Minutes of the jury meeting of the 13th All-Russian festival-competition of folk choirs and ensembles “sings the native village. Russian folk songs of the Kama region

From arafans to the floor, kokoshniks and song art. Russian folk choirs with the title of "academic" - as recognition of the highest level of stage performance. More about the path of the "populists" to the big stage - Natalia Letnikova.

Kuban Cossack Choir

200 years of history. The songs of the Cossacks are either a horse march, or a foot sortie under “Marusya, one, two, three ...” with a valiant whistle. 1811 - the year of the creation of the first choir in Russia. A living historical monument that carried through the centuries the history of the Kuban and the singing traditions of the Cossack army. At the origins were the spiritual enlightener of the Kuban, Archpriest Kirill Rossinsky and the regent Grigory Grechinsky. From the middle of the 19th century, the team not only participated in divine services, but also gave secular concerts in the spirit of the reckless Cossack freemen and, according to Yesenin, "merry longing."

Mitrofan Pyatnitsky Choir

A team that has proudly called itself "peasant" for a century. And even if today professional artists perform on stage, and not ordinary vociferous Great Russian peasants from Ryazan, Voronezh and other provinces, the choir presents a folk song in amazing harmony and beauty. Each performance is admirable, like a hundred years ago. The first concert of the peasant choir took place in the hall of the Noble Assembly. The audience, including Rachmaninov, Chaliapin, Bunin, left shocked after the performance.

Northern Folk Choir

A simple rural teacher Antonina Kolotilova lived in Veliky Ustyug. For needlework, she gathered lovers of folk songs. On a February evening they sewed linen for an orphanage: “The smooth, soft light falling from the lightning lamp created a special comfort. And outside the window the February bad weather raged, the wind whistled in the chimney, rattled the boards on the roof, threw snow flakes out the window. From this discrepancy between the warmth of a cozy room and the howl of a snow blizzard, it was a little sad in the soul. And suddenly a song sounded, sad, lingering ... " This is how the northern tune sounds - 90 years. Already off the stage.

Ryazan Folk Choir named after Evgeny Popov

Yesenin's songs. In the homeland of the main singer of the Russian land, his poems are sung. Melodic, poignant, exhilarating. Where a white birch is not a tree, not a girl, frozen on the high bank of the Oka. And the poplar is certainly "silver and bright." The choir was created on the basis of the rural folklore ensemble of the village of Bolshaya Zhuravinka, which had been performing since 1932. The Ryazan choir was lucky. The head of the group, Yevgeny Popov, himself wrote music to the poems of a fellow countryman who had an amazing sense of beauty. They sing these songs as if they are talking about their lives. Warm and gentle.

Siberian folk choir

Chorus, ballet, orchestra, children's studio. The Siberian choir is multifaceted and in tune with the frosty wind. The concert program "Yamshchitsky skaz" is based on the musical, song and choreographic material of the Siberian region, like many stage sketches of the group. The creativity of Siberians was seen in 50 countries of the world - from Germany and Belgium to Mongolia and Korea. What they live about, they sing about. First in Siberia, and then throughout the country. As happened with Nikolai Kudrin's song "Bread is the head of everything", which was first performed by the Siberian Choir.

Voronezh Russian Folk Choir named after Konstantin Massalitinov

Songs in the front line in those difficult days, when, it would seem, there is no time for creativity at all. The Voronezh choir appeared in the working settlement of Anna at the height of the Great Patriotic War - in 1943. The first to hear the songs of the new band were in the military units. The first big concert - with tears in his eyes - was held in Voronezh, liberated from the Germans. The repertoire includes lyrical songs and ditties, which are known and loved in Russia. Including thanks to the most famous soloist of the Voronezh choir - Maria Mordasova.

Volga Folk Choir named after Pyotr Miloslavov

“A steppe wind walks along the stage of the Châtelet theater and brings us the aroma of original songs and dances”,- wrote the French newspaper L'Umanite in 1958. Samara-gorodok introduced the French to the song heritage of the Volga region. The performer is the Volga Folk Choir, created by the decision of the Government of the RSFSR in 1952 by Pyotr Miloslavov. Unhurried and sincere life along the banks of the great Volga and on stage. Ekaterina Shavrina began her career in the team. The Volga Choir performed the song "Snow-White Cherry" for the first time.

Omsk folk choir

Bear with balalaika. The emblem of the famous team is well known both in Russia and abroad. “Love and pride of the Siberian land”, as the critics dubbed the team during one of their foreign trips. “The Omsk Folk Choir cannot be called only a restorer and keeper of an old folk song. He himself is a living embodiment of the folk art of our days”,- wrote the British The Daily Telegraph. The repertoire is based on Siberian songs recorded by the band's founder Elena Kalugina half a century ago and vivid pictures from life. For example, the suite "Winter Siberian Fun".

Ural folk choir

Performances at the fronts and in hospitals. The Urals not only gave the country metal, but also raised morale with whirlwind dances and round dances, the richest folklore material of the Ural land. Under the Sverdlovsk Philharmonic, amateur groups from the surrounding villages of Izmodenovo, Pokrovskoye, Katarach, Laya were united. "Our genre is alive"- they say in the team today. And to save this life is considered the main task. Like the famous Ural "Semyora". Drobushki and Barabushki have been on stage for 70 years. Not a dance, but a dance. Authentic and remote.

