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Sergei Ivanovich Taneyev (also Taneev or Taneiev, Russian: Сергей Иванович Танеев; November 25 [O.S. November 13] , 1856 – June 19 [O.S. June 6] , 1915), was a Russian composer, pianist, teacher of composition, music theorist and author. Taneyev was born in Vladimir, to a cultured and literary family of Russian nobility. A distant cousin, Alexander Taneyev, was also a composer, whose daughter, Anna Vyrubova, was highly influential at court. Alexander was drawn closely to the nationalist school of music, while he would gravitate toward a more cosmopolitan outlook. He began taking piano lessons at age five with a private teacher. His family moved to Moscow in 1865. The following year, the nine year old Taneyev entered the Moscow Conservatory. His first piano teacher at the Conservatory was Edward Langer. After a year's interruption in his studies, Taneyev studied again with Langer. He also joined the theory class of Nikolai Hubert and, most importantly, the composition class of Pyotr Ilyich Tchaikovsky. In 1871, Taneyev studied piano with the Conservatory's founder, Nikolai Rubinstein. Taneyev graduated in 1875, the first student in the history of the Conservatory to win the gold medal both for composition and for performing (piano). He was also the first person ever to be awarded the Conservatory's Great Gold Medal; the second was Arseny Koreshchenko and the third was Sergei Rachmaninoff. That summer he travelled abroad with Rubinstein. That year he also made his debut as a concert pianist in Moscow playing the first piano concerto in D minor of Johannes Brahms, and would become known for his interpretations of Johann Sebastian Bach, Wolfgang Amadeus Mozart and Ludwig van Beethoven. In March 1876 he toured Russia with violinist Leopold Auer. Taneyev was also the soloist in the Moscow première of Tchaikovsky's First Piano Concerto in 1875. Tchaikovsky was clearly impressed by Taneyev's performance; he later asked Taneyev to be soloist in the Russian premiere of his Second Piano Concerto. (After Tchaikovsky's death, Taneyev also completed and premiered his Third Piano Concerto and Andante and Finale.) Taneyev attended Moscow University for a short time and was acquainted with outstanding Russian writers, including Ivan Turgenev and Mikhail Saltykov - Shchedrin. During his travels in Western Europe in 1876 and 1877, he met Émile Zola, Gustave Flaubert, César Franck and Camille Saint - Saëns amongst others. When Tchaikovsky resigned from the Moscow Conservatory in 1878, Taneyev was appointed to teach harmony. He would later also teach piano and composition. He served as Director from 1885 to 1889, and continued teaching until 1905. He had great influence as a teacher of composition. His pupils included Alexander Scriabin, Sergei Rachmaninoff, Reinhold Glière, Paul Juon, Julius Conus, and Nikolai Medtner. The polyphonic interweaves in the music of Rachmaninoff and Medtner stem directly from Taneyev's teaching. Scriabin, on the other hand, broke away from Taneyev's influence. Taneyev was also a scholar of massive erudition. In addition to music, he studied — for relaxation — natural and social science, history, mathematics, plus the philosophies of Plato and Spinoza. During the summers of 1895 and 1896, Taneyev stayed at Yasnaya Polyana, the home of Leo Tolstoy and his wife Sofia. She developed an attachment to the composer which embarrassed her children and made Tolstoy jealous, though Taneyev himself remained unaware of it. However this also released her from the distress of the isolation she experienced when Tolstoy grew distant from family concerns and devoted himself to the Christian anarchist - pacifism which shaped his last years. Sofia's infatuation with Taneyev and his music echoes the story of Tolstoy's great and penetrating dissection of marital relations in The Kreutzer Sonata. In 1905, the revolution and its consequent effect on the Moscow Conservatory led Taneyev to resign from the staff there. He resumed his career as a concert pianist, both as soloist and chamber musician. He was also able to pursue composition more intensely, completing chamber works with a piano part which he could play in concerts as well as some choruses and a substantial number of songs. His last completed work was the cantata At the Reading of a Psalm, completed at the beginning of 1915. Taneyev contracted pneumonia after attending the funeral of Scriabin. While he was recovering, he succumbed to a heart attack in Dyudkovo, near Moscow. A museum dedicated to Taneyev is located in Dyudkovo. There is also a section dedicated to Taneyev at the Tchaikovsky Museum in Klin. I
think he was unnerved by the overt frankness with which Taneyev reacted
to Tchaikovsky's works: Taneyev believed that one must indicate
