modern conductors. Famous conductors of the world

Cycle of concert programs(Russia, 2010). 10 issues.

There are no more authoritative figures in modern musical culture than representatives of the world conducting elite. The creators of the cycle have chosen ten significant names of significance - Simon Rattle, Lorin Maazel, Daniel Barenboim, Maris Jansons, as well as their famous Russian colleagues,. Today they are universally recognized masters and leaders of the largest orchestras.

Each program is based on the performance of one of the named maestro with his orchestra.

Soloists: violinists Vadim Repin and Sergei Krylov, oboist Alexei Utkin, pianist Denis Matsuev and others.

The program is the most diverse - from I.S. Bach to A. Schoenberg and A. Pärt. All works are among the masterpieces of world music.

The host of the cycle is pianist Denis Matsuev.

1st release. .
Soloist Vadim Repin.
Program: I. Stravinsky. Symphony in three movements; M. Bruch. Violin Concerto No. 1 in G minor; L. Beethoven. Symphony No. 7.

2nd issue. Vladimir Fedoseev and the Bolshoi Symphony Orchestra. P.I. Tchaikovsky.
Program: L. Beethoven. Symphony No. 4.
Recorded at the Golden Hall of the Musikverein in Vienna.

3rd edition. "Maris Jansons and the Bavarian Radio Symphony Orchestra".
Program: R. Wagner. Introduction and "Death of Isolde" from the opera "Tristan and Isolde"; R. Strauss. Suite of waltzes from the opera "Der Rosenkavalier".

4th edition. "Daniel Barenboim and the West-Eastern Divan Orchestra".
Program: V.A. Mozart. Concerto No. 7 in F major for three pianos and orchestra. Soloists - Daniel Barenboim, Yael Karet, Karim Said. A. Schoenberg. Variations for Orchestra. G. Verdi. Overture to the opera "Force of Destiny".

5th edition. "Vladimir Spivakov and the National Philharmonic Orchestra of Russia.
Sergei Prokofiev. Concerto No. 3 for piano and orchestra. Symphony No. 1 "Classical". Soloist Denis Matsuev. Recorded at the Great Hall of the Moscow Conservatory in 2008.

6th edition. "Lauryn Maazel and the Arturo Toscanini Symphony Orchestra"
Program: Giacchino Rossini. Overture to the opera "Italian in Algiers"; Johannes Brahms. Symphony No. 2.
Recorded in the Great Hall of the Moscow Conservatory.

7th issue. Yuri Temirkanov and the Academic Symphony Orchestra of the St. Petersburg Philharmonic. D.D. Shostakovich.

8th edition. Yuri Bashmet and the Moscow Soloists Chamber Ensemble.
Program: Joseph Haydn - Concerto for cello and orchestra. Soloist Steven Isserlis (Great Britain), Niccolo Paganini - 5 caprices (arranged by E. Denisov for violin and chamber orchestra). Soloist Sergey Krylov (Italy); V.A. Mozart - Divertimento No. 1.
Recording in the BZK.

9th edition. Mikhail Pletnev and the Russian National Orchestra
The Russian National Orchestra will perform a suite from the ballet by P.I. Tchaikovsky "Swan Lake", composed by Mikhail Pletnev. Recording at the Bolshoi Theater of Russia as part of the Great RNO Festival, 2009.

10th edition. Valery Gergiev and the Mariinsky Theater Symphony Orchestra
The Mariinsky Theater Symphony Orchestra conducted by Valery Gergiev performs orchestral hits - overtures from operas by Rossini, Verdi, Wagner, waltzes from Tchaikovsky's ballets, fragments from Prokofiev's Romeo and Juliet.

