OSINSKY FOLK CHOIR (Song and dance ensemble “Ural Rowan” (since 1976) named after B.K. Bryukhov (since 2000)). Formed on November 10, 1945 as a Russian people. choir at the Osinsky District House of Culture. The first concert took place on January 15, 1946. In July 1947, amateur artists took part in a regional show amateur performances and won 1st place. As winners, they were sent to the 1st All-Russian show of rural amateur performances in Moscow, where they were awarded a 1st degree Diploma and performed on the stages of the Column Hall of the House of Unions, the Bolshoi Theater, the Concert Hall. P.I. Tchaikovsky, Central House of Artists. Since 1961 it has been given the title of a folk group. The first artistic directors were A.P. Makarov (1945-1946), V.P. Alekseev (1946-1953). Since 1946, B. K. Bryukhov worked in the choir, first as an accordion player, and from 1953 to 1999 he was artistic director. Under his leadership, the group became one of the most famous among thousands of its kind in the country, having its own personality, performing style with a soft, lyrical manner of performance. The repertoire was based on folk songs, recorded by a choirmaster in the city of Osa and Osinsky district (“Teach me, Parusha”, “They cooked a pie”, etc.). In addition to people The group's repertoire included works by composers A. G. Novikov, A. N. Pakhmutova, and many other composers. The group's repertoire included about 500 songs, ditties, suffering, and choruses. The choir has performed repeatedly in Moscow (invited 5 more times), toured in Belgium (1976), Algeria (1981); recorded on a gramophone record (1962), acted in films (“Songs of Collective Farm Fields” (1947), “Towards the Song” (1956), “Songs over the Kama” (1963), “The Life of a Song” ( 1975)), appeared on radio and television. The choir became a laureate and diploma winner of all-Union, all-Russian, regional shows and competitions. For many years, E. Gabbasova, Z. Kolchanova, the Artemyevs, Baltabaevs, Zverevs, Nakaryakovs, Podgorodetskys sang in the choir, and Zverev, Yu. Naumkina, L. Pushin, A. Tultsev were soloists. Big role The director of the Osinsky House of Culture from 1951 to 1975, T. P. Ushakhina, and choreographer G. A. Chekmenev (1964-1982) played in the collective’s work. Since 1999, the ensemble has been led by O. V. Lykov.
Lit.: Makarov A. Prikamsky singer // Prikamye. Perm, 1955. Issue. 10. P. 116-139;
Sergeeva Z. Towards the song // Star. 1957. November 1;
Pepelyaev E. Bringer of joy // Star. 1965. Dec 28;
Volkov Yu. Congratulated // Sov. Prikamye. 1970. May 16;
Gashev N. We sing the glory of the Motherland // Evening. Permian. 1976. December 3;
Soviet choral conductors: reference M., 1986;
Honorary Citizen of Osa // Sov. Prikamye. 1989. February 4;
Trenogina N. The Work of His Life // Sov. Prikamye. 1990. May 12;
Trenogina N. Ural, song and Boris Kapitonovich // Pride of the Perm land. Perm, 2003. S. 424-425;
Trenogina N. About the past and present: from the history of Osin culture. district. Perm, 2004;
Alekseev V. A. Where rivers and destinies converge: pages of the history of the city of Osa (1591-1991) / V. A. Alekseev, V. V. Ivanikhin. Perm: Perm Book Publishing House, 1991. 255 pp.: ill., notes. ill.;
Trenogina N. With a song through life: 50 years “Ural. mountain ash" / N. Trenogina, T. Boytsova // Osin. Prikamye. 1996. February 22;
Osinskaya Encyclopedia / author - comp.: V. A. Alekseev. Osa: Rostani-on-Kama, 2006. 326 pp.: ill.
Characteristic professional activity graduates
Area of professional activity of graduates: vocal performance solo, as part of a choir or ensemble; music pedagogy in children's art schools, children's music schools, children's choir schools and other institutions additional education, general education institutions, secondary vocational education institutions; management of folk groups, organization and staging of concerts and other stage performances.
