Chorus types - mixed women's men's. Singers of the choir Small composition of the choir

The concept of the type of choir as a specific composition and as a specific composition choral music. Choir types. Characteristics of their vocal-technical and performance capabilities. Examples.

Choir types. Determining the type of choir and choral score. Definition of the term "choir party". Complete set of choral parts with corresponding solo singing voices. The quantitative composition of the choirs and related performance possibilities. Examples choral compositions various kinds.

Various options location of the choir.

Terminology on the topic:

Homogeneous choir- a choir consisting of the same type of voices (male, female or children).

Children's choir- homogeneous. There are junior, middle and senior choirs, in general from 6 to 15 years old.

incomplete choir- a mixed choir in which there is no part.

mixed choir- choir, consisting of 4 parts: Soprano, Alto, Tenor and Bass.

The consignment- part of the choir singing in the same voices.

division(divisi) - musical term, denoting in the score of the choir the division of one party into two or more.

7. Build in the choir.

Definition of the concept of "musical structure". The historical aspect of the emergence and modification of various music systems called musical scales.

The structure of the choir is one of the main elements of choral sonority.

Disclosure of the concept of "zone system". Confirmation of the main conclusions of P.G. Chesnokov in scientific research and the works of Academician N.A. Garbuzov about the zone nature of the vocal system.

Melodic (horizontal) and harmonic (vertical) tuning. Melodic structure as the achievement of unison in the sound of the choral part through the awareness of modal inclinations and the laws of zonal intonation of steps and intervals. Harmonic system and its relationship with the melodic system. Chord intonation. The development of auditory data in singers. The active nature of vocal hearing and its relationship with muscle sensations. The relationship between breathing and tuning, vocals and tuning. Dependence of order achievement on the musical expressive means of the score, tempo, dynamics, etc. Difficulties in order achievement due to working conditions and other external factors.

Terminology on the topic:

Chorus system- one of the main elements of choral sonority, which determines the intonational purity of singing.

intonation – conscious reproduction music sound by voice or instrument. Accurate intonation relies on modal connections.

Fork- a sound source device that serves as a standard for pitch during tuning musical instruments and in singing. The reference tone frequency for the first octave is 440 Hz.

Ensemble in the choir.

The concept of an ensemble in its various meanings, including structural and organizational. Ensemble as one of the main elements of choral sonority. Psychological basis ensemble. The ensemble is private and shared. Technological types of the ensemble: by sound quality (vocal), by strength (dynamic), in time (rhythmic, tempo). Ensemble and tuning dependence. vocal ensemble as a unity of vocal position, articulatory form and timbre. The dynamic ensemble includes: a natural and artificial ensemble, an ensemble in conditions of various textures, an ensemble of a soloist and a choir, an ensemble of a choir and instrumental accompaniment. Rhythmic ensemble, its dependence on metrorhythm, tempo, texture, etc. Tempo ensemble. Art ensemble, its influence on the technological ensemble.

Terminology on the topic:

Choir Ensemble(ensemble - together) is one of the main components of choral sonority.

Dynamics in music- the strength of the sound, loudness and their changes.

Pace- the speed of alternation of metric parts in music. The tempo is closely related to the character, style, genre, as well as the personality of the performer.

Meter- the order of alternation of strong and weak beats in music.

Metronome- a device for determining the tempo of a piece of music.

Rhythm- temporary organization musical sounds and their combinations.

Syncope- discrepancy between metric and rhythmic stresses.

Accompaniment- accompaniment by one or more instruments, as well as by the orchestra of the solo part (singer, instrumentalist, choir).

Texture- a warehouse, a device for a musical fabric, a set of its elements. And the elements of texture, what it consists of: melody, accompaniment, bass, middle voices and undertones. The texture can be very diverse: homophonic, harmonic, polyphonic, etc.

mixed choir formed as a result of the connection of a children's or women's choir with a male one; in a mixed choir - two groups of voices: the upper one is female or children's voices, the lower one is male voices.
A typical composition of a four-part mixed choir has soprano, alto, tenor and bass parts. An example of such a composition is the choir from Act I of the opera Ruslan and Lyudmila by Glinka - “ Light Prince and health and glory":

A. Incomplete composition of the mixed choir
A mixed choir may not include all of the named parties, but only some of them. For example, a choir may have altos, tenors, and basses; or soprano, alto and tenor; any combination of one of the choral parts of the upper group can be combined with one of the parts of the lower group (soprano + tenor, alto + bass, alto + tenor, etc.). Such compositions form an incomplete mixed choir.

