Using fragments of music from F. Yarullin's ballet "Shurale" in piano lessons in middle and senior classes of a music school. Farid Yarullin and his ballet "Shurale"
Libretto by Akhmet Faizi and Leonid Yakobson based on the poem of the same name by Gabdulla Tukai, based on Tatar folklore.
History of creation
Fortunately, the theater's portfolio already contained a ready-made libretto and a score of a ballet called "Shurale", which were brought to the theater in early 1940 by the writer Akhmet Faizi and the young composer Farid Yarullin. And if the music of the future ballet as a whole suited the choreographer, then the libretto seemed to him too vague and oversaturated with literary characters - an inexperienced librettist brought together the heroes of eight works of the classic of Tatar literature Gabdulla Tukai. In February 1941, Jacobson completed a new version of the libretto and the composer proceeded to revise the author's clavier, which he completed in June.
Characters
- Syuimbike: Anna Gatsulina
- Ali-Batyr - Gabdul-Bari Akhtyamov
- Shurale - V. Romanyuk
- Taz - Gai Tagirov
- Syuimbike - Natalia Dudinskaya, (then Alla Shelest, Inna Zubkovskaya, Olga Moiseeva)
- Ali-Batyr - Askold Makarov, (then Konstantin Sergeev, Boris Bregvadze)
- Shurale - Igor Belsky, (then Robert Gerbek, Konstantin Rassadin, Yuri Grigorovich)
- The main matchmaker - A. N. Blatova
- Syuimbike - Marina Kondratyeva, (then Lyudmila Bogomolova)
- Batyr: Vladimir Vasiliev
- Shurale: Vladimir Levashev
- Fire Witch - Faina Efremova, (then Elmira Kosterina)
- Shaitan - Esfandyar Kashani, (then Nikolai Simachev)
- Shuralenok (performed by students of the Moscow Art School) - Vasily Vorokhobko, (then A. Aristov)
The performance was held 8 times, the last performance was on October 1 of the year
Performances in other theaters
- Bashkir Opera and Ballet Theater, choreographer F. M. Sattarov
10th of November- Lviv Opera and Ballet Theater, choreographer M.S. Zaslavsky, production designer J.F. Nirod, conductor S.M. Arbit
- Troupe "Choreographic Miniatures" - scenes from the ballet "Shurale" in act 1, choreography by Leonid Yakobson
Bibliography
- D."Ali-Batyr" // Change: newspaper. - L., 1950. - No. 23 June.
- V. Bogdanov-Berezovsky"Ali-Batyr" // Evening Leningrad: newspaper. - L., 1950. - No. 26 June.
- Krasovskaya V."Ali-Batyr" // Soviet art: newspaper. - L., 1950. - No. 11 November.
- Dobrovolskaya G. Truce with the classics //. - L.: Art, 1968. - S. 33-55. - 176 p. - 5000 copies.
- Roslavleva N. In new ballets //. - M .: Art, 1968. - S. 66-67. - 164 p. - 75,000 copies
- Gamaley Yu. Year 1950 //. - L.: PapiRus, 1999 .-- S. 140-141. - 424 p. - 5000 copies. - ISBN 5-87472-137-1.
- L. I. Abyzova. Dancer of the Kirov Theater //. - SPb. : Academy of Russian Ballet. A. Ya. Vaganova, 2000. - S. 69-75. - 400 p. - 1200 copies. - ISBN 5-93010-008-X.
- Jacobson L. My work on "Shurale" // Letters to Noverru. Memories and essays. - N-Y .: Hermitage Publishers, 2001. - S. 33-97. - 507 p. - ISBN 1-55779-133-3.
- Gabashi A.// Tatar world: magazine. - Kazan, 2005. - No. 3.
- Yunusova G.// Republic of Tatarstan: newspaper. - Kazan, 2005. - No. 13 May.
- // RIA Novosti: RIA. - M., 2009. - No. 24 June.
- Stupnikov I.// St. Petersburg vedomosti: newspaper. - SPb. , 2009. - No. 7 July.
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Notes (edit)
Links
- on the website of the Tatar Opera and Ballet Theater
- on the Mariinsky Theater website
- photo report from the performance of the Tatar Opera and Ballet Theater
An excerpt characterizing Shurale (ballet)
One of the people in the darkness of the night, from behind the high body of a carriage standing at the entrance, noticed another small glow of fire. One glow had already been visible for a long time, and everyone knew that it was Malye Mytishchi, kindled by the Mamonov Cossacks, on fire.“But this, brothers, is another fire,” said the orderly.
Everyone noticed the glow.
- Why, they said, Malye Mytischi lit Mamonov's Cossacks.
- They! No, this is not Mytishchi, it is far away.
- Look, as if in Moscow.
Two of the people got off the porch, went behind the carriage and sat down on the step.
- It's to the left! Why, Mytischi is over there, but this is completely in the other direction.
Several people joined the first.
“See, it's on fire,” said one, “this, gentlemen, is a fire in Moscow: either in Suschevskaya or in Rogozhskaya.
Nobody responded to this remark. And for a long time all these people silently looked at the distant flames of a new fire.
The old man, the count's valet (as he was called), Danilo Terentich approached the crowd and shouted to Mishka.
- What have you not seen, slut ... The Count will ask, but there is no one; go collect the dress.
- Yes, I only ran for water, - said Mishka.
- And what do you think, Danilo Terentich, is it like a glow in Moscow? Said one of the footmen.
Danilo Terentich did not answer, and for a long time again everyone was silent. The glow spread and swayed further and further.
“God have mercy! .. wind and dry…” the voice said again.
- Look how it goes. Oh my God! you can see the jackdaws. Lord, have mercy on us sinners!
- I suppose they will put it out.
- Who should we put out that? - I heard the voice of Danila Terentich, who had been silent until now. His voice was calm and slow. - Moscow is, brothers, - he said, - she is a squirrel mother ... - His voice broke off, and he suddenly sobbed old. And as if everyone was just waiting for this in order to understand the meaning that this visible glow had for them. There were sighs, words of prayer, and the sob of the old count's valet.
The valet, returning, reported to the count that Moscow was on fire. The count put on his robe and went out to look. Sonia, who had not yet undressed, and madame Schoss went out with him. Natasha and the Countess were left alone in the room. (Petit was no longer with his family; he went ahead with his regiment, marching towards Trinity.)
The Countess burst into tears when she heard the news of the Moscow fire. Natasha, pale, with fixed eyes, who was sitting under the icons on the bench (in the very place where she had sat down when she arrived), did not pay any attention to her father's words. She listened to the incessant groan of the adjutant, heard from three houses.
- Oh, what a horror! - Said, returning from the yard, cold and frightened Sonya. - I think all of Moscow will burn, a terrible glow! Natasha, look now, you can see from the window from here, ”she said to her sister, apparently wanting to entertain her with something. But Natasha looked at her, as if not understanding what was being asked of her, and again fixed her eyes at the corner of the stove. Natasha had been in this state of tetanus since this morning, since the very time when Sonya, to the countess's surprise and annoyance, for some unknown reason, found it necessary to announce to Natasha about Prince Andrey's wound and about his presence with them on the train. The Countess was angry with Sonya, as she was rarely angry. Sonya cried and asked for forgiveness, and now, as if trying to make amends for her guilt, did not stop caring for her sister.
“Look, Natasha, how terribly it burns,” said Sonya.
- What's on fire? Natasha asked. - Oh, yes, Moscow.
And as if in order not to offend Sonya with a refusal and to get rid of her, she moved her head to the window, looked so that, obviously, she could not see anything, and again sat down in her previous position.
- Have you seen?
“No, really, I saw,” she said in a pleading voice for peace.
It was clear to both the countess and Sonya that Moscow, the fire of Moscow, whatever, of course, could not matter to Natasha.
The count went behind the partition again and lay down. The countess went up to Natasha, touched her head with an inverted hand, as she did when her daughter was sick, then touched her forehead with her lips, as if to find out if there was a fever, and kissed her.
- You're cold. You're trembling all over. You should go to bed, ”she said.
- Go to bed? Yes, okay, I'll go to bed. I'll go to bed now, ”Natasha said.
Since Natasha had been told this morning that Prince Andrey had been seriously wounded and was traveling with them, only at the first minute had she asked a lot about where? as? is he dangerously injured? and can she see him? But after she was told that she could not see him, that he was seriously wounded, but that his life was not in danger, she obviously did not believe what she was told, but making sure that no matter how much she said, she would be answer the same thing, stopped asking and talking. All the way with her big eyes, which the countess knew so well and of which expression was so afraid, Natasha sat motionless in the corner of the carriage and was now sitting in the same way on the bench on which she sat. Something she was planning, something she was deciding, or had already decided in her mind now — the countess knew that, but what it was, she did not know, and it frightened and tormented her.
- Natasha, undress, my dear, lie down on my bed. (Only one countess had a bed on the bed; m me Schoss and both young ladies were to sleep on the floor in the hay.)
“No, Mom, I'll lie here on the floor,” Natasha said angrily, went to the window and opened it. The aide-de-camp's groan was heard more clearly from the open window. She stuck her head out into the damp air of the night, and the Countess saw her slender shoulders shaking with sobs and hitting the frame. Natasha knew that it was not Prince Andrew who was moaning. She knew that Prince Andrew was lying in the same connection where they were, in another hut through the passage; but this terrible incessant groan made her sob. The Countess exchanged glances with Sonya.
