Handoshkin Ivan Evstafievich

Main article: Music in Russia in the XVIII century

Ivan Evstafievich Khandoshkin is the founder of Russian violin performance. The talented musician is self-taught.

Handoshkin was one of the first to use and brilliantly process Russian peasant and urban folk songs in his works for violin and other instruments. He gained fame as a collector of folk songs. Handoshkin's name was popular in Russia. A talented composer, with a pronounced national talent base, the creator of Russian violin literature and one of the founders of the Russian violin style, a brilliant violinist who masterfully owned the guitar and balalaika, conductor and teacher - this is the versatile range of activities of this wonderful artist.

The creative nature of Ivan Handoshkin was very close to the contrast of affects and the tragedy of the Storm und Drang movement. This was most pronounced in the Sonata in G minor for solo violin and in some Russian songs with variations.

Biography

Ivan Evstafievich Khandoshkin was born in 1747. His place of birth is unknown. Handoshkin was the son of a court musician - a timpani under Peter III and was brought up at the orchestra, where he went under duress. This information was reported by V.F. Odoevsky.

Handoshkin entered the court service, probably in the very late 50s or early 60s. XVIII century student in the court orchestra, at the age of 12-13 years. This confirms the surviving petition of Prince G. A. Potemkin from 1785 to Catherine II with a request for the dismissal of Handoshkin from court service, "with the award of a pension for his long-term service and the awarding of the rank of court officer." Long-term service at theaters, which at that time gave the right to a pension, was considered a 20-25 year term of work.

Documents preserved in the archive of the Directorate of Imperial Theaters confirm that Handoshkin was among the students of the orchestra and his teacher was the court chamber musician Tito Porto. Later in 1784, in a petition to pay him for pedagogical work on the theater directorate, Porto wrote that "he had the opportunity to train the singer, two singers also for the orchestra of six violinists from whom there is now one and bandmaster Handoshkin." The petition contains a note: "According to the correction made, it is obvious that the pensioner T. Porto really taught the students shown to him and did not receive any awards for that."

1764: Violin teacher in the classrooms of the Academy of Arts

Since March 15, 1764 (at the age of 17) Handoshkin worked as a court musician as a violin teacher in the instrumental classes of the Academy of Arts, where he had 12 students.

1783: Kapellmeister and first violinist of both court bands

In the early 1780s, Handoshkin was in the court service as a chamber musician and bandmaster, gave concerts at the "German theater," his works were published in the center of the then noteprint - Amsterdam. In 1783, Handoshkin, together with the first court actor I.A. Dmitrevsky, accepted Knipper's Free Wind into the treasury. Handoshkin also taught in the orchestra of this theater. Dmitrevsky, when transferring the theater to the treasury, pointing to the measures taken by him to improve the actors and musicians, wrote:... "in the reasoning of the pets entrusted to me, let me say without praise that I applied all measures about their education and moral behavior in what I refer to themselves. They are teachers - Mr. Handoshkina, Rosettia, Mayashtein, Serkov, Anzholinia and myself. "

All this testified to the recognition in the person of Handoshkin of a major musician. The salary he receives also speaks of this: 1100 rubles, except for an apartment and wood-burning ones, is a salary significant in that time, especially for a Russian musician.

Handoshkin also conducted pedagogical work at the Theater Directorate. Of Handoshkin's students in the court orchestra, I.F. Yablochkin became famous.

Handoshkin's artistic fame during these years is evidenced by his election as a member of one of the St. Petersburg music clubs that played a large role in the musical and social life of the capital. Famous artists and actors were elected honorary members of these clubs (there were only two of them).

In 1784 Handoshkin, along with choreographer Angamini and composer of ballet music Canobbio, was directly involved with the court ballet company, serving as its tutor and, as the first violinist of both court orchestras, conductor of ballet performances. There is also evidence that Handoshkin was a writer of ballets at court.

"They say that he (Khandoshkin) played in many ways Paganinievsky in a similar way, played on one string, as well as on building for the most convenient work of effects." The last trick of the game was so, apparently, inherent in Handoshkin that after his death, characterizing the political state of European affairs, they wrote:... "the whole of Europe, like the Khantoshkin violin at odds." The enormous skill with which Handoshkin owned the scordature technique is evidenced by the case when at an evening with S. S. Yakovlev he improvised sixteen variations with the most difficult violin setup: sol, si, re, sol.

