Sergei Durygin: The Central Military Band performs only "live" music. Military Orchestra Service of the Armed Forces of the Russian Federation Military conductor Timofey Mayakin

— How do you feel about the fact that military bands perform at civilian festivals? Do your orchestras receive offers to perform at such events?

- The activities of military bands cannot be limited to providing musical support for military rituals, concert performances and work with amateur musical performances in their military units. Military bands must perform and perform in parks, take part in various music festivals and projects, go to city concert venues. These are old traditions. And there are many examples. So, in holding the rock festival "Invasion" in different years the orchestra of the Suvorovites of the Moscow Military Music School named after Lieutenant General Khalilov and the Central Concert Exemplary Orchestra of the Navy named after Rimsky-Korsakov took part. Yes, they performed in their own format, showed parade-concerts, but the audience accepted them with pleasure. On May 9 of this year, military bands in different cities of our country supported the art project "Rio Rita - the Joy of Victory", turning city gardens and parks into a dance floor in May 1945. As part of preparations for the Spasskaya Tower International Military Music Festival, military bands have been entertaining Muscovites and guests of the capital in Moscow parks for three months with their performances.

— Have you encountered any difficulties related to the aggravation of the foreign policy situation?

- I would not say that it somehow affected our teams. This year alone, the Central Military Band took part in the international military music festival in Bremen and is preparing for a concert trip to Armenia. In the near future, the military band of the headquarters of the Eastern Military District will demonstrate its skills at the military music festival in China. Every year, for more than twenty years, at the invitation of the Swiss side, the Suvorov Orchestra of the Moscow Military Music School named after Lieutenant General Khalilov has been traveling to Switzerland with concert performances during the days of events dedicated to the passage of Generalissimo Suvorov across the Alps. Russian military bands have been and remain in demand at prestigious international festivals abroad. There are a lot of offers. By the way, the military music festivals held in our country do not experience problems with the arrival of foreign orchestras in our country. This is confirmed by the list of participants in international festivals held in Tambov, Yuzhno-Sakhalinsk, Khabarovsk and Moscow. For example, 12 foreign bands with the widest geography will be guests of the Spasskaya Tower festival this year.

— Were all invitations sent out to foreign participants accepted?

— Let me remind you that the current festival "Spasskaya Tower" will be the tenth. Anniversary. And over the years of its holding, it has gained truly international recognition and prestige. Almost immediately, he entered the top three among his peers in the world. There are a lot of applications for participation, but the time frame for submission is limited. Therefore, unfortunately, not all teams that sent their applications will be able to take part in it this year. But we will be glad to meet with them in the future and work in this direction is constantly carried out by the festival management.

— Has Mireille Mathieu confirmed her participation?

- Certainly. As in the past, Mireille Mathieu will also take part in this festival as an honored guest. She has repeatedly said that she always looks forward to this event and prepares for performances with great trepidation.

March 25, 2018 Aleksey Anatolyevich Gubarev - Artistic Director and Chief Conductor of the Song and Dance Ensemble. S.O. Dunayevsky Central Children's House of Music became a participant of the Moscow Cultural Forum - 2018 in Lecture Hall No. 2, organized by the Association of Brass Bands and Performers on Wind and Percussion Instruments "Wistern Society" named after Valery Khalilov.

In the lecture hall of the forum were covered topical issues development of wind performance in the Russian Federation. Round table on the Concept of preservation and development of wind instrumental and orchestral-ensemble performance on wind and percussion instruments in Russian Federation. The discussion will be held in order to further refine the Concept, taking into account the proposals and comments of experts in the field of brass music.

Speakers:
Bryzgalov Mikhail Arkadyevich - President of the Association "Wind Company", Honored Art Worker of the Russian Federation;

Gilev Alexander Gennadievich - member of the Union of Composers of Russia, candidate of art criticism;

Durygin Sergey Yurievich - head of the central military band of the Russian Armed Forces, colonel, Honored Artist of Russia;

Lebusov Vladimir Grigorievich - Professor of the Department of Orchestral Conducting of the Russian Academy of Sciences. Gnessin, Honored Artist of Russia;

Mayakin Timofey Konstantinovich - Head of the Military Band Service of the Armed Forces of the Russian Federation, Colonel, Honored Artist of Russia;

Nikitin Evgeny Yurievich - conductor of the Presidential Orchestra, Colonel, Honored Artist of Russia;

Smirnov Sergey Nikolaevich - Director of ANO "MCC" Spasskaya Tower ";

Podmazo Alexander Alexandrovich - Executive Director of the Moscow branch of the Russian Military Historical Society;

Tsep Anatoly Ivanovich - Head of the Department of Musical Art of the State Russian House of Folk Art named after V.D. Polenova, Honored Worker of Culture of the Russian Federation, Laureate of the Prize of the Government of the Russian Federation

Currently, a separate discipline (a special instrument - brass and percussion instruments) is supervised by a teacher (discipline leader) Ryabukhin Ivan Viktorovich.

The main goal of a separate discipline is:

Preparation of a performer on a special instrument as an artist-interpreter who has the necessary knowledge of solo and ensemble instrumental performing arts, playing techniques and teaching methods for playing a special instrument.
Improving the methodological and research work teachers. Implementation of the most effective methods pedagogical activity, the use of new modern educational technologies, scientific achievements in the field of performing arts.

The main tasks of a separate discipline:

Development and implementation of curricula in academic disciplines in accordance with the requirements of the Federal State Educational Standard for the third generation of free software.
Scheduling training sessions, planning, organization and implementation of educational, methodological, creative and performing and extracurricular activities.
Conducting all types of training sessions, practices and certification of Suvorov students, provided for by the curriculum and training programs.
Maintaining planning and reporting documentation on the work of the discipline.
Participation of teachers in the educational, methodological, scientific and practical work of the school.
Improving the professional skills of teachers.
Organization and holding of competitions for the title of "Best performer on a special instrument" at the school, as well as participation in other music competitions held at the Russian and international level.
The introduction of innovative methods, the use of modern technical means, information and communication technologies in education.
Development and improvement of the educational and material base of the discipline.
Strengthening ties with the department of instruments of the military band of the Military Institute (military conductors) of the Military University and other educational musical institutions in Moscow. Control over the execution of educational and labor disciplines.

All employees of a particular discipline have higher professional education.

2 teachers have honorary titles:

teacher B.B. Boldyrev - "Honored Artist of the Russian Federation"
teacher V.P. Matveychuk - "Honored Worker of Culture of the Russian Federation."

