Soviet conductors. Famous conductors of the world The most famous conductors

G. Lomakin(1811-1885). The fame of a talented singing teacher came to Lomakin early and quickly spread throughout the northern capital. He was invited to teach at many educational institutions: the cadet, naval and page corps, the lyceum, the theater school, the law school (where P.I. Tchaikovsky studied at that time). In this school, G.Ya. met. Lomakin with art critic V.V. Stasov. The outstanding Russian critic has repeatedly noted Lomakin's "excellent school", "the right path of learning", "innate talent", "significance and skill in leading the choir", which played a significant role in the career of our fellow countryman. In 1862, together with famous composer M.A. Balakirev Lomakin organized a free music school- to enlighten and educate the people. At school G.Ya. Lomakin not only created a wonderful new choir, but also managed to organize the education of future music teachers. Many of his pupils became famous musicians: singers, choral conductors, teachers. Gavriil Yakimovich devoted the last years of his life to composing work: before that, he could only compose music in fits and starts, during short hours of breaks between classes with choirs. During that period he created whole line compositions for the choir, wrote several romances. And in 1883, when M.A. Balakirev, Lomakin also received a rare opportunity to publish his works. He gave them to their revision and editing of proof sheets last days own life.

A. Arkhangelsky (1846-1924)

Court chapel.

Independent Chorus (1880).

Chapel of Count Sheremetyev.

C.V. Smolensky (1848-1909)

Director of the Synodal School (1889-1901).

Director of the court choir (1901-1903).

Director of private regency courses (St. Petersburg)

V.S. Orlov (1856-1907).

Choir of the Russian Choral Society (1878-1886).

Chapel of the Russian Choral Society (1882-1888).

Regent of the Synodal Choir (1886-1907).

Alexander Dmitrievich Kastalsky (1856-1926).

Synodal choir (regent since 1901).

Pavel Grigorievich Chesnokov (1877-1944).

Private spiritual choir A.P. Kayutova.

Chorus of the Russian Choral Society (1916-1917).

Regent of Moscow churches.

Nikolai Mikhailovich Danilin (1856-1945).

Synodal choir (1910-1918).

Private choir Kayutov (1915-1917).

Leningrad Academic Chapel.

State choir THE USSR.

Sveshnikov Alexander Vasilievich(1890-1980), choir conductor, People's Artist of the USSR (1956), Hero of Socialist Labor (1970). In 1936-37 he was artistic director of the State Choir of the USSR, organized on the basis of the All-Union Radio Vocal Ensemble he created in 1928; in 1937-1941 - Leningrad. chapels; since 1941 - the State Russian Song Choir (later the State Academic Russian Choir of the USSR). Organizer (1944) and director of the Moscow. choral school (since 1991 Academy of Choral Art named after S.). Professor (since 1946), rector (1948-74) Moscow. conservatory. State Prize of the USSR (1946).

YURLOV Alexander Alexandrovich (1927-73), choral conductor, People's Artist of the RSFSR (1970), Azerbaijan. SSR (1972). Pupil A.V. Sveshnikov. Since 1958, artistic director and chief conductor of the Rep. Russian choir chapel (since 1973 named after him). Professor of Musical Ped. institute. Gnesins (since 1970). State Prize of the USSR (1967).

Tevlin Boris Grigorievich choir conductor, professor (1981), head of the department choral conducting Moscow State Conservatory named after P. I. Tchaikovsky (1993-2007). National artist Russian Federation (1995).

Kazachkov Semyon Abramovich (1909-2005) - teacher, professor, head of the department of choral conducting at the Kazan State Conservatory.

Minin Vladimir Nikolayevich (b. 1929), choir conductor, People's Artist of the USSR (1988). Student V.G. Sokolova, A.V. Sveshnikov. Since 1972 hands. founded by him Moscow. chamber choir, since 1987 (at the same time) artistic director of the State. Russian choir. Since 1978 professor (in 1971-79 rector) Musical-ped. institute. Gnesins. State Prize of the USSR (1982).

Dmitryak Gennady Alexandrovich - choral and opera and symphony conductor, Honored Art Worker of Russia, artistic director and chief conductor State Academic Choir of Russia named after A.A. Yurlov and Capella "Moscow Kremlin", Associate Professor of the Department of Choral Conducting Russian Academy music to them. Gnesinikh.

Requirements for a choir conductor

Excellent command of conducting technique;

Be able to correctly place the members of the choir in parts in accordance with their singing voice and range;

Easily navigate through all the diversity musical works different styles, eras, directions, know the theoretical foundations of recording and reading choral scores;

Have a fine ear for music, a sense of rhythm, and a developed artistic taste.

Genres choral music

VILLANELLA(Italian village song) - Italian song of the 15th-16th centuries, mainly 3-voice, with par al. movement of voices, lively character, lyrical or humorous content.

