Concert artist. Artists - concert performers (all genres) job description

Studying the concert as a special organizational - art form Based on the historical formation of this phenomenon in the history of socio-cultural activities, we should consider the types of concert activities. By tracking the history of the concert, its modification in each time period, we become witnesses to the decomposition of this phenomenon into types and genres. This decomposition is an inevitable process, given the versatility of this stage form and its ability to change according to the socio-cultural needs of the population.

The main features of concert activities are:

· genre diversity of performed numbers;

· the number and popularity of concert participants and the degree of their employment in temporary space in other places;

· type and capacity of the concert venue (Philharmonic Hall, Sports Palace, etc.);

· time and audience of the concert.

For the first time, the definition of a concert, indicating the types, is given in the third edition of the Bolshoi Soviet encyclopedia“A concert, a public performance by artists according to a specific, pre-compiled program. Types of concert - musical (symphonic, chamber, piano, violin, etc.), literary ( artistic reading), pop (light vocal and instrumental music, humorous stories, parodies, circus acts, etc.)".

S.S. Klitin offers the following classification concert programs:

types of concert creativity:

· Philharmonic;

· literary;

· variety

concert genres:

· Philharmonic (serious academic concert);

· variety (everything else).

types of concert program (variety concert):

· solo concert (one performer)

· combined concert (many performers, different genre numbers)

· theatrical (with elements of theatricality without drama)

· children's (especially for children, taking into account age characteristics given viewing audience.)

· concert - performance (with all dramatic canons)

The division into genres depends on the nature of the repertoire performed in a given concert program, either philharmonic or pop. The classification of genres as philharmonic or pop is directly related to the repertoire performed.

Philharmonic concerts include:

· Symphonic: concerts of symphony orchestras performing symphonies, cantatas, oratorios, suites, overtures, scenes from musical performances etc. They can be carried out taking into account soloists - vocalists, instrumentalists, or choir;

· Chamber: concerts of chamber orchestras or ensembles performing musical works of small forms - sonatas, trios, quartets, quintets, etc. chamber concerts can also be held with the participation of soloists - vocalists or instrumentalists;

· Concerts of choral and dance groups: choir, chapel, song and dance ensemble, dance ensemble, etc.

· Concerts of brass bands, orchestras or ensembles of folk instruments;

· Concerts of speakers from classical repertoire solo performers: readers - masters artistic word, artists - vocalists (opera and chamber), soloists - instrumentalists, ballet soloists. They can be accompanied by accompanists - accompanists, ensembles and orchestras.

· Musical and literary concerts, concerts in which musical and literary and dramatic works by instrumentalists, vocalists, readers - masters of artistic expression, ballet dancers;

· Concerts - lectures: thematic lectures on the work of composers, writers, outstanding performers, musical and literary works, accompanied by the performance of relevant works and excerpts from them.

Pop concerts include:

· Concerts of pop symphony and pop orchestras, jazz orchestras and ensembles, pop instrumental ensembles performing light instrumental music;

· Concerts of vocal, vocal-instrumental and vocal-dance ensembles. Operetta ensemble performing light vocal music;

· Concerts of musical comedy, pop singers and performers folk songs;

· Concerts of conversational artists (drama, puppet theater, pop, feuilletonists, coupletists, etc.);

· Theatrical variety performances, as well as concerts of variety groups with a theatrical program (miniature theatres, music halls, variety dance ensembles, pantomime, ice ballet);

· Concerts of pop and folk groups performing light, entertaining repertoire;

· Concerts of artists of sports and circus, or variety circus genres.

HELL. Zharkov in his book “Socio-cultural foundations pop art: history, theory, technology” talks about the separation of the pop concert into an independent type of concert and gives a detailed concept and its own classification, considering the classification of A.A. Klitina is imperfect in this type of concert in the way of constructing programs.

“Variety Concert” is a unique result and qualitative indicator of the activity of a huge team of specialists. In the complex process of creating a variety concert, a wide variety of art forms are synthesized, significantly different in their artistic language, means of expression. Therefore, a pop concert - an important event V creative life many performers, whose actions are completely subject to the same specific laws and patterns.

