Fomin Russian composer of the 18th century. Evstigney Fomin

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Boris Ivanovich Fomin(, St. Petersburg - Moscow) - Soviet composer who composed mainly hits and romances.

Biography

Fomin's musical abilities manifested themselves early: at the age of 4 he learned to play the accordion. His parents initially took this negatively, because they wanted to see him as a major official, officer or scientist, but not as a musician.

However, later he was sent to a real school. At the same time, he took lessons from pianist A. N. Esipova.

Essays

Romances

Russian songs

• “Beat, heart”, lyrics. Konstantin Podrevsky
• “Throw the alarm”, lyrics. Konstantin Podrevsky
• "Girl's Heart", lyrics. Boris Timofeev
• “In love again”, lyrics. Anatoly D'Actile
• “The old has been dropped”, lyrics. Konstantin Podrevsky
• “Grass Ant”, music. treatment

Intimate songs

Songs of World War II

• “Tramp-wind”, lyrics. Ilya Finka
• “Curly-haired accordion player”, lyrics. Ilya Finka
• “Guards marching”, lyrics. Ilya Finka
• "Wait for me", lyrics. Konstantina Simonova
• “Courier for Happiness”, lyrics. Dolev and Danziger
• “Leningrad escort”, lyrics. Osipa Kolycheva
• “Minutes of life”, lyrics. N. Kovalya
• "Muscovites", lyrics. M. Odintsova
• “The day will come”, lyrics. Pavel German
• "First Snow", lyrics. Ilya Finka
• “Joke song about love”, lyrics. N. Kovalya
• "Letter from the Front", lyrics. Pavel German
• “Along the Garden Ring”, lyrics. N. Kovalya
• “Let the blizzard”, lyrics. Grigory Gridov
• "Bright Moscow", lyrics. Ilya Finka
• “Happy Age”, lyrics. Pavel German
• "Sons", lyrics. Ilya Finka
• “Quiet in the hut”, lyrics. Pavel German
• "Broad Road", lyrics. M. Krimker

Choreographic sketches

• “Barbecue Minor” (one-step)
• "Azure" (tango)
• "Moon Dance" (foxtrot)
• "Maro" (foxtrot)
• "Mius-Trot" (foxtrot)
• "Gypsy Hungarian", two variations

Ballets

• "Max and Moritz", libretto by Vadim Shershenevich
• "Moidodyr"
• "The Crystal Slipper"

Operettas

• "Spanish Tavern" - lost
• “The Career of Pierpoint Black”, text by Alexey Fayko and Konstantin Podrevsky
• "Fooled Eunuch" - lost

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Notes

Literature

• Lucky Loser. Auto-stat. E. L. Ukolova, B.C. Injections. - M.: MAI Publishing House, 2000. - 208 p.: ill. ISBN 5-7035-2389-3

Links

Excerpt characterizing Fomin, Boris Ivanovich (composer)

– Is this really the Grail, Sever? – I couldn’t resist, I asked.
- No, Isidora. The Grail was never what this amazing Smart Crystal is. People simply “attributed” what they wanted to Radomir... like everything else, “alien.” Radomir, all his adult life, was the Guardian of the Key of the Gods. But people, naturally, could not know this, and therefore did not calm down. First, they were looking for the Chalice that supposedly “belonged” to Radomir. And sometimes his children or Magdalene herself were called the Grail. And all this happened only because the “true believers” really wanted to have some kind of proof of the veracity of what they believe in... Something material, something “holy” that could be touched... (which, Unfortunately, this is happening even now, after many hundreds of years). So the “dark ones” came up with a beautiful story for them at that time in order to ignite sensitive “believing” hearts with it... Unfortunately, people always needed relics, Isidora, and if they didn’t exist, someone simply made them up. Radomir never had such a cup, because he did not have the “Last Supper” itself... at which he allegedly drank from it. The cup of the “Last Supper” was with the prophet Joshua, but not with Radomir.

Fomin composed one of his first romances - the one that subsequently went around the whole world and is still performed to this day - “A meeting only happens once in a life” - at the time of his marriage and dedicated it to his future mother-in-law...

