Tsaryuk Varvara Albertovna
student 5course dept.musicology,
BSAM,
Republic of Belarus, Minsk
Aladova Radoslava Nikolaevna
scientific supervisor, Ph.D. art history, associate professor
BSAM,
Republic of Belarus,Minsk
World vocal music Belarusian composer Vyacheslav Kuznetsov (born 1955) has surprisingly many faces. He is attracted by the poetry of F. Garcia-Lorca, and the paradoxical, caustic and sarcastic poems of K. Prutkov, and the texts of I. Brodsky, and the abstruse mind of V. Khlebnikov. Such inclusiveness literary sources related to latitude aesthetic views Vyacheslav Kuznetsov testifying: “I am interested new ideas, I am drawn to the authentic sources of creativity, not spoiled by civilization. I find them in folklore, in the works of Picasso, Khlebnikov, early Zabolotsky, in children’s drawings, in real black jazz.”
A separate area of interest for the composer is the literature of the absurd, which Kuznetsov has been turning to since the early 1990s. So, in 1992, the composer created “Hamlet’s Monologue” from “Dysmorphomania” by V. Sorokin for voice and prepared piano,” a year later - “Eophonia” for 8 voices and 45 percussion instruments to the text by Velimir Khlebnikov”, in 1997 - the choral diptych “Music for Alice” to the words of Lewis Carroll. In the 2000s, two essays based on texts by Daniil Kharms, a Russian writer, poet and playwright, appeared.
The revival of the creative heritage of Daniil Kharms, who became a victim of Stalinist repression, occurs during the years of perestroika, when he becomes one of the most published and studied Russian poets of the twentieth century, and, according to Jean-Philippe Jacquard, is recognized as the founder of European literature absurd. It was Vyacheslav Kuznetsov who was the first among Belarusian composers to turn to literary heritage Daniil Kharms, creating the multimedia composition “Two texts by Daniil Kharms for four performers” (2003) and choral composition“Cheerful old man Kharms” (2010).
The composer was attracted by the brightness and originality poetic word, which at the same time has ambiguity and depth of semantic content. Kharms’s aesthetics turned out to be close to the composer and its paradoxical nature, the poet’s desire to comprehend the world order under the dominance of absurdism.
In the work “Two Texts by Daniil Kharms” music, graphics and theatrical stage action merge into one. V. Kuznetsov edits two texts by D. Kharms: “Man is made of three parts” and “Blue Notebook No. 10”. The first of them describes a person consisting of disparate non-standard elements: “A beard and an eye, and fifteen hands,” reflecting Kharms’ discrete vision of the world. This text is paradoxical in its essence: the quasi-analytical principle “man is made of three parts,” which presupposes some kind of systematization, is contradicted by the refrain that is consistent in all three stanzas “heu-la-la drum-drum-tu-tu”. At the same time, the three-part structure of man specified in the first verse is confirmed not meaningfully, but purely constructively. In the third stanza there is a negation of the previous thesis: “fifteen pieces, but not hands,” which finally collapses the three-part structure of the object. The only stable element of the poem remains the refrain, which not only serves to emphasize the rhythm like children's rhymes, but also concentrates all the irrationality of the text. The second text, on the contrary, represents an absurd person who had nothing “so it is unclear who we are talking about.” Kharms also lists elements that testify to the existence of man, but the result of the poem is the denial of his existence. Thus, Kharms creates a parody of the narrative as such, and the letter itself serves the sole purpose of exposing the emptiness behind the object. By alternating phrases, these texts merge into a single narrative, which helps to enhance the absurdism in their semantic content. The unifying principle for them is the epigraph borrowed by Kuznetsov from the third text of Daniil Kharms “Makarov and Petersen”, which reads: “Gradually a person loses his shape and becomes a ball.” Thus, a new semantic subtext arises, summarizing the metamorphoses of the hero Kharms-Kuznetsov.
The literary basis of the work for the choir “Jolly Old Man Kharms” was the children’s poem “Jolly Old Man” by Daniil Kharms. This text is built on the constant deception of the reader's expectations - the old man, faced with a terrible reality for him, reacts in a very unexpected way: he laughs loudly. Onomatopoeic interjections acquire rhythm-forming significance here, emphasizing the rhythm of the verse through the use of repetitions of syllables and chants. Thus, this text uses techniques of imitation of children's speech in order to create a language game. At the same time, Kharms’s laughter is an exponent of not only the comic, but also the deeply tragic principle inherent in all absurdist texts.
