The legacy of the Altai composer Afanasy Stepanovich Anokhin as a focus of the formation of the national choral culture of the mid-twentieth century

Nikitina Tatiana Aleksandrovna Senior lecturer of the Academic Choir Department, Altai State Institute of Culture 656055, Russia, Altai Krai, Barnaul, Yurina str., 277 tany.ru88@mail.ru

Zhernosenko Irina Aleksandrovna Doctor of Philosophy Associate Professor, Professor of the Department of Humanities, Altai State Institute of Culture 656055, Russia, Altai Krai, Barnaul, Yurina str., 277 irina.jernosenko@gmail.com

The term "intangible cultural heritage" in the modern geopolitical and socio-cultural situation has received the status of a strategic resource of Russia's cultural policy, which was enshrined in Presidential Decree No. 808 dated 12/24/2014 "On Approval of the Foundations of State Cultural Policy" (Decree of the President of the Russian Federation No. 808 dated 12/24/2014 "On Approval of the Foundations of State Cultural Policy". The document was provided by Consultant Plus www.consultant.ru Date of preservation: 30.03.2021 and the Official Internet portal of legal information http://www.pravo.gov.ru , 12/25/2014, "Collection of Legislation of the Russian Federation", 12/29/2014, N 52 (Part I), Article 7753) focusing the attention of state and municipal cultural management bodies, as well as researchers on the preservation and representation of regional cultural heritage. Indeed, everywhere in Russia there is a problem of the loss of creativity of regional cultural figures (including musical ones), often undeservedly underestimated during their lifetime. Therefore, sometimes the unique heritage of regional composers requires a special set of measures aimed at preserving and popularizing their names and works created by them.

The study of archival data allows you to learn many details of the regional musical culture of the last century, historical facts and thoughts of musicians. Partially, the results of the work of many regional figures of musical art of the 20th century are preserved in the system of funds in state archives and museums; much is stored in family archives and private collections. But in most cases, these works are not known to the general public and, moreover, have not been properly evaluated by researchers. Therefore, it is extremely important to have time to preserve unknown or unpublished pages of their work, since there is a high probability of losing the memory of outstanding phenomena of regional musical culture, which make up the national culture.

One of such bright creative personalities in the musical culture of the Altai Territory in the twentieth century was Afanasy Stepanovich Anokhin, a composer and teacher, a prominent figure in musical culture, who, according to the composer himself, "considered musical enlightenment to be the main business of his life and served this faithfully – to the best of his abilities and talent" ^{[1, p.1]}.

The purpose of this work is to explicate the process of formation of the choral culture of the Altai Territory in the twentieth century through the reconstruction of the creative heritage of the composer of the Altai Territory A. S. Anokhina. The following tasks follow from this goal: to analyze the composer's creative biography, recreate the scope of the composer's creative heritage and identify the role and place of A.S. Anokhin's personality in the context of the formation of the choral culture of the Altai Territory. The object of the study of this work is the formation of choral culture in the Altai Territory, the subject is the creative legacy of composer and musical figure Afanasy Stepanovich Anokhin. The data stored in A. S.'s personal fund served as the material for this study. Anokhin in the State Archive of the Altai Territory, consisting of 22 files; archival data from the collections of Andrei Viktorovich Anokhin and Valerian Petrovich Vvedensky from the repository of the State Museum of the History of Literature, Art and Culture of Altai (GMILIKA); data from a literary reference source "Musical Encyclopedia of the Altai Territory".

Afanasy Stepanovich Anokhin is the nephew and pupil of Andrei Viktorovich Anokhin, a famous musical figure of Siberia, the founder of professional music of the Altaians, a scientist ethnographer, composer, choral conductor, educator, local historian ^{[2, p. 35]}. A.V. Anokhin made an invaluable contribution to the formation of Siberian ethnography: his works on the study of shamanism, mythology and musical culture of the Altai Turks today constitute the golden fund of Russian ethnography. A.V. Funds Anokhin's works are kept in several museums in Russia: at the Museum of Anthropology and Ethnography named after Peter the Great (Kunstkamera), the Tomsk Regional Museum of Local Lore named after M. B. Shatilov, the National Museum of the Altai Republic named after A. V. Anokhin, the State Museum of Literature, Art and Culture of Altai (Barnaul) ^{[3, p.40]} – and are of great research value.

