OSINSKY FOLK CHOIR (Song and dance ensemble “Ural Rowan” (since 1976) named after B.K. Bryukhov (since 2000)). Formed on November 10, 1945 as a Russian people. choir at the Osinsky District House of Culture. The first concert took place on January 15, 1946. In July 1947, amateur artists took part in the regional amateur art show and won 1st place. As winners, they were sent to the 1st All-Russian show of rural amateur performances in Moscow, where they were awarded a 1st degree Diploma and performed on the stages of the Hall of Columns of the House of Unions, Bolshoi Theater, Concert Hall. P.I. Tchaikovsky, Central House of Artists. Since 1961 it has been given the title of a folk group. The first artistic directors were A.P. Makarov (1945-1946), V.P. Alekseev (1946-1953). Since 1946, B. K. Bryukhov worked in the choir, first as an accordion player, and from 1953 to 1999 he was artistic director. Under his leadership, the group became one of the most famous among thousands of its kind in the country, having its own personality, performing style with a soft, lyrical manner of performance. The basis of the repertoire was folk songs recorded by the choirmaster in the city of Osa and the Osinsky district (“Teach me, Parusha”, “They cooked a pie”, etc.). In addition to people The group's repertoire included works by composers A. G. Novikov, A. N. Pakhmutova, and many other composers. The group's repertoire included about 500 songs, ditties, suffering, and choruses. The choir has performed repeatedly in Moscow (invited 5 more times), toured in Belgium (1976), Algeria (1981); recorded on a gramophone record (1962), acted in films (“Songs of Collective Farm Fields” (1947), “Towards the Song” (1956), “Songs over the Kama” (1963), “The Life of a Song” ( 1975)), appeared on radio and television. The choir became a laureate and diploma winner of all-Union, all-Russian, regional shows and competitions. For many years, E. Gabbasova, Z. Kolchanova, the Artemievs, Baltabaevs, Zverevs, Nakaryakovs, Podgorodetskys sang in the choir, and Zverev, Yu. Naumkina, L. Pushin, A. Tultsev were soloists. A major role in the work of the group was played by the director of the Osinsky House of Culture from 1951 to 1975, T. P. Ushakhina, and choreographer G. A. Chekmenev (1964-1982). Since 1999, the ensemble has been led by O. V. Lykov.
Lit.: Makarov A. Prikamsky singer // Prikamye. Perm, 1955. Issue. 10. P. 116-139;
Sergeeva Z. Towards the song // Star. 1957. November 1;
Pepelyaev E. Bringer of joy // Star. 1965. December 28;
Volkov Yu. Congratulated // Sov. Prikamye. 1970. May 16;
Gashev N. We sing the glory of the Motherland // Evening. Permian. 1976. Dec 3;
Soviet choral conductors: reference M., 1986;
Honorary Citizen of Osa // Sov. Prikamye. 1989. February 4;
Trenogina N. The Work of His Life // Sov. Prikamye. 1990. May 12;
Trenogina N. Ural, song and Boris Kapitonovich // Pride of the Perm land. Perm, 2003. S. 424-425;
Trenogina N. About the past and present: from the history of Osin culture. district. Perm, 2004;
Alekseev V. A. Where rivers and destinies converge: pages of the history of the city of Osa (1591-1991) / V. A. Alekseev, V. V. Ivanikhin. Perm: Perm Book Publishing House, 1991. 255 pp.: ill., notes. ill.;
Trenogina N. With a song through life: 50 years “Ural. mountain ash" / N. Trenogina, T. Boytsova // Osin. Prikamye. 1996. February 22;
Osinskaya Encyclopedia / author - comp.: V. A. Alekseev. Osa: Rostani-on-Kama, 2006. 326 pp.: ill.
Chairman of the jury:
Jury members:
| Lira Ivanovna Shutova Chelyabinsk |
Professor, teacher of choral disciplines at the Department of Folk Singing of the Chelyabinsk State Institute of Culture, Honored Worker of Culture of the Russian Federation, Laureate of international competitions |
| Alexey Grigorievich Mulin | Director - artistic director of the concert organization "Ensemble "Prikamye", Honored Worker of Culture of the Russian Federation, laureate International competition choreographers of the Urals, Siberia and the Far East, |
| Andrey Borisovich Byzov Yekaterinburg city |
Member of the Union of Composers of Russia, professor of the department folk instruments Ural State Conservatory named after. M.P. Mussorgsky, Honored Artist of the Russian Federation |
| Vladimir Fedorovich Vinogradov Yekaterinburg city |
Head of the folk singing department of the Sverdlovsk Regional Music College named after. P.I. Tchaikovsky, Honored Worker of Culture of the Russian Federation |
LISTENED TO:
Sorokina P.A.: “I propose to differentiate diplomas in the following order”:
- First degree Laureate Diploma;
- Laureate Diploma of the 2nd degree;
- Third degree Laureate Diploma;
- Special diploma.
- Diploma holder.
Adopted unanimously.
Decided:
To determine the winners of the XIII All-Russian festival-competition of folk choirs and ensembles “RODNOE VILLAGE SINGS” and award them with memorable gifts.
