It would be unheard of arrogance on my part to talk about famous conductors of all times and peoples. On this score, I can only provide you with a link to the opinion of more authoritative experts than me :). But my own opinion also has some value, like any independent opinion of a thinking person, right? Therefore, I proceed as follows: I will try to highlight the main stages in the development of the art of directing and the names of famous conductors associated with these stages. This will be fair on all sides :)
- One of early stages conducting
associated with a very bulky object called a battuta. A kind of rod with which the main musical director hit the floor, measuring the beat. And with this very trampoline is connected, in turn, the most ridiculous tragic incident in musical world. Composer, musician and conductor Jean-Baptiste Lully died of gangrene in 1687. And the reason was a leg injury while conducting using a trampoline...
- In the 17th century, the role of the conductor
very often performed by the leading musicians of the orchestra. Sometimes they were organists or harpsichordists, but more often they were violinists. Probably, the expression “first violin” came from this tradition? And here I would like to say the following, enough modern name: Willie Boskowski. A violinist and conductor, he served as concertmaster of the famous Vienna Philharmonic Orchestra for several decades of the 20th century. And this orchestra, by tradition, has never had a chief conductor. Boskowski often conducted in the manner of Strauss himself - with a violin in hand.
- At the end of the 18th, in the 19th century, musical works
became so complicated that the next logical step was the formation of the profession of a “liberated” conductor. Now works are performed not only own composition, but also other brothers in the shop. And over time, there is a clear division between types of activities: a conductor is no longer necessarily a composer! One of the first professional conductors who managed to gain an international reputation were Hans von Bulow And Herman Levi.
- One cannot fail to mention such an event – the appearance of the conductor’s baton.
This happened in the 19th century and the form of this important instrument that was determined at that time remains traditional today. And they consider him an inventor German composer and conductor Louis Spohr.
- There is a truly revolutionary moment in the history of conducting.
Namely: the conductor turns to face the orchestra and back to the public! Honestly: I have no idea, but what was it like before this? The maestro couldn’t conduct while facing the audience, but with his back to the musicians?! Well, be that as it may, this event is celebrated as special. And in this regard, I remember the most heartfelt, heart-tugging fragment: the completely deaf Beethoven conducts the premiere of his symphony No. 9. Execution completed. The composer is unable to hear any sounds. With his back to the audience, he cannot see the audience's reaction. And then the musicians turn him around to face the audience and Beethoven sees the triumph his new work has caused.
- Finally, let me voice my personal affection :).
How unexpectedly I found out for myself: it is difficult for me to judge a conductor’s professionalism, so in my assessments I “add” such qualities as artistry and a sense of humor. This is probably why, among the conductors of the 20th century, I single out two: Gennady Rozhdestvensky And Daniel Barenboim. I end this post with a recording of the latter’s speech:
Itai Talgam
Renowned Israeli conductor and consultant helping leaders in business, education, government, medicine and other fields become “conductors” of their teams and achieve harmony through collaboration.
Itay Talgam argues that leadership skills are universal, and the communication styles of a conductor with an orchestra are in many ways similar to the relationship between a boss and employees in a company. But there is no universal principle for organizing such relationships. The author shares observations about the methods of orchestra management observed by great conductors and divides them into six conventional categories.
1. Dominance and control: Riccardo Mutti
Italian conductor Riccardo Mutti has an eye for detail and is very meticulous in managing the orchestra both during rehearsals and performances. All the nuances of the game are concentrated in his gestures: he notifies the musicians of the changing tone long before they have to rebuild. Mutti controls every step of his subordinates, no one and nothing remains without his attention.
Total control is due to the fact that the conductor himself feels pressure from the top management: the board of directors or the ever-present spirit of the great composer. Such a leader is always subject to condemnation from the ruthless super-ego.
