Taneyev short biography. Taneev Sergey Ivanovich - biography, facts from life, photos, background information

Sergei Taneev is a little-known classic of Russian music. Once upon a time, his name was well known to the educated public in all parts of the vast Russian Empire. Today, only music historians and students of a few music schools and colleges named after him know about him.

The early years of Taneyev Sergey

Sergei Ivanovich Taneyev was born in the provincial city of Vladimir on November 13, 1856. His father Ivan Ilyich belonged to an old noble family that traced its history back to the time of Ivan the Great. From childhood, his parents taught Sergei to play the piano, as was the custom in many noble families. When the boy was ten years old, his parents moved to Moscow and sent their son to a newly opened educational institution - the conservatory.

At the conservatory, young Taneyev studied with Professor Eduard Langer, the son of the then-famous composer Leopold Langer. In 1869, Sergei moved to the class of Rubinstein and Tchaikovsky. The founder of the conservatory, Nikolai Rubinstein, taught the young man harmony, free composition and instrumentation, and the legendary Pyotr Tchaikovsky taught composition. In 1875, Taneyev graduated from the conservatory with a gold medal.

The beginning of Taneyev's career

After graduating from the conservatory, Taneyev performed solo and as part of ensembles. Former teachers have not forgotten the talent of their student. In 1882 P.I. Tchaikovsky entrusted Taneyev with the role of the solo instrument at the first performance in Russia of his second piano concerto. Many years later, when Tchaikovsky had already died, Taneyev completed and performed for the first time his third concerto. Sergei Ivanovich performed not only other people's, but also his own works. In 1878, just three years after graduation, he was entrusted with teaching at the Moscow Conservatory.

Among other things, Taneyev taught composition and harmony. For some time, Sergei Ivanovich served as director of the Moscow Conservatory. Scientific and educational work In addition to the actual musical studies, Sergey Taneyev made a contribution to related fields of knowledge. He owns works on musical folklore and source studies, as well as the most important work "Mobile counterpoint", in which a mathematical formula for deriving complex counterpoints in polyphonic music is derived.

Educational activities

Taneeva was not limited to work at the conservatory. Throughout his life, he sought to popularize music outside the small nobility and studied free of charge with talented students from the working environment. Since 1906, Sergei Ivanovich taught at the Prechistensky working courses, where adults from the poor could receive additional education for free. A choir operated at the courses, to which Taneyev often helped.

In 1906, Sergei Ivanovich left the Moscow Conservatory and took part in the creation of a fundamentally new educational institution - the People's Conservatory. This conservatory accepted people regardless of their prior training, and its teaching was oriented towards folk traditions. Among the students of Sergei Taneyev were many outstanding composers. The names of two of them: Sergei Rachmaninov, Alexander Scriabin - are familiar to the whole world.

Other interests of Sergey Taneev

Sergey Taneev was one of the first Esperantists in Russia. He accepted the idea of ​​a future world language with great enthusiasm. The composer kept his language in Esperanto, corresponded with the founder of Esperanto Zamengovof, and also wrote several articles in the new language. Information about romances in Esperanto written by Sergei Ivanovich has been preserved, but there are no such works in his archives. In 1915, Taneyev caught a cold at the funeral of his student A.N. Scriabin. Two months later, he died on June 6 (19), 1915 from pneumonia. The composer's grave is located at the Novodevichy Cemetery.

Sergei Ivanovich Taneev (November 13, 1856, Vladimir - June 6, 1915, Dyutkovo near Zvenigorod) - Russian composer, pianist, teacher, scientist, musical and public figure. The younger brother of the lawyer V.I. Taneyev.

In Russian music of the turn of the century, S. Taneyev occupies a very special place. An outstanding musical and public figure, teacher, pianist, the first major musicologist in Russia, a man of rare moral virtues, Taneyev was a recognized authority in the cultural life of his time.

However, the main work of his life, composing, did not immediately find true recognition. The reason is not that Taneyev is a radical innovator, noticeably ahead of his time. On the contrary, much of his music was perceived by his contemporaries as outdated, as the fruit of "professorial learning", dry office work. Taneyev's interest in the old masters, in J.S. Bach, W.A. Mozart, seemed strange and untimely, he was surprised by his adherence to classical forms and genres. Only later did the understanding of the historical correctness of Taneyev come, who was looking for a solid support for Russian music in the pan-European heritage, striving for a universal breadth of creative tasks.
Among the representatives of the old noble family of the Taneyevs, there were musically gifted art lovers - such was Ivan Ilyich, the father of the future composer. The boy's early talent was supported in the family, and in 1866 he was appointed to the newly opened Moscow Conservatory. Within its walls, Taneyev became a student of P. Tchaikovsky and N. Rubinshtein, two of the largest figures in musical Russia. A brilliant graduation from the conservatory in 1875 (Taneyev was the first in its history to be awarded the Grand Gold Medal) opens up broad prospects for the young musician. This is a variety of concert activities, and teaching, and in-depth composer work. But first Taneyev makes a trip abroad.
Staying in Paris, contact with the European cultural environment had a strong impact on the receptive twenty-year-old artist. Taneyev undertakes a severe reassessment of what he has achieved in his homeland and comes to the conclusion that his education, both musical and general humanitarian, is insufficient. Having outlined a solid plan, he begins hard work on expanding his horizons. This work continued throughout his life, thanks to which Taneyev was able to become on a par with the most educated people of his time.
The same systematic purposefulness is inherent in Taneyev's composing activity. He wanted to practically master the treasures of the European musical tradition, to rethink it on his native Russian soil. In general, as the young composer believed, Russian music lacks historical rootedness, it must assimilate the experience of classical European forms - primarily polyphonic ones.

