In the 18th century, Belarus was part of the Polish-Lithuanian Commonwealth. At the end of the century, the Polish-Lithuanian Commonwealth was divided into three states and ceased to exist as an independent political unit. Belarusian lands in 1795 they completely ceded to Russia, becoming the Northwestern region of the Russian Empire.
Against the backdrop of difficult political events, Belarus was experiencing a time of intensification of spiritual life associated with the rooting of the ideas of the Enlightenment in the national culture. The development of science, education and art was prompted by the desire of the highest aristocratic strata of society to conform to European fashion and took place within the framework of widely developed philanthropy. Patrons of the arts were in the second half of the 18th century. Belarusian magnates I. Khraptovich, A. Tizengauz, the Radzivil, Oginsky, Sapieha families, etc. Under their patronage, new classicist architecture was developed, magnificent landscape ensembles were created, and decorative and applied arts developed.
In the musical culture of this time, sacred and actively developing secular music coexisted, professional performing activities and amateur (most often aristocratic) music-making developed, court privately owned and school musical theaters coexisted. In the second half of the 18th century. the foundation was laid for the development national composer's creativity and the first examples of opera, orchestral, chamber-instrumental and chamber-vocal music were created.
The spread of Enlightenment ideas on the territory of Belarus became an incentive for the development of theatrical arts and appearance musical opera and ballet theater. For relatively short term the entire territory of Belarus was covered with a network of musical theaters. In the 50s of the XVIII century. The Nesvizh and Slutsk theaters of the Radzivilovs arose, in the 70s and 80s the Slonim theater of Michal Kazimir Oginsky, the Grodno theater of Antony Tizengauz, the Ruzhansky and Drechinsky theaters of Sapega, the Shklov theater of Semyon Zorich were created.
Gained the greatest fame Slonim Theater M. Kaz. Oginsky. It was distinguished by its enormous size, enormous capacity auditorium and great opportunities decoration performances. Progressive “machinery” provided unusual effects that could capture the imagination of even a modern viewer: a cavalcade of horses rode freely onto the stage, and with certain manipulations the stage turned into a lake on which small boats and fake ships sailed.
The troupes of Belarusian magnate theaters, which most often included serf actors, were well trained. Thanks to high level Grodno craftsmanship ballet troupe later became the basis Warsaw Theater, and Shklovskaya formed the core of the theater in St. Petersburg. The repertoire of the court magnate theaters consisted mainly of Western European operas and ballets. A very small part of it was occupied by works of national authors. The performing groups were formed from professional musicians, a significant part of whom were foreign performers specially invited for this purpose. Local musicians (serfs and freemen) were at first in the minority, but over time their number grew steadily. Belarusian artists could be trained abroad, where the tycoon sent them at his own expense, or acquired the skills of singing, dancing, playing the musical instruments from foreigners directly in the chapel or opera and ballet troupe.
special social group among artists musical theater consisted of high-society amateur musicians, who included, in particular, Michal Kazimir Oginski and Matej Radizivil.
Michal Casimir Oginski (1728 – 1800) - politician, philanthropist, enlightened music lover and composer - was a native of the ancient noble family. He received a comprehensive education, made a military career, was repeatedly elected to the Sejm and actively participated in political life. The diplomatic position of Hetman of the Grand Duchy of Lithuania made it possible to often travel abroad. In the 50s of the XVIII century. Oginsky visited Berlin, Vienna, Paris and St. Petersburg, in the 80s - Aachen, Brussels, Amsterdam, The Hague, visited the cultural centers of England, in the 90s - he was in Prussia and Silesia, after which he returned to the territory of the Grand Duchy (in Vilna and Warsaw). During his travels, the hetman established personal contacts with crowned heads, as well as with famous philosophers, writers, artists and musicians. The hetman had friendly relations with Haydn, to whom he proposed the plot of the oratorio “The Creation of the World.”
After his marriage to Alexandra Sapieha in 1761, Michal Kazimir received the Slonim economy and began active philanthropic activities in the Slonim region. In a short time, on his initiative, a canal was built that connected the basins of the Baltic and Black Seas, roads were laid through the Polesie swamps, manufactories and printing houses were opened. By the mid-80s, Oginsky founded an arts center in Slonim with a grandiose theater for staging operas and ballets, where there were two opera and ballet troupes and a highly professional orchestra, which contemporaries compared with the Mannheim one. Famous Western European and local architects, artists, composers, conductors, singers, and instrumentalists came to this “estate of the muses.” They received their education at the theater school talented musicians and dancers.
Michal Kazimir showed himself in a variety of creative ways. He drew well, wrote poetry and opera librettos, composed music, played several musical instruments. In his youth, he took lessons from famous Western European violinists. Then he continued to improve his skills at home: he was a soloist in violin concerts, performed the first violin part in a home orchestra, and participated in the performance of string quartets by Haydn, Boccherini, and Stamitz. In addition to the violin, he mastered the art of playing the clarinet, for which he received the nickname “hetman clarinet” from his contemporaries. It is also known that he was a wonderful harpist and made changes to the technical characteristics of this instrument.
Oginsky's musical creativity was also varied. According to indirect evidence, he was the author of five operas, the scores of which have not survived. Currently, 12 unaccompanied songs in a manuscript from 1770 and 14 songs accompanied by two violins and a bass, published in Warsaw editions of 1768, have been found and introduced into modern musical practice. This opus became known as the cycle of songs “Da Kasi”, written in own words. These laconic songs express the ideas of simplicity and naturalness characteristic of the era. The unifying image of the cycle is the young peasant woman Kasia, who inspires the sophisticated young philosopher, on whose behalf the story is told, to create lyrical and instructive, philosophical and humorous musical sketches. The names of the songs (“Ab Shchyrym Serdtsy”, “Nespadzyavany Dobry Dzen”, “Kotsik - Verabey”, “Ab Plavanni”, “Roznyya Thicks”, “Ab Masks”, etc.) indicate shades of mood and reflect the instructive experience that the narrator extracts from the diversity of life phenomena.
For his songs M. Kaz. Oginsky chooses the traditional couplet form. Their melody is a typical example classic style and has characteristic rounded ends. It should be noted that the vocal part, probably for ease of performance, is doubled with a violin. The rhythm of the songs contains polonaise and minuet figures. The transparent texture becomes more complex only in the opening and closing ritornellos. In building artistic image each miniature is dominated by a singing voice.
One of the brightest representatives of Belarusian musical amateurism, the second half of the XVIII V. was Matej Radziwill (1751 – 1821) - talented poet, composer, public figure, who lived in Nesvizh for many years. After the death of Matei’s father, his mother married the Lithuanian hetman, the voivode of the Vilna prince Michal Kazimir Radzivil (“Rybonka”), the owner of Nesvizh, the creator of the opera and ballet theater and chapel. The boy spent his childhood in this center of muses, where Matei also acquired a musical education.
After completing his general education in 1770, M. Radziwill went to see the world. He visited Dresden, Gdansk, Prague, Karlovy Vary, and became acquainted with the achievements of musical art.
At the end of the 70s, Radziwiel returned to Nesvizh, where he communicated a lot with his half-brother Karol Stanislav Radziwiel (“Pane Kokhanku”), a major philanthropist who contributed to the rise of the Nesvizh Theater. At this time, world celebrities D. Albertini and J. Dusik worked in the theater, and operas by Paisiello, Cimarosa, Sarti and Holland were staged on stage. The Nesvizh Chapel gave concerts almost every day, where, among others, works by Haydn were performed.
In the 80s, Matej Radziwill became a castellan of Vilnius and received lands in Novogrudok and other places in Belarus and Poland. At the same time, the creative activity of the philanthropist intensified - he created the libretto of the opera “Agatka” with music German composer J. Holland, staged in Nesvizh in 1784, and in 1786 he wrote the opera “Voit of the Village in Alba”, in which he was a librettist, composer and performer of one of the main roles.
In 1790, M. Radziwill was appointed guardian of the young Dominic, who, after the death of his father, “Pane Kohanku,” remained the only heir to all lands. Because of this, Matej Radziwiel was forced to remain in Nesvizh during the second partition of the Polish-Lithuanian Commonwealth. Nevertheless, he supported the uprising of T. Kosciuszko, armed several rebel detachments, and gave freedom to the peasants who decided to join the rebels. M. Radzivil remained in Nesvizh until the end of his days, and was buried there.
Among the musical works of the amateur composer are known a divertimento and 6 polonaises for chamber orchestra, 3 piano polonaises, a serenade for string quartet and a sonata for violin and piano. These works, written in 1788 - 1797, are dedicated to the Saxon Elector Anthony and Princess Anna, with whom Radziwiel was friends. All works are the same in style. They are characterized by light images, simple means of expression, clear forms and pervasive consonance.
The divertimento for orchestra consists of three parts: Allegro moderato – Adagio – Allegro scherzando. The musical language of the work is characterized by the influence of the classical style, flying themes reminiscent of the Mannheim style, clear tonic-dominant harmony, transparent texture and symmetry of form. This composition can be classified as an example of everyday music-making with features of the musical style of the era.
The most prominent composers whose lives were connected with Belarus at the end of the 18th century are Osip Kozlovsky and German composer Jan Holland.
