Guitar art as a historical phenomenon of musical culture. The role of buffoon musicians in the history of Russian musical culture XIX century - the period of "guitaromania"

Formation of Russian guitar performance

1. The emergence of the art of playing the seven-string guitar in Russia in the 19th - early 20th centuries

The originality of the existence of the guitar in Russia lies in the parallel existence of two varieties - seven-string and six-string. However, their "share" in music-making was different: from the second half of the 20s of the XX century, in a period that goes beyond the study of this book, the six-string guitar became more and more popular. Meanwhile, for almost the entire duration of the 19th century, a variety of instrument that can be fully called Russian folk instrument was dominant in domestic music-making. And not only according to the social criterion, connected with the focus on the non-elite in musical and artistic terms, the dominant part of the population of Russia. In the seven-string guitar, with a special “Russian” tuning, the ethnic element of nationality is no less obvious: for over two centuries it has been widely used in our country and still exists to express traditional genres of national music. Tuning according to the sounds of the G-dur triad doubled to an octave and the bottom string spaced a quart appeared in Russia in the second half of the 18th century and turned out to be extremely organic in the urban environment, where they liked to sing songs and romances, with their invariable bass-chord accompaniment formulas (In the domestic In the musical life of the beginning of the 19th century, such an instrument was often called the guitar of the “Polish system.” Meanwhile, tuning by the sounds of the G-dur triad became widespread only in Russia (the only exception could be the environment of Russian emigrants in other countries).
Accompanied on a seven-string guitar in home music-making, usually by ear - the simplest harmonic functions of such accompaniment became extremely accessible. The authors of songs and romances were most often little-known amateurs, but sometimes prominent composers of the 19th century, the predecessors of M. I. Glinka, such as A. E. Varlamov, A. L. Gurilev, A. A. Alyabyev, A. I. Dyubuk , P. P. Bulakhov. The performance to the “seven-string” of such songs as “The bell rattles monotonously” by A. L. Gurilev, “The snowstorm sweeps along the street” by A. E. Varlamov, “Do not scold me, dear” by A. I. Dyubuk and many others made them widely popular - it is no coincidence that they began to exist among the general population precisely as Russian folk songs.
The art of Russian gypsies played an important role in the active spread of the seven-string guitar. Magnificent seven-string guitarists were the leaders of gypsy choirs, such as Ilya Osipovich and Grigory Ivanovich Sokolov, Alexander Petrovich Vasilyev, later Nikolai Sergeevich Shishkin, Rodion Arkadevich Kalabin and others (As K. A. Baurov notes, “Gypsy choirs in Russia are becoming fashionable with the light hand of Count A. G. Orlov. Many noble nobles, wealthy landowners and merchants acquire their own gypsy choirs").
At the end of the 18th century, the seven-string guitar could be heard in aristocratic salons and even at the royal court, but by the middle of the 19th century, its significant democratization was observed. M. A. Stakhovich in his “Essay on the history of the seven-string guitar”, first published in 1854, wrote: “The seven-string guitar is the most common instrument in Russia, because it is most common because, in addition to the educated class, it is also played by ordinary people.”
At the same time, already at the end of the 18th century, this type of guitar began to develop also as a representative of academic musical art. If singing to the guitar accompaniment of urban songs and romances was characterized by a non-written-auditory tradition, then the same songs intended for solo performance on the guitar in home music-making were published in various musical collections. These were mainly variations - arrangements of folk song melodies. Here, the authors showed creative imagination when ornamenting the theme, its colorful “coloring” in a wide variety of options.
For the seven-string guitar, major compositions also appear. Already at the very beginning of the 19th century, the Sonata for a duet of guitars by V. Lvov was released. Increasingly, various guitar pieces began to be published, placed in instructional and methodological manuals or published in separate editions. Such, for example, are numerous miniatures, mainly in dance genres - mazurkas, waltzes, country dances, ecossaises, polonaises, as well as serenades, divertissements, created by the famous guitarist-teacher and methodist Ignaz Geld (1766-1816).

Ignaz Geld

Having lived almost all his creative life in Russia, this Russified Czech did a lot to popularize academic guitar playing. In 1798, his "School-tutorial for the seven-string guitar" was published in St. Petersburg, which had the title in French - "Methode facile pour apprendre a pincer la guitare a sept cordes sans maitre". Along with a variety of theoretical information, it contains many musical samples - both arranged for the guitar, and the author's own compositions. These are Prelude, Waltz, Dumka, Polonaise, March, Allegretto; at the end of the edition there is even a sonata for flute and guitar, pieces for violin and guitar, for voice and guitar, etc.
The school was repeatedly reprinted and supplemented with a variety of new material (in particular, the third edition was expanded by forty arrangements of Russian and Ukrainian folk songs). Its high artistic merits can already be evidenced by the fact that it has become the methodological basis for extracting natural and artificial harmonics. This was done by S. N. Aksenov, who published the methods of their execution in his supplements to the publication and singled them out here in a separate chapter.
The “School for the Seven-String Guitar” of the teacher, author of a number of musical compositions Dmitry Fedorovich Kushenov-Dmitrievsky (c. 1772-1835) also became a significant phenomenon in its time. His guitar manual is “The New and Complete Guitar School, composed in 1808 by Mr. Kushenov-Dmitrievsky, or a self-instruction manual for guitar, according to which you can learn how to play the guitar correctly by yourself without the help of a teacher”, first published in St. Petersburg in 1808, enjoyed great popularity in the first half of the 19th century and was repeatedly reprinted. Although it provided for self-study, the author emphasized that success in cognition is largely acquired "with the help of a good teacher." In the reissue of the School of 1817, the author states even more categorically: “... there is not a single science that does not require a mentor or guide to perfect knowledge. Therefore, I do not advise you to start teaching before that time, until a capable and quite knowledgeable teacher is found for this.
D. F. Kushenov-Dmitrievsky created a number of folk-song fantasies and adaptations for the seven-string guitar, in 1818 he published a collection of guitar pieces “Interdubele, or Collection of exemplary pieces for the seven-string guitar”. It contains one hundred musical numbers, in particular, own miniatures, arrangements of folk music, as well as arrangements of plays by W. A. Mozart, A. O. Sychra, F. Carulli and other composers.
Famous Russian composers-violinists of the second half of the 18th - early 19th centuries perfectly owned the seven-string guitar. Among them, as in the field of balalaika art, first of all, Ivan Evstafyevich Khandoshkin should be mentioned, who also wrote music for the guitar, composing for it a number of variations on the themes of Russian folk songs (unfortunately, not preserved). I would like to name in the same context Gavriil Andreevich Rachinsky (1777-1843), who published his guitar works already in the first decades of the 19th century.
The true flowering of domestic professional guitar performance begins with the creative activity of the outstanding teacher-guitarist Andrei Osipovich Sikhra (1773-1850). Being a harpist by education and perfectly mastering the performance of this instrument, he nevertheless devoted his whole life to the promotion of the seven-string guitar: in his youth he was engaged in concert activity, and then pedagogy and enlightenment.

Andrey Osipovich Sikhra

At the very end of the 18th century, Sichra came from Vilnius to Moscow, where he became interested in the guitar, and by 1813 he moved to St. Petersburg. Since 1801, his guitar concerts in Moscow and St. Petersburg have been very successful (For a long period of time, A. O. Sikhra was even considered the inventor of the Russian seven-string guitar. Thus, M. A. Stakhovich noted that Sikhra was still at the end of the 18th century “I came up with the idea of making an instrument out of a six-string guitar that is more complete and closer to a harp in terms of arpeggios, and at the same time more melodic than a harp, and tied the seventh string to the guitar; at the same time, he changed its tuning, giving the six strings a group of two tonic chords in tone G-dur [...] In the seventh string, he placed the thickest bass, constituting the lower octave - re (D) and containing the main sound of the upper dominant tone G-dur. "A. S. Famintsyn repeats the same data, emphasizing that Sychra, by adding the seventh string, changed the tuning, “bringing it closer in arpeggios to his special instrument - the harp.” Although this information did not find any documentary confirmation, one thing is indisputable: the musician, like his students, greatly contributed to wide popularity with his activities in Russia this type of guitar.).
A. O. Sikhra gained special success thanks to his musical publications, which were then called “magazines”. So, in 1800, such an edition was published under the title in French “Journal pour la Guittare a sept cordes par A. Sychra” (“Journal for guitar with seven strings of A. Sychra”). The magazine was a clear success, as evidenced by its reprint two years later. Many arrangements of Russian folk songs, arrangements of musical classics, simple miniatures in dance genres were placed here.
In the following decades, until 1838, the musician published a number of similar guitar magazines, which presented a wide variety of works, transcriptions from opera music, romances, songs and dances, variations on themes from classical works, etc. All this is largely degree contributed to the increasing popularity of the instrument.
The magazine published since 1826 under the name "Petersburg magazine for guitar, published by Sychra, containing various kinds of compositions, pleasant to the ear and easy to play" gained particular fame. In the last years of his life, for the most part, he composed pieces for a duet of guitars, and he himself performed a lower tessitura, second part, and he entrusted the first, higher order - tertz guitars to one of his students.
The methodical activity of the musician was also important. In 1850 his "Theoretical and Practical School for the Seven-String Guitar" appeared in three parts (the first part - "On the Rules of Music in General", the second - technical exercises, scales and arpeggios, the third - musical material, mainly from the works of Sychra's students). In the second half of the 19th century, F. T. Stellovsky, who repeatedly republished the school, significantly expanded the repertoire by adding many arrangements of works by classical composers.
Another important instructive and pedagogical manual was “Practical Rules Consisting in Four Exercises” by A. O. Sikhra, a kind of higher school for improving the technical skills of a guitarist, an encyclopedia of techniques and methods of playing the seven-string guitar of that time. Although only etudes are included here, in essence they are extended plays, and therefore they will be discussed in a separate section of this chapter.
Sichra was the first to establish the seven-string guitar as a solo academic instrument, doing a lot for the aesthetic education of a wide range of amateur guitarists. He trained a huge number of students and, most importantly, created his own performing school as an artistic direction, characterized by all-round attention to the creative individuality of the student and to the activation of his artistic thinking, a combination of performing arts and composing music, with the prevalence of folk song material processing. It is no coincidence that Sichra's pedagogical activity in the field of guitar was highly appreciated, for example, by such famous composers as A. E. Varlamov, M. I. Glinka, A. S. Dargomyzhsky.
Working a lot with his students to achieve the subtlety and sophistication of the sound of the guitar, this musician did not seek to develop a cantilena game from them, but likened the guitar to a harp. For example, the musician called the expressive legate playing with an abundance of vibrato by one of his most talented followers “gypsy”, although, of course, he did not interfere with the disclosure of this feature of his performing style, since, as M. G. Dolgushina notes, he considered it “his best student and especially for him created a number of technically complex works. This student was Semyon Nikolaevich Aksenov (1784-1853). In the 1810-1830s, he was perhaps the most prominent promoter of the instrument, although his main occupation was serving as a major official (After moving from Moscow to St. Petersburg in 1810, S. N. Aksenov began to make a quick official career: In 1823 he was an official for special assignments under the Minister of War of Russia, for a long time he served in the same position in the Naval Ministry, he held the military rank of colonel.).

