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APRELIMINARYSTUDYOFTHECHORALWORKSANDSTYLEOFSERGEITANEYEVby

ShannonMarieGravelle

AnessaysubmittedinpartialfulfillmentoftherequirementsfortheDoctorofMusicalArts

degreeinMusicintheGraduateCollegeof

TheUniversityofIowa

May2017

EssaySupervisor:AssociateProfessorDavidPuderbaugh

Copyrightby

SHANNONMARIEGRAVELLE

2017

AllRightsReserved

GraduateCollege

TheUniversityofIowaIowaCity,Iowa

CERTIFICATEOFAPPROVAL

____________________________

D.M.A.ESSAY

_________________

ThisistocertifythattheD.M.A.essayof

ShannonMarieGravelle

hasbeenapprovedbytheExaminingCommitteefortheessayrequirementfortheDoctorofMusicalArtsdegree

inMusicattheMay2017graduation.EssayCommittee: ____________________________________________ DavidPuderbaugh,EssaySupervisor ____________________________________________ RobertCook ____________________________________________ ChristineGetz ____________________________________________ MargaretMills ____________________________________________ TimothyStalter

ii

TomymotherwhotaughtmeperseveranceandJohnwhoencouragedpatience.

iii

ACKNOWLEDGEMENTS

Mydeepestgratitudetoalltheteachersandmentorsthroughoutmylifethathave

impactedmyeducation,inspiredme,andchallengedme.Iamforevergrateful.

Thankyoutoallthosewhohelpedwithmyresearchalongtheway.Aspecialnote

ofthanksgoestoDr.VladimirMorosan,Dr.AnastasiaBelina-Johnson,OlesiaLyskovtseva,

VladimirGorbikattheMoscowConservatory,andthewomenattheTchaikovskyState

HouseMuseuminKlin,particularlyPolinaVaidmanandAdaAynbinder.

Thankyoutomycommitteefortheirtimeandknowledge,andanoteof

appreciationtoDr.DavidPuderbaughfortheadvising,revisions,phonecalls,andemails.

Afinalwordofgratitudetomyfamily:mymotherwhohasbeenaconstantsource

ofencouragement,myfather-in-lawwhotraveledwithmeonmytriptoRussia,Julianwho

waswithmeinuterowhileIresearched,andJohnforhisunwaveringsupportand

understanding.

iv

PUBLICABSTRACT

SergeiTaneyev(1856–1915)wasthemostprolificRussiancomposerofsecular

choralmusicinthesecondhalfofthenineteenthcenturyandearlytwentiethcentury.He

wasateacherofmanywell-knownandinfluentialRussiancomposers,andhecontributed

totheexpansionofchoralmusicinRussiathroughhisdevelopmentoflargechoral-cycle

compositions.DespitehisimportanceinRussianmusichistory,heremainsrelatively

unknownoutsideofRussia.

Thisdocumentprovidesabiographicalsketch,addressesthehistoryandstylistic

featuresofTaneyev’schoralmusic,andoutlinesthecurrentstateofTaneyevresearch,

includingthelocationsofmanuscriptsandeditionsavailableintheWest.Familiartywith

hiscompositionaloutputandinfluenceinRussiawillpromoteunderstandingofthe

developmentofRussiansecularchoralmusic.

v

TABLEOFCONTENTS

LISTOFTABLES ..................................................................................................................................................... viiLISTOFEXAMPLES..............................................................................................................................................viiiCHAPTERONE............................................................................................................................................................1Introduction ...........................................................................................................................................................1BiographicalOverview ......................................................................................................................................5Taneyev’sChildhood......................................................................................................................................5TaneyevattheMoscowConservatory...................................................................................................6TaneyevAftertheMoscowConservatory .........................................................................................12

TaneyevasTeacher..........................................................................................................................................14RussianSecularMusicandTaneyev.........................................................................................................17

CHAPTERTWO .......................................................................................................................................................22TaneyevScholarship........................................................................................................................................22RussianLanguageSources.......................................................................................................................22Non-RussianLanguageSources.............................................................................................................26PublishedEditions.......................................................................................................................................32TaneyevManuscripts:LocationandAccess.....................................................................................35