Osip Kozlovsky (1757 – 1831 ) - comes from a family of Belarusian nobles. In Russia, O. Kozlovsky was ranked among the founders of the national composer school. He is the author of the famous hymn “The Thunder of Victory, Ring Out” (to the words of G. Derzhavin, 1791), many orchestral, musical, theatrical and chamber works.
Osip Antonovich Kozlovsky was born in the Slavgorod region, on the Kozlovsky farm near the former Propoisk, into a poor noble family. The boy’s musical talent was noticed by his uncle, V. F. Trutovsky - famous musician, chamber-guslist at the court of Catherine II, collector of Russian folk songs. He took seven-year-old Osip to study in Warsaw, to the chapel at the Cathedral of St. Yana, where Kozlovsky acquired the skills of a choir singer, violinist and organist. From 1773 to 1786, the musician worked as a tutor in the house of Counts Oginski, teaching Michal Kleofas and his sister Jozefa. From 1786 to 1796, O. Kozlovsky served as an officer in the Russian army and took part in the capture of Ochakov. After being enrolled in the retinue of Prince G. Potemkin, he was transferred to St. Petersburg. Here in 1791 he created the solemn polonaise “Roll the Thunder of Victory”, after which he gained fame as a composer. Since 1799, Kozlovsky served in the Directorate of Imperial Theaters, first as an inspector, and from 1803 as director of music. He led orchestras, organized court festivities, and supervised the training of musicians at the theater school. In 1819, due to a serious illness, the composer left his service and, apparently, stopped creative activity. In the 20s of the XIX century. the musician briefly visited Belarus, visited Zalesye, the estate of Michal Kleofas Oginsky, and the estate of the philanthropist L. Rokitsky in Gorodishchi. O. Kozlovsky died in St. Petersburg in 1831.
The composer's fame was brought to him by symphonic and piano polonaises, a number of operas, melodramas and music for tragedies by V. Ozerov, Y. Knyazhnin, P. Katenin and others, as well as “Russian Songs”, which became a harbinger of the Russian classical romance for voice and piano (to the words of G. Derzhavin, A. Sumarokov, Yu. Neledinsky-Meletsky and other Russian poets).
During his life, O. Kozlovsky created many works. He signed all his works “amateur”, although, in essence, he was a highly professional composer. The reason for this was the musician’s social background: he was an impoverished nobleman, constantly in need of philanthropic support, and if for many nobles composing music was more of a whim, then for O. Kozlovsky it was an urgent necessity.
German composer Jan David Holland (1746 – 1827) entered the history of Belarusian music as the author of the first national opera“Agatka”, written on a libretto by the Belarusian philanthropist, librettist and composer M. Radzivil.
Jan David Holland was born on March 17, 1746 in the German city of St. Andreasberg. From 1771 he lived in Hamburg. In this city, from 1776, he took the position of director of music of the Hamburg cathedral, where he was lucky enough to work in collaboration with F. E. Bach. From the mid-70s to the early 80s of the 18th century. Holland's symphonies, cantatas, oratorios, vocal and instrumental pieces were constantly performed in concerts.
In 1782, the composer moved to the Polish-Lithuanian Commonwealth and worked at the court of the owner of Nesvizh, Karol Radziwił (Panie Kokhanku). In Nesvizh, Holland created the comic operas “Agatka, or the Arrival of a Master”, “Another Man’s Wealth is of no Good to Anyone”, the ballet “Orpheus and Eurydice”, a string quartet and a cantata dedicated to his patron Karol Radziwiel. It is known that in 1790 the musician worked in Grodno and Warsaw, and from 1802, over the next 23 years, he taught music theory at the Faculty of Literature and Liberal Arts of Vilna University, and directed the choir and orchestra. Experience pedagogical activity he summarized in the musical theoretical work “Academic Treatise on the Real Art of Music.” Among the works of this period, a six-voice canon dedicated to the Russian Emperor Nicholas I (1826) and various clavier pieces (preludes, rondos, polonaises, marches), combining classical and sentimentalist features, are known. J. D. Holland died in Vilna in 1827.
Great importance for the Belarusian musical culture is the comic opera by J. D. Golland “Agatka, or the Arrival of the Master.” Its premiere took place on September 17, 1784 in Nesvizh and was timed to coincide with the arrival of King Stanislav-August. The popularity of this opera was so great that after the premiere it did not leave the stages of Warsaw, Krakow, Lublin, Poznan and Lvov for forty years.
The genre of the work was defined by the authors (composer J. Holland and librettist M. Radzivil) as “operetta”. The content of Agatka also corresponded to the unpretentious plots of comic operas. The young serf peasant woman orphan Agatka loves the village boy Antek Tsalka. Their marriage is being prevented by the elder Piyashka, who wants to marry Agatka to another man, Antek Gaidak. A chain of comic misunderstandings arises due to the identical names of the characters. The girl's guardian Valenta and the old maid Platyukhova try to help the couple in love, but their efforts are in vain. Only a wise gentleman, the owner of the village, destroys Piyashka’s intrigue and gives happiness to the lovers. The finale of the opera is the glorification of the just master.
The plot revealed lines characteristic of operas of that time: lyrical-idyllic (the love of a peasant couple, described as a pastoral scene), dramatic (obstacles on the path of lovers to happiness), comedic-satirical (concentrated in the characters of Valenta, Piyashka and Platyukhova) and panegyric-didactic (the intervention of a good gentleman who resolves all contradictions). At the same time, in “Agatka” the local flavor was clearly felt, manifested in the characteristic social conflict the times of serfdom.
The opera consists of three acts. The clear structure is built on the classical principle of the “three unities” (place, time and action). Musical language The opera is close to the norms of the classical style, although in Valens's aria from the first act there is a Slavic flavor. The most developed musical characteristics endowed with Agatka and Antek Tsalka (they are shown in several arias and ensembles). The style of their musical speech is close to Italian opera arias and is distinguished by its nobility and sophistication of intonation.
The ensemble and choral episodes of Agatka are performed in the tradition of lyric-comic operas. Thus, the final chorus is built on the principle of vaudeville verses, where the solo chorus of each character alternates with a choral chorus.
“Agatka” uses a small orchestra (oboes, horns, trumpets and string group). The overture, which is thematically unrelated to the content of the opera, creates a festive mood and anticipates a happy ending.
“Agatka” by J. D. Holland laid the foundation for the development of the traditions of the Belarusian musical theater, becoming the first operatic work dedicated to local heroes and reflecting (albeit not at the level of music) the local flavor.
BELARUSIAN MUSIC OF THE 19TH CENTURY
The first half of the 19th century - the century of romanticism in European art - became for Belarus the time of attempts to form a national school of composition.
Romantic trends in Belarusian art of the first half of the 19th century V. expressed interest in national history and to folk art. Writer and ethnographer P. Shpilevsky revealed the way of life of Belarusians in essays and articles in Russian and Belarusian periodicals. Belarusian writers Y. Chechot, Y. Barshchevsky, V. Dunin-Martsinkevich, A. Rypinsky and V. Korotynsky for the first time focus on the living Belarusian language and use it in their work folklore motives, which was reflected in the achievements of Belarusian literature of that time - the poems “Taras on Parnassus” and “The Aeneid Inside Out”. Romantic trends are also manifested in Belarusian painting, in the paintings of artists J. Dammel, Y. Aleshkevich, K. Rusetsky, N. Orda, I. Khrutsky and others.
The musical life of Belarus is experiencing an upsurge associated with its general democratization. In cities and towns, estates and churches, concerts of symphonic, chamber-instrumental, and oratorio music are held. Symphonies and oratorios by Haydn, Mozart and Beethoven, chamber instrumental works by I. Pleyel, L. Boccherini, K. Stamitz are performed. For the needs of cities, local city orchestras are created (city Symphony Orchestra appeared in Minsk in 1803), small chamber ensembles, as well as orchestras at educational institutions - gymnasiums, seminaries, boarding schools. Music is transforming from a privilege of the highest circles of society into a more democratic art form, accessible to all segments of the population.
One of the forms of musical life is mugs And salons. In the first thirty years of the 19th century. Particularly popular in Belarus are the salons of Count R. Tizengauz in Zheludok, Grodno province, Count L. Rokitsky in Gorodishchi, Minsk province, and Prince M. Kl. Oginsky in Zalesye. Gradually, musical circles arose in the houses of the middle nobility, among writers, musicians, poets - in the house of relatives of the composer S. Monyushko, at the father of the composer F. Miladovsky, etc. The music and drama circle, headed by V. Dunin-Martsinkevich, is famous. which staged the Belarusian opera “Selyanka” by S. Monyushko (based on “Idyll” by Dunin-Martsinkevich).
In the 20s - 50s of the 19th century. play a major role in the training of Belarusian professional musicians musical boarding houses. These private educational institutions provided sufficiently serious performing skills, which contributed to the growth of professionalism of Belarusian musicians-performers.
The most important political event of the second half of the 19th century was the defeat of the national liberation movement due to the suppression of the uprising of 1863–1864. This had a negative impact on the development of Belarusian culture. The Belarusian printed word was banned, and the Belarusian language, declared “a product of Polonization,” was no longer taught in schools. Many national writers who took part in the uprising were exiled to Siberia.
