Union of Soviet Composers. "Easy on the heart from a cheerful song"
The priority activities of the organization are:
- development and strengthening of composer organizations in the regions;
- stimulation and creation of broad opportunities for composer creativity;
- promotion of musical culture and compositions of Russian composers in Russia and abroad;
- development and support of youth composer creativity;
- copyright protection of composers;
- publication of notes and recording of discs, as well as distribution of musical works;
- creating a positive image of the organization to expand opportunities and strengthen authority in the musical space of the Russian Federation.
1011 composers and musicologists are members of the Union of Composers of Russia, many of them have received state awards, prizes 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 of 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 decision of the Central Committee of the All-Union Communist Party of Bolsheviks, the then existing creative associations were disbanded (including ASM - the Association of Contemporary Music and RAPM - the Russian Association of Proletarian Musicians). The unification of representatives of all creative professions "from above" began, with an active ideological component. The first was the Moscow Union of Composers, then similar organizations appeared in Leningrad, Yekaterinburg, Voronezh, Rostov-on-Don, Karelia, Tatarstan, in the republics of the USSR and the 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 - a single governing body that unites all local composer organizations of the Soviet Union. The board of the Union of Composers included well-known figures of Soviet music - composers, performers, art critics M.P. Arkadiev, A.B. Goldenweiser, V.M. Gorodinsky, Ya.I. Boyarsky, N.Ya. Myaskovsky, S.N. Vasilenko, An.N. Alexandrov, A.A. Krein, M.M. Ippolitov-Ivanov, V.Ya. Shebalin, B.S. Shekhter, V.A. Bely, B.S. Pshibyshevsky, R.M. Glier, A.F. Gedike, K.N. Igumnov.
In 1948, the First Congress of the Union of Soviet Composers took place, at which its charter was adopted and the governing bodies were elected. The first chairman of the Union (1948–50) was B.V. Asafiev, the highest managerial 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 press organs "Soviet Music" (now - "Musical Academy") and "Musical Life", the USSR Music Fund was responsible for the material well-being and copyrights of members of the organization. Membership in the Union of Composers opened the way for authors to creative orders, to publish and perform works, to organize author's concerts, professional and broad public discussions.
In the late 1950s, a decision was made to establish the Union of Composers of the RSFSR as an independent organization with its own structure and local organizations. At its First Constituent 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 has been 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 Union of Composers, Shostakovich focused his attention on strengthening contacts with local composers' organizations. He clearly established the general nature of the work: discipline, professionalism and honed craftsmanship. Thanks to the efforts of Dmitri Shostakovich, the role of the new union increased every day, and very soon it became the organizing center of contemporary musical art. He formed warm human relations within the "team", and only the deteriorating state of health forced him to leave his post at the Second Congress (1968). In memory of him, the Union of Composers of Russia established in 1981 the D.D. Shostakovich.
At the Second Congress in 1968, G.V. Sviridov. Stanislav Stempnevsky was appointed executive secretary.
The third congress of the Union of Composers of Russia took place in 1973 in the Hall of Columns of the House of Unions. The congress elected a new leadership of the Union of Composers of Russia. 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 the first secretary. Eshpay. Vladislav Kazenin became the executive secretary and then deputy chairman of the Union of Composers, and Yan Frenkel became the second deputy chairman.
The Secretariat included composers from various regions of the country: F. Vasiliev (Chuvash ASSR), R. Gazizov (Bashkir ASSR), V. Krasnoskulov (Rostov-on-Don), V. Kupriyanov (Mari ASSR), 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 contemporary composers at Russian music forums.
At that time, a large number of major festivals were held in Omsk, the Tyumen region, Vilnius, Suzdal, Vladimir, Gorky, and the cities of the North Caucasus. The festivals that originated in that period have become traditional: "Panorama of the Music of Siberia" (Novosibirsk), "Donskaya Spring", "Festival in the Kuban", festivals in Saratov, Ufa, Sverdlovsk. New festivals 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”, “Composers of Russia for Children” and “Music of Friends” (where works by foreign composers are performed). "Panorama of Music of Russia" is one of the largest and most authoritative contemporary music festivals 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. The festival programs present many composer names of modern Russia, provide an opportunity to get a complete picture of the richness and national diversity of the musical creativity of modern Russia.
