Sergei Ivanovich Taneev. Sergey Ivanovich Taneev - Vladimir - history - catalog of articles - unconditional love Works from and Taneev of the early 20th century

29.06.2020

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 an example in everything, in every act he did, because whatever he did, he did only well".

This is what Sergei Rachmaninov said about his dear teacher, the Russian composer Sergei Ivanovich Taneyev. He was a man of rare moral virtues, for which he was even nicknamed “the conscience of musical Moscow.” Many prominent figures of that time considered it an honor to communicate with him. He was Tchaikovsky's favorite student 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 response. Taneyev was a recognized authority in the cultural life of his time. Becoming his student was the height of bliss for the young musician. He dedicated his entire life to the Moscow Conservatory. He managed to educate a bright galaxy of real stars of academic music. His students were Rachmaninov, Scriabin, Medtner, Glier, Igumnov, Yavorsky, Grechaninov.

Contemporaries often compared Taneyev to Socrates. Both of them left behind numerous students without writing serious essays. However, time has put everything in its place. Taneyev's works, which seemed dry, learned, and outdated to his contemporaries, are today perceived as a distinctive phenomenon of the Silver Age with its tendency toward retrospectiveness. 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 epoch-making event for Russian culture took place: Nikolai Rubinstein founded the Moscow Conservatory. Until this moment, in a country with a traditionally rich musical tradition, neither music 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 his phenomenal musicality. At the opening ceremony of the Moscow Conservatory, little Taneyev especially remembered the words of Tchaikovsky, who wished that the students of the conservatory “ left the establishment as 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. This is how he, usually stingy with praise, spoke flatteringly about young Taneyev: “ Taneyev, he said, belongs to a very select few, he will be a magnificent pianist and a wonderful composer" Seryozha actually studied composition under the guidance of Pyotr Ilyich Tchaikovsky. At this time, their touching friendship began, which lasted until Tchaikovsky’s death. In the very first works of the young composer one can hear his enthusiastic passion for the expressive style of his beloved teacher. Seryozha Taneyev graduated from the conservatory with flying colors. 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 art there. Every Thursday Taneyev visited Polina Viardot, where he met Turgenev, the composer Gounod, and the writer Flaubert. Taneyev visited Saint-Saëns’s home and his home, where he performed Tchaikovsky’s First Piano Concerto. On the day of departure, Taneyev left a note in his notebook: “ When I go abroad next time, I want to be: a) a pianist, b) a composer, c) an educated person" Then he had just turned twenty years old.

In Moscow, Sergei Taneyev settled in a cozy house on Prechistinka at 2 Maly Vlasovsky Lane, where he spent most of his life with his nanny Pelageya Vasilievna Chizhova. This simple woman ran his entire household and constantly complained about the fact that Sergei Ivanovich in everyday life " like a little child" Only she could find the necessary pages of scores. There are funny situations associated with this woman. So, when the farm ran out of bay leaves, she told Sergei Ivanovich, who was a first-class pianist. The public literally showered him with bouquets and laurel wreaths. Pelageya Vasilievna used to say: “ You should play at the concert, otherwise the bay leaf is coming to an end».

In 1878, Taneyev began his many years of work at the Moscow Conservatory. He was persuaded by Tchaikovsky, who was himself pretty tired of teaching. Taneyev is forced to put aside his experiences as a composer and devote himself entirely to a new business - teaching theoretical disciplines. He approached the new business very creatively, but taught that there are no forever frozen rules and dogmas, what is unacceptable in one style is quite suitable in another. His students recalled that he explained in a monotonous and complex manner, but always very precisely and pedantically. He didn't tolerate being late. Taneyev checked assignments with incredible 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, developed by himself - counterpoint. The materials of the lectures later became the starting point for the most in-depth research undertaken by Taneyev, which resulted in a fundamental scientific work entitled “Moving counterpoint of strict style.” Musicologists often compare Taneyev’s theory with the periodic table in terms of its universality, it is so 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. During these 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, a composition appeared, thanks to which Taneyev became famous as a composer. We are talking about the cantata “John of Damascus” to the text by Alexei Tolstoy, an excerpt from which we have just listened to. It was 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. The 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, which was 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 creativity. The monumentality of the plans and 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 the Reading of the Psalm,” the composer’s pinnacle work.

