George Sviridov Years of Life. S. Wedding Maker G. V. Sviridova in the context of Russian musical culture. Recycling for Suite.

Music Sviridova - the phenomenon is deeply national and just as modern. In it, the original power, conviction, clarity and spiritual height, moral. This is the music of the soul. Even the keen one, she is quiet, always sincere. It is so natural that hearing her once, it's hard to imagine that once it was not.

Music Sviridova is born from the need to think, listening to the world around, thinking as if with people, expressing them. His songs are the music of internal states. The music, which, having heard, needs to be absorbed into himself and not sing himself on the streets, but maintain how we are guarding spiritual secrets from someone else's eyes.

Sviridov's music, it is impossible to confuse any other - its figurative world, taking the soul of intonation, accessibility conquer the listeners from the very first sounds. This music is simple, idle. But this simplicity is a consequence of deep comprehension of the complexity of life and desire, and the ability to say about it just. This simplicity against the background of the most complex quests of most modern composers seems phenomenal, incomprehensible.

Sviridov is one of the most remarkable composers of the second half of the 20th century, and it allows it, first of all, the extraordinary spiritual wealth and the meaningability of his music.

Externally, the life of Sviridov was usual, without any extraordinary affairs and adventures. The main event in it was countless hours spent on a piano or table when he wrote score.

The future composer was born in the small town of Fatezh in Kursk province. His father was a postal employee, and the mother was a teacher. When George was only four years old, the family of orphaned: his father died during the Civil War. After that, the mother together with his son moved to Kursk. There, Yuri (so Sviridov was called in childhood) went to school, where his musical abilities were manifested. Then he mastered his first musical instrument - a conventional balalaica. Sviridov took her from one of his comrades and soon he learned to play so that he was accepted into the amateur orchestra of Russian folk instruments. He even tried something to write. It was the birth of a musician.

The head of the orchestra, the former violinist Ioffe, arranged concerts and musical evenings dedicated to the classic composers. Playing in the orchestra, Sviridov honed the equipment and never ceased to dream of getting a musical education. In the summer of 1929, he decided to enter a music school. At the entrance exam, George played a march of his own essay. He liked the commissions, and he accepted him to school.

The Music School of Sviridov became a student of V. Ufimtseva, the wife of the famous Russian inventor in the field of aviation and energy. It was she who became the man who advised Sviridov to devote her life to music. Communicating with the Ufimtsev family, Sviridov loved literature.

In 1932, George Sviridov enters the Leningrad Music Technical School in the Piano class, which was led by Professor I. Braudo. At that time, Sviridov lived in a hostel and to feed, played in the evenings in the cinema and restaurants. Under the leadership of Professor Braudo Sviridov quickly improved performance techniques. However, after six months, his teacher was convinced that Sviridov had an innate gift of the composition, and achieved his transfer to the composite department of the Technical School, and in the class who led the famous musician M. Yudin.

At that time, a lot of talented young people gathered under the roof of the first music technician: N. Bogoslovsky, I. Dzerzhinsky, V. Solovyev-gray. And in terms of teaching, the technical school successfully competed with the Leningrad Conservatory.

Here he wrote his first coursework - variations for piano. They are still well known among the musicians and are executed as a training material. But the most famous was the cycle of six romances to Pushkin poems.

Malnoyment and hard work undermined the health of the young man, he had to interrupt their studies and engage in his health. And in the summer of 1936, Sviridov enters the Leningrad Conservatory and becomes the winner of the name of the A. Lunacharian scholarship. The first teacher was Professor P. Ryazanov, whom D. Shostakovich changed after half a year.

Under the guidance of his new mentor, Sviridov completed work on a piano concert, the premiere of which took place during the decade of Soviet music, simultaneously with the fifth symphony of Shostakovich.

Shostakovich became for Sviridov not only by the teacher, but also the eldest friend for life. He graduated from the conservatory of Sviridov in 1941.

Successful ending the conservatory was promoted to the young composer brilliant perspectives, he finally got the opportunity to professionally engage in his favorite business. However, all these plans broke the war. In the first days, Sviridov was enrolled by a military school cadet and sent to Ufa. However, at the end of 1941 he was demobilized for health.

Until 1944, Sviridov lived in Novosibirsk, where he writes war songs, as well as music for performances.

In 1944, Sviridov returned to Leningrad, and in 1950 settled in Moscow. He equally easily writes serious music, and light music. Its writings are diverse in genres: these are symphones and concerts, oratories and cantata, songs and romances.

Vocal music occupies a central place in the work of Sviridov, inextricably linked with the world of poetry. Working with poems of various poets, the composer reveals their appearance in a new way.

He was attracted by Sergey Yesenin - the poet, whose acute sense of love for his homeland, her nature and people are particularly close to the composer.

G.V. Sviridov talks about the poem "In this work I wanted to recreate the appearance of the poet himself, the drama of his lyrics peculiar to her passionate love for the people makes his poetry always exciting. It is these features of the wonderful poet of the road to me. And I wanted to tell the language of music.

The composer does not just paint the Russian winter, beautiful spring, unbarrible expanses of the fields, the spells of the witch summer night. Behind all this Gulko beats the pulse of history: the paintings of the life of the Dooktyabrsk Russia are changing the revolutionary swirl sweeping the old ...

Listen to the passage from Cantata "Memorial Meanin" (1956), which is called "sings Winter, Aukets." Music is vividly draws a picture of the winter, transmits the feeling of snowfall, winter blizzards, wind and gradual onset of the clutch.

Three topics become leading in the work of Sviridov: one is connected with the images of the Motherland, the other - revolution, and the third - with the image of the poet, who appears as a citizen, an artist, mind, eyes and conscience of his time, their people.

A large place in music G.V. Sviridova occupy images of Russian nature, then bright, juicy, written, as if large smears (as in the "poem of the memory of Sergey Yesenin"), then tender, as if blurred, "watercolor" ("autumn", " These poor villages are on the verses of F.I. Tyutchev), then strict, harsh ("wooden rus" on the verses of S.A. Yesenin). And always depicted passed through the heart, gell with love. Nature is inseparable, inseparable with the globility of the lyrical hero of Sviridov. It is animated, mysteriously incomprehensible. Such an aggravated perception of nature comes from the depth of nature of the hero, his mental subtlety, poetic sensitivity.

Cantatu "Kursk songs" (1964). Sviridov wrote on the basis of the study of materials of the creative expedition on the Kursk Territory. Listening to songs, he said that in the songs so much perfect in the sense of choral scuffs and the invoice that the composer here almost nothing to do. The composer was very carefully reacted to the melodic material, which he tried to preserve in original purity and beauty.

G.V.Sviridov seeks to reflect the most significant events and phenomena of our history and modern life, for example, the Kulikov battle ("Song about Russia" on poems A.A. Blak), revolutionary events.

But not only epochemical phenomena found their incarnation in Sviridovsky music, in it - the reflection of the simple, daily life of people. And in this composer, rising to large social generalizations, creates extremely multifaceted images, and sometimes all tragic destinies.