The objects of professional activity of graduates are:
musical works of different directions and styles;
musical instruments;
folk groups;
children's art schools, children's music schools, children's choir schools, other institutions of additional education, general education institutions, secondary vocational institutions;
educational programs implemented in children's music schools, children's art schools, children's choir schools, other institutions of additional education, general education institutions, secondary vocational institutions;
listeners and spectators of theaters and concert halls;
theater and concert organizations;
cultural and educational institutions;
Types of graduate activities:
Performing activities (rehearsal and concert activities as an artist of a choir, ensemble, soloist at various stage venues).
Pedagogical activities (educational and methodological support educational process in children's art schools, children's music schools, other institutions of additional education, general education institutions, secondary vocational institutions).
Organizational activities (leadership of folk groups, organization and staging of concerts and other stage performances).
Subjects of study
OP.00 General professional disciplines
Musical literature (foreign and domestic)
Solfeggio
Elementary Music Theory
Harmony
Analysis of musical works
Music informatics
PM.00Professional modules
PM.01Performing activities
Solo singing
Ensemble singing
Piano
PM.02Pedagogical activity
Folk art and folklore traditions
Basics of folklore improvisation
Folklore theater and folk song directing
PM.03Organizational activities
Conducting
Reading choral and ensemble scores
Regional singing styles
Transcription of a folk song
Arrangement of a folk song
Requirements for the results of mastering the training program for mid-level specialists in the specialty
general competencies, demonstrate the ability and willingness to:
OK 1. Understand the essence and social significance his future profession, show a steady interest in her.
OK 2. Organize your own activities, determine methods and means of performing professional tasks, evaluate their effectiveness and quality.
OK 3. Solve problems, assess risks and make decisions in non-standard situations.
OK 4. Search, analyze and evaluate information necessary for setting and solving professional problems, professional and personal development.
OK 5. Use information and communication technologies to improve professional activities.
OK 6. Work in a team, communicate effectively with colleagues and management.
OK 7. Set goals, motivate the activities of subordinates, organize and control their work, taking responsibility for the results of completing tasks.
OK 8. Independently determine the tasks of professional and personal development, engage in self-education, consciously plan professional development.
OK 9. To navigate the conditions of frequent changes in technology in professional activities.
OK 10. Perform military duties, including using acquired professional knowledge (for young men).
OK 11. Use the skills and knowledge of basic disciplines of the federal component of secondary (full) general education in professional activities.
OK 12. Use the skills and knowledge of specialized disciplines of the federal component of secondary (complete) general education in professional activities.
Based on the acquired knowledge and skills, the graduate must have professional competencies, corresponding to the main types of professional activity:
Performing activities
PC 1.1. Completely and competently perceive and perform musical works, independently master solo, choral and ensemble repertoire (in accordance with program requirements).
PC 1.2. Carry out performing activities and rehearsal work in the context of a concert organization in folk choirs and ensembles.
PC 1.3. Use technical means of sound recording in performing activities, conduct rehearsal work and recording in a studio environment.
PC 1.4. Perform theoretical and performance analysis piece of music, apply basic theoretical knowledge in the process of searching for interpretive solutions.
PC 1.5. Systematically work to improve the performing repertoire.
PC 1.6. Apply basic knowledge of physiology and hygiene singing voice for solving musical performance problems.
Pedagogical activity
PC 2.1. Carry out pedagogical and educational activities in children's art schools and children's music schools, other institutions of additional education, general education institutions, and secondary vocational education institutions.
PC 2.2. Use knowledge in the field of psychology and pedagogy, special and musical theoretical disciplines in teaching activities.
PC 2.3. Use basic knowledge and practical experience in organizing and analyzing the educational process, methods of preparing and conducting a lesson in a performing class.
PC 2.4. Master the basic educational and pedagogical repertoire.
PC 2.5. Apply classic and modern methods teaching, vocal and choral disciplines, analyze the features of folk performing styles.
PC 2.6. Use individual methods and techniques of work in the performing class, taking into account the age, psychological and physiological characteristics of students.
PC 2.7. Plan the development of professional skills of students.
Organizational activities
PC 3.1. Apply basic knowledge of the principles of labor organization, taking into account the specifics of the activities of teaching and creative teams.
PC 3.2. Act as musical director creative team, including the organization of rehearsal and concert work, planning and analysis of performance results.
