The work of Belarusian composers - the founders of the professional school of composition (Zolotarev, Churkin, Aladov, Tikotsky, Bogatyrev). Belarusian music of the 18th century

The folk musical art of Belarus is in contact with folk music Russian and Ukrainian people, Western and Southern Slavs, a significant group of ancient songs is associated with calendar rituals that existed among agricultural peoples. Carols, Shchedrovka, Vesnyanka, Volochebnye, Yuryevskaya, Trinity, Kupala, Stubble, Kosarskaya, and autumn songs are widespread. There are a variety of songs of the family ritual cycle: wedding, christening, lullabies, lamentations. Round dance, game, dance and comic songs are widely represented. Lyrical songs are divided into genre-thematic groups: love, ballad, Cossack, recruit, soldier, Chumatsky, songs of peasant freemen. In the development of Belarusian musical folklore big role played a Russian revolutionary work song of the early 20th century. She influenced the melody of Belarusian folk songs. Some folk songs were created based on the words of Belarusian poets (M. Bogdanovich, Y. Kupala, Y. Kolas, K. Buylo). Under Soviet rule, new folk songs appeared, developing the traditions of pre-revolutionary songs and drawing content from modern life. Many songs were created by amateur composers and folk choral groups(choirs of the villages of Bolshoye Podlesye, Ozershchina, Prisynki, etc.). Ancient Belarusian folk songs are basically monophonic. They are characterized by undulating melody of a compressed range with gradual movement and leaps, developed ornamentation, flexible rhythm, and a variety of performing techniques. The most characteristic are even sizes and varied metrics. There are complex and creamy bars. Polyphony in folk songs of Belarus began to develop in the 80s. 19th century The main melody is performed in the lower voice, and in the upper voice (the so-called “eyeliner”) - solo improvisation. There are 3-voice consonances. Songs in everyday life are performed unaccompanied, with the exception of comic songs and ditties, which are sung to the accompaniment of a harmonica (accordion). A number of Belarusian folk songs are used in the works of Russian and Polish classical composers: in Chopin's "Grand Fantasia", Glazunov's First Symphony, the operas "The Snow Maiden" and "Mlada" by Rimsky-Korsakov, "Lithuanian Rhapsody", "Three Symphonic Songs" by Karlovich, operas Monyushko (a native of Belarus) and others.

Belarusian composers.

U. G. Mulyavin (1941-2003)

Naradziusya in the mountains. Svyardlovsk (1941), dated 2003, Minsk.

Finished Svyardlou music studies in guitar class (1952).

People's Artist of Belarus (1979).

Honored winner of the culture of the Republic of Poland (1991).

Member of the Investigative Committee of Belarus (1986).

Our astonishing works: the opera-prank “Song of the Righteous Share”, the musical performance “Full Voice”, the vocal cycle “I am not a Paeta”, the song-instrumental campaign “Vanka - Vstanka”, “Praz all the war”, “Vyanok Bagdanovich”, songs, native Belarusian folk songs, music and dramatic plays, films.

U. U. Alounikau(1919-1996) Naradziusya in the mountains. Babruiscu (1919).

Graduated from the Belarusian Conservatory under the class of Campasian Professor V. A. Zalatarov (1941).

Honored artist of Belarus (1955).

Deserved honors of Belarus (1957).

People's Artist of Belarus (1970).

Prafesar (1980).

Member of the Investigative Committee of Belarus (1940).

Pamer u Minsku (1996).

Uladzimir Alounika is an adnosist and a galaxy of campasists, which signified the mastery of the Belarusian song and the blessed periods. Creativity of the campsite ўlasdіva zmyastoўnasts, topicality tem. In my works, I feel the powerful traditions of the Russian Campusian school, which U. Alounika has overthrown the hell of his mentor V. A. Zalatarov - student of M. A. Rymskaga-Korsakav and M. A. Balakirav. At the same time, U. Aloinika is a great national master. This music, rich and soulful, sophisticated and strict, masculine and righteous, has touched the ears of the ears, and has entered the repertoire of professional and self-indulgent groups.

Yaugen Paplauski

Yaugen Paplaўski naradzіўsya 20 verasya 1959 ў myastechka Porazava Grodzenskaya region. Passed away the Belarusian Canservatory (Belarusian Academy of Music) under the class of Igar Luchanka and Dzmitry Smolsk in 1986. Internship at the kiraunitstvam of Sergei Slanimsk at the St. Petersburg Canservatory and there itself is a unit at the maystar classes of Ton de Leeuw.

In 1991, the International Festival of Modern Chamber Music was organized in Minsk, as rightly so, two bastards and 1995.

3 1997 to 1999 at the Academy of Music of the Polish University, at the end of the Gdansk Academy of Music name Art. Manyushki over the works for the symphonic orchestra "Barbara Radziwił" and the Studio of Electric-Acoustic Music of the Academy of Music in Krakow over the local creative projects. Learn more about summer courses Acanthe 2000 / Ircam.

Tikotsky Evgeniy Karlovich

Biography:

Evgeny Karlovich Tikotsky (1893-1970)

Evgeny Karlovich Tikotsky was born on December 26, 1893 in St. Petersburg. His talent for music manifested itself very early. However, after graduating from a real school in 1911, at the insistence of his father, he entered the natural sciences department of the psychoneurological institute in St. Petersburg, negotiating for himself the right to study at the same time at a music school. The first acquaintance with musical theoretical foundations, as well as sincere friendship with the composer V. Deshevov, aroused E. Tikotsky’s desire to compose. He begins to write short pieces for piano, tries to harmonize Russian folk songs, and has been working on his youth symphony for more than a year. In February 1915, E. Tikotsky was drafted into the army, and he went to the front. In the summer of 1919 he joined the ranks of the Red Army, and in the fall, as part of the Eighth Division, he took part in the liberation of Belarus from the White Poles.

Churkin Nikolay Nikolaevich

Biography:

Nikolai Nikolaevich Churkin (1869-1964)

Nikolai Nikolaevich Churkin, who devoted eight decades to the service of music, was born on May 22, 1869 in the small town of Jelal-Ogly in the south of Tiflis province (now the city of Stepanovan, Armenian SSR). In 1881 he was accepted into the Tiflis military paramedic school. At the school there was a brass band, a choir, and an art class, which fascinated the boy much more than his future medical career. And when N. Churkin graduated from school in 1885, he was left as a teacher and head of the school brass band. In 1888, N. Churkin entered the composition class of M. Ippolitov-Ivanov at the Tiflis Music School.

Zaritsky Eduard Borisovich

Composer.

In 1964 he graduated from Minsk Music. school, in 1970-Belarus. cons. according to class compositions by A.V. Bogatyrev.

Since 1970 he has been working in Belarus. Philharmonic Society (consulting conductor). Op.: cantata (for soprano, choir and orchestra) - Red Square (lyrics by B. Stormov, 1970); for orc. - symphony (1969), Variations (1968); for oboe with orc. - concert (1970); for f-p. - 6 Preludes (1965), Variations (1967), Fugue on two themes (1968); for hvv. and f-p. - sonata (1968); for flute and piano. - Rondo (1966); for cymbals and f-p. - concertino (1971); for voice and f-p. - wok. cycles on next A. Vertinsky (1971), on lyrics. L. Hughes (1967); arr. Belarusian adv. songs.

Luchenok Igor Mikhailovich

Year of birth: 1938

Biography:

Igor Mikhailovich Luchenok (b. 1937)

Graduated from the Belarusian State Conservatory in the composition class of Professor A.V. Bogatyrev (1961), assistant internship at the Leningrad Conservatory. ON THE. Rimsky-Korsakov under the guidance of Professor V.N. Salmanov (1965), postgraduate study at the Belarusian State Conservatory under the guidance of Professor T.N. Khrennikova. Laureate of the Lenin Komsomol Prize of the BSSR (1969), laureate of the All-Union Lenin Komsomol Prize (1972), Honored Artist of the BSSR (1973), laureate of the State Prize of the BSSR (1976). National artist BSSR (1982). People's Artist of the USSR (1987).

Dzmitry Branislavavich SMOLSKI

Naradziusya in the mountains. Minsk (1937)

Graduated from the Belarusian State Canservatory in the class of Campasian Professor A.V. Bagatyrov (1960), a postgraduate degree from the Krasnoyarsk Prefecture of the Muscovite Canservatory M.I. Pyaiko (1967).

Winner of the Lenin Kamsamol Prize of Belarus (1972).

Honored medals of Belarus (1975).

Winner of the Dzyarzhaina Prize of Belarus (1980).

Prafesar (1986).

People's Artist of Belarus (1987).

Member of the Investigative Committee of Belarus (1961).

The musical art of Belarus was formed on the basis of national musical culture. And now it continues to develop in line with the preservation of national music, classical tradition, as well as popular styles and trends in the world.

A brief excursion into the history of Belarusian music

In Kievan Rus, and later in Belarus, it was very developed church liturgical music. In the 15th century a local type is being formed znamenny chant"(the main type of Old Russian liturgical singing. Its name comes from the non-meaning signs (banners) used to record it. By the 17th century, partes singing in church Orthodox music. Partes singing- a type of Western Russian polyphonic vocal music that became widespread in Orthodox worship in the 17th century. and the first half of the 18th century. The number of voices ranges from 3 to 12, and can reach 48. Belarusian musical monuments of that era are the collections of works “Polotsk Notebook” and “Chimes”.