It would be unheard of arrogance on my part to talk about famous conductors of all times and peoples. On this subject, I can only provide you with a link to the opinion of more authoritative experts than me :). But my own opinion is also of some value, like any independent opinion of a thinking person, right? Therefore, I act as follows: I will try to identify the main stages in the development of directing art and the names of famous conductors associated with these stages. So it will be fair from all sides :)

• One of the early stages of conducting

associated with a very bulky object called "battuta". A kind of rod with which the main musical director hit the floor, measuring the beat. And with this same trampoline, in turn, the most ridiculous tragic incident in the musical world is connected. Composer, musician and conductor Jean-Baptiste Lully died of gangrene in 1687. And the reason was a leg injury while conducting with the help of a trampoline ...

• In the 17th century the role of the conductor

very often performed by the leading musicians of the orchestra. Sometimes they were organists or harpsichordists, but more often they were violinists. Probably, the expression “first violin” came from this tradition? And here I want to name the following, a fairly modern name: Willy Boskowski. As a violinist and conductor, for several decades of the 20th century he was the concertmaster of the famous Vienna Philharmonic Orchestra. And this orchestra, by tradition, never had a chief conductor. Boskowski often conducted in the manner of Strauss himself, with a violin in his hand.

• Late 18th, 19th century musical works

became so complicated that the next logical step was the formation of the profession of a “liberated” conductor. Now the works are performed not only by their own composition, but also by other colleagues in the workshop. And over time, there is a clear separation between the types of activity: a conductor is no longer necessarily a composer! Some of the first professional conductors who managed to gain an international reputation were Hans von Bülow And Herman Levy.

• It is impossible not to mention such an event - the appearance of a conductor's baton.

This happened in the 19th century, and the appearance of this important instrument, which was determined at that time, remains traditional today. And the inventor is considered a German composer and conductor Louis Spur.

• There is a truly revolutionary moment in the history of conducting.

Namely: the conductor turns to face the orchestra and back to the audience! Honestly: I can’t imagine something, but what was it like before? Couldn't the maestro conduct while facing the audience, but with his back to the musicians?! Well, be that as it may, this event is celebrated as special. And in this regard, I remember the most penetrating, heartbreaking fragment: a completely deafened Beethoven conducts the premiere of his Symphony No. 9. Execution completed. The composer is unable to hear any sounds. Standing with his back to the audience, he cannot even see the reaction of the audience. And then the musicians turn him around to face the audience and Beethoven sees what a triumph his new work has caused.

• Finally, I will allow myself to voice my personal affection :).

How unexpectedly I found out for myself: it is difficult for me to judge the professionalism of a conductor, therefore, in my assessments, I "get" such qualities as artistry and a sense of humor. This is probably why I single out two of the conductors of the 20th century: Gennady Rozhdestvensky And Daniel Barenboim. With the recording of the speech of the latter, I end this post:

Carlos Kleiber named the best conductor of all time.
According to a survey conducted by the English magazine BBC Music Magazine, Carlos Kleiber recognized as the best conductor of all time. The survey was conducted among 100 leading conductors of our time, such as Sir Colin Davis, Gustavo Dudamel, Valery Gergiev, Maris Jansons and others, to identify which of their colleagues they admire the most (who is their inspiration). Carlos Kleiber, the Austrian maestro, who only performed 96 concerts and about 400 opera performances in his 74 years, was ahead of Leonard Bernstein and Claudio Abbado, who came in second and third respectively.

Susanna Mälkki, Finnish conductor of the French Ensemble Intercontemporain and one of the survey participants, commented on the results: "Carlos Kleiber brought incredible energy to music... Yes, he had about five times more rehearsal time than today's conductors can afford, but he deserves it because his vision of music is amazing, he knows exactly what he wants and his attention to the smallest detail is truly inspiring."

So, Top 20 Conductors of All Time according to a BBC Music Magazine poll conducted in November 2010 and published in March 2011.

