Russian rock guitarists are virtuosos. Seven-string guitar in Russia

The ways of development of guitar art in Russia are peculiar and original. Being a five-string guitar, the guitar was brought to Russia by Italian musicians in the 18th century, but did not become widespread, remaining an exotic decoration. Later, at the beginning of the 19th century, the Russian public became acquainted with the “Spanish” six-string guitar, which by that time had become quite popular in Europe. It was presented in Russia by famous foreign musicians-guitarists M. Giuliani, F. Sor and others.

Victory in the Patriotic War of 1812 greatly accelerated the growth national identity, caused a rise in patriotic feelings and sentiments in all layers of society. Interest in the historical past of the Motherland, in folk art, in particular in folk songs, is rapidly growing. Urban romance is gaining wide popularity. Based on everyday folklore, it represents a unique layer of Russian musical culture with a characteristic structure and melody, with expressive means unique to it.

Academician B. Asafiev wrote about this in his work “Musical Form as a Process”: “There was no psychological realism with its analysis of personal mental life yet, the romantics had not yet gone on a rampage, putting forward a culture of feeling, and the masses were already eager to hear “simple speech” and heartfelt and exciting melody; for the dominance of nepotism, sensitivity, the cult of “simple morals” of simple-minded people and “homeliness”, tenderness for nature, quiet contemplation was approaching. The intonations corresponding to all this evoked in the music a romantic melody, sincere, heartfelt; both the words and the melody, which for the most part did not lay claim to long-term development, were surrounded by a single intonation system - “sounding from heart to heart”1.

Appeared in last decade The 18th century seven-string guitar, with its harmonic structure and timbre color, turned out to be very close to the nature of the Russian folk song and the urban romance genre that arose on its basis. Its use to accompany the voice made it possible to most subtly reveal the lyricism of intimate experiences that constitute the main theme of urban romance. The best works of this genre, created by A. Alyabyev, A. Varlamov, Titov and other talented composers, were included in the golden fund of Russian music.

Russian musicians, realizing the great possibilities inherent in the seven-string guitar, are beginning to create a solo repertoire for it. First, they rearrange for her excerpts from popular operas and other works by Russian and foreign composers. Then they create variation cycles, quite complex in texture and concert in character, based on folk melodies. (As a striking example, let us cite A. Sihra’s variation cycle on the theme of the Russian song “Among the Flat Valley.”) In addition to the variations, miniatures are created, graceful and melodic, touching the soul of a simple Russian person. Attempts are also being made to create a large form, in particular a sonata, a concerto for guitar and orchestra.

Russian guitar virtuoso and composer Andrei Osipovich Sihra (1773-1850)

The extraordinary popularity of the seven-string guitar attracted talented musicians to it. An outstanding role in the creation of the national guitar school belongs to Andrei Osipovich Sikhra. A remarkable virtuoso guitarist, a talented composer, he is undoubtedly the founder of the Russian school of playing the seven-string guitar.

A. Sihra was born in 1773 in Vilna (now Vilnius) in the family of a music teacher. In his youth he performed in concerts as a harpist and played the six-string guitar. Then he became interested in the seven-string guitar, to which he dedicated his entire life. In 1801, the musician moved to Moscow, where he began to create a repertoire for the seven-string guitar and study with his first students.

Sihra, a talented musician, a friendly and charming person, soon became the idol of numerous students and fans.

After Napoleon was expelled from Russia, Sihra moved to St. Petersburg, which he did not leave until the end of his life (he died in 1850). Here he, already a mature musician and teacher, creates his own school of playing the seven-string guitar...

A. Sihra was not only a talented, but also a highly educated musician. He was highly appreciated by M. Glinka, A. Dargomyzhsky, A. Varlamov, A. Dubuk, D. Field and many other figures national culture. Famous singer O. Petrov studied guitar with Sihra. Biographical Dictionary of Russian historical society called Sikhra “the patriarch of Russian guitarists.” Of his students, the most famous are S. Aksenov, N. Alexandrov, V. Morkov, V. Sarenko, V. Svintsov.

If Sihra was recognized as the head of the St. Petersburg school of seven-string guitar with its characteristic strict “academic” style, then the founder of the Moscow school is rightfully considered Mikhail Timofeevich Vysotsky, whose life and work is another page in the history of Russian guitar art.

Of Vysotsky's students, the most famous were P. Belosein, A. Vetrov, I. Lyakhov, M. Stakhovich and others.

The era of Sihra and Vysotsky is the “golden age” of the Russian seven-string guitar. Its widespread use contributed to the democratization of the art of music.

Variation cycles of Russian guitarists-composers were created on the basis of Russian folk songs. This unique layer of Russian musical culture is an important source for the study of folklore.

The Russian seven-string guitar, sounded in the hands of talented musicians, inspired poets and writers to create beautiful lines of poetry.

A. Pushkin called the guitar “sweet-voiced.” Words full of lyricism dedicated to this instrument can also be found in M. Lermontov, A. Fet, I. Bunin, A. Grigoriev, L. Tolstoy, A. Ostrovsky, M. Gorky.

The guitar is depicted in many paintings by Russian and Western European artists: V. Tropinin, V. Perov, I. Repin, An. Watteau, B. Murillo, Fr. Khalsa, P. Picasso and others.

In the middle of the 19th century, interest in the guitar declined not only in Russia, but also in Europe. However, at the end of the 19th and beginning of the 20th centuries, the seven-string guitar began to reassert itself. This was largely facilitated by the activities of enthusiastic musicians who tried to restore the traditions of Sihra and Vysotsky. The most famous of them were A. Soloviev and V. Rusanov.

Outstanding Russian guitarist and teacher Alexander Petrovich Solovyov (1856-1911)

Alexander Petrovich Solovyov (1856-1911) - a prominent performer and teacher. He raised many gifted students, such as V. Rusanov, V. Uspensky, V. Yuryev, V. Berezkin and others; created the School (published in 1896), which was the best at that time.

Valerian Alekseevich Rusanov (1866-1918) is a famous historiographer and promoter of the Russian seven-string guitar. He organized the publication of the all-Russian magazine “Guitarist” (1904-1906).

In the period after the Great October Socialist Revolution, M. Ivanov, V. Yuryev, V. Sazonov, R. Meleshko did a lot to popularize the seven-string guitar. They created schools and tutorials for this instrument, original compositions, adaptations and transcriptions, and compiled numerous collections. M, Ivanov wrote the book “Russian seven-string guitar”. These musicians constantly performed as soloists and accompanists in concerts and recorded on gramophone records.

IN post-war years A new generation of seven-string guitar performers has grown up, which worthily continues the rich traditions of the national performing school. Among them: V. Vavilov, B. Okunev, B. Kim, S. Orekhov, A. Agibalov. The repertoire of the seven-string guitar was replenished during this time with works by composers N. Chaikin, B. Strannolyubsky, N. Narimanidze, N. Rechmensky, G. Kamaldinov, L. Birnov and others.

Nowadays there is a growing interest in the Russian seven-string guitar in the world. Let us express our hope that in further history New glorious pages will be written on this beautiful original musical instrument.

