Chesnokov, Pavel Grigorievich. Sensitive to musical beauty, to emotional movements, Russian choral conductor, composer, church choir director, professor at the Moscow Conservatory

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Russian empire RSFSR USSR

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composer, choral conductor

Pavel Grigorievich Chesnokov(October 12 (24), 1877, Zvenigorod district, Moscow province - March 14, 1944) - Russian composer, choral conductor, author of widely performed spiritual compositions.

Biography

Musical works

In total, the composer created about five hundred choral pieces: spiritual compositions and transcriptions of traditional chants (among them several complete cycles of the liturgy and all-night vigil, a memorial service, the cycles “To the Most Holy Lady,” “In the Days of War,” “To the Lord God”), adaptations of folk songs, choirs based on poems by Russian poets. Chesnokov is one of the most prominent representatives of the so-called “new direction” in Russian sacred music; Typical for him, on the one hand, is an excellent mastery of choral writing, excellent knowledge of various types of traditional singing (which is especially evident in his transcriptions of chants), and on the other hand, a tendency towards great emotional openness in the expression of religious feelings, even to the point of direct rapprochement with song or romance lyrics (especially typical for spiritual compositions for solo voice and choir that are now very popular).

Literature

Chesnokov P. G.. Choir and its management. A manual for choral conductors. Ed. 3rd - M., 1961
Dmitrevskaya K. Russian Soviet choral music. Vol. 1.- M.: “Soviet Composer”, 1974.- P. 44-69
List of published spiritual works by P. G. Chesnokov

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Born on October 24
Born in 1877
Born in Zvenigorod district
Died on March 14
Died in 1944
Died in Moscow
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Church Regents
Spiritual composers
Choral conductors of Russia
Choral conductors of the USSR

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See what “Chesnokov, Pavel Grigorievich” is in other dictionaries: - (1877 1944) Russian choral conductor. In 1895 1916 teacher of the Synodal School (People's Choral Academy), in 1917 22 chief conductor of the Moscow state choir , in 1922 28 director of the Moscow Chapel. The author of the first Russian... ... Big

encyclopedic Dictionary Soviet, teacher and composer. He graduated from the Synodal School as a choral conductor in 1895, and from the Moscow Conservatory in 1917, majoring in composition with S... Great Soviet Encyclopedia

Chesnokov, Pavel Grigorievich- CHESNOKOV Pavel Grigorievich (1877 1944), choral conductor, composer and teacher. Leader of many choirs (church and secular). One of the largest representatives of Russian choral culture. About 500 works for choir; Russia's first capital... Illustrated Encyclopedic Dictionary

- (1877 1944), choral conductor, regent, composer. In 1895 1916 teacher at the Synodal School (People's Choral Academy), in 1917 22 chief conductor Moscow State Choir, in 1922 28 director of the Moscow Chapel. The author of the first... ... encyclopedic Dictionary

- (1877, near Voskresensk, Moscow province, now Istra, 1944, Moscow), composer, choral conductor, regent. From the family of a clergyman. In 1895 he graduated from the Synodal School of Church Singing; in 1895 99 he took composition lessons from S.I. Taneyeva,... ... Moscow (encyclopedia)

Genus. 1877, d. 1944. Choral conductor. He was the chief conductor of the Moscow State Choir (1917-22), and directed the Moscow Chapel (1922-28). Author of musical works for choir. Since 1921, professor at the Moscow Conservatory... Large biographical encyclopedia

- (October 24 (12), 1877 March 14, 1944) Russian choral conductor, composer, church choir director, professor at the Moscow Conservatory (since 1921). Born on October 24 (12 according to the old style) October 1877 near the city of Voznesensk, Zvenigorod district... ... Wikipedia

Grigorievich Russian choral conductor, composer, church choir director, professor at the Moscow Conservatory Chesnokov, Pavel Vasilyevich artist, heraldist ... Wikipedia

Chesnokov Pavel Grigorievich (October 24 (12), 1877 March 14, 1944) Russian choral conductor, composer, church choir director, professor at the Moscow Conservatory (since 1921). Born on October 24 (12 according to the old style) October 1877 near the city of Voznesensk... ... Wikipedia

Chesnokov, Pavel Grigorievich Russian choral conductor, composer, church choir director, professor at the Moscow Conservatory Chesnokov, Pavel Vasilievich artist, heraldist ... Wikipedia

Books

Choir and its management. Textbook, Chesnokov Pavel Grigorievich, P. G. Chesnokov is one of the greatest masters of Russian choral culture, who through his versatile musical activity contributed to raising it to a new, highest level. Real work... Category: Music Series: Textbooks for universities. Special literature Publisher:

CHESNOKOV, PAVEL GRIGORIEVICH(1877–1944), Russian composer, choral conductor, author of widely performed spiritual compositions. Born near the town of Voskresensk (now the town of Istra), Zvenigorod district, Moscow province, on October 12 (24), 1877 in the family of a rural regent. All the children showed their best musical talent, and the five Chesnokov brothers studied at the Moscow Synodal School of Church Singing at different times (three became certified regents - Mikhail, Pavel and Alexander). In 1895 Chesnokov graduated with honors from the Synodal School; Subsequently, he took composition lessons from S.I. Taneev, G.E. Konyus (1862–1933) and M.M. Ippolitov-Ivanov; much later (in 1917) he received a diploma from the Moscow Conservatory in composition and conducting classes. After graduating from the Synodal School, he worked in various Moscow colleges and schools; in 1895–1904 he taught at the Synodal School, in 1901–1904 he was assistant regent Synodal Choir, in 1916–1917 he conducted the chapel of the Russian Choral Society.