Taneyev's contribution to the field of chamber instrumental music is very significant. The Russian chamber ensemble owes its flourishing to him, which largely determined the further development of the genre in the Soviet era in the works of N. Myaskovsky, D. Shostakovich, V. Shebalin. Taneyev's talent perfectly corresponded to the structure of chamber music-making, which, according to B. Asafiev, "has its own bias in content, especially in the sphere of sublime intellectual, in the field of contemplation and reflection." Strict selection, economy of expressive means, polished writing, necessary in chamber genres, have always remained an ideal for Taneyev. The exceptionally melodic richness of the ensembles, especially their slow parts, the flexibility and breadth of the development of thematics, close to the free, fluid forms of the folk song.
The high intellectualism inherent in Taneyev's nature was most directly expressed in his musicological works, as well as in his broad, truly ascetic pedagogical activity. Taneyev's scientific interests stemmed from his composing ideas. So, according to B. Yavorsky, he "was keenly interested in how such masters as Bach, Mozart, Beethoven achieved their technique."

Taneyev was a born teacher. First of all, because he developed his own creative method quite consciously and could teach others what he himself had learned. The center of gravity was not the individual style, but the general, universal principles of musical composition. That is why the creative image of the composers who passed through Taneyev's class is so different. S. Rachmaninov, A. Scriabin, N. Medtner, An. Alexandrov, S. Vasilenko, R. Glier, A. Grechaninov, S. Lyapunov, Z. Paliashvili, A. Stanchinsky and many others - Taneyev was able to give each of them the general basis on which the individuality of the student flourished.

"Venice at night"

A disciple and follower of Tchaikovsky, Taneyev finds his own way, synthesizing romantic lyricism and classicist austerity of expression. This combination is very essential for Taneyev's style, starting from the composer's earliest experiences. The first peak here was one of his best works - the cantata "John of Damascus" (1884), which marked the beginning of the secular version of this genre in Russian music. Choral music is an important part of Taneyev's legacy. The composer understood the choral genre as a sphere of high generalization, epic, philosophical reflection. Hence the major stroke, the monumentality of his choral compositions. The choice of poets is also natural: F. Tyutchev, Ya. Polonsky, K. Balmont, in whose verses Taneyev emphasizes the images of spontaneity, the grandeur of the picture of the world. And there is a certain symbolism in the fact that Taneyev's creative path is framed by two cantatas - the lyrically heartfelt "John of Damascus" based on the poem by A. K. Tolstoy and the monumental fresco "After reading the psalm" at st. A. Khomyakov, the final work of the composer.

"John of Damascus"

Sergey Taneev. "Absolute Rumor"

Melodic diversity is characteristic of Taneyev's romances, many of which have gained wide popularity. Both the traditional lyrical and pictorial, narrative-ballad types of romance are equally close to the composer's individuality. Demandingly referring to the picture of a poetic text, Taneyev considered the word to be the defining artistic element of the whole. It is noteworthy that he was one of the first to call romances "poems for voice and piano".

"In the haze of invisibility"

"People Sleep"

"Out of eternity music suddenly resounded"

Yakov Polonsky

"Hypothesis"
From eternity music suddenly resounded,
And she poured into infinity,
And she captured chaos on the way, -
And in the abyss, like a whirlwind, the luminaries swirled:
With a melodious string, each ray of them trembles,
And the life awakened by this trembling,
The only thing that doesn't seem like a lie
Who sometimes hears this music of God.
Who is bright in mind, in whom the heart burns.

Sergey Taneev. "Bible Story" Film.

The diverse creative activity of Taneyev, which was untimely interrupted in 1915, was of great importance for Russian art. According to Asafiev, "Taneyev ... was the source of the great cultural revolution in Russian music, the last word of which is far from being said..."

S. Savenko.www.belcanto.ru

As a composer, Taneyev was the recognized head of the Moscow school. Among other things, he greatly contributed to the convergence of the St. Petersburg and Moscow branches of Russian music (for example, he often performed works by Rimsky-Korsakov, Glazunov and other St. Petersburg authors in Moscow and himself entered the St. Petersburg Belyaevsky circle).

