TarTyarev Stepan Anikievich

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Degtyarev [Dekhterev, Dekhtyarev] Stepan Anikievich (1766, Borisovka settlement, Khotmyzhsky district, Belgorod province, later Grayvoronsky district, Kursk province - 23.04.1813, Moscow), Russian composer, one of the significant masters of choral music at the turn of the 18th and 19th centuries, successor to the traditions of the school of D. S. Bortnyansky.

Biography

Born in the family of a serf peasant Count N.P. Sheremetev. At the age of 7, a musically gifted boy was enrolled in a count chapel in the village near Moscow. Kuskov, where in the same years his sister Stepanida sang, and later his brother Evdokim.

Later, in 1811, Degtyarev's father Anikiy, thanks to the work of his children, was completely freed from the fraud by the command of the count. His children were educated at a singing school at the Sheremetev Theater. Classes were conducted in general subjects, as well as in musical and theatrical skills. In addition to solo singing lessons, Degtyarev studied violin, piano and gusli.

1790: Study with Sarti and possible trip to Italy

After breaking his voice, Stepan Degtyarev continued to be a member of the theater troupe, participated in dramatic performances, and conducted rehearsal work with the choir and orchestra. To raise the level formations , he was allowed to attend lectures on Russian literature and foreign languages ​ ​ in. Moscow University It is believed that then he took lessons from, Giuseppe Sarti which, according to legend, in 1790 he drove Degtyarev to. S. Italy D. Sheremetev, the grandson of the owner of the fortress theater, mentioned in his memoirs that Degtyarev studied for some time at the Milan Conservatory (Sheremetev S. D. Echoes of the 18th century M., 1905. No. 10); there is no documentary evidence of this.

1791: Organization of public concerts at the Petrovsky Theater

In the 90s. XVIII century. spiritual concerts of Degtyarev gained popularity and were distributed in the form of handwritten lists. For this reason, the count gave the following orders to the chapel manager: "To Peter Petrov, try to watch that Stepan Dekhtyarev did not dare to give music to Zagryazhsky and others and punish everyone to watch the more diligently" (RGADA. F. 1287. Op. 1. U. hr. 4819. L. 27, 1793); "from the teacher Stepan Degtyarev for giving them outsiders concerts, subtract 5 rubles from the salary and give it to the singer Chapov for announcing it" (Elizarova. S. 339).

As the head of the chapel, Degtyarev began to be involved in the organization of public concerts that were held during Lent at the Moscow Petrovsky (Bolshoi) Theater. Several choral compositions, symphonic and horn orchestras, including about 100 people, participated in the performance of oratorios. So, in the announcement on February 1. 1791 it was reported that the oratorio of Sarti (probably "We praise you, God") will be sung by "singers, singers and musicians of their blessings Count Vladimir Grigorievich Orlov, Count Nikolai Petrovich Sheremetev, Prince Peter Mikhailovich Volkonsky, His Excellency Gavrila Ilyich Bibikov<…>, the number of musicians will extend over two hundred" (Mosk. ved. 1791. № 10. Feb. 1 L. 8 vol.). The chapels of nobles in those years were led by musicians who later became, like Degtyarev, famous composers and freed from serfdom thanks to their work: L. S. Gurilev (serf V. G. Orlov), D. N. Kashin (serf G. I. Bibikov).

Moving to St. Petersburg after Count N.P. Sheremetev

In 1797-1809 Degtyarev lived in St. Petersburg, in the house of Count Sheremetev on the Fontanka, where he continued to compose spiritual music (choral concerts, liturgies), translated from the Italian musical treatise V. Manfredini "Harmonic and Melodic Rules" (St. Petersburg, 1805), adding to it his own chapter on some techniques of choral writing "On the melody of the diatonic rock, on the item tasto solo and on two octaves" (Gl. 8).

After 40 years, he was allowed to marry A. G. Kokhanovskaya (former daughter. actor). Three sons were born in this marriage, the latter after the death of his father.

