The creative legacy of Vasily Kalinnikov is much smaller than that of most of his colleagues - the reason for this is a short and largely tragic life. The composer managed to create a little - several orchestral works, a cantata, instrumental pieces and choirs. But among this few there are two symphonies, the first of which rightfully takes its place among the significant works of this genre. Kalinnikov is the only Russian composer of the 19th century who did not belong to the nobility, "coming out of the people", as it was customary to say before. It is noteworthy that despite the extremely difficult living conditions that led to premature death, his music is bright, full of optimism and a healthy attitude. “... Kalinnikov could write lyrically, without banality and sentimentality, because, like none of the composers of his generation ... cordiality and spontaneity were really inherent in him. This is Koltsov of Russian music, with the difference that his homeland was not the Voronezh, but the Orel region, ”wrote Academician Asafiev. Indeed, these artists have a lot in common - both sincerity, the lyrical charm of creativity, and a direct connection with folk life, and a tragic fate, marked by a serious illness and early death. Despite the fact that Kalinnikov's creative path lasted only ten years, it can be said with certainty that in terms of talent he is primarily a symphonist. In his symphonic compositions, the features of Borodin's epic Russian symphonism and the lyrical openness and warmth of Tchaikovsky are peculiarly melted down.

Kalinnikov was born in the village of Voiny, near Mtsensk, on January 1 (13), 1866, in the family of a bailiff, who came from the clergy and was married to the daughter of a deacon, but for some reason chose a different path in life. A man of little education, he was very fond of music and played the guitar a little. He willingly sang in the church choir, first alone, and then with his sons, of whom he had four. Loving his children, he was extremely concerned about their education, and when the children grew up, the family moved to the city of Orel. Vasily, well prepared by his father, immediately entered the second year of the Oryol Theological School. Considering the abilities shown at the entrance exam, he was taken as a free student - this was important for a family that was in cramped financial circumstances.

The outstanding musical talent of the future composer manifested itself very early. He taught himself to play the harmonica when he was so small that he could barely hold it on his lap. While still living in Voiny, the boy attracted the attention of the zemstvo doctor A. Evlanov, who played the violin quite well. He became the first music teacher of Vasily, and he studied with him not only playing the violin, but also the rudiments of musical notation, introduced him to musical literature. This acquaintance continued even when the family left: the boy spent all his vacation time in Evlanov's house. Music constantly sounded there, home performances were often held, and young Kalinnikov was an active participant in them. At the age of 14, Kalinnikov graduated from college and was enrolled in the Theological Seminary. He tried not to be a dependent of his parents, who were already barely making ends meet: he worked part-time as a correspondence of notes, gave penny lessons, undertook to conduct the choir at weddings and funerals.

The seminary appreciated the student's talent: despite his young age, he was entrusted with the seminary choir. Having become its regent, Kalinnikov devoted himself to this business with enthusiasm and energy. An article even appeared in the Russian Musical Newspaper stating that "the harmonious singing of the seminary choir, conducted by Vasily Kalinnikov, satisfied the most strict connoisseurs and critics of church singing."

In the spring of 1884, after completing four classes at the seminary, which, together with the theological school, corresponded to the full gymnasium course, Kalinnikov refused to continue his studies at the next, theological courses, and went to Moscow. His dream was to enter the conservatory, and in August he appeared before the examination board. Since he could only present to the professors an excellent ear and some skills in playing the violin, he was accepted into the classes of solfeggio and elementary music theory. He completed both courses in a year, but this was the end of his conservatory education: the salary, one hundred rubles a year, was unbearable for him. Fortunately, during these years, the Moscow Philharmonic Society had music and drama courses, led by Liszt's student, pianist and conductor P. Shostakovsky. Kalinnikov moved there, and, in addition to the class of theory and composition, he began to study in the bassoon class. Such a strange choice was explained very simply - according to the charter of the Philharmonic Society, students of the class of wind instruments were exempted from tuition fees.

The teachers on the course were wonderful. Kalinnikov studied harmony with S. Kruglikov, counterpoint and fugue - with A. Ilyinsky, composition and orchestration - with P. Blaramberg. They were talented, experienced teachers, no worse than the conservatory ones. But the conservatory had one very important advantage - it, unlike these courses, gave a deferment from military service.

The years of study were very difficult - classes in two specialties took a lot of time. As a bassoonist, Kalinnikov was obliged to work in a student orchestra. In addition, in order to receive a diploma in composition, it was necessary to take a course in piano playing, and he did not own this instrument at all. I had to start from the very beginning, work hard and diligently. And after all it was necessary and to earn a living! Kalinnikov took on any work - he made various arrangements, played in private orchestras, wrote operettas for the Ukrainian troupe, painted the parts of orchestral compositions. In the summer, instead of rest, he was employed in orchestras. In addition, in order not to be drafted into the army, they had to give choral singing lessons in schools all the time for a nominal fee: teachers in primary city schools were also exempted from military service.