1 teacher is a postgraduate student:

teacher D.A. Ivanov

Teachers who have come a long way in military service in the ranks of the Armed Forces are successfully working and passing on rich experience to Suvorov students:

Ryabukhin Ivan Viktorovich
Nazarov Viktor Nikolaevich,
Matveychuk Vasily Petrovich,
Sknarin Alexander Vasilievich.

A separate discipline (a special instrument - brass and percussion instruments) is one of the leading ones at the Military Music School. The history of its creation goes back to the distant 60s. The first leader of the discipline was Lieutenant Colonel G.I. Mamaliga, who fruitfully served in this position from 1961 to 1969.

Since 2011, I.V. Ryabukhin has been appointed to the position of teacher (head of discipline).

The discipline of brass and percussion instruments is rightfully proud of its graduates, among them:

Bank Evgeny Leonidovich - Honored Artist of the Russian Federation, Professor of the Department of Brass Bands and Ensembles of the Moscow State Institute of Cinematography, artist of the orchestra of the Moscow Musical Theater "Helikon-Opera" (from 1995 to 2009 he was the director and inspector of this orchestra), associate professor, reserve major;
Orlov Dmitry Mikhailovich - Honored Artist of Russia, laureate of the Moscow City Prize and holder of the Order of Friendship. Artistic director and chief conductor of the Moscow State Symphony Orchestra for Children and Youth. During anniversary concert in the Hall of Church Councils of the Cathedral of Christ the Savior in October 2012. Patriarch of Moscow and All Russia Kirill awarded conductor D.M. Orlov Order of the Russian Orthodox Church Reverend Sergius of Radonezh;
Mikhailov Nikolai Mikhailovich - Head of the Military Band Service of the USSR Ministry of Defense, Chief Military Conductor of the USSR, Honored Artist of the Russian Federation, Major General. After the resignation, Nikolai Mikhailovich became a professor at the Music Academy. Gnesins, Moscow City Children's Music School. Gnesins, held conferences and seminars, was an active participant in many public organizations;
Solodakhin Vladimir Mikhailovich - Chief Conductor of the Navy Exemplary Orchestra, People's Artist of the Russian Federation, captain of the 1st rank of the reserve;
Skenderov Andrey Karpovich - Artist of the choir at the theater "New Opera", reserve major;
Nazarov Viktor Nikolaevich, teacher of the Military Musical College in the trumpet class, Honorary Worker of Secondary Vocational Education of the Russian Federation, participant in the liquidation of the accident at the Chernobyl nuclear power plant;
Polushin Vyacheslav Grigorievich, Honored Artist of the Russian Federation, Colonel of the Reserve, teacher of the military institute (military conductors) of the Military University, currently - teacher of the Children's Music School. A.B. Goldenweiser;
Afonin Gennady Alexandrovich, Honored Artist of the Russian Federation, Associate Professor, Head of the Moscow Military Music School in 1993-2005, Colonel of the Reserve;
Makarov Igor Viktorovich, Honored Artist of Russia, Professor of the Department of Brass Instruments of the Moscow Conservatory, in 1982-1990. - soloist of the State Academic Symphony Orchestra of the USSR, since 1990 - soloist of the Russian National Orchestra;
Danilchenko Alexander Sergeevich - captain of the 1st rank of the reserve, Honored Art Worker of the Russian Federation, People's Artist of Russia, in 1972-1994. - military conductor of the orchestras of the Pacific Fleet, in 1996-2007. - Head - Artistic Director of the Concert Orchestra of the Russian Navy named after N. Rimsky-Korsakov, currently - Chief Conductor of the Concert Exemplary Orchestra of Russian Railways;
Shilkloper Arkady Fimovich is a world famous jazz horn player and alpengorn performer. From 1977 to 1985 he worked at the Bolshoi Theater of the USSR, from 1985 to 1989 in the Moscow Philharmonic Orchestra, since 1989 solo instrumentalist, one of the famous horn performers of jazz and experimental music;
Anikin Viktor Ivanovich - Head of the Department of Instruments of Military Bands of the Military Institute (Military Conductors) of the Military University. Currently, professor at the Moscow state university culture and arts, Honored Artist of Russia, reserve colonel;
Trunov Mikhail Mikhailovich - head of the Military Institute (military conductors) of the Military University, Honored Artist of the Russian Federation, professor, colonel;
Chugreev Vladimir Sergeevich - Deputy Head of the Military Institute (military conductors) of the Military University for scientific work, professor, reserve colonel;
Kolotushkin Andrey Alekseevich - Head of the 13th Band of the Headquarters of the Moscow Military District, Head of the Central Military Band of the Ministry of Defense of the Russian Federation, Honored Artist of the Russian Federation, Colonel of the Reserve, currently - Conductor of the State Brass Band of Russia;
Mayakin Timofei Konstantinovich - Head of the Military Band Service of the Armed Forces of the Russian Federation - Chief Military Conductor, Ph.D. in Philosophy, Honored Artist of the Russian Federation, Associate Professor, Colonel;
Shevernev Igor Vyacheslavovich - Chief Inspector of the Military Band Service of the Armed Forces of the Russian Federation, Honored Artist of the Russian Federation, lieutenant colonel, and many others.
A separate discipline (a special instrument - brass and percussion instruments) is one of the leading ones at the Moscow Military Music School. It includes the following disciplines: "Special Instrument", "Related Instrument", "Ensemble Performance", "Pedagogical Practice". The study of these subjects makes it possible to lay very important foundations for performing activities in the orchestra.

Teachers and accompanists of a particular discipline make a great contribution to the education of the young generation of wind players. Our Suvorovites are always long-awaited guests in military units, at concert venues in Moscow, and at various national and state celebrations. Together with artists who are the pride and glory of national and world art, the Suvorovites of the Moscow Military Music School perform on the stage of the State Academic Bolshoi Theater, the State Kremlin Palace, the Grand Hall of the P.I. Tchaikovsky Conservatory, the Concert Hall named after P.I. Central Concert Hall "Russia", on radio and television.

Subordinate to the General Staff Armed Forces Russian Federation.

