Brusilovsky Evgeny Grigoryevich (1905-1981) - Soviet composer, People's Artist of the Kazakh SSR. Author of the first Kazakh operas, orchestral works. The composer's Peru owns nine operas, four ballets, nine symphonies and about 500 songs and romances. He is the author of the music for the National Anthem of Kazakhstan in 1945-1992 and 1992-2006 (1945, together with Mukan Tulebaev and Latif Hamidi). The name of Yevgeny Brusilovsky is on a par with such luminaries of Kazakhstani classical music as Erkegali Rakhmadiev, Bakhytzhan Baikadamov, Sydyk Mukhamedzhanov.

 

 Born October 30 (November 12, New Style), 1905, in Rostov-on-Don.

 

  In 1922-1924 he studied piano and composition at the Moscow Conservatory. Then he entered the Leningrad Conservatory in the composition class of M. O. Steinberg and graduated in 1931.

 

 In 1933 the Leningrad Union of Composers sent Brusilovsky to Alma-Ata. From 1934 to 1938 he worked as the musical director of the Kazakh Musical Theatre, creating the opera Kyz-Zhibek. In 1949-1951 he was the artistic director of the Philharmonic. At the same time, he has been working as a teacher since 1944 at the Alma-Ata Conservatory, and since 1955 Brusilovsky is a professor and head of the composition department at this conservatory. In 1939-1948, chairman of the Organizing Committee, in 1948-1953, chairman of the board of the Union of Composers of the Kazakh SSR.

 

  His most famous students: A. S. Zatsepin, B. Baikadamov, M. Tulebaev, B. G. Erzakovich, K. Kuzhamyarov, E. Rakhmadiev, S. Mukhamedzhanov.

 

 Brusilovsky author of the operas Kyz Zhibek (1934), Zhalbyr (1935), Er Torgyn (1936), Aiman-Sholpan (1938), Golden Grain (1940) , "Guards, forward!" (1942), "Amangeldy" (1945, co-author M. Tulebaev), "Dudaray" (1953), "Heirs" (1962), music for the ballet "Kozy Korpesh and Boyan Sulu" (1967), ropes "Soviet Kazakhstan" ( Stalin Prize, 1948), 9 symphonies, including the symphony "Kurmangazy" (State Prize of Kazakhstan, 1967), the music of the National Anthem of the Kazakh SSR (1945, together with M. Tulebaev, L. A. Hamidi), concertos for piano and orchestra , a large number of choral works, songs, romances.

 

 The work of his life was collecting and recording Kazakh folk songs and kuys (recorded more than 250).

 

 Evgeny Brusilovsky:

 

 quote:

 I was very lucky, I still managed to get acquainted with Makhambet and Nausha Bukeikhanov, Kali Zhantleuov, Dina Nurpeisova and many other dombra players who sacredly preserved folk music in distant villages. I still managed to hear the kobyz, the weapon of the steppe baksy. The horsehair made his sound mutely stifled, mystical. The Bucks knew his mysterious power.

 

Anthem Maker and more...

 

 If we owe Alexander Viktorovich Zatayevich the preservation of the best examples of Kazakh folklore, then Evgeny Grigoryevich Brusilovsky - the fact that he revealed their spiritual potential, raising them to the level of masterpieces of world musical culture. May the reader forgive me "clerical work", but in these anniversary days I would like to list directly point by point the main thing that a native of Rostov-on-Don Brusilovsky did for our republic:

 

 1. He became the founder of the Kazakh national opera and the author of its best examples: "Kyz-Zhibek", "Zhalbyr", "Er-Targyn", "Aiman-Sholpan" and the top creation - "Duda-rai". It is sad to realize that the last named opera is not staged today because of its revolutionary content, which is now out of fashion.

 

 2. His third symphony "Sary-Arka" paved the way for Kazakh symphony (nobody wrote anything in this genre before Brusilovsky in our republic).

 

 3. He created the first examples of Kazakh chamber music - magnificent piano and violin cycles. The suite "Bozaigyr" has become an adornment of the repertoire of any concert violinist.

