Rudnev - Russian style of playing the classical guitar - history. The history of the guitar and its origin XX century - the heyday of the classical guitar

1. A brief excursion into the world history of guitar performance.

2. The penetration of the guitar into Russia (the end of the 17th century).

3. The first "School of playing the six- and seven-string guitar" by I. Geld.

4. A.O. Sichra and seven-string guitar.

5. Leading Russian guitarists of the 19th century: M.T.Vysotsky, S.N.Aksenov, N.N.Lebedev.

6. The first guitar masters - I.A. Batov, I.G. Krasnoshchekov.

7. Six-string guitarists of the 19th century - M.D. Sokolovsky, N.P. Makarov.

8. Publishing activities of V.A. Rusanov and A.M. Afromeev.

9. Andres Segovia and his concerts in Russia.

10. Guitar at the All-Union competition in 1939.

11. Performing activity of A.M. Ivanov-Kramskoy.

12. Guitarists of the 50-70s of the XX century: L. Andronov, B. Khlopovsky, S. Orekhov.

13. Guitar in the system of musical education.

14. Guitar art of the 70-90s of the XX century: N.Komolyatov, A.Frauchi, V.Tervo, A.Zimakov.

15. Jazz guitar.

The path of development of the guitar in Russia was long and complicated. The final design of the guitar in the world as we know it took place only in the 18th century. Before that, there were harbingers of the guitar - the Greek cithara, lyre, lute, Spanish viola. The classical six-string guitar had and has its famous performers, composers, masters. Mauro Giuliani and Fernando Carulli, Matteo Carcassi and Fernando Sor, Francisco Tarrega and M. Llobet, Maria Luisa Anido and Andres Segovia - each of them left a noticeable mark on the guitar art.

Until the 18th century, the guitar was not widely used in Russia. With the arrival of M. Giuliani and F. Sor, her popularity increased markedly. However, we recall that the Italian composers Giuseppe Sarti and Carlo Cannobio, who served at the court of Catherine II, were the first to bring the guitar to Russia; later they were joined by French musicians.

Ignaz Geld is from the Czech Republic. Fate brought him to Russia in 1787. Lived in Moscow, Petersburg. He played six- and seven-string guitars. Taught game lessons. In 1798, two schools of guitar playing came out: one - for the six-string, the other - a little earlier - for the seven-string. He has written and published many compositions for guitar, for voice and guitar. He died in Brest-Litovsk.

One of the brightest propagandists of the seven-string guitar and the founder of the Russian school of playing it was the guitarist and composer A.O. Sikhra (1773-1850). Some researchers associate the appearance of the seven-string guitar in Russia with this musician.

Andrei Osipovich Sikhra - was born in Vilna. Since 1801 he began to live in Moscow, where he gave lessons, performed in various concerts. In 1813 he moved to St. Petersburg, where he published "Collection of a number of plays, which contains mostly Russian songs with variations and dances." Organized the issue of a guitar magazine. He brought up a galaxy of Russian guitarists, including: S.N. Aksyonov, V.I. Morkov, V.S. Sarenko, V.I. Svintsov, F.M. Zimmerman and others. Author of a huge number of plays, arrangements of Russian folk songs. At the insistence of his student V. Morkov, A. O. Sikhra wrote "Theoretical and Practical School for the Seven-String Guitar" and dedicated it to all guitar lovers. The first edition - 1832, the second - 1840. He was buried at the Smolensk cemetery in St. Petersburg.

If A.O. Sikhra lived and worked mainly in the northern capital, then M.T. Vysotsky was devoted to Moscow with all his heart.

Mikhail Timofeevich Vysotsky - was born in 1791 in the estate of the poet M. M. Kheraskov. Here he received his first guitar lessons from S.N. Aksyonov. Since 1813 he lived in Moscow, where he became a well-known performer, teacher and composer.

What sounds! I am still

Sweet sounds I;

I forget eternity, heaven, earth,

Himself.

(M. Lermontov)

Among the students: A.A. Vetrov, P.F. Beloshein, M.A. Stakhovich and others. Author of many pieces for guitar, mainly fantasies and variations on folk themes ("Spinner", "Troika", , near the bridge", "A Cossack rode across the Danube"...). Shortly before his death, he wrote and published "A Practical School for the Seven-String Guitar in 2 Parts" (1836). He died in 1837 in deep need.

Semyon Nikolaevich Aksyonov (1784-1853) - a student of A.O. Sikhra, was born in Ryazan. He published the "New Magazine for the Seven-String Guitar", in which he published his own fantasies and variations ("Among the Flat Valley"). Through the efforts of Aksyonov, "Exercises" by A.O. Sikhra were published. He was considered the best guitar virtuoso in Moscow (along with M.T. Vysotsky). Republished the school of I. Geld. Introduced flageolets. Whether S.N. Aksyonov had students is not known, except for the case of several lessons for Vysotsky. Basically, his labor activity was associated with service in various departments.

Nikolai Nikolaevich Lebedev is one of the best Siberian guitarists. Years of life 1838-1897. Eyewitnesses compared his game with the game of M.T. Vysotsky: the same miraculous talent as an improviser, sincerity and sincerity of performance, love for Russian song. Biographical information is scarce. It is known that N.N. Lebedev was an officer. He could take guitar lessons from his father, an amateur guitarist. He worked as a clerk at various mines. Occasionally gave concerts that amazed everyone present with the mastery of the instrument.

The performing arts of guitar playing would not progress without top-notch instruments. In Russia, their masters appeared soon after the emergence of wide interest in this instrument. The Russian Stradivarius was called the contemporaries of Ivan Andreevich Batov (1767-1839), who made about a hundred excellent instruments in his life - violins, cellos, balalaikas. From the hands of an outstanding master, ten guitars came out, which sounded in the hands of I.E. Khandoshkin, S.N. Aksyonov, M.T. Vysotsky.

