Methodological report on the topic of:
composers of the Urals
Performed:
Savelyeva Olga Borisovna
Content
Introduction………………………………………………………………………………..
1.Musical culture UralXVIII – early XX centuries.
2. Founders of the professional school
composers of the Urals:
M. P. Frolov ……………………………………………………………………
V. N. Trambitsky…………………………………………………………………………………
3. The history of the creation of the Union of Composers of the Sverdlovsk Region.......
Conclusion………………………………………………………………
Bibliography…………………………………………………….
Introduction
Among Russian regions, the Urals stands out for its long musical traditions. Samples of song creativity created in the Urals occupy a worthy place in the treasury of Russian folk art. The past culture of the region is also inseparable from the many years of educational activities of the local intelligentsia, amateur and professional theaters, which introduced the Urals to chamber, symphonic, choral and opera music Russian and foreign composers. A bunch of interesting facts, events, pages creative biographies constitute the rich history of the musical culture of the Middle Urals. But in more detail, in my work, I wanted to reveal the creative potential of Ural composers.
The creative activity of Ural composers is one of interesting pages history of musical culture. The works of Ural composers can be heard on concert stages, in musical theaters, and in performances by amateur artists. The songs of Ural composers are addressed to the history of our country and its present day and reflect a wide range of feelings - from high pathos to warm lyricism
Musical culture of the UralsXVIII – early XX centuries.
The musical culture of the Urals is characterized by a variety of national traditions and socio-cultural forms of manifestation of musical activity.
The oldest centers of professional Russian musical culture in the Urals are associated with Orthodox schools choral singing. In the churches of the Stroganov Ural-Pomeranian and Kama estates in the 16th-17th centuries. A singing “Usolskaya” school was formed, among the masters of which were the famous S. Golysh, I. Lukoshkov, F. Subbotin. The reforms of the Russian Church at the end of the 17th century, which caused the forced resettlement of schismatics to the Urals, led to a parallel existence in the 18th-20th centuries. two Russian traditions religious singing: Old Believer, basically monody-choral, which retained the skills of singing with banners, or hooks, and polyphonic, accepted by the official “Nikon” church. Partes polyphony, which spread in Russia through Ukrainian and Western Russian churches, was supported and adopted by the Stroganov school at the end of the 17th century.
The history of instrumental Russian music in the Urals goes back to the practice of playing folk instruments. The development of professional musical art is associated with instruments of European origin. An important component musical life of the Urals there were orchestras, including military regimental ones, introduced in Russia by Peter I. Among the famous in the Urals in the 19th century. bandmasters of the orchestra - violinists V. Meshchersky, I. Tikhacheki, L. Goyer, M. Krongold, L. Vinyarsky and others. Gradually, orchestras began to perform educational functions. Works of classical music appeared in their repertoire.
By the middle of the 19th century. the increase in the number of educational institutions and the influx of foreign and Russian specialists contributed to an increase in the level of musical culture in the Urals, which attracted the attention of performers and musical theater troupes.
By the end of the 19th century. Significant changes have occurred in the organization of the musical life of the Urals: musical and dramatic circles have been formed in Perm and Yekaterinburg, private music groups have opened. schools. At the head of the musical business were a few professors - graduates of the St. Petersburg, Moscow and Warsaw conservatories and amateur musicians V. Vsevolozhsky, V. Bolterman, I. Diaghilev, S. Gedgovd, E. Peterson, G. Naglovsky in Perm, S. Gilev, P Davydov, S. Hertz, G. Svechin, E. Schneider, P. Kroneberg in Yekaterinburg, etc. In 1894, the first opera house in the Urals was opened in Perm. In Yekaterinburg in 1900, the director of the Siberian Bank I. Makletsky built a concert hall. At the beginning of the 20th century Ur. branches of the Imperial Russian Musical Society were formed in Perm (1908) and Yekaterinburg (1912). In Yekaterinburg, after the opening of the opera house (1912) on the basis of the music class of the IRMO, director. V. Tsvetikov, the first music school in the Urals was created (1916).
The events of 1917 and the civil war disrupted the activities of church singing schools, theater, concert and music educational organizations, leading to the liquidation of the IRMS department and the departure of prominent musicians. In workers' clubs, military units, and schools, the practice of universal instruction in revolution was established. hymns, songs, marches. In opera houses, due to the lack of works on revolutionary political themes, experiments were carried out to update the content of classical operas. Thus, “A Life for the Tsar” by M. Glinka (before establishing itself in the version “Ivan Susanin”) was staged in Sverdlovsk under the title “The Hammer and Sickle” (1925).
At the turn of the 20s and 30s, the process of accelerated industrialization of the Urals, which determined the growth of its population, required an expansion of the network of cultural institutions. Theaters musical comedy opened in Sverdlovsk (1933) and Orenburg (1936). A conservatory was created in Sverdlovsk (1934), music. schools in Chelyabinsk (1935) and Magnitogorsk (1939).
A notable phenomenon was the development of amateur performances. The social principles of musical and aesthetic education of workers presupposed the educational activities of professional musicians.
The Ural branch of the Union of Composers of the USSR (Sverdlovsk) was formed by 1939. At its origins stood the composers M. Frolov (chairman of the board), V. Trambitsky, V. Zolotarev, V. Shchelokov and others. The forced ideologization of creativity fettered the initiative of composers and hampered the development of musical language.
During the war, the Ural lands became a shelter for composers S. Prokofiev, D. Kabalevsky, pianist G. Neuhaus, musicologists V. Zuckerman, M. Druskin and others evacuated to the Urals. Their activities contributed to raising the level of musical culture and the creation of musical educational institutions in the Urals , performing groups. Thus, in 1943, a secondary specialized music school was opened in Sverdlovsk at the Ural Conservatory. In 1943, a philharmonic society was organized in Kurgan.
The late 40s and early 50s were unfavorable for the development of musical art in the USSR. The resolution of the Central Committee of the All-Union Communist Party "On the opera "Great Friendship" by V. Muradeli" dated February 10, 1948 established the principles of the party-state leadership of culture. Reproaches for “formalism” addressed to the leading creators of owls. music, forcing them to public self-repentance led to further suppression of their creative potential. V. Trambitsky's opera "The Thunderstorm" (based on A. Ostrovsky) was withdrawn from production in Leningrad, the theater named after. S. Kirov. Successes have been achieved in the promoted song-choral genre (B. Gibalin, L. Lyadova, E. Rodygin). Since the late 50s, television has played an important role in the popularization of popular pop songs. Songfulness became the basis for the symphonic works of the Ural composers N. Puzey, G. Toporkov and others.
In the 50s, the Sverdlovsk Regional Music and Drama and Chelyabinsk Opera Theaters were opened in the Urals. In the 40-50s, the Ural theme received stage embodiment in the ballet “The Stone Flower” by A. Friedlander, the opera “Okhonya” by G. Beloglazov, the operetta “Mark Beregovik” by K. Katsman and other op. composers of the Urals.
The Ural Concert and Performing School was represented by the string quartet named after. N. Myaskovsky, pianist I. Renzin, balalaika player V. Blinov, singer V. Baeva, etc. The repertoire of U. opera houses has been significantly updated. A number of productions of modern operas have been successfully carried out Perm Theater opera and ballet.
Amateur musical art of the 60s and 70s was characterized by the spread of original songs; amateur song clubs were organized in the Urals. The growing political relevance of the original song and the repertoire of rock bands predetermined the development of these areas as underground art. In the second half of the 80s, thanks to the rock groups “Nautilus Pompilius”, “Agatha Christie” and others, who became widely known.