Semyon Nikolaevich Aksenov

The game of S. N. Aksenov was distinguished by extraordinary melodiousness, warmth of tone, and along with this - great virtuosity. The musician made a significant contribution to the improvement of the technique of performance: it was he who, as already noted, was the first to carefully develop a system of artificial harmonics on a seven-string guitar. In 1819, he also made significant additions to the reprint of I. Geld's School, providing it not only with a chapter on harmonics, but also with many new pieces and arrangements of folk songs.
One of the most important aspects of Aksenov's activity was musical enlightenment. In particular, in the 1810s he began to publish the New Journal for the Seven-String Guitar, Dedicated to Music Lovers, where he published many transcriptions of popular opera arias, his own variations on the themes of Russian folk songs. Under the influence of the guitarist's passion for Russian song folklore, his teacher A. O. Sikhra began to pay much more attention to the arrangements of folk songs.
Among the first students of A. O. Sikhra, one should also mention Vasily Sergeevich Alferyev (1775-c. 1835). Already in 1797, his fantasy on the theme of the Russian folk song “How did I upset you” was published, and in 1808 he began to publish monthly issues of the “Russian Pocket Songbook for the Seven-String Guitar”. It included numerous "songs with variations", separate miniatures, transcriptions of opera arias popular at that time, works of musical classics, romances for voice and guitar. Various fashionable dances were also published here, intended for both guitar solos and guitar duets (V. S. Alferyev was also a member of the Free Society of Lovers of Russian Literature. As M. G. Dolgushina notes, it, “declaring primarily charitable goals, united around itself a wide range of interested representatives of the nobility". The musician was also a great lover and collector of Russian folklore. According to the same book, romances by V. S. Alferyev, as well as S. N Aksenov - they were created mainly on the words of contemporary poets).
Among the students of A. O. Sikhra was also Fedor Mikhailovich Zimmerman (1813-1882), a talented guitarist. Contemporaries often called him “Paganini of the guitar”, marveling at the technique, independence and mobility of his hands, “it was as if there were not five, but ten fingers on each hand”, he perfectly improvised on the guitar, created a wide variety of plays - fantasies, waltzes, mazurkas, etudes and so on.
Vasily Stepanovich Sarenko (1814-1881) also left a noticeable mark in the guitar art.

Vasily Stepanovich Sarenko

A. I. Dubuk, a prominent Russian composer and pianist of the 19th century, author of many popular songs and romances, described his art as follows: “The player was first-class and knew music perfectly, had a lot of taste and imagination, was generally a comprehensively developed musician. Played elegantly, cleanly, smoothly; his strings sang in both fast and slow tempos. Plays and etudes composed by V. S. Sarenko are usually saturated with expressive melody and developed texture. He also made many guitar arrangements and transcriptions. We should also mention such a talented student of A. O. Sikhra as Pavel Feodosievich Beloshein, who became a wonderful teacher of the guitar class, the author of many miniatures.
Vladimir Ivanovich Morkov (1801-1864) was also a highly educated student of A. O. Sikhra

Vladimir Ivanovich Morkov

(The cited portrait, made in 1839, belongs to the brush of the outstanding Russian artist Vasily Andreevich Tropinin (1776-1857), who was a serf in the large noble family of the Carrots, it is stored in the State Russian Museum of St. Petersburg. In 2007, “Portrait of V. I. Morkov” published in the third volume of the series "The Russian Museum presents. Painting of the first half of the 19th century. Almanac "(Issue 193). V. A. Tropinin addressed the image of the guitarist more than once. One of the variants of such an image, dated 1823 and stored in the State Tretyakov Gallery , in the colorful colors of the original is on the cover of the book.) He owns arrangements of many pieces of musical classics, intended for one and two guitars. He also published the “School for the Seven-String Guitar”, and in 1861 wrote Twenty-four Preludes for the guitar in all major and minor keys (In addition to playing the guitar, V. I. Morkov was also a music critic, author of various articles and reviews in the capital’s newspapers and magazines, he created monographic works on music, including the book “A Historical Sketch of Russian Opera from Its Very Beginning to 1862”, published in St. Petersburg in 1862, which attracted the attention of the musical community of that time. an article about it was written by a prominent Russian critic A. N. Serov.Meanwhile, music was not the profession of V. I. Morkov - he had the high rank of a real state councilor, his main place of service was the Department of Military Records.).
One of the most prominent figures in the development of Russian guitar playing was Mikhail Timofeevich Vysotsky (1791-1837).

Mikhail Timofeevich Vysotsky

The first to introduce him to this instrument was S. N. Aksenov, who was also his mentor.
The performing style of M. T. Vysotsky was marked by a bold flight of creative imagination in varying folk song melodies, outstanding technical skill, and extraordinary expressiveness of musical pronunciation. “His playing was distinguished by its strength and classical evenness of tone; with extraordinary speed and courage, she exuded at the same time tender sincerity and melodiousness. He played completely freely, without the slightest effort; it was as if there were no difficulties for him, [...] he struck with the originality of his melodious legato and the luxury of arpeggios, in which he combined the power of the harp with the melodiousness of the violin; a special original style of composition affected his playing; his playing fascinated, captivated the listener and left an indelible impression forever [...] Vysotsky had another kind of playing that surprised his contemporaries: he himself called it "probes" or "chords". Actually it was a free prelude. He could prelude in the most luxurious passages, modulations, with an infinite wealth of chords, and in this respect he was tireless,” V. A. Rusanov wrote about him.
M. T. Vysotsky created many arrangements and transcriptions of works by classical composers, in particular, works by W. A. Mozart, L. Beethoven, D. Field, wrote many miniatures for the guitar - preludes, fantasies, pieces in dance genres. The most valuable part of his composer's heritage was the variations on the themes of Russian folk songs, which will be discussed further.
The musician was a representative of the improvisational-auditory manner of performance, and in this he is close to traditional Russian folk music-making. The highly artistic variations on the themes of Russian folk songs, which are often performed today, were not recorded by him himself and only later were recorded in the musical text by his students (V. A. Rusanov also noted the unusual improvisational art of the guitarist: “Once, having come to A. I. Dubuc during the lesson and hearing Kramer's etudes performed by his student, Vysotsky was delighted and, grabbing a guitar, began to reproduce and vary these etudes so that A. I. Dubuc was amazed. He advised Vysotsky to write down this fantasy and himself accepted into active participation in this).
The pedagogical method of M. T. Vysotsky was also corresponding, which consisted in transferring the skills of playing the instrument exclusively “from the hands” and “from the fingers” of the teacher, based on the auditory impressions of the students. Nevertheless, his pedagogical work was very fruitful. The inspirational manner of the guitarist's performing style created a truly creative atmosphere in the lessons, inspired students and was greatly appreciated by those who happened to study with him (Vysotsky recorded his teaching experience shortly before his death in the "Practical and Theoretical School for the Guitar", published in Moscow in 1836, however, neither in terms of the importance of methodological recommendations, nor in terms of the volume and consistency of the presented repertoire (at school there are only 24 pages), she did not play a big role in the development of Russian guitar performance.). Guitar lessons were taken from him, in particular, by the sixteen-year-old poet M. Yu. Lermontov, who dedicated the poem “Sounds” to his teacher.
The guitarist actively cultivated in his students a love for Russian folk songs. It is no coincidence that among his students was Mikhail Aleksandrovich Stakhovich (1819-1858), a well-known Russian folklorist, author of folk song collections with guitar accompaniment, poet and writer, who also wrote the first published book on the origin of Russian guitar performance - “An Essay on the History of the Seven-String Guitar "(St. Petersburg, 1864). Ivan Egorovich Lyakhov (1813-1877), the author of a number of plays and arrangements, Alexander Alekseevich Vetrov, the creator of the collection “100 Russian Folk Songs”, plays and arrangements for the seven-string guitar, folk song variation cycles, were also students of M. T. Vysotsky. Many guitarists-leaders of gypsy choirs, such as I. O. Sokolov, F. I. Gubkin and others, also studied with M. T. Vysotsky.
From the second half of the 19th century, Russian guitar art, like the art of the gusel, began to decline. But if the psaltery began to disappear from everyday music-making, then the guitar, remaining an equally unchanged accompanying instrument in the field of urban song and romance, gypsy singing, gradually lost its importance in domestic society due to a decrease in the professional level of guitarists. During this period of time, such outstanding performers and teachers as Sikhra, Vysotsky or Aksenov did not appear, serious methodological manuals almost ceased to be published, and the self-instruction books published were mostly designed for the unpretentious needs of lovers of everyday music making and contained only popular samples of romances, songs, dances, often of low quality (In this regard, it is interesting to cite the observation of A. S. Famintsyn: “Having become an instrument of haberdashery among the lower strata of society, a sign of petty-bourgeois civilization, the guitar became vulgar, its sounds began to serve to accompany banal “sensitive” romances. The guitar playing itself, on this "servant" instrument, the subject of trade of tobacco shops, - became a sign of bad taste in society; the guitar completely disappeared from it").
A new surge of public interest in the guitar in Russia occurred at the end of the 19th - beginning of the 20th century. During these years, the activities of prominent guitarists, performers and teachers are widely known. Among them, first of all, I would like to name Alexander Petrovich Solovyov (1856-1911). The “School for the Seven-String Guitar” (1896) created and published by him became an important contribution to the development of teaching methods for playing the instrument (In 1964, the school of A.P. Solovyov was republished (under the editorship of R.F. Meleshko) by the Muzyka publishing house.) . The first part of the manual includes extensive theoretical material; divided into twenty-five lessons, it is presented in a very professional and at the same time accessible way. The further parts of the school contain valuable technical exercises and repertoire - transcriptions of works of Russian and Western European classics, folk song arrangements.

