Winner of the Grand Prix of the International Folklore Festival in Billingham, UK; Laureate of the folklore festival of the Black Sea countries in Thessaloniki, Greece

Artistic director People's Artist of the Russian Federation, Honored Artist of Ukraine and the Republic of Adygea, Hero of Labor of Kuban, professor

State Concert Dance and Song Ensemble "Kubanskaya" Cossack freemen" - a group that builds its repertoire on the material of dance and song wealth Cossack culture South of Russia, Ukraine and North Caucasus.

Its history began in 1986 with the group “Cossack Byl”, which presented to the viewer entertainment program with the same name. There were dances, songs, folk festivals, a fair and scenes from Cossack life. With the light hand of the wonderful composer Grigory Ponomarenko, the team became business card Kuban. Grigory Fedorovich wrote eleven songs for this program: funny and sad, patriotic and lyrical, songs about the vastness of Kuban, about native land, about the life of the Cossacks, about love, about eternal values.

The team perceived the collaboration with such a Master as Grigory Ponomarenko not only as great luck, but also as a huge responsibility. Rehearsals, search for material, creation of authentic images, selection of scenery (on stage during the performance there was a spinning wheel, cradle and other attributes of Cossack life), responsibility and complete dedication of the artists bestowed “Cossack Byli” with the respect and love of the audience. Since 1990, this team has continued creative life at the Krasnodar Philharmonic. He significantly improved his skills, expanded his repertoire, changed the geography of tours, acquired a new audience and became the State Concert Dance and Song Ensemble “Kuban Cossack Freemen”.

Taking care of the creative achievements of past years, the team is constantly working to expand its repertoire. During rehearsals, not only painstaking work is carried out with each member of the team, but also great attention coherence of the choreographic number being performed, transmission national characteristics dance. Performing arts ensemble is associated with traditional culture South Russian Cossacks, in the inextricable unity of Russian, Ukrainian and Caucasian principles. This is manifested in the texts, music, costumes, plastic arts - Russian prowess and openness, Ukrainian humor and lyricism, the harsh passion of the highlanders, Cossack enthusiasm and scope coexist not as separate numbers, but in a single element of creativity as a working model for the mutual enrichment of related peoples. Today this is widely famous band, rightly called “a pearl in the world of art,” organically combines folk tradition and modernity in his work.

The ensemble's choreographic troupe studies new dances with interest, masters new choreographic forms and directions, which allows them to constantly update the repertoire with original compositions.

The team is distinguished by its active life position and concert activities. He is a participant in events of international and regional significance: the agro-industrial exhibition “Green Week” in Berlin, international action“Train of Peace and Harmony”, annual seasons of the Ataman ethnographic complex, Cossack festivals in Russia and neighboring countries. The team is a regular participant in festive events in the Kuban capital; it is well known in the cities and villages of the region. Repeatedly, the artists went on foreign tours, performed at such famous halls as the State Kremlin Palace, the Central concert hall“Russia” and the P.I. Tchaikovsky Concert Hall (Moscow, Russia), the V. Lisinsky Concert Hall (Zagreb, Croatia), Ibsen House (Skien, Norway), “Grighallen” ( Bergen, Norway), Friedrichstadt Palace and the concert hall of the International Congress Center (Berlin, Germany), Amphitheater (Zielona Gora, Poland). The main activity of the ensemble is concert work, but they also have experience performing at anniversaries and presentations. The ensemble gladly comes to visit military personnel, veterans, disabled people, orphanages, and organizes charity concerts. Everywhere his performances are held with constant success. The purity of performance, the training of each artist, high level professionalism, dedication to tradition folk dance and songs that distinguish the work of the ensemble put it among the best groups Krasnodar region and Russia.

Creative maturity, exactingness, and high artistic taste allowed the ensemble to repeatedly become a laureate and diploma winner of various competitions, shows, and festivals.

How multinational dance and song repertoire“Kuban Cossack Freemen”, so is its friendly artistic team multinational. All artists of the ensemble are professionals who know and are able to show the history of the Cossacks in music, songs and dances. Bright temperament, magnificent costumes, incredibly high tempo of performance, spectacular stunts make the audience rejoice.

The tuning fork of the spiritual and psychological sound of the ensemble is its leader - . A wonderful teacher, a man with a broad soul and at the same time demanding, he rightfully enjoys unquestioned authority, respect and love from colleagues and spectators.

