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2023/10/11 17:35:13

History of music in Russia

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Content

Main article: Culture of Russia

The best favorite music of Russia

Main article: Best music of Russia. TAdviser list

Music industry

Main article: Music industry

Choruses

Main article: Choirs of Russia

2023

Conductor Yuri Temirkanov died

Artistic Director of the St. Petersburg Philharmonic Yuri Temirkanov passed away in November 2023 at the age of 84 in St. Petersburg.

Died composer Gennady Gladkov

Russian composer Gladkov Gennady Igorevich died on October 16, 2023 at the age of 88.

2022: Violinist Andrei Reshetin and leader of the Leningrad group Sergei Shnurov in the zone of military special operation in Ukraine

Volunteer Andrei Reshetin (fourth from left), violinist, founder of the Early Music festival, ex-member of the Aquarium group, as part of a creative team during a special operation in Ukraine, December 2022

Russian actor Georgy Bolognev in early August 2022 published a joint photo in military uniform with the head of the Leningrad music group Sergei Shnurov and with the owner of PMC Wagner Yevgeny Prigozhin from the Museum of the Stakhanovsky Movement and the History of the city of Irmino in Donbass, which was at that time near the front line during the special operation of Russia in Ukraine.

2018: Conductor Gennady Rozhdestvensky dies

On June 16, 2018, conductor Gennady Nikolaevich Rozhdestvensky died in Moscow at the age of 87

2016:22 metal-playing bands

Number of metal bands in Europe as of May 2016

2002

Russian group t. A.T.u. and American singer Marilyn Manson, 2002.

1998: Death of Alfred Schnittke

Composer Alfred Schnittke died on August 3, 1998 at the age of 63 in Hamburg, Germany.

1997: Lyudmila Shkirtil makes her opera stage debut

Main article: Shkirtil Lyudmila

1996

Musician Yuri Shevchuk with children, Tajikistan 1996
Group "Na-na" with a concert for Russian soldiers in Chechnya in 1996

1994

The leader of the Civil Defense group Yegor Letov at a May Day rally, Moscow in 1994.
Musician Yegor Letov and writer Eduard Limonov at a rally, 1990s.
Pop singers Philip Kirkorov and Alla Pugacheva undergo a wedding ceremony. 1994.

1992

Bravo group leaders Evgeny Khavtan with Morrison on his chest and Zhanna Aguzarova with Metallika, 1990s.

1991

Mstislav Rostropovich and Yuri Ivanov on defense of the White House, August 1991.

1990: The Death of Viktor Tsoi

The beginning of the Tsoi Wall in Moscow, the morning of August 15, 1990. The first inscription: "Viktor Tsoi died today. We will respect you! "
Group "Cinema" in the USA, "Disneyland," 1990
Ukrainian journalist Dmitry Gordon interviews Viktor Tsoi for the newspaper "Evening Kyiv" before the concert of the group "Kino." April, 1990.

1989

'Civil defence ', 1989.
Student of the Leningrad Theological Academy, young theologian Sergei Shnurov, 1989.
Yanka Diaghileva drinks beer from a bucket. Concert in the Angarsk TOM, March 1989.

1988

Groups "Rondo," "Gorky Park" and "Brigade C" in the SNC studio (Stas Namin Center), 1988, USSR

1987

Zhanna Aguzarova, USSR, 1987.

1986

Victor Tsoi, Leningrad, 1986.
Singer Alla Pugacheva signs autographs for the liquidators of the Chernobyl accident, September 9, 1986, Zeleny Cape
Chansonnier Alexander Novikov during his imprisonment in a camp in the city of Ivdel in the north of the Sverdlovsk region, 1986.

1985

List of ideologically harmful foreign groups in Ukraine

Victor Tsoi on a walk with Bill, his wife's dog. September 1985.

1984

Alla Pugacheva and keyboard player of the Recital group Igor Nikolaev. 1984
On November 8, 1984, the Russian punk group Civil Defense was founded
VIA "Leia, Song" in Afghanistan, 1984. 1st right Nikolai Rastorguev (in the future "Lyube"), 4th right Valery Kiplov (in the future "Aria").

1982

Victor Tsoi at his first concert in Moscow. October 1982.

1980

Farewell to Vladimir Vysotsky, 1980.

1978: Valery Gergiev conducts the first performance at the Mariinsky Theater

On January 12, 1978, Valery Gergiev, a recent graduate of the Leningrad Conservatory, conducted his first performance at the Kirov (Mariinsky) Theater. It was Prokofiev's opera War and Peace.

1977

Vladimir Vysotsky and Marina Vladi in Paris in 1977.

1976

The cover of the disc VIA "Pesnyary" by Melody. In the same year, Pesnyary became the first Soviet group to tour in the United States. USSR. 1976

1975

Alla Pugacheva on the balcony of her parent's apartment in Veshnyaki with the Golden Orpheus brought from Sofia. Autumn 1975

1967: The Orchestra of Ancient and Modern Music was created - the future St. Petersburg GASO

In 1967, under the auspices of the Leningrad State Institute of Theater, Music and Cinematography, the "Orchestra of Ancient and Modern Music" was created.

In 1985, the small composition of the orchestra grows to a full symphony, the collective receives the status of a state and a new name: the Leningrad State Orchestra.

In 1996, the orchestra received the title of "Academic," which is awarded in Russia only to selected musical groups. Since that time, the collective has been known as the St. Petersburg State Academic Symphony Orchestra (St. Petersburg GASO).

1966

16-year-old Alla Pugacheva on the recording of her first song "Robot," 1966

1964

On February 19, 1964, conductor and pianist Yuri Serov was born.

1962: Shostakovich Symphony No. 13

Authors Title Comments
Dmitry Shostakovich Symphony No. 13 1962

1960: Alexander Rudin was born

Main article: Rudin Alexander Izrailevich

1952: Vladimir Shcherbachev dies

Composer Vladimir Shcherbachev died on March 5, 1952 in Leningrad.

1947: The start of recording "music on the bones"

Since 1947, in the USSR, old X-rays were widely used to make artisanal records on which illegal music was recorded. They were called "music on the bones" or "records on the ribs." Expensive vinyl was in short supply and therefore, with the help of primitive devices, music with expensive records was reduced to cheap copies. The material was free, the medical staff even thanked those who helped unload the archives.

"Riebra" in the Soviet Union was recorded and sold from 1947 until the advent of reel recorders in the early 1970s. Probably, this was the first case of audio piracy in Russia, such records were called "X-ray."

It is generally accepted that music lovers owe the appearance of "music on the bones" to the resident of Leningrad Ruslan Bogoslovsky, who invented a homemade recording apparatus and, together with his comrades, opened the underground recording studio "Golden Dog."

"Having carefully studied in the studio Filon (the founder of the Recording studio, from whom Bogoslovsky borrowed the idea of ​ ​ recording on half-soft discs. - RT) the principle of operation of the device and having carried out a number of necessary measurements, Ruslan made working drawings, after which he found a station wagon turner who undertook to make the necessary parts. In the summer of 1947, the magnificent apparatus for mechanical recording was ready, "the poet Boris Taigin wrote in an article for the Bee magazine.

X-rays recorded the music of performers banned in the Union. Or performers whose records cost fabulous money - few could afford to buy vinyl worth an engineer's salary. And thanks to the "bones" of rock and roll, boogie, bard, emigrant and gypsy music could be purchased for one and a half rubles. However, for students - the main audience of farcers - such money was very tangible.

In stores, such records, of course, were not sold, and they could be purchased at flea markets, in alleys and entrances. Often, sellers walked in two: one offered a record and negotiated a price, and the other stood nearby with a suitcase stuffed with goods.

As a result of an illegal transaction, music lovers received a thin record with one song lasting no more than three and a half minutes. The quality of the "bones" was often disgusting: noises drowned out music. And sometimes instead of the long-awaited composition, insults were heard from the player to those wishing to listen to foreign singers.

