And the history of music knows examples of how a talented musician, for reasons that are difficult to explain, finds himself in the shadow of his contemporaries. The outstanding Russian composer, pianist, teacher Sergei Ivanovich Taneyev seems to be overshadowed by two bright figures - his teacher Tchaikovsky and his student Rachmaninov. His creative search went against the general trends: listeners wanted violent romantic outbursts, and he offered intellectual beauty. Maybe this is the case when talent is ahead of the demands of the era? ..
"I believed harmony with algebra"
Everyone knows the words that Pushkin put into the mouth of Salieri: "I believed harmony with algebra". Since the reader's sympathies initially belong to Mozart, and the reflections of his colleague seem morally dubious, no one even thinks about the benefits of algebra for the musician.
But here we are opening a voluminous volume with the mysterious title "Mobile Counterpoint of Strict Writing". Author - Sergey Taneev. The presence of musical examples tells us: this is a book about music. Suddenly we notice the phrase "algebraic sum", get confused in the formulas ... Leonardo da Vinci resolves all doubts, whose words Taneyev made an epigraph to his book: "No human knowledge can claim to be true science unless it has passed through mathematical formulas of expression".
Largely thanks to the "mathematical formulas", the composer and scientist Sergei Ivanovich Taneyev was able to reveal the secrets of the mastery of composers of past eras. And also revealed one of the secrets of Mozart's genius. But more on that later. For now, you need to learn more about Taneyev himself. Why did Professor Taneyev constantly solve problems? Why was he called "the musical conscience of Moscow"?
Alma mater
Sergei Ivanovich Taneyev was born in 1856 in Vladimir. His father was a very educated man. The real passion of the modest official Ivan Taneyev was music. In this he was supported by the youngest son Seryozha. The father rejoiced at the boy's musicality, but the decision on the conservatory education of his son was not easy for him. Nikolai Rubinstein himself, an outstanding pianist, insisted that nine-year-old Serezha Taneyev begin his studies at the conservatory. The father gave up.
The young musician's teachers were Nikolai Grigorievich Rubinstein, with whom he studied as a pianist, and Pyotr Ilyich Tchaikovsky, who taught him composition ("free composition"). Even in his student years, Taneyev the pianist begins to perform. And Taneyev the composer tries his hand at the most difficult genre: he writes a symphony.
Taneev Sergey Ivanovich (1865-1915), composer, pianist. Photo portrait at the age of 10, front, bust, brown background. All-Russian Museum Association of Musical Culture named after M.I. Glinka. Photo: goskatalog.ru
Sergey Taneev. Note edition. Movable counterpoint of strict writing. - Leipzig. 1909. P.I. Tchaikovsky. Photo: goskatalog.ru
Taneev, Sergei Ivanovich (1856-1915), composer. Portrait of the 1880s, front, bust. Autographed: “To Pyotr Ilyich Tchaikovsky from his sincerely loving student S. Taneyev. Moscow March 12, 86. Photocopy from photo. Photo: goskatalog.ru
In 1875, Sergei Ivanovich graduated from the conservatory with brilliance and was the first in its history to receive a large gold medal. The musician's independent creative life begins with solo performances and many hours of piano lessons.
Both in performing and in composing music, Taneyev was very demanding of himself. When some of his work was praised, he showed a solid notebook of drafts. His best compositions began with sketches - the lyric-philosophical cantatas John of Damascus (1884) and After Reading the Psalm (1915), the dramatic Symphony in C minor (1898), the inspired and romantic Piano Quintet (1911). Work on some of the scores dragged on for years. But occasionally, out of passion, Taneyev could write a romance in twenty minutes.
Mentor, Professor, Director
Sergei Ivanovich began to teach early. At 21, he was invited to the Moscow Conservatory. Taneyev taught theoretical disciplines (harmony, polyphony, musical forms), composition, as well as a piano class. Having become a professor, Taneyev did not change his habit of learning. He enthusiastically plunges into the solution of ingenious contrapuntal problems.
Counterpoint (or polyphony) is the art of combining multiple voices in a piece of music. Moreover, parity relations are established between these voices: each of them is expressive. Taneyev was looking for logical patterns in such combinations. And found.
He studied many polyphonic scores of the 16th-18th centuries, and wrote a huge number of counterpoints himself. The researcher translated all the "secret codes" into the language of elementary algebraic techniques. Using them, both students and professionals can get many combinations of the original version of the combination of voices.
