Amateur musical activity |

Amateur musical activity in the USSR is the work of people who do not professionally engage in art. Muses. S. includes individual and collective performance instr. and wok. music by amateurs, as well as the creation of muses by them. prod. As a rule, S. members are members of the Samoed. collectives, studios, circles, to-rye are organized at decomp. enterprises, institutions, military units, uch. institutions, collective farms, state farms, etc. In the 19th century. on the initiative of representatives of the progressive intelligentsia and with the support of charitable societies in Russia, societies began to arise. cult.-clearance. organizations, to-rye helped the formation of muses. S. ch. arr. townspeople (peasant choirs enjoyed some public support). In con. 19 – beg. 20th century The activities of the Russian Choral Society (Moscow, 1878-1915) and the People’s Conservatories (beginning in 1906 were opened in Moscow, St. Petersburg, Saratov, Kazan and other cities) were most intensive. From con. 70s there is a working music. S. (in 1876 in the Kozlovsky railway workshops of the Tambov province – a choir under the direction of A. D. Kastalsky; in the 90s at the Gold-weaving factory in Moscow, where K. S. Stanislavsky was one of the directors – a chorus of workers, then – a brass band; in 1906 – the choir of the Prechistensky Courses in Moscow). In the first years of the 20th century many were created. workers’ and peasants’ clubs, choir. and theater. mugs, loves. folk orchestras tools. (In February 1911 in Moscow, in the Small Hall of the Noble Assembly, a concert was held by the peasant choir of the Ryazan, Tula and Voronezh provinces under the direction of M.E. Pyatnitsky, now the Pyatnitsky Russian Folk Choir.) From the mass manifestations of music. Song festivals in the Baltics occupied an important place (the first in 1869 in Estonia).

Great Oct. socialist. the revolution opened a new era in the development of S., which is gaining unprecedented scope. From the first years of the Soviet the power of music. C. the state is sent to the USSR. and party bodies, financed by the state and trade unions, she is assisted by decomp. societies. institutions (unions of composers, choir. about-va, about-in “Knowledge”, etc.). Nov. In 1917, a department of political education was created in the People’s Commissariat of Education (since 1920 – the Main Political Clearance. committee of the RSFSR), the permanent leader of which until 1930 was N. TO. Krupskaya. In the responsibility of his Muses. department included the creation of a repertoire for mass choral performances, the leadership of military bands and the organization of various. holidays. During this period beings. role in mass music. Muses played the work. Moscow department. Proletkult (1918), K. C. Alekseev, N. Ya Bryusova A. D. Kastalsky, B. B. Krasin, G. AP Lyubimov and others. Means contribution to the work of the Tambov Proletcult was made by D. C. Vasiliev-Buglai. Mn. concerts organized by Proletkult were given by the participants in the arts. C. Numerous arose in the country. workers’ choirs and orchestras, workers’ and soldiers’ clubs were opened. C. (in Petrograd, Kharkov, Kyiv, Odessa, etc.). One of the first mass manifestations of muses. C. was the performance of the united choirs and orchestras of Proletkult at the opening of the memorial plaque “To those who fell in the struggle for peace and the brotherhood of peoples” on November 7. 1918 on Red Square in the presence of V. AND. Lenin. In Petrograd, since 1919, the combined performances of the muses. collectives were associated with revolutionary dates and the opening of the Congress of Soviets. To replenish the repertoire of music. C. were widely used. melodies, incl. and revolutionary, with new texts. During the years of the Civil War of 1918-20, the main attention was paid to the development of the Red Army S. Muses worked at the fronts, at the political departments of military units and formations. mugs (Chapaevskaya 25th Division, First Cavalry Army, etc.). In a horse. 1918 in Moscow, members of the club at the Heavy Artillery Division was a post. (in full stage setting) the first act of the opera Faust by Gounod. The Red Army soldiers of the Reserve Rifle Battalion on Khodynka organized 2 amateurs. symphony orchestra. From the autumn of 1920, the political departments of military units began to actively create Red Army choirs; since 1921 clubs of the Red Army were opened. In 20-ies. new forms of art are created. C. – “Live Newspapers” (dramatization of newspaper articles with the inclusion of music. rooms), since 1923 – following the example of Moscow. Institute of Journalism – “Blue Blouses” (uniform, in which the participants performed), in the villages – “Red Shirts”. In 1928, approx. 7000 similar groups. Of great importance for the development of music. C. had a letter from the Central Committee of the RCP(b) “On Proletcults” (1920), a report by V. AND. Lenin “The New Economic Policy and the Tasks of Political Education” (1921), a report on the work of the Main Political Education at the 10th Congress of the RCP (b) (March 1921). At the 13th Congress of the RCP(b) in May 1924 there was a post. the task is to turn the workers’ clubs into communist centers. education of the masses. All-Union Conference of Cultural Workers, held in April. 1926, stimulated the intensified development of workers’ muses. C. in different cities of the Soviet Union (Baku, Kyiv, Odessa, Sverdlovsk, Kharkov, etc.) and largely influenced the improvement of her art. level (in Veliky Ustyug A. Ya Kolotilova organized a choir in 1926. an ensemble of factory workers and handicraft workshops, which received the name in 1938. Northern Nar. choir and became a prof. team). An incentive to improve the forms of music. C. preparations for the 10th anniversary of Oct. revolution. In 1927, the first amateur Olympiad was held in Leningrad. isk-va – a joint performance of working choirs and orchestras (nar. instruments and brass) with a total of approx. 6000 people (organizer – conductor I. AT. Nemtsev). (Since that time, the Olympiads (later – festivals) have become traditional holidays of muses. C. in the cities of the Soviet Union.) In the same year in the inter-union competition of arts. circles was attended by St. 20 orchestras tools. In Moscow, by the forces of amateurs. circles were post. Opera “Breakthrough” by Pototsky (Center. club of workers nutrition) and “Aleko” by Rachmaninov (Railroadmen’s Club). In Leningrad in 1928 there was a post at the Red Triangle factory. opera “Ruslan and Lyudmila” by Glinka. To the beginning 1928 there were 10 muses. circles in cities and 30 in rural areas, approx. 1 million people. The main achievement of this period was not only the wide coverage of the participants of the S., but also their familiarization with high arts. forms of music isk-va. In 1929, the All-Russian Workers’ Music Association was founded.