Since the 1900s, Chesnokov has gained great fame as a regent and author of sacred music. For a long time directed the choir of the Church of the Trinity on Gryazi (on Pokrovka), from 1917 to 1928 - the choir of the Church of St. Basil of Neocaesarea on Tverskaya; He also worked with other choirs and gave spiritual concerts. His works were included in the repertoire of the Synodal Choir and other large choirs. In total, Chesnokov created about five hundred choral plays - spiritual compositions and transcriptions of traditional chants (among them several complete cycles of the liturgy and all-night vigil, a memorial service, cycles To the Blessed Virgin Mary, In days of war, To the Lord God), arrangements of folk songs, choirs based on poems by Russian poets. Chesnokov is one of the most prominent representatives of the so-called. "new direction" in Russian sacred music ( cm.RUSSIAN SACRED MUSIC); Typical for him, on the one hand, is an excellent mastery of choral writing, excellent knowledge of various types of traditional singing (which is especially evident in his transcriptions of chants), and on the other hand, a tendency towards great emotional openness in the expression of religious feelings, even to the point of direct rapprochement with song or romance lyrics (especially typical for spiritual compositions for solo voice and choir that are now very popular).

After the revolution, Chesnokov led the State Academic Choir and was choirmaster Bolshoi Theater; from 1920 until the end of his life he taught conducting and choral studies at the Moscow Conservatory. After 1928 he was forced to leave the regency and the composition of sacred music. In 1940 he published a book Choir and management. Chesnokov died in Moscow on March 14, 1944

Recently, music lovers in Russia celebrated the 125th anniversary of the birth of Pavel Chesnokov. He wrote both secular and church music, but he was honored, first of all, as a church Orthodox composer and leader of many church choirs.

The works of Pavel Chesnokov are very advantageous in concert terms. They allow singers to best demonstrate their vocal capabilities, which is why Russian opera stars, for example, Irina Arkhipova, often turn to Pavel Chesnokov’s spiritual chants. former soloist Bolshoi Theater. But this is not always good from the point of view of the church, because the service does not require impressiveness and bright colorful sound. On the contrary, they interfere with the depth and severity of prayer, and therefore are little compatible with worship. However, this revealed the universality of Pavel Chesnokov’s talent. He was cramped in the narrow confines and the composer, by the grace of God, argued with the director of the church choirs. And this dispute did not always end with an unambiguous solution to the issue.

The name of Pavel Chesnokov is mentioned next to such famous names as Pyotr Tchaikovsky, Sergei Rachmaninov, Sergei Taneyev, Mikhail Ippolitov-Ivanov. All of them belong to the so-called Moscow composer school. The music of these composers is characterized by deep lyricism and psychology.

Pavel Chesnokov was born in 1877 in the Moscow region into a family of hereditary regents. In 1895, he graduated from the Moscow Synodal School of Church Singing, then took lessons from the composer and music theorist Sergei Taneyev, then director of the Moscow Conservatory. Sergei Taneyev went down in music history as a master of choral polyphony, and he taught this art to Pavel Chesnokov.

Pavel Chesnokov was a highly qualified master of polyphony. Russian Orthodox sacred music as it exists today is predominantly polyphonic. Polyphony began to penetrate Russian sacred music in the 17th century. And before that, for six centuries, from the moment of baptism Ancient Rus' in 988, monophonic church singing existed, which came to Rus', like Christianity itself, through Byzantium. The element of monophony was rich and expressive in its own way. Such singing was called znamenny singing from the ancient Slavic word “znamya”, which means “sign”. The “banners” were also called “hooks”. With the help of “banners” or “hooks” in Russia, sounds were recorded, and these signs really resembled hooks of different shapes. This recording of sounds had nothing in common with musical notation, not only in appearance, but even in the principle of recording. It was an entire culture that existed for more than 500 years and then, due to historical reasons, seemed to disappear into the sand. Among modern musicians There are enthusiasts searching for ancient manuscripts in the archives and deciphering them. Znamenny singing is gradually returning to church life, but for now it is perceived more as a rarity and exotica.

To the credit of Pavel Chesnokov, it should be said that he also paid tribute to Znamenny singing, and this showed his sensitivity as a musician who sensed the prospect of musical-historical development. He harmonized znamenny chants, trying to connect the past with the present. But still, in his musical and artistic essence, he belonged to our era and practiced polyphony.

In 1917, Pavel Chesnokov graduated from the Moscow Conservatory, he was a student of the composer Mikhail Ippolitov-Ivanov. Pavel Chesnokov worked a lot: he taught choral conducting at the Moscow Synodal School of Church Singing, he taught choral singing in primary and secondary schools and, in addition, directed the choir of the Russian Choral Society and was a regent in several church choirs. Regency was the main thing in his life. Could he have imagined at a time when Russia was still an Orthodox state that the coming revolution would overturn all the foundations of life, and his noble cause would become undesirable in his own country?.. But this happened in the years Soviet power, with whom Pavel Chesnokov had a rather tense relationship, although representatives of official state atheism in the Soviet Union could not help but see his great talent as a composer and choirmaster. Music Encyclopedia, released in Soviet times, wrote about Pavel Chesnokov like this: “He was one of the greatest masters of Russian Soviet choral culture. Possessing extensive pedagogical experience, Chesnokov, as a choir director, achieved perfect performance technique, impeccable structure and ensemble, and an accurate transmission of the composer’s intentions.”

Pavel Chesnokov worked very actively under the new government, although the regency work in church choirs, his favorite, was not as much as before. In addition to directing a number of choirs, the composer taught at the Moscow Synodal School of Church Singing, which was transformed by the new government into a secular institution and was named the Choir Chapel. Pavel Chesnokov directed the Moscow Academic Choir, was the choirmaster of the Bolshoi Theater, and taught at the Moscow Conservatory and its school. And, of course, he wrote music.

Experts remember that Pavel Chesnokov was a genius choral conductor. He wrote the book “The Choir and Its Management.” Now it is considered a reference book for major choral conductors. In the 30-40s, Pavel Chesnokov, after being unable to publish it for a long time, turned for help to Sergei Rachmaninov, who was then in exile in the USA. Finally, Pavel Chesnokov's book was published in the Soviet Union, but with a disapproving preface. They never forgave him for the permanent regency...