The dominant leader is unhappy. His subordinates respect him, but do not love him. This was especially clearly demonstrated in the example of Mutti. Between him and the top management of Milan opera house"La Scala" there was a conflict. The conductor outlined his demands to his superiors, and if they were not met, he threatened to leave the theater. He hoped that the orchestra would take his side, but the musicians declared a loss of confidence in the leader. Mutti had to resign.
In your opinion, this conductor's stand is a throne? For me, this is a desert island where loneliness reigns.
Riccardo Mutti
Despite this, Riccardo Mutti is considered one of greatest conductors XX century. Itai Talgam says that at seminars on personnel management, the majority of students said that they would not want such a manager. But to the question: “Is his leadership effective? Can he force his subordinates to do their jobs?” - Almost everyone answered in the affirmative.
A dominant leader does not believe in the ability of employees to self-organize. He takes full responsibility for the result, but demands unquestioning obedience.
When it works
This tactic is valid if there are problems with discipline in the team. The author gives an example from Mutti's biography and talks about his experience working with the Israel Philharmonic Orchestra. This is a wonderful team, but its style of work was formed at the intersection of European, Mediterranean and Middle Eastern cultures. The diversity of traditions led to a lack of formal discipline within the orchestra.
At that moment, when Mutti's baton froze in the air in anticipation of the first notes, one of the musicians decided to move his chair. There was a creak. The conductor stopped and said: “Gentlemen, I don’t see the words ‘creaking of a chair’ in my score.” From that moment on, only music sounded in the hall.
When it doesn't work
In all other cases, and especially when the work of employees is related to. Mutti's management style eliminates the possibility of mistakes, which often lead to new discoveries.
2. The Godfather: Arturo Toscanini
Star conductor Arturo Toscanini showed maximum participation in the life of the orchestra at rehearsals and on stage. He did not mince words and scolded the musicians for mistakes. Toscanini became famous not only for his talent as a conductor, but also for his professional temper.
Toscanini took every failure of his subordinates to heart, because the mistake of one is the mistake of everyone, especially the conductor. He was demanding of others, but no more than of himself: he came to rehearsals in advance and did not ask for privileges. Each musician understood that the conductor was sincerely concerned about the result, and was not offended by insults for inaccurate playing.
Toscanini demanded full dedication from the musicians and expected impeccable performance. He believed in their talent and was focused at concerts. It was clear how proud he was of his “family” after a successful performance.
An important motivator for employees of such a team is the desire to work well “for their father.” Such leaders are loved and respected.
When it works
In cases where the team is ready to accept the three basic principles of family culture: stability, empathy and mutual support. It is also important that the manager has authority, is competent in his field, has professional achievements. Such a leader should be treated like a father, so he must be smarter and more experienced than his subordinates.
This management principle is often resorted to when the team is going through difficult times. During the period of strengthening of trade unions large companies they introduce slogans like “We are one family!” Management strives to improve working conditions, gives employees the opportunity to receive additional education, conducts corporate events and provides subordinates with a social package. All this is aimed at motivating employees to work for the sake of the bosses who care about them.
When it doesn't work
In some modern organizations, where relationships between people are sometimes more important than formal hierarchy. In such groups, deep emotional involvement is not implied.
Such a management principle requires not only the authority and competence of the leader, but also the ability of subordinates to meet the expectations placed on them. Itay Talgam talks about his experience studying with conductor Mendy Rodan. He demanded a lot from the student and perceived his every failure as a personal defeat. This pressure, coupled with abuse, depressed the author. He realized that such a teacher would help him get a diploma, but would not develop a creative personality in him.
3. According to instructions: Richard Strauss
The author says that many managers present at his seminars were only amused by Strauss’s behavior on stage. Visitors chose him as a potential leader only on the basis that with such a boss they wouldn’t have to bother themselves much with their work. The conductor's eyelids are lowered, he himself looks distant and only occasionally glances at one or another section of the orchestra.