Alexander Petrovich Solovyov

In addition, A.P. Solovyov made a huge number of arrangements for the guitar, which significantly expanded the audience's understanding of the artistic means of the instrument. Suffice it to mention the Second and Sixth Hungarian Rhapsodies by F. Liszt, "Dance of Death" by C. Saint-Saens, the works of L. Beethoven, F. Chopin, F. Mendelssohn. He also published four albums containing forty arrangements of Ukrainian folk songs, collections of gypsy romances for voice and guitar, pieces for duet, trio and guitar quartet, wrote more than three hundred compositions, of which eighty-five have been published.
Among the famous students of A.P. Solovyov, Vasily Mikhailovich Yuriev (1881-1962), Viktor Georgievich Uspensky (1879-1934), Vladimir Nilovich Berezkin (1881-1945), Mikhail Fedorovich Ivanov (1889-1953), Sergey Alexandrovich Kurlaev ( 1885-1962).
But Solovyov's brightest student was Valerian Alekseevich Gusanov (1866-1918). He was an unusually versatile personality: a teacher, author of musical compositions, and most importantly, a prominent historiographer and propagandist of the guitar (It is noteworthy that V. A. Rusanov also gained fame as the head of the Moscow Society of Folk Instruments Playing Lovers, within which he organized a folk - an instrumental orchestra, the composition is clearly different from that cultivated by V. V. Andreev and his associates, which will be discussed later. In this instrumental composition, balalaikas coexisted with mandolins, guitars and piano.).
It was V. A. Rusanov who managed to rally Russian guitarists by organizing the publication of the all-Russian magazine "Guitarist", which existed from 1904 to 1906. Them
many articles were written in the magazines Music of the Guitarist, Accord, informative detailed essays were published - Guitar and Guitarists, Catechism of the Guitar and a number of others. A particularly significant publication was his book "Guitar in Russia", where for the first time in Russian literature a very detailed history of the instrument is presented.

Valerian Alekseevich Rusanov

The pedagogical activity of V. A. Rusanov was also fruitful. For example, P. S. Agafoshin, who became the leader of domestic teachers and methodologists in the field of six-string guitar in the second half of the 1920s - 1930s, was his student.
Among the guitarists of the early 20th century, I would like to mention Vasily Petrovich Lebedev (1867-1907), the author of many different compositions and arrangements for seven- and six-string guitars, a brilliant performer. I would like to note that in 1898 V. V. Andreev invited him to work as a teacher of folk instruments and folk music in the Guards regiments of the St. Petersburg Military District.
Here V.P. Lebedev conducted the most diverse musical and educational work. He performed as a soloist on the seven-string guitar in concerts of the Great Russian Orchestra, loved its chamber and gentle sound (V.P. Lebedev's tour with the Great Russian Orchestra of V.V. Andreev at the World Exhibition of 1900 in Paris had a special success.). In 1904, he also published a methodological manual - "School for the seven-string guitar of the Russian and Spanish system" (the latter meant adding the lower string "P" to the classical six-string guitar).
Thus, the guitar art during the 19th and especially at the beginning of the 20th century played an equally important role in the musical and artistic education of the broad masses, as did the art of playing the domra or the balalaika. Therefore, being addressed to the general population of Russia, it was able to provide reliable steps in the movement towards the musical elite, and, consequently, acquired the most important qualities of a folk instrument in terms of its social status.

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:

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.
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 Manual" 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:

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.
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.
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.
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.

ADDITIONAL PRE-PROFESSIONAL GENERAL EDUCATIONAL PROGRAM IN THE FIELD OF MUSICAL ART "Folk Instruments" GUITAR. Subject area B.00. VARIANT PART B.03.UP.03.HISTORY OF PERFORMANCE ON THE CASSIAN GUITAR. Implementation period 1 year. The program contains all the necessary sections: an explanatory note, the content of the subject, curriculum, requirements for the level of training of students, forms and methods of control, assessment systems, methodological support of the educational process, a list of references.

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Municipal budgetary educational institution

additional education for children

Children's art school p.Novozavidovsky

ADDITIONAL PRE-PROFESSIONAL

GENERAL EDUCATIONAL PROGRAM IN THE REGION

MUSICAL ARTS

"Folk Instruments"

GUITAR

Subject area

W.00. VARIANT PART

B.03.UP.03. HISTORY OF PERFORMANCE ON CASSIAN GUITAR

On musical development in the system of additional education for children of children's music schools and music departments

children's art schools

Compiled by: Bensman Vera Igorevna,

Lecturer MBOU DOD DSHI

P.Novozavidovsky

P.Novozavidovsky 2014

Program approved Approved

Pedagogical Council ________________ Saperova I.G.

MBOU DOD DSHI Director of MBOU DOD DSHI

P. Novozavidovsky p. Novozavidovsky,

Minutes No. 2 dated October 30, 2014. Konakovsky district,

Tver region.

Compiled by: Teacher Bensman Vera Igorevna

Reviewer: Lecturer of the highest category Bensman L.I.

1. Explanatory note.

Characteristics of the subject, its place and role in the educational process;

The term for the implementation of the subject;

The amount of study time provided for by the curriculum for the implementation of -a subject;

Form of conducting classroom training;

Purpose and objectives of the subject;

The structure of the curriculum of the subject;

Teaching methods;

Description of the material and technical conditions for the implementation of the subject;

Information about the cost of study time;

Syllabus.

3. Requirements for the level of training of students.

4. Forms and methods of control, grading system:

Certification: goals, types, form, content; final examination;

Criteria for evaluation.

5.Methodological support of the educational process.

6. List of references.

EXPLANATORY NOTE

The guitar is one of the most popular musical instruments used in professional and amateur practice. A diverse guitar repertoire includes music of different styles and eras, including classical, popular, jazz.

The guitar is not only an accompanying and solo musical instrument, it is a whole world: performers, composers, arrangers, teachers, guitar masters, historiographers, collectors, enthusiasts, admirers, amateur guitarists... It is a worthy part of world culture, the study of which will be of interest to many.

The guitar was dedicated to music, paintings, songs, research, prose, teaching and artisan talent, historical works, and poetry. M.Yu. dedicated the admiring lines to her. Lermontov:

What sounds! I am still

Sweet sounds I.

I forget heaven, eternity, earth,

Himself...

Characteristics of the subject, its place and role in the educational process;

In children's art schools, in the process of teaching students of instrumental departments, insufficient attention is paid to the most important component of musical education, as the history of instrumental performance.

At the lessons of musical literature, the work of composers is studied, and the performers are only mentioned. Very little coverage is given to the topic of folk instruments and especially the guitar instrument. Extra-curricular activities conducted by teachers are diverse and partially compensate for this deficiency. But this is not enough.

Children's School of Art students should have a more voluminous and systematized knowledge in the field of the history of the development of the instrument and musical performance (of domestic and foreign schools).

The introduction of the subject into the curriculum of the general developmental educational programs of the Children's School of Art is relevant at the present stage, especially for pre-professional programs.

The subject involves highlighting the main stages in the development of the guitar instrument, reviewing the work of outstanding performers, composers, getting acquainted with musical works created for this instrument, listening to and viewing recordings of guitar performers, laureates and diploma winners of competitions (including children's, youth)

The subject "History of playing the classical guitar" is proposed to be included in the "Variable part" section of the additional pre-professional general developmental program in the field of musical art "Instrumental Art", "Folk Instruments", "Guitar". Also, the subject can be introduced into the curricula of general developmental programs implemented in a particular children's art school.

The author's program of the subject "History of Classical Guitar Performance" was developed on the basis of the Federal State Requirements for an additional pre-professional general educational program in the field of musical art. (2012) The program is part of the instrumental performance curriculum. "Folk Instruments" Guitar.

The following materials were used in the preparation of the program:

Educational and methodical complex "Istrian performance on folk instruments" Specialty 071301 "Folk art". Compiled by Zhdanova T.A., Professor of the Department of Orchestral Conducting and Folk Instruments of the Tyumen State Academy of Culture and Art and Social Technologies. Tyumen, 2011

Chupakhina T.I. "A course of lectures on the history of performance on folk instruments". Omsk, 2004

Charles Duckart School of the Guitar.

Deadline for the implementation of the subject:

The implementation period for this item is 1 year, (35 weeks)

With 5 (6) term of study - in the 5th grade.

At the 8th (9th) term of study - in the 8th grade.

The amount of study time provided by the curriculum:

The total labor intensity of the subject is 70 hours.

Of these: 35 hours - classroom lessons, 35 hours - independent work.

The number of hours for classroom studies is 1 hour per week.

The number of hours for independent work (extracurricular workload) - 1 hour per week.

The form of conducting classroom training.

Goals and objectives of the subject.

The subject "History of classical guitar performance" is an integral part of the preparation of a graduate of the Children's Art School in the guitar class. Guitar art is a part of world artistic culture. It can be traced from ancient times to the present day and is organically connected with the performing and repertory instrumental culture. It becomes clear how wide range of issues includes the study of the history of performance.

The purpose of this subject is to show the historical conditionality and sequence of development of the art of performing, to comprehend the process of development and formation of the guitar instrument; to study the historical patterns of formation and the main features of the repertoire, the features of the performing arts on the guitar.
The purpose of the subject is also to ensure the development of creative abilities and individuality of students, sustainable interest in independent activities in the field of musical art.
To instill in students the need to know, study, listen and analyze.
Achieving a level of education that allows the graduate to independently navigate the world musical culture;

Subject objectives:

One of the main tasks of studying this subject is to encourage students to understand the issues of history and theory of development of the instrument they are learning to play;
the acquisition of knowledge in the field of the history of musical culture, the expansion of the artistic horizons of students, as well as the development of their ability to navigate various aspects of guitar art, musical styles and directions.
Equipping with a system of knowledge, skills and methods of musical activity, which in its totality provides a basis for further independent communication with music, musical self-education and self-education.
formation of conscious motivation among the best graduates to continue their professional education and prepare them for entrance exams to a professional educational institution.

Structures of the curriculum of the subject.

The problems covered in this program are considered in the context of the development of guitar art, taking into account the principle of historicism and chronological periodization.

The program includes the following sections:

Information about the cost of study time;

Syllabus;

Requirements for the level of training of students;

Forms and methods of control, grading system, final certification;

Methodological support of the educational process;

In accordance with these directions, the main section of the program "Subject content" is being built.

Teaching methods.

To achieve the set goal and implement the objectives of the subject, the following teaching methods are used:

Verbal: lecture, story, conversation.

Visual: showing, illustrating, listening to the material.

Practical: Working with audio and video materials. Writing reports, abstracts. Preparing presentations.

Emotional: artistic impressions.

Description of the material and technical conditions for the implementation of the subject.

Ensuring the teaching of this subject: the presence of an audience that meets sanitary standards and fire safety requirements. Computer or laptop, TV, music center, multimedia projector + demo screen - desirable. Photo, audio, video materials with the active involvement of Internet resources.

The library fund is completed with printed, electronic publications, educational and methodical literature

Each student is provided with access to library funds and funds of audio and video recordings. During independent work, students use the Internet to collect additional material on the study of the proposed topics.

