Music and Time Annotation << Back Creative portrait of musician A. Shalaev V.A. Esakov, V.V. Kondakov, A.D. Talakin In the gallery of the most prominent Soviet bayanists, the name of honored artist of the RSFSR Anatoly Shalaev takes pride of place. His long and multifaceted creative activity requires close attention and study. This article analyzes the creativity of A.A. Shalaev and his influence on the development of Bayan art. A brief biography of A.A. Shalaev is given, in particular, the stages of his becoming not only one of the greatest bayanists of our time, but also a talented composer, conductor, choirmaster, orchestra leader are presented. Whoever made by A.A. Shalaev (in a duet with Nikolai Krylov, a great singer Lyudmila Zykina, a singer Zinaida Kirillova, bayanist Vladimir Nehawka), invariably these performances conquered the audience of high craftsmanship not only in our country but also abroad. Button accordion analyzing the works of A.A. Shalaev, it can be noted a few typical traits that are easily distinguishable in the general mass of folk-instrumental music composer and emphasize the individuality of the artist. Main of them are: illustrative (he used it gently, not focusing on the main elements and drawing only to specify and enhance the artistic image); dramaturgy (in the compositions of A.A. Shalaev is represented by a set of speculative ideas, collectivity material, refinement of compositional finish, emotionally-optimistic orientation and end-to-end development); texture (in the compositions of A.A. Shalaev noted the conciseness and clarity of presentation of musical material, Shalaevskii variations aimed at a broad scale bar). A.A. Shalaev played an extremely important role in the development of bayan art. For decades, he was one of the most prominent figures in the concert life of the country, receiving wide recognition of our people. Keyword: Accordion, button accordion art, A. Shalaev, L. Zykina, N. Krylov, illustrative accordion in songs, plays accordion in composition, texture accordion in the song. Contacts: - Pp. 21-28.