Head of the military orchestra service Timofey Mayakin. Read more: Ministry of Defense of the Russian Federation
Let's talk about the pensions of current retirees and those who have not yet thought about these issues. Namely, about the moment, which is called the pension formula and is the fruit of the work of the government and the Ministry of Labor and Social Protection. Our interlocutor - Ignat Mikhailovich Ignatiev, Director of the Pension Department of the Ministry of Labor and Social Protection.
- Is it possible, working today and having twenty years left, to imagine your life in retirement?
Ignat IGNATIEV: As for the pension formula, it will be introduced in 2015; the corresponding law was adopted by the State Duma. What are its advantages? The main points in the current pension formula are that there is such an indicator as the expected period of pension payment (“survival period”), it is now set for a period of nineteen years. This indicator will not be in the new pension formula: the new formula is a kind of logical continuation of the current one, but is more advanced and flexible.
And its essence is that citizens, if they decide to postpone retirement, can significantly increase their pension. Let's say, if a citizen postpones retirement for five years, then this will increase payments by one and a half times, and if by ten, then twice. These are significant incentive coefficients, and this is the main essence of the new formula.
When we started developing the pension formula, we were faced with three tasks. The first is to maintain the achieved level of pension provision and lay the foundations for its further growth. We believe that this task has been completed: pension growth will continue - an annual increase in pensions is provided depending on inflation, plus payments depending on income Pension Fund, made up of contributions and transfers from the Federal budget. Now the average pension is 1.8 times the subsistence level of a pensioner, and by 2030 this figure will be about 2.5 times the subsistence level (currently it is six thousand rubles).
Ignat IGNATIEV: As for the talk about a hidden increase in the retirement age, the fact remains: retirement age in Russia does not change: 60 years for men and 55 for women. At the same time, I would like to emphasize that the overall level of pension provision is growing. Therefore, it is not necessary to say that incentives for later retirement will lead to a significant reduction in the level of pension provision for those who retire on time...
Ignat IGNATIEV: Experts worked on the issue of not paying pensions to working pensioners: in the classical sense, a pension is a replacement for lost earnings. But our level of provision for the elderly is not as high as we would like, so we will not be able to follow the guidelines of classical insurance and not pay pensions to working pensioners...
Thesis
Mayakin, Timofey Konstantinovich
Academic degree:
Candidate of Philosophy
Place of thesis defense:
Nizhny Novgorod
HAC specialty code:
Speciality:
Theory and history of culture
Number of pages:
Chapter 1. Specifics and social functions military musical culture of Russia.
Chapter 2. Formation and development of professional music education in Russia.
Chapter 3. Service and concert activity military bands and ensembles.
Chapter 4. Development of musical amateur performances in the army environment.
Introduction of the dissertation (part of the abstract) On the topic "Military musical culture of Russia"
Relevance of the research topic. The specifics, structure and functions of Russian military musical culture largely determine the relevance of its research due to the following circumstances.
Firstly, the emergence of cultural studies as a comprehensive science of culture, with all the diversity in the definition of the concept “culture”, has revealed at least three sets of problems that today determine its structure: 1) theory of culture, 2) history of culture, 3) applied cultural studies . Military musical culture is related to the problems of applied cultural studies, as are religious, moral, physical, environmental, political and legal culture. Classifying military musical culture as one of the types of cultural studies involves studying its specificity, originality and features.
Secondly, studying the specifics of military musical culture requires research into its social necessity, structure, forms of manifestation and the social functions that it performs. Analysis of these aspects is clearly insufficient in modern cultural literature.
Thirdly, the study of military musical culture, taking into account its multifaceted functions, can help increase the authority of the Armed Forces Russian Federation, especially in modern conditions.
Fourth, many years of historical development experience Russian statehood showed that the army is not only an armed force, but also a spiritual one. It gave the people such outstanding figures of culture and art as N.A. Rimsky-Korsakov, A.V. Aleksandrov, S.A. Chernetsky, V.I. Agapkin and others.
Fifthly, it is relevant to study military musical culture from the point of view of its psychological, national-patriotic role in the education of personnel of the Armed Forces of our country.
The degree of scientific development of the problem. It is unfortunate to note that the level of scientific elaboration of the problem of the development of military musical culture in Russia is very weak and research is fragmentary. Considering the problem from a class angle did not always contribute to its holistic study. There are no works that directly pose the question, and only the study of many sources makes it possible to conduct such a study and highlight individual aspects, problems, and fragments.
