Russian composer, singer (tenor) and vocal teacher. Born in Moscow on November 15 (27), 1801 in the family of an official. At the age of nine he was sent to St. Petersburg, where he studied music at the Court singing choir, was a choir singer, and later the author of a number of spiritual compositions. At the age of 18 he was sent to Holland as a teacher of choristers at the Russian Embassy Church in The Hague. From 1823 he lived in St. Petersburg, where he taught at theater school and for some time served in the Chapel as a chorister and teacher. During this period, he became close to M.I. Glinka, took part in the performance of his works, and performed in public concerts as a conductor and singer.
The heyday of creativity occurred during the Moscow period of Varlamov’s life (1832–1844). Successful debut as a composer in A. A. Shakhovsky’s play Roslavlev (1832) and work in theatrical genres contributed to Varlamov’s obtaining the position of assistant bandmaster (1832), and then “composer of music” with the orchestra of the Imperial Moscow Theaters. Varlamov wrote music for Shakespeare's Hamlet upon request famous actor P.S.Mochalov (1837), staged his ballets “Fun of the Sultan” (1834) and “The Cunning Boy and the Cannibal” (1837), etc. in Moscow. In the early 1830s, Varlamov's first romances and songs appeared; In total, he created more than 100 works of this genre, and among them “Red Sundress”, “What is foggy, the clear dawn”, “Don’t make noise, violent winds” (published in 1835–1837). Varlamov successfully performed as a singer and was popular vocal teacher(taught at the Theater School, Orphanage, gave private lessons), in 1849 he published his “Complete School of Singing”; in 1834–1835 he published the magazine “Eolian Harp”, which included romances and piano works, his own and other authors.
After 1845, the musician lived in St. Petersburg, where he moved in the hope of getting a job as a teacher in the Court Chapel, but various reasons this plan did not materialize. He was a member of St. Petersburg literary and artistic circles; became close friends with A. S. Dargomyzhsky and A. A. Grigoriev (two poems by this poet and critic are dedicated to Varlamov). Varlamov's romances were performed in salons, and the famous Pauline Viardot (1821–1910) sang them in her concerts.
Varlamov died in St. Petersburg on October 15 (27), 1848. Gurilev’s romance “Memory of Varlamov”, collective piano variations on the theme of his romance “The Nightingale the Flying Nightingale” (among the authors A. G. Rubinshtein, A. Genzelt) were dedicated to his memory, as well as published in 1851" Music collection in memory of A.E. Varlamov", which included, along with the works of the late composer, romances by the most prominent Russian composers. In total, Varlamov created about two hundred romances and songs based on texts by more than 40 poets, a collection of adaptations folk songs"Russian Singer" (1846), two ballets, music for at least two dozen performances (most of them lost).
Encyclopedia Around the World
1. famous romance
Varlamov's romances were enjoyed great love Moscow public and instantly scattered throughout the city. Varlamov's close friend, Bolshoi Theater soloist Bantyshev for a long time asked the composer to write a romance for him.
- Which one do you want?
- Whatever you want, Alexander Egorovich...
- Fine. Come back in a week. Varlamov wrote very easily, but, being an extremely uncollected person, it took him a very long time to get to work.
A week later Bantyshev comes - there is no romance.
“There was no time,” Varlamov shrugs. - Come tomorrow.
The next day - the same thing. But the singer was a stubborn man and began to come to Varlamov every morning, when the composer was still sleeping.
“You really are,” Varlamov once became indignant. - A man is sleeping, and you appear, one might say, at dawn! I'll write you a romance. I said, I’ll write, and I’ll write!
- Tomorrow? - Bantyshev asks sarcastically.
- Tomorrow, tomorrow!
In the morning the singer appears, as always. Varlamov is sleeping.
“This is for you, Mr. Bantyshev,” says the servant and gives the early guest a new romance, which was destined to become famous throughout Russia.
The romance was called "Don't wake her up at dawn"!
2. bird
Varlamov was a kind and unconceited man. Expelled from the Bolshoi Theater, he was left without work and without a penny of money. Being the father of a large family that had to be supported and fed somehow, the composer and favorite of the Moscow public did not without difficulty occupy the very modest position of a singing teacher in an orphanage.
- Is this your business? After all, you are the first celebrity in Moscow. You don’t remember yourself at all! - his friend the tragedian Mochalov reprimanded Varlamov.