Taneyev himself remembered his teachers all his life. And his students were just as grateful. Here are just a few of them: Sergei Rachmaninov, Alexander Scriabin, Nikolai Medtner, Konstantin Igumnov. These are the brightest names of national culture.
For four years (1885–1889) Sergei Taneyev was director of the Moscow Conservatory. During that period, all the students became to some extent his students. He cared about scholarships, about comfortable classrooms for classes.
In September 1905, due to a conflict with the new director Vasily Safonov, Taneyev left his beloved conservatory. 249 students turned to him with a request to return: Taneyev was for them a symbol of the conservatory, which they loved. But Sergei Ivanovich's decision was final.
"Get people to you..."
He was rightly called "the musical conscience of Moscow." This unofficial title reflects many aspects of Taneyev's personality. This is a responsible attitude to professional duties, and integrity in solving complex issues. Taneyev earned the honorary title by his ability to speak honestly and correctly about the work of his colleagues, and by his readiness to intervene about the fate of a young talent.
After leaving the conservatory, he did not leave teaching. Sergey Prokofiev very warmly recalls meetings with him. He came to him for the first time at the age of 11 and was met not only with praise, good advice, but also with a chocolate bar.
Photo postcard. Taneev, Sergei Ivanovich (1856-1915). Russian composer, prof. Moscow canned and director from 1885-1889. Portrait. 3/4 left, chest. All-Russian Museum Association of Musical Culture named after M.I. Glinka. Photo: goskatalog.ru
Photocopy. Taneev Sergey Ivanovich at the dacha of his friends Maslovs - photo group. S.I. stands second on the left. All-Russian Museum Association of Musical Culture named after M.I. Glinka. Photo: goskatalog.ru
Photo postcard. Taneev, Sergei Ivanovich (1856-1915). Russian composer, prof. Moscow canned and director from 1885-1889. Sitting in the forest. All-Russian Museum Association of Musical Culture named after M.I. Glinka. Photo: goskatalog.ru
Photocopy. Taneev Sergey Ivanovich (1856-1915). Composer, pianist, portrait, 3/4, left, bust. All-Russian Museum Association of Musical Culture named after M.I. Glinka. Photo: goskatalog.ru
Composer Alexander Grechaninov, recalling Taneyev, said that sometimes his presence was enough: “You just stand there and rejoice that he is here, at work, and already satisfied, and with this you will leave comforted and encouraged”.
There were many people consoled and encouraged by Sergei Ivanovich, but he himself was afraid of loneliness. After the death of his mother, Taneyev wrote in his diary: “We need to write more and better in order to attract people with my writings, who, perhaps, will make my old age less lonely”.
Learn from Mozart
Of course, it was not the fear of loneliness that determined the creative work of the musician. He was infected with the virus of creativity. This made him in every work - whether it was the composition of a symphony or the study of folklore - to be honest, meticulous. Due to the fact that Taneyev was an exceptionally modest man, many of his discoveries have not yet been fully appreciated.
In one of his letters to Tchaikovsky he writes:
“Without inspiration, there is no creativity. But we must not forget that in moments of creativity, the human brain does not create something completely new, but only combines what it already has, what it has acquired through habit. Hence the need for education as an aid to creativity.”
This is both an answer to those who did not believe in the importance of education, and the formulation of an important psychological feature. And in these lines there is an answer to a remark in the spirit of “But what about Mozart?” It is believed that he composed everything in one fell swoop, in a fit of inspiration ...
In December 1911, Sergei Taneyev arrived in Salzburg, Mozart's homeland, to study his children's musical notebooks. They contain "boring" exercises in counterpoint (polyphony) performed by little Wolfgang under the guidance of his father. From these student assignments, magnificent counterpoints of future Mozart masterpieces grew.
Taneyev, a professor (even if he left the conservatory), a mature composer, did not hesitate to study with Mozart. He was not at all shy about studying and working. Only he did it without “sweat and blood”, but with joy, with enthusiasm. And we listen to the music of Sergei Taneyev, rejoicing and inspired.