HistoryofTaneyev’sChoralWorks ..........................................................................................................36Opus27.............................................................................................................................................................43Opus35.............................................................................................................................................................45AdditionalTaneyevSources....................................................................................................................47

Taneyev’sReputation......................................................................................................................................48CHAPTERTHREE...................................................................................................................................................52Taneyev’sInfluences .......................................................................................................................................53HisMusicLibrary .........................................................................................................................................54TaneyevandHisUseofFolkMusic ......................................................................................................57

StylisticFeaturesofTaneyev’sChoralMusic........................................................................................58ContrapuntalTechniques .........................................................................................................................59Themes .............................................................................................................................................................67MotivicUse......................................................................................................................................................68Form...................................................................................................................................................................76Texture .............................................................................................................................................................82Harmony ..........................................................................................................................................................84Hemiola ............................................................................................................................................................88Text.....................................................................................................................................................................92

Conclusion:SummaryandFuture .............................................................................................................94APPENDIXA.TANEYEV’SCHORALCATALOGUEANDPUBLISHERS..............................................97APPENDIXB.CHORALMUSICDISCOGRAPHY....................................................................................... 105APPENDIXC.PROMETHEUSTRIPLEFUGUE .......................................................................................... 108

vi

APPENDIXD.TWOSULLENCLOUDSAMONGTHEMOUNTAINS .................................................... 115BIBLIOGRAPHY.................................................................................................................................................... 136

vii

LISTOFTABLES

Table1.End-of-earlyperiodchoralcompositions. .................................................................................40

Table2.Промeтей[Prometheus]form. .......................................................................................................78

Table3.Молитва[Prayer]keystructure. ..................................................................................................86

viii

LISTOFEXAMPLES

Example1.Фонтан...............................................................................................................................................60

Example2.Погорамдвехмурыхтучиstrettoending. ......................................................................63

Example3.Серенадаmm.23–27...................................................................................................................64

Example4.Лечьбывкроватиmm.6–9tenor/bassmotives..........................................................65

Example5.Лечьбывкроватиmm.11–15sixteenthmotive. .........................................................65

Example6.Морскоедноopeningimitativematerial. ..........................................................................67

Example7.Вечерmm.1–26.............................................................................................................................70

Example8.Вечерmm.46–end........................................................................................................................72

Example9.Адельmm.1–5rhythmicmotive............................................................................................73

Example10.Погорамдвехмурыхтучиrhythmicmotive. ..............................................................74

Example11.Погорамдвехмурыхтучиsopranomotive. ................................................................75

Example12.Развалинубашни,жилищеорлаmm.1–7. ..................................................................79

Example13.Развалинубашни,жилищеорлаmm.41–46..............................................................80

Example14.Развалинубашни,жилищеорлаmm.84–95..............................................................81

Example15.Альпыantiphonaleffect. .........................................................................................................83

Example16.Извечностимузыкаtexturechange. ...............................................................................84

Example17.ВечерaugmentedE-flatchord. .............................................................................................85

Example18.Намогилеm.7diminishedfourth......................................................................................87

Example19.Монастырьнаказбекеtenorpedalpoint. .....................................................................88

Example20.Монастырьнаказбекеtenorpedalpoint. .....................................................................88

Example21.Вечерhemiola. .............................................................................................................................89

Example22.Извечностимузыкаhemiola. .............................................................................................90

Example23.Адельhemiola..............................................................................................................................91

Example24.Эхоhemiola. ..................................................................................................................................91

1

CHAPTERONE

RUSSIANMUSICANDTANEYEV

Introduction

In1927,RussianmusiccriticLeonidSabaneevpredictedthatRussiancomposer

SergeiIvanovichTaneyev(1856–1915)wouldsoonbepopularintheWest.Sabaneev

wrote,“SeriousprogrammesarenolongermadeupinRussiawithoutTaneyev’s

compositions...Atpresent,hisfameisspreadonlythroughoutRussia...butthereisnotthe

slightestdoubtthatitwillspreadtoEuropeandAmericaaswell...”1AlthoughSabaneev’s

prophecydidnotcometrue,hisreasoningformakingthatstrongstatementwassound,

givenTaneyev’sinfluenceatthetime.TaneyevwasapioneerofRussiansecularchoral

music,andunusualinhisextensiveuseofimitativecounterpoint.Moreover,hetaught

musicalformandinvertiblecounterpointtomanyprominentRussiancomposers.Finally,

Taneyev’schoralmusicwasaccessibletomanydifferentmusicians,particularlysincehis

choralmusicdefiedthetrendsofhisRussiancontemporariesbynotusingoctavists,an

extremelylowmalevoicetypeoftenusedinbutrarelyoutsideRussiansacredmusic.

