The Union of Soviet Composers (1932-1957), also known as the Union of Composers of the USSR (1957-91) (UC USSR) - a single creative association Soviet figures world of music. It arose on the basis of the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks of April 23, 1932 on the restructuring of literary and artistic organizations:
The cultural and ideological force of influence on the consciousness of the masses in the USSR - artists, writers, musicians must be under strict control in order to fulfill all the tasks assigned to them by the party.
“Several years ago, when there was still a significant influence of alien elements in literature..., and the cadres of proletarian literature were still weak, the party did its best to help create and strengthen special proletarian organizations in the field of literature and [other types of] art in order to strengthen the positions of the proletarians writers and artists [and promoting the growth of proletarian writers and artists]..."
Based on this, the Central Committee of the All-Union Communist Party of Bolsheviks decides:
“... 2) to unite all writers who support the Soviet platform [who stand for Soviet policies]... into a single union of Soviet writers with the communist faction in it;
3) carry out a similar change in other forms of art [union of musicians, composers, artists, architects, etc. organizations];..."
After reading the lines, it becomes completely clear that all the freedoms of “thought” of the creative layer of the USSR have been finally and officially abolished. Stalin personally took part in the development of this resolution: “...4) instruct the Organizing Bureau to develop practical measures to implement this decision...".
In 1939, the leadership of the USSR Sports Complex was taken over by the Organizing Committee, and it headed this event until 1948. The first congress of the Union of Composers took place on April 19-25, 1948 in Moscow. For everyone, without exception, who had the honor to bear the proud name “Soviet composer”, the following “covenants” were now in effect:
“...Unification and unification of Soviet composers and musicologists in order to create ideological and highly artistic musical works, reflecting the life and ideals of the Soviet people;
Establishment of the principles of socialist realism in Soviet musical creativity, creative development the best traditions of world and, first of all, Russian musical classics and folk music;
Development of Soviet musicology on the theoretical basis of Marxism-Leninism;
Development of fraternal national cultures of the Soviet peoples;
Affirmation of the leading progressive role of Soviet music in the process of struggle against the influence of bourgeois ideology;..."
All the most important areas of the creative functioning of Soviet composers and musicologists are now under control. The highest governing body of the USSR Investigative Committee was the Congress of Soviet Composers. In the intervals between congresses, the work of the Union was led by a board elected at the congress with a general secretary. This body advocated “improving the living and working conditions of members of the USSR Investigative Committee”
and provided “assistance in protecting their copyrights”
. In other words, the work of leading musicians and composers was immediately submitted to censorship “from the table”, and it was better not to put anything “on the table”. Because by that time the “workers” were already constantly interested in the “creative plans” of famous cultural figures.
The position of the first and only General Secretary of the USSR Investigative Committee, from 1948 to 1991, was held by Tikhon Nikolaevich Khrennikov. On the board of the Investigative Committee in different times visited: B.V. Asafiev, D.B. Kabalevsky, D.D. Shostakovich, A.I. Khachaturyan and other famous Soviet composers. The USSR Music Fund provided funding and reported to the board and secretariat of the USSR Investigative Committee. The main printed publications of the USSR NC were the magazines “Soviet Music” and “Musical Life”.
“Membership” in such unions was not only a matter of prestige during the USSR period. “Creative unions” in world history arose from the moment of manifestation of human desire for interaction in the cultural sphere. But, perhaps, in no other country in the world, in its entire history, has “membership in unions” - “Soviet” composers, writers, architects, etc. - it was not such an obvious and only possible option to engage professional activity. Stories of exclusion from the “creative” unions of the USSR era cost many eminent cultural figures their careers, places of residence, and even their lives. Suffice it to recall the persecution of the Soviet composer I.O., beloved by many generations. Dunaevsky. Only thanks to Khrennikov's personal influence, the composer managed to avoid tragedy. In his letter to his sister, Dunaevsky writes, apparently with a “light heart”: “Dear Zinochka. I forgot how to pray. But if you have not lost this ability, then pray to our to the Jewish G-d for the Russian Tikhon. He saved my life and honor."… “I defended Dunaevsky when his terrible persecution began during the times of cosmopolitanism... I consider him a brilliant composer, the leader of our song culture of the 30s, 40s and all subsequent years...” (from the memoirs of T.N. Khrennikov)
“The heart is light from a cheerful song,
She never lets you get bored.
And they love the song of the village and village,
And big cities love the song.”