Sergei Ivanovich Taneev - Russian composer, pianist, music scientist, teacher. Born in Vladimir on November 13 (25), 1856 in a noble family (his uncle Alexander Sergeevich Taneyev was a chamberlain of the court and an amateur composer; brother Vladimir Ivanovich is a well-known economist and public figure; cousin is the maid of honor of the court Anna Vyrubova). At the age of ten, he entered the newly opened Moscow Conservatory, from which he graduated in 1875 with a gold medal in piano classes by N. G. Rubinshtein and composition by P. I. Tchaikovsky. Taneyev was a favorite student of Tchaikovsky and his close friend until the end of the days of Pyotr Ilyich, often a performer of his compositions, as well as their editor and arranger. After an educational trip abroad, he taught music-theoretical subjects at the Moscow Conservatory, and then piano; in 1885-1888, at the request of Tchaikovsky, he headed the conservatory; later he taught special courses in polyphony and musical form. In 1905, as a sign of solidarity with N.A. Rimsky-Korsakov, who was dismissed from the St. Petersburg Conservatory, he left the Moscow Conservatory and continued his private studies with students. Among Taneyev's conservatory students are composers S.V. Rakhmaninov, A.N. Skryabin, N.K. Medtner, S.M. Lyapunov, R.M. most of them constantly turned to Taneyev for advice even after graduation. Taneyev's social circle included not only musicians; he repeatedly met with L.N. Tolstoy (several times he spent his summer holidays in Yasnaya Polyana, without becoming, however, at the same time a “Tolstoyan”), he was keenly interested in the poetry of symbolism (especially its rhythmic aspect) and was personally acquainted with young Moscow poets; Taneyev's original hobby was learning Esperanto (most of his Diaries are written in this language). After the death of N.G. Rubinstein and P.I. Tchaikovsky, Taneyev turned out to be the central figure of musical life - as a teacher, pianist (soloist and especially an excellent ensemble player), conductor, scientist and, most importantly, a musician of great outlook, impeccable taste and a person of the highest moral purity and responsibility. In the period after 1905, he was one of the founders of the People's Conservatory, a founder and member of the "Musical and Theoretical Library" society, an employee of the Musical and Ethnographic Commission at Moscow University, etc. From the beginning of the 1890s, he worked on the study of the polyphony of the strict style of the old Western masters, since he believed that it was precisely the development of these techniques and forms that could further enrich Russian music, which in its historical development had passed the period of the strict style (Taneyev considered this path especially desirable). for Russian sacred music, and he himself made several experiments in this direction). The result of his work was a large-scale study "Mobile counterpoint of strict writing" (1889-1906; published in 1909) and the unfinished and posthumously published "Doctrine of the Canon".

As a composer, Taneyev was the recognized head of the Moscow school. Among other things, he greatly contributed to the convergence of the St. Petersburg and Moscow branches of Russian music (for example, he often performed works by Rimsky-Korsakov, Glazunov and other St. Petersburg authors in Moscow and himself entered the St. Petersburg Belyaevsky circle). In Taneyev's style, the influence of Tchaikovsky is noticeable (especially in the early works), as well as reliance on Western European classics (Bach, Beethoven).

Taneyev's legacy as a composer is large in scale and diverse in genres, it includes both an opera ("Oresteia", the first opera of the mature Russian school on an ancient plot, staged in 1895), and a symphony (four symphonies, among which the Fourth, 1898 is the most interesting), and original vocal lyrics (including poems by Taneyev's contemporaries - symbolist poets). The most significant achievements are associated with choral, cantata genres and chamber ensembles. Taneyev is the author of the best Russian vocal and symphonic works of this period: the lyric cantata "John of Damascus" to the verses of A.K. Tolstoy (1884) and the monumental canvas "After reading the psalm" to the verses of A.S. individual works and cycles for choir without accompaniment to verses by Russian poets, where complex polyphonic technique is brilliantly used. The same can be said about his numerous ensembles (about 20 compositions: trios, quartets, quintets), where the strict and sublime type of Taneyev's thinking is especially clearly felt, not devoid of either vivid drama or chaste lyrics. Taneyev died in Moscow on June 6 (19), 1915.

Encyclopedic YouTube

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  Taneyev became a unique European-scale musicologist in Russia, whose works have not lost their relevance to this day. He owns a number of scientific studies in the field of folklore (for example, "On the Music of the Mountain Tatars"), source studies (for example, the work on Mozart's student manuscripts, published by the Mozarteum), polyphony (for example, "Mobile counterpoint of strict writing", 1889-1906, and his continuation "The Teaching of the Canon", late 1890s - 1915), etc. The works on polyphony are interesting in that their author was the first to propose a simple mathematical formula (Index verticalis) for composing complex counterpoints. It is no coincidence that Taneyev takes the words of Leonardo da Vinci as an epigraph to the book "Mobile Counterpoint of Strict Writing", which corresponded to many of Taneyev's aspirations as a scientist:

  In addition, in the preface to the same book, the author offers an understanding of the processes taking place in contemporary music. In particular, he predicts the further development of the musical language in the direction of strengthening polyphonic connections and weakening functional-harmonic ones.

  As a teacher, Taneyev sought to improve professional musical education in Russia, took care of the high level of musical and theoretical training of students of the conservatory of all specialties. It was he who created the basis for a serious musical and theoretical training of all performing professions. He was the first to propose to improve the contemporary professional musical education, dividing it into two levels, corresponding to the current secondary specialized (school) and higher (conservatory) education. He brought to a high level teaching in the classes of counterpoint, canon and fugue, analysis of the forms of musical works. He created a school of composition, educated many musicologists, conductors, pianists (continuing the piano traditions of Nikolai Rubinstein). Among the students: Sergei Rakhmaninov, Alexander Skryabin, Nikolai Metner, Reingold Glier, Konstantin Igumnov, Georgy Konyus, Sergei Pototsky, Vsevolod Zaderatsky, Sergei Evseev (dedicated several literary works to Taneyev’s work), Boleslav Leopoldovich Yavorsky.

  In 1910-1911, S. I. Taneyev, together with A. V. Ossovsky, supported the young composer Sergei Prokofiev and wrote a letter to the publisher B. P. Yurgenson with a request to publish his works. However, only after a convincing letter from A.V. Ossovsky, B.P. Yurgenson agreed.

  He was one of the first Esperantists in Russia; he wrote several romances in Esperanto, and S. I. Taneyev at first kept his diary in Esperanto.

