Maurer Ludwig Wilhelm

Main article: History of music in Russia

Biography

Based on the article: M. Dolgushina, G. ^[1]

Ludwig Wilhelm Maurer was born in Potsdam on February 8, 1789. His father died in the rank of captain when his son was not yet three years old. His father's military service gave Maurer the right to enter the Potsdam Cadet Corps, where he was identified as a free-coming pupil.

As for music, here Maurer should be recognized as one of those lucky people whose training was initially conducted by interested and highly professional teachers. Maurer's mother, née Haack, came from a family of famous German musicians.

Ludwig Wilhelm's first teacher was one of her brothers - the accompanist of the Frederick II court orchestra Karl Haak, who taught the boy how to play the violin. Convinced of the undoubted talent of his nephew, Haak insisted on the need for his further education, and from the age of eleven Ludwig Maurer devoted himself exclusively to music. Another brother of his mother, the director of music in Stettin, composer Wilhelm Haak, joined the classes with him. Maurer spent every winter in his uncle's house, under whose leadership he mastered harmony, counterpoint and the basics of composer technology.

1802: Begins work in the Berlin Court Orchestra and chamber musician of Prussian Queen Louise

Maurer's first public performance took place in 1802 in Berlin, in a concert by the famous singer Gertrude Mara, and was a triumphant success. "A thirteen-year-old young man, Ludwig proved by his game that he had the privilege of moving the hearts of listeners and dominating the kingdom of harmony." The day after the concert, Maurer was accepted into the service of the chapel of the Prussian king, and also received the title of chamber musician to Queen Louise, wife of Frederick, a lover and connoisseur of the arts.

Maurer served in the Berlin Court Orchestra in 1802-1806. In 1806, the orchestra was dissolved, and the young musician, in search of his livelihood, went on a concert tour of cities in Eastern Europe, visiting Koenigsberg, Memel, Riga, Mitava. According to a contemporary, Maurer, "who had not yet come out of his boyhood at that time, traveled with a violin under his arm, and his sounds everywhere awakened vigor and hope in the hearts that fluttered before the storms of European events."

1808: Moving to Russia and joining the position of bandmaster of the home orchestra V.A. Sevolzhsky

The most important for Maurer was a meeting in 1807 in Riga with the famous violinists, the largest representatives of the Paris violin school Francois Bayot and Pierre Rode. Acquaintance with them not only contributed to the improvement of Maurer's skill, but also influenced his future fate. Both French musicians at that time served in Russia and had the title of court soloists. For six months in Riga, and then in Mitava, Maurer took lessons from Rode, and then, with the support of a French violinist, went with concerts to St. Petersburg and Moscow. In Moscow, the young musician again met with Bayo and, thanks to his patronage, received the place of bandmaster of the home orchestra V. A. Vsevolozhsky. Since that time, Maurer's musical activity has mainly taken place in Russia.

Moscow and Petersburg in the first quarter of the 19th century. were centers of attraction for many European musicians. Attracted by high earnings and constant attention of the public, composers, singers, instrumental soloists who were popular at one time turned out to be here. Maurer organically joined this circle. It is known that already in the first years of his life in Moscow, he met J. Field, I.V. Gessler, as well as B. G. Romberg, with whom he was subsequently associated with close contacts for many years. The service itself with V. A. Vsevolozhsky provided Maurer with the opportunity for active creative communication. The Vsevolozhsky house attracted many art lovers and was one of the centers of musical life in Moscow, and then St. Petersburg. The Vsevolozhsky Fortress Orchestra, the leadership of which was Maurer's main responsibility, has long been considered one of the best in both Russian capitals.

Vsevolod Andreevich Vsevolozhsky - at that time one of the richest people in Russia - owned ironworks in the Perm province, salt and fishing industries. Contemporaries spoke of him as an extremely business and energetic person. "In 1815, much earlier than Berda, Vsevolozhsky arranged the first steamer in Russia and, having made his way from his factories to Kazan, the first practically proved the possibility of shipping along the Volga.<...> Russia owes it the first successful test of the English method of iron production, the improvement of steam engines, the introduction of gas lighting, the development of coal in the Urals, the discovery of gold-bearing placers in the Ural steppes. "<...>

The sons of V. A. Vsevolozhsky - Alexander Vsevolodovich and Nikita Vsevolodovich in the late 1810s-1820s. rotated in the circle of the literary and theater elite of St. Petersburg. Nikita Vsevolozhsky - "happy son of feasts" (A . S. Pushkin) - was a regular visitor to the "attic" of A. A. Shakhovsky, and in 1819 he became one of the founders of the Green Lamp society, which gathered mainly in his house. He was engaged in literary activities, was very artistic and played in home performances. Alexander Vsevolozhsky enjoyed fame as a singer and amateur composer. Some of his writings have survived to the present. For example, the romance "Separation" ("So, I parted with you") to the verses of A. Naydenov was published in the literary and musical almanac "Rainbow" in 1830. It was preserved in IRLI and MGK. Also known is "Song" to the verses of Ivanchin-Pisarev, published in the musical almanac "La bouquet" in the 1832 ^[2]

1812

Production of the first opera "Dangerous Immodeness"

Maurer's first theatrical premiere took place on January 20, 1812 at the Arbat Theater, the actors of the French troupe performed his opera to Cortes's text "Les dangers de l'indiscretion" ("Dangerous indiscretion").