“Ah, Pasha, you have a lot of pride,” the composer responded. - And I sing like a bird. Sang in Bolshoi Theater- Fine. Now I’ll sing with orphans - is it bad?...
3. evil tongues claim...
What famous opera Alexei Verstovsky's "Askold's Grave" was actually written by Varlamov. But, being a careless and frivolous person, he lost her at cards to Verstovsky.
Verstovsky staged "Askold's Grave" under his own name at the Bolshoi Theater and became famous. When Varlamov’s close friend, the poet Apollon Grigoriev, said to him reproachfully: “Oh, Alexander Yegorovich, what have you done! Don’t you feel sorry for your opera?” - he allegedly replied: “What is there to regret, dear Apollosha? I’ll write again, it’s not difficult!”
Alexander Egorovich Varlamov(November 15, Moscow, Imperia - October 15, St. Petersburg, Russian Empire) - Russian composer.
Biography
Descended from Moldavian nobles. Born into the family of a minor official. WITH early childhood played the violin and guitar by ear. At the age of ten he was sent to the court singing chapel in St. Petersburg. The boy’s excellent voice and bright abilities interested D. S. Bortnyansky, the director of the chapel. He began to study separately with the little singer. Subsequently, Varlamov remembered his teacher with gratitude in his letters and notes.
After finishing his studies in the chapel, Varlamov became a singing teacher in the Russian embassy church in Holland, but soon returned to his homeland. In 1827 he met M.I. Glinka, visited musical evenings in his house, from 1829 he lived in St. Petersburg. In 1832 he moved to Moscow, where he received the position of bandmaster, and then “composer of music” of Moscow imperial theaters. He often performed as a singer-performer. At the end of 1828 or the beginning of 1829, Varlamov began to bother about re-entering the singing choir, and presented Emperor Nicholas I with two cherubic songs - the first of his compositions known to us. On January 24, 1829, he was assigned to the chapel as one of the “big singers,” and he was entrusted with the responsibility of teaching young singers and learning solo parts with them. By the beginning of 1833, a collection of nine of his romances appeared in print. In 1840 he published The School of Singing, which became the first in Russia teaching aid in vocal art and played an important role in training many Russian singers. In 1848 he died of throat tuberculosis.
Creation
Varlamov entered the history of Russian music as the author of romances and songs, creating about 200 works. The main genres for the composer were “Russian song” and lyrical romance. Varlamov was one of the first composers to turn to Lermontov’s poetry, which was in tune with the spiritual atmosphere of the 1830s and 1840s and conveyed the acute dissatisfaction with the surrounding life and the “freedom-loving dreams” of the Russian people. In the romance “The Lonely Sail Whitens,” the composer managed to reflect these feelings and moods. In his music one can hear the “thirst for the storm” of Lermontov’s hero, his intransigence and rebellion. The wide, energetic melody at the beginning of the verse immediately reaches its climax - the sound of G, which is the pinnacle of a bright, expressive cantilena. The excitement of feeling in the romance is emphasized by chord accompaniment with the minted rhythm of the polonaise-bolero. Famous romances: “I’ll Saddle the Horse”, “The Nightingale”, “Don’t Wake Her at Dawn”, “The Lonely Sail Is White”, “The Poet”.
Addresses
- In 1841 he lived in Moscow, in house number 25 on Bolshoi Kozikhinsky Lane (this house was demolished by the Satori company in July-August 2011).
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Literature
- Listova N. Alexander Varlamov. - M.: Music, 1968.
- Reshetnikova T.V. “The complete singing school of A.E. Varlamov” and Russian vocal pedagogy // Problems of musical science. - 2009. - No. 1. - P. 152-155.
Excerpt characterizing Varlamov, Alexander Egorovich
The night was dark, warm, autumn. It had been raining for four days now. Having changed horses twice and galloping thirty miles along a muddy, sticky road in an hour and a half, Bolkhovitinov was in Letashevka at two o'clock in the morning. Having dismounted from the hut, on the fence of which there was a sign: “General Headquarters,” and abandoning his horse, he entered the dark vestibule.- The general on duty, quickly! Very important! - he said to someone who was rising and snoring in the darkness of the entryway.
“We’ve been very unwell since the evening; we haven’t slept for three nights,” the orderly’s voice whispered intercessively. - You must wake up the captain first.
“Very important, from General Dokhturov,” said Bolkhovitinov, entering the open door he felt. The orderly walked ahead of him and began to wake someone up:
- Your honor, your honor - the courier.