CANON(Greek norm, rule) - polyphonic. musical. form based. on a strict continuous, imitation, under which. the voices repeat the melody of the leading voice, entering before it ends with the previous one. The canon is distinguished by the number of voices, the intervals between them (Canon in prima, fifth, octave, etc.), the number of topics imitated simultaneously (simple canon; double, for example, in No. 4 of Mozart's Requiem, etc.), the form of imitation (Canon in increase, decrease). In the so-called infinite canon, the end of the melody passes into its beginning, so the voices can re-enter any number of times. In the canon with a “variable indicator” (Vl. Protopopov), during imitation, the melodic pattern and rhythm are preserved, but the interval changes. Canonical imitation, in one form or another, is often used in chorus. op.; there are plays written in the form of K. (“Echo” by O. Lasso, “Song of the Lark” by F. Mendelssohn, arr. N.A. Rimsky-Korsakov “I Walk with a Loafer”, etc.).

KANT(from lat, cantus - singing, song) - a kind of old choral or ensemble song a cap. Originated in the 16th century. in Poland, later - in Ukraine, from the 2nd sex. 17th century - in Russia, having become widespread as an early type of urban song; to the beginning 18th century - a favorite genre of home, everyday music. At first, the cant is a hymn-song of religious content, later it is imbued with secular themes; edges appear. lyrical, pastoral, drinking, comic, marching, etc. In the era of Peter the Great, panegyric cantes, the so-called. viva; performed by choirs of singers during festivities and triumphal processions, accompanied by cannon fire, fanfare and bell ringing. Kant's stylistic features: couplet form, subordination musical rhythm poetic; rhythmic clarity and smoothness of the melody;, mainly a 3-voice warehouse with a parallel movement of the 2 upper voices, the bass is often melodically developed; there is also imitation. In the cante there is a natural correlation of melody and harmony, balance of harmonic functions - subdominants, dominants, tonics. B. Asafiev points out that “in the evolution of music in the second half of the 18th and early 19th centuries. edging becomes a kind brief encyclopedia triumphant homophonic style” (“Musical Form as a Process”, L., 1963, p. 288). Kants were distributed in handwritten collections, without indicating the authors of the text and music, although poetry was often used. contemporary poets Trediakovsky, Lomonosov, Sumarokov and others. The first arr. nar. songs. Gradually, the edging became more complicated, acquiring the features of a romance. Later (in the 19th century), soldiers', drinking, student, and partly revolutionary songs were created on the basis of cant. The influence of Kant is also found in Russian. classical music, with Glinka ("Glory" from the opera "Ivan Susanin"), etc.

CANTATA(Italian cantare - to sing) - a work for singer-soloists, choir and orchestra, solemn or lyrical-epic character. Cantatas can be choral (without soloists), chamber (without choir), with or without piano accompaniment, in one movement or consist of several completed numbers. From the oratorio (similar to it in terms of means of expression), the cantata usually differs in its smaller size, uniformity of content, and less developed plot. The cantata originated in Italy (17th century), first as a piece for singing (in contrast to the sonata). This means that the cantata takes its place in the work of J. S. Bach, who wrote cantatas on spiritual, mythological and everyday subjects. In Russia, the cantata manifested itself in the 18th century and reached its development in the 19th and 20th centuries: a solo theatrical cantata (“The Black Shawl” by Verstovsky), greeting, anniversary, lyrical, lyric-philosophical cantatas (“Farewell Songs of the Pupils of the Catherine and Smolny Institutes” by Glinka ; "Moscow", "To Joy" by Tchaikovsky; "The Svitezyanka" by Rimsky-Korsakov; "John of Damascus", "After reading the Psalm" by Taneyev; "Spring", "The Bells" by Rachmaninov; "Cantata for the opening of the monument to Glinka" by Balakirev, etc. d.).

The cantata genre has been developed in creativity Soviet composers, especially in works on historical, patriotic and modern topics (Alexander Nevsky by Prokofiev, Symphony-cantata "On the Kulikovo Field" by Shaporin, "Cantata about the Motherland" by Arutyunyan, etc.). Modern German composer K. Orff wrote stage cantatas (Carmina Burana and others).

MADRIGAL(Italian) -lyric song in native language. (unlike chants in lat, lang.), originally monophonic. In the early Renaissance (14th century) it was performed in 2-3 voices. In the era late Renaissance(16th century) occupied the center, a place in secular music, representing a one-part or multi-part vocal composition of a polyphonic warehouse for 4-5 voices; was distributed outside of Italy. The madrigal genre is predominantly lyrical, closely associated with poetic text(up to the illustration of individual words). Having developed in aristocratic circles, the madrigal in terms of melody (unlike frotolla, villanella, chanson, etc.) is far from folk music, often too sophisticated; at the same time, it also had a progressive meaning, expanding the range of images and expressive means. More simple, associated with folklore, emotional English madrigal of the 16th-17th centuries. (T. Morley, D. Dowland, D. Wilby). By the 17th century the madrigal departs from the vocally polyphonic style, emphasizing the solo voice with instrumental accompaniment. Outstanding masters of the madrigal (at different stages of its development) were Arkadelt, Villart, A. Gabrieli, Palestrina, Marenzio, Gesualdo, Monteverdi.

MOTET(from the French mot - word) - a vocal genre. polyphonic. music. Initially, in France (12-14 centuries), several were combined in a motet. (most often 3) independent melodies with different texts: in the lower voice (tenor) - church. chant in Latin text, in the middle (motet) and upper (triplum) - love or comic songs in colloquial French. The Catholic Church fought against such "vulgar motets" by contrasting them (from the 15th century) with polyphonic hymns to a single Latin text. Madrigals were written for the choir a cap. (from the end of the 16th century and with accompaniment), consisted of several (2, 3 or more) sections, in a polyphonic, often in a chordal warehouse. In the 17th century there were motets for solo singers with instrumental accompaniment.

