Varlamov Alexander Egorovich

AT Arlamov, Alexander Egorovich - famous Russian amateur composer. Born in Moscow on November 15, 1801; came from "Volosh", that is, Moldavian nobles. As a child, he passionately loved music and singing, especially church singing, and early began to play the violin by ear (Russian songs). At the age of ten, Varlamov entered the court chapel as a chorister. In 1819, Varlamov was appointed regent of the Russian court church in The Hague, where the emperor's sister lived then, who was married to the crown prince of the Netherlands. Apparently, Varlamov did not work on the theory of musical composition at all and remained with the meager knowledge that he could have taken out of the chapel, which at that time did not care at all about the general musical development of its pupils. At that time there was an excellent French opera in The Hague and Brussels, with the artists of which Varlamov made acquaintance. Perhaps this is where he got his acquaintance with the art of singing, which gave him the opportunity to later become a good teacher of vocal art. Listening to Rossini's "The Barber of Seville", Varlamov was especially delighted by the skillful use of the Russian song "What was the fence for in the garden" in the finale of Act 2, which the Italian maestro, according to Varlamov, "well, masterfully brought into Polish." Having many acquaintances, especially among musicians and music lovers, Varlamov probably already formed the habit of a disorderly and scattered life, which prevented him from developing his composer talent properly. In 1823 Varlamov returned to Russia. According to some sources, he lived this time in St. Petersburg, according to others, less reliable, in Moscow. At the end of 1828 or the beginning of 1829, Varlamov began to fuss about a second admission to the singing chapel, and presented the emperor with two cherubic songs - his first compositions known to us. On January 24, 1829, he was assigned to the chapel as a "great chorister", and he was entrusted with the duty of teaching minor choristers and learning solo parts with them. In December 1831 he was dismissed from the service in the choir, in 1832 he took the place of assistant conductor of the imperial Moscow theaters, and in 1834 he received the title of composer of music at the same theaters. By the beginning of 1833, a collection of nine of his romances (including one duet and one trio) appeared in print, with piano accompaniment, dedicated to: "Music Album for 1833". By the way, this collection contains the famous romance “Don’t sew for me, mother”, which glorified the name of Varlamov and became famous in the West as a “Russian national song”, as well as another very popular romance “What has become foggy, clear dawn”. In them, as in other issues of the collection, the merits and demerits of Varlamov's talent as a composer have already quite definitely affected: sincerity of mood, warmth and sincerity, obvious melodic talent, striving for characterization, expressed in rather diverse and sometimes difficult for that time accompaniments with attempts at sound painting, the national Russian flavor, more lively and bright than that of Varlamov's contemporaries and predecessors, and, at the same time, slovenly and illiterate composer's technique, lack of decoration and consistency of style, elementary form. For a correct assessment of the historical significance of Varlamov's first romances, it must be remembered that at that time we had only the romances of the brothers, Verstovsky, and only a little higher were the first romances. Therefore, Varlamov's first romances occupied a prominent place in our vocal literature of that time and immediately became popular with all music lovers and admirers of nationality in its more accessible form. Varlamov retained the favor of the public in his further composing activity, which did not represent any noticeable development, but remained approximately at the same, once achieved, low level of technology and creativity. Varlamov's merit consisted in popularizing the national genre and in preparing the public for the perception in the future of more serious works of our national art music. Along with his service, he also taught music, mainly singing, often in aristocratic houses. His lessons and compositions were paid well, but, with the scattered lifestyle of the composer (who was very fond of the card game, behind which he sat all night), he often had to need money. Usually in such cases, he began to compose (always on the piano, on which he played mediocre, especially badly reading from the sight) and immediately sent the barely finished manuscript to the publisher to turn it into specie. With such an attitude to the matter, he could not rise above the level of a gifted amateur. In 1845, Varlamov again moved to St. Petersburg, where he had to live solely on his talent as a composer, singing lessons and annual concerts. Under the influence of a wrong way of life, sleepless nights playing cards, various griefs and hardships, his health deteriorated, and on October 15, 1848, he suddenly died at a card party of his friends. Varlamov left more than 200 romances (including 42 Russian folk songs arranged by him for one voice and piano, of which 4 are Little Russian, a small number of compositions for 3 voices, three church works for the choir (Cherubim) and three piano pieces (a march and two waltz). The most famous of these works are: the romances "Red Sundress", "I'll Saddle a Horse" (both served as themes for Wieniawski's violin fantasy "Souvenir de Moscou"), "Grass", "Nightingale", "What has become foggy", "Angel", "Song of Ophelia ", "I'm sorry for you", "No, doctor, no", duets "Swimmers", "Don't you sing", etc. Many of them are now (especially in the provinces) willingly sung in amateurish circles, and romance music "The drum did not beat in front of the vague regiment," attached to another text ("You fell victim to the fatal struggle"), even received nationwide distribution. Varlamov also owns the first Russian "School of Singing" (Moscow, 1840), the first part of which (theoretical) is a remake of the Parisian school of Andrade, while the other two (practical) are independent and contain valuable instructions on vocal art that have not lost their significance and now. - Varlamov's son, George, was born in 1825, performed in concerts as a singer and wrote a number of romances in the style of his father. About his other son,

(1848-10-27 ) (46 years old)

Alexander Egorovich Varlamov(November 15, Moscow, Empire - October 15, St. Petersburg, Russian Empire) - Russian composer.