In 1928 and 1929 All-Union conferences on mass art were held. work among rural youth and in the arts. work of trade unions, the main attention to-rykh was directed to strengthening rural muses. C. For this purpose, competitions were held for performers on bunks. tools. Particularly representative was the 2nd (provincial) competition of accordionists and accordionists in Moscow (January 1-8, 1928; the first took place in Leningrad in 1, A.K. Glazunov was the chairman of the jury). The total number of participants in this competition reached 1927 people. Member the jury was MM Ippolitov-Ivanov (prev.), A. V. Lunacharsky, N. K. Krupskaya, A. A. Davidenko and others. the concert (at the Bolshoy T-re) was attended by B. V. Geltser, A. V. Nezhdanova, NA Obukhova, to which accordionists accompanied. In 4000, a competition for participants in music was held in Ukraine. circles. At the first All-Union Olympiad amateur. art-in the peoples of the USSR (Moscow, June 1932) the work of Ukrainian, Armenian, Uzbek, Kazakh, Tat., Bashk. was presented. and other peoples. Since 1930, at the initiative of the Leningraders, school-pioneer Olympiads began. In 1931, the All-Union Committee for Arts organized the All-Union Choral Olympiad by prof. and do-it-yourselfers. collectives, members of which were representatives of 1936 nationalities.

In 1930, to provide creative. assistance to art groups. S. on the basis of the House of Arts. V. D. Polenov in Moscow was organized methodical. center – Center. do-it-yourself home. lawsuit them. N. K. Krupskaya (TSEDISK; in 1936 it was transformed into the All-Union House of Folk Art named after N. K. Krupskaya). In 1934, under him, correspondence courses were opened for leaders and participants in the arts. S. (in 1959 reorganized into Correspondence People’s University of Arts). To con. 30s city ​​and regional houses creativity were created in almost all Union republics. Since 1935, the comprehensive assistance of the muses. S. have a rep. unions of composers; with their participation in the allied and auth. republics organized nat. choirs, song and dance ensembles, orchestras. For a systematic showing achievements of amateurs. art-va of the country in 1935-38 in Moscow was created T-r bunk. creativity (head. Comp. L. K. Knipper). Since 1936, music. S. is also shown at the Decades of National Art. With the opening of the permanent All-Union Agricultural Exhibition in Moscow (Aug. 1, 1939), the performances of the best soloists and collectives of the S. nat. republics are carried out at its end. sites. In the year of opening, musical groups demonstrated their art here. C. Azerbaijan, Belarus, Georgia, Kazakhstan, Kyrgyzstan, RSFSR, Uzbekistan, Ukraine, Tajikistan, Turkmenistan. In 1940, a music review was held. S. railroad workers, which laid the foundation for the Olympiads of S. participants, united by profession. By 1940 there were 71 music circles in the country. S., in which St. 500 thousand people