Cantata by Sergei Taneyev "John of Damascus" (performed by the choir and orchestra of the Moscow Conservatory):
Release of the program "Scores do not burn", dedicated to the work of Sergei Taneyev:
Russia, Moscow School of Composers / Composer, virtuoso pianist, conductor / Late romanticism, symbolism, neoclassical features / Main genres: cantata, a cappella choirs, vocal miniature, chamber instrumental ensembles
"He was a model in everything, in every deed, because whatever he did, he did only well.".
So spoke Sergei Rachmaninov about his dear teacher, the Russian composer Sergei Ivanovich Taneyev. He was a man of rare moral virtues, for which he was even called "the conscience of musical Moscow." Many prominent figures of that time considered it an honor to communicate with him. He was a favorite student of Tchaikovsky and his closest friend, the author of a huge number of caustic aphorisms about the music of his time and a true professional in his field.
Sergei Ivanovich became the first major musicologist in Russia, and his performances as a pianist caused a wide public outcry. Taneyev was a recognized authority in the cultural life of his time. Becoming his student was the height of bliss for a young musician. He devoted his whole life to the Moscow Conservatory. He managed to bring up a bright galaxy of real stars of academic music. His students were Rachmaninov, Scriabin, Medtner, Glier, Igumnov, Yavorsky, Grechaninov.
Contemporaries often compared Taneyev with Socrates. Both of them left behind numerous students, without writing serious works. However, time put everything in its place. Taneyev's works, which seemed to contemporaries to be dry, scholarly, outdated, are today perceived as an original phenomenon of the Silver Age with its tendency to retrospective. If then Taneyev's interest in the old masters, in Bach, Mozart seemed strange and untimely, now we can confidently speak of Taneyev as the forerunner of neoclassicism, which flourished in the art of the first third of the 20th century.
Back in 1866, an epochal event for Russian culture took place: Nikolai Rubinstein founded the Moscow Conservatory. Until that moment, in a country with a rich musical tradition, neither music lessons nor professional musicians were taken seriously. With the advent of the conservatory, the musician became a truly respected person. In the same memorable year, Seryozha Taneyev was enrolled in the first year. He was only nine years old! Even then, he amazed those around him with phenomenal musicality. At the opening ceremony of the Moscow Conservatory, little Taneyev was especially fond of the words of Tchaikovsky, who wished that the pupils of the conservatory " left the institution by people for whom there is one interest the interest of art, who seek one glory the glory of an honest artist».
Nikolai Grigorievich Rubinstein himself became Taneyev's piano teacher. Here is how he, usually stingy with praises, spoke flatteringly about the young Taneyev: “ Taneyev, he said, is one of the very few chosen ones, he will be an excellent pianist and an excellent composer". Actually, Seryozha studied composition under the guidance of Pyotr Ilyich Tchaikovsky. At this time, their touching friendship was born, which lasted until the death of Tchaikovsky. In the very first compositions of the young composer, one can hear an enthusiastic passion for the expressive style of his beloved teacher. Seryozha Taneyev graduated from the conservatory with brilliance. He became the first gold medalist in the history of the Moscow Conservatory. His name was carved on a memorial plaque, which to this day hangs in front of the entrance to the stalls of the Small Hall of the Conservatory.
In 1875, Sergei Taneyev, as was customary among the creative intelligentsia of that time, went to Paris to get acquainted with the local art. Every Thursday, Taneyev visited Pauline Viardot, where he met Turgenev, the composer Gounod, and the writer Flaubert. Taneyev also visited Saint-Saens, where he performed Tchaikovsky's First Piano Concerto. On the day of departure, Taneyev left a remark in his notebook: “ When I next go abroad, I want to be: a) a pianist, b) a composer, c) an educated person". Then he was just twenty years old.
In Moscow, Sergei Taneyev settled in a cozy house on Prechistinka at Maly Vlasovsky lane, house 2, where he spent most of his life with his nanny Pelageya Vasilievna Chizhova. This simple woman ran all his household and constantly complained that Sergei Ivanovich in everyday life " like a little child". Only she could find the right pages of scores. Curious situations are connected with this woman. So, when the farm ran out of bay leaves, she spoke to Sergei Ivanovich, who was a first-class pianist. The audience literally showered him with bouquets and laurel wreaths. Pelageya Vasilievna used to say: “ You would play in a concert, otherwise the bay leaf is coming to an end».