Biography

Descended from Moldovan nobles. Born in the family of a petty official. From early childhood he played the violin and guitar by ear. At the age of ten, he was sent to the court chapel in St. Petersburg. The excellent voice and bright abilities of the boy interested D.S. Bortnyansky, the director of the chapel. He began to study separately with a little singer. Subsequently, Varlamov recalled his teacher with gratitude in his letters and notes.

After graduating from the teaching in the choir, Varlamov became a singing teacher in the Russian embassy church in Holland, but soon returned to his homeland. In 1827 he met M. I. Glinka, attended musical evenings in his house, and from 1829 he lived in St. Petersburg. In 1832 he moved to Moscow, where he received a position as bandmaster and then "composer of music" at the Moscow Imperial Theatres. Often acted as a singer-performer. At the end of 1828 or the beginning of 1829, Varlamov began to petition for a second admission to the singing chapel, and he brought two cherubic songs to Emperor Nicholas I - his first compositions known to us. On January 24, 1829, he was appointed to the chapel among the "big choristers", and he was entrusted with the duty of teaching minor choristers and learning solo parts with them. By the beginning of 1833, a collection of nine of his romances appeared in print. In 1840 he published the "School of Singing", which became the first textbook on vocal art in Russia and played an important role in the training of many Russian singers. In 1848 he died of tuberculosis of the throat.

Creation

Varlamov entered the history of Russian music as the author of romances and songs, creating about 200 works. The main genres for the composer were "Russian song" and lyrical romance. Varlamov was one of the first composers to turn to Lermontov's poetry, which was in tune with the spiritual atmosphere of the 1830s and 1840s and conveyed the acute dissatisfaction with the surrounding life and the "freedom-loving dreams" of Russian people. In the romance "The lonely sail turns white" the composer managed to reflect these feelings and moods. In his music, one can hear the "thirst for the storm" of Lermontov's hero, his intransigence and rebelliousness. The wide energetic melody at the beginning of the verse immediately reaches its climax - the sound of G, which is the top of the bright expressive cantilena. The excitement of feeling in the romance is emphasized by the chordal accompaniment with the chased rhythm of the polonaise-bolero. Famous romances: "I'll saddle a horse", "Nightingale", "Don't wake her up at dawn", "A lone sail turns white", "Poet".

Addresses

• In 1841 he lived in Moscow, in house number 25 on Bolshoi Kozikhinsky Lane (this house was demolished by the Satori company in July-August 2011).

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Literature

• Listova N. Alexander Varlamov. - M.: Music, 1968.
• Reshetnikova T. V. “A. E. Varlamov’s Complete School of Singing” and Russian Vocal Pedagogy // Problems of Musical Science. - 2009. - No. 1. - S. 152-155.