1802: Receiving the official title of 1st bandmaster of the Sheremetev Theater

Sheremetevskaya chapel at the turn of the XVIII and XIX centuries. in artistic level and skill it was much superior to other choral groups in Moscow and was comparable only to the St. Petersburg Court Singing Chapel. The repertoire of the Sheremetev Fortress Theater included operas and ballets by European composers A. E. M. Gretry, E. R. Duni, P. A. Monsigny, F. A. Filidor; the orchestra and choir performed works by J. Haydn, F. J. Gossek, Sarti. Degtyarev's duties included editing and arranging various operas, cantatas, symphonies, overtures and divertissements for the orchestra (taking into account the parts of the horn orchestra) and composing chants for the choir. Not formally the main bandmaster, Stepan Degtyarev actually determined the repertoire of the chapel, took care of the professional level of musicians, conducted choral and orchestral rehearsals, played roles (tenor) in theatrical productions, conducted concerts and performances. Subsequently, he led the choir at a service in the house churches of the Sheremetevs - the Life-Giving Trinity in the village. Ostankino and Signs on the Sheremetev yard near the street. Vozdvizhenki in Moscow. Over the years of work at the theater under Degtyarev, at least 75 operas by Russian and European composers were staged, although the musician received the official title of 1st bandmaster of the theater only in 1802 (Register for the issuance of salaries for 1802//Levashev. S. 189).

1809: After the death of Sheremetev, the appointment of a salary and receipt of a passport with the right to hire. Return to Moscow

After the death of N.P. Sheremetev in 1809, the composer was assigned a salary and issued a passport, which gave the right to be hired. Degtyarev's family moved to Moscow and settled in the outbuilding of the count's mansion on Vozdvizhenka. One of the biographers reported that the composer, "going to Moscow... did not have several rubles in order to hire another delivery for the transportation of his works; not wanting to stay in a place hated for him, he betrayed them all to fire "(RNB OR. F. 805. Op. 1. U. hr. 98. L. 58).

Due to consumption, Stepan Degtyarev was forced to move to the Strange Reception House (a hospital built at the expense of the Sheremetevs). Despite his illness, he continued to compose actively and soon published an advertisement for the sale of his new spiritual chants: "My compositions of several new singing concerts and a new full dinner are being sold. Gentlemen who want to have these compositions, which no one has yet, favor sending me to the Sheremetev hospital, which is at the Sukharev Tower "(Mosk. ved. 1810. № 100. S. 3282-3283. Dec 14).

Degtyarev's wife with two young children probably left for her relatives in the Borisovka settlement of the Kursk province in the same year. In connection with the approach of Napoleonic troops to Moscow, the composer moved to his family. In search of earnings, he got a job as a singing teacher for an unknown landowner in the village. Kudintsevo, Lgovsky district, Kursk province.

1813: Death in Moscow

After the liberation of Moscow from the French, Degtyarev apparently returned to the destroyed city, but did not find application to his talent. The death of the composer in April 1813 was almost invisible to contemporaries; only a few months later, an obituary was published in the St. Petersburg "Northern Mail": "From Moscow, on August 11. Unfortunately, all lovers of domestic works, Dekhtyarev, the famous music writer, recently died here... " (Sev. mail. 1813. № 68. Aug. 23).

The widow of Degtyarev with three young children had to abandon the free, given to her in August 1815, since the freedom received stopped paying salaries from the count and deprived the family of the right to live in the count's house. The guardianship council under the young Count D.N. Sheremetev, in order to prevent public use, ruled: "Paying attention to the 40-year-old deceased husband, her immaculate and diligent service and to his excellent talents for composing music, which he<…> became famous musical creations of his own, which are not inferior to the best composers<…>, we determine her, Dekhtyareva, with children to eat<...> three hundred rubles a year of pension; leaving her, moreover, at her request, at her former residence in Kuskov "(RGIA. F. 1088. Op. 3. U. hr. 1615. L. 32-33).

Compositions

Oratorios

The main place in Degtyarev's work was occupied by choral compositions, the largest work is the oratorio "Minin and Pozharsky, or the Liberation of Moscow," first performed on March 9, 1811 under the direction of the composer. Feb. 20 1818 the work was performed at the opening of the monument to Minin and Pozharsky on Red Square in Moscow. The composer was called "Russian Haydn" (Turgenev A. I. Concert by Dekhtyarev//Drama Magazine. 1811. PART 1. № 4. S. 261), ranking among the "first composers of Europe" (Derzhavin G. R. [On the first performance of Degtyarev's oratorio "Minin and Pozharsky" ]//VE. 1811. PART 56. № 7. S. 228-230).