Only by the beginning of the 80s was there a rise in the development of Belarusian culture. Appeared basic research in the field of Belarusian ethnography and folklore, including “Materials for the study of the life and language of the Russian population of the North-Western Territory” by P. Shein (1887 – 1902) and ten issues of the “Belarusian Collection” by E. Romanov (1885 – 1910). The works of scientists proved that the Belarusian people have a rich culture and the right to its development. The collection of folklore and ethnographic materials contributed to the development of literature, and the appearance of musical notations musical folklore later, already in the twentieth century. influenced the development of musical art.
The 80s and 90s also saw the beginning of the activities of Belarusian classic writers: M. Bogdanovich, Y. Kupala, Y. Kolos. There has been a noticeable rise in the field of fine arts. The realistic method is characteristic of the painting of N. Silivanovic, S. Zaryanko, A. Goravsky, F. Ruszczyc, S. Bogush. Their canvases glorify the beauty of the nature of Belarus and the way of life of its people. Activities become of great importance musical societies, which are carried out in Belarusian cities public concerts, musical evenings, lectures on the life and work of great composers and musicians. The societies operate special educational institutions, organize tours of outstanding Russian and foreign performers. The Minsk Musical Society, one of the organizers of which was the composer Mikhail Elsky, arose in 1880.
In 1890, the city winter theater was opened in Minsk (now the building of the Yanka Kupala Drama Theater), in which she began to work opera company, which introduced Minsk residents to foreign and Russian opera performances for the first time.
The intensive performing activity of Belarusian musicians became a stimulus for creativity. Talented Belarusian violinists and pianists, such as M. Elsky, I. Glinsky, K. Martsinkevich and others, were the creators of a significant part of their own performing repertoire. The composition of music by outstanding performers became the main form of composer practice in the second half of the 19th century. They wrote instrumental concerts, fantasies, variations, concert polonaises and mazurkas, miniatures.
At the turn of the 18th – 19th centuries he worked Michal Kleofas Oginski (1765 – 1833) – author of the world-famous polonaise “Farewell to the Motherland”, composer, whom Polish musicologists consider the predecessor of F. Chopin. He was the nephew of Michal Kazimierz Oginski and always felt like a patriot of his native land.
The famous politician, musician and composer was born on September 25, 1765 on the Guzov estate near Warsaw. In 1772, Michal's father was appointed ambassador to Vienna and took his family with him for one year. Seven-year-old Michal was lucky enough to visit the Vienna Opera, which made an indelible impression on him. Since 1773, mother and son returned to Guzov, where Michal Kleofas was able to receive a systematic home education under the guidance of the French tutor Jean Raleigh and music teacher Osip Kozlovsky. Kozlovsky taught Oginsky how to play the clavier and violin, the theory and history of music, and composition, managing to give him thorough musical knowledge. The teacher and student visited the residence of M. Kaz together. Oginsky in Slonim, where they attended theatrical productions and chapel concerts.
M. Kl. Oginsky made a rapid political career - at the age of 19 he became a deputy of the Sejm, at 25 he took the post of ambassador, worked in Holland and England, France and Germany, Austria, Italy, Russia. Everywhere Oginsky strove to get acquainted with the musical life of the country, to become imbued with its spirit. He was personally acquainted with Haydn and Mozart, took lessons from the famous violinists of that time G. Viotti, P. Baio and others.
Since 1792, Michal Casimir held the post of treasurer of the Grand Duchy of Lithuania. In 1794 he became a participant in the T. Kosciuszko uprising. After the defeat of the uprising, Oginsky was deprived of all his possessions and emigrated abroad. Counting on the revival of the Grand Duchy with the help of Napoleon, he wrote the opera “Zelis and Valcour, or Bonaparte in Cairo” in his honor with his own libretto.
During the accession of Alexander I, Oginsky was given the opportunity to return to his homeland. After swearing allegiance to the Russian Emperor, he came to St. Petersburg in 1802, hoping to reach an agreement with Alexander I on the revival of the Grand Duchy of Lithuania. Having failed in this enterprise, M. Kl. Oginsky achieves success in property matters - his family estates are returned to him. In the same 1802 M. Kl. Oginsky moved to his estate Zalesye near Smorgon, where he remained for 20 years. During this time, Zalesye became large cultural center. At this time, Oginsky composed chamber vocal and instrumental miniatures, and also wrote musical and aesthetic notes, which were later included in his book “Letters on Music.”
M. Kl.’s philanthropic activities were also active. Oginsky. In Zalesye, Smorgon and Molodechno, he opened schools for local youth at his own expense and took care of reducing taxes from peasants. Frequently visiting Vilna, he prepared his polonaises and romances for publication (published in Vilna in 1817), established connections with the local intelligentsia and became involved in the work of Vilna University. Having taken the side of Russia during the War of 1812, he returned to Zalesye again at the end of hostilities.
In 1822 Oginsky left Belarus forever. Last years He spent his life in Italy, where he was engaged in literary, musical and editorial activities. Here he published his last works, memoirs and Letters on Music. In 1833 M. Kl. Oginsky died.
An important place in Oginsky’s creative heritage is occupied by polonaises, which the composer wrote throughout his life. Among the 26 examples of this genre there are pastoral, pompous and solemn, fanfare and deeply contemplative. The textural solutions of polonaises range from extremely simple (melody and chord accompaniment) to rich in timbre and register effects. Oginsky's works are traditional in form - they are predominantly three-part with contrasting middle sections. The lyricism and psychological orientation of the Polonaises bring these works closer to the style of the Romantics. Among the composer's other piano works are waltzes, mazurkas, gallops and minuet.
A prominent representative of Belarusian composer creativity of the first half of the 19th century. is Napoleon Orda (1807 – 1883) - a wonderful musician and artist, coming from a noble background. Born on February 11, 1807 in his parental estate Vorotsevichi, Kobrin district, Grodno province. From childhood, the boy was imbued with the beauty of Belarusian nature and the melody of folk songs, which throughout his life served as a source of inspiration for him both in music and in painting.
N. Orda received a good education at home, general, musical and artistic. At the age of twelve he was admitted to a gymnasium in the city of Svisloch, after which he entered the Faculty of Physics and Mathematics of Vilna University.
In 1827, Orda was expelled from the university for belonging to the secret student society "Zoryane", close to the Decembrist organizations. The young man was arrested, spent 15 months in prison, and after his release he was ordered to live only on his native estate under a kind of “house arrest.”
In 1831, the Horde emigrated abroad. On foot he walked around Austria, Italy, Switzerland, and in 1833 he settled in Paris. Here he became close to the poet A. Mickiewicz and composer F. Chopin, from whom he began to take music lessons. Orda became a regular participant in musical evenings in Chopin’s house, at which he often performed his own piano works. Not forgetting his passion for painting, N. Orda began systematic studies with the landscape artist Pierre Girard.
In 1838 in Paris, on the initiative of N. Orda, “ Music album"from the works of Belarusian and Polish composers. Somewhat later, Orda’s own piano works (polonaises, waltzes, serenades, mazurkas, lullabies) were published in Paris, which earned the approval of F. Chopin and F. Liszt. Great influence on Belarusian musician It was his acquaintance with the brilliant Hungarian pianist and composer F. Liszt, from whom Orda received advice to seriously take up composition. Horde's authority gradually grew in French musical circles, and in 1843 he was offered the position of director of the Italian Opera in Paris.
In 1856 N. Orda decides to return to his homeland. He again settled in his Vorotsevichi estate, where he created his best paintings and musical works. In 1873, N. Orda’s “Grammar of Music” was published in Warsaw, in which he summarized his knowledge of harmony. In 1875 – 1978 N. Orda publishes in Warsaw Albums of views of the Grodno, Minsk, Vilna, Kovno, Volyn, Podolsk and Kyiv provinces. Many of these paintings depict unique historical and cultural monuments of Belarus, many of which were later lost.
Continuing active creative work in Vorotsevichi, Orda regularly publishes its results in Warsaw. In 1882, the composer published 14 of his best polonaises and several songs there. In 1883, he again came to Warsaw to publish the next series of his Albums, but suddenly felt a sharp deterioration in his health and died on April 26, 1883.
Among the musical works of the Horde, the most famous are piano polonaises, distinguished by their scale, bright virtuosity, richness and variety of texture - features that characterize the best examples of works of this genre in the world. musical literature. At the same time, the polonaises of the Horde are characterized by a song beginning, which distinguishes Slavic music, as well as a lyrical interpretation of fanfare and dramatic intonations. They also revealed a tendency towards romantic poetry, towards enriching the range of images with dramatic and tragic elements.
These works can be called an “encyclopedia” of romantic harmony, which is manifested in sequencing, types of modulations, tonal plans and texture. The composer widely uses alterations of chords of the subdominant and dominant groups, various non-chord sounds, such as delays and rises. The most interesting polonaises are No. 4 Es-dur, No. 14 E-dur, concert polonaise for orchestra No. 13 D-dur, polonaise No. 5 B-moll with devil
ami of the funeral march, No. 8 F-dur with features of a barcarolle, polonaise No. 3 in A-moll and No. 6 in H-dur, having features of a nocturne. The influence of Belarusian folk melodies is noticeable in Polonaise No. 10 G-major and in the middle part (trio) of Polonaise No. 1 F-moll.
