Tihonu Hrennikovu was fourteen years when from the city of Eltsa on orlovshchine it has arrived to Moscow "яюърчр=іё " to somebody from capital musicians and to deal with the basic vital question: whether there is at it data to become the professional musician.
Listened to its M.F.Gnesin. As always: attentively, thoughtfully. Talent of the young man was so obvious that doubts could not be. So, approximately, Michael Fabianovich also has expressed. But has there and then advised not to hurry up to Moscow and to arrive only upon termination of school.
In native Eltse Tihon Hrennikov led an intensive musical life. At capital coevals it could raise a smile, this typically provincial "шэ=хэёштэюё=і" where there was also a participation in an orchestra "эхряюыш=рэёъюую" structure - mandolines and guitars, and solo performances on a guitar, and even game on the glasses which have been set up by water, and singing in chorus. And along with it there were more academic employment on a grand piano. To years to ten - eleven the first tests of the composition of music and its recording concern.
... The School is ended, summer months behind. By treasured September, month of painful excitements, examinations - Hrennikov in Moscow. It is accepted in technical school of a name of Gnesinyh on piano and composer branches. To it sixteen years.
How Hrennikov studied? It is possible to answer dry, but the impressive formula: "юяхЁхцр уЁр¶шъ". Otherwise it would not estimate so highly at examinations in conservatory in 1932, having accepted at once on the second year. So it appears in V.J.Shebalina's class, the composer with a wide range of tastes and the knowledge stretched from doglinkinskoj of a time to most "ыхт№§" those years composers - Hindemita, Ksheneka, Stravinsky and French "°хё=хЁъш".
Hrennikov develops promptly. Probably in it which have recently entered into new music world, creative courage, a young fuse much more advance a real estimation of the possibilities. But that could become fatal for the young man of average talent and lead "эюцэшчрь" postponing performance from a plan, for it - only one more additional impulse, I think, the most indicative in creativity - rate.
Property, this, happy property, at the heart of the is connected with special line of the creating person, with trust to the first thought. In it Hrennikov - an antipode of Taneeva which Tchaikovsky often scolded for infinite complications, alterations, transformations in which result a theme, a melodic image lost the most valuable property - a spontaneity. Even in the earliest years intellectual equipment of Hrennikova, its developing freedom of possession of craft secrets, joined it when pervorozhdennyj, still warm, heart the warmed musical image already "ё=ю ы on эюур§" when it was possible to wait for the first flowering, the first runaway.
Then the First concert for a piano with an orchestra is born. In it - traditions of Russian classics, reflexions "ёъЁ сшэшрэ№" boyish, and consequently especially captivating angularity and, first of all and over everything, the most precious property - a youth. It affects in quick temper, with which young author "тю¦х=" with shestidolnoj a clock cage of the first theme, loosening it not two as it is necessary at a step in six eighth, and three blows.
In skertsoobraznoj I parts of the Concert the author, trying to seem to more solid, as though brings to reason: "-рь not to °ѕ=юъ". Bewitching "ёэхуѕЁюёі " music replaces the first theme. The author does not give it wide development. She only declares herself, and it is enough of it for creation of the contrast figurative environment.
II part of the Concert sustained in severe atmosphere of Russian skaza, somewhere causing associations with Russian opera classics Is related to this theme. Also it is already more certain, directly "яю-сюЁюфшэёъш" III part reminding certain "сюур=№Ёёъюх шуЁшЁх". sounds
In such, three-private variant the Concert has sounded for the first time in June, 1933, (IV part has been composed in half a year and in such kind the Concert was executed further.) Tihon Hrennikov reaped this evening laurels of double success - as the author and as the executor. Should add that the same as in technical school Gnesinyh, in conservatory Hrennikov studies, except composer, also at piano faculty. Here it arrives in G.G.Nejgauza's class. It is strange, as it is not enough in the rich literature on Hrennikove it is given attention to this fact, one of the most important, in my opinion, in the biography of the musician (not only the pianist!) Hrennikova. Henry Gustavovich Nejgauz was not simply outstanding teacher. Even if to name its outstanding musician, and then very many remains in a shade. Amazing knowledge of philosophy, the literature, history, theatre, painting, psychology, ability to read in many languages which he owned freely, - did each meeting, conversation with it by for a long time remembered event. The expert on the musical literature of many centuries and many people, the most thin expert on styles, it was the actor in the most refined sense. If to speak about its artistic outlook, it was the romanticist. Therefore so it is inspired in its concerts Chopin, Schuman, Skryabin's poetry, Shimanovsky revealed. It is impossible to imagine, that the pupil allocated with such degree of keenness and impulsiveness, has not given in to charms of the romantic music so with inspiration interpreted by the teacher.
Echoes of a romantic aesthetics are heard in many products of Hrennikova, since the Piano concert. And in "¤хёэх about ¦юёътх" and in the maiden figured chastooshka "Ї I will put on a dress схыю" and in "-юы№схыіэющ" Lenki, and in music to a film "- six o'clock in the evening after тющэ№" and in "+ѕёрЁёъющ срыырфх" and, at last, in music to Shakespeare's comedy "¦эюую noise from эшёхую" - palpation romanticheski uneasy heart, unruly, suffering, exulting, waiting happy changes in a life everywhere is heard.
... We know many cases when purely professional development advances development of the person as a whole. The young artist, the actor, the musician is already perfectly learnt, but he still has nothing to tell.
Absolutely differently there is a biography of Hrennikova. About years of the doctrine always with interest, with admiration its companions tell. "+ютюЁ about conservatoire years Tihona Hrennikova, - known musicologist I.I.Martynov writes, - all of us time mention products which are difficult for considering from purely academic point of view, - they obviously fell outside the limits professorial tasks, and it was the important feature of development of the composer actively searching for the way to wide ranges of listeners … Already in a student time it aspired to become the participant of building of new musical culture, has been involved in its current and embodied in a life plans new large яЁюшчтхфхэшщ".
The First I.I.Martynov names the Symphony written by T.Hrennikovym as degree work in 1935.
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