Lyadov is the composer of the work. Russian composers of the 20th century

...Lyadov modestly set aside for himself the field of miniatures - piano and orchestral - and worked on it with great love and care as a craftsman and with the taste of a first-class artist-jeweler and master of style. The beautiful truly lived in him in a national-Russian spiritual form.
B. Asafiev

A. Lyadov belongs to the younger generation of the remarkable galaxy of Russian composers of the second half of the 19th century V. He proved himself to be a talented composer, conductor, teacher, and musical and public figure. Lyadov’s work is based on images of Russian epic and folklore songs, fairy-tale fiction, he is characterized by contemplative lyrics and a subtle sense of nature; In his works there are elements of genre characterization and comedy. Lyadov's music is characterized by a bright, balanced mood, restraint in the expression of feelings, only sometimes interrupted by passionate, direct experience. Much attention Lyadov devoted himself to improvement artistic form: ease, simplicity and grace, harmonious proportionality - these are his highest criteria of artistry. His ideal was the work of M. Glinka and A. Pushkin. He spent a long time thinking about the works he created in every detail and then wrote down what he had composed completely, almost without any blots.

Beloved musical form Lyadova is a short instrumental or vocal piece. The composer jokingly said that he could not stand more than five minutes of music. All his works are miniatures, laconic and polished in form. Lyadov's work is small in volume, a cantata, 12 works for symphony orchestra, 18 children's songs based on folk words for voice and piano, 4 romances, about 200 arrangements folk songs, several choirs, 6 chamber instrumental works, over 50 pieces for piano.

Lyadov was born into a musical family. His father was a conductor of the Mariinsky Theater. The boy had the opportunity to listen to symphonic music at concerts and often visit opera house at all rehearsals and performances. “He loved Glinka and knew it by heart. “Rogneda” and “Judith” Serov admired. On stage he took part in processions and crowds, and when he came home, he portrayed Ruslan or Farlaf in front of the mirror. He heard plenty of singers, choirs and orchestras,” recalled N. Rimsky-Korsakov. Musical talent manifested itself early, and in 1867, eleven-year-old Lyadov entered the St. Petersburg Conservatory. He studied practical composition with Rimsky-Korsakov. However, for absenteeism and indiscipline, he was expelled in 1876. In 1878, Lyadov entered the conservatory for the second time and in the same year brilliantly passed the final exam. As thesis they were presented with the music for the final scene of “The Bride of Messina” by F. Schiller.

In the mid-70s. Lyadov meets members of the Balakirev circle. This is what Mussorgsky wrote about his first meeting with him: “...A new, undoubted, original and Russian young talent...” Communication with major musicians had a great influence on Lyadov’s creative formation. The range of his interests is expanding: philosophy and sociology, aesthetics and natural science, classical and modern literature. The urgent need of his nature was reflection. “Peck from the book what Do you need, and develop it at large, and then you will know what it means think", he later wrote to one of his friends.

Since the autumn of 1878, Lyadov became a teacher at the St. Petersburg Conservatory, where he taught theoretical disciplines to performers, and from the mid-80s. He also teaches at the Singing Chapel. At the turn of the 70-80s. Lyadov began his conducting career in the St. Petersburg circle of music lovers, and later acted as a conductor in public symphony concerts founded by A. Rubinstein, as well as in Russian symphony concerts founded by M. Belyaev. His conducting qualities were highly appreciated by Rimsky-Korsakov, Rubinstein, and G. Laroche.

Lyadov's musical connections are expanding. He meets P. Tchaikovsky, A. Glazunov, Laroche, and becomes a participant in the “Belyaev Fridays”. At the same time, he gained fame as a composer. Since 1874, Lyadov’s first works were published: 4 romances op. 1 and “Spillkins” op. 2 (1876). Romances turned out to be Lyadov’s only experience in this genre; they were created under the influence of the “kuchkists”. “Spillkins” is Lyadov’s first piano work, which is a series of small pieces of different characters united into a complete cycle. Already here Lyadov’s style of presentation is defined - intimacy, lightness, elegance. Until the early 1900s. Lyadov wrote and published 50 opuses. Most of them are small piano pieces: intermezzos, arabesques, preludes, impromptu, etudes, mazurkas, waltzes, etc. The “Musical Snuffbox” gained wide popularity, in which images of a doll and toy world are reproduced with particular subtlety and sophistication. Among the preludes, the Prelude in B minor Op stands out especially. 11, the melody of which is very close to the folk tune “And what is cruel in the world” from M. Balakirev’s collection “40 Russian folk songs”.

To the most major works for piano there are 2 variation cycles (on the theme of Glinka’s romance “Venice Night” and on a Polish theme). One of the most famous plays was the ballad “About Antiquity.” This work is close to the epic pages of Glinka’s opera “Ruslan and Lyudmila” and A. Borodin’s “Bogatyrskaya” symphony. When in 1906 Lyadov made an orchestral version of the ballad “About Antiquity”, V. Stasov, having heard it, exclaimed: “Real button accordion You sculpted it here.”

