What kind of musical group led Mr. Golovanov. Nikolai Golovanov

Nikolai Semenovich (January 9, 1891, Moscow - August 28, 1953, Nikolina Gora, Moscow Region), Russian. conductor, conductor, composer and pianist-accompanist. G.'s parents are peasants. In 1900-1909. G. studied at the Moscow Synodal School of Church Singing (among the teachers - A. D. Kastalsky, V. S. Orlov, N. M. Danilin, V. S. Kalinnikov, P. G. Chesnokov). In 1909-1914. student of the Moscow Conservatory in the class of composition (S. N. Vasilenko) and special theory (A. A. Ilyinsky). In 1909-1911. choir director at the Church of the Marfo-Mariinsky Convent of Mercy. In 1910-1918. assistant regent of the Synodal choir and teacher of the Synodal school (classes of the student orchestra and choir, statutory singing, and other subjects); successfully performed with the choir in spiritual concerts in Moscow, Warsaw and Berlin (choir director Danilin intended in 1917 to hand over the direction of the choir to G.). In 1917-1943. permanent accompanist of the singer A. V. Nezhdanova (who became his wife). In 1919-1936. (with a forced break in 1928-1930) was a conductor, and in 1948-1953 - chief conductor of the Bolshoi Theater. In 1919-1925 and 1937-1948. music head of the opera studio organized by K. S. Stanislavsky. In 1937-1953. chief conductor and artistic director of the Grand Symphony Orchestra of the All-Union Radio Committee. In the first years of the Great Patriotic War, G. created a symphony orchestra from the musicians who remained in Moscow. At the same time, he edited and performed the overture "1812" and the cantata "Moscow" by P.I. Rakhmaninov. G. - 1st performer of a number of significant works by Soviet composers N. Ya. Myaskovsky, S. S. Prokofiev, A. I. Khachaturian and others.

Despite the fact that G. held significant posts in Soviet times, he not only remained faithful to Orthodoxy (including during the years of persecution of the Church), but also confirmed it in many ways. affairs: the archbishop helped financially. Trifon (Turkestanov), with which he was familiar from childhood, took part in the fate of Danilin, Chesnokov, preserved part of the Synodal chanter. libraries, some archival rarities (for example, the autograph of the “Liturgy” by A. A. Alyabyev), ca. 200 icons and items of church use.

Sacred music in terms of volume and significance is an important part of G.'s work. He is the author of 64 spiritual compositions (from 1907 to 1952), which make up 8 opuses, of which 33 chants and 8 adaptations of early compositions date back to the Soviet era.

Of all the 46 opuses he created, most of them are vocal: 2 one-act operas, romances, adaptations of songs of different peoples, and other compositions.

G. wrote all spiritual works for the a cappella choir (op. 1 - for the male choir, all the rest - for a mixed, mostly large choir). G. did not create complete liturgical cycles, but composed individual chants of the liturgy and the all-night vigil in the 10s. Or. 36 includes mainly hymns for the Nativity of Christ, op. 37 - Great Lent and Holy Week, op. 38 has the author's title "From youthful notebooks" and consists of works of the 1900s. in a later edition. Or. 39, written mainly during the Great Patriotic War, contains hymns addressed to the Mother of God (the first 6 numbers are called by G. the suite “Joy of All Who Sorrow”), to St. Nicholas, to St. Seraphim of Sarov; the last numbers of the opus were written on the occasion of specific events - the anniversary of Nezhdanova (Great Longevity), the death of V.A. Tryphon (Prayer to St. Martyr Tryphon).

G. developed that trend of spiritual music of the New Direction, which led to a significant expansion of the muses. techniques (Rakhmaninov, A. T. Grechaninov, Chesnokov and others). In his chants there are extreme levels of dynamics, a wide pitch range, multi-level polyphony (but, as a rule, without zap. polyphonic forms), a special complexity of texture (typically frequent division of voices into 2, 3 parts) and harmony (seventh and nonchords), extended tone. Modern G.'s techniques were combined with techniques coming from the old layers of Russian. music - church and folk. G.'s compositions are characterized by a light gamut of feelings, conveying reverent admiration for the beauty of the world and music itself, listening to the sound of harmonies.

G.'s compositions, as a rule, are intended for large and highly professional groups. The author was guided by the sound of the Moscow Synodal Choir, which is connected with the dedication of many others. hymns to the luminaries of the Synodal school and choir - Smolensky, Kastalsky, Orlov, Danilin, Chesnokov. The spiritual works of G. are mainly performed in concerts, in church life they were used to this day. writing time for husband choir from op. 1 and "Trisagion" (in the 2nd author's edition - op. 36, No. 1). In the 10s - early. 20s G.'s chants were performed in concerts of the Synodal Choir and the Bolshoi Theater Choir under exercise. G., the choir of I. I. Yukhov and the Chesnokov chapel. After a long hiatus since the 1980s G.'s works were performed by the choir of the Publishing Department of the Moscow Patriarchate under control. hierom. Ambrose (Nosov), choir of the Patriarchal Compound, dir. S. V. Krivobokova, Moscow Academic Region state. choir under dir. A. D. Kozhevnikov and A. M. Rudnevsky, the choir of the courtyard of the Trinity-Sergius Lavra under dir. V. A. Gorbika and others.