The opening of pop departments at the Sverdlovsk Music School and the Chelyabinsk Institute of Culture in the 70s contributed to the development of traditions classical jazz and maintaining the high professional level of many pop groups in the Urals. The musical art of the Urals of the 70-80s was represented by such talented musicians as USSR State Prize laureate composer V. Kobekin (1987), chief conductor and chief director of the Sverdlovsk Opera House E. Brazhnik and A. Titel, laureates of international and All-Union competitions pianist N .Pankova, housekeeper T.Volskaya, accordion player V.Romanko, ch. conductor of the Sverdlovsk Philharmonic Symphony Orchestra V. Kozhin and others.
At the turn of the 80-90s, when new opportunities opened up for the manifestation of personal initiative by the organizers of the musical business, numerous independent musical, theatrical and concert groups began to form in the Urals. International music events began to be held regularly in the Urals. festivals: piano duets (Ekaterinburg), organ music (Chelyabinsk), solo performances (Perm). Ural performers intensified their touring activities abroad and began to participate more widely in international competitions. The skill of children's musical groups has increased. The opening of musical lyceums and children's philharmonic societies (Ekaterinburg, 1979 and Chelyabinsk, 1984) is evidence of a new approach to the development of music. children's abilities. This is the source of future success.
Founders of the professional school
composers of the Urals:
M. P. Frolov
Frolov Markian Petrovich - Born on December 7, 1892 in the city of Bobruisk, Minsk province, in the family of a railway engineer. The first music lessons took place under the guidance of his mother. From 1904 to 1912 he studied at the Commercial School (Harbin), continuing his music studies with private teachers. In 1913–1918 studied at the St. Petersburg (Petrograd) Conservatory, piano class with H.H. Poznyakovskaya (took lessons in music theory from S.S. Bogatyrev), in 1918–1921. - at the Kyiv Conservatory with I.A. Turchinsky and F.M. Blumenfeld (piano), R.M. Gliere (composition), 1921–1924 - at the Petrograd Conservatory, where he graduated from piano class with I.S. Miklashevskaya. He performed as a pianist until 1937. Since 1924, he taught piano in Kyiv at the Higher Music and Drama Institute. N.V. Lysenko, at the conservatory and music schools, in 1928–1934. – in Sverdlovsk music college them. P.I. Tchaikovsky, where he also taught musical theoretical disciplines. In 1931 he created a music school at the technical school, which later became the city children's music school No. 1, which still exists today. In 1932 he joined the ranks of the All-Union Communist Party (Bolsheviks) and was elected chairman of the organizing committee Ural branch Union Soviet composers, becomes one of the initiators of the organization of the Sverdlovsk Philharmonic. In 1939, the Sverdlovsk Union of Soviet Composers was established (currently the Ural branch of the Union of Composers of Russia), whose permanent chairman was M.P. Frolov remains until the end of his days. November 1, 1934, largely thanks to the active work of M.P. Frolov, the Sverdlovsk State Conservatory opens. The composer was appointed its first director, at the same time he taught a class of special piano and composition, and since 1935 he has headed the department of music theory and composition. In 1937, as part of a campaign against “enemies of the people,” he was expelled from the CPSU and dismissed from the post of director.
In 1939 he received the title of professor and in 1943 he was restored to the position of director of the conservatory, in 1944 he organized its national branches - Buryat-Mongolian, Yakut and Bashkir. Among his students in composition are D.D. Ayusheev, Zh.A. Batuev, G.N. Beloglazov, B.D. Gibalin, H.M. Khlopkov, B.B. Yampilov. M.P. died Frolov October 30, 1944
M.P. Frolov is one of the largest Ural composers, the author of the first Buryat opera “Enkhe-Bulat-Bator” (based on national epic; performed at the opening of the Decade of Buryat-Mongolian Art in Moscow, 1940). In 1944 he was awarded the title of Honored Artist of the RSFSR.
“Shutka” (“Tale”), piece for string quartet 1915
Five preludes for piano: D minor, op. 1; G sharp minor, op. 2; B minor, B flat minor, op. 3; C sharp minor, op. 4, 1918
Two tales for piano, op. 5 1918
Legend for piano, op. 6 1919
Etude in C sharp minor for piano 1919
Two fragments for piano: “Searching”, “Rush”. 1926
Classical suite for piano in 6 movements, op. 10: Prelude, Sarabande, Allemande, Interlude, Bure, Gigue. Dedicated to Heinrich Neuhaus 1928
Little Suite for String Quartet op. 11 1929
“Ural Symphony”, arrangement for 2 pianos, 1 part. “Poems about the Urals” 1932
Piano Sonata in A minor in 3 hours, op. 20 1943 1940
“Dance with Bows”, “Dance of the Wrestlers”, two transcriptions from the opera “Enkhe Bulat-Bator” for piano, op. 29
Symphonic works
Poem-concert (Concerto No. 1) for piano and orchestra. G sharp minor, op. 7 1924
“Grey-haired Ural”, symphonic poem (based on the 1st movement of “Poem about the Urals” for orchestra), op. 14 1934
Second concert for piano and symphony orchestra (unfinished) 1944
“Camp Song” for symphonic orchestra.
“On Guard of the Republic” for symphonic orchestra.
Trambitsky V.N.
Trambitsky Viktor Nikolaevich - Born on February 12, 1895 in the Brest-Litovsk Fortress. He received his primary musical education in the family. His first attempts to compose music based on the plots of “Ondine” by V.A. date back to his youth. Zhukovsky and “Boris Godunov” by A.S. Pushkin. In 1914, in Vilna (now Vilnius), he graduated from the gymnasium and music school of the Russian Musical Society and moved to Petrograd, where he entered the law faculty of the university. In 1915 he took composition lessons from V.P. Kalafati, from 1917 to 1919 studied in his class at the Petrograd Conservatory. During his studies he worked in the studio of V.E. Meyerhold, participates in the musical arrangement of the mass festival “The Capture of Winter”, staged by the director at Palace Square(1918), works as an instructor in the music department of the People's Commissariat for Education, participates in the creation of the orchestral edition of the Internationale. From 1919 to 1929 V.N. Trambitsky – conductor and music director traveling theater groups. This period dates back to the creation of the lost comic opera"Bianca." In 1925, the composer received an order from the Sverdlovsk Opera House to create the opera “The Gadfly” based on the novel by E. Voynich, which he completed in 1926. The premiere took place on April 13, 1929 (director - I.O. Palitsin, director. – V.A. Lossky). From 1929 to 1961 V.N. Trambitsky lives in Sverdlovsk. With his multifaceted activities, he made a significant contribution to the development of the musical culture of the Urals. His most significant works were created here: the operas “Wrath of the Desert” (1930), “Orlyona” (1934), “The Thunderstorm” based on the drama by A.N. Ostrovsky (1940) and others, symphony. poem "Captain Gastello". He becomes the organizer and senior editor of music radio broadcasting (1930–1933), devotes a lot of time to collecting and studying folk songs, to which he devotes his theoretical works. In 1936–1961 teaches composition and musical theoretical subjects at the Sverdlovsk (now Ural) Conservatory (since 1939 - professor, since 1944 - head of the department). Among his students in composition are V.D. Bibergan, L.A. Lyadova, A.A. and Yu.A. Muravlevs, O.A. Moralev, E.P. Rodygin, G.N. Toporkov; for orchestration - B.D. Gibalin, E.S. Kolmanovsky, D.D. Ayusheev, B.B. Yampilov. In 1962, the composer moved to Leningrad. In recent years, his work has been dominated by vocal genres. V.N. died Trambitsky August 13, 1970, buried in Leningrad. V.N. Trambitsky is the founder of the Ural school of composition. In 1944–1948 – Chairman of the Sverdlovsk branch of CK, in 1960–1968. - Secretary of the Board of the CK of the RSFSR. Honored Worker of Law of the RSFSR (1946).
Chamber instrumental works
Preludes for piano 1920
Suite for pp. quart. 1925
“From a Child’s Life”, cycle of pieces for piano 1935
“Women’s Farewell” (“My dear one is leaving for the Siberian side”), piece for piano
Round dances for piano
"Complaint", piece for piano
History of the creation of the Union of Composers of the Sverdlovsk Region.