- I'm sorry, what? from whom? – said someone’s sleepy voice.
– From Dokhturov and from Alexey Petrovich. “Napoleon is in Fominskoye,” said Bolkhovitinov, not seeing in the darkness who asked him, but by the sound of his voice, suggesting that it was not Konovnitsyn.
The awakened man yawned and stretched.
“I don’t want to wake him up,” he said, feeling something. - You're sick! Maybe so, rumors.
“Here’s the report,” said Bolkhovitinov, “I’ve been ordered to hand it over to the general on duty immediately.”
- Wait, I’ll light a fire. Where the hell do you always put it? – turning to the orderly, said the stretching man. It was Shcherbinin, Konovnitsyn's adjutant. “I found it, I found it,” he added.
The orderly was chopping the fire, Shcherbinin was feeling the candlestick.
“Oh, disgusting ones,” he said with disgust.
In the light of the sparks, Bolkhovitinov saw the young face of Shcherbinin with a candle and in the front corner a still sleeping man. It was Konovnitsyn.
When the brimstones lit up with a blue and then a red flame on the tinder, Shcherbinin lit a tallow candle, from the candlestick of which the Prussians ran, gnawing it, and examined the messenger. Bolkhovitinov was covered in dirt and, wiping himself with his sleeve, smeared it on his face.
-Who is informing? - said Shcherbinin, taking the envelope.
“The news is true,” said Bolkhovitinov. - And the prisoners, and the Cossacks, and the spies - they all unanimously show the same thing.
“There’s nothing to do, we have to wake him up,” said Shcherbinin, getting up and approaching a man in a nightcap, covered with an overcoat. - Pyotr Petrovich! - he said. Konovnitsyn did not move. - IN Main Headquarters! – he said, smiling, knowing that these words would probably wake him up. And indeed, the head in the nightcap rose immediately. On Konovnitsyn’s handsome, firm face, with feverishly inflamed cheeks, for a moment there remained the expression of dreams of a dream far from the present situation, but then suddenly he shuddered: his face took on its usually calm and firm expression.
- Well, what is it? From whom? – he asked slowly, but immediately, blinking from the light. Listening to the officer’s report, Konovnitsyn printed it out and read it. As soon as he had read it, he lowered his feet in woolen stockings onto the earthen floor and began to put on his shoes. Then he took off his cap and, combing his temples, put on his cap.
-Are you there soon? Let's go to the brightest.
Konovnitsyn immediately realized that the news brought was of great importance and that there was no time to delay. Whether it was good or bad, he did not think or ask himself. He wasn't interested. He looked at the whole matter of war not with his mind, not with reasoning, but with something else. There was a deep, unspoken conviction in his soul that everything would be fine; but that you don’t need to believe this, and especially don’t say this, but just do your job. And he did this work, giving it all his strength.
Pyotr Petrovich Konovnitsyn, just like Dokhturov, only as if out of decency was included in the list of so-called heroes of the 12th year - the Barclays, Raevskys, Ermolovs, Platovs, Miloradovichs, just like Dokhturov, enjoyed the reputation of a person of very limited abilities and information, and, like Dokhturov, Konovnitsyn never made plans for battles, but was always where it was most difficult; he always slept with the door open since he was appointed general on duty, ordering everyone sent to wake him up, he was always under fire during the battle, so Kutuzov reproached him for this and was afraid to send him, and was, like Dokhturov, alone one of those inconspicuous gears that, without rattling or making noise, constitute the most essential part of the machine.
Russian composer, singer (tenor) and vocal teacher. Born in Moscow on November 15 (27), 1801 in the family of an official. At the age of nine he was sent to St. Petersburg, where he studied music at the Court Singing Chapel, was a choir singer, and later the author of a number of spiritual compositions. At the age of 18 he was sent to Holland as a teacher of choristers at the Russian Embassy Church in The Hague.
Russian composer, singer (tenor) and vocal teacher. Born in Moscow on November 15 (27), 1801 in the family of an official. At the age of nine he was sent to St. Petersburg, where he studied music at the Court Singing Chapel, was a choir singer, and later the author of a number of spiritual compositions. At the age of 18 he was sent to Holland as a teacher of choristers at the Russian Embassy Church in The Hague. From 1823 he lived in St. Petersburg, where he taught at a theater school and for some time served in the Chapel as a chorister and teacher. During this period, he became close to M.I. Glinka, took part in the performance of his works, and performed in public concerts as a conductor and singer.
