Vyacheslav Kuznetsov composer. Historical and aesthetic analysis

Composer, State Prize laureate, professor at the Academy of Music Vyacheslav Kuznetsov is a more than well-known personality in the music world. Music lovers enjoy his symphonic works; fans of ballet art could fully appreciate “Vytautas”, brilliantly presented by the Bolshoi Opera and Ballet Theater. On January 28, the President signed a decree awarding the composer the title “Honored Artist of the Republic of Belarus,” and today his choreographic symphony “Cleopatra” will be performed at the Belarusian State Philharmonic Society.

Your ballet “Vytautas”, staged at the Bolshoi Theater, created a stir and is still performing successfully. How popular are essays of this kind now?

Our ballet school is very strong, and the public loves dance. There is a tradition of Belarusian ballets, and I continue it. But there are also difficulties. It is necessary, firstly, to find a topic, secondly, to interest the theater, thirdly, to create a creative group, find like-minded people, fourthly, to finance it. And fifthly, the performance needs to generate some income so that the public will go to see it. If everything fits together, great. “Vytautas,” for example, had a very powerful production team, starting with playwright Alexei Dudarev. By the way, this is a good idea when the theater chooses a theme, composer, playwright, artist.

- If we talk about the theater, then working to order is a completely natural thing, even from a historical point of view.

Of course. It’s hard to imagine the picture when a young author comes: look, I wrote an opera. Well, I wrote it - and good, congratulations. I believe that the Ministry of Culture should regulate the process. Some global idea came to the Ministry of Culture, for example, to stage an opera based on our national plot. And they decide: let’s ask this composer, this artist, and so on. Ideally, this should be the case, at least in large productions. If the composer brings a short vocal cycle, they sing it, and that’s it. And the theater is a complex, heavy machine, and it’s still time to put it into action! Now I (also commissioned by the theater) am finishing the ballet “Anastasia” - about Anastasia Slutskaya. The same principle: they called Anatoly Delendik, who wrote the script for the film, offered to write a ballet libretto and invited me. And we are slowly working with choreographer Yuri Troyan. Step by step, slowly.

- How long does it take to compose a major work?

A year or two, or even three. “Cleopatra,” which will be performed at the Belarusian State Philharmonic on February 11, took me three years to write. There, of course, you will hear a purely symphonic version of the ballet score, but thanks to the idea of ​​conductor Alexander Anisimov, two readers will be introduced - actors of the Yanka Kupala Theater. They will provide poetic content: texts by Plutarch, Bryusov, Akhmatova will be heard... The Philharmonic is a hospitable home, I don’t even remember how much of my music has been played there over the years, but it is an honor for me to sound within these walls.

The play “Vytautas” is not a history textbook, but rather a stage fantasy.
Photo by Vitaly Gil.

You are a person knowledgeable in literature, and, as far as I know, you not only turn to poetry, but also do not shy away from prose writers.

Yes, I have the opera “Notes of a Madman” based on Gogol. Wonderful text, such that it sings itself! By the way, it was staged at the Bolshoi Theater in 2005. He wrote an opera based on Nabokov - “Invitation to Execution.” I proposed it for production, but apparently the title puts me off. And Dostoevsky? I made several attempts: I composed choral and vocal works.

- Vocal? How can you sing Dostoevsky?

There is an epigraph in “Demons” - a quote from the Gospel - I took it and sang it. The result was “Fragment of the epigraph to Dostoevsky’s novel “Demons.” Shostakovich has “Four Poems by Captain Lebyadkin.” I wanted to try to write music for the fifth year, and even planned an opera based on “Demons,” but the task, of course, is not the easiest. I’ve been approaching this idea, but so far it’s only in projects.

- Do you collaborate with modern authors?

I am attracted not so much to modern as to folk texts. I find a lot there that today's authors don't have. Although I have written a large composition on the poems of Yan Chechot for a male choir, I love Bogdanovich very much - he, in my opinion, is our most lyrical, piercing poet, in every line one can feel such depth and pain... And his poems are very musical.

- You write a lot for the choir, but now choirs are often perceived as some kind of archaism.

On the contrary, they are more than modern! People simply don’t know, aren’t interested, but imagine a choral group, a chapel, where there are 60 - 80 voices. And imagine the essay being written with every voice in mind. What kind of music this could be! I’m not talking about the Baltic traditions, where the choir is the basis, but in Belarus we have a huge folklore layer. As a student, I went on ethnographic expeditions to Polesie: what deep places there are, grandmothers in such distant villages - we sailed there by boat, because there were no roads! The fact is that songs taken from archives and already transcribed are a shadow of the real ones, and one must always take the original. When a folk song is deciphered, on this basis the composer then creates a kind of pan-European version, missing the subtleties of performance, all the flavor. It is very difficult to record a folk song, its rhythmic and intonation turns. It’s easier to do everything according to European standards - that’s what the stage does. He takes a diamond, sharpens it, and brings it to a common denominator. I understand that this is also necessary for the sake of popularizing folklore, but if you work seriously, then only relying on the basics, on the original source.