B. Doubling voices in a mixed choir
Depending on the texture of the piece of music, a mixed choir can sing in unison (rare cases) or in an octave, the so-called octave unison (common case); can also sing in two voices, in the latter case the soprano part is usually doubled into an octave by the tenor part, and the alto part by the bass part. All single and double choral works, thus, can be performed by a mixed choir with octave doublings.
When a mixed choir performs a piece of music written for three voices, the most common duplication technique is octave doubling between first sopranos and first tenors, between second sopranos and second tenors, between altos and basses.
An example of doubling voices in unison and octave is the following excerpts from the opera "Prince Igor" by I. Borodin:

B. Possibilities of a mixed choir in connection with the division of voices

It was said above that the mixed choir basically has four parts. However, the possibilities of a mixed choir far exceed this typical presentation. If in choral scores designed for a homogeneous composition, the division reaches four, five, six, and even seven voices, then it is not difficult to imagine the possibility of dividing the parts of a mixed choir, which has two homogeneous choirs.
Let us consider some combinations resulting from the division of voices of a mixed choir, adopting the following conventions for this: voices are denoted by letters (C - soprano, A - altos, T - tenor, B - basses); the numbers next to the letter indicate playing part- first or second, etc. For example, C 1 indicates the first sopranos, C 2 - the second sopranos, etc.

1. (C 1 + C 2) + A + T + B
2. C + (A 1 + A2) + T + B
3. C + A + (T 1 + T 2) + B
4. C + A + T + (B 1 + B 2)

1. (C 1 + C 2) + (A 1 + A 2) + T + B
2. (C 1 + C 2) + A + (T 1 + T 2) + B
3. (C 1 + C 2) + A + T + (B 1 + B 2)
4. C + (A 1 + A 2) + (T 1 + T 2) + B
5. C+(A 1 +A 2)+T+(B 1 +B 2)
6. C+A+(T 1 +T 2) + (B 1 +B 2)

1. (C 1 + C2) + (A 1 + A 2) + (T 1 + T 2) + B
2. C+(A 1 +A2)+(T 1 +T 2)+(B 1 +B 2)
3. (C 1 + C2) + A + (T 1 + T 2) + (B 1 + B 2)
4. (C 1 + C2) + (A 1 + A 2) + T + (B 1 + B 2)

(C 1 + C 2) + (A 1 + A 2) + (T 1 + T 2) + (B 1 + B 2)

Other combinations are also possible. There are frequent cases when musical composition requires performance for two or even three choirs.
Thus, according to the number of voices for which the performed work is designed, a mixed choir can be one-voice, two-voice, three-, four-, five-, six-, seven-, eight-voice, etc.

In Russian musical literature many polyphonic choirs. We recommend that the student analyze Taneyev's choirs, op. 27.

In musical practice, there are other concepts that are close in meaning to the term "arrangement": transcription, processing, harmonization, orchestration or orchestral edition.

The choral arrangement has distinctive features. Before embarking on the arrangement of any work, the arranger must be sure that the work will sound good in the intended performing staff, that the main and essential thing regarding the artistic merits of the work will remain. Moreover, this requirement applies to the transfer of vocal or instrumental work into the choral genre. For example, in romances poetic text often given in the first person, and therefore unacceptable for collective performance. We must not forget that the romance genre requires subtle agogic (tempo) and dynamic shades, which is achieved with great difficulty in choral performance.

Arrangement comes first creative process, requiring from the arranger mainly talent and flair in understanding the measure that should not be overstepped so as not to distort author's intention. The main task in this regard is to preserve the main characteristics of the work, such as musical thematic material, modal structure, harmonic language, rhythm, tempo, literary text. It is known that the transposition of a work into a different key changes its coloring as a whole. In more high work sounds lighter and lighter, and in the lower wilderness and not so expressive.

The main requirement for a choral arrangement is to follow the rules of comfortable tessitura. singing voices must be in the zones of the working range and working notes. The working range differs from the full range in that it does not contain upper and lower sounds.

Consider the general and typical ways arrangements. Sometimes the arrangement can be limited minimal changes original. For example, individual melodic turns are transferred to other choir groups in order for the melodic line to be performed more vividly, expressively and without excessive load.