The variety concert was formed as a concept based on the above terms. A pop concert can be dedicated to one problem, one conflict, and the performers are one person or one team. Internal structure concert numbers allows them to easily adapt to different conditions display.

“Variety concert” is one of the types of public performances in which, in a certain form and with the help of specific expressive means Various types of arts are involved: music, literature, choreography, theater.

Depending on the content, structure and nature variety concerts can be distinguished by the following types: divertissement, thematic, theatrical and reporting.

“Divertimento” (combined) concerts are composed of variety numbers various genres. As a rule, they do not have a plot structure; their characteristic features are effectiveness and a diverse composition of participants. The compilation of divertissement variety concert programs, where one number is not directly related to another, is an alternation of genres, styles, and scales of numbers, and is determined by the harmony and integrity of the concert.

“Thematic concerts” are based on a single plot basis, dedicated to the holidays, anniversary dates. The host of such concerts is the connecting link; he carries the main idea through all the numbers, stringing each performed work. In a thematic concert, all numbers are selected in accordance with the theme. The program is compiled from groups and works existing in the repertoire, or new ones are being prepared. Between the numbers in such a concert there should be thematic links of the presenter. Characteristic features: integrity, completeness, syntheticity, imagery.

“Theatrical” is a type of thematic concert with its own specific means of expression. The concert numbers are combined into a single whole based on a single plot. Theatrical pop concerts are a synthesis of various genres. These concerts are prepared and dedicated to major events, significant dates, are part of the ceremonial meeting, the result of shows of amateur groups, music festivals, pop art festivals. A theatrical concert structurally looks like this: a prologue, a theatrical part of the program, which has a script consisting of episodes, and a finale.

“Theatricalization” is a technique that is based on the use of one or another (or all together) of expressive means characteristic of the theater to create a unique, bright, artistic stage image unique to a given concert. (11, p. 5)

“Concert-meeting” is a public performance musical works, the content of which is distinguished not only by social significance, but also by a certain political topicality. The purpose of the concert-meeting is to have a mobilizing effect on listeners, to ignite them emotionally, and to encourage them to take active action. Specifics of this concert- a combination of performances by masters of professional art and eyewitnesses of exciting events: artists, poets, composers, public figures. The concert-rally widely uses protest songs, political songs, poems, film documents, and slides. This type of concert includes political song concerts (zong rallies).

“Concert-interview” is a dialogue with one or more participants in a pop concert.

The specificity of this concert lies primarily in the live communication of the presenter with the performer or author, which activates the interest of the listeners and allows them to become participants in the concert. Preparing a concert-interview has a certain complexity. The presenter must have the qualities of an interviewer: be able to formulate questions and ask them, direct the conversation the right direction, constantly adjust it depending on the reaction of the audience.

“Mono concert” - involves the performance of pop works by one performer or group in combination with oral performances; it has much in common with solo concert. Its specificity lies in the fact that its participants not only perform, but themselves talk about their performing skills, tours, impressions of meetings with authors, directors, performers, and the concert program, which can be compiled during the performance taking into account requests and interests spectators.

The “Concert-Requiem” is of a solemn-funeral nature and consists of pop numbers arranged plot-wise into a program that includes a ceremony, processions, performances by participants (for example, the Great Patriotic War). The specificity of this concert is the presence of a certain ritual, activation of the viewer: a minute of silence, laying wreaths and flowers at the monuments of fallen soldiers. A requiem concert requires elements of theatricality, an organic combination of the “facts” of life and the “facts” of art.

The following historically established forms of pop performances can also be classified as theatrical concerts.

“Review (French revue)” - panorama, review, the word is derived from the verb “revoir” - to see again. The revue widely uses theatricalization in the presentation and alternation of numbers of different genres. The basis of the performance is a theatrical concert with a desire for plot, for a certain unity that would unite individual numbers. The concert program essentially turns into a performance. In the foreground in the revue is the brightness of the external form, the demonstration of the mastery of performing sophistication, and pomp. The performance is led by presenters who simultaneously comment on the performance and play the role of compere.

