499:, 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 its publication, Taneyev "revised and signally improved the orchestration, which had not been uniformly satisfactorily... 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.
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450:"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."
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745:'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 Among Taneyev's unpublished works are reportedly various parodies, including "Quartets of Government Officials", "humorous choruses, comic fugues and variations, toy symphonies, a mock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".
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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
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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.
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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
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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
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Taneyev was a fastidious and diligent craftsman with an unrivaled technique. Tchaikovsky realized that the opinions of such a man, whose own taste and competence were so high, yet whose self-scrutiny was so exacting, were to be respected, and in consequence came greatly to appreciate criticism from
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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
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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
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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 added that Taneyev's working methods "ought to result in a dry and academic composition, devoid of the shadow of an inspiration; in
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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
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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. That summer he travelled abroad with Rubinstein. That year he
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Taneyev's frankness came at a price, however, and that price for
Tchaikovsky was forbearance in the face of a forthrightness that frequently reached the point of absolute bluntness. This meant that, while Tchaikovsky appreciated Taneyev's views and welcomed them, he did not always like them. The
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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
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As a consequence
Taneyev took an intellectual approach in his characterization of the music of his teacher, Tchaikovsky. Nevertheless, Taneyev's compositions reveal his mastery of classical composition technique, so that his style could be said to reflect the European, and especially German,
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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.
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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.
202:, who had famously lambasted the work less than a year earlier (5 January), but who had by that time come to appreciate its merits. Tchaikovsky was clearly impressed by Taneyev's performance; he later asked Taneyev to be soloist in the Russian première of his
482:, which left him little time for composition. Now he was throwing himself more freely into creative work. In doing so, Taneyev was allowing himself to be guided by the ideals of contemporary music while still preserving "his astounding contrapuntal technique".
152:. 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
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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.
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426:, Taneyev made a piano transcription of the entire work. On finishing his transcription, he gave it to Tchaikovsky, who then made his own alterations to it. (This transcription was published in 1892.)
258:. 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
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or even of Rimsky-Korsakov himself. However, Rimsky-Korsakov's study of counterpoint, which Taneyev learned of from Tchaikovsky, may have prompted Taneyev to revise his opinion of that composer.
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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...
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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..."
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614:, 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.
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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.
714:, originally conceived in 1882, as his major achievement. This work, which the composer entitled a 'musical trilogy' rather than an opera, was closely modeled on the original plays of
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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
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Taneyev became the most trusted musician among Tchaikovsky's friends. The two developed a romantic relationship that would last until Tchaikovsky's death. The symphonic poem
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studied composition with Taneyev as a child and met Tchaikovsky through him. To Sabaneyev, Tchaikovsky really did seem afraid of Taneyev in some ways. He also suggests why:
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Taneyev was also a scholar of notable erudition. In addition to music, he studied—for relaxation—natural and social science, history, mathematics, plus the philosophies of
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String Quartets 1 and 4. Performed by the Leningrad Taneyev Quartet. Reissue of a Melodiya LP on Northern Flowers NF/PMA 9933 (and the other quartets, in five volumes.)
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was published posthumously. During the 20th century, several books were published, which deal with either theoretical or pedagogical issues related to his theory.
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Taneyev contracted pneumonia after attending the funeral of Scriabin, in Moscow, on 16 April 1915. While he was recovering, he succumbed to a heart attack in
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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.
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Taneyev's focus on strict counterpoint strongly influenced the way he composed his music. He described this process, while discussing his dramatic trilogy
458:" or "The Five." Rimsky-Korsakov recalls what he considered Taneyev's glaring conservatism in the 1880s. Taneyev reportedly showed "deep distrust" in
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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.
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had given a dreadful performance at the concerto's Russian première in St Petersburg three weeks earlier. The conductor on the later occasion was
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705:). In his choral works the composer combines the melodic basis of the traditional Russian musical style with remarkable contrapuntal writing.
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as its inscription: "No branch of study can claim to be considered a true science unless it is capable of being demonstrated mathematically".
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Concert Suite for Violin & Orchestra; Entr'acte; and Oresteya Overture. Performed by the Helsinki Philharmonic Orchestra conducted by
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Taneyev. In fact, Taneyev became the only one of Tchaikovsky's friends encouraged by the composer to be absolutely frank about his works.
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sums up his general frame of mind: "I know you are absolutely sincere and I think a great deal of your judgment. But I also fear it."