In 1878, Taneyev began many years of work at the Moscow Conservatory. He was persuaded by Tchaikovsky, who himself was pretty tired of teaching. Taneyev is forced to put aside his composing experiments and devote himself entirely to a new business - teaching theoretical disciplines. He approached the new business very creatively, but he taught that there are no forever frozen rules and dogmas, which is unacceptable in one style, is quite suitable in another. His students recalled that he explained in monotonous and complex, but always very precise and pedantic. He didn't tolerate being late. Taneyev checked the assignments with unthinkable speed, while immediately making corrections. At the conservatory, in addition to harmony, instrumentation, composition, piano and analysis of musical forms, the maestro taught a very interesting course, which he himself developed - counterpoint. The materials of the lectures later became the starting point for the most profound research undertaken by Taneyev, which resulted in a fundamental scientific work called "Mobile Counterpoint of Strict Style". Musicologists often compare the universality of Taneyev's theory with the periodic table, as it is mathematically verified and calculated.
Tchaikovsky often asked his friend how life was going at the conservatory, and it was he who insisted that at the age of 28 Taneyev take the post of director of the Moscow Conservatory. In the same years, Taneyev became the first performer of all major piano works by Tchaikovsky, and after his death he completed and orchestrated a number of works.
In 1884, an essay appeared, thanks to which Taneyev became famous as a composer. We are talking about the cantata "John of Damascus" on the text of Alexei Tolstoy, an excerpt from which we have just listened to. It was to this work that the composer decided to assign the first serial number in his creative biography. Literally in love with Bach's cantatas, Taneyev had long dreamed of creating a Russian, Orthodox cantata. Preparation for it was the idea of a cantata in honor of the opening of the Cathedral of Christ the Savior, but for a number of reasons it was not possible to bring it to life. But a deeply philosophical large-scale work was born, based on the life of the famous Christian church writer and hymnographer, who lived at the turn of the 7th and 8th centuries - John of Damascus.
From now on, choral music will become an important area of the maestro's work. The monumentality of the ideas, the depth of generalizations emphasize the grandeur of the picture of the world. Taneyev's creative path is symbolically framed by two cantatas - "John of Damascus" and "After reading the psalm", the composer's pinnacle work.
Taneyev's only opera was the trilogy "Oresteia" after Aeschylus, which was an example of the translation of an ancient plot into Russian music. This work is unique; Taneyev spent ten years on this work. Such painstakingness was dictated by an unprecedented exactingness in relation to his product of creativity. However, "Oresteia" was literally doomed to misunderstanding because of the untimeliness of its appearance.
In 1889, Taneyev transferred his duties as director of the conservatory to his successor Vasily Safonov, and in the revolutionary year of 1905 he completely left his native land. He strongly disagreed with the decision to expel students who took part in the strikes. By the mid-nineties, Taneyev managed to make friends with the musicians of the St. Petersburg school, and when the news of Taneyev's departure from the conservatory reached Nikolai Rimsky-Korsakov, he sent him a touching sympathetic telegram. After leaving, Taneyev continued to study with students free of charge, privately. He never took money for his classes, because he believed that payment interfered with the rigorous selection of students.
Back in the late nineties, Taneyev became friends with Leo Tolstoy. He often visited Yasnaya Polyana, where he lived and worked in a wing specially designated for him. In addition to the passion for mutual communication, Taneyev and Tolstoy had a passion for chess. The conditions of the duels were as follows: if the composer lost, he had to perform something on the piano, if Leo Tolstoy he read aloud some of his work. However, it was Taneyev who caused discord in the family of the great writer. Sofya Andreevna, Tolstoy's wife, began to feel tender feelings for him, broken by the untimely death of her son. Here is what she writes in her diary: I remained alive and owe this strange means - music. Taneyev's music acted best of all. Sometimes I had only to meet Sergei Ivanovich, to listen to his impassive, calm voice, and I would calm down. Taneyev's personality had almost nothing to do with it. Outwardly, he was of little interest, always even, secretive ...».
She was the first and grateful listener of Taneyev's symphonies. She needed his music like air. Tolstoy could not fail to notice the changes that had taken place in his wife, in his "Kreutzer Sonata" he exposes such affection. Only Taneyev did not notice what was happening, sincerely hovering in his fantasies and searches for the ideal musical beauty.
