Biography of Muftadin Gilyazov

Creative groups. Russian musical society. The Kuchkuts had reason to prejudice with Anton Rubinstein. The fact is that in the year, being abroad, he printed in one of the magazines the article “Russian Composers”, in which he showed a misunderstanding of the processes that took place in Russian music. He argued, for example, that the creation of an opera on a national basis is a utopia, since the national can be pronounced only in songs and dances.

Even the ingenious Glinka, according to Rubinstein, “crashed” in his operas because he sought to bring music to the people's music. Rubinstein's article caused great discontent of many Russian musicians and alienation from Glinka. The reason for Rubinstein's erroneous views, undoubtedly, were the special conditions of his musical development and upbringing, associated with a long margin from his native country.

In subsequent years, under the influence of direct contact with Russian musical life, Rubinstein's views were noticeably evolved, and he himself characterized his first literary work as “decent stupidity”. Giveled the "kuchkostam" in the understanding of the folk national foundations of music, Rubinstein in matters of musical education stood in more advanced positions. Criticizing the organization of a professional musical education system, Rubinstein’s opponents defended, in essence, outdated, historically obsolete “circle” forms of educating musicians.

Subsequently, one of the Kuchkustov, N. Rimsky-Korsakov, admitted that the conservatory should have been based on Western European patterns, since the pedagogical methods arising from Russian national practice have not yet been developed. The powerful personality of the director of the conservatory inspired us, students, immense love, shifted with fear.

In essence, there was no boss of more condescending and good-natured, but his gloomy appearance, temper and drill, connected with the charm of European-famous name, nevertheless acted unusually impressive, despite his youth, despite the mass of classes and goals, completely outsiders of the conservatory, the real father of the students. In those years, the words “conservatory” and “Rubinstein” were inseparable.

Everything that happened in the new educational institution is the educational process, the selection of pedagogical personnel, listening to training concerts and exams, the development of methodological aids, official correspondence with government institutions and, finally, economic affairs- everything was in the field of view of Rubinstein. He came to the conservatory before everyone and went the last.

As the director of the conservatory, A. Rubinstein personally checked the state of discipline not only of students, but also of teachers. He was especially strictly related to those who were late for classes. So, not finding one of the teachers several times in the class in the due time, A. Rubinstein himself began to study with the assembled students.

During the classes, a late teacher appeared. At 33, he possessed huge practical knowledge and life experience. Being an example of hard work and the strictest self -discipline, he demanded the same attitude to the cause and from his students. When engaged with students of various specialties, Rubinstein sought to develop a professional “grip” in them: to quickly learn musical works, easily navigate the analyzed works, freely read notes from the sheet as much as possible to lose musical literature.

In Rubinstein’s classes, an atmosphere of artistic upsurge has always reigned. He talked about music brightly, emotionally, figuratively. Having been carried away by himself, he carried away the youth. Rubinstein never imposed his tastes and opinions to the disciples. He always expressed a desire for them to get acquainted with different directions in art. Upon learning that Larosh happens in the evenings of Serov, who sharply spoke in print against Rubinstein, he was not only angry, but noticed that he considers that he considers it useful to visit the student to "learn to see, hear, feel and think." In the class of practical compositions and instrumentation, Rubinstein has always set large and complex homework.

Rarely anyone could fully fulfill them. Only one student hit Rubinstein with his hard work. It was Tchaikovsky. Seeing such zeal, Rubinstein was less and less embarrassed in the amount of the set. Firstly, he demanded that all students be in the classroom and not only play themselves, but also listen to the game of others. At the same time, Rubinstein now and then addressed them with questions about the work performed, trying to excite thought and imagination.

Tchaikovsky and Cross were awarded, in addition, silver medals. For the first time in the history of Russia, people with the title of “free artist” in the field of music, with all, assigned to this title, civil rights and privileges, entered the arena of social activity. The St. Petersburg Conservatory gave an impetus for the emergence of musical educational institutions in other cities of Russia.The Moscow Conservatory opened in the year.

Like an older brother, he was a wonderful musician, selflessly devoted to art. The passion for music did not prevent him from entering the law faculty of Moscow University in the year. Having graduated, he again completely surrenders to his beloved art, acting as a pianist and conductor in Russia and abroad. From year to year, the army of Russian teachers of music, Russian musicians of the orchestra, Russian singers and singers grew and increased, for whom A.

The reason was once advanced, on the one hand, in an aggravated relationship with court circles, in particular with the Grand Duchess Elena Pavlovna, who interfered in all the musical affairs of the RMO and the conservative, on the other hand, in intensified in the strengthening in the intensified, in intensified in the strengthening Disagreements with a group of professors who prevented Rubinstein from implementing bold and innovative plans.

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