All works, which to varying degrees reflect the problem of the development of military musical culture, can be divided into several groups.
The first includes the works of Russian culturologists of a general methodological nature, which to one degree or another touch upon the problems of musical culture in theoretical terms1.
The second group is represented by complex works of domestic art historians on the history of music and musical culture of Russia2. In them, the problem of the development of military musical culture is considered in general form, in connection with issues of cultural construction of the state. As a rule, all these works provide a fairly detailed excursion into the history of musical life.
1 See: Arnoldov A.I. Man and the world of culture. - M., 1992; Vintshchkovsky M.N. The role and place of musical art in the formation of the spiritual world of the Soviet warrior: dis. . Ph.D. Philosopher Sci. - M., 1984: Vygotsky U.C., Luria A.R. Categories and concepts of cultural theory. - M., 1985; Dorogova JI.H. Art culture and the formation of a warrior’s personality: dis. . Doctor of Philosophy Sci. - M., 1990; Sokolov E.V. Concepts, essence and main functions of culture. - L., 1989, etc.
2 See: Bronfgm E.F. Musical culture of Petrograd in the first post-revolutionary five years: research. - L., 1984; Nikitina L.D. Soviet music. History and modernity. - M., 1991; Tarakanov M.E. Musical culture of the RSFSR. - M., 1987, etc.
Russia. At the same time, coverage of issues related to the development of military musical culture is fragmentary.
The fourth group includes works devoted to the history of the formation of the Red Army Song Ensemble and the creative activity of its first leader A.V. Alexandrov."
These works are of great scientific value and are important, constituting the source base for the research. At the same time, an analysis of the presented monographs, articles, and dissertation research shows that military musical culture was not the subject of independent research, and the problem of its development did not receive sufficiently comprehensive, generalizing coverage.
A separate group of sources consists of documents widely represented in historical archives Russia3, this should also include legislative documents and acts published in different years (decrees, orders, directives, charters, instructions), indirectly affecting the problem of the development of military musical culture and which made it possible to significantly supplement the source base of the study4.
1 See: Aksenov E.S. New in the instrumentation of the Soviet military march. - M., 1970; Matveev V.A. Russian military orchestra. - M., 1965; Surin N.K. Military ceremonial music // Reader on the history of military music. - M., 1988. - Part II; Tutunov V.I. 250 years of the Military Band Service in Russia. - M., 1961, etc.
2 See: Alexandrov B.A. The song is calling. - M., 1982; Korosshelev B.E. Art born of the people. - M., 1991; Pozhndaev G.A. Red Banner Ensemble: the path of song and glory. - M., 1988; Shilov A.B. Unknown authors famous songs. - M., 1961, etc.
3 In the Russian State Military Archive (RGVA), Russian State Archive of the Navy (RGA Navy), Russian State Archive of Literature and Art (RGALI).
4 See: Combat cavalry regulations of the Red Army. - Pg., 1920. - Parts II-III; Combat infantry regulations of the Red Army. - Pg., 1920. - Part I; Charter of the garrison service of the Red Army. - Pg., 1918, etc.
Another group of sources consists of memories, memoirs, diaries of prominent figures and cultural workers, which provide a subjective assessment of military music, musical culture in general, and its role in the moral and psychological education of soldiers1.
A separate type of material under study is represented by collections of military songs, marches, concert works for military bands and amateur groups.
The subject of the study is the military musical culture of Russia. Considering that this subject is quite multifaceted, we highlight those aspects of analysis that constitute the object of study: the historical formation of military musical culture, its specifics, the main social functions and forms of manifestation, the structure of training military musicians and conductors.
Purpose and objectives of the study. The main goal of the study is a historical and cultural analysis of the specifics, structure and functions of military musical activity.
The goal necessitated the study of a number of specific tasks that determined the content of the work:
Identification of social needs in military musical culture;
Analysis of the specifics of military musical culture as special type applied culture of society;
Study of the main social functions of military musical culture with the definition of their features and meanings;
Study of the structure and features of military music education and training of relevant personnel;
1 See: Vasilevsky A.M. Life's work. - M., 1974; Vsevolzhsky I.E. Prisoners of the Sea.-M., 1961; Furmanov D.A Chapaev.-M., 1961, etc.