If the buyer was lucky, the voices of Pyotr Leshchenko, Leonid Utesov, Vadim Kozin, Bulat Okudzhava, Vladimir Vysotsky were heard from the player.

Young people earned more than three years in the production and sale of records until the arrests of those involved in this business began in Leningrad. Ruslan Bogoslovsky was sentenced to three years, and Taigin - to five years. The equipment was confiscated and destroyed. However, having been released, friends from the drawings restored the recording apparatus and again began entrepreneurial activities.

"The apparatus improved by Ruslan could now, walking in step with time, write long-playing records at a speed of 33 turns per minute! Philo considered this innovation superfluous and still recorded records at a speed of 78 revolutions per minute: it was faster and easier to manufacture. Moreover, lovers of these musical genres, hungry during the period of our forced absence, bought any records without any special complaints, "Taigin noted.

Four years later, Bogoslovsky was arrested again. During his three years in the camp, he came up with a way to make hard records at home and, having been released, established the production of cheap but better copies, for which he ended up in prison for the third time.

Three decades after the birth of the culture of "bone music," Viktor Tsoi will sing: "You were ready to give your soul for rock and roll, extracted from a picture of someone else's diaphragm."

True, well-known melodies and hits when playing sounded unusual, in a new way. That is why, now Western researchers are specifically collecting such "disks."

Vladimir Vysotsky with a friend, 1947

1946: Leokadia Maslennikova begins performing on the stage of the Bolshoi Theater

Leokadia Ignatievna Maslennikova, Soviet opera singer, lyric-dramatic soprano. People's Artist of the RSFSR.

Since 1946, for 23 years (until 1969) she sang on the stage of the Bolshoi Theater.

1945

Main article: World War II

Singer Lydia Ruslanova at the walls of the Reichstag, Berlin, May 1945

1943: Vladimir Dijk arrested in France and sent by fascists to Auschwitz concentration camp

The life of composer Vladimir Dyck was tragically cut short when he and his family were arrested in France in 1943 and sent by German fascists to the Auschwitz concentration camp.

1941: Valery Kikta was born

Soviet and Russian composer Valery Grigorievich Kikta was born in 1941 in the Donetsk region of the Ukrainian SSR.

1940

Premiere of the ballet "Romeo and Juliet" Prokofiev

The premiere at the Kirov Leningrad Opera and Ballet Theater, held on January 11, 1940, was a turning point in the history of Prokofiev's ballet Romeo and Juliet. Choreographer Leonid Lavrovsky initiated the writing of a new edition of the libretto and obtained the composer's consent to a number of alterations and the inclusion of additional numbers in the score, which helped the artists "come to terms" with this music. Read more here.

1939

Authors Title Comments
Sergey Prokofiev Seven Songs op.79 1939

1938

Authors Title Comments
Vano Muradeli (Hovhannes Muradyan) Symphony No. 1 In memory of S.M. Kirov, 1938

1937:30 thousand amateur folk choirs, about 20 thousand folk orchestras and ensembles

By 1937, about 30 thousand amateur folk choirs, about 20 thousand folk orchestras and ensembles, and many other amateur art circles were registered in the USSR.

1936

Little Anna German with her parents and grandmother, 1936, Urgench, Uzbek SSR.

A year later, his father, Yevgeny Fridrikhovich German, was arrested and shot. He was only 28 years old. The mother, Irma, lived a long life and died in 2007 after surviving her husband and daughter Anna.

1935

1934: Alfred Schnittke was born

Composer Alfred Schnittke was born on November 24, 1934 in the city of Engels, Autonomous Socialist Soviet Republic of Volga Germans, USSR.

1931: Concerts of Alexander Vertinsky in Chisinau

National Museum of Moldovan History

1927

Authors Title Comments
Igor Stravinsky King Oedipus Опера-оратория. Премьера 25 марта 1926 г в Paris

1926

Authors Title Comments
Alexander Grechaninov The Demonic Liturgy Премьера 25 марта 1926 г в Paris

1925: Veniamin Basner was born

January 1, 1925 Veniamin Efimovich Basner was born - Soviet and Russian composer. The author of music for more than a hundred films.

1916

Parra Daniel. Bust of Chaliapin as Ivan the Terrible. Paris. Russian seasons abroad S.P. Dyagilev, 1910s. Bakhrushinsky Museum

1915

Rachmaninoff's 14 romances, Soch.34

In the summer of 1912, in Ivanovka, Sergei Vasilievich Rachmaninov wrote a vocal cycle - fourteen romances of or.34, to the words of Russian poets.

"Vocalise" op. 34 No. 11. Note autograph of one of the early versions of the vocal part, 1912

In this opus, he also included the Vocalize completed in 1915. Sergey Vasilievich devoted romances to outstanding Russian singers of that time. The famous "Vocalise" is dedicated to Antonina Vasilyevna Nezhdanova.

Antonina Vasilyevna Nezhdanov

Great Russian singer. 1873-1950]]

"I was blessed with exceptional attention from Sergei Vasilyevich, and I really wanted words in this work, but he said to this:

"Why words when you with your voice and performance can express everything better and much more than anyone with words."

Death of Alexander Scriabin

It was 1915. His first months, Alexander Scriabin gave a lot of concerts. In February, two of his performances took place in Petrograd, which were very successful. In this regard, an additional third concert was scheduled for April 15 in the Small Hall of the Petrograd Conservatory. This concert was destined to be the last.

Returning to Moscow, Scriabin felt unwell a few days later and fell off on April 20. In the early morning of April 27, Alexander Nikolaevich was gone.

"All-night vigil" by Sergei Rachmaninov

Main article: "All-night vigil" by Sergei Rachmaninov

S.V. Rachmaninov wrote the All-Night Vigil during World War I. The work was first performed on March 10, 1915 in the Great Hall of the Noble Assembly in Moscow (now the Column Hall of the House of Unions) by the Synodal Choir under the direction of N.M. Danilin. The composer dedicated his work to S.V. Smolensky - an outstanding church musician and choral figure.

Rachmaninoff's "All-Night Vigil" belongs to the pinnacles of choral art. This music is still recognized to this day as the unsurpassed "crown of the Moscow school" of sacred music.

1914: Mark Fradkin was born

In Vitebsk, on April 21 (May 4), 1914, Mark Fradkin was born, the composer is the author of many popular songs and music for films in the middle of the 20th century.

Russian writer, prose writer and playwright - Alexey Maksimovich Peshkov (author's name - Alexey Maksimovich Gorky) pokes a broom at the Russian opera and chamber singer - Fyodor Ivanovich Chaliapin, Grand Duchy of Finland of the Russian Empire, Vyborg province, Mustamyaki village, spring 1914.

1913: Nikita Bogoslovsky was born

On May 22, 1913, the composer Nikita Vladimirovich Bogoslovsky was born.

1907: Vasily Solovyov-gray-haired was born

On April 25, 1907, the Russian composer Solovyov-gray-haired Vasily Petrovich was born.

1906: Ilya Jacques was born

Ilya Semenovich Jacques (September 25, 1906, Poltava - October 2, 1964, Leningrad) - Soviet songwriter, conductor.

1905

Golovin A.Ya. Portrait. Chaliapin F.I. as Mephistopheles. Faust, 1905

1903: Aram Khachaturian was born

On May 24, 1903, the future composer Khachaturian Aram Ilyich was born in the Tiflis province of the Russian Empire.

1902

Nikolay Kuznetsov. Portrait of F.I. Shalapin. 1902. Bakhrushinsky Museum

Born Vissarion Shebalin

Composer, rector of the Moscow Conservatory Shebalin Vissarion Yakovlevich was born on May 29 (June 11), 1902 in Omsk.