From the history of the seven-string guitar. XVIII-XIX centuries

Nowadays, it is almost impossible to imagine a Russian folk song without a seven-string guitar. However, it gained popularity, displacing the balalaika from the everyday life of the urban population, relatively recently - in the 19th century. Since then, every person gifted musical abilities along with the love for folk songs and Russian culture, pays tribute to this wonderful musical instrument, although, of course, today the six-string guitar is much more in demand and popular both among pop professionals and among music lovers.

Russian musicians and seven-string guitar

The guitar was the favorite instrument of many famous Russian musicians. A. Alyabyev, A. Varlamov, A. Zhilin, I. Khandoshkin and many other figures of Russian musical culture of the 18th-19th centuries gave preference to the Russian seven-string guitar. In this article we will talk about only some of them: G. A. Rachinsky, A. E. Varlamov, A. A. Alyabyev, P. A. Bulakhov, O. A. Petrov.

Gavrila Andreevich Rachinsky

Gavrila Andreevich Rachinsky (1777-1843) was born in the city of Novgorod-Seversky, in Ukraine. A wonderful violinist and composer, he was very fond of the seven-string guitar, often played it in concerts, and composed variations and plays. For many years, Rachinsky's life was connected with Moscow. In 1795-1797 he studied at the gymnasium at Moscow University, and then quite long time worked there as a music teacher. From 1823 to 1840 G. Rachinsky was again in Moscow. It was during this period that he repeatedly toured St. Petersburg and other cities of Russia, which brought him fame as an outstanding artist.

It is characteristic that back in 1817, in Moskovskie Vedomosti (Nos. 24 and 27), G. Rachinsky notified about subscriptions to the publication of his twenty works for violin and seven-string guitar. Among ten guitar works, two variation cycles on Russian themes were mentioned folk songs“I walked through the flowers” ​​and “Young young woman”, as well as five polonaises, a waltz, a march and a fantasy. But for reasons unknown to us, they were not published.

A man of versatile culture, a “Voltairean,” as they said then, G. Rachinsky was close to Moscow literary circles, in which his name was very popular. At various literary evenings, he often played variations on themes of Russian and Ukrainian folk songs. At one of these evenings, dedicated to the memory of the poet and playwright N. N. Nikolev (his poems formed the basis of such popular songs as “Soar High, Rush”, “In the Evening Blush Dawn”), G. Rachinsky performed his works on the violin , and on guitar. Those gathered in the house of the pupil of the poet I. Maslov, a big fan of the seven-string guitar and the author of compositions for it, were delighted with the skill of the musician. “That evening,” noted the magazine “Son of the Fatherland” (1817, No. 9), “the violin in Rachinsky’s hands and the guitar itself became animated under his fingers and made him wonder.”

It is known that the remarkable musician created fantasies for the seven-string guitar “That evening I was at the postal yard” and “On the banks of the Desna”.

Russian composer Alexander Egorovich Varlamov (1801-1848), author of various popular romances and songs, which are considered folk by many

The creator of many popular romances, Alexander Egorovich Varlamov (1801-1848), was an excellent guitarist. His musical talent showed up early: on his own, the boy learned to play the piano, violin, cello, and guitar. At the age of ten, his father sent him to St. Petersburg, where he was enrolled in the staff of the Court singing choir young singers. Noticing the boy’s excellent abilities, the director of the choir, the outstanding Russian composer D. Bortnyansky, began to supervise his studies. According to A. Varlamov himself, he owes his excellent vocal school and subtle knowledge of vocal art to D. Bortnyansky. Having completed his musical education, A. Varlamov served for four years as a teacher of choristers in the church at the Russian embassy in The Hague. Here he already performs not only as a singer, but also as a guitarist. On February 19, 1851, the St. Petersburg newspaper “Northern Bee” wrote in the article “Memories of A.E. Varlamov”: “At another concert (in Brussels), to please the artist giving the concert, (he) played the Rode Variations on the guitar. Cleanliness and fluency of the game melodic instrument, unknown to many listeners at that time, aroused loud applause; the next day an expression of general gratitude for the pleasure given to the public was published in the French Brussels newspapers.” His performance in The Hague was not the only one; later, in Russia, he often performed as a guitarist in concerts and in the home circle.

In 1823, Varlamov returned to his homeland. He earns his living by giving lessons in various educational institutions and private homes. At this time, the composer composed a lot, often performed his romances in concerts and among friends, but did not publish them. Since 1832, having received the position of conductor and “composer of music” of the Moscow imperial theaters, he settled in Moscow. Here Varlamov finds recognition and support in the Moscow artistic community. His talent was appreciated by the famous tragedian P. S. Mochalov, himself a singer and songwriter; poet and actor N. G. Tsygankov, to whose words A. Varlamov wrote a number of his romances; M. S. Shchepkin, A. N. Verstovsky and other figures of Russian culture.

A collection of the composer's romances, published in Moscow in 1833, brought him great fame. His songs spread with extraordinary speed and were sung by representatives of all classes. A. Varlamov’s romance “The Red Sarafan” became especially famous, which sounded, according to composer N. Titov, “both in the nobleman’s living room and in the peasant’s smoking hut.”

A. Varlamov wrote about 150 romances, most based on the words of Russian poets, some based on folk and his own texts. It is characteristic that the texture of the accompaniment of many of his romances is purely “guitar”, for this instrument was especially loved by him. A. Varlamov composed not only romances, but also theater and ballet music.

The last years of the composer's life are connected with St. Petersburg. Here he worked on a collection of folk songs, “Russian Singer,” which remained unfinished. In 1848, A. Varlamov died suddenly. In the Museum of Musical Culture named after. Glinka's manuscript of Varlamov's composition for voice accompanied by a seven-string guitar is kept in Moscow.

Russian composer Alexander Alexandrovich Alyabyev (1787-1851), author famous song"The Nightingale" based on poems by Anton Delvig

The multi-talented composer Alexander Aleksandrovich Alyabyev (1787-1851) also wrote for the guitar. Many of his vocal lyric creations were far ahead of their era. He enriched Russian music with new content and reflected in it the best, progressive aspirations. Advanced man of his time, a participant in the Patriotic War of 1812, he introduced into Russian vocal lyrics motives inherent in the civil poetics of the Decembrists, motives of patriotism, love of freedom, thoughts about the plight of the people, sympathy for the oppressed. Many of his works have become phenomena of lasting value.

Among his friends are the future Decembrists A. Bestuzhev-Marlinsky, P. Mukhanov, F. Glinka; writers A. Griboedov, V. Dal, V. Odoevsky, famous partisan poet D. Davydov; composers A. Verstovsky and M. Vielgorsky.

Alyabyev's creative heritage is great: 6 operas, 20 vaudevilles, many works for orchestra and chamber ensembles, piano pieces, choral works, over 150 romances. Being an excellent connoisseur of the seven-string guitar, he masterfully arranged works by A. Sihra and S. Aksenov for it and the orchestra. They were first performed by concert guitarist V. Svintsov in 18271. In turn, the guitarists made brilliant arrangements of Alyabyev’s romances.

