Abstract topic: the history of the guitar from ancient times to the present. Formation of Russian guitar performance The role of buffoon musicians in the history of Russian musical culture

Department of Culture of Kursk

MBOU DO "Children's Art School No. 2 named after. I.P. Grineva" Kursk"

Methodological development.

Historical analysis development and formation guitar art in Russia.

Prepared by: Sergeeva M. S.

Introduction

Everything that a person does not do these days is accompanied by music - it accompanies us all our lives. The exceptional possibilities of the influence of music on a person, on his feelings and state of mind have been talked about at all times. Introducing to the art of music contributes to the education of moral and aesthetic feelings, the formation of views, beliefs and spiritual needs. Music is an important means of shaping the personal qualities of a person in his spiritual world. Familiarization with the cultural musical heritage contributes to the assimilation of valuable cultural experience of generations. Playing musical instruments develops mental abilities in some way: musical memory, logical spatial thinking; ability to compare, collate, analyze, synthesize and generalize. Musical art develops imagination, thinking, aesthetic feelings, moral qualities of character. Performing practice contributes to the development of a sense of artistry, self-confidence, and inner freedom.

Among the legion of musical instruments of the past and present, the guitar occupies a special place. It bravely walked the centuries-long path of its development, survived ups and downs, and has now become one of the most popular instruments on our planet. The guitar is a romantic among musical instruments; to its accompaniment, poets read poetry, its voice seems inextricably and harmoniously connected with them. They sang with a guitar around the world famous singers: Chaliapin, Kozlovsky, Obukhova, Shtokolov, but songs are not everything; complex and serious music can be performed on the guitar, which has been brilliantly proven by foreign guitarists of international class - Maria Luisa Anido, Ida Presti, Julian Brim and one of the outstanding musicians in the world, the greatest guitar master A. Segovia, as well as Russian performers A.I. Ivanov-Kramskoy, L. Andronov, L. Seletskaya.

In the hands of a master, a guitar is capable of conveying any movement of human emotions; in its sounds you can hear either a gentle flute, or the velvety voice of a cello, or the tremolo of a mandolin. The role of the guitar is varied. It is also a unique solo instrument - the guitar plays excellent transcriptions of works by Bach, Haydn, Mozart, Albeniz, and Granados. Over the course of five hundred years, its own extensive literature has been written.

The constant evolution of music is associated with the progress of performing technology, and each era corresponds to a certain level of its development. In their upward movement, new methods preserve or destroy the principles that existed before. Each leap in the history of the development of the guitar enriched the technique with new discoveries that expanded its capabilities. Each outstanding master of the era left traces of his talent, and time took care of the selection of techniques leading to perfection.

The foundations of the art of playing four- and five-string guitars were laid by Spanish, Italian and French musiciansXVI – XVIIcenturies – Fuengliana, Mudarra, Valdebarrano, Amat and Sanz, Fosparini, Corbetta and Ronnalli, de Wiese. Finally, F. Tárrega, having comprehended the artistic and technical tasks of his time, threw into the field of his romantic creativity a grain that was destined to bear fruit in the modern era.

Guitar in Russia.

The appearance of the guitar in Russia dates back approximately to the middleXVIIcentury. It was introduced by touring Italian and French artists. The spread of the guitar in the highest circles of Russian society was facilitated not only by guitarists, but also by singers who used it as a portable accompanying instrument.

At the endXVIII – XIXcenturies Not only aristocrats were fond of playing the guitar. Professional musicians I.E. also played on it. Khandoshkin (1747 - 1804), A.D. Zhilin (1766 - 1849). It should be noted that, along with the six-string guitar, a seven-string guitar began to exist in Russia, and with the introduction of the tuningG- dur, it gains a dominant position, receives the name “Russian guitar” and with its approval, guitar art in Russia begins to develop in ways other than in the West.

One of the founders of the Russian school of playing the seven-string guitar is Andrei Osipovich Sihra (1773-1850), a virtuoso guitarist and talented composer. He and his students were able to make a transition in guitar from the European tradition to the Russian national language and folk song.

In his youth, he performed in concerts as a harpist and played the six-string guitar. In 1801, the musician moved to Moscow, where he began to create a repertoire for the seven-string guitar and study with his first students. Sihra was not only a talented, but also a highly educated musician. He was highly valued by M. Glinka, A. Dargomyzhsky, A. Varlamov, A. Dubuk, D. Field and many other figures of Russian culture. Of his students, the most famous are S. Aksenov, N. Alexandrov, V. Morkov, V. Sarenko, V. Svintsov.

Having based his guitar pedagogy on the practice of playing the harp, Sihra did not place too great demands on the guitar in terms of melodious tone. In this respect and in the accuracy of music reproduction, his direction can be called “academic”. Sihra wrote many pieces for the guitar, and in 1802 he began publishing “Journal pour la quitare a sept cordes” (“Journal for the seven-string guitar”) in Moscow.

The result of Sihra's fifty years of teaching experience was the "Theoretical and Practical School for the Seven-String Guitar", dedicated to his student V. I. Morkov.

The immediate acquaintance with the School is very disappointing, since it does not reveal the positive aspects of his pedagogical method. He was an excellent teacher and practitioner, but a poor methodologist, because despite a number of re-editions, the School did not receive wide recognition.

The school consists of three parts. The first – “On the rules of music in general” is not much different from those common at that time methodological manuals. The second, most valuable part talks about scales and chords, indicating the correct fingering and considering special cases. The third part contains plays by Sihra's students proposed for study.

The main disadvantage of the School is the lack of consistency in acquiring skills in playing an instrument. The school was primarily focused on the teacher; without proper guidance, it was almost useless for a beginner. Little attention is paid at the School to the development of technical skills. The attached artistic repertoire could have been included in any other collection with no less success.

Another major promoter of the guitar is the Czech guitarist and composer Ignatius von Geld, the author of schools for seven-string and six-string guitars, published in 1812. The significance of Held’s work for Russian guitarists and, in particular, his “School of Playing the Seven-String Guitar” is evidenced by the following. When in 1819, one of the most talented students of Sihra, S.N. Aksyonov, published the new techniques he had found for playing the guitar, one of these techniques was the extraction of artificial harmonics, which had not been used in Russia until that time, he took the School as the basis for his leadership Held, and this would not have happened if Geld’s structure and methodology did not coincide with the techniques used by Aksenov and Sihra.

From this it follows, it follows that Russian guitarists beganXIXcentury was formed under the influence of Held’s methodological guidelines.

An entire era in guitar art is associated with the work of Mikhail Timofeevich Vysotsky (1791-1837), a self-taught guitarist who later became a virtuoso and composer.He completed the establishment of the seven-string guitar as a Russian folk instrument, and as an outright challenge to Western European tradition.And neither Sor nor Giuliani were able to lead Russian guitarists away from their chosen path.

Vysotsky was fond of the classics, especially Bach, whose fugues he tried to arrange for guitar, which contributed to the seriousness and nobility of the style of his guitar works. He was the first Russian guitarist to use counterpoint. His creative heritage is very large - about a hundred plays. Among his works there is also a small (24 pages) “Practical and Theoretical School of Playing for the Guitar” (1836), published shortly before the author’s death, which is now of no value.

Vysotsky's skill was most clearly reflected in his song variations. The best ancient and contemporary songs were reflected in his interpretation in a way that could not be found even in the works of his contemporaries, much stronger and more musically literate composers.

Here we cannot fail to mention N.P. Makarov (1810-1890), a famous Russian concert guitarist who did a lot for the development of guitar art. Makarov became interested in guitar at the age of 28. During his stay at the military academy in Warsaw, he learned to play the 6-string (“Spanish”) guitar, and, practicing ten to twelve hours daily, he soon achieved significant technical success.

In 1852, Makarov traveled abroad, where he met with the largest guitarists in Europe: Tsani di Ferranti, M. Carcassi, N. Cost, J. K. Mertz, and guitar maker I. Scherzer.
In 1856 he tried to organize All-Russian competition guitarists, composers who write for the guitar, as well as craftsmen who make these instruments, however, the initiative did not find widespread support in Russia. Makarov managed to realize his intention only abroad, in the capital of Belgium Brussels, where in 1856 the 1st International competition for the best composition for guitar and best tool. Makarov himself performed at the competition with great success as a soloist.

He has written several books about the guitar, in particular the brochure “A few rules for advanced guitar playing.” It, in addition to the introductory article in which the author expressed his attitude to the state of guitar art in the West and in Russia, contained nine rules regarding guitar technique.

In them, Makarov dwelled on issues of fingering, the meaning of the right hand (use of the little finger), the execution of a trill (with four fingers on two strings), etc. Some considerations expressed by Makarov are still of interest to playing guitarists.

In the fortiesXIXcentury in Russia, as in Europe, a long period of decline in guitar art began. Not only Makarov’s activities, but also concerts of more significant musicians - guitarists in the second halfXIXcenturies did not receive public resonance. Due to the relatively quiet sound, the scarcity of the repertoire - after all, none of the major Russian composers composed a single piece for the guitar, although this instrument was favored by Glinka and Tchaikovsky. The guitar was declared an unsuitable instrument for use in concert halls. Guitar pedagogy is also not up to par. It is interesting to note that one of the most serious attempts to bring guitar learning to the proper level takes place in Kursk. There, at the music classes of the Russian Musical Society, it opens with the sanction of A.G. Rubinstein class of seven-string guitar. The classes were conducted, free of charge, by German language teacher, amateur guitarist Yu.M. Stockmann. But soon, due to lack of interest among students, the guitar class ceased to exist. Otherwise, teaching guitar playing was in the hands of private individuals, often completely illiterate in music. This is reflected in the self-instruction manuals of that time, which were produced in large quantities and were purely commercial in nature. They used a surrogate for musical notation—playing on a digital system. The application consisted of illiterate transcriptions of the most popular and rather vulgar motives. Two schools differ significantly from them - “The school is a self-instruction manual for six string guitar"I.F. Dekker-Schenk (1825-1899) and "School for the seven-string guitar" by A.P. Solovyov (1856-1911). Solovyov's school is the best teaching aid of that time.

Solovyov’s students were Valerian Rusanov (1866-1918), a guitar historiographer who published a series of historical essays entitled “Guitar and Guitarists”, and who in 1901 began publishing the magazine “Guitarist”, which, although with long interruptions, continues to be published to this day. Unfortunately, Rusanov was biased towards the six-string guitar, belittling its merits, but still his activities did not go unnoticed. During that difficult time, he did a lot in promoting the need for guitarists to be musically literate, serious attitude to the instrument and the musical works performed on it. The new flowering of the art of playing the guitar is associated with the October Revolution. True, in the first years after it, the guitar did not attract attention as a solo instrument. a lot of attention, training on it in music schools did not take place due to the “frivolity” of the instrument, and the activities of the largest guitarists proceeded unorganized and mainly in remote places. The most popular guitar at that time was the seven-string guitar. But nevertheless, guitarists who became interested in the six-string guitar and its literature even in the pre-revolutionary years began to give preference to this particular instrument. This was especially facilitated by Segovia's tours in 1926, 1927, 1935 and 1936. The repertoire performed by Segovia, his playing techniques and performance style turned out to be decisive in the development of guitar art in the USSR. Many Soviet teachers - guitarists of that time, who laid the foundation for the Soviet school of classical guitar, came under the strong influence of this master.

And P.S. Agafoshin (1874-1950), a wonderful Russian guitarist, one of the first teachers of the six-string guitar. Initially playing the seven-string guitar, Pyotr Agafoshin improved his playing of his favorite instrument on his own, only after moving to Moscow he occasionally used the advice of teachers, among whom was V. Rusanov. Participated as a performer in many concerts. Accompanied outstanding singers F. Chaliapin, D. Smirnov, T. Ruffo. Recognition of Agafoshin's performing arts was an invitation to participate in Massenet's opera "Don Quixote" at the Bolshoi Theater in 1916.

Meeting Solovyov encourages him to take a closer look at the six-string guitar and try to study it on his own. Guided by the school, Carcassi quickly masters the six-string guitar, and after meeting Segovia, he completely abandons the seven-string.

The meeting in 1926 with Segovia inspired Agafoshin. He did not miss a single concert of the Spanish artist and met him personally. “After Segovia’s departure,” Agafoshin wrote, “I immediately reorganized myself, made the necessary adjustments to my staging and playing techniques. By his next visit in the spring of 1927, my condition was more balanced, since by that time I had already become somewhat mastered. Therefore, my further observations of his playing were much more productive; I could focus them on individual moments and details of his performance, especially those plays that were in the process of my study."