The divertissement program is replaced by a review, which involves a large number of participants and is characterized by a colorful design of the concert. There are two types of communication in a revue - with partners on stage and with the audience, and the system of communication between performers and the audience is modified.

A large stage, often several stages, requires special staging equipment. The spectacle appears general plan, and the public has to disperse its attention; distribute it among numerous objects. Instead of the role of an accomplice (as in other forms of variety), in the revue the audience becomes, as in the theater, an audience of spectators. Techniques for activating the auditorium can be used here.

The revue program is based on a combination of three main elements: variety and circus numbers, an extensive pair or triple entertainer, and choreographic compositions.

Analyzing the concert as a special organizational and artistic form, it should be emphasized that this “phenomenon of art” has its own historical path, the development and formation of which was influenced by the spiritual needs of people, their interests and needs at a certain time period. Historically, the concert has changed and transformed. Today it takes on a new meaning, determined by the ongoing changes in the life of society.

The variety of types and genres of concert programs is irrefutable proof of the versatility of this form of cultural and leisure activity. This variety allows us to satisfy the needs of the modern viewer.

The combination of the above factors influenced and was fundamental in the formation of the concert as a multifaceted form of cultural and leisure activity.

Before getting acquainted with the various types of concert creativity, it is necessary to emphasize something in common in each of them. The determining factor for each type of concert creativity will be one of the main types of art - music, words, dance, as well as singing, which is the most common synthetic combination of two types of art - words and music. Let us also note that, as mentioned above, all these types of art necessarily appear before us in synthesis with the art of acting.

At first glance, it is impossible to consider a pianist or violinist an actor. Art criticism terminology has so far operated with two concepts - actor and artist. The first word has always denoted a performer of roles in the theater (“actor”), the second - a person who has chosen as his profession the performance of concert works of all kinds and genres. At the same time, in any type of concert art there is always an acting principle: the performer (musician, dancer, acrobat) always plays some role, since at this time he turns to thoughts, feelings, actions prescribed for him by the content of the work being performed.

Here it is appropriate to recall the evolution of acting. Once upon a time, an actor’s portrayal of a person’s life took place in very conventional forms. In different eras, the conventionally plastic, conventionally declamatory principle prevailed. Psychological spiritualization became characteristic of the acting art much later, when the theater passed the stages of classicism and romanticism. Realism, established in the 19th century as a result of the emerging interest in detailed study human life in its social and psychological manifestations, demanded that art display reality corresponding to a new level of its knowledge. The emerging realistic dramaturgy provided for the deepest immersion of the actor in the internal processes of the “life of the human spirit” during its stage implementation. A qualitative change in the essence of acting could not but happen. Instead of a conventional, albeit outwardly plausible, depiction of human behavior, the art of embodying the spiritual, inner life of a person arose. New actor had to be able to reproduce thinking processes, all the subtlest shades of human emotions and, naturally, the physical truth of behavior at a level close to the model.

The establishment of realism in literature and music was marked in concert art not only by an update of the repertoire, but also by a change in performing style and method. Formal music-making, pompous declamation, and empty grace of dance began to become a thing of the past. Everything began to become saturated with deep content. The concept of “singer” was gradually replaced by the concept of “singing actor”. Ballerinas and dancers became ballet actors. Readers and reciters became a thing of the past; they were replaced by storytellers and phrase books. The dominance of realism demanded from all performers a different, acting approach to performing activities. Even from performers of instrumental music today we have the right to demand accurate and subtle psychological insight into the emotional and intellectual essence of the work being performed.

Specialization: Concert folk instruments

Qualification: Concert performer. Teacher

What does a concert performer, chamber ensemble artist, orchestra artist, ensemble artist, accompanist, teacher do?

Acts as:

• soloist-instrumentalist,
• performer of concert programs,
• artist various types ensembles,
• orchestra player,
• teacher of the entire complex of special cycle disciplines in professional music educational institutions within the chosen specialty.

What can a concert performer do?

