Sviridov Biography Pictures

In turbulent times, especially harmonious artistic natures arise, embodying the highest aspiration of man, striving to the inner harmony of the human person, as opposed to the chaos of the world, this harmony of the inner world is combined with understanding and a sense of tragic life, but at the same time is overcoming this tragedy. The desire for inner harmony, the consciousness of a high purpose of a person is what is now especially sounding for me in Pushkin.

Sviridov spiritual proximity between the composer and the poet is not accidental. The art of Sviridov is also distinguished by a rare inner harmony, passionate aspiration for good and truth and at the same time a sense of tragedy that comes from a deep understanding of the greatness and drama of the experienced era. The musician and composer of a huge, peculiar talent, he feels primarily the son of his land born and grew up under its sky.

In the very life of Sviridov, there are direct ties with the popular sources and with the peaks of Russian culture. A student of D. Shostakovich, who was educated at the Leningrad Conservatory, a wonderful connoisseur of poetry and painting, himself possessing an outstanding poetic gift, he was born in a small town of the Fatezh of the Kursk province in the family of a postal employee and teacher.

Both the father and mother of Sviridov were local natives, came out of the peasants close to the veil of the villages. Direct communication with the rural environment, like the singing of a boy in the church choir, was natural and organic.

It was these two cornerstones of Russian musical culture - folk song and spiritual art - who lived since childhood in the musical memory of the child, became the support of the master in the mature period of creativity. Early children's memories are associated with images of South Russian nature - flooded meadows, fields and copses. And then - the tragedy of the Civil War, the year when the Denikins who burst into the city killed the young communist Vasily Sviridov.

It is no coincidence that the composer repeatedly returns to the poetry of the Russian village of the vocal cycle “I have a peasant father” -; Kantata "Kursk Songs", "Wooden Rus'" -, "Lapolate Man" -; Choral works, and to the terrible shocks of the revolutionary years “” - 7 part “Poem of the memory of Yesenin”, solo songs “Father with the Father”, “The Death of the Commissioner”.

The initial date of the art of Sviridov can be indicated very accurately: from summer to December in the incomplete 20 years, the future master of Soviet music wrote a well -known cycle of romances to Pushkin’s poems “Entering to the Izhora”, “Winter Road”, “True, there were still years of teaching, war, creative growth, and mastery of the peaks of skill.

Complete creative maturity and independence came on the verge of the 40s and xs. Behind the first -born of this genre, the "country of the fathers" at Art. Isaacan - Songs followed by the poems of Robert Burns, the oratorio "Poem of the memory of Yesenin" and "Pathetic" at Art. Mayakovsky - many Russian writers loved to imagine Russia as the embodiment of silence and sleep, ”wrote A.

Blok on the eve of the revolution,“ but this dream ends; Silence is replaced by a distant hum with such a “bloc” key, Sviridov approached the theme of the Great October, but the text took the text from another poet: the composer chose the path of the greatest resistance, turning to Mayakovsky’s poetry. By the way, this was the first melodic development of his poems in the history of music.

This is evidenced, for example, the inspired melody “Let's go, the poet, we will explode, remember” in the final of the “Pathetic oratorio”, where the figurative system of well -known verses is transformed, as well as a wide, joyful tungeon “I know, the city will be”. Truly inexhaustible melodic, even gymnic capabilities revealed Svirids in Mayakovsky. And the "hum of revolution" - in the magnificent, formidable march 1 of the part "unfold in the march!

Only in the early years of the teachings and creative formation of Sviridov wrote a lot of instrumental music. By the end of 30 - the beginning of the x Some of these essays in the new copyright editions gained fame and took their place on the concert stage. But the main thing in the work of Sviridov is the vocal music of the song, romances, vocal cycles, cantata, oratorios, choral works.

Here, his amazing sense of verse, the depth of comprehension of poetry and a rich melodic talent happily connected. He was not only “swayed” by Mayakovsky’s lines in addition to the oratorio-the musical lubok “History about bagels and about a woman who does not recognize the republic”, B. Pasternak Kantata “Snow Snow”, the prose of N. Gogol “On Lost Youth”, but also musical and stylistically updated the modern melody.

