Russian Academy of Music named after the Gnessins. Russian Academy of Music named after

About the university

The beginning of the long history of the creation and formation of a large complex of educational institutions named after the Gnessins is February 15, 1895 - it was on this day that the first student came to the “Music School of E. and M. Gnessins,” one of the small private music educational institutions that were actively opening at that time in Moscow. Since then, this day has been celebrated as a traditional holiday of the Gnesin residents - all students of educational institutions for many generations.
Like other private schools, this school was founded by graduates of the Moscow Conservatory: its two leaders, sisters Evgenia and Elena Gnessin, were students of the director of the conservatory, the largest organizer and teacher-pianist V.I. Safonov. The principles of education formed at that time at the conservatory formed the basis for the work of the school (at that time it was a single educational institution for children and adults, without the now usual division into college and school).

The school's popularity and authority grew rapidly. The five Gnesin sisters, who were enthusiasts of their craft and devoted their entire lives to music pedagogy, lived their entire lives in the same house where their brainchild was located, and the atmosphere of the hospitable home invariably attracted both students and colleagues. Having studied during the most brilliant period in the history of the conservatory, living surrounded by artists of the Silver Age, they invariably strived for the highest professional level that would meet the criteria of their teachers and friends - the most outstanding musicians of their era. The largest musicians paid great attention to the work of the Gnessin School, providing them with great support, and some - R.M. Glier, A.T. Grechaninov, E.A. Bekman-Shcherbina - became teachers of the young educational institution. Already in the pre-revolutionary period, the Gnessin school won the highest reputation and stood out for a number of important pedagogical undertakings, the most famous of which was the creation of the first children's school choir in Moscow.
Gnessin family. Sitting: Mikhail Fabianovich, Elena Fabianovna; standing: Elizaveta Fabianovna Gnesina-Vitachek, Olga Fabianovna Alexandrova-Gnesina. 1945

Elena Fabianovna Gnesina, being the founder and permanent head of educational institutions (in total, she headed them for 72 years!), thanks to her unyielding will, inexhaustible energy and dedication, managed to maintain and constantly expand the scale of educational institutions at the sharpest turns of history. In 1919, the school became a state school, without, however, changing the principles of its work and organization (in 1920, in accordance with the state program, the educational institution was divided into a children's school and a technical school with a single leadership). In 1923, the Gnesins’ brother, a student of Rimsky-Korsakov, the outstanding composer Mikhail Gnesin, created a department of composition and music theory. The growth in the number and level of students soon made the Gnessin College-Technical School one of the best secondary educational institutions in the all-Union, training the best personnel for the conservatory. This led to the decision to create a new music university, and El. F. Gnesina, despite the resistance that arose at first (doubts about the need for a second music university in Moscow), began to strive for the implementation of this idea in the most decisive manner.

In March 1944, a government decree was adopted on the organization of the Gnessin State Musical and Pedagogical Institute. In 1946, a special ten-year music school was opened at the institute, and a complex of four educational institutions was formed - an institute, a college, a special school and a seven-year children's school - still headed by El.F. Gnessina. The need for a broad supply of the country, first of all, with pedagogical musical personnel gave rise to numerous initiatives that were very promising: correspondence and evening forms of education were developed and actively developed (opened in 1948), at the same time numerous teaching aids were created (including audio ones) and methodological programs, various technical teaching aids were invented. Compared to conservatories, the Gnessin State Musical Pedagogical Institute has become more in-depth with training courses in pedagogical practice and teaching methods.

Initially, the university had four faculties: piano, orchestral, vocal and historical-theoretical-composition - they included eight departments. From the very beginning, the most outstanding musicians of their time worked here: among them G.G. Neuhaus, M.V. Yudina, L.N. Oborin, T.D. Gutman, V.V. Borisovsky, S.M. Kozolupov, K.A. Erdeli, M.F. Gnessin, N.I. Speransky, M.I. Tabakov, N.I. Platonov, V.E. Ferman, V.D. Konen, N.A. Garbuzov... The first deans of the faculties were, respectively, A.N. Yurovsky, A.K. Vlasov, N.A. Verbova and S.S. Skrebkov. In 1946, the famous choirmaster K.B. Ptitsa organized and headed the conducting and choral faculty, and two years later, for the first time in the history of higher education, the faculty of folk instruments was founded (its first director was A.S. Ilyukhin). The number of students at the institute is steadily growing, the university is quickly gaining the authority of one of the largest music and educational centers in the country, along with the Moscow and Leningrad (St. Petersburg) Conservatoires.
Khomyakov's house on the Dog site, where educational institutions named after the Gnessins worked in 1932-62 and where the Gnessin Institute began its work