Also, part of the legacy of Afanasy Stepanovich Anokhin is kept in the fund of Valerian Petrovich Vvedensky, a famous Barnaul musician, teacher and conductor. In the early 1950s, Valerian Petrovich moved to Altai and until 1957 led the orchestra of folk instruments at the Barnaul Melange Plant Club. Later, he taught classes on stringed instruments in children's music schools and the Barnaul Music College.

The personal archives of the figures of Altai musical culture presented above keep memories and records of the activities of both the authors themselves and many other figures of regional culture, including the activities of A.S. Anokhin.

After the 1917 revolution, choral art in the young republic was going through a difficult period of mastering new ideas, themes and images. New political views and ideas required composers and performers to restructure their consciousness and understand new vectors of development of the creative environment. The transition from the music of the modern era at the turn of the XIX-XX centuries, reflecting the inner spiritual world of man, to music filled with revolutionary ideas and aimed at mass creativity and performance turned out to be difficult.

A.S. Anokhin's activity, practically throughout his life, was connected with the musical culture of the Altai Territory (amateur and professional): he was a teacher and lecturer, musicologist, composer and conductor.

A. S. was born. Anokhin was born on September 2, 1904 in Biysk. Possessing good vocal skills, by the age of 16 he began working as a chorister in the state choir of the city of Biysk. The young chorister took music lessons from his uncle, Andrei Viktorovich Anokhin, and later Afanasy Stepanovich would participate in Andrei Viktorovich's ethnographic expeditions. From the memoirs of A. S. Anokhin can understand the state of regional choral culture at that time: "In those years Biysk had good-quality artistic forces driven into the province from the central regions of the country by the civil war and famine. Singing in the choir, attending city concerts and dramatic performances helped me then to feel the power of art and follow the path of music" ^{[4, OF 16789, p.1]}. Afanasy Stepanovich received his secondary school education in Barnaul, while he tried his hand as a teacher of choral singing in elementary grades. Thus, his future fate was determined. The love of music and choral culture led the future composer to further study and receive secondary special education.

The musical life of the provincial city of Barnaul during this period is gaining new momentum: new collectives are being organized, such as: symphony orchestra of the Public Assembly – head A. I. Klaster, the Great Russian orchestra at the trade school under the direction of L. S. Rakin ^{[5, p. 90]}. The activities of amateur musicians are actively developing; performing circles are being created. So, the string quartet organized by A. G. Basarev was especially popular during this period. Secular choral performance was just beginning its development at that time. To activate this process, the creation of a choral society was initiated (1911-1916), which was named the Second Siberian (the first choral society was organized in Tomsk). Among the tasks he faced were "organizing concerts, opening choral classes, and creating a music library for music lovers. The board of the society consisted of L. D. Laptev, I. N. Kokshenev and V. V. Titov" ^{[2, pp. 139, 143]}.

By March 1917, there was an increase in the popularity of the choral society in the Barnaul environment, which led to the expansion of its sphere of activity and subsequent transformation into a musical society. The main task facing the musical community at that time was to prepare and open the National Conservatory in November 1917. Later, in 1920, the Workers' and Peasants' Conservatory was opened on its basis (now it is the children's music school No. 1). In the personal archive of the ethnographer A. V. There is evidence that outstanding musicians and teachers of Altai taught at the Workers' and Peasants' Conservatory: A. I. Marcinkovsky, K.N. Nechaev and others ^{[2, p. 121]}. "K. N. Nechaev taught at two-year courses of workers and school choirmasters at the Workers' and Peasants' Conservatory. Then he was replaced by A. V. Anokhin is a major Siberian musician" ^{[2, p. 140]}.

In the context of the flourishing of musical culture in the region, the creative personality of A. S. crystallized. Anokhin, full of enthusiasm and new ideas, aspired to new projects for organizing the musical life of Barnaul. But not everything worked out as planned for the young musical figure.

