Message about a klyadov. A.K. Lyadov - biography. The fairy-tale world of Anatoly Lyadov

KIM ANATOLY ANDREEVICH Anatoly Andreevich Kim (b. 1939). Russian writer. Author of the collections of stories “Blue Island”, “Four Confessions”, “Nightingale Echo”; stories “Lotus”, “Jade Belt”, “Taste of Thorns at Dawn”, “Two Hundred Years Passed”, “Stop in August”; novels

Anatoly Konstantinovich Lyadov(May 11, 1855 - August 28, 1914), Russian composer, conductor and teacher.

A.K. Lyadov went down in the history of music as one of Rimsky-Korsakov’s largest students, a highly authoritative representative of his school of composers - a teacher of numerous Russian musicians for over thirty years.

Anatoly Konstantinovich Lyadov belonged to a unique family of professional musicians. Since childhood, a musical atmosphere surrounded the future composer. Several generations of the Lyadov family replenished the national musical cadre - from a modest ordinary orchestra member or choir member to a prominent musical figure, such as Father Konstantin Nikolaevich Lyadov.

Anatoly Konstantinovich Lyadov was born on May 11, 1855 in St. Petersburg. His whole life is connected with this city, with its artistic environment. He grew up in the artistic world. An excellent school for him was the Mariinsky Theater, where his father, then a famous conductor of Russian opera, worked. The entire opera repertoire of the theater was familiar to Lyadov from childhood, and in his youth he himself often participated in performances as an extra. “He, the darling of the acting troupe, was greatly fascinated by the stage. When the boy came home, he would portray Ruslan and Farlaf in front of the mirror.”

Lyadov’s rare talent was manifested not only in his musical talent, but also in his excellent drawing and poetic abilities, as evidenced by the many surviving witty, humorous poems and drawings of the composer.

He received his first piano lessons from pianist V. A. Antipova, his mother’s sister. However, there were no regular classes for a long time. The chaotic life of his father, the “bohemian” atmosphere in the house, the lack of real parental affection, care, love (Lyadov lost his mother at the age of six), the unsettled and chaotic life - all this not only did not contribute to the planned development of the young musician, but, on the contrary, formed it contains some negative psychological traits, for example, internal lack of composure, passivity, lack of will, which subsequently negatively influenced the entire creative process of the composer.

There is reason to think that already in the early years of his life Lyadov also came into contact with the treasury of folk songs, since one of his Children's songs (Lullaby op. 22 No. 1) is marked: “Heard from the nanny in childhood.” From there, the captivating world of folk tales entered his work, the charm of which retained its power over him throughout his life. The very first experience as a composer was also connected with the magical world. It was music for the fairy tale “Aladdin’s Magic Lamp” from The Arabian Nights, staged by him and performed together with his cousins.

The boy’s musical talent, which manifested itself early, naturally determined the decision of his relatives to send the youngest representative of the Lyadov family along the mainstream of the “family” profession. In January 1867, he entered the St. Petersburg Conservatory with an honorary personal scholarship named after his father. Study forever separated Lyadov from his parental home. At first, the boy was placed in a boarding house with A.S. Shustov, and he spent Sundays and holidays with the Antipov family.

During the first three years, he studied violin with A. A. Panov, and attended theory with A. I. Rubets. Lyadov studied with professors J. Johansen (theory, harmony), F. Beggrov and A. Dubasov (piano). In the fall of 1874, he finally entered Rimsky-Korsakov’s composition class. He immediately appreciated his student’s talent: “Indescribably talented.”

During his student years, Lyadov turned to the popular genre of romance in Russia. But he quickly lost his taste for romance lyrics and repeatedly emphasized in his statements that “The fame acquired by romances is cheap laurels.”

Possessing outstanding musical abilities, the young composer did not perform his duties in accordance with these abilities. “Little diligence”, “little attendance” “was very skimpy”, as Rimsky-Korsakov recalls in “The Chronicle of My Musical Life”. He cites a characteristic dialogue between Lyadov and his sister: “Tolya, I won’t let you have dinner because you haven’t written a fugu. “You asked me about this yourself,” says the sister. “As you wish, I’ll go to my aunt’s for dinner,” answered Anatoly.” In contrast to classroom studies, he was passionate about independent creativity.

