Throughout one week in the autumn of 1957, in commemoration of 40th anniversary of October, "¦р=і" has been put in the Bolshoi theatre of the USSR and at Theatre of With. M.Kirova. Both statements have unanimously been approved by the press as the outstanding phenomena of the Soviet musical theatre.
If in two operas - "- сѕЁ¦" and "¦р=і" - Tihon Nikolaevich, addressing to serious, socially significant plots, has achieved considerable creative victories, an opera "ИЁюы Ръюсххт" or (in the second edition) "…хчЁюфэ№щ ч =і" has brought to the author of less pleasure.
"Ртр=юь" it there was V.I.Nemirovich-Danchenko who has seen in the hero of the Russian story of a XVII-th century of Frole Skobeeve a certain similarity "Ёѕёёъюую ИшурЁю". Neither modification, nor reconsideration of some the characters of the story with reference to requirements of an opera genre, effort of skilled librettist S.Tsenina to give to negative characters at least "эхщ=Ёрыіэ№х" lines, - have not rescued position. Even presence of witty, often carrying away music in an end result has not led to a victory.
From theatrical works of Hrennikova in more "ыхуъюь" a genre are allocated an operetta "Р=ю devils both one фхтѕ°ър" and the musical chronicle (rare genre definition!) "…хыр эюёі". In the first it is a question of exposure of religious prejudices, about struggle against sectarians today; in the second - it is possible to receive a fair idea about a plot, an epoch, the social environment, being guided only by the list of characters. Here some of them: officer Feodor Lanskoj, sailor Illarion the Storm, Nikolay II, the empress, Grigory Rasputin, minister Frederike, general Guy-Gaevich etc., up to Felix Jusupova and Purishkevicha.
Here that the director "…хыющ эюёш" writes about this unusual theatrical opus of Hrennikova; G.Ansimov: "-ш in one product for theatre of light opera there was no such quantity of the episodes developed in various places - the Neva prospectus, a court building, river bank, a palace, the Peter and Paul Fortress, cafe, the gambling house... There was no such quantity of characters (more than forty) and such concentration of events - murders, transformations, imperial receptions, Peter and Paul Fortress storm, disguise and flight Kerensky... To transform such play into product for musical theatre, it was necessary to find any special is musical-dramaturgic receptions.
Here again T.Hrennikov has shown all the тючьюцэюё=ш". From myself I will add: only the composer with such acute sense of theatricality could venture so radical updating of a genre of an operetta, a pas creation of thin characteristics unusual "ухЁюхт" on carrying out of a through satirical line and, in a counterbalance to it, - lines of original heroes of a true story.
Participants of work on many performances with music of Tihona Hrennikova often tell, how it was difficult to start learning of a song, arias, ballads after it showed, i.e. The composer sang. The author of these lines witnessed how glorified actor N.K.Pechkovsky, having listened to the end "¤хёэ¦ -хэіъш" from an opera "- сѕЁ¦" performed by Hrennikova, has departed from a grand piano, has looked in our party and with disappointment has told: "¤ѕё=і itself also sings! Who so can ёях=і!".
Talent of the Hrennikova-actor is not limited professional pianizmom a high rank, amazing vocal "яюърчюь" an impersonation of the sailor in a film "¤юхчф goes on -юё=юъ" - it affects and in how its products for tools which he does not own are written: the Concert for a violin (1959) and the Concert for a violoncello (1964). Both in one, and in other concert Hrennikov shows not only knowledge of the tool, its expressive possibilities, - that any professional composer is obliged to know, - it really gets in "фѕ°ѕ" the tool, opening sometimes such hiding places about what violinists or violoncellists did not suspect. This remarkable property - one of many displays of its virtuosity.
Violin, and the Second piano concerts are written Violonchelnyj in to a major. It is curious that the Second concert for a piano begins a theme dodekafonicheskoj structures (!). But, as though derisively, and it is entered in pure, classical to a major. Three these masterly products develop lines of emotionally charged music inherent in Hrennikovu, the music which are not afraid neither open recognitions, nor the sparkled teardrop, ingenuous pljasa. This property "эх сю =іё " differently affects at Hrennikova. Very few people would venture in Pushkin "Гшьэхщ фюЁюух" after words of the first couplet: "-юыюъюыіёшъ monotonous it is tiresome уЁхьш=" - suddenly to start singing whether with Gipsy, whether it is simple with a valiant manner: "=Ёр-ы - lja, lja, ы !" Here it, risky, and as impressing courage reminding hussar spirit.
It is remembered, during far times of rehearsals "- сѕЁ¦" at Theatre of With. M.Kirova, the old hornist, M.Neustroyev, clever, a sharp-sighted eye the person, has told about Hrennikove: "-¦фёъющ ёхыютхъ!". And in many years librettist S.Tsenin only has differently expressed the same, saying that Tihon Nikolaevich "ёю§Ёрэшы precious gift =ютрЁшЁхё=тр". Precious this gift directly responds in music of any genres. But before all in a genre most "ы¦фёъюь" the most democratic - in a song. And in songs from "¦эюую °ѕьр" "-ртэ№ь-фртэю" and in a new variant - "¦эюую noise... Because of ы¦стш"; and in the songs sung by all country: "¤хёэх about ¦юёътх" from a film "РтшэрЁър and ярё=ѕ§" "‡ё=і in the north good уюЁюфюъ" "ЛЁрыіч№ fight чфюЁютю" in "¤хёэх about Moscow фхтѕ°ъх" - this gift necessary to people, as handshake of a friendly hand is felt, heard.
Even on siluetnomu to a sketch it is possible to make to itself representation about talent, character of talent of the wonderful musician - our contemporary.
... In 1948 the First congress of composers has assigned on tridtsatipjatiletnego Tihona Hrennikova a post of the Secretary general of the Union of the Soviet composers. It is more than 25 years it adequately supervises over work, activity of the most advanced, most numerous, most active group of composers and musicologists of the Earth. Tihon Nikolaevich finds any absolutely inexplicable ways time for creativity, is conclusive testifying to its forward movement.
It is surrounded by respect of a society. It was the delegate XXII, XXIII and XXIV party congresses. Three times it selected a member of the Central revision committee.
Several state awards note its best products. The second piano concert is awarded the Lenin award. The government has awarded with its several awards.
The Highest award, a rank of the Hero of Socialist Work, it is awarded to the sixtieth anniversary. It is necessary to trust documents: Tihon Nikolaevich Hrennikov has stepped for sixty. But it is necessary to trust music, temperament, cheerfulness which we observe with amazement and with amazement we define: yes, it is not leaving youth.
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