In V. Kuznetsov’s work “Two Texts by Daniil Kharms”, the formative role is played by the alternation of fragments of Kharms’ texts. Their musical implementation is contrasting in the performing composition, dynamics and manner of performance: the first text is performed solo, on speakers f, in a manner Sprechstimme; the second is speech recitation accompanied by percussion instruments, on nuance mp- mf. Election as composer Sprechstimme as a means of realizing the first text is connected with the inherent musicality of the verse, namely the rhythmicity of its refrain. Each appearance of this refrain in a work is accompanied by an indication of the meter 7/8, which corresponds to the number of its syllables. The instrumentation also contributes to the creation of the image of an absurd person in the work: this is an unconventional composition of drums, among which there are such as frusta, klaxon, reku-reku, flexatone, wassamba, vibroslap. In general, the entire composition consists of three sections of variant-repetitive structure and coda, which, returning a phrase from the first text, is a musical and semantic generalization of the dramatic lines of both texts - the line “fifteen pieces, but not hands” is realized using two methods of intonation . The prerequisite for this synthesis was the correspondence of this phrase to the figurative sphere of the second text, since the presence of the described object is denied.
Thus, in this musical work, Vyacheslav Kuznetsov embodied the key ideas and images of Daniil Kharms’ work: anti-world, discrete vision, ambivalence of worldview. At the same time, the composer turns to the genre of instrumental theater, presenting the drum ensemble as a “living organism” capable of moving and being on stage in constant movement. The phenomenon of play inherent in this genre and the powerful energy of the rhythmic principle come into semantic contradiction with such ideas poetic text as an exposure of emptiness, destruction of the structure of an object. At the same time, such a paradoxical musical reading fully preserves the absurdist spirit of the poetic source.
In the work for women's choir unaccompanied “Jolly old man Kharms”, V. Kuznetsov, following the poetic text, emphasizes the expressiveness of its phonetic side. At the same time, working with a poetic text, the composer makes some changes to the refrain of the poem, imitating the laughter of an old man. V. Kuznetsov finds an individual musical embodiment for each interjection. The intonation material of the refrain undergoes development throughout the entire composition, as a result of which the sound of certain phonemes becomes more acute. In addition to emphasizing the sound-visual side of the text, the composer strives to embody the unusually strong rhythmic energy of Daniil Kharms’ poetry, actively using syncopated rhythm. As a result, in the author’s musical reading it is gaming the beginning comes to the fore and becomes the basis of its ideological content.
Thus, in the considered works of Vyacheslav Kuznetsov on the texts of Daniil Kharms, two ways of implementing the poetic fundamental principle are revealed. On the one hand, this is the isolation of only one semantic line from the content of a poetic text and the related one-dimensional musical reading. On the other hand, it is the creation of a multidimensional image of an absurdist poet, which is achieved through the extreme concentration of the main ideas of his work on a relatively small scale piece of music. The poetics of Daniil Kharms turns out to be close to the artistic worldview of Vyacheslav Kuznetsov, who translated the key ideas of his philosophy into these works.
Bibliography:
- Baeva S . Choral a capella creativity of V. Kuznetsov // Vesti BSAM. - 2005. - No. 7.
- Gladkikh N.V. Aesthetics and poetics of prose D.I. Kharmsa: Author's abstract. dis. for the job application scientist step. Ph.D. Philol. Sciences: 10.01. - Tomsk, 2000. - 19 p.
- Jacquard J.-F. Daniil Kharms and the end of the Russian avant-garde. - St. Petersburg: Academic Project, 1995. - 472 p.
- Jacquard J.-F. Literature as such. From Nabokov to Pushkin: Selected works on Russian literature. - M.: New Literary Review, 2011. - 408 p.
- Zlatkovsky Yu. Composer Vyacheslav Kuznetsov. - Minsk: Publishing house. center of BSU, 2007. - 64 p.