The secular works of G. also reveal a connection with the Orthodox. culture, as can be seen arr. in poetic texts, their religions. images. The cycle of romances to the verses of F. I. Tyutchev (op. 40) and the cycle of choirs a cappella “The censer of the gold-jet twigs” (op. 8) to the verses of other Russian. poets (“The girl sang in the church choir” by A. A. Blok, “On Trinity Day” by Vyach. I. Ivanov, “Assuage my sorrows” by A. B. Kusikov, “I am a wretched wanderer” by S. A. Yesenin, etc. ).

Undoubtedly, the influence of the culture and the main area of ​​creativity G. - conducting. The nature of G.'s performance was distinguished by its scale, conception, the priority of the melodic principle, and the vocal interpretation. G.'s contemporaries noted in his conducting manner the features characteristic of the sound of the Synodal Choir, the general vocal expression and such specific technical details as the addition of deep bass notes, similar to the singing of the choir's bass octaves. O . AND . N. S. Golovanov: foundations of creativity and life: [Introduction. Art.] // Spiritual products. for mixed chora a cappella. M., 2004. S. 8-14; Gulyanitskaya N . FROM . N. S. Golovanov: spiritual composer: [Introduction. st.] // Ibid. pp. 3-7.

O. I. Zakharova

GOLOVANOV NIKOLAY SEMYONOVICH - Russian conductor, conductor, composer and pianist-accompanist.

Golovanov's parents are peasants. In 1900-1909, Golovanov studied at the Moscow Synodal School of Church Singing (among the teachers - A.D. Kastalsky, V.S. Orlov, N.M. Danilin, V.S. Kalinnikov, P.G. Chesnokov). In 1909-1914 he was a student of the Moscow Conservatory in the class of composition (S.N. Vasilenko) and special theory (A.A. Ilyinsky). In 1909-1911 he was the choir director at the church of the Marfo-Mariinsky Convent of Mercy. In 1910-1918, assistant regent of the Synodal Choir and teacher of the Synodal School (classes of the student orchestra and choir, statutory singing, and other subjects); successfully performed with the choir in spiritual concerts in Moscow, Warsaw and Berlin (choir director Danilin intended in 1917 to transfer the leadership of the choir to Golovanov). In 1917-1943, the permanent accompanist of the singer A.V. Nezhdanova (who became his wife). In 1919-1936 (with a forced break in 1928-1930) he was a conductor, and in 1948-1953 he was the chief conductor of the Bolshoi Theater. In 1919-1925 and 1937-1948, the music director of the opera studio organized by K.S. Stanislavsky. In 1937-1953 he was chief conductor and artistic director of the Grand Symphony Orchestra of the All-Union Radio Committee. In the first years of the Great Patriotic War, Golovanov created a symphony orchestra from the musicians who remained in Moscow. At the same time, he edited and performed the overture "1812" and the cantata "Moscow" by P.I. Tchaikovsky and other works of patriotic themes, as well as for the first time in the USSR he performed the Third Symphony and Symphonic Dances by S.V. Rachmaninov. Golovanov is the first performer of a number of significant works by Soviet composers N.Ya. Myaskovsky, S.S. Prokofiev, A.I. Khachaturian and others.

Despite the fact that Golovanov held significant posts in Soviet times, he not only remained faithful to Orthodoxy (including during the years of persecution of the Church), but also confirmed it with many deeds: he helped Archbishop Trifon (Turkestanov), whom he knew financially since childhood, he took part in the fate of Danilin, Chesnokov, preserved part of the Synodal Singing Library, some archival rarities (for example, the autograph of A.A. Alyabyev’s Liturgy), about 200 icons and church items.

Sacred music in terms of volume and significance is an important part of Golovanov's work. He is the author of 64 spiritual compositions (from 1907 to 1952), which make up 8 opuses, of which 33 chants and 8 adaptations of early compositions date back to the Soviet era.

Of all the 46 opuses he created, most of them are vocal: 2 one-act operas, romances, adaptations of songs of different peoples and other compositions.

All spiritual works Golovanov wrote for choir a cappella (op. 1 - for male choir, all the rest - for mixed, mostly large choir). Golovanov did not create complete liturgical cycles, but composed individual chants of the liturgy and the all-night vigil in the 10s. Or. 36 includes mainly hymns for the Nativity of Christ, op. 37 - Great Lent and Holy Week, op. 38 has the author's title "From Youthful Notebooks" and consists of works from the 1900s in a later edition. Or. 39, written mainly during the Great Patriotic War, contains hymns addressed to the Mother of God (the first 6 numbers are called by Golovanov the suite "Joy of All Who Sorrow"), to St. Nicholas, to St. Seraphim of Sarov; the last numbers of the opus were written on the occasion of specific events - the anniversary of Nezhdanova (Great Longevity), the death of V.A. Semyonov (“Peace, Our Savior”) or in honor of people especially revered by him - Rachmaninov (“Quiet Light”), Metropolitan Tryphon (Prayer to the Holy Martyr Tryphon).

Golovanov developed that trend in sacred music of the New Direction, which led to a significant expansion of musical techniques (Rakhmaninov, A.T. Grechaninov, Chesnokov, and others). In his chants there are extreme levels of dynamics, a wide pitch range, multi-level polyphony (but, as a rule, without Western polyphonic forms), a special complexity of texture (typically frequent division of voices into 2, 3 parts) and harmony (seventh and nonchords), extended key. Golovanov combined modern techniques with techniques coming from the ancient layers of Russian music - church and folk. Golovanov's compositions are characterized by a light gamut of feelings, conveying reverent admiration for the beauty of the world and the music itself, listening to the sound of harmonies.