1900

The most popular performers of romances and songs in Russia in 1900 were Anastasia Vyaltseva, Alexander Davydov, Joachim Tartakov, Leonid Sobinov, Oscar Kamionsky.

Photo-opening. Chaliapin F.I. Portrait. 1900 Photographer: Chekhovsky V.G. Collection of the Bakhrushin Museum

1899: Arthur Polonsky was born

In 1899, the future composer Arthur Moritsevich Polonsky was born in Kyiv.

1896

Fedor Stravinsky, 1896. Bakhrushinsky Museum

Fyodor Ignatievich Stravinsky - bass, soloist of the Mariinsky Theater, star of the St. Petersburg opera stage, one of the most prominent predecessors of Fyodor Chaliapin. Father of the composer I.F. Stravinsky.

1893

Fantasy for the symphony orchestra "Cliff" op. 7 S. Rakhmaninova

What Seryozha did not write for this summer! And a poem, and a concert, and a suite... I wrote only one symphony!

These words of Pyotr Ilyich Tchaikovsky were recalled by Sergei Vasilievich, said by him after listening. This meeting of the student and his immensely beloved Teacher was the last, as was the sixth symphony for its author.

Fantasy for the Bluff Symphony Orchestra op. 7.

Author's comment on the title page and epigraph to the composition. Summer 1893:

"This fantasy was written under the impression of Lermontov's poem" Cliff. "

A golden cloud spent the night On the chest of a giant cliff. "

Original Fantasy Title Page

Later in 1895, Sergei Vasilievich dedicated the work to Nikolai Andreevich Rimsky-Korsakov in gratitude for its performance.

In 1898, Sergei Vasilyevich presented Chekhov with a gift inscription: "Dear and deeply respected Anton Pavlovich Chekhov, the author of the story" On the Way, "whose content with the same epigraph served as a program for this musical composition."

Born Oscar Strock

On January 6, 1893, in the Vitebsk province of the Russian Empire, the future composer Strok Oscar Davydovich was born into a musical Jewish family.

1892: Arthur Lurie was born

Composer Lurie Artur Sergeevich was born on May 1 [13], 1892 in Propoisk, Mogilev province of the Russian Empire. Real name - Naum Izrailevich Luria.

1890: Mark Maryanovsky was born

On April 25, 1890, the future writer of popular songs Maryanovsky Mark Grigorievich was born in Kyiv.

1889: Alexander Vertinsky was born

Main article: Alexander Vertinsky

1883: Maximilian Steinberg was born

Maximilian Oseevich (Osipovich) Steinberg (June 22 (July 4) 1883, Vilna, Russian Empire - December 6, 1946, Leningrad, USSR) - Russian and Soviet composer, conductor and teacher, musical figure. The author of 5 symphonies, ballets Metamorphoses (according to Ovid, 1913) and Til Uhlenspiegel (according to S. De Koster, 1936), symphonic and vocal-symphonic works. Son-in-law of N. A. Rimsky-Korsakov.

1882: Vladimir Dijk was born

Vladimir Dijk was born in 1882 in the port city of Odessa, where his father worked at customs.

1881: Nikolai Myaskovsky was born

Main article: Myaskovsky Nikolai Yakovlevich

1879: Opera "Eugene Onegin" by Tchaikovsky

Authors Title Comments
Tchaikovsky Pyotr Ilyich Eugene Onegin (opera) Premiere March 29, 1879

1878: Liturgy of Pyotr Tchaikovsky

Authors Title Comments
Tchaikovsky Pyotr Ilyich Liturgy of St. John Chrysostom Premiere December 18, 1880

1873: Fyodor Stravinsky's bass debut

Fyodor Ignatievich Stravinsky - bass, star of the St. Petersburg opera scene, one of the most prominent predecessors of Fyodor Chaliapin. Father of the composer I.F. Stravinsky.

After graduating from the St. Petersburg Conservatory in 1873, Stravinsky made his debut in Kyiv on the stage of the opera house. In 1876, he returned to St. Petersburg, where he became a soloist at the Mariinsky Theater, in which he worked until the end of his life.

Stravinsky F.I. as Mephistopheles, "Faust." 1873-1874 Kyiv. Bakhrushin Museum.

1865: Sergey Yuferov was born

Sergey Vladimirovich Yuferov was born in 1865 in Odessa.

1864: Alexander Grechaninov was born

Main article: Alexander Tikhonovich Grechaninov

Alexander Tikhonovich Grechaninov (1864-1956) - Russian composer of the Silver Age, the brightest representative of the so-called "new direction" of Russian sacred music.

1862: Verstovsky's death in Moscow at the age of 63

Alexey Verstovsky died in Moscow on September 5 (17), 1862 at the age of 63.

1858: The death of Alexander Gurilyov at the age of 55

Gurilev Alexander Lvovich died on September 11, 1858 at the age of 55.

1857: The death of Mikhail Glinka at the age of 52 in Berlin

Mikhail Ivanovich Glinka died on February 15, 1857 at the age of 52 in Berlin.

1852

Miliy Balakirev

Main article: Miliy Balakirev. List of works

Born composer Konstantin von Sternberg

Konstantin Ivanovich von Sternberg was born in St. Petersburg in 1852.

1844: Lev Gurilev died at the age of 74

In 1844, at the age of 74, the Russian composer, pianist, conductor Gurilev Lev Stepanovich died.

1843: Gabriel Rachinsky dies

In 1843, on March 18, the Russian violinist and composer Gabriel Rachinsky died in Novgorod-Seversky, where he was buried.

1839: Composer Mikhail Azanchevsky was born

On March 24 (April 5), 1839, Mikhail Pavlovich Azanchevsky was born a Russian composer and music teacher. He is the author of several compositions: romances on Russian and German texts, works for piano and chamber ensembles.

1836: M. Glinka's opera "Life for the Tsar"

Authors Title Comments
Mikhail Glinka Life for the Tsar Opera, premiere December 9, 1836

1835: A. Verstovsky's opera "Askold's Grave"

Authors Title Comments
Alexey Nikolaevich Verstovsky Askold's grave Opera. Premiere at the Moscow Bolshoi Theater on September 16 (28), 1835.

1834: Alexander Alyabyev's Big Trio in A minor

Authors Title Comments
Alexander Alexandrovich Alyabyev The Big Trio in A minor Created by the composer in exile in 1834.

1833

Authors Title Comments
Alexander Alexandrovich Alyabyev Sitting on the bank of the stream Romance on a poem by Denis Davydov, 1833. Entry: A.F. Vedernikov
A. Lvov God save the king! Романс на стихотворение В.Жуковского, 1833 г. Запись: Николай Андреев (скрипка), Хор и симфонический оркестр State Chapel of St. Petersburg, conductor V. Chernushenko

1832: A. Verstovsky's opera "Vadim"

Authors Title Comments
Alexey Nikolaevich Verstovsky Vadim, or The Awakening of the Twelve Sleeping Virgins Opera, 1832
Alexander Alexandrovich Alyabyev Prisoner Romance on a poem by A.S. Pushkin, 1832. Entry: A.F. Vedernikov
Alexander Alexandrovich Alyabyev I remember a wonderful moment Romance to a poem by A.S. Pushkin, 1832. Entry: Marina Filippova (soprano), Ivan Mikhailov, piano, 1999

1831: Liturgy of St. John Chrysostom, D minor Alyabyeva

Authors Title Comments
Alexander Alexandrovich Alyabyev Liturgy of St. John Chrysostom, D minor 1831 Tobolsk

1830

Mikhail Glinka goes abroad for four years

From 1830 to 1834, Mikhail Glinka spent abroad. Traveling in Germany, Italy and Austria, he not only got acquainted with the culture of these countries, but also improved his knowledge of composer art. This time in the work of Mikhail Ivanovich is noted as the beginning of a mature period.