No less famous master was Ivan Grigoryevich Krasnoshchekov; all musical Moscow played on his guitars. The performers appreciated the Krasnoshchekov instruments for their warm and gentle sound, for the elegance and beauty of the finish. One of the guitars (played by the famous gypsy Tanya, who admired A.S. Pushkin with her playing and singing) is kept in the Glinka Museum of Musical Culture (Moscow).

In addition to the guitars of Batov and Krasnoshchekov, the guitars of the brothers Arhuzen (Fyodor Ivanovich, Robert Ivanovich), F.S. Paserbsky, M.V. Eroshkin were famous in Moscow and St. Petersburg. Their instruments were not inferior in strength and beauty of tone to the guitars of Western masters. Of the Russian six-string guitarists, the most famous were N.P. Makarov (1810-1890) and M.D. Sokolovsky (1818-1883).

Nikolai Petrovich Makarov is a unique personality: a lexicographer who published the Complete Russian-French Dictionary (1866), the German-Russian Dictionary (1874), the Encyclopedia of the Mind, or Dictionary of Selected Thoughts (1878); a writer who wrote several novels and many articles, a bright virtuoso performer on the six-string guitar, organized an international competition for the best instrument and for the best composition for the guitar (Brussels, 1856). before the advent of the modern school." Makarov, as a guitarist-musician, earned himself an honorable place among its immortal composers; [...] he also did a lot to improve the design of the guitar (lengthening the neck to the 24th fret - two octaves, strengthening the neck with a screw). Makarov discovered the extraordinary guitar master Scherzer […]. Thanks to the material support of Makarov, Mertz wrote many compositions for the guitar. He could rightfully be proud of his love of the guitar […]" .

Mark Danilovich Sokolovsky was born near Zhitomir. Early mastered the guitar in the schools of Giuliani, Legnani, Mertz. Gave several successful concerts in Zhytomyr, Vilna, Kyiv. In 1847 he performed for the first time in Moscow, attracting the attention of the musical community. After a series of concerts in Moscow, St. Petersburg, Warsaw, he went on a European tour (1864-1868): London, Paris, Vienna, Berlin. Everywhere - an enthusiastic reception. In 1877, his last concert took place (in St. Petersburg, the chapel hall). Buried in Vilna. His programs included works by Paganini, Chopin, Giuliani, Carulli, Mertz.

Guitar performance in Russia has experienced a number of ups and downs and crises associated with political and economic events in the country and abroad. A new interest in the guitar sometimes arose due to the vigorous activity of publishers, theorists, and teachers. So, at the beginning of the 20th century, playing music on the guitar received support thanks to the popularization talent of V.A. Rusanov (1866-1918), who published the magazines "Guitar" and "Music of the Guitarist" with the publication of his own historical and theoretical articles; the first part of his school was published.

The Tyumen guitarist, teacher and publisher M. Afromeev (1868-1920) made a great contribution to the development of guitar performance through his publishing activities. In 1898-1918, he literally flooded Russian music stores with collections of pieces for guitar, self-study books, schools for both six- and seven-string guitars. For a number of years he published the magazine "Guitarist".

In Soviet times, interest in the guitar increased significantly as a result of Andres Segovia's tour in the USSR. "My memory with great pleasure resurrects in my soul four trips to the Soviet Union and all the friends I left there." The concerts of 1926, 1927, 1930 and 1936 revealed to the listeners such sound possibilities of the guitar, such a richness of timbres that they had analogies with the orchestra. The secret of the effect of Segovia's guitar was in a wonderful alloy of incomparable craftsmanship and fine taste. Following the tour of the famous Spaniard in the USSR, 7 albums of works from the guitarist's repertoire were published, and the Soviet guitarist P.S. Guitar classes were also opened in a number of musical educational institutions, where the activities of such teachers as P.S.Agafoshin, P.I.Isakov, V.I.Yashnev, M.M.Gelis and others yielded results. In 1939, at the All-Union Review of Performers on Folk Instruments, the winners were: A. Ivanov-Kramskoy (first prize) and V. Belilnikov (a 13-year-old boy received a second prize (!)). Another participant - K. Smaga - received a diploma. A. Ivanov-Kramskoy (a student of P. S. Agafoshin) performed the following program at the competition: F. Sor "Variations on a Theme of Mozart", J. Bach "Prelude", F. Tarrega "Memories of the Alhambra", F. Tarrega "Moorish dance". From V. Belilnikov's program (class of V. I. Yashnev) we managed to find out only one piece - F. Sor "Variations on a Theme of Mozart". K. Smaga performed "Prelude" by J.S. Bach, "Memories of the Alhambra" by F. Tarrega and several other pieces. Nevertheless, even the listed compositions give an idea of ​​the degree of professional skill of the contestants of that time.

Alexander Mikhailovich Ivanov-Kramskoy (1912-1973) learned to play the violin at the Children's Music School, and the Musical College. October Revolution graduated from the class of guitar PS Agafoshin. Then, for some time, he took a conducting course with K.S. Saradzhev at the Moscow Conservatory. He gave many concerts around the country, played on the radio and on television.

The game of the Honored Artist of the RSFSR (1959) A.M. Ivanov-Kramskoy is devoid of cheap effects, it is characterized by a certain restraint. However, the guitarist has his own face, individual methods of sound production and his own repertoire, which includes the musician's own compositions. Masterfully accompanied famous vocalists - I.S. Kozlovsky, N. Obukhova, G. Vinogradov, V. Ivanova, I. Skobtsov, instrumentalists - L. Kogan, E. Grach, A. Korneev ... A. M. Ivanov-Kramskoy - author a large number of compositions for guitar: two concertos, "Tarantella", "Improvisation", a cycle of preludes, dance pieces, arrangements of folk songs and romances, etudes. Wrote and published a school of guitar playing (reprinted many times). For many years, A.M. Ivanov-Kramskoy taught at the music school at the Moscow Conservatory (over 20 graduates, including N. Ivanova-Kramskaya, E. Larichev, D. Nazarmatov and others). He died in Minsk on the way to his next concert.