P. A. Bulakhov. V. I. Radivilov

Pyotr Aleksandrovich Bulakhov (c. 1793-1835), the father of the author of many popular romances P. P. Bulakhov, also played the seven-string guitar. He lived in Moscow and was a wonderful singer. Playing the guitar well, he often accompanied himself in concerts.

Interesting arrangements for guitar and orchestra belong to V.I. Radivilov, a famous violinist and balalaika player. So, on April 2, 1836, in a duet with P. Delvig, a student of M. Vysotsky, he played his composition for violin and guitar with orchestra. In the same concert, Delvig performed variations on the theme of the Russian song “I’ll tell you, mother, my head hurts” on a seven-string guitar.

Mikhail Ivanovich Glinka

The founder of Russian music was also interested in the guitar. classical music Mikhail Ivanovich Glinka. His acquaintance with Spanish folklore during a trip to Spain in 1845 was largely thanks to Spanish guitarists. The tunes of F. Castillo and especially F. Murciano, whom M. Glinka called “an amazing guitarist,” served him as material for creating such wonderful works, like “A Night in Madrid” and “Aragonese Jota”.

M. Glinka not only knew the guitar and many guitarists well, but also played it himself. The famous composer and pianist A. Dubuk recalled: “Mikhail Ivanovich Glinka often listened to the playing of O. A (the famous opera singer O. A. Petrov, a student of Sihra), it happened that he himself took the guitar and picked out chords on it”2.

Russian Opera singer and guitarist Osip Afanasyevich Petrov (1807-1878). Portrait by Konstantin Makovsky (1870)

It is interesting that the outstanding singer Osip Afanasyevich Petrov (1807-1878) was an outstanding guitarist who studied with A. Sihra. The undoubted recognition of his achievements is evidenced by the fact that A. Sihra placed his arrangement of the Haberbir etude in his School. O. Petrov learned to play the guitar back in early childhood. Interesting facts about this, as well as about the existence of the guitar in the Russian provinces, are given by V. Yastrebov: “It should be assumed that Petrov learned to play the guitar while still in the cellar... The guitar then enjoyed the general love of the urban population and only around 1830 gave way to the harmonica. Some guitarists reached remarkable perfection and became famous in several provinces; Kladovshchikov, who brought wine from the Don to Elizavetgrad, also belonged to such famous players; he himself became acquainted with this art in Moscow from some local virtuoso (from M. Vysotsky - A. Sh., L. M.), and from him... Petrov learned and learned so well that there was no better guitarist in the whole city : “His fingers ran along the strings as if they were alive, in the words of one Elizavetgrad acquaintance, Osip Afanasyevich.”3

Of course, his uncle's cellar was not the place for a gifted young man. Chance brings him together with a visiting theater troupe, which he joins in 1826. On October 10, 1830, Petrov made his debut on the stage of the Mariinsky Theater in St. Petersburg. Hard work and talent soon made O. A. Petrov one of best performers opera parts.

The great singer loved the guitar until the end of his life. In St. Petersburg, he became a student of A. Sihra, having the most serious intentions regarding the guitar. He had friendly relations with V. Morkov, V. Sarenko and other guitarists.

Seven string guitar had a great influence on the development of Russian romance lyrics. Accompanied by a guitar, romances were sung both in a high-society salon, and in the modest home of a craftsman, and sometimes in a peasant hut!

The seven-string guitar also had a certain influence on Russian piano music; this can be seen especially clearly in the work of A. Dubuc, who, impressed by the playing of M. Vysotsky, began to actively develop folklore material.

The end of the 18th - mid-19th centuries was the heyday of the art of playing the seven-string guitar, a unique cultural layer of enduring value.

Notes

1 See: Ladies' magazine. 1827. No. 7. P. 18.
2 Guitarist. 1904. No. 5. P. 4.
3 Yastrebov V. Osip Afanasyevich Petrov/Russian antiquity. 1882. T. XXXVI.

Learning to play the guitar is only half the battle. In order to play a string instrument masterfully, you need real talent and constant practice.

And some have been so successful in this matter that they have shown truly phenomenal results. Who exactly can hold the title of the fastest guitarist in the world?

The fastest composition is “Flight of the Bumblebee”

“Flight of the Bumblebee” from Nikolai Rimsky-Korsakov’s opera “The Tale of Tsar Saltan”

If you carefully study the opera, the phrase “Flight of the Bumblebee” will not be found there at all. However, this name was firmly attached to the music. The musicians say that this piece is distinguished by incredibly fast performance. And the main task of the artist is to play at great speed. And it is not surprising that guitarists practice playing this particular composition to develop their skills. And here's who was especially successful in execution.

The fastest guitarist in Russia

Virtuoso musician Viktor Zinchuk, who also works as a composer and arranger, has a number of other regalia. He is a laureate of international festivals and competitions, he was awarded the prestigious titles Golden Guitar of Russia and Honored Artist of Russia, and he has the Order “For Service to Art.” And that is not all. He is also an Honorary Master and Associate Professor of the International Academy of Sciences of the Republic of San Marino.

The musician’s work, by the way, cannot be attributed to a specific style or genre. He plays different genres - from fusion to hard rock. In addition, it combines a variety of playing techniques and instruments.

The composer's collection of games is truly impressive. He has about three dozen rare string instruments. He brought almost everything from various tours. This is a Bolivian solid wood guitar, a Celtic harp, a zither, and an Irish bouzouki. And the leaders of the world market of musical instruments, namely the American company Fender and the Japanese Ibanes, present their best guitars and guitar equipment to Victor Zinchuk every year. Such gifts are given to him as a sign international recognition his talent.

“Flight of the Bumblebee” from virtuoso guitarist Viktor Zinchuk

It is worth noting that Viktor Zinchuk plays with only nine fingers, and not all ten. The musician has a non-working little finger on his right hand. The artist broke his finger while playing football. However, the composer insured his valuable hands with an insurance company for $500 thousand.

The fastest guitarist combines playing instruments with playing football. The artist plays for a team of show business stars, despite his once injured finger. And he evaluates his entry into the international Guinness Book of Records as “pampering” and a “circus act.” He repeatedly stated this in his interviews. According to him, he set the record as a joke and does not take it seriously.

Fastest Guitarist

Thiago Della Viga was born in Rio Grande do Sul, Brazil. And the young man became interested in music in early childhood. At the age of five he already learned to play the guitar. Over time, Thiago realized that his interest in the electric guitar gradually turned into passion. Therefore, he began to pay more and more attention to the musical instrument.

The guitarist began to practice playing the strings for several hours a day. And after just a short time, he achieved phenomenal execution speed. He demonstrated his abilities and capabilities in the groups AfterDark and Fermatha.