TaneyevwasoneofthemostprolificcomposersofsecularRussianchoralmusicin

thesecondhalfofthenineteenthandtheearlytwentiethcenturies,2andhistotalbodyof

workiswide-ranging,comprisedofseveralorchestralworks,twocantatas,multiplestring

quartetsandchamberpieces,vocalsongs,anopera,andpianoworks.Inadditiontohis

1 Leonid Leonidovich Sabaneev, Modern Russian Composers (New York: International Publishers, 1927),

38. 2 Vladimir Morosan, Choral Performance in Pre-revolutionary Russia (Ann Arbor, Michigan: UMI

Research Press, 1986), 206. Other composers who wrote part song repertoire during this time include Tchaikovsky, Rimsky-Korsakov, Arensky, Cui, Gretchaninov, Chesnokov, Kalinninkov, and Katalsky. This will be discussed in more detail later in the first chapter.

2

twolargeunaccompaniedchoralcycles,therearethirty-fiveotherchoralcompositions

oftencountedinhiscatalogue,andTaneyevalsocomposedvocalchamberworksthathe

notedinhismanuscripts3couldbeperformedbyachoirratherthanasmallensemble.

Twenty-threeunpublished4choralcompositionsbasedonsacredtextsareomittedfrom

Taneyev’schoraloeuvreonGroveMusicOnline.Thisgapinoneofthemosteasilyaccessed

sourcesregardingTaneyevreinforcestheneedforadditionalscholarshipand

considerationofTaneyev’schoralworksbythoseintheWesternworld.

Taneyev’scontributiontosecularRussianchoralmusicmadealastingimpact,

particularlythroughboththelengthofthechoralcyclesandthenumberofpieceshe

contributedtothisundevelopedgenre.5Untilthelatenineteenthcentury,muchofthe

existingRussiansecularchoralliteraturewasprimarilyborrowedfromoperas.6As

Taneyevmaturedasacomposer,hischoralcompositionsgrewmorecontrapuntally

complexandvariedinlength,andhebecamethefirstRussiancomposertowritelarge

secularunaccompaniedchoralcycles.7Taneyev’sop.27includestwelveworksformixed

chorusandhisop.35includessixteenworksformen’schorus.Hisop.27continuestobe

programmedbyRussianmusicianstoday,althoughnotalwaysinitsentirety.Givenboth

thedepthandcomplexityofTaneyev’scontributions,choralconductorsintheWestern

worldwouldgreatlybenefitbyprogrammingTaneyev’sworks.

3 Most of these manuscripts are held at the Tchaikovsky State Museum in Klin. 4 Unpublished during his lifetime. Since Taneyev was a self-declared atheist, he did not feel it was

appropriate to compose music for liturgical use. This will be discussed in more detail later. If added to the already known choral compositions, the number of choral compositions by Taneyev numbers eighty-six, not including the works that are able to be sung by a chamber ensemble or large choral ensemble.

5 Lhudmila Korabelnikova, “Problema tsikla v pozdnikh khjrah Taneyeva [The Problem of Cycle in Taneyev’s Late Choruses],” Sovetskaya muzika 12 (1981): 84.

6 Lhudmilla Korabelnikova, Tvorchesvto S.I. Taneeva: istoriko-stilsticheskoe issledovanie (Moscow: Muzyka, 1986), 194.

7 Rimsky-Korsakov composed unaccompanied secular music primarily in the mid-1870s. A few of these compositions include op. 13, two choruses for female voices, op. 16, six choruses for mixed voices, and op. 18, two choruses for mixed voices.