History of the creation of the Ural branch
late 20s - early 30s
The first professional composers came to Sverdlovsk: V.N. Trambitsky, M.P. Frolov, V.A. Zolotarev, N.R. Bakaleinikov, V.I. Shchelokov. It is thanks to their activities that their own school of composition emerges in the Urals.
Premiere of the first Ural opera on the stage of the Sverdlovsk Opera House. Its author was young Viktor Trambitsky. According to critics of those years, the success of the opera "Gadfly" was ensured, first of all, by the music, as well as the wonderful work of conductor V. Lossky.
1932
In the same year, when the Union of Soviet Composers was created in the country by decision of the party authorities, its Organizing Committee was formed in Sverdlovsk. The composers Frolov, Zolotarev, and Trambitsky who were included in it formulated its goal as follows: “...to unite the composing forces of the Urals, to organize them to create musical works on Soviet themes..."
autumn 1935
At the recently opened Conservatory, its first director, M.P. Frolov, organizes a composition department, where he runs a composition class [composition theory]. The first students were subsequently famous Ural composers: B.D. Gibalin, G.N. Beloglazov, then N.M. Khlopkov, N.M. Puzey, V.A. Laptev and others.
Date of birth of the composer organization in the Urals: on this day the first meeting of the Union of Soviet Composers of the city of Sverdlovsk took place. M.P. Frolov was elected the first chairman of the Sverdlovsk organization.
November 1941
The Sverdlovsk branch of the SSC, together with the Regional Administration for Arts, the Literary Center of the Union of Writers of the Urals and the Union of Composers of the USSR, is announcing a competition for the creation of a mass Red Army song, as well as songs about the Urals - the forge of military weapons. By the beginning of 1942, many applications had been received. The first prize was awarded to the song “The Urals Fight Greatly” by Tikhon Khrennikov, who lived in Sverdlovsk at that time, based on the verses of Agnia Barto.
August 1944
The premiere of the first Ural ballet took place at the Sverdlovsk Opera House. "The Stone Flower" by Alexander Friedlander, with a libretto based on tales by P. Bazhov, was staged by choreographer K. Muller, with the composer himself at the conductor's stand.
late 50s
Under the leadership of B.I. Pevzner, young musicologists N. Andreeva, M. Blinova, I. Grankovskaya, L. Marchenko, V. Mezrina, V. Palmov, Zh. Sokolskaya, V. Khlopkova, L. Shabalina, G. Tarasov and others . began work on a book of essays “Composers of the Urals” [published by the Sredneuralsk Book Publishing House in 1968].
September 1961
The first meeting of the Youth Section at the Sverdlovsk Sports Club, and a month later - the first of a series of numerous concerts. Inspired by the idea of propaganda new music, the section included composers N. Berestov, V. Bibergan, E. Gudkov, V. Kazenin, M. Kesareva, S. Manzhigeev, G. Seleznev; musicologists N. Vilner, L. Marchenko; performers L. Belobragina, L. Bolkovsky, V. Gorelik, A. Kovaleva, Yu. Morozov and others. The youth section existed until 1965.
January 1966
The Sverdlovsk organization of the USSR Investigative Committee was transformed into the Ural organization of the RSFSR Investigative Committee, uniting composers and musicologists of the three largest regions of the Urals - Sverdlovsk, Chelyabinsk, Perm, as well as Tyumen and Orenburg. Since then, large creative reports, the so-called Board Plenums, have been held regularly, once every few years, presenting listeners with a wide panorama of Ural music.
May 1972
IV Plenum of the Board of the Ural Composers Organization "Towards the 50th anniversary of the formation of the USSR." Five days included two symphony concerts, an opera performance ["Malchish-Kibalchish" by K. Katsman], concerts of chamber, choral, and children's music and performances by student composers, and a concert of an orchestra of folk instruments.
October 1973
Release of the gramophone record "Ural Souvenir", dedicated to the 250th anniversary of Sverdlovsk. Two discs contain symphonic and chamber works by V. Bibergan, B. Gibalin, M. Kesareva, G. Toporkov.
April 1975
The first of a series of concerts of Ural music in Sverdlovsk’s sister city Pilsen [Western Bohemia]. For the first time, the work of Ural authors is so widely represented abroad. Subsequently, such concerts, including joint ones with Czech composers, became a tradition: in the 70-80s, more than twenty of them were held in both Sverdlovsk and Pilsen.
April 1979
The IV Congress of the Union of Composers of the RSFSR is taking place in Moscow, the music of the Ural authors is having great success, criticism especially highlights the Fourth Symphony of Gerald Toporkov.
December 1979
The Ural Composers Organization celebrates its 40th anniversary. The X Plenum of the Board includes six multi-genre concerts, from a symphony concert at the Philharmonic to a song concert at the Borodulinsky state farm, a screening of new recorded music and a discussion following the results.
November 1981
Birth of the club modern music"Camerata". The author of the idea and the permanent presenter, musicologist Zh.A. Sokolskaya, defines the concept of “Camerata” this way: “Performance of chamber works by contemporary composers, meetings with Ural authors and leading performers of the city, premiere performances of new works, discussions on the problems of chamber music.”
March 1982
XI Plenum of the Board of the Ural Composers Organization "Towards the 60th anniversary of the formation of the USSR." Nine concerts of the festival present an impressive panorama of the work of Ural composers.
May 1982
Under the leadership of A. Nimensky, the Youth Section of the “new wave” emerged. Its members included composers V. Barykin, A. Byzov, T. Kamysheva, T. Komarova, A. Korobova, N. Morozov, E. Samarina, S. Sidelnikov, M. Sorokin, A. Tlisov, musicologist L. Barykina, as well as Permians I. Anufriev, V. Gruner, I. Mashukov, V. Pantus, N. Shirokov. Regular meetings of the section are devoted to showing and discussing new, including unfinished works, and listening to new contemporary music. Numerous concerts in the cities of the Sverdlovsk region, in Perm, radio and television programs introduce listeners to the work of young Ural authors.
An independent branch of the Union of Composers of Russia is being created in Chelyabinsk. Its core was made up of members of the Ural Composers Organization - V. Wekker, E. Gudkov, V. Semenenko, M. Smirnov and others.
December 1983
XII Plenum of the Board of the Ural Composers Organization "Creativity of the Young". The concert halls of the Philharmonic, Conservatory, and Palace of Pioneers are provided to young authors - recent graduates and students of the composition department.
May 1985
The Union of Composers of the RSFSR holds a Board Plenum in Sverdlovsk. The large music festival is called "The Great Feat of the Front and Rear." The halls of the Opera Theater ["The Prophet" by V. Kobekin and "My Sisters" by K. Katsman], the Musical Comedy Theater ["The Queen and the Bicycle" by S. Sirotin], the Philharmonic, the Conservatory, and the Cinema Concert Hall are crowded Theater "Cosmos", Palace of Culture UZTM, Palace of Youth. Along with the works of the Urals, the music of leading Soviet composers is heard - R. Shchedrin, A. Petrov, B. Tishchenko, A. Schnittke, M. Tariverdiev, M. Kazhlaev and many others.
February-March 1987
XIV Plenum of the Board of the Ural Composers Organization "Music and Life". Two symphony, three chamber, choral, song, student, children's and folklore concerts. In just a few days, the Sverdlovsk public met with already familiar works and witnessed large quantity premieres at a variety of concert venues [Philharmonic, Conservatory, School of Music, Musical Pedagogical Institute, District House of Officers, Palace of Culture UZTM, etc.].
November 1987
Awarding the USSR State Prize to Vladimir Kobekin's opera "The Prophet" [Sverdlovsk Opera and Ballet Theater, director A. Titel, conductor E. Brazhnik, production 1984].
