Muzykalʹnyj Pavlovsk: istorija koncertnoj žizni
Музыкальный Павловск история концертной жизни
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| Main Author: | |
|---|---|
| Format: | Book |
| Language: | Russian |
| Published: |
Sankt-Peterburg
Izdat. "Kompozitor - Sankt-Peterburg"
2007
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| Subjects: | |
| Online Access: | Abstract |
| Item Description: | In kyrill. Schr., russ. Includes bibliographical references |
| Physical Description: | 166 S., [16] Bl. Ill. 25 cm |
| ISBN: | 9785737903473 |
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| 650 | 4 | |a Music / Russia (Federation) / Pavlovsk (Leningradskai͡a oblastʹ) / History and criticism | |
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| 651 | 4 | |a Pavlovsk (Leningradskai͡a oblastʹ, Russia) / History | |
| 651 | 4 | |a Pavlovsk (Leningradskai͡a oblastʹ, Russia) |x History | |
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Record in the Search Index
| _version_ | 1804138340947066880 |
|---|---|
| adam_text | Musical Pavlovsk
by
A. S.
Rozanov
(Digest made by Asya Ardova)
Chapter I
In spring
1703
Peter I had reconquered from the Swedes
the former territory of the Great Novgorod. St. Petersburg was
laid at the Neva s banks and soon the city was grown by the
luxurious environments.
Peterhof was
intended by the tsar
family to spend summer-time, the Sarskoye
Selo
(Tsar s Vil¬
lage) was known for hunt. As for Pavlovsk, it was presented
by Ekaterina II to her son Pavel, when the heir was born.
The works at the park landscape started in
1778,
direc¬
ted by the architect Ch. Cameron. From the very beginning
music became inseparable from arising cottages, pavilions and
the Palace. The nobility visited different kinds of concerts and
amusing undertakings. Hence the theatre life was strengthened
by such composers as Dmitri Bortnyansky, who also orga¬
nized special lessons for the royal family. In summer,
1787,
the new opera by Bortnyansky was performed, written directly
for Pavlovsk stage. It was
Le fils
rival
ou la moderne Stra-
tonice»
[ The Son-rival or the
Modem Stratonice
to the li¬
bretto
by F.-H.
Lafermière.
The opera was staged with splen¬
dour. The central figure was E. I. Nelidova, charming plain
looking lady with agile, light voice.
However, the end of the 1780-ies was the end of the
noble actors troupe. The period of theatre in Pavlovsk was
over, ousted by the military exercises . Stages luxury was
changed to cosy gardens.
After the death of Ekaterina II, Pavlovsk turned to the
residence of Pavel, whose ferocious ruling was nevertheless
also accompanied by the sounding music, used for balls,
amusements and water walks. Pavel himself sang Russian
folk songs and took part in ballets.
However, Pavel s gloomy reign had completely passed
away to the
1801.
During the times of his widow Maria Fyo-
dorovna Pavlovsk stopped being the court s residence. This
circumstance didn t influence its music life, which was exis¬
ting through many trends — from the military Horn Choir
Ш
~ ~
to the French operas, such as
L amour
filial ( Son s Love )
or Michel
Ange
by Isouard.
In
1812
the French were in Moscow. Pavlovsk secular life
died, the town stood empty. Only in
1814
the music revival
was signed by the dinner in the Roses Pavilion. There
already the Russian songs were demonstrated together with
the ballets and the opera by L.
Cherubini
Water-carrier .
Poetic undertakings organized by Maria Fyodorovna were
marked by such poets as G. Derzhavin,
N.
Karamzin, K. Ba-
tyushkov, P. Vyazemsky. Young A. S. Pushkin took part in one
of such celebrations among his mates from Lyceum.
From the
1
820-ies the musical family of brothers Mikhail
and Matvey Vielgorsky used to make concerts and parties at
their cottage in Pavlovsk. Mikhail Glinka composed his mas¬
terpieces at his friends country house. Glinka wrote about it
in his Notes . Dargomyzhsky was invited by his student
Vera
Lazareva to live in Pavlovsk. In
1830
Mikhail
Titov,
the great
representative of the Titovs (outstanding family of romance
composers), began visiting Pavlovsk, where he died in
1853.
M. Lermontov
used to come to Pavlovsk sometimes.
From January
6, 1835,
the eminent event happened: Pav¬
lovsk was declared to be the centre of the society s music life.
Chapter II
That day the engineer F. A.
von Gerstner
handed Nikolai I
the application, where he described all possible advantages
of the railway between St.Petersburg and Pavlovsk . The
road-building works began in
1836
immediately, and very
soon the rails were laid. Green groves of the Pavlovsk Park
were cleft by the steel line into two unequal parts, mutilating
it somehow.
Nevertheless, the railway made the historical turn to mu¬
sic in Pavlovsk, causing the appearance of the new concert
stage. That occurred to be so-called Pavlovskyi Vokzal
(the Pavlovsk
Vauxhall),
named by analogy with London
Suburb-Vauõhall,
known by its public entertainments (ar¬
chitect A. Shtakenshneider).
N.
Kukolnik wrote: Imagine the
huge building, disposed as a semicircle, with opened gal¬
leries and gorgeous halls . Kukolnik was one of the first to
—
organize
concerts
at the new concert hall. He proposed to in¬
vite the Choir of Moscow Gypsies, directed by Ilya
Sokolov
(1773-1848).
The genre of gypsy song was at its height that
time, enjoying its popularity, being not yet debased then.
It s a pity the musicians had to demonstrate their art ac¬
companied by restaurant noise. Once the choir of the Basques
from the Pyrennees visited Pavlovsk. They were dressed in
national suites and impressed everyone, as
F. Bulgarin
no¬
ticed, by rich sound palette, where the voices sometimes
faded away or sometimes roared and rumbled .
Together with traditional trend in Pavlovsk
Vauxhall
con¬
certs, there was developing the sphere of light classical con¬
certs. The Austrian conductor J. Herrmann was carried to Pav¬
lovsk on the waltz vortexes, capturing the local music-lovers
by the brilliant Viennese style of dance-music. Herrmann com¬
piled his concert programs including also the Russian compo¬
sers creations. The Waltz-fantasy by Glinka took great fan¬
cy of the listeners, sounding from the Pavlovsk stage. This
was a wonderful composition, written for Ekaterina Kern,
touched by lyrical intonations and elegiac hues of Pushkin s
epoch. The waltz was even called the
Pavlovský
Waltz .
Famous and fashionable romance composer Varlamov execu¬
ted his new romances together with his daughter. Herrmann
was the first to make educational cultural programmes in Pav¬
lovsk, called chetvertki ( Thursdays ) where the Russian
high society could get acquainted with Beethoven s sympho¬
nies, Rossini s overtures and Bellini s arias.
Distinguished personalities of the past could be watched
together at Pavlovsk concerts. Liszt walking with Vielgorsky
along the park valleys and discussing Glinka s art, Robert and
Clara Schumann spending here some time.
Solo concerts were held by Vieuxtemps, who played
Reminiscence of the Askold Tomb; Julia
Grünburg —
the
young talented pianist and many gifty beginning and mature
musicians .
However, the most eminent supreme and flourishing age
started when the King of Waltzes
Johann
Strauss arrive
to Pavlovsk with his orchestra in
1856.
Since that momen
Pavlovsk revived. Strauss managed to win all sorts of hum
150
hearts. The outstanding musicologist and composer A.
N.
Se-
rov, responded so: All the orchestra members play excellent¬
ly together, led by the vivid, fiery gesture of the young mas¬
ter . Meanwhile Strauss s programs were not limited only by
waltzes, polkas, mazurkas and other merry dances. The ad¬
mirers were astonished, discovering that the young composer
performed with the same inspiration the music by J. S. Bach,
Schumann, Wagner, etc. Strauss devoted the whole concert to
Meyerbeer s memory. He also organized the series of con¬
certs, wholly consisting of Glinka s music.
Johann
Strauss played in Pavlovsk for ten years. The fare¬
well concert took place on September
27, 1870.
The compo¬
ser s younger brother was assisting Strauss, being favoured
with applauds not less than his elder brother. Strauss suffered
from leaving Pavlovsk, so as his abandoned worshippers.
However, from that time music ceased serving for dinner
decorations and Pavlovsk picturesque stages turned to power¬
ful centre of serious music-art.
Chapter III
The so-called garden music fully exhausted itself when
J. Strauss and his brothers departed from Pavlovsk. How¬
ever, the serious symphony music needed some time to be es¬
tablished on Pavlovsk stage, for the listeners accepted the at¬
tempts of different conductors very critically.
Here one should mention Benjamin Bilse
(1816-1902),
who was invited to play at Pavlovsk station during the sum¬
mer season in
1870.
Bilse came to Pavlovsk, being already a
mature man and musician. Afterwards the orchestra, directed
by Bilse formed the base of the Berlin Philharmonic Orches¬
tra. Bilse understood his music problems very distinctly. His
main objective was to perform more serious and classical
music. Bilse was obsessed by the idea of his listeners taste
improvement. The first concert took place on April
26,
1870 —
that was the season s opening. The programme in¬
cluded Glinka, Mendelssohn, Beethoven and the only light
music
—
Strauss s waltz and two pieces by Bilse himself.
Here the people forming the audience divided into two cont¬
rary parts. The journalists were indignant with the conductor s
151
strict
manners and the repertoire, offered by him. Besides,
though marking it discontentedly, the correspondent could
notice the representatives of different social strata, enjoying
serious symphony music. Bilse was not the ball conductor,
but once he managed to play the dances from classical operas
through his entire special educational concert.
However, the
Vauxhall
administration was hostile to Bilse,
the contract with him was broken and Hermann Mansfeldt
was engaged for the season of
1871.
Mansfeldt was less
eagerful, but he continued Bilse s principles. Once he was to
play, alternating with
Johann
Strauss at least
18
concerts. But
Strauss preferred the tour in America. The administration was
left displeased but failed to call him to account.