A year of intensive training yielded tangible results. In 1927 Agafoshin played Segovia again. This happened in the studio of the artist P.P. Konchalovsky. Recalling this meeting, Konchalovsky wrote that Segovia called Agafoshin “the best Moscow guitarist.”

P.S. Agafoshin worked for more than 40 years as an orchestra artist at the State Maly Theater. In 1930-1950 he taught a guitar course at the Music College named after. October revolution and the Moscow State Conservatory. Many famous Soviet guitarists were his students (A. Ivanov-Kramskoy, I. Kuznetsov, E. Makeeva, Yu. Mikheev, A. Kabanikhin, A. Lobikov and others).

P.S. Agafoshin owns the book “New About the Guitar,” published in 1928, written under the fresh impression of communicating with the art of the outstanding A. Segovia, and the famous “School of Playing the Six-String Guitar,” which was based on A. Segovia’s seminars.

1. A student in the course of his training in the “School” must go through the main stages that the guitar itself went through in its historical development. That is, he must become familiar with the techniques and works of guitarists various styles and eras.

2. The student must learn to play the guitar in practice, that is, acquiring the necessary knowledge and playing skills not on dry educational material such as exercises and etudes, but on skillfully selected highly artistic material that cultivates taste and brings along with practical and technical skills also aesthetic satisfaction.

3. The main meaning of the existence of a guitar, according to the author, lies in the lyricism, sincerity, purity and beauty of the sounds it produces. Any forcing of sound or bravura is alien to the guitar.

These life and pedagogical principles determine the author’s selection of material intended for the “School” and the corresponding performing approach to it.

The features of the “School” also include the development and systematization of the harmonic means of the guitar, conducting all studies on high artistic material, linking the theoretical part (the fundamentals of harmony) with the practical, showing the capabilities of the guitar as an accompanying instrument.

Between 1930 and 1950, Agafoshin published over ten collections of plays by six-string guitar classics and six albums of his own transcriptions and compositions. For his contribution to the development of the culture of playing the six-string guitar, training professional guitarists, performers and teachers, he was awarded the Order of the Badge of Honor and two medals.

At the same time, guitar began to be taught in music schools oh and technical schools. The achievements of Soviet guitar pedagogy of that time were reflected in the published guitar literature. Guitar pieces began to be composed by professional composers. The composer and academician B.V. showed himself most significantly in this regard. Asafiev (1884-1949).

Of the Soviet guitarists in the post-war years, the greatest creative success reached A. M. Ivanov-Kramskaya (1912–1973), an outstanding Russian Soviet guitarist, composer, conductor, teacher, one of the few Soviet guitarists awarded the title of Honored Artist of the RSFSR (1959). He studied at the October Revolution Music College under P. S. Agafoshin, then at the Moscow Conservatory. He played a huge role in the development of the six-string guitar in Russia. He performed as a soloist and in an ensemble with singers (N.A. Obukhova, I.S. Kozlovsky). Since 1932 he worked at the All-Union Radio. In 1939 he received 2nd prize at the All-Union Competition of Folk Instrument Performers. In 1939–45 conductor of the Song and Dance Ensemble of the NKVD of the USSR. In 1947–52, he was the conductor of the Russian folk choir and the folk instrument orchestra of the All-Union Radio.

Ivanov-Kramsky's guitar works (including two concertos for guitar and orchestra) are very popular among guitarists.

"School of playing the six-string guitar" (1957) A.M. Ivanov-Kramsky consists of two parts. The first part is “Musical theoretical information and practical mastery of the instrument.” It has four sections, including a brief introduction to the history of the guitar and music theory, as well as exercises needed to master the instrument. The complexity of musical theoretical concepts and exercises gradually increases from section to section. The second part is “Repertoire Appendix”. This includes popular works by Soviet, Russian and foreign composers, arrangements of folk music, etudes in a presentation accessible to students.

The pedagogical activity of A. M. Ivanov-Kramsky took place at the Academic Music School at the Moscow Conservatory, where from 1960 to 1973 he headed the guitar class, preparing many talented musicians. However, teaching was carried out at the level of circle work at clubs. This is explained by the fact that, on the instructions of I.V. Stalin, the teaching of accordion, guitar and saxophone in music schools, as pro-Western, bourgeois instruments, was prohibited. Only after the death of the “leader of the peoples”, under public pressure, classical guitar classes were opened in the capital and Leningrad, although without wide publicity. This happened in 1960. In Moscow, a seven-string guitar class was opened at the State Musical Pedagogical School named after. Gnesins (teachers L. Menro and E. Rusanov) and six-string - at the school at the conservatory (teacher A. Ivanov-Kramskoy).

Alexander Mikhailovich Ivanov-Kramskoy was a prominent musical and public figure who devoted all his energy to promoting the art of guitar. After for long years oblivion, thanks to an outstanding performer and teacher, the guitar again acquired the status of a professional concert instrument and began to be taught in secondary and higher musical institutions of the country. In memory of the musician, Moscow guitar music festivals named after A.M. are held. Ivanov-Kramsky.

The continuator of the traditions of the seven-string guitar was Sergei Dmitrievich Orekhov (1935-1998), one of the best Russian guitarists, a seven-string player (fluent in a six-string guitar, but not performing publicly on it). He combined the genius of an improviser, performer and composer. He did a lot to create the Russian national guitar repertoire. Author of numerous arrangements for guitar of Russian folk songs and romances. First he began to study guitar on his own, and then took private lessons from guitarist V.M. Kuznetsov (1987-1953), who at one time wrote the book “Analysis of the tuning of a six- and seven-string guitar” (M., 1935), and from whom many Moscow guitarists studied. After serving in the army, he joined the performer of gypsy romances and songs, Raisa Zhemchuzhnaya. After which he performed with his wife, performer old romances, gypsy songs and romances by Nadezhda Tishininova. For some time he worked with Alexey Perfilyev in the gypsy jazz ensemble of the violinist and singer Nikolai Erdenko, and then organized his own guitar duet with A. Perfilyev (6-string guitar). He also wrote many arrangements for six-string guitar (in particular, the romances “Do not awaken memories”, “Weeping willows are slumbering” and “Chrysanthemums”). Given the growing popularity of the six-string guitar, I planned to transfer the entire main Russian repertoire of seven-string guitars to it.

All his life, Sergei Orekhov remained faithful to the Russian guitar and was deeply worried that it began to lose its position in Russia: “I never thought,” he said, “that the six-string guitar would conquer Russia. The seven-string guitar is so popular; it is a military, literary guitar ... Take any strata of society: the seven-string guitar is a native instrument with which Russian people are associated.”

Orekhov’s path is continued by Moscow guitarist Anastasia Bardina, whose repertoire perfectly juxtaposes works by Sihra and Vysotsky, with works by Tarrega, Albeniz, and Granados. The uniqueness of her work lies in the fact that she is equally professional with both six- and seven-string guitars, as well as the GRAN guitar (this guitar will be discussed later). During the performance of works, Anastasia Bardina changes the tuning of the guitar from six to seven strings and vice versa. The styles she performs are very different: from classical, romantic to jazz. Unfortunately, today Bardina is the only outstanding performer on the seven-string guitar.

Trying to further expand purely performing capabilities, musicians and guitar makers are also working on new design solutions. One of these developments is the domestic guitar - GRAN (developed by Vladimir Ustinov and Anatoly Olshansky and stands for - Russian Acoustic New Guitar), combining 6 nylon strings and 6 metal ones, which are located at different levels. (by the way, this guitar has a patent for the invention). The guitarist has the ability to produce sound on both nylon and metal strings ah, creating the feeling of two guitars playing. It's a shame that this guitar is known more in the West than in Russia. They are played by guitarists such as Paul McCartney, Carlos Santana and many others.

The successor to the traditions of the classical six-string guitar after Ivanov-Kramsky was his daughter N.A. Ivanova - Kramskaya. Having raised such a major performer as A.K. Frauchi is one of the best Russian classical guitarists and performers. Now he is an Honored Artist of Russia, music teacher, professor Russian Academy music (formerly the Gnesins Musical and Pedagogical Institute) in Moscow.

He studied at the Central Music School at the Conservatory. Tchaikovsky in Moscow in the class of N.A. Ivanova-Kramskaya and at the Conservatory. Mussorgsky in Sverdlovsk with G. Mineev. In 1979 he won first prize at the national music competition of performers in Leningrad, and in 1986 - first prize at the International Guitar Competition in Havana (Cuba). He has given solo concerts and taught master classes in Germany, France, Belgium, Great Britain, the USA, Austria, Italy, Yugoslavia, Poland, Cuba, Hungary, the Czech Republic, Bulgaria, Turkey and Greece.
"Alexander Frautschi has made and is making an invaluable contribution to the development of the Russian classical guitar. Many of the best Russian guitarists are students of Alexander Kamillovich. Frautschi has excellent taste, deep, beautiful tone, love for every phrase. In the famous English magazine “Classical guitar” he was named the Russian grandson of Segovia." [Evgeniy Finkelshtein]

We should also talk about the composers of the endXXcentury:

Sergei Rudnev (born in 1955), guitarist-performer and composer, author of original pieces for guitar, which are performed by such famous guitarists as Nikita Koshkin, Vladimir Mikulka, Yuri Nugmanov. Known for his guitar arrangements of Russian folk songs.

Sergei Rudnev graduated from the Tula Music College with a degree in button accordion and balalaika. He studied guitar on his own and took private lessons in Moscow from V. Slavsky and P. Panin. Taking advantage of invitations to various festivals of guitar and jazz music, he focused on developing his own style of playing. By 1982, he had already established himself as a professional guitarist. Became a participant in the world festival in Colmar (France). Then there was a period of touring in Poland, Hungary, Israel, Australia and Spain. He worked as an arranger and accompanist for Alexander Malinin. In 1991, after a performance in the Hall of Columns (Moscow), he received an offer to perform in America and publish his compositions for guitar there. In 1995 he taught a guitar class at the Tarragona Conservatory (Spain). Currently preparing research work on the topic "Russian style of playing classical guitar". Two musical films about Sergei Rudnev have been prepared on Russian television. The concert programs include works by foreign and Russian composers. A disc in the author's performance of Russian folk music on classical guitar is being prepared for release.
Sergei Rudnev himself characterizes his work this way: “...I want to create full-fledged compositions for the guitar based on popular folk songs, using folklore and classical development techniques. The process of breaking the traditional way of life in our time is already irreversible, therefore impossible, and perhaps not it is necessary to restore the traditional conditions of existence of folk musical folklore. new life old tunes, deeply and comprehensively comprehend the content of the play, and preserve the integrity of the artistic image. Seeing a lot in a little, a lake in a drop, these are my principles when working with folklore material. With this approach to the primary source, the plot side of the poetic text and the genre characteristics of the tune are important. At the same time, the ultimate task is to show the expressive capabilities of the guitar, the entire palette of guitar sound recording, using both folk performing techniques and the achievements of modern guitar technology..."

Koshkin Nikita Arnoldovich, Russian composer and guitarist. Born in Moscow on February 28, 1956. I came to the classical guitar through my passion for rock music. During his school years, he began to study guitar on his own, and together with his friends he organized an ensemble at school. After two years of studying at a music school, he continued studying guitar and composition at the Music College. October revolution. His guitar teacher at that time was Georgy Ivanovich Yemanov. After graduating from college, he worked for three years at a music school, where he himself began to study music. To the Music Institute named after. Gnesins entered only on the second attempt in 1980 (class of Alexander Frauchi).

After college he returned to school, but as a teacher. Currently works at the Moscow State Classical Academy named after. Maimonides.

He composed his first piece as soon as he began to navigate the notes; from then on, according to the musician himself, he no longer separated his studies of composition and guitar, and in his concept it was always interconnected. Nikita Koshkin seriously believed in his capabilities as a composer after the first performance of his plays, “Passacaglia” and “Toccata,” by Vladimir Mikulka. After that, after reading a review of his debut, he realized that his music was finally appreciated and accepted. Before that, he played his pieces only by himself, and his relationship with the rather conservative domestic guitar public was initially difficult: most of the works were received with hostility, and the musician himself was classified as an avant-garde artist. However, Koshkin himself did not consider himself such and speaks about it as follows: “I was not involved in avant-garde, I considered myself a continuator of traditions, turned towards the classics, and as for the innovation that I used, it was a natural process of using the techniques found on guitar in my plays. The new colorful possibilities that opened up for me more fully emphasized the figurative characteristics of the music. In this regard, the suite “The Prince’s Toys” (1974) was written, which I have reworked several times in the last six years.”