Moving to the estate of Vsevolzhsky in the Perm province during the invasion of Napoleon

During the invasion of Napoleon in 1812, the Vsevolozhskys left Moscow and went to one of their Perm estates. Here, "in view of the snow deserts<...>," <...>Maurer spent about five years. The orchestra was at his constant disposal, and therefore he had the opportunity to improve in both conducting and composing skills. Maurer could hear in live performance each of his new compositions: the lot of not all novice composers. Apparently, it was during these years that he acquired practical instrumentation skills, as well as the ability to achieve high-quality sound through a small team of musicians.

1816: Marriage to Vsevolzhsky's side daughter Anna

In 1816, Maurer married Vsevolozhsky's side daughter Anna.

1817: Return to Moscow and concert from his own works

In 1817, the Vsevolozhskys returned to Moscow.

In the Perm period, Maurer was actively engaged in composer activities. The idea of ​ ​ the genres of the music written by him is given by the announcement of the concert printed in the Moscow Vedomosti, which "on December 15, 1817, Maurer, court musician of the chapel of his majesty the King of Prussia [by permission of Queen Louise Maurer retained this title. - M. D. and G. V.], will have the honor to give<…> in the new hall of Yogel on Malaya Bronnaya. " Let's give the concert program in full

I part: 1. Overture. Composition of Maurer; 2. Maurer would play the violin Concerto of his composition; 3. Tenor Justice Khin will sing Aria. Composition of Maurer; 4. Ms. Theresia Dalocca [Dal'Occa] will play Rondo for Maurer's piano.

Part II: 5. Overture. Writing by Maurer; 6. Maurer on the violin will play his own variations on three songs from the opera "Cossack the Poet"; 7. Golubev and Belyaev will play the horns of Rondo Maurer; 8. Maurer will play his concerto with orchestra and choir accompaniment on the violin. 9. Final.

Before us is an application for an author's concert, composed of works by one composer. Note that monographic concert - an exceptional phenomenon in Russia at the beginning of the XIX century; they could only afford it the most prominent musicians.

1818

Moving to the Ryabovo estate near St. Petersburg

After returning to Moscow, V. A. Vsevolozhsky moved to the vicinity of St. Petersburg. He acquired the Ryabovo estate twenty miles from the capital and lived there almost without leaving.

A ticket has been preserved in the Russian State Historical Archive, which was "given for free travel to St. Petersburg to a Prussian citizen, musician Ludwig Maurer." According to the rules of that time, the traveler's signs were indicated on the ticket: "Summer is 26, height is medium, hair is dark, eyebrows are dark, eyes are brown, nose is straight, mouth is moderate, beard is round, face is white, special signs are not."

Operetta "Self-Taught Doctor" and insert numbers for the opera "Gilles Blaz in the Nativity Scene of Robbers"

According to some reports, during these years Maurer composed the "operetta on the Russian text" "Magnetizer" (apparently referring to the vaudeville opera "Self-Taught Doctor, or Animal Magnetism" to the text of A. A. Shakhovsky). The performance was shown at the home theater of Vsevolozhsky. In 1818, The Self-Taught Doctor was also staged at the Bolshoi Theater in St. Petersburg and was a significant success.

Of note is Maurer's other writing for the theatre. In 1818, he wrote several insert numbers for the St. Petersburg production of J. F. Lesuer's opera "Gilles Blaz in the nativity scene of robbers," the text of which was translated from French by N. V. Vsevolozhsky.

1819: Trip to Germany and France

In 1818, Maurer, together with his wife and young daughter Sophie, left for Germany. A letter from the composer A.V. Vsevolozhsky from Berlin dated March 16, 1819 contains information about the success of his concert performances. Along with public concerts, Maurer also played solo in an ensemble in the salons of the Berlin aristocracy, where he was also given a very warm welcome. However, while in Berlin, the composer informed his relatives about his desire to return to Russia, adding: "Que fait l'habitude..." ("What the habit does..."). The musician also announces his immediate plans: his return to St. Petersburg will be preceded by a trip to France, during which he intends to play wherever he will stop, and, if possible, compose. In another letter to A.V. Vsevolozhsky, from Potsdam on April 23, 1819, the composer mentions a concert he composed for four violins, which he is going to publish in Leipzig along with another concert dedicated to V. A. Vsevolozhsky.

Maurer spent the 1819-1820 season in Paris, where he performed successfully.

1821: Return to Petersburg

In 1821 he returned to St. Petersburg, where the Vsevolozhsky had moved by that time. Maurer's name is repeatedly mentioned in the secular chronicle: as a virtuoso soloist and bandmaster of the Vsevolozhsky orchestra, he took part in many concerts, including amateur ones. "The violin was especially distinguished by Maurer, who returned from his trip to Europe, where he also earned a tribute to his talent, already known for many of his beautiful musical works."

The period of Maurer's creative activity in creating music for the theater falls on the late 1810s - early 1820s. After the return of the Vsevolozhsky family from the Perm province, the composer, thanks to Alexander Vsevolodovich and especially Nikita Vsevolodovich Vsevolozhsky, is involved in the circle of secular youth - lovers and connoisseurs of musical and theatrical art.

