Military music in the service of diplomacy. Timofey Mayakin: the Intercession Cathedral will be decorated with a light show at the Spasskaya Tower Timofey Mayakin biography

480 RUB | UAH 150 | $ 7.5 ", MOUSEOFF, FGCOLOR," #FFFFCC ", BGCOLOR," # 393939 ");" onMouseOut = "return nd ();"> Dissertation - 480 rubles, delivery 10 minutes, around the clock, seven days a week

Mayakin, Timofey Konstantinovich. Military-musical culture of Russia: historical and cultural analysis: dissertation ... candidate of philosophical sciences: 24.00.01 / Mayakin Timofey Konstantinovich; [Place of protection: Nizhegor. state architect.-builds. un-t] .- Nizhny Novgorod, 2010.- 149 p .: ill. RSL OD, 61 11-9 / 34

Introduction

Chapter 1. Specificity and social functions of the military musical culture of Russia 11

Chapter 2. Formation and development of professional music education in Russia 42

Chapter 3.67

Chapter 4. Development of musical amateur performances in the army environment 97

Conclusion 125

Bibliographic list

Introduction to work

Relevance of the research topic. The specificity, structure and functions of the military musical culture of Russia largely determine the relevance of its study by the following circumstances.

First, the formation of culturology as an integrated science of culture, with all the diversity of the definition of the concept of "culture", revealed at least three sets of problems that today determine its structure: 1) the theory of culture, 2) the history of culture, 3) applied culturology ... Military music culture is connected with the problems of applied cultural studies, as well as religious, moral, physical, ecological, political and legal culture. The assignment of military music culture to one of the types of culturology presupposes the study of its specificity, originality and peculiarities.

Secondly, the study of the specifics of military music culture requires an investigation of its social necessity, structure, forms of manifestation and those social functions that it performs. The analysis of these aspects is clearly insufficient in the modern culturological literature.

Third, the study of military music culture, taking into account its multifaceted functions, can help to increase the authority of the Armed Forces of the Russian Federation, especially in modern conditions.

Fourth, the long-term historical experience of the development of Russian statehood has shown that the army is not only an armed force, but also a spiritual one. She gave the people such outstanding figures of culture and art as N.A. Rimsky-Korsakov, A.V. Alexandrov, S.A. Chernetsky, V.I. Agapkin and others.

Fifthly, the study of military music culture from the point of view of its psychological, national-patriotic role in the education of the personnel of the Armed Forces of our country is relevant.

The degree of scientific elaboration of the problem. It must be noted with regret that the level of scientific elaboration of the problem of the development of military music culture in Russia is very weak and the research is of a fragmentary nature. Viewing a problem from a class perspective is not always

contributed to its holistic study. There are no works in a direct formulation of the question, and only the study of many sources makes it possible to conduct such a study and highlight certain aspects, problems, fragments.

All works, reflecting to varying degrees the problem of the development of military music culture, can be divided into several groups.

The first includes the works of Russian culturologists of a general methodological nature, in which, to one degree or another, the problems of musical culture are touched upon in theoretical terms.

The second group is represented by complex works of Russian art critics on the history of music and musical culture of Russia. In them, the problem of the development of military music culture is considered in a general form, in connection with the issues of cultural construction of the state. As a rule, in all these works a rather detailed excursion into the history of the musical life of Russia is made. At the same time, the coverage of issues related to the development of military music culture is fragmentary.

The fourth group includes works devoted to the history of the formation of the Red Army Song Ensemble and the creative activity of its first leader A.V. Aleksandrov. 4

Cm.: Arnoldov A.I. Man and the world of culture. - M., 1992; Vinshkovsky M.N. The role and place of musical art in the formation of the spiritual world of the Soviet soldier: dis. ... Cand. Philos. sciences. - M., 1984: Vygotsky L. WITH, Luria A.R. Categories and concepts of the theory of culture. - M., 1985; Dorogova L.N. Artistic culture and the formation of a soldier's personality: dis. ... Dr. Philos. sciences. - M., 1990; Sokolov E.V. Concepts, essence and main functions of culture.-Leningrad, 1989, etc.

2 See: Bronfin E.F. Musical culture of the first post-revolutionary Petrograd
Five Years: A Study. - L., 1984; Nikitina L. D. Soviet music. History and modern
ness. - M., 1991; Tarakanov M.E. Musical culture of the RSFSR. - M., 1987, etc.

3 See: Aksenov E.S. New in the instrumentation of the Soviet military march. - M., 1970; Mat
Veev V.A. Russian military orchestra. - M., 1965; Surin N.K. Military ceremonial music //
Reader on the history of military music. - M., 1988. - Part II; V.I. Tutunoe 250 years of military
orchestral service in Russia. - M., 1961, etc.

4 cm: Alexandrov B.A. The song is calling. - M., 1982; B.E. Korostechev Art born of
people. - M., 1991; Pozhidaev G.A. The Red Banner Ensemble: The Path of Song and Glory. - M.,
1988; Shilov A.V. Unknown authors of famous songs. - M., 1961, etc.

The named works are of great scientific value and are of great importance, constituting the source base of the research. At the same time, the analysis of the presented monographs, articles, dissertation research shows that the military music culture was not the subject of independent research, and the problem of its development did not receive sufficiently integral, generalized coverage.

A separate group of sources is made up of documents widely represented in the historical archives of Russia, 1 also this should include legislative documents published in different years and acts (decrees, orders, directives, statutes, instructions), indirectly affecting the problem of the development of military music culture and making it possible to substantially supplement the source base of the study. 2

Another group of sources is formed by memoirs, memoirs, diaries of prominent figures and cultural workers, in which they left a subjective assessment of military music, musical culture in general, its role in the moral and psychological education of soldiers. 3

Collections of military songs, marches, concert pieces for military orchestras and amateur groups represent a separate type of the studied material.

The subject of research is the military-musical culture of Russia. Given that this subject is quite multifaceted, we highlight in it those aspects of analysis that make up object of study: the historical formation of military music culture, its specificity, the main social functions and forms of manifestation, the structure of training military musicians and conductors.

Russian State Military Archives (RGVA), Russian State Archives of the Navy (RGA Navy), Russian State Archives of Literature and Art (RGALI).

2 See: Combat cavalry charter of the Red Army. - Pg., 1920. - Ch. II-Sh; Combat infantry regulations of the Red Army. - Pg., 1920. - Part I.; Charter of the garrison service of the Red Army. - Pg., 1918, etc. See: Vasilevsky A.M. Life's work. - M., 1974; Vsevolzhsky I.E. Prisoners of the sea. - M., 1961; Furmanov D.A. Chapaev.-M., 1961, etc.

The purpose and objectives of the study. The main purpose of the study is the historical and cultural analysis of the specifics, structure and functions of military musical activity.

The goal made it necessary to study a number of specific tasks that determined the content of the work:

identification of social needs in military music culture;

analysis of the specifics of military music culture as a special type of applied culture of society;

study of the main social functions of military music culture with the definition of their characteristics and meanings;

study of the structure and characteristics of military music education and training of relevant personnel;

analysis of the main forms of organization and manifestation of military musical activity.

The theoretical basis of the dissertation research. The theoretical foundations of the study were the works of domestic and foreign authors devoted to the analysis of the social essence of culture, its place in the system of society, the regularities of the formation of various types of applied culture, as well as works that reveal the theory of musical culture and its specific form - military musical activity. The analysis of the structure of military music education predetermined the need to turn to works of a psychological and pedagogical nature.

Methodological basis for the dissertation research. Methodologically, the work relies on the dialectical method with such basic principles as the principle of polarization, which made it possible to explain the contradictory nature of military music culture as a unity of utilitarian military and artistic and musical activities; the principle of functionality, with the help of which a multifunctional analysis of military music culture was made; the principle of determinism, which necessitated

studies of the dynamics of military music culture depending on socio-political changes in society.

Scientific novelty of the research. V The work investigates the problems that can be of scientific value for cultural studies (theory and history of culture):

firstly, the specificity of military music culture as a special kind of applied culture has been clarified;

secondly, it shows the social determination of military music by changes of a socio-political nature in the country;

thirdly, the system of social functions of military music culture in public life was revealed;

fourthly, genres, forms of manifestation and types of military musical activity have been investigated;

Fifth, the features and structure of the military
musical education at the stage of its formation and subsequent camps
laziness;

Sixth, the trends and prospects for the development of military
musical amateur performances.

Provisions for Defense:

The specificity of the military music culture of Russia, presented as a kind of applied culture of society, is determined not only by the general principles of musical creativity, but also by the peculiarities of its application and use in military service activities.

The specificity of the applied nature of military music culture is determined by the specificity of personnel training and the content of the structure of the entire system of military music education.

The main types and forms of military-musical activity have common and special features in the peaceful and combat conditions of the existence of society.

Analysis of the real existence of military music culture in the system of society reveals its main social functions: ritual-organizational,

organizational and mobilizing, ceremonial demonstration, national-patriotic, educational and educational, concert and theatrical.