Information about the cost of study time;

Table 1

table 2

"Guitar" The term of study is 5(6) years.
Variable part
Item name	1 class	2 cells	3 cells	4 cells	5 cells	6 cells
History of classical guitar playing

Intermediate certification

Table 3

Table 4

"Guitar" The term of study is 8(9) years.
Variable part
Item name	1 class	2 cells	3 cells	4 cells	5 cells	6 cells	7 cells	8 cells	9 cells
History of musical performance

Number of weeks of classroom studies
Intermediate certification

SYLLABUS

NAME OF TOPICS	classroom	Independent work
From the history of guitar art. Origin and development.
The origin of the guitar. Five distinct periods in its history: formation, stagnation, revival, decline, flourishing.	1 hour	1 hour
Instruments forerunners of the guitar. Guitar and lute. Guitar in Spain (XIII century) The period of the revival of the guitar is associated with the Italian composer, performer, teacher Mauro Giuliani (born in 1781).
Fernando Sor (1778-1839) was a famous Spanish guitarist and composer. He was one of the first to discover polyphonic possibilities in the guitar. Works by F. Sor for guitar. His Treatise on the Guitar. Aguado Dionisio (1784 - 1849) - an outstanding Spanish performer - virtuoso, composer. A native of Madrid. It was a huge success in Paris.
Carulli Fernando (1770 - 1841) - a famous teacher, author of the "School of Playing the Guitar", a composer who composed about four hundred works, an Italian virtuoso guitarist.Giuliani Mauro (1781 - 1829) - an outstanding Italian guitarist - performer, composer, teacher. I. Fortea??????? ??
Matteo Carcassi (1781–1829) - the most important Italian guitarist-performer, author of the School of Guitar Playing,composer. Regondi Giulio (1822 - 1872) - famous Italian guitarist - virtuoso, composer.
Tarrega Francisco Eixea (1852 - 1909) - famous Spanish guitarist, founder of the modern guitar school Brilliant concert performer, composer, author of the most famous works for the guitar.

Legend of the 20th century - Andres Segovia(1893-1987), Tarrega's student and successor. The most famous guitarist of the 20th century.
Intermediate certification (1 quarter)
Flamenco guitar. Flamenco style.Paco de Lucia is a Spanish flamenco guitarist.
Guitar in Europe. famous performers.
Latin American guitarists. Brazilian composer E. Villa-Lobos (1887-1959). The compositions of Villa-Lobos are an integral part of the repertoire of modern guitarists. Cuban guitarists. A bright representative is Acosta. Anido Maria Luisa (born 1907) is an outstanding Argentine guitarist. Concert performer, composer, teacher. Hawaiian guitar and its features.
Seminar classes.
Intermediate certification (first half of the year)
Guitar in Russia. Russia in the 19th century and early 20th century.			3rd quarter
The emergence of the art of playing the seven-string guitar in Russia. Acquaintance with the guitar through the Italian guitarists Giuseppe Sarti, Carlo Conobbio, Pasquale Gagliani. Songs and romances of prominent composers of the 19th century (A.E. Varlamov, A.L. Gurilev, A.A. Alyabiev, .I. Dubuc., P.P. Bulakhov.)
The heyday of domestic professional art A.O. Sikhra (1773-1850) - the patriarch of the Russian seven-string guitar, a brilliant composer, a famous teacher who brought up a galaxy of highly talented guitarists. Andrei Sikhra and his music publishing house. Followers of A. Sikhra, his students: F. Zimmerman, V. Sarenko, V. Markov, S. Aksenov. Seven-string guitar and Russian song, cruel romance.
The first guitarist who played the six-string guitar was N.P. Markov (1810- ) techniques for playing the guitar. Competition in Brussels, organized by Markov in order to revive the fading interest in the guitar. M.D. Sokolovsky (1818-1883) famous concert performer, the only representative of the domestic guitar school of his time, who won European fame. His activities in the popularization of the guitar.
Isakov P. I. (1886 - 1958) - guitarist - concert player, accompanist, teacher, initiator of the creation of the Society of Leningrad Guitarists. Yashnev V.I. (1879 - 1962) - guitarist-teacher, composer, author (together with B.L. Volman) of the school of playing the six-string guitar. Agafoshin PS (1874 - 1950) - a talented guitarist, famous teacher, author of the best domestic "School" for a six-string guitar. Student V.A. Rusanov. . Meetings of Segovia and Agafoshin.
Ivanov - Kramskoy Alexander Mikhailovich (1912 - 1973) - the famous guitarist - concert player, composer, teacher. Honored Artist of the RSFSR. Pupil P.S. Agafoshina.N.A. Ivanova - Kramskaya
Famous guitarists of our time.
Russian guitar school. Creativity of Alexander Kuznetsov. Creativity V. Shirokogo, V. Derun. A. Frauchi, A. Zimakova. Guitarists: V.Kozlov, Alexander Chekhov, Nikita Koshkin, Vadim Kuznetsov, N.A.Komolyatov, A.Gitman, E.Filkshtein, A.Borodina.Vladimir Tervo…………Dervoed A. V., Matokhin S. N., Vinitsky A. E. , Reznik A.L.
Foreign guitarists of the classical direction.
Seminars
Final lesson 3rd quarter

International competitions. Russian competitions. Laureates, diplomats. Festivals.
Guitar in chamber ensembles. guitar orchestras.
Classical guitar in Tver and Tver region. A.M. Skvortsov, E.A. Baev; Instrumental duet "Musical Miniatures" - E. Baev - guitar, E. Muravyova - violin; "Art Duet" Natalya Gritsay, Elena Bondar.
Classical Jazz Guitar. Jazz guitar. Other directions in the field of guitar art. Country technique. Fincherstyle. Fusion. …….Performers of various directions.
How is the guitar built? Leading guitar makers. Guitar upgrade. How many strings does a guitar have? Narciso Yepes and his ten-string guitar. New in the art of classical guitar performance.
Seminar-consultation.
final examination
TOTAL AT THE RATE TOTAL

3. Requirements for the level of training of students.

The level of training of students is the result of mastering the program of the subject "History of classical guitar performance", which involves the formation of the following knowledge, skills, such as:

* the student's interest in the history of musical performance;

* ability to navigate in various aspects of guitar art, musical styles and directions;

* a well-formed complex of knowledge, skills and abilities that allow assessing, characterizing the listened work, the style and manner of the performer;

* knowledge that allows you to independently use Internet resources.

*the graduate should know the main topics of the course

4. Forms and methods of control, evaluation system.

Certification: goals, types, form, content;

Criteria for evaluation;

The control of knowledge, skills and abilities of students provides operational management of the educational process and performs training, testing, educational and corrective functions. Various forms of monitoring the progress of students make it possible to objectively assess the success and quality of the educational process. The main types of control of progress in the subject

"History of classical guitar performance" are: current control, intermediate certification. Final examination.

Current attestationis carried out in order to control the quality of mastering the section of educational material and is aimed at identifying attitudes to the subject, at the responsible organization of homework and is stimulating. The current certification is carried out in the form of a survey, a conversation on a topic prepared by students, and a discussion of listened performances. Possible current control tasks in the form of tests, as well as music quizzes.

Classes on the "History of instrumental performance" are held in the form of a lecture by a teacher, conversations with students on a topic prepared by them, a survey of students;

A large place in the work is given to musical illustrations, listening, as well as viewing relevant materials. It is recommended to conduct seminars on topics chosen by the teacher or students. Possible current control tasks in the form of tests, as well as music quizzes. Based on the results of the current control, quarterly estimates are derived.

Intermediate certification(offered at the end of the first and second semesters) determines the success of the development of students and the degree to which they master the learning tasks at this stage. Forms of intermediate certification: control lessons, tests, reports, abstracts, presentations.

final examination

When passing the final certification, the graduate must demonstrate knowledge, skills and abilities in accordance with the program requirements. The forms and content of the final assessment for the subject "History of Classical Guitar Performance" are established by the organization independently (at the suggestion of the teacher). Recommended forms: a test with an assessment or an examination in writing or orally in the form of an answer to pre-prepared questions.

For the certification of students, funds of evaluation tools are created, which include control methods that allow you to evaluate the acquired knowledge, skills and abilities.

Criteria for evaluation

5 ("excellent");

4 ("good");

3 ("satisfactory").

Evaluation - "unsatisfactory" in this subject is undesirable, because regardless of the level of development of students, the teacher has the opportunity to find an individual approach to each student and maximize his creative abilities.

5. Methodological support of the educational process

This subject is taught by a guitar teacher.

Of course, we cannot hear the recordings of the great performers of the past. The 20th century gives us this opportunity. We can talk about the traditions and continuity of the performance of music from different eras through students and followers. (For example: F. Tarrega, Segovia, A.M. Ivanov-Kramskoy, A. Frauchi……….).

The forms of conducting lessons are varied, but with the obligatory inclusion in the work of the whole group. Joint listening and viewing of recordings, creative assignments - reports, abstracts, impressions of listening to recordings in class and independently. The presentation of the material includes: a lecture by the teacher himself with listening and viewing audio and video materials; performance of specific homework within the framework of the studied material by all students with subsequent discussions. A large place in the work is given to musical illustrations, listening, as well as viewing relevant materials.It is important for a teacher to accurately select a variety of musical material for listening and set specific tasks in order to: teach concentration of attention, activate hearing, thinking, make people pay attention to details, the performing style and the embodiment of the composer's intention by the performer. This will develop the students' own taste and make them more consciously approach the performance of works.

Tests are recommended to be carried out in the form of seminars, reports, abstracts, short references that students can complete on their own using Internet resources. And as homework, students can listen to the work in different performances and make a comparative analysis of what they heard, i.e. complete a creative task.

Also, a creative form of work in this direction is joint trips (if possible) of students with teachers, parents to instrumental music concerts, followed by discussion in the classroom. (In our school, such events are organized regularly due to the convenient location of the village to the concert organizations of Tver, Klin, Moscow. Also, performers from Tver come to us)

A great place is occupied by the preparation of the teacher and students for classes. It is a laborious and creative process. You have to work a lot with text materials, audio, video, Internet resources. It is necessary to encourage students to work daily for at least an hour. With regular independentclasses, there will be an increasing interest not only in this subject, but also the need for independent painstaking work in the specialty guitar.

Averin V.A. The history of performance on Russian folk instruments. Krasnoyarsk, 2002
Agafoshin P.S. New about the guitar. M.,
Bendersky L. Pages of the history of performance on folk instruments. Sverdlovsk, 1983.
Weisbord C. Andres Segovia. M., Music, 1980.
Weisbord M. Andrea Segovia and the Guitar Art of the 20th Century: Essay on Life and Work. - M.: Sov. composer, 1989. - 208 e.: ill.
Weisbord M. Andrea Segovia. - M.: Music, 1981. - 126s. from ill.
Weisbord M.A. Andres Segovia and the Guitar Art of the 20th Century: Essays on Life and Work. M., 1989
Weissboard. Andrei Segovia and guitar art of the 20th century. -M., Soviet composer, 1989.
Vasilenko S. Pages of memories., M., L., 1948.
Vasiliev Yu., Shirokov A. Stories about Russian folk instruments. M., Soviet composer, 1976.
Vertkov K. Russian folk instruments. L., Music, 1975.
Vertkov K., Blagodatov G., Yarovitskaya E. Atlas of Musical Instruments of the USSR. M., 1975.
Vidal R.Zh. Notes on the guitar / Per. from fr. L. Berekashvili. - M.: Music, 1990.-32s.
Wolman BL.. Guitar. M., Music, 1972.
Wolman B. Guitar in Russia. L., Muzgiz, 1980.
Wolman B. Guitar. 2nd edition. M., 1980.
Volman B.L. Guitar in Russia. L., 1961.
Volman B.L. Guitar and guitarists. Essay on the history of the six-string guitar. - L .: Music, 1968.-188s.
Volman. B.L. Guitar in Russia. L., Muzgiz, 1961.
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Questions of methodology and theory of performance on folk instruments. Collection of articles, issue No. 2. Sverdlovsk, 1990.
Ghazaryan S. In the world of musical instruments. M., Education, 1985.
Gazaryan S. Story about the guitar. M., 1987.
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Guitar and Guitarists: Monthly Literary Magazine. - Grozny: M. Panchenkov, 1925; No. 11-12.
Guitar: Musical Almanac. - Issue. 1. M., 1986; Issue. 2., 1990.
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Dmitrievsky Yu., Kolesnik S., Manilov V. Guitar from blues to jazz-rock.
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Department of Culture of Kursk

MBOU DO "Children's School of Arts No. 2 named after. I.P. Grinev, Kursk

Methodical development.