This conductor does not aim to inspire, he only restrains the orchestra. But if you take a closer look, it becomes clear what is the basis of such a management principle - following instructions. Strauss is focused not on the musicians, but on the notes, even if the orchestra is playing his work. By this, he shows how important it is to strictly follow the rules and clearly perform the work, without allowing your own interpretations.
It is worth understanding that the lack of interpretations and discoveries in music is not at all a bad thing. This approach allows us to reveal the structure of the work and play it as the author intended.
Such a leader trusts his subordinates, requires them to follow instructions and believes that they can comply with them. This attitude flatters and motivates employees, and they gain self-confidence. The main disadvantage of the approach is that no one knows what will happen if a situation arises that is not specified in the instructions.
When it works
A similar management principle works in different cases. Sometimes it is as comfortable as possible for calm professionals who are accustomed to working according to the letter of the law. Sometimes providing employees with mandatory instructions is simply necessary, for example when interacting different groups subordinates.
The author gives an example of his experience working with the orchestra and rock band Natasha’s Friends. The problem arose because the band members arrived at the end of the second hour of a three-hour rehearsal. They were confident that nothing would prevent them from devoting the rest of the day to music, without thinking about the fact that orchestra rehearsals are subject to stricter time frames.
When it doesn't work
The principle of management based on following instructions does not work where creativity and the creation of new ideas should be encouraged. Like absolute obedience to the leader, following instructions implies the absence of mistakes, leading to new discoveries. It can also deprive employees of their professional enthusiasm.
The author gives an example from the biography of conductor Leonard Bernstein. The Israeli Philharmonic Orchestra, under his direction, rehearsed the finale of Mahler's symphony. When the conductor gave the signal for the brass to enter, there was silence in response. Bernstein looked up: some of the musicians had left. The fact is that the end of the rehearsal was scheduled for 13:00. It was 13:04 on the clock.
4. Guru: Herbert von Karajan
Maestro Herbert von Karajan hardly opens his eyes on stage and does not look at the musicians. He only expects his subordinates to magically consider his wishes. This was preceded preliminary work: The conductor carefully explained the nuances of the game during rehearsals.
The Guru did not specify a time frame for the musicians or set a rhythm; he only listened carefully and conveyed the softness and depth of sound to the orchestra. The musicians were perfect for each other. They became interdependent conductors themselves and over and over again improved their skills in playing together.
Such an approach speaks of the leader’s arrogance: he acts bypassing accepted postulates and is always confident of success. At the same time, team members depend much more on each other than on the instructions of management. They have the power to directly influence the results of work. They are entrusted with additional responsibility, so being in such a team can be a psychologically difficult test for some. This management style is similar to Mutti dominance in that the leader is also unavailable for dialogue and imposes his vision of the organization on his subordinates.
When it works
When the work of a team is related to the creativity of employees, for example in the field of art. American artist Sol LeWitt hired young artists (several thousand in total), explained the concepts and gave some guidance. After which the subordinates set off to create without Levitt’s control. He was interested in the result, not submission in the process. A reasonable and wise leader, he understood that joint creativity only enriches the project. This is what made him the most exhibited artist in the world: throughout his life he held more than 500 solo exhibitions.
When it doesn't work
In each team, the appropriateness of this management principle depends on many individual factors. This approach often leads to failure, which is why, for example, Cadbury & Schweppes created the Cadbury Code of Corporate Governance, which describes procedures designed to protect the company from excessive managerial ego and convey important information to all participants in the process.
The author also tells an instructive story from his own experience. He wanted to start his work with the Tel Aviv Symphony Orchestra with a big innovation. Itai Talgam divided the string section into quartets and placed the winds between them. He suggested that this way each of the musicians could feel like a soloist. The experiment was a failure: the participants were unable to maintain communication while being far away from each other, so they performed extremely poorly.