PC 3.3. Use basic regulatory knowledge in the activities of a specialist in organizational work in educational and cultural institutions.
PC 3.4. Create concert-themed programs taking into account the specifics of perception by different age groups listeners.
Recording by F.V. PONOMAREVA
Compilation, text processing, musical notation, introductory article and notes by S. I. PUSHKINA
Reviewers V. Adishchev, I. Zyryanov
PREFACE
This collection was created in a somewhat unusual way: the songs included in it were collected and recorded by the very bearer of one of the Nizhnekamsk song traditions - Faina Vasilyevna Ponomareva, a native of the village of Verkh-Buy, Kuedinsky district, Perm region. In 1960, a folklore expedition of the Moscow Conservatory visited the Perm region, recordings of works were made folk art and in the Kuedinsky district (Verkh-Buy village, Tarany village). However, this book is based on the notes of F. Ponomareva. This path was chosen in order to show the local song culture through the prism of not an outside collector, but a living participant, whose personal taste and worldview are closely connected with it. Faina Vasilyevna also had the opportunity to carry out many years of work in her native village to record songs in the most natural environment of their existence, which undoubtedly contributed to the identification of typical features of the Verkh-Buyov song tradition. Most The songs she recorded are part of the repertoire of local amateur performances. They also sound during rural celebrations, in the house and on the street, and decorate rural weddings.
Faina Vasilievna was born on December 31, 1906 into a large family of a farm laborer. She lives in a small but cozy house in the village of Tapya (this is part of the village of Verkh-Bui). Here she worked as a teacher for more than thirty years. high school. Immediately behind the garden flows the Bui River, a tributary of the Kama. Faina Vasilievna loves both her village and the beautiful nature that surrounds it. Faina Vasilievna is inseparable from the song. I remember that on one of her visits to Moscow, she took her grandchildren to Red Square, showed both the Kremlin and the Mausoleum, and at the execution site she told them about the execution of Stepan Razin. song! Her attitude towards different song genres. She reluctantly sang children's songs. On the contrary, she sang with concentration and expressiveness numerous variations in historical, vocal, and dance songs. And she sings comic and dance songs with liveliness, as if during a village celebration. Faina Vasilievna is an indispensable participant in round dances and round dances. She sews all the ancient costumes herself, embroiders them, and still does not abandon the difficult art of weaving. This art, like singing skills, was inherited from her parents and grandfathers.
Faina Vasilievna writes in her biography: “In winter, my brother and I were sent to Bui. My brother studied at a parish school, and my grandmother taught me to work as a peasant. She prepared me kudelki from raspberries, red and prickly (waste from flax), and taught me how to spin a spindle. Grandmother's science was not in vain. Soon I learned to spin and took work from people. We whiled away the winter evenings by a torch. There were no lamps or samovar in my grandfather’s house. Thin linden splinters burned quietly, without a crack, as if wax were melting; the grandmother every now and then replaced one burnt splinter with another, fresh one, deftly squeezing it into the lamp. Grandfather and grandmother loved to sing. Every sedentary work they did was accompanied by a song. They used to drag in such antiquity that came from time immemorial. Grandmother usually sang songs. He will lead you in a drawn-out, soulful, concentrated manner. The grandfather sang along, sharpening the spindles or holding a bast shoe in his hands. The sounds of such a soulful song flow through the smoky hut without stopping, and penetrate straight into the heart, sinking into its hiding places in order to be preserved for the time being.”
Faina Vasilyevna grew up in an atmosphere of painstaking peasant labor and Russian song antiquity. She recalls: “In winter evenings, busy rolling felt boots, the father accompanied his hard work with a song. His mother, his immediate assistant, embroidered felt boots with black and red garus, and tightened them up for him. IN early childhood I learned my father’s and mother’s favorite songs.