The form and geography of the Union of Composers festivals is unusually wide. So, in 2008 children's festivals were held in Smolensk, Tver, Kirov and Saratov, and the festival "Panorama of Russian Music" - in Chelyabinsk, Ufa, Lipetsk and Voronezh. The topics of these festivals and musical meetings, as well as the musicological conferences taking place within their framework, were diverse and significant: “Composer-performer-listener”, “Soviet composers for 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, V.I. Kazenin. For almost a quarter of a century, heading the Union of Composers in 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, compositions 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 were formed with the musical community, concert organizations, and educational institutions. Creative teams 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 Republic of Komi, 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. 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 director 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 Musical Festival "Names of Russia" R. Kalimullin is the founder and creator of the Sofia Gubaidulina Center for Contemporary Music. Author of a large number of works in various genres.
In 2015, the International Festival-Competition of the Patriotic Song "Red Carnation" was revived, which began in 1967.
On May 11, 2017, an extraordinary congress of the Union of Composers of Russia took place in Moscow. The Congress was attended by well-known composers and artists such as Rashid Kalimullin, Anatoly Kroll, Vladimir Matetsky, Alexander Klevitsky, Vsevolod Zaderatsky, Alexei 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 the governing bodies, including members of the Council of the Union of Composers. Composer, People's Artist of the Russian Federation Alexei 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 Congress participants also elected the Board of the Union of Composers, whose chairman was Rashid Kalimullin, People's Artist of the Russian Federation and the Republic of Tatarstan.
Karina Abrahamyan, Deputy General Director of Firma Melodiya JSC, was appointed General Director of the Union. At the end of the meeting, the participants 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, contributing to the development of creative cooperation and familiarization of talented youth with composer creativity. One of the main goals of the events of the Union of Composers of Russia is a wide exposition of the best works of musical art and the presentation of the genre diversity of music.
Systematic work is being carried out in the field of organizing composer competitions: the International S. Prokofiev Composition Competition in St. Petersburg, chaired by Rodion Shchedrin, the A. Petrov Competition “Crystal Tuning Fork”, 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 composition competition 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), headed by Ya.S. Sudzilovsky. Molot regularly holds concerts by young composers, listens to new compositions, and discusses the problems of composer creativity. Currently, 40 Molot 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 Molot-Transfest international festival has been held - a large-scale marathon of modern music, which presents the music of young authors from different republics of the former USSR.
The Union of Composers of Russia is a creative association of composers and musicologists of different generations. The association, which, despite the changed contours and principles of organizing Russian musical life, is engaged in the most important mission - the moral and ethical education of modern man.
was called Union of Soviet Composers of the USSR (SSK USSR).
Membership card (1990)
It arose on the basis of the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks of April 23 on the restructuring of literary and artistic organizations. Until 1948, the work of the SSC of the USSR was directed by the Organizing Committee. The first congress of the Union of Composers took place on April 25, 1948 in Moscow. B. V. Asafiev was elected chairman of the Union of Composers of the USSR at this congress.
The main tasks 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;
- The establishment of the principles of socialist realism in Soviet musical creativity, the creative development of the best traditions of world and, above all, Russian musical classics and folk music;
- The development of Soviet musicology on the theoretical basis of Marxism-Leninism;
- Development of fraternal national cultures of the Soviet peoples;
- The assertion 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 IC, assistance in protecting their copyrights.
The highest governing body of the USSR SC was the Congress of Soviet Composers; in between congresses, the work of the Union was led by a board elected at the congress, which, in turn, elected a secretariat from among its members, headed by the first (pre-general) secretary.
The Musical Fund of the USSR bore the overall responsibility to the board and secretariat of the USSR IC. The press organs of the USSR IC were the monthly magazine "Soviet Music" and the two-week magazine "Musical Life".
The position of the first (general) secretary of the USSR IC from 1991 was permanently occupied by Tikhon Nikolaevich Khrennikov. The board and secretariat at different times included B. V. Asafiev, D. B. Kabalevsky, D. D. Shostakovich, A. I. Khachaturian and other famous Soviet composers.