However, the authority of Rimsky-Korsakov could not force Lyadov to overcome his dislike for systematic educational work. The result of his first year of study in the class of the famous composer in the spring of 1875 reads: “A. Lyadov did not appear for the exam.” Finally, in the middle of the next academic year, the conservatory management was forced to expel Lyadov, along with his friend Dütsch, from the student body.

This episode, however, did not play a special role in the composer’s creative biography. The next two years he spent outside the conservatory were not in vain. For his general and musical development, his acquaintance with the members of the Balakirev circle was of incomparably greater importance. While still a student, with the assistance of Rimsky-Korsakov, he entered the “Mighty Handful” community of composers, who warmly accepted the gifted young man into their clan as the successor of the “new Russian school.” This is how he became acquainted with Mussorgsky, Borodin, Stasov and became familiar with the aesthetic ideals of the Kuchkists. And although Lyadov found the circle already in the period of decline and inevitable split caused by the natural self-determination of its brilliant representatives, he still could not help but feel the powerful influence of the great tradition. It was from her that he inherited that “endless devotion to art and awareness of himself as a Russian, national artist,” which he carried throughout his life. By the time Lyadov was expelled from the conservatory, he had established himself as a talented and, despite his youth, professionally experienced musician.

Already at the end of 1876, Balakirev attracted him to cooperate in preparing for a new edition of the scores of Glinka’s operas. Probably such work contributed to the strengthening of friendly relations between the former teacher and student, when “the professor’s previous relationship with the rebellious student disappeared.” They become best friends.

Lyadov was an excellent pianist, although he did not consider himself a virtuoso and did not engage in public concert activities. All his contemporaries who heard him play noted his elegant, refined, chamber manner of performance. The most original is the cycle “Spills”, created in 1876 and immediately revealing the talent of the twenty-year-old composer. “Biryulek” exudes freshness and youthful inspiration. Lyadov's piano pieces are a kind of musical and poetic sketches of individual life impressions, pictures of nature, reflected in the artist's inner world.

In 1878, in order to formalize his maturity as a composer, Lyadov submitted a request to be admitted to the ranks of students at the conservatory. At the final exams in May, he completely rehabilitated himself. Already an experienced composer, he brilliantly graduated from the conservatory, presenting as his diploma work the cantata “The Bride of Messina,” according to Schiller, performed at a high professional level.

In the mid-1880s, Lyadov became part of a new association of St. Petersburg musicians - the Belyaev Circle, where he immediately took a leading position, becoming a member of the leading triumvirate of Rimsky-Korsakov, Glazunov, Lyadov. This leading group, with the support of Belyaev, performed the most difficult work of selecting, editing, and publishing new works.

Lyadov also took an active part in musical gatherings known as “Belyaev Fridays,” where his compositions were constantly played, which had a significant impact on his younger contemporaries, representatives of the St. Petersburg school. With exceptional care, Lyadov also carried out the work of proofreading the works published by Belyaev. Knowing Lyadov’s exceptional scrupulousness and exactingness regarding the purity of writing, Belyaev entrusted this work to him then and jokingly called him “the laundress.”

In 1884, Lyadov met both P.I. Tchaikovsky and his relatives. Friendly communication with Modest Tchaikovsky continued until his last days. In the mid-1890s, Taneyev and Scriabin came to the Belyaevsky circle. The latter owes the strengthening of friendly ties with the publishing house to Lyadov. He was attracted by the combination of subtle lyrical spirituality with nobility of taste, grace and formal completeness.

Lyadov developed as an artist quite early, and throughout his entire career one cannot notice any sharp transitions from one stage to another. Already in his early years, Lyadov was characterized by a tendency to long-term incubation of his plans, which for a long time were not brought to final finishing. The composer's slowness and relatively little productivity confused and upset everyone who was sympathetic to his talent. One of the reasons for this is the financial insecurity of Lyadov, who is forced to do a lot of teaching work.

In 1878, he was invited to the conservatory as a professor and held this position until the end of his life. And since 1884, he also taught in the instrumental classes of the Court Singing Chapel. 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 slowly,” he wrote to his sister in 1887. - Am I really just a teacher? I really wouldn't want that! But it seems that I’ll end up with this...” In addition, since 1879 he was actively involved in conducting activities. Apparently, conducting attracted the composer from an early age. Along with the symphonic repertoire, his programs included vocal and choral works and solo works by Beethoven, Mozart, Mussorgsky, Schubert, Rimsky-Korsakov. “Although things weren’t going well, thanks to the amateur orchestra, Lyadenka is becoming a good conductor.”

