Formation of the performing arts on the guitar. Guitar art as a historical phenomenon of musical culture. The role of buffoon musicians in the history of Russian musical culture

ADDITIONAL PRE-PROFESSIONAL GENERAL EDUCATIONAL PROGRAM IN THE FIELD OF MUSICAL ART "Folk Instruments" GUITAR. Subject area B.00. VARIANT PART V.03.UP.03.HISTORY OF PERFORMANCE ON THE CASSIAN GUITAR. Implementation period 1 year. The program contains all the necessary sections: an explanatory note, the content of the subject, curriculum, requirements for the level of training of students, forms and methods of control, assessment systems, methodological support of the educational process, a list of references.

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Municipal budgetary educational institution

additional education for children

Children's art school p.Novozavidovsky

ADDITIONAL PRE-PROFESSIONAL

GENERAL EDUCATIONAL PROGRAM IN THE REGION

MUSICAL ARTS

"Folk Instruments"

GUITAR

Subject area

W.00. VARIANT PART

V.03.UP.03. HISTORY OF PERFORMANCE ON CASSIAN GUITAR

On musical development in the system of additional education for children of children's music schools and music departments

children's art schools

Compiled by: Bensman Vera Igorevna,

Lecturer MBOU DOD DSHI

P.Novozavidovsky

P.Novozavidovsky 2014

Program approved Approved

Pedagogical Council ________________ Saperova I.G.

MBOU DOD DSHI Director of MBOU DOD DSHI

P. Novozavidovsky p. Novozavidovsky,

Minutes No. 2 dated October 30, 2014. Konakovsky district,

Tver region.

Compiled by: Teacher Bensman Vera Igorevna

Reviewer: Lecturer of the highest category Bensman L.I.

1. Explanatory note.

Characteristics of the subject, its place and role in the educational process;

The term for the implementation of the subject;

The amount of study time provided for by the curriculum for the implementation of -a subject;

Form of conducting classroom training;

Purpose and objectives of the subject;

The structure of the curriculum of the subject;

Teaching methods;

Description of the material and technical conditions for the implementation of the subject;

Information about the cost of study time;

Syllabus.

3. Requirements for the level of training of students.

4. Forms and methods of control, grading system:

Certification: goals, types, form, content; final examination;

Criteria for evaluation.

5.Methodological support of the educational process.

6. List of references.

EXPLANATORY NOTE

The guitar is one of the most popular musical instruments used in professional and amateur practice. A diverse guitar repertoire includes music of different styles and eras, including classical, popular, jazz.

The guitar is not only an accompanying and solo musical instrument, it is a whole world: performers, composers, arrangers, teachers, guitar masters, historiographers, collectors, enthusiasts, admirers, amateur guitarists... It is a worthy part of world culture, the study of which will be of interest to many.

The guitar was dedicated to music, paintings, songs, research, prose, teaching and artisan talent, historical works, and poetry. M.Yu. dedicated the admiring lines to her. Lermontov:

What sounds! I am still

Sweet sounds I.

I forget heaven, eternity, earth,

Himself...

Characteristics of the subject, its place and role in the educational process;

In children's art schools, in the process of teaching students of instrumental departments, insufficient attention is paid to the most important component of musical education, as the history of instrumental performance.

At the lessons of musical literature, the work of composers is studied, and the performers are only mentioned. Very little coverage is given to the topic of folk instruments and especially the guitar instrument. Extra-curricular activities conducted by teachers are diverse and partially compensate for this deficiency. But this is not enough.

Children's School of Art students should have a more voluminous and systematized knowledge in the field of the history of the development of the instrument and musical performance (of domestic and foreign schools).

The introduction of the subject into the curriculum of the general developmental educational programs of the Children's School of Art is relevant at the present stage, especially for pre-professional programs.

The subject involves highlighting the main stages in the development of the guitar instrument, reviewing the work of outstanding performers, composers, getting acquainted with musical works created for this instrument, listening to and viewing recordings of guitar performers, laureates and diploma winners of competitions (including children's, youth)

The subject "History of playing the classical guitar" is proposed to be included in the "Variable part" section of the additional pre-professional general developmental program in the field of musical art "Instrumental Art", "Folk Instruments", "Guitar". Also, the subject can be introduced into the curricula of general developmental programs implemented in a particular children's art school.

The author's program of the subject "History of Classical Guitar Performance" was developed on the basis of the Federal State Requirements for an additional pre-professional general educational program in the field of musical art. (2012) The program is part of the instrumental performance curriculum. "Folk Instruments" Guitar.

The following materials were used in the preparation of the program:

Educational and methodical complex "Istrian performance on folk instruments" Specialty 071301 "Folk art". Compiled by Zhdanova T.A., Professor of the Department of Orchestral Conducting and Folk Instruments of the Tyumen State Academy of Culture and Art and Social Technologies. Tyumen, 2011

Chupakhina T.I. "A course of lectures on the history of performance on folk instruments". Omsk, 2004

Charles Duckart School of the Guitar.

Deadline for the implementation of the subject:

The implementation period for this item is 1 year, (35 weeks)

With 5 (6) term of study - in the 5th grade.

At the 8th (9th) term of study - in the 8th grade.

The amount of study time provided by the curriculum:

The total labor intensity of the subject is 70 hours.

Of these: 35 hours - classroom lessons, 35 hours - independent work.

The number of hours for classroom studies is 1 hour per week.

The number of hours for independent work (extracurricular workload) - 1 hour per week.

The form of conducting classroom training.

Goals and objectives of the subject.

The subject "History of classical guitar performance" is an integral part of the preparation of a graduate of the Children's Art School in the guitar class. Guitar art is a part of world artistic culture. It can be traced from ancient times to the present day and is organically connected with the performing and repertory instrumental culture. It becomes clear how wide range of issues includes the study of the history of performance.

• The purpose of this subject is to show the historical conditionality and sequence of development of the art of performing, to comprehend the process of development and formation of the guitar instrument; to study the historical patterns of formation and the main features of the repertoire, the features of the performing arts on the guitar.
• The purpose of the subject is also to ensure the development of creative abilities and individuality of students, sustainable interest in independent activities in the field of musical art.
• To instill in students the need to know, study, listen and analyze.
• Achieving a level of education that allows the graduate to independently navigate the world musical culture;

Subject objectives:

• One of the main tasks of studying this subject is to encourage students to understand the issues of history and theory of development of the instrument they are learning to play;
• the acquisition of knowledge in the field of the history of musical culture, the expansion of the artistic horizons of students, as well as the development of their ability to navigate various aspects of guitar art, musical styles and directions.
• Equipping with a system of knowledge, skills and methods of musical activity, which in its totality provides a basis for further independent communication with music, musical self-education and self-education.
• formation of conscious motivation among the best graduates to continue their professional education and prepare them for entrance exams to a professional educational institution.

Structures of the curriculum of the subject.

The problems covered in this program are considered in the context of the development of guitar art, taking into account the principle of historicism and chronological periodization.

The program includes the following sections:

Information about the cost of study time;

Syllabus;

Requirements for the level of training of students;

Forms and methods of control, grading system, final certification;

Methodological support of the educational process;

In accordance with these directions, the main section of the program "Subject content" is being built.

Teaching methods.

To achieve the set goal and implement the objectives of the subject, the following teaching methods are used:

Verbal: lecture, story, conversation.

Visual: showing, illustrating, listening to the material.

Practical: Working with audio and video materials. Writing reports, abstracts. Preparing presentations.

Emotional: artistic impressions.

Description of the material and technical conditions for the implementation of the subject.

Ensuring the teaching of this subject: the presence of an audience that meets sanitary standards and fire safety requirements. Computer or laptop, TV, music center, multimedia projector + demo screen - desirable. Photo, audio, video materials with the active involvement of Internet resources.

The library fund is completed with printed, electronic publications, educational and methodical literature

Each student is provided with access to library funds and funds of audio and video recordings. During independent work, students use the Internet to collect additional material on the study of the proposed topics.

Information about the cost of study time;

Table 1

1. table 2

Table 3

1. Table 4

SYLLABUS

3. Requirements for the level of training of students.

The level of training of students is the result of mastering the program of the subject "History of classical guitar performance", which involves the formation of the following knowledge, skills, such as:

* the student's interest in the history of musical performance;

* ability to navigate in various aspects of guitar art, musical styles and directions;

* a well-formed complex of knowledge, skills and abilities that allow assessing, characterizing the listened work, the style and manner of the performer;

* knowledge that allows you to independently use Internet resources.

*the graduate should know the main topics of the course

4. Forms and methods of control, evaluation system.

• Certification: goals, types, form, content;

Criteria for evaluation;

The control of knowledge, skills and abilities of students provides operational management of the educational process and performs training, testing, educational and corrective functions. Various forms of monitoring the progress of students make it possible to objectively assess the success and quality of the educational process. The main types of control of progress in the subject

"History of classical guitar performance" are: current control, intermediate certification. Final examination.

Current attestationis carried out in order to control the quality of mastering the section of educational material and is aimed at identifying attitudes to the subject, at the responsible organization of homework and is stimulating. The current certification is carried out in the form of a survey, a conversation on a topic prepared by students, and a discussion of listened performances. Possible current control tasks in the form of tests, as well as music quizzes.