In spring,
1876,
the administration invited the French
conductor Jean Arban. He appeared in St.Petersburg in the
Family Garden kept by Yegarev on the Ofitserskaya
Street. Yegarev hired the territory at the Izmailovsky bridge
and the new undertaking called The Garden of Arban . The
project was created in order to compete with the Pavlovsk
Vauxhall,
but nevertheless, had to remind its rival. Arban s
Garden existed for three seasons and didn t enjoy its
popularity among people in St. Petersburg. Surely it wasn t
of a great menace to Pavlovsk, though exactly Pavlovsk had
inspired it.
Meanwhile the administration dreamt to return the spirit
of garden concert to Pavlovsk music performances.
As to Arban, he understood too well the society s tastes
fluctuations, which depended partially on the political situa¬
tion. During the period of the Russian-Turkish war
(1877—
1878)
he composed many marches in honour of glorious
military-men.
On May
18, 1786,
the new wooden theatre was opened at
the
Vauxhall.
It was build not far from the
Vauxhall
by the
architect
N.
Z. Benois, who chose the style of the Russian
country-cottage. The theatre witnessed many plays, among
them Pushkin s Mermaid was staged with Glikeria Fe-
dotova
(1846-1925),
famous Russian actress. As to Arban,
he stayed in Pavlovsk not for a long time. Light, simple
music was not enough for his contract prolongation.
152
The summer season of
1877-1878
was marked by the
Bilse-like concerts of the new invited conductor Joseph Lan-
genbach. P. I. Tchaikovsky managed to visit Langenbach con¬
cert in
1879.
He remembered then:
...
Yesterday I went to
Pavlovsk to the Symphony Concert. I was very much in¬
trigued by my symphony s
(№ 4)
scherzo. I was delighted
to hear it
Pavlovsk
Vauxhall
administration continued improving
external conditions of this great music centre. The company
P.
N.
Yablochkov, Inventor and C made the technical project
of the
Vauxhall
illumination and
8
torches were installed in
the concert hall. The season was opened by the concert di¬
rected by the new conductor
Erik-Mariz Puffgold.
He worked
in Pavlovsk until
1881.
Thanks to him many great foreign
actors visited the Pavlovsk
Vauxhall
that time.
Puffgold
him¬
self took part in performing. Once he played the first violin
part in Beethoven s Sestet.
Puffgold
organized the concerts,
based on some scientific principles. He compiled the pro¬
gramme, when one half of it consisted of pure polyphonic
music and the other half contained rare compositions by the
Russian authors, such as Scherzo by Musorgsky and excerpts
from A. Rubinstein s operas.
Puffgold
attracted even those ones, who enjoyed light,
variety style, inserting chansonettes, gypsy romances and
undertaking different festivals. Later even the
operettes
were
staged. Among them, Offenbach s ones. Puffgold s contribu¬
tion to Pavlovsk music world was nevertheless quite signi¬
ficant, for he managed to excite listeners interest to serious
music, offering mixed synthetic concerts, embracing all genres
and styles.
Chapter IV
However, the season of
1881
was not yet over, when the
Vauxhall
administration started thinking of Puffgold s succes¬
sor. Among those numerous conductors, who aspired to the
honoured position, only one was selected. That was the
Czech conductor and composer Voitekh Ivanovich Glavach
(1849-1911),
who finally moved to Russia in
1870.
Firstly he
served at the Ozerki garden
—
the Northern environment of
Ј.з-3
-too
153
St. Petersburg, where he played a lot of serious classics, ac¬
companied by different approving and discontented opinions.
Nevertheless, Glavach was acknowledged as a talented and
vivid performer and was invited to be the head of the
Pav¬
lo
vsk
Vauxhall
orchestra from
1881.
The contract with him
was signed for two years. The local newspapers marked, that
Glavach had revived Pavlovsk music world anew. His success
could be compared only with J. Strauss s one. Surely, Glavach
had profound musical objectives, concerning concerts
programmes, but on the other hand he felt the mere petty-
bourgeois tastes, as he had tried the garden genre before. Gla¬
vach extended repertoire and varied orchestra casts, inventing
new ensembles for music-making. Here we adduce the pro¬
gramme of his benefit night in
1882.
Glavach conducted and
played piano, performing The Hungarian Fantasy for piano
and orchestra by F. Liszt, then he played organ (American
organ), executing Gavotte by J. S. Bach, then he returned to
piano and rewarded the listeners with Beethoven s Andante
and Chopin s mazurkas. Many Russian composers were
obliged to Glavach for their works first performances.
Among them Tchaikovsky with his overture
1812
year ,
A. Rubinstein with the Costumed Ball and less famous, but
not less good authors, protected by the Russian playwright
Nikolai Solovyov. Sometimes Glavach demonstrated his own
creations
—
excerpts from his opera The Battue , Symphony
Suites, romances etc. Though the press reviews were quite
cool, Glavach wasn t confused, for he managed to arouse
people s sympathy by his fruitfulness and inventiveness.
Glavach accepted admirations dealing them with the other
women s pet
—
the Belgian
violiner Eugine
Ysaye
(1858-
1931).
Together they played Mendelssohn s Violin Concert
and many arrangements by Vieuxtemps, Ysaye s teacher.
However, trying to please all sorts of people, Glavach omit¬
ted the features of human nature, inclined to destroy the best
creative intentions. Bestial laugh and screams were drowning
the orchestra, which gave reactionary critics a chance to con¬
clude
—
Glavach didn t satisfy the listeners. The journalist
A. A. Krayevsky was a success in this baiting. Krayevsky was
one of the
Vauxhall
administrations. He could confirm or pro-
154
hibit anything he liked or just simply disliked. So, cunning wit¬
ty Krayevsky comprehended the situation and issued the fol¬
lowing decree: Mr. Glavach must not burden the audience by
the compositions, which are hardly heard from the far end of
the auditorium, for it may be of interest only to music experts.
Though the high authorities supported Glavach, but not
Krayevsky, the scoundrel managed to organize everything so
as to incite foolish part of audience against Glavach. Very
soon the anonimous letter from so-called music lovers ob¬
tained its shameful aim and Glavach left Pavlovsk. Ungrateful
Russian listeners were reproaching Glavach, meanwhile he
was demonstrating Glinka s music.
May
3
of
1886
was quite a remarkable day, for J. Strauss
appeared again at Pavlovsk
Vauxhall
stage. Alas, that was the
fascinating master s last return to Russia for to depart for ever.
However, during these years
(1882-1886)
the
operette
genre reigned in the Pavlovsk Theatre. The only, but a bit
strange exception was the drama by the famous Russian play¬
wright A.
N.
Ostrovsky
Thunderstorm , describing the Rus¬
sian merchantry mode of life.
The concert season of
1887
was opened by the march
Hail, St.Petersburg . When the author of this composition
was accepting modestly the people ovations, everyone no¬
ticed, that dear Glavach was changed for the grey-haired
man, who seemed to be the investigator of Auber, Gounod
and Wagner, but not the winner of local ladies hearts. Alberto
Vicentini
(1841-1906)
was really not very young and he was
not going to encroach on the Russian women mercy. He tried
his best to fulfil the programme, his contract s terms. It
claimed, that for the first time in the history of the Pavlovsk
Vauxhall,
the conductor was obliged to undertake
5
urgent
concerts-monsters with well-known performers to be in¬
vited at the expenses of the conductor himself.
Vicentini
sa¬
tisfied both the heads and the listeners. His concerts were
constructed rationally and he even included large-scaled com¬
positions to his programmes. Among them was The Legend
by Berlioz, which rhythmical sphere was very complicated
and needed real skill of a conductor and of a musician. Thus,
very evenly, thanks to
Vicentini
the garden tinge was
із·
155
vapouring out of Pavlovsk concerts. But insatiable adminis¬
tration didn t extend the contract again and the searches for
the new conductor renewed. It was
Laube,
recommended
by Tchaikovsky to appear before the Pavlovsk listeners. But
he didn t avoid tender reproaches for too much brass,
suppressing the crowd s noise. However, he performed a lot
of Tchaikovsky s works. Among them
—
Violin Concert with
W. Burmester as the soloist.
Laube
performed the serious
symphony music in such a way, as to make everyone love it
not less than the light genre.
During
1891
the galaxy of the French musicians
(Godard
and his contemporaries) were amusing the Pavlovsk listeners.
They were changed for the professor of St. Petersburg Con¬
servatoire Nikolai Galkin
(1850-1906)
in
1892.
According to
some reviews Galkin signed the new landmark in the Pav¬
lovsk music life.
Chapter V
Nikolai Galkin began working at the Pavlovsk
Vauxhall
orchestra in
1874,
as its soloist and ensemble performer. His
debut as a conductor took place in
1883
exactly at Gla-
vach s benefit. However, the paper St. Petersburg
Vedomos¬
ti
grumbled as usually that Galkin was unable to con¬
duct . Galkin wasn t discouraged and continued his activity,
which was based on firm principles. The young conductor
managed to realize his innovatory programme during the
first season and was awarded with the people love and un¬
derstanding. Innovations started, when on April
26, 1892
Galkin appeared at the stage, standing with his back to the
auditorium and his face to the orchestra. And though the
whole Europe did so from the times of Wagner, Pavlovsk
listeners, resembling some whimsical woman were already
spoilt by the foreign conductors, trying their best to grati¬
fy Pavlovsk audience. The concert habitues were astonished,
and their opinion was caught up by the press: So many
famous performers were here, but none of them dared to
turn his back to the audience.
Nevertheless, fearless Galkin seemed to neglect all discon¬
tents around him and went forward on his way to make the
156
serious symphony music stage out of the former garden
music abode. Galkin s concert curriculum consisted of Tues¬
days reconquered for the Russian composers, Fridays with
international symphony music and mixed programmes during
the left days of week. Sundays were filled with light music,
performed by Galkin s assistants, distinguished conductors,
alternating from year to year.
Meanwhile the Russian papers continued attacking the
musician. The prominent critic
N. F. Findeisen was
the head
of The Russian Music Paper and reproached Galkin for the
young musicians exploitation, which he invited to play in his
orchestra. However,
Findeisen
respected Galkin for his mu¬
sical flair . Really Galkin had a command of features, which
helped him to compile wonderful programmes. He attained
balance between the foreign and the Russian repertoire and
inserted even light easy music to his concerts. Galkin was one
of his time representatives. His views lay together with any
advanced person s ones that could be reduced to the following:
1)
to enlighten just a bit the Russian local society;
2)
to work on the benefit of the Russian music (especially
symphonic trend);
3)
not to avoid fashionable passion to Wagner, whom he
preferred more, than any other Western-European composer.