“Lie down, my dear, lie down, my friend,” said the countess, lightly touching Natasha's shoulder with her hand. - Well, lie down.
“Oh, yes ... I’ll go to bed now, now,” said Natasha, hastily undressing and breaking off the ties of her skirts. Throwing off her dress and putting on a jacket, she twisted her legs, sat down on the bed prepared on the floor and, throwing her short thin braid over her shoulder in front, began to intertwine it. Thin long familiar fingers quickly, deftly disassembled, weaved, tied a braid. Natasha's head, with a habitual gesture, turned in one direction or the other, but her eyes, feverishly open, stared straight ahead. When the night suit was finished, Natasha quietly sank down on a sheet, laid on the hay at the edge of the door.
- Natasha, you lie in the middle, - said Sonya.
“No, I'm here,” Natasha said. “But go to bed,” she added with annoyance. And she buried her face in the pillow.
The Countess, m me Schoss and Sonya hastily undressed and lay down. One lamp remained in the room. But in the courtyard it was brightening from the fire of Malye Mytishchi two miles away, and the drunken cries of the people in the tavern, which the Mamonov Cossacks had smashed, boomed, on the crossing, in the street, and the incessant groan of the adjutant was heard.
For a long time Natasha listened to the internal and external sounds that reached her, and did not move. At first she heard the prayer and sighs of her mother, the crackling of her bed under her, the familiar snoring of m me Schoss, the quiet breathing of Sonya. Then the countess called out to Natasha. Natasha did not answer her.
“He seems to be asleep, Mom,” Sonya answered quietly. The Countess, after a pause, called again, but no one answered her.
Soon after, Natasha heard her mother's even breathing. Natasha did not move, in spite of the fact that her little bare foot, knocking out from under the covers, was chilly on the bare floor.
As if celebrating a victory over everyone, a cricket screamed in the crack. A rooster crowed far away, loved ones responded. The screams died down in the tavern, only the same aide-de-camp could be heard. Natasha got up.
- Sonya? do you sleep? Mum? She whispered. No one answered. Natasha slowly and carefully got up, crossed herself and stepped carefully with her narrow and flexible bare feet on the dirty, cold floor. The floorboard creaked. She, quickly shifting her legs, ran like a kitten a few steps and took hold of the cold bracket of the door.
It seemed to her that something heavy, striking evenly, knocking on all the walls of the hut: it was her heart that was breaking with fear, with horror and love, beating.
She opened the door, stepped over the threshold and stepped onto the damp, cold ground of the vestibule. The embracing cold refreshed her. She felt with her bare foot the sleeping man, stepped over him and opened the door to the hut where Prince Andrew lay. It was dark in this hut. In the back corner by the bed, on which something was lying, on a bench stood a tallow candle burned out by a large mushroom.
In the morning Natasha, when she was told about the wound and the presence of Prince Andrey, decided that she should see him. She did not know what it was for, but she knew that the meeting would be painful, and even more so she was convinced that it was necessary.
All day she lived only in the hope that at night she would see him. But now that that moment had come, the horror of what she would see came over her. How was he disfigured? What was left of him? Was he what the incessant groan of the adjutant was? Yes, he was like that. He was in her imagination the personification of this terrible groan. When she saw an obscure mass in the corner and took his raised knees under the covers by his shoulders, she imagined some kind of terrible body and stopped in horror. But an irresistible force drew her forward. She carefully stepped one step, then another, and found herself in the middle of a small cluttered hut. In the hut, under the icons, another person was lying on benches (it was Timokhin), and on the floor there were two other people (they were a doctor and a valet).
The valet rose and whispered something. Timokhin, suffering from pain in his wounded leg, did not sleep and with all his eyes looked at the strange appearance of a girl in a bad shirt, jacket and eternal cap. The sleepy and frightened words of the valet; "What do you want, why?" - they just made Natasha come closer to the one that was in the corner. No matter how scary, it was not like a human this body, she should have seen it. She passed the valet: the burnt mushroom of the candle fell, and she clearly saw Prince Andrey lying with his arms outstretched on the blanket, as she had always seen him.
He was the same as always; but the inflamed color of his face, the sparkling eyes gazing enthusiastically at her, and especially the delicate childish neck protruding from the laid-back collar of his shirt, gave him a special, innocent, childish look, which, however, she had never seen in Prince Andrew. She went up to him and with a quick, flexible, youthful movement knelt down.
He smiled and held out his hand to her.
For Prince Andrey, seven days have passed since the time he woke up at the dressing station of the Borodino field. All this time he was almost in constant unconsciousness. The hot condition and inflammation of the intestines, which were damaged, according to the doctor, who was traveling with the wounded, should have carried him away. But on the seventh day he happily ate a piece of bread and tea, and the doctor noticed that the general fever had subsided. Prince Andrew regained consciousness in the morning. The first night after leaving Moscow it was rather warm, and Prince Andrey was left to spend the night in a carriage; but in Mytishchi the wounded man himself demanded to be carried out and given tea. The pain caused by carrying him to the hut made Prince Andrey moan loudly and lose consciousness again. When they put him on the camp bed, he lay for a long time with his eyes closed, motionless. Then he opened them and quietly whispered: "What about the tea?" The doctor was struck by this memory for the small details of life. He felt his pulse and, to his surprise and displeasure, noticed that the pulse was better. To his displeasure, the doctor noticed this because he was convinced from his own experience that Prince Andrew could not live, and that if he did not die now, he would only die with great suffering some time after. With Prince Andrey, they were carrying a major of his regiment Timokhin with a red nose, who had joined them in Moscow, and wounded in the leg in the same battle of Borodino. With them rode a doctor, the prince's valet, his coachman and two orderlies.
Prince Andrew was given tea. He drank greedily, looking ahead at the door with feverish eyes, as if trying to understand and remember something.
- I don’t want any more. Is Timokhin here? - he asked. Timokhin crawled along the bench to him.
“I am here, Your Excellency.
- How is the wound?
- My then with? Nothing. Here you are? - Prince Andrew again pondered, as if remembering something.
- Could you get a book? - he said.
- Which book?
- The Gospel! I do not have.
The doctor promised to get it and began to ask the prince about what he was feeling. Prince Andrey reluctantly, but reasonably, answered all the doctor's questions and then said that he should have a roller, otherwise it was awkward and very painful. The doctor and the valet lifted the greatcoat with which he was covered, and, wincing at the heavy smell of rotten meat that spread from the wound, they began to examine this terrible place. The doctor was very dissatisfied with something, that he had altered something differently, turned the wounded man over so that he groaned again and again lost consciousness from the pain while turning and became delirious. He kept talking about getting this book out for him as soon as possible and putting it there.
- And what does it cost you! - he said. “I don’t have it — please take it out, put it on for a minute,” he said in a pitiful voice.
The doctor went out into the hallway to wash his hands.
“Ah, you shameless ones, really,” the doctor said to the valet, who was pouring water into his arms. “I didn’t finish it for a minute. After all, you put it right on the wound. It's such a pain that I wonder how he endures.
- We seem to have planted, Lord Jesus Christ, - said the valet.
For the first time, Prince Andrei understood where he was and what had happened to him, and remembered that he was wounded and how, at the moment when the carriage stopped in Mytishchi, he asked to go to the hut. Confused again from pain, he came to his senses another time in the hut, when he was drinking tea, and then again, repeating in his recollection everything that had happened to him, he most vividly imagined that moment at the dressing station when, at the sight of the suffering of a person he did not love , these new thoughts that promised him happiness came to him. And these thoughts, although vague and indefinite, now again took possession of his soul. He remembered that he now had a new happiness and that this happiness had something in common with the Gospel. Therefore, he asked for the Gospel. But the bad position that the wound had given him, the new turning over again confused his thoughts, and for the third time he woke up to life in the perfect silence of the night. Everyone slept around him. The cricket was screaming through the passage, in the street someone was shouting and singing, cockroaches rustled across the table and images, in the autumn a fat fly was beating at his head and near a tallow candle that had been burnt by a large mushroom and stood beside him.
Last year marks the 100th anniversary of the birth of Farid Yarullin (1914-1943), the author of the first Tatar ballet "Shurale".
This year, the public of Tatarstan celebrated the 70th anniversary of the first staging of the performance at the Kazan Opera and Ballet Theater, which now bears the name of Musa Jalil. The ballet became the pride of the Tatar people. Created in 1941, today it is known throughout the world. The play was staged in many theaters of the country and neighboring countries -
in Germany, Poland, Bulgaria, Czechoslovakia ... Unfortunately,
in society, the question of whether Farid Yarullin completed his ballet in full or left it in fragments continues to remain open, and what innovations were introduced by the editors in the process of creating the score. A lot of questions are also raised by some facts of the biography of the composer ... The author of this article sheds light on many of them
1. Composerandhis entourage
It is known that Farid Yarullin was born on January 1, 1914 in Kazan in the family of the folk musician and composer Zagidulla Yarullin, the author of the famous "March" in memory of G. Tukai (1913). But when I tried to find records or metrics of Farid Yarullin in the local mosque on the street. Tazi Gizzata, she did not find any evidence of his birth. I went through all the records a year before and after, but the search was unsuccessful. Still, it was interesting who is the mother of the future composer and who influenced him as a person and a musician. I undertook several business trips: first, to the village of Kirbi, Laishevsky district, the homeland of Farid Yarullin's mother, Nagima, then to the homeland of the composer’s father, Zagidulla Yarullin, to the village of Malye Suni, Mamadyshsky district of Tatarstan, also to Ufa and, finally, to Moscow and St. Petersburg.