During the years of the Great Fatherland. wars 1941-45 mn. large amateurs. the collectives broke up, their members went to the front. The rest created small brigades, spoke at rallies in the workshops of plants and factories, at recruiting stations, in parts of the Sov. Army, hospitals. From the participants of the army S., mobile conc. were organized. propaganda art. brigades that spoke to the soldiers. With the advance of the front to the West in the liberated regions, new music groups were very quickly restored or created. C. Art groups have become a great agitational force in helping the front. S. in the rear (in Bashkiria, Gorky, Kalinin, Moscow, Ryazan, Sverdlovsk, Yaroslavl regions of the RSFSR and in other Soviet republics). During 1944 the participants of arts. S. was given approx. 30 concerts and performances in 900 clubs, 82 performances at enterprises; Fees from paid concerts were deducted to the defense fund and to the fund for helping the families of front-line soldiers. The war years became a new stage in the development of owls. mass song, its propaganda was largely promoted by amateurs. teams. Regional and regional reviews and olympiads continued to be held. From 27 Dec. 1942 to 5 Jan. 1943 in Moscow, a decade of showing the best brigades and circles of muses took place. S. In April-June 1943, in the difficult conditions of the blockade, a Leningrad review was held. city ​​music. teams. (For 3 war years in Leningrad, amateur groups gave about 15 concerts.) In 000-1943, it became possible to hold music reviews. S. in the RSFSR, in Ukraine, in Kyrgyzstan and Estonia. In 45, a review of amateurs was held in Moscow. choirs and vocalists (1945 best teams and 40 soloists took part in it) and an art show. S. military. academies, institutes, educational institutions, schools and parts of the Moscow garrison.

Particular attention during the war was paid to the replenishment of S. with young forces, to the development of muses. S. in secondary and higher education. institutions, in pioneer camps, among children from orphanages. In con. 1942 at Moscow. mountains In the house of the pioneers, the Song and Dance Ensemble of Moscow was organized. schoolchildren (headed by V. S. Loktev). Music shows became regular. C. labor reserves (since 1943).

At the end of the war, already 3 Oct. 1945, the All-Union review of the choir was held. C. workers and employees who showed means. an increase in the number of self-employed. choirs. By 1946, there were 69 working circles in the RSFSR alone (including 900 choral and 23 musical circles), which is 100/5600 times more than in the pre-war period. During this period, large groups arose in Leningrad and grew into large groups: the Leningrad Choir. un-ta, Leningrad choir. Palace of Culture. S. M. Kirov, the musical group of the Vyborg Palace of Culture, and many others. In the years of the 11st post-war. five-year plans trade union and Komsomol organizations, Houses of Nar. creativity with the active support of party bodies began work on the restoration of pre-existing and the creation of new groups of muses. S., to identify talents among broad people. wt. Methodical self-employed centers. art-va become the House of Arts. S. trade unions (created since the 2s). Already in 1 in the music. S. of the country, there were 1950 symphonies. orchestras, 1950 people’s orchestras. instruments and 112 brass, 12 instr. ensembles, 266 bayan and accordion clubs, 6354 bunks. choirs, 4139 805 mixed choirs, 18 wok. ensembles, 411 song and dance ensembles, 270 205 propaganda teams and pop groups. groups. In the 6200s. amateur musical theaters are being developed. studios, incl. in Leningrad – a music studio. comedy at the Palace of Culture. 1667st Five-Year Plan and the Opera and Ballet Studio at the Palace of Culture. CM. Kirov (the productions of the operas The Tsar’s Bride, La Traviata, Sorochinskaya Fair, Quiet Flows the Don testify to the maturity of the artists. S. and the high performing skills of the participants).

The growth of mass singing has led to an ever-increasing number of song and dance festivals. They were held in a number of regions of the RSFSR, in Belarus and Ukraine, in the Baltic republics, since 1952 they have become traditional in Kyrgyzstan and Kazakhstan. Music shows have resumed. S. at the All-Union Agricultural Exhibition in Moscow (since 1958 – Exhibition of Achievements of the National Economy of the USSR); S. participants also demonstrate their art at similar exhibitions in other republics.