Singer Henrietta Sontag visits Moscow

In July 1830, Henrietta Sontag first visited Moscow. Mikhail Petrovich Pogodin, having visited her concert and rehearsal, noted: "How simple and cute. Angel. " Alexander Yakovlevich Bulgakov in a letter to his brother said that she was very fond of Alyabyev's song "Nightingale."

1829: Romances by Alexander Alyabyev

Authors Title Comments
Alexander Alexandrovich Alyabyev If Life Deceives You At the verse of A.S. Pushkin, 1829. Performed by: Alexander Vedernikov, Marina Filippova (1999)

1828: Romances by Mikhail Yakovlev

By the end of the 1820s, Mikhail Lukyanovich Yakovlev was actively engaged in music and became a popular salon composer and singer (baritone, as M.I. Glinka points out). He also played the violin. In total, Yakovlev-composer is credited with 21 published works, mainly romances and stylizations to folk songs with words by Pushkin, Delvig, Derzhavin. A number of Yakovlev's works were reprinted throughout the 19th and 20th centuries. Of Yakovlev's works, the most famous is the romance "Winter Evening" ("The Storm Shakes the Sky...") to the words of Pushkin [6]. His romance "When, Soul, You Asked" was subsequently transcribed by Glinka for two voices.

1825

Dmitry Bortnyansky died

Russian composer Dmitry Bortnyansky died on October 10, 1825 in St. Petersburg.

Stepan Davydov died

Russian composer Stepan Ivanovich Davydov died on May 10 (22), 1825 in Moscow at the age of 48.

Arrest of Alexander Alyabyev on murder charges

The hero of the Patriotic War of 1812 and other military campaigns, who received awards for courage, at the beginning of 1825 composer Alexander Alyabyev was arrested on suspicion of murder. Later he was sentenced to exile in Siberia with the deprivation of all rights and noble rank.

1823: Alexey Verstovsky moves from St. Petersburg to Moscow

In 1823, composer Alexei Verstovsky moved from St. Petersburg to Moscow.

Authors Title Comments
Alexey Nikolaevich Verstovsky Black Shawl 1823 г. Первый получивший широкую известность романс на стихи A. Pushkina. His first performer is Moscow opera singer Pyotr Bulakhov, father of composers Pyotr Bulakhov and Pavel Bulakhov. The ballad was often performed in home concerts. In her memoirs, E. Sokovkina, niece of S. N. Begichev, a friend of Verstovsky, wrote: "The cheerful A. N. Verstovsky, who then wrote the famous romance" Chernaya Shawl "and sang it with a special expression with his small baritone accompanied by Griboedov, often revived the society."

1822: Composer Franz-Adam Feuchtner dies

On March 3, 1822, in the Courland province, at the age of 81, the German composer, who had worked for a long time in Russia, Franz-Adam Feuchtner, died.

1818: Alexander Pleshcheev arrives in Petersburg

In 1817, Alexander Pleshcheev arrived in St. Petersburg and, at the suggestion of Zhukovsky, was elected a member of Arzamas. Numerous romances by Alexander Pleshcheev, as well as literary experiments for the most part, have not survived, but it remains undoubted that he composed music for the works of Zhukovsky, Derzhavin, Vyazemsky and other Russian writers.

1817

Died composer Peter Skokov

On October 4, 1817, at the 59th year of his life, composer Pyotr Skokov died in extreme poverty (see below). He was buried by friends at the Volkovsky cemetery.

Born composer Konstantin Vilboa

Vilboa Konstantin Petrovich was born on May 17 (29), 1817 in St. Petersburg, died on July 4 (16), 1882 in Warsaw - Russian composer and conductor.

1814: Composer Stepan Davydov moves from St. Petersburg to Moscow

In the fall of 1814, composer Stepan Davydov moved from St. Petersburg to Moscow, where he worked as a music teacher in the Moscow office of the Imperial Theaters. Subsequently, he became director of music at the Imperial Theaters in Moscow.

1811: Bortnyansky finishes the Cherubim cycle

In 1811, Dmitry Bortnyansky completed work on Cherubim No. 7.

Authors Title Comments
Dmitry Bortnyansky Cherubic 1782-1811 гг. №1 - Хор студентов Киевской state Chaikovsky Conservatory, hands. Pavel Muravsky. Recording 1986; No. 6 - Male choir conducted by Hieromonk Ambrose (Nosov). Recording 1993; No. 7 - Moscow Male Choir, village of V. Rybin

1810: Tepper von Fergusson arrives in Russia

Ludwig Tepper von Fergusson is a German composer who became widely known in his homeland and played a large role in Russian cultural life in the first half of the 19th century. He came to Russia in 1810 at the invitation of the director of the Tsarskoye Selo Lyceum Yegor Antonovich Engelhardt as a music teacher. Fergusson was actually the musical educator of Alexander Pushkin. The composer himself was a student of the Viennese classic Johann Albrechtsberger, one of Mozart's closest friends. Subsequently, three students of Albrechtsberger arrived in St. Petersburg - Fergusson, John Field and Mozart's son - Franz Xavier.

1808: Maurer moves to Russia and becomes bandmaster of V.A. Volzhsky's home orchestra

In 1808, the German musician Ludwig Wilhelm Maurer went with concerts to St. Petersburg and Moscow. In Moscow, the young musician received the place of bandmaster of the home orchestra V. A. Vsevolozhsky. Since that time, Maurer's musical activity has predominantly taken place in Russia.

1806: Martin y Soler died in St. Petersburg

On January 30, 1806, in St. Petersburg, at the age of 51, the Spanish composer Martin y Soler, who had been working at the court of Catherine II since 1788, died.

1805

Ignatius Dubrovsky

Main article: Ignatius Dubrovsky

Music by O. Kozlovsky to the tragedy "Fingal"

The library of the St. Petersburg State Conservatory named after N. A. Rimsky-Korsakov contains the score of Osip Kozlovsky.

Full Music of Choirs, Pantomims, Ballets and Battles, Tragedy of Fingal; Composed by G. Kozlovsky. [Score]. - S.P. Burg: [Dalmas], 1808. - [2], 168 s.; ill.; 31x24.7 cm. - n.d.# 40 Ing. № 292

Source of receipt: from G. A. Demidov. Owner's records: autograph-signature of G. A. Demidov in the illustration (alligat 1). Litters: stamp (title, l., Alligat 1) "Russian Musical Society," sticker (forsatz) "Library of the Imperial Russian Musical Society. Hall... Cabinet No. 11. Shelf No. 1. No. 5. " Convolute: Owner's convolute of three alligates, alligate 3. Alligat 1: Fingal. Tragedy In Three Acts [V. Ozerov], with Khors and Pantomime Ballets. Presented for the first time at the Sanksheterburg Court Theater on December 8, 1805. - St. Petersburg: at the Printing House of the Imperial Theater, 1808 - [12], 46 p. Alligat 2: Fingal, Tragédie En Trois Actes, Traduite Du Russe, En Vers Français, Par H-ré. J-h Dalmas. - St.-Pétersbourg: Au Magasin De Musique Et De Pièces De Théâtre, Sur le canal de la Moïka, №11,1808. - 61 c.

Notes: 1) Publisher is set to n.d.; 2) title, l. in Russian and French. language; 3) in the entire edition of engravings by A. Ukhtomsky based on drawings by I. Ivanov.

1804

Born Mikhail Glinka

Main article: Glinka Mikhail Ivanovich

On June 1, 1804, the future Russian composer Mikhail Glinka was born on an estate in the Smolensk province.

At the age of 57, Ivan Khandoshkin died

The founder of the Russian violin school, Ivan Evstafievich Khandoshkin, died on March 18, 1804, suddenly from heart paralysis, having come to the Office for a boarding house, 57 years old.

