Mikhail Davidovich devil. State Universal Scientific Library of the Krasnoyarsk Territory Concert activities of military musicians, its influence on the musical culture of Russia

Chertok M. Vasily Agapkin and his march "Farewell of the Slav": comment // Moscow. - 2011. - No. 11.

In a year, the world-famous march “FAREWELL SLAVYANKA”, written by V.I., will be 100 years old. Agapkin in1912.

In the announcement of the issue:

Let us repeat that the march “Farewell of the Slav” was written in 1912. Speaker of the State Duma B. Gryzlov, during an official visit in January 2011 to Tambov, whose anthem this march is, during a conversation with journalists, supported the idea of ​​​​giving the celebration of the centenary of the march a national status. Boris Vitalievich, in particular, said: “I think that this is an event of an all-Russian scale. Today we discussed that the All-Russian Festival of Brass Music, which will be held in Tambov, could be timed to coincide with this date. Brass bands from all over our country will come to it. A big celebration will take place, which will certainly last for more than one day.

A handwritten notebook with scores of works by Vasily Ivanovich Agapkin was found in the archives of the composer’s daughter, Aza Vasilyevna. These are mainly marches and waltzes, subsequently arranged by the author for a brass band

Editorial office of the magazine "Moscow"

Quote:

Today there is no person in Russia who does not know or have not heard this melody. It is no coincidence that from the first sound the march sinks into the soul and remains in the memory forever. As a rule, the sound of this music is associated with farewell and separation. It’s not for nothing that it is performed when sending someone off to the army (N. Mikhalkov’s film “Relatives”). An unforgettable episode with Boris (N. Batalov) and Veronica (T. Samoilova) from M. Kalatozov’s great film “The Cranes Are Flying.”

Still, the history of the march needs clarification. The very first thing is the date of writing. The second is the author’s belittling of the merit in creating a brilliant work. During his lifetime, Agapkin was reluctant to talk about his brainchild, did not consider it outstanding, and even wrote an explanatory note for the march half a century later. Why? And finally, the third lies in the melody of the thing itself. Why is it that from the very first sound the march is recognizable, recognized and sinks into the heart? After all, in the history of music there are few examples of such a phenomenon.

Mikhail Davidovich Chertok was born in 1966 in Leningrad. Graduated from the Military Conducting Faculty of the Moscow State Conservatory. P.I. Tchaikovsky. For five years he was in Chechnya as a military conductor of a military brass band. Major of the reserve.

Chief specialist-expert of the Department of Science, Innovation and Information Technologies of the Department of Science and Education of the Ministry of Culture of the Russian Federation.

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Born in 1966 in Leningrad. In 1998 he graduated from the Military Conducting Faculty of the Moscow State Conservatory named after P.I. Tchaikovsky. From 1984 to 1986 he served in the army, in the ranks of the USSR Air Force. He served in military unit 21833, as an aircraft radio-electronic equipment mechanic. After military service, he served as a conscript, cadet, officer - military conductor, including in the Chechen Republic, awarded the rank of major, dismissed due to staff reductions in 2009. Last place of service - St. Petersburg Suvorov Military School, military conductor.
From 2009 to 2012, he worked at the Ministry of Culture of the Russian Federation as a chief specialist-expert in the department of science and innovation of the Department of Science and Education, dismissed due to staff reduction.
In 2010, he entered graduate school at the State Institute of Art Studies.
In 2012, he graduated from the Russian Academy of National Economy and Public Administration under the President of the Russian Federation with a degree in “State and Municipal Administration”, qualification manager, specialization “Project Management”, thesis “Intellectual Property Accounting System”.
From 2012 to the present - artist of the Central Military Orchestra of the Ministry of Defense of the Russian Federation, teacher of the Military Institute of Military Conductors of the Military University of the Ministry of Defense of the Russian Federation.
Field of activity: research and teaching. M. Chertok is the author of monographs and manuals on the history of Russian and foreign military music.

SELECTED WORKS

Russian military march: to the 100th anniversary of the “Farewell of the Slav” march. M.: “Canon+” ROOI “Rehabilitation”, 2012.
Soldiers' drill songs. Songbook / comp. M. Chertok. M.: “Canon+” ROOI “Rehabilitation”, 2012.
Russian military marches. To the 200th anniversary of the Patriotic War of 1812. M.: “Canon+” ROOI “Rehabilitation”, 2013.
Reader on the history of foreign military music: France. England. Germany / comp. M. Chertok. M.: “Canon+” ROOI “Rehabilitation”, 2013.
Slow marches of the Russian Guard. T. 1, parts 1 and 2. Scores for brass band / comp. A. Derfeldt, reconstruction by M. Chertok. M.: “Canon+” ROOI “Rehabilitation”, 2013.
Rapid marches of the Russian Guard. T. 2, parts 1 and 2. Scores for brass band / comp. A. Derfeldt, reconstruction by M. Chertok. M.: “Canon+” ROOI “Rehabilitation”, 2013.
With a song in order. Songbook / comp. M. Chertok. M.: “Canon+” ROOI “Rehabilitation”, 2015.
Musicians of the Victory Parade. M.: “Canon+” ROOI “Rehabilitation”, 2015.
Musical monuments to Generalissimo Suvorov. M.: “Composer”, 2015.
Central Military Band (1921–1949). M.: "RTSoft" - "Cosmoscope". 2015.
Military music of Russia on the eve of the First World War. M.: “Canon+” ROOI “Rehabilitation”, 2015.
Vasily Agapkin and his march “Farewell of the Slav” // Moscow, 2011, 11.
Wheel of History // Orchestra, 2012, No. 3.
Together with Tyurin Yu. Music on the battlefields. // Moscow, 2012, No. 7.
On the problem of using authentic military music in films about the era of the Patriotic War of 18182 // Culture and Art. 2013. 3(15).
Together with Kukartseva M. Musical army rituals as “political texts” // International life. 2013. 5.
Soar, falcons, like eagles. History of the song // Culture and art. 2014, No. 6, p. 687–703.
Philosophy of the March // Culture and Art. 2014, No. 1, p. 37–61.
Slow and fast marches of the Russian Guard // Musical Academy, 2014, No. 3, p. 154–156.
Music of the Victory Parade // Music Academy. 2015, ? 2. P. 1-5.
Drumming is the most honorable award. Postgraduate collection of the State Institute of History, 2015, No. 8, p. 101–128.
Parade on Red Square on November 7, 1941. March “Farewell of the Slav” by Vasily Agapkin. Materials of the All-Russian, interuniversity scientific and practical conference “Music during the Great Patriotic War.” M., 2015. pp. 6–14.