Thanks to Galkin s efforts the list of the composers, per¬
formed in Pavlovsk, included Grieg,
Mascagni, Arensky,
Taneyev,
Bleichmann,
Mendelssohn, the Finnish galaxy of au¬
thors. Doing justice to Galkin, we should admire how cleverly
he used such a significant structure as the choir of Arkhan-
gelsky (rather patriotic organization). This famous huge group
demonstrated old madrigals and large-scaled Beethoven s Mass
in
С
major, Schubert s Mass
E
flat major etc. Galkin under¬
stood meanwhile that his activity was not capable to provide
rich box-office incomes to the
Vauxhall
administration. Some¬
times his mail partner E.
Cabella
rescued the situation, invi¬
ting gypsies and popular light music singers. In
1903
the com¬
mon pet A. D. Vyaltseva showed her ait during the whole act
of Cabella s benefit night. Thus the gain increased. The other
step undertaken by Galkin being altogether profit to the
administration was the decision to engage Russian and foreign
157
distinguished performers, well-known all over the world. Such
singers, as Ivan Yershov, Medeya and Nikolai Figners, the pia¬
nist Sophia Menter and Liszt s pupils (e.g. E.
Sauer). Galkin
was very delighted giving his place to those expensive actors.
Once Shalyapin
and Sobinov competed on the Pavlovsk stage
and Kyui, one of the Kuchka ( The Mighty Group of
5
Russian Musicians ), marked: Sobinov is really a crazy
success coming to gifts and abundant gains, but Shalyapin
seemed to be accepted more turbulently.
The galaxy of the French conductors came to Pavlovsk in
1898.
Among them was
Camille Chevillard
(1859-1923)
sur¬
prising everyone by Rimsky-Korsakov s Second Symphony,
and
Eduard
Colonne
(1838-1910),
who performed Bizet,
Berlioz and
Franck
and won admirations, though his manner
was a bit precious and affected. Due to Galkin the Finnish
composer Armas
Järnefelt
(1869-1858)
was learnt by the
Pavlovsk attendants and Oscar
Nedbal
(1874-1930)
showed
his creations together with Dvorak s New World Symphony .
The new folk orchestra, organized by V. Andreyev
(1861—
1918),
balalaika-virtuoso, was introduced to the Pavlovsk lis¬
teners. From time to time the great Russian composers, such
as Glazunov or Rimsky-Korsakov expressed the kind of dis¬
content with Galkin s policy . Rimsky-Korsakov wrote in his
letter to Glazunov: Galkin kneaded again. He didn t peep
into the score before the concert. Galkin s perpetual critic
Findeisen
admitted at last the conductor s great contribution
to the Russian music and his ability to kindle people s atten¬
tion even with the serious classics.
Chapter VI
It happened to be rather hard to find someone instead of
Galkin, especially during the season of
1904,
when everything
was seized with the beginning of Russian-Japanese War.
Though the administration was at a loss, it was quite clear the
serious symphonic genre became firmly established among
the Pavlovsk music lovers.
Only the
Vauxhall
administration knew, why they chose
exactly one of the Mariinsky Theatre singers M. I.
Dolina
(1868-1919)
to advise, what programme to settle for the fu-
158
ture
concerts.
Maybe because of her influential friends (and
not only in the art sphere).
Dolina
didn t like Galkin s orches¬
tra and she recommended to invite the conductor Oscar
Ned¬
bal
from Prague, personally known to her . The same situ¬
ation was with the other musicians, selected by
Dolina.
Though being very decisive one, she didn t have any distinct
idea about the Pavlovsk concerts to be made more original
and striking, than they had been before.
Dolina
ruled in Pav¬
lovsk only until September
1904.
She got her gratitude for
hard work from the administration and finished her reign.
The season directed by her was marked as the fruitful one by
its concerts, although everyone noticed the lack of concept in
them, connected with the absence of the main conductor s
will, intended to unite everything. The famous Russian critic
V. V. Stasov was irritated by Dolina s main feature to prefer
less talented composers, but forceful among the journalists.
That made him call her the disgustable charlatan and repre-
mand her in doing everything with thunder, cracking and the
whole audience admiration .
However the spring of the
1905
came. The revolutionary
events broke with its perpetual meetings. Nevertheless, the
opening of the season on May
1
was quite calm, despite the
most uneasy time. So it continued
—
the orchestra demon¬
strated the new compositions by Mendelssohn, Arensky,
Kalinnikov
—
until the concerts were evenly turned to mee¬
tings of protest. The police became the constant member at
the Pavlovsk
Vauxhall.
The concert hall reminded some bat¬
tle-field. The listeners acquired the experience to gaze back
cautiously. The only exception was Shalyapin s benefit night.
Rimsky-Korsakov was cancelled by the petersburgian gene¬
ral
—
governor Trepov, but his colleagues, led by Alexander
B.Hessin (1869-1955)
continued performing the distin¬
guished composer s works.
Hessin
started his career in
1902
after his return from Leipzig, where he had offered to the
listeners the concerts in memory of Tchaikovsky. He was the
member of The Russian Music Society (St. Petersburg) and
the Philharmonic Society (Moscow).
Hessin
asserted the
rights of many Russian composers, including Glazunov and
Rimsky-Korsakov. They paid him with the same. Hessin s
159
idol was Rimsky-Korsakov, whose advice he used in conduct¬
ing process. After all he devoted the whole concerts to Rim¬
sky-Korsakov, the main passion of his life.
The curious concerts were organized and compiled by
Hessin
in
1907.
The first one was given to F.I. Shalyapin,
who sang Wotan s Farewell (Wagner s Die
Walküre )
and
all his repertory loved by admirers. The second concert was
at Vyaltseva s disposal, whose popular a bit vulgar singing
served sometimes as the king of lure for people.
The new period in the Pavlovsk music was signed by the
coming of the conductor Alexander P.Aslanov
(1874-1960),
who stayed at the post of the main conductor in Pavlovsk
until
1916.
Before Pavlovsk
Asiano
v
had worked in Yalta,
leading summer concerts. The Russian composer Sergei
Prokofiev, known for his destroying traditions views called
Aslanov inclined to innovations musician. Really Aslanov
banished away light music and stated the serious symphonic
one. Aslanov s activity during those
6
years may be divided
into two periods: before the I Imperialistic war
(1910-1914)
and the war period (the end of the season
1914,
seasons
1915
and
1916).
One of the most important events during his first period
was the
première
of the First Concerto for piano and orches¬
tra by the
20
years old Sergei Prokofiev. Here it s suitable to
adduce the programme of the Pavlovsk concert and some
critical reviews to it. The newspaper Novoye Vremya
( New Time ) published the following announcement: On
Friday, August
3,
at the Pavlovsk
Vauxhall
the symphonic
evening will take place with the participation of S. Proko¬
fiev (piano) and Kozolupov (cello), orchestra directed by
A. P. Aslanov. The programme consists of:
Stoyovsky
—
Symphony
D
minor, op.
21
(first performance)
Prokofiev
—
Concerto for Piano and Orchestra performed by
the author
Tchaikovsky
—
Variations Rococo for cello performed by
Mr. Kozolupov
Kyui
—
Scherzo
С
major
№ 1,
b
Scherzo
С
minor
№ 3.
Entrance free of charge.
160
Different critics gave absolutely various replies, but all of
them marked Prokofiev s original thinking and way of ex¬
pressing it. Here are the opinions of famous critics and promi¬
nent figures of that time: Prokofiev s playing is as impres¬
sive and strong as his music (Karatygin); Ravel turned
inside out (Rubinstein); Prokofiev s cadenza reminds the
upset inkpot, making ink spots on paper (Bernstein);
...
to
listen more and more (Neuhaus). Despite everything Pro¬
kofiev was slowly becoming fashionable, even among the
Pavlovsk
Vauxhall
society.
Together with such phenomena as Prokofiev, there were
simply utmostly useful and rather attractive undertakings. In
1912
the opera Sister Beatrice (to the plot by Maeterlinck),
composed by the financial figure Davydov, was staged. That
was the echo of literature so as miniature performances to
Gorky s creations, like, for example, the Symphony Poem by
the Polish conductor Fitelberg The Song of Falcon . That
time was fruitful for curious synthetic genres.
The series of concerts was organized, devoted to modern
Western-European composers and performers. The concerts
were opened by the conductor from Glasgow
Verbrügen.
The
repertoire consisted of the English authors works (Macken¬
zie, Bantock, Sullivan). The Polish music was represented by
Shimanovsky, Paderevsky, Ruzhitsky. Then there followed
the evenings of the Dutch and the Spanish music. However,
the press reproached these concerts for their mixed character.
In summer
1914
the succession of chamber ensemble concerts
joined the Pavlovsk repertory. Wagner remained popular
among the Russian intelligentsia, but his personality was
growing dim before Mahler s talent. On August
19, 1911,
the
conductor
Goldenblum
performed Mahler s Adagietto from
the Fifth Symphony. The concert was held in memory of
Mahler. Famous Russian conductor and pedagogue, Nikolai
Malko
(1863-1961)
had his debut in Pavlovsk in
1913,
di¬
recting the orchestra by heart. In
1916
Malko
prepared the
programme, which consisted of Stravinsky s symphony, Gli-
er s The Sirens , Asafiev s Pierrot and Masks and Pic¬
tures From Exhibition by Musorgsky (instrumentation by
Tushmalov).
Malko,
himself, mentioned in his diary: Asafiev
161
is not difficult technically and his instrumentation is fine, Glier
is good for easy comfort playing and attaining smart sounding .
Aslanov gave the stage to the kaleidoscope of the beginners.
Once Anna Pavlova danced at the
Vauxhall,
accompanied by
her admirers protests against women s wide-brimmed hats.