• owns a significant solo, chamber ensemble and orchestral repertoire, including works different eras, genres and styles;
• is able to present his own performing interpretation,
• has stage artistry, skills in working in various theater and concert groups,
• has the skills of arranging musical works;
• owns modern methods pedagogical work at different levels music education

Where does the concert performer work?

• theaters,
• Philharmonic,
• concert organizations,
• creative unions and society;
• institutions and organizations in the field of culture and art,
• music education institutions.

Who teaches concert performers?
Training of concert performers of the department of the conservatory faculty:

• departments of the performing arts faculty:
• Department of Special Piano (Head E. A. Levitan, Professor, Honored Artist of the Russian Federation),
• Department of Folk Instruments and Orchestral Conducting (headed by V. G. Lebedev, National artist Russian Federation, Honored Artist of the Russian Federation, full member of the Petrovsky Academy of Sciences and Arts, laureate of the Foundation Prize named after. I. Arkhipova, artistic director and chief conductor State Russian Folk Orchestra "Malachite", professor);

Among the teachers - talented musicians, Honored Artists of the Russian Federation, People's and Honored Artists of the Russian Federation, laureates and diploma winners of various all-Russian and international competitions:

• N. N. Malygin (Honored Worker of Culture of the Russian Federation, Professor);
• V. I. Lavrishin (Honored Artist of the Russian Federation, Professor);
• B. F. Smirnov (Honored Worker of Higher Education of the Russian Federation, Professor, Doctor of Art History);
• A. Yu. Nechaev (winner of the international competition, associate professor);
• I. I. Shchedrin (Honored Worker of Higher Education of the Russian Federation, Professor, Candidate philosophical sciences)
• V. G. Gerasimov (Honored Artist of the Russian Federation, Professor);
• E. A. Bolodurina (Honored Worker of Culture of the Russian Federation, Dean of the Faculty of Music and Pedagogy, Professor, Candidate of Pedagogical Sciences);
• B. P. Poteryayev (Honored Worker of Culture of the Russian Federation, Professor);
• V. D. Moroz (Honored Artist of the Russian Federation, Associate Professor)
• T. V. Stadnichenko (Honored Artist of the Russian Federation, Associate Professor);
• M. V. Ivashkov (winner of international competitions and All-Russian competitions, assistant professor)
• A. V. Chernov (winner of international competitions, associate professor);
• V. N. Shulga (Associate Professor);
• T. V. Burnatova (Associate Professor)
• V. A. Grekhov (Associate Professor);
• S. V. Koshevoy (senior lecturer)
• A. S. Sultanova (senior lecturer)
• E. Ya. Lebedeva (senior lecturer)
• and others.

What subjects does a future concert performer study?

• special tool;
• orchestra class
• conducting
• ensemble
• performance history
• history and current state domestic and foreign music,
• art history,
• solfeggio,
• harmony
• polyphony,
• music pedagogy and psychology,
• music informatics,
• aesthetics,
• methods of learning to play an instrument,
• special tool,
• accompanist class,
• computer arrangement;
• and much more.

Federal State Educational Institution

higher professional education

"Tyumen State Academy of Culture, Arts and Social Technologies"

Institute of Music, Theater and Choreography

Department of Orchestral Conducting and Folk Instruments

Training and metodology complex

In the discipline "Instrumentation"

Cycle S.F.

Specialties 070101 “Instrumental Performance”

Specialization "Orchestral folk instruments"

Qualification “Concert performer, orchestra artist, ensemble artist, teacher”

Compiled by: T.A. Zhdanova –

Professor of the department,

Honored Worker of Higher School of the Russian Federation.

Educational and methodological complex discussed

and approved at a department meeting

2011

Protocol No. ___

Explanatory note

The theoretical course “Instrumentation” includes the study of instruments of symphony and Russian folk orchestras, their designs, technical, artistic and timbre capabilities musical instruments, the history of the development of orchestral groups. This course examines the instrumental compositions of the main orchestral groups of the symphony and Russian folk orchestras. Studying the course “Instrumentation” is an important link in the training of future leaders of folk instrumental groups, along with such disciplines as “Instrumentation” and “Conducting”. Studying theoretical foundations The course will allow students, and then graduates, to apply the acquired knowledge when writing instrumentation for ensembles and orchestras of Russian folk instruments, as well as when reading scores of folk and symphony orchestras.