Introduction

Chapter 1. Organization of military music in the armed forces of the Russian Empire in the first half of the 19th century 29

1.1 Creation and development of music choirs in the ground forces at the end of the 17th – 18th centuries. thirty

1.2. Composition of musicians in military units in the first half of the 19th century46

Chapter 2. Management of the military music service and training of military musicians .88

2.1. Military musicians training system.89

2.2. Bandmasters and their role in directing military music 114

2.3. Providing military musicians with instruments and their material allowance 135

Chapter 3. Repertoire and performing activities of military bands .154

3.1. Rituals and military routine 154

3.2. Marches 162

3.3. Anthem 180

3.4. Signal music.185

3.5. Concert activities of military musicians, its influence on the musical culture of Russia.208

Conclusion 215

List of abbreviations and symbols 221

List of terms 222

References.223

Introduction to the work

The relevance of research due to the fact that: Russian military music, largely due to its specificity, has not received sufficient coverage in science and its study can be considered one of the most important tasks of modern historical musicology. There are few works specifically devoted to military music, especially those containing a comprehensive analysis of its history, in Russian historiography. One of the least developed aspects is the organization and functioning of the military music service system, which is the focus of this study.

Object of study military music service in Russia in the first half of the 19th century, in the totality of its various elements, and in the context of the development of military music as a special form of musical art.

Subject research are the main trends in

organization of military music service, government measures for development

military music, recruiting, training and provision of military musicians, service and concert activities of military bands.

Purpose The research is to systematize and analyze the history of the development of Russian military music of the first half of the 19th century, from the point of view of the organization of military music service.

To achieve this goal it was necessary to solve the following

tasks:

– to study the basics of the regulatory framework for organizing the military musical service in Russia during the period under review;

– clarify and supplement information on the dynamics of the number and composition of military musicians in army and guards military units;

– to trace the evolution of the instrumental composition of military unit orchestras;

– analyze the activities of the country’s government and the leadership of the military department in the field of training military musicians and leaders (bandmasters) of military groups;

– consider the procedure for serving as military musicians, their material support (salary, clothing allowance, features of uniforms, etc.);

– highlight various aspects of the performing practice of military bands and government measures to improve military repertoires

musical choirs (orchestras).

Territorial framework research covers the entire territory of the Russian Empire.

In a relationship departmental accessories, the work examines the development of the military musical service only in the ground forces, since in the navy it requires separate study. At the same time, this study, along with units of the foot and horse guards, touches on some facts of the history of the Guards Crew Band, since it was part of the Separate Guards Corps.

Chronological framework of the study cover the period from 1802, when the Russian Emperor Alexander I significantly increased the staff of regimental musical choirs, to the mid-1850s, when during

Military reforms saw significant changes in staffing, the composition of choir instruments, and the system of training musicians and bandmasters. However, for the logical connection of events, the previous (late 17th-18th centuries) and subsequent (second half of the 19th century) periods in the history of military musical service in Russia are briefly considered.

The degree of knowledge of the topic.

Chronological Russian historiography of military music

is divided into three periods: 1) Pre-revolutionary period (from the beginning of the 19th century to 1917); 2) Soviet period (from 1917 to the early 1990s); 2) Post-Soviet (or modern) period (from the early 1990s to the present).

In the pre-revolutionary period of historiography, factual material was accumulated, but it was dissolved in works not specifically devoted to military music. In addition, most of the works published then were of a descriptive nature.

Brief historical excursions are contained in some works about
contemporary authors of military music 1 . Significant contribution to

The historiography of domestic military music and military musical service was represented by articles in military encyclopedias of the 19th – early 20th centuries, in the preparation of which prominent military historians were involved (but not musicians, which also leaves its mark on the publications) 2 . Rich factual material about the creation and composition of military choirs and the service of musicians is contained in numerous works on the history of individual military units - “regimental histories” 3. Finally, the issues of the development of military music were touched upon by the authors of works on the history of Russian musical art in general 4 .

1 Klugin L.N. The importance of musical choirs in the troops // Military collection. 1863. No. 10. P. 58-59; Zubov G.N.
Musical worker. St. Petersburg 1903. No. 3. P. 3-6.

2 Baggovut K.F. Drum. Drum beat. Drummer. // Military encyclopedic lexicon. Part 2 St. Petersburg.
1838. pp. 108-116; Zedeller L.I.. Military music. Musical signals // Military encyclopedic
lexicon. Part 9. St. Petersburg, 1845. pp. 279-281; Rediger A.F. Drummer. Drum // Encyclopedia of military and naval
Sci. T. 1. St. Petersburg, 1883. pp. 344-345; Military music // Encyclopedia of military and maritime sciences. T.5. St. Petersburg, 1890.
pp. 251-252; Drum beats. Drummers. Drum // Military encyclopedia. T. 4. “B-Bomb”. St. Petersburg, 1911.
P.385-386. Peretz G.G. Zorya // Military encyclopedia. T. 10 “Elizabeth-Initiative”. St. Petersburg, 1912. P. 547-548;

3 Azanchevsky M.P. History of the Preobrazhensky Regiment. Comp. Life Guards Preobrazhensky Regiment headquarters
cap. Azanchevsky 1st. St. Petersburg, 1859. Dirin P.N. A brief history of the Semenovsky Life Guards Regiment. Comp. P.
Dirin. M., 1883. Sudravsky V.K. History of the Life Guards Grenadier Regiment. 1756-1906 T. 1. St. Petersburg, 1906.
Bobrovsky P.O. History of the Life Guards Preobrazhensky Regiment. T. 1-2. St. Petersburg, 1900-1904. and etc.