Such a life - half-starved, at the constant limit of strength - weakened his naturally healthy body, and in the fall of 1887, when Kalinnikov, who entered the permanent service in the orchestra of the Paradise Theater, had to sit for many hours in a draft in a poorly heated room, he fell ill with pleurisy , which turned into tuberculosis of the throat. In 1888 Kalinnikov's father died. For the musician, this was a huge loss: his father understood him, shared his aspirations. A letter to his son has been preserved, showing how extraordinary the uneducated police officer was: “All celebrities in all branches of human knowledge have gained fame by persistent systematic work. Therefore, plunge into the world of musical science, work systematically and be sure that you will go out on a wide road. You have a lot of inclinations in order to develop a remarkable talent with your abilities for music, and the rest will go its own way. Know that you will face difficulties and failures, but do not weaken, fight them, fight them with energy and never give up.

Not only was the grief of loss great, but now Kalinnikov remained the head of a large family: his three brothers and sister were still studying, they needed help. “First of all, my life has changed and I myself have changed,” he wrote in the same year to one of the brothers. - I lived without worries, only one conservatory and the sciences. I saw life and human relations only from afar, and therefore I understood and knew them little. Now it's completely different." Luckily, "other" wasn't just bad. Kalinnikov got married. His chosen one was a modest girl, the daughter of a priest. She studied music, played the piano well and loved her talented husband. For the rest of his life, Sofya Kalinnikova became his faithful friend and assistant, defender of his interests.

During the years of study, the first works of Kalinnikov were created, and his passion for orchestral genres was immediately revealed - 1889 was marked by the creation of the symphonic painting "Nymphs" based on a poem in Turgenev's prose, 1890 - the cantata "John of Damascus" based on a poem by A. K. Tolstoy, the overture to which was performed at a public "act" with great success; in 1891, Serenade for string orchestra appears.

In 1892, Kalinnikov completed a full course of study. Began independent composing activity. By this time he had been ill for four years. The bassoon had to be left - in the same orchestra, he began to play the timpani. He studied a lot with students, and not with all of them for a fee: there were talented young people to whom he gave lessons free of charge. All free hours were devoted to writing. Piano pieces were written, sketches of the first, G-minor symphony were accumulated. The following year, at the insistence of doctors, the Kalinnikovs went to the Crimea - its climate was considered salubrious for such patients. At first, the composer really liked it there. He wrote enthusiastically to one of his students: “Have you seen the mountains and the sea? Did you breathe their breath, did you enjoy the vastness on the one hand and the sky on the other? Did you listen to the surf of the waves and revel in the aroma of the wonderful mountain air? If not, then you have lost a lot. He hoped to recover and return to Moscow, to an active musical life, but more than a year passed, and worsened. It became clear that the disease was incurable. Kalinnikov, accustomed to an active life, previously always surrounded by young people, suffered painfully from loneliness. In one of his last letters, dated May 16, 1900, he reported: “We rarely have anyone. Our life flows so monotonously, sadly... Such is my fate. I don’t write about life’s hardships ... And it’s boring to complain about fate.

The composer was given quite a bit of time to work - less than ten years. But he managed to do a lot. In 1895 the First Symphony was completed, in 1897 the Second. After the tremendous success of the First Symphony in Kyiv in February 1897, a subscription was arranged there in favor of the author. So much money was collected that Kalinnikov could go from the hateful Crimea to the French Riviera. True, the thought of this composer did not please. He already knew that there was no hope for the healing of the southern climate, and with great pleasure he would go to his homeland, to the Oryol province. However, he obediently left for Odessa in order to sail to Marseille, and from there to go to Nice. But already in Odessa, he thought that there was not much difference in the climate of the Crimea and Nice, he decided, as he wrote in one of his letters, to “do not give a damn” about his disgust for the Crimea, which had long replaced his former passion, and a few days later he was back in Yalta.

He decided to spend the summer at home. Relatives gathered there - mother, sister, brothers. Since there was no home for a long time, they rented a suitable room. Kalinnikov wrote about this as follows: “We settled in the so-called Popovka near Ovsyannikov’s single palace. Probably they didn’t forget such a surname from Turgenev in the “Notes of a Hunter”? Turgenev, they say, painted his portrait from our host's father. It is curious that the present Ovsyannikov has no idea about Turgenev and has turned into a real peasant, living only a little cleaner than others. Further, the composer assured that he had not spent the summer so pleasantly and in such a peaceful atmosphere for a long time: “They say that the homeland is dear to the heart not with lovely beauties, but with childhood memories. But, really, there is both here and there. There Kalinnikov completed the Second Symphony, after which he went to Moscow.

He felt somewhat better: perhaps the native air, the joy of meeting with loved ones supported his strength. This time he was persuaded to go abroad for treatment. On the advice of doctors, he went to Meran and Menton. Meran - a resort in South Tyrol for pulmonary patients - liked the composer: “Meran is a wonderful place,” he wrote from there. - It's warm, like we have in June, the sun fries with might and main, and the beauty around is indescribable. But, in general, all this is alien, and I foresee great boredom in the future ... ”The boredom came all the faster because Kalinnikov did not know foreign languages, and he had to go without his wife. Loneliness quickly takes its toll. True, he works well there - a symphonic painting “Cedar and Palm Tree” was created based on a poem by G. Heine. In Menton, where he then moved, it was not so dreary - there were several Russians with whom he communicated. One of the new acquaintances, an artist, painted his portrait. From Menton, he went to Paris, where he met with the famous conductor C. Lamouret. He became interested in the First Symphony of a young Russian, it was scheduled to be performed.