  Creation

  A staunch follower of the classics (the traditions of M.I. Glinka, P.I. Tchaikovsky, as well as J.S. Bach, L. Beethoven were found in his music), Taneyev anticipated many trends in the musical art of the 20th century. His work is marked by the depth and nobility of ideas, high ethics and philosophical orientation, restraint of expression, mastery of thematic and polyphonic development. In his writings, he gravitated toward moral and philosophical issues. Such, for example, is his only opera - "Oresteia" (1894, according to Aeschylus) - an example of the implementation of an ancient plot in Russian music. His chamber-instrumental works (trios, quartets, quintets) are among the best examples of this genre in Russian music. One of the creators of the lyric-philosophical cantata in Russian music (“John Damaskin”, “After reading the Psalm”). He revived the genre popular in Russian music of the 17th-18th centuries - a cappella choirs (the author of more than 40 choirs). In instrumental music, he attached particular importance to the intonational unity of the cycle, monothematism (4th symphony, chamber instrumental ensembles). He also wrote romances.

  Memory

  The name of S.I. Taneyev is:

  • Vladimir Concert Hall. S. I. Taneyev, near which there is a bust of the composer;
  • Scientific and Musical Library of the Moscow Conservatory;
  • City Children's Music School named after. S. I. Taneyev in Moscow (Chisty per., 9) in a reconstructed house where the musician once lived; a memorial plaque is installed on the wall of the house;
  • City Children's Music School No. 1 named after. S. I. Taneeva, Vladimir;
  • Kaluga Regional College of Music S. I. Taneeva;
  • International competition of chamber ensembles named after S. I. Taneeva (Kaluga-Moscow);
  • Taneevsky Music Festival in Vladimir;
  • Taneyev Musical Society;
  • street in Vladimir;
  • street in Klin; as well as the collapsed estate of the Taneyevs, which has never been restored and is in complete destruction
  • a street in the Krasnoarmeisky district of Volgograd;
  • street in the Levoberezhny district of Voronezh;
  • City children's music school in Zvenigorod;
  • House-Museum of Taneyev in Dyutkovo (Zvenigorod);
  • aircraft Airbus A319 -111 of Aeroflot Airlines, tail number VP-BWK;
  • • Cantatas “John of Damascus”, “After reading the psalm”, “Glory to H. G. Rubinstein”, “I erected a monument to myself”.
    • 4 symphonies (1874-98), overtures, concerto for piano and orchestra
    • Chamber-instrumental ensembles (20) - trio (including piano, 1908), quartets (including piano, 1906), quintets (including piano, 1911)
    • For piano - Prelude and Fugue, etc.
    • Choirs a cappella
      • Choirs without opus designation: "Venice at night" (Fet), "Nocturne" (Fet), "Merry Hour" (Koltsov) -1880; "Song of King Regner" (Yazykov), "Evening Song" (Khomyakov) -1882.
      • Or. 8. "Sunrise" (Tyutchev). Dedicated to the Russian Choral Society in Moscow (ed. 1898).
      • Or. 10. "From edge to edge" (Tyutchev). Dedicated to the choir of the Imperial Opera in St. Petersburg (1898).
      • Or. 15. Two choirs a capella for four mixed voices (1900): No. 1. "Stars" (Khomyakov), "Moscow Synodal Choir>>; No. 2. "Alps" (Tyutchev), I. A. Melnikov.
      • Or. 23. Nights. Three tercetos a capella for soprano, alto and tenor (Tyutchev). May also be performed by the choir (1907): No. 1. Sonnet by Michelangelo; No. 2. "Rome at night"; No. 3. "Quiet night."
      • Or. 24. Two quartets a capella for two sopranos, alto and tenor (Pushkin). Can also be performed by the choir (1907): No. 1. "Monastery on Kazbek"; No. 2. "Adelie".
      • Or. 27. Twelve choirs a capella for mixed voices (Polonsky). Dedicated to the choir of the Moscow Prechistensky Courses for Workers (1909): No. 1. "At the Grave"; No. 2. "Evening"; No. 3. "The ruin of the tower"; No. 4. "Look, what a haze"; No. 5. "On the ship"; No. 6. "Prayer"; No. 7. “Out of eternity music suddenly resounded”; No. 8. "Prometheus"; No. 9. “I saw a cliff from behind a cloud”; No. 10. "Stars"; No. 11. “Two gloomy clouds over the mountains”; No. 12. "In the days when over the sleepy sea."
      • Or, 35. Sixteen choirs a capella for male voices (Balmont). Dedicated to the Choral Society of Czech Teachers (1914): No. 1. "Silence"; No. 2. "Ghosts"; No. 3. "Sphinx"; No. 4. "Dawn"; No. 5. "Prayer"; No. 6. "In the spaces of the ether"; No. 7. "And sleep and death"; No. 8. "Heavenly dew"; No. 9. "Dead Ships"; No. 10. "Sounds of the Surf"; No. 11. "Seabed"; No. 12. "Sea Song"; No. 13. "Silence"; No. 14. "Death"; No. 15. "White Swan"; No. 16. "Swan".
      • Posthumous editions - the choirs "Pine" (Lermontov) and "Fountain" (Kozma Prutkov) - early works (1877 and 1880), first published in the journal "Soviet Music", 1940, No. 7.
    • Chamber vocal ensembles with piano and a cappella
    • 55 romances