Music: I. Dunaevsky Lyrics: V. Lebedev-Kumach
After the collapse of the USSR in 1991, the Union of Composers of the USSR was reorganized into the Union of Composers of the Russian Federation.
Why the current team of “creative managers” has not implemented the main points of the declaration of the X Congress of Music Workers
On May 23–24, Moscow will host the next, XI Congress of the Union of Composers of Russia. The musicians will have to take stock of their work, outline prospects for the next five-year period and elect new leadership headed by a chairman. The former head of the Union of Composers, People's Artist of Russia Vladislav Kazenin, died in February 2014. According to the charter, a new chairman was to be elected within a year. However, in February the planned congress was postponed, allegedly due to financial difficulties. The May meeting, the Union of Composers assures, will definitely take place, which means there is hope for a thorough discussion of the work of the organization, which is celebrating its 55th anniversary this year. The conversation promises to be long and extremely unpleasant - one of the oldest Russian unions needs a radical change in its leadership team. Now it has become obvious - the priority tasks of the Union, declared previous congress, and remained a declaration.
THE WORD IS, THERE IS NO PROFESSION
One gets the feeling that the current leaders of the composers’ organization are concerned with anything but the movement of the Union forward. Due to circumstances or intent (this remains to be sorted out), it was not even possible to preserve the remnants of the former Soviet prosperity. The current Union of Composers is very different from the Union of Soviet times. For its members it was a place of communication, a trade union, and a distributor of benefits: it built houses, allocated apartments, copied notes, had clinics, pioneer camps, publishing houses, printing houses and even an atelier. Now composers have been freed up. Of the once extensive “social security” line, the only things that may be of interest are economical holidays in three creative houses (Ruza, Ivanovo, Sortavala) and medical care for veterans. However, both rest and medicine are the lot of a select few. Basically, the modern Union gives composers the opportunity to feel a certain “involvement in the guild.” But it can also be felt within the framework of the association - for this it is not necessary to maintain an administrative apparatus. Moreover, today's composers do not ask for free benefits. They are ready to earn money themselves. First of all, they need from the Union to provide legal and social guarantees.
How can they be ensured if the profession “composer” is not listed in the Russian professional register? Consequently, there are no pensions, social benefits, sick leave, maternity leave etc. And the Union is already suffering losses - the first generation of its youth branch (“MolOT”), almost in its entirety, has found work abroad. Things are reaching the point of absurdity. The composition departments of Russian conservatories produce specialists with a non-existent profession. At Mosfilm, for example, there is a full-time toilet worker, but there is no composer. Representatives of this specialty are listed as arrangers, music editors, and heads of educational institutions. Any phenomenon accompanying the composition can be documented according to the work book, except for the composer.
The leadership of the Union is aware of this problem, otherwise it would not have included in the declaration the words that “the adoption of a legislative act approving the status of a composer is a matter of national importance.” However, no specific steps have been taken to initiate the mentioned act or amendments to existing laws. The result is that hundreds of Russian composers still cannot write this proud word into their work books.
WE WRITE THE REGION, THE CENTER IS IN THE MIND
The status of a creative person is directly related to the status of the organization. And this is also not news for management. The declaration states that creative unions, including composers’ unions, should legally become professional creative institutions (now they are in the position of public ones), and this, in turn, should fundamentally change the system of contacts between the state and the creative association. It also says that a separate line in the budget law dedicated to the financing of unions (both at the federal and regional levels) will solve many problems - for example, streamlining the system of government orders and relations with philharmonic societies.
The last congress stated the fact of “insufficient implementation modern works musical groups and theaters of the country" and considered it appropriate to introduce a quota for the mandatory inclusion of music by Russian composers in the repertoire of concert organizations. There has been almost no progress in this area. One can, of course, say that there is no demand for modern music. But if there is no offer, where will it come from?
Certain regions, for example Tatarstan, are successfully performing local music in their region and abroad. However, this is a drop in the ocean. To correct the situation, we need centralization of efforts and the presence of some kind of unifying force. And here, composers of different generations are inclined to use the experience of the Union of Composers of the USSR, a kind of musical Hollywood, where there were a number of structures involved in the promotion of domestic contemporary music in the country and abroad.
Has anything been done in this direction? If so, then little has changed in the lives of composers. And the support of creators for the most part depended and still depends on the goodwill of local authorities.