In 1804, military bands were introduced into the Don, Black Sea, Ural and Orenburg Cossack troops. In 1804, the Baltic Fleet was determined to have 100 trumpeters, 36 musicians and 4 timpani players. By the city, the Bands of the Black Sea Fleet reach the same number as the Baltic. During 1808-1809. a large number of new guards units are being created, both infantry and cavalry, where the Decree of Alexander I provided for the presence of guards military bands of 25 people. In the Preobrazhensky Regiment, a staff of 40 people is established. The instrumental compositions of these orchestras were specified by an additional decree of April 15, 1809. The Preobrazhensky Regiment had 40 tools, and the other regiments of the guard had 25 tools. Thus, it is obvious that the orchestras have been enriched with new instruments. The predominant group in these orchestras were woodwinds (28 in an orchestra of 40 instruments and 17 in an orchestra of 25 performers). Nevertheless, three main groups of instruments were clearly identified: woodwinds, brass brass winds (with a natural scale) and percussion instruments. This type of mixed orchestra had a wide orchestral range, a variety of timbre colors and could be successfully used to perform works of the drill and concert repertoire. The French theorist J. Kastner wrote:

“In 1813, Russian music, which always retained the stamp of originality, reached such a degree of perfection that it attracted the attention of even German musicians, arousing their praise. Russian guards music had all the instruments that were in use in that era, approximately the same ones that were in use in Germany and used them when performing brilliant marches.

Along with the quantitative increase in the composition of the Guards orchestras and the enrichment of their composition with new instruments, serious efforts were made to train future military musicians. So, the task of the Training Grenadier Battalion formed in 1808, along with the training of non-commissioned officers, was also the training of "musicians, drummers and flute players". The training battalion consisted of 4 grenadier and 2 "non-ranked companies: musical and drumming".

The company that trained musicians for the troops included a bandmaster and 150 people, divided into 25 musicians in six orchestras. Especially for the signal service, drummers and flute players were trained in the "drum-cheek" company. Every year, the Training Grenadier Battalion was supposed to produce 75 musicians for the army. Trumpeters for the cavalry were trained in the Cavalry Training Squadron and other military units.

Concert and educational activities

The annual concert activity of military orchestras began in November 1813 in the hall of the Philharmonic Society of St. Petersburg, then in April 1814, and the third concert, which brought in 52 thousand rubles - on March 19, 1816, on the day the Russian troops entered Paris in 1814. The so-called "disabled" concerts, the proceeds of which went to war veterans, began to be held annually, until the outbreak of the First World War. They went in both capitals and other cities, in which, as a rule, consolidated orchestras took part, as well as soldier's choirs. Their repertoire invariably included works of a heroic-patriotic plan: O. Kozlovsky's polonaises, the choral play by K. Cavos "Verses of 1814", as well as works by the classics - Mozart, Gluck, Beethoven. Military bands, having gone beyond the location of their units, played a certain positive role in educating the musical taste of listeners.

Repertoire of the military band service

In the 19th century, as before, the emphasis was on the creation of marching music, intended for orchestras to perform their main service function, that is, marches. Published by the music publisher Dalmas, the 4-volume edition of 208 scores written between 1809 and 1829 was a milestone for the musical culture of Russia as a whole. There are two types of marches in the collection: quiet and fast. The authors of the marches published by G. Dalmas are: A. Dörfeldt-father (over forty marches), K. Cavos, N. Titov, O. Kozlovsky, Antonolini, D. Steibelt and others. One hundred and ten marches printed without credits of the authors. Quiet march l.-guards. Semyonovsky regiment was written by its commander, General A. Rimsky-Korsakov. The themes of the marches often became folk songs, for example, in one of A. Alyabyev’s fast marches, the soldier’s song “Along and along the river” was used. Several marches by this composer are based on folk-song intonations.

The basis of the peppy and cheerful "Paris March of 1815" by the composer is based on songs of Ukrainian folklore, where intonational connections with the song "Doshchik, Doshchik" are clearly traced.

Fast marches are more lively in nature and often include an element of dance or folk song. Several marches of this edition are similar in their meter-rhythmic structure to modern "column" marches. Several marches have operatic melodies as their themes, for example, The March of the Cavalier Guards Regiment by the composer F. A. Boildieu is built on the thematic material that the composer used in the opera The White Lady (1825).

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Literature

Materials on the history of Russian military music in the first half of the 19th century. B. T. Kozhevnikov, Kh. M. Khakhanyan Proceedings of the military conducting faculty at the Moscow State Conservatory. P. I. Tchaikovsky. Issue 5. - M., 1961.
250 years of military orchestra service in Russia. Brief historical outline. V. I. Tutunov. Proceedings of the military conducting faculty at the Moscow State Conservatory. P. I. Tchaikovsky. Issue 5. - M.: 1961.
S. Yu. Rychkov. Military bands of the Russian army and gramophone recordings of music dedicated to the war of 1812. Mozhaisk.

Notes

Petrov Ivan Vasilievich // Moscow: Encyclopedia / Head. ed. S. O. Schmidt; Compiled by: M. I. Andreev, V. M. Karev. - M. : Great Russian Encyclopedia, 1997. - 976 p. - 100,000 copies. - ISBN 5-85270-277-3.
To the Great Patriotic War commanded a rifle regiment (despite the fact that he graduated from the Military Faculty of the Moscow Conservatory), was wounded, graduated from the crash course of the Military Academy. Frunze
- Biography
T. K. Mayakin. Abstract of the dissertation "Military musical culture of Russia (Historical and cultural analysis)" for the degree of candidate of philosophical sciences. (Nizhny Novgorod, 2010, p. 12
Complete set of laws Russian Empire. SPb. 1830 v.1-4, p.590. cit. Quoted from V.I. Tutunov. “250 years of military orchestra service in Russia. Brief historical outline". Proceedings of the military conducting faculty at the Moscow State Conservatory. Tchaikovsky. Issue 5. M.: 1961
Complete set of laws of the Russian Empire. Collection 1st, v.24, St. Petersburg: 1830, No. 17572
Complete set of laws of the Russian Empire. T.43. Part 2. St. Petersburg: 1830 Tetr. 1 (1801-1812). S.278 No. 20252)
Complete Code of Laws of the Russian Empire. Sobr. 1. V.30 No. 23582
G. Kastner. Manuel general de musique militaire. Paris, 1848, p. 174. Quote from the historical study of G. Lysan "The composition of the military orchestra of the Russian guard in the first half of the 19th century." M. 1946, manuscript, Military Conducting Faculty at the Moscow State Conservatory. P. I. Tchaikovsky, p. 29, quoted by: B. T. Kozhevnikov, Kh. M. Khakhanyan. "Materials on the history of Russian military music in the first half of the 19th century." Proceedings of the military conducting faculty at the Moscow State Conservatory. Tchaikovsky. Issue 5. M.: 1961, p.83.
Complete set of laws of the Russian Empire. T.30 No. 23102 v.43, part 2, book 1, pp. 67, 284
B. T. Kozhevnikov, Kh. M. Khakhanyan. "Materials on the history of Russian military music in the first half of the 19th century." Proceedings of the military conducting faculty at the Moscow State Conservatory. Tchaikovsky. Issue 5. M., 1961. - P.86.
Complete set of laws of the Russian Empire. Sobr. 2nd. - 1830. - V.1. - S. 88
(unavailable link since 14-06-2016 (1375 days))
B. T. Kozhevnikov, Kh. M. Khakhanyan. "Materials on the history of Russian military music in the first half of the 19th century." Proceedings of the military conducting faculty at the Moscow State Conservatory. Tchaikovsky. Issue 5. M., 1961.
V. I. Tutunov. "250 years of military orchestra service in Russia. Brief historical essay". Proceedings of the military conducting faculty at the Moscow State Conservatory. Tchaikovsky. Issue 5. M.: 1961, p.134. Cite error : Wrong tag : name "stoletie" defined multiple times with different content