Some sources represent A. S. Anokhin was an amateur composer, but Afanasy Stepanovich was a professional composer. According to his autobiography, in 1928 he entered the Tomsk Music College in the theoretical composition class ^{[4, OF 16789, p.1]}. In his memoirs, which are kept in the State Archive of the Altai Territory, Afanasy Stepanovich describes the entrance tests at the college, where he "passed a theoretical survey and presented 2 romances of his own making. I remember one of them was based on poems by S. Yesenin “I am tired of living in my native land" ^{[1, d. 3, p. 21]}. Also in his memoirs, the composer describes his difficulties during his studies: This is both a poor financial condition and unpleasant ideological "swings" in the education system, such as, for example, the clash of classical music and the directions prescribed by the Russian Association of Proletarian Musicians (RAPM). According to the association, "in the field of musical creativity, the creation of Soviet mass songs was brought to the fore. <...> According to RAPM, [it, musical creativity, T.N., I.J.] will begin in a clean and bare place (without a speck of dust from the lived heritage) the path of true proletarian music" ^{[1, D.3, p. 25]}. Undoubtedly, this state of affairs did not suit teachers who built their teaching systems on the classical approach, and for this they often had to listen to accusations that "they play classics a lot and do not expand the repertoire of Soviet authors, although his choice was negligible" ^{[1, D.3, p.26]}. "Only folk art and some works by Beethoven (Pathetic Sonata, "Appassionata", overture "Egmont", opera "Fidelio") and Mussorgsky (vocal satire, "Lullaby to Eremushka", "Forgotten") were allowed. And, for example, Glinka's music was called noble; Tchaikovsky, Rachmaninoff and Chopin were declared whiners" ^{[1, d. 3, p. 22]} (spelling A. S. Anokhina). The persecution of lyrical music and fine examples of classical works led to excesses in the performing and composing works of that period of Soviet history.

According to the notes left by Afanasiy Stepanovich, it is clear that during his studies he did not try to create mass songs, but tried to penetrate into more complex forms, and this led to sad consequences. "At about the end of May 1931, an open concert of plays by students of the theoretical composition class took place at the college <...> I showed a piano prelude (in C minor) and two vocal pieces" ^{[1, d.3, p.65]} the final statements of the "speakers" after the performance were very difficult for the student: "They confirmed the presence in my works of the technique prescribed by the course, but condemned my lack of pieces – and in particular, fashionable then mass songs on the themes of today. The chairman of the trade union committee said: we supposedly taught the graduate the rules of writing, but overlooked his apolitical lyrics, imitation of Tchaikovsky, and Scriabin; therefore, I must now stop doing such an unfit thing" ^{[1, D.3, p. 66]}. The young composer was not a denier of modern ideology, but he did not agree with RAPM's methodological and ideological guidelines. His studies at the college ended, and the direction to study at the conservatory was not given to the "apolitical lyricist", so Afanasy Stepanovich could not continue his education, and, judging by the "memoirs", this greatly influenced his further path as a composer.

Afanasy Stepanovich was a very active young man, who managed to combine education and teaching activities. In 1929, he began working as a singing teacher in one of the schools in Tomsk, and in 1931 he began working at the music school at the Tomsk Music College, where he later held the position of head of the academic department.

The first third of the twentieth century was the time of the development of musical education in the Altai Territory, the pioneer in this field in the Altai Territory can be called the Workers' and Peasants' Conservatory, later transformed into the Barnaul Children's Music School No. 1 named after A. K. Glazunov, in which since 1935 A. S. Anokhin was the head of the educational department. At that time, he was actively engaged in pedagogical, organizational, and musical educational activities: he lectured on music, participated in various juries and competitions ^{[7, p. 37]}.

1941 was a difficult time for the Soviet people, everyone went to the front, Afanasy Stepanovich was no exception. Having passed through the Leningrad front, the wounded young man does not lose heart, but speaks to the wounded soldiers. After the end of the war, the reconstruction of the destroyed country begins, there is a great shortage of personnel in all spheres of life. But the creative sphere takes a vector towards positive compositions filled with the joy of Victory and faith in the future. The composer returns to Barnaul and begins his active pedagogical and creative activities: head teacher, teacher of theoretical disciplines, he conducts active lecturing (he has read more than 500 lectures in cities and districts of the region), leads choral groups at the Transmash factory club and orphanage No. 8 ^{[1, p. 37]}. He continued to work at the music school until 1951, but, for health reasons, he had to finish working with children (tuberculosis began). At the same time, A. S. Anokhin begins work at the Regional Philharmonic as a lecturer, conductor of the "symphony ensemble" ^{[7, p. 37]}. And from 1956 to 1961 he worked at the Barnaul Music College as a teacher and head of the department of music theory.

Afanasy Stepanovich has been engaged in educational activities all his creative life, and it was not limited to performances at the Philharmonic. In the composer's personal fund, which is kept in the State Archive of the Altai Territory, in case No. 11, as well as according to O. N. Dudareva, "the sayings, aphorisms, proverbs, thoughts about music collected by Anokhin are stored, which once again show how conscientiously, painstakingly Afanasy Stepanovich treated any case. On small yellowed leaves, written in his hand, there is a huge work on the study of such big names as I. Brodsky, V. A. Sukhomlinsky" ^{[5, p. 10]}. There are also radio scripts, lectures about the composer A. P. Borodin, a script for a lecture about a song, his reflections on the image of the Soviet Army in songs, lectures about I. O. Dunaevsky and M. P. Mussorgsky, which confirms his active activity in popularizing musical art.