As you know, during the second decade of the XIX century. the genre of musical comedy-intrigue - vaudeville - was entrenched on the Russian stage. The opera vaudeville enjoyed a special location of the audience, in which, according to contemporaries, the strengths of the two genres - musical and dramatic - were combined. The play, as a rule, was more interesting and dynamic than the literary basis of comic opera, and the musical design was distinguished by variety. Among Russian playwrights - the first authors of vaudeville - stand out A. A. Shakhovskaya and N.I. Hmelnitsky. Contemporaries especially appreciated Hmelnitsky vaudeville, seeing in them the lightness of the verse, gracefulness and wit.

Ludwig Wilhelm Maurer is a recognized composer of this genre, according to V. Morkov, one of the best "writers of Russian opera." Almost all vaudeville with his music were popular and over the following decades were staged on the stages of metropolitan and provincial theaters. In 1818-1823 Maurer took part in the creation of several vaudeville operas. Music for plays:

• " (staged July 26, 1820 at the Bolshoi Theater in St. Petersburg) and
• "Actors among themselves, or The first debut of the actress Troepolskaya" by N.I. Hmelnitsky and N.V. Vsevolozhsky (staged on January 3, 1821 at the Bolshoi Theater in St. Petersburg), he wrote in collaboration with A.N. Verstovsky, whom he taught to play the violin at that time;
• vaudeville opera "New Prank, or Theater Battle" (text N.I. Hmelnitsky, staged on February 12, 1822 in St. Petersburg) - together with A. N. Verstovsky and A. A. Alyabyev.

Consistently favorable were press reviews of stage opuses with music by the German composer. So, vaudeville "New Prank" made a real splash among theatergoers. "This success is explained by the fact that in the play the roles of shalun boys were performed by girls, which was a perfect innovation, hitherto not used by anyone in theatrical art."

In the benefit performance of the famous actress Yezhova September 28, 1821 "an opera vaudeville was played, translated by Hmelnitsky, Narrowed you cannot ride a horse in one act, Maurer's music is one of the best and most playful vaudeville, with beautiful verses. "

1822: Participation in the large-scale celebration of the birthday of Vsevolzhsky

Many contemporaries recall the annual three-day holidays that V.A. Vsevolozhsky organized on the occasion her birthday. A particularly significant resonance was the celebration in Ryabovo on October 24-26, 1822. ^[3] The program of the holiday and the text of the opening celebrations of the Prologue were published as a separate book (Description of the holiday given by relatives and friends to his excellency Vsevolod Andreevich Vsevolozhsky on the occasion of his birth, in Ryabov, October 25, 1822, with the addition of musical notes and fifteen engraving paintings. St. Petersburg, 1823). It describes in detail each entertainment: charades, riddles, puns, logographs, homonyms, anagrams, romances et action.

In addition to the Prologue, composed by F. N. Glinka and called "Passage, or Preparation for the Name Day," the following were presented on the stage of the Vsevolozhsky Home Theater:

• specially written for the holiday opera-vaudeville N.I. Hmelnitsky "New Paris" with music by A. A. Alyabyev, A. N. Verstovsky and L. Maurer;
• comedy N.I. Hmelnitsky "Indecisive" and
• the small opera "Les Rendez-vous bour geois" (the author is not installed).

Maurer (the only known case of his performance in an amateur performance) took part in the performance of "Les Rendez-vous bourgeois." He played the role of the Master, and the role of the Servant was played by another musician popular in St. Petersburg, who also served for a long time with Vsevolozhsky, the oboist F. Chervenka. In addition to the above persons, A. N. Verstovsky took part in the preparation and holding of the holiday, who, according to P. Svinin, delighted the audience with his "charming voice" ^[4]), N.V. Vsevolozhsky, his future wife, Princess V.P. Khovanskaya, guitarist and composer S.N. Aksenov. A. A. Alyabyev, who, according to B. S. Steinpress, was supposed to play one of the main roles in the Prologue, was not present at the holiday due to the death of ^[5].

Famous artists of the imperial theaters I. I. Sosnitsky, A. M. Kolosov, M. I. Valberkhov were invited to Ryabovo. "Sosnitsky and Valberkhova very skillfully made up him - actors, she - actresses, and gave their advice and instructions about costume and in general all stage accessories" ^[6]). Sets for the productions were made by P. Gonzaga. Petersburg High Society has been discussing this event for a long time. It mentioned "music known in the city and owned by the owner, which<…> was controlled by the skillful artist Maurer and which is lividly praised by all lovers of the auditory expression of persons" ^[7]).

1823: Musical design of the meeting in Gatchina of the bride of Grand Duke Mikhail Pavlovich - Elena Pavlovna

Apparently, Maurer also spoke at court and earned the approval of the Dowager Empress Maria Fedorovna. In 1823, it was he who was entrusted with the "musical design" of the official meeting in Gatchina of the bride of Grand Duke Mikhail Pavlovich, Princess Charlotte of Württemberg (1806-1873), who, after baptism, received the name of the Grand Duchess Elena Pavlovna. As the wife of the youngest son of Paul the First Grand Duke Mikhail Pavlovich, she subsequently occupied a powerful position in the light, and "not only in her one rank, but also in her enlightened mind, in her deeply human convictions and, finally, the thinnest and broadest understanding of art" (Sollogub V. A. Memoirs. M.; L., 1931. S. 308). It went down in history as the highest patron of the Russian Musical Society.