From a young age, Lyadov also developed that characteristic skeptical worldview, which towards the end of his life took on a pessimistic overtone. In Lyadov’s correspondence one constantly feels dissatisfaction with life, with oneself, with one’s work. In almost every letter he writes about boredom, melancholy, which prevents him from concentrating on both work and leisure. Everywhere, wherever he is, he is haunted by sad thoughts, premonitions of a “fatal end,” which have worsened over the years.

And in his very way of life, in his habits, he remained conservative. Outwardly, his years passed calmly and extremely monotonously. “30 years in one apartment - in winter; 30 years at one dacha - in the summer; 30 years in a very closed circle of people,” noted A. N. Rimsky-Korsakov. By the way, all of the composer’s most significant works were written in the summer in the village of Polynovka, Novgorod province. The enjoyment of freedom from conservatory duties was associated with hopes for new compositions: Variations on a Theme of Glinka, “Barcarolle”, “About Antiquity”. He was given a separate house with a piano. “My house is wonderful, but I don’t know whether it will help me write anything.”

In general, the quantitative results of Lyadov’s work as a composer turned out to be completely modest. He published 2-3 compositions a year.

Lyadov entered his period of creative development towards the end of the 1880s, distinguishing himself as a master of miniatures. This inclination manifested itself in his first piano works, in which his inherent brevity, refinement of musical thought and form, and jewelery finishing of details crystallized. Critics wrote about his music: “The most subtle artist of sound,” “in place of the impressiveness of feeling, he puts forward thriftiness of feeling, admiring the grains - the pearls of the heart.”

The pinnacle of the chamber form was undoubtedly 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. Among the works of the 1890s, “Preludes-Reflections” stand out, deeply psychological, inspired by some kind of inconsolable sadness.

But it was not only instrumental music that fascinated the composer. Three notebooks of “Children's Songs” written by Lyadov in 1887-1890 were very popular. They are based on truly folk texts of ancient, pre-bylin genres - spells, jokes, sayings.

In the original author’s melodies of “Children’s Songs,” the intonations of “nanny melodies” and gentle lullabies familiar from childhood are easily recognizable. Lyadov’s “Children’s Songs” amaze with their amazing sensitivity, touching love and deep understanding of the child’s soul. The composer presents the melody sometimes with gentle humor, sometimes with playful playfulness, sometimes in a deliberately important, narrative tone, sometimes in terms of grotesqueness and even paradox. In each of the “Children's Songs,” subtle Lyadovsky humor slips through - affectionate and kind. But almost all of them leave on the soul a feeling of slight sadness, pity, and sometimes a slightly creepy feeling of hopelessness and “disorder” in life.

“Couldn’t Lyadov better attest to his Russian spirit than in his adaptations of Russian songs,” wrote the famous music critic Vitol. The publication of the first of four collections of “Songs of the Russian People for One Voice with Piano Accompaniment” (30 songs) dates back to 1898, although Lyadov began to study Russian folklore back in the 1880s. In total, Lyadov processed 150 Russian folk songs.

Lyadov did not allow anyone into his personal life. In this regard, the fact of hiding his marriage in 1884 from his friends turned out to be very characteristic of him. He did not introduce his wife N.I. Tolkachev to any of them, with whom he lived happily all his life, raising two sons.

Lyadov seemed to deliberately fence himself off from the outside world, fearing its intrusion into his life, any changes in it for the worse. Perhaps it was precisely this outside intervention that he lacked for creative activity. Unlike many Russian artists, who found the strongest incentives for creative thought in foreign travels and new impressions, Lyadov, due to his natural inertia and lethargy, was afraid to “budge.” Only twice was the smooth flow of St. Petersburg life disrupted by short trips abroad to the World Art Exhibition in Paris in the summer of 1889, where his works were performed, and to Germany in 1910.

The last stage of Lyadov’s life is marked by some changes in the inertia that had formed over the previous years. The composer’s monotonous way of life, established over the years, was for a time sharply destroyed by the first Russian revolution. Intense socio-political struggle directly captured the field of musical art. Lyadov's departure from the conservatory was a demonstration of his sincere indignation at the attitude of the conservatory leaders towards Rimsky-Korsakov, who was fired on March 19, 1905 for supporting the revolutionary part of the student body.