4 Perepelitsyn P.D. History of music in Russia from ancient times to the present day. M., 1882. 282 pp.; Ivanov M.M. History of the musical development of Russia. T.1-2. St. Petersburg, 1910–1912.

The works of all of these groups covered the history of military music fragmentarily and were predominantly descriptive in nature.

Immediately after the end of the Civil War in Soviet Russia,
works on military music appeared. However, despite the fact that their authors
there were often persons who were most directly related to the military
musician service (V.L. Messman, S.A. Chernetsky), assessments
pre-revolutionary period were far from objectivity, wore
exclusively negative in nature. This trend continued in the 1930s.
40s.

In the 1950s-70s. interest in the history of Russian military music is obvious
increases. Its study was especially active at the Military Conductor
faculty at the Moscow State Conservatory.

P.I. Tchaikovsky, which was associated with the development of textbooks on
discipline "History of military music of Russia". Important stages in studying
The problem was a small monograph by V.A. Matveev "Russian military"
orchestra" (1965) 5 and a textbook for cadets of the Military Conductor School
faculty at the Moscow State Conservatory

them. P.I. Tchaikovsky "Soviet military music" (1977). In them

the main stages in the history of military music in Russia are analyzed. However, deep scientific analysis in these publications coexists with extremely ideological assessments (the anthology, for example, contains the statement that “the efforts of advanced Russian musicians and cultural figures” encountered “opposition from the tsarist generals and

officials" 6).

In 1981, the “Anthology on the History of Russian Military Music” was published, compiled by V.I. Tutunov 7, which included works by Yu. Usov, B. Kozhevnikov, Kh. Khakhanyan, V. Matveev and others.

Of particular interest for this dissertation research

presents an article by B.A. Kozhevnikov and Kh.M. Khakhanyan. The authors analyze the staff, instrumental composition and repertoire of the choirs of the Russian Guard, the activities of the main bandmasters of the Guard A. Derfeldt-father and

5 Matveev V.V. Russian military orchestra. Brief essay. M.–L., 1965. 100 p.

6 Soviet military music. M., 1977. P. 132.

7 Reader on the history of military music. Part 1. Russian military music (before 1917). M., 1981. 390 p.

F.B. Haase, training of musicians 8. However, due to the small volume of the article, many aspects of the history of military music were beyond the attention of the authors.

In the 1990s, significant printed works on the history of military music
almost never appeared. However, various aspects of the problem

were considered in dissertation research (V.S. Tsitsankin 9,

V.V. Semichev 10, etc.).

In the last 10-15 years there has been an increase in the interest of researchers in the history of military music. The joint work of V.I. is distinguished by the wealth of factual material. Tutunov and G.V. Vilinbakhov “Military music in St. Petersburg. 1703–2003" (2004) 11. In 2005, the work of V.I. Tutunova “History of military music in Russia” 12.

An interesting attempt to consider the history of Russian military music in relation to one, separate region of the country - the Kostroma Territory - was made by E.G. Klein in dissertation research

(for the degree of candidate of cultural studies) 13.

Currently, a number of dissertation studies have also appeared that touch on the history of military music (research by L.F. Dunaev 14, A.L. Ermolenko 15, S.V. Sakova 16). A number of problems in the development of military music over a long period (from its inception to the present) are considered in the dissertation research for an academic degree

8 Kozhevnikov B., Khakhanyan H. Materials on the history of Russian military music in the first half of the 19th century //
Reader on the history of military music. Part 1. Russian military music (before 1917). M. 1981. P. 37-57.

9 Tsitsankin V.S. Musical culture of the Russian army and navy in the second half of the 19th century:
historical aspect. Abstract of a dissertation for the degree of candidate of historical sciences. M.,
1997. 23 p.

10 Semichev V.V. Musical education in the military education system of Russia 1700-1917. (Historical
pedagogical analysis): Abstract of the dissertation for the scientific degree of candidate of pedagogical
Sci. St. Petersburg, 1994. 18 p.

11 Vilinbakhov G.V., Tutunov V.I. Military music in St. Petersburg. 1703–2003. St. Petersburg 2004. 251 p.

12 Tutunov V.I. History of military music in Russia. M., 2005. 465 p.

13 Klein E.G. Military bands as a phenomenon of provincial culture in Russia (based on materials
Kostroma province until 1917). Dissertation for the scientific degree of candidate of cultural studies.
Kostroma, 2005. 245 p.

14 Dunaev L.F. The formation of instrumentation-science and its development in domestic musicology of the 20th century:
diss. Doctor of Art History: 17.00.02 / Dunaev Leonty Fedorovich. – M., 2000. – 357 p.

15 Ermolenko A.L. The evolution of instrumentation in Russian wind music until the 70s of the 19th century: dissertation.
Ph.D. art history: 17.00.02 / Ermolenko Alexander Leonidovich. – M., 2000. – 268 p.

16 Sakov S.V. Orchestral tutti: dis. Ph.D. art history: 17.00.02 / Sakov Sergey Vladimirovich. – M.,

2004. – 196 p.

candidate of philosophical sciences T.K. Mayakin “Military musical culture of Russia (historical and cultural analysis)” 17.