- Maslenkova N.A. Poetics of Daniil Kharms: Epic and Lyrics: Author's abstract. dis. for the job application scientist step. Ph.D. Philol. Sciences: 10.01.01. - Samara, 2000. - 22 p.
- Ruchevskaya E.A. On the relationship between word and melody in Russian chamber vocal music of the early 20th century // Russian music at the turn of the 20th century. - M.: L., 1966. - P. 73-88.
- Suslova O. Music and graphics. Two-layer sounding and non-sounding in the works of V. Kuznetsov // Musical art at the turn of the century. - Minsk, 2000.
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- Yampolsky M. Unconsciousness as a source (reading Kharms). - M.: New Literary Review, 1998. - 384 p.
Composer, State Prize laureate, professor of the Academy of Music Vyacheslav Kuznetsov - a personality in musical world more than famous. Music lovers enjoy his symphonic works; fans of ballet art could fully appreciate “Vytautas”, brilliantly presented by the Bolshoi Opera and Ballet Theater. On January 28, the President signed a decree conferring the title “Honored Artist of the Republic of Belarus” on the composer, and today his choreographic symphony “Cleopatra” will be performed at the Belarusian State Philharmonic Society.
Your ballet “Vytautas”, staged in Bolshoi Theater, made a splash and is still going strong. How popular are essays of this kind now?
Our ballet school is very strong, and the public loves dance. There is a tradition of Belarusian ballets, and I continue it. But there are also difficulties. It is necessary, firstly, to find a topic, secondly, to interest the theater, thirdly, to create creative group, find like-minded people, fourthly, finance. And fifthly, the performance needs to generate some income so that the public will go to see it. If everything fits together, great. “Vytautas,” for example, had a very powerful production team, starting with playwright Alexei Dudarev. This, by the way, good idea, when the theater chooses a theme, composer, playwright, artist.
- If we talk about the theater, then working to order is a completely natural thing, even from a historical point of view.
Of course. It’s hard to imagine the picture when a young author comes: look, I wrote an opera. Well, I wrote it - and good, congratulations. I believe that the Ministry of Culture should regulate the process. Some global idea came to the Ministry of Culture, for example, to stage an opera based on our national plot. And they decide: let’s ask this composer, this artist, and so on. Ideally, this should be the case, at least in large productions. If the composer brings a short vocal cycle, they sing it, and that’s it. And the theater is a complex, heavy machine, and it’s still time to put it into action! Now I (also commissioned by the theater) am finishing the ballet “Anastasia” - about Anastasia Slutskaya. The same principle: they called Anatoly Delendik, who wrote the script for the film, offered to write a ballet libretto and invited me. And we are slowly working with choreographer Yuri Troyan. Step by step, slowly.
- How long does it take to compose a major work?
A year or two, or even three. “Cleopatra,” which will be performed at the Belarusian State Philharmonic on February 11, took me three years to write. There, of course, you will hear a purely symphonic version of the ballet score, but thanks to the idea of conductor Alexander Anisimov, two readers will be introduced - actors of the Yanka Kupala Theater. They will provide poetic content: texts by Plutarch, Bryusov, Akhmatova will be heard... The Philharmonic is a hospitable home, I don’t even remember how much of my music has been played there over the years, but it is an honor for me to sound within these walls.
The play “Vytautas” is not tutorial in history, but rather a stage fantasy.
Photo by Vitaly Gil.
You are a person knowledgeable in literature, and, as far as I know, you not only turn to poetry, but also do not shy away from prose writers.
Yes, I have the opera “Notes of a Madman” based on Gogol. Wonderful text, such that it sings itself! By the way, it was staged at the Bolshoi Theater in 2005. He wrote an opera based on Nabokov - “Invitation to Execution.” I proposed it for production, but apparently the title puts me off. And Dostoevsky? I made several attempts: I composed choral and vocal works.
- Vocal? How can you sing Dostoevsky?
There is an epigraph in “Demons” - a quote from the Gospel - I took it and sang it. The result was “Fragment of the epigraph to Dostoevsky’s novel “Demons.” Shostakovich has “Four Poems by Captain Lebyadkin.” I wanted to try to write music for the fifth year, and even planned an opera based on “Demons,” but the task, of course, is not the easiest. I’ve been approaching this idea, but so far it’s only in projects.
