Nikolai Golovanov conductor. The great Russian conductor Nikolai Golovanov and the Soviet conductor Kirillkondrashin
Conductor (choral, opera, symphony), pianist-accompanist, composer, teacher, public figure.
Born on January 9, 1891 in Moscow. In 1900-09 he studied at the Synodal School of Church Singing, after which he became regent of the 1st category. Among the teachers are V. S. Orlov, A. D. Kastalsky, N. M. Danilin. In 1912-18 he taught at the school. In 1914 he graduated from the Moscow Conservatory with a small gold medal in the composition class of S. N. Vasilenko ( graduate work- opera-cantata “Princess Jurata”). He also studied with A. A. Ilyinsky and M. M. Ippolitov-Ivanov. Since 1909 he acted as choral conductor, including on tour abroad (with the Synodal Choir). In 1910-18 - assistant regent of the Synodal Choir. Since 1915 he worked at the Bolshoi Theater: in 1915-19 - assistant choirmaster, in 1919-28, 1930-36 - conductor, 1948-53 - chief conductor. In 1919-48 (with interruptions) - conductor at the Opera House (studio) named after. K. S. Stanislavsky. How a symphony conductor performed with orchestras Bolshoi Theater, Moscow Conservatory, Moscow Philharmonic (1920s). Since 1930 - chief conductor of the Radio Center, headed the Opera Radio Theater; from 1937 — artistic director and chief conductor of the BSO of the All-Union Radio Committee. At the same time he performed with the State Orchestra folk instruments USSR (1936-47), with the State Brass Band of the USSR (1937-40), etc. In the extensive repertoire of Golovanov the symphony conductor, Russian classics occupied a central place, as well as works by modern Russian composers. Among his performing masterpieces are works by A. P. Borodin, M. I. Glinka, P. I. Tchaikovsky, M. P. Mussorgsky, N. A. Rimsky-Korsakov, A. N. Scriabin. The first performer in the USSR of works by S. V. Rachmaninov: “Three Russian Songs” (1932), Third Symphony (1943), “Symphonic Dances” (1943); N. Ya. Myaskovsky: Sixth (1924), Twentieth (1940) symphonies; S. S. Prokofiev: opera “The Love for Three Oranges” (Bolshoi Theatre, 1927), Fifth Concerto for Piano and Orchestra (1932), Fourth Symphony (1933), Suite No. 1 from the ballet “Romeo and Juliet” (1936), "Zdravitsa" (1939); A. I. Khachaturian: Suite from the ballet “Gayane” (1943); T. N. Khrennikova: Second Symphony (1943), etc. In 1916-43 he gave concerts as a pianist-accompanist in an ensemble with A. V. Nezhdanova, I. S. Kozlovsky, M. O. Reisen, M. P. Maksakova, N. D. Spiller.
Golovanov’s compositional heritage includes 2 one-act operas, a symphony, 2 cantatas, works for choir (including over 60 spiritual works, see: N. S. Golovanov. Spiritual works for choir a cappella. M., 2004), symphony orchestra, for piano (see: N.S. Golovanov. Sonata. Prints. M., 2005), for voice and piano (over 140 romances), over 50 arrangements of songs different nations. In 1925-29 and 1943-48 - professor of orchestral and opera classes at the Moscow Conservatory. Among the students are assistant trainees of the Bolshoi Theater - E. Akulov, G. Zimin, A. Kovalev, S. Sakharov; at the Moscow Conservatory - L. Ginzburg, G. Rozhdestvensky, B. Khaikin at the BSO of the All-Union Radio Committee - K. Ivanov. In 1926, with the help of opera class students and a student orchestra, he carried out the first October revolution production - opera " The Tsar's Bride"N. A. Rimsky-Korsakov.
Stalin Prizes of the USSR (1946,1949,1950,1951, including for productions of the operas “Boris Godunov”, 1948; “Sadko”, 1949; “Khovanshchina”, 1950). Awarded the Order of the Red Banner of Labor (1937), Lenin (1951); medals: “For the defense of Moscow” (1949), “For valiant labor during the Great Patriotic War 1941-1945."
His wife is A. B. Nezhdanova.
Literary works: Notebook of a student of the fourth grade of Moscow Synodal School church singing N. Golovanov 1903/04 school. // Russian spiritual music in documents and materials. T. 1. Synodal choir and school of church singing. Memories. Diaries. Letters. M., 1998; Sketch about Prokofiev / Publ. O. Zakharova // Sergei Prokofiev. Memories. Letters. Articles. M., 2004.
« When you think about creative appearance Nikolai Semenovich Golovanov, contemporaries wrote, was the main, most characteristic feature its national essence is represented. The Russian national setting of creativity permeates Golovanov’s performing, conducting and composing activities.». A conductor-titan, a conductor-hero, he snatched Russian opera from the whirlwinds of the revolution, whose millstones cut and distorted the traditions of Russian art. The creator of the “grand style,” his conducting style was striking with the power of energy, contrast, and brightness of the colors of the orchestra. Productions by Nikolai Golovanov on the stage of the Bolshoi Opera Theater "Boris Godunov" (1948, Stalin Prize), “Sadko” (1949, Stalin Prize), “Khovanshchina” (1950, Stalin Prize) are the pinnacles of the renaissance of Russian opera, still unconquered.
