A. N

Russian composer and theater figure. I studied music since childhood. Having moved with his family to Ufa (1808), he performed in concerts (according to some information, his teacher was the local musician P.I. Protopopov). In 1816-17 he studied at the Institute of the Corps of Railway Engineers (St. Petersburg), served in various categories. civil institutions while continuing to make music; took lessons from D. Steibelt and J. Field (fp.), F. Boehme and L. Maurer (violin), Brandt, Zeiner and M. Miller (composition theory), Tarquini (singing). He became close to A. A. Alyabyev, with playwrights H. M. Khmelnitsky, A. A. Shakhovsky and others. V. was fond of literature: he wrote and translated into Russian (from French) libr. vaudeville, participated in loves. performances, composed music for the theater. ideas. In 1819 in St. Petersburg. The big thing was fasting. opera-vaudeville V. "Grandma's Parrots". In 1823 he moved to Moscow (served in the office of Governor General D.V. Golitsyn). Since 1825 inspector of music, since 1830 inspector of repertoire Moscow. imp. t-rov, in 1848-60 manager of the office of the Moscow Directorate. imp. t-ditch In 1833 V. graduated from Moscow as an external student. univ. He was familiar with A. S. Pushkin, A. S. Griboyedov, V. F. Odoevsky, A. I. Pisarev, as well as with the writers of the Slavophile movement - S. T. Aksakov, M. N. Zagoskin and S. P. Shevyrev, who contributed has a great impact on him.

V. occupied a leading position in the artistic sphere. circles in Moscow. He was a teacher-educator of the then unified opera and drama. troupes. An excellent musician and a connoisseur of the stage, V. contributed to the advancement of the arts. the level of performances, enriching the repertoire, improving the work of the theater. school, paid great attention to the selection and education of actors (he attracted tenor A. O. Bantyshev and drama artist L. P. Nikulina-Kositskaya to the cast). 35-year period of V.’s work in Moscow. t-rah is often called. "the era of Verstovsky". His theater. The activity was highly appreciated by A. N. Ostrovsky.

V.'s creativity is mainly associated with the theater. One of the founders of the Russian genre. opera-vaudeville, B. created more than 30 productions. of this genre (partially with other composers), including “The Troublemaker, or the Master’s Work is Afraid” (co-authored with A. A. Alyabyev, text by Pisarev, 1824), “A Means to Marry Daughters” (text by Pisarev, 1828 ) and etc.

V. was also the author of numerous. wok works, among which stand out those full of drama and romance. passion ballads are detailed compositions, replete with contrasting episodes ("Black Shawl" based on lyrics by Pushkin, "Poor Singer", "Night View" and "Three Songs of the Bard" based on lyrics by V. A. Zhukovsky, etc.). This genre, typical of romanticism, received its most vivid expression in Russia in the work of V. The Black Shawl (1823, Spanish 1824) gained popularity. V.'s best ballads (called "cantatas" by the author) are characterized by theatricality, plurality. of which were performed on stage in scenery, costumes, and appropriate stage arrangements. game, in conjunction with orchestra.

Gaining experience in composing theater. music, V. in con. 20s turned to opera. He owns 6 operas, among which “Askold’s Grave” (libr. M. N. Zagoskina based on his story, 1835) stands out. In the operas of V. people. national-russian the beginning is combined with romanticized fantasy. They are characterized by a truthful, poetic reflection of Russian. everyday life The composer considered the presence of “Russian characteristics” to be the most important achievement of his operatic creativity. The brightness of the musical stage images, the intelligibility of music based on everyday material (the use of romance and song melodies) distinguish “Askold’s Grave” - one of the largest works. rus. operas of the pre-Glinka period. But with the advent of the operas of M. I. Glinka and A. S. Dargomyzhsky, V.’s works turned out to be outdated, they no longer met the requirements of the time. Almost all of V.'s operas contain spoken dialogues (in the opera "Vadim" the role of the main character, purely verbal, is entrusted to the dramatic actor). V. also uses the technique of melodrama: scenes of horror (spells, appearance of evil spirits, etc.) are usually constructed in the form of speech recitation against the backdrop of orchestral accompaniment.