Analysis of the main forms of organization and manifestation of military musical activity.
Theoretical basis of the dissertation research. The theoretical foundations of the study were the works of domestic and foreign authors devoted to the analysis of the social essence of culture, its place in the system of society, the patterns of formation of various types of applied culture, as well as works revealing the theory of musical culture and its specific form- military musical activities. Analysis of the structure of military music education predetermined the need to turn to works of a psychological and pedagogical nature.
Methodological basis of the dissertation research. Methodologically, the work is based on dialectical method with his likes basic principles, as a principle of polarization, which made it possible to explain the contradictory nature of military musical culture as a unity of utilitarian-military and artistic-musical activity; the principle of functionality, with the help of which a multifunctional analysis of military musical culture is made; the principle of determinism, which necessitated the study of the dynamics of military musical culture depending on socio-political changes in society.
Scientific novelty of the research. The work explores problems that may be of scientific value for cultural studies (theory and history of culture):
Firstly, the specifics of military musical culture as a special type of applied culture have been clarified;
Secondly, the social determination of military music is shown by changes of a socio-political nature in the country;
Thirdly, a system of social functions of military musical culture in public life has been identified;
Fourthly, genres, forms of manifestation and types of military musical activity have been studied;
Fifthly, the features and structure of military music education at the stage of its formation and subsequent formation are analyzed;
Sixthly, the trends and prospects for the development of military-musical amateur performances are considered.
Provisions for defense:
1. The specifics of the military musical culture of Russia, presented as a unique type of applied culture of society, are determined not only general principles musical creativity, but also the features of its application and use in military service.
2. Specifics applied nature military music culture is determined by the peculiarities of personnel training and the content of the structure of the entire system of military music education.
3. The main types and forms of military musical activity have common and special features in peaceful and combat conditions of society.
4. An analysis of the real existence of military musical culture in the system of society reveals its main social functions: ritual-organizational, organizational-mobilizing, parade-demonstrative, national-patriotic, educational-educational, concert-theater.
5. The military musical culture of Russia, as a universal and multifaceted phenomenon, influences the mass consciousness of society.
Theoretical and practical significance of the study. In theoretical terms, the research materials may be significant for a more in-depth understanding of the problems of applied cultural studies, developing within the boundaries of general theory and cultural history. This is evidenced by similar studies of design culture, behavior culture, speech culture, religious culture, etc.
We see the practical significance of the study in the possibility of pedagogical use of these materials not only in the system of military music education, but also in organizing more effective practical military music activities.
Approbation of research results. The results of the study were presented by the author at meetings of the Department of Culture and Art of the Military University, the military conducting department of the Military Conducting Faculty at the Moscow State Conservatory. P.I. Tchaikovsky, Department of Philosophy and Political Science, Nizhny Novgorod State University of Architecture and Civil Engineering. Certain provisions of the work were considered at scientific-practical conference Military conducting faculty. The dissertation materials are reflected in several articles, as well as in the author’s monograph “Military Musical Culture of Russia” (M., 2010) and in the collective monograph “ Military music of Russia"(M., 2007).
The materials of the work are used in the educational process of the Military University and the Military Institute of Military Conductors.
Structure of the dissertation. The dissertation includes an Introduction, 4 chapters, a Conclusion and a Bibliography.
Conclusion of the dissertation on the topic "Theory and history of culture", Mayakin, Timofey Konstantinovich
Conclusion
The historical experience of the development of military musical culture in Russia shows that music is becoming not only an important factor in the patriotic and moral education of soldiers, but is also an integral part of their life.
In addition to this, being a powerful tool military-patriotic, moral and aesthetic education warriors, military musical culture also had a significant influence on the development of musical life throughout the country.
Service and creative activity A.V. Aleksandrov, S.A. Chernetsky, V.I. Agapkin, L.A. Petkevich and many other bandmasters; organization of musical and educational events throughout the country, charity concerts and tour performances with the participation of military bands, song and dance ensembles and numerous amateur Red Army groups, the development of military songs, which were widely used not only in the military environment, but also beyond - these and other facts confirm the author’s opinion about the significant influence representatives of the Army and Navy on the development of musical life throughout the country.
Thus, the analysis of the development of military musical culture allows us to make some generalizations and conclusions, the essence of which boils down to the following:
Firstly, military musical culture is an integral part of the musical culture of the entire country as a whole, which, along with general features: uniformity of use of musical genres, mode-harmonic tones, musical instruments, etc., and its own individual, specific features.