Classes on the "History of instrumental performance" are held in the form of a lecture by a teacher, conversations with students on a topic prepared by them, a survey of students;

A large place in the work is given to musical illustrations, listening, as well as viewing relevant materials. It is recommended to conduct seminars on topics chosen by the teacher or students. Possible current control tasks in the form of tests, as well as music quizzes. Based on the results of the current control, quarterly estimates are derived.

Intermediate certification(offered at the end of the first and second semesters) determines the success of the development of students and the degree to which they master the learning tasks at this stage. Forms of intermediate certification: control lessons, tests, reports, abstracts, presentations.

final examination

When passing the final certification, the graduate must demonstrate knowledge, skills and abilities in accordance with the program requirements. The forms and content of the final assessment for the subject "History of Classical Guitar Performance" are established by the organization independently (at the suggestion of the teacher). Recommended forms: a test with an assessment or an examination in writing or orally in the form of an answer to pre-prepared questions.

For the certification of students, funds of evaluation tools are created, which include control methods that allow you to evaluate the acquired knowledge, skills and abilities.

Criteria for evaluation

5 ("excellent");

4 ("good");

3 ("satisfactory").

Evaluation - "unsatisfactory" in this subject is undesirable, because regardless of the level of development of students, the teacher has the opportunity to find an individual approach to each student and maximize his creative abilities.

5. Methodological support of the educational process

This subject is taught by a guitar teacher.

Of course, we cannot hear the recordings of the great performers of the past. The 20th century gives us this opportunity. We can talk about the traditions and continuity of the performance of music from different eras through students and followers. (For example: F. Tarrega, Segovia, A.M. Ivanov-Kramskoy, A. Frauchi……….).

The forms of conducting lessons are varied, but with the obligatory inclusion in the work of the whole group. Joint listening and viewing of recordings, creative assignments - reports, abstracts, impressions of listening to recordings in class and independently. The presentation of the material includes: a lecture by the teacher himself with listening and viewing audio and video materials; performance of specific homework within the framework of the studied material by all students with subsequent discussions. A large place in the work is given to musical illustrations, listening, as well as viewing relevant materials.It is important for a teacher to accurately select a variety of musical material for listening and set specific tasks in order to: teach concentration of attention, activate hearing, thinking, make people pay attention to details, the performing style and the embodiment of the composer's intention by the performer. This will develop the students' own taste and make them more consciously approach the performance of works.

Tests are recommended to be carried out in the form of seminars, reports, abstracts, short references that students can complete on their own using Internet resources. And as homework, students can listen to the work in different performances and make a comparative analysis of what they heard, i.e. complete a creative task.

Also, a creative form of work in this direction is joint trips (if possible) of students with teachers, parents to instrumental music concerts, followed by discussion in the classroom. (In our school, such events are organized regularly due to the convenient location of the village to the concert organizations of Tver, Klin, Moscow. Also, performers from Tver come to us)

A great place is occupied by the preparation of the teacher and students for classes. It is a laborious and creative process. You have to work a lot with text materials, audio, video, Internet resources. It is necessary to encourage students to work daily for at least an hour. With regular independentclasses, there will be an increasing interest not only in this subject, but also the need for independent painstaking work in the specialty guitar.

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Guitar performance in Russia has its own unique history. However, in this work we will consider only those pages that are directly related to the practice of playing the seven-string guitar and affect the features underlying the formation of the Russian guitar style.
The Russian guitar school was founded at a time when in Western Europe the classical guitar had already declared itself as an independent solo concert instrument. She was especially popular in Italy. Spain. A number of performers and composers appeared. created a new, classic repertoire. The most famous of them are D. Aguado. M. Giuliani. F. Carulli, M. Carcassi. Later, such remarkable musicians as Franz Schubert, Niccolò Paganini, Carl Weber and others turned to PR and wrote for it.

The main difference between the Russian guitar and the classical one popular in Europe was the number of strings (seven, not six) and the principle of their tuning. It is the question of tuning that has always been the cornerstone in the age-old dispute about the advantage of a six- or seven-string guitar. Understanding the particular importance of this issue, we consider it necessary to return to the topic of the origin of the seven-string guitar and its appearance in Russia.
By the end of the XVIII century. in Europe there were several types of guitars of various designs, sizes, with different numbers of strings and many ways to tune them (suffice it to mention that the number of strings varied from five to twelve) -. A large group of guitars were united according to the principle of tuning the strings by fourths with one major third in the middle (for convenience, we will call this tuning a fourth). These instruments were widely used in Italy. Spain. France.
In Great Britain, Germany, Portugal and Central Europe, there was a group of instruments with the so-called terts system, in which thirds were preferred when tuning voice strings (for example, two large terts were separated by a fourth).
Both of these groups of instruments were united by the fact that music written for one scale could be played using a small arrangement on an instrument of another scale.
Of interest to us is a guitar with four double strings, which came from England to Europe, and from Europe to Russia (St. Petersburg). The structure of this guitar had two types: fourth and third. The latter differed from the seven-string Russian guitar in size (it was much smaller), but practically anticipated the principles of its tuning according to the extended major triad (g, e, c, G, F, C, G). This fact is very important for us.

The lack of historical evidence about the transformation of the guitar body, its size and the overall scale of the strings allows us only to assume options for their development. Most likely, the dimensions of the guitar neck were determined by the convenience of playing, and the tension of the strings, their tuning, corresponded to the tessitura of the singing voice. Perhaps the improvements led to an increase in the body, the replacement of metal scabs with strands, and therefore to a decrease in the tessitura of the sound, a “sliding” of the overall system down.
There is no reliable information confirming that it was this guitar that served as the prototype of the Russian "seven-string", but their relationship is obvious. The history of guitar performance in Russia is associated with the appearance during the reign of Catherine the Great (1780-90s) of foreign guitarists who played third and third guitars. Among them are Giuseppe Sarti, Jean-Baptiste Guenglez. There are publications of collections of pieces for 5-6-string guitar, guitar magazines.
Ignaz von Geld (Ignatius von Geld) publishes for the first time a manual called "An easy method for learning to play the seven-string guitar without a teacher." Unfortunately, not a single copy of this first Russian school of playing the guitar, as well as information about the teaching methods of its author, the type of guitar, and the way it is tuned have not been preserved. There are only contemporary testimonies. That Geld was a great English guitar player.
But the true founder of the Russian guitar school was I who settled in Moscow. At the end of the 18th century. an educated musician, a magnificent harpist Andrey Osipovich Sikhra. It was he who introduced into practical music-making a seven-string guitar with a system of d, h, g, D, H, G, D, which later became known as the Russian.

We cannot know how familiar A. Sichra was with European experiments in creating guitars with different numbers of strings and ways of tuning them, whether he used their results in his work on the “improvement” (but in his own words) of the classical six-string guitar. This is not so significant.
What is important is that A. Sihra. being an ardent admirer of guitar performance, a brilliant teacher and a competent popularizer of his ideas, he left a bright mark in the history of the development of Russian instrumental performance. Using the best achievements of the classical Spanish guitar school, he developed a methodology for teaching the seven-string guitar, setting it out later in a book published in 1832 and 1840. "School". Using classical forms and genres. Sychra created a new repertoire specifically for the Russian guitar and brought up a brilliant constellation of students.

Thanks to the activities of A. O. Sikhra and his associates, the seven-string guitar gained extraordinary popularity among representatives of different classes: the Russian intelligentsia and representatives of the middle classes were fond of it, professional musicians and lovers of everyday music turned to it: contemporaries began to associate it with the very essence of Russian urban folk music. A description of the enchanting sound of the seven-string guitar can be found in Pushkin's heartfelt lines. Lermontov, Turgenev. Chekhov, Tolstoy and many other poets and writers. The guitar began to be perceived as a natural part of Russian musical culture.
Recall that the guitar of A. Sikhra appeared in Russia in conditions when the seven-string guitar was almost never seen anywhere, it was impossible to buy it either in shops or from artisanal craftsmen. Now one can only wonder how quickly (in 2-3 decades) these masters, among whom were the largest violinists, were able to establish the production of the Russian guitar. This is Ivan Batov, Ivan Arhuzen. Ivan Krasnoshchekov. The guitars of the Viennese master I. Scherzer were considered one of the best. According to contemporaries, the guitars of F. Savitsky, E. Eroshkin, F. Paserbsky were distinguished by their unique individuality. But now we will not dwell on this, because it deserves a separate discussion.

The national flavor of the seven-string guitar was also given by the arrangements written for it on the themes of Russian folk songs. “The influence of folk music on the art of music will, of course, begin as part of the traditions of many nations. In Russia, however, folk music has become the subject of the most frenzied enthusiasm of the people for their own music, perhaps one of the most remarkable movements of the Russian soul.
To be fair, it should be noted. that the works of A. Sikhra on Russian themes were written in the style of classical variations and did not have such an original, purely Russian flavor that distinguishes the arrangements of other Russian guitarists. In particular, Mikhail Timofeevich Vysotsky, the creator of numerous compositions on the themes of Russian folk songs, made a huge contribution to the formation of the Russian guitar school as an original national phenomenon. M. Vysotsky grew up in the village of Ochakovo (12 km from Moscow) on the estate of the poet M. Kheraskov, rector of Moscow University, in an atmosphere of love and respect for Russian folk traditions. The boy could listen to wonderful folk singers, take part in folk rituals. Being the son of a serf. Misha could get an education only by attending meetings of the creative intelligentsia and the Kheraskovs' house, listening to poems, debates, and impromptu performances by educated guests.