As a rule, Golovanov's compositions are intended for large and highly professional ensembles. The author was guided by the sound of the Moscow Synodal Choir, which is the reason for the dedication of many chants to the luminaries of the Synodal School and the choir - Smolensky, Kastalsky, Orlov, Danilin, Chesnokov. Golovanov's spiritual works are mainly performed in concerts; in church everyday life, works for male choir from op. 1 and "Trisagion" (in the 2nd author's edition - op. 36, No. 1). In the 10s - early 20s, Golovanov's chants were heard in concerts of the Synodal Choir and the Bolshoi Theater Choir under the direction of Golovanov, the choir of I.I. Yukhov and the Chesnokov Chapel. After a long break since the 1980s, Golovanov's works were performed by the choir of the Publishing Department of the Moscow Patriarchate under the direction of Hieromonk Ambrose (Nosov), the choir of the Patriarchal Metochion under the direction of S.V. Krivobokov, Moscow Regional Academic State Choir under the direction of A.D. Kozhevnikov and A.M. Rudnevsky, the choir of the courtyard of the Trinity-Sergius Lavra under the direction of V.A. Gorbika and others.

Golovanov's secular writings also reveal a connection with Orthodox culture, as can be seen in Ch. obrvzami in poetic texts, their religious images. The cycle of romances to the verses of F.I. Tyutchev (op. 40) and the cycle of a cappella choirs “The Censer of Gold-Jeted Censers” (op. 8) to verses by other Russian poets (“The Girl Sang in the Church Choir” by A.A. Blok, “On Trinity Day” by Vyach.I. Ivanov , “Assuage my sorrows” by A. B. Kusikov, “I am a miserable wanderer” by S. A. Yesenin, etc.).

Undoubtedly, the impact of Orthodox culture on the main field of Golovanov's work - conducting. The nature of Golovanov's performance was distinguished by its scale, conception, the priority of the melodic principle, and the vocal interpretation. Golovanov's contemporaries noted in his conducting style the features characteristic of the sound of the Synodal Choir, the general vocal expression and such specific technical details as the addition of deep bass notes, similar to the singing of bass octaves of the choir.

« When you think about the creative image of Nikolai Semenovich Golovanov, contemporaries wrote, his national essence seems to be the main, most characteristic feature. The Russian national setting of creativity permeates the performing, conducting and composing activities of Golovanov». A titan conductor, a heroic conductor, he snatched Russian opera from the whirlwinds of the revolution, whose millstones cut and mangled the traditions of Russian art. The creator of the "grand style", his manner of conducting struck with the power of energy, contrast, and brightness of the colors of the orchestra. Nikolai Golovanov's productions on the stage of the Bolshoi Opera Theater Boris Godunov (1948, Stalin Prize), Sadko (1949, Stalin Prize), Khovanshchina (1950, Stalin Prize) are the heights of the Renaissance of Russian opera, still unconquered .

Music at the turn of the 1920s and 1930s once again turned out to be a race ground. Karl (Karoy) Flesch, a professor at the Berlin Higher School of Music, threw fuel on the fire. In The Problem of Sound in Violin Playing, he developed the theory of "whole races and folk tribes in which the sense of sound has developed better than others." These turned out to be "Polish and Russian elements of Jewish origin." Scandal broke out in Germany. The famous violinist Gustav Haveman was indignant: “You accept the Jewish sense of sound as fundamental, which is natural for you, as a Jew whom I respect. But for us Germans, the Jewish sense of sound is not decisive.” Flesh's idea was also taken up in the Soviet Union. Nikolai Golovanov spoke openly about the fact that only musicians and singers of Russian origin can be the best interpreters of Russian music. In essence, Golovanov repeated the assertion of Emperor Alexander III. The legend of Golovanov the anti-Semite flared up and replicated all subsequent years. Today, the name of Nikolai Golovanov is known only to connoisseurs of Russian art. Today the name of Nikolai Golovanov is in the shadows. Is it because liberal propaganda about the “Stalinist” USSR fades into dust in the halo of his glory, and the art of the “Stalinist” USSR acquires the sound of Scriabin's “Prometheus”.

About Nikolai Golovanov, especially for "Tomorrow", we are talking with Olga Ivanovna Zakharova, a man of amazing fate. After graduating from the Moscow Conservatory (Department of Theory and Composition), she came to work at the Golovanov Museum. I assumed: distribution for a year, for two ... A year or two turned out to be almost half a century long. Neither the proposals of Radio International Broadcasting, nor the Institute of Art Studies, which once could only be dreamed of, were lured away ... But we can safely say: Olga Ivanovna Zakharova, musicologist, candidate of art criticism, is the mascot of the Nikolai Golovanov Museum. Nikolai Golovanov - titan, hero of Russian music.

"TOMORROW". Olga Ivanovna, for a quarter of a century liberals and even patriots have been instilling the idea of ​​the lack of culture of a Russian person, that he lives in filth and eternal disorder. But then you find yourself in the Golovanov Museum, and the world of artistic taste turns out to be, as it were, yours. In what family was Golovanov born and raised? what influenced its development?

