Basic questions.
I.1) Definition of the choir by prominent masters of choral art.
2) Directions in choral performance.
3) View of the choir.
4) Number of choir members.
II. Types of choir.
III. Arrangement of the choir group.
Target: Determine the importance of the arrangement of the choral group for the most favorable sound of the choral work, in connection with the type and type of choir.
Definition of a choir by prominent masters of choral art
A. A. Egorov (“Theory and practice of working with a choir”): “A choir is a more or less numerous group of singers performing a vocal-choral work. Moreover, each part is sung by several homogeneous voices. In this way, the choral group, as a vocal organization, differs significantly from the chamber vocal ensemble (duet, trio, quartet, etc.), in which each individual part is always assigned to only one performer. The most typical clean look choral group is an a cappella choir, i.e. a group singing without instrumental accompaniment. Another type of choral group - a choral group accompanied by a piano, an ensemble of instruments or an orchestra - is no longer completely independent: it shares its performing tasks with instrumental accompaniment.
An a cappella choir is a kind of vocal orchestra that, based on the synthesis of sound and words, conveys the artistic images of a musical work with its rich colors.”
V. G. Sokolov (“Working with a choir”): “A choir is a group that is sufficiently proficient in technical and artistic expressive means choral performance, necessary to convey thoughts, feelings, ideological content that are embedded in the work.”
P. G. Chesnokov (“Chorus and its management”): “The a cappella choir is a full-fledged union of a significant number of human voices, capable of conveying the subtlest bends of mental movements, thoughts and feelings expressed in the composition performed. A choir is a collection of singers whose sonority has a strictly balanced ensemble, a precisely calibrated structure and artistic, clearly developed nuances.”
Note that Chesnokov attributes nuances to elements of choral sonority, interpreting this concept more broadly than a moving dynamic scale. Nuances, according to Chesnokov, cover the means of musical and choral expressiveness - features of rhythm, tempo, agogy, diction, etc., in connection with their dynamic changes.
Choir is an extremely capacious concept. It is usually considered as a musical and singing group, whose activities are creative process choral music making (or choral performance). In this context, a choir is a vocal and performing group, united and organized by creative goals and objectives. The principle of the collective principle is mandatory for all choir participants and must be maintained at any stage of the choir’s work. A choir is a vocal ensemble with a large number of participants, consisting of choral parts. The basic basis of each choral part is unison, which presupposes the complete unity of all vocal-choral components of performance - sound production, intonation, timbre, dynamics, rhythm, diction, in other words, a choir is an ensemble of vocal unisons. Choral performance is expressed in two forms of music making – singing without accompaniment (a cappella) and singing with accompaniment. Depending on the method of intonation - in natural or tempered tuning - the role of intonation increases. Accurate intonation (tuning) and balanced sound (ensemble) in a choir are the main conditions for its professionalism. A well-coordinated choral group is always perceived as a vocal orchestra consisting of human voices, and therefore requires constant and systematic attention from the choirmaster from the moment the choir sings to the concert performance on the stage. The structure of the choir depends on the skill and training of the singers participating in it, as well as on the personal and professional qualities of the conductor-choirmaster, his will, knowledge, and experience. Formation in a choir is always associated with the implementation of many different interrelated tasks - from the organization of the singing-choral process and the education (training) of singers to the integration of the actual choral sonority with the identification of problems of ensemble and formation. At the same time, important tasks in the process of building a choir - the creation of an ensemble of vocal unisons, the pitch uniformity of the sounds performed, their timbre unity - are solved provided that the vocal and choral work with the singers is properly organized. In choral performance they are organically combined various types arts – music and literature (poetics). The synthesis of these two types of arts introduces specific features into choral creativity. A logical and meaningful combination of music and words defines the concept of the vocal-choral genre. A good choir is always distinguished by technical and artistic-expressive performance, where, along with the problems of ensemble and structure, the problems of musical and literary interpretation are solved.
None of the properties listed above can exist in isolation. All components are interconnected and in constant harmony.
Initially, choral performance was amateur and only thanks to special historical conditions acquired the status of a professional art. From here come two main forms of choral activity - professional and amateur, hence proper names– professional choir and amateur choir (folk, amateur). The first means a choir consisting of specially trained singers, the second means a choir in which everyone who wants to sing takes part. Classes in amateur choirs are not as regulated as in professional ones.
In choral performance, there are two main directions - academic and folk, which are characterized by qualitative differences in the manner of performance.
An academic choir (or chapel) bases its activities on the principles and criteria of musical creativity and performance developed by professional musical culture and the traditions of centuries-old experience in the opera and chamber genres. Academic choirs have a single condition for vocal work - an academic style of singing. In considering the problems of vocal and choral singing, we will start from the concept of the academic style of singing.
A folk choir is a vocal group that performs folk songs with their inherent characteristics (choral texture, vocal style, phonetics). Folk choirs, as a rule, build their work on the basis of local or regional singing traditions. This determines the variety of compositions and manner of performance of folk choirs. It should be distinguished folk choir in its natural, everyday form from a specially organized folk choir, professional or amateur, performing both truly folk songs and original compositions in the folk spirit.
Choral works can be characterized by the number of independent choral parts in them, which is determined by the concept of the type of choir. There are works for choirs of various compositions - one-voice, two-voice, three-, four- and more. The principles of using divisi (separation) in choral parts are related to the pitch ratios of singing voices, as well as their harmonic and timbre-color combinations. It is known that divisi harmoniously saturates the choral presentation, but at the same time noticeably weakens the strength of the sound of the choral voices.