Music at the turn of the 20-30s of the twentieth century once again turned out to be a battlefield. Karl (Károly) Flesch, a professor at the Berlin University of Technology, added fuel to the fire. music school. In “The Problem of Sound in Violin Playing,” he developed a theory about “entire races and folk tribes in which the sense of sound was better developed than others.” These turned out to be “Polish and Russian elements” Jewish origin" A scandal broke out in Germany. The famous violinist Gustav Havemann was indignant: “You accept the Jewish sense of sound as fundamental, which is natural for you as a Jew, whom I respect. But for us Germans, the Jewish sense of sound is not decisive.” Flesch's idea was picked up in the Soviet Union. Nikolai Golovanov openly expressed that the best interpreters of Russian music can only be musicians and singers of Russian origin. In essence, Golovanov repeated the Emperor’s statement Alexandra III. The legend of Golovanov the anti-Semite broke out and was replicated in all subsequent years. Today the name of Nikolai Golovanov is known only to connoisseurs of Russian art. Today the name of Nikolai Golovanov is in the shadows. Is it because, in the aura of his glory, liberal propaganda about the “Stalinist” USSR fades into dust, and the art of the “Stalinist” USSR takes on the sound of Scriabin’s “Prometheus”.
We are talking about Nikolai Golovanov especially for “Zavtra” with Olga Ivanovna Zakharova, a man of amazing destiny. After graduating from the Moscow Conservatory (theoretical and composition department), she came to work at the Golovanov Museum. I assumed: distribution for a year, for two... A year or two turned out to be almost half a century long. Neither the proposals of Radio Foreign Broadcasting, nor the Institute of Art Studies, which we once could only dream of, were lured away... But we can safely say: Olga Ivanovna Zakharova, musicologist, candidate of art history, is the mascot of Nikolai Golovanov’s museum. Nikolai Golovanov is a titan, a hero of Russian music.
"TOMORROW". Olga Ivanovna, for a quarter of a century, liberals and even patriots have been instilling the idea that Russian people are uncultured, that they live in dirt and eternal disorder. But then you find yourself in the Golovanov Museum, and the world of artistic taste seems to be yours. What family was Golovanov born into and grew up in? what influenced his formation?
Olga ZAKHAROVA. By origin, Nikolai Golovanov was from the peasants of the Simbirsk province, but his parents had already settled in Moscow. The father is a tailor, the mother hardly knew how to read and write. Golovanov showed signs of musical abilities, and this gave the family the opportunity to take him to a unique institution, which was the Synodal School of Church Singing. IN late XIX century and right up to the revolution, the Synodal School experienced a period of takeoff and culmination. Such a reformer came to the school, very educated person, scientist, medievalist and composer Stepan Smolensky. The luminaries of Russian sacred music Kastalsky, Chesnokov, Nikolsky worked at the school. In 1901, Smolensky was transferred to the Court singing chapel Petersburg, but, nevertheless, in Moscow he managed to lay the foundations of serious education, both church and general humanitarian. The school had an amazing choir. The choir consisted of boys and civilian singers. The octavist basses were famous - very low basses, and the choir was led by a regent with capital letters Vasily Sergeevich Orlov. Already in his declining years, Golovanov would write: “The Synodal School gave me everything - moral principles, life principles, the ability to work hard and systematically, instilled sacred discipline.”
"TOMORROW". How difficult was it to get into such a school?
Olga ZAKHAROVA. Out of 360 boys, Golovanov recalled, a lucky few were chosen, boys from different cities of Russia. It was a closed boarding school, where they not only provided education, but also provided everything they needed. Golovanov had a wonderful voice. And they noticed it. In the choir he was a so-called performer, that is, a soloist. Executor is a church term, as is regent. There were three performers, and the choir during the ceremonial services sometimes numbered seventy or more people. The choir served such a shrine of Russia as the Assumption Cathedral in the Kremlin. Besides, the boys really worked. There were orders for the Synodal Choir from rich houses for funeral services and weddings. The choir also performed at the Moscow Conservatory and toured abroad.
"TOMORROW". Is it true to say that Grand Duchess Elizaveta Feodorovna noticed Golovanov in the Assumption Cathedral?
Olga ZAKHAROVA. Elizaveta Fedorovna often attended services in the Assumption Cathedral. According to the recollections of one of the Synodal members, she walked on foot from the Marfo-Mariinsky Convent to the Kremlin. There is information that Golovanov, while still a student at the Synodal School, was invited by her as a regent to services in the Nikolaev Palace of the Kremlin.
"TOMORROW". And immediately after graduating from college, Golovanov received an invitation to become regent of the Marfo-Mariinsky monastery.
Olga ZAKHAROVA. Not only. Golovanov graduated from college in 1909. And he was left as a teacher at the school, and also as a junior assistant to the regent. The Grand Duchess invited him to be regent at the Marfo-Mariinsky Convent. The main Intercession Cathedral was still under construction at that time, services were held in the brownie, Martha and Mary Church. And in 1911, he became the senior assistant to the regent, in addition, he studied composition and music theory at the conservatory with Sergei Vasilenko.