It should be said about the features of the arrangement of some interval harmonies. The specificity of the choral sound is such that all ingervals, in convenient registers, usually sound good and noble. This also applies to such intervals as fourth, fifth, octave, which seem to sound empty on the piano. In choral timbres, these consonances have a completely different color, so they can be freely used in two-voice scores.

Arrangement of two-part homogeneous choirs

If a homogeneous choir is represented by its usual composition, that is, a female choir - sopranos and altos, a male choir - tenors and basses, then the tonality of a homogeneous choir is usually preserved in the transcription.

If a homogeneous choir consists of two high voices (soprano I and II or tenor I and II), then when transcribed to a mixed choir, it is necessary to transpose down by a convenient interval, usually not exceeding a major third. If a homogeneous choir consists of two low voices, then an upward transposition will be required.

In two-voice homogeneous choirs, if they contain elements of three-voices, all three voices are doubled. If divisi into two parts is carried out in the upper voice, then soprano I is doubled by tenors I, soprano II by tenors II, alto basses. With divisi in the lower voice, the soprano is doubled by tenors, altos I by basses II. The transition to another key is not required here.

1. The score of a mixed choir is formed by doubling all three voices.
2. The score of a mixed choir is formed by doubling two of the three voices of a homogeneous choir.
3. The score of a mixed choir is formed by doubling one of the voices of a homogeneous choir.

II way:

In arrangements by the second method, the tonality of a homogeneous choir is usually preserved. However, if a homogeneous choir has a divisi in the top voice (soprano or tenor), then transposition down will be required, otherwise the altos in a mixed choir will be very high.

III way:

when transcribed from the women's choir

when translated from male choir

The main method of such arrangements involves changing the arrangement of voices in a homogeneous choir while maintaining the tonality of the work. In choral practice, it has received the greatest distribution, since when applied it does not require any restrictions on the ranges in the voices of a homogeneous choir.

This method is most convenient in cases where the voices of a homogeneous choir are closely spaced. Arrangement for a mixed choir in this case gives an even distribution of voices in the chord and, thus, its full-fledged, unified sound.

With a wide or mixed arrangement of the voices of a homogeneous choir, undesirable gaps between the choral parts may form in the transcription, deteriorating the sound quality of the score. In order to prevent such breaks, it is necessary (if it is possible under the conditions of voicing and tessitura) to preserve the interval relationships that were in the chords of a homogeneous choir, or to rearrange the middle voices in the chord so that a break does not occur, or to introduce a fifth voice at the break point.

When transcribed in this way, the crossing of voices in chords of a homogeneous choir can also lead to gaps between voices. In such cases, the middle voices do not need to be interchanged to avoid breaks. It is necessary to maintain the same arrangement that was in the homogeneous choir.

It must be remembered that this method of arrangement is more appropriate in relation to works of a calm, unhurried nature. Expanding the choral range by an octave and changing the arrangement of voices in this case will not adversely affect the character of the sound.

A different result, directly opposite, can be obtained if the work is performed in fast pace and it is dominated by small durations. In the performance, awkwardness and heaviness, alien to the mobile tempo, may appear. Therefore, for such arrangements, it is not necessary to take works in which a change in texture will adversely affect the artistic merits of the arrangement.

There is another way, but in practice it is rare, since it requires limiting the ranges of the two lower parts of a homogeneous choir.

Arrangement of three-part homogeneous choirs of a homophonic-harmonic warehouse for four-part mixed

Unlike the previous type of arrangement, where a mixed choir was formed by doubling the voices of a homogeneous choir by octave, this type of processing involves the creation of a four-part score in which each of the voices will have its own independent melodic line. This method can be applied when the three-part choir or its individual constructions are presented in a homophonic-harmonic warehouse. Choirs with subvocal development should not be taken for such arrangements, since the four-voice harmonic texture can distort the characteristic coloring inherent in the subvocal warehouse.

If the female choir is transcribed, then the lower voice transmitted to the basses will sound an octave lower; if you make an arrangement for the male choir, then the upper one, transferred to the soprano part, rises an octave higher.

The middle voices of a mixed choir (altos and tenors) are formed in compliance with the norms of voice leading on the basis of filling the harmony of a four-part chord with missing sounds. In this case, the middle voice of a homogeneous choir does not necessarily have to go unchanged to one of the middle voices of a mixed choir.