Along with A.M. Ivanov-Kramskoy, the talent of L.F. Andronov, B.P. Khlopovsky, S.D. Orekhov was revealed in the 50-60s of the XX century. Different fates, different education, but they were united by the military and post-war hard times.

Lev Filippovich Andronov was born in 1926 in Leningrad. He studied at the music studio with V.I.Yashnev, then graduated from the Children's Music School in the class of guitar by P.I.Isakov and in the class of button accordion by P.I.Smirnov. Early began to give concerts solo and in duet with VF Vavilov (in 1957 the duet became a laureate of the All-Union and International Youth Festivals). In 1977 he graduated from the Leningrad State Conservatory as an external student, class of Professor A.B. Shalov. Recorded several records, including "Concerto for guitar with chamber orchestra" by B. Asafiev. He had creative connections with many famous guitarists of the world; was repeatedly invited to tour abroad, but due to the fault of officials of the USSR, he did not receive permission. Due to several heart attacks, he died before reaching the age of 60.

Boris Pavlovich Khlopovsky (1938-1988) after graduating from the music school. Gnesinykh (1966) worked as a teacher in his native school and the Moscow State Institute of Culture, in the orchestra of folk instruments of the All-Union Radio and Television, performed in solo concerts with the balalaika player V. Mineev, the domrist V. Yakovlev. In 1972, at the I All-Russian Folk Instruments Competition, he received the 2nd prize and the title of laureate (in the program: Villa-Lobos "Five Preludes", Ivanov-Kramskoy "Concert No. 2", Vysotsky "Spinner", Tarrega "Dreams" , Narimanidze "Rondo"). His son, Vladimir, continued family traditions, graduated from the music school at the Moscow Conservatory, then - GMPI. Gnesins; in 1986 he became a diploma winner of the III All-Russian competition of performers on folk instruments. Another son, Pavel, is also a professional guitarist.

Sergei Dmitrievich Orekhov (1935-1998) - in the opinion of many Moscow guitarists, comparable to M.T.Vysotsky. He studied at the circus school, took guitar lessons from the Moscow guitarist V.M. Kuznetsov. I did a lot of hard work on my own. He worked in gypsy groups, speaking with Raisa Zhemchuzhnaya. Created a duet of seven-string guitars with Alexey Perfilyev. He traveled all over the country with concerts, visited Bulgaria, Yugoslavia, Czechoslovakia, France, Poland. He had "an amazing virtuoso technique [...], that is, lightness, flight with depth and elegance of sound", "a free, uninhibited manner of playing, improvisation coming from the depths of the Russian guitar school". SD Orekhov is the author of well-known concert adaptations of Russian songs and romances - "Here the postal troika is rushing", "Weeping willows are slumbering", "Everything is quiet", etc. He recorded a number of gramophone records.

For many years, the All-Union recording company Melodiya, which annually releases recordings of Soviet and foreign performers in large numbers, has been of great help in spreading guitar art in the country for many years. Only in the 50-60s she released 26 discs: A. Segovia - 4, Marie-Louise Anido - 2, M. Zelenka - 1, A. Ivanov-Kramskoy - 10, E. Larichev - 3, L. Andronov - 1, B. Okunev - 2, etc. Later, recordings by N.Komolyatov, A.Frauchi, Paco de Lucia were added to them... Starting from the 90s of the XX century, large-circulation CDs of Russian musicians, both of the older generation and of the young, began to appear.

Analyzing the state of guitar performance in Russia in the 60-70s of the 20th century, it should be noted that there was a serious backlog in the professional training of guitarists, in contrast to balalaika, domrist, bayan players. The root cause of such a lag (weak technical equipment and "amateurism" in musicians playing music at competitions was especially manifested) was seen in the late entry of the guitar into the system of musical education.

Despite the fact that guitar classes arose in the very first years of Soviet power (starting from 1918), the attitude towards the instrument in government, incl. and in the field of culture, it was mixed. The guitar was considered a cult instrument of the bourgeois environment, against which the forces of the Komsomol organizations fought. Learning to play the guitar in musical institutions proceeded sporadically, on an amateur basis, which again belittled the assessment of the instrument by professional musical circles. The breakthrough took place only when guitarists who graduated from universities, in particular the Ural State Conservatory, entered the concert life of the country. One of the first graduates who received diplomas of higher education were M.A. Prokopenko, Ya.G. Pukhalsky, K.M. Smaga (Kiev Conservatory), A.V. Mineev, V.M. Guitar classes have been opened at the GMPI. Gnesins, in the conservatories of Leningrad, Gorky, Saratov ...

Among the guitarists of the new generation (70-90 years of the XX century), there appeared performers who raised guitar music-making to academic heights. These are N.A.Komolyatov, A.K.Frauchi, V.V.Tervo, A.V.Zimakov.

Nikolai Andreevich Komoliatov was born in 1942 in Saransk. In 1968 he graduated from the Music College at the Moscow Conservatory (class of N.A. Ivanova-Kramskaya), and in 1975 - in absentia - from the Ural State Conservatory (class of A.V. Mineev). Constantly gives concerts; recorded records, CDs. He was the first to play E.Denisov's sonata for flute and guitar (with A.V. Korneev). Interpreter and propagandist of new original music for guitar (I. Rekhin - a five-part suite, a three-part sonata; P. Panin - two concertos, miniatures, etc.). Since 1980, together with A.K. Frauchi, he opened a guitar class at the GMPI. Gnesins. Currently - Honored Artist of the Russian Federation, professor. Dozens of guitarists graduated from his class, including many laureates, such as A. Zimakov. Each all-Russian and international competition of performers on folk instruments is represented by two or three students of N.A. Komoliatov (see booklets for competitions).