Third degree Laureate Diploma reward:
- Folk group Russian song ensemble "Dove" - AU KGO "Palace of Culture" Kachkanar, Sverdlovsk region, head - Novgorodova Tatyana Nikolaevna
- Folk group vocal ensemble "Zhuravushka" - MKUK "Bobrovsky House of Culture" Sverdlovsk region, Sysert city district, Bobrovsky village, head - Kurovskaya Anna Romanovna
- Folk group song and dance ensemble "Belaya Cheryomushka" - MBUK "Palace of Culture "Yubileiny" Sverdlovsk region, Nizhny Tagil, director - Honored Worker of Culture of the Russian Federation Gert Yakov Aleksandrovich
- Folk group Russian Song Choir - MBU Gornouralsk urban district "Pokrovsky cultural center" of the Sverdlovsk region, head - Chernyavsky Ivan Anatolyevich
Diploma of Laureate of the 2nd degree reward:
- Folk group vocal group"Native tunes" - District cultural and leisure center MKUK "Inter-settlement socio-cultural association" of the Kargapol district of the Kurgan region, head - Tatyana Aleksandrovna Nakoskina
- Folk group vocal ensemble "Rosinochka" -
- Folk group Pokrovsky Russian folk choir - Pokrovsky Leisure Center MBUK Artemovsky urban district "Centralized club system" of the Sverdlovsk region, director - Honored Worker of Culture of the Russian Federation Kosyuk Vadim Nikolaevich
First degree Laureate Diploma reward:
- Folk group folklore and ethnographic ensemble "Skladynya" - MUK "Koptelovskoye Club Association" Koptelovsky Palace of Culture, Alapaevskoye Municipal District, Sverdlovsk Region, head - Golubchikova Zinaida Anatolyevna
- Honored Team folk art Russian song and choreographic ensemble "Uralochka" - MBU Center for Culture and Leisure of the urban district of Krasnoufimsk, Sverdlovsk region, director - ZRK RF Stamikov Vladimir Borisovich, choirmasters: Tatyana Kustova, Honored Worker of Culture of the Russian Federation Alexander Rodionov, Ksenia Belyaeva, choreographer - Vasily Lushnikov, music director— Vladislav Belyaev
- Folk group song and dance ensemble “Ural Ryabinushka” named after. B.K. Bryukhova - MBU "Osa Center for Culture and Leisure" Perm Territory, Osa, head - Artemyeva Lyudmila Pavlovna
- Folk group choir of Russian song "Dove" - MAU “DK “Metallurg”, Verkhnyaya Pyshma, Sverdlovsk region, head - Lapteva Anastasia Aleksandrovna
Special diploma "For high performing skills" reward:
- Vyacheslav Seleznev - accompanist of the folk group of the song and dance ensemble “Ural Ryabinushka” named after. B.K. Bryukhova MBU "Osa Center for Culture and Leisure" Perm Territory, Osa
Special diploma "For mastery of accompaniment" reward:
- Instrumental group of the folk group of the vocal ensemble "Rosinochka" - MBUK "Cultural and leisure center of the Kamensky urban district" of the Sverdlovsk region, choirmaster - Nagovitsyn Alexander Veniaminovich, head of the instrumental group - Sergeeva Oksana Nurislyamovna, choreographer - Slueva Lyudmila Sergeevna
Special diploma "Behind stage embodiment competition program" reward:
- Folk group choir “Russian Song” - Palace of Culture and Technology PJSC "STZ" Sverdlovsk region, Polevskoy, head - Kazantseva Nadezhda Nikolaevna
Special diploma from the Center for the Culture of the Peoples of Russia of the State Russian House of Folk Art named after Polenov “For high creative achievements and the embodiment of the national traditions of the peoples of Russia” reward:
- Folk group folklore ensemble "Rus" - Municipal autonomous institution Cultural and leisure center of the Prokopyevsky municipal district of the Kemerovo region, head - Khramtsov Leonid Nikolaevich
- Folk group folklore ensemble "Berestinochka" - Municipal budgetary cultural institution district Palace of Culture of the municipal district Belokataysky district of the Republic of Bashkortostan, head - Honored Worker of Culture of the Republic of Bashkortostan Dekalo Lyudmila Anatolyevna
- Folk group folklore ensemble "Petrovchane" - SDK s. Petrovskoye - branch of the MKU department of culture of the municipal district Ishimbaysky district of the Republic of Bashkortostan, head - Rakhmatullina Ramilya Miniguzhovna
- Folk group song and dance ensemble "PARMA" - MKU "Beloevsky rural cultural and leisure center" Perm region, Kudymkarsky district, village. Beloevo, leaders: Honored Worker of Culture of the Russian Federation Margarita Andrianovna Rocheva, Ekaterina Aleksandrovna Shcherbinina
- Folk group choir “Russian Song” - Palace of Culture and Technology PJSC "STZ" Sverdlovsk region, Polevskoy, head - Kazantseva Nadezhda Nikolaevna
Diploma XIII All-Russian festival-competition of folk choirs and ensembles “RODNOE VILLAGE SINGS” note:
- Folk group vocal ensemble "Ryabinushka" - Municipal autonomous institution Ishimbay Palace of Culture of the urban settlement of Ishimbay municipal district Ishimbay district of the Republic of Bashkortostan, head - Honored Worker of Culture of the Republic of Bashkortostan Yarovaya Tatyana Gennadievna
- Honored amateur artistic group folk ensemble Russian song "Subbotey" - Municipal cultural institution "Novouralsk centralized club system" Chelyabinsk region, Varnensky district, Novy Ural village, head - Tatyana Abrikovna Gorvat
- Folk group vocal ensemble "Priobvinskie overflows" - MBUK "Karagai district house of culture and leisure" Perm region, Karagai district, village. Karagay, director - Kolchurina Anastasia Yurievna
- Folk group vocal group "Annushka" - MBU "CICD and SD" Baikalovsky joint venture Baikalovsky MR Sverdlovsk region, head - Kradina Anna Eduardovna
- Folk group folklore ensemble “Zdravitsa” - MU for youth work " Youth Center» Kachkanar city, Sverdlovsk region, head - Elena Vladimirovna Morozova
History of the creation of the choir
The Ural fascinates with its beauty. A beautiful, mighty, proud land. Mountains with bizarre peaks, lakes with clean transparent water and quaint picturesque shores, many rivers that cross vast forests, a scattering of gems in the depths of the mountains, Ural factories, Ural history. The Urals are a legendary stone belt, the border of two continents. The songs of the peoples of this region reflect admiration and love for the Ural nature, which surprises with its greatness.
In June 1943, at the Sverdlovsk Philharmonic, on the basis of amateur choirs in the villages of Izmodenovo, Beloyarsky district, Pokrovskoye, Egorshinsky district, Katarach, Butkinsky district, M. Laya, Kushvinsky district, the Ural choir was organized.