V.'s opinions about opera are set out in the article "Excerpts from the history of dramatic music" (published in the 1st part of the "Dramatic Album for Theater and Music Lovers for 1826", published jointly with A.I. Pisarev). B. also published 2 “Musical Albums” (in 1827 and 1828). In 1860, V. retired, but retained contact with the t-r until his last days.

Works: operas - Pan Tvardovsky (1828, Bolshoy T-R, Moscow), Vadim, or The Awakening of the Twelve Sleeping Maidens (based on the 2nd part of V. A. Zhukovsky’s ballad “Thunderbreaker, or the Twelve Sleeping Maidens”, 1832, ibid. ), Askold's grave (according to Zagoskin, 1835, ibid.), Homesickness (according to Zagoskin, 1839, ibid.), Churova Valley, or A Dream in Reality (1844, ibid.), Thunderbolt (according to the 1st part of the same name ballads of Zhukovsky, 1854, post. 1857, ibid.); vaudeville operas and vaudeville comedies (St. 30) - Sentimental Landowner in a Steppe Village (translated from French V., 1817), Grandmother's Parrots (1819), Quarantine (together with L.V. Maurer, 1820), Surprises (together with K. A. Kavos, Korsakov, Lebroc, after E. Scribe, 1821), New Prank, or Theatrical Battle (together with A. A. Alyabyev and Maurer, 1822), Madhouse, or Strange Wedding (translated from French V., 1822), Who is brother, who is sister, or Deception after deception (text by A. S. Griboedov and P. A. Vyazemsky, 1824), Teacher and student, or At someone else’s feast, a hangover (joint . with Alyabyev and F. E. Scholz, text by Pisarev, 1824), Troublemaker, or the Work of the Master is Afraid (jointly with Alyabyev, text by Pisarev, 1824), Petitioner (jointly with Alyabyev, Mich. Yu. Vielgorsky and Scholz, text Pisarev, 1824), Meeting of Stagecoaches (jointly with Alyabyev, 1825), Amusements of the Caliph, or Jokes for One Day (jointly with Alyabyev and Scholz, text by Pisarev, 1825), The Magic Nose, or Talismans and Dates (jointly with others . by the authors, text by Pisarev, 1825), Experience of Artists, or Maybe It Will Succeed (joint. with Vielgorsky and I. I. Genishta, 1825), Thirty Thousand People, or a Find Worse than Loss (text by Pisarev, 1825), Three Tens, or a New Two-Day Adventure (jointly with Alyabyev, text by Pisarev, 1825), Proverbs, or Aesop in Xanthus (co-authored with other authors, 1826), Two Notes, or Guilty Without Guilt (co-authored with Alyabyev, text by Pisarev, 1827), Wandering Healers, or Art Awakens the Dead (text by Pisarev, 1827), Shepherdess, Old Woman, sorceress, or What women like (co-authored with Alyabiev, text by Pisarev, 1827), Rehearsals at the station, or the heart lies to serve the good (text by Zagoskin, 1827), The best day in life, or A lesson for rich suitors (co-authored with Alyabiev and Scholz , 1827), Evening on New Year's Eve (jointly with other authors, text by Pisarev, 1827), Five years at two o'clock, or Like the roads of ducks (text by Pisarev, 1828), A means of marrying off daughters (text by Pisarev, 1828), The Morning After the Ball (vaudeville from the play “Fifteen Years in Paris, or Not All Friends are the Same” by Pisarev, 1828), New Paris (co-authored with Alyabyev and Maurer, 1829), Stanislav, or Not Everyone Will Do That (1829), Diplomat ( 1829), Husband and Wife (together with Alyabyev, Maurer, Scholz, 1830), The Old Hussar, or Pages of Frederick the 11th (together. with Alyabyev and Genishta, 1831) and others; for orc. - Ceremonial overture for the opening of the Small Theater in Moscow, Variations on two themes (for English horn and orchestra), etc.; cantatas and other voc.-symphonies prod. - Singers in the camp of Russian warriors (lyrics by Zhukovsky, 1827), Cantata on the most joyful peace between Russia and Turkey (1829), Cantata for the 100th anniversary of Moscow University (1855), cantata Feast of Peter I (lyrics by Pushkin, end 1850 -x), Military anthem for the holiday of the Don Cossacks, etc.; for fp. - Two Waltzes, Four Mazurkas, etc.; for voice with FP. - ballads (php. and orc. versions) Black Shawl (lyrics by Pushkin), Three Songs of the Skald, Poor Singer, Hermit, Night View (all based on lyrics by Zhukovsky); romances - Gishpanskaya song, Two Crows, Singer, Zemfira's Gypsy Song, Longing for the Darling, Bell (Here comes the daring troika), etc.; arr. adv. songs (for soloists, choir and orchestra) - There is more than one path in the field, The girls stand at the gate, My nightingale, Beyond the valleys and mountains, etc.; sacred music - Mass and two concerts, Spiritual concert, etc.; music for drama. performances (including separate numbers) - Curious, or Incidental Guessing (1825), prologue The Triumph of the Muses (co-authored with Alyabiev, Scholz, text by M. A. Dmitriev, 1825, performed at the opening of the Moscow Bolshoi Theater), The Bard's Ransom, or the Power of Chant (drama painting by Dmitriev, 1827), The School of Spouses (1827), The Day of the Fall of Missolonghi (heroic melodrama, 1829), The Wedding of Figaro (Beaumarchais, 1829), Gypsies (instigated by V. A. Karatygin in the same name . poems by Pushkin, 1832), Roslavlev (romantic performance by Shakhovsky, based on the novel by Zagoskin, 1832), Kremnev, Russian soldier (folk drama performance, text by I. N. Skobelev, 1839), Parasha the Siberian (Russian true story by H. A. Polevoy, 1840) and others.