Lyadov fully shared the demand put forward by the professorship for the autonomy of the conservatory, that is, the independence of the artistic council and director from the leadership of the Russian Musical Society. The events of these months cause Lyadov to be absolutely exceptionally active, which is usually not typical of him.

In addition to the pedagogical work that was eventually restored at the conservatory, Lyadov’s musical and social activities in the last decade of his life were associated with the board of trustees for the encouragement of Russian composers and musicians, which arose in January 1904, after the death of Belyaev, according to his will.

In the 1900s, he became closer friends with A. Ziloti, who was one of the first performers of Lyadov’s symphonic works - “Kikimoras”, “From the Apocalypse”. He was also close to R.M. Gliere, N.N. Cherepnin, L. Godovsky, I. Paderewsky.

At the same time, Lyadov became close to representatives of the “World of Art” group, with Diaghilev, with the artists Golovin, Roerich, Bilibin, to whom he dedicated “Eight Russian Folk Songs for Orchestra”.

He made demands on art of beauty, aristocracy, and novelty. The thirst for new content, leading away from everyday life, is declared by Lyadov in the words: “My ideal is to find the unearthly in art. Art is the kingdom of what doesn’t exist in the world, I’m so full of the prose of life that I only want the extraordinary - even stand on my head. Give me a fairy tale, a dragon, a Mermaid, a goblin, give me something, only then am I happy, in art I want to eat fried bird of paradise.”

A brilliant confirmation of Lyadov’s creative evolution are his famous program miniatures and symphonic masterpieces - “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. Lyadov’s orchestral fairy-tale paintings, with all the independence of their ideas, 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 (“Magic lake") - a bewitching, impressionistic landscape.

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

The death of friends - Stasov, Belyaev, his sister, the departure of his eldest son to war, and another creative crisis had a negative impact on the composer’s health.

The fairy-tale world of Anatoly Lyadov

At first, the musical fate of A.K. Lyadov was very happy: he was born on April 29, 1855 in a family of hereditary musicians. His father and grandfather were conductors, his father was also a composer. Dad's authority as an opera conductor (he was conductor of the Russian Opera in St. Petersburg and conductor of symphony concerts) was very great. Even M.I. Glinka consulted him on some issues. Choosing the profession of musician for Anatoly and his family was a decided matter. Even in early childhood, his father noticed his son’s great talent.

At the age of 15, Anatoly Lyadov entered the conservatory. He was enrolled in a scholarship named after Konstantin Lyadov (his father), established by the artists of the Russian Opera.

Anatoly began taking classes in piano, theory and composition. Among his teachers is N. A. Rimsky-Korsakov.

For the formation of his talent, communication with M. A. Balakirev, A. P. Borodin, M. P. Mussorgsky, who highly appreciated his talent, played a big role. M. P. Mussorgsky wrote: “A new, undoubted and Russian talent has appeared.” And the young “talent” was only eighteen years old at that time. The young composer’s first opuses were four romances, as well as the cycles of piano pieces “Spillkins” and “Arabesques”, which immediately became famous among musicians. But studying at the conservatory was not smooth.

The talent of A.K. Lyadov was great. His teacher N.A. Rimsky-Korsakov considered him an “indescribably talented” but careless student. It was said about A.K. Lyadov that when he lived in his sister’s house, he himself asked not to feed him lunch until he completed his conservatory assignments. He attended classes poorly. And so in the winter of 1876, “for not attending classes,” he was expelled from the conservatory along with his friend, the talented pianist G. O. Dutsch. When young people came to N.A. Rimsky-Korsakov’s home with a request for reinstatement and a promise to study, the professor remained adamant: “I was unshakable and flatly refused. Where, one wonders, did such dispassionate formalism attack me? Of course, Lyadov and Dyutsha should have been accepted as prodigal sons... But I didn’t do that. I can only console myself with the fact that everything is for the better in this world - both Dyutsh and Lyadov later became my friends.”

Expulsion from the conservatory was a heavy blow for A.K. Lyadov. But two years later it was restored. The cantata submitted for the exam was approved by the Arts Council. And he was awarded a small gold medal and a diploma of a free artist. Immediately after this, the twenty-three-year-old composer was enrolled as a teacher at the conservatory.