Thiago Della Vega - the fastest guitarist plays "Flight of the Bumblebee"

And already in 2008, Thiago was in record fast pace– 320 sounds per minute – played “Flight of the Bumblebee”. A few years later, the record was broken by American John Taylor. He performed “Flight of the Bumblebee” at a speed of 600 sounds per minute. In 2011, the musician broke his own and a new record, and played the same composition at a tempo of now 750 sounds per minute. Immediately after this, Thiago was included in the Guinness Book of Records as the most virtuoso guitarist in the world. But the master doesn’t stop there either. He continues to improve his game and hold the prestigious title.

By the way, Thiago now travels to different countries of the world and conducts special seminars for his colleagues. In his lessons, he plays a seven-string guitar, which has 24 frets and is equipped with a Floyd Rose tremolo, the Andrellis TDV.

The fastest guitarist in the world

At first, the native of Donetsk was able to play 27 notes per second, and a little later he surpassed himself and played 300 notes on an electric guitar in less than 10 seconds. Immediately after demonstrating his abilities, Sergei was awarded a certificate that confirms his absolute championship in Ukraine. Interview with the fastest guitarist in Ukraine

Now Sergei Putyatov’s record has not been officially registered, but the musician wants to get into the Guinness Book of Records at all costs. By the way, he has already submitted an application there and is waiting for the commission’s visit. In the meantime, he ends each of his performances with a demonstration of his super guitar playing.

The success of the guitarists can only be envied; all the records remain to be recorded in the Book of Records. In our next article you can read about the most expensive guitars in the world, because without an instrument he is just a person with musical abilities, but with a guitar he is a musician.
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And then recently I was overcome by a question: do we have any worthy guitarists in our country now? Quite quickly, in my search, I came across a man named Sergei Golovin. I listened and realized that this was our Andy James, Vinnie Moore, our Satriani, ours and Vai all rolled into one. I'm joking, of course, but as a joke... you know it yourself. Is it true. The dude plays at the highest level.

Sergey Golovin was born in 1988, lives and works in Moscow. Recorded two albums. He has a background in music school, if I'm not mistaken, in classical guitar. He plays just great. The excellent work with sound immediately catches the ear. has its own recognizable style games. This is clarity in the execution of notes, speed, excellent technique, harmony in music, melody, attention to sound as a whole. In a word: wonderful.

You know, just a few years ago, this simply did not exist. These guys, born in the 80s, are now simply breaking the mold with their level of play. It's just space. If, I emphasize, we take into account that in Russia there is generally a problem with the electric guitar, then Sergei is just a breath of clean air. Well done! Just a great guy!

High-class professional guitarist.

I carefully watched YouTube videos and listened to two full-length albums by Sergei Golovin. The impressions are only positive. I am close to his approach to music, his melody.

Having become interested in the personality of S. Golovin, I watched several hours of video with him. All this can be found on YouTube. These are interviews, recordings from concerts. Sergei turned out to be an absolutely open, simple, pleasant person to talk to. Nowadays this is simply very rare. I would even say that Sergei is modest. Very positive impression produced simply as a person, as a person. No star strike. No inflated conceit. I say absolutely without irony: as long as there are people like Sergei Golovin in Russia, all is not lost.

Of course, such an already established master as S. Golovin can give advice himself, but I, as a connoisseur and connoisseur of electric guitar music, familiar with the playing of a huge number of guitar virtuosos, would risk advising Sergei to continue to improve further for the joy of all of us. And I just wish him creative and personal success!

Let's watch some videos of our Russian guitar virtuoso - Sergei Golovin. Here is a video clip of interesting fragments from Golovin’s compositions. Very tasty, check it out.

Here's "TwoGether", very cool, check it out.

Here's a very cool lyrical piece called "Don't Forget" from the album "Sense Of Reality" (2012).

Well, one more thing - louder and more assertive. Very, very good.

In my opinion, Sergei Golovin may well reach the world level of fame with such a level of play and attitude to sound. With his talent, he can easily be invited to any famous Russian performer as a lead guitar. I don’t presume to give him advice, but it seems to me that he needs to leave Russia somewhere abroad, where famous music labels are interested in the electric guitar, and make his way there to global triumph.

In the case of Sergei Golovin, everything came together. This is Sergei’s talent and the musical education he received and other factors. Just imagine: in Russia every year thousands of people enroll in music schools to learn guitar. They study and graduate. AND? And where are all these guitarists? Sergei has talent. He has something to say in music. He can express his emotions and feelings through the strings of an electric guitar. One can only guess how much work is needed to master the instrument as S. Golovin does.

1. Brief excursion V world history guitar performance.

2. Penetration of the guitar into Russia (late 17th century).

3. The first “School of playing the six- and seven-string guitar” by I. Geld.

4. A.O. Sihra and seven-string guitar.

5. Leading Russian guitarists of the 19th century: M.T.Vysotsky, S.N.Aksyonov, N.N.Lebedev.

6. The first guitar masters - I.A. Batov, I.G. Krasnoshchekov.

7. Six-string guitarists of the 19th century - M.D. Sokolovsky, N.P. Makarov.

8. Publishing activities of V.A. Rusanov and A.M. Afromeev.

9. Andres Segovia and his concerts in Russia.

10. Guitar at the All-Union review competition in 1939.

11. Performing activities of A.M. Ivanov-Kramsky.

12. Guitarists of the 50-70s of the XX century: L. Andronov, B. Khlopovsky, S. Orekhov.

13. Guitar in the system music education.

14. Guitar art of the 70-90s of the XX century: N. Komolyatov, A. Frauchi, V. Tervo, A. Zimakov.

15. Guitar in jazz.

The path of development of the guitar in Russia was long and difficult. The final appearance of the guitar in the world as we know it occurred only in the 18th century. Before this, there were harbingers of the guitar - the Greek cithara, lyre, lute, Spanish viol. The classical six-string guitar has had and still has its famous performers, composers, and masters. Mauro Giuliani and Fernando Carulli, Matteo Carcassi and Fernando Sor, Francisco Tárrega and M. Llobet, Maria Luisa Anido and Andres Segovia - each of them left a noticeable mark on the art of guitar.

In Russia, the guitar was not widespread until the 18th century. With the arrival of M. Giuliani and F. Sora, her popularity increased noticeably. However, let us recall that the guitar was the first to be brought to Russia Italian composers Giuseppe Sarti and Carlo Cannobio, who served at the court of Catherine II; Later they were joined by French musicians.

Ignaz Geld is originally from the Czech Republic. Fate brought him to Russia in 1787. Lived in Moscow, St. Petersburg. He played six- and seven-string guitars. Taught playing lessons. In 1798, two schools of guitar playing came out: one for the six-string, the other, a little earlier, for the seven-string. He wrote and published many works for guitar, voice and guitar. Died in Brest-Litovsk.

One of the brightest promoters of the seven-string guitar and the founder Russian school The guitarist and composer A.O. Sihra (1773-1850) began playing it. Some researchers associate the appearance of the seven-string guitar in Russia with this musician.

