As a composer, Taneyev was the recognized head of the Moscow school. Among other things, he contributed greatly to the rapprochement 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 he himself entered the St. Petersburg Belyaev Circle).
Sergei Ivanovich Taneyev is a Russian composer, pianist, music scientist, teacher. Born in Vladimir on November 13 (25), 1856 into a noble family (his uncle Alexander Sergeevich Taneyev was a chamberlain of the court and an amateur composer; his brother Vladimir Ivanovich is a famous economist and public figure; cousin- maid of honor 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. Rubinstein and composition by P. I. Tchaikovsky. Taneyev was Tchaikovsky's favorite student and his close friend until the end of Pyotr Ilyich's days, often performing his works, 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 fired from the St. Petersburg Conservatory, he left the Moscow Conservatory and continued private lessons with students. Among Taneyev's conservatory students are composers S.V. Rachmaninov, A.N. Skryabin, N.K. Medtner, S.M. Lyapunov, R.M. Glier, A.T. Grechaninov and many others; most of them constantly turned to Taneyev for advice even after graduation. Taneyev’s social circle included not only musicians; he met with Leo Tolstoy several times (several times he spent his summer holidays in Yasnaya Polyana, without, however, becoming a “Tolstoyite”), 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 studying Esperanto (most of his Diaries were written in this language). After the death of N.G. Rubinstein and P.I. Tchaikovsky, Taneyev became a central figure musical life- as a teacher, pianist (soloist and especially a magnificent ensemble player), conductor, scientist and, most importantly, a musician of enormous 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 Theoretical Library society, an employee of the Musical Ethnographic Commission at Moscow University, etc. From the beginning of the 1890s, he worked on studying the polyphony of the strict style of the old Western masters, because he believed that it was 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 (Taneev considered this path especially desirable for Russian sacred music, and he himself made several experiments in in this direction). The result of his work was a large-scale study, “Movable counterpoint of strict writing” (1889–1906; published in 1909) and the unfinished and posthumously published “The Doctrine of the Canon.”
As a composer, Taneyev was the recognized head of the Moscow school. Among other things, he contributed greatly to the rapprochement 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 he himself entered the St. Petersburg Belyaev Circle). In Taneyev's style, the influence of Tchaikovsky is noticeable (especially in early works), as well as reliance on Western European classics (Bach, Beethoven).
Taneyev's compositional heritage is large in scale and diverse in genres, it includes 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 most interesting is the Fourth, 1898), and original vocal lyrics (including poems by Taneyev’s contemporaries – symbolist poets). The greatest 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 lyrical cantata “John of Damascus” to the verses of A.K. Tolstoy (1884) and the monumental canvas “After the Reading of the Psalm” to the verses of A.S. Khomyakov (1915), as well as excellent individual works and cycles for choir without accompaniment based on poems by Russian poets, where complex polyphonic technique is brilliantly used. The same can be said about his numerous ensembles (about 20 works: 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 lyricism. Taneyev died in Moscow on June 6 (19), 1915.
"IN morally this personality is unconditional perfection,” said Sergei Ivanovich Taneyev about his student. But not only human qualities Taneyev was admired by his famous teacher; Pyotr Ilyich also highly valued his talent as a composer. However, Tchaikovsky believed that it would not be easy for Taneyev’s music to find its way to the general public - after all, it fascinates not so much with the spontaneity of emotional expression, but with its marvelous balance and rationality. It was in such music that the personality of the composer, who was a theoretician-musicologist, a teacher, and a researcher of folklore, could be reflected. His works are devoted to the most intellectual type of music - polyphony. Taneyev's erudition covered philosophy, history, and natural sciences.
Taneyev came from an ancient noble family. Sergei Ivanovich was born in Vladimir. His father, a landowner, was an educated man; he graduated from three faculties of Moscow University. Owning several foreign languages, he demanded the same from the children. Playing the piano, guitar, violin and flute, he introduced his sons to music. Sergei Taneyev began learning to play the piano at the age of five. In this he was helped for some time by the daughter of a family friend, Maria Alexandrovna Miropolskaya, who was eight years older than him, but soon, after the death of her father, she and her mother left for Moscow. Sergei met her four years later, when the Taneyevs also moved to Moscow. Thanks to Maria Alexandrovna, the young musician met Nikolai Grigorievich Rubinstein, who saw in him extraordinary pianistic and compositional talent and advised him to study at the conservatory. It was allowed to enter there only from the age of fourteen, but as an exception, ten-year-old Taneyev was accepted.
At the conservatory, Taneyev studied piano playing with an assistant, then with himself, and Tchaikovsky became his mentor in the field of composition. During his years of study, Taneyev wrote many works, among which were choral works, romances, quartet, overtures. He graduated from the Conservatory in 1875. as a composer and as a pianist, with a gold medal, becoming the first graduate in its history to receive such an award. In the same year, he traveled with Rubinstein to Greece and Italy, and upon returning from abroad toured the cities Russian Empire, performing compositions as well as his own. The following year Taneyev went to France. It was not possible to organize concert performances, but time was not wasted: he met French composers, came into contact with European cultural life. Impressed by this trip, the composer drew up a plan for expanding his horizons - and followed it for many years, systematically studying not only the theory of music, but also history and philosophy, gradually becoming a well-rounded educated person.
Taneyev was twenty-two years old when he began teaching at the Moscow Conservatory. At first he taught instrumentation and harmony, and later musical form and counterpoint, the latter disciplines being especially close to him. During Taneyev's teaching career, he had many students, and among them there were many composers who later became great.
When creating music, Taneyev strove for classical harmony of form. He attached great importance to polyphony. One of his first and highest achievements in this area was the cantata “John of Damascus,” which was first performed in 1884. An important place in Taneyev’s creative heritage occupies choral music, in which true greatness is felt. The same can be said about his only opera, “The Oresteia,” which stands apart in Russian operatic literature, resembling an oratorio. Taneyev’s desire for an organic synthesis of Russian and European intonations musical forms manifested itself very clearly in the C minor Symphony. He also worked in the field of chamber instrumental ensemble - it is noteworthy that Taneyev the pianist often performed as an ensemble player.
Taneyev's Peru belongs not only musical works, but also musicological works, the most significant of which is “Moving counterpoint of strict writing.” He paid a lot of attention to the study of folklore, recording and processing Russian and Ukrainian songs, and his book “On the Music of the Mountain Tatars” became the first study devoted to Caucasian folklore (Sergei Ivanovich collected the material for this study himself during his trip to the Caucasus in 1885) .
Sergei Ivanovich Taneyev passed away in 1915, having caught a cold at Scriabin’s funeral.
Music schools in Moscow, Vladimir and Zvenigorod are named after Taneyev, music college in Kaluga, streets in Vladimir, Klin, Volgograd and Voronezh, concert hall in Vladimir.
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Sergei Taneyev is a little-known classic of Russian music. Once upon a time, his name was well known among the educated public in all parts of the vast Russian Empire. Today only music historians and students of a few music schools and schools named in his honor.
The early years of Sergei Taneyev
Sergei Ivanovich Taneyev was born in provincial town November 13, 1856. His father Ivan Ilyich belonged to an old noble family, which traced its history back to the time of Ivan the Great. Since childhood, Sergei’s parents taught him 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 - a 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 Rubinstein's class and. The founder of the conservatory, Nikolai Rubinstein, taught the young man harmony, free composition and instrumentation, and legendary Peter Tchaikovsky - 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 did not forget the talent of their student. In 1882 P.I. Tchaikovsky entrusted Taneyev to perform the solo instrument part at the first performance in Russia of his second piano concerto. Many years later, when Tchaikovsky had already died, Taneyev finalized and performed his third concerto for the first time. Sergei Ivanovich performed not only other people's works, 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 Besides the actual music lessons, Sergey Taneyev made contributions to related areas of knowledge. He owns works on musical folklore and source studies, as well as the most important work “Movable Counterpoint”, in which a mathematical formula was derived for the derivation of complex counterpoints in polyphonic music.
Educational activities
Taneyeva was not limited to work at the conservatory. Throughout his life, he strove to popularize music outside the small noble community and taught talented students from the working class for free. Since 1906, Sergei Ivanovich taught at the Prechistensky workers' courses, where adults from the poor could receive free additional education. During the courses there was a choir, 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 availability preliminary preparation, and the training there was focused on folk traditions. Among Sergei Taneyev's students there were many outstanding composers. The names of two of them: Alexander Scriabin - are familiar to the whole world.
Other interests of Sergei Taneyev
Sergei Taneyev was one of the first Esperantists in Russia. He accepted the idea of a future world language with great enthusiasm. The composer maintained his language in Esperanto, corresponded with the founder of Esperanto, Zamengovof, and also wrote several articles in the new language. Information has been preserved about romances in Esperanto that Sergei Ivanovich wrote, but there are no such works in his archives. In 1915, Taneyev caught a cold at the funeral of his student A.N. . Two months later he died on June 6 (19), 1915 from pneumonia. The composer's grave is located at the Novodevichy cemetery.
A man of spiritual purity, genuine kindness, great cordiality, sensitivity, delicacy and amazing modesty - such virtuous qualities were endowed by the contemporaries of Sergei Ivanovich Taneyev - a prominent composer, a brilliant pianist, a major learned musicologist and a born teacher, a true professional in his field. As a composer, he left his descendants a rich creative heritage. As a pianist, he was not only famous for his virtuosity, but could convey to the finest detail what the author intended. As a musicologist, he wrote scientific works that have not lost their relevance today. As a teacher for his students, he was “a ray of light in dark kingdom“and getting into his class was considered a great success. Taneyev was an example in everything. Whatever he did, he did with optimism, enormous will and methodicality in his work. A great intellectual with the deepest meaning of his statements, he had such authority that many prominent figures of that time considered it an honor to communicate with him.
Brief biography of Sergei Taneyev and many interesting facts Read about the composer on our page.
Brief biography of Taneyev
In the middle of the century before last, namely November 25, 1856, in the oldest and beautiful city Russia - Vladimir, in the house kindest soul man, a descendant of an old noble family, state councilor, doctor and master of literature - Ivan Ilyich Taneyev, a joyful event occurred: a baby was born. The boy, whom his happy parents named Sergei, grew up in a friendly and creative atmosphere: the family spoke three languages among themselves and could boast of a rich home library. In addition, the head of the family, being a very educated man and passionate about literature and musical art, often organized various creative evenings in his hospitable home.
The parents cared very much about the comprehensive development of their sons, of whom there were two more besides Seryozha: the eldest Vladimir and the middle one Pavel. However, out of three children musical abilities Only the youngest was gifted. Seryozha’s talent, which manifested itself at an early age, was supported in every possible way and from the age of five he began studying the piano with specially invited teachers who noted the child’s excellent hearing, musical memory and extraordinary seriousness.
Boyhood and youth in Zlatoglavaya
The Taneyev biography says that in the mid-seventies the Taneyev family moved permanently to Moscow, where they purchased a modest house on Obukhovsky Lane. Sergei was assigned to study at the first classical gymnasium, and in 1966, after the opening of the Moscow Conservatory, he was enrolled as a volunteer in this educational institution, where for four years he was a student of E.L. Langer on piano and theoretical disciplines. In 1868, he still had to leave his studies at the gymnasium, since it was difficult for the boy to combine studies in two institutions at once, especially since general education subjects were also taught at the conservatory. In September 1969, Sergei Taneyev became a full student of the conservatory, in addition, in theoretical disciplines he was immediately assigned to the class P.I. Tchaikovsky, and then continued to study instrumentation and composition with him. Already from the time when the teacher and student began to communicate professionally, warm friendly relations began between them, which continued until the death of their beloved teacher.
The young man studied music very enthusiastically and sometimes even frightened his father. Ivan Ilyich began to worry that a one-sided education would have a detrimental effect on the overall development of his son and therefore called Sergei’s conservatory education into question. Only the director of the conservatory, Nikolai Grigorievich Rubinstein, was able to save the future composer from the wrong intentions of his parent. Usually stingy with praise, he spoke so approvingly of talents young musician that all Ivan Ilyich’s fears about the future of his son disappeared in one moment. After this incident, Nikolai Grigorievich took Sergei into his class and taught him to play the piano until he graduated from the conservatory. Moreover, having no doubt that the talented student would have a wonderful creative future as both a performer and a composer, Rubinstein invited Sergei to musical evenings which he arranged in his home.
Taneyev’s debut as a pianist took place in 1874 at the Golitsyn Estate in Znamensky Lane. This was the first public performance of the young musician, at which he brilliantly performed works Liszt And Chopin. In the composition class, Sergei also met all the expectations of his teacher P.I. Tchaikovsky. During his years of study, he became the author of major works, including a symphony, overtures and cantata. Taneyev graduated from the Conservatory at the age of nineteen simply brilliantly: he became the first student of this educational institution to receive gold medal. Great prospects for performing, composing and teaching activities opened up for the young man, which he later successfully pursued throughout his life, but at first the young man decided to make an educational tour outside the borders of his fatherland. At the invitation of his teacher and mentor N.G. Rubinstein, he visited Greece, Italy and Switzerland for educational purposes, where he studied with interest the culture and art of these countries. Returning to his homeland, Sergei Taneyev began an independent creative life. Actively touring the cities of Russia, he successfully performed in St. Petersburg, Kharkov, Nizhny Novgorod, and in November in Moscow delighted listeners with the premiere performance Concerto No. 1 for piano and orchestra by P.I. Tchaikovsky.
French trip
In the spring of 1876, Sergei again went with concerts to Russian cities, and in the summer, after resting a little, he left Russia again and went to France to meet European art. In Paris, he diligently continues to study the piano, sitting at the instrument for 4-5 hours, and regularly attends rehearsals symphony orchestras under the direction of such famous maestros as J. E. Padlu and E. Colonna, attends lectures in Sarbonne and various concert performances. He was lucky enough to be invited to “musical Thursdays” with the famous Pauline Viardot, who at that time delighted only close friends with her beautiful singing. Circle of acquaintances young man expanded greatly: he became close to the writers Turgenev, Renan, Flaubert, and Zola, as well as composers - Fauré, Gounod, Saint-Saensom, Duparc and d'Indy. The eight months spent in Paris were not in vain for Sergei, they inspired him to new creative achievements. The young musician overestimated his previous achievements and concluded that his education was insufficiently complete. He established a program for himself, which he strictly followed all my life.
Creative takeoff
The return to his homeland took place in July, but the beautiful summer weather did not tempt the musician. He set himself the goal of working out a series interesting programs, which he subsequently performed at concerts throughout the current year.
In 1878, dramatic changes occurred in the life of Sergei Taneyev. His friend and teacher Pyotr Ilyich Tchaikovsky, tired of teaching, and in addition having received pension material support from the state, decided to completely engage in creativity. He persuaded Taneyev, who was by then only 22 years old, to take on his conservatory teaching load, which included courses in harmony, polyphony, analysis of musical forms and orchestration. And in 1881, after the death of N.G. Rubinstein, having received the position of professor, Sergei Ivanovich added to his teaching load the piano class of his favorite teacher. In 1884, on the recommendation of Tchaikovsky, Taneyev took the position of director of the conservatory, where he remained for four years. Enjoying great prestige not only among the professors, but also among the students, he not only returned the conservatory to its former prestige, but also introduced many innovations that improved the work of the institution. However, in 1889, due to dissatisfaction with administrative work and a strong attraction to creative activity he left his leadership post and retained only the teaching load at the conservatory.
Unfortunately, at this time Taneyev was still little involved in composing activities; he was more interested in the upcoming production of his opera “Oresteia” scheduled for September 1895 in St. Petersburg. At this time, the composer often visited the capital, where he became close to the philanthropist and owner of the music publishing house M. Belyaev, as well as St. Petersburg composers: Rimsky-Korsakov And Glazunov. Serious changes in the life of Sergei Ivanovich occurred in 1905. Outraged by the domineering methods of the leadership of the director of the conservatory V. Safronov, he left the walls of the institution and never returned there, and in addition refused the pension he was entitled to. Nevertheless, Taneyev did not give up his beloved teaching activity: he was engaged in private practice, teaching students completely free of charge. 
After leaving the conservatory, Sergei Ivanovich continued to remain a significant person in the musical life of Moscow. In 1906, he was one of the musical figures who initiated the opening of the People's Conservatory, whose primary task was musical education and inclusion ordinary people to classical music. In addition, Taneyev began working as a teacher there, happily introducing the broad masses to art. In the same 1906, Taneyev completed work on “Moving Counterpoint of Strict Writing” - a unique work on which the composer had been poring over for about seventeen years. In 1908 he became one of the founders of the Musical Theoretical Library, and in 1912 he was elected its honorary member. The last year in the composer's life was 1915. Shocked by his untimely death in April Alexandra Skryabina, he, following the coffin of his student at the funeral, caught a bad cold. Without giving of great importance due to his illness, Taneyev continued to work actively. Since the beginning of May, the composer’s health condition has deteriorated sharply and he was transported by car to the Dyutkovo family estate, where Sergei Ivanovich died on June 19.
Interesting facts about Sergei Taneyev
- Sergei Taneyev's father, Ivan Ilyich, according to contemporaries, established himself as a very decent and educated person. He proved himself to be a poet, writer and a great music lover, as he composed music and knew how to play several instruments (piano, flute, violin, guitar).
- From Taneyev’s biography we learn that he remembered his first public performance for the rest of his life. At the age of eleven, he performed the first movement of the A minor sonata at a conservatory concert. Mozart and was awarded well-deserved applause. However, not yet understanding their meaning and misinterpreting them, he thought that this was a sign of disapproval, burst into tears and ran away from the stage.
- The name of Sergei Taneyev, who brilliantly graduated from the conservatory and was the first graduate to receive a gold medal, can be read today on the memorial plaque by everyone visiting the Small Hall of the Moscow Conservatory.
- Sergei Ivanovich Taneyev was an educated man whose horizons were very broad. He understood philosophy, science, history and mathematics. The great Russian writer Lev Nikolaevich Tolstoy, admiring the composer’s erudition, said about him that this rare person with whom you don’t talk about anything, he knows everything.
- Taneyev was very friendly with Leo Tolstoy, and often visiting the writer in Yasnaya Polyana, he loved to play chess with him on a work: if the composer lost, he played the piano, and if the writer lost, he read his work.
- In 1895, a tragic event occurred in the family of Leo Tolstoy: his six-year-old son Ivan died of scarlet fever. Sofya Andreevna, the writer’s wife, who experienced this loss very hard, was helped to cope with this difficult life situation by the conversations and music of Sergei Taneyev. Sofia Andreevna’s close friendly communication with the composer led to Lev Nikolaevich becoming jealous of his wife.
- Taneyev lived his entire life with his nanny, whose name was Pelageya Vasilievna Chizhova. This neat, simple village woman was so in order that she could easily find the necessary pages of her pupil’s essays. And when she ran out bay leaf, which she added to food as a seasoning, then persistently sent Sergei Ivanovich to play at the concert, because from grateful listeners he received not only flowers, but also gift laurel wreaths.
- Sergei Rachmaninov called his teacher S.I. Taneyev is a “world teacher” and this is truly so. Incredibly demanding of himself, he also raised such bright stars of Russian musical culture as A. Scriabin, N. Medtner, K. Igumnov, R. Gliere, N. Zhilyaev, V. Bulychev, G. Konyus, A. Alexandrov, S. Vasilenko, N. Ladukhin, K. Saradzhev, B. Yavorsky, E. Gnesina, Y. Engel, N. Mazurina, S. Lyapunov, M Untilova, I. Sats, A. Koreshchenko, Z. Paliashvili.
- The composer was so purposeful person that he even mastered the international artificial language Esperanto. He drove it personal diary, and also composed romances (unfortunately, the notes of these works have been lost).
- Name outstanding composer S.I. Taneyeva will live forever in the hearts of Russian citizens. Named in memory of him: International competition chamber ensembles; All-Russian music festival classical music, taking place once every two years in Vladimir.In addition, the name S.I. Taneyev was rightfully assigned to the Scientific and Musical Library of the Moscow Conservatory.
Creativity of Sergei Taneyev
The creative life of Sergei Ivanovich was extremely rich and versatile. Moreover, Taneyev, a scientist, pianist and teacher, is inextricably linked with Taneyev, a composer, to whom he left his descendants a relatively small, but very valuable legacy. Being a zealous opponent of various newfangled musical trends, he based his work on nationality and confidently followed classical traditions Western European and Russian music. The composer's contemporaries even thought his exorbitant interest in Bahu and Mozart, in addition, they criticized his works, calling them outdated and dry. Yes, indeed, Sergei Ivanovich’s works are not characterized by open emotionality, but they are distinguished by wise concentration and the highest skill.
Taneyev, a composer, synthesizing, as he considered, all the best that was in music, purposefully searched for his own direction, his own style. His compositional technique was as follows: if he conceived of a work, he first worked out individual motives and themes of the future creation, composing an endless number of sketches, and only when he got his hands on working on the component parts did he begin to construct the work as a whole. To some of the composer's friends this method seemed too sophisticated, but nevertheless, as a result of such painstaking analytical work, the composer created priceless creations of extraordinary beauty. Of course, using such an analytical method, Sergei Ivanovich could not boast of a large number of his works, but among the works that he wrote in various genres characteristic of the musical culture of that time, it should be noted the opera "Oresteia", four symphonies, overtures, four cantatas, a concert for piano and orchestra, chamber instrumental music, choirs, romances.
Musical trilogy " Oresteia", the libretto of which is based on the tragedies of Aeschylus and, completed by Taneyev in 1895, appeared in opera art new and interesting page, which attracted the attention of not only Russian but also foreign musicians.
Of the composer's symphonic works, it is necessary to especially note symphony number four, which was appreciated by the contemporaries of the outstanding maestro, and after his death became one of his most popular works. It is important to mention Taneyev’s exactingness towards his work: he believed that this was the only one of his symphonies worthy not of a one-time performance, but of a full-fledged concert life, and therefore, unlike others, it was published during the composer’s lifetime.
Sergei Ivanovich paid great attention to choral music in his work - this is an important part of his heritage and it may be very symbolic that his entire career as a composer passes through an arch between two lyrical and philosophical cantatas “ John of Damascus" And " After reading the psalm" The merit of Taneyev, who treated with great respect choral genres is a revival of a cappella choirs: he wrote more than forty of them. In addition, speaking about the composer’s creative heritage, one cannot ignore his contribution to chamber instrumental music. The trios, quartets and quintets he wrote are among the best examples of Russian music in this genre, and the top ones, marked by special monumentality, are the sixth quartet and the piano quintet.
Russia, Moscow School of Composers / Composer, virtuoso pianist, conductor / Late Romanticism, symbolism, neoclassical features / Main genres: cantata, a cappella choirs, vocal miniature, chamber instrumental ensembles
"He was an example in everything, in every act of his, because whatever he did, he did only well".
This is what Sergei Rachmaninov said about his dear teacher, the Russian composer Sergei Ivanovich Taneyev. He was a man of rare moral virtues, for which he was even nicknamed “the conscience of musical Moscow.” Many prominent figures of that time considered it an honor to communicate with him. He was Tchaikovsky's favorite student and his closest friend, author huge amount caustic aphorisms about the music of his time and a true professional in his field.
Sergei Ivanovich became the first major musicologist in Russia, and his performances as a pianist caused a wide public response. Taneyev was a recognized authority in the cultural life of his time. Becoming his student was the height of bliss for the young musician. He dedicated his entire life to the Moscow Conservatory. He managed to educate a bright galaxy of real stars of academic music. His students were Rachmaninov, Scriabin, Medtner, Glier, Igumnov, Yavorsky, Grechaninov.
Contemporaries often compared Taneyev to Socrates. Both of them left behind numerous students without writing serious essays. However, time has put everything in its place. Taneyev’s works, which seemed dry, learned, and outdated to his contemporaries, are today perceived as a unique phenomenon Silver Age with his penchant for hindsight. If then Taneyev’s interest in the old masters, in Bach, Mozart seemed strange and untimely, now we can confidently speak of Taneyev as the forerunner of neoclassicism, which flourished in the art of the first third of the 20th century.
Back in 1866, an epoch-making event for Russian culture took place: Nikolai Rubinstein founded the Moscow Conservatory. Until this moment, in a country with a traditionally rich musical tradition, neither music nor professional musicians were taken seriously. With the advent of the conservatory, the musician became a truly respected person. In the same memorable year, Seryozha Taneyev was enrolled in the first year. He was only nine years old! Even then he amazed those around him with his phenomenal musicality. At the opening ceremony of the Moscow Conservatory, little Taneyev especially remembered the words of Tchaikovsky, who wished that the students of the conservatory “ left the establishment as people for whom there is one interest - the interest of art, who seek one glory - the glory of an honest artist».
Nikolai Grigorievich Rubinstein himself became Taneyev’s piano teacher. This is how he, usually stingy with praise, spoke flatteringly about young Taneyev: “ Taneyev, he said, belongs to the very few chosen ones, he will be an excellent pianist and wonderful composer " Seryozha actually studied composition under the guidance of Pyotr Ilyich Tchaikovsky. At this time, their touching friendship began, which lasted until Tchaikovsky’s death. In the very first works of the young composer one can hear enthusiastic passion expressive style favorite teacher. Seryozha Taneyev graduated from the conservatory with flying colors. He became the first gold medalist in the history of the Moscow Conservatory. His name was carved on memorial plaque, which to this day hangs in front of the entrance to the stalls of the Small Hall of the Conservatory.
In 1875, Sergei Taneyev, as was customary among the creative intelligentsia of that time, went to Paris to get acquainted with the art there. Every Thursday Taneyev visited Polina Viardot, where he met Turgenev, the composer Gounod, and the writer Flaubert. Taneyev visited Saint-Saëns’s home and his home, where he performed Tchaikovsky’s First Piano Concerto. On the day of departure, in my notebook Taneyev left a remark: “ When I go abroad next time, I want to be: a) a pianist, b) a composer, c) an educated person" Then he had just turned twenty years old.
In Moscow, Sergei Taneyev settled in a cozy house on Prechistinka at 2 Maly Vlasovsky Lane, where he spent most of his life with his nanny Pelageya Vasilievna Chizhova. This simple woman ran his entire household and constantly complained about the fact that Sergei Ivanovich in everyday life " like a little child" Only she could find the necessary pages of scores. There are funny situations associated with this woman. So, when the farm ran out of bay leaves, she told Sergei Ivanovich, who was a first-class pianist. The public literally showered him with bouquets and laurel wreaths. Pelageya Vasilievna used to say: “ You should play at the concert, otherwise the bay leaf is coming to an end».
In 1878, Taneyev began his many years of work at the Moscow Conservatory. He was persuaded by Tchaikovsky, who was himself pretty tired of teaching activities. Taneyev is forced to put aside his experiences as a composer and devote himself entirely to a new business - teaching theoretical disciplines. He approached the new business very creatively, but taught that there are no forever frozen rules and dogmas, what is unacceptable in one style is quite suitable in another. His students recalled that he explained in a monotonous and complex manner, but always very precisely and pedantically. He didn't tolerate being late. Taneyev checked assignments with incredible speed, while immediately making corrections. At the conservatory, in addition to harmony, instrumentation, composition, piano and analysis of musical forms, the maestro taught a very interesting course, developed by himself - counterpoint. The lecture materials later became the starting point for the most in-depth research undertaken by Taneyev, which resulted in a fundamental scientific work entitled "Movable Counterpoint of Strict Style". Musicologists often compare Taneyev’s theory with the periodic table in terms of its universality, it is so mathematically verified and calculated.
Tchaikovsky often asked his friend how life was going at the conservatory, and it was he who insisted that at the age of 28 Taneyev take the post of director of the Moscow Conservatory. During these same years, Taneyev became the first performer of all major piano works by Tchaikovsky, and after his death he completed and orchestrated a number of works.
In 1884, a composition appeared, thanks to which Taneyev became famous as a composer. We are talking about the cantata “John of Damascus” to the text by Alexei Tolstoy, an excerpt from which we have just listened to. It was this work that the composer decided to assign the first serial number in his creative biography. Literally in love with Bach's cantatas, Taneyev had long dreamed of creating a Russian, Orthodox cantata. The preparation for it was the idea of a cantata in honor of the opening of the Cathedral of Christ the Savior, but for a number of reasons it was not possible to bring it to life. But a deeply philosophical, large-scale work was born, which was based on the life of the famous Christian church writer and hymnographer who lived at the turn of the 7th and 8th centuries - John of Damascus.
From now on, choral music will become an important area of the maestro’s creativity. The monumentality of the plans and the depth of generalizations emphasize the grandeur of the picture of the world. Creative path Taneyev is symbolically framed by two cantatas - “John of Damascus” and “After the Reading of the Psalm,” the composer’s pinnacle work.
Taneyev's only opera was the trilogy "Oresteia" based on Aeschylus, which was an example of translating an ancient plot into Russian music. This work is unique; Taneyev spent ten years on this essay. Such meticulousness was dictated by unprecedented demands on his creative product. However, "Oresteia" was literally doomed to misunderstanding due to the untimeliness of its appearance.
In 1889, Taneyev transferred his duties as director of the conservatory to his successor Vasily Safonov, and in the revolutionary year of 1905 he completely left his native land. He strongly disagreed with the decision to expel students who took part in the strikes. By the mid-nineties, Taneyev had managed to become friends with the musicians of the St. Petersburg school, and when Nikolai Rimsky-Korsakov received the news of Taneyev’s departure from the conservatory, he sent him a touching, sympathetic telegram. After leaving, Taneyev continued to teach students free of charge, privately. He never took money for his classes because he believed that payment interfered with the strict selection of students.
Back in the late nineties, Taneyev became friends with Leo Tolstoy. He often visited Yasnaya Polyana, where he lived and worked in an outbuilding specially designated for him. In addition to the passion for mutual communication, Taneyev and Tolstoy had in common a passion for chess. The conditions of the fights were as follows: if the composer lost, he had to perform something on the piano; if Leo Tolstoy, he read aloud some of his works. However, it was Taneyev who became the cause of discord in the family of the great writer. Sofya Andreevna, Tolstoy’s wife, broken by the untimely death of her son, began to experience tender feelings for him. This is what she writes in her diary: “ I remained alive and owe this to a strange means - music. Taneyev's music worked best. Sometimes I just had to meet Sergei Ivanovich, listen to his impassive, calm voice, and I would calm down. Taneyev’s personality had almost nothing to do with it. Outwardly he was of little interest, always smooth, secretive...».
She was the first and grateful listener of Taneyev's symphonies. She needed his music like air. Tolstoy could not help but notice the changes that had occurred in his wife; in his “Kreutzer Sonata” he exposes such affection. Only Taneyev, sincerely soaring in his fantasies and search for ideal musical beauty, did not notice what was happening.
However, one should not think that Sergei Ivanovich was an insensitive and cold person. He was a strong-willed and decisive man, with a subtle sense of humor. Fun fact, Sergei Ivanovich Taneyev was one of the composers in Russia who wrote several romances in Esperanto, and he also wrote his diary in it. Lunacharsky in one of his speeches about Taneev said: " Taneyev, in his way of life and his appearance, is a Russian gentleman, from the outside it even seems to have some Oblomov-like features; loved to live quietly, loved the calm outback of the far corner of Moscow".
However, there was great love in his life. She was married to the artist Benoit and had four children. According to the cruel laws of that time, in case of divorce, children remained with their father. Taneyev decides to forget everything; this took several painful years.
One of the peaks of Russian instrumental music became Taneyev's symphony in C minor. He dedicated it to Glazunov, under whose direction the premiere took place. This symphony was created shortly after Tchaikovsky’s famous Sixth Symphony; it contains the origins of many of the features of “philosophical symphonism” that were later so vividly embodied in the work of Shostakovich. Lyrical hero The symphony strives to overcome the tragedy and chaos of existence. In this sense, this work can be placed on a par with Beethoven's Fifth Symphony and Brahms' Fourth.
After leaving the conservatory, Taneyev continued to remain in the center of musical Moscow. He gives a lot of concerts. In 1910, Sergei Ivanovich supported the aspiring composer Sergei Prokofiev. In their letter to the publisher Yurgenson, Taneyev asked to publish Prokofiev’s works, after which Yurgenson agreed.
In the spring of 1915, one of Taneyev’s favorite students, Alexander Scriabin, died. The weather outside was dank and damp, not uncommon for Moscow at this time of year. Taneyev came to the funeral lightly dressed. He caught a bad cold, and just a few weeks later he was gone. The whole of Moscow saw off the “Russian Bach” on his last journey.