1. Carlos Kleiber (1930-2004) Austria
2. Leonard Bernstein (1918-1990) USA
3. (born 1933) Italy
4. Herbert von Karajan ((1908-1989) Austria
5. Nikolaus Harnoncourt (born 1929) Austria
6 Sir Simon Rattle (born 1955) UK
7. Wilhelm Furtwangler (1896-1954) Germany
8. Arturo Toscanini (1867-1957) Italy
9. Pierre Boulez (born 1925) France
10. Carlo Maria Giulini (1914-2005) Italy
11. John Eliot Gardiner (born 1943) UK
12.
13. Ferenc Fricsay (1914-1963) Hungary
14. George Szell (1897-1970) Hungary
15. Bernard Haitink (born 1929) Netherlands
16. Pierre Monteux (1875-1964) France
17. Evgeny Mravinsky (1903-1988) Russia (USSR)
18 Colin Davis (born 1927) UK
19. Thomas Beecham (1879-1961) Great Britain
20. Charles Mackerras (1925-2010) Australia

Curriculum vitae:
Carlos Kleiber (full name Carl Ludwig Kleiber) is an Austrian conductor. Born July 3, 1930 in Berlin, the son of the famous conductor Erich Kleiber. Grew up in Argentina, 1949-1950. studied chemistry in Zurich. He began his musical career in 1951 as a tutor in Munich. Kleiber's debut as a conductor took place in 1954 in Potsdam. Then he worked in Dusseldorf, Zurich and Stuttgart. In 1968-1973. worked at the Bavarian State Opera in Munich and remained its guest conductor until 1988. In 1973 he performed for the first time at the Vienna State Opera. He performed at La Scala, Covent Garden (since 1974), the Metropolitan Opera (since 1988) and other theaters; participated in the Edinburgh Festival (since 1966). He collaborated with the Vienna and Berlin Philharmonic Orchestras. The last performance of the conductor took place in 1999. He died on July 13, 2004 in Slovenia.

L.V. Beethoven. Symphony No. 7 Op.92.
Royal Orchestra Concertgebouw (Netherlands). Conductor Carlos Kleiber.

G. Lomakin(1811-1885). The fame of a talented singing teacher came to Lomakin early and quickly spread throughout the northern capital. He was invited to teach at many educational institutions: the cadet, naval and page corps, the lyceum, the theater school, the law school (where P.I. Tchaikovsky studied at that time). In this school, G.Ya. met. Lomakin with art critic V.V. Stasov. The outstanding Russian critic has repeatedly noted Lomakin's "excellent school", "the right path of learning", "innate talent", "significance and skill in leading the choir", which played a significant role in the career of our fellow countryman. In 1862, together with the famous composer M.A. Balakirev, Lomakin organized a free music school - to enlighten and educate the people. At school G.Ya. Lomakin not only created a wonderful new choir, but also managed to organize the education of future music teachers. Many of his pupils became famous musicians: singers, choir conductors, teachers. Gavriil Yakimovich devoted the last years of his life to composing work: before that, he could only compose music in fits and starts, during short hours of breaks between classes with choirs. During that period, he created a number of compositions for the choir, wrote several romances. And in 1883, when M.A. Balakirev, Lomakin also received a rare opportunity to publish his works. He devoted the last days of his life to their revision and editing of proof sheets.

A. Arkhangelsky (1846-1924)

Court chapel.

Independent Chorus (1880).

Chapel of Count Sheremetyev.

C.V. Smolensky (1848-1909)

Director of the Synodal School (1889-1901).

Director of the court choir (1901-1903).

Director of private regency courses (St. Petersburg)

V.S. Orlov (1856-1907).

Choir of the Russian Choral Society (1878-1886).

Chapel of the Russian Choral Society (1882-1888).

Regent of the Synodal Choir (1886-1907).

Alexander Dmitrievich Kastalsky (1856-1926).

Synodal choir (regent since 1901).

Pavel Grigorievich Chesnokov (1877-1944).

Private spiritual choir A.P. Kayutova.

Chorus of the Russian Choral Society (1916-1917).

Regent of Moscow churches.

Nikolai Mikhailovich Danilin (1856-1945).

Synodal choir (1910-1918).