An excerpt characterizing Varlamov, Alexander Egorovich

The night was dark, warm, autumnal. It has been raining for the fourth day. Having changed horses twice and galloping thirty miles along a muddy, viscous road in an hour and a half, Bolkhovitinov was at Letashevka at two o'clock in the morning. Climbing down at the hut, on the wattle fence of which there was a sign: "General Staff", and leaving the horse, he entered the dark passage.
- The general on duty soon! Very important! he said to someone who was getting up and snuffling in the darkness of the passage.
“From the evening they were very unwell, they didn’t sleep for the third night,” whispered the orderly voice intercessively. “Wake up the captain first.
“Very important, from General Dokhturov,” said Bolkhovitinov, entering the open door he felt for. The orderly went ahead of him and began to wake someone:
“Your honor, your honor is a courier.
- I'm sorry, what? from whom? said a sleepy voice.
- From Dokhturov and from Alexei Petrovich. Napoleon is in Fominsky,” said Bolkhovitinov, not seeing in the darkness the one who asked him, but from the sound of his voice, assuming that it was not Konovnitsyn.
The awakened man yawned and stretched.
“I don’t want to wake him up,” he said, feeling something. - Sick! Maybe so, rumors.
“Here is the report,” said Bolkhovitinov, “it was ordered to immediately hand it over to the general on duty.
- Wait, I'll light the fire. Where the hell are you always going to put it? - Turning to the batman, said the stretching man. It was Shcherbinin, Konovnitsyn's adjutant. “I found it, I found it,” he added.
The orderly cut down the fire, Shcherbinin felt the candlestick.
“Oh, the nasty ones,” he said in disgust.
By the light of the sparks, Bolkhovitinov saw the young face of Shcherbinin with a candle and in the front corner of a still sleeping man. It was Konovnitsyn.
When at first the sulphurous tinder lit up with a blue and then a red flame, Shcherbinin lit a tallow candle, from the candlestick of which the Prussians gnawed at it ran, and examined the messenger. Bolkhovitinov was covered in mud and, wiping himself with his sleeve, smeared his face.
- Who delivers? Shcherbinin said, taking the envelope.
“The news is true,” said Bolkhovitinov. - And the prisoners, and the Cossacks, and scouts - all unanimously show the same thing.
“There is nothing to do, we must wake up,” said Shcherbinin, getting up and going up to a man in a nightcap, covered with an overcoat. - Pyotr Petrovich! he said. Konovnitsyn did not move. - Headquarters! he said, smiling, knowing that these words would probably wake him up. And indeed, the head in the nightcap rose at once. On Konovnitsyn's handsome, hard face, with feverishly inflamed cheeks, for a moment there still remained an expression of dream dreams far removed from the present situation, but then he suddenly shuddered: his face assumed its usual calm and firm expression.
- Well, what is it? From whom? he asked slowly but immediately, blinking in the light. Listening to the officer's report, Konovnitsyn printed it out and read it. As soon as he read, he put his feet in woolen stockings on the dirt floor and began to put on shoes. Then he took off his cap and, combing his temples, put on his cap.
- Did you arrive soon? Let's go to the brightest.
Konovnitsyn immediately realized that the news he had brought was of great importance and that it was impossible to delay. Whether it was good or bad, he did not think and did not ask himself. It didn't interest him. He looked at the whole matter of the war not with the mind, not with reasoning, but with something else. There was a deep, unspoken conviction in his soul that everything would be fine; but that it is not necessary to believe this, and even more so, it is not necessary to say this, but one must only do one's own business. And he did his job, giving him all his strength.
Pyotr Petrovich Konovnitsyn, like Dokhturov, only as if out of decency included in the list of the so-called heroes of the 12th year - Barklaev, Raevsky, Yermolov, Platov, Miloradovich, just like Dokhturov, enjoyed the reputation of a person of very limited abilities and information, and, like Dokhturov, Konovnitsyn never made plans for battles, but was always where it was most difficult; always slept with the door open since he was appointed general on duty, ordering each sent one to wake himself up, he was always under fire during the battle, so that Kutuzov reproached him for this and was afraid to send him, and was, like Dokhturov, one of those inconspicuous gears which, without crackling or making noise, constitute the most essential part of the machine. 

Varlamov, Alexander Egorovich

A very talented author of numerous Russian romances and songs, many of which have gained extreme popularity due to sincerity, melody, accessibility and often Russian folk style. V. was born in 1801, died in 1851. He was brought up in the court singing chapel, under the guidance of the famous Bortnyansky. He was preparing first for a career as a singer, but due to the weakening of his voice, he had to abandon this idea. Having received a job as a psalmist in the Netherlands, he spent some time abroad, where he continued to study the art of music. Returning to Russia, from 1832 he was a bandmaster at Moscow theaters, and from 1835 he settled in St. Petersburg and taught singing at various educational institutions. The beginning of V.'s composing activity dates back to the end of the 1930s. The first nine romances by V. were published in Moscow in 1839 by the music publisher Gresser. Of these, the following received particular popularity: “Don’t you sew me, mother, a red sundress” and “What has become foggy, clear dawn.” This series of romances also includes: "Understand me", "Here come the regiments of relatives", "Do not make noise", "Oh, it hurts", "Young young woman", "Oh you, youth." Many romances were written by V. in the forties; they were printed by various publishers in St. Petersburg and Moscow. The well-known "Song of Ophelia", sung by VV Samoilova in the tragedy "Hamlet", was published in 1842 by Gresser in Moscow; "Spanish Serenade" - in 1845 by Bernard, "Love Me Out" - in the same year by Miller, "Sorceress" (1844, edition of the Musical Echo store), "Lone Sail Whitens" - in 1848 by Gresser, etc. Later, all the romances, with a score of 223, were published by Stellovsky in St. Petersburg, in 12 notebooks. V. tried his hand in the field of sacred music. He owns the "Cherubim" for eight and four voices (Gresser's edition, 1844). But the author soon realized that the majestic church style, which required strict restraint, did not suit the nature of his talent and his musical technique, which was not particularly developed; he again switched to his favorite forms of song and romance. V. declared himself as a teacher in his "Complete School of Singing", in three parts, published by Gresser in Moscow in 1840. This school is our first and for its time a wonderful vocal guide. Now this edition of Gresser is a bibliographic rarity. Of the three parts, the first, theoretical part, which is a reworking of "Nouvelle méthode de chant et de vocalisation" by the Parisian professor Andrade, is less processed. But on the other hand, the second, practical, was made completely independently, replete with many precious remarks that have not lost their significance even today and expose in the author a great connoisseur of the human voice. The third part contains ten exercises for voice, with piano accompaniment, and two Russian songs: "Ah, there is more than one path in the field" and "Don't wake me young", arranged for three voices. Not a single composer withstood as many editions as V. In 1886, a new complete collection of V.'s works, published by his heirs, began to appear in Moscow, at Gutheil's.