In early May 1898, the composer returned to Russia. Work began on the music for the tragedy "Tsar Boris" by A. K. Tolstoy. On January 28, 1899, the premiere of the performance took place at the Maly Theater, but Kalinnikov was not there - he left for St. Petersburg for the dress rehearsal of the First Symphony, which was to be performed there on January 30. Returning to Moscow, he only learned from a telegram about the enormous success of the symphony in St. Petersburg. His fame grew. By 1899, there was almost not a single provincial branch of the Russian Musical Society left that did not perform the First Symphony. There were other works as well. Some royalties from performances began to arrive. In 1897, Kalinnikov wrote the Prologue of the opera 1812, which was commissioned by the well-known philanthropist Savva Mamontov, who offered his own libretto. On the advice of Mamontov, having received money from him for the journey, Kalinnikov and his wife went to Sukhumi. From there, he wrote: “I came to Sukhumi with the aim of being treated and working, and I can’t do either of those things. Every patient needs certain comforts, without which no climate means anything. In Sukhumi, you will not find the most basic amenities. There are no apartments, there is positively nowhere to walk, except for the tiny, most miserable boulevard, located among the piers and near the market. Savva Ivanovich (Mamontov. - L. M.) cited the example of his son Rukavishnikov, who recovered here. But after all, the Rukavishnikovs bought themselves a separate dacha, for which they paid 60,000 rubles and which they provided with all conveniences. Under such conditions, of course, you can live and be treated. But it is impossible for the sick, forced to live in the city, to settle down tolerably here.

Kalinnikov again moved to Yalta, but it was too late. An unsuccessful trip to the Caucasus finally undermined his strength. True, he continued to compose, although his heart did not lie to the opera imposed on him. However, this was real money: Mamontov paid a monthly fee, sufficient for the modest life of a small family. And Kalinnikov worked. In June 1899, Mamontov, taking with him several artists of the Moscow Private Opera, which belonged to him, arrived in Yalta to get acquainted with what was written. Everyone liked the music very much, and inspired by success, the composer continued to compose, when suddenly, like a blow, the news came that Mamontov had been arrested on charges of embezzlement. Kalinnikov sincerely sympathized with Mamontov. But his own financial situation as a result became simply catastrophic. Before him stood the specter of hunger. Moscow musician friends came to the rescue. Under the guise of a fee from the music publisher Jurgenson, they sent him money.

In June 1900, the news spread that Kalinnikov's condition was hopeless. Many representatives of the musical world of Russia come to Yalta to say goodbye to him. Rachmaninov, Cui, Grechaninov and other musicians of a smaller scale made a kind of pilgrimage to a colleague who was dying not only from illness, but also from want. So, it became known that the composer and his wife deny themselves food. After all, the patient's expenses became much higher: it was necessary to pay for the visits of a doctor, paramedics, and buy medicines. And Yalta was one of the most fashionable, and therefore expensive, resorts.

Friends helped as much as they could, but their opportunities were limited, and, living in Moscow, they had no idea how much money was required. In desperation, Kalinnikov decided to leave Yalta. He wanted to settle in his native Oryol province, but the doctors categorically forbade him to leave Yalta. According to eyewitnesses, the family was literally starving. This was the only reason for the composer's letter with the following words: "Slap, my dear friend, click the cry, and, perhaps, there will be kind souls who will not leave the sick Musikian ..." One can imagine how hard it was for him to write these words. At the same time, he writes in another letter: “I have been struggling with consumption for the sixth year, but it defeats me and slowly but surely takes over. And it's all the fault of the damned money! And it happened to me to get sick from those impossible conditions in which I had to live and study. Money was found - from the Philharmonic Society, from acquaintances, from Chaliapin. But the patient's condition steadily worsened. He died on December 29, 1900 (January 11, 1901 according to the new style).

L. Mikheeva

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Vasily Sergeevich Kalinnikov(January 1, 1866, the village of Warriors, Oryol province - December 29, 1900, Yalta) - Russian composer.

Biography

Kalinnikov came from a bureaucratic family, was educated at the Oryol Theological Seminary, where he began to study music and for some time conducted the choir. In 1884 he entered preparatory classes at the Conservatory, however, unable to pay tuition fees, he was expelled a few months later. Nevertheless, he managed to get a place at the Music and Drama School of the Moscow Philharmonic Society, where he studied bassoon and composition until 1891. Among his teachers were S. N. Kruglikov, A. A. Ilyinsky, P. I. Blaramberg. Kalinnikov also attended the lectures of V. O. Klyuchevsky, which he read at Moscow University.