Another significant essay by Degtyarev in the genre of oratorio - "The Triumph of Russia, or the Extermination of its Enemies and the Flight of Napoleon" - was not performed, moreover, until now there is a debate whether it was written at all. According to one of the biographers, "there was a rumor that some foreigner bought him a second oratorio by deception and passed him off as his own somewhere" (Goryainov. 1987. P. 137).

150 choral concerts

The composer created about 150 choral concerts, several spiritual and musical cycles of liturgy, the All-Night Vigil and many one-part spiritual and musical chants. Of these, at the turn of the XIX and XX centuries. about 50 concerts were published (Sat. concerts Op. A. Vedel and S. Degtyarev/Ed. I.V. S. and K.I.K. St. Petersburg. [: Kireev], 1917. Nos. 27, 28, etc.); of the 25 complete "Obeden" (Mosk. ved. 1808. No. 45) only one survived; lost the "All-Night Vigil" and more than 50 spiritual concerts. Several more concerts were later published (Twelve Spiritual Concertos for Unaccompanied Choir/Scientific. reconstruction: A.V. Lebedeva-Emelina and N.I. Teterina. M., 2006) and "Liturgy" (Traditional genres of Russian sacred music and modernity: Sat. Art./Ed.-st.: Yu. I. Paisov. M., 2004. No. 2. S. 108-161). Detailed lists of spiritual muses. D.'s works were published in publications: Levashev. S. 196-197; Lebedeva-Emelina. S. 353-456.

Stepan Degtyarev began composing spiritual concerts in the late 80s. XVIII century and wrote them until his death, despite the decree of Emperor Paul I of May 10, 1797 banning the performance of concerts in churches. The style of Degtyarev's works is generally typical of the turn of the 18th and 19th centuries: 3- and 4-part compositions prevail, the chord-harmonic warehouse alternates with imitations and fugitive forms. Fugues are found in the finals ("Mine from my enemy," "Do not be jealous of the cunning," "Sing the Lord living in Zion"). The strongest point of Degtyarev's works is the depth of content with restraint of expression, a soulful "musical" reading of the lines of the psalms, and lyrical emotional openness. As a literary basis for concerts, the composer most often used the lines of psalms, but there are also texts of dogmatics, various stichera and tropares.

Often, Degtyarev's spiritual and musical compositions were distributed under pseudonyms derived from the composer's patronymic - Anikiev (found in St. Petersburg archives) or Nikeev (in the lists of Moscow Vedomosti).

In style and form, Degtyarev's works are focused on the works of Dmitry Bortnyansky. It is known that there were creative contacts between them (since the 80s we have met in the Sheremetevs' estate and in St. Petersburg). According to Sheremetev, "Bortnyansky often visited him and gave him his compositions for viewing" (RGADA. F. 1287. Op. 1. U. hr. 5636. L. 20), however, the communication of musicians was hindered by social inequality (Bortnyansky was a nobleman).

The influence on the work of composer A. L. Vedel can be found in virtuoso solo ariotic episodes in the roles of tenor and discant, in the use of rhythms of secular genres (for example, a mourning march, an opera duet), in recitatives in solo parts. Therefore, many concerts of one composer were attributed to another ("I will bless the Lord who admonished me," "My God, smell me," "Majesty, I wish you Tya," "Come from Lebanon bride," etc.). Sometimes in the manuscripts of Degtyarev's concerts there are erroneous indications of the authorship of A. Sapienza Jr., Kazan composer A. Novikov. In some cases, in the absence of an autograph, it is impossible to determine authorship, given the similarity of the musical-aesthetic principles of classicism and sentimentalism, which influenced the formation of the musical style. Authorship is considered unconditional if the composition is present in a musical autograph, Degtyarev has this collection of 18 concerts (from the collection of the Palace-Museum of Serfs in Ostankino; of which 13 concerts were published).