One of the first songs that entered my childhood consciousness was “Beyond the Forest, the Forest,” which condemns the idle life of gentlemen-manufacturers who “drink, eat and lead feasts, but the honest people oppress their backs.” As an adult, I understood why my father loved this song so much and sang it with concentration, with thoughtful severity, as if passing a sentence. I felt deep pity as I listened through my tears to the song about the premature death of a young pine tree: “Don’t blow the wind.” Then I learned the song “The Nightingale Persuaded the Cuckoo.” Having memorized her words and melody, one evening, quite childishly, I pulled up my father and mother, lying on the beds. Suddenly the song stopped, which I did not notice, continuing to diligently play out the melody. Immediately I felt the touch of my father’s warm palm. He affectionately and carefully stroked my hair through the beam, saying: “Mother, that’s who will get our songs, oh singer, oh well done!” From that day on, I began to sing along with them and soon joined our family choir of four people. Older sister, while helping to embroider felt boots, she also sang. On a winter evening, people gathered for a get-together, each with their own work. Women knitted, spun, sewed; men wove bast shoes or saddled harnesses. Throughout the long evening, wide-voiced songs flowed one after another. Such songs were replaced by playful, comic tongue twisters and dance songs that made you unable to sit still. Neither songs nor jokes stopped the work. In one such evening, the woman strained up to four skeins. For a man, the usual norm was to weave a pair of bast shoes. In early spring, girls led crowded round dances. In round dance songs they sang work, glorified the arrival of spring, and acted out the various contents of the songs. In girls' round dances, boys walked in groups, in pairs, hugging each other and alone. Singing and whistling in time with the song, dancing to it, they did what was said in the song.”
The life of the native village and surrounding villages was closely intertwined with songs and games. Faina Vasilievna greedily absorbed all this. She was always not an outside observer, but an ardent participant in everything that surrounded her. And now she still takes part in village festivities. That’s why it’s so full and meaningful poetic texts songs and their tunes.
Work on the collection began in 1973, when the author of these lines, through the folklore commission of the Union of Composers of the RSFSR, was given the recordings of F.V. Ponomareva (about 200 works) for scientific processing. They were iotized and studied. Later, as she worked on the book, F.V. Ponomareva supplemented them with new, repeated recordings from various performers in the village of Verkh-Bui (their notations were included in this collection). Her fellow villagers took part in the performance of the songs: Vera Osipovna Tretyakova, Anna Osipovna Galashova, Anastasia Stepanovna Ponomareva, Agrippina Anfilofyevna Lybina, Anastasia Andreevna Sapozhnikova, Anna Antonovna Shelemetyeva, Maria Vasilievna Spiryakova, Zoya Ivanovna Dyagteva, Anastasia Guryanovna Lapikhina and others.
Extensive and interesting local history literature (this includes folklore records and ethnographic descriptions) relates mainly to the northern and central regions of the Perm region. Musical folklore The part of the Lower Kama basin adjacent to Bashkiria and Udmurtia has been studied very little. There are single records of Vologodsky in the Polevsky plant and several records of Tezavrovsky in the Osinsky district. None of them match the tunes and lyrics this collection. The overwhelming majority of tunes and recordings by F. Ponomareva do not coincide with the publications of Voevodin, Serebrennikov, P. A. Nekrasov, I. V. Nekrasov, as well as with modern Perm music and folklore publications (Christiansen, Zemtsovsky).
Magnificent and rich text recordings of folklore made at the end of the 19th and beginning of the 20th centuries, as well as many modern text recordings, are waiting to be “sounded out.” It should also be noted that the records late XIX and the beginning of the 20th century remain inaccessible for widespread use, since their publications are a bibliographic rarity, while the need for such material grows with the development of Soviet musical culture and sciences of folklore.
Thus, the material in this collection for the first time widely represents one of the song traditions of the Lower Kama region in its genre diversity and holistic form (tunes and song lyrics). At the same time, we sought to include in the collection as much material as possible, equally necessary both for the study of folklore of the Perm region and for its practical use in the creative and performing fields. Along with a multifaceted display of works from the local song tradition, the book makes an attempt to outline connections with the song traditions of nearby regions or regions and regions of Russia that have common historical destinies. Run in enough in full this task at current state It is not possible to study individual song cultures and, moreover, within the framework of a song collection. But some threads leading to the origins of this song culture can still be outlined, which is what is being done in this work. However, it should be said that the material collected by F. Ponomareva, who set herself the modest task of collecting a songbook for young people, is a contribution to the scientific development of the problem of stylistic varieties of folklore of the former outskirts of Russia.