At the All-Union Review of Music. S. in 1956 in Moscow, high skill was shown by the male choir of the Tallinn House of Culture (headed by Yu. Ya. Variste) and the choir of the Moscow. un-ta (headed by S. V. Popov). The first rally of the bunk was of fundamental importance. singers – authors of modern. songs (Voronezh, 1950), he laid the foundation for rallies-seminars in other cities. This helped to identify the participants of the muses. C. a number of talented composers (A. R. Lebedeva, A. M. Olenicheva, and others). Arts. the growth of music S. contributed to the decision of the Committee for Claims under the Council of Ministers of the USSR (1950) to attach prof. workers claim-in to amateurs. collectives (in a broader sense, which consolidated the traditions of the CK USSR), as well as the creation of the All-Russian Choral Society (1959) and similar societies in Ukraine, Belarus, Armenia, Georgia, and other rep.

In the 60s. characteristic feature of the development of music. S. was a variety of types and genres of amateurs. lawsuit, significant growth will perform. skill. Having long-term traditions and high arts. achievements of amateurs. music t-frames, orchestras, choirs, song and dance ensembles, etc., from 1959 began to be awarded the title of a folk group (in 1975 there were more than 4,5 thousand). A clear example of enhancing the arts. music level. S. became an increased number of opera productions, carried out by the forces of its participants in Vladivostok, Voroshilovgrad, Kyiv, Kutaisi, Klaipeda, Leningrad, Moscow, Nikolaev, Novocherkassk, Taganrog, Tashkent, Ufa, Cherepovets, etc., as well as in rural areas (p. Zalesyanka, Saratov region, Balyasnoye village, Poltava region, etc.). Beginning in 1963, people’s philharmonic societies appeared, organizing music concerts. C. One of the forms of training leaders of muses. S. became Nar. conservatory (for the first time in Leningrad, 1961; departments – conductor-choir, Russian folk instruments, wok., piano, orc.), where teaching is conducted on a voluntary basis. In Moscow. music-pedagogical. in-those them. Gnessins, at the Saratov Conservatory and others were organized special. departments for training leaders of nar. choirs. Choirmasters for nar. S. are preparing the institute of culture, music. and cult.-clearance. school. In development of children’s S. means. role played by Institute of Arts. education APN of the USSR. Music development process. S. is reflected in the special. magazines: “Music of the Masses” (“Music for the Masses”, Kharkov, 1928-30), “Art for the Masses” (Moscow, 1931, in 1932-1933 – “Amateur Art”), “Musical Amateur” (Moscow, 1933-36) , “Cultural and educational work” (Moscow, 1940-), “Club” (Moscow, 1951 -; since 1964 – under the name “Club and amateur performances”), as well as in music. and social and political. periodic publications.

In the 70s. the number of music circles and members of music. S. increased, wok-instr became widespread. ensembles, estr. and brass bands. Since 1971, by decision of the All-Union Central Council of Trade Unions and the Collegium of the USSR Ministry of Culture, a Center was established under the Central Committee of the Trade Union of Cultural Workers. commission for cultural and patronage work in the countryside, which was headed by the bunk. art. USSR M. A. Ulyanov. One of the main directions of its activity is the involvement of masters prof. claim-va to assist the arts. S., incl. musical. Musical and educational work with children is widely carried out, children’s choirs are organized. and music. collectives, great importance is attached to children’s song festivals, reviews and festivals of the choir. music. Art groups every year. S. countries give St. 1 million concerts and performances, which gather an audience of up to 280 million spectators. Choir members. and music. S. attract products. heroic-patriotic, civil sound, as well as folk. songs and ditties, lyric. songs. The scope of the multinational self-made. art-va of the peoples of the USSR demonstrated in 1977 (it began everywhere in 1975) The first all-Union festival of amateurs. arts. creativity of workers, devoted. 60th Anniversary Oct. revolution of 1917. More than 15 million people took part in it. The festival enriched S.’s repertoire with new ones. themes, reflected the major events that took place in the country, contributed to the familiarization with the amateurs. the claim of the broad masses of working people, a more complete identification of people’s talents. It was decided to hold an all-Union festival of St.

Arts. S., incl. musical, throughout the history of the Owls. state-va constantly replenished the staff of prof. art. In self-employed. conductor K. K. Ivanov, singers – I. K. Arkhipova, M. L. Bieshu, M. N. Zvezdina, I. S. Kozlovsky, S. Ya. Lemeshev, E. S. Miroshnichenko, A. P. Ognivtsev, I. I. Petrov, T. A. Sorokina, V. I. Firsova and others, creative work. prof. collectives – Russian Nar. choir them. Pyatnitsky, Severny, Omsk, Volzhsky, Voronezh and other choirs, Song and Dance Ensemble of Owls. Army, Russian Folk Orchestra. N. P. Osipova and others. Theaters of opera and ballet Kazakh. SSR, Kirg. SSR, Turkmen. SSR, Taj. SSR and more. others are often replenished with performers from muses. FROM.