One of the first composers of Sviridov turned to the poetry of Velimira Khlebnikov and B.L. Pasternak. His little cantata "Snow goes" (1965) is characterized by the subtlety of the means of expressiveness, the chords are more sophisticated, then the same cosmic universality is broken. The melody of the first part is built in just two notes, creating a feeling of a depleting triping of snow flakes. Fascinating deprivation of a slow melody is supported by solemn chords, creating a symbol of nature eternity.

George Sviridov is the creator of an interesting musical genre, which he called the "musical illustration". Composer as if tells a literary product by means of music. This is primarily a cycle dedicated to the story of Pushkin "Misel" (1974).

It, as it can not be more consistent with the spirit of Pushkin's story of her simplicity and hopelessness, the simplicity of heroes, their whole harmonious perception of life. This music is pierced by the melodic start, which in it strongly prevails. Harmony in the works are quite simple, although sometimes original and are sophisticated.

Orchestral flavor stylists the musical era of Pushkin. Light orchestra paints, fresh watercolor. The timbres of strings and wooden spiritual instruments prevail, sometimes complete orchestral soundness occurs.

The first part, "Troika" serves as a kind of screensaver to the work. Against the background of continuous movement, there is a vividly pronounced Russian character, as if flying over the infinity of a snowy plain.

The music recreates the image of the snowy road (music sounds).

Now we suggest you listen to another fragment from the "March" suite. Pay attention to how expressively and accurately illustrates the music of the literary text A. Pushkin. It breaks through the timbre and dynamic contrast, depicting the entry of the hussar regiment in the town (against the background of music sounds an excerpt from the story A. Pushkin "Misel").

Another passage is "Romance", stylized in the manner of love lyrics of the beginning of the XIX century. This product is very popular today, and entered our life as the golden pages of Russian music. Often the "romance" melody sounds in Moscow in underground transitions.

Works of Sviridov widely known in our country and abroad. The world glory Sviridov brought amazing choral cycles ("Decembrists" for the words of A. Pushkin and the Poets-Decembrists, "Poem of Memoria of Sergey Yesenin", "Patriotic Oratorion" in V.Makovsky, "Five Songs about Russia" for the words A. Blok and others .). However, Sviridov also worked in popular genres, for example, in operetta ("lights", "the sea spread out widely"), in the cinema ("Sunday", "Golden Calf", etc.), in a dramatic theater (music to performances A. Collapse "Don Cesar de Bazan" and others).

Sviridov was generously marked by the titles and awards at almost all authorities: he was awarded three times with state prizes of the USSR (1946, 1968, 1980), the Leninist Prize in 1960, in 1970, assigned the title of People's Artist of the USSR, in the 1976th Hero of Socialist Labor. In many ways, therefore - when the restructuring was killed, and the past began to scold the past - Sviridov and his music fell into opal. The famous screensaver in the program "Time" ("Time, Forward!" (1974) was removed from Ether as an example of a "totalitarian past"). However, a few years later, justice was restored. This is what the film director M. Schweizer wrote about this: "Because this music is forever. Because in it the pulse free from the political fuss life. In it, the time, which, contrary to all shocks of fate, historical catastrophes and irreparable losses continues forever. "

The beauty of music we will hear. Now it consists in its indomitable energy, in a rapid movement forward. Each of you will definitely feel it. Perhaps you will feel the tide of strength, the desire to do something real, good, the desire to move forward to your cherished dreams.

In this music, the composer wanted to express the spirit of our era, convey something that all kind people live on the globe: the desire to make life as much as possible, more beautiful, build new cities, conquer space, and most importantly - the desire to make all people on Earth are free, Happy and joyful. In this music, the pulse of the modern world is heard. She sounds like a hymn of light life, to which humanity comes. In this and, however, beauty, and the strength of this music.

Of all the modern composers of Russia, Sviridov, the title of "folk" in the true sense of the word deserves the highest degree.

The noble simplicity and moral pathos of the art of Sviridov, his careful attitude towards treasures of Russian poetry gained his sincere love of a wide audience.

Sviridov with his peculiarity peculiar to him before and deeper than many other figures of Soviet culture felt the need to preserve the Russian poetic and musical language, invaluable treasures of antique arts created by centuries.

Music Sviridova became the classic of the Soviet art of the 20th century due to its depth, close connection with the rich traditions of Russian musical culture.

Creativity G.Sviridova is represented mainly by chamber-vocal, oratorical and choral essays a Capella. The main features of the Sviridov style were formed by the beginning of the 50s and then only differed slightly. The main feature of the Sviridov style is the Russian national beginning of his music, a song characteristic of Russian folklore - from here Diathonism underlying the majority of works, the abundance of uninsions and parallelism, the widespread use of the production polyphony and choral pedals. It is found in the choral harmony of Sviridov and chromatics, most often where music expresses a complex state of mind (Wed "Night clouds" No. 1); According to A.Belonenko's expression, "harmony becomes a mirror, which reflects the slightest movements of the human soul" [Belonenko A. Choir's creativity G.Sviridova // G.Sviridov, writings for choir, Issue.1. "Music", M.1989, pp.12]. In general, the melody of Sviridov Diatonic, archaic frets are widely used, on the basis of which concise and very expressive halftone intonations are created. Achievements of Sviridov in the field of melody are especially noticeable against the background of the hobbies of many of its contemporaries with new letters technology - sonorous, aletory, introducing into score of the sound effects, - Sviridov remained faithful to the tradition of singing choir, which, above all, allowed him to transfer the intonational wealth of Russian melodic speech. Almost without quoting the folklore melodies, the composer freely dissolves in his music of the intonation of peasant and urban casualties, bannyal dishes and spiritual verses, revolutionary and mass songs. Sviridov is one of the few modern composers who returned the melodies of her dominant role. Even harmony is largely dictated by a melody: this is the so-called resonating harmony, including and as if extending the sound of all tones of the melody. From here and its unusual structure, which is based on quart and second ratios. The Sviridovskaya Harmony, as a rule, plays a non-functional, and a fonic role, in it - "the feeling of huge spaces that sound, the bell tongues." The orchestra plays such a colorful role. Despite the fact that Sviridov wrote little symphonic works, there is no doubt that they created a fundamentally new orchestral style, combining brightness and power with transparency, a feeling of sound valtility with pure instrumental hazards and stons. Especially much made by Sviridov in the sphere of choral pictusivity, sounding: he masterfully owns the timbious palette of the choir, he is subject to the thinnest techniques and the most sophisticated shades of the temptation.

In songs, romances, individual parts of large choir works, the sviridov uses simple traditional forms: two-, three-part, especially tweed and bureaucratic variations. Due to the constant, permeating variability, its shapes become through, most often the result is the last section or a verse. The composition of cantal-oratorical essays each time is individual and depends on the creative task being solved at the moment. The musical development in them is less obedient to the laws of drama, there is no purposefully developing plot, unlike the Cantat and the orals of the 1930s ("Alexander Nevsky" S.Prokofyeva, "on the field of Kulikov" Y.Saporin). In the foreground, there is no image of an event as such, but its understanding and emotional experience, therefore, there is a certain type of drama, based on the gradual building of the volume of the whole of, seemingly insignificant details. This type of composition is close to ancient Russian epic works.