Meanwhile the music life in the Pavlovsk Palace was left
at the level of home music-making, interspersed with the
professinal musicans performances, though the great prince
Konstantin Nikolayevich,
Pavlovsk Palace master and the
president of the Russian Music Society, played cello and col¬
lected music for his library. Actually the Palace s music life
and tastes were separate from the noise and fuss of the
Vaux¬
hall.
1910-1914
the conceit life in Pavlovsk was at its apex.
The First World War, which bursted in
1914
was de¬
structive for Pavlovsk concerts. For the first time everything
was frozen. The musicians were engaged to army. The con¬
certs were the same with meeting with easy music and pa¬
triotic mood.
Malko
and Pokhitonov were changing each other. However,
though the popular classics captivated the programmes, the
large-scaled symphonic compositions were accepted by the lis¬
teners as well, surely with special tinge. It continued until the
revolution. Thus the
80*
anniversary of the Pavlovsk seasons
coincided with this event, symbolizing the end of secular life
of the
Vauxhall
with its both negative features.
Chapter
VII
Concluding his activity in Pavlovsk the famous Russian
conductor
N.
Malko
noted in one of his diaries: Despite all
the difficulties, connected with the war.
..
the season may be
considered successful. The season was over on August
27,
1917.
Its final concert was grandiose and crowded. The
Solemn Overture by Glazunov happened to be the last ac¬
cord in the Pavlovsk musical existence. The following
24
years may be signed as the kind of epilogue to the story
of Pavlovsk musical
Vauxhall.
The season of
1918
was intermeditory between two mo¬
dels of life. On the first hand, it was still constructed ac¬
cording to the previous canons, though interwined with some
162
new elements, on the other hand, new tendencies were felt.
The external changes were seen. The building was repaired;
the park around it was put in order and was provided with
light. The conductors were
N.
A. Malko
and E. V. Wolf-Israel.
Again the great Russian orchestra of folk instruments was
invited. The season was opened by the Marseillaise , execu¬
ted by
Malko,
everyone stood up, thus greeting the renewed
revolutionary Russia ( The Voice of
Petrograd , Petrograd-
sky
golos
June
4, 1918).
Malko
and Wolf-Israel were alter¬
nating; Glazunov took part in the concerts.
Malko
held his
benefit night on the occassion of his tenth anniversary on the
stage
(1908-1918)
and demonstrated the 9th Symphony by
Beethoven and the Ecstasy Poem by Skryabin.
Malko
got
his deserved applause, however, the paper Petrogradsky
Golos ,
The Voice of
Petrograd )
marked in its review: The
interpretation of Skryabin s Poem with its utterly sensitive
and at the same time sublime music was much more a suc¬
cess at
Malko,
than idealistical music by Beethoven. How¬
ever, Beethoven was good as well. Children s Musical So¬
ciety directed by
Amfiteátrov
undertook two concerts. That
was the time of diseur-genre (poetry recitation accompanied
by music). Maksimov, famous
diseur,
recited and Wolf-Isra¬
el performed excerpts from The Swan Lake , while ballet-
dancers explained what was going on by the means of ballet
positions and pas complete set.
One more peculiarity of Pavlovsk that time
—
different
circles for people to attend them according to individual ar¬
tistic passions.
The seasons of
1919
and
1920
resembled each other.
Malko
left for Vitebsk, and Pavlovsk musical life passed to
the jurisdiction of Musical Department of Education Commis¬
sariat. Actually nothing changed. The same aims
—
though
the educational aim was now the leading one. Opening dis¬
courses were read by outstanding composers, founders of
future Soviet opera and symphony, such as Strelnikov and
Shaporin. Concerts in Pavlovsk were divided according to¬
pics and types. Sometimes the whole operas were staged,
such as
Pagliacci
by Leoncavallo, and so-called Children s
Mornings
—
special concerts, organized by the Department
163
of Education. The question what to consider the music for
children was not yet elaborated that time, hence the repertoire
was sometimes not very suitable. Here also should be men¬
tioned the songs by Musorgsky, adapted for stage by
N. N.
Lebedev and pantomime by Anna
Vallenberg
Spirit of
Mountains and Boy . However, Children s Mornings were
such a success, that it was decided to organize them every
Sunday, instead of two per month. Mixed concerts enjoyed by
everybody gathered the best artistic forces, such as Tartakov,
Bronskaya, Davydov in theatre sphere, harpist
Amosov,
bal¬
let-dancers Lyukom and Smirnova. There were invented inter¬
esting scenes, when ballet-dancers acted Antique sculptures
inside the park groves or showed Choreographical Evenings
of Oriental and Antique Dances . Symphony concerts became
rare, giving in to
operettes,
pantomime and ballet. Chamber
music, especially solo piano concerts took fancy of the listen¬
ers. Here there ought to be marked two concerts taking place
in August
1920.
Very monumental pianist V. Sofronitsky,
special performer of Skryabin offered the compositions by
this author. Sofronitsky was
19
then, provoking the eldest
Russian piano master
Vera Timanova
play Liszt s works just
a week later. New trends were also accepted with pleasure.
It s worth to mention here the Seminars On Pavlovsk Study¬
ing for the researchers of environmental palaces-museums.
Concerts of old music (IS 1-!9th beginning) were held in
the Palace and in the Roses Pavilion. There was even com¬
mitted the attempt to reconstruct the festival imitating one of
the previous celebrations in Pavlovsk. In general there were
crises (one of them happened in
1925,
when the new admini¬
stration wanted to close the theatre, because of two new ec¬
centric dances
—
Foxtrot and Apache , included to Lunochar-
sky s melodrama Instigators ) and periods of revival,
connected with such names as
Kuper
and Gauk
—
famous
conductors; Sobinov, Andreyeva-Delmas, Stepanova,
Mi¬
gai
—
outstanding singers, so as different kinds of experi¬
ments, launched by the theatre The Young Ballet
—
dan¬
ces with choir reciting. As to the listeners, they were changed
socially, but the usual human willing to amusements remained
the same. That s why, the serious symphony concerts were
164
attended less, than visual entertainments, like
operettes.
Con¬
cert programmes consisted now of overtures by Glinka or
Wagner, Andante
cantabile
by Tchaikovsky and dancing acts
or
operettes,
which by and by supplanted everything. Besides,
Pavlovsk was stated together with the Summer Garden (the
centre of St.Petersburg) and the Sestroretsk Kurzal among
the places of spare time and rest.
The thirties did not actually bring anything new to Pav¬
lovsk life. The season of
1933
began with symphonic
evening, conducted by Pokhitonov. However, very soon one
could witness more various sorts of Lilac Days or outdoor
parties, than academical concerts. At last, the Soviet govern¬
ment satisfied people s musical tastes, attracted by everything
plain, spectaculous and amusing bestial minds. Despite the at¬
tempts and endeavours of progressive critics and even mem¬
bers of cultural committees, plebian flair shrouded music all
over the country.
During the war Pavlovsk was devastated by fascists. The
Palace was burnt wholly, the greater part of the park was cut
and the Musical
Vauxhall
building was destroyed. It seemed,
life would never return here.
Immense reconstructing works began even
befor
the end
of the war. The building of the former
Vauxhall
was not in¬
cluded to the list of this procedure. The Musical
Vauxhall
re¬
mained with the past, its role was played. As to the architec¬
tural aspect, the building was not of a great value. Moreover,
the rails disgusted the park, being like a scar, which crossed
the part of the Huge Star. Therefore, when the Palace was
revived all the music life was transferred to it.
1950
may be
marked as the stalling point of the Pavlovsk new musical age.
Nowadays there is no specially worked out plan, concer¬
ning the Pavlovsk music life curriculum. Music finds its pla¬
ces both on the streets and in the pavilions. As a conclusion
there should be declared, that Pavlovsk is the dwelling of
rieh
cultural history, narrating about music s and beauty s process
of coming into being and bridling human minds.
|
| adam_txt |
"Musical Pavlovsk"
by
A. S.
Rozanov
(Digest made by Asya Ardova)
Chapter I
In spring
1703
Peter I had reconquered from the Swedes
the former territory of the Great Novgorod. St. Petersburg was
laid at the Neva's banks and soon the city was grown by the
luxurious environments.
Peterhof was
intended by the tsar
family to spend summer-time, the Sarskoye
Selo
(Tsar's Vil¬
lage) was known for hunt. As for Pavlovsk, it was presented
by Ekaterina II to her son Pavel, when the heir was born.
The works at the park landscape started in
1778,
direc¬
ted by the architect Ch. Cameron. From the very beginning
music became inseparable from arising cottages, pavilions and
the Palace. The nobility visited different kinds of concerts and
amusing undertakings. Hence the theatre life was strengthened
by such composers as Dmitri Bortnyansky, who also orga¬
nized special lessons for the royal family. In summer,
1787,
the new opera by Bortnyansky was performed, written directly
for Pavlovsk stage. It was
"Le fils
rival
ou la moderne Stra-
tonice»
["The Son-rival or the
Modem Stratonice"
to the li¬
bretto
by F.-H.
Lafermière.
The opera was staged with splen¬
dour. The central figure was E. I. Nelidova, charming plain
looking lady with agile, light voice.
However, the end of the 1780-ies was the end of the
"noble actors" troupe. The period of theatre in Pavlovsk was
over, ousted by the military "exercises". Stages' luxury was
changed to cosy gardens.
After the death of Ekaterina II, Pavlovsk turned to the
residence of Pavel, whose ferocious ruling was nevertheless
also accompanied by the sounding music, used for balls,
amusements and water walks. Pavel himself sang Russian
folk songs and took part in ballets.
However, Pavel's gloomy reign had completely passed
away to the
1801.
During the times of his widow Maria Fyo-
dorovna Pavlovsk stopped being the court's residence. This
circumstance didn't influence its music life, which was exis¬
ting through many trends — from the military Horn "Choir"
Ш
~ ~
"
to the French operas, such as
"L'amour
filial" ("Son's Love")
or "Michel
Ange"
by Isouard.
In
1812
the French were in Moscow. Pavlovsk secular life
died, the town stood empty. Only in
1814
the music revival
was signed by the dinner in the Roses' Pavilion. There
already the Russian songs were demonstrated together with
the ballets and the opera by L.