Among the people Belarusian instruments The most widely used instruments are the duda, zhaleika, gudok, lyre, violin and cymbals.

Zhaleika– wind reed musical instrument, favorite Slavic peoples, it has survived to this day in its original form - a wooden, reed or cattail pipe with a bell made of horn or birch bark . Rogoz– tall marsh grasses. Zhaleika Also known as “zhalomeyka”, “snot”, “pishchelka”, “fletnya”, “duda”, etc.

V. Tropinin “Boy with a Pity”

Cymbals- a stringed percussion musical instrument, which is a trapezoidal soundboard with with stretched strings. The sound is produced by striking two wooden sticks or mallets with expanding blades at the ends.

Cymbals

Secular music of the Baroque era initially sounded in large noble estates, and from the 17th century. began to develop in Belarusian cities. In the XVII-XVIII centuries. Private theaters and chapels of the Polish-Lithuanian magnates Radziwill, Sapieha, Oginsky and others became centers of secular Belarusian musical culture. Among the famous composers of that time were Holland, Vanjura and others.

The flourishing of Belarusian culture and music began at the end of the 19th century: Belarusian music schools, folk conservatories, and theaters were opened. In the second half of the 20th century. a new wave of flourishing of Belarusian culture and music begins: the works of the famous pianist and composer of the 19th century. A.I. Abramovich are based on Belarusian melodies.

In 1927 the State Symphony Orchestra BSSR, in 1930 - State People's Orchestra of the BSSR, in 1933. – Belarusian Opera and Ballet Studio, in 1932 – Belarusian Conservatory, in 1937 – Belarusian Philharmonic, in 1938 – Union of Composers of the BSSR. In 1940, the Belarusian Song and Dance Ensemble was organized under the leadership of G.R. Screens.

The leading musical groups in Belarus currently are the Presidential Orchestra of the Republic of Belarus, the National Orchestra of Symphonic and Pop Music under the direction of M. Finberg, the State Academic Symphony Orchestra, the State Academic Choir named after. G. Shirmy, National Academic folk choir Republic of Belarus named after. G.I. Tsitovich. Of course, it is impossible not to recall such musical groups as vocal group“Pure Voice”, the vocal-instrumental ensemble “Pesnyary”, the vocal-instrumental ensemble “Syabry” and other popular musical groups, but our article is devoted to classical music, so we will not develop other topics in it.

More than 30 international, republican and regional music festivals are held annually in Belarus: “Belarusian Musical Autumn”, “Minsk Spring”, International Music Festival “Golden Hit”, Jazz Festival, festivals chamber music“Muses of Nesvizh”, festival of ancient and modern music in Polotsk and others. The most famous Belarusian music festival is the Slavic Bazaar in Vitebsk.

Napoleon Orda (1807-1883)

Belarusian writer and composer, musician, artist, teacher.

Born in the family estate of Vorotsevichi, Pinsk district, Minsk province (now Ivanovo district, Brest region).

He graduated from school in Svisloch, then entered Vilna University, where he studied mathematics. He was arrested for participating in the activities of the illegal student society “Zoryane”. After suppression Polish uprising, in which he participated, in 1833 he moved to Paris. There he became friends with Adam Mickiewicz and Frederic Chopin. He took composition and piano lessons from him and from Franz Liszt. He also took drawing lessons in the studio of F. Gerard. While traveling in France, Austria, Scotland, Belgium, Holland, Spain, Portugal, and North Africa, he painted landscapes, mainly city views.

Napoleon Orda died in Warsaw. According to the will, he was buried in Yanov (now Ivanovo, Brest region) in the family crypt.

Stanislav Moniuszko (1819-1872)

Belarusian and Polish composer, author of songs, operettas, ballets, operas; creator of Belarusian and Polish national opera, classic of vocal lyricism.

Born in Minsk province. His father, Czeslaw Moniuszko, a captain in a regiment of Lithuanian mounted riflemen, ended his military career as an aide-de-camp on the staff of Marshal Murat and settled here after Napoleon's Russian campaign.

Stanislav Moniuszko learned music from his mother. Later he improved in playing the organ in Warsaw, composition in Minsk, and choral conducting in Berlin. Served as an organist.

In the early period of his creativity he wrote vaudevilles, musical comedies, and comic operas. Author of orchestral works (fantastic overture “The Tale” dedicated to Dargomyzhsky (1848); overtures “Cain” (1856), “Military” (1857) and others).

He wrote more than 15 operas, the opera “Pebble” is the most famous. The premiere of the opera “Rural Idyll” (libretto by V. Dunin-Martsinkevich) took place at the Minsk City Theater in February 1852.

Nikolai Ilyich Aladov (1890-1972)

Belarusian Soviet composer, teacher. In 1910 he graduated from the St. Petersburg Conservatory as an external student. He taught at the State Institute of Musical Culture in Moscow.

In Minsk he was one of the organizers of the Belarusian Conservatory, in 1944-1948. was its rector, professor.

During the war years (1941-1944) he taught at the Saratov Conservatory.

N.I. Aladov is one of the founders of the symphonic, chamber-instrumental and chamber-vocal, cantata, and choral genres of Belarusian music.

He is the author of the opera “Andrei Kostenya” (1947), the comic opera “Taras on Parnassus” (1927), cantatas “Above the Oressa River” and others, ten symphonies and other works. He created vocal cycles based on poems by Belarusian poets Y. Kupala, M. A. Bogdanovich, M. Tank.

Evgeny Karlovich Tikotsky (1893-1970)

Soviet Belarusian composer.

E.K. Tikotsky was born in St. Petersburg into a family with Polish roots.

His musical education was limited to two years of private piano lessons and music theory; he studied composition independently. He began composing at the age of 14, consulting with his friend who studied at the St. Petersburg Conservatory. At the insistence of his father, Tikotsky entered Petrograd University in 1914, where he studied physics and mathematics.

In 1915 he went to the front. After finishing his service, he moved to Bobruisk, where he taught at a music school. His first contacts with Belarusian folk music, which influenced his compositions, date back to this time. The first major work was a symphony, written using Belarusian folk and revolutionary themes; it became one of the first works in this genre in the history of Belarusian music. Then there were a number of theatrical productions in Minsk, where the composer moved after a while. Here Tikotsky worked on the radio and was engaged in teaching. In 1939, he wrote one of his most famous works - the opera “Mikhas Podgorny” (one of the first Belarusian operas in history). Another famous patriotic opera by Tikotsky is “Alesya”; it was staged in 1944, after the liberation of Minsk from the fascist invaders.

Tikotsky is one of the founders of the Belarusian composer school. His works, created in a classical and romantic manner, are filled with folk motifs. He played an important role in the development of Belarusian musical culture of the 20th century. In addition to the two indicated operas, he also created the opera “Anna Gromova”, the operetta “Kitchen of Holiness”, 6 symphonies, a piano trio, a sonata-symphony for piano and other works.

Isaac Isaakovich Lyuban (1906-1975)

Born in Mogilev province. He graduated from a music college in Minsk, majoring in composition. He worked as artistic director of the Belarusian Radio in 1937-1941. – artistic director Song and Dance Ensemble of the Belarusian Philharmonic. Participant of the Great Patriotic War. Since 1945 lived in Moscow.

He is the author of the suite “Border in Songs” (lyrics by P. Brovka, P. Glebka, I. Shapovalov), pieces for cymbals and button accordion, songs for choir, soloists and vocal ensembles, music for dramatic performances and films (including the film “The Clock Stopped at Midnight”, 1958).

Anatoly Vasilievich Bogatyrev (1913-2003)

Belarusian Soviet composer and teacher, founder of the Belarusian national school of composition, professor.

Born in Vitebsk, he graduated from the Belarusian State Conservatory named after A.V. Lunacharsky in 1937. Since 1948 he taught at the Belarusian Academy of Music.

A.V. Bogatyrev is the author of two operas: “In the Forests of Polesie” (based on the story “Drygva” by Y. Kolas, staged in 1939) and “Nadezhda Durova”, which was staged in 1946 by the Soviet Opera Ensemble of the All-Russian Theater Society.

Pyotr Petrovich Podkovyrov (1910-1977)

Soviet Belarusian composer. He graduated from the Belarusian State Conservatory in composition, where he taught for many years.

Author of the opera “Pavel Korchagin” (based on N. Ostrovsky’s novel “How the Steel Was Tempered”), cantata for soloists, choir and symphony orchestra “Pioneer Bonfire of the World” (lyrics by E. Ognetsvet, 1951), cantata “Ballad of Four Hostages” (lyrics A. Kuleshova, 1954), 3 symphonies, numerous works for piano, oboe, flute, clarinet. He wrote music for dramatic performances and made arrangements of Belarusian folk songs.

Lev Moiseevich Abelovich (1912-1985)

Belarusian Soviet composer. He studied with famous composers V. A. Zolotarev and N. Ya. Myaskovsky.

He created 4 symphonies, concertos for piano and orchestra, the piano cycle “Frescoes”, a vocalise in memory of D. Shostakovich. He is the author of vocal cycles, choirs, songs, romances, and music for radio plays. He wrote music based on poems by Belarusian poets Y. Kolas, M. Tank, A. Mitskevich, M. Bogdanovich.

Heinrich Matusovich Wagner (1922-2000)

Born in Poland. Since 1939 he lived in Minsk. Graduated from the Belarusian State Conservatory named after. A.V. Lunacharsky (now the Belarusian State Academy of Music) in piano and composition. He worked as an accompanist for the Belarusian Radio and as a teacher at the Department of Music Education at the Minsk Pedagogical Institute.