Letters: "Russian Antiquity", 1889, February; in the same place, 1904, April; "RMG", 1899, No. 7; Shchukin collection, vol. 9, M., 1910, p. 363-76; "Library of Theater and Art", 1912, book. 2, p. 29-32; "Musical Antiquity", 1911, issue. 6, p. 104-15; "EIT", 1912, issue. 7, p. 51-66; in the same place, 1913 issue. 1-2, 4-5; in the same place, 1914, issue. 1, 3, 4; "Biryuch Petrogr. State Academic Theatres", collection. 2, P., 1920 (on the cover, 1921), p. 227-41.

Literature: Serov A. N., Verstovsky and his significance for Russian art, “Illustration”, 1862, No. 250; the same, in his book: Critical articles, vol. 3, St. Petersburg, 1895; Pindeizen H. P., Alexey Nikolaevich Verstovsky, "EIT". Season 1896-1897. Appendix, book. 2, St. Petersburg, 1898 (there is a separate print); Glumov A., Pushkin, Verstovsky and Vielgorsky, "SM", 1934, No. 1; his, Music in the Russian Drama Theatre, M., 1956; Rabinovich A. S., Russian Opera before Glinka, M., 1948, p. 151-160, 166-73, Levasheva O., A. N. Verstovsky, "SM", 1949, No. 6, Dobrokhotov B., A. N. Verstovsky. Life, theatrical activity, opera creativity, M. - L., 1949; him, A. Verstovsky and his opera “Askold’s Grave”, M., 1962; Steinpress B.S., Glinka. Verstovsky and others, in the book: M. I. Glinka. Research and materials, L. - M., 1450; Asafiev B.V., Composer from the galaxy of Slavic-Russian bards - Alexey Nikolaevich Verstovsky, in his book: Izbr. works, vol. 4, M., 1955; Livanova T. N., Protopopov V. V., Opera criticism in Russia, vol. 1, M., 1966; Livanova T.H., the same, vol. 2, M., 1967; Gozenpud A., Russian Opera Theater of the 19th century (1836-1856), L., 1969, p. 257-91; Voinova A.V., Preface and commentary, in the music edition: Verstovsky A., Romances, songs and couplets from music for vaudevilles and plays, M., 1971.