Cherubini
"Water-carrier".
Poetic undertakings organized by Maria Fyodorovna were
marked by such poets as G. Derzhavin,
N.
Karamzin, K. Ba-
tyushkov, P. Vyazemsky. Young A. S. Pushkin took part in one
of such celebrations among his mates from Lyceum.
From the
1
820-ies the musical family of brothers Mikhail
and Matvey Vielgorsky used to make concerts and parties at
their cottage in Pavlovsk. Mikhail Glinka composed his mas¬
terpieces at his friends' country house. Glinka wrote about it
in his "Notes". Dargomyzhsky was invited by his student
Vera
Lazareva to live in Pavlovsk. In
1830
Mikhail
Titov,
the great
representative of the Titovs (outstanding family of romance
composers), began visiting Pavlovsk, where he died in
1853.
M. Lermontov
used to come to Pavlovsk sometimes.
From January
6, 1835,
the eminent event happened: Pav¬
lovsk was declared to be the centre of the society's music life.
Chapter II
That day the engineer F. A.
von Gerstner
handed Nikolai I
the application, where he described "all possible advantages
of the railway between St.Petersburg and Pavlovsk". The
road-building works began in
1836
immediately, and very
soon the rails were laid. Green groves of the Pavlovsk Park
were cleft by the steel line into two unequal parts, mutilating
it somehow.
Nevertheless, the railway made the historical turn to mu¬
sic in Pavlovsk, causing the appearance of the new concert
stage. That occurred to be so-called "Pavlovskyi Vokzal"
(the Pavlovsk
Vauxhall),
named by analogy with London
Suburb-Vauõhall,
known by its public entertainments (ar¬
chitect A. Shtakenshneider).
N.
Kukolnik wrote: "Imagine the
huge building, disposed as a semicircle, with opened gal¬
leries and gorgeous halls". Kukolnik was one of the first to
—
organize
concerts
at the new concert hall. He proposed to in¬
vite the Choir of Moscow Gypsies, directed by Ilya
Sokolov
(1773-1848).
The genre of gypsy song was at its height that
time, enjoying its popularity, being not yet debased then.
It's a pity the musicians had to demonstrate their art ac¬
companied by restaurant noise. Once the choir of the Basques
from the Pyrennees visited Pavlovsk. They were dressed in
national suites and impressed everyone, as
F. Bulgarin
no¬
ticed, "by rich sound palette, where the voices sometimes
faded away or sometimes roared and rumbled".
Together with traditional trend in Pavlovsk
Vauxhall
con¬
certs, there was developing the sphere of light classical con¬
certs. The Austrian conductor J. Herrmann was carried to Pav¬
lovsk on the waltz vortexes, capturing the local music-lovers
by the brilliant Viennese style of dance-music. Herrmann com¬
piled his concert programs including also the Russian compo¬
sers' creations. The "Waltz-fantasy" by Glinka took great fan¬
cy of the listeners, sounding from the Pavlovsk stage. This
was a wonderful composition, written for Ekaterina Kern,
touched by lyrical intonations and elegiac hues of Pushkin's
epoch. The waltz was even called the
"Pavlovský
Waltz".
Famous and fashionable romance composer Varlamov execu¬
ted his new romances together with his daughter. Herrmann
was the first to make educational cultural programmes in Pav¬
lovsk, called "chetvertki" ("Thursdays") where the Russian
high society could get acquainted with Beethoven's sympho¬
nies, Rossini's overtures and Bellini's arias.
Distinguished personalities of the past could be watched
together at Pavlovsk concerts. Liszt walking with Vielgorsky
along the park valleys and discussing Glinka's art, Robert and
Clara Schumann spending here some time.
Solo concerts were held by Vieuxtemps, who played
"Reminiscence of the Askold Tomb; Julia
Grünburg —
the
young talented pianist and many gifty beginning and mature
musicians".
However, the most eminent supreme and flourishing age
started when the "King of Waltzes"
Johann
Strauss arrive
to Pavlovsk with his orchestra in
1856.
Since that momen
Pavlovsk revived. Strauss managed to win all sorts of hum
150
hearts. The outstanding musicologist and composer A.
N.
Se-
rov, responded so: "All the orchestra members play excellent¬
ly together, led by the vivid, fiery gesture of the young mas¬
ter". Meanwhile Strauss's programs were not limited only by
waltzes, polkas, mazurkas and other merry dances. The ad¬
mirers were astonished, discovering that the young composer
performed with the same inspiration the music by J. S. Bach,
Schumann, Wagner, etc. Strauss devoted the whole concert to
Meyerbeer's memory. He also organized the series of con¬
certs, wholly consisting of Glinka's music.
Johann
Strauss played in Pavlovsk for ten years. The fare¬
well concert took place on September
27, 1870.
The compo¬
ser's younger brother was assisting Strauss, being favoured
with applauds not less than his elder brother. Strauss suffered
from leaving Pavlovsk, so as his abandoned worshippers.
However, from that time music ceased serving for dinner
decorations and Pavlovsk picturesque stages turned to power¬
ful centre of serious music-art.
Chapter III
The so-called "garden music" fully exhausted itself when
J. Strauss and his brothers departed from Pavlovsk. How¬
ever, the serious symphony music needed some time to be es¬
tablished on Pavlovsk stage, for the listeners accepted the at¬
tempts of different conductors very critically.
Here one should mention Benjamin Bilse
(1816-1902),
who was invited to play at Pavlovsk station during the sum¬
mer season in
1870.
Bilse came to Pavlovsk, being already a
mature man and musician. Afterwards the orchestra, directed
by Bilse formed the base of the Berlin Philharmonic Orches¬
tra. Bilse understood his music problems very distinctly. His
main objective was to perform more serious and classical
music. Bilse was obsessed by the idea of his listeners' taste
improvement. The first concert took place on April
26,
1870 —
that was the season's opening. The programme in¬
cluded Glinka, Mendelssohn, Beethoven and the only light
music
—
Strauss's waltz and two pieces by Bilse himself.
Here the people forming the audience divided into two cont¬
rary parts. The journalists were indignant with the conductor's
151
strict
manners and the repertoire, offered by him. Besides,
though marking it discontentedly, the correspondent could
notice the representatives of different social strata, enjoying
serious symphony music. Bilse was not the "ball" conductor,
but once he managed to play the dances from classical operas
through his entire special educational concert.
However, the
Vauxhall
administration was hostile to Bilse,
the contract with him was broken and Hermann Mansfeldt
was engaged for the season of
1871.
Mansfeldt was less
eagerful, but he continued Bilse's principles. Once he was to
play, alternating with
Johann
Strauss at least
18
concerts. But
Strauss preferred the tour in America. The administration was
left displeased but failed to call him to account.
In spring,
1876,
the administration invited the French
conductor Jean Arban. He appeared in St.Petersburg in the
"Family Garden" kept by Yegarev on the Ofitserskaya
Street. Yegarev hired the territory at the Izmailovsky bridge
and the new undertaking called "The Garden of Arban". The
project was created in order to compete with the Pavlovsk
Vauxhall,
but nevertheless, had to remind its rival. Arban's
"Garden" existed for three seasons and didn't enjoy its
popularity among people in St. Petersburg. Surely it wasn't
of a great menace to Pavlovsk, though exactly Pavlovsk had
inspired it.
Meanwhile the administration dreamt to return the spirit
of "garden concert" to Pavlovsk music performances.
As to Arban, he understood too well the society's tastes
fluctuations, which depended partially on the political situa¬
tion. During the period of the Russian-Turkish war
(1877—
1878)
he composed many marches in honour of glorious
military-men.
On May
18, 1786,
the new wooden theatre was opened at
the
Vauxhall.
It was build not far from the
Vauxhall
by the
architect
N.
Z. Benois, who chose the style of the Russian
country-cottage. The theatre witnessed many plays, among
them Pushkin's "Mermaid" was staged with Glikeria Fe-
dotova
(1846-1925),
famous Russian actress. As to Arban,
he stayed in Pavlovsk not for a long time. Light, simple
music was not enough for his contract prolongation.
152
The summer season of
1877-1878
was marked by the
Bilse-like concerts of the new invited conductor Joseph Lan-
genbach. P. I. Tchaikovsky managed to visit Langenbach con¬
cert in
1879.
He remembered then:
".
Yesterday I went to
Pavlovsk to the Symphony Concert. I was very much in¬
trigued by my symphony's
(№ 4)
scherzo. I was delighted
to hear it"
Pavlovsk
Vauxhall
administration continued improving
external conditions of this great music centre. The company
"P.
N.
Yablochkov, Inventor and C" made the technical project
of the
Vauxhall
illumination and
8
torches were installed in
the concert hall. The season was opened by the concert di¬
rected by the new conductor
Erik-Mariz Puffgold.
He worked
in Pavlovsk until
1881.
Thanks to him many great foreign
actors visited the Pavlovsk
Vauxhall
that time.
Puffgold
him¬
self took part in performing. Once he played the first violin
part in Beethoven's Sestet.
Puffgold
organized the concerts,
based on some scientific principles. He compiled the pro¬
gramme, when one half of it consisted of pure polyphonic
music and the other half contained rare compositions by the
Russian authors, such as Scherzo by Musorgsky and excerpts
from A. Rubinstein's operas.
Puffgold
attracted even those ones, who enjoyed light,
variety style, inserting chansonettes, gypsy romances and
undertaking different festivals. Later even the
operettes
were
staged. Among them, Offenbach's ones. Puffgold's contribu¬
tion to Pavlovsk music world was nevertheless quite signi¬
ficant, for he managed to excite listeners' interest to serious
music, offering mixed synthetic concerts, embracing all genres
and styles.
Chapter IV
However, the season of
1881
was not yet over, when the
Vauxhall
administration started thinking of Puffgold's succes¬
sor. Among those numerous conductors, who aspired to the
honoured position, only one was selected. That was the
Czech conductor and composer Voitekh Ivanovich Glavach
(1849-1911),
who finally moved to Russia in
1870.
