Nineteen-year Dmitry Shostakovich the First symphony has announced the beginning Soviet simfonizma. Behind it have gone L.Knipper, G.Popov, V.Shebalin, and behind them - and more young growth. Remarkable property of Tihona Hrennikova, he always openly speaks about the hobbies. If for usual listeners of music hobby for any composer - process passive in consciousness of the person creating, the composer, this process logically conducts behind itself not imitation, and "фхщё=тхээѕ¦ ѕтыхёхээюё=і". Dvadtsatidvuhletny Hrennikov all gets a grasp of scores of Russian classics more deeply. This that happy time when to it magic "рѕёырэр" opens; plamen "+Ёруюэёъющ §ю=№" fine Tchaikovsky boundless world in music, wise and amusing, cheerful and terrible images of fairy tales Roman-korsakova and Ljadova. Listening to Simfoniju Hrennikova, you understand, how it is bewitched by Russian classics and as bravely he searches for the way through infinite temptations. It is necessary to stop and … to borrow. Here it happily avoids it. On the three-private symphony which extreme parts are allocated by gloomy colour that in a combination to brisk movement makes impression of any phantasmagoria, - the press of individuality of the young author lies. This press is especially distinctly visible and in charming drawing of a melody of the second part. There is such kind prichitalnoj songs, in the people known under the name "чряырёъш". Hardly Hrennikov addressed to collections of ancient songs. Most truly, here the voice was submitted to it by memory, can be kept since childhood sounding in Eltse prichitalnye, at the same time and on-maiden light intonations. Perhaps, something has been prompted the young composer by N.J.Mjaskovskogo's symphonies. In the choral ending of its Sixth symphony the impressing tragical theme - farewell with deceased sounds.
Yes, the First symphony of Tihona Hrennikova far was beyond degree work. It became one of the scores of the Soviet composers most drawing attention. Not without reason its first execution George Sebastjan and behind it Eugene Ormandi conducted, Leopold Stokovsky, Gzhegozh Fitelberg and Nikolay Malko executed it repeatedly on the most outstanding symphonic platforms of the world.
So the name of Tihona Hrennikova still doing the first steps in a professional field, becomes known in many countries.
Considerably more wide ranges of listeners had an opportunity to estimate talent of Hrennikova when its music in a genre in which music infrequently and notice has begun to sound. This genre - music to performances of drama theatre.
In this genre there are some the inaccessible tops designated by names of Beethoven, Mendelson and Grieg. But "¦уьюэ=" "Рюэ in summer эюёі" "¤хЁ +¦э=" have not remained in constant repertoire of theatres; music has left on a philharmonic platform, glorifying near to Beethoven, Mendelson and Grieg - Goethe, Shakespeare and Ibsen. And "Ртрфхсэ№щ ьрЁ°" from "Рэр in summer эюёі" has taken a regular place almost in all Wedding palaces.
But at drama theatre absolutely other music even more often was required. For it the exit on a symphonic platform at all would not confirm its quality and if such and happens it would be perceived bewildered. This, "фЁѕур " music "яюьэш= the ьхё=ю" is not proud, does not become presumptuous, but from time to time so grasps auditorium as seldom it was possible to its notable symphonic sister.
... There was such happy evening in the history of Russian theatre. The premiere in MHATe has come to an end. Briskly sharing impressions, public has directed on cosy Chamberlain journey (nowadays Journey MHATa). That here there it was heard unpretentious, from three notes the motive bearing words: "¤ЁюЁрщ=х, farewell, it is time to us ѕ§юфш=і". He was interrupted by another, too from three notes a melody: "Ђфхь for the Bluebird of happiness we long тхЁхэшчхщ". It was evening of the greatest triumph of composer Ili Aleksandrovicha Satsa, the magician and the magician of music to performances of the Moscow Art theatre. "Ршэ я=шчр" "Miserere" "гшчэі ёхыютхър" "+рьых=". In these performances music not only opened images Meterlinka, Yushkevich, Andreeva, Shakespeare. It embodied a plan of the director, helped great actors - to pupils and Stanislavsky's associates - to find and keep the necessary state of mind, it, this music, charmed to itself auditorium and for ever remained in memory not itself but, and together with intonation, gesture, scenic furniture, light scale, all that in the sum the Theatre is called. It was originally theatrical music which has tested greatness of reform of Stanislavsky.
... There was such happy day in the history of Russian theatre. There was such tragical day in the history of Russian theatre when Stanislavsky has arrived to look work of pupil Evgenie Bagrationovicha Vahtangova "¤Ёшэчхёёѕ КѕЁрэфю=". There was between certificates a huge, become history break. He is Konstantin Sergeevich has left theatre to dying Vahtangovu to tell to it as its innovative treatment as its opening in an old fairy tale of Karlo Gotstsi are ingenious is ingenious.
Filling a long interval, youth, and not only youth, sang "КѕЁрэфю=э№щ трыіё" sang a song opening performance:
Here we begin
Our song idle time,
In five minutes China
There is our scaffold abrupt.
So the new aesthetics of music at the drama theatre, the new principles, new receptions of its introduction in performance was born. A drunk song in "¤ю=юях" Berger performed by Michael Chekhov; hardly audible melody in "РтхЁёъх on яхёш" the frightening Pole executed by a violin, a flute and a contrabass in "гшчэш ёхыютхър" Leonid Andreeva, are stages. They need to be remembered, the nobility. Otherwise not to understand, in what the miracle created by Hrennikovym by music to performance "¦эюую of noise from эшёхую". consists
Its friendship with theatre has begun with children's theatre. Natalia Ilinichna Sats very well tells about the first meeting with Hrennikovym: "-хёъюыіъю minutes back the young man who was at the piano, seemed me nothing remarkable. Now tried not to look at it to hide the delight (unfortunately, delight as a fever, at once it is visible on my person!). Knew, it is uneducational from the first test to flatter the young composer, but the creative pleasure such minutes covers all the rest. The big talent has come to theatre... All of us have been almost enamoured by collective in our new, surprisingly organic to the nature of drama theatre of the composer. In it we were pleased with all: riches of imagination, a creative originality, a sense of style and forms, Russian basis, Komsomol ёхЁфчх".
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