Orenburg folk choir

A down scarf as part of a stage costume. Fluffy lace intertwined with folk songs and in a round dance - as part of the life of the Orenburg Cossacks. The team was created in 1958 to preserve the unique culture and rituals that exist "on the edge of vast Rus', along the banks of the Urals." Every performance is like a performance. They perform not only songs that the people have composed. Even dancing has a literary basis. "When the Cossacks Cry" - a choreographic composition based on the story of Mikhail Sholokhov from the life of the villagers. However, every song or dance has its own history.

The history of the creation of the choir

The Ural fascinates with its beauty. Beautiful, mighty, proud land. Mountains with bizarre peaks, lakes with clear clear water and bizarre picturesque shores, many rivers that cross vast forests, a scattering of gems in the bowels of the mountains, Ural factories, Ural history. The Ural is a legendary stone belt, the border of two continents. The songs of the peoples of this region reflect admiration and love for the Ural nature, which surprises with its grandeur.
In June 1943, at the Sverdlovsk Philharmonic Society, on the basis of amateur choirs in the villages of Izmodenovo, Beloyarsky District, Pokrovskoye, Yegorshinsky District, Katarach, Butkinsky District, and M. Laya, Kushvinsky District, the Ural Choir was organized.
He was born in the midst of the Great Patriotic War, when fierce battles were going on, when victory over the enemy was being forged in the rear. It was a time of patriotic upsurge, which was expressed in everything: works of art, music, songs. During the war years, the artists of the choir visited the fronts more than once, performed in front of the wounded in hospitals.
Now there are more than a hundred people in the Ural Choir: it is a choreographic troupe, a choir and an ensemble of musicians. The group's repertoire includes Ural folk songs, compositions by professional and amateur composers.
What magnificent, what fertile material would be found in the history of the Ural Folk Choir by a possible screenwriter or director who decided to create his own production! First, the vociferous guys and girls of various professions would appear before the audience: combine operators, milkmaids, cooks, poultry maids. They learned to sing at gatherings, at village weddings, they adopted dozens of songs from their mothers and grandmothers: vocal, historical, soldier's, lyrical, everyday, skillfully composed undertones, knew how to decorate melodies with beautiful patterns. And what fervent ditties, not in the eyebrow, but in the eye, were given out here at every turn! The inhabitants of these ancient Ural villages more often than others sparkled with gold nuggets at the regional reviews of folk art, they were destined to become the first artists of the new song group.
Of course, only a careful attitude to antiquity and traditions could create such a unique organism, which is what the Ural Folk Choir is today. The first concert program, which was created in hard work, included ancient voice songs of amazing beauty in sounding - "White Snowballs", "Fields". Works about the Great Patriotic War were learned. There were a lot of ditties, comic songs.
The Ural Folk Choir is a truly legendary group. Many years later, he still collects full houses.
At the origins of the Ural Folk Choir was the collector and researcher of folklore L.L. Christiansen.

Christiansen Lev Lvovich (1910–1985). Musicologist, teacher, collector, researcher and propagandist of musical folklore, member of the Union of Composers of the USSR, Honored Art Worker of the RSFSR, professor

Lev Lvovich Christiansen was born in Pskov. As a child, he lived with his parents in Khvalynsk, Atkarsk, Saratov, Krasnoarmeysk, Pokrovsk (now Engels). In his youth, Lev Christiansen played in a folk orchestra and sang in the choir. He studied at the music school in the city of Saratov and was carried away by folk art to such an extent that he graduated from the school as the head of the choir and folk orchestra. Then, having received a higher musicological education at the Moscow Conservatory, he worked in the department of arts under the Council of People's Commissars of the RSFSR. Here his creative horizons and the range of possibilities became much wider - he had to deal with the problems of formation, the repertoire of regional folk groups.
...In the winter of 1943, the artistic director of the Sverdlovsk Philharmonic, Lev Christiansen, met in Moscow with Vladimir Zakharov, a Soviet composer, one of the leaders of the famous Pyatnitsky choir. At this meeting, it was necessary to discuss the principles of creation and work of the future song group - the Ural Folk Choir.
On July 22, 1943, a decree was issued on the creation of the Ural Folk Choir of Russian Song, and in the fall of that year, the first rehearsal of the first members of the future legendary group took place. It would seem that this is not the best time for songs: the very height of the Great Patriotic War. But we must remember that it was a time of unprecedented patriotic upsurge. It may seem incredible, but it is a fact: during the war years in the Sverdlovsk region, there were over two thousand amateur groups, hundreds of vocalists, dancers, ditties.
And here is the first poster: it says that a concert of the Ural Folk Choir will take place in the Sverdlovsk State Philharmonic. The names of the founders of the group are written in large print: artistic director - Lev Khristiansen, choirmaster - Neonila Malginova, choreographer - Olga Knyazeva.
The first photographs of the artists are impressive: in touching scarves, elegant sundresses, aprons, and kosovorotkas. The repertoire of the choir is the old Ural songs "White Snowballs", "Fields" and others, comic refrains "The mother-in-law about the son-in-law has come through", "The gossips are drinking", "The mother-in-law had seven sons-in-law", "I'm old, gray-haired ... ".
How many roads and paths Lev Christiansen went, collecting folk songs, parables, legends, tales, fables! He became one of the first ethnomusicologists who devoted many years to collecting and studying Ural folklore. And this was prompted by his quite practical needs of the repertoire of the young Ural folk choir.

From the memoirs of Maria Maltseva, Honored Artist of the Russian Federation:
“... Lev Lvovich was very fond of a folk song, and when we performed, sometimes tears glistened in his eyes through his big glasses. Not only did we learn from him, but he himself comprehended through us the wisdom of the folk song, its soul and the peculiarities of the performance of original singers.
"... He was always on the lookout, loved all sorts of experiments, loved to play comic folk scenes based on Ural songs, full of genuine humor and fantasy."
“... When, during a break between classes, Lev Lvovich came to our ballet class, my soul became light and joyful from his friendly smile and kind expression on his face. We loved him like a child, we were afraid of his wrath, we believed in our defense and in our common cause.