Andrey Osipovich Sihra - born in Vilna. From 1801 he began to live in Moscow, where he gave lessons and performed in various concerts. In 1813 he moved to St. Petersburg, where he published “Collection of a number of plays, which contains for the most part Russian songs with variations and dances." Organized the publication of a guitar magazine. Trained a galaxy of Russian guitarists, including: S.N. Aksyonov, V.I. Morkov, V.S. Sarenko, V.I. Svintsov, F.M. Zimmerman and others. Author of a huge number of plays, arrangements of Russian folk songs. At the insistence of his student V. Morkov, A. O. Sihra wrote “Theoretical and Practical School for the Seven-String Guitar" and dedicated it to all guitar lovers. First edition - 1832, second - 1840. Buried at the Smolensk cemetery in St. Petersburg.

If A.O. Sihra lived and worked mainly in the northern capital, then M.T. Vysotsky was devoted to Moscow with all his soul.

Mikhail Timofeevich Vysotsky was born in 1791 on the estate of the poet M.M. Kheraskov. Here he received his first guitar lessons from S.N. Aksenov. From 1813 he lived in Moscow, where he became widely famous performer, teacher and composer.

What sounds! Motionless I listen

To sweet sounds I;

I forget eternity, heaven, earth,

Yourself.

(M. Lermontov)

Among the students: A.A.Vetrov, P.F.Beloshein, M.A.Stakhovich and others. Author of many pieces for guitar, mainly fantasies and variations on folk themes(“Spinner”, “Troika”, “Near the river, near the bridge”, “A Cossack rode across the Danube”...). Shortly before his death, he wrote and published “A Practical School for the Seven-String Guitar in 2 Parts” (1836). He died in 1837 in deep poverty.

Semyon Nikolaevich Aksenov (1784-1853) - student of A.O. Sikhry, was born in Ryazan. He published a “New Magazine for the Seven-String Guitar”, in which he published his own fantasies and variations (“Among the Flat Valley”). Thanks to Aksyonov’s efforts, A.O. Sihra’s “Exercises” were published. He was considered the best guitar virtuoso in Moscow (along with M.T. Vysotsky). Republished the school by I. Gelda. He introduced harmonics. It is not known whether S.N. Aksenov had students, except for the case of several lessons for Vysotsky. Basically, his work activity was associated with service in various departments.

Nikolai Nikolaevich Lebedev is one of the best Siberian guitarists. Years of life 1838-1897. Eyewitnesses compared his playing with the playing of M.T. Vysotsky: the same miraculous talent as an improviser, sincerity and sincerity of performance, love for Russian song. Biographical information- are scarce. It is known that N.N. Lebedev was an officer. He could take guitar lessons from his father, an amateur guitarist. He worked as a clerk at various mines. Occasionally he gave concerts that amazed everyone present with his masterful use of the instrument.

The performing art of guitar playing would not progress without first-class instruments. In Russia, their own masters appeared soon after widespread interest in this instrument arose. The contemporaries of Ivan Andreevich Batov (1767-1839) called Russian Stradivarius, who made about a hundred excellent instruments during his life - violins, cellos, balalaikas. Ten guitars came out of the hands of the outstanding master, which sounded in the hands of I.E. Khandoshkin, S.N. Aksenov, M.T. Vysotsky.

No less famous master Ivan Grigorievich Krasnoshchekov also appeared; The entire musical Moscow played on his guitars. The performers appreciated Krasnoshchekov's instruments for their warm and gentle sound, for their grace and beauty of decoration. One of the guitars (played by the famous gypsy Tanya, who admired A.S. Pushkin with her playing and singing) is kept in the Glinka Museum of Musical Culture (Moscow).

In addition to the guitars of Batov and Krasnoshchekov, the guitars of the Arhuzen brothers (Fyodor Ivanovich, Robert Ivanovich), F.S. Paserbsky, M.V. Eroshkin were famous in Moscow and St. Petersburg. Their instruments were not inferior in strength and beauty of tone to guitars Western masters. Of the Russian six-string guitarists, the most famous were N.P. Makarov (1810-1890) and M.D. Sokolovsky (1818-1883).

Nikolai Petrovich Makarov is a unique personality: a lexicographer who published the Complete Russian-French Dictionary (1866), the German-Russian Dictionary (1874), and the Encyclopedia of the Mind, or a Dictionary of Selected Thoughts (1878); writer who wrote several novels and many articles; a brilliant virtuoso performer on the six-string guitar. Organized an international competition for best tool and on best essay for guitar (Brussels, 1856). In 1874, he published “A Few Rules for Advanced Guitar Playing,” which were of great value to musicians until the advent of modern school. “Makarov, as a guitarist-musician, has earned himself an honorable place among its immortal composers; […] he also did a lot to improve the design of the guitar (lengthening the neck to the 24th fret - two octaves, strengthening the neck with a screw). Makarov discovered an extraordinary guitar master Scherzer […]. Thanks to Makarov’s financial support, Mertz wrote many compositions for guitar. He could rightfully be proud of his love for the guitar […]".

Mark Danilovich Sokolovsky was born near Zhitomir. He mastered the guitar early in the schools of Giuliani, Legnani, and Mertz. Gave several successful concerts in Zhitomir, Vilna, Kyiv. In 1847 he performed for the first time in Moscow and attracted the attention of the musical community. After a number of concerts in Moscow, St. Petersburg, Warsaw, he went on a European tour (1864-1868): London, Paris, Vienna, Berlin. Everywhere - an enthusiastic welcome. In 1877, his last concert took place (in St. Petersburg, chapel hall). He was buried in Vilna. His programs included works by Paganini, Chopin, Giuliani, Carulli, and Mertz.

Guitar performance in Russia has experienced a number of ups and downs associated with political and economic events in the country and abroad. New interest in the guitar sometimes arose thanks to the energetic activities of publishers, theorists, and teachers. Thus, at the beginning of the 20th century, playing guitar received support thanks to the popularizing talent of V.A. Rusanov (1866-1918), who published the magazines “Guitar” and “Music of the Guitarist” with the publication of his own historical and theoretical articles; The first part of his school was published.

Tyumen guitarist, teacher and publisher M. Afromeev (1868-1920) made a great contribution to the development of guitar performance through his publishing activities. In 1898-1918, he literally flooded Russian music stores with collections of guitar plays, self-instructions, and schools for both six- and seven-string guitar. For a number of years he published the magazine "Guitarist".