Historical analysis of the development and formation of guitar art in Russia.

Prepared by: Sergeeva M.S.

Introduction

Everything that a person does not do today is accompanied by music - it accompanies us all our lives. The exceptional possibilities of the influence of music on a person, on his feelings and state of mind have been spoken about at all times. Introduction to musical art contributes to the education of moral and aesthetic feelings, the formation of views, beliefs and spiritual needs. Music is an important means of shaping the personal qualities of a person in his spiritual world. Introduction to the cultural musical heritage contributes to the assimilation of the valuable cultural experience of generations. Performing on musical instruments develops mental abilities somehow: musical memory, logical spatial thinking; the ability to compare, compare, analyze, synthesize and generalize. Musical art develops imagination, thinking, aesthetic feelings, moral qualities of character. Performing practice contributes to the development of a sense of artistry, self-confidence, inner freedom.

Among the legion of musical instruments of the past and present, the guitar occupies a special place. It courageously passed the centuries-old path of its development, survived ups and downs, and has now become one of the most popular instruments of our planet. The guitar is a romantic among musical instruments, poets read poetry to its accompaniment, her voice seems to be inextricably and harmoniously connected with them. World-famous singers sang to the guitar: Chaliapin, Kozlovsky, Obukhova, Shtokolov, but songs are far from everything, complex and serious music can be played on the guitar, which was brilliantly proven by foreign international-class guitarists - Maria Louise Anido, Ida Presti, Julian Brim and one of the outstanding musicians of the world, the greatest guitar master A. Segovia, as well as Russian performers A.I. Ivanov-Kramskoy, L. Andronov, L. Seletskaya.

In the hands of a master, the guitar is capable of conveying any movement of human emotions; in its sounds one can hear either a gentle flute, or the velvety voice of a cello, or a mandolin tremolo. The role of the guitar is varied. It is also a unique solo instrument – the arrangements of works by Bach, Haydn, Mozart, Albeniz, Granados sound excellent on the guitar. For five hundred years, its own extensive literature has been written.

The constant evolution of music is associated with the progress of performing technique, and each era corresponds to a certain level of its development. In their upward movement, the new methods preserve or destroy the principles hitherto. Each leap in the history of the development of the guitar enriched the technique with new discoveries that expanded its capabilities. Each outstanding master of the era left traces of his talent, and time took care of the selection of techniques leading to perfection.

The foundations of the art of playing four- and five-string guitars were laid by Spanish, Italian and French musicians.XVI – XVIIcenturies - Fuenllana, Mudarra, Valdebarrano, Amat and Sanz, Fosparini, Corbetta and Ronnally, de Vize. Finally, F. Tarrega, who comprehended the artistic and technical tasks of his time, threw a grain into the field of his romantic creativity, which was destined to bear fruit in the modern era.

Guitar in Russia.

The appearance of the guitar in Russia refers approximately to the middleXVIIcentury. It was brought in by touring Italian and French artists. The spread of the guitar in the highest circles of Russian society was facilitated not only by guitarists, but also by singers who use it as a portable accompanying instrument.

At the endXVIII – XIXcenturies not only aristocrats were fond of playing the guitar. It was also played by professional musicians I.E. Khandoshkin (1747 - 1804), A.D. Zhilin (1766 - 1849). It should be noted that along with the six-string guitar, the seven-string guitar begins to exist in Russia, and with the introduction of tuning on itG- dur, it gains a dominant position, gets the name "Russian guitar" and with its approval, the guitar art in Russia begins to develop in ways other than in the West.

One of the founders of the Russian school of playing the seven-string guitar is Andrey Osipovich Sikhra (1773-1850) - a virtuoso guitarist, a talented composer. He and his students were able to make the transition in the guitar from the European tradition to the Russian national language and folk song.

In his youth, he gave concerts as a harpist, played the six-string guitar. In 1801, the musician moved to Moscow, where he began to create a repertoire for the seven-string guitar and study with his first students. Sychra was not only a talented, but also a highly educated musician. He was highly valued by M. Glinka, A. Dargomyzhsky, A. Varlamov, A. Dubuk, D. Field and many other figures of Russian culture. Of his students, the most famous are S. Aksenov, N. Alexandrov, V. Morkov, V. Sarenko, V. Svintsov.

Having made the practice of playing the harp the basis of his guitar pedagogy, Sichra did not make too great demands on the guitar in terms of melodious tone. In this regard, and in the accuracy of the reproduction of music, his direction can be called "academic". Sichra wrote many pieces for the guitar, in 1802 he began to publish in Moscow "Journal pour la quitare a sept cordes" ("Journal for the seven-string guitar").

The result of Sykhra's fifty years of teaching experience was the Theoretical and Practical School for the Seven-String Guitar, dedicated to his student V. I. Morkov.

A closer acquaintance with the School is very disappointing, since it does not reveal the positive aspects of his pedagogical method. He was an excellent teacher - practitioner, but a poor methodologist, because despite a number of reprints, the School did not receive wide recognition.

The school consists of three parts. The first - "On the rules of music in general" is not much different from the methodological manuals common at that time. The second, most valuable part deals with scales and chords, indicating the correct fingering and considering special cases. The third part contains the plays of the students of Sichra, which are offered for study.

The main disadvantage of the School is the lack of a sequence of acquiring the skills to play the instrument. The school was primarily focused on the teacher, without proper guidance to the beginner, it was almost useless. Little attention is paid at the School to the development of technical skills. The attached artistic repertoire could be included in any other collection with no less success.

Another major promoter of the guitar is the Czech guitarist and composer Ignatius von Geld, author of schools for the seven-string and six-string guitars published in 1812. The following testifies to the significance of Geld's activity for Russian guitarists and, in particular, his "School of playing the seven-string guitar". When in 1819 one of the most talented students of Sichra, S.N. Aksyonov, published the new guitar playing techniques he had found, one of such techniques was the extraction of artificial harmonics that had not been used in Russia until that time, he took the School as the basis of his leadership. Geld, and this would not have happened if the structure and methodology of Geld did not coincide with the methods used by Aksyonov and Sykhra.

It follows from this, it follows that Russian guitar began toXIXcentury was formed under the influence of Geld's methodological guidelines.

A whole era in guitar art is connected with the work of Mikhail Timofeevich Vysotsky (1791-1837), a self-taught guitarist who later became a virtuoso and composer.He completed the formation of the seven-string guitar as a Russian folk instrument, and as a frank challenge to the Western European tradition.And neither Sor nor Giuliani could lead Russian guitarists off the chosen path.

Vysotsky was fond of the classics, especially Bach, whose fugues he tried to translate for the guitar, which contributed to the seriousness and nobility of the style of his guitar compositions. He was the first Russian guitarist to use counterpoint. His creative heritage is very large - about a hundred plays. Among his works there is also a small (24 pages) "Practical and Theoretical School of Playing for the Guitar" (1836), which was published shortly before the death of the author, now of no value.

Vysotsky's skill is most clearly reflected in his song variations. The best old and contemporary songs were reflected in his interpretation in a way that cannot be found even in the work of his contemporaries, much stronger and more musically literate composers.

Here it is impossible not to mention N.P. Makarov (1810-1890), a famous Russian guitarist-concertist, who did a lot for the development of guitar art. Makarov became interested in the guitar at the age of 28. During his stay at the military academy in Warsaw, he learned to play the 6-string ("Spanish") guitar, and, practicing ten to twelve hours a day, he soon achieved significant technical success.

In 1852, Makarov traveled abroad, where he met with the largest guitarists in Europe: Tsani di Ferranti, M. Carcassi, N. Cost, J. K. Mertz, guitar master I. Scherzer.
In 1856, he tried to organize an All-Russian competition for guitarists, composers who write for the guitar, as well as craftsmen who make these instruments, but the initiative did not find wide support in Russia. Makarov managed to fulfill his intention only abroad, in Brussels, the capital of Belgium, where in 1856 the 1st International Competition for the best composition for guitar and the best instrument was held. Makarov himself performed at the competition with great success as a soloist.

Wrote several books about the guitar, in particular the pamphlet "A Few Rules for Higher Guitar Playing". In addition to the introductory article, in which the author expressed his attitude to the state of guitar art in the West and in Russia, it contained nine rules concerning guitar technique.

In them, Makarov dwelled on questions of fingering, the meaning of the right hand (use of the little finger), trill performance (four fingers on two strings), etc. Some of the considerations expressed by Makarov are still of interest to playing guitarists.

In the fortiesXIXcentury in Russia, as in Europe, a long period of decline in guitar art begins. Not only the activities of Makarov, but also concerts of more significant musicians - guitarists in the second half ofXIXcentury did not receive public outcry. Due to the relatively quiet sound, the scarcity of the repertoire - after all, none of the major Russian composers has composed a single piece for the guitar, although this instrument enjoyed the sympathy of Glinka and Tchaikovsky. The guitar was declared unsuitable for use in concert halls. Guitar pedagogy is also not up to the mark. It is interesting to note that one of the most serious attempts to raise the level of learning to play the guitar takes place in Kursk. There, at the music classes of the Russian Musical Society, it opens with the sanction of A.G. Rubinshtein seven-string guitar class. The classes were conducted, and free of charge, by a teacher of German, an amateur guitarist Yu.M. Stockmann. But soon, due to the lack of interest among the students, the guitar class ceased to exist. Otherwise, the teaching of guitar playing was in the hands of private traders, often completely illiterate in music. This is reflected in the self-instruction books of that time, which were produced in large numbers and were purely commercial in nature. They used a surrogate for musical learning - playing on a digital system. The application was illiterate transcriptions of the most popular and rather vulgar motives. Two schools differ significantly from them - "School - a self-instruction manual for a six-string guitar" by I.F. Dekker-Schenk (1825-1899) and "School for the seven-string guitar" by A.P. Solovyov (1856-1911). Solovyov's school is the best teaching aid of that time.