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Symphony No. 2; and Symphony No. 4. Performed by the Russian State Symphony Orchestra conducted by Valeri Polyansky (Chandos 9998)
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proved quite the reverse—for all its strict premeditation, the opera was striking in its wealth of beauty and expressiveness."
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Rimsky-Korsakov considered many of Taneyev's compositions to be "most dry and laboured in character." A private hearing of
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own national music. Begin with elementary contrapuntal forms, pass to more complex ones, elaborate the form of the Russian
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Nor was this the only time Taneyev shared strong opinions about the St Petersburg based nationalist music group known as "
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Sergei Taneyev String Quartet No.2 & String Quintets Opp.14 & 16 sound-bites and biographical information
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during a rehearsal of a concert to commemorate the unveiling of a monument to the pioneering Russian composer
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A museum dedicated to Taneyev is located in Dyudkovo. There is also a section dedicated to Taneyev at the
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Tchaikovsky was not the only one with whom Taneyev was frank, though some were less appreciative of it.
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Trio in E-flat major, Op. 31; Trio in B minor; and Trio in D major. Performed by the Belcanto Strings (
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concerts as well as some choruses and a substantial number of songs. His last completed work was the
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Piano Trio in D; Piano Quartet in E. Performed by the Barbican Piano Trio with James Boyd (viola). (
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Rimsky-Korsakov described Taneyev's compositional process similarly, but with more telling detail:
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published during his lifetime, and at least one incomplete), a concert suite with violin and a
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When Tchaikovsky resigned from the Moscow Conservatory in 1878, Taneyev was appointed to teach
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210:. After Tchaikovsky's death, Taneyev edited sketches by Tchaikovsky that he completed with an
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He began taking piano lessons at the age of five with a private teacher. His family moved to
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Along with beauty and expressiveness, Taneyev's music could also show a whimsical streak.
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Taneyev would continue this series of contrapuntal exercises until he had exhausted every
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2012:
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Sergei Ivanovich Taneev's 'Doctrine of the Canon': A translation and commentary (Russia).
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Tchaikovsky's use of the word "fear" was not exaggerated. The music writer and composer
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906:, by Sergei Taneyev. 1st edition. Moscow & Leipzig, Beliaeff, 1909. (available via
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370:, Op. 32, one of Tchaikovsky's most famous orchestral works, is dedicated to Taneyev.
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Piano Quintet in G minor, Op. 30; and Piano Trio in D major, Op. 22. Performed by
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for a short time and was acquainted with outstanding Russian writers, including
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Sergei Ivanovich Taneev's "Doctrine of the Canon": A translation and commentary
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Sergei Ivanovich Taneev's "Doctrine of the Canon": A translation and commentary
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Beattie Davis, Richard, "The Beauty of Belaieff" (G Clef Publishing, 2007).
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more, Tchaikovsky was painfully grateful for his fellow-musician's candor.
121:, to a cultured and literary family of Russian nobility. A distant cousin,
137:, while Sergei would gravitate toward a more cosmopolitan outlook, as did
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of recording of Taneyev's Symphonies Nos. 2 & 4 by Michael Carter in
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The Russian Piano Quartet: Taneyev's Piano Quartet in E major, Op. 20;
605:. This goal had eluded both "The Five" and Tchaikovsky. Taneyev wrote:
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1004:(Westport, Connecticut: Greenwood Press, Publishers, 1977, 1957), 244.
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Overture, Op. 6. Performed by the Philharmonia Orchestra conducted by
129:, was highly influential at court. Alexander was drawn closely to the
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Taneyev was also the soloist at the Moscow première of Tchaikovsky's
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Compositionally, Taneyev and Tchaikovsky differed on how they felt
156:. In 1871, Taneyev studied piano with the Conservatory's founder,
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in 1865. The following year, the nine-year-old Taneyev entered the
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1465:(Westport, Connecticut: Greenwood Press, Publishers, 1977, 1957).
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Rimsky-Korsakov also writes that, after the fiasco regarding the
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orientation of the Moscow Conservatory, rather than the Russian
585:
possibility. Only then would he actually begin composing music.
235:. During his travels in Western Europe in 1876 and 1877, he met
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The New Grove Dictionary of Music and Musicians, Second Edition
470:"had made him laugh". He may not have had a high opinion of
404:
Sabaneyev recalled Tchaikovsky's coming to Taneyev with his
762:'s Polovtsian Dances. Performed by the Ames Piano Quartet (
546:(however, in the 1962 english edition this term appears as
164:
also made his debut as a concert pianist in Moscow playing
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and vocal music. Among the choral works are two cantatas,
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postscript to a letter Tchaikovsky wrote to Taneyev about
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had been absorbed mainly in research for his treatise on
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Sergei Taneyev: Tchaikovsky's Heir or the Russian Bach?