    SERGEI IVANOVICH TANEEV

    Sergei Ivanovich Taneyev belonged to an old noble family. As genealogical sources indicate, the Taneevs served as stolniks and governors, for their service they were granted estates in the 17th century and assigned to the pillar nobility, listed in the sixth part of the noble families of the Voronezh province.
    From the third quarter of the 18th century. Marinino and Tsikul had common owners. After the death of the retired major Taneyev, most of his estates passed to four sons: Sergei, Andrei, Ilya and Vasily Mikhailovich Taneyev. All four Taneyev brothers, like their father, served in the guards and reached the ranks of generals, only the younger Vasily rose "only" to the rank of colonel.
    The stone building of the Church of the Transfiguration was built in 1815 by the Taneyev brothers, among whom Ilya Taneyev, the grandfather of the composer S.I. Taneeva.
    In 1830, Ivan Ilyich Taneyev, the future father of the composer, lived in Tsikul for several weeks.
    Ivan Ilyich (1796-1879) was an educated man and until the end of his days he retained a passion for science and art (“studies, studies, and, moreover, without any system,” the eldest son Vladimir said about him).
    He, Vladimir, the brother of Sergei Ivanovich, reads in his literary heritage. “The ancient city, surrounded by villages and monasteries, stands on a high spot on a narrow mountain range. The abundance of churches and gardens gives it a magnificent view. Above the steep cliff rises the Kremlin with loopholes and towers, a winding river, clean, transparent, washes the cliff ... "
    IN AND. Taneyev, the composer's elder brother, who did a lot of research on family documents and legends, preserved pictures of patriarchal life in the old provincial town in the description of his native Vladimir. Flowering gardens in the spring, filling the streets with a delicate sweet aroma, flooded meadows, far visible from the Kremlin cliff, the revival of the postal route before the start of the famous Nizhny Novgorod fairs - the path to them ran through Vladimir, the discord of the bazaar, where “Old Russia was to sell and buy, untouched, unchanged, with a loud voice, deafening cries, unprintable abuse and hand-to-hand fights ... "
    The unhurried life of the composer's parents was also patriarchal. In 1838, Ivan Ilyich married the daughter of a titular adviser, a Vladimir official "from the chief officer's children" Pavel Andreevich Protopopov, Varvara Pavlovna. He was 42 years old at that time, she was 16, nevertheless, their forty-year married life passed in rare harmony and friendship.
    At the beginning of 1839, Ivan Ilyich settled in Vladimir-on-Klyazma. Their house stood on the outskirts of the main Dvoryanskaya street, there was usually no traffic on the small square. The Taneyevs were not rich, but their needs were fully provided for. They had horses, carriages and were famous for their hospitality. Twice a year - on her name day and on her husband's name day - Varvara Pavlovna treated numerous acquaintances to a sumptuous breakfast, and Ivan Ilyich, according to the testimony of his eldest son, “generally looked at his house as if it were an apartment for guests - he was glad to anyone who was called and uninvited..."
    It happened to receive rare guests. So, in 1856, a writer came to visit the Taneyevs. They were also familiar with A.I. Herzen, who was in exile in Vladimir in 1838-1840.
    Ivan Ilyich faithfully served in Vladimir for 23 years as an adviser to the provincial Chamber of State Property. During the cholera epidemic that then broke out in the province, he was elected to the elective public position of "caretaker for protection from cholera" in the Melenkovsky district.

    Bolshaya Nizhegorodskaya Street, 5. On the site of this building there was a house in which the Taneyev brothers were born and lived until 1864.
    

    The house was acquired by Protopopov P.A., the grandfather of the brothers on the maternal side, at the beginning of the 19th century.
    Vladimir Ivanovich admitted that he was affectionately attached to his parental home: "I remember him with the most passionate tenderness." All his life he remembered to the smallest detail where everything was: “The house stood on the corner of a small square and the main Vladimirskaya street, at the far end of it. Four other churches and a seminary were visible from the windows. The street in this place was deserted. There was usually no movement on it. Only in the mornings and afternoons did seminarians go in crowds to and from class.”
    But on Saturdays, the sleepy life of the inhabitants of the city was disturbed by the ringing of the chains of the convicts, who were driven to Siberia along the infamous "Vladimirka". These Saturday pictures remained forever in the memory of Taneyev Sr.: “The kolodniks passed in gray cloth robes, chained in pairs, pale, exhausted. Sometimes a colossal figure stood out, bold, majestic, with a raised head, with contempt on his face. Pitiful, insignificant garrison soldiers walked along the sides. A staff officer escorted the party on a fat horse. Behind are several carts with women, children, and the sick.”
    Isn't that why later, as an adult, V.I. Taneyev devoted himself to defending political opponents of the tsarist autocracy, for which he received the nickname "Red lawyer". Speaking at political trials, he not only defended the accused, but also smashed the royal court. The great leader of the proletariat, K. Marx, personally testified to Taneyev's deep respect, giving him his photograph in 1871.
    The Taneyevs' house was one-story, rather picturesque: “In front of the windows that overlooked the square, there was a front garden with acacias. A large paved yard adjoined the house and a rather extensive garden with apple trees, raspberries, gooseberries, and currants. It did not have large shady alleys, but the large path, although planted with apple trees, was very pretty. Old majestic linden trees stood along the fence, ”V.I. warmly described his house. Taneev.
    The father of the Taneyev brothers was known as a great hunter to build. In the house, something was always being altered, redrawn. “The house took on an almost European character,” Vladimir Ivanovich recalled with light humor when his father, Ivan Ilyich, attached a bell to the door, and replaced heavy furniture with new, light furniture. “Finally, the main accessory of every civilized dwelling appeared - ventilation, little by little windows were arranged everywhere.”