In the middle of the twentieth century in the Soviet Union, the state paid great attention to the creation of various kinds of amateur creative associations and unions. Associations were created in all spheres of cultural life: journalism, cinematography, literature, theater, music, fine arts, etc. In Barnaul, on September 30, 1967, the "Creative Association of Amateur Composers of Altai" or abbreviated TOKL and A. S. was organized. Anokhin became his consultant. He was active in working with aspiring composers, including consultations on composition, harmony and music theory, arrangement and orchestration. A five-day regional seminar was held, which was led by a member of the Siberian branch of the Union of Composers of the RSFSR, G. N. Ivanov; also A. S. Anokhin organized and conducted seminars in the Biysk and Gorno-Altai sections ^[9]. In the personal fund of the composer and educator, correspondence with amateur composers of the Altai Territory has been preserved, where he gave detailed characteristics and advice on improving the quality of musical and literary text, evaluated works and supervised the publication of musical collections of Altai composers ^[1]. Afanasy Stepanovich himself took "part in all the song contests of the region <...>. In 1950 and in 1953 he participated in the plenums of composers of Siberia" ^{[4, OF 16389/1, p. 2]}.

In addition to teaching and educational activities, A. S. Anokhin continued to study composition: he wrote a number of instrumental pieces, became interested in processing Altai folk songs (his love for them was passed on to him from his uncle, the ethnographer and composer A.V. Anokhina). "But the main place in his work belongs to the songs: he wrote them most of all. Many of them have firmly entered the repertoire of professional and amateur choirs, as well as singer-soloists" ^{[1, p. 35]}. The most famous songs were written by A. S. Anokhin in the post-war years and published in collections published by the regional house of folk art.

During the study of archival data stored in the State Archive of the Altai Territory and the GMILIK Museum, 99 unpublished manuscripts were identified: vocal and choral works without accompaniment, with accompaniment for piano and accordion, with orchestral accompaniment; also found notes of instrumental music for piano and cello, songs for children.

But for all the composer's activity at that time, his works were published: mostly these are works related to political attitudes or songs dedicated to the theme of love for the small homeland and the nature of Altai. Most of the compositions, such as: works of a personal nature, songs based on poems by famous poets, songs for children, as well as piano music and music for theatrical productions, remained only in the handwritten version stored in the archives (see appendix 2).

Vocal and choral compositions were created for holidays and other significant events. A distinctive feature of the songs of A. S. Anokhina is lyricism, sincerity and melodiousness ^[10]. In general, all the found works of A. S. Anokhin can be divided into several directions:

                         I. Instrumental music

                     II.            Popular songs

- On the topic "The Party. Lenin. The World";

- On the topic of "Altai. Virgin land;

- On the topic of "Love. Nature. Labour. Various;

- War songs;

                       III.            Children's songs

                       IV. Music for the performances of the Barnaul Drama Theater (musical notation was not found).

Most of the compositions created by A.S. Anokhin are mass songs, most often intended for performance by amateur groups. This is evidenced by the frequent reference to folk stylistics, the use of a couplet (strophic) form or with a refrain-chorus. The compositions are maximally accessible for performance and perception, have a poetic and musical language understandable to the mass listener and performer, the melodies are written in a convenient tessitura. Often, works written for a soloist also have ensemble or choral arrangements. Various accompaniment options were also found: for example, the song "Native Land" was recorded accompanied by a piano, and accompanied by a symphony orchestra.

In the list of works, we have highlighted military songs in a separate cycle. None of them were published during the composer's lifetime, but these works are the pearls of A. S. Anokhin's work.

One of these works, preserved from wartime, was written on the Leningrad front and dated January 2, 1943. It was a song based on K. Simonov's poems "Wait for me" (Appendix 1) ^{[1, D.2, p. 20]}. She was very popular among soldiers, was widely known and loved ^{[7, p. 37]}. It was preserved only in a handwritten version and eventually ceased to sound. The musical language of the work conveys all the bitterness and longing of the trials passed: Afanasy Stepanovich was in the active army from August 1941 to July 1945 and fought on the Leningrad front, then further through the territory of military operations. In between battles and after being wounded, in a hospital in Rybinsk, he spoke to the fighters, trying to brighten up the difficult conditions of wartime and the recovery period after injuries.