- Do you collaborate with modern authors?
I am attracted not so much to modern as to folk texts. I find a lot there that today's authors don't have. Although I have written a large composition on the poems of Yan Chechot for a male choir, I love Bogdanovich very much - he, in my opinion, is our most lyrical, piercing poet, in every line one can feel such depth and pain... And his poems are very musical.
- You write a lot for the choir, but now choirs are often perceived as some kind of archaism.
On the contrary, they are more than modern! People simply don’t know, aren’t interested, but imagine a choral group, a chapel, where there are 60 - 80 voices. And imagine the essay being written with every voice in mind. What kind of music this could be! I’m not talking about the Baltic traditions, where the choir is the basis, but in Belarus we have a huge folklore layer. As a student, I went on ethnographic expeditions to Polesie: what deep places there are, grandmothers in such distant villages - we sailed there by boat, because there were no roads! The fact is that songs taken from archives and already transcribed are a shadow of the real ones, and one must always take the original. When a folk song is deciphered, on this basis the composer then creates a kind of pan-European version, missing the subtleties of performance, all the flavor. It is very difficult to record a folk song and its rhythmic and intonation turns. It’s easier to do everything according to European standards - that’s what the stage does. Takes a diamond, sharpens it, leads to common denominator. I understand that this is also necessary for the sake of popularizing folklore, but if you work seriously, then only relying on the basics, on the primary source.
ovsepyan@site
Kuznetsov Ivan Ivanovich (1919-1956), born in Timonav, Belgrade region. Graduated from the Belarusian State Conservatory in the composition class of professors M.I. Aladov and V.A. White (1953).
Honored Artist of Belarus (1967). Member of the Union of Composers of Belarus (1956).
The legacy of the Belarusian composer I. Kuznetsov is quite rich. The main place in it is occupied by vocal and vocal-instrumental works. His works are characterized by warmth and emotionality, clarity, lyrical and genre-everyday imagery.
In his art, Kuznetsov was guided by peasant and urban folklore. His works are distinguished by song themes, unique rhythms, and various techniques of imitative polyphony.
The composer's creative path was not easy. After graduating from the Voluysk Pedagogical College, he worked as a school director in Kazakhstan. In 1939 he was drafted into the army, took part in battles with the White Finns and was seriously wounded. He received treatment in Leningrad, where he entered the music school named after M.A. Rimsky-Korsakov. Classes were interrupted by the Great Patriotic War. I. Kuznetsov was evacuated to Volgograd region, where he worked until 1946. Then he studied at the Gomel Music College and the Belarusian State Conservatory.
Among early works composer - romances and instrumental music. But his main creative achievements were associated with the genres of choral song and cantata, in which he turned to the work of Belarusian poets, especially A. Dzerzhinsky, with whom he collaborated for many years. The music of I. Kuznetsov reflects the themes of friendship between peoples, the struggle for peace, characteristic of the art of the 50s, which determined the mood of our society in the post-war period.
At the end of the 50s, as a result of the composer’s trip to Kazakhstan, works appeared that embodied the theme of the development of virgin lands: the choruses “Wide Steppe Fields” and “The Land of Kazakhstan is Blooming”, the cantata “Steppe Fields”.
The vocal works written by the composer in the 60s have a lyrical overtones. Many of them reveal the theme of the Motherland (“Motherland”, “Belarus”, “Belarus is a dear old woman”, “Live, Belarus!”). The songs “I will marry an acolyte” and “Walking a song over cancer” beckon with their depth of feeling and poetic content.
New sides creative individuality I. Kuznetsova are revealed in genre-everyday and comic songs: “At the Party”, “Violin and Tambourine”, “Granny”, “Gander”, etc. They are characterized by dance rhythms and color musical means and colors, humor.
In the 70s, the composer's attention was focused on genres instrumental music associated with folk instruments - button accordion and pipe. The plays for the dudar ensemble are bright genre sketches and have a song and dance basis.
I. Kuznetsov’s creative activity was combined with social activity: he led amateur artistic groups, advised amateur composers, for some time headed the music editorial board of Beldzyarzhvydat, and was deputy chairman of the board of the Investigative Committee of Belarus.