New departments are emerging, a number of student groups appear - symphony, Russian folk, and then chamber orchestras, an academic choir, opera performances are regularly staged (which led to the creation of a permanent opera studio in 1978). In the 1950s, departments of opera training and chamber ensemble were created (its first head was pianist A.D. Gottlieb), in the 1960s - a number of new departments, including orchestral conducting (founder - S.Z. Trubachev), pedagogy and methodology. In 1966, at the conducting and choral faculty - again for the first time - a department of folk choir conductors was opened (where a student choral group was also formed). In the 1970s - 1980s, innovations continued to open new musical specialties: these were the created departments of solo folk singing (its creation was initiated in 1978 by the head of the Northern Russian Choir N.K. Meshko), pop music art (1984 ), sound engineering (1987).

From the very beginning of the institute’s existence, scientific works were actively created, and since 1959, an editorial and publishing department has been operating, releasing more than 500 printed publications. There were also educational and scientific laboratories: folk music (founder - V.I. Kharkov), musical and technical teaching aids (founder - P.V. Lobanov), physiology of phonation (directors - L.B. Dmitriev and V.L. Chaplin ). In the postgraduate school, opened in 1948, the number of postgraduate students quickly grew, and dissertations were defended (since 1970, assistantship-internships have been available for performing specialties). In organizing scientific work at the university, great credit goes to the first vice-rector for scientific work (1959-70) A.A. Ikonnikov (in 1975-85 this post was held by F.G. Arzamanov).

According to the curriculum of the Gnessin State Musical Pedagogical Institute, programs for several new music universities were developed. In 1961, a branch (educational and advisory center at the correspondence department) of the institute was opened in Ufa, where its teachers and students worked (in 1968, an independent art institute was created on its basis). In the work of the correspondence department, as well as in the organization of the branch, the first vice-rector for correspondence and evening studies V.I. played a major role. Avratiner.

While maintaining the priorities of special attention to pedagogy and methodology, the scope of various scientific activities at the university (including numerous conferences) and the development of new directions caused in 1987 the transformation of the Department of Pedagogy and Methodology into a new Department of Contemporary Problems of Music Education and Culture, and in 1993 g. – laboratory of folk music into a problematic research laboratory for the study of traditional musical cultures. The concert activities of students and teachers were becoming increasingly widespread: new groups were constantly emerging (such as a brass band and accordion orchestra, chamber, folk, and jazz ensembles), large concert and educational work was carried out, covering a vast geography, and a number of constantly touring groups were working (for example , Chamber orchestra under the direction of G.S. Talalyan and O.M. Agarkov in 1962-87), the opera studio gave performances as a stationary theater, and regularly held its own festivals. Consultative assistance to numerous educational institutions of the country, supervision of the work of a number of music schools, conducting seminars and courses at the Faculty of Advanced Training was and remains constant. By the turn of the 1980s - 1990s, the Gnesins State Musical Pedagogical Institute became the largest music and educational center in Russia. Therefore, it was completely justified to transform the institute in 1992 into the Gnessin Russian Academy of Music - for the first time in the country, a music university received such a status.

As has happened throughout the history of the university, in recent years, in accordance with the trends of the times, new specialties and forms of education have been opened: thus, the department of music management (since 2005 - the production department), the department of computer music, computer science and acoustics have been created. In 2002, a new branch of the academy was opened in Khanty-Mansiysk.