OPERA CHORUS- one of the main components of the modern opera performance. In connection with the era, genre, individuality of the composer, the choir in the opera plays different role from creating a domestic background, a decorative element, a participant in the prologue, interludes to Ch. acting person. In the opera seria ("serious opera", 17-18 centuries), the choir was almost absent, in the opera buffa ("comic opera", 18 century) it appeared sporadically (for example, in the finals). The role of the choir as the bearer of the image of the people in the operas of Gluck and Cherubini has been strengthened, although often the choir is. scenes in them have an oratorio-static character. Greater dramatic significance was attached to the chorus in the Western European operas of the first third of the 19th century, by Rossini (William Tell), Verdi (Nabucco, Battle of Legnano), with their images of the heroic people; in Meyerbeer's opera, the participation of the choir emphasizes dramatic climaxes, lyric opera 19th century the choir contributes to the creation of an appropriate atmosphere, national color, mood (op. Bizet, Verdi, Gounod); in the folk-household opera, the choirs are of a genre nature, close to the folk song, dance (op. Monyushko, Smetana). Rus. secular choral art was first represented by opera choirs (18th century, op. Fomin, Pashkevich, and others); and in the future, choirs occupy a large place in Russian. operas, being “the cornerstone dogma and affirmation of nationality and democracy” (B. Asafiev). Opera and choral creativity Rus. composers is exceptionally diverse.

In historical-patriotic operas (Glinka's Ivan Susanin, Borodin's Prince Igor, Rimsky-Korsakov's The Maid of Pskov, etc.), the choir becomes the protagonist, along with the characters. Especially ( great importance acquired the choir in the folk musical dramas of Mussorgsky (“Boris Godunov”, “Khovanshchina”), where the image of the people is presented in many ways, in development. In Russian everyday operas by Verstovsky ("Askold's Grave"), Dargomyzhsky ("Mermaid"), Serov ("Enemy Force"), Tchaikovsky ("Cherevichki", "The Enchantress"), etc., there is a close connection with folk song. National originality is reflected in the choral scenes of operas related to oriental themes (Glinka's Ruslan and Lyudmila, Rubinstein's The Demon, Borodin's Prince Igor, etc.). Choral means find application in the depiction of fabulous, fantastic plots (op. Glinka, Verstovsky, Rimsky-Korsakov). The choir is also used in the oratorical plan, usually in the prologue, epilogue (operas by Glinka, Serov, Rubinstein, Borodin, etc., in the performance of hymns, etc. (“The Maid of Orleans” by Tchaikovsky, “Khovanshchina” by Mussorgsky, etc.). Traditions The active participation of the choir in Russian classical opera is continued in Soviet musical creativity: the operas of Russian Soviet composers "War and Peace", "Semyon Kotko" by Prokofiev, "The Decembrists" by Shaporin, "Katerina Izmailova" by Shostakovich, "Emelyan Pugachev" by Koval, "Quiet Don" ” and “Virgin Soil Upturned” by Dzerzhinsky, “October” by Muradeli, “Virineya” by Slonimsky and others, many national operas contain separate choirs and developed choral scenes. Operatic choir has its own specifics of performance: it is, first of all, great brightness, convexity of nuance (similar to decorative design), emphasis on the text, its ability to “fly through the orchestra” in auditorium. Because the opera choir is often in motion, special confidence, independence of each of its participants is necessary. To develop these qualities, in some groups, singers learn timing when studying their parts. The presence of mise-en-scenes, in which the choir does not see the conductor, necessitates the so-called. broadcasts (conductor pace) conducted from behind the scenes by choirmasters; at the same time, in order to achieve synchronization of performance, some lead is made to the conductor's "points" (more or less, depending on the depth of the choir).

ORATORIO(from lat, wow - I say, I pray) - a major piece of music for the choir, soloists, orc .; comp. from vocal ensembles, arias, recitatives, completed orchestral numbers., the oratorio originated in Italy, at the turn of the 16th-17th centuries, almost simultaneously with the cantata and opera and is close in structure to them. It differs from the cantata in its larger size, detailed plot, epic-dramatic character, and from the opera in the predominance of the narrative element over the dramatic, development. The oratorio developed from dramatized lauds (spiritual laudatory hymns) performed in special rooms at the church - oratories. special type oratorio - Passion; in terms of structure and type, the oratorio also includes the mass, the requiem, the Stabat Mater, and others. The oratorio genre reaches its peak in the works of Bach and especially Handel, who created the type of heroic-epic oratorio; Haydn's oratorios are marked by genre-domestic and lyrical-philosophical features. In the 19th century prod. The oratorio genre was created by Mendelssohn, Schumann, Berlioz, Brahms, Dvorak, Liszt, Verdi, and others; in the 20th century. - Honegger, Britten and others. The first means the Russian oratorio "Minin and Pozharsky" by Degtyarev; a number of oratorios were created by A. Rubinstein (“Babylonian pandemonium”, “Paradise Lost”, etc.). In the operas of the Russian classics, oratorio-style techniques are widely used in the form of large choral scenes (Ivan Susanin, Ruslan and Lyudmila by Glinka, Serov's Judith, Borodin's Prince Igor, Rimsky-Korsakov's Sadko, etc.). The genre of oratorio is widely used by Soviet composers when embodying historical and contemporary themes (“Emelyan Pugachev” by Koval, “The Legend of the Battle for the Russian Land” by Shaporin, “Song of the Forests” by Shostakovich, “On Guard for Peace” by Prokofiev, “Requiem” by Kabalevsky, “ Mahogany "Zarina and others).