Pavel Chesnokov died in 1944 in Moscow. It was during the Second World War. The Moscow Conservatory, where he taught, was evacuated, but the composer refused to evacuate. He did not want to part with the church, with the regency, which was not possible everywhere at that time. Pavel Chesnokov revered church service above his own life.

Modern musicians note the interesting musical language of Pavel Chesnokov, who wrote over 500 choral works. This is what the head of the church choir of the Moscow Church of the Intercession said Holy Mother of God Valentin Maslovsky: “He was an extraordinary person. He was the last regent of the Cathedral of Christ the Savior, the former Moscow Cathedral, which was blown up in Stalin's time. When the temple was destroyed, Pavel Chesnokov was so shocked by this that he stopped composing music. He took a kind of vow of silence. As a composer, he died with the Cathedral of Christ the Savior. The most magnificent musician, Pavel Chesnokov very sensitively felt every word, every verse, every prayer. And all this was reflected in music.”

“There is a lot of garlic in churches, and this is no coincidence,” says Marina Nasonova, regent of the Church of the Holy Besslessnikov Cosmas and Damian in Moscow, candidate of art history. - This is a unique figure among composers of church music, because he combined a very good academic composition education with the highest compositional technique. At the same time, coming from a family of hereditary regents, he had been in church since childhood, served as a choirboy and knew very well the applied church tradition. He had a keen sense of worship. His music is extremely deep in its spirituality.”

All-night vigil and liturgy

All-night vigil - evening service which starts in the evening. The rite and content of this service took shape in the first centuries of the adoption of Christianity. What is the meaning of the all-night vigil? The salvation of humanity in the Old Testament time (before the birth of Jesus Christ) through faith in the coming Messiah - the savior. The All-Night Vigil opens ringing bells- the gospel and combines Great Vespers with the litia and blessing of the loaves, Matins and the first hour. Over the centuries, the moral and edifying nature of readings and chants has evolved. During the service, the Holy Trinity is necessarily glorified. The main choral parts contain important eventful moments, they develop the plot outline of the narrative, and at the same time they are emotional, psychological and spiritual climaxes.
One of the first large numbers is “Bless my soul, gentlemen” based on the text of Psalm 103. This is a story about God’s creation of the world, glorification of the Creator of everything on earth and in heaven. This is a solemn, joyful song about the harmony of the universe, of everything that exists. But the man disobeyed God’s prohibition and was expelled from Israel for his sin.

After reading the Gospel and the choir “Having seen the Resurrection of Christ,” a canon is read in honor of some saint and holiday of the given service. Before canon 9 of the canon, the deacon calls to exalt the Mother of God with singing, and the choir sings the song “My soul magnifies the Lord.” This is a song on behalf of the Mother of God, Mary’s own doxology, spoken at the meeting with the righteous Elizabeth. The Virgin Mary addresses her with words that reveal the delight and joy of Her soul. “And Mary said, My soul magnifies the Lord; and My spirit rejoiced in God, My Savior, because He looked upon the humility of His servant; for from now on all generations will call Me blessed; that the mighty One has done great things for me, and holy is His name” (Gospel of Luke, chapter 1, v. 46-49).
Let us briefly compare the different versions - everyday and concert - of the four main choirs of the All-Night Vigil.
In the usual chant “Bless the Lord, my soul,” despite the paucity of expressive means in melody and harmony, a sublime, pure image is created, expressing the delight of the soul. In Rachmaninov’s “Vespers” “Bless the Lord, O My Soul,” written for choir and alto soloist. The composer took an ancient Greek chant as the basis for the theme and, in a complex choral arrangement, retained the features of ancient chants. The image created by Rachmaninov is stern, ascetic, strict, and at the same time “written out” in music in more detail, with subtle nuances of dynamics and tempo.
“Quiet Light” - as a rule, large choirs. The Kyiv chant choir is soulfully lyrical, sublimely peaceful. Music conveys the essence of what is happening - immersion in perception, contemplation of a quiet, blessed light. The melody of the upper voice seems to sway smoothly and soar against the background of other voices, forming a barely noticeable, soft change of harmonic colors.

“Not every gathering of singers can be called a choir.” These words are attributed to Pavel Chesnokov. He composed and secular music, but became famous primarily as a church Orthodox composer. His encyclopedic work “The Choir and Its Management” can be called the bible of choral conductors.

His name is mentioned along with the names of such luminaries as Rachmaninov and Tchaikovsky. Chesnokov's legacy includes about five hundred choral works. He wrote arrangements of folk songs, choruses and romances based on poems by Russian poets, and children's songs. But the main part of his creativity is spiritual works: author’s chants and transcriptions of traditional chants Orthodox worship. Among them are complete cycles of the Liturgy and All-Night Vigil, opuses “Praise the Name of the Lord,” “Great Doxology,” “To the Most Holy Lady” and other works included in the golden fund of the church musical culture. Chesnokov's music is deeply national and original; each of his melody helps to convey the words of prayer to believing hearts.

Of course, in Soviet years Pavel Grigorievich's church music was not performed. But in the 80s, Chesnokov’s spiritual works began to penetrate the repertoire of academic choirs and stood the test of the strictest judgment - time.

Tatiana Klimenko

Pavel Grigorievich Chesnokov is one of the largest representatives of Russian choral culture late XIX- first half of the twentieth century, versatile choral figure– composer, conductor and teacher.

P.G. Chesnokov was born on October 24, 1877 in the village of Ivanovskoye, Zvenigorod district, Moscow province, in the family of an employee. My father combined his service with the work of a church choir director in a small factory choir, where it began musical development boy. In 1886 he was assigned to the Moscow Synodal School, which he graduated brilliantly in 1895. In the same year, he began teaching at his native school (in 1901-1904 he was an assistant regent of the Synodal Choir and in 1895-1904 - a teacher at the Synodal School). Around the same years, the musician worked in two city primary schools for men, and later taught singing in women's educational institutions.