Taneyev's only opera was the trilogy "Oresteia" based on Aeschylus, which was an example of translating an ancient plot into Russian music. This work is unique; Taneyev spent ten years on this essay. Such meticulousness was dictated by unprecedented demands on his creative product. However, "Oresteia" was literally doomed to misunderstanding due to 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 had managed to become friends with the musicians of the St. Petersburg school, and when Nikolai Rimsky-Korsakov received the news of Taneyev’s departure from the conservatory, he sent him a touching, sympathetic telegram. After leaving, Taneyev continued to teach students free of charge, privately. He never took money for his classes because he believed that payment interfered with the strict 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 an outbuilding specially designated for him. In addition to the passion for mutual communication, Taneyev and Tolstoy had in common a passion for chess. The conditions of the fights were as follows: if the composer lost, he had to perform something on the piano; if Leo Tolstoy, he read aloud some of his works. However, it was Taneyev who became the cause of discord in the family of the great writer. Sofya Andreevna, Tolstoy’s wife, broken by the untimely death of her son, began to experience tender feelings for him. This is what she writes in her diary: “ I remained alive and owe this to a strange means - music. Taneyev's music worked best. Sometimes I just had to meet Sergei Ivanovich, listen to his impassive, calm voice, and I calmed down. Taneyev’s personality had almost nothing to do with it. Outwardly he was of little interest, always smooth, secretive...».

She was the first and grateful listener of Taneyev's symphonies. She needed his music like air. Tolstoy could not help but notice the changes that had occurred in his wife; in his “Kreutzer Sonata” he exposes such affection. Only Taneyev, sincerely soaring in his fantasies and search for ideal musical beauty, did not notice what was happening.

However, one should not think that Sergei Ivanovich was an insensitive and cold person. He was a strong-willed and decisive man, with a subtle sense of humor. Fun fact, Sergei Ivanovich Taneyev was one of the composers in Russia who wrote several romances in Esperanto, and he also wrote his diary in it. Lunacharsky in one of his speeches about Taneev said: " Taneyev, in his way of life and his appearance, is a Russian gentleman, from the outside it even seems to have some Oblomov-like features; loved to live quietly, loved the calm outback of the far corner of Moscow".

However, there was great love in his life. She was married to the artist Benoit and had four children. According to the cruel laws of that time, in case of divorce, children remained with their father. Taneyev decides to forget everything; this 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 Tchaikovsky’s famous Sixth Symphony; it contains the origins of many of the features of “philosophical symphonism” that were later so vividly embodied in the work of Shostakovich. The lyrical hero of the symphony strives to overcome the tragedy and chaos of existence. In this sense, this work can be placed 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 gives a lot of concerts. In 1910, Sergei Ivanovich supported the aspiring composer Sergei Prokofiev. In their letter to the publisher Yurgenson, Taneyev asked to publish Prokofiev's works, after which Yurgenson agreed.

In the spring of 1915, one of Taneyev’s favorite students, Alexander Scriabin, died. The weather outside was dank, damp, not uncommon for Moscow at this time of year. Taneyev came to the funeral lightly dressed. He caught a bad cold, and just a few weeks later he was gone. The whole of Moscow saw off the “Russian Bach” on his last journey.

Composer Sergei Taneyev was born in 1856 and belonged to a noble family. His father was also a talented music lover and raised Seryozha as a musical child. At an early age, S. Taneyev entered the conservatory, where he studied with Tchaikovsky. Subsequently showing professionalism in cantata, choir, vocal miniatures and chamber instrumental music, he carried out scientific and pedagogical activities in the field of musicology. But the main business of life is composing. The creative biography is very interesting. Sergei Ivanovich Taneyev was an outstanding personality.

About areas of activity and creativity

Being an authority in the cultural sphere, Sergei Taneyev was the first musicologist in the country. Classes took place at the Moscow Conservatory. In the process of teaching and professorship, he educated creative youth, among his students were famous composers: Rachmaninov, Scriabin, Gliere.

Taneyev's works, created on the threshold of the 20th century, belong to the direction of neoclassicism, which developed at the beginning of this century. His work as a composer was not immediately recognized. Musical works were considered dry, the result of scholarship and armchair creativity. Taneyev's passion for Bach and Mozart also did not add interest. But from a historical point of view, the search for solid foundations for Russian music, applicable to merging with European culture, was justified. His music was distinguished by its versatility.

Perspectives and facts

Broad prospects opened up for the musician after receiving his education. He performed at concerts, taught and was engaged in composing activities. At a young age, he traveled to France to get acquainted with European culture. Everyone recognized Taneyev’s outstanding moral qualities, calling him “the conscience of musical Moscow.” Taneev Serey Ivanovich, whose brief biography is being reviewed, glorified his name.

Education

About Taneyev's early works

The cantata "John of Damascus" to the text of A. Tolstoy glorified the composer, and he himself called it the first number in his creative biography. This was in 1884.