He was born in the midst of the Great Patriotic War, when fierce battles were taking place, when victory over the enemy was forged in the rear. It was a time of patriotic upsurge, which was expressed in everything: works of art, music, songs. During the war years, the choir artists visited the fronts more than once and performed for the wounded in hospitals.
Now there are more than a hundred people in the Ural Choir: it is a choreographic troupe, a choir and an ensemble of musicians. The group's repertoire includes Ural folk songs, compositions by professional and amateur composers.
What magnificent, what beneficial material I would have found in the history of the Ural folk choir a possible screenwriter or director planning to create his own production! First, vocal boys and girls of various professions would appear before the audience: combine operators, milkmaids, cooks, poultry workers. They learned to sing at gatherings, at village weddings, they adopted dozens of songs from their mothers and grandmothers: vocal, historical, soldier, lyrical, everyday, they skillfully composed backing songs, and knew how to decorate melodies with beautiful patterns. And what perky little ditties, not in your face, but in your face, were given out here at every step! Residents of these ancient Ural villages more often than others sparkled with gold nuggets at regional folk art shows; they were destined to become the first artists of a new song group.
Of course, only careful attitude to antiquity and traditions, could create such a unique organism as the Ural Folk Choir is today. The first concert program, which was created in intense work, included ancient vocal songs of amazing beauty of sound - “White Snowballs”, “Fields”. Works about the Great Patriotic War were learned. There were a lot of ditties and comic songs.
The Ural Folk Choir is a truly legendary group. Many years later it still attracts full houses.
At the origins of the Ural Folk Choir was the collector and researcher of folklore L.L. Christiansen.
Christiansen Lev Lvovich (1910–1985). Musicologist, teacher, collector, researcher and promoter of musical folklore, member of the Union of Composers of the USSR, Honored Artist of the RSFSR, professor
Lev Lvovich Christiansen was born in Pskov. As a child, he lived with his parents in Khvalynsk, Atkarsk, Saratov, Krasnoarmeysk, Pokrovsk (now Engels). In his youth, Lev Christiansen played in a folk orchestra and sang in a choir. He studied at the music school of the city of Saratov and became so interested in folk art that he graduated from the school as the director of the choir and folk orchestra. Then, having received a higher education in musicology at the Moscow Conservatory, he worked in the arts department of the Council of People's Commissars of the RSFSR. Here his creative horizons and range of possibilities became much wider - he had to deal with the problems of formation and repertoire of regional folk groups.
...In the winter of 1943, the artistic director of the Sverdlovsk Philharmonic, Lev Christiansen, met in Moscow with Vladimir Zakharov, a Soviet composer, one of the leaders of the famous Pyatnitsky choir. At this meeting, the principles of the creation and work of the future song group, the Ural Folk Choir, were to be discussed.
On July 22, 1943, a decree was issued on the creation of the Ural Folk Choir of Russian Song, and in the fall of the same year the first rehearsal of the first members of the future legendary group took place. It would seem not best time for songs: the very height of the Great Patriotic War. But we must remember that this was a time of unprecedented patriotic upsurge. It may seem incredible, but it is a fact: during the war years in the Sverdlovsk region there were over two thousand amateur groups, hundreds of vocalists, dancers, and ditties.
And here is the first poster: it says that a concert of the Ural Folk Choir will take place at the Sverdlovsk State Philharmonic. The names of the founders of the group are written in large print: artistic director - Lev Christiansen, choirmaster - Neonila Malginova, choreographer - Olga Knyazeva.
The first photographs of the artists are impressive: in touching scarves, elegant sundresses, aprons, and shirts. Choir repertoire – ancient Ural songs“White snowballs”, “Fields” and others, comic refrains “The mother-in-law talked about her son-in-law”, “The gossips are drinking”, “The mother-in-law had seven sons-in-law”, “I’m already old, gray...”.
How many roads and paths did Lev Christiansen travel, collecting folk songs, parables, legends, tales, and fables! He became one of the first ethnomusicologists who devoted many years to collecting and studying Ural folklore. Moreover, he was prompted to do this by the very practical needs of the repertoire of the young Ural Folk Choir.
From the memoirs of Maria Maltseva, Honored Artist of the Russian Federation:After all, some people simply think: I’ll compose a sentimental story “a la antiquity”, I’ll dress up the characters in sundresses and kokoshniks, they’ll sing my great-grandmother’s songs, and people will go in droves to plunge into folk traditions. No, honey! It’s not for nothing that people used to say: “What you don’t cry about, you can’t sing about.” Lev Christiansen, creating a unique folk song group, painstakingly and reverently searched in the Ural wilderness for golden nuggets: singers, examples of Ural folklore, in order to create a unique repertoire. Contribution of L.L. Christiansen's contribution to the collection of Ural folklore can hardly be overestimated: for more than ten years of painstaking search for folk songs, stories, and epics, Lev Lvovich collected and processed over two thousand tunes of folk masterpieces! The best of them were included in collections published in Moscow and Sverdlovsk. (Op.: Folk songs of the Sverdlovsk region. M.; Leningrad, 1950; Ural folk songs. M., 1961; Meetings with folk singers. Memories. M. 1984).
“...Lev Lvovich loved very much folk song, and during our performance, tears sometimes sparkled in his eyes through his large glasses. Not only did we learn from him, but he himself learned through us the wisdom of folk song, its soul and the peculiarities of performance by original singers.”
“...He was always in search, loved various kinds of experiments, loved to act out comic folk scenes based on Ural songs, full of genuine humor and imagination.”
“...When, during a break between classes, Lev Lvovich came to our ballet class, my soul became light and joyful from his friendly smile and kind expression on his face. We loved him like children, we were afraid of his anger, we believed in our defense and in our common cause.”
Lev Lvovich Christiansen directed the Ural Choir from 1943 to 1959, taught at the Ural Conservatory, and from 1959 at the Saratov Conservatory (rector from 1959 to 1964, associate professor of the Department of Music History from 1960, professor of choral conducting from 1977).