All the work of Sviridov permeates the theme of the Motherland in the broad sense of the word. It occupies a central place, subordinating all the others: the historical fate of Russia, its nature, the fate of a separate person and the whole people, the role of art in human life. The topic of the revolution, its place in the history of Russia and the fate of people is repeatedly understood. No less important for Sviridov the theme of the poet - voice and conscience of the people. The poet is the main character of the majority of large works of Sviridov: the first in this row is the Pushkin cycle, and with the advent of the poem "Country of Fathers" this topic becomes the lead.

After the cycle on the poems of Burns, the composer focuses entirely on national plots and Russian poetry. In the 1950s created in the early 60s. Diptych on the verses of S.Senin, new trends of Sviridovsky creativity are visible: the first chorus ("You are the top of the song that before ...") adjoins the previous stage of creativity, abundant songs, the second choir ("Soul is sad about heaven") begins a new stage With characteristic of him appeals to the musical and historical past of Russia, which will later lead to the creation of three choirs to the drama of A. Torsto "Fedor John", where Sviridov appeals to the peculiarities of the bannyal manner; Even a few later, he approaches the genre of choral concert as an independent, which has become the most suitable form of incarnation of major ideas, which can be considered in connection with the interest of the composer to the old days and the desire for the development of ancient Russian artistic traditions. This affected the whole on the tone of many of his works - awkward and elevated, - on the characteristics of the language, and the completion of the creative path was the creation of original spiritual chants. Sviridov continues and develops the traditions of Russian classics, - Glinka and crooks, to a greater degree of Mussorgsky, who, like Sviridov, in every work, especially vocal, constantly looking for expressiveness of intonation, sought to the limiting latitude of music and words. The appeal of Sviridov for vocal music is a consequence of the deep connection of his creativity with national roots, because it is known that the whole ancient, both professional and folk, music was connected with the word, "Pelas. The song in the broad sense of the word has become the basis of the style of Sviridov.

Editor Pavel Vyacheslavovich Muscatinyev

Corrector Marina Nikolaevna Sbutnova

ISBN 978-5-4490-3341-3.

Created in the Intellectual Publishing System Ridero

From the author

The purpose of creating a cycle of methodological developments on the discipline "Domestic music literature of the XX - XXI centuries" for students of the IV course of music schools (specialty: 53.02.04 "Vocal Art", 53.02.05 "Solo and choral People's singing", 53.02.06 "Choir conducting ", 53.02. 03" Instrumental performance ", 53.02.07" Theory of Music "), appeared, first of all, systematization of research, as well as fiction (including modern), in one way or another representing the identity of the Great Russian composer of the 20th century - G. V. Sviridova.

It should be noted that the textbooks on the specified subject for a long period of time were not reissued. The educational literature, which appeared in recent years, contains the necessary basic information on the topics of the course, but the volume of educational publications is not able to reflect many actual problems of composer creativity, as well as to present a holistic analysis of musical works.

The cycle of methodological developments was the result of many years of teaching the above course. Works include a significant amount of educational material on its scale, which is based on a detailed review of the most important aspects of the composer's creative activity, as well as the analysis of a significant number of copyright essays. The strict logical sequence of each methodological development clearly demonstrates the lesson plan, key thematic issues, final requirements for students' certification. Each work is attached to an updated list of research literature, which can serve as a good help for students-musicians in the study of the works of the author named; as well as in the process of writing abstracts, coursework and creative work. Each course of the course is demonstrated in the form of open lessons.

Cycle of methodological developments dedicated to creativity

G. V. Sviridova:

1. "G. V. Sviridov. Some features of creative style " - illustrates some aspects of style evolution, covers key positions regarding the characteristics of social and artistic prerequisites for the formation of a composer musical language. The work includes a brief overview of the creative heritage, as well as the most important directions of creative activity G. V. Sviridov. In "Conclusion" formulated the main position-conclusions regarding artistic style. Many facts, including research and biographical, appeared in recent years in the memoirs of contemporaries, closely knew the composer, as well as after the publication of the literary "diary" records of the Sviridov himself. These fragments are also included in the work.

2. "G. V. Sviridov. Vocal creativity » - represents the most important style features of vocal music, considered in the context of art traditions and genre specifics. The work includes the analysis of some composer compositions and sections that reveal the ratio of the composer to poetry, primarily domestic; Work with various topics, as well as understanding the phenomenon of the Sviridovskiy intonation.

3. "G. V. Sviridov. Panthetic oratorio " - For disclosure of this topic, an extensive artistic and cultural material was used, which includes the characteristics of specific features of the poetic style of V. Mayakovsky; A brief historical overview of the development of the Genre of the Oratorion, which indicates that this direction of composer activity remains relevant for the music art of the XX - XXI centuries. The development of the development includes a detailed analysis of the oratory, as well as encompasses broad sociocultural realities, style and shaped-thematic priorities of Sviridov creativity, the specifics of the interaction of musical traditions and innovation and their embodiment in composer work. This spectrum makes it possible to carry out a full analysis of the poetic texts of the "pathetic oratorio", which defines its high-quality and artistic interpretation.

4. "G. V. Sviridov. Poem in memory of Sergey Yesenin " - The presented development is devoted to one of the most significant works of the composer, which is considered in the context of the most important guidelines of creativity - themes of the poet, era, homeland. The composer first of the musicians presented the Personality of Yesenin as the largest national artist. An important fact for all Sviridovsky creativity is a constant musical and artistic comprehension of Russian Nature. These specific elements of the creative style of the composer are also presented in the work.

5. "G. V. Sviridov. Kursk songs " - The stated theme of work includes the most important issues related to the work of the composer: " V. Sviridov and Russian Choir, "" V. Sviridov and Russian folklore. Cantata "Kursk songs", created in 1964, was the result of the author's work in the folklore expedition. The composition reflects one of the leading trends of Russian musical art of the second half of the 20th century - the appearance of the style of the "new folk wave". The work also conducts artistic and aesthetic parallels of cantata with other works of the composer in order to identify the specific style patterns of creativity Sviridov. Cantata is analyzed integrity - there is a consistent characteristic of parts from the point of view of their figurative content and its incarnation in music.

6. "G. V. Sviridov. Cantata "Wooden Rus" at Art. S. Yesenina, "Snow goes" at Art. B. Pasternak, "Spring Cantata" at Art. N. Nekrasova " - The content of methodological development reflects one of the most pressing problems of composer creativity - the interaction of musical forms and genres of folklore and academic musical traditions. Each of the poets of Sviridov finds his "key", sees individual style features (sections of "Sviridov and Yesenin", "Sviridov and Pasternak", "Sviridov and Nekrasov"). Cantata clearly demonstrate the Sviridovskoy understanding of life phenomena, and, as a result, their ethical, ideological, philosophical meaning.

7. "G. V. Sviridov. Works on poems of the Blok "Petersburg Songs", Cantata "Nightclouds" - understanding by the composer of poetry of various authors was expressed in writings, representing a thinker artist with philosophical views on the problems of life. Sviridov managed to feel in verses of the block special, rare musicality; His addiction to poetry block was very steadily. The main unifying link of both geniuses of Russian culture is the topic of the Motherland, the nationality of creativity. The art of the block, the epic poet of Russia, was consonant of Sviridov, a characteristic feature of the national style of which was mutual penetration and enrichment of individual and folk.