Among them was the main teacher of M. Vysotsky - Semyon Nikolaevich Aksenov. He noticed the boy's giftedness and began to give him lessons in playing the Russian guitar. And although these classes were not systematic, the boy made significant progress. It was thanks to the efforts of S. Aksenov that M. Vysotsky received his freedom in 1813 and moved to Moscow for further education. Later, the well-known musician, composer A. Dubuk provided Vysotsky with significant assistance in mastering musical and theoretical disciplines.

M. Vysotsky became a wonderful guitarist - improviser, composer. Soon the fame of an unsurpassed virtuoso guitarist came to him. According to contemporaries, Vysotsky's playing impressed not only with his extraordinary technique, but with his inspiration, the richness of his musical imagination. He seemed to merge with the guitar: it was a living expression of his spiritual mood, his thoughts.
This is how his student and colleague guitarist I. E. Lyakhov assessed Vysotsky's playing: - His playing was incomprehensible, indescribable and left such an impression that no notes and words can convey. Here plaintively, tenderly, melancholy sounded before you the song of the spinner; a small fermato - and everything seemed to speak to her in response: they say, sighing, basses, they are answered by weeping voices of trebles, and this whole chorus is covered with rich reconciling chords; but then the sounds, like tired thoughts, turn into even triodies, the theme almost disappears, as if the singer was thinking about something else; but no, he again returns to the theme, to his thought, and it sounds solemn and even, turning into a prayerful adagio. You Hear a Russian dog, elevated to the sacred (Sudet. Everything is so beautiful and natural, so deeply sincere and musical, as you rarely see in other compositions for Russian songs. Here you will not remember anything like it: everything here is new and original. In front of us is an inspired Russian musician, in front of you is Vysotsky.

A distinctive feature of Vysotsky's work was the reliance on the mighty layers of Russian folk song and partly instrumental creativity. This is what determined the development of the Russian guitar school, its Moscow branch. M. Vysotsky, perhaps, was less concerned with systematizing recommendations for learning to play the seven-string guitar, although he gave a large number of lessons. But in his work, the Russian seven-string guitar became a truly national instrument, having its own special repertoire, special technical techniques and stylistic differences, performing style, patterns of development within musical forms (we mean the connection between the poetic content of a song and the process of variant development in musical composition). In this regard, M. Vysotsky is for us. probably the most important figure in Russian guitar playing. His work laid the foundation for an original style of playing, as well as the principle of obtaining a melodic sound and the techniques accompanying it. But this will be discussed later.

Thus, the emergence of an original guitar school in Russia is associated with the names of A. Sikhra and M. Vysotsky, as well as their best students.
In conclusion, I would like to say that the widespread use of the guitar in Russia in a short historical period of time cannot be an accident. Rather, it is a good proof of the viability of the instrument. There are enough reasons to be proud of the achievements of the Russian guitar school. However, it can be stated with bitterness that we do not know the whole truth about our instrument and the legacy created for it. It is important to know and understand this today, when almost everything that Russia was proud of in the past has been destroyed to the ground, and nothing has been created to replace it. Maybe it's time to turn your face to the Russian guitar heritage?! It consists of works, methods and repertoire of the most educated people of their time. Here are some names: M. Stakhovich - nobleman, historian, writer; A. Golikov - nobleman, collegiate registrar; V. Sarenko - Doctor of Medical Sciences; F. Zimmerman - nobleman, landowner; I. Makarov - a landowner, a major bibliographer; V. Morkov - a nobleman, a real state councilor: V. Rusanov - a nobleman, conductor, an outstanding editor.

The guitar is the most popular musical instrument. There are far more people who play the guitar, even at the level of a few chords, than those who play any other instrument. And probably even more of those who would like to learn how to play it. The guitar is the most widely used instrument. At first glance, it may seem that mass and prevalence are one and the same. This is not true. For example, in some European countries, the harmonica can be considered a massive and very popular instrument, but the rest of the world is rather cool about it. And the guitar is distributed on all continents, including now Antarctica. The guitar has even been in space. Probably, other instruments will also be there over time, but the guitar will always take the lead.

In Russia, the guitar developed in two directions: both seven-string and six-string. Unlike the seven-string guitar, its six-string variety developed in Russia in the 18th and 19th centuries almost exclusively as a professional academic instrument and was little oriented towards the transmission of Russian folk songs and everyday romance.

Since the middle of the 19th century, the educational role of the six-string guitar has increased significantly. Concert performances of domestic six-string guitarists such as N.P. Makarov and M.D. Sokolovsky, became an important means of musical education for numerous fans of the instrument in Russia.

Also, in the early years of the 20th century, they acquired meaning. The role of various circles of guitarists. The activities of prominent guitarists-performers and teachers V.A. Lebedeva, A.P. Solovyova, V.P. Uspenky, V.M. Yuriev.

Since the second half of the 1950s, the concert activity of guitarists has been significantly activated: A.M. Ivanov-Kramskoy, B.P. Khlopovsky, L.A. Menro, L.F. Andronova, Ya.G. Pucholsky.

From 1950-80 guitar classes are opened in music schools and secondary specialized educational institutions, and then in higher ones. Talented performers, composers appear, various competitions and festivals of performers are held, and musical literature for the guitar appears.

Many Russian performers on folk instruments are actively engaged in the promotion of their work, give a lot of concerts and thereby win recognition from the public. Chelyabinsk (Ural) guitarists are also among them.

At the beginning of the third millennium, the festival and competitive movement in the guitar specialty became very active. 10 festivals "Classical guitar in the Urals" were held in Chelyabinsk; Yekaterinburg regularly hosts the world's only festival of guitar concerts with a symphony orchestra; In Perm; in 2005 in Kamensk-Uralsk a new festival "Kamensky Meetings" was born; Magnitogorsk is hosting a special festival in memory of the musical master Ivan Kuznetsov, which brings together classical, pop and bard song performers.

Thus, we can say that the guitar in the large Ural cities is currently experiencing a noticeable rise, which means that we can expect the emergence of new interesting performers and composers who will be able to reach new creative heights in music for the guitar.

The thesis will tell in as much detail as possible about our Chelyabinsk guitar players, their achievements, victories in competitions, repertoire, and creative plans for the future.

I believe that the relevance of the topic of the thesis is the need to study the development of guitar performance in the city of Chelyabinsk (in the Urals) in order to increase interest in their art, to identify new talented performers and composers in Chelyabinsk.

The object of study in the thesis will be the performance of Chelyabinsk guitarists from the beginning of the 20th century to the present.

The subject of the study will be the work of guitar performers of this period.

The hypothesis in the thesis work can be defined as follows: the creativity of our modern guitar players corresponds to the world level when using the performing experience of their predecessors and what they have brought to the development of the guitar art of our country under the influence of various guitar schools in Russia, pedagogy and performance.

The purpose of the study: to study the performance of domestic and modern guitarists in the city of Chelyabinsk.

Hence the objectives of the study:

1. Studying the influence of various domestic schools on the formation and development of guitar performance in Chelyabinsk;

2. Studying the creative path of modern Chelyabinsk performers and determining the stages of the formation of their work;

The main research methods are: analysis of printed materials of books, articles in magazines and newspapers, conversations with performers.

The theoretical significance lies in the following: questions of the formation and development of guitar performance in Chelyabinsk will be covered and its stages will be determined.

The practical significance lies in the research work on the work of musicians, biographical information, concert activities.

The basis of the study is the work of guitar performers in Chelyabinsk.

History of occurrence

According to the leader of the "Trio" Victor Kozlov: - "The idea appeared when we began to draw up the program of the First All-Union Festival of Guitarists, which was held in 1991 in Chelyabinsk. It turned out that we have only soloists. And since there are so many works for ensemble performance, we decided to compensate for this gap on our own. At first we prepared a small program, and then we realized that playing together is a very exciting experience.”

So, the Trio of Guitarists of the Urals was formed in 1991 in the process of preparing the first All-Union Festival of Guitarists, which was held in Chelyabinsk from November 18 to 21, 1991.

The element of "accident" in the creation of the ensemble is apparent. If, again, we turn to philosophy, then any chance is connected with necessity. And this “necessity” of unification lies in the fact that every musician-performer who has a certain professional background strives for a creative union, for joint performance. Even all the great musicians - soloists, world stars of performance play the chamber repertoire with a symphony orchestra. The desire to unite joint music-making is a natural process, for almost every musician. It was this desire for professional association that inspired the Ural guitarists to create an ensemble. By that time, each of the members of the ensemble already had a serious stage experience of solo work: Viktor Kozlov in 1990, as a performer, was awarded a diploma of an all-Russian competition in Nizhny Novgorod. Sharif Mukhatdinov has been performing in concert since 1974 as an artist of the Chelyabinsk Philharmonic. Yuri Makarov took part in the Regional competition of performers in honor of the 100th anniversary of the birth of V.V. Andreev in 1988. This is how the musical performing community of like-minded people was born: Viktor Kozlov, Sharif Mukhatdinov, Yuri Makarov. And since 1996, Yuri Makarov was replaced by Viktor Kovba.