Handoshkin's widespread use of the scordature technique is characteristic of the connections of his performing arts with the art of folk violinists. Scordature, a technique common to a folk violinist who constantly changes the structure of the violin in accordance with the tone of the song being performed. Thanks to this technique, the violinist gets the opportunity, without leaving the first position, to extract from his instrument combinations of sounds that cannot be extracted with a normal system.

Khandoshkin was especially famous for his inimitable performance of Russian folk songs. The fame of the "first writer and player of Russian songs" indicates that the folk song occupied a dominant place in his performing practice. At the end of the 18th century, interest in folk art and everyday ties with the popular order were strong not only in wide circles of provincial and metropolitan society, but were manifested, in part, in the direct court environment.

"The first place in the performance of Handoshkin was undoubtedly occupied by the people, that lyricism and that warm heart that is so characteristic of the Russian muse." In his game, which was distinguished by a "brilliant impulse," contemporaries noted the characteristic Russian national trait, which was later so figuratively expressed by Pushkin - "then rampant remote, then heartfelt longing." The expressiveness of the performance of this ingenious violinist was so great that, "listening to Adagio Handoshkin, no one was able to resist tears," and the rhythmic strength is such that with "indescribably bold jumps and passages, which he performed with true Russian luck on his violin, so the legs of listeners and listeners themselves began to unwittingly jump."

1785: Potemkin seeks Handoshkin's dismissal from court service and appoints him head of the university in Yekaterinoslav

Since 1785, the name of Khandoshkin has been associated with the name of Prince G.A. Potemkin and the Music Academy organized by him in Yekaterinoslav (now Dnepropetrovsk). Potemkin was a lover of music and folk song. On October 5, 1784, Prince G.A. Potemkin opened a petition to Catherine II for the foundation of the Academy of Sciences and Arts in Yekaterinoslav, determining the capital amount for maintenance. This was followed by the highest decree on the foundation of the university, in which not only science, but also art should be taught.

Having received the approval of Catherine II, Potemkin attracted Handoshkin as the head of the university. Potemkin became interested in Handoshkin's game, having heard his brilliant improvisation when performing the obligate violin part in one of Giuseppe Sarti's oratorios, written by the latter on the orders of the "lightest." Handoshkin had a remarkable gift of improvisation. He "improvised on whole sonatas" and emerged victorious from the most difficult competitions with foreign virtuosos, playing with them "improvisations in front of Potemkin." Improvisational - a characteristic feature of Handoshkin's performing arts - left an imprint on all his composer's work, being reflected not only in the form and texture of his works, but also in the special instructions often found in them, providing for free improvisation of the performer.

Contemporaries said that Handoshkin was the favorite of Potemkin and Naryshkin, whom he "brought into musical rage with his balalaika. The latter was made of a pumpkin's throat, the inside of which was glued with broken crystal powder, the sound from this was the cleanest, silver. "

Handoshkin was fond of playing the seven-string guitar, for which he wrote a number of pieces and was widely known as a conductor. There is information about the enormous success that the orchestra used in St. Petersburg, which played under his direction.

Having obtained from Catherine II the dismissal of Handoshkin from court service, Potemkin wrote to Prosecutor General A.A. Vyazemsky on February 20, 1785:

"Her imperial majesty deigned the court of her imperial majesty, chamber musician Ivan Khandoshkin, to be dismissed for determination to the University of Yekaterinoslav with the awarding of the rank of court sage, which is what I am given to know from the committee established over spectacles and music. And your grace dutifully asks with the delivery of a patent to him for the granted rank. "

On the same day, the entertainment and music management committee fulfilled Potemkin's desire. February 23 was followed by the highest decree to the cabinet on the dismissal of Handoshkin with the "rank and pension," and on April 2, violinist A.M. Syromyatnikov was appointed in his place. On April 26, Potemkin notified the Yekaterinoslav ruler Sinelnikov about the appointment of Handoshkin "with the awarding of the rank of court mundshenk." On April 30, at a meeting of the Committee for the Management of Spectacles and Music, the request of the head of the Yekaterinoslav University Ivan Khandoshkin was considered, who asked for the issuance of the salary due to him during this derecision.

