Did Verstovsky receive a professional musical education? The meaning of Alexey Nikolaevich Verstovsky in a brief biographical encyclopedia
Alexey Nikolaevich Verstovsky
A.N.Verstovsky.
Portrait by P.F. Sokolov. 1810s.
Verstovsky Alexey Nikolaevich (02/18/1799-11/5/1862), composer, singer, violinist, pianist, major theater figure. From the nobles of Tambov province.
From 1823, Verstovsky lived in Moscow, where he entered the Moscow office of the imperial theaters. In 1825 Verstovsky was appointed “inspector of repertoire and troupes,” and in 1842 manager of the Moscow theater office.
For 35 years (until 1860) Verstovsky played a leading role in the activities of Moscow theaters, which was highly appreciated A. N. Ostrovsky. In 1827 Verstovsky, on the advice WITH. T. Aksakova wrote the opera “Pan Tvardovsky” (libretto M. N. Zagoskina), held in 1828 in Moscow with great success. In St. Petersburg in 1832, Verstovsky’s opera “Vadim, or the Twelve Sleeping Virgins” based on the poem of the same name was staged V. A. Zhukovsky. But Verstovsky’s real fame came from the opera “Askold’s Grave” (1835, with a libretto by Zagoskin), staged 400 times in Moscow and 200 in St. Petersburg by the late 1860s. Verstovsky wrote 3 more operas (“Homesickness”, “Churova Valley”, “Thunderbolt”), which, however, were not successful. Verstovsky is the author of music for various dramatic works, as well as many romances, of which the romance “Black Shawl” with lyrics was especially popular A.S. Pushkin.
V. A. Fedorov
Verstovsky Alexey Nikolaevich (1799-1862). In the history of Russian music of the last century, Verstovsky rightfully occupies an honorable place. His romances and operas, especially “Askold’s Grave” (based on the novel by M. N. Zagoskin), enjoyed enormous and well-deserved success.
The poet's acquaintance with the composer took place in St. Petersburg before Pushkin was deported to the south. While in exile, Pushkin read in the “Bulletin of Europe” the news about the cantata “Black Shaw” composed by Verstovsky and in a letter to P. A. Vyazemsky dated April 1824, he asked to convey a “zealous bow” to the composer. A few months later, Pushkin sends Vyazemsky a musical notation of the gypsy song “Old Husband, Terrible Husband,” which he heard in Bessarabia, and asks to show it to the composer.
Pushkin met Verstovsky with mutual friends and acquaintances - P. V. Nashchokin, M. P. Pogodin and others. This communication was reflected in the composer’s creative work. “Pushkin pestered me to write the music of the Cossack from Poltava,” Verstovsky wrote to S.P. Shevyrev in May 1829, “I came up with a good idea to express all the music at a gallop.” Verstovsky wrote a cantata based on Pushkin’s poem “The Feast of Peter the Great” with the folk song “On Mother, on the Neva River, a young sailor rigged ships” and later recalled: “I often played this song to the late Pushkin, and it delighted him.”
Verstovsky composed 12 romances based on the words of Pushkin, including “Black Shawl” (1823), “Night Zephyr” (1827), “Singer” (1831) and “Old Husband” (from the poem “Gypsies”) (1832).
L.A. Chereisky. Contemporaries of Pushkin. Documentary essays. M., 1999, p. 207-208.
Alexey Nikolaevich (02/18/1799, Seliverstovo estate, near the village of Mezinets, Kozlovsky district, Tambov province - 11/5/1862, Moscow), Russian. composer, musical and theater figure. V.'s first music teacher was the regent from the village. Mezinets, former court singer Levit Shafranov. In 1816-1817 V. studied in St. Petersburg, then moved to Moscow and served in various civil institutions. Since 1825, inspector of music, since 1830, inspector of the repertoire of Moscow imperials. theaters, in 1848-1860. office manager of the Moscow imperial directorate. theaters V. is the author of operas (“Askold’s Grave”, “Thunderbolt”), vaudevilles, vocal-symphonic and piano works, ballads and romances. He was buried at the Vagankovskoye cemetery.