However, one should not think that Sergei Ivanovich was an insensitive and cold nature. He was strong-willed and resolute, with a subtle sense of humor. Fun fact, Sergei Ivanovich Taneyev was one of the composers in Russia who wrote several romances in the Esperanto language, which he also kept his diary in. Lunacharsky, in one of his speeches about Taneyev, said: Taneyev, in his way of life and appearance, is a Russian gentleman, from the outside, as if even with some kind of Oblomov features; loved to live quietly, loved the quiet outback of the far corner of Moscow".
However, there was a lot of love in his life. She was married to the artist Benois and had four children. According to the then cruel laws, in the event of a divorce, the children remained with their father. Taneyev decides to forget everything, it took several painful years.
One of the pinnacles of Russian instrumental music was Taneyev's symphony in C minor. He dedicated it to Glazunov, under whose direction the premiere took place. This symphony was created shortly after the famous Sixth Symphony by Tchaikovsky, it contains the origins of many features of "philosophical symphonism", so vividly embodied later in the work of Shostakovich. The lyrical hero of the symphony seeks to overcome the tragedy and chaos of being. In this sense, this work can be put on a par with Beethoven's Fifth Symphony and Brahms' Fourth.
After leaving the Conservatory, Taneyev continued to remain in the center of musical Moscow. He performs a lot. In 1910, Sergei Ivanovich supported the novice composer Sergei Prokofiev. In his letter to the publisher Yurgenson, Taneyev was asked to publish Prokofiev's works, after which Yurgenson agreed.
In the spring of 1915, one of Taneyev's favorite students, Alexander Scriabin, died. Outside the weather was dank and damp, not uncommon for Moscow at this time of the year. Taneyev came to the funeral lightly dressed. He caught a bad cold, and just a few weeks later he was gone. All of Moscow saw off the "Russian Bach" on his last journey.
“In moral terms, this person is unconditional perfection,” said Sergei Ivanovich Taneyev about his student. But not only the human qualities of Taneyev admired his famous teacher - Pyotr Ilyich also highly appreciated his talent as a composer. However, Tchaikovsky believed that it would not be easy for Taneyev's music to find its way to the general public - after all, it fascinates not so much with the immediacy of emotional expression, but with marvelous balance and rationality. It was in such music that the personality of the composer, who was both a theoretician-musicologist, and a teacher, and a researcher of folklore, could be reflected. His works are devoted to the most intellectual variety of music - polyphony. Taneyev's erudition covered philosophy, history, and the natural sciences.
Taneyev came from an old noble family. Sergei Ivanovich was born in Vladimir. His father - a landowner - was an educated man, he graduated from three faculties of Moscow University. Knowing several foreign languages, he demanded the same from children. Playing the piano, guitar, violin and flute, he introduced his sons to music, Sergei Taneyev began to learn piano playing at the age of five. In this, he was helped for some time by the daughter of a family friend, Maria Aleksandrovna Miropolskaya, who was eight years older than him, but soon, after the death of her father, she left for Moscow with her mother. Sergei met her four years later, when the Taneyevs also moved to Moscow. Thanks to Maria Alexandrovna, the young musician met Nikolai Grigoryevich Rubinstein, who saw in him an outstanding pianistic and composing talent and advised him to study at the conservatory. It was allowed to enter there only from the age of fourteen, but as an exception, ten-year-old Taneyev was accepted.
At the conservatory, Taneyev studied piano with an assistant, then with himself, and Tchaikovsky became his mentor in composition. During the years of study, Taneyev wrote many works, among which were choral compositions, romances, a quartet, overtures. He graduated from the conservatory in 1875. as a composer and as a pianist, with a gold medal, becoming the first graduate in its history to receive such an award. In the same year, together with Rubinstein, he traveled to Greece and Italy, on his return from abroad he toured the cities of the Russian Empire, performing compositions, as well as his own. The following year, Taneyev went to France. It was not possible to organize concert performances, but the time was not wasted: he met French composers, got in touch with European cultural life. Impressed by this trip, the composer drew up a plan for expanding his horizons - and followed it for many years, systematically studying not only music theory, but also history, philosophy, gradually becoming a versatile educated person.
Taneyev was twenty-two years old when he began teaching at the Moscow Conservatory. At first he taught instrumentation and harmony, and later - musical form and counterpoint, the latter disciplines were especially close to him. During the time of Taneyev's teaching activity, he had many students, and among them there are many composers who later became great.