The budgets of a number of regional ministries and municipalities have provisions for the acquisition of new works. In Krasnoyarsk there is an entire structure - the House of Arts, which serves creative unions: organizes concerts, exhibitions, etc. Mordovia maintains its own Union of Composers: it pays a salary to the chairman and accountant. In Yekaterinburg, under the jurisdiction of the local Union, a symphony orchestra and several buildings appeared in the city center within a year. But these are isolated examples. The governor changes and the established connections collapse. To avoid force majeure, state support should be more voluminous and legally prescribed, and at the all-Russian level. And this is no longer the task of local composer organizations, but of the main leadership. It recognized its existence, but did not bother with a legislative solution.
How can we reorganize the Union?
The current team has not shown any readiness to search for its own resources, although the union has an excellent opportunity to help itself independently.
However, this is a painstaking systematic work. It is easy to declare, but difficult to implement. And the current leadership of the union has a problem with capacity. “The Creative Union does not have the right to come up with a legislative initiative,” they say there, explaining why the main points of the Declaration of the Tenth Congress have not been implemented. Indeed, you have no right. But lobbying for the law is the right of any union. As well as joining forces with other creative institutions that solve similar problems. Working groups of the State Duma rarely write bills “from start to finish” - as a rule, they use the developments of public and professional organizations interested in their consideration and adoption. As you know, a stone wears away.
Of course, the former power of the composers' union cannot be revived. The organization, which had an annual budget of 20 million rubles in July 1991 and made it mandatory for any domestic group to perform new Soviet music, regardless of whether it performed at home or abroad, will remain only in memories. Another country, different people. But it is quite possible to provide modern composers with conditions for self-realization, and for Russian music to achieve worthy promotion. It is only necessary to integrate the Russian Union of Composers into a new system of social, legal and financial relations. If the XI Congress votes for a team capable of doing this, the first step towards renewal can be considered accomplished.
"LG" dossier
The founding congress of the Union of Composers of Russia took place exactly 55 years ago, in April 1960. Dmitry Shostakovich was unanimously elected as the first secretary of the board, which included representatives of 16 Russian organizations. At the same time, the main directions of activity of the composer organization were determined: the rise of peripheral composer organizations, the creation of conditions for composer creativity, ensuring the sound and promotion of Russian music, attention to creative youth, solving social problems of musicians.
Subsequently, the organization was headed by Georgy Sviridov (1968–1973), Rodion Shchedrin (1973–1990), Vladislav Kazenin (1990–2014).
The current Union of Composers of Russia unites more than 2,000 composers and musicologists who are members of 50 regional organizations. The management of the union is now handled by the former head of the Muzfond garage, Igor Ringer, by proxy from the deceased Vladislav Kazenin.
Ivanova Marina
Material from Wikipedia - the free encyclopedia
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The highest governing body of the USSR NC was the Congress of Soviet Composers; in the intervals between congresses, the work of the Union was led by a board elected at the congress, which in turn elected from among itself a secretariat headed by the first (until 1957 - general) secretary. The USSR Music Fund bore general responsibility to the board and secretariat of the USSR Investigative Committee. The printed organs of the USSR IC were the monthly magazine “Soviet Music” and the bi-weekly magazine “Musical Life”. The position of first (general) secretary of the USSR Investigative Committee from 1948 to 1991 was permanently held by Tikhon Nikolaevich Khrennikov. The board and secretariat at various times included B.V. Asafiev, D.B. Kabalevsky, D.D. Shostakovich, A.I. Khachaturian and other famous Soviet composers. Dear Joseph Vissarionovich! I ask you to convey to the Soviet composers who contributed 1,130,000 rubles for the construction of the Moscow tank formation my fraternal greetings and gratitude to the Red Army. See alsoWrite a review about the article "Union of Composers of the USSR"Links
An excerpt characterizing the Union of Composers of the USSR- Do you know why? - Petya asked Natasha (Natasha understood that Petya understood why his father and mother quarreled). She didn't answer.