Having no reliable income, Kalinnikov was forced to periodically play the violin, bassoon or timpani in theater orchestras, as well as rewrite notes. The musician was supported by the music critic Semyon Kruglikov, and Pyotr Tchaikovsky spoke approvingly of his talent, recommending him for the post of conductor of the Maly Theater in 1892. In addition to conducting, Kalinnikov also gave private lessons in music theory and singing during this period.

In the autumn of 1893, the composer's health deteriorated sharply (there were signs of tuberculosis), and he left for the Crimea, where he spent the remaining years of his life, continuing to compose. He died on December 29, 1900 (January 11, 1901), was buried at the Polikurovsky cemetery in Yalta. Notes of the main theme of his first g-moll symphony are carved on the tombstone.

Creation

Kalinnikov's style continues the traditions of Russian musical classics (the composers of The Mighty Handful and P. I. Tchaikovsky). Kalinnikov's most famous work is the First Symphony in g-moll, written in 1895 and dedicated to Kruglikov. First performed at a concert of the Russian Musical Society in Kyiv, it was a huge success and soon became firmly established in the repertoire of both domestic and foreign orchestras.

Major writings

• Prologue to the unfinished opera In 1812 (1899-1900)
• Music for the drama "Tsar Boris" by A. K. Tolstoy (1898)

• Symphony No. 1 in g-moll (1894-1895)
• Symphony No. 2 A-dur (1895-1897)
• Intermezzo No. 1 fis-moll (1896)
• Intermezzo No. 2 G-dur (1897)
• Fugue in d-moll (1889)
• "Nymphs", symphonic painting after Turgenev (found in 1951)
• "Epic", overture (1892)
• "Cedar and Palm Tree", symphonic painting after Heine (1897-1898)
• "Tsar Boris" (1899)

• Scherzo F-dur
• Moderato es-moll
• "Sad Song"
• Russian intermezzo
• Minuet Es-dur
• Waltz A-dur
• Elegy b-moll

• Romances for voice and piano on poems by Pushkin, Pleshcheev, Fofanov and other poets
• Choirs a capella and with orchestra accompaniment

Overture "Epic" and the melody of the Anthem of the USSR

In connection with the proposal to introduce the melody of the Anthem of the USSR as the Anthem of Russia in 2000, there were suggestions that the melody of the anthem did not belong to A.V. Aleksandrov, but to Vasily Kalinnikov, since in the Bylin Overture (1893) a theme sounds that coincides with the melody of the USSR anthem in the initial bars . Other assumptions were made against Alexandrov's authorship: for example, the composer A. N. Atarov believed that Alexander was inspired by R. Schumann's Spring Wanderings. According to B. V. Gryzlov, who then pointed out in his speech to the State Duma the similarities between the Bylina and the anthem, “... this is just a continuation of the musical tradition. Thus, the straightforward ideologization of Alexandrov's melody seems unreasonable. Gryzlov considered that this similarity was rather an argument in favor of Alexandrov's melody. It should be noted that the time of composition of the "Epic" (1893-1893) is known only presumably: during the life of the composer, it was not performed and was restored according to the orchestral parts, preserved in the State Central Museum of Musical Culture. It was first performed on the radio on July 26, 1950 by an orchestra led by S. Gorchakov; the score itself was published in 1951. There is no evidence that A. V. Alexandrov had the opportunity to get acquainted with the "Epic" in the archive.

perpetuation of memory

• On August 3, 2009, a monument was solemnly unveiled in the composer's homeland in the city of Orel. Before the installation of the monument, the square in the alignment of 1st Posadskaya and Komsomolskaya streets near the music school No. 1, named after Kalinnikov, was repaired and landscaped. The project of the monument was created 20 years ago and only now it was realized by the sculptor Leonid Bugay and the architect Vladimir Blinov. The monument is a semi-figure of the composer in a creative impulse under the canopy of viburnum branches, below - the figure of a seated boy playing the flute. On the pedestal, instead of the usual name, there is a copy of the composer's painting. The opening of the monument to Vasily Sergeevich Kalinnikov in the park named after him was accompanied by the performance of the 1st symphony, which is the unofficial anthem of the city of Orel, by the students of the Kalinnikov music school.

• Located in the districts of Lianozovo and the Northern city of Moscow, music school No. 41 bears the name of V. S. Kalinnikov.
• In the Northern and Zheleznodorozhny districts of the city of Orel, a street and a passage are named after V. S. Kalinnikov.
• In the city of Yalta in the Crimea, since June 1, 1965, there has been Kalinnikova Street on which secondary school No. 10 is located.
• The name "Composer Kalinnikov" was carried by the motor ship of the Yenisei River Shipping Company. It was built in 1957 and until 1997 made flights between Krasnoyarsk and Dudinka. The ship is described in Viktor Astafiev's book "Tsar Fish" (the short story "The Dream of the White Mountains", on the basis of which the film Taiga Tale was filmed).

KALINNIKOV VASILY SERGEEVICH - Russian composer.