At the end of the 80s. Lyadov turned to vocal music and created 3 collections of children's songs based on the texts of folk jokes, fairy tales, and refrains. Ts. Cui called these songs “tiny pearls in the most delicate, finished finish.”

Since the late 90s. Lyadov is passionate about processing folk songs collected by expeditions Geographical Society. Particularly noteworthy are 4 collections for voice and piano. Following the traditions of Balakirev and Rimsky-Korsakov, Lyadov widely uses subvocal polyphony techniques. And in this form musical creativity a typical Lyadov trait is revealed - intimacy (he uses a minimal number of voices, which form a light transparent fabric).

By the beginning of the 20th century. Lyadov becomes one of the leading and authoritative Russian musicians. At the conservatory, he was given special theoretical and composition classes, among his students were S. Prokofiev, N. Myaskovsky, B. Asafiev and others. Lyadov’s behavior in 1905, during the period of student unrest, can be called courageous and noble. Far from politics, he unconditionally joined the vanguard group of teachers who protested against the reactionary actions of the RMS. After his dismissal from the Rimsky-Korsakov Conservatory, Lyadov, together with Glazunov, announced his resignation from its professorship.

In the 1900s Lyadov turns mainly to symphonic music. He creates a number of works that continue the traditions of Russian classics of the 19th century. These are orchestral miniatures, the plots and images of which are suggested by folk sources(“Baba Yaga”, “Kikimora”) and contemplation of the beauty of nature (“Magic Lake”). Lyadov called them “fairy-tale pictures.” In them, the composer makes extensive use of the coloristic and pictorial capabilities of the orchestra, following the path of Glinka and composers " Mighty bunch" A special place is occupied by “Eight Russian Folk Songs for Orchestra”, in which Lyadov masterfully used authentic folk tunes - epic, lyrical, dance, ritual, round dance, expressing different sides spiritual world of the Russian person.

During these years, Lyadov showed a keen interest in new literary and artistic movements, and this was reflected in his work. He writes music for M. Maeterlinck's play "Sister Beatrice", the symphonic picture "From the Apocalypse" and "Sorrowful Song for Orchestra". Among the composer’s latest plans are the ballet “Leila and Alalei” and the symphonic film “Kupala Night” based on the works of A. Remizov.

The last years of the composer's life were overshadowed by the bitterness of loss. Lyadov experienced the loss of friends and associates very acutely and hard: one after another, Stasov, Belyaev, and Rimsky-Korsakov passed away. In 1911 Lyadov transferred serious illness, from which I could no longer fully recover.

A clear indication of the recognition of Lyadov’s merits was the celebration in 1913 of the 35th anniversary of his creative activity. Many of his compositions still enjoy wide popularity and love among listeners.

Anatoly Konstantinovich Lyadov - Russian composer, conductor, teacher. He was born on May 11, 1855 in St. Petersburg. Music education he received at the St. Petersburg Conservatory; student of Yu. Ioganson, N. Rimsky-Korsakov.

In 1878, Lyadov was invited to work as a teacher at the conservatory, where he remained a professor until the end of his life (with a short break in 1905, when he left the conservatory in protest against the dismissal of Rimsky-Korsakov). In 1879 he began his conducting career, which lasted until 1910. Since 1884, Lyadov became a teacher in the instrumental classes of the Court Singing Chapel.

Lyadov was a member of the Belyaev circle. Many Soviet composers belonged to Lyadov's students: B. Asafiev, V. Deshevov, S. Maikapar, N. Myaskovsky, S. Prokofiev, V. Shcherbachev and others.

In terms of talent, the composer was an outstanding master of symphonic miniatures. His work is marked by fidelity to the realistic principles of Russian musical classics, connection with folk song and poetic art, grace of expression, perfection of form.

Russian folk song plays a huge role in Lyadov’s music. He not only processed more than 150 folk melodies, but also created his own melodies based on the intonations of folk songs. Particularly famous is the suite “Eight Russian Folk Songs for Orchestra” (1905), where the composer extremely subtly and deeply conveyed the character and characteristics of Russian songs of various types.

Lyadov composed many pieces for piano, most often not large, but always laconic and skillfully finished. His play “About Antiquity” (1889), which depicts folk storyteller playing the harp. The humorous play "Musical Snuffbox" recreates the sound of a musical toy. His "Children's Songs" are good folk texts- here Lyadov simply but very aptly sketched a number of live scenes: “The Black Earth Earthling,” “The Wattle,” “Calling the Rain” and others.

Lyadov developed in his works another line of creativity of his teacher Rimsky-Korsakov. He created a number of small fairy-tale pictures for the orchestra: “Baba Yaga” (1904), “Kikimora” (1910), “Magic Lake” (1909). They showed the remarkable talent of an artist, capable of drawing bright and original images with music, creating portraits of fairy-tale characters and fantastic landscapes.