The suite "Prince's Toys" (The Prince is capricious - A wind-up monkey - A doll with closing eyes - Playing with soldiers - The Prince's carriage - Finale: The Great Puppet Dance) is extremely popular and is included in the repertoire of many famous performers.

In addition to the guitar, Nikita Koshkin writes music for other instruments. He has several pieces for piano, several romances for voice and piano, as well as music for guitar with other instruments: a large sonata for flute and guitar, a trio for flute, violin and guitar; a cycle of pieces for mezzo-soprano and guitar, works for duets and trios of guitars, for duets of guitars and double bass. Koshkin's works were performed by John Williams, the guitar duo of the Assad brothers, and the Zagreb and Amsterdam guitar trios.

Nikita Koshkin has the title of one of the most published composers today. His works are of interest to guitar music lovers from many countries around the world. In parallel with his work as a composer and concert activity, the musician finds time to teach. His unusual style of playing and new techniques in music consistently attract the attention of many listeners.

Victor KOZLOV (b. 1958) Started composing music at the age of 12. The first significant works were written at a music school: a string quartet; trio for flute, viola and guitar; variations for piano, "Round Dance and Dance" for solo guitar. In the future, he gives preference to composing miniatures for solo guitar and trio guitars. Kozlov's humorous plays are popular: “Oriental Dance”, “March of the Soldiers”, “Little Detective”, “Dance of the Hunter”, “Kiskino Grief”. Several works were written by the composer for guitar and orchestra: “Concertino”, “Epic and Russian Dance”, “Buffonade”, “Ballad for Elena the Beautiful”, suite for solo guitar “Black Toreador”. Numerous works for children occupy a special place in his work. He released a collection of musical works for young guitarists, "Little Secrets of Senorita Guitars / Children's Album of a Young Guitarist", which in 1999 was recognized by the Russian Guitar Center (Moscow) as the best in Russia. A number of Kozlov's works were published in Russia, England, Germany, Italy, Poland and Finland. His works were included in their repertoire by guitarists N. Komolyatov (Moscow), V. Zhadko (Kyiv), T. Volskaya (USA), A. Khorev (St. Petersburg), E. Gridyushko (Belarus), S. Dinnigan (England) ), the duet "Capriccioso" (Germany), they are also performed by the Trio of Guitarists of the Urals (V. Kozlov, Sh. Mukhatdinov, V. Kovba) and the instrumental duet "Concertino" (Ekaterinburg) and many others.

Alexander Vinnitsky (born 1950) guitarist, composer, music teacher. Teaches at the music school named after. Gnessin classical guitar, performs solo concerts, writes music for the guitar, conducts seminars and master classes on the topic “Classical guitar in jazz”. His achievement and contribution to the modern repertoire is his original program, which consists of music in different jazz styles. He is seriously involved in arranging the guitar. A feature of Alexander Vinitsky’s playing was the use of “walking” bass and rhythmic structures throughout the composition simultaneously with melodic lines. Thumb served as a double bass. The remaining fingers were like musicians of the ensemble. In his playing he achieves constant pulsation and carrying out melodic lines. The music he performed sounded as if a trio were playing. This style is sometimes called "fingerstyle". To implement these ideas, serious classical school, knowledge of the instrument and a solid “baggage” of jazz music. Alexander began performing at jazz and classical guitar festivals with his new program(Petrozavodsk, Yekaterinburg, Donetsk, Kyiv, Voronezh, etc.). In 1991, the Melodiya company released his first solo album, “Green Quiet Light,” which included his compositions: “Travel in Time,” “Green Quiet Light,” “Waiting for News,” “Metamorphoses,” as well as arrangements of melodies A.K. Jobim, L. Bonfa, plays by L. Almeida.

Not only those who are commonly called “guitar composers” write for the guitar. Edison DENISOV (1929-1996), one of the largest Russian composers of the twentieth century, musicologist and musical public figure, was able to fully appreciate its merits. At the turn of the 50s and 60s, Denisov declared himself as the undisputed leader of a movement that sought to embrace the achievements of Western modern music. Denisov's creative heritage is very diverse in terms of genre.

In addition to vocal and instrumental works, Edison Denisov wrote for guitar: Sonata for flute and guitar, Sonata for solo guitar in 3 parts, “In Deo speravit cor meum” for violin, guitar and organ, Guitar Concerto, Concerto for flute and guitar. Some of these compositions were written specifically for the German guitarist Reinbert Evers, who became their first performer.

Separately, it should be said about the composer Igor REKHIN, as a person who made the greatest contribution to the history and modernity of the guitar, both seven-string and Spanish (classical). Author of numerous works for guitar, widely known in the country and abroad: two concerts for guitar and orchestra - for seven-string and for six-string; Sonatas for seven-string and six-string guitar; pieces for guitar, ensembles. The author of the "Album of a Young Guitarist" and the cycle "24 Preludes and Fugues for Solo Guitar", the first performer of this work was Vladimir Tervo, and currently it is successfully played by Dmitry Illarionov.

Having plunged into the world of guitar music for the first time, Igor Vladimirovich was amazed by its originality and dissimilarity from other areas musical culture.

He brought forward and brought to life the idea of ​​​​creating a modern large-form repertoire. In close collaboration with Alexander Kamilovich Frauchi, a teacher at the Gnessin Institute in Moscow and an excellent concert performer, he worked on the creation of the Havana Concerto, which was released in 1983. The beauty of Havana's architecture, the rich colors of nature, the harmonies and rhythms of Cuban songs and dances are the figurative and emotional basis of the concert, designed in a classical three-part form. This Concert embodied Igor Rekhin's dream of creating a composition of a classical orientation, with a vivid thematic theme and clear constructive logic.

A meeting with the “seven-string players” - Menro, Bardina, Kim prompted Reghin to write works for the seven-string guitar. He knew that she had almost no modern repertoire, but for him the “seven-string” was a living instrument for which it was worth writing music. In 1985 Bardina performed his Sonata for seven-string guitar. Also, Rekhin is working on a Concerto for the “seven-string” - this is the first concert for this instrument in the history of music. His musical images are closely intertwined with national traditions national culture Russia.

Among his compositions, in addition to concerts, significant place occupies a work, the creation of which helped him to be included in the Guinness Book of Records! This is a unique cycle "Twenty-four Preludes and Fugues" for guitar. Rekhin wanted to create a cycle of preludes and fugues for guitar, following the example of Bach's "HTK", who did this in his time for the clavier. The composer worked on the creation of this cycle for several years, and... the task was done! The difficulty of such a composition is that it was necessary to create works in the so-called “non-guitar” keys (convenient for the guitar - A, D, E) and not only for the sake of theoretical positions, but with the expectation of playing and growing performers...

Each of his Fugues is classical in exposition: the logic of tonal responses is strictly adhered to. But each carries an unexpected, unusual, but most interesting musical language of the composer. For example, the use of syncopation in a cycle makes it possible to clearly highlight the guitar polyphony. Most fugues are 3- and 4-voice. When creating this work, Igor Rekhin thought of the guitar as a universal instrument that lacks equally universal music in different keys. These ideas were combined with the desire to display the means of expression of the most various directions classical and modern music.

Aliev Yu.B. Handbook for a school teacher-musician. – M.: Vlados, 2000

Bronfin E.F. N.I. Golubovskaya is a performer and teacher. – L.: Music, 1978

Buluchevsky Yu., Fomin V. Ancient music (dictionary-reference book). L., Music 1974

Weisbord Miron. Isaac Albeniz, M., Sov. composer, 1977

Weisbord Miron. Andres Segovia, M., Music, 1981

Weisbord Miron. Andres Segovia and the guitar art of the 20th century: An outline of life and work. M., Sov. composer, 1989

Weisbord Miron. Federico Garcia Lorca - musician, M., Sov. composer 1985

Veshchitsky P., Larichev E., Laricheva G. Classical six-string guitar, M., 2000

Veshchitsky P. Self-instruction manual for playing the six-string guitar. Chords and accompaniment. M., Soviet Composer, 1989; M., Kifara, 2002

Fun music lessons at school and at home / Edited by Z.N. Bugaeva. – M.: AST Publishing House, 2002

Questions music pedagogy/ Ed.-comp. V.A. Nathanson, L.V. Roshchina. – M.: Music, 1984

Questions of the theory and aesthetics of music/Ed. M.G. Aranovsky, A.N. Sohora. – L.: Music, 1977

Vidal Robert J. Notes on the guitar offered by Andres Segovia / Trans. from French, - M., Music, 1990

Voinov Lev, Derun Vitaly. Your friend guitar, Sverdlovsk, Central Ural book publishing house, 1970

Wolman Boris. Guitar in Russia, Leningrad, Muzgiz, 1961

Wolman Boris. Guitar and guitarists, Leningrad, Music, 1968

Wolman Boris. Guitar, M., Music, 1972, 62 p. ; 2nd ed.: M., Muzyka, 1980

Gruber R.I. General history of music. [part one] M., State Music Publishing House

Ghazaryan S. A story about a guitar, M., Children's literature, 1987

Guitar. Musical almanac, vol. 1, 1987 (Articles by A. Larichev, E. Kuznetsov, etc.)

Guitar from blues to jazz: Collection. Kyiv: "Musical Ukraine", 1995

Darkevich V.P. Folk culture of the Middle Ages. M., Nauka 1988

Dmitrieva L.G., Chernoivanenko N.M. Methodology musical education At school. – M.: Academy, 2000

Esipova M.V., Fraenova O.V. Musicians of the world. Biographical Dictionary. M., Great Russian Encyclopedia, 2001 Art in the system of humanization of general and professional education / ed. Z.I. Gladkikh (chief editor), E.N. Kirnosova, M.L. Kosmovskaya. – Kursk: Publishing house Kursk. State Pedagogical University, 2002

Ivanov-Kramskoy A. M. School of playing the six-string guitar

Ivanova-Kramskaya N.A. Dedicated his life to the guitar (memories of his father), M., Association "Teplomekh", 1995

Historical and biographical dictionary-reference book of classical guitar masters: In 2 volumes [Compiled, ed. - Yablokov M.S.], Tyumen, Vector Buk, 2001-2002 [T.1, 2001; T. 2, 2002]

The origin of the guitar is lost in the darkness of centuries: scientists do not know when and where it came from. Historical path The development of the guitar can be roughly divided into five periods, which I would call formation, stagnation, revival, decline and prosperity.

During the period of its formation in European culture of the 11th - 13th centuries, the guitar replaced many stringed instruments, and was especially loved in Spain. Then an era of stagnation began for the guitar, which began after the Arabic lute was brought to Europe. For four whole centuries, most European musicians, carried away by the lute (for which an extensive repertoire was created), forgot about the guitar. However, true supporters of the guitar learned to play the lute repertoire, took advantage, on the one hand, of the characteristic techniques of playing this instrument, and, on the other, the advantages of the guitar itself, which consisted in greater ease of performance due to a thinner and longer neck and fewer strings. As a result, the process of reviving the guitar began in the mid-18th century. In the 19th century, many musicians fell in love with this instrument and were able to understand its soul. Music for guitar was written by F. Schubert, K. Weber, G. Berlioz and others. A significant number of works for the guitar and with its participation were created by Niccolo Paganini (1782-1840) (the works written by him still live on the concert stage Six sonatinas for violin with guitar accompaniment). Performers and composers appeared who devoted their lives entirely to the guitar, for example F. Carulli (1770-1841), M. Giuliani (1781-1829), M. Carcassi (1792-1853) in Italy. In Spain - F. Sor (1788-1839) and F. Tarrega (1852-1909), who are rightly called classics of guitar art. Subsequently, the tradition was continued by M. Llobet (1875-1938), E. Pujol (1886-1980) and especially by the great Spanish guitarist of the 20th century Andres Segovia (1893-1987), who brought the guitar from the salon to the largest stages in the world.