1470:
Tchaikovsky Through Others' Eyes (Russian Music Series)
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1248:
1246:
1155:
Tchaikovsky Through Others' Eyes (Russian Music Series)
300:
During the summers of 1895 and 1896, Taneyev stayed at
978:(New York: Dodd, Mead & Company, 1966, 1962), 244.
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Symphony No. 1; and Symphony No. 3. Performed by the
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Russian Music and Its Sources in Chant and Folk-Song
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Russian Music and Its Sources in Chant and Folk-Song
874:, by Sergei Taneyev. 1962 edition, Branden Pub. Co.
171:, and would become known for his interpretations of
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677:, and other orchestral works; an organ composition
1421:(ed.) Stanley Sadie, "Taneyev, Sergey Ivanovich",
854:. (Melodiya MA 12411; reissued on Olympia OCD 128)
542:Taneyev published a gigantic two-volume treatise,
1408:(New York: Dodd, Mean & Company, 1966, 1962).
1365:(New York: W.W. Norton & Company, 1973), 132.
572:, in a letter to Tchaikovsky dated 21 June 1891:
183:. In March 1876 he toured Russia with violinist
1479:(St. Petersburg, 1909), published in English as
1218:(St. Petersburg, 1909), published in English as
991:(New York: W.W. Norton & Company, 1983), 15.
1443:, (New York: W.W. Norton & Company, 1983).
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741:writes, "Taneyev had a dual nature rather like
535:. Eventually, he became one of the greatest of
85:13 November] 1856 – June 19 [
1411:Belina, Anastasia. "The Master of Moscow", in
1331:(Moscow, 1951), 173. As quoted in Bakst, 246.
1637:
1493:(New York: W.W. Norton & Company, 1973).
1348:
1346:
8:
1105:(New York:Charles Scribner's Sons, 1973), 82
1089:"P.I.Tchaikovsky State House-Museum in Klin"
1070:
1068:
1066:
872:Convertible Counterpoint in the Strict Style
420:Soon after Tchaikovsky completed his ballet
1222:(New York: Knopf, 1925, 3rd ed. 1942), 383.
661:and other chamber works, including a piano
2692:Romantic composers from the Russian Empire
1644:
1630:
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1525:Sergey Taneyev, Cantata "John of Damascus"
1510:(New York: Charles Scribner's Sons, 1973).
1313:: CS1 maint: location missing publisher (
1303:. University of Arizona. pp. 350–351.
1282:: CS1 maint: location missing publisher (
850:String Quartets 8 and 9. Performed by the
1590:International Music Score Library Project
1144:(New York: Dodd, Mead & Company), 214
544:Moveable Counterpoint in the Strict Style
507:Taneyev's specialized field of study was
1534:Netherlands Radio Philharmonic Orchestra
1454:Hanson, Lawrence and Hanson, Elisabeth,
1441:Tchaikovsky: The Crisis Years, 1874-1878
1415:, January–February 2007, pp. 62–65.
1327:Tchaikovsky, Pyort and Taneyev, Sergei,
1140:Hanson, Lawrence and Hanson, Elisabeth,
989:Tchaikovsky: The Crisis Years, 1874-1878
27:Russian composer and pianist (1856–1915)
2687:Opera composers from the Russian Empire
2672:Music educators from the Russian Empire
947:
920:
649:His compositions include nine complete
511:. He engrossed himself in the music of
125:, was also a composer, whose daughter,
78:[sʲɪrˈɡʲejɪˈvanəvʲɪtɕtɐˈnʲejɪf]
1552:of concert performance of 'Oresteia' (
1483:(New York: Knopf, 1925, 3rd ed. 1942).
1425:, 29 vols. (London: Macmillan, 2001).
1306:
1275:
904:Подвижной контрапунктъ строгаго письма
625:List of compositions by Sergei Taneyev
327:, completed at the beginning of 1915.
194:in December 1875. He was chosen after
2682:Musicologists from the Russian Empire
1458:(New York: Dodd, Mead & Company).
1456:Tchaikovsky: The Man Behind the Music
1157:(Indiana University Press, 1999), 215
1142:Tchaikovsky: The Man Behind the Music
892:, 1915 (available in English through
438:, recalling a clash Taneyev had with
89:June 6] 1915) was a Russian
76:
7:
1272:. University of Arizona. p. 33.