Creating music, Taneyev strove for classical harmony of form. He attached great importance to polyphony. One of his first and highest achievements in this area was the cantata "John of Damascus", first performed in 1884. An important place in Taneyev's creative heritage is occupied by choral music, in which one can feel true greatness. The same can be said about his only opera, Oresteia, which stands alone in Russian opera literature, resembling an oratorio. Taneyev's desire for an organic synthesis of Russian intonations and European musical forms was very clearly manifested in the C minor Symphony. He also worked in the field of chamber instrumental ensemble - it is noteworthy that Taneyev the pianist often acted as an ensemble player.
Taneyev’s Peru owns not only musical works, but also musicological works, the most significant of which is “Mobile counterpoint of strict writing”. He paid a lot of attention to the study of folklore, recording and processing Russian and Ukrainian songs, and his book "On the Music of the Mountain Tatars" became the first study on Caucasian folklore (Sergey Ivanovich collected material for this study himself during a trip to the Caucasus in 1885) .
Sergei Ivanovich Taneyev passed away in 1915, having caught a cold at Scriabin's funeral.
Music schools in Moscow, Vladimir and Zvenigorod, a music college in Kaluga, streets in Vladimir, Klin, Volgograd and Voronezh, a concert hall in Vladimir bear the name of Taneyev.
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Sergei Taneev is a little-known classic of Russian music. Once upon a time, his name was well known to the educated public in all parts of the vast Russian Empire. Today, only music historians and students of a few music schools and colleges named after him know about him.
The early years of Taneyev Sergey
Sergei Ivanovich Taneyev was born in the provincial town on November 13, 1856. His father Ivan Ilyich belonged to an old noble family that traced its history back to the time of Ivan the Great. From childhood, his parents taught Sergei to play the piano, as was the custom in many noble families. When the boy was ten years old, his parents moved to Moscow and sent their son to a newly opened educational institution - the conservatory.
At the conservatory, young Taneyev studied with Professor Eduard Langer, the son of the then-famous composer Leopold Langer. In 1869, Sergei moved to the class of Rubinstein and. The founder of the conservatory, Nikolai Rubinstein, taught the young man harmony, free composition and instrumentation, and the legendary Pyotr Tchaikovsky taught composition. In 1875, Taneyev graduated from the conservatory with a gold medal.
The beginning of Taneyev's career
After graduating from the conservatory, Taneyev performed solo and as part of ensembles. Former teachers have not forgotten the talent of their student. In 1882 P.I. Tchaikovsky entrusted Taneyev with the role of the solo instrument at the first performance in Russia of his second piano concerto. Many years later, when Tchaikovsky had already died, Taneyev completed and performed for the first time his third concerto. Sergei Ivanovich performed not only other people's, but also his own works. In 1878, just three years after graduation, he was entrusted with teaching at the Moscow Conservatory.
Among other things, Taneyev taught composition and harmony. For some time, Sergei Ivanovich served as director of the Moscow Conservatory. Scientific and educational work In addition to the actual musical studies, Sergey Taneyev made a contribution to related fields of knowledge. He owns works on musical folklore and source studies, as well as the most important work "Mobile counterpoint", in which a mathematical formula for deriving complex counterpoints in polyphonic music is derived.
Educational activities
Taneeva was not limited to work at the conservatory. Throughout his life, he sought to popularize music outside the small nobility and studied free of charge with talented students from the working environment. Since 1906, Sergei Ivanovich taught at Prechistensky working courses, where adults from the poor could receive additional education for free. A choir operated at the courses, to which Taneyev often helped.
In 1906, Sergei Ivanovich left the Moscow Conservatory and took part in the creation of a fundamentally new educational institution - the People's Conservatory. This conservatory accepted people regardless of their prior training, and its teaching was oriented towards folk traditions. Among the students of Sergei Taneyev were many outstanding composers. The names of two of them: Alexander Scriabin are familiar to the whole world.
Other interests of Sergey Taneev
Sergey Taneev was one of the first Esperantists in Russia. He accepted the idea of a future world language with great enthusiasm. The composer kept his language in Esperanto, corresponded with the founder of Esperanto Zamengovof, and also wrote several articles in the new language. Information about romances in Esperanto written by Sergei Ivanovich has been preserved, but there are no such works in his archives. In 1915, Taneyev caught a cold at the funeral of his student A.N. . Two months later, he died on June 6 (19), 1915 from pneumonia. The composer's grave is located at the Novodevichy Cemetery.