There are people whom everyone seems to know, but at the same time they know nothing about them. These are the authors of famous ancient romances. Some Chuevsky composed “Shine, burn, my star!” Some (or some) Abaza “Foggy Morning”... And yet Boris Fomin stands out among all these writers - both in fate and talent.

"How? Didn't he die back in the 18th century?" - I had to hear quite often. No, he died much later. But one of Fomin’s romances was nevertheless “stuffed” onto the album “Romances of Pushkin’s Time”.

Boris Ivanovich Fomin was born in 1900, and all his work is connected with Moscow. He moved here, to Chistye Prudy, in 1918 from Petrograd, and died here 30 years later.

Fomin's musical abilities manifested themselves early. At the age of 4-5, he, barely peeking out from behind the accordion, played so that everyone wanted to listen. For his father it was almost a tragedy. A respected military official, a statesman, he dreamed of seeing his only son become an officer, engineer, scientist. But a musician? No musicians had yet been seen in their family clan, which was directly related to M. Lomonosov. True, among the ancestors of his wife, the goddaughter of Alexander II, there were musicians, it seems.

But Ivan Yakovlevich had the courage to come to terms with his son’s obvious musical talent. Moreover, he was born on the occasion of the Annunciation, and in Russia on this day it is customary to even release birds into the wild...

They sent Boris not to a gymnasium, but to a real school. And at the same time, he took music lessons from the best teachers. The best of them is A.N. Esipova, great Russian pianist, professor at the Conservatory. Years of studying with her are the basis of Fomin’s musical education. No one doubted that he would be a pianist. Or is it a composer? He improvised so brilliantly and so infectiously.

We peer at old photographs: in the form of a “realist” he is the same nimble dunce as his other comrades. But in an artist’s costume he looks unusually elegant and aristocratic. A rising star, and nothing more!

But who knew how history would turn out. Almost simultaneously Anna Esipova died and the First World War began. And Fomin is only 14 years old. The future career faded into the fog. Much was not clear even to the father general. After the revolution, he did not want to flee Russia. Lenin offered him a worthy place in the new state apparatus. Fomin’s family moved to Moscow along with the government.

Boris quickly managed to join the Moscow artistic life. A place for a musician was found in The Bat. But in January 19th he will volunteer for the front and will return only two and a half years later. First, as a “realist,” he will be sent to urgent repairs and restoration of front-line railways. Then they will notice that it is much better to use Fomin as a front-line artist: he is a pianist, a dancer, a storyteller, an entertainer, and even a singer. Very soon he will assemble his numbers into a cheerful operetta and stage it right here, at the front, on the platform of the carriage...

Returning to Moscow, he will once again try his hand at the operetta “The Career of Pierpoint Black”. It will be a resounding success in both Moscow and St. Petersburg, but it will not bring much glory. “The music is a little better than that of Kalman or Lehár,” a newspaper reviewer will haughtily write. Then it seemed that it was simply impossible to write worse than Kalman. And there is no worse genre than operetta!

Fomin will also try himself in ballet, including children's ballet, will be a dancer in a cinema and even a “gypsy” in one of the Moscow choirs. But he will find his highest calling in an old romance.

Even at the front, he noticed that in the most difficult moments you don’t even want humor, but lyrics - sweet memories, warm words of love, bright hopes. We don’t know whether Fomin composed there, in the trenches and hev-mobiles, but in Moscow he immediately declared himself a master of romance. One of the first - the one that subsequently went around the whole world and is still performed today - “Only once in a life does a meeting happen.”

He composed it at the time of his marriage and dedicated it to his future mother-in-law, former gypsy singer Maria Feodorovna Masalskaya. His other romance, “The Long Road,” is no less famous.

And there were also “Hey, guitar friend”, “Your eyes are green” and many others. Among his romances, it seems, there were no unsuccessful ones. Isn’t that why both our pop stars of the 20s and our emigrants immediately started singing them?

There were no more popular romances than Fominsk's at that time. And even now performers and fans of romance cannot do without them. How did it happen that oblivion fell to his lot? And no one is surprised by the stock remarks after one of his hits: “What a thing! And who composed it?”

Some Fomin.

Fomin drank his first portion of oblivion during the era of the Stalinist cultural revolution. People who knew Fomin told us that he somehow noticeably wilted in the 30s, began to compose and publish less. And sometimes he disappeared altogether.