He created the vocal and symphonic poems “Eternally Alive” (1959) and “To the Heroes of Brest” (1975).

He wrote 3 symphonies and concertos with orchestra: for piano (1964, 1977, 1981), for cello (1975), for harpsichord (1982), for violin (1985) and for dulcimer with an orchestra of folk instruments (1985).

Kim Dmitrievich Tesakov (b. 1936)

Graduated from the Gomel Music College and the Novosibirsk Conservatory (composition class). In 1966-1968. taught at the Belarusian Conservatory and the Music School in Minsk. In 1969-1971 was the head of the editorial office of musical literature at the publishing house "Belarus". Since 1972 - teacher at the secondary specialized music school at the Belarusian Conservatory.

The music of K. Tesakov is characterized by scale, figurative and dramatic generalization, and philosophical depth. He relies in his creativity on folk song traditions. Is a developer original genre radio operas (“Crimson Dawn” based on the novels by I. Melezh “People in the Swamp” and “Breath of a Thunderstorm”, 1978); “Wormwood is a bitter herb” based on the story by A. Osipenko “Zhito”, 1987).

K. Tesakov is the author of 3 oratorios, 2 cantatas, 2 symphonies, concerts for dulcimer and orchestra, works for violin, cello and piano, for clarinet and piano, for oboe and piano, for trumpet and piano, as well as works for choir, cycles romances based on poems by G. Vyatkin, music for 7 dramatic performances, music for films.

Dmitry Bronislavovich Smolsky (b. 1937)

Soviet and Belarusian composer, music teacher.

Born in Minsk in the family of the Belarusian musician Bronislav Smolsky. He has been writing music since he was 12 years old. He graduated from the Belarusian Conservatory in the composition class of A.V. Bogatyrev, and did postgraduate studies there. He taught at the Music School in Mogilev, at the Belarusian Conservatory.

Author of the operas “The Hoary Legend” (1978), “Francisk Skaryna” (1980), the oratorio for reader, soloists, choir and symphony orchestra “My Motherland” (1970), 4 symphonies, concerts for piano, dulcimer and chamber orchestra, numerous songs , music for plays and films.

Viktor Nikolaevich Kopytko (b. 1956)

Composer and musical figure. A multi-disciplinary musician, author of operas, symphonic, chamber and choral works, music for theater and cinema. A special feature of V. Kopytko’s work is the synthesis of linguistic principles and compositional techniques from different eras, their generalization in his own individual author’s style. His music is performed in concerts and at music festivals in various countries around the world.

Born in Minsk into a family of musicians (mother is a professional pianist, father is an amateur). He studied at the eleven-year specialized secondary music school at the Belarusian State Conservatory, and then at the Leningrad Conservatory. N. A. Rimsky-Korsakov.

The main works of V.N. Kopytko: operas “The Girl Who Stepped on Bread” (opera-parable based on H. H. Andersen. Libretto by Y. Borisov and V. Kopytko with the participation of V. Kotova (1980-81). The opera was staged on Leningrad Television in 1983. Dedicated to Benjamin Britten;

“His Wives” (burlesque opera based on Antoshi Chekhonte and other motives. Libretto by Y. Borisov and V. Kopytko (1988, final version - 2005; opera staged by the National academic theater opera of the Republic of Belarus with the title “Bluebeard and His Wives”). Dedication: "To my son Daniel" .

Works for orchestra: Little Symphony for 15 performers in 5 movements (1985), “Playing Chekhov”, suite for small symphony orchestra in 5 movements (1987), “Adagio for Adolf”, piece for chamber orchestra (1989), Three Intermezzos for chamber orchestra or instrumental ensemble(1994, 2002), “Promenade”, piece for string orchestra with solo flute (2010), Lento per Leni for string orchestra (2010-2011).

In addition, he wrote a huge number of pieces for piano, for solo voices and chamber orchestra, chamber instrumental music, chamber vocal music, works for choirs, music for films, cartoons, dramatic and puppet shows and much more.

Evgeny Alexandrovich Glebov (1929-2000)

Soviet Belarusian composer. From a family of priests. Born in the Smolensk region. From a young age he was attracted to music. He independently learned to play the mandolin, guitar, balalaika, and already in his youth began to compose various musical works (songs, romances, plays). But by profession he was far from music. While studying at the Roslavl Railway College, he directed the student choir and orchestra. While working in Mogilev, he made friends with students of the Mogilev Music College and began to study the basics of music. I tried to enroll in a music school, but the director, having learned that Glebov did not know notes and had never encountered musical literacy, refused due to professional incompetence. But, being persistent, he entered the conservatory in Minsk. He studied successfully, although it was difficult for him, including financially.After graduating from the conservatory in 1956, Evgeniy Glebov became a teacher of theoretical disciplines at Minsk music school, combining teaching and creative activities with the work of the head of the musical department and conductor at the Theater for Young Spectators. Since 1971 he taught a composition class at the Belarusian State Conservatory. Evgeny Glebov trained more than 40 students. His famous students are Leonid Zakhlevny, Yadviga Poplavskaya, Vasily Rainchik, Eduard Hanok, Vyacheslav Kuznetsov, Vladimir Kondrusevich, Dmitry Dolgalev.

E. Glebov worked in various genres, but his symphonic works and ballets are most famous. The composer's style was formed under the influence of D. D. Shostakovich and partly the early I. F. Stravinsky. His works are distinguished by deep polyphony, thematic development, and original orchestration. Glebov's opera “The Master and Margarita” is considered a classic of Belarusian musical literature.

Konstantin Evgenievich Yaskov (b. 1981)

Born in the city of Vetka, Gomel region. Belarusian composer, teacher of musical disciplines at the Belarusian state university culture and arts and the Institute of Modern Knowledge. Previously taught at the Department of Composition of the Belarusian State Academy music. Organizer of the International Festival of Contemporary Academic Music “Dialogues”, one of the founders and chairman of the Association of Young Belarusian Composers.

He received his musical education in piano and composition at the Grodno Music College.

Author orchestral works Prophet, music for 19 string instruments and viola to Mikhas Bashlakov’s poem “Lily on Dark Water” (2006); "Adagio" for symphony orchestra (2007); “Lulla.by” for string orchestra (2010); “Zamkavay Gara Dreams” for orchestra and cymbals. Author of chamber, choral, vocal works, as well as scientific publications.

It is impossible not to mention in this article such famous Belarusian composers as Igor Mikhailovich Luchenok, Vladimir Georgievich Mulyavin, Vladimir Vladimirovich Olovnikov, Eduard Semyonovich Hanok, who worked in various musical genres, but mainly and most fruitfully in song.

The active work of Belarusian composers and musicians began long before the emergence of the creative union that united them. In 1919, songs by G. Pukst appeared, and E. Tikotsky wrote music in Bobruisk. A few years later, in Mstislavl, amateur singers and musicians staged the first Belarusian opera on a revolutionary theme: “The Liberation of Labor” by N. Churkin. The 20s were marked by the beginning of the creative path of N. Aladov, who wrote romances based on Kupala’s poems... These people became the pride of Belarusian musical art. The 1930s were especially fruitful, when in a short period of time a choir, a philharmonic society, and the Belarusian State Conservatory were created in the republic, which before the war managed to graduate five performance departments and two (1937 and 1941) composition departments.

The resolution of the Central Committee of the All-Union Communist Party (Bolsheviks) “On the restructuring of literary and artistic organizations” (1932) contributed to the unification of disunited forces and the emergence of creative unions, including the Union of Composers of Belarus.

And it began with a section at the Writers' Union: Protocol No. from 02.07.1933 "Ab svarenni autanomnay sektsyi kampazitarau pry Argkamitetse Sayuza pismennikav. Afarmlennye getai sektsyi ўsklasci on vol. Dunts i Lynkov."

In 1934, the First All-Belarusian Conference of Composers took place, in accordance with the decision of which the composition section at St. Petersburg was renamed into the Organizing Committee of the Union of Composers of Belarus (since 1938 the Union Soviet composers Belarus). Until 1992, this public organization was part of integral part to the Union of Composers of the USSR; since 1999 it has become the Belarusian Union of Composers. As it was written in the Charter: “this creation of the Sayuza campasitars is a garden for the creation of high-quality creations, the creative growth of campazitars, the creation of material and everyday minds for creativity.” All 8 chairmen of the BSC attached paramount importance to the implementation of these goals throughout its 70-year history.

The first “leader” of Belarusian composers was the Honored Artist of the BSSR Isaac Lyuban, who back in 1929 created the first song in Belarus on a partisan theme - “Song of the Dukor Partisans”. In the pre-war years, his song “Byvaytse zdarovy, zhyvitse bogata” was widely known. During the Great Patriotic War, Lyuban, like other cultural figures, volunteered for the army, completed courses for political instructors and soon fought on the Western Front as commissar of a rifle battalion. None of the fighters even suspected that their political instructor was the author of the song that everyone knew and loved very well. The composer wanted to write a song about a future victory, although it was still the spring of 1942. There was no Stalingrad or Kursk yet, but there was already a great battle near Moscow. Seventeen text options proposed by fellow soldiers had to be rejected, and only the eighteenth was liked by everyone. The words of the chorus: "Let's drink to the Motherland, let's drink to Stalin!" - everyone knew, without exaggeration. The co-authors of these poems are former miner, battalion private Matvey Kosenko and professional poet, employee of the army newspaper Arseny Tarkovsky. In May 1942, the song "Our Toast" was performed in Moscow at a concert of masters of Belarusian art and had big success. Sang it People's Artist USSR Larisa Alexandrovskaya.