Muses. S. USSR won wide recognition abroad. The best teams and soloists of music. S. take part in the international. festivals and competitions. Among the winners of international competitions festivals – Choir of the Chelyabinsk Tractor Plant (headed by S. N. Ozerov and V. G. Sokolov, 1947, Prague), Choir of the Moscow. automobile plant (headed by A. V. Rybnov and V. G. Sokolov, 1949, Budapest), Choir of Young Workers of Leningrad (headed by I. I. Poltavtsev, 1951, Berlin), Choir of Moscow. students (headed by V. G. Sokolov, 1953, Bucharest), Leningrad Choir. un-ta (headed by G. M. Sandler, 1957, Moscow), Choir of Odessa students (headed by K. K. Pigrov, 1957, Moscow), Choir of students of Ural University (headed by V. V. Serebrovsky, 1959 , Vienna), Choir mosk. Palace of Culture. Gorbunov (headed by Yu. M. Ulanov, 1961, Debrecen, Hungary). At the international polyphonic competitions. and Nar. music in Italy (Arezzo) 1st place was taken by the Lithuanian Male Choir. SSR “Varpas” (“Bell”; director A. Krogertas, 1969), Tallinn Chamber Choir (director A. Ratassepp, 1971), Riga Choir “Ave Sol” (director I. Kokars, 1974); to the international choir competitions in Bulgaria – Moscow. choir of youth and students at Choir. about-ve (head. B. G. Tevlin, 1975, Varna), in Czechoslovakia – Academic. choir Moscow. un-ta (head. S. V. Popov, 1975, Pardubice), them. B. Bartok in Hungary – the Youth Choir of the House of Culture No 3 of the city of Yerevan (headed by S. S. Ter-Ghazaryan, 1976, Debrecen), in the Netherlands – the Women’s Choir of Teachers “Dzintar” Latv. SSR (headed by A. R. Derkevitsa and I. O. Tsepitis, 1977, The Hague). Participation of amateurs. collectives and soloists along with professional in international. competitions testifies to mean. qualitative growth of art. S. and stimulates its further development.

References: Sharp, Musical Olympiad, “The Life of Art”, 1927, No 26, p. eleven; The First Olympiad of the Arts of the Peoples of the USSR, “For Proletarian Music”, 11, No 1930, p. 4-3, 4; Korev S., Facing amateur musical performances, “Art Education”, 15, No 1931, 4; Dovzhenko V., Competition of musical circles of Kharkov, “For proletarian music”, 6, No 1932-4, p. 5-12; Composers on collective farms, “SM”, 15, No 1936; Knipper L., Theater of Folk Art, ibid., No 3; Vasiliev-Buglai D., Theater of Folk Art, ibid., No 5; Kuznetsov K., All-Union Choral Olympiad, ibid., No. 7; Aleksandrov M., Art of working youth, ibid., 8, No 1948; Massalitinov K., Creators of the Soviet folk song, ibid., 8, No. 1950; Tikhomirov R., About musical amateur performances, ibid., 8, No 1951; Decade of the Pioneer Ensemble, ibid., 9, No 1952; Vorobyov G., Opera on the collective farm stage, ibid., 7, No 1952; Opera staged by an amateur group, ibid., 4, No 1953; A valuable undertaking, ibid., 8, No. 1953; Kalugina N., Amateur Art Festival, ibid., 5, No 1956; Abramsky A., Ways of musical amateur performances, ibid., 5, No 1959; Koroleva E., Children’s Folk Philharmonic, “MF”, 5, No 1963; Ryumin P., Mass amateur performances, “Communist”, 19, No 1964; “Collective Farm Philharmonic”, “MF”, 18, No 1964; Jaunzem Irma, There is something to be proud of, there is something to strive for, “Cultural and educational work”, 21, No 1965; Mazuritsky M. P., Amateur art during the Great Patriotic War, “Uch. app. Moscow Institute of Culture”, 5, no. 1966, p. 13-169; Rutovskaya O., Opera performed by schoolchildren, “MF”, 91 No 1969; Kukshanov V., From the history of Soviet amateur art in the 19s, “Scientific works of the Sverdlovsk Pedagogical Institute”, 20, Sat. 1972, p. 166-93; Alekseeva L., From workers’ circles to folk groups, M., 109; “MF”, 1973, No. 1977, p. 20-20; Zemlyannikova L. A., Creativity of millions, Pravda, 21, 1977 Oct.; Striganov V. M., Results and prospects, “Cultural and educational work”, 2, No 1977.

MP Leonov