3

Taneyev’scompositionaltechnique,inparticularhispervasiveuseofimitative

contrapuntaltechniques,differedfromthatofhiscontemporaries.SomeRussian

composers,suchastheMightyFive,8soughttocreateanationalRussiansoundbyavoiding

formalWesterntraining,whileTaneyevbelievedaRussiansoundcouldbeachievedby

usingcompositionaltechniqueshonedinformaltraining.InalettertoTchaikovskydated

August18,1880,TaneyevwrotethathewantedRussianmusicianstocultivatetheirown

ideasofmusicandmusicalsound,butarguedthatRussiancomposersshouldstartwith

Russianfolkmusicanddevelopitbyusingtraditionalcompositionaltechniques,including

counterpoint.9Thoughcounterpointwasconsideredold-fashionedbymanyofhisRussian

contemporaries,Taneyevbelievedthatmasteryofcounterpointwasessentialto

developingmusicalmaterial.

TaneyevinfluencedgenerationsoffutureRussianmusicians.Hewastheteacherof

manywell-knownRussiancomposers,suchasRachmaninoffandChesnokov.Hetaught

theoryandformattheMoscowConservatory,andafterhelefttheConservatory,

counterpointandformcontinuedtobetaughtthere“perTaneev.”10G.AckleyBrower’s

1962EnglishtranslationofTaneyev’sConvertibleCounterpointintheStrictStyleincluded

endorsementsbyprominentRussians,aswellasnon-Russians,includingSergei

Rachmaninoff,IgorStravinsky,LeonidSabaneev,LazareSaminsky,PhilipGreeleyClapp,

andWalterPiston.11TaneyevwasalsofriendswithTchaikovsky,whosoughtTaneyev’s

8 The mighty Five was comprised of Balakirev, Borodin, Cui, Mussorgsky, and Rimsky-Korsakov. 9 Sergei Evseyev, “S.I. Taneyev and Folk Music,” in Pamiati Sergeia Ivanovicha Taneeva, ed. Vladimir

Vasil’evich Proptopopov (Moscow: Muzgiz, 1947), 148. 10 Sergei Evseyev, Narodnye I natsional’nye korni muzykal’nogo iazyka S.I. Taneeva (Moscow:

Gosudarstvennoe Muzykal’noe Izd., 1963), 132. 11 Taneyev is one of the better-known Russian theorists in the West, but ultimately, his recognition as a

theorist mirrors his recognition as a composer: he is often forgotten. His treatise Convertible Counterpoint in the

4

feedbackonhiscompositions.Despitealloftheseaccolades,Taneyevislargelyunknown

intheworldofWesternchoralmusic.

Taneyev’schoralmusicisworthexploringbeyonditshistoricalimportance.In

additiontonotusingoctavists,theothervoicerangesinhismusicarenotextreme,which

makesitmorepossiblefortheamateurchoristertoperformhisworks.Thedifficulty

levelsofhismusicvary,andmiddleorhighschoolchoirscouldsingsomeworksifthese

editionsofTaneyev’schoralmusicwereavailable.HealsosetRussianpoetry;performing

Taneyev’schoralworkscreatesopportunitiestoexploresecularRussianpoetryand

culturethroughthesetexts.

ThisthesisprovideshistoricalcontextforTaneyev’schoralmusicthroughastylistic

analysisofhischoralmusic.ChapterOneprovidesabiographicalsketchandelaborateson

Taneyev’splaceinRussianmusichistory.ChapterTwoaddressesthecurrentstateof

Taneyevresearch,includinglocationofmanuscripts,andthehistoricalbackgroundof

Taneyev’schoralmusic.AppendixAalsoprovidesalistofeditions.ChapterThree

highlightsthestylisticfeaturesofTaneyev’schoralcompositions.Drawingonhisknown

publishedandunpublishedchoralmusicandcompositionexercises,12Ideterminethe

compositionaltechniquesTaneyevusedtomakehismusicdistinctiveamonghis

contemporaries.ThedefiningfeatureofTaneyev’schoralmusicwasthepervasiveuseof

imitativecounterpoint,whichwasnotatechniquehisRussiancontemporariessubscribed

Strict Style, published in 1909, focuses on two- and three-part counterpoint. He also wrote a second treatise, Doctrine of the Canon, which was published posthumously.