The peoples of the Soviet Union became acquainted with Belarusian music even earlier, during the first Decade of Literature and Art of Belarus in Moscow (1940). The operas performed on it: “Mikhas Padgorny” by E. Tikotsky, “Kvetka Shchastya” by A. Turenkov, “At the Pushchah Palessya” by A. Bogatyrev, the ballet “Salavey” by M. Kroshner became evidence of the high level of Belarusian Soviet musical culture (A. Bogatyrev received Stalin Prize for his opera). Today it is difficult to imagine that in one year so many major works, one might say, phenomena in the musical life of the republic. Even earlier, in 1939, they were staged on the stage of the Belarusian Opera House. Speaking about traditions, how can one not recall Vasily Zolotarev, a student of Balakirev and Rimsky-Korsakov, who introduced “notes” of the Russian, St. Petersburg school into Belarusian music. His ballets “The Prince of the Lake”, “The Tale of Love”, and the symphony “Belarus” were included in the golden fund of Belarusian musical culture. Podkovyrov, Olovnikov, Bogatyrev, who later became the second chairman of the board of the Union of Composers, studied with him. Anatoly Vasilyevich Bogatyrev is the founder of the modern Belarusian school of composition, whose work covers almost all musical genres. Continuing the traditions of classical music, including Russian, he is a deeply national composer. In difficult military and post-war years He, heading the Union of Composers, influenced the formation of many creators with his chamber ensembles, as well as life-affirming choirs, cantatas “Leningraders”, “Belarusian Partisans”.

In 1943, the Union of Composers of Belarus resumed its activities in Moscow, and managed to gather most of the surviving composers in a short time. In 1944, after the liberation of the capital of Belarus, composers and opera artists returned to Minsk. Tikotsky brought the opera "Alesya" ("Girl from Polesie"), which, one might say, became the musical symbol of Belarus. He wrote it in Gorky, in a bomb shelter. Minsk was in ruins; the halls, instruments, and notes were not preserved; the most valuable things were restored from memory. The composers' union approached its first post-war congress in 1947 with noticeable success. This year, the first national post-war opera (and the first Belarusian opera on a historical plot) “Kastus Kalinowski” by D. Lucas was staged.

The famous weekly “musical Wednesdays” with listening to new compositions began to be held, and the concert activity. N. Aladov, who replaced A. Bogatyrev as chairman of the board of the Union of Composers in 1949, was educated in St. Petersburg and was one of the organizers and teachers of the Belarusian Conservatory. He is the author of more than 260 musical works, including: the opera "Andrei Kostenya", the musical comedy "Taras on Parnassus". He laid the foundations for the artistic treatment of folk songs and many genres of professional musical art.

E. Tikotsky headed the Union of Composers for 13 years (from 1950 to 1963). At this time, the union was replenished with young graduates of the Belarusian State Conservatory. Among them are G. Wagner, Y. Semenyako, E. Glebov, D. Smolsky, I. Luchenok, S. Cortes, G. Surus. The collection and study of recordings of folklore and folk songs is intensifying. The works of G. Shirma, G. Tsitovich, L. Mukharinskaya are recognized. The most important achievements in the genre of vocal music include the creation of the National Anthem of the BSSR (September 1955) by composer N. Sokolovsky (who became famous for the famous song “Neman”) and the author of the text M. Klimkovich.

In subsequent years, the work of E. Tikotsky as the “leaders” of the union was worthily continued by D. Kaminsky, G. Shirma, Yu. Semenyako. The Union has become a highly professional creative organization (perhaps its only member with an unfinished higher education was Vladimir Mulyavin - an unusually gifted musician and composer, whose entry into the union was unanimously supported in both Minsk and Moscow).

Since 1980, the era of I. Luchenko began in the BSK, who still heads it today. The Union organizes republican and international music festivals, holds numerous concerts and meetings with listeners, actively participates in decades of Belarusian art and Days of Belarusian culture in Russia, Ukraine, Lithuania, and Uzbekistan. There are numerous commissions: propaganda of Belarusian, military-patriotic music, musical and aesthetic education of children and youth, musicology and criticism, ethnomusicology and folklore. Musical literature and recordings are published. Composers actively travel on creative trips to collect materials for new works. It became more difficult to carry out all this after “perestroika,” when the state could no longer provide the creative union with such support as before.

Today BSK and the Belarusian Republican Youth Union are reviving the best traditions this long-term friendship. For example, they jointly hold a charity event “Chernobyl Way - the Road of Life”. With the support of BSK, the Republican Center for Creative and Scientific Youth resumes its work. Over the past years, a professional composing school has been created.

The whole country knows and loves his songs. Everyone hums his melodies: from young to old. His name is well known far beyond the borders of Belarus. Igor Mikhailovich Luchenok - People's Artist of the USSR and Belarus, Laureate state prize, winner of the Orders of Francis Skaryna and Friendship of Peoples, Honored Artist. Today is the maestro's birthday.

As always, Igor Mikhailovich immediately invites you into the house. But we were not the only ones who decided to congratulate the famous Belarusian composer.

So that in your life and work you have only, as they say, faith, hope, love and health!

At his age, Igor Mikhailovich Luchenok feels 27 - forever young in soul and heart. Therefore, a birthday is a special occasion for joy, especially when family, friends, fans and many famous personalities congratulate you.

Igor Luchenok, composer, People's Artist of Belarus, Honored Artist:
It was 10 years ago when I arrived in Kazakhstan. There I have a good friend Nursultan Abishevich Nazarbayev. And as I remember now, they met me and congratulated me... Kazakhstan! Imagine! And I remember this very much.

Never forgets the birthday of the master of musical tact famous artists. For example, Joseph Kabzon, with whom Igor Luchenok good relations many years. However, the maestro always knew how to make friends, so it is not surprising that his friends say only good words about him.

Vladimir Provalinsky, Honored Artist of the Republic of Belarus:
He's decent. If he has spoken a word, he remembers it, no matter who speaks. Some miracle will come and say: “Igor Mikhailovich, help!” He will always help!

Igor Mikhailovich Luchenok does not like to praise himself. His songs can tell the main thing about him: “Alesya”, “May Waltz”, “My Dear Countrymen”, “Belarusian Polka”, “Verasy”, “Veronica”, “Try to Be Happy at Home”, “Letter from 1945” . The compositions for which the composer wrote music can be listed for hours. Some of them are especially dear to the master.

Igor Luchenok, composer:
Four works. These are “My native kut” (Yakub Kolas), “Spadchyna” (Yanka Kupala), “Cranes on Palessi Lyatsyats” (Ales Staver)And "May Waltz".

Igor Mikhailovich Luchenok graduated from three conservatories: Belarusian, Leningrad, Moscow. He wrote hundreds of instrumental works. He is the author of the anthem of the Belarusian capital - “Song about Minsk”. This melody is struck every hour by the chimes at the Minsk City Hall.

Igor Luchenok, composer:
I never chased gold, silver or any benefits. Never! I just served Soviet Union. I am People's Artist of the USSR, and I am very proud of it!

And this is that rare shot when Igor Mikhailovich picks up the accordion and starts playing. This instrument is a gift from my father. But still, it’s more common to see the maestro at the piano.

Igor Mikhailovich Luchenok does not draw a line under his creativity. And today he cannot live a day without a musical touch. On his piano are new unfinished scores.

We wish the famous composer long life and the fulfillment of all his creative plans!

In the 18th century, Belarus was part of the Polish-Lithuanian Commonwealth. At the end of the century, the Polish-Lithuanian Commonwealth was divided into three states and ceased to exist as an independent political unit. Belarusian lands in 1795 they completely ceded to Russia, becoming the Northwestern region of the Russian Empire.

Against the backdrop of difficult political events, Belarus was experiencing a time of intensification of spiritual life associated with the rooting of the ideas of the Enlightenment in the national culture. The development of science, education and art was prompted by the desire of the highest aristocratic strata of society to conform to European fashion and took place within the framework of widely developed philanthropy. Patrons of the arts were in the second half of the 18th century. Belarusian magnates I. Khraptovich, A. Tizengauz, the Radzivil, Oginsky, Sapieha families, etc. Under their patronage, new classicist architecture was developed, magnificent landscape ensembles were created, and decorative and applied arts developed.

In the musical culture of this time, spiritual and actively developing secular music, professional performing activities and amateur (most often aristocratic) music-making developed, court private and school musical theaters coexisted. In the second half of the 18th century. the foundation was laid for the development national composer's creativity and the first examples of opera, orchestral, chamber-instrumental and chamber-vocal music were created.

The spread of the ideas of the Enlightenment on the territory of Belarus became an incentive for the development of theatrical art and the emergence of musical opera and ballet theater . In a relatively short period of time, the entire territory of Belarus was covered with a network of musical theaters. In the 50s of the XVIII century. The Nesvizh and Slutsk theaters of the Radzivilovs arose, in the 70s and 80s the Slonim theater of Michal Kazimir Oginsky, the Grodno theater of Antony Tizengauz, the Ruzhansky and Drechinsky theaters of Sapega, the Shklov theater of Semyon Zorich were created.