Secondly, military musical culture has its own rich history of origin, formation and development. It is important to note that it evolved and was inextricably linked with the process of economic, military and cultural development of the country and its Armed Forces over several centuries.
Thirdly, as the results of the study show, all personnel of the Armed Forces become its bearers, regardless of their service affiliation (in pre-revolutionary Russia The main carriers of musical culture in the army and navy were officers).
Fourthly, military musical culture did not develop arbitrarily, but on the basis of certain factors, one of which is continuity.
Fifthly, analysis of the development of military musical culture helps to clarify its place and role in various areas of military activity. The results of the study indicate that music, since the founding of the first regular regiments of the Russian army, has gradually become one of the important integral elements of the patriotic, moral and cultural education of soldiers.
First lesson. The accumulated experience indicates that the development of military musical culture is directly related to the economic, political and cultural development states.
Lesson two. The rapid flourishing of military musical culture is possible only when the state treats its army with respect, delving into its material and spiritual needs.
Lesson three. Historical practice shows that the decline in interest on the part of the state and the leadership of the Armed Forces in cultural education officer and soldier ultimately leads to a weakening of the patriotic and moral education of soldiers both in peacetime and in wartime.
Lesson four. An objective analysis shows that in order to ensure the successful development of military musical culture, it is necessary to have a well-organized system of training and staffing military conductors, musicians, and cultural and educational workers in the Armed Forces.
In addition, for more effective activities of these specially trained military personnel in the field musical education soldiers must also have a well-functioning system of supplying troops with both technical means of propaganda (records, video cassettes, CDs with recordings of classical, military and modern music), and musical instruments, publications of music collections of military songs, marches, popular domestic music magazines.
The relevance of the topic of the dissertation research, the increasing interest in it among cultural scientists, historians and musicologists also allow us to formulate some theoretical and practical recommendations.
Firstly, great benefit would bring the combined efforts of cultural scientists, historians and musicologists in the study various aspects the development of military musical culture from the birth of the regular army to our time.
Work on the dissertation made it possible to identify a range of problems that could become the subject of further independent scientific research. These include: “Development of military rituals in the Armed Forces”, “ Organization musical leisure military personnel" etc.
Secondly, it is necessary to publish a methodological manual on the history of the development of military musical culture in various historical stages, for work on which it is advisable to involve specialists from the Department of Culture and Art of the Military University and the Department of Theory and History of Music of the Military Institute of Military Conductors.
Thirdly, on the basis of new data on the development of military musical culture, it is necessary to clarify the content of reference military and musical publications, as well as to supplement the definition of “military musical culture”, its classification, features and differences.
Fourthly, due to the change in last years political thinking, as well as a change in ideological guidelines in the minds of soldiers of the modern Armed Forces of the Russian Federation, there is a need to supplement the sections of the program of the course of lectures at the Department of Culture and Art of the Military University, dedicated to the artistic culture of military personnel, and in the future to use the accumulated material in the course of lectures on the public-state program preparation.
Fifthly, it would be advisable to return many ancient marches and military songs to the army and navy, for this purpose publishing several new military collections of songs and marches for various branches of the Armed Forces of the Russian Federation. Introducing them into everyday life Russian troops will significantly enrich not only the service and combat repertoire of modern orchestras, but also expand the song repertoire of soldiers' amateur groups.
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In the Kirzhach district today they held last way Lieutenant General Valery Khalilov. The director of the famous Alexandrov Ensemble died along with his ensemble in a plane crash over the Black Sea on December 25, 2016. Khalilov bequeathed to his relatives to bury him in the homeland of his ancestors.
The most worthy son of Russia, Valery Khalilov, is being seen off on his last journey in the homeland of his ancestors, on Kirzhach soil. Khalino, Arkhangelsky Pogost, near the Church of the Archangel Michael. The stone church on the road from Kirzhach to Khmelevo was built in 1814. Valery Mikhailovich Khalilov really dreamed of the revival of this church, and made every effort to achieve this. The future People's Artist of Russia, the famous military conductor and composer spent his childhood in the Vladimir outback. He was baptized at the age of 4. And in his interviews later he often talked about his grandmother, about the “fairytale Vladimir forests”, “strawberry meadows” and “poppy churches”. Hundreds and hundreds of people came to pay tribute to Valery Khalilov. From different cities of Russia. Moscow, Vladimir, Kirzhach, Yekaterinburg... These are the highest ranks of the Ministry of Defense, generals and officers, artists. Official delegations. Escort from the military university, a delegation from the Moscow military music school, which now bears the name of Khalilov. According to friends and colleagues, this loss is impossible to come to terms with. Khalilov is a name-symbol. And for Russian army, and for Russian culture. A representative of the famous dynasty of conductors, Valery Khalilov is a self-made man.