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It is incorrect to compare modern culture with the standard - the classics of the 19th century. Society has changed dramatically: it is not books, films, performances that are noticeable, but only the scandals around them. There is no scandal - it seems there is no creator, even if he was seventy-seven spans in his forehead. So it turns out: the classics among us are invisible people. Minsk-News spoke with composer Vyacheslav Kuznetsov, whose ballet “Anastasia” will be staged by the National Opera and Ballet Theater of Belarus this October.

Originally from Vienna

— Vyacheslav Vladimirovich, looking at the reference book, we learned that your small homeland is the capital of waltzes and cakes, Vienna. How is that?

— A Belarusian composer with a Russian surname comes from Austria — yes, that’s how it happened (laughs). My father went through the war and remained in the Vienna garrison. But soon after my birth, Soviet troops were withdrawn from Austria. So my first childhood memories are exclusively about the city of Baranovichi. I feel like a Belarusian. Belarusian folklore is very close to me. There is a feeling that the roots of our ancestors go back to the Grand Duchy of Lithuania. By the way, my mother’s maiden name is Zaretskaya.

— Your first musical instrument?

- Piano. Like all boys, I loved football very much, but... My mother, apparently, felt something, since she took me by the hand and took me to the music school. By first profession I am a pianist.

— At what age did you come to Minsk?

— Conscript: served in Uruchye. I came to audition for the conservatory. Anatoly Vasilyevich himself blessed me to enter the composing field (composer Anatoly Bogatyrev is the founder of the Belarusian national composing school. - Author's note). He received me very warmly and listened. From that moment on, Minsk became my city. I know it by heart.

Four operas and eight ballets

— You have been writing music for almost half a century. Are you writing to order? Or do you obey some inner need?

— Ballets and operas are not composed in one month or even in one year. This must be understood... I have eight ballets, and all are commissioned. Except the first one - “Twelve Chairs”. I composed it while still a student at the conservatory (Vyacheslav Kuznetsov studied composition under the guidance of People's Artist of the USSR, composer Evgeny Glebov. - Author's note). Their destinies are different. The ballets “The Twelve Chairs”, “Shulamith” and “Cleopatra” did not make it to the stage. “Polonaise” was staged by our choreographic school and shown in Minsk at the Philharmonic and on the theater stage. The ballet “Cleophas” was performed in concert in Vilnius, Warsaw, and Paris. Everything turned out well for Macbeth, which was directed by Natalya Furman; it ran for ten seasons at the Bolshoi Theater of Belarus.

When a theater is interested in having a significant work appear on its stage, it gathers a team of like-minded people. This happened with the ballet “Vytautas”. At the end of the 2000s, a strong creative group formed: Alexey Dudarev, Vladimir Rylatko, Yuri Troyan, Vyacheslav Volich, Ernst Heydebrecht. They invited me. The work went on for several years. I brought written fragments to the theater, figured out creative positions, because the further the process of creating a performance goes, the more difficult it is to remake the music, especially the score. I wrote “Vytautas” with pleasure, as if I was taking out from my soul something that had been accumulating all my life. The production was taken to Moscow and Vilnius, and sold out everywhere.

I have four operas: “Notes of a Madman,” “Invitation to an Execution,” “Humbert Humbert,” and “The Head of Professor Dowell.” The Bolshoi Theater of Belarus staged only “Notes of a Madman.” Now she is no longer coming.

—You choose Gogol, Kharms, Nabokov as your literary basis... Do you read a lot?

— I love the rustle of the pages. And I read, apparently, differently from others. For me, a text is either musical or it is not. The music of words is not a metaphor. I wrote the cantata “Quiet Songs” based on the poems of Maxim Bogdanovich. Bogdanovich resonated with me right away. In literature he stands apart, you cannot compare him with anyone, he is unique. Something similar happened to Jan Chechot. In his “Songs about the Ancient Litvins” Chechot rhymed the history of the Grand Duchy of Lithuania. Based on the “Songs...” I wrote a cantata for male choir and percussion instruments. And the idea was given to me by Viktor Skorobogatov, the director of the Belarusian Chapel.

- There is time for reading. What about the rest? Do you go to the theaters?

— I go, and I have a special affection for Kupalovsky. There was a case: about six years ago I was included in the commission for theater awards, and with great pleasure I walked around the Minsk stages and watched everything. The Belarusian State Puppet Theater caused particular awe. As a student, I was in charge of the music department there. “Little Red Riding Hood” has been running with my music for 30 years now.