8. "G. V. Sviridov. Poem "Despairing Rus" on the cl. S. Yesenin " - In this essay, the topics of the Motherland and the poet as leading the composer in the work of the composer. In the center of these areas - Yesenin, one of the favorite poets of Sviridov. The poetic word Yesenin and his Sviridovskoye, musical, "reading", immerses in the deep areas of musical and poetic synthesis.

9 "G. V. Sviridov. Concerto for the Choir "Pushkin Wreath" - The content of the development covers the most important aspects of the holistic characteristics of the concert: commonly educated and musical traditions that fed the author's style of G. V. Sviridov, a brief overview of the composer's choir creativity in the 60s - 70s of the last century, the productivity of his appeal to poetry A. S. Pushkin The context of the all-Russian tendency of the Russian and Soviet composer school, as well as a multilateral consideration of the work under study, from the point of view of its drama, the specifics of the elected genre, music language.

10. "The aesthetics of the last writings of G. V. Sviridova" Chasters and Prayers "for Mixed Choir (1980 - 1997) on words from liturgical poetry" - Work reveals a number of key moments necessary to understand the artistic value of the work under study: the overall characteristics of the aesthetic principles of G. V. Sviridov, a list of works written in the last period of creativity, facts of biographies that contribute to a deeper understanding of the musical content of the work. The introductory article of the Moscow musicologist A. Belonenko (nephew of Sviridov) was promoted to the deep disclosure of the topic to the publication of "chants and prayers" - these fragments are also included in the work.

Svetlana Vyacheslavovna Venkenkova, musicologist, teacher of theoretical disciplines of the GBPOV Republic of Mordovia "Saransk Music School them. L. P. Kiryukov "

Introduction

The program of the course "Music literature" is aimed at the formation of musical thinking of students, on the development of musical analysis skills, to acquire knowledge about the patterns of musical form, the specifics of the musical language.

The subject "Domestic Music Literature of the twentieth century" is the most important part of the training of students of theoretical and executive branches of music schools and art schools.

In the course of studying the course, the process of analysis and systematization of various features of musical and artistic phenomena, whose knowledge is directly important for the subsequent performing and pedagogical practice of students. Conditions are created for the scientific and creative awareness of the artistic problems and understanding of various performing interpretations of modern musical styles. In general, a flexible system of profile training is created, without the criterion of a "narrow specialization", which contributes to the deepening of professional skills, intensifying the creative interest of students in the work.

The holistic study of artistic and aesthetic areas, styles is based on the integration of students' knowledge in various fields: the history of foreign and Russian music (until the 20th century), world artistic culture, analysis of musical works, performing practitioners, which ensures the formation of a new professionally summarized knowledge.

Methodical development on the topic: "G. V. Sviridov. Some features of creative style "

"Georgy Vasilyevich Sviridov is a Russian genius, which is truly not yet appreciated." His creativity will be of great importance in the coming revival of Russian culture "(Academician

D. S. Likhachyov).

The task of art - open, reveal the human soul

(V. V. Sviridov)

According to the researcher A. Belonenko, "... George Sviridov does not need a special idea for readers, especially for music lovers. After all, it is not necessary to cause a familiar melody in mind, known since childhood a sound image, an association. Music Sviridov is perceived as a kind of natural phenomenon, as an integral part of Russia's landscape.

... A new Sviridov recently opened - the author of a kind of literary work, records collected in thick notebooks. They open the door to the sweaty life of the Sviridovsky soul and mind.

... Outwardly, the life of Sviridov was usual, without any extraordinary affairs and adventures. The main events in it were countless hours, conducted by Royal or at the table when he wrote score.

... It was in music that the genuine biography of the composer was reflected. The secret of transfiguration into harmony is one of the greatest secrets on earth. It is unlikely to know, it is only possible to touch it. "

The purpose of the lesson -trace the evolution of style and dramatic principles on the example of some writings of Sviridov.

Lesson plan:

1. Russian composer of the XX century G. V. Sviridov

In the value system of the national musical culture of Russia, the work of George Sviridova occupies a special place. The value of Sviridov is that its work is not only the original style. All his essence and all the features of the musical language go from the worldview of the composer, the high position of the artist, his understanding of the ethical mission of art, the rejection of the facilitated idea of \u200b\u200bhim. Creativity Sviridov is an outstanding phenomenon of the spiritual culture of our people, the organic belonging of the composer to Russian culture is indisputable.

What makes the artist National? The origins of Creativity Sviridov are in line with national traditions - in folklore and individual, founded by each of the largest representatives of the Russian school. The artist's belonging to national culture determines and its participation in further progressive development. According to the music of A. Kestra, "... Russian culture has grown on the basis of national life and full reflections of Russian nature. Thus, the work of Sviridov, as a decent representative of this culture, goes with its roots not only in domestic art (including music), but also in the history of our country - from the distant past until modern - to the life of the Russian people, his spiritual warehouse and character, in The nature of Russia. "

Arguing about globlia in the national, Sviridov said: "Yes, Russian culture is completely. And this is one of the very important advantages: it is addressed to all mankind, to all people of the Earth. But, perhaps, the most important, most pressing, paramount task is to feed the soul of his people, upstanding this soul, protecting it from the plant, from the whole low "[CIET. 3, p. 382]. Russian culture is not separable from the sense of conscience. Conscience - that's what Russia brought to the world consciousness. These words also belong to Sviridov.

2. Some works of G. V. Sviridova

Creative heritage Sviridov is huge. Here are just some of its writings:

Instrumental works

Sonata for piano. I. I. Sollertinsky's memory (1944);

Quintet for two violins, viola, cello and piano (1945);

Trio for Violin, Cello and Piano (1945);

Twelve Pieces for Piano (Pupit, 1946);

Seven Pieces for Piano (Pupit Fa Minor, 1957);

Album Pieces for children. For piano (1957);

Music for chamber orchestra (1964);

Little triptych. For the symphony orchestra (1964);

"Time forward!". Suite from music to the movie. For a symphony orchestra (1967);

"Misel". Music illustrations for Tale A. Pushkin. For a symphony orchestra (1974);

Six romances on cl. A. Pushkin (1935);

Romances on the cl. M. Lermontova (1938);

"Country of fathers." Poem for tenor and bass with piano. Sl. A. Isaakyana (1950)

"Songs on the cl. Robert Burns "in Per. S. Marshak (1955);

"I have a father - a peasant", sl. S. Yesenin. Cycle of songs for tenor and baritone with piano (1957);

"Sloboda Lyrics". Seven songs on the cl. A. Prokofiev and M. Isakovsky (1958);

"Petersburg songs", cl. A. Blok. For soprano, mezzo-soprano, baritone, bass, in the sopir. Violins, Cello and Piano (1961 - 1963);

"Despairing Russia", sl. S. Yesenin. Poem for voice and piano (1977);

