Vyacheslav Malezhik: “Alla Borisovna was once my backup singer. Olga Molchanova: “I didn’t believe that something would come of Kirkorov. Let them say - There’s a wider circle around

There are two long-lived programs, born in time immemorial in the depths of the Main Editorial Board of Folk Art, “Wider Circle!” and “Play, harmonize!” - which have received active development in our days. One of them, almost unchanged, and even with the same name - “Play, harmony!”, The other is somewhat modified, since the concept “Wider the circle!” is now the basis of a whole series of Channel One programs. I think it would be unfair to those who invented and made them to remain with only the information given on the website of the program “Play, Harmony!”: “The series of programs “Play, Harmony!” has existed on Channel One TV since February 1986. The program travels and shows different, unique corners of Russia, an amazing variety of talents, costumes, and unique features of regional folklore. Her characters - accordionists, dancers, ditties - are bright, colorful personalities, with a "pepper" and almost always an extraordinary destiny. The author, presenter, director and director for 15 years was People's Artist of Russia, Laureate state awards Gennady Dmitrievich Zavolokin. Now his work is continued by his children - Anastasia and Zakhar. Program "Play, Harmony!" - finalist of the TEFI-2002 award.

I want to talk about the history of these programs, but do it without short story about the editorial office itself is impossible.

Let's start with this story.

Part one.

Main editorial office of folk art CT

“There is a sweet country, there is a corner on earth,

Wherever, wherever they are, in the midst of a riotous camp,...

We are always carried away by our thoughts...”

E. Boratynsky

Folk art- video cap of the programs of the Main Editorial Board of Folk Art of the Central Television of the USSR, which, at the very beginning of the harsh era of mass media, tried to preserve an oasis of authentic culture in order to help millions of lovers find spiritual support on their chosen path.

I remember the day of May 27, 1967, when Georgy Aleksandrovich Ivanov, Deputy Chairman State Committee on television and radio broadcasting, I was introduced to the editorial team. Before that, I worked as director of the Moscow City House of Amateur Arts MGSPS, which was located on Bolshaya Bronnaya, without whose participation not a single major event took place. cultural event capital Cities. The harsh war years are a thing of the past. In cultural centers and clubs, amateur artistic circles became more and more developed. Among them are drama, opera and ballet theatres, brass, pop and symphonic music, amateur film studios, arts and crafts studios.

G.A. Ivanov, then the first secretary of the Sverdlovsk district committee of the CPSU, invited me to his place and asked if I would like to participate in the creation of a television editorial office of folk art. He, presumably, took into account my work experience and the corresponding circle of acquaintances. Indeed, at that time I had the opportunity to work with precisely those groups and their leaders that I later invited to speak at the Central Television. Here, perhaps, it is appropriate to recall some (unfortunately, not all!) groups and names:

A.V. Prokoshina - artistic director Russian choir folk song House of Culture of the country's famous state farm near Moscow Belaya Dacha, in which his employees participated.

S.L. Stein - director of the theater. Lenin Komsomol and artistic director of the People's Theater of the Palace of Culture of the ZIL plant, whose artists were workers of the famous plant.

B.G. Tevlin is a professor at the Moscow State Conservatory, and in the past, a student of the conducting and choral faculty, who organized the Moscow Youth and Students Choir.

N.N. Kalinin ~ artistic director and chief conductor State Academic Russian Orchestra folk instruments them. N. Osipova. I knew him from 1959 ., when he approved the then student music school, the leader of the group of musicians he organized at the choreographic ensemble “ School years» House of Culture for Motorists.

It is difficult to list the names of all the major cultural and artistic figures who took part in the seminars organized by the House for leaders of amateur artistic groups.

Among them, in addition to those already mentioned, were: T.A. Ustinova,

B. C . Levashov, K.B. Bird, V.G. Sokolov, A.I. Luther, A.S. Ilyukhin, N.K. Meshko, O.V. Lepeshinskaya, I.P. Yaunzem, A.V. Shchurov, B.O. Dunaevsky and many others.