An excerpt characterizing the Military Band Service of the Armed Forces of the Russian Federation

Dolokhov stopped. “You see, I will tell you the whole secret of the duel in a few words. If you go to a duel and write wills and tender letters to your parents, if you think that you might be killed, you are a fool and probably lost; and you go with the firm intention of killing him as quickly and as quickly as possible, then everything is in order. As our Kostroma bear cub used to say to me: then, he says, how not to be afraid of a bear? Yes, as soon as you see him, and the fear has passed, as if it had not gone away! Well, so am I. A demain, mon cher! [See you tomorrow, my dear!]
The next day, at 8 o'clock in the morning, Pierre and Nesvitsky arrived at the Sokolnitsky forest and found Dolokhov, Denisov and Rostov there. Pierre looked like a man preoccupied with some considerations that had nothing to do with the upcoming business. His haggard face was yellow. He apparently didn't sleep that night. He absentmindedly looked around him and grimaced, as if from a bright sun. Two considerations exclusively occupied him: the guilt of his wife, in which, after sleepless night there was no longer the slightest doubt, and the innocence of Dolokhov, who had no reason to protect the honor of a stranger to him. “Perhaps I would have done the same in his place,” thought Pierre. Even I probably would have done the same; why this duel, this murder? Either I will kill him, or he will hit me in the head, in the elbow, in the knee. Get out of here, run away, bury yourself somewhere, ”it occurred to him. But precisely in those moments when such thoughts came to him. with a particularly calm and absent-minded air that inspired respect in those who looked at him, he asked: “Is it soon, and is it ready?”
When everything was ready, the sabers were stuck in the snow, meaning a barrier to which it was necessary to converge, and the pistols were loaded, Nesvitsky went up to Pierre.
“I would not have fulfilled my duty, count,” he said in a timid voice, “and would not have justified the trust and honor that you did me by choosing me as your second, if I had not said at this important moment, a very important moment, you the whole truth. I believe that this case does not have enough reasons, and that it is not worth shedding blood for it ... You were wrong, not quite right, you got excited ...
“Oh yes, terribly stupid ...” said Pierre.
“So let me convey your regret, and I am sure that our opponents will agree to accept your apology,” said Nesvitsky (as did the other participants in the case and like everyone else in such cases, still not believing that it would come to a real duel) . “You know, Count, it is much nobler to admit one’s mistake than to bring the matter to the point of irreparable. There was no resentment on either side. Let me talk...
- No, what is there to talk about! - said Pierre, - all the same ... Is that ready? he added. “Just tell me how to go where, and where to shoot?” he said, smiling unnaturally meekly. - He took a pistol in his hands, began to ask about the method of descent, since he still did not hold a pistol in his hands, which he did not want to admit. “Oh yes, that’s right, I know, I just forgot,” he said.
“No apologies, nothing decisive,” Dolokhov said to Denisov, who, for his part, also made an attempt at reconciliation, and also approached the appointed place.
The place for the duel was chosen 80 paces from the road on which the sledges remained, in a small clearing of a pine forest covered with melted from standing last days thaw snow. The opponents stood 40 paces apart, at the edges of the clearing. The seconds, measuring their steps, made imprints in the wet, deep snow, traces from the place where they stood to the sabers of Nesvitsky and Denisov, which meant a barrier and were stuck in 10 steps from each other. The thaw and fog continued; nothing was visible for 40 steps. For about three minutes everything was already ready, and yet they hesitated to start, everyone was silent.

- Well, start! Dolokhov said.
“Well,” said Pierre, still smiling. - It was getting scary. It was obvious that the deed, which had begun so easily, could no longer be prevented by anything, that it proceeded by itself, already independently of the will of the people, and had to be accomplished. Denisov was the first to come forward to the barrier and proclaimed:
- Since the "opponents" refused to "imitate", wouldn't you like to start: take pistols and, according to the word t "and begin to converge.
- G ... "az! Two! T" and! ... - Denisov shouted angrily and stepped aside. Both walked along the trodden paths closer and closer, recognizing each other in the fog. The opponents had the right, converging to the barrier, to shoot whenever they wanted. Dolokhov walked slowly, without raising his pistol, peering with his light, shining, blue eyes into the face of his opponent. His mouth, as always, had a semblance of a smile on it.
- So when I want - I can shoot! - said Pierre, at the word three, he went forward with quick steps, straying from the beaten path and walking on solid snow. Pierre held the pistol, stretching his right hand forward, apparently afraid of lest he kill himself with this pistol. He diligently put his left hand back, because he wanted to support his right hand with it, but he knew that this was impossible. After walking six paces and straying off the path into the snow, Pierre looked around at his feet, again quickly looked at Dolokhov, and pulling his finger, as he had been taught, fired. Not expecting such a strong sound, Pierre flinched at his shot, then smiled at his own impression and stopped. The smoke, especially thick from the fog, prevented him from seeing at first; but the other shot he was waiting for did not come. Only Dolokhov's hurried steps were heard, and his figure appeared from behind the smoke. With one hand he held on to his left side, with the other he clutched a lowered pistol. His face was pale. Rostov ran up and said something to him.
- No ... no ... t, - Dolokhov said through his teeth, - no, it’s not over, - and taking a few more falling, hobbled steps to the very saber, he fell on the snow beside it. His left hand was covered in blood, he wiped it on his coat and leaned on it. His face was pale, frowning and trembling.
“It’s a pity…” Dolokhov began, but he couldn’t pronounce it right away… “Perhaps,” he finished with an effort. Pierre, barely holding back his sobs, ran to Dolokhov, and was about to cross the space separating the barriers, when Dolokhov shouted: - to the barrier! - and Pierre, realizing what was happening, stopped at his saber. Only 10 steps separated them. Dolokhov lowered his head to the snow, greedily bit the snow, raised his head again, corrected himself, drew up his legs and sat down, looking for a firm center of gravity. He swallowed cold snow and sucked it; his lips trembled, but still smiling; his eyes shone with the effort and malice of the last gathered strength. He raised his pistol and took aim.
“Sideways, cover yourself with a pistol,” Nesvitsky said.
- 3ak "ope!" - unable to stand it, even Denisov shouted to his opponent.
Pierre, with a meek smile of regret and repentance, helplessly spreading his legs and arms, stood straight in front of Dolokhov with his broad chest and looked sadly at him. Denisov, Rostov and Nesvitsky closed their eyes. At the same time they heard a shot and an angry cry from Dolokhov.
- Past! - shouted Dolokhov and powerlessly lay down on the snow with his face down. Pierre clutched his head and, turning back, went into the forest, walking entirely in the snow and aloud saying incomprehensible words:
“Stupid… stupid!” Death... lie... - he repeated wincing. Nesvitsky stopped him and took him home.
Rostov and Denisov carried the wounded Dolokhov.
Dolokhov, silently, with closed eyes, lay in the sleigh and did not answer the questions that were put to him; but, having entered Moscow, he suddenly came to himself and, raising his head with difficulty, took Rostov, who was sitting beside him, by the hand. Rostov was struck by the completely changed and unexpectedly enthusiastically tender expression of Dolokhov's face.
- Well? How do you feel? Rostov asked.
- Bad! but that's not the point. My friend, - said Dolokhov in a broken voice, - where are we? We are in Moscow, I know. I'm fine, but I killed her, killed her... She can't take it. She won't bear...
- Who? Rostov asked.
- My mother. My mother, my angel, my adored angel, mother, - and Dolokhov began to cry, squeezing Rostov's hand. When he calmed down somewhat, he explained to Rostov that he was living with his mother, that if his mother saw him dying, she would not be able to bear it. He begged Rostov to go to her and prepare her.
Rostov went ahead to carry out the assignment, and to his great surprise he learned that Dolokhov, this brawler, Dolokhov lived in Moscow with an old mother and a hunchbacked sister, and was the most tender son and brother.