The State Concert Ensemble “Kuban Cossack Freemen” is a strong, bright, energetic group that is in good shape and is working on new programs.

From the history of Kubansky Cossack choir: materials and essays by Viktor Gavrilovich Zakharchenko

State Song and Dance Ensemble of the Kuban Cossacks (1937–1961)

State Song and Dance Ensemble

Kuban Cossacks (1937–1961)

The most fruitful and long-lasting activity was the State Song and Dance Ensemble of the Kuban Cossacks, an urgent need for which had matured by the mid-30s. The first and second five-year plans ensured the construction of the material and technical base of socialism, the well-being of the population improved, the educational and cultural level workers of the city and countryside. The Communist Party and the Soviet government are increasing allocations for cultural needs and paying great attention to the musical and aesthetic education of the people.

On July 25, 1936, by resolution of the Presidium of the Azov-Black Sea Regional Executive Committee, the Kuban Cossack Choir was created. Out of 800 participants - amateur artistic activists who came to the competition, the commission selected 40 people. The young team was led by experienced choirmasters and experts in local folklore G. Kontsevich and Y. Taranenko. In February 1937, the choir began working on a concert program in the premises of the music school.

One of the main difficulties in the creative work of the choir was the fact that most of the singers, despite good vocal abilities, did not even have an average general and no music education. Consequently, along with work on the repertoire, it was necessary to immediately begin classes on musical literacy and solfeggio, systematically conduct conversations on socio-political issues and broaden the horizons of choristers. Without this, it would be impossible to expect artistic, full-fledged work in the future, corresponding to the tasks and spirit of the times. Y. Taranenko chose the most correct path, including in the first program revolutionary and Kuban folk songs as the closest to listeners and performers. A significant event for the members of the young choir was creative meeting with the renowned Ukrainian Honored Choir “Dumka”, led by the talented musician, Honored Artist of the Ukrainian SSR N. Gorodovenko. Attending rehearsals and concerts of the chapel gave the beginning choir the opportunity to become more familiar with Ukrainian professional choral art, which is to some extent related to that of Kuban.

The conductor of the “Dumka” chapel A. Soroka said at the meeting: “Only here, on Soviet soil... is such a magnificent flowering of art possible. We are glad that in a wonderful wreath folk art Another beautiful flower is woven into our Motherland - the Kuban Cossack Choir.”

Music community and fans choral singing We followed with interest all the press reports about the work of the Kuban Cossack Choir and looked forward to its performances.

On June 30, 1937, the first concert of the choir took place in the assembly hall of the Kuban Agricultural Institute (now a university). The newspaper "Red Banner" noted the performance of the group with great warmth. The concert program included revolutionary and ancient Cossack songs, “Peasant Choir” from P. Tchaikovsky’s opera “Eugene Onegin”, chorus “From Edge to Edge” from I. Dzerzhinsky’s opera “ Quiet Don"and other works. “Glory to the Soviet pilots” by A. Gedike, “Anchar” by A. Arensky, and Kuban folk songs “You, Kuban, you are our homeland” and “Shchedryk-Vedryk” (1937. July 2) were especially warmly received by the listeners.

For a wide audience in Krasnodar, concerts were given on July 23 and 24 at the summer theater in the M. Gorky Park. The team successfully passed the test of artistic maturity, showing Cossack flavor, expressiveness and picturesqueness in folk songs, and, where necessary, power and sparkling humor.

The concert program, prepared in a very short period of time (4 months), certainly had some shortcomings and omissions: almost the entire second part consisted of folk songs arranged for the choir only by G. Kontsevich, which left a certain imprint on the entire part, despite the diversity and good performance of songs; Most folk songs are of Ukrainian origin, while there were few Kuban and, especially, modern ones.

From the very first months of its existence, the Kuban Cossack Choir was lucky to have meetings: the concerts of the “Dumka” choir had barely forgotten, when in June 1937 the Don Cossack Choir arrived in Krasnodar, touring the cities and villages of Kuban.

From July 30 to August 10, 1937 Kuban choir spoke to an audience of thousands of workers from the villages of Dinskaya, Plastunovskaya, Vasyurinskaya and Ust-Labinskaya. At the end of August, the team performed concerts in the cities of Anapa, Gelendzhik, Sochi, Novorossiysk, Maikop, Armavir, Tikhoretsk and Rostov-on-Don. After each performance, programs and concert costumes were discussed with local residents.

In every city and village, local authorities and cultural and educational organizations sought to ensure that as many residents as possible could listen to the choir’s performances. Periodicals noted that these concerts were a kind of holiday for the residents of Kuban.