SONG- the simplest and most common form vocal music, which combines the poetic image with the musical one. Characteristic for the song is the presence of a complete, independent, melodious melody, simplicity of structure (usually a period or 2-, 3-part form). The music of the song corresponds to the general content of the text, without detailing it (for example, in a very common couplet song). There are folk and professional (produced by composers) songs that differ in genre, origin, structure, etc. The genre of choral song is common: folk song(peasant and urban), Soviet mass song, dep. choirs of Russian and Soviet composers. In Western European music, the choral song was cultivated romantic composers(Weber, Schubert, Mendelssohn, Schumann, Brahms). In a figurative sense, the term song. or a song (to emphasize the epic, solemn, poetic sublimity of a work) are used in the title of major musical works, cantatas (for example, Brahms' Song of Fate, Song of Triumph).

CHORAL- religious chant in Catholic and Protestant Church. The Protestant polyphonic chant (introduced in the 16th century by the leaders of the Reformation) was sung by the entire community in German (as opposed to the unison Gregorian chant, which was sung in Latin by special male singers). The melodies of the chorale are distinguished by a sedentary rhythm. Choral warehouse (or simply chorale) is usually called. chord presentation by uniform durations in slow movement.

Itay Talgam

Renowned Israeli conductor and consultant who helps leaders from business, education, government, medicine and other fields to become "conductors" of their teams and achieve harmony through collaboration.

Itay Talgam argues that leadership skills are universal, and the communication styles of a conductor with an orchestra are in many ways similar to the relationship of a boss with employees in a company. But there is no universal principle for organizing such relationships. The author shares his observations about the methods of orchestra management that were observed by great conductors and divides them into six conditional categories.

1. Dominance and control: Ricardo Mutti

The Italian conductor Ricardo Mutti is attentive to details and very meticulous in managing the orchestra both in rehearsals and in performances. All the nuances of the game are concentrated in his gestures: he notifies the musicians of the changing tone long before they have to rebuild. Mutti controls every step of his subordinates, no one and nothing is left without his attention.

Total control is due to the fact that the conductor himself feels pressure from the top management: the board of directors or the constantly present spirit of the great composer. Such a leader is always subject to condemnation from the ruthless super-ego.

The dominant leader is unhappy. His subordinates respect him, but do not like him. This was especially clearly demonstrated by the example of Mutti. Between him and the top leadership of the Milanese opera house"La Scala" there was a conflict. The conductor outlined his demands to the authorities, if they were not met, he threatened to leave the theater. He hoped that the orchestra would take his side, but the musicians said they had lost confidence in the leader. Mutti had to retire.

Do you think this conductor's stand is a throne? For me, this is a desert island where loneliness reigns.

Ricardo Mutti

Despite this, Ricardo Mutti is considered one of the the greatest conductors XX century. Itay Talgam says that at the seminars on personnel management, most of the students said that they would not want such a leader. But to the question: “Is his leadership effective? Can he force subordinates to do their job?" Almost everyone answered in the affirmative.

The dominant leader does not believe in the ability of employees to organize themselves. He takes full responsibility for the result, but requires unquestioning obedience.

When it works

This tactic is justified in the presence of problems with discipline in the team. The author gives an example from Mutti's biography and talks about his experience with the Israel Philharmonic Orchestra. This is a wonderful team, but the style of his work was formed at the junction of European, Mediterranean and Middle Eastern cultures. The diversity of traditions has led to a lack of formal discipline within the orchestra.

At that moment, when Mutti's stick was frozen in the air in anticipation of the first notes, one of the musicians decided to move his chair. There was a creak. The conductor stopped and said: “Gentlemen, I don’t see the words “chair creak” in my score.” From that moment on, only music sounded in the hall.

When it doesn't work

In all other cases, and especially when the work of employees is related to. Mutti's management style excludes the presence of errors, and in fact they often lead to new discoveries.

2 Godfather: Arturo Toscanini

The star conductor Arturo Toscanini showed maximum participation in the life of the orchestra at rehearsals and on stage. He was not shy in expressions and scolded the musicians for their mistakes. Toscanini became famous not only for his talent as a conductor, but also for his professional temper.

Toscanini took every failure of his subordinates to heart, because the mistake of one is the mistake of all, especially the conductor. He was demanding of others, but no more than of himself: he came to rehearsals in advance and did not ask for privileges. Each musician understood that the conductor was sincerely worried about the result, and was not offended by insults for inaccurate playing.

Toscanini demanded full dedication from the musicians and expected impeccable performance. He believed in their talent and was collected at concerts. It was evident how proud he was of his "family" after a successful performance.

