting dark when the troops arrived at the place of lodging for the night. The whole day was quiet, frosty, with light, rare snow falling; By evening it became clear. A black-purple starry sky was visible through the snowflakes, and the frost began to intensify.
The musketeer regiment, which had left Tarutino at the number of three thousand, now, at the number of nine hundred men, was one of the first to arrive at the appointed place of lodging for the night, in a village on the main road. The quartermasters, who met the regiment, announced that all the huts were occupied by sick and dead Frenchmen, cavalrymen and headquarters. There was only one hut for the regimental commander.
The regimental commander drove up to his hut. The regiment passed through the village and at the outermost huts on the road put the guns in the goats.
Like a huge, multi-membered animal, the regiment set to work arranging its lair and food. One part of the soldiers dispersed, knee-deep in snow, into the birch forest, which was to the right of the village, and immediately the sound of axes, cleavers, the crack of breaking branches and cheerful voices was heard in the forest; another part busied about the center of the regimental carts and horses, put in a pile, taking out boilers, crackers and giving food to the horses; the third part scattered in the village, arranging quarters for headquarters, picking out the dead bodies of the French that lay in the huts, and taking away boards, dry firewood and straw from the roofs for fires and wattle for protection.
About fifteen soldiers behind the huts, from the edge of the village, with a cheerful cry, were swinging the high wattle fence of the shed, from which the roof had already been removed.
- Well, well, at once, lean on! shouted voices, and in the darkness of the night a huge wattle fence covered with snow swayed with a frosty crack. The lower stakes cracked more and more often, and finally the wattle fence collapsed along with the soldiers pressing on it. There was a loud rudely joyful cry and laughter.
- Take two! give the rocha here! like this. Where are you going then?
- Well, at once ... Yes, stop, guys! .. With a shout!
Everyone fell silent, and a soft, velvety pleasant voice sang a song. At the end of the third stanza, right at the end of the last sound, twenty voices cried out in unison: “Uuuu! Goes! Together! Come on, kids!..” But, despite the united efforts, the wattle fence did not move much, and heavy panting was heard in the established silence.
- Hey you, the sixth company! Damn, devils! Help ... we will also come in handy.
The sixth company of about twenty, walking to the village, joined the dragging; and the wattle fence, five sazhens long and a sazhen wide, bent, pressing and cutting the shoulders of the puffing soldiers, moved forward along the village street.
- Go, or something ... Fall, eka ... What have you become? That's it ... Cheerful, ugly curses did not stop.
- What's wrong? - suddenly I heard the commanding voice of a soldier who ran into the carriers.
- The Lord is here; in the hut the anaral himself, and you, devils, devils, swindlers. I'll! - shouted the sergeant major and with a swing hit the first soldier who turned up in the back. - Can't it be quiet?
The soldiers fell silent. The soldier, who had been hit by the sergeant-major, began, groaning, to wipe his face, which he had torn into blood when he stumbled upon the wattle fence.
“Look, damn it, how he fights!” I’ve already bloodied my whole face, ”he said in a timid whisper, when the sergeant-major walked away.

Definition of "choir"

A.A. Egorov in his work "Theory and practice of working with the choir" defines the choir as a more or less numerous group of singers performing a vocal-choral work. Moreover, each part is sung by several homogeneous voices. In this, the choral group, as a vocal organization, differs significantly from the chamber vocal ensemble (duet, trio, quartet, etc.), in which each individual part is always entrusted to only one performer. The most typical, pure form of the choir is the a cappella choir, i.e. a group singing without instrumental accompaniment. Another type of choir group - a choir group accompanied by a piano, an ensemble of instruments or an orchestra - is no longer completely independent: it shares its performing tasks with instrumental accompaniment.

V.G. Sokolov: “A choir is a collective that is sufficiently skilled in the technical and artistic and expressive means of choral performance necessary to convey the thoughts, feelings, and ideological content that are embedded in the work.”

P.G. Chesnokov: "Chorus a cappella" is a full-fledged union of a significant number of human voices, capable of conveying the subtlest bends of spiritual movements, thoughts and feelings expressed in the performed composition. The choir is such a collection of singers, in the sonority of which there is a strictly balanced ensemble, a precisely adjusted system and artistic, distinctly worked out nuances.

Thus, the chorus is an extremely capacious concept. It is usually regarded as a musical and singing group whose activity is the creative process of choral music-making (or choral performance). The basic basis of each choral part is a unison, which implies the complete unity of all vocal and choral components of the performance - sound formation, intonation, timbre, dynamics, rhythm, diction, in other words, the choir is an ensemble of vocal unisons. Choral performance is expressed in two forms of music - singing without accompaniment (a cappella) and singing with accompaniment. Depending on the method of intonation - in natural or tempered tuning - the role of intonation increases. Accurate intonation (system) and balanced sound (ensemble) in the choir are the main conditions for his professionalism.

A well-coordinated choir is always perceived as a vocal orchestra consisting of human voices, and therefore requires the constant and systematic attention of the choirmaster / conductor from the moment the choir sings to the concert performance on the stage. The structure in the choir depends on the skill and training of the singers participating in it, as well as on the personal and professional qualities of the conductor-choirmaster, his will, knowledge, and experience. The synthesis of two types of arts (music and poetics) introduces specific features into choral creativity. A logical and meaningful combination of music and words defines the concept of the vocal-choral genre. A good choir is always distinguished by technical and artistic and expressive performance, where, along with the problems of the ensemble and the system, the tasks of musical and literary interpretation are solved.