As for foreign works on the history of military music, it should be noted that their authors, as a rule, paid little attention to the development of military music in Russia, although they almost never ignored it. Among the authors who showed interest in Russian military music are: J. Kastner 18, G. Farmer 19, V. Wiprecht 20 and others.

Thus, to date, researchers of military music have accumulated significant factual material and highlighted certain aspects of its history, but there are very few generalizing works on the problem; there are large gaps, first of all, regarding the organization of military music service.

Methodological basis of the work are fundamental
requirements of the principles of historical science - objectivity and historicism. During
research used systemic, problem-chronological,

concrete historical and comparative historical research methods. Their combination allows us to objectively present Russian military music as an integral system in its development under the influence of many interrelated and interacting factors.

The study also used a historical and cultural method, according to which Russian military music is studied as a holistic phenomenon of Russian culture in the complex of its components - in historical development, in typology, in administrative-organizational, cultural, ritual specifics.

Source base this study was compiled by documents
stored in seven archives in Moscow and St. Petersburg. In Moscow it is:
Russian State Military Historical Archive (RGVIA),

State Archive of the Russian Federation (GARF), Russian State Military Archive (RGVA), Russian State Archive of Ancient Acts (RGADA), Research Department of Manuscripts

17 Mayakin T.K. Military musical culture of Russia: historical and cultural analysis: diss. Ph.D. philosophical sciences: 24.00.01 / Mayakin Timofey Konstantinovich. – Nizhny Novgorod, 2010. – 149 p.

18 Kastner G: Manuel gnral de musique militaire. – Paris, 1848. – 411 p.

19 Farmer H.-G. The Rise and development of military music. London. 1912. 156 p.

Wieprecht W. Die Militr-Musik. Bonn. 1883. 316 s.

Russian State Library (NIOR RSL). In St. Petersburg: Russian State Historical Archive (RGIA), Cabinet of Manuscripts of the Russian Institute of Art History (KR RIHI).

In total, documents from 15 archival funds were studied and analyzed. At the same time, analysis of the activities of one institution or person often required access to several funds, and sometimes to several archives. The above fully applies to the documents of the “Commission for the Improvement of Military Music in the Army and Navy” chaired by Baron K.K. Stackelberg, which operated in 1909–1914. The materials of this commission are now concentrated in two archives: in the RGVIA, in the fund of the Military Campaign Chancellery at the imperial main apartment (F. 970. Op. 3), and in the KR RII, in the fund of the Commission itself (F. 35).

Numerous and varied materials on the topic of dissertation research are contained in the Military Chancellery Fund (F. 1) of the Russian State Military Academy. Here are documents of a general and normative nature: imperial decrees, correspondence on the staff of regimental military music, the provision of instruments and notes, the appointment of bandmasters, as well as analytical and historical materials, etc. Among the funds of the RGVIA, which were actively used in the work, there is also the fund of the Military Chancellery ministry (F. 29), whose documents are also related to the development of choir staff, their provision, and the training of musicians. Of great importance for solving the research problems were documents from the fund of the Military Settlements Administration (F. 405), which reflected the development of the system of training military musicians in military educational institutions and educational units.

Documents from the funds of the General Staff of the Ministry of War (F. 400) and the headquarters of a separate Guards Corps (F. 14664) were also involved in the work. The significance of the second of these funds for dissertation research is determined by the fact that all innovations in the organization of military musical service were usually “tested” in the guards regiments.

The work also used individual documents from the fund of the Grenadier Corps (F. 14927), as well as other corps (Finnish, Caucasian, Siberian) and many army regiments.

During the preparation of the dissertation research at GARF there were
some individual documents from personal funds were analyzed

emperors: Alexander I (F. 679), Nicholas I (F. 672), Alexander II (F. 687), Alexander III (F. 677), Nicholas II (F. 601).

The RGADA carried out work with documents F. 20 (“Military Affairs”) and F. 137 (Boyar and city books). Many documents stored in this archive date back to earlier periods of history than those considered in the dissertation. However, they were necessary for a retrospective analysis of the stated topic.

In the NIOR RSL, materials from the extensive fund “Collection of materials from palace and royal libraries” (F. 492), as well as the funds of the Taneyevs (F. 495), Vielgorsky-Venevetinovs (F. 496) and others were analyzed.

In the RGIA, the materials of two funds were of greatest importance: the Directorate of Imperial Theaters (F. 497) and the Court Chancellery of Grand Duke Konstantin Pavlovich (F. 539), in which interesting materials were found about the service of bandmasters of the Guards Corps.

Also a significant help in developing the stated topic is the rich cultural heritage in the form of repertoire collections of musical works published in the past. This is a Collection of marches of all Guards regiments of A. Derfeldt, father, 1815–1819. publications, Collection of marches F.B. Haase 1845–1849 from his Military Music Album and other scattered but very striking works for military bands.

When working on the dissertation research, memoirs were also used, including those written by officers of various regiments, students of military educational institutions, lovers of musical art, etc.

An important source was publications in the press, primarily reviews of concerts with the participation of military musicians and articles on the state of military music in the newspapers “Russian Invalid”, “Northern Bee”, “Russian Musical

newspaper", St. Petersburger Zeitung 21 and others.

Die Russiche Militair-Musik. Von Udolf Udam. //St. Petersburger Zeitung. 1840. 5. (19) Sept. No. 200. R. 932-933.

Main provisions submitted for defense.

1) First half of the 19th century. became a time of active development
national military music based on established traditions and under
the influence of various cultural, political, social factors;

2) The basis for the development of military music was the improvement of military
musical service, which was constantly in sight
government and military leadership of the country;

3) By the end of the first half of the 19th century. in the field of military music
service, the basic principles of its further existence were developed:
classification of musical choirs; regulatory framework; system
military music training;

4) The main elements of military music were control signals
troops and production of military rituals;

5) Military music was of great importance to everyday life
army in peacetime and war, was a factor in the formation of military
traditions and education of military personnel.