5. The military music culture of Russia, as a universal and multifaceted phenomenon, affects the mass consciousness of society.

The theoretical and practical significance of the study. V theoretically, the research materials may be significant for a deeper understanding of the problems of applied cultural studies, which develops within the boundaries of the general theory and history of culture. This is evidenced by similar studies of the culture of design, culture of behavior, culture of speech, religious culture, etc.

We see the practical significance of the research in the possibility of pedagogical use of these materials not only in the system of military music education, but also in the organization of more effective practical military music activities.

Approbation of research results. The results of the research were presented by the author at meetings of the Department of Culture and Art of the Military University, the Military Conducting Department of the Military Conducting Faculty at the Moscow State Conservatory. PI Tchaikovsky, Department of Philosophy and Political Science, Nizhny Novgorod State University of Architecture and Civil Engineering. Certain provisions of the work were considered at the scientific-practical conference of the Military Conducting Faculty. The materials of the dissertation are reflected in several articles, as well as in the author's monograph "Military Musical Culture of Russia" (Moscow, 2010) and in the collective monograph "Military Music of Russia" (Moscow: Voenizdat, 2007).

The materials of the work are used in the educational process of the Military University and the Military Institute of Military Conductors.

The structure of the thesis. The thesis of 149 pages consists of reference, 4 chapters, conclusion and bibliographic list, including 282 titles and 153 archival sources.

and social functions of the military-musical culture of Russia

AV Suvorov often mentions the use of orchestras: "Music in battle is necessary and useful, and it must be the loudest." How actively the great commander used military music can be judged by his orders. In the battle at the Trebbia River, one of his orders read: “Do not use the command stop, this is not in training, but in battle: attack, chop, if, drums, music! ... When struck, make a big shout and beat the drum hard ; music to play where it happens, but especially in pursuit ... "2.

In the XVIII century. musical instruments are becoming one of the varieties of military regalia, a symbol of valor and heroism of Russian regiments. In the list of the highest awards established in the Russian army, the awarding with silver trumpets and horns took the third place. The highest insignia was the rewarding of the regiments with a standard (banner), then with an order and after that with silver trumpets. “The first awarding of trumpets took place in 1739, they were awarded to one of the battalions of the Izmailovsky regiment, who distinguished himself in the capture of the fortress of Ochakov. Many regiments of the Russian army were awarded with silver trumpets during the Seven Years War and, especially, for the capture of Berlin in 1760 ”.

Silver and St. George's4 trumpets and horns, like regimental regalia, were guarded along with the banners and regimental standards. Signals on silver pipes and horns were given only on especially solemn occasions in accordance with special instructions. Thus, rewarding with musical instruments in the 18th century became firmly established in the practice of encouraging regiments that distinguished themselves in combat, which can be regarded as a manifestation of the musical culture of the Russian army and navy.

The beginning of the reign of Alexander I was marked by the creation of a number of new military educational institutions. In 1801, in connection with the proposal of the chief of the 1st cadet corps, General P.A. Zubov, on the establishment of provincial military schools, Alexander the 1st issued a decree, which ordered to organize the training of officers in 17 provinces. The main reason for such close attention of the emperor and his entourage to this issue was the need for a sharp increase in the size of the army.

The especially rapid growth of the army took place at the beginning of the 19th century. and during the Patriotic War of 1812 "If in 1800 the Russian army numbered 394 thousand people, then by 1825 the number of the Russian army reached 950 thousand" 1.

The increase in the size of the army several times gave rise to many problems, among which were: the organization of the daily activities of the troops, the management of a large number of people on the battlefield, psychological training for the rallying and unification of military units, etc.

Military music played an important role in solving these problems. Throughout the 1st floor. XIX century. In the military bands of the Russian army, a number of important events were carried out covering various aspects of their lives: staffs, instrumental ensembles, the leadership system in the guard bands, and the training of musicians. These measures consistently improved the state of the musical culture of the army and navy, the number of which was constantly increasing due to participation in hostilities.

The service activity of the military bands, as before, was to ensure the daily life of the troops. At the same time, military bands have increasingly become directly involved in hostilities. A number of official documents have survived, indicating that many musicians of military bands were awarded for their participation in hostilities. Thus, during the Battle of Friedland on June 2, 1807, the battalion drummer Mizdryukov "... hit the huntsman campaign, by means of which he gathered about 100 privates, who courageously hit the enemy arrows" 1. During the Patriotic War of 1812, before the Battle of Borodino, "... every time ... the brigade commander, with a drumbeat, led his regiments forward to meet the cavalry with bayonets."

Signal service in the 1st floor. XIX century. in the troops of the Russian army, which has become widespread in the conduct of hostilities, has become even more closely associated with the organization and methodology of training troops. The basic rules and techniques for giving certain signals that had various purposes when performing combat techniques without weapons, with weapons, when teaching troops tactical art, when performing solemn ceremonies and ceremonies of a military character, began to be comprehensively regulated by statutory provisions, orders, special instructions and circulars ...

Of great importance for the development of military music was the invention and introduction of chromatic brass instruments into orchestras3, which significantly expanded their artistic possibilities.

Formation and development of professional music education in Russia

In the same 1918, the All-Russian Central Executive Committee decided to hold wide celebrations on the occasion of the celebration of May 1. In honor of the proletarian holiday, in addition to the demonstration of the workers, it was decided to hold a parade of units of the Moscow garrison.

In the morning, the columns of demonstrators headed for Red Square. Ahead of them were military units, led by their orchestras, performing revolutionary songs and marches.

Having passed the square, the military units moved in the direction of the Khodynskoye field to take part in the military parade, scheduled for 16 hours and 30 minutes. Before the start of the parade, V.I. Lenin arrived at the Khodynskoye field. To the sounds of a counter march “... Ilyich began to bypass the troops. He greeted every unit, every military school, congratulated the soldiers on May Day. The reply was: “Hello, Comrade Lenin! Hurray! ”2 After the detour of the troops, Lenin rose to the podium and the first solemn march of the Red Army units began.

Ludomir Antonovich Petkevich, the former military bandmaster of the 11th Dragoon Fanagoria Generalissimo of Prince A.V. Suvorov's regiment, was entrusted with the direction of the musical arrangement of the first Soviet military parade. According to his testimony, in addition to "Internationale", "Varshavyanka", "Bravely comrades in step!" and other revolutionary songs, some marches from the pre-revolutionary repertoire of Russian military orchestras were also performed at the parade and demonstration of workers: Furman's "Suvorov March", the "Bogdan Khmelnitsky" march by an unknown author, L.A. Petkevich's fanfare march, etc.

“When the passage of the troops ended and the field began to empty,” recalls L.A. Petkevich, “without further instructions, I instructed the orcs of 71 countries to collect notes. From the podium, they apparently noticed that the orchestra was about to leave. And then suddenly Vladimir Ilyich went to the orchestra. I hurried to meet him, saluted. Expressing his satisfaction with the performance of the orchestra, he said: "Now the demonstrators will go, we must meet them with a march," and he quickly returned to the podium. " Lyudomif Antonovich did not attach much importance to this case then, although he had never seen a demonstration after military parades. This new tradition was initiated by V.I. Lenin.

In subsequent years, military parades were scheduled on the days of national holidays on May 1 and November 7. In addition, during the Civil War, military parades on the occasion of seeing off military units and workers' detachments to the front2, as well as in connection with the release of red commanders, became widespread. So on June 15, 1919, Lenin in the Kremlin received a military parade of the Kremlin cadets, at the end of which "... the cadets marched across the parade ground, and a few days later the graduates went to the front."

Depending on the anniversary date of the unit, the commanders, as a rule, staged parades of the units entrusted to them. An example of this is the military parade that took place on November 19, 1939 in units of the First Cavalry Army on the occasion of its 20th anniversary. The solemn, festive mood of the fighters of the famous association during its holding was enhanced by “... the play of the combined military orchestra under the direction of Comrade Shaes, who announced the beginning of the holiday with the sounds of a counter march ”5.

A comparative analysis of military parades in the pre-revolutionary and Red armies allows us to trace a certain continuity in the external forms of their conduct. This is expressed in the similarity of the constituent parts of this ritual (formation of troops, meeting of the host of the parade, detour and congratulation of the participants, passage of a solemn march1), as well as commands for controlling the troops participating in the parade.

However, significant changes are taking place in their musical design. A new means, a new form of musical accompaniment for the parades of the Red Army was the organization of combined military bands capable of solving complex problems of musical arrangement of the ritual. For the first time, the thousand-pipe combined orchestra of the Moscow garrison, headed by the head of the Office of Military Bands, was involved in the May Day parade of 1922

In addition, the musical material performed at the parade undergoes significant changes. This was due to the fact that in the 20-30s. XX century. the theme of the marching march was enriched by the Soviet mass and folk song, which played an important role in the formation of the musical features of his musical language. In the marches of this period, song themes were used either in the form of borrowing and processing individual song turns, or in the form of direct quotation of a particular song. This was a valuable form of popularization among the Red Army community of folk and mass Soviet songs and from this point of view deserved a positive assessment3.