Solovyov's students were Valerian Rusanov (1866-1918), a guitar historiographer who published a series of historical essays entitled "Guitar and Guitarists", and who began publishing the magazine "Guitarist" in 1901, which, although with long interruptions, continues to be published to this day. Unfortunately, Rusanov was prejudiced against the six-string guitar, belittling its dignity, but still his activity did not go unnoticed. For that difficult time, he did a lot in promoting the need for guitarists to be musically literate, to take the instrument and the pieces of music performed on it seriously. A new flowering of the art of playing the guitar is associated with the October Revolution. True, in the first years after it, the guitar as a solo instrument did not attract much attention, training on it in musical educational institutions did not occur due to the "frivolity" of the instrument, and the activities of the largest guitarists proceeded unorganized and mainly in remote places. The most popular at that time was the seven-string guitar. But nevertheless, guitarists who were carried away by the six-string guitar and its literature in the pre-revolutionary years began to give preference to this particular instrument. In particular, this was facilitated by the tour of Segovia in 1926, 1927, 1935 and 1936. The repertoire performed by Segovia, his playing techniques and style of performance proved to be decisive in the development of guitar art in the USSR. Under the strongest influence of this master were many Soviet teachers - guitarists of that time, who laid the foundation for the Soviet school of classical guitar.

and P.S. Agafoshin (1874-1950), a remarkable Russian guitarist, one of the first teachers of the six-string guitar. Initially playing the seven-string guitar, Petr Agafoshin improved his playing on his favorite instrument on his own, only after moving to Moscow did he occasionally use the advice of teachers, among whom was V. Rusanov. Participated as a performer in many concerts. Accompanied outstanding singers F. Chaliapin, D. Smirnov, T. Ruffo. The recognition of Agafoshin's performing art was an invitation to participate in Massenet's opera Don Quixote at the Bolshoi Theater in 1916.

Acquaintance with Solovyov prompts him to take a closer look at the six-string guitar and try to study it on his own. Guided by the Carcassi school, he quickly mastered the six-string guitar, and after meeting Segovia, he completely abandoned the seven-string.

The meeting in 1926 with Segovia inspired Agafoshin. He did not miss a single concert of the Spanish artist, personally met with him. “After the departure of Segovia,” wrote Agafoshin, “I immediately rebuilt, made the necessary adjustments to my production, to the methods of the game. By his next arrival in the spring of 1927, my condition was more balanced, since by this time I myself was already something Therefore, my further observations of his playing were much more productive, I could focus them on individual moments and details of his performance, especially those pieces that were in the process of my study.

A year of intense study yielded tangible results. In 1927, Agafoshin again played Segovia. This happened in the studio of the artist P.P. Konchalovsky. Recalling this meeting, Konchalovsky wrote that Segovia called Agafoshin "the best Moscow guitarist."

P.S. Agafoshin worked as an orchestra performer at the State Maly Theater for more than 40 years. In 1930-1950 he taught a guitar course at the Musical College. October Revolution and the Moscow State Conservatory. Many famous Soviet guitarists were his students (A. Ivanov-Kramskoy, I. Kuznetsov, E. Makeeva, Yu. Mikheev, A. Kabanikhin, A. Lobikov and others).

P.S. Agafoshin owns the book "New about the guitar", published in 1928, written under the fresh impression of communicating with the art of the outstanding A. Segovia, and the famous "School of Playing the Six-String Guitar", which was based on the seminars of A. Segovia.

1. A student in the course of his training in the "School" must go through the main stages that the guitar itself went through in its historical development. That is, he must familiarize himself with the techniques and with the works of guitarists of various styles and eras.

2. The student must learn to play the guitar in practice, that is, by acquiring the necessary knowledge and playing skills not on dry training material such as exercises and etudes, but on skillfully selected highly artistic material that educates taste and brings, along with practical and technical skills, also aesthetic satisfaction.

3. The main reason for the existence of the guitar, according to the author, lies in the lyricism, sincerity, purity and beauty of the sounds it produces. The guitar is alien to any forcing of sound, bravura.

These vital and pedagogical principles determine the selection made by the author of the material intended for the "School" and the corresponding performing approach to it.

Among the features of the "School" are also the development and systematization of the harmonic means of the guitar, conducting all studies on high artistic material, linking the theoretical part (basics of harmony) with the practical, showing the possibilities of the guitar as an accompanying instrument.

Agafoshin in 1930-1950 published more than ten collections of six-string guitar classics and six albums of his own transcriptions and compositions. For his contribution to the development of the culture of playing the six-string guitar, the training of professional guitarists, performers and teachers, he was awarded the Order of the Badge of Honor and two medals.

At the same time, the guitar began to be taught in music schools and technical schools. The achievements of Soviet guitar pedagogy of that time were also reflected in the published guitar literature. Guitar pieces began to be composed by professional composers. The composer, Academician B.V. Asafiev (1884-1949).

Of the Soviet guitarists in the postwar years, A. M. Ivanov-Kramskoy (1912–1973), an outstanding Russian Soviet guitarist, composer, conductor, teacher, one of the few Soviet guitarists who were awarded the title of Honored Artist of the RSFSR (1959) achieved the greatest creative success. ). He studied at the Music College named after the October Revolution under P. S. Agafoshin, then at the Moscow Conservatory. He played a huge role in the development of the six-string guitar in Russia. He performed as a soloist and in an ensemble with singers (N.A. Obukhova, I.S. Kozlovsky). Since 1932 he worked at the All-Union Radio. In 1939 he received the 2nd prize at the All-Union Competition for Performers on Folk Instruments. In 1939–45 conductor of the Song and Dance Ensemble of the NKVD of the USSR. In 1947-52, conductor of the Russian Folk Choir and the Orchestra of Folk Instruments of the All-Union Radio.

Ivanov-Kramskoy's guitar compositions (including two concertos for guitar and orchestra) are very popular among guitarists.

"School of playing the six-string guitar" (1957) A.M. Ivanov-Kramskoy consists of two parts. The first part is “Musical and theoretical information and practical development of the instrument”. It has four sections, including brief information on the history of the guitar and music theory, as well as exercises necessary to master the instrument. The complexity of musical-theoretical concepts and exercises gradually increases from section to section. The second part is "Repertoire Application". This includes popular works by Soviet, Russian and foreign composers, arrangements of folk music, etudes in an accessible presentation for students.

The pedagogical activity of A. M. Ivanov-Kramskoy proceeded at the Academic Music School at the Moscow Conservatory, where from 1960 to 1973 he headed the guitar class, having trained many talented musicians. However, teaching was carried out at the level of circle work at clubs. This is explained by the fact that, on the instructions of I.V. Stalin, it was forbidden to teach the accordion, guitar and saxophone in musical educational institutions, as pro-Western, bourgeois instruments. Only after the death of the "leader of the peoples", under pressure from the public, classical guitar classes were opened in the capital and Leningrad, though without wide publicity. It happened in 1960. In Moscow, a seven-string guitar class was opened at the State Musical and Pedagogical School named after. Gnesins (teachers L. Menro and E. Rusanov) and six-string - at the school at the conservatory (teacher A. Ivanov-Kramskoy).

Alexander Mikhailovich Ivanov-Kramskoy was a prominent musical and public figure who devoted all his energies to the promotion of guitar art. After many years of neglect, thanks to an outstanding performer and teacher, the guitar regained the status of a professional concert instrument and began to be taught in secondary and higher musical institutions of the country. In memory of the musician, Moscow festivals of guitar music named after A.M. Ivanov-Kramskoy.

The successor of the traditions of the seven-string guitar was Sergei Dmitrievich Orekhov (1935-1998), one of the best Russian guitarists, a seven-string player (fluent with a six-string guitar, but not publicly speaking on it). He combined the genius gift of an improviser, performer and composer. He did a lot to create the Russian national guitar repertoire. Author of numerous arrangements for the guitar of Russian folk songs and romances. At first, he began to study the guitar on his own, and then to take private lessons from the guitarist V.M. Kuznetsov (1987-1953), who once wrote the book "Analysis of the tuning of a six- and seven-string guitar" (M., 1935), and from whom many Moscow guitarists studied. After serving in the army, he entered the performer of gypsy romances and songs Raisa Zhemchuzhnaya. After that, he performed with his wife, a performer of old romances, gypsy songs and romances, Nadezhda Tishininova. For some time he worked together with Alexei Perfilyev in a gypsy jazz ensemble with violinist and singer Nikolai Erdenko, and then organized his own guitar duet with A. Perfilyev (6-string guitar). He also wrote many arrangements for the six-string guitar (in particular, the romances "Don't Awaken Memories", "Weeping Willows Doze" and "Chrysanthemums"). Given the growing popularity of the six-string guitar, I planned to transfer the entire main Russian repertoire of the seven-string guitar to it.

All his life, Sergei Orekhov remained faithful to the Russian guitar and was very worried that she began to lose her position in Russia: “I never thought,” he said, “that the six-string guitar would conquer Russia. The seven-string guitar is so folk; this is a military, literary guitar ... Take whatever layers of society you like: the seven-string guitar is a native instrument with which a Russian person is associated."

Orekhov's path is continued by the Moscow guitarist Anastasia Bardina, whose repertoire perfectly coexists with the works of Sykhra and Vysotsky, with the works of Tarrega, Albeniz, Granados. The uniqueness of her work lies in the fact that she equally professionally owns both a six-string and a seven-string guitar, as well as a GRAN guitar (this guitar will be discussed later). During the performance of works, Anastasia Bardina changes the tuning of the guitar from six to seven strings and vice versa. The styles of her works are very different: from classical, romantic to jazz. Unfortunately, today Bardina is the only outstanding performer on the seven-string guitar.

Trying to expand purely performing possibilities even more, musicians and guitar makers are also working on new design solutions. One of these developments is the domestic guitar - GRAN (developers Vladimir Ustinov and Anatoly Olshansky and stands for Russian Acoustic New Guitar), which combines 6 nylon strings and 6 metal strings, which are located at different levels. (by the way, this guitar has a patent for invention). The guitarist has the ability to produce sound on both nylon and metal strings, creating the feeling of playing two guitars. It's a shame that this guitar is known more in the West than in Russia. They are played by guitarists such as Paul McCartney, Carlos Santana and many others.

The successor of the traditions of the classical, six-string guitar after Ivanov-Kramskoy was his daughter N.A. Ivanova - Kramskaya. Brought up such a major performer as A.K. Frauchi is one of the best Russian classical guitarists - performers. Now he is an Honored Artist of Russia, a music teacher, a professor at the Russian Academy of Music (formerly the Gnessin Musical and Pedagogical Institute) in Moscow.