Scientific novelty of the dissertation is as follows:

– a systematic analysis of Russian military music was carried out,

trends in the activities of management bodies for organization and development

military music;

– the tasks facing military music in the context of

development of musical art, on the one hand, and the needs of the army, on the

– the structural organization and principles of the military system were determined

orchestras,

– various forms of their official and creative activities are described,

– the performing compositions and repertoire of the military were highlighted and studied

orchestras,

– the system of personnel training for military bands was considered,

– previously little-known archival material was introduced into scientific circulation

funds, which expanded the volume of knowledge in the field of the history of military music, which

allows you to correct a number of established value judgments in

domestic historiography of the problem.

Theoretical significance of the study is that the conclusions made in it allow us to identify significant factors and patterns that determined the development of domestic military music, and, thus, contribute to the creation of a basis for further research in this area.

Scientific and practical significance The work lies in the fact that the content and conclusions drawn in it can be used in further study of various aspects of the history of Russian military music, as well as the history of Russian music in general.

The dissertation materials can find application in the process of teaching the history of national culture, the history of Russian music, as well as in military-patriotic work; in the training of military conductors and musicians and in the practical activities of orchestras.

Approbation of research results. The results of the study were tested in discussions in the music sector of the Russian Institute of Art History (St. Petersburg). They were published in the monograph “Military Marches of Russia. To the 200th anniversary of the Patriotic War of 1812" (M.: Kanon+, 2012, 320 pp.) and in the “Anthology on the history of foreign military music. France, England. Germany" (M.: Kanon+, 2013, 578 pp.). The reconstructed marches are presented in four published volumes of “Slow and Fast Marches of the Russian Guard” (the publication of four subsequent volumes will take place soon).

The results of the study were also presented at international scientific conferences in Moscow (Research Institute of Cinematography, State Institute of Art Studies, Moscow Society for the Protection of Historical and Cultural Monuments). The research materials are included in the course “History of Military Music of Russia”, taught by a dissertation candidate at the Military Institute (Military Conductors) of the Military University (Moscow).

Work structure. The work consists of an Introduction, three chapters, a Conclusion, a Bibliography and three appendices.

Composition of musicians in military units in the first half of the 19th century

The handwritten history of L.Gv. is also worthy of attention. Izmailovsky Regiment, compiled by its officer N.I. Kutuzov in the first quarter of the 19th century, which is now stored in the manuscript collection of the Scientific Research Department of Manuscripts of the Russian State Library (NIOR RSL). The author managed to publish only a small fragment of his work. In addition, the materials he collected were used in the “Brief History of the Life Guards of the Izmailovsky Regiment,” published in 1830 without indicating the author or compiler. In the second half of the 19th century. books on the history of the Izmailovsky regiment were written and published by prominent military historians A.V. Viskovatov and N.A. Znosko-Borovsky. Work by N.I. Kutuzova seemed to be in the shadow of these works. However, it contains very interesting factual material about the changes at the beginning of the 19th century. regimental states and, accordingly, about the composition of military musicians in it.

Issues of the history of military music are also discussed in publications dedicated to various military educational institutions. The work on the history of the 2nd Cadet Corps by N.P. is especially rich in information in this regard. Gervais.

Along with military historians, the development of military music was addressed by the authors of works on the history of Russian musical art in general. However, they addressed the problem in an extremely fragmentary manner. So, M.M. Ivanov, in his work “The History of the Musical Development of Russia,” limited himself to only general issues of the development of instruments that were also used in military bands of the Russian army, musical notation, and rules for the arrangement of instruments in scores. There is also limited information on the development of musical education. Brief information about military music is contained in the comprehensive works of P.D. Perepelitsyn “History of music in Russia from ancient times to the present day” (1888), V.A. Chechotta “History of Music” (1890), I.V. Lipaev “History of Music. Course of lectures" (1915), etc.

The most significant work in the field of providing uniforms for bandmasters and musicians was the work of A.V. Viskovatov “Historical description of the uniform and weapons of Russian troops.” This book was useful as an attempt to consider not only the clothing of musicians and bandmasters, their insignia and specifics, but also the designs of their “musical instruments” used for almost a hundred years.

In general, in the pre-revolutionary period of historiography, factual material was accumulated, but it was dissolved in works not specifically devoted to military music, incl. in "regimental stories". In addition, many of the works published then had rather an emotional overtones. The development of military music in them was not sufficiently compared with the general development of the Russian army, Russian culture, and global trends in musical art.

Immediately after the end of the Civil War in Soviet Russia, works on military music began to appear. One of the first among them were articles by the head of the Department of Military Bands of the Red Army V.L. Messman in his weekly magazine “Music” for 1922. . In them, the author tried to establish connections between the “old”, pre-revolutionary military music and Soviet music, but did not carry out a detailed historical analysis. S.A. also briefly and fragmentarily addressed the history of military music. Chernetsky (inspector of military bands of the Red Army and Navy in 1924–1949).

Later, in the 1930s, Soviet authors developed a sharply negative attitude towards the pre-revolutionary period in the history of military music (as well as towards “old” art in general). Military music, mainly the march genre, became the object of speeches of a “devastating” nature, primarily in publications associated with the Russian Association of Proletarian Musicians (RAPM). Unfortunately, S.A. also took the position of categorically condemning old music. Chernetsky. Thus, in his reports to the military leadership and speeches at various meetings, any continuity between pre-revolutionary and Soviet military music was categorically denied, and it was argued that before “military music served the militaristic ideology of the ruling exploiting classes.”

