Once upon a time, actor and playwright P.A. Karatygin said to Griboedov: “Ah, Alexander Sergeevich, how many talents God has given you: you are a poet, a musician, you were a dashing cavalryman and, finally, an excellent linguist!” He smiled, looked at me with his sad eyes from under his glasses and answered me: “Believe me, Petrusha, whoever has many talents does not have a single real one.” He was modest..."
Pyotr Andreevich Karatygin
Bestuzhev Petr Alexandrovich
Decembrist Pyotr Bestuzhev spoke of his friend: “The mind is naturally abundant, enriched with knowledge, the thirst for which does not leave him even now, the soul is sensitive to everything high, noble, heroic. Lively character, inimitable manner of pleasant, tempting treatment, without an admixture of arrogance; the gift of speech high degree; his pleasant talent in music, and finally, his knowledge of people make him an idol and adornment of the best societies.”
According to the tradition accepted in Russians noble families Alexander Sergeevich studied music since childhood. He played the piano very well and had great knowledge of music theory.
There are many memories of Griboyedov, the pianist.
“Griboyedov passionately loved music and from the very beginning youth became an excellent piano player. The mechanical part of playing the piano did not present any difficulty for him, and subsequently he studied music completely, like a deep theorist” (K. Polevoy).
“I loved listening to his magnificent piano playing... He would sit down with them and begin to fantasize... There was so much taste, strength, and wondrous melody here! He was an excellent pianist and a great connoisseur of music: Mozart, Beethoven, Haydn and Weber were his favorite composers” (P. Karatygin).
Griboedov, a pianist, often performed among friends and at musical evenings as an improvising soloist and accompanist.
His partners in playing music together were amateur singers, artists of the Italian opera troupe, and composers.
For example, to his accompaniment, for the first time, Verstovsky performed the romance “Black Shawl” that he had just composed. Much to our chagrin, most of the plays composed by Griboyedov were not recorded by him. music paper and is irretrievably lost for us.
Only two waltzes have survived. They don't have names, so we'll call them musical terms: Waltz in A-flat major and Waltz in E minor.
The first of them was written during the winter of 1823/24. E.P. talks about this. Sokovnina, niece of S.I. Begicheva, best friend Griboyedova:
“This winter, Griboyedov continued to finish his comedy “Woe from Wit” and, in order to more accurately capture all the shades of Moscow society, he went to balls and dinners, which he had never been in the mood for, and then retired for whole days in his office. I still have a waltz composed and written by Griboyedov himself, which he handed over to me.”
This was the first edition of the waltz in e-moll. Sokovnina sent his manuscript to the editors of the Historical Bulletin with the following note: “I enclose this waltz in the confidence that it can still bring pleasure to many.”. So, Sokovnina’s testimony establishes that the composition of one of the waltzes dates back to the period of final finishing of “Woe from Wit.” Another waltz, As major, was apparently written at the same time.
However musical creativity Griboyedov was not limited to the waltzes that have come down to us. Daughter of P.N. Akhverdova, with whom she was raised future wife Griboyedova, told researcher N.V. Shalamytov that on his first trip to Persia (1818), Griboyedov, visiting her mother’s house in Tiflis, often “sat down at the instrument and played most of the things he composed. She also recalls that Griboyedov, during his second trip to Persia as minister plenipotentiary (1828), again stayed with P.N. Akhverdova and here often played “dances of his own composition” for children, the melodies of which, she continues, “I still clearly remember, are very beautiful and uncomplicated.”
In the edition of Griboyedov’s works edited by I.A. Shlyapkina (1889) reports: “As we heard, there is also a mazurka written by A.S. Griboedov." Unfortunately, Shlyapkin did not indicate the source of his information.
In the memory of Griboyedov's wife, Nina Alexandrovna, who survived him by almost thirty years, were preserved for a long time his other works, including the largest and most significant - a piano sonata.
Biographer N.A. Griboedova K.A. Borozdin says: “Nina Alexandrovna knew a lot of plays and his own compositions, very remarkable for the originality of the melody and masterful processing, she willingly played them for those who love music. Of these, one sonata was especially good, full of soulful charm. She knew that this piece was my favorite and, sitting down at the piano, she never refused me the pleasure of listening to it. One cannot help but regret that these plays remained unrecorded by anyone: “Nina Alexandrovna took them with her.”