For the ceremony, Maurer composed two romances et action - "Desert Man" and "Angel and Singer," both on the text of the V.A. Zhukovsky. The poem "Angel and Singer" was written by Zhukovsky specifically for the celebration of the meeting of Princess Charlotte. In the poet's complete works of 1902, it dates from October 5, 1823. This is an allegory poem, its content is a conversation between the Guardian Angel "daughter of kings," brought by fate to the North, and the Singer, who celebrates the country in which the princess arrived. The romances were published in the same year, 1823. The music of them "is devoted to Empress Maria Fedorovna by the writer of Her Imperial Majesty." Copies of romances have been preserved in the department of music publications and sound recordings of the Russian National Library and in the phonogram archive of IRLI (Pushkin House).

The correspondent of "Domestic Notes" speaks enthusiastically about the music of the romance (as, indeed, about the festival as a whole): "The beginning is expressed by an'allegrom' depicting the curiosity, surprise, impatience of the Russian bard. The song suddenly turns into tender, sweet, quiet sounds - this is the response of the High Guest<...> and if the portrait of the young princess, made by her guardian angel, led everyone to a pleasant affection, then the choirs that repeated his prediction of'Forever with her soul...' seemed to be a paradise harmony that could exist only 'in a land azure, beyond the boundaries of the earth. " And for greater charm, these choirs were located in some distance, and before the second verse, when a group appeared at the theater in the clouds depicting fate surrounded by the keepers of life, Maurer performed on the violin with the special art of excellent solo, which all together made an inexplicable impression on the viewer. "

Maurer's second "romance" is based on the revised and somewhat abridged (apparently by the poet himself) text of the ballad "Desert." Chanting the idea of ​ ​ love and fidelity, he was as harmonized as possible with the events of the day. In terms of composition, both "romances" are similar to the opera scene.

All the performers were high society amateurs. The parties of Malvina and Angel were sung by Princess Khilkova, who had a good contralto; the roles of Pustynnik and Singer "were played by G. Vsevolozhsky with excellent art, having a small but correct, pleasant voice"; the part of Troubadour was performed by Count Sollogub, the bass, who "in an amazing voice gave even more expressiveness to this lovely story."

1825: Royal Bandmaster in Hanover

In 1825, Maurer again left Russia, accepting the title of royal bandmaster offered to him in Hanover. Count Khvostov responded to the musician's departure with a quatrain to "Maurer for the last concert": Maurer

During this period, the musician especially gave a lot of concerts - he performed in Berlin, Vienna, Hamburg, but repeatedly visited St. Petersburg. In Hanover, Maurer created a number of works that brought him fame as a composer. This is the opera "Aloise," which premiered in 1827, and performed in 1829 at musical celebrations in Nordhausen as a concertant for four violins.

The two-act opera "Aloise" in the 1830s. staged on many stages of Europe, but "nowhere stood so firmly, did not have such a long existence as in Hanover." The Berlin premiere of the concertant, in which Ludwig Spohr, Muller and Gustav Wilde took part, is known from Maurer's letter to Vsevolozhsky: "We performed a concertant for four violins, which turned out to be magnificent and made a splash." In the same letter, the composer mentioned the performance of another composition - a new concerto for violin and orchestra in E minor, one of the parts of which - Rondo - is based on Russian and Bashkir themes.

Soon after, at musical celebrations in Halle (exact date unknown), Maurer first introduced his ten-year-old son Vsevolod to the public. Anna Maurer reports on his son's debut in a letter to Petersburg: "Mon Vsevolod montre beaucoup de disposition pour le violon et à l'aide de Dieu il doit débuter cet hiver devant le public en jouant un Concert" ("My Vsevolod shows an increasing addiction to violin and, with God's help, he should debut this winter in front of the audience, playing in a concert ").

1829-1830: Participation in the creation of music for two vaudeville in Russia

In 1829-1830 saw the light of two more vaudeville, in the creation of music of which Maurer took part:

• "New Paris" (text by N. I. Khmelnitsky, music written together with A. N. Verstovsky ") and
• "Husband and Wife" (the author of the text is unknown, music by Maurer, Scholz, Alyabyev and Verstovsky).

1832: Return to St. Petersburg to lead the Vsevolzhsky Orchestra

In 1832, yielding to the urgent requests of V. A. Vsevolozhsky, Maurer returned to St. Petersburg and again stood at the head of his orchestra. Maurer's name appears many times on concert posters, and in most cases he performs with his sons - violinist Vsevolod and cellist Alexander. It should be noted that during the reign of Nicholas I in Russia there was a kind of fashion for the performances of young virtuosos; a sign of the time was also the "nepotism" of talents. P.N. Stolpyansky in the book "Music and Music in Old St. Petersburg" names about thirty names of prodigies who performed in the Russian capital in 1825-1854. and among them are the Eichhorn brothers, the Gugeli brothers, the Pogozhev sisters, four brothers and sister Kontsky, the Maurer brothers, etc.

