Brief biography of Spendiarov

Spendiars were always close to me and roads as a highly talented original composer and as a musician with impeccable, widely versatile technology. In the music of A. Glazunov, A. Spendiarov went down in history as a classic of Armenian music, which laid the foundations of national symphonism and created one of the best national operas. He also played an outstanding role in the formation of the Armenian composer school.

Having organically implemented the traditions of Russian epic symphonism A. Borodin, N. Rimsky-Korsakov, A. Lyadov on national grounds, he expanded the ideological, thematic, genre range of Armenian music, enriched its expressive means. Despite the early creative abilities, he began to make music relatively late - at the age of nine. Training in the game on the piano soon gave way to the violin.

By the years of the exercise, the first creative experiments of Spendiarov are in the Simferopol gymnasium: he tries to compose dances, marches, romances. In the city of Spendiars, he enters Moscow University, studies at the Faculty of Law and in parallel continues to engage in the violin, plays in a student orchestra. The conductor of this orchestra N. Klenovsky spendar takes lessons of theory, composition, and after graduating from the university he goes to St.

Petersburg and for four years is mastering the composition of the composition with N. Already during the period of study of spendar writes a number of vocal and instrumental plays that immediately gained wide popularity. Among them are the romances “Eastern Melody” “To the Rose” and “Orient Lullabies Song”, “Concert Overture” during these years Spendiars get acquainted with A.

Glazunov, A. Lyadov, N. The acquaintance develops into great friendship, preserved until the end of his life. From the city of Spendiars, he mainly lives in the Crimea of ​​Yalta, Theodosius, Sudak. Here he communicates with outstanding representatives of Russian artistic culture: M. Gorky, A. Chekhov, L. Tolstoy, I. Bunin, F. Chaliapin, S. S. Glazunov, F. Blumenfeld, opera singers E.

Zbruev and E. Soon, soon one of the best vocal works of the composer was composed on its basis - a ballad for bass with an orcestra. Filled by Chaliapin in the summer of the same year on one of the musical evenings. In this regard, in this regard, in this regard, in this regard, in the city of Spendiarov, was in a press with an open letter in protest regarding the dismissal of N.

Rimsky-Korsakov from the professors of the St. Petersburg Conservatory also turned to the work of Gorky. The “mourning prelude” is dedicated to the memory of the dear teacher at the initiative of C. Kui in the summer of G. as an excellent interpreter of his own works, he subsequently repeatedly acts as a conductor in the cities of Russia and Transcaucasia, in Moscow and St.

Petersburg. Interest in the music of the peoples inhabited by Crimea, especially the Armenians and Crimean Tatars, received the embodiment of vocal and symphonic works from Spendiarov. The genuine melodies of the Crimean Tatars were used in one of the best and repertoire works of the composer in two series of Crimean sketches for the orchestra, based on Roman X. Abovyan, “Armenian wounds” at the beginning of the First World War, the heroic song “There, there, on the field of honor” was composed.

The cover for the essay was designed by M. Saryan, which served as the reason for the personal acquaintance of the two glorious representatives of the Armenian culture. They transferred funds from this publication to the Committee for Assistance to the Victims of War in Turkey. The motive of the tragedy of the Armenian people of the genocide of spendars embodied in the heroic-patriotic arias for the baritone with the orchestra “to Armenia” to the poems of I.

these works were of this work in the work of Spendiarov and prepared the ground for the creation of the heroic-patriotic opera “Almast” for the plot of the poem by O. in search of the libretto of Spendiarovu, M. Saryan, who introduced the composer in Tbilisi with the poet O., a script was compiled jointly, and the Libretto wrote a poetess S. Before proceeding with the composition of the opera, Spendians began to accumulate material: collected Armenian and Persian folk and Ashug tunes, got acquainted with the processing of various samples of oriental music.

Direct work on the opera began later and was completed after the Spendiarov moved in the last period of Spendiarov’s creative activity is associated with active participation in the construction of a young Soviet musical culture. In Crimea in Sudak, he works in the department of public education and teaches in a music studio, leads amateur choirs and orchestras, processes Russian and Ukrainian folk songs.

His activity resumes as a conductor of copyright concerts organized in the cities of Crimea, in Moscow and Leningrad. In the concert, held in the Great Hall of the Leningrad Philharmonic on December 5, moving to Armenia Yerevan had a significant impact on the further direction of Spendiarov’s creative activity.

He teaches at the conservatory, participates in the organization of the first symphony orchestra in Armenia, and continues to act as a conductor. With the previous enthusiasm, the composer writes and studies Armenian folk music, performs in print.Spendiars brought up many students who later became famous Soviet composers. This is N. Chabergie, L. Khoja-Einatov, S. Balasanyan and others.

He was one of the first to appreciate and supported A. The fruitful pedagogical and musical and public activity of Spendiarov did not prevent the further flowering of his composer creativity. It was in recent years that he created a number of his best works, among which a wonderful example of the national symphonism “Erivan Studies” and the Opera Almast Spendiars were full of creative plans: the idea of ​​the Sevan symphony, the Symphony of the Armenia, in which the composer wanted to reflect the historical fate of the native people, was mature.

But the plans were not destined to come true. In April, Spendiarov caught a cold, fell ill with pneumonia, and on May 7 he was gone. The ashes of the composer is buried in the garden in front of the Yerevan Opera Theater of his name. The creativity of Spendiarov has a craving for the embodiment of nationally characteristic genre pictures of nature, folk life.

His music captivates the mood of soft bright lyricism. At the same time, the motives of social protest, the adamant faith in the future liberation and happiness of their long -suffering people permeate a number of remarkable creations of the composer. With his work, Spendiars raised Armenian music to a higher level of professionalism, deepened Armenian-Russian musical ties, enriched the national musical culture with the artistic experience of Russian classics.