The heyday of creativity occurred during the Moscow period of Varlamov’s life (1832–1844). A successful debut as a composer in A. A. Shakhovsky’s play Roslavlev (1832) and work in theatrical genres contributed to Varlamov’s obtaining the position of assistant bandmaster (1832), and then “composer of music” with the orchestra of the Imperial Moscow Theaters. Varlamov wrote music for Shakespeare's "Hamlet" commissioned by the famous actor P.S. Mochalov (1837), staged his ballets "The Fun of the Sultan" (1834) and "The Cunning Boy and the Ogre" (1837), etc. in Moscow. In the early 1830s, Varlamov's first romances and songs appeared; In total, he created more than 100 works of this genre, and among them “Red Sundress”, “What is foggy, the clear dawn”, “Don’t make noise, violent winds” (published in 1835–1837). Varlamov successfully performed as a singer, was a popular vocal teacher (he taught at the Theater School, the Orphanage, and gave private lessons), and in 1849 he published his “Complete School of Singing”; in 1834–1835 he published the magazine “Eolian Harp”, which included romances and piano works, his own and other authors.
After 1845, the musician lived in St. Petersburg, where he moved in the hope of finding a job as a teacher in the Court Chapel, but for various reasons this plan did not come true. He was a member of St. Petersburg literary and artistic circles; became close friends with A. S. Dargomyzhsky and A. A. Grigoriev (two poems by this poet and critic are dedicated to Varlamov). Varlamov's romances were performed in salons, and the famous Pauline Viardot (1821–1910) sang them in her concerts.
Varlamov died in St. Petersburg on October 15 (27), 1848. Gurilev’s romance “Memory of Varlamov”, collective piano variations on the theme of his romance “The Nightingale the Flying Nightingale” (among the authors A. G. Rubinshtein, A. Genzelt) were dedicated to his memory, as well as "Musical collection in memory of A.E. Varlamov", published in 1851, included, along with the works of the late composer, romances by the most prominent Russian composers. In total, Varlamov created about two hundred romances and songs based on texts by more than 40 poets, a collection of adaptations of folk songs “Russian Singer” (1846), two ballets, music for at least two dozen performances (most of them are lost).
Russian Civilization
Russian composer, singer (tenor) and vocal teacher. Born in Moscow on November 15 (27), 1801 in the family of an official. At the age of nine he was sent to St. Petersburg, where he studied music at the Court Singing Chapel, was a choir singer, and later the author of a number of spiritual compositions. At the age of 18 he was sent to Holland as a teacher of choristers at the Russian Embassy Church in The Hague. From 1823 he lived in St. Petersburg, where he taught at a theater school and for some time served in the Chapel as a chorister and teacher. During this period, he became close to M.I. Glinka, took part in the performance of his works, and performed in public concerts as a conductor and singer.
The heyday of creativity occurred during the Moscow period of Varlamov’s life (1832–1844). A successful debut as a composer in A. A. Shakhovsky’s play Roslavlev (1832) and work in theatrical genres contributed to Varlamov’s obtaining the position of assistant bandmaster (1832), and then “composer of music” with the orchestra of the Imperial Moscow Theaters. Varlamov wrote music for Shakespeare's "Hamlet" commissioned by the famous actor P.S. Mochalov (1837), staged his ballets "The Fun of the Sultan" (1834) and "The Cunning Boy and the Ogre" (1837), etc. in Moscow. In the early 1830s, Varlamov's first romances and songs appeared; In total, he created more than 100 works of this genre, and among them “Red Sundress”, “What is foggy, the clear dawn”, “Don’t make noise, violent winds” (published in 1835–1837). Varlamov successfully performed as a singer, was a popular vocal teacher (he taught at the Theater School, the Orphanage, and gave private lessons), and in 1849 he published his “Complete School of Singing”; in 1834–1835 he published the magazine “Eolian Harp”, which included romances and piano works, his own and other authors.
After 1845, the musician lived in St. Petersburg, where he moved in the hope of finding a job as a teacher in the Court Chapel, but for various reasons this plan did not come true. He was a member of St. Petersburg literary and artistic circles; became close friends with A. S. Dargomyzhsky and A. A. Grigoriev (two poems by this poet and critic are dedicated to Varlamov). Varlamov's romances were performed in salons, and the famous Pauline Viardot (1821–1910) sang them in her concerts.