In the 30s V. created 3 spiritual concerts and “Lunch” (hymns from the Liturgy of St. John Chrysostom). According to N.F. Findeizen, these works were performed in the c. Ascension at the Nikitsky Gate and in the University Church. mts. Tatiana (Findeisen. pp. 115-116). A. A. Alyabyev gave a positive assessment of “Lunch” in his letter of 1834 (Steinpress B.S. Pages from the life of A. A. Alyabyev. M., 1956. P. 267). V. also owns the “Presanctified Mass” (chants of the Liturgy of the Presanctified Gifts), created, possibly, in the late period of the composer’s work.
Works of spiritual content include the hymn “Great is the Lord” (to the words of N. M. Yazykov) for choir and orchestra, composed by V. for the benefit of orphans left after the death of their parents during the cholera epidemic (it was performed in 1831 in the hall of the Moscow Noble Assembly) .
Spiritual-music The compositions are distinguished by a concert style; in terms of intonation they are close to the opera and romance works of V. All concerts are written in a 3-part form; The structure of the parts is characterized by repetition of thematic structures. Unlike his contemporaries, V. less often uses the comparison of solo (or ensemble) and choral sound, as well as techniques of imitative polyphony. Within the framework of early romantic harmony, V. widely used elliptical sequences of seventh chords and their inversions, and chromatic movements of voices. Great severity of textural and harmonic presentation distinguishes certain hymns of the “Pre-Consecrated Mass.”
V.’s works on liturgical texts remained unpublished, although the composer sent the “Mass” to St. Petersburg to the director of the Court Singing Chapel F. P. Lvov, as reported in a letter to V. F. Odoevsky in 1836 (Autobiography of the Composer Verstovsky / Communication B. Modzalevsky // Biryuch Petrograd State Academic Theatres: Collection of articles [Pg.], 1920. Issue 2. P. 236). In this letter, V. also mentions his concert “Tell me, Lord” for 4 voices (not found at present). “Lunch” and V.’s spiritual concerts were included in his handwritten collection of works; “Presanctified Mass” is kept in the archives of Archpriest. Dimitry Razumovsky.
Op.: “Lunch” (Liturgy of St. John Chrysostom), concerts: “I will exalt Thee, O Lord,” “Hear, O God, my voice,” “Lord, my God, trust in Thee.” For men choir (2 tenors and 2 basses): Rkp. // Collection Op. / MGK. T. 9. pp. 167-187, 189-225; Presanctified Mass // RSL OR. F. 380. K. 21. No. 4.
N. Yu. Plotnikova
Alexey Nikolaevich Verstovsky
Alexei Verstovsky is called “Glinka’s rival.” They really lived and worked at the same time. Perhaps they competed a little, although it did not show in any way. But more importantly, they made a huge contribution to the creation of professional Russian music.
Alexey Nikolaevich Verstovsky was born in the Tambov province, on the Seliverstovo estate, on February 18 (March 1), 1799. Verstovsky’s grandfather, General Seliverstov, brought a “captive” Turkish woman from a military campaign. Catherine the Second allowed the marriage on the condition of “terminating the surname.” So the Selivestrovs turned into the Verstovskys (the number of letters remained the same).
Verstovsky's father was already an employee, but could run his own orchestra. All the children in the family played musical instruments and studied. Then the family moved to Ufa, where Alexey Verstovsky began performing, having discovered his early talent. Then he went to St. Petersburg, where he studied at the Institute of Railway Engineers. Despite his profession, he continued to take music lessons, including from John Field. Subsequently, Verstovsky’s life was connected with the activities of managing theaters (the playwright A. Ostrovsky spoke very highly of him) and, of course, composing music. Alexey Verstovsky died on November 5 (17), 1862, and was buried at the Vagankovskoye cemetery in Moscow.
Askold's grave
This is what Askold's grave looks like now
A. Verstovsky wrote operas (for example, “Pan Tvardovsky”), vaudeville (“Who is brother, who is sister” based on the text by Griboyedov and Vyazemsky, staged several years ago by Roman Viktyuk) and ballads. The world famous opera is “Askold’s Grave” (libretto based on the novel by M. Zagoskin). There is a remarkable place in Kyiv - Askold’s grave. Let the people of Kiev better tell about the most ancient tract, the knight Askold, about the monastery and church, and I will limit myself to Verstovsky’s opera.
In the old days there lived grandfathers
Have more fun with your grandchildren;
How to drink plain water
Honey and strong wine;
We had fun, we had fun,
We feasted all year round!