Private choir Kayutov (1915-1917).

Leningrad Academic Chapel.

State Choir of the USSR.

Sveshnikov Alexander Vasilievich(1890-1980), choir conductor, People's Artist of the USSR (1956), Hero of Socialist Labor (1970). In 1936-37 he was artistic director of the State Choir of the USSR, organized on the basis of the All-Union Radio Vocal Ensemble he created in 1928; in 1937-1941 - Leningrad. chapels; since 1941 - the State Russian Song Choir (later the State Academic Russian Choir of the USSR). Organizer (1944) and director of the Moscow. choral school (since 1991 Academy of Choral Art named after S.). Professor (since 1946), rector (1948-74) Moscow. conservatory. State Prize of the USSR (1946).

YURLOV Alexander Alexandrovich (1927-73), choral conductor, People's Artist of the RSFSR (1970), Azerbaijan. SSR (1972). Pupil A.V. Sveshnikov. Since 1958, artistic director and chief conductor of the Rep. Russian choir chapel (since 1973 named after him). Professor of Musical Ped. institute. Gnesins (since 1970). State Prize of the USSR (1967).

Tevlin Boris Grigoryevich choir conductor, professor (1981), head of the department of choral conducting at the P. I. Tchaikovsky Moscow Conservatory (1993-2007). People's Artist of the Russian Federation (1995).

Kazachkov Semyon Abramovich (1909-2005) - teacher, professor, head of the department of choral conducting at the Kazan State Conservatory.

Minin Vladimir Nikolayevich (b. 1929), choir conductor, People's Artist of the USSR (1988). Student V.G. Sokolova, A.V. Sveshnikov. Since 1972 hands. founded by him Moscow. chamber choir, since 1987 (at the same time) artistic director of the State. Russian choir. Since 1978 professor (in 1971-79 rector) Musical-ped. institute. Gnesins. State Prize of the USSR (1982).

Dmitryak Gennady Alexandrovich - choral and opera and symphony conductor, Honored Artist of Russia, artistic director and chief conductor of the State Academic Choir of Russia named after A.A. Yurlov and Capella "Moscow Kremlin", Associate Professor of the Department of Choral Conducting of the Russian Academy of Music. Gnesinikh.

Requirements for a choir conductor

Excellent command of conducting technique;

To be able to correctly place the members of the choir in parts in accordance with their singing voice and range;

Easily navigate the whole variety of musical works of different styles, eras, directions, know the theoretical foundations of recording and reading choral scores;

Have a fine ear for music, a sense of rhythm, and a developed artistic taste.

Genres of choral music

VILLANELLA(Italian village song) - Italian song of the 15th-16th centuries, mainly 3-voice, with par al. movement of voices, lively character, lyrical or humorous content.

CANON(Greek norm, rule) - polyphonic. musical. form based. on a strict continuous, imitation, under which. the voices repeat the melody of the leading voice, entering before it ends with the previous one. The canon is distinguished by the number of voices, the intervals between them (Canon in prima, fifth, octave, etc.), the number of topics imitated simultaneously (simple canon; double, for example, in No. 4 of Mozart's Requiem, etc.), the form of imitation (Canon in increase, decrease). In the so-called infinite canon, the end of the melody passes into its beginning, so the voices can re-enter any number of times. In the canon with a “variable indicator” (Vl. Protopopov), during imitation, the melodic pattern and rhythm are preserved, but the interval changes. Canonical imitation, in one form or another, is often used in chorus. op.; there are plays written in the form of K. (“Echo” by O. Lasso, “Song of the Lark” by F. Mendelssohn, arr. N.A. Rimsky-Korsakov “I Walk with a Loafer”, etc.).