"TOMORROW". Did you have to leave the monastery because you were busy?
Olga ZAKHAROVA. Yes, but Golovanov retained the memory of Grand Duchess Elizabeth Feodorovna for the rest of his life. There is a document in the museum indicating that she was always satisfied with the work performed by Golovanov at the monastery. Golovanov placed a photograph in the album Grand Duchess, which she may have given him as a parting gift when leaving the Marfo-Mariinskaya Convent. A gift from the choir - a metronome, on its elegant bronze plate is engraved: “From the grateful choir of sisters of the Martha and Mary Convent” and the dates when he came and left the monastery.
"TOMORROW". Did Golovanov meet the artist Nesterov here? What is known about their relationship?
Olga ZAKHAROVA. Golovanov communicated with the artist in different years, was friendly with the artist’s autobiographer, Durylin. Their correspondence has been preserved. Golovanov has several works by Nesterov: “Saint Barbara”, “Angel of Sorrow”, “Capri. Italy" - these are pre-revolutionary works, and the work of the Soviet period "Desert Fathers and Immaculate Wives." Moreover, the latter is the author’s version, which differs from the one in Tretyakov Gallery.
"TOMORROW". Did you make your debut as a conductor after graduating from the conservatory or earlier?
Olga ZAKHAROVA. At the age of 20, in 1911, Golovanov conducted at the Moscow Conservatory. It was a debut. The Synodal Choir performed “Liturgy” by Sergei Rachmaninoff.
"TOMORROW". We are approaching the years of the revolution, which Golovanov did not seem to notice because of his love for Nezhdanova. I would like you to tell us about this story great love. Who noticed who first?
Olga ZAKHAROVA. In 1914, Golovanov brilliantly graduated from the conservatory. His diploma work is the opera “Queen Jurata”. When the music, as was required, was played on two pianos in front of the examination committee, it created a sensation. The opera was celebrated with a special cash bonus 1000 rubles. The director of the conservatory, Ippolitov-Ivanov, made a decision: the opera must certainly be performed. But the first one broke out World War. And yet the music was performed in the form of a suite. People immediately started talking about Golovanov and began writing about him. And in 1915, Golovanov conducted summer symphony concerts in Sokolniki. Participants are the orchestra and soloists of the Bolshoi Theater. And here, I think, Nezhdanova could pay attention to him.
"TOMORROW". Nezhdanova was much older than Golovanov.
Olga ZAKHAROVA. When Golovanov was born in 1891, Nezhdanova was already teaching in Odessa, where she was from and where her family lived. Nezhdanova was 18 years older than Golovanov. She had two brothers, a sister and all the younger ones. In order to somehow help her family, she worked as a teacher for eight years. And since 1902, Nezhdanova already shone at the Bolshoi Theater. She had, of course, an amazing voice, of some kind of angelic purity. I think that at first Nezhdanova’s voice captivated her. Golovanov later wrote that Nezhdanova was childishly pure in soul, even naive. Nezhdanova said that when she saw Golovanov, an “injection” occurred; he “injected” her. Maybe this is called love at first sight?
In 1918, Golovanov made a box for Nezhdanova, obviously to order. Very beautiful carving. You open and on the lid there is a large letter from Golovanov to her name day and the Holy Trinity. Inside the box, somehow, a whole romance was also written out, which he dedicated to Nezhdanova. Romance “What is a Dream?” based on poems by Igor Severyanin. It is from this box that the love story may have begun. At the same time, Golovanov became a permanent pianist-accompanist great singer. Moreover, both of them were believers.
"TOMORROW". Was the marriage church?
Olga ZAKHAROVA. They were in a civil marriage. But, according to the priest, Father Valeryan Krechetov was secretly married. Nezhdanova lived in an apartment on the floor below; they shared a dacha on Nikolina Gora.
"TOMORROW". I wonder what kind of life they led?
Olga ZAKHAROVA. They somehow had a lot of fun in their leisure time, and somehow they were delighted with life. On Christmastide they would go around the apartments, dress up as mummers, and sing carols. They loved to travel. We went to Italy and stayed at the villa of the English conductor Albert Coates. In 1926, Bernard Shaw was holidaying nearby and often visited Coates. One day I found Nezhdanova and Golovanov. Nezhdanova sang “The Nightingale” to him and the Russians folk songs. Bernard Shaw was delighted, and he was very demanding, if not poisonous at times. He gave Nezhdanova his photograph and wrote: “I now understand why God allowed me to live to the age of 70 - this is so that I have the opportunity to hear his best creation - Nezhdanova.”
Golovanov and Nezhdanova were fond of painting and collecting. Nezhdanova painted herself, there was even a portrait of Golovanov. Antonina Vasilyevna also had an excellent collection of paintings, no less luxurious than Golovanov’s. In addition to paintings by Russians and foreign artists Golovanov collected icons, there were about a hundred of them. Sixty were transferred to the Tretyakov Gallery.
"TOMORROW". The death of Antonina Vasilyevna Nezhdanova in 1950 was a shock for Golovanov. And we can say that he never coped with it.