Pierre had rarely seen his wife face to face lately. Both in St. Petersburg and in Moscow, their house was constantly full of guests. The next night after the duel, as he often did, he did not go to the bedroom, but remained in his huge, father's study, in the very one in which Count Bezuhy died.
He lay down on the sofa and wanted to fall asleep in order to forget everything that had happened to him, but he could not do it. Such a storm of feelings, thoughts, memories suddenly arose in his soul that he not only could not sleep, but could not sit still and had to jump up from the sofa and walk around the room with quick steps. Then he imagined her for the first time after her marriage, with bare shoulders and a tired, passionate look, and immediately next to her he saw Dolokhov’s beautiful, arrogant and firmly mocking face, as it was at dinner, and the same face of Dolokhov, pale, trembling and suffering as it was when he turned and fell into the snow.
“What happened? he asked himself. “I killed my lover, yes, I killed my wife's lover. Yes, it was. From what? How did I get there? “Because you married her,” answered the inner voice.
“But what is my fault? he asked. “In the fact that you married without loving her, in the fact that you deceived both yourself and her,” and he vividly imagined that minute after dinner at Prince Vasily’s, when he said these words that did not come out of him: “Je vous aime.” [I love you.] Everything from this! I felt then, he thought, I felt then that it was not that I had no right to it. And so it happened." He remembered Honeymoon and blushed at the memory. Especially vivid, insulting and shameful for him was the memory of how one day, shortly after his marriage, at 12 o’clock in the afternoon, in a silk dressing gown, he came from the bedroom to the office, and in the office found the chief manager, who bowed respectfully, looked at Pierre's face, on his dressing gown and smiled slightly, as if expressing with this smile respectful sympathy for the happiness of his principal.
“And how many times have I been proud of her, proud of her majestic beauty, her worldly tact,” he thought; he was proud of his home, in which she received all of Petersburg, was proud of her inaccessibility and beauty. So what am I proud of? At the time I thought I didn't understand her. How often, pondering over her character, I told myself that it was my fault that I did not understand her, that I did not understand this eternal calmness, contentment and absence of any predilections and desires, and the whole clue was in that terrible word that she was a depraved woman: yourself this terrible word, and everything became clear!
“Anatole went to her to borrow money from her and kissed her bare shoulders. She didn't give him money, but she let him kiss her. Her father jokingly aroused her jealousy; she said with a calm smile that she was not so stupid as to be jealous: let her do what she wants, she said about me. I asked her once if she felt any signs of pregnancy. She laughed contemptuously and said that she was not a fool to want to have children, and that she would not have children from me.
Then he remembered the coarseness, the clarity of her thoughts and the vulgarity of her expressions, despite her upbringing in the highest aristocratic circle. "I'm not some kind of fool ... go and try it yourself ... allez vous promener," [get out,] she said. Often, looking at her success in the eyes of old and young men and women, Pierre could not understand why he did not love her. Yes, I never loved her, Pierre said to himself; I knew she was a depraved woman, he repeated to himself, but he did not dare to admit it.
And now Dolokhov, here he is sitting in the snow and forcibly smiling, and dying, perhaps with some kind of feigned youth answering my repentance!
Pierre was one of those people who, despite their external, so-called weakness of character, do not look for an attorney for their grief. He processed his grief alone in himself.
“She is in everything, she alone is to blame for everything,” he said to himself; – but what of it? Why did I associate myself with her, why did I say to her this: “Je vous aime”, [I love you?] which was a lie and even worse than a lie, he said to himself. I am to blame and must bear ... What? The shame of the name, the misfortune of life? Eh, it's all nonsense, he thought, and the disgrace of the name, and honor, everything is conditional, everything is independent of me.
“Louis XVI was executed because they said that he was dishonest and a criminal (it occurred to Pierre), and they were right from their point of view, just as those who were martyred for him and ranked him among faces of the saints. Then Robespierre was executed for being a despot. Who is right, who is wrong? None. But live and live: tomorrow you will die, how could I have died an hour ago. And is it worth it to suffer when one second remains to live compared to eternity? But at the moment when he considered himself reassured by this kind of reasoning, she suddenly imagined her, and at those moments when he most of all showed her his insincere love, and he felt a rush of blood to his heart, and had to get up again, move, and break and tear things that fall under his hands. “Why did I say to her:“ Je vous aime? ”he kept repeating to himself. And after repeating this question for the 10th time, it occurred to him Molierovo: mais que diable allait il faire dans cette galere? [but why the devil carried him to this galley?] and he laughed at himself.
At night, he called the valet and ordered to pack in order to go to Petersburg. He couldn't stay under the same roof with her. He couldn't imagine how he would talk to her now. He decided that tomorrow he would leave and leave her a letter in which he would announce to her his intention to be separated from her forever.
In the morning, when the valet, bringing in coffee, entered the study, Pierre lay on the ottoman and slept with an open book in his hand.
He woke up and looked around frightened for a long time, unable to understand where he was.
“The countess ordered me to ask if your excellency is at home?” asked the valet.
But before Pierre had time to decide on the answer that he would make, the countess herself, in a white, satin robe, embroidered with silver, and in simple hair (two huge braids en diademe [in the form of a diadem] went around her lovely head twice) entered the room calm and majestic; only on her marble, somewhat convex forehead was a wrinkle of anger. She, with her all-enduring calmness, did not speak in front of the valet. She knew about the duel and came to talk about it. She waited until the valet filled the coffee and left. Pierre looked at her timidly through his spectacles, and, just as a hare, surrounded by dogs, pressing its ears, continues to lie in sight of its enemies, so he tried to continue reading: but he felt that it was pointless and impossible, and again looked timidly at her. She did not sit down, and with a contemptuous smile looked at him, waiting for the valet to come out.
– What is that? What have you done, I ask you,” she said sternly.
- I? what am I? Pierre said.
- Here is a brave man found! Well, tell me, what kind of duel is this? What did you want to prove with this! What? I'm asking you. Pierre turned heavily on the sofa, opened his mouth, but could not answer.
“If you do not answer, then I will tell you ...” Helen continued. “You believe everything that they tell you, you were told ...” Helen laughed, “that Dolokhov is my lover,” she said in French, with her rough accuracy of speech, pronouncing the word “lover” like any other word, “and you believed ! But what did you prove? What did you prove with this duel! That you are a fool, que vous etes un sot, [that you are a fool] everyone knew that! What will it lead to? To make me the laughingstock of all Moscow; so that everyone would say that you, in a drunken state, not remembering yourself, challenged to a duel a man whom you are jealous of without reason, - Helen raised her voice more and more and animatedly, - who is better than you in every respect ...
“Hm ... hm ...” Pierre muttered, grimacing, not looking at her and not moving a single member.
- And why could you believe that he was my lover? ... Why? Because I love his company? If you were smarter and nicer, then I would prefer yours.
“Don’t talk to me ... I beg you,” Pierre whispered hoarsely.
"Why shouldn't I speak!" I can speak and boldly say that it is a rare wife who, with a husband like you, would not take lovers (des amants), but I did not,” she said. Pierre wanted to say something, looked at her with strange eyes, which she did not understand the expression, and lay down again. He suffered physically at that moment: his chest was tight, and he could not breathe. He knew that he needed to do something to end this suffering, but what he wanted to do was too scary.
"We'd better part ways," he said brokenly.
“To part, if you please, only if you give me a fortune,” said Helen ... To part, that’s what scared me!
Pierre jumped up from the sofa and staggered towards her.
- I'll kill you! he shouted, and seizing a marble board from the table, with a force unknown to him, took a step towards it and swung at it.
Helen's face became terrifying: she yelped and jumped away from him. The breed of his father affected him. Pierre felt the fascination and charm of rage. He threw the plank, smashed it, and approaching Helen with open arms, shouted: “Out!!” in such a terrible voice that the whole house was terrified to hear this cry. God knows what Pierre would have done at that moment if
Helen didn't run out of the room.

