Boris Kulikov Biography

State Musical and Pedagogical Institute named after M. Ippolitov-Ivanov, Moscow, Russia, VKIncoro Gmail. The main aspects of his creative, pedagogical and musical and public activity are considered in the context of topical issues of modern musical education. The material of the article is based on the author’s personal memoirs about the classes in the Chorovoye conducting class of the Moscow State Conservatory named after P.

The article can be of interest to a wide range of musicians, teachers, conductors, chormasters, as well as for students of higher and secondary musical educational institutions. His name is known not only in his homeland, but also in many European countries [1]. The glorified choral conductor, he was brought up in the best traditions of centuries -old Russian singing culture and conveyed his knowledge and experience to young musicians.

Boris Ivanovich Kulikov was born in June 10 in Moscow. Sveshnikova, K. Poultry, S. Blagod, V. Sokolov, S. Evseeva, I., after the end of the conservatory, he was called up for the actual service in the ranks of the Soviet Army and performed the duties of the conductor of the ensemble of the group of Soviet troops in Germany Berlin. In the year, the head of the Moscow Conservatory completed the musical education in the graduate school of the Moscow Conservatory, the head of K.

Kulikov took part in the preparation of the premiere performances of the works of G. Sviridov, Yu. Shaporin, V. Shebalin, D. Shostakovich, R. Shchedrin and other composers. As Hormaster Kulikov helped Sveshnikov in the audio recording of Rachmaninov's All -Night Vigil, the peaks of Russian spiritual music, for a long time devoted to oblivion in the Soviet era.

This plate, published in the year, was almost impossible to get in Russia even its listening to the All-Union Frame Studio took place in “closed” mode, many brought it from abroad [2,]. It was Boris Kulikov who organized the chamber choir of the Moscow Conservatory along with this, performed with a number of amateur choral groups - the Academy of Border Forces, the Club of F.

Dzerzhinsky and others. Under his administration, the oratorio “Childhood of Christ” G. Berlioz in Poland, “Requiem” by V. Shuman and “commandments of bliss” by S. Frank in the halls of Moscow, “The Liturgy of St. John Chrysostom” P. Tchaikovsky in Madrid, a program from writings of J. Mozart and John Damaskin S. Taneyev in Saratov. Along with creative activities, Boris Kulikov from a year until the last days of his life led a special class at the Department of Church Conducting of the Moscow Conservatory - a professor.

The teacher from God, Boris Ivanovich turned every lesson into an impromptu rehearsal with the choir. He was engaged in every different way, revealing the student's own potential. He considered the most important education of a musician who has intuition and the ability to holistically represent the choir score. The class repertoire was huge, repetitions in the programs are rare.

Boris Ivanovich showed a special pin to the music of the great masters of past eras. Each student necessarily studied the works of I. Bach, M. Mussorgsky, S. Taneyeva, P. The individuals of the students also included the works of composers of the twentieth century: P. Hindemit, B. Bartok, Z. Kodai, V. Tormis, S. Prokofiev, D. Shostakovich, A. Schnita, E.

Denisova, N. were given great attention to the technique of hands, they should have been “smart” and they should be “smart” and they should be “smart” and they should be “smart” and display the entire musical palette. It was necessary to conduct absolutely differently, taking into account the stylistic features of the works of different composers: E. Kenechka, B. Bartok, K.

Shimanovsky, I. Stravinsky, K. Debyussi, B. Britten, C. In this, Boris Kulikov fully followed the pedagogical principles of his conducting teacher-professor K. Bird, emphasizing that “mastering the style of fulfillment of execution means real penetration into the essence of the work, understanding and sensation of the laws and features of the composer’s artistic thinking, the ability to convey exactly what he wanted to say to his creation ”[3, 14].

For the creative appearance of B. Kulikov, a combination of intelligence with emotional warmth was characterized by the ability to cover the shape of the work as a whole with thoroughly decorating parts. In the classroom in the classroom, Boris Ivanovich devoted a lot of time to manual technique: the reception was worked out so that the “hand sang” so that there were beautiful smooth movements that corresponded to what is happening in the texture of the choir; There was work on a kind of "touch to sound." Particular attention was paid to the rhythmic basis of essays.

Kulikova was that the conductor, like a pianist, should be able to articulate stroke, show staccato, Marcato, Legato, soft or hard attack of sound. Different types of gesture were worked out: cystic, elbow, from the shoulder. The teacher developed a complex of technical techniques with students, similarly as this happens with instrumentalists, ”V. Polyansky emphasizes [4, 46].

In the lessons for conducting kulikov, he preferred methodically consistent interpretation and clarification of his lively show. With indefatigable energy, with full dedication, he showed the essence, the executive plan of the work studied by the student.The bright imagery and technical accuracy of his show was fascinated and impressive. In the class, discipline reigned, complete dedication and, at the same time, a creative atmosphere.

Boris Ivanovich Kulikov for about sixty years served in the Moscow Conservatory, raised more than one generation of choral conductors, many of them headed the most famous Russian groups to this day, and teach in leading higher educational institutions. Among them: M. Dmitriev, L. Eremenko, L. Zaborovsky, A. Zaboronok, V. Polyansky, S. Kalinin, V. Kontarev, E. Leskova, N.

Panova, L. Loginov, A. Nevzorov, Yu. Radishkevich, G. Smirnov, S. Tarakanov, E. Tugarinov, G. Malokina, M. Lynnik, O. Lapuzo, O. Pakhomova, Yu. Krasov, P.