The role of "Hail" by M.I. Glinka in the music of the parades of the second half of the XX – beginning of the XXI century

Zubarev Sergei Alekseevich ORCID: 0000-0002-6715-2776 Postgraduate student, Department of History of Music, Rostov State Conservatory named after S. V. Rachmaninov 369162, Russia, Republic of Karachay-Cherkesskaya, gorodok Storozhevaya-2, Gornaya str., 15, sq. 50 vzlomsigl@mail.ru

The work "Hail" by M.I. Glinka, first presented to the public in 1833, occupies a special place in the history of Russian music. The importance of the opera "Life for the Tsar" ("Ivan Susanin") in Russian musical culture was emphasized by famous Russian scientists, first of all by the first musicologist-academician B.V. Asafyev ^{[1; 2]}. With its sublime sound and heroic character, this piece of music quickly became a symbol of national unity and patriotism. Despite the dynamics of the socio-cultural development of the country, "Hail" continues to be heard at significant events. "Hail" is not just the final chorus of the opera "Life for the Tsar", it is a monumental work in which the image of the victorious Russian people is embodied with utmost force and vividness. The idea that permeates the entire opera reaches its apogee in "Glory".

M. I. Glinka skillfully synthesized elements of various folk song genres in "Hail", solemnity and epic power give the chorus the features of the anthem. This is also emphasized by the chord-cantonal warehouse of the choir ^{[10, p. 15]}. The harmonization is based on simple diatonic chords, which creates a strict, archaic flavor, and a simple but majestic melody resembles a bell chime ^[3]. Glinka himself called this choir a "hymn march" ^{[7, p. 1149]}, emphasizing its active, strong-willed character. Elastic rhythms, symmetry of construction and fanfare performances create the image of a military procession.

After the end of World War II in 1945, "Glory" acquired a new sound, becoming part of the military ritual used at the Victory Day Parade in Moscow. The author of the new edition of "Hail" is Evgeny Petrovich Makarov (1913-2003)– a composer and military conductor. Evgeny Petrovich started studying music only in high school. While studying at Moscow University at the Faculty of Chemistry, he continued his music studies and even joined the student composer's circle. After graduating from Moscow University, Makarov entered the Moscow Conservatory, and in 1941 he was mobilized into the active army as a commander of a chemical protection platoon. In 1942, he was seconded to the Military Faculty of the Moscow Conservatory, from which he graduated with honors in 1944.

The arrangement of "Hail" by the military conductor, the head of the first Soviet military orchestras S.A. Chernetsky suffered from significant shortcomings, so Makarov performed a new arrangement. A military parade is a rather specific condition for the performance of such a work. Despite these difficulties, Makarov managed to maintain the main line of thematic development of the opera finale. To do this, he had to significantly shorten the chorus of the epilogue and make certain bills that did not contradict the overall composition of the work. The arrangement turned out to be compact and rich, characterized by flexible and expressive use of the sound of various timbres of orchestral groups ^{[4; 5, p. 10]}. Changes in the arrangement of "Hail" for the Victory Parade have modernized the musical heritage of this work and emphasized its relevance in the context of the post-war era, enriching the national cultural dialogue and supporting the spirit of patriotism in modern society. Let's look at what exactly has changed in "Hail".

The first question to be clarified is the ratio of the sizes, the number of bars in both scores. Glinka's score is significantly larger, and the reason for this is the context: in an opera, it is a chorus – the completion of a large stage work, its outcome, and the simplicity of the form in it would be illogical. Most often, the finale of an opera is the apotheosis, the pinnacle of development. Hence its certain redundancy. A laconic form with square constructions would be too simple and "unworthy" to occupy such an important position in the drama of the opera. After all, the genre of this opera is a folk historical drama, monumental and grandiose. The idea of patriotism, which matured throughout the opera, sounds very pretentious in the finale, and is finally confirmed.

On the contrary, the march, which became the choir in the edition of E. Makarov, should be concise, even lapidary, and brevity, squareness, proportionality and clarity are mandatory conditions for this. First of all, non-square sections in the spirit of anniversaries have been removed from the form, which give the music a particularly sophisticated, "elegant" look. Solo (vocal) episodes were also filmed, which in the opera are dictated by the plot necessity. It is worth recalling that in opera this chorus forms the core of the epilogue, while it is repeated twice, being two parts (the first and the third) of a complex three-part form. The middle is a sad trio "Oh, not to me, poor, violent wind ..." performed by Ivan Susanin's relatives (Vanya, Antonida, Sobinin). This contrast, of course, was filmed in the orchestral version. On the contrary, those sections in the choir that carry bright tonal shifts characteristic of the culminations of many works of classical music (for example: arias and overtures by Rossini, Ravel's Bolero) ? they are preserved, and, indeed, greatly decorated both the finale of the opera and the march, respectively. The coda crowning the entire composition has also been preserved. Its essence is the exclamations "Glory!", "Hurrah!" repeated by Tutti.

The key has been changed: in the original in C major (the typical key of hymns and various kinds of solemn "official" works), in the edition of Makarov in A flat major, convenient for transposing wind instruments. The first two performances in Makarov's score are identical, they carry the main idea of the march. The tempo relative to the original is much slower (which is convenient for the actual marching movement to mint a step). Rhythmic figures with short durations are either removed or transferred to such conditions so as not to dominate the rest of the material (in medium voices, without suppressing sonority). Already the third holding carries out a turn to completion, being the culmination with the appropriate attributes: a tonal shift, an enlargement of the rhythm, even more chiseled figures. Before the code there are bells, an extended drum roll, as if "delaying" the moment of the onset of the code. Maximum acceleration of the tempo code, bright and shiny.