Olga ZAKHAROVA. By origin, Nikolai Golovanov is from the peasants of the Simbirsk province, but his parents have already settled in Moscow. Father is a tailor, mother almost did not know how to read and write. Golovanov's musical abilities showed up very early, and this made it possible for the family to take him to a unique institution, which was the Synodal School of Church Singing. At the end of the 19th century and up to the revolution, the Synodal School experienced a period of take-off, climax. Such a reformer, a very educated person, a scientist, medievalist and composer Stepan Smolensky, came to the school. Leading figures of Russian spiritual music Kastalsky, Chesnokov, Nikolsky worked in the school. In 1901, Smolensky was transferred to the Court Singing Chapel of St. Petersburg, but, nevertheless, in Moscow he managed to lay the foundations for serious education, both ecclesiastical and general humanitarian. The school had an amazing choir. The choir consisted of boys and civilian choristers. Basses-octavists were famous - very low basses, and the choir was led by the regent with a capital letter Vasily Sergeevich Orlov. Already in his declining years, Golovanov wrote: "The Synodal School gave me everything - moral principles, principles of life, the ability to work hard and systematically, instilled sacred discipline."

"TOMORROW". How difficult was it to get into such a school?

Olga ZAKHAROVA. Of the 360 ​​boys, - Golovanov recalled, - a few lucky ones were chosen, boys from different cities of Russia. It was a closed boarding school, where they not only gave education, but also provided everything necessary. Golovanov had a wonderful voice. And they noticed it. In the choir, he was the so-called performer, that is, a soloist. Executor is an ecclesiastical term, as is regent. There were three performers, and the choir during solemn services sometimes numbered seventy or more people. The choir served such a shrine in Russia as the Assumption Cathedral in the Kremlin. In addition, the boys really worked. There were orders for the Synodal Choir from wealthy houses for funerals and weddings. The choir also performed at the Moscow Conservatory and gave tours abroad.

"TOMORROW". Is it true to say that the Grand Duchess Elizabeth Feodorovna noticed Golovanov in the Assumption Cathedral?

Olga ZAKHAROVA. Elizaveta Feodorovna often attended services in the Assumption Cathedral. According to the memoirs of one of the synodals, she walked from the Marfo-Mariinsky Convent to the Kremlin. There is evidence that Golovanov, while still a student of the Synodal School, was invited by her as a regent to services in the Nikolaevsky Palace of the Kremlin.

"TOMORROW". And immediately after graduating from college, Golovanov received an invitation to become regent of the Martha and Mary Convent.

Olga ZAKHAROVA. Not only. Golovanov graduated from college in 1909. And he was left as a school teacher, and also as a junior assistant to the regent. The Grand Duchess invited me to be regent at the Marfo-Mariinsky Convent. The main Cathedral of the Intercession was still under construction, services were held in the brownie, Martha and Mary churches. And in 1911 he became a senior assistant to the regent, in addition, he studied at the conservatory with Sergei Vasilenko in the class of composition and music theory.

"TOMORROW". Did you have to leave the monastery due to employment?

Olga ZAKHAROVA. Yes, but Golovanov kept the memory of the Grand Duchess Elizabeth Feodorovna for life. The museum has a document showing that she was always satisfied with the work performed by Golovanov in the monastery. In the album, Golovanov placed a photograph of the Grand Duchess, which, perhaps, she gave him as a farewell gift when leaving the Marfo-Mariinsky Convent. A gift from the choir is a metronome, on its elegant bronze overlay is engraved: "From the grateful choir of the sisters of the Marfo-Mariinsky Convent" and the date when he came and left the monastery.

"TOMORROW". Did Golovanov meet the artist Nesterov here? What is known about their relationship?

Olga ZAKHAROVA. Golovanov communicated with the artist in different years, was friends with the artist's autobiographer, Durylin. Their correspondence has been preserved. Golovanov has several works by Nesterov: “Saint Barbara”, “Angel of Sorrow”, “Capri. Italy” are pre-revolutionary works, and the work of the Soviet period “Desert Fathers and Immaculate Wives”. Moreover, the latter is the author's version, which differs from the one in the Tretyakov Gallery.

"TOMORROW". Did your debut as a conductor take place after graduating from the conservatory or earlier?

Olga ZAKHAROVA. At the age of 20, in 1911, Golovanov conducted at the Moscow Conservatory. That was the debut. The Synodal Choir performed the "Liturgy" by Sergei Rachmaninov.

"TOMORROW". We are approaching the years of the revolution, which Golovanov, as if, did not notice because of his love for Nezhdanova. I would like you to tell us about this great love story. Who noticed who first?

Olga ZAKHAROVA. In 1914 Golovanov brilliantly graduated from the conservatory. His diploma work is the opera Queen Yurata. When the music, as it was supposed to, was played on two pianos in front of the examination committee, it made a splash. The opera was awarded a special cash prize of 1,000 rubles. The director of the conservatory, Ippolitov-Ivanov, made a decision: the opera must be performed without fail. But the First World War broke out. And yet the music was performed in the form of a suite. They immediately started talking about Golovanov, they began to write about him. And in 1915 Golovanov conducted summer symphony concerts in Sokolniki. The participants are the orchestra and soloists of the Bolshoi Theatre. And here, I think, Nezhdanova could pay attention to him.

"TOMORROW". After all, Nezhdanova was much older than Golovanov.