The cantata genre of classical music characterizes the musician’s work. He was inspired to create such a Russian Orthodox work by Bach's cantatas. According to the plan, this was preparation for the opening of the Cathedral of Christ the Savior, but subsequently the plans had to be changed. Nevertheless, it is a philosophical work on the life of a church writer who lived in the 17th and 18th centuries.

From that moment on, choral music entered into creativity. The works reveal the desire to create a picture of the world, to show its grandeur through monumental designs. Another cantata by Taneyev, “After the Reading of the Psalm,” is also the pinnacle of his work, but was created later.

The only opera - the Oresteia trilogy based on the works of Aeschylus - translates the ancient style and plot, applying it to Russian music. It took 10 years to compose the opera. The meticulousness shows how demanding Taneyev was about his works. But the unique work turned out to be untimely and was not recognized, since it did not receive understanding. Expressing individuality, different from modern trends, the composer searched for generalizations in the form of moral ideas and the ideal. This was Sergei Ivanovich Taneyev.

The composer's choral work constitutes a special and significant section of his biography. To create choral works, both individual numbers and combined into cycles, he turns to the poetry of Tyutchev, Fet, Polonsky, Khomyakov, Balmont.

The creative impulse to create a cycle, which is recognized as the pinnacle of Russian choral music, called “Twelve a cappella choirs for mixed voices” came from the poems of the famous Russian poet. Before him, Russian music had never known such monumental and serious choral works. They embodied his philosophical, highly moral nature, the breadth and power of ideas, and also revealed the bright talent of a composer-polyphonist.

Stage of activity after work at the conservatory

After the transfer of powers to the director of the conservatory in 1889, V. Safronov, Taneyev formed friendly contacts with St. Petersburg musicians. The pre-revolutionary period of the country's history followed, and many students took part in strikes. Taneyev opposed their expulsion for these actions. After finishing his teaching career, Taneyev continued to teach for free, giving private lessons, because he considered payment an obstacle to the selection of musicians.

On the threshold of the 20th century, a friendship was established with L. Tolstoy, as a result of which the composer often visited Yasnaya Polyana. He even lived there in an outbuilding provided by L. Tolstoy, worked, and was fond of chess. At the end of the chess game, the loser had to perform his work in the form of reading aloud or playing the piano. But L. Tolstov experienced a family rift in connection with this friendship, since the writer’s wife began to feel sympathy for Taneyev. But at the same time, she expressed delight in music and said that she remained alive after the death of her son thanks to it. But the composer himself behaved as usual dryly, secretively and was not the cause of personal conflict. Sofya Andreevna was a grateful listener to works and symphonies, but in her search for beauty and ideality, this was not noticed by the composer.

Personal life

At the same time, the composer was not insensitive, but was strong-willed and possessed subtle humor. He kept a diary in Esperanto and wrote several romances in it. Taneyev also had love for the wife of the artist Benois, the mother of four children. According to the laws of that time, divorce meant the transfer of children to the spouse, the father. Taneyev was haunted by drama over this issue for several years, as the relationship had to be broken off.

Nanny Taneyeva lived with him and took care of his household. After concerts, fans of his work gave him laurel wreaths. It turns out that the nanny used this bay leaf for cooking, as she once said: “You should give a concert, otherwise the bay leaf will run out.”

This is not the only humorous story that Sergei Ivanovich Taneyev encountered. Let's look at some interesting facts from life below.

The life path that Sergei Ivanovich Taneyev went through is completely accompanied by humor. Interesting facts from his life can be listed for a long time.

There were many people in Russia who loved to drink. The musician was tolerant of this. He said: “Drunkenness is most likely not a deficiency, but an excess.”

Creativity of the early 20th century

The Symphony in C Minor, with features of a philosophical symphonism, was dedicated to Glazunov, who also directed its premiere. The plot centers on a lyrical hero who overcomes the chaos of existence and the tragedy of life. Appearing after Tchaikovsky's Sixth Symphony, this work could be ranked alongside some of the symphonies of Beethoven and Brahms.

Sergei Ivanovich Taneyev contributed to the genre of instrumental music and the prosperity of the chamber ensemble. A biography whose works indicate the beginning of a cultural transformation in the country's music. Subsequently, the direction was developed by other composers of the Soviet period. Methods and means of expression were subject to selectivity. Quartets and ensembles used a polyphonic style and a smooth development of the theme. Romances that were distinguished by their melody were also popular.

Taneyev gives concerts and participates in the life of musical Moscow. In 1910, the young composer Sergei Prokofiev received his support when trying to publish a work. Portrait photographs of those years reflect the creative image. Sergei Ivanovich Taneyev, whose photo can be seen in the article, is national pride.

