Union of Cinematographers of Russia. Union of Soviet Composers

Union of Soviet Socialist Republics (USSR) A state that existed in 1922–1991, located on two continents (Europe and Asia) and occupying a sixth of the inhabited landmass of the globe (22.4 million km2). The USSR joined the Olympic movement in 1951 .: April 23rd was

Why the current team of “creative managers” did not implement the main points of the declaration of the X Congress of Music Workers

On May 23–24, Moscow will host the next, XI Congress of the Union of Composers of Russia. The musicians will have to take stock of their work, outline prospects for the next five-year period and elect new leadership headed by a chairman. The former head of the Union of Composers, People's Artist of Russia Vladislav Kazenin, died in February 2014. According to the charter, a new chairman was to be elected within a year. However, in February the planned congress was postponed, allegedly due to financial difficulties. The May meeting, the Union of Composers assures, will definitely take place, which means there is hope for a thorough discussion of the work of the organization, which is celebrating its 55th anniversary this year. The conversation promises to be long and extremely unpleasant - one of the oldest Russian unions needs a radical change in its leadership team. Now it has become obvious - the priority tasks of the Union, declared previous congress, and remained a declaration.

THE WORD IS, THERE IS NO PROFESSION

One gets the feeling that the current leaders of the composers’ organization are concerned with anything but the movement of the Union forward. Due to circumstances or intent (this remains to be sorted out), it was not even possible to preserve the remnants of the former Soviet prosperity. The current Union of Composers is very different from the Union of Soviet times. For its members it was a place of communication, a trade union, and a distributor of benefits: it built houses, allocated apartments, copied notes, had clinics, pioneer camps, publishing houses, printing houses and even an atelier. Now composers have been freed up. Of the once extensive “social security” line, the only things of interest may be economical recreation in three creative houses (Ruza, Ivanovo, Sortavala) and medical care for veterans. However, both rest and medicine are the lot of the elite. Basically, the modern Union gives composers the opportunity to feel a certain “involvement in the guild.” But it can also be felt within the framework of the association - for this it is not necessary to maintain an administrative apparatus. Moreover, today's composers do not ask for free benefits. They are ready to earn money themselves. First of all, they need from the Union to provide legal and social guarantees.

How can they be ensured if the profession “composer” is not listed in the Russian professional register? Consequently, there are no pensions, social benefits, sick leave, maternity leave, etc. And the Union is already suffering losses - the first generation of its youth branch (“MolOT”), almost in its entirety, has found work abroad. Things are reaching the point of absurdity. The composition departments of Russian conservatories produce specialists with a non-existent profession. At Mosfilm, for example, there is a full-time toilet worker, but there is no composer. Representatives of this specialty are listed as arrangers, music editors, and heads of educational institutions. Any phenomenon accompanying the composition can be documented according to the work book, except for the composer.

The leadership of the Union is aware of this problem, otherwise it would not have included in the declaration the words that “the adoption of a legislative act approving the status of a composer is a matter of national importance.” However, no specific steps have been taken to initiate the mentioned act or amendments to existing laws. The result is that hundreds of Russian composers still cannot write this proud word into their work books.

WE WRITE THE REGION, THE CENTER IS IN THE MIND

The status of a creative person is directly related to the status of the organization. And this is also not news for management. The declaration states that creative unions, including composers’ unions, should legally become professional creative institutions (now they are in the position of public ones), and this, in turn, should fundamentally change the system of contacts between the state and the creative association. It also says that a separate line in the budget law dedicated to the financing of unions (both at the federal and regional levels) will solve many problems - for example, streamlining the system of government orders and relations with philharmonic societies.

The last congress stated the fact of “insufficient performance of modern works by musical groups and theaters in the country” and considered it appropriate to introduce a quota for the mandatory inclusion of music by Russian composers in the repertoire of concert organizations. There has been almost no progress in this area. One can, of course, say that there is no demand for modern music. But if there is no offer, where will it come from?

Certain regions, for example Tatarstan, are successfully performing local music in their region and abroad. However, this is a drop in the bucket. To correct the situation, we need centralization of efforts and the presence of some kind of unifying force. And here composers of different generations are inclined to use the experience of the Union of Composers of the USSR, a kind of musical Hollywood, where there were a number of structures involved in the promotion of domestic contemporary music in the country and abroad.

Has anything been done in this direction? If so, then little has changed in the lives of composers. And the support of creators for the most part depended and still depends on the goodwill of local authorities.

The budgets of a number of regional ministries and municipalities have provisions for the acquisition of new works. In Krasnoyarsk there is an entire structure - the House of Arts, which serves creative unions: organizes concerts, exhibitions, etc. Mordovia maintains its own Union of Composers: it pays a salary to the chairman and accountant. In Yekaterinburg, under the jurisdiction of the local Union, a symphony orchestra and several buildings appeared in the city center within a year. But these are isolated examples. The governor changes and the established connections collapse. To avoid force majeure, state support should be more extensive and legally prescribed, and at the all-Russian level. And this is no longer the task of local composer organizations, but of the main leadership. It recognized its existence, but did not bother with a legislative solution.