Olga ZAKHAROVA. When Golovanov was born, in 1891, Nezhdanova was already teaching in Odessa, where she came from and where her family lived. Nezhdanova was 18 years older than Golovanov. She had two brothers, a sister, and all younger ones. In order to somehow help the family, she worked as a teacher for eight years. And since 1902, Nezhdanova has already shone at the Bolshoi Theater. She had, of course, an amazing voice, some kind of angelic purity. I think that at first Nezhdanova was captivated by her voice. Golovanov later wrote that Nezhdanova was childishly pure in soul, even naive. Nezhdanova said that when she saw Golovanov, there was an “injection”, he “injected” her. Maybe it's called love at first sight?

In 1918, Golovanov made a box for Nezhdanova, obviously to order. Very beautiful carving. You also open a large letter from Golovanov on the lid for her name day and the Holy Trinity. Inside the box, somehow, a whole romance was still written out, which he dedicated to Nezhdanova. Romance "What is a dream?" to poems by Igor Severyanin. It is from this box, perhaps, that the love story began. Then Golovanov became a permanent pianist-accompanist of the great singer. In addition, both of them were believers.

"TOMORROW". Was it a church marriage?

Olga ZAKHAROVA. They were in a civil marriage. But, according to the priest, Father Valeryan Krechetov was secretly married. Nezhdanova lived in an apartment on the floor below, they shared a dacha on Nikolina Gora.

"TOMORROW". I wonder what kind of life they led?

Olga ZAKHAROVA. They somehow spent their leisure time very cheerfully, some experienced delight in life. At Svyatki they arranged walks around the apartments, they were mummers, they sang carols. They loved to travel. We went to Italy, stayed at the villa of the English conductor Albert Coates. In 1926, Bernard Shaw vacationed nearby and often visited Coates. Once I found Nezhdanova and Golovanov. Nezhdanova sang to him "The Nightingale" and Russian folk songs. Bernard Shaw was delighted, and he was very exacting, if not to say - sometimes poisonous. He presented Nezhdanova with his photograph and wrote: "Now I understand why God let me live to the age of 70 - this is so that I can hear his best creation - Nezhdanova."

Golovanov and Nezhdanova were fond of painting and collecting. Nezhdanova herself painted, there was even a portrait of Golovanov. Antonina Vasilievna also had an excellent collection of paintings, no less luxurious than Golovanov's. In addition to paintings by Russian and foreign artists, Golovanov collected icons, there were about a hundred of them. Sixty transferred to the Tretyakov Gallery.

"TOMORROW". The death of Antonina Vasilievna Nezhdanova in 1950 was a shock to Golovanov. And we can say that he did not cope with it.

Olga ZAKHAROVA. Yes. After the death of Nezhdanova, in October, Golovanov held a grandiose concert in her memory. And soon he fell ill. He got pneumonia. Golovanov was treated with the then latest penicillin preparations. The temperature dropped, everything seemed to be normal, when suddenly he was paralyzed. Stroke. He was able to get help in time and was treated, supported for a whole year. Movement and speech were restored, but doctors forbade public speaking. At the same time, Golovanov remained the musical director of the Bolshoi Theater and the All-Union Radio Orchestra. And he recorded twelve symphonic poems by Liszt, symphonic excerpts from Wagner's operas. Absolutely amazing records! No one could even imagine that they were made by Golovanov after a stroke.

"TOMORROW". Olga Ivanovna, there is a myth about Golovanov - a tyrant, a despot.

Olga ZAKHAROVA. Nikolai Semyonovich Golovanov was distinguished by an explosive temperament. It was like two different people lived in it. Outside of work, even during a break in rehearsals - he was good-natured, a very good conversationalist, a very cheerful person. During the work, he was transformed, became tough and over-demanding. If, with his perspicacity, he saw some kind of mood in the orchestra, not even those eyes, then he boiled up and could be rude, sharp. He did not tolerate the slightest falsehood, he treated conducting, performing as a kind of church service. There were even such memories of the choirmaster Claudius Vasilievich Ptitsa. He says that in the manner of conducting the Golovanovs there was something of a priesthood.

"TOMORROW". And let's note that in that accursed, totalitarian, godless time, Golovanov constantly left religious abbreviations on the scores.

Olga ZAKHAROVA. They managed to read. These are the first words of the prayer. Most often, Iv. B. M.” - Iberian Mother of God. Sometimes he even wrote "Iberian Mother of God, help." There is also an appeal to Seraphim of Sarovsky, Savva Zvenigorodsky. I think that this is not only a Russian tradition, but a Christian one in general. Johann Sebastian Bach, for example, put crosses. On the score of Tchaikovsky's Sixth Symphony - "God bless" and at the end - thanksgiving.

"TOMORROW". Olga Ivanova, Golovanov's name is carved in golden letters in the heavenly pantheon of the Bolshoi Theatre. The will, courage, talent of Golovanov crushed this entire International, alien to the theater, and returned the theater to the Russian channel. I would like to talk to you about Golovanov and the Bolshoi Theatre.