An excerpt from a letter from Lev Christiansen in July 1945 to one of the leaders of the choir, which is more eloquent than any comment:
“... When recording new songs and dances, try to capture and preserve the local features of the manner of performance and design. This work will be enough for you for decades, and from the point of view of the interests of all art. This is the most important task. Be a reserve of folk art of the Urals. Do not forget that folk art is a living process, and do not fall into conservatism. In folk art there were, are and will be brilliant creators of songs and dances. Taking new elements from urban culture, the people process and improve them.
...Now, with access to the big stage, it is important to resist the temptations of external success, from the desire to win applause with every song. Be principled in the search for new treasures of folk art.
Real connoisseurs will not forgive the search for success with cheap means and will appreciate genuine artistic achievements. This path is more difficult, but also more fruitful. Keep singing without accompaniment, and do not exaggerate the latter in the way that the Pyatnitsky choir and the Voronezh choir did. By doing this, they rob the expressiveness of the most humane instrument - the human voice ... "

"Ural mountain ash". Composer Yevgeny Rodygin, poet Mikhail Pilipenko. This song has become the hallmark of the Ural Folk Choir

In 1942, seventeen-year-old Rodygin volunteered for the front. Senior sergeant, squad leader of the 158th Infantry Division Evgeny Rodygin does not part with the button accordion during rest hours. Arranges concerts for soldiers at rest stops. Yevgeny Rodygin recognized the sincere gratitude of people for the melodies presented to them as a twenty-year-old youth. When, in April 1945, near Berlin, he was seriously wounded with a fracture of both legs, an accordion was tied to the soldier’s chest, bound with plaster and tires. He played and sang, and the walking wounded transported him from one hospital ward to another. It was at that time that Yevgeny Rodygin had a desire to become a composer.
In 1945, Rodygin was demobilized and entered the Ural Conservatory in the composition department. Already in the third year of the conservatory, the talented young man was noted for his first song "The Bride" by the founder of the Ural Folk Choir Lev Khristiansen. He invited Rodygin to work in his song group, predicting for him a brilliant future for the "Ural Zakharov", the head of the choir named after M. Pyatnitsky, the composer. After graduating from the conservatory, Rodygin holds the position of head of the musical part of the Ural Folk Choir.
"Uralskaya Ryabinushka" was born in 1953, on the occasion of the tenth anniversary of the Ural Folk Choir. From the very beginning, she had a difficult fate. First, Rodygin composed music to the verses of Elena Khorinskaya: “I saw off my dear to the Volga-Don, he waved me a branch of mountain ash. Oh, rowan curly, steep on the mountain, oh, rowan-rowan, do not make noise with foliage ... ". These verses did not quite satisfy the performers: the Volga-Don Canal had already been built, and the sharpness of the theme was lost. But the choristers liked the melody, they hummed it with pleasure. During the preparation of the anniversary program, Yevgeny Rodygin asked the poet Mikhail Pilipenko to write new poems. They turned out successful.
The composer Rodygin recalls: “Lev Lvovich Christiansen was a very famous connoisseur of folk songs, a collector of folklore. His main belief and theory was the inviolability of the folk song, the preservation of folklore traditions. He did not recognize any arrangements, believing that songs should only be sung the way people sing. And when I brought Lev Lvovich the “Ural mountain ash”, I heard in response: “We don’t sing waltzes, we are a folk choir.” The paradox was that the artistic director of the Ural Folk Choir did not recognize the works, which were destined to later receive the status of folk songs. "Ural mountain ash", after it was not accepted into the choir's repertoire, made its way to its listeners with great difficulty.
“I was still a very young man then, I had nowhere to turn for support. And so, together with the singers, we began to secretly learn the song in the Gorky Palace of Culture, ”says the composer. – And soon a lucky chance helped us: in the same autumn, the Ural Folk Choir was given the high honor to take part in the celebration of the month of Romanian-Soviet friendship. Usually the program of concerts of this level was listened to by the employees of the regional committee of the party. And so, when the viewing was already over and everything was approved and accepted, our singers plucked up courage and turned to representatives of the regional department of culture with a request to listen to one more song. I took the button accordion, started playing, they sang - and there was loud applause. "Ural mountain ash" without unnecessary discussion "cut" into the repertoire and taken to Romania.
The talented composer went his own way, creating works with new unusual intonations. Therefore, the dissonance in views with the leadership of the choir became sharper, and in 1956 Evgeny Rodygin resigned from the Ural Folk Choir. Gone to stay. Time has put everything in its place: in the song pantries of the choir, round dance, ritual, game and other songs created on the basis of folklore shimmer with rich gems, but Evgeny Rodygin’s songs “Ural rowanberry”, “White snow”, “They are going to new settlers”, “At the border”, “My Flax”, “Where are you running, dear path”, “Sverdlovsk waltz”, “Where have you been” and many others.
Artists of the older generation believe that it was Yevgeny Rodygin's songs that brought the Ural Choir to such a peak of fame in the fifties and sixties that it was simply breathtaking: the audience overflowed the halls, with great difficulty it was possible to get tickets for the concert. And the "Ural mountain ash" fell in love in all corners of the world ...
In May 2013, in Yekaterinburg, in the Akademichesky district, a rowan alley was laid in honor of the 70th anniversary of the Ural Folk Choir. Evgeny Pavlovich Rodygin was awarded many honorary titles: People's Artist of the Russian Federation, Honored Artist of the Russian Federation, laureate of the Lenin Komsomol Prize of the Middle Urals, Honorary Citizen of the city of Yekaterinburg.