December 1989
Music Festival, dedicated to the 50th anniversary of the Ural Composers Organization. Retrospective best works past and premiere. Concerts of symphonic, chamber, choral, organ and children's music, opera performance, performance of the Uralsky folk choir, and the Orchestra of Russian Folk Instruments on the stage of the Opera House; song concert-meeting with the participation of A. Pakhmutova, L. Lyadova, E. Rodygin, V. Kazenin, V. Bibergan and others. In addition, for the first time within the framework of the Festival, a regional scientific and practical conference “Problems of modern musical culture and the creativity of composers of the Urals” is being held ".
April 1990
The creative report of the Ural Composers Organization in Moscow, which has already become traditional over previous years. On the stage of the All-Union House of Composers, works by A. Byzov, V. Goryachikh, L. Gurevich, K. Katsman, M. Kesareva, V. Kobekin, O. Nirenburg, N. Puzey, E. Samarina are heard.
A Studio of Electro-Acoustic Music has been created at the Ural Conservatory. Since then, the works of its director T. Komarova, as well as graduates V. Volkov and Sh. Gainetdinov, have been included more than once in the programs of Russian and foreign festivals electronic music[Bellagio, Italy, 1994; De Kalb, USA, 1994; Bourget, France, 1995, 1997].
December 1990
Festival "Young Composers of the Urals". The scope of creative quests, a gallery of new and already familiar names, the genre diversity of concerts and the subsequent resonance made the Festival a kind of result of many years of activity of the Youth Section of the 80s.
March 1992
The music of Ural authors is heard again on the stage of the All-Union House of Composers in Moscow. This time it is the young people who report. Chamber works by I. Anufriev, V. Barykin, V. Gruner, E. Samarina, D. Suvorov, A. Tlisov, N. Shirokov are performed.
April 1992
Festival "Contemporary Composers for Children and Youth". Along with venerable performers and groups, children – students of the city’s music and choir schools – also take part in many concerts. But they have to go on the stages of the Conservatory and Philharmonic! In addition, within the framework of the Festival there is a concert-presentation of the new collection “Pieces of Ural Composers for Piano” [Soviet Composer Publishing House] and an author’s concert by M. Bask, a composer actively working in the genres of music for young people.
Organization of the Perm branch of the Union of Composers of Russia. Its core was made up of members of the Ural Composers Organization - I. Anufriev, O. Belogrudov, V. Gruner, I. Mashukov, N. Shirokov.
October 1993
The first International Festival of New Music "Play and Contemplation" in Yekaterinburg. Five philharmonic concerts feature works by composers from Argentina, Brazil, Germany, Canada, as well as music from Muscovites and the Urals; Creative meetings with guests are held at the Conservatory. The festival offers a new concept of the life of Ural music: now it sounds in the context of world novelties, performed by top-class musicians [M. Pekarsky’s ensemble, etc.] and attracts unprecedented public attention.
April 1994
International festival "Three days of new music at the Ural Conservatory". IN great hall The conservatory sounds the musical avant-garde from Austria, Sweden and Yekaterinburg; The festival also includes an evening by the Armenian composer Avet Terteryan.
June 1995
Publication of an album of piano pieces by Ekaterinburg authors “For Children about Children”. With this action, the Ural branch of the Union of Composers of Russia begins its own publishing activities: the collection was completely prepared on its own. The album “For Children About Children” is the first professional music publication published in the city.
April 1996
Festival "New music - new names". The works of students and recent graduates of the Ural Conservatory will be performed. The festival ends with a concert-meeting with participants of the Youth Section of the 60s.
December 1997
Festival "Music before Christmas". The Municipal Chamber Orchestra "BACH", the Ural Orchestra of Folk Instruments, the Municipal Choir "Domestik" and other performers introduce the public to new music by composers from Yekaterinburg, Perm, and Chelyabinsk.
April 1998
On the initiative of the Union of Composers, a competition is being held for the best performance of works by Ekaterinburg authors among students of the city’s music schools. The April concert of young laureates is the result of competitive selections.
September 1998
Under the leadership of young composers Olga Viktorova and Oleg Paiberdin, the Contemporary Music Club emerged, which was subsequently reorganized into the New Music Workshop "AUTOGRAPH". Regular meetings are devoted to listening and discussing new European music. Numerous concerts and events in Yekaterinburg, Moscow, and the Workshop’s virtual magazine introduce listeners to the work of young Ural authors.
October 1998
The book “Composers of Yekaterinburg” is being published [author of the project and compiler Zh. Sokolskaya] - a fundamental 400-page publication, which for the first time reflects the history of the formation of a composer organization in the Urals. The book is equipped with serious reference material and richly illustrated.
November 1998
Festival "Musical Offering to Yekaterinburg". Timed to coincide with the city's 275th anniversary, it includes chamber, choral and symphonic premieres. The works that took part in the Overture Competition will also be performed. dedicated to the anniversary Yekaterinburg, including the winning "Anniversaries" of A. Nimensky.
September 1999
Festival "60 years of Ural music".
September 2001
Festival "Sound and Space".
December 2001
Chamber music festival "December Evenings".
May 2002
International festival "Lines of Avet Terteryan".
September 2003
Festival of new music "Festspiel".
October 2005
Days of new music in Yekaterinburg.
September 2006
Ural Academic philharmonic orchestra In connection with the 70th anniversary of its founding, an International competition for the creation of symphonic music for children. Composers A. Zhemchuzhnikov (“Lion’s Vacation” for reader and symphony orchestra), V. Kobekin ( Symphonic tale“Kolobok”), A. Krasilshchikova (“A simple story about little Ludwig”, forest sketches for a symphony orchestra), A. Pantykin (a fairy tale for a reader, flute, bassoon, 3 trombones, tuba and symphony orchestra “Flum-pam- memory").
A. Pantykin was awarded the Second Prize and Prize audience choice
A. Krasilshchikova became a Diploma winner of the competition
November 2006
November 5 marked the 70th anniversary of the Honored Artist of the Russian Federation, composer Leonid Gurevich. His anniversary creative evening was held at the Bolshoi concert hall Ural State Conservatory named after. M. P. Mussorgsky. Compositions were performed at the concert different years. Participated: the symphony orchestra of UGK students (conductor Enkhe), the orchestra of folk instruments of UGK students (conductor V. Petushkov), the choir of students of the conducting and choral faculty of the UGK (director - Professor V. Zavadsky), Concert Children's Choir "Gloria" (director E. Bartnovskaya ). Soloists: N. Kaplenko, I. Parashchuk, S. Pozdnyakova, Y. Kravchuk.
Events of the 2006-2007 season
Musicologist Tatyana Kaluzhnikova was awarded the honorary title “Honored Artist of the Russian Federation”
Composer Evgeny Shchekalev became the laureate of the Governor of the Sverdlovsk Region for outstanding achievements in the field of literature and art for 2006 (the project “Fifteen Dedications to the Native Land” for soloists, three choirs, a symphony orchestra, a reader, a synthesizer and a piano). In addition, Vladimir Kobekin’s composition, Symphonic fairy tale for children “Kolobok”, was nominated for the Governor’s Prize.
Laureate of International competitions, composer and pianist Elena Samarina was awarded a Diploma at the International Piano Duo Competition in Japan (Tokyo, March 2007).
On February 22, the first performance of the chamber opera “Galochka” by Honored Artist of the Russian Federation, composer Maxim Bask, written on the plot, was held with great success in the Yekaterinburg music lounge “LEYA”. story of the same name A. Averchenko.
On February 27 in Yekaterinburg (M. Lavrov House of Culture) and March 16 in the Organ Hall of Chelyabinsk, an author's evening of the Honored Artist of the Russian Federation, composer Evgeny Shchekalev was held. On March 18, the Chamber Hall of the Sverdlovsk State Academic Philharmonic hosted a creative evening of the Honored Artist of the Russian Federation, composer Andrei Byzov.
