In the constellation of names of famous composers of Russian sacred music, there is one name, when uttered, many Russians feel warmth and bliss in their hearts. This name has not been overshadowed by others, sometimes very famous names; it has stood the test of the strictest court - the impartial Court of Time. This name - Pavel Grigorievich Chesnokov.
Chesnokov was born on October 25, 1877 in the village of Ivanovskoye, Zvenigorod district, Moscow province. Already in childhood, he discovered a wonderful voice and bright musical abilities. At the age of five, Pavel began singing in the church choir, of which his father was the choir director. This helped him enter the famous Synodal School of Church Singing, which became the cradle of many outstanding figures of Russian choral culture. Here his teachers were the great V.S. Orlov and the wise S.V. Smolensky. After graduating from college with a gold medal (in 1895), Chesnokov studied composition privately with S.I. for four years. Taneyev, simultaneously working as a teacher of choral singing in women's boarding schools and gymnasiums. In 1903, he became the choir director at the Church of the Trinity on Pokrovka (“on Gryazi”). This choir soon gained fame as one of the best in Moscow: “They didn’t pay the singers, but the singers paid to be accepted into Chesnokov’s choir,” one of the Moscow regents later recalled.
For many years, Chesnokov, while continuing to work in Moscow (during these years he also presided over the Church of Cosmas and Damian on Skobelevskaya Square), often traveled around Russia: he acted as a conductor of spiritual concerts, conducted classes at various regency and regency-teacher courses, and participated in the work of regency congresses. It was the regency business that was central to the life and work of the renowned master of church singing. But he himself was never satisfied with himself, and therefore in 1913, being already widely known throughout singing Russia, the 36-year-old composer of sacred music entered the Moscow Conservatory. Here he studied composition and conducting with M.M. Ippolitov-Ivanov and instrumentation with S.I. Vasilenko. Chesnokov marked his fortieth birthday in 1917 by graduating from the conservatory in the free composition class (with a silver medal), having in his creative portfolio about 50 opuses of sacred and secular music. And in the same year, it was Chesnokov and his choir who received the honor of participating in the enthronement of Patriarch Tikhon.
The master's subsequent activities were filled with painful attempts to find a place for himself in a new, radically changed life: conductor and artistic director of various Moscow choirs (but nowhere for a long time), teacher at a music school and the People's Choral Academy (formerly the Synodal School), professor at the Moscow Conservatory. Until 1931, he was regent at the Cathedral of Christ the Savior, and in 1932 he became the first head of the department of choral conducting at the conservatory. In 1933, Chesnokov’s book “The Choir and Its Management” was completed and in 1940 published (and sold out within a few hours) - the only major methodological work of the famous choral figure. It summarized the many years of invaluable experience of the author himself and his fellow synodals. For many years, this work (though without the chapter on regency practice removed by the author at the request of the publisher) remained the main manual for the training of domestic choirmasters. All this time he continued to compose sacred music, but no longer for performance or publication, but only for himself.
The last years of the composer's life were the most dramatic. Mental suffering was increasingly drowned out by alcohol. In the end, the heart could not stand it, and one of the most soulful lyricists of Russian sacred music found rest in the old Moscow Vagankovsky cemetery...
Assessing Chesnokov’s multifaceted, original talent, contemporaries noted in him a unique combination of various qualities, both musical and “great human”: strict professionalism and deep respect for his work, enormous musicality, brilliant artistic talent, a magnificent refined ear and, also, spiritual purity , sincerity, deep humanity and respect for people. And all these qualities were reflected in one way or another in his music, just as his characteristics as a choirmaster, conductor, and performer were reflected in it.
Among Chesnokov’s works there are romances and children’s songs (just remember the charming cycle “Galina’s Songs”), there is piano music, and among student works there are instrumental works and symphonic sketches. But most of his opuses were written in the genre of choral music: choirs a sarella and with accompaniment, arrangements of folk songs, transcriptions and editions. The most important part of his legacy is sacred music. In it the composer's talent and soul found the most perfect, deepest, most intimate embodiment.