A week later, Pierre gave his wife a power of attorney to manage all the Great Russian estates, which accounted for more than half of his fortune, and left alone for St. Petersburg.

Two months passed after receiving news in the Bald Mountains about the battle of Austerlitz and the death of Prince Andrei, and despite all the letters through the embassy and all the searches, his body was not found, and he was not among the prisoners. The worst thing for his relatives was that there was still the hope that he had been raised by the inhabitants on the battlefield, and perhaps he was recovering or dying somewhere alone, among strangers, and unable to give news of himself. In the newspapers, from which the old prince first learned about the defeat of Austerlitz, it was written, as always, very briefly and vaguely, that the Russians, after brilliant battles, had to retreat and made a retreat in perfect order. The old prince understood from this official news that ours had been defeated. A week after the newspaper that brought the news of the Battle of Austerlitz, a letter arrived from Kutuzov, who informed the prince about the fate that befell his son.
“Your son, in my eyes,” wrote Kutuzov, with a banner in his hands, ahead of the regiment, fell a hero worthy of his father and his fatherland. To the general regret of me and the whole army, it is still unknown whether he is alive or not. I flatter myself and you with the hope that your son is alive, for in otherwise among the officers found on the battlefield, about whom the list was submitted to me through parliamentarians, and he would have been named.
Having received this news late in the evening, when he was alone at. in his study, the old prince, as usual, the next day went for his morning walk; but he was silent with the clerk, the gardener, and the architect, and, although he looked angry, he said nothing to anyone.
When, at the usual time, Princess Mary came in to see him, he stood behind the machine and sharpened, but, as usual, did not look back at her.
- BUT! Princess Mary! he suddenly said unnaturally and dropped the chisel. (The wheel was still spinning from its swing. Princess Marya remembered for a long time this dying creak of the wheel, which merged for her with what followed.)
Princess Mary moved towards him, saw his face, and something suddenly sank into her. Her eyes couldn't see clearly. She saw from her father’s face, not sad, not killed, but angry and unnaturally working on herself, that now, now, a terrible misfortune, the worst in life, a misfortune that she had not yet experienced, an irreparable, incomprehensible misfortune, hung over her and crushed her. the death of the one you love.
– Mon pere! Andre? [Father! Andrei?] - Said the ungraceful, awkward princess with such an inexpressible charm of sadness and self-forgetfulness that her father could not stand her gaze, and turned away with a sob.
- Got the message. None were taken prisoner, none were killed. Kutuzov writes, - he shouted piercingly, as if wanting to drive the princess away with this cry, - killed!
The princess did not fall, she did not become faint. She was already pale, but when she heard these words, her face changed, and something shone in her radiant, beautiful eyes. As if joy, the highest joy, independent of the sorrows and joys of this world, spilled over the strong sorrow that was in it. She forgot all her fear of her father, went up to him, took his hand, pulled him towards her and hugged his dry, sinewy neck.
“Mon pere,” she said. Don't turn away from me, let's cry together.
- Scoundrels, scoundrels! the old man shouted, pulling his face away from her. - Destroy the army, destroy the people! For what? Go, go, tell Lisa. The princess sank helplessly into an armchair beside her father and wept. She saw her brother now at the moment he was saying goodbye to her and to Liza, with his gentle and at the same time arrogant air. She saw him at the moment when he tenderly and mockingly put the icon on himself. “Did he believe? Did he repent of his unbelief? Is he there now? Is it there, in the abode of eternal peace and bliss? she thought.