“Because daddy wanted to give all the carts to the wounded,” said Petya. - Vasilich told me. In my opinion... “In my opinion,” Natasha suddenly almost screamed, turning her embittered face to Petya, “in my opinion, this is such disgusting, such an abomination, such... I don’t know!” Are we some kind of Germans?.. - Her throat trembled with convulsive sobs, and she, afraid to weaken and release the charge of her anger in vain, turned and quickly rushed up the stairs. Berg sat next to the Countess and comforted her with kindred respect. The Count, pipe in hand, was walking around the room when Natasha, with a face disfigured by anger, burst into the room like a storm and quickly walked up to her mother. - This is disgusting! This is an abomination! - she screamed. - It can’t be that you ordered. Berg and the Countess looked at her in bewilderment and fear. The Count stopped at the window, listening. - Mama, this is impossible; look what's in the yard! - she screamed. - They remain!.. - What's wrong with you? Who are they? What do you need? - The wounded, that's who! This is impossible, mamma; this doesn’t look like anything... No, Mama, my dear, this is not it, please forgive me, my dear... Mama, what do we care about what we’re taking away, just look at what’s in the yard... Mama!.. This can’t be !.. The Count stood at the window and, without turning his face, listened to Natasha’s words. Suddenly he sniffed and brought his face closer to the window. The Countess looked at her daughter, saw her face ashamed of her mother, saw her excitement, understood why her husband was now not looking back at her, and looked around her with a confused look. - Oh, do as you want! Am I disturbing anyone? – she said, not yet suddenly giving up. - Mama, my dear, forgive me! But the countess pushed her daughter away and approached the count. “Mon cher, you do the right thing... I don’t know that,” she said, lowering her eyes guiltily. “Eggs... eggs teach a hen...” the count said through happy tears and hugged his wife, who was glad to hide her ashamed face on his chest. - Daddy, mummy! Can I make arrangements? Is it possible?.. – Natasha asked. “We’ll still take everything we need…” Natasha said. The Count nodded his head affirmatively at her, and Natasha, with the same quick run as she used to run into the burners, ran across the hall to the hallway and up the stairs to the courtyard. People gathered around Natasha and until then could not believe the strange order that she was conveying, until the count himself, in the name of his wife, confirmed the order that all carts should be given to the wounded, and chests should be taken to storerooms. Having understood the order, people happily and busily set about the new task. Now not only did it not seem strange to the servants, but, on the contrary, it seemed that it could not be otherwise, just as a quarter of an hour before it not only did not seem strange to anyone that they were leaving the wounded and taking things, but it seemed that it couldn't be otherwise. All the household, as if paying for the fact that they had not taken up this task earlier, busily began the new task of housing the wounded. The wounded crawled out of their rooms and surrounded the carts with joyful, pale faces. Rumors also spread in the neighboring houses that there were carts, and the wounded from other houses began to come to the Rostovs’ yard. Many of the wounded asked not to take off their things and only put them on top. But once the business of dumping things had begun, it could not stop. It didn't matter whether to leave everything or half. In the yard lay untidy chests with dishes, bronze, paintings, mirrors, which they had so carefully packed last night, and they kept looking for and finding an opportunity to put this and that and give away more and more carts. “You can still take four,” said the manager, “I’m giving away my cart, otherwise where will they go?” “Give me my dressing room,” said the countess. - Dunyasha will get into the carriage with me. They also gave away a dressing cart and sent it to pick up the wounded two houses away. All the household and servants were cheerfully animated. Natasha was in an enthusiastically happy revival, which she had not experienced for a long time. | ||
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Order of Lenin Union of Composers of the USSR (UC USSR)- a single creative association of Soviet composers and musicologists, until 1957 it was called Union of Soviet Composers of the USSR (USSSR).
It arose on the basis of the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks of April 23, 1932 on the restructuring of literary and artistic organizations. Until 1948, the work of the USSR SSC was led by the Organizing Committee. The first congress of the Union of Composers took place on April 19-25, 1948 in Moscow. B.V. Asafiev was elected Chairman of the Union of Composers of the USSR at this congress.
The main objectives of the Union of Composers were:
- Rallying and uniting Soviet composers and musicologists in order to create ideological and highly artistic musical works that reflect the life and ideals of the Soviet people;
- Establishment of the principles of socialist realism in Soviet musical creativity, creative development of the best traditions of world and, first of all, Russian musical classics and folk music;
- Development of Soviet musicology on the theoretical basis of Marxism-Leninism;
- Development of fraternal national cultures of the Soviet peoples;
- Affirmation of the leading progressive role of Soviet music in the process of struggle against the influence of bourgeois ideology;
- Strengthening creative ties with foreign progressive musical organizations and figures;
- Ideological, political and artistic (professional) education of Soviet composers and musicologists;
- Social and creative influence on other musical institutions and organizations;
- Improving the living and working conditions of members of the USSR Investigative Committee, assistance in protecting their copyrights.
The highest governing body of the USSR NC was the Congress of Soviet Composers; in the intervals between congresses, the work of the Union was led by a board elected at the congress, which in turn elected from among itself a secretariat headed by the first (until 1957 - general) secretary.
The USSR Music Fund bore general responsibility to the board and secretariat of the USSR Investigative Committee. The printed organs of the USSR IC were the monthly magazine “Soviet Music” and the bi-weekly magazine “Musical Life”.