The end of life and creativity

A. Scriabin, a student of the composer, died in 1915. Sergei Taneyev came to the funeral in light clothes, as a result of which he caught a cold and died a few weeks later. All of Moscow came to see off the composer. This is where the biography ends. Sergei Ivanovich Taneyev passed away at the age of 58.

Conclusion

Taneyev’s name adorns the entrance to the stalls. He is undoubtedly an outstanding composer, as well as a scientist who worked as a professor at the conservatory. The virtuoso pianist of his time, Taneyev was a renowned performer. His diverse work has features inherent in late romanticism and symbolism, and also covers several genres.

Sergei Taneyev made a great contribution to Russian culture, whose biography testifies to this. Occupying a special place in Russian music of the 19th and 20th centuries, he imprinted his work with an exceptional attitude towards art.

Sergey Ivanovich Taneyev(November 13, 1856, Vladimir - June 6, 1915, Dyutkovo near Zvenigorod) - Russian composer, pianist, teacher, scientist, musical and public figure. The younger brother of lawyer V.I. Taneyev.

Biography

Born on November 13, 1856 in Vladimir. He belonged to a family of nobles, dating back to the 15th century. His father - Ivan Ilyich Taneyev - landowner, state councilor, master of literature, doctor, amateur musician. From the age of 5 he studied piano, first with M. A. Miropolskaya, then with V. I. Polyanskaya (nee Voznitsyna). After moving to Moscow, he entered the newly opened conservatory (1866). Until 1869 he studied in junior classes with E. L. Langer (piano, elementary music theory and solfeggio). In 1869-75 he continued his studies in the piano class of N. G. Rubinstein, harmony, instrumentation and free composition of P. I. Tchaikovsky, counterpoint, fugue and musical form of N. A. Hubert. He was P.I. Tchaikovsky’s favorite student.

In 1875 he graduated from the Moscow Conservatory in the class of N. G. Rubinstein (piano) and P. I. Tchaikovsky (composition) with a gold medal. He performed at concerts as a solo pianist and in an ensemble. The first performer of many of Tchaikovsky's piano works (the Second and Third Piano Concertos, the latter was finalized after the composer's death), and the performer of his own compositions. From 1878 to 1905 he worked at the Moscow Conservatory (from 1881 - professor), where he taught classes in harmony, instrumentation, piano, composition, polyphony, and musical form. In 1885-1889 he served as director of the Moscow Conservatory. At this time and until the end of his life, the composer lived with his nanny in a rented house on Maly Vlasyevsky Lane (house 2/18). In 1905, as a sign of protest against the authoritarian methods of leadership, he left the conservatory and never returned to it, despite requests from professors and students. He was one of the founders and teachers of the People's Conservatory (1906). Taneyev participated in the Prechistensky work courses for workers, studied musical folklore, and taught students privately (always free of charge).

At the funeral of A. N. Scriabin, who died on April 14 (27), 1915, Taneyev came with a cold and suffered complications, the cold turned into pneumonia, and two months later he died.

He was buried at the Donskoye Cemetery in Moscow. Later the remains were transferred to the Novodevichy cemetery.

Scientific and pedagogical activities

Taneyev became a unique musicologist in Russia on a European scale, whose work has not lost its relevance to this day. He owns a number of scientific studies in the field of folklore (for example, “On the music of the Mountain Tatars”), source studies (for example, a work on Mozart’s student manuscripts, published by the Mozarteum), polyphony (for example, “Movable counterpoint of strict writing,” 1889-1906, and its continuation “The Doctrine of the Canon”, late 1890s - 1915), etc. Works on polyphony are interesting because their author was the first to propose a simple mathematical formula (Index verticalis) for composing complex counterpoints. It is no coincidence that as an epigraph to the book “Moving Counterpoint of Strict Writing,” Taneyev takes the words of Leonardo da Vinci, which corresponded to many of Taneyev’s aspirations as a scientist:

In addition, in the preface to the same book, the author offers an understanding of the processes occurring in contemporary music. In particular, he predicts the further development of musical language towards strengthening polyphonic connections and weakening functional-harmonic ones.

As a teacher, Taneyev sought to improve professional music education in Russia and took care of the high level of musical theoretical training of conservatory students of all specialties. It was he who created the basis for serious musical theoretical training of all performing professions. He was the first to propose improving contemporary professional music education, dividing it into two levels corresponding to the current specialized secondary (school) and higher (conservatory) education. He brought teaching to a high level in the classes of counterpoint, canon and fugue, and analysis of the forms of musical works. He created a school of composition, trained many musicologists, conductors, and pianists (continuing the piano traditions of Nikolai Rubinstein). Among the students: Sergei Rachmaninov, Alexander Scriabin, Nikolai Medtner, Reinhold Gliere, Konstantin Igumnov, Georgy Konyus, Sergei Pototsky, Vsevolod Zaderatsky, Sergei Evseev (dedicated several literary works to the work of Taneyev), Boleslav Leopoldovich Yavorsky.