In the 70s, the Moscow guitarist Alexander Kamilovich Frauchi (1954) revealed his talent. After studying at the music school at the Moscow Conservatory (class of N.A. Ivanova-Kramskaya), A.K. Frauchi continued his education at the correspondence department of the Ural Conservatory (class of A.V. Mineev and V.M. Derun), while simultaneously working as a soloist regional philharmonic. In 1979 he won the second prize at the II All-Russian competition of performers on folk instruments, and in 1986 he successfully completed the international competition in Havana, receiving the first prize and a special prize. Moreover, the performance of the Soviet musician at the competition made a sensation with his skill, and temperament, and clever interpretation of the works (at the same competition, another Soviet guitarist, Vladimir Tervo, won the III prize, he also caused a lively response in the guitar public). After the Cuban competition, A. Frauchi participated in the Five Stars in Paris festival, and since then he has annually traveled to all countries of the world with concerts.

A. Frauchi combines intensive concert activity with teaching work at the GMPI. Gnesins. Among his students are laureates of all-Russian and international competitions - A. Bardina, V. Dotsenko, A. Rengach, V. Kuznetsov, V. Mityakov ... Today A. K. Frauchi is the chairman of the Association of Guitarists of Russia. His credo is the separation of the guitar from folk instruments, because. the guitar, according to him, has its own culture, history, repertoire, international distribution, school, and in the civilized world exists separately, like a piano or a violin. This, in his opinion, lies the future of guitar performance in Russia. A.K. Frauchi - Honored Artist of the Russian Federation, professor.

Vladimir Vladimirovich Tervo (1957) graduated from the Music College. Gnesins (class of V.A. Erzunov) and the Moscow State Institute of Culture (class of A.Ya. Aleksandrov). Laureate of three competitions - all-Russian (1986, III prize), international (Havana, 1986 III prize; Barcelona, ​​1989, III prize) - did not stop there: he entered the Ural Conservatory and graduated brilliantly in 1992 in the class of associate professor V.M. .Deruna.

Aleksey Viktorovich Zimakov is a Siberian, born in (1971) and raised in Tomsk. He received his first guitar lessons from his father. In 1988 he graduated from the Tomsk Musical College, and in 1993 - GMPI. Gnesins (class of N.A. Komoliatov). Exceptionally virtuoso, plays the most complex works. The first of the guitarists was awarded the first prize at the All-Russian competition of performers on folk instruments (Gorky, 1990). In addition, he won first prizes at two international competitions (1990, Poland; 1991, USA). Lives and works in Tomsk (teacher of his native school). Constantly tours in Russia and foreign countries. The repertoire adheres to classical works.

The competitions of the 90s of the XX century and the victories of Russian guitarists confirm that the professional guitar school has noticeably grown, strengthened and has the prospect of further development.

The guitar showed itself worthy in one more direction - in jazz music-making. Already at an early stage in the emergence of jazz in America, the guitar took a leading (if not leading) place among other jazz instruments, especially in the blues genre. In this regard, a number of professional jazz guitarists came to the fore - Big Bill Bronze, John Lee Hooker, Charlie Christian, later Wills Montgomery, Charlie Byrd, Joe Pass. Of the European guitarists in the 20th century, Django Reinhard, Rudolf Daschek and others are noticeable.

In Russia, interest in jazz guitar arose due to jazz festivals held in different cities of the country (Moscow, Leningrad, Tallinn, Tbilisi). Among the first performers - N. Gromin, A. Kuznetsov; later - A. Ryabov, S. Kashirin and others.

Aleksey Alekseevich Kuznetsov (1941) graduated from the Oktyabrskaya Revolution Music College, class of domra. He got carried away with the guitar not without the influence of his father - A.A. Kuznetsov Sr., who for many years played the guitar in the State Jazz of the USSR, then in the pop-symphony orchestra conducted by Y. Silantyev, in the quartet of B. Tikhonov. A.A. Kuznetsov, Jr. also worked for about 13 years in the variety symphony orchestra under the direction of Y. Silantyev, then - in the State Symphony Orchestra of Cinematography. As a jazz guitarist, he showed himself at the Moscow jazz festivals in solo and various ensembles (the duet of guitarists Nikolai Gromin - Alexei Kuznetsov gained especially great popularity). Many are recorded on phonograph records. Known as an ensemble player and soloist in such ensembles as the Leonid Chizhik Trio, the ensembles of Igor Bril and Georgy Garanyan. Since the 1990s, he has been working as a consultant at the Accord music salon, where he gives a master class on jazz guitar, and gives concerts in the Masters of Jazz and Guitar in Jazz cycles. People's Artist of the Russian Federation (2001).

Andrey Ryabov (1962) - graduate of the Leningrad Music College. Mussorgsky in the class of jazz guitar (1983). He received public recognition in a duet with Estonian guitarist Tiit Pauls (the album "Jazz Tete-a Tete" was released). Then he played in the quartet of pianist A. Kondakov, in the ensemble of D. Goloshchekin. In the early 90s he moved to the USA, where he gave concerts with famous American jazz musicians Attima Zoller and Jack Wilkins. He created his own trio and is currently considered one of the best jazz guitarists.

Since the jazz guitar received proper recognition in Russia relatively recently, it appeared in the system of musical education in the last quarter of the 20th century (and even later in the university). Achievements in the field of technology on acoustic and electrified guitars, the use of electronics, the inclusion of elements of "flamenco", classical style, the development of teaching methods, the exchange of experience with foreign musicians - all this gives reason to consider the guitar in this genre of music as one of the promising instruments.

Chapter I. Classical guitar: the history of creation, improvement and functioning.

§ 1. History of Western European guitar art.

§ 2. History of classical guitar performance in Russia.

§ 3. Classical guitar in the Russian provinces.

Chapter II. Academic art of classical guitar playing: essence, structure, functions.

§ 1. Essence, structure and functions of academic performing arts.

§ 2. Professional performance as the first component of academic art.

§ 3. The system of vocational education as the second component of academic art.