precisely what one finds to be 'faults,' while strong points would make
themselves evident. He was hardly fully justified in his conviction:
composers are a nervous lot and they are often particularly
dissatisfied with themselves. Tchaikovsky was just such a person: he
worried himself almost sick over each work and often tried even to
destroy them.. Sabaneyev recalled when Tchaikovsky came to Taneyev with the Fifth Symphony. Taneyev started playing through part of the manuscript at the piano. "With characteristic pedantry Taneyev
began showing Tchaikovsky what he considered to be faults, thereby
sending Tchaikovsky into even greater despair. Tchaikovsky grabbed the
music and wrote across the page with a red pencil: "Awful muck." Still
not satisfied with this punishment, he tore the sheet of music in half
and threw it on the floor. Then he ran out of the room. Despondently
Taneyev picked up the music and told me: "Pyotr Ilyich takes everything
to heart. After all, he himself asked me to give my opinion..." Despite
Tchaikovsky's notoriously thin skin when it came to criticism, he could
not take any lasting offense at such transparent honesty, especially
when Taneyev's assessments could show a great deal of perception. Even
if the manner in which Taneyev presented his comments made them sting
all the more, Tchaikovsky was painfully grateful for his
fellow musician's candor. "At the rehearsal of the concert he publicly declared to Balakirev: 'Mily Alekseyevich! We are dissatisfied with you.' I picture to myself Balakirev constrained to swallow a rebuke of this sort. Honest, upright and straightforward, Taneyev always spoke sharply and frankly. On the other hand, Balakirev, of course, could never forgive Taneyev his harshness and frankness with regard to his own person." Nor
was this the only time Taneyev shared strong opinions about the St.
Petersburg based nationalist music group known as "The Mighty Handful"
or "The Five."
Rimsky - Korsakov recalls what he considered Taneyev's glaring
conservatism in the 1880s. Taneyev reportedly showed "deep distrust" in Alexander Glazunov's early appearances. Alexander Borodin was merely a clever dilettante, and Modest Mussorgsky "had made him laugh." He may not have had a high opinion of César Cui or
even Rimsky - Korsakov. However, Rimsky - Korsakov's study of counterpoint,
of which Taneyev learned from Tchaikovsky, may have prompted Taneyev to
revise his opinion of that composer. The
following decade showed a marked change in opinion, Rimsky - Korsakov
writes. Taneyev now appreciated Glazunov, respected Borodin's work and
regarded only Mussorgsky's compositions with disdain. Rimsky - Korsakov
ascribed this change to a new period in Taneyev's activity as a
composer. Previously he had been absorbed mainly in research for his
treatise on counterpoint, which left little time for composition. Now he was throwing himself
more freely into creative work. In doing so, Taneyev was guiding
himself by the ideals of contemporary music while still preserving "his
astounding contrapuntal technique. Rimsky - Korsakov also writes that, after the fiasco regarding the Mariinsky Theater's production of Taneyev's Oresteia, Mitrofan Belyayev, the publisher and impresario who now headed the "Mighty Handful",
shared Taneyev's outrage over the incident and volunteered to publish
the score himself. Prior to publishing, Taneyev "revised and signally
improved the orchestration, which had not been uniformly
satisfactorily.... [T]hereafter, Taneyev began to avail himself of
Glazunov's advice in orchestration; of course he made rapid strides in
that field." Note the "of course." Glazunov had been Rimsky - Korsakov's student in orchestration as well as composition. Taneyev's specialized field of study was counterpoint. He engrossed himself in the music of Johann Sebastian Bach, Giovanni Palestrina and Flemish masters such as Johannes Ockeghem, Josquin des Prez and Lassus. Eventually, he became one of the greatest of contrapuntalists. Taneyev published a gigantic two volume treatise, Imitative Counterpoint in Strict Style,
the result of 20 years of labor. In it, the laws of counterpoint are
broken down, explained and brought into focus as a branch of pure
mathematics. Taneyev used a quotation from Leonardo da Vinci as
its inscription: "No branch of study can claim to be considered a true
science unless it is capable of being demonstrated mathematically." An unfinished sequel on Canon and Fugue was published posthumously. Taneyev's
focus on strict counterpoint strongly influenced the way he composed
his music. He described this process, while discussing his dramatic
trilogy Orestia, in a letter to Tchaikovsky dated June 21, 1891: I
spend a great deal of time on preparatory work, and less time on final
composition. Some items I have not finished within the last few years.