In Russia, astonishingly, it was from the middle of the 19th century that the decline of guitar art began. Guitar classes in music schools, which at that time were becoming widespread thanks to the activities of the Russian Musical Society, were closed. Learning to play the guitar was concentrated in the hands of private teachers, and its touching sounds were heard most often from taverns, or, at best, from salons and garden pavilions. Only at the turn of the 19th and 20th centuries in Russia did a revival of a serious attitude towards the guitar begin, and then a gradual flourishing of guitar performance. This was largely due to Andres Segovia’s tour in Russia, who convinced our listeners that the guitar as a concert instrument is on a par with the violin, cello, and piano. Russian associates of the Spanish master Pyotr Agafoshin and his student Alexander Ivanov-Kramskoy largely contributed to the departure of the guitar from bourgeois life into the sphere of musical and academic art. This is how it began in Russia new era- a time of intensive formation and development of academic (solo and ensemble) guitar performance. The achievements of Russian guitar music are convincingly demonstrated by the work of concert guitarists - students of Russian music universities.

Along with the undoubted successes of the modern Russian school of guitar playing in this area, we have accumulated many acute unresolved problems - both musical and artistic, as well as psychological, pedagogical, technological, and even sociocultural. Perhaps the most worrying thing is the shortage of highly qualified, professionally playing and, moreover, creatively thinking teachers. Yes, the heritage of domestic guitarists is a number of performing schools created by excellent mentors, serious educators of youth, and great musicians. Their names are well known. These are M. Karkassi, A. Ivanov-Kramskoy, E. Larichev, V. Yashnev, B. Volman, P. Veshitsky, P. Agafoshin, V. Kiryanov and others. The creative work and school of E. Pujol, who studied with the great F. Tarrega, deserves serious study. Another example is the work of Samara guitarist A.I. Matyaev, an authoritative teacher and methodologist, whose students seek and develop their own paths in guitar performance and teaching methods. This is, in fact, how it should be. Therefore, raising here the problem of the discrepancy between the growing popularity of the guitar, the demand for teaching it and the number of qualified teachers, I emphasize the need to organize an exchange of opinions between guitar teachers, more broadly speaking, to establish serious methodological work on a regional scale and throughout Russia. Otherwise, the state of our methodological literature that exists today may take root for a long time.

Unfortunately, the domestic guitar market is now flooded with low-quality “guitar schools” (or “self-teachers”) that in no way develop either the foundations of professionalism or a serious attitude towards the guitar in general. The authors of such manuals most often in this way seek to establish themselves in their narrow guitar “world”, in which they themselves supposedly “mastered” the guitar. Usually the text or musical material is rewritten, sometimes the fingering is changed here and there, one or two new exercises are invented - and the “School” for self-taught people is ready. Of course, there is nothing similar in relation to learning to play the violin, piano or, say, any wind instrument and cannot be. But the guitar is a special instrument: simple and complex. When it comes to playing at home, it seems like the simplest one. If you play truly, professionally, it is very difficult. But there should still be one guitar culture. And it is precisely from academic playing of the guitar that we need to start in all its manifestations - both professional and amateur, if we want this popular instrument to become part of our musical culture, which, as we know, is very high in its artistic level.

We must, of course, take into account that the guitar and guitar art exist, as it were, in two dimensions - folk and professional. As a folk instrument, the guitar undergoes almost no changes: the plays, songs and romances performed on it to its accompaniment are preserved, and the playing techniques remain unchanged. But as a professional musical instrument, the guitar is progressing all the time: the repertoire is becoming musically and technically more complex, new trends in guitar performance technology are emerging, more advanced methods of sound production, coloristic means, schools, and techniques are appearing. However, here too sometimes misunderstandings arise.

It turned out that a new guitar had been invented, called the “Gran”. I remember a meeting with grand guitarists who came to the Togliatti Institute of Arts for reviews. They had a patent for the “invention” of a new guitar, and supposedly a higher education in guitar (private academy of grand guitar!), however, in fact it turned out that this instrument was not an invention of the present time. In Norway, there is a type of violin that, in addition to four main strings, had the same number of resonant strings, located below and giving the sound of the instrument a special coloring, enriching its timbre. This violin was tuned in different ways and was used only as an auxiliary instrument in the orchestra. As is known, the same acoustic principle underlay the design of many viols. The gran guitar has 12 strings in relation to the horizon of the soundboard, these are six lower (metal) and six upper (nylon). Grand guitarists try to play all twelve strings! In particular, they actively use in their playing exactly those strings that for Norwegian violinists are only resonant. As a result, when playing such an instrument, incredible falsehood occurs - and, above all, dirty (random) chord combinations. It is clear that such a significant number of strings will create colossal difficulties in the game of a purely technical nature, which, perhaps, only a robot could fully cope with, and not a person who does not have flawless orienting reactions and an exceptionally resilient nervous system.

However, to be fair, it must be said that the sound of the gran guitar is quite deep and timbrally beautiful, since it is the result of the simultaneous sound of nylon and metal strings. Therefore, it is possible that further search will help those playing this instrument, overcoming organic difficulties, to identify its useful qualities. But for now, the pretentious statements of apologists that the era of the grand guitar has now arrived, and all other types of guitars have already become a thing of the past, in my opinion, are deeply erroneous.

Every guitar teacher apparently needs to ask himself the question of the main values ​​of learning to play the guitar. It is unlikely that they can be admiration for new-fangled methods, lavishly advertised innovations, hastily composed and “sales” repertoire. In guitar performance, as in all other types of musical performing arts, one must, first of all, strive for a culture of performance, for identifying the artistic content of what is being performed, for high-quality sound and, of course, for free, developed technique. That is, in other words, to everything that makes up an integral musical and artistic impression that enchants and captivates the listener. At the same time, a teacher who follows classical traditions proven in practice in his art should not ignore searches and innovations (if, of course, they come from qualified, competent musicians). It is important in all cases to reserve the right to analyze, generalize and synthesize the best, most progressive and useful aspects. It is necessary to learn to see and use what is most necessary, trying to predict what new things can really be useful in a particular educational situation - say, be useful in the development of a student for the future (in a year or two). After all, success ultimately depends on the appropriateness of the individual application of a particular technique, stroke, method, approach, etc. exactly in this situation. For example, to argue abstractly about whether to use a technique in playing the guitar apoyando or not to use it... It’s hardly worth talking about. It is important to analyze and understand where, when, why and to what extent it is advisable to use this wonderful performing technique.

Let's take another example - the guitarist's position. There were many methods for its formation. The body of the guitar was even leaned against a chair or table for better resonance. To this day, different benches are placed under different feet. One guitarist puts his left foot on his right, and the other - vice versa. There are different opinions about the position of the right elbow, about the playing shape of the right hand, about the angle of the position of the neck in relation to the performer’s body. In short, there are many opinions, but general criterion determining the most correct playing positions, and even taking into account the individual characteristics of the structure of the hands and the entire physical constitution of the student, must be differential. In my opinion, what is beautiful is true. But for every guitarist, aesthetic appeal cannot be purely external, visual, but must come from within, which, in essence, is a manifestation of internal musical culture. Only by possessing such a culture will a guitarist be able to freely “pronounce” and intone music with the help of living musical sound, which in turn will become external beauty, that is, perceived by someone’s discerning ear. Thus, the circle of considerations expressed here is closed: in order for music to have an aesthetic effect on the listener, its performer must be a fully highly cultured person with impeccable artistic taste.

Let us now turn to another problem that seems relevant. Often parents, citing the inclinations of the child himself, bring almost six-year-old children to guitar class. In such cases, it would be necessary to convince them of the advisability of the child’s initial, comprehensive, comprehensive introduction to various types of art (dancing, singing, playing the so-called “elementary” instruments, which have a quite beautiful timbre, but are quite easy in terms of sound production techniques, etc.). d.). It is necessary to convince parents that it is much more important to develop a sense of rhythm and coordination of movements, to tune their hearing to the perception of musical intonations, to achieve an understanding of music that is possible at this age, than to strive for early mastery of guitar playing skills.

Another subject of our thoughts is the so-called “admission exams” for the guitar class, which, as is well known, allegedly test the young applicant’s ear for music, rhythm, and memory. I would like to warn about the uselessness of such tests to determine the prospects for successful instrumental playing - especially the guitar. Only after several months of classes does the teacher have the right to assess the student’s abilities and the prospects for his learning, which are often revealed in the process of live creative communication with music, the teacher, and other students. Sometimes three, four, five years pass and it turns out that the student recognized at the very beginning as “deaf, irregular” receives a prize and the title of laureate of an all-Russian competition, listens to flattering words addressed to him by authoritative musicians.

Also relevant, of course, not only for the guitar class, is the question of how to achieve systematic, systematic training on the instrument from the very beginning of training at a music school? Here we cannot do without the most serious educational work necessary for the student to understand the futility of the intention to master playing an instrument, making do only by attending lessons at school and not studying at home. Of course, this is a separate topic that deserves special development in psychological and pedagogical terms. I would like to emphasize its special importance for successful music studies.

There are many more guitar problems that need serious discussions by respected guitarists and highly cultured musicians. Perhaps the most important of them is the problem of sound (relevant, of course, for all musical instruments, but for violinists, cellists, and pianists it is quite developed). The guitar, figuratively speaking, is indeed precisely the musical instrument that does not break silence, but creates it. But not only this poetry lies the secret of the guitar’s enormous popularity: in skillful hands it sounds like an orchestra. Taking this “orchestra” in your hands, you can leave, sail away, go to the mountains, or go out onto the stage and, after a minute of tuning, give free rein to the sounds and fingers (these “five nimble daggers,” as Garcia Lorca said) - to give our souls with them get excited or forget yourself.

Estulin Grigory Eduardovich
01.08.2006

The history of the origin, development and improvement of this musical instrument is so amazing and mysterious that it rather resembles an exciting detective story. The first information about the guitar dates back to ancient times. On Egyptian monuments dating back thousands of years, there are images of a musical instrument - “nabla”, which in appearance resembles a guitar. The guitar was also widespread in Asia, which is confirmed by images on architectural monuments of Assyria, Babylon and Phenicia. In the 13th century, the Arabs brought it to Spain, where it soon received full recognition. At the end of the 15th century, wealthy families in Spain began to compete with each other in the patronage of science and art. The guitar, along with the lute and other plucked instruments, became a favorite instrument at court. In the cultural life of Spain, starting from the 16th century, numerous associations, academies, circles and meetings - “salons”, which were held regularly, played a major role. Since that time, the passion for plucked instruments has penetrated the broad masses, and special musical literature has been created for them. The names of the composers who represented it form a long line: Milan, Corbetto, Fuenllana, Marin i Garcia, Sanz and many others.

Having come a long way in development, the guitar has taken on a modern appearance. Until the 18th century, it was smaller in size, and its body was rather narrow and elongated. Initially, the instrument had five strings tuned to fourths, like a lute. Later, the guitar became a six-string guitar, with a tuning more suitable for playing in open positions to better exploit the sound of the open strings. Thus, by the middle of the 19th century, the guitar had acquired its final form. Six strings appeared on it in tuning: E, B, G, D, A, E.

The guitar gained great popularity in Europe and was brought to the countries of North and South America. How can we explain such a widespread use of the guitar? Mainly because it has great capabilities: it can be played solo, accompanied by voice, violin, cello, flute, it can be found in various orchestras and ensembles. Small dimensions and the ability to easily move in space and, most importantly, an unusually melodious, deep and at the same time transparent sound - justify the love for this universal musical instrument among a wide range of admirers from romantic tourists to professional musicians.

At the end of the 18th century, composers and virtuosos appeared in Spain

F. Sor and D. Aguado, at the same time in Italy - M. Giuliani. L. Leniani, F. Carulli, M. Carcassi and others. They create an extensive concert repertoire for the guitar, ranging from small pieces to sonatas and concertos with orchestra, as well as wonderful “Schools for playing the six-string guitar”, an extensive educational and constructive repertoire. Although almost two hundred years have passed since the first publication of this pedagogical literature, it is still a valuable heritage for both teachers and students.

The composer Sor gives concerts with great success in the cities of Western Europe and Russia. His ballets “Cinderella”, “Lubochnik as a Painter”, “Hercules and Omphale”, as well as the opera “Telemachus” have had many performances on the stages of St. Petersburg, Moscow and major cities in Western Europe. Polyphonic style, rich imagination and depth of content characterize Sora's work. He is an educated musician-composer, a virtuoso guitarist, who amazed with the depth of his performance and the brilliance of his technique. His compositions have become firmly established in the repertoire of guitarists. The Italian Giuliani is one of the founders of the Italian guitar school. He was a brilliant guitarist and also played the violin perfectly. When Beethoven's seventh symphony was first performed in Vienna in 1813 under the baton of the author, Giuliani took part in its performance as a violinist. Beethoven held Giuliani in high esteem as a composer and musician. His sonatas and concertos with orchestra are performed by modern guitarists, and his pedagogical literature is a valuable heritage for both teachers and students.