Anastasia is not a doll

— Success with “Vytautas” prompted the Bolshoi to create another national ballet. This is again the era of the Grand Duchy of Lithuania.

- Only a century later, closer to us, and the story is different. They thought for a long time and settled on Princess Anastasia Slutskaya, who, after the death of her husband, led the fight against the invasion of the Tatars. The woman is bright, strong-willed, courageous. There has never been such a personality in our ballet. We will show her in motion - a girl, a girl, a married lady, a widow, a warrior, a prisoner... She is an absolutely living person for us. This is not a doll.

— How does Anastasia’s story end for you?

- Ellipsis. There is no pretentious ending - just a slight sadness from parting with the heroine. We strive to awaken the viewer’s genetic memory, so that he feels nostalgic for those times.

— Vyacheslav Vladimirovich, what musical means and instruments do you choose to create historicity and national flavor?

— Of course, the simplest thing is to set up cymbals, find a dudar, and make a video projection with a flying stork. This is a purely external effect, a frontal solution. I don't resort to them. There are a hundred excellent musicians in the symphony orchestra. The richest sound palette! The composer's skill lies precisely in using these possibilities. So that the viewer has the illusion of being in Slutsk in the 16th century.

- Illusion?

— Who knows absolutely exactly what happened 500 years ago? What did you eat, how did you dress in real life, and not for a formal portrait? But feelings, emotions, spiritual needs can be imagined and conveyed, because a person in essence has changed little. If he has a smartphone, this does not mean that he is smarter than his distant ancestor. On the contrary, the ancestor is smarter, if only because he had more time to think about life processes.

— Is there a danger of getting a double of “Vytautas”?

“I’ll say this: the shadow of danger is hovering.” But “Anastasia” will be a different performance. Firstly, our creative group has developed a very tender, reverent attitude towards the heroine, and this will create a different mood than in “Vytautas”. Secondly, in “Anastasia” the eastern theme should sound powerfully: the clatter of the hooves of the Tatar cavalry, the flight of arrows... The West and the East will come together, the male and female elements will collide. That's how it's meant to be.

On March 23, a concert dedicated to the work of Vyacheslav Kuznetsov was held in one of the concert halls of the Belarusian State Academy of Music. Vyacheslav is a Presidential Prize laureate, professor at BSAM, one of the leading composers of Belarus. The event was organized by two people - Alexander Khumala and Natalya Ganul, for which we immediately thank them very much.

“In the works written by Vyacheslav for performance by the choir, both folklore and philosophical themes are incredibly intertwined, there is an appeal to authentic jazz motifs, interpretations of the unique poetry of Velimir Khlebnikov, and an understanding of the paintings of Pablo Picasso,” the presenter excitedly said. “Today a diverse palette of music by Vyacheslav Kuznetsov will be presented,” she concluded, and the listeners froze in anticipation.

The evening began with “Sepevaў daўneyshih lіtsvinaў” – compositions written to the poems of Jan Chechet, the famous Polish-speaking Belarusian poet and folklorist. His texts, translated by Vladimir Markhel, were brought to Mr. Kuznetsov back in 1996 by Viktor Skorobogatov. Vyacheslav fell in love immediately! Thus, some of the composer’s most successful works were born - so accurately Vyacheslav was able to convey the flavor of the Middle Ages, and the choristers were able to brilliantly reproduce their plans. Compositions from the 13th-16th centuries were performed sternly and soulfully by young people from the BAHAVIAN GURTOK ensemble. Proudly and with a sense of their own ("knightly") dignity, the choristers sang the notes at once, as if thunder was thundering (tomorrow - into battle!). It seemed that these brave and unshakable “knights” stood as a fraternal squad in defense of some castle - no less! Hymns to princes interspersed with odes to beautiful ladies. Romanticism gushes with a powerful stream, washes away all sorts of prejudices along the way, and makes you plunge into the atmosphere of the Chronicles. The choir undoubtedly copes with its task: we believe it. The amazingly artistic conductor Alexander Khumala either stood on tiptoes or gave secret signs to the choristers, who were completely subordinated to the dashing waves of his impulsive hands. Children with carnations poured onto the stage, and the noble knights had long ago found something to do: pull up chairs for the next performers.