The purpose of this course is to prepare leaders of instrumental groups for methodologically competent practical activities. The course is intended for anyone interested in the history and development of instruments and orchestral art.

The total amount of hours allocated to this discipline:

For full-time study - 70 hours;

For correspondence courses - 70 hours (lectures).

Of these - classroom (lecture) hours:

For full-time study - 34 hours;

For correspondence courses - 10 hours.

Independent student work:

For full-time study - 36 hours;

For correspondence courses - 60 hours.

The final form of control in full-time and correspondence departments is an exam.

Approximate thematic plan for ODO students

Classroom hours (lectures): 34 hours.

Independent student work: 34 hours.

Approximate thematic plan for OZO students

Total course hours: 70 hours.

Classroom hours (lectures): 10 hours.

Independent student work: 60 hours.

for full-time students

Section 1. Symphony orchestra instruments

Topic 1. History of the development of the symphony orchestra. Classification of musical instruments

Spreading cooperative game on various musical instruments.

The end of the seventeenth century. The emergence of secular instrumental music and the emergence of new musical genres: opera, ballet, oratorio, and later - symphony, overture, concert. They owe their appearance to C. Monteverdi, D. Scarlatti, A. Corelli and A. Vivaldi, F. Couperin and J. Rameau, G. Schutz and G. Purcell, I. Bach and G. Handel.

Development musical language- orchestral timbres, along with melody, harmony, and rhythm, are one of the means for expressing the ideas and moods of the composer.

Creation of the violin in the 17th century. Instrumental masters of Italy, France, Tyrol.

19th century - improvement of wind instruments: horns and trumpets, flutes and clarinets.

The art of individual virtuoso performers.

The second half of the 19th century - the composer who conducted his own music was replaced by a new type of conductor - a performer of works by other authors.

The development of the orchestra is inseparable from public life people, the state of industry, the scale of music printing, etc.

Creation Italian composers Giovanni Gabrieli (c. 1557–1612 or 1613) and Andrea Gabrieli (between 1510 and 1520 - after 1586).

One of the founders of the orchestra is the first classic of opera, a brilliant reformer in the instrumental field, Claudio Monteverdi (1567–1643). The division of orchestral instruments into groups of bowed and wind instruments, into groups that accompany and lead the melody. Reform of the orchestra in the opera "Orpheus" (1607).

Head of Naples opera school Alessandro Scarlatti (1660–1725). An introduction to the natural horn orchestra.

Reforms of the creator of the French national opera and ballet Jean Battista Lully (1632–1687). Division of the orchestra into three typical groups: strings, woodwinds and brass wind instruments.

1759 - J. Haydn composed the First Symphony.

The second half of the 18th century - the discovery of the effects of orchestral crescendo and diminuendo.

The role of the great Viennese masters - J. Haydn, W. Mozart, L. Beethoven and F. Schubert in history symphonic music and the formation of its various genres.

The end of the 18th century - the formation of the concert composition of the orchestra, which we call classical, or small.

Significant improvement of woodwind instruments by the Munich choir flutist Theobald Böhm, creation of a valve mechanism.

In the first decades of the 19th century, brass instruments underwent radical improvements. A valve mechanism was created.

The 19th century was marked by the scope of musical education. Opening of conservatories in central European cities. The scope of music printing and distribution.

19th century - the orchestra solves more complex problems artistic tasks. Activities in the history of the orchestra of L. Beethoven, F. Schubert, F. Mendelssohn, D. Rossini, K. Weber.

The 30s and 40s - the heyday of M.I.’s creativity. Glinka (1804–1857) - the founder of Russian classical music and Russian orchestral culture.