12 There were some works that I was unable to locate. For example, manuscripts for some choruses in op. 35 are lost. Other unaccompanied choral works I could not locate are: Торжественный хор для прибытия гостей [Ceremonial Chorus for the Arrival of Guests], Однажды к попадье [Once to a Priest’s Wife], Слава святым Кириллу и Мефодию [Glory to Cyril and Methodius], Сяду завтра я к окошeчку [Tomorrow I Shall Sit by My Window], Шуточные каноны [Three Canons], and Ты кгнчил жизни путь, герой [You Have Finished Life’s Journey].

5

towiththesamedegreeoffrequencyorcomplexity.Whileothercompositionaltechniques

arenotuniquetoTaneyev,thesedeviceswerestillrecognizableasfeaturesofTaneyev’s

choralworks.

BiographicalOverview

Taneyev’sChildhood

SergeiTaneyev’sfather,IvanIllych,graduatedfromtheUniversityofMoscowin

medicine,math,andphilology,andlaterbecameagovernmentofficial.13Hewasnotedfor

hiskindnessandmoraluprightnessand,beingamanwithavarietyofinterests,healso

studiedtopicssuchasliterature,theater,andmusic.Taneyev’smother,VarvaraPavlovna,

wastwenty-fiveyearsyoungerthanherhusband.Shewasthechildofaclergyman,and

receivedthestandardeducationinsubjectssuchasFrench,needlework,andmusic.The

TaneyevshadtwosonsolderthanSergei—PavelandVladimir—whobothbecamelawyers.

Asbothofhisbrotherswerequiteabitolder,14SergeiTaneyevwasnotclosewiththem

untilhewasanadult.Hisnanny,PelageyaVasilyevnaChizhova,wasclosetotheTaneyev

family,andlaterlivedwithSergeiTaneyevafterthedeathofherparents,actingasatypeof

secretaryfortheadultTaneyev.15

SergeiIvanovichTaneyevwasbornonNovember25,185616inVladimir,Russia,

wherethefamilylivedan“unhurried”life.17Taneyev’sparentsplayedduetstogether,

oftenwithhismotheronthepianoandhisfatherontheviolin.Musicaltalentwasplentiful

13 Svetlana I. Savenko, Sergei Ivanovich Taneev (Moscow: Klassika-XXI, 2003), 9. 14 Ibid., 11. 15 Ibid., 13 16 All dates listed are based on the Gregorian calendar, however, the Julian calendar was still in use in

Russian when Taneyev was alive. 17 Savenko, 6.

6

intheTaneyevfamily,anddistantcousinAlexanderTaneyevwasalsoacomposer.When

Taneyevwasfive,hisparentsdecidedtoencouragehistalentbyplacinghiminpiano

lessonswithV.I.Voznitsyny-Polyanski.18EventhoughTaneyev’sfatherhadencouragedall

ofhisboystoplaymusic,onlyhisyoungestsonpursueditwithanyvigor.

WhenTaneyevwasnineyearsold,hisfatherretiredandtheTaneyevfamilymoved

toMoscow.TheirplaceofresidenceinMoscowwasChistyStreet,numberseven.19Itwas

notlongafterthemovetoMoscowthatTaneyevbeganhisformalmusictrainingatthe

MoscowConservatory.

TaneyevattheMoscowConservatory

UponhisarrivalinMoscow,TaneyevbeganpianolessonswithMarya

AleksandrovnaMiropolski,astudentofNikolaiRubinstein.20In1866,Rubinstein

suggestedsendingTaneyevtotheConservatory,despitethefactthatadmittanceagefor

theConservatorywasfourteen-years-old.Sincetheten-year-oldTaneyevwastooyoungto

takecoursesforcredit,hewasinitiallyadmittedasastudentwhoauditedcourses.

Taneyev’steachersattheConservatoryinfluencedhimthroughouthislife.Taneyev

impressedEdwardLanger,hisfirstConservatorypianoteacher,bycorrectlydetermining

intervalsandinvertedchordsbyear.21LangerwasanassistanttoNikolaiRubinstein,the

founderoftheConservatory,andaccordingtoUniversityrules,astudentwhowastaking

lessonswithanassistantcouldlatertakelessonswiththeassistant’sprofessors.22This

ruleallowedTaneyevtobeginstudyingpianoin1871withRubinstein,whowasimpressed

18 Ibid., 13. The first name of his first piano teacher has not been located. 19 As of July 2015, the residence was being renovated and turned into a museum 20 Savenko, 15. 21 Ibid., 16. Taneyev correctly determined both major and minor inverted chords. 22 Ibid., 15.