Without much fanfare, romance as a genre was actually banned at the 1929 All-Russian Music Conference. The publishing houses that published Fomin closed, and many performers found themselves without work. The rest received their repertoire lists and concert programs with menacing red marks: “As much as possible! Hackwork! Vulgarity!” and even - “Counter-revolutionary rubbish!” There was no one to complain to, and it was unsafe.

The province saved me from the strictness of the authorities. The farther from Moscow, the easier it was to violate repertoire prohibitions. In Tbilisi or Vladivostok you could sing anything. Although signals about these violations, of course, accumulated somewhere above. And they accumulated.

In 1937, Fomin disappeared for a long time. He spent about a year in the Butyrka cell. The accusations were one more absurd than the other, but I had to agree with them. While we were figuring everything out, another change occurred. They imprisoned those who imprisoned others, but Fomin was released.

They say that Stalin liked the Fominsk song “Sasha” performed by Isabella Yuryeva. But this hardly had anything to do with his release.

Fomin also composed romances in these terrible years - “Emerald”, “Look Back”, “Don’t Tell Me These Careless Words”. But they remained in manuscripts, and many disappeared without a trace. It just so happened that no one needed them, just like their author.

Fomin was needed when the war came. Soon there will be no theaters left in Moscow, and at the same time Those who banned romance and persecuted its authors also traveled. Fomin didn’t just stay in Moscow. During the war, he composed 150 front-line songs, and together with friends he created the front-line theater "Yastrebok" at the Ministry of Internal Affairs club - for many months it was the only theater in Moscow, which also produced concert programs and performances in tune with the times. Many of Fomin's songs - "Wait for me", "Quiet in the Hut", "Letter from the Front" immediately after the premiere scattered throughout Russia.

But the war ended, and a new wave of oblivion hit Fomin. None of his colleagues who returned from evacuation wanted to highlight his merits during the war. He was remembered only when the campaign against the “unprincipled vulgarities” Zoshchenko and Akhmatova began. Music criticism also included Fomin in this same row.

In 1948, Fomin passed away. My health was greatly deteriorated after the experience, and there was no money for medicine. The penicillin he needed was available only to the nomenklatura...

Born on August 5, 1761 in St. Petersburg, in the family of an artillery soldier. In 1767 he entered the St. Petersburg Academy of Arts, from which he graduated with honors in 1782. At the Academy, along with general education subjects, Fomin studied the clavichord and took composition lessons from Raupach and Sartori. Upon completion of his studies, Fomin was sent to Bologna for further improvement. In 1785, the composer was elected a member of the Bologna Philharmonic Academy. That same year he returned to St. Petersburg and devoted his life entirely to musical theater. In 1786, Fomin created the opera-ballet “Novgorod Bogatyr Boeslaevich,” based on epic material. In subsequent years, the composer wrote the operas “Coachmen on a Stand” (1787), “Parties, or Guess, Guess, Maiden” (1788), “The Americans” (1788), “The Sorcerer, the Fortune Teller and the Matchmaker” (1791), and the melodrama “Orpheus.” "(1792), operas "Clorida and Milo", "The Golden Apple" (years of creation are unknown).

Fomin wrote music for the theater in a variety of genres and did a lot of practical work - he learned parts with singers, instrumentalized, edited, and completed individual scenes for the works of other composers performed on stage. In 1797, Fomin was appointed to the position of “tutor of opera parts.”

Evstignei Ipatievich Fomin died in April 1800.

Fomin is the predecessor of Russian classical composers; the features of realism and nationalism were clearly defined in his work. Emotionality, depth, internal content, significance of musical images, melody based on folk songs distinguish the works of the outstanding Russian composer of the 18th century.

Fomin’s deep interest in Russian folk life was especially clearly reflected in his one-act comic opera “Coachmen on a Stand.” This is an everyday sketch from life, realistic, colorful. Her music makes extensive use of coachmen's songs; the composer strives to show the beauty and expressiveness of Russian folk song. Musical scenes in the opera alternate with spoken dialogues, which reflect the peculiarities of folk speech.