KANT(from lat, cantus - singing, song) - a kind of old choral or ensemble song a cap. Originated in the 16th century. in Poland, later - in Ukraine, from the 2nd sex. 17th century - in Russia, having become widespread as an early type of urban song; to the beginning 18th century - a favorite genre of home, everyday music. At first, the cant is a hymn-song of religious content, later it is imbued with secular themes; edges appear. lyrical, pastoral, drinking, comic, marching, etc. In the era of Peter the Great, panegyric cantes, the so-called. viva; performed by choirs of singers during festivities and triumphal processions, accompanied by cannon fire, fanfare and bell ringing. Style features of Kant: couplet form, subordination of musical rhythm to poetic; rhythmic clarity and smoothness of the melody;, mainly a 3-voice warehouse with a parallel movement of the 2 upper voices, the bass is often melodically developed; there is also imitation. In the cante there is a natural correlation of melody and harmony, balance of harmonic functions - subdominants, dominants, tonics. B. Asafiev points out that “in the evolution of music in the second half of the 18th and early 19th centuries. Kant becomes a kind of brief encyclopedia of the triumphant homophonic style” (“Musical Form as a Process”, L., 1963, p. 288). Kants were distributed in handwritten collections, without indicating the authors of the text and music, although poems by modern poets Trediakovsky, Lomonosov, Sumarokov and others were often used. The first arr. nar. songs. Gradually, the edging became more complicated, acquiring the features of a romance. Later (in the 19th century), soldiers', drinking, student, and partly revolutionary songs were created on the basis of cant. The influence of Kant is also found in Russian. classical music, Glinka's ("Glory" from the opera "Ivan Susanin"), etc.

CANTATA(Italian cantare - to sing) - a work for singer-soloists, choir and orchestra, solemn or lyrical-epic character. Cantatas can be choral (without soloists), chamber (without choir), with or without piano accompaniment, in one movement or consist of several completed numbers. From the oratorio (similar to it in terms of means of expression), the cantata usually differs in its smaller size, uniformity of content, and less developed plot. The cantata originated in Italy (17th century), first as a piece for singing (in contrast to the sonata). This means that the cantata takes its place in the work of J. S. Bach, who wrote cantatas on spiritual, mythological and everyday subjects. In Russia, the cantata appeared in the 18th century and reached its development in the 19th and 20th centuries: a solo theatrical cantata (Verstovsky’s Black Shawl), greeting, anniversary, lyrical, lyric-philosophical cantatas (Glinka’s Farewell Songs of the Ekaterininsky and Smolny Institutes). ; "Moscow", "To Joy" by Tchaikovsky; "The Svitezyanka" by Rimsky-Korsakov; "John of Damascus", "After reading the Psalm" by Taneyev; "Spring", "The Bells" by Rachmaninov; "Cantata for the opening of the monument to Glinka" by Balakirev, etc. d.).

The genre of cantata was developed in the work of Soviet composers, especially in works on historical, patriotic and modern topics (Alexander Nevsky by Prokofiev, Symphony-cantata "On the Kulikovo Field" by Shaporin, "Cantata about the Motherland" by Arutyunyan, etc.). The modern German composer K. Orff wrote stage cantatas (Carmina Burana and others).

MADRIGAL(Italian) - lyrical song in native language. (unlike chants in lat, lang.), originally monophonic. In the early Renaissance (14th century) it was performed in 2-3 voices. In the era of the late Renaissance (16th century), it occupied the center, a place in secular music, representing a single-part or multi-part vocal composition of a polyphonic warehouse for 4-5 voices; was distributed outside of Italy. The madrigal genre is predominantly lyrical, closely connected with the poetic text (up to the illustration of individual words). Formed in aristocratic circles, the melodic madrigal (unlike frotolla, villanella, chanson, etc.) is far from folk music, often too sophisticated; at the same time, it also had a progressive meaning, expanding the range of images and expressive means. More simple, associated with folklore, emotional English madrigal of the 16th-17th centuries. (T. Morley, D. Dowland, D. Wilby). By the 17th century the madrigal departs from the vocally polyphonic style, emphasizing the solo voice with instrumental accompaniment. Outstanding masters of the madrigal (at different stages of its development) were Arkadelt, Villart, A. Gabrieli, Palestrina, Marenzio, Gesualdo, Monteverdi.