N. Solovyov.

(Brockhaus)

Varlamov, Alexander Egorovich

Composer, b. November 15, 1801 in Moscow, mind. October 15, 1848 in St. Petersburg. The son of a nobleman (of Moldavian origin), V. at the age of 10 entered the Court Singing Chapel, where his talent attracted the special attention of Bortnyansky; his voice, however, began to weaken, in 1819 he left the chapel and went to Holland, where he was regent at the church of the Russian embassy and served (psalmist?) at the court of V.K. Anna Pavlovna, Princess of Orange. In 1823 V. returned to Russia and settled in Moscow, where he began to give music lessons (he was not only a singer, but also a violinist and guitarist). In January 1829 V. entered the teacher of solo and choral singing in St. Petersburg. adv. chanter chapel (1200 rubles per year); but already at the end of 1831 he left the service and soon moved again to Moscow, where he took the place of assistant bandmaster and "class composer" Imp. Moscow theaters (the last title died with V.), while at the same time engaging in pedagogical activities. Since 1833, V. was granted a pension of 1,000 rubles by the Sovereign. (Assignment) per year. At the same time, the first 9 romances by V. were published in Moscow by Gresser (dedicated to Verstovsky, with whom V. became close in Moscow). After the death of his first wife, V. remarried c. 1842, two years later he left the government service in Moscow and in 1845 moved again to St. Petersburg. His efforts to get a place in the chapel again. were not crowned with success and he had to live exclusively with music lessons (private and in educational institutions) and his compositions. His songs and romances soon became very popular and were paid for by the highest fees for that time (along with Glinka). There was even a legend that was not based on anything, as if "Askold's Grave" was written by V., who then sold it to Verstovsky. V. died suddenly, from a broken heart; a few weeks later his grave (at the Smolensk cemetery) was washed away by a flood; her place is still unknown. The collection of romances by V. (223) was published by Stellovsky in 12 volumes; since then, most of them have been reprinted more than once. By its general nature and technical warehouse they are approaching the Alyabyevsk; however, V. was more talented than his contemporary, he knew his strength better and therefore used them better. In the Russian "songs" of V. there are undoubtedly folk features, but for the most part these features are captured only superficially and nowhere are they sustained to the end. The most famous of the songs: "Red Sundress", "I'll Saddle a Horse" (both served as themes for Venyavsky's "Souvenir de Moscou"), "Grass", "Nightingale", "What has become foggy"; from romances: "Song of Ophelia", "I'm sorry for you", "No doctor, no", duets: "Swimmers", "Don't you sing", etc. Many of them are still willingly sung to this day (mainly in amateurish circles). In addition, V. wrote several "Cherubic" and the first Russian "School of Singing" (Moscow, 1840), the first part of which (theoretical) is a remake of the Parisian school of Andrade, while the other two (practical) are independent and abound with valuable instructions on the art of singing , which in many respects have not lost their significance to this day. Sons V .: George, b. 1825, served in military service, the author of many romances in the spirit of his father, and Konstantin (born after the death of his father) is a gifted dramatic artist in St. Petersburg. Imp. scenes. See Bulich's article on V. ("Rus. Muz. Gaz.", 1901, Nos. 45-49).

Varlamov, Alexander Egorovich

(1801-1851) - Russian composer, representative of the era of the so-called. dilettantism of Russian music. V. is a nobleman by birth. Numerous songs and romances of V. (among them the most famous: "The Red Sundress", "The Nightingale Stray", "I Will Saddle a Horse", "Grass", "Nightingale", etc.) are in most cases a fake for a folk song, which finds explanation for itself lies in the demand for sweetened folk songs that characterizes the musical life of Russia in the first half of the 19th century. V.'s works, distinguished by their ease and accessibility of form, great melody and sound characteristic, were very popular even during his lifetime; Later, V.'s romances continued to be a favorite repertoire among the petty-bourgeois and merchant classes. V.'s lack of musical education left the stamp of primitivism on his work and did not allow him to reach the level of the then Western European musical creativity, although some of his romances reflected the influence of Schubert. V. enjoyed great fame as a teacher. He compiled a singing school in 3 parts (Moscow, 1840), of which, however, only the last two are independent. The collection of romances by V. was published by Stellovsky in 12 notebooks.

