Three Symphonies

The entire history of the Soviet and Russian music can be traced through a biography of our living legend of art - Tikhon Khrennikov. He not only lived and went through our music history - he was one of it's creators. His music is integral with the history, his compositions are its important landmarks.

One of the outstanding features of Khrennikov's image as a composer has always been and still remains the unique and brilliant talent to always adhere to melody as a source for composition. When Khrennikov began to compose he faced a number of contradictions that characterized music epoch of those days, when melody itself was of minor importance. Quite recently, just a couple of decades ago, composing melodious music was considered to be nearly a bad manner. Just lately the world has started to recover from this freeze, bringing back the lost melodiousness even to minimalism and postmodernism. Tikhon Khrennikov was always among those who never forgot about melody, who did not betray his principles in search of positive reviews from influential critics. And he usually proved to be right.

Today is the best time to quote a small fragment from the composer's diary, where he nearly declared his creative program and the aim. "What kind of methods should we use to properly reflect our epoch? Of course it should be a method with the same characteristics as our life: rhythmical simplicity and clearness, monumentality and integrity of the form, harmonious courage and expediency. Courage should manifest a simple harmony, but not a complicated one (though, if complexity is expedient it is good as well), since nowadays it is very courageous to take a simple triad. Simplicity and lucidity of style, domination of melody as a principle (because melody is the key element of music expressiveness) and dynamics - are, to my mind, the three formal features characterizing true compositions of our epoch. And only a composer's penetration into the epoch, his devotion to the internal aspects of our life can inspire these formal elements, can make music rich, as it does not depict subjects - it expresses them in motion. And the better, deeper and acuter a composer understands and penetrates into the epoch, the more powerful, dramatic and natural his compositions will be."

In the very beginning of Khrennikov's career, his talent and original voice were already known and praised both by our audience and the greatest world performers, who brought his music into the most general public. Actually, apart from the bright originality and artistic importance of his early famous compositions, is there any other way to account for the careful attention paid by the greatest world-known conductors, such as Leopold Stokovsky, Eugene Ormandi, Charles Munche, Gvido Adler and Willy Ferrero? Considering the increasing isolation of our country from the entire world, now it seems almost incredible that these conductors enthusiastically included the Symphony # 1 - the degree project of a young soviet composer - into their repertoires. And the explanation is simple: the symphony fascinated them with its freshness, melodic originality and terrific emotional power. These features are still characteristic of the composition even today.

The above said also refers to the Symphony # 2 that was finally composed at the height of the Great Patriotic War. And again, its premiere became a significant event - not only musical, but also a public one, and was warmly greeted with tremendous applause. Among a great number of its performances, Evgeny Svetlanov's interpretation especially impressed the audience. He managed to successfully reproduce the indescribable flame of this music, - probably, the most dramatic Khrennikov's composition, that, together with the symphonies of Shostakovich and Khachaturyan, became a worthy monument of the heroic epoch.

And the Symphony # 3, performed for the first time 30 years later under Svetlanov's conduction, is remarkable for the originality of the form, for the driving melodious stream, for its fresh sound. I would like to quote Vladimir Fedoseev - one of the best interpreters of Khrennikov's music. "The Symphony # 3 personifies the most important and essential things typical for Khrennikov's oeuvre. And this composition is mainly praised for the rich idea expressed in its unique melody. The peculiarity of Khrennikov's ideal accord of melody and thought is acutely percepted here. The deep national roots are also very evident. Of course, they do not encourage narrow-mindedness, since, manifested in music, they influence various audience, for this symphony is a simultaneous reflection of both - the human soul and contemporary world - the vibrating pulse of life."

From "A man for all times" by Lev Ginsburg.

The Symphony # 1 (1933-1935)

Khrennikov's Symphony # 1 is connected with the Russian classical tradition inherent to Mjaskovsky - Shebalin School of Art. And this is implied in both - technical solutions and common approach to understanding the symphonic genre. Being a student of the Conservatory, Khrennikov created a composition that appeared to be independent in terms of its concept, expressiveness and rich inward of music.

In his symphony Tikhon Khrennikov used simple but terse and laconic means if expression. He discovered a sociable intonation that provided the composer with an emotional response from wide circles of listeners. The symphony drives the audience away with its full of life and generosity melodious music. The first part is dynamic; the second is melodic with a powerful emotional climax. The final is full of unexpected rhythmical turns and orchestral contrasts that reveal the instant character of the symphony. All this shows the entire world of inspiration and ideas of the composer - a young man of the thirties.

Creating his symphony, Khrennikov tried to avoid dramatic elements and profound psychology which were typical for the symphonies of that period and were sometimes considered to be necessary features of this genre. This kind of concept did not please the author, who lived the life full of vivid pictures and impressions, who was independent in his ideas and strived to enrich the range of symphonic images. There appeared really new opportunities. It is enough to recollect that Khachaturjan was composing his first symphony simultaneously with Khrennikov and had his own, quite different idea of how to develop this genre. The power and attractiveness of Khrennikov's symphony are in its independence and successful implementation of his lively music concept reflecting the true impressions of life. And, if we put together the sophistication of melody, perfect orchestrating and lyrical simplicity of music, we can clearly see the grounds for terrific success and vital power of the Symphony # 1.

