Here has opened
Main cтраница Main cтраница
Main cтраница
Main cтраница
Main cтраница

Main cтраница
Main cтраница Main cтраница Main cтраница Main cтраница

Tihon Hrennikov / Tihon Hrennikov (a part III)

the First theatrical work of Hrennikova - music to N.Shestakov's clever, far-sighted fairy tale "¦шъ". That party of talent of Hrennikova about which he, maybe, did not suspect Here has opened. Songs, songs, marches sounded that invocatory, oblichajushche exposing true essence of the character who has put on a mask. It is necessary to remember that in the play "¦шъ" it was a question of fascism which has just left on arena. Therefore so it is accurate, on-ejslerovski, last song-oath of the unemployed which were coming to an end with words sounded:

Harmonous columns
Let's come armed
In last decisive battle.

The Success of the young composer in the Central children's theatre has drawn to it attention of theatrical Moscow. The theatre of a name of Vahtangova has suggested it to write music to Shakespeare's comedy "¦эюую noise from эшёхую". Here he was trapped by the big creative success. Fourteen numbers of music have filled with themselves performance, having brought in it such dose of charm, what, probably, after "¤Ёшэчхёё№ КѕЁрэфю=" had no any liriko-comedy performance on the Moscow scene. Though director I.Rapoport has entered some tool episodes: two dances, a waltz, the introduction, the ending, - but the basic value of music consisted in songs on verses charmingly written by Pavel Antokolskim. Moscow sang the Serenade "-юёі listvoju hardly ъюы№°х=" and behind it - Pesnju Klavdio and Benedict "-ръ a nightingale about Ёючх". And though, apparently, in shape of reeling night idlers of Borahio and Konrada nothing can involve liking, Hrennikov has caught in them good nature, humour, inoffensiveness and any falstafovskoe the beginning: "Р a crash kidneys, o-ho-ho-ho-ho-ho-ho burst! Dance drunk at flanks. Eh, to us yes =ръ!". Besides, without having limited to the basic couplet, Hrennikov dosochinil to it a refrain - the magnificent melodic stroke finishing a satirical portrait.

Music to performance "¦эюую noise from эшёхую" has won unknown success for this genre. It was fixed by the following work, music to "-юэ--ш§ю=ѕ". And there the Ballad about Merline, the Serenade ("+§, your beauty, without dispute, is brighter solar фэ "), "¤хёэі уѕы ъ" "¤хёэ  drovers ьѕыют" - reach level and charm of music to "¦эюую °ѕьр".

In songs of two these theatrical opuses Hrennikov amazes with any unusual intonational alloy, simultaneously and raspevnym, and recitative. Besides, songs are written so that performing "§тр=ър" it is put in the most musical and verbal text. Where roots of this specific manner? To me it is thought, they are connected with huge charm of singer Anatoly Dolivo. It has appeared on a concert platform in the mid-twenties and in the war beginning has finished the way. He the first has sung Scottish and Irish table Beethoven, Menuet Belmana ("Рхё=Ё№ and brothers, Bakhus over эрьш"), French mushketerskuju a song "Vive mon capitaine" "¤юёырэшх to natives green =ртхЁэ№" in which sounded both singing and the recitation.

... When today you look through old reviews about early products of Hrennikova, in particular, about its First concert for a piano and you find charges in formalistic receptions of the letter, in abstraktnosti, in not a music emotionality - anything, except an ironical smile it cannot cause.

Whether Rendered "ёютЁхьхээшёхё=тю" influence on young Hrennikova? Extreme displays "ёютЁхьхээшёхё=тр" never involved its attention. But those from modern foreign composers in whom else romantic breath in whom interest to folklore, life music, to democratic genres has not died away glimmered, - undoubtedly appeared in sphere of attention of the young composer. In a year of its moving to Moscow at Theatre of Nemirovich-Danchenko Ernest Ksheneka's opera "-цюээш" has been put;. Music, adventurous, almost detective plot, jazz rhythms and simfodzhazovaja instrumentation have seemed then unusually attractive and for more mature musicians. What to speak about the sixteen-year young man! That is why in music "¦эюую °ѕьр" in a serenade "-ръ a nightingale about Ёючх" so distinctly look through intonations from a mi-minor song of Dzhonni and in even bolshej degrees melodic lines of a tango quite another thing Ksheneka "¤Ё№цюъ through =хэі".

After such serious and so excellent last experiences as the Concert and the Symphony, after triumphal reception of its theatrical music, after "яЁшуютюЁр" theatrical Moscow about born specific talent of the theatrical composer, - as was to Hrennikovu not to approach closely to an opera.

It has stopped the choice on N.Virty's novel "+фшэюёхё=тю". For a long time already its thoughts again and again came back by an epoch of civil war about which in memory there were children's memoirs. The novel of Virty has excited him and that its action occurs on tambovshchine, native places for Hrennikova. Skilled playwright Alexey Fajko has written very accurate on a dramaturgic design of the libretto on which it was organically developed musical skaz. And though among heroes of an opera with the big force of generalisation enemies have been deduced: a fist Storozhev, the leader of a gang of Antons, its mistress of Kosovo, - the composer has penetrated all musical fabric of an opera melodically lyrical lines expressing to a shower of the people, involved in a storm of the historical events, with firmness struggling for a fair life. Since the maiden chastooshka full of charm, ariozo mothers, Natalia arias, choral scenes in the first and second certificate and to amazing with simplicity and truthfulness of the story of Frola Baeva about Lenin in the final certificate, - Hrennikov acts as the composer-playwright leaning against national sources, on experience of classics of Russian heroic opera, first of all on Glinka's experience.

Certainly, to the young composer has carried: such master, as V.I.Nemirovich-Danchenko has appeared the head of statement. Troupe both the Moscow statement, and Leningrad, at Theatre of With. M.Kirova, has concerned really vljublenno work, first of all to music.

The Opera "- сѕЁ¦" has bypassed many scenes of Soviet Union, theatres of Bulgaria, GDR, Czechoslovakia, everywhere having invariable success. In it in the most concentrated kind principles "яхёхээющ юяхЁ№" have been deepened; for the first time talently declared itself in "Кш§юь -юэх" I.Dzerzhinskogo.

Many arias, songs, scenes have entered into concert repertoire. Has especially carried to a song of Lenki "Ђч-чр woods half ьхё чр" is shone; its Lullaby to a song - "Ряш, Natasha, фюЁюур "; concert execution of a scene of Natalia and Lenki finishing II certificate, invariably caused the uneasy and enthusiastic reaction of a hall.

The Song system so typical for music of Hrennikova, and especially for its theatrical works, finds the expression and the specific intonational environment of its opera "¦р=і" on a plot to move M.Gorkogo. Melodizm operas at the heart of the leans on such remarkable samples, as "Рьхыю, companions, in эюуѕ" "-рЁ°рт эър" "¦рЁёхыіхчр". The melodic imagination of the composer enriched, aimed by these songs, finds excellent characteristics for Pelagei Nilovny, Pavel, Sashenki, Andrey Nahodki. Choral scenes, especially scenes of Nilovny from a mansion in the end of the first picture and in the opera ending are widely developed. The theatrical scent has prompted Hrennikovu interesting, and - that the most important - theatrically convincing decision difficult (consisting of several episodes) court scenes in a penultimate picture of an opera.

< we come back - it is readable further >