Encyclopedic YouTube

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Taneyev became a unique musicologist in Russia on a European scale, whose work has not lost its relevance to this day. He owns a number of scientific studies in the field of folklore (for example, “On the music of the Mountain Tatars”), source studies (for example, a work on Mozart’s student manuscripts, published by the Mozarteum), polyphony (for example, “Movable counterpoint of strict writing,” 1889-1906, and its continuation “The Doctrine of the Canon”, late 1890s - 1915), etc. Works on polyphony are interesting because their author was the first to propose a simple mathematical formula (Index verticalis) for composing complex counterpoints. It is no coincidence that as an epigraph to the book “Moving Counterpoint of Strict Writing,” Taneyev takes the words of Leonardo da Vinci, which corresponded to many of Taneyev’s aspirations as a scientist:
In addition, in the preface to the same book, the author offers an understanding of the processes occurring in contemporary music. In particular, he predicts the further development of musical language towards strengthening polyphonic connections and weakening functional-harmonic ones.
As a teacher, Taneyev sought to improve professional music education in Russia and took care of the high level of musical theoretical training of conservatory students of all specialties. It was he who created the basis for serious musical theoretical training of all performing professions. He was the first to propose improving contemporary professional music education, dividing it into two levels corresponding to the current specialized secondary (school) and higher (conservatory) education. He brought teaching to a high level in the classes of counterpoint, canon and fugue, and analysis of the forms of musical works. He created a school of composition, trained many musicologists, conductors, and pianists (continuing the piano traditions of Nikolai Rubinstein). Among the students: Sergei Rachmaninov, Alexander Scriabin, Nikolai Medtner, Reinhold Glier, Konstantin Igumnov, Georgiy Konyus, Sergei Pototsky, Vsevolod Zaderatsky, Sergei Evseev (dedicated several literary works to the work of Taneyev), Slav Leopoldovich Yavorsky.
In 1910-1911, S. I. Taneyev, together with A. V. Ossovsky, spoke in support of the young composer Sergei Prokofiev and wrote a letter to the publisher B. P. Yurgenson with a request to publish his works. However, only after a convincing letter from A.V. Ossovsky, B.P. Yurgenson agreed.
He was one of the first Esperantists in Russia; He wrote several romances in Esperanto, and at first S.I. Taneyev kept his diary in it.

Creation

A staunch follower of the classics (in his music they found the implementation of the traditions of M. I. Glinka, P. I. Tchaikovsky, as well as J. S. Bach, L. Beethoven), Taneyev anticipated many trends in the musical art of the 20th century. His work is marked by the depth and nobility of his ideas, high ethics and philosophical orientation, restraint of expression, mastery of thematic and polyphonic development. In his writings he gravitated toward moral and philosophical issues. Such, for example, is his only opera - “Oresteia” (1894, after Aeschylus) - an example of the implementation of an ancient plot in Russian music. His chamber instrumental works (trios, quartets, quintets) belong to the best examples of this genre in Russian music. One of the creators of the lyrical-philosophical cantata in Russian music (“John of Damascus”, “After the Reading of the Psalm”). He revived a popular genre in Russian music of the 17th-18th centuries - a cappella choirs (author of more than 40 choirs). In instrumental music, he attached particular importance to the intonational unity of the cycle, monothematicism (4th symphony, chamber instrumental ensembles). He also composed romances.