From the family of chi-nov-no-ka. He studied at the Or-lov-sky Spiritual Se-mi-na-rii, in 1884 he entered the Moscow Conservatory, but moved to the Musical and Drama-Teacher of the Moscow Philo-Monic Society, someone graduated in 1892 in the classes of fa-go-ta and the theory of mu-zy-ki (har-mo-ny studied at S. N. Krug-li-ko-va, or-ke-st-ditch-ku and com-po-zi-tion - by P. I. Bla-ram-ber-ha). He attended lectures by V. O. Klyu-chev-sky on Russian history at Moscow University. Played in the or-ke-st-re, pre-da-wald singing in the initial city schools, you-stepped in the ka-che-st-ve di- ri-zho-ra. Since 1893, due to illness, he lived mainly in the Crimea.

Even in his student years, Kalinnikov would have used his symphonic car-ti-on “Nim-fy” (1889), sure-tu-ra to can-ta-te “ Io-ann Da-ma-skin "(1890), Se-re-na-da for strings-no-go or-ke-st-ra (1891), in 1888 from yes-na 3 ro- man-sa. Widespread fame brought to Kalinnikov his 1st symphony, since 1897 he has been used with great success in Russia these and beyond ru-be-zhom. The most intense creative activity of Kalinnikov was in the 2nd half of the 1890s. In this period, he created the 2nd symphony (1897), 2 in-ter-mezzo for or-ke-st-ra, symphonic car- ti-na “Cedar and Palm-Ma” (1898), mu-zy-ka for the tragedy “Tsar Boris” by A. K. Tol-hundred (staged in 1899, Ma-ly te-atr, Mo-sk-va). By order of S.I. van-schi-na ”(in connection with her 100-new-coy in the Moscow Private Russian Opera, 1897). In 1899-1900, he worked on the opera "1812" (libretto by Ma-mon-to-va), but he did not manage to finish it (the prologue was staged in 1901 , Part Russian opera).

Representative of the Moscow school, pro-du-zha-tel tra-di-tion P. I. Chai-kov-sko-go; the main part of the creative legacy is pro-from-ve-de-niya for the sym-phonic or-ke-st-ra. According to the warehouse, yes-ro-va-nia, Kalinnikov was a li-ri-com, although a significant place in his work-che-st-ve for-ni-ma-yut epic, zhan-ro- in-be-something and landscape images. The process of li-ri-za-tion of the genre was especially ben-but manifested itself in the 1st symphony (created in 1895) - the most integral co-chi-not - Research Institute of Kalinnikov. Sim-fo-niya from-whether-cha-et-sya song-sen-noy shi-ro-toy and you-ra-zi-tel-no-stu with those, in an ethical soft-to-stu ko-lo-ri-ta, for her kha-rak-ter-ny is a smooth non-ro-p-li-vost of symphonic development, non-discontinuity of me -lo-dicic in a way, from-sut-st-vie sharp contrasts.

Li-ri-che-sky trak-tov-ka syu-same-ta pri-su-scha and symphonic card-ti-not “Cedar and palm-ma” (according to verse-ho-your-re- G. Hei-ne, translated by A. N. Mai-ko-va, used in 1899, Moscow generalized character, that op-re-de-li-lo and compare-no-tel-but the modest role of ko-lo-ri-sti-che-ski-iso-brazier mo-men-tov in mu-zy-ke. In the best ro-man-sahs of Kalinnikov (for example, “Ko-lo-ko-la” to the words of K. R.), these images are re-accepted Russian nature serves as a backdrop for the embodiment of a li-ri-che-sky feeling. Shi-ro-kuyu in-popularity with-ob-re-whether “Sad-st-pe-sen-ka” g-moll and a number of other piano pieces included in pa-da -go-gic re-per-tu-ar (“Russian in-ter-metz-tso”, “Me-nu-et”, etc.).

Among other co-chi-non-ny: for female cho-ra with or-ke-st-rum - Bal-la-da (“Over the sea-rem kra-sa-vi-tsa de -va si-dit”, words by M. Yu. Ler-mon-to-va, 1894); for ho-ra a ka-pel-la - 2 He-ru-vim songs (1885, 1886), fu-ha D-dur, double fu-ha Chris-te eleison; for voice and piano - 16 "musical letters" (to A. F. Aren-dsu, P. I. Bla-ram-ber-gu, A. T. Gre-cha-ni-no-vu, S. N. Krug-li-ko-vu, S. I. Ma-mon-to-vu, etc.), trio “Come to me” (words by A. V. Kol-tso-va) .

Music edition:

Ka-lin-ni-kov Vas. S. Collection. op. M., 1972

Composition:

Ka-lin-ni-kov Vas. S. Letters, do-ku-men-you, ma-te-ria-ly / Comp. V. A. Ki-se-lion. M., 1959. T. 1-2.