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See what the Union of Composers of the USSR is in other dictionaries:
- (CK USSR, until 1957 the Union of Soviet Composers) socially creative. an organization that unites composers and musicologists of the USSR, actively participating in the development of owls. music claim. The main tasks of the CK of the USSR are to contribute to the creation of highly ideological ... ... Music Encyclopedia
- (SK USSR, in 1932 57 Union of Soviet Composers) a public creative organization that unites composers and musicologists of the USSR. Created in 1932 by a resolution of the Central Committee of the All-Union Communist Party of Bolsheviks of April 23, 1932 "On the restructuring of literary and artistic ... ... Great Soviet Encyclopedia
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Why the current team of "creative managers" did not implement the main points of the declaration of the X Congress of Musical Workers
On May 23–24, Moscow will host the regular XI Congress of the Union of Composers of Russia. The musicians will have to sum up the work, outline the prospects for the next five years and elect a new leadership headed by the 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, assures the Union of Composers, will take place without fail, which means that there is hope for a detailed discussion of the work of the organization, which is celebrating its 55th anniversary this year. The conversation promises to be long and extremely impartial - one of the oldest Russian unions needs a radical change in the 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 about anything, but not the movement of the Union forward. Due to circumstances or intent (this has yet 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. That for its members was both a place of communication, and a trade union, and a distributor of benefits: he built houses, allocated apartments, rewrote notes, had clinics, pioneer camps, publishing houses, printing houses and even ateliers. Now composers are released on free bread. Of the once extensive “Sobesovskaya” line, only an economical vacation in three houses of creativity (Ruza, Ivanovo, Sortavala) and medical care for veterans can be of interest. However, both rest and medicine are the lot of the elite. Basically, the modern Union gives composers the opportunity to feel some kind of "involvement in the workshop." But it can also be felt within the framework of the association - for this it is not necessary to maintain an administrative apparatus. In addition, today's composers do not ask for free benefits. They are ready to make money. From the Union, they first of all need to provide legal and social guarantees.
And how to ensure them 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, found a job abroad. The matter reaches the point of absurdity. The composition departments of Russian conservatories graduate 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 directors of higher education. Any phenomenon accompanying the composition can be issued 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 affirming the status of a composer is a matter of national importance." However, no concrete steps have been taken to initiate the mentioned act or amendments to existing laws. The result is that hundreds of Russian composers are still unable to enter this proud word into their work book.
REGION WE WRITE, CENTER IN MIND
The status of a creative person is directly related to the status of an organization. And this is not news to the management either. The fact that creative unions, including composers, 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, is written in the declaration. 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, to streamline the system of state orders and relations with philharmonics.
The last congress stated the fact of “insufficient performance of modern works by musical groups and theaters of the country” and considered it expedient 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. You can, of course, say that there is no demand for modern music. But if there is no offer, where will it come from?
Some regions, such as Tatarstan, are successfully performing local music in their own region and abroad. However, this is a drop in the ocean. To correct the situation, centralization of efforts, the presence of a certain unifying force are needed. 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 was a number of structures involved in the promotion of domestic modern music in the country and abroad.
Has anything been done in this direction? If yes, then little has changed in the life of composers. And the support of the creators for the most part both depended and still depends on the goodwill of the local authorities.
In the budgets of a number of regional ministries and municipalities there are articles for the acquisition of new works. In Krasnoyarsk there is a whole structure - the House of Arts, which provides services to creative unions: organizes concerts, exhibitions, etc. Mordovia maintains its own Union of Composers: it pays a salary to the chairman, an accountant. In Yekaterinburg, a symphony orchestra and several buildings in the city center appeared under the jurisdiction of the local Union within a year. But these are isolated examples. The governor is changing - and the established ties are crumbling. To avoid force majeure, state support should be more voluminous and legally prescribed, and at the all-Russian level. And this is not the task of local composer organizations, but of the head management. It recognized its existence, but did not bother with a legislative decision.
How can we reorganize the Union
The current team has not shown readiness to search for its own resources, although the union has an excellent opportunity to help itself.
However, this is painstaking, systematic work. It is easy to declare, but difficult to implement. And the current leadership of the union just has a problem with capacity. “A creative union has no right to come up with a legislative initiative,” they say, explaining why the main points of the declaration of the Tenth Congress have not been implemented. Indeed, it is not right. But lobbying the law is the right of any union. As well as joining efforts with other creative institutions that solve similar problems. Working groups of the State Duma rarely write bills "from and to" - as a rule, they use the achievements of public and professional organizations interested in their consideration and adoption. The stone, as you know, sharpens a drop.
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 charged the mandatory performance of new Soviet music to any domestic group, regardless of whether it performed at home or abroad, will remain only in memories. Another country, other people. But to provide modern composers with the conditions for self-realization, and for domestic music - worthy promotion is quite realistic. It is only necessary to integrate the Russian Union of Composers into the new system of social, legal and financial relations. If the Eleventh 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 propaganda of Russian music, attention to creative youth, and solving the social problems of musicians.