Entering the galaxy of composers of the so-called new Moscow school of church music, Chesnokov is still noticeably different from them. Like Kastalsky, who constructed a special (partly speculative) “folk-modal system” and applied it in his secular and spiritual compositions, Chesnokov “built”, or rather, intoned his own system, built on easily recognizable melodic and harmonic turns of Russian urban song and everyday romance of the late 19th century. Unlike Grechaninov, who created a special monumental temple-concert style of sacred music, based on the vocal-instrumental polyphony of orchestral writing, Chesnokov creates the no less rich polyphony of his compositions exclusively on the unique originality of the singing voices a sarella, imperceptibly dissolving the dome “echoes” of the temple into the choral sonority acoustics. Unlike Shvedov, who imbued his spiritual compositions with the “delights” of romantic harmony and rational design of form, Chesnokov never succumbs to the temptation to compose for the sake of demonstrating authorship, but always follows his lyrical, sincere, childish, slightly naive musical instinct. Unlike Nikolsky, who often complicated the church-singing style by using brightly concert, purely orchestral writing techniques, Chesnokov always preserves in purity the unique, entirely Russian vocal-choral style of temple sonority. And yet he approaches the text like an astute playwright, finding in it monologues, dialogues, lines, summaries and many stage plans. Therefore, already in his Liturgy, op. 15 (1905), he discovered and brilliantly applied all those dramatic techniques that Rachmaninov would use 10 years later in the famous “Vespers.”
And there is, among many others, one fundamental feature of Chesnokov’s vocal-choral writing. Whether a soloist sings or a choral part sounds, this statement is always personal, i.e., essentially, solo in nature. Chesnokov's melodic talent is not characterized by developed melodies (with the exception of quoting everyday tunes), his element is a short motive, less often a phrase: sometimes of a recitative-ariot nature, sometimes in the spirit of an urban romance song. But any melody requires accompaniment, and the role of such accompaniment is played by all other choral voices. Their task is to highlight, interpret, decorate the melody with beautiful harmony - and it is precisely admiring the beautiful, “spicy”, romantically refined harmony that is characteristic of Chesnokov’s music. All these features indicate that Chesnokov’s music belongs to the genre of lyricism - often sentimental, expressive in its improvisational and everyday origins, and personal in the nature of the statement.
Most of all, this statement becomes romantically moving and artistically convincing when the composer uses the concerto genre by entrusting the solo part to a separate voice. Chesnokov's legacy includes many choral concerts for all types of voices. Particularly notable among them is the six-concert opus 40 (1913), which brought the author truly boundless fame and glory (especially thanks to the unique concert for bass-octavist accompanied by a mixed choir). At the same time, much more often one can observe in Chesnokov’s works diverse manifestations of the principle of concert performance, based on the maximum identification of the group performing capabilities of the parts that make up the choir. Opus 44, “The Most Important Hymns of the All-Night Vigil” (1913), can be classified as works of this kind. It is significant that both of these opuses, completed in the year their author began studying at the Moscow Conservatory, not only demonstrate a new level of Chesnokov’s compositional skills, but also testify to his unique attitude to the genres of sacred music, built on the creative combination of domestic church singing traditions and the latest achievements musical art.
A remarkable feature of Chesnokov’s music is its simplicity and accessibility, its recognition and heartfelt closeness. She delights and elevates, cultivates taste and corrects morals, awakens souls and inspires hearts. Having gone through a long and difficult path together with the land that gave birth to it, this music still sounds bright and sincere today. Because, as it was said in the obituary of the composer’s memory, published in the “Journal of the Moscow Patriarchate” in April 1944, “without striving for any external effects, Chesnokov inspired the words of prayer petitions and doxologies with the simplest melodies, sounding from the depths of pure and perfect harmony. (...) This wonderful composer conceptualized church music as prayer wings on which our soul easily ascends to the throne of the Most High.”
Konstantin NIKITIN
The domestic history of the past century shows us wonderful examples standing for the faith. In Russia, during the atheistic regime, hundreds of thousands of Orthodox Christians accepted torture and death for Christ. But there were people whom the atheistic authorities did not dare to openly persecute. Nevertheless, their life was a stoic profession of faith and they managed to remain faithful to God. Such people include Pavel Grigorievich Chesnokov.