Of many early events My work in the House, the most striking for me were: participation in the Second City Competition of Orchestras of Russian Folk Instruments named after. V.V. Andreev, at which the orchestra of the ensemble “School Years” received its first award, the title of Laureate and Grand Prix (1964), and Grand opening The first Moscow city song festival at the monument to P.I. Tchaikovsky. At that time, the combined choir of thousands, assembled from professional and amateur choirs, was conducted by A.V. Sveshnikov.

Before my appointment as editor-in-chief of the Main Editorial Board of Folk Art, I went through television school as deputy editor-in-chief of the Main Editorial Board of Literary and Dramatic Broadcasts. It was headed by N.P. Kartsov is an intelligent, sensitive, polite, highly educated person who enjoys great authority both on television and in literary and artistic circles. So I received my first knowledge and experience in preparing television programs at Litdram. I remember how, on a clear sunny day in early autumn, I came to the Teletheater, where the Literary Editorial Office was located. Through the wide open windows of N.P.’s office. Kartsov could smell the aroma of flowers and greenery from a small cozy garden, on the sand-strewn paths of which, on benches around a large flower bed, editorial staff sat talking.

I was especially touched by the attentive attitude of editor N.N. to my first steps. Uspenskaya, working with I.L. Andronikov, whoseunsurpassed skill

I admired the narrator while watching him on television, even more strong impression I received from his artistry and sense of humor, creating a relaxed atmosphere of conversation, upon personal acquaintance.

I attended with great interest the meetings with famous television presenters S.V. Obraztsov and S.S. Smirnov. I found a lot of useful information in their thoughts while working on the scripts.

My main concern was mastering the processes of preparing programs for broadcast. M.P. helped me master this complex process. Makarenkov, who deals with financial issues, and B.O. Politkovsky, leading the production, as well as employees of the television coordination department E.G. Popova, T.V. Chirikova and Yu.B. Rozov, who later became part of the created production department of the folk art editorial office.

All of them worked not only clearly and rhythmically, but also with great responsibility - they were patriots of television, which they loved.

First period creative activity The editorial office of folk art began in two classrooms of a school rented by television on Khavsko-Shabolovsky Lane, near the Shabolovka studio buildings. We were located on the first floor, and the artists were on the second floor, the corridor of which was hung with paintings. Here, at the school, young cadres of assistant directors and editorial assistants were trained. It was these personnel - Zina Volkova, Lena Zimina and Tamara Goryacheva - that our editorial staff soon replenished.

The editors were in one class, the directors with assistants and assistants in the other. Both hosted program authors, executives artistic groups. The noise from the excited voices of everyone present was incredible.

The so-called editor-in-chief's office was located in a corner of the editors' room, separated by two cabinets. The furnishings were quite spartan: table, chairs, telephone - nothing superfluous.

Television broadcasting was carried out from two large studios, two small ones and the Television Theater on the square. Zhuravleva.

The folk art editorial team was formed from employees of the music and literary-dramatic editorial offices. These were people passionate about amateur art.

I invited D.G. Koznov, an acquaintance from the Theater School named after. M.S. Shchepkina, where we studied together. After graduating, he continued his education at the directing department of the State Institute theatrical arts them. A.V. Lunacharsky, while working at the same time in the color television studio on Shabolovka. I was glad of his agreement, because... decoration programs and their direction required a lot of attention.

The now famous V.N. was appointed the chief artist of the editorial office. Balabanov.

And N.A. became my deputy. Zotova, experienced, smart, sensitive, intelligent person. We met when television workers came to us at the House of Amateur Arts and we advised them on the choice of interesting, talented performers.

Departments were formed: music, it was headed by former singer V.M. Afanasyev and thematic programs, which included non-musical genres, were headed by journalist R.D. Epiphany.

Soon, rooms in the main editorial building were allocated for the editorial office and two more departments were formed: artists - the head of the already mentioned V.N. Balabanov and K.P. Kuleshov, who replaced him, and the production manager Yu.B. Rozov.

The walls of the hall of studios “A” and “B” of Shabolovka probably remember the muffled voices of editors, directors, their assistants and assistants, authors and announcers sitting at coffee tables, together with cameramen and sound engineers, replaying the entire course of the program before the broadcast.