This is how they lived under Askold
Our grandfathers and fathers!
Those interested can see what a huge section is devoted to this opera in the English Wikipedia - even with sound and notation examples. So, the action takes place in the 19th century, in Kyiv, on the banks of the Dnieper. The opera has everything: the love of a pagan for a Christian,
and the mysterious Stranger, revealing to the youth Vseslav that he is a descendant of Askold, therefore, can lay claim to the place of the prince. There is the kidnapping of the bride, and the refusal of betrayal, and the storm, and the death of the Unknown in the shuttle.
There is also an important hero - the horn player Toropka Golovan. That is, all the features of a romantic opera are present. But there is also just good music.
It is interesting that the censorship ordered to move the “action time” a little, and also to produce a happy ending (the prince forgave the heroes).
The opera was a great success all over the world (“We heard... that barrel organs in London, Paris, Berlin, Vienna often play “Hey, Dnieper” or “Oh, my friends, how sad,” as well as other tunes... "). The opera is still being recorded, although not often, but many numbers are heard from concert venues.
An old husband, a formidable husband!
An old husband, a formidable husband!
Cut me, burn me!
I'm strong, I'm not afraid
No knife, no fire!.
This famous gypsy song is full of passion and determination. The author himself, A. Pushkin, gave the poems to Verstovsky. They were friends, Verstovsky even attended the bachelor party that Pushkin organized before his marriage.
Many of Verstovsky’s ballads were written to poems by Pushkin (for example, the famous “Black Shawl”). Alexei Verstovsky was always drawn to the world of antiquity, traditions and legends, as well as to the world of human passions - but that’s how a romantic is supposed to be. And his rich melodies come from Slavic folklore, partly from Gypsy folklore, which can be heard in this song.
Alexey Verstovsky is an outstanding representative of Russian art of the first half of the 19th century.
Verstovsky Alexey Nikolaevich
IN Erstovsky Alexey Nikolaevich - Russian composer. Born on February 18, 1799 in the Tambov province, into a landowner family. Completed a course at the Institute of Railway Engineers; studied music theory with Brandt and Zeiner. The earliest period of Verstovsky's musical creativity includes a piano sonata, songs, and couplets for vaudeville. He preferred a musical career to an engineering one and moved in the artistic world of St. Petersburg, often performing in private homes as an actor and singer. His opera-vaudeville "Grandma's Parrots" (translation from French by P.I. Khmelnitsky) was staged in 1819 in St. Petersburg; it was followed by vaudeville operas: “Quarantine” (1820), “A New Prank, or Theatrical Battle” (1882, in collaboration with and); "Madhouse, or Strange Wedding" (1822); "The Sentimental Landowner" (1822). The most successful was “The Madhouse,” which was performed on stage back in 1849. In 1822, Verstovsky moved to Moscow, joining the Moscow office of the imperial theaters. In 1825 he was appointed "inspector of repertoire and troupes", and in 1842 - manager of the Moscow office. Verstovsky had almost unlimited influence on theatrical affairs. His wife also had a great influence on theatrical life. In Moscow, during the first period of his activity, vaudevilles with his music were staged one after another: “Teacher and student, or a hangover at someone else’s feast” (1822), “The Troublemaker, or the Master’s Business is Afraid” in one act (1824), “Fun of the Caliph, or Jokes for One Day", "Meeting of Stagecoaches", "Thirty Thousand People", "Three Tens" (the last four - in 1825). At the opening of the Petrovsky Theater in Moscow (1825), the prologue “The Triumph of the Muses” was staged, in which the music of the anthem belonged to Verstovsky. The last vaudevilles with Verstovsky's music (sometimes in collaboration with Alyabyev) were staged in 1827 - 32 ("Shepherdess, Old Lady, Sorceress, or What Women Like", "A Means to Marry Daughters", "New Paris", "Stanislav" and "Roslavlev "). In the patriotic play "Kremnev", performed in 1839, Nastya's song belongs to Verstovsky (on its theme Vietant composed variations for the violin). In 1827, according to the idea, Verstovsky began composing the opera "Pan Tvardovsky" (on a libretto), staged in 1828 in Moscow with great success. The opera "Vadim, or the Twelve Sleeping Virgins", based on the professor's libretto from the poem of the same name (2nd part), was first performed in St. Petersburg in 1832. Verstovsky was given real fame by the opera "Askold's Grave" (libretto by