Significant changes also took place in the musical design of other military rituals. Thus, the pre-revolutionary music of Zarya was replaced by a new one, composed by SA Chernetsky in 1927, Krasnaya Zarya 4. By the 1930s. the emergence of new music belongs to the ritual of divorce of the guards. Instead of the "Big Collection", which traditionally came from the repertoire of military bands of the Russian army and sounded for a long time during

Service and concert activities of military orchestras and ensembles

Concerts of symphonic music for the military audience were not limited to the performances of the symphony orchestra of the political administration of the Baltic Fleet in Petrograd. The same work was performed by the symphony orchestra in Kronstadt, which consisted of 56 people. Its conductor was A. Bauer. The performances of these groups took place at all the bases of the Baltic Fleet, and in addition, at the Onega-lake-river, Volkhovo-Ilmenskaya and Chudskaya flotillas2.

Just as in Petrograd, the Political Administration of the North Caucasian Military District organized a symphony orchestra in Rostov-on-Don under the direction of the famous conductor K.S. Saradzhev. In the summer of 1920, he was appointed conductor of the newly organized symphony orchestra of the Azo-Black Sea Fleet, with which he worked until 19223.

The performances of the symphony orchestra of the Frunze Central House of the Red Army enjoyed particular success in Moscow. The initiators of the creation of this orchestra and its conductors were S.A. Chernetsky and L.P. Shteinberg. In addition to them, guest conductors were also involved in the preparation of individual programs4.

Concerts of the CDKA Symphony Orchestra were held in military units, workers 'organizations, officers' houses and concert halls of the capital. The repertoire, which consisted of the best examples of symphonic music, testifies to the high professionalism of this group. So, in a concert dedicated to the 35th anniversary of the death of PI Tchaikovsky, composed entirely of the composer's works, his IV symphony, a concert for violin and orchestra, suites from the ballets The Nutcracker and Swan Lake, and the Solemn March were performed.

In addition to performances held in the Moscow District, the CDKA Symphony Orchestra also conducted extensive touring activities in various regions of the country. So, in the period from January 11 to April 21, 1939, during a trip to serve units of the First and Second separate Red Banner armies, they were given 83 concerts in 25 different garrisons of the Far East and Transbaikalia. "In addition to its main work, the orchestra He also provided practical assistance to the Red Army amateur art activities, in particular, in the Kuibyshev and Blagoveshchensk garrisons, he performed together with the Red Army amateur choirs.3

Along with symphony orchestras, many brass bands also took an active part in cultural and educational work. The exemplary military orchestra of the RSFSR played an important role in the musical life of the country in the 1920s and 1930s. Many outstanding musicians took part in this first-class collective, including M. Tabakov, A. Adamov, V. Blazhevich, V. Soloduev and others. The orchestra accompanied the famous singer I. Tartakov, the famous violinist L. Zeitlin. He was accompanied by the great Russian singers A. Nezhdanova and L. Sobinov.

The orchestra performed before the delegates of the Third World Congress of the Comintern, the Fifth All-Russian Congress of the Komsomol. Its programs included revolutionary songs and marches, works of Russian and Western European classics.

One of the most popular forms of concert activity of military bands outside the military unit was their performances in parks, gardens, fairs and squares in front of city dwellers. The special cultural and educational significance of this type of activity of the military orchestra was noted in the XX century. outstanding Russian critic V.V. Stasov. He wrote: “Military bands are the conductors of not only military music, but also all kinds of music to the masses of the people. On the street, in a public garden, in a procession, in every national or national celebration - who does the people always hear, if not one military band, through whom does he know something of music, if not through him? "

In the 30s. XX century. parks in Moscow and other cities were a kind of centers of cultural life, where the best performing forces gathered. Military brass bands also took a worthy place among them. Daily in the summer of the mid-1930s. in the Central Park of Culture and Leisure named after A.M. Gorky in Moscow, up to ten military bands performed on various stages.

For many years, the Exemplary NKVD Orchestra conducted by VI Agapkin played in the Moscow Hermitage Garden. Along with music of dance genres, the program of the collective sounded such works as the overture to the opera by A.P. Borodin "Prince Igor", the overture to the opera "Ruslan and Lyudmila" and "Kamarinskaya" by M.I. Glinka, works by P.I. Tchaikovsky , M.P. Mussorgsky, A.K. Glazunov, F. Chopin, R. Wagner and many other composers.

The development of musical amateur performances in the army environment

A young Cossack was killed there. Passing from mouth to mouth, from one army generation to another, the song has lived a long life. She reached the era of the Civil War. Its wide popularity among the soldier's environment prompted the army political worker A.V. Marinov to write new words to the old melody that met the spirit of the times: Hey, on the way! The red army is walking along the road. Hey, it's slim! It sings a red song harmoniously. Gay, this is power! This formidable force is coming. Hey, the power of the Soviets! The power of the Soviets will never disappear1. In 1924, "Hey, on the way!" was published in the collection Songs of the Red Army, and later included in the repertoire of the Red Banner Ensemble of Red Army Song and Dance of the USSR.

The Red Army poets adapted a variety of songs to the new conditions, ranging from beautiful old polyphonic Cossacks ("The nights are dark, the clouds are formidable", "Let's remember the glorious Kuban people") and ending with the most banal tunes ("The last day of the day", "The poor man died in a military hospital" ). Dozens of times were paraphrased and such popular old soldier's songs as "There was a case near Poltava", "All the cannons, guns rumbled", "Varyag" and many others.

While the overwhelming majority of the old soldier folklore did not change its musical content, many urban songs that existed in the Red Army environment underwent significant rhythmic and melodic changes. A typical example in this regard is the classic example with the song “We will boldly go into battle”, which arose as a result of a radical modification of the everyday romance “White acacia”. It is noteworthy that in the new musical version the waltz-like melody was transformed into a more strong-willed, clear, rhythmically elastic pattern. In essence, a completely new song emerged, which became one of the favorites during the Civil War. No wonder, according to D. Furmanov, the soldiers sang this song, especially its chorus, "... with the greatest enthusiasm and enthusiasm."

The main themes of the songs of the Civil War are the revolutionary transformation of the world and the defense of the young Soviet fatherland. In poetry, they are usually expressed in the form of solemn and romantically uplifted appeals and slogans, oratorical addresses and posters of that era. The texts were dominated by optimistic and heroic sentiments, emphasizing the fearlessness and selfless courage of the defenders of the revolution. There were also motives of sacrifice inherited from old revolutionary songs, but on the whole vigor and life-affirmation prevailed. All the people were the hero of the songs of the Civil War. Sometimes individual participants in the battles, favorite commanders are mentioned, "but their images are also very generalized.

The common features of the music of the first Soviet songs are masculinity, appeal, daring or stern, but cheerful character. The most common genres among them are the anthem-march, the marching song and the ditty. The intonation sources are varied: these are revolutionary hymns, and folk soldiers' songs, and urban everyday music, but all of them are subordinated to the oratorically clear manner of pronouncing and decisive marching rhythm of the call-up anthem or marching song.

Despite the fact that many of the songs created in this way enjoyed great love and were widely distributed among the Red Army environment, the predominance of old melodies in the repertoire of the Red Army met with opposition from the political departments. Particular displeasure was caused by the widespread existence of old soldiers' songs associated with the hated spirit of the tsarist army.

A resolution adopted at a meeting of cultural and educational workers of the Western Front, held at the end of 1919, said: “The revolutionary song that inspires the soldiers of the revolution to great deeds must be heard. New songs of struggle and joy should replace ... songs of restaurants and booths, ... old songs of the tsarist army with new songs of victory and labor.

To accomplish this task, the Red Army press and political agencies carried out a tremendous amount of work locally aimed at supporting the creative initiative of the masses in creating new songs. In this regard, the poems of soldiers and commanders, often far from poetic perfection, but truthful, warmed by a patriotic feeling, full of irreconcilable hatred for the enemy, were published in army newspapers.

At the same time, competitions were held in various districts to create new military songs, the themes of which were supposed to cover "... any aspect of the life of the Red Army." In addition, in the conditions of the contests, it was indicated that it was necessary to reflect in the texts "... of all types of weapons." Based on the results of listening, the authors of the best works were awarded cash prizes5, and the songs themselves were sent to the PUR for compilation of collections and publication.

So, in 1923, only from parts of the Ural and North Caucasian military districts received about 200 works, which were "... transferred to Gosmuzizdat for recall and further use" 1.

It should be noted that the publication of songbooks composed of the works of the Red Army creativity was carried out locally as well. In 1921, the First Cavalry Army published a collection of poems "Songs of the Red Cavalry", which was printed in a printing train. It was intended as "... an expensive present for a red cavalryman on the day of the first anniversary of the army" 2. The same collections were prepared in the Moscow, Kiev, Ural and many other military districts3.