In the 1930s and 40s, these estimates became generally accepted. Thus, conductor and composer M.M. Ippolitov-Ivanov, in his article “The School of Musical Culture” (1933), decisively stated that the Red Army inherited from the Tsarist army very weak military music and in the first years of its existence “... there were no highly qualified bandmasters-leaders, the repertoire was extremely poor. It consisted in most cases of meaningless and mediocre marches and medleys, composed by musically semi-literate bandmasters...” 1.

The article on military music in the first edition of the Great Soviet Encyclopedia (1926–1947) was also characteristic of its time. It said: “The new organization of military bands from the West moved to Russia (under Peter I), and at the same time we adopted the style (melody and harmony) of it. march. Since then, each regiment, naval crew, as well as individual battalions had their own orchestra under the direction of military bandmasters.” At the same time, the list of references contains exclusively foreign works, mainly by German and French authors (A. Kalkbrenner, W. Wiprecht, E. Neukom, J.-J. Kastner, etc.)

Bandmasters and their role in directing military music

Unfortunately, the problems of training personnel for military music have practically not been the subject of independent scientific analysis. To a certain extent, they were touched upon during the work of the Stackelberg Commission, as well as in individual studies on the history of military education, but in all cases they were not central and were covered in fragments.

At the same time, the task of training musicians for the regiments of the Russian army has never escaped the attention of senior officials. Even in Peter’s decree of February 19, 1711, the position of “foreign oboist” was provided for in the oboist choir. His responsibilities included teaching musicians, signalmen and soldiers' children how to play instruments, writing notes, and working on sound coherence. It should be noted: the term “foreign oboist” did not necessarily mean the presence of a foreigner in the position of music teacher, but was a kind of tribute to tradition. Foreigners often occupied this position, but they were not the only ones.

In the 1730s, in military units, instead of a foreign oboist, a special position of bandmaster appeared (see Chapter 1). To be appointed to this position, it was necessary to have special education and experience. Foreign citizens, of course, were accepted into the service, but their high cost and shortage forced them to look for opportunities to train Russian bandmasters. The first attempt to build a system for training bandmasters from Russians is considered to be the establishment, by decree of March 27, 1761, of a special group for the training of musicians and bandmasters at the Gentry Cadet Corps, consisting of 20 people per year from a general department of 150 people from soldiers’ children and peasants. However, for a number of reasons, the training of domestic bandmasters within the walls of this educational institution never became regular.

From the beginning and throughout the first half of the 19th century. Kapellmeisters were, as a rule, experienced military musicians who had served established terms in the troops, on a free-hire basis. Sometimes civilian musicians were also hired, incl. Foreigners.

An important step to increase the official status of the bandmaster was the decree of Emperor Nicholas I of September 22, 1826, which granted “officials for training musicians” in regiments and artillery brigades the right to promotion to the rank of 14th class (for more details, see below, 2.2). From then on, the term “kapellmeister” became a collective term and included both officials (musicians in the service) and civilians. The training of military musicians was carried out simultaneously in two areas: the training of minors (soldiers' children, cantonists) and persons called up for active military service (recruits). The preparation of minors for military musical service dates back to a distant era, when the mentors of military musicians were their fathers and (or) other older relatives. This was the case in the troops of Ancient Rus', as well as in the Streltsy regiments of the 17th century.

During the reign of Peter I, the creation of special schools for soldiers' children began. Such a school was first mentioned in the imperial decree of February 8, 1712 “On the approval of the artillery staff.” It provided for each artillery regiment to have a school for 50 students and 8 teachers with a salary of 292 rubles for all. in year. One of these teachers taught soldiers’ children “drumming, trumpet, flute and musicianship.” In 1721, the creation of schools began under garrison regiments, which, due to their permanent location, had greater opportunities for educating children than field regiments. One of the main areas of training for children in garrison schools was playing musical instruments with the goal of subsequently sending graduates to regiments as choir musicians or company signalmen. It should be noted: in the guards regiments, schools for soldiers’ children, where children of soldiers and officers who died in battle were admitted first, have always existed, since the creation of the regiment itself, which is mentioned in the works of regimental historians.

By decree of July 14, 1731, the number of soldiers' children in the amount of 50 was confirmed when approving the staff of regiments in peacetime and wartime. When approving the report card on the regiment’s ammunition, the decree of October 28, 1731 ordered “... the commanders to ensure that the instruments purchased are of the best craftsmanship, durable; and against the proportion of musicians in the dragoon and infantry regiments, those instruments were added so that oboists and trumpeters could learn on all these instruments.” In case of war, these 50 places were filled with recruits.

In 1732, Empress Anna Ioannovna, on the recommendation of Field Marshal B.K. Minich, established detailed rules regulating all aspects of the life of infantry garrison schools. At the beginning of their training, students studied arithmetic, spelling, and drill exercises in the preparatory class. Then, depending on their abilities, they were distributed into four groups: combat soldiers, clerks, craftsmen and musicians; in the latter, children learned to play musical instruments (oboe, horn, trumpet, drum, etc.) and give signals and beats 1.

By decree of April 19, 1764, when the garrisons were reorganized, the schools at the regiments were retained in the same composition - 50 students, divided into four classes.

Emperor Paul I, who ascended the throne in 1796, while still heir, established an orphanage in Gatchina for the children of soldiers and officers, which was then transferred to St. Petersburg and became known as the Military Orphanage.

By decree of December 23, 1798, all garrison schools were renamed into military orphan departments of the Military Orphanage, the pupils of which, upon reaching the age of 15, were assigned to serve in regiments in various specialties, incl. musicians, drummers, flute players. On allowance, these military orphan units still remained with their garrison regiments, due to the lack of soldiers in the companies. Many commanders, trying to get as young musicians as possible, assigned to the service even earlier than those established by law, and besides, parents themselves often enlisted more years for their children in order to receive government support for them. To prevent all kinds of violations, a special decree was signed on January 31, 1799, prohibiting the employment of persons under 15 years of age as musicians. This decree canceled the previously approved decree of December 8, 1764, “Instructions for the Colonel of an Infantry Regiment,” which still permitted the employment of persons under 15 years of age as musicians.