5. Leader Dance: Carlos Klaiber
Carlos Kleiber dances on stage: he stretches out his arms, jumps, bends and sways from side to side. At other times, he leads the orchestra with just his fingertips, and at other times he simply stands and listens to the musicians. On stage, the conductor shares joy and multiplies it. He has a clear vision of the form and leads the musicians, but does this not as a leader, but as a solo dancer. He constantly requires subordinates to participate in interpretations and does not burden his instructions with details.
Such a leader manages processes, not people. It provides subordinates with space to introduce innovations and encourages them to create on their own. Employees share power and responsibility with the leader. In such a team, a mistake can be easily corrected and even transformed into something new. “Dancing” managers value ambitious employees, preferring them to those who are able to conscientiously carry out their work according to instructions.
When it works
A similar principle applies when an ordinary employee may have more relevant information than the boss. As an example, the author cites his experience working with counter-terrorism agencies. An agent in the field must be able to make decisions independently, sometimes violating direct orders from command, because he has the most complete and up-to-date knowledge of the situation.
When it doesn't work
When employees are not interested in the fate of the company. The author also claims that such an approach cannot be artificially imposed. This will only work if you are able to sincerely rejoice in the success of your employees and the results of their work.
6. Finding Meaning: Leonard Bernstein
The secret of Leonard Bernstein's interaction with the orchestra is revealed not on stage, but off it. The conductor did not want to separate emotions, life experience and aspirations from music. For each of the musicians, Bernstein was not only a leader, but also a friend. He invited not a professional, but a person to creativity: in his orchestras, music is performed, listened to and composed primarily by individuals, and only then by subordinates.
Bernstein performed for the musicians main question: "For what?" This was the point: he did not force people to play, but made it so that the person himself wanted to play. Everyone had their own answer to Bernstein’s question, but everyone equally felt involved in the common cause.
When it works
A dialogue between management and employees and giving their activities meaning will benefit any organization where the work of team members is not reduced to a set of similar actions. An important condition in this case is that employees must respect the leader and consider him competent.
When it doesn't work
Itai Talgam talks about a situation where he tried to apply Bernstein's method, but met only misunderstanding from his subordinates. The reason was that many of the musicians of the Tel Aviv Symphony Orchestra were much older and did not know him at all. The first rehearsal did not go very well. “Something is wrong,” Talgam told the orchestra. - I just don’t know what. Tempo, intonation, something else? What do you think? What can be fixed? One of the elderly musicians stood up and said: “Where we came from, the conductor did not ask us what to do. He knew what to do."
In The Ignorant Maestro, Itai Talgam not only talks about the management principles of great conductors, but also reveals three important qualities of an effective leader: ignorance, giving meaning to empty spaces, and motivational listening. The author talks not only about what a leader should be, but also about the role of subordinates in work communications. There is no universal management principle; everyone effective leader produces it independently. And you can learn something and adopt some techniques from the six great conductors who are written about in this book.
December 10, 2014Musical culture cannot exist without conductors, just like the film industry without directors, the literary and publishing industry without editors, and fashion projects without designers. The orchestra leader ensures the organic interaction of all instruments during the performance. The conductor is in charge actor on the stage of the Philharmonic, concert hall or any other music venue.
Virtuosos
The coherence of a symphony orchestra, the harmonious sound of numerous musical instruments achieved through the skill of the conductor. It is not for nothing that the most talented of them are awarded various high ranks and titles, and are popularly called “virtuosos.” Indeed, impeccable control of the conductor’s baton allows each musician sitting in the orchestra pit to convey all the nuances of the creative impulse. A huge symphony orchestra suddenly begins to sound like a single whole, and musical composition at the same time it reveals itself in all its splendor.
Famous conductors are united on the basis of skill; they all went through school high art, popularity and recognition of the general public did not immediately come to them. It has gained popularity over the years. For the most part, well-known conductors, in addition to their concert activities, are engaged in teaching, conducting training courses for young musicians, as well as master classes.