§ 4. The structure of the classical guitar repertoire as the third component of academic art.

Chapter III. Classical guitar in the system of national professional musical education.

§ 1. The modern system of vocational training in playing the classical guitar in Russia.

§ 2. Educational model as a means of forming a professional classical guitar player.

§ 3. Information and computer technologies in the system of professional music education.

Introduction to the thesis (part of the abstract) on the topic "Classical guitar in Russia: to the problem of academic status"

Dissertation conclusion on the topic "Musical Art", Ganeev, Vitaly Rinatovich

List of references for dissertation research candidate of art criticism Ganeev, Vitaly Rinatovich, 2006

Please note that the scientific texts presented above are posted for review and obtained through original dissertation text recognition (OCR). In this connection, they may contain errors related to the imperfection of recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

The word "guitar" in almost every person evokes romantic memories and is associated with something bright and pleasant. But few people think that the history of such a familiar and seemingly ordinary instrument goes deep into the past millennia. The history of the guitar begins around 2 - 2.5 thousand years BC. The ancestors of the modern guitar found during excavations of ancient civilizations date back to these periods:

• Kynorra in Mesopotamia;
• Zither and Nefer in Egypt;
• Sitar in India;
• Kithara in Rome and Greece.

The ancient instruments, which are the progenitors of the guitar, had a rounded hollow body made from a dried gourd, a processed piece of wood, or from a tortoise shell.

The Chinese ancestors of the modern guitar already had top and bottom bodies connected by a shell, and made of wood, although the shape of the body was still rounded and resembled the modern version very slightly.

Origin of the guitar

For the first time, an image of an instrument with a structure characteristic of a guitar (body, neck and head) was found in Spain, and attributed to the 2nd century BC. ad. Later, in the 8th century, in the manuscripts of the monk Beatus Lieban, in painted miniatures with images of musicians, there are musical plucked instruments with different structures. The design of many of them is evidence of evolution.

Gradually, plucked musical instruments (viola, guitar, vihuela) became widespread, and from the 10th century. their images are present in works of art, on bas-reliefs and in manuscripts.

From the 13th century The guitar is very popular in Spain. It becomes here the main musical instrument, loved by kings and common people. During this period, two types of guitar are distinguished:

1. Mauritanian. It had an oval shape and a sharper sound. The game was produced by a mediator (plectrum). The court of the monarch Alfonso X preferred this particular type of instrument.
2. Latin. It had a softer sound and a more complicated shape. From the images on the miniatures, one can judge that this variety has received recognition from minstrels and lovers of sophisticated music.

In the XVI century. The most widely used is the hand vihuela, which has a more convex and narrow body compared to the guitar. This instrument, decorated with rich inlays, was especially loved in noble houses. Here he first acted as an accompaniment. Subsequently, thanks to the talented musicians Luis Milano and M. de Fuenllana, he becomes a solo instrument. In the same period, the first pieces written specifically for the guitar appear.

History of the guitar

17th century becomes a turning point in the development of the guitar. The period is characterized by the popularization of musical works and the writing of the first guide to learning to play the guitar. The Spanish composer and priest Gaspard Sanz in 1674 publishes the "Playing Guide" for the guitar. Thanks to a professional approach to game theory and the advice of a top-level master, the book went through several editions and remained the best guide for many decades.

The guitar received the greatest recognition as a concert instrument in the 18th - 19th centuries. V. Having originally 4, 8, 10 strings, by this period the guitar has an almost modern look with 6 strings. A very important role in the popularization of the instrument was played by the musical activity of famous composers in this era, who wrote many concertos, fantasies, plays, sonatas, variations specifically for the solo guitar: the Italians M. Giuliani and M. Carcassi, the Spaniards D. Aguado and F. Sor.

Of course, the history of the guitar was most developed in Spain. Passionate and impulsive Spaniards were the first to fully appreciate the nobility and expressiveness of the instrument.

Aguado was even called the "Beethoven of the guitar", and Sor is still ranked among the best virtuosos of the game today.

Many talented composers wrote for the guitar and were fans of this instrument:

1. Frenchman Hector Berlioz, who lived in the 19th century. and being the founder of symphonic music, he especially notes the guitar as an instrument that had a significant positive impact on his musical education.
2. The Italian Niccolo Paganini, a famous violinist, highly appreciated the qualities of the guitar as a musical instrument. The musician wrote many sonatas, plays and concertos for playing the guitar, both solo and in a quartet with other instruments. Paganini himself played the guitar virtuoso and put it on a par with the violin. The guitar of the famous Italian is kept in the Paris Conservatory Museum.
3. The great Franz Schubert wrote dances and songs, sonatas and plays for the guitar. The famous German composer was a lover of guitar music and had his own instrument, which is in the Schubert Museum.
4. The German composer Karl Weber, according to his son, played the guitar as virtuoso as he played the piano. The musician created a number of songs, sonatas and pieces for playing the guitar in ensembles.

The second half of the 19th century is characterized by a decline in the popularity of guitar music, and a new instrument, the piano, comes to the fore. The sonority, richness and loudness of this instrument's music pushed it forward in the music world for a while.

The beginning of the 20th century marked a new push in popularization for the guitar:

• In Munich, the International Union of Guitarists is being created;
• Western European composers M. de Falla, Pons, Roussel in their work devote a significant place to the guitar;
• New virtuosos of the game appear: A. Segovia, M. Llobet, E. Pujol, S. de la Masa;
• In America, a number of new trends are emerging, and guitar schools are opening.

The ubiquity and popularity of the guitar is inextricably linked with the leap in scientific and technological progress. The mass production of the instrument made it accessible to the masses, and the opening of music schools made it possible for everyone to learn how to play.

When did the guitar appear in Russia

Until the middle of the 17th century. an instrument in Russia could occasionally be found in aristocratic houses as an accidental curiosity. Later, when Italian travelers introduced the guitar to Russian society, its unusually romantic and soulful music received widespread recognition.

