For the first time I have seen it in the Big hall of the Leningrad philharmonic society in the afternoon during rehearsal. Oborin played. I do not remember, who conducted. Probably - Alexander Vasilevich Gauk. Music has first amazed not. Have amazed manners of this swarty curly person. It escaped to last numbers of an empty hall, therefrom listened. Crying out something on the move, directed to the conductor, it is hot vtolkovyval to it the important reasons any, apparently. Passing the conductor, he addressed directly to an orchestra, to separate musicians. I remember long enough conversation with "фхЁхтюь". Confusion shades, konfuzlivosti which would be clear at so obvious and dangerous parities age and professional: the young composer and already well-known conductor, the well-known pianist, the well-known orchestra. Amazed also another: as the pressure of temperament of Hachaturjana as it is attentive was irresistible, without irritation listened to all its prompt, somewhere even a choking tongue twister. Dialogue with musicians was only reflexion of its passionate dialogue with music.
For leningradtsev at that time, - the middle of 30th years, - the name of Hachaturjana was not still "р¶ш°э№ь". Its musicians knew. The public even most qualified, philharmonic, only on the forthcoming premiere of the Piano concert should get acquainted with the recent graduate of the Moscow conservatory.
The Piano concert has fascinated a hall at once though any part of public found its unduly traditional. To an applause there was no end. The lion of Nikolaevich Oborin endured the first, most captivating decade of the glory after triumph at Shopenovsky competition in Warsaw. A concert of Hachaturjana, to it devoted, he played really with inspiration. Printing programs-summaries to a concert this time was not. Before the beginning as usually, Ivan Ivanovich Sollertinsky acted. Its tastes those years have been connected with Berlioz, Mahler, Bruknerom, especially - with Shostakovich, whose true, temperamentnejshim the propagandist it was. From it, as always, talented "ёыютр" the hall has learnt the most general data on the composer who has for the first time appeared in Leningrad. Data were poor. Compelled to be limited to them, Sollertinsky, it is frequent ekspansivnyj, quite often generous on "ёѕяхЁы =штэ№х" estimations, this time has been constrained and was content with definition "юфрЁхээ№щ ъюьяючш=юЁ".
... And the hall applauded. Left Oborin with the conductor. There was one Oborin. When both of them, having turned on the left, have found eyes of the author and began it to applaud, on a platform there was Hachaturjan. What it was? I can tell short: shining with happiness. The first meeting on my memory of the Leningrad philharmonic public with Hachaturjanom was such. I will add: and the next forty years hall reaction did not vary.
The destiny of Hachaturjana Is magnificent. Thinking of it, selecting the definition capable precisely to express a being of its perception of the world and pathos of realisation apprehended in music, sifting "=юээ№ verbal Ёѕф№" you encounter, at last, the required: "юфхЁцшь№щ". This rare and precious condition of human soul, the person, without the rest the grasped any passion, idea, on one of east languages name "ьхфцэѕэ". "¦хфцэѕэюь" people called the hero of a legend, Kajsa afflicted with great love to Lejle. It became his name. So it is necessary to call and Hachaturjana. He is Medzhnun of Music.
In sixteen years he does not know notes. A childhood and a youth pass in Tbilisi. He studies in Commercial school. The first tool which it has seized - a tambourine. Then it gets to an amateur wind band and on hearing blows the trumpet. In the house there is a lame grand piano. Recollecting this time, Hachaturjan writes: "Ї has quickly enough learnt to pick out melodies of national songs and dances. With inexplicable pleasure I endlessly "тфрысыштры" their one or two fingers... It was much more difficult to look for more or less tolerable accompaniment. But also with it I have consulted in due course. Then I have absolutely grown bolder and have started to vary familiar motives, prisochinjat the new. I remember, what pleasure delivered to me these, let naive, ridiculous, clumsy, but nevertheless the first my attempts ъюьяючшчшш".