I would especially like to dwell on the most famous and most frequently published in our country, “The School of Playing the Six-String Guitar” by the famous Italian guitarist-teacher, composer M. Carcassi. In the preface to “School,” the author says: “...I had no intention of writing a scientific work. I only wanted to make learning the guitar easier by laying out a plan that could make it possible to become more familiar with all the features of this instrument." From these words, it is clear that M. Carcassi did not set himself the task of creating a universal manual for learning to play the guitar, and this is hardly possible at all. The “School” gives a number of valuable instructions on the technique of the left and right hands, various characteristic techniques of playing the guitar, playing different positions and tonalities. Musical examples and pieces are given sequentially, in order of increasing difficulty, they were written with great skill as a composer and teacher and are still of great value as educational material.

Although, from a modern point of view, this “School” has a number of serious shortcomings. For example, little attention has been paid to such an important technique of playing the right hand as apoyando (playing with support); the musical language, based on the music of the Western European tradition of the 18th century, is somewhat monotonous; issues of the development of fingering, melodic-harmonic thinking are practically not touched upon, we are only talking about the correct placement of the fingers of the left and right hands, which makes it possible to resolve many technical difficulties in performance, improve sound, phrasing, etc.

In the second half of the 19th century, something new appeared in the history of the guitar. bright name Spanish composer, virtuoso soloist and teacher Francisco Tárrega. He creates his own writing style. In his hands, the guitar turns into a small orchestra.

The performing work of this wonderful musician influenced the work of his friends - composers: Albeniz, Granados, de Falla and others. In their piano works one can often hear imitation of the guitar. Poor health prevented Tárrega from giving concerts, so he devoted himself to pedagogical activity. We can safely say that Tarrega created his own school of guitar playing. His best students include Miguel Llobet, Emelio Pujol, Dominico Prat, Daniel Fortea, Illarion Lelupe and other famous concert performers. To date, the “Schools” of E. Pujol, D. Fortea, D. Prat, I. Lelupa, I. Arens and P. Rocha, based on the Tárrega teaching method, have been published. Let's take a closer look at this method using the example of the “School of Playing the Six-String Guitar” by the famous Spanish guitarist, teacher and musicologist E. Pujol. A distinctive feature of the “School” is its generous, detailed presentation of all the main “secrets” of playing the classical guitar. The most essential issues of guitar technique have been carefully developed: the position of the hands, the instrument, methods of sound production, playing techniques, etc. The sequence of arrangement of the material contributes to the systematic technical and artistic preparation of the guitarist. “School” is entirely built on original musical material: almost all etudes and exercises were composed by the author (taking into account the methodology of F. Tárrega) specifically for the corresponding sections.

What is especially valuable is that this educational publication not only sets out in detail the difficulties of playing the guitar, but also describes in detail how to overcome them. In particular, a lot of attention is paid to the problem of using the correct fingering when playing with the right and left hands, and the techniques of playing in different positions, various movements, shifts of the left hand are also discussed in detail, which certainly contributes to the development of fingering thinking. The effectiveness of Pujol’s “School” has been confirmed, in particular, by the practice of its use in a number of educational institutions in our country, Europe and America.

The creative activity of the greatest Spanish guitarist of the 20th century was of great importance for the development of world guitar art. Andrese Segovia. The exceptional importance of his role in the history of the development of the instrument was not only his performing and pedagogical talents, but also his abilities as an organizer and propagandist. Researcher M. Weisbord writes: “...to establish the guitar as a concert instrument, it lacked what, for example, the piano or violin possessed - a highly artistic repertoire. The historical merit of Andres Segovia consists, first of all, in the creation of such a repertoire...” And further: “M. Ponce (Mexico), M.K. began to write for Segovia. Tedesco (Italy), J. Ibert, A. Roussel (France), C. Pedrel (Argentina), A. Tansman (Poland), and D. Duart (England), R. Smith (Sweden) ... ". From this small and far from complete list of composers, it is clear that it was thanks to A. Segovia that the geography of professional compositions for classical guitar rapidly expanded, and over time, this instrument attracted the attention of many outstanding artists - E. Villa Lobos, B. Britten. On the other hand, entire constellations of talented composers are emerging who are also professional performers - A. Barrios, L. Brouwer, R. Diens, N. Koshkin, etc.

ADDITIONAL PRE-PROFESSIONAL GENERAL EDUCATION PROGRAM IN THE FIELD OF MUSICAL ART “Folk Instruments” GUITAR. Subject area B.00. VARIABLE PART V.03.UP.03.HISTORY OF CASSIC GUITAR PERFORMANCE. Implementation period 1 year. The program contains all the necessary sections: explanatory note, content of the academic subject, curriculum, requirements for the level of training of students, forms and methods of control, assessment systems, methodological support of the educational process, list of references.

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Municipal budgetary educational institution

additional education for children

Children's art school in Novozavidovsky

ADDITIONAL PRE-PROFESSIONAL

GENERAL EDUCATION PROGRAM IN THE REGION

MUSICAL ART

"Folk Instruments"

GUITAR

Subject area

B.00. VARIABLE PART

V.03.UP.03. HISTORY OF CASSIC GUITAR PERFORMANCE

On musical development in the system of additional education for children of children's music schools and music departments

children's art schools

Compiled by: Vera Igorevna Bensman,

Teacher MBOU DOD DSHI

P.Novozavidovsky

P. Novozavidovsky 2014

Program approved Approved

pedagogical council ________________Saperova I.G.

MBOU DOD DSHI Director MBOU DOD DSHI

P. Novozavidovsky P. Novozavidovsky,

Protocol No. 2 of October 30, 2014. Konakovsky district,

Tver region.

Compiled by: Teacher Vera Igorevna Bensman

Reviewer: Teacher of the highest category Bensman L.I.

1. Explanatory note.

Characteristics of the educational subject, its place and role in the educational process;

Duration of implementation of the academic subject;

The amount of teaching time provided for by the curriculum for the implementation of an academic subject;

Form of conducting classroom training;

The purpose and objectives of the academic subject;

Structure of the subject program;

Teaching methods;

Description of the material and technical conditions for the implementation of the educational subject;

Information about the cost of study time;

Syllabus.

3. Requirements for the level of training of students.

4. Forms and methods of control, rating system:

Certification: goals, types, form, content; final examination;

Criteria for evaluation.

5. Methodological support of the educational process.

6. List of references.

EXPLANATORY NOTE

The guitar is one of the popular musical instruments used in professional and amateur practice. The diverse guitar repertoire includes music of different styles and eras, including classical, popular, and jazz.

The guitar is not only an accompanying and solo musical instrument, it is a whole world: performers, composers, arrangers, teachers, guitar makers, historiographers, collectors, enthusiasts, admirers, amateur guitarists... This is a worthy part of world culture, the study of which will be interesting to many.

Music, paintings, songs, research, prose, teaching and craftsman talent, historical works, and poetry were dedicated to the guitar. M.Yu. dedicated admiring lines to her. Lermontov:

What sounds! Motionless I listen

I love the sweet sounds.

I forget heaven, eternity, earth,

Yourself...

Characteristics of the educational subject, its place and role in the educational process;

In children's art schools, in the process of training students in instrumental departments, insufficient attention is paid to the most important component of music education, such as the history of instrumental performance.

In music literature lessons, the work of composers is studied, and performers are only mentioned. The topic of folk instruments and especially the guitar is covered very little. The extracurricular activities carried out by teachers are varied and partially compensate for this deficiency. But this is not enough.

Children's Art School students should have more extensive and systematized knowledge in the field of the history of the development of the instrument and musical performance (domestic and foreign schools).

The introduction of the subject into the curriculum of general developmental educational programs of the Children's Art School is relevant in modern stage, this is especially true for pre-professional programs.

The subject involves coverage of the main stages of development of the guitar instrument, a review of the work of outstanding performers and composers, familiarization with musical works created for this instrument, listening to and viewing recordings of guitar performers, laureates and diploma winners of competitions (including children's and youth)

The subject “History of classical guitar performance” is proposed to be included in the “Variable part” section of the additional pre-professional general development program in the field of musical art “Instrumental art”, “Folk instruments”, “Guitar”. You can also enter the item in educational plans general developmental programs implemented in a specific children's school.

The original program of the educational subject “History of Classical Guitar Performance” was developed on the basis of Federal state requirements for an additional pre-professional general educational program in the field of musical art. (2012) The program is part of the Instrumental Performance curriculum. "Folk instruments" Guitar.

When compiling the program, the following materials were used:

Educational and methodological complex “Istria performing folk instruments” Specialty 071301 “Folk artistic creativity" Compiled by T.A. Zhdanova, Professor of the Department of Orchestral Conducting and Folk Instruments of the Tyumen State Academy of Culture, Art and Social Technologies. Tyumen, 2011

Chupakhina T.I. "Course of lectures on the history of performing folk instruments." Omsk, 2004

Charles Duckart "Guitar School".

Duration of the academic subject:

The implementation period for this item is 1 year (35 weeks)

With 5(6) term of study - in 5th grade.

With 8(9) term of study - in 8th grade.

Amount of teaching time provided for by the curriculum:

The total labor intensity of the subject is 70 hours.

Of these: 35 hours – classroom lessons, 35 hours – independent work.

The number of hours for classroom training is 1 hour per week.

The number of hours for independent work (extracurricular workload) is 1 hour per week.

Form of conducting classroom training sessions.

Goals and objectives of the academic subject.

The subject “History of Classical Guitar Performance” is an integral part of the training of a graduate of the Children's Art School in the guitar class. Guitar art is part of world artistic culture. It can be traced from ancient times to the present day and is organically connected with performing and repertoire instrumental culture. It becomes clear how wide a range of issues the study of performance history includes.

• The purpose of this subject is to show the historical conditionality and sequence of development of the art of performance, to comprehend the process of development and formation of the guitar instrument; study the historical patterns of formation and the main features of the repertoire, features of performing art on the guitar.
• The purpose of the educational subject is also to ensure the development of students’ creative abilities and individuality, and a sustainable interest in independent activities in the field of musical art.
• To cultivate in students the need to know, study, listen and analyze.
• Achieving a level of education that allows the graduate to independently navigate the world musical culture;

Subject objectives:

• One of the main objectives of studying this subject is to encourage students to understand the history and theory of the development of the instrument they are learning to play;
• acquiring knowledge in the field of the history of musical culture, expanding the artistic horizons of students, as well as developing their ability to navigate various aspects of guitar art, musical styles and directions.
• Equipping with a system of knowledge, skills and methods musical activity, which in its entirety provides the basis for further independent communication with music, musical self-education and self-education.
• formation of conscious motivation among the best graduates to continue professional education and prepare them for entrance exams to a professional educational institution.

Subject syllabus structures.

The problems covered in this program are considered in the context of the development of guitar art, taking into account the principle of historicism and chronological periodization.

The program includes the following sections:

Information about the cost of study time;

Syllabus;

Requirements for the level of training of students;

Forms and methods of control, assessment system, final certification;

Methodological support of the educational process;

In accordance with these directions, the main section of the program “Content of the academic subject” is built.

Teaching methods.

To achieve the set goal and implement the objectives of the subject, the following teaching methods are used:

Verbal: lecture, story, conversation.

Visual: showing, illustrating, listening to the material.

Practical: Working with audio and video materials. Writing reports, abstracts. Preparation of presentations.

Emotional: artistic impressions.

Description of the material and technical conditions for the implementation of the educational subject.

Ensuring the teaching of this subject: the presence of an audience that meets sanitary standards and fire safety requirements. Computer or laptop, TV, stereo system, multimedia projector + demonstration screen – preferably. Photo, audio, video materials with active involvement of Internet resources.

The library fund is stocked with printed and electronic publications, educational literature

Each student is provided with access to library funds and funds of audio and video recordings. During independent work, students use the Internet to collect additional material to study the proposed topics.