IN Soviet time Interest in the guitar increased significantly as a result of Andres Segovia's tour in the USSR. “My memory with great pleasure recalls in my soul four trips to Soviet Union and all the friends I left there." The concerts of 1926, 1927, 1930 and 1936 revealed to listeners such sound capabilities of the guitar, such a richness of timbres that they had analogies with an orchestra. The secret of the influence of Segovia's guitar was in a wonderful fusion of incomparable skill and delicate taste. Following the famous Spaniard’s tour in the USSR, 7 albums of works from the guitarist’s repertoire were published, and the Soviet guitarist P.S. Agafoshin released “The School of Playing the Six-String Guitar,” which has now gone through four editions. Guitar classes were also opened in a number of musical educational institutions, where the activities of such teachers as P.S. Agafoshin, P.I. Isakov, V.I. Yashnev, M.M. Gelis and others yielded results. In 1939, at the All-Union Review of Performers folk instruments The winners were: A. Ivanov-Kramskoy (first prize) and V. Belilnikov (13-year-old boy received second prize (!)). Another participant - K. Smaga - received a diploma. A. Ivanov-Kramskoy (a student of P. S. Agafoshin) performed the following program at the competition: F. Sor “Variations on a Theme of Mozart”, I. Bach “Prelude”, F. Tarrega “Memories of the Alhambra”, F. Tarrega “Moorish dance". From the program of V. Belilnikov (class of V.I. Yashnev) it was possible to find out only one piece - F. Sor “Variations on a Theme of Mozart”. K. Smaga performed “Prelude” by J. S. Bach, “Memory of the Alhambra” by F. Tarrega and several other pieces. However, even the listed essays give an idea of ​​the degree of professional skill of the contestants of that time.

Alexander Mikhailovich Ivanov-Kramskoy (1912-1973) studied at the Children's Music School to play the violin, and at the Music College named after. October revolution Graduated from P.S. Agafoshin's guitar class. Then for some time he took a conducting course with K.S. Saradzhev at the Moscow Conservatory. He gave many concerts around the country, played on the radio and on television.

The performance of the Honored Artist of the RSFSR (1959) A.M. Ivanov-Kramsky is devoid of cheap effects and is characterized by a certain restraint. However, the guitarist has his own personality, individual sound production techniques and his own repertoire, which includes own compositions musician. Masterfully accompanied famous vocalists - I.S. Kozlovsky, N. Obukhova, G. Vinogradov, V. Ivanova, I. Skobtsov, instrumentalists - L. Kogan, E. Grach, A. Korneev... A. M. Ivanov-Kramskoy - author large quantity works for guitar: two concertos, “Tarantella”, “Improvisation”, a cycle of preludes, dance pieces, arrangements of folk songs and romances, etudes. Wrote and published a school of guitar playing (reprinted several times). For many years, A.M. Ivanov-Kramskoy taught at the music school at the Moscow Conservatory (over 20 graduates, including N. Ivanova-Kramskaya, E. Larichev, D. Nazarmatov, etc.). He died in Minsk on the way to his next concert.

Along with A.M. Ivanov-Kramsky, in the 50-60s of the 20th century, the talent of L.F. Andronov, B.P. Khlopovsky, S.D. Orekhov was revealed. Different destinies, different education, but they were united by the war and post-war hard times.

Lev Filippovich Andronov was born in 1926 in Leningrad. Studied at music studio from V.I. Yashnev, then graduated from the Children's Music School in the guitar class of P.I. Isakov and in the accordion class of P.I. Smirnov. Early he began to give concerts solo and in duets with V.F. Vavilov (in 1957 the duet became a laureate of the All-Union and International Youth Festivals). In 1977, he graduated from the Leningrad State Conservatory as an external student in the class of Professor A.B. Shalov. He recorded several records, including “Concerto for Guitar and Chamber Orchestra” by B. Asafiev. Had creative connections with many famous guitarists of the world; was repeatedly invited to tour abroad, but due to the fault of USSR officials, did not receive permission. Due to several heart attacks, he died before reaching the age of 60.

Boris Pavlovich Khlopovsky (1938-1988) after graduation music school them. Gnesinykh (1966) worked as a teacher at his native school and the Moscow State Institute of Culture, in the folk instruments orchestra of the All-Union Radio and Television, performed in solo concerts with balalaika player V. Mineev, domra player V. Yakovlev. In 1972, at the First All-Russian Competition of Performers on Folk Instruments, he received 2nd prize and the title of laureate (in the program: Villa-Lobos “Five Preludes”, Ivanov-Kramskoy “Concerto No. 2”, Vysotsky “Spinner”, Tárrega “Dreams” , Narimanidze "Rondo"). His son Vladimir continued family traditions, graduated from the music school at the Moscow Conservatory, then from the State Musical Pedagogical Institute named after. Gnessins; in 1986 he became a diploma winner at the III All-Russian competition of performers on folk instruments. Another son, Pavel, is also a professional guitarist.

Sergei Dmitrievich Orekhov (1935-1998) - according to many Moscow guitarists, comparable to M.T. Vysotsky. Studied at circus school, took guitar lessons from Moscow guitarist V.M. Kuznetsov. I worked a lot and painstakingly on my own. He worked in gypsy groups, performing with Raisa Zhemchuzhnaya. Created a duet of seven-string guitars with Alexey Perfilyev. He toured the whole country with concerts, visited Bulgaria, Yugoslavia, Czechoslovakia, France, and Poland. He had “an amazing virtuosic technique […], that is, lightness, flight with depth and grace of sound,” “a free, relaxed manner of playing, improvisation coming from the depths of the Russian guitar school.” S.D. Orekhov is the author of famous concert arrangements of Russian songs and romances - “Here the postal troika is rushing”, “They are dozing weeping willows", "Quiet, everything is quiet", etc. He recorded a number of records.

For many years, great assistance in the spread of guitar art in the country was provided by the All-Union Recording Company "Melodiya", which annually releases large editions recordings of Soviet and foreign performers. In the 50-60s alone, she released 26 discs: A. Segovia - 4, Maria-Louise Anido - 2, M. Zelenka - 1, A. Ivanov-Kramskoy - 10, E. Larichev - 3, L. Andronov - 1, B. Okunev - 2, etc. Later they were supplemented by recordings by N. Komolyatov, A. Frautschi, Paco de Lucia... Since the 90s of the 20th century, large-circulation CDs of Russian musicians, both older and younger, began to appear.

Analyzing the state of guitar performance in Russia in the 60-70s of the 20th century, it should be noted that there was a serious lag in the professional training of guitarists, in contrast to balalaika players, domrists, and accordion players. The root cause of this lag (weak technical equipment and “amateurism” in the music-making of musicians at competitions was especially evident) was seen in the late entry of the guitar into the system of music education.

Despite the fact that guitar classes arose in the very first years Soviet power(since 1918), attitude towards the instrument in government bodies, incl. and in the field of culture, it was controversial. The guitar was considered a cult instrument of the bourgeois environment, against which the struggle was waged by Komsomol organizations. Learning to play the guitar in musical institutions It happened sporadically, on an amateur basis, which again belittled the assessment of the instrument by professional musical circles. The breakthrough came only when concert life The country included guitarists who graduated from universities, in particular the Ural State Conservatory. One of the first graduates to receive diplomas of higher education were M.A. Prokopenko, Ya.G. Pukhalsky, K.M. Smaga (Kiev Conservatory), A.V. Mineev, V.M. Derun (Ural Conservatory). Guitar classes have opened at the GMPI named after. Gnesins, at the conservatories of Leningrad, Gorky, Saratov...

Among the guitarists of the new generation (70-90s of the XX century), performers appeared who raised guitar music to academic heights. These are N.A. Komolyatov, A.K. Frauchi, V.V. Tervo, A.V. Zimakov.