    
    Sergei Ivanovich Taneev

    Sergei Ivanovich Taneyev was born in 1856 in the city of Vladimir, into a noble family.
    “Musicians were favorite guests, no matter what rank they belonged to,” we read from Vladimir Ivanovich. He described the scene when everyone in the house rushed to the gate, seeing the approaching crowd, at the head of which was the orchestra. It was controlled by swinging a cane, Ivan Ilyich. In a raincoat of Pushkin's times, he directed her straight to the house. The hostess's head was spinning at first. But the musicians without ceremony filled the huge hall. After dinner, until late at night, there was noise and din in the house. Ivan Ilyich was beside himself with joy. Rarely hospitable, he won over people, attracted by his sociability, attention, amiable character, and entertaining conversation. After curiosity about what languages ​​the new acquaintance speaks, he turned to music, hurrying to find out what instrument the guest plays. Finding out that the latter was capable of accompanying the piano, the owner immediately took up the violin, which he loved above all else, although he also played the pianoforte, flute and guitar.
    Ivan Ilyich usually spoke of music with eloquent enthusiasm. Naturally, he cared about the musical education of his sons. Is it necessary to talk about his joy when glimpses of musical talent were discovered in Seryozha, because. older brothers, Vladimir and Pavel, chose the legal field. Although we know little about the composer's childhood, circumstantial evidence suggests that the influence of his parents and the entire household was very significant in the life of Sergei Ivanovich.
    “We had a beautiful house, old, cozy, with a large garden. In the garden there was a gazebo with decorations. In this pavilion two or three times theatrical performances were given, for which brother Vladimir is a great hunter. There were apples, currants, raspberries in the garden... I can't say that my childhood memories were particularly vivid. But even now I sometimes imagine myself being in our Vladimir garden. I often climbed into the bushes and ate currants. Now I should take a red currant in my mouth to start remembering sensations very similar to those I experienced as a child in our garden. Our house, which we sold when we left for Moscow, burned down several years ago, and now another one stands in its place, ”S.I. wrote much later. Taneyev to Arensky.
    From the age of five, Serezha was taught to play the piano, read and write in Russian, French and German, as well as arithmetic. The musicians who visited Ivan Ilyich invariably admired the talent of the child. The conductor of the local city theater even wrote a polka in honor of him, which he called - "Seryozhenka - Polka."
    Serezha's future was decided - he should become a musician. Parents invited teachers to the five-year-old boy. First it was M.A. Miropolskaya is a student of the famous pianist S. Malozemova, and then V.I. Polyanskaya (nee Voznitsyna), about whom Taneyev later said that it was she who instilled in him a constant and true love for music.
    In 1866, when Serezha was in his tenth year, the Taneyevs sold their house and moved to Moscow.
    “I often thought about him, suffered at the thought that he had been sold, and kept dreaming of buying him back,” V.I. Taneyev: Recently, in September 1874 (?), the house burned to the ground. Only then did my tenderness for this house weaken.
    The Taneyevs' house burned to the ground. A hospital for the seminary was built in its place.

    
    Vladimir Seminary Hospital

    On the site of the Taneyevs' house, a building was built in 1871, which was consecrated on October 17, 1871 by Anthony, Archbishop of Vladimir and Suzdal.

    In Moscow, Seryozha was sent to a gymnasium. In September 1866, Taneyev crossed the threshold of the Moscow Conservatory in order not to part with it for almost forty years - a student, professor, director, professor again ...
    The boy's musical development proceeded rapidly. Successes in the piano playing testified to his innate pianistic abilities and to his conscious attitude towards the artistic nature of the works he performed.
    N.G. Rubinstein closely followed the development of Taneyev's musical abilities and in 1871 he took him to his class. In the class of Rubinstein, Taneyev learned a lot. Subsequently, he often applied the teaching methods of his teacher. Rubinstein also highly appreciated Taneyev and had no doubts about his future. “Taneyev,” he said, “is one of the very few chosen ones, he will be an excellent pianist and an excellent composer.”
    In terms of composition, Taneyev studied with another remarkable musician - Tchaikovsky. He also took a course in harmony and instrumentation. Taneyev was Tchaikovsky's favorite student. “I don’t know anyone,” he wrote, “who, in my opinion, would be warmer than Taneyev.” Tchaikovsky had a huge influence on Taneyev both as a composer and as a person. He taught him that rare discipline of labor, the personification of which he himself was. Tchaikovsky instilled in Taneyev a love for outstanding musicians of the past. It was during the conservatory years that their professional communication began, which then turned into a deep and attentive friendship.
    And their correspondence! It is filled with disputes, fundamental disagreements, disagreements on many creative issues - and at the same time radiates truly friendly affection, conquers both correspondents with the spiritual beauty. These most noble people were related by the height of moral, ethical convictions, they literally lived by the highest goals of art. Pyotr Ilyich was especially admired in Sergei Taneyev by "a cheerful, healthy, optimistic attitude towards the tasks of life."
    In his student years, Taneyev begins to perform on the concert stage as a pianist. In one of his letters to his friends Maslov, he vividly describes concert troubles, the search for a tailcoat, anxiety about a faulty piano: “At first I was very afraid, but when I went out to play, I calmed down. Everyone was very pleased. Nikolai Grigorievich said that I played better than he expected ... "
    In May 1875, Sergei Ivanovich Taneyev graduated from the course in two specialties: in piano with N.G. Rubinshtein, according to the composition by P.I. Tchaikovsky. He was the first in the history of the Moscow Conservatory to be awarded the highest award - the Gold Medal. His name can still be seen today on the Honorary Board near the Small Hall of the Conservatory.
    At the end of it, independent performances by S. Taneyev began, both in Russia and abroad. Over the years, he approaches his performances more demanding - regardless of their scale and complexity. “I play accurately 5-6 hours a day... I have to repeat some passage from a sheet piece twenty times to give it the elegance and lightness required from a piano virtuoso,” Taneyev writes to Tchaikovsky. To which he replies: “I find, Sergey Ivanovich, that you play too much. Why six hours? Two would be perfectly sufficient. With your excellent memory, you don’t need more than two hours for a repertoire ... "
    In the autumn of 1878 S.I. Taneyev begins his teaching career within the walls of the Moscow Conservatory. He becomes the successor to P.I. Tchaikovsky - takes over the classes of harmony and instrumentation, and three years later he inherits the class of his other teacher - N.G. Rubinstein, who died suddenly in Paris in 1881. Teaching becomes for Taneyev "a source of the purest pleasures", and he himself eventually became one of the greatest authorities in this field, according to A.K. Glazunov, "world teacher".
    Rubinstein's sudden death was a cruel blow to his favorite offspring - the Moscow Conservatory. Tchaikovsky, observing the gradual decline of an institution so close to him, comes to the idea of ​​the need to nominate a new director - a worthy successor to Rubinstein. “Only on Taneyev alone does my thought rest with pleasure. This is where the whole future of the conservatory lies,” Tchaikovsky writes to Yurgenson.
    In 1882, under the direction of Taneyev, his own "Overture on a Russian Theme" was performed in Moscow, and in 1884 - the cantata "John of Damascus" (based on the poem by A.K. Tolsky), in 1885 - the Third Symphony.
    In May 1885 S.I. Taneyev was elected director of the Moscow Conservatory and directed it for four years. Among his students is a whole galaxy of composers and figures of Russian music. In his memoirs about Taneyev, S.V. Rachmaninoff wrote: “By his personal example, he taught us how to live, how to think, how to work...”
    In 1887, Taneyev began work on the opera Oresteia (staged in St. Petersburg in 1895).
    In 1898 he graduated from the Fourth Symphony, performed in St. Petersburg.