Many luminaries of Russian music worked in the Gnesins GMPI-RAM in the past: People's Artists of the USSR and Russia A.I. Khachaturyan, Y.V. Flier, B.A. Pokrovsky, A.V. Rybnov, B.A. Tchaikovsky, M.O. Reisen, A.A. Yurlov (head of the department of choral conducting), Ya.P. Alexandrov, M.I. Fikhtengolts, N.D. Shpiller, P.M. Nortsov, N.I. Peiko, G.A. Turkina, A.B. Khazanov, famous performers - M.I. Grinberg, V.L. Kubatsky, A.I. Vedernikov, V.S. Loktev, doctors of art history A I. Yampolsky, S. E. Feinberg, E. V. Gippius, Yu. N. Tyulin, V. P. Bobrovsky, A. D. Alekseev - this list can be continued for a long time. If in the first years the young teachers who worked together with the luminaries were mainly graduates of the conservatory, then later, especially since the 1960s, the replenishment mostly came from students of the university itself.
Project of a building on Vorovskogo Street (now Povarskaya). Architect A.V. Tishin, 1937

The Gnessin Institute began its work in the same houses on Sobachaya Square, where the Gnessin College and School were located for almost half a century (they were demolished during the construction of New Arbat). In 1937, construction began on a large building on Povarskaya Street (then Vorovskogo) for the Gnessin “music plant”. Interrupted by the war, it resumed in 1943. The main part of the building was built in 1946, becoming the first building built in the center of Moscow specifically for the university. In 1950, the educational building was expanded, and in 1958 the Concert Hall was built. Subsequently, two Gnessin schools received their own buildings, and in 1974 a new building was built for the school next to the institute. Having received the entire building on Povarskaya, in 1989 the institute also opened classes and a chamber hall - a “musical living room” - in the renovated neighboring “Shuvalova House”.
Memorial museum-apartment of El.F.Gnesina at the Gnessin Russian Academy of Music. In Elena Fabianovna's office

The permanent head of the institute until the end of her life was Elena Fabianovna Gnessina (in 1944-53 she served as director, and in 1953-67 as artistic director, in 1944-58 she also headed the department of special piano). Being a living personification of great musical traditions, she managed to rally musicians of several generations around her. In organizing construction, forming structures and forms of education, El.F. Gnessina’s closest assistant was her student, conductor, professor of the department of opera training Yu.V. Muromtsev, who was initially her deputy, and in 1953-70 - the rector of the institute. In 1979-99, there was a significant expansion of the university’s activities, the opening of many new departments, which ultimately ensured the transition to the status of an academy. During these years (with a short break), the leadership was headed by S.M. Kolobkov, a graduate of the first graduating class of the Faculty of Folk Instruments (he also headed the Department of Folk Instruments, orchestral groups, was the Vice-Rector for Academic Affairs, and is now the Head of the Department of Orchestral Conducting) . Since 2000, the rector of the academy is pianist M.N. Sayamov (since 1982 he headed the correspondence and evening departments of the university).

In total, over the years of its existence, the university has graduated more than 12 thousand specialists, amounting to 56 graduates. Graduates of the institute quickly won leading positions in musical organizations throughout the country, and then abroad. More and more Gnesin students and graduates won laureate titles at competitions and performed on concert stages around the world. Many became leaders of famous groups and leading soloists of major opera houses. Among them are the most famous musical names in various genres, for example, Z. Dolukhanova, E. Svetlanov, M. Tariverdiev, V. Fedoseev, T. Dokshitser, L. Zykina, K. Ivanov, E. Kisin, Yu. Kazakov, I Kobzon, N. Nekrasov, A. Rudin, V. Dashkevich, D. Tukhmanov and many others. A number of now famous choirs, orchestras, ensembles emerged from student groups of the institute-academy - these are the Moscow Chamber Choir under the direction of V. Minin, the folk ensemble under the direction of D. Pokrovsky, the chamber orchestra "Russian Camerata", the boys' choir under the direction of V. Sudakov and other.

In recent years, the Academy has been increasingly developing international contacts: professors are constantly visiting with master classes and lectures, many students come for a full course of study or internship from different countries.

The Academy is one of two basic higher educational institutions of the Russian educational and methodological association for education in the field of musical art, along with the Moscow Conservatory. One of the leading music universities in the country and the world. The Academy is the only university that represents all the specializations and specializations of various musical directions studied in Russia.