Among A. K. Lyadov’s students were N. Ya. Myaskovsky, S. S. Prokofiev, S. M. Maikapar and others. Famous pedagogical aphorisms were passed down by students “inherited” from elders to younger ones. “Hearing thinks, develop auditory thinking,” “You must be an aristocrat of feelings and tastes,” - this is what he told his students. You too remember these words and try to follow them. Of course, not all of his students were as talented as those listed.

And work at the conservatory took a lot of strength and energy. But he could not leave her and devote himself entirely to creativity. In the poetic “Message to a Friend” A.K. Lyadov, with his characteristic humor, but also with some sadness, wrote:

The red summer has already flown by!
So days after days go by...
I don't have long to live here -
Again for the hated work.
To teach girls and boys,
There must be plenty of patience
And I've been tired for a long time
To repeat for a whole year everything is the same.
How pathetic is the one who explains
Sound for the deaf, color for the blind.
By God, there is no use in this!
He's just wasting his time.
I'm going to such a thing -
My sad fate.

In St. Petersburg, A.K. Lyadov met M.P. Belyaev and joined a large new artistic association - the Belyaev Circle. The significance of the composers of the Belyaevsky Commonwealth lay not only in their new creative achievements, but also in the enormous educational work that strengthened high musical professionalism in Russia.

As N.A. Rimsky-Korsakov said, “Balakirev’s circle corresponded to the period of “storm and stress” in the development of Russian music, M.P. Belyaev’s circle corresponded to the period of a calm march forward.”

During these years, A.K. Lyadov created a huge number of piano miniatures, program plays “Bagatelle”, “Musical Snuffbox”, “About Antiquity”, etc., “Children’s Songs”, arrangements of folk songs.

One of the best miniatures by A.K. Lyadov “Musical Snuffbox”. With what wit the composer imitates the sound of a wind-up toy instrument. The author gave the miniature a single designation: “automaticamente”, that is, “automatically”. Rhythmic monotony, repetition of a simple waltz, “glassy” sonority, subtly noted grace notes and trills typical of a “music box” convey the special mechanical character of the music.

“And how is it so cute in the Tabakerka when suddenly something grunts or sneezes upstairs! Oh, how sweet, oh, how comical and graceful!” - wrote V.V. Stasov to Lyadov after the performance of “Snuffbox” in the author’s edition for a small instrumental composition.

The play “About Antiquity” is very typical for A.K. Lyadov. Already at the first sounds, the image of the ancient Russian singer Bayan appears. The gusel chime contains a slightly modified authentic folk melody “Blow, blow, bad weather.” Later, A.K. Lyadov arranged this piece for a symphony orchestra and prefaced it with an epigraph from “The Tale of Igor’s Campaign”: “Let us tell, brothers, a legend from the times of the ancient Vladimir.”

The revolutionary events of 1905 shook him up too. In protest against the dismissal of N.A. Rimsky-Korsakov, A.K. Lyadov and A.K. Glazunov left the conservatory. A.K. Lyadov responded to the forced departure of S.I. Taneyev from the Moscow Conservatory with an “open letter” in the newspaper: “Dear Sergei Ivanovich! With deep regret, I learned from the newspapers that you are forced to leave the Moscow Conservatory. But I didn’t feel sorry for you, I feel sorry for the conservatory, which in your person has lost an irreplaceable professor, a wonderful musician and a bright, pure person, always ready to relentlessly stand for the truth. You are the golden page of the Moscow Conservatory, and no one’s hand can tear it out. Yours deeply respected An. Lyadov."

V.V. Stasov, having learned about this, wrote in admiration: “Dear Lyadushka, only yesterday I learned of your letter to S.I. Taneyev in Rus.” God knows how you delighted me. These are people, these are artists.” Only after the election of A.K. Glazunov as director and the return of N.A. Rimsky-Korsakov did A.K. Lyadov return to the conservatory.

1900s were a period of enormous creative flowering for the composer. During this period, he created the symphonic cycle “Eight Russian Folk Songs for Orchestra” and wonderful program miniatures “Baba Yaga”, “Magic Lake”, “Kikimora”. They expressed the composer's search for an ideal in unearthly art. A fairy tale is that “gap” into another life that beckoned the artist, leading him away from the ordinary into a dream.

“Fairytale Pictures,” as the composer called these works, are one-movement symphonic pieces. The bright picturesqueness and “pictorial quality” of the concept determined the colorfulness of all means of expression.