Vladimir Ivanovich Kuznetsov was born on June 20, 1920 in Perm. At the age of 5 he began to master the harmonica of the “Russian system” (diatonic). This accordion was bought by my older brother, who, having gone to study at the institute in Sverdlovsk, left it in his parents' house. And so, when little Vladimir learned to play, they began to invite him to parties, feasts, and weddings so that he could play folk music. As a child in Perm, he often went to the skating rink to skate. Music from gramophone records sounded at the skating rink, and this pop music he really liked it.
In 1932, at the age of 12, he was already performing “Turkish March” by V.A. Mozart and the overture to J. Bizet’s opera “Carmen”. He selected all his works by ear; sometimes he even had to change the original keys due to the limited range of the instrument. In 1932, the Olympics of children's amateur performances was held in Sverdlovsk. Vladimir, who went there with his harmonica to participate, had to bow several times after a successful performance. He became a laureate, and as a reward, the organizing committee of the Olympics granted his cherished wish - they bought him a new instrument. My brother was a radio amateur; he made a tape recorder and a player himself, so recordings from various records were constantly playing at home.
At that time, Vladimir often sat on the gate and played in the street, passers-by would gather and listen to him. I was passing through once circus group and invited him to work with them. Vladimir played several concert performances with them. Not far from the performance site there was a market and a carousel with musical accompaniment- playing accordion players. The young musician went to listen to them with great pleasure.
Before entering the school, he was often invited to dance evenings, where foreign newfangled dances were performed: pas de quadre, padespaigne, waltz-Boston, foxtrot. Vladimir really wanted to learn to play the button accordion professionally. At the age of 16, after completing seven years of school, his father brought him to enter the music and pedagogical college in Perm. It turned out that the recruitment had already taken place, but after urgent requests that the boy be accepted, he was auditioned, they learned about his victory in the competition (Olympiad), and the decision was made instantly - to enroll immediately!
During Vladimir's 2nd year studies music school, the song and dance ensemble of the RSFSR came to Perm on tour. A competition was announced to fill the vacant position. By that time, Vladimir was already working in a workers’ club. In 1939, he was accepted into the ensemble, and he went on tour to Yaroslavl as part of this group. In 1940 the ensemble moved to Leningrad.
In the same year, a draft commission was held in Leningrad, to which V. Kuznetsov was also summoned. One of the commission members, the head of the school for junior aviation specialists, was an accordion player and, having learned that Kuznetsov was an excellent accordion player, took him to Oranienbaum. Once, during a trip to purchase an accordion, in Tallinn, Vladimir met an acquaintance from the song and dance ensemble of the RSFSR, who informed him that accordion players were being recruited for a new ensemble under the direction of I.O. Dunaevsky. The thought of working in this ensemble never left Vladimir. This is what Vladimir Ivanovich himself recalls about this episode: “Once, while on military service, I went AWOL to Leningrad, but in the train car, this must happen, I met the head of the soldiers’ club where I was a member artistic director. There was a long conversation about the need to urgently return to work, that this was a violation, etc. I said that I understood everything and would return immediately, but the desire to get to the ensemble in Leningrad was stronger. I got off the train, waited for the next train and finally went to Leningrad. I arrived at Labor Square, where the Central Ensemble was based Navy(or, as it was called then, “The Ensemble of the Five Seas”), they auditioned me there and enrolled me on the staff.”
After the start of the war, the ensemble moved to Moscow. April 1, 1942 to Lake Ladoga the team was evacuated to the mainland, and spent two weeks exhausted in getting to Moscow. Shortly before the evacuation, a concert was organized in Smolny in front of the city's party leadership. Before the concert, the artists were fed porridge, but during the concert people fainted, and it was for this reason that the decision was made to evacuate the ensemble. With the move to Moscow, the restoration of health and concert activity began.
During the war, concert brigades were formed that went to battlefields, naval ships and coastal units with concert programs. Vladimir Kuznetsov worked with such artists as Nikolai Trofimov, Pavel Necheporenko, Olga Nesterova, Ben Benzianov. In 1944, one of the film concerts was filmed in Moscow, in which V. Kuznetsov accompanied Ivan Kozlovsky, who performed the song “A blizzard is blowing along the street.” At one of the shows of naval ensembles that took place during the war, I met the famous accordion player Yuri Kazakov.