Lyadov died on August 28, 1914 in the Polynovka estate, Novgorod province.
WORKS:- Conclusion. scene from “The Bride of Messina” (after Schiller) for 4 solos, chorus and orchestra. (1878, revised in 1890 into a cantata)

Cantata in memory of M. Antokolsky for choir and orchestra. (together with A. Glazunov, 1902)

Polonaise in memory of Pushkin (1899)

- "Baba Yaga" (1904)

8 people songs for orc. (1906)

- "The Magic Lake" (1909)

- "Kikimora" (1910) and other productions. for orc.

Numerous plays for piano, incl. "Spillkins" (1876), "Arabesques" (1878), ballad "About Antiquity" (1889), "Musical Snuffbox" (1893), 3 bagatelles (1903), Variations on folklore. Polish theme (1901), preludes, mazurkas, etudes, intermezzos, etc.

The shortest version)

Biography
Anatoly Konstantinovich Lyadov is a Russian composer, conductor, teacher, musical and public figure. Born on May 11, 1855 in St. Petersburg in the family of the conductor of the Mariinsky Theater K.N. Lyadova and pianist V.A. Antipova. Their music lessons He started under the guidance of his father; his mother died early. Anatoly Konstantinovich comes from a family of professional musicians (not only his father, but the composer’s uncle and grandfather were famous conductors of his time), he early years was brought up in musical world. Lyadov's talent was manifested not only in his musical talent, but also in excellent drawing and poetic creativity, as evidenced by many surviving witty poems and drawings.
In 1867-1878, Lyadov studied at the St. Petersburg Conservatory with professors J. Johansen (theory, harmony), F. Beggrov and A. Dubasov (piano), and from 1874 - in the composition class with N.A. Rimsky-Korsakov. Lyadov graduated from the conservatory, presenting as his graduation work the cantata “The Final Scene from The Bride of Messina, after Schiller.”
Communication with N. A. Rimsky-Korsakov determined the whole future fate young composer - already in the mid-70s. he became a member of the “Mighty Handful” as a junior representative (together with A.K. Glazunov) of the “New Russian music school", and in the early 80s. - Belyaevsky circle, where Lyadov immediately showed himself as a talented organizer, heading the publishing business. At the turn of the 80s. conducting activities began. Lyadov in concerts of the St. Petersburg Circle of Music Lovers and Russian Symphony Concerts. In 1878 he became a teacher at the St. Petersburg Conservatory. Among his outstanding students are Prokofiev, Asafiev, Myaskovsky, Gnesin, Zolotarev, Shcherbachev. And since 1884 he taught in the instrumental classes of the Court Singing Chapel.
Contemporaries reproached Lyadov for his lack of creative productivity (especially his close friend Alexander Glazunov). One of the reasons for this is the financial insecurity of Lyadov, who is forced to study a lot pedagogical work. Teaching took up a lot of the composer's time. Lyadov composed, in his own words, “in the cracks of time” and this very depressing for him. “I compose little and compose slowly,” he wrote to his sister in 1887. - Am I really just a teacher? I really wouldn’t want that!”
Until the early 1900s. The basis of Lyadov’s work was piano works, mainly pieces of small forms. More often these are non-program miniatures - preludes, mazurkas, bagatelles, waltzes, intermezzos, arabesques, impromptu, etudes. The play “The Musical Snuffbox” was very popular, as was the piano cycle “Spillkins”. IN genre plays some were implemented in an original way characteristic features music of Chopin and Schumann. But the author introduced his own individual element into these genres. IN piano works There are images of Russian song folklore, they are clearly national and in their poetic basis are related to the music of Glinka and Borodin.
Lyadov's lyrics are usually light and balanced in mood. She is reserved and slightly shy, ardent passions and pathos are alien to her. Distinctive Features piano style - grace and transparency, refinement of thought, predominance of fine technology - “jewelry” finishing of details. “The most subtle artist of sound,” he, according to Asafiev, “in place of the impressiveness of feeling puts forward the thriftiness of feeling, admiring the grains - the pearls of the heart.”
Among the few vocal works Lyadov’s “Children’s Songs” for voice and piano (1887-1890) stand out. They are based on truly folk texts of ancient genres - spells, jokes, sayings. These songs, successively associated with the work of M. P. Mussorgsky (in particular, the “Children’s” cycle), in terms of genre, were continued in the vocal miniatures of I. F. Stravinsky on folk songs.
In the late 1890s and early 1900s. Lyadov created over 200 arrangements of folk songs for voice and piano and other performing groups (male and female, mixed choirs, vocal quartets, female voice with orchestra). Lyadov’s collections are stylistically close to the classical adaptations of M.A. Balakirev and N.A. Rimsky-Korsakov. They contain ancient peasant songs and preserve their musical and poetic features.
The result of work on song folklore The suite “Eight Russian Folk Songs” for orchestra appeared (1906). Has acquired a new quality small form: his symphonic miniatures, with all the conciseness of the composition, are not just miniatures, but complex artistic images in which the richness is expressed concentrated musical content. IN symphonic works Lyadov developed the principles of chamber symphonism - one of the characteristic phenomena in symphonic music of the twentieth century.
In the last decade of his life, in addition to the suite “Eight Russian Folk Songs,” other miniatures for orchestra were created. These are program orchestral “pictures” fabulous content: “Baba Yaga”, “Kikimora”, “Magic Lake”, as well as “Dance of the Amazon”, “Sorrowful Song”. Last work in the field of symphonic music - “Sorrowful Song” (1914) is associated with the images of Maeterlinck. It turned out to be the “swan song” of Lyadov himself, in which, according to Asafiev, the composer “opened a corner of his own soul, from his personal experiences he drew material for this sound story, truthfully touching, like a timid complaint.” This “confession of the soul” ended Lyadov’s career; the composer died on August 28, 1914.
During his creative career, Lyadov remained an admirer of the classically clear art of Pushkin and Glinka, the harmony of feeling and thought, the grace and completeness of musical thought. But at the same time, he vividly responded to the aesthetic aspirations of his time, became close and entered into creative contacts with representatives of the latest literary and artistic movements (poet S.M. Gorodetsky, writer A.M. Remizov, artists N.K. Roerich, I.Ya. Bilibin, A.Ya. Golovin, theatrical figure S. P. Diaghilev). But dissatisfaction with the world around him did not prompt the composer to social issues in creativity, art was personified in his mind with a closed world of ideal beauty and highest truth.