On March 25, in Paris, as part of the “Music of Our Time” festival, the choral cycle “Homo cantans” by composer Olga Viktorova was performed (Performers: Chamber Choir “Artemis”, director Cyril Rolt-Gregorio and women's choir"Pour raison de beaute", directed by Bernard Thomas).
On March 27, the Saratov State Academic Opera and Ballet Theater hosted world premiere opera “Margarita” by Honored Artist of the Russian Federation, composer Vladimir Kobekin.
Events of the 2007 season
Fifth children's and youth competition "Musical Stars"
Events of the 2008 season
Days of new music in Yekaterinburg:
Festival Music of Ekaterinburg composers for children and youth (dedicated to the Year of the Family)
The third competition of young musicians of Yekaterinburg for the best performance of works by Ural composers “Looking into the Future”
Season 2009 Event
Sixth children's and youth competition "Musical Stars"
"Anniversary festival "70 years of Ural music".
The Youth Section of the Ural Branch of the Union of Composers of the Russian Federation has been created, chairman Zhemchuzhnikov Alexander. The PENGUIN CLUB operates on the basis of the Youth Section, which carries out interesting, unusual, non-standard projects.
Chairmen of the Sverdlovsk Union of Soviet Composers (currently the Ural branch of the Union of Composers of Russia):
1939-1944 Frolov M.P.
1944-1948 Trambitsky V.N.
1948-1952 Shchelokov V.I.
1952-1959 Gibalin B. D.
1959-1961 Beloglazov G. N.
1961-1966 Puzey N.M.
1966-1977 Toporkov G. N.
1977-1988 Puzey N.M.
1988-1992 Nirenburg O. Ya.
1992-1995 Kobekin V. A.
1995-2006 Nimensky A. N.
2006-2013 Gurevich L. I.
since 2013 Pantykin A. A.
Piano works of Ural composers.
Bocharov Vladimir Matveevich - Member of the Union of Composers of Russia since 2004. In 2007, he was awarded the honorary title “Honored Artist of Russia.”
Chamber instrumental works 1981
Poem for violin and piano 1982
Sonata for violin and piano in E minor (one movement) 1991
Sonata for violin and piano in D minor (one movement) 1993
Three pieces for piano: “Twilight”, “Conversation”, “Rain” 2008
"Pinocchio", small suite for piano
Viktorova Olga Vladimirovna- Laureate of the Republican Competition for Young Composers (Kyiv, 1976). Diploma winner at the All-Union Competition for Young Composers (Moscow, 1984). Member of the Union of Composers of Russia since 1996.
Chamber instrumental works
“Village Music” for two pianos 4 hands
“Sound Reflections” for two pianos, 8 hands
"Terra" for saxophone and piano
“Birth of the Planet” for two saxophones and piano four hands
"Seven Playing Stars" for piano
“Cooing Trombones” for three trombones, violin and piano
Gurevich Leonid Iosifovich - Candidate of Art History (prepared and defended his dissertation at the Moscow Conservatory, 1975–1979), associate professor (1980), Honored Artist of the Russian Federation (1997), professor (1998), head of the composition department of the UGK (2005–2007), deputy chairman (1996–2001) ), co-chairman (2001–2006, together with V. Kobekin), chairman of the Ural branch of the Union of Composers of Russia (2006-2013).
Chamber instrumental works
Twelve preludes for piano (six preludes in editions)
Five pieces for flute and piano: “Prelude”, “Waltz”, “Intermezzo”, “Tune”, “Scherzo”
Sonatina for piano in 3 movements
Bagatelles, five pieces for piano
“Three Pictures” for 2 pianos, six hands: “Race”, “Sadness”, “Princess”
“Five characteristic pieces” for piano: “Chinese melody”, “Caucasian dance”, “Jewish melody” (arrangement), “Russian tune”, “Bolero”
“Two Moods” for 2 pianos 6 hands
“Simple Pieces” for piano: “Morning Song” (diatonic), “Bizarre Play”, “Country Dance”, “Puppet Dance”
"Nocturne", "Two Pieces" for horn and piano
“By White and Black”, for piano 4 hands
Zhemchuzhnikov Alexander Valerievich -
Laureate All-Russian competition young composers of Russia (1999), diploma winner of the All-Russian competition of young composers “Chamber opera based on the plot of N.V. Gogol." Participant of the Youth Academies of Russia 2004 festivals. Member of the Union of Composers of Russia (since 2004).
Chamber instrumental works
"Akbara", piano sonata
Sonata for three-string domra and piano – 4 movements
"As if Domenico Scarlatti lived in the steppes", eight pieces for piano
Shtelmanis Oliver Karlovich - He worked as a senior laboratory assistant at the music history office of the UGK (1967–1968), then as an executive secretary of the Ural branch of the Union of Composers (1968–1970). In the works of O.K. Shtelmanis's chamber-instrumental works predominate. His piano works were performed by Honored Artist of the Russian Federation N.Ya. Atlas and V.A. Kobekin.
Chamber instrumental works
1987 “Reflection” for violin and piano
Prelude for piano in B minor
Prelude for piano in A minor
Elegy for violin and piano
4 piano sonatas
Conclusion
In my work, I tried to talk in great detail about the composers of the Urals, whose future directly depends on the past of the musical culture of the Urals. It was history, civil wars, and perestroika that were the prototype of new works by composers. I dedicated part of my work to outstanding Ural composers who made a significant contribution to the musical culture of the Urals. These are Frolov and Trambitsky, the founders of the Ural school of composition.
Bibliography
From the musical past. Vol. 1. M., 1960; Vol. 2. M., 1965.
About music and musicians of the Urals. // Scientific and methodological notes of the Ural State Conservatory. Vol. 3. Sverdlovsk, 1959.
Parfentiev N.P., Parfentieva N.V. The Stroganov school in Russian music of the 16th-17th centuries. Chelyabinsk, 1994.
Figures of musical culture of the Urals in the 16th and early 20th centuries. Bibliographic reference book. Ekaterinburg, 1999.
Internet sources
Songs of composers of the Urals
compiled by Zh.A. Sokolskaya
for voice (choir) accompanied by piano (accordion)
"Soviet composer", 1985
number s7060k
SONGS OF THE URAL LAND
When they talk about Russia,
I see my blue Ural,
Like girls, pine trees are barefoot
Running down snowy cliffs.
I love the fire of creation
In its harsh beauty,
Martin's breath and domain breathing
And high speed winds.
Simple faces are dear to me
And the people who melt metal.
When they talk about Russia,
I see my blue Ural.
These lines from a poem by the famous poetess Lyudmila Tatyanicheva make it possible to recreate pictures of the Urals in one’s imagination. The land of untold riches, rare minerals, harsh and courageous people- such is this ancient land, stretching in a wide strip along the mountain ranges from north to south, with its eastern spurs welcoming Asia, and with its western spurs bidding farewell to Europe. The Urals are also famous for their art and unique song culture.
Difficult ethnic composition region left its mark on the specifics of the intonation structure of local musical songwriting. Russian epics, lyrical and round dance tunes not only Slavic origin, but also Ukrainian,
Tatar, Bashkir, mutually influencing each other, determined the originality of the Ural folklore, which became one
from the origins of professional creativity, including songwriting.
Although the Ural school of composition is still very young—it is a little over forty years old—authors living “far from Moscow” have created many works, the fame of which has long transcended not only the borders of their region, but also the borders of the Motherland in general. How can one not recall “Ural Rowan Girl” by E. Rodygin to the verses of M. Pilipenko, which, born more than a quarter of a century ago, continues to be constantly heard today in Czechoslovakia, the GDR, Italy, France, Finland, and Japan?! The songs of B. Gibalin, V. Goryachikh, V. Laptev, E. Rodygin, M. Smirnov, E. Shchekalev performed more than once as true “plenipotentiaries” of Soviet art abroad during the foreign tours of the Ural Folk Choir in Italy, Yugoslavia, the GDR, Czechoslovakia , North Korea, Mongolia, Poland, Hungary, Bulgaria, Romania, France, Germany. Every year the river of Ural professional song becomes wider and deeper. The circle of her admirers is becoming more and more extensive.