VIKTOR BARYNKIN, CHAIRMAN OF THE COUNCIL OF VETERANS OF THE GENERAL STAFF OF THE ARMED FORCES OF THE RUSSIAN FEDERATION:“He is so talented. He has always been a leader. Just imagine, as a young lieutenant, in the 80s, he took first place among brass bands, and he is sent to Moscow as an incentive, because he is the best military conductor. And in Moscow he goes from junior officer to lieutenant general."
Tears, flowers, hundreds of wreaths, mourning bands. Very young army men also came to pay their last respects to Lieutenant General Khalilov. Representatives of military-patriotic clubs.
TIMOFEY STARTSEV, MILITARY-PATRIOTIC CLUB "VALOR", KIRZHACH DISTRICT:“He is one of the most worthy sons of his homeland. He is worthy of emulation. We all honor him.”
The funeral service took place under the arches of the Church of the Archangel Michael. The official delegation of the Vladimir region, which arrived at the farewell ceremony, was personally headed by Governor Svetlana Orlova. On Vladimir soil they say: the memory of Valery Mikhailovich will be carefully preserved. And in Kirzhach there will definitely appear a street that will bear his name. The head of the region came up with this idea.
SVETLANA ORLOVA, GOVERNOR OF VLADIMIR REGION:""Giving an example to everyone, an officer always comes out to the parade ground looking smart." These are words about him, about this man. He did so many beautiful, pure, kind things, what festivals they held! He did all this with all his soul and with all his heart."
VLADIMIR KISELEV, CHAIRMAN OF THE LEGISLATIVE ASSEMBLY OF THE VLADIMIR REGION:“Of course, the memory of Valery Mikhailovich will live in our hearts. And may the common Kirzhach and Vladimir land rest in peace to him.”
The funeral ceremony at the Arkhangelsk churchyard was accompanied by the central military orchestra of the Ministry of Defense. Valery Khalilov also often performed with him both in Russia and abroad. Amazingly smart, talented, devoted to his homeland and profession, bright and easy man. Everyone who knew Valery Mikhailovich says: “Khalilov is a man of the era.” Musical business will be continued. The legendary ensemble and all the festivals, at the origins of which Valery Mikhailovich stood, will be preserved. Valery Khalilov managed a lot, but did not manage, perhaps even more. It was enough for everything - for new programs, endless tours, concerts. But he always found time and composed music with inspiration. Khalilov’s works were also performed at the farewell ceremony today.
TIMOFEY MAYAKIN, HEAD OF THE MILITARY BAND SERVICE OF THE ARMED FORCES OF THE RUSSIAN FEDERATION:“Instead of lunch, he always worked as a composer, and also during the day, he had a piano on the table in his office. Yes, it still stands there now. And there are his notes there, unrealized.”
A native of Uzbek Termez, Khalilov became known throughout the world. And the legendary ensemble named after Alexandrov under his leadership was applauded in different countries, on different continents. The entire flower of the illustrious team died along with Khalilov in a plane crash over the Black Sea. Valery Khalilov's classmate Alexander Karpov flew in specially from Yekaterinburg to say goodbye to his friend. With special warmth, Alexander Vasilyevich remembers both the years of study and the hours and minutes of later rare meetings.
ALEXANDER KARPOV, CLASSMATE OF VALERY KHALILOV (YEKATERINBURG):“I continued to serve in military bands, and all the time I was under the patronage of Valery Mikhailovich, I always felt his support, his friendly attitude, and the highest professionalism.”
A wooden cross was installed on the grave of Valery Khalilov. The plans include creating a memorial at the Arkhangelsk churchyard. To the most worthy son Russia - Valery. Khalilov was given full military honors. In memory of the People's Artist, Lieutenant General Khalilov - gun salvos. And - music. Performed by a military band. The country said goodbye to its great citizen, man and musician.