Olga ZAKHAROVA. Yes. After Nezhdanova’s death, in October, Golovanov held a grand concert in her memory. And soon he fell ill. He got pneumonia. Golovanov was treated with the then newest penicillin drugs. The temperature dropped, everything seemed to be back to normal, when suddenly he was struck by paralysis. Stroke. He was able to get help on time and was treated and supported for a whole year. Movement and speech were restored, but doctors forbade public performance. At the same time, Golovanov remained the musical director of the Bolshoi Theater and the All-Union Radio Orchestra. And he recorded twelve symphonic poems by Liszt and symphonic excerpts from Wagner's operas. Absolutely amazing recordings! No one could even imagine that they were made by Golovanov after a stroke.
"TOMORROW". Olga Ivanovna, there is a myth about Golovanov - a tyrant, a despot.
Olga ZAKHAROVA. Nikolai Semyonovich Golovanov was distinguished by his explosive temperament. It was as if two people lived in it different people. Outside of work, even during a break during rehearsals, he was good-natured, a very good conversationalist, very a cheerful person. While working, he transformed, becoming tough and over-demanding. If, with his insight, he saw some kind of wrong mood in the orchestra, even the wrong eyes, then he would boil up and could be rude and harsh. He did not tolerate the slightest falsehood; he treated conducting and performing as a kind of church service. There were even such memories of the choirmaster Claudius Vasilyevich Ptitsa. He says that in the manner of Golovanov conducting there was something of a sacred rite.
"TOMORROW". And let us note that in that damned, totalitarian, godless time, Golovanov constantly left religious abbreviations on the scores.
Olga ZAKHAROVA. I managed to read them. These are the first words of prayer. Most often, “Iv. B.M." - Iverskaya mother of God. Sometimes he even wrote “Iveron Mother of God, help.” There is also an appeal to Seraphim of Sarov, Savva of Zvenigorod. I think that this is not only a Russian tradition, but a Christian one in general. Johann Sebastian Bach, for example, put crosses. On the score of Tchaikovsky's Sixth Symphony - "God Bless" and at the end - thanksgiving.
"TOMORROW". Olga Ivanova, the name of Golovanov is carved in golden letters in the heavenly pantheon of the Bolshoi Theater. Golovanov’s will, courage, and talent crushed this entire International that was alien to the theater and returned the theater to the Russian mainstream. I would like to talk to you about Golovanov and the Bolshoi Theater.
Olga ZAKHAROVA. Golovanov came to the Bolshoi Theater in 1915. For the modest position of assistant choirmaster. In 1919, one might say, he was pushed onto the conductor’s podium at the theater. Golovanov doubted for a long time, but a conductor was urgently needed; after the revolution, the theater conductor Emil Cooper emigrated. Then they even resorted to such a trick: Golovanov was told that the position of assistant choirmaster was canceled and he had to decide: either you become an opera conductor, or you leave the theater. But he had already gotten used to the theater, there were Chaliapin, Nezhdanova, Sobinov... and Golovanov made up his mind. The first opera he conducted was “The Tale of Tsar Saltan.” 1919 A letter of praise from Vladimir Nemirovich-Danchenko has been preserved. Golovanov became interested in his work and Russian operas became his repertoire.
"TOMORROW". And the persecution of Golovanov by the Russian Association of Proletarian Musicians began.
Olga ZAKHAROVA. The campaign of harassment began in 1928 and I think began first inside the Bolshoi Theater itself. The theater was dissatisfied with Golovanov's leadership style. He was, of course, an authoritarian man. Then it was considered a relic of a bygone culture, lordship. He was called a “master”, but those to whom he had complaints were professionals. RAPM united the younger generation of revolutionary-minded musicians. So revolutionary that it seemed to them that the Bolshoi Theater was not doing business. It's not the same with the classics. Moreover, often these people were amateurs, in general, not truly educated, but who traveled at the expense of ideology.
Once in a private conversation with his teacher Vasilenko (and Vasilenko was preparing the premiere at the Bolshoi Theater - the opera “Son of the Sun”), that the opera “Boris Godunov”, which was being prepared for production, should be conducted by a Russian conductor. And they assigned Ariy Moiseevich Pazovsky. Golovanov’s words were heard, conveyed, and he began to be accused of anti-Semitism. In those years this was a terrible accusation. A campaign called “Golovanovism” broke out. The scandal also spread to the conservatory, where Golovanov revived the Conservatory Orchestra. Here, too, the “cleaning” began. Golovanov was also persecuted in the newspapers, and the case even went to court. Golovanov, it should be noted, knew how to defend himself. He somehow prepared for all these showdowns, he had specific facts, arguments.
"TOMORROW". However, Golovanov was fired from the theater.
Olga ZAKHAROVA. Golovanov was fired from the Bolshoi Theater, but he continued to give concerts at the conservatory. The public was then sharply divided into “Golovanovites” and those who condemned him. Things sometimes came to the point of whistling, on the verge of hand-to-hand combat.
"TOMORROW". How many times did he leave the Bolshoi Theater?
Olga ZAKHAROVA. Three times. It was not he who left, but someone who “left” him. The first time was 1928. But in 1930 they returned it, and by a resolution of the Central Committee Commission, that is, they rehabilitated it from above. Second dismissal - 1936.