Almost simultaneously with the renewal of old melodies and the creation of amateur songs, the first works created by professional composers and writers began to appear in units of the Red Army. The merit of the emergence of one of the first such songs, which subsequently gained immense popularity not only in the army, but throughout the country, belongs to Dm.Ya. Pokrass, who wrote “Budyonny's March” to the words of the poet A.A. Frenkel (d Aktil).

Its creation was dedicated to the liberation in January 1920 by units of the First Cavalry Army of Rostov-on-Don, where at that time both authors worked in the local stage theater. The song of the twenty-year-old composer at that time was approved by the command of the First Cavalry, and D. Pokrass himself was enrolled in its ranks as a Red Army soldier. While serving in the Red Army, D.Pokrass wrote several more works dedicated to his fellow soldiers.

Lieutenant General Valery Khalilov was seen off on his last journey in Kirzhach district today. The leader of the famous ensemble named after Alexandrov died along with his team in a plane crash over the Black Sea on December 25, 2016. Khalilov bequeathed to his relatives to bury him in the homeland of his ancestors.

The most worthy son of Russia - Valery Khalilov - is seen off on his last journey in the homeland of his ancestors, on the Kirzhach land. Halino, Arkhangelsk churchyard, near the Church of the Archangel Michael. The stone temple on the road from Kirzhach to Khmelyovo was built in 1814. Valery Mikhailovich Khalilov dreamed very much about the revival of this church, and made every effort to this. The future People's Artist of Russia, the renowned military conductor and composer spent his childhood in the Vladimir provinces. He was baptized at the age of 4. And in his interviews later he often talked about his grandmother, about the "fabulous Vladimir forests", "strawberry glades" and "poppies of churches." Hundreds and hundreds of people came to pay tribute to the memory of Valery Khalilov. From different cities of Russia. Moscow, Vladimir, Kirzhach, Yekaterinburg ... These are the highest ranks of the Ministry of Defense, generals and officers, artists. Official delegations. Escort from the military university, the delegation of the Moscow military music school, which henceforth bears the name of Khalilov. According to friends and colleagues, this loss is impossible to accept. Khalilov is a name-symbol. Both for the Russian army and for Russian culture. A representative of the famous dynasty of conductors, Valery Khalilov made himself.

VICTOR BARYNKIN, CHAIRMAN OF THE COUNCIL OF VETERANS OF THE GENERAL STAFF OF THE ARMED FORCES OF THE RUSSIAN FEDERATION:"He is so talented. He has always been a leader. Just imagine, as a young lieutenant, in the 80s, he took first place among brass bands, and he is sent to Moscow, as a reward, because he is the best military conductor. And in Moscow he goes from a junior officer to a lieutenant general. "

Tears, flowers, hundreds of wreaths, mourning bandages. Very young army men came to pay their last respects to Lieutenant-General Khalilov. Representatives of military-patriotic clubs.

TIMOFEY STARTSEV, MILITARY-PATRIOTIC CLUB "VALOR", KIRZHACH DISTRICT:"He is one of the most worthy sons of his homeland. He is worthy of imitation. We all honor him."

The funeral service was held under the vaults of the Church of the Archangel Michael. The official delegation of the Vladimir region, which arrived at the farewell ceremony, was personally led by Governor Svetlana Orlova. On the Vladimir land they say: the memory of Valery Mikhailovich will be carefully preserved. And in Kirzhach there will certainly appear a street that will bear his name. The head of the region came up with this idea.

SVETLANA ORLOVA, GOVERNOR OF THE VLADIMIR REGION:“Giving everyone an example, an officer always comes out on the parade ground.” These are the words about him, about this man. He did so much beautiful, pure, kind, what festivals they held!

VLADIMIR KISELEV, CHAIRMAN OF THE LEGISLATIVE ASSEMBLY OF THE VLADIMIR REGION:"Undoubtedly, the memory of Valery Mikhailovich will live in our hearts. And may the common Kirzhach, Vladimir land be to him in peace."

The funeral ceremony at the Arkhangelsk churchyard was accompanied by the central military band of the Ministry of Defense. Valery Khalilov also often performed with him in Russia and abroad. Surprisingly smart, talented, devoted to his homeland and profession, light and easy person. Everyone who knew Valery Mikhailovich says: "Khalilov is a man of the era." The musical work will continue. The legendary ensemble and all the festivals that Valery Mikhailovich stood at will be preserved. Valery Khalilov managed to do a lot, but did not have time, perhaps even more. He was enough for everything - for new programs, endless tours, concerts. But he always found time and was inspired to compose music. Khalilov's works were also sounded at the farewell ceremony today.

TIMOFEY MAYAKIN, HEAD OF THE MILITARY ORCHESTRAL SERVICE OF THE ARMED FORCES OF THE RUSSIAN FEDERATION:"Instead of lunch, he always did composership, and also during the day, he has a grand piano in his office. Yes, he still stands there now. And there are records of his musical score, unrealized."

A native of the Uzbek Termez, Khalilov became known throughout the world. And the legendary ensemble named after Alexandrov under his leadership was applauded in different countries, on different continents. The entire color of the renowned team died along with Khalilov in a plane crash over the Black Sea. A classmate of Valery Khalilov, Alexander Karpov, flew in to say goodbye to a friend on purpose, from Yekaterinburg. With special warmth, Alexander Vasilyevich recalls the years of study, and the hours and minutes - afterwards, rare meetings.

ALEXANDER KARPOV, ONE COURSE VALERY KHALILOV (YEKATERINBURG):"I continued to serve in military bands, and all the time I was under the patronage of Valery Mikhailovich, I always felt his support, his friendly attitude, the highest professionalism."

A wooden cross is installed on the grave of Valery Khalilov. The plans are to create a memorial at the Arkhangelsk churchyard. To the most worthy son of Russia - Valery. All military honors were given to Khalilov. In memory of the People's Artist, Lieutenant General Khalilov - gun salvoes. And - music. Performed by a military orchestra. The country said goodbye to its great citizen, man and musician.

Maria Platanyuk, Alexander Golubev "West-Vladimir".

Subordinate to the General Staff of the Armed Forces of the Russian Federation.

In 1804, military bands were introduced in the Don, Black Sea, Ural and Orenburg Cossack troops. In 1804, the Baltic Fleet was determined to have 100 trumpeters, 36 musicians and 4 timpani. By the time the Orchestras of the Black Sea Fleet reach the same number as the Baltic ones. During 1808-1809. a large number of new guards units, both infantry and cavalry, were created, where the decree of Alexander I provided for the presence of 25 guards military bands. In the Preobrazhensky regiment, a staff of 40 people is established. The instrumental compositions of these orchestras were clarified by an additional decree dated April 15, 1809. The Preobrazhensky regiment had 40 instruments, and the other guard regiments had 25 instruments. Thus, it is obvious that the orchestras have enriched themselves with new instruments. Woodwind instruments were the predominant group in these orchestras (28 in an orchestra of 40 instruments and 17 in an orchestra of 25 performers). Nevertheless, three main groups of instruments were quite clearly identified: woodwind, brasswind, copperwind (with a natural scale) and percussion instruments. This type of orchestra of mixed composition had a wide orchestral range, a variety of timbre colors and could be successfully used to perform works of drill and concert repertoire. The French theorist J. Kastner wrote:

“In 1813, Russian music, which has always retained its stamp of originality, reached such a level of perfection that it attracted the attention of even German musicians, arousing their praise. Russian Guards music had at its disposal all the instruments that were in use in that era, about the same ones that were in use in Germany and used them when performing brilliant marches. "

Along with the quantitative increase in the composition of the guard orchestras and the enrichment of their composition with new instruments, serious efforts were made to train future military musicians. So, the task of the Training Grenadier Battalion, formed in 1808, along with the training of non-commissioned officers, was also the training of "musicians, drummers and flutes." The training battalion consisted of 4 grenadier companies and 2 “non-ranked companies: musician and drummer”.

The company that trained musicians for the troops included a conductor and 150 people, divided by 25 musicians in six orchestras. Drummers and flute players were trained especially for the signal service in the "drummer" company. Each year, the Grenadier Training Battalion was supposed to produce 75 musicians for the army. Trumpeters for cavalry were trained in the Training Cavalry Squadron and other military units.

Concert and educational activities

The annual concert activity of military orchestras began in November 1813 in the hall of the Philharmonic Society of St. Petersburg, then in April 1814, and the third concert, which brought income of 52 thousand rubles - on March 19, 1816, to the day of the entry of Russian troops into Paris in 1814. The so-called "invalid" concerts, the proceeds of which went to war veterans, were held annually, until the outbreak of the First World War. They were staged in both capitals and other cities, in which, as a rule, combined orchestras and soldiers' choirs took part. Their repertoire invariably included works of a heroic and patriotic plan: the polonaises by O. Kozlovsky, the choral piece by K. Cavos "Couplets of 1814", as well as works by the classics - Mozart, Gluck, Beethoven. Military bands, going beyond the location of their parts, played a certain positive role in educating the musical taste of the listeners.