The choirmaster activity of P.G. Chesnokov began in 1900 in the Church of Cosma and Demyan in Shubin (near Tverskaya Street). From 1902 to 1914, he led the amateur choir at the Trinity Church on Mud, where he achieved significant results. Then, in 1915-1917, P.G. Chesnokov headed the Russian Choral Society (in 1916-1917 he also led the choir of the Russian Choral Society), was invited to major cities of Russia to participate in concerts and to summer regency teacher courses in St. Petersburg (1911-1916 ).

IN Soviet era The musician's performing activities reached new heights. Chesnokov led many professional choral groups in Moscow: the Second state choir(1919, 1921), State Academic Choir (1922-1927), Proletkult workers' choir (1928-1932), worked as choirmaster of the Bolshoi Theater, and directed the choir of the Moscow Philharmonic (1932-1933).

In the mid-1930s, Pavel Grigorievich worked in amateur choral performances, achieving remarkable results in a number of cases (the choir of the Central Concert Hall and the Gorky Choir, etc.), conducted methodological courses for amateur performance leaders, and taught special choral disciplines at the School named after the October Revolution.

A characteristic quality of the performing appearance of the choirs led by Chesnokov was a light, beautiful, flying sound. Choral groups under his direction were distinguished by their excellent ensemble, structure, and subtlety of performance. The theoretical work of P.G. Chesnokov is widely known - “The Choir and Its Management,” on which the author worked from 1918 to 1929 (published in 1940). The manual for choral conductors summarized the author’s performing and teaching experience.

As a composer, Pavel Grigorievich graduated from the conservatory in 1917 with a silver medal. In the fall of 1920, Chesnokov joined the teaching staff of the Moscow Conservatory, where he worked until the end of his days. At the conservatory, he taught classes in solfeggio and theory (1920-1924), led a choral class (1924-1926; 1932-1934), participated in opera class productions, and taught a choral studies course he created (1925-1928). In 1932, having become a professor, he taught a special conducting class. Among his students: I. Litsvenko, G. Luzenin, Yu. Petrovsky, A. Pokrovsky, S. Popov, A. Khazanov.

The composer penned about 360 chants, 18 works for mixed choir a cappella , 21 works for women's choir with piano, 20 children's songs, 21 romances.

IN last years In his lifetime, the composer made 22 arrangements of Russian folk songs for soloists, mixed and male choirs a cappella , created about 20 chants and 4 romances. Many choral works were widely known and loved by performers during his lifetime. Spiritual opuses of P.G. Chesnov - two Liturgies of St. John Chrysostom for women's choir, opus 9 and 16; Liturgy of the Pre-illuminated Gifts, opus 24; Liturgy of St. John Chrysostom, opus 42; Liturgy of St. John Chrysostom, opus 50-a and All-Night Vigil, opus 50-b; and individual chants are the brightest examples of Russian musical culture.

October 24 marks the 140th anniversary of the birth of the Russian composer Pavel Grigorievich Chesnokov, one of the brightest, most famous and beloved authors of church chants. What are the features of his creative style, why did P. Chesnokov’s sacred music have not only fans, but also opponents, what was the fate of his creative legacy? At the request of the magazine “Orthodoxy and Modernity,” Doctor of Art History, Professor of the Moscow State Conservatory talks about this. P. I. Tchaikovsky, leading researcher State Institute art history Natalya Plotnikova.

“Pavel Grigorievich Chesnokov was a man of deep decency, who preserved the naive simplicity and gullibility of his poetic and sensitive soul until his old age.<…>He had a persistent and persistent character; reluctantly abandoned previously formed opinions: in his judgments and statements he was straightforward and completely alien to hypocrisy; internally focused; in the manifestation of feelings he is restrained and taciturn, only occasionally revealing significant inner strength; prone to subtle and intelligent humor; in all his actions he is always unhurried and punctual; in dealing with people, as a rule, he is attentive, correct and discreetly affectionate, filled with great human charm; true to his friendly feelings; he harmoniously combined the features of mental and physical purity.”

These words were dedicated to Pavel Grigorievich Chesnokov (1877-1944) by his younger contemporary and colleague K.B. Bird, rightly believing that “to form a sufficiently clear and complete idea of the appearance of the artist and his work, it is necessary to know the main features that characterize personal qualities.” By reading the verbal portrait and looking at old photographs, you can try to understand what human qualities possessed a remarkable composer, regent, choral conductor, teacher, one of the outstanding representatives of the very Moscow Synodal school that appeared highest peak centuries-old development domestic liturgical singing. The significance of this school is well known, and yet one cannot help but be surprised by such a powerful movement, rise, takeoff, and brilliant constellation of authors: A. D. Kastalsky (1856-1926), Vic. S. Kalinnikov (1870-1927), A. V. Nikolsky (1874-1943), S. V. Rachmaninov (1873-1943) ... Let's pay attention to the dates of their lives. Pavel Grigorievich was, in fact, the last of the “synodals” who made up the glory of the school before the 1917 revolution, largest composer who ended their journey in their homeland. For some time, traditions continued to live in the works of N. S. Golovanov (1891-1953), written “on the table”, in the foreign opuses of A. T. Grechaninov (1864-1956). Was ending great era, which gave masterpieces to Russian culture choral music.

And it began in 1889, when S. V. Smolensky (1848-1909) was appointed director of the Moscow Synodal School of Church Singing. Thanks to him, a New direction in Russian sacred music emerged - a multifaceted cultural and artistic phenomenon that holistically embraces musical composition, scientific works on the history and theory of ancient and modern church singing, closely and directly related to the Russian choral performing school. Already at the first lecture on October 5, Smolensky spoke about his ardent belief in the vitality of the ideas he developed “in his studies on the monuments of our ancient church singing,” about the significance of this newly discovered source of knowledge for “directing his Russian music, for creating his own counterpoint.” It is not known whether the eleven-year-old student of the Synodal School, third-grader Pasha Chesnokov, heard this lecture, but Stepan Vasilyevich has always been an indisputable authority for him, he trusted his opinion both in life and in work.