In the composition of the songs in the collection, we sought to most clearly show the main stylistic features and genre diversity original song culture, which “took root” not only in the area of Verkh-Buy and some neighboring villages and villages, but also in the Northern Kama region - in the distant Gainsky district of the Komi-Permyak district, as well as in the Vereshchaginsky district on the border with Udmurtia and in neighboring Old Believer settlements of the Kiznersky and Kambarovsky districts of Udmurtia. These comparisons, made in some notes, are few in number and are not always confirmed by publications. There are links to audio recordings indicating their storage location. But it is auditory perception that confirms or rejects the assumption of similarity style features, since the performing style is an integral and sometimes almost the most striking distinctive detail of a particular song tradition. Quite a lot common features, for example, is revealed when comparing the musical composition of songs from the village of Verkh-Buy and songs from the Kirov region (Mokhirev), but when listening to phonograms, we did not find any similarities in the manner of performance.
When studying the song options, some collections related to the northern regions also came into view. References are made to them in the notes in order to supplement the poetic content of songs that sometimes have an insufficiently developed plot. Ural publications are also partially used in references for possible comparison of the genre composition of songs. However, it should be noted that these references are not exhaustive and only accompany the main objective of the collection - to identify and highlight the features of the local song tradition. Before moving on to its characteristics, one cannot help but dwell on the historical situation in which it was born and developed.
The time of Russian penetration into the Urals is reported in chronicles, which say that “already in the 11th century, brave Novgorodians went beyond the Urals to the country of Ugra, to collect tribute from it, and the path lay. through the land of Perm." From another source we also learn: “The penetration of Russian people into the Ural lands, which began no later than the 11th century, is confirmed archaeological finds and chronicle legends: the Laurentian and Nikon Chronicles. Novgorodians were among the first to appear in the Urals.”
Osinsky district, to which Verkh-Buyovskaya volost belonged, began to be settled by Russians at the end of the 16th century. The guidebook “Volga Region” (1925) contains the following information about this region: “The Russians settled in Osa in 1591, when the Koluzhenin brothers founded the modern city Nikolskaya Sloboda. Even earlier, a monastery arose on the right bank. Before the arrival of the Russians, there were settlements of Ostyaks here, who were engaged in fishing and pinching hops according to the charter of the 16th century. Moscow government." Peasants were attracted by the rich lands and the position of the “sovereign”; they could settle on state-owned lands, remaining “free”, and had to bear a number of duties in favor of the state, among which “sovereign tithe arable land” was common. The bread collected by the peasants from the tithe arable land went to the “sovereign granaries” and was used to pay salaries to “serving people.”
Somewhat later, the settlement of Verkh-Buy was probably founded. F.V. Ponomareva told a family legend about the genealogy of her native village. Ivan Grigorievich Galashov, Faina Vasilievna’s grandfather, said that “a long time ago, from the big river (Volkhov River - F. Ya.), from the Novgorod region, people came here to settle new lands. There were three families: Ivan Galashov (great-grandfather of Ponomareva’s grandfather. - S. Ya.), Mikhey Korionov and Mikhailo Kopytov. Arriving on horseback in the spring, they found themselves in impassable forest jungle. According to my grandfather’s stories, there was a continuous dark forest, as they say, “a hole in the sky.” Leaving their families in tents made of homespun canopies, the men went up the river, right up to its source. And what do they see? A strong stream of water shoots out from under the stones, drilling to the surface like a fountain, and flows noisily along the riverbed. One of the men said: “How violently the water beats.” Taking up this word, they christened the river “Buy”: Not finding a place convenient for uprooting, they returned to their families, settled lower in the upper reaches, across the river on the mountain, and began to settle in new places.” Thus, from family legend it is clear that the lands along the Buy River (a tributary of the Kama) turned out to be deserted when Russian pioneers arrived there. This was it. apparently in XVII century. However, in the 20s of the 20th century, during archaeological excavations in the Kueda area, along the banks of the Buy River, three settlements with traces of settlements were discovered: Sanniakovskoe, on Nazarova Mountain and near the Kueda station. If we remember that these lands lay adjacent to the Volga-Kama Bulgaria, which in 1236 was the first to take the blow of the Mongol-Tatar invasion, then the desolation of the once populated lands will become understandable.
