Tikhon Khrennikov - Biography, Date of Birth, Place of Birth, Filmography (Read)

Tikhon Khrennikov - biography, date of birth, place of birth, filmography, clips, Composer, Actor.
June 10, 1913, Yelets - August 14, 2007, Moscow - Soviet and Russian composer, pianist, music and public figure, teacher, professor
During his stay in Yelets, the pianist and composer V.P. Agarkov, a student of the pianist K.N. Igumnov, became interested in music, and began to study with Anna Fedorovna Vargunina. In the winter of 1927-1928 he arrived in Moscow and showed his works to Agarkov, who treated him with sympathy and advised him to first finish his secondary education in Yelets and then study in Moscow. In the spring of 1929 he graduated from the nine-year school; having written a letter to Mikhail Gnesin and having received a positive answer, he entered the number of students of the musical college. Gnessin, who graduated in 1932. In 1936 he graduated from the Moscow Conservatory, a student of V. Ya. Shebalin and G. G. Neuhaus. In 1933 he was invited to work at the Moscow Children's Theater, directed by N.I.Sats. In 1941, he was in charge of the musical section of the Red Army Theater. In 1939, he wrote the opera Into the Tempest (1939), which became “the first successful experience of translating a revolutionary theme in music,” in which Khrennikov was the first to stage it in Lenin's opera. In 1950 he wrote the opera Frol Skobeev (1950). He wrote music for plays and films, including The Pig and the Shepherd (1941), At 6 pm after the War (1944), etc. In his musical performance Dorothea (and others) one of the main roles at the premiere performed by the opera singer Leonid Ekimov.
Already in the 1930s. Khrennikov joined the official group of Soviet composers, representing the "composer youth" .
For a long time, it was widely believed that Soviet musicians during the reign of Khrennikov allegedly were not subjected to reprisals, were not arrested, etc. In an interview given to pianist Yasha Nemtsov on November 8, 2004 in Moscow, Khrennikov claimed that thanks to his intercession, he was “ the "detained" composer Moisey Weinberg was immediately released, and the same thing happened with A. M. Veprik. In fact, Veprik spent four years in the Gulag, and Weinberg, who was released in June 1953, was saved from persecution and, possibly, death by Stalin's death. At the same time, according to the testimony of E. Kissin, the composer Mikhail Meerovich was grateful to Khrennikov for saving him from being persecuted in the campaign to “fight cosmopolitanism” .
In 1949, Khrennikov subjected the young composer Alexander Lokshin to devastating criticism, using the formulations of one of the ideologues of Stalinism, Pavel Apostolov; at the same time, the cantata "Stepan Razin's Dream" by Galina Ustvolskaya was contrasted with the "modernist" creativity of Lokshin as an example of true, folk-style art. This speech aroused the indignation of M.F. Gnesin, who accused Khrennikov, who did not dare to criticize Lokshin in a professional environment, in duplicity. The result of the pogrom was the expulsion of Lokshin from the academic environment.
The ideological campaigns of 1948-1949 against the "formalists" in music directly continued the so-called "fight against cosmopolitans" - the policy of state anti-Semitism that flourished after World War II and manifested itself in a variety of forms, including in art - from the famous ideological decisions, declarations official writers and critics to disgusting cartoons and open-ended anti-Semitic abuse in the Krokodil magazine. Historians of state anti-Semitism in the USSR name Tikhon Khrennikov among the most active champions of the "purity of Russian culture." At the same time, in Soviet official policy, both before and after Stalin's death, a clear line was constantly drawn between "good Soviet Jews" and "Nazi Zionists." This "party line" was followed by the leadership of the Union of Composers, which stigmatized the "Zionist aggressors", "agents of world imperialism" and dealt with the "ideologically vicious", "hostile" phenomena in the Soviet musical culture. The term “Zionist” was often used as a bogeyman in the fight against people of different nationalities, religions, beliefs, and so on, unwanted by the regime (Roslavets, Nikolai Andreevich). "The fight against the formalists" was also carried out in other countries: according to Gyorgy Ligeti, after Khrennikov's official visit to Budapest in 1948, B. Bartok's ballet The Wonderful Mandarin was removed from the repertoire; literally overnight, the canvases of the French impressionists and so on were transferred to the storerooms. In 1952, Ligeti was almost deprived of the right to teach for showing students the forbidden score of "Symphony of Psalms" by IF Stravinsky - Ligeti was saved by the personal intervention of Z. Kodai. After the death of I. V. Stalin, Khrennikov retained his position and remained for over 40 years the only leader of Soviet music. At that time Khrennikov wrote the operas Mother (1957), The Golden Calf (1985), the ballets Love for Love (1976), The Hussar Ballad (1979), the operetta One Hundred Devils and One Girl (1963) and so on. Supported the "party line" in music, participated in the persecution of composers, including Sofia Gubaidulina (see Khrennikov's seven). The legacy of the Russian avant-garde, as well as its researchers, were hushed up or systematically attacked. For example, for many years the German publicist Detlef Goyovy (1934-2008), who propagandized in the West "new Soviet music of the 1920s", was bullied. A publicist, glorified by an anti-Soviet, was banned from entering the USSR until 1989; copies of his articles forwarded to colleagues, were arrested by the Soviet customs. In turn, Russian musicologists who studied the legacy of the Russian avant-garde were not released abroad (see Roslavets, Nikolai Andreevich). Since 1961 he taught at the Moscow State Conservatory named after P.I.Tchaikovsky (since 1966 - professor). In the last decade of his life, Khrennikov spoke negatively about the leaders of perestroika, the collapse of the USSR and the liquidation of the corresponding structures: “Here was the betrayal of our leaders. I consider Gorbachev and his henchmen, who deliberately persecuted Soviet art, to be a traitor to the party and a traitor to the people.

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Author: Jane Watson