"Most lazy classic Russian music" -

Anatoly Konstantinovich Lyadov

Anatoly Konstantinovich Lyadov [(May 11, 1855 - August 28, 1914)
The personality is bright and original. He did not compose many works, but some! Russian epic in music is the main direction in his work. Contemporaries said that he surpassed Rimsky-Korsakov.

Contemporaries reproached Lyadov for his lack of creative productivity.

One of the reasons for this is Lyadov’s financial insecurity, who is forced to do a lot of teaching work. It must be said that as a teacher Lyadov achieved considerable success. Among his students are Prokofiev, Asafiev, Myaskovsky. Teaching took at least six hours a day. Lyadov composed, in his own words, “in the cracks of time,” and this very depressing for him. “I compose little and I compose slowly,” he wrote to his sister in 1887. - Am I really just a teacher? I really wouldn't want that! And it seems that I’ll end up with this...”

D. Matsuev.

"Arabesque"

The pinnacle of the chamber form were Lyadov's preludes.
He can well be called the founder of the Russian piano prelude. This genre was especially close to the aesthetic worldview of Lyadov the miniaturist. It is not surprising that it was in it that the individual, specific features of his handwriting were most clearly manifested.

A special place is occupied by “Eight Russian Folk Songs for Orchestra”, in which Lyadov masterfully used genuine folk tunes - epic, lyrical, dance, ritual, round dance, expressing different aspects of the spiritual world of the Russian person.
8 Russian folk songs for orchestra.