Six years later, by the time he graduated from college, Chesnokov was the author of several spiritual chants, and on February 18, 1896, his Antiphon of the 4th Tone was performed at the home concert of the Synodal Choir under the direction of V. S. Orlov. Two works by Chesnokov - “Cherubimskaya” and “It Is Worthy” - were included in the concert program on December 18, 1897, which became one of the starting points new school, about which Smolensky himself proudly wrote: “The spiritual concert on December 18 aroused unanimous approval in the press as indicating a serious and lively direction of our activities.” The first editions of Chesnokov’s sacred music were published later, in 1904, but since that time they have become an integral part of both church life and concert programs all around Russia.

From 1895 to 1904, Pavel Grigorievich was assistant regent of the Synodal Choir, but fame outstanding conductor- “both a remarkable virtuoso and a subtle artist” - brought him the management of the choir of singing lovers at the Church of the Holy Trinity on Gryazekh at the Pokrovsky Gate (1902-1914). The choir was “modest in size and in the quality of the vocal material of its members,” but its performance was called “excellent,” it was distinguished by “first-class merits”; a contemporary believed that “it is difficult to imagine more control power and wise measures in comparing the sonority of not only individual groups, but also individual voices of the choir.”

Before the revolution, Chesnokov’s authority as a remarkable regent was established by his activities in 1911-1916 at summer courses at the Regency School, founded by Smolensky. “The course choir annually, at the end of classes, sang the funeral Liturgy and memorial service for Smolensky under the direction of Chesnokov in the Church of the Savior on Spilled Blood in St. Petersburg and aroused universal admiration among the numerous listeners praying.” Pavel Grigorievich repeatedly left Moscow at the invitation of places to conduct spiritual concerts (Kharkov, 1911; Nizhny Novgorod, 1914; Kineshma, 1925).

During the Soviet years, Chesnokov headed the State Academic Choir, the only large professional choir in Moscow, for five years (1922-1927), and the choir always sang “like one person, like a real collective artist.” He also directed the choir of the Moscow Proletkult (1928-1932), a vocal and choral ensemble (1933-1938).

Chesnokov's legacy in the field of sacred music is enormous: it includes 38 opuses and 17 works without an opus, in total more than three hundred chants. Before the revolution, all of Chesnokov’s works were published by P. Jurgenson’s publishing house. In the second half of the 1920s, 17 chants were reproduced on a hectograph thanks to P. M. Kireev, previously the owner of the publishing house. In the 1990s, several attempts at publication were made in Moscow. In 1992, the Russian Music Publishing House released a reprint of the Liturgy op. 42 as part of a series prepared based on materials from the Publishing Department of the Moscow Patriarchate under the leadership of His Eminence Pitirim, Metropolitan of Volokolamsk and Yuryevsk. In 1994-1995, Chesnokov’s “Collected Spiritual and Musical Works” was planned; three notebooks with opuses 6, 33, 30, 19, 9 were published (editors and authors of the introductory article in the first notebook were A. G. Muratov, D. G. Ivanov). Nowadays, the publication of all unpublished works was carried out by the publishing house “Life-Giving Source” in four editions of “Spiritual works for a cappella choir”. The preparation of the musical publication with accurate source study comments was carried out by A.A. Naumov, a great expert on the life and work of the composer; He also compiled a detailed “List of spiritual and musical works by P. G. Chesnokov,” which gives a clear and precise idea of the chronology of his work from 1895 to 1927.

Chesnokov's largest opuses include: op. 12 (1906) Memorial service (“In memory of the dear, unforgettable brother Nikolai Grigorievich Chesnokov”); op. 24 (1909) Liturgy of the Presanctified Gifts with the famous “Let my prayer be corrected” (solo viola); op. 30 (1909) Hymns from the funeral service of the laity; op. 39 (1912) Memorial service (No. 2) (“In memory of the dear, unforgettable teacher-friend Stepan Vasilyevich Smolensky); op. 39a (1912) Requiem (No. 2), arranged by the author for male choir; op. 43 (1914) “To the Most Holy Lady”; op. 44 (1914-1915) “The most important chants of the All-Night Vigil.”

Let us note that for a long time Chesnokov did not create complete cycles of the Liturgy. Yes, op. 9 is a collection: it opens with 17 numbers “From the Liturgy”, followed by eight hymns “From the All-Night Vigil” and five hymns of Great Lent and the Liturgy. Opuses 15 and 16 (1907) are called “Chants from the Liturgy”, they contain a selection of works, including from previous opuses 7, 8, 9, 10.

And only in the Liturgy of St. John Chrysostom op. 42 (1913) for a small mixed choir, he implements the idea of cyclicity, the creation of a unified figurative and musically cycle, which is especially noted in the author’s preface: “I wanted to give small choirs a Liturgy that was integral in mood, valuable in content and accessible in execution. The future will show how far I have achieved this goal.” The last two cycles are the All-Night Vigil and the Liturgy of St. John Chrysostom's usual melody op. 50 were written in 1917.

The composer created mono-genre cycles: op. 22 (1908) Worshipers on the Lord’s and Mother of God holidays, Znamenny chant, last number- the famous “Angel Crying” with soprano solo; op. 25 (1909) Ten involved; as well as polyphonic arrangements of vocal melodies: op. 17 (1907) “Lord, I cried”, “Let my prayer be corrected” and the first stichera with a chant of eight voices, Kyiv chant; op. 18 (1908) Theotokos dogmatics of eight voices, large znamenny chant; op. 19 (1907) “God the Lord” and Sunday troparia in eight voices; op. 47 (1915-1916) Irmos Resurrection in eight voices, for a small mixed choir.

At the beginning of the First World War, responding to the growth of religious and patriotic sentiments in society, Chesnokov wrote several cycles: op. 45 (1915) “In the Days of War,” including special enhanced prayers Mother of God(“To you, the invincible Wall” and “Mother of God”); op. 46 (1915) “The continuation of prayer singing to the Lord God, sung during the battle against the adversaries who come upon us.”

