Musical and creative life in the Tarsky Priirtyshie in the second half of the 20th century: periods, communities, personalities

Tikhonov Aleksandr Aleksandrovich ORCID: 0000-0002-2935-9872 Head of the Department of scientific, methodological and educational work in Multimedia historical park "Russia - my history" (Omsk) 644074, Russia, Omsk region, Omsk, ul. 70 Let Oktyabrya, 25, building 2, of. Historical Park tihonovboss@mail.ru

In recent years, the local history direction has changed significantly. The problems of research have shifted from political aspects to the problems of the world of culture. The topics of philosophical, historical, and cultural studies are deepening. Local historical studies have proven themselves well. According to L. P. Repina, the binding "to clearly limited, and therefore better intelligible social contexts" ^{[1, p. 71]} led to impressive results. At the same time, researchers focus on both local groups and the processes of their formation and development. The local community begins to be considered comprehensively, like a social organism, a microcosm.

In the regions of Russia, a large number of studies are published aimed at studying cultural life in individual localities, the specifics of local groups and their genesis. Scientific and practical conferences at both the regional and All-Russian levels serve as platforms for presenting the results of such studies. In the Omsk region, with the participation of the scientific community, various regional and All-Russian conferences are held, including "Anoshin Readings" (Bolsherechye), "Vaganov Readings" (Tara), "Dravert Readings" (Omsk), etc., in which local historical research is presented to the public, among others.

Consideration of the dynamics of cultural life is also found in dissertation research. Thus, in E. V. Sokolova's dissertation "Formation of the cultural space of small towns of the Middle Irtysh region in the 1920s-1980s" ^[2], much attention is paid to the formation and development of municipal cultural institutions, their influence on the cultural space of a small city. The work of E. V. Sokolova is the first specialized study devoted to the history of small towns of the Middle Irtysh region in the conditions of Soviet society. Sokolova writes:  "... the main trends in changes in the cultural space of small towns, as well as in large cities, arose under the influence of the policy of socialist construction, national economic priorities and ideological attitudes towards the formation of values of a new culture" ^{[2, p. 44]}. At the same time, E. V. Sokolova notes that "the framework of the cultural space of cities is the architectural and planning environment" ^{[2, p. 14]}, only casually touching on the topic of the role of personality, individual initiative in the formation and development of creative associations and cultural space as a whole. It is also worth highlighting the work of N. A. Sedelnikova "Regional local history as a socio-cultural phenomenon (based on the materials of the Middle Irtysh region of the 1930s — 1980s)" ^[3], in which she examines the influence of local historians on the cultural space of the region, including the example of the city of Tara and the Tarsky Irtysh region. 

The basic concepts used in our work have been tested in interdisciplinary practices at the intersection of history, cultural studies and a number of other disciplines. The key concept in this work is "cultural space", interpreted as a set of socio–cultural objects associated with the creation and dissemination of cultural values in a certain territory.  Also in this article we rely on such concepts as "local history" (as a practice of historiography aimed at constructing local historical memory) and "cultural nest" (based on modern interpretations of the work of N. K. Pixanov ^[4] - as the territory of the formation of a special socio-cultural environment).

The writing of this article was based on a social approach to the history of culture of the XX century, actively used by V. L. Soskin and Novosibirsk researchers who worked under his leadership. Methodological practices of the "new local history" complement this approach. The key studies that we refer to in the framework of the study are the works of S. O. Schmidt ^[5], theoretical and methodological works of T. A. Bulygina and S. I. Malovichko ^[6], M. I. Mokhnacheva ^[7], M. F. Rumyantseva ^[8], L. P. Repina ^[1], O. B. Leontieva ^[9] and a number of other researchers.

The materials of the periodical press and archival funds reflecting the history of the development of musical groups and the musical and pedagogical direction in educational institutions of the Tarsky Irtysh region of the second half of the XX century were analyzed. Among the materials considered are paperwork documents, memoirs of direct participants in the creative process in the north of the Omsk region, etc.