Memory

The names of S. I. Taneyev are:
- Vladimir Concert Hall named after. S.I. Taneyev, near whom there is a bust of the composer;
- Scientific and Musical Library of the Moscow Conservatory;
- City children's music school named after. S.I. Taneyev in Moscow (Chisty per., no. 9) in a reconstructed house where the musician once lived; there is a memorial plaque on the wall of the house;
- City children's music school No. 1 named after. S. I. Taneyev, Vladimir;
- Kaluga Regional Music College named after. S. I. Taneyeva;
- International Chamber Ensemble Competition named after. S. I. Taneyeva (Kaluga-Moscow);
- Taneevsky Music Festival in Vladimir;
- Taneevsky Musical Society;
- street in Vladimir;
- street in Klin; as well as the collapsed Taneyev estate, which has never been restored and is in complete destruction
- street in the Krasnoarmeysky district of Volgograd;
- street in the Levoberezhny district of Voronezh;
- City children's music school in Zvenigorod;
- House-Museum of Taneyev in Dyutkovo (Zvenigorod);
- Airbus A319 -111 aircraft of Aeroflot airline, tail number VP-BWK;
- - Cantatas “John of Damascus”, “After the reading of the psalm”, “Glory to N. G. Rubinstein”, “I have erected a monument to myself”.
  - 4 symphonies (1874-98), overtures, piano concerto
  - Chamber instrumental ensembles (20) - trios (including piano, 1908), quartets (including piano, 1906), quintets (including piano, 1911)
  - For piano - Prelude and Fugue, etc.
  - A cappella choirs
    - Choirs without opus designation: “Venice at night” (Fet), “Nocturne” (Fet), “Merry Hour” (Koltsov) - 1880; “Song of King Regner” (Yazykov), “Evening Song” (Khomyakov) - 1882.
    - Or. 8. “Sunrise” (Tyutchev). Dedicated to the Russian Choral Society in Moscow (ed. 1898).
    - Or. 10. “From edge to edge” (Tyutchev). Dedicated to the choir of the Imperial Opera in St. Petersburg (1898).
    - Or. 15. Two a capella choirs for four mixed voices (1900): No. 1. “Stars” (Khomyakov), “Moscow Synodal Choir”; No. 2. “Alps” (Tyutchev), I. A. Melnikov.
    - Or. 23. Nights. Three tercets a capella for soprano, alto and tenor (Tyutchev). Can also be performed by the choir (1907): No. 1. “Sonnet by Michel Angelo”; No. 2. “Rome at night”; No. 3. “Silent Night.”
    - Or. 24. Two a capella quartets for two sopranos, alto and tenor (Pushkin). Can also be performed by the choir (1907): No. 1. “Monastery on Kazbek”; No. 2. "Adele".
    - Or. 27. Twelve a capella choirs for mixed voices (Polonsky). Dedicated to the choir of the Moscow Prechistensky Courses for Workers (1909): No. 1. “At the Grave”; No. 2. “Evening”; No. 3. “The ruin of the tower”; No. 4. “Look how dark it is”; No. 5. “On the ship”; No. 6. “Prayer”; No. 7. “Music suddenly rang out from eternity”; No. 8. “Prometheus”; No. 9. “I saw a cliff from behind a cloud”; No. 10. “Stars”; No. 11. “Two gloomy clouds over the mountains”; No. 12. “On the days when over the sleepy sea.”
    - Or, 35. Sixteen a capella choirs for male voices (Balmont). Dedicated to the Choral Society of Czech Teachers (1914): No. 1. “Silence”; No. 2. "Ghosts"; No. 3. "Sphinx"; No. 4. “Dawn”; No. 5. “Prayer”; No. 6. “In the spaces of the ether”; No. 7. “Both sleep and death”; No. 8. “Heavenly Dew”; No. 9. “Dead Ships”; No. 10. “Sounds of the surf”; No. 11. “Seabed”; No. 12. “Sea Song”; No. 13. “Silence”; No. 14. “Death”; No. 15. “White Swan”; No. 16. “Swan”.
    - Posthumous publications - choirs “Sosna” (Lermontov) and “Fontan” (Kozma Prutkov) - early works (1877 and 1880), first published in the magazine “Soviet Music”, 1940, No. 7.
  - Chamber vocal ensembles with piano and a cappella
  - 55 romances
  Born on November 13, 1856 in Vladimir. He belonged to a family of nobles, dating back to the 15th century. His father - Ivan Ilyich Taneyev - landowner, state councilor, master of literature, doctor, amateur musician. From the age of five he studied piano, first with M. A. Miropolskaya, then with V. I. Polyanskaya (nee Voznitsyna). After moving to Moscow, he entered the newly opened conservatory (1866). Until 1869 he studied in junior classes with E. L. Langer (piano, elementary music theory and solfeggio). In 1869-1875 he continued his studies in the piano class of N. G. Rubinstein, harmony, instrumentation and free composition of P. I. Tchaikovsky, counterpoint, fugue and musical form of N. A. Hubert. He was P.I. Tchaikovsky’s favorite student.