In those early years there was no video recording, and they were broadcast live. Particular attention was paid to the exact observance of the text included in the broadcast folder of the approved script. This was closely monitored by the censors, and any deviation was strictly punished.

Part two

Predecessor programs to “Wider the Circle!”

and “Play, accordion!”

It seems to me that the basics of “Play, Harmony!” laid down three programs that we were preparing then - “Voices of Folk Instruments”, “Gems” and “Spring”. Program "Spring" introduced the audience to original singers from the depths of Russia. “Voices of folk instruments” - a popular series of programs about the history of the existence of musical instruments of the peoples of different republics of the country: from the first balalaika “with three strings” and the “three-row accordion” to the chromatic accordion-accordion and accordion, on which it became possible to perform the most complex repertoire, domra, gusli, wind and other instruments; and, of course, about music competitions, original and talented performers. The program was prepared and hosted by the artistic director of the National Academic Orchestra of Russian Folk Instruments N.N. Kalinin and laureate soloist of the orchestra International competitions A.A. Tsygankov, professor I.S. Ilyukhin, A.I. Luther, E.I. Maksimov and others.

But, of course, the founder of the Museum of Russian Harmonica, Doctor of Art History, Honored Artist, spoke with particular pleasure about the harmonica and harmonica players. A. M . Mirek, I would call him the founder of this cycle (editors E.A. Kogan, V.M. Svilikh, E.P. Zabavskikh).

A. M . Mirek, great knowledgeable of history harmonics, in his author’s program he spoke about the unique craftsmen who created this instrument and the masters of playing it. This section organically included concerts by outstanding balalaika players P.I. Necheporenko, M.F. Rozhkova, B.S. Feoktistova, E.G. Avksentyev, accordion player A.V. Tikhonov, guslar players V. Gorodovskaya and M. Chekanova, guitarist Alexander Ivanov-Kramsky, as well as concerts of orchestras and ensembles of union and autonomous regions and republics.

In these programs, Mirek talked about his collection of harmonicas. A few years later, the Zavolokin brothers, famous harmonica players in Siberia, came to the editorial office and spoke about their activities, proposing a concept for wider popularization of this instrument in the country. We accepted their offer. From then on, the “Play Harmony!” program began its victorious march. The Zavolokins’ concept of popularization and mass participation apparently coincided with general trend TV development, in contrast to Mirek’s concept, which was aimed at professional performers.

This is how the program was born "Play, accordion!" created by brothers Gennady and Alexander Zavolokin in 1985 . In addition to regular screen time, this meant thousands of concerts throughout the country, hundreds of song festivals in cities and towns that continue to this day. It is being prepared by the Novosibirsk center “Play Harmony,” now headed by Zavolokin’s daughter, Anastasia Gennadievna.

Before G.D. left Zavolokina on another TV channel worked with him: editors L.V. Kravets, E.P. Zimin, directors: N.S. Tikhonov, M.P. Vasiliev, G. Rastorguev, M.K. Russkikh, V.N. Melnikova. Gennady Dmitrievich was a difficult author, he did not particularly like criticism aimed at making his program more harmonious, and often disagreed with the editors - so the editors and directors of his program had to be changed.

As part of its mass appeal and popularization, another program began to develop - which later received the name “Wider Circle!” Program “Wider Circle!” was formed in early 1983. The editor was O.B. Molchanov, directed by G.D. Bichurin and M.M. Rozhdestven. The program, of course, was preceded by a search for a form of transmission - firstly, for a mass, mainly youth audience, Secondly, it was a search for talented but still unknown performers and presenters. As they say, “woke up famous”...

Composer and singer Yu. Antonov took part in the first program. He performed his song “Under the Roof of My House,” which turned out to be a hit at that time. Television house, whose owner was O.B. Molchanov, collected more and more wide circle performers and television viewers. The program team was trusted, the performers came to them with pleasure. At first these were mostly, so to speak, authentic performers, but gradually (and, it should be noted, quite quickly) young professional pop singers began to be invited more and more. The programs helped everyone become more popular.