Concert activity

The band's first public performance took place on November 19, 1991. The program included the following works:

J.S. Bach - Gavotte from English Suite No. 4

A.Vivaldi - Andante

V.Kozlov - Round Dance and Waltz

Fantasy C. Monteverdi

3 scherzos

Yu. Radzetsky - Circle dance

The audience more than favorably accepted the performance. The intuition did not let the musicians down - the content of the music and the form of the collective aroused the keenest interest among the listeners.

The existing professional performing base immediately allowed the members of the ensemble to turn to a repertoire that was quite complex in artistic and technical terms, gradually expanding it in all genre diversity.

The venues for performances expanded geographically: Chelyabinsk, regional cities. Then Moscow, Voronezh, Omsk, Ulyanovsk, Yekaterinburg, St. Petersburg, Bashkiria, Kazakhstan, Ukraine.

In August 1993, the first foreign trip to Hungary took place in Esztergom and the first victory. A trio of guitarists from the Urals became a diploma winner at the International Festival of Guitarists. In October 1994, the Ural musicians visited the international festival of guitarists, held in the Polish city of Tykhkhi, as guests. In the autumn of 1996, the ensemble of guitarists toured Finland at the invitation of the Kuonio Conservatory. The musicians gave five concerts in five cities. They performed at the Conservatory, at the Institute of Music.

Finnish newspapers and magazines wrote about the originality of the Russian trio, performing original music from new contemporary authors and creating their own unique arrangements of classical works.

Professor of the Helsinki Institute of Music Yusipekka Rananyaki after one of the concerts wrote literally the following in the Guitarist magazine: - “The musicians play so harmoniously that it seems that it sounds like one instrument with a wide variety of timbres and colors. Subtly matched dynamics give the sound of the pieces an extraordinary brightness. I look forward to new meetings with the musicians of the Urals.”

The second trip to Finland took place in 2002, where they played 8 shows, each with great success.

From the enumeration of cities and countries, it is clear that the success of the audience, and the attention was accompanied by musicians, both in the cities of Russia and abroad. The game of the Trio of Ural Guitarists is distinguished by high professionalism, clarity of interaction, deep penetration into the content of the performed works, excellent technique. We must pay tribute to the quantity and versatility of the musical material performed. This is more than 150 works. The literature for guitar ensembles is rather limited. The Chelyabinsk trio is honored as the discoverer of undeservedly forgotten and rarely, and sometimes not at all, works of the Baroque era. Stylistic sensitivity helps the musicians to equally perfectly interpret the works of A. Vivaldi and G. Telemann, penetrate into the depths of the works of J.S. D. Scarlatti, D. Gragnani. In each of the areas of European baroque, they try to find their own special vocabulary. Musicians in the classical repertoire feel calm and confident. Spiritually, surprisingly poetic, artistically justified and convincingly performed by the ensemble, the works of J. Bizet, P. Tchaikovsky, V. Rebikov, A. Ivanov-Kramskoy sound. Here is what V. Kovba says about this: - “From the classics, we play the guitar that no one has performed before us. Among the most popular things I will name “Dance of the Cockerels” by P. Tchaikovsky, “Russian Dance” from the ballet “The Nutcracker”, a suite from Oprah “Carmen” in 3 parts.

The trio devotes a large place in its concert practice to the promotion of modern Russian music. Among the authors with whom the artists have developed a long-standing and lasting creative alliance are V. Uspensky, I. Rekhin, Y. Galperin, E. Poplyanova, S. Ilyin, N. Malygin and V. Kozlov. Of the modern foreign composers who collaborated with the trio, I would like to single out Paolo Bellinatti (Brazil), Atanas Urkuzukov (Bulgaria), Vese Pelka (Finland). As we can see, the scope of the repertoire covers a significant time period and content of different styles. This, of course, requires the musicians to feel the style of the work being performed and the availability of technical possibilities for the implementation and transmission to listeners of plays that are different in content and form. And this community of artists, amazing in brightness, arises thanks to the warmth, strength, and sincerity of musical experience, the internal dynamism of the game, the expressiveness of phrasing, the performing will, the ability to grasp the whole and subtly shade the details.

Educational activities

In our time, with the gigantic pace of life, it is very difficult, focusing on seriously folk (performing for a trio), to do something else big and significant. And yet, this great and significant thing was done: the Association of Classical Guitar Workers in the Urals was organized. It was through the efforts of the members of the trio of Ural guitarists that the Association of Guitarists of the Musical Society of the Chelyabinsk Region (original name) was created in 1991. It is difficult to overestimate the importance of this organization for the development of guitar art. The main goal of the Association is to help guitarists of the Ural region (teachers, performers, professionals and amateurs) be aware of what is happening in guitar life both in our country and abroad, what new trends are emerging in performance and pedagogy. This organization allows you to keep abreast of all significant domestic and foreign phenomena related to the guitar.

As one of the areas of its work, the Association of Figures
of classical guitar in the Urals holds Classical Guitar Festivals in
Ural. As V. Kozlov says: - “Our main task is to help
teachers and their students to master the methodology that we bring
from other cities. It is much more advanced and more comfortable.
In addition to seminars, we hold annual festivals of classical guitar and
competitions for young guitarists.

The festival of classical guitar in the Urals has a fifteen-year history. It began rather modestly: the first concerts were held mainly in the small hall of the Chelyabinsk Higher Musical College: the festival program included a competition for young performers /mainly from the Ural region/ and concerts of guests and participants.

Then, in the early 90s, it seemed that the organizers of the festival - the Ural trio of guitarists V. Kozlov, Sh. Mukhatdinov, Yu. However, the festival, in spite of everything, survived, won, strengthened. Chelyabinsk defended its right to be called a city not only of metal, but also of music.

Today the festival of classical guitar in the Urals is a large-scale cultural event, including a competition for young performers, master classes by leading Russian and foreign teachers, seminars on guitar performance and pedagogy, numerous concerts by guests and participants, television and radio programs, presentations of new literature for classical guitar . Does the geography of the festival cover almost all of Russia? The guests and members of the jury of the festival were such outstanding guitarists as: N.Komolyatov, A.Bardina (Moscow), V.Zhatko (Kyiv), Yu.Kuzin, E.Lebedeva, V.Gorbach (Novosibirsk), S.Kordenko (Voronezh) ), D. Dovgopol, V. Ostanin (Yekaterinburg), I. Kuznetsov, (Magnitogorsk), etc.

In recent years, foreign musicians have also begun to come to the festival: Miro Simic (Sweden), Veza Pelki (Finland), Sven Landestad (Norway). The Ural Festival gave a start in life to many young performers who later received awards at All-Russian and International competitions. Among them are I. Kulikova, I. Fedorenko, D. Ivchenko (Chelyabinsk), M. Belchikov (Leningrad region, now studying in the Czech Republic), I. Nasobina (Studies at the Royal College in England), V. Rodichev (St. Petersburg) , O. Kiselev (Asha), I. Nikolaevsky (Magnitogorsk). And from the last stars, these are Pushkarenko E. and Pushkarenko E. (students of the Gnessin Music College). A. Genger and D. Chernov became laureates and diploma winners of international and all-Russian competitions.

Any serious business is impossible without a publishing house, methodological support, original literature. Unfortunately, there is less and less room in the sea of ​​commercial box office printed matter for classical guitar on a national scale. And again, the members of the ensemble did not remain aloof from this problem. It can be said that they did the impossible: they set up a regular release of literature for the guitar, a whole series called the Ural Collection. It started publishing in 1997. To date, a series of eight collections has been released with a total circulation of 3200 copies throughout Russia, in the countries of near and far abroad. They provide material of extensive content: domestic and foreign guitar classics, arrangements for guitar, works by various composers, local authors, guitar ensembles and guitar ensembles with other instruments. Collections outwardly can compete with commercial literature - excellent design, high-quality paper, very capacious and accessible content, clear comments and necessary information. The Chelyabinsk Broadcasting Company made numerous recordings of works by Ural composers and guitarists - V. Kozlov, Sh. Mukhatdinov, D. Dovgopol, E. Poplyanova, D. Milovanov.

It is necessary to say about one more creative field of activity of musicians. This is composition, arrangement, instrumentation. The members of the ensemble perfectly feel the features and possibilities of the classical guitar, they know the subtleties and specifics of the means of working with musical material. All guitarists are actively working on the transcription, carefully referring to the original source, accurately aware of the content, and able to lay out this content through the choice of optimal performing means, using rich methodological and performing experience. The main arranger of the ensemble is Victor Kovba. Numerous transcriptions made by members of the Trio of Ural Guitarists are actively used in pedagogical activities, are included in the educational repertoire of music schools, secondary and higher educational institutions, and are played on the professional stage.

Composition and performance are two equal parts for Viktor Kozlov. Outside the composition, he does not think of himself. Victor, while still a student at a music school in the guitar class, began to study composition. At the school, he studied composition under the guidance of Y. Galperin. And in the conservatory, this activity developed even more actively. The first international recognition as a composer came in 1989 in the city of Esztergom (Hungary), where the musician became a laureate of a composers' competition. In 1998 (November), Moscow, at the competition of guitar compositions, the suite "The Black Toreador" was awarded with a Diploma. At present, V. Kozlov is a well-known composer in our country and abroad. He has written over 100 compositions for guitar, guitar ensembles, and guitar ensemble with other instruments. Compositions for guitar are published in Russia and in other countries, in particular in England, Germany, Italy, Poland, Finland.