1802: Alexander Gurilyov was born

Gurilev Alexander Lvovich, son of composer Lev Gurilev, was born in Moscow on September 03, 1803.

1700s: The Big Explosion of Instrumental Music

Main article: Music in Russia in the XVIII century

The 1600th

Reducing prohibitive measures against music under Peter I

The transformations of Peter the Great dealt the final blow to Old Believer asceticism; the protests of the clergy and the prohibitive measures of the government against the so-called "demonic acts" - music and dances, which had long lost their pagan consecration for the mass and became nothing more than a festive entertainment, ended with it. Condemnations continue to be heard only from the superstitious and fanatical environment of the split[1]

1692: Image of the instrument ensemble in Carion Istomin's Primer

The image of the ensemble of instruments in the Primer of Karion Istomin, compiled in 1692 for the son of Peter Tsarevich Alexei, is very interesting. The Slavic letter psi (y) is illustrated by an image of a musical psalter, next to a violinist with the inscription "Psalms," as well as between a violinist and a guslar, and an image of a book with the inscription "Psalter."

The "Singing Sweet" of the psalms here is accompanied by playing musical instruments. "Musi'ka" is depicted as a quartet of musicians, led by a guslist. Like the prophet David, he sits on an elevation, a kind of throne, and plays with a violinist, flutist and bandurist. This symbolic image of the psalter as an ensemble of musicians is essentially close to the miniature "David makes up the psalter" from the Novgorod (Khludovskaya) psalter of the XIII century.

1687: The music of Vasily Titov to the "Psalter of Rifmotvorna" by Simeon Polotsky gives rise to the Kanta era

Main article: Titov Vasily Polikarpovich

In 1686 or 1687, Vasily Titov composed the music for the "Poetic Psalter" by Simeon Polotsky. The composer presented a copy of this manuscript with dedication to the ruler Princess Sophia.

Titov's psalms on these texts are considered in Russian musicology the beginning of the cantic tradition in Russian music, although, apparently, a further and partially begun study of various archives will allow the establishment of earlier monuments of this genre.

1681: Gordey Zavadovsky (Gerasim) was born

Zavadovsky Gordey (Gerasim) - Russian composer, archimandrite, setter, headman (bass), author of part concerts, monodial chants of the Household.

Born in 1681 in Kozelets, (Chernigov region, Russian kingdom) in a merchant family.

1672: "Artaxerxo Action" - the first theatrical production with organs and pipes of the German pastor Gregory commissioned by Natalia Naryshkina

Иоганн Готфрид Грегори. Гравюра XVII века

Johann Gottfried Gregory is the son of a Marburg doctor and stepson of the life doctor Laurence Bloomentrost. In 1658 he arrived in Moscow and received the place of parish teacher at the school at the Lutheran church of St. Michael in the New German settlement. In 1662-1669 - pastor of this church, and in 1670-1675 - the church of Saints Peter and Paul.

Gregory set up a school for children of Orthodox and Lutheran confession at his church, at which he founded a home theater to present plays of spiritual and moral content. Having learned about this through the boyar Artamon Matveyev, Tsar Alexei Mikhailovich ordered Gregory "to make a comedy, and to act on comedy from the Bible the book of Esther and for that action to arrange a chorus again" in the village of Preobrazhensky.

According to other sources, the play was commissioned by the mother of the future emperor Peter I, Tsarina Natalya Kirillovna Naryshkina. The young beauty Esther, who conquered the heart of the ruler Mussel and Persia Artaxerxes and saved her Jewish people from death, was famous in the play. In fact, this work is addressed to a young and beautiful queen, who, like the biblical Esther, was very dear to Tsar Alexei Mikhailovich, who was already in adulthood and bore him a son - the future great transformer of Russia.

Gregory, together with the parish school teacher Yuri Givner, gathered in Moscow "children of different ranks of service and trade foreigners, only 64 people" and began to learn a comedy about Esther, or the so-called "Artaxerxo action," played on October 17, 1672. According to other sources, the "Artaxerxo Action" by I. G. Gregory was dedicated to the birthday of Tsarevich Pyotr Alekseevich (May 30 [June 9], 1672).

For the performance, for the first time in Russia, two European instruments were bought - organs. All roles in the "Artaxerxes Action" were played by "youths," that is, young students and singers of the Slavic-Greek-Latin Academy - the first "regular" in Russia, i.e. arranged according to the European canons of the educational institution. They sang psalms and spiritual songs, trumpets and organs.

An unprecedented spectacle fascinated the king, who followed the progress of the play for 10 hours continuously, after which he generously awarded comedians and Gregory.

1657: Rostov Metropolitan Jonah threatens excommunication for playing musical instruments

In 1657, the Rostov Metropolitan Jonah ordered the memory of the clergy to be sent to the villages and churchyards, with the order to supervise so that there were no buffoons and bear guides anywhere, and they did not sing the song 'satanic' in gusli, domra, surnas, bagpipes and all sorts of games. The buffoons and violators of this ban are threatened by the Metropolitan with 'great humility' and excommunication. That this threat did not constitute an exception to the general views of the modern clergy, this is confirmed by the following place in the message of the unknown bishop: "May the lover, sorcerer, skomrakh, prisoner be excommunicated" and an article of one manuscript collection imposing a curse on the goose, houses, snot, tambourines, buffoons and ferrets: "These are all the carpentry fiends and servants of the anti-Christ, and these creatures will be damned."

Some instructive words especially rebel against women's dance, recognizing it as a murderous sin: 'O wicked cursed dance! (says one preacher) about the wicked wife's many-versed dancing! dancing bo wife - the lover of the devil, the wife of hell, the bride of Satan; All the loving dancing dishonor John the Forerunner is created - with Herodias, an unquenchable fire and an indestructible worm to condemn! 'Even look at the dances - sin:' do not see the dancing and other demonic games of evil charms, but you will not be enchanted, sighted and listening to the game of all kinds of demons; such the essence will be revealed by the Satannians of the mistress'.

1654: Annexation of left-bank Ukraine and beginning of reorientation of Russian art from Byzantium to Western Europe

The annexation of left-bank Ukraine to Russia took place in 1654, which had a great impact on the nature of the development of Russian culture. In all various creative contacts of Russian, Belarusian and Ukrainian figures are being established in the regions. Western European influences penetrate Ukraine in many ways, affecting both literature and music. It was at this time that there was a reorientation in the development of Russian art from Byzantine-eastern foreign relations to [2].

Trips of Russian people abroad as part of embassies, the arrival of various figures of foreign culture in Russia have become a constant phenomenon. And along with this, some figures who moved to Moscow from Ukraine and Belarus begin to take a direct part in Russian cultural life. Of particular note is the arrival of the Ukrainian philologist Epiphanius Slavinetsky and the Belarusian poet, scientist, polemicist and teacher, the famous translator Simeon Polotsky, the author of two monumental poetry collections: "Vertograd multicolored" (1678), containing didactic poems by the author, and "Rhymmologion" (1679) with verses of panegyric content.

Simeon Polotsky turned out to be especially closely associated with musical art, making in 1678 a translation into Slavic of the Psalter of Tsar David, which was then put to music by the Russian composer Vasily Titov in 1680.

1652: Borrowing Part Singing from Ukraine

Part singing was transferred to Russia from Ukraine to ser. 17th century, officially established since the invitation to Moscow Ukr. church. singers (1652), but has been practiced before; existed until the last quarter of the 18th century, having spread throughout Russia.

Music theorist of the last four. 17 century Nikolai Diletsky distinguished 2 types of polyphony in part singing: "simple-natural" and "combative or concert." In the first case, constant polyphony was implied with the continuous singing of all voices and the simultaneous pronunciation of the text by them; in the second - a variable warehouse of polyphony, matching tutti and a group of voices, imitations of brief melodic themes that cause different-time singing of the text.