Military orchestral service repertoire

In the 19th century, as before, the emphasis was on the creation of drill music intended for orchestras to perform their main service function, that is, marches. Published by the music publisher Dalmas, the 4-volume edition of 208 scores written in the period from 1809 to 1829 was a milestone for the musical culture of Russia as a whole. There are two types of marches in the collection: quiet and fast. The authors of the marches of the publication of G. Dalmas are: A. Dörfeldt-father (over forty marches), K. Kavos, N. Titov, O. Kozlovsky, Antonolini, D. Steibelt and others. One hundred and ten marches are printed without any indication of the authors. Quiet march of the L.-G. Semyonovsky regiment was written by its commander, General A. Rimsky-Korsakov. The themes of the marches were often folk songs, for example, in one of the fast marches of A. Alyabyev, the soldier's song "Along and along the river" was used. Several marches by this composer are based on folk song intonations.

The basis of the cheerful and cheerful "Paris March of 1815" by the composer is the songs of Ukrainian folklore, where intonation connections with the song "Doschik, Doschik" are clearly traced.

The fast marches were more lively in character and often included an element of dance or folk song. Several marches of this edition are similar in their metro-rhythmic structure to modern "column" marches. Several marches have opera melodies as their themes, for example, The March of the Cavalry Regiment by the composer F. A. Boaldieu is based on the thematic material that the composer used in the opera The White Lady (1825).

Write a review on the article "Military Orchestra Service of the Armed Forces of the Russian Federation"

Literature

Materials on the history of Russian military music in the first half of the 19th century. B. T. Kozhevnikov, H. M. Khakhanyan. Proceedings of the Military Conducting Faculty at the Moscow Conservatory P.I.Tchaikovsky. Issue 5. - M., 1961.
250 years of military orchestral service in Russia. A brief historical sketch. V.I. Tutunov. Proceedings of the Military Conducting Faculty at the Moscow Conservatory P.I.Tchaikovsky. Issue 5. - M .: 1961.
S. Yu. Rychkov. Military bands of the Russian army and gramophone recordings of music dedicated to the war of 1812. Mozhaisk.

Notes (edit)

Petrov Ivan Vasilievich // Moscow: Encyclopedia / Head. ed. S. O. Schmidt; Compiled by: M.I. Andreev, V.M. Karev. - M. : Great Russian Encyclopedia, 1997 .-- 976 p. - 100,000 copies - ISBN 5-85270-277-3.
During the Great Patriotic War, he commanded a rifle regiment (despite the fact that he graduated from the Military Faculty of the Moscow Conservatory), was wounded, graduated from the accelerated course of the Military Academy. Frunze
- Biography
T.K. Mayakin. Abstract of the dissertation "Military-musical culture of Russia (Historical and cultural analysis)" for the degree of candidate of philosophical sciences. (Nizhny Novgorod, 2010, p. 12
Complete set of laws of the Russian Empire. SPb. 1830 vol. 1-4, p. 590. cit. Quoted from: V.I. Tutunov. “250 years of military orchestral service in Russia. A Brief Historical Sketch ”. Proceedings of the Military Conducting Faculty at the Moscow Conservatory Tchaikovsky. Issue 5.M .: 1961
Complete set of laws of the Russian Empire. Collection 1, v.24, St. Petersburg: 1830, No. 17572
Complete set of laws of the Russian Empire. T.43. Part 2. SPB .: 1830 Tetr. 1 (1801-1812). P.278 No. 20252)
Complete set of laws of the Russian Empire. Sobr. 1. Т.30 No. 23582
G. Kastner. Manuel general de musique militaire. Paris, 1848, p. 174. Quote from the historical research of G. Lysan "Compositions of the military band of the Russian guard in the first half of the 19th century." M. 1946, manuscript, Military Conducting Faculty at the Moscow State Conservatory. P. I. Tchaikovsky, p. 29, quoted from: B. T. Kozhevnikov, Kh. M. Khakhanyan. "Materials on the history of Russian military music in the first half of the 19th century." Proceedings of the Military Conducting Faculty at the Moscow Conservatory Tchaikovsky. Issue 5.M .: 1961, p. 83.
Complete set of laws of the Russian Empire. T.30 No. 23102 t.43, h.2, tetr.1, p.67, 284
BT Kozhevnikov, Kh. M. Khakhanyan "Materials on the history of Russian military music in the first half of the 19th century". Proceedings of the Military Conducting Faculty at the Moscow Conservatory Tchaikovsky. Issue 5.M., 1961. - P.86.
Complete set of laws of the Russian Empire. Sobr. 2nd. - 1830. - Vol. 1. - P. 88
(inaccessible link from 14-06-2016 (1375 days))
BT Kozhevnikov, Kh. M. Khakhanyan "Materials on the history of Russian military music in the first half of the 19th century". Proceedings of the Military Conducting Faculty at the Moscow Conservatory Tchaikovsky. Issue 5.M., 1961.
V. I. Tutunov. "250 years of military orchestral service in Russia. A brief historical sketch." Proceedings of the Military Conducting Faculty at the Moscow Conservatory Tchaikovsky. Issue 5.M .: 1961, p. 134. Footnote error: Invalid tag : the name "stoletie" has been defined multiple times for different content

An excerpt characterizing the Military Orchestra Service of the Armed Forces of the Russian Federation

Dolokhov stopped. - You see, I will tell you in a few words the whole secret of the duel. If you go to a duel and write wills and tender letters to your parents, if you think that you might be killed, you are a fool and must have disappeared; and you go with a firm intention to kill him, as soon as possible and more accurately, then everything is in order. As our Kostroma bugbear used to say to me: what a bear, he says, how not to be afraid? but when you see him, and the fear passed, as if it did not go away! Well, so am I. A demain, mon cher! [See you tomorrow, my dear!]
The next day, at 8 o'clock in the morning, Pierre and Nesvitsky arrived at the Sokolnitsky forest and found Dolokhov, Denisov and Rostov there. Pierre looked like a man preoccupied with some considerations that did not at all concern the upcoming business. His sunken face was yellow. He apparently did not sleep that night. He looked absentmindedly around him and winced, as if from a bright sun. Two considerations exclusively occupied him: the guilt of his wife, in whom not the slightest doubt remained after a sleepless night, and the innocence of Dolokhov, who had no reason to preserve the honor of a stranger to him. “Maybe I would have done the same in his place, thought Pierre. Even I probably would have done the same; why is this duel, this murder? Either I will kill him, or he will hit me in the head, in the elbow, in the knee. Get out of here, run away, bury yourself somewhere, ”it occurred to him. But precisely at those moments when such thoughts came to him. with a particularly calm and absent-minded air that inspired respect for those who looked at him, he asked: "Is it soon, and is it ready?"
When everything was ready, the sabers were stuck in the snow, signifying the barrier to which they had to converge, and the pistols were loaded, Nesvitsky went up to Pierre.
`` I would not have fulfilled my duty, Count, '' he said in a timid voice, `` and would not justify the trust and honor that you have done to me by choosing me as your second, if I had not said the whole truth to you. I believe that this case does not have enough reasons, and that it is not worth shedding blood for it ... You were wrong, not quite right, you got excited ...
- Oh, yes, terribly stupid ... - said Pierre.
- So let me convey your regret, and I am sure that our opponents will agree to accept your apology, - said Nesvitsky (just like the other participants in the case and like everyone else in similar cases, not yet believing that the matter will come to a real duel) ... - You know, Count, it is much nobler to admit your mistake than to bring the matter to the point of irreparable. There was no offense on either side. Let me talk ...
- No, what to talk about! - said Pierre, - it's all the same ... So is it ready? He added. - You just tell me how to go where and where to shoot? He said, smiling unnaturally meekly. - He took a pistol in his hands, began to ask about the method of triggering, since he still did not hold a pistol in his hands, which he did not want to admit. “Oh yes, like that, I know, I just forgot,” he said.
“No apologies, nothing decisively,” Dolokhov said to Denisov, who, for his part, also made an attempt at reconciliation, and also approached the appointed place.
The place for the duel was chosen about 80 paces from the road on which the sledges remained, in a small clearing of a pine forest, covered with snow that had melted from the last days of thaws. The opponents stood about 40 ka apart from each other, at the edges of the clearing. The seconds, measuring their steps, laid, imprinted on the wet, deep snow, traces from where they stood to the sabers of Nesvitsky and Denisov, which meant a barrier and stuck 10 steps from each other. The thaw and fog continued; for 40 steps nothing was visible. For about three minutes everything was ready, and yet they delayed to start, everyone was silent.