Researchers of church music of the late XIX - early XX centuries. (Archpriest Dimitri Razumovsky and Vasily Metalov, A.V. Preobrazhensky) reproached Degtyarev, like other composers of that time, for the excessive secularity of church chants, calling the music of Russian classicism the dismissive word "Italian." Focusing on European models at the end of the XVIII century. was the norm for musical aesthetics not only in Russia. Contemporaries appreciated the music of Stepan Degtyarev for his bright emotionality, memorable melodic turns. Noteworthy is the review of Prince N. D. Gorchakov, the librettist of the oratorio: "Mr. Dekhterev is one of the most excellent new authors of singing music... Strict critics disapprove of his excessive tendency to rule, but... he uses them very conveniently and with decency to his taste... Of course, it should not take away the power of sacred words... but where there are them in the works of Dekhterev, then they serve, so to speak, a shade of words, an echo of the feeling that is poured out of the heart... and in this arrangement of the soul, feelings flow in various bends of voices, and finally, in their entirety, they produce what we call delight "(Gorchakov N. D. Vocal or singing experience. music in Russia from ancient times to the current improvement of this art. M., 1808. S. 29).

Arch.: concerts:

• "Majesty, I wish Thea, Lord"; "Hear, Lord, the voice of my prayer"; "Lord, my God, on Thy hopes"; "Open us the mercy of the door"; "Oh my God, I left me yesi" (g- moll )//SCMMC. F. 283. U. hr. 918–921. № 22;

• "Saints Fertilizer "//Ibid. U. hr. 4, 48, 51. № 17;

• "Bless the Lord now": Autographs//Moscow Museum - Ostankino estate. № 5, 14, 16, 12, 17;

• "Hear, God, my voice "//Ibid. № 44;

• "Lord, love goodness" B -dur//RGIA. F. 1119. Op. 1. U. hr. 58;

• "May God resurrect "//Ibid. № 14; "Confess the Lord to the gusleh "//Ibid. № 11;

• "My fortress and singing "//Ibid. № 7;

• "Come to the faithful who love Divine glory "//Ibid. U. hr. 59;

• "Go up to the mountain of the Lord "//Ibid. U. hr. 61;

• "I will love Tya, Lord, my fortresses," "Lord, hear my prayer," "To you, Lord, I will call, I will pray to my God," "Now come (come) the cathedrals of the faithful," "Lord, hear my prayer "//Sat. spiritual concerts from the collections. Archimandrite Matthew (Mormylia). Serg. P., b. city of Rcp.

Individual chants:

• "I believe," Cherubim c-moll//SCMMC. F. 283. U. hr. 126;

• "It is worthy to eat," "Our Father "//Ibid. U. hr. 128;

• "Glory to the Father and Son "//RGIA. F. 1119. Op. 1. U. hr. 57.

Ed.: cycles:

• Irmosy Easter: Sat./Ed: N. D. Lebedev. St. Petersburg, 1913. S. 25-30. No. 5: From Color Triody; Liturgy//Traditz. genres of Russian sacred music and modernity/Ed. -sost.: Yu. I. Paisov. M., 2004. No. 2. S. 119-161;

Concerts:

• "Blessed all," "Glorious day "//East. churk textbook. singing/Ed.: M. Goltison. St. Petersburg. [: Ed. "Music and Singing," 1900 "s.] Vol. 7;

• "Today Christ is happy in Bethlehem," "This named and holy day "//Ibid. No. 8;

• "Take up God," "Rejoice, righteousness, about the Lord "//Ibid. No. 9;

• "Come back, make up a face "//Ibid. No. 10;

• "Godfather Ubo David," "Now the time is favorable "//Ibid. No. 11;

• "Blessed is the husband, not his own to the counsel of the wicked "//Ibid. No. 12;

• "I will bless you for every day "//Historical textbook church. singing/Ed.: N.I. Privalov. St. Petersburg. [, 1900 years] Issue 12;

• "My heart is ready "//Sobr. chants at the liturgy of St. John Chrysostom... and psalms/Anavar. for the husband. votes: holy T.I. Donetsk. Voronezh, 1901. T. 2;

• "Lay down, Lord, your ear," "Let God rise again," "Every creature rejoices and rejoices "//East. churk textbook. Singing/Comp.: Holy. M. A. Lisitsyn. St. Petersburg, 1903-1904. No. 3;

• "Higher Heaven "//Sat. spiritually muses. chants/Ed.: E. S. Azeev. St. Petersburg, 1912.

• No. 1 : At the liturgy; "Blessed is the Lord God of Israel "//Ibid. 1914.