Later 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 proxy from the deceased Vladislav Kazenin - the former head of the Muzfond garage, Igor Ringer.
Ivanova Marina
From Wikipedia, the free encyclopedia
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The main tasks of the Union of Composers were:
The highest governing body of the USSR SC was the Congress of Soviet Composers; in between congresses, the work of the Union was led by a board elected at the congress, which, in turn, elected a secretariat from among its members, headed by the first (until 1957 - general) secretary. Overall responsibility to the board and secretariat of the USSR IC was borne by the Musical Fund of the USSR. The press organs of the USSR IC were the monthly magazine "Soviet Music" and the two-week magazine "Musical Life". The position of the first (general) secretary of the USSR IC from 1948 to 1991 was permanently occupied by Tikhon Nikolaevich Khrennikov. The board and secretariat at different 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 Moskva tank formation my fraternal greetings and gratitude to the Red Army. see alsoWrite a review on 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 realized that Petya understood: why father and mother quarreled). She didn't answer.“Because papa wanted to give all the carts to the wounded,” said Petya. “Vassilyitch told me. In my opinion… “In my opinion,” Natasha almost suddenly 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 from convulsive sobs, and she, afraid of weakening and releasing a charge of her anger for nothing, turned and quickly rushed up the stairs. Berg sat beside the Countess and kindly comforted her. 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 approached her mother. - This is disgusting! This is an abomination! she screamed. “It can't be what you ordered. Berg and the countess looked at her in bewilderment and fear. The count stopped at the window, listening. - Mom, this is impossible; look what's in the yard! she screamed. - They stay! - What happened to you? Who are they? What do you want? - The wounded, that's who! It's impossible, mother; it's not like anything ... No, mama, my dear, it's not that, please forgive me, my dear ... Mama, well, what do we need, what we will take away, you just look at what is in the yard ... Mama! .. This cannot be !.. The count stood at the window and, without turning his face, listened to Natasha's words. Suddenly he sniffled and put his face close to the window. The countess looked at her daughter, saw her face, ashamed of her mother, saw her excitement, understood why her husband now did not look back at her, and looked around her with a bewildered look. “Oh, do as you please! Am I bothering anyone! she said, not yet suddenly giving up. - Mommy, my dear, forgive me! But the countess pushed her daughter away and went up to the count. - Mon cher, you dispose of it as it should ... I don’t know this, - she said, lowering her eyes guiltily. “Eggs ... eggs teach a chicken ...” the count said through happy tears and hugged his wife, who was glad to hide her ashamed face on his chest. - Daddy, mommy! Can you arrange? Is it possible? .. - Natasha asked. “We will still take everything we need,” Natasha said. The count nodded his head in the affirmative, and Natasha, with the quick run with which she ran into the burners, ran down the hall into the hall and up the stairs to the courtyard. People gathered near Natasha and until then they could not believe the strange order that she transmitted, until the count himself, in the name of his wife, confirmed the orders to give all the carts under the wounded, and carry the chests to the pantries. Having understood the order, people with joy and trouble set to a new business. Now it not only did 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 which could not be otherwise. All the households, as if paying for the fact that they had not taken up this earlier, set about with troublesome new business of accommodating the wounded. The wounded crawled out of their rooms and surrounded the wagons with joyful pale faces. A rumor also spread in the neighboring houses that there were carts, and the wounded from other houses began to come to the Rostovs' courtyard. Many of the wounded asked not to take things off and only to put them on top. But once the business of dumping things had begun, it could no longer stop. It was all the same to leave all or half. In the yard lay uncleaned chests with dishes, with bronze, with paintings, mirrors, which they had so carefully packed the previous night, and everyone was looking for and found 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 my wagon, otherwise where are they? “Yes, give me my dressing room,” said the countess. Dunyasha will sit in the carriage with me. They also gave a dressing wagon and sent it for the wounded through two houses. All the household and servants were merrily animated. Natasha was in an enthusiastically happy animation, which she had not experienced for a long time. | ||
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Orders of Lenin Union of Composers of the USSR (SK USSR)- a single creative association of Soviet composers and musicologists, until 1957 it was called Union of Soviet Composers of the USSR (SSK USSR).