He studied at the Central Music School at the Conservatory. Tchaikovsky in Moscow in the class of N.A. Ivanova-Kramskoy and at the Conservatory. Mussorgsky in Sverdlovsk with G. Mineev. In 1979 he won the first prize at the national musical competition of performers in Leningrad, and in 1986 he won the first prize at the International Guitar Competition in Havana (Cuba). He has given solo concerts and conducted master classes in Germany, France, Belgium, Great Britain, USA, Austria, Italy, Yugoslavia, Poland, Cuba, Hungary, Czech Republic, Bulgaria, Turkey and Greece.
"Alexander Frauchi has made and is making an invaluable contribution to the development of Russian classical guitar. Many of the best Russian guitarists are students of Alexander Kamillovich. Frauchi is a great taste, a deep, beautiful tone, love for every phrase. In the famous English magazine "Classical guitar" he was named the Russian grandson of Segovia." [Eugene Finkelstein]

Separately, it is worth talking about the composers of the endXXcentury:

Segey Rudnev (born in 1955), guitarist-performer and composer, author of original pieces for guitar, which are performed by such famous guitarists as Nikita Koshkin, Vladimir Mikulka, Yuri Nugmanov. Known for his guitar arrangements of Russian folk songs.

Sergei Rudnev graduated from the Tula Musical College with a degree in button accordion and balalaika. He studied guitar on his own and took private lessons in Moscow with V. Slavsky and P. Panin. Using invitations to various festivals of guitar and jazz music, he focused on developing his own style of playing. By 1982, he had already established himself as a professional guitarist. Became a member of the world festival in Colmar (France). Then there was a period of tours in Poland, Hungary, Israel, Australia and Spain. He worked as an arranger and accompanist for Alexander Malinin. In 1991, after a performance in the Hall of Columns (Moscow), he received an offer to perform in America and publish his compositions for guitar there. In 1995 he taught a guitar class at the Tarragona Conservatory (Spain). Currently she is preparing a research paper on the topic "Russian style of playing the classical guitar". Two musical films about Sergei Rudnev have been prepared on Russian television. The concert programs include works by foreign and Russian composers. A disc in the author's performance of Russian folk music on classical guitar is being prepared for release.
Sergey Rudnev himself characterizes his work as follows: "... I want to create full-fledged compositions for the guitar based on popular folk songs, using folklore and classical development techniques. The process of breaking the traditional way of life in our time is already irreversible, therefore impossible, and perhaps not it is necessary to restore the traditional conditions for the existence of folk musical folklore.I strive to give new life to old melodies, to deeply and comprehensively comprehend the content of the play, to preserve the integrity of the artistic image.Seeing a lot in small things, a lake in a drop, these are my principles when working with folklore material.With this approach to the original source, the plot side of the poetic text and the genre features of the melody are important. At the same time, the most important task is to show the expressive possibilities of the guitar, the entire palette of guitar sound recording, using both folk performing techniques and the achievements of modern guitar technology ... "

Koshkin Nikita Arnoldovich, Russian composer and guitarist. Born in Moscow on February 28, 1956. I came to the classical guitar through a passion for rock music. In his school years, he began to study the guitar on his own, together with his friends he organized an ensemble at school. After two years of studying at a music school, he continued to study guitar and composition at the Music College. October revolution. His guitar teacher at that time was Georgy Ivanovich Yemanov. After graduating from college, he worked for three years at a music school, where he himself once began to study music. at the Musical Institute. Gnesinykh entered only on the second attempt in 1980 (class of Alexander Frauchi).

After the institute he returned to the school, but already as a teacher. Currently works at the Moscow State Classical Academy. Maimonides.

He composed his first piece as soon as he began to navigate the notes, since then, according to the musician himself, he no longer shared the composition and the guitar, and in his concept it was always interconnected. Nikita Koshkin seriously believed in his abilities as a composer after the first performance of his plays, Passacaglia and Toccata, by Vladimir Mikulka. After that, after reading a review about the debut, he realized that his music was finally appreciated and accepted. Prior to that, he played his pieces only by himself, and his relations with the rather conservative domestic guitar audience were initially difficult: most of the works were received with hostility, and the musician himself was ranked among the avant-garde. However, Koshkin himself did not consider himself as such and speaks about it as follows: “I did not deal with the avant-garde, I considered myself a continuer of traditions, turned towards the classics, and as for the innovation that I used, it was a natural process of using the techniques found on guitar in my pieces. The new colorful possibilities opened up for me more fully emphasized the figurative characteristics of music. In this regard, the suite "Prince's Toys" (1974) was written, which I have reworked several times over the past six years.

Suite "Prince's Toys" (The Prince is naughty - Clockwork monkey - Doll with closing eyes - Game of soldiers - Prince's Carriage - Finale: Big puppet dance) is very popular and is included in the repertoire of many eminent performers.

In addition to the guitar, Nikita Koshkin also writes music for other instruments. He has several pieces for piano, several romances for voice and piano, as well as music for guitar with other instruments: a grand sonata for flute with guitar, a trio for flute, violin and guitar; cycle of pieces for mezzo-soprano and guitar, compositions for duet and trio of guitars, for duet of guitars and double bass. Koshkin's works were performed by John Williams, the guitar duet of the Assad brothers, the Zagreb and Amsterdam guitar trios.

Nikita Koshkin has the title of one of the most published composers today. His works are of interest to fans of guitar music in many countries of the world. In parallel with composing and concert activities, the musician finds time for teaching. His unusual style of playing and new techniques in music consistently attract the attention of many listeners.

Viktor KOZLOV (b. 1958) He started composing music at the age of 12. The first significant opuses were written at the music school: a string quartet; trio for flute, viola and guitar; variations for piano, "Round dance and dance" for solo guitar. In the future, he prefers composing miniatures for solo guitar and trio guitars. Kozlov's humorous plays are popular: "Oriental Dance", "March of Soldiers", "Little Detective", "Hunter's Dance", "Kiskino Grief". Several compositions were written by the composer for guitar and orchestra: "Concertino", "Epic and Russian Dance", "Buffoonery", "Ballad for Elena the Beautiful", suite for solo guitar "Black Toreador". A special place in his work is occupied by numerous works for children. He released a collection of musical works for young guitarists "Little Secrets of Senorita Guitars / Children's Album of a Young Guitarist", which in 1999 was recognized by the Russian Guitar Center (Moscow) as the best in Russia. A number of Kozlov's works have been published in Russia, England, Germany, Italy, Poland and Finland. His works were included in their repertoire by guitarists N. Komoliatov (Moscow), V. Zhadko (Kiev), T. Volskaya (USA), A. Khorev (St. Petersburg), E. Gridyushko (Belarus), S. Dinnigan (England ), the duet "Capriccioso" (Germany), they are also performed by the Trio of Ural guitarists (V. Kozlov, Sh. Mukhatdinov, V. Kovba) and the instrumental duet "Concertino" (Yekaterinburg) and many others.

Alexander Vinnitsky (born 1950) guitarist, composer, music teacher. He teaches at the Music College. Gnessins classical guitar, performs solo concerts, writes music for the guitar, conducts seminars and master classes on the topic "Classical guitar in jazz". His achievement and contribution to the modern repertoire is the author's program, which consists of music in different jazz styles. He is serious about arranging the guitar. A feature of the game of Alexander Vinitsky was the use of "walking" bass and rhythmic structures throughout the entire composition simultaneously with melodic lines. The thumb served as a contrabass. The remaining fingers were, as it were, the musicians of the ensemble. In his playing he achieves constant pulsation and melodic lines. The music he played sounded like it was being played by a trio. This style is sometimes called "fingerstyle". To implement these ideas, a serious classical school, knowledge of the instrument and a solid "baggage" of jazz music were needed. Alexander began performing at jazz and classical guitar festivals with his new program (Petrozavodsk, Yekaterinburg, Donetsk, Kyiv, Voronezh, etc.). In 1991, the Melodiya company released his first solo album, Green Quiet Light, which included his compositions: Time Travel, Green Quiet Light, Waiting for News, Metamorphoses, as well as arrangements of melodies A.K. Jobim, L. Bonfa, plays by L. Almeida.

Not only those who are usually called "guitar composers" write for the guitar. Edison DENISOV (1929-1996), one of the greatest Russian composers of the 20th century, a musicologist and musical public figure, also managed to fully appreciate its merits. At the turn of the 1950s and 1960s, Denisov declared himself to be the undisputed leader of a movement that sought to embrace the achievements of Western contemporary music. The creative heritage of Denisov is very diverse in terms of genre.

In addition to vocal and instrumental compositions, Edison Denisov wrote for guitar: Sonata for flute and guitar, Sonata for guitar solo in 3 parts, "In Deo speravit cor meum" for violin, guitar and organ, Guitar Concerto, Concerto for flute and guitar. Some of these compositions were written specifically for the German guitarist Reinbert Ewers, who became their first performer.

Separately, it should be said about the composer Igor REKHIN, as a person who made the greatest contribution to the history and modernity of the guitar, both seven-string and Spanish (classical). He is the author of numerous works for the guitar, which have gained wide popularity in the country and abroad: two concertos for guitar and orchestra - for the seven-string and for the six-string; Sonatas for seven-string and six-string guitar; pieces for guitar, ensembles. The author of the "Album of a Young Guitarist" and the cycle "24 Preludes and Fugues for Solo Guitar", the first performer of this work was Vladimir Tervo, and at present Dmitry Illarionov plays it with success.

Having plunged into the world of guitar music for the first time, Igor Vladimirovich was struck by its originality, unlikeness to other spheres of musical culture.

He endured and brought to life the idea of creating a modern large-form repertoire. In close cooperation with Alexander Kamilovich Frauchi, a lecturer at the Gnessin Institute in Moscow and an excellent concert performer, he worked on the creation of the "Havana Concerto", which was released in 1983. The beauty of the architecture of Havana, the rich colors of nature, the harmonies and rhythms of Cuban songs and dances - this is the figurative and emotional basis of the concert, sustained in the classical three-part form. This Concert embodied Igor Rekhin's dream of creating a classical composition with bright themes and clear constructive logic.

The meeting with the "seven-stringers" - Menro, Bardina, Kim prompted Rekhin to write works for the seven-string guitar. He knew that she had almost no modern repertoire, but for him the "seven-string" was a living instrument for which it was worth writing music. In 1985 Bardina performed his Sonata for 7-string guitar. Also, Rekhin is working on a Concerto for "seven-strings" - this is the first concerto for this instrument in the history of music. His musical images are closely intertwined with the national traditions of Russia's domestic culture.

Among his compositions, in addition to concertos, a significant place is occupied by the work, the creation of which helped him to be listed in the Guinness Book of Records! This is a unique cycle "Twenty-Four Preludes and Fugues" for guitar. Rekhin wanted to create a cycle of preludes and fugues for the guitar, following the example of "HTK" by Bach, who had done it for the clavier in his time. The composer worked on the creation of this cycle for several years, and ... the task was done! The complexity of such a composition is that it was necessary to create works in the so-called "non-guitar" keys (convenient for the guitar - A, Re, Mi) and not only for the sake of theoretical positions, but based on playing and growing performers ...