Olga ZAKHAROVA. Golovanov came to the Bolshoi Theater in 1915. To the modest position of assistant choirmaster. In 1919, one might say, he was pushed onto the conductor's podium of the theater. Golovanov doubted for a long time, but the conductor was urgently needed, after the revolution, the theater conductor Emil Cooper emigrated. Then they even resorted to such a trick: Golovanov was told that the assistant choirmaster's position was canceled and it was necessary to decide: either you become an opera conductor, or you leave the theater. And he already got used to the theater, Chaliapin, Nezhdanova, Sobinov were here ... and Golovanov decided. The first opera he conducted was The Tale of Tsar Saltan. 1919 A letter of praise from Vladimir Nemirovich-Danchenko has been preserved. Golovanov became interested in work and Russian operas became his repertoire.

"TOMORROW". And the persecution of Golovanov by the Russian Association of Proletarian Musicians began.

Olga ZAKHAROVA. The harassment campaign began in 1928, and I think it started first inside the Bolshoi Theater itself. The theater was dissatisfied with Golovanov's leadership style. He was, of course, an authoritarian man. Then it was considered a relic of a bygone culture, nobility. He was called "master", but those to whom he just had claims as professionals. RAPM united the young generation of musicians, revolutionary-minded. So revolutionary that it seemed to them: the Bolshoi Theater is not engaged in business. With the classics are not on the way. Moreover, often these people were amateurs, in general, not really educated, but traveling at the expense of ideology.

Once, in a private conversation with his teacher Vasilenko (and Vasilenko was preparing the premiere at the Bolshoi Theater - the opera Son of the Sun) that the opera Boris Godunov, which was being prepared for production, should be conducted by a Russian conductor. And they entrusted Aria Moiseevich Pazovsky. Golovanov's words were heard, passed on, and they began to accuse him of anti-Semitism. In those days, this was a terrible accusation. A campaign called "Golovanovshchina" broke out. The scandal also spread to the conservatory, where Golovanov revived the Conservatory Orchestra. Here, too, the "cleansing" began. Golovanov was also hounded in the newspapers, the case even reached the court. Golovanov, it should be noted, knew how to defend himself. He somehow prepared for all these showdowns, he had specific facts, arguments.

"TOMORROW". Nevertheless, Golovanov was fired from the theater.

Olga ZAKHAROVA. Golovanov was fired from the Bolshoi Theatre, but he continued to give concerts at the conservatory. The public was then sharply divided into "Golovanovites" and those who condemned him. It sometimes reached the point of whistling, on the verge of hand-to-hand combat.

"TOMORROW". How many times did he leave the Bolshoi Theatre?

Olga ZAKHAROVA. Three times. He did not leave, but his "left". The first time was 1928. But in 1930 they returned, and by the decision of the Commission of the Central Committee, that is, they rehabilitated from above. The second dismissal - 1936.

"TOMORROW". What caused it?

Olga ZAKHAROVA. Pretty much the already noted leadership style. But there was also a story connected with the composer, Ivan Dzerzhinsky, the author of the opera Quiet Flows the Don. It was believed that Golovanov overworked this opera. She was talented, but amateurish, very poorly instrumented. In general, Golovanov did a great job on it in order to present it with dignity at the Bolshoi Theater. Dzerzhinsky in those years was raised "on the shield." The premiere of his opera in the author's edition in Leningrad was successfully held, conducted by Samuil Samosud. The composer was offended by Golovanov because of the editorial, and as a result, Golovanov was removed and Samuil Abramovich Samosud was staged. Golovanov, interestingly, wrote on a piece of calendar on the day of his dismissal: “The Committee divided about m art committed lynching of Golovanov.

"TOMORROW". But they were kept in a strategic reserve.

Olga ZAKHAROVA. In 1937, artists, soloists of the Bolshoi Theater were awarded. Golovanov learned from the newspaper that he had also been awarded. Moreover, he decided that this was a mistake, a typo, that it was not him who was awarded, but the singer Dmitry Golovin. Golovanov was returned to the theater in 1948, and would have been returned earlier, but there was a war. Upon learning of the return to the theater, Golovanov suffered a heart attack with joy. Microinfarction.

"TOMORROW". Was he that emotional?

Olga ZAKHAROVA. Yes, of course, he was very emotional. In addition, the Bolshoi Theater was a significant place for him.

"TOMORROW". Where did the war find Golovanov?

Olga ZAKHAROVA. When the Great Patriotic War broke out, Golovanov and Nezhdanova were at a dacha in the Moscow region. And in the hottest, difficult days, when the troupe, the orchestra of the Bolshoi Theater had already left for the evacuation, Golovanov began to collect the orchestra. It was pretty difficult. Raids, bombings, everyone is trying to leave Moscow.

"TOMORROW". Did they stay?

Olga ZAKHAROVA. Golovanov and Nezhdanova were repeatedly recommended to evacuate. But they refused. Antonina Vasilievna Nezhdanova decided to stop performing even before the war. Age. However, in the very early years of the war, she began performing on the radio. In 1942 alone she gave more than fifty concerts. And Golovanov recruited musicians for the orchestra, broadcasts began. These broadcasts were of great importance for those who were far from Moscow. Music, concerts in the capital! Moreover, music was revived, which had not been heard for various reasons for a long time. For example, Tchaikovsky's 1812 overture. It ended with the royal anthem "God Save the Tsar", Golovanov replaced it with "Glory" and began to perform it. The museum has a note from a pilot who flew to Tehran. So, during this flight, he listened to the overture "1812".

"TOMORROW". Great story! I propose to talk now about Golovanov's triumph at the Bolshoi Theatre.