7

byTaneyev’sabilityasapianistandcomposer.23TaneyevstudiedcompositionwithPiotr

Tchaikovsky,wholaterbecameaclosefriend.

MusicwasnotTaneyev’ssolepursuit.HewasinterestedinbothGreekhistoryand

literaturefromayoungage,24andthesepursuitsinfluencedthecompositionofhisonly

opera,Oresteia.TaneyevalsotookavarietyofcoursesattheMoscowConservatory,

includinghistory,literature,aesthetics,arthistory,German,andFrench.25

Inadditiontobeingabrightstudent,Taneyevwasanoutstandingpianist.In1874,

hegavetheMoscowpremiereofTchaikovsky’sB-flatminorPianoConcerto.Taneyevalso

gavetheRussianpremiereofBrahms’sPianoConcertoinDminor,op.15,onDecember3,

1875,26whichwasconductedbyhisformerpianoteacher,NikolaiRubinstein.Taneyev

continuedtoperformthroughouthislife,oftenplayingpianorepertoirefrommemory.He

wasparticularlyknownforhisinterpretationsofBach,Mozart,andBeethoven.27

TaneyevgraduatedfromtheConservatoryin1875withdegreesinpianoand

composition.HewasinthefirstgenerationofConservatorygraduates,andwasatthetop

ofhisclasswithtwogoldmedalsinpianoandcomposition;themedalssignifiedthehighest

honorsintheseareas.Taneyev’snameisthefirstcarvedintoamarblestonethatincludes

thelistofConservatorymedalrecipients,locatedinthesmallperformancehallfoyeratthe

MoscowConservatory.

23 Ibid., 20. When Taneyev was an older student, Rubinstein invited him to a musical gathering where

attendees listened to and discussed musical scores. This is one time of many in which Rubinstein singles Taneyev out.

24 Lhudmila Z. Korabelnikova, “Zametki o tvorchestve Taneyeva [Notes on Taneyev’s Output],” Sovetskaia muzyka 8 (1997): 113.

25 Savenko, 17. 26 Anastasia Belina, “The Master of Moscow,” International Piano no. 49 (2007): 63. 27 James Bakst, A History of Russian-Soviet Music (New York: Dodd, Meed, 1966), 244.

8

Aftergraduation,Taneyevtraveledandbeganstudyingcounterpointseriously.28

Hisfascinationwithcounterpointwoulddefinehiscareerasacomposer,theorist,and

educator.Healsoperformedfrequentlyduringthistime,touringwithNikolaiRubinstein

andtheviolinistLeopoldAuer.InOctober1876,TaneyevwenttoFrancewherehemet

d’Indy,Franck,Fauré,Duparc,29Gounod,andSaint-Saëns.Taneyevcomposedduringthe

yearhewasinFrance,butFrenchinfluenceisnotdiscernableinhiscompositions.30

In1878,TaneyevbeganteachingattheMoscowConservatory,replacinghisformer

teacher,Tchaikovsky.In1881,moreover,TaneyevbegantoteachRubinstein’spianoclass.

Hetaughtavarietyofothersubjectsaswell,suchasharmony,instrumentation,elementary

theory,composition,strictandfreecounterpoint,andform.31Hisclassesincounterpoint

andanalysiswereespeciallyinfluentialonhisstudents,32andTaneyevwasabletogive

individualizedattentiontostudents,sinceheneveracceptedmorethanfiveperclass.33In

additiontohisteachingduties,TaneyevcollaboratedwithFyodorPetrovich

Komissarzhevsky,anoperasingerandvoiceteacher,toproducestudentoperas.34

TaneyevacceptedthedirectorshipoftheMoscowConservatoryin1885attheageof

twenty-nine.HewashighlyrespectedastheConservatorydirectorandincorporated

significantchangesintheschool.TaneyevimprovedtheConservatory’sfinancialstanding,

establishedhigherstandardsforentrancerequirementswhilemakingiteasierfortalented

28 Ellon D Carpenter, “The Contributions of Taneev, Catorie, Conus, Garbuzov, Mazel, and Tiulin,” in Russian Theoretical Thought in Music, ed. Gordon D. McQuere (Ann Arbor, Michigan: UMI Research Press, 1983), 254.