The history of the Lower Kama region is rich in significant events and upheavals. “Osa was attacked by the Tatars in 1616, who were joined by the Bashkirs, Cheremis and others. They besieged the Osinsky fort.”
In 1774, the threat of the Pugachev uprising swept over the district.
Decades and centuries passed. “Russian peasants, through their activities, changed the previously backward region, created large centers of agriculture, developed various crafts and trades, trade, and were also the main labor force in state-owned and private factories. From these same peasants it was created Cossack army for the protection of fortresses on Southern Urals" In Osinsky district, which “in the abundance of agricultural products could equal the most fertile places Central Russia, agriculture, cattle breeding, beekeeping, and distilling developed.” From the neighboring Kungur district, famous for the production of leather and the production of various products from leather associated with home-based work, this trade spreads to neighboring districts. Folk craftsmen contributed a lot to this craft artistic element: products were skillfully embroidered and decorated with patterns.
*.
The tunes of the songs are presented in the collection as fully as possible, taking into account the variation of tunes in each new stanza that is characteristic of every Russian folk song tradition. These variations are carried out on the basis of a fixed type - stanza. They give a more complete picture of musical development a tune that is almost never repeated exactly. And this is not just ornamentation, but evidence of the endless imagination of folk performers, skillfully and masterfully developing the basis of the melody.
The notes at the end of the book describe the setting in which the songs were performed, contain musicological analysis of them, and pointers to similar publications.
The songs included in the collection can serve as “ best illustration those inexhaustible powerful forces that the masses carry within themselves.” Their national identity is that, along with grief and melancholy, they emanate “space, will, valiant prowess” (D.N. Mamin-Sibiryak).
S. Pushkin,
musicologist, member of the Union of Composers of the USSR
Full text read in the book
- Preface
- Yuletide, game, Pancake week songs
- DANCE, JOKIC SONGS
- SEASON SONGS
- WEDDING SONGS
- LULLABIES
- EPICAL
- HISTORICAL AND SOLDIERS' SONGS
- VOICE SONGS
- Notes
- List of bibliographic abbreviations
- Alphabetical index of songs
Download sheet music and lyrics
Thanks Anna for the collection!
Material from Letopisi.Ru - “Time to go home”
Osinsky Folk Song and Dance Ensemble Ural Mountain Ash Boris Kapitonovich Bryukhov, Honored Worker of Culture of Russia was created in 1946 year. The birth of the choir is considered January 15 1946 - exactly on this day choir group gave his concert in Osa (Perm region).
The first leader was Alexander Prokopyevich Makarov, his wife is the choirmaster Tatyana Vladimirovna Tolstaya (former soloist choir named after Pyatnitsky). For short time The choir won the love and popularity of fellow countrymen. After Makarov left, he was the director of the choir for seven years. Valentin Petrovich Alekseev.
Starting from 1947 city, the Osinsk Russian Folk Song Choir has more than once been a diploma winner and laureate of many competitions, shows, festivals - from All-Russian to regional. IN 1947 The choir becomes a Diploma-recipient of the All-Russian Review of Rural Amateur Performances, performs in Moscow - in the House of Unions and Bolshoi Theater. Participates in the filming of the film “Songs of Collective Farm Fields”. His repertoire includes folk songs and dances, ditties, skits, round dances, and songs by modern composers.
A special place in the choir’s repertoire was occupied by songs recorded in the Osinsky region: “Is my sun red”, “Like a river - little rivers”, “They cooked a pie” and much more.
IN 1953 becomes the choir director B.K. Bryukhov, an excellent musician, a true professional, a good and sensitive leader who made an invaluable contribution to the development of musical songwriting.
IN 1956 The choir participates in the filming of the film “Towards the Song”, and in 1960 The choir traveled to Moscow with concerts at VDNKh.
IN 1961 The Osinsky choir was awarded the title “People’s”, and with 1976 It is called the Folk Song and Dance Ensemble "Ural Rowan".
Name Boris Kapitonovich Bryukhov V 2000 g., by decision of the regional Legislative Assembly, is assigned to the team.
From September 1999 G. leads the ensemble Oleg Viktorovich Lykov. With his arrival, new members joined the team - school students and educational institutions city, the repertoire has changed.