Neither the melodic position of the chord, nor its form, nor the harmonic function can be changed. Only the fullness of the harmonic sound and the arrangement of voices in the chord can change. Often in three-voice works, the tonic is represented by a sixth chord. In a four-voice mixed score, this sixth chord is replaced by the main type of chord.

Arrangements of homogeneous choirs with a variable number of voices for mixed choirs

Such arrangements are made on the basis of a combination various ways considered earlier. Single-voice constructions, two-voice, as well as two-voice with elements of three-voice will require an octave doubling of the voices of a homogeneous choir. In three-voice episodes, two possibilities of arrangement may arise: an octave doubling of choral parts or the replacement of three-voice chords by a four-voice presentation, in which each of the voices of the mixed choir will have an independent melodic line.

The choice of one or another method will depend on the features of this construction.

Arrangements of four-part mixed choirs into four-part homogeneous

A characteristic feature of the arrangement of four-part mixed choirs for four-part homogeneous choirs is that from a composition richer in register and timbre-expressive terms, the work is transferred to a choral composition with more modest means and possibilities. Therefore, not every work written for a mixed choir can be arranged for homogeneous compositions without prejudice to its artistic content.

1. The chorus is set out in a close arrangement.
2. The chorus is set out in a wide arrangement.
3. The chorus is set out in a variable arrangement.
4. The choir, regardless of location, is written in a complex developed form.

In choral literature, there are works for a mixed choir with a close arrangement sustained from beginning to end. More often these are small constructions in the form of a period. In order to arrange such a mixed choir for a women's choir, you need to raise the key by a second or a third and transfer the voices according to the following scheme:

With such a gear change, the inversion of the chord is sometimes changed. When arranging works written for a mixed choir of the named type for a male choir, the key of the work usually needs to be lowered by a fifth-sixth (for a professional male choir), and for amateur choir up to and including the octave.

Such compositions are rare in choral literature. Just like works with a constant close arrangement, choirs with a constant wide arrangement of voices are usually presented in the form of choral miniatures. Their arrangement for a homogeneous composition is made by turning a wide arrangement into a close one without changing the key.

An exception is the arrangement for a professional male choir, for which the tonality of the work may be slightly increased. The tonality of the amateur depends on the upper sound of the soprano part. It should not be higher than the "fa" of the first octave.

Works for a mixed choir with a variable arrangement of voices are most often found in choral literature. When arranging this kind of scores into homogeneous compositions, the question arises of choosing the key for the male and female choirs.

The fact is that in works that include both a wide and a close arrangement and, therefore, are no longer choral miniatures, and works more large form, the entire range of the choir can be used, including the extreme registers of the choir or its individual parts, which most often turn out to be impossible to change either upwards or downwards.

It follows from this that it is preferable to preserve the tone of the original. However, the preserved tonality constantly leads to a discrepancy between the registers of one composition of the choir to another. Therefore, when arranging a mixed choir with a variable arrangement of voices for homogeneous compositions in the latter, it is often necessary to reduce the number of voices in chords, reducing them to three-voices, two-voices, and sometimes to one-voices, making sure that the filling chord sounds are not located above the upper voice and would not form arbitrary quarter-sext chords.

It is necessary to carefully monitor the smoothness of voice leading, the observance of which is associated with additional difficulties arising from the constant change of close and wide arrangement in the original, each of which requires a restructuring of the arrangement of voices within homogeneous choirs. We constantly have to deviate from the author's conduct of voices, then return to it again.

If a work for a mixed choir has the character of an extended, large-scale canvas, as a rule, it is not possible to arrange such a work for both female and male compositions due to the discrepancy between the capabilities of the indicated performing groups.

Arrangements of four-part mixed choirs for three-part homogeneous

Such transfers are carried out as follows. The melodic line of the upper voice of the mixed choir is completely preserved and transferred to the upper voice of the homogeneous choir. Only the octave of its sound can change, if this is an arrangement for a male choir. The other two voices in the homogeneous choir are formed on the basis of the harmonic sounding of the other three voices of the mixed choir, taking into account their new location in the chord.

It is impossible to set ourselves the task of accurately transferring any of the three lower voices of a mixed choir to the score of a homogeneous choir. The desire to keep these voices intact can lead to inferior sounding of chords in a homogeneous choir. In a three-voice score, it is also not necessary to preserve the form of the chord in comparison with its four-voice presentation. More important in this case is the correct arrangement of the voices in the chord. The cadence turns in the three-voice version allow for a freer approach in terms of arrangement. For example, the final tonic and the dominant that precedes it can be represented by their inversions: a tonic sixth chord and a dominant second chord (incomplete). Replacing four-part chords with three-part ones, when the completeness of harmonic sounding is lost to some extent, therefore it is desirable to preserve in these chords the introductory tone, seventh, none, altered tones, on which the coloring of harmony, its specific coloring directly depends.