In addition to the mentioned authors, he laid on the music of many lines of V. Shakespeare, P. Berandzhe, N. Nekrasov, F. Tyutchev, B. Kornilov, A. Prokofiev, A. Twardowski, F. Sologub, V. Khlebnikov and others. In the music of Sviridov, spiritual power and philosophical depth of poetry are expressed in the melodies of piercing, crystal clarity, in richness, in richness.

orchestral colors, in the original lay structure. Starting with the “Poem of Memory of Sergei Yesenin”, the composer uses in his music the intonation-lady elements of the ancient Orthodox banner chant. The reliance on the world of ancient spiritual art of the Russian people is traced in such choral works as “the soul is sad about heaven”, in the choral concerts “Memory of A.

Yurlov” and “Pushkin Wreath”, in amazing choral canvases included in the music of A. The music of these works is pure and elevated, a large ethical meaning is contained in it. In the documentary “George Sviridov” there is an episode when the composer in the Museum-Quarter of the Bloc Leningrad stops in front of the picture, with which the poet himself almost never parted. This is a reproduction from the picture of the Dutch artist K.

Massis “Salome with the head of John the Baptist” beginning. XVI century. This parallel is not accidental. The block was strikingly anticipated by the fiery, vortex and tragic future of the coming XX century. And in the words of the formidable Blok prophecy of the Svirids, he created one of his masterpieces “Voice from the Choir” Blok repeatedly inspired the composer who wrote about 40 songs to his poems: these are solo miniatures, and the chamber cycle “Petersburgsky Songs”, and small cantata “sad songs”, “Five songs about Russia”, and choral cyclic poems “Night Cloud Terrounds ”two other poets, also possessing prophetic features, occupy a central place in the work of Sviridov.

This is Pushkin and Yesenin. The verses of Pushkin, who subjugated both the voice of truth and conscience, which was mentioned by his art, subjugated both his art, Sviridov, in addition to individual songs and youthful romances, 10 magnificent choirs of the Pushkin Wenk, where the stern reflection of the poet breaks owely with the eternity of “dawns” through the harmony and joy of life.

Yesenin is the closest and, in all respects, - the main poet Sviridov is about 50 solo and choral works. Oddly enough, the composer got acquainted with his poetry only in the city of “I am the last poet of the village” shocked and immediately became music, the sprout from which the “Poem of Memory of Sergei Yesenin” grew up - a stage work for Sviridov, for Soviet music and generally for our society aware of many aspects of Russian life of those years.

Yesenin, like other main “co -authors” of Sviridov, possessed a prophetic gift - back in the middle of the X. The poet’s thought felt and revealed the composer in music. Among his Yesenin’s works-the magic in its poetic saturation of the choir “The soul is sad about the heavens”, “Blue in the evening”, “The herd”, the cantata, the songs of different genres up to the chamber-vocal poem “Suspension of Rus'” of the Svirids with the characteristic protrusion earlier and deeper than many other figures of the Soviet poetic language, invaluable, invaluable, invaluable.

The treasures of ancient art created for centuries, for all these folk wealth in our age of total breakdown of foundations and traditions, in the age of experienced abuses, really hung the danger of destruction. And if our modern literature, especially by the mouth of V. Astafyev, V. Belov, V. Rasputin, N. Rubtsov, calls in full voice to save what could still be saved, then Sviridov spoke about this back in the middle of the XG.

An important feature of Svirid art is its "superiority". It is about Russia as a whole, covering its past, present and future. The composer always knows how to emphasize the most essential and unwritten. The choral art of Sviridov relies on such origins as spiritual Orthodox chants and Russian folklore, it includes in the orbit of its generalization the intonation language of the revolutionary song, march, oratory - that is the heyday of the Russian classic opera, was the take -off of Soviet symphonism.

Today, the new Soviet choral art, harmonious and exalted, which has no analogues in the past or in modern foreign music - is the essential expression of the spiritual wealth and the viability of our people. And this is the creative feat of Sviridov. He found with great success is developed by other Soviet composers: V. Gavrilin, V. Tormis, V. Rubin, Yu. Butsko, K. Nikolaev, A. Kholminov and others.

Sviridov’s music became the classic of Soviet art of the 20th century.