An excerpt from a letter from Lev Christiansen in July 1945 to one of the choir directors, which is more eloquent than any comment:
“...When recording new songs and dances, try to capture and preserve the local features of the manner of performance and design. This work will last you for decades, and from the point of view of the interests of all art. This is the most important task. Be a reserve of folk art of the Urals. Don’t forget that folk art is a living process, and don’t fall into conservatism. In folk art there were, are and will be brilliant creators of songs and dances. Taking new elements from urban culture, people process and improve them.
...Now, with access to the big stage, it is important to resist the temptations of external success, from the desire to win applause with every song. Be principled in your search for new treasures of folk art.
True connoisseurs will not forgive the search for success through cheap means and will appreciate genuine artistic achievements. This path is more difficult, but also more fruitful. Keep singing unaccompanied, and do not inflate the latter as much as the Pyatnitsky Choir and the Voronezh Choir did. In this way they rob the expressiveness of the most human instrument - the human voice...”
"Ural mountain ash". Composer Evgeny Rodygin, poet Mikhail Pilipenko. This song became the calling card of the Ural Folk Choir
In 1942, seventeen-year-old Rodygin volunteered for the front. Senior sergeant, squad commander of the 158th Infantry Division Evgeny Rodygin does not part with the button accordion during his rest hours. Organizes concerts for soldiers at rest stops. Evgeny Rodygin learned the sincere gratitude of people for the melodies given to them when he was still twenty years old. When in April 1945 near Berlin he was seriously wounded with both legs broken, an accordion was tied to the chest of the soldier, bound in plaster and splints. He played and sang, and the walking wounded transported him from one hospital room to another. It was at that time that Evgeny Rodygin’s desire to become a composer was born.
In 1945, Rodygin was demobilized and entered the Ural Conservatory in the composition department. Already in his third year at the conservatory, the talented young man was noted for his first song “Bride” by the founder of the Ural Folk Choir, Lev Christiansen. He invited Rodygin to work in his song group, predicting a brilliant future for him as the “Ural Zakharov”, director of the M. Pyatnitsky choir, composer. After graduating from the conservatory, Rodygin took the position of head of the musical part of the Ural Folk Choir.
“Ural Rowanushka” was born in 1953, on the tenth anniversary of the Ural Folk Choir. From the very beginning she had a difficult fate. First, Rodygin composed music based on the poems of Elena Khorinskaya: “I saw off my dear one to the Volga-Don, he waved to me with a branch of mountain ash. Oh, curly rowan, on a steep mountain, oh, rowan-rowan, don’t make noise with the leaves...” These poems did not entirely satisfy the performers: the Volga-Don Canal had already been built, and the urgency of the theme was lost. But the choristers liked the melody, they sang it with pleasure. During the preparation of the anniversary program, Evgeny Rodygin asked the poet Mikhail Pilipenko to write new poems. They turned out to be successful.
Composer Rodygin recalls: “Lev Lvovich Christiansen was a very famous connoisseur of folk songs and a collector of folklore. His main belief and theory was the inviolability of folk song, the preservation folklore traditions. He did not recognize any arrangements, believing that songs should be sung only the way the people sing. And when I brought Lev Lvovich “Ural Mountain Ash”, I heard in response: “We don’t sing waltzes, we are a folk choir.” The paradox was that the artistic director of the Ural Folk Choir did not recognize the works, which were later destined to receive the status of folk songs. “Ural Rowanushka,” after it was not accepted into the choir’s repertoire, made its way to its listeners with great difficulty.
“I was still a very young man then, I had nowhere to turn for support. And so, together with the singers, we began to secretly learn the song in the Gorky Palace of Culture,” says the composer. “And soon a happy accident helped us: that same fall, the Ural Folk Choir was given the high honor of taking part in the month of Romanian-Soviet friendship. Typically, the program of concerts of this level was listened to by employees of the regional party committee. And so, when the viewing was over and everything was approved and accepted, our singers plucked up courage and turned to representatives of the regional department of culture with a request to listen to one more song. I took the button accordion, started playing, they started singing - and there was loud applause. “The Ural Rowan” was “included” in the repertoire without any further discussion and taken to Romania.”
The talented composer went his own way, creating works with new unusual intonations. Therefore, the dissonance in views with the leadership of the choir became sharper, and in 1956 Evgeny Rodygin resigned from the Ural Folk Choir. Left to stay. Time has put everything in its place: in the song storehouses of the choir, round dances, rituals, games and other songs created on the basis of folklore, but the decoration of any program was also Evgeniy Rodygin’s songs “Ural Mountain Ash”, “White Snow”, “New Residents Are Coming”, “At the Border”, “My Flax”, “Where Are You Running, Sweet Path”, “Sverdlovsk Waltz”, “Where you used to be” and many others.
Artists of the older generation believe that it was the songs of Evgeny Rodygin that raised the Ural Choir to such a peak of fame in the fifties and sixties that it was simply breathtaking: the audience filled the halls, it was with great difficulty that one could get tickets for the concert. And “Ural mountain ash” was loved in all corners of the world...
In May 2013, in Yekaterinburg, in the Academichesky district, a rowan alley was laid in honor of the 70th anniversary of the Ural Folk Choir. Evgeny Pavlovich Rodygin was awarded many honorary titles: People's Artist of the Russian Federation, Honored Artist of the Russian Federation, Laureate of the Lenin Komsomol Prize of the Middle Urals, Honorary Citizen of the city of Yekaterinburg.
Raisa Gileva, Ural magazine, 2010, No. 12
The Ural State Academic Russian Folk Choir celebrates its 70th anniversary in 2013. His art was applauded in 40 countries around the world
Today, the best songs make up a separate program called “Golden Fund”. Over the past years, several generations of artists and spectators have changed, but one thing remains unchanged: wherever the Ural Folk Choir performs - in a remote village, in a magnificent metropolitan concert hall, at the venues of foreign festivals - his concert turns into a genuine celebration of Russian song. Spectators note the high performing culture of the Ural artists, taste, and brilliant virtuoso style.