The Symphony # 2 (1940-1944)

The composer personally described the process of writing the Symphony # 2: "Long before the World War II I had an idea to compose the second Symphony dedicated to the young generation. I planned to create a lyrical and sunny music of perfect peaceful life. And the first part corresponded to the concept. But the following three appeared during the war time, and the life started dictating its own principles, creating new scenes and images: the story about gloomy and tragic period in the history of the Motherland and the victims of fascism - is the contents of the second part; the third one narrates about severe fights with enemies; the forth is about anticipation of the victory and general confidence despite the global drama." It is interesting to note that Khrennikov's comrades from the Conservatory, Aram Khachaturjan (1943) and Vano Muradeli (1944), presented their Symphonies # 2 at the same time. Each of them found unique artistic solutions in terms of the general concept typical for symphonic music of the war time. The concept was finally formed in the Symphony # 7 by Dmitry Schostakovich, who revealed the pictures of fight and grief, courage and heroism very vividly. These images also appeared in compositions of other authors, but were manifested in new forms. Of course, the explanation can lie in different artistic development of the composers, in their actualization of particular elements typical for symphonic genre.

It is obvious that Tchaikovsky influenced various aspects of intonation, form, style and orchestrating. A strong sequential increase and sharp breakdown of sound after climax, streamy gamuts of the string section and roll-call of orchestral groups, diying out of the wind section in the low register, dynamic triplets in marching fragments and loud tutti - are the peculiarities of Tchaikovsky's drama. The first three parts of the Symphony make up a great dramatic climax bursting in finale - vital, dynamic and impressive.

The Symphony # 2 was finished in the early 1943 and performed several times. However, the composer was not satisfied with Finale of the symphony and he fundamentally altered it. Its final version was primarily presented on June 09, 1944.

The Symphony # 3 (1973)

Today it is not easy to bring something new into the symphonic genre and find extraordinary interpretations. Though, it is the score of the Symphony # 3 that turned to be innovative. Only tempo correlation of some parts resembles to the traditional symphonic cycle avoided by the author. The score consists of three parts - Fugue, Intermezzo and Finale, slightly reminding of the structure of instrumental concerts. The composer highlighted the pure symphonic fade-in prevailing over the masterly one. And the most important role is given to polyphony.

The opening Fugue is unique, since the composer follows his own composition principles. Frequent repetition of the theme makes it more clear, phonically approaching to the emotionally rich polyphony of the final episode. Sometimes there manifest grotesque features that are also apparent in the main theme.

The Intermezzo part stimulates imagination but, being a lyrical centre of the score that resembles the slow parts of the first two symphonies, is not of the same type. It carries you away to the intellectual and slightly abstract lyrics. The quiet and sunny theme appears in the high register of violins. This climate is maintained through the whole part except for a short episode - Poco piu mosso - that is characterized by strong and resolute tones.

Finale bursts into a stream of toccata passages. Full of temper, it reminds us of the early compositions, as the Symphony # 1, though expressed in different style. Finale is written in three parts, where the quick and streamy episodes are framing the slow section. Starting with the string passages, supported by woodwinds and penetrating sounding of xylophone (xylophone, in fact, plays an important role in the score), it leads to the main theme, tonally resembling the sophisticated Fugue image. Finale generally is a very dynamic and masterly toccata not typical for Khrennikov's music.

The main idea of the Symphony # 3 was clearly expressed by the composer after the premiere in March 1974: "This composition is not descriptive... It is a result of eternal speculations on life and place of an individual in the contemporary world."

Quotations from the books and articles by I.Martynov, O.Levtonova, Y.Kremljov are used in the booklet.

«How was the uniqueness of Tikhon Khrennikov's talent implied? How did the individual style features appear and help to recognize the author from nearly the first accord. Of course, it was revealed in his striking generosity of melodic talent, in his song-like basis for all genres. And it is not just for colour, it is his manner of composing: Tikhon Khrennikov has enriched music with his individual artistic intonation, his melodic idioms, though sometimes unexpected but very fresh and natural. And all this, I repeat, is in the first composition - the Symphony # 1.

 

While reading the press of the thirties, we can see how positively Khrennikov's music was greeted. Probably, it was very daring of a young man to declare something new after Glinka, composers of "Moguchaya Kuchka", representatives of "the Moscow school" and Mjaskovsky, Prokofjev, Schostakovich. It may seem that melodic potential of the Russian music has been exhausted by his predecessors. Nevertheless, Tikhon Khrennikov has asserted himself as a unique artist and still remains a representative of the Russian school.

 

His Symphony # 1has been performed all around the world (though it was composed by a 22- year old man!) and was conducted by many famous artists. Immediately the young composer won the right to create - the right that was generously expanding later on over the years.

 

I've been often observing the audience' reaction to the composition: it is always enthusiastic. What is the secret? It is just the bright aspects of Khrennikov's talent that determine his individuality and artistic image - it is in the music, in the rich emotional atmosphere. His compositions are lively and full of energy. Zest for life, general involvement, sociability and kind-heartedness are, in fact, the personal characteristics of Tikhon Khrennikov as a human being. His music is hearty, light and sunny. It is far from dismal, tragedy, imbalance and nervy temper.»

Evgeny Svetlanov

Evgeny Feodorovich Svetlanov is a genius Russian musician of XX century. He was a conductor, composer and pianist, though, it was his conducting that won him fame. Svetlanov had no match among the Russian conductors of XX century and the heritage he left is a unique one. It was he who recorded music masterpieces of XIX and XX centuries on discs. We praise and treasure the memory of him. (T.N.Khrennikov)