"TOMORROW". What caused it?
Olga ZAKHAROVA. To a large extent, the leadership style already noted. But there was also a story connected with the composer, Ivan Dzerzhinsky, author of the opera “ Quiet Don" It was believed that Golovanov overworked this opera. She was talented, but amateurish, very poorly instrumented. In general, Golovanov worked hard on it to present it with dignity at the Bolshoi Theater. Dzerzhinsky in those years was raised “to the shield.” The premiere of his opera in the author's version in Leningrad was a success, conducted by Samuil Samosud. The composer was offended by Golovanov because of the editing, and as a result, Golovanov was removed and Samuil Abramovich Samosud was staged. Golovanov, interestingly, wrote on a piece of calendar, on the day of his dismissal: “The committee divided O m art committed lynching against Golovanov.”
"TOMORROW". But they were kept in strategic reserve.
Olga ZAKHAROVA. In 1937, artists and soloists of the Bolshoi Theater were awarded. Golovanov learned from the newspaper that he too had been awarded. Moreover, he decided that this was a mistake, a typo, that it was not him who was awarded, but the singer Dmitry Golovin. Golovanov was returned to the theater in 1948, and would have been returned earlier, but there was a war. Upon learning of his return to the theater, Golovanov suffered a heart attack from joy. Microinfarction.
"TOMORROW". Was he that emotional?
Olga ZAKHAROVA. Yes, of course, he was very emotional. In addition, the Bolshoi Theater was a significant place for him.
"TOMORROW". Where did the war find Golovanov?
Olga ZAKHAROVA. When the Great Patriotic War broke out, Golovanov and Nezhdanova were at their dacha in the Moscow region. And in the hottest, most difficult days, when the troupe and orchestra of the Bolshoi Theater had already left for evacuation, Golovanov began to assemble an orchestra. It was quite difficult. Raids, bombings, everyone is trying to leave Moscow.
"TOMORROW". Are they left?
Olga ZAKHAROVA. Golovanov and Nezhdanova were repeatedly recommended to evacuate. But they refused. Antonina Vasilievna Nezhdanova decided to stop performing even before the war. Age. However, in the very first years of the war, she began performing on the radio. In 1942 alone she gave more than fifty concerts. And Golovanov recruited musicians for the orchestra, and broadcasts began. These broadcasts had great importance for those who were far from Moscow. Music and concerts in the capital! Moreover, music that had not been heard for a long time for various reasons was revived. Let's say the overture “1812” by Tchaikovsky. It ended with the royal anthem “God Save the Tsar,” Golovanov replaced it with “Glory” and began to perform it. The museum contains a note from a pilot who flew to Tehran. So, during this flight he listened to the “1812” overture.
"TOMORROW". Great story! I propose now to talk about Golovanov’s triumph at the Bolshoi Theater.
Olga ZAKHAROVA. From 1948 to 1953 are the years of the culmination of Golovanov’s work at the Bolshoi Theater. For three years in a row: 1948, 1949, 1950, operas were staged - “Boris Godunov”, “Sadko”, “Khovanshchina”, which were awarded the highest award, the Stalin Prize of the 1st degree. These were absolutely brilliant performances. Masterpieces. Golovanov took revenge.
"TOMORROW". There is a version that Stalin sympathized with Golovanov.
Olga ZAKHAROVA. It is clear that Stalin valued the Bolshoi Theater and Golovanov at the head of the Bolshoi Theater. I don’t know how Golovanov treated Stalin before the war, but after the war he appreciated Stalin. Note that it was under Stalin that Golovanov achieved very high stakes for orchestra, were purchased good tools, that is, all conditions were created for truly creative work and supporting the living standards of musicians. Both at the Bolshoi Theater and in the Radio Orchestra, which Golovanov directed.
"TOMORROW". But then Stalin dies, Khrushchev fires Golovanov.
Olga ZAKHAROVA. Formal clue - Golovanov works in two large ensembles and does not conduct at the Bolshoi Theater. Another reason - the historian Maksimenkov told me about it. In those years, it was important to create a Soviet classical opera, and Golovanov was very skeptical about this. He did not see modern music worthy of the Bolshoi Theater. Although at that time they also commissioned operas for Shostakovich, the opera “October,” and Shaporin’s opera “The Decembrists” was being prepared for production. The composers' capabilities did not meet Golovanov's requirements.
There was another reason. In 1952-1953, Golovanov prepared a decade of Belarusian art in Moscow. Then the decades of different republics were celebrated with great pomp and pomp. And in Minsk, Golovanov began clashing with singer Larisa Aleksandrovskaya, who was a deputy of the Supreme Council. She prepared the opera “The Girl from Polesie” by Tikotsky as a director for a decade. Golovanov was very critical of the production and demanded alterations. Apparently, he said something harsh to this singer. And she was the friend of the man who became the Minister of Culture under Khrushchev, Ponomarenko. When Ponomarenko became the Minister of Culture, he removed Golovanov.
"TOMORROW". Golovanov was waiting for him to be returned?
Olga ZAKHAROVA. You know, there is a myth that Golovanov, having already been fired, came to the Bolshoi Theater from the service entrance and showed his ID. They told him that you no longer work here, you are a pensioner. An order was also being prepared to dismiss Golovanov from the Radio Orchestra.