Firstly he
served at the Ozerki garden
—
the Northern environment of
Ј.з-3
-too
153
St. Petersburg, where he played a lot of serious classics, ac¬
companied by different approving and discontented opinions.
Nevertheless, Glavach was acknowledged as a talented and
vivid performer and was invited to be the head of the
Pav¬
lo
vsk
Vauxhall
orchestra from
1881.
The contract with him
was signed for two years. The local newspapers marked, that
Glavach had revived Pavlovsk music world anew. His success
could be compared only with J. Strauss's one. Surely, Glavach
had profound musical objectives, concerning concerts
programmes, but on the other hand he felt the mere petty-
bourgeois tastes, as he had tried the garden genre before. Gla¬
vach extended repertoire and varied orchestra casts, inventing
new ensembles for music-making. Here we adduce the pro¬
gramme of his benefit night in
1882.
Glavach conducted and
played piano, performing "The Hungarian Fantasy for piano
and orchestra" by F. Liszt, then he played organ (American
organ), executing "Gavotte" by J. S. Bach, then he returned to
piano and rewarded the listeners with Beethoven's Andante
and Chopin's mazurkas. Many Russian composers were
obliged to Glavach for their works' first performances.
Among them Tchaikovsky with his overture
"1812
year",
A. Rubinstein with the "Costumed Ball" and less famous, but
not less good authors, protected by the Russian playwright
Nikolai Solovyov. Sometimes Glavach demonstrated his own
creations
—
excerpts from his opera "The Battue", Symphony
Suites, romances etc. Though the press reviews were quite
cool, Glavach wasn't confused, for he managed to arouse
people's sympathy by his fruitfulness and inventiveness.
Glavach accepted admirations dealing them with the other
women's pet
—
the Belgian
violiner Eugine
Ysaye
(1858-
1931).
Together they played Mendelssohn's Violin Concert
and many arrangements by Vieuxtemps, Ysaye's teacher.
However, trying to please all sorts of people, Glavach omit¬
ted the features of human nature, inclined to destroy the best
creative intentions. Bestial laugh and screams were drowning
the orchestra, which gave reactionary critics a chance to con¬
clude
—
Glavach didn't satisfy the listeners. The journalist
A. A. Krayevsky was a success in this baiting. Krayevsky was
one of the
Vauxhall
administrations. He could confirm or pro-
154
hibit anything he liked or just simply disliked. So, cunning wit¬
ty Krayevsky comprehended the situation and issued the fol¬
lowing decree: "Mr. Glavach must not burden the audience by
the compositions, which are hardly heard from the far end of
the auditorium, for it may be of interest only to music experts."
Though the high authorities supported Glavach, but not
Krayevsky, the scoundrel managed to organize everything so
as to incite foolish part of audience against Glavach. Very
soon the anonimous letter from so-called "music lovers" ob¬
tained its shameful aim and Glavach left Pavlovsk. Ungrateful
Russian listeners were reproaching Glavach, meanwhile he
was demonstrating Glinka's music.
May
3
of
1886
was quite a remarkable day, for J. Strauss
appeared again at Pavlovsk
Vauxhall
stage. Alas, that was the
fascinating master's last return to Russia for to depart for ever.
However, during these years
(1882-1886)
the
operette
genre reigned in the Pavlovsk Theatre. The only, but a bit
strange exception was the drama by the famous Russian play¬
wright A.
N.
Ostrovsky
"Thunderstorm", describing the Rus¬
sian merchantry mode of life.
The concert season of
1887
was opened by the march
"Hail, St.Petersburg". When the author of this composition
was accepting modestly the people ovations, everyone no¬
ticed, that "dear Glavach" was changed for the grey-haired
man, who seemed to be the investigator of Auber, Gounod
and Wagner, but not the winner of local ladies' hearts. Alberto
Vicentini
(1841-1906)
was really not very young and he was
not going to encroach on the Russian women mercy. He tried
his best to fulfil the programme, his contract's terms. It
claimed, that for the first time in the history of the Pavlovsk
Vauxhall,
the conductor was obliged to undertake
"5
urgent
concerts-monsters" with well-known performers to be in¬
vited at the expenses of the conductor himself.
Vicentini
sa¬
tisfied both the heads and the listeners. His concerts were
constructed rationally and he even included large-scaled com¬
positions to his programmes. Among them was "The Legend"
by Berlioz, which rhythmical sphere was very complicated
and needed real skill of a conductor and of a musician. Thus,
very evenly, thanks to
Vicentini
the "garden" tinge was
із·
155
vapouring out of Pavlovsk concerts. But insatiable adminis¬
tration didn't extend the contract again and the searches for
the new conductor renewed. It was
Laube,
recommended
by Tchaikovsky to appear before the Pavlovsk listeners. But
he didn't avoid "tender reproaches" for too much brass,
suppressing the crowd's noise. However, he performed a lot
of Tchaikovsky's works. Among them
—
Violin Concert with
W. Burmester as the soloist.
Laube
performed the serious
symphony music in such a way, as to make everyone love it
not less than the light genre.
During
1891
the galaxy of the French musicians
(Godard
and his contemporaries) were amusing the Pavlovsk listeners.
They were changed for the professor of St. Petersburg Con¬
servatoire Nikolai Galkin
(1850-1906)
in
1892.
According to
some reviews Galkin signed the new landmark in the Pav¬
lovsk music life.
Chapter V
Nikolai Galkin began working at the Pavlovsk
Vauxhall
orchestra in
1874,
as its soloist and ensemble performer. His
debut as a conductor took place in
1883
exactly at Gla-
vach's benefit. However, the paper "St. Petersburg
Vedomos¬
ti"
grumbled as usually that Galkin was "unable to con¬
duct". Galkin wasn't discouraged and continued his activity,
which was based on firm principles. The young conductor
managed to realize his innovatory programme during the
first season and was awarded with the people love and un¬
derstanding. Innovations started, when on April
26, 1892
Galkin appeared at the stage, standing with his back to the
auditorium and his face to the orchestra. And though the
whole Europe did so from the times of Wagner, Pavlovsk
listeners, resembling some whimsical woman were already
spoilt by the foreign conductors, trying their best to grati¬
fy Pavlovsk audience. The concert habitues were astonished,
and their opinion was caught up by the press: "So many
famous performers were here, but none of them dared to
turn his back to the audience."
Nevertheless, fearless Galkin seemed to neglect all discon¬
tents around him and went forward on his way to make the
156
serious symphony music stage out of the former "garden"
music abode. Galkin's concert curriculum consisted of Tues¬
days reconquered for the Russian composers, Fridays with
international symphony music and mixed programmes during
the left days of week. Sundays were filled with light music,
performed by Galkin's assistants, distinguished conductors,
alternating from year to year.
Meanwhile the Russian papers continued attacking the
musician. The prominent critic
N. F. Findeisen was
the head
of "The Russian Music Paper" and reproached Galkin for the
young musicians' exploitation, which he invited to play in his
orchestra. However,
Findeisen
respected Galkin for his "mu¬
sical flair". Really Galkin had a command of features, which
helped him to compile wonderful programmes. He attained
balance between the foreign and the Russian repertoire and
inserted even light easy music to his concerts. Galkin was one
of his time representatives. His views lay together with any
advanced person's ones that could be reduced to the following:
1)
to enlighten just a bit the Russian local society;
2)
to work on the benefit of the Russian music (especially
symphonic trend);
3)
not to avoid fashionable passion to Wagner, whom he
preferred more, than any other Western-European composer.
Thanks to Galkin's efforts the list of the composers, per¬
formed in Pavlovsk, included Grieg,
Mascagni, Arensky,
Taneyev,
Bleichmann,
Mendelssohn, the Finnish galaxy of au¬
thors. Doing justice to Galkin, we should admire how cleverly
he used such a significant structure as the choir of Arkhan-
gelsky (rather patriotic organization). This famous huge group
demonstrated old madrigals and large-scaled Beethoven's Mass
in
С
major, Schubert's Mass
E
flat major etc. Galkin under¬
stood meanwhile that his activity was not capable to provide
rich box-office incomes to the
Vauxhall
administration. Some¬
times his mail partner E.
Cabella
rescued the situation, invi¬
ting gypsies and popular light music singers. In
1903
the com¬
mon pet A. D. Vyaltseva showed her ait during the whole act
of Cabella's benefit night. Thus the gain increased. The other
step undertaken by Galkin being altogether profit to the
administration was the decision to engage Russian and foreign
157
distinguished performers, well-known all over the world. Such
singers, as Ivan Yershov, Medeya and Nikolai Figners, the pia¬
nist Sophia Menter and Liszt's pupils (e.g. E.
Sauer). Galkin
was very delighted giving his place to those expensive actors.
Once Shalyapin
and Sobinov competed on the Pavlovsk stage
and Kyui, one of the "Kuchka" ("The Mighty Group of
5
Russian Musicians"), marked: "Sobinov is really a crazy
success coming to gifts and abundant gains, but Shalyapin
seemed to be accepted more turbulently."
The galaxy of the French conductors came to Pavlovsk in
1898.
Among them was
Camille Chevillard
(1859-1923)
sur¬
prising everyone by Rimsky-Korsakov's Second Symphony,
and
Eduard
Colonne
(1838-1910),
who performed Bizet,
Berlioz and
Franck
and won admirations, though his manner
was a bit precious and affected. Due to Galkin the Finnish
composer Armas
Järnefelt
(1869-1858)
was learnt by the
Pavlovsk attendants and Oscar
Nedbal
(1874-1930)
showed
his creations together with Dvorak's "New World Symphony".
The new folk orchestra, organized by V. Andreyev
(1861—
1918),
balalaika-virtuoso, was introduced to the Pavlovsk lis¬
teners. From time to time the great Russian composers, such
as Glazunov or Rimsky-Korsakov expressed the kind of dis¬
content with Galkin's "policy". Rimsky-Korsakov wrote in his
letter to Glazunov: "Galkin kneaded again. He didn't peep
into the score before the concert." Galkin's perpetual critic
Findeisen
admitted at last the conductor's great contribution
to the Russian music and his ability to kindle people's atten¬
tion even with the serious classics."