“Kikimora” has a program: “Kikimora lives and grows with a magician in the stone mountains. From morning to evening, Kikimora is entertained by Kot-bayun - he tells tales from overseas. From evening until broad daylight, Kikimora is rocked in a crystal cradle.

Exactly seven years later, Kikimora grows up. Thin, dark-haired, that Kikimora, but her head is tiny, about the size of a thimble, and her body cannot be recognized as a straw. Kikimora knocks and thunders from morning to evening; Kikimora whistles and hisses from evening until midnight; from midnight to broad daylight he spins hemp tow, twists hemp yarn, and warps silk warp. Evil on the mind keeps Kikimora honest for all people.”

Very figuratively, the music of the miniature depicts both the gloomy land where Kikimora, Kota-bayun and his lullaby initially live, and the ghostly sound of the “crystal cradle”.

But how evil the music portrays Kikimora herself! It expresses not only her ugliness, but also the inner essence of Kikimora, who is ready to destroy all living things. The piece ends with the plaintive squeak of the piccolo flute, as if someone had jokingly destroyed or crushed the source of this great noise. This play is a must listen.

The plot is similar to "Kikimore" and "Baba Yaga". From Afanasyev’s fairy tale “Vasilisa the Beautiful,” the composer chose the most dynamic episode: the appearance of Yaga, her flight through the dense forest on a stupa and disappearance. The music accurately depicts the details of this program: Yaga's whistle, and then rapid movement, as if Baba Yaga is approaching us and then rushing away. Listen to this miniature too. Swiftness, flight, and humor allow us to call it a Russian symphonic scherzo.

By the way, this figurative sphere - scherzo, humorous - was close to A.K. Lyadov. Albums of his drawings and three notebooks of poetry provide enormous material for characterizing his humor. He was a good poet and could immediately, in a conversation, compose a small pun, an epigram, a congratulation. His letters to friends almost always contained poems. For example, while living at the dacha, in one letter he complained about the heat in the quatrain:

Oh, why am I not a skeleton!
The wind would play in my ribs,
I wouldn't know the heat at all
And shame that he is not dressed.

If “Baba Yaga” and “Kikimora” are close in color, then “Magic Lake” has a completely different character. This was one of the few works by A.K. Lyadov, which he himself loved very much: “Oh, how I love him! How picturesque it is, clean, with stars and mystery in the depths!”

In this play, the composer wanted to emphasize that this was not so much a sketch from nature of a specific lake (although it existed, and A.K. Lyadov often went to it in his Polynovka), but rather a mysterious lake in which the artist’s imagination could see the most unusual things. “The Magic Lake” is not a fairy tale itself, but a state in which a fairy tale can arise.

Of course, in terms of the breadth of coverage of reality, the work of A.K. Lyadov is inferior to his great contemporaries. But the composer still occupied a prominent place in the history of Russian music. He contributed to every area of ​​music he touched upon.

The features of a new original style also appeared in his piano pieces, and especially in symphonic miniatures, which opened a new independent line in Russian symphony.

Questions:

1. What are the years of A.K. Lyadov’s life?
2. What city is the composer's activity connected with?
3. How did A.K. Lyadov react to the dismissal of N.A. Rimsky-Korsakov from the St. Petersburg Conservatory?
4. What was the main feature of A.K. Lyadov’s work?
5. List the works of A.K. Lyadov that you know.

List of works by A.K. Lyadov:
For orchestra: “Baba Yaga”, “Kikimora”, “Magic Lake”, “Dance of the Amazon”, “Sorrowful Song”, etc.
For piano: “Spillkins”, “Arabesques”, “About Antiquity”, “Idyll”, pieces, preludes, waltzes.
For choir a cappella: “10 Russian folk songs”, “15 Russian folk songs”, 10 arrangements from Obikhod, etc.
For voice and piano: 18 children's songs based on folk words, collections of folk songs, romances and much more.

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Works by Anatoly Lyadov:
Baba Yaga. Picture for a Russian folk tale, mp3;
Magic lake. Fairytale picture, mp3;
Kikimora. Folk tale, mp3;
Musical snuffbox, mp3;
About antiquity. Ballad for orchestra, mp3;
3. Accompanying article, docx.