Lit.: Bulich S., A. B. Varlamov, "Russian Musical Newspaper", 1901, Nos. 45-49.

Varlamov, Alexander Egorovich

(b. 27.XI.1801 in Moscow, d. 27.X.1848 in St. Petersburg) - Russian. composer, singer, conductor, teacher. Muses. received education in Court Singing Chapel; student of D. Bortnyansky. In 1819-23, a singing teacher at the Russian. embassy church in The Hague; in subsequent years he lived in Moscow (1823-29, 1832-45) and St. Petersburg (1829-32, 1845-48). Author of the first manual on vocal pedagogy in Russia. The main field of creativity is vocal lyrics (song, romance), marked by proximity to urban everyday music, warmth, immediacy, and genre diversity.

Cit.: ballets "Fun of the Sultan" (1834), "Cunning Boy and Ogre" ("A Boy with a Finger", together with A. Guryanov, 1837); music for drama. spectrum. "Ermak", "Two-wife", "Hamlet" and others; OK. 200 romances and songs, including "Oh, time, time," "Red Sundress," "A blizzard sweeps along the street," "I'll saddle a horse," "Don't wake her up at dawn," "The Robber's Song" ( “What is clouded, clear dawn”), “What are you early, grass”, “So the soul breaks”, “The lonely sail turns white”, “Nightingale”, duet “Swimmers”, etc .; Complete School of Singing (1840).

Varlamov, Alexander Egorovich

Famous Russian amateur composer. Born in Moscow on November 15 (27), 1801, descended from Moldavian nobles. As a child, he passionately loved music and singing, especially church singing, and early began to play the violin by ear (Russian songs). At the age of ten, Varlamov entered the court choir as a chorister. In 1819, Varlamov was appointed regent of the Russian court church in The Hague, where the sister of Emperor Alexander I, Anna Pavlovna, who was married to the Crown Prince of the Netherlands, then lived. Apparently, Varlamov did not work on the theory of musical composition and remained with the knowledge that he could have taken from the chapel, which in those days did not care at all about the general musical development of its graduates. In The Hague and Brussels there was then an excellent French opera, whose artists Varlamov met. Perhaps from here he learned his art of singing, which gave him the opportunity to later become a good teacher of vocal art.

In 1823 Varlamov returned to Russia. At the end of 1828 or the beginning of 1829, Varlamov began to fuss about a second admission to the singing chapel, and he brought two cherubic songs to Emperor Nicholas I - his first compositions known to us. On January 24, 1829, he was assigned to the chapel as a "great chorister", and he was entrusted with the duty of teaching minor choristers and learning solo parts with them. In December 1831 he was dismissed from the service in the chapel, in 1832 he took the place of assistant conductor of the imperial Moscow theaters, and in 1834 he received the title of composer of music at the same theaters. By the beginning of 1833, a collection of nine of his romances (including one duet and one trio) with piano accompaniment, dedicated to Verstovsky, appeared in print: "Music Album for 1833". By the way, this collection contains the famous romance “Don’t sew for me, mother” (“Red Sundress”), which glorified the name of Varlamov and became famous in the West as a “Russian national song”, as well as another very popular romance “What foggy, clear dawn." Advantages of Varlamov's talent as a composer: sincerity of mood, warmth and sincerity, obvious melodic talent, striving for characterization, expressed in rather diverse and sometimes difficult accompaniments for that time with attempts at sound painting, national Russian flavor, more lively and bright than that of contemporaries and predecessors Varlamov. For a correct assessment of the historical significance of the first romances of Varlamov, it must be remembered that at that time we had only the romances of the brothers Titov, Alyabyev, Verstovsky, and only a little higher were the first romances of M.I. Glinka.

Therefore, Varlamov's first romances occupied a prominent place in our vocal literature of that time and immediately became popular with all music lovers and admirers of nationality in its more accessible form.

Varlamov retained the favor of the public in his further composing activity. Varlamov's merit consisted in popularizing the national genre and in preparing the public for the perception in the future of more serious works of our national art music. Along with his service, he also taught music, mainly singing, often in aristocratic houses. His lessons and compositions were paid well, but, with the scattered lifestyle of the composer (who was very fond of the card game, behind which he sat all night), he often had to need money. Usually in such cases, he began to compose (always on the piano, on which he played mediocre, especially badly reading from the sight) and immediately sent the barely finished manuscript to the publisher to turn it into specie. With such an attitude to the matter, he could not rise above the level of a gifted amateur. In 1845, Varlamov again moved to St. Petersburg, where he had to live solely on his talent as a composer, singing lessons and annual concerts. Under the influence of a wrong way of life, sleepless nights playing cards, various griefs and hardships, his health deteriorated, and on October 15, 1848, he suddenly died at a card party of his friends.