Other opuses by P. G. Chesnokov are of a composite nature and contain various liturgical chants. One of them certainly stands out - op. 40 (1913), containing the most famous works composer with solo voices: “My soul magnifies the Lord” (soprano solo), dedicated to A. V. Nezhdanova, in which “the singer’s pure and gentle voice rings, literally pouring out like a lark against the backdrop of the luxurious sonority of the choir”, “Eternal Advice” (viola solo and male choir), “The Prudent Robber” (tenor solo and male choir), “Now You Let Go” (bass solo), “God With Us” (tenor solo), finally, “Do not reject me in my old age” with a unique solo the lowest male voice is an octavist, or bass profundo, reaching the G counteroctave.

Final points creative activity Pavel Grigorievich in the field of sacred music falls on the years 1927-1928. In December 1927 he wrote the last church hymn“Angel Cries” (No. 2) for soloist (tenor) and mixed choir, and on June 1, 1928 he ceased his regency activities. The fight against “churchism” gained momentum, composers were obliged not to disseminate their cult works, regency activities began to be considered incompatible with the title of Soviet professor. But even in these years, Chesnokov’s music was constantly heard at services. “A questionnaire on the performance of composers for 1927-1928” shows that in 446 churches in Russia Chesnokov’s chants were performed 5221 times.

What primarily attracted listeners to Chesnokov’s music? Its beauty is the beauty of melody, harmony, choral sound. “It is written stylishly and very beautifully,” a critic noted in 1898 about the chant “Bless the Lord, my soul.” “It’s a beautiful and full-sounding work,” says another about the composition “The Highest of Heaven.” “The sweet singer, the servant of God Paul” was proclaimed many years by 22 Moscow protodeacons at a prayer service in honor of his thirtieth birthday musical activity. Sweet singing is a pleasant, gentle, beautiful singing coming from the soul, from the heart. Admirers of Pavel Grigorievich’s talent, parishioners of the Church of St. Basil of Caesarea, wrote: “It is impossible to perceive your wonderful works without spiritual trepidation,<…>which have always testified and testify not only to the inexhaustibility of your creativity and the strength of your compositional skill, but also to your deep faith, to your religious delights, which you poured out in the chants you created.”

Chesnokov had an amazing melodic gift, the ability to compose striking, memorable melodies, especially in chants in honor of the Mother of God. How to convey in sounds the words of the Most Holy Lady “My soul magnifies the Lord”? Even theologians fall silent, reflecting, for example, on the mysterious events of the Feast of the Assumption, giving way to singing: “A certain spiritual darkness covers the revelation of everything in words about Her, not allowing us to clearly express the hidden understanding of the sacrament” (St. Andrew of Crete). And since it is not typical to talk about what is above words, love for the Mother of God should be sanctified primarily through hymns.”

The melody “Angel Crying” begins for the soloist with the words of the Archangel’s greeting “Pure Virgin, rejoice”: a small wave-like movement with a graceful descent, then its repetition, and then a takeoff, a wide leap, an enlargement of the rhythm (“and again the river”). And finally, the culmination: “Rejoice!” - coverage of the octave, sliding down to the third tone - stable, but also solemn. What is striking here is the melodic pattern in the literal sense, that is, the pattern with melody, the carefully verified musical embodiment of speech, and the subtle insight into the meaning of each word.

In the soft three-part structure of this chant by Chesnokov one can discern some distant similarity with the beginning of F. Makarov’s famous Easter Zadostoinik, and the hymnic D major evokes the Cherubic No. 7 of D. S. Bortnyansky. And at the same time, in Chesnokov’s creation there is more freedom, space, and joyful light. By building the form, the composer easily and imperceptibly overcomes the traditional school “square” construction (five lines of the chant have a length of 13-12-11-7-11 bars). The fugato characteristic of classical sacred concerts is repeated twice (“Rejoice now,” “Shine, shine”), the ascending order of entry of voices ends with a wide choral chant; These small sections do not stop or slow down the movement, but enhance the upbeat nature of the chant. Is the influence of operatic or salon music felt in this “Angel Crying”, for which the composer was often reproached? It seems that the presence of such an aria with a choir would introduce features of oratorio into the opera, and then critics should note the special sublimity, solemnity and even prayerfulness of this music, that is, qualities inherent in spiritual chants.

Chesnokov was often reproached for excessive beauty, inappropriate for church singing, “romantic style”, chromaticism in melody and harmony, luxurious “spicy” non-chords. But K. B. Ptitsa also wrote about the unusual “transformation” of the same means in choral performance: “Perhaps the strict ear and keen eye of a professional critic will note in the scores the salon quality of individual harmonies, the sentimental sweetness of some turns and sequences. It is especially easy to come to this conclusion when playing the score on the piano, without a sufficiently clear idea of its sound in the choir. But listen to the same piece performed live by a choir. The nobility and expressiveness of the vocal sound greatly transforms what was heard on the piano. The content of the work appears in a completely different form and is capable of attracting, touching, and delighting the listener.”

Chesnokov's works demonstrate excellent compositional technique; he masters the most different ways presentation and development of musical fabric, including polyphonic ones. It is known how persistently and persistently Pavel Grigorievich strove to receive a real professional education, namely as a composer; the learning process lasted almost until his fortieth birthday. After graduating from the Synodal School, “in 1895-1900 he studied privately with M. M. Ippolitov-Ivanov. Then, in search of a teacher, he thought and dreamed of studying with G. E. Konyus, A. T. Grechaninov, S. I. Taneyev, S. V. Rachmaninov. Konyus, having become acquainted with two published works by Chesnokov in the summer of 1902, gave the following assessment to the young composer: “I really like his work. He is undeniably talented. Sincere. A bit to musical beauty, to mental movements and has, in addition, the ability musical painting, knows how to give figurative relief to his thoughts. If he writes a lot and improves, he will go far.” Taneyev also assessed Chesnokov in 1900: “He can do a lot in the field of church music.” In 1917, being the author of fifty secular and spiritual opuses, Pavel Grigorievich graduated from the Moscow Conservatory in the classes of special theory and free composition (with S. N. Vasilenko) with a small silver medal.