The main and quantitatively minimal structural unit of the choir is the choral part, which is a coordinated ensemble of singers whose voices, in their general parameters, are relatively identical in range and timbre. It is from the choral part (a group of singers) that the construction of choral sonority begins in many aspects: the choral part represents the initial object of the conductor’s work in establishing the ensemble and structure, in the artistic decoration of the work. In this regard, the problem of the smallest number of singers (voices) in a choral part is revealed - 3-4 singers, as well as their timbre and dynamic balance.
Theoretically, according to the definition of P. G. Chesnokov, a homogeneous two-voice children's, female or male choir can consist of at least 6 singers, for example 3 sopranos (treble) + 3 altos, 3 tenors + 3 basses. However, in modern performing practice, a choir of similar size is called a vocal ensemble. A double composition of the choir is considered more full-bodied, where each part has two minimum compositions: 6 first sopranos + 6 second sopranos + 6 first altos + 6 second altos, for a total of 24 singers. Here it is also possible to divide (divisi) each party into two groups.
The number of singers in the choir parts must be the same. It is unacceptable for a female or children's group of singers of 30 people to consist, for example, of 11 first sopranos, 9 second sopranos, 6 first altos and 4 second altos. It is recommended to slightly increase the number of singers in the first soprano and second alto parts in a female (children’s) four-voice choir, which is associated both with the dynamic selection of the choral part performing the upper melodic voice (C I) and with the more compact sound of the chord base (A II) , For example:
first sopranos – 8 people;
second soprano – 7 people;
violas first – 7 people;
altos 2nd – 8 people.
Total: 30 people.
The density of the sound of the unison parts of a chamber choir, the number of which does not exceed 10 singers, is incommensurate with the sound of the choral parts of a large choir, where the number of singers in the choral parts is 20-25 singers.
In the theory of choral studies, it is customary to classify the quantitative composition of choirs into three main types - small (chamber), medium and large choirs. In modern performing practice, a chamber choir with an approximate number of singers is 20-30 people. The average mixed choir, numbering up to 40 people, involves dividing each choral part into two. The size of a large mixed choir usually ranges from 80-120 people (occasionally more).
Under favorable conditions, mass and combined choirs of several hundred and even thousands of people can be created. In choral literature there are examples of multichoral compositions, generally numbering over one and a half dozen independent choral parts.
The existing concept of a double choir means a choir divided into two honors, each of which is relatively independent; both parts of the double choir can be either mixed (full or incomplete) or homogeneous. The triple choir accordingly consists of three parts.
For any performing choir, there is special choral literature, which, of course, takes into account the timbre-catholistic features and the size of the choir. Thus, works written for a chamber choir, therefore aimed at a small group, will sound thick and heavy in a large choir numbering about 100 singers. Conversely, the score for large choir with divisi in different voices in the sound of a small choir it loses its figurative colorfulness.
Types of choir
The composition of the performing group in groups is characterized by the term type of choir. Singing voices are divided into three groups: female, male and children. A choir consisting of the voices of one group is called homogeneous, and a choir consisting of female (or children's) and male voices or the singing voices of all three groups is called mixed. Currently, there are four types of choirs: women's, men's, children's and mixed.
Mixed choir (full composition)
The range of a mixed choir is more than 4 octaves G-A counter octave up to 3 octaves. A mixed choir has great dynamics of sound power from barely audible pp to ff, capable of competing with a symphony orchestra.
Male choir
The range of A counter octave is up to 2 octaves. The male choir has a very dynamic sound and bright timbre colors. The tenor part is the leading melodic voice and sings with a thicker chest sound.
Women's choir
Range from fatal octave to up to 3 octaves. Extreme sounds are rare. The most common is a mixed and close arrangement of voices. Many original compositions and arrangements of folk songs for women's choirs were created by Russian and foreign composers.
Children's choir
The expressive and technical capabilities of a children's choir are closely related to the age characteristics of the composition.
A child's voice is characterized by transparency, softness, sharpness of intonation, and the ability to achieve ideal tuning and ensemble. The sound of the children's choir is distinguished by spontaneity and sincerity of performance. The children's choir has great performing capabilities.
Choir arrangement
Choir arrangement is a specific system of arrangement of singers for the purpose of their joint performing activities. Domestic choral culture has accumulated a wealth of experience on the issue of choir placement. Theoretical understanding of this experience was reflected in the works of P.G. Chesnokov, G.A. Dmitrevsky, A.A. Egorov, S.V. Popov, K.K. Pirogov, V.G. Sokolov and others. Thus, V.G. Sokolov notes that “for successful work For the choir, a certain arrangement of parts during rehearsals and concert performances, which is familiar to both the leader and the singers, is of no small importance.”
One of the most important in this matter is the artistic and performing aspect. It is known that the arrangement should provide the singers with the most favorable conditions for ensemble. In this regard, A.A. Egorov writes: “By consistently rearranging the voices within the group and carefully selecting one voice to another based on homogeneity and timbres, it is possible to establish a complete merger and thereby lay the foundation for a choral part.”
The correct arrangement should ensure the possibility of auditory contact between the singers of different choral parts, because “good mutual audibility of choral parts creates the most favorable conditions for the emergence of an ensemble and structure, which is the basis for the coherence of the choir.”
Usually, the placement of the choir or stage is guided by established traditions. Related parties stand in the same group. The voices of each part correspond to each other in timbre, sound range, etc. The choir group is positioned in such a way that left hand from the conductor were high voices, on the right - low. In a mixed choir, sopranos are placed to the left of the conductor, followed by tenors; on the right are the altos, followed by the basses.
Among the many options for arranging homogeneous choirs, the popular one is where each part is located in a group, like a sector. In a women's or children's choir (from left to right): second sopranos, first sopranos, first altos, second altos. In the male choir: second tenors, first tenors, second basses, first basses, octavists are in the center. It is believed that placing the first high voices (I soprano or I tenors) in the middle of the choir improves sonority, and the placement of the second high voices (II soprano or II tenors) to some extent “covers” the sound of the first.