An important motivator of the employees of such a team is the desire to work well “for the father”. Such leaders are loved and respected.

When it works

In cases where the team is ready to accept the three basic principles of family culture: stability, empathy and mutual support. It is also important that the manager has authority, is competent in his field, has professional achievements. Such a leader should be treated like a father, so he should be smarter and more experienced than his subordinates.

This principle of management is often resorted to when the team is experiencing hard times. During the period of strengthening of trade unions, large companies introduce slogans from the category "We are one family!" Management seeks to improve working conditions, gives employees the opportunity to receive additional education, conducts corporate events and provides subordinates with a social package. All this is aimed at motivating employees to work for the sake of the authorities who care about them.

When it doesn't work

In some modern organizations, where relationships between people are sometimes more important than formal hierarchy. In such groups, deep emotional involvement is not implied.

Such a management principle requires not only the authority and competence of the leader, but also the ability of subordinates to justify the expectations placed on them. Itay Talgam talks about his experience of studying with the conductor Mendy Rodan. He demanded a lot from the student and perceived his every failure as a personal defeat. This pressure, coupled with swearing, oppressed the author. He realized that such a teacher would help him get a diploma, but would not bring up a creative person in him.

3. According to the instructions: Richard Strauss

The author says that many of the managers present at his seminars were only amused by Strauss's behavior on stage. Visitors chose him as a potential leader only on the basis that with such a boss, you can not really bother yourself with work. The conductor's eyelids are lowered, he himself looks distant and only occasionally casts glances at one or another section of the orchestra.

This conductor does not aim to inspire, he only restrains the orchestra. But if you look closely, it becomes clear what is the basis of such a management principle - following instructions. Strauss is not focused on the musicians, but on the notes, even if the orchestra plays his work. By this, he shows how important it is to strictly follow the rules and clearly perform the work, not allowing one's own interpretations.

It should be understood that the lack of interpretation and discovery in music is not bad at all. This approach allows you to expose the structure of the work, to play it the way the author intended.

Such a leader trusts subordinates, requires them to follow instructions and believes that they will be able to comply with them. This attitude flatters and motivates employees, they gain self-confidence. The main disadvantage of the approach is that no one knows what will happen if a situation arises that is not specified in the instructions.

When it works

This principle of control works in different cases. Sometimes it is the most comfortable for calm professionals who are used to working according to the letter of the law. Sometimes it is simply necessary to provide employees with mandatory instructions, for example, when interacting different groups subordinates.

The author gives an example of his experience with the orchestra and the rock band Natasha's Friends. The problem arose due to the fact that the musicians from the group came to the end of the second hour of a three-hour rehearsal. They were sure that nothing would stop them from devoting the rest of the day to music, not thinking about the fact that orchestra rehearsals were subject to stricter time frames.

When it doesn't work

The principle of management based on following instructions does not work where the ability to create and create new ideas should be encouraged. Like absolute obedience to the leader, following the instructions implies the absence of mistakes leading to new discoveries. It can also deprive employees of professional enthusiasm.

The author gives an example from the biography of the conductor Leonard Bernstein. Israeli philharmonic orchestra under his direction rehearsed the finale of Mahler's symphony. When the conductor gave the signal for the entry of the brass, there was silence in response. Bernstein looked up: some of the musicians had left. The fact is that the end of the rehearsal was scheduled for 13:00. The clock was 13:04.

4. Guru: Herbert von Karajan

Maestro Herbert von Karajan barely opens his eyes on stage and does not look at the musicians. He only expects that his subordinates seem to magically consider his desires. This was preceded by preliminary work: the conductor carefully explained the nuances of the game at rehearsals.

The guru did not give the musicians a time frame or set the rhythm, he only listened attentively and conveyed to the orchestra the softness and depth of the sound. The musicians were perfect for each other. They themselves became interdependent conductors and improved their skills of playing together over and over again.

Such an approach speaks of the arrogance of the leader: he acts bypassing the accepted postulates and is always sure of success. At the same time, team members are much more dependent on each other than on the instructions of the management. They are vested with the power to directly influence the results of work. They have an additional responsibility, so being in such a team for some can be a psychologically difficult test. This management style is similar to Mutti's dominance in that the leader is also unavailable for dialogue and imposes his vision of the organization on subordinates.

When it works

When the work of the team is connected with the creativity of employees, for example, in the field of art. American artist Saul Levitt hired young artists (several thousand in total), explained the concepts and gave some directions. After that, the subordinates went to create without Levitt's control. He was interested in the result, not submission in the process. A sensible and wise leader, he understood that joint creativity only enriches the project. This is what made him the most exhibited artist in the world: in his entire life he held more than 500 solo exhibitions.

When it doesn't work

In each team, the appropriateness of this management principle depends on many individual factors. This approach often leads to failure, which is why, for example, Cadbury & Schweppes created the Cadbury Corporate Governance Code, which describes procedures designed to protect the company from the excessive ego of the leader and convey important information to all participants in the process.