Raisa Gileva, Ural magazine, 2010, No. 12

The Ural State Academic Russian Folk Choir celebrates its 70th anniversary in 2013. His art was applauded in 40 countries of the world

Today, the best songs make up a separate program called the Golden Fund. Over the past years, several generations of artists and spectators have changed, but one thing has remained unchanged: wherever the Ural Folk Choir performs - in a remote village, in a magnificent metropolitan concert hall, at the venues of foreign festivals - its concert turns into a true celebration of Russian song. Spectators note the high performing culture of the Ural artists, taste, brilliant virtuoso style.
The audience is attracted by a huge selection of repertoire: today the programs of the Ural Choir include wedding, game, comic and dance folk songs, songs of Ural composers, as well as lyrical dances, dances, quadrilles, round dances, dance pictures and stories based on folklore material.
Christmas, Easter, Maslenitsa - for these holidays of the church calendar, the illustrious team is preparing new creative programs.
To sing the way the people sing - the Ural Folk Choir has been following this parting word for 70 years!
The pearl of the choir's program is the dance "Triptych", created based on the Ural crafts. The concert program is rich and varied - it is a whole range of stylistic trends and directions - from Russian folk songs; game and ceremonial mini-performances created on the material of the 19th century, to the works of modern composers. The bright, colorful costumes of the choir and dance group members, created on the basis of folk clothes, give a special charm to the program and the recognition of the region.
Expanding the repertoire, the group remains true to the special vocal traditions of the Urals. The predominance of a soft lyrical manner, a small range, coherence, harmonic purity of sound, a specific Ural "surrounding" dialect - all this distinguishes the Ural Folk Choir. It is worth noting the contribution of dance to the impression created by the team. His role gradually increased, and today the dancers form almost half of the composition. The bright and bewitching in themselves movements of folk dance complement the song part, as if staging and turning certain numbers into small performances.
Concerts of the Ural Folk Choir have long turned into real theatrical performances dedicated to a particular topic. The team goes to bold experiments, staging a vocal-choral poem or a musical.
Vocal and choreographic fantasy based on the Ural folklore "Ural Tale of the Cossack Village", although created recently, has already managed to win the love and sympathy of the Ural audience, who seemed to have plunged into the unique world of antiquity. Before their eyes appeared pictures of the life of the Ural Cossack village - the election of the ataman, seeing off the Cossacks for military service. At a time when the Cossacks valiantly defend the honor of the Motherland and the Tsar-father, the Cossack wives and brides remember their loved ones and look forward to their return. The musical material used in the performance was collected in their native land - these are songs and dances of the Ural Cossacks. They were painstakingly recorded by the founder and first leader of the now famous collective Lev Khristiansen in the early years of the formation of the Ural Choir. For many years, all the collected materials were stored in archives, and now they are in demand.
All the work of the illustrious team is permeated with folk themes and illuminated by the light of Orthodoxy. The repertoire of the choir includes spiritual and liturgical chants, Russian songs that carry the spirituality of the people. The recently prepared new concert program includes a work called "Orthodox Triptych", and songs dedicated to the history of the construction of Ural factories, and a choreographic composition "Cossack Freemen", and a dance and song performance "City Ural Wedding".
In 2013, the Ural Folk Choir celebrates its 70th anniversary, and the performance "Eternal Truths" is the first premiere in the anniversary season. This large-scale project is dedicated to the 400th anniversary of the Romanov dynasty. The joint work of the composer Alexander Darmastuk and the artistic director of the Ural State Academic Russian Folk Choir Evgeny Pasechnik is unparalleled in the history of musical theater. The musical performance covers 300 years of the Romanov dynasty and a century after. The creators took a large-scale historical period as a plot basis and told about it in a musical form. Arrangements of Russian folk songs, urban romance, the author's works of Darmastuk - all this becomes musical accompaniment to historical events: from the end of the Time of Troubles to the abdication of the throne of Nicholas II. “The idea arose a year and a half ago,” said Alexander Darmastuk, composer and author of the project. - From an early age I was interested in the history of the Romanov dynasty, because I was born 200 meters from the place where the royal family was shot. The Urals is the land where this great epic ended, and I am glad that we created this project here.”
The team worked under the guidance of N.M. Khlopkov, B. Gibalin, V. Hot, V. Bakke, S. Sirotin, A. Darmastuk. The Ensemble of Folk Instruments was directed by E. Rodygin, V. Kukarin, V. Kovbasa, M. Kukushkin, P. Resnyansky.
The Ural State Academic Russian Folk Choir is one of the most famous groups in the city of Yekaterinburg, the Sverdlovsk region, cities in Russia and abroad. For 70 years of its activity, the team has visited more than 40 countries of the world. The audience of Poland, Yugoslavia, Korea, Czechoslovakia, Hungary, England, France, Mongolia, Italy, Germany, Austria, India, Japan, Sweden and Holland applauded his art. At the same time, the choir never forgot its Russian audience, performing in the most remote corners of the country. The Ural Choir participates in concerts at various levels, including those supervised by the Government of the Sverdlovsk Region, the Administration of Yekaterinburg, and the Administration of the President of the Russian Federation.
The choir is a laureate of international (Berlin, 1951; Moscow, 1957) and all-Union competitions (1967, 1970). Participant of the music festivals "Russian Winter", "Moscow Stars", "Kiev Spring", "White Acacia", the cultural program "Olympic Games-80" (Moscow).