The most significant figure in the Belarusian composer's work of the second half of the 19th century. is Mikhail Karlovich Elsky (1831 – 1904) – outstanding violinist, talented composer, active musical and social figure, music writer and folklorist.
Mikhail Elsky was born on October 8, 1831 in Dudichi - the family estate of the Elsky landowners in the Igumen district of the Minsk province, in musical family. Mikhail's father Karl Stanislavovich, a well-known amateur violinist in Belarus, became his son's first music teacher. In 1846 – 1847 Mikhail studied at the German gymnasium in Lodzon (East Prussia), where he took music lessons from the violinist Endoma. Returning to Minsk in 1847, Yelsky became an apprentice to teacher K. Krzhizhanovsky. The first concert performances of the young violinist are taking place in Minsk.
Yelsky continues his further general and musical education in Vilna. He studies at the Vilna Noble Institute. After graduating in 1849, he became a volunteer student at Kyiv University for some time.
From the beginning of the 50s, intensive concert activity musician. M. Elsky gives concerts in Belarus, Ukraine, Lithuania and Poland. His repertoire includes works by J. S. Bach, J. Haydn, W. A. Mozart, L. Beethoven, G. Viotti, A. Vietun and L. Spohr. In 1852, Elsky’s first works—violin miniatures—were published in Kyiv.
In 1860, to improve performing skills and complete music education the composer travels to France and Germany. In Paris he communicates with the famous Belgian violinist A. Vietan, in Munich he studies composition with the German composer and conductor F. Lachner.
After returning to Dudichi, Yelsky often gives concerts in Minsk and Vilna. Among his own compositions he performs, the fantasy “Spring” is especially popular among listeners.
In 1860 - 1862 Yelsky's musical-critical activity begins. In the 70s - 80s. XIX century His works on music are coming out of print, including “On Musical Talent”, “Music Here and Abroad”, “Memories from the Musical Past of Lithuania”. Each of them contained valuable information about the history of Belarusian music of past centuries and the 19th century. During these same years, Yelsky collected and recorded Belarusian folk melodies.
In 1880, the composer played a leading role in organizing in Minsk musical society. He performed at the society’s concerts, donating the proceeds to this musical association. In 1902, in Dudichi, the famous Belarusian violinist and composer, in the circle of friends and admirers of his talent, celebrated the 50th anniversary of his creative activity. Yelsky died in 1904 on his estate Rusinovichi.
Mikhail Elsky created about a hundred works, including two violin concertos, “Brilliant Fantasy” on original themes, “Fantasy” on themes of Polish folk melodies, Sonata-Fantasy, Fantasy “Spring”, concert mazurkas “Memories of Warsaw”, “Memories of Kyiv", "Memories of Vilna", "Dance of the Spirits", "Dance of Death", a huge number of polonaises, variations, miniatures. A characteristic feature of his work is brilliant virtuosity. In its vein are also two concertos for violin and orchestra - a tribute to the romantic tradition of the 19th century, when each concert violinist wrote works for himself in this genre.
Not all of Yelsky's works have survived. We have reached Concerto No. 2 op. 26, published in 1902 and dedicated to the Polish composer, teacher and conductor S. Noskowski. This one-movement composition masterfully uses a variety of violin techniques. Among the concert mazurkas, the “Dance of Death” op. 24, devoid of drama, but pathetically upbeat.
BELARUSIAN MUSIC OF THE XX CENTURY (GENERAL CHARACTERISTICS)
Professional Belarusian music arose and developed during the existence of the USSR (1917–1991) as the musical culture of the Belarusian Soviet Socialist Republic (BSSR). Since 1991, Belarusian musical art has been developing under the conditions of an independent state. The composers who lived and worked in Belarus in the 18th–19th centuries did not leave a significant creative legacy from which a national school of composition could be formed. That's why formation of the Belarusian composer school carried out in the 1920s.
In the 1920s The richest layers of Belarusian musical folklore are being actively developed. Belarus has the most unique in Europe musical folklore, in which songs dating back to the 1st millennium BC have been preserved almost intact. and the first centuries AD (in Europe and even in Russia these songs are irretrievably lost). These are calendar-ritual songs (carols, Maslenitsa, volochebnye, Yurievsky, Trinity, Kupala, stubble) and family ritual songs (motherland, wedding, funeral holosheniya). Later song folklore is also well represented (Cossack, Burlatsky, Recruit, Chumatsky, songs of social protest, etc.).
In the early 1920s. Composers from the RSFSR come to Belarus - N. Churkin, N. Aladov, E. Tikotsky. They collect and record samples of Belarusian folklore (Churkin’s collections “Belarusian folk songs", "Belarusian folk songs and dances") and on their basis they create the first professional works of various genres.
They are also at the origins of music education. In 1924, the Minsk Music College opened, in 1932 - the Belarusian State Conservatory. Both educational institutions were headed by Aladov for some time. One of the first professors at the conservatory was E. Tikotsky. Since its opening, the conservatory has been training musicians-performers, composers, and musicologists.
The first genres in which Belarusian composers work are vocal. These are arrangements of folk songs (the most common genre initial stage Belarusian music), mass choral songs, romances. Large vocal works - cantatas, written by T. Shnitman (composer who tragically died during the occupation in the Minsk ghetto) and N. Aladov (“10 year” - on the 10th anniversary October revolution).
The first ones arise operas: “The Liberation of Labor” by Churkin (dedicated to the events of the revolution) and “Taras on Parnassus” by Aladov (a comic opera based on the plot of the anonymous poem of the same name in the 19th century), the musical comedy “Kitchen of Holiness” by Tikotsky (on an anti-religious plot). Symphonic music represented by Churkin’s Symphonyetta “Belarusian Pictures” (1925, quotes from 16 Belarusian folk songs are used), Tikotsky’s 1st Symphony (1927), 2nd Symphony on Belorussian themes. adv. Songs of Aladov (1930). In area chamber instrumental music created the Aladov Piano Quintet (1925), “Kalykhanka” for Churkin’s string quartet (1927), and the suite for string quartet and piano “Symon Music” by G. Pukst (1928).
In the 1930s–50s the desire of Belarusian music to join the general Soviet musical process. The conservatory and music college educate the first domestic composers. In addition, in the 1930s. a lack of professionalism in Belarusian music is visible, which will be overcome throughout the entire period. Themes of creativity of the 1930s: socialist construction, collectivization and industrialization. They were especially pronounced in vocal music. In popular songs, these are Pukst’s songs about the first five-year plan, “To the Hero of the Locomotive” and “The Creators of the Advance,” famous song I. Lyubana, which became popular, “Byvaytse zdarovy” and S. Polonsky’s song on the lyrics. Kupala "Evening Market in Kalgas".
In 1933, Aladov’s cantata “Over the Aresai Cancer” was created, dedicated to the reclamation of Polesie and the collectivization of the Belarusian village.
In 1937, on the occasion of the 100th anniversary of Pushkin’s death, a competition was announced to compose music based on Pushkin’s texts. Three cantatas were created in Belarus: “The Voevoda” by P. Podkovyrov, “The Drowned Man” by M. Kroshner and “The Tale of the Bear” by A. Bogatyrev - this was a very successful debut of the composer - the future classic of Belarusian music.
Opera 30s: 3 essays - “Mikhas Padgorny” by Tikotsky (1938) on the theme of pre- and post-revolutionary life of the Belarusian village, the fight against fists and for personal happiness, “At the Pushchakh Palessya” by Bogatyrev (1937) based on the story “Drygva” by Y. Kolas ", "Kvetka Shchastya" by A. Turenkov (1936) on the themes of Belarusian Kupala legends.
In the 30s, the first Belarusian ballet “The Nightingale” by M. Kroshner (1938) based on the story by Zm. Byaduli. Here, Belarusian folk dance is the basis of musical drama and stage action.
Symphonic music of the 30s. associated with mastery of the genre song symphony. The most famous works: 4th symphony “Belarus” by V. Zolotarev (1934), Aladov’s Sinfonietta in C major (1936).
IN years of war on the territory of occupied Belarus, together with the partisan movement, actively developed partisan song. The most famous: “Partisans. partisans, Belarusian sons" (based on a text by Y. Kupala, written in 1941 and transported by plane behind the front line), "We went to dzela nochkai tsemnay", "Balada ab partisans Galina", "Song of the great Kanstancin Zaslonava".
Belarusian composers were either at the front with weapons in their hands (V. Olovnikov, L. Abeliovich) or in evacuation (Bogatyrev, Churkin, Shneiderman).
During wartime, Bogatyrev created 2 cantatas: “To the Belarusian Partisans” based on the same text by Y. Kupala and “Leningraders” based on the verses of the Kazakh akyn Dzhamb at la. In 1943 he wrote the lyrical-dramatic Piano Trio.
Aladov creates symphonic works: the ballad “On Harsh Days” and the poem “From the Diary of a Partisan” (in which the theme “Ach, mein lieber Augustin” is used to show the fascists).
After the war The work of composers, its themes and images are determined by the powerful dictates of the Union of Composers of the BSSR. A new generation of composers is coming to Belarusian music: G. Wagner, Y. Semenyako, E¸Tyrmand, E. Degtyarik. E. Glebov, D. Smolsky.