Chapter VI
It happened to be rather hard to find someone instead of
Galkin, especially during the season of
1904,
when everything
was seized with the beginning of Russian-Japanese War.
Though the administration was at a loss, it was quite clear the
serious symphonic genre became firmly established among
the Pavlovsk music lovers.
Only the
Vauxhall
administration knew, why they chose
exactly one of the Mariinsky Theatre singers' M. I.
Dolina
(1868-1919)
to advise, what programme to settle for the fu-
158
ture
concerts.
Maybe because of her influential friends (and
not only in the art sphere).
Dolina
didn't like Galkin's orches¬
tra and she recommended to invite the conductor Oscar
Ned¬
bal
from Prague, "personally known to her". The same situ¬
ation was with the other musicians, selected by
Dolina.
Though being very decisive one, she didn't have any distinct
idea about the Pavlovsk concerts to be made more original
and striking, than they had been before.
Dolina
ruled in Pav¬
lovsk only until September
1904.
She got her gratitude "for
hard work" from the administration and finished her reign.
The season directed by her was marked as the fruitful one by
its concerts, although everyone noticed the lack of concept in
them, connected with the absence of the main conductor's
will, intended to unite everything. The famous Russian critic
V. V. Stasov was irritated by Dolina's main feature to prefer
less talented composers, but forceful among the journalists.
That made him call her "the disgustable charlatan" and repre-
mand her in doing everything with "thunder, cracking and the
whole audience admiration".
However the spring of the
1905
came. The revolutionary
events broke with its perpetual meetings. Nevertheless, the
opening of the season on May
1
was quite calm, despite the
most uneasy time. So it continued
—
the orchestra demon¬
strated the new compositions by Mendelssohn, Arensky,
Kalinnikov
—
until the concerts were evenly turned to mee¬
tings of protest. The police became the constant member at
the Pavlovsk
Vauxhall.
The concert hall reminded some bat¬
tle-field. The listeners acquired the experience to gaze back
cautiously. The only exception was Shalyapin's benefit night.
Rimsky-Korsakov was cancelled by the petersburgian gene¬
ral
—
governor Trepov, but his colleagues, led by Alexander
B.Hessin (1869-1955)
continued performing the distin¬
guished composer's works.
Hessin
started his career in
1902
after his return from Leipzig, where he had offered to the
listeners the concerts in memory of Tchaikovsky. He was the
member of The Russian Music Society (St. Petersburg) and
the Philharmonic Society (Moscow).
Hessin
asserted the
rights of many Russian composers, including Glazunov and
Rimsky-Korsakov. They paid him with the same. Hessin's
159
idol was Rimsky-Korsakov, whose advice he used in conduct¬
ing process. After all he devoted the whole concerts to Rim¬
sky-Korsakov, the main passion of his life.
The curious concerts were organized and compiled by
Hessin
in
1907.
The first one was given to F.I. Shalyapin,
who sang "Wotan's Farewell" (Wagner's "Die
Walküre")
and
all his repertory loved by admirers. The second concert was
at Vyaltseva's disposal, whose popular a bit vulgar singing
served sometimes as the king of "lure" for people.
The new period in the Pavlovsk music was signed by the
coming of the conductor Alexander P.Aslanov
(1874-1960),
who stayed at the post of the main conductor in Pavlovsk
until
1916.
Before Pavlovsk
Asiano
v
had worked in Yalta,
leading summer concerts. The Russian composer Sergei
Prokofiev, known for his destroying traditions views called
Aslanov "inclined to innovations" musician. Really Aslanov
banished away light music and stated the serious symphonic
one. Aslanov's activity during those
6
years may be divided
into two periods: before the I Imperialistic war
(1910-1914)
and the war period (the end of the season
1914,
seasons
1915
and
1916).
One of the most important events during his first period
was the
première
of the First Concerto for piano and orches¬
tra by the
20
years old Sergei Prokofiev. Here it's suitable to
adduce the programme of the Pavlovsk concert and some
critical reviews to it. The newspaper "Novoye Vremya"
("New Time") published the following announcement: "On
Friday, August
3,
at the Pavlovsk
Vauxhall
the symphonic
evening will take place with the participation of S. Proko¬
fiev (piano) and Kozolupov (cello), orchestra directed by
A. P. Aslanov. The programme consists of:
Stoyovsky
—
Symphony
D
minor, op.
21
(first performance)
Prokofiev
—
Concerto for Piano and Orchestra performed by
the author
Tchaikovsky
—
Variations Rococo for cello performed by
Mr. Kozolupov
Kyui
—
Scherzo
С
major
№ 1,
b
Scherzo
С
minor
№ 3.
Entrance free of charge.
160
Different critics gave absolutely various replies, but all of
them marked Prokofiev's original thinking and way of ex¬
pressing it. Here are the opinions of famous critics and promi¬
nent figures of that time: "Prokofiev's playing is as impres¬
sive and strong as his music" (Karatygin); "Ravel turned
inside out" (Rubinstein); "Prokofiev's cadenza reminds the
upset inkpot, making ink spots on paper" (Bernstein);
".
to
listen more and more" (Neuhaus). Despite everything Pro¬
kofiev was slowly becoming fashionable, even among the
Pavlovsk
Vauxhall
society.
Together with such phenomena as Prokofiev, there were
simply utmostly useful and rather attractive undertakings. In
1912
the opera "Sister Beatrice" (to the plot by Maeterlinck),
composed by the financial figure Davydov, was staged. That
was the echo of literature so as miniature performances to
Gorky's creations, like, for example, the Symphony Poem by
the Polish conductor Fitelberg "The Song of Falcon". That
time was fruitful for curious synthetic genres.
The series of concerts was organized, devoted to modern
Western-European composers and performers. The concerts
were opened by the conductor from Glasgow
Verbrügen.
The
repertoire consisted of the English authors' works (Macken¬
zie, Bantock, Sullivan). The Polish music was represented by
Shimanovsky, Paderevsky, Ruzhitsky. Then there followed
the evenings of the Dutch and the Spanish music. However,
the press reproached these concerts for their mixed character.
In summer
1914
the succession of chamber ensemble concerts
joined the Pavlovsk repertory. Wagner remained popular
among the Russian intelligentsia, but his personality was
growing dim before Mahler's talent. On August
19, 1911,
the
conductor
Goldenblum
performed Mahler's Adagietto from
the Fifth Symphony. The concert was held in memory of
Mahler. Famous Russian conductor and pedagogue, Nikolai
Malko
(1863-1961)
had his debut in Pavlovsk in
1913,
di¬
recting the orchestra by heart. In
1916
Malko
prepared the
programme, which consisted of Stravinsky's symphony, Gli-
er's "The Sirens", Asafiev's "Pierrot and Masks" and "Pic¬
tures From Exhibition" by Musorgsky (instrumentation by
Tushmalov).
Malko,
himself, mentioned in his diary: "Asafiev
161
is not difficult technically and his instrumentation is fine, Glier
is good for easy comfort playing and attaining smart sounding".
Aslanov gave the stage to the kaleidoscope of the beginners.
Once Anna Pavlova danced at the
Vauxhall,
accompanied by
her admirers' protests against women's wide-brimmed hats.
Meanwhile the music life in the Pavlovsk Palace was left
at the level of home music-making, interspersed with the
professinal musicans' performances, though the great prince
Konstantin Nikolayevich,
Pavlovsk Palace master and the
president of the Russian Music Society, played cello and col¬
lected music for his library. Actually the Palace's music life
and tastes were separate from the noise and fuss of the
Vaux¬
hall.
1910-1914
the conceit life in Pavlovsk was at its apex.
The First World War, which bursted in
1914
was de¬
structive for Pavlovsk concerts. For the first time everything
was frozen. The musicians were engaged to army. The con¬
certs were the same with meeting with easy music and pa¬
triotic mood.
Malko
and Pokhitonov were changing each other. However,
though the popular classics captivated the programmes, the
large-scaled symphonic compositions were accepted by the lis¬
teners as well, surely with special tinge. It continued until the
revolution. Thus the
80*
anniversary of the Pavlovsk seasons
coincided with this event, symbolizing the end of secular life
of the
Vauxhall
with its both negative features.
Chapter
VII
Concluding his activity in Pavlovsk the famous Russian
conductor
N.
Malko
noted in one of his diaries: "Despite all
the difficulties, connected with the war.
.
the season may be
considered successful." The season was over on August
27,
1917.
Its final concert was grandiose and crowded." The
Solemn Overture" by Glazunov happened to be the last ac¬
cord in the Pavlovsk musical existence. The following
24
years may be signed as the kind of epilogue to the story
of Pavlovsk musical
Vauxhall.
The season of
1918
was intermeditory between two mo¬
dels of life. On the first hand, it was still constructed ac¬
cording to the previous canons, though interwined with some
162
new elements, on the other hand, new tendencies were felt.
The external changes were seen. The building was repaired;
the park around it was put in order and was provided with
light. The conductors were
N.
A. Malko
and E. V. Wolf-Israel.
Again the "great Russian" orchestra of folk instruments was
invited. The season was opened by the "Marseillaise", execu¬
ted by
Malko,
everyone stood up, thus greeting the renewed
revolutionary Russia ("The Voice of
Petrograd", "Petrograd-
sky
golos"
June
4, 1918).
Malko
and Wolf-Israel were alter¬
nating; Glazunov took part in the concerts.
Malko
held his
benefit night on the occassion of his tenth anniversary on the
stage
(1908-1918)
and demonstrated the 9th Symphony by
Beethoven and the "Ecstasy Poem" by Skryabin.
Malko
got
his deserved applause, however, the paper "Petrogradsky
Golos",
"The Voice of
Petrograd")
marked in its review: "The
interpretation of Skryabin's "Poem" with its utterly sensitive
and at the same time sublime music was much more a suc¬
cess at
Malko,
than idealistical music by Beethoven. How¬
ever, Beethoven was good as well." "Children's Musical So¬
ciety" directed by
Amfiteátrov
undertook two concerts. That
was the time of diseur-genre (poetry recitation accompanied
by music). Maksimov, famous
diseur,
recited and Wolf-Isra¬
el performed excerpts from "The Swan Lake", while ballet-
dancers explained what was going on by the means of ballet
positions and pas complete set.