In the third performance, attention is drawn to the melodic figure in the trumpet part with a hammered "fractional" rhythm, which gives more brilliance to the sound. Expressiveness is enhanced by sequencing (tonal shift, temporarily there is a feeling of minorality). Eight bars before the third performance is a change of texture, all the development here is concentrated in harmonic transitions. The third holding itself is a change of stroke to a jerky, even more chiseled one, pauses between thematic sounds, this is the beginning of the code (this emphasizes the change of tempo). The last stage is the actual code. It is separated by pauses and a section with large stamped "chanted" intonations of the theme. The form edited by E. Makarov carries a completely clear idea of solemnity, clarity, rationality, and squareness. This is fully justified by the tasks set – a solemn march, the use of which has already become a practice. At the same time, the work remains the bearer of a patriotic idea.

The performance of "Hail" at the Victory Parade was the idea of S. A. Chernetsky, it was he who suggested to the commandant of Moscow to perform the final chorus of "Hail" from the opera by M.I. Glinka "Ivan Susanina" ^{[9, p. 3]}. The performance of "Hail" in 1945 and the performance at the present time is somewhat different. Firstly, in 1945 there were more participants in the Victory Parade and the ceremonial detour of the troops was on a larger scale. The extreme parade crew, where G. K. Zhukov congratulated the personnel on the victory, was located on Manezhnaya Square, and next to it there was a small orchestra, which, after congratulations, begins to perform a "Counter March", and not "Hail". At this moment, in front of the mausoleum, the drummers and a group of fanfarists come forward. And only after the commanders ascend the Kremlin Passage to Red Square, the "Hail" begins to sound.

The commandant of the Sokolniki district of Moscow, Major I. L. Antonov, approved the idea of S. A. Chernetsky and wrote a report to General K. R. Sinilov, who in turn agreed on such a variant of execution. General Sinilov wrote in his report: "I would think that the most convenient moment for its execution is when the host parade returns after detouring troops to Red Square, at which time the troops greet the host with shouts of "Hurrah!”and the guests from the stands applaud, and at the same time Glinka's music “Glory to the Motherland” is solemnly booming, merging like in the opera Ivan Susanin with the ringing of bells as a sign of the victory of the Russian people. It will be both solemn and beautiful."^[8] And when Zhukov drove up to the mausoleum, dismounted and reached the podium, the military band stopped playing. After the report to the Supreme Commander-in-Chief, the Moscow parade fanfare was played under the leadership of V. I. Agapkin.

Secondly, it is necessary to take into account different means of transportation. Currently, after the Minister of Defense congratulates the parade crew, he begins driving a car towards the mausoleum to report to the Supreme Commander. It is no coincidence that in "Hail" there is a moment of fermata over the tremola of the drums. This is an ideal place to calculate the time before the arrival of the Minister of Defense to the Supreme Commander. If the Minister of Defense has not yet managed to get to the mausoleum and stop, then the farm is dragging on. The military band continues playing after the car of the Minister of Defense stops at the mausoleum. This time is enough for the Minister of Defense to reach the Supreme Commander-in-Chief and for the orchestra to fully complete the work.

In 2011, another innovation in the performance of the solemn march "Glory" was introduced by the head of the Military Orchestra Service of the Armed Forces of the Russian Federation, chief military conductor V. M. Khalilov. The march "Hail" was included in the official collection "Music of military rituals" ^[6]. The performance of the first performance of "Hail" is now performed without the participation of percussion instruments. Only after the end of the first performance did the percussion instruments come into play on fortissimo. The introduction of this change was dictated by the desire to enhance the solemnity and monumentality of the performance. Without the accompaniment of percussion instruments, the melody sounds more restrained and majestic, giving the impression of severe restraint and readiness for action. The introduction of percussion instruments to fortissimo after the completion of the first performance produced a climax effect, revealing the full power and steadfastness of the Russian army. The abrupt and unexpected transition from a restrained sound to a powerful blow underlines the strength and determination of the defenders of the Fatherland. The performance of "Hail" in a new interpretation has acquired a deeper and more penetrating character, emphasizing the patriotism and spiritual strength of the Russian people. This tradition of performance lasted until 2020. Currently, these changes have been removed, and percussion instruments come into play at the very beginning (the edition of E. Makarov has been restored).

The work of M.I. Glinka "Glory" has acquired special significance in Russian history and culture, becoming a symbol of national unity. The performance of "Hail" at the events of the Armed Forces of the Russian Federation continues to support the spirit of patriotism and emphasizes the contribution of the military orchestra to military rituals and solemn events. Changes and innovations in performance over the years have enriched the musical expression of the work, enhancing its solemnity, monumentality and emotional impact.

M.I. Glinka's "Hail" in the musical edition of E.P. Makarov remains an integral part of the Russian cultural and military heritage, preserving and passing on to future generations the values of patriotism, honor and loyalty to the Motherland. A comparative analysis of the scores by Glinka and Makarov showed that Makarov not only shortened the work, but also reinterpreted it, creating a new musical form corresponding to the military ritual. As a result of these changes, "Hail" turned into a concise and dynamic march that became a symbol of patriotism and the strength of the Russian people.