One of the most important tasks in the transposition of the named type is right choice the interval between the melodic line and the newly formed lower voice. This interval should reproduce as accurately as possible the harmonic color of the corresponding four-part chord. For example, a dominant seventh chord (in the position of a third) with a resolution of a tonic triad, when replaced by a two-voice, an enlarged quart with a resolution of a tonic sixth will sound best:

It should be noted that replacing the dominant seventh chord and its inversions with a two-voice sound, it is desirable to preserve the most characteristic sound of this chord - the seventh.

The choice of the required interval when transcribed to a two-voice choral composition largely depends on the melodic position of the four-voice chord of the mixed choir. For example, if there is a dominant second chord in the melodic position of the opening tone, this chord is best replaced with an augmented fourth:

If you take the dominant second chord in the position of a fifth or fundamental tone, then instead of an increased fourth, a big sixth (1) or a big second (2) will sound:

When transcribing four-part mixed choirs for two-part homogeneous ones, the harmonic coloring of triads and their inversions is best conveyed by full-sounding intervals: thirds, sixths, less often decimals. When replacing seventh chords of the dominant group with a two-voice sound, a major second, a minor seventh, tritones, less often a sixth and a third are widely used.

Empty-sounding intervals (fourth and fifth) in works of a harmonic warehouse are best used on weak beats of the measure. On a strong beat in the middle of musical constructions, a quart is more often used in the form of a delay. In the final revolutions, fourth and fifth are used in their immediate sound. The quart usually reproduces the harmony of the cadence quarter-sext chord, and the quint - the cadence dominant, resolved into the final tonic.

Quarts and fifths, in combination with other intervals, are used in a variety of ways in two-voice performances of Russian folk songs. Here the scope of their use is greatly expanded. The characteristic coloring of these intervals gives the sound that special, inimitable coloring that is inherent in the subvocal warehouse of Russian folk music.

The type of choir is determined depending on which parties make up it. Chorus, consisting of female voices, is called a homogeneous women's choir. Similarly, a male choir is called a homogeneous male choir, and a choir consisting of boys and girls is called a children's choir. There is a tradition of performing works written for a children's choir, female composition and vice versa. It is possible to determine what type of choir the author assumes in this case, if he does not indicate specific types of voices, based on the figurative content of the work.

A choir consisting of male and female voices is called a mixed choir. A variation of it is the choir, in which the parts of female voices are performed by boys, it is often called the boys' choir. As a rule, all Orthodox spiritual chants written before the beginning of the 20th century were intended to be performed by such a mixed choir.

The type of mixed choirs also includes incomplete mixed choirs. Incomplete mixed choirs are choirs where any one of the parts is missing. Most often these are basses or tenors, less often - any of the female voices.

Each type of choir corresponds to certain types of choirs. The type of choir indicates the number of choral parties included in its composition; choirs are one-voice, two-voice, three-voice, four-voice, etc.

Homogeneous choirs, as a rule, have two main parts (soprano + alto or tenor + bass), therefore, the main type of homogeneous choir is two-part. The mixed choir consists of four main parts, and its most characteristic form is four-part.

Reduction and increase in the number of real-sounding parts by duplication or, conversely, division can give new types of choir. For example: homogeneous one-part choir, homogeneous four-part choir, mixed eight-part choir, mixed one-part choir, etc.

Duplications and divisions can be either permanent or temporary. Choral score with an unstable change in the number of votes will have a form called episodic one-, two-, three-, eight-voices, with the obligatory indication of a stable number of votes (for example, a homogeneous two-voice female choir with episodic three-voices). With temporary divisions, sometimes denoted by the Italian word divisi, the emerging new voices have, as a rule, a subordinate meaning.

In addition to simple choirs, there are also multi-choir compositions, when several choirs with independent choral parts simultaneously participate in the performance of works. Such multi-choir scores are particularly common in operatic music. In Orthodox musical practice, there is also a tradition of composing the so-called antiphonal 6 works, in which two choirs sing, as if answering each other. Such compositions are called respectively: double, triple, etc.