Symphonic miniatures by A.K. Lyadova appeared in mature period composer's creativity. There are few of them, and they are all software. And some of them have a specific literary program outlined by the author. Music researchers usually do not classify “Eight Russian Folk Songs” as Lyadov’s program music, but also with arrangements of folk songs, of which he has more than 200. What's the catch here? Let's figure it out.
The work is a cycle of miniatures for orchestra. It does not have its own name, but each play has its own “name” according to the genre of folk songs. Some of these songs have already been published previously in collections of arrangements of Lyadov’s folk songs for one voice and piano. But the composer again decided to turn to these genuine melodies, only in instrumental form. But why did he need this? After all, you can’t erase a word from a song... But he did it freely, without remorse... Did he really have nothing to orchestrate?
As always, with geniuses everything is simple, but not so primitive...
As history tells, Lyadov lived a “double” life. In winter he taught at the St. Petersburg Conservatory, and spent the whole summer at his dacha in the village of Polynovka. What's surprising? Many works by Tchaikovsky, Rachmaninov, Prokofiev and other composers were written at the dachas. But Lyadov did not just live in the country. He lived in a village. He spent a lot of time communicating with the family of the peasant Ivan Gromov, walking around the neighborhood and recording folk songs. Of course, he was completely imbued with the spirit of Russian folklore. He knew not only peasant life(especially loved to mow and chop wood), but also understood the type of thinking “ ordinary people", their morals and characters, attitude to the land, to life. At the same time, he was well-educated, “well-read” and deeply thinking person. And this combination of intelligence and rustic simplicity was reflected in his work. It was in “Eight Russian Folk Songs” that he combined two non-overlapping ordinary life things - village choral song and symphony orchestra. Other Russian composers did this - Mussorgsky and Borodin, Rimsky-Korsakov, and Tchaikovsky, and even Scriabin. But Lyadov did it in his own unique way.
Yes, the author uses authentic folk melodies who used to have words. But this is not just another “arrangement”, and his idea is not to “attribute” orchestral accompaniment to the folk melody. It’s about using the rich means of the orchestra to express what is between the words, between the lines, which is not customary to talk about in words.
Yes, he, too, like his colleagues, combined folk melodies with European principles of harmonization, used instrumental techniques of folk instruments (zhalikas, balalaikas) in the orchestra; used folk genres and drew fairy tale characters. But in Eight Songs he went further and deeper.
This cycle contains a capacious reflection of the soul of the people in symbolic manifestation. There is no literary program here, as in his other symphonic films. But if Lyadov himself did not copy out the plot from Russian fairy tales, this does not mean that it is not there at all. The program is embedded in the genres of songs themselves, which were chosen by the author not by chance, not just for “diversity” and not by chance arranged in this and not any other order.
How can this be? Genre is just a classification of songs according to certain criteria.
In science - yes. But not in folklore tradition. Not a single song in the village is sung “just like that.” She is always on point. And “by the time.” It's about not only about “timed songs” that are associated with the calendar ritual, and which takes place in certain time of the year (Carols - on New Year's, chants - in the spring, Kupala - in the summer, and so on). Dance, drinking, wedding, and comic songs also correspond to their action. In a word, behind each song there is a whole fairy tale. Therefore, the composer did not have to comment on the songs. Each genre speaks for itself. Lyadov apparently just liked the fact that a very deep thought could be expressed briefly and concisely.
Each song from the cycle is a character. Not so much a portrait of a character as an expression of a state of mind. This soul is multifaceted. And each play is its new facet.
Now more about each play and what it means in Lyadov’s unwritten program.

Spiritual verse- this is the character of the passers-by. In the old days, on green Christmastide (the week before Easter), wandering musicians came to the house and sang spiritual poems. Each song contains stories about “heavenly” life, the afterlife, the soul, and so on. In this cycle it is a symbol of prayer. And this “spirituality”, in fact, sets the tone for all the other plays.
***
Kolyada-Malyada- these are winter Christmastide, the week before Christmas, when mummers came to the house, danced with the owners of the house, sang majestic (that is, laudatory) songs to them, showed them puppet theater(nativity scene) on biblical story. Perhaps these are the puppets lighting the star of Bethlehem and bringing gifts to the baby Jesus? Everything in the orchestration is “puppet-like”, “tiny” - quiet pizzicato steps, quiet trumpets - the voices of puppets, but the character is still solemn.
***
Drawing- this is the most colorful expression of the suffering of the people. As the poet said, “we call this groan a song.” Undoubtedly, lingering ones were meant. Each such song tells about a difficult fate, female share or some heartbreaking story with sad ending... We will not even look for the original words of this song, because the composer expressed even more through the orchestra... I would like to draw attention to how the cello ensemble performs the main melody in imitation of the ensemble of choir voices. The cellos here are especially soulful...
***
Comic- “I danced with a mosquito.” The depiction of mosquito squeaks is not the play's main attraction. Sound visualization is an integral part of the author’s style, but by doing this he only distracts attention, wanting to cheer up the listener a little after such deep grief as in the previous play. Let’s remember what the expression “so that a mosquito doesn’t sharpen your nose” means... Or how did Lefty shoe a flea? All these symbols are subtlety, sharpness of mind, wit. Funny joke- What can better distract you from grief and sadness?
***
An epic about birds is a special conversation.
Bylina- this is some kind of reality, that is, a story about what happened. She usually talks about the exploits of Russian heroes. And the music is usually of a narrative nature, slow, calm, “epic.” And the attitude towards birds in ancient times was special. Birds were revered in Rus' as sacred. In the spring, they “called” the larks, and in the fall they escorted the cranes to the south. But the author did not use stoneflies, but wrote “epics,” which speaks of some kind of myth.
Fairy tales often mention crows, eagles, doves, swallows that can talk human voice. There is also a sign that if a bird hits the window, then wait for news. According to legends, the bird is a symbol human soul, flying from the “other” world, that is, from the afterlife. It’s as if our distant ancestors are telling us something very important.
At the same time, the music of this epic is far from being of a narrative nature. The composer remained true to himself, choosing the sound-depicting path: all the time there are grace notes of woodwinds, which depict the flight of birds and fluttering from branch to branch; at the beginning of the piece, the bird seems to be knocking on the window (pizzicato), and, judging by the music, it brings bad news... It rushes about, moans, and at the very end, the low unisons of the strings seem to pronounce a harsh sentence from Fate. And, most likely, it is inevitable...
***
Lullaby- a logical continuation of the “sentence”. Traditional lullabies for children are usually very soothing. But here - not everything is so straightforward. If anyone rocks the cradle, it is not the good mother, but Death himself. She was the one knocking on the door in the last play. And now he groans and sighs. It's like someone is saying goodbye forever to dear person. But this is not a funeral song, but a lullaby! Everything is correct. When a person dies a natural death, he gradually falls asleep and never wakes up. And now death sings this plaintive lullaby, as if enveloping you in its fog, dragging you along with you into a damp grave. “Sleep, sleep... eternal sleep...”
***
But here - Plyasovaya- the shepherd’s magic pipe, the flute, appeared. A connection with the afterlife in the village was attributed to all shepherds, because they knew the language of birds and animals, and livestock. And the pipes were made from “magic” grass that plays itself. This magical pipe is small, thin as a mosquito, can slip into the kingdom of death and bring a person back to “this” light. But he must not just walk, but dance. And then, having walked along a thin thread connecting “that” light and “this”, a person returns to life.
And what does he see first?
Light! That is the Sun!
And people - friends and family.
***
Round dance- this is when everyone holds hands together and walks in a circle. The circle is a symbol of the sun. And the sun is warmth, abundance and wealth. The last play is a victory over death and a joyful hymn to Her Majesty of Life.