Nikolai Andreevich Komolyatov was born in 1942 in Saransk. In 1968 he graduated from the music school at the Moscow Conservatory (class of N.A. Ivanova-Kramskaya), and in 1975, in absentia, from the Ural State Conservatory (class of A.V. Mineev). Constantly gives concerts; Recorded records and CDs. He was the first to play E. Denisov’s sonata for flute and guitar (with A.V. Korneev). Interpreter and promoter of new original music for guitar (I. Rekhin - five-part suite, three-part sonata; P. Panin - two concerts, miniatures, etc.). Since 1980, together with A.K. Frauchi, he opened a guitar class at the GMPI named after. Gnesins. Currently - Honored Artist of the Russian Federation, professor. Dozens of guitarists graduated from his class, including many laureates, such as A. Zimakov. Each All-Russian and international competition of performers on folk instruments is represented by two or three students of N.A. Komolyatov (see booklets for competitions).

In the 70s, Moscow guitarist Alexander Kamilovich Frauchi (1954) revealed his talent. After studying at the music school at the Moscow Conservatory (class of N.A. Ivanova-Kramskaya), A.K. Frauchi continued his education at the correspondence department of the Ural Conservatory (class of A.V. Mineev and V.M. Derun), while simultaneously working as a soloist of the Moscow Conservatory regional philharmonic society. In 1979, at the II All-Russian competition of performers on folk instruments, he won second prize, and in 1986 he successfully completed the international competition in Havana, receiving first prize and a special prize. Moreover, the Soviet musician’s performance at the competition created a sensation with his skill, temperament, and intelligent interpretation of the works (at the same competition, another Soviet guitarist, Vladimir Tervo, won the 3rd prize, he also caused a lively response in the guitar audience). After the Cuban competition, A. Frautschi participated in the Five Stars festival in Paris, and since then he has been touring every year with concerts in all countries of the globe.

A. Frautschi combines intensive concert activities with teaching work at the State Musical Pedagogical Institute named after. Gnesins. Among his students are laureates of all-Russian and international competitions - A. Bardina, V. Dotsenko, A. Rengach, V. Kuznetsov, V. Mityakov... Today A.K. Frauchi is the chairman of the Russian Guitar Players Association. His credo is to separate the guitar from folk instruments, because the guitar, according to him, has its own culture, history, repertoire, international distribution, school, and in the civilized world it exists separately, like a piano or violin. In this, in his opinion, lies the future of guitar performance in Russia. A.K. Frauchi - Honored Artist of the Russian Federation, professor.

Vladimir Vladimirovich Tervo (1957) graduated from the Music College named after. Gnessins (class of V.A. Erzunov) and Moscow state institute culture (class of A.Ya.Alexandrov). Laureate three competitions- All-Russian (1986, III prize), international (Havana, 1986 III prize; Barcelona, ​​1989, III prize) - did not stop there: he entered the Ural Conservatory and graduated brilliantly in 1992 in the class of Associate Professor V.M. Derun.

Alexey Viktorovich Zimakov is a Siberian, born in (1971) and raised in Tomsk. He received his first guitar lessons from his father. In 1988 he graduated from the Tomsk Music College, and in 1993 - GMPI named after. Gnessins (class of N.A. Komolyatov). He is exceptionally virtuoso and plays the most complex pieces. He was the first guitarist to be awarded first prize at the All-Russian competition of performers on folk instruments (Gorky, 1990). In addition, he won first prizes at two international competitions (1990, Poland; 1991, USA). Lives and works in Tomsk (teacher at his native school). Constantly tours in Russia and throughout foreign countries. In his repertoire he sticks to classical works.

The competitions of the 90s of the 20th century and the victories of Russian guitarists at them confirm that the professional guitar school has noticeably grown, strengthened and has prospects for further development.

The guitar has shown itself worthy in one more direction - in jazz music playing. Already at the early stage of the emergence of jazz in America, the guitar took a leading (if not leading) place among other jazz instruments, especially in the blues genre. In this regard, a number of professional jazz guitarists came forward - Big Bill Bronzy, John Lee Hooker, Charlie Christian, and later Wills Montgomery, Charlie Byrd, Joe Pass. Among the European guitarists in the 20th century, Django Reinhard, Rudolf Daszek and others were notable.

In Russia, interest in jazz guitar arose thanks to studies conducted in different cities country jazz festivals (Moscow, Leningrad, Tallinn, Tbilisi). Among the first performers are N. Gromin, A. Kuznetsov; later - A. Ryabov, S. Kashirin and others.

Alexey Alekseevich Kuznetsov (1941) graduated from the October Revolution Music College, class of domra. I became interested in the guitar not without the influence of my father, A.A. Kuznetsov Sr., who played the guitar for many years in the State Jazz of the USSR, then in pop music. symphony orchestra under the direction of Y. Silantiev, in the B. Tikhonov quartet. A.A. Kuznetsov Jr. also worked for about 13 years in the pop symphony orchestra under the direction of Y. Silantiev, then in the State Symphony Orchestra of Cinematography. As a jazz guitarist, he proved himself at Moscow jazz festivals in solo and various ensembles (the duet of guitarists Nikolai Gromin - Alexey Kuznetsov became especially popular). A lot is recorded on gramophone records. He is known as an ensemble player and soloist in such groups as the Leonid Chizhik trio, the ensembles of Igor Bril and Georgy Garanyan. Since the 90s, he has been working as a consultant at the Accord music salon, where he gives master classes on jazz guitar and performs at concerts in the “Masters of Jazz” and “Guitar in Jazz” series. National artist RF (2001).

Andrey Ryabov (1962) - graduate of the Leningrad Music College named after. Mussorgsky in jazz guitar class (1983). He received public recognition in a duet with Estonian guitarist Tiit Pauls (the album "Jazz Tete-a Tete" was released). Then he played in the quartet of pianist A. Kondakov, in the ensemble of D. Goloshchekin. In the early 90s he moved to the USA, where he performed with famous American musicians jazz by Attima Zoller, Jack Wilkins. He created his own trio and is currently considered one of the best jazz guitarists.

Since jazz guitar received due recognition in Russia relatively recently, it appeared in the music education system in the last quarter of the 20th century (and in universities even later). Advances in technology on acoustic and electrified guitars, use of electronics, inclusion of flamenco elements, classic style, development of teaching methods, exchange of experience with foreign musicians - all this gives reason to consider the guitar in this genre of music as one of the promising instruments.

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Producer's Column

A couple of years ago, when the press wrote that according to the results of sales for the year in musical instrument stores in London, the number of DJ turntables sold exceeded the number of guitars, it seemed that the plastic world had finally won. But suddenly, with the arrival of the spring of 2001, companies began to appear in courtyards again, singing songs with a guitar, in the subway at every step you meet young people with characteristic black covers on their backs, everything seemed to fall into place. The balance is being restored, and this is happening thanks, among others, to such guys as the team of the Russian Guitar Portal website. The portal combines several guitar-themed sites and was created through the interaction of Internet and guitar professionals.