• No. 8 : At the liturgy; "Your good spirit," "On your immortal assumption," "Gabriel flew from the heavenly circles," "This day of joy and fun "//Sobr. spiritually muses. Op./Ed.: S. Panchenko. St. Petersburg [: Kireev], 1913.

• № 6; "Come a new grape birth "//Sat. spiritually muses. chants/Ed.: N. D. Lebedev. St. Petersburg, 1913.

• No. 5: From Color Triody; "Heaven and earth will be exalted prophetically," "God is with us," "Glory to God in the highest "//Ibid. St. Petersburg [: Kireev], 1913.

• No. 7: For Christmas, "A song befits you, God, in Zion "//Ibid. Pg., 1916.

• No. 16: Wedding; "Praise God in his saints "//Sat. spiritually muses. chants/Ed.: I.G. Yeltsov. Pg. [: Kireev], 1915.

• No. 11: At the liturgy; "Come from Lebanon bride "//Sat. spiritually muses. chants/Ed.: M. A. Lagunov.

• No. 21: Wedding. St. Petersburg, 1916;

• "My God, smell me, I have left me esi," "My God, to You morning," "In the beginning You, Lord, founded the earth," "Sing light people," "Lord enlightenment mine," "Day of heaven and earth the Creator comes," "Day Christ on Jordan come," "Have mercy on me, God, by the grace of Your grace," "This Day of Lord," See us. " concerts by A. Vedel and S. Degtyarev. Pg., 1917. № 27;

• "God, in Your name save me" f-moll, "Veliy the Lord and praised zelo," "Majesty, I call Thea, Lord" (erroneously with the authorship of A. Vedel), "Lord, my God, on Thea hope" (erroneously with the authorship of A. Vedel), "May my soul rejoice about the Lord," "To thee, Lord, erect my soul," "Not in the same place of help/hope." № 28;

• "Fortunately, there is a confession of the Lord," "I will bless the Lord with admonished my," "God, come the tongues to the property," "Lord, beloved goodness" D-dur, "Golden-eyed trumpet," "Do not be jealous of the cunning ones," "Sing the Lord living in Zion," "Have mercy on me, God, just on Ty Upov," "Lord of Heaven" David, "who has helped him," M. [: Life-bearing source], 2006;

Individual chants:

• "Blessed is the husband "//East. churk textbook. singing/Ed.: N.I. Privalov. St. Petersburg. [, 1900 years] Issue 12;

• Cherubic Es-dur, "Grace of the world," "Majesty, my soul, the most honest and glorious," "Mother of God Virgin, hope "//Sobr. chants at the liturgy of St. John Chrysostom/Arrangement for male voices: holy. T.I. Donetsk. Voronezh, 1901. T. 2; "Eat with dignity "//East. churk textbook. singing/Ed.: M. A. Goltison. St. Petersburg [, 1904.] No. 11;

• "All the tongues, the Christmas trees created it," "Lord, in the light of your face let's go," "Mercy of the world," "Our Father," "Quiet light," "We sing to you," "Praise the name of the Lord," Cherubic f-moll//East. churk textbook. Singing/Ed.: Holy. M. A. Lisitsyn. St. Petersburg, 1903-1904. No. 3;

• "Take God "//Spiritual music. textbook/Ed.: M. A. Lagunov. St. Petersburg, 1911. No. 4;

• "Angel howls "//Sat. spiritually muses. chants/Ed.: N. D. Lebedev. St. Petersburg [: Kireev], 1913.

• No. 5: From Color Triody; "Majesty, my soul, the most honest and glorious of the mountain armies," "Your Christmas, Christ our God "//Ibid.

• No. 7: Christmas Chants; "It is worthy to eat "//One-year circle of right-handers. services: In 20 tons. Voronezh, 1991. T. 16;

• "Our God in Heaven "//Ibid. 1996. T. 8.

Literature

• Elizarova N. A. Sheremetev Theaters. M., 1944;
• Levashev E. M. S. A. Degtyarev//History of Russian music. M., 1986. T. 4. S. 184-208;
• Goryainov Yu. S. Russia sang glory. Voronezh, 1987; he is. S. A. Degtyarev. Belgorod, 1993;
• Lebedeva-Emelina A.V. Russian spiritual music of the era of classicism (1765-1825): Kat. works. M., 2004. S. 353-456.

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