Both Griboyedov waltzes are small piano pieces, very simple in form and texture; their music is of a lyrical-elegiac nature, lighter in the Waltz in E minor. The first of these waltzes is less known, but the second is now extremely popular. The music of the waltz in E minor is characterized by some special, tenderly sad poetic comfort; her sincerity and spontaneity touches the soul.
Written for piano, both waltzes exist in a large number of arrangements for various instruments: harp, flute, button accordion and others.
In fact, Griboyedov's Waltz in E Minor is the first Russian waltz that has survived to this day thanks to its artistic merits, and actually sounds in our musical everyday life. He is popular, he is well known to many and is loved by the most wide circles music lovers.
It’s a shame that Alexander Sergeevich’s musical works disappeared without a trace, remaining unrecorded, just as his improvisations disappeared, echoing within the walls of literary and musical salons and living rooms and leaving only a memory of themselves among listeners.
Music for Griboedov was a true part of his being.
Griboyedov is close and dear to people as a writer, faithful to the truth of life, as a leading figure of his time - a patriot, humanist and lover of freedom, who had a deep and fruitful impact on the development of Russian national culture.
“Your mind and deeds are immortal in Russian memory...”
Waltzes by A.S. Griboedov (1795-1829) as-dur and e-moll.
Griboyedov's Waltz in E minor
Waltzes in A-flat major and E minor . From childhood, Sasha and his sister were taught to play the piano, and by the age of 13 he “became an excellent piano player.” “A very good musician” – this is how Mikhail Glinka, stingy with praise, responded about him. All his life, music was a refuge for Griboyedov, where he found solace. He loved to play Mozart, Beethoven, Haydn. He often improvised, but did not consider it worthy of recording.
Two waltzes by Griboyedov have been preserved: Waltz in A-flat major (E-moll) and Waltz in E minor (As-dur). The first was written in the winter of 1823/24. in Begichev's house:
Waltz in A-flat major – listen
E.P. told about him. Sokovnina, niece of S.N. Begicheva: “This winter, Griboyedov continued to finish his comedy “Woe from Wit” and, in order to more accurately capture all the shades of Moscow society, he went to balls and dinners, which he had never been in the mood for, and then retired for whole days in his office. I have preserved a waltz composed and written by Griboedov himself, which he handed over to me.” Perhaps Griboyedov's second waltz was written at the same time.
According to critics, the waltzes “reveal an undoubted musical talent, but one that has not yet matured and has not received proper processing and finishing in a serious school.” There is no arguing with this. It’s just that for almost 200 years, listeners have been discovering Griboyedov’s “naive” waltzes with surprise and delight. Especially memorable is Griboyedov’s Waltz in E minor with its sad, flowing melody:
Romance "Oh, Surely Never"
One of best performers romance - Georgy Vinogradov.
Romance “Oh, surely never” – listen
Opera "Woe from Wit"
In 1910 M.M. Ivanov wrote music for the text of the comedy "Woe from Wit". The opera was not a success: it is difficult to imagine how one can sing texts that have been recited for decades. The only attractive moment of the opera was Griboyedov's waltz in E minor, which sounded at Famusov's ball.
The best samples classical music, time-tested, and today they make you think, feel sad, or, conversely, smile and forget about everything. Such masterpieces include Oginsky's polonaise. This work is familiar to each of us from school. However, quite often you can hear the question: “Who wrote Oginsky’s polonaise?” In this article we will reveal the history of the creation of this musical masterpiece and dwell on the work of the composer who composed it.
Who wrote Oginsky's polonaise?
The author of this immortal play is a Polish musician, and later political figure- Mikhail Kleofas Oginsky. He was born in 1728 on the Guzov estate, located near Warsaw. His parents belonged to aristocratic circles. Therefore, with early childhood Mikhail studied music and learned to play many instruments: harp, violin, piano, cello. Already in his young years, he created his first compositions - romances, songs, polonaises, small operas. Young Oginsky continues to improve his musical skills in Italy with such masters as P. Baio and G. Viotti. In the seventies he was active political activity, seeking independence for his native Poland. Since 1789, Mikhail has worked as the Polish ambassador to Holland and England. In 1794, the composer was elected to the National Council. After the T. Kosciuszko uprising, in which he took a direct part, the composer immigrated to Italy. There he lives in Constantinople, and since 1823 in Florence.