Maria Platanyuk, Alexander Golubev "West-Vladimir".
We said goodbye to General Khalilov
16.01.2017(Kirzhach district)
Valery Khalilov is seen off on his final journey to the sounds of his music. The general wrote the melody “Adagio” for military mourning events. But no one expected that it would soon be played for the author. The composer, conductor, People's Artist of Russia passed away at the age of 64. Artistic director ensemble Alexandrov flew with the team to Syria to congratulate the Russian military on the New Year. The plane, which was carrying 92 people, crashed as soon as it took off from Adler airport. Rescuers never found anyone alive.
Vyacheslav Kazmin, an acquaintance of Valery Khalilov: “It’s a pity when such people leave our sinful land, and even more so, he, of course, did not deserve such a death. He was such a bright person. He, of course, left a lot of good things behind, and, The main thing, of course, is that his memory will live on in music. He was a magnificent arranger. This is God's gift, truly."
The farewell to the lieutenant general began on Saturday. Then Valery Khalilov was buried in the Epiphany Cathedral in Moscow. But today, before the burial, prayers were read in another church. The Church of the Archangel Michael is being restored, including with the money of the conductor. Valery Khalilov has been helping the Kirzhach district for more than one year. This place was his small homeland. And therefore he bequeathed to bury himself in the Arkhangelsk churchyard, not far from the grave of his great-grandmother.
Vladimir Kiselyov, Chairman of the Legislative Assembly of the region: “Today our entire community mourns for Valery Mikhailovich. Vladimir region, our whole country is mourning. Of course, his memory will live forever in the hearts of our people."
Hundreds of people gathered in the Vladimir outback today. There is a sea of flowers around the grave. Relatives, even three weeks after the tragedy, cannot stop crying. Valery Khalilov will remain a bright man and a talented figure in their hearts. Over the past 20 years alone, he has written about 15 military marches. They remember him with kind words.
Timofey Mayakin, chief military conductor: “As a leader, it was always very easy to work with him. He was wonderful person, we never heard any raising of his voice from him. Only kind words, only help, only support."
Viktor Barynkin, Chairman of the Veterans Committee General. Armed Forces headquarters: “Just recently, at the end of the year, we were at his concert in the column hall of the House of Unions, where he, together with Kobzon, gave a wonderful performance and left the deepest memory of himself. Valera, sleep well, we will continue all your endeavors, all traditions.”
Eight festival days, concerts at various venues in the city, tens of thousands of spectators, cancellation of postage stamps and postcards that were scattered different corners country and world. Sixth International military music festival brass bands “Amur Waves” was again held on a wide scale. Over the years of its existence, military musical groups from Moscow, Chita, Petropavlovsk-Kamchatsky, Yekaterinburg, and other regions of Russia came to the Far Eastern capital. Orchestras from Japan, Singapore, the DPRK and the Republic of Korea, Kazakhstan, and Mongolia performed at the venues. Military musicians surprised Khabarovsk residents with hits of modern pop music, rock and classical music, danced to “Gangnam style” and performed the famous “ moonwalk» Michael Jackson. It would seem, what else can impress the Khabarovsk public? But this time too, the military musicians surprised with new ideas at every concert. creative performances and received applause from the audience.
"AMUR WAVES" this year we were left without the ideological inspirer of the festival, Valery Khalilov. It was he who in 2012 became the initiator and creator of the Far Eastern analogue of the Moscow “Spasskaya Tower”. Local authorities then supported the idea of the chief military conductor of the Russian Armed Forces, Khalilov, and through joint efforts they managed to create a festival that is now known far beyond the borders of the Far East and Russia as a whole. Today “Amur Waves” is not just business card city, but a unique brand of Khabarovsk.
Late last year, Lieutenant General Valery Khalilov died tragically in a plane crash over the Black Sea. In memory of the creator of Amur Waves, the festival organizers decided to leave the position of artistic director to Valery Mikhailovich. Responsibilities for the management of the festival this year were taken by Khalilov’s colleagues: the head of the military orchestra service of the Russian Armed Forces, chief military conductor Timofey Mayakin and the head of the Central Military Orchestra of the Russian Ministry of Defense Sergei Durygin.