In 1944 the ensemble was disbanded. Vladimir Kuznetsov and accordion player Boris Petrov were transported to the Baltic Fleet ensemble in Leningrad, to the same Truda Square. The ensemble was part of a large formation - the Baltic Fleet Theater, consisting of drama theater, jazz and ensemble (choir, orchestra, a dancing group). In 1944, Vladimir Kuznetsov got married in Leningrad - the secretary of the ensemble became his wife. Soon the ensemble moved to Tallinn, then Baltiysk (Kaliningrad) and, finally, to Klaipeda. In Baltiysk, Kuznetsov was appointed head of the orchestra. The war period of the biography of V.I. Kuznetsov was awarded several military awards, including the Order of the Red Star, which the musician was awarded for his active concert activities on ships and bases of the Northern Fleet. Thus, the peaceful work of a musician was equated with the heroic feat of a soldier.
In 1948, V. Kuznetsov was demobilized and returned to Leningrad. In the same year, he was accepted into the staff of Leningrad Radio. After the war, dance evenings were organized at the First Five-Year Plan House of Culture, where Vladimir Kuznetsov played in a duet with Boris Petrov. In the Marble Hall of the House of Culture named after S.M. Ilya Lozovsky's jazz orchestra performed at Kirov, Vladimir Kuznetsov was invited to play jazz compositions during breaks between the orchestra's performances. In 1948, a duet of accordion players Vladimir Kuznetsov - Ivan Tikhonov was formed, who voiced radio programs and concerts in live. The duo's repertoire includes their own adaptations of Russian and other folk songs and dances, adaptations of Russian and foreign classics. At the same time, Kuznetsov worked in the Russian orchestra folk instruments named after V.V. Andreev and in the youth orchestra of Ilya Jacques.
In the 50s, the “Plastmass” artel was formed, producing gramophone records ( music director- Anatoly Badkhen). Vladimir Kuznetsov began to be invited to recordings. He recorded as an accompanist with Galina Vishnevskaya, Joseph David (trombone), with solo compositions, with the Ilya Jacques Ensemble. At the same time, recordings were made on records at the Radio House, mainly solos and duets with I. Tikhonov, V. Tikhov, T. Strelkova. In 1951, the first trips of Soviet artists to Finland began to be organized. Somehow Vladimir Kuznetsov and Boris Tikhonov(a famous button accordion player from Moscow), played in separate groups, but in one concert they played a duet Fantasia about Moscow and Karelian-Finnish polka. On one of his trips to Denmark, V. Kuznetsov accompanied famous performer songs Olga Voronets. In 1954, the duo V. Kuznetsov - I. Tikhonov took a tour to Sweden and Norway with large group artists from all over the USSR, after which in 1955 the musicians were offered to move to work from Radio to Lengosestrad. After ten years collaboration in 1958 the musicians separated. Since the 60s, active concert touring activities began in different compositions, which continued until V. Kuznetsov’s retirement in 1980. Since the 80s, Vladimir Ivanovich Kuznetsov continues to actively participate in concert life. He is a regular participant international festivals music for button accordion, held in different cities (Moscow, St. Petersburg, Saratov, Vilnius, Perm, etc.), the grateful St. Petersburg audience also warmly remembers anniversary concerts musician. In 1996, Vladimir Ivanovich Kuznetsov was awarded the title - Honored Artist of the Russian Federation.
The life of a professional musician and artist is rich in various events, impressions, and meetings. IN AND. Kuznetsov for his creative life met many famous and popular artists, musicians, people of art and just interesting personalities (Lidiya Ruslanova, Vladimir Troshin, Valentina Levko, Boris Chirkov, Antonina Smetanina, Vasily Stalin, and many others). Meetings like this are always enriching inner world the artist, expand his creative potential, contribute to the crystallization of talent and encourage him to display a creative attitude towards the creation of new works of art. IN AND. Kuznetsov is the author of many popular songs, compositions, arrangements for the button accordion, for duets and ensembles, which significantly expanded the button accordion repertoire and demonstrated the novelty of the approach to the button accordion as a musical instrument.