The English guitarist and music critic Paul Fowles gave a very high assessment to Viktor Kozlov as a composer in the English magazine "Classical Guitar": world of contemporary music.

The trio musicians do not limit their ensemble playing only to their team. The trio sometimes "breaks up" into duets. V. Kozlov plays with the laureates of the All-Russian competition, Honored Artist of Russia, flutist A. Abdurakhmanov (in his time, Viktor played music with the coryphaeus - domra player T. Volskaya, with the balalaika virtuoso A. Bykov and others). In 1998 he released his first CD "Meditation for Solo Guitar", which is highly appreciated by professionals and enjoys great success with listeners. V. Kovba creatively collaborates with the singer, Honored Artist of Russia I. Galeeva, who constantly updates her vocal cycles, is in excellent shape all the time. U. Sh. Mukhatdinov has developed a rather original style. Unusual duet: guitar and violin viola (N. Tatarinskaya).

As you can see, the musicians of the trio are looking for new ways to realize their creative powers, they are experimenting without locking themselves in the corporate space.

The recording of the concert by the Trio of Guitarists of the Urals was carried out by Radio Klassika in the city of St. Petersburg in 1994 in the small hall named after M.I. Glinka of the St. Petersburg Philharmonic. The first laser disc is released.

Trio musicians play beautiful instruments made personally for each by a wonderful guitar master I. Kuznetsov, (who unfortunately died in February 2002).

Together they achieve inspired music-making, in which each participant creates himself, and at the same time constantly anticipates the partners' intentions. It turns out not just ensemble harmony, but a single creative impulse. Such an achievement of harmony in all areas of their activity is born of intense, tireless, hard work. The whole life of the Trio in art is an example of creative restlessness and rare demands on oneself in the name of love for the guitar and fidelity to one's favorite work.

Pedagogical activity

The framework of the ensemble is not limited to one performing work. For a musician in his creative prime, the need to play, to be on stage, to communicate with the public is a way of life, a necessary condition for existence. Members of the trio of guitarists from the Urals are no exception. But still, the second hypostasis - pedagogy occupies a large place in the life of each member of the trio. The pedagogical activity of all the musicians of the trio is directly related to the enormous work they have been doing over the years: the education of young guitarists, the formation of a performing basis for students of art schools, secondary and higher educational institutions, the task is very responsible, not every teacher can handle it, and even more so a performer, actively involved in concert activities.

All musicians of the trio feel at home in pedagogy, as they say, like a fish in water. Over the years, more than significant methodological experience in teaching guitar has been accumulated. Honored Artist of Russia Sharif Mukhatdinov has been teaching since 1968. His young talents systematically become laureates of city, regional, Russian reviews and competitions of performers. Among his students is Viktor Kozlov, a member of the trio of guitarists from the Urals, Honored Artist of Russia. Viktor Kovba played in a quartet of guitarists led by Sh. Mukhatdinov in the 60s. In the same ensemble of guitarists, in the same years, V. Ustinov also played, who, with another student of Sh. Mukhatdinov, Anatoly Olshansky, invented the “Grand” guitar (A. Olshansky worked for a long time as an accompanist of the famous singer Alexandra Strelchenko. Now he lives in Vienna). In the music schools of the city of Chelyabinsk and the Chelyabinsk region, students of Sh.Mukhatdinov work - these are Vyacheslav Shtykhvan, Ekaterina Surkova, D.Shagiakhmetova, and many, many others. We can safely say that the Honored Artist of Russia Sharif Mukhatdinov stood at the origins of the formation of the South Ural school of guitarists.

Viktor Kozlov has been in the teaching field since 1987. Now he is a professor, head of the department of folk instruments of the Chelyabinsk Institute of Music named after P.I. Tchaikovsky. V. Kozlov also trained a significant number of guitarists, teachers, and performers. Among them: the laureate of the International Competition Irina Kulikova, now a student of the Russian Academy of Music, a former student of the teacher Nikita Morozov is also studying there. Ekaterina and Evgeny Pushkarenko, also graduates of Viktor Kozlov, study at the Gnessin School. It is impossible not to mention the current students of Viktor Kozlov - this is the winner of international competitions Alfred Genger, and the winner of the All-Russian competition Dmitry Chernov, who continue to proudly carry the banner of the Ural guitar school. Honored Artist of Russia Viktor Kovba has been teaching at the Chelyabinsk Academy of Art and Culture, and has been working at a music school since 1994. Viktor Kovba has already prepared several laureates of regional and open Russian competitions. (V. Kovba joined the trio in 1996, after many years of philharmonic work, which he had been doing since 1972).

Thus, thanks to the many years of pedagogical work of the Ural Guitar Trio Participants, a huge army of children, teenagers, adults got the opportunity to acquire a specialty: to join the great world of music, classical guitar, and musical culture.

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Its cradle was the countries of the Near and Middle East, where it appeared several millennia ago.
But its appearance in its traditional form was preceded by a long way of development. According to a number of researchers, the primitive hunter's bow could be used not only as a weapon, but also as a musical instrument. So, if several bowstrings are pulled on a bow, then due to their different lengths, tension forces and thicknesses, the pitch of the sound emitted changes. Probably, this was the appearance of the musical instrument, which became the prototype of the Assyro-Babylonian and Egyptian cithara. In turn, the ancient citharas became the "ancestors" of the guitar.

On the ancient Egyptian pyramids and Assyrian architectural monuments, there are hieroglyphs depicting the nablu instrument, vaguely resembling a guitar in shape. Interestingly, the ancient Egyptians used the same hieroglyph to designate the concepts of "good", "good", "beautiful".
In Mesopotamia and Egypt, some varieties of cithara (including the Egyptian nabla and the Arab el-aud) received further constructive development and spread throughout the Mediterranean coast as early as the 3rd - 2nd millennium BC. Until now, in the countries of Asia Minor, there is a musical instrument "kinira", related to the guitar.

In ancient Greece, the most popular musical instruments were kitara (kitarra), lyre, harp, pandora.
In the first centuries of the new era, the Latin guitar, related to the Greek, was widespread in the Mediterranean countries of Europe. The closest relative of the guitar, the lute, was also known. The very name "lute" comes from the Arabic word "el-aud", which means "wooden" or "euphonious".
There is an assumption that the lute and the guitar were brought to Europe by the Arabs - through Spain conquered by them and in the 8th century. Most likely, however, these instruments spread to Europe through Ancient Greece - thanks to its cultural ties with the countries of the Near and Middle East.

Until the 16th century, the guitar was three- and four-stringed. They played it with fingers and a plectrum (a bone and tortoise record).
In the 16th century, a five-string guitar appeared in Spain, and since that time it has become known as the Spanish guitar. The strings were doubled, sometimes the first string ("singer") was single. Of all European countries, the guitar was most widely used in Spain, where it became a truly folk instrument.
With the advent of the fifth string and the increase in its artistic and performing capabilities, the guitar begins to successfully compete with the lute and vihuela, its predecessor, and gradually displace them from musical use.
There are a number of talented virtuosos and composers who have raised the art of playing the guitar to a very high level. Among them are F. Corbetta (1620-1681), court guitarist of the kings of Spain, France and England, his student R. de Vize (1650-1725), court guitarist of King Louis XIV of France, F. Campion (1686-1748), G. Suns (1640-1710) and many others.
The first tablature collections and teaching aids for the guitar began to appear: "Guitar Book" by R. de Vize (1682), "New Discoveries of the Guitar" by F. Campion (1705) and many others.

They printed old Spanish dances - pascals, chaconnes, sarabandes, folios and other plays.
In the second half of the 18th century, a six-string guitar appears (according to historians, again in Spain). With the advent of the sixth string and the replacement of double strings by single strings, the triumphal procession of the guitar across countries and continents begins; still exists in this form. The musical possibilities of the six-string guitar turned out to be so great that it becomes one of the most beloved instruments.
The "golden age" of the guitar begins. It is associated with the names of Spanish composers and guitar virtuosos F. Sora (1778-1839), D. Aguado (1784-1849) and Italian F. Carulli (1770-1871), M. Giuliani (1781-1829), M. Carcassi (1792-1853).