Recorded by F. V. PONOMAREVA
Compilation, text processing, musical notation, introductory article and notes by S. I. PUSHKINA
Reviewers V. Adishchev, I. Zyryanov

FOREWORD

This collection was created in a somewhat unusual way: the songs included in it were collected and recorded by the bearer of one of the Nizhnekamsk song traditions herself, Faina Vasilievna Ponomareva, a native of the village of Verkh-Bui, Kuedinsky district, Perm region. In 1960, the folklore expedition of the Moscow Conservatory visited the Perm region, and recorded works of folk art in the Kuedinsky district (the village of Verkh-Bui, the village of Tarany). However, this book is based on the notes of F. Ponomareva. This path was chosen in order to show the local song culture through the prism of not a third-party collector, but a living participant, whose personal taste and worldview are closely connected with it. Faina Vasilievna also had the opportunity to conduct many years of work in her native village on recording songs in the most natural environment of their existence, which undoubtedly contributed to the identification of typical features of the Verkh-Buyov song tradition. Most of the songs she recorded are in the repertoire of local amateur performances. They also sound during rural festivities, in the house and on the street, decorate rural weddings.

Faina Vasilievna was born on December 31, 1906, to a large family of a farm laborer. She lives in a small but cozy house in the village of Tapya (this is part of the village of Verkh-Buy). Here she worked as a teacher in a secondary school for more than thirty years. Immediately behind the garden flows the river Bui, a tributary of the Kama. Faina loves her village and the beautiful nature surrounding it. Faina Vasilievna is inseparable from the song. I remember that on one of her visits to Moscow, she took her grandchildren to Red Square, showed them both the Kremlin and the Mausoleum, and at the execution site she told them about the execution of Stepan Razin. song! Her attitude to different song genres is different. She reluctantly sang children's songs. On the contrary, she concentratedly and expressively sang numerous variations in historical, vocal, and dance songs. And she sings comic and dance songs with liveliness, as if during a rural festivities. Faina Vasilievna is an indispensable participant in round dances and dances. She herself sews all the old costumes, embroiders them, and still does not leave the difficult art of weaving. This art, as well as singing skills, she inherited from her parents and grandfathers.

Faina Vasilievna writes in her biography: “In winter, my brother and I were sent to Bui. My brother studied at a parochial school, and my grandmother taught me to work as a peasant. She prepared for me twirls of red and prickly logs (waste after flax), and taught me how to turn the spindle. Grandma's science was not in vain. Soon I learned to spin and took work from people. We spent the winter evenings by the torch. There were no lamps and a samovar in the grandfather's house. The thin linden splinter burned quietly, without crackling, as if wax were melting, grandmother now and then replaced one burnt splinter with another, fresh, deftly squeezing it into the lamp. My grandfather and grandmother loved to sing. All their sedentary work was accompanied by a song. They used to drag out such antiquity that came from time immemorial. Grandmother usually sang songs. Lead lingeringly, penetratingly, concentrated. Grandfather sang along, sharpening spindles or with a bast shoe in his hands. The sounds of such a soulful song flow through the smoky hut, without lingering, and penetrate directly into the heart, sinking into its recesses, so as to be preserved for the time being.
Faina Vasilievna grew up in an atmosphere of painstaking peasant labor and Russian song antiquity. She recalls: “On winter evenings, when my father was busy rolling his felt boots, his father accompanied his hard work with a song. His mother, his immediate assistant, embroidered felt boots with black and red garus, pulled him up. In early childhood, I learned the favorite songs of my father and mother.

One of the first songs that entered my childish consciousness was “Beyond the Forest, Forest”, where the idle life of gentlemen-manufacturers is condemned, who “drink, eat and lead feasts, and honest people oppress their backs.” As an adult, I understood why my father loved this song so much and sang it with concentration, with thoughtful severity, as if pronouncing a sentence. I felt deep pity as I listened through my tears to a song about the premature death of a young pine tree: "Don't blow the wind." Then I learned the song "The Nightingale Persuaded the Cuckoo." Having memorized her words and melody, one evening, quite like a child, I pulled up my father and mother, lying on the floor. Suddenly the song broke off, which I did not notice, continuing to diligently bring out the melody. She immediately felt the warm touch of her father's hand. He affectionately and carefully stroked my hair through the beam, saying: “Mother, that’s who will get our songs, oh songstress, oh good fellow!” From that day on, I began to sing along with them and soon joined our family choir of four. The older sister, helping to embroider felt boots, also sang. On a winter evening, people gathered for a gathering-party, each with his own work. Women knitted, spun, sewed; men wove bast shoes or harness harnesses. Throughout the long evening, broad-voiced songs flowed one after another. Such songs were replaced by perky comic tongue twisters and dance ones, from which you can’t sit still. Neither songs nor jokes stopped the work. A woman strung up to four skeins in one such evening. For a man, the usual norm was to weave a pair of bast shoes. In early spring, the girls led crowded round dances. In round dance songs they sang labor, glorified the coming of spring, played out the various content of the songs. In girlish round dances, guys walked in groups, in pairs, embracing each other and alone. Singing along and whistling to the beat of the song, dancing to it, they did what was said in the song.
The life of the native village and surrounding villages was closely intertwined with songs and games. All this eagerly absorbed Faina Vasilievna. Not an outside observer, but an ardent participant in everything that surrounded her, she has always been. And now she still participates in rural festivities. That is why the poetic texts of songs and their tunes are so full and meaningful.