The position of first (general) secretary of the USSR Investigative Committee from 1948 to 1991 was permanently held by Tikhon Nikolaevich Khrennikov. The board and secretariat at various times included B.V. Asafiev, D.B. Kabalevsky, D.D. Shostakovich, A.I. Khachaturian and other famous Soviet composers.
Dear Joseph Vissarionovich!
During the days of the Great Patriotic War, Soviet composers, inspired by the heroic struggle of the Red Army against the Nazi invaders, together with all the people, experienced a powerful patriotic impulse that gripped our great country.
Moscow composers collected 130,000 rubles from their personal funds, in addition, the Organizing Committee and the Music Fund of the Union of Soviet Composers of the USSR transferred 1 million rubles to the current account of the State Bank for the construction of the Moscow tank formation.
Soviet composers devote all their creative energies to the great cause of defeating the enemy.
Chairman of the Organizing Committee of the Union of Soviet Composers of the USSR GLIER
Chairman of the Music Fund of the USSR MURADELI
Secretary of the party organization TEPLINSKAYA
I ask you to convey to the Soviet composers who contributed 1,130,000 rubles for the construction of the Moscow tank formation my fraternal greetings and gratitude to the Red Army.
I. STALIN
See also
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An excerpt characterizing the Union of Composers of the USSR
- Tell me, Sever, what happened to Mary Magdalene? Do her descendants still live somewhere on Earth?“Of course, Isidora!..” Sever immediately answered, and it seemed to me that he was sincerely pleased by the change of topic...
Wonderful painting by Rubens “The Crucifixion”. Next to the body of Christ (below) are Magdalene and his brother, Radan (in
red), and behind Magdalena is Radomir’s mother, Sage Maria. At the very top is John, and to the right and left of
him - two Knights Templar. The remaining two figures are unknown. Perhaps they were Jews who
lived Radomir's family?..
– After the death of Christ, Magdalene left that cruel, evil land, which took away from her the most dear person in the world. She left, taking with her her baby daughter, who was only four years old at the time. And her eight-year-old son was secretly taken to Spain by the Knights of the Temple so that, no matter what, he would survive and be able to continue the great Family of his father. If you wish, I will tell you the true story of their lives, for what is presented to people today is simply a story for the ignorant and blind...
Magdalena with her children - daughter Radomir with her children - son Svetodar and daughter Vesta
and son. Stained glass from the Church of St. Nazar,
Lemoux, Languedoc, France
(St. Nazare, Lemoux, Langedoc)
On these wonderful stained glass windows Radomir and Magdalena with their children - their son
Svetodar and daughter Vesta. Also, here you can see another very interesting
detail - the clergyman standing next to Radomir is dressed in a Catholic uniform
church, which two thousand years ago in no way could have been
maybe. It appeared among priests only in the 11th-12th centuries. Which, again,
proves the birth of Jesus-Radomir only in the 11th century.
I nodded in agreement to North.
– Please tell me the truth... Tell me about them, Sever...
Radomir, anticipating his ambulance
death, sends a nine-year-old
Svetodar to live in Spain... Chu-
there is deep sadness and general
despair.
His thoughts flew far, far away, plunging into ancient, hidden memories covered with the ashes of centuries. And an amazing story began...
– As I already told you earlier, Isidora, after the death of Jesus and Magdalene, their entire bright and sad life was entwined with shameless lies, transferring this lie also to the descendants of this amazing, courageous family... They were “dressed” with ANOTHER FAITH. Their pure images were surrounded by the lives of ALIEN PEOPLE who had not lived for a long time... WORDS that they NEVER SPEAKED were put into their mouths... They were made RESPONSIBLE FOR THE CRIMES that ANOTHER FAITH, the most deceitful and criminal that existed, had committed and is committing ever on earth...
* * *
From the author: Many, many years have passed since my meeting with Isidora... And now, remembering and living through the former distant years, I managed to find (while in France) the most interesting materials, largely confirming the veracity of Sever's story about the life of Mary Magdalene and Jesus Radomir, which, I think, will be of interest to everyone reading Isidora’s story, and perhaps even help shed at least some light on the lies of “the rulers of this world.” Please read about the materials I found in the “Supplement” after the chapters of Isidora.
* * *
I felt that this whole story was very difficult for the North. Apparently, his broad soul still did not agree to accept such a loss and was still very sick of it. But he honestly continued to talk further, apparently realizing that later, perhaps, I would not be able to ask him anything more.