1835: Bandmaster of the orchestra of the French troupe at the Directorate of Imperial Theaters

Since 1835, a new period begins in the life of Ludwig Maurer. He enters the service of the Directorate of Imperial Theaters and is appointed bandmaster of the orchestra of the French troupe. Work in the field of creating theatrical music is part of the official duties of Ludwig Maurer. Under the terms of the contract concluded by the composer with the Directorate of Imperial Theaters, he was obliged not only to "conduct the French orchestra at all plays, overtures and intermission<...> at all theaters, in the city, outside the city, at the Highest Court," <...>but also in case of lack of music for some vaudeville "to compose it, for which to receive twenty-five rubles from the Directorate for each vaudeville."

The responsibility of the theater bandmaster was also rehearsal work. Maurer was supposed to "take place with the artists all vaudeville, operas, dramas with music and performances of the French repertoire, even those plays that were assigned to the benefit artists," while "to learn voice parts and choirs" he was provided with an assistant.

Among the compositions written by L. Maurer for the theater, music for two ballets stands out:

• "The Scots" (1836, Petersburg) and
• "Shadow" (1839, Petersburg).

The ballet "Shadow," created by the outstanding choreographer Philip Taglioni for his ingenious daughter, was especially popular. "This is not any compilation, like most ballets, but the composition is original and as pleasant as the brilliant<...> Shadow and Taglioni - both light, airy, intangible, elusive, like a dream, like a vision, like a shadow, like Taglioni, in a word!"

Outstanding conductor, propaganda of Beethoven's works

Among the numerous talents of Ludwig Maurer, the most striking and significant for the history of concert practice of the XIX century. was, without a doubt, the magnificent art of managing an orchestra. Having led the orchestra of the French Theater in 1835, Maurer quickly raised him to a high level of professional skill. An eloquent evidence of this is the statement of a contemporary: "Before him, this small orchestra could hardly play the same Crummer symphony, repeated for 10 years in each performance. Parts for singing were performed mistakes, musicians often played with fake notes. During the year, Maurer from this orchestra, in which some musicians barely knew how to move the bow, made a small but beautiful orchestra, playing with great clarity the symphonies of Haydn, Mozart, Andreas Romberg and others deliberately remade for him by Maurer. Intermission in the French performance became a matter of curiosity for music connoisseurs. All the slightest parts in French vaudeville are remade by Maurer and performed as conscientiously as can be desired even in a great Italian opera. "

Maurer's conducting activities were not limited to the French Theater: Maurer the Bandmaster became famous in concerts of the Philharmonic Society, the Court Singing Chapel, and the Concert Society.

The name of Maurer the conductor in the history of Russian music of the XIX century is associated with the propaganda and interpretation of the best examples of Western European classical music, and above all the works of Beethoven. Recall that Maurer the violinist went down in the history of St. Petersburg concert life as the first performer of Beethoven's violin concerto. Recommending this composition of the great composer unknown to the Russian listener, V.F. Odoevsky wrote: "Music lovers will hardly be able to hear it another time, especially since we have one Maurer able to play this concert with the energy that this extraordinary creation requires. Mr. Maurer attached to the first allegro a lovely cadence composed of Beethoven melodies. It's like being trissed by a great husband. "

Maurer-conductor's appeal to Beethoven's music took place in 1835, when the orchestra under his direction played Beethoven's overture to the drama King Stefan for the first time in Russia.

In the 1840s Ludwig Maurer became one of the leading conductors of St. Petersburg. It is no coincidence that the largest musical event is associated with his name - the performance on March 28, 1845 of Beethoven's Fifth Symphony. According to the tradition of that time, the best Italian singers took part in the concert: P. Viardo-Garcia, J. B. Rubini, A. Tamburini. The famous quartet of the Müller brothers from Germany, the Maurer family, Boehm, Ristfal and, most importantly, all the orchestras of the imperial theaters were also involved. On this occasion, Odoevsky exclaimed: "This is a concert that we haven't had before!" The concert program was carefully thought out, which included, in particular, the famous trio from Glinka's opera "Life for the Tsar" - one of the "hits" of the concert season 1844-1845.

As for Beethoven's Fifth Symphony, a qualitatively new level of performance was achieved in this concert. Firstly, the St. Petersburg audience finally heard the symphony in its entirety, and secondly, in the composition of the orchestra that corresponded to Beethoven's score. Odoyevsky, announcing the concert, noted: "She [Beethoven's Fifth Symphony] is one of those pieces where a collection of as many instruments as Mr. Maurer will have, that is, 60 violins, 16 violas, 16 cellos and 16 double basses, is needed. Music lovers have nothing to tell that so far in concerts we have heard only an obscure echo of Beethoven's symphonies, for always - due to the lack of a proper number of string instruments in many places, the violins are completely covered with wind instruments, so that only half of the real effect reaches the listener; we hope that this time, with the skillful assistance of all our artists and with the conducting of such a deep connoisseur of music as L. Maurer, we will hear Beethoven's immortal work as it should be listened to. "

1850s became the culmination of the conducting activities of Ludwig Maurer. It is with this period that his systematic appeal to Beethoven's symphonic works is associated. Maurer's interpretation for many years becomes a model of conducting reading the music of the Vienna classic.