This is how short plays, literally, in “a few words,” contained the entire philosophy and poetry of the Russian people in the brilliant retelling of the miniaturist composer Anatoly Lyadov. Listen, and you will hear a part of yourself there as a truly Russian person.
Inna ASTAKHOVA

Brilliant confirmation creative evolution Lyadov’s works include his famous program miniatures - “Baba Yaga”, “Magic Lake”, “Kikimora”. Created in 1904-1910, they reflected not only the traditions of their predecessors, but also the creative quest of our time. Orchestral fabulous paintings Lyadov, with all the independence of their plans, can be considered as a kind of artistic triptych, the outer parts of which (“Baba Yaga” and “Kikimora”) are bright “portraits” embodied in the genre of fantastic scherzos, and the middle one (“Magic Lake”) - a mesmerizing, impressionistic landscape.

The latest work in the field of symphonic music is “Kesche” (“Sorrowful Song”), associated with the images of Maeterlinck.

“Sorrowful Song” turned out to be Lyadov’s “swan song”, in which, according to Asafiev, the composer “opened a corner of his own soul, from his personal experiences he drew material for this sound story, truthfully touching, like a timid complaint.”
This “confession of the soul” ended the creative path of Lyadov, whose original, subtle, lyrical talent as a miniaturist artist, perhaps, appeared somewhat ahead of his time.

Lyadov is completely unknown as an artist. He drew a lot for his children; the drawings were hung on the walls of the apartment, forming small family themed exhibitions. It was a vernissage of mythological creatures: strange little men, devils - crooked, lame, askew and even “pretty”, or caricatures of a “creative personality”: a writer, a singer, a dance teacher...

The cycle consists of fourteen miniature plays, of which the first and last, which serves as the finale, are based on the same musical material. Despite the contrast of individual plays, the work as a whole is painted in carefree and cheerful tones with a touch of some “childishness”, “toy-likeness” (which is reflected in the title of the cycle).
The middle movement of No. 1 is a graceful waltz. The waltz basis is also found in some other numbers of the cycle, sometimes acquiring a lyrical coloring (for example, in No. 3). Some plays are characterized by great mobility, motorism, sometimes with a touch of playful humor or cheerful, perky aspiration (see No. 4, 12, 13).
Two numbers of Biryulek are distinguished by the clearly expressed national-Russian character of intonations. These are No. 5 (B major), the opening chant of which is inspired by the theme “Walking” from Mussorgsky’s “Pictures at an Exhibition,” and the five-beat No. 6 (E minor), reminiscent epic images Borodin and Mussorgsky.

This composer did not compose large works, in his creative heritage there are neither operas nor symphonies, but, nevertheless, he took a prominent place in Russian music and made a significant contribution to its development. His name is Anatoly Konstantinovich Lyadov - consummate master musical miniature. He wrote a few works, but what kind! His creations are real masterpieces in which he meticulously honed every note. Lyadov was a bright and original person; in his art he wanted to reflect what he lacked in his everyday life- a fairy tale.

Read a short biography of Anatoly Lyadov and many interesting facts about the composer on our page.

Brief biography of Lyadov

May 11, 1855 in the family of a well-known conductor in musical circles of St. Petersburg imperial theater In the opera and ballet of Konstantin Nikolaevich Lyadov, a joyful event occurred: a boy was born, to whom happy parents gave the beautiful name Anatoly. The baby’s mother, Ekaterina Andreevna, was a talented pianist, but, unfortunately, she passed away early, leaving her daughter Valentina and son Tolya, who was six years old at the time, to her husband. The father loved his children very much, but in order to provide for the family, he had to work a lot, so the brother and sister, who grew up without maternal attention, care and love, were actually left to their own devices. A chaotic bohemian atmosphere reigned in the house, which negatively affected the formation of the personality of the future composer. Passivity, internal lack of composure and lack of will - such psychological traits acquired from childhood subsequently adversely affected his creative work.