In Belorusskoe State Theater opera and ballet stage new works by national authors: operas“Dzyauchyna of Palessia” by Tikotsky (about the events of the Great Patriotic War, about the feat of a partisan girl), “Nadezhda Durova” by Bogatyrev (about the Patriotic War of 1812, about the feat of a “cavalry girl”), “Kastus Kalinovski” by D. Lucas, “Yasnaya Svitanna” by Turenkov (about the unification of Western and Eastern Belarus in 1939), “The Heat Gun” by Semenyako (about the life of modern students); ballets“The Vozer Prince” by Zolotarev and “The Bride of the Falls” by Wagner. New symphonies, cantatas and oratorios, choral works, instrumental concerts, and chamber music are being created.
Only V 1960–80s , when there is a stylistic renewal in Russia and in the world, Belarusian music reaches true professionalism. This is reflected in the symphony genre (Smolsky’s 1st symphony, Glebov’s 2nd symphony), and in opera, and especially in ballet. Belarusian ballet music is becoming known in the world for the first time.
More operas were created during the 30th anniversary than during the entire previous period. Among them are 3 operas by Semenyako (“When the Leaves Fall”, “Zorka Venus”, “New Land”), 2 operas by S. Cortes (“Giordano Bruno”, “Mother Courage” by B. Brecht), Wagner’s opera “The Path of Life” , 2 operas by Smolsky (“The Gray Legend” after Korotkevich and “Francysk Skaryna”), V. Soltan’s opera “The Wild Hunt of King Stakh” after Korotkevich.
There is no less variety in the field of ballet. Ballets are created on themes of modernity and recent history: “Dream” and “Alpine Ballad” by Glebov, “Light and Shadows” by Wagner, “Wings of Memory” by V. Kondrusevich; on themes and subjects of Russian and foreign literature: “After the Ball” by Wagner based on the story by L. Tolstoy, “Till Eulenspiegel” by Glebov based on the novel by the Belgian writer Charles de Coster, “The Little Prince” by Glebov based on the story by Exupery; based on the fairy-tale and legendary stories “The Chosen One” by Glebov, “Pinocchio” by Kondrusevich. A number of choreographic miniatures appear - “Belarusian Partisan” by Glebov, “Patriotic Etude” by Smolsky. According to musical and dramatic principles, Belarusian ballets of the 60–80s are alloys either with a musical-dramatic genre (opera “Light and Shadows”) or with a symphony (“Alpine Ballad”, “The Chosen One”).
Glebov's ballets Till Eulenspiegel and The Little Prince, as well as S. Cortez's ballet The Last Inca, received recognition abroad.
In modern Belarusian music, ballet still occupies one of the leading places. This is evidenced by such productions as “Passion” (“Rogneda”) by A. Mdivani (an innovative ballet on the theme of the baptism of Rus' and ancient Belarusian history), “Macbeth” by V. Kuznetsov, etc.
Professional Belarusian music arose and developed during the existence of the USSR (1917–1991) as the musical culture of the Belarusian Soviet Socialist Republic (BSSR). Since 1991, Belarusian musical art has been developing under the conditions of an independent state. The composers who lived and worked in Belarus in the 18th–19th centuries did not leave a significant creative legacy from which a national school of composition could be formed. That's why formation of the Belarusian composer school carried out in the 1920s.
In the 1920s The richest layers of Belarusian musical folklore are being actively developed. Belarus has the most unique in Europe musical folklore, in which songs dating back to the 1st millennium BC have been preserved almost intact. and the first centuries AD (in Europe and even in Russia these songs are irretrievably lost). These are calendar-ritual songs (carols, Maslenitsa, volochebnye, Yurievsky, Trinity, Kupala, stubble) and family ritual songs (motherland, wedding, funeral holosheniya). Later song folklore is also well represented (Cossack, Burlatsky, Recruit, Chumatsky, songs of social protest, etc.).
In the early 1920s. Composers from the RSFSR come to Belarus - N. Churkin, N. Aladov, E. Tikotsky. They collect and record samples of Belarusian folklore (Churkin’s collections “Belarusian folk songs”, “Belarusian folk songs and dances”) and based on them create the first professional works of various genres.
They are also at the origins of music education. In 1924, the Minsk Music College opened, in 1932 - the Belarusian State Conservatory. Both educational institutions were headed by Aladov for some time. One of the first professors at the conservatory was E. Tikotsky. Since its opening, the conservatory has been training musicians-performers, composers, and musicologists.
The first genres in which Belarusian composers work are vocal. These are arrangements of folk songs (the most common genre of the initial stage of Belarusian music), mass choral songs, and romances. Large vocal works - cantatas - are written by T. Shnitman (composer who tragically died during the occupation in the Minsk ghetto) and N. Aladov (“10 year” - for the 10th anniversary of the October Revolution).
The first ones arise operas: “The Liberation of Labor” by Churkin (dedicated to the events of the revolution) and “Taras on Parnassus” by Aladov (a comic opera based on the plot of the anonymous poem of the same name in the 19th century), the musical comedy “Kitchen of Holiness” by Tikotsky (on an anti-religious plot). Symphonic music represented by Churkin’s Symphonyetta “Belarusian Pictures” (1925, quotes from 16 Belarusian folk songs are used), Tikotsky’s 1st Symphony (1927), 2nd Symphony on Belorussian themes. adv. Songs of Aladov (1930). In area chamber instrumental music created the Aladov Piano Quintet (1925), “Kalykhanka” for Churkin’s string quartet (1927), and the suite for string quartet and piano “Symon Music” by G. Pukst (1928).
In the 1930s–50s The desire of Belarusian music to join the general Soviet musical process is especially strong. The conservatory and music college educate the first Russian composers. In addition, in the 1930s. a lack of professionalism in Belarusian music is visible, which will be overcome throughout the entire period. Themes of creativity of the 1930s: socialist construction, collectivization and industrialization. They were especially pronounced in vocal music. In the mass song, these are Pukst’s songs about the first five-year plan “To the Hero of the Locomotive” and “The Creators of the Advance”, the famous song by I. Lyuban, which became popular, “Byvaytse Zdarovy” and the song by S. Polonsky on the lyrics. Kupala "Evening Market in Kalgas".
In 1933, Aladov’s cantata “Over the Aresai Cancer” was created, dedicated to the reclamation of Polesie and the collectivization of the Belarusian village.
In 1937, on the occasion of the 100th anniversary of Pushkin’s death, a competition was announced to compose music based on Pushkin’s texts. Three cantatas were created in Belarus: “The Voevoda” by P. Podkovyrov, “The Drowned Man” by M. Kroshner and “The Tale of the Bear” by A. Bogatyrev - this was a very successful debut of the composer - the future classic of Belarusian music.
Opera 30s: 3 essays - “Mikhas Padgorny” by Tikotsky (1938) on the theme of pre- and post-revolutionary life of the Belarusian village, the fight against fists and for personal happiness, “At the Pushchakh Palessya” by Bogatyrev (1937) based on the story “Drygva” by Y. Kolas ", "Kvetka Shchastya" by A. Turenkov (1936) on the themes of Belarusian Kupala legends.
In the 30s, the first Belarusian ballet“The Nightingale” by M. Kroshner (1938) based on the story by Zm. Byaduli. Here, Belarusian folk dance is the basis of musical drama and stage action.
Symphonic music of the 30s. associated with mastery of the genre song symphony. The most famous works: 4th symphony “Belarus” by V. Zolotarev (1934), Aladov’s Sinfonietta in C major (1936).
IN years of war on the territory of occupied Belarus, together with the partisan movement, actively developed partisan song. The most famous: “Partisans. partisans, Belarusian sons" (based on a text by Y. Kupala, written in 1941 and transported by plane behind the front line), "We went to dzela nochkai tsemnay", "Balada ab partisans Galina", "Song of the great Kanstancin Zaslonava".
Belarusian composers were either at the front with weapons in their hands (V. Olovnikov, L. Abeliovich) or in evacuation (Bogatyrev, Churkin, Shneiderman).
During wartime, Bogatyrev created 2 cantatas: “To the Belarusian Partisans” based on the same text by Y. Kupala and “Leningraders” based on the verses of the Kazakh akyn Dzhamb at la. In 1943 he wrote the lyrical-dramatic Piano Trio.
Aladov creates symphonic works: the ballad “On Harsh Days” and the poem “From the Diary of a Partisan” (in which the theme “Ach, mein lieber Augustin” is used to show the fascists).
After the war The work of composers, its themes and images are determined by the powerful dictates of the Union of Composers of the BSSR. A new generation of composers is coming to Belarusian music: G. Wagner, Y. Semenyako, E¸Tyrmand, E. Degtyarik. E. Glebov, D. Smolsky.
The Belarusian State Opera and Ballet Theater staged new works by national authors: operas“Dzyauchyna of Palessia” by Tikotsky (about the events of the Great Patriotic War, about the feat of a partisan girl), “Nadezhda Durova” by Bogatyrev (about the Patriotic War of 1812, about the feat of a “cavalry girl”), “Kastus Kalinovski” by D. Lucas, “Yasnaya Svitanna” by Turenkov (about the unification of Western and Eastern Belarus in 1939), “The Heat Gun” by Semenyako (about the life of modern students); ballets“The Vozer Prince” by Zolotarev and “The Bride of the Falls” by Wagner. New symphonies, cantatas and oratorios, choral works, instrumental concerts, and chamber music are being created.