Work on the collection began in 1973, when the author of these lines, through the folklore commission of the Union of Composers of the RSFSR, was given for scientific processing the recordings of F. V. Ponomareva (about 200 works). They have been ioted and studied. Later, in the course of work on the book, F. V. Ponomareva supplemented them with new, repeated recordings from various performers from the village of Verkh-Bui (their notations are included in this collection). Her fellow villagers took part in the performance of the songs: Vera Osipovna Tretyakova, Anna Osipovna Galashova, Anastasia Stepanovna Ponomareva, Agrippina Anfilofievna Lybina, Anastasia Andreevna Sapozhnikova, Anna Antonovna Shelemetyeva, Maria Vasilievna Spiryakova, Zoya Ivanovna Dyagteva, Anastasia Guryanovna Lapikhina and others.
Extensive and interesting local history literature (this includes both folklore records and ethnographic descriptions) refers mainly to the northern and central regions of the Perm Territory. The musical folklore of the part of the basin of the Lower Kama region adjacent to Bashkiria and Udmurtia has been studied very little. There are single records of Vologodsky in the Polevsk plant and several records of Tezavrovsky in Osinsky district. None of them match the tunes and lyrics of this collection. The vast majority of the tunes and recordings of F. Ponomareva do not match the publications of Voevodin, Serebrennikov, P. A. Nekrasov, I. V. Nekrasov, as well as with modern Perm musical and folklore publications (Christiansen, Zemtsovsky).
Magnificent and rich text recordings of folklore made at the end of the 19th and early 20th centuries, as well as many modern text recordings, are waiting for their “voicing”. It should also be taken into account that the records of the late 19th and early 20th centuries remain inaccessible for wide use, since their publications are a bibliographic rarity, while the need for such material grows with the development of Soviet musical culture and the science of folklore.

Thus, the material of this collection for the first time widely represents one of the song traditions of the Lower Kama region in its genre diversity and holistic form (chants and lyrics). At the same time, we tried to include in the collection as much material as possible, equally necessary both for studying the folklore of the Perm Territory, and for its practical use in the creative and performing sphere. Along with a multilateral display of the works of the local song tradition, the book makes an attempt to outline links with the song traditions of nearby regions or regions and regions of Russia that have common historical destinies. It is not possible to carry out this task to a sufficient extent in the current state of the study of individual song cultures and, moreover, within the framework of a song collection. But some threads leading to the origins of this song culture can still be outlined, which is done in this work. However, it should be said that the material collected by F. Ponomareva, who set herself the modest task of compiling a songbook for young people, is a contribution to the scientific development of the problem of stylistic varieties of folklore of the former outskirts of Russia.
As part of the songs of the collection, we tried to most clearly show the main stylistic features and genre diversity of the original song culture, which "took root" not only in the Verkh-Buy region and some neighboring villages and villages, but also in the Northern Kama region - in the distant Gainsky region Komi-Permyatsky district, as well as in the Vereshchaginsky district on the border with Udmurtia and in the neighboring Old Believer settlements of the Kiznersky and Kambarovsky districts of Udmurtia. These comparisons, made in some notes, are few and not always confirmed by publications. There are links to phonorecords with an indication of their storage location. But it is the auditory perception that confirms or rejects the assumption of the similarity of style features, since the performing style is an integral and sometimes almost the most striking distinguishing detail of a particular song tradition. Many common features, for example, are found when comparing the musical warehouse of the songs of the village of Verkh-Buy and the songs of the Kirov region (Mokhirev), but, listening to the phonograms, we did not find similarities in the manner of performance.

When studying the variants of songs, some collections related to the northern regions also came into view. They are referenced in the notes in order to replenish the poetic content of the songs, which sometimes have an underdeveloped plot. Ural publications are also partially used in references for a possible comparison of the genre composition of the songs. However, it should be noted that these references are not exhaustive and only accompany the main task of the collection - to identify and shade the features of the local song tradition. Before proceeding to its characterization, one cannot fail to dwell on the historical environment in which it was born and developed.
Chronicles tell about the time of Russian penetration into the Urals, telling that “already in the 11th century, the brave Novgorodians went beyond the Urals to the country of Yugra, to collect tribute from it, and the path lay. through the land of Perm. We also learn from another source: “The penetration of Russian people into the Ural lands, which began no later than the 11th century, is confirmed by archaeological finds and chronicle legends: the Laurentian and Nikon chronicles. Novgorodians were among the first to appear in the Urals.
Osinsky uyezd, which included the Verkh-Buyovskaya volost, began to be settled by Russians at the end of the 16th century. The Volga region guidebook (1925) contains the following information about this region: “The Russians settled in Osa in 1591, when the brothers Koluzhenins founded Nikolskaya Sloboda on the site of the modern city. Even earlier, a monastery arose on the right bank. Before the arrival of the Russians, there were settlements of the Ostyaks, who were engaged in fishing and plucking hops according to the letter of the 16th century. Moscow government. The peasants were attracted by rich lands and the position of "sovereigns", they could settle on state lands, remaining "free", and had to bear a number of duties in favor of the state, among which the "sovereign's tithe arable land" was common. The bread collected by the peasants from the tithe arable land went to the "sovereign's granaries" and was used to pay salaries to "service people."