Illustration:

Kalinnikovs (composers)

TO alinnikov: 1) Vasily Sergeevich - a talented composer (1866 - 1900). His father is a petty police officer in the Oryol province. While studying at the Oryol Theological Seminary, he already became the director of the students' choir. By the same time, the first attempts to compose church chants belong. Without graduating from the seminary, Kalinnikov went to Moscow and took a course in the theory of composition at the school of the Philharmonic Society (1884 - 1892) under the guidance of and. The first printed work of Kalinnikov was the romance "On the old barrow" (Words). While still at school, he wrote the cantata "John of Damascus" and an orchestral suite (1892). After graduating from the Philharmonic School, Kalinnikov entered the Italian Opera in Moscow as a second conductor (1893-94). He died of consumption in Yalta, where he is buried. His largest, most mature and masterful work is the first g-moll symphony, completed in 1895 and first performed with great success in Kiev, in concerts of the Imperial Russian Musical Society (1897), then in the same year in Moscow, after which in Vienna (1898), Berlin (1899), Petersburg (1899) and Paris (1900). The brightness of the themes, the richness of fantasy in their development, the clarity of texture, the excellent orchestral sonority, the poetic mood, especially in Andante, remarkable for its gentle lyricism unfolding against the backdrop of a night landscape, made the symphony very popular. The second symphony in A-dur (1897), performed in Kyiv (1898) and Moscow (1899), is marked by the same personality traits of Kalinnikov as the rest of his compositions, but inferior to the first. In addition, Kalinnikov owns: 2 intermezzo for orchestra (1896 - 1897); 2 symphonic paintings: "Nymphs" and "Cedar and Palm" (1898, performed in Moscow in 1900); music for the drama Count "Tsar Boris" (Overture and 4 intermissions, for the Maly Theater in Moscow, 1899); prologue to the unfinished opera "1812" (Moscow Private Opera, 1899); "Mermaid", a ballad for solo, choir and orchestra, string quartet, several piano pieces and romances. - 2) Viktor Sergeevich, brother of the previous one (born in 1870), received a musical education at the Moscow Philharmonic School, where since 1890 he has been teaching music theory, being at the same time a member of the supervisory board at the Moscow Synodal School of Church Singing.

Other interesting biographies.

Vasily Sergeevich Kalinnikov(January 1, the village of Warriors, Oryol province - December 29, 1900 [January 11], Yalta) - Russian composer.

Biography

Kalinnikov came from a bureaucratic family, was educated at the Oryol Theological Seminary, where he began to study music and for some time conducted the choir. V enrolled in preparatory classes at the Conservatory, however, unable to pay tuition fees, he was expelled a few months later. Nevertheless, he managed to get a place at the Music and Drama School of the Moscow Philharmonic Society, where he studied bassoon and composition classes until 1891. Among his teachers were S. N. Kruglikov, A. A. Ilyinsky, P. I. Blaramberg. Kalinnikov also attended lectures by V. O. Klyuchevsky, which he read at Moscow University.

Not having a reliable income, Kalinnikov was forced to periodically play the violin, bassoon or timpani in theater orchestras, as well as transcribe music. Music critic Semyon Kruglikov provided support to the musician, Pyotr Tchaikovsky spoke approvingly of his talent, recommending him for the post of conductor of the Maly Theater in 1892. In addition to conducting, Kalinnikov also gave private lessons in music theory and singing during this period.

In the autumn of 1893, the composer's health deteriorated sharply (there were signs of tuberculosis), and he left for the Crimea, where he spent the remaining years of his life, continuing to compose. He died on December 29, 1900 (January 11), was buried at the Polikurovsky cemetery in Yalta. Notes of the main theme of his first g-moll symphony are carved on the tombstone.

Creation

Kalinnikov's style continues the traditions of Russian musical classics (composers of The Mighty Handful and P. I. Tchaikovsky). Kalinnikov's most famous work is the First Symphony in g-moll, written in 1895 and dedicated to Kruglikov. First performed at a concert of the Russian Musical Society in Kyiv, it was a huge success and soon became firmly established in the repertoire of both domestic and foreign orchestras.

Major writings

• Prologue to the unfinished opera "In 1812" (-)
• Music for the drama by A. K. Tolstoy "Tsar Boris" ()

Orchestral works

• Symphony No. 1 in g-moll (-)
• Symphony No. 2 A-dur (-)
• Intermezzo No. 1 fis-moll ()
• Intermezzo No. 2 G-dur ()
• Fugue d-moll ()
• "Nymphs", symphonic painting after Turgenev (found in )
• "Epic", overture ()
• "Cedar and Palm", symphonic painting after Heine (-)
• "Tsar Boris" (1899)

Piano compositions

• Scherzo F-dur
• Moderato es-moll
• "Sad Song"
• Russian intermezzo
• Minuet Es-dur
• Waltz A-dur
• Elegy b-moll

Vocal and choral compositions

• Romances for voice and piano based on poems by Pushkin, Pleshcheev, Fofanov and other poets
• Choirs a capella and with orchestra accompaniment

