Before me solid volume, 350 pages, In it of Dmitry Borisovicha Kabalevskogo's 15 articles. The circle that is wide: "+ creative individuality ъюьяючш=юЁр" "¦ѕч№ър and ёютЁхьхээюё=і". "КтюЁёхё=тю young composers ¦юёът№" nearby article "КтюЁёхё=тю ьюыюф№§" in which except the Moscow composers it is a question of their Estonian and Ukrainian coevals. Two articles about problems of modern music and a modernism: "¤Ёрцёър spring and modern ьѕч№ър" and "ршьёъшщ--юЁёръют and ьюфхЁэшчь". 30 pages of article, and named are devoted Sergey Sergeevicha Prokofiev and Nikolay Jakovlevicha Mjaskovskogo's wonderful friendship: "Оѕфхёэр фЁѕцср". One of articles carries the name declarative, at the same time and autobiographical for in it it is distinctly expressed creative and public credo Kabalevsky: "-юьяючш=юЁ - first of all уЁрцфрэшэ".
Last pages of the collection are given the bibliography covering the period between 1927 and 1962. For thirty five years Dmitry Borisovich has published 256 articles. Among them - fluent notes about a current musical life, scientific researches, on scales not conceding to dissertations, critiques about creativity of the colleagues: coevals, teachers and absolutely young, beginning composers, literary processings of reports, the performances which have sounded at all-Union and international forums. For 35 years ranks of the author varied: in 1932 the 28-year-old author has acquired the right near to surname to write "фючхэ=" in 3 years - the candidate of art criticism, in 1939 - the professor, in 1965 - the doctor of art criticism, and in 3 years - the corresponding member of Academy of pedagogical sciences.
So, before me the volume containing 15 articles, scientific less one sixteenth published D.B.Kabalevskim scientific, critical published D.B.Kabalevskim scientific, critical, publicistic works. If this given to add two dissertations: candidate and doctor's without any stretch, documentary giving reason, it is possible to tell: before us - the scientist, the musicologist, in this calling allocated with wide erudition, fruitfulness and literary talent for everything, to it written, is written perfectly.
As at each member of our society, at Dmitry Borisovicha is, - conditionally speaking, - and "яюёыѕцэющ ёяшёюъ". I will make of it some extracts: 1939 - the Member of Presidium of Organizing committee of the Union of composers; 1940 - the editor-in-chief of magazine "Рютх=ёър ьѕч№ър"; 1943 - the Head of department of an art announcement of All-Union radio committee; 1949 - managing sector of music of Institute of history of arts of Academy of sciences, 1954 - the Member of board of the ministry of culture. Generalising this, it is far not the full list of posts of ranks of Dmitry Borisovicha, we have strong reasons to consider its as one of outstanding, versatile musically-public figures and to be surprised to how in the duties, imposed on it this tireless activity, it finds possibility so responsibly, organizovanno, talently to distribute the forces and the time that words - was late, was not in time, has not executed - never, I underline, were never mentioned near to his name.
So there is an image of the thoughtful Soviet scientist-critic, outstanding is musical-public figure, whose name, whose performances, articles translated on many languages, give rise to the international resonance. Everything written here about its activity, is far from exhaustive completeness, but there is quite enough that each reader has like respect for uncommon person D.B.Kabalevskogo. And this with the fact that while words it is not told about the most important thing, about the author of operas "-юыр …Ё¦эіюэ" "- юуэх" "Рхьі КрЁрёр" "-шъш=р -хЁ°шэшэ" the author of four symphonies, six tool concerts, two quartets, chamber ensembles, symphonic suites and overtures, tens songs and romances, choruses; about the author of music to twenty four drama performances and twelve films. The products named here, far do not settle all composed Kabalevsky the music, designated by hundred opuses. Really "Ёхэхёёрэёэ№щ ёхыютхъ" "Ёхэхёёрэёэр яыюфютш=юё=і" "Ёхэхёёрэёэр ѕэштхЁёрыіэюё=і".
Till 14 years he lives with parents in Petersburg - Petrograd. Music loves since the childhood. Any vunderkindstva. Near to music - the composition of verses, rasskazikov. The musical paper still is not present in boyish use. Paints, plasticine. Quite often – the piano mischief frightening adults who eventually have led to the termination of employment not so carrying away it on a piano. Can be have averted from employment pedagogical severity, and can be - an emotional impoverishment of the teacher.
Moscow of 1918. Vital difficulties, household disorder, a cold at school, a house cold. A half-starved life. In 15 years it arrives in Musical technical school of Skryabin where studies at first in a piano class and as it is overcome more and more by requirement improvizirovanija, "яюърч№трх=ё " to the professor G.Katuaru - to the known composer - also becomes its pupil.
Among many not investigated problems, the concerning impulses inducing to improvizirovaniju, to fixation of improvisations to a following stage - to the music composition, one, it appears, deserves special attention - work of the future composer in young years as the pianist-improvisator in mute cinema. Through it have passed D.D.Shostakovich, G.N.Popov, L.N.Polovinkin, V.M.Deshevov, A.I.Hachaturjan.
And Dmitry Borisovich to the considerable has learnt, retelling a screen life music language. Whether here, in particular, to search for the grains which have given such amazing flowering in twelve scores of film music Kabalevsky.
At all without underestimating G.Katuara's role in development of composer talent Kabalevsky, it is necessary to note nevertheless as the beginning of the major stage of its creative formation - transition after G.L.Katuara's death in N.J.Mjaskovskogo's class.
Mentally looking through the list of pupils Mjaskovsky, in bolshej parts left on the big ways of music, the pupils concerning Nikolay Jakovlevichu with deep feeling of respect and love, - on justice we should allocate D.Kabalevskogo, most consistently and is many-sided apprehended from the teacher - the pupil Roman-korsakova not only that has given Kabalevsky the magnificent composer technics, disclosing of secrets of orchestral sonority, love for intonational treasures of Russian song, but also set of the aesthetic, philosophical, public sights making credo Mjaskovsky as the persons, the musician, the contemporary and the participant of great events of an epoch.
Honouring of the "фхфр" (teachers of the teacher) passes through all biography Kabalevsky and affects differently, in different aspects. It is felt and in character of emotional statements in the music, almost never falling outside the limits reserved agitation. And in how the sphere lyrical melodizma, related is close Kabalevsky to bewitching beauty of tunes Roman-korsakova. It is enough to recollect a slow part of the Violin concert where a melody steletsja so it is touching, pensive, with such maiden cleanliness that involuntarily near to it there is an image of its sister, an aria of Marfy from "НрЁёъющ эхтхё=№". Honouring Roman-korsakova has an effect and on what high academism notices everything that has written Kabalevsky as it is attentive to reasonable, centuries to settling and indefatigably updated traditions. At last, as carefully it stores memory Roman-korsakova, preserving, protecting its heritage from unfair "шё=юыъютр=хыхщ". The best to volume an example - sharp, let debatable (not about it speech!) article, which one subtitle eliminates necessity for comments: "ршьёъшщ--юЁёръют and ьюфхЁэшчь" ("¤Ёю=шт a modernist legend about ршьёъюь--юЁёръютх").
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