Self-sacrifice
The art of conducting an orchestra requires many years of practice, continuous improvement, which results in endless rehearsals. Some famous conductors are distinguished by special creative tenacity, bordering on self-sacrifice, when personal life moves into the background and only the music remains. However, this situation is good for art.
The most famous conductors are bound by contracts with certain musical groups, and this gives them the opportunity to achieve high level execution musical works. At the same time, general mutual understanding is necessary, which will subsequently serve as the key to successful concert activities.
Famous opera conductors
In the world music hierarchy there are names that everyone knows. The names of famous opera conductors can be found on posters, billboards, and cruise ships are named after them. This popularity is well deserved, since few people are still able to devote their entire lives, without a trace, to music. The most famous conductors travel around the world, tour with various musical groups or lead orchestras in large music centers. Opera performances require special coordination of the orchestra when accompanying vocal parts, arias and cavatinas. In all music agencies you can find out the names of famous opera conductors who can be invited for a season or a series of performances. Experienced impresarios know the working style and character traits of each person. This helps them make the right choice.
Famous conductors of Russia
Music, especially opera, has many components. There is also an orchestra, which includes a variety of instruments: winds, strings, bows, percussion. Soloists, vocal performers, choir and other participants in the performance. The disparate fragments of the opera performance are united into one whole by the director of the performance and the conductor of the orchestra. Moreover, the latter actively participates in the action from beginning to end. There are conductors in Russia who direct opera with their music for the sole reason the right way, which leads the viewer to real art.
Famous conductors of Russia (list):
- Alexandrov Alexander Vasilievich.
- Bashmet Yuri Abramovich.
- Bezrodnaya Svetlana Borisovna.
- Bogoslovsky Nikita Vladimirovich.
- Bronevitsky Alexander Alexandrovich.
- Vasilenko Sergey Nikiforovich.
- Garanyan Georgy Abramovich.
- Gergiev Valery Abisalovich.
- Gorenshtein Mark Borisovich.
- Diaghilev Sergei Alexandrovich.
- Evtushenko Alexey Mikhailovich.
- Ermakova Lyudmila Vladimirovna.
- Kabalevsky Dmitry Borisovich.
- Kazhlaev Murad Magomedovich.
- Kogan Pavel Leonidovich.
- Lundstrem Oleg Leonidovich
- Mravinsky Evgeniy Alexandrovich.
- Svetlanov Evgeny Fedorovich.
- Spivakov Vladimir Teodorovich.
Every famous Russian conductor can successfully lead any foreign symphony orchestra; a few rehearsals are enough for this. The professionalism of musicians helps to overcome both the language barrier and the difference in styles.
World celebrities
Famous conductors of the world are talented musicians recognized by the general public.
Pavel Kogan
The most famous Russian conductor, who has been giving the world his art for more than forty years. His popularity is unprecedented. The maestro's name is on the list of the ten greatest modern conductors. The musician was born into a family of famous violinists, Leonid Kogan and Elizaveta Gilels. Since 1989 it has been permanent artistic director, as well as the Chief Conductor of the MGASO (Moscow State Symphony Orchestra). At the same time, he represents Russia in major music centers in America.
Pavel Kogan performs all over the world with the best symphony orchestras, his art is considered unsurpassed. The maestro is a laureate of the State Prize of Russia and bears the title “People’s Artist of Russia.” Pavel Kogan also has many awards, including the Order of Merit for the Fatherland and the Order of the Arts.
Herbert von Karajan
The world-famous Austrian-born conductor Herbert von Karajan (1908-1989) was born into a family of Greek immigrants. At the age of eight he entered the Mozarteum Conservatory in the city of Salzburg, where he studied for 10 years and acquired initial conducting skills. At the same time, young Karayan mastered playing the piano.
The debut took place in 1929 at the Salburg Festival Theater. Herbert conducted Richard Strauss' opera Salome. In the period from 1929 to 1934 he was the Chief Kapellmeister in the theater of the German city of Ulm. Then Karajan for a long time stood at the conductor's stand of the Vienna Philharmonic Orchestra. At the same time he performed Charles Gounod's opera "Walpurgis Night".