Varlamov left over 200 romances and three piano pieces (a march and two waltzes). The most famous of these works are: the romances The Red Dress, I'll Saddle a Horse (both served as themes for Wieniawski's violin fantasy Souvenir de Moscou), Grass, Nightingale, What's Foggy, Angel, Ophelia's Song, "I'm sorry for you", "No, doctor, no", duets "Swimmers", "You don't sing", etc. Varlamov also owns the first Russian "School of Singing" (Moscow, 1840), the first part of which (theoretical) is a reworking of the Parisian school of Andrade, while the other two (practical) are of an independent nature and contain valuable instructions on vocal art, which have not lost their significance even now.

Big biographical encyclopedia. 2009 .

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Russian composer. From the age of 10 he sang and studied at the St. Petersburg Court Choir. In 1819‒23 teacher of choristers in the Russian embassy church in The Hague. In 1823 he returned to his homeland, ... ... Great Soviet Encyclopedia

Varlamov, Alexander Yegorovich is a famous Russian amateur composer. Born in Moscow on November 15, 1801; came from Volosh, that is, Moldavian nobles. As a child, he passionately loved music and singing, especially church singing, and early began to play on ... ... Biographical Dictionary

- (1801 48), Russian. composer and singer (tenor). One of the prominent masters of Russian. vocal lyrics. On verses, L. created romances: “Cossack lullaby” and the duet “From Goethe” (“Mountain peaks”) (M., 1842), “Angel” (M., 1843), “Prayer” (“I, Mother of God ... "... Lermontov Encyclopedia

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Varlamov, Alexander Egorovich- VARLAMOV Alexander Egorovich (1801-48), composer, singer; about 200 romances and songs based on the intonations of Russian urban and peasant folklore (“A blizzard sweeps along the street”, “Red Sundress”, “Don’t wake her up at dawn”). … Illustrated Encyclopedic Dictionary

Wikipedia has articles about other people with that surname, see Varlamov. Alexander Egorovich Varlamov Date of birth 15 (27) November 1801 (1801 11 27) Place of birth Moscow Date of death ... Wikipedia

Romances and songs by A. Varlamov are a bright page in Russian vocal music. A composer of remarkable melodic talent, he created works of great artistic value, which won rare popularity. Who does not know the melodies of the songs "Red Sundress", "Along the street a snowstorm sweeps" or the romances "A lonely sail turns white", "At dawn, do not wake her up"? As a contemporary rightly remarked, his songs "with purely Russian motifs have become popular." The famous "Red Sarafan" was sung "by all estates - both in the living room of a nobleman and in a peasant's chicken hut", and was even captured in a Russian popular print. Varlamov's music is also reflected in fiction: the composer's romances, as a characteristic element of everyday life, are introduced into the works of many writers - N. Gogol, I. Turgenev, N. Nekrasov, N. Leskov, I. Bunin and even the English author J. Galsworthy ( novel "The End of the Chapter"). But the fate of the composer was less happy than the fate of his songs.

Varlamov was born into a poor family. His musical talent manifested itself early: he taught himself to play the violin - he picked up folk songs by ear. The beautiful, sonorous voice of the boy determined his future fate: at the age of 9 he was admitted to the St. Petersburg Court Singing Chapel as a juvenile chorister. In this illustrious choir group, Varlamov studied under the guidance of the director of the chapel, the outstanding Russian composer D. Bortnyansky. Soon Varlamov became a choir soloist, learned to play the piano, cello, and guitar.

In 1819, the young musician was sent to Holland as a chorister teacher in the Russian embassy church in The Hague. A world of new diverse impressions opens up before the young man: he often attends opera and concerts. he even performs publicly as a singer and guitarist. Then, by his own admission, he "deliberately studied the theory of music." Upon his return to his homeland (1823), Varlamov taught at the St. Petersburg Theater School, studied with the singers of the Preobrazhensky and Semenovsky regiments, then again entered the Singing Chapel as a chorister and teacher. Soon, in the hall of the Philharmonic Society, he gives his first concert in Russia, where he conducts symphonic and choral works and performs as a singer. Meetings with M. Glinka played a significant role - they contributed to the formation of independent views of the young musician on the development of Russian art.

In 1832, Varlamov was invited as an assistant to the conductor of the Moscow Imperial Theatres, then received the position of "composer of music." He quickly entered the circle of the Moscow artistic intelligentsia, among which there were many talented people, versatile and brightly gifted: actors M. Shchepkin, P. Mochalov; composers A. Gurilev, A. Verstovsky; poet N. Tsyganov; writers M. Zagoskin, N. Polevoy; singer A. Bantyshev and others. They were brought together by an ardent passion for music, poetry, and folk art.