Only in the 1960s–80s When there is a stylistic renewal in Russia and in the world, Belarusian music reaches true professionalism. This is reflected in the symphony genre (Smolsky’s 1st symphony, Glebov’s 2nd symphony), and in opera, and especially in ballet. Belarusian ballet music is becoming known in the world for the first time.
More operas were created during the 30th anniversary than during the entire previous period. Among them are 3 operas by Semenyako (“When the Leaves Fall”, “Zorka Venus”, “New Land”), 2 operas by S. Cortes (“Giordano Bruno”, “Mother Courage” by B. Brecht), Wagner’s opera “The Path of Life” , 2 operas by Smolsky (“The Gray Legend” after Korotkevich and “Francysk Skaryna”), V. Soltan’s opera “The Wild Hunt of King Stakh” after Korotkevich.
There is no less variety in the field of ballet. Ballets are created on themes of modernity and recent history: “Dream” and “Alpine Ballad” by Glebov, “Light and Shadows” by Wagner, “Wings of Memory” by V. Kondrusevich; on themes and plots of Russian and foreign literature: “After the Ball” by Wagner based on the story by L. Tolstoy, “Till Eulenspiegel” by Glebov based on the novel by the Belgian writer Charles de Coster, “The Little Prince” by Glebov based on the story by Exupery; based on the fairy-tale and legendary stories “The Chosen One” by Glebov, “Pinocchio” by Kondrusevich. A number of choreographic miniatures appear - “Belarusian Partisan” by Glebov, “Patriotic Etude” by Smolsky. According to musical and dramatic principles, Belarusian ballets of the 60–80s are alloys either with a musical-dramatic genre (opera “Light and Shadows”) or with a symphony (“Alpine Ballad”, “The Chosen One”).
Glebov's ballets Till Eulenspiegel and The Little Prince, as well as S. Cortez's ballet The Last Inca, received recognition abroad.
In modern Belarusian music, ballet still occupies one of the leading places. This is evidenced by such productions as “Passion” (“Rogneda”) by A. Mdivani (an innovative ballet on the theme of the baptism of Rus' and ancient Belarusian history), “Macbeth” by V. Kuznetsov, etc.
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The folk musical art of Belarus is in contact with the folk music of the Russian and Ukrainian people, Western and Southern Slavs; a significant group of ancient songs is associated with calendar rituals that existed among agricultural peoples. Carols, Shchedrovka, Vesnyanka, Volochebnye, Yuryevskaya, Trinity, Kupala, Stubble, Kosarskaya, and autumn songs are widespread. There are a variety of songs of the family ritual cycle: wedding, christening, lullabies, lamentations. Round dance, game, dance and comic songs are widely represented. Lyrical songs are divided into genre-thematic groups: love, ballad, Cossack, recruit, soldier, Chumatsky, songs of peasant freemen. The Russian revolutionary work song of the early 20th century played a major role in the development of Belarusian musical folklore. She influenced the melody of Belarusian folk songs. Some folk songs were created based on the words of Belarusian poets (M. Bogdanovich, Y. Kupala, Y. Kolas, K. Buylo). Under Soviet rule, new folk songs appeared, developing the traditions of pre-revolutionary songs and drawing content from modern life. Many songs were created by amateur composers and folk choirs (choirs of the villages of Bolshoye Podlesie, Ozershchina, Prisynki, etc.). Ancient Belarusian folk songs are basically monophonic. They are characterized by undulating melody of a compressed range with gradual movement and leaps, developed ornamentation, flexible rhythm, and a variety of performing techniques. The most characteristic are even sizes and varied metrics. There are complex and creamy bars. Polyphony in folk songs of Belarus began to develop in the 80s. 19th century The main melody is performed in the lower voice, and in the upper voice (the so-called “eyeliner”) - solo improvisation. There are 3-voice consonances. Songs in everyday life are performed unaccompanied, with the exception of comic songs and ditties, which are sung to the accompaniment of a harmonica (accordion). A number of Belarusian folk songs are used in the works of Russian and Polish classical composers: in Chopin's "Grand Fantasia", Glazunov's First Symphony, the operas "The Snow Maiden" and "Mlada" by Rimsky-Korsakov, "Lithuanian Rhapsody", "Three Symphonic Songs" by Karlovich, operas Monyushko (a native of Belarus) and others.
Belarusian composers.
U. G. Mulyavin (1941-2003)
Naradziusya in the mountains. Svyardlovsk (1941), dated 2003, Minsk.
Finished Svyardlou music studies in guitar class (1952).
People's Artist of Belarus (1979).
Honored winner of the culture of the Republic of Poland (1991).
Member of the Investigative Committee of Belarus (1986).
Our astonishing works: the opera-prank “Song of the Righteous Share”, the musical performance “Full Voice”, the vocal cycle “I am not a Paeta”, the song-instrumental campaign “Vanka - Vstanka”, “Praz all the war”, “Vyanok Bagdanovich”, songs, native Belarusian folk songs, music and dramatic plays, films.
U. U. Alounikau(1919-1996) Naradzivsya in the mountains. Babruiscu (1919).
Graduated from the Belarusian Conservatory under the class of Campasian Professor V. A. Zalatarov (1941).
Honored artist of Belarus (1955).
Deserved honors of Belarus (1957).
People's Artist of Belarus (1970).
Prafesar (1980).
Member of the Investigative Committee of Belarus (1940).
Pamer u Minsku (1996).
Uladzimir Alounika is an adnosist and a galaxy of campaigners, which signified the mastery of the Belarusian song and the blessed periods. Creativity of the campsite ўlasdіva zmyastoўnasts, topicality tem. In my works, I feel the powerful traditions of the Russian Campusian school, which U. Alounika has overthrown the hell of his mentor V. A. Zalatarov - student of M. A. Rymskaga-Korsakav and M. A. Balakirav. At the same time, U. Aloinika is a great national master. This music, rich and soulful, sophisticated and strict, masculine and righteous, has touched the ears of the ears, and has entered the repertoire of professional and self-indulgent groups.
Yaugen Paplauski
Yaugen Paplaўski naradzіўsya 20 verasya 1959 ў myastechka Porazava Grodzenskaya region. Passed away the Belarusian Conservatory (Belarusian Academy of Music) under the class of Igar Luchanka and Dzmitry Smolsk in 1986. Internship at the kiraunitstvam of Sergei Slanimsk at the St. Petersburg Canservatory and there itself is a unit at the maystar classes of Ton de Leeuw.
In 1991, the International Festival of Modern Chamber Music was organized in Minsk, as rightly so, two bastards and 1995.
3 1997 to 1999 at the Academy of Music of the Polish University, at the end of the Gdansk Academy of Music name Art. Manyushki over the works for the symphonic orchestra “Barbara Radziwił” and the Studio of Electric-Acoustic Music of the Academy of Music in Krakow over the local creative projects. Learn more about summer courses Acanthe 2000 / Ircam.
Tikotsky Evgeniy Karlovich
Biography:
Evgeny Karlovich Tikotsky (1893-1970)
Evgeny Karlovich Tikotsky was born on December 26, 1893 in St. Petersburg. His talent for music manifested itself very early. However, after graduating from a real school in 1911, at the insistence of his father, he entered the natural sciences department of the psychoneurological institute in St. Petersburg, negotiating for himself the right to study at the same time at a music school. The first acquaintance with musical theoretical foundations, as well as sincere friendship with the composer V. Deshevov, aroused E. Tikotsky’s desire to compose. He begins to write short pieces for piano, tries to harmonize Russian folk songs, and has been working on his youth symphony for more than a year. In February 1915, E. Tikotsky was drafted into the army, and he went to the front. In the summer of 1919 he joined the ranks of the Red Army, and in the fall, as part of the Eighth Division, he took part in the liberation of Belarus from the White Poles.
Churkin Nikolay Nikolaevich
Biography:
Nikolai Nikolaevich Churkin (1869-1964)
Nikolai Nikolaevich Churkin, who devoted eight decades to the service of music, was born on May 22, 1869 in the small town of Jelal-Ogly in the south of Tiflis province (now the city of Stepanovan, Armenian SSR). In 1881 he was accepted into the Tiflis military paramedic school. At the school there was a brass band, a choir, and an art class, which fascinated the boy much more than his future medical career. And when N. Churkin graduated from school in 1885, he was left as a teacher and head of the school brass band. In 1888, N. Churkin entered the composition class of M. Ippolitov-Ivanov at the Tiflis Music School.
Zaritsky Eduard Borisovich
Composer.
In 1964 he graduated from Minsk Music. school, in 1970-Belarus. cons. according to class compositions by A.V. Bogatyrev.
Since 1970 he has been working in Belarus. Philharmonic Society (consulting conductor). Op.: cantata (for soprano, choir and orchestra) - Red Square (lyrics by B. Stormov, 1970); for orc. - symphony (1969), Variations (1968); for oboe with orc. - concert (1970); for f-p. - 6 Preludes (1965), Variations (1967), Fugue on two themes (1968); for hvv. and f-p. - sonata (1968); for flute and piano. - Rondo (1966); for cymbals and f-p. - concertino (1971); for voice and f-p. - wok. cycles on the next A. Vertinsky (1971), on lyrics. L. Hughes (1967); arr. Belarusian adv. songs.