The conductor's finest hour came in 1938, when his performance of Richard Wagner's opera "Tristan and Isolde" was a huge success, after which Herbert began to be called "Miracle Karajan".
Leonard Bernstein
American conductor Leonard Bernstein (1918-1990), was born into a family of Jewish immigrants. Musical education began for Leonard as a child, he learned to play the piano. However, the boy gradually became accustomed to conducting, and in 1939 he made his debut - young Bernstein performed with a small orchestra a composition of his own composition under called The Birds.
Thanks to his high professionalism, Leonard Bernstein quickly gained popularity and, already in his young years, led the New York Philharmonic Orchestra. Being comprehensive creative person, the conductor studied literature. He has written about a dozen books dedicated to music.
Valery Gergiev
The famous conductor Valery Abisalovich Gergiev was born on May 2, 1953 in Moscow. At the age of nineteen he entered the Leningrad Conservatory. As a student I participated in international competition conductors in Berlin, where he took second place.
After graduating from the conservatory in 1977, the young conductor was accepted as an assistant at the Kirov Theater. Yuri Temirkanov became his mentor, and already in 1978 Valery Gergiev stood at the controls and performed Prokofiev’s opera “War and Peace”. In 1988, he replaced Yuri Temirkanov, after his departure to the Leningrad Philharmonic.
The year 1992 was marked by the return to the Kirov Theater of its historical name "Mariinsky Theatre". The theater audience of St. Petersburg, to get to opera performances, is booked in advance, months in advance. Today Valery Gergiev is the theater's chief conductor and its artistic director.
Evgeniy Svetlanov
The famous conductor, Russian and international, Evgeniy Fedorovich Svetlanov (1928-2002) left a noticeable mark on cultural heritage Russia. Holds the title of "Hero" Socialist Labor" and "People's Artist of the USSR." He is a laureate of the Lenin and State Prizes of the USSR.
Svetlanov’s creative career began immediately after graduating from the Gnessin Institute in 1951. He continued his studies at the Moscow Conservatory in the class of opera and symphony conducting and composition.
The debut took place in 1954 on stage Bolshoi Theater in the production of Rimsky-Korsakov's opera "The Pskov Woman". From 1963 to 1965 he was chief conductor of the Bolshoi Theater. During his work, the level of opera performances increased noticeably.
In 1965-2000 combined work as artistic director and chief conductor of the State Symphony Orchestra of the USSR (later Russia).
Vladimir Spivakov
Russian conductor Vladimir Teodorovich Spivakov was born in 1944 in the city of Ufa. He graduated from the Moscow Conservatory in 1968 and postgraduate studies in 1970.
Vladimir Spivakov studied his craft at the Gorky Conservatory with Professor Israel Gusman. Later he took a special course in the USA, with Leonard Bernstein and Lorin Maazel.
Currently he is the permanent director and conductor of the Moscow Virtuosi chamber symphony orchestra, which he personally founded in 1979. He has performed with European orchestras and US musical groups. He has conducted at the La Scala Theatre, the Accademia Cecilia, the Philharmonic of the German city of Cologne and the French Radio. He is the president of the International House of Music in Moscow.
Yuri Bashmet
Russian conductor Bashmet Yuri Abramovich was born on January 24, 1953 in Rostov-on-Don. People's Artist of the USSR. Winner of four State awards Russian Federation.
In 1976 he graduated from the Moscow Conservatory. In 1972, while still a student, he acquired a viola violin by the Italian master Paolo Testore, made in 1758. Bashmet still plays this unique instrument today.
Active concert activities began in 1976, and two years later received a teaching position at the Moscow Conservatory. In 1996, Yuri Bashmet created the “Experimental Viola Department”, where the study of viola parts in symphony, opera and chamber music. At the same time he received the title of professor at the Moscow Conservatory. Currently engaged in active charitable and social activities.
