M. Kopiryulin

Modern Approaches to the Formation of the Repertoire of the Folk Instruments Orchestra

The orchestra of Russian folk instruments as a phenomenon of national and world music culture has evolved significantly in recent decades. The social upheavals that occurred in our country in the last quarter of the twentieth and early twentyfirst centuries affected the fate of this unique form of collective music playing: its social status changed (amateur bands almost ceased to exist, the number of professional collectives significantly increased) updated circle of composers who turn to music for the composition. These processes require close attention and in-depth analysis, carried out not only by the representatives of the folk orchestra performance (conductors, teachers and instrumentalists), but also by the “external” professional community (composers and musicologists). The article attempts to analyze critically the concert programs performed by modern orchestras of Russian folk instruments, in historical terms and in terms of current repertoire strategies. The author states the facts of prevalence (and sometimes conscious cultivation) in the repertoire of some national folk instrumental groups (educational and professional) of lowgrade crafts of pseudo-folklore orientation, far from the true essence of national artistic thinking, which are primitive to primitiveness and narrow content. The article emphasizes the importance of creating and popularizing a high-quality orchestral repertoire that combines the traditions of folk and professional art, emphasizes the primary role and special responsibility of the leaders of modern orchestras of Russian folk instruments in a focused statement of the key principles of the repertory policy.

Key words

Russian folk orchestra, concert folk orchestra repertoire, repertoire politics.

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