B. V. Dobrokhotov

VERSTOVSKY Alexey Nikolaevich

(1 III 1799, Seliverstovo estate, now Tambov region - 17 IX 1862, Moscow)

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 death of the composer, 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, “Askald’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 actress Troepolskaya, The Madhouse, or Strange Wedding” and others. 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 in advance on it.” 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 most fully and uniquely manifested 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 Tvardovsky" (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 Zagoskin’s historical-romantic story of the same name.

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. “Out 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) 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 return to 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.

Creative portraits of composers. - M.: Music. 1990 .

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Russian composer and theater figure. From the age of 9 he performed in concerts in Ufa. In 1816 he moved to St. Petersburg, studied with J. Field and D. Steibelt (piano), F. ... ... Great Soviet Encyclopedia- (1799, Seliverstovo estate, now Tambov region 1862, Moscow), composer. From the nobles. He received his education in St. Petersburg. From 1823 in Moscow, in the service of the chancellery, from 1825 inspector of music of the Imperial Moscow theaters, from 1830... ... Moscow (encyclopedia)

One of the most talented and very famous Russian composers, b. 18 Feb 1799 in Tambov province, on his father’s estate. He early discovered his musical abilities both as a performer and as a composer. Considered Field’s best student, V. often... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

A. N. Verstovsky ... Collier's Encyclopedia

Verstovsky entered the history of music as the author of one opera, Askold’s Grave, which was constantly performed on Russian stages for a century and still occasionally appears in the repertoire.

Russian composer and theater figure. Born on the Seliverstovo estate (Tambov province) on February 18 (March 1), 1799 into a noble family. From 1808 he lived in Ufa, in 1816-1817 he studied in St. Petersburg at the Institute of the Corps of Railway Engineers, and studied music privately - piano with Daniel Steibelt (1765-1823) and John Field (1782-1837), violin with Ludwig Maurer ( 1789–1878), also took composition and singing lessons. In 1833 he graduated from Moscow University as an external student. From early youth he was passionate about the theater: he wrote and translated vaudeville libretti, participated in amateur performances, and composed music for theatrical performances. In 1819, Verstovsky's first vaudeville opera, Grandmother's Parrots, based on the play by N.I. Khmelnitsky (1789–1845), was staged at the St. Petersburg Bolshoi Theater; In total, during his life he wrote music for more than thirty performances, including 25 vaudeville operas, original and translated. In 1823 he moved to Moscow, in 1825 he was appointed inspector of music, in 1830 - inspector of the repertoire of the Moscow Imperial Theaters, and in 1848-1860 - manager of the directorate's office. Verstovsky died in Moscow on September 5 (17), 1862.

For almost three decades, Verstovsky was at the head of the entire theatrical life of Moscow, since the opera and drama (as well as ballet) troupes were not separated from each other at that time. Close friendly relations connected Verstovsky with the Slavophile circle (S.T. Aksakov, M.N. Zagoskin, S.P. Shevyrev and others).

He combined numerous official duties with constant composing activities: in addition to music for dramatic performances and vaudevilles, Verstovsky created six operas, numerous vocal works - romances, ballads, cantatas, etc., among which the cantata Singers in the Camp of Russian Warriors based on poems by Zhukovsky (1827) stands out. ) and the very popular ballad for voice and orchestra at the time, The Black Shawl, based on poems by Pushkin (1824). Verstovsky's first opera, Pan Tvardovsky to a libretto by Zagoskin, was staged at the Bolshoi Theater in 1828; it was followed by Vadim, or the Awakening of the Twelve Sleeping Maidens (based on Zhukovsky’s ballad, 1832), Askold’s Grave (based on Zagoskin, 1835), Homesickness (based on Zagoskin, 1839), Churova Valley, or Waking Dream (based on the play by V.I. Dahl, 1844), Gromoboy (based on Zhukovsky’s ballad, 1857). All of them were successful, and individual numbers from them became popular, but Verstovsky entered the history of music as the author of one opera - Askold's Grave, which was constantly performed on Russian stages for a century and still occasionally appears in the repertoire. All of Verstovsky's operas are written according to the singspiel type - a form in which musical numbers are combined with spoken scenes and recitatives on music; a number of numbers from his operas became part of city folklore.

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 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!

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.