“Music needs a soul,” wrote Varlamov, “but the Russian has it, the proof is our folk songs.” During these years, Varlamov composes “The Red Sundress”, “Oh, it hurts, but it hurts”, “What kind of heart is this”, “Do not make noise, violent winds”, “What has become foggy, the dawn is clear” and other romances and songs included in “ Musical album for 1833" and glorified the name of the composer. While working in the theatre, Varlamov writes music for many dramatic productions (“Two-wife” and “Roslavlev” by A. Shakhovsky - the second based on the novel by M. Zagoskin; “Prince Silver” based on the story “Attacks” by A. Bestuzhev-Marlinsky; “Esmeralda” based on the novel "Notre Dame Cathedral" by V. Hugo, "Hamlet" by V. Shakespeare). The staging of Shakespeare's tragedy was an outstanding event. V. Belinsky, who attended this performance 7 times, enthusiastically wrote about Polevoy's translation, Mochalov's performance as Hamlet, about the song of the insane Ophelia...

Ballet also interested Varlamov. 2 of his works in this genre - "Fun of the Sultan, or the Slave Seller" and "The Cunning Boy and the Cannibal", written together with A. Guryanov based on the fairy tale by Ch. Perrault "The Boy-with-a-finger", - went on the stage of the Bolshoi Theater. The composer also wanted to write an opera - he was fascinated by the plot of A. Mickiewicz's poem "Konrad Wallenrod", but the idea remained unrealized.

Varlamov's performing activity did not stop throughout his life. He systematically performed in concerts, most often as a singer. The composer had a small, but beautiful tenor in timbre, his singing was distinguished by rare musicality and sincerity. “He inimitably expressed ... his romances,” one of his friends remarked.

Varlamov was also widely known as a vocal teacher. His "School of Singing" (1840) - the first major work in Russia in this area - has not lost its significance even now.

The last 3 years Varlamov spent in St. Petersburg, where he hoped to again become a teacher in the Singing Chapel. This wish did not come true, life was difficult. The wide popularity of the musician did not protect him from poverty and disappointment. He died of tuberculosis at the age of 47.

The main, most valuable part of Varlamov's creative heritage are romances and songs (about 200, including ensembles). The circle of poets is very wide: A. Pushkin, M. Lermontov, V. Zhukovsky, A. Delvig, A. Polezhaev, A. Timofeev, N. Tsyganov. Varlamov opens for Russian music A. Koltsov, A. Pleshcheev, A. Fet, M. Mikhailov. Like A. Dargomyzhsky, he is one of the first to address Lermontov; his attention is also attracted by translations from I. V. Goethe, G. Heine, P. Beranger.

Varlamov is a lyricist, a singer of simple human feelings, his art reflected the thoughts and aspirations of his contemporaries, was in tune with the spiritual atmosphere of the 1830s. “Thirst for a storm” in the romance “A lonely sail turns white” or a state of tragic doom in the romance “It's hard, there is no strength” - images-moods characteristic of Varlamov. The trends of the time affected both the romantic aspiration and the emotional openness of Varlamov's lyrics. Its range is quite wide: from light, watercolor paints in the landscape romance "I love to look at a clear night" to the dramatic elegy "You are gone".

Varlamov's work is inextricably linked with the traditions of everyday music, with folk songs. Deeply rooted, it subtly reflects its musical features - in language, in subject matter, in figurative structure. Many images of Varlamov's romances, as well as a number of musical techniques associated primarily with melody, are directed to the future, and the composer's ability to raise everyday music to the level of truly professional art deserves attention even today.

The future composer came from "Volosh", that is, Moldovan nobles. He was born in Moscow on November 15 (27), 1801 in a poor family of a modest, titular adviser Yegor Ivanovich Varlamov.

As a child, Sasha passionately loved music and singing, especially church singing, and early began to play the violin by ear (Russian songs).

At the age of ten, the boy was appointed by his father, on the advice of friends who appreciated his early musical talent, to the St. Petersburg Court Singing Chapel under the guidance of the famous Bortnyansky. At first, Varlamov was preparing for a career as a singer, but due to the weakening of his voice, he abandoned this idea.

In the Choir Varlamov studied music, was a choir singer, and later - the author of a number of spiritual compositions.

During the years of study in it, along with vocal talent, he discovered outstanding pedagogical abilities (primarily as a choirmaster).

In 1819, Varlamov was appointed regent of the Russian court church in The Hague, where the sister of Emperor Alexander I, Anna Pavlovna, then lived, who was married to the Crown Prince of the Netherlands. Apparently, Varlamov did not work on the theory of musical composition at all and remained with the meager knowledge that he could have taken out of the chapel (in those days, the leadership of the choir cared little about the general musical development of their pupils).