Story

Architecture

The protruding left part of the building with the main entrance is framed by two pairs of semi-columns with originally designed composite capitals. The right side of the building is decorated with similar columns, between which there are bas-relief portraits of Russian composers. Above the columns there is an attic floor. The building is decorated in traditional ocher and white colors and is a typical representative of Stalinist classicism.

Halls

Concert hall

The concert hall is located at Maly Rzhevsky Lane. , house number 1. Capacity - 432 seats. There are 2 concert grand pianos, 6 artistic rooms, modern sound and lighting equipment.

In 2004, a monument to Elena Fabianovna Gnessina was erected at the entrance to the Concert Hall. Sculptor - A. Burganov.

Small Hall

The small hall of the academy is located on the 4th floor of the main academic building. The capacity of the hall is 100 seats. There are 2 grand pianos.

"Musical living room of Shuvalov's house"

In addition to the Henry Jones organ, the Academy has a training organ "Pavel Chilin" in class 74 (6/II/P, 2002), as well as two digital (electronic) organs - a three-manual organ from the Johannus company in class 76 and a four-manual organ from the company "Makin" at the Academy Concert Hall. In 2011-2013, the Academy had free use of a positive organ from the Slovenian company “Shkrabl” with a suspended pedal (4/I/P).

Disposition of the Henry Jones organ

The organ is one of the oldest instruments in Moscow (presumably from 1871) and has 10 registers, 2 manuals and a pedal, a total of 514 pipes, a mechanical register and playing structure.

Memorial Museum-Apartment El. F. Gnessina

During the construction of the Institute (Academy), an apartment was initially planned where the sisters Elena and Olga Gnesin lived. After the death of Elena Fabianovna Gnesina, who lived in this apartment for the last eighteen years of her life, a memorial museum was created in 1969 - the only apartment museum in Moscow located directly inside the university. The museum has completely preserved the furnishings, archive and library of Gnessina. Apartment El. F. Gnessina is an identified object of cultural heritage.

Every September, the museum hosts the “initiation as students” of the Academy’s first-year students.

Faculties

• Piano.
• Orchestral.
• Folk instruments- opened in 1948. The first faculty of folk instruments in the history of Russia. Founder - Alexander Sergeevich Ilyukhin. Since 2004, the faculty consists of the department of folk instruments (balalaika, domra, head of the department - A. A. Gorbachev) and the department of button accordion and accordion (head of the department is Friedrich Robertovich Lips).
• Folk art- opened in 2012. Consists of the departments “Choral and solo folk singing” and “National instruments of the peoples of Russia” (harp, Russian harmonica). The first head of the department is Honored Artist of the Russian Federation, Associate Professor Lyubov Yakovlevna Zhuk (harp), now the head of the department is Alexander Sergeevich Bazikov. Since June 2017, it has been reorganized into the Faculty of Folklore Art and Production.
• Historical-theoretical-compositional.
• Vocal.
• Conducting.
• Producer(reorganized into the Faculty of Folklore Art and Producing since June 2017, the last graduation from the programs of the Producing Faculty is in 2020).
• Musical art of variety.

Creative groups

Managers

Notable teachers and alumni

see also

Notes

1. Mayarovskaya Galina Vasilievna (undefined) . RAM named after Gnessins. Retrieved November 3, 2018.

RAM named after Gnesins is a higher musical educational institution located in Moscow. The address of the building is Povarskaya Street, house No. 30/36. The Gnessin Academy is one of the leading musical educational institutions in Russia. RAM has several concert halls where various events are held for both students and listeners and spectators.

History of RAM

RAM named after the Gnessins was founded in 1895. At that time there was no division of music educational institutions into academies, schools and colleges. The date of birth of RAM is considered to be February 15, 1895. It was on this day that the Gnessin sisters had their first student at their private music school.

In 1946, its own building was built for this educational institution. When the premises were opened, the Gnesin educational institution was divided into a school, a college and an institute. They were all located in the same building, on different floors. After some time, the premises were completely given over to the institute. And the college and school moved. Initially, the institute trained exclusively music teachers. But many students wanted to devote themselves to performing arts rather than teaching.