In the village of Kirbi, I met with the cousin of Farid Yarullin's mother, an elderly man, Garifulla Yarmiyev. And this is what he told me:
“Zagidulla and his wife lived in one of the rooms of a large half-brick, half-wooden house on Arkhangelskaya Street, now Khadi Taktash. The father was a sedate, silent and not very talkative person. Sometimes, he sits in his small room, fixing either an accordion, or a domra, or constructs something - he was sensible in technology. Mother was busy with the housework. At home there was a completely new expensive piano. Disciples often came, Zagidulla studied with them. Sometimes artist friends dropped in. And then they played music, sang, rehearsed. And when Zagidulla forgot and tried to remember some melody, he resorted to the help of his wife.
The mother was a plump, attractive and kind woman. After marriage, she became even more rounded, lived fairly well off, but did not have children. Zagidulla complained about this more than once. The wife was silent, but she also wanted to have a child. And then one day she went to the bathhouse and got into a conversation there with a woman who came with a beautiful little boy. He was as little as an elbow, as they say, but so plump and plump that it was just a sight for sore eyes. The woman said that she had given birth to a child recently, she lives alone and in great poverty, there is nothing to even feed and clothe the baby with. And she feels really bad. Nagima, who loved children very much, asked to hold the child, helped wash, and by the end agreed to take him away altogether. There was great joy at home, a son appeared in the family. Mother and father doted on him. The boy grew up strong and handsome. The guests who came to them could not get enough of him ... However, the happiness was short-lived.
Farid's mother, Nagima, was from the village of Kirby. Her parents died early and as a girl she was sent to Kazan. However, she ended up on the street and was forced to earn her living in a brothel. Similar stories were not uncommon at the beginning of the century, when a girl, having lost her parents and having no specialty, ended up in the hands of unscrupulous people who earned money on them, about which, for example, Gayaz Iskhaki wrote a lot. It is also known that the first Tatar folk musicians mostly earned money by entertaining the bourgeois public in restaurants and brothels. In one of these establishments, apparently, Zagidulla met her, from about 1912 they began to live together. "
The first years, tied to each other by love and music, they lived together. According to the recollections of contemporaries, the house was cozy and beautiful, high-quality furniture and mirrors attracted attention. Zagidulla earned good money. But gradually life became more and more painful for both. There was, in fact, little in common between them. The level of development and areas of interest were different. According to G. Yarmiev, “cases of alcohol consumption became more frequent, and if Zagidulla drank it down, then for weeks. The wife was unhappy, grumbled, and then, finding no satisfaction in her husband, began to find attention from the outside. All this had the most negative impact on the well-being of the family. "
Often Nagima was in the hospital. The son was left unattended. Zagidulla was forced to take his son with him to concerts, cinema, restaurants. In fact, no one was involved in raising Farid. The role of Nagima probably consisted in the fact that she was able to save us the future composer and, thanks to her cares, in the first years of his life, he received shelter and shelter. It is not clear what the fate of the boy would have been if Nagima had not taken him away from the poor, sick woman. The artistic environment was created by the father. It is important that the son has been constantly in the world of music since childhood. And he studied the folk song not by sheet music, but in the natural cultural environment.
The subsequent fate of Nagima turned out to be unenviable. The father in every possible way protected her from her son, and on one of such unfavorable days, when his mother was in the hospital, he and Farid left. First, she and her friends - accordionist F. Bikkenin and violinist M. Yaushev - went to Sterlitamak, and then to Ufa. Their departure affected Nagima in the most tragic way. Garifulla Yarmiev describes this time as follows:
“In the hot summer season, when the field work was in full swing, I came home for lunch, went out and sat on the porch to look at the newspaper. Some time later, a very thin, disheveled, unhappy Nagima appeared and with the words "Zagidulla took Farid away" she collapsed to the ground with no strength. I brought her into the house, put her on the bed, mom, little by little, she came to her senses and told that when she was in the hospital, Zagidulla, taking his son, left in an unknown direction. And now she doesn't know what to do. "
Gradually, Nagima gains the ability to reflect on his situation. She decides to continue searching. Finds Zagidulla and Farid in Ufa. The family is recovering for a while. But not for long…
In Ufa, where their mother found them, she also did little to do with her son, and led a hectic life. In essence, Farid was on his own. And at first they lived in the same apartment with the family of M. Yaushev. His wife Sara-khanum recalls the following:
“We lived in M. Gafuri Street in a small house on the second floor in one two-room apartment. Zagidulla, leaving home, left his son with the task of learning this and that. But the mother, as soon as Zagidulla left, gave her son money to go to the cinema, and she herself went downstairs to the neighbors, played cards, smoked. Farid, God knows where he ran. Often he went with us to the banks of the Agidel River. Taking with us delicious things - cookies, sugar - we went to the park and spent whole days there in the summer. They laughed and chatted all the time. He was very humble and humorous. "
Probably, along with his father, his peers and friends, who surrounded him during his studies, first in Ufa, in Kazan, and then in Moscow, played an important role in the formation of the future musician. All the musicians' environment of Farid in the future will be the flower of the nation, the pride of the republic.
Farid went to school in 1923, when his family lived in Ufa. He studied at the first exemplary Tatar-Bashkir school, which was located not far from the house where he lived. It was on Nikolskaya Street (now M. Gafuri Street). My father worked in a cinema, a restaurant ... Farid was more often left to himself. Memories of contemporaries give us some idea of his life in the Ufa period. “It was,” says his schoolmate, later music editor of the Ufa radio, Shaukat Masagutov, “a stocky, strong man with a light forelock, a year and a half older than his classmates. He did not chase, like others, along the corridors, he was calm and silent. While his fellow practitioners had pens, pencils, textbooks and notebooks piled in their briefcases, Farid took a stub of a pencil out of his pocket and wrote on separate scraps of paper. I did little, but thanks to my abilities I succeeded and I was not listed among the laggards. "
Special music lessons have also begun in Ufa. The father, convinced of his son's brilliant abilities and his love for music, begins to teach him musical notation. However, he cannot give him enough attention and time. Zagidulla Yarullovich later recalled: “I had to deal with him a little, - I was often busy ... Farid went to school ... His hearing was amazing. He constantly listened to the world around him, caught every musical impression, and improvised well. "
I must say that apart from F. Yarullin, many famous figures of culture and art came out of the school - the composer and choreographer F. Gaskarov, the writers A. Faizi and R. Sattar, the artist Z. Bikbulatova, the artist R. Gumer ... future pursuits by renowned writer Naki Isanbet. The training was at a fairly high level. Tatar performances were even staged with the help of the students. “There was a piano in the hall,” recalls another student of the school, Kh. Gubaidullin, “quite often a crowd of children would come running here, and Farid improvised, sang folk songs. For many, this was their first musical impression. "
Zagidulla Yarullin also recalls that by 1926 Farid was already playing the piano decently. The father decides to give him a special professional musical education. After completing the seven-year period in Ufa, in 1930 Farid returned to Kazan and entered the Eastern Music College. A new period in the life of Farid Yarullin begins - the time for acquiring professional knowledge. Due to the lack of sufficient skills, he was refused admission to the piano department, and then he entered the cello class of R.L. Polyakov. Relatively soon he begins to play the instrument. However, having somehow heard Farid's improvisations on the piano, the teacher and head teacher of the technical school M.A.Pyatnitskaya takes him to her class. As a result, he studied in two departments - cello and piano.
So, in 1930, by the time they returned to Kazan, the family finally broke up. Zagidulla leaves for Mamadysh, and then - to his native village of Malye Suni and remarries. Since that time, the trail of the mother has also been cut off. Farid is left alone. Impressionable by nature, he, as you can see, had a hard time enduring troubles in the family. Closeness, childlike concentration, and seriousness arose early in him. He was remembered by his contemporary, musicologist and philologist Z. Khairullina as “taciturn, observant, pensive, deep in oneself”. “I know Farid as very modest and not very talkative,” testifies another contemporary, choreographer G. Kh. Tagirov. “I listened to others more often, and if it was necessary to join the conversation, I spoke laconically and intelligently.” “Charming, kind, disinterested, endowed with a critical mind and a sense of humor, - this is how the oboist M. Batalov recalled him. Outwardly restrained, slow, low-emotional, in fact, he had an ardent soul, had an inner purposefulness, irrepressible energy and temperament. "
Farid lives in the dormitory of the musical college in Shkolny Lane in Kazan. Next to him are N. Zhiganov, Z. Khabibullin, Kh. Gubaidullin, Kh. Batyrshin, M. Batalov and others. This is how the composer Zagid Khabibullin recalls this period of his life:
“Times are difficult. They lived on one stipend, the amount of which was four rubles a month. Often things were pawned in a pawnshop located nearby. It is cold in winter, the ink was cold, there was a lack of firewood. The room was almost not heated. But the guys did not lose heart. At six o'clock the director of the technical school, A. A. Litvinov, entered the hostel and sent everyone to classes. A favorite lesson besides the specialty was the orchestra class, in which classes were held twice a week and were expected with trembling enthusiasm. Here many heard the works of Haydn, Mozart, Beethoven, Rimsky-Korsakov for the first time. The performance of Tchaikovsky's Fourth Symphony made a special impression. The very participation in the reproduction of classical masterpieces was an irreplaceable school. Years have passed, but to this day many students remember with deep gratitude A. Litvinov, an orchestra teacher, who gave us vivid musical impressions. "
During these years, the creative aspirations of the future composer are manifested. He works as an accompanist on the radio. In those years, listeners with voices who tried themselves as artists were invited to the radio. There were no notes, and the accompaniment was essentially a harmonic improvisation on the piano. Farid Yarullin is very creative in his duties, striving for the original implementation of the melody in the piano texture. Composer Yu. V. Vinogradov says: “Once I heard a handsome young man accompany the singer. I immediately noticed that he was using unconventional harmonies. His performance was notable for improvisation, and the pentatonic scale was combined with impressionistic harmony ”.