WITH 2007 g. it was proposed to take over the leadership of the ensemble Lyudmila Pavlovna Artemyeva. The orchestral group of the ensemble was led by Natalya Valentinovna Vergizova, and dance - choreographer Alexey Igorevich Artemyev. WITH 2010 G. orchestra group is under the direction of a talented accordion player - Vyacheslav Gennadievich Seleznev.
IN 2010 “Ural Rowanushka” became a two-time Laureate of regional festivals – the competitions “Rowan Border” and “Flowing Kama Region”.
In the same year, the ensemble took part in All-Russian festival folk art “Springs of Russia” in Cheboksary.
IN 2011 G. folk ensemble song and dance Ural mountain ash named after B.K. Bryukhova noted important event– 65th anniversary of creative life.
Chairman of the jury:
Jury members:
| Lira Ivanovna Shutova Chelyabinsk |
Professor, teacher of choral disciplines of the Department of Folk Singing of Chelyabinsk state institute culture, honored cultural worker Russian Federation, Laureate of international competitions |
| Alexey Grigorievich Mulin | Director - artistic director concert organization "Ensemble "Prikamye", Honored Worker of Culture of the Russian Federation, laureate International competition choreographers of the Urals, Siberia and the Far East, |
| Andrey Borisovich Byzov Yekaterinburg |
Member of the Union of Composers of Russia, professor of the department folk instruments Ural State Conservatory them. M.P. Mussorgsky, Honored Artist of the Russian Federation |
| Vladimir Fedorovich Vinogradov Yekaterinburg |
Head of the folk singing department of the Sverdlovsk Regional Music College named after. P.I. Tchaikovsky, Honored Worker of Culture of the Russian Federation |
LISTENED TO:
Sorokina P.A.: “I propose to differentiate diplomas in the following order”:
- First degree Laureate Diploma;
- Laureate Diploma of the 2nd degree;
- Third degree Laureate Diploma;
- Special diploma.
- Diploma holder.
Adopted unanimously.
Decided:
Determine the winners of the XIII All-Russian festival-competition of folk choirs and ensembles “RODNOE VILLAGE SINGS” and award them with memorable gifts.
Third degree Laureate Diploma reward:
- Folk group Russian song ensemble "Dove" - AU KGO "Palace of Culture" Kachkanar, Sverdlovsk region, head - Novgorodova Tatyana Nikolaevna
- Folk group vocal ensemble"Crane" - MKUK "Bobrovsky House of Culture" Sverdlovsk region, Sysert city district, Bobrovsky village, head - Kurovskaya Anna Romanovna
- Folk group song and dance ensemble "Belaya Cheryomushka" - MBUK "Palace of Culture "Yubileiny" Sverdlovsk region, Nizhny Tagil, director - Honored Worker of Culture of the Russian Federation Gert Yakov Aleksandrovich
- Folk group Russian Song Choir - MBU of the Gornouralsk urban district "Pokrovsky cultural center" of the Sverdlovsk region, head - Chernyavsky Ivan Anatolyevich
Diploma of Laureate of the 2nd degree reward:
- Folk group vocal group “Native Tunes” - District cultural and leisure center MKUK "Inter-settlement socio-cultural association" of the Kargapol district of the Kurgan region, head - Tatyana Aleksandrovna Nakoskina
- Folk group vocal ensemble "Rosinochka" -
- Folk group Pokrovsky Russian folk choir - Pokrovsky Leisure Center MBUK Artemovsky urban district "Centralized club system" of the Sverdlovsk region, director - Honored Worker of Culture of the Russian Federation Kosyuk Vadim Nikolaevich
First degree Laureate Diploma reward:
- Folk group folklore and ethnographic ensemble "Skladynya" - MUK "Koptelovskoye Club Association" Koptelovsky Palace of Culture, Alapaevskoye Municipal District, Sverdlovsk Region, head - Golubchikova Zinaida Anatolyevna
- Honored folk art group of the Russian Federation, song and choreographic ensemble “Uralochka” - MBU Center for Culture and Leisure of the urban district of Krasnoufimsk, Sverdlovsk region, director - ZRK RF Stamikov Vladimir Borisovich, choirmasters: Tatyana Kustova, Honored Worker of Culture of the Russian Federation Alexander Rodionov, Ksenia Belyaeva, choreographer - Vasily Lushnikov, musical director— Vladislav Belyaev