The parish choir of boys and young men of SYMONKI exists under the auspices of the Church of Saints Simeon and Helen. It was formed in 1999, on St. Simeon's Day. SYMONKI is a laureate of the sacred music competition “Magutny God” in 2006. The choir conductor is Elena Abramovich. Boys (with amazing angelic faces) and serious young men performed five Belarusian cants. The EDELWEISS girls' choir, which has existed for four years now on the basis of the choral group of the Youth Palace under the direction of Ekaterina Ignatieva, arrived to take over. In 2006, at the festival of sacred music in the Polish city of Lanach, she was named the best conductor, and EDELWEISS was awarded the Grand Prix. The team traveled extensively throughout Austria, Poland, and the cities of Belarus, and at our concert they performed very beautiful, truly girlish compositions - “Kalyhanki”. The program of the girls' choir contrasted amazingly with the program of the BAHAVIAN GURTOK ensemble: women take care of children, men defend them. This simple idea was presented by Vyacheslav Kuznetsov in a musical manner in the best possible way. During this touching performance (“bainki”, “sheranki katochak”), a good half of the audience, consisting of women, perked up and from then on constantly smiled with truly maternal tenderness. This was followed by the children's exemplary choir of secondary school No. 145 called RANITSA. Children ran out in multi-colored tights and with different hairstyles (oh, I remember how angry the teachers were: “So that everyone has the same thing at performances!”), chaotic and eccentric, with a wonderful, very well-chosen program - the view of composer Vyacheslav Kuznetsov on children's games . The schoolchildren diligently portrayed spontaneity in their movements, briskly turned to each other, bent over and twirled in every possible way - the staging turned out to be just right. The conductor of this entire celebration of life is Svetlana Gerasimovich, who, by the way, has been the conducting teacher of Alexander Khumala, the organizer of the concert itself, for almost five years. The BSPU students got a completely different topic: the philosophical lyrics of Maxim Bogdanovich, or rather, “his lyrical nerve” itself, as the presenter allowed herself to put it. Under the direction of Yulia Mikhalevich, they performed the “Two Choirs” program (“Summer Cried” and “Everything That Died Long Away”) in a drawn-out and, as one would expect, slightly melancholic performance. The evening was completed and delighted with its professionalism by the Orthodox choir RADZIVILY under the direction of the beautiful Olga Yanum, who in all her irresistible passion was simply mesmerizing.

After the concert, a conversation took place with one of the organizers of this event. Alexander Khumala - a young musician, endlessly initiative and bursting with infectious enthusiasm, a diploma winner at an international competition, a fifth-year student at BSAM - willingly shared his thoughts.

– Tell us about the concert itself. What is its idea, what is the main message and what is unique...
– In general, of course, we have choral music. Concerts are being held, there are festivals... The uniqueness of this concert is that this has never happened before when one composer gathered various choral groups around him. Both well-known choirs and completely unknown ones performed: for example, the choir from the Belarusian State Pedagogical University has only existed for two years, but it prepared a very strong program! It is also important to note that the concert was attended by groups of completely different composition and texture: children, adults, and mixed ones. Different in content and focus - Catholic, Orthodox, student, children's, professional and amateur!

– The concert was dedicated to the work of Vyacheslav Kuznetsov...
– The name of Vyacheslav Kuznetsov is very famous in our circles, but there was no such thing as a concert in his honor. I think this event is very important also because the work of a composer who NOW lives was presented. The realization that a composer is working with us, who is recognized, who creates... And not in the worst way! You know, the problem is that we are used to comparing. I don’t argue: Beethoven is Beethoven! But Kuznetsov has found his niche, and one cannot turn a blind eye to this. The task of our performers is to support our music. Egregious cases are well known when, for example, Bach was forgotten for a hundred years... It so happened that a person must first die in order to be recognized later. It’s the same with Picasso – he starved during his lifetime! With this concert we wanted to emphasize the importance of what our composers are doing NOW, in our time. Roughly speaking, don’t wait for their death to accept them... Kuznetsov is one of the brightest Belarusian composers, he is in the forefront of modern Belarusian music. His work is diverse and diverse: he has a lot of avant-garde, chamber, symphonic, and experimental music. Suffice it to say that he has already had three world premieres: in 2007, his “Ritual” was staged in Japan, as well as premieres in Switzerland and Germany. We recently had the premiere of his ballet Macbeth, a year ago we staged his opera Notes of a Madman... Yes, Kuznetsov sounds. But still not as often as we would like: the same chronicles, performed at the concert by the BAHAVIAN GURTOK choir, were written already in 1996, and performed only once, in 1998, by the UNIA choir under the direction of Kirill Nasaev. The chronicles themselves are completely unique! They describe the events of the 13th-16th centuries - the very time of the formation of the Belarusian people. These times of the emergence of the Grand Duchy of Lithuania, the Vytautas, the Jogailas, the Radzivils... do you understand? The chronicle genre has never been embodied in a musical concept! Usually these are documentaries, monographs, etc. And, oddly enough, the only one who wrote in the chronicle genre was Prokofiev, with his “War and Peace”! Vyacheslav Kuznetsov’s musical interpretation of Yan Chechet’s poetic chronicle is extremely important as an appeal to a bright national color, because the self-awareness of peoples is formed through their roots, and nothing more. It is bitter to realize that we are losing our roots, our historical roots! In terms of intensity, these works can be compared with Prokofiev’s “Alexander Nevsky” - it also reveals the historical stage of a certain time. Kuznetsov turned to those issues in order to create something not folklore, I emphasize, but deeply national. He also has folklore cycles (the same cantata “Vyaselle”), but this is completely different! Vyacheslav represents the music of a people that has very long historical roots - the music of the Belarusian people.

