Pg Garlicov and the Synodal School. Chesnokov, Pavel Grigorievich
October 24, 1877 – March 14, 1944
Russian choral conductor, composer, church choir director, professor at the Moscow Conservatory
Biography
Born near the city of Voskresensk (now Istra) in the family of a rural regent. All children in the family showed musical talent, and five Chesnokov brothers in different time studied at the Moscow Synodal School of Church Singing (three became certified regents - Mikhail, Pavel and Alexander).
In 1895, Chesnokov graduated with honors from the Synodal School. Subsequently, he took composition lessons from S. I. Taneyev, G. E. Konyus and M. M. Ippolitov-Ivanov. After graduating from the Synodal School, he worked in various Moscow colleges and schools: in 1895-1904 he taught at the Synodal School, and in 1901-1904 he was an assistant regent of the Synodal Choir. In 1916-1917 he conducted the chapel of the Russian Choral Society (on Kuznetsky Most in the house of Torletsky - Zakharyin).
In 1917, Chesnokov received a diploma from the Moscow Conservatory in composition and conducting classes.
Since the 1900s, Chesnokov gained great fame as a regent and author of sacred music. For a long time directed the choir of the Trinity Church on Gryazi (on Pokrovka), from 1917 to 1928 - the choir of the Church of St. Basil of Neocaesarea on Tverskaya; He also worked with other choirs and gave spiritual concerts. His works were included in the repertoire of the Synodal Choir and other major choirs.
After the revolution, Pavel Grigorievich led the State Academic Choir and was choirmaster Bolshoi Theater. From 1920 until the end of his life he taught conducting and choral studies at the Moscow Conservatory. After 1928, he was forced to leave his regency and the composition of sacred music. In 1940 he published a monumental work on choir dance, “The Choir and Its Management.”
Musical works
In total, the composer created about five hundred choral pieces: spiritual compositions and transcriptions of traditional chants (among them several full cycles liturgy and all-night vigil, memorial service, cycles “To the Most Holy Lady”, “In the Days of War”, “To the Lord God”), adaptations folk songs, choirs to poems by Russian poets. Chesnokov is one of the most prominent representatives of the so-called “new direction” in Russian sacred music; Typical for him are, on the one hand, excellent mastery of choral writing, excellent knowledge different types traditional singing (which is especially evident in his transcriptions of chants), and on the other hand, a tendency towards great emotional openness in the expression of religious feelings, up to a direct rapprochement with song or romance lyrics (especially typical for spiritual works for solo voice that are now very popular with in chorus).
, Moscow province - March 14th, Moscow) - Russian composer, choral conductor, author of widely performed spiritual compositions.
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In 1917, Chesnokov received a diploma from the Moscow Conservatory in composition and conducting classes.
Since the 1900s, Chesnokov gained great fame as a regent and author of sacred music. For a long time he directed the choir of the Trinity Church on Gryazi (on Pokrovka), from 1917 to 1928 - the choir of the Church of St. Basil of Caesarea on Tverskaya; He also worked with other choirs and gave spiritual concerts. His works were included in the repertoire of the Synodal Choir and other major choirs. After the revolution, Pavel Grigorievich led the State Academic Choir and was choirmaster of the Bolshoi Theater. From 1920 until the end of his life he taught conducting and choral studies at the Moscow Conservatory. After 1928, he was forced to leave the regency and the composition of sacred music. In 1940, he published a monumental work on choir studies, “The Choir and Its Management.”
Chesnokov died in Moscow on March 14, 1944 from a myocardial infarction. According to a common version, he fell while standing in line for bread, and the cause of the heart attack was general exhaustion of the body [ ] . He was buried at the Vagankovsky Cemetery. Since the early 2000s, attempts have been made to obtain official permission to install a monument at the composer’s grave, but none of them were successful.
Musical works
In total, the composer created about five hundred choral pieces: spiritual compositions and transcriptions of traditional chants (among them several complete cycles of the liturgy and all-night vigil, a memorial service, the cycles “To the Most Holy Lady,” “In the Days of War,” “To the Lord God”), adaptations of folk songs, choirs based on poems by Russian poets. Chesnokov is one of the most prominent representatives of the so-called “new direction” in Russian sacred music; Typical for him, on the one hand, is an excellent mastery of choral writing, excellent knowledge of various types of traditional singing (which is especially evident in his transcriptions of chants), and on the other hand, a tendency towards great emotional openness in the expression of religious feelings, up to a direct rapprochement with song or romance lyrics (especially typical for spiritual works for solo voice and choir that are now very popular). His choirs are distinguished by their wide range, the use of low basses (octavists), the use of complementary rhythm and are, as a rule, accessible to highly qualified groups.
The main direction of Chesnokov’s work was sacred music, he wrote over 400 spiritual choirs (almost all before 1917) of different genres (“Liturgy”, “Vespers”, concerts with solo soprano, alto, tenor, bass, bass-octave; arrangements of ancient Russian chants, transcriptions for male choir and etc.). These works were very popular (although the author did not escape reproaches for being “romantic”). Many of Chesnokov’s spiritual works began to be performed only in post-Soviet times.