This stained glass window depicts Magdalene
wife in the form of a Teacher standing over
kings, aristocrats, philosophers
families and scientists...
– Do you remember, Isidora, I told you that Jesus Radomir never had anything to do with that false teaching that the Christian Church is shouting about? It was completely opposite to what Jesus himself taught, and then Magdalene. They taught people real KNOWLEDGE, taught them what we taught them here in Meteora...
And Maria knew even more, since she could freely draw her knowledge from the wide expanses of the Cosmos after she left us. They lived closely surrounded by Sorcerers and gifted ones, whom people later renamed “apostles”... in the notorious “bible” they turned out to be old, distrustful Jews... who, I think, if they could, would truly betray Jesus a thousand times. His “apostles” in reality were the Knights of the Temple, only not built by human hands, but created by the high thought of Radomir himself - the Spiritual Temple of Truth and Knowledge. At first there were only nine of these knights, and they gathered together in order, to the best of their abilities, to protect Radomir and Magdalena in that foreign and dangerous country for them, into which fate had so mercilessly thrown them. And the task of the Knights of the Temple was also to (if something irreparable happened!) preserve the TRUTH, which these two wonderful, bright people brought to the “lost souls” of the Jews, who gave their Gift and their pure Lives for the peace of their beloved, but still a very cruel planet...
The priority areas of the organization’s activities are:
- development and strengthening of composer organizations in the regions;
- stimulation and creation of wide opportunities for composing creativity;
- promotion musical culture and works by Russian composers in Russia and abroad;
- development and support of youth composing creativity;
- protection of composers' copyrights;
- publishing sheet music and recording discs, as well as distributing musical works;
- creating a positive image of the organization to expand opportunities and strengthen authority in the musical space of the Russian Federation.
Members of the Union of Composers of Russia are 1011 composers and musicologists, many of them are awarded state awards, awards and titles.
Since 2009, the organization has had a Youth Department of Composers (MolOT), which has 40 representative offices in Russia and abroad.
History of the Union of Composers of Russia
The history of creative unions in our country begins in 1932, when the resolution of the Central Committee of the All-Union Communist Party (Bolsheviks) “On the restructuring of literary and artistic organizations” was adopted. Composers and musicologists of the USSR were united by the Union of Soviet Composers (since 1957 - the Union of Composers of the USSR). According to the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks, the then existing creative associations were dissolved (including ASM - “Association of Contemporary Music” and RAPM - “Russian Association of Proletarian Musicians”). The unification of representatives of all creative professions “from above” began, with an active ideological component. The Moscow Union of Composers was created first, then similar organizations arose in Leningrad, Yekaterinburg, Voronezh, Rostov-on-Don, Karelia, Tatarstan, in the republics of the USSR and cultural centers of the country.
By 1939, the Organizing Committee of the Union of Soviet Composers was formed, headed by R.M. Glier and A.I. Khachaturian is a single governing body that unites all local composer organizations of the Soviet Union. The board of the Union of Composers included famous figures of Soviet music - composers, performers, art critics M.P. Arkadyev, A.B. Goldenweiser, V.M. Gorodinsky, Ya.I. Boyarsky, N.Ya. Myaskovsky, S.N. Vasilenko, An.N. Alexandrov, A.A. Crane, M.M. Ippolitov-Ivanov, V.Ya. Shebalin, B.S. Shekhter, V.A. Bely, B.S. Pshibyshevsky, R.M. Glier, A.F. Goedicke, K.N. Igumnov.
In 1948, the First Congress of the Union of Soviet Composers took place, at which its charter was adopted and governing bodies were elected. The first chairman of the Union (1948–50) was B.V. Asafiev, the highest leadership position - general secretary (since 1957 first secretary) - from 1948 to 1991 was permanently occupied by T.N. Khrennikov. Subsequent congresses of the Union were held every five years until the collapse of the USSR.
The Union of Composers of the USSR had its own music publishing house “Soviet Composer”, the printed organs “Soviet Music” (now the “Musical Academy”) and “Musical Life”; the USSR Music Fund was responsible for the material well-being and copyrights of the organization’s members. Membership in the Union of Composers opened the way for authors to receive creative commissions, to publish and perform works, to organize author concerts, professional and broad public discussions.
At the end of the 1950s, it was decided to create the Union of Composers of the RSFSR as an independent organization with its own structure and local organizations. At its First Founding Congress, held in 1960, D.D. was unanimously elected Chairman of the Board of the new Union. Shostakovich.