How can we reorganize the Union?

The current team has not shown any readiness to search for its own resources, although the union has an excellent opportunity to help itself independently.

However, this is painstaking, systematic work. It is easy to declare, but difficult to implement. And the current leadership of the union has a problem with capacity. “The Creative Union does not have the right to come up with a legislative initiative,” they say there, explaining why the main points of the Declaration of the Tenth Congress have not been implemented. Indeed, you have no right. But lobbying for the law is the right of any union. As well as joining forces with other creative institutions that solve similar problems. Working groups of the State Duma rarely write bills “from start to finish” - as a rule, they use the developments of public and professional organizations interested in their consideration and adoption. As you know, a stone wears away.

Of course, the former power of the composers' union cannot be revived. The organization, which had an annual budget of 20 million rubles in July 1991 and made it mandatory for any domestic group to perform new Soviet music, regardless of whether it performed at home or abroad, will remain only in memories. Another country, different people. But it is quite possible to provide modern composers with conditions for self-realization, and for Russian music to achieve worthy promotion. It is only necessary to integrate the Russian Union of Composers into a new system of social, legal and financial relations. If the XI Congress votes for a team capable of doing this, the first step towards renewal can be considered accomplished.

"LG" dossier

The founding congress of the Union of Composers of Russia took place exactly 55 years ago, in April 1960. Dmitry Shostakovich was unanimously elected as the first secretary of the board, which included representatives of 16 Russian organizations. At the same time, the main directions of activity of the composer organization were determined: the rise of peripheral composer organizations, the creation of conditions for composer creativity, ensuring the sound and promotion of Russian music, attention to creative youth, solving social problems of musicians.

Subsequently, the organization was headed by Georgy Sviridov (1968–1973), Rodion Shchedrin (1973–1990), Vladislav Kazenin (1990–2014).

The current Union of Composers of Russia unites more than 2,000 composers and musicologists who are members of 50 regional organizations. The management of the union is now handled by the former head of the Muzfond garage, Igor Ringer, by proxy from the deceased Vladislav Kazenin.

Ivanova Marina

Union of Composers of Russia

The Union of Composers of Russia is a public organization uniting Russian composers and musicologists. The Union of Composers of Russia is the legal successor of the Union of Composers of the RSFSR, founded in 1960. The first - Founding - Congress of the Union of Composers of the RSFSR was held in April 1960. Since that time, the Union has been headed by: Dmitry Shostakovich (1960–1968), Georgy Sviridov (1968–1973) and Rodion Shchedrin (1973–1990).

In the USSR there was the Union of Composers of the USSR (UC USSR) - a single creative association of Soviet composers and musicologists, until 1957 it was called the Union of Soviet Composers of the USSR (USC USSR). It arose on the basis of the Resolution of the Central Committee of the All-Union Communist Party of Bolsheviks of April 23, 1932 “On the restructuring of literary and artistic organizations.” Until 1948, the work of the USSR SSC was led by the Organizing Committee. The first congress of the Union of Composers of the USSR took place on April 19–25, 1948 in Moscow. B.V. Asafiev was elected Chairman of the Union of Composers of the USSR at this congress.

The main objectives of the Union of Composers were:

– consolidation and unification of Soviet composers and musicologists in order to create ideological and highly artistic musical works that reflect the life and ideals of the Soviet people;

– establishment of the principles of socialist realism in Soviet musical creativity, creative development of the best traditions of world and, first of all, Russian musical classics and folk music;

– development of Soviet musicology on the theoretical basis of Marxism-Leninism;

– development of fraternal national cultures of the Soviet peoples;

– affirmation of the leading progressive role of Soviet music in the process of struggle against the influence of bourgeois ideology;

– strengthening creative ties with foreign progressive musical organizations and figures;

– ideological, political and artistic (professional) education of Soviet composers and musicologists;

– social and creative influence on other musical institutions and organizations;

– improving the living and working conditions of members of the USSR Investigative Committee, assistance in protecting their copyrights.

The highest governing body of the USSR NC was the Congress of Soviet Composers; in the intervals between congresses, the work of the Union was led by a board elected at the congress, which, in turn, elected a secretariat from among itself, headed by the first (until 1957 - general) secretary. The position of first (general) secretary of the USSR Investigative Committee from 1948 to 1991 was permanently held by Tikhon Nikolaevich Khrennikov. The board and secretariat at various times included B.V. Asafiev, D.B. Kabalevsky, D.D. Shostakovich, A.I. Khachaturian and other famous Soviet composers.

The USSR Music Fund bore general responsibility to the board and secretariat of the USSR IC. The printed organs of the USSR IC were the monthly magazine “Soviet Music” and the biweekly magazine “Musical Life”.

After the collapse of the USSR, the Union of Composers of the USSR ceased to exist. Its legal successor was the Union of Composers of the Russian Federation.

Since 1990, the post of chairman of the Union has been occupied by Vladislav Kazenin.