Cycle concert programs (Russia, 2010). 10 issues.
There are no more authoritative figures in modern musical culture than representatives of the world conducting elite. The creators of the series chose ten significant names - Simon Rattle, Lorin Maazel, Daniel Barenboim, Maris Jansons, as well as their famous Russian colleagues. Today they are universally recognized masters and directors of major orchestras.
Each program is based on the performance of one of the named maestros with his orchestra.
Soloists: violinists Vadim Repin and Sergei Krylov, oboist Alexey Utkin, pianist Denis Matsuev and others.
The program is very diverse - from I.S. Bach to A. Schoenberg and A. Pärt. All works are among the masterpieces of world music.
The host of the cycle is pianist Denis Matsuev.
1st issue. .
Soloist Vadim Repin.
Program: I. Stravinsky. Symphony in three movements; M. Bruch. Concerto for violin and orchestra No. 1 in G minor; L. Beethoven. Symphony No. 7.
2nd issue. Vladimir Fedoseev and the Bolshoi Symphony Orchestra. P.I. Tchaikovsky.
In the program: L. Beethoven. Symphony No. 4.
Recording in the Golden Hall of the Musikverein in Vienna.
3rd edition. "Maris Jansons and the Bavarian Radio Symphony Orchestra."
Program: R. Wagner. Introduction and "Death of Isolde" from the opera "Tristan and Isolde"; R. Strauss. Suite of waltzes from the opera "Der Rosenkavalier".
4th issue. "Daniel Barenboim and the West-Eastern Divan Orchestra."
In the program: V.A. Mozart. Concerto No. 7 in F major for three pianos and orchestra. Soloists: Daniel Barenboim, Yael Karet, Karim Said. A. Schoenberg. Variations for orchestra. G. Verdi. Overture to the opera "Force of Destiny".
5th issue. "Vladimir Spivakov and the National Philharmonic Orchestra of Russia.
Sergei Prokofiev. Concerto No. 3 for piano and orchestra. Symphony No. 1 "Classical". Soloist Denis Matsuev. Sign up for Great hall Moscow Conservatory in 2008.
6th issue. "Lorin Maazel and the Arturo Toscanini Symphony Orchestra"
Program: Giacchino Rossini. Overture to the opera "Italian in Algiers"; Johannes Brahms. Symphony No. 2.
Recording in the Great Hall of the Moscow Conservatory.
7th issue. Yuri Temirkanov and the Academic Symphony Orchestra of the St. Petersburg Philharmonic. D.D. Shostakovich.
8th issue. Yuri Bashmet and the chamber ensemble "Moscow Soloists".
In a programme: Joseph Haydn- Concerto for cello and orchestra. Soloist Stephen Isserlis (Great Britain), Niccolo Paganini - 5 caprices (arranged by E. Denisov for violin and chamber orchestra). Soloist Sergei Krylov (Italy); V.A. Mozart - Divertimento No. 1.
Registration in the BZK.
9th issue. Mikhail Pletnev and the Russian National Orchestra
The Russian National Orchestra will perform a suite from the ballet by P.I. Tchaikovsky" Swan Lake", compiled by Mikhail Pletnev. Recording at the Bolshoi Theater of Russia as part of the Great RNO Festival, 2009.
10th issue. Valery Gergiev and the Symphony Orchestra Mariinsky Theater
The Mariinsky Theater Symphony Orchestra conducted by Valery Gergiev will perform orchestral hits - overtures from operas by Rossini, Verdi, Wagner, waltzes from Tchaikovsky's ballets, fragments from Prokofiev's ballet Romeo and Juliet.
- Hello! I am an educator additional education, teacher of choir class, voice and piano. I work in the center children's creativity Avtozavodsky district of Nizhny Novgorodbased on school No. 63with in-depth study of music.