This article attempts, on the basis of the above-mentioned documents, to trace the process of changes in the musical and creative life of the Tarsky Irtysh region in the second half of the XX century. In dynamics, to identify key figures: composers, teachers, performers, as well as to consider the influence of cultural and educational institutions on the training of creative personnel and the cultural life of the north of the Omsk region. One of the objectives of the article is to identify the main milestones of the creative path of the most significant figures of musical culture of the Tarsky Irtysh region. Given the lack of comprehensive works devoted to the history of musical and creative life of the Tarsky Irtysh region, this article is the first work systematizing extensive material about the history of musical life in the north of the Omsk region of the period under consideration.

Considering the musical and creative life of the Tarsky Irtysh region, two main stages of the development of the musical and creative community can be distinguished:

Stage 1 - 1950s – 1960s is characterized by the appearance in the Tarsky Irtysh region of a base for academic training of creative and pedagogical personnel (Omsk Regional Cultural and Educational School), as well as the appearance of amateur choral and other musical groups under the guidance of specialists in the field of culture. This is a period of building connections between professionals and amateur musicians, involving the population in musical and creative life, forming a full-fledged local creative community.

Stage 2 – 1970s –1990s. It is characterized by the arrival of a generation of professionals in Tarsk cultural institutions, many of whom in their youth participated in the work of amateur music, received an academic education and returned to their small homeland with the necessary knowledge and understanding of the cultural space of the Tarsk Irtysh region. During this period, creative dynasties are being formed, interaction with literary and theatrical communities is increasing, creative collectives, previously considered as amateur, receive professional recognition.

Let's consider the key events and identify the most significant figures of the musical and creative community of each of the periods.

Since the 50s of the XX century, musical training in the city of Tara and the Tarsky Priirtyshye was provided by the Omsk Regional Cultural and Educational school. M. Ya. Zagorenko, V. K. Antipov, A. A. Ekgardt worked as teachers in the bayan class, E. Tolpygina taught choral art.  

Agit brigades led by A. A. Ekgardt and P. P. Laketko traveled through the villages of the district. In 1950, a children's music school was opened in the city, whose teachers were graduates of the Omsk Music School named after V. Ya. Shebalin: E. N. Zinkova, M. S. Trushnikov, M. Ya. Zagorenko and others. In 1975, a choral department was opened, headed by M. S. Shchetinina. Under the leadership of Pyotr Filippovich Matsipulo (later under V. K. Antipov and R. V. Sokolova), the choir operated at the House of Culture.

Yevgeniya Yemelyanova, a teacher at the art school, recalls that it was during this period that learning to play the accordion "... develops in Tara thanks to the first professional accordionist Mikhail Yakovlevich Zagorenko, who came to the Tar Music School in the 50s" (Hero of the Day. Interview with Evgeniya Fedotovna Yemelyanova // Taragorod: website. Access mode: https://taragorod.ru/news/tarskoj_detskoj_shkole_iskusstv_60_let/2011-03-30-242 . Date of application: 11.01.2023).

In 1954-1955, a graduate of the Tsarskoye Selo Lyceum, professor of the Shanghai Conservatory, composer Sergei Sergeevich Aksakov, great-grandson of the Russian classic Sergei Aksakov, worked as a piano teacher in Tara. A. Kuleshov writes: "He managed to get a job as the head of piano and theoretical classes at the music school of the city of Tara, Omsk region. At that time it was a provincial, exclusively wooden one-story town" ^[10].

Describing the situation in the culture of this period, journalists write: "Amateur art was on the rise. Large creative teams were created in the hospital, at the plant named after him. Chkalov, in the district communications hub, river port, consumer service RPU, in schools and educational institutions. <...> The annual festivals of youth amateur groups "Irtysh Dawns" were held on a grand scale (the Tarsky Komsomol is 100 years old // Tarskoe Priirtyshye: website. Access mode: https://tp-tara.ru/news/1846 . Date of application: 03/27/2023).