– What difficulties did (and did you have to) encounter in organizing the concert?
– There was one particularly difficult problem. Choral music is unique in that the choir is not just one person. Like, for example, when organizing a concert of instrumental music, you come to an agreement with each individual musician - and you’re done! A choir is a whole group that has a leader. And this leader must certainly interest and captivate the entire team! You know, in order to organize this concert, all this that I am now “pouring” on you - I “poured” on all the guards, officials, on all the leaders and conductors. The task of conductors and managers, in turn, is to captivate the team. Anyone can object: “I don’t like it!” The point is that they managed to captivate! You know, these people were passionate! For example, the RADZIVILA choir is going on a tour of Germany the other day, and here they are asked to prepare for our concert. Their leader Olga Yanum said that at first they were very distrustful of the idea of ​​the concert, and then they worked with such enthusiasm! Remember how they sang? Wonderful! Initially there is some bias, yes, but it is important that our youth are carried away! There were quite a lot of people at this concert - people even stood! Although advertising was minimal: the day before the concert there was a poster on the Internet portal tut.by. One girl with bright green hair, who read an advertisement on the Internet, came up to me after the concert and took my phone so that she could later take a recording of the concert...

– Are our composers in demand?..
– Our composers, alas, are not in demand among listeners. We are all used to evaluating things from the point of view of “like or dislike”. And while this strange race continues, nothing will happen with the flourishing of our culture. Now it is important for us not to be evaluated, but to be appreciated. They valued what was “growing” and being the face of our country and our people. We must finally stop comparing our culture with others and go back to our roots. We, of course, must go out and learn from others, but we must return and exalt OUR own face! Just as you cannot compare a banana with an orange, you cannot compare our culture with any other. I am deeply convinced that the revival of a nation is possible only through the revival of culture. And not physical education, but culture!

“Well, this is not Mozart!” exclaims the majority, turning around and hastily retreating back home. But you just have to look closely and you notice how fabulous beauty blossoms...
After the concert, I approached the hero of the occasion, Vyacheslav Kuznetsov, and asked how he liked the concert, whether he was happy... “Yes, I’m happy with everything! I received great pleasure from such a wonderful performance!” Vyacheslav simply beamed.

Maria GRUDKO

Tsaryuk Varvara Albertovna

student 5course dept.musicology,
BSAM,
Republic of Belarus, Minsk

Aladova Radoslava Nikolaevna

scientific supervisor, Ph.D. art history, associate professor
BSAM,
Republic of Belarus,Minsk

The world of vocal music of the Belarusian composer Vyacheslav Kuznetsov (born 1955) is surprisingly diverse. He is attracted by the poetry of F. Garcia-Lorca, and the paradoxical, caustic and sarcastic poems of K. Prutkov, and the texts of I. Brodsky, and the abstruseness of V. Khlebnikov. Such comprehensiveness of literary sources is associated with the breadth of aesthetic views of Vyacheslav Kuznetsov, who testifies: “I am interested in new ideas, I am drawn to the authentic sources of creativity, not spoiled by civilization. I find them in folklore, in the works of Picasso, Khlebnikov, early Zabolotsky, in children’s drawings, in real black jazz.”

A separate area of ​​interest for the composer is the literature of the absurd, which Kuznetsov has been turning to since the early 1990s. So, in 1992, the composer created “Hamlet’s Monologue” from “Dysmorphomania” by V. Sorokin for voice and prepared piano”, a year later - “Eophonia” for 8 voices and 45 percussion instruments to the text of Velimir Khlebnikov”, in 1997 - choral diptych “Music for Alice” with lyrics by Lewis Carroll. In the 2000s, two essays based on texts by Daniil Kharms, a Russian writer, poet and playwright, appeared.

The revival of the creative heritage of Daniil Kharms, who became a victim of Stalinist repression, occurs during the years of perestroika, when he becomes one of the most published and studied Russian poets of the twentieth century, and, according to Jean-Philippe Jacquard, is recognized as the founder of European absurdist literature. It was Vyacheslav Kuznetsov who was the first among Belarusian composers to turn to the literary heritage of Daniil Kharms, creating the multimedia composition “Two Texts by Daniil Kharms for Four Performers” (2003) and the choral composition “Jolly Old Man Kharms” (2010).

