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Tikhon Khrennikov

Russian composer Tikhon Khrennikov is just about the most questionable figure in the annals of Soviet music. In his capability as Secretary towards the Union of Soviet Composers, Khrennikov both denounced and raised the reputations of his fellow composers, wanting to climb that which was apparently a fairly slippery slope. As an associate from the Central Committee from the Communist Party and a consultant from the Supreme Soviet Council, he was a Soviet insider of an extremely high magnitude, and, regarding to Khrennikov, do what he could to fulfill Soviet regulators while privately safeguarding composers and music artists in whom the trick Police entertained a pastime. Khrennikov researched structure with Mikhail Gniessen on the Gniessen Academy in Moscow and researched piano with Heinrich Neuhaus; his initial major function was his Piano Concerto No. 1 (1932), the to begin a routine of four, the final showing up in 1991. Khrennikov’s Symphony No. 1 (1935) obtained the see of conductor Leopold Stokowski and premiered outdoors Russia; it continues to be Khrennikov’s best-known function in the Western. In 1939, Khrennikov premiered the opera In to the Surprise, the fruits of the three-year cooperation with producer Nemirovich-Damchenko. The long lasting success of the revolutionary-themed, patriotic function founded Khrennikov as a significant voice in the Soviet socialist realism style since it put on music. Khrennikov even more tightly cemented this popularity with his Tune of Moscow created for the film They Met in Moscow (1941), getting Khrennikov his initial Stalin Award; three more will be honored him in his life time. Khrennikov’s knowledge with the intrigues from the Soviet politics regime emerged early; through the “Great Terror” in 1937, two of Khrennikov’s brothers had been arrested by the trick Law enforcement. While he was miraculously in a position to save one of these, the various other vanished in the Gulag program. In 1948, Khrennikov was called Secretary towards the Union of Soviet Composers under Andrei Zhdanov, the principal instigator of socialist realism under Stalin. With Khrennikov’s co-operation, Zhdanov quickly commenced a purge from the Union of Soviet Composers. During this time period, Khrennikov denounced both Sergey Prokofiev and Dmitry Shostakovich, amongst others, for exercising compositional styles associated with anti-revolutionary, formalist principles derived from Traditional western influence; Khrennikov afterwards mentioned that he was reading from a ready speech directed at him with the Kremlin. With Zhdanov’s unexpected and unexpected loss of life afterwards in 1948, the problem steadily cooled, but nowadays are appreciated as the darkest in the lives of both Prokofiev and Shostakovich; biographers of the famous composers have already been quick to indicate Khrennikov as an adversarial physique in this problems. Nevertheless, Khrennikov kept onto his placement as Secretary towards the Union of Soviet Composers before placement was dissolved following the breakup from the Soviet Union in 1991. Furthermore, a progressive thaw toward musical designs in the Soviet Union showed up somewhat sooner than in additional creative disciplines; in 1962, arch-modernist Igor Stravinsky was asked back again to the Soviet Union for his 1st visit since prior to the Oct Revolution, mainly at Khrennikov’s behest. Khrennikov also helped set up the professions of high-grade concert virtuosi such as for example Mstislav Rostropovich and Leonid Kogan. Khrennikov himself loved a very energetic concert career like a pianist, becoming named People’s Designer from the U.S.S.R. in 1963. In his later on music, Khrennikov used some way of measuring the “modernist” methods he previously denounced previous in his profession as composer, though these coalesced rather uncomfortably using the “na_ve optimism” (Grove’s) that experienced characterized his music because the 1930s. Following the collapse from the Soviet Union, Khrennikov was broadly vilified by specialists on Soviet music as some sort of pariah, however when pressed about his function in the Zhdanov purges, Khrennikov mentioned that he previously no regrets; he had written a memoir, THAT’S How IT HAD BEEN, in 1994 to response all such queries, supported by condition documents. He continuing to compose up to about the entire year 2001, creating at least 10 operas; three symphonies; many ballets, concertos, and tracks; some chamber music; and 22 film ratings, the final genre where Khrennikov appears to have collected one of the most acclaim in his house country.

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