One of Fomin’s most remarkable works is the melodrama “Orpheus”. The ancient mythological plot is embodied by the composer with enormous artistic truth and vitality. The music of "Orpheus" is distinguished by romantic emotion and sublimity of the narrative, the beauty of the melodies, and the bright colors of the orchestration.

Fomin owns the musical edition of the famous Russian comic opera “The Miller - the Sorcerer, the Deceiver and the Matchmaker,” written by the talented nugget, orchestra member of the Moscow Theater Sokolovsky.

This opera enjoyed enormous love from listeners and soon after its production on stage it became one of the most popular works of its time. “This play aroused so much attention from the public that it was played many times in a row, and the theater was always filled: and then in St. Petersburg it was presented many times at the Court, and in the free theater that happened at that time at the owner of Mr. Knipper, it was played in a row twenty-seven times,” noted a contemporary.

The famous Russian poet G.R. Derzhavin gives a high assessment of “The Miller,” noting that, in comparison with other modern Russian operas, “...everyone prefers Mr. Ablesimova’s Melnik, due to its natural plan, plot and simple language.”

FOMIN EVSTIGNEY

Fomin (Evstigney) is one of the outstanding Russian composers of the second half of the 18th century. Count Alexey Orlov, who loved Russian song, contributed to the emergence of nuggets in music, mostly coming from the masses. Among them was Fomin, conductor of the Medox Theater in Moscow. Among the mass of operas (up to 30) written by Fomin based on texts by Empress Catherine II, Knyazhnin, Dmitrievsky, I.A. Krylov, Kapnist, Ablesimov and others, two had the greatest success: “Anyuta” (1772) and especially “The Miller, the Sorcerer, the Deceiver and the Matchmaker,” staged in Moscow in 1779, and then in St. Petersburg at the court theater, so popular, which was published back in the 19th century by Jurgenson in Moscow. Although Fomin’s music cannot be called purely Russian, nevertheless, a Russian vein beats in it among the various techniques of the musical rococo of Western opera of that time. Biographical information about Fomin is extremely scarce; even his opera "The Miller" was attributed entirely to Ablesimov, although the latter was only the author of the libretto.

Brief biographical encyclopedia. 2012

See also interpretations, synonyms, meanings of the word and what FOMIN EVSTIGNEY is in Russian in dictionaries, encyclopedias and reference books:

• FOMIN EVSTIGNEY in the Encyclopedic Dictionary of Brockhaus and Euphron:
  one of the outstanding Russian composers of the second half of the 18th century. Count Alexey Orlov, who loved Russian song, contributed to the emergence of nuggets in music...
• FOMIN, EVSTIGNEY in the Brockhaus and Efron Encyclopedia:
  ? one of the outstanding Russian composers of the second half of the 18th century. Count Alexei Orlov, who loved Russian song, contributed to the emergence of...
• FOMIN in the Modern Explanatory Dictionary, TSB:
  Alexander Alexandrovich (1907-41), Russian aeronaut. On instructions from the USSR Academy of Sciences in 1938-40, he flew on substratostats at an altitude of 9-11 km for ...
• FOMIN in the Directory of Settlements and Postal Codes of Russia:
  347441, Rostovskaya, …
• FOMIN in the Literary Encyclopedia:
  1. Alexander Grigorievich - literary critic, bibliographer. In his works about Belinsky, Chernyshevsky, Shelgunov, Nikitin and others, F. gravitates towards ...
• FOMIN
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• FOMIN in the Big Russian Encyclopedic Dictionary:
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• FOMIN in the Big Russian Encyclopedic Dictionary:
  FOMIN Iv. Al-dr. (1872-1936), architect. He put forward a program of “classical reconstruction” (a combination of the tradition of Russian classical architecture with modern construction methods); house of the community...
• FOMIN in the Big Russian Encyclopedic Dictionary:
  FOMIN Evst. Ipatovich (1761-1800), composer. Largest representative rus. music of the 18th century, contributed to the formation of the national operas ("Coachmen on a Stand", 1787). One...
• FOMIN in the Big Russian Encyclopedic Dictionary:
  FOMIN Vl. Vl. (1909-79), chemist, research scientist RAS (1964). Tr. on chemistry and technology of radioactive elements, problems of their complex formation and ...
• FOMIN in the Big Russian Encyclopedic Dictionary:
  FOMIN Al-dr. Grieg. (1887-1939), grew up. bibliologist, bibliographer. Basic tr.: “Book studies as a science” (1931), “Methods for compiling bibliographic indexes” ...
• EVSTIGNEY in the dictionary of Synonyms of the Russian language.
• EVSTIGNEY in the Complete Spelling Dictionary of the Russian Language:
  Evstigney, (Evstigneevich, ...
• FOMIN EVSTIGNEY IPATOVICH
  Evstigney Ipatovich, Russian composer. He studied at the Educational School at the Academy...
• EVSTIGNEUS (GREEK) in Name Meanings:
  Kind …
• SERGY (FOMIN)
  Open Orthodox encyclopedia "TREE". Sergius (Fomin) (b. 1949), Metropolitan of Voronezh and Borisoglebsk, Chairman of the Synodal Department for Church Charity...
• FOMIN NIKOLAY PETROVICH
  Fomin (Nikolai Petrovich) - a relative of the previous one, a composer, was born in 1864. He received his musical education at the St. Petersburg Conservatory, in theory class. ...
• FOMIN ALEXANDER IVANOVICH in the Brief Biographical Encyclopedia:
  Fomin (Alexander Ivanovich, 1735 - 1802) - collector of ancient acts and manuscripts in Arkhangelsk. Being 25 years old (1759), ...
• FOMIN ALEXANDER ALEKSANDROVICH in the Brief Biographical Encyclopedia:
  Fomin (Alexander Alexandrovich) - teacher and literary historian. Born in 1868 in the city of Vitebsk. He received his education at the verbal department...
• RUSSIA, SECTION SECULAR MUSIC (XVIII CENTURY) in the Brief Biographical Encyclopedia:
  The seventeenth century is a transitional period in the history of our music. In pre-Petrine Rus', shackled by ignorance, prejudice, heavy and inert social...
• FOMIN EVSTIGNEY IPATOVICH in the Big Encyclopedic Dictionary:
  (1761-1800) Russian composer. One of the creators of the Russian national opera - “The Coachmen on the Stand” (1787), “The Americans” (1788), the melodrama “Orpheus and Eurydice” ...
• FOMIN IVAN ALEXANDROVICH in the Great Soviet Encyclopedia, TSB:
  Ivan Aleksandrovich, Soviet architect. Studied at the St. Petersburg Academy of Arts (1894v97 and 1905v09) with L.N. Benois...
• FOMIN ALEXANDER GRIGORIEVICH in the Great Soviet Encyclopedia, TSB:
  Alexander Grigorievich, Soviet bibliographer, bibliologist, literary critic. Professor (1938). ...
• MIROVICH EVSTIGNEY AFINOGENOVICH in the Great Soviet Encyclopedia, TSB:
  (real name - Dunaev) Evstigney Afinogenovich, Belarusian Soviet actor, director, playwright, People's Artist of the BSSR ...
• EVSTIGNEEV in the Encyclopedia of Russian surnames, secrets of origin and meanings:
  
• STEGNEEV in the Dictionary of Russian Surnames:
  Initially - a patronymic from the short form Stegney from the canonical male name Eustignos (ancient Greek eustignos - “good sign” in the meaning “good ...
• EVSTAFYEV in the Dictionary of Russian Surnames:
  Patronymic from the canonical male personal name Eustathius (ancient Greek eustathios - “steady”). Patronymic from derivative forms of various degrees from the same ...
• EVSTIGNEEV in the Encyclopedia of Surnames:
  The surname became widely known thanks to the wonderful Russian artist Evgeny Aleksandrovich Evstigneev. But the surname is old, as is the name in it...
• NAME NAME in the Dictionary of Rites and Sacraments:
  Popular wisdom says: With a name - Ivan, and without a name - a blockhead. Or: Without an udder, a sheep is a ram, a cow without...
• AUGUST 18 in the Name Day Dictionary:
  Evstigney...
• SEVASTIAN KARAGANDA in the Orthodox Encyclopedia Tree:
  Open Orthodox encyclopedia "TREE". Sebastian (Fomin) (1884 - 1966), schema-archimandrite, reverend, confessor. Memory April 6...
• MIKHAIL (BOGDANOV) in the Orthodox Encyclopedia Tree:
  Open Orthodox encyclopedia "TREE". Mikhail (Bogdanov) (1867 -? 1925), Bishop of Vladivostok. In the world Bogdanov Mikhail Alexandrovich, ...
• KOREAN MISSION OF ROCOR in the Orthodox Encyclopedia Tree:
  Open Orthodox encyclopedia "TREE". Korean Orthodox Mission of the Russian Orthodox Church Abroad Tel.: (+ 82-33)573-5210 Website: http://www.korthodox.org E-mail: [email protected] History of Orthodoxy...