2. Range and tessitura features of the product

After determining the type and type of the choir, it is necessary to find out the range and tessitura features of the choral parts. First of all, the general range of the choral score is determined. To do this, it is necessary to “measure” the distance between the extreme lower and upper sounds found in this score. For clarity, you can mark them on the musical staff as follows:

The concept of range is closely related to the concept of tessitura, the most used part of the range in this work. To assess the tessitura, it is necessary to carefully study the use of register possibilities of voices in all parts, throughout the entire composition. Tessitura, depending on the range and register features of a particular batch, can be medium, high or low. For example, the registers of the soprano part would look like this.

Example 20

Similarly, taking into account the peculiarities of the vocal ranges, registers will be distributed in other choral parts.

A tessitura can be called comfortable if the height position of the choral part corresponds to the free sound of the voice. If, during the performance, the voice sounds in an uncomfortable register for a long time, tensely, the tessitura is considered uncomfortable. It is difficult to sing for a long time in the upper register. In a low register, the technical and dynamic capabilities of the voice are significantly limited. In most cases, significant parts of the choral parts are placed in the middle, most convenient for singing, tessitura.

However, the above does not mean that the use of extreme registers is undesirable and wrong. Very often it is in this way that the composer achieves the necessary timbre selection of a particular part, the creation of a certain color.

Being a chorister at the Danilov Monastery is a great job. After all, the choir in the monastery is a participant in almost all of its events. These, of course, are Sunday and holiday services (and given the number of churches and thrones in the monastery, holidays occur several times a week). This is the service of akathists, prayers, requiems and funerals. Very often the choir takes part in the Patriarchal and Hierarchal services in the monastery and beyond.

And being a member of the concert composition of the choir is doubly difficult. Indeed, in addition to such active liturgical activity, there is no less active concert and educational activity. Performances in the Moscow region, tours in Russia and abroad... Singers almost never have not only free days, but sometimes even free hours!

Many artists of Moscow choirs earn extra money as singers, and many singers of Moscow churches work in Moscow choirs. But you will not meet almost any of the members of the Danilov Monastery choir in other groups. Impossible to combine due to lack of time!

Of course, such a load can only be sustained by being sincerely attached to the monastery and the choir, and all the singers of this group are just like that. Despite the fact that some of them have been working here since its inception - most of them are 10-15 years old, and the youngest participants are not yet 30 - the choir is for them big family, where they share the most intimate with each other, empathize and try to help each other in everything. Such an atmosphere in the team throughout for long years created and maintains to this day artistic director and the chief regent of the choir - Georgy Safonov. He, not only as an attentive teacher, is a good friend, but also as a good father takes care of each of his artists, knows everything about their families, life, each of them has helped or is helping to get settled in life.

According to George Safonov, each of his singers is unique. Of course, each of them has a higher choral or vocal education, experience in artistic and ensemble work, musical literacy at highest level. But the most important thing in his artists is the ability to abstract from external circumstances, forget about their problems and give 200% at performances. This is what distinguishes the Festive Male Choir of the Danilov Monastery from other choirs - purposefulness, sincerity, spirituality, complete unity with the audience, no matter what program the choir performs.

Artistic Director and Chief Regent

Georgy Safonov was born on July 3, 1964 in Belarus, in the city of Minsk. In 1971, at the age of seven, he entered the Secondary Special Music School at the Belarusian State Conservatory, class choral conducting. He sang in the boys' choir under the direction of the Honored Artist of Russia I. A. Zhuravlenko.

Finished school in 1982. In the same year he entered the Russian Academy of Music. Gnesins in the class of the Honored Artist of Russia, Associate Professor M. A. Bondar (student of the well-known conductor in Russia, the last regent of the Synodal Choir, professor of the Moscow Conservatory N. M. Danilin).

He combined his studies at the Academy with work in two groups - the children's chamber choir of the Children's House of Culture "Moskvorechye" (artistic director) and the chamber choir "Vivat" Musical Society Moscow region (choirmaster). In 1988 on the First All-Russian competition conductors in the city of Gorky (now Nizhny Novgorod) became a laureate (II prize). After completing five courses, he entered the assistantship-internship at the Academy, which he graduated in 1991.

During the period of assistantship, he was a teacher at the Department of Choir Conducting of the Academy (class of conducting and choral arrangement). In 1990 he became the chief conductor of the choir of the Moscow Bakhovsky Center, and in 1991 the artistic director and chief conductor of the Moscow Ensemble of Soloists "Russian Renaissance".