Varlamov died in St. Petersburg on October 15 (27), 1848. Gurilev’s romance “Memory of Varlamov”, collective piano variations on the theme of his romance “The Nightingale the Flying Nightingale” (among the authors A. G. Rubinshtein, A. Genzelt) were dedicated to his memory, as well as "Musical collection in memory of A.E. Varlamov", published in 1851, included, along with the works of the late composer, romances by the most prominent Russian composers. In total, Varlamov created about two hundred romances and songs based on texts by more than 40 poets, a collection of adaptations of folk songs “Russian Singer” (1846), two ballets, music for at least two dozen performances (most of them are lost).
Encyclopedia Around the World
1. famous romance
Varlamov's romances were very loved by the Moscow public and instantly scattered throughout the city. Varlamov’s close friend, Bolshoi Theater soloist Bantyshev, begged the composer for a long time to write a romance for him.
- Which one do you want?
- Whatever you want, Alexander Egorovich...
- Fine. Come back in a week. Varlamov wrote very easily, but, being an extremely uncollected person, it took him a very long time to get to work.
A week later Bantyshev comes - there is no romance.
“There was no time,” Varlamov shrugs. - Come tomorrow.
The next day - the same thing. But the singer was a stubborn man and began to come to Varlamov every morning, when the composer was still sleeping.
“You really are,” Varlamov once became indignant. - A man is sleeping, and you appear, one might say, at dawn! I'll write you a romance. I said, I’ll write, and I’ll write!
- Tomorrow? - Bantyshev asks sarcastically.
- Tomorrow, tomorrow!
In the morning the singer appears, as always. Varlamov is sleeping.
“This is for you, Mr. Bantyshev,” says the servant and gives the early guest a new romance, which was destined to become famous throughout Russia.
The romance was called "Don't wake her up at dawn"!
2. bird
Varlamov was a kind and unconceited man. Expelled from the Bolshoi Theater, he was left without work and without a penny of money. Being the father of a large family that had to be supported and fed somehow, the composer and favorite of the Moscow public did not without difficulty occupy the very modest position of a singing teacher in an orphanage.
- Is this your business? After all, you are the first celebrity in Moscow. You don’t remember yourself at all! - his friend the tragedian Mochalov reprimanded Varlamov.
“Ah, Pasha, you have a lot of pride,” the composer responded. - And I sing like a bird. I sang at the Bolshoi Theater - well. Now I’ll sing with orphans - is it bad?...
3. evil tongues claim...
That the famous opera “Askold’s Grave” by Alexei Verstovsky was actually written by Varlamov. But, being a careless and frivolous person, he lost her at cards to Verstovsky.
Verstovsky staged "Askold's Grave" under his own name at the Bolshoi Theater and became famous. When Varlamov’s close friend, the poet Apollon Grigoriev, said to him reproachfully: “Oh, Alexander Yegorovich, what have you done! Don’t you feel sorry for your opera?” - he allegedly replied: “What is there to regret, dear Apollosha? I’ll write again, it’s not difficult!”
4. everything is very simple
One day, an aspiring composer complained to Varlamov that he couldn’t come up with a romance and asked for advice...
“What advice is there, dear?” Varlamov responded. - Do it very simply: write ten romances and throw them into the oven, and lo and behold, the eleventh one will come out good...
Varlamov A. E.
Alexander Egorovich (15(27) XI 1801, Moscow - 15(27) X 1848, St. Petersburg) - Russian. composer, singer (tenor), teacher-vocalist and conductor. Genus. in the family of a retired military man, Moldovan by birth. From childhood he showed muses. gifted, learned to play the violin, cello, guitar, and piano by ear. Music received his education in St. Petersburg. Adv. singer chapel (in 1811 he joined the chapel staff as a young singer). V.'s abilities attracted the attention of the director of the chapel, D. S. Bortnyansky, who took part in his classes. In 1819 V. was appointed teacher of Russian singers. court church in The Hague (Holland). This is where his activities began as choral conductor, chamber singer (first concert performances) and guitarist. In 1823 he returned to St. Petersburg, worked as a singing teacher at a theater school, and from 1829 - at the Court Chapel. In 1827 he met M.I. Glinka (V. helped him organize home concerts and rehearsals). From 1832 he settled in Moscow, received a position as a “music composer” and assistant bandmaster to the imp. t-ditch In 1843 he retired. The rapprochement of V. with Moscow. artistic environment (A. N. Verstovsky, M. S. Shchepkin, P. S. Mochalov, poet-actor N. G. Tsyganov) contributed to his creativity. development. In 1833 he published the first collection. romances and songs, published by the music jury in 1834-35. "Aeolian Harp", in which, along with his own, he published the works of Glinka, Verstovsky and others. Concentration was particularly successful. speeches by V. - talented singer, performer of the romances and songs he wrote. Not having a great singing voice. voice, he attracted listeners with his subtle and thoughtful interpretation, mastery of the cantilena, and expressiveness of his recitation. V. recorded his performing principles in the “Complete School of Singing” (ed. 1840), which is one of the first Russian methodological manuals on vocal pedagogy.