466:was merely a clever dilettante, and
2503:Tchaikovsky and the Belyayev circle
701:(Op. 36, sometimes regarded as his
663:prelude and fugue in G-sharp minor
653:(plus two partially completed), a
25:
1608:"Tanjeff, Serge Ivanovitch"
1472:(Indiana University Press, 1999).
1406:A History of Russian-Soviet Music
976:A History of Russian-Soviet Music
803:(cello) joined in the quintet by
2702:20th-century classical composers
2697:19th-century classical composers
2667:Pianists from the Russian Empire
2608:
2599:
2598:
1216:Letoppis Moyey Muzykalnoy Zhizni
1181:Tchaikovsky Through Others' Eyes
1168:Tchaikovsky Through Others' Eyes
820:Russian State Symphony Orchestra
218:Tchaikovsky Third Piano Concerto
2722:Burials at Novodevichy Cemetery
2707:20th-century classical pianists
2657:Russian male classical pianists
1477:Letopis Moyey Muzykalnoy Zhizni
718:and was first performed at the
1:
2652:People from Vladimirsky Uyezd
1596:Free scores by Sergei Taneyev
1194:Tchaikovsky: The Crisis Years
1129:Tchaikovsky: The Crisis Years
1116:Tchaikovsky: The Crisis Years
1015:Tchaikovsky: The Crisis Years
101:, music theorist and author.
32:Eastern Slavic naming customs
2717:Burials at Donskoye Cemetery
2662:Russian male opera composers
2647:People from Vladimir, Russia
1600:Choral Public Domain Library
1413:International Piano Magazine
1297:Grove, Paul Richard (1999).
1266:Grove, Paul Richard (1999).
896:as part of the dissertation
2546:Gothic Revival architecture
1548:September 28, 2007, at the
489:'s production of Taneyev's
2748:
2732:Moscow Conservatory alumni
2487:Neue Zeitschrift für Musik
1662:List of Romantic composers
1475:Rimsky-Korsakov, Nikolai,
1463:A History of Russian Music
1461:Leonard, Richard Anthony,
1392:As quoted in Leonard, 207.
1214:Rimsky-Korsakov, Nikolai,
1002:A History of Russian Music
1000:Leonard, Richard Anthony,
622:
233:Mikhail Saltykov-Shchedrin
30:In this name that follows
29:
2578:
1659:
1240:Rimsky-Korsakov, 383-384.
852:Leningrad Taneiev Quartet
699:At the Reading of a Psalm
642:outlook of the school of
325:At the Reading of a Psalm
70:Серге́й Ива́нович Тане́ев
69:
2727:String quartet composers
2712:Pyotr Ilyich Tchaikovsky
2508:Tchaikovsky and The Five
836:Symphony No. 4; and the
557:An unfinished sequel on
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81:; 25 November [
62:Sergey Ivanovich Taneyev
679:Chorale with variations
436:Nikolai Rimsky-Korsakov
360:Taneyev and Tchaikovsky
2531:Common practice period
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1586:Free scores by Taneyev
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192:First Piano Concerto
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2637:1856 births
2536:Romanticism
2318:Tchaikovsky
2253:R. Schumann
2248:C. Schumann
2233:Saint-Saëns
2128:Niedermeyer
2018:Leoncavallo
1988:Kalkbrenner
1763:Bortkiewicz
1507:Tchaikovsky
1374:Baskt, 245.
1352:Bakst, 246.
1205:Holden, 169
1166:Poznansky,
1103:Tchaikovsky
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1035:Bakst, 244.
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519:, and such
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306:Leo Tolstoy
206:and of his
139:Tchaikovsky
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2631:Categories
2524:Background
2425:Intermezzo
2358:Wieniawski
2338:Vieuxtemps
2303:R. Strauss
2228:Rubinstein
2153:Paderewski
2123:Mussorgsky
2118:Moszkowski
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1179:Pozansky,
943:References
861:CDSA 6882)
667:symphonies
583:polyphonic
517:Palestrina
513:J. S. Bach
343:Zvenigorod
317:revolution
284:polyphonic
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1858:Donizetti
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1693:Atterberg
1671:musicians
1309:cite book
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965:, 18:558.
963:New Grove
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446:, wrote:
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272:Paul Juon
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2604:Category
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1993:Kreisler
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1399:Sources
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1998:Kuhlau
1978:Joplin
1968:Hummel
1958:Hérold
1948:Halévy
1933:Gounod
1918:Glinka
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