Women's (children's) choir
Male choir
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Octavists |
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Tenora II | |||
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Tenora II | |||
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Tenora II | |||
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Tenora II | |||
This arrangement of the choir is usually used when recording. In this case, a separate microphone is placed in front of each choral part. The placement of a mixed choir when recording sound takes into account the direction of the sound of each choral part to a separately placed microphone.
In addition to the above, other options for arranging choir groups are also used, for example:
Women's (children's) choir
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Soprano I |
Soprano II |
During rehearsals, the choir should be positioned in the same way as during performances. It is not recommended to place the choir group in one horizontal plane, as this will result in the singers losing proper visual contact with the conductor. In addition, choir members will be forced to sing “behind” the choir members in front. In a mixed choir, it is customary to place the male parts slightly higher than the female ones.
The quartet arrangement of the choir creates the best conditions for the auditory self-control of singers, takes into account the individual singing capabilities of each member of the group and is used in chamber choirs.
The placement of the choir on stage depends on the acoustic properties of the reverberation. Reverb is the acoustic property of a room due to its reflectivity. internal surfaces increase the strength and duration of sounds ("echo" effect). If there is insufficient reverb, the sound will become “dry”; if too much, the performance will be “unintelligible, dirty”. Based on this, currently in the St. Petersburg State Singing Chapel named after. M.I. Glinka (director V.A. Chernushenko) uses a choir arrangement in which female voices make up the third and fourth rows, and male voices occupy the first and second rows. At the same time, the leader of this group uses a wide arrangement of the choir.
It is better to arrange the choir group in the form of a small semicircle (fan-shaped) or, in extreme cases, in a straight line with slight curves at the edges. Placing the choir exclusively in a straight line is less practical.
When performing choral works with piano accompaniment, the instrument is placed in front of the choir in the center or to the right (of the conductor); when performed with an orchestra or ensemble accompaniment, the orchestra or ensemble is placed in front, and the choir is placed in a small semicircle behind it. For example, when performing “Three Russian Songs” by S. Rachmaninov, written for an incomplete mixed choir (altos and basses) and orchestra, the choral voices are usually located to the left (altos) and to the right (bass) of the conductor behind the orchestra on a special platform (choir stalls) . In this case, the sonority of each individual part becomes more compact and monolithic. The long-term use of one choral part, as, for example, in the indicated work, allows us to characterize the choral part with a very rare term - a choir of altos or a choir of basses.
Conducted modern scientific research about the influence of acoustic patterns and the location of singers made it possible to make adjustments to the arrangement of the choir and develop a number of practical recommendations aimed at ensuring proper conditions for auditory self-control of singers:
do not place strong and weak voices in proximity;
use a mixed version of a wide arrangement with alternating related and dissimilar voices.
The presented arrangement option has the following advantages:
Creates conditions for achieving artistic ensemble not on the basis of leveling timbres, but by identifying the natural timbre capabilities of each voice, which reflects the trend of progressive vocal-choral techniques and promotes successful development and improving singing abilities.
Creates more effective conditions to organize the choir as a community of individuals (ensemble of soloists).
Contributes to the formation of each singer more high degree responsibility for the quality of their “vocal products”. Playing music in this arrangement requires the singer to display maximum initiative and independence.
Helps to identify the individual timbre characteristics of each voice and thus has a very significant impact on the sound quality of the choir, which becomes richer in timbre, more saturated and voluminous.
Key words
Choir; type; view; number; choral parts; female; male; mixed; children's; arrangement; execution; timbres
Brief conclusions
The vocal and methodological aspect of the choir arrangement is touched upon in works on children's musical education. Thus, M.F. Zarinskaya notes the importance of the arrangement of singers for organizing the influence of some voices on others in the process of vocal education in the choir. She recommends placing in the last row and at the edges of the choir “those who sing with the most beautiful timbre and, naturally, also experienced choristers, in front – children who sing more dimly or have certain shortcomings in singing.”
Security questions
1.What is a choir?
2.Give a description of the mixed choir.
3.What options for arranging a choir do you know?
4.What factors influence the placement of choir singers on stage?
Literature
Osenneva M. S., Samarin V. A. Choir class and practical work with the choir. - M. 2003
Keerig O.P. Choral Studies - S.-P. 2004
Sokolov Vl. Work with the choir - M., “Music” 1983.
A choir is a group that is sufficiently proficient in the technical and artistic and expressive means of choral performance necessary to convey those thoughts and feelings that ideological content, which is inherent in the work.
Types of choirs:
There are parts of voices in the choir. They are grouped according to the nature of their sound and range of voices. High women's voices- soprano; low female voices - altos; high male - tenor; low male - bass; high children's voices - soprano (treble).
Characteristics of choral parts:
SOPRANO is characterized by a high, mobile, light and light sound. Most often, this part is entrusted with performing the leading melody of the work. Range: up to the first octave - D of the second octave.
Violas have a lower, dense, rich sound. In a women's two-voice choir, altos often take the lead role, singing the melody alone or together with the soprano. Range: A of the small octave - D of the second octave.
TENOR: characterized by a mobile, light, but at the same time solid, strong sound. In a mixed choir, this is the middle voice, but sometimes plays the role of the leading part, singing the melody independently or together with the soprano. Range: up to the small octave - A of the second octave.
BASS: usually the foundation, the basis of the choir. Characterized by strength, power. At the same time, the sound is light. In a male two-voice choir, the role of the second voice is played, but sometimes the main melody of the work is performed. Range: F, G large octave - D small octave.