The author also tells cautionary tale from my own experience. He wanted to start his work with the Tel Aviv Symphony Orchestra with a high-profile innovation. Itai Talgam divided the string section into quartets and placed the wind instruments between them. He suggested that in this way each of the musicians could feel like a soloist. The experiment failed: the participants were unable to communicate, being far from each other, so they played extremely poorly.

5 Leading Dance: Carlos Kleiber

Carlos Klaiber dances on stage: stretching out his arms, jumping up and down, bending over and swaying from side to side. At other times, he leads the orchestra with only his fingertips, and sometimes he just stands and listens to the musicians. On stage, the conductor shares his joy and multiplies it. He has a clear vision of the form and leads the musicians, but he does it not as a leader, but as a solo dancer. He constantly requires subordinates to participate in interpretations and does not load his instructions with details.

Such a leader manages not people, but processes. It provides subordinates with scope for innovation, stimulates them to create on their own. Employees share power and responsibility with the leader. In such a team, it is easy to correct a mistake and even transform it into something new. "Dancing" managers value ambitious employees, preferring them to those who are able to conscientiously perform their work according to instructions.

When it works

A similar principle applies when an ordinary employee may have more relevant information than the boss. As an example, the author cites his experience of working with agencies to combat terrorism. An agent in the field must be able to make decisions on his own, sometimes violating direct orders from the command, because he has the most complete and up-to-date knowledge of the situation.

When it doesn't work

When employees are not interested in the fate of the company. The author also claims that such an approach cannot be artificially imposed. This will work only if you are able to genuinely rejoice in the success of the employees and the result of the work.

6. Searching for Meaning: Leonard Bernstein

The secret of Leonard Bernstein's interaction with the orchestra is revealed not on stage, but off it. The conductor did not want to separate emotions, life experience and aspirations from music. For each of the musicians, Bernstein was not only a leader, but also a friend. He invited not a professional, but a person to work: in his orchestras, first of all, individuals perform, listen to and compose music, and only then subordinates.

Bernstein put before the musicians main question: "For what?" This was: he did not force him to play, but made the person himself want to play. Everyone had their own answer to Bernstein's question, but everyone equally felt their involvement in the common cause.

When it works

The dialogue of management with employees and giving meaning to their activities will benefit any organization where the work of team members is not brought to a set of similar actions. An important condition for this is that employees must respect the leader and consider him competent.

When it doesn't work

Itay Talgam talks about a situation when he tried to apply the Bernstein method, but met only misunderstanding on the part of his subordinates. The reason was that many of the musicians of the Tel Aviv Symphony Orchestra were much older and did not know him at all. The first rehearsal didn't go well. "Something's wrong," Talgam told the orchestra. - I just don't know what. Tempo, intonation, something else? What do you think? What can be fixed? One of the older musicians stood up and said: “Where we came from, the conductor didn't ask us what to do. He knew what to do."

In the book “The Ignorant Maestro”, Itay Talgam not only talks about the management principles of great conductors, but also reveals three important qualities effective leader: ignorance, giving meaning to voids, and motivational listening. The author talks not only about what a leader should be like, but also about the role of subordinates in work communications. universal principle management does not exist, each effective manager develops it independently. And you can learn something and adopt some techniques from the six great conductors that are written about in this book.

December 10, 2014

Musical culture cannot exist without conductors, as well as the film industry without directors, the literary and publishing industry without editors, fashion projects without designers. The leader of the orchestra ensures the organic interaction of all instruments during the performance. The conductor is the main character on the stage of the Philharmonic, concert hall or any other music platform.

Virtuosi

The coherence of a symphony orchestra, the harmonious sound of numerous musical instruments achieved through the skill of the conductor. No wonder the most talented of them are awarded various high titles and titles, and among the people they are called "virtuosos". And indeed, the impeccable possession of the conductor's baton allows you to bring to every musician sitting in orchestra pit, all the nuances of a creative impulse. A huge symphony orchestra suddenly begins to sound like a whole, and musical composition at the same time it is revealed in all its splendor.

Famous conductors unite on the basis of skill, they all went through school high art, not immediately came to them popularity and recognition of the general public. Popularity is gained over the years. For the most part, well-known conductors, in addition to concert activities, are engaged in teaching, conduct training courses for young musicians, as well as master classes.

self-sacrifice

The art of conducting an orchestra requires many years of practice, continuous improvement, which results in endless rehearsals. Some well-known conductors are notable for their special creative perseverance, bordering on self-sacrifice, when personal life is relegated to the background and only music remains. However, this situation is good for art.

The most famous conductors are bound by contracts with certain musical groups and this enables them to achieve high level performance of musical works. At the same time, mutual understanding is necessary, which will subsequently serve as a guarantee of successful concert activity.

Notable opera conductors

There are names in the world musical hierarchy that everyone knows. The names of famous opera conductors can be found on posters, billboards, cruise ships are named after them. This popularity is well-deserved, since few people are still able to devote their entire lives, without a trace, to music. The most famous conductors travel all over the world, tour with various musical groups or lead orchestras in major music centers. Opera performances require a special coherence of the orchestra, accompanied by vocal parts, arias and cavatina. In all music agencies you can find out the names of famous opera conductors who can be invited for a season or a series of performances. Experienced impresarios know the style of work and character traits of each. This helps them make the right choice.