In 1950, a concert hall was added to the educational building of the institute. In 2011, the college turned from an independent institution into a branch of the Academy.

Today RAM named after. The Gnesins train not only teachers, but also concert musicians and vocalists.

Academy faculties:

1. Orchestral, with departments of percussion, wind and string instruments.
2. Vocal, where they learn solo singing.
3. Folk instruments.
4. The piano department, which also includes the departments of harpsichord, organ and accompanists.
5. Faculty of History, Theory and Composer.
6. Conducting, with departments of orchestral and choral conducting.
7. Pop-jazz singing and instrumental performance.
8. Folklore art, which includes departments of solo and choral folk singing.
9. Producer Faculty.

There are also interfaculty departments.

RAM halls

Main concert hall of the Russian Academy of Music named after. Gnesins accommodates 549 listeners. It is equipped with the latest technology. He has two concert grand pianos and an electronic organ at his disposal. In front of the entrance there is a monument to E. F. Gnesina.

The small hall is designed for one hundred students. It has three concert grand pianos. The musical living room of Shuvalova's house also accommodates one hundred listeners. She has two concert grand pianos at her disposal. The chamber hall has seating for fifty spectators. It is equipped with one concert grand piano.

The organ hall is also designed for fifty listeners. It is equipped with several tools. The main one is the English wind organ "Henry Jones". Before RAM it was in the London Church. In addition to it, there is a Steinway concert grand piano, a clavicorn and an Ammer harpsichord.

Program

A large number of different concerts can be heard at the Russian Academy of Music. Gnesins. The Academy's poster for the second half of the 2015-2016 season offers the following events:

1. "Piano music by S. S. Prokofiev."
2. Concert of Russian chamber music.
3. Master class in musicology on the topic “The creative path of W. A. ​​Mozart”
4. Report concert of the Department of Music Pedagogy.
5. Opera “Gianni Schicchi” at the Theater-Studio named after. Yu. A. Speransky.
6. Concert of students of the pop department.
7. Class evening for students of teacher Yu. V. Zamyatina.
8. Concert of the Academy Symphony Orchestra.
9. Anthology of harpsichord music. Works by Domingo and Domenico Scarlatti will be performed.
10. Report concert of the College String Orchestra.
11. Monothematic presentation of musical theater pedagogical knowledge Gradus ad Parnassum.
12. Concert-seminar for Victory Day.
13. Musical performance “Coronation of Poppea” performed by students of the vocal department.
14. Report concert of students of the music school at the Academy.
15. Festival "May Assemblies".
16. Concert of composition classes.

And many others.

Teams

In RAM im. There are about twenty different Gnessin groups. This:

1. A chamber orchestra whose repertoire includes music of all styles and eras.
2. The Zolotitsa ensemble performs folk songs.
3. A Russian concert orchestra whose repertoire includes retro and popular music.
4. Academic choir of correspondence students.
5. Jazz orchestra "Akademik-Band".
6. Altro Coro ensemble performing contemporary choral music.
7. Theater-studio named after Yu. Speransky, whose repertoire includes foreign and Russian classical operas.
8. The ensemble "Moscow Mandolin", working in all available musical directions.
9. Brass band.
10. Guslar ensemble "Kupina", whose repertoire includes Russian folk works.
11. The Ad Libitum Orchestra, which includes bayans and accordions, performs classical and modern music.
12. An ensemble of students from the department of solo and choral folk singing, whose repertoire includes original and processed folklore.
13. The “Soul of Russia” orchestra, which includes Russians performing modern and retro music.
14. Academic choir of full-time students of the Academy.
15. Symphony orchestra performing classical and modern music.
16. whose repertoire includes folk music in its original sound.

In RAM im. The Gnesins were taught by famous personalities over the years. These are Aram Khachaturyan, Reinhold Glier, Heinrich Neuhaus, Joseph Kobzon, Valentina Levko, Igor Bril, and others. There are many celebrities among RAM graduates. The Gnessin Academy graduated from: Lyubov Kazarnovskaya, Alexander Gradsky, David Tukhmanov, Lyudmila Zykina, Varvara, Mikael Tariverdiev, Alexander Zhurbin, Dima Bilan, Tikhon Khrennikov, Philip Kirkorov, Valentina Tolkunova and others.