The composer was attracted by the brightness and originality of the poetic word, which at the same time has ambiguity and depth of semantic content. Kharms’s aesthetics turned out to be close to the composer and its paradoxical nature, the poet’s desire to comprehend the world order under the dominance of absurdism.

In the work “Two Texts by Daniil Kharms” music, graphics and theatrical stage action merge into one. V. Kuznetsov edits two texts by D. Kharms: “Man is made of three parts” and “Blue Notebook No. 10”. The first of them describes a person consisting of disparate non-standard elements: “A beard and an eye, and fifteen hands,” reflecting Kharms’ discrete vision of the world. This text is paradoxical in its essence: the quasi-analytical principle “man is made of three parts,” which presupposes some kind of systematization, is contradicted by the refrain that is consistent in all three stanzas “heu-la-la drum-drum-tu-tu”. At the same time, the three-part structure of man specified in the first verse is confirmed not meaningfully, but purely constructively. In the third stanza there is a negation of the previous thesis: “fifteen pieces, but not hands,” which finally collapses the three-part structure of the object. The only stable element of the poem remains the refrain, which not only serves to emphasize the rhythm like children's rhymes, but also concentrates all the irrationality of the text. The second text, on the contrary, represents an absurd person who had nothing “so it is unclear who we are talking about.” Kharms also lists elements that testify to the existence of man, but the result of the poem is the denial of his existence. Thus, Kharms creates a parody of the narrative as such, and the letter itself serves the sole purpose of exposing the emptiness behind the object. By alternating phrases, these texts merge into a single narrative, which helps to enhance the absurdism in their semantic content. The unifying principle for them is the epigraph borrowed by Kuznetsov from the third text of Daniil Kharms “Makarov and Petersen”, which reads: “Gradually a person loses his shape and becomes a ball.” Thus, a new semantic subtext arises, summarizing the metamorphoses of the hero Kharms-Kuznetsov.

The literary basis of the work for the choir “Jolly Old Man Kharms” was the children’s poem “Jolly Old Man” by Daniil Kharms. This text is built on the constant deception of the reader's expectations - the old man, faced with a terrible reality for him, reacts in a very unexpected way: he laughs loudly. Onomatopoeic interjections acquire rhythm-forming significance here, emphasizing the rhythm of the verse through the use of repetitions of syllables and chants. Thus, this text uses techniques of imitation of children's speech in order to create a language game. At the same time, Kharms’s laughter is an exponent of not only the comic, but also the deeply tragic principle inherent in all absurdist texts.

In V. Kuznetsov’s work “Two Texts by Daniil Kharms,” the alternation of fragments of Kharms’ texts plays a formative role. Their musical implementation is contrasting in the performing composition, dynamics and manner of performance: the first text is performed solo, on speakers f, in a manner Sprechstimme; the second is speech recitation accompanied by percussion instruments, on nuance mp- mf. Election as composer Sprechstimme as a means of realizing the first text is connected with the inherent musicality of the verse, namely the rhythmicity of its refrain. Each appearance of this refrain in a work is accompanied by an indication of the meter 7/8, which corresponds to the number of its syllables. The instrumentation also contributes to the creation of the image of an absurd person in the work: this is an unconventional composition of drums, among which there are such as frusta, klaxon, reku-reku, flexatone, wassamba, vibroslap. In general, the entire composition consists of three sections of variant-repetitive structure and coda, which, returning a phrase from the first text, is a musical and semantic generalization of the dramatic lines of both texts - the line “fifteen pieces, but not hands” is realized using two methods of intonation . The prerequisite for this synthesis was the correspondence of this phrase to the figurative sphere of the second text, since the presence of the described object is denied.

Thus, in this musical work, Vyacheslav Kuznetsov embodied the key ideas and images of Daniil Kharms’ work: anti-world, discrete vision, ambivalence of worldview. At the same time, the composer turns to the genre of instrumental theater, presenting the drum ensemble as a “living organism”, capable of moving and being on stage in constant motion. The phenomenon of play characteristic of this genre and the powerful energy of the rhythmic principle come into semantic contradiction with such ideas of the poetic text as the exposure of emptiness, the destruction of the structure of the object. At the same time, such a paradoxical musical reading fully preserves the absurdist spirit of the poetic source.