29 Stephen Muir and Anastasia Belina-Johnson, eds., Wagner in Russia, Poland, and the Czech lands: Musical, Literary, and Cultural Perspectives (Farnham, Surrey: Ashgate, 2013), 2.

30 Michel D Calvocoressi and Gerald Abraham, Masters of Russian Music (New York: Knopf, 1936), 441. 31 Carpenter, 254. 32 Lhudmila Z. Korabelnikova, S.I. Taneev v Moskovskoj konservatorii (Moscow: Muzika, 1974), 142. 33 Jacob Weinberg, “Sergei Ivanovitch Taneiev,” The Musical Quarterly (1958): 24. 34 Elena Gennadievna Sorokina, ed., The Moscow Conservatory: Materials and Documents from the

Collections of the Moscow State P.I. Tchaikovsky Conservatory and the M.I. Glinka Museum of Musical Culture (Moscow: Progress-Tradition Publisher, 2009), 37.

9

poorstudentstostudyattheConservatory,andincorporatedmoreRussianmusic,bothhis

ownaswellashiscontemporaries’,intoperformanceclasses.35Taneyevalsochangedthe

waypartsoftheprogramwerestructuredinanattempttostrengthenthemusicalintegrity

ofboththeperformanceandeducationprograms.Forexample,hedividedthefifth-year

pianostudentsintotwoclasses:oneclasswasonaperformancetrackandtheotherclass

wasonamusiceducationtrack.Theoverallperiodofstudyforthesecondgroupof

studentswasreducedbyoneortwoyears,36allowingthemtofocuslessonperforming.

Taneyevstillmadetimetocompose,despitehisbusyschedule.In1880,he

composedЯПамятниксебевоздвитнерукотворный[IHaveBuiltMyselfaMonument]

fortheunveilingofaPushkinmemorial.In1884,TaneyevcomposedthecantataИоанн

Дамаскин[JohnofDamascus],whichhelabeledOpus1anddedicatedtoNikolai

Rubinstein.Inthesummerof1885,hevisitedtheCaucasusandspenttimegettingfamiliar

withitsfolktunes.37Overthenextfewsummers,Taneyevspenttimecomposingin

Selishche,Russia.38

InMayof1889,TaneyevresignedthedirectorshipoftheMoscowConservatory.

Despitehissuccessasanadministrator,hedidnotcarefortheworkbecauseithadtaken

precioustimefromcomposing.39HeremainedontheMoscowConservatoryfaculty,and

continuedtoteachcompositioncourses.

Inthefirsthalfofthe1890s,TaneyevbeganspendingmoretimewithLeoTolstoy

andhisfamily,withwhomhewasgoodfriends.TolstoyandTaneyevengagedin

35 Anastasia Belina, A Critical Re-Evaluation of Taneyev’s Oresteia (PhD diss., University of Leeds, May

2009), 3. 36 Sorokina, 37. 37 Taneyev’s use of folk music will be discussed in more detail in Chapter Three. 38 Calvocoressi and Abraham, 443. 39 Sorokina, 38.

10

conversationsaboutthearts,andtherecordsoftheseprovideaglimpseintoTaneyev’s

musicalbeliefs.Forexample,inoneconversation,TolstoyandTaneyevdiscussedthe

meaningof“good”art.Tolstoybelievedthatartcouldbeconsideredgoodonlyifitwere

appreciated.Conversely,Taneyevbelievedthatartcouldbegoodevenifothersdidnot

appreciateit.40ThisconversationmaygiveinsightastowhyTaneyevcomposed

contrapuntalmusic,despitethefactthatcounterpointwasconsideredold-fashioned.

Taneyevdidnotneedhiscontemporariestoappreciatethecompositionaltechniques

associatedwithcounterpointforhimtoconsideritahighartform.Inanother

conversation,TaneyevdefendedBeethoven’smusictoTolstoy,despiteTaneyev’spenchant

forearlymusic,aruingthatBeethoven’scompositionsdeviatedfromestablishedforms

whenBeethovenconsidereditnecessarytodoso.41Thisconversationalignswithhisbelief

thatformwaschosenafterthoughtfulconsiderationofthepurposeofthemusic.