P.G. Chesnokov was born in 1877 in a working-class village in the Moscow province. His father was a regent in the local church - conductor of the church choir. From the early age when the father began to take little son to the service, Chesnokov’s singing ministry began.
It is significant that Pavel Grigorievich was born on the day of remembrance of the Monk Cosmas of Maium, a hymn writer who, according to Archbishop Philaret (Gumilevsky), “composed sweet, harmonious songs for the Church, with tireless deeds presenting himself as a harmonious psalter to the Lord.”
The Lord endowed the boy with excellent hearing and voice, and at the age of eight he entered the Moscow Synodal School of Church Singing. Pavel finishes it in 1895 with a gold medal.
After this, he worked as a regent in many churches in Moscow, taught in gymnasiums and colleges, and at the same time continued his musical education. For several years he has been taking composition lessons from S.I. Taneyev, and in 1913 he entered the Moscow Conservatory, from which he graduated in 1917 with a silver medal in the free composition class.
Chesnokov works a lot: he leads a choral conducting class at the Moscow Synodal School of Church Singing, teaches choral singing in primary and secondary schools, in addition, he directs the choir of the Russian Choral Society and serves as a regent in several church choirs. The 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 objectionable in his own country?..
The revolution found Chesnokov at the peak of his creative and vital powers and, of course, was a strong blow for him. Regent, composer, teacher - all his activities were entirely dedicated to the Church...
In the early 20s, concerts from Chesnokov’s works were still held in some places, but as the persecution of the Church and believers intensified, it became clear that the previous creative activity was impossible. And what could be more painful for a real artist than forced silence?
At this time, many artists emigrated, and even his brother Alexander went to Paris, but Pavel Grigorievich, who undoubtedly had such an opportunity, remained in Moscow, and this was natural for someone whose work was deeply national.
He directs the Moscow Academic Choir, works as a choirmaster at the Bolshoi Theater, and teaches at the Moscow Conservatory and its school. And, of course, writes music.
Chesnokov was dearly loved by Muscovites. To confirm this, we can cite a fragment of congratulations on the 30th anniversary creative activity, received by him from the clergy and parishioners of the St. Nicholas Church on Arbat:
...Thank you for the Orthodox story,
For the faith of our native antiquity,
For a song consonant, glorious,
In a vision of the coming Spring.
Thank you for the burning flame -
Their prayer lives in silence.
Thanks for all the pleasures
Our rapturous soul.
We welcome you for many years,
May genius live forever
And the Eternal to us, many years old,
He sings to the joy of Russia.
According to experts, Pavel Chesnokov was a brilliant choral conductor. After graduating from the conservatory, Chesnokov begins to write the main work of his life - the book “The Choir and Its Management.” At the end of 1917, he writes: “God gave me the idea that I should write a book...” By 1926, almost all the work was completed. But the joy over the creation of the book was premature.
In 1930, he wrote to his brother Alexander in Paris: “...You probably remember that in December 1917 I started writing big book– “The choir and its management.” I, who had never written two lines for publication, sat down to write a large book because, after working for twenty years in the field of my favorite choral business, I realized that there is no science in our art. Having realized this, I set myself a bold thought - to create, if not science, then at least a true and solid foundation for it.
The work, which lasted continuously for thirteen years, was full of sorrows and joys, because to discover laws and their systems means to exert the greatest stress, not only physical, volitional, nervous, but also the strain of the entire spiritual essence... I will be brief - the book was rejected, print it from I can’t have us in the USSR.
Cause? Apolitical. But, of course, this is not the reason. Everyone who needed it knew that I was not a politician, that I was a choir specialist and was writing a scientific and technical book. The real reason, in my opinion, is that it was written by Chesnokov, a former church regent and spiritual composer. And so the thought came to me - if it’s not possible here, with us, then maybe, maybe it will be abroad?..”
Pavel Chesnokov had rather tense relations with the Soviet authorities, but representatives of official state atheism in the Soviet Union could not help but see his great talent as a composer and choirmaster, and in 1931 permission to publish the book was nevertheless given. True, another nine whole years passed before it was published, full of moral suffering and upheaval.