In 1954 Pyotr Filippovich Matsipulo organized a choir in Tara. In a newspaper publication in 1959, they write about the choir team as follows: "There are many enthusiasts and true lovers of singing of various ages and professions in the choir. Among them are K. Sergeeva from the society of the blind, P. Rostikov from the district hospital, soloists: DOSAAF instructor N. Gudinov, forestry engineer V. Gritchin, KPS teacher A. Nikolaenko, educators R. Kozlova and many others" (Kuzmin, A. Songs sound // Leninsky Way. - 1959, February 4 – p. 4). After Matsipulo, the choir was headed by Viktor Kuzmich Antipov, continuing to develop it, and in 1968 the choir was awarded the title of folk.

A significant personality for the musical and creative community of the Tarsky Irtysh region is a teacher, a graduate of the Novosibirsk Conservatory Raisa Ivanovna Bezzubova.

E. A. Kabanova recalls: "The teaching staff of our school also shone in the general wave of enthusiasm for amateur art. R. I. Bezzubova became the head of the ensemble. It was she who identified our soloists — T. G. Mezenina and A. D. Bezzubov" ^[11]. M. S. Shchetinina echoes her: "Raisa Ivanovna worked at a pedagogical college, but she was often invited to a music school. It turned out that she combined work in two institutions and tried to gather like-minded people around her in each, was a supporter of the Sukhomlinsky method. A passionate choirboy, she formed a chamber choir from the teachers of the music school, and in the pedagogical school she organized teachers who were passionate about music to study in the choir" (Materials of a conversation with M. S. Shchetinina 11.10.2021 // Personal archive of the author).

 In September 1968, a group of bayanists and accordionists, numbering more than twenty participants, appeared in the regional Palace of Culture. A year later, he became an orchestra of Russian folk instruments. The musicians recall: "The orchestra's studies were hindered by the lack of the necessary instruments. <...> I had to revise my work plans. Russian Russian folk instruments Orchestra was decided to be created on the basis of the accordion orchestra" (Photo album with memories of the history of the creation and formation of the orchestra of Russian folk instruments of the Tarsky District House of Culture, compiled by V. V. Olshansky. 1972 // Archive Department of the Administration of the Tarsky Municipal District of the Omsk region. F. R-52. Op. 1. Ed. chr. 12)..

The orchestra of Russian folk instruments was attended by people of different professions and ages, united by a love of art. The golden voices of Tar culture sounded: Vladimir Shevelev, Valentina Dolgova, Faina Smirnova, Nina Shikovets, Nikolai Lisovoy, Irina Freer, Nikolai Maltsev, Leonid Toropov, Irma Fritz. The orchestra performed songs based on poems by local poets. There was a "Tarsky waltz" (poet Mikhail Belozerov), Yuri Konyshev wrote the song "Tarsky Bells" (poet Sergey Malgavko), etc.

An important role in the formation of the orchestra was played by V. V. Olshansky, later awarded the title of Honored Worker of Culture of the RSFSR and the title of Honored Worker of Culture of the Russian Federation. Olshansky was born in Tara. In 1959 he graduated from the Omsk Music College named after V. Ya. Shebalin in the accordion class, after which he returned to his hometown and entered the Tarsk School of Arts. From 1968 to 1973 he studied at the correspondence department of the Institute of Culture of the city of Ulan-Ude, majoring in Orchestral conducting. From 1993 to 1998 he directed the Tarsk School of Arts.

The second stage in the development of the musical and creative community is the time of the creation of various musical groups. With the assistance of G. V. Mikhailov, a brass band, creative collectives at enterprises, and the Retro ensemble were formed. In 1993, the vocal ensemble "Ryabinushka" appeared in Tara. The initiators of its creation were veterans of pedagogical work Nina Dmitrievna Belyanina and Inna Vasilyevna Derina, and the founder and first leader of the ensemble was Arthur Adolfovich Ekgardt. Later he was replaced by Gennady Vladimirovich Mikhailov, and then by Tatiana Alexandrovna Mikhailova.