The mass of part compositions remained anonymous, but many authors are also known - researchers number them about [3]. The best samples of the party concert are found in the works of Vasily Titov, Nikolai Kalashnikov, Nikolai Bavykin, Fedor Redrikov (the years of life of the last three are unknown).

1648: Royal ban on buffoon music and the order to burn musical instruments

The royal district letter of 1648 requires that the Orthodox do not call for buffoons with houses, marmots, bagpipes and all sorts of games, so that the bears are not driven and no demonic divas are created, both at night on the streets and fields, and during weddings, the songs were not sung or danced and were not beaten in the palm of your hand, and they did not impose scarlet dresses and maggots on themselves. All these actions, according to the letter, indicate the oblivion of God and the Orthodox faith; therefore, the governors were ordered to take away musical instruments from everyone, break and burn, and those who have them, beat with batogs and send them to Ukrainian places. According to Olearius, even earlier under Mikhail Fedorovich, by order of the patriarch, not only musical instruments were taken from buffoons, but also from house to house - five carts, and publicly burned as an instrument of the devil.

Even under Alexei Mikhailovich, at the very time when folk games were forbidden, they were taken away from buffoons and burned musical instruments, - at the feast at the tsar 'he played the organs of the nemchins, and in surna, and trumpeted, and played marmots, and beat them according to tricks and timpani'; comedies are presented at court, in the presence of the entire royal family, and the Germans and Matveev's people play organs, violets and dance.

1636: Patriarch Joasaph orders to ban buffoons from the festivities

In the orders, the monastery clerks of the 17th century were ordered to observe that the peasants "did not play demonic games, snot and gusli, and horns and domra, and all sorts of games, and did not keep their fur."

In 1636, by decree of Patriarch Joasaph, the memory of the priest's headman and theon was given to observe that on the holidays of the lords, theotokos and deliberate saints there were no atrocities in Moscow; or that 'instead of spiritual celebration and cheerfulness, we will accept the demonic games and blasphemers, commanding the bear and the buffoon on the streets and on the bargains and at the dissolutions of the satanic games to create and in the tambourines of the beat, and in the surns of the roar and with the hands of the plescati, and dance and other inappropriate figures'.

1604: The Key of the Banner manual of the monk Christopher

Main article: Inok Christopher

In 1604, the monk Christopher, a monk of the Kirillo-Belozersky Monastery, created one of the earliest musical and theoretical manuals in Russia - "The Znamenny Key," noted by descendants as "the most valuable monument of ancient Russian scientific and theoretical thought." Among many manuals of this kind, it stands out for its abundance of information, completeness and harmony of presentation, and in scientific terms, according to experts, "this is an invaluable material for researching and understanding the banner system of the late XVI - early XVII centuries."

The 1500th

The heyday of the track chant

At the end of the 16th century, as a complication of pillar notation, track notation ("track path") developed. At the end of the 16th century, the track chant became an independent, developed branch of ancient Russian singing art, distinguished by greater solemnity, chant and smoothness. The melody of the track chant is based on canonical formulas subordinate to the osmogration system. The peak of the development of track chants reached at the end of the XVI - 1st half of the XVII centuries: track singing alphabets were created, specific terminology arose. In the 2nd half of the XVII century. track chant began to fall into disuse. A small number of travel tunes were preserved in Old Believer manuscripts of the XVIII-XX centuries.

Author of "House Building" Sylvester: Musical Instruments - God's Business

"Domostroy" pop Sylvester (priest, political and literary figure) calls songs, dances, jumping, hum, tambourines, trumpets and snot - God's affairs.

Ivan the Terrible - author of the verse and lover of music buffoons

Ivan the Terrible is almost the first author of a musical work in Russia, whose works have survived to this day. We are talking about several stichera. Including see:

Ivan the Terrible loved to listen to the music of buffoons and even, according to A.M. Kurbsky, participated in their dances during the [4] He recruited skomorokhov in Novgorod and "in all cities and volosts," as evidenced by the Second Novgorod Chronicle of[5] But he treated the art of buffoons as low-lying, Kholopsky. See[6]

1551: Stoglavl cathedral bans any instrumental music

Musical instruments were associated with paganism, diabolical temptation, and the church fought them with all measures, up to the prohibition of legislative order in the XVII century. The decrees of the Stoglavy Cathedral in 1551 prohibit all sorts of games "and in gusli, and in bows, and snot, and all kind of play, spectacles and dances, and with them games of dice, chess and stones" [7].. Despite this ban, buffoons and their musical instruments were popular in all strata of Russian society.

Holstein traveler Adam Olearius writes about how the patriarch "ordered to break all the instruments of Kabat musicians who were on the streets, then banned instrumental music from Russians at all, ordered to pick up instruments in houses, and once five carts full of them were sent across the Moscow River and burned there" [8]..

Stoglav - a collection of decisions of the Stoglavy Cathedral:

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'The worldly swadbas are played by the murmuddlers and Argannics and the ridiculers and Gooselists, and the demonic songs are sung; and as they go to the church, the priest with the cross goes, and in front of him with all those games they are scouring demons, and the priests do not forbid them about it. - On the Trinity Saturday, men and wives converge on stings (cemeteries) in the village and on the churchyard and cry on the coffin with the great scream, and when they start playing buffoons, gudtsy and pranksters, they will start jumping and dancing from crying and in half the battles and songs of the Sotoninsky Peg '.
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According to this statement, the council decided to oblige the priests to convince the flock so that "at some time their parents would be commemorated, and they would drink and feed the beggars in their strength, and they would forbid and forbid them to embarrass the Orthodox with a buffoon, gudets and all kinds of mockery.

In the same way, the Stoglavny Cathedral speaks out and against the custom of converging in the evenings of Christmas and Epiphany and on Ivanov's day 'to create glums with all kinds of dances and gusles'. By the verdict of the Trinity-Sergius Monastery in 1555, it was determined that the monastery peasants would not keep buffoons in the volosts; a'which a buffoon or magi or a magician-magician is lost in his hundredth, and on that honeycomb and on his hundredth, a man took ten rubles of money for penalties, and a buffoon or magician or a magician-magician, beating and robbing, beat out of the parish; and no buffoon passers-by should be allowed into the parish. "

Metropolitan Daniel against dance and music

In the teachings of Metropolitan Daniel , the following denunciations are expressed: in divine writings, the soul of a Christian is comforted, and not in buffoons and dancers;

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'Now the essence of the uncles from the sacred, and the essence of this presbytery and deaconi, and subdiyakoni, and chetzi, and singers, mocking, play gusli, domra, washes... and in the song of demons, and in immense and abundant pianism, and all fleshly wisdom and the indulgence of more spiritual lovers. "
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Giving then conciliar rules forbidding 'pleskati and dance' on marriages and commanding the priests and clergy 'before the entry of the players stand up and depart', Daniel continues:

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'St. Ephraim verbs, yako is not worthy of games and mocks... yako walking on the game with the idolatrous to imit part. And the paks of the same river: prophets and apostles and evangelists call Christ, and little comes from many people; when the devil calls the guslmi and dances and the songs hostile, then the multiplies are going to do that... When fasting and vigil are celebrated, then all will be horrified and will fall away, and all will be like mertvi; and the feast or supper will be called, or the goose, or the pipes, or the songs of the hostility of the other, then all of them will be prepared and calmed down and flow, the call of each other, and flock to the evil that way and fight in the evil that meeting, not as much as Christian befits, but as filthy. "
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1505: Hegumen Pamphilus on Music and Dance: Fun Sotonian

The message of Hegumen Eleazarov of the monastery of Pamphylus to the Pskov governor and authorities in 1505 says:

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'zelo still did not preside over the adulation of idol, idol teasing, joy and fun Sotoninskoe... to that (Satan) I (co) a sacrifice is brought all sorts of filth and lawless God-muzzled celebration. Food bo comes great praznik Predtechev's Christmas Day, and then not all the hail will climb into the holy spirit and rage tambourines and snot, and string hum, and all sorts of inappropriate games Sotoninsky, splashing and dancing... the hail of this city will rise up and the people will reign in it with lawlessness and destruction of the lute, evil admiration for God, knock the tambourines and the voice of the nozzles and the strings sound, the wives and the maidens splashing (shock in the hands) and dancing and the heads of their capping, their mouths are disliked by the cry and cry, all-loyal songs, the demonic pleased with the accomplishment, and the ridge of their whirlwind and their legs galloping and stomping '.
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The 1400th

Occurrence of track chant

Track chant is a monodic singing style common in Old Russian musical culture along with the famous chant and demonic chant. It arose in the last quarter of the XV century. Initially, it was recorded by banner (pillar) notation ("pillar path") and played a secondary role in relation to the banner chant.