Famous conductors of Russia

Music, especially opera, has many components. Here is the orchestra, which includes a variety of instruments: wind, string, bow, percussion. Soloists, performers of vocal parts, choir and other participants in the performance. Disparate fragments of an opera performance are united into one whole by the director of the performance and the conductor of the orchestra. Moreover, the latter actively participates in the action from beginning to end. There are conductors in Russia who, with their music, direct the opera along the only true path that leads the viewer to real art.

Famous conductors of Russia (list):

• Alexandrov Alexander Vasilievich.
• Bashmet Yuri Abramovich.
• Bezrodnaya Svetlana Borisovna.
• Bogoslovsky Nikita Vladimirovich.
• Bronevitsky Alexander Alexandrovich.
• Vasilenko Sergey Nikiforovich.
• Garanyan Georgy Abramovich.
• Gergiev Valery Abisalovich.
• Gorenstein Mark Borisovich.
• Diaghilev Sergei Alexandrovich.
• Evtushenko Alexei Mikhailovich
• Ermakova Ludmila Vladimirovna
• Kabalevsky Dmitry Borisovich.
• Kazhlaev Murad Magomedovich.
• Kogan Pavel Leonidovich.
• Lundstrem Oleg Leonidovich
• Mravinsky Evgeny Alexandrovich.
• Svetlanov Evgeny Fyodorovich.
• Spivakov Vladimir Teodorovich

Every well-known Russian conductor can successfully lead any foreign symphony orchestra, a few rehearsals are enough for this. The professionalism of musicians helps to overcome both the language barrier and the difference in styles.

World celebrities

Famous conductors of the world are talented musicians recognized by the general public.

Pavel Kogan

The most famous Russian conductor who has been giving the world his art for more than forty years. Its popularity is unprecedented. The maestro's name is on the list of the ten greatest contemporary conductors. The musician was born in the family of famous violinists, Leonid Kogan and Elizaveta Gilels. Since 1989, he has been the permanent artistic director, as well as the Chief Conductor of the MGASO (Moscow State Symphony Orchestra). At the same time he represents Russia in the major musical centers of America.

Pavel Kogan performs all over the world with the best symphony orchestras, his art is considered unsurpassed. The maestro is a laureate of the State Prize of Russia, has the title of "People's Artist of Russia". Pavel Kogan also has many awards, including the Order of Merit for the Fatherland and the Order of the Arts.

Herbert von Karajan

The world famous conductor of Austrian origin Herbert von Karajan (1908-1989) was born into a family of Greek immigrants. At the age of eight, he entered the Mozarteum Conservatory in Salzburg, where he studied for 10 years and received basic conducting skills. At the same time, young Karajan was learning to play the piano.

The debut took place in 1929 at the Salburg Festival Theatre. Herbert conducted the opera Salome by Richard Strauss. In the period from 1929 to 1934 he was Chief Kapellmeister at the theater in the German city of Ulm. Then Karajan for a long time was at the conductor's stand of the Vienna Philharmonic Orchestra. Then he performed with Charles Gounod's opera "Walpurgis Night".

The finest hour for the conductor came in 1938, when Richard Wagner's opera "Tristan and Isolde" performed by him was a huge success, after which Herbert was called "Miracle Karajan".

Leonard Bernstein

American conductor Leonard Bernstein (1918-1990), born to Jewish immigrant parents. Musical education began for Leonard as a child, he learned to play the piano. However, the boy gradually became involved in conducting, and in 1939 he made his debut - the young Bernstein performed with a small orchestra a composition of his own composition under titled The birds.

Thanks to high professionalism Leonard Bernstein quickly gained popularity and at a young age led the New York Philharmonic Orchestra. Being comprehensive creative person, the conductor was engaged in literature. He wrote about a dozen books on music.

Valery Gergiev

The famous conductor Valery Abisalovich Gergiev was born on May 2, 1953 in Moscow. At the age of nineteen he entered the Leningrad Conservatory. Participated as a student in international competition conductors in Berlin, where he took second place.

After graduating from the conservatory in 1977, the young conductor was accepted as an assistant at the Kirov Theatre. Yuri Temirkanov became his mentor, and already in 1978 Valery Gergiev stood at the podium and played Prokofiev's opera War and Peace. In 1988, he replaced Yuri Temirkanov after he left for the Leningrad Philharmonic.

The year 1992 was marked by the return to the Kirov Theater of its historical name "Mariinsky Theatre". The theatrical audience of St. Petersburg, in order to get to opera performances, is recorded in advance, months in advance. Today Valery Gergiev is the chief conductor of the theater and its artistic director.

Evgeny Svetlanov

The famous conductor, Russian and world, Evgeny Fedorovich Svetlanov (1928-2002) left a noticeable mark in cultural heritage Russia. He has the titles of "Hero of Socialist Labor" and "People's Artist of the USSR". He is a laureate of the Lenin and State Prizes of the USSR.

Svetlanov's creative career began immediately after graduating from the Gnessin Institute in 1951. He continued his studies at the Moscow Conservatory in the class of opera and symphony conducting and composition.

The debut took place in 1954 on stage Bolshoi Theater in a production of Rimsky-Korsakov's opera The Maid of Pskov. From 1963 to 1965 he was the chief conductor of the Bolshoi Theatre. During his work, the level of opera performances noticeably increased.