Theater childhood

Lyadov's biography says that already from early age the boy began to exhibit surprising versatile talents, and not only musical talent, but also excellent artistic and poetic abilities. Anatoly received his first piano lessons from his aunt V.A. Antipova, although it should be noted that these classes were not constant, but the first school where the boy’s musical development took place very intensively was the Mariinsky Theater (the father often took the children to work with him). Interesting conversation With talented people, presence at rehearsals musical performances, the opportunity to listen opera And symphonic music– all this had a beneficial effect on the future musician. He memorized the parts of many opera characters and then emotionally portrayed them at home in front of the mirror. In addition, Anatoly had one more activity in the theater, which he enjoyed doing - the role of an extra: the boy participated in various crowd scenes.

Studying at the conservatory

Extraordinary musical abilities predetermined the future of the younger Lyadov, and in 1867 his relatives sent him to study at the St. Petersburg Conservatory. WITH parents' house Anatoly had to leave because family circumstances(father's illness) he was placed in the boarding house A.S. Shustov, from where, on holidays and vacations, the boy’s maternal relatives took him on vacation. Lyadov’s conservative teachers were A.A. Panov (class violins), A.I. Rubts (music theory), J. Johansen (theory, harmony), F. Begrov and A. Dubasov (piano class). Studying didn't work young man much pleasure, he was not particularly diligent and often missed classes. However, Lyadov showed interest in theoretical disciplines and studied counterpoint in depth. Anatoly had a great desire to get into the composition class at Nikolai Andreevich Rimsky-Korsakov and he succeeded. In the fall of 1874, the young man became a student of the outstanding maestro, who immediately highly appreciated his talent. However, the authority of the famous teacher could not influence the careless student: in the spring of 1875 he did not appear for the exam, and six months later he was expelled from the student body.

Lyadov spent two years outside the conservatory, but this time was not in vain for him, since the young man communicated very closely with composers “ Mighty bunch" Community members: Stasov, Mussorgsky And Borodin he was introduced by Rimsky-Korsakov back at the time when the outstanding professor admired the talents of his student and was not offended by him for his careless attitude to his studies. In addition, in the Balakirev circle, Anatoly met Alexander Glazunov, with whom a strong friendship began that lasted throughout his life. The Kuchkists belonged to young talent very warm, because, despite his youthful age, he managed to establish himself as professional musician. For example, in the winter of 1876 Mily Balakirev asked Lyadov to help prepare the score for re-publication opera works M.I. Glinka. This work was done so thoroughly that Rimsky-Korsakov changed his attitude towards the naughty student, and even soon they became good friends.

In 1878, Lyadov appealed to the directorate of the conservatory with a request for his reinstatement. The petition was granted, and in the spring he graduates with honors. educational institution, presenting to the examination committee a cantata written with great professionalism for final scene drama by F. Schiller “The Bride of Messina”. The Conservatory's Artistic Council awarded Lyadov a small silver medal, but with a caveat: the graduate will receive it when he completes his academic studies. In addition, the management of the institution invited Anatoly Konstantinovich to take the position of teacher in theoretical subjects and instrumentation in his native “alma mater”. He agreed and subsequently engaged in teaching throughout his life, raising many outstanding musicians.

Creative inspiration

The next year, 1879, also brought Lyadov many new impressions. In the St. Petersburg circle of music lovers, he made his debut as a conductor, and here he met a great music lover, Mitrofan Petrovich Belyaev, who played the viola in this amateur group. This acquaintance smoothly turned into friendship. Since 1884, the philanthropist began to organize every week in his home musical evenings chamber music, which laid the foundation for a community of outstanding musicians, and which later became known as the “Belyaevsky Circle”. And from the next year, when Belyaev founded a music publishing company in Germany, Lyadov was entrusted with selecting and editing new works by Russian composers. According to Lyadov’s biography, 1884 was also marked by a very important event, but already in personal life Anatoly Konstantinovich: he married Nadezhda Ivanovna Tolkacheva, with whom he lived happily until the end of his days. In the same year, the composer, at the invitation of Balakirev, who was appointed manager of the Court Singing Chapel, began working as a teacher of theoretical disciplines in the regency and instrumental classes of the main choir of Russia, and in 1886 he received the position of professor at the conservatory.

During this period, in the musical circles of St. Petersburg, Lyadov became known not only as a composer, but also as a conductor, in this role he successfully performed in the “Russian Symphony Concerts” founded by Mitrofan Belyaev. The year 1887 for Anatoly Konstantinovich was marked by his acquaintance with Tchaikovsky and Rubinstein. He subsequently conducted the “Public Symphony Concerts” organized by Anton Grigorievich. In 1889, Lyadov, at the invitation of Belyaev, visited Paris for the World art exhibition. There, the philanthropist organized concerts at which works by Russian composers, including Anatoly Konstantinovich, were performed.