Church condemnation of playing musical instruments

According to the manuscript of the Novgorod Sofia Library (late XV century): "it is not befitting a hrestian in the pyrekh and at the weddings of demonic games of the game, whether the marriage will start drawing attention, n (o) idolatry, the same is: dance, gudba, songs demonic, snot, tambourine and the whole victim of Idolsk."

The 1300th

St. Nifont sees demons next to a brass player

In the legend 'On the Rusals', attributed to St. Nifont (hand. XIV century), we read: 'like a pipe saying to gather howls, but prayer is creating to copulate the angels of God; and snot, gusli, songs of hostility, dancing, splashing, collect studio demons near you; keep the sopelnik, love gusli and foam, splashing and dancing, honor the dark demon '.

This is followed by a story about the vision of St. Nifont, how unclean spirits rejoice when they meet with a sopelnik, attract crowds of people after him and seduce the'dances of dance, and other splashes of frothing'; demons also dance with them: 'the people do not see demons, the blessed Nifont is present'. Money given for playing and dancing - according to the legend, there is a sacrifice to the devil.

In the word of a Christian lover (Paisievsky collection of the XIV century), songs, dance and music are assigned to the same category as idolian prey: "it is not befitting of the peasant games of the demonic games, there is a hedgehog: dancing, humming, worldly songs and Idolian victims."

1200s: "High" and "low" instruments of Ancient Russia

The instrumentation of Ancient Russia was extensive, and, as Yu. V. Keldysh notes, "musical instruments differed not only in type and structure, but also in the role they played in everyday life and public life, in their, so to speak," social rank [9].. You can conditionally divide Old Russian instruments into "high" and "low." The first category included a pipe that called soldiers to the army, it was opposed by snot and folk gusli. In ancient Russian instructive literature, the trumpet "collecting warriors" was compared with a prayer collecting the angels of God, and snot and common people were considered "tools" "collecting shameless demons." A shepherd with a pipe on the Pskov icon of the Nativity of Christ of the XVI century. from the Russian Museum.

The differentiation of musical instruments into high and low was obviously due to the fact that some of the instruments in ancient times had a cult purpose and were used in Old Testament worship. In the Chludov Psalter of the XIII century. the miniature "David the King Makes Up a Psalter" depicts David with a Psalter and many musicians. Others were associated with pagan rituals and games. So, in the Psalter of David - this book so widespread in the Middle Ages - all the tools that accompanied Hebrew praise were named. In Russia, they were considered "high" instruments. The last psalm of the Psalter contains a call to praise the Almighty with a "trumpet sound," "on psalms and gusles," "with tympanum and faces," "on strings and organ," "on sonorous cimbals," "on loud cimbals." In the miniatures of the Kyiv Psalter (1397) there are images of David singing [10] David, playing the psalter, a string instrument of the goose type, is often found in miniatures of singing manuscripts of Oktoich, Irmologist.

The 1100th

Chants in honor of Leonty of Rostov

In the second half of the XII century, Rostov the Great disputes the primacy of Vladimir and seeks the canonization of the Rostov bishop Leonty (lived in the XI century). Chants created in honor of Leonty Rostov in the 90s of the XII century and recorded by hook notation belong to the oldest works of Russian professional music.

Songs about hiking and song-crying

"The author of The Word about Igor's Regiment (1185)," noted historian B. A. Rybakov, "still knew some songs about campaigns across the steppes to the Balkans... which could reflect the events of the VI century, when significant masses of Slavs triumphantly fought with Byzantium, and also knew even earlier crying songs about the tragic fate of the Slavic prince of the IV century. Busa, captured in the battle with the Goths and painfully killed by them. "

Musical instruments in Ancient Russia were used in various fields - in court, princely life, drums in military affairs and many different folk instruments are required. The folk instrumentation was rich and varied. Gusli especially stood out here - as an instrument accompanying epic songs, legends, glory. Guslyars-storytellers were people revered. One of them - the storyteller Boyana - is told in the outstanding monument of ancient Russian literature, "The Word about Igor's Regiment." Boyan, who composed the glory, tales, songs, sang, accompanying them with playing the gusli. The author of "The Word about Igor's Regiment" draws an inspired image of the storyteller: he laid his fingers on the strings, and the strings, like living ones, under his fingers rokotted glory to princes Yaroslav and [11]

Heroic songs of glory were sung when the princes met upon returning from campaigns, when ascending the princely throne, the prototype of these slava were Byzantine acclamations - the court custom of the greatness of the Byzantine emperor. In Moscow Russia, in the late Middle Ages, "Zdravnye chalices" came in their place - many years for kings, princes, patriarchs.

1175: Mention of the choir at the funeral of Vladimir Bogolyubsky

At the solemn funeral of Prince Andrei Bogolyubsky in the Assumption Cathedral, Vladimir sang choir. The mention of him in the Lavrentiev Chronicle under 1175 with the name "Lucina Chad" is one of the first references to the choir, apparently named after its leader Luke.

The future saint Cyril Turovsky calls musical instruments "Sotoninsky sopels"

An outstanding historian and folklorist A.N. Afanasyev noted that "the concern of the clergy was the destruction of folk games; together with music, songs, dances and rags in the shaggy skins and larvae of the game, these caused strict prohibitive measures. "

Thus, the future saint Cyril Turovsky, a 12th-century Christian preacher and writer, called musical instruments "Sotoninsky sopels." In the word about ordeals, among various sins, he indicates the following: 'The banter of words and dancing, the hedgehog in the feast and at weddings and in peacocks, and on games and on the streets... and the fables are beaten in the gusli to buzz '.

The 1000th

Condacar singing

Kondakar singing is a corpus of chants recorded in the Old Russian Kondakars con. XI-XIII centuries. using condacar notation and characterized by a high degree of melismatics and the presence of out-of-text inserts.

The question of the origin of condacar singing - whether it is a tradition borrowed from Byzantium, or an original phenomenon that arose as a result of a unique set of cultural circumstances - remains open. Presumably Russia borrowed singers from Byzantium. a tradition that eventually became independent.

Condacar notation stands out for its particular complexity. A small number of monuments of condacar singing have been preserved: the most celebrations were recorded with condacar notation. service chants - kondaki and filmmakers performed by a widely developed melismatic. chant. The sung lyrics were "inlaid" as supplements. decorations melodich. and syllabic (the so-called glossolalic) inserts, called "anenaek" and "habuv." According to some reports, kondakar singing was solo, as evidenced by the oldest kondakar - the "Typographic Charter" kon. 11 - Early 12th centuries

Disappearance of Condacar Singing researchers explained various reasons - from the excessive complexity of "fragmented" texts and tunes to the lack of qualified singers for performance; however, these theories remain for the most part hypothetical. For example, S.V. Smolensky believed that only notation was out of use, and the singing style, being recorded with a banner notation, continued to exist and later began to be called demonic singing (Smolensky. 1901. P. 54; He is. 1913. Stb. 1008).