In 1940, the book was finally published, but with a disapproving preface. He was never forgiven for his permanent regency... Be that as it may, since then it has remained a reference book for the world's leading conductors.
Despite the unequivocal attitude of the authorities towards him, Pavel Grigorievich enjoys enormous authority among fellow musicians, and in 1920 M.M. Ippolitov-Ivanov invites him to teach at the Moscow Conservatory. Standing at the origins of the creation of the department of choral conducting at the Conservatory, Chesnokov was the founder of the national choral school. In the period from 1917 to 1933, he led several professional and amateur groups.
With Alexander Vasilyevich Alexandrov and other famous masters of choral art. Moscow Conservatory, mid-1930s.
It cannot be said that the repressions did not affect him in any way. One day (in the late 30s), coming home in the evening, he said to his wife Yulia Vladislavovna: “Yulechka, pack your things, they’ll probably take me away soon.” - "What's the matter?" “Today I was called to the Lubyanka and asked to write anti-religious ditties.” - "And you?" - “Naturally, he refused.” But the Lord was merciful, and after this incident Chesnokov was no longer remembered “there.”
Pavel Chesnokov died in 1944 in Moscow. It was the time of 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.
Creative heritage of P.G. Chesnokov extensively. He wrote both secular and church music, but, first of all, gained fame as a church Orthodox composer. The church hymns he created are practically all the most important prayers of Orthodox worship (often in several versions). From them we can trace the development of Chesnokov’s compositional language. His writings are very different.
The early ones, performed by the Synodal Choir in the Kremlin Assumption Cathedral, are quite simple in musical composition and inspired by strict ancient chants. Later works are based on the same chants, but appear before us in a completely new form, thanks to various harmonization techniques. However, each creation of the composer surprisingly easily conveys the words of prayer to the hearts of both the simple and the sage. Chesnokov's creativity is deeply national and original.
The works of Pavel Chesnokov are very advantageous in concert terms. They let the singers the best way demonstrate their vocal capabilities, which is why Russian opera stars, for example, Irina Arkhipova, a former soloist of the Bolshoi Theater, often turn to Pavel Chesnokov’s spiritual chants.
But this is not always good from the point of view of the church, because worship does not require spectacular and brightly colorful sound. On the contrary, they interfere with the depth and severity of prayer, and therefore are little compatible with worship. But this is where the universality of Pavel Chesnokov’s talent was revealed. He was cramped within narrow limits 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, like Tchaikovsky, Rachmaninov, Taneyev, Ippolitov-Ivanov. All of them belong to the so-called Moscow school of composers. The music of these composers is characterized by deep lyricism and psychology.
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”. In Rus', sounds were recorded with the help of “banners” or “hooks,” and these signs actually resembled hooks of different shapes. This recording of sounds had nothing in common with musical notation, not only appearance, but even according to the recording principle. 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 who search for ancient manuscripts in archives and decipher them. Znamenny singing is gradually returning to church life, but for now it is perceived more as a rarity, exotic.
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 his era and practiced polyphony.
Chesnokov is one of the most prominent representatives of the so-called “new direction” in Russian sacred music. Typical for him are, on the one hand, excellent mastery of choral writing, excellent knowledge different types traditional singing, and on the other hand, a tendency towards great emotional openness in the expression of religious feelings, up to a direct rapprochement with song or romance lyrics. The latter is especially typical for sacred works for voice and choir that are now very popular.
Modern musicians note the interesting musical language of Pavel Chesnokov, who created over 500 choral pieces.
“There are a lot of garlic sounds in churches, and this is not by chance,” says Marina Nasonova, regent of the Church of the Holy Silverless 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 chanter and knew very well the applied church tradition. He had a keen sense of worship. His music is extremely deep in its spirituality.”
The director of the church choir of the Moscow Church of the Intercession speaks 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 that was blown up during Stalin's time. When the temple was destroyed, Pavel Chesnokov was so shocked by this that he stopped writing 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 subtly felt every word, every verse, every prayer. And all this was reflected in the music.”
One of the composer’s best creations, “May my prayer be corrected...” became such a crystal-clear reflection.
CD cover Panikhida CD -