Osoria, Cantata, Choir

"Poem of the memory of Sergey Yesenin", cl. S. Yesenin. For tenor, choir and symphony orchestra (1956);

Five choirs for mixed choir without accompaniment (1958);

"PATETIC ORATORIA", SL. V. Mayakovsky. For bass, mixed choir and a large symphony orchestra (1959);

"Kursk songs", sl. folk. For choir and symphony orchestra (1964);

"Wooden Rus". Little cantata for tenor, male choir and symphony orchestra, sl. S. Yesenin (1964);

"Snow goes". Little cantata for choir and symphony orchestra. Sl. B. Pasternak (1965);

"Spring Cantata". Memory A. T. Tvardovsky. Sl. N. Nekrasova. For mixed choir and symphony orchestra (1972);

Three choir from music to Drama A. K. Tolstoy "Tsar Fedor Ioannovich". For choir without accompaniment (1973);

Concert of memory A. A. Yurlova. For choir without accompaniment (1973);

"Hymns of the Motherland", sl. F. Sologuba. For mixed choir without accompaniment (1978);

"Pushkin Wreath", sl. A. Pushkin. Concert for choir (1979);

"Night clouds." Cantata. Sl. A. Blok. For mixed choir (1979);

"Ladoga". Choral poem, cl. A. Prokofiev. For chamber choir (1980);

"Songs of rape." Choral cycle. Sl. A. Blok. For mixed choir (1981);

Chants and prayers. For mixed choir (1991 - 1994)

3. Semantic expression of sociocultural space in the work of Sviridov

Music culture plays a special role in national politics, in the harmonization of interethnic relations. The culture of musical art is designed to convey to the consciousness of everyone that the Motherland is a state that has historical, social and spiritual traditions, each cultural phenomenon contributes to the national-cultural development of a person. The internal logic of this process is determined primarily by the continuity of the establishment of the values \u200b\u200bof the Russian national culture and the introduction of each person to these values.

The history of the native country has always and everywhere attracted the attention of major national thinkers and artists. Without it, the necessary and important factor in the nation in the nation cannot develop and develop - national self-consciousness. The most prominent Russian writers, poets, musicians devoted their works of events from the history of Russia. This is this tradition and picks up the sirida. In many writings, he addresses critical, turning agents of the country's history to comprehend its fate, to understand the path of development of Russia. These are "songs about Russia" on the cl. A. Blok, dedicated to the events of the Kulikovsky battle; The topic of the revolution in the "poem of the memory of Sergei Yesenin", "Patathetic Oracrona", many choral essays. In some works, the image of Russia acquires a symbolic meaning, rising to the highest generalization. These are "Russia, my life" from "Songs about Russia", "Mother Rus" from the "Spring Cantata" (from the poem Nekrasov "who live is well"). Among these images, the "Our Earth" from the "pathetic oratorio" occupies a special place.

Another source of a variety of creative impressions of the composer is the daily life of the people, peasant labor and life. Images of the Russian village are especially close to Sviridov - these are the episodes from the "poem of Memienne's memory" ("throat"); from "Kursk songs" and others.

Images of old folk rites were multifaceted - "Night under Ivan Kupala" ("Memoñin's poem"), "In the city of Zona calls" from "Kursk songs". Song images of the daily life of the family are close to them, where the beauty and extraordinary poems of the forms of people's forms of people's life are also underlined: "In the evening" from the cycle "I have a father - a peasant", "Oh, Mount Lebedonka my" from "Kursk songs". The same qualities found a composer in Russian folk art: along with a friendly, dispute work, performed on the old Russian tradition along with the ritual action, the Svirida depicts the intricate naigrics of the horns, swirls and harmonics ("Smolensk Horn", "Evening"), or a modest song Hanging ("How the song was born").

It should be especially highlighted by the great importance of Russian nature for all Sviridovsky creativity. All the annual circle, all seasons, a varied Russian landscape "drawn" in his music ("Cycle of Romance to verses A. Pushkin", "Poem of Memoria of Sergey Yesenin", the cycle "I have a father - a peasant", Cantata "Kursk songs" and "Wooden Rus", "Spring Cantata"; music for the films "Russian forest", "Blizzard"; Symphonic essay "Little Triptych"; songs "hear me, good", "Fresh day", "Autumn", "Forest" , "These poor villages" and many other writings. And everywhere Russian nature is felt by heart and soul with love, everywhere she finds the composer's soul deeply personal emotional szvuk, just like the author in her and his heroes hear the response to their most Hidden experiences.

Creativity Sviridov has absorbed the best traditions of urban culture. In Russian pre-revolutionary art with the theme of the city, the tragic motives are usually associated. The capitalist city is a compatibility of sin and vice, inhuman negle and all sorts of crimes, humiliation and grief (symbolic that these images of modern megacities are largely relevant today in our day). The works of Nekrasov, Dostoevsky, block reflect these motifs. Sviridov continues this topic in the "Petersburg songs" on the poems of the block (1961 - 1963), showing the idea of \u200b\u200bgeneral disadvantaged, unpleasution. Sviridovsky cycle is a kind of fragment of the life of the Great City on the eve of the formidable fatal events. The topic of the cycle is the tragic fate of a man and women who did not find their place in the big city. The composer in every moment of music awakens sympathy for his heroes and their difficult share, clarifies the moral value of their images: loyalty, work as a harsh need for human existence.

It should be noted that in the period of the 60s (the previous decade was particularly marked by large-scale oratorical essays with global topics) of Sviridov creates several chamber cantat with the general theme of unstores from personal life, the theme of the fate of a "little man".

A. Belonenko notes: "... Alexander Block becomes the main poet of Sviridovsky creativity, and the block of 1910s, with his exacerbated by that time a sense of social injustice. On the words of the block of Sviridov writes "Petersburg songs", Cantata "Sad songs", "Barka Life", the apocalyptic "voice from the choir" and much more. "The newly rich and glad ...", "will be buried, will work deeply ...", "Barka of life has become ...", "Sit and Sech, look in the window, people travel everywhere ..." - Block lines merged with Sviridov's music, forming in this The synthesis is a terrible, black picture of the world. At the same time, he creates Cantatant "Snow is" on the words of Pasternak with her central song - the "funeral" "Soul My sadness ...". The rejection of reality, awareness of its unreasonableness - this is from what will fly away later in the space gave "despair Russia." In the 1960s, the composer did not declare his thoughts on the mover of life anywhere - his weapon was music. "

In many works of Russian art, the desire to capture a person in his relations with the Wednesday, with national and social integer, with nature and life. Sviridov also thinks with concrete and visible images, sees the individual features of the psychology of their heroes. Therefore, many of its writings (first of all vocal) are pictures, scenes, portraits, genre sketches, posters, robes. According to the music of A. Kestra, "... After a long age of domination in the chamber-vocal work of a lyrical romance as the form of a subjective" self-expression "of Sviridov, after Shostakovich (" from Jewish folk poetry ") revived the" objective "tradition of Dargomyzhsky and Musorgsky and more than anyone else did for its further development. "

In the art of the XX century, Sviridov is a representative epic Lines associated with the names of many figures of Russian culture of different eras. This honorary historical mission determines its special place in the development of the National Art of the next millennium.