Since 1989, he was invited as a chorister to the choir at the Moscow Novodevichy Convent, where he began to study as a choir director. Started in 1991 singing career in Danilov stauropegial monastery ROC of Moscow.

Choir soloists

Korogod Alexander Ivanovich First tenor.

She has been singing in the monastery since November 2012.

Born in Mikhailovka, Volgograd Region. Graduated from the Volgograd College of Arts named after P.A. Serebryakova, Academy choral art them. V.S. Popov. Collaborated with the choir of the Sretensky Monastery. He is the founder, art director and producer of the variety art group Choir Bravissimo.

Denisov Denis Nikolaevich Second tenor.

She has been singing in the monastery since 2002.

He received his musical education at the Orthodox St. Tikhon Epiphany Institute at the Faculty of Church Singing, graduated from the graduate school of the Russian Academy of Music. Gnesins. From 2003 to 2013 artistic director and chief conductor Choir of the Church of St. Tikhon Patriarch of All Russia in Klin.

Savenkov Dmitry Viktorovich. Tenor altino.

She has been singing in the monastery since 2011.

Born in Ukraine in Kharkov. Graduated from RAM them. Gnesins, in 2010 he entered the P.I. Tchaikovsky at the Department of Opera and Symphony Conducting. He worked as a choirmaster of the State Russian Choir named after A. A. Yurlov under the direction of G. A. Dmitryak, collaborated with the Moscow Chamber Choir of V. N. Minin, the State Academic Russian Choir. A. V. Sveshnikov, State Academic symphony chapel V. Polyansky. He served as a chorister in many monasteries in Moscow and the Moscow region.

Obukhov Valery Petrovich. Bass.

She has been singing in the monastery since 2011.

Honored Artist of Russia, graduated from the Moscow State Tchaikovsky Conservatory, GITIS named after A. V. Lunacharsky. Soloist of the Moscow State Academic Children's Musical Theater named after N. I. Sats. He has been a member of the Danilov Monastery Choir since 1995 and has performed over a hundred tour performances in Russia and abroad.

Singing choir

Alexey Zamlely. Tenor.

He graduated from the Stavropol Regional College of Arts, the Rostov State Conservatory named after S. V. Rachmaninoff and postgraduate studies in choral conducting. He was a chorister and choirmaster of the Donskoy choir "Anastasia", collaborated with the Rostov male choir "Svetilen". Served as regent at St. Demetrius of Rostov, led the professional mixed choir named after St. Dimitri Rostovsky.

Alexander Pronin. Tenor.

Educated in Russian Academy music to them. Gnesins. He worked in the Moscow Chamber Choir under the direction of V. N. Minin, at the same time he was a soloist of the Moscow Philharmonic. She has been singing in the choir of the Danilov Monastery since the early 2000s.

Igor Krasnoshchekov. Tenor.

Graduated from the Rostov State Conservatory named after S. V. Rachmaninov, viola class. As a violist, he collaborated with the Orchestra of Radio and Television, the large symphony orchestra conducted by V. I. Fedoseev and the Symphony Orchestra of Cinematography. He worked as a singer in the choir named after A. A. Yurlov, as well as in the synthesis chapel led by G. Shaidulova.

Alexander Kanzyuba. Bass.

Born in Donetsk. Graduate of the Ural State Conservatory named after M. P. Mussorgsky. Worked in Kemerovo state institute culture teacher at the department of choral conducting, at the same time he was the regent of the Cathedral of St. Nicholas the Wonderworker in Kemerovo. Organized the first festival of church choirs of the Urals and Siberia "Meeting".

Andrey Ukrainians. Bass.

Born in Chelyabinsk, where he graduated from the School of Music and the Institute of Arts, worked as a regent in cathedral Chelyabinsk.

He is fond of fishing, picking mushrooms, canning and winemaking, and also knits on knitting needles.

Evgeny Ilyinsky. Bass.

He was educated at the Russian Academy of Sciences. Gnesins, worked in the chamber choir of the Ministry of Culture of the USSR p / y. V. Polyansky, in the ensemble "Peresvet". Laureate international competition in Los Angeles as part of the "Choral Academy" p / y. A. Sedogo. In the choir of the Danilov Monastery since 1997.

Alexander Bezdenezhnykh. Baritone.