"TOMORROW". Golovanov’s heart could not stand the humiliation.
Olga ZAKHAROVA. Yes. Having received news of his dismissal, Golovanov soon died. August 28, 1953. On the Assumption... On the Assumption he performed for the first time with the Synodal Choir. Golovanov’s career as a musician began with services in the Assumption Cathedral. Golovanov himself said that the most significant days in his life were associated with the Assumption... I thought now that here, in Bryusov Lane, there is a church nearby and also the Assumption.
"TOMORROW". Olga Ivanovna, Golovanov continued to write sacred music all his life. What is his latest composition?
Olga ZAKHAROVA. Golovanov’s last composition, summer 1952, Prayer to St. Tryphon. He, of course, remembered his confessor. There was such a Metropolitan Tryfon Turkestanov, the author of the akathist “Glory to God for everything.” The museum exhibit includes a poem by Trifon, which he wrote and sent to Golovanov in 1930 in connection with the “Golovanovism” campaign. In the poem, he recalls Golovanov’s singing as a boy, how he performed as a soloist, and how even then this halo hung over him...
"TOMORROW". Genius.
Olga ZAKHAROVA. Yes.
"TOMORROW". The significance of Golovanov for Russian and world musical culture.
Olga ZAKHAROVA. You know, when in 2011 a film about Golovanov was made on the Culture channel, it received the following title: “Nikolai Golovanov. Chief conductor Soviet Union" He really was the brightest Soviet conductor first half of the twentieth century. He was at the forefront musical life Moscow. For modern musicians, conductors, and the public, Golovanov has become a symbol of the Russian origins in conducting. It touches me that such an outstanding musician as Mikhail Vasilyevich Pletnev is his big fan and promoter of creativity. And not only here, but also abroad.
Golovanov performed Wagner superbly. In Germany, discs were released, the “Great Conductors” series. And in this series there are two conductors next to each other: on the German side - Wilhelm Furtwängler, on the Russian side - Nikolai Golovanov.
"TOMORROW". An object in a museum with a sacramental history associated with it.
Olga ZAKHAROVA. I think this is a sword from the early 20th century. There is evidence that when the tsar's services were held, the tsar came to the Kremlin and the Synodal Choir sang. The choir director had to wear a uniform with a sword. The museum has a photograph from 1914, the exit of the Imperial family from the Assumption Cathedral to the Chudov Monastery. And in the background of the photograph are the Synodal Choir and Golovanov. Exactly in uniform and, probably, with this very sword.
"TOMORROW". Golovanov is a warrior of Russian art in heaven.
Nikolai Semenovich Golovanov (1891–1953) - Russian composer, conductor. Born in Moscow on January 9 (21), 1891 in a poor middle-class family. After graduating from the Synodal School of Church Singing in 1910, he was appointed assistant regent of the Synodal Choir (performed in concerts, conducted foreign tours) and teacher at the Synodal School. In 1914 he received a composer's diploma from the Moscow Conservatory and in 1915 he made his debut as a symphony conductor. In 1919–1928 and 1930–1936 conductor, in 1948–1953 chief conductor Moscow Bolshoi Theater. From 1919 he worked at the Opera Studio of K.S. Stanislavsky (later Opera theatre named after K.S. Stanislavsky and V.I. Nemirovich-Danchenko). Since the late 1920s he led active work at the All-Union Radio, where he headed the opera radio theater and was the chief conductor of the Bolshoi Symphony Orchestra (1937–1953). In 1925–1948 (with a break) professor of orchestral and opera classes at the Moscow Conservatory. He performed as a pianist, in 1916–1943, mainly in an ensemble with his wife, singer A.V. Nezhdanova. Author of the operas “Princess Jurata”, “Bogatyr Kurgan”, symphonies, romances, and a significant number of sacred choral works.
The highest achievements of Golovanov the conductor are associated with the Russian musical classics, especially opera (radio recordings, productions of the operas "Sadko" by Rimsky-Korsakov, "Boris Godunov" and "Khovanshchina" by Mussorgsky at the Bolshoi Theater), and with the symphonic works of Scriabin and Rachmaninoff. Golovanov was also an outstanding interpreter of contemporary music, the first performer of a number of works by Prokofiev and Shostakovich. His conducting style is marked by a strong will, bright contrasts, and a wonderful sense of drama.
Golovanov collected a valuable collection of works visual arts(mainly Russian artists of the late 19th - 20th centuries), books and manuscripts, which is now stored in the Golovanov Apartment Museum in Moscow (branch State Museum musical culture named after M.I. Glinka; some works from the collection are in the State Tretyakov Gallery). Golovanov died in Moscow on August 28, 1953.
Bibliography
To prepare this work, materials from the site http://www.belcanto.ru/ were used
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January 21, 1891 – August 28, 1953
Russian Soviet conductor, pianist and composer, People's Artist of the USSR
Biography
He graduated from the Moscow Synodal School of Church Singing, where he studied with V. S. Orlov and A. D. Kastalsky, and first performed as a conductor in 1909.