Quantitative composition of the choir.
The number of singers in each party should be approximately the same. The smallest number of votes in a party is three. The minimum composition of a mixed choir should be 12 people.
C.3 + A.3 + T.3+B.3=12; C.3 + A.3=6; T.3 + B.3=6
Vocal ensembles
S.6 + A.6 + T.6 + B.6=24 - small chorus.
Elements of choral performance:
Ensemble (rhythmic ensemble). The ability of all singers to sing, pronounce words, take breath, start, finish a song at the same time.
Tuning (pure intonation of each singer).
Nuances (different sounds of different parts of the work).
Diction (the singers pronounce the text clearly and clearly).
Choir arrangement
For the successful work of the choir, a certain arrangement of parts is of no small importance. There are various ways arrangements. It is more advisable to arrange the choir in the form of a semicircle, since this creates the most concentrated sound. (see Appendix 1)
C h a p t e r
CHORUS COMPOSITION
According to the composition of the choir, the most common are three main types: 1. Choir of female or children's voices (or both together), 2. Choir of male voices, 3. Choir of mixed voices.*
The choir of the first type, consisting of sopranos and altos, and the choir of the second type, consisting of tenors and basses, are called homogeneous choirs. From the connection of these two homogeneous choirs 1st groups (upper and lower) one mixed group is obtained, so that the choirs of the first and second types can be considered two halves of the choir of the third type. This does not at all deny their independent meaning, but both together they form the most perfect type of choir - a mixed choir.
The first type of choir consists of: 1st soprano, 2nd soprano (or mezzo-soprano), 1st altos and 2nd altos (or contraltos).
If we illustrate this composition with the simplest choral chord, then the voices of the choir are arranged like this:
The choir of the second type consists of: 1st tenor, 2nd tenor, baritones, basses and octavists.
The same chord for the choir of this composition should be arranged like this:
By combining homogeneous choir groups of the 1st and 2nd types, we get a complete mixed choir, the most perfect type of choir, which should consist of nine parts: 1) 1st soprano, 2) 2nd soprano, 3) 1st altos, 4) 2nd altos, 5) 1st tenors, 6) 2nd tenors, 7) baritones, 8) basses and 9) octavists.
The chord placement for a full mixed choir would be as follows:
When comparing the ranges and registers of choral parts, we will see (in detail in Chapter III, Part I) that a complete mixed choir falls into four groups of related voices:
1) 1st soprano and 1st tenor, 2) 2nd soprano and 2nd tenor, 3) altos and baritones, 4) basses and octavists.
Graphically this can be depicted like this:
At the same time, the choir is divided according to registers (we give this division special meaning) into three layers according to the sonority of the chord (with doubling): 1) a layer of upper voices, 2) a layer of middle voices and 3) a layer of lower voices, as can be seen from the tablet and the musical example:
1. Layer of the top goals. - 1st conp. + 1st ten.
2. Medium layer. - 2nd conp. + 2nd shadow + alt. + barite
3. Layer of the lower goals. - basses + octavists
Insufficiently good choral sonority is often due, among other things, to the fact that these three layers of voices sound unevenly in the choir, unbalanced in sound strength: the upper layer is strong, the lower layer is weaker, the middle layer is even weaker. (We will talk about this in more detail in the chapter on the ensemble.)
Of no small importance is the question of the smallest number of singers in each choral part. Its correct resolution will make it possible to substantiate further conclusions.
If we take one singer for a part, then, of course, there will be no choral part, since one singer is a soloist.
Will there be two singers in the choir? No, they won’t: at the moment when one singer takes his breath, the other will be in the position of a soloist.
If we take three singers for a part, then the part will be complete: when one of the three takes breath, then there are still two singers left. Consequently, with three skilled singers, it is possible to form a choral party with a minimum composition. The smallest number of singers for each choral part is three.
If we make up each part from the smallest number of singers, then we will get:
Consequently, to form a properly organized mixed choir, at least 12 singers are required, distributed three to each part. We will call such a choir a small mixed choir. The small choir is at the same time an incomplete choir**; it is forced to limit itself, as they say, to “pure four-voice.”
By evenly increasing each part of the small choir, we will approach the smallest amount of the middle (but already full) mixed choir. When the number of singers in each part of the small choir doubles (and in the bass part triples), it will turn into a medium mixed choir with the smallest number of singers, namely:
In the bass part, as can be seen from the sign, a regrouping was made: at the expense of the octavists, one singer was added to the bass part. This is recommended because the bass line, as the main one, needs to be strengthened a little. In relation to octavists, a deviation from the basic principle can be allowed - “the smallest number of singers for a party is three”; The octavist part, in essence, is not a separate party - this beautiful-sounding part is, to some extent, already a luxury in the choir (however, almost necessary). This part should be used very carefully, avoiding abuse, otherwise the colorfulness of its sound will be devalued and even become annoying.
The average mixed choir of the smallest composition (27 people) can perform, with very few exceptions, almost all choral literature, since it is a full choir, i.e., composed of 9 choral parts.
By uniformly increasing all his parts, we will approach the smallest composition of a large mixed choir. When the number of singers in a medium mixed choir doubles, it will become a large mixed choir with the smallest number of singers:
This powerful choir has access to all choral literature, since each part can form four regular groups of 3 singers each.
The above calculations may seem somewhat abstract. We do not categorically insist on them, but we consider it necessary to point out that they are the result of many years of observation and experience. By indicating the initial smallest number of singers of a large mixed choir, we do not undertake to determine its maximum maximum number, but we consider it necessary to stipulate that there is a limit beyond which musical sonority big choir is already developing into noise sonority.
As for the arrangement of the choir, this question is interpreted differently. Let us still try to find objective justifications for its resolution.