Information about the cost of study time;

Table 1

1. table 2

“Guitar” Duration of training: 5 (6) years.
Variable part
Item name	1 class	2 classes	3 grades	4th grade	5 grades	6th grade
History of classical guitar performance
Interim certification

Table 3

1. Table 4

“Guitar” Duration of training 8 (9) years.
Variable part
Item name	1 class	2 classes	3 grades	4th grade	5 grades	6th grade	7th grade	8th grade	9th grade
History of musical performance
Number of weeks of classroom training
Interim certification

SYLLABUS

	TOPIC NAME	Classroom	Independent work
	From the history of guitar art. Emergence and development.
	The birth of the guitar. Five distinct periods in its history: formation, stagnation, revival, decline, flourishing.	1 hour	1 hour
	Precursor instruments to the guitar. Guitar and lute. Guitar in Spain (XIII century) The period of guitar revival is associated with the Italian composer, performer, and teacher Mauro Giuliani (born in 1781).
	Fernando Sor (1778 -1839) - famous Spanish guitarist and composer. He was one of the first to discover polyphonic possibilities in the guitar. Works by F. Sora for guitar. His "Treatise on the Guitar". Aguado Dionisio (1784 – 1849) - an outstanding Spanish performer - virtuoso, composer. Native of Madrid. Was a huge success in Paris.
	Carulli Fernando (1770 – 1841) - famous teacher, author of the “School of Guitar Playing”, composer who composed about four hundred works, Italian virtuoso guitarist.Giuliani Mauro (1781 - 1829) - an outstanding Italian guitarist - performer, composer, teacher. I.Fortea??????? ??
	Matteo Carcassi (1781 –1829) - the largest Italian guitarist, author of the “School of Guitar Playing”,composer. Regondi Giulio (1822 – 1872) - famous Italian guitarist, virtuoso, composer.
	Tarrega Francisco Eixea (1852 - 1909) - famous Spanish guitarist, founder of the modern guitar school. A brilliant concert performer, composer, author of the most famous works for guitar.
	Legend of the 20th century - Andres Segovia(1893-1987), student of Tárrega and his successor. The most famous guitarist of the twentieth century.
	Interim certification (1 quarter)
	Flamenco guitar. Flamenco style.Paco de Lucia is a Spanish guitarist, representative of the flamenco style.
	Guitar in Europe. Famous performers.
	Latin American guitarists. Brazilian composer E. Villa-Lobos (1887-1959). Villa-Lobos' works are an integral part of the repertoire of modern guitarists. Cuban guitarists. A prominent representative is Acosta. Anido Maria Luisa (born 1907) is an outstanding Argentine guitarist. Concert performer, composer, teacher. Hawaiian guitar and its features.
	Seminar classes.
	Interim certification (first half of the year)
	Guitar in Russia. Russia of the 19th century and the beginning of the 20th century.			3 quarters
	The emergence of the art of playing the seven-string guitar in Russia. Getting to know the guitar through Italian guitarists Giuseppe Sarti, Carlo Conobbio, Pasquale Gagliani. Songs and romances of prominent composers of the 19th century (A.E. Varlamov, A.L. Gurilev, A.A. Alyabyev, .I. Dubuk., P.P. Bulakhov.)
	The flourishing of domestic professional art A.O. Sihra (1773-1850) is the patriarch of the Russian seven-string guitar, a brilliant composer, a famous teacher who trained a galaxy of highly talented guitarists. Andrey Sikhra and his music publishing house. Followers of A. Sihra, his students: F. Zimmerman, V. Sarenko, V. Markov, S. Aksenov. Seven-string guitar and Russian song, cruel romance.
	The first guitarist to play a six-string guitar was N.P. Markov (1810- ) techniques for playing the guitar. A competition in Brussels, organized by Markov in order to revive the fading interest in the guitar. M.D. Sokolovsky (1818-1883) is a famous concert performer, the only representative of the domestic guitar school of his time who gained European fame. His activities in popularizing the guitar.
	Isakov P.I. (1886 - 1958) - guitarist - concert performer, accompanist, teacher, initiator of the creation of the Society of Leningrad Guitarists. Yashnev V.I. (1879 – 1962) – guitarist-teacher, composer, author (together with B.L. Volman) of a school of playing the six-string guitar. Agafoshin P. S. (1874 - 1950) - a talented guitarist, famous teacher, author of the best Russian “School” for six-string guitar. Student V.A. Rusanova. . Meetings between Segovia and Agafoshin.
	Ivanov - Alexander Mikhailovich Kramskoy (1912 - 1973) - famous guitarist - concert performer, composer, teacher. Honored Artist of the RSFSR. Student P.S. Agafoshina.N.A. Ivanova – Kramskaya
	Famous guitarists of our time.
	Russian guitar school. The work of Alexander Kuznetsov. Creativity of V. Shiroky, V. Derun. A. Frauchi, A. Zimakova. Guitarists: V. Kozlov, Alexander Chekhov, Nikita Koshkin, Vadim Kuznetsov, N.A. Komolyatov, A. Gitman, E. Filknshtein, A. Borodina.Vladimir Tervo…………Dervoed A. V., Matokhin S. N., Vinitsky A. E. ,Reznik A.L.
	Foreign classical guitarists.
	Seminar classes
	Final lesson 3rd quarter
	International competitions. Russian competitions. Laureates, diploma recipients. Festivals.
	Guitar in chamber ensembles. Guitar orchestras.
	Classical guitar in Tver and Tver region. A.M. Skvortsov, E.A. Baev; Instrumental duet “Musical miniatures” - E. Baev - guitar, E. Muravyova - violin; “Art duet” Natalya Gritsay, Elena Bondar.
	Classical guitar in jazz. Jazz guitar. Other directions in the field of guitar art. Country technique. Fincherstyle. Fuji. …….Performers of various directions.
	How does a guitar work? Leading guitar makers. Guitar modernization. How many strings does a guitar have? Narciso Yepes and his ten-string guitar. New in the art of performing the classical guitar.
	Seminar-consultation.
	final examination
	TOTAL BY COURSE TOTAL

3. Requirements for the level of training of students.

The level of training of students is the result of mastering the program of the academic subject “History of Classical Guitar Performance,” which involves the formation of the following knowledge, skills, and abilities, such as:

* the student has an interest in the history of musical performance;

* ability to navigate various aspects of guitar art, musical styles and directions;

* a formed set of knowledge, skills and abilities that allow you to evaluate and characterize the listened work, the style and manner of the performer;

* knowledge that allows you to independently use Internet resources.

*the graduate must know the main topics of the course

4. Forms and methods of control, rating system.

• Certification: goals, types, form, content;

Criteria for evaluation;

Monitoring the knowledge, skills and abilities of students ensures operational management of the educational process and performs teaching, testing, educational and corrective functions. Various forms of monitoring student progress make it possible to objectively assess the success and quality of the educational process. The main types of monitoring progress in the subject

“History of classical guitar performance” are: current control, intermediate certification. Final examination.

Current certificationcarried out to control the quality of mastering the section educational material and is aimed at identifying attitudes towards the subject, at responsible organization of homework and is stimulating in nature. Current certification is carried out in the form of a survey, a conversation on a topic prepared by students, and a discussion of the performances listened to. Current control tasks in the form of tests and music quizzes are possible.

Classes on the “History of Instrumental Performance” are conducted in the form of a lecture by the teacher, conversations with students on a topic they have prepared, and a survey of students;

A large part of the work is devoted to musical illustrations, listening, and viewing relevant materials. It is recommended to conduct seminars on topics chosen by the teacher or students. Current control tasks in the form of tests and music quizzes are possible. Based on the results of current monitoring, quarter estimates are derived.

Interim certification(offered at the end of the first and second half-years) determines the success of students’ development and the degree to which they master educational tasks at this stage. Forms of intermediate certification: test lessons, tests, reports, abstracts, presentations.

final examination

When passing the final certification, the graduate must demonstrate knowledge, skills and abilities in accordance with the program requirements. Forms and contents of the final certification for academic subject“The history of classical guitar performance” is established by the organization independently (at the suggestion of the teacher). Recommended forms: a test with a grade or an exam in written form or orally in the form of answers to pre-prepared questions.

To certify students, funds of assessment tools are created, which include control methods that allow the assessment of acquired knowledge, skills and abilities

Criteria for evaluation

5 (“excellent”);

4 (“good”);

3 (“satisfactory”).

A rating of “unsatisfactory” in this subject is undesirable, since regardless of the level of development of students, the teacher has the opportunity to find an individual approach to each student and maximize their creative abilities.

5. Methodological support of the educational process

This subject is taught by a guitar teacher.

Of course, we cannot hear recordings of the great performers of the past. The 20th century gives us this opportunity. We can talk about the traditions and continuity of performing music from different eras through students and followers. (For example: F. Tarrega, Segovia, A.M. Ivanov-Kramskoy, A. Frauchi……….).

The forms of conducting lessons are varied, but with the obligatory inclusion of the entire group in the work. Joint listening and viewing of recordings, creative tasks - reports, essays, impressions of listening to recordings in class and independently. The presentation of the material includes: a lecture by the teacher himself with listening and viewing of audio and video materials; completion of specific homework within the framework of the studied material by all students, followed by discussions. A large part of the work is devoted to musical illustrations, listening, and viewing relevant materials.It is important for the teacher to accurately select a variety of musical material for listening and set specific tasks with the goal of: teaching concentration, activating hearing, thinking, making people pay attention to details, performing style and the implementation of the composer's idea by the performer. This will also develop the students’ own taste and force them to approach the performance of works more consciously.

It is recommended that tests be carried out in the form of seminars, reports, abstracts, and short references that students can complete independently using Internet resources. And as homework, students can listen to the work in different versions and do comparative analysis listened to, i.e. complete a creative task.

Also a creative form of work in this direction are joint trips (if possible) of students with teachers and parents to concerts instrumental music, followed by discussion in class. (At our school, such events are organized regularly due to the convenient location of the village to concert organizations in Tver, Klin, Moscow. Performers from Tver also come to us)

An important role is occupied by the preparation of the teacher and students for classes. This is a labor-intensive and creative process. You have to work a lot with text materials, audio, video, and Internet resources. It is necessary to encourage students to work for at least an hour every day. With regular independentclasses, a growing interest will appear not only in this subject, but also the need for independent painstaking work in the guitar specialty.

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Dating back to the 2nd millennium BC. They depict instruments with a small body made of tortoise shell or pumpkin.

IN Ancient Egypt Guitar-like instruments were so closely connected with the life of the people that they became a symbol of goodness, and their outlines were included in hieroglyphic signs, denoting “good.”

There is an assumption that the guitar originated in the Middle East and from there spread throughout Asia and Europe.

Russia was introduced to the six-string guitar by the Italians, who served at the court of monarchs and court nobility. History has preserved the names of two Italians - Giuseppe Sarti and Carlo Canobbio. Italian composer Giuseppe Sarti, according to Countess V.N. Golovina, willingly played the guitar. Carlo Canobbio taught the three daughters of Paul I to play the guitar, receiving a very substantial reward for these lessons - 1 thousand rubles a year.

There were still few guitar fans then. The Italian virtuoso musician Pasquale Gagliani, who performed in the salons of the court nobility, managed to somewhat expand the circle of instrument lovers. After several years of his activity in Russia, Galyani released a collection of etudes and exercises - something like a textbook on playing the guitar.

The Italians tried to arrange folk songs for guitar, but they were not successful: the six-string guitar was not fully adapted to the structure of Russian folk music. That is why the Russian seven-string guitar appeared around the same time.

In 1821, Marcus Aurelius Zani de Ferranti (1800 – 1878) came to Russia. Niccolò Paganini, who had heard many virtuoso guitarists, assessed Zani de Ferranti’s playing as follows: “I hereby testify that Zani de Ferranti is one of the greatest guitarists I have ever heard and who gave me inexpressible pleasure with his wonderful, delightful playing.” It is to this guitarist that Russia owes the fact that the six-string guitar has become widely known here. The musician gave a lot of concerts, and he also had to play in large halls. He was also a composer - he composed nocturnes, fantasies, and dance music. Tsani de Ferranti gave guitar lessons to those who wanted, but only initial ones, not making it his goal to turn the student into a professional guitarist.

Unlike the seven-string, its six-string variety developed in Russia in the 17th - 19th centuries almost exclusively as a professional and academic instrument and was little focused on conveying urban songs and everyday romance.