In a song written by A. S. Anokhin uses the full text of the poem by K. Simonov, unlike the well-known song by M. Blanter, for which the composer shortened each verse by 1/3, since the poem is not written in the usual "square" form, where each verse consists of 4 or 8 lines, but in a complex form consisting of three quatrains. In A. S. Anokhin's song, the fully preserved text sets the unhurried rhythm of a deeply personal statement. There is no poster directness in K. Simonov's text, there is no ideological duality ("good is bad"), but there is a lively, pulsating, restless thought: hope and piercing longing for her beloved, conviction and fear of losing her, exhortation and yet calm confidence that she knows how to "wait like no one else". It is this complexity of soul-tearing, but restrained feelings that set the unusual structure of the poem, which attracted A. S. Anokhina is ready to create her own song confession. The musical language of the work is the same: on the one hand, a very simple melody and a calm rhythm, and on the other, a very whimsical harmony in the climactic part of the verse, located at its point of the golden section. The first and second parts of the verse unfold in a restrained development of the usual song harmony: tonic – subdominant – dominant, where the subdominant is seasoned with tart seventh chords of the second stage, with slight deviations in the tonality of the first degree of kinship. But the end of the second quatrain, on the words "Wait when others are not expected...", the tension increases due to unexpected harmonic colors: a deviation to the third stage of the main key of the work written in D minor, rounding off with an interrupted cadence returning to the main key, is replaced by a bizarre chord of the IV high degree, completing the sentence on the dominant, accented in melody VII, a high step. At the break of the second and third quatrains, prepared by a sharp increase in harmonic tension, the climax sounds bright and clear on the foundation of the tonic and dominant in the accompaniment and on the progressive movement of descending second intonations in the melody. The decline of the climax occurs on the light flickering of the chords of the VI and III steps of D minor, giving emotional fullness to confident calmness.

The military theme in the songs did not leave the composer until the last days. The works are filled with the pain of overcome terrible events. Thus, the work "The Soldier did not return Home" written for a mixed a cappella choir to the words of V. D. Dinabursky was created in the year of the composer's death – the date on the manuscript: March 1975, with an end-to-end development and a detailed dramaturgy. He calls on his contemporaries to look back at the history of Russia, to look at the life story of everyone who went through military operations. The literary text conveys the terrible events experienced, which are reflected in the music: pain, loss, loneliness, guilt – that you survived, but your friend did not, memory and the desire to live a simple life. The repetition of the lines between the stanzas of "The soldier did not return home" sounds like a memory spell in the choir – you must not forget.

On the occasion of the 70th anniversary of Afanasy Stepanovich Anokhin, an author's concert was arranged, here is how the author describes it: "On November 18, 1974, I was honored at the Barnaul Operetta Theater on the occasion of my 70th birthday. <...> The concert went well. It bothered me, but it turned out to be a pleasant surprise in its quantity and quality; due to my shortness of breath, I did not take part in its preparation and did not know anything about it. Listening to him, I thought: only twice – at the age of 50 and at the age of 70 – I heard myself in a fairly extensive program; if this had happened before, then, for sure, I would have written more and better. <...> One must be satisfied and received" ^{[1, D.3, pp. 61-97]}.

Undoubtedly, researchers have previously shown interest in the activities of A. S. Anokhin. Thus, I. V. Polteva describes the composer's legacy, stored in the funds of the GMILIK, from a museological point of view ^[6], O. N. Dudareva in the article "How will I appear to those who want to take a closer look at me" ^[5] presented a brief biography and partially published the composer's diary entries. A little more attention is paid to the biography and social activities of the composer S. V. Nesterova in an article from the Musical Encyclopedia of the Altai Territory ^[7].

In this work, the analysis of the composer's creative heritage is carried out from the standpoint of cultural and musicological research. Through a biographical sketch, the process of formation of choral culture in the Altai Territory is explicated and the role of A. S. Anokhin in this process is revealed.