Performers

Spain

SOR José Fernando (Fernando Sor 1778 - 1839)

Spanish guitarist, composer and teacher. In early childhood, he showed exceptional abilities and received a musical education in one of the Catholic monasteries, improving his guitar playing on his own. Sora's guitar playing created a real sensation in London, where he went after a short stay in Paris. In the autumn of 1823, Sor with his wife, a French ballerina, went to Russia, where his performances were a great success. In Moscow, at the Bolshoi Theater, Sora's ballet "Sandrillon" was staged. In 1826 Sor returned to Paris and remained there until the end of his days. Nicknamed "The Beethoven of the Guitar", his deep and emotional music and the soft, velvety sonority of his playing made him one of the greatest guitarists of his time.
Sor was born in Barcelona. At the age of five, he was already composing songs, accompanying himself on his father's old guitar. He received his musical education at the Catholic monastery of Montserrat near Barcelona and at the age of 13 he was already composing complex music. Once his teacher was ordered to compose a solemn mass for soloists, choir and organ, but due to illness he could not prepare it by the deadline. Sor helped his teacher by completing the order brilliantly in one night.
After completing his musical education and finding patrons, Sor settled in Madrid and devoted himself entirely to composing music and improving his guitar skills. In 1813 he went to Paris, where he soon gained a reputation as one of the best virtuosos, captivating Berlioz, Cherubini and other musicians living in the French capital with his playing. In 1815, Soar went to London, where he made a real sensation with his guitar playing. In 1823, Sor was already in Russia, where he was also given an exceptional reception. During one of his trips to St. Petersburg, Sor was invited to the court of Empress Elizaveta Alekseevna, wife of Alexander I, who showed great favor to the guitarist. Proximity to the court promised Sor brilliant prospects, and he intended to stay in Russia forever, but was forced to leave it after the death of the empress.
After returning to Western Europe, Sor continued to enjoy unprecedented success. His authority among guitarists was extremely high. However, by the 1930s, the guitar was no longer a fashionable instrument, and Sor, both as a guitarist and as a composer, also went out of fashion. In June 1839 Sor died, half forgotten even by his fellow musicians.
Sora's music has become a part of history, many of his guitar compositions continue to live on the concert stage, and his "School for the Guitar" (1830) is considered by many to be the most outstanding composition dedicated to guitar performing technique.

Italy

Giuliani Mauro (GIULIANI, Giuseppe Sergio Pantaleo 1781-1829)

Outstanding Italian virtuoso guitarist, composer recognized by such authorities as J. Haydn and L. Beethoven. Born near Naples. As a child, he learned to play the violin and flute, at the same time he self-taught the guitar: by the age of twenty he had already achieved such brilliant results that he gained fame in Italy as the best guitarist. Since 1800, his concert activity began, initially taking place in Italy and France. In 1807, he came to Vienna with concerts, where music critics unanimously recognized him as the greatest guitarist in the world.
Having settled in Vienna, Giuliani took up concert and teaching activities. Among his friends are L. Beethoven and J. Haydn, violinists L. Spohr and J. Mayseder, pianists I. Hummel, I. Moscheles and A. Diabelli.
In 1816, Giuliani toured Germany with great success. In 1819 he performed in Rome in concerts with D. Rossini and N. Paganini.
Giuliani's brilliant performances and his own concertos for guitar and orchestra proved the equal rights of the guitar as a concert instrument with the violin, cello and piano. "Little Orchestra" - this is how Beethoven characterized the sound of Giuliani's guitar.
In 1821 Giuliani returned to Italy and settled in Rome. In the last years of his life, he toured Germany, Poland, Russia and England, everywhere causing delight and amazement with his art.
M. Giuliani died in 1829 in Naples.

Carulli Ferdinand (Fernando 1770-1841)

Italian guitarist, teacher and composer. Initially, he studied cello. After learning to play the guitar on his own, he became a professional guitarist. Beautiful tone, purity and fluency in playing the guitar ensured his success in Naples, and then in Paris, where he became a favorite of the salons. Carulli settled in Paris in 1818. Having gained fame as the best guitarist of his time, he shared the championship with Matteo Carcassi and held it until the return of Fernando Sor.
A prominent teacher and brilliant performer, Carulli published about three hundred of his compositions: pieces for solo guitar, concertos for guitar and orchestra, chamber works, which are distinguished by high instrumental and technical skill. Two of his theoretical works have received wide recognition; these are "School of playing the lyre or guitar" (1810) and a study on accompaniment "Harmony as applied to the guitar" (1825). Carulli's "School" gained particular popularity: it went through five editions at once and was published many times after the author's death.

Carcassi Matteo (1792 -1853)

One of the most famous Italian guitarists of his time, composer and teacher, follower of F. Carulli. In the history of the guitar, he is known as the author of "The School of Playing the Guitar" (1836) and pedagogical works. His studies for the guitar have survived to this day, making up the training material for any modern guitarist and are considered classical.
Matteo Carcassi studied guitar from an early age in his native Italy. He was not yet twenty when he already gained a reputation in Italy as a guitar virtuoso. In 1815 he took up teaching guitar and piano in Paris. During a concert trip to Germany in 1819, Carcassi met the French guitarist Meissonier, who in 1812 founded his publishing house in Paris. The two guitarists became close friends and Meissonier published most of Carcassi's work.
In 1822 in London, after only a few concerts, people started talking about Carcassy as an exceptional guitarist and teacher. He soon returned to Paris, but visited London every year, where his guitar talent was highly appreciated, and where he was always expected and revered.
When Carcassi first appeared in Paris, his talent was for some time in the shadow of another, older Italian virtuoso guitarist Ferdinando Carulli, but after a few years Carcassi achieved recognition and huge success. He gave concerts every year in most of the main cities of Europe. In 1836, Carcassi briefly returned to Italy, but Paris remained his permanent residence until his death in 1853.

France

Coast Napoleon (Napolón Coste / Claude Antoine Jean George Napolón Coste 1805 - 1883

French guitarist and composer. Born in Franche-Comte. Being quite young, he already begins the activity of a performer and teacher. In 1830 he moved to Paris, where he became friends with F. Sor, D. Aguado, F. Carulli and M. Carcassi, who lived there at the same time with him, who had a great influence on his work. In 1856, at the international competition for the best composition and the best instrument, organized in Brussels by the Russian guitarist N. Makarov, he received the second prize for his composition "The Great Serenade".
Cost is one of the finest French performers of the 19th century and is often compared to Sor. Due to a hand injury as a result of an accident, he was forced to interrupt his concert activities. Costa's own work is relatively small, but testifies to an outstanding composing talent. He wrote about 70 works for guitar: waltzes, variations, "Concert Rondo", "Great Serenade", the cycle "Autumn Leaves", "25 Etudes" (op. 38), pieces for oboe and guitar, etc. In his even small pieces always feel harmonious harmony and orchestral polyphony.
The name of Costa is also associated with a new, revised and enlarged edition of Sor's School for the Guitar, in which Cost included a transcription of the suite by Robert de Wiese. Died in Paris.

Guitar in Russia

The history of the guitar in Russia is interesting and very original.
In its development, it went through approximately the same stages as in the countries of Western Europe.
The Russian historian N. Karamzin wrote that back in the 6th century, the Slavs loved to play the cithara and the harp, not parting with them even in harsh military campaigns. Played in Russia and the four-string guitar.
In 1769, Academician Shtelin wrote about the appearance in the reign of Empress Elizabeth of the Italian five-string guitar, for which special musical magazines were published.

At the end of the 18th century, a six-string guitar appeared in Russia. Soon she becomes popular in all walks of life. The first Schools of playing this instrument and various musical editions are printed. The oldest school published in Russia is "Improved Guitar School for Six Strings, or Self-Taught Guitar Playing Guide" by Ignatius von Geld. It was published at the beginning of the 19th century in Russian and German.
In the same period, "Etudes" and "Four Sonatas" for piano and six-string guitar by the famous virtuoso, composer and teacher P. Galyani, "New magazine for six-string guitar" by A. Berezovsky, "Concerto for six-string guitar accompanied by orchestra" were published in St. Petersburg composer Ashanin (1815).
In 1821 - 1823 "Music Academies" were opened in Moscow and Nizhny Novgorod, in which boys and girls learned to play the guitar. Outstanding Russian guitar virtuosos appear - M. Sokolovsky, N. Makarov, V. Lebedev.

Vysotsky Mikhail Timofeevich (about 1791-1837)

Russian virtuoso guitarist and guitar composer. He studied guitar with S. N. Aksenov. He was fond of the classics, especially Bach, whose fugues he tried to transcribe for the guitar. This was reflected in the serious and noble style of his guitar compositions: for the most part, fantasies and variations on Russian folk themes (cycles of 4-5 variations, framed by "intros" and "endings"), there are also arrangements for the guitar of pieces by V.A. Mozart, L. van Beethoven, J. Field (with whom the musician was close), and others. Of these, 83 were printed; his "Practical and Theoretical School for the Guitar" (1836) was also published.

Makarov Nikolai Petrovich (1810-1890)

Russian virtuoso guitarist, active propagandist of guitar art.
Born in the city of Chukhloma, Kostroma province. He spent his childhood on the estates of his father and aunt M.P. Volkonskaya. Served as an officer in the army.
Played the violin since childhood. At the age of twenty-eight, he became interested in the guitar and, practicing ten to twelve hours a day, soon achieved significant success.
Makarov's first concert took place in 1841 in Tula, in the Hall of the Nobility Assembly, where he played the first part of Giuliani's 3rd Concerto.
In 1852, Makarov traveled abroad, where he met with the largest guitarists in Europe: Tsani de Ferranti, Carcassi, Kost, Mertz, guitar master Scherzer. In 1856, in Brussels, he organized the 1st International Competition for the best composition for guitar and the best instrument, on which he performed as a soloist with great success. The 1st prize for the best composition was given to J.K. Mertz, the 2nd prize to N. Kost, the 1st prize for the best instrument to the Austrian master I. Scherzer, the 2nd prize to the Russian master I. Arhuzen. N. Makarov died in the village of Funtikovo-Rozhdestvenskoye, Tula Region.