"Katyusha" on bagpipes and songs from Soviet cartoons
The music of “Amur Waves” sounded on May 26, eight groups from Russia, Kazakhstan, Mongolia and Europe arrived in Khabarovsk. They gave their first concerts on Komsomolskaya Square, in the regional circus and in musical theater. But the most long-awaited performances of the orchestras were on Glory Square in front of the Transfiguration Cathedral. It is here that, year after year, all participants show their main performances, which are prepared especially for the festival.
Tickets for the parade concerts were sold out in the first days, as soon as sales started. While the stands were filled with spectators, the final rehearsals were going on behind the improvised scenes. The sounds of trumpets and the beating of drums drowned out the Celtic bagpipes of musicians from Europe. The European Union national team came to Khabarovsk for the first time. The group included musicians from Scotland, England, Germany, Ireland and Wales. The Celtic Pipe and Drum Orchestra, led by one of the most famous pipers in Europe, David Johnston, prepared its national compositions and dances for the local public, and also made an arrangement of the Russian “Katyusha”, which the audience greeted with delight.
Chief conductor of the bagpipe group Alex BROWN:
– “Katyusha” suits Scottish bagpipes well. There are 9 notes on the Scottish bagpipes - this song falls into our range and fits perfectly on the instrument. In addition, the musicians themselves really like the work.
The chief military conductor of Russia, Timofey Mayakin, said before the performances that the numbers prepared by the orchestras were reviewed by the festival directors only on the day of the concert itself.
Timofey MAYAKIN:
– The orchestras, as always, prepared very well. The repertoire is diverse, multi-genre. By the viewer's reaction we will understand how successful it is. Military bands are not only marches and waltzes, as is commonly believed. Today it is music of different genres. No those musical works, which would be beyond the capabilities of a military band.
The first to speak to the public were local orchestra members from the headquarters of the Eastern Military District. The musicians prepared several surprises and immediately warmed up the audience. And in the literal sense of the word. First, they performed a medley of songs dedicated to Khabarovsk. The stands sang along with the city’s folk anthem “Along the Amur with a White Sail”, the military “Three Tankers” and others famous compositions. Then the honor guard company demonstrated mastery of weapons. The performance of the military orchestra ended with the performance of a special forces detachment. The soldiers demonstrated hand-to-hand combat techniques, breathed fire and jumped over a fiery rope.
Then Khabarovsk residents were delighted by musicians from Vladivostok and Novosibirsk. The orchestra of the headquarters of the Pacific Fleet is already familiar to the townspeople; the musicians performed in the regional capital last year. But the Siberian guests came to the Amur Waves for the first time. Compositions from the war years were replaced by songs from Soviet cartoons. The audience greeted both groups with enthusiastic applause. When the Central Military Band of the Russian Ministry of Defense from Moscow entered the square, the audience involuntarily recalled the words of children's songs from “The Bremen Town Musicians”, “Well, Just Wait!”, “Pinocchio”, “The Flying Ship”, “Little Red Riding Hood” and other cartoons.
For the second time, guests from Mongolia took part in “Amur Waves”. The soloist of the Central Military Orchestra of the Armed Forces from this country performed the song “I love you, life” in Russian. This Music band is the main military band of Mongolia, constantly participates in high-ranking state ceremonies.
Head of the Military Band Service of the Mongolian Armed Forces, Colonel Choizhilzhav Gansukh:
– We specially prepared a program for Khabarovsk. Last year our military musicians danced a lot. This time we decided to show all the professionalism of the Central Military Band of Mongolia.
The concert on Glory Square traditionally ended with a performance by the combined orchestra, which performed Pyotr Tchaikovsky’s “1812” overture. At the same time, festive fireworks thundered to the sounds of orchestras.
In memory of Khalilov
The Amur Waves program this year was more intense than ever. As part of the festival, a concert “Masterpieces of World Classics” was held with the participation of world-famous pianist Sergei Tarasov. Friends and colleagues of Valery Khalilov held a memorial evening “Jasmine Petals”, which was dedicated to the work of Lieutenant General and people's artist Russia. For the sixth Amur Waves, Russian Post issued a souvenir stamp with a portrait of Khalilov and festival postcards, which could be sent free of charge anywhere in the world.
The festival ended on June 2 with a traditional fashion show - a performance in the Platinum Arena. The scope of “Amur Waves 2017” inspired hope that the brainchild of Valery Khalilov will live and develop further. And in next year Khabarovsk will again be covered with “Amur Waves”.
Svetlana Belyaeva