In January 1938, by decision of the regional committee of the All-Union Communist Party of Bolsheviks, the number of members of the choir was increased to 70 people and it was transformed into the State Song and Dance Ensemble of the Kuban Cossacks. This type of performance, which appeared in the early years Soviet power, to this day is a popular and proven form of creativity. It could not have been better used in Cossack groups, where song and dance were always inextricably linked.

And again, painstaking work on updating the repertoire, on learning works with newly received ones. And then almost daily concerts in the villages and cities of Kuban. One could only admire how yesterday’s plowmen, milkmaids, and field farmers delighted many thousands of listeners with their art.

Much credit for the success of the ensemble belonged to the artistic director of the ensemble, Y. Taranenko. Having extensive experience working with professional choirs, and possessing outstanding organizational and musical abilities, he boldly and confidently led the group to artistic perfection and mastery. “Taranenko’s every movement reflected the song being performed,” noted the Bolshevik Kuban newspaper. “He didn’t just conduct, but put his soul into every wave of his hand, so to speak. He lived by the song he sang…” (1938. July 27). And the young singers selected at competitions, having found themselves under the guidance of a talented leader, selflessly became involved in the active creative process.

The concert programs were carefully prepared. Each performance of the ensemble had a great educational impact. The Kirovets newspaper said on this occasion that the entire repertoire performed “excites the viewer and inspires in him courage, heroism and determination to defend the beautiful Motherland” (1938. May 8).

In the autumn-winter concert season of 1938/39, the ensemble toured Ukraine. Here, too, almost every review noted: a successful selection of the repertoire, its diversity (Russian, Ukrainian, Belarusian, Georgian, Kuban folk songs, works Soviet composers, Russian and foreign classics), creative discipline, purity of intonation, excellent structure, freshness of sound. The Kuban fire dances were a delight. And all these qualities as a whole guaranteed the success of the ensemble among any listening audience: in cities, in student, workers or rural clubs.

Summing up the results of the ensemble's tour in Ukraine, the Krasnodar regional department for arts affairs, in an order dated March 28, 1939, noted the very significant successes of the ensemble. Gratitude was announced to the artistic director Y. Taranenko, many choir artists and dance group.

In addition to planned training sessions and concert performances, the group carried out a lot of political and educational work: lectures were regularly given on the international situation and events in our country, communists and Komsomol members studied the history of the Communist Party, in any conditions the wall newspaper “For the Soviet Song” was published, etc. All this contributed to a more conscious and in-depth study of the works. By May 1939, the ensemble had three complete concert programs in its repertoire, which made it possible to concert venue give more concerts, introduce listeners to the best examples of choral music and song and dance art of Kuban, and demonstrate a fairly wide range of performing capabilities of the group.

In August 1939, a review and report of song and dance ensembles of the RSFSR was held in Moscow. Kuban residents performed on the concert stage of the Central Park named after M. Gorky, in the city cultural park of Podolsk, Moscow region, and took part in performances at the All-Union Agricultural Exhibition. In the final concert of the review, held on August 19 in the Hall of Columns of the House of Unions, the Song and Dance Ensemble of the Kuban Cossacks performed: “Hymn of the Bolshevik Party” by A. Alexandrov, “Seeing off a Kuban Cossack to the Red Army” by Y. Taranenko, Ukrainian folk song“Along the Bank”, the Kuban folk song “That fog rolls like hell” and the Kuban dance “Cossack”.

In the review of this concert, the performance of the Kuban Cossacks did not go unnoticed: “The ensemble of Kuban Cossacks performs successfully. With exceptional strength and skill he performs the “Hymn of the Bolshevik Party” (music by Alexandrov). Excellent performance of Kuban and Ukrainian humorous songs.”

Noting the high artistic and performing level of the choir and dance group, the jury of the review drew the attention of the ensemble's management to the fact that the group tours a lot outside the region and rarely visits Krasnodar, where they could work more carefully on the repertoire and give the artists the opportunity to relax.

In the fall of 1939, the Song and Dance Ensemble of the Kuban Cossacks served residents of the western regions of Belarus. This difficult and responsible work of the team was noted by the Administration for Arts under the Council of People's Commissars of the RSFSR. The order dated December 29, 1939 expresses gratitude to the entire ensemble. In addition, the head of the arts department at the Krasnodar Regional Executive Committee is invited to more actively petition for the allocation of permanent premises for rehearsal work ensemble and on improving the living conditions of its workers. Particular attention was paid to the restriction of the band's tours outside the region (no more than 6 months a year).