Odoevsky, who called the musician "nestor violinists" in different years, the titles "composer of beautiful concerts," "first-class symphonist," rightly ranked him "among the best bandmasters in Europe." In a similar assessment of L. Maurer's bandmaster abilities, the critic was not alone. "Of the conductors that Petersburg possessed and still possesses in the last decade," said A. N. Serov, "the best place belongs to L. Maurer; behind him - K. Schubert; after him, that is, with even smaller shades, - K. Lyadov<…> Rubinstein, as a conductor, I consider to be very inferior to K. Lyadov in experience and in influencing the orchestra, and Balakirev has to be put - alas! - a few steps below Rubinstein. "

Building the hierarchy of St. Petersburg conductors, Serov means primarily the cycles of excellent concerts undertaken in 1850 within the framework of the Concert Society, the merit of the organization of which belongs entirely to A.F. Lvov. The concerts had an educational goal: to acquaint the audience with the works of European classics, primarily Beethoven, and in the most worthy performance. The orchestra, managed by Maurer, attracted the best musicians of the imperial theaters - about sixty people.

Many enthusiastic lines are devoted to the Serov assessment of the high professional quality of the performance of Beethoven compositions: "Excellent, incomparably, delightful!... I must only say that indeed, in these true musical celebrations for everyone who is dear to musical art, every ingenious work is performed in such a way that it is almost impossible to wait for a better performance. It seems to us that this is quite said for those who know what it means to perform Beethoven's symphony or such an overture as' Coriolanus'. "

1841: Inspector of all orchestras of the imperial theaters. Approval of all vaudeville before their production

On March 1, 1841, Ludwig Maurer, by the prescription of the office of the imperial theaters "on the diligence and exemplary activities in the management of orchestras," was appointed inspector of all orchestras of the imperial theaters. The daily duties of the Maurer Inspector included the compilation of all kinds of "sources" (on the assignment of titles, payment of pensions), control over the timely exit of artists from regular vacations, etc.

Along with routine clerical work, Maurer carried out various kinds of "creative" instructions of the Directorate. Thus, one of the documents of the office of the Imperial Theaters of November 22, 1846 reads: "To establish the proper order in the adoption and use of musicologist, composed and compiled for Russian vaudeville - by persons who do not have a direct obligation, - I prescribe to the office - to decide by the rule that all such music is given from the writers or from the compilers of them, or even from the Artists to whom they will be presented for benefit, "To the music inspector, who alone must determine whether they can be used in business, and in what form."

Later, E. Albrecht, in his essay "The Past and Present of the Orchestra" (1886), will indicate that "since the time of Maurer, orchestras have been in the most deplorable situation," and on the whole disapproves of his organizational and administrative abilities, however, the same characteristic honors the next galaxy of inspectors after Maurer, to which, in fact, the author of the work belonged. Similar remarks are found in Yu. K. Arnold and G. M. Maksimov, who argued, in particular, that "Inspector of Music M-r (Maurer. - M. D., G. P.) was a German, but not just a German, but a sworn hater of all Russians. " <…>As documents show, L. Maurer was a modest, hardworking and gentle person, and when he was his inspector of orchestras he supported many Russian artists (for example, cellist Ivan Podobedov), informing his superiors about their talents and merits. Maurer was always in the thick of the musical environment, often contacted M.I. Glinka, conducted his compositions and never refused Russian music.

A. S. Dargomyzhsky spoke with full respect about the weight of Maurer's figure in the St. Petersburg music world, his human and musical qualities. Telling about the production of Esmeralda (1847), the composer wrote: "<…>The most charlatans from the so-called connoisseurs left half the performance<...>. As for the best and true artists, what Hansel, Laskovsky, Tamburini and other art lovers are, they remained to the end: many came to listen to my opera for the second and third time and all kindly gave justice to my music. Especially Maurer, this indisputably best connoisseur in St. Petersburg, who listened to my opera three times, touched me with the following words: "I am old and frank about Dargomyzhsky, because I no longer need anyone to flatter: so I will tell you directly that for this time your work is too good '."

Music for vaudeville and ballets

During Maurer's years at the French Theater, he created:

• comic operas "Two Thieves" (the text was translated from French by P. S. Fedorov, the author of the French text is unknown, 1842);
• "Two Noblemen" (text author unknown, 1845);
• "The Old Lady" (French text by O.-E. Scriba, 1845);
• vaudeville drama " Diary of the Devil" (the author of the text and the date of the production are unknown);
• comic operetta "Miller from Marley" (the author of the text and the date of the production are unknown),

as well as music to a large number of dramas and comedies:

• "Memoirs of the Devil,"
• "Countess Clara d'Auberville,"
• "Imperial Mill,"
• "Stella ,"
• "French economy" and others.

The greatest success was the vaudeville comedy "Memoirs of the Devil" and the opera vaudeville "Two Thieves." "Memoirs of the Devil" was staged in the 1842-1843 season and withstood twenty-two performances. At the heart of the play is "sharp-faced" a novel by F. Soulier, remade into a vaudeville comedy. Here "was peerless as Roben's lawyer, mistaken for demon, and especially gloriously sang verses "one of the leading actors of the troupe - A. Allan. The vaudeville opera "Two Thieves" after success on the French stage was translated into Russian and staged at the Alexandrinsky Theater.