MOTET(from the French mot - word) - a vocal genre. polyphonic. music. Initially, in France (12-14 centuries), several were combined in a motet. (most often 3) independent melodies with different texts: in the lower voice (tenor) - church. chant in Latin text, in the middle (motet) and upper (triplum) - love or comic songs in colloquial French. The Catholic Church fought against such "vulgar motets" by contrasting them (from the 15th century) with polyphonic hymns to a single Latin text. Madrigals were written for the choir a cap. (from the end of the 16th century and with accompaniment), consisted of several (2, 3 or more) sections, in a polyphonic, often in a chordal warehouse. In the 17th century there were motets for solo singers with instrumental accompaniment.

OPERA CHORUS- one of the main components of the modern opera performance. In connection with the era, genre, individuality of the composer, the choir in the opera plays a different role from creating a domestic background, a decorative element, a participant in the prologue, interludes to ch. acting person. In the opera seria ("serious opera", 17-18 centuries), the choir was almost absent, in the opera buffa ("comic opera", 18 century) it appeared sporadically (for example, in the finals). The role of the choir as the bearer of the image of the people in the operas of Gluck and Cherubini has been strengthened, although often the choir is. scenes in them have an oratorio-static character. Greater dramatic significance was attached to the chorus in the Western European operas of the first third of the 19th century, by Rossini (William Tell), Verdi (Nabucco, Battle of Legnano), with their images of the heroic people; in Meyerbeer's opera, the participation of the choir emphasizes dramatic climaxes. In the lyric opera of the 19th century. the choir contributes to the creation of an appropriate atmosphere, national color, mood (op. Bizet, Verdi, Gounod); in the folk-household opera, the choirs are of a genre nature, close to the folk song, dance (op. Monyushko, Smetana). Rus. secular choral art was first represented by opera choirs (18th century, op. Fomin, Pashkevich, and others); and in the future, choirs occupy a large place in Russian. operas, being “the cornerstone dogma and affirmation of nationality and democracy” (B. Asafiev). Opera and choral creativity Rus. composers is exceptionally diverse.

In historical-patriotic operas (Glinka's Ivan Susanin, Borodin's Prince Igor, Rimsky-Korsakov's The Maid of Pskov, etc.), the choir becomes the protagonist, along with the characters. Especially (the choir acquired great importance in the folk musical dramas of Mussorgsky ("Boris Godunov", "Khovanshchina"), where the image of the people is presented in many ways, in development. In Russian everyday operas by Verstovsky ("Askold's Grave"), Dargomyzhsky ("Mermaid") , Serov ("The Enemy Force"), Tchaikovsky ("Cherevichki", "The Enchantress"), etc. there is a close connection with the folk song. National originality is reflected in the choral scenes of operas related to oriental themes ("Ruslan and Lyudmila" by Glinka, " The Demon" by Rubinstein, "Prince Igor" by Borodin, etc.). Choral means are used in the depiction of fabulous, fantastic plots (op. Glinka, Verstovsky, Rimsky-Korsakov). The chorus is also used in oratorio, usually in the prologue, epilogue (opera Glinka, Serov, Rubinstein, Borodin, etc., performing hymns, etc. (Tchaikovsky's The Maiden of Orleans, Mussorgsky's Khovanshchina, etc.) The traditions of the choir's active participation in Russian classical opera are continued in Soviet musical creativity: operas by Russian Soviet composers "War and Peace", "Semyon Kotko" by Prokofiev, "Decembrists" by Shaporin, "Katerina Izmailova" by Shostakovich, "Emelyan Pugachev" by Koval, "Quiet Don" and "Virgin Soil Upturned" by Dzerzhinsky, "October" by Muradeli, " Virineya" by Slonimsky and others, many national operas contain separate choirs and developed choral scenes. The opera choir has its own performance specifics: it is, first of all, great brightness, convexity of nuance (similar to decorative design), emphasis on the text, its ability to “fly through the orchestra” into the auditorium. Since the opera choir is often in motion, special confidence and independence of each of its members is necessary. To develop these qualities, in some groups, singers learn timing when studying their parts. The presence of mise-en-scenes, in which the choir does not see the conductor, necessitates the so-called. broadcasts (conductor pace) conducted from behind the scenes by choirmasters; at the same time, in order to achieve synchronization of performance, some lead is made to the conductor's "points" (more or less, depending on the depth of the choir).