The choir, as mentioned above, is divided into four groups of related voices. Let's place the parties of the first group at opposite ends of the stage. Will they be comfortable singing? Of course not: they, as having homogeneous ranges and registers and singing when doubling in octaves, always strive to be closer to one another. Try to separate the octavists from the basses, and you will hear the murmur of the first: “It’s inconvenient, you can’t hear the bass, there’s no one to rely on.” Therefore, related parties should be in the same group. In this case, the parts that make up the layer of upper voices and take on most of the melodic material should stand with right side from the conductor. The middle layer parts, filling the space between the upper and lower layers with harmonic material, are placed throughout the choir. Finally, the parts of the lower layer, as fundamental parts, as the basis on which the whole weight of the choral chord rests, should gravitate towards the center.
The proposed arrangement of the choir has been verified by experience and observation. But this is not something absolutely obligatory; Sometimes the room and acoustic conditions may require some changes in the choir placement***.
Having examined the various types of choirs and the order in which they are arranged, let us dwell on some organizational issues.
The choir conductor must have assistants in both the musical and artistic and organizational parts. The assistant conductor for music conducts preparatory work with the choir and replaces the conductor in case of his absence for any reason.
The assistant conductor for the musical part is part of the choir, participates in all the work of the conductor, assimilating his requirements, so that in cases of replacement he does not introduce any new interpretations on his own. Two influences on the choir and different directions should not be at work. It goes without saying that the assistant conductor must have an appropriate musical education.
The assistant conductor for organizational matters should be the head of the choir.
Main task choir elders - to ensure the order, the organization that is necessary for artistic work.
Each of the four choral parts must, in addition, have a head of the choral part, who is responsible for it both from the organizational and musical side. The head of the choir party must be an excellent experienced singer, sufficiently musically educated. The head of the choral parish is her representative, her living connection with the conductor. He must know each singer of his part thoroughly. Noticing the shortcomings of the singers of his party, he can and should point them out, thus achieving the improvement of each singer individually and the entire party as a whole. The headman must place an inexperienced, technically poorly prepared singer under the guidance of an experienced singer, who guides him until he gains experience and improves his technique. This guide has great practical significance. No matter how good the singer who has just joined the choir may be, he encounters a style of singing and the conductor’s techniques that are not yet familiar to him, and therefore it is irrational to immediately put him in the position of a completely independent singer. The head of the choir party is in this case an indispensable assistant conductor. Without fail being present when testing the voice, hearing, knowledge and skills of a singer newly joining the choir, the headman must immediately select an experienced singer in his choir party and place the newcomer under his leadership.
From this it is clear that only as many singers can be re-accepted into the choral party as there are experienced ones who can guide the newcomers. If this order is observed, the newcomer cannot be a brake on his party or interfere with it: at the first mistake he will be stopped by the senior singer-leader. Over time, when such a beginner gradually gains experience, masters the conductor’s techniques, learns to support both a private and a general choral ensemble, tuning, etc., he becomes an independent singer. It is useful for such a singer, who has had training experience, to give training to someone with little experience over time: observing the mistakes of his student, he will clearly understand why he himself needed to take this “course.”
The head of the choral party must select one singer from its composition who would be in charge of the notes of his part. It is recommended to have five good, durable folders - four for the choir (one per part) and one for the conductor. The librarian, having received instructions from the conductor which works and in what order will be worked out at the rehearsal, accordingly puts the notes into folders and hands them over to the singers allocated in each part. The conductor announces the thing to be worked on. Those in charge of music folders distribute notes and, upon completion of work on a given piece, immediately collect them back into folders; Even the headman should not, in addition to those in charge of the folders, dispose of the notes - if this rule is observed, the folders with the notes will arrive at the end of the rehearsal to the librarian in the same order in which he issued them. The conductor's folder is directly managed by the librarian.
All of the listed organizational measures are of great practical importance. In the choir, everything must be connected, fastened, welded. With a clear organization, no violation of the musical or social side of the matter should take place: organizational functions are precisely distributed, each section organizational work placed in proper hands. Each link intelligently coordinates its work with the other in the name of the interests of the common cause; the organization and discipline necessary for fruitful artistic activity are firmly introduced into the choir.
Often, a conductor who demands discipline is criticized: he is accused of being too strict, of having excessively high demands. Of course, all unreasonable demands are to be condemned.
Let's try to delve deeper into this issue.
We know from experience what disappointing results such “demands” sometimes lead to. How can one demand, for example, personal favor or sincere and heartfelt participation in the overall artistic work? This can only be desired, but it is achieved not by demands, but by other means. You must be demanding, first of all, of yourself and know that any work of the conductor with the choir must be creative act that rise controlled by feeling artistic measure, must be a constant companion of the conductor and in preparatory work, and during public performance.
The conductor must always be outwardly neat, friendly, and never allow himself to be rude: he must firmly understand that rudeness and fine artistic work exclude each other.
We divide the discipline of the choir into external and internal. External discipline is order, prerequisite for carrying out any collective work. This external discipline is necessary as a means for nurturing and establishing internal discipline, which is necessary for artistic work. Concern for maintaining external discipline is the direct responsibility of the choir leader and the choir leaders; they calmly and reasonably establish the external order necessary for work. But if only the elders are always concerned about maintaining external discipline, then this is not sustainable. The conductor himself must gradually and patiently instill in the choir reasonable and conscious external discipline. It is necessary that the singer, under the influence of the gentle persistent influence of the conductor, discipline himself, clearly understand that external discipline depends on him, that it is necessary and that only with it is the choir capable of creative artistic work.