Philip Kirkorov, Alexander Glyzin, Olga Zarubina, Alexander Serov, Yuri Loza, Leonid Agutin, Dmitry Malikov, Valeria, Vyacheslav Malezhik, Ekaterina Semenova, Yaroslav Evdokimov, Alexander Malinin, Nikolai Korolev, Taisiya Litvinenko, Ekaterina Surzhikova and others began their careers in the program .

Participated famous composers Vladimir Shainsky, Vladimir Dobronravov, Raymond Pauls and others. Their songs were among the most widespread and beloved. However, each generation has its own time and its own songs. It is a pity that there is less and less good music and good, truly poetic verses.

The predecessors of the “Wider Circle!” program were “The Screen Gathers Friends”, “Music Tournament of Cities”, “Teletheater Receives Guests”, “Carousel”. With the growth of the technical capabilities of television, the editors began to prepare more complex programs. In studio “A”, using live broadcasts from local television studios, we began to conduct "Musical tournament of cities."

A jury was invited to participate, headed by V.G. Sokolov, the jury members were I.P. Yaunzem, O.V. Lepeshinskaya, V.I.Fedoseev, K.B.Ptitsa, M.Goldina, A.Ilyukhin, T.Ustinova, V.Levashov, T.Tkachenko, A.Chizhova, N.Kalinin, A.Luther, N.Meshko, A. Shchurov, B. Dunaevsky.

Two young female TTC engineers sat at the communication consoles installed for them and counted the votes of television viewers after the end of the broadcast of one of the cities; the data was transferred to the chairman of the jury for publication on air.

Another program similar topics - "The television theater welcomes guests"(on the eve of the celebration of the 50th anniversary of the formation of the USSR, renamed “Our address - Soviet Union"). The guests were not only ensembles and artistic groupsamateur performances, them There were state dance ensembles of all union and autonomous republics, territories and regions.

There was such a case. An ensemble of bandura players was invited from Lvov. Regular viewers of the Teletheater, workers of the Moscow Electric Tube Plant, as always, filled auditorium. But the landing plane was delayed. Both we and the audience were very worried. To calm those gathered, they persuaded the program host, Volodya Ukhin, an excellent storyteller about the adventures of the announcers during the broadcast, to entertain them with television jokes. His impromptu concert lasted for a whole hour; those sitting in the hall were clutching their tummies from Volodya’s revelations. In the meantime, we managed to persuade the director of the arriving ensemble, despite the fatigue of the artists, to go not to the hotel, but to us. The factory workers gave the tired bandura players a standing ovation, noting their courage and devotion to duty.

Program "Carousel" popular, dynamic, program presented in the form of a traditional holiday celebration folk art of our country, was born in studio “A”, in which its creators-editors A. Angarskaya and L. Yashina, director A. Gomon, his assistant V. Zarubin, in collaboration with the artist Y. Lyubimova, invented original design, imitating a genuine antique carousel. Then the program was transferred to the stage of the Teletheater, where there was a rotating circle. Groups and soloists came here from different cities and villages of the country. The series of programs ended with a gala concert of the winners of the television review “Carousel” on the day communist subbotnik April 15 1972 . at the Kremlin Palace of Congresses.

The concert was attended by more than a thousand people from Moscow and Leningrad, Kolomna, Pskov, Kuibyshev, Voronezh, Gorky and Prokopyevsk, Lithuania and Estonia, Uzbekistan, Kazakhstan and Turkmenistan, Belarus and Ukraine, Georgia and Moldova, Yakutia and Tuva.

The concert was conducted by announcer S. Morgunova, editors A. Nikolaevsky, A. Angarskaya, L. Yashina, director D. Koznov, choreographer G. Gorokhovnikov, artists V. Balabanov, V. Pogodin, assistant directors Z. Vishnevskaya, I. Potemkin, assistants directed by Z. Kolodkin, E. Podgornenskaya, L. Semenov, K. Hristovsky.

I remember the joy that gripped the concert participants after its successful completion, when late in the evening they walked with jokes and jokes, circus attributes and musical instruments through the deserted Kremlin, and only the silent sentries standing at attention looked in bewilderment at the noisy gang.

This is how popular programs took shape in the depths of the editorial office, the successful forms of which, it seems to me, are now actively used modern television. But does it want to know about this story?