Head of the Military Orchestra Service - Chief Military Conductor Colonel Timofei Mayakin. Photo by Nadezhda Tikhomirova.

Colonel Timofei Mayakin, head of the Military Orchestra Service of the Armed Forces of the Russian Federation, tells about the capital's program "Military Bands in Parks", about the XI International Military Music Festival "Spasskaya Tower", about what the Military Band Service of the Armed Forces of the Russian Federation lives today.

– Timofei Konstantinovich, we can say that the spring-summer time for military musicians is the most intense in terms of the number of performances. On May 19, the Military Bands in the Parks season began in Moscow and will continue until August 18. From August 24 to September 2, the capital will delight the XI Spasskaya Tower International Military Music Festival…
– In fact, for our military bands, the whole year is hot. But first, let me tell you about the events you mentioned. These are significant cultural milestones not only for our country.
The opening of the Spasskaya Tower festival is preceded by a spectacular and truly beautiful project, which has become a bright spring-summer sign of the cultural and social life of Moscow. The idea of performing military bands in the parks and squares of the capital was prompted by the citizens themselves, who asked to resume the once popular performances of military bands in city parks and squares on weekends. And the management of the Spasskaya Tower International Military Music Festival, with the support of the Ministry of Defense of the Russian Federation and the Government of Moscow, started and successfully continues to work on the revival of this wonderful tradition.
For the first time, the Military Bands in the Parks program was implemented by the Directorate of the Spasskaya Tower Festival in 2016 on the territory of VDNKh. The performances of military groups were so warmly received by the audience that it was decided to make the program an annual event. In 2017, it was expanded: the number of concerts and city venues for them increased. The best military bands of our country take part in the performances. The Military Band Service of the Armed Forces of the Russian Federation forms and approves the project program directly. It should be noted that this year the program "Military Bands in the Parks" is complemented by performances by dance couples - participants in the "Moscow Longevity" project, which is being implemented by the Department of Culture of the capital. Another feature of this year was the participation in the action of volunteers of the Moscow cultural center Novoslobodsky Park. In total, thirteen Moscow parks and squares were involved in the Military Bands in Parks program in 2018.

Military bands, the creative divisions of our army, are always on alert

Ritual at the walls of the ancient Kremlin.

The first open concert of military musicians was held on May 19 in the Alexander Garden. The military exemplary band of the guard of honor, the military band of the 154th separate commandant's Preobrazhensky regiment and the band of the Suvorovites of the Moscow Military Music School named after Lieutenant General Khalilov took part in it. On the same day, our musicians also performed at Borovitskaya and Manezhnaya squares. On May 26, the second concert of the season took place in the Victory Park. A musical celebration for residents and guests of the capital unfolded on the square near the Flower Clock on Poklonnaya Hill. The concert began with a performance by drummers, then the program was continued by the Orchestra of Cadets of the Military Institute (military conductors) of the Military University of the Ministry of Defense of Russia under the direction of the chief conductor - the head of the orchestra, professor, Honored Artist of the Russian Federation Colonel Mikhail Mikhailovich Trunov. On June 2, two concerts were held as part of the celebration of Children's Day. The Presidential Orchestra of the Commandant's Service of the Moscow Kremlin performed in the Alexander Garden near the Italian Grotto Federal Service protection of the Russian Federation. In Muzeon Park Crimean embankment at the “dry” fountain, the Military Orchestra of the Military University of the Russian Ministry of Defense presented its concert program. On June 9, in Sokolniki Park, he performed again - already on the main alley of the park - the Rotunda stage. On June 16, in the Hermitage Moscow City Garden, a master class was given by the Central Military Band of the Russian Ministry of Defense. The entire program of performances, information about the teams taking part in them, is posted on the official website of the Spasskaya Tower festival.
I must say that at all concerts the orchestras perform with a unique repertoire. It harmoniously combines the melodies of the past, beloved by many, classical works and popular modern songs in an original orchestral arrangement.
The closing of the season will take place on August 18 in the Alexander Garden, where the Central Military Band of the Russian Ministry of Defense and the Central Concert Exemplary Band of the Russian Navy will play.
And then Muscovites and guests of the city are waiting for ten evenings of a unique musical performance, which will take place on the main square of the country near the walls of the Kremlin, in the heart of the Russian capital.
- And what is the peculiarity of the current performances of the "Spasskaya Tower"? Who will take part this time? And did the sanctions affect the composition of teams from abroad?
– Military music can be considered one of the best diplomats. She has no boundaries. This is a unique, perfect tool for intercultural dialogue. And we've never had a problem with international representation on this world's youngest military tattoo. From the moment he appeared
immediately became one of the most prestigious music forums. And every year it grows and develops, becoming a more large-scale and multifaceted event, justifying its status as the largest international military music project in the world, rightfully included in the top three. Let me remind you that at one time the festival was launched by its inspirers and organizers - the commandant of the Moscow Kremlin, Lieutenant General Sergei Dmitrievich Khlebnikov and the music director of the festival, Lieutenant General Valery Mikhailovich Khalilov, who then headed the Military Band Service of the Russian Defense Ministry.
Sergei Dmitrievich together with the head of the festival directorate Sergei Smirnov and
The Military Band Service of the Armed Forces of the Russian Federation is successfully continuing this project.
This year, as always, on Red Square you can again see a bright performance. There will be performances by the best Russian and foreign military orchestra and creative groups. It will be an enchanting theatrical performance with light installations and grandiose fireworks every evening.

Music change.

The geography of the countries participating in the festival traditionally covers all parts of the world. This year, the Imperial Youth Band from the city of Brentwood in the UK, the Carabinieri Band of the Prince of the Principality of Monaco, the unique Crescendo Bicycle Band from the Netherlands, the Band of the Royal Guard of Oman, the Corps of the "Old Grenadiers of Geneva" from Switzerland, the military band of Sri - Lanka, as well as the International Celtic Bagpipe and Drum Orchestra. A number of ensembles will take part in performances of the Spasskaya Tower for the first time.
This year, also for the first time, due to numerous requests from the audience, a daytime performance will take place as part of the festival program. It will be absolutely identical to the evening one, with the exception of fireworks and other pyrotechnic components. By the way, the organizers are preparing various surprises for the daytime performance.