Overture "Epic" and the melody of the Anthem of the USSR

In connection with the proposal to introduce the melody of the Anthem of the USSR as the Anthem of Russia in 2000, there were suggestions that the melody of the anthem does not belong to A. V. Aleksandrov, but to Vasily Kalinnikov, since in the Bylin Overture (1893) a theme sounds that coincides with the melody of the USSR anthem in the initial bars . Other assumptions were put forward against Alexandrov's authorship: for example, the composer A. N. Atarov believed that Alexander was inspired by R. Schumann's Spring Wanderings. According to B. V. Gryzlov, who then pointed out in his speech to the State Duma the similarities between the Bylina and the anthem, “... this is just a continuation of the musical tradition. Thus, the straightforward ideologization of Alexandrov's melody seems unreasonable. Gryzlov considered that this similarity was rather an argument in favor of Alexandrov's melody. It should be noted that the time of composition of the "Epic" (1893-1893) is known only presumably: during the life of the composer, it was not performed and was restored according to the orchestral parts, preserved in the State Central Museum of Musical Culture. It was first performed on the radio on July 26, 1950 by an orchestra led by S. Gorchakov; the score itself was published in 1951. There is no evidence that A. V. Alexandrov had the opportunity to get acquainted with the "Epic" in the archive.

perpetuation of memory

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Notes

Bibliography

• Kalinnikov V. S. Letters, documents, materials. In 2 volumes / Comp., ed., enter. article and comment. V. A. Kiseleva. - M.: Muzgiz, 1959.
• Nuremberg M.V. Vasily Sergeevich Kalinnikov. 1866-1901: Brief sketch of life and work. - M.-L.: Music, 1964.
• Pozhidaev G. A. Vasily Kalinnikov: symphony of life in four parts. - M.: School, 1993.
• Lazarev S. E. Vasily Sergeevich Kalinnikov: stages of life and creative path // Questions of Culturology. 2016. No. 5. P. 49–59.

Links

• R.I. Ushataya.(Russian). Centralized Library System for Adults K.A. Treneva (2001). Retrieved 4 August 2010. .
• (English) on the Allmusic website
• Vasily Kalinnikov sheet music at the International Music Score Library Project
• // Musical Encyclopedic Dictionary. - M .: Soviet Encyclopedia, 1990. - S. 227.