Luchenok Igor Mikhailovich
Year of birth: 1938
Biography:
Igor Mikhailovich Luchenok (b. 1937)
Graduated from the Belarusian State Conservatory in the composition class of Professor A.V. Bogatyrev (1961), assistant internship at the Leningrad Conservatory. ON THE. Rimsky-Korsakov under the guidance of Professor V.N. Salmanov (1965), postgraduate study at the Belarusian State Conservatory under the guidance of Professor T.N. Khrennikova. Laureate of the Lenin Komsomol Prize of the BSSR (1969), laureate of the All-Union Lenin Komsomol Prize (1972), Honored Artist of the BSSR (1973), laureate of the State Prize of the BSSR (1976). People's Artist of the BSSR (1982). People's Artist of the USSR (1987).
Dzmitry Branislavavich SMOLSKI
Naradziusya in the mountains. Minsk (1937)
Graduated from the Belarusian State Canservatory in the class of Campasian Professor A.V. Bagatyrov (1960), a postgraduate degree from the Krasnoyarsk Prefecture of the Muscovite Canservatory M.I. Pyaiko (1967).
Winner of the Lenin Kamsamol Prize of Belarus (1972).
Honored medals of Belarus (1975).
Winner of the Dzyarzhaina Prize of Belarus (1980).
Prafesar (1986).
People's Artist of Belarus (1987).
Member of the Investigative Committee of Belarus (1961).
Musical creativityIn the 19th century, public interest in Belarusian folk musical creativity began to awaken. This was expressed in the collection, publication and study, as well as compositional processing and concert propaganda of Belarusian folk music. The use of Belarusian folk song themes and intonations is found in the works of F. Chopin, S. Monyushka, M. Rimsky-Korsakov, A. Abramovich and others.
The Polish composer, a native of Belarus, Stanislaw Moniuszka, played a major role in the musical life of the Belarusian lands. He received his musical education in Minsk under the guidance of D. Stefanovich. In the 40s of the 19th century, the composer created a number of comic operas based on librettos written by V. Dunin-Martsinkevich: “Recruitment”, “Competition of Musicians”, “Idyll”. The crowning achievement of S. Monyushka’s work was the opera “Peasant Woman” (“Pebble”), staged in Minsk in 1852. From the moment the opera was staged until the beginning of the 20th century, not a single serious work of this genre appeared in Belarus, the authors of the music and libretto of which were Belarusians.
The musical life of Belarus in the 19th century was also greatly influenced by Polish composers M. Karlovich and L. Rogowski, who included Belarusian folk melodies in their works. Among the natives of Belarus, A. Abramovich and I. Shadursky made a significant contribution to the development of national professional music. The first of the named composers owns a musical work in eight parts “Belarusian Wedding”, quadrille “Six Seasons”, piano fantasies, variations, waltzes, etc.
Mikhail Elsky ( 1831-1904) - an outstanding figure in the musical art of Belarus in the second half of the 19th and early 20th centuries, a famous violinist, a talented composer, publicist, folklorist and musical and public figure. A student of V. Bankevich and A. Vietan, M. Elsky first became famous as a virtuoso violinist. His repertoire included violin works by J.S. Bach, J. Haydn, V.A. Mozart, L. Beethoven, K. Lipinski, L. Spohr and others. Contemporaries noted in his playing not only exceptional technique, but also deep musicality. M. Elsky's musical and journalistic activities were associated with the Polish newspaper “Ruch Muzyczny”, in which most of his articles and essays on violin music appeared. In addition to performing and composing, M. Elsky was involved in collecting, studying and arranging Belarusian folklore, and was also one of the organizers of the Minsk Musical Society (1880) - the first musical and public organization in Belarus. The musical heritage of M. Elsky is quite extensive and varied. It includes about 100 works, including two violin concertos, a series of fantasies, variations, polonaises, concert mazurkas, etc.
Napoleon Orda was born in 1807 in the village of Vorotsevichi, Pinsk district, Minsk province (now Ivanovo district, Brest region). After the suppression of the uprising in 1831, Napoleon Orda, fearing reprisals, was forced to go abroad. While in exile, he traveled extensively throughout Europe, lived in Austria, Switzerland, Italy, and in September 1833 received emigrant status in France and remained in Paris.
While living in the French capital, Napoleon Orda met many prominent figures European culture, among whom were writers Adam Mickiewicz and Ivan Sergeevich Turgenev, Honore de Balzac and Stendhal, composers Frederic Chopin, Franz Liszt, Giacomo Rossini, Giuseppe Verdi, Hector Berlioz. The atmosphere of Paris with its vibrant cultural life influenced the development of the young man's multifaceted abilities. Here he finally determined his priorities in creativity - music and painting.
Orda improved his musical skills with Frederic Chopin and achieved significant success in this direction. As a composer, he created more than 20 polonaises, mazurkas, waltzes, nocturnes, polkas, serenades, as well as romances and songs. His works are distinguished by melody, drama, virtuoso style and lyricism. They sounded from the stages of France, Germany, Poland, Russia. Since 1847, Napoleon Orda worked as director of the Italian Opera in Paris and, in addition to composing, taught music.
The outstanding result of his many years of teaching and research work was “The Grammar of Music,” published in Warsaw in 1873. For many decades it was considered one of the best textbooks on music theory. Napoleon Orda also gained fame as a writer. He wrote articles about outstanding people and interesting places. In 1839 he became a member of the Polish Historical and Literary Association. Possessing excellent qualities as a musician and music teacher, Orda still gave preference to the visual arts. He received his artistic education in the studio of the master of architectural landscape Pierre Gerard. His area of artistic interest was archeology and architecture. The first cycles of drawings appeared after the artist’s journey through France and the Rhineland, made in 1840-1842. Then there were cycles in Spain, Portugal, Algeria. In his free time, Napoleon Orda traveled a lot throughout Belarus, Lithuania, Poland, and Ukraine. During his travels, he made sketches of architectural and historical monuments, cities and towns, places associated with the life and activities of famous people. In Belarus, Napoleon Orda made about 200 sketches. He paid special attention to the display of estates and memorable places, associated with the names of such famous cultural figures as Adam Mickiewicz, Stanislav Moniuszko, Vladislav Syrokomlya and many others.
The musical culture of Belarus beganXXcentury. The role of music in the theater of I. Buinitsky.
The beginning of the 20th century saw the flourishing of Belarusian musical culture and education: music schools and folk conservatories were opened, an opera and ballet theater was created. In modern Belarus there are the National Academic Opera Theatre, the National Academic Ballet Theatre, the State Musical Theatre, the State Academic Folk Orchestra named after I. Zhinovich, the State Academic Symphony Orchestra, the State Academic Choir named after G. Shirma, the State Academic Folk Choir named after G. Tsitovich, Academic Choir of the Belarusian Radio and Television, Symphony Orchestra of the Belarusian Television and Radio, State Orchestra of Symphonic and Pop Music, State Dance Ensemble and others.
Ignat Buinitsky began his theatrical activities by holding Belarusian parties on his estate, in which Polivac boys and girls took part. In 1907, Ignat Terentyevich, together with his daughters Vanda and Elena, as well as his close friends, created an amateur group in the Polivachi farm. The peculiarity of the performances was that the Belarusian language was heard from the stage, and folk dances familiar to ordinary people were performed. Ignat Buinitsky's team began to gain popularity, and rural artists were invited to take part in the first public Belarusian party, which took place on February 12, 1910 in Vilnius. The troupe's performance was so successful that Ignat Terentyevich decided to create a professional theater. In 1910-1913, the troupe toured not only throughout Belarus, but also in Vilnius, St. Petersburg, and Warsaw.
The troupe's performances were structured in an original way: first the poems were read, then the performance itself followed, then the choir performed Belarusian folk songs, and in the finale the dancers appeared on stage. Ignat Buinitsky himself staged plays and often acted in them. The theater's activities were supported by progressive figures of Belarusian culture: Yanka Kupala, Yakub Kolas, Zmitrok Byadulya, Eliza Ozheshko, Tetka (the latter often performed at the Ignat Buinitsky Theater). Wealthy fans gave Buinitsky gold rings. Postcards with his image were issued
Fragment of an envelope
The repertoire included more than a dozen dances (“Lyavonikha”, “Yurka”, “Sparrow”, “Metelitsa”, “Melnik”, “Antoshka”, “Kochan”, “Cheryomukha”, “Polka” and others). Composer L. Rogovsky and choirmaster of the troupe Y. Feoktistov helped perform folk songs. Among these songs are “Duda-merry”, “Oh you blow”, “Pillow”, “Behind the mountains, behind the forests”, “Oh you oak”, “The geese have flown”. Famous plays by Belarusian and Ukrainian playwrights were staged: M. Krapivnitsky “According to the Audit” and “Fucked into Fools”, E. Ozheshko “Boor” and “In winter evening", K. Kagants "Fashionable nobleman".
The theater's activities were supported by income from the Polivachi estate. In 1913, financial difficulties arose, and the tsarist authorities put pressure on the theater, so the troupe had to be disbanded. Despite all the difficulties, in 1914 Ignat Buinitsky tries to recreate the theater, but this time the war interferes.