 

 4. He processed countless Kazakh folk songs for voice and piano, making them the property of a serious concert stage.

 

 5. He created his own songs in the Kazakh style, among which such pearls as "Two Swallows", "Saira", "Sholpan" stand out. By the way, the last song was written to the verses of our fellow countryman, a native of the Pavlodar region Nutfulla Shakenov, and not so long ago it was translated into Russian by Zhasulan Sadykov - for the singer Andrey Korchevsky.

 

 6. Brusilovsky is one of the main authors of the Anthem of the Republic of Kazakhstan (the main musical theme and the general musical edition belong to him).

 

 7. He created the Union of Composers of Kazakhstan and was its first chairman.

 

 8. He founded the Department of Composition at the Alma-Ata Conservatory. All outstanding composers of Kazakhstan are students of Brusilovsky or students of his students. It was he, Brusilovsky, who "discovered" the unknown Mukan Tulebaev and helped him write the opera "Birzhan and Sara": he put in order the melodic material of a talented composer who did not yet have a conservatory education, created musical dramaturgy and performed all the orchestration.

 

 9. Brusilovsky was the first to undertake the rehabilitation of the name of the brilliant Kurmangazy, who was known in the Kazakh steppe as an "uncontrollable robber." The popularity of Kurmangazy's music in our time, the assignment of his name to the Alma-Ata Conservatory is one of the greatest merits of Evgeny Grigorievich.

 

 10. Brusilovsky brought up a whole galaxy of Kazakh vocalists, including the legendary Kulyash Baiseitova.

 

 I am convinced that I have not listed everything. But even the above is enough to assess how professional musical art in Kazakhstan has stepped forward thanks to the creative and social activities of Brusilovsky, whose centenary was celebrated on November 12.

 

 ***

 

 In the early 50s of the last century, I had the greatest happiness to communicate with Evgeny Grigorievich. For a year and a half, I brought him home on Stalin Street (now Abylai Khan Avenue, a memorial plaque is now installed there) my timid composer opuses, and he, regardless of time, painstakingly and completely disinterestedly studied with me. I still keep one of his postcards sent to me by mail in my home archive as a sacred relic ... I remember once I asked him a not entirely smart question:

 

 - Evgeny Grigorievich, why did you stop composing Russian music?

 

 He looked sternly at me and, stammering heavily (he always stammered when he got excited), replied:

 

 - I have invested my personal destiny in the destiny of Kazakh culture.

 

 ... Brusilovsky was completely alien to fanabery, which, alas, is characteristic of very many professional musicians who look down on the creations of talented amateurs. Constantly advocating for the improvement of the professional skills of his students, he nevertheless believed that the main thing in composing creativity is, above all, talent and general cultural development. Plus, of course, personal spiritual qualities. He writes about this in his Five Notebooks, published in Prostor magazine (1997, No. 9). "Does a musical education make a composer a professional? Can't a composer who graduated from the conservatory be an amateur? professional skill and a subtle understanding of the original genre - is such a figure an amateur?"

 

 In this statement - the whole of Brusilovsky, who does not tolerate "bare" professionalism without a spiritual inclination for artistic creativity.

 

 ... Somehow, speaking at the Pavlodar Musical College, Ermek Serkebaev said:

 

 - Brusilovsky is our father.

 

 We just have to remember the wise saying: "Honor your father."

 

 N.SHAFER.

 

Brusilovsky street

 

 Vasily Shupeikin, // Evening Almaty, April 16, 2009

 

 It is located in the Almaly region, and acquired its current name only during the period of sovereignty of our country. And until the mid-1990s, this street, by Almaty standards, quite long (3600 meters) and wide, was called Lev Rudnev. In 1956, it was named after this famous architect of the Land of Soviets, but he had nothing to do with Almaty or our republic. The street ran from north to south almost through the center of the Tastak microdistrict

 

 Once this place was a village, but it entered the city limits only in 1956. And about him - a few words.

 

 Translated from Kazakh, tastak means rocky terrain. It was there that the development of a quarry began, from where gravel material was mined in millions of tons. We can safely say that more than half of all the foundations of Almaty buildings were built from Tastak gravel. In the early seventies of the last century, the quarry was recognized as exhausted and a recreation area was built on the site of a huge excavation, which was named "Sairan".