Many of Chesnokov’s works are amazing examples of how in detail, step by step, he reveals and develops the content of the text. One of these samples, “Behold the Groom” op. 6 No. 1, was analyzed in detail by priest Mikhail Lisitsyn, the creator of the theory of the New Direction. For example, with the words “Behold the Groom is coming,” in his opinion, “it turns out like a program picture”: “the news of the approach of the Groom is transmitted in the crowd from mouth to mouth, which is expressed by Mr. Chesnokov through imitation.” Another explanation: at the words “Be careful, for my soul,” that is, “be attentive,” the melody is transferred to the soprano, the first bass enters the second and with this blow, as if trying to arouse the attentiveness of the soul.”

Lisitsyn especially emphasizes the formation of new sound colors from unusual combinations of voices: “All this, like mixing instruments in an orchestra, each time gives new and new colors, so that choral pieces in the compositions of the New Direction in Russian sacred music become similar to orchestral ones. Because of this, the former term “put”, or “transpose” something onto the choir can now be replaced by the expression “orchestrate” something onto the choir, which will be more consistent with the essence of church music of the New Direction.” This thought of Father Mikhail Lisitsyn, revealing one of the most important properties Moscow school, coincides with the ideas expressed by Chesnokov in the book “The Choir and Its Management.” Summarizing his many years of experience as a conductor, his exquisite knowledge of human voices, Pavel Grigorievich developed the idea of choral timbre (orchestration) of performed works, calling it “the science of the future.” He wrote that “with the emergence of a science akin to instrumentation, but studying human voices, their timbres, ranges, registers and applying different combinations voices by register-timbre groups", composers will no longer create four-voice, but multi-line choral scores, making full use of the choir's sound capabilities.

Chesnokov's music is distinguished by another valuable quality: continuity of development, a special energy that connects the various sections of the work into a single whole. Often the entire composition can be viewed as one extended crescendo leading to a vivid climax. Thus, at the beginning of the chant “To You, the Invincible Wall,” the concentration of the prayer is emphasized by the unison of female voices in B minor (although the composer does not ignore the words “affirmation of salvation,” marking them with the first major highlight). The next line, “Destroy the resistant councils, turn Your people’s sorrow into joy,” again starts from the minor key, little by little rushes upward, but still lingers on the word “sadness” with a sudden piano, and only at the end is the major key reached. But the composer does not stop, he continues to develop, turning his attention to the bass part: “Fence your city” - it sounds insistent, demanding. Here Chesnokov’s favorite dissonant chord with a second appears, reminiscent of the epic, heroic pages of Russian operas (for example, the prologue to Borodin’s “Prince Igor”). The last section (18 bars) contains a gradual, stepped, but purposeful rise to the brightest climax of the chant, marked by a wide chant and a powerful increase in the texture of the divisi sopranos, tenors and basses (“as you are, O Mother of God, our hope, our hope”); then follows a slow decline with a threefold repetition of the last words “our hope”, as if fading in pianissimo on the lips of those praying. Dynamics, nuances, phrasing, strokes are dictated by the text, everything is thought out to the smallest detail and recorded in the score. That is why Chesnokov’s chants were always listened to “with captivating attention.”

Some of Chesnokov's later opuses contain a lot of verbal comments that help express the will of the author. For example, in the Six Psalms op. 53 No. 1, in addition to the tempo designation “Moderately” and the nuance “Solemnly”, several remarks are immediately given in the canonarch (viola) part: “In one breath, rhythmically, in time, quickly, sonorously, clearly.” With the introduction of the solo voices (“Lord, open my lips”), a new tempo was written out: “Slowly, but not very”, new nuances: “Singing, prayerful, joyful, light,” and each soloist wrote out the remark “Softly” many times. Sometimes the composer is very categorical. Thus, in the commentary to his last work “Angel Cries” (No. 2) with a solo tenor, he writes: “It is customary to sometimes assign solo tenor parts soprano soloists and vice versa. I declare that this composition is intended only for a tenor soloist. If the solo part is sung by a soprano, the composition will be completely ruined.”

In the chant “Memorial” (Op. 53 No. 4, based on the text of the last three sections of morning prayers, dedicated to the community and choir of the Church of St. Basil of Caesarea, where the composer directed the choir from the beginning of 1920 to July 1, 1928), 31 remarks are recorded. Here is a kind of author's preface: “The nuances must be precise and calm. The diction is clear and bold, because if the words do not reach the listener, everything is lost. General mood- reverent quietness and prayerfulness. Viola is bright and convex; sensitive, gifted insight into what is being performed and complete sound completeness are the conditions under which only performance can be entrusted.” A few pages later, he again gives extended instructions: “For the first part of the “Memorial” (“Save”), a wide, massive, melodious viola is desirable, but here - a strict, dispassionate (monastic) canonarch. It is better if these two parts are performed by two different violas, each typical in their own way. Violas should be for women, but not for children. All recitative sections should be performed slightly faster than the beat; All clocks must have a certain speed of movement. This entire part (“Remember”) is performed by the choir in a strictly shaded sound. Viola is bright, dispassionate, humbly asking.” It is impossible not to note the originality of the composer’s vocabulary, for example, here: “In small nuances there should be no oversalting or pretentiousness.” The prayer “Remember, Lord, from the life of this departed servant of Thy ever-memorable, His Holiness Tikhon, Patriarch of Moscow and All Russia” is accompanied by the remark “Severity and dispassion in external design and deep internal expressiveness,” and above the female trio that enters next, on the word “remember” is written “gently (three candles).” The note “devotedly, but not defiantly and not loudly, but with faith and confidence” on the words “I confess to you, Lord, all my sins” makes me think once again about what a wide palette of sound colors and shades Pavel Grigorievich felt and sensed in the choir sound.