Spectators are attracted by a huge selection of repertoire: today the Ural Choir’s programs include wedding, game, comic and dance folk songs, songs by Ural composers, as well as lyrical dances, dances, quadrilles, round dances, dance pictures and plots based on folklore material.
Christmas, Easter, Maslenitsa - for these holidays of the church calendar, the illustrious team is preparing new creative programs.
Sing the way the people sing - this is the parting word the Ural Folk Choir has been following for 70 years!
The pearl of the choir’s program is the dance “Triptych”, created based on Ural crafts. The concert program is rich and varied - it includes a whole range of stylistic trends and trends - from Russian folk songs; gaming and ritual mini-performances created on material from the 19th century to the works of modern composers. The bright, colorful costumes of the choir and dance group participants, created on the basis of folk clothing, add special charm to the program and recognition of the region.
Expanding their repertoire, the group remains faithful to the special vocal traditions of the Urals. The predominance of a soft lyrical manner, a small range, unity, harmonic purity of sound, a specific Ural “vocal” dialect - all this distinguishes the Ural Folk Choir. It is worth noting the contribution of dance to the impression created by the team. His role gradually increased, and today dancers form almost half of the cast. The bright and mesmerizing movements of the folk dance complement the song part, as if staging and turning certain numbers into small performances.
Concerts of the Ural Folk Choir have long turned into real theatrical performances dedicated to a particular topic. The group undertakes bold experiments, staging a vocal-choral poem or a musical.
Vocal and choreographic fantasy based on Ural folklore " Ural tale about the Cossack village”, although it was created recently, it has already managed to win the love and sympathy of the Ural audience, who seemed to have plunged into the unique world of antiquity. Pictures of Ural life appeared before their eyes. Cossack village- elections of the ataman, farewell of the Cossacks to military service. At a time when the Cossacks valiantly defend the honor of the Motherland and the Tsar-Father, Cossack wives and brides remember their loved ones and look forward to their return. Musical material, used in the performance, was collected in their native land - these are songs and dances of the Ural Cossacks. They were painstakingly recorded by the founder and first director of the now famous group, Lev Christiansen, back in the early years of the formation of the Ural Choir. For many years, all the collected materials were stored in archives, but now they are in demand.
All the work of the illustrious group is permeated with folk themes and illuminated by the light of Orthodoxy. The choir’s repertoire includes spiritual and liturgical chants, Russian songs that carry the spirituality of the people. The recently prepared new concert program includes a work called “Orthodox Triptych”, and songs dedicated to the history of the construction of Ural factories, and a choreographic composition “Cossack Freemen”, and a dance and song performance “Urban Ural Wedding”.
In 2013, the Ural Folk Choir celebrates its 70th anniversary, and the play “Eternal Truths” is the first premiere in the anniversary season. The large-scale project is dedicated to the 400th anniversary of the House of Romanov. The joint work of composer Alexander Darmastuk and artistic director of the Ural State Academic Russian Folk Choir Evgeny Pasechnik has no analogues in the history of musical theater. The musical performance covers 300 years of the Romanov dynasty and the century after. The creators took a large-scale historical period and talked about it in musical form. Arrangements of Russian folk songs, urban romance, Darmastuk’s original works - all this becomes musical accompaniment to historical events: from the end of the Time of Troubles to the abdication of Nicholas II. “The idea arose a year and a half ago,” said composer and author of the project Alexander Darmastuk. – From an early age I was interested in the history of the House of Romanov, because I was born 200 meters from the place where they were executed royal family. The Urals are the region where this great epic ended, and I am glad that we created this project here.”
The team worked under the leadership of N.M. Khlopkova, B. Gibalina, V. Goryachikh, V. Bakke, S. Sirotina, A. Darmastuka. The ensemble of folk instruments was led by E. Rodygin, V. Kukarin, V. Kovbasa, M. Kukushkin, P. Resnyansky.
The Ural State Academic Russian Folk Choir is one of the most famous groups in the city of Yekaterinburg, the Sverdlovsk region, cities of Russia and abroad. Over the 70 years of its activity, the team has visited more than 40 countries around the world. His art was applauded by spectators in Poland, Yugoslavia, Korea, Czechoslovakia, Hungary, England, France, Mongolia, Italy, Germany, Austria, India, Japan, Sweden and Holland. At the same time, the choir never forgot its Russian audience, performing in the most remote corners of the country. The Ural Choir participates in concerts at various levels, including those supervised by the Government of the Sverdlovsk Region, the Administration of Yekaterinburg, and the Administration of the President of the Russian Federation.
The choir is a laureate of international (Berlin, 1951; Moscow, 1957) and all-Union competitions (1967, 1970). Participant music festivals“Russian Winter”, “Moscow Stars”, “Kiev Spring”, “White Acacia”, cultural program “Olympics-80” (Moscow).
Recording by F.V. PONOMAREVA
Compilation, text processing, musical notation, introductory article and notes by S. I. PUSHKINA
Reviewers V. Adishchev, I. Zyryanov
PREFACE
This collection was created in a somewhat unusual way: the songs included in it were collected and recorded by the bearer of one of the Nizhnekamsk song traditions - Faina Vasilyevna Ponomareva, a native of the village of Verkh-Buy, Kuedinsky district Perm region. In 1960, a folklore expedition of the Moscow Conservatory visited the Perm region, and recordings of folk art works were made in the Kuedinsky district (the village of Verkh-Bui, the village of Tarany). However, this book is based on the notes of F. Ponomareva. This path was chosen in order to show the local song culture through the prism of not an outside collector, but a living participant, whose personal taste and worldview are closely connected with it. Faina Vasilievna also had the opportunity to carry out many years of work in her native village to record songs in the most natural environment of their existence, which undoubtedly contributed to the identification typical features Verkh-Buyovskaya song tradition. Most of the songs she recorded are part of the repertoire of local amateur performances. They also sound during rural celebrations, in the house and on the street, and decorate rural weddings.