Somewhat later, the settlement of Verkh-Buy was probably also founded. FV Ponomareva told a family legend about the genealogy of her native village. Ivan Grigoryevich Galashov, Faina Vasilievna's grandfather, said that “a long time ago, people came here from the big river (Volkhov River - F. Ya.), from the Novgorod region to settle in new lands. There were three families: Galashov Ivan (great-grandfather of Ponomareva's grandfather. - S. Ya.), Korionov Mikhey and Kopytov Mikhailo. Arriving on horseback in the spring, they found themselves in impenetrable forest jungle. According to the stories of my grandfather, there was a solid dark forest here, as they say, "a hole in the sky." Leaving their families in tents made of homespun curtains, the peasants went upstream the river, right up to its source. And what do they see? A strong jet of water shoots out from under the stones, drilling to the surface like a fountain, and noisily flows along the channel. One of the men said: "How violently the water beats." Picking up this word, they dubbed the river "Buy":. Not finding a place convenient for uprooting, they returned to their families, settled lower in the upper reaches, across the river on the mountain, and began to settle in new places. Thus, from the family tradition it is clear that the lands along the Buy River (a tributary of the Kama) turned out to be deserted when the Russian pioneers came there. It was. apparently in the 17th century. However, in the 20s of the 20th century, during archaeological excavations in the Kueda region, along the banks of the Bui River, three settlements with traces of settlements were discovered: Sanniakovskoye, on Nazarova Gora and near the Kueda station. If we recall that these lands lay next to the Volga-Kama Bulgaria, which in 1236 was the first to take the blow of the Mongol-Tatar invasion, then the desolation of the once inhabited lands becomes understandable.
The history of the Lower Kama region is rich in significant events and upheavals. "The wasp was attacked by the Tatars in 1616, which were joined by the Bashkirs, Cheremis, and others. They besieged the Osinsky prison."

In 1774, the storm of the Pugachev uprising swept over the county.
Decades, centuries passed. “The Russian peasants, through their activities, changed the previously backward region, created large centers of agriculture, developed various crafts and crafts, trade, and were also the main labor force in state-owned and private factories. From these same peasants, a Cossack army was created to guard the fortresses in the Southern Urals. In Osinsky district, which "in abundance of agricultural products could be equal to the most fertile places in central Russia, agriculture, cattle breeding, beekeeping, and distillation developed." From the neighboring Kungur uyezd, which was famous for the production of leather and the production of various leather products associated with home-based work, this trade also spreads to neighboring uyezds. Craftsmen introduced a lot of artistic element into this craft: products were skillfully embroidered and decorated with patterns.
*.
The tunes of the songs are presented in the collection as completely as possible, taking into account the variation of tunes in each new stanza, characteristic of each Russian folk song tradition. These variations are carried out on the basis of a fixed type - stanza. They give a more complete picture of the musical development of the tune, which almost never repeats exactly. And this is not just ornamentation, but evidence of the endless imagination of folk performers, skillfully, masterfully developing the basis of the melody.
The notes placed at the end of the book are dedicated to the description of the environment in which the songs were performed, contain their musicological analysis and references to similar publications.
The songs included in the collection can serve as "the best illustration of those inexhaustible mighty forces that the masses carry within themselves." Their national identity lies in the fact that, along with grief and longing, they exude “space, will, valiant prowess” (D. N. Mamin-Sibiryak).

S. Pushkin,
musicologist, member of the Union of Composers of the USSR

Read the full text in the book

• Foreword
• Christmas, game, Shrovetide SONGS
• DANCE, JOKE SONGS
• SHROVODE SONGS
• WEDDING SONGS
• LULLABIES
• BYLINA
• HISTORICAL AND SOLDIER SONGS
• VOICE SONGS
• Notes
• List of bibliographic abbreviations
• Song index

Download sheet music and lyrics

Thanks Anna for the compilation!

Material from Letopisi.Ru - “Time to return home”

Osinsky Folk Song and Dance Ensemble Ural Ryabinushka named after Boris Kapitonovich Bryukhov, Honored Worker of Culture of Russia was created in 1946 year. The birth of the choir is considered January 15 1946 – it was on this day that the choir gave a concert in the city of Osa (Perm Territory).

The first leader was Alexander Prokopevich Makarov, choirmaster his wife Tatyana Vladimirovna Tolstaya(former soloist of the Pyatnitsky Choir). In a short time, the choir won the love and popularity of fellow countrymen. After the departure of Makarov, the leader of the choir for seven years was Valentin Petrovich Alekseev.

Beginning with 1947 The Osinsky Russian Folk Song Choir has repeatedly been a diplomat and laureate of many competitions, reviews, festivals, from All-Russian to regional ones. IN 1947 The choir becomes a Diploma winner of the All-Russian review of rural amateur performances, performs in Moscow - in the House of the Unions and the Bolshoi Theater. Participates in the filming of the film "Songs of collective farm fields." His repertoire includes folk songs and dances, ditties, skits, round dances, songs of modern composers.

A special place in the repertoire of the choir was occupied by songs recorded in the Osinsk region: “Is my sun red”, “Rivers like rivers”, “They cooked a pie” and much more.

IN 1953 becomes the leader of the choir B.K. Bryukhov, an excellent musician, a true professional, a good and sensitive leader who made an invaluable contribution to the development of musical songwriting.

IN 1956 the choir takes part in the filming of the film "Towards the Song", and in 1960 The choir traveled to Moscow with concerts at VDNKh.

IN 1961 Osinsky choir was awarded the title of "People's", and with 1976 It is called the Folk Song and Dance Ensemble "Uralskaya Ryabinushka".

Name Boris Kapitonovich Bryukhov V 2000 city, by the decision of the regional Legislative Assembly, is assigned to the team.

From september 1999 the ensemble is led by Oleg Viktorovich Lykov. With his arrival, new members joined the team - students of schools and educational institutions of the city, the repertoire has changed.