The best Ural songs of B. Gibalin, V. Goryachikh, L. Gurevich, K. Katsman, N. Puzey and others were more than once performed by folk choirs and academic chapels, pop orchestras and ensembles, and were recorded in the “golden fund” of the All-Union Radio.
The collection “Songs of Composers of the Urals,” which brings together works from different years, created by several generations of authors, can give a fairly broad idea of the diversity of searches in the most popular genre of creativity. The life of the people, their achievements, aspiration for high ideals, the struggle for a bright future for the Motherland, the world of their contemporary, their reflections on life, joy and hope - this is the imaginative range of these works, reflecting wide circle moods and feelings - from highly pathetic to warm lyricism, from pathos to bright joy.
An undoubted contribution to the Soviet song Leniniana is the song “Lenin” by E. Rodygin to the verses of I. Dremov, which opens the collection. Continuing the line of solemn and anthemic statements about the great leader of the proletariat of the whole world by S. Tulikov and A. Kholminov, in the embodiment of a theme quite diversified by Soviet composers, Rodygin finds his own perspective, his innermost intonation.
Events of the Great Patriotic War, memories of years scorched by fires, the feat of the glorious sons of the Fatherland - all these pages of the heroic chronicle, refracted through the prism of perceptions today, encourages Soviet composers to make secret statements.
Images of labor and struggle with the harsh nature of the region continue to live and develop in modern Ural songs. Rhythmically elastic in its melodic pattern, full of internal activity, the song “Mount Magnitnaya is Calling” by B. Gibalin to the verses of I. Tarabukin, which combines both marching clarity and lyrical warmth, “New settlers are coming”, still lives an active life in the performing and listening experience. Rodygina. The song “Samotlor” by E. Gudkov to the verses of V. Turkin attracts with its romantic and dreamy tone, as if shrouded in a light sad haze.
With all the versatility of the creative interests of the Ural composers, with all the variety of themes, the breadth of figurative amplitude, a particularly “own” theme is clearly visible in their work. The past of the Urals, its present day, the world of fellow countrymen, their achievements - these are just some of the perspectives of the embodiment of the local theme in songs born in the heart of the Stone Belt.
I would like to believe that songs born in the Urals, created by famous masters and young authors, will be able to find their way to listeners. It seems that music lovers and professional performers in all parts of the country, having encountered songs born “in the depths of Russia, in the land of lakes and ore rocks,” will find in them true friends and companions in their lives.
Zh. Sokolskaya
- LENIN. Music by E. Rodygin, lyrics by I. Dremov
- MOTHERLAND. Music by S. Sirotin, lyrics by G. Syunkov
- I AM THE SON OF RUSSIA. Music by K. Katsman, lyrics by L. Sorokin
- WHEN THEY TALK ABOUT RUSSIA. Music by E. Shchekalev, lyrics by L. Tatyanicheva
- THREE CITIES. Music by E. Gudkov, lyrics by I. Tarabukin
- SAMOTLOR. Music by E. Gudkov, lyrics by V. Turkin
- THE MAGNETIC MOUNTAIN IS CALLING. Music by B. Gibalin, lyrics by I. Tarabukin
- THERE IS A VILLAGE IN THE URALS. Music by N. Puzey, lyrics by G. Syunkov.
- IT IS NOT EASY TO SERVE FOR A SOLDIER. Music by K. Katsman, lyrics by L. Sorokin.
- SOLDIER'S MOTHER. Music by M. Smirnov, lyrics by G. Suzdalev
- TOPOLEK. Music by G. Toporkov, lyrics by V. Eliseev
- WHITE TEARS OF CHERRY CHERRY. Music by V. Goryachikh, lyrics by I. Tarabukin.
- WHITE SNOW. Music by N. Puzey, lyrics by G. Syunkov
- ONLY THE SWANS FLYING BY. Music by V. Pestov, lyrics by E. Dolmatovsky
The year of the 25th anniversary of the Regional Newspaper has arrived. On the eve of the anniversary, OG, together with its readers, summed up the results of the voting, which lasted two months. Before you - 25 best songs Sverdlovsk performers - from time-tested to modern compositions.
1055 people correspondents of the Regional Newspaper interviewed to select the most famous songs of Sverdlovsk performers.
1953. “Ural Mountain Ash” (Ural Folk Choir)
Music - Evgeny Rodygin, lyrics - Mikhail Pilipenko
Many Russians are sure that this is a folk song. But the Urals know that in 1953, the music for this composition was composed by a native of Nizhnyaya Salda, Evgeniy Rodygin, and the poems by a resident of Sverdlovsk, Mikhail Pilipenko, who then headed the editorial office of the youth newspaper “Na Smenu”.
Once Evgeny Rodygin told OG how he composes music: “From the first two lines of the poem, I already understood whether it was mine or not,” says Evgeny Pavlovich. — The same thing happened with the “Ural mountain ash.” Accidentally, my gaze fell on the lines “Oh, rowan berry...”, and my consciousness literally clung to these verses. And after a few minutes I already “felt” the melody.”
- Pavel Krekov, Minister of Culture of the Sverdlovsk Region:
- — Of course, the first one I’ll name is “Ural Rowan Tree” by Evgeny Rodygin. And since I was born in the North of Kazakhstan in virgin regions, I can’t help but talk about the song “New settlers are coming” - the Zelenograd Television program began with it every day. And just recently I learned that one of my favorite songs, “The School Romance Is Finished,” was written by Alexander Novikov, and I was very pleasantly surprised.
1954. “New settlers are coming” (male group of the Ural Choir)
Music - Evgeny Rodygin, lyrics - Nina Solokhina
1953 - the beginning of the development of virgin lands. Composer Rodygin receives a letter from Nizhnyaya Salda in Sverdlovsk with poems about the virgin lands. The chorus of the song “Oh, you, frosty winter” appeared to the composer under the influence of a song from Leonid Utesov’s repertoire, “The Killer Whale Swallow,” popular in the forties.
Evgeny Pavlovich gave the song to the Ural Choir and heard from the artistic director: “This is a foxtrot, they don’t sing like that in the villages!” After this, the men's group of the Ural Folk Choir had to learn the song in secret and literally fight to get it into the program. In March 1954, the song was recorded on All-Union Radio, and it began to be heard frequently on the air. One day Nikita Khrushchev heard and praised her. So she lived a full life. And in 1957, Rodygin was accepted into the Union of Composers for her.
- Evgeny Artyukh, deputy of the Legislative Assembly of the Sverdlovsk region:
- — The first one that comes to mind is Evgeny Rodygin, because it was he who glorified the region in songs in the entire history of Ural music, long before Ural rock, which I love and respect very much. I would like to highlight three favorite compositions: “Ural Rowanushka” - once. They said that it was one of Yeltsin’s favorite songs. “New settlers are coming” - two. For her, Rodygin received an apartment from Khrushchev, where he still lives. Well, “Sverdlovsk Waltz” is three.
- I know Evgeny Pavlovich personally. We met twelve years ago when together we started organizing the annual festival of creativity for seniors, “Autumn Enchantment.” It has already become a tradition to go on the festival stage with him every year and perform “Ural Rowan”. By the way, five years ago we started a tradition within the framework of the art movement “Old Man Bukashkin” to gather with artists every May 31 in the courtyard of the house on Lenina, 5 near the blooming rowan tree and sing “Ural rowan tree” together with Evgeny Rodygin to the accordion.
1962. “Sverdlovsk Waltz” (Evgeny Rodygin, Augusta Vorobyova)
Music - Evgeny Rodygin, lyrics - Grigory Varshavsky
In the 60s of the last century, the Ural Choir was led by a man who had a tense relationship with Rodygin. Therefore, the author of the famous composition had to negotiate with the artists so that they would come to the television studio at night and, together with symphony orchestra learned the song. Sound engineer Valery Boyarshinov recorded this song. And it sounded first throughout the country, and then abroad: “Sverdlovsk Waltz” was translated into Chinese, the Baltic languages and Hebrew...