One more peculiarity of Pavlovsk that time
—
different
circles for people to attend them according to individual ar¬
tistic passions.
The seasons of
1919
and
1920
resembled each other.
Malko
left for Vitebsk, and Pavlovsk musical life passed to
the jurisdiction of Musical Department of Education Commis¬
sariat. Actually nothing changed. The same aims
—
though
the educational aim was now the leading one. Opening dis¬
courses were read by outstanding composers, founders of
future Soviet opera and symphony, such as Strelnikov and
Shaporin. Concerts in Pavlovsk were divided according to¬
pics and types. Sometimes the whole operas were staged,
such as
"Pagliacci"
by Leoncavallo, and so-called "Children's
Mornings"
—
special concerts, organized by the Department
163
of Education. The question what to consider the music for
children was not yet elaborated that time, hence the repertoire
was sometimes not very suitable. Here also should be men¬
tioned the songs by Musorgsky, adapted for stage by
N. N.
Lebedev and pantomime by Anna
Vallenberg
"Spirit of
Mountains and Boy". However, "Children's Mornings" were
such a success, that it was decided to organize them every
Sunday, instead of two per month. Mixed concerts enjoyed by
everybody gathered the best artistic forces, such as Tartakov,
Bronskaya, Davydov in theatre sphere, harpist
Amosov,
bal¬
let-dancers Lyukom and Smirnova. There were invented inter¬
esting scenes, when ballet-dancers acted Antique sculptures
inside the park groves or showed "Choreographical Evenings
of Oriental and Antique Dances". Symphony concerts became
rare, giving in to
operettes,
pantomime and ballet. Chamber
music, especially solo piano concerts took fancy of the listen¬
ers. Here there ought to be marked two concerts taking place
in August
1920.
Very monumental pianist V. Sofronitsky,
special performer of Skryabin offered the compositions by
this author. Sofronitsky was
19
then, provoking the eldest
Russian piano master
Vera Timanova
play Liszt's works just
a week later. New trends were also accepted with pleasure.
It's worth to mention here the "Seminars On Pavlovsk Study¬
ing" for the researchers of environmental palaces-museums.
Concerts of old music (IS"1-!9th beginning) were held in
the Palace and in the Roses' Pavilion. There was even com¬
mitted the attempt to reconstruct the festival imitating one of
the previous celebrations in Pavlovsk. In general there were
crises (one of them happened in
1925,
when the new admini¬
stration wanted to close the theatre, because of two "new ec¬
centric dances
—
Foxtrot and Apache", included to Lunochar-
sky's melodrama "Instigators") and periods of revival,
connected with such names as
Kuper
and Gauk
—
famous
conductors; Sobinov, Andreyeva-Delmas, Stepanova,
Mi¬
gai
—
outstanding singers, so as different kinds of experi¬
ments, launched by the theatre "The Young Ballet"
—
dan¬
ces with choir reciting. As to the listeners, they were changed
socially, but the usual human willing to amusements remained
the same. That's why, the serious symphony concerts were
164
attended less, than visual entertainments, like
operettes.
Con¬
cert programmes consisted now of overtures by Glinka or
Wagner, Andante
cantabile
by Tchaikovsky and dancing acts
or
operettes,
which by and by supplanted everything. Besides,
Pavlovsk was stated together with the Summer Garden (the
centre of St.Petersburg) and the Sestroretsk Kurzal among
the places of spare time and rest.
The thirties did not actually bring anything new to Pav¬
lovsk life. The season of
1933
began with symphonic
evening, conducted by Pokhitonov. However, very soon one
could witness more various sorts of "Lilac Days" or outdoor
parties, than academical concerts. At last, the Soviet govern¬
ment satisfied people's musical tastes, attracted by everything
plain, spectaculous and amusing bestial minds. Despite the at¬
tempts and endeavours of progressive critics and even mem¬
bers of cultural committees, plebian flair shrouded music all
over the country.
During the war Pavlovsk was devastated by fascists. The
Palace was burnt wholly, the greater part of the park was cut
and the Musical
Vauxhall
building was destroyed. It seemed,
life would never return here.
Immense reconstructing works began even
befor
the end
of the war. The building of the former
Vauxhall
was not in¬
cluded to the list of this procedure. The Musical
Vauxhall
re¬
mained with the past, its role was played. As to the architec¬
tural aspect, the building was not of a great value. Moreover,
the rails disgusted the park, being like a scar, which crossed
the part of the Huge Star. Therefore, when the Palace was
revived all the music life was transferred to it.
1950
may be
marked as the stalling point of the Pavlovsk new musical age.
Nowadays there is no specially worked out plan, concer¬
ning the Pavlovsk music life curriculum. Music finds its pla¬
ces both on the streets and in the pavilions. As a conclusion
there should be declared, that Pavlovsk is the dwelling of
rieh
cultural history, narrating about music's and beauty's process
of coming into being and bridling human minds. |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Rozanov, Aleksandr S. |
| author_facet | Rozanov, Aleksandr S. |
| author_role | aut |
| author_sort | Rozanov, Aleksandr S. |
| author_variant | a s r as asr |
| building | Verbundindex |
| bvnumber | BV035172346 |
| callnumber-first | M - Music |
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| callnumber-raw | ML300.8.P4 |
| callnumber-search | ML300.8.P4 |
| callnumber-sort | ML 3300.8 P4 |
| callnumber-subject | ML - Literature on Music |
| ctrlnum | (OCoLC)227162599 (DE-599)BVBBV035172346 |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| geographic | Pavlovsk (Leningradskai͡a oblastʹ, Russia) / History Pavlovsk (Leningradskai͡a oblastʹ, Russia) History Pawlowsk Sankt Petersburg (DE-588)4202529-1 gnd |
| geographic_facet | Pavlovsk (Leningradskai͡a oblastʹ, Russia) / History Pavlovsk (Leningradskai͡a oblastʹ, Russia) History Pawlowsk Sankt Petersburg |
| id | DE-604.BV035172346 |
| illustrated | Illustrated |
| index_date | 2024-07-02T22:54:48Z |
| indexdate | 2024-07-09T21:26:38Z |
| institution | BVB |
| isbn | 9785737903473 |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016979266 |
| oclc_num | 227162599 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 166 S., [16] Bl. Ill. 25 cm |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Izdat. "Kompozitor - Sankt-Peterburg" |
| record_format | marc |
| spelling | 880-01 Rozanov, Aleksandr S. Verfasser aut 880-02 Muzykalʹnyj Pavlovsk istorija koncertnoj žizni A. S. Rozanov Muzykalʹnyĭ Pavlovsk 880-03 Sankt-Peterburg Izdat. "Kompozitor - Sankt-Peterburg" 2007 166 S., [16] Bl. Ill. 25 cm txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., russ. Includes bibliographical references Geschichte gnd rswk-swf Music / Russia (Federation) / Pavlovsk (Leningradskai͡a oblastʹ) / History and criticism Geschichte Musik Music Russia (Federation) Pavlovsk (Leningradskai͡a oblastʹ) History and criticism Konzertleben (DE-588)4165233-2 gnd rswk-swf Pavlovsk (Leningradskai͡a oblastʹ, Russia) / History Pavlovsk (Leningradskai͡a oblastʹ, Russia) History Pawlowsk Sankt Petersburg (DE-588)4202529-1 gnd rswk-swf Pawlowsk Sankt Petersburg (DE-588)4202529-1 g Konzertleben (DE-588)4165233-2 s Geschichte z DE-604 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016979266&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract 100-01/(N Розанов, А. С. ut 245-02/(N Музыкальный Павловск история концертной жизни А.С. Розанов 264-03/(N Санкт-Петербург Изд-во "Композитор - Санкт-Петербург" |
| spellingShingle | Rozanov, Aleksandr S. Muzykalʹnyj Pavlovsk istorija koncertnoj žizni Music / Russia (Federation) / Pavlovsk (Leningradskai͡a oblastʹ) / History and criticism Geschichte Musik Music Russia (Federation) Pavlovsk (Leningradskai͡a oblastʹ) History and criticism Konzertleben (DE-588)4165233-2 gnd |
| subject_GND | (DE-588)4165233-2 (DE-588)4202529-1 |
| title | Muzykalʹnyj Pavlovsk istorija koncertnoj žizni |
| title_alt | Muzykalʹnyĭ Pavlovsk |
| title_auth | Muzykalʹnyj Pavlovsk istorija koncertnoj žizni |
| title_exact_search | Muzykalʹnyj Pavlovsk istorija koncertnoj žizni |
| title_exact_search_txtP | Muzykalʹnyj Pavlovsk istorija koncertnoj žizni |
| title_full | Muzykalʹnyj Pavlovsk istorija koncertnoj žizni A. S. Rozanov |
| title_fullStr | Muzykalʹnyj Pavlovsk istorija koncertnoj žizni A. S. Rozanov |
| title_full_unstemmed | Muzykalʹnyj Pavlovsk istorija koncertnoj žizni A. S. Rozanov |
| title_short | Muzykalʹnyj Pavlovsk |
| title_sort | muzykalʹnyj pavlovsk istorija koncertnoj zizni |
| title_sub | istorija koncertnoj žizni |
| topic | Music / Russia (Federation) / Pavlovsk (Leningradskai͡a oblastʹ) / History and criticism Geschichte Musik Music Russia (Federation) Pavlovsk (Leningradskai͡a oblastʹ) History and criticism Konzertleben (DE-588)4165233-2 gnd |
| topic_facet | Music / Russia (Federation) / Pavlovsk (Leningradskai͡a oblastʹ) / History and criticism Geschichte Musik Music Russia (Federation) Pavlovsk (Leningradskai͡a oblastʹ) History and criticism Konzertleben Pavlovsk (Leningradskai͡a oblastʹ, Russia) / History Pavlovsk (Leningradskai͡a oblastʹ, Russia) History Pawlowsk Sankt Petersburg |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016979266&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT rozanovaleksandrs muzykalʹnyjpavlovskistorijakoncertnojzizni AT rozanovaleksandrs muzykalʹnyipavlovsk |