- Let me present to your attention a computer presentation “Russian conductors of our time”
- First I will tell you who a conductor is.
"Conductor" - French word and it means “to lead.” Accordingly, a conductor is the leader of an orchestral, opera, and also choral group.Conducting is one of the most complex types musical performance. The conductor owns the artistic interpretation of the work. To the choral conductor you need to monitor the structure of the choir, the correct and simultaneous pronunciation of the text, the correct start and entry. Conducting as an independent profession appeared in the second half of the 19th century. The conductor is the soul of the ensemble! - The conductor can lead choir group, as well as opera and symphony. Another name for a choir conductor is a choirmaster.
- I would like to introduce you to some Russian conductors of our time.
- Pavel Kogan is one of the most famous conductors in our country. His creative career began more than 40 years ago. Kogan was born in musical family. His parents, Leonid Kogan and Elizavet Gilels, are violinists. Kogan's debut as a conductor took place in 1972 with the USSR State Symphony Orchestra. Since 1989 he has been the artistic director and chief conductor of the MGASO (Moscow State Symphony Orchestra). Kogan also works with the best orchestras in the world. The conductor is a laureate of the State Prize of Russia and bears the title “People’s Artist of Russia.” In addition to the prize, Kogan has many Russian and international awards.
- Gergiev Valery Abisalovich was born on May 2, 1953 in Moscow. Grew up in North Ossetia. At the age of twelve he entered the Leningrad Conservatory to study conducting. As a student he took part in the Herberg von Karajan international conducting competition in Berlin. There he took an honorable second place. After graduating from the conservatory, Gergiev was accepted as an assistant at the Kirov Theater. In 1978 he conducted Prokofiev's opera War and Peace. Gergiev later led the State Symphony Orchestra of Armenia. In 1988 he took the place of chief conductor of the Kirov Theater. Gergiev organized his own festival dedicated to Mussorgsky’s operas, and subsequently thematic festivals under the direction of the conductor became a tradition. Gergiev is also the chief conductor of the London Symphony Orchestra. He is the winner of international and Russian awards.
- Spivakov Vladimir Teodorovich was born in 1944 in the city of Ufa. His mother, Ekaterina Osipovna Weintraub, graduated from the Moscow Conservatory in piano. In 1955 Spivakov studied at music school at the Moscow Conservatory. In 1968 he graduated from the conservatory, and in 1970 he graduated from graduate school under the guidance of Yuri Yankelevich. In 1979 he founded the Moscow Virtuosi chamber orchestra and continues to direct it to this day. Spivakov is also the leader music festival in Colmar. In 2001, in Moscow, Vladimir Teodorovich organized the Moscow international festival. He has worked with many American and European orchestras. In 1994 he foundedVladimir Spivakov International Charitable Foundation . He is an Honored Artist of the RSFSR, People's Artist USSR, People's Artist of Ukraine, etc.
- Bashmet Yuri Abramovich was born on January 24, 1953 in Rostov-on-Don. He studied at the Lviv Special Music School. He graduated from the Moscow Conservatory in 1976. He is the founder of the Moscow Soloists chamber orchestra. Yuri Bashmet is also a violist. Since 1996 he has been a professor at the Moscow Conservatory. In 1996creates and heads the “Experimental Viola Department” at the Moscow Conservatory. Since 2002 he has directed and conducted the State Symphony Orchestra " New Russia" He has worked with the Berlin, New York Philharmonic, Chicago and London Symphony Orchestras. He is a People's Artist of the USSR and a laureate of four State Prizes of the Russian Federation.
- I would like to end my methodological report with a quote from Valery Filatov: “If a choir does not have a conductor, everyone tries to “outshout” the other.”
The conductor, it’s like a hint, it’s like a magic wand that with gestures says where and who needs to enter, where to pause, it’s like he helps the orchestra (choir), inspires it and gives it his positive energy. - Thank you for your attention!