At that time there was an excellent French opera in The Hague and Brussels, with the artists of which Varlamov made acquaintance. Listening to Rossini's "The Barber of Seville", Varlamov was especially delighted with the skillful use of the Russian song "What was the fence for in the garden" in the finale of Act 2, which the Italian maestro, according to Varlamov, "well, masterfully brought into Polish." Perhaps this is where he got his knowledge of vocal art, which gave him the opportunity to later become a good singing teacher.

Having many acquaintances, especially among musicians and music lovers, Varlamov probably already formed the habit of a disorderly and scattered life, which prevented him from developing his composer talent properly.

In 1823 Varlamov returned to Russia.

From 1823 he lived in St. Petersburg, where he taught at a theater school and for some time served as a chorister and teacher in the Chapel. During this period, Varlamov became close to

M.I. Glinka, took part in the performance of his works, performed in public concerts as a conductor and singer.

The heyday of his work falls on the Moscow period of life (1832-1844). Successful composing debut in a play

A.A. Shakhovsky Roslavlev (1832) and work in theatrical genres contributed to Varlamov getting the position of assistant bandmaster (1832), and then "composer of music" at the orchestra of the Imperial Moscow Theaters. Varlamov wrote the music for Shakespeare's Hamlet commissioned by the famous actor

P.S. Mochalova (1837), staged in Moscow his ballets The Sultan's Amusements (1834), The Cunning Boy and the Cannibal (1837), etc.

In the early 1830s the first romances and songs of Varlamov appear (in total, he created more than 100 works of this genre, and among them are “Red Sundress”, “What has become foggy, clear dawn”, “Do not make noise, violent winds” (published in 1835–1837)).

Varlamov successfully performed as a singer, was a popular vocal teacher (he taught at the Theater School, Orphanage, gave private lessons).

In 1834–1835 he published the journal Aeolian Harp, where he published his own romances and piano works, as well as works by other authors.

In 1840 Varlamov released the Complete School of Singing.

The composer also tried his hand in the field of sacred music. He owns the "Cherubim" for eight and four voices (Gresser's edition, 1844). But Varlamov soon realized that the majestic church style, which required strict restraint, did not suit the nature of his talent and his musical technique, which was not particularly developed; he again switched to his favorite forms of song and romance.

After 1845, the musician lived in St. Petersburg, where he moved in the hope of getting a job as a teacher in the Court Chapel, but for various reasons this plan did not materialize. He was a member of St. Petersburg literary and artistic circles; got close to

A.S. Dargomyzhsky and A.A. Grigoriev (two poems by this poet and a critic are dedicated to Varlamov).

In St. Petersburg, Varlamov began to give private lessons, performed in concerts, and was engaged in processing Russian folk songs (in 1846, a collection of these songs, The Russian Singer, was published).

Varlamov's romances were performed in the salons, they were sung in her concerts by the famous Pauline Viardot (1821-1910).

The composer died in St. Petersburg on October 15 (27), 1848. Gurilev's romance “Memories of Varlamov”, collective piano variations on the theme of his romance “A Nightingale by the Stray” are dedicated to his memory (among the authors are A. G. Rubinshtein, A. Genselt), as well as published in 1851 "Musical collection in memory of A. E. Varlamov", which included, along with the works of the late composer, romances of the most prominent Russian musicians.

Musical legacy:

A.E. Varlamov left more than 200 romances (including 42 Russian folk songs arranged by him for one voice and piano, of which 4 are Little Russian, a small number of compositions for 3 voices, three church works for the choir (Cherubim) and three piano pieces (a march and two waltz).

Most of his romances and songs are based on the texts of Russian poets (M. Yu. Lermontov, A. V. Koltsov, N. G. Tsyganova, A. N. Pleshcheev, A. A. Fet).

Songs and Romances:

"Red dress",

"Saddle a horse"(both served as themes for Wieniawski's violin fantasy "Souvenir de Moscou"),

"Grass",

"Nightingale",

"What is foggy"

"Angel",

"Song of Ophelia"

"I feel sorry for you",

"No doctor, no"

"At dawn, don't wake her up"

"A blizzard sweeps along the street,"

"Mountain peaks", etc.

Varlamov is the author of music for dramatic performances, including "Roslavlev"(together with A. N. Verstovsky), "Two-wife", "Ermak", "Forests of Murom", "Hamlet" and etc.; ballets "Fun of the Sultan"(1834), "The sly boy and the ogre"(according to the fairy tale by Ch. Perrault “A boy with a finger”, together with A. S. Guryanov, 1837); choirs, vocal ensembles, etc.

Varlamov also owns the first Russian "School of Singing"(Moscow, 1840), the first part of which (theoretical) is a reworking of the Parisian school of Andrade, while the other two (practical) are of an independent nature and contain valuable instructions on vocal art, which have not lost their significance even now.

He is one of the greatest masters of vocal lyrics of the 1st half 19th century His romances and "Russian songs" enjoyed great success with a mass audience.