The founder of the development of the direction of guitar music in Russia is the composer A. Sikhra (19th century), who improved the seven-string guitar. She gained popularity not only among the upper classes, but was also quite loved by the lower classes.

Guitar performance in Russia has its own unique history. However, in this work we will consider only those pages that are directly related to the practice of playing the seven-string guitar and affect the features underlying the formation of the Russian guitar style.
The Russian guitar school was founded at a time when in Western Europe the classical guitar had already declared itself as an independent solo concert instrument. She was especially popular in Italy. Spain. A number of performers and composers appeared. created a new, classic repertoire. The most famous of them are D. Aguado. M. Giuliani. F. Carulli, M. Carcassi. Later, such remarkable musicians as Franz Schubert, Niccolò Paganini, Carl Weber and others turned to PR and wrote for it.

The main difference between the Russian guitar and the classical one popular in Europe was the number of strings (seven, not six) and the principle of their tuning. It is the question of tuning that has always been the cornerstone in the age-old dispute about the advantage of a six- or seven-string guitar. Understanding the particular importance of this issue, we consider it necessary to return to the topic of the origin of the seven-string guitar and its appearance in Russia.
By the end of the XVIII century. in Europe there were several types of guitars of various designs, sizes, with different numbers of strings and many ways to tune them (suffice it to mention that the number of strings varied from five to twelve) -. A large group of guitars were united according to the principle of tuning the strings by fourths with one major third in the middle (for convenience, we will call this tuning a fourth). These instruments were widely used in Italy. Spain. France.
In Great Britain, Germany, Portugal and Central Europe, there was a group of instruments with the so-called terts system, in which thirds were preferred when tuning voice strings (for example, two large terts were separated by a fourth).
Both of these groups of instruments were united by the fact that music written for one scale could be played using a small arrangement on an instrument of another scale.
Of interest to us is a guitar with four double strings, which came from England to Europe, and from Europe to Russia (St. Petersburg). The structure of this guitar had two types: fourth and third. The latter differed from the seven-string Russian guitar in size (it was much smaller), but practically anticipated the principles of its tuning according to the extended major triad (g, e, c, G, F, C, G). This fact is very important for us.

The lack of historical evidence about the transformation of the guitar body, its size and the overall scale of the strings allows us only to assume options for their development. Most likely, the dimensions of the guitar neck were determined by the convenience of playing, and the tension of the strings, their tuning, corresponded to the tessitura of the singing voice. Perhaps the improvements led to an increase in the body, the replacement of metal scabs with strands, and therefore to a decrease in the tessitura of the sound, a “sliding” of the overall system down.
There is no reliable information confirming that it was this guitar that served as the prototype of the Russian “seven-string”, but their relationship is obvious. The history of guitar performance in Russia is associated with the appearance during the reign of Catherine the Great (1780-90s) of foreign guitarists who played third and fourth guitars. Among them are Giuseppe Sarti, Jean-Baptiste Guenglez. There are publications of collections of pieces for 5-6-string guitar, guitar magazines.
Ignaz von Geld (Ignatius von Geld) publishes for the first time a manual called "An easy method for learning to play the seven-string guitar without a teacher." Unfortunately, not a single copy of this first Russian school of playing the guitar, as well as information about the teaching methods of its author, the type of guitar, and the way it is tuned have not been preserved. There are only contemporary testimonies. That Geld was a great English guitar player.
But the true founder of the Russian guitar school was I who settled in Moscow. At the end of the 18th century. an educated musician, a magnificent harpist Andrey Osipovich Sikhra. It was he who introduced into practical music-making a seven-string guitar with a system of d, h, g, D, H, G, D, which later became known as the Russian.

We cannot know how familiar A. Sichra was with European experiments in creating guitars with different numbers of strings and ways of tuning them, whether he used their results in his work on the “improvement” (but in his own words) of the classical six-string guitar. This is not so significant.
What is important is that A. Sihra. being an ardent admirer of guitar performance, a brilliant teacher and a competent popularizer of his ideas, he left a bright mark in the history of the development of Russian instrumental performance. Using the best achievements of the classical Spanish guitar school, he developed a methodology for teaching the seven-string guitar, setting it out later in a book published in 1832 and 1840. "School". Using classical forms and genres. Sychra created a new repertoire specifically for the Russian guitar and brought up a brilliant constellation of students.

Thanks to the activities of A. O. Sikhra and his associates, the seven-string guitar gained extraordinary popularity among representatives of different classes: the Russian intelligentsia and representatives of the middle classes were fond of it, professional musicians and lovers of everyday music turned to it: contemporaries began to associate it with the very essence of Russian urban folk music. A description of the enchanting sound of the seven-string guitar can be found in Pushkin's heartfelt lines. Lermontov, Turgenev. Chekhov, Tolstoy and many other poets and writers. The guitar began to be perceived as a natural part of Russian musical culture.
Recall that the guitar of A. Sikhra appeared in Russia in conditions when the seven-string guitar was almost never seen anywhere, it was impossible to buy it either in shops or from artisanal craftsmen. Now one can only wonder how quickly (in 2-3 decades) these masters, among whom were the largest violinists, were able to establish the production of the Russian guitar. This is Ivan Batov, Ivan Arhuzen. Ivan Krasnoshchekov. The guitars of the Viennese master I. Scherzer were considered one of the best. According to contemporaries, the guitars of F. Savitsky, E. Eroshkin, F. Paserbsky were distinguished by their unique individuality. But now we will not dwell on this, because it deserves a separate discussion.