During the "Moscow period" (1832-44), V. created most of the production. (more than 100 romances and songs). Last years spent his life (from 1845) in St. Petersburg. His friendship with Lit. was significant for him. critic A. A. Grigoriev, expert and connoisseur of Russian. folklore V. studied people. song, created Sat. arrangements - "Russian singer" (did not finish, 43 songs were released). V. spent his entire life in difficult material conditions, which undermined his health (he died of tuberculosis of the throat).
Into Russian history. music V. entered as a master of romance. He brought this genre closer to his people. origins, to the song culture of a broad democratic. environment. The Russian figurative structure was reflected in V.'s romances. adv. songs, its intonation. and fret features. Subtle knowledge of wok. art helped him create vivid examples of Russian. cantilenas, freely flowing melodies of wide breathing. The style of performance of gypsy singers had a great influence on V.'s style. Talented artist, V. implemented in his work best features this old tradition: emotional fullness, passion, improvisation. melodic freedom development.
The spiritual atmosphere of the post-Decembrist years found expression in V.'s sincere, soulful lyrics. In his songs, sometimes full of sorrow, sometimes stormy, swift and alarming, his contemporaries felt a hidden protest, a longing for beauty, a passionate impulse towards light and happiness.
V. created approx. 200 romances and songs, mostly in Russian poetry. poets - M. Yu. Lermontov, A. N. Pleshcheev, A. A. Fet and others. He willingly turned to the work of songwriters: A. V. Koltsov, N. G. Tsyganov, A. V. Timofeev, poems of which V. wrote his best “Russian songs” in folklore. spirit. Among them, two genres predominate: lyric. long and fast dance. In the lingering songs, the characteristic features of V.’s talent were revealed with particular completeness: melodic. generosity, plasticity of the wok. melodies. Russian techniques are implemented freely and naturally in them. adv. songfulness - variant-singing development, gradual development of a broad melody from the main, initial chant, abundant intra-syllabic chants, giving the song a purely Russian. the breadth and majestic slowness of movement (“Oh, time, little time,” “Why are you early, little grass”). The second type includes songs with an active rhythm: “A blizzard is sweeping along the street,” “What kind of heart is this,” “A flying nightingale,” etc. They showed the influence of a gypsy song and dance.
Some of V.'s songs reflected the influence of the mountains. folklore with its typical dances. rhythms. These are the lyrically soulful songs-romances, permeated with a waltz rhythm: “At dawn, don’t wake her up,” “It’s hard, there’s no strength,” “Don’t you sing, nightingale.” Influence of mountains. everyday tradition is noticeable in one of V.’s most popular songs - “Don’t sew me, mother, a red sundress” (lyrics by Tsyganov). Along with Gurilev’s “Bell” and Alyabyev’s “Nightingale,” this song became popular. property.
The open emotionality and fullness of feeling inherent in V.'s songs were also reflected in his romance lyrics. And here characteristic features V.'s creativity remains romantic. excitement, sharp contrast states of mind, spontaneity lyrical. statements. In his romances, V. follows the principle of broad generalization of poetry. text in a clear, melodious melody. Singer elegiac moods, thoughts and contemplation, he appears in the romances “Loneliness”, “Angel”, “I feel sorry for you”, partly close to elegiac. lyrics by M. I. Glinka and A. S. Dargomyzhsky. Lighter lyric. the coloring is inherent in his “landscape” romances (“Mountain peaks”, “I love to look into a clear night”). Contrasting with them are the temperamental romances on the lyrics. Lermontov (“The Lonely Sail Is White”), Koltsov (“I Loved Him,” “You Are My Beloved”). Sometimes the composer enhances the features of declamation. expression and widely uses recitative, turning romance into drama. monologue (“Reminder”, “Sadness”, “Doctor”). V. enriched the ballad genre, subordinating it to Russian. song style. In the ballads "The Robber's Song" and "I Will Ride the Horse" there are traditional romantic songs. the images acquire a new interpretation in the spirit of dramatized Russian. songs.