Zagoskin), staged in Moscow on September 16 1835 , in St. Petersburg - August 27, 1841 with the famous in the role of the Unknown. Until the end of the 1860s, it was given in the imperial theaters - about 200 times in St. Petersburg, and more than 400 times in Moscow. The operas that followed - “Homesickness” (1839), “Churova Valley, or a Dream in reality” (1841) and “Thunderbolt” (1858; libretto based on the first part of “Vadim” by V.A. Zhukovsky) were far from successful "Askold's Tomb" and soon left the repertoire. Verstovsky also owns music for various dramatic works ("The Power of Songs", 1817; "Hesiod and Olaf", 1827); cantatas and choirs, including “Three Songs, or Oswald” and “Singer in the Camp of Russian Warriors”, cantata to words by S.P. Shevyrev for the celebration of the anniversary of Moscow University in January 1855, an anthem for choir and orchestra “Great is the Lord,” two military anthems; several dozen romances; of these, “Black Shawl” () and “Bell” were performed on stage, and the gypsy romance “Old Husband, Terrible Husband” (Pushkin) was performed more than once; two Polish for orchestra; three masses with spiritual concerts (1830), performed in the University and Holy Ascension churches in Moscow (not published). In 1826, Verstovsky, together with him, published the "Dramatic Album for 1826." in two parts, musical and literary; the latter contains an article by Verstovsky (unfinished): “Excerpts from the history of dramatic music.” In 1827 - 1828 he published the "Musical Album". These albums also contain some of his musical compositions. With his retirement (1850), Verstovsky not only lost influence, but was also directly forgotten (except for “Askold’s Grave”). In a letter written in 1861, he complains about his fate: “For “Askold’s Grave” the Moscow directorate gave me two thousand in banknotes at a time - they collected one hundred thousand in silver in income from the opera, and now, being retired, I have to buy myself a place in the theater to look at my old sins..." He died on November 5, 1862. Verstovsky's importance in the history of Russian music is based mainly on his operas, of which the most typical is "Askold's Grave", and now appears occasionally in Russian scenes In Verstovsky's operas, music gives way to conversation, as in vaudeville. The compositional technique is imperfect. The music is not fully developed; vocal forms (solos, duets) are reduced to a series of verses with music repeated with each verse. The orchestra has no independent significance; the orchestration is primitive. She obviously made it difficult for the composer, and he often entrusted this work to the theater conductor. The central music library of the imperial theaters houses the score of Askold's Grave with Voyacek's orchestration. Verstovsky's operas reflected the romantic direction that dominated Russian literature at that time. The music is sometimes very naive, despite the influence of Mozart and Weber. Like the latter, Verstovsky also shows a penchant for fantasy, but this element is weakly expressed. There is almost no drama. But Verstovsky’s music also has stronger and more characteristic sides. He was no stranger to humor, which was also noticed. His melodic creativity is spontaneous, varied, typical and bears a national imprint; although the Russian style and harmonization are not consistent, this feature of his music makes him, together with Alyabiev, a predecessor in the creation of a national Russian school in music. Verstovsky's manuscripts are kept (according to his will) at the Moscow Conservatory. - Wed. , "A.N.V." ("Yearbook of the Imperial Theaters", 1896 - 97, 2nd supplement). In the "Russian Musical Newspaper", 1899, No. 1, a list of Verstovsky's works and a bibliography about him were published.
Other interesting biographies.
A talented Russian musician, composer and theater figure, A. Verstovsky was the same age as Pushkin and an older contemporary of Glinka. In 1862, after the composer’s death, the outstanding music critic A. Serov wrote that “in terms of popularity, Verstovsky overpowers Glinka,” referring to the unusually lasting success of his best opera, Askold’s Grave.
Having entered the musical field in the late 1810s, Verstovsky was at the center of the musical and theatrical life of Russia for more than 40 years, actively participating in it both as a prolific composer and as an influential theater administrator. The composer was closely acquainted with many outstanding figures of Russian artistic culture. He was on friendly terms with Pushkin, Griboyedov, Odoevsky. Close friendship and joint creativity connected him with many writers and playwrights - primarily A. Pisarev, M. Zagoskin, S. Aksakov.
