the Second symphony with tremendous success is executed in Vienna, Dresden, Leipzig. The detailed description of the Leipzig concert in 1912 has remained. In the program there was the Concert overture, the Second symphony - Fitelberg conducted, between orchestral products Arthur Rubinshtejn acted and played the Second sonata and Imagination on the Polish theme.
Arthur Nikish, the well-known conductor about whom said was the Most dear musician of Leipzig of those years that he visits only those concerts which conducts itself. Sensation was already that Nikish has visited an author's concert Shimanovsky. Supersensation - that after the Overture it has entered into a box where sat Shimanovsky, and under a hall ovation has hotly congratulated, and then remained in the same box till the end of a concert.
The maturity Has come. The glory has come. And greed to all new that occurs in the music world, has not left Shimanovsky. And in it it remained is true to precepts "¦юыюфющ ¤юыі°ш". With escalating attention Shimanovsky that the wind brings from France listens attentively. Even names of his compositions conceal in themselves aroma of the French art: "+ё=Ёют ёшЁхэ" "-рышяёю" "-рѕчшър " - three these poems form a piano cycle "¦х=юя№" and "Июэ=рэ +Ёх=ѕч№" "-рЁчшёё" and "-Ёшрф№ and ¤рэ" - a cycle "¦ш¶№" for a violin and a piano. It is difficult to deny that not only names, but harmonious language, receptions of refined piano and violin sonority, dynamic shades, - are close zvukopisi to Debussy. In the same plan should be named and the First concert for a violin and an orchestra, one of the most beautiful products Shimanovsky. A concert this T.Mitsinskogo cast by a poem "¦рщёър эюёі" With the greatest clearness establishes a watershed between music Shimanovsky and the French trends. Shimanovsky sickened "юс·хъ=штшчь" become to one of aesthetics displays "тэхышёэ№§" the conditions proclaimed in many phenomena of music of the XX-th century. Was incomparably closer for it "ёѕс·хъ=штшчь" statements from the first person, so dynamically sounding in romantic music. In a violin concert the uneasy lyrics, and near to it - dramatic nature prevails, and it makes inner meaning of product. And east visions arise on score pages in sounding of an English small horn. These are traces of a trip of the composer to Africa: Algeria, Biskra, Tunis. To the east it for a long time attracted. About it tell "-¦сютэ№х songs +р¶шчр" which it is given two opuses: 24 and 26 (one are executed from a piano, others - with an orchestra), and an opera "+руш=". And some years will arise later "Ох=№Ёх яхёэш" on Rabindranata Tagore's words, and behind them - "¤хёэш mad ьѕІфчшэр" on Yaroslav Ivashkevicha's verses (1918).
The fullest expression orientalizm Shimanovsky reaches in the Third symphony written in 1916. Its performing structure is unusual: an orchestra, chorus and the soloist - the tenor. Texts are borrowed in poems of Dzhalallutdina Rumi. A symphony-cantata genre, huge structure of an orchestra with quadruple quantity of wind instruments, even character of the name of the symphony - "¤хёэі about эюёш" associates with malerovskim simfonizmom. In musical dramatic art of the symphony sharp contrasts between the most refined chamber sonority reminding omuzykalennye the Persian miniatures, and massive layers orchestral tutti, mighty blows of copper prevail.
Tool sounding of the symphony is framed - in the beginning and in the end - the vocal twiddle creating "ьѕч№ърыіэ№щ рэрыюу" the text of east poet:
About, do not sleep, my friend, night of this.
Drive away from the eyes a dream.
The sacrament to us is - night of this.
You - Jupiter in heavens,
You are turned among stars - night of this.
As it is silent! People sleep.
Only I and god - alone at the night of this...
Such refined tonality chuvstvovany is set by medieval poet Dzhalallutdin Rumi.
Creation and execution of the Third symphony on time coincides with the major events of a life Shimanovsky.
He spent Years of the First World War in Ukraine. The director of the Kiev conservatory R.M.Glier has suggested Shimanovsky to enter number of its teachers. At this particular time there was an intensive process of creation of the Third symphony. Being afraid to frighten off a creative condition switching in other sphere - pedagogical, - the composer has refused. The symphony has been ended in 1916. Closest friends Shimanovsky, Pavel Kohansky and Gzhegozh Fitelberg lived then in Petrograd. They have invited there Shimanovsky, have acquainted with conductor Alexander Ziloti who should conduct a premiere of the Third, appointed to the beginning of 1917. As the biographer Shimanovsky specifies, T.Bronovich-Hilinskaja, "Ёхрышчрчшш these plans has prevented at first illness Shimanovsky, then... шё=юЁш ".
Revolution Shimanovsky has accepted as crash of hated tsarism. It is more than that, being in Elizavetgrade, he actively participated in new forms of a cultural life, should, - as Yaroslav Ivashkevich writes, - "эхюфэюъЁр=эю to endure alarm, being afraid for the life when the small town was entered by white gangs because it right after revolutions has taken the side ъЁрёэ№§". At one time Shimanovsky held a post "ъюьшёёрЁр on affairs шёъѕёё=т" and the assistant to the editor of the local newspaper where he repeatedly could write editorials. In the winter of 1918 Shimanovsky has returned to Warsaw where the new phase of its creative life has begun.
The Beginning has appeared maloobeshchajushchim. He wrote to one of friends: "¦хцфѕ me and the Polish public (anyway Warsaw) there is no real contact, for them I stranger, эхяюэ =э№щ".
Within five years (1927-1932) Shimanovsky was at the head of the Warsaw conservatory, directing to efforts to much establishment in its educational process of those creative principles of innovation, attention to modern music which seemed it not less important, than traditions of strict academism.
The Creative outlet of a steel for Shimanovsky long concert tours with Kohansky and Rubinshtejnom on capitals of Europe and a trip to the USA. Concerts pass with accruing success, music Shimanovsky punches to itself a way to listeners.
The premiere of its one-act opera "+руш=" becomes Considerable event of the first years after returning to Warsaw; written in Vienna on the eve of the First World War. Music "+руш=" finds out Riharda Strauss's appreciable influence and it is oversaturated by orchestral sonority.
Not less important for creative evolution Shimanovsky its acquaintance to new products which have appeared in military years. It is admired by Ravel's scores, it shakes "Ртрфхсър" Stravinsky, which itself plays to it fragments from it. He sees performances of ballet troupe of Dyagilev In London. "ррээшщ Р=Ёртшэёъшщ" so brightly and originally realised Russian folklore in the scores, forces Shimanovsky, to reconsider much in the creativity.
The First result - disappointment in the following opera "-юЁюыі рюухЁ" over which it worked some years; the second - enthusiastic article about Stravinsky, in connection with its arrival to Warsaw.
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