50–70s - orchestral mastery of R. Wagner. The orchestra is entrusted with the characteristic characters, abstract ideas, forces of nature through leitmotifs. The orchestra was called upon to express the feelings of the heroes, their passions and suffering.

End of the 19th century - creative activity P.I. Tchaikovsky. Tchaikovsky's orchestra is characterized by soulful sincerity; he completely trusts the pure timbres and individuality of each voice of the orchestra.

At the end of the 19th century, a large composition of the symphony orchestra was finally established. The search for new timbres continues.

Symphony orchestras of Russia. 1920 - establishment of the Petrograd Orchestra State Philharmonic. Outstanding domestic conductors: V. Suk, A. Gauk, A. Saradzhev, E. Mravinsky, I. Musin and others.

1936 - creation of the State Symphony Orchestra of the USSR. Since 1953, the newly organized orchestra of the Moscow Conservatory began intensive concert activity.

Famous foreign symphony groups.

Literature:

3. Zryakovsky, N. General course in instrumentation / N. Zryakovsky. - M., 1963.

4. Sidelnikov, L. Big Symphony Orchestra / L. Sidelnikov. - M.: Music, 1981.

Topic 2. Types of orchestras. Symphony orchestra score. Classification of musical instruments

Concert and opera symphony orchestras. Radio and television orchestras, film orchestras.

Among the diverse compositions of a symphony orchestra, two main types of orchestra stand out - small and large, which are an organized combination of three groups of musical instruments.

Orchestra score (general definition). Types of scores, compositions of symphony orchestras.

Three groups of musical instruments: strings, winds and percussion. String instruments are divided into bowed, plucked and keyboard. Wind instruments are divided into labial, lingual and embouchure. Percussion instruments come with a specific pitch and without a specific pitch.

Three orchestra compositions: double, triple, quadruple.

Cases of occasional singing voices joining a symphony orchestra. Adding an additional brass ensemble to the symphony orchestra.

Mixed, individual orchestra compositions.

Literature:

1. Barsova, N. Symphony orchestra and its instruments / N. Barsova. - M., 1962.

2. Ginzburg, S. What you need to know about the symphony orchestra / S. Ginzburg. - L.: Music, 1967.

3. Kars, A. History of orchestration / A. Kars. - M.: Music, 1990.

4. Rimsky-Korsakov, N. Fundamentals of orchestration / N. Rimsky-Korsakov. - M., 1946.

5. Rozanov, V. Instrumentation / V. Rozanov. - M.: Sov. composer, 1974.

6. Fomin, V. The oldest Russian symphony orchestra / V. Fomin. - L.: Music, 1982.

7. Chulaki, M. Instruments of the symphony orchestra / M. Chulaki. - M., 1962.

Topic 3. Symphony orchestra string instruments

Two groups bowed instruments: hand (violin, viola) and foot (cello and double bass).

Violin. Tool design. Workshops of the great Italian families - A. Amati, A. Guarneri, A. Stradivari. Build, range; three ways to produce sound: moving the bow along the string, plucking the finger, hitting the bow with the reed on the string.

Basic strokes and techniques of playing the violin.

Technical and artistic capabilities of the instrument.

Alto. Transport of the instrument (sounds a fifth lower than the main instrument), range, timbre characteristics.

Cello. It is notated (written) mainly in bass and tenor clefs. The structure, range, technical and artistic capabilities of the instrument. Characteristics of the instrument's timbre.

Double bass. The strings of the double bass, unlike other stringed instruments, are tuned in fourths as follows: G, D, A, E (major octave). Large modern orchestras have two five-string double basses, which produce even lower sounds: their fifth string is tuned to the “C” note of the counteroctave.

The role of the double bass in the orchestra. Technical and artistic capabilities of the instrument.

Literature:

2. Malter, V. Tables on instrumentation / V. Malter. - M., 1972.

3. Rozanov, V. Instrumentation / V. Rozanov. - M.: Sov. composer, 1974.

5. Chulaki, M. Instruments of the symphony orchestra / M. Chulaki. - M., 1962.

Topic 4. Woodwind group

The second group of the symphony orchestra is a group of woodwind instruments. Made from special types of wood (in the old days, these instruments were often made from other materials - ivory, porcelain, crystal, gold).