Creative inclinations revealed themselves in the performances of the factory theater of working youth (TRAM), where he performed the cello part as part of an instrumental trio. The trio included N. Zhiganov (piano), Kh. Batyrshin (flute), F. Yarullin (cello). Kh. Batyrshin composed melodic material, and Zhiganov and Yarullin performed harmonization. These creative experiences fascinated them immensely.
During the period of Farid Yarullin's studies at the technical school, significant changes took place associated with the influence of Ramp's ideas on musical education. The musical college, theatrical and art schools are united into a single educational institution. The task is to train not qualified professional musicians, but mass instructors. Singing in the choir, clubbing, playing folk instruments is becoming a priority. A number of special classes are being abolished. As a result of this restructuring, the number of students decreased, and some qualified teachers left the technical school. The eyes of the most gifted young people turn to Moscow. The future composers A. Klyucharyov, M. Muzafarov, N. Zhiganov went to the capital. Farid Yarullin and Zagid Khabibullin followed them to Moscow in 1933-1934. Both enter the workers' faculty at the Moscow Conservatory.
The musical workers' faculty was opened in 1929 and was intended for training at the Moscow Conservatory. Those who graduated from the workers' school received the right to enter a music university without exams. The rabfak had three departments: instructor, performing and theoretical and composer. Admission was made for all four courses, depending on the degree of preparedness of the applicant. Farid Yarullin and Zagid Khabibullin entered the II course of the theoretical and composer department. Farid Yarullin went to the class of B.S.Shekhter, Z. Khabibullin to M.F.Gnesin. But two years later, in connection with the abolition of the workers' faculty, both became listeners of the Tatar Opera Studio, which had opened at the Moscow Conservatory.
So, Farid Yarullin studies in the class of B.S.Shekhter, here he writes arrangements, songs, romances, pieces for piano, violin and piano, begins composing a cello sonata. However, a relationship of trust and interest did not develop between the teacher and the student. Observing the student, the head of the theoretical and composer department G. I. Litinsky soon transfers him to his class. And this is where the true acquisition of professionalism begins. This is how the professor himself recalls this period: “He studied mediocre, wrote like everyone else, but it was necessary in a different way. F. Yarullin was a talented person with a rich imagination, but latent, deeply hidden, hidden. It was necessary to take it out with pliers. And if it succeeded, then something absolutely amazing appeared, which you never tire of admiring. "
The translation took place in 1936, after the composition of the cello sonata. The teacher adhered to the point of view that Tatar music should be created on the basis of the modern achievements of Russian and European musical culture. Required high performance technique and professional knowledge. Farid found in him not only a principled and strict teacher, but a sensitive friend who knows how to be interested both in the artistic and creative process and in the issues of the life and everyday life of his student. All this made the relationship between Litinsky and Yarullin so friendly that, recalling the student, Genrikh Ilyich says “my unforgettable”, and Yarullin writes to his wife from the front in one of his letters: “Litinsky was the only person who put me on my feet when I was in terrible despair. I owe him, as never before and to anyone. "
In the summer of 1938, Farid visits his father in the village. And in the summer of the same year, in the new family of Zagidulla Yarullin in the village of Malye Suni, the youngest son of Mirsaid Yarullin, Farid's half-brother, whom he, in fact, had never seen, was born. Mirsaid later became a famous composer, the author of the first Tatar oratorio "Keshe" ("Man"). For many years he served as chairman of the Union of Composers of Tatarstan.
In the class of GI Litinsky, Farid Yarullin writes romances "Don't sing, beauty, with me" and "Gypsies" on the verses of Pushkin, completes a cello sonata, creates a symphony and quartet, the first fragments of the opera "Zulhabira". However, the real inspiration comes with the beginning of work on the ballet "Shurale" based on the fairy tale of the same name by G. Tukay. The writer Ahmed Faizi is invited as a librettist. Work on the ballet continued from 1938 to 1940. And after the departure of the studio artists in 1938, Yarullin remains in Moscow to continue working. The finished fragments are presented for discussion by the musical community in Kazan, are heard on the radio, receiving approving reviews everywhere.
Before the completion of his work, Farid Yarullin returns to Kazan to prepare the ballet for the decade of Tatar literature and art in Moscow, scheduled for the fall of 1941. “It was a very tense time for art workers and the entire musical community of Tatarstan,” recalls GI Litinsky, who was appointed consultant for the creative part of the decade. - Composers and artists lived in the Sovet Hotel, renting the entire second floor. And every morning at 11 o'clock I went around the rooms, checking assignments. He praised some, scolded others, corrected, if necessary. Everything was influenced by the creative atmosphere. N. Zhiganov wrote the opera Altynch? Ch (Golden-haired), M. Muzafarov wrote Galiyaban, F. Yarullin wrote the Shurale ballet. A big concert of theater artists was also expected, brilliant celebrations were expected. "
A young talented ballet master Leonid Yakobson was invited from Moscow to stage the ballet. After reviewing the script, he finds it very imperfect and creates a new version, significantly different from the original. Following this, the material was rearranged, a number of new numbers and whole musical scenes were created (mainly in the music of the 2nd act and the scene of "Fire"). The composer and the choreographer argue a lot, but both of them work hard as a result, finding optimal solutions corresponding to the intention. Rehearsals with ballet are held at the same time. The main roles were prepared by Nagima Baltacheeva (Syuyumbika), Abdrakhman Kumysnikov (Bytyr), Bavri Akhtyamov (Shurale). Conducted by Ilyas Aukhadeev. It was the happiest time for a composer.
In June 1940, Farid met his future wife Galina Sachek. Ballet dancer, Galina was a beautiful slender girl with big black eyes. She was born in Kiev. His father, a Czech by birth, died during the civil war. The girl lived with her mother. When they met, she was 25 years old. She graduated from the Kharkov Choreographic School, danced at the Dnepropetrovsk Music and Drama Theater, and after moving to Kazan, she entered the ballet troupe of the Tatar Opera House. They loved each other dearly. The composer called his beloved "Gulchak".
According to Galina Georgievna, “Farid was a man of extraordinary modesty and honesty, ideal spiritual qualities. He was not very talkative, but, like his music, he had the most sublime structure of thought and the purest, most beautiful motives. " He told her about his ballet, introduced her to the content, sang the main themes. He was passionate about theater. But he did not tell anything about his parents. One day his mother came to his hotel. He had not seen her for many years and did not even know where she was. The meeting excited both of them unusually, they talked a lot, remembered, asked about each other. From that time on, he often visited her, helped her. Father came to visit from time to time.
All this time the composer worked hard. Wherever he was, everywhere he carried sheets of music paper, a pencil and an eraser. “He wrote music quickly and easily,” recalls Galina Sachek. - Subsequently, I realized that behind this seeming ease lurked a huge incessant inner work. Music pervaded his entire being, took away his thoughts, jealously limiting closeness with people. I often noticed in him an obsessed detachment - a phrase interrupted halfway through, sudden isolation, restraint in expressing feelings, frequent absent-mindedness, thoughtfulness - everything in him betrayed a constant absorption in creativity. "
The composer never had a chance to see his ballet on stage. The Great Patriotic War began. The tragic events that followed broke all plans. Mobilization began. Artists and musicians went to the front. Work in the theater is gradually being phased out. On July 26, Farid Yarullin received a summons. On July 27, having said goodbye to his wife and friends, he leaves for the gathering place. He, as not doing military service, is assigned as a cadet in the Ulyanovsk Infantry School, and after three months, Farid Yarullin, who have completed their studies, are sent to the front. In the fall of 1941, he fell ill with typhus and ended up in the medical unit, after recovering, he again went to the front. In the fall of 1943, the family received a summons that Lieutenant Farid Yarullin was missing.
In February 1942, a daughter is born to Farid Yarullin. The composer is experiencing hard separation. All his thoughts are filled with worries about his wife and daughter. As soon as the opportunity arises, he sends money. "How does the baby feel?" he is in letters from the front. Galina Georgievna also feels lonely, unsettled. The nervous disease that she suffers leads to a disease of the legs, she will never be able to dance again. Alone in Kazan, without relatives, close people, she and her mother return to their homeland in Kiev. The entire subsequent life of his wife and daughter was devoted to perpetuating the memory of her father, a warrior, a wonderful composer. They are the keepers of the most precious memories of him. They are always close to researchers of the life and work of the composer, in search of new documents that reveal unknown pages of his creative and military path.
For many years there were searches for places of battles in which Farid Yarullin participated. A cry was thrown across the country - to respond to the people who met him at the front. D. Samoilov, Kh. Gabdrakhmanov, S. Surmillo and many others took part in the search. The search was led by the chairman of the Council of Veterans of the 19th Panzer Corps, retired Lieutenant Colonel M.N. Tikhnenko. Pupils of school No. 646 in Moscow, where the Council of Veterans is a member, also took part in it. As a result of great and painstaking work, only in 1985 was it possible to find the point of completion of the military path of the soldier-composer and the place of his burial. It turned out that in 1942-43 Farid Yarullin got into the thick of things, fought at Stalingrad and on the Kursk Bulge. Then he was transferred to the Western Front, to the Belorussian direction. Here, in one of the battles in October 1943, the platoon commander, Lieutenant Farid Yarullin, died. His body was buried in a mass grave at the cemetery of the village of Novaya Tukhinya near Orsha. Now the memorial complex "Rylenki" has been built on this place.