At the beginning of the 19th century, schools and manuals for the six-string guitar by I. Geld and I. Berezovsky appeared, in which they mostly relied on Spanish and Italian classics - guitar works by Mauro Giuliani, Matteo Carcassi, Luigi Legnani, Ferdinando Carulli, Fernando Sora, and transcriptions piano music of outstanding Western European composers. A significant role in the spread of the six-string guitar in Russia was played by the tours of outstanding foreign guitarists - in 1822 in St. Petersburg there were performances by the Italian Mauro Giuliani, in 1923 in Moscow by the Spaniard Ferdinand Sora.

Western musicians aroused interest in the classical guitar in Russia. The names of our compatriots began to appear on concert posters. The most prominent Russian performers and promoters of the six-string guitar were Nikolai Petrovich Makarov (1810 – 1890) and Mark Danilovich Sokolovsky (1818 – 1883).

N.P. Makarov was born in the Kostroma province, in the family of a landowner. In 1829 he was lucky enough to hear Paganini play, and in 1830 he attended a Chopin concert.

Niccolò Paganini shocked Makarov so much that the impression of his playing could not be eclipsed by any of the subsequent musicians.

N.P. Makarov set out to achieve first-class guitar playing. The musician studied for 01–12 hours every day. In 1841, his first concert took place in Tula. Having failed to find recognition or even serious attention for himself as a guitarist, he goes on a tour of Europe. In many countries of the world N.P. Makarov gained fame as an excellent guitar virtuoso, a brilliant interpreter of the most complex guitar works. During his tours, the musician met with prominent foreign guitarists: Tsani de Ferranti, Matteo Carcassi, Napoleon Costa.

To revive the guitar's former glory, Makarov decides to organize an international competition in Europe. In Brussels he organizes a competition for guitar composers and luthiers. Before the competition, the guitarist gives a concert at which he performs his own compositions and works of other authors. Makarov played a ten-string guitar.

Thanks to this competition, the musician was able to significantly intensify the work in the field of guitar music by a number of Western European composers and guitar makers, and contribute to the creation of new constructive varieties of the instrument.

Makarov is the author of a number of essays and literary memoirs. He published his books and his own musical plays, such as “The Carnival of Venice,” mazurkas, romances, Concerto for Guitar, and arrangements of folk songs. However, the music he created is inexpressive and has not received wide distribution. In 1874, his “several rules of supreme guitar playing” were published. The brochure contained valuable advice on improving guitar technique: playing trills, harmonics, chromatic scales, using the little finger in playing, etc.

Another Russian guitarist, Mark Danilovich Sokolovsky (1812 - 1883), did not strive to amaze the audience with complex technical techniques. Listeners were captivated by his exceptional musicality.

As a child, Sokolovsky played the violin and cello, then began to play the guitar. Having mastered the instrument sufficiently, in 1841 he began active concert activities. His concerts took place in Zhitomir, Kyiv, Vilna, Moscow, St. Petersburg. In 1857, the guitarist was given the opportunity to perform in Moscow in the thousand-seat Hall of the Noble Assembly. In 1860, he was called “the favorite of the Moscow public.” From 1864 to 1868 the musician tours European cities. He gives concerts in London, Paris, Berlin and other cities. Everywhere he is accompanied by enormous success. The musician's triumphant tours brought him fame as one of the greatest guitarists. It is noteworthy that in many of Sokolovsky’s performances his accompanist was the outstanding Russian pianist N.G. Rubinstein.

Among the qualities that distinguished Sokolovsky's performing style, first of all, it is necessary to highlight the subtlety of nuance, the variety of timbre palette, high virtuoso skill and the warmth of the cantilena. These qualities were especially evident in his interpretation of three concertos by M. Giuliani, as well as in the performance of transcriptions of piano pieces by F. Chopin and his own miniatures, which were in many ways close to Chopin’s style - preludes, polonaises, variations, etc. The last public concert of M.D. Sokolovsky took place in St. Petersburg in 1877, and then the musician settled in Vilnius, where he was engaged in teaching activities.

Concert performances of domestic guitarists N.P. Makarov and M.D. Sokolovsky became an important means of musical education for numerous fans of this instrument in Russia.

1. 
   Seven-string guitar in the 18th – 19th centuries

In the second half of the 18th century, a distinctive seven-string guitar appeared in Russia. It was built according to the sounds of a G major triad doubled in octave and the bottom string spaced a fourth apart. This instrument turned out to be optimally suited to the bass-chord accompaniment of the city pension and romance.

In home life, people usually accompanied the guitar by ear - such accompaniment from the simplest harmonic functions was elementary and, with this setting, was extremely accessible. The authors of songs and romances were most often little-known amateur musicians, but sometimes also prominent composers of the 19th century - A. Varlamov, A. Gurilev, A. Alyabyev, A. Dyubyuk, A. Bulakhov and others.

The seven-string guitar also played a major role in the music-making of the gypsies. The leaders of gypsy choirs were excellent guitarists - I. Sokolov, I. Vasiliev, M. Shishkin, R. Kalabin.

A special place in the history of Russian guitar belongs to Ignatius Geld (1766 – 1816), the author of the first “School” for the Russian seven-string guitar. A Czech by nationality, he lived almost his entire creative life in Russia and managed to do a lot to popularize the seven-string guitar as a serious academic instrument.

From the end of the 18th century, the seven-string guitar began to develop as an academic instrument. Major works for guitar appear. Thus, in 1799 the Sonata of I. Kamensky was published, at the beginning of the 19th century - the Sonata for two guitars by V. Lvov. In the first half of the 19th century, guitar literature was produced in such quantities that its number exceeded literature for other musical instruments, even for the piano. Various guitar pieces were published, included in instructional and methodological manuals or published in separate publications. These are, for example, numerous miniatures, mainly in dance genres - mazurkas, waltzes, ecosaises, polonaises, serenades, divertissements, created by the famous guitarist-teacher and methodologist Ignatius Held.

Some famous Russian composers of the second half of the 18th – early 19th centuries were fond of playing the seven-string guitar. Among them are Ivan Evstafievich Khandoshkin (1747 - 1804), who composed a number of variations on the themes of Russian folk songs for the instrument, and Gavriil Andreevich Rachinsky (1777 - 1843), who published ten pieces for the seven-string guitar in 1817. These include five polonaises and two cycles of variations on themes of Russian folk songs. At the same time, works by now forgotten composers - Gornostaev - were published for the instrument. Konovkina, Maslova.

The true flowering of professional performance on the seven-string guitar occurred during the years of creative activity of the outstanding teacher-guitarist Andrei Osipovich Sihra (1773 - 1850). Trained as a harpist, he devoted his entire life to promoting the guitar. Dedicated exclusively to music, Andrei Osipovich already in his early youth became famous both as a virtuoso performer and as a composer. Sihra composed not only for harp and guitar, but also for piano.

At the end of the 18th century, Sihra moved to Mostka and became an energetic and active promoter of his musical instrument. His guitar immediately finds many fans among the Moscow public. Here, in Moscow, his “early” Moscow school was formed: he taught many students, studied himself, improved his instrument, created a variety of teaching materials, laid the foundation for a repertoire for the seven-string guitar, and performed with students in concerts. Many of his students subsequently became outstanding guitarists and composers themselves, continuing the work begun by their great teacher. Followers of A.O. Sikhry – S.N. Aksenov, V.I. Morkov, V.S. Sarenko, F.M. Zimmerman - created many plays and arrangements of Russian folk songs.

From 1800 until the end of his life, A.O. Sihra published many pieces for this instrument, including transcriptions of popular arias, dance music, and the most complex fantasies of a concert plan. Sihra's creativity developed in all aspects. He created pieces for solo guitar, for duet guitars, for violin and guitar, including fantasies on themes of famous and fashionable composers, fantasies on themes of Russian folk songs, original works, including mazurkas, waltzes, ecosaises, quadrilles, exercises. Sihra performed transcriptions and arrangements of works by M.I. Glinka, V.A. Mozart, G. Donizetti, C. Weber, D. Rossini, D. Verdi.

A.O. Sihra was the first to establish the seven-string guitar as a solo academic instrument, doing a lot for the aesthetic education of a wide range of amateur guitarists.

In 1802, the “Magazine for the seven-string guitar by A.O.” began to be published in St. Petersburg. Sikhry", which published arrangements of Russian folk songs and transcriptions of musical classics. In subsequent years, until 1838, the musician published a number of similar magazines, contributing to a significant increase in the popularity of the instrument.

In addition to a huge number of works for seven-string guitar, Sihra left “School”, which he wrote at the insistence of his student V.I. Morkova. It was published in 1840.

The main figure of the Sihra school is Semyon Nikolaevich Aksenov (1784 – 1853). At one time, no one surpassed him in mastery of the instrument or composition. In Moscow, the musician was considered the best virtuoso guitarist. Aksenov’s playing was distinguished by its extraordinary melodiousness, warmth of tone and, at the same time, great virtuosity. Possessing an inquisitive mind, he looked for new techniques on the instrument. Thus, he developed a system of artificial harmonics. The musician had an amazing gift of onomatopoeia on the instrument. Aksenov depicted the singing of birds, the sound of a drum, the ringing of bells, an approaching and retreating choir, etc. With these sound effects he amazed his listeners. Unfortunately, Aksenov’s plays of this kind have not reached us.

The educational activities of S.N. also seem significant. Aksenova. Beginning in 1810, he published “A New Magazine for the Seven-String Guitar, Dedicated to Music Lovers,” which contained many transcriptions of popular opera arias and variations on themes of Russian folk songs. Aksenov also created romances for voice accompanied by guitar.

Aksenov trained the brilliantly gifted guitarist Mikhail Vysotsky, who soon brought fame to the Moscow school of Russian guitarists.

The creative activity of Mikhail Timofeevich Vysotsky (1791 – 1837) played a big role in the development of professional academic Russian guitar performance.

The musician’s playing could be heard not only in secular salons and merchant meetings. The guitarist also played for the general public from his apartment window, especially in recent years, when he was in great need. These concerts contributed to the spread of the seven-string guitar among the bourgeois class and craftsmen.

The musician had an amazing gift of improvisation. Vysotsky could improvise for hours with an endless wealth of chords and modulations.

The guitarist also composed dance music that was fashionable in his time - mazurkas, polonaises, waltzes, eco-saises. All these plays are very elegant and musical. Vysotsky performed transcriptions of works by V.A. Mozart, L. Beethoven, D. Field. The musician published his works in small editions and without reprinting, and therefore the collections sold out instantly and almost immediately became a bibliographic rarity. Only some of Vysostky's handwritten works have survived, as well as 84 plays published in Gutheil's edition.

The first self-instructions for playing the seven-string guitar in Russia appeared at the end of the 18th century. In St. Petersburg in 1798, I. Geld’s “Self-instruction manual for the seven-string guitar” was published, which was reprinted many times and supplemented with new material. The third edition was expanded to include 40 arrangements of Russian and Ukrainian folk songs. In 1808, a “school for the seven-string guitar” by D.F. Kushenov-Dmitrievsky was published in St. Petersburg. This collection was later reprinted several times. In 1850, “Theoretical and Practical School for the Seven-String Guitar” by A.O. Sihra was published in three parts. The first part was called “On the Rules of Music in General”, the second contained technical exercises, scales and arpeggios, the third part contained musical material, mainly consisting of works by Sihra’s students. Another important instructional and pedagogical manual was “Practical rules consisting of four exercises” by A.O. Sihras. It's kind of graduate School improving the guitarist's technical skills.

In 1819, S.N. Aksenov made significant additions to the next re-edition of I. Geld’s “School”. A chapter on natural and artificial harmonics was added, and many new plays, etudes and arrangements of folk songs, including his own compositions, were introduced. Various manuals for learning the seven-string guitar were published by V.I. Morkov, M.T. Vysotsky and other guitarists of the first half of the 19th century.

In Russia, the seven-string guitar existed in parallel - both as an academic and as a folk instrument. In the first decades of the 19th century, the seven-string guitar, being an exponent of the traditional layer of home music-making, spread mainly among workers, artisans, apprentices, and various types of service people - coachmen, footmen. The instrument becomes an instrument of education and introduction to musical culture for the general public.

Since the 1840s, the art of guitar, like the art of psaltery, began to decline. But if the harp began to disappear from everyday music playing, then the guitar, remaining an equally unchanged accompanying instrument in the field of urban song, romance and gypsy singing, gradually lost its social qualities of the people due to the decline in the professional level of guitarists. In the second half of the century there were no longer such outstanding performers and teachers as A.O. Sihra, S.N. Aksenov and M.T. Vysotsky. Contents have almost ceased to be printed methodological manuals, and the self-instruction manuals that were published were mostly designed for the unpretentious needs of lovers of everyday music playing and contained only samples of popular romances, songs, dances, most often of low artistic quality.