Olga ZAKHAROVA. From 1948 to 1953 - the years of the culmination of Golovanov's work at the Bolshoi Theater. Three years in a row: 1948, 1949, 1950 operas were staged - Boris Godunov, Sadko, Khovanshchina, which were awarded the highest award, the Stalin Prize of the 1st degree. They were absolutely brilliant performances. Masterpieces. Golovanov took revenge.

"TOMORROW". There is a version that Stalin sympathized with Golovanov.

Olga ZAKHAROVA. It is clear that Stalin appreciated the Bolshoi Theater and Golovanov at the head of the Bolshoi Theatre. I don’t know how Golovanov treated Stalin before the war, but after the war he appreciated Stalin. It should be noted that it was under Stalin that Golovanov achieved very high rates for the orchestra, good instruments were purchased, that is, all conditions were created for truly creative work and supporting the musicians' standard of living. Both at the Bolshoi Theater and in the Radio Orchestra, which Golovanov led.

"TOMORROW". But now Stalin dies, Khrushchev fires Golovanov.

Olga ZAKHAROVA. A formal clue - Golovanov works in two large groups and does not conduct at the same time at the Bolshoi Theater. Another reason - the historian Maksimenkov told me about it. In those years, it was important to create a Soviet classical opera, and Golovanov was very skeptical about this. He did not see contemporary music worthy of the Bolshoi Theatre. Although at that time operas were also ordered for Shostakovich, the opera October, and the opera The Decembrists by Shaporin was being prepared for staging. The possibilities of the composers did not meet the requirements of Golovanov.

There was another reason. In 1952-1953 Golovanov prepared a decade of Belarusian art in Moscow. Then the decades of different republics were spent with great pomp and pomp. And in Minsk, Golovanov began clashes with the singer Larisa Aleksandrovskaya, who was a deputy of the Supreme Council. She prepared as a director for the decade the opera "The Girl from Polissya" by Tikotsky. Golovanov was very critical of the production and demanded rework. Apparently, he said something sharp to this singer. And she was a friend of the man who became the Minister of Culture under Khrushchev, Ponomarenko. When Ponomarenko became the Minister of Culture, he removed Golovanov.

"TOMORROW". Golovanov was waiting to be returned?

Olga ZAKHAROVA. You know, there is such a myth that Golovanov, having already been fired, came to the Bolshoi Theater from the service entrance and presented his ID. He was told that you no longer work here, you are a pensioner. An order was also being prepared to dismiss Golovanov from the Radio Orchestra.

"TOMORROW". Golovanov's heart could not stand the humiliation.

Olga ZAKHAROVA. Yes. Having received the news of his dismissal, Golovanov soon died. August 28, 1953. On the Assumption ... On the Assumption, he first performed with the Synodal Choir. Golovanov's career as a musician began with services in the Assumption Cathedral. Golovanov himself said that the most significant days in his life are connected with the Assumption ... I just thought that right here, in Bryusov Lane, the church of the Assumption is also nearby.

"TOMORROW". Olga Ivanovna Golovanov continued to write sacred music all his life. What is his last composition?

Olga ZAKHAROVA. Golovanov's last work, summer 1952, Prayer to St. Tryphon. He, of course, remembered his confessor. There was such a Metropolitan Trifon Turkestanov, the author of the akathist "Glory to God for everything." The museum exhibits a poem by Tryphon, which he wrote and sent to Golovanov in 1930 in connection with the Golovanov campaign. In the poem, he recalls Golovanov singing as a boy, how he soloed, and how even then this halo wafted over him ...

"TOMORROW". Geniuses.

Olga ZAKHAROVA. Yes.

"TOMORROW". The value of Golovanov for Russian, world musical culture.

Olga ZAKHAROVA. You know, when in 2011 a film about Golovanov was made on the Kultura channel, it received the following title: “Nikolai Golovanov. Chief Conductor of the Soviet Union. He really was the brightest Soviet conductor of the first half of the 20th century. He was at the forefront of Moscow's musical life. For modern musicians, conductors, and the public, Golovanov has become a symbol of the Russian beginning in conducting. It touches me that such an outstanding musician as Mikhail Vasilyevich Pletnev is his great admirer and propagandist of creativity. And not only here, but also abroad.

Golovanov was an excellent performer of Wagner. Discs were released in Germany, a series of "Great Conductors". And in this series, there are two conductors side by side: from the German side - Wilhelm Furtwängler, from the Russian side - Nikolai Golovanov.

"TOMORROW". An object in a museum with which a sacramental story is connected.

Olga ZAKHAROVA. I think that this is a sword from the beginning of the 20th century. There is evidence that when the royal services were held, the tsar came to the Kremlin, the Synodal Choir sang. The choir director had to wear a uniform with a sword. The museum has a photograph of 1914, the exit of the Imperial family from the Assumption Cathedral to the Chudov Monastery. And in the background are photographs of the Synodal Choir and Golovanov. Precisely in a uniform and, probably, with this very sword.

"TOMORROW". Golovanov and in heaven - a warrior of Russian art.

January 21, 1891 - August 28, 1953

Russian Soviet conductor, pianist and composer, People's Artist of the USSR

Biography

He graduated from the Moscow Synodal School of Church Singing, where he studied with V. S. Orlov and A. D. Kastalsky, first performed as a conductor in 1909.