  In 1875 he graduated from the Moscow Conservatory in the class of N. G. Rubinstein (piano) and P. I. Tchaikovsky (composition) with a gold medal. He performed at concerts as a solo pianist and in an ensemble. The first performer of many of Tchaikovsky's piano works (the Second and Third Piano Concertos, the latter was finalized after the composer's death), and the performer of his own compositions. From 1878 to 1905 he worked at the Moscow Conservatory (from 1881 - professor), where he taught classes in harmony, instrumentation, piano, composition, polyphony, and musical form. In 1885-1889 he served as director of the Moscow Conservatory. At this time and until the end of his life, the composer lived with his nanny in a rented house on Maly Vlasyevsky Lane (house 2/18). In 1905, as a sign of protest against the authoritarian methods of leadership, he left the conservatory and never returned to it, despite requests from professors and students. He was one of the founders and teachers of the People's Conservatory (1906). Taneyev participated in the Prechistensky work courses for workers, studied musical folklore, and taught students privately (always free of charge).
  At the funeral of A. N. Scriabin, who died on April 14 (27), 1915, Taneyev came with a cold and suffered complications, the cold turned into pneumonia, and two months later he died.
  He was buried at the Donskoye Cemetery in Moscow. Later the remains were transferred to the Novodevichy cemetery.
  Scientific and pedagogical activities
  Taneyev became a unique musicologist in Russia on a European scale, whose work has not lost its relevance to this day. He is the author of a number of scientific studies in the field of folklore (for example, “On the music of the Mountain Tatars”), source studies (for example, a work on Mozart’s student manuscripts, published by the Mozarteum), polyphony (for example, “Movable counterpoint of strict writing”, 1889-1906, and his continuation of “The Doctrine of the Canon”, late 1890s - 1915), etc. The works on polyphony are interesting because their author was the first to propose a simple mathematical formula (Index verticalis) for composing complex counterpoints. It is no coincidence that he used it as an epigraph to the book “Movable”. counterpoint to strict writing” Taneyev takes the words of Leonardo da Vinci, which corresponded to many of Taneyev’s aspirations as a scientist:
  “No human knowledge can claim to be a true science if it has not passed through mathematical expression formulas. »
  In addition, in the preface to the same book, the author offers an understanding of the processes occurring in contemporary music. In particular, he predicts the further development of musical language towards strengthening polyphonic connections and weakening functional-harmonic ones.
  As a teacher, Taneyev sought to improve professional music education in Russia and took care of the high level of musical theoretical training of conservatory students of all specialties. It was he who created the basis for serious musical theoretical training of all performing professions. He was the first to propose improving contemporary professional music education, dividing it into two levels corresponding to the current specialized secondary (school) and higher (conservatory) education. He brought teaching to a high level in the classes of counterpoint, canon and fugue, and analysis of the forms of musical works. He created a school of composition, trained many musicologists, conductors, and pianists (continuing the piano traditions of Nikolai Rubinstein). Among the students: Sergei Rachmaninov, Alexander Scriabin, Nikolai Medtner, Reinhold Gliere, Konstantin Igumnov, Georgy Konyus, Sergei Pototsky, Vsevolod Zaderatsky, Sergei Evseev (dedicated several literary works to the work of Taneyev), Boleslav Leopoldovich Yavorsky.
  In 1910-1911, S. I. Taneyev, together with A. V. Ossovsky, spoke in support of the young composer Sergei Prokofiev and wrote a letter to the publisher B. P. Yurgenson with a request to publish his works. However, only after a convincing letter from A.V. Ossovsky, B.P. Yurgenson agreed.
  He was one of the first Esperantists in Russia; He wrote several romances in Esperanto, and at first S.I. Taneyev kept his diary in it.
  Creation
  A staunch follower of the classics (in his music they found the implementation of the traditions of M. I. Glinka, P. I. Tchaikovsky, as well as J. S. Bach, L. Beethoven), Taneyev anticipated many trends in the musical art of the 20th century. His work is marked by the depth and nobility of his ideas, high ethics and philosophical orientation, restraint of expression, mastery of thematic and polyphonic development. In his writings he gravitated toward moral and philosophical issues. Such, for example, is his only opera - “Oresteia” (1894, after Aeschylus) - an example of the implementation of an ancient plot in Russian music. His chamber instrumental works (trios, quartets, quintets) belong to the best examples of this genre in Russian music. One of the creators of the lyrical-philosophical cantata in Russian music (“John of Damascus,” “After the Reading of the Psalm”). He revived a popular genre in Russian music of the 17th-18th centuries - a cappella choirs (author of more than 40 choirs). In instrumental music, he attached particular importance to the intonation unity of the cycle, monothematicism (4th symphony, chamber instrumental ensembles). He also composed romances.