Works by Mikhail Kleofas
When answering the question of who wrote Oginsky’s polonaise, it is impossible not to touch upon the composer’s work. His legacy consists of numerous romances and piano pieces - mazurkas, polonaises, minuets, marches, waltzes. Almost all works are characterized by the presence of national Polish features and elements in the melody and rhythm, special lyricism and grace. And in the 70s, polonaises became extremely popular among listeners. One of them is F major, which received the unspoken name “Partition of Poland”. It was created under the impression of the political events taking place in those years. Oginsky's polonaises had a huge influence on subsequent generations. In the 19th century they were constantly heard at balls and dinner parties in St. Petersburg and Moscow
Oginsky's Polonaise "Farewell to the Motherland"
This work, created in 1794, is rightfully considered the best creation of Mikhail Kleofas. Historians believe that the composer wrote the polonaise while suddenly leaving Tadeusz Kościuszko in connection with the suppression of the uprising by Russian troops. Oginsky's Polonaise (organ and violin) most accurately conveys the mood of the composer, his longing for his homeland. It symbolizes parting with the country, and in every sense - as a departure for the cordon and as a farewell to the Polish-Lithuanian Commonwealth captured by the victors. Today in Poland this polonaise is considered a musical symbol. There were even proposals to make it the national anthem. This is the complicated history of this musical masterpiece. Now, dear readers, the question “Who wrote Oginsky’s polonaise?” won't it confuse you?
To the 220th anniversary of the birth of Alexander Sergeevich Griboedov.
Writer, composer, diplomat - Alexander Sergeevich Griboyedov lived a short and bright life. He left behind the immortal comedy "Woe from Wit", the famous "Griboyedov's" waltz, and made a serious contribution to the development of Russian diplomacy. Griboyedov died tragically in Persia at the age of 34.He went down in history, first of all, of course, as the author of the immortal comedy “Woe from Wit.” His uniqueness lies in the fact that he combined the talent of a writer with the talent of a musician. The exclusivity of his position also lies in the fact that, being the author of only two musical works that have come down to us, (INAlse in E minor and Waltz in A flat major) Thanks to them, he became a very popular composer.
There is something in common between these two piano miniatures and the maxims in his comedy: like his replicas famous characters scattered around the world, becoming “catch phrases,” and so these two waltzes, a kind of “leaf from an album,” turned into most popular works, widely existing in circles of music lovers, sometimes even without connection with A. Griboedov himself. Unfortunately, no other works of Griboyedov were recorded by him; in any case, nothing else has reached us. Meanwhile about musical abilities and his contemporaries were well aware of A. Griboyedov’s music-making. In the 20s XIX century Musical meetings were constantly held in his house in Moscow on Novinsky Boulevard. In addition to the owner, Alyabyev played music here. With V.F. Odoevsky, Griboedov discussed musical theoretical issues, in particular, the fundamental textbook of music theory by Hess de Calve, which had just been published in Russian at that time. E. P. Sokovnina, the niece of S. I. Begichev, Griboyedov’s best friend, told about how the Waltz in E minor appeared: “This winter, Griboedov continued to finish his comedy “Woe from Wit” and, in order to more accurately capture all the shades of Moscow society , went to balls and dinners, which he had never been interested in, and then retired for whole days in his office. Then in the evenings his wonderful improvisations on the piano could be heard, and I, having free access to his office, listened to them until late at night. I still have a waltz composed and written by Griboyedov himself, which he handed over to me. I enclose this waltz in the confidence that it can still bring pleasure to many.”
And so, Sokovnina’s testimony establishes that the composition of one of the waltzes dates back to the period of final finishing of “Woe from Wit.” The first edition of Waltz was published in the St. Petersburg “Historical Bulletin” and subsequently reprinted in volume II of the first full meeting works by A. Griboyedov, which was published in Petrograd (1911-1917). This volume is entirely devoted to materials related to Woe from Wit. It is noteworthy that the second edition of this Waltz reveals greater composer skill.