External discipline creates in the choir an atmosphere of seriousness, deep respect for art, that external order and that concentration that introduces the choir into the area of internal artistic discipline. Thus, internal discipline is closely related to external discipline. Without it, it will be difficult for the conductor and the choir to make their classes creatively meaningful. Creative work and even more so artistic performance- the process is subtle and complex. It requires extraordinary concentration, thoughtfulness, mood, and depth. The creative upsurge that determines true artistic performance cannot be induced artificially and hastily. But we can prepare the way for him. These ways are the strengthening of external discipline and the overcoming of the technical difficulties of the material being worked on by it. When a disciplined choir overcomes these difficulties, then the paths leading to the field of discipline of internal artistic order become clear, in the presence of which only uplift and inspiration can manifest.
Only with careful compliance with all the requirements of external and internal discipline does the choir become capable of inspired artistic performance and the work of the choir becomes a true work of art.
For the successful work of the choir great value each singer has musical talent. Therefore, when hiring a new singer, the conductor must pay sufficient attention to his musical talent. A musically gifted singer has an idea of the beauty of sound, and therefore a desire to find such a sound; it will take very little guidance and advice before the proper sound is found. Once a musically gifted singer has mastered the basics of breathing and sound production, he quickly achieves good results with very few exercises. The more musically gifted singers there are in the choir, the more easily the choir understands and accepts the conductor’s requirements, the more successful it is in its work.
Two words about the number and duration of rehearsals. From many years of practice, we come to the conclusion that the smallest number of rehearsals for amateur choirs is two per week. With one rehearsal a week, the results of the work done are almost completely dissipated by the next, the acquired skills are smoothed out. Under these conditions, the results are not felt, and singers lose interest in their work.
Professional choirs must practice daily (except weekends). The duration of rehearsals should not exceed 2½ hours: the first part is 1¼ hours, rest is ¼ hour and the second part is 1 hour.
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* When considering the issue of choir composition, P. G. Chesnokov does not characterize the artistic and performing capabilities of this or that type of choir. (Note by S. Popov).
* Please note the peculiar use of the terms: “full choir” and “incomplete choir”. By “incomplete”, P.G. Chesnokov understands a small choir, while a “full” choir is a choir in which the choral parts can be divided into groups. This is contrary to the currently accepted understanding of the above terms. By “incomplete” is meant a choir that is missing some choral part, for example a choir consisting of soprano, alto and tenor parts. A choir is considered “full” if it has all the choral parts (soprano, alto, tenor and bass), regardless of their number. (Note by S. Popov).
Being a singer at the Danilov Monastery is a great job. After all, the choir in the monastery takes part in almost all of its events. These are, of course, Sunday and holiday services (and given the number of churches and altars in the monastery, holidays occur several times a week). This is the service of akathists, prayers, memorial services and funeral services. Very often the choir takes part in Patriarchal and Bishops' services in the monastery and beyond.
And being a member of a concert choir is doubly difficult. Indeed, in addition to such active liturgical activities, there is no less active concert and educational activity. Performances in the Moscow region, tours in Russia and abroad... Singers almost never have not only free days, but sometimes free hours!
Many Moscow choir artists moonlight as singers, and many Moscow church singers work in Moscow choirs. But you will not find almost any of the members of the Danilov Monastery choir in other groups. Impossible to combine due to lack of time!
Of course, such a load can only be withstood by being sincerely attached to the monastery and the choir, and that is exactly what all the singers of this group are. Despite the fact that some of them have been working here since its founding - most for 10-15 years, and the youngest participants are not yet 30 - the choir is for them big family, where they share their most intimate things with each other, empathize and try to help each other in everything. Such an atmosphere in the team throughout many years created and maintains to this day artistic director and the chief choir director is Georgy Safonov. He, not only as an attentive teacher, a good friend, but also as a kind father, takes care of each of his artists, knows everything about their families, everyday life, and helped or is helping each of them to get settled in life.
According to Georgy Safonov, each of his singers is unique. Of course, each of them has a higher choral or vocal education, experience in artistic and ensemble work, musical literacy in top level. But the most important thing about his artists is the ability to abstract themselves from external circumstances, forget about their problems and give 200% during performances. This is what distinguishes the Festive Male Choir of the Danilov Monastery from other choral groups - purposefulness, sincerity, spirituality, complete unity with the audience, no matter what program the choir performs.
Artistic Director and Chief Regent
Georgy Safonov was born on July 3, 1964 in Belarus, in the city of Minsk. In 1971, at the age of seven, he entered the Secondary Special Music School at the Belarusian State Conservatory in the class of choral conducting. He sang in the boys' choir under the direction of Honored Artist of Russia I. A. Zhuravlenko.
He graduated from school in 1982. In the same year he entered the Russian Academy of Music. Gnesins in the class of the Honored Artist of Russia, Associate Professor M. A. Bondar (a student of the famous conductor in Russia, the last regent of the Synodal Choir, professor of the Moscow Conservatory N. M. Danilin).
He combined his studies at the Academy with work in two groups - the children's chamber choir of the Moskvorechye Children's House of Culture (artistic director) and the chamber choir "Vivat" Musical Society Moscow region (choirmaster). In 1988 on the First All-Russian competition conductors in the city of Gorky (now Nizhny Novgorod) became a laureate (II prize). After completing five courses, he entered an assistant-traineeship at the Academy, which he completed in 1991.
During his assistantship, he was a teacher at the Academy's choral conducting department (class of conducting and choral arrangement). In 1990 he became the chief conductor of the Moscow Bach Center choir, and in 1991 the artistic director and chief conductor of the Moscow Ensemble of Soloists “Russian Revival”.
Since 1989, he was invited to serve as a choir singer at the Moscow Novodevichy Convent, where he began to study regency work. Since 1991, he began his singing career at the Danilov Stavropegic Monastery of the Russian Orthodox Church in Moscow.