On April 13, 1940, in the Administration for Arts under the Council of People's Commissars of the RSFSR, a discussion was held on the activities of the Krasnodar regional arts department, at which the work of the ensemble of Kuban Cossacks was assessed. The head of the regional arts department, I. Nikitin, reported on the great success of the group during its tour of the Far East.

Characterizing musical life Krasnodar Territory, head of the department of musical institutions of Russia L. Christiansen (now a famous folklorist, professor at the Saratov Conservatory) said: “A bright spot in musical work Krasnodar is the Kuban ensemble.

His work is characterized by... a close connection with folklore, a real penetration into the spirit of the Cossack folk song, the ability to take the style of Cossack singing and good repertoire direction, the ability to go ahead. The party anthem was opened by the Kuban ensemble. He performs it very well, better than the Alexander Ensemble... He managed to understand the spirit and power of this work, I have never heard a better performance.” We read about this in one of the reviews: “But the greatest success was... the wonderful song “Anthem of the Bolshevik Party” by Alexandrov. Power, strength and at the same time the greatest harmony - this is what distinguishes both the work itself and its wonderful performance.”

The song and dance ensemble of the Kuban Cossacks very often performed concerts on the regional radio. On August 11, 1939, his performance was broadcast throughout the country, and on August 13 - to radio listeners in England.

In September 1940, composers Y. Taranenko and L. Knipper, together with the writer A. Perventsev and poet Y. Smelyakov, completed work on the choral poem “The Thought of Kochubey.” The poem consisted of ten choral songs: “You, Kuban, you are our homeland”, “The horses are beating with their hooves”, “Oh, what a raven”, “The Cossacks whistled”, “Song about Kochubey”, etc. The commission approved as the musical side of the work and the quality of its performance. As noted in one of the documents of the Committee on Arts, the inclusion of the poem in the repertoire of the group contributed to a more complete disclosure of the performing capabilities of the song and dance ensemble, and the vivid image of the hero Civil War I. Kochubey played a certain role in the patriotic education of youth.

The Bolshevik newspaper noted: “There is a lot of freshness, truthfulness, simplicity and nationality in the music of the Duma. Composer Y. Taranenko, with great taste and sense of style, selected and processed Kuban folk tunes and created a number of his own original melodies. The production of “Duma about Kochubey” is a big event in the life of the ensemble. This is the most inspiring and significant work in his repertoire on our native Kuban themes” (1940. September 26).

Wherever “Duma about Kochubey” was performed, everywhere it found a warm welcome and an echo in hearts Soviet people. Letters were sent to Y. Taranenko, the authors of which admired both the work itself and its performance. In 1941, Y. Taranenko had the idea of ​​writing a choral poem about the collective farm Kuban. The regional arts department supported this intention and recommended that the composer involve writers and poets from Kuban in his work. But the plans were not destined to come true. The war has begun.

The ensemble was disbanded. The order from the Arts Committee to continue the group's activities was received late. It turned out to be impossible to gather the artists again, since its male cast was drafted into the ranks of the Red Army.

Literally from the very first days of the liberation of Krasnodar from the Nazi invaders, active work concert bureau (since February 20, 1943), around which semi-professional groups and concert teams are formed. They carried out active work to serve the soldiers of the Red Army and home front workers, but did not leave a noticeable mark on the development of the musical culture of the region.

In the spring of 1944, amid the ongoing war against fascism, the Song and Dance Ensemble of the Kuban Cossacks resumed its work. This fact itself speaks of the enormous attention of the party and government to cultural construction, to musical and aesthetic work among the population.

From mid-September 1944, the ensemble resumed concert activities. Difficult working conditions, turnover of artistic directors (not always familiar with the specifics of Kuban choral singing) hampered the growth of the ensemble's skill and the formation of its artistic and performing style.

The real revival of the ensemble began with the arrival of P. Lysokon as artistic director, who managed to build the work of the ensemble taking into account the best traditions developed in the Military Choir and the ensemble of the Kuban Cossacks (during the pre-war period), taking into account the goals and objectives of our time.