Was called Union of Soviet Composers of the USSR (USSSR).

Membership card (1990)

It arose on the basis of the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks of April 23 on the restructuring of literary and artistic organizations. Until 1948, the work of the USSR SSC was led by the Organizing Committee. The first congress of the Union of Composers took place on April 25, 1948 in Moscow. B.V. Asafiev was elected Chairman of the Union of Composers of the USSR at this congress.

The main objectives of the Union of Composers were:

• Rallying and uniting Soviet composers and musicologists in order to create ideological and highly artistic musical works that reflect the life and ideals of the Soviet people;
• Establishment of the principles of socialist realism in Soviet musical creativity, creative development of the best traditions of world and, first of all, Russian musical classics and folk music;
• Development of Soviet musicology on the theoretical basis of Marxism-Leninism;
• Development of fraternal national cultures of the Soviet peoples;
• Affirmation of the leading progressive role of Soviet music in the process of struggle against the influence of bourgeois ideology;
• Strengthening creative ties with foreign progressive musical organizations and figures;
• Ideological, political and artistic (professional) education of Soviet composers and musicologists;
• Social and creative influence on other musical institutions and organizations;
• Improving the living and working conditions of members of the USSR Investigative Committee, assistance in protecting their copyrights.

The highest governing body of the USSR NC was the Congress of Soviet Composers; in the intervals between congresses, the work of the Union was led by a board elected at the congress, which in turn elected a secretariat from among itself, headed by the first (pre-general) secretary.

The USSR Music Fund bore general responsibility to the board and secretariat of the USSR IC. The printed organs of the USSR IC were the monthly magazine “Soviet Music” and the biweekly magazine “Musical Life”.

The position of first (general) secretary of the USSR Investigative Committee was permanently held by Tikhon Nikolaevich Khrennikov from 1991 to 1991. The board and secretariat at various times included B.V. Asafiev, D.B. Kabalevsky, D.D. Shostakovich, A.I. Khachaturian and other famous Soviet composers.

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And musicologists, until 1957 called Union of Soviet Composers of the USSR (USSSR).

It arose on the basis of the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks of April 23, 1932 on the restructuring of literary and artistic organizations. Until 1948, the work of the USSR SSC was led by the Organizing Committee. The first congress of the Union of Composers took place on April 19-25, 1948 in Moscow. B.V. Asafiev was elected Chairman of the Union of Composers of the USSR at this congress.

The main objectives of the Union of Composers were:

• Rallying and uniting Soviet composers and musicologists in order to create ideological and highly artistic musical works that reflect the life and ideals of the Soviet people;
• Establishment of the principles of socialist realism in Soviet musical creativity, creative development of the best traditions of world and, first of all, Russian musical classics and folk music;
• Development of Soviet musicology on the theoretical basis of Marxism-Leninism;
• Development of fraternal national cultures of the Soviet peoples;
• Affirmation of the leading progressive role of Soviet music in the process of struggle against the influence of bourgeois ideology;
• Strengthening creative ties with foreign progressive musical organizations and figures;
• Ideological, political and artistic (professional) education of Soviet composers and musicologists;
• Social and creative influence on other musical institutions and organizations;
• Improving the living and working conditions of members of the USSR Investigative Committee, assistance in protecting their copyrights.

The highest governing body of the USSR NC was the Congress of Soviet Composers; in the intervals between congresses, the work of the Union was led by a board elected at the congress, which in turn elected a secretariat from among itself, headed by the first (until 1957 - general) secretary.

The USSR Music Fund bore general responsibility to the board and secretariat of the USSR IC. The printed organs of the USSR Investigative Committee were the monthly magazine “Soviet Music” and the biweekly magazine “Musical Life”.

The post of first (general) secretary of the USSR Investigative Committee from 1948 to 1991 was permanently held by Tikhon Nikolaevich Khrennikov. The board and secretariat at various times included B.V. Asafiev, D.B. Kabalevsky, D.D. Shostakovich, A.I. Khachaturian and other famous Soviet composers.

Encyclopedic YouTube

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Melodies from operettas by Soviet composers. 1978 Operetta, Soviet stage.

Subtitles

Dear Joseph Vissarionovich!
During the days of the Great Patriotic War, Soviet composers, inspired by the heroic struggle of the Red Army against the Nazi invaders, together with all the people, experienced a powerful patriotic impulse that gripped our great country.
Moscow composers collected 130,000 rubles from their personal funds, in addition, the Organizing Committee and the Music Fund of the Union of Soviet Composers of the USSR transferred 1 million rubles to the current account of the State Bank for the construction of the Moscow tank formation.
Soviet composers devote all their creative energies to the great cause of defeating the enemy.
Chairman of the Organizing Committee of the Union of Soviet Composers of the USSR GLIER
Chairman of the Music Fund of the USSR MURADELI
Secretary of the party organization TEPLINSKAYA

I ask you to convey to the Soviet composers who contributed 1,130,000 rubles for the construction of the Moscow tank formation my fraternal greetings and gratitude to the Red Army.
I. STALIN