Those years, years of its youth, an everyday life of the Tbilisi streets, lanes, court yard has been overflowed by music. Guttural raspevnyj a dialect, the guttural singing, kept away "ьюЁч эър" a tambourine; muster of the maiden voices joins in strict trehgolosie the Georgian song, and nearby - that booming, dry crackling of a rhythm of percussion instruments and on this background netemperirovannye groans kemanchi. All sparkles modulations orientally temperamental musical exclamations.
Hardly it is necessary to underline, what indelible press is imposed by impressions of the childhood on soul of the person with the aggravated perception of the artist. As that is connected with surrounding it since early years dazzling festival of paints, sharp treatments of light and shade is important for the future master of orchestral colour.
To It was nineteen years when big brother Suren, the director of one of studios MhAta has taken away it with itself to Moscow. I lower the interesting details connected with the first months of a life in Moscow, with acclimatisation in new unusual conditions, with meetings with perfect others, other circle people, with receipt on biological faculty of the Moscow State University. I lower because I hurry up to keep up to the beginning of acquaintance of the young man with the first teacher of a composition Michael Fabianovichem Gnesinym. The person extraordinary interesting. The pupil Roman-korsakova, the true keeper of its traditions, Michael Fabianovich was the thoughtful, original composer, the teacher, the writer, the specialist in folklore, scientific. The person of a wide range of creative and public interests, progressive sights, in rough days 1905 it took part in student's movement or, under the police formulation, in "ё=ѕфхэёхёъш§ схёяюЁ фър§" for as has been sent from Petersburg.
From the first meetings he has felt scales and character of talent of Hachaturjana, despite of amazing for its age "ьѕч№ърыіэюх эхтхцхё=тю". Has felt in "эхѕъы¦цш§" (as Hachaturjan defines) improvisations organichnost its east intonational dictionary, "ёьѕ glyj =хьяхЁрьхэ=" (as Gnesin) music of the presented young man liked to be expressed. Michael Fabianovich was the real expert of east music, knew it from Chassidic tunes familiar since the childhood, the records made it in days of wanderings across the Near East to is thin the analysed samples "юЁшхэ=рышчьр" Russian composers - Verstovsky, Glinka, Dargomyzhsky, "ъѕёъшё=ют" and rahmaninovskih "-х sing, ъЁрёртшчр" and " Алеко". But, and it is natural, most of all its and its pupil carried away "-юё=юъ" Roman-korsakova: the symphony " Антар" a suite "Пх§хЁрчрфр" charodejskie tunes of the Shemahansky tsarina, reflexion of the Muslim East in "Ђёярэёъюь ъряЁшёёю".
In a class of Gnesiia the first compositions of Hachaturjana, certainly, conceding to that are written to years of blossoming, but already quite academically issued and thus involving with brightness of national colour were born: Dance for a violin and a piano and the Poem for a piano. In them the harmonious tartness going from specific ladovyh of turns of east music is already heard so typical for Hachaturjana of the next years.
Having passed from Musical technical school (nowadays - the Institute of a name of Gnesinyh) in conservatory, Aram Ilyich as early as is engaged a year at Gnesina, and then passes in N.J.Mjaskovskogo's class. Seven years Hachaturjan studies at it: four years as the student and three years in postgraduate study.
"Р the first employment at Nikolay Jakovlevicha I have been grasped by new conditions unusual to me. Coming to Mjaskovsky, we as if crossed a threshold behind which to us our remarkable art which before we loved blindly opened in all greatness. Nikolay Jakovlevich learnt us to music, widely learnt to culture of composer work and in passing connected all it with many phenomena in classical and the modern art. He respected opinion of the student, reckoned with it and in the event that it was not agree. Even in the playlet he first of all searched, in what was expressed individualyjust the student. Mjaskovsky possessed rare ability for the teacher simply, convincingly, particularly to speak the young composer about such deep and important things, as an ideological orientation of creativity, a maintenance and form parity and t. я."
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