Each of the instruments in this group of the orchestra has a completely individual design. What they have in common is the way they produce sound. The group's overall range exceeds that of all other orchestral groups.

Characteristics of the timbre of each representative of the group of woodwind instruments.

Division of instruments according to the method of blowing sound: labial (labial) - flute; reed (lingual) - oboe, clarinet, bassoon and saxophone.

Reeds of reed woodwind instruments.

Flute. Varieties of flute (straight and transverse).

Improvement of the flute mechanism by Theobald Böhm regarding the design of the valve system.

Flute range, registers, timbres. Technique of playing the flute.

Varieties of flute.

Oboe. The historical predecessors of the oboe are the bombarda and the zurna (Caucasian and Central Asian folk instruments). Technical and artistic capabilities of the oboe. Historical varieties of oboe (piccolo heckelphone, oboe, oboe d'amour, English horn, or alto oboe, baritone oboe, or heckelphone). Modern varieties of oboe.

Clarinet. The historical ancestors of the instrument are the medieval folk instruments - the Chalumeau pipe and the flute. The clarinet became a permanent member of the orchestra only at the end of the 18th century. Technique of playing the clarinet. Varieties of clarinet.

Bassoon. The lineage of the bassoon dates back to the 16th century. Its ancestor is considered to be the ancient bass pipe - the bombarda. Bassoon design, timbre characteristics, technical and artistic capabilities of the instrument. Varieties of bassoon. The modern orchestra retains the bassoon and contrabassoon (transposes an octave lower than written).

The saxophone was invented in 1840 by the Belgian master Adolphe Sax. Occupies an intermediate position between woodwind and brass instruments. Characteristics of the instrument's timbre. In the twentieth century he becomes the “King of Jazz”. Technical and artistic capabilities of the instrument.

Literature:

1. Zryakovsky, N. General course of instrumentation / N. Zryakovsky. - M., 1963.

2. Sidelnikov, L. Big Symphony Orchestra / L. Sidelnikov. - M.: Music, 1981.

3. Chulaki, M. Instruments of the symphony orchestra / M. Chulaki. - M., 1962.

4. Fomin, V. The oldest Russian symphony orchestra / V. Fomin. - L.: Music, 1982.

Topic 5. Brass instruments

Brass instruments - the greatness of the orchestra. IN ancient times Ram horns in the shape of a horn were used, in the Middle Ages - personalized horns, which were called oliphant (made of ivory), in the Renaissance, the closest brothers of the horn - cornet and serpent - were used.

Characteristics of the third group of a symphony orchestra (it has from ten to seventeen instruments), the material from which the instruments are made and the characteristics of its sound. Sound extraction method. A mouthpiece is a device for producing sound in brass instruments. Changing the scale (natural scale) was achieved using “crowns” - additional pieces of tube inserted into the main tube to lengthen it.

The place of brass instruments in the score of a symphony orchestra.

The invention of the valve mechanism and its significance for horns and trumpets. The meaning of the trombone backstage. The use of mutes in brass instruments.

French horn. The ancestor of the modern horn is the forest horn. Starting from the 17th century, the horn began to be introduced into opera, and in the 18th century it became a permanent member of the symphony orchestra. Characteristics of the horn timbre, its place in the score line. Technique of playing the horn. Artistic possibilities of the instrument.

Horn pipes. Built by order of Richard Wagner for his tetralogy “The Ring of the Nibelung” in order to obtain a new timbre.

Pipe. Instrument design, timbre characteristics, registers. Technique of playing the trumpet.

Trombone. Recorded in bass and tenor keys. The meaning of the scenes. The presence of an additional crown (lowers the entire trombone scale down another fourth). Trombone registers. Technique of playing the trombone.

The Tchaikovsky Theater in Moscow is the main stage venue in our country. His auditorium accommodates one and a half thousand seats. Concerts and festivals are held here, Russian and world celebrities perform here.