- Well, start! - said Dolokhov.
- Well, - said Pierre, still smiling. - It was getting scary. It was obvious that the business, which had begun so easily, could no longer be prevented by anything, that it went on by itself, already independently of the will of the people, and had to be accomplished. Denisov was the first to step forward to the barrier and proclaimed:
- Since n "rivals have given up on n" by them "enia, would you not like to start: take the pistols and by the word t" and begin to converge.
- G ... "az! Two! T" and! ... - Denisov shouted angrily and stepped aside. Both went along the trodden paths closer and closer, recognizing each other in the fog. Opponents had the right, converging to the barrier, to shoot whenever anyone wanted. Dolokhov walked slowly, without raising his pistol, peering with his bright, shining, blue eyes into the face of his opponent. His mouth, as always, bore the semblance of a smile.
- So when I want - I can shoot! - said Pierre, at the word three quick steps he went forward, straying off the trodden path and walking on the solid snow. Pierre was holding the pistol, stretching out his right hand forward, apparently afraid that this pistol might not kill himself. He diligently put his left hand back, because he wanted to support his right hand with it, and he knew that this was impossible. Having walked about six paces and knocked off the path in the snow, Pierre looked around at his feet, again quickly glanced at Dolokhov, and pulling his finger, as he had been taught, fired. Not expecting such a strong sound, Pierre flinched from his shot, then smiled at his own impression and stopped. The smoke, especially thick from the fog, prevented him from seeing at the first moment; but there was no other shot he had been expecting. Only Dolokhov's hasty footsteps were audible, and his figure appeared from behind the smoke. With one hand he held on to his left side, with the other he gripped the lowered pistol. His face was pale. Rostov ran up and said something to him.
- No ... e ... t, - said Dolokhov through clenched teeth, - no, it's not over, - and after making a few more falling, hobbling steps up to the saber itself, he fell on the snow next to it. His left hand was covered in blood, he wiped it on his coat and leaned on it. His face was pale, frowned and trembling.
- Please ... - Dolokhov began, but could not pronounce it right away ... - please, he finished with an effort. Pierre, barely holding back sobs, ran to Dolokhov, and was about to cross the space separating the barriers, when Dolokhov shouted: - to the barrier! - and Pierre, realizing what was the matter, stopped at his saber. Only 10 steps separated them. Dolokhov lowered his head to the snow, eagerly bit the snow, raised his head again, straightened himself, picked up his legs and sat down, looking for a solid center of gravity. He swallowed cold snow and sucked on it; his lips trembled, but still smiling; his eyes glittered with the effort and malice of the last collected forces. He raised the pistol and began to aim.
“Sideways, cover yourself with a pistol,” said Nesvitsky.
- Like "oytes!", Unable to bear it, even Denisov shouted to his opponent.
Pierre, with a meek smile of regret and remorse, helplessly spreading his legs and arms, stood straight with his broad chest in front of Dolokhov and looked sadly at him. Denisov, Rostov and Nesvitsky closed their eyes. At the same time they heard a shot and an angry cry from Dolokhov.
- Past! - Dolokhov shouted and powerlessly lay down on the snow, face down. Pierre grabbed his head and, turning back, went into the forest, walking entirely through the snow and uttering incomprehensible words aloud:
- Stupid ... stupid! Death ... lies ... - he repeated, wincing. Nesvitsky stopped him and took him home.
Rostov and Denisov took the wounded Dolokhov.
Dolokhov, silently, with his eyes closed, lay in the sleigh and did not answer a word to the questions that were asked to him; but, having entered Moscow, he suddenly woke up and, with difficulty raising his head, took the hand of Rostov, who was sitting beside him. Rostov was struck by the completely changed and unexpectedly enthusiasticly tender expression on Dolokhov's face.
- Well? How do you feel? Asked Rostov.
- Bad! but that's not the point. My friend, - said Dolokhov in a broken voice, - where are we? We are in Moscow, I know. I’m okay, but I killed her, I killed her ... She will not bear it. She will not bear ...
- Who? Asked Rostov.
- My mother. My mother, my angel, my adored angel, mother - and Dolokhov wept, squeezing Rostov's hand. When he calmed down somewhat, he explained to Rostov that he was living with his mother, that if his mother saw him dying, she would not bear it. He begged Rostov to go to her and prepare her.
Rostov went ahead to carry out the assignment, and to his great surprise he learned that Dolokhov, this brawler, Dolokhov, lived in Moscow with an old mother and a hunchbacked sister, and was the most tender son and brother.

Pierre has rarely seen his wife face to face lately. Both in St. Petersburg and in Moscow, their house was constantly full of guests. The next night after the duel, as he often did, he did not go to his bedroom, but remained in his huge, father's office, in the very one in which Count Bezukhiy died.
He lay down on the sofa and wanted to fall asleep in order to forget everything that happened to him, but he could not do it. Such a storm of feelings, thoughts, memories suddenly arose in his soul that he not only could not sleep, but could not sit still and had to jump off the couch and walk briskly across the room. Then he imagined herself at the first time after marriage, with open shoulders and a tired, passionate look, and immediately next to her appeared the beautiful, arrogant and firmly mocking face of Dolokhov, as it was at dinner, and the same face of Dolokhov, pale, trembling and suffering as it was when he turned and fell into the snow.
“What was it? He asked himself. “I killed my lover, yes, I killed my wife’s lover. Yes, it was. From what? How did I get to this point? “Because you married her,” an inner voice answered.
“But what am I to blame? He asked. “The fact that you married without loving her, that you deceived yourself and her,” and he vividly imagined that minute after dinner at Prince Vasily's, when he said these words that did not come out of him: “Je vous aime”. [I love you.] All of this! I felt even then, he thought, I felt then that it was not that I had no right to it. And so it happened. " He remembered the honeymoon, and blushed at the recollection. Particularly vivid, insulting and shameful for him was the memory of how one day, soon after his marriage, at 12 o'clock in the afternoon, in a silk robe, he came from the bedroom to the office, and in the office he found the chief manager, who respectfully bowed, looked at Pierre's face, on his robe and smiled slightly, as if expressing with this smile respectful sympathy for the happiness of his principal.
“And how many times have I been proud of her, proud of her stately beauty, of her secular tact,” he thought; he was proud of his home, in which she hosted the whole of Petersburg, was proud of her inaccessibility and beauty. So that's what I was proud of ?! I thought then that I did not understand her. How often, pondering her character, I told myself that I was to blame, that I did not understand her, I did not understand this everlasting calmness, satisfaction and the absence of any attachments and desires, and the whole answer was in that terrible word that she was a depraved woman: he said to myself this terrible word, and everything became clear!
“Anatole went to her to borrow money and kissed her bare shoulders. She didn’t give him money, but she let him kiss her. Her father, jokingly, aroused her jealousy; She said with a calm smile that she was not so stupid as to be jealous: let her do what she wants, she said about me. I asked her once if she felt signs of pregnancy. She laughed contemptuously and said that she was not a fool to want to have children, and that she would not have children from me. "
Then he remembered the rudeness, clarity of her thoughts and the vulgarity of expressions characteristic of her, despite her upbringing in the highest aristocratic circle. “I'm not some kind of fool… go and try it yourself… allez vous promener,” [get out,] she said. Often, looking at her success in the eyes of old and young men and women, Pierre could not understand why he did not love her. Yes, I never loved her, Pierre told himself; I knew she was a depraved woman, he repeated to himself, but did not dare to admit it.
And now Dolokhov, here he is sitting in the snow and forcibly smiles, and dies, perhaps by some pretended youth, responding to my repentance! "
Pierre was one of those people who, despite their outward, so-called weakness of character, do not seek an attorney for their grief. He reworked his grief alone in himself.
“She is in everything, in everything she is the only one to blame,” he said to himself; - but what of this? Why did I associate myself with her, why did I tell her this one: "Je vous aime", [I love you?] Which was a lie and even worse than a lie, he said to himself. I am guilty and must bear ... What? Shame on the name, misfortune of life? Eh, it's all nonsense, he thought, and the shame of the name, and the honor, everything is conditional, everything is independent of me.
“Louis XVI was executed because they said that he was dishonorable and a criminal (it occurred to Pierre), and they were right from their point of view, just as they were right who died a martyr's death for him and ranked him among the face of the saints. Then Robespierre was executed for being a despot. Who is right, who is wrong? No one. But live and live: you will die tomorrow, how could I have died an hour ago. And is it worth it to suffer when there is only one second left to live in comparison with eternity? - But the minute he considered himself reassured by this kind of reasoning, he suddenly imagined herself in those moments when he showed her most of all his insincere love, and he felt a rush of blood to his heart, and had to get up again, move, and break, and tear things that fall under his hands. “Why did I tell her: 'Je vous aime?' He kept repeating to himself. And after repeating this question for the 10th time, it occurred to him to Molierovo: mais que diable allait il faire dans cette galere? [but for what the devil did he carry him to this galley?] and he laughed at himself.
At night he called the valet and ordered him to pack in order to go to Petersburg. He could not stay under the same roof with her. He could not imagine how he would now speak to her. He decided that tomorrow he would leave and leave her a letter in which he would announce to her his intention to be separated from her forever.
In the morning, when the valet, bringing in coffee, entered the office, Pierre lay on an otomaniac and slept with an open book in his hand.
He woke up and looked around in fright for a long time, unable to understand where he was.
- The Countess ordered to ask if your Excellency is at home? The valet asked.
But Pierre had not yet had time to decide on the answer, which he would make, when the Countess herself, in a white satin robe, embroidered with silver, and in simple hair (two huge braids en diademe [in the form of a diadem] doubled round her lovely head) entered the room calm and majestic; only on her somewhat convex marble forehead was a wrinkle of anger. She, with her all-restraining calmness, did not speak in front of the valet. She knew about the duel and came to talk about it. She waited for the valet to load the coffee and leave. Pierre looked at her timidly through his glasses, and, like a hare surrounded by dogs, pressing its ears, continues to lie in the sight of its enemies, so he tried to continue reading: but he felt that it was senseless and impossible, and again he looked timidly at her. She did not sit down and looked at him with a contemptuous smile, waiting for the valet to come out.
- What's that? What have you done, I ask you, ”she said sternly.
- I AM? what am I? - said Pierre.
- Here is a brave man found! Well, answer, what is this duel? What did you want to prove by this! What? I'm asking you. - Pierre turned heavily on the sofa, opened his mouth, but could not answer.
“If you don’t answer, then I’ll tell you…” Helen continued. “You believe everything they tell you, they told you…” Helen laughed, “that Dolokhov is my lover,” she said in French, with her crude precision of speech, pronouncing the word “lover” like any other word, “and you believed ! But what did you prove by this? What have you proved by this duel! That you are a fool, que vous etes un sot, [that you are a fool,] everyone knew that! Where will this lead? To make me the laughing stock of all Moscow; to ensure that everyone says that you are drunk, not remembering yourself, challenged a man to a duel whom you are jealous of without reason - Helen raised her voice more and more and became animated - who is better than you in all respects ...
- Um ... um ... - Pierre bellowed, wincing, not looking at her and not moving a single member.
- And why could you believe that he is my lover? ... Why? Because I love his company? If you were smarter and nicer, then I would prefer yours.
“Don't talk to me… I beg you,” Pierre whispered hoarsely.
- Why shouldn't I tell! I can speak and boldly say that it is a rare wife who, with a husband like you, would not take lovers (des amants) for herself, but I didn’t, ”she said. Pierre wanted to say something, looked at her with strange eyes, which expression she did not understand, and again lay down. He was physically suffering at that moment: his chest was tight, and he could not breathe. He knew that he had to do something to end this suffering, but what he wanted to do was too scary.
“We'd better part,” he said intermittently.
- To part, if you please, only if you give me a fortune, - Helen said ... To part, that's what frightened me!
Pierre jumped up from the sofa and staggered towards her.
- I'll kill you! - he shouted, and grabbing a marble board from the table, with a force unknown to him, took a step towards it and swung at it.
Helen's face became scary: she screamed and jumped away from him. The father's breed was reflected in him. Pierre felt the fascination and the charm of rage. He threw the board, smashed it and, with open arms, stepping up to Helene, shouted: "Get out !!" in such a terrible voice that the whole house heard this cry with horror. God knows what Pierre would do at that moment if
Helene did not run out of the room.