- Oleg Rakovich, television producer, director of State Television and Radio Broadcasting Company-Ural:
- — Until now, the song “Sverdlovsk Waltz” by Evgeny Rodygin makes the strongest impression on me. For twenty years, this is where my morning began, since this song opened the news block every day on radio and television in the Urals. And it didn’t get boring! “Sverdlovsk Waltz” is not just a very beautiful composition, but also a strong one from an ideological point of view.
1984. “Ancient City” (Alexander Novikov)
For many who are not very interested in history, but are familiar with the work of the Ural bard, this song remains the main source of knowledge on the history of Yekaterinburg, a sort of short course on the main milestones. At the level of common quotations, they will tell you that “Nikolashka was sewn here” and about “Demidov slapped counterfeit coins here somewhere.” Although the city, in general, is not that ancient and not at all long, and historians have great doubts about counterfeit coins. However, you can’t erase the words from the song.
1984. “Drive me, cab driver” (Alexander Novikov)
Music and lyrics - Alexander Novikov
Ironically, the song “Take Me, Cabby” became a memory of the future - the state “rewarded” the bard with ten years in prison, of which he served six, was released early, and later rehabilitated by the Supreme Court of Russia for lack of corpus delicti.
1985. “Goodbye America!” ("Nautilus Pompilius")
Music - Vyacheslav Butusov, lyrics - Dmitry Umetsky, Vyacheslav Butusov
At first, its creators did not take the famous song seriously at all - it was made simply as an “addition” to the album. By that time, Butusov had a sketch of a song in the reggae style. But a rumba turned up, and the vocals were recorded with it: “I didn’t even understand what I was writing about,” recalls Vyacheslav. “In those days, I perceived America as a legend, a myth. My associations with America were the following: Gojko Mitic as an Indian, Fenimore Cooper, and so on... And I wrote on behalf of a man who was saying goodbye to childhood, he was going on an independent voyage. I then left my parents. I was 20 years old”...
- Alexander Pantykin, Chairman of the Union of Composers of the Sverdlovsk Region:
- — I have three such songs. The first is “The Last Letter,” better known as “Goodbye America!” group "Nautilus Pompilius". This composition truly became the manifesto of an entire generation; it amazingly combines the emotional state of the 80s and 90s: pain, tragedy and self-irony. The second is “Ural Mountain Ash” by Evgeny Rodygin. The whole Urals is in it pure form. The third song I will name is “Sonya Loves Petya”, written by Yegor Belkin - the anthem of Old New Rock and the unofficial anthem of the Sverdlovsk rock club.
1986. “Bound by One Chain” (“Nautilus Pompilius”)
The text of one of the business cards of the Nautilus Pompilius group was written in 1986 at the dawn of “perestroika”, during the so-called transition to market relations and the beginning of the liberalization of Soviet society.
In the original form of the song, the line “Behind the red sunrise is a brown sunset.” This was a hint of the kinship between the political regime of the USSR and Nazi Germany. But at the insistence of the management of the Sverdlovsk rock club, the color was changed to a poetic “pink” - without political connotations. Contrary to fears, the song did not raise any objections from the party leadership.
1987. “I want to be with you” (“Nautilus Pompilius”)
Music - Vyacheslav Butusov, lyrics - Ilya Kormiltsev
The faster the popularity of the song grew, the more stories, legends and rumors it acquired. According to one version, the text is based on a real story that happened to Butusov. His beloved girlfriend committed suicide because Vyacheslav did not answer letters while at military training. According to another version, Butusov wrote the song in 1986 at the apartment of Alexei Balabanov, when the aspiring director was filming an episode for his student thesis. Yegor Belkin, who was present there, spoke impartially about new song Butusova. Vyacheslav was upset, and a year later he presented the song to the public at a festival in Tallinn, and the melody, contrary to Belkin’s forecasts, was a stunning success. According to the third version, Butusov simply “glued together” the lyrics of the song from two different poems by Kormiltsev.
- Nikita Korytin, director of the Yekaterinburg Museum of Fine Arts:
- — My favorite song by Ural authors is “I want to be with you” by the group “Nautilus Pompilius”. I don’t know why, but this particular melody really sunk into my soul.
1989. “Dance on Tiptoes” (“Nastya”)
Music and lyrics - Nastya Poleva
“Dance on Tiptoe” was the first composition in Nastya Poleva’s work, for which she wrote the text and music herself. Before that, the lyrics of her songs were composed of ready-made melodies.
It was recorded and included in the only remake album of the same name in Nastya’s discography only in 1994. In an interview, Poleva said that when creating the song, she imagined a short Napoleon French Emperor, who often had to stretch and stand on tiptoes.
- Yaroslava Pulinovich, playwright:
- — The songs of “Nautilus Pompilius” come to mind first; you can’t even choose which song is more attractive. And I’ve really liked Nastya Poleva’s songs since I was a teenager - especially “Dance on Tiptoe”.
1989. “No one will hear” (“Chaif”)
The song was written by Vladimir Shakhrin in the summer during a two-week fishing trip on Lake Balkhash. Shakhrin turned 30 years old, and youthful enthusiasm was replaced by the reflection of an adult man. “I was overcome by this feeling that you are no longer a boy - you already have two children, many of your friends have already disappeared somewhere,” recalls Vladimir. — And for “Chaifa” 1989 — difficult time. They began to play somehow viscously, the lightness and irony disappeared, and there was no enthusiasm. In the song I somehow very accurately conveyed all these experiences.”
“Nobody Will Hear” reflected the realities and moods of the last months of the USSR, but despite this, the song did not become a throwaway song - even those who, due to their young age, can no longer feel what it means “there’s a problem with tea - there’s only one pack left,” everything will equally pick up this hysterical “male cry”, putting something personal into “oh-yo” (the second title of the song).
- Nastya Poleva, musician, leader of the group “Nastya”:
- - I like early period"Chaifov" - from the time of "White Crow". As for the Sverdlovsk rock club, we followed each other’s work as before, and now we continue to do so - these people are very dear to me. And if we still talk about one song, I’ll name “Sergeant Bertrand” by the group “April March”.
1991. “Walking on Water” (“Nautilus Pompilius”)
Music - Vyacheslav Butusov, lyrics - Ilya Kormiltsev
The song is based on a modified biblical story about the lack of faith of the Apostle Peter. According to the text, Peter was replaced by Andrey, and the scene of action was also slightly changed. Butusov immediately liked the text proposed by Kormiltsev, primarily for its lack of everyday and social overtones.
1993. “Like War” (“Agatha Christie”)
Music and lyrics - Gleb Samoilov
Samoilov Jr. wanted to save the song for his solo performance, so he did not show it to the group for a long time. After the song was included in the album, Agatha Christie keyboardist Alexander Kozlov predicted a great future for the composition. And so it happened - “Like in War” brought popularity not only to the album itself, but to the entire band.
1994. “Orange Mood” (“Chaif”)
Music and lyrics - Vladimir Shakhrin
The world first heard Vladimir Shakhrin’s song “Orange Mood” in 1994 on the band’s album of the same name. Shahrin wrote the words and music himself. “Orange Mood” was recorded at the Yekaterinburg studio “Novik Records” in a small room the size of an ordinary kitchen. The musicians did not specifically prepare for recording the album - they wanted to recreate the atmosphere of apartment concerts and the “orange” mood of the early eighties. According to Shakhrin, the resulting song became the new anthem of students instead of “Gaudeamus”, and after the release of the song, many companies appeared to organize holidays with the name “Orange Mood”. The Chaifs were the first to think of coloring good mood V Orange color, creating a sincerely optimistic anthem simple guy idling on a day off.