Gained the greatest fame Slonim Theater M. Kaz. Oginsky. It was distinguished by its enormous size, enormous capacity of the auditorium and excellent opportunities decoration performances. Progressive “machinery” provided unusual effects that could capture the imagination of even a modern viewer: a cavalcade of horses rode freely onto the stage, and with certain manipulations the stage turned into a lake on which small boats and fake ships sailed.

The troupes of Belarusian magnate theaters, which most often included serf actors, were well trained. Thanks to high level Grodno craftsmanship ballet troupe later became the basis of the Warsaw Theater, and Shklovskaya formed the core of the theater in St. Petersburg. The repertoire of the court magnate theaters consisted mainly of Western European operas and ballets. A very small part of it was occupied by works of national authors. The performing groups were formed from professional musicians, a significant part of whom were foreign performers specially invited for this purpose. Local musicians (serfs and freemen) were at first in the minority, but over time their number grew steadily. Belarusian artists could be trained abroad, where the tycoon sent them at his own expense, or acquired the skills of singing, dancing, playing musical instruments from foreigners directly in the chapel or opera and ballet troupe.

special social group among artists musical theater consisted of high-society amateur musicians, who included, in particular, Michal Kazimir Oginski and Matej Radizivil.

Michal Casimir Oginski (1728 – 1800) – political figure, philanthropist, enlightened music lover and composer, came from an ancient noble family. He received a varied education, made a military career, was repeatedly elected to the Sejm and actively participated in political life. The diplomatic position of Hetman of the Grand Duchy of Lithuania made it possible to often travel abroad. In the 50s of the XVIII century. Oginsky visited Berlin, Vienna, Paris and St. Petersburg, in the 80s - Aachen, Brussels, Amsterdam, The Hague, visited the cultural centers of England, in the 90s - he was in Prussia and Silesia, after which he returned to the territory of the Grand Duchy (in Vilna and Warsaw). During his travels, the hetman established personal contacts with crowned heads, as well as with famous philosophers, writers, artists and musicians. The hetman had friendly relations with Haydn, to whom he proposed the plot of the oratorio “The Creation of the World.”

After his marriage to Alexandra Sapieha in 1761, Michal Kazimir received the Slonim economy and began active philanthropic activities in the Slonim region. Behind a short time on his initiative, a canal was built that connected the basins of the Baltic and Black seas, roads were laid through the Polesie swamps, manufactories and printing houses were opened. By the mid-80s, Oginsky founded an arts center in Slonim with a grandiose theater for staging operas and ballets, where there were two opera and ballet troupes and a highly professional orchestra, which contemporaries compared with the Mannheim one. Famous Western European and local architects, artists, composers, conductors, singers, and instrumentalists came to this “estate of the muses.” Talented musicians and dancers were educated at the theater school.

Michal Kazimir showed himself in a variety of creative ways. He drew well, wrote poetry and opera librettos, composed music, played several musical instruments. In his youth, he took lessons from famous Western European violinists. Then he continued to improve his skills at home: he was a soloist in violin concerts, performed the first violin part in a home orchestra, and participated in the performance of string quartets by Haydn, Boccherini, and Stamitz. In addition to the violin, he mastered the art of playing the clarinet, for which he received the nickname “hetman clarinet” from his contemporaries. It is also known that he was a wonderful harpist and made changes to the technical characteristics of this instrument.

Oginsky's musical creativity was also varied. According to indirect evidence, he was the author of five operas, the scores of which have not survived. Currently, 12 unaccompanied songs in a manuscript from 1770 and 14 songs accompanied by two violins and a bass, published in Warsaw editions of 1768, have been found and introduced into modern musical practice. This opus became known as the cycle of songs “Da Kasi”, written in own words. These laconic songs express the ideas of simplicity and naturalness characteristic of the era. The unifying image of the cycle is the young peasant woman Kasia, who inspires the sophisticated young philosopher, on whose behalf the story is told, to create lyrical and instructive, philosophical and humorous musical sketches. The names of the songs (“Ab Shchyrym Serdtsy”, “Nespadzyavany Dobry Dzen”, “Kotsik - Verabey”, “Ab Plavanni”, “Roznyya Thicks”, “Ab Masks”, etc.) indicate shades of mood and reflect the instructive experience that the narrator extracts from the diversity of life phenomena.

For his songs M. Kaz. Oginsky chooses the traditional couplet form. Their melody is a typical example of the classical style and has characteristic rounded endings. It should be noted that the vocal part, probably for ease of performance, is doubled with a violin. The rhythm of the songs contains polonaise and minuet figures. The transparent texture becomes more complex only in the opening and closing ritornellos. The singing voice dominates in creating the artistic image of each miniature.

One of the brightest representatives of Belarusian musical amateurism, the second half of the XVIII V. was Matej Radziwill (1751 – 1821) - talented poet, composer, public figure, who lived in Nesvizh for many years. After the death of Matei’s father, his mother married the Lithuanian hetman, the voivode of the Vilna prince Michal Kazimir Radzivil (“Rybonka”), the owner of Nesvizh, the creator of the opera and ballet theater and chapel. The boy spent his childhood in this center of muses, where Matei also acquired a musical education.

After graduation general education in 1770 M. Radziwill went to see the world. He visited Dresden, Gdansk, Prague, Karlovy Vary, and became acquainted with the achievements of musical art.

At the end of the 70s, Radziwiel returned to Nesvizh, where he communicated a lot with his half-brother Karol Stanislav Radziwiel (“Pane Kokhanku”), a major philanthropist who contributed to the rise of the Nesvizh Theater. At this time, world celebrities D. Albertini and J. Dusik worked in the theater, and operas by Paisiello, Cimarosa, Sarti and Holland were staged on stage. The Nesvizh Chapel gave concerts almost every day, where, among others, works by Haydn were performed.

In the 80s, Matej Radziwill became a castellan of Vilnius and received lands in Novogrudok and other places in Belarus and Poland. At the same time, the creative activity of the philanthropist intensified - he created the libretto of the opera “Agatka” with music German composer J. Holland, staged in Nesvizh in 1784, and in 1786 he wrote the opera “Voit of the Village in Alba”, in which he was a librettist, composer and performer of one of the main roles.

In 1790, M. Radziwill was appointed guardian of the young Dominic, who, after the death of his father, “Pane Kohanku,” remained the only heir to all lands. Because of this, Matej Radziwiel was forced to remain in Nesvizh during the second partition of the Polish-Lithuanian Commonwealth. Nevertheless, he supported the uprising of T. Kosciuszko, armed several rebel detachments, and gave freedom to the peasants who decided to join the rebels. M. Radzivil remained in Nesvizh until the end of his days, and was buried there.

Among the musical works of the amateur composer, a divertimento and 6 polonaises for chamber orchestra, 3 piano polonaises, a serenade for string quartet and a sonata for violin and piano are known. These works, written in 1788 - 1797, are dedicated to the Saxon Elector Anthony and Princess Anna, with whom Radziwiel was friends. All works are the same in style. They are characterized by light images, simple means of expression, clear forms and pervasive consonance.

The divertimento for orchestra consists of three parts: Allegro moderato – Adagio – Allegro scherzando. The musical language of the work is characterized by the influence of the classical style, flying themes reminiscent of the Mannheim style, clear tonic-dominant harmony, transparent texture and symmetry of form. This composition can be classified as an example of everyday music-making with features musical style era.

The most prominent composers whose lives were connected with Belarus at the end of the 18th century are Osip Kozlovsky and German composer Jan Holland.

Osip Kozlovsky (1757 – 1831 ) – comes from a family of Belarusian nobles. In Russia, O. Kozlovsky was ranked among the founders of the national school of composers. He is the author of the famous hymn “The Thunder of Victory, Ring Out” (to the words of G. Derzhavin, 1791), many orchestral, musical, theatrical and chamber works.

Osip Antonovich Kozlovsky was born in the Slavgorod region, on the Kozlovsky farm near the former Propoisk, into a poor noble family. Musical talent the boy was noticed by his uncle, V.F. Trutovsky - famous musician, chamber-guslist at the court of Catherine II, collector of Russian folk songs. He took seven-year-old Osip to study in Warsaw, to the chapel at the Cathedral of St. Yana, where Kozlovsky acquired the skills of a choir singer, violinist and organist. From 1773 to 1786, the musician worked as a tutor in the house of Counts Oginski, teaching Michal Kleofas and his sister Jozefa. From 1786 to 1796, O. Kozlovsky served as an officer in the Russian army and took part in the capture of Ochakov. After being enrolled in the retinue of Prince G. Potemkin, he was transferred to St. Petersburg. Here in 1791 he created the solemn polonaise “Roll the Thunder of Victory”, after which he gained fame as a composer. Since 1799 Kozlovsky served in the Directorate imperial theaters first as an inspector, and from 1803 as director of music. He led orchestras, organized court festivities, and supervised the training of musicians at the theater school. In 1819, due to a serious illness, the composer left his service and, apparently, stopped his creative activity. In the 20s of the XIX century. the musician briefly visited Belarus, visited Zalesye, the estate of Michal Kleofas Oginsky, and the estate of the philanthropist L. Rokitsky in Gorodishchi. O. Kozlovsky died in St. Petersburg in 1831.

The composer's fame was brought to him by symphonic and piano polonaises, a number of operas, melodramas and music for tragedies by V. Ozerov, Y. Knyazhnin, P. Katenin and others, as well as “Russian Songs”, which became a harbinger of the Russian classical romance for voice and piano (to the words of G. Derzhavin, A. Sumarokov, Yu. Neledinsky-Meletsky and other Russian poets).