    In 1882, 1889, 1890 Taneyev was visiting the estate of E.D. Sakharova Ostanino, not far from the village of Danilovka, Vladimir province (now the Sobinsky district), where the whole family went in early childhood.
    In August 1893 and August 1905 he visited the village of Naleskino near Mstera, where the house of his first music teacher M.A. Miropolskaya.
    Living and working in Moscow, Sergei Ivanovich did not lose touch with his native Vladimir. Leafing through his diaries, we can feel the atmosphere of a distant time. In May 1901, he once again came to his native place: “Vladimir has changed little ... I cannot notice if there is any difference with what was before. Went past the Red Church and our former house downstairs, but came back because it was very dirty. Returning to the hotel, I was on the boulevard for the second time, admiring the Klyazma. Then he went beyond the Golden Gate ... "
    Two days later, Sergei Ivanovich made a long walk across the Klyazmensky bridge, along the dam and forests, spending more than an hour and a half on the road in one direction, and from there he went straight to his friends Ilyashevichs, where he spent the whole evening. “The next day,” we read the diary entry, “I got up at five o’clock. Having drunk tea, at the beginning of the 7th I went to Bogolyubovo (10 versts). Wonderful road, all in greenery! View of the Klyazma: the entire vast expanse of the river valley is covered with green grass, no tussocks, no thickets. The views are very beautiful. In Bogolyubovo he drank tea and milk in the free air in some inferior tavern. I went to the monastery earlier, bought a prosvirka ... "
    Walks in the native places amused the composer. In one of the entries in the diary about the next stay in Vladimir we read: “While passing by the Red Church, I went into the former Taneevsky garden. He has changed significantly. They cut off a whole strip in front of it, built an infectious hut on the site of the garden, instead of gooseberries and currants, which were on the right, they made ridges, made a new fence with stone pillars, etc. One old gazebo has been preserved in its original form.
    While in May 1901 in Vladimir, Sergei Ivanovich Taneyev not only visited his friends and acquaintances, but also "treated" them to play the piano, and also composed music.

    