- Victor Sheptiy, deputy of the Legislative Assembly of the Sverdlovsk region:
- — I like the song “Orange Mood” by the group “Chaif”, because it is positive and very Ural. In addition, I know Vladimir Shakhrin personally and have attended his concerts more than once. Their music is truly professional level. And I really like her. If Shahrin agrees, I will definitely sing “Orange Mood” with him!
1994. “17 years” (“Chaif”)
Music and lyrics - Vladimir Shakhrin
Shahrin wrote this song for his wife Elena after seventeen years life together. The leader of the Chaif group met his wife in 1976, when he was studying at a construction college. As the musician himself recalls, this happened during classes in the gym: “I saw her dancing, performing some gymnastic exercises on a balance beam. I was smitten by grace and charm, began courting, we had a whirlwind romance, which was carefully watched by the entire hostel.” Some time later, the couple got married and had two daughters.
As for the line “Let everything be the way you want,” then according to legend, Mike Naumenko left it as an autograph on the poster as a keepsake for Shakhrin.
1995. “Fairytale Taiga” (Agatha Christie)
Music - Alexander Kozlov, lyrics - Gleb Samoilov
The musicians call their song an “aesthetic joke.” During the rehearsals, it turned out that the melody of “Fairytale Taiga” resembles one of the songs in the film “Ivan Vasilyevich Changes His Profession.” The group members decided to play on this and shot a video in which almost all the key actors of the famous comedy by Leonid Gaidai took part - Yuri Yakovlev, Alexander Demyanenko, Natalya Krachkovskaya and Leonid Kuravlev. “Agatha Christie” dedicated the resulting video to the memory of the legendary director.
1995. “Why the hell do we need war” (Olga Arefieva and the group “Ark”)
Music and words - Olga Arefieva
The pacifist manifesto song refers to the Vietnam War slogan “Make love not war.” Tired and war-worn veterans - soldiers and sailors - in their old age decide to start normal life. But everything turns out to be not so simple, because “the infection is in us” - that is, the war must be eliminated first of all from ourselves...
1998. “Argentina - Jamaica - 5:0” (“Chaif”)
Music and lyrics - Vladimir Shakhrin
As you know, the leader of the Chaif group, Vladimir Shakhrin, is a big fan of football. And the idea of creating the song “Argentina - Jamaica - 5:0” was born, of course, on the football field. In 1998, at the World Cup in France, the Jamaican team lost to Argentina with a disastrous score and lost the chance to reach the playoffs. After the game, Vladimir Shakhrin (who was in Paris at the time), passing by Eiffel Tower, I saw a group of Jamaicans - they were sitting on the asphalt, beating drums and singing something sad, and Argentines were dancing and having fun next to them... Returning home, Shahrin wrote a song in the reggae style.
1999. “Medlyak” (“Mr. Credo”)
Music and lyrics - Alexander Makhonin
Alexander Makhonin - aka Mister Credo - was born in Ukraine, but at a young age he moved to Yekaterinburg with his parents. The peak of this performer’s career is the song “Medlyak” or as it is also called “White Dance”, without which not a single disco in all the clubs in the country could do without it.
It is not known to whom Makhonin actually dedicated this song, but, as the singer says, his wife Natalya has always inspired his creativity. Thanks to her, this unusual pseudonym “Mr. Credo” appeared: “In the early 90s, we had neither Chanel nor Paco Rabanne, and the rule good manners was to have scents from the Latvian company Dzintars. My girlfriend used perfume from this company called “Credo”. And once she jokingly called me “My beloved Mr. Credo.” I like it. I called myself Mr. Creed and married the girl.”
2000. “Heat” (“Chicherina”)
Music and lyrics - Alexander Alexandrov
“Heat” was written by the guitarist and backing vocalist of the Chicherina band. The year “Heat” was written, the summer in the Urals was very dry and abnormally hot. Aleksandrov, sitting in a room, wrote a simple text about a heroine who was late for a date due to the heat.”
2000. “Forever Young” (“Meaning Hallucinations”)
Music - Sergei Bobunets, lyrics - Sergei Bobunets, Oleg Genenfeld
It was first performed in the film “Brother-2” (2000). Sergei Bobunets says that the idea for this song had been ripening for several months; the musician wanted to write about eternal youth, even though similar themes had already been used by many groups: “I wanted to write some kind of anthem to justify myself, my friends... And then one day in a nightclub I stood up for a girl (she later became my wife), and the next day, when I was lying and “burning out” my black eyes with toothpaste, Oleg, our director, came to visit a sick friend, and in half an hour we wrote two songs, one of which was “Forever Young”.
By the way, as “OG” wrote, it is with this song that one of our best boxers, world champion Sergei Kovalev, enters the ring: “Once I heard the song “Semantic Hallucinations” and decided that I would go out to it.”
2000. “Stars 3000” (“Meaning hallucinations”)
Music - Sergei Bobunets, lyrics - Oleg Genenfeld
Oleg Genenfeld and Sergei Bobunets wrote the words for many of the songs in “Semantic Hallucinations” together. As they themselves say, for the first time they tried to compose a line each - this is how the song “Helicopter” appeared, then “Rose Glasses” and “Forever Young”... But the poems for “Stars 3000” were first written in full by Oleg himself: “I was tormented by insomnia then . At four o’clock in the morning I decided to drink coffee, sat down in the kitchen and wrote “Stars” right away without a draft, in bare text.”
By the way, Russian cosmonauts have a tradition of watching the film “White Sun of the Desert” before the flight. After the release of the song, another one appeared - be sure to listen to “Stars 3000”. They even gave Oleg a keychain with an astronaut; he carries it in his backpack like a talisman.
2001. “Saucers” (“Chicherina”) Music - Yulia Chicherina, lyrics - Alexander Alexandrov
The melody was released in 2001 in an album called “Current”. According to the plot of the video for this song, a group of young musicians are fooling around and playing golf next to a rare semi-mystical vase of extraterrestrial origin. They have every chance of breaking this expensive wonder, but in the end, professional golfers playing on the opposite bank break it with a precise blow.
2011. “Cranes” (“Alai Oli”)
Music and lyrics - Olga Marques
Alai Oli is a reggae-ska band created by Olga Marquez and Alexander Shapovsky. The song "Cranes" is business card team. The composition was written in Yekaterinburg and dedicated to the soloist’s friend.
2012. “Clouds” (“Samsara”)
Music and lyrics - Alexander Gagarin
The Samsara group was founded in 1997. “I compose songs anywhere,” shares Alexander Gagarin. - But I’m very lazy, when half of the song appears, I already calm down, I know that one way or another it will be finished. We’ve been singing “Clouds” for three years now, but it seems to me that I’ll never get tired of it”...
2012. “Kurara-Chibana” (“Kurara”)
Music - Yuri Obleukhov, lyrics - Oleg Yagodin
Soloist of “Kurara” Oleg Yagodin: “We listened to “GusGus” and their album “Arabian Horse” for six months. And I suggested that the guys do something similar. We are often asked what "Kurara-Chibana" is - it's actually a name Japanese girl, "Miss Universe 2006".
- Sergey Netievsky, participant in the Ural Dumplings show:
- — I’m in a New Year’s mood, so the first thing that comes to mind is our “dumplings” song (is it okay that I’m a little immodest?). “New Year - tangerine in my mouth!” A few years ago, the guys and I wrote it for a New Year’s concert and even sang it with the Chaifs.
Among Russian regions, the Urals stands out for its long musical traditions. Samples of song creativity created in the Urals occupy a worthy place in the treasury of Russian folk art. The past culture of the region is also inseparable from the many years of educational activities of the local intelligentsia, amateur and professional theaters, which introduced the Urals to chamber, symphonic, choral and opera music of Russian and foreign composers. Many interesting facts, events, pages of creative biographies make up the rich history of the musical culture of the Middle Urals. The oldest vocational educational institutions in the Urals operate in the regional center.