Faina Vasilievna was born on December 31, 1906 and large family peasant farm laborer. She lives in a small but cozy house in the village of Tapya (this is part of the village of Verkh-Bui). Here she worked as a high school teacher for more than thirty years. Immediately behind the garden flows the Bui River, a tributary of the Kama. Faina Vasilievna loves both her village and the beautiful nature that surrounds it. Faina Vasilievna is inseparable from the song. I remember that on one of her visits to Moscow, she took her grandchildren to Red Square, showed both the Kremlin and the Mausoleum, and frontal place told them about the execution of Stepan Razin. song! Her attitude to different song genres is different. She reluctantly sang children's songs. On the contrary, she sang with concentration and expressiveness numerous variations in historical, vocal, and dance songs. And she sings comic and dance songs with liveliness, as if during a village celebration. Faina Vasilievna is an indispensable participant in round dances and round dances. She sews all the ancient costumes herself, embroiders them, and still does not abandon the difficult art of weaving. This art, like singing skills, was inherited from her parents and grandfathers.
Faina Vasilievna writes in her biography: “In winter, my brother and I were sent to Bui. My brother studied at a parish school, and my grandmother taught me to work as a peasant. She prepared me kudelki from raspberries, red and prickly (waste from flax), and taught me how to spin a spindle. Grandmother's science was not in vain. Soon I learned to spin and took work from people. We whiled away the winter evenings by a torch. There were no lamps or samovar in my grandfather’s house. Thin linden splinters burned quietly, without a crack, as if wax were melting; the grandmother every now and then replaced one burnt splinter with another, fresh one, deftly squeezing it into the lamp. Grandfather and grandmother loved to sing. Every sedentary work they did was accompanied by a song. They used to drag in such antiquity that came from time immemorial. Grandmother usually sang songs. He will lead you in a drawn-out, soulful, concentrated manner. The grandfather sang along, sharpening the spindles or holding a bast shoe in his hands. The sounds of such a soulful song flow through the smoky hut without stopping, and penetrate straight into the heart, sinking into its hiding places in order to be preserved for the time being.”
Faina Vasilyevna grew up in an atmosphere of painstaking peasant labor and Russian song antiquity. She recalls: “On winter evenings, busy rolling felt boots, my father accompanied his hard work with a song. His mother, his immediate assistant, embroidered felt boots with black and red garus, and tightened them up for him. In early childhood I learned the favorite songs of my father and mother.
One of the first songs that entered my childhood consciousness was “Beyond the Forest, the Forest,” which condemns the idle life of gentlemen-manufacturers who “drink, eat and lead feasts, but the honest people oppress their backs.” As an adult, I understood why my father loved this song so much and sang it with concentration, with thoughtful severity, as if passing a sentence. I felt deep pity as I listened through my tears to the song about the premature death of a young pine tree: “Don’t blow the wind.” Then I learned the song “The Nightingale Persuaded the Cuckoo.” Having memorized her words and melody, one evening, quite childishly, I pulled up my father and mother, lying on the beds. Suddenly the song stopped, which I did not notice, continuing to diligently play out the melody. Immediately I felt the touch of my father’s warm palm. He affectionately and carefully stroked my hair through the beam, saying: “Mother, that’s who will get our songs, oh singer, oh well done!” From that day on, I began to sing along with them and soon joined our family choir of four people. The older sister, helping to embroider felt boots, also sang. On a winter evening, people gathered for a get-together, each with their own work. Women knitted, spun, sewed; men wove bast shoes or saddled harnesses. Throughout the long evening, wide-voiced songs flowed one after another. Such songs were replaced by playful, comic tongue twisters and dance songs that made you unable to sit still. Neither songs nor jokes stopped the work. In one such evening, the woman strained up to four skeins. For a man, the usual norm was to weave a pair of bast shoes. In early spring, girls led crowded round dances. In round dance songs they sang work, glorified the arrival of spring, and acted out the various contents of the songs. In girls' round dances, boys walked in groups, in pairs, hugging each other and alone. Singing and whistling in time with the song, dancing to it, they did what was said in the song.”
Life native village and surrounding villages was closely intertwined with songs and games. Faina Vasilievna greedily absorbed all this. She was always not an outside observer, but an ardent participant in everything that surrounded her. And now she still takes part in village festivities. That is why the poetic lyrics and their melodies are so full and meaningful.
Work on the collection began in 1973, when the author of these lines, through the folklore commission of the Union of Composers of the RSFSR, was given the recordings of F.V. Ponomareva (about 200 works) for scientific processing. They were ioted and studied. Later, as work on the book progressed, F.V. Ponomareva supplemented them with new, repeated entries from different performers village of Verkh-Buy (their notations are included in this collection). Her fellow villagers took part in the performance of the songs: Vera Osipovna Tretyakova, Anna Osipovna Galashova, Anastasia Stepanovna Ponomareva, Agrippina Anfilofyevna Lybina, Anastasia Andreevna Sapozhnikova, Anna Antonovna Shelemetyeva, Maria Vasilyevna Spiryakova, Zoya Ivanovna Dyagteva, Anastasia Guryanovna Lapikhina and others.
Extensive and interesting local history literature (this includes folklore records and ethnographic descriptions) relates mainly to the northern and central regions of the Perm region. Musical folklore The part of the Lower Kama basin adjacent to Bashkiria and Udmurtia has been studied very little. There are single records of Vologodsky in the Polevsky plant and several records of Tezavrovsky in the Osinsky district. None of them coincide with the tunes and lyrics of the songs in this collection. The overwhelming majority of tunes and recordings by F. Ponomareva do not coincide with the publications of Voevodin, Serebrennikov, P. A. Nekrasov, I. V. Nekrasov, as well as with modern Perm music and folklore publications (Christiansen, Zemtsovsky).
Magnificent and rich text recordings of folklore made at the end of the 19th and beginning of the 20th centuries, as well as many modern text recordings, are waiting to be “sounded out.” It should also be taken into account that the recordings of the late 19th and early 20th centuries remain inaccessible for widespread use, since their editions are a bibliographic rarity, while the need for such material is growing with the development of Soviet musical culture and the science of folklore.