Working preim. in the wok area. genres, V. also wrote music for dramas. performances (his theater music has not been fully preserved and has been little studied). In this genre, he proved himself to be a gifted composer who vividly reflected the romantic. Russian trends t-ra 30-40s. 19th century With great knowledge of the specifics of the stage, the music was written for the tragedy "Hamlet" by Shakespeare (1837, commissioned by P. S. Mochalov, performer leading role). They were successful on stage Big T-ra ballets V. "Fun of the Sultan" (1834), "The Cunning Boy and the Cannibal" (1837).
The work of V., like that of his contemporary A.L. Gurilev, has been underestimated for a long time. Critics of the 19th century, incl. V.V. Stasov, spoke disparagingly about the “amateurish” romances of these composers. Sov. researchers (primarily B.V. Asafiev) refuted this unfair point of view and convincingly showed the deep nationality of V.’s creativity and its significance in the history of music. Truthful, democratic art of V. has created its own tradition in Russian. music and found a response in the works of A. S. Dargomyzhsky, P. I. Tchaikovsky, S. V. Rachmaninov.
Essays: ballets - The Fun of the Sultan, or the Slave Seller (1834), The Cunning Boy and the Ogre (together with A. S. Guryanov, based on the fairy tale “Tom Thumb” by C. Perrault, 1837); OK. 200 romances and songs (collected works in 12 volumes, ed. by A. Gutheil); Russian processing adv. songs for voice with fp., incl. Sat. Russian singer (St. Petersburg, 1846, unfinished); wok ensembles; choirs, incl. 3 Cherubic (for choir a cappella, 1828); fp. plays; music for drama. performances - Roslavlev (Shakhovsky based on the novel by Zagoskin; jointly with A. N. Verstovsky, 1832, Big t-r, Moscow), Bigamist, or Volga Robbers (Shakhovsky, 1833), Murom Forests, or Ataman’s Choice (A.F. Veltman, 1834), Ermak (Khomyakova, 1835), Hamlet (Shakespeare, 1837), Esmeralda, or Four Kinds love (after V. Hugo, 1839), Bulat-Temir, the Tatar hero, or the Battle of the Don (V. R. Zotova, 1839), Maiko (P. V. Beklemisheva, 1841), etc. Literature: Findeisen H. P., Alexander Egorovich Varlamov, "RMG", 1898, No. 11; Bulich S.K., A.E. Varlamov. Some new data for his biography, "RMG", 1901, NoNo 45-47, 49; Satin X., Alexander Egorovich Varlamov, "SM", 1948, No. 8; Tynyanova E., At the dawn of Russian romance creativity, ibid.; Asafiev B.V., Evgeny Onegin..., Ibr. works, vol. II, M., 1954; him, Composers of the first half of the 19th century century, Fav. works, vol. IV, M., 1955; Glumov A., Music in Russian drama theater, M., 1955; Vasina-Grossman V. A., Russian classical romance of the 19th century, M., 1956; Listova N., Alexander Varlamov, M., 1968. O. E. Levasheva.
Musical encyclopedia. - M.: Soviet encyclopedia, Soviet composer. Ed. Yu. V. Keldysh. 1973-1982 .
See what "Varlamov A. E." is in other dictionaries:
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1. VARLAMOV Alexander Vladimirovich (1904 90), jazz composer, conductor, Honored Artist of the RSFSR (1979). Great-grandson of A. E. Varlamov. One of the first domestic composers, who have worked in the field of jazz. Pop jazz compositions... ...Russian history
A. E. Varlamov Alexander Egorovich Varlamov (November 15 (27), 1801, Moscow October 15 (27), 1848, St. Petersburg) Russian composer. He came from the “Voloshsky”, that is, Moldavian nobles. Biography Born in Moscow on November 15, 1801... ... Wikipedia
Books
- A. E. Varlamov. Complete collection of musical works, A. E. Varlamov. Moscow, 1888. Published by A. Gutheil. Publisher's binding. The condition is good. Original cover retained. Slightly yellowed pages. Minor tears along the edges of the sheets. On the cover…