So tragically ends the life of twenty-nine-year-old musician and composer Farid Yarullin. His immediate plans included a symphony about the dramatic events of the war, studies at the Kapellmeister faculty. Together with him, at the beginning of the creative path, many ideas perished. The works created by him testified to the outstanding talent of the composer. His death became a heavy loss for all Russian art.
Many publications about Farid Yarullin raise the question of how such a talented and promising composer, who became the pride and glory of the Tatar people, could be sent to the front, because many were provided with a reservation. Only versions can be cited. And one of them, according to G.I. Litinsky, is a conflict with Ilyas Aukhadeev, who at that time was the head and conductor of the opera house. Henrikh Ilyich explains the situation as follows:
"F. Yarullin was very talented and at the same time a very difficult person. And so, instead of stroking him, they kicked ... trying to make him lose faith in himself. And he endured all this, and not a word to anyone, was gentle, humane to the extreme. And only once it broke. “As long as I live, you will not conduct my ballet,” he said to Ilyas Aukhadeev. And Aukhadeev did not forgive him for this. It was he, Aukhadeev, who removed the reservation from him, while all the composers had been booked, and sent him to the front. And when Farid, dirty and thin, came to my apartment in Saratov, I did not recognize him and promised to help him. And when he talked with the head of the military department Gutor (general) about summoning Yarullin as a talented Tatar composer, he agreed to accept him to the military faculty. Farid goes to Kotlas to reorganize, but without waiting for the order of the head of the military district, he goes to the front. Thus, he found himself completely alone, and, apparently, thought that no one cared about him. And when I returned to Moscow, a funeral was already awaiting me. "
Genrikh Litinsky believes that Ilyas Aukhadeev was a weak conductor, did not possess distinctive qualities, and therefore did not satisfy the composer. He, Farid Yarullin, certainly wanted more soul, creativity, emotions. It is difficult to say how it really was, but Yarullin suffered a lot from such injustice and in one of his letters from the front, he wrote the following: approx. A.A.). Could the top of the theatrical bastard, headed by this Aukhadeev, be able to appreciate and be proud of their national cadres? Yes, it is easier to dissolve people than to gather them. Nazip (Zhigvanov) alone also cannot fight this human mold ”(letter from the front, dated January 4, 1943, kept in the personal archive of the composer’s daughter NF Yarullina). Anything is possible, because talented people always have many enemies. It is difficult to disagree with this. But it is unlikely that I. Aukhadeev alone decided who was sent to the front and who was not ...
2. Innovative features in the work of Farid Yarullin
Once, during a conversation with the choreographer Ninel Dautovna Yultyeva at her house, she brought me a clavier manuscript with notes by F. Yarullin and said: “Once I was walking in the courtyard of the opera house and suddenly I see old notes in the trash. I looked and realized that these were the notes of "Shurale" and even with the notes of the author. I, of course, took the clavier. And since you are engaged in the work of Farid Yarullin, I want to give it to you. " I was amazed, because for a long time everyone assured that there is no complete clavier, the ballet exists only in fragments. I took this clavier, checked it against the version from the library of the opera house, on which I wrote my dissertation, and once again made sure that the author's clavier of the ballet not only exists, but, undoubtedly, is a masterpiece. The question arises: how did the very first Tatar work in the genre of ballet, written by a still quite young twenty-seven-year-old composer, become a masterpiece? And what parameters can be used to determine the value of an artistic creation that has received such widespread recognition?
It was found that in the things of the composer, created already during the period of study, very original, distinctive features are visible. For example, in contrast to the harmonic framing of the main melody of songs, which is popular with other composers, his piano parts are independent figurative and expressive pieces, reflecting either pictures of nature or psychological portraits ...
Unusual for the initial stage of development of national cultures is the almost impressionistic instability, the variability of images, achieved by harmony from unconventional musical turns. Since the piano accompaniment does not duplicate the melody, the rhythm in it has an independent meaning and is rather complicated. New qualities set the works of Farid Yarullin apart from many others. "The freshness of sounding" is also noted in his plays by M. Nigmedzyanov in the monograph "Tatar folk song in arrangements by composers."
Songs created in the second half of the 30s are saturated with a dramatic character: "Komsomolskaya Pravda-partisan", "The 20s", "Pilots", "Telman's March", "To mortal battle". Among the large number of cheerful, jubilant Soviet songs in those years, the works of the young musician Farid Yarullin are distinguished by an intuitive perception of the true atmosphere of the pre-war years.
From the point of view of the formation of the style, the romances of the composer "Nig?" ("Why") on the verses of H. Taktash and "Don't sing, beauty, with me" on the verses of A. Pushkin. Early works reveal the author's gravitation towards emotionally expressive, dramatic lyrics, a symphonic type of thinking ... While most other composers were attracted to ethnography and vocalism, Farid Yarullin seeks original instrumental forms and masters complex genres of the European tradition.
The formation of a new - romantic direction in Tatar music - arises in his main work - the ballet "Shurale" (1938-1941). This is the rare case when one large-scale essay can be a representative of a whole direction. The ballet is based on the fairy tale poem by G. Tukay. The essay tells about the bird-girl Syuyumbika, who fell into the lair of Shurale, and the boy Bytyr, who saved her from the forest monsters.
The very appearance of a new genre - ballet in Tatar music - testifies to the composer's innovative search. Unusual in the work is the scale and many-sidedness of evil. Perhaps this is not accidental, because the composition was created after 1937 ... Each character - genies, shaitans, witches - has its own individual characteristics. And Shurale is completely original, in whose themes playful playfulness and evil vindictiveness are combined. A comedic interpretation of a fairytale ballet is another discovery of Farid Yarullin.
Positive images are new and bright. The originality of the lyrical themes of Syuyumbika and Bytyr lies in their psychological tension. The epic and elegiac lyrics of the predecessor composers in Yarullin's ballet are replaced by lyrics of an expressive dramatic plan.
Despite the widespread use of folk dances and individual numbers in the first national ballets, the composer, like a symphony, builds a single dramatic composition. And each new theme grows deeply organically: either by changing the previous one, or by isolating elements from the previous ones and building on them the next, or by the formation of themes-alloys.
Everything in Yarullin's ballet is unusual: intonation language, rhythmic pattern and harmonic means. The originality of fantastic images is achieved, first of all, by modal innovations. In them one cannot find pentatonic scale in its pure form, but its individual elements in synthesis with others (both European and Eastern) can be observed in all the themes of the ballet. This interaction creates an unprecedented brilliance and originality of the language of the work.
Thus, no matter what level of the artistic system we consider, the features of the new in the nationally characteristic style of Tatar music are found everywhere. The composer quite freely implements both elements of folklore traditions and techniques of classical and modern musical writing. A deep understanding of traditions and a keen sense of modernity, original authorial thinking - this is what is characteristic of a young composer from the very beginning of his career. This and some other features of F. Yarullin's style are described by his teacher G. Litinsky:
"What do I consider the most valuable in ballet? Firstly, a relaxed national characteristic, alien to ethnography, in which pentatonic scale is not an end in itself and is distinguished by deep soil. Secondly, a vivid fantasy, combined with an amazing laconicism: he knew how to grasp the essence of the image and at the same time was not afraid to drown the main thing in the inventions of creative imagination, he had a sense of proportion. And thirdly, Yarullin had a keen sense of the genre nature, and in this respect he was akin to Zhiganov. He wrote songs, but more felt and aspired to instrumental music. When is there a sense of the main thing and a sense of genre, what else does a composer need? Skill and culture.
The entire mature creative period of Farid Yarullin lasted only three or four years, but it is difficult to name another composer who, in such a short period, could push the boundaries of the national character. Namely, to create a new genre and a new system of images for Tatar music with fantasy, parody, psychological and dramatic lyrics, genre-characteristic and comedic portraits, to open a new type of dramatic symphonic drama, to combine the Tatar pentatonic scale not only with the European major-minor, but with all the arsenal of methods and means known at that time. All this testifies to a new stage in the development of national musical culture.
3. On two versions of the ballet "Shurale"
Another important question: what caused the participation of Moscow composers in ballet instrumentation? After all, the available score of the symphony testifies to the composer's sufficient consistency in the field of instrumentation. However, the following became clear. Due to the fact that the ballet "Shurale" was being prepared for showing at the ten-day period of Tatar literature and art in Moscow, scheduled for the fall of 1941, and the deadlines were running out, the instrumentation of the ballet, on the initiative of G.I. Gnesins in Moscow to Fabian Evgenievich Vitachek. Vitachek himself tells the following about the future fate of the ballet: “Three or four months before the war, I received an order from G. I. Litinsky to instruct the ballet Shurale. Before the war, I managed to do half of the work, and then, by the will of fate, being evacuated to Kazan, I completed it to the end. I was in Kazan from the fall of 1941 to the fall of 1942. In the fall of 1942, having completed the score, he handed it over to the Tatar Opera House. Oddly enough, I have never seen Yarullin, and GI Litinsky served as his attorney. He helped me a lot, talked about the images, suggested which tools to use better. As far as I remember, it was a complete completed piece, which I orchestrated without changing. "
In the score of Fabian Vitacek, the ballet was first staged in March 1945 at the Kazan Opera and Ballet Theater. The ballet was staged by the Moscow choreographer L. Zhukov and the Kazan ballet master G. Kh. Tagirov. The ballet was a huge success. And this became a signal for the resumption of the performance already in St. Petersburg, where L. Yakobson moved at that time. So, for the St. Petersburg production in 1950, a new ballet score was created, which was performed by other Moscow composers - V. A. Vlasov and V. G. Fere. In this version, the ballet was staged in Moscow, and then in other cities and countries. What caused the appeal to the new score? And what has changed in the new edition?