WITH 2007 it was proposed to take the leadership of the ensemble Lyudmila Pavlovna Artemyeva. The orchestral group of the ensemble was headed by Natalia Valentinovna Vergizova, and dance - choreographer Alexey Igorevich Artemiev. WITH 2010 d. the orchestral group is under the direction of a talented accordion player - Vyacheslav Gennadievich Seleznev.

IN 2010 "Uralskaya ryabinushka" twice became the laureate of regional festivals - competitions "Rabinous land" and "Prikamye soaring".

In the same year, the ensemble took part in the All-Russian Festival of Folk Art "Springs of Russia" in Cheboksary.

IN 2011 the folk ensemble of song and dance Uralskaya ryabinushka named after B.K. Bryukhov celebrated an important event - the 65th anniversary of his creative life.

Characteristics of the professional activity of graduates

Field of professional activity of graduates: solo vocal performance, as part of a choir or ensemble; musical pedagogy in children's art schools, children's music schools, children's choir schools and other institutions of additional education, general education institutions, institutions of secondary vocational education; management of folk groups, organization and staging of concerts and other stage performances.

The objects of professional activity of graduates are:

musical works of different directions and styles;

musical instruments;

folk groups;

children's art schools, children's music schools, children's choir schools, other institutions of additional education, general education institutions, institutions of secondary vocational education;

educational programs implemented in children's music schools, children's art schools, children's choir schools, other institutions of additional education, general education institutions, institutions of secondary vocational education;

listeners and spectators of theaters and concert halls;

theater and concert organizations;

institutions of culture, education;

Types of activities of graduates:

Performing activity (rehearsal and concert activity as an artist of the choir, ensemble, soloist on various stages).

Pedagogical activity (educational and methodological support of the educational process in children's art schools, children's music schools, other institutions of additional education, general education institutions, institutions of secondary vocational education).

Organizational activities (leadership of folk groups, organization and staging of concerts and other stage performances).

Subjects of study

OP.00 General professional disciplines

Musical literature (foreign and domestic)

Solfeggio

Elementary Music Theory

Harmony

Analysis of musical works

Music informatics

PM.00Professional modules

PM.01Performing activity

Solo singing

ensemble singing

piano

PM.02Pedagogical activity

Folk art and folklore traditions

Fundamentals of folklore improvisation

Folklore theater and folk song directing

PM.03Organizational activities

Conducting

Reading choral and ensemble scores

Regional singing styles

Transcription of a folk song

Folk song arrangement

Requirements for the results of mastering the training program for specialists of the middle link of the specialty

general competencies, demonstrate the ability and willingness to:

OK 1. Understand the essence and social significance of your future profession, show a steady interest in it.

OK 2. Organize their own activities, determine the methods and ways of performing professional tasks, evaluate their effectiveness and quality.

OK 3. Solve problems, assess risks and make decisions in non-standard situations.

OK 4. Search, analyze and evaluate the information necessary for setting and solving professional problems, professional and personal development.

OK 5. Use information and communication technologies to improve professional activities.

OK 6. Work in a team, communicate effectively with colleagues, management.

OK 7. Set goals, motivate the activities of subordinates, organize and control their work with the assumption of responsibility for the result of the tasks.

OK 8. Independently determine the tasks of professional and personal development, engage in self-education, consciously plan advanced training.

OK 9. Navigate in conditions of frequent change of technologies in professional activity.

OK 10. Perform military duty, including with the application of acquired professional knowledge (for boys).

OK 11. Use the skills and knowledge of the basic disciplines of the federal component of secondary (complete) general education in professional activities.

OK 12. Use the skills and knowledge of the specialized disciplines of the federal component of secondary (complete) general education in professional activities.

Based on the acquired knowledge and skills, the graduate must have professional competencies, corresponding to the main types of professional activity:

Performing activity

PC 1.1. Completely and competently perceive and perform musical works, independently master the solo, choral and ensemble repertoire (in accordance with program requirements).

PC 1.2. Carry out performing activities and rehearsal work in the conditions of a concert organization in folk choirs and ensembles.

PC 1.3. Use technical means of sound recording in performing activities, conduct rehearsal work and record in a studio.

PC 1.4. Perform theoretical and performance analysis of a musical work, apply basic theoretical knowledge in the process of searching for interpretive solutions.

PC 1.5. Systematically work on improving the performing repertoire.

PC 1.6. Apply basic knowledge of physiology, hygiene of the singing voice to solve musical and performing tasks.

Pedagogical activity

PC 2.1. To carry out pedagogical and educational and methodological activities in children's art schools and children's music schools, other institutions of additional education, general education institutions, institutions of secondary vocational education.

PC 2.2. Use knowledge in the field of psychology and pedagogy, special and musical-theoretical disciplines in teaching.

PC 2.3. Use basic knowledge and practical experience in organizing and analyzing the educational process, methods of preparing and conducting a lesson in a performing class.

PC 2.4. Master the basic educational and pedagogical repertoire.

PC 2.5. Apply classical and modern teaching methods, vocal and choral disciplines, analyze the features of folk performing styles.

PC 2.6. Use individual methods and techniques of work in the performing class, taking into account the age, psychological and physiological characteristics of students.

PC 2.7. Plan the development of professional skills of students.

Organizational activities

PC 3.1. Apply basic knowledge of the principles of labor organization, taking into account the specifics of the activities of pedagogical and creative teams.

PC 3.2. Perform the duties of the musical director of the creative team, including the organization of rehearsal and concert work, planning and analysis of the results of activities.

PC 3.3. To use basic regulatory and legal knowledge in the activities of a specialist in organizational work in educational and cultural institutions.

PC 3.4. To create concert-thematic programs taking into account the specifics of perception by different age groups of listeners.