Providing military musicians with instruments and their material allowance

The development of musical art at the beginning of the 19th century was largely determined by the events of military conflicts. In Russia, the growth of national self-awareness associated with the war of liberation against Napoleon was clearly manifested in the field of military music: many heroic and patriotic works arose, including marches by O.A. Kozlovsky, N.A. Titova, K.A. Cavosa, F. Antonolini, A.A. Derfeld and others. For its part, Russian military music influenced the repertoire of foreign, in particular, German and French military orchestras. For example, introduced into Russian military bands at the beginning of the 19th century. technical improvements in copper and wooden instruments were then adopted by the English and Prussian armies. In general, Russian military music has been highly valued in the world since the victorious march of Russian troops across Europe in the foreign campaigns of 1813–1814, and to some extent it even became the standard of this art form. J. Kastner writes: “In 1813, Russian music, which has always retained the stamp of originality, reached such a degree of perfection that it attracted the attention of even German musicians, arousing their praise. Russian guards music had at its disposal all the instruments that were in use in that era, approximately the same ones that were in use in Germany, and used them in the performance of their brilliant marches.”

In the second quarter of the 19th century in Russia, the talents of M. I. Glinka, A. A. Alyabyev and other Russian composers entered their heyday, who took steps to create original works for brass bands. The Russian school of composition did not ignore military music; composers “created original works for military orchestras: marches by P. V. Dolgoruky, battles by A. Polyansky, military songs by D. N. Kashin, etc. firmly entered the repertoire of military choirs.”

Some Russified foreign musicians made a significant contribution to the development of Russian military music: these are the father and son Derfeldts, F.B. Haase, and others. But let’s return to the marches themselves. The march was the sound "calling card" of the regiment. The obligation to have in each regiment its own march, which is not repeated anywhere else, is an invariable requirement of all military leaders, including the monarch. This was caused by the need for the military leader to identify a particular regiment during a battle or maneuvers (when, due to the distance or because of fog, it is impossible to see the banner and color of soldiers’ uniforms, i.e., to determine which regiment it is). We find the first mention of a regimental march in the Infantry drill regulations, approved by the decree of Catherine II of March 12, 1763. However, there is no doubt that previously there was a requirement for each regiment to have its own march. Later, in the Military Regulations, approved by Paul I by decree of November 29, 1796 (Article 12, Chapter 10), it is directly prescribed: “There will be a special march for the musicians of each regiment.”

At the end of the period under study, in a decree of September 30, 1857, all military units that had not yet acquired their own march were ordered to “choose one so that there would not be two identical marches in units of the same division.” This decree is also notable for the fact that it contained a requirement to conduct historical research when choosing your regimental march (through communication with former unit commanders). Thus, the march from the “calling card” of the regiment gradually became the object of study.

The army needed high-quality marches, and besides, many commanders and officers, having a good musical education, sought to have a march worthy of being not only an identification mark, but also a good piece of music. The commanders-in-chief and military leaders should have known these marches. Therefore, in the first half of the 19th century, collections of marches and works were repeatedly published to provide army rituals (for example, dawns, anthems) for military (regimental) choirs. The publication of such collections was undertaken by the chief bandmasters of the Guard A.A. Derfeldt-father and F.B. Haase.

Derfeld the Father released a collection of military marches, consisting of two parts (slow marches and fast marches); each part, in turn, consists of several volumes. The title of the collection volumes changed. The releases of slow marches are named in French and Russian - volumes one and two of the slow ones: “Marches Militaires des Gardes Imperiales Russes” (“Military Marches of the Imperial Russian Guard”), volume three of the slow ones does not have a general name, and almost every march has a title a sheet with the inscription in French: “Partition des marches militaires des gardes Impriales Russes arranges par Drffeld.” Volumes one and two of the ambulances also do not have an inscription on the cover, and on the title pages of many scores there are inscriptions in Russian and French: “Military ambulance march of the Imperial Russian Guard” (“Marche militaire pas acclr, des gardes impriales Russes, arrange par Doerffeld").

The collection includes marches composed by different composers (including A. Derfeldt himself) and at different times - during the Patriotic War of 1812 and in 1815, as well as those used earlier, even under Catherine II, in the army of Suvorov, under Paul I (for example, the so-called “Gatchina Marches” for two flutes and a drum) and even some marches performed by allied and enemy regiments in various military conflicts before 1815.

The dating of the collection is suggestive. According to the compilers of the “Unified Catalog of Russian Music Publications” (2005), the first and second parts of this collection date from 1809–1813, and the subsequent 3rd and 4th parts – from 1815–1817. . These dates are entirely possible. Then the date Derfeldt began working on the collection is, in all likelihood, the year of his appointment as bandmaster of the Preobrazhensky Regiment and the training Grenadier battalion, i.e. 1808. We find the first mention of this collection as a completed collection in archival official correspondence for 1817: in the register of rescripts of the sovereign Emperor Nikolai Pavlovich when he was Grand Duke for 1817 under No. 3 dated August 18, 1817: “O sending to His Highness two copies of the collections of all our marches, adding that the Prince [of Württemberg] asked him about this" (received August 18, sent August 18, 1817).