By the mid-nineties, Lyadov’s authority as a composer, conductor and teacher reached its peak. In 1894 he met Alexander Scriabin and gets closer to Sergei Taneyev, who came to St. Petersburg to stage the opera “Oresteia”.

The difficult years of the twentieth century

The first years of the twentieth century brought Lyadov great grief, since his great friend Mitrofan Belyaev passed away in 1904. According to the will of the philanthropist, Anatoly Konstantinovich became a member of the board of trustees, organized to reward domestic musicians and composers. Then came the bloody year 1905. Lyadov, along with other teachers, in support of the dismissed Rimsky-Korsakov, left the walls of the conservatory and returned there only after Glazunov took over the post of director. The last decade in the composer's life was constantly overshadowed by the loss of people close to him: Stasov died in 1906, and Rimsky-Korsakov passed away in 1908. The sorrowful experiences of the loss of friends greatly affected the health of Anatoly Konstantinovich, and in 1911 he himself was struck down by a serious illness from which he could no longer recover. Doctors prescribed him to take care of himself. Lyadov almost never went out, only occasionally visiting the conservatory. Nevertheless, the composer's merits were clearly noted in 1913. The 35th anniversary of his creative activity was memorably celebrated at the St. Petersburg Conservatory. Then there were strong shocks again. In the fall of 1913, Lyadov’s beloved older sister, Valentina Konstantinovna Pomazanskaya, died, and the composer spent the following summer studying military service his eldest son. Experiences broke Anatoly Konstantinovich. The composer died on August 28, 1914 in the village of Polynovka, his wife’s estate, located near the city of Borovichi.

Interesting facts about Lyadov

• When Mitrofan Belyaev founded a music publishing company in Leipzig, he obliged Lyadov to correct works being prepared for publication. Anatoly Konstantinovich did this work so scrupulously that the philanthropist jokingly began to call him “the laundress.”
• From Lyadov’s biography we learn that Anatoly Konstantinovich was endowed with many talents. In addition to his gift as a composer, he had excellent abilities to fine arts and poetic creativity. The witty pictures and poems that have come down to us can tell a lot about the character of their author. For example, Lyadov drew a lot for his sons, and then organized entire vernissages of his creations, hanging them throughout the apartment. At this exhibition one could see humorous caricatures of famous people, as well as images of various mythological creatures: crooked devils or strange-looking little men.
• When Lyadov was asked why he prefers to compose short musical works, then the composer always joked about this that he could not stand the music for more than five minutes.

• Lyadov dedicated almost all of his works to someone. These could be teachers, relatives or close friends. He considered it important for himself to address the work to a specific person, whom he treated with great love and respect, and perhaps that is why he worked so carefully on each of his creations.
• Many claim that Lyadov was the laziest Russian musical classic and that is why he wrote so few works. However, some biographers of the composer categorically deny this. He was involved in teaching a lot, since it was precisely this that made it possible for Lyadov to support his family. In letters to Belyaev, who wanted Anatoly Konstantinovich to leave his job at the conservatory and devote himself entirely to composing, the composer rejected any financial support from the patron.

• The composer's contemporaries recalled that Anatoly Konstantinovich was kindest person. It was always a pleasure to communicate with him, as he could easily carry on a conversation and be interesting conversationalist. In addition to this, Lyadov was also characterized as a carefree person who really loved to party and have fun, which may have affected his health and early death.
• Immediately after the death of Anatoly Lyadov, he was buried in St. Petersburg at Novodevichy Cemetery, but in 1936 his remains were transferred to the Necropolis of the Alexander Nevsky Lavra.
• Despite his ostentatious bohemianism, the composer was a secretive person and did not even let his friends into his personal life. In 1882, in the city of Borovichi, he met Nadezhda Tolkacheva, a graduate of the Higher Women's Courses, and in 1884 he married her without informing anyone. In 1887, the wife made the composer happy with the birth of a son, who was named Mikhail. In 1889, a second son, Vladimir, appeared in the Lyadov family. Mikhail and Vladimir Lyadov died in 1942 during the siege.
• A significant place in Lyadov’s life was occupied by pedagogical activity. He began teaching immediately after graduating from the conservatory and worked in this field until last days. The outstanding maestro's students were B. Asafiev, N. Myaskovsky, S. Prokofiev, S. Maykapar, A. Olenin, V. Zolotarev - wonderful personalities, who made an invaluable contribution to the development of Russian and then Soviet musical culture.

• Anatoly Konstantinovich loved to read and was keenly interested in new products that appeared in literature. He had his own opinion on everything, which he was not afraid to express. For example, everyone knew that he extolled Dostoevsky and Chekhov and did not like Gorky and Tolstoy.
• The composer, being in in serious condition and, anticipating his death, before his death he burned the sketches of all the works he had begun.