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 SSC of the USSR was directed 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 tasks 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;
- The establishment of the principles of socialist realism in Soviet musical creativity, the creative development of the best traditions of world and, above all, Russian musical classics and folk music;
- The development of Soviet musicology on the theoretical basis of Marxism-Leninism;
- Development of fraternal national cultures of the Soviet peoples;
- The assertion 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 IC, assistance in protecting their copyrights.
The highest governing body of the USSR SC was the Congress of Soviet Composers; in between congresses, the work of the Union was led by a board elected at the congress, which, in turn, elected a secretariat from among its members, headed by the first (until 1957 - general) secretary.
Overall responsibility to the board and secretariat of the USSR IC was borne by the Musical Fund of the USSR. The press organs of the USSR IC were the monthly magazine "Soviet Music" and the two-week magazine "Musical Life".
The position of the first (general) secretary of the USSR IC from 1948 to 1991 was permanently occupied by Tikhon Nikolaevich Khrennikov. The board and secretariat at different times included B. V. Asafiev, D. B. Kabalevsky, D. D. Shostakovich, A. I. Khachaturian and other famous Soviet composers.
Dear Joseph Vissarionovich!
In the days of the Great Patriotic War, Soviet composers, inspired by the heroic struggle of the Red Army against the Nazi invaders, together with the whole people, are experiencing a mighty patriotic impulse that has engulfed 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 Moskva tank formation my fraternal greetings and gratitude to the Red Army.
I. STALIN
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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 with the change of topic ...
A wonderful painting by Rubens "Crucifixion". Next to the body of Christ (below) - Magdalene and his brother, Radan (in
red), and behind Magdalena is Radomir's mother, Vedunya Maria. At the very top is John, and to the right and left of
him are two Knights of the Temple. The other two figures are unknown. Perhaps it was the Jews who
lived Radomir's family?..
“After the death of Christ, Magdalene left that cruel, evil land that had taken from her the dearest person in the world. She left, taking with her her little daughter, who at that time was only four years old. And her eight-year-old son was secretly taken to Spain by the Knights of the Temple, so that he, by all means, stay alive and be able to continue the great Family of his father. If you wish, I will tell you the true story of their life, for what is presented to people today is just 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 windows 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 - son
Svetodar and daughter Vesta. Also, here is another very interesting
detail - a clergyman standing next to Radomir is dressed in the uniform of a catholic
personal church, which two thousand years ago could not possibly have
lo be. It appeared among the priests only in the 11th-12th centuries. What, again,
proves the birth of Jesus-Radomir only in the 11th century.
I nodded to North.
– Tell me, please, the truth... Tell me about them, Sever...
Radomir, anticipating his ambulance
death, sends a nine-year-old
Svetodar live in Spain... Chuv-
deep sadness and general
despair.
His thoughts flew far, far away, plunging into the old, covered with the ashes of centuries, intimate memories. And an amazing story began...
– As I told you earlier, Isidora, after the death of Jesus and Magdalene, their whole bright and sad life was entwined with unscrupulous 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 STRANGER PEOPLE, who then had not lived for a long time ... They put into their mouths WORDS that they NEVER SPOKEN ... They were made RESPONSIBLE FOR THE CRIMES that ANOTHER FAITH, the most false and criminal that existed, COMMITTED AND COMMITS ever on earth...
* * *
From the author: Many, many years have passed since my meeting with Isidora... And even now, remembering and living the former distant years, I managed to find (while in France) the most curious 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 who reads the story of Isidora, and perhaps even help to shed at least some light on the lies of the "rulers of this world." I ask you to 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 her. But he honestly continued to tell further, apparently realizing that later, perhaps, I would no longer be able to ask him anything more.
On this stained glass window, Magdalene is depicted
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 the false teaching that the Christian Church is shouting about? It was completely opposite to what Jesus himself taught, and after that, Magdalene. They taught people real KNOWLEDGE, taught what we taught them here in Meteor...
And Mary 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 the Veduns and the gifted, whom people later renamed "apostles" ... in the notorious "bible" turned out to be old, incredulous Jews ... who, I think, if they could, would really betray Jesus a thousand times. His "apostles" in reality were the Knights of the Temple, not only 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, by virtue of their capabilities, protect Radomir and Magdalena in that foreign and dangerous country for them, into which fate had so ruthlessly thrown them. And the task of the Knights of the Temple was also to (should something irreparable happen!) save the TRUTH, which these two wonderful, bright people who gave their Gift and their pure Lives for peace on their beloved, carried to the “lost” Jews with their “soul”, but still a very cruel planet...