The national flavor of the seven-string guitar was also given by the arrangements written for it on the themes of Russian folk songs. “The influence of folk music on the art of music will, of course, begin as part of the traditions of many nations. In Russia, however, folk music has become the subject of the most frenzied enthusiasm of the people for their own music, perhaps one of the most remarkable movements of the Russian soul.
To be fair, it should be noted. that the works of A. Sikhra on Russian themes were written in the style of classical variations and did not have such an original, purely Russian flavor that distinguishes the arrangements of other Russian guitarists. In particular, Mikhail Timofeevich Vysotsky, the creator of numerous compositions on the themes of Russian folk songs, made a huge contribution to the formation of the Russian guitar school as an original national phenomenon. M. Vysotsky grew up in the village of Ochakovo (12 km from Moscow) on the estate of the poet M. Kheraskov, rector of Moscow University, in an atmosphere of love and respect for Russian folk traditions. The boy could listen to wonderful folk singers, take part in folk rituals. Being the son of a serf. Misha could get an education only by attending meetings of the creative intelligentsia and the Kheraskovs' house, listening to poems, debates, and impromptu performances by educated guests.

Among them was the main teacher of M. Vysotsky - Semyon Nikolaevich Aksenov. He noticed the boy's giftedness and began to give him lessons in playing the Russian guitar. And although these classes were not systematic, the boy made significant progress. It was thanks to the efforts of S. Aksenov that M. Vysotsky received his freedom in 1813 and moved to Moscow for further education. Later, the well-known musician, composer A. Dubuk provided Vysotsky with significant assistance in mastering musical and theoretical disciplines.

M. Vysotsky became a wonderful guitarist - improviser, composer. Soon the fame of an unsurpassed virtuoso guitarist came to him. According to contemporaries, Vysotsky's playing impressed not only with his extraordinary technique, but with his inspiration, the richness of his musical imagination. He seemed to merge with the guitar: it was a living expression of his spiritual mood, his thoughts.
This is how his student and colleague guitarist I. E. Lyakhov assessed Vysotsky's playing: - His playing was incomprehensible, indescribable and left such an impression that no notes and words can convey. Here plaintively, tenderly, melancholy sounded before you the song of the spinner; a small fermato - and everything seemed to speak to her in response: they say, sighing, basses, they are answered by weeping voices of trebles, and this whole chorus is covered with rich reconciling chords; but then the sounds, like tired thoughts, turn into even triodies, the theme almost disappears, as if the singer was thinking about something else; but no, he again returns to the theme, to his thought, and it sounds solemn and even, turning into a prayerful adagio. You Hear a Russian dog, elevated to the sacred (Sudet. Everything is so beautiful and natural, so deeply sincere and musical, as you rarely see in other compositions for Russian songs. Here you will not remember anything like it: everything here is new and original. In front of us is an inspired Russian musician, in front of you is Vysotsky.

A distinctive feature of Vysotsky's work was the reliance on the mighty layers of Russian folk song and partly instrumental creativity. This is what determined the development of the Russian guitar school, its Moscow branch. M. Vysotsky, perhaps, was less concerned with systematizing recommendations for learning to play the seven-string guitar, although he gave a large number of lessons. But in his work, the Russian seven-string guitar became a truly national instrument, having its own special repertoire, special technical techniques and stylistic differences, performing style, patterns of development within musical forms (we mean the connection between the poetic content of a song and the process of variant development in musical composition). In this regard, M. Vysotsky is for us. probably the most important figure in Russian guitar playing. His work laid the foundation for an original style of playing, as well as the principle of obtaining a melodic sound and the techniques accompanying it. But this will be discussed later.

Thus, the emergence of an original guitar school in Russia is associated with the names of A. Sikhra and M. Vysotsky, as well as their best students.
In conclusion, I would like to say that the widespread use of the guitar in Russia in a short historical period of time cannot be an accident. Rather, it is a good proof of the viability of the instrument. There are enough reasons to be proud of the achievements of the Russian guitar school. However, it can be stated with bitterness that we do not know the whole truth about our instrument and the legacy created for it. It is important to know and understand this today, when almost everything that Russia was proud of in the past has been destroyed to the ground, and nothing has been created to replace it. Maybe it's time to turn to the Russian guitar heritage?! It consists of works, methods and repertoire of the most educated people of their time. Here are some names: M. Stakhovich - nobleman, historian, writer; A. Golikov - nobleman, collegiate registrar; V. Sarenko - Doctor of Medical Sciences; F. Zimmerman - nobleman, landowner; I. Makarov - a landowner, a major bibliographer; V. Morkov - a nobleman, a real state councilor: V. Rusanov - a nobleman, conductor, an outstanding editor.

The history of the origin, development and improvement of this musical instrument is so amazing and mysterious that it is more like a thrilling detective story. The first information about the guitar dates back to ancient times. On the Egyptian monuments of a thousand years ago, there are images of a musical instrument - “nabla”, which looks like a guitar. The guitar was also widespread in Asia, which is confirmed by the images on the architectural monuments of Assyria, Babylon and Phoenicia. In the XIII century, the Arabs brought it to Spain, where it soon received full recognition. At the end of the 15th century, the wealthy families of Spain began to compete with each other in patronage of the sciences and art. The guitar, along with the lute and other plucked instruments, becomes a favorite instrument at courts. In the cultural life of Spain, starting from the 16th century, numerous associations, academies, circles and meetings - "salons", which took place regularly, played an important role. From that time on, the passion for plucked instruments penetrated the broad masses of the people, and special musical literature was created for them. The names of the composers who represented her make up a long string: Milan, Corbetto, Fuenllana, Marin i Garcia, Sanz and many others.

Having gone a long way of development, the guitar took on a modern look. Until the 18th century, it was smaller, and its body was rather narrow and elongated. Initially, five strings were set on the instrument, tuned in fourths, like on a lute. Later, the guitar became a six-string, with a tuning more suitable for playing in open positions to better exploit the sound of the open strings. Thus, by the middle of the 19th century, the guitar had acquired its final form. Six strings appeared on it with a system: mi, si, salt, re, la, mi.