During his life, O. Kozlovsky created many works. He signed all his works “amateur”, although, in essence, he was a highly professional composer. The reason for this was the musician’s social background: he was an impoverished nobleman, constantly in need of philanthropic support, and if for many nobles composing music was more of a whim, then for O. Kozlovsky it was an urgent necessity.

German composer Jan David Holland (1746 – 1827) entered the history of Belarusian music as the author of the first national opera “Agatka”, written on a libretto by the Belarusian philanthropist, librettist and composer M. Radzivil.

Jan David Holland was born on March 17, 1746 in the German city of St. Andreasberg. From 1771 he lived in Hamburg. In this city, from 1776, he took the position of director of music at the Hamburg Cathedral, where he was lucky enough to work in collaboration with F. E. Bach. From the mid-70s to the early 80s of the 18th century. Holland's symphonies, cantatas, oratorios, vocal and instrumental pieces were constantly performed in concerts.

In 1782, the composer moved to the Polish-Lithuanian Commonwealth and worked at the court of the owner of Nesvizh, Karol Radziwił (Panie Kokhanku). In Nesvizh, Holland created the comic operas “Agatka, or the Arrival of the Master”, “Another Man’s Wealth is of no Good to Anyone”, the ballet “Orpheus and Eurydice”, a string quartet and a cantata dedicated to his patron Karol Radziwiel. It is known that in 1790 the musician worked in Grodno and Warsaw, and from 1802, over the next 23 years, he taught music theory at the Faculty of Literature and Liberal Arts of Vilna University, and directed the choir and orchestra. Experience pedagogical activity he summarized in the musical theoretical work “Academic Treatise on the Real Art of Music.” Among the works of this period are a six-voice canon dedicated to the Russian Emperor Nicholas I (1826), and various clavier pieces (preludes, rondos, polonaises, marches), combining classical and sentimentalist features. J. D. Holland died in Vilna in 1827.

J. D. Golland's comic opera “Agatka, or the Arrival of the Master” is of great importance for Belarusian musical culture. Its premiere took place on September 17, 1784 in Nesvizh and was timed to coincide with the arrival of King Stanislav-August. The popularity of this opera was so great that after the premiere it did not leave the stages of Warsaw, Krakow, Lublin, Poznan and Lvov for forty years.

The genre of the work was defined by the authors (composer J. Holland and librettist M. Radzivil) as “operetta”. The content of Agatka also corresponded to the unpretentious plots of comic operas. The young serf peasant woman orphan Agatka loves the village boy Antek Tsalka. Their marriage is being prevented by the elder Piyashka, who wants to marry Agatka to another man, Antek Gaidak. A chain of comic misunderstandings arises due to the identical names of the characters. The girl's guardian Valenta and the old maid Platyukhova try to help the couple in love, but their efforts are in vain. Only a wise gentleman, the owner of the village, destroys Piyashka’s intrigue and gives happiness to the lovers. The finale of the opera is the glorification of the just master.

The plot revealed lines characteristic of operas of that time: lyrical-idyllic (the love of a peasant couple, described as a pastoral scene), dramatic (obstacles on the path of lovers to happiness), comedic-satirical (concentrated in the characters of Valenta, Piyashka and Platyukhova) and panegyric-didactic (the intervention of a good gentleman who resolves all contradictions). At the same time, in “Agatka” the local flavor was clearly felt, manifested in the characteristic social conflict the times of serfdom.

The opera consists of three acts. The clear structure is built on the classical principle of the “three unities” (place, time and action). The musical language of the opera is close to the norms of the classical style, although Valenta’s aria from the first act has a Slavic flavor. The most developed musical characteristics endowed with Agatka and Antek Tsalka (they are shown in several arias and ensembles). The style of their musical speech is close to Italian opera arias and is distinguished by its nobility and sophistication of intonation.

The ensemble and choral episodes of Agatka are performed in the tradition of lyric-comic operas. So, final chorus is built on the principle of vaudeville verses, where the solo chorus of each character alternates with a choral chorus.

“Agatka” uses a small orchestra (oboes, horns, trumpets and string group). The overture, which is thematically unrelated to the content of the opera, creates a festive mood and anticipates a happy ending.

“Agatka” by J.D. Golland laid the foundation for the development of the traditions of the Belarusian musical theater, becoming the first operatic work dedicated to local heroes and reflecting (albeit not at the level of music) the local flavor.

BELARUSIAN MUSIC OF THE 19TH CENTURY

First half XIX century– the century of romanticism in European art – became for Belarus a time of attempts to form a national school of composition.

Romantic trends in Belarusian art of the first half of the 19th century. expressed their interest in national history and folk art. Writer and ethnographer P. Shpilevsky revealed the way of life of Belarusians in essays and articles in Russian and Belarusian periodicals. Belarusian writers Y. Chechot, Y. Barshchevsky, V. Dunin-Martsinkevich, A. Rypinsky and V. Korotynsky for the first time focus on the living Belarusian language and use folklore motifs in their work, which is reflected in the achievements Belarusian literature of that time - the poems “Taras on Parnassus” and “The Aeneid Inside Out”. Romantic trends are also manifested in Belarusian painting, in the paintings of artists J. Dammel, Y. Aleshkevich, K. Rusetsky, N. Orda, I. Khrutsky and others.

The musical life of Belarus is experiencing an upsurge associated with its general democratization. In cities and towns, estates and churches, concerts of symphonic, chamber-instrumental, and oratorio music are held. Symphonies and oratorios by Haydn, Mozart and Beethoven, chamber instrumental works by I. Pleyel, L. Boccherini, K. Stamitz are performed. For the needs of cities, local city orchestras are created (the city symphony orchestra appeared in Minsk in 1803), small chamber ensembles, as well as orchestras at educational institutions - gymnasiums, seminaries, boarding schools. Music is transforming from a privilege of the highest circles of society into a more democratic art form, accessible to all segments of the population.

One of the forms of musical life is mugs And salons. In the first thirty years of the 19th century. Particularly popular in Belarus are the salons of Count R. Tizengauz in Zheludok, Grodno province, Count L. Rokitsky in Gorodishchi, Minsk province, and Prince M. Kl. Oginsky in Zalesye. Gradually, musical circles arose in the houses of the middle nobility, among writers, musicians, poets - in the house of relatives of the composer S. Monyushko, at the father of the composer F. Miladovsky, etc. The music and drama circle, headed by V. Dunin-Martsinkevich, is famous, which staged the Belarusian opera “Selyanka” by S. Monyushko (based on “Idyll” by Dunin-Martsinkevich).

In the 20s - 50s years XIX V. play a major role in the training of Belarusian professional musicians musical boarding houses. These private educational institutions provided sufficiently serious performing skills, which contributed to the growth of professionalism of Belarusian musicians-performers.

The most important political event of the second half of the 19th century was the defeat of the national liberation movement due to the suppression of the uprising of 1863–1864. This had a negative impact on the development of Belarusian culture. The Belarusian printed word was banned, and the Belarusian language, declared “a product of Polonization,” was no longer taught in schools. Many national writers who took part in the uprising were exiled to Siberia.

Only by the beginning of the 80s was there a rise in the development of Belarusian culture. Fundamental studies appeared in the field of Belarusian ethnography and folklore, including “Materials for the study of the life and language of the Russian population of the North-Western Territory” by P. Shein (1887 – 1902) and ten issues of the “Belarusian Collection” by E. Romanov (1885 – 1910). The works of scientists proved that the Belarusian people have a rich culture and the right to its development. The collection of folklore and ethnographic materials contributed to the development of literature, and the appearance of musical folklore notations later, already in the 20th century. influenced the development of musical art.

The 80s and 90s also saw the beginning of the activities of Belarusian classic writers: M. Bogdanovich, Y. Kupala, Y. Kolos. There is a noticeable rise in the area visual arts. The realistic method is characteristic of the painting of N. Silivanovic, S. Zaryanko, A. Goravsky, F. Ruszczyc, S. Bogush. Their canvases glorify the beauty of the nature of Belarus and the way of life of its people. Activities become of great importance musical societies, which hold public concerts, musical evenings, lectures on the life and work of great composers and musicians in Belarusian cities. The societies operate special educational institutions, organize tours of outstanding Russian and foreign performers. The Minsk Musical Society, one of the organizers of which was the composer Mikhail Elsky, arose in 1880.

In 1890, the city winter theater was opened in Minsk (now the building of the Yanka Kupala Drama Theater), in which she began to work opera company, which introduced Minsk residents to foreign and Russian opera performances for the first time.

The intensive performing activity of Belarusian musicians became a stimulus for creativity. Talented Belarusian violinists and pianists, such as M. Elsky, I. Glinsky, K. Martsinkevich and others, were the creators of a significant part of their own performing repertoire. The composition of music by outstanding performers became the main form of composer practice in the second half of the 19th century. They wrote instrumental concerts, fantasies, variations, concert polonaises and mazurkas, miniatures.

At the turn of the 18th – 19th centuries he worked Michal Kleofas Oginski (1765 – 1833) – author of the world-famous polonaise “Farewell to the Motherland”, composer, whom Polish musicologists consider the predecessor of F. Chopin. He was the nephew of Michal Kazimierz Oginski and always felt like a patriot of his native land.

