Alexander Fedorovich Gedicke (1877 - 1957) Russian composer, organist, pianist, teacher, founder of the Soviet organ school. Doctor of Arts (1940). People's Artist of the RSFSR (1946).
Alexander Goedicke was born on February 20 (March 4), 1877 in Moscow into a German family that had long settled in Russia. His great-grandfather, Heinrich-Georg Goedicke, was the organist of the Catholic Church in St. Petersburg and the rector of the German Drama Theatre. His grandfather, Karl Andreevich (according to the documents - Genrikhovich), was a teacher of choral singing in Moscow and served as the organist of the Moscow Catholic Church of St. Louis of France. Father, Fyodor Karlovich, worked as an organist in the same church, was a pianist in the orchestra of the Bolshoi Theater, and taught obligatory piano at the Moscow Conservatory. Alexandra Gedicke's mother was French, Justine-Adèle-Augustine Lecampion, from a farmer's family. Orphaned at an early age, she and her older sister were brought up by her uncle and aunt in Normandy, and when she reached 16 years old, they were sent to relatives in Russia to get a job as governesses.
Under the guidance of his father, little Sasha began to learn how to play, first on the piano, and then on the organ. Already from the age of 10, he replaced his father in the church, and from the age of 12 he began to perform in concerts. He gave his first solo organ concert in the Great Hall of the Conservatory. In total, they played more than 200 concerts here. For decades he was the leading domestic organist. Thanks to Gedika, the practice of organ evenings and organ subscriptions has become a regular and very popular practice in the country.
In 1898 A.F. Gedicke graduated from the Moscow Conservatory with a degree in piano.
Having started performing activity, Gedicke set himself a serious task - to draw the attention of the public to the organ and the richest organ repertoire. In Soviet Russia, such concerts were rare. The authorities were wary of Western European culture. The idea of the organ as a church instrument reduced concert performance to a minimum. Therefore, Gedike's organ performances were of great educational significance.
The organ concerts of Alexander Gedicke, and then of other organists, primarily of his students, were perhaps the most attended concerts in Soviet Russia. The role of Alexander Gedike in the history of Russian music turned out to be quite special. The organ was known in Russia before, but the full development of organ music took place only at the beginning of the twentieth century. It was Gedike who gave impetus to the development of organ art in Russia, both performing and composing. He wrote many works for this majestic instrument: concertos, preludes and fugues, chorales, fantasies.
Alexander Gedicke, a graduate of the Moscow Conservatory, composed works not only for the organ. His composer's heritage includes about a hundred opuses. These are operas, symphonies, instrumental concertos, quartets, trios, violin and cello sonatas. Gedike's piano pieces for beginning musicians are popular. Their bright, expressive, but at the same time clear musical language is understandable and close to children's perception. To this day, these miniatures are among the best in the pedagogical repertoire. And this is not surprising. After all, Gedike was a wonderful teacher. At the Moscow Conservatory he taught piano, chamber ensemble and organ. By the time A.F. Gedicke took over the leadership of the organ class of the conservatory, he already had rich teaching experience. Forming a new branch of concert performance, Gedicke made tremendous efforts to organize student education: he achieved constant care for the instrument, introduced an organ skill course to study the structure of the organ into the curriculum, developed a program for the class of a special organ, organized a compulsory organ course for students of the piano department - theoretical and practical exercises necessary for understanding the features of the performance of ancient clavier music. Among his students are the famous interpreter of the music of Frederic Chopin, pianist Viktor Merzhanov, and such talented musicians as Sergei Dizhur and Garry Grodberg. They made up the color of Russian organ art. Thanks to a creative, professional approach to her work, Gedika managed to grow up a whole galaxy of performing musicians who adequately continued and strengthened the traditions of the Moscow organ school.
Acquaintance with the works of Alexander Fedorovich Gedike for many musicians comes down to studying children's pieces from the repertoire of a young pianist. At the same time, the creative heritage of the outstanding Russian musician - pianist, organist, composer and teacher - is very significant: four operas, three symphonies, three overtures and a poem for a symphony orchestra, music for the play, instrumental concertos (for organ, horn, trumpet and violin) , numerous compositions for chamber ensemble, piano, organ, songs and romances, transcriptions and arrangements for various instruments. Of undoubted interest are Gedike's organ works, because his name is inextricably linked with the organ culture of Moscow.
Gedicke's style as a composer was influenced by organ culture and marked by seriousness and monumentality, clarity of form, mastery of polyphonic writing. At the same time, Gedike took a lot from the traditions of the Russian classical school. He is the author of four operas, cantatas, numerous symphonic, piano and organ works, concertos and chamber works for wind instruments, romances, arrangements of Russian folk songs. Gedike is especially widely known as the author of children's plays.
His creative activity throughout his life was inextricably linked with the musical culture of Moscow, and above all with the Moscow Conservatory, where he taught for almost half a century.
Rare spiritual purity and nobility earned the musician universal love and recognition. And his very life has become a symbol of selfless and devoted service to the cause.
The historical significance of A.F. Gedike cannot be overestimated. In a country that survived the First World War, the Civil War and the Great Patriotic War in less than half a century, in a country where there was almost no organ culture, and the "Iron Curtain" overshadowed the centuries-old experience of European performing schools for many years, Gedicke created the foundation of domestic organ art, contributed to the preservation and the development of the traditions of the Moscow Conservatory in the classes of special piano, organ and chamber-instrumental ensemble.
As composer A.F. Gedicke in no way belonged to the "shakers of the foundations", innovators and "daring", but he walked so nobly and calmly along the paths that music had entered before him (magnificent paths that one could still follow and could walk) that many of his the best works continue to deliver sincere pleasure and joy to the lover and connoisseur of music. (G.G. Neuhaus)
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Alexander Fedorovich Gedicke (1877 - 1957) Russian composer, organist, pianist, teacher, founder of the Soviet organ school. Doctor of Arts (1940). People's Artist of the RSFSR (1946).
Alexander Goedicke was born on February 20 (March 4), 1877 in Moscow into a German family that had long settled in Russia. His great-grandfather, Heinrich-Georg Goedicke, was the organist of the Catholic Church in St. Petersburg and the rector of the German Drama Theatre. His grandfather, Karl Andreevich (according to the documents - Genrikhovich), was a teacher of choral singing in Moscow and served as the organist of the Moscow Catholic Church of St. Louis of France. Father, Fyodor Karlovich, worked as an organist in the same church, was a pianist in the orchestra of the Bolshoi Theater, and taught obligatory piano at the Moscow Conservatory. Alexandra Gedicke's mother was French, Justine-Adèle-Augustine Lecampion, from a farmer's family. Orphaned at an early age, she and her older sister were brought up by her uncle and aunt in Normandy, and when she reached 16 years old, they were sent to relatives in Russia to get a job as governesses.
Under the guidance of his father, little Sasha began to learn how to play, first on the piano, and then on the organ. Already from the age of 10, he replaced his father in the church, and from the age of 12 he began to perform in concerts. He gave his first solo organ concert in the Great Hall of the Conservatory. In total, they played more than 200 concerts here. For decades he was the leading domestic organist. Thanks to Gedika, the practice of organ evenings and organ subscriptions has become a regular and very popular practice in the country.
In 1898 A.F. Gedicke graduated from the Moscow Conservatory with a degree in piano.
Having started performing activity, Gedicke set himself a serious task - to draw the attention of the public to the organ and the richest organ repertoire. In Soviet Russia, such concerts were rare. The authorities were wary of Western European culture. The idea of the organ as a church instrument reduced concert performance to a minimum. Therefore, Gedike's organ performances were of great educational significance.
The organ concerts of Alexander Gedicke, and then of other organists, primarily of his students, were perhaps the most attended concerts in Soviet Russia. The role of Alexander Gedike in the history of Russian music turned out to be quite special. The organ was known in Russia before, but the full development of organ music took place only at the beginning of the twentieth century. It was Gedike who gave impetus to the development of organ art in Russia, both performing and composing. He wrote many works for this majestic instrument: concertos, preludes and fugues, chorales, fantasies.
Alexander Gedicke, a graduate of the Moscow Conservatory, composed works not only for the organ. His composer's heritage includes about a hundred opuses. These are operas, symphonies, instrumental concertos, quartets, trios, violin and cello sonatas. Gedike's piano pieces for beginning musicians are popular. Their bright, expressive, but at the same time clear musical language is understandable and close to children's perception. To this day, these miniatures are among the best in the pedagogical repertoire. And this is not surprising. After all, Gedike was a wonderful teacher. At the Moscow Conservatory he taught piano, chamber ensemble and organ. By the time A.F. Gedicke took over the leadership of the organ class of the conservatory, he already had rich teaching experience. Forming a new branch of concert performance, Gedicke made tremendous efforts to organize student education: he achieved constant care for the instrument, introduced an organ skill course to study the structure of the organ into the curriculum, developed a program for the class of a special organ, organized a compulsory organ course for students of the piano department - theoretical and practical exercises necessary for understanding the features of the performance of ancient clavier music. Among his students are the famous interpreter of the music of Frederic Chopin, pianist Viktor Merzhanov, and such talented musicians as Sergei Dizhur and Garry Grodberg. They made up the color of Russian organ art. Thanks to a creative, professional approach to her work, Gedika managed to grow up a whole galaxy of performing musicians who adequately continued and strengthened the traditions of the Moscow organ school.
Acquaintance with the works of Alexander Fedorovich Gedike for many musicians comes down to studying children's pieces from the repertoire of a young pianist. At the same time, the creative heritage of the outstanding Russian musician - pianist, organist, composer and teacher - is very significant: four operas, three symphonies, three overtures and a poem for a symphony orchestra, music for the play, instrumental concertos (for organ, horn, trumpet and violin) , numerous compositions for chamber ensemble, piano, organ, songs and romances, transcriptions and arrangements for various instruments. Of undoubted interest are Gedike's organ works, because his name is inextricably linked with the organ culture of Moscow.
Gedicke's style as a composer was influenced by organ culture and marked by seriousness and monumentality, clarity of form, mastery of polyphonic writing. At the same time, Gedike took a lot from the traditions of the Russian classical school. He is the author of four operas, cantatas, numerous symphonic, piano and organ works, concertos and chamber works for wind instruments, romances, arrangements of Russian folk songs. Gedike is especially widely known as the author of children's plays.
His creative activity throughout his life was inextricably linked with the musical culture of Moscow, and above all with the Moscow Conservatory, where he taught for almost half a century.
Rare spiritual purity and nobility earned the musician universal love and recognition. And his very life has become a symbol of selfless and devoted service to the cause.
The historical significance of A.F. Gedike cannot be overestimated. In a country that survived the First World War, the Civil War and the Great Patriotic War in less than half a century, in a country where there was almost no organ culture, and the "Iron Curtain" overshadowed the centuries-old experience of European performing schools for many years, Gedicke created the foundation of domestic organ art, contributed to the preservation and the development of the traditions of the Moscow Conservatory in the classes of special piano, organ and chamber-instrumental ensemble.
As composer A.F. Gedicke in no way belonged to the "shakers of the foundations", innovators and "daring", but he walked so nobly and calmly along the paths that music had entered before him (magnificent paths that one could still follow and could walk) that many of his the best works continue to deliver sincere pleasure and joy to the lover and connoisseur of music. (G.G. Neuhaus)
Organist, pianist, composer, teacher. Supernumerary Professor II Art. (1909).
He came from a family of hereditary musicians. The son of F.K. Gedike and a Frenchwoman from Normandy, Alexandra Feodorovna (real name Justine-Adel-Augustine) Le Campion (Le Campion). Great-grandfather Gedike - Heinrich Georg (Andrey Ivanovich) was a teacher and inspector of piano classes at the Smolny Institute, composed music. Grandfather - Karl Genrikhovich (Andreevich) - served as the organist of the French Catholic Church of St. Louis, taught music at the Moscow Orphan Institute of Emperor Nicholas I.
Initial training in piano and organ Gedicke was with his father, from the age of 12 he replaced him as an organist in the church of St. Louis. In 1890-92. participated in the Children's Orchestra of A. A. Erarsky. In 1892 he entered the junior classes of the Moscow Conservatory, to A.I. Galli, then moved to the class of P.A. Pabst, after his death - to the class of V.I. Safonova (piano). He studied harmony and instrumentation with A. S. Arensky, N. M. Ladukhin, G. E. Konyus, the encyclopedia with N. S. Morozov, elementary music theory with N. D. Kashkin. He graduated from the conservatory in 1898 with a small gold medal. For composing the Concerto for Piano and Orchestra, the Sonata for Violin and Piano, and Pieces for Piano, he received an award as a composer and pianist at the Anton Rubinstein International Competition (Vienna, 1890).
From 1898 he worked as a music teacher at the Moscow Orphan Institute of Emperor Nicholas I until its closure in 1918, in the 1898/99 academic year he also taught at the Moscow Lyceum in memory of Tsarevich Nicholas. Since 1904, he worked at the Moscow Elisabeth Institute, replacing in 1906 S.V. Rachmaninov as music inspector. In the same year, he took over the duties of an observer for the musical part of the Orphans' Institute in place of A. B. Goldenweiser, who had resigned. Since 1907, in addition to music lessons, he taught the technique of playing the piano and harmony. From January 1907 he also taught piano at the Alexander III Institute of the Moscow Nobility for Ladies of the Noble Title, founded in memory of Catherine II. Work in these educational institutions in many ways contributed to the creation of an extensive educational repertoire for Gedicke, which combined technological and artistic merits.
The largest representative of the Russian organ school. He gave over 200 concerts on the organ of the Great Hall of the Moscow Conservatory (since 1923). Gedike's compositions, as well as his performing style, are characterized by monumentality, depth and rigor, and at times sharp contrasts. Known as a performer of all organ works by J. S. Bach. Author of many musical works, including operas to his own libretto (Virineya, 1913-15; At the Perevoz, 1933; Jacquerie, 1933; Macbeth; orchestral numbers performed in 1944), cantatas, orchestral compositions, including for a brass band, for organ, for pianoforte, (Concertpiece for piano and orchestra), for violin and cello, for clarinet, romances, etc., as well as transcriptions and arrangements of Russian folk songs.
In 1909, on a freelance basis, he entered the service of the Moscow Conservatoire, as a supernumerary professor of the II degree, in 1913 he transferred to active service. From 1919 he taught the chamber class, from 1922 the organ class. In 1923, he was in charge of these departments, and developed a methodology for teaching chamber ensembles for conservatories. Taught a special piano class. Among the students (organ, piano, chamber ensemble) are K. Adzhemov, M. Bruk (piano), A. Vasilyeva, I. Weiss, N. Vygodsky, T. Gaidamovich, G. Grodberg, S. Dizhur. Ya. Kaabak, S. Knushevitsky, I. Kozolupova, V. Merzhanov, M. Milman, S. G. Neuhaus, L. Roizman, M. Rostropovich, I. Ryzhkin, B. Smolyakov, M. Starokadomsky, B. Tevlin, B. Khaikin. For some time he taught piano at the Moscow People's Conservatory. In the 1920-50s. worked at the Music School at the Moscow Conservatory (composition and chamber ensemble).
Alevtina Dvoskina
Extra-curricular event at the Children's Art School “Alexander Gedike - the founder of the Russian organ school. Favorite piano pieces»
Teacher:
Dvoskina Alevtina Evgenievna
R. p. Kuzovatovo
Suggested Scenario extracurricular activities« Alexander Gedike - founder of the Russian organ school. Favorite piano pieces» (to the 140th anniversary of the birth)- intended for students of the music department of the Children's Art School, as well as for students of general education schools.
The goal is to develop children's interest in music as basis creative imagination.
Tasks:
1. Educational: development of musical and creative abilities;
promoting the initial development of musical taste;
laying basics for future vocational training.
2. Developing - the development of creative activity, intelligence, memory, attention, thinking, imagination, the development of emotional responsiveness to music;
3. Educational - education of love for the subject, increasing the level of cognitive motivation, the formation of a moral, aesthetic, emotional attitude to art and life, the development of a communicative culture of behavior and communication.
Methods: Analytical, emotional drama, developing logical and associative thinking, moral and aesthetic knowledge.
Expected Result: expansion of musical and auditory experience and artistic horizons of children, development of taste and aesthetic perception, influx and increase in the number of children in the musical school, increasing the prestige of the musical schools in the cultural space of the village and the region.
Equipment: piano, notes, portraits, slides, speakers.
Form Events- cool themed hour.
The two presenters are the teacher Dvoskina A.E. and the graduate of the music department - Isaeva Natalia.
Participants - students of the music department by class piano teacher Dvoskina A. E. Spectators - students of the music department of the Children's Art School, parents, students of grades 5-6 of general education school number 3.
Participants-artists of the evening dedicated to the work of A.F. Gedike.
Leading evenings
Good evening, dear children, parents and guests! Today our meeting is dedicated to the creativity of the wonderful Russian composer, pianist, scientist, organist, teacher Alexander Fedorovich Gedike. For many musicians, guests of our today's holiday, it will be a revelation to know that Gedike actually not only "famous children's composer", and the largest organist-composer and musical figure who determined the development organ culture in Russia, her most disinterested and zealous ascetic. Stormy PR campaigns of music publications and the media have passed a modest name Gedike…
Maybe for the better? After all, extraordinary modesty Alexandra Fedorovich, and during her lifetime did not allow him to stick out herself, "punch" publication of his numerous works (most of which remain unreleased to this day) and, as they say today, "unwind". He, with his natural aristocracy, the nature of a true musician and intellectual, believed that "being famous is ugly". It is a pity that the original composer and performing talent Gedike, his contribution to history organ culture of Russia thanks to which organ received in our country the status of an independent instrument and forced to reckon with the fact of its existence, they remain in completely undeserved oblivion. By the way, it is the students of children's schools arts appreciate the work of the composer. And today we dedicate our evening to life and creativity Alexander Fedorovich Gedike, and the students of the class piano prepared a concert from the composer's chamber works.
1st host: Alexander Goedicke(now we often say - Gedike) born February 20 (March 4) 1877 in Moscow in a long time settled in Russia to a German family. His great-grandfather, Heinrich-Georg Goedicke, was organist the Catholic Church in St. Petersburg and the rector of the German Drama Theatre. His grandfather, Karl Andreevich (according to the documents - Genrikhovich, was a teacher of choral singing in Moscow and served organist Moscow Catholic Church of Saint Louis of France. Father, Fedor Karlovich (according to the metric - Friedrich - Alexander-Paul Goedicke, have worked organist in the same church, was a pianist in the orchestra of the Bolshoi Theater, taught at the Moscow Conservatory compulsory piano. Under the guidance of his father, little Sasha began to learn to play, first on the piano, and then on organ. Already from the age of 10, he replaced his father in the church, and from the age of 12 he began to perform in concerts. First solo organ he gave a concert in the Great Hall of the Conservatory. In total, they played more than 200 concerts here. For decades, it has been the leading domestic organist. Thanks to Gedike in our country has become regular and very popular and today the practice organ evenings and organ subscriptions.
2nd host: « Organ concertos by Alexander Gedicke, were perhaps the most visited concerts in Soviet Russia, - says Professor of the Moscow Conservatory, Doctor of Arts Elena Sorokina. - Why? It seems that organ although it has never been a cult instrument with us, its timbre evoked certain associations and to some extent filled the spiritual vacuum, which, of course, was felt in those years. Exactly organ concerts partly made up for the lack of temple fellowship. Role Alexandra Gedike in the history of Russian music turned out to be quite special. Organ was known in Russia before, but the full development organ music had only at the beginning of the 20th century. Exactly Gedike gave impetus to the development organ art in Russia both performing and composing. He wrote many works for this majestic tool: concertos, preludes and fugues, chorales, fantasies.
In the performance of the teacher Dvoskina A. E. will sound « Organ Prelude» D minor A. Gedike.
1st host:. When you enter the Great Hall of the Moscow Conservatory, the first thing you notice is the majestic instrument that occupies almost the entire stage.
“I remember the day - it remained in my memory for a long time,” recalls student A. Gedike A. Milman - when this instrument spoke. Sounds of extraordinary beauty poured out, now thoughtfully gentle, now powerful and solemn, they filled all the corners of the hall.
Performer on organ bore a strange surname consisting of three syllables: Ge-di-ke.
As I found out, he was a professor at the Moscow Conservatory, where he taught for almost half a century, a famous composer, organist and pianist».
Gedike often gave organ concerts. He played the most beloved Bach.
"His music," he said Gedike, - forever young, fresh and new, full of life and fire, joyful and deep, contemplative and sublime, captivates us with such force, as if Bach still lives among us, young, full of strength and love for life.
At concerts Gedike there were always a lot of people. After the end, the artist was applauded for a long time, sent touching notes, thanked for the pleasure.
Now performed by Darya Abramova will sound « Organ Prelude» in C minor J.S. Bach.
And now the old dances will sound - "Sarabande" And Rigaudon A. Gedike performed by 2nd grade student Akhtyamova Agili.
2nd host: Since 1909 Alexander Fyodorovich Gedike was a professor at the Moscow Conservatory piano, from 1919 he headed the department of chamber ensemble. Since 1920, he also led a class body(the game on which he studied from childhood under the guidance of his father, and in 1923 he headed the department body and gave his first solo concert on the instrument of the Great Hall of the Conservatory. Among his students- organists H. Ya. Vygodsky, M. L. Starokadomsky, L. I. Roizman, S. L. Dizhur, Harry Grodberg, I. D. Weiss.
1st host: "Many of you guys, the name of the composer Alexander Fedorovich Gedike becomes familiar from an early age. Which of the novice musicians did not play his "Zainka" in childhood, and later "Dance", "Tarantella"?»
About one impression connected with Gedicke - composer, recalls student A. Gedike, pianist Alexander Bakhchiev.
“In an unusually solemn atmosphere, in the overcrowded Great Hall of the Conservatory on March 19, 1957, there was a concert dedicated to the 80th anniversary of Alexander Fedorovich. Philharmonic Orchestra (conductor B. E. Khaikin) played the 3rd symphony of the hero of the day. The soloists this evening were K. A. Erdeli, S. N. Eremin, himself Gedicke played the organ - solo and in an ensemble.
"Hare"- performed by 1st grade student Nastya Kalinicheva.
In the second branch - a stream of congratulations, an abyss of addresses; among the mass of others - of course, from children's musical schools.
And at some point, a little boy separated from this deputation, slowly sat down at the piano and began to play at a restrained pace ... "Hare". "Hare" in the Great Hall! Imagine what happened after that - the hall literally collapsed from applause: everything looked all the more hilarious because the child's play was full of seriousness and dignity. And, of course, the anniversary Alexander Fedorovich is"incident" gave the features of absolute originality ... ".
Now R. n will sound. P. "Hare" in processing A. Gedike-performed by 1st grade student Kalinicheva Anastasia.
"Tarantella"- performed by 3rd grade student Ilyin Alexei.
Why is it so popular piano pieces by Gedicke for beginner musicians.? Their bright, expressive, but at the same time clear musical language is understandable and close to children's perception. To this day, these miniatures are among the best in the pedagogical repertoire. And this is not surprising. After all Gedike was a wonderful teacher.
A. Gedike. "Miniature"- 4th grade student Gamkrelidze Milana will perform.
A. Gedike. « Play» in A minor will be performed by Nastya Potapova. (3rd grade).
A. Gedike. "Sonatina" C major - performed by Zubova Xenia, 2nd grade.
2nd host: Alexander Fedorovich Gedike was an indefatigable worker. Remembering the testament of the great composer P. I. Tchaikovsky - "You must always work!", - Gedicke composed, worked on organ, piano daily. Didn't wait "suitable mood" and demanded the same from his students.
He got a lot done in a day.
At Alexandra Fedorovich had a certain daily routine, which he strictly adhered to all his life. He always got up at 6 am and went to bed at 9-10 pm.
Since morning Gedike went to the Conservatory to study organ and then with students. There was no case that he ever missed class or was late. It could be used to check the clock.
Who was not familiar with the tall figure of a man with a graying beard, walking in the early morning with a leisurely gait, with a stick in his hand, down Herzen Street to his home - favorite Conservatory! Not only people knew him, birds knew him well.
From feeding birds and animals Gedike the work day began. He, one might say, "knew by sight" every sparrow that lived on Herzen Street, and the sparrows knew him. As soon as he appeared on the street, sparrows immediately flew to meet him, circled over his head. He would take out a bag of bread crumbs he had prepared beforehand from his pocket and scatter them in all directions. Sitting down on a bench in the conservatory garden, Alexander Fedorovich looked at his feathered friends with affectionate eyes.
“Look,” he called to me. Gedike,-(recalls his student A. Milman) Do you see that one with the broken leg? His mischievous boys knocked out. Such a nimble one, he always takes bread from others.
at home Gedike there were a huge number of cats and a spitz dog, which the owner called Sharko or Sharik, and in moments of special affection - Sharkushka.
With their favorites he spoke like with people. I remember one funny incident.
I came for some business Alexander Fedorovich. He opens the door, and a dog runs behind me and barks at me.
- Sharko, Sharko, stop it! Charcot does not let up.
- Sharko, stop it, it's Milman who came!
This argument also did not reassure the four-legged "owner".
- Sharko! Inconvenient, because Milman is an assistant professor!
Having exhausted all beliefs and not having succeeded, Alexander Fedorovich led the dog into another room.
1st host: Engaged Gedike with students with great enthusiasm. He sang along, whistled, walked around the class, nervously fiddling with the chain from his pocket watch, conducted. Sometimes he shouted, awakening the lethargic from "hibernation". If the students were talking during the lessons, making noise, Alexander Fedorovich them pulled back: "Do not indulge!". Gedike wanted to seem strict, angry, but he did not succeed. Unusual gentleness, kindness affected everything.
There was no occasion for Alexander Fedorovich said harshness to one of the students. He only threatened warned: "Look, I'm angry!" But it's nobody scarecrow: during the said threat, the same kind eyes looked at the student.
After work Gedike strolled through the garden near the Conservatory. Seeing the guys, he called them up and in an artificially angry voice muttered: "Give a hand!" He slipped a candy into his outstretched hand.
Love for nature taught Alexandra Fedorovich to great powers of observation. He vigilantly noticed the slightest changes in the world around him. Each bud swollen in the spring delighted him. In the program play"In the forest at night" the composer figuratively paints a picture of mystery, the rustles of the night forest are heard, "hoot" owls.
A. Gedike. "In the forest at night"- Performed by 2nd grade student Ekaterina Pozharova.
2nd host: The image of the raging elements is created by A. Gedike in the play"Storm".The fast run of the sixteenths, which evoke associations with gusts of wind, are replaced by thunder. Contrasting dynamics, rich pedalization - all these means of musical expressiveness seem to paint us a figurative picture of a thunderstorm.
A. Gedike. "Storm"-performed by Zubova Ksenia 2nd grade.
After the rain, the sun came out and a cheerful rainbow-arc hung in the sky.
A. Gedike. "Rainbow"-(etude in G major).-performed by Rodionova Victoria 2nd class.
When Gedike he composed music for children, he seemed to be reincarnated as a boy or a girl, he tried in his imagination to live in their interests. That's why children are so eager to play plays"grandfathers Gedike".
Sounds fun, playful "Small play» performed by 3rd grade student Anastasia Potapova.
And now they will sound "Variations" on the theme of the well-known comic song “Once upon a time there was a gray goat with my grandmother”- it will be performed by a 4th grade student Nikita Nushtaev.
1st host: All acquaintances and students pointed to the extraordinary personal qualities of A.F. Gedike, few people loved at the conservatory and in Moscow, as Alexandra Gedike. His incredible benevolence, delicacy, sincerity and ingenuity made Alexandra Gedicke is the soul of the conservatory, aroused the love and deep devotion of the students. And when one of his acquaintances was in trouble, Gedike the first hurried to the rescue, helped both in deeds and financially. He combined benevolence and strictness, exactingness both to his students and to himself. He was incredibly kind. famous « Gedikovskoe» statement "Well, that's really bad, foursome!" entered history.
2nd host: IN piano playing Alexander Fedorovich could not bear the harsh, "knocking" sound. Favorite expression was"softer, smoother!" Gedike distinguished by a vivid figurative language, the use of folk expressions, he often spoke students: "Do not beat!", "Do not indulge!", "Do not talk!". Because of this, and also because of the beard and the unchanging "string bags" Gedike sometimes they took him for an elderly peasant, which amused him very much, but he never got angry. spoke Gedike low bass. I loved stroking his beard and fiddling with his pocket watch chain. A. F. Gedike was an extremely punctual person loved thoroughness. He very strictly observed the regime of the day, this largely explained his enormous capacity for work. According to students and colleagues, for all the years of work at the Conservatory, he never missed a single lesson and never once was late for classes and meetings of departments. Even when he came to class very ill, persuading him to return home was a daunting task. His every day was filled with classes with students, exams, concerts, where he played himself or listened to favorite music. And it seemed to everyone that nothing could change this way of life.
Alexander Fedorovich died on July 9, 1957, having lived 80 full years full of music and creativity. He was buried in Moscow at the Vvedensky cemetery. This modest monument adorns his grave.
Bibliography:
M. Milman. Memories of A. Gedike.
Gedike A. 60 lungs piano pieces for beginners. M, Soviet composer, 1978
Budkeev S. M. Gedicke organist. Publishing house of the Ministry of education of the Russian Federation.
I was with Sergei Vasilyevich in the autumn of 1900, although I knew him, took an interest in him and loved him passionately since 1887, when he was still a student at the Moscow Conservatory, and I was a first-class gymnasium student.
For years, my father, a teacher at the Moscow Conservatory in the compulsory piano class, often took me with him to student evenings, concerts and performances of the conservatory, and I made every effort not to miss a single evening.
I was interested in these evenings, where from the very beginning I recognized all the most gifted students of the conservatory in all performing specialties.
Very good young Seryozha Rachmaninov, a thin boy of high stature, with large features, with large long arms, already in those years, he stood out sharply among all the others with his bright musical talent and absolutely exceptional pianistic abilities. I also remember the frail and frail A. N. Scriabin, who had neither the scope of talent, nor the strength and temperament of Rachmaninoff, seemed pale and dull next to him, although a sensitive listener in those years in Scriabin could see and guess all the characteristic features of a subtle pianist and a great musician.
Other most gifted pianists-students of that time are also good: Leonid Maksimov, a bright pianist, reminiscent of Rachmaninov in his playing, I remember Joseph Levin with his phenomenal technical data, F. Koeneman, S. Samuelson and a number of others (there were many of them in those years) . I also remember the violinist well N. Avierino, the Press brothers and a number of others.
For years, my father took me with him not only to concerts at the conservatory, but also to the symphony concerts of the Russian Musical Society*, which took place in the Great Hall of the Noble Assembly. I almost always made my way to the choir stalls and sat or stood at the very end of the hall, that is, at the point furthest from the stage. There I saw almost every time Sergei Vasilievich Rachmaninov, whose favorite places were almost next to me.
The dream at that time was to enter the conservatory, but for some reason my father really wanted me to finish the gymnasium first, but I didn’t want to hear about it, and in 1892, having failed the exam in Greek, I was left for the second year; this circumstance helped me to part with the gymnasium. In the autumn of 1892 I finally entered the conservatory in the class of Professor A. I. Galli. My dream came true, and a happy time began for me ...
In the early nineties, of all the young musicians, Rachmaninoff was undoubtedly the most popular. His name was well known to Muscovites. Each of his performances, whether as a pianist, composer or conductor, resulted in a huge success. And then to say: his opera "Aleko", the First concert op. 1, which he played with the orchestra, a number of romances, wonderful piano pieces were widely known and made people talk about themselves. Among the students of the conservatory, his piano pieces "Polichinelle", Barcarolle g-moll and especially the Prelude cis-moll from op. 3, which was performed by most of the pianists of the conservatory.
Rachmaninoff was distinguished by her originality. He was the one and only. The charm of his personality, exceptional talent, phenomenal pianistic data made him a favorite of the Moscow public, and this charm grew and grew every year.
That in the 1990s Rachmaninoff suffered a hard setback in connection with the performance of his First Symphony in St. Petersburg. The symphony was poorly played under the baton of A. K. Glazunov and was not successful. In addition, N. A. Rimsky-Korsakov expressed to Sergei Vasilyevich his attitude towards this work, and Nikolai Andreevich's review was generally definitely negative. This failure had a strong effect on Sergei Vasilyevich. He even stopped composing for a while, became gloomy and irritated, and this state of his lasted until about 1900. He then resorted to the help of the doctor N.V. Dahl, who, partly by advice, partly by suggestion, managed to raise the spirit of Sergei Vasilyevich. Reviving his spirit and faith in himself, he wrote in a short time the brilliant Second Piano Concerto, the Suite for Two Pianos and the inspired Cello Sonata. From that time on, Sergei Vasilievich began to work with great enthusiasm, and the exceptional success of these major works of his inspired him and helped him in his later creative life. Since 1902, Sergei Vasilyevich began to perform a lot, performing his First and Second Piano Concertos. In 1902, a change also took place in his personal life: he married Natalia Alexandrovna Satina, got himself an apartment and continued to work hard, feeling solid ground under his feet.
In the same years, he entered the Moscow Elizabethan and Catherine's Women's Institutes as an inspector of music classes. I worked in those years at the Moscow Nikolaev and Elizabethan Institutes. In the last of them, I constantly met with Sergei Vasilyevich, became close to him and fell in love with him even more.
Sergei Vasilyevich at the institutes was paid rather meagerly, and what a service it was. He visited each of the institutes once or twice a month, and even this one time was that he was sitting either at tea with the head of this or that institute, or at musical evenings. Both bosses - both O. S. Kraevskaya and O. A. Talyzina - were proud of their inspector, appreciated him, loved and even were jealous of each other.
I remember one episode from the time of Sergei Vasilyevich's inspection at the Elizabethan Institute. In one of the classes there was a closed musical evening. The boss, OA Talyzina, was sitting in a luxurious blue satin dress with insignia and a cipher. There were also cool ladies, teachers, music teachers and many students. During the evening, Olga Anatolyevna's footman in a tailcoat provided everyone with tea with cream, crackers, etc. The evening went on as usual. Sergei Vasilyevich, as always in a black frock coat, sat with his legs crossed, and lightly stirred his tea with cream with a spoon. And suddenly ... an awkward movement, and the whole glass of tea with cream overturns on Olga Anatolyevna's luxurious dress. An involuntary cry of horror is heard from many lips. Everyone rushes to help, but it's too late to help. Olga Anatolyevna was forced to leave the evening and go home to change. She returned half an hour later, but in a light gray dress, and nothing was left of the former brilliance. Sergei Vasilievich was depressed by what had happened. This incident affected him much more than he could have expected. A few days later, when I met Sergei Vasilyevich again at the Elizabethan Institute, he told me:
You know, I can't walk past the ill-fated class: I see before my eyes how the glass is tipping over on Olga Anatolyevna's dress. This is so unpleasant to me that I, in all likelihood, will leave this institute.
A year, having come to the decision to leave for the whole winter in Dresden, in order to fully engage in creativity, he left the institute, transferring his position as an inspector to me. With his departure from the institute, he deeply saddened Olga Anatolyevna, who did not have a soul in him.
November 1903 in St. Petersburg, in one of the symphony concerts of AI Siloti, Sergei Vasilyevich performed his Second Piano Concerto. I then traveled with him to St. Petersburg, as in the same concert I performed with my First Symphony.
My symphony was helped by Sergei Vasilyevich, who recommended it to Siloti. The latter gave me the opportunity to conduct myself. The days when the rehearsals for this concert took place coincided with one of the most severe floods in St. Petersburg. All the end pavements surfaced, huge fountains gushed from the gutter holes, and the Neva rushed back in bubbling foam, so that the Petersburgers were not up to our concert. This concert nevertheless took place, although many who had tickets could not get into the concert because of the divorced bridges. The first number was, and quite successfully, my symphony. After the intermission, Sergei Vasilyevich played his Second Concerto, already dearly loved and understood by Muscovites, but little known to Petersburgers. The concert made an impression and was a success, but much less than I expected. I was especially struck by the fact that the game of Sergei Vasilyevich, inimitable and unparalleled, remained underestimated and misunderstood. In a word, once again I had to make sure that outstanding compositions are very rarely perceived immediately, and even such dazzlingly bright ones as Rachmaninov's Second Concerto.
Rakhmaninov's concerto was performed by N. A. Rimsky-Korsakov's cantata "From Homer" and in conclusion - "Mephisto Waltz" by F. Liszt. At the end of the concert, we were invited to A.I. Siloti for dinner. There were a lot of musicians, both Petersburgers and Muscovites who came to this concert. At dinner, F. I. Chaliapin sat almost next to Sergei Vasilyevich, who rather unexpectedly proclaimed a toast to the young Moscow musicians who had arrived. He himself was only a very little bit older than us.
It would be nothing if he did not add in the introduction to the toast that he takes the liberty of saying this toast "on behalf of the father of Russian music, Nikolai Andreevich Rimsky-Korsakov." These words made a strong impression, especially on the owners of the house. Alexander Ilyich and Vera Pavlovna were simply stunned, and Sergei Vasilyevich shouted loudly to Fyodor Ivanovich: “Shut up, humpty-dumpty,” to which Chaliapin shouted even louder: “Shut up, Tatar mug,” after which a toast began with something like this: “ Speaking on behalf of Nikolai Andreevich and knowing his warm feelings for young musicians, I would like to greet our young friends - Sergey Vasilyevich and Alexander Fedorovich - and wish them further success in their life path. All those present well remembered the failure of Sergei Vasilyevich's First Symphony in St. Petersburg and that it was Nikolai Andreevich who reacted coldly and unsympathetically to this symphony, so that Chaliapin's performance was impudently tactless. Everyone was puzzled, but Rimsky-Korsakov, sitting next to Glazunov, bent over his plate and did not raise his eyes. He didn't say a word during the whole meal. The hosts were very unhappy with this episode. Many years have passed since then, but the impression made by this toast of Fyodor Ivanovich is still so alive in me, as if it all happened yesterday.
After this trip, I was visiting Sergei Vasilyevich and recalled with him about Chaliapin's trick, he told me about a number of interesting cases connected with Fyodor Ivanovich, of which one stuck in my memory. At one of the rehearsals at the Russian Private Opera, where Chaliapin sang and Rachmaninov conducted, the following happened: the rehearsal was without costumes and without scenery; Chaliapin was not busy at that hour and simply stood "idle", several soloists repeated unsuccessful places, and suddenly Sergei Vasilyevich notices that Chaliapin is standing with his mouth open and has some kind of ridiculous look. At the same time, it is clearly felt that he is copying someone. Sergey Vasilyevich tells me: “I try to figure it out - but I can’t. Finally, it suddenly dawned on me: why, he is copying me, and I feel that I have blushed to the roots of my hair. But the point was that I sometimes had a habit of conducting with my mouth half open, and Fyodor Ivanovich, with his characteristic talent for capturing the characteristic features of any person, noticed this habit of mine. I opened my mouth a little due to some defect in the nasopharynx (so the doctors told me), but from that day on my mouth closed tightly.
Over the years, I met Sergei Vasilyevich most often in the Great Hall of the Noble Assembly, in the Great Hall of the Conservatory and at the symphony concerts of V.I. Safonov, A. Nikish, A.I. neither I nor Sergei Vasilyevich ever missed. From about 1902 I began to visit his house, at first occasionally, and then more and more often. In his apartment, we often played various compositions in four hands, and I cannot imagine a greater pleasure than playing four hands with Sergei Vasilyevich. Only those who had to play music with him will be able to understand what happiness it was. He read notes amazingly, but this is not the main thing. He liked to play everything in an undertone, but how! Listening to every sound, he seemed to “probe” what he was performing. He heard through all the music, and this gave his playing some extraordinary character. The most striking thing was that, having played one or another great symphonic work once or twice, he already knew it almost completely by heart and remembered it for a very long time, especially if it sunk into his soul. With his phenomenal hearing and memory, all this did not represent much difficulty for him. We played a variety of compositions with him, and no matter what we played, I got incomparable pleasure.
He also liked to play his own compositions, just finished, in an undertone, but with such inner persuasiveness and strength that they became, as it were, sculpturally voluminous. Behind the instrument at home, Sergei Vasilyevich was unique and infinitely attractive.
I started visiting him, he lived with his wife on Vozdvizhenka in the house where the hygienic laboratory was located, on the top (third) floor and occupied an apartment of about five rooms. He rarely had guests, and almost always the same faces. Of his relatives, V. A. Satina often visited here, for the most part with Dr. G. L. Grauerman and accompanied by a large dog, which Rachmaninoff loved very much. The sister of Rachmaninov's wife, Sofya Aleksandrovna, also often visited, and his father-in-law, A. A. Satin, of enormous stature and athletic build, also came in. Sergei Vasilyevich was usually in a good mood over tea at home and was especially charming. He told all sorts of things with his wonderful bass, almost everything in an undertone, with subtle humor and great powers of observation.
The evening spent at Sergei Vasilyevich's was a holiday for me, and if I had to play four hands, this holiday became the twelfth. Sergey Vasilievich lived with his family in this apartment for a short time, and from there they moved to Strastnoy Boulevard, to the house of the First Women's Gymnasium. Sergey Vasilyevich lived there on the very top floor, and the parents of his wife, Satina, lived on the floor below, and Sergey Vasilyevich would definitely come to them almost every day. In general, their whole family lived very amicably. In addition to the old Satins themselves, Sergei Vasilyevich was constantly visited by his cousin V. A. Satin and his wife, whom Sergei Vasilyevich loved very much. Of the comrades, Sergei Vasilievich was not very often visited by M. A. Slonov, N. S. Morozov, N. G. Struve, A. A. Brandukov, N. K. Medtner, Yu. E. Konyus, A. B. Goldenweiser and a few more.
Vasilyevich was an exceptionally wholesome, truthful and modest person. He never boasted of anything, was extremely accurate and precise. Promising to be at such and such an hour, he was never late, and in others he also greatly appreciated accuracy and accuracy. He liked to draw up a plan and schedule of his work in advance and suffered greatly if for some reason he had to violate this plan.
Sergei Vasilyevich always reigned in an absolutely exceptional order. He smoked a lot, but he never had cigarette butts or matches lying around. He cleaned it all up himself. The desk was clean and uncluttered. There were also no notes on the piano; all this was removed immediately after the game.
Vasilyevich was mostly at home in the evenings. He occasionally went to symphony concerts and even less often to the theater. In the summer, he lived almost all the years in the Tambov province, twenty miles from the Rzhaksa station, on the Satin estate - Ivanovka, which he loved very much.
He is most often in the morning hours, but when he was carried away by something, and if, moreover, the work went easily and successfully, then he was engaged, one might say, in a drinking bout, that is, from morning until evening. And vice versa, in case of failure, he quickly lost his mood, work became a torment for him, and it often happened that he put it off for a while, and sometimes even quit altogether. Any failure led him to lose faith in himself, and then the obsessive thought that he would no longer be able to compose anything brought him to a depressive state.
All the years of my acquaintance with Sergei Vasilyevich, I do not remember him being seriously ill and lying in bed. On the other hand, he was extremely suspicious and inclined to assume that some serious illness lay in wait for him; but if the doctor succeeded in persuading him, he quickly revived, became cheerful and cheerful until the next attack of ill health, that is, until a depressed mood appeared and it again began to seem that he was falling ill with some kind of serious illness. But when his work was going well, he was happy, he did not think about illnesses and worked with enthusiasm. Unfortunately, he had a pessimistic mood much more often than a cheerful one. But the nature of these attacks of gloomy mood was mainly purely nervous and was closely connected with a hitch in creative work. In moments of good mood, Sergei Vasilyevich was cheerful and cheerful, but still restrained and not fussy. He spoke slowly and quietly, in a thick, low bass voice that octavist singers speak.
He didn't like to work. He studied the piano irregularly and very little, mainly because everything was given to him very easily, no matter what he undertook. If he practiced the piano for one hour a day, then forty minutes of this time he played exercises and only twenty minutes any composition.
He was very fond of church singing and often, even in winter, got up at seven o'clock in the morning and, in the dark, hiring a cab, left in most cases for Taganka, for the Androniev Monastery, where he stood in the dimly huge church for a whole mass, listening to the ancient stern chants from the Oktoikh, performed by monks in parallel fifths. This made a strong impression on him. After mass, Sergei Vasilyevich drove home and, after resting a little, sat down to study.
It happened that the same evening he went to the Great Hall of the Noble Assembly for a symphony concert. After the concert, he often left for dinner at the Yara restaurant or Strelna, where he sat up until late at night, listening with great enthusiasm to the singing of the gypsies.
These sharp contrasts: a semi-dark monastery with stern singing from the Oktoich, a symphony concert and then a society of gypsies at Yar, with their original song repertoire and even more original performing style, were a need for Sergei Vasilyevich, and he could not live without these impressions, so these strange journeys were repeated quite often. But he liked to make them not in the company, but alone.
Understanding the true reasons for Rachmaninov's trips to Yar or Strelna, many Muscovites considered him a reveler, spending sleepless nights with gypsies.
Sergei Vasilyevich for many years, I can say that all these conversations and gossip had no basis. He visited Yar, listened to gypsies, but he never drank and was never fond of drinking. By temperament he was stern and serious, but he knew how to joke and loved cheerful interlocutors when he himself was in the spirit.
He was excellent! He loved his children ardently, took great care of them, and cheered for them with all his heart, even if they were slightly ill.
In 1910, Sergei Vasilievich began to get involved in the car, and already in 1912 he had a magnificent blue Mercedes. I remember this well, since in the summer of 1913 I went to visit him in Ivanovka. The days I spent in Ivanovka remained in my memory in almost every detail. Sergey Vasilyevich and I spent all these days together.
I still have the summer of 1913, and because, having agreed with Sergei Vasilyevich in the winter to come to him in the summer, I often thought about this trip.
It rained day and night; rivers and rivers swelled, and in the end the Moscow River overflowed its banks and began to flood the meadows in the Bronnitsky district, causing huge losses to agriculture (already in June, all the haystacks surfaced in the meadows). I saw that, in all likelihood, I would have to postpone the long-awaited trip and stay at home. But from the newspapers, I learned that in the southern zone of Russia there is wonderful hot weather, and showers and rains come only in Moscow and neighboring provinces, they do not reach further than the Ryazhsk station. After reading this data, I sent a telegram to Sergei Vasilyevich and two days later received a reply: "I'm waiting."
Early July. I quickly packed up and went to Moscow to the Paveletsky railway station. At the station I met my school friend, also comrade Sergei Vasilievich, tenor Rubtsov (of the Italian school, as he spoke of himself). Asking me where I was going, and learning that I was going to visit Sergei Vasilyevich in the Tambov province, he said with a sigh:
Talented person. Disappears not for the scent of tobacco.
Why? I asked him, not understanding where he got these fears from.
After all, he drinks. After all, everyone knows this, everyone pities him. What are you going to do there?
Answered in tone:
Drink with him.
At the Paveletsky station with Rubtsov, I went to the Tambov province to the Rzhaksa station, twenty miles from which was the estate of Sergei Vasilyevich. When I got on the train, I saw with horror how all the roads crawled into the mud, all the streams turned into rivers, and small rivers into raging streams. Night fell and I fell asleep. Waking up at dawn, through the window I saw torn clouds and through them a blue sky, which I had not seen for a long time. We were near Ryazhsk. Two hours later we arrived at Kozlov. It was a wonderful morning, and nothing to remind of a whole month of rains. Soon we passed Tambov and drove on. Arriving at the large Sampur station, I saw a car through the window and Sergei Vasilyevich was driving in it. His cousin Sophia Alexandrovna came into my car at that moment and offered to quickly get ready to go further with Sergei Vasilyevich in the car. Five minutes later, the three of us were already flying in a car across the virgin lands.
Vasilyevich had his own driver, but he preferred to drive the car himself and did it masterfully. He loved fast driving, and being nearsighted, he still drove the car without wearing glasses.
We flew from Sampur to Ivanovka for almost a hundred miles in an hour and a half. On the way, he told me that for a whole month there had not been a single rainy day. Until now, I can not forget the impressions associated with this trip: this wonderful road through the virgin lands, and these farms of sectarians for almost fifty miles, and in general a lot of new unfamiliar places. But now we have entered his estate. Sheds, barns, a barn, a large pond, a garden, and, finally, their house appeared. Stop. We've arrived. All the inhabitants came out to meet us.
At dinner I told Sergei Vasilyevich about my meeting in Moscow at the railway station with Rubtsov. Sergei Vasilyevich grinned and said to his wife in his thick bass:
Natasha, get the liqueur from the buffet. We will start drinking with Alexander Fedorovich so as not to let Rubtsov down in his forecasts. - During lunch, in addition to members of the Rachmaninov family, of whom I did not know all, there were still quite a few relatives and acquaintances.
After lunch, after a short rest, Sergei Vasilyevich took me to inspect his farms. This estate had already been bought by Sergei Vasilievich from his father-in-law A. A. Satin, and he was already walking with me in the role of owner. Their house was old, but all the premises adjacent to it: barns, sheds, a cowshed and stables were of a very solid construction, stone, with iron roofs. Sergei Vasilyevich had excellent horses, both working and traveling, a large number of cows, sheep and pigs. In a word, the economy in 1913 did not look neglected at all. During the days of my stay there, the threshing of bread (by steam engine) went on all day. Sergey Vasilyevich had a lot of wheat. After all, the estate had, it seems, 1,500 acres (I don’t remember the exact number). Sergei Vasilievich, of course, was primarily a composer in Ivanovka, but still he devoted a lot of effort and attention to taking care of the estate. He spared no effort and money to keep the estate in order and showed me his household with enthusiasm and not without pride. The weather, in contrast to Moscow, was wonderful - hot, without wind and without a single cloud, with moonlit nights. In the evenings, numerous jerboas jumped out of the forest (from the "bushes", as small forests are called there), of which there are many in the steppes of southern Russia. Sergei Vasilyevich and Sofya Alexandrovna and I rode in a boat on their large pond - very deep and clean, with many carp, which Sergey Vasilyevich caught by setting the tops with bait.
The second day of my stay there, Sergei Vasilievich took me to his work room (in the garden) and introduced me to the wonderful poem "The Bells". He played it to me slowly, in an undertone, explaining and singing everything essential.
According to the score, written so small that I, having good eyesight, could not make out anything at all, and he looked and played without glasses. He told me the story of the origin of this work: a year before that, he received a letter from a girl he did not know, who sent him the text of this poem, offering to use it for a large poem, which he did. I was deeply moved by Sergei Vasilievich's poem and especially the impression made on me by the inspired performance of its great author. He also played me his Romances op. 34, which also captured the soul. On the third day, Sergei Vasilievich once again played “The Bells” for me, which for the second time made an even greater impression on me.
In Moscow, Sergei Vasilievich sometimes drove a car for me and took me to Sokolniki or somewhere outside the city, striking with his wonderful art of driving a car, especially in Moscow, in the city center.
From 1906 or 1908, Sergei Vasilyevich became friends with N.K. Medtner and fell in love with him very much; Medtner began to visit him and share his plans with him, show new works, which Sergei Vasilievich highly appreciated and was extremely interested in. He was also attracted by the personality of Medtner. Nikolai Karlovich also passionately fell in love with Sergei Vasilyevich.
In the same years, Sergei Vasilievich became friends with the conductor S. A. Koussevitsky, performed in his concerts, highly appreciating Koussevitzky the conductor, willingly played his piano concertos under his direction. Every year Koussevitzky grew as a conductor, his symphony concerts became more and more interesting in terms of programs and quality of performance. During these years, Koussevitzky had the idea to found his own music publishing house in the manner of M. P. Belyaev. In the face of Sergei Vasilievich Koussevitzky met with complete sympathy for this idea and, moreover, a person on whom he could rely.
Vasilievich could well lead this matter, help Koussevitzky not to stray from the right course, relying on his enormous authority and guided by his advice in such a complex matter. To begin with, it was necessary to find a person who could conduct business in Moscow. Then Koussevitzky wanted to establish an artistic council at the publishing house, the composition of which was also to be chosen by Sergei Vasilyevich. And, finally, it was necessary to find a person who would run the business of this publishing house in Germany, being, as it were, a confidant of Koussevitzky. These were all difficult questions.
The first of these places, Sergei Vasilyevich, found Fedor Ivanovich Grishin, who was the head salesman in P. Jurgenson's store. It was necessary to “lure” him to Kusevitsky, which had to be done very delicately so as not to offend the sons of P. Jurgenson - Boris and Grigory Petrovich, who, after the death of his father, led his publishing business. Sergei Vasilyevich carried out this very delicate operation tactfully, skillfully and relatively painlessly. In a word, the Yurgenson brothers released their wonderful worker Grishin without scandal, although it could hardly have been pleasant for them. Thus, Fedor Ivanovich Grishin became the head of the Moscow branch of the Russian Musical Publishing House.
Artistic Council Sergei Vasilyevich attracted A. N. Scriabin, N. K. Medtner, me, L. L. Sabaneev, A. V. Ossovsky (from St. Petersburg). Sergei Vasilyevich was the head of the council, and he invited his friend N. G. Struve, an excellent musician and theorist, to be the secretary.
And the notes were engraved at Raeder in Berlin. And the shops of the publishing house, except for Russia, were in Berlin and in a number of other cities (branches and representative offices). In fact, heading the most difficult task, Sergei Vasilyevich spared no effort and discovered in this work a huge organizational talent, and Koussevitzky could calmly go about his concerts, feeling like behind a stone wall, having such assistants as Sergei Vasilyevich, Struve, Grishin, P. A Lamm and others. After one or two years, the publishing house went brilliantly, and the Russian Musical Publishing House, despite the strongest competition, began to flourish and enjoy worldwide fame, and all this is mainly due to S. V. Rachmaninov.
I don’t remember exactly all the authors who were published by the Russian Musical Publishing House, but a number of works and members of the council were published, including Scriabin’s Prometheus, a number of Medtner’s compositions, several of my opuses, in particular the Second Symphony.
Here I can say that among the prominent composers, only one Sergei Vasilievich could take on such a responsible and enormous work. His departure abroad was a heavy blow for his offspring - the Russian Musical Publishing House, which without him could not successfully exist here.
Shortly after the October Revolution, he left for America, where he lived until his death. A friend of Sergei Vasilievich, N. G. Struve, tragically died. While in Paris on publishing business, he went to Koussevitzky's hotel. When leaving the elevator, he was either completely crushed, or his head was cut off by the elevator. Soon the head of the Moscow branch of the publishing house, F. I. Grishin, also died. Both the publishing house and the music warehouse of Breitkopf ceased to exist.
Difficult years of devastation, civil war and famine. During these years, Sergei Vasilyevich tried to help all his friends, relatives and friends as best he could, sending them money first, and then parcels, which were great support for everyone who received them and which simply helped many out of trouble. These parcels included the following products: flour, cereals, sugar, condensed milk, cocoa and vegetable oil or lard. In a word, in those days, receiving such a package was a very big help. In Moscow, many people commemorated Sergei Vasilievich kindly, every day pouring sugar into a glass of cocoa with condensed milk. We did not know anything about how Sergey Vasilyevich lived in those years and what he did. From time to time we heard rumors about his numerous concert appearances as a pianist, which were accompanied by great success. However, these were all just rumors. All contact with him was cut off.
We all, his friends, almost every day, because we loved him dearly, and it was impossible for those who knew him closely to forget him.
As composer A.F. Gedicke in no way belonged to the "shakers of the foundations", innovators and "daring", but he walked so nobly and calmly along the paths that music had entered before him (magnificent paths that one could still follow and could walk) that many of his the best works continue to deliver sincere pleasure and joy to the lover and connoisseur of music.
G.G. Neuhaus
Acquaintance with the works of Alexander Fedorovich Gedike for many musicians comes down to studying children's pieces from the repertoire of a young pianist. At the same time, the creative heritage of the outstanding Russian musician - pianist, organist, composer and teacher - is very significant: four operas, three symphonies, three overtures and a poem for a symphony orchestra, music for a performance, instrumental concerts (for organ, horn, trumpet and violin ), numerous compositions for chamber ensemble, piano, organ, songs and romances, transcriptions and arrangements for various instruments. Of undoubted interest are Gedike's organ works, because his name is inextricably linked with the organ culture of Moscow.
A.F. Gedike (02/20/03/04/1877 - 07/09/1957) came from a family of hereditary musicians. His great-grandfather, Heinrich-Georg Gedicke, lived in St. Petersburg, worked as an organist of the Catholic Church, inspector of the Institute for Noble Maidens and director of the German Drama Theater. St. Louis Catholic Church in Moscow Fyodor Karlovich Gedicke (1839 - 1916), a student of A. I. Dubuque in piano and Hardorff in music theory, was a professor at the conservatory in the compulsory piano class, worked as a pianist and organist in the orchestra of the Bolshoi Theater. owned composing technique, but his compositions did not receive fame.
In 1898 A.F. Gedicke graduated from the Moscow Conservatory with a degree in piano. The years of study passed in a wonderful atmosphere of communication with professors of the conservatory - A.I. Galli, P.A. Pabst, V.I. Safonov, S.I. Taneev, N.M. Ladukhin. N.D. Kashkny,
G.E. Konyus, G.L. Katuar and talented fellow practitioners - cousins of A.F. Gedike N. and A. Medtner, I. Levin, K. Ugumnov, A. Goldenweiser, Bliz. Gnesina and other musicians. Playing the organ A.F. Gedike studied only with his father, from time to time replacing him in the church, although the conservatory already had an organ class.
In 1900, Gedicke participated in the Third International Competition named after A.G. Rubinstein in Vienna as a pianist (along with N. Medtner and A. Goldenweiser) and composer, was awarded the first prize in composition and an honorary diploma as a performer.
In the XX century A.F. Gedike entered as an accomplished musician. He performs as a pianist, until the early 1900s he played in the church of St. Ludovik, and then continues to improve as an organist on a positive organ purchased from the Moscow master V.K. Arnold. During this period, Jurgenson's publishing house published his works, including Three choirs for male voices with an organ.
Since 1909, Alexander Fedorovich became a professor at the Moscow Conservatory in the special piano class, and in the 1920s he headed the department of chamber ensemble. In the future, the life and work of Gedike are already inseparable from his Alma mater, which has become a second home to the musician.
In the early 1920s, the organ class of the conservatory was left without a teacher, and in 1922 A.F. Gedike. From this moment begins the era of the formation of the Moscow organ school and the development of concert organ practice.
Gedicke's organ work was closely connected with the organ of the Great Hall of the Conservatory, the last brainchild of the French master Aristide Cavaillé-Coll. Gedicke was one of the first to appreciate the unique capabilities of the instrument. On this organ, at the age of 45, he played his first solo concert, initiating the tradition of regular organ evenings at the conservatory, worked with his students, creating his own performing school. For the organ of the firm "A. Cavaille-Coll" almost all Gedicke's organ works were written. Alexander Fedorovich was infinitely devoted to the instrument, he constantly took care of it, contributed to its restoration in the post-war years.
Having started performing activity, Gedicke set himself a serious task - to draw the attention of the public to the organ and the richest organ repertoire. In Soviet Russia, such concerts were rare. The authorities were wary of Western European culture. The idea of the organ as a church instrument reduced concert performance to a minimum. Therefore, Gedike's organ performances were of great educational significance. Concerts were often held with the participation of invited soloists. Along with the works of I.S. Bach, F. Liszt, S. Frank, the program included vocal and instrumental works accompanied by an organ. A.F. Gedicke greatly contributed to the expansion of the organ repertoire, creating transcriptions of clavier, piano and orchestral works by F. Chopin, R. Wagner, E. Grieg, C. Debussy, A. Borodin, M. Mussorgsky, P. Tchaikovsky and other composers. Gedike's contemporaries unanimously noted the highest professional
the level of the organist, the outstanding technical qualities and the perfection of the artistic means of the romantic instrument, supported the desire to expand the functions of the organ, making it the property of not only church, but also secular concert practice8.
By the time A.F. Gedicke took over the leadership of the organ class of the conservatory, he already had rich teaching experience9. Forming a new branch of concert performance, Gedicke made tremendous efforts to organize student training: he achieved constant care for the instrument, introduced an organ skill course to study the structure of the organ into the curriculum, developed a program for the class of a special organ, organized a compulsory organ course for students of the piano department - theoretical and practical exercises necessary for understanding the features of the performance of ancient clavier music10.
Methods of teaching A.F. Gedike was based on the desire for the independence of the performer and the disclosure of his creative individuality, combined with systematic studies and painstaking work on the slightest technical nuances - from fingering to registration. Students' composing experiences were highly encouraged. The educational repertoire was built on the works of D. Buxtehude, J.S. Bach, F. Liszt, F. Mendelssohn, R. Schumann, S. Frank, C. Saint-Saens, M. Reger, also performed works by Russian authors - A. Glazunov, C. Cui, T. Bubek and others. Gedike made a number of transcriptions and transcriptions of music by foreign and Russian authors of the 19th and early 20th centuries especially for his students, which goes well with the possibilities of a colorful and melodious romantic organ. Most of the solo organ works by A.F. Gedike (as well as numerous piano opuses) were created as a pedagogical repertoire for beginner organists and, in addition to considerable artistic merit, contain an encyclopedia of various types of organ technique.
Thanks to a creative, professional approach to her work, Gedika managed to grow up a whole galaxy of performing musicians who adequately continued and strengthened the traditions of the Moscow organ school. Among the organ class graduates A.F. Gedike - I. Weiss, N. Vygodsky, M. Starokadomsky, L. Roizman, V. Merzhanov, S. Dizhur, G. Grodberg. The name of Leonid Isaakovich Roizman, who headed the class in 1957, is associated with a new stage in the development of Russian organ art.
The historical significance of A.F. Gedike cannot be overestimated. In a country that survived the First World War, the Civil War and the Great Patriotic War in less than half a century, in a country where there was almost no organ culture, and the "Iron Curtain" overshadowed the centuries-old experience of European performing schools for many years, Gedicke created the foundation of domestic organ art, contributed to the preservation and the development of the traditions of the Moscow Conservatory in the classes of special piano, organ and chamber-instrumental ensemble.