- Folk group song and dance ensemble “Ural Ryabinushka” named after. B.K. Bryukhova - Municipal Budgetary Institution "Osa Center for Culture and Leisure" Perm region, Osa, head - Artemyeva Lyudmila Pavlovna
- Folk group choir of Russian song "Dove" - MAU “DK “Metallurg”, Verkhnyaya Pyshma, Sverdlovsk region, head - Lapteva Anastasia Aleksandrovna
Special diploma"For high performing skills" reward:
- Vyacheslav Seleznev - accompanist of the folk group of the song and dance ensemble “Ural Ryabinushka” named after. B.K. Bryukhova MBU "Osa Center for Culture and Leisure" Perm Territory, Osa
Special diploma "For mastery of accompaniment" reward:
- Instrumental group of the folk group of the vocal ensemble "Rosinochka" - MBUK "Cultural and leisure center of the Kamensky urban district" of the Sverdlovsk region, choirmaster - Nagovitsyn Alexander Veniaminovich, head of the instrumental group - Sergeeva Oksana Nurislyamovna, choreographer - Slueva Lyudmila Sergeevna
Special diploma “For the stage implementation of the competition program” reward:
- Folk group choir “Russian Song” - Palace of Culture and Technology PJSC "STZ" Sverdlovsk region, Polevskoy, head - Kazantseva Nadezhda Nikolaevna
Special diploma from the Center for the Culture of the Peoples of Russia of the State Russian House of Folk Art named after Polenov “For high creative achievements and embodiment national traditions peoples of Russia" reward:
- Folk group folklore ensemble"Rus" - Municipal autonomous institution Cultural and leisure center of Prokopyevsky municipal district Kemerovo region, director - Khramtsov Leonid Nikolaevich
- Folk group folklore ensemble "Berestinochka" - Municipal budgetary institution culture district Palace of Culture of the municipal district Belokataysky district of the Republic of Bashkortostan, head - Honored Worker of Culture of the Republic of Bashkortostan Dekalo Lyudmila Anatolyevna
- Folk group folklore ensemble "Petrovchane" - SDK s. Petrovskoye - branch of the MKU department of culture of the municipal district Ishimbaysky district of the Republic of Bashkortostan, head - Rakhmatullina Ramilya Miniguzhovna
- Folk group song and dance ensemble "PARMA" - MKU "Beloevsky rural cultural and leisure center" Perm region, Kudymkarsky district, village. Beloevo, leaders: Honored Worker of Culture of the Russian Federation Margarita Andrianovna Rocheva, Ekaterina Aleksandrovna Shcherbinina
- Folk group choir “Russian Song” - Palace of Culture and Technology PJSC "STZ" Sverdlovsk region, Polevskoy, head - Kazantseva Nadezhda Nikolaevna
Diploma XIII All-Russian festival-competition of folk choirs and ensembles “RODNOE VILLAGE SINGS” note:
- Folk group vocal ensemble "Ryabinushka" - Municipal autonomous institution Ishimbay Palace of Culture of the urban settlement of Ishimbay municipal district Ishimbay district of the Republic of Bashkortostan, head - Honored Worker of Culture of the Republic of Bashkortostan Yarovaya Tatyana Gennadievna
- Honored amateur artistic group, folk ensemble of Russian song “Subbotea” - Municipal cultural institution "Novouralsk centralized club system" Chelyabinsk region, Varna district, New Ural village, head - Tatyana Abrikovna Gorvat
- Folk group vocal ensemble "Priobvinskie overflows" - MBUK "Karagai district house of culture and leisure" Perm region, Karagai district, village. Karagay, director - Kolchurina Anastasia Yurievna
- Folk group vocal group "Annushka" - MBU "CICD and SD" Baikalovsky joint venture Baikalovsky MR Sverdlovsk region, head - Kradina Anna Eduardovna
- Folk group folklore ensemble “Zdravitsa” - MU for work with youth “Youth Center”, Kachkanar, Sverdlovsk Region, head - Elena Vladimirovna Morozova