The famous politician, musician and composer was born on September 25, 1765 on the Guzov estate near Warsaw. In 1772, Michal's father was appointed ambassador to Vienna and took his family with him for one year. Seven-year-old Michal was lucky enough to visit Vienna Opera, which made an indelible impression on him. Since 1773, mother and son returned to Guzov, where Michal Kleofas was able to receive a systematic home education under the guidance of the French tutor Jean Raleigh and music teacher Osip Kozlovsky. Kozlovsky taught Oginsky how to play the clavier and violin, the theory and history of music, and composition, managing to give him thorough musical knowledge. The teacher and student visited the residence of M. Kaz together. Oginsky in Slonim, where they attended theatrical performances and concerts of the chapel.

M. Kl. Oginsky made a swift political career- at the age of 19 he became a deputy of the Sejm, at 25 he took the post of ambassador, worked in Holland and England, France and Germany, Austria, Italy, Russia. Everywhere Oginsky tried to get acquainted with musical life country, to feel its spirit. He was personally acquainted with Haydn and Mozart, took lessons from the famous violinists of that time G. Viotti, P. Baio and others.

Since 1792, Michal Casimir held the post of treasurer of the Grand Duchy of Lithuania. In 1794 he became a participant in the T. Kosciuszko uprising. After the defeat of the uprising, Oginsky was deprived of all his possessions and emigrated abroad. Counting on the revival of the Grand Duchy with the help of Napoleon, he wrote the opera “Zelis and Valcour, or Bonaparte in Cairo” in his honor with his own libretto.

During the accession of Alexander I, Oginsky was given the opportunity to return to his homeland. After swearing allegiance to the Russian Emperor, he came to St. Petersburg in 1802, hoping to reach an agreement with Alexander I on the revival of the Grand Duchy of Lithuania. Having failed in this enterprise, M. Kl. Oginsky achieves success in property matters - his family estates are returned to him. In the same 1802 M. Kl. Oginsky moved to his estate Zalesye near Smorgon, where he remained for 20 years. During this time, Zalesye became a major cultural center. At this time, Oginsky composed chamber vocal and instrumental miniatures, and also wrote musical and aesthetic notes, which were later included in his book “Letters on Music.”

Was also active patronage activities M. Kl. Oginsky. In Zalesye, Smorgon and Molodechno, he opened schools for local youth at his own expense and took care of reducing taxes from peasants. Often visiting Vilna, he prepared his polonaises and romances for publication (published in Vilna in 1817), established connections with the local intelligentsia and became involved in the work of Vilna University. Having taken the side of Russia during the War of 1812, he returned to Zalesye again at the end of hostilities.

In 1822 Oginsky left Belarus forever. Last years He spent his life in Italy, where he was engaged in literary, musical and editorial activities. Here he published his last works, memoirs and Letters on Music. In 1833 M. Kl. Oginsky died.

Important place Oginsky's creative heritage includes polonaises, which the composer wrote throughout his life. Among the 26 examples of this genre there are pastoral, pompous and solemn, fanfare and deeply contemplative. The textural solutions of polonaises range from extremely simple (melody and chord accompaniment) to rich in timbre and register effects. Oginsky's works are traditional in form - they are predominantly three-part with contrasting middle sections. The lyricism and psychological orientation of the Polonaises bring these works closer to the style of the Romantics. Among the composer's other piano works are waltzes, mazurkas, gallops and minuet.

A bright representative Belarusian composer's creativity of the first half of the 19th century. is Napoleon Orda (1807 – 1883) - a wonderful musician and artist, coming from a noble background. Born on February 11, 1807 in his parental estate Vorotsevichi, Kobrin district, Grodno province. From childhood, the boy was imbued with the beauty of Belarusian nature and the melody of folk songs, which throughout his life served as a source of inspiration for him both in music and in painting.

N. Orda received a good education at home, general, musical and artistic. At the age of twelve he was admitted to a gymnasium in the city of Svisloch, after which he entered the Faculty of Physics and Mathematics of Vilna University.

In 1827, Orda was expelled from the university for belonging to the secret student society "Zoryane", close to the Decembrist organizations. The young man was arrested, spent 15 months in prison, and after his release he was ordered to live only on his native estate under a kind of “house arrest.”

In 1831, the Horde emigrated abroad. On foot he walked around Austria, Italy, Switzerland, and in 1833 he settled in Paris. Here he became close to the poet A. Mickiewicz and composer F. Chopin, from whom he began to take music lessons. Orda became a regular participant in musical evenings in Chopin’s house, at which he often performed his own piano works. Not forgetting his passion for painting, N. Orda began systematic classes from the landscape painter Pierre Girard.

In 1838, in Paris, on the initiative of N. Orda, a “Musical Album” was published from the works of Belarusian and Polish composers. Somewhat later, Orda’s own piano works (polonaises, waltzes, serenades, mazurkas, lullabies) were published in Paris, which earned the approval of F. Chopin and F. Liszt. The Belarusian musician was greatly influenced by his acquaintance with the brilliant Hungarian pianist and composer F. Liszt, from whom Orda received advice to take up composition seriously. Horde's authority gradually grew in French musical circles, and in 1843 he was offered the position of director of the Italian Opera in Paris.

In 1856 N. Orda decides to return to his homeland. He again settled in his Vorotsevichi estate, where he created his best paintings and musical works. In 1873, N. Orda’s “Grammar of Music” was published in Warsaw, in which he summarized his knowledge of harmony. In 1875 – 1978 N. Orda publishes in Warsaw Albums of views of the Grodno, Minsk, Vilna, Kovno, Volyn, Podolsk and Kyiv provinces. Many of these paintings depict unique monuments history and culture of Belarus, many of which were later lost.

Continuing active creative work in Vorotsevichi, Orda regularly publishes its results in Warsaw. In 1882, the composer published 14 of his best polonaises and several songs there. In 1883, he again came to Warsaw to publish the next series of his Albums, but suddenly felt a sharp deterioration in his health and died on April 26, 1883.

Among musical compositions Orda's most famous piano polonaises are distinguished by their scale, bright virtuosity, richness and variety of texture - features that characterize the best examples of works of this genre in the world. musical literature. At the same time, the polonaises of the Horde are characterized by a song beginning, which distinguishes Slavic music, as well as a lyrical interpretation of fanfare and dramatic intonations. They also revealed a tendency towards romantic poetry, towards enriching the range of images with dramatic and tragic elements.

These works can be called an “encyclopedia” of romantic harmony, which is manifested in sequencing, types of modulations, tonal plans and texture. The composer widely uses alterations of chords of the subdominant and dominant groups, various non-chord sounds, such as detentions, seizures. The most interesting polonaises are No. 4 Es-dur, No. 14 E-dur, concert polonaise for orchestra No. 13 D-dur, polonaise No. 5 B-moll with devil

ami of the funeral march, No. 8 F-dur with features of a barcarolle, polonaise No. 3 in A-moll and No. 6 in H-dur, having features of a nocturne. The influence of Belarusian folk melodies is noticeable in Polonaise No. 10 G-major and in the middle part (trio) of Polonaise No. 1 F-moll.

The most significant figure in the Belarusian composer's work of the second half of the 19th century. is Mikhail Karlovich Elsky (1831 – 1904) – an outstanding violinist, talented composer, active musical and public figure, music writer and folklorist.

Mikhail Elsky was born on October 8, 1831 in Dudichi, the family estate of the Elsky landowners in the Igumensky district of the Minsk province, into a musical family. Mikhail's father Karl Stanislavovich, a well-known amateur violinist in Belarus, became his son's first music teacher. In 1846 – 1847 Mikhail studied at the German gymnasium in Lodzon (East Prussia), where he took music lessons from the violinist Endoma. Returning to Minsk in 1847, Yelsky became an apprentice to teacher K. Krzhizhanovsky. The first concert performances of the young violinist are taking place in Minsk.

Yelsky continues his further general and musical education in Vilna. He studies at the Vilna Noble Institute. After graduating in 1849, he became a volunteer student at Kyiv University for some time.

From the beginning of the 50s, the musician's intensive concert activity began. M. Elsky gives concerts in Belarus, Ukraine, Lithuania and Poland. His repertoire includes works by J. S. Bach, J. Haydn, W. A. ​​Mozart, L. Beethoven, G. Viotti, A. Vietun and L. Spohr. In 1852, Elsky’s first works—violin miniatures—were published in Kyiv.

In 1860, to improve his performing skills and complete his musical education, the composer traveled to France and Germany. In Paris, he communicates with the famous Belgian violinist A. Vietan, in Munich he studies composition with the German composer and conductor F. Lachner.

After returning to Dudichi, Yelsky often gives concerts in Minsk and Vilna. Among those performed by him own compositions The fantasy “Spring” is especially popular among listeners.

In 1860 - 1862 Yelsky's musical-critical activity begins. In the 70s - 80s. XIX century His works on music are coming out of print, including “On Musical Talent”, “Music Here and Abroad”, “Memories from the Musical Past of Lithuania”. Each of them contained valuable information about the history of Belarusian music of past centuries and the 19th century. During these same years, Yelsky collected and recorded Belarusian folk melodies.

In 1880, the composer played a leading role in organizing a musical society in Minsk. He performed at the society’s concerts, donating the proceeds to this musical association. In 1902, in Dudichi, the famous Belarusian violinist and composer celebrated his 50th anniversary among friends and admirers of his talent. creative activity. Yelsky died in 1904 on his estate Rusinovichi.