In 1971 The orchestra of Russian folk instruments was awarded the title of folk. In 1979, Tarchans became laureates of the Omsk Komsomol Prize. Here are just some of the achievements of the collective during this period: laureate of the I All-Union Festival of Amateur Artistic Creativity, diploma winner of the All-Russian Zonal Orchestra Competition in Chelyabinsk (1990) and the I All-Siberian Competition in Krasnoyarsk (1992), etc.

Tarsk journalists report: "Families played in the orchestra: Evgeny Ivanovich and Nina Viktorovna Nazarenko, Evgeny and Vera Gulyaev together with their son Alexei, Vladimir and Natalia Shevelev, Viktor and Tamara Kalekin, Lyudmila and Nikolai Lisov, Anatoly and Lyubov Fedorov, brothers Alexander and Gennady Mikhailov together with Gennady's wife Tatiana… Vladimir Vasilyevich taught his wife, Lyubov Ilyinichna, who worked as a pediatrician, to play the domra, and she also joined the orchestra" (Tarsky Komsomol is 100 years old // Tarskoe Priirtyshye: website. Access mode: https://tp-tara.ru/news/1846 . Date of application: 03/27/2023).

One of the orchestra's pupils is musician Anatoly Valentinovich Fedorov. As a schoolboy, he joined the orchestra of Russian folk instruments, and after graduating from school in 1970, he got a job as an accompanist in the district House of Culture. In 1973 he entered the Omsk Musical College named after V. Shebalin at the Department of Folk Instruments, after which he was sent to the Tarsk School of Arts as a music teacher in the bayan class (since 1977). He graduated from the Novosibirsk Conservatory. In 1986 he became the head of the orchestra of Russian folk instruments and still remains its leader and conductor. In 1998, Fedorov took the post of director of the Children's art school.

His wife, Lyubov Nikolaevna, in 1989 organized a children's folklore ensemble "Tall Tales" in Tara. In 1991, the collective received the title of national. The piggy bank of achievements of "Tall Tales" includes victories in the regional contests "Omsk Star", "Ringing Voices", the E. Kalugina Russian Song Contest and many other All-Russian and international awards.  

Musical creativity in Tara is inextricably linked with the name of the teacher Vera Alekseevna Shnitko. In 1979 she graduated with honors from the piano department of the music school. Shnitko's mentor was Raisa Ivanovna Bezzubova. Having continued her musical education, in 1982 Shnitko graduated from the Sverdlovsk State Conservatory. Mussorgsky, and in 1985 graduated with a red diploma from the conducting and choral department of the Omsk Music College. Shebalin.

Vera Alekseevna initiated the creation of a choral shift in the children's health camp "Lesnaya Polyana", where the choir members rested and engaged in vocals. She also joined the group of teachers who took the initiative in 1994 to create a branch of the School of arts on the basis of Tarskaya Secondary School No. 4.

From 1994 to 1997, she led the choir of teachers of the DSHI, since 1995 — the vocal quartet "Cantilena". From 1991 to 2000, she led the church choir of the Spassky Cathedral.

For a long time, Shnitko headed the methodical association of teachers of the choral composition of the northern districts and proposed a project for conducting zonal workshops with the participation of leading teachers of the region and the festival of vocal and choral music "Inspiration" named after R. I. Bezzubova for the northern districts.

V. A. Shnitko's students are winners of zonal, all—Russian and international music competitions, continuers of the creative tradition.

One of the most famous musical dynasties is the Shevelev family. The head of the family, Vladimir Aleksandrovich Shevelev, received the position of head of the choir of the House of Culture in 1972. At this time, he also taught music literature lessons. When in 1976 the music and art schools were merged into one children's art school, Shevelev received the position of deputy director of its music department. By that time, Vladimir Alexandrovich was an experienced teacher, and in the shortest possible time he achieved the inclusion of an instrumental pop ensemble for high school students in the curriculum of the class, a quartet of teachers was formed. In 1988, a variety department was opened at the School of Arts.