Sokolovsky Mark Danilovich (1818-1883)

Born in Ukraine near Zhytomyr. I learned to play the guitar on my own, following the Giuliani, Leniani and Mertz Schools.
In 1841 he gave his first solo concert in Zhitomir, where he performed the Concerto in E Minor by F. Carulli. In 1846 he gave a solo concert in the hall of the Noble Assembly. The concert was a great success and was attended by over a thousand people.
In 1858 Sokolovsky went abroad. With great success are his concerts in Vienna. In 1863-1868 he made a triumphal tour of the major cities of Europe: Paris, London, Berlin, Brussels, Dresden, Milan, Krakow, Warsaw. They call him "Great Artist" in Germany, "Paganini of the Guitar" - in England, "Kosciuszko of Guitarists" - in Poland.
On January 25, 1869, Sokolovsky gave a concert in the crowded hall of the Bolshoi Theater. His farewell concert (due to illness) took place in 1877 in St. Petersburg, in the hall of the Court Singing Chapel.
Sokolovsky spent the last years of his life in Vilna (Vilnius), being engaged in pedagogical activities. A big blow for him was N. Rubinstein's refusal to open a guitar class at the Moscow Conservatory.
Mark Sokolovsky died in 1883 in Vilna and was buried at the Rasu cemetery in Vilna; not far from it, the famous Lithuanian artist and composer Mikaelius Konstintinis Čiurlionis was subsequently buried.

Lebedev Vasily Petrovich (1867-1907)

Born in the Samara province. A student of the famous Russian guitarist I. Dekker-Schenk.
Successfully gave concerts in St. Petersburg and other cities of Russia. In 1900 he performed with the orchestra of Russian folk instruments VV Andreev in Paris, at the World Exhibition. The press noted the great success of the artist. Lebedev was the first performer of the guitar part in N. Paganini's Quartet for Guitar, Violin, Viola and Cello. He taught in St. Petersburg at the Pedagogical Museum and in parts of the military district. Died in Petersburg.

decline

In the second half of the 19th century, the guitar art declined. Opera, symphony and instrumental music, which reached its full flowering, relegated the guitar to the background and delayed its development for many decades. But to an even greater extent contributed to this petty-bourgeois fashion and tastes that have spread in all strata of society. According to the figurative expression of Segovia, the largest guitarist of the 20th century, "the guitar was hung on the walls of hairdressers", its main purpose was a primitive accompaniment to songs and romances, the musicians ceased to consider the guitar a serious instrument. Many old traditions have come to naught, countless rare notes and manuscripts have perished; talented performers and composers became less and less - amateurishness and ignorance swept the guitar art.
The decline spread to all European countries, but less than others, it touched Spain, in which a new revival of the guitar began.
The musician who returned the good name to the guitar and raised its art to a new, hitherto unseen height was Francisco Eschea Tarrega, an outstanding Spanish virtuoso guitarist, composer, founder of the modern school of guitar playing.

rebirth

Tarrega-Eshea Francisco (1852 - 1909)

Outstanding Spanish virtuoso guitarist and composer, founder of the Spanish school of guitar playing. Born November 21, 1852, died December 5, 1909. He has been playing the guitar since early childhood. Tarrega's musical abilities attracted attention, and with the support of a wealthy family, he managed to go to Madrid and in October 1874 enter the conservatory, from which he graduated brilliantly in two specialties - piano and composition. Despite his good pianistic abilities, Tarrega preferred the guitar, in playing which he improved so much that he decided to give his own concert at the Alhambra theater in Madrid. The huge success that accompanied this performance decided the issue completely - Tarrega became a guitarist. Concert trips to France, Italy, Austria, Holland and other countries confirmed the outstanding abilities of the guitarist. The press compared Tarrega with the largest contemporary performers - the violinist Pablo de Sarasate and the pianist Anton Rubinstein.

Barrios (Mangori) Augustine (Agustin Barrios Mangore 05/23/1885-08/07/1944)

A brilliant Paraguayan virtuoso guitarist, whose importance was fully appreciated almost 50 years after his death. Born into a family of musicians, in which, in addition to Augustine, there were seven more children. He started playing the guitar very early. The first teacher was Gustavo Escalda, who introduced the young guitarist to the world of music by Sor, Tarrega, Aguado and other composers whose works formed the basis of the traditional guitar repertoire. At the age of 13, noting the remarkable talent of the child, which had already manifested itself in many areas (he was excellent at drawing, had amazing mathematical abilities and literary talent), he was sent to study at the National College in Asuncion.
In 1910, Barrios, who by that time had already become known as a virtuoso guitarist, left Paraguay and went to Argentina. For the next 34 years he toured the South American continent, giving concerts in the cities of Argentina, Uruguay, Brazil, Venezuela, Costa Rica and El Salvador. He also traveled to Chile, Mexico, Guatemala, Honduras, Panama, Colombia, Cuba and Hawaii. Between 1934 and 1936 his trip to Europe took place - he played in Spain, Germany and Belgium.
In 1932, Barrios himself began to call himself "Nitsuga Mangori - Paganini guitars" (Nitsuga is the reverse reading of Augustine, and Mangori is the name of the legendary leader of the Guarani Indians). Around the middle of the 30s, Barrios began to develop health problems - a sick heart no longer allowed him to make long and strenuous concert trips. He spent the last years of his life in San Salvador, the capital of the small Central American state of El Salvador, teaching and composing music, only occasionally performing solo guitar concerts.
Mangori was not only an outstanding performer, but also a composer who wrote over 300 works for the guitar, many of which are today considered among the best works ever written for the solo guitar.

Vila-Lobos Heitor (Heitor Villa-Lobos 1887 - 1959)

Outstanding Brazilian composer, connoisseur of musical folklore, conductor, teacher. Born March 5, 1887, died November 17, 1959. Took lessons from F. Braga. In 1905-1912 he traveled around the country, studied folk life, musical folklore (recorded over 1000 folk melodies). From 1915 he performed with author's concerts.
In 1923-30. lived mainly in Paris, communicated with French composers. In the 1930s, he did a great job of organizing a unified system of musical education in Brazil, founded a number of music schools and choirs. Vila-Lobos is the author of special teaching aids ("Practical Guide", "Choral Singing", "Solfeggio", etc.), the theoretical work "Musical Education". He also acted as a conductor, promoted Brazilian music in his homeland and in other countries. He received his musical education in Paris, where he met A. Segovia and to whom he later devoted all his compositions for the guitar. The compositions of Vila-Lobos for guitar have a pronounced national character, modern rhythms and harmonies in them are closely intertwined with original songs and dances of Brazilian Indians and blacks. Head of the National Composer School. Initiator of the creation of the Brazilian Academy of Music (1945, its president). Developed a system of musical education for children. He wrote 9 operas, 15 ballets, 20 symphonies, 18 symphonic poems, 9 concertos, 17 string quartets; 14 "Shoros" (1920-29), "Brazilian Bahian" (1944) for instrumental ensembles, an innumerable number of choirs, songs, music for children, arrangements of folklore samples, etc. - in total over a thousand of the most diverse compositions.

Segovia Andres (1893-1987)

Outstanding Spanish guitarist and teacher. He was born in Andalusia, in the city of Linares, on February 21, 1893, and a few weeks later the family moved to Jaen. The wonderful art of improvisation of Andalusian folk guitarists and the original culture of this ancient land greatly influenced his attitude.
In 1910, the first public concert of Andres Segovia, organized by his friends, took place in the "Artistic Center" of Granada.
In 1915, Segovia met the guitarist Miguel Llobet, thanks to whom he was able to give a concert in Barcelona in January 1916. However, they did not seek to let the guitar into large halls. She was not a popular instrument, and everyone felt that the power of her sound was not enough, and she simply would not be heard in a large room.
The turning point in the fate of the guitar was a concert at the Palau Chamber Music in Barcelona, ​​where Segovia finally received permission to perform. The beauty of the sound of an acoustic guitar literally bewitched the listeners.
The atmosphere of Renacimiento, the movement for the revival of folk traditions in the music and culture of Spain, contributed to the further success of Segovia. Over the next six years, the guitarist won recognition for his instrument not only in the concert halls of Madrid and Barcelona, ​​but also in other cities in Spain. To this must be added the success of two tours to South America in 1919 and 1921.
The 20s of the 20th century became the time of the birth of a new era in guitar art and the beginning of the world recognition of Segovia. Each performance of Segovia was perceived as a miracle, as the discovery of something new. He sought to overcome stereotypes and establish the guitar as a solo instrument.
Three times, in 1926, 1927, 1935-1936, he came to the USSR and with constant success gave concerts in Moscow, Leningrad, Kyiv and Odessa. Segovia performed not only with concerts, but also met with local guitarists, listened to their play, conducted methodical talks and open lessons. This also affected the development of guitar art in the Soviet Union: after the tour, many professional musicians began to look at the guitar as an instrument worthy of serious study. The result was the opening of guitar classes in music schools (then technical schools), as well as in individual music universities. P. S. Agafoshin was an ardent supporter of Segovia, who was the first in the USSR to create the "School of Playing the Six-String Guitar", based on the methodological guidelines of the outstanding guitarist. Thus, Segovia was not only an artist, but also an active promoter of his instrument.