Choir soloists
Korogod Alexander Ivanovich. First tenor.
She has been singing in the monastery since November 2012.
Born in Mikhailovka Volgograd region. Graduated from the Volgograd School of Arts named after P.A. Serebryakov, Academy of Choral Art named after. V.S. Popova. Collaborated with the choir of the Sretensky Monastery. He is the founder, art director and producer of the pop art group “Bravissimo Choir”.
Denisov Denis Nikolaevich. Second tenor.
He has been singing in the monastery since 2002.
He received his musical education at the Orthodox St. Tikhon's Epiphany Institute at the faculty of church singing, and graduated from graduate school at the Russian Academy of Music. Gnesins. From 2003 to 2013 artistic director and chief conductor choir of the Church of St. Tikhon Patriarch of All-Russia in Klin.
Savenkov Dmitry Viktorovich. Tenor-altino.
She has been singing in the monastery since 2011.
Born in Ukraine in Kharkov. Graduated from the Russian Academy of Sciences. Gnesins, in 2010 he entered the Moscow State Conservatory named after P.I. Tchaikovsky to the department of opera and symphony conducting. He worked as a choirmaster of the State Russian Choir named after A. A. Yurlov under the direction of G. A. Dmitryak, collaborated with the Moscow Chamber Choir of V. N. Minin, the State Academic Russian Choir named after. A. V. Sveshnikov, State Academic Symphony Chapel of V. Polyansky. He served as a choirmaster in many monasteries in Moscow and the Moscow region.
Obukhov Valery Petrovich. Bass.
She has been singing in the monastery since 2011.
Honored Artist of Russia, graduated from the Moscow State Conservatory named after P. I. Tchaikovsky, GITIS named after A. V. Lunacharsky. Soloist of the Moscow State Academic Children's Musical Theater named after N.I. Sats. He has been performing as a member of the Danilov Monastery choir since 1995, and has conducted more than a hundred touring performances in Russia and abroad.
Choir singers
Alexey Zamlely. Tenor.
He graduated from the Stavropol Regional School of Arts, the Rostov State Conservatory named after S.V. Rachmaninov and postgraduate studies in choral conducting. He was a singer and choirmaster of the Don Choir Chapel “Anastasia”, collaborated with the Rostov men’s choir “Svetilen”. Served as regent at the Church of St. Demetrius of Rostov, led the professional mixed choir named after St. Demetrius of Rostov.
Alexander Pronin. Tenor.
Educated in Russian Academy music named after Gnesins. He worked in the Moscow Chamber Choir under the direction of V.N. Minin, and at the same time was a soloist of the Moscow Philharmonic. He has been singing in the choir of the Danilov Monastery since the early 2000s.
Igor Krasnoshchekov. Tenor.
Graduated from the Rostov State Conservatory named after S.V. Rachmaninov, viola class. As a violist, he collaborated with the Radio and Television Orchestra, the large symphony orchestra conducted by V. I. Fedoseev and the Symphony Orchestra of Cinematography. He worked as a singer in the choir named after A. A. Yurlov, as well as in the synthesis choir under G. Shaidulova.
Alexander Kandzyuba. Bass.
Born in Donetsk. Graduate of the Ural State Conservatory named after M. P. Mussorgsky. He worked at the Kemerovo State Institute of Culture as a teacher in the department of choral conducting, and at the same time was the regent of the Cathedral of St. Nicholas the Wonderworker in Kemerovo. Organized the 1st festival of church choirs of the Urals and Siberia “Meeting”.
Andrey Ukraintsev. Bass.
Born in Chelyabinsk, where he graduated from a music school and an art institute, worked as a regent in cathedral Chelyabinsk.
He enjoys fishing, picking mushrooms, canning and winemaking, and also knits.
Evgeny Ilyinsky. Bass.
He received his education at the Russian Academy of Music. Gnessins, worked in the chamber choir of the USSR Ministry of Culture. V. Polyansky, in the ensemble "Peresvet". Laureate international competition in Los Angeles as part of the “Choral Academy” p/u. A. Sedogo. In the choir of the Danilov Monastery since 1997.
Alexander Bezdenezhnykh. Baritone.
Serves in the choir of the Danilov Monastery for more than 20 years, assistant artistic director both in the choir and beyond. He graduated from the church singing department of the Moscow City Teachers' Seminary, worked with the “Orthodox Singers” choir under G. Smirnov.
Kirill Kislyakov. Baritone.
Born in Bulgaria, Varna. Graduated from the Academy of Choral Art named after V. S. Popov. Collaborated with charitable foundation“World of Art” under V. M. Teterin in different regions of Russia, studied music with orphans and disabled children. Organizes concerts.
Alexander Konev. Baritone.
Born in the Komi Republic. Graduate of the Russian Academy of Sciences named after. Gnesins. Regent, organizes concert activities Choir of the Danilov Monastery.
Sergey Gerasimov. Bass.
Born in the Urals, he loved folk music since childhood, playing the harmonica and accordion. Studied vocal singing with Professor Sodovskaya Helena Bagislavovna. Singing member of the Danilov Monastery choir since 1998. Successfully combines medical practice as a psychiatrist-narcologist with singing in a church choir.
Ivan Pimenov. Tenor.
Born in Moscow. In 2005 he graduated from the Moscow Orthodox Theological Seminary. Worked in the Architectural Bureau. Owns Greek, thanks to which he collaborates with the Alexandria Metochion, the Greek cultural center, Moscow State University, Ministry of Foreign Affairs. She has been singing in the monastery choir since 2006.
He is interested in sports, likes cycling and skiing.
Alexey Yurchenko. Baritone.