After graduating from the Moscow Conservatory in the composition class of Sergei Vasilenko and Mikhail Ippolitov-Ivanov. In 1915–53 (with interruptions) he worked at the Bolshoi Theater. In 1928, in connection with a fabricated case of “Golanovism,” he was dismissed, and reinstated in 1930. In 1936 he was fired again. In 1948–53 he worked as the theater's chief conductor. Dismissed in 1953.
Golovanovshchina
In the second half of the 1920s, a campaign of political persecution, the so-called “Golovanovism,” was launched against N.S. Golovanov. According to a group of workers (local committee, trade union committee, Komsomol committee) led by the party cell of the Bolshoi Theater, with the direct participation of composer S. Vasilenko and conductor A. Pazovsky, Golovanov sought to “transfer to Soviet theater old, bourgeois morals and methods of work,” was too “conservative” (in fact, he opposed the productions of the Soviet opera “remake”), refused to promote young artists, and supported “unfairly high” fees for leading musicians. The campaign received a great response in the media mass media and even attracted the attention of I.V. Stalin. Articles in the press were aggressive, “accusatory” in nature:
The “measures” taken by the party and Komsomol ensured the “overcoming of Golovanovism” and resulted in the dismissal of the artist.
In 1926-1929 Golovanov headed the Moscow philharmonic orchestra. In 1937, he was appointed artistic director and chief conductor of the Bolshoi Symphony Orchestra and Opera Radio Theater of the All-Union Radio Committee, which he directed until his death. Under the direction of Golovanov, epic large-scale works by Russian composers were most often performed (Boris Godunov and Khovanshchina by Mussorgsky, Ivan Susanin by Glinka, Scheherazade by Rimsky-Korsakov, etc.). During the war, while in Moscow, he continued to give concerts and worked on the radio. In 1925-1929 and 1943-1948 he taught at the Moscow Conservatory (professor of orchestral and opera classes). Among Golovanov’s students are conductors L. Ginzburg, G. Rozhdestvensky, B. Khaikin.
Buried at Novodevichy Cemetery.
Creation
The sound of Golovanov's orchestra was distinguished by ideal phrasing, dynamism of interpretation, and a harmonious combination of symphonic and dramatic elements of theatrical action. Under the direction of Golovanov, the first performances of Myaskovsky's Fifth, Sixth, Twenty-second and Twenty-third symphonies, Khrennikov's Second Symphony, and Rachmaninov's Third took place (for the first time in the USSR).
In the spirit of his time, Golovanov allowed active interference in the author's text of scores. According to K. Sanderling, Golovanov “like no one else knew how to force the orchestra to perform what the conductor wanted, both rhythmically and sonically. But what he did with music was almost criminal. He turned everything around in his own way, equalized all the tempos. I remember he played “Pictures at an Exhibition” without interludes. He played Mozart’s Requiem with a bass trumpet!” In his own versions, Golovanov, for example, recorded operas by Mussorgsky (he made his own edits to the edition of the opera “Boris Godunov” carried out by Rimsky-Korsakov) and Rimsky-Korsakov (“Sadko” - cuts, changes in orchestration).
Being good pianist, he often performed as an accompanist with his wife, singer Antonina Nezhdanova.
Golovanov is the author of a number of original works: the opera “Princess Jurata”, a symphony, two symphonic poems, orchestral suites, Overtures on Russian themes, more than 200 romances, arrangements folk songs, a series of essays on spiritual topics.
Awards and prizes
- Stalin Prize (1946)
- Stalin Prize, first degree (1949); behind opera performance"Boris Godunov" by M. P. Mussorgsky
- Stalin Prize, first degree (1950); for the opera performance “Sadko” by N. A. Rimsky-Korsakov
- Stalin Prize (1951)
- National artist USSR (1948)
- The order of Lenin
- Order of the Red Banner of Labor
- Medal "For the Defense of Moscow"
- Medal "For Valiant Labor in the Great Patriotic War of 1941-1945"
GOLOVANOV NIKOLAY SEMYONOVICH - Russian conductor, regent, composer and pianist-accompanist.
Golovanov's parents come from peasant backgrounds. In 1900-1909, Golovanov studied at the Moscow Synodal School of Church Singing (teachers included A.D. Kastalsky, V.S. Orlov, N.M. Danilin, V.S. Kalinnikov, P.G. Chesnokov). In 1909-1914, a student at the Moscow Conservatory in the class of composition (S.N. Vasilenko) and special theory (A.A. Ilyinsky). In 1909-1911, choir director at the Church of the Marfo-Mariinskaya Convent of Mercy. In 1910-1918, assistant regent of the Synodal Choir and teacher of the Synodal School (student orchestra and choir classes, statutory singing and other subjects); successfully performed with the choir in spiritual concerts in Moscow, Warsaw and Berlin (the choir director Danilin intended to transfer the leadership of the choir to Golovanov in 1917). In 1917-1943, the permanent accompanist of singer A.V. Nezhdanova (who became his wife). In 1919-1936 (with a forced break in 1928-1930) he was a conductor, and in 1948-1953 - chief conductor of the Bolshoi Theater. In 1919-1925 and 1937-1948 musical director opera studio, organized by K.S. Stanislavsky. In 1937-1953, chief conductor and artistic director of the Bolshoi Symphony Orchestra of the All-Union Radio Committee. In the first years of the Great Patriotic War, Golovanov created musicians who remained in Moscow Symphony Orchestra. At the same time, I edited and performed songs that were not heard in Soviet time overture “1812” and cantata “Moscow” by P.I. Tchaikovsky and other works of patriotic themes, and also for the first time in the USSR performed the Third Symphony and “Symphonic Dances” by S.V. Rachmaninov. Golovanov - 1st performer of the series significant works Soviet composers N.Ya. Myaskovsky, S.S. Prokofieva, A.I. Khachaturyan and others.