In the work for unaccompanied female choir “Jolly Old Man Kharms”, V. Kuznetsov, following the poetic text, emphasizes the expressiveness of its phonetic side. At the same time, working with a poetic text, the composer makes some changes to the refrain of the poem, imitating the laughter of an old man. V. Kuznetsov finds an individual musical embodiment for each interjection. The intonation material of the refrain undergoes development throughout the entire composition, as a result of which the sound of certain phonemes becomes more acute. In addition to emphasizing the sound-visual side of the text, the composer also strives to embody the unusually strong rhythmic energy of Daniil Kharms’ poetry, actively using syncopated rhythm. As a result, in the author’s musical reading it is gaming the beginning comes to the fore and becomes the basis of its ideological content.

Thus, in the considered works of Vyacheslav Kuznetsov on the texts of Daniil Kharms, two ways of implementing the poetic fundamental principle are revealed. On the one hand, this is the isolation of only one semantic line from the content of a poetic text and the related one-dimensional musical reading. On the other hand, it is the creation of a multidimensional image of an absurdist poet, which is achieved through the extreme concentration of the main ideas of his work in a relatively small scale of a musical work. The poetics of Daniil Kharms turns out to be close to the artistic worldview of Vyacheslav Kuznetsov, who translated the key ideas of his philosophy into these works.

Bibliography:

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Vladimir Ivanovich Kuznetsov was born on June 20, 1920 in Perm. At the age of 5 he began to master the harmonica of the “Russian system” (diatonic). This accordion was bought by my older brother, who, having gone to study at the institute in Sverdlovsk, left it in his parents' house. And so, when little Vladimir learned to play, they began to invite him to parties, feasts, and weddings to play folk music. As a child in Perm, he often went to the skating rink to skate. The skating rink played music from gramophone records, and he really liked this pop music.

In 1932, at the age of 12, he was already performing “Turkish March” by V.A. Mozart and the overture to J. Bizet’s opera “Carmen”. He selected all his works by ear; sometimes he even had to change the original keys due to the limited range of the instrument. In 1932, the Olympics of children's amateur performances was held in Sverdlovsk. Vladimir, who went there with his harmonica to participate, had to bow several times after a successful performance. He became a laureate, and as a reward, the organizing committee of the Olympics granted his cherished wish - they bought him a new instrument. My brother was a radio amateur; he made a tape recorder and a player himself, so recordings from various records were constantly playing at home.
At that time, Vladimir often sat on the gate and played in the street, passers-by would gather and listen to him. One day a circus group came by and invited him to work with them. Vladimir played several concert performances with them. Not far from the performance site there was a market and carousels with musical accompaniment - accordion players playing. The young musician went to listen to them with great pleasure.

Before entering the school, he was often invited to dance evenings, where foreign newfangled dances were performed: pas de quadre, padespaigne, waltz-Boston, foxtrot. Vladimir really wanted to learn to play the button accordion professionally. At the age of 16, after completing seven years of school, his father brought him to enter the music and pedagogical college in Perm. It turned out that the recruitment had already taken place, but after urgent requests that the boy be accepted, he was auditioned, they learned about his victory in the competition (Olympiad), and the decision was made instantly - to enroll immediately!

While Vladimir was studying in his 2nd year at music school, a song and dance ensemble of the RSFSR came to Perm on tour. A competition was announced to fill the vacant position. By that time, Vladimir was already working in a workers' club. In 1939, he was accepted into the ensemble, and he went on tour to Yaroslavl as part of this group. In 1940 the ensemble moved to Leningrad.
In the same year, a draft commission was held in Leningrad, to which V. Kuznetsov was also summoned. One of the commission members, the head of the school for junior aviation specialists, was an accordion player and, having learned that Kuznetsov was an excellent accordion player, took him to Oranienbaum. Once, during a trip to purchase an accordion, in Tallinn, Vladimir met an acquaintance from the song and dance ensemble of the RSFSR, who informed him that accordion players were being recruited for a new ensemble under the direction of I.O. Dunaevsky. The thought of working in this ensemble never left Vladimir. This is what Vladimir Ivanovich himself recalls about this episode: “Once, while on military service, I went AWOL to Leningrad, but in the train car, this must happen, I met the head of the soldiers’ club, where I was listed as the artistic director. There was a long conversation about the need to urgently return to work, that this was a violation, etc. I said that I understood everything and would return immediately, but the desire to get to the ensemble in Leningrad was stronger. I got off the train, waited for the next train and finally went to Leningrad. I arrived at Truda Square, where the Central Ensemble of the Navy was based (or, as it was called then, the “Ensemble of the Five Seas”), where they auditioned me and enrolled me in the staff.”