Archpriest V. M. Metalov, as the main reasons for the disappearance of Kondakar singing and his books, called the complexity of notation and the general decline in cultural level due to the Mongol-Tatar invasion; The 2nd argument should be recognized as fair (Metals. Liturgical singing. 1912. S. 234).

Later, N. D. Uspensky proposed a theory about the anti-Byzantine reaction of the nationally tuned part of the Russian clergy as the main reason for the disappearance of condacar singing (Uspensky N. D. 1960. S. 653), however, there is no data in the sources that the Russian singing of the first centuries rejected the Byzantine elements.

The "sunset" of condacar singing and its notation in the XIV century, perhaps, is associated with a change in the prevailing liturgical practice - from studio to Jerusalem. Sources of kondakar singing may be remnants of the singing tradition that disappeared during this decisive historical and liturgical transition, which emphasizes their special position in the church practice of Ancient Russia.

Reading the chants of church texts

In the XI century. in Russian singer. manuscripts recorded 3 singers. visant notations. of origin:

  • ecphonetic,
  • condacar and
  • banner.

They are varieties of insane medieval. notations.

The simplest was ecphonetic notation, intended to read the chants of the Gospel, Apostle, Prophecies; she only approximately recorded the melody. psalmody line. Chanting (liturgical. recitative) was the simplest singer. genre of church music For reading books, prayers, instructive words, lives, stable melodics were developed. formulas that influenced the formation of chants of other Russian. of music. The traditions of chant reading were preserved by the preim. orally, and ecfonetic. notation fell into disuse relatively quickly.

Buffoons with gusli, organs, fidels, pipes, flutes. Churchmen Against

Memories of the feasts under Prince Vladimir Svyatoslavich have long been preserved in the Russian people. During feasts, great songs were sung in honor of princes and squads. In the customs of the princely court, it was to have fun with the art of buffoons - playing musical instruments, playing games, dancing.

In Ancient Russia, there were two original concepts - musikia (music) and singing. These concepts were opposed, only instrumental music was called musikia. Playing stringed musical instruments was called humming, on wind instruments - sniffing. The game was often accompanied by singing. Instrumental music has been heard in Russia since pagan times and throughout the Middle Ages. Some ancient instruments have remained in folk music to this day.

In the literature of the XI-XII centuries. there are many different testimonies about the princely culture of that time. For example, in one episode of the life of Theodosius of Pechersky, he talks about how he visited the house of Prince Svyatoslav Yaroslavich during a feast, heard music there, saw the games of buffoons:

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"Some played gusli, others played musical instruments, others played organs - and so everyone had fun and played before the prince according to the custom" [12]..
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'One day after the day the reverend came to him (the prince), and the yako viide to the temple, the gray-haired prince, in the form of many playing before him: the wordy voices of the emitting, other organ squeaks of the saying, other other Musiki, and tacos of all merry, as the custom is before the prince. The reverend, near the prince gray, is sighted to the point of ponik; the same little exclaimed, recite to him: will there be something coming in this age? The prince, on the other hand, touched the word of the reverend, shed little tears and led the abiy prestige to play, and thaw even when he commanded the games to create and heard the coming of the reverend, he would always command them to quietly state and silent. "
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Such entertainments of the princely court were common in Russia, they were reflected in the frescoes of the princely St. Sophia Cathedral in Kyiv, built in the XI century. under Yaroslav the Wise. In the tower on the princely staircase leading to the choirs, where the princely family was during the service, paintings of social life are depicted, including the playing of buffoons on various instruments. The fresco captures a group of wind performers - flute, trumpets, string plucked instrument, organ. "The composition of the instrumental ensemble depicted on the fresco of the Kyiv Cathedral is typical of the Byzantine palace use, where a combination of positive organs with cymbals, as well as pipes and flutes was widely used" [13].. One of the murals shows a musician playing a bowed fidel-type string instrument.

The influence of Byzantium was noticeable not only in the church, but also in princely life, focused on the Byzantine court culture. So, for example, fraud in Russia arose not without the influence of the Byzantine court art of mime actors. Initially, fraud is included only in the princely custom and is associated with the Byzantine court culture. This is the main reason that made it possible to depict buffoons on a fresco in Kyiv Sofia, frescoes of Meletov (Pskov region), whose activities, according to many researchers, are associated with the life of the Byzantine imperial [14]

Fraud as a form of court art in the cultural consciousness is gradually merging with pagan games. The fight against fraud begins under the sign of the fight against paganism. As well as being a buffoon, listening to songs is seen as a grave sin. The struggle with musical amusements of buffoons and the instruments accompanying them took place throughout the Russian Middle Ages. It was reflected in many literary monuments from the XI to the middle of the XVII century, where musical instruments act as the subject of idolatry, a demonic attribute. For example, the life of Isaac tells about the temptation of him by demons who mocked him, playing various instruments - "hitting snot and gusli and tambourine" [15]

The chronicler Nestor complained that the people whom Christians claimed lived in his time were'poganski'. The Devil, he says, seduces the people with all the flatterings, prevaricating the noes from God with trumpets and buffoons, goose and rusals. We see a little playful silence and a lot of people, the Yako Unihati will begin each other, shame deeds from the demon of the scheming business, and the churches to stand (empty) '.

6th century

Gusley and Ambassador Musicians

Byzantine historians report three 6th-century Slavic musicians who were captured en route to Khazaria. These musicians turned out to be ambassadors; they had a string instrument in their hands, which the Greeks called the kifara. Yu.V. Keldysh, not without reason, believes that this fact indicates that the musicians had to carry out diplomatic missions. "A similar combination of functions," he writes, "was widespread in the Middle Ages in western Europe. The ambassadors and parliamentarians were often Celtic bards who enjoyed personal immunity and were free to enter the enemy camp. In feudal Russia, this custom persisted later. "

Multi-voiced songs

The Arabic writer of the VI century Yakub called Slavic songs multi-voiced and pleasant to hear: "They saturate my soul," he wrote [16].

Additional materials

Latin notation notes

Latin notation system

The major fret is denoted by the word dur (dur), and the minor fret is denoted by the word moll (mole). These abbreviated Latin words durus (hard) and mollis (soft), which were adapted for the needs of musical theory.

Table of key designations

до-бемоль мажор Ces-dur C-flat major 7 ♭
ля-бемоль минор as-moll A-flat minor 7 ♭
соль-бемоль мажор Ges-dur G-flat major 6 ♭
ми-бемоль минор es-moll E-flat minor 6 ♭
ре-бемоль мажор Des-dur D-flat major 5 ♭
си-бемоль минор b-moll B-flat minor 5 ♭
ля-бемоль мажор As-dur A-flat major 4 ♭
фа минор f-moll F minor 4 ♭
ми-бемоль мажор Es-dur E-flat major 3 ♭
до минор c-moll C minor 3 ♭
си-бемоль мажор B-dur B-flat major 2 ♭
соль минор g-moll G minor 2 ♭
фа мажор F-dur F major 1 ♭
ре минор d-moll D minor 1 ♭
до мажор C-durC majorno
ля минор a-mollA minorno
соль мажор G-dur G major 1 #
ми минор e-moll E minor 1 #
ре мажор D-dur D major 2 #
си минор h-moll B minor 2 #
ля мажор A-dur A major 3 #
фа-диез минор fis-moll F-sharp minor 3 #
ми мажор E-dur E major 4 #
до-диез минор cis-mollC-sharp minor 4 #
си мажор H-dur B major 5 #
соль-диез минор gis-moll G-sharp minor 5 #
фа-диез мажор Fis-dur F-sharp major 6 #
ре-диез минор dis-moll D-sharp minor 6 #
до-диез мажор Cis-dur C-sharp major 7 #
ля-диез минор ais-moll A-sharp minor 7 #

Russian folk songs

Шаблон:XVIII Century Music CD