In 1965-2000 combined work in office artistic director and chief conductor of the State Symphony Orchestra of the USSR (later Russia).

Vladimir Spivakov

Russian conductor Spivakov Vladimir Teodorovich was born in 1944 in the city of Ufa. In 1968 he graduated from the Moscow Conservatory, in 1970 he completed his postgraduate studies.

Mastery Vladimir Spivakov studied at the Gorky Conservatory with Professor Israel Gusman. Later he took a special course in the USA, with Leonard Bernstein and Lorin Maazel.

Currently, he is the permanent leader and conductor of the Moscow Virtuosi chamber symphony orchestra, which he personally organized in 1979. He has performed with European orchestras and US musical groups. Conducted at the La Scala Theatre, the Cecilia Academy, the Philharmonic of the German city of Cologne and the French Radio. He is the president of the International House of Music in Moscow.

Yuri Bashmet

Russian conductor Bashmet Yuri Abramovich was born on January 24, 1953 in Rostov-on-Don. People's Artist of the USSR. four State Prizes Russian Federation.

In 1976 he graduated from the Moscow Conservatory. In 1972, while still a student, he acquired a violin-viola Italian master Paolo Testore, made in 1758. On this unique instrument Bashmet still plays today.

He began active concert activity in 1976, and two years later he received a teaching position at the Moscow Conservatory. In 1996, Yuri Bashmet created the "Experimental Viola Department", where the study of viola parts in the symphony, opera and chamber music. Then he received the title of professor at the Moscow Conservatory. Currently engaged in active charitable and social activities.

Cycle concert programs (Russia, 2010). 10 issues.

There are no more authoritative figures in modern musical culture than representatives of the world conductor's elite. The creators of the cycle have chosen ten significant names of significance - Simon Rattle, Lorin Maazel, Daniel Barenboim, Maris Jansons, as well as their famous Russian colleagues,. Today they are universally recognized masters and leaders of the largest orchestras.

Each program is based on the performance of one of the named maestro with his orchestra.

Soloists: violinists Vadim Repin and Sergei Krylov, oboist Alexei Utkin, pianist Denis Matsuev and others.

The program is the most diverse - from I.S. Bach to A. Schoenberg and A. Pärt. All works are among the masterpieces of world music.

The host of the cycle is pianist Denis Matsuev.

1st release. .
Soloist Vadim Repin.
Program: I. Stravinsky. Symphony in three movements; M. Bruch. Violin Concerto No. 1 in G minor; L. Beethoven. Symphony No. 7.

2nd issue. Vladimir Fedoseev and the Bolshoi Symphony Orchestra. P.I. Tchaikovsky.
Program: L. Beethoven. Symphony No. 4.
Recorded at the Golden Hall of the Musikverein in Vienna.

3rd edition. "Maris Jansons and the Bavarian Radio Symphony Orchestra".
Program: R. Wagner. Introduction and "Death of Isolde" from the opera "Tristan and Isolde"; R. Strauss. Suite of waltzes from the opera "Der Rosenkavalier".

4th edition. "Daniel Barenboim and the West-Eastern Divan Orchestra".
Program: V.A. Mozart. Concerto No. 7 in F major for three pianos and orchestra. Soloists - Daniel Barenboim, Yael Karet, Karim Said. A. Schoenberg. Variations for Orchestra. G. Verdi. Overture to the opera "Force of Destiny".

5th issue. "Vladimir Spivakov and the National Philharmonic Orchestra of Russia.
Sergei Prokofiev. Concerto No. 3 for piano and orchestra. Symphony No. 1 "Classical". Soloist Denis Matsuev. Recording in Great Hall Moscow Conservatory in 2008.

6th edition. "Lauryn Maazel and the Arturo Toscanini Symphony Orchestra"
Program: Giacchino Rossini. Overture to the opera "Italian in Algiers"; Johannes Brahms. Symphony No. 2.
Recorded in the Great Hall of the Moscow Conservatory.

7th issue. Yuri Temirkanov and the Academic Symphony Orchestra of the St. Petersburg Philharmonic. D.D. Shostakovich.

8th edition. Yuri Bashmet and the Moscow Soloists Chamber Ensemble.
In a programme: Joseph Haydn- Concerto for cello and orchestra. Soloist Steven Isserlis (Great Britain), Niccolo Paganini - 5 caprices (arranged by E. Denisov for violin and chamber orchestra). Soloist Sergey Krylov (Italy); V.A. Mozart - Divertimento No. 1.
Recording in the BZK.

9th edition. Mikhail Pletnev and the Russian National Orchestra
Performed by the Russian national orchestra a suite from the ballet by P.I. Tchaikovsky" Swan Lake", compiled by Mikhail Pletnev. Recording at the State Academic Bolshoi Theater of Russia as part of the Great RNO Festival, 2009.

10th edition. Valery Gergiev and Symphony Orchestra Mariinsky Theater
In execution Symphony Orchestra The Mariinsky Theater conducted by Valery Gergiev performs orchestral hits - overtures from operas by Rossini, Verdi, Wagner, waltzes from Tchaikovsky's ballets, fragments from Prokofiev's Romeo and Juliet.