4. Sviridov and Painting

Researcher A. Belonenko notes: "... In Sviridovskaya music, the pictorial element plays a big role. The composer did not like to think abstract formulas, in his work he went from the poetic word or from the visual image. ... In his music, the landscape takes a significant place. Georgy Vasilyevich possessed not only with color hearing, but also a special gift of the sound transaction of spatial representations, plastic images. In his work, the contemplative element, a lot of air, open space. There are concrete sound sketches, landscapes, paintings: "Our North", "Fishermen in Ladoga". The composer squeezed Kursk Earth, Moscow region. In his works on the words of Pushkin and other poets, St. Petersburg sing. The city of his youth is most devoted to the music from Sviridov. Petersburg sketches are present in music for movies (Przhevalsky, Roman-Korsakov, "Trust", "Red Bells"). A. Blok at Sviridov Almost the entire Petersburg - "Petersburg Songs", a poem for Bariton with Piano "Petersburg", Cantata "Farewell to St. Petersburg", "Petersburg Song", "Petrograd sky suffered rain ...", "Pushkin House". There are small, purely lyrical etudes: Choir "Watercolor" "Winter Gallery" is written on the words of Nikolai Brown; There are also the majestic "tomb of Kutuzov" (on the poems of Pushkin "before the sacred saint ..."), where the Kazan Cathedral is solemnly in the solemnly gem.

... Sviridov was a subtle connoisseur of painting. Wherever he came, he definitely went to the museum or art gallery. A collection of books and albums on painting is kept in the house on a large Georgian. He had its permanent attachments, there were short, but strong hobbies. He perfectly knew the ancient Russian icon, loved folk lubok, applied art, especially all that was made of wood. From Russian artists, A. Ivanova, Repina, Surikov, Nesterova, Petrova-Vodkina, Malyavina, Grigoriev, Brown and Deneki brothers, appreciated Sishkin and Levitan, Miniatures S. Shchedrina and psychological portraits Fedotov, Bilibin and Lebedev book schedule, St. Petersburg Dobuzhinsky and withered-swan. ... He knew very well in the original and loved the French Impressionists, which did not prevent him to admire the Spaniards by Surbaran and El Greco, Velasquez and Goya, the Dutch Rembrandt, Bruegelem and I. Bosch. From modern painting he was attracted by the monumental canvas of the Diego River, he adored the "secret sun" of Salvator Dali. He appreciated any manifestation of the national peculiarity in painting, he was close to Pirosmanishvili and Mark Chagall, a fantastic Henri Rousseau and Yugoslav primitivists. In younger years, he was not indifferent to fantasies of J. Miro, to the children's world of Paul Clee or the dry geometrism of Pita Mondriana. ... Sviridov knew and appreciated the sculpture, Rodin and Michelangelo Buonaroti, Matveev; "Worker and collective farmer" Mukhina considered the outstanding work of art. He really liked modern architecture, he appreciated the functionalism ... "

5. Sviridov and Poetry

Sviridov told a lot about their love for Russian poetry and emphasized that it was connected with her all his life. He addressed the work and foreign poets - Burns, Shakespeare, and from the poets of the 20th century, the names like Nikolai Rubtsov, Velimir Khlebnikov, Vladimir Sokolov, Yuri Kuznetsov, Vladimir Kostov, Anatoly Zhigulin, Stanislav Kunyaev, Gleb Gorbovsky, Victor Bokov, Vasily Kazantsev and many others. They, according to Sviridov, brought bridges between our time and Pushkin, Lermontov, Baratyan, Tyutchev, Feta, Block, Klyuev, Yesenin. In this area of \u200b\u200bRussian poetry, considered Sviridov, there is a special topic, standing higher Just poetic self-expression. "This is the theme of the Motherland, the feeling of the Motherland as ... the Great as the world, like understanding himselfas part of this world. This is especially important in our turning time, the era of the stroke of the century ... It is necessary to be able to easily feel their relationship with generations of people who lived once ... Feeling their connection with the past, then only you can think about the future. "

Researcher A. Belonenko notes: "... Sviridov knew the writer's world well. Here he had many friends, perhaps more than among the composers. He was aware of all the events in the wiring environment, intently watched the literary process, for the struggle of literary directions and magazines, carefully followed each new product ...

He met M. M. Zoshchenko, with poets Nikolai Tikhonov, N. V. Krandiyevskaya, Alexander Prokofiev, Nikolai Brown, Vadim Shefner, later with M. Dudin and G. Gorbovsky. Songs on the words of Robert Burns brought him closer to S. Ya. Marshak. He was in friendly relations with A. T. Tvardovsky, who introduced the composer with A. I. Solzhenitsyn. Works on the words of Sergey Yesenin and Vladimir Mayakovsky attracted the attention of relatives and close people of great poets. He knew Ekaterina personally and Alexander Yesenin, and Lyudmila Mayakovskaya, Lilib Bric ...

Sviridov was an expert and connoisseur of modern Russian prose. He was familiar with L. Leonov, met with M. Sholokhov. F. Abramov and V. Astafyev, V. Belov and V. Rasputin, V. Krupin, E. Nosov and V. Likhonosov - the books of these writers with donating inscriptions, as well as their letters, are stored in the composer library ... in the writing circle he I found ideological support, because in modern Russian literature, I felt an important movement for society in which he saw himself. "

Sviridov first of the musicians presented the identity of S. Yesenin as a national artist, one of the largest poets of the early XX century. In fact, the first Sviridov is in the music of Poets B. Pasternak and V. Klebnikov. The composer, possessing a huge artistic courage, creates essays on V. Mayakovsky verses.

Musicologist A. Sostor notes: "... in songs about Russia", "Petersburg songs", "voice from the choir" and some other writings of the last years, Sviridov represents us not quite ordinary, but the true block - the epic poet of Russia, the Tribune and the Prophet and in The same time of the artist of a democratic topic, the successor of Nekrasovsky traditions. And in the "Spring Cantat", the poetry of Nekrasov unusually sounded unusually sounded, turned around not by the accusatory idea of \u200b\u200bhis side, but the claiming reflecting the bright ideals of the people, his ideas about good and beauty.

The theme of the poet in Sviridovsky work was one of the main. In many writings, the poet is the main acting person, the hero of the work. This phenomenon also belongs to the traditions of Russian art. For Sviridova, the artist, poet, the singer personifies with the voice of the people, his conscience. This ideological position Rodnit Sviridov with many great names of Russian art, reflecting on the appointment of the poet.

6. Some features of creative style

Music studies - researchers analyzing the nature of the Svirid genius, often mention the word "symbol". In this regard, a poetic comparison with the forces of nature itself and its generic unity is appropriate. Looking at a leaf, fallen from the tree, you can understand and imagine all the beauty and power of the tree itself, its roots and crowns. After all, a leaf is a symbol of this tree. So Sviridov - he thinks and intonates "in kindergarten". But in this phenomenon, he does not leave the present, and trying to find a certain ideal. The composer is looking for both in the past, which has become a legend, and in the present, modern to all of us, the original proximity to nature, the harmony of the human soul with the surrounding world. Only this, in his opinion, is able to maintain the integrity of the individual, to cause a harmonious and kind to bring to life, which would have become a dream about the future.