The score by Fabian Vitacek was performed for a relatively small orchestra in pairs. Each of the looks had a preferred timbre palette. The bearers of the Shurale image are the specific timbres of the English horn and muffled trumpet. Bytyra in the orchestra is characterized by an oboe approaching the folk kurai. The violin solo and the unison of the strings play an important role in conveying the fragile and delicate appearance of Syuyumbika. The use of timbres is very economical, with rare exceptions, the themes are carried out for a rather long time in one timbre, change with deep consistency, as a rule, on the edges of the form. Mainly, clean timbres and, most of all, the string group are used. The fact is that Vitachek orchestrated, without changing or adding anything, he left everything as it was in the author's clavier. For a small and not very strong orchestra of the Tatar Opera and Ballet Theater in those years this was acceptable and even desirable. However, for the large staff of the Leningrad and Moscow theaters, the score was rather modest. Perhaps the lack of colorfulness of the orchestra and the monotony of texture became the reason for turning to a new score. However, the changes made by the authors of the new orchestration have led to some qualitatively new results.
While creating the score for the ballet, Vl. Vlasov and Vl. Feret turned to a triple orchestra with a significantly enhanced group of coloristic timbres (piano, two harps, xylophone, celesta, bells, triangle and saxophone). The orchestra in the new edition attracts with its colorfulness, ingenuity, the introduction of a large number of echoes and counterpoints. Multi-element, often, not only the texture of the accompaniment, but also the theme itself. However, the new score lacks that degree of consistency of timbre development, which was the advantages of Vitachekov's score. Already in the introduction, the threatening sound of Shurale's leittema is clothed in the timbre of formidable copper with the beat of a tom-tam and the clink of cymbals. In the scene "Shurale wakes up" the leittema sounds in the clarinet timbre. But the same clarinet timbre appears in Bytyr's characterization. In all subsequent scenes, the leittemmbrom of the Shurale theme is a trumpet with a mute. As a result, the image is devoid of timbre development.
The interpretation of the image of Syuyumbika differs in both scores. If in the embodiment of ideality, the spiritual fragility of the image in Vitacek's score, the main timbre is the violin and woodwind solo, and only at the climax does the unison of the strings appear, then the unison of the strings in the expressive sound in the second edition becomes the main timbre in the characteristics of Syuyumbika. This is associated with the penetration of expressive motives and the tension of the language. The second version seems to be less original, close to the image of Odette.
Unison of strings also becomes one of the leading in the depiction of Byltyr, although along with this, the clarinet, and the solo of the trumpet, and the tutti of the orchestra sound. This is not to say that editors completely ignore the dramatic role of timbres. Prevailing timbres are found in each image, and in the characterization of forest spirits one can even speak of leittembras in the accompaniment part. But the editors paid little attention to the moment of development, which is an essential aspect of the author's intention.
As a result, many accents have shifted. For example, from the very beginning, Shurale acts as an intimidatingly formidable and ominous image. There is only a picture of a storm on the stage, but in the music the leitmotif of Shurale is already sounding in the form in which Yarullin's leitmotif appears in dramatic moments. This aggressive version of the leitmotif is highlighted, interspersed with fun and playful ones. In the concept of the image, instead of development, duality arises. Musicologist L. Lebedinsky draws attention to the contradictory interpretation of the image. In his review of the Moscow premiere of Shurale, he writes:
“We do not understand the desire of the authors of the new edition of the ballet ... to turn Shurale, that is, an ordinary funny Leshy, into an Evil Spirit, hostile to everything good and light. Meanwhile, in the same production Shurale amusingly plays with drunks, jokes, laughs and makes the audience laugh. Can the Evil Spirit behave like this - the enemy of all living things? "
In the minds of the people, Byltyr is a woodcutter, a clever and witty young man. The image is not devoid of masculinity, but more captivates in it humanity, spiritual beauty. The heroic features of the image appear only at the climax. As read by Vl. Vlasov and Vl. Feret emphasizes primarily the heroic features of the image. They see him as a kind of hero-liberator. It is no coincidence that this is why the Leningrad version of the ballet was named “Ali-batyr”.
Thus, those features that appeared in Yarullin's only at the climax, in the new edition, manifest themselves from the very beginning. As a result, such a valuable quality as the process of formation and consistent development of musical images has decreased. The strict economical distribution of funds was replaced by a repeated return to the same themes, timbres, numbers, which does not contribute to the dynamics of symphonic development. And therefore the reviewer D. Zolotnitsky was right, who wrote the following about the Leningrad production: “The work of the composer could be appreciated even higher if he could achieve a deeper development of musical characteristics, which throughout the entire performance pass in almost the same sound ". However, this is not the fault of the author, but of the editors.
The hyperbolized interpretation of the images evoked correspondingly more developed forms. An essential method of expanding the form was the inclusion of a monumental arch in the form of an introduction-overture and a grandiose finale. The author's version of the clavier opens with a short introduction, a kind of prelude that recreates the atmosphere of a fairy-tale forest landscape. V. Vlasov and V. Feret's overture consists of four episodes and is built on the main leitmotifs sounding in the culminating version, according to the reading they receive in the new edition.
The scope of the finale is significantly expanded. Instead of a modest lyric minor duet, the authors of the new edition introduce a huge code composition based on reminiscences. It has five numbers, in which the apotheosis of the previously sounded are completely carried out: "The Exit of Byltyr" and "The Ballad of Syuyumbika" from the first act, "Dance with the Veil", and Variations of Byltyr and Syuyumbika from the second act. This completion has certain connections with the traditions of the fifties, with the characteristic of that time gravitation towards a large opera, a large ballet with monumental arches and a pompous style.
Several new numbers have been introduced by the editors, but some of them lack national specificity. The ballet author has a sense of national landmarks. The newly created numbers and episodes by Vlasov-Feret are predominantly neutral in character. As a result, they do not quite fit stylistically.
In the preface to the published clavier in 1971, Vl. Vlasov and Vl. Feret explains their appeal to the editorial board in the following way. “In the music of the ballet, as it was preserved after the death of the author, there were elements of a certain incompleteness, fragmentation, and sometimes insufficient professional maturity. The author's score did not exist at all ... To stage the ballet on stage, it was necessary to carefully edit the clavier, add a number of numbers based on the author's materials, and fully instrument the work. This work was entrusted to us in due time ”.
This statement requires a significant amendment. If in the author's clavier there is a certain "incompleteness" associated with the incompleteness of the texture with middle voices, then it would be unfair to reproach the composer for fragmentation and insufficient professional maturity. There was no need to discard F.E. Vitachek's score, which is in many ways close to the author's spirit. Consequently, the part of the work that the editors meant by the definition of "processing" was not necessitated. Indeed, according to Vl. Vlasov, “they bowed their heads low before the talent of the young musician, the talent of his music, which was very bold and bright for that time ...” Yes, in the new edition the ballet sounded more monumental, brighter, but lost its subtlety and lyricism.
Be that as it may, it should be admitted that it was in the scores of Vladimir Vlasov and Vladimir Feret, the libretto and choreography of Leonid Yakobson, the ballet received world fame. Therefore, words of gratitude should be attributed not only to Farid Yarullin for his wonderful music, but also to Moscow authors, who contributed to the wide popularity of ballet outside the republic.
Continuation. Part 3. ()
Let's return, finally, to "Shurale" ... this creature is not burdened with an intellect capable of temptation, there is nothing of Mephistopheles, Demon or Faun in it ... According to responses, the Mariinsky's production is incredibly colorful and ... children like it ... a fairy-tale world as beautiful as the world that awaits them in our country, I suppose ...
Please note that in the announcement, Yarullin was remembered only once, and thank God. The decision to return to the repertoire of the theater of Soviet masterpieces is made by Valery Gergiev
, I believe, this decision is made not only because they are masterpieces ... Obraztsova creates just an exemplary image of Syuyumbike. Light, gentle, touching, and in her interview, Evgenia does not hesitate to draw a parallel with Swan Lake ...
"Barbaric and childish ..." is a certain key to understanding. Barbaric today means exotic, bright, unusual, original ... matryoshka, "clowning" at the highest technical level, with a budget that could be enough, perhaps, for a year of the Yekaterinburg opera ...
Shurale - Premiere (Mariinsky Ballet).
Uploaded by jp2uao on 06/30/2009 RTR-Vesti 06/29/2009.
An ironic, but interesting note by Olga Fedorchenko "This is" Shurale "..." A Tatar goblin was shown at the Mariinsky Theater.
"Forest evil is expressed in a vulgar grotesque, liberated bodies snake, wriggle, sway and writhe, visually embodying all the low sides of human nature... Fantastic birds "chirp" with a classical dance, light, flighty, boldly and unusually transformed in the Jacobsonian way. The people, as they should, gravely reason in the language of a characteristic dance ...