Since that time, the Union of Composers of the RSFSR was headed by
- Dmitri Shostakovich (1960–1968)
- Georgy Sviridov (1968–1973)
- Rodion Shchedrin (1973–1990)
- Vladislav Kazenin (1990–2014)
- Rashid Kalimullin (2015–2017)
- Alexey Rybnikov (since May 2017)
Having headed the Russian Composers' Union, Shostakovich focused his attention on strengthening contacts with local composers' organizations. He clearly established the general nature of the work: discipline, professionalism and honed skill. Thanks to the efforts of Dmitry Shostakovich, the role of the new union increased every day, and very soon it became the organizing center of modern musical art. He formed warm human relations within the “team”, and only his deteriorating health condition forced him to leave his post at the Second Congress (1968). In memory of him, the Union of Composers of Russia established the D.D. Prize in 1981. Shostakovich.
At the Second Congress in 1968, G.V. was elected chairman of the board. Sviridov. Stanislav Stempnevsky was appointed executive secretary.
The third congress of the Union of Composers of Russia took place in 1973 in the Column Hall of the House of Unions. At the congress, new leadership of the Union of Composers of Russia was elected. R.K. became the Chairman of the Board of the Union of Composers. Shchedrin, who led the Union of Composers of the RSFSR for the next 17 years. A.Ya. was elected first secretary. Eshpai. Vladislav Kazenin became the executive secretary and then deputy chairman of the Union of Composers, and Jan Frenkel became the second deputy chairman.
The Secretariat included composers from various regions of the country: F. Vasiliev (Chuvash Autonomous Soviet Socialist Republic), R. Gazizov (Bashkir Autonomous Soviet Socialist Republic), V. Krasnoskulov (Rostov-on-Don), V. Kupriyanov (Mari Autonomous Soviet Socialist Republic), A. Novikov (Novosibirsk), A. Puzey (Sverdlovsk), M. Simanovsky (Saratov), M. Tariverdiev, V. Agafonnikov, musicologist Yu. Korev (Moscow), B. Tishchenko, V. Uspensky (Leningrad), M. Yarullin (Tatar ASSR).
Rodion Shchedrin and the secretariat of the Union of Composers of Russia did a great job of preserving the organizational and creative traditions of D.D. Shostakovich, manifested in the promotion of the work of modern composers at Russian musical forums.
At that time, a large number of major festivals were held in Omsk, Tyumen region, Vilnius, Suzdal, Vladimir, Gorky, and cities of the North Caucasus. The festivals that emerged during that period became traditional: “Panorama of the Music of Siberia” (Novosibirsk), “Don Spring”, “Festival in Kuban”, festivals in Saratov, Ufa, Sverdlovsk. New festivals have appeared in Astrakhan, Krasnoyarsk, “Europe - Asia” in Kazan, “Tuva Musical Summer” in Kyzyl and the cities of Tuva.
The festivals of the last two decades have their own traditions: “Panorama of Russian Music”, “Russian Composers for Children” and “Music of Friends” (at which works by foreign composers are performed). “Panorama of Russian Music” is one of the largest and most authoritative festivals of contemporary music in our country. This festival originated in 1973 on the initiative of R. Shchedrin and since 1995 has been held annually in various regions of the country. Festival programs present many composer names of modern Russia, providing an opportunity to get a complete picture of the richness and national diversity of musical creativity of modern Russia.
The form and geography of festivals of the Union of Composers is unusually wide. Thus, in 2008, children’s festivals were held in Smolensk, Tver, Kirov and Saratov, and the “Panorama of Music of Russia” festival was held in Chelyabinsk, Ufa, Lipetsk and Voronezh. The topics of these festivals and musical meetings, as well as the musicological conferences held within their framework, were diverse and significant: “Composer-performer-listener”, “Soviet composers - to rural workers”, “The role of folklore in modern creativity”, “The image of a contemporary in the work of composers” Russia" and many others.
From 1990 to 2014, the post of chairman of the Union of Composers of Russia was held by V.I. Kazenin. For almost a quarter of a century, heading the Union of Composers during the difficult years of the collapse of the USSR, V.I. Kazenin managed to maintain the stability of the organization and ensure its sustainable development. Vladislav Kazenin is a famous Russian composer, author of operettas, musicals, ballets, works for choir, symphony orchestra, piano, instrumental concerts, songs and romances, music for films, cartoons and theatrical performances.