Hall addresses

As mentioned above, the Russian Academy of Music has several halls. Gnesins. The address of the most important of them is Maly Rzhevsky Lane, building No. 1. The remaining several halls are located on Povarskaya Street, building No. 30/36. This is the academic building of RAM. There are: the music living room of Shuvalova’s house, the Small, Chamber and Organ halls. They are all located on the 4th floor of the academic building, in classrooms numbered 73, 75 and 90.

The concert hall of the Gnessin State Musical and Pedagogical Institute (as the Academy was called until 1992) was opened on November 21, 1958.

The history of the construction of the hall of the largest music university was quite complex and lengthy. Back in 1936, the project for the new building of the Gnessin Music College and School was approved (there was no institute yet - it arose in 1944 as the highest level of a full range of music education). The author of the project was the architect A.V. Tishin. It involved the construction of a hall with 500 seats and designs for the interiors of the hall, stage, etc. were developed. Construction of the building began in 1937. Thanks to the incredible energy and perseverance of El. F. Gnesina, who constantly appealed to the highest authorities, construction continued successfully until the start of the war, but after that it was frozen.

In 1943, Gnesina sought to resume construction. The construction had to be carried out with great difficulty - there was a war, no workers, materials, or financial resources were allocated. With the creation of the Gnessin Institute (GMPI) in 1944 and the planned opening of a ten-year Special Music School, the Gnessin Combine arose, consisting of four educational institutions of all levels of music education. The building was urgently needed. Director - El. F. Gnessin - continuously submitted petitions regarding construction (she wrote to V.M. Molotov alone at least seven times). Its pace was slowing down all the time, and Gnesina had to make enormous efforts to speed up construction. In this regard, it was decided to split the construction into three stages. The last one was the Concert Hall, and its construction was postponed. In 1946, the main part of the building (the first stage) was completed. The institute and the entire “music plant” grew rapidly. Many large educational groups appeared - choirs, orchestras, and opera class performances took place. The problem of training groups was constantly getting worse, and for each concert it was necessary to rent halls (after all, the Institute only had a Small Hall). The lack of their own hall significantly slowed down the entire work of educational institutions.

In 1954, taking advantage of a suitable situation (awarding the Order of Lenin in connection with the 80th anniversary), El. F. Gnesina resumes active attempts to achieve the construction of the hall. She turns to the then head of government G.M. Malenkov, then to other bosses (Chairman of the Moscow City Executive Committee) with persistent requests. As a result, in 1956 a new hall was laid. After construction began, the original design of its interior was changed at the insistence of a major expert in acoustics, Professor S.P. Alekseev. Construction still did not progress fast enough, and students, teachers and employees of the Institute constantly provided assistance to the builders. “Subbotniks” were organized - this happened especially actively at the final stage of construction. Ate. F. Gnesina supervised the entire construction - she chose the materials herself (for example, she several times refused the proposed options for a large chandelier and demanded the installation of chairs from the best varieties of Karelian birch). All work was directed by the director of the Institute, Yu. V. Muromtsev. The opening of a new hall in Moscow was widely covered in the newspapers.

It was assumed that the capabilities of the hall's stage would be universal: large groups could perform here, opera performances could be staged (for which the orchestra pit was made) - this gave special value to the hall. The installation of an organ was also planned (it was even ordered and manufactured). But during the initial calculations, they could not find a solution in which both the organ and the orchestra pit could be installed at the same time, and organs in the hall appeared only many years later - in 1995.

Many famous Gnesin performers, including Lev Oborin, performed at the gala concert dedicated to the opening of the hall. The symphony orchestra of students of the institute under the direction of O. M. Agarkov performed a specially written “Solemn Overture” by composer F. E. Vitacek.

After this, several more gala concerts took place. One of them was conducted by Evgeny Svetlanov - three piano concertos by Rachmaninov were performed.