George Vasilyevich Sviridov was born in 1915 in the city of Fatezh, now the Kursk region of Russia. His father was a postal employee, and the mother teacher. Father, Vasily Sviridov, a supporter of the Bolsheviks in the Civil War, died when George was 4 years old.

In 1924, when George was 9 years old, the family moved to Kursk. In Kursk, Sviridov continued to study in elementary school, where his passionate passion for literature began. Gradually, music began to advance in the first place in the circle of his interests. In the elementary school of Sviridov learned to play on his first musical instrument - balalaica. Study to pick up by rumor, he demonstrated such a talent that was adopted in the local ensemble of folk instruments. From 1929 to 1932, he studied at the Kursk music school at the faith of Ufimtseva and Mirone Kruktyansky. At the advice of the latter in 1932, Sviridov moved to Leningrad, where he was engaged in the class of piano in Isaiai Bryudo and in the class of compositions from Mikhail Yudina in the Central Music Technical School, which he graduated in 1936.

From 1936 to 1941, Sviridov studied at the Leningrad Conservatory at Peter Ryazanov and Dmitry Shostakovich (since 1937). In 1937, the USSR composers were adopted.

Sviridov Georgy Vasilyevich

Mobilized in 1941, a few days after the end of the conservatory, Sviridov was sent to the Military Academy in Ufa, but was a Commissal at the end of the year for health.

Until 1944, he lived in Novosibirsk, where Leningrad Philharmonic was evacuated. Like other composers, he wrote military songs, of which the most famous became, perhaps, the "brave song" on the verses of A. Surkov. In addition, he wrote music for performances evacuated to Siberia theaters, including a musical comedy "the sea spread wide" (1943), put in the Moscow Chamber Theater located in Barnaul.

In 1944, Sviridov returned to Leningrad, and in 1956 settled in Moscow. Wrote symphonies, concerts, oratoria, cantata, songs and romances. Since 1957, a member of the Board of the Union of Composers of the USSR, in 1962-1974, the secretary, in 1968-1973 - the first secretary of the Board of the Union of Composers of the RSFSR. Deputy of the Supreme Council of the RSFSR of the 7th, 8th and 9th conveners. Summary at Sviridov on September 17, 1958, the article "Eradicate vulgarity in music" was published, putting the start of the etching Mark Bernes.

In June 1974, at the Festival of the Russian and Soviet song, held in France, local seal presented Sviridov to his sophisticated public as "the most poetic of modern Soviet composers."

Russia - Country of Prostor, Country of Songs, Country of Minor, Country of Christ

Sviridov Georgy Vasilyevich

In recent years, Sviridov had a lot. January 6, 1998 he died. Civilian memorial and funeral took place on January 9 in Moscow. After the funeral in the church of Christ the Savior Sviridov was buried at the Novodevichy Cemetery.

Creation

He wrote his first essays in 1935 - became the famous cycle of lyrical romances to the words of Pushkin.

While he studied in the Leningrad Conservatory, from 1936 to 1941, Sviridov experimented with different genres and different types of composition. He wrote a concert for Piano No. 1 (1936-1939), Symphony No. 1 and chamber symphony for strings (1940).

The style of Sviridova changed significantly in the early stages of his work. His first works were written in the style of classical, romantic music and were similar to the works of German romantics. Later, many writings of Sviridov were written under the influence of his teacher Dmitry Shostakovich, but also, for example, in the first piano score, the composer's attention is noticeable to the musical language of Paul Hindemete.

Sviridov Georgy Vasilyevich

Starting from the mid-1950s, Sviridov gained his bright original style, and tried to write works that were exclusively Russian.

Music Sviridov remained little known in the West for a long time, but in Russia his work enjoyed a great success of critics and listeners for their simple, but thin lyrical melodies, scale, workshop tool and pronounced, equipped with world experience, the national nature of statements.

Sviridov continued and developed the experience of Russian classics, first of all Modest Musorgsky, enriching it the achievements of the 20th century. It uses the traditions of ancient edging, ritual spots, bannyal singing, and at the same time - and modern urban mass song. Creativity Sviridova combines the novelty, the identity of the musical language, the deposit, exquisite simplicity, deep spirituality and expressiveness.

Awards and Prize

People's Artist of the RSFSR (1953)
People's Artist of the USSR (1970)
Hero of Socialist Labor (1975)
Lenin Prize (1960) - for the "pathetic oratorio" on the words V. V. Mayakovsky
Stalin's first degree premium (1946) - for the trio for piano, violin and cello (1945)
USSR State Prize (1968) - for "Kursk songs" for choir and orchestra
USSR State Prize (1980) - for a concert for the choir "Pushkin Wreath"
State Prize of the Russian Federation (1994)
Order "For merit to the Fatherland" II degree (10.12.1995)
Four Order of Lenin (16.12.1965; 2.07.1971; 12/18/1975; 13.12.1985)
Medal "For Valiant Labor in the Great Patriotic War of 1941-1945"
Order of freedom of the 2nd degree (Albania, 1954)
Order and medals of foreign countries
Honorary Cursk Citizen (1982)
Honorary citizen of Moscow (1997).

Memory about Sviridov

The art in which God is attended as an internally experienced idea will be immortal

Sviridov Georgy Vasilyevich

On September 23, 2005, the first monument to the composer was opened in Kursk, on which his words were carved: "Taking Rus, where the Lord gave and told me to live, rejoice and suffer."
In the hometown of George Sviridova Fatezh, on December 16, 2005, a memorial house-museum of the composer was opened.
In St. Petersburg, an art school of his name was opened on Yesenin Street.
In Moscow's Balashikh School of Art No. 1, the name of the composer was assigned.
The Russian Orthodox Social Movement has established a commemorative medal "Our Heritage" named after George Vasilyevich Sviridov for awarding for achievements in the field of musical art, creative activities aimed at supporting and developing domestic culture.
In Moscow, several children's music schools are worn by his name.
The name "George Sviridov" is airbus A320 Aeroflot (b / n VP-BDK).