A week later, Pierre gave his wife a power of attorney to manage all the Great Russian estates, which accounted for more than half of his fortune, and one left for St. Petersburg.

Two months passed after receiving news in Bald Hills about the Battle of Austerlitz and the death of Prince Andrei, and despite all the letters through the embassy and all the searches, his body was not found, and he was not among the prisoners. The worst thing for his family was that there was still a hope that he was raised by the inhabitants on the battlefield, and maybe he was recovering or dying somewhere alone, among strangers, and unable to give any news about himself. In the newspapers from which the old prince first learned about the defeat of Austerlitz, it was written, as always, very briefly and vaguely, that the Russians, after the brilliant battles, had to retreat and retreat in perfect order. The old prince understood from this official news that ours were defeated. A week after the newspaper, which brought the news of the Battle of Austerlitz, a letter came from Kutuzov, who informed the prince of the fate that befell his son.
“Your son, in my eyes, wrote Kutuzov, with a banner in his hands, in front of the regiment, fell a hero worthy of his father and his fatherland. Unfortunately for me and the whole army, it is still unknown whether he is alive or not. I flatter myself and you with the hope that your son is alive, because otherwise, among the officers found on the battlefield, about whom the list was submitted to me through the envoys, and he would have been named. "
Having received this news late at night, when he was alone in. in his study, the old prince, as usual, went on his morning walk the next day; but he was silent with the bailiff, gardener and architect and, although he looked angry, he did not say anything to anyone.
When, at the usual time, Princess Marya came to him, he stood behind the machine and sharpened, but, as usual, did not look back at her.
- A! Princess Marya! - he suddenly said unnaturally and threw the chisel. (The wheel was still spinning with swing. Princess Marya long remembered this fading creak of the wheel, which merged for her with what followed.)
Princess Marya moved towards him, saw his face, and something suddenly sank into her. Her eyes ceased to see clearly. She saw in her father's face, not sad, not killed, but angry and unnaturally working on himself, she saw that, behold, a terrible misfortune hung over her and would crush her, the worst in her life, misfortune that she had not yet experienced, an irreparable, incomprehensible misfortune. , the death of the one you love.
- Mon pere! Andre? [Father! Andrew?] - said the illiterate, awkward princess with such an inexpressible charm of sadness and self-forgetfulness that her father could not resist her gaze and turned away with a sob.
- Received the news. Not among the prisoners, not among those killed. Kutuzov writes, - he shouted shrilly, as if wishing to drive the princess with this cry, - killed!
The princess did not fall, she did not become sick. She was already pale, but when she heard these words, her face changed, and something shone in her radiant, beautiful eyes. As if joy, the highest joy, independent of the sorrows and joys of this world, poured out beyond the strong sadness that was in it. She forgot all fear of her father, went up to him, took his hand, pulled him to her and hugged his dry, sinewy neck.
“Mon pere,” she said. - Do not turn away from me, let us cry together.
- Scoundrels, scoundrels! - shouted the old man, removing his face from her. - To ruin the army, to ruin people! For what? Go, go, tell Lisa. - The princess powerlessly sank into a chair beside her father and began to cry. She now saw her brother at the minute he was saying goodbye to her and to Liza, with his gentle and at the same time arrogant air. She saw him the minute he gently and mockingly put the icon on himself. “Did he believe? Did he repent of his unbelief? Is he there now? Is it there, in the abode of eternal tranquility and bliss? " she thought.

- How do you feel about the fact that military bands perform at civilian festivals? Do your orchestras receive offers to perform at such events?

- The activity of military bands cannot be limited to the musical support of military rituals, concert performances and work with amateur musicians in their military units. Military bands should perform and perform in parks, take part in various music festivals and projects, go to city concert venues. These are long-standing traditions. And there are many examples. Thus, in different years the Suvorov Orchestra of the Moscow Military Music School named after Lieutenant General Khalilov and the Central Concert Model Orchestra of the Navy named after Rimsky-Korsakov took part in the "Invasion" rock festival. Yes, they performed in their own format, showed parade ground concerts, but the audience accepted them with pleasure. On May 9 this year, military bands in different cities of our country supported the art project "Rio Rita - the Joy of Victory", turning the city gardens and parks into a dance floor in May 1945. In preparation for the international military music festival "Spasskaya Tower" military bands for three months delighted Muscovites and guests of the capital with their performances in the parks of the city of Moscow.

— Have you encountered difficulties associated with the complication of the foreign policy situation?

- I would not say that this somehow affected our teams. This year alone, the Central Military Band took part in the international military music festival in Bremen and is preparing for a concert trip to Armenia. In the near future, the military band of the headquarters of the Eastern Military District will demonstrate their skills at a military music festival in China. Every year, for more than twenty years, at the invitation of the Swiss side, the orchestra of the Suvorov members of the Moscow Military Music School named after Lieutenant General Khalilov has been going to Switzerland with concert performances on the days of events dedicated to the passage of Generalissimo Suvorov across the Alps. Russian military bands have been and remain in demand at prestigious international festivals abroad. There are a lot of offers. By the way, the military music festivals held in our country have no problems with the arrival of foreign orchestras in our country. This is confirmed by the composition of the participants in international festivals held in Tambov, Yuzhno-Sakhalinsk, Khabarovsk and Moscow. For example, 12 foreign ensembles with the widest geography will be guests of the Spasskaya Tower festival this year.

— Were all invitations sent to foreign participants accepted?

- Let me remind you that the current Spasskaya Tower festival will be the tenth. Jubilee. And over the years of its existence, it has acquired truly international recognition and prestige. Almost immediately, he entered the top three among others like him in the world. There are a lot of applications for participation, but the time frame for submission is limited. Therefore, unfortunately, this year too, not all teams that have sent their applications will be able to take part in it. But we will be glad to meet with them in the future, and the work in this direction is carried out by the festival directorate constantly.