Almost from the very beginning of the hall's existence, student opera performances began to take place here. The first of these was Mozart's Don Giovanni. The hall stage provided the opportunity for a full-fledged stage version of the performance - with scenery and full orchestral accompaniment. The result of the work on preparing performances and opera excerpts with students was the creation of the Institute’s Opera Studio. It opened in 1976 with Mozart's Le nozze di Figaro (the studio received official status in 1978) and began presenting regular performances throughout the season.

The permanent director of the studio is Yu. A. Speransky: thanks to his enthusiasm, it quickly turned into a real theater, gained great popularity, and began to conduct numerous educational cycles for children. Over the years of operation of the Opera House-Studio, 30 premieres have been prepared.

The teachers of the Institute immediately developed a series of concerts and subscriptions, with special importance attached to educational concerts. In such thematic concerts (and concert cycles), musicologists gave opening remarks. In the first years, a lecture hall was equipped directly next to the hall (on the third floor), in which, before the start of the subscription cycle concerts, a musicologist gave a short lecture to the audience with a short lecture on the upcoming program. Up to 20 such subscription cycles were held annually in the hall, where teachers and students of the university performed.

In addition to concerts organized by Gnessin residents (guest musicians were often invited), from the very beginning the hall was used by other organizations. Two concert organizations that in Soviet times had a “monopoly” in Moscow - the Moscow Philharmonic and Moskontsert - constantly held chamber, symphonic, and choral concerts in the Gnessin Hall.

The hall for music schools in Moscow turned out to be especially attractive. The opportunity for orchestral and choral groups and soloists to perform on the big stage was used by almost all musical educational institutions in Moscow - and not only in Moscow. For many, the main reporting concert of the year (or even the anniversary one) was the concert in the Gnessin Concert Hall. Of course, the Gnessin schools performed here especially often (a tradition that took place until the mid-1970s is being resumed again at the beginning of the 21st century - these are joint concerts of all representatives of the Gnessin complex).

Of course, over half a century the hall has hosted so many memorable concerts and music festivals that any selective listing of them is absolutely impossible. All the outstanding musicians who worked in educational institutions named after the Gnessins performed here. Their anniversary creative evenings were often held here. There were many premieres: for example, Maria Yudina, for the first time in the country, performed here with her partners Bartok’s Sonata for two pianos and percussion, and a number of premieres were performed here by the Madrigal ensemble. Many of Stravinsky’s works were performed for the first time (including Le Noces, forgotten for many years). Gala concert for the 100th anniversary of the birth of El. F. Gnessina in 1974 included the first performance of the composition “Eugene Onegin” with music by Prokofiev. Here, for the first time, almost all of Webern’s works (for his centenary), “The Unknown Rachmaninoff,” and evenings of 20th-century music were performed in one concert. The Russian premiere of Haydn's opera Orpheus and Eurydice (The Soul of a Philosopher) took place here in 1995 under the direction of J. Boning and under the patronage of the legendary singer J. Sutherland, who was present at the concert. It is impossible not to recall, even in such a cursory sketch, the repeated performances in the hall of Svyatoslav Richter - he specially dedicated his solo concert in 1966 to the memory of Olga Fabianovna Alexandrova-Gnessina.

Big festive events were the 90th birthday of Elena Fabianovna Gnessina (1964) - numerous “stars” of music came to congratulate her; 25th anniversary of the Gnessin Institute (1969), 50th anniversary of the Academy (1994), when E. F. Svetlanov, a graduate of the university, conducted the student orchestra; 60th anniversary of the Academy and 130th anniversary of El. F. Gnessina, when the monument to the founder and permanent head of the Gnessin educational institutions was unveiled in front of the entrance to the hall. The most important events in the life of the university - from annual meetings on the occasion of the new academic year, various exams and to historical meetings with outstanding people - take place here. On January 24, 1964, a meeting took place in the hall with one of the most famous people on the planet - Yuri Gagarin.

The most important change in the life of the hall occurred in 1995. On the initiative of organist A. V. Fiseysky, two large electric organs were ordered - in Holland and in England. One of them was donated by the Academy, the other was purchased by the city government. The grand opening of the organs took place on October 25, and the hall became the only one in Moscow where two organs were installed. One of the first organ evenings was the concert of Irina Arkhipova with Oleg Yanchenko, which became a big event.