1846: Participation in a quartet organized by Viet An

Another area of ​ ​ creative activity of Ludwig Maurer, with whom he was firmly associated for many years, is performances in the first permanent public chamber concerts. "Vietan<…> introduced public quartets with us," noted critic B. Damke. "By this institution and his constant efforts to maintain it, Mr. Vietan did a great service to art and had a beneficial influence on the development in our public of a taste for classical music." Ludwig and Vsevolod Maurer were part of a quartet organized by the Viet Ang in 1846. Their active participation in quartet meetings is also known. A.F. Lvova (recall the commemorative lithography "Quartet of A.F. Lvova" by R. Rohrbach, 1840) and in musical evenings at Mih. Yu. Vielgorsky.

In the 1850s. experience in the field of chamber music as part of various quartets, as well as educational aspirations, lead Ludwig Maurer to organize his own quartet meetings, at which he performs with his sons. A note from the St. Petersburg Vedomosti informs: "In the hall of the Peter and Paul School, they give quartet mornings. Maurers, father and two sons, with the participation of one outsider. Years. Maurers (sons) are so often in our concerts that there seems to be nothing to acquaint their readers with their talents, especially since our audience has heard the game of Vsevolod Maurer (the first violin on these mornings) more than once in quartets. G. Ludwig Maurer is a veteran of our music; he occupies a second violin in the quartet. The fame of this musical family attracts a satisfied number of listeners in the morning. "

It follows from Wilhelm von Lenz's account that the Maurers, in their chamber subscription concerts, "performed, with all German diligence, some of Beethoven's last quartets, namely the deeply poetic a-moll and the infinitely substantial cis-moll." At the same time, Lenz rightly notes: "We hear wonderful Maurers in public concerts not as regularly as Vietan, since they are very busy in the theater."

1860: The Last Concerts

Portrait of Ludwig Maurer, H. Schmid, 1860

May 30, 1860 marked the 25th anniversary of Ludwig Maurer's creative activity, and in 1867 the newspapers announced the last concert of the music inspector. "The name of Maurer has long been known in St. Petersburg and they say that he will conclude his public artistic field with this concert<…>. The sons of the venerable artist and some of the local virtuosos participate in the concert on March 27." In connection with the concert announced in the posters, the newspaper "Son of the Fatherland" wrote: "Our veteran is one of those few honest ministers of art who throughout their lives strive for truth, neglecting the effects. Ludwig Maurer first played in Russia in 1809 at the Winter Palace in the presence of their majesties Emperor Alexander I and Prussian Queen Louise. A lot of time has passed since then, 57 years, with too much half a century, and the old man Maurer is still cheerful, active, how not to express full sympathy for his last concert. "

However, a concerto that featured many of Maurer's compositions: an overture for a large orchestra; violin concerto performed by Vsevolod Maurer; causing numerous enthusiastic responses Elegy for the orchestra "Tear on the Grave of Glinka" - was by no means the final, ending the career of this St. Petersburg musical figure. In 1869, the Golos newspaper reported on "a very wonderful concert, which will be given on April 4 in the hall of the Court Singing Chapel, in respect of the 19-year conducting of L. Maurer in concert society."

Maurer's multifaceted creative and musical and social activities were a vivid example for a new generation of Russian musicians. In this sense, it is symbolic that in the chamber and symphony programs of the German maestro of the 1850-1860s. the name of the young Anton Rubinstein is increasingly found, who, like his senior colleague, will become the embodiment of the musical universalism that arose on Russian soil, of course, not without the influence of people like Ludwig Maurer.

1878: Death in St. Petersburg at the age of 89

Ludwig Maurer died in 1878 at the age of 89 and was buried in the Smolensk cemetery in St. Petersburg.

Compositions for violin and wind

Like other virtuoso musicians of the 19th century - B. Romberg, L. Spohr, A. Vietan - Ludwig Maurer actively composed music for his instrument. Among his works are -

• nine violin concertos with orchestra (g, A, D, d, a, e, A, fis, D),
• A-dur concert symphony for four violins and orchestra or. 55,
• F-dur concert symphony for two violins and orchestra or. 56,
• concerto for violin and orchestra (dedicated to J. Joachim, 1872),
• symphony f-moll or. 67 (1831),
• three concertinos for violin (B-dur op. 32, A-dur op.65 и a-moll op. 82),
• nine sketches and caprice op. 39,
• twelve studies,
• numerous nocturnes, variations, fantasies, rondo.

Probably obeying fashion, Maurer wrote compositions for woodwinds: clarinet and oboe. The most famous clarinet (B-dur, op. 57) and oboe (F-dur or. 24) concerts showcasing, like many of Maurer's violin compositions, his commitment to the so-called diamond style.

In Maurer's rather voluminous creative heritage, a special place is occupied by the genre of concertante - a virtuoso work for two or more instruments. Known in Russia since the 18th century, this genre became especially popular in the 19th century, when the writer and virtuoso performer happily coexisted in one person, and composer practice could rely on personal virtuosity, fluency in one instrument or another. In Maurer concertants (e.g. for two violins op. 56, F-dur, for three violins and cello) even more than in works of other genres, professional knowledge of the laws of composition and the technical ingenuity of a virtuoso violinist affected.