1. 
   The formation of performance on the Russian domra

There is an assumption that the distant ancestor of the Russian domra is the eastern instrument tanbur, which is still used today among the peoples of the Middle East and Transcaucasia. It was brought to Rus' in the 9th – 10th centuries by merchants who traded with these peoples. Instruments of this type appeared not only in Rus', but also in other neighboring states that occupied the intermediate geographical position between the Slavic peoples and the peoples of the East. Having undergone significant changes over time, these instruments began to be called differently among different peoples: Georgians - panaduri and chonguri, Tajiks and Uzbeks - dumbrak, Turkmen - dutar, Kyrgyz - komuz, Azerbaijanis and Armenians - tar and saz, Kazakhs and Kalmyks - dombra, Mongols - dombur, Ukrainians - bandura. All these instruments have retained much in common in the contours of their shape, methods of sound production, structure, etc.

Although the name “domra” itself became famous only in the 16th century, the first information about plucked fingerboard (tanbur-shaped) instruments in Rus' has reached us since the 10th century. The tanbur, among the Russian folk instruments, was described by the 10th century Arab traveler Ibn Dasta, who visited Kyiv between 903 and 912.

The first mention of domras that has reached us dates back to 1530. The “Teachings of Metropolitan Daniel” speaks of playing the domra, along with the playing of the harp and smyk (horns) by church ministers. By the beginning of the 17th century, even the harp, so beloved by the people, “largely gave way to domras” in popularity. In Moscow in the 17th century there was a “domra row” where domras were sold. Consequently, the need for these tools was so great that it was necessary to organize a number of shops to sell them. Information that domras were produced in large quantities, and not only in Moscow, can be convincingly confirmed by customs books, in which collections on the local markets of the Russian state were recorded daily.

Domra in Rus' fell into the thick of it folk life. It has become a publicly accessible, democratic instrument. The lightness and small size of the instrument, its sonority (the domra was always played with a plectrum), the rich artistic technical capabilities - all this was to the liking of the buffoons. In those days, the Domra sounded everywhere: in peasant and royal yards, in hours of fun and moments of sadness. “I’m glad to scoff at my domra,” says an old Russian proverb.

Buffoons were often instigators and participants in popular unrest. That is why first the clergy, and then the rulers of the state, were so up in arms against their art.

For almost 100 years (from 1470 to 1550), eight royal decrees prohibited playing musical instruments. The persecution of buffoons and their music became especially intensified in the 15th - 17th centuries - during periods of organized protests by peasants against the tsarist government and landowners (peasant wars led by Ivan Bolotnikov and Stepan Razin).

In 1648, a charter from Tsar Alexei Mikhailovich was issued, in which measures to excommunicate the people from musical instruments were legalized: “And where domras and surnas, and whistles, and harps, and holy buzzing vessels appear, and you would order those demonic ones to be summoned and, Having hacked those demonic games, he ordered them to be burned.”

In the summer and autumn of 1654, on the orders of Patriarch Nikon, a mass confiscation of musical instruments was carried out from the “rabble”. They were being destroyed everywhere. Gusli, horns, domras, pipes, tambourines were taken across the Moscow River and burned.

Due to the royal decrees banning playing folk instruments, in the middle of the 17th century the production of domras by specialist craftsmen ceased. Severe punishment followed for the manufacture and even storage of tools. With the eradication of the art of buffoons, the professional performance of domrache musicians also disappears.

However, thanks to the art of buffoons. Domra has gained wide popularity among the people. It penetrated into the most remote and remote villages.

In the manuscripts of the 16th - 17th centuries there are numerous illustrations with images of folk instruments, in particular, domras and their performers - domracheev. These illustrations indicate that in those days the domra was one of the most common musical instruments in Rus'.

The Old Russian domra in the 16th – 17th centuries existed in two versions: it could have a shape extremely close to the modern domra, and the other was a type of lute - a multi-stringed instrument with a large body, a rather short neck and a head bent back.

Historical documents of that time indicate joint performance on domra, as well as the coexistence of varieties of domra: small, medium and large domra. They played the domra with a sliver or feather.

The 16th century is the period of the widest distribution of the ancient Russian skomoroshey domra. Popular prints dating back to the early 18th century often depicted two buffoons, Thomas and Erema. In the hands of one of them you can see a plucked string instrument. It has a small oval body and a narrow neck. Researcher of Russian popular print, prominent art historian D.A. Rovinsky, as an explanation for the drawings, cites a whole poetic story about Thomas and Erem. It says: “Erema has a harp, and Thomas has a domra.”

Domra was often played in the open air and, moreover, sometimes in an ensemble with louder instruments.

When comparing all the images of the ancient Russian domra and similar instruments of other peoples, it is important to pay attention to the extremely interesting feature: all instruments - kobza (the instrument was widespread in Ukraine in the 16th - 17th centuries, had a large oval or semicircular body and a neck with 5 - 6 strings stretched on it, with a head bent back - that is, a lute-shaped type, or an instrument with a small body and 3 – 4 strings), oriental domras and others - are presented exclusively as solo ones. Other instruments are not depicted with them anywhere. Nevertheless, images of the ancient Russian domra of the 16th – 17th centuries speak of its use in joint play with other instruments. The ancient domra was an instrument intended primarily for collective music playing and existed in various tessitura varieties. For example, the miniatures that have reached us depict domras of different sizes. A domra with a small body corresponds to the size of modern small domras. In ancient drawings there is an image of a domra with an even smaller body: it is possible that this is a “domrishko” - an instrument with a very high tessitura.

In the second half of the 18th century, domra gradually disappeared from people's memory.

1. 
   Balalaika in the 18th – 19th centuries

The balalaika, having taken one of the leading places in the series at the very beginning of the 18th century national instruments Russia, soon turned into a kind of Russian musical symbol, an emblem of Russian folk instrumental art. Meanwhile, in the history of its origin and formation up to our time, there are many unexplored issues.

With the disappearance of the name “domra” in the last third of the 17th century – in 1688 – the first mentions of balalaikas appeared. The people needed a plucked string instrument, similar to a domra, easy to make and with a ringing, rhythmically clear sound. That’s right, made in a homemade artisanal way, and fiddling around with a new version of the domra - the balalaika.

The balalaika appeared in the second half of the 17th century as a folklore version of the domra. Already in the 18th century, it gained extraordinary popularity, becoming, according to the historian Ya. Shtelin, “the most widespread instrument throughout the Russian country.” This was facilitated by a number of circumstances - the loss of the leading importance of previously existing instruments (harp, domra, whistle), the availability and ease of learning the balalaika, and the simplicity of its manufacture.

Folk balalaikas in various provinces of Russia differed in their shape. In the 18th and early 19th centuries, balalaikas with a round (truncated at the bottom) and oval body, which were made from pumpkin, were popular. Along with them, in the 18th century, instruments with a triangular body began to appear more and more often. Their images are shown in various popular prints. There were instruments with a quadrangular and trapezoidal body, with a number of strings from 2 to 5 (copper or intestinal). The materials for making instruments were various types of wood, and in the southern regions, pumpkin. The types of balalaikas differed in their tuning. There were three-string balalaikas of fourth, fifth, mixed fourth-fifth and third tunings. 4–5 movable frets were tied onto the neck.

The primitive balalaikas that were in use among the people were made handicraft; they had a diatonic scale and very limited capabilities.

The dimensions of the balalaikas were often such that they had to be held on a sling: width 0 1 foot, the so-called. about 30.5 cm, length - 1.5 feet (46 cm), and the neck exceeded "the length of the body at least 4 times", i.e. reached 1.5 meters. The balalaika was played by plucking individual strings, clanking, and also with the help of a plectrum - a typical way of playing in the 18th century.

During the second half of the 18th century, the instrument spread both among amateurs and among professional musicians. Along with its widespread use among the people, the balalaika was already found in “famous” houses during this period and even participated in the musical arrangement of festive court ceremonies. The repertoire of city balalaika players at that time included not only folk songs and dances, but also works of so-called secular music: arias, minuets, Polish dances, as well as “works from andante, allegro and presto.”

The emergence of professional urban balalaika players dates back to this time. The first of them should be named the brilliant violinist Ivan Evstafievich Khandoshkin (1747 - 1804). The possibility of this musician composing pieces for the balalaika is not excluded. Khandoshkin was an unrivaled performer of Russian folk songs on both the violin and balalaika; he retained for a long time the reputation of the first virtuoso balalaika player. It is known that it was Khandoshkin who brought such high-ranking nobles as Potemkin and Naryshkin into a “musical frenzy” with his instrument. At first, Khandoshkin played a folk-style balalaika, made from a gourd and glued on the inside with broken crystal, which gave the instrument a special sonority, and later he played an instrument made by the remarkable violin maker Ivan Batov. It is quite possible that Batov’s balalaika could have had not only an improved body, but also with mortise frets. In the instrumental work of A.S. Famintsyn “Domra and related musical instruments”, the painting “ Folk performer with a triangular balalaika from the early 19th century,” on which the musician plays an improved balalaika with seven mortise frets.

Among the famous professional balalaika players one can name the court violinist of Catherine II I.F. Yablochkin, a student of Khandoshkin not only in the violin, but also in the balalaika. Undoubtedly, the outstanding balalaika player who composed pieces for this instrument was the Moscow violinist, composer and conductor Vladimir Ilyich Radivilov (1805 - 1863). Contemporaries testify that Radivilov improved the balalaika, making it four-stringed, and in “playing it he achieved such perfection that he surprised the audience. All the overtures were his own compositions.”

Frontier XVIII – XIX centuries is the heyday of the art of playing the balalaika.

Documents from this period contain information confirming the existence of professional performers among balalaika players, most of whom remained nameless.

We have received information about the outstanding balalaika player M.G. Khrunov, who played a balalaika of a “special design.” Contemporaries give an excellent assessment of the musician's playing, despite the disdainful attitude towards this common instrument.

Printed publications mention the names of several more balalaika players who were masters of this instrument. This is P.A. Bayer and A.S. Paskin is a landowner from the Tver province, as well as an extraordinary performer, an Oryol landowner with an encrypted surname (P.A. Lakiy), who played the “balalaika with inimitable technique, especially flaunting his harmonics. These musicians played instruments made by the best craftsmen.

The balalaikas that existed in the city differed from the common ones; the performance itself was different. V.V. Andreev wrote that in the city he came across seven-fret instruments, and that A.S. Paskin literally stunned him with his professional playing, replete with original technical techniques and discoveries.

In villages, at parties, the balalaika player’s performance was paid for by pooling. In many landowners' estates They had a balalaika player who played for home entertainment.

At the beginning of the 19th century, a composition for the balalaika appeared - variations on the theme of the Russian folk song “Elnik, my spruce forest.” This work was written by a great lover of the balalaika, famous opera singer Mariinsky Theater N.V. Lavrov (real name Chirkin). The variations were published in French and dedicated to the then famous composer A.A. Alyabyev. The title page indicates that the work was written for a three-string balalaika. This indicates the widespread popularity of the three-stringed instrument during that period.

Historical documents confirm the fact that the balalaika acted as an ensemble instrument in a variety of combinations with folk musical instruments - in duets with a whistle, bagpipes, accordion, horn; in a trio - with a drum and spoons; in small orchestras consisting of violins, guitars and tambourines; in ensembles with flutes and violins. The use of the balalaika in opera performances is also known. Thus, in M.M. Sokolovsky’s opera “The Miller, the Sorcerer, the Deceiver and the Matchmaker,” the Miller’s aria from the third act “The Old Man and the Old Woman Walked” was performed to the accompaniment of a balalaika.

The popularity of the balalaika among the broad masses is reflected in both folk songs, and in fiction. The instrument is mentioned in the works of A.S. Pushkin, M.Yu. Lermontov, F.I. Dostoevsky, L.N. Tolstoy, A.P. Chekhov, I. Turgeneva, N.V. Gogol and others.

By the middle of the 19th century, the popularity of the balalaika as a mass instrument began to fade. In its primitive form, the balalaika could no longer fully meet the new aesthetic demands. First, the seven-string guitar, and then the harmonica, replaced the balalaika from folk home music playing. The process of gradual disappearance of the balalaika in folk musical life begins. From being ubiquitous, the instrument increasingly became a subject of musical archaeology.