The guitar gained great popularity in Europe and was brought to the countries of North and South America. How to explain such a widespread use of the guitar? Mainly because it has great potential: it can be played solo, accompanied by voice, violin, cello, flute, it can be found in various orchestras and ensembles. Small dimensions and the possibility of easy movement in space and, most importantly, an unusually melodious, deep and at the same time transparent sound justifies the love for this universal musical instrument by a wide range of admirers from romantic tourists to professional musicians.

At the end of the 18th century, composers and virtuosos appeared in Spain

F. Sor and D. Aguado, simultaneously with them in Italy - M. Giuliani. L. Leniani, F. Carulli, M. Carcassi and others. They create an extensive concert repertoire for the guitar, ranging from small pieces to sonatas and concertos with an orchestra, as well as wonderful "Schools for playing the six-string guitar", an extensive educational and constructive repertoire. Although almost two hundred years have passed since the first publications of this pedagogical literature, it is still a valuable heritage for both teachers and students.

Composer Sor gives concerts with great success in the cities of Western Europe and Russia. His ballets Cinderella, The Lubok as a Painter, Hercules and Omphale, as well as the opera Telemachus have been staged many times in St. Petersburg, Moscow and large cities of Western Europe. Polyphonic style, rich imagination and depth of content characterize Sora's work. This is an educated musician-composer, a virtuoso guitarist who impressed with the depth of his performance and the brilliance of his technique. His compositions have firmly entered the repertoire of guitarists. The Italian Giuliani is one of the founders of the Italian guitar school. He was a brilliant guitarist and also a perfect violinist. When in 1813 Beethoven's seventh symphony was performed for the first time in Vienna under the baton of the author, Giuliani took part in its performance as a violinist. Beethoven held Giuliani in high esteem as a composer and musician. His sonatas, concertos with an orchestra are performed by modern guitarists, and pedagogical literature is a valuable heritage for both teachers and students.

I would especially like to dwell on the most famous and most frequently published in our country "School of Playing the Six-String Guitar" by the famous Italian guitarist-teacher, composer M. Carcassi. In the preface to the "School" the author says: "... I had no intention of writing a scientific work. I only wanted to make it easier to learn the guitar by laying out a plan that could make it possible to become more familiar with all the features of this instrument. According to these words, it is clear that M. Carcassi did not set himself the task of creating a universal manual for learning to play the guitar, and it is hardly possible at all. The "School" gives a number of valuable instructions on the technique of the left and right hands, various characteristic methods of playing the guitar, playing in different positions and keys. Musical examples and pieces are given sequentially, in ascending order of difficulty, they are written with great skill as a composer and teacher and are still of great value as educational material.

Although, from a modern point of view, this "School" has a number of serious shortcomings. For example, little attention has been paid to such an important technique of playing the right hand as apoyando (playing with support); the musical language, based on the music of the Western European tradition of the 18th century, is somewhat monotonous; the issues of development of fingering, melodic-harmonic thinking are practically not touched upon, we are only talking about the correct placement of the fingers of the left and right hands, which allows us to resolve many technical difficulties in performance, improve sound, phrasing, etc.

In the second half of the 19th century, a new bright name of the Spanish composer, virtuoso soloist and teacher Francisco Tarrega appeared in the history of the guitar. He creates his own style of writing. In his hands the guitar turns into a small orchestra.

The performance work of this remarkable musician influenced the work of his friends - composers: Albeniz, Granados, de Falla and others. In their piano works one can often hear imitation of the guitar. Poor health did not give Tarrega the opportunity to give concerts, so he devoted himself to teaching. We can safely say that Tarrega created his own school of guitar playing. Among his best students are Miguel Llobet, Emelio Pujol, Domenico Prat, Daniel Fortea, Illarion Lelupe and other famous concert players. To date, the "Schools" of E. Pujol, D. Fortea, D. Prat, I. Lelupe, I. Ahrens and P. Rocha, based on the Tarrega teaching method, have been published. Let's take a closer look at this method using the example of the "School of Playing the Six-String Guitar" by the famous Spanish guitarist, teacher and musicologist E. Pujol. A distinctive feature of the "School" is a generous, detailed presentation of all the main "secrets" of playing the classical guitar. The most essential issues of guitar technique have been carefully developed: the position of the hands, the instrument, the methods of sound production, playing techniques, etc. The sequence of the arrangement of the material contributes to the systematic technical and artistic preparation of the guitarist. The "School" is entirely built on the original musical material: almost all the etudes and exercises were composed by the author (taking into account the methodology of F. Tarrega) especially for the corresponding sections.

It is especially valuable that this educational publication not only details the difficulties of playing the guitar, but also describes in detail how to overcome them. In particular, a lot of attention is paid to the problem of using the correct fingering when playing with the right and left hand, as well as playing techniques in different positions, various movements, shifts of the left hand, which certainly contributes to the development of fingering thinking. The effectiveness of Pujol's "School" is confirmed, in particular, by the practice of its use in a number of educational institutions in our country, Europe and America.

Of great importance for the development of world guitar art was the creative activity of the greatest Spanish guitarist of the 20th century. Andres Segovia. The exceptional importance of his role in the history of the development of the instrument was not only his performing and pedagogical talents, but also his abilities as an organizer and propagandist. The researcher M. Weisbord writes: “…to establish the guitar as a concert instrument, it lacked what, for example, the piano or violin possessed - a highly artistic repertoire. The historical merit of Andres Segovia lies, first of all, in the creation of such a repertoire…”. And further: “M. Ponce (Mexico), M.K. Tedesco (Italy), J. Ibert, A. Roussel (France) K. Pedrel (Argentina), A. Tansman (Poland), and D. Duart (England), R. Smith (Sweden)…”. From this small and far from complete list of composers, it can be seen that it was thanks to A. Segovia that the geography of professional compositions for classical guitar expanded rapidly, and over time this instrument attracted the attention of many outstanding artists - E. Vila Lobos, B. Britten. On the other hand, there are whole constellations of talented composers who are also professional performers - A. Barrios, L. Brouwer, R. Dyens, N. Koshkin, etc.