Important themes which are repeated in the opera, are used by me
objectively, without any reference to a particular situation, for
studies in counterpoint. Gradually, from this chaos of thoughts and
sketches something orderly and definite begins to emerge. Everything
extraneous is discarded. That which is unquestionably suitable remains. Taneyev would continue this series of contrapuntal exercises until he had exhausted every polyphonic possibility. Only then would he actually begin composing music. Rimsky - Korsakov describes Taneyev's compositional process similarly, but with more telling detail: Before
setting out for the real expounding of a composition, Taneyev used to
precede it with a multitude of sketches and studies: he used to write
fugues, canons, and various contrapuntal interlacings on the individual
themes, phrases, and motives of the coming composition; and only after
gaining thorough experience in its component parts did he take up the
general plan of the composition and the carrying out of this plan,
knowing by that time, as he did, and perfectly, the nature of the
material he had at his disposal and the possibilities of building with
that material. Taneyev's
rationale for this process stemmed from his belief that truth and moral
integrity in music were synonymous with its objectivity and purpose. He
viewed classical concepts of composition as perfect examples of a
compositional technique devoid of anything casual or extraneous. Taneyev
also saw a synthesis of counterpoint and folk song as the means of
creating large scale musical structures that would follow Western rules
of thematic development in sonata form. This goal had eluded both "The Five" and Tchaikovsky. Taneyev wrote: The
task of every Russian composer consists in furthering the creation of
national music. The history of western music gives us the answer as to
what should be done to attain this: apply to the Russian song the
workings of the mind that were applied to the song of western nations
and we will have our own national music. Begin with elementary
contrapuntal forms, pass to more complex ones, elaborate the form of
the Russian fugue,
and from there it is only a step to complex instrumental types. The
Europeans took centuries to get there, we need far less. We know the
way, the goal, we can profit by their experience.
Compositionally, Taneyev and Tchaikovsky differed on how they felt
music theory should
function. Tchaikovsky prized spontaneity in musical creativity.
Taneyev, in contrast, thought musical creativity should be both
deliberate and intellectual, with preliminary theoretical analysis and
preparation of thematic materials. Consequently, Taneyev's intellectual approach to the way of characterizing the music of his teacher, Tchaikovsky. Nevertheless,
Taneyev's compositions reveal his mastery of the classical technique of
composition, so his style could be said to reflect the European, and
especially German, orientation of the Moscow Conservatory, rather than
the Russian nationalist outlook of the school of Mily Balakirev. His compositions include nine complete string quartets (plus two partially completed), a piano quintet, two string quintets and other chamber works, including a piano prelude and fugue in G-sharp minor; four symphonies (only one published during his lifetime, and at least one incomplete), a concert suite with violin and a piano concerto, and other orchestral works; an organ composition "Chorale with variations"; choral and vocal music. Among the choral works are two cantatas, "St. John of Damascus", op. 1 (also known as "A Russian Requiem"), and "At the Reading of a Psalm" (op. 36, sometimes regarded as his swan song). In the choral works the composer combines the Russian melos with remarkable contrapuntal writing. Taneyev regarded his Oresteia,
originally conceived in 1882, as his major achievement. This work,
which the composer entitled a 'musical trilogy' rather than an opera,
and was closely modeled on the original plays by Aeschylus, was first performed at the Mariinsky Theatre on
17 October 1895. Taneyev wrote a separate concert overture based on
some of the opera's major themes, which was conducted by Tchaikovsky in
1889. Rimsky - Korsakov considered many of Taneyev's compositions "most dry and laboured in character." A private hearing of Oresteia at
his home, with Taneyev at the piano, was quite another matter. The
opera, he writes, "astonished us all with pages of extraordinary beauty
and expressiveness."
He adds that he felt Taneyev's working methods "ought to result in a
dry and academic composition, devoid of the shadow of an inspiration;
in reality, however, Oresteia proved quite the reverse — for all its strict premeditation, the opera was striking in its wealth of beauty and expressiveness." Along
with beauty and expressiveness, Taneyev could also show a whimsical
streak in his musical nature. Gerald Abraham writes, "Taneyev had a
dual nature rather like Lewis Carroll's,
half mathematician, half humorist." Among Taneyev's unpublished works
are reportedly various parodies, including "Quartets of Government
Officials", "humorous choruses, comic fugues and variations, toy
symphonies, a mock ballet for Tchaikovsky's birthday with an absurd
scenario and music which is an ingenious contrapuntal pot-pourri of
themes from Tchaikovsky's works...." |