Born in Kamchatka. In 2000 he graduated from the Kamchatka Regional Music School and entered the Astrakhan State Conservatory in the class of choral conducting. Since 2004, he served as regent of the Skimen men's choir at the St. John the Baptist Monastery. In 2007 he created the boys’ choir “Resurrection”. From 2009 to 2011 - artistic director of the men's choir at the Astrakhan Philharmonic. She has been singing in the monastery since 2013.
Born and lives in Moscow. He received his musical education first at the Moscow Boys' Chapel, then at the Moscow School at the Moscow Conservatory as choral conductor. After college, he entered GITIS, the musical theater actor department. Worked as a soloist at the Moscow State Academic Children's musical theater them. N. I. Sats. Served as a singer in choirs under the direction of V.K. Polyansky, A. Sedov, V.N. Minin. He was a soloist of the ensembles GSVG (group of Soviet troops in Germany) and “Don Kazaken” (Germany). He has been singing in the choir of the Danilov Monastery since 2010.
Nikolai prefers classical music, jazz and Soviet films.
Peter Fomin. Tenor.
Born in Moscow. In 1988 he graduated from the Moscow Energy Institute. From 1983 to 1989 he sang in the Youth and Students Choir under the direction of B. G. Tevlin, from 1991 to 1993 - in the choir of the Novospassky Monastery. He served in the “Old Russian Chant” choir, as well as in the courtyard of the Pskov-Pechersky Monastery in Moscow (Sretensky Monastery). From 1989 to 1991, and then from 1999 - work in the choir of the Danilov Monastery.
Alexander Kadin. Bass.
Born in the city of Osh, Kyrgyz Autonomous Soviet Socialist Republic. In 1982 he moved to Abkhazia, graduated from school in the city of Tudauta and the music school in the city of Sukhumi. Since 1998, he worked in the choir of the New Athos Monastery and in the Abkhaz choir chapel. Since 2007 he has lived in Moscow. She has been singing in the Danilov Monastery since 2010.
Alexander is married and has 6 children.
Alexander Garkusha. Baritone.
Holy baptism received in the South Kazakh city of Turkestan, where many exiled Greeks lived, thanks to whom a strong church community was formed. He acquired the skills of singing in church from his grandmother, who served God in the choir. After graduating from school, he entered the music school in the piano department. From 1973 to 1975 he served in the special forces. In 1983 he graduated from the conducting and choral department of the Alma-Ata State Conservatory, after which he was accepted into the group percussion instruments State symphony orchestra. Since 1986, he has been working as an instrumental artist in the Kazakh touring and concert association “Kazakhconcert”. Later, he worked as an accompanist and piano teacher in children's music schools Moscow region. Since 1990, he has served as a singer in the Novodevichy Monastery, after which in 1993 he was accepted into the position of a singing fraternal choir, and then the festive choir of the Danilov Monastery, where he serves to the present day.
Alexander is very interested in Russian sports, loves football and MMA competitions.
With Itza songs - this is how Mitrofan Pyatnitsky called folk songs with love and tenderness. The famous collector of Russian folklore became the founder of the first in Russia folk choir. Natalya Letnikova studied the history of the group.
Peasant - this is how the Pyatnitsky Choir proudly calls itself at concerts. The stage premiere of the group was in 1911. And immediately in the hall of the Noble Assembly - the current House of Unions. Folk music How high art. This was the first time.
"The Lamentations of the Mourners." Such a point in concert poster I could not ignore the concert of Great Russian peasants, specially drawn from the Voronezh and Ryazan provinces. Folk songs and epics accompanied vintage instruments. A real sensation.
The first composition of the choir
“They sing as best they can” main principle peasant choir. The “song artel” didn’t even rehearse.
The peasants simply came from their villages and sang. In between. Like at home at work, or in the field, or in the evening on the landfill.
Pyatnitsky appreciated this primordial nature. And he was not alone. Among the choir's fans are Fyodor Chaliapin, Sergei Rachmaninov, Antonina Nezhdanova, Ivan Bunin, and Vladimir Lenin. By order of Lenin, the singing peasants moved to Moscow. They began to work in factories and factories and sing with a permanent cast.
The choir received the name of Pyatnitsky in 1927, after the death of the founder. The musician's legacy - more than 400 songs recorded on a phonograph, a unique collection folk instruments and suits. But the main thing is attention to the talents of the people, which made it possible to create a unique team.
During the Great Patriotic War The choir performed on the front line as a front-line concert brigade. And the song “Oh, my fogs...” becomes the anthem of the partisan movement. On May 9, 1945, artists sang on Red Square in honor of Great Victory. The team carefully preserves letters from the front.
Traditions are also preserved. Folklore is still in the repertoire. Lipetsk choruses are performed exclusively in the dialect of the Lipetsk province, Bryansk - in Bryansk, Vladimir - in Vladimir. Songs recorded by Pyatnitsky at the beginning of the last century are also heard.
Any musical phenomenon has followers. Voronezh, Ural, Northern, Ryazan, Omsk, Volzhsky... choral groups appeared in almost every region. And abroad. The Polish ensemble “Mazowsze”, the Czech “Sluch” are echoes of the noble cause of Mitrofan Pyatnitsky.
In 2008, the Pyatnitsky Choir was recognized National treasure countries. And also the Order of the Red Banner of Labor, Friendship of Peoples, the government medal “Patriot of Russia” and an informal award - a personal star on the “Walk of Stars” in Moscow.
Today, about 90 artists out of 30 sing, dance, and play in Pyatnitsky Russian regions. Main criterion in selection - talent. To work in the most frequently touring band in the world requires great talent. It’s no coincidence that the choir’s longest number is… taking a bow!