In1895,IvanLvovichTolstoy,thesonofTolstoyandhiswifeSofiaAndreyevna,

died,sendingSofiaintoanintensegrievingperiod.Oneofthefewthingsthatsoothed

Sofia’sgriefwasmusic,andtoaidinthehealingprocess,Taneyevsometimesplayedfor

her.42ShedevelopedanattachmenttoTaneyev,whichhedidnotreturn.Sofia,

nonetheless,spokefreelyofheraffectionforTaneyev,strainingtherelationshipbetween

TolstoyandTaneyevforatime.43Atonepoint,TolstoysaidthatTaneyevannoyedhimby

“hismoralcomplacency”and“aestheticstupidity.”44Taneyevthenreceivedaletterfrom

40 Sergei Tolstoy, Tolstoy Remembered by His Son, trans. Moura Budberg (London: Weidenfeld and

Nicolson, 1961), 178. Taneyev thought Sergei Tolstoy had a gift for music and encouraged his studies. Sergei Tolstoy later went on to become a composer and ethnomusicologist.

41 Ibid., 180-181. 42 Ibid., 182. 43 Ibid., 184. 44 Ibid., 185.

11

Sofiathathecalled“absurd,”45whichheappearstohavedestroyed.Thecontentsofthe

letter,aswellastheresponseTaneyevwrotetoher,areunknown,butTaneyevsawlessof

Sofiaafterthis.46Despitethissituation,TolstoyandTaneyevremainedfriends.Tolstoy’s

son,Sergei,laterwroteinhisbookthatTaneyevwaskind,intelligent,modest,witty,

extremelyconscientious,andselfless.47

InSeptember1905,TaneyevresignedhisteachingpostattheMoscow

Conservatory.Hisresignationwasduetoavarietyoffactors,includingthewaythe

directoroftheConservatoryhandledstudentprotestsoftheTsaristregime.The

Conservatoryfacultyweredividedontheprotests,andmanyfacultymemberswerenot

supportiveofthegrowingliberationmovement.VasiliSafonov,thedirectorofthe

Conservatoryatthetime,supportedtheTsaristgovernmentanddesiredtomaintainthe

traditionalorder,sohepunishedtheprotestingstudents.Inanopenlettertothe

Conservatoryanditsadministration,TaneyevcriticizedSafonov’sresponsetotheprotests,

andaccusedhimofbothviolatingtheprincipleofcollegialleadershipandignoringthe

opinionoftheArtisticBoard.Inthesameletter,Taneyevexpressedhisbeliefintheneed

forreformsinthemusiceducationofferedattheConservatory,andsuggesteddividingit

intoajuniorcollegeofmusicandahighercollege(theConservatory).48Manyprofessors

andstudentsaskedhimtowithdrawhisresignation,butTaneyevlikelydidnotthinkreal

reformwouldhappenattheConservatory.49Afterhisresignation,Taneyevcontinuedto

consultandworkwithmanyConservatoryinstructorsandstudents.50

45 Ibid., 183. 46 Ibid. 47 Ibid., 189. 48 Sorokina, 43. 49 Ibid., 44. 50 Korabelnikova, S.I. Taneev v Moskovskoj konservatorii,142.

12

TaneyevAftertheMoscowConservatory

AfterhelefttheMoscowConservatory,Taneyevtaughtprivatestudents,

concertized,andcontinuedtocompose.HefinishedhisbookConvertibleCounterpointin

theStrictStyle,whichwaspublishedin1909.In1913,hebecameanhonorarymemberof

theRussianMusicalSociety.

InJanuary1915,theMoscowSocietyfortheAdvancementofChamberMusichelda

concertdevotedtoTaneyev’scompositions.Aconcertsimilartothishadbeenheldin

previousseasons,andconsistedofworkssuchashispianoquintets,pianotrios,and

romances.The1915concert,inwhichTaneyevwasatthepiano,wouldbehislastpublic

performance.51

InMarch1915,Taneyev’ssