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Composer, arranger, singer and conductor Varlamov Alexander Vladimirovich: biography, creativity and interesting facts. Composer, arranger, singer and conductor Varlamov Alexander Vladimirovich: biography, creativity and interesting facts Biography: Alexander V

Composer, arranger, singer and conductor Varlamov Alexander Vladimirovich: biography, creativity and interesting facts. Composer, arranger, singer and conductor Varlamov Alexander Vladimirovich: biography, creativity and interesting facts Biography: Alexander V

16.07.2019

Russian composer, singer (tenor) and vocal teacher. Born in Moscow on November 15 (27), 1801 in the family of an official. At the age of nine he was sent to St. Petersburg, where he studied music at the Court Singing Chapel, was a choir singer, and later the author of a number of spiritual compositions. At the age of 18 he was sent to Holland as a teacher of choristers of the Russian embassy church in The Hague. From 1823 he lived in St. Petersburg, where he taught at a theater school and for some time served as a chorister and teacher in the Chapel. During this period, he became close to M. I. Glinka, took part in the performance of his works, performed in public concerts as a conductor and singer.

The heyday of creativity falls on the Moscow period of Varlamov's life (1832-1844). A successful composer's debut in the play by A. A. Shakhovsky Roslavlev (1832) and work in theatrical genres contributed to Varlamov getting the position of assistant bandmaster (1832), and then "composer of music" with the orchestra of the Imperial Moscow Theaters. Varlamov wrote music for Shakespeare's Hamlet commissioned by the famous actor P.S. In the early 1830s, the first romances and songs of Varlamov appeared; in total, he created more than 100 works of this genre, and among them are "Red Sundress", "What has become foggy, clear dawn", "Do not make noise, violent winds" (published in 1835-1837). Varlamov successfully performed as a singer, was a popular vocal teacher (he taught at the Theater School, Orphanage, gave private lessons), in 1849 he published his "Complete School of Singing"; in 1834–1835 he published the journal Aeolian Harp, which included romances and piano works, his own and other authors.

After 1845, the musician lived in St. Petersburg, where he moved in the hope of getting a job as a teacher in the Court Chapel, but for various reasons this plan did not materialize. He was a member of St. Petersburg literary and artistic circles; he became close friends with A. S. Dargomyzhsky and A. A. Grigoriev (two poems by this poet and a critic are dedicated to Varlamov). Varlamov's romances were performed in salons, and the famous Pauline Viardot (1821–1910) sang them in her concerts.

Varlamov died in St. Petersburg on October 15 (27), 1848. His memory was dedicated to Gurilev's romance "Memories of Varlamov", collective piano variations on the theme of his romance "The Stray Nightingale" (among the authors A. G. Rubinshtein, A. Genselt), as well as The Music Collection in Memory of A. E. Varlamov, published in 1851, included, along with the works of the late composer, romances by the most prominent Russian composers. In total, Varlamov created about two hundred romances and songs based on texts by more than 40 poets, a collection of arrangements of folk songs "Russian Singer" (1846), two ballets, music for at least two dozen performances (most of them are lost).

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1. famous romance

Varlamov's romances enjoyed great love of the Moscow public and instantly scattered throughout the city. Varlamov's close friend Bantyshev, soloist of the Bolshoi Theater, begged the composer for a long time to write a romance for him.
- What do you like?
- Whatever you want, Alexander Yegorovich ...
- Fine. Come back in a week. Varlamov wrote very lightly, but, being an extremely unassembled person, he was going to get to work for a very long time.
A week later, Bantyshev comes - there is no romance.
“There was no time,” Varlamov throws up his hands. - Come tomorrow.
Tomorrow is the same. But the singer was a stubborn man and began to come to Varlamov every morning, when the composer was still asleep.
- What you are, really, - once Varlamov was indignant. - The man is sleeping, and you appear, one might say, at dawn! I'll write you a romance. I said, I'll write, and I'll write!
- Tomorrow? - Bantyshev asks caustically.
- Tomorrow, tomorrow!
In the morning the singer, as always, is. Varlamov is sleeping.
“This is for you, Mr. Bantyshev,” the servant says and hands over to the early guest a new romance, which was destined to become famous throughout Russia.
The romance was called "At dawn, you don't wake her!"

2. bird

Varlamov was a kind and unconceited man. Expelled from the Bolshoi Theater, he was left without a job and without a penny of money. Being the father of a large family that had to be supported and fed somehow, the composer and favorite of the Moscow public, not without difficulty, took a very modest position as a singing teacher in an orphanage.
- Is it your business? After all, you are the first celebrity in Moscow. You don't remember yourself at all! - his friend, the tragic poet Mochalov, reprimanded Varlamov.
“Ah, Pasha, there is a lot of pride in you,” the composer replied. - I sing like a bird. He sang at the Bolshoi Theater - well. Now I will sing with orphans - is it bad? ...

3. Evil tongues claim...

That the famous opera by Alexei Verstovsky "Askold's Grave" was actually written by Varlamov. But, being a careless and frivolous person, he lost it at cards to Verstovsky.
Verstovsky staged "Askold's Grave" under his own name at the Bolshoi Theater and became famous. When Varlamov's close friend, the poet Apollon Grigoriev, told him reproachfully: "Ah, Alexander Egorovich, what have you done! Don't you feel sorry for your opera?" I’ll write more, it’s not difficult!”

Russian Civilization

Varlamov, Alexander Egorovich

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

N. Solovyov.

(Brockhaus)

Varlamov, Alexander Egorovich

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

Varlamov, Alexander Egorovich

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

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

Varlamov, Alexander Egorovich

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

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

Varlamov, Alexander Egorovich

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

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

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

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

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

Big biographical encyclopedia. 2009 .

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

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

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

- (1801 48) Russian composer, singer. Master of vocal lyrics. His music is based on the intonations of Russian folk songs and urban romance. OK. 200 romances and songs: A blizzard sweeps along the street, Red sundress, At dawn, don't wake her up... Big Encyclopedic Dictionary

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

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

- (1801 1848), Russian composer, singer. Master of vocal lyrics. His music is based on the intonations of Russian folk songs and urban romance. About 200 romances and songs: “A snowstorm sweeps along the street”, “Red sundress”, “At dawn you don’t ... ... encyclopedic Dictionary

- (1801, Moscow 1848, St. Petersburg), composer, teacher, singer (tenor), conductor. He entered the history of Russian music as a master of romance. From the family of a titular councilor who received personal nobility. He studied at the Court Singing Chapel in ... ... Moscow (encyclopedia)

- (27 XI 1801, Moscow 27 X 1848, St. Petersburg) Romances and songs by A. Varlamov are a bright page of Russian vocal music. A composer of remarkable melodic talent, he created works of great artistic value, which won a rare ... ... Music dictionary

A. E. Varlamov Alexander Egorovich Varlamov (15 (27) November 1801, Moscow 15 (27) October 1848, St. Petersburg) Russian composer. He came from the “Volosh”, that is, the Moldavian nobles. Biography Born in Moscow on November 15, 1801. ... ... Wikipedia

Varlamov A. E.

Alexander Egorovich (15 (27) XI 1801, Moscow - 15 (27) X 1848, St. Petersburg) - Russian. composer, singer (tenor), teacher-vocalist and conductor. Genus. in the family of a retired military man, a Moldovan by origin. From childhood he showed music. giftedness, learned to play the violin, cello, guitar, piano by ear. Muses. received his education in St. Petersburg. adv. chanter chapel (in 1811 he was enrolled in the staff of the chapel as a juvenile chorister). V.'s abilities attracted the attention of the director of the choir, D.S. Bortnyansky, who took part in his classes. In 1819 V. was appointed teacher of Russian singers. court church in The Hague (Holland). Here he began his activities as a choral conductor, chamber singer (first concert performances) and guitarist. In 1823 he returned to St. Petersburg, worked as a singing teacher at the theater school, from 1829 - in the Court Chapel. In 1827 he met M. I. Glinka (V. helped him organize home concerts and rehearsals). From 1832 he settled in Moscow, got a job as a "composer of music" and assistant bandmaster imp. t-ditch In 1843 he retired. Rapprochement of V. with Moscow. artistic environment (A. N. Verstovsky, M. S. Shchepkin, P. S. Mochalov, poet-actor N. G. Tsyganov) contributed to his creative work. development. In 1833 he published the first Sat. romances and songs, in 1834-35 published a musical jury. "Aeolian harp", in which, along with his own, he published works by Glinka, Verstovsky, and others. Conc. performances by V. - a talented singer, performer of romances and songs written by him. Not having a great singer. voice, he attracted listeners with a subtle and thoughtful interpretation, the skill of the cantilena, and the expressiveness of the recitation. V. recorded his performing principles in the "Complete School of Singing" (ed. 1840), which is one of the first Russian methodological manuals on vocal pedagogy.

During the "Moscow period" (1832-44), V. created most of the production. (more than 100 romances and songs). The last years of his life (since 1845) he spent in St. Petersburg. Significant for him was friendship with Lit. critic A. A. Grigoriev, connoisseur and connoisseur of Russian. folklore. V. studied Nar. song, created Sat. processing - "Russian singer" (did not finish, 43 songs were released). V. spent his whole life in difficult material conditions that undermined his health (he died of throat tuberculosis).
In the history of Russian Music V. entered as a master of romance. He brought this genre closer to his Nar. origins, to the song culture of a broad democratic. environment. V.'s romances reflected the figurative structure of Russian. nar. songs, its intonation. and modal features. Subtle knowledge of wok. Art-va helped him create vivid examples of Russian. cantilenas, freely flowing melodies of wide breathing. V.'s style was greatly influenced by the manner in which the gypsy singers performed. A talented artist, V. implemented in his work the best features of this ancient tradition: emotional fullness, passion, improvisation. melodic freedom. development.
In the sincere, sincere lyrics V. found expression of the spiritual atmosphere of the post-Decembrist years. In his songs, sometimes full of sorrow, sometimes stormy, impetuous and disturbing, contemporaries felt a hidden protest, longing for beauty, a passionate impulse towards light and happiness.
V. created approx. 200 romances and songs, mostly on verses in Russian. poets - M. Yu. Lermontov, A. N. Pleshcheev, A. A. Fet and others. He willingly turned to the work of songwriters: A. V. Koltsov, N. G. Tsyganova, A. V. Timofeev, poems to-rykh V. wrote his best "Russian songs" in Nar. spirit. Among them, 2 genres prevail: lyric. lingering and fast dancing. In the drawn-out songs, the characteristic features of V.'s talent were manifested with particular completeness: melodic. generosity, plasticity wok. melodies. Freely, naturally, the methods of Russian are translated into them. nar. songness - variant-singing development, gradual deployment of a wide melody from the main, initial chants, abundant intra-syllable chants, giving the song a purely Russian. breadth and majestic slowness of movement ("Oh, you are time, time", "What are you early, grass"). The second type includes songs of an active rhythm: “A blizzard sweeps along the street”, “What kind of heart is this”, “A nightingale stray”, etc. They showed the influence of a gypsy song-dance.
In some songs V. affected the impact of the mountains. folklore with typical dances. rhythms. Such are the lyrically-heartfelt songs-romances permeated with waltz rhythm: “Don’t wake her up at dawn”, “It’s hard, there is no strength”, “Don’t sing, nightingale”. Mountain influence. everyday tradition is noticeable in one of the most popular songs of V. - "Do not sew me, mother, a red sundress" (lyrics by Tsyganov). Along with "The Bell" by Gurilev and "The Nightingale" by Alyabyev, this song became popular. property.
The open emotionality and fullness of feeling inherent in V.'s songs were also reflected in his romance lyrics. And here the characteristic features of V.'s work remain romantic. agitation, sharp contrast of mental states, immediacy of lyric. statements. In romances, V. follows the principle of broad generalization of poetic. text in a clear, melodious melody. Singer elegiac. moods, reflections and contemplation, he appears in the romances "Loneliness", "Angel", "I'm sorry for you", partly close to elegich. lyrics by M. I. Glinka and A. S. Dargomyzhsky. Lighter lyric. coloring is inherent in his "landscape" romances ("Mountain peaks", "I like to look at a clear night"). Contrasting with them are temperamental romances on the next. Lermontov ("The lonely sail turns white"), Koltsova ("I loved him", "You are my beloved"). Sometimes the composer enhances the features of the declamation. expression and widely uses recitative, turning romance into drama. monologue ("Reminder", "Sadness", "Doctor"). V. enriched the ballad genre, subordinating it to Russian. song style. In the ballads "Song of the robber" and "I will saddle the horse" traditional romantic. images acquire a new interpretation in the spirit of the dramatized Russian. songs.
Working preim. in the wok area. genres, V. also wrote music for dramas. performances (his theatrical music has not been fully preserved and little studied). In this genre, he showed himself to be a gifted composer, who vividly reflected the romantic. Russian trends. t-ra 30-40s. 19th century With great knowledge of the specifics of the stage, music was written for the tragedy "Hamlet" by Shakespeare (1837, commissioned by P. S. Mochalov, the leading actor). V.'s ballets The Sultan's Amusements (1834) and The Cunning Boy and the Ogre (1837) performed with success on the stage of the Bolshoy Tr.
The work of V., like his contemporary A. L. Gurilev, was underestimated for a long time. Critics of the 19th century, incl. V. V. Stasov, spoke disparagingly of the "amateurish" romances of these composers. Owls. researchers (primarily B. V. Asafiev) refuted this unfair point of view, convincingly showed the deep nationality of V.'s work, its significance in the history of music. The truthful, democratic art of V. created its own tradition in Russian. music and found a response in the works of A. S. Dargomyzhsky, P. I. Tchaikovsky, S. V. Rachmaninov.
Compositions: ballets - The Sultan's Fun, or the Slave Seller (1834), the Sly Boy and the Cannibal (together with A. S. Guryanov, based on the fairy tale by Ch. Perrault "The Boy with a Finger", 1837); OK. 200 romances and songs (collected works in 12 vols., ed. A. Gutheil); Russian processing. nar. songs for voice with piano, incl. Sat. Russian singer (St. Petersburg, 1846, not completed); wok. ensembles; choirs, incl. 3 Cherubim (for choir a cappella, 1828); fp. plays; music for drama. performances - Roslavlev (Shakhovsky based on the novel by Zagoskin; jointly with A. N. Verstovsky, 1832, Bolshoi Tr, Moscow), Two-wife, or Volga robbers (Shakhovsky, 1833), Murom forests, or The choice of the ataman (A. F. Veltman, 1834), Yermak (Khomyakova, 1835), Hamlet (Shakespeare, 1837), Esmeralda, or the Four Kinds of Love (according to V. Hugo, 1839), Bulat-Temir, the Tatar hero, or the Battle of the Don (V. R. Zotova , 1839), Maiko (P. V. Beklemisheva, 1841), etc. Literature: Findeisen H. P., Alexander Egorovich Varlamov, "RMG", 1898, No 11; Bulich S. K., A. E. Varlamov. Some new data for his biography, "RMG", 1901, NoNo 45-47, 49; Satin X., Alexander Egorovich Varlamov, "SM", 1948, No 8; Tynyanova E., At the dawn of Russian romance art, ibid.; Asafiev B. V., Eugene Onegin ..., Selected. works, vol. II, M., 1954; his, Composers of the first half of the 19th century, Selected. works, vol. IV, M., 1955; Glumov A., Music in the Russian Drama Theatre, M., 1955; Vasina-Grossman V.A., Russian classical romance of the 19th century, M., 1956; Listova N., Alexander Varlamov, Moscow, 1968. O. E. Levasheva.

Musical encyclopedia. - M.: Soviet encyclopedia, Soviet composer. Ed. Yu. V. Keldysha. 1973-1982 .

See what "Varlamov A.E." in other dictionaries:

Konstantin Alexandrovich (1848-1915), actor. Since 1875 at the Alexandrinsky Theater in St. Petersburg. Son A.E. Varlamov. A popular buff comedian (Uncle Kostya), beloved by the audience for his spontaneity and charming innocence. Varlamov was endowed and ... ... Modern Encyclopedia

Alexander Yegorovich (1801-48), composer, singer; about 200 romances and songs based on the intonations of Russian urban and peasant folklore (A blizzard sweeps along the street, Red sundress, Don’t wake her up at dawn) ... Modern Encyclopedia

- (Alexander Yegorovich) a very talented author of numerous Russian romances and songs, many of which have gained extraordinary popularity due to sincerity, melody, accessibility and often Russian folk style. V. was born in 1801 ... ...

- (Konstantin Alexandrovich) comedian, born in 1851, son of a famous composer. For the first time, V. appeared on stage in Kronstadt, in the troupe of A. M. Chitau. On the St. Petersburg stage, V. made his debut in 1875. With the death of Vinogradov (1877), the role of the deceased was transferred to ... ... Encyclopedia of Brockhaus and Efron

Varlamov surname. Known speakers Varlamov, Alexander Vladimirovich (1904-1990) composer, one of the founders of Soviet jazz. Varlamov, Alexander Egorovich (1801-1848) Russian composer. Varlamov, Konstantin ... ... Wikipedia

Igor Valeryevich Varlamov Igor Varlamov (2006) Date of birth: July 1, 1964 Citizenship: USSR, Russia Occupation: poet, prose writer, essayist Years t ... Wikipedia

I Varlamov Alexander Yegorovich, Russian composer. From the age of 10 he sang and studied at the St. Petersburg Court Choir. In 1819 23 teacher of choristers in the Russian embassy church in The Hague. IN… … Great Soviet Encyclopedia

1. Varlamov Alexander Vladimirovich (1904-90), jazz composer, conductor, Honored Artist of the RSFSR (1979). Great-grandson of A. E. Varlamov. One of the first domestic composers who dabbled in the field of jazz. Pop jazz compositions ... ... Russian history

Books

Varlamov. Selected romances and songs for high and medium voices accompanied by piano , A. E. Varlamov , Music by A. E. Varlamov enjoys the invariable love of performers and listeners. The collection is intended for concert and teaching practice, as well as for home music-making.… Category: History and theory of arts Series: Vocal music Publisher: Music, Manufacturer:

Orthodox calendar

Sermon

Gospel reading:
Mk. 10:32-45
OK. 7:36-50

In the name of the Father, and the Son, and the Holy Spirit!

In this world there is a concept of time. We, adults, feel it and know that something must happen now. The liturgy could have ended about fifteen minutes ago by the time - at this time I usually finish the sermon. Apparently, there is not much time left for me to say something now.

Today I wanted to talk about St. Mary of Egypt. About her feat, about the labors that she suffered after terrible falls, fornication. Then, after fragmentation and internal dismemberment, it reached a height. Being illiterate, she could recite the Holy Scriptures by heart. These are certain heights that we have not yet reached. Before us is an example of a stunning ascent up the ladder of virtue - from the depths of hell, from fornication in its basest impulses. Note that in the life it is described in a very dignified form. As Mary told the elder Zosima: “I don’t want to embarrass you, father, and in my memory I myself don’t want to raise that abyss, stir up the past.” This is a culture of repentance, we must learn from it. I wanted to talk about this today, but I will talk about something else.

I want to say that I am glad that here, on the Compound, various people carry out various works in their own way. They come here to give their strength. We have several choirs: a concert choir, a boys' choir, a choir of maidens and maidens, there are also very young maidens who have begun to sing quite recently. There are women who have been singing for three years and have never sung before. If you count everyone, you get about a hundred people. There is a saying: "I will sing to my God as long as I am." Today's Liturgy is priceless. Today the sacrament of contact of heart with heart took place. I want to put it in my soul, it is very expensive. Therefore, I push back the boundaries of time and words, I leave the formal moments of haste.

I rejoice that the Lord gives us a treasure that is important to cherish. At the same time, it is important to be attentive to education: today I asked two youths to linger and took communion last. Again, nothing new: we read today in the Gospel about how the two apostles wanted to be first. And here are two youths: which of them will approach the Chalice first? So they argued among themselves that they did not see anyone around. But the apostles John and James, who wanted to be the first, are now in the saints, and our boys came to the Chalice - however, the last.

The life of St. Mary of Egypt is an example of climbing the ladder of virtue, which I would like to wish all of you. I rejoice with you and on this I will say: “Amen!”.

Archpriest Andrey Alekseev

Composer Alexander Egorovich Varlamov

November 27, 1801 was born Alexander Egorovich Varlamov- the author of about two hundred songs and romances (among them - the famous "Red Sundress", "Along the street a snowstorm sweeps ...", "A lone sail turns white ...", "Mountain peaks ..."), spiritual compositions, two ballets, music for theatrical productions, where he himself acted as a theater conductor; a connoisseur of choral singing, an excellent singer and a wonderful vocal teacher, author of the book "The Complete School of Singing", as well as a violin, guitar, cello and piano player.

The circle of authors whose poems were set to music by Varlamov is very wide: more than forty poets, including Pushkin and Lermontov, Zhukovsky and Delvig, Polezhaev and Timofeev, Tsyganov and others. Varlamov opens for Russian music the works of Koltsov, Pleshcheev, Fet, Mikhailov; writes music for translations from Goethe, Heine, Beranger.

Alexander Egorovich Varlamov is a composer with a changeable creative destiny: on the one hand, he was recognized during his lifetime as a brilliant master of romance (both a composer and a performer), on the other hand, soon after his death, he was devoted to blasphemy, accusations of bad taste and banality (even an offensive word appeared in everyday life "Varlamovism").

But time puts everything in its place. And today A. Varlamov's romances continue to sound, captivating us with the expressiveness of the melodies and the sincerity of the feelings conveyed in them.

Alexander Yegorovich Varlamov was born into the family of a retired lieutenant, a modest titular adviser Yegor Ivanovich Varlamov. The boy's musical talent manifested itself early - in a love of singing, playing the violin and guitar.

At the age of nine, Alexander was appointed to the St. Petersburg Court Singing Chapel as a "juvenile chorister". The excellent voice and bright abilities of the boy interested the famous Russian composer D.S. Bortnyansky, the director of the chapel, and he began to study with the little singer separately. Subsequently, in letters and notes, Varlamov always remembered his teacher with gratitude.

During the years of study in the chapel, Alexander discovered not only outstanding singing, but also pedagogical abilities and was noted in 1819 by being transferred from the chapel to serve in Brussels, to the court of Grand Duchess Anna Pavlovna, who became the wife of Crown Prince William of Orange. After William's coronation to the Dutch throne, Varlamov moved to The Hague, where he became regent in the Russian embassy church.

A world of new impressions opens up before an eighteen-year-old boy: he is imbued with the strict beauty of Dutch painting and architecture, gets acquainted with French and Italian opera, and performs publicly as a singer and guitarist. His speeches were written about in the newspapers.

Having mastered colloquial French, Varlamov talks with foreign musicians about vocal art. Then, by his own admission, he "deliberately studied the theory of music."

In The Hague, Alexander Yegorovich meets his future wife, Anna Pakhomovna Shmatkova, the daughter of a valet at the court of Anna Pavlovna.

In 1823 Varlamov returned to Russia, to St. Petersburg. He teaches at the St. Petersburg Theater School, studies with the singers of the Preobrazhensky and Semyonovsky regiments. At the end of 1828, the young musician began to fuss about re-entering the singing chapel, and brought two Cherubic songs to Emperor Nicholas I - the first of his compositions known to us.

On January 24, 1829, he was appointed to the chapel among the "great choristers"; he was also entrusted with the duty of teaching young singers and learning solo parts with them. In the hall of the Philharmonic Society, Varlamov gives his first concert in Russia, where he conducts symphonic and choral works and performs as a singer. Meetings with M. Glinka played a significant role in the life of the novice composer - they contributed to the formation of the young musician's views on the development of Russian art.

The heyday of Varlamov's composing talent falls on the Moscow period. In 1832, he received an invitation to the post of assistant chief bandmaster of the Moscow theaters (Bolshoi and Maly), then became a "composer of music." Alexander Yegorovich quickly entered the circle of the Moscow artistic intelligentsia: among his acquaintances at that time were the actors M. Shchepkin, P. Mochalov, composers A. Gurilev, A. Verstovsky, singer A. Bantyshev. There is evidence indicating that in Moscow A. Varlamov met with Pushkin. Great interest in the work of A. Varlamov is shown by well-known pianists of that time - the authors of piano arrangements of his romances F. Langer, A. Dubuc and the famous J. Field. There are stories about F. Liszt's interest in Varlamov's work.

“Music needs a soul,” wrote Alexander Varlamov, “but the Russian has it, the proof is our folk songs.”

During these years, the composer composed his most famous romances, which glorified his name - for example, "Red Sundress". A. Pushkin, P. Viardot, F. Liszt, A. Dargomyzhsky admired this romance. It was enough for Varlamov to write this one work, as well as for Alyabyev - "The Nightingale", in order to forever remain in the history of Russian musical culture.

While working in the theatre, Varlamov writes music for dramatic productions (“Two-wife” and “Roslavlev” by Shakhovsky; “Prince Serebryany” based on the story “Attacks” by Bestuzhev-Marlinsky; “Esmeralda” based on the novel “Notre Dame Cathedral” by Hugo, “Hamlet” by Shakespeare) . The production of Hamlet has become an outstanding event in the cultural life of Moscow. V. Belinsky, who attended this performance seven times, enthusiastically wrote about Polevoy's translation, Mochalov's performance as Hamlet, and the song of the insane Ophelia...

Alexander Varlamov lived in Moscow until 1845. Here his talent was most fully revealed - both writing and performing. He often performed in concerts and was always a welcome participant in musical and literary evenings. Varlamov had a small but very beautiful tenor voice. His singing was distinguished by rare musicality and sincerity. “He inimitably expressed ... his romances,” wrote one of his friends.

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

The last years of Varlamov's life were spent in St. Petersburg. Here he became friends with A. Dargomyzhsky. They were brought together by a commonality of views on the art of singing as the most direct and understandable way for everyone to express thoughts and feelings.

Shortly before his death, Varlamov began publishing the music magazine "Russian Singer", the contents of which were arrangements for voice and piano of Russian and Ukrainian folk songs.

A poem by A. Grigoriev, a romance by A. Gurilev “Reminiscence of Varlamov”, collective piano variations on the theme of his romance “A Nightingale by the Stray” (among the authors - A. G. Rubinstein, A. Genselt), and also published in 1851 “Music collection in memory of A.E. Varlamov”, which included, along with the works of the late composer, romances by the most prominent Russian composers.

Varlamov's romances enjoyed great love of the Moscow public and instantly scattered throughout the city. A close friend of Varlamov, soloist of the Bolshoi Theater A. Bantyshev, for a long time begged the composer to write a romance for him.

- What do you like?

- Whatever you want, Alexander Yegorovich ...

- Fine. Come back in a week.

Varlamov wrote very lightly, but, being an extremely unassembled person, he was going to get to work for a very long time.

A week later, Bantyshev comes - there is no romance.

“There was no time,” Varlamov throws up his hands. - Come tomorrow.

Tomorrow is the same. But the singer was a stubborn man and began to come to Varlamov every morning, when the composer was still asleep.

- What are you, really, - once Varlamov was indignant. - The man is sleeping, and you appear, one might say, at dawn! I'll write you a romance. He said - I will write, and I will write!

- Tomorrow? Bantyshev asks caustically.

- Tomorrow, tomorrow!

In the morning the singer, as always, is. Varlamov is sleeping.

“This is for you, Mr. Bantyshev,” the servant says and hands over to the early guest a new romance, which was destined to become famous throughout Russia.

The romance was called "At dawn, you don't wake her."

T.A. Medvedev