IN music app the first New Year's magazine was published a joint project Publishing house "Salon Audio Video" and the portal website - "Gitarists of Russia". The title of the disc fully corresponds to the content; it contains guitar music of various styles and directions performed by masters of the instrument. We deliberately try to avoid the epithet “best” so as not to cause disputes about tastes. Along with eminent professionals, the work of young virtuosos is presented here. The music is so diverse that I think everyone can find something for themselves.

Evgeny Ilnitsky "Papa John".

GUITARISTS OF RUSSIA

Despite the fact that the guitar is one of the most popular musical instruments, guitar music in Russia is semi-underground. Musicians of this genre often known only to specialists. Every day on the radio we hear them play dozens of times and don’t know their names. These people, as a rule, work behind the backs of popular artists as session musicians, and a rare national hit happens without their participation. For many, working with pop artists is a way to make a living, and their own creative ambitions find expression in guitar music. U guitar music there is no regular serious press, “unpromoted” concerts are held occasionally, and albums recorded with one’s own money are released in small editions. We hope that the release of our disc will at least partially fill this gap.

The guitar is a truly folk instrument, millions of children learn all these “ladders” and “asterisks” in the summer in the courtyards and in the winter in the entrances, mastering the “barre” and “picks”. Talking to famous musicians, it turns out that many started in the same way, with songs with a guitar in a company where the person who owns the guitar always enjoys authority. It was the guitar and innovations in the extraction and processing of its sound that determined the development of all popular music of the second half of the 20th century. And it is no coincidence that the bygone century was called the century of the guitar, the century of rock and roll.

Alexey Kuznetsov- patriarch of the national guitar school, author of popular textbooks and one of the best jazz musicians in the country, who participated in many famous projects together with many jazz stars Russia. For a long time, Kuznetsov worked in the variety and symphony orchestra of the USSR State Television and Radio and Cinematography Orchestra, where he collaborated with such classics as Mikael Tariverdiev and Mikhail Petrov, and participated in the recording of music for domestic films." Cruel romance", "17 Moments of Spring" and many others. Our collection presents a play by Alexey Kuznetsov, performed by him in a duet with another elder Russian guitarist- Nikolai Gromin, with whom Kuznetsov played back in the 50s.

Dmitry Chetvergov- a versatile guitarist who plays freely in any style. For many years, Chetvergov has been the most sought-after session guitarist in Russia, having recorded an incredible number of guitar parts with the stars of Russian popular music. In his solo work, Dmitry experiments with modern sounds and musical technologies. The two plays presented in the collection perfectly illustrate this fact. The song Propeller-Chet uses a sample from the Propellerheads, hence the name.

Dmitry Maloletov- this is the presenter Russian specialist on the “piano technique” of playing the guitar (two-handed tapping). Both studio and concert musician worked with many Russian stars. A few characteristic quotes from an interview with Dmitry Maloletov: “...the guitar for me is not just a craftsman’s instrument, it is a unique field of knowledge - the science of the guitar, in which I am more of an experimenter than a professor. I am convinced that two-handed tapping is a new step in development of the guitar.", "playing for all occasions - from flamenco to atonal fusion - this is the specificity of our Russian guitarists."

Ivan Smirnov- composer, guitar virtuoso, creator unique direction opening up new development paths modern music and returning musical creativity to domestic roots. Smirnov's style harmoniously combines the most modern, most relevant musical forms with the Russian worldview. Over the past few years, the press has recognized Smirnov as the best acoustic guitarist in Russia. Leading world-class performers (guitarists Al Di Meola, Alan Holdsworth) are familiar with Smirnov’s work and give him high praise. His first album, “Carousel Grandfather,” was called a “musical sensation” by critics at the time of its release and sold a record number of copies for this kind of music.

Igor Boyko- guitarist, composer, paying a lot of attention to improvisation. The defining direction in creativity is music in the style of jazz fusion. Igor, like most of the guitarists presented on the album, works with pop stars on concert venues and in the studio. For a long time he has been participating in the Valery Syutkin Ensemble as an instrumentalist and author; long-standing creative ties connect him with the jazz singer, composer and pianist Sergei Manukyan. Igor recorded several solo albums. In addition to his busy concert activities, Igor Boyko is engaged in educational and pedagogical work, being the author of two books dedicated to the art of guitar.

Not so long ago Valery Didyulya was a street musician, in this role he traveled across half of Europe. He studied guitar in the birthplace of flamenco - Spain. Last year, Didyulya was recognized as the best guitarist in his homeland - Belarus. Now lives and works in Russia and. is preparing to release his second album. Valery's style is original flamenco music, Latin American acoustic guitar music in modern fashionable dance arrangements. Currently, he works closely with many popular music performers.

May Lian on the professional stage since 1984, in the late 80s and early 90s he worked at the Alla Pugacheva Theater. After that, over three years of travel, I gained experience in session work in 14 European countries. Returning to Russia in 1993, he released the country's first video school for playing the guitar; the circulation of the two parts of the video school is approaching 500,000 copies. Mei Lian's instrumental compositions are distinguished by their bright images and non-standard harmonic construction. Individual style of execution, using shades oriental flavor, makes this guitarist easily recognizable on the stage.

Alexander Vasilenko has extensive experience in orchestral work. In the late 70s, while still a very young man, he began in the State Orchestra of Latvia "Neptune", in subsequent years he worked in the USSR State Television and Radio Orchestra under the direction of A. Petukhov and in the orchestra of the State Academic Bolshoi Theater. And in 1994 he won 1st place in the Blues Guitar category in the guitar competition of the television program Jam. Such contrasting stages creative path characterize the width of Alexander Vasilenko’s stylistic range - from academic music to rock.

Levan Lomidze- blues guitarist Georgian origin. He began his creative activity at the Tbilisi Philharmonic under the patronage of Vakhtang Kikabidze (Vakhtang’s son was a drummer in the ensemble where Lomidze played). In the late 80s, Levan Lomidze's group became "the first Georgian rock band to release a record." In the early nineties he moved to Moscow with Blues group Cousins. The energy of the musicians can only be envied; from the time of the emergence of music clubs to this day, Levan Lomidze’s group remains the most actively performing blues group in the capital. Levan dedicated the work presented in our collection to his wife Madonna Lomidze.

The composition "Summer Light", written and performed by a Moscow guitarist Dmitry Rantsev impressed us with her energy, melody and ingenuity in phrasing. Dmitry is mainly known to listeners from his work in Leonid Agutin’s group. The presented piece was recorded in collaboration with bassist Sergei Zakharov, keyboardist Alexander Smirnov and arranger Roman Trofimov.

Anton Tsygankov- a very young guitarist, the hope of Russian guitar music. Anton, like his colleagues in the guitar shop, works with pop performers, steadily improving his professional skills, and has already distinguished himself by taking the top places in several guitar competitions. Experts predict a great future for him.

The material was prepared by Evgeniy Ilnitsky (Papa John) and Sergei Tyncu (stnk). Thanks for help in preparing the disc to Alexander Avduevsky (Cyco), Serge Ivanov, Dmitry Frolov (DF), Nastya, Fingy.