Chesnokov became widely known for his compositions with the solo roles of the deacon. According to the memoirs of Hieromonk Daniil (Sarychev), a resident of the Danilov Monastery, Chesnokov eclipsed all church composers with his innovations. “Almost all the protodeacons - Mikhailov, Kholmogorov, Turikov - sang his litanies, 'God Save.' It's about first of all about the “Great Litany” (deacon bass solo) from op. 37 (1911), dedicated to the great archdeacon Konstantin Rozov. Chesnokov’s opinion is known: “It always seemed to me that the litanies are performed completely differently than they should be, that is, the deacon, with whom all the content is relegated to the background, and the choir, this humbly asking crowd, is in the foreground with its loud voice and monotony. This thought prompted me to write the ektenia in the proposed (reverse) form.”

The new presentation - the deacon's melodious recitative against the backdrop of choral accompaniment - was received with great enthusiasm. “More solemn majesty is heard in the prayer for the Royal House and the hierarchs of the church; the exciting voice of earthly sorrow is heard in the humble prayer for the “ill, suffering, and captives.”<…>It is with this form of writing that the Great Litany acquires significance, corresponding to its meaning in worship, each word is imprinted in the soul with the appropriate mood.” This is confirmed by the welcoming address dated November 16/29, 1925, signed by ten protodeacons and 12 deacons of the city of Moscow: “You were the first to pay attention to the diaconal ministry in your musical church works. The acts that you put into melody showed us, the deacons, a new understanding of our purpose as clergy, who must not only accurately and clearly convey the text of liturgical prayers, but also combine the beauty of sound with the transmission and take care of creating a high spiritual level in the worshipers through their service. moods. This is how Orthodox Rus' understood your works for deacons, which is why these works found such a wide reception throughout Rus'.”

It is worth noting that in 1917, the Moscow Council of Deans, “having heard statements from some dean fathers about the increasing and more frequent pronouncement of Chesnokov’s litanies in some churches in Moscow, reminiscent of theatrical plays, devoid of a prayerful character and generally alien to the Orthodox church system, they determined: to bring through the dean fathers brought to the attention of the rectors of the churches that the recitation of such litanies should be completely prohibited.” But from the memoirs of a contemporary, we learn about the actual permission to perform these works, given by Metropolitan Tryphon (Turkestanov). Bishop Trifon, knowing about the complaints about Chesnokov’s music, asked the famous protodeacon Mikhail Kholmogorov to sing the litany at his mass in the Andronievsky (Spaso-Andronikov) Monastery, and then asked several of those present at the table about the impression made. And when the monk from New Athos said: “When I listened to her, I had such a feeling as if I was not on earth, but in heaven,” Vladyka supported him: “So I had exactly the same feeling. Sing, Father Protodeacon, sing!” .

The 140th anniversary of Pavel Grigorievich Chesnokov gives us a reason to sum up some results: what has been done to study his biography, to preserve, research, disseminate his heritage, to perpetuate his memory? Things are going relatively well with the publication of his spiritual works: they are all published in the sum of pre-revolutionary, Soviet and modern editions, but the complete collection of Chesnokov’s works in the truly scientific sense of the word is missing. There is also no complete set of all his works in audio recordings, although individual compositions are constantly heard at services, in concerts, and recorded on discs. Of great value are the publications in various volumes of “Russian Sacred Music in Documents and Materials” of many documentary sources (correspondence, fragments of memoirs, periodicals, concert programs, etc.), mostly prepared and commented on by A. A. Naumov. But there is not a single monograph about Chesnokov... The foundation of musicological research laid down in the works of K. B. Ptitsa and K. N. Dmitrevskaya is practically not being developed. The first edition of the book “The Choir and Its Management,” which contained examples from spiritual and musical literature and analyzes of similar works, has not been published; only the preface has been published with a dedication to the Russian choir directors, “seekers, striving for knowledge of their art.” There is not a single monument, a bust of Chesnokov, at the place of his burial on Vagankovsky cemetery- a simple marble board. “Finally, it seems, Chesnokov’s time has come,” wrote A. A. Naumov on the 120th anniversary of Pavel Grigorievich. With hope, we will repeat this in 2017, paying tribute to respect and love to the outstanding Russian musician.

October 24, 1877 – March 14, 1944

Russian choral conductor, composer, church choir director, professor at the Moscow Conservatory

Biography

Born near the city of Voskresensk (now Istra) in the family of a rural regent. All the children in the family showed musical talent, and the five Chesnokov brothers different time studied at the Moscow Synodal School of Church Singing (three became certified regents - Mikhail, Pavel and Alexander).

In 1895, Chesnokov graduated with honors from the Synodal School. Subsequently, he took composition lessons from S. I. Taneyev, G. E. Konyus and M. M. Ippolitov-Ivanov. After graduating from the Synodal School, he worked in various Moscow colleges and schools: in 1895-1904 he taught at the Synodal School, and in 1901-1904 he was an assistant regent of the Synodal Choir. In 1916-1917 he conducted the chapel of the Russian Choral Society (on Kuznetsky Most in the house of Torletsky - Zakharyin).

In 1917, Chesnokov received a diploma from the Moscow Conservatory in composition and conducting classes.

Since the 1900s, Chesnokov gained great fame as a regent and author of sacred music. For a long time he led the choir of the Trinity Church on Gryazi (on Pokrovka), from 1917 to 1928 - the choir of the Church of St. Basil of Neocaesarea on Tverskaya; He also worked with other choirs and gave spiritual concerts. His works were included in the repertoire of the Synodal Choir and other major choirs.

After the revolution, Pavel Grigorievich led the State Academic Choir and was choirmaster of the Bolshoi Theater. From 1920 until the end of his life he taught conducting and choral studies at the Moscow Conservatory. After 1928, he was forced to leave his regency and the composition of sacred music. In 1940 he published a monumental work on choir dance, “The Choir and Its Management.”