Guitar in Russia 2

Agafoshin Petr (1874-1950)

A wonderful Russian guitarist, one of the first teachers of the six-string guitar. P.S. Agafoshin was born in the village of Pirogovo, Ryazan province, into a peasant family. Passion for the guitar inherited from his father (originally played the seven-string guitar). Having moved to Moscow, Petr Agafoshin improved his playing on his favorite instrument on his own, only occasionally using the advice of teachers, among whom was V. Rusanov, the editor of the Moscow magazine "Guitarist". A significant role in Agafoshin's artistic development was played by his friendship with the artists V. I. Surikov and D E. Marten, passionate fans of the guitar. Participated as a performer in many concerts. Accompanied outstanding singers F. Chaliapin, D. Smirnov, T. Ruffo. Recognition of Agafoshin's performing art was an invitation to participate in Massenet's opera Don Quixote at the Bolshoi Theater in 1916 year, where he accompanied F.I. Chaliapin.
The meeting in 1926 with Segovia inspired Agafoshin. He did not miss a single concert of the Spanish artist, personally met with him. “After the departure of Segovia,” wrote Agafoshin, “I immediately reorganized, made the necessary adjustments to my production, to the methods of the game. By his next arrival in the spring of 1927, my condition was more balanced, since by this time I myself was already somewhat Therefore, my further observations of his playing were much more productive, I could focus them on individual moments and details of his performance, especially those pieces that were in the process of my study.
P.S. Agafoshin worked as an orchestra performer at the State Maly Theater for more than 40 years. In 1930-1950 he taught a guitar course at the Musical College. October Revolution and the Moscow State Conservatory. Many famous Soviet guitarists were his students (A. Ivanov-Kramskoy, E. Rusanov, I. Kuznetsov, E. Makeeva, Yu. Mikheev, A. Kabanikhin, A. Lobikov and others).

Alexander Ivanov-Kramskoy (1912 - 1973)

Outstanding Russian Soviet guitarist, composer, conductor, teacher, author of the "School of Playing the Six-String Guitar", one of the few Soviet guitarists who were awarded the title of Honored Artist of the RSFSR (1959). Born July 26, 1912 in Moscow. He studied at the Musical College named after the October Revolution with Petr Spiridonovich Agafoshin (six-string guitar), then at the Moscow Conservatory (advanced courses). He played a huge role in the development of the six-string guitar in Russia.
He performed as a soloist and in an ensemble with singers (N. A. Obukhova, I. S. Kozlovsky). Since 1932 he worked at the All-Union Radio. In 1939 he received the 2nd prize at the All-Union Competition for Performers on Folk Instruments. In 1939-45. conductor of the Song and Dance Ensemble of the NKVD of the USSR. In 1947-52 he was the conductor of the Russian Folk Choir and the Orchestra of Folk Instruments of the All-Union Radio.
Author of plays and school for six-string guitar. His guitar compositions (including two concertos for guitar and orchestra) are very popular among guitarists.
The pedagogical activity of A. M. Ivanov-Kramskoy proceeded at the Academic Music School at the Moscow Conservatory, where from 1960 to 1973 he headed the guitar class, having trained many talented musicians. Then he taught at the Institute of Culture.
Alexander Mikhailovich Ivanov-Kramskoy was a prominent musical and public figure who devoted all his energies to the promotion of guitar art. After many years of neglect, thanks to an outstanding performer and teacher, the guitar regained the status of a professional concert instrument and began to be taught in secondary and higher musical institutions of the country. Died A.M. Ivanov-Kramskoy in Minsk during a tour. He was buried in Moscow at the Vvedensky cemetery.

Komoliatov Nikolai (b. 1945)

One of the best contemporary Russian guitar players, teacher. Born in 1945 in the city of Saransk, in 1962-70. studied at the school, and then at the Institute. Gnesins in the class of the famous Russian guitarist A. M. Ivanov-Kramskoy. Graduated from the Ural State Conservatory. M. P. Mussorgsky. Since the opening of the guitar class at the RAM. Gnesinykh works as a teacher, having prepared many laureates of various competitions over the years. Currently he is a professor of the guitar class of the Russian Academy of Music. Gnesins.
In 1996 he became a laureate of an international competition at the Latin American Arts Festival. He is the first performer of many works by contemporary composers. Firma "Melody" released two solo discs of the performer. The first disc consisted of etudes and preludes by E. Vila-Lobos, and the second included works by P. Panin (Two etudes, Two preludes, Dance of the Shaman and Humoresque) and I. Rekhin's suite "In Memory of E. Vila-Lobos".
In reviews of N. Komoliatov's concerts, the press notes the timbre richness of his instrument and virtuoso technique, the elegance and subtlety of the musician's artistic taste.
For outstanding achievements in the field of guitar art, N. Komoliatov was awarded the title of Honored Artist of Russia. For more than 25 years he has been a soloist of the Moscow State Philharmonic.

YerzunovV Viktor (b. 1945)

Guitarist, composer, music teacher. Born in 1945 in Saransk. Father died at the front. Musical abilities showed up early, but there was no opportunity to study.
He started learning to play only at the age of 17, in the yard. We were content with three main chords... The turning point was the acquaintance with Nikolai Komoliatov, the only person in Saransk who went to study with Alexander Mikhailovich Ivanov-Kramskoy. I still remember Vila-Lobos' first prelude, which he played during our first meeting.
And then the training went on with the help of a self-instruction manual for playing the guitar and "by correspondence". Nikolai Komoliatov, who then served as a sailor and played in the ensemble of the Pacific Fleet, recorded on a tape recorder in his own performance those works, the notes of which Victor had, and sent them by mail from Vladivostok. So, "by ear", he understood the notes, playing on the model of his distant teacher. In 1963, after graduating from school, he went to work as an assembly fitter at the Elektrovypryamitel plant. He managed to play the guitar even during the lunch break, and after work - until dark at night. I prepared the program for entering the music school on my own. I did not get into the school at the Moscow Conservatory, since according to the order of the Ministry of Culture that year there was a set of students from Kazakhstan and Uzbekistan. But in the same year, a small class of six-string guitar was opened at the Gnessin School in the Department of Folk Instruments. Two of the thirty applicants were accepted. One of them is Viktor Erzunov. After 3.5 months of study, Viktor was drafted into the ranks of the Soviet Army, where he served in the combat unit for three years. Upon returning to the school, he studied ten hours a day to catch up. At the same time, he began to acquire his first teaching experience. He himself selected the repertoire for the students in order to instill in them a good musical taste.
V. Yerzunov's teacher Boris Khlopovsky left to play at the Mosconcert and recommended his best student for a teaching job. The vacant position of a guitar teacher was held for six months for Viktor Alekseevich, while he was completing his studies. In 1971 he began working at the Musical College. Gnesins. At the same time, at the invitation of Marina Davydovna Khidekel, he opened a guitar class at the Chernogolovskaya School of Arts.
The first pieces belonging to an already mature master, selected after many years of testing by time, were published in 1989 in the "Collection of Pedagogical Repertoire for Guitar" along with the works of the classics. A completely author's collection of Viktor Yerzunov's own compositions "Guitarist's Album" for children's music schools has also been released.

Vinitsky Alexander
(b. 1950)

Russian guitarist, composer, music teacher. Laureate of international competitions. Graduate of the Russian Academy of Music. Gnesins. He teaches at the State Musical College. Gnessins classical guitar, performs solo concerts, writes music for the guitar, conducts seminars and master classes on the topic "Classical guitar in jazz". Participates in international festivals of guitar and jazz music, successfully performs abroad and in large cities of Russia. Alexander Vinitsky's concert programs include original compositions that combine different styles, as well as arrangements of music by Gershwin, Jobim, Bonff, Gilberto, Powell, Porter, Rodgers and other composers. Recorded 7 discs. He publishes his works in major music publishing houses of the world. He has repeatedly been chairman and jury member of international classical guitar competitions in France, Poland, and Russia.

Frauchi Alexander (b. 1954)

One of the best Russian classical guitarists-performers. Born in Rostov in 1954. He began to take his first steps in music under the guidance of his father, Camille Arturovich Frauchi, a famous violinist and, as they say, a wonderful guitarist and teacher. He studied at the Central Music School at the Conservatory. Tchaikovsky in Moscow in the class of N. A. Ivanova-Kramskaya and at the Conservatory. Mussorgsky in Sverdlovsk with G. Mineev. In 1979 he won the first prize at the national musical competition of performers in Leningrad, and in 1986 - the first prize at the International Guitar Competition in Havana (Cuba). He has given solo concerts and conducted master classes in Germany, France, Belgium, Great Britain, USA, Austria, Italy, Yugoslavia, Poland, Cuba, Hungary, Czech Republic, Bulgaria, Turkey and Greece. Alexander Frauchi has repeatedly been invited as a jury member to international guitar competitions. A record was released by the Melodiya company, as well as a CD-ROM (1994) with a recording of the works of Nikita Koshkin.
Honored Artist of Russia, music teacher, professor at the Russian Academy of Music (former Gnessin Musical and Pedagogical Institute) in Moscow.

Ignaz Geld

Andrey Osipovich Sikhra

Semyon Nikolaevich Aksenov

Vasily Stepanovich Sarenko

Vladimir Ivanovich Morkov

Mikhail Timofeevich Vysotsky

Alexander Petrovich Solovyov

Valerian Alekseevich Rusanov