In subsequent years, activities to organize the university continued. On October 6, 1786, Potemkin submitted for approval the projects of the university buildings "coupon with the academy of music or conservatory." In July 1787, an Italian musician, a certain Branca, who served with Potemkin as a member of a small instrumental ensemble that served his household needs, conveyed from Kremenchug to "Mr. Sarti" a list of instruments brought from Italy, on his orders for the "school of the Imperial Philharmonic Academy in Yekaterinoslav."

In August 1787, Potemkin signed a contract with the Italian Daloko to teach the latter harpsichord and solfeggio "at the Imperial Academy of Music in Yekaterinoslav," and in March 1790 with violinist Luciano Joglio about teaching at the "Philharmonic Academy." Activities to organize the Academy were interrupted only with the death of Potemkin.

The head of the University of Yekaterinoslav, Ivan Khandoshkin, at that time lived in Moscow first "in the parish of nine martyrs" in the house of Mr. Nekrasov, and later at the Tver Gate "against the Holy Monastery" in the house of Captain Natalya Grigorieva, did not go to Yekaterinoslav and had nothing to do with the affairs of the "Music Academy."

Handoshkin's situation, for whom the suspension of the Music Academy was probably unexpected, was difficult, otherwise he would hardly have taken up selling violins at a similar price. The mention, in connection with the organization of the Giuseppe Sarti Music Academy, sheds light on such unexpected vicissitudes in the fate of the head of the university, Ivan Handoshkin.

Sarti, who was not only a court composer, but also a cunning and dexterous tzaredvorets who managed to serve Potemkin and his enemy Zubov with the same zeal, probably managed to push Handoshkin out of his post in 1791, after Potemkin's death, he was officially appointed director of the Academy. This institution has not actually been opened yet, since the decree appointing Sarti as director says:... "to produce Sartia a salary from the Cabinet until the amount for the Academy is appointed."

1787: Return to Petersburg

After 1787, Handoshkin moved from Moscow to St. Petersburg, where in 1790 he lived in the "third part of the Catherine Canal," in the coal wooden house of Colonel Andreevsky.

Living in retirement, Handoshkin took part in the musical and social life of St. Petersburg. His talent was highly appreciated by contemporaries who called the brilliant violinist "our Orpheus." During these years, his name is given among the few names of prominent Russian musicians and artists who lived in St. Petersburg. Handoshkin acts as a performer at the court of Paul I, takes part in the musical evenings of Sergei Savvich Yakovlev, the son of the famous rich man and industrialist Savva Yakovlev.

Handoshkin retained the virtuosity of technology until the last years of his life "and at this age he played arpeggia with a short Tartinievsky bow." The latter indicates that Handoshkin used the bow of the Tartini design, shorter than the modern (Turtovsky) with a straight cane, and canneling (longitudinal cutouts at the point of holding the bow for greater convenience of the player).

1804: Demise

Handoshkin died on March 18, 1804, suddenly from paralysis, hearts having come to the Office for a boarding house, 57 years old. Handoshkin's funeral took place the other day on Saturday March 19. The haste of burial can be explained only by the fact that the following days coincided with the church "Great Lent." Many friends and acquaintances did not know about Handoshkin's death, about his burial the next day and were not present at the funeral. They buried him in the Kazan Cathedral. Archpriest Fedor was present when the body was taken out of the cathedral. The day was cloudy, quiet, it was snowing. Handoshkin was buried at the Volkovsky cemetery.

Handoshkin's portrait has not been preserved. The only description of his appearance is given in the records of V.F. Odoevsky: "The growth of the average, dense, beautiful appearance, the eyes are large - he wore a wig."

The life of Handoshkin's widow, Elizabeth, who remained with her young son, was in extreme poverty. In a petition filed in the name of Emperor Alexander I, Handoshkin's wife asks for a pension. She was assigned a half pension from her husband's pension, which she received until 1817. ^[1].

List of essays

The following list of works by Ivan Khandoshkin was compiled at the request of TAdviser in 2023 by musician and researcher Andrei Penyugin (Soloists of Catherine the Great). Song titles not listed in the notes are given in square brackets.