At the end of the 18th century, in an era when musical life in Russia was most closely connected with Italian and French operas, and it was led by invited foreigners, a new star shone brightly on the Russian horizon. The great Empress Catherine II herself wrote the libretto for this composer’s operas. He was a friend of Derzhavin and was distinguished by his complete rejection of the injustice and violence that reigned at that time. And this man’s name was Evstigney Ipatovich Fomin.

He was born on August 5, 1761 in St. Petersburg in the family of a gunner of the regimental artillery of the Tobolsk infantry regiment. Apparently, the child showed his artistic inclinations early, because at the age of six he was included in the list of pupils of the newly opened Academy of Arts. Here, for nine years, the students of the Academy had to undergo general education training. Taught: God's law, Russian language, foreign languages, arithmetic, drawing, geography, history, physics, natural science, architecture. And only after undergoing such training, the Academy student began a special study of the chosen form of art, which took another six years. Among other classes, there was a special class of musical composition. In 1782, Fomin graduated with honors from the Academy of Arts and was sent to Italy to continue his musical education. Fomin studied at the Bologna Philharmonic Academy for three years. He was one of the best students of the then famous contrapuntist Padre Martini, from whom he received a good knowledge of counterpoint and supplemented his musical and historical education. On November 29, 1785, at a meeting of the Council of the Bologna Philharmonic Academy, Evstignei Fomin was elected a member of this academy.

Upon returning from Italy, Fomin settled in St. Petersburg. In 1786, at the request of Empress Catherine II, he wrote music for her work “Novgorod Bogatyr Boeslavovich”. This comic opera by Fomin was first staged at the Hermitage Theater in November 1786. The plot and images of the Russian epic are a story about a quarrel, massacre and reconciliation with the Novgorodians of the hero, reveler and brawler Vasily Buslaev. In the opera, not only dances and dances were presented using ballet means, but also fist fights and folk fights. This opera was followed by another, with a libretto now by Fomin himself, “Coachmen on a Stand.” In it, the composer made extensive use of Russian folk song melodies. From 1788 to 1800, Fomin wrote five more operas, including “Orpheus and Eurydice,” where the composer’s outstanding abilities were fully demonstrated. Here he solved one of the most important tasks facing Russian musical art of that time: for the first time he managed to master a great tragic theme and show that Russian music is no longer limited to genre and everyday themes, but boldly invades the world of big ideas and deep feelings.

Here it should be recalled again that at that time in Russia foreigners remained at the head of the musical life of the capital. Productions of Italian and French operas dominated. And despite the Highest Decree of Catherine II to Count Olsufiev dated July 12, 1783: “over time, to achieve in all the skills (arts) in theaters the necessary replacement of foreigners with their natural ones,” for a long time there was no such “replacement” and continued to lead the development of opera music in Foreigners invited to Russia. Against this background, Fomin’s life path was not easy. His talent was literally “out of place” in the Russian capital. His work was not accepted by the empress and her entourage. Foreign maestros, authors of ceremonial hymns and oratorios, were held in high esteem, and Fomin had to earn his living by working as an accompanist and teacher. Only shortly before his death, academician of the Bologna Academy Evstigney Fomin received a modest position as a tutor of opera parts. At the end of April 1800, at the age of 39, the composer died.

Traditionally indifferent to its geniuses, Russian society remained indifferent to this loss. There wasn't even a single response in the press. And until now, only a few lines in the music encyclopedia remind us that the Russian composer Evstignei Fomin lived and wrote wonderful music in Russia.

Victor Kashirnikov