ORATORIO(from lat, wow - I say, I pray) - a major piece of music for the choir, soloists, orc .; comp. from vocal ensembles, arias, recitatives, completed orchestral numbers., the oratorio originated in Italy, at the turn of the 16th-17th centuries, almost simultaneously with the cantata and opera and is close in structure to them. It differs from the cantata in its larger size, detailed plot, epic-dramatic character, and from the opera in the predominance of the narrative element over the dramatic, development. The oratorio developed from dramatized lauds (spiritual laudatory hymns) performed in special rooms at the church - oratories. A special type of oratorio is the Passion; in terms of structure and type, the oratorio also includes the mass, the requiem, the Stabat Mater, and others. The oratorio genre reaches its peak in the works of Bach and especially Handel, who created the type of heroic-epic oratorio; Haydn's oratorios are marked by genre-domestic and lyrical-philosophical features. In the 19th century prod. The oratorio genre was created by Mendelssohn, Schumann, Berlioz, Brahms, Dvorak, Liszt, Verdi, and others; in the 20th century. - Honegger, Britten and others. The first means the Russian oratorio "Minin and Pozharsky" by Degtyarev; a number of oratorios were created by A. Rubinstein (“Babylonian pandemonium”, “Paradise Lost”, etc.). In the operas of the Russian classics, oratorio-style techniques are widely used in the form of large choral scenes (Ivan Susanin, Ruslan and Lyudmila by Glinka, Serov's Judith, Borodin's Prince Igor, Rimsky-Korsakov's Sadko, etc.). The genre of oratorio is widely used by Soviet composers when embodying historical and contemporary themes (“Emelyan Pugachev” by Koval, “The Legend of the Battle for the Russian Land” by Shaporin, “Song of the Forests” by Shostakovich, “On Guard for Peace” by Prokofiev, “Requiem” by Kabalevsky, “ Mahogany "Zarina and others).

SONG- the simplest and most common form of vocal music, combining a poetic image with a musical one. Characteristic for the song is the presence of a complete, independent, melodious melody, simplicity of structure (usually a period or 2-, 3-part form). The music of the song corresponds to the general content of the text, without detailing it (for example, in a very common couplet song). There are folk and professional (produced by composers) songs that differ in genre, origin, structure, etc. The genre of choral song is common: folk song (peasant and urban), Soviet mass song, otd. choirs of Russian and Soviet composers. In Western European music, the choral song was cultivated by romantic composers (Weber, Schubert, Mendelssohn, Schumann, Brahms). In a figurative sense, the term song. or a song (to emphasize the epic, solemn, poetic sublimity of a work) are used in the title of major musical works, cantatas (for example, Brahms' Song of Fate, Song of Triumph).

CHORAL- religious chant in the Catholic and Protestant churches. The Protestant polyphonic chant (introduced in the 16th century by the leaders of the Reformation) was sung by the entire community in German (as opposed to the unison Gregorian chant, which was sung in Latin by special male singers). The melodies of the chorale are distinguished by a sedentary rhythm. Choral warehouse (or simply chorale) is usually called. chord presentation by uniform durations in slow movement.