The literary and theatrical environment had a noticeable influence on the formation of the composer’s aesthetic tastes. His closeness to the figures of Russian romanticism and Slavophiles was reflected in Verstovsky’s commitment to Russian antiquity, and in his attraction to “diabolical” fantasy, to fiction, whimsically combined with a loving reproduction of the characteristic features of national life, real historical persons and events.
Verstovsky was born on the Seliverstovo estate in the Tambov province. The composer's father was the illegitimate son of General A. Seliverstov and a captured Turkish woman, and therefore his surname - Verstovsky - was formed from part of the family surname, and he himself was assigned to the nobility as a native of the “Polish nobility”. The boy's musical development took place in a favorable environment. The family played a lot of music; my father had his own serf orchestra and a large music library for those times. From the age of 8, the future composer began performing in amateur concerts as a pianist, and soon his penchant for musical composition manifested itself.
In 1816, by the will of his parents, the young man was assigned to the Institute of the Corps of Railway Engineers in St. Petersburg. However, after studying there for only one year, he left the institute and entered the public service. The gifted young man was captivated by the musical atmosphere of the capital, and he continues his musical education under the guidance of the most famous St. Petersburg teachers. Verstovsky took piano lessons from D. Steibelt and J. Field, studied violin, studied music theory and the basics of composition. Here, in St. Petersburg, his passion for theater was born and grew stronger, a passionate supporter of which he would remain for the rest of his life. With his characteristic ardor and temperament, Verstovsky takes part in amateur performances as an actor, translates French vaudevilles into Russian, and composes music for theatrical performances. Interesting acquaintances are made with prominent representatives of the theater world, poets, musicians, and artists. Among them are the young writer N. Khmelnitsky, the venerable playwright A. Shakhovskoy, the critic P. Arapov, and the composer A. Alyabyev. Among his acquaintances was also N. Vsevolozhsky, the founder of the literary and political society “Green Lamp”, which included many future Decembrists and Pushkin. Verstovsky also attended these meetings. Perhaps it was at this time that his first acquaintance with the great poet took place.
In 1819, the twenty-year-old composer gained fame, which was brought to him by staging the vaudeville “Grandma’s Parrots” (text by Khmelnitsky). Inspired by success, Verstovsky decides to devote himself entirely to serving his beloved art. The first vaudeville was followed by “Quarantine”, “The first debut of the actress Troepolskaya”, “Madhouse, or Strange Wedding”, etc. Vaudeville, transferred from the French stage and converted to Russian customs, became one of the favorite genres of the Russian public of that time. Witty and cheerful, full of life-affirming optimism, it gradually absorbs the traditions of Russian comic opera and develops from an entertaining play with music into a vaudeville opera, in which music plays an important dramatic role.
Contemporaries highly valued Verstovsky, the author of vaudevilles. Griboyedov, in the process of working together on the vaudeville “Who is Brother, Who is Sister, or Deception after Deception” (1823), wrote to the composer: “I have no doubt at all about the beauty of your music and I congratulate myself on it in advance.” A strict adherent of high art, V. Belinsky wrote: This is not ordinary musical chatter without meaning, but something animated by the life of strong talent. Verstovsky owns music for more than 30 vaudevilles. And although some of them were written in collaboration with other composers, it was he who was recognized as the founder of this genre in Russia, the creator, as Serov wrote, of “a kind of code of vaudeville music.”
Verstovsky's brilliant beginning as a composer was strengthened by his career. In 1823, in connection with his appointment to the office of the Moscow military governor-general D. Golitsyn, the young composer moved to Moscow. With his characteristic energy and enthusiasm, he joins the Moscow theater life, makes new acquaintances, friendly and creative contacts. For 35 years, Verstovsky served in the Moscow theater office, managing both the repertoire and the entire organizational and economic part, in fact heading the then unified opera and drama troupe of the Bolshoi and Maly theaters. And it is no coincidence that his contemporaries called the long period of his service to the theater “the era of Verstovsky.” According to the recollections of various people who knew him, Verstovsky was a very extraordinary person, combining the high natural talent of a musician with the energetic mind of an organizer - a practical theater practitioner. Despite his many responsibilities, Verstovsky continued to compose a lot. He was the author not only of theatrical music, but also of various songs and romances, which were successfully performed on stage and firmly entered into urban life. He is characterized by a subtle implementation of the intonations of Russian folk and everyday romance songs, reliance on popular song and dance genres, richness, and specificity of the musical image. A distinctive feature of Verstovsky’s creative appearance is his tendency to embody strong-willed, energetic, active mental states. Bright temperament and special vitality significantly distinguish his works from the work of most of his contemporaries, painted primarily in elegiac tones.