The musical and choral culture of the Altai Territory actively developed during the Great Patriotic War and in the post-war years, and was at a fairly high level thanks to many cultural figures of that time: V. A. Lotar-Shevchenko (pianist), E. M. Katz (violinist, conductor), A.V. Anokhin (ethnographer, composer), N. N. Ikonnikov (composer), E. K. Kryuchkov (composer), E. I. Borisov (conductor, musical figure), V. Guseva (vocalist), V. Z. Semenchin (vocals) and many other performers. Every musical figure deserves special attention. Among these names, a special place is occupied by the name of Afanasy Stepanovich Anokhin, a musical educator, composer, founder of the Philharmonic orchestra, a man who served the musical art of Altai with all his soul. He was a unique personality who possessed great knowledge in the field of musical culture, constantly striving for self-education. And yet he was an incredibly humble man. His musical legacy is quite extensive, but most of it is unknown and partially forgotten. Unfortunately, there are no heirs left who would keep the memory and promote his work. Therefore, it is extremely important to represent his legacy in the regional and all-Russian musical environment. The author of this work is engaged in the identification and publication of unpublished musical material by A. S. Anokhina.  So, 4 military works were published: "Wait for me", "Escorted to the train station", "Among snowdrifts and craters", "The soldier did not return home", as well as 2 songs: "About my beloved", "Song about my hometown" in the collection "Wait for me" ^[14]. The task of descendants is to remember the outstanding cultural figures of their small homeland, to know and appreciate their work, to preserve and popularize the legacy left by a strong and courageous generation.

Appendix 1

Appendix 2

List of unpublished works by A.S. Anokhin

                              I. Instrumental music

1. Fantasy for 2 bayans on the theme of R.N.P. "Shirokaya Street".
2. Piano prelude e-moll
3. Processing of two Altai melodies for violin, cello and piano.
4. March (piano from the children's section)

                          II.            Popular songs

On the topic "The Party. Lenin. The World"

1. Ilyich's Land
2. Thanks to our party
3. He's always alive
4. The Song about Lenin
5. Lenin reads Pravda
6. Sing, people, about Lenin
7. Ilyich lived in Siberia
8. Lead the way, party
9. May Song
10. May has come
11. May Day Walk

On the topic "Homeland. Altai. Virgin land"

1. I love you, my Russia
2. I am your son, Russia
3. Early in the morning
4. Birch Light
5. Native land
6. Altai Region is mine
7. I'll go out, I'll go out early in the morning
8. A song about the virgin Altai
9. Argymak (processing of folk melody)
10. Altai harvest
11. The Eyes of Russia
12. The Builder's Song
13. Good, you're a thick rye
14. The native land is arranged for symphony orchestra and soloist
15. In a quiet field, in a ripe life
16. A song about the new Altai
17. The side is my own
18. The Siberian region is mine
19. Plain

On the topic of "Love. Nature. Labour. Miscellaneous"

1.  About my beloved
2. Across the river
3. The kid
4. Autumn
5. How would I be able to
6. Peas-peas
7. To the babysitter
8. You come to me in the spring
9. There is a month above the window
10. Where are you, sultry summer
11. In a quiet field, in a ripe life
12. Birch tree
13. Kurgan
14. The Song of the Working Fathers
15. A lonely accordion
16. Russian nature
17. You come to me
18. That we lived with you
19. Letter to a friend
20. Sing, nightingale, in the garden
21. Irtyshanochka
22. A subplot
23. The song for the variety performance "Welcome"
24. Farewell song from the variety review "Welcome"
25. Sparrow
26. The youth regiment
27. Altai Apple tree for solo
28. Altai Apple tree for choir
29. Life is good everywhere
30. The owners of the land
31. Accordion
32. Apple tree
33. Golden autumn
34. A song about a girl
35. Willow Tree
36. Spring, sl. Vysheslavtseva
37. Spring, sl. Alien
38. Cranes
39. Lily
40. Birch tree
41. March 8th
42. Like late autumn sometimes

War songs

1. The soldier did not return home
2. Wait for me
3. I do not regret, I do not call, I do not cry
4. The soldier winked at the girl
5. Among the snowdrifts and craters
6. Ashberry
7. Eh, the officers teach us
8. Requiem
9. March of the Twelve

                       III.            Children's songs

1. October
2. Today is our holiday everywhere
3. Lullaby
4. We know a lot of songs
5. A song about Lenin
6. The Octobrists went to the parade
7. Oh, yes, a Christmas tree
8. Our Christmas tree is dressed up
9. The song
10. The song of the Snow Maiden
11. Christmas tree
12. A small Christmas Tree
13. Colored lights
14. Mom's Holiday

                       IV. Music for the performances of the Barnaul Drama Theater (musical notation was not found):

1. "Under the Chestnuts of Prague" by K. Simonov, staged 1945-1946.
2. "Twelve Months" by S. Marshak, staged 1946-1947.