To date, the Military Band Service of the Armed Forces of the Russian Federation includes more than two hundred orchestras with a total number of about four thousand people.

Undoubtedly, a horse show at a special arena will also be very interesting. Performances here by the Cavalry Honorary Escort of the Presidential Regiment of the Commandant's Service of the Moscow Kremlin of the Federal Security Service of the Russian Federation and representatives of the equestrian club "Kremlin Riding School" have become an integral part of the socially oriented cultural life of the festival. I would like to note that over 10 years there have been more than 200 performances attended by hundreds of thousands of people. The grandiose show program, which the Kremlin Riding School has been preparing for many years, is always very bright and original, it includes performances not only by Russian, but also by well-known foreign groups.
The well-loved Spasskaya Tower for Children program, which includes an annual competition of children's and youth brass bands, and a review of children's guards of honor from various regions of Russia, will also be further developed. And in the themed tents of the Children's Town, exhibitions, master classes, competitions, relay races and games will be held daily, which everyone can visit absolutely freely.
- At the beginning of the conversation, you noticed that military musicians have an extremely full year of performances. How many bands in the Military Band Service perform the corresponding tasks?
– To date, we have more than two hundred orchestras with a total number of about four thousand people. Yes, there is a lot of work, because, as usual, military musicians are in demand at all significant state events. And not only. Both in our country and abroad, there are many large-scale festivals of military bands. By participating in them, we not only strengthen the prestige of the national military musical culture, but also get a wonderful opportunity to improve our professional form, because each orchestra has its own musical specialty, a certain manner of performance that it has developed. Music is a constant work, a search for that individuality of performance that distinguishes one group from another. And we must not forget: our activities are closely connected with the life of the troops. Military conductors also work with amateur performances in local military units. It is their official duty to provide methodological assistance and help discover talents among military personnel and their families. And, if possible, involve them in the concert activities of their orchestras.
– What is the structure of the Military Band Service?
- The structure of the Military Band Service includes: the governing body of the Military Band Service, the Central Military Band, the Military Exemplary Band (Honorary Guard), the Rimsky-Korsakov Central Concert Exemplary Band of the Navy, military band services of military districts, military bands headquarters of military districts and military bands military units. Of course, it also includes educational institutions. These are the Moscow Military Music School named after Lieutenant General Khalilov, which graduates specialists with secondary vocational education, and the Military Institute of Military Conductors of the Military University, which trains specialists with higher education.
In a nutshell, how is your work structured?
- Firstly, there is an annual audit of orchestral services in the field. For this, a special commission is being created, headed by the head of the Military Band Service. But besides this, for professional growth, there are also competitions of military bands on an all-army scale. They are held every five years in two rounds. This year, the first, qualifying, started in February in Moscow and ended on March 12 in the Northern Fleet. During this time, military musicians from the Western, Eastern, Central and Southern districts have demonstrated their skills. The second and final round, in which the best of the best 12 orchestras will take part, will be held on Red Square from August 27 to 31, 2019, during the days when the XII Spasskaya Tower International Military Music Festival will be held.
– And what should the orchestras show during the annual inspection?
- At least two new concert programs, each lasting up to an hour, and a parade-concert should be prepared for the arrival of the commission. Each orchestra is obliged to perform the National Anthem of the Russian Federation and the following works: Glinka's "Glory", Pavlov's "Setting the Guards", Chernetsky's "Red Dawn", two drill marches and two "Oncoming Marches". In addition, works of the concert repertoire are listened to, which should include transcriptions of works by domestic and foreign classical composers, as well as original compositions for a brass band. The check ends with the performance of the concert parade program. It is important to note that during the audit we do not only evaluate the level of preparation of the orchestra. Our task is to provide methodological assistance to military conductors, including in the formation of the musical repertoire, conducting orchestral lessons and individual training of musicians.
– And what other activities, besides checking the work of orchestras on the ground, does the Military Orchestra Service have anything to do with?
- Of course, this is the musical support for military parades by May 9 - on Red Square, in hero cities, cities military glory. In all other cities where parades are held.
If we take the festival activities, then the VII International Military Music Festival "Amur Waves" was recently held in Khabarovsk. It was attended by military bands from Russia, Kazakhstan, Mongolia and an orchestra of Celtic bagpipes and drums, representing the European Union. Recently, the VII International Festival of Brass Bands named after Vasily Agapkin and Ilya Shatrov ended in Tambov. Six orchestras from different cities countries, including the Central Military Band of the Russian Ministry of Defense, military brass bands of military units 54607 and 31969 stationed in Tambov. Tambov musicians also worked with them - the Governor's Brass Band of the Tambov Region and the Agapkin Brass Band. As part of the festival, a monument to military conductor Lieutenant General Valery Mikhailovich Khalilov was unveiled. The monument is made in full growth and installed on a granite pedestal, decorated with fanfares. It was placed in the center of the city not far from the monument to military musicians Vasily Agapkin and Ilya Shatrov. The author of all compositions is the Moscow sculptor Alexander Mironov.
The Central Military Band will perform from June 28 to July 5 in Armenia as well. In September last year, our military musicians already participated in the first annual interstate festival Russia-Armenia "The main thing is to serve the Fatherland." It is organized by the International Arno Babajanyan Memorial Foundation with the support of the Ministries of Defense of Russia and Armenia. After that, our military band is waiting at its festival for the city of the first fireworks, the city of military glory Belgorod.
Not far off is the musical support of the main naval parade in St. Petersburg to mark the Day of the Navy.
From July 30 to August 5, the Central Military Band will perform at the International Military Music Festival in Hamina, Finland.
We have already talked about the Spasskaya Tower. And in the period from September 22 to October 1, the Suvorov Orchestra of the Moscow Military Music School named after Lieutenant General Khalilov will be on a business trip to Switzerland as part of international military cooperation between the Russian Federation and the Swiss Confederation. For more than 25 years, students of the school have been taking part in annual events dedicated to the anniversary of the crossing of the Russian army under the leadership of Field Marshal Suvorov through the Alps.
- In the old bard song of Vladimir Vasiliev there are such words: “My orchestra is leaving, but the sounds are catching up, the boys will run after the music.” Do you think they are relevant today?

Here are the talents.

Let the facts speak for me. Since the holding of military music festivals, for example, in Khabarovsk and Tambov, the number of teenagers who study in music schools in these cities has increased significantly. And for the same Suvorov students of the Moscow Military Music School named after Lieutenant General Khalilov, I am sure that military music has become fate and love forever. They are its faithful successors and keepers. And the competition among those entering the school is very serious.