— Has Mireille Mathieu confirmed her participation?

- Of course. As in the past, Mireille Mathieu will take part in the current festival as a guest of honor. She has repeatedly said that she is always looking forward to this event and preparing for performances with great trepidation.

Currently, a separate discipline (a special instrument - brass and percussion instruments) is supervised by a teacher (discipline leader) Ryabukhin Ivan Viktorovich.

The main goal of a separate discipline is:

Preparation of a performer on a special instrument as an artist - interpreter, possessing the necessary knowledge of solo and ensemble instrumental performing arts, techniques of playing and teaching methods to play a special instrument.
Improving the methodological and research work of teachers. Introduction of the most effective methods of pedagogical activity, the use of new modern educational technologies, scientific achievements in the field of performing arts.

The main tasks of a separate discipline:

Development and implementation of educational programs in academic disciplines in accordance with the requirements of the Federal State Educational Standard for third-generation secondary vocational education.
Scheduling of training sessions, planning, organization and implementation of educational, methodological, creative-performing and extracurricular activities.
Conducting all types of training sessions, practices and certification of Suvorovites, provided for by the curriculum and curriculum.
Maintaining planning and reporting documentation for the work of the discipline.
The participation of teachers in the educational, methodological, scientific and practical work of the school.
Improving the professional skills of teachers.
Organization and holding of competitions for the title of "Best performer on a special instrument" at the school, as well as participation in other music competitions held at the Russian and international level.
The introduction of innovative methods, the use of modern technical means, information and communication technologies in teaching.
Development and improvement of the educational and material base of the discipline.
Strengthening ties with the Department of Instruments of the Military Orchestra of the Military Institute (military conductors) of the Military University and other educational musical institutions of the city of Moscow. Control over the execution of educational and labor disciplines.

All employees of a particular discipline have higher professional education.

2 teachers have honorary titles:

teacher B.B. Boldyrev - "Honored Artist of the Russian Federation"
teacher VP Matveychuk - "Honored Worker of Culture of the Russian Federation".

1 teacher is studying in graduate school:

teacher D.A. Ivanov

The teachers who have come a long way of military service in the ranks of the Armed Forces are successfully working and passing on rich experience to the Suvorovites:

Ryabukhin Ivan Viktorovich,
Viktor Nazarov,
Matveychuk Vasily Petrovich,
Sknarin Alexander Vasilievich.

A separate discipline (a special instrument - brass and percussion instruments) is one of the leading in the Military Music School. The history of its creation goes back to the distant 60s. The first head of the discipline was Lieutenant Colonel G.I. Mamalyga, who fruitfully served in this position from 1961 to 1969.

Since 2011, I.V. Ryabukhin has been appointed to the position of teacher (head of the discipline).

The discipline brass and percussion instruments is rightfully proud of its graduates, among them:

Evgeny Leonidovich Bank - Honored Artist of the Russian Federation, Professor of the Department of Brass Bands and Ensembles of the Moscow State Institute of Cinematography, artist of the orchestra of the Moscow musical theater "Helikon-Opera" (from 1995 to 2009 he was the director and inspector of this orchestra), associate professor, major in reserve;
Orlov Dmitry Mikhailovich - Honored Artist of Russia, laureate of the Moscow City Prize and holder of the Order of Friendship. Artistic director and chief conductor of the Moscow State Symphony Orchestra for Children and Youth. During the anniversary concert in the Hall of Church Cathedrals of the Cathedral of Christ the Savior in October 2012. Patriarch Kirill of Moscow and All Russia awarded the conductor D.M. Orlov with the Order of the Russian Orthodox Church of St. Sergius of Radonezh;
Mikhailov Nikolai Mikhailovich - Head of the Military Orchestra Service of the USSR Ministry of Defense, Chief Military Conductor of the USSR, Honored Artist of the Russian Federation, Major General. After his resignation, Nikolai Mikhailovich became a professor at the Music Academy. Gnesins, Moscow City Children's Music School named after V.I. Gnesins, held conferences and seminars, was an active participant in many public organizations;
Solodakhin Vladimir Mikhailovich - Chief Conductor of the Exemplary Orchestra of the Navy, People's Artist of the Russian Federation, Captain I rank in reserve;
Skenderov Andrey Karpovich - Artist of the choir at the New Opera, Major in reserve;
Nazarov Viktor Nikolaevich, teacher of the Military Music School in the class of pipes, Honorary Worker of secondary vocational education of the Russian Federation, participant in the liquidation of the Chernobyl accident;
Polushin Vyacheslav Grigorievich, Honored Artist of the Russian Federation, reserve colonel, teacher of the military institute (military conductors) of the Military University, currently - teacher of the Children's Music School named after A.B. Goldenweiser;
Afonin Gennady Aleksandrovich, Honored Artist of the Russian Federation, Associate Professor, Head of the Moscow Military Music School in 1993-2005, Colonel in the reserve;
Makarov Igor Viktorovich, Honored Artist of Russia, Professor of the Department of Brass Instruments of the Moscow Conservatory, 1982-1990. - soloist of the USSR State Academic Symphony Orchestra, since 1990 - soloist of the Russian National Orchestra;
Danilchenko Alexander Sergeevich - captain of the 1st rank in reserve, Honored Artist of the Russian Federation, People's Artist of Russia, in 1972-1994. - military conductor of the orchestras of the Pacific Fleet, 1996-2007. - Head - Artistic Director of the Concert Orchestra of the Russian Navy named after N. Rimsky-Korsakov, currently - Chief Conductor of the Concert Model Orchestra of JSC Russian Railways;
Shilkloper Arkady Fimovich - world famous jazz horn player, performer on the Alpenhorn. From 1977 to 1985 he worked at the Bolshoi Theater of the USSR, from 1985 to 1989 in the Moscow Philharmonic Orchestra, since 1989 he has been a solo instrumentalist, one of the famous French horn performers of jazz and experimental music;
Anikin Viktor Ivanovich - Head of the Department of Instruments of Military Orchestras of the Military Institute (Military Conductors) of the Military University. At this time - Professor of the Moscow State University of Culture and Arts, Honored Artist of Russia, reserve colonel;
Trunov Mikhail Mikhailovich - Head of the Military Institute (military conductors) of the Military University, Honored Artist of the Russian Federation, professor, colonel;
Chugreev Vladimir Sergeevich - Deputy Head of the Military Institute (military conductors) of the Military University for scientific work, professor, reserve colonel;
Kolotushkin Andrey Alekseevich - head of the 13th orchestra of the headquarters of the Moscow Military District, head of the Central Military Orchestra of the Ministry of Defense of the Russian Federation, Honored Artist of the Russian Federation, reserve colonel, currently conductor of the State Brass Band of Russia;
Mayakin Timofey Konstantinovich - Head of the Military Orchestra Service of the Armed Forces of the Russian Federation - Chief Military Conductor, Candidate of Philosophy, Honored Artist of the Russian Federation, Associate Professor, Colonel;
Shevernev Igor Vyacheslavovich - Chief Inspector of the Military Orchestra Service of the Armed Forces of the Russian Federation, Honored Artist of the Russian Federation, Lieutenant Colonel, and many others.
A separate discipline (a special instrument - brass and percussion instruments) is one of the leading in the Moscow Military Music School. It includes the following disciplines: "Special Instrument", "Related Instrument", "Ensemble Performance", "Pedagogical Practice". Studying these subjects provides a very important foundation for performing in an orchestra.

Teachers and accompanists of a particular discipline make a great contribution to the education of the young generation of wind musicians. Our Suvorovites are always long-awaited guests in military units, at concert venues in Moscow, at various national and state celebrations. Together with artists who are the pride and glory of domestic and world art, the Suvorovites of the Moscow Military Music School perform on the stage of the State Academic Bolshoi Theater, the State Kremlin Palace, the Great Hall of the Tchaikovsky Conservatory, the Tchaikovsky Concert Hall, the State Central Concert Hall "Russia", on radio and television.

Military music in the service of diplomacy. Timofey Mayakin: the Intercession Cathedral will be decorated with a light show at the Spasskaya Tower Timofey Mayakin biography

and social functions of the military-musical culture of Russia

Formation and development of professional music education in Russia

Service and concert activities of military orchestras and ensembles

The development of musical amateur performances in the army environment

Concert and educational activities

Military orchestral service repertoire

Write a review on the article "Military Orchestra Service of the Armed Forces of the Russian Federation"

Literature

Links

Notes (edit)

see also

An excerpt characterizing the Military Orchestra Service of the Armed Forces of the Russian Federation

and social functions of the military-musical culture of Russia

Formation and development of professional music education in Russia

Service and concert activities of military orchestras and ensembles

The development of musical amateur performances in the army environment

Concert and educational activities

Military orchestral service repertoire

Write a review on the article "Military Orchestra Service of the Armed Forces of the Russian Federation"

Literature

Links

Notes (edit)

see also

An excerpt characterizing the Military Orchestra Service of the Armed Forces of the Russian Federation

Read also