Mikhail Elsky created about a hundred works, including two violin concertos, “Brilliant Fantasy” on original themes, “Fantasy” on themes of Polish folk melodies, Sonata-Fantasy, Fantasy “Spring”, concert mazurkas “Memories of Warsaw”, “Memories of Kiev”, “Memories of Vilna”, “Dance of the Spirits”, “Dance of Death”, huge number of polonaises, variations, miniatures. A characteristic feature of his work is brilliant virtuosity. In its vein are two concertos for violin and orchestra - a tribute to the romantic traditions of the 19th century century, when every concert violinist wrote works for himself in this genre.

Not all of Yelsky's works have survived. We have reached Concerto No. 2 op. 26, published in 1902 and dedicated to the Polish composer, teacher and conductor S. Noskowski. This one-movement composition masterfully uses a variety of violin techniques. Among the concert mazurkas, the “Dance of Death” op. 24, devoid of drama, but pathetically upbeat.

BELARUSIAN MUSIC OF THE XX CENTURY (GENERAL CHARACTERISTICS)

Professional Belarusian music arose and developed during the existence of the USSR (1917–1991) as musical culture Belarusian Soviet Socialist Republic (BSSR). Since 1991, Belarusian musical art has been developing under the conditions of an independent state. Composers who lived and worked in Belarus in the 18th–19th centuries did not leave a significant creative legacy from which a national school of composition could be formed. That's why formation of the Belarusian composer school carried out in the 1920s.

In the 1920s The richest layers of Belarusian musical folklore are being actively developed. Belarus has the most unique in Europe musical folklore, in which songs dating back to the 1st millennium BC have been preserved almost intact. and the first centuries AD (in Europe and even in Russia these songs are irretrievably lost). These are calendar-ritual songs (carols, Maslenitsa, volochebnye, Yurievsky, Trinity, Kupala, stubble) and family ritual songs (motherland, wedding, funeral holosheniya). Later song folklore is also well represented (Cossack, Burlatsky, Recruit, Chumatsky, songs of social protest, etc.).

In the early 1920s. Composers from the RSFSR come to Belarus - N. Churkin, N. Aladov, E. Tikotsky. They collect and record samples of Belarusian folklore (Churkin’s collections “Belarusian folk songs”, “Belarusian folk songs and dances”) and based on them create the first professional works of various genres.

They are also at the origins of music education. In 1924, the Minsk Music College opened, in 1932 - the Belarusian State Conservatory. Both educational institutions were headed by Aladov for some time. One of the first professors at the conservatory was E. Tikotsky. Since its opening, the conservatory has been training musicians-performers, composers, and musicologists.

The first genres in which Belarusian composers work are vocal. These are arrangements of folk songs (the most common genre of the initial stage of Belarusian music), mass choral songs, and romances. Large vocal works - cantatas - are written by T. Shnitman (composer who tragically died during the occupation in the Minsk ghetto) and N. Aladov (“10 year” - for the 10th anniversary of the October Revolution).

The first ones arise operas: “The Liberation of Labor” by Churkin (dedicated to the events of the revolution) and “Taras on Parnassus” by Aladov (a comic opera based on the plot of the anonymous poem of the same name in the 19th century), the musical comedy “Kitchen of Holiness” by Tikotsky (on an anti-religious plot). Symphonic music represented by Churkin’s Symphonyetta “Belarusian Pictures” (1925, quotes from 16 Belarusian folk songs are used), Tikotsky’s 1st Symphony (1927), 2nd Symphony on Belorussian themes. adv. Songs of Aladov (1930). In area chamber instrumental music created the Aladov Piano Quintet (1925), “Kalykhanka” for Churkin’s string quartet (1927), and the suite for string quartet and piano “Symon Music” by G. Pukst (1928).

In the 1930s–50s the desire of Belarusian music to join the general Soviet musical process. The conservatory and music college educate the first Russian composers. In addition, in the 1930s. a lack of professionalism in Belarusian music is visible, which will be overcome throughout the entire period. Themes of creativity of the 1930s: socialist construction, collectivization and industrialization. They were especially pronounced in vocal music. In the mass song, these are Pukst’s songs about the first five-year plan “To the Hero of the Locomotive” and “The Creators of the Advance”, the famous song by I. Lyuban, which became popular, “Byvaytse Zdarovy” and the song by S. Polonsky on the lyrics. Kupala "Evening Market in Kalgas".

In 1933, Aladov’s cantata “Over the Aresai Cancer” was created, dedicated to the reclamation of Polesie and the collectivization of the Belarusian village.

In 1937, on the occasion of the 100th anniversary of Pushkin’s death, a competition was announced to compose music based on Pushkin’s texts. Three cantatas were created in Belarus: “The Voevoda” by P. Podkovyrov, “The Drowned Man” by M. Kroshner and “The Tale of the Bear” by A. Bogatyrev - this was a very successful debut of the composer - the future classic of Belarusian music.

Opera 30s: 3 essays - “Mikhas Padgorny” by Tikotsky (1938) on the theme of pre- and post-revolutionary life of the Belarusian village, the fight against fists and for personal happiness, “At the Pushchakh Palessya” by Bogatyrev (1937) based on the story “Drygva” by Y. Kolas ", "Kvetka Shchastya" by A. Turenkov (1936) on the themes of Belarusian Kupala legends.

In the 30s, the first Belarusian ballet “The Nightingale” by M. Kroshner (1938) based on the story by Zm. Byaduli. Belarusian here folk dance- the basis of musical dramaturgy and stage action.

Symphonic music of the 30s. associated with mastery of the genre song symphony. The most famous works: 4th symphony “Belarus” by V. Zolotarev (1934), Aladov’s Sinfonietta in C major (1936).

IN years of war on the territory of occupied Belarus, together with the partisan movement, actively developed partisan song. The most famous: “Partisans. partisans, Belarusian sons" (based on a text by Y. Kupala, written in 1941 and transported by plane behind the front line), "We went to dzela nochkai tsemnai", "Balada ab partisans Galina", "Song of the great Kanstancin Zaslonava".

Belarusian composers were either at the front with weapons in their hands (V. Olovnikov, L. Abeliovich) or in evacuation (Bogatyrev, Churkin, Shneiderman).

Bogatyrev in war time created 2 cantatas: “To the Belarusian Partisans” based on the same text by Y. Kupala and “Leningraders” based on poems by the Kazakh akyn Jamb at la. In 1943 he wrote the lyrical-dramatic Piano Trio.

Aladov creates symphonic works: the ballad “On Harsh Days” and the poem “From the Diary of a Partisan” (in which the theme “Ach, mein lieber Augustin” is used to show the fascists).

After the war The work of composers, its themes and images are determined by the powerful dictates of the Union of Composers of the BSSR. A new generation of composers is coming to Belarusian music: G. Wagner, Y. Semenyako, E¸Tyrmand, E. Degtyarik. E. Glebov, D. Smolsky.

The Belarusian State Opera and Ballet Theater staged new works by national authors: operas“Dzyauchyna of Palessia” by Tikotsky (about the events of the Great Patriotic War, about the feat of a partisan girl), “Nadezhda Durova” by Bogatyrev (about the Patriotic War of 1812, about the feat of a “cavalry girl”), “Kastus Kalinovski” by D. Lucas, “Yasnaya Svitanna” by Turenkov (about the unification of Western and Eastern Belarus in 1939), “The Heat Gun” by Semenyako (about the life of modern students); ballets“The Vozer Prince” by Zolotarev and “The Bride of the Falls” by Wagner. New symphonies, cantatas and oratorios, choral works, instrumental concerts, and chamber music are being created.

Only V 1960–80s , when there is a stylistic renewal in Russia and in the world, Belarusian music reaches true professionalism. This is reflected in the symphony genre (Smolsky’s 1st symphony, Glebov’s 2nd symphony), and in opera, and especially in ballet. Belarusian ballet music is becoming known in the world for the first time.

More operas were created during the 30th anniversary than during the entire previous period. Among them are 3 operas by Semenyako (“When the Leaves Fall”, “Zorka Venus”, “New Land”), 2 operas by S. Cortes (“Giordano Bruno”, “Mother Courage” by B. Brecht), Wagner’s opera “The Path of Life” , 2 operas by Smolsky (“The Gray Legend” after Korotkevich and “Francysk Skaryna”), opera by V. Soltan “ wild Hunt King Stakh" according to Korotkevich.

There is no less variety in the field of ballet. Ballets are created on themes of modernity and recent history: “Dream” and “Alpine Ballad” by Glebov, “Light and Shadows” by Wagner, “Wings of Memory” by V. Kondrusevich; on themes and plots of Russian and foreign literature: “After the Ball” by Wagner based on the story by L. Tolstoy, “Till Eulenspiegel” by Glebov based on the novel by the Belgian writer Charles de Coster, “The Little Prince” by Glebov based on the story by Exupery; based on the fairy-tale and legendary stories “The Chosen One” by Glebov, “Pinocchio” by Kondrusevich. A number of choreographic miniatures appear - “Belarusian Partisan” by Glebov, “Patriotic Etude” by Smolsky. According to musical and dramatic principles, Belarusian ballets of the 60–80s are alloys either with a musical-dramatic genre (opera “Light and Shadows”) or with a symphony (“Alpine Ballad”, “The Chosen One”).

Glebov's ballets Till Eulenspiegel and The Little Prince, as well as S. Cortez's ballet The Last Inca, received recognition abroad.

In modern Belarusian music, ballet still occupies one of the leading places. This is evidenced by such productions as “Passion” (“Rogneda”) by A. Mdivani (an innovative ballet on the theme of the baptism of Rus' and ancient Belarusian history), “Macbeth” by V. Kuznetsov, etc.