 

 In 2005, the development of Tastak began according to a new plan, and in 2007 the pace of work began to slow down until it completely froze. And therefore, Brusilovsky Street and its inhabitants were not threatened with change.

 

 In honor of the founder.

 

 It should be noted that on the scale of world music, Evgeny Grigoryevich Brusilovsky is not appreciated as highly as it was in the Soviet Union - the winner of the USSR State Prize for the cantata "Soviet Kazakhstan", holder of the Order of Lenin and other government awards . Even higher are his merits in Kazakhstan: People's Artist of the Kazakh SSR, laureate of the State Prize of the Kazakh Soviet Socialist Republic for one of the symphonies called "Kurmangazy". He is a co-author of Mukan Tulebaev and Latif Hamidi on the composition of the Anthem of the Kazakh SSR, the author of music for the first musical and dramatic performance "Aiman Sholpan", staged on stage by the troupe of the future opera house in 1934, and the wonderful opera "Kyz-Zhibek", which is still shown to the audience . Encyclopedias say about Yevgeny Brusilovsky: "... one of the founders of the Kazakh Soviet professional music", which, you see, is also quite a lot. So the street in modern Almaty was named after the founder. And until 1996, only a memorial plaque on the house where the composer lived and worked spoke about him, and the portrait in the Central Concert Hall of the Philharmonic reminded students of the image of their beloved teacher.

 

 Evgeny Grigorievich's gentle and non-envious disposition earned him honor and respect no less than the works composed over the years of his life in Kazakhstan.

 

  A native of the city of Rostov-on-Don (1905), he graduated from the Leningrad Conservatory in 1931. In our city, the then capital of Kazakhstan, he arrived in 1933 on the direction of the Union of Composers of the USSR. He managed in a short time to penetrate into the depths of Kazakh melos, to feel it, as they say, with soul and heart, and to express in the sounds of classical musical forms the echo of his creative reading of Kazakh folk music. Around Brusilovsky life began to boil. Young musically gifted Kazakhs reached out to him. Not only well-written works, but also a galaxy of talented students who became the first classics of Kazakh professional music, Evgeny Brusilovsky could be proud of during his lifetime. (And he went to another world in 1981.)

 

 In 1939, he will become the first chairman of the Union of Kazakh Composers, which he himself will organize, starting from the moment he arrived in Kazakhstan. (Then Mukan Tulebaev will replace him in this post.)

 

 He called him Uncle Zhenya.

 

 Coincidentally, while the material was being prepared for publication, the well-known Kazakhstani journalist Sergei Kozlov wrote his childhood memories. After all, he and Evgeny Grigorievich lived next door on Communist (Stalin) Avenue in the first Alma-Ata typical microdistrict of two-story buildings. The buildings received the popular nickname "oblique houses" because they stood on the avenue not in a straight line, but at an angle to the roadway.

 

 - All because, - Sergey Vladimirovich explained to me, - that already in the early 30s of the last century on Stalin Avenue, the most central street of the city, there was no place for new construction, so the first typical two-story buildings in the garden plots of those who had private farmsteads in the area.

 

 This is what Kozlov writes, recalling that distant time when he happened to see Brusilovsky at home, to hear how he plays his music, sitting on Uncle Zhenya's lap. And what is another name for a good uncle-neighbor?

 

 I was hiding under his piano, or Magic Cloud in a red beret.

 

 … Uncle Zhenya lived next door to us in one of the Alma-Ata "oblique houses". We did not know his surname then, in the early 60s, because we were still small children and we were not interested in surnames. We also did not know that for some reason our houses were called oblique. It was many years later that we heard that we were born, it turns out, in "oblique houses", and our uncle Zhenya is the famous composer Brusilovsky ...

 

 On the porch of our house every day, on his short legs, a luxurious red-haired, well-fed dog crawled out. His name was Athos, and, unlike the Count de la Fère, he was an ordinary outbred street mongrel, who, however, was very lucky in life. Because once he got into the apartment of Uncle Zhenya and the housekeeper Aunt Arish Athos fed excellently.

 

 And now this favorite of our entire gang crawled out onto the stone porch and fell apart on it to bask in the sun, and we surrounded him and gently stroked the fat barrels, saying:

 

 - Our Athos, Athosik...