The content of Chesnokov’s secular works is usually a contemplative perception of nature, such as “The Dawn Is Warming,” “August,” “Night,” “In Winter,” “Alps.” Even in Dubinushka, Chesnokov’s music softens the socially pointed text of L. N. Trefolev. The composer made a number of complex concert arrangements of Russian folk songs (“Hey, let’s whoop,” “There was a birch tree in the field,” “Oh you, birch”), often introducing soloists into them (“Oh you, canopy,” “Ditch,” “Went Baby", "Luchinushka and Bludgeon"). Some of his original choirs were written in folk spirit, such are “Forest” to the words of A.V. Koltsov, “Beyond the river behind the fast one” and “Not a flower in the field withers” to the words of A.N. Ostrovsky; in “Dubinushka” an authentic folk song is used as a background.
In total, Chesnokov wrote over 60 secular mixed a cappella choirs, as well as (in connection with his teaching work in women's boarding houses) - more than 20 women's choirs with extensive piano accompaniment (“Green Noise”, “Leaves”, “Uncompressed Strip”, “ Peasant feast"). Several male choirs of Chesnokov - arrangement of the same works for a mixed composition.
Born on October 24, 1877 in the family of a regent near Voskresensk, now the Moscow region. Soviet choral conductor, teacher and composer.
He graduated from the Synodal School in 1895 as a choral conductor, in 1917 from the Moscow Conservatory in composition class with S.N. Vasilenko (previously took lessons from S.I. Taneev and M.M. Ippolitov-Ivanov. He taught at the Synodal School (Choral Academy), in 1920 -44 at the Moscow Conservatory (from 1921 - professor), where he taught a class of choral conducting, developed courses in choral studies and methods of working with the choir. He was the chief conductor of the Moscow State Choir (1917 - 22), headed the Moscow Academic Chapel (1922 - 28), was choirmaster of the Bolshoi Theater.
Chesnokov is one of the greatest masters of Russian choral culture, who contributed to his versatile musical activity lifting her up high level, his book “The Choir and Its Management” (1940; 3rd ed. - 1961) is the first detailed and deep work in the Soviet and world literature on choral studies, where the theoretical problems of choral art are developed. author of many musical works - songs, romances, choirs, etc.
Chesnokov wrote over 500 choral works, including many church works. Until 1917, he published over 50 opuses of church works. The choral letter reflected all the rich experience of the Synodal Choir that raised him.
Chesnokov died in 1944.
Born near the city of Voskresensk (now Istra) in the family of a rural regent. All the children in the family showed musical talent, and the five Chesnokov brothers studied at different times at the Moscow Synodal School of Church Singing (three became certified regents - Mikhail, Pavel and Alexander).
In 1895, Chesnokov graduated with honors from the Synodal School. Subsequently, he took composition lessons from S. I. Taneyev, G. E. Konyus and M. M. Ippolitov-Ivanov. After graduating from the Synodal School, he worked in various Moscow colleges and schools: in 1895-1904 he taught at the Synodal School, and in 1901-1904 he was an assistant regent of the Synodal Choir. In 1916-1917 he conducted the chapel of the Russian Choral Society (on Kuznetsky Most in the house of Torletsky - Zakharyin).
In 1917, Chesnokov received a diploma from the Moscow Conservatory in composition and conducting classes.
Since the 1900s, Chesnokov gained great fame as a regent and author of sacred music. For a long time he led the choir of the Trinity Church on Gryazi (on Pokrovka), from 1917 to 1928 - the choir of the Church of St. Basil of Neocaesarea on Tverskaya; He also worked with other choirs and gave spiritual concerts. His works were included in the repertoire of the Synodal Choir and other major choirs.
After the revolution, Pavel Grigorievich led the State Academic Choir and was choirmaster of the Bolshoi Theater. From 1920 until the end of his life he taught conducting and choral studies at the Moscow Conservatory. After 1928, he was forced to leave his regency and the composition of sacred music. In 1940 he published a monumental work on choir dance, “The Choir and Its Management.”
Musical works
In total, the composer created about five hundred choral pieces: spiritual compositions and transcriptions of traditional chants (among them several complete cycles of the liturgy and all-night vigil, a memorial service, the cycles “To the Most Holy Lady,” “In the Days of War,” “To the Lord God”), adaptations of folk songs, choirs based on poems by Russian poets. Chesnokov is one of the most prominent representatives of the so-called “new direction” in Russian sacred music; Typical for him, on the one hand, is an excellent mastery of choral writing, excellent knowledge of various types of traditional singing (which is especially evident in his transcriptions of chants), and on the other hand, a tendency towards great emotional openness in the expression of religious feelings, up to a direct rapprochement with song or romance lyrics (especially typical for spiritual works for solo voice and choir that are now very popular).