Size: 108 MB

Format: wmv

Biography

Lyadova Anatoly Konstantinovich

Lyadov Anatoly Konstantinovich (1855-1914) Russia

Anatoly Konstantinovich Lyadov - Russian composer, conductor, teacher. He was born on May 11, 1855 in St. Petersburg. He received his musical education 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, and 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 a folk storyteller playing the harp, is especially popular. The humorous play "Musical Snuff Box" recreates the sound of a musical toy. His “Children's Songs” based on folk texts are good - here Lyadov simply but very accurately sketched a number of live scenes.

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.

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)

"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.

Collection of Russian native songs (op. 43, published 1898), 35 songs of the Russian people for one voice with piano accompaniment from those collected in 1894-95 by I. V. Nekrasov and F. M. Istomin (published 1902), 50 songs of Russian for one voice with piano accompaniment from those collected in 1894-1899 and 1901 by I. V. Nekrasov, F. M. Istomin and F. II. Pokrovsky (published 1903), 35 songs of the Russian people collected in 1894, 1895 and 1902 by I.V. Nekrasov, F.M. Istomin and F.I. Pokrovsky in the provinces of Vladimir, Nizhny Novgorod, Saratov, Tver and Yaroslavskaya for one voice with piano accompaniment (publication of the Song Commission of the Russian Geographical Society, B.G.);

for choir a cappella-
10 Russian folk songs (arranged for female voices, op. 45, published 1899), a hymn to A. Rubinstein on the day of the grand opening of the statue of A. G. Rubinstein in the St. Petersburg Conservatory (op. 54, 1902), 5 songs of Russian people's voices (for women's, men's and mixed choirs, publication of the Song Commission of the Russian Geographical Society, 1902), 15 Russian folk songs for choir (op. 59, published 1907), 15 Russian folk songs for women's voices (1908), 10 transcriptions from Obikhod (op. 61, published 1909?)

5 Russian songs(for women's choir, 1909-10);

For choir with instrumental accompaniment -
Slava (for women's choir accompanied by 2 harps and 2 pianos for 8 hands, op. 47, published 1899), Sister Beatrice (choir accompanied by harmonium for 4 hands, op. 60, 1906);

orc. dept. numbers from Mussorgsky's opera "Sorochinskaya Fair" and others.

Russian composer and teacher Anatoly Konstantinovich Lyadov was born in St. Petersburg on April 29 (May 11), 1855 into a family of musicians - Lyadov’s father was a conductor of the Mariinsky Theater, his mother was a pianist. He studied at the St. Petersburg Conservatory, but was expelled by Rimsky-Korsakov from his harmony class for "incredible laziness."

Russian composer and teacher Anatoly Konstantinovich Lyadov was born in St. Petersburg on April 29 (May 11), 1855 into a family of musicians - Lyadov’s father was a conductor of the Mariinsky Theater, his mother was a pianist. He studied at the St. Petersburg Conservatory, but was expelled by Rimsky-Korsakov from his harmony class for "incredible laziness." Soon, however, he was reinstated at the conservatory and began to help M.A. Balakirev and Rimsky-Korsakov in preparing a new edition of the scores of Glinka’s operas “A Life for the Tsar” and “Ruslan and Lyudmila”. In 1877 he graduated with honors from the conservatory and was retained there as a professor of harmony and composition. Among Lyadov’s students are S. S. Prokofiev and N. Ya. Myaskovsky. In 1885 Lyadov began teaching theoretical disciplines at the Court Singing Chapel. Somewhat later, on behalf of the Imperial Geographical Society, he was engaged in the processing of folk songs collected during expeditions and published several collections, highly valued by researchers of Russian folklore.

Lyadov's compositional heritage is small in volume and consists mainly of works of small forms. The most famous are the picturesque symphonic poems - "Baba Yaga", "Magic Lake" and "Kikimora", as well as "Eight Russian Folk Songs" for orchestra, two collections of children's songs (op. 14 and 18) and a number of piano pieces (among them "Music Box"). He composed two more orchestral scherzos (op. 10 and 16), the cantata “The Bride of Messina” after Schiller (op. 28), music for Maeterlinck’s play “Sister Beatrice” (op. 60) and ten church choirs (Ten Arrangements from Daily Life, collection of Orthodox chants). In 1909, S. P. Diaghilev ordered Lyadova for the Parisian “Russian Seasons” a ballet based on the Russian fairy tale about the Firebird, but the composer delayed completing the order for so long that the plot had to be transferred to I. F. Stravinsky. Lyadov died in a village near the town of Borovichi on August 28, 1914.