Thus, the material in this collection for the first time widely represents one of the song traditions of the Lower Kama region in its genre diversity and holistic form (tunes and song lyrics). At the same time, we sought to include in the collection as much material as possible, equally necessary both for the study of folklore of the Perm region and for its practical use in the creative and performing spheres. Along with a multifaceted display of works from the local song tradition, the book makes an attempt to outline connections with the song traditions of nearby regions or regions and regions of Russia that have common historical destinies. Run in enough in full This task is not possible in the current state of studying individual song cultures and, moreover, within the framework of a song collection. But some threads leading to the origins of this song culture can still be outlined, which is what is being done in this work. However, it should be said that the material collected by F. Ponomareva, who set herself the modest task of collecting a songbook for young people, is a contribution to the scientific development of the problem of stylistic varieties of folklore of the former outskirts of Russia.
In the composition of the songs in the collection, we sought to most clearly show the main stylistic features and genre diversity of the original song culture, which “took root” not only in the Verkh-Buy area and some neighboring villages and villages, but also in the Northern Kama region - in the distant Gainsky district Komi-Permyak district, as well as in the Vereshchaginsky district on the border with Udmurtia and in the Old Believer settlements of the Kiznersky and Kambarovsky districts of Udmurtia adjacent to this region. These comparisons, made in some notes, are few in number and are not always confirmed by publications. There are links to audio recordings indicating their storage location. But it is auditory perception that confirms or rejects the assumption of similarity of stylistic features, since the performing style is an integral and sometimes almost the most striking distinctive detail of a particular song tradition. Quite a lot common features, for example, is revealed when comparing the musical composition of songs from the village of Verkh-Buy and songs from the Kirov region (Mokhirev), but when listening to phonograms, we did not find any similarities in the manner of performance.
When studying the song options, some collections related to the northern regions also came into view. References are made to them in the notes in order to supplement the poetic content of songs that sometimes have an insufficiently developed plot. Ural publications are also partially used in references for possible comparison of the genre composition of songs. However, it should be noted that these references are not exhaustive and only accompany the main objective of the collection - to identify and highlight the features of the local song tradition. Before moving on to its characteristics, one cannot help but dwell on the historical situation in which it was born and developed.
The time of Russian penetration into the Urals is reported in chronicles, which say that “already in the 11th century, brave Novgorodians went beyond the Urals to the country of Ugra, to collect tribute from it, and the path lay. through the land of Perm." From another source we also learn: “The penetration of Russian people into the Ural lands, which began no later than the 11th century, is confirmed by archaeological finds and chronicles: the Laurentian and Nikon Chronicles. Novgorodians were among the first to appear in the Urals.”
Osinsky district, to which Verkh-Buyovskaya volost belonged, began to be settled by Russians at the end of the 16th century. The guidebook “Volga Region” (1925) contains the following information about this region: “The Russians settled in Osa in 1591, when the Koluzhenin brothers founded Nikolskaya Sloboda on the site of the modern city. Even earlier, a monastery arose on the right bank. Before the arrival of the Russians there were settlements of Ostyaks who were engaged in fishing and pinching hops according to the charter of the 16th century. Moscow government." Peasants were attracted by the rich lands and the position of the “sovereign”; they could settle on state-owned lands, remaining “free”, and had to bear a number of duties in favor of the state, among which the “sovereign tithe arable land” was common. The bread collected by the peasants from the tithes of arable land went to the “sovereign granaries” and was used to pay salaries to “serving people.”
Somewhat later, the settlement of Verkh-Buy was probably founded. F.V. Ponomareva told a family legend about the genealogy of her native village. Ivan Grigoryevich Galashov, Faina Vasilievna’s grandfather, said that “a long time ago, from the big river (Volkhov River - F. Ya.), from the Novgorod region, people came here to settle new lands. There were three families: Ivan Galashov (great-grandfather of Ponomareva’s grandfather. - S. Ya.), Mikhey Korionov and Mikhailo Kopytov. Arriving on horseback in the spring, they found themselves in impassable forest jungle. According to my grandfather’s stories, there was a continuous dark forest, as they say, “a hole in the sky.” Leaving their families in tents made of homespun canopies, the men went up the river, right up to its source. And what do they see? A strong stream of water shoots out from under the stones, drilling to the surface like a fountain, and flows noisily along the riverbed. One of the men said: “How violently the water beats.” Taking up this word, they christened the river “Buy”: Not finding a place convenient for uprooting, they returned to their families, settled lower in the upper reaches, across the river on the mountain, and began to settle in new places.” Thus, from family legend it is clear that the lands along the Buy River (a tributary of the Kama) turned out to be deserted when Russian pioneers arrived there. This was it. apparently in XVII century. However, in the 20s of the 20th century, when archaeological excavations In the Kueda area, along the banks of the Buy River, three settlements with traces of settlements were discovered: Sanniakovskoye, on Nazarova Mountain and near Kueda station. If we remember that these lands lay adjacent to Volga-Kama Bulgaria, which in 1236 was the first to take the blow of the Mongol-Tatar invasion, then the desolation of the once populated lands will become understandable.
The history of the Lower Kama region is rich in significant events and upheavals. “Osa was attacked by the Tatars in 1616, who were joined by the Bashkirs, Cheremis and others. They besieged the Osinsky fort.”
In 1774, the threat of the Pugachev uprising swept over the district.
Decades and centuries passed. “Russian peasants, through their activities, changed the previously backward region, created large centers of agriculture, developed various crafts and trades, trade, and were also the main labor force in state-owned and private factories. From these same peasants a Cossack army was created to guard fortresses in the Southern Urals.” In Osinsky district, which “in the abundance of agricultural products could equal the most fertile places in central Russia, agriculture, cattle breeding, beekeeping, and distilling developed.” From the neighboring Kungur district, famous for the production of leather and the production of various products from leather associated with home-based work, this trade spreads to neighboring districts. Folk craftsmen introduced a lot of artistic elements into this craft: the products were skillfully embroidered and decorated with patterns.