Works

The greatness of the artist is the greatness of the soul (the greatness of the Spirit) of the artist. The greatness of Mussorgsky and Borodin is the greatness of the Christian

Sviridov Georgy Vasilyevich

7 Little Pieces for Piano (1934-1935)
6 romances for the words A. Pushkin (1935)
7 romances for the words M.Lermontova (1938)
Concerto for Piano with Orchestra No. 1 (1936-1939)
Chamber Symphony for Strings (1940)
3 romance to poems A. Bloka (1941)
Concerto for piano with orchestra number 2 (1942)
Music comedy "The sea spread widespread" (1943)
Sonata for Piano (1944)
Romances for voice and piano on the verses of William Shakespeare (1944-60)
Quintet for Piano and Strings (1945)
Trio for Piano, Violin and Cello (1945; Stalin Prize, 1946)
The vocal cycle "Country of Fathers" for the tenor, bass and piano on poems A. I. Isaakyan, consists of 11 romances (1950)
Music comedy "Overactions" (1951)
Oratoria "Decembrists" on the words of Alexander Pushkin and the Poets-Decembrists (1954-55, not completed)
Romances for voice and piano on the poems of Robert Berns in the translations of Samuel Marshak (1955)
Vocal cycle for tenor, baritone and piano "I have a Father Peasant" on the poems of Sergey Yesenin (1956)
Vocal-symphonic poem "Memory Sergey Yesenin" (1956)
"Panthetic Oratori" for the words of Vladimir Mayakovsky ([; Leninskaya Prize, 1960)
Vocal Cycle (Poem) "Petersburg Songs" for four singers-soloists, Piano, Violins and Cello on the verses of Alexander Bloka (1961-69)
Music for chamber orchestra (Orchestra version of quintet for piano and strings 1964)
"Kursk songs" for mixed choir and orchestra, words folk (1964; State Prize, 1968)
Music illustrations for the story of Alexander Pushkin "Mistel" (1964)
Little Cantata for Choir and Orchestra "Wooden Rus" on Sergey Yesenin verses (1964)
"Little Triptych" (1964)
Little Cantata for Choir and Orchestra "Snow goes" to the poems of Boris Pasternak (1965)
Little Cantata for Choir and Orchestra "Sad Songs" on the verses of Alexander Bloka (1965)
Romance "These poor villages" for voice, piano and oboe on the words of Fedor Tyutchev (1965)
Suite "Time, Forward!" (1965) Music to the M. Switzer Movie Simonized - the topic of the "time" screensaver, the release of the news of the USSR at 21 o'clock.
"Spring Cantata" for choir and orchestra (1972)
Music to the Speckle of the Small Theater "Tsar Fedor John" (1973)
Music for the monument to the fallen on Kursk Arc (1973)
Choir concert "Memory A. A. Yurlov" for mixed choir, singing without words (1973)
Cantata "Oda Lenin" on the words of Robert Christmas for Readers, Choir and Orchestra (1976)
"Despairing Russia", a cycle for voice and piano for the words of Sergey Yesenin (1977)
Hymns of the Motherland for Choir (1978)
25 Songs for Bass and Piano (1939-1979)
"Pushkin Wreath" for choir with orchestra (1979)
"Nightclouds", Cantata for the words of Alexander Blok for mixed choir A Cappella (1979)
10 Romances for the words A. Kloka (1972-1980)
"Ladoga", poem for choir for the words A. Prokofiev (1980)
"Songs", a concert for choir A Cappella for the words of Alexander Bloka (1980-1981)
Petersburg, Vocal Poem (1995)
"Chasing and prayers" (for choir without accompaniment)

Filmography

Art is not only art. It is part of the religious (spiritual) consciousness of the people. When art ceases to be this consciousness, it becomes an "aesthetic" entertainment. People who are not close is the spiritual consciousness of the people do not understand the essence of art, its sacramental meaning

Sviridov Georgy Vasilyevich

1940 - Raised virgin
1946 - Don Cesar de Bazan
1951 - Przhevalsky
1952 - Roman Corsa
1953 - The Great Warrior Albania Scanderbeg
1956 - Polyshko-Field
1960 - Red Square
1961 - Sunday
1964 - Russian Forest
1964 - Mistel
1966 - Time, forward!
1976 - Trust
1982 - Red bells. Film 2. I have seen the birth of a new world
1996 - "Time George Sviridova" - documentary, 52 min., Directed by Nikita Tikhonov

Georgy Vasilyevich Sviridov - Quotes

The art of our century is greater responsible for being strong and talented preaching confusion, hedonism, moral comfort, caste, intellectual chosenness, intellectual enjoyment and even worse: unfortunately melted and poeticized every kind of evil, serving him and getting satisfaction with it insatiable ambition, seeing refreshment, renewal of the world. All this, undoubtedly, caused great harm to the human soul ...

The case of good could seem completely hopeless, for the souls who were so strong processing and overtooking, resurrected, perhaps no longer possible. But the wisdom of life is concluded in it itself: new generations come to the world quite clean, it means that they are to raise them in serving high good ...

My music is some small candle "from bodily wax", burning in the bottomless world of the underworld. "

Water disposal, the placement of artistic flows occurs today at all through the "manners" or so-called "means of expression". It is necessary to be a very naive person to think so. The occasion goes along the main, the main line of human being - along the line of spiritual and moral. Here - the beginning of everything - the meaning of life!

Russian culture is inseparable from the sense of conscience. Conscience - that's what Russia brought to the world consciousness. And now - there is a danger to lose this high moral category ...

Sviridov George (Yury) Vasilyevich (1915 98), Russian composer, Pianist, People's Artist of the USSR (1970), Hero of Socialist Labor (1975). Music comedy "Fires", (1951), vocally symphonic poem "Memory of Sergey Yesenin" (1956); ... ... encyclopedic Dictionary

Rod. Dec 16 1915 in the Fatezh. Composer. Hero of Socialist Labor (1975). Nar. art. USSR (1970). In 1932, 1936 he studied in the first music. Technical school in Leningrad on CL. F p. I. A. Braudo and CL. Compositions M. A. Yudina. In 1941 he graduated from Leningar. Cons. ... ... ... Large biographical encyclopedia

Sviridov, Georgy Vasilyevich - Georgy Nikolayevich Sviridov. Sviridov George (Yuri) Vasilyevich (1915 1998), composer. The centuries-old traditions of Russian singing culture, organically combining them with modern stylistics, originally implements. The theme of the Motherland, its destinies in the epic ... ... Illustrated Encyclopedic Dictionary

Sviridov George (Yury) Vasilyevich (R. 1915) Russian composer, Pianist, People's Artist of the USSR (1970), Hero of Socialist Labor (1975). Music comedy lights, (1951), vocally symphonic poem of the memory of Sergei Yesenin (1956); ... ... Big Encyclopedic Dictionary

Sviridov George (Yuri) Vasilyevich (12/16/1915, Fate, now Kursk region 06.01.1998, Moscow), composer, People's Artist of the USSR (1970), Hero of Socialist Labor (1975). Laureate of the Stalin Prize (1946), USSR State Prizes (1968, ... ... Encyclopedia of cinema

- (R. 16 XII 1915, Fate, now Kursk region) ... In turbulent times, especially harmonious artistic natures arise, embodying the highest aspiration of man, aspiring to the inner harmony of the human person in contrast to the chaos of the world ... Music dictionary

George Sviridov Date of birth 3 (16) December 1915 (19151216) Place of birth Fate Death Date January 6 ... Wikipedia

- (r. 1915), owls. composer. Author of the vocal cycle on the poems L. (1 I am Ed. 1938, 2 I am Red. 1957), which reflected Romantic. Perception of Lermont. Personality and poetry. In his sat. "Romances and songs" (M., 1960) included a trail. cit. on Lermont. Words: "Sail", "They ... ... Lermontov encyclopedia

- [R. 3 (16) .12.1915, Fateby, now Kursk Region], Soviet composer and a music public figure, People's Artist of the USSR (1970), Hero of Socialist Labor (1975). In 1941 he graduated from the Leningrad Conservatory in the class of composition (studied ... Great Soviet Encyclopedia

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