In 1917, Buinitsky was one of the initiators of the creation of the “First Partnership of Belarusian Drama and Comedy” in Minsk, on the basis of which the National Academic Theater named after Yanka Kupala arose.
A monument was erected in Buinitsky’s homeland (1976, sculptor I. Misko)
The work of Belarusian composers - the founders of the professional school of composition (V. Zolotoreva, N. Churkina, N. Aladov, E. Tikotsky, A. Bogatyreva, etc.)
Vasily Andreevich Zolotarev Russian and Soviet composer and teacher. Teacher at the Moscow State Conservatory named after P. I. Tchaikovsky. Honored Artist of the RSFSR. People's Artist of the BSSR. Laureate of the Stalin Prize, second degree.
Born 1873 in Taganrog (now Rostov region). He graduated from the Court Singing Chapel in St. Petersburg, receiving a specialty as a violinist in the class of Professor P. A. Krasnokutsky. He acquired his specialty as a composer at the St. Petersburg Conservatory, where he met the “great teachers” M. A. Balakirev, A. K. Lyadov, N. A. Rimsky-Korsakov, about whom he later published memoirs. Then he began teaching at the Court Chapel. V. A. Zolotarev’s class was graduated here by A. V. Bogatyrev, M. S. Weinberg, B. D. Gibalin, K. F. Dankevich, M. I. Paverman.
In 1905, he left St. Petersburg and worked for some time at the Moscow Conservatory. In 1918, being a professor, he left to teach in Rostov-on-Don, then in Krasnodar and Odessa. Since the mid-1920s, V. A. Zolotarev taught at the Kiev Music and Drama Institute named after N. V. Lysenko.
In 1933, V. A. Zolotarev moved to Minsk, where until 1941 he taught at the Belarusian Conservatory. Here he wrote the symphony “Belarus” (1934).
L. A. Polovinkin, A. G. Svechnikov, M. E. Kroshner, D. A. Lucas, V. V. Olovnikov and others studied with him.
V. A. Zolotarev wrote 3 operas, among which the opera “Decembrists” stands out, the ballet “The Prince of the Lake” (1949), 7 symphonies (1902-1962), 3 concerts, 6 string quartets, cantatas, choirs, romances.
V. A. Zolotarev died in 1964 in Moscow.
Churkin Nikolai Nikolaevich. Born in 1869. In 1892 he graduated from the Tbilisi Music College in composition class with M. M. Ippolitov-Ivanov. He worked as a music teacher (1892‒1914) in Baku, Kaunas, Vilnius. From 1914 - in Belarus, from 1935 - in Minsk. He collected musical folklore, including Belarusian (over 3000 recordings; many are included in the collection of Belarusian folk songs and dances, published in 1910, 1949, 1959). Ch.'s first attempts to create a Belarusian Soviet opera (Emancipation of Labor, 1922) belonged to Peru; he is the founder of national genre symphonism (symphonietta “Belarusian Pictures”, 1925). Ch.’s works also include the children’s radio opera “Rukavichka” (1940), the musical comedy “The Berezina Song” (1947), plays for symphony and brass orchestras, for an orchestra of folk instruments, chamber instrumental ensembles (including 11 quartets) , choirs and songs based on the words of Soviet poets, etc. He was awarded 3 orders, as well as medals. List of major works: 2Operas“Liberation of Labor”, “Mitten” 2 Musical comedies:“Kok-sagyz”, “Song of the Berezina” For symphony orchestra: Three symphoniettas (1925, 1949, 1955). Two Suites (1940, 1951). Suite “In Memory of the Great Patriotic War” (1944). Dance Suite (1950). Two miniatures (1936). Waltz “Green Dubochak” (1950). Polka for two xylophones and orchestra (1950). For brass band: Suite in 4 parts. March on three Georgian folk themes (1889). Ceremonial March (1900). March dedicated to the 30th anniversary of the BSSR (1948). For orchestra of Belarusian folk instruments. Three suites (1945, 1951, 1955). Suite “Mary ab Palessi” (1953). Overture “In Memory of Yanka Kupala” (1952). Waltz “Quail” (1950). Polka "Partyzanka" (1950). Three suites for sextet domra (1945, 1950, 1952). "Golubets" (1949). Rhapsody (1952). Chamber instrumental works: 11 string quartets (1928, 1928, 1933, 1935, 1945, 1954, 1961, 1961, 1962, 1962, 1963). For piano: 10 pieces for junior classes music schools (1957). Mazurka (1960). For violin and piano: Sonata (1953). Rondo (1960). Song Without Words (1961). Two plays (“Tsiareshka” and “Kalykhanka”, 1957). For choir:
“Sowing” - lyrics. A. Prokofiev. “Mower” - lyrics. A. Koltsova. “Frost the Voivode” - lyrics. N. Nekrasova. “What pa sadzik” – lyrics. folk (recorded by N. Homolka). “Kalgasny March”, “Karagod” - lyrics. A. Ushakova. “To the Kamsamolets”, “Zaklikanne vyasny”, “Bless you, young tribe” – lyrics. Ya. Kolas. “Life”, “Song of Ab Radzime” – lyrics. A. Rusaka.etc.
For voice and piano“Who says that Lenin died” (ballad) – lyrics. A. Akopyan. “Kalgasnaya” - lyrics. P. Brovki. “You have come”, “Over the crayfish at the sleeping place”, “You are from Zahodnyai, I am from Ukhodnyai”, “For the sugar, the ram”, “The dormouse has already gone down”, “As they bloomed in the forest”, “To our saint”, “I - Kalgasnitsa”, “As I walk through the field” - lyrics. Ya. Kupala and others.
Music for dramatic performances
Treatments
Collections, tutorials, recordings
Three collections of Belarusian folk songs and dances (1910, 1949, 1959), “Note alphabet”, “Some advice for students of singing”, “Handbook for class singing”, “Self-instruction manual for seven-string guitar”. Recordings of more than 3,000 Georgian, Armenian, Azerbaijani, Tajik, Belarusian, Lithuanian, Polish folk songs and dances
Nikolai Ilyich Aladov Belarusian Soviet composer, teacher. People's Artist of the BSSR. In 1910 he graduated from the St. Petersburg Conservatory as an external student. Since 1923 he has been teaching at the State Institute of Musical Culture in Moscow. In Minsk since 1924, one of the organizers of the Belarusian Conservatory, in 1944-1948 its rector, professor.
During the war years, from 1941 to 1944, he taught at the Saratov Conservatory.
A music school in Minsk was named after N. Aladov, and a memorial plaque was installed. One of the founders of the symphonic, chamber-instrumental and chamber-vocal, cantata, and choral genres of Belarusian music.
Author of the opera “Andrei Kostenya” (1947), the comic opera “Taras on Parnassus” (1927), cantatas “Above the Oressa River” and others, ten symphonies, vocal cycles based on poems by Y. Kupala, M. A. Bogdanovich, M. Tank and other musical works.
Anatoly Vasilievich Bogatyrev Belarusian Soviet composer and teacher. People's Artist of the BSSR (1968). Laureate of the Stalin Prize, second degree. Founder of the Belarusian national composer school. Professor (1960).
A.V. Bogatyrev was born in 1913 in Vitebsk. Graduated from the Belarusian State Conservatory named after A.V. Lunacharsky in 1937, class of V.A. Zolotarev. Since 1948, he was a teacher at the Belarusian Academy of Music, then its rector. In 1938-1949, chairman of the board of the BSSR Investigative Committee. Member of the Supreme Council of the BSSR (1938-1959).
A.V. Bogatyrev died in 2003. He was buried in Minsk at the Eastern Cemetery.
Among the works of A.V. Bogatyrev
Year of birth: 1910
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Biography:
Petr Petrovich Podkovyrov (1910-1977)
Pyotr Petrovich Podkovyrov was born on October 16, 1910 in Chelyabinsk. In 1928 he graduated from the Chelyabinsk nine-year school. As an active participant in amateur performances, he received a permit from the district Komsomol committee to study at the Sverdlovsk Music College. Having graduated in 1933 in the composition class of Professor V. Zolotarev, P. Podkovyrov continued his studies at the Belarusian State Conservatory in Minsk and in 1937 received a diploma as a composer. Since 1935, P. Podkovyrov combined studies at the conservatory with work as an inspector of the Repertory Committee of the BSSR, and later as an inspector of the Administration for Arts. Since 1938, he devoted himself entirely to creativity. At the beginning of the Great Patriotic War, P. Podkovyrov was evacuated to Maykop, and in November 1944 he returned to Minsk and resumed his creative activity. Since 1948, P. Podkovyrov has been a teacher at the Belarusian State Conservatory. Since 1969 he has been an associate professor in the Department of Composition. Awarded the Order of the Badge of Honor (1955) and three medals. In 1957, P. Podkovyrov was awarded the honorary title of Honored Artist of the BSSR. Member of the Union of Composers since 1934, was repeatedly elected as a member of the board of the Union of Composers of Belarus. // Zhuravlev D.N. Union of Composers of the BSSR: Brief bio-bibliographic reference book. – Mn.: “Belarus”, 1978. – P. 184–188.