1. Hello! I am an educator additional education, teacher of choral class, voice and piano. I work in the center of children's creativity of the Avtozavodsky district of Nizhny Novgorodon the basis of school No. 63with an in-depth study of music.
2. Let me present to your attention a computer presentation "Russian conductors of our time"
3. First I will tell you who a conductor is.
   "Conductor" is a French word and means "to lead". Accordingly, a conductor is the leader of an orchestral, operatic, and choir collective.Conducting is one of the most difficult types of musical performance. The conductor owns the artistic interpretation of the work. The choral conductor needs to monitor the order of the choir, the correct and simultaneous pronunciation of the text, the correct removal and introduction. Conducting, as an independent profession, appeared in the second half of the 19th century. The conductor is the soul of the ensemble!
4. A conductor can lead a choir group, as well as an opera and symphony group. In another way, the conductor of the choir is called the choirmaster.
5. I want to introduce you to some Russian conductors of our time.
6. Pavel Kogan is one of the most famous conductors in our country. His creative career began over 40 years ago. Kogan was born into a musical family. His parents, Leonid Kogan and Elizavet Gilels, are violinists. Kogan's debut as a conductor took place in 1972 with the State Symphony Orchestra of the USSR. Since 1989 he has been Artistic Director and Principal Conductor of the Moscow State Symphony Orchestra. Kogan also works with the best orchestras in the world. The conductor is a laureate of the State Prize of Russia and bears the title of People's Artist of Russia. In addition to the award, Kogan has many Russian and international awards.
7. Gergiev Valery Abisalovich was born on May 2, 1953 in Moscow. Grew up in North Ossetia. At the age of twelve he entered the Leningrad Conservatory as a conductor. As a student, he participated in the Herberg von Karajan International Conducting Competition in Berlin. There he took an honorable second place. After graduating from the conservatory, Gergiev was accepted as an assistant at the Kirov Theatre. In 1978 he conducted Prokofiev's opera War and Peace. Later, Gergiev directed the State Symphony Orchestra of Armenia. In 1988 he took the place of the chief conductor of the Kirov Theatre. Gergiev organized his own festival dedicated to Mussorgsky's operas, later thematic festivals under the direction of the conductor became a tradition. Gergiev is also Principal Conductor of the London Symphony Orchestra. He is the owner of international and Russian awards.
8. Spivakov Vladimir Teodorovich was born in 1944 in the city of Ufa. His mother, Ekaterina Osipovna Weintraub, graduated from the Moscow Conservatory in piano. In 1955, Spivakov studied at the music school at the Moscow Conservatory. In 1968 he graduated from the conservatory, and in 1970 he completed postgraduate studies under the guidance of Yuri Yankelevich. In 1979 he founded the Moscow Virtuosi chamber orchestra, and he still directs it to this day. Spivakov is also the head of the music festival in Colmar. In 2001, Vladimir Teodorovich organized the Moscow International Festival in Moscow. He has worked with many American and European orchestras. In 1994 he establishedVladimir Spivakov International Charitable Foundation . He is an Honored Artist of the RSFSR, People's Artist of the USSR, People's Artist of Ukraine, etc.
9. Bashmet Yuri Abramovich was born on January 24, 1953 in Rostov-on-Don. He studied at the Lviv Special Music School. In 1976 he graduated from the Moscow Conservatory. He is the creator of the Moscow Soloists chamber orchestra. Yuri Bashmet is also a violist. Since 1996 he has been a professor at the Moscow Conservatory. In 1996creates and heads the "Experimental Viola Department" at the Moscow Conservatory. Since 2002 he has directed and conducted the New Russia State Symphony Orchestra. He has worked with the Berlin, New York Philharmonic, Chicago and London Symphony Orchestras. He is a People's Artist of the USSR and a laureate of four State Prizes of the Russian Federation.
10. I want to end my methodological report with a quote from Valery Filatov “If the choir does not have a conductor, everyone tries to “shout” the other”
    The conductor, it's like a hint, it's like a magic wand that tells with gestures where and who needs to join, where to pause, he seems to help the orchestra (choir), inspires him and gives his positive energy.
11. Thank you for your attention!