After the start of the war, the ensemble moved to Moscow. On April 1, 1942, the team was evacuated along Lake Ladoga to the mainland, and spent two weeks exhausted in getting to Moscow. Shortly before the evacuation, a concert was organized in Smolny in front of the city's party leadership. Before the concert, the artists were fed porridge, but during the concert people fainted, and it was for this reason that the decision was made to evacuate the ensemble. With the move to Moscow, the restoration of health and concert activity began.
During the war, concert brigades were formed that traveled to battlefields, naval ships and coastal units with concert programs. Vladimir Kuznetsov worked with such artists as Nikolai Trofimov, Pavel Necheporenko, Olga Nesterova, Ben Benzianov. In 1944, one of the film concerts was filmed in Moscow, in which V. Kuznetsov accompanied Ivan Kozlovsky, who performed the song “A blizzard is blowing along the street.” At one of the shows of naval ensembles that took place during the war, I met the famous accordion player Yuri Kazakov.
In 1944 the ensemble was disbanded. Vladimir Kuznetsov and accordion player Boris Petrov were transported to the Baltic Fleet ensemble in Leningrad, to the same Truda Square. The ensemble was part of a large formation - the Baltic Fleet Theater, which consisted of a drama theater, jazz and ensemble (choir, orchestra, dance group). In 1944, Vladimir Kuznetsov got married in Leningrad - the secretary of the ensemble became his wife. Soon the ensemble moved to Tallinn, then Baltiysk (Kaliningrad) and, finally, to Klaipeda. In Baltiysk, Kuznetsov was appointed head of the orchestra. The war period of the biography of V.I. Kuznetsov was awarded several military awards, including the Order of the Red Star, which the musician was awarded for his active concert activities on ships and bases of the Northern Fleet. Thus, the peaceful work of a musician was equated with the heroic feat of a soldier.
In 1948, V. Kuznetsov was demobilized and returned to Leningrad. In the same year, he was accepted into the staff of Leningrad Radio. After the war, dance evenings were organized at the First Five-Year Plan House of Culture, where Vladimir Kuznetsov played in a duet with Boris Petrov. In the Marble Hall of the House of Culture named after S.M. Ilya Lozovsky's jazz orchestra performed at Kirov, Vladimir Kuznetsov was invited to play jazz compositions during breaks between the orchestra's performances. In 1948, a duet of accordion players Vladimir Kuznetsov - Ivan Tikhonov was formed, who voiced radio programs and live concerts. The duo's repertoire includes their own adaptations of Russian and other folk songs and dances, transcriptions of Russian and foreign classics. At the same time, Kuznetsov worked in the orchestra of Russian folk instruments named after V.V. Andreev and in the youth orchestra of Ilya Jacques.

In the 50s, the “Plastmass” artel was formed, producing gramophone records (music director - Anatoly Badkhen). Vladimir Kuznetsov began to be invited to recordings. He recorded as an accompanist with Galina Vishnevskaya, Joseph David (trombone), with solo compositions, with the Ilya Jacques Ensemble. At the same time, recordings were made on records at the Radio House, mainly solos and duets with I. Tikhonov, V. Tikhov, T. Strelkova. In 1951, the first trips of Soviet artists to Finland began to be organized. Somehow Vladimir Kuznetsov and Boris Tikhonov (a famous accordion player from Moscow) ended up in the same group; they played in separate groups, but in one concert they played a duet Fantasia about Moscow and the Karelo-Finnish polka. On one of his trips to Denmark, V. Kuznetsov accompanied the famous singer Olga Voronets. In 1954, the duo V. Kuznetsov - I. Tikhonov toured Sweden and Norway with a large group of artists from all over the USSR, after which in 1955 the musicians were offered to move to work from Radio Lengosestrad. After ten years of working together, the musicians separated in 1958. Since the 60s, active concert touring activities began in different compositions, which continued until V. Kuznetsov’s retirement in 1980. Since the 80s, Vladimir Ivanovich Kuznetsov continues to actively participate in concert life. He is a regular participant in international accordion music festivals held in different cities (Moscow, St. Petersburg, Saratov, Vilnius, Perm, etc.); the grateful St. Petersburg public also fondly remembers the musician’s anniversary concerts. In 1996, Vladimir Ivanovich Kuznetsov was awarded the title - Honored Artist of the Russian Federation.

The life of a professional musician and artist is rich in various events, impressions, and meetings. IN AND. During his creative life, Kuznetsov met with many famous and popular artists, musicians, people of art and simply interesting personalities (Lidiya Ruslanova, Vladimir Troshin, Valentina Levko, Boris Chirkov, Antonina Smetanina, Vasily Stalin, and many others). Such meetings always enrich the artist’s inner world, expand his creative potential, contribute to the crystallization of talent and encourage him to display a creative attitude towards the creation of new works of art. IN AND. Kuznetsov is the author of many popular songs, compositions, arrangements for the button accordion, for duets and ensembles, which significantly expanded the button accordion repertoire and demonstrated the novelty of the approach to the button accordion as a musical instrument.