Both waltzes are simple in form and represent the simplest types of two-part form. Their piano texture is also extremely simple, there are no attempts at broad writing with any more or less effective pianistic presentation - there are no bright climaxes or catchy passages. In a word, everything is extremely chamber and intimate. They are written in the same vein in which playing music is mentioned in the above quotes from literary works A. Griboedova. Both Griboyedov's waltzes reveal the author's undoubted musical talent, but it has not yet matured and has not received proper processing and finishing. In a word, this is amateur music. And yet - one of the paradoxes of art! - it was Griboyedov’s waltzes that gained extraordinary popularity. Contemporaries admired his inspired improvisations. The pianist's career was hindered by the fact that during one of the duels, an opponent shot Griboedov in the little finger of his left hand (it was by his mutilated finger that Griboedov was identified among those killed during the attack of religious fanatics on the Russian mission in Tehran in 1829).The few musical works written by Griboyedov had excellent harmony, harmony and conciseness. Some works, including the piano sonata - Griboyedov’s most serious musical work, have not reached us. According to the memoirs of contemporaries, Griboedov was a wonderful pianist, his playing was distinguished by genuine artistry.
Text from various sources.To the 220th anniversary of the birth of Alexander Sergeevich Griboedov.
Writer, composer, diplomat - Alexander Sergeevich Griboyedov lived a short and colorful life. He left behind the immortal comedy "Woe from Wit", the famous "Griboyedov's" waltz, and made a serious contribution to the development of Russian diplomacy. Griboyedov died tragically in Persia at the age of 34.
He went down in history, first of all, of course, as the author of the immortal comedy “Woe from Wit.” His uniqueness lies in the fact that he combined the talent of a writer with the talent of a musician. The exclusivity of his position also lies in the fact that, being the author of only two musical works that have come down to us, (INAlse in E minor and Waltz in A flat major) Thanks to them, he became a very popular composer.
There is something in common between these two piano miniatures and the maxims in his comedy: just as the replicas of his famous characters scattered around the world, becoming “winged” expressions, so these two waltzes, a kind of “leaf from the album,” turned into popular works, widely used in the circles of music lovers, sometimes even without any connection with A. Griboedov himself. Unfortunately, no other works of Griboyedov were recorded by him; in any case, nothing else has reached us. Meanwhile, his contemporaries were well aware of A. Griboyedov’s musical abilities and playing music. In the 20s years XIX centuries, musical gatherings were constantly held in his house in Moscow on Novinsky Boulevard. In addition to the owner, Alyabyev played music here. With V.F. Odoevsky, Griboedov discussed musical theoretical issues, in particular, the fundamental textbook of music theory by Hess de Calve, which had just been published in Russian at that time. E. P. Sokovnina, the niece of S. I. Begichev, Griboyedov’s best friend, told about how the Waltz in E minor appeared: “This winter, Griboedov continued to finish his comedy “Woe from Wit” and, in order to more accurately capture all the shades of Moscow society , went to balls and dinners, which he had never been interested in, and then retired for whole days in his office. Then in the evenings his wonderful improvisations on the piano could be heard, and I, having free access to his office, listened to them until late at night. I still have a waltz composed and written by Griboyedov himself, which he handed over to me. I enclose this waltz in the confidence that it can still bring pleasure to many.”
And so, Sokovnina’s testimony establishes that the composition of one of the waltzes dates back to the period of final finishing of “Woe from Wit.” The first edition of Waltz was published in the St. Petersburg “Historical Bulletin” and subsequently reprinted in Volume II of the first complete works of A. Griboyedov, which was published in Petrograd (1911-1917). This volume is entirely devoted to materials related to Woe from Wit. It is noteworthy that the second edition of this Waltz reveals greater composer skill.
Both waltzes are simple in form and represent the simplest types of two-part form. Their piano texture is also extremely simple, there are no attempts at broad writing with any more or less effective pianistic presentation - there are no bright climaxes or catchy passages. In a word, everything is extremely chamber and intimate. They are written in the same vein in which playing music is mentioned in the above quotes from the literary works of A. Griboedov. Both Griboyedov's waltzes reveal the author's undoubted musical talent, but it has not yet matured and has not received proper processing and finishing. In a word, this is amateur music. And yet - one of the paradoxes of art! - it was Griboyedov’s waltzes that gained extraordinary popularity. Contemporaries admired his inspired improvisations. The pianist's career was hindered by the fact that during one of the duels, an opponent shot Griboedov in the little finger of his left hand (it was by his mutilated finger that Griboedov was identified among those killed during the attack of religious fanatics on the Russian mission in Tehran in 1829).
The few musical works written by Griboyedov had excellent harmony, harmony and conciseness. Some works, including the piano sonata - Griboyedov’s most serious musical work, have not reached us. According to the memoirs of contemporaries, Griboedov was a wonderful pianist, his playing was distinguished by genuine artistry.
Text from various sources..