However, in the article by the German researcher Georg Kandler "Militrmusik" ("Military Music"; for the Encyclopedia Die Musik in Geschichte und Gegenwart (MGG) we read that Derfeldt's collection attracted the attention of the Prussian monarch: at the "instruction of King Frederick William III of Prussia in In 1817, based on Russian marches1, a collection of two volumes was published: (1) counter marches, (2) ceremonial marches for infantry, (3) ceremonial marches for cavalry - appeared later.”2 Please note: G. Kandler indicates the year of publication Prussian catalog of 1817. Considering the volume of works (after all, there are only 72 Russian marches in the German collection), one could assume that German musicians first became acquainted with Derfeldt’s collection only in its first two editions. However, the presence of large numbers in the German catalog suggests that that its compilers also knew issues 3-4 of Derfeldt’s collection.Thus, either the speed of preparation of the German edition was simply fantastic (after all, the “Unified Catalog” dates the release of the last part of the collection in Russia to the same 1817); despite the fact that this collection was then handed over to the future emperor in the form of a complete collection), or the publication of the collection was still completed somewhat earlier, and it is worth recognizing that the issue of dating requires further study3.

Concert activities of military musicians, its influence on the musical culture of Russia

But the concert programs have changed over time. In 1820–1830 Their distinctive feature was the alternation of “solo - choir”: works performed by a combined choir of musicians and the choir of the Court Chapel - and solo performances by popular singers and musicians of imperial theaters or touring performers. At the beginning of the 1840s, the number of performances with the participation of artists and musicians of the imperial theaters sharply decreased (although they did not completely leave the Invalid Concerts). The main burden fell on the guards musicians and singers of the Court Choir.

In the 1850s, the role of soloists from among choir musicians actively increased in the programs of the Disabled Concerts. Many reviewers saw their successful performances as proof of the outstanding musical abilities of the Russian people and actively promoted the idea of ​​regularly holding Disabled Concerts for charitable and educational purposes.

However, the reason for the rise in artistry of musicians from the lower ranks, in addition to their musical talent, was the unique system of their training that developed in the Russian army in the first quarter of the 19th century. Several educational units (Training Carabinieri Regiments, Grenadier Battalion, Schools of Guards Cantonists, etc.) maintained full-board, unranked musician and drum companies, in which soldiers' children studied music from childhood, becoming the most qualified contingent of regimental musical choirs. In addition, the system of training musicians was inextricably linked with the activities of the unit, the performance of rituals and other services. These people, who graduated from educational units, subsequently became talented bandmasters and music teachers, who made the level of Russian instrumental performance higher than in the German, Austrian, Italian or French schools of military music of the first half of the 19th century.

In addition to the capitals, the practice of holding concerts for people with disabilities later began to spread in other cities. Judging by the information from the fragment of the report given below to the Commission, already in the middle of the 19th century. a fairly substantial fund was formed, which made it possible not only to manage on our own when organizing concerts in the capital and other cities, but also to even pay pensions to military veterans from the fund formed from the proceeds from the concerts. Thus, similar concerts took place in Warsaw and Tiflis. “The collection from the Warsaw concerts,” as stated in Stackelberg’s report to the General of the Main Staff P. A. Smorodsky dated November 18, 1914, No. 172, “was completely handed over to the Alexander Committee for the wounded; as for the disabled concerts in Tiflis, they arose on the private initiative of Lieutenant Colonel B. S. Esadze. The money received from these concerts formed a special capital, from which benefits are still provided to Caucasian veterans.” (Let us also note this detail: further in the same report it is stated that never, since their formation in the middle of the 19th century, the Imperial Russian societies - theatrical and musical - had anything to do with the Invalid Concerts).

Of course, regimental choirs were involved in musical performances (“games”) outside of combat service. Most often, such games were called “games for free hire” or “games on the side.” Very few documents from the period under review have survived, but in the press of those years this problem was discussed actively and variedly. Over time, this tradition not only did not die out, but the number and variety of the use of the choir for musical performances on the side increased. However, this practice applied not only to capitals. Military bands brought modern musical art to the provinces, performing in parks, gardens, playgrounds and concerts, sometimes becoming the only center of culture in populated areas remote from the centers. They performed excerpts from operas, war songs and, of course, marches. In addition, military bands provided music for social balls and folk festivals.

This practice continued later, in the second half of the 19th – early 20th centuries.

Military rituals are an important component of the entire army structure, and military music certainly accompanies each of them. The rituals that had been established by the beginning of the 19th century were later actively improved throughout the entire period under study. The nature of their changes corresponded to the changes of the era itself (a significant expansion of the army required a change in rituals and changed the role of music in them), and often with the requirements of a specific situation. (For example, at the Kalisz maneuvers it was impossible to perform the usual ritual of the Evening Dawn: in the presence of two monarchs, a more solemn version was required).

The main genre of military music is march. During the period under study, it performed several functions: it gave harmony to the movement of regimental columns, and was an identification mark of the regiment. A study of sources showed that it was in the first half of the 19th century that a harmonious system of regimental marches was especially actively taking shape - so important for the long subsequent historical period (until the First World War and the events of 1917). The process of this crystallization increased the requirements for the musical qualities of the march, gradually transforming it from the “calling card” of the regiment into an object of musical-historical study, a subject of pride and collecting.

Military musicians (kapellmeisters and orchestras) played a significant role in the formation in Russia of such an important state symbol as the national anthem. And the study of the evolution of military musical signals showed it (evolution) as a living historical process (the passing into history of some types of signals, such as tapta, revels, rush, the development and emergence of others - dawn, wake-up, quick step).

The participation of regimental musicians in the cultural life of the country was due to the prestige of military service and the skill of military musicians - they encouraged the organizers of all kinds of concerts to resort to their help. Military musicians took part in all “Disabled Concerts”. But they were also involved in staging opera and ballet performances, and freelance performances were generally the prerogative of the military in the first place, and only then of the touring “civilian” groups.

During the period under study, not a single major state or public event was complete without the participation of military musicians; Military music was the most important attribute of many actions, and, therefore, an integral part of the national culture.

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Ptichkin, Evgeniy Nikolaevich
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Pokrass, Daniil Yakovlevich
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