  Memory
  - The names of S. I. Taneyev are:
  - Aeroflot aircraft Airbus A319 “S. Taneev"
  - Vladimir Concert Hall named after. S.I. Taneyev, near whom there is a bust of the composer;
  - Scientific and Musical Library of the Moscow Conservatory;
  - City children's music school named after. S.I. Taneyev in Moscow (Chisty per., no. 9) in a reconstructed house where the musician once lived; there is a memorial plaque on the wall of the house;
  - City children's music school No. 1 named after. S. I. Taneyev, Vladimir;
  - Kaluga Regional Music College named after. S. I. Taneyeva;
  - International Chamber Ensemble Competition named after. S. I. Taneyeva (Kaluga-Moscow);
  - Taneevsky Music Festival in Vladimir;
  - Taneevsky Musical Society;
  - street in Vladimir;
  - street in Klin; as well as the collapsed Taneyev estate, which has never been restored and is in complete destruction
  - street in the Krasnoarmeysky district of Volgograd;
  - street in the Levoberezhny district of Voronezh;
  - City children's music school in Zvenigorod;
  - House-Museum of Taneyev in Dyutkovo (Zvenigorod);
  - Aeroflot airline Airbus A319-111, tail number VP-BWK;
  - Maly Vlasevsky Lane in Moscow from 1960 to 1994 was Taneyev Street.
  - On the house in which the composer was born in Vladimir (Bolshaya Nizhegorodskaya Street, 5) there is a memorial plaque with the inscription “In the house that stood on this place, the great Russian composer, pianist, teacher, scientist Sergei Ivanovich Taneyev was born.”
  Lifetime audio recordings
  Noteworthy are the recordings of Taneyev himself, made at the end of the 19th century on paraffin rollers.
  Essays
  Opera "Oresteia" (1st production - 1895, St. Petersburg)
  Cantatas “John of Damascus”, “After reading the psalm”, “Glory to N. G. Rubinstein”, “I have erected a monument to myself”.
  4 symphonies (1874-98), overtures, piano concerto
  Chamber instrumental ensembles (20) - trios (including piano, 1908), quartets (including piano, 1906), quintets (including piano, 1911)
  For piano - Prelude and Fugue, etc.
  A cappella choirs
  Choirs without opus designation: “Venice at night” (Fet), “Nocturne” (Fet), “Merry Hour” (Koltsov) - 1880; “Song of King Regner” (Yazykov), “Evening Song” (Khomyakov) - 1882.
  Or. 8. “Sunrise” (Tyutchev). Dedicated to the Russian Choral Society in Moscow (ed. 1898).
  Or. 10. “From edge to edge” (Tyutchev). Dedicated to the choir of the Imperial Opera in St. Petersburg (1898).
  Or. 15. Two a capella choirs for four mixed voices (1900): No. 1. “Stars” (Khomyakov), “Moscow Synodal Choir”; No. 2. “Alps” (Tyutchev), I. A. Melnikov.
  Or. 23. Nights. Three tercets a capella for soprano, alto and tenor (Tyutchev). Can also be performed by the choir (1907): No. 1. “Sonnet by Michel Angelo”; No. 2. “Rome at night”; No. 3. “Silent Night.”
  Or. 24. Two a capella quartets for two sopranos, alto and tenor (Pushkin). Can also be performed by the choir (1907): No. 1. “Monastery on Kazbek”; No. 2. "Adele".
  Or. 27. Twelve a capella choirs for mixed voices (Polonsky). Dedicated to the choir of the Moscow Prechistensky Courses for Workers (1909): No. 1. “At the Grave”; No. 2. “Evening”; No. 3. “The ruin of the tower”; No. 4. “Look how dark it is”; No. 5. “On the ship”; No. 6. “Prayer”; No. 7. “Music suddenly rang out from eternity”; No. 8. “Prometheus”; No. 9. “I saw a cliff from behind a cloud”; No. 10. “Stars”; No. 11. “Two gloomy clouds over the mountains”; No. 12. “On the days when above the sleepy sea.”
  Or, 35. Sixteen a capella choirs for male voices (Balmont). Dedicated to the Choral Society of Czech Teachers (1914): No. 1. “Silence”; No. 2. "Ghosts"; No. 3. "Sphinx"; No. 4. “Dawn”; No. 5. “Prayer”; No. 6. “In the spaces of the ether”; No. 7. “Both sleep and death”; No. 8. “Heavenly Dew”; No. 9. “Dead Ships”; No. 10. “Sounds of the surf”; No. 11. “Seabed”; No. 12. “Sea Song”; No. 13. “Silence”; No. 14. “Death”; No. 15. “White Swan”; No. 16. “Swan”.
  Posthumous publications - choirs “Sosna” (Lermontov) and “Fontan” (Kozma Prutkov) - early works (1877 and 1880), first published in the magazine “Soviet Music”, 1940, No. 7.
  Chamber vocal ensembles with piano and a cappella
  55 romances
  
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