He has served in the choir of the Danilov Monastery for more than 20 years, as an assistant to the artistic director both on the kliros and outside it. He graduated from the department of church singing of the Moscow City Teachers' Seminary, worked with the choir "Orthodox Singers" led by G. Smirnov.

Kirill Kislyakov. Baritone.

Born in Bulgaria, the city of Varna. Graduated from the V. S. Popov Academy of Choral Art. Collaborated with the charitable foundation "World of Art" led by V. M. Teterin in different regions of Russia, studied music with orphans and disabled children. Organizes concerts.

Alexander Konev. Baritone.

Born in the Komi Republic. Graduate of RAM them. Gnesins. Regent, organizes the concert activities of the choir of the Danilov Monastery.

Sergei Gerasimov. Bass.

Born in the Urals, loved since childhood folk music He played harmonica and accordion. He studied vocal singing with Professor Sodovskaya Helena Bagislavovna. Choir of the Danilov Monastery since 1998. Successfully combines the medical practice of a psychiatrist-narcologist with singing in a church choir.

Ivan Pimenov. Tenor.

Born in Moscow. In 2005 he graduated from the Moscow Orthodox Theological Seminary. Worked in the Architectural Bureau. owns Greek, thanks to which it cooperates with the Alexandrian Compound, the Greek cultural center, Moscow State University, Ministry of Foreign Affairs. She has been singing in the monastery choir since 2006.

He enjoys sports, loves cycling and skiing.

Alexey Yurchenko. Baritone.

Born in Kamchatka. In 2000 he graduated from the Kamchatka Regional Music College and entered the Astrakhan State Conservatory in the class of choral conducting. Since 2004, he has served as director of the Skimen male choir at the John the Baptist Monastery. In 2007 he founded the Resurrection Boys Choir. From 2009 to 2011 - artistic director of the male choir at the Astrakhan Philharmonic. She has been singing in the monastery since 2013.

Born and lives in Moscow. Musical education first received at the Moscow Boys' Chapel, then at the Moscow School at the Moscow Conservatory as a choral conductor. After college, he entered GITIS at the faculty of musical theater actor. Worked as a soloist at the Moscow State Academic Children's musical theater them. N. I. Sats. He served as a singer in the choirs under the direction of V. K. Polyansky, A. Sedov, V. N. Minin. He was a soloist of the GSVG ensembles (group Soviet troops in Germany) and "Don Kazaken" (Germany). She has been singing in the choir of the Danilov Monastery since 2010.

Nicholas prefers classical music, jazz and Soviet films.

Petr Fomin. Tenor.

Born in Moscow. In 1988 he graduated from the Moscow Power Engineering Institute. From 1983 to 1989 he sang in the Choir of Youth and Students under the direction of B. G. Tevlin, from 1991 to 1993 in the choir of the Novospassky Monastery. He served in the choir "Old Russian chant", as well as in the courtyard of the Pskov-Caves Monastery in Moscow ( Sretensky Monastery). From 1989 to 1991, and then since 1999 - work in the choir of the Danilov Monastery.

Alexander Kadin. Bass.

Born in the city of Osh, Kyrgyz ASSR. In 1982 he moved to Abkhazia, graduated from school in the city of Tudauta and a music school in the city of Sukhumi. Since 1998, he worked on the kliros of the New Athos Monastery and in the Abkhaz choir chapel. Since 2007 lives in Moscow. She has been singing in the Danilov Monastery since 2010.

Alexander is married and has 6 children.

Alexander Garkusha. Baritone.

holy baptism accepted in the South Kazakh city of Turkestan, where many exiled Greeks lived, due to which a strong church community was formed. He acquired singing skills in church from his grandmother, who served God in the kliros. After graduating from school, he entered the music school at the piano department. From 1973 to 1975 he served in the special forces. In 1983 he graduated from the conducting and choral faculty of the Alma-Ata State Conservatory, after which he was accepted into the group percussion instruments State symphony orchestra. Since 1986 he has been working as an instrumentalist in the Kazakh tour and concert association "Kazakhconcert". In the future - the work of an accompanist and piano teacher in children's music schools suburbs. Since 1990, he served as a chorister in the Novodevichy Convent, after which, in 1993, he was appointed to the position of a fraternal choir, and then to the festive kliros of the Danilov Monastery, where he still serves.

Alexander is very interested in Russian sports, loves football and MMA competitions.