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The tunes of the songs are presented in the collection as fully as possible, taking into account the variation of tunes in each new stanza that is characteristic of every Russian folk song tradition. These variations are carried out on the basis of a fixed type - stanza. They give a more complete picture of the musical development of the tune, which is almost never repeated exactly. And this is not just ornamentation, but evidence of the endless imagination of folk performers, skillfully and masterfully developing the basis of the melody.
The notes at the end of the book describe the setting in which the songs were performed, contain musicological analysis of them, and pointers to similar publications.
The songs included in the collection can serve as “the best illustration of those inexhaustible powerful forces that the masses carry within themselves.” Their national identity lies in the fact that, along with grief and melancholy, they exude “space, will, valiant prowess” (D.N. Mamin-Sibiryak).
S. Pushkin,
musicologist, member of the Union of Composers of the USSR
Read the full text in the book
- Preface
- Yuletide, game, Pancake week songs
- DANCE, JOKIC SONGS
- SEASON SONGS
- WEDDING SONGS
- LULLABIES
- EPICAL
- HISTORICAL AND SOLDIERS' SONGS
- VOICE SONGS
- Notes
- List of bibliographic abbreviations
- Alphabetical index of songs
Download sheet music and lyrics
Thanks Anna for the collection!
From floor-length arafans, kokoshniks and song art. Russian folk choirs with the title “academic” - as recognition highest level stagecraft. Read more about the path of the “populists” at big stage- Natalya Letnikova.
Kuban Cossack Choir
200 years of history. The songs of the Cossacks are either a horse march or a walking sortie to “Marusya, one, two, three...” with a valiant whistle. 1811 is the year the first choral group was created in Russia. Alive historical monument, who carried Kuban history and singing traditions through the centuries Cossack army. At the origins were the spiritual educator of Kuban, Archpriest Kirill Rossinsky and regent Grigory Grechinsky. Since the middle of the 19th century, the group not only participated in divine services, but also gave secular concerts in the spirit of reckless Cossack freemen and, according to Yesenin, “merry melancholy.”
Choir named after Mitrofan Pyatnitsky
A team that has proudly called itself “peasant” for a century now. And even though professional artists perform on stage today, and not ordinary vociferous Great Russian peasants from Ryazan, Voronezh and other provinces, the choir presents folk songs in amazing harmony and beauty. Every performance causes admiration, just 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 the performance shocked.
Northern Folk Choir
A simple rural teacher Antonina Kolotilova lived in Veliky Ustyug. She gathered folk song lovers for handicrafts. On a February evening they sewed linen for orphanage: “The even, soft light falling from the lightning lamp created a special coziness. And outside the window the February bad weather was raging, the wind whistled in the chimney, rattled the boards on the roof, threw snow flakes at the window. This discrepancy between the warmth of a cozy room and the howling of a snow blizzard made my soul a little sad. And suddenly a song began to sound, sad, drawn-out...” This is how the northern chant sounds - 90 years. Already from the stage.
Ryazan Folk Choir named after Evgeniy Popov
Yesenin's songs. In the homeland of the main singer of the Russian land, his poems are sung. Melodic, piercing, exciting. Where White birch- either a tree or 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 folk ensemble of the village of Bolshaya Zhuravinka, which has been performing since 1932. The Ryazan choir was lucky. The leader of the group, Evgeny Popov, himself wrote music for the poems of his fellow countryman, who had an amazing sense of beauty. They sing these songs as if they are talking about their lives. Warm and gentle.
Siberian folk choir
Choir, ballet, orchestra, children's studio. The Siberian choir is multifaceted and in tune with the frosty wind. Concert program“The Coachman's Tale” is based on musical, song and choreographic material from the Siberian region, like many of the group’s stage sketches. The creativity of Siberians has been seen in 50 countries around the world - from Germany and Belgium to Mongolia and Korea. What they live about is what they sing about. First in Siberia, and then throughout the country. What 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 Massalinov
Songs in the front line in those hard days, when, it would seem, there is no time for creativity at all. The Voronezh choir appeared in the workers' village of Anna at the height of the Great Patriotic War - in 1943. The first to hear the songs of the new band were in military units. First big concert- with tears in his eyes - he passed through Voronezh liberated from the Germans. The repertoire includes lyrical songs and ditties that 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 across the stage of the Chatelet Theater and brings us the aroma of original songs and dances,”- wrote the French newspaper L’Umanite in 1958. Samara town introduced the Volga region's song heritage to the French. The performer is the Volga Folk Choir, created by the decision of the Government of the RSFSR in 1952 by Pyotr Miloslavov. A leisurely and soulful life along the banks of the great Volga and on stage. In the team I started my creative path Ekaterina Shavrina. The song “Snow White Cherry” was performed for the first time by the Volga Choir.
Omsk Folk Choir
Bear with a balalaika. The emblem of the famous team is well known both in Russia and abroad. “Love and pride of the Siberian land,” as critics dubbed the group on one of their foreign trips. “The Omsk Folk Choir cannot only be called a restorer and custodian of old folk songs. He himself is the living embodiment of folk art of our days,”- wrote the British The Daily Telegraph. The repertoire is based on Siberian songs recorded by the founder of the group, Elena Kalugina, half a century ago and bright pictures from life. For example, the suite “Winter Siberian Fun”.
Ural Folk Choir
Performances at the fronts and in hospitals. The Urals not only provided the country with metal, but also raised morale with whirlwind dances and round dances, the richest folklore material of the Ural land. Under the Sverdlovsk Philharmonic they united amateur groups the surrounding villages of Izmodenovo, Pokrovskoye, Katarach, Laya. “Our genre is alive”, - they say in the team today. And preserving this life is considered the main task. Like the famous Ural “Seven”. “Drobushki” and “barabushki” have been on stage for 70 years. Not a dance, but a dance. Eager and daring.
Orenburg Folk Choir
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 the songs that the people composed. Even at the dances literary basis. “When the Cossacks Cry” is a choreographic composition based on a story by Mikhail Sholokhov from the life of village residents. However, every song or dance has its own story.