The beginning of a creative journey

The Tchaikovsky Grand Concert Hall began its existence in the first decade of the 20th century. At first, several theaters were located in this building in turn. Then the premises were given to V. Meyerhold and his troupe. The legendary productions of this famous director and teacher were staged here: “The Inspector General,” “Mystery Bouffe,” “Woe to Wit” and many others. In 1932, Vsevolod Emilievich moved to another building. And in the room where the concert hall named after P. I. Tchaikovsky is now located, a large-scale reconstruction. It ended in 1940. The opening of the hall after restoration coincided with centenary anniversary the great composer P.I. Tchaikovsky. For this reason, the name of Pyotr Ilyich was given to the updated concert venue. In the first season, the hall became known throughout the Union. During the difficult war years, concert activity did not stop. Music sounded within these walls even to the sound of air raid sirens. In the basement of the concert hall there was a bomb shelter where artists and spectators went down during enemy air raids on Moscow. The building was practically not heated. But despite this, the artists always performed exclusively in concert costumes.

After the end of the Second World War, the hall began to be used for performances not only by musicians working in the academic field. Drama actors, pop artists, dance groups And foreign performers. Since 1962, the International Pyotr Ilyich Tchaikovsky Competition has been held in this hall.

Second half of the 20th century

In the 58-59 season. an important event occurred. The Tchaikovsky Concert Hall received a new organ. It was created by the Rieger-Kloss company, located in Czechoslovakia. In the 70s, it was reconstructed by Russian craftsmen.

At the end of the 20th century, the Tchaikovsky Hall began to be positioned as the most main stage Moscow Philharmonic. The number of concerts began to increase every season and gradually reached about 300 per year. Various festivals, including international ones, began to be held here. A series of concerts were organized. In addition, performances began to be played in the hall.

Century 21

Now the Tchaikovsky Concert Hall is the most famous and prestigious in the country. Pass here major festivals, various projects are being implemented. And the Philharmonic itself is the leading concert organization in our country. The number of projects and various events organized by this cultural institution increases every year. Increasingly, artists from other countries come to tour and participate in festivals. IN concert hall Tchaikovsky performances include such world celebrities as: Alfred Brendl, Patrizia Ciofi, Maurizio Pollini and so on. The world's famous orchestras also give concerts: the London Symphony, the Vienna Philharmonic, the Berlin ensemble "12 Cellists", the Bavarian Radio and many others.

On the stage of the hall named after. The best and most famous Russian groups and performers perform at P.I. Tchaikovsky, and talented debutants get a chance to loudly express themselves.

Other halls of the Philharmonic

Hall of the Gnessin Institute.

Hall named after S. Rachmaninov.

"Orchestrion".

Concerts

The Tchaikovsky Concert Hall offers its audience various events. From reading children's stories to festivals.

Concerts that can be heard in the Pyotr Ilyich Tchaikovsky Hall:

• "With love for Russia."
• "Gusli-jazz".
• "All facets of music."
• "From baroque to jazz rock."
• "Musical Travels".
• "Saturday symphony concerts for children."
• "The Sunny World of A. Pushkin."
• "Singing shrines of Ancient Rus'".
• "Blind man's buff, doll, leapfrog."
• "Ballerina-sorceress."
• "Classics in Russian".
• "Entertaining lessons in musical literature."
• "International Festival of Contemporary Music".

And many others.

Artists

The Tchaikovsky Concert Hall gathered a large group on its stage. It includes orchestras, choirs, ensembles and soloists.

Philharmonic artists:

• "Wolves and Sheep" (ensemble).
• Jazorchestra named after O. Lundstrem.
• Choir named after M.E. Pyatnitsky.
• Oleg Akkuratov.
• Big Symphony Orchestra.
• Alexander Gradsky.
• "Orpharion" (ensemble).
• Academic Symphony Orchestra.
• "Bach Ensemble".
• Daniil Kogan.
• "Moscow Soloists" (ensemble).
• Choir Chapel.
• "Kalinka" (dance ensemble).
• Russian Brass Band.
• Natalia Gutman.
• Schnittke Orchestra.