Good evening! This year she is an applicant for pop and jazz singing. I decided to look for reviews (for some reason right now), it’s strange that there are almost none. So, I can say the following: the university is considered the most prestigious higher musical institution, and accordingly it has the greatest demands. Believe me, they are the biggest.
She graduated from the Sochi College of Arts in 2013 and decided to enroll there. Passed tests in Russian language and literature. I didn’t take the Unified State Exam because, as you understand, I had a secondary education. Many, by the way, despite this, passed the Unified State Exam and, in my opinion, greatly regretted it. DO NOT TAKE THE USE if two compulsory subjects can be taken as entrance exams. The probability of getting a HIGH score is very high, while on the Unified State Exam in the same literature you will get 70 as a maximum, well, unless, of course, you are a masochist :) The Russian Unified State Exam is easier, but you must admit, writing a dictation and getting 95 points is much easier than writing Unified State Exam in Russian? All this applies to children who have received secondary vocational education; others, if I’m not mistaken, will have to pass the Unified State Exam in Russian and literature in order to enter music universities and more. In literature, the entrance exam is also not difficult, if you have read all the works of Russian school literature, well, and know what each work is about, without much fanaticism, consider that you have written the exam with a decent score! A very simple test compared to the Unified State Exam.
As for the entrance tests in written and oral music theory, here things are much(!) more complicated. In theory, you need to swim. This is what they give to pop-jazz vocals, at least that’s what we had today, and I think they don’t change the requirements every year: 1. write a dictation (the teacher plays about 6 times at a moving tempo, the dictation is complex, with constant chromaticisms ); 2. The written work consists of 5 points - a) write a major pentatonic scale from the sound C, write a melodic minor scale from the sound C. It is not difficult; b) intervals are given, you need to define them, indicate the keys and resolve them as many times as possible, again, they ask without fanaticism; c) seventh chords are given, they need to be determined, keys indicated, and resolved in the same way; d) a chain with designations is given, for example: subdominant sixth chord, dominant fifth sixth chord, tonic triad, etc. You just need to write down these chords on the staff in a given sequence; e) given a melody, it needs to be transposed by, for example, a chromatic semitone down. That's all. In principle, nothing complicated, but the difficulty lies in the fact that all the chords are not given in key, so learn all the intervals of the pentatonic scale.
The day after tomorrow I will take music theory - orally (you come on two different days, then the results are summarized as one exam in music theory). In theory, they ask verbally by ear, demand to sing from sight, etc. The most difficult exam, according to Ksenia Valerievna Politkovskaya, promises to be a specialty and a colloquium. It is very difficult to score a high score in this specialty. As I understand it, it doesn’t matter what kind of voice you have or whether you are very talented, etc. I don’t know by what criteria this exam is assessed (there’s no question of dirty intonation, of course, there’s something else there, but I don’t know what yet) If you get 82 in Russian average and 80 in literature (well, that’s not average, of course, these are high scores, but nevertheless), then in your specialty your average score is 60 O_0!
The colloquium is complicated because you yourself know how well or not well you know jazz, jazz history, creators, many names, their biographies, etc. They ask everything, but jazz is specialized, so you need to know, and if we also tell you about Miles Davis, then the stereotype of club-headed vocalists will evaporate and completely dissipate in the air :) IT IS MANDATORY TO KNOW the fable (well, or not necessary, if, of course, 60 points normal for you). Name jazz standards, great singers and singers of jazz. She is highly approved.
Regarding budget places, there are ONLY 4 of them!!! This year there are 127 vocalists, 20 places in total, 16 paid, 4 free. And this is still a small number of applicants, as they say. In general, you understand, they will enter on the budget, I don’t even know who will enter, to be honest, I’m really looking forward to this moment to understand this topic, who will enter pop-jazz singing at the Academy. Gnesins for budget places... I heard from the guys who are applying for the second time that “they” push college students into these 4 places. But this year there are no students from college... And, of course, this is unfair.
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