After all, with the destruction of television and, accordingly, the Editorial Office of Folk Art, the center disappeared, which allowed thousands of amateurs not only to participate, but to learn and join the authentic tradition, to create appropriate archives, etc. I will quote from an article I liked by my colleague V.N. Kozlovsky: “On the pages of the newspaper Pravda dated October 2, 1977, the secretary of the All-Russian Central Council of Trade Unions L.A. Zemlyannikova, chairman of the festival’s organizing committee, noted: “The festival has become a significant event in public and cultural life countries. Three thousand choirs, musical and choreographic ensembles, folk theaters, studios, propaganda teams, 80 thousand workers, collective farmers, students, vocational school students, military personnel.”

Let's think about the scale, I'm sure the numbers don't lie. After all, all these amateurs in one way or another became translators of TRADITION. And now we are complaining, biting our elbows, looking for somewhere. Maybe we should turn to our own history?

Editor-in-Chief of the Main Editorial Board

folk art CT 60-70s

N.S.Izgaryshev

It was in the program “Wider Circle” in different years Agutin and Apina, Koroleva and Kirkorov, Malikov and Malinin made their debuts...

The permanent artistic director and music editor of the program, Olga Molchanova, talks about how it happened.

– Olga Borisovna, each radio and TV editor has his own so-called artists, favorites. Who was among yours?

– I honestly say that I fell in love (of course, in the creative sense) primarily with those whom I discovered. This includes Dima Malikov, and of course Philip Kirkorov, for whom I have retained my love to this day.

To tell the truth, I didn’t really believe that anything would come of him. Yes, brilliant external characteristics plus internal culture and musicality. But the vocals are quite average. And I didn’t even imagine that a person, working on himself, would grow so much in this sense, simply make a giant leap and become very good pop singer.

Among my favorites are Sasha Serov and our nightingale Yaroslav Evdokimov, with whom we have been friends for a very long time. Slava Dobrynin, whom I put on air with incredible efforts, right up to reaching the then chairman of the State Television and Radio Broadcasting Company Lapin. After all, Dobrynin was banned, considered almost a homeless person and never agreed to be shown on TV...

- Why? And how did you manage to overcome the obstacles?

– Anna German was recording a song for a TV program. As a consummate professional, she did it very quickly; all the work was completed before the paid studio time ran out. Then Anya decided to record Dobrynin’s song “Scented White Bird Cherry.”

The next day I was going to fly to another city. Suddenly the bell rang and my boss said: “What did you write there with Dobrynin? Lapin is calling us!” That is, “well-wishers” have already reported that a song is being written by a composer who was under an unspoken ban.

When we came to Lapin, he attacked us with anger: “Do you know who this Dobrynin is? They say that he runs around the editorial offices with a briefcase full of money, and gives out this money to everyone so that ugly creativity was shown on TV!”

And only when I explained that Dobrynin was an intelligent person, an art critic, graduated from Moscow State University, wrote the song “Komsomol is my destiny!”, Lapin softened. For him it was a discovery, and for Dobrynin it was a green light on television.

– Olga Borisovna, they say that you can determine the creative future of an artist without even seeing him, but simply by listening to a disc or cassette. This is true?

– Composer Igor Matvienko once brought me a cassette with the words: “There is a new young group.” I listened and was stunned! It was "Ivanushki". Then I saw them at some concert and told Igor: “Believe me, there will be a bomb!”

I simply fell in love with these guys, and most of all with Igor Sorin, who seemed amazing to me in his talent, depth and overall charm. They conducted several “Wider Circle” programs, and I am glad that I predicted for them such a rise, which took place...

And once a young Barnaul composer Oleg Ivanov came to me with the poem “The forest wizard Alesya lives in the Belarusian Polesie,” he really wanted these lines to be performed by the popular ensemble “Pesnyary.” But it was at this time that I had young guys from Gomel called “Syabry” at my studio, and I told Oleg: “Pesnyary already have a song about this name, it’s unlikely that they will need two “Alesya.” Let’s try to give it to these guys!” As a result, “Alesya” became the signature song of the Syabry ensemble, and even their director Anatoly Yarmolenko named his daughter Alesya!

Irina Barysheva.