P. Lysokon increased the composition of the ensemble from 34 to 56 performers. Along with qualified singers, young people and demobilized soldiers came to the choir. It took a lot of work and skill for the ensemble to get involved in concert activities as soon as possible. At the very first concerts, the renewed ensemble performed popular songs in Kuban: “Quiet Kuban”, arranged by G. Davidovsky, “You, Kuban, you are our Motherland”, arranged by E. Volik, “This way and that”, “Because of the forest” and “Treshing the Reeds”, arranged by G. Kontsevich, “Baby, Baby,” “Oh, Slowly,” “Oh, the Rye Has Bloomed,” arranged by G. Karnaukh, etc. For many years, the choir’s repertoire included songs by local composers: “Farewell Cossack to the Red Army" by Y. Taranenko, "The Oath of the Plastun" by E. Volik, as well as the works "Kuban - River" by V. Solovyov - Sedoy, "Don Cossack" by Z. Levina, "Cossacks, Cossacks" by M. Blanter, "Hail , Fatherland” by V. Bely and others. As we can see, the main thematic focus concert programs- propaganda of works about the Motherland, Kuban, Cossacks. The content of most works is still connected with the war that has died down.

And already at the end of 1945 - beginning of 1946, complex works were included in the program: “The Glory of the Red Army” by A. Novikov, “Legend” by N. Leontovich, cantata “Shevchenko” by K. Stetsenko, “That the voice of joy fell silent” and “The Nightingale” P. Tchaikovsky, “Sunrise” by S. Taneyev, “Cantata about Kuban” by G. Plotnichenko, “Zakuvala ta syva zozulya” by P. Nishchinsky, etc.

The extensive, varied and rather complex repertoire, as well as the successes of the ensemble during the tour period, suggest that the performing level of the ensemble increased significantly during 1945, and this, of course, was facilitated by the activities of the artistic director P. Lysokon and his assistants M. Savin and I . Bushueva. The ensemble turned into creative team, capable of emotionally and at a high artistic level promoting the best works of folk and composer creativity. The leaders of the ensemble paid great attention to recordings and arrangements of Kuban folk songs.

About the rather high professional and performing level of the ensemble in 1946–1947. The following facts speak: the group was invited to the celebrations on the occasion of the 800th anniversary of Moscow and successfully performed in the Hall of Columns of the House of Unions, in the Central House of Artists, on concert stages in the M. Gorky Park, Izmailovsky Park and in Sokolniki. On September 5, 1947, the ensemble’s concert was broadcast on the first program of the All-Union Radio. Received gratitude from the Committee for Arts under the Council of People's Commissars of the USSR for the concert for its employees. During the celebration of the 30th anniversary of the October Revolution, Kuban residents performed in Great hall Leningrad Philharmonic, Smolny. At the request of concert organizations in Latvia, the ensemble went on tour for the second time throughout the republic and directly to Riga.

In the ensemble's report for 1947–1948. it was indicated that “for the first time in 10 years of existence, the ensemble was recognized by the entire public as a strong artistic unit and, by order of the head of the Committee for Arts under the Council of Ministers of the RSFSR... the ensemble should go to May Day celebrations in Moscow.”

The direction of their activities was extremely clear to the management and artists of the group: through the use of musical art, to help educate Soviet people in the spirit of selfless devotion to the ideas of the Communist Party, to inspire workers to selflessly work to restore the country’s national economy destroyed by the war.

It is impossible not to mention that a significant obstacle that had a negative impact on the quality of the ensemble’s work was the “brigade” method of concert performances. Its essence was that the concert team was divided into two mini-ensembles.

Considering that for the entire post-war period a choral group rarely consisted of more than 30 singers, and that even with its full complement it was difficult to achieve a coherent, compact sound, it will become clear how difficult this work became with groups of 12–15 people. During the performances of half-choirs, the imbalance of the parts was more clearly felt, it was more difficult to achieve a dynamic and timbre ensemble, the works sounded pale and unconvincing. Deep understanding artistic tasks standing in front of the ensemble, helped the ensemble’s management prove the inconsistency of this “method” concert activities and reject it.

In October 1949, P. Lysokon left work in the ensemble. The position of artistic director was held for three years (in different times) choirmasters I. Bushuev and E. Lukin.

In 1952, the ensemble was led by a talented musician, Honored Artist of the Tajik SSR P. Miroshnichenko. A native of Primorsko-Akhtarsk, he graduated from the Moscow Conservatory music school and a music college in Krasnodar, P. Miroshnichenko knew very well the peculiarities of folk - song creativity Kuban. This helped him, despite the arrival of young singers in the ensemble, to relatively quickly restore artistic level team.