Each of his Fugues is classical in exposition: the logic of tonal responses is strictly maintained. But each carries an unexpected, unusual, but most interesting musical language of the composer. For example, the use of syncopation in a cycle allows you to clearly identify guitar polyphony. Most fugues are 3- and 4-voice. When creating this work, Igor Rekhin thought of the guitar as a universal instrument that lacks equally universal music in different keys. These ideas were combined with the desire to display the means of expression of the most diverse areas of classical and modern music.

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Veshchitsky P. Tutorial for playing the six-string guitar. Chords and accompaniment. M., Soviet composer, 1989; M., Kifara, 2002

Funny music lessons at school and at home / Edited by Z.N. Bugaeva. - M .: Publishing house AST, 2002

Questions of musical pedagogy / Ed.-sost. V.A. Natanson, L.V. Roshchina. - M.: Music, 1984

Questions of Theory and Aesthetics of Music / Ed. M.G. Aranovsky, A.N. Sohora. - L .: Music, 1977

Vidal Robert J. Notes on the guitar offered by Andres Segovia / Per. from French, - M., Music, 1990

Voynov Lev, Derun Vitaly. Your friend is a guitar, Sverdlovsk, Middle Ural book publishing house, 1970

Wolman Boris. Guitar in Russia, Leningrad, Muzgiz, 1961

Wolman Boris. Guitar and guitarists, Leningrad, Music, 1968

Wolman Boris. Guitar, M., Muzyka, 1972, 62 p. ; 2nd ed.: M., Music, 1980

Gruber R.I. General history of music. [part one] M., State Musical Publishing House

Gazaryan S. Story about the guitar, M., Children's literature, 1987

Guitar. Musical Almanac, vol. 1, 1987 (Articles by A. Larichev, E. Kuznetsov and others)

Guitar from blues to jazz: Collection. Kyiv: "Musical Ukraine", 1995

Darkevich V.P. Folk culture of the Middle Ages. M., Science 1988

Dmitrieva L.G., Chernoivanenko N.M. Methods of musical education at school. - M.: Academy, 2000

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Ivanov-Kramskoy A. M. School of playing the six-string guitar

Ivanova-Kramskaya N.A. Dedicated his life to the guitar (memories of his father), M., Association "Teplomekh", 1995

Historical and biographical dictionary-reference book of classical guitar masters: In 2 volumes [Comp., ed. - Yablokov M.S.], Tyumen, Vector Buk, 2001-2002 [T.1, 2001; Vol. 2, 2002]

Six-string (Spanish) and seven-string (Russian) guitar

The guitar is one of the most beloved and popular instruments in many countries around the world. The history of guitar art is filled with rich events, creative searches, constant improvement of both the instrument itself and the technique of playing it.

The guitar took on its appearance, close to modern, only in the 18th century. Plucked instruments such as the lute, lyre, Greek cithara, Italian viola and Spanish vihuela are rightfully considered its predecessors.

Currently, there are several main varieties of guitar: classical six-string ("Spanish"), seven-string ("Russian"), as well as "Hawaiian", jazz guitar, electric guitar.

The birthplace of the most common six-string guitar in the world is Spain, the seven-string guitar is rightly considered Russia.

Among lovers of guitar art, discussions still do not stop: which of these instruments should be preferred? Supporters of the six-string guitar point to the great virtuosity of their instrument, to the really significant creative success achieved by composers and performers using it. Fans of the seven-string guitar also refer to the great achievements of musicians and the performance traditions that developed in the artistic culture of Russia in the 19th century, emphasizing the closeness of the instrument to the nature of Russian song, folk melos. They rightly note the fact that the development of the genre of the old Russian romance with its characteristic soft lyricism and sincerity, warmth of feelings, proximity to urban folklore is largely due to the seven-string guitar.

In our opinion, the answer to the questions posed is quite unambiguous: both the six-string guitar and the seven-string guitar have their own merits and traditions, each of these instruments can solve a variety of artistic tasks. The legitimacy of using one or another type of guitar can only depend on what means of expression the composer needs to embody the creative idea, what figurative content he wants to reveal with its help.

Guitar literature has a long history and traditions. Arrangements of works written for other instruments, as well as for its immediate predecessors, in particular for the lute, occupy a prominent place in the repertoire of guitarists.

The outstanding Spanish virtuoso guitarist and teacher Andres Torres Segovia (1893 - 1987), considered the founder of the modern academic school of playing the six-string guitar

Many violin compositions are successfully interpreted by guitarists. So, for example, Andres Segovia is an unsurpassed performer of J. S. Bach's most difficult Chaconne, one of the masterpieces of violin music.

But the most important thing: for the guitar there is a constantly growing original solo repertoire, consisting of concertos, sonatas, variations, pieces; it is actively used by composers as an ensemble and accompanying instrument.

An important role in the creation of the guitar repertoire belongs to Spanish composers: Fernando Sora (1778-1839), Francisco Tarrega Eixea (1852-1909), Miguel Llobet (1878-1938), Emilio Pujol Villarubi (b. 1886) and a number of others. They created talented works for the guitar, the style of which had a certain influence on the piano compositions of C. Debussy, M. Ravel. Remarkable works for the guitar were written by N. Paganini, F. Schubert, K. M. Weber, G. Berlioz; in our century - M. de Falley, A. Roussel, D. Millau, A. Jolivet, E. Vila Lobos, X. Rodrigo.

A number of significant works for the guitar were written by Soviet composers. Among them I would like to name Concerto for guitar with string quartet, clarinet and timpani by B. Asafiev, Sonata by V. Shebalin. Works for the guitar were created by I. Boldyrev, Yu. Obedov, L. Birnov, N. Chaikin, Yu. Shishakov, G. Kamaldinov and other composers.

The history of the seven-string guitar, which became widespread in Russia, is interesting. She entered the musical life widely. Home music-making was not complete without a guitar, romances and songs were sung to its accompaniment, used as a solo and ensemble instrument.

The heyday of the art of playing the seven-string guitar is associated with the activities of A. Sikhra (1773-1850) and M. Vysotsky (c. 1791-1837), major musicians of their time. They enjoyed the sympathy and love of the Russian public, the respect and appreciation of figures of national culture.

The students of Sichra made their contribution to the art of playing the guitar. Among them, it is necessary to note the guitarist and composer S. Aksenov (1784-1853), who published the "New magazine for the seven-string guitar, dedicated to music lovers"; V. Svintsov (d. c. 1880), who became one of the first professional performers on the seven-string guitar; F. Zimmermann (1810-1882), known for his wonderful improvisations; V. Morkov (1801-1864), author of works and transcriptions for the seven-string guitar.

The art of playing the six-string guitar is also developing in Russia. M. Sokolovsky (1818-1883) was a remarkable performer on it, whose concert activity was held with great success both in Russia and in many European countries. The performer and popularizer of the classical six-string guitar N. Makarov (1810-1890) also enjoyed considerable fame.

Russian Soviet virtuoso guitarist and teacher Pyotr Spiridonovich Agafoshin (1874 - 1950)

However, in the second half of the 19th century, both in Europe and in Russia, there was a weakening of interest in the guitar on the part of professional musicians, it is increasingly regarded as an instrument that does not have great artistic significance, and therefore does not deserve attention, its expressive possibilities and originality is underestimated.

A new flourishing of guitar art takes place already in the 20th century and affects all areas: composing music, performing, pedagogy. The guitar occupies an equal place along with other instruments on the concert stage. To promote guitar art and the activities of guitarist musicians, special magazines are being published in Russia: "Guitarist", "Guitarist's Music". They contain information that has not lost its significance in our time.

In recent decades, international competitions and festivals of guitarists have been held in different countries, guitar classes are open in many academies of music and conservatories, numerous societies and associations of performers, professionals and amateurs are functioning, special books and musical literature are published. Guitar music is constantly heard on radio and television, recorded on records and compact cassettes.

The leading place among the guitarists of our century deservedly belongs to the great Spanish musician Andres Segovia (b. 1893). His multifaceted performing, teaching, educational activities, the creation of transcriptions had a huge impact on the further development of guitar art.

Repeatedly Segovia visited the Soviet Union. His concerts, which were always successful, contributed to the revival of interest in the guitar in our country, clearly demonstrated the significant technical and artistic capabilities of the instrument, stimulated the performing, teaching and composing activities of such Soviet musicians as P. Agafoshin (1874-1950), P. Isakov (1886-1958), V. Yashnev (1879-1962), A. Ivanov-Kramskoy (1912-1973).

Soviet virtuoso guitarist and teacher Alexander Mikhailovich Ivanov-Kramskoy (1912 - 1973)

I would especially like to note the importance for the development of the Soviet guitar school of the Honored Artist of the RSFSR Alexander Mikhailovich Ivanov-Kramskoy. The author of two concertos for guitar and orchestra and over a hundred pieces for this instrument, A. Ivanov-Kramskoy successfully combined concert activities, radio recordings and gramophone records with pedagogy. Within the walls of the music school at the Moscow State Tchaikovsky Conservatory, he trained a number of interesting musicians. A. Ivanov-Kramskoy released "The School of Playing the Six-String Guitar", which played an important role in the training of young guitarists.

At present, the classical six-string guitar is actively promoted by P. Veshchitsky, N. Komoliatov, E. Larichev, A. Frauchi, B. Khlopovsky and many other guitarists.

V. Sazonov (1912-1969), M. Ivanov (1889-1953), V. Yuryev (1881-1962) made a great contribution to the development and promotion of the seven-string guitar; today - B. Okunev, S. Orekhov, L. Menro and a number of other musicians.

In our country, both six-string and seven-string guitars are used in concert practice. Education is provided in a number of higher and secondary specialized educational institutions, in many children's and evening music schools, studios and circles at the Palaces of Pioneers and Schoolchildren and club institutions.

The art of playing the guitar is constantly developing abroad. M. Zelenka, V. Mikulka (Czechoslovakia), L. Sendrei-Karper (Hungary) are famous; 3. Behrend (Germany), L. Brouwer (Cuba), D. Blanke, M. Cubedo, A. Membrado (Spain), D. Brim, D. Williams (Great Britain), M. L. Anido, E. Bitetti ( Argentina), A. Diaz (Venezuela) and many other performers.

With the development of jazz and pop instrumental music in the 20th century, the jazz guitar became widespread and became an electric musical instrument in the 1930s. It is used in a wide variety of jazz and pop ensembles and orchestras, folklore groups, and solo works are also performed on it.

In our country, the development of jazz guitar is associated with the names of the father and son Kuznetsov, Alexei Yakushev, Stanislav Kashirin and a number of other musicians.

The guitar is one of the main instruments in vocal and instrumental ensembles. It is used by soloists and ensembles performing songs of struggle for peace, for national independence against imperialist oppression.

A vivid example of the impact on the hearts and minds of people is the art of the Chilean singer and guitarist Victor Jara, who gave his life in the struggle for democracy and social progress in his homeland.

Guitar art is constantly evolving, the literature for this instrument is constantly updated with new original works in a variety of genres. The great popularity of the guitar, its significant virtuoso and expressive possibilities give grounds to assume a further flourishing of the art of playing this democratic instrument.