Irina Sumina in the article "The Ascetic of Culture" writes: "In 1994, he took an active part in the preparation of the City Day, namely, he was one of the organizers, author and performer of a song contest dedicated to the 400th anniversary of the city. V. A. Shevelev prepared for publication a collection of songs on poems by Tar poets Sergei Malgavko, Alexander Deryushev, Mikhail Belozerov, Omsk poetess Tatiana Chetverikova" ^{[12, p. 84]}.

For a long time Shevelev led the ensemble "Elegy". This collective began to form in 1970. "Five school friends — Yuri Makarov, Zhenya Zhemchugov, Volodya Tarabukin and two Alexanders — Knyazkov and Pirogov, inspired by the work of the English bands "Beatles" and "Rolling Stones", who had no special musical education, picked up instruments, and rock'n'roll burst over Tara.roll" (Sibirskaya I. Plays in the city garden ... // Tarskoe Priirtyshye. 2012, July 25, p. 17). But it was only under the leadership of V. A. Shevelev in 1972 that it received a name and took shape as a full-fledged ensemble. Since 1973, Elegia has participated in various regional competitions and festivals.   In 1976 - in the song festival in Sochi.

The composer's wife, Natalia Alekseevna Sheveleva, is a graduate of the Tarsk Music School (a student of R. I. Bezzubova), a musician and teacher. Sheveleva's name is associated with the strengthening of the variety and choral departments, the preparation of a galaxy of students. "I am extremely happy," writes Sheveleva, "that out of all my students there is not a single one lost, everyone has a specialty, everyone is at work, and no one has been left out of life. If we take the current staff of the art school, then half of the teachers are my students: Galya Vlasova, Lena Sibirskaya, Marina Lavruk—Zizina and others. Ira Sapronova works as the director of the Znamensky House of Culture, Lena Atyurevskaya (Telegina) lives in St. Petersburg, directs the musical theater "Bell". She writes songs, poems herself, has already released several collections" (Bergutova I.A. Seven Notes by Natalia Sheveleva // Tarskoe Priirtyshye. 2000, 2 Aug. p. 4).

After the death of V. A. Shevelev in 2005, the Vladimir Shevelev Prize "For Contribution to the Development of Culture" was established. The first prize was awarded to the Shevelev family — the widow, teacher-musician Natalia Alekseevna, and her son, composer and performer Dmitry Shevelev.

Tatiana Burundukova writes: "The director of the festival "Soul of Russia" Alexander Nikolaevich Tolstobokov told the audience the good news that Vladimir Shevelev's song "The City of Omsk" this year will be given the honorary right to be the first to sound at the opening of the Day of the City of Omsk, and proposed to assign the famous maestro the title "Patriot of the Omsk region" (T. V. Burundukova and his memory is like a song // Tarskoe Priirtyshye. 2005, 11 Aug. p. 3).

Now the V. A. Shevelev Prize is one of the most significant awards for cultural figures of the Tarsky Irtysh region. It has become a symbol of recognition of the achievements of musicians, artists, writers, educators, workers of cultural institutions.

The cultural life of the Tarsky Irtysh region of the period under review is eventful and diverse. One of the key areas is musical creativity. The development of the cultural life of Tara in the second half of the XX century was significantly influenced by graduates of the Omsk Regional Cultural and Educational School, teachers of the Tar School of Arts, representatives of creative collectives such as the orchestra of Russian folk instruments and the ensemble "Elegy".

It is important to have a close relationship in the creative community, where amateur participants and teachers of the art school were often students of musicians who graduated from a cultural and educational school or a music college named after him. Shebalin, and already their students repeated the path of mentors, linking their fate with musical creativity and training in appropriate educational institutions.

In the memoirs of contemporaries, we find the details necessary to correlate the changes that took place in the cultural space of the Tarsky Irtysh region and the personal contribution of musicians to the above-mentioned process. The family creative dynasties of musicians that developed during the period under review: the Shevelevs, Mikhailovs, Fedorovs and close working and friendly relations between Tarsk musicians made it possible to form a musical and creative environment in the Tarsk Irtysh region, characterized by the continuity of generations, close ties with cultural figures of other directions, and the complementary activities of musical groups.