Despite the fact that Golovanov held significant positions in Soviet times, he not only remained faithful to Orthodoxy (including during the years of persecution of the Church), but also confirmed it with many deeds: he helped financially Archbishop Tryphon (Turkestanov), with whom he was familiar since childhood, he took part in the fate of Danilin, Chesnokov, preserved part of the Synodal singing library, some archival rarities (for example, the autograph of “Liturgy” by A.A. Alyabiev), about 200 icons and church items.
Sacred music, in terms of volume and significance, is an important part of Golovanov’s work. He is the author of 64 spiritual works (from 1907 to 1952), constituting 8 opuses, of which 33 chants and 8 adaptations early works date back to Soviet times.
Of all the 46 opuses he created, most were vocal: 2 one-act operas, romances, arrangements of songs of different peoples and other compositions.
Golovanov wrote all spiritual works for choir a cappella (op. 1 - for male choir, all others - for mixed, mainly big choir). Golovanov did not create complete liturgical cycles, but composed individual chants of the liturgy and all-night vigil in the 10s. Or. 36 includes mainly hymns for the Nativity of Christ, op. 37 - Lent and Holy Week, op. 38 has the author’s title “From Youth Notebooks” and consists of works from the 1900s in a later edition. Or. 39, written mainly during the Great Patriotic War, contains chants addressed to the Mother of God (the first 6 numbers are called by Golovanov the suite “Joy of All Who Sorrow”), to St. Nicholas, to St. Seraphim Sarovsky; latest numbers The opuses were written in connection with specific events - Nezhdanova’s anniversary (Great Many Years), the death of V.A. Semenov (“Peace, Our Savior”) or in honor of people especially revered by him - Rachmaninoff (“Quiet Light”), Metropolitan Tryphon (Prayer to the Holy Martyr Tryphon).
Golovanov developed that trend of sacred music of the New Direction, which led to a significant expansion musical techniques(Rachmaninov, A.T. Grechaninov, Chesnokov, etc.). His chants contain extreme levels of dynamics, a wide range of sounds, multi-level polyphony (but, as a rule, without Western polyphonic forms), a special complexity of texture (characterized by the frequent division of voices into 2, 3 parts) and harmony (sept and non-chords), extended key. Modern techniques Golovanov combined with techniques coming from ancient layers of Russian music - church and folk. Golovanov’s compositions are characterized by a bright range of feelings, conveying reverent admiration for the beauty of the world and the music itself, listening to the sound of harmonies.
Golovanov’s works, as a rule, are intended for large and highly professional groups. The author was guided by the sound of the Moscow Synodal Choir, which is why many of the chants were dedicated to the luminaries of the Synodal School and Choir - Smolensky, Kastalsky, Orlov, Danilin, Chesnokov. Golovanov’s spiritual works are mainly performed in concerts; works for male choir from op. 1 and “Trisagion” (in the 2nd author’s edition - op. 36, no. 1). In the 10s - early 20s, Golovanov’s chants were heard in concerts of the Synodal Choir and the Bolshoi Theater Choir under the direction of Golovanov, the choir of I.I. Yukhov and Chesnokov chapels. After a long break since the 80s, Golovanov’s works were performed by the choir of the Publishing Department of the Moscow Patriarchate under the direction of Hieromonk Ambrose (Nosov), the choir of the Patriarchal Metochion under the direction of S.V. Krivobokova, Moscow Regional Academic state choir under the direction of A.D. Kozhevnikov and A.M. Rudnevsky, choir of the Trinity-Sergius Lavra metochion under the direction of V.A. Gorbika and others.
Golovanov’s secular works also reveal connections with Orthodox culture, as can be seen in Chap. equal cut to poetic texts, their religious images. Particularly noteworthy is the cycle of romances based on poems by F.I. Tyutchev (op. 40) and the cycle of a cappella choirs “The Censer of the Golden-Jeted Ceremonies” (op. 8) based on poems by other Russian poets (“A girl sang in the church choir” by A.A. Blok, “On Trinity Day” by Vyach. I. Ivanov , “Quench my sorrows” by A.B. Kusikov, “I am a poor wanderer” by S.A. Yesenin, etc.).
Undoubtedly the impact Orthodox culture and on the main area of Golovanov’s creativity - conducting. The nature of Golovanov’s performance was distinguished by its scale, conceptuality, priority of the melodic beginning, and vocal interpretation. Golovanov's contemporaries noted in his conducting style features characteristic of the sound of the Synodal Choir, general vocal expression and such specific technical details as the addition of deep bass notes, similar to the singing of the choir's octavist basses.