 

 And then the famous composer often appeared on the porch and used to say:

 

 - Come on, move over, royal musketeer, there is nowhere to step.

 

 And with the toe of Athos's white, chalk-dyed boot he pushed.

 

 ... A scary man regularly walked through our yard or past it. An old one, with gray hairs poking out from under an unimaginable red beret. His suit was also to match the beret - some kind of sailor, or something, pirate, pants grated, torn, sewn, altered, patchwork, as if canvas. And the raincoat is either blue or brown. And no less frightening is a large flat broken box on a belt. In our opinion, there was something terrible in the box.

 

 When this monster was approaching our yard, walking down the avenue, it swung at us with a box. It was the most mystical moment, after which we, as a rule, ran away in panic and then told each other about how terrible, crazy he was and how we successfully escaped from him. But as soon as he reappeared, everything started all over again.

 

 ... Uncle Zhenya loved children, but he didn't have his own. And since we lived in the same entrance and our families were very friendly, I often visited his house. The huge library of composers was not very attractive then, but the various toys that my beloved and kind uncle Zhenya brought me from Moscow were just right.

 

 And like Bender, remember: "I played it on the Khorasan carpet, looking at the Shepherdess tapestry? So I played, you know, crawling in the large hall of Uncle Zhenya's three-room apartment under the huge a black piano and once almost died under it from fear.

 

 ... It was late autumn, when it was already snowing outside the window and it was gloomy and cold. Aunt Arisha was frying chicken cutlets so beloved by Uncle Zhenya in the kitchen, when someone rang at the door and Uncle Zhenya went to open it. The crazy monster enters with his flat box. All as is: in a beret and raincoat. "He came for me," flashed through the child's head, buzzing with horror. Athos barked, and somehow unnaturally hurriedly went to the front door.

 

 - Arisha, take the dog, - I hear Uncle Zhenya's voice.

 

 I got under the piano - where else?! Where can you safely hide here, if not under this huge box? He hid behind the piano leg and, trembling, looked at the door from under the instrument. And they are buzzing about something, talking in the corridor. Then Uncle Zhenya shouts:

 

 - Arisha, set the table.

 

 No, I think, even though I like meatballs too, but I won't get out of here. But Uncle Zhenya is relentless. I hear calling for dinner. Then he came into the room and looked under the piano.

 

 - Are you scared? Don't be afraid, this is my friend, let's go. Let's go, let's go, otherwise he will come for you.

 

 I, like a glass, resisting and trying to pull my hand out of Uncle Zhenya's, go into the kitchen. And there - a smiling monster, without a beret and pretty decently combed.

 

 - This is your namesake, - Uncle Zhenya introduced me to the monster, - and this is Uncle Sergey, get acquainted. He will teach you how to draw.

 

 - Do you want? - the namesake monster asked me in some strange voice, and now here is Uncle Sergey.

 

 I don’t remember what I answered him then, how I sat down on a chair, but we had a fun dinner. And our acquaintance was funny. And the nightmarish box turned out to be just an easel in which he wore drawings and paints. I was no longer afraid of the "monster" and was even glad when he came to us. Because he told all sorts of funny stories and showed them drawings that were incomprehensible to them.

 

 But sometimes he told things that involuntarily took him aback, because such a thing could only be said, in our everyday understanding, by a person who is not quite normal. And he showed drawings corresponding to such stories. But Uncle Zhenya did not consider him abnormal and even loved him very much.

 

 - He is magical, said Uncle Zhenya.

 

 And over time, we considered him, incomprehensible and unearthly, as such, and it was already ridiculous: how could he be considered abnormal? He is really magical, like from a fairy tale - a cloud man.

 

 ... But time passed, and our amazing old man in the beret was gone. And then for the first and last time I heard from the lips of my good uncle Zhenya a phrase as heavy as a lead plate:

 

 - If he had been born at another time, then he would not have lived and died like that.

 

 ... Many years later, going into antique shops, looking at the drawings of my namesake artist Sergei Kalmykov, I remember him, his incomprehensible drawn worlds and universes, magical stories and kind eyes. And our first meeting, and my fear under the piano. And I think: how would he have lived if he had been born at a different time?