I. Six sonatas for two violins "'

Gummel Publishing House, Amsterdam, until 1781. Dedicated to Nikita Akinfievich Demidov:

1. Sonata in C minor
2. Sonata in E flat major
3. Sonata in E minor
4. Lost
5. Lost
6. Sonata in C major

II. Two Russian songs with variations for violin and bass

Probably also published in Amsterdam, and also dedicated to Demidov. Reprinted in the 1800s by Dietmar Publishing House in St. Petersburg as op. 4

1. [At valley]
2. [I lose what I love] (Entries: L. Hogan and M. Rastropovich, 1952; A. Reshetin and A. Penyugin)

III. Six old Russian songs with variations for violin and alto viola

Meyer's edition in St. Petersburg, 1783

1. [Ah on the bridge, bridge] for violin and viola (Entry: A. Reshetin, S. Filchenko, V. Pessin, 1998)
2. [Ah talan is mine, talan] for violin and bass
3. [Ah, well you pigeon do not sit cheerfully] for violin and bass
4. [Ah, what was it, what was it] for violin and bass
5. [?] for violin and bass
6. [Ah, I lived well done] for violin and bass

(Entry: All opus: A. Khitruk, D. Yakubovsky, K. Evtushenko, 2005)

IV. Six Russian songs with variations for two violins, op. 1

Edition of Gerstenberg in St. Petersburg, 1793 Dedicated to Peter Lukich Velyaminov

1. [I will go out on the river] (Entry: A. Reshetin, S. Filchenko, 1999)
2. [Rise above, carry] (Entry: A. Reshetin, S. Filchenko, 1999)
3. [I remember I was a young girl] (Entry: A. Reshetin, S. Filchenko, 1998)
4. [Ah, why aren't you sitting cheerful] (Entry: A. Reshetin, S. Filchenko, 1999)
5. [There was a birch in the field] (Entry: A. Reshetin, S. Filchenko, 1999)
6. [Who could love so passionately] - misattribution

V. Russian songs with variations for two violins, op. 2

Published c. 1796

1. Like two blueberries on a club (Entry: A. Reshetin, S. Filchenko, 1999)
2. On the cockerel apron
3. Youthful, youthful young
4. Long l I am in boredom to stay
5. Do you remember, angry friend
6. By mountains, by mountains
7. Like on a bridge, a bridge

VI. Three solo violin sonatas, op. 3

Dietmar edition in St. Petersburg

1. Sonata in G minor (Entries: A. Reshetin, 1999; L.Mordkovich, 2009)
2. Sonata in E flat major
3. Sonata in D major (G. Feigin, 1984)

Recording of the whole opus: A. Khitruk, D. Yububovsky, K. Evtushenko, 2005

VII. Handwritten collection (18 Russian songs with variations for violin and bass)

1. With valley (short version II. 1.)
2. Ah, well, you do not sit cheerfully (coincides with III. 3.)
3. [?]
4. Ah talan is mine, talan (coincides with III. 2.)
5. Like on Mother, on the Neva River (Entry: A. Reshetin, S. Filchenko, 1999)
6. Molodchik mine (Entry: A. Reshetin, S. Filchenko, 1999)
7. [?]
8. What was lower was the city of Saratov
9. Ah, I lived well (with minor changes coincides with III. 6.)
10. Kosari
11. I lose what I love (coincides with II. 2.)
12. [?]
13. Don't rage, the winds are riotous
14. Ah over the bridge, the bridge (repeats III with another bass. 1.)
15. My dear guest (no bass part) (Entry: A. Reshetin, S. Filchenko, 1999)
16. Ah bored me (missing bass part)
17. Dear you are my mother (missing bass part)
18. Young, young young (missing bass lot, not matching V. 3.)

VIII. Handwritten collection (3 Russian songs with variations for violin and bass)

Around 1805

1. [At valley] (coincides with II. 1.)
2. [I lose what I love] (coincides with II. 2.)
3. Kosari (partially coincides with VII. 10., But here the bass is written out in all variations, not only in the topic)

IX. Sonata for Violin and Bass

Autograph

Mystifications

Goldstein Mikhail Emanuilovich in the middle of the twentieth century passed off his own works as works of Russian classics. One of these hoaxes includes the so-called. Concerto for viola and orchestra in C major, which Goldstein attributed to Handoshkin. Under this legend, the composition was recorded, among other things, by Rudolf Barshay.

Publications

• Fesechko Grigory Fedorovich - "Ivan Evstafievich Khandoshkin," Leningrad: Music. Leningr. Department, 1972

Шаблон:XVIII Century Music CD

Notes