Verstovsky's talent was manifested most fully and originally in his ballad songs, which he himself called “cantatas.” These are “Black Shawl” (at Pushkin Station), “Three Songs” and “Poor Singer” (at V. Zhukovsky Station), composed in 1823, reflecting the composer’s attraction to a theatrical, dramatized interpretation of the romance. These “cantatas” were also performed in a staged form - with scenery, costumes and orchestral accompaniment. Verstovsky created large cantatas for soloists, choir and orchestra, various vocal and orchestral works “on occasion”, and sacred choral concerts. The most cherished sphere remained musical theater.
Verstovsky's creative heritage includes 6 operas. The first of them - “Pan Twardowski” (1828) - was written in libr. Zagoskin based on his “terrible story” of the same name, based on the West Slavic (Polish) version of the legend of Faust. The second opera, “Vadim, or the Awakening of the Twelve Sleeping Maidens” (1832), based on Zhukovsky’s ballad “Thunderbolt, or the Twelve Sleeping Maidens,” is based on a plot from the life of Kievan Rus. The third and most famous opera by Verstovsky, “Askold’s Grave” (1835), takes place in ancient Kyiv, based on the historical-romantic story of the same name by Zagoskin.
The public enthusiastically welcomed the appearance of the first three operas by Verstovsky, who consciously strove to create a national Russian opera based on historical and mythological events from the distant semi-legendary past and embodying the highly ethical and strongly national aspects of the people's character. The romanticized reproduction of historical events unfolding against the backdrop of detailed pictures of folk life, with its rituals, songs, and dances, corresponded to the artistic tastes of the era of romanticism. The contrast between the real life of popular heroes and dark demonic fantasy is also romantic. Verstovsky created a type of Russian song opera, in which the basis of the characteristics is the Russian-Slavic song-dance, elegiac romance, dramatic ballad. He considered vocalism and song lyricism to be the main means of creating lively, expressive characters and depicting human feelings. On the contrary, the fantastic, magical and demonic episodes of his operas are embodied by orchestral means, as well as with the help of melodrama, which was very characteristic of that time (i.e., recitation against the background of orchestral accompaniment). These are the “terrible” episodes of spells, witchcraft, and the appearance of “hellish” evil spirits. The use of melodrama was quite natural in Verstovsky’s operas, since they were still a kind of mixed musical and dramatic genre, including prosaic spoken dialogues. It is noteworthy that in “Vadim” the main role, intended for the famous tragedian P. Mochalov, was purely dramatic.
The appearance of Glinka's Ivan Susanin, staged a year after Askold's Grave. (1836), marked the beginning of a new stage in the history of Russian music, eclipsing everything that preceded it and pushing Verstovsky’s naive romantic operas into the past. The composer was painfully worried about the loss of his former popularity. “Of all the articles that I recognized as yours, I saw complete oblivion towards myself, as if I did not exist...” he wrote to Odoevsky. - “I am the first admirer of Glinka’s most beautiful talent, but I do not want and cannot give up the right of primacy.”
Unwilling to accept the loss of his authority, Verstovsky continued to compose operas. The opera “Longing for the Motherland” (1839), the fairy-tale-magical opera “A Waking Dream, or Churova Valley” (1844) and the great legendary-fantastic opera “Thunderbreaker” (1857) that appeared during the last period of its life - indicate creative searches both in relation to the operatic genre and in the stylistic sphere. However, despite some successful discoveries, especially in the last opera “Thunderbolt”, marked by the Russian-Slavic flavor characteristic of Verstovsky, the composer still failed to regain his former glory.
In 1860, he left his service in the Moscow theater office, and on September 17, 1862, having outlived Glinka by 5 years, Verstovsky died. His last composition was the cantata “The Feast of Peter the Great” based on poems by his favorite poet, A. S. Pushkin.
T. Korzhenyants