    Taneyev could be satisfied with the results of his activities as director of the conservatory. However, over time, directorship becomes more and more burdensome for him. In 1889 he was relieved of his duties as director of the conservatory. Vasily Ilyich Safonov became his successor. He was an energetic and powerful administrator. Being a supporter of the collegial method of leadership, Taneyev criticized the director's unilateral actions. The disputes escalated into undisguised mutual hostility, which led to the departure of Taneyev from the conservatory.
    In 1905, Taneyev left the Moscow Conservatory due to disagreement with the director's actions. So, Taneyev was forced to part with the conservatory, with which he had been associated for thirty-nine years. With his departure, the Moscow Conservatory lost its most respected professor. It is characteristic that, leaving the conservatory, he refused the government pension due to him.
    In 1906 he took part in the creation People's Conservatory. In March, S.I. Taneyev becomes a teacher at the People's Conservatory. It was a public government institution that sought to give the widest range of students the necessary knowledge about music, develop an understanding of art in them, and acquaint them with its history. “I personally have great confidence in the musical abilities of the Russian people... We must take care that the dormant creative forces of our musical people break through and manifest themselves in creations that stand at the level of those immortal folk melodies that constitute inaccessible samples for us, learned musicians ", - wrote Taneyev.
    The range of Taneyev's creativity is quite wide. He wrote four symphonies, a large number of string ensembles, an overture on a Russian theme, a suite for violin and orchestra, the opera Oresteia based on the plot of Aeschylus, three cantatas, a Symphony in C minor, a large number of choirs and over 40 romances. The composer diligently nurtured the idea of ​​his vocal compositions. Selections of texts, rough sketches of romances and choirs, happened to lie in folders for a long time, waiting in the wings. Among them was a small poem by Yakov Polonsky. The romance "My heart is a spring" is not one of Taneyev's masterpieces. At the same time, both in the text and in the intonation structure of his music, there is a note that affirms life, which is characteristic of the mature years of the musician’s work:
    My heart is a spring, my song is a wave.
    Disappearing in the distance - it spills ...
    Under a thunderstorm - my song is dark like a cloud,
    At dawn - the dawn is reflected in it.
    If suddenly the sparks of unexpected love flare up
    Or grief will accumulate in the heart -
    My tears flow into the bosom of my song,
    And the wave is in a hurry to carry them away.
    At the end of his life, Taneyev creates a harsh and deeply human work - cantata No. 2 “After reading the psalm” to the words of A.S. Khomyakov. This is a vocal poetic arrangement of biblical motifs. The author of the words emphasizes the cosmic grandiosity of the Old Testament images and their universal content. God the creator addresses the people: you build temples for me, decorate them magnificently, cense with incense, but why do I need all this? After all, “I created the earth, created the waters, I outlined the sky with my hand” and “Didn’t I light the luminaries above your head?” Gold and "soulless stone" are a meager gift. But "there is a priceless gift":
    I need a heart purer than gold
    And the will is strong in work,
    I need a brother who loves a brother
    I need the truth in court.
    As you can see, the images that go back to the religious tradition are filled with eternal meaning.
    And let it not seem strange to you, dear readers, that I, a person who has nothing to do with composing, is now ready to put my signature under such a fiery panegyric to our outstanding countryman - Sergei Ivanovich Taneyev. To be honest: for many of us, eternal truths have now lost their attractiveness, so to speak, of informational novelty. In our age of computer science and "values" for one-time use, in our pursuit of comfort, in our throwing from art to subculture and back, the image of S.I. Taneyev, his legacy calmly and sternly reminds us of musical honor and conscience, of the dignity of music and culture in general.

    In Vladimir named after S.I. Taneyev named, one of the streets.
    In front of the building of the concert hall of the Vladimir Regional Philharmonic, a monument to S.I. Taneev.

    
    
    Taneyev Concert Hall

    
    Bust of S.I. Taneyev in Vladimir

    DYUTKOVO

    Address: Moscow region, Zvenigorod city district, Dyutkovo microdistrict, 23a.

    
    
    
    
    
    Museum of Sergei Taneyev in Dyutkovo

    In Dyutkovo, Taneyev lived with his nanny Pelageya Vasilievna for ten years - from 1906 to 1915, spring, summer and autumn. Here he wrote an overture to the opera Oresteia, a sonata for violin and piano, a symphony in D minor, romances Prisoner, In the Time of Loss, A Restless Heart Beats, and works on music theory.
    About his life in Dyutkovo, he wrote: "I live here in a clean hut, called a dacha, I have an instrument. I work every day at certain hours, I spend one day like another, and I feel great." For students of the conservatory, the composer arranged a free music class in Dyutkovo.

    
    
    
    
    
    
    
    
    
    
    
    The concert "hall" of the Taneyev Museum - in the summer there are holidays and festivals in it and in the meadow in front of it.

    In autumn, Dyutkovo is just a cozy village, now it is again a summer cottage, as it was once - in the time of Taneyev. But in the summer, during music festivals, the sounds of the piano are heard here, a lot of pleasant people come to walk along the famous alley from Dyutkovo to Korallovo.

    Taneyev's house in Moscow

    The interior of his house in Moscow, on Prechistenka, in Maly Vlasevsky Lane, where he lived for the last 11 years of his life, will be recreated. This house - a living witness of the past - was once the musical and cultural center of Moscow. Here, on the famous "Taneyev Tuesdays", the students of Sergei Ivanovich came: S.V. Rachmaninov, A.N. Scriabin, N.K. Medtner, there were members of the Tolstoy family, M.I. Tchaikovsky, S.S. Prokofiev, A.S. Arensky, Andrey Bely, A.M. Vasnetsov, K.A. Timiryazev, I.V. Tsvetaev, famous foreigners came: harpsichordist Wanda Landowska, conductor Arthur Nikish, Czech Quartet. Known for his disinterestedness, it was here that Taneyev studied for free with his students; worked on the theoretical works "Mobile Counterpoint of Strict Writing" and "Doctrine of the Canon", which subsequently gained worldwide fame; composed chamber-instrumental music, choirs, the famous cantata “After reading the psalm” to the words of A.S. Khomyakov.

    Museum website: http://m-dutkovo.ru/istoria_dutkovo.html

    Manor of the Taneyevs
    With. Marinino, Kovrovskiy district, Vladimir region

    

    Even at the beginning 17th century The Taneevs settled in a picturesque corner of the center of Russia: they founded the village of Marinino, arranged a manor, built a temple. The remains of an old park and a one-story wooden house of the Taneyevs have miraculously survived to this day. In Soviet times, it housed a rural school, and after its closure in the 80s. - library, club and feldsher-obstetric station.

    (1840-1921) - Russian philosopher, lawyer and public figure, elder brother of the composer S.I. Taneeva.
    (February / March 1750 - 16.5.1827) - Kovrov district marshal of the nobility in 1794, marshal of the nobility of the Vladimir province 1794-1796.
    (1888-1914) - Russian composer and pianist. Born in the Vladimir province.
    

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