From arafans to the floor, kokoshniks and song art. Russian folk choirs with the title of "academic" - as recognition of the highest level of stage performance. More about the path of the "populists" to the big stage - Natalia Letnikova.

Kuban Cossack Choir

200 years of history. The songs of the Cossacks are either a horse march, or a foot sortie under “Marusya, one, two, three ...” with a valiant whistle. 1811 - the year of the creation of the first choir in Russia. A living historical monument that carried through the centuries the history of the Kuban and the singing traditions of the Cossack army. At the origins were the spiritual enlightener of the Kuban, Archpriest Kirill Rossinsky and the regent Grigory Grechinsky. From the middle of the 19th century, the team not only participated in divine services, but also gave secular concerts in the spirit of the reckless Cossack freemen and, according to Yesenin, "merry longing."

Mitrofan Pyatnitsky Choir

A team that has proudly called itself "peasant" for a century. And even if today professional artists perform on stage, and not ordinary vociferous Great Russian peasants from Ryazan, Voronezh and other provinces, the choir presents a folk song in amazing harmony and beauty. Each performance is admirable, like a hundred years ago. The first concert of the peasant choir took place in the hall of the Noble Assembly. The audience, including Rachmaninov, Chaliapin, Bunin, left shocked after the performance.

Northern Folk Choir

A simple rural teacher Antonina Kolotilova lived in Veliky Ustyug. For needlework, she gathered lovers of folk songs. On a February evening they sewed linen for an orphanage: “The smooth, soft light falling from the lightning lamp created a special comfort. And outside the window the February bad weather raged, the wind whistled in the chimney, rattled the boards on the roof, threw snow flakes out the window. From this discrepancy between the warmth of a cozy room and the howl of a snow blizzard, it was a little sad in the soul. And suddenly a song sounded, sad, lingering ... " This is how the northern tune sounds - 90 years. Already off the stage.

Ryazan Folk Choir named after Evgeny Popov

Yesenin's songs. In the homeland of the main singer of the Russian land, his poems are sung. Melodic, poignant, exhilarating. Where a white birch is not a tree, not a girl, frozen on the high bank of the Oka. And the poplar is certainly "silver and bright." The choir was created on the basis of the rural folklore ensemble of the village of Bolshaya Zhuravinka, which had been performing since 1932. The Ryazan choir was lucky. The head of the group, Yevgeny Popov, himself wrote music to the verses of a countryman who surprisingly felt the beauty. They sing these songs as if they are talking about their lives. Warm and gentle.

Siberian folk choir

Chorus, ballet, orchestra, children's studio. The Siberian choir is multifaceted and in tune with the frosty wind. The concert program "The Coachman's Tale" is based on the musical, song and choreographic material of the Siberian Territory, like many stage sketches of the group. The creativity of Siberians was seen in 50 countries of the world - from Germany and Belgium to Mongolia and Korea. What they live about, they sing about. First in Siberia, and then throughout the country. As happened with Nikolai Kudrin's song "Bread is the head of everything", which was first performed by the Siberian Choir.

Voronezh Russian Folk Choir named after Konstantin Massalitinov

Songs in the front line in those difficult days, when, it would seem, there is no time for creativity at all. The Voronezh choir appeared in the working settlement of Anna at the height of the Great Patriotic War - in 1943. The first to hear the songs of the new band were in the military units. The first big concert - with tears in his eyes - was held in Voronezh, liberated from the Germans. The repertoire includes lyrical songs and ditties, which are known and loved in Russia. Including thanks to the most famous soloist of the Voronezh choir - Maria Mordasova.

Volga Folk Choir named after Pyotr Miloslavov

“A steppe wind walks along the stage of the Châtelet theater and brings us the aroma of original songs and dances”,- wrote the French newspaper L'Umanite in 1958. Samara-gorodok introduced the French to the song heritage of the Volga region. The performer is the Volga Folk Choir, created by the decision of the Government of the RSFSR in 1952 by Pyotr Miloslavov. Unhurried and sincere life along the banks of the great Volga and on stage. Ekaterina Shavrina began her career in the team. The Volga Choir performed the song "Snow-White Cherry" for the first time.

Omsk folk choir

Bear with balalaika. The emblem of the famous team is well known both in Russia and abroad. “Love and pride of the Siberian land”, as the critics dubbed the team during one of their foreign trips. “The Omsk Folk Choir cannot be called only a restorer and keeper of an old folk song. He himself is a living embodiment of the folk art of our days”,- wrote the British The Daily Telegraph. The repertoire is based on Siberian songs recorded by the band's founder Elena Kalugina half a century ago and vivid pictures from life. For example, the suite "Winter Siberian Fun".

Ural folk choir

Performances at the fronts and in hospitals. The Urals not only gave the country metal, but also raised morale with whirlwind dances and round dances, the richest folklore material of the Ural land. Under the Sverdlovsk Philharmonic, amateur groups from the surrounding villages of Izmodenovo, Pokrovskoye, Katarach, Laya were united. "Our genre is alive"- they say in the team today. And to save this life is considered the main task. Like the famous Ural "Semyora". Drobushki and Barabushki have been on stage for 70 years. Not a dance, but a dance. Authentic and remote.

Orenburg folk choir

A down scarf as part of a stage costume. Fluffy lace intertwined with folk songs and in a round dance - as part of the life of the Orenburg Cossacks. The team was created in 1958 to preserve the unique culture and rituals that exist "on the edge of vast Rus', along the banks of the Urals." Every performance is like a performance. They perform not only songs that the people have composed. Even dancing has a literary basis. "When the Cossacks Cry" - a choreographic composition based on the story of Mikhail Sholokhov from the life of the villagers. However, every song or dance has its own history.