Concertant for four violins op. 55 A-dur with orchestra (in encyclopedic reference books it is designated "concert symphony") in various sources is assessed as one of the composer's most excellent compositions in music and workshop. According to the observations of H. Engel, author of the study "Das Instrumentalkonzert (Eine musikgeschichtliche Darstellung)," "Maurer's quadruple concert is still able to sound not only to attract, but also to re-capture listeners." The most famous virtuosos-violinists took part in the performance of the concertant Maurer for four violins: in Germany "young Joachim was excellent in it" (A. Schering), in Russia - the famous Franz Boehm - the first concertist of the St. Petersburg imperial theaters, a talented violinist and conductor Heinrich Romberg.

March 13, 1830 "Northern Bee" in the section "Mixture. Musical news and significant concerts "reported:" Maurer will play a new concert and variations of his composition. His own concert for four violins will be played by him, Boehm, Romberg and Rey Mersom. " It is known that even later, in the 1860s, this work was part of the repertoire of new generation violinists. So, in March 1866, in a concert of the "famous<…> veteran" with the participation of the city of Leshetitskaya and the city of Venyavsky, "students of the conservatory of the United States Putilov, Salin, Panov and Nagorny played the concertant Maurer for four violins."

Maurer's popularity in the 19th century is evidenced by a variety of sources in both Russian and German. "Who among the violinists of that era," wrote the correspondent of the Leipzig magazine Signale fuer musikalische Welt, "does not know, in addition to numerous symphonies, overtures and other works of L. Maurer, his violin concerts for one, two, four and six solo violins...." V.F. Odoevsky noted the "special nature" of the mentioned works Maurera. "We expect with curiosity what action the six-violin concertant will perform; there is an extensive field for completely new effects, and Maurer is a master on them, "Odoevsky noted, announcing a concert scheduled for March 20, 1837 at the Mikhailovsky Theater. The critic means above all "an incredible effect, where all six voices merge into unisono on the fourth string." Later, in 1845, Odoevsky wrote about this work as a "beautiful, so beloved concertante," in the performance of which "Müller's two brothers, Böhm, Rifstal and Maurera, father and son took part!"

Many of Maurer's concert works, originally intended for his sons (concertino for two violins and cello, trio concertant with orchestra, etc.), were widely performed by other musicians. So, for example, in 1834 M. Yu. Velgorsky and A.F. Lvov "masterfully performed the virtuoso concertant L. Maurer, written by him for his sons Vsevolod and Alexander."

Among Maurer's virtuoso compositions, L. S. Ginzburg calls the concertant for two violins and a cello on Varlamov's romance "Don't Shay You to Me, Mother, Red Sundress" (performed in St. Petersburg in 1848). The word concertant is taken by the researcher in quotes, since we are talking, in essence, about variations on the topic. V.F. Odoevsky, so intolerant of the genre of "dapper," "bravura" variations, wrote: "Variations have become fashionable since some time - in a different concert, a number of five, six variations! We preface that we will be inexorable to those artists who, during the fast, will regale us alone, so on the called brilliant variations. " It is significant that further Odoevsky contrasts the art of Maurer, his "excellent knowledge of how to combine the two main instruments" with the technical works of Berio and Kallivoda, invented by the "composium" method.

At one time, E. Izai classified violin literature into works written with the participation of a violin, and - for a violin: "Beethoven composes with the participation of a violin, Vietan - for a violin." Maurer's concerts and chamber ensemble compositions, which largely arose "based on the violin," demonstrate not only the highest technical equipment, virtuoso brilliance, but also, not rarely, figurative and thematic multifaceted, romantic cordiality and "elegance" feelings. "His diamond concerto for four violins," emphasizes A. Schering, "is refreshed with the happiest Vivaldian idea." Significant is the remark of H. Engel, polemically expressed to another researcher of violin art: "Vasilevsky is wrong when he claims that Maurer has no sensual attractiveness in his concerts."

The reviews of contemporaries seem interesting. So, the "Northern Bee" wrote: "His music will never tire, and it is difficult to find another composer who at every step could, like him, find the sweetest, most tender, that is, fragrant melody. Four pieces of his composition were performed in this concert: an overture, a violin concerto, a two-violin concerto and a vaudeville trio, and each of the pieces, in the full sense, delighted the audience. In the concertante (alla Pollaka) he played with the elder Maurer Dmitriev, who<...> was applauded with live participation by zealots of Russian talents. "

Let's pay attention to the assessment of the composer's melodic gift, although expressed in specific, almost perfumed epithets. A similar characterization of Maurer's melodies - their attractiveness and ingenuity - is found in a review of the concert held on April 3, 1828: "For this, Messrs. Boehm and Maurer played the violins nocturnally without accompaniment and rondo with the accompaniment of the orchestra, Maurer's composition. This play was liked more than the previous one by connoisseurs and lovers of composition and performance. The melody is amazing, especially in Adagio. Many listeners were moved to tears. One well-known music connoisseur said: Boehm and Maurer, in the performance of this incomparable composition, shared one soul; Maurer stole harmony from heaven. "

Concerts conducted by Maurer enjoyed constant success among listeners. It is easy to see that the vocabulary of reviews and announcements, as a rule, is sustained in a panegyric key: "belongs to the number of wonderful"; "one of the best of the season..." "This venerable<...> virtuoso combined in these [concerts] everything that can only attract a true music lover. An excellent choice of plays, a brilliant game of his, which exceeds all praise, excellent talents of other artists who accept participation in these concerts - everything corresponds to the famous name of Maurer and attracts every time a large collection of visitors "

Notes