The games of the three main characters are probably on a par with The Sleeping Beauty and Swan Lake in terms of difficulty. All the wealth of classical dance, solo and duet, which was developed by dancing humanity by 1950, interesting acting tasks - what else does a discerning soloist need to dream of dancing "Shurale" ?!
(...) At the end of the performance, in the best imperial traditions, solemn speeches and distribution of government awards began. The politically correct outcome of the premiere was summed up by the chairman of the Tatarstan parliament: "Glory to God!", And immediately corrected himself: "And to Allah!" The artistic result was summed up by the Minister of Culture of Tatarstan. For some reason, she brought Van Cliburn to the Mariinsky stage, and while he was bowing in embarrassment, the sovereign lady thoughtfully said into the microphone: "This is Shurale ..."
In 1980, the ballet was screened. Few people remember her. Poems of Tatar poets in Russian are heard. I can hardly find the name of the director - Oleg Ryabokon. Interestingly, this film is not even mentioned in his filmography, maybe he himself was ashamed of his brainchild? I "looked through" the film, it was filmed poorly, it is not clear how and why such a middle ground and angle was chosen, the artists constantly jump out of the screen, the poor operator, not keeping up with the artists and poorly understanding what is happening on the stage, is forced to turn the camera after them , it is also clumsy, everything is done extremely sloppy, the music is recorded somehow evenly, coldly, indifferently ... In a word, the 80th is a different time, not for such a production, the impression that everyone tried to do everything right, except for the authors of the film , but the work was absolutely indifferent, it is difficult to find sparks of inspiration. It's boring to watch and listen ...
Forest tale (Shurale) -1980. Posted on Yandex.
We are trying another approach, removing clarity. The music had a specific purpose, it assumed a choreographic embodiment, the music was written under the direction of a choreographer, but whoever staged ballets to Tchaikovsky's music, no matter how art critics sigh about the genius of the directors, this music can do without choreography, but ballet without music? "The battle of Bytyr and Shurale" (below) without choreography, does it draw our attention to the contradiction inherent in our own souls, is it possible to catch how the struggle of light and darkness, good and evil occurs in it? .. Difficult? A lot of pathos, isn't there? From the first notes everything is clear, the sun shines brightly, you will not find a sign of a shadow in which you could hide from its scorching rays, everything is triumphant. Of course, you can hear how incomprehensibly what cavalry is galloping, whether Budenovskaya, or Tatar-Mongolian, but the triumph is a foregone conclusion, the music is so Soviet that it becomes boring ... The perception is subjective, I'm not going to criticize anyone. But the pathos seems to me provincial, which I also pronounce with a reservation, not being a specialist, only a provincial listener. I decided to take such a performance of music as well. This is a completely different element. In ballet, the orchestra and troupe should be a single whole, here the music is left to itself, the orchestra and our ears ...
F. Yarullin. "Battle of Byltyr and Shurale". Uploaded by user AlsuHasanova on 01/11/2011
Symphony Orchestra of the Kazan College of Music.
Let's go back to ballet.
OBRAZTSOVA - D. MATVIENKO - SHURALE ADAGIO
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# 2 Scene from Shurale Act 1 Evgenia Obraztsova Mariinsky Ballet Now Bolshoi Ballerina. Uploaded by russianballetvideo on Feb 25, 2012.
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This dance seems to me eclectic (there are not enough castanets in the hands), somewhat looped and monotonous, is the background crowd annoying, that they are somehow stupidly twisting their heads, tapping, twitching their hands? I just remove the question of national color. Obraztsova is very charming, cheerful, clean, light bird ...
Scene from Shurale Act 2 Evgenia Obraztsova Mariinsky Ballet Now Bolshoi Ballerina.
Let's go back to the plot of the tale. A young man is going at night looking into the forest for firewood. The thought involuntarily arises: maybe steal? Deceives the fool Shurale, introducing himself as "Vgoduminuvshim" ... Ie. someone, not even yesterday ... Such a sane guy, took what he needed, also pinched his fingers to the devil ... fingers - not legs, but there are toes on his feet ... Tukay mentions girls in passing, no more ...
In a word, Tatar ingenuity and common sense triumphed ...
But there is something we cannot understand without looking from a different point of view. Another "national" triumph in the ballet is Khachaturian's ballet "Spartacus", although the topic is not Armenian (this is a separate conversation, to what extent the tragic history of the Armenian people is reflected in this). Khachaturian started to create it in December 1941 with librettist N.D. Volkov and choreographer I. A. Moiseev ... "This should be a monumental heroic performance that will show the Soviet audience the best man in all ancient history, which, in the words of Marx, is Spartacus" "( L. Mikheeva. Aram Khachaturian. Ballet "Spartacus" Spartacus. 19.04.2011.) The score was written in 1954. In Kirovsky, the premiere staged by Jacobson took place in 1956. In Moscow, staged by Moiseev - in 1958. In 1968 the ballet was staged by Grigorovich ...
Why did I decide to talk about this? The fact is that Igor Moiseev was a very unusual and talented student - Faizi Gaskarov
, who left the master's ensemble in 1939 to create his own folk dance theater in Ufa - the Bashkir Folk Dance Ensemble ... (I will definitely tell you about my meetings with the work of this group, only already in 1994 ... sometime later)
On the other hand, in 1941, a film about the Bashkir national hero Salavat Yulaev, directed by Protazanov, was released. Can you guess who wrote the music for this film? Certainly, Aram Khachaturyan! And he wrote beautiful music.
Salavat Yulaev (1941). Published on 01.06.2012 by user lupuslexwar.
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Faizi Gaskarov, of course, wanted to make a film about his theater. And he "removes" it, it is clear that at the Sverdlovsk film studio. Directed by Oleg Nikolaevsky. Composer Lev Stepanov. I do not know, I beg your pardon, neither such a director nor such a composer, on national themes, were honed their pens by more talented creators. The film, unfortunately, turned out to be weak, but now it is a unique document ... And the very attempt to combine ballet and folk dance is interesting ... And, of course, we will talk about the bird girl!
Crane song. Uploaded by user getmovies on 06/25/2011.
In a word, here we are back to the boy sitting on a rock above Ufa ... The one who is sitting today will choose his own path ... And I suspect that the same will for freedom is ripening in him ...
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Around the topic:
- Contrary to time, meaning, nature, soul... (about ballet)
- .
- Work on notes. Sociology of Music. Drafts.(Adorno)
- The myth of Pan and Syring. From the archive.
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On August 30, 1940, a decree was issued on holding a decade of Tatar literature and art in Moscow in August 1941. For such a responsible show, a national ballet was needed. (By the way, the Tatar National Opera House opened only on June 17, 1939). Specialists were recruited - Pyotr Gusev was appointed the chief choreographer of the decade, and he invited Leonid Yakobson to stage the first Tatar ballet.
Fortunately, the theater's portfolio already contained a ready-made libretto and a score of a ballet called "Shurale", which were brought to the theater in early 1940 by the writer Akhmet Faizi and the young composer Farid Yarullin. And if the music of the future ballet as a whole suited the choreographer, then the libretto seemed to him too vague and oversaturated with literary characters - an inexperienced librettist brought together the heroes of eight works of the classic of Tatar literature Gabdulla Tukai. In February 1941, Jacobson completed a new version of the libretto and the composer proceeded to revise the author's clavier, which he completed in June.
On July 3, 1941, a dress rehearsal of the new ballet took place in Kazan. The ballet troupe of the Tatar Opera and Ballet Theater was reinforced by dancers from the “Island of Dance” troupe and soloists from the Kirov Leningrad Opera and Ballet Theater. The part of Syuimbike was performed by Naima Baltacheeva, Ali-Batyr - by Abdurakhman Kumysnikov, Shurale - by Gabdul-Bari Akhtyamov. The performance was designed by the artist E.M. Mandelberg, the conductor - I. V. Aukhadeev. Neither the premiere, nor a trip to Moscow was already discussed - the Great Patriotic War canceled all plans. The Tatar Opera and Ballet Theater returned to Shurale in 1945. FV Vitachek, who taught orchestration and reading of scores at the Gnesins Institute, instrumentalized the score, choreographer Guy Tagirov composed a new libretto.
And in 1958 Farid Yarullin was posthumously awarded the State Prize of Tatarstan named after G. Tukai for the ballet "Shurale".
Wikipedia.
Plot
A glade in a forest thicket with a lair of the goblin Shurale. Here, lost in the forest, the hunter Ali-Batyr came. A flock of birds descends into the clearing. They shed their wings and turn into beautiful girls. Shurale steals the wings of the most beautiful - Syuimbike. Having played enough, the girls again turn into birds, and Syuimbike is looking in vain for his wings. Her friends fly away, and Shurale tries to grab her. Syuimbike calls for help, and Ali-Batyr defeats the devil in a fierce struggle. He hides, and Syuimbike begs Batyr to find her wings. Raising the girl in his arms, the hunter carries her out of the forest.
Guests are gathering in the garden in front of Ali-Batyr's house. Syuimbike sincerely fell in love with her savior and is marrying him. But the longing for the heavenly space, for her bird-friends does not leave her. After the wedding ritual games, the guests go into the house and sit down at the tables. In the deepening twilight, Shurale sneaks into the garden and puts in a prominent place the Syuimbike wings, which were brought to him by assistants - black ravens. Leaving the house, the girl happily sees the wings, puts them on and rises into the air. The flying crows drive her to Shurale's lair. Batyr rushes in pursuit.
In the forest lair, Shurale mocks Syuimbike, demands to submit to him. But Batyr is already here. With a burning torch, he sets fire to the forest and enters into a duel with the goblin. In a fierce battle, Batyr's forces leave, and with his last effort he throws Shurale into the fire. He dies, but the fire that broke out threatens the lovers. Batyr stretches out his wings to Syuimbika, offering salvation, but she, conquered by the power of his love, throws her wings into the fire. And yet they manage to escape.
Again the village where Ali-Batyr lives. In honor of the brave hunter and his beautiful bride, there is a merry holiday.
Music.
Shurale is one of the brightest ballets of the Soviet era. His music, based on the rhythm-intonations of Tatar folklore, both song and dance, is brilliantly developed by the composer in all ways of professional musical technique.
L. Mikheeva
Characters:
- Syuimbike, bird girl
- Ali-Batyr, hunter
- Batyr's mother
- Batyr's father
- Home matchmaker
- Chief matchmaker
- Shurale, evil goblin
- Fire witch
- Shaitan
- Birds-girls, matchmakers, matchmakers
The action takes place in Tataria in fabulous times.
1. Hunter Ali-Batyr, lost in the forest, came across the lair of the terrible goblin Shurale. A flock of birds descends into the clearing and turns into girls. During their games, the insidious Shurale steals the wings of the most beautiful of them - Syuimbike. After frolic, the birds fly away. Only Syuimbike remained in the forest. She rushes about in vain in search of her wings. There is none of them.
The disgusting Shurale grows up in front of her. He stretches out his crooked paws to her, tries to grab her. Syuimbike calls for help. Ali-Batyr hurries from the thicket to the girl's call. In a fierce battle, he meets Shurale. The preponderance is on the side of one, then the other. Finally, the defeated Shurale hides in the forest.
Syuimbike thanks his rescuer and begs for help to find the wings. Tired of the experiences of a terrible day, she, crying, sinks to the ground and falls asleep. Raising her in his arms, Ali-Batyr takes Syuimbike from the forest kingdom. Shurale looks after them menacingly.
Ali-Batyr brings the girl to his parents' house. Here, surrounded by care and affection, she fell in love with her savior and agreed to become his wife.
2. The wedding day has been appointed. Guests are arriving. According to folk custom, the bride is brought into the garden on a carpet and hidden. The groom must find her. The guests go into the house for the festive tables. There is a feast. But Syuimbike is sad. She loves and is loved, but longing for bird-friends, an indefatigable desire to fly up into the skies do not give her rest.
Together with dusk, Shurale appears in the courtyard. Black crows bring him Syuimbike wings. He leaves them in the most conspicuous place. When Syuimbike leaves the house, she immediately notices the wings, puts them on and rises up. Immediately black crows rise up behind her and make them fly to Shurale. The children saw how Syuimbike rose into the air and how the crows surrounded her. With a cry they run to Ali-Batyr. He rushes in pursuit.
3. Again Syuimbike enters the Shurale forest lair. The evil lord of the forests taunts Syuimbike, threatens with reprisal, promises mercy if she obeys him. The brave Ali-Batyr bursts into the forest with a torch in his hand. He sets fire to the forest, in which all the evil spirits are burned. Only Shurale enters into single combat with Ali-Batyr. He is almost triumphant already. Ali-Batyr gathers his last strength and throws Shurale into the fire. He perishes, and with him perishes his entire sinister kingdom.
Flames are raging around. Ali-Batyr and Syuimbike face death. He invites his beloved to be saved and stretches out his wings to her. Her hesitation lasts only for a moment. Throwing her wings into the fire, she remains with her beloved, subdued by the power of his feelings.
In the village where Ali-Batyr brought the girl he had saved, the people congratulate the young. A holiday is held in honor of Syuimbike and Ali Batyr.
In the second half of 1939, a student at the Moscow Conservatory, Farid Yarullin (1913-1943), received from his composition teacher Heinrich Litinsky the task of writing ballet scenes based on the Tatar folk tales about the Lesha Shural, processed by the poet Gabdulla Tukai (1886-1913). Yarullin's work was so successful that his teacher turned to the Tatar writer A. Faizi (1903-1958) with a request to write a libretto for the ballet. The hard work began. In the spring of 1941, the Decade of Tatar Art in Moscow was scheduled, which was supposed to show the first national ballet of Tatarstan - "Shurale" staged by the Kazan Opera and Ballet Theater. The theater liked the music, but there were serious complaints about the libretto. Then the artist and choreographer of the Bolshoi Theater Leonid Yakobson (1904-521 1975) was recruited to work on it, and he was also invited to stage the ballet. Yakobson began work on the Shurale ballet in 1941 in Kazan, but the war prevented it from completing it. Yarullin was mobilized and never returned from the front. The instrumentation for Shurale, not completed by Yarullin, was made by the composer Fabius Vitacek. The premiere of "Shurale" staged by ballet masters Leonid Zhukov and Guy Tagirov took place in Kazan at the M. Jalil Opera and Ballet Theater on March 12, 1945.
In the post-war years, by order of the Kirov State Academic Opera and Ballet Theater, composers Valery Vlasov and Vladimir Fere made a new orchestral version, in which Shurale was staged by Yakobson in Leningrad. Initially, the ballet was named "Ali-Batyr", which means "Holy Hero", but then the name was returned to "Shurale". It was in this musical version that the ballet went around many stages of the country and the world.
Shurale is one of the brightest ballets of the Soviet era. His music, based on the rhythm-intonations of Tatar folklore, both song and dance, is brilliantly developed in the ways of professional musical technique. Mass wedding dances attract with an abundance of rhythms, forms and moods. “Here,” noted ballet expert Natalya Chernova, “in the fairy-tale atmosphere of Tatar folklore, the choreographer built ballet episodes according to the laws of poetic imagery of dance, introduced symphonically resolved episodes into the lyrical scenes of the performance”. However, the composer did not feel bound by the national folklore; some ballet scenes were marked by the undoubted influence of the traditions of Tchaikovsky and Glazunov.
"The figurative nature of Shurale," noted the ballet theorist Poel Karp, "at first glance seems to be the most unoriginal among all Yakobson's works. Here, not only is the fundamental influence of L. Ivanov with his kingdom of enchanted swans do not name them, they make you remember Swan Lake. The choreographer's adherence to the classical tradition seems undeniable. At the same time, the power of the second, wedding act is a clear appeal to the element of folk dance - a means tested by V. Vainonen, V. Chabukiani, and in general by Soviet ballet long before the birth of Shurale. an interesting performance, but quite traditional? And meanwhile, it is with it that the innovative search for Soviet choreography of the fifties begins. "
Responding to the premiere, ballet historian Vera Krasovskaya wrote: “Yakobson is unlike those choreographers who develop direct action in pantomime scenes, and in dance they reveal only the emotional state of the heroes or view the dance as an insert number decorating the performance. Jacobson conveys all the decisive moments in the development of the action in the dance. "
In the choreography of Shurale, Yakobson so skillfully combined the classical basis with the national Tatar dance that the Tatars considered ballet to be their national work. In bird girls, Jacobson transformed the usual position of the hands: the elbow was extended, the wrist was free, the hand with tightly connected fingers became quiveringly mobile. It turned out to be a kind of bird's wing. When the birds turned into girls, the plasticity of the hands acquired a folklore pattern. In contrast to the classics and folk-characteristic dance, the play used free plastic with elements of the grotesque to characterize the image of the devil Shurale and his kingdom with witches, shuralyats, and shaitans. Shurale was a natural part of the forest world. For his plastics, old rotten driftwood, bizarrely curved branches of a dense forest served as a model. Unusual, but also important was the goblin costume - a body-tight knitted jumpsuit in the color of a tree with knots sticking out of it and pieces of moss sewn into it. Make-up also created a fabulous image - a gray mossy face with voluminous thin twigs, long palydy-knots, with which, according to legend, a goblin could tickle a person to death.
The creators of the play "Ali-Batyr" received the Stalin Prize. The awards went to the choreographer Leonid Yakobson, the conductor Pavel Feldt and, in an unprecedented event, three cast of performers. Syuimbeke - Natalia Dudinskaya, Alla Shelest, Inna Izraileva (Zubkovskaya); Ali-Batyr-Konstantin Sergeev, Boris Bregvadze, Askold Makarov; Shurale - Robert Gerbek, Igor Belsky. The performance has withstood 176 performances. Repeatedly there were talks about the restoration of the performance on the stage of the theater. (The premiere of the overhaul of the 2nd edition of the play took place on 28 June 2009 at the Mariinsky Theater.)
After his success in Leningrad, Yakobson was invited to stage Shurale at the Bolshoi Theater (1955). Maya Plisetskaya and Yuri Kondratov danced the main parts here. The successful performance was renewed five years later with Marina Kondratyeva and Vladimir Vasiliev. Different versions of "Shurale" were shown by the theaters of Odessa (1952), Riga (1952), Saratov (1952), Lvov (1953, 1973), Tartu (1954), Ulan-Ude (1955), Kiev (1955), Alma-Ata ( 1956), Tashkent (1956), Sofia (1956), Gorky (1957), Ulan Bator (1958), Chelyabinsk (1959), Vilnius (1961), Novosibirsk (1968), Rostok (1968), Ufa (1969).
A. Degen, I. Stupnikov
In the photo: Shurale at the Mariinsky Theater / N. Razina, V. Baranovsky