After graduating from the Moscow Conservatory in the composition class of Sergei Vasilenko and Mikhail Ippolitov-Ivanov. In 1915–53 (with interruptions) he worked at the Bolshoi Theatre. In 1928 he was dismissed in connection with a fabricated case about Golovanovism, and in 1930 he was reinstated. In 1936 he was fired again. In 1948–53 he worked as the chief conductor of the theatre. In 1953 he was fired.

Golovanovshchina

In the second half of the 1920s, a campaign of political harassment, the so-called "Golovanovism", was unleashed against N.S. Golovanov. According to a group of workers (local committee, trade union committee, Komsomol committee) headed by the party cell of the Bolshoi Theater, with the direct participation of the composer S. Vasilenko and conductor A. Pazovsky, Golovanov sought to "transfer the old, bourgeois mores and methods of work into the Soviet theater", was too “conservative” (actually opposed to the productions of the Soviet opera “remake”), refused to promote young artists, supported “unfairly high” fees for leading musicians. The campaign received a great response in the media and even attracted the attention of I.V. Stalin. Articles in the press were of an aggressive, "accusatory" nature:

The "measures" taken by the party and the Komsomol ensured the "overcoming of Golovanovism" and resulted in the dismissal of the artist.

In 1926-1929 Golovanov led the Moscow Philharmonic Orchestra. In 1937 he was appointed artistic director and chief conductor of the Bolshoi Symphony Orchestra and Opera Radio Theater of the All-Union Radio Committee, which he led until his death. Under the baton of Golovanov, epic large-scale works by Russian composers were most often performed (“Boris Godunov” and “Khovanshchina” by Mussorgsky, “Ivan Susanin” by Glinka, “Scheherazade” by Rimsky-Korsakov, etc.). During the war, while in Moscow, he continued to give concerts, worked on the radio. In 1925-1929 and 1943-1948 he taught at the Moscow Conservatory (professor of orchestral and opera classes). Among Golovanov's students are conductors L. Ginzburg, G. Rozhdestvensky, B. Khaikin.

He was buried at the Novodevichy cemetery.

Creation

The sound of Golovanov's orchestra was distinguished by perfect phrasing, dynamism of interpretation, and a harmonious combination of symphonic and dramatic elements of theatrical action. Golovanov conducted the first performances of Myaskovsky's Fifth, Sixth, Twenty-Second and Twenty-Third Symphonies, Khrennikov's Second Symphony, and Rachmaninov's Third (for the first time in the USSR).

In the spirit of his time, Golovanov allowed active interference in the author's text of the scores. According to K. Sanderling, Golovanov “like no one else knew how to make the orchestra perform what the conductor wants, both rhythmically and sonically. But what he did with music is almost criminal. He turned everything upside down in his own way, evened out all the pace. I remember he played Pictures at an Exhibition without interludes. He played Mozart's Requiem with a bass trumpet! In his own versions, Golovanov, for example, recorded Mussorgsky's operas (he made his own revisions to Rimsky-Korsakov's version of the opera Boris Godunov) and Rimsky-Korsakov's ("Sadko" - cuts, changes in orchestration).

Being a good pianist, he often acted as an accompanist along with his wife, the singer Antonina Nezhdanova.

Golovanov is the author of a number of original compositions: the opera "Princess Yurata", a symphony, two symphonic poems, orchestral suites, an overture on Russian themes, more than 200 romances, arrangements of folk songs, a number of compositions on a spiritual theme.

Awards and prizes

• Stalin Prize (1946)
• Stalin Prize of the first degree (1949); for the opera "Boris Godunov" by M. P. Mussorgsky
• Stalin Prize of the first degree (1950); for the opera "Sadko" by N. A. Rimsky-Korsakov
• Stalin Prize (1951)
• People's Artist of the USSR (1948)
• The order of Lenin
• Order of the Red Banner of Labor
• Medal "For the Defense of Moscow"
• Medal "For Valiant Labor in the Great Patriotic War of 1941-1945"

Russian Soviet conductor, pianist and composer.

People's Artist of the RSFSR (1943).
People's Artist of the USSR (1948).

Born on January 9 (21), 1891 in Moscow, in a poor bourgeois family.
In 1900-1909 he studied at the Moscow Synodal School, where his mentors were the famous choral conductors V.S. Orlov and A.D. Kastalsky. In 1914 he graduated with honors from the Moscow Conservatory in composition class under Mikhail Ippolitov-Ivanov and Sergei Vasilenko.
In 1915 he became the conductor of the orchestra and assistant choirmaster of the Bolshoi Theatre, from 1919 to 1928 he was the chief conductor, in 1926-1929 he also headed the Moscow Philharmonic Orchestra.
In 1937 he was appointed artistic director and chief conductor of the Bolshoi Symphony Orchestra and Opera Radio Theater of the All-Union Radio Committee.
In 1948-1953 he again headed the Bolshoi Theater.
In 1925-1929 and 1943-1944 he taught at the Moscow Conservatory.

prizes and awards

Stalin Prize (1946)
Stalin Prize of the first degree (1949, for the opera performance "Boris Godunov" by M.P. Mussorgsky)
Stalin Prize of the first degree (1950, for the opera performance "Sadko" by N.A. Rimsky-Korsakov)
Stalin Prize (1951)
The order of Lenin
Order of the Red Banner of Labor
Medal "For the Defense of Moscow"

Medal "For Valiant Labor in the Great Patriotic War of 1941-1945"
Medal "In memory of the 800th anniversary of Moscow"