Thanks to the great organizational work of the secretariat of the Union of Composers and the personal authority of Vladimir Kazenin, new creative departments were created, which immediately became musical centers in the cities and republics of Russia. Strong ties have been formed with the music community, concert organizations, and educational institutions. Creative groups of composers appeared in the Republic of Sakha (Yakutia), the Republic of Tyva, Mordovia, Krasnoyarsk, Chelyabinsk, Perm, the Republic of Adygea, Smolensk, Kaliningrad, Kirov, the Komi Republic, Kostroma, Yaroslavl, Vologda, Bryansk, Penza, Belgorod, Chita (Zabaikalskaya organization), Kaluga, Abakan (Republic of Khakassia), Moscow region. The beginning of the activities of all new composer organizations has always been accompanied by festivals, concerts and creative meetings.
At the Eleventh Congress in December 2015, R.F. was elected chairman of the Union of Composers of Russia. Kalimullin. Rashid Kalimullin is one of the leading Russian composers, a major musical and public figure, a talented manager and organizer. Since 1989 he headed the Union of Composers of the Republic of Tatarstan, from 1995 to 2010 - secretary and since 2010 - deputy chairman of the Union of Composers of Russia. Rashid Kalimullin is the author and leader of many major international and Russian projects, including the international festival “Days of Japanese and Tatar Music”, the international festival of new music “Europe-Asia”, the international project of symphonic concerts “Pearls of Russian and Tatar Music”, the All-Russian music festival “Names of Russia”. R. Kalimullin is the founder and creator of the Sofia Gubaidulina Center for Contemporary Music. Author large quantity essays in different genres.
In 2015, the International Festival-Competition of Patriotic Songs “Red Carnation”, which dates back to 1967, was revived.
On May 11, 2017, an extraordinary congress of the Union of Composers of Russia took place in Moscow. Participated in the work of the Congress famous composers and artists such as Rashid Kalimullin, Anatoly Kroll, Vladimir Matetsky, Alexander Klevitsky, Vsevolod Zaderatsky, Alexey Rybnikov, Alexander Tchaikovsky, Yuri Poteenko, Alexander Sokolov and many others.
One of the key topics on the agenda of the extraordinary Congress was the election of a new composition of governing bodies, including members of the Council of the Union of Composers. Composer, People's Artist of the Russian Federation Alexey Rybnikov was elected Chairman of the Council of the organization, composer, People's Artist of the Russian Federation Alexander Tchaikovsky became the honorary Chairman of the Council. The participants of the Congress also elected the Board of the Union of Composers, whose chairman was People's Artist of the Russian Federation and the Republic of Tatarstan Rashid Kalimullin.
Deputy General Director of the Union was appointed general director JSC "Firm Melodiya" Karina Abrahamyan. At the end of the meeting, those gathered paid attention to the issues of further development of the Union of Composers of Russia and the prospects for partnership with the Russian Musical Union.
Festivals of the Union of Composers are held in order to promote the works of professional contemporary composers of Russia, promoting the development of creative cooperation and the introduction of talented youth to the work of composers. One of the main goals of the events of the Union of Composers of Russia is a wide exposition best works musical art and presentation of the genre diversity of music.
Systematic work is being carried out in the field of organizing composition competitions: the International Composition Competition named after S. Prokofiev in St. Petersburg, chaired by Rodion Shchedrin, the A. Petrov “Crystal Tuning Fork” competition, chaired by A. Petrov, then V. Kazenin, “ International Competition for Young Composers named after P.I. Yurgenson", Chairman V. Tarnopolsky, Governor's International Youth Competition named after V. Gavrilin in Vologda, children's competition on composition in Nizhny Novgorod and many others.
The Union of Composers of Russia pays great attention to the education of creative youth. Since 2009, the organization has had a Youth Department of Composers (MolOT), which is headed by Y.S. Sudzilovsky. MolOt regularly holds concerts of young composers, listening to new works, and discussions on the problems of composer creativity. Currently, 40 MolOT representative offices operate in various regions of our country: in Moscow, St. Petersburg, Kazan, Ufa, Petrozavodsk, Kaliningrad, Saratov, Yakutia, Yekaterinburg, Novosibirsk, Belarus, France, Armenia and other cities and countries. Every year, since 2012, the international festival “MolOt-Transfest” is held - a large-scale marathon of contemporary music, where the music of young authors from different republics of the former USSR is presented.
The Union of Composers of Russia is a creative association of composers and musicologists of different generations. An association that, despite the changed contours and principles of organization of the Russian musical life, is engaged in the most important mission - the moral and ethical education of modern man.