An excerpt characterizing Kalinnikov, Vasily Sergeevich

On October 11, on the very day when everything in the main apartment was raised to its feet by the news of Mack's defeat, camping life at the squadron headquarters calmly went on as before. Denisov, who had been losing all night at cards, had not yet returned home when Rostov, early in the morning, on horseback, returned from foraging. Rostov, in a cadet uniform, rode up to the porch, pushed the horse, threw off his leg with a flexible, young gesture, stood on the stirrup, as if not wanting to part with the horse, finally jumped down and called out to the messenger.
“Ah, Bondarenko, dear friend,” he said to the hussar, who rushed headlong to his horse. “Let me out, my friend,” he said with that brotherly, cheerful tenderness with which good young people treat everyone when they are happy.
“I’m listening, your excellency,” answered the Little Russian, shaking his head merrily.
- Look, take it out well!
Another hussar also rushed to the horse, but Bondarenko had already thrown over the reins of the snaffle. It was evident that the junker gave well for vodka, and that it was profitable to serve him. Rostov stroked the horse's neck, then its rump, and stopped on the porch.
“Glorious! Such will be the horse! he said to himself, and, smiling and holding his saber, he ran up to the porch, rattling his spurs. The German owner, in a sweatshirt and cap, with a pitchfork, with which he cleaned the manure, looked out of the barn. The German's face suddenly brightened as soon as he saw Rostov. He smiled cheerfully and winked: “Schon, gut Morgen! Schon, gut Morgen!" [Fine, good morning!] he repeated, apparently finding pleasure in greeting the young man.
– Schonfleissig! [Already at work!] - said Rostov, still with the same joyful, brotherly smile that did not leave his animated face. – Hoch Oestreicher! Hoch Russen! Kaiser Alexander hoch! [Hooray Austrians! Hooray Russians! Emperor Alexander hurray!] - he turned to the German, repeating the words often spoken by the German host.
The German laughed, went completely out of the barn door, pulled
cap and, waving it over his head, shouted:
– Und die ganze Welt hoch! [And the whole world cheers!]
Rostov himself, just like a German, waved his cap over his head and, laughing, shouted: “Und Vivat die ganze Welt!” Although there was no reason for special joy either for the German who was cleaning his cowshed, or for Rostov, who went with a platoon for hay, both of these people looked at each other with happy delight and brotherly love, shook their heads in a sign of mutual love and parted smiling - the German to the barn, and Rostov to the hut he shared with Denisov.
- What's the sir? he asked Lavrushka, the rogue lackey Denisov known to the entire regiment.
Haven't been since the evening. It’s true, we lost,” answered Lavrushka. “I already know that if they win, they will come early to show off, and if they don’t until morning, then they’ve blown away, the angry ones will come. Would you like coffee?
- Come on, come on.
After 10 minutes, Lavrushka brought coffee. They're coming! - he said, - now the trouble. - Rostov looked out the window and saw Denisov returning home. Denisov was a small man with a red face, shining black eyes, black tousled mustache and hair. He was wearing an unbuttoned mentic, wide chikchirs lowered in folds, and a crumpled hussar cap was put on the back of his head. He gloomily, lowering his head, approached the porch.
“Lavg” ear, ”he shouted loudly and angrily. “Well, take it off, blockhead!
“Yes, I’m filming anyway,” answered Lavrushka’s voice.
- A! you already got up, - said Denisov, entering the room.
- For a long time, - said Rostov, - I already went for hay and saw Fraulein Matilda.
– That's how! And I pg "puffed up, bg" at, vcheg "a, like a son of a bitch!" shouted Denisov, without pronouncing the river. - Such a misfortune! Such a misfortune! As you left, so it went. Hey, tea!
Denisov, grimacing, as if smiling and showing his short, strong teeth, began to ruffle his black, thick hair, like a dog, with both hands with short fingers.
- Chog "t me money" zero to go to this kg "yse (nickname of the officer)," he said, rubbing his forehead and face with both hands. "You didn't.
Denisov took the lighted pipe handed to him, clenched it into a fist, and, scattering fire, hit it on the floor, continuing to shout.
- The sempel will give, pag "ol beats; the sempel will give, pag" ol beats.
He scattered the fire, smashed the pipe and threw it away. Denisov paused, and suddenly, with his shining black eyes, looked merrily at Rostov.
- If only there were women. And then here, kg "oh how to drink, there is nothing to do. If only she could get away."
- Hey, who's there? - he turned to the door, hearing the stopped steps of thick boots with the rattling of spurs and a respectful cough.
- Wahmister! Lavrushka said.
Denisov frowned even more.
“Squeeg,” he said, throwing a purse with several gold pieces. “Gostov, count, my dear, how much is left there, but put the purse under the pillow,” he said and went out to the sergeant-major.
Rostov took the money and, mechanically, putting aside and leveling heaps of old and new gold, began to count them.
- A! Telyanin! Zdog "ovo! Inflate me all at once" ah! Denisov's voice was heard from another room.
- Who? At Bykov's, at the rat's? ... I knew, - said another thin voice, and after that Lieutenant Telyanin, a small officer of the same squadron, entered the room.
Rostov threw a purse under the pillow and shook the small, damp hand extended to him. Telyanin was transferred from the guard before the campaign for something. He behaved very well in the regiment; but they did not like him, and in particular Rostov could neither overcome nor hide his unreasonable disgust for this officer.
- Well, young cavalryman, how does my Grachik serve you? - he asked. (Grachik was a riding horse, a tack, sold by Telyanin to Rostov.)
The lieutenant never looked into the eyes of the person with whom he spoke; His eyes were constantly moving from one object to another.
- I saw you drove today ...
“Nothing, good horse,” answered Rostov, despite the fact that this horse, bought by him for 700 rubles, was not worth even half of this price. “I began to crouch on the left front ...” he added. - Cracked hoof! It's nothing. I will teach you, show you which rivet to put.
“Yes, please show me,” said Rostov.
- I'll show you, I'll show you, it's not a secret. And thank you for the horse.
“So I order the horse to be brought,” said Rostov, wanting to get rid of Telyanin, and went out to order the horse to be brought.
In the passage, Denisov, with a pipe, crouched on the threshold, sat in front of the sergeant-major, who was reporting something. Seeing Rostov, Denisov frowned and, pointing over his shoulder with his thumb into the room in which Telyanin was sitting, grimaced and shook with disgust.
“Oh, I don’t like the good fellow,” he said, not embarrassed by the presence of the sergeant-major.
Rostov shrugged his shoulders, as if to say: "So do I, but what can I do!" and, having ordered, returned to Telyanin.
Telyanin sat still in the same lazy pose in which Rostov had left him, rubbing his small white hands.
"There are such nasty faces," thought Rostov, entering the room.
“Well, did you order the horse to be brought?” - said Telyanin, getting up and casually looking around.
- Velel.
- Come on, let's go. After all, I only came to ask Denisov about yesterday's order. Got it, Denisov?
- Not yet. Where are you?
“I want to teach a young man how to shoe a horse,” said Telyanin.
They went out onto the porch and into the stables. The lieutenant showed how to make a rivet and went to his room.
When Rostov returned, there was a bottle of vodka and sausage on the table. Denisov sat in front of the table and cracked pen on paper. He looked gloomily into Rostov's face.
“I am writing to her,” he said.
He leaned on the table with a pen in his hand, and, obviously delighted with the opportunity to quickly say in a word everything that he wanted to write, he expressed his letter to Rostov.
- You see, dg "ug," he said. "We sleep until we love. We are the children of pg`axa ... but you fell in love - and you are God, you are pure, as on the peg" day of creation ... Who else is this? Send him to the chog "tu. No time!" he shouted at Lavrushka, who, not at all shy, approached him.
- But who should be? They themselves ordered. The sergeant-major came for the money.
Denisov frowned, wanted to shout something and fell silent.
“Squeeg,” but that’s the point, he said to himself. “How much money is left in the wallet?” he asked Rostov.
“Seven new ones and three old ones.
“Ah, skweg,” but! Well, what are you standing, scarecrows, send a wahmistg “a,” Denisov shouted at Lavrushka.