Beginning in the summer of 1952, the ensemble continued touring the country, the routes of which had been laid out in previous years. During the tour, the repertoire is gradually updated and complicated. The choral group successfully performs such works as the choral suite “Native Kuban” by A. Mosolov, “On the Old Mound” by Vik. Kalinnikova, “Song of the Party” by B. Alexandrov, chorus from E. Napravnik’s opera “Nizhny Novgorod People”, etc.

The most significant performances of this period were concerts in Leningrad ( Central Park named after S. M. Kirov, Summer Theater, Izmailovsky Garden), in the homeland of N. Rimsky - Korsakov in Tikhvin and in Moscow (Park named after A. A. Zhdanov, VDNKh, Central Park of Culture and Leisure named after M. Gorky), in which The ensemble widely introduced Muscovites and Leningraders to the song and dance art of Kuban.

In March 1955, P. Miroshnichenko, for health reasons, switched to teaching work in Krasnodar music school. Artistic direction was entrusted to V. Malyshev, who worked as the ensemble's choirmaster since December 1953.

During the period of V. Malyshev’s work (1955–1961), a radical restructuring of the ensemble’s structure took place. At the beginning of 1956, the choir group was staffed only male voices. V. Malyshev managed in a short time to select and learn with the choir the most popular, original and artistically valuable works, written or arranged specifically for the male cast. The first program included “Song about the Party” by B. Aleksandrov, “Marching Song”, “At the Poly Grave” and “Song of the Kochubeevites” by I. Dzerzhinsky, “Wait for the Soldier” by B. Mokrousov, “New Settlers Are Coming” by E. Rodygin, Kuban folk songs “You, Kuban, you are our homeland”, “A Cossack is coming from a distant land”, “The sun has set behind a distant mountain”, “Oh, on a hill, on a steep mountain” arranged by P. Miroshnichenko and others. Many songs taken from The ensemble's repertoire is very dynamic in performance, and listening to them, you imagine moving horse regiments, either on a march or in a combat attack. “Udmurtskaya Pravda” wrote about the Kuban concerts: “Youth, cheerfulness, temperament and great skill - all this creates well-deserved success for the team” (1956. July 24, p. 3).

The artistic director also took a creative approach to the repertoire, trying to show each song not in a static performance, but as a small scene. The well-known revolutionary songs “Boldly, comrades, in step”, “Boldly we will go into battle”, “Varshavyanka”, being theatricalized, seemed to bring listeners closer to the distant years of the struggle against autocracy and foreign intervention. One of the reviews of the ensemble’s concert describes the performance of the song “Boldly, comrades, in step”: “The viewer’s ears simultaneously hear the distant start of the song by the quartet... and clear, rhythmic, noisy steps, the impression of which is made by the music and the choir. And now the song seems to be approaching, growing and sounding with enormous power, the red banner “For Soviet Power” appears on the stage.

With great skill, the group performs “Night” from A. Rubinstein’s opera “The Demon”, “Zakuvala ta syva zozulya” by P. Nishchinsky, “Eremka’s Song” from A. Serov’s opera “The Power of the Enemy”, etc.

The thoughtful and painstaking work of the entire team contributed to the fact that the ensemble was popular even with the new composition. His performances brought people joy and aesthetic satisfaction. And even in the cities of the Baltic republics, where many amateur groups sing at the professional level, concerts of the Kuban Cossack ensemble turned into a musical festival.

In January 1960, in accordance with the order of the Ministry of Culture of the RSFSR, the team was disbanded, and in March of the same year, on the basis of the regional theater folk art An inter-collective farm ensemble is being created. Since May 1960, the group’s performances resumed, and quite successfully, in a new capacity: the choir now consisted of male and women's voices, A musical accompaniment performed by the orchestra folk instruments. The intercollective farm song and dance ensemble did a lot of work in a short time, and during its stay in Moscow a television film was shot - a concert. At the end of the year, the team was transferred to the disposal and budget of Kraikolkhozstroy, and from February 1961 it was disbanded again, and now completely.

Misadventures Kuban Ensemble were to a certain extent the result of the vulgar sociological views on the role of professional and amateur art that existed in the late 50s and early 60s. During this period, ten professional groups were cut in Russia, and enormous activities in aesthetic education and promotion of musical and choral heritage were entrusted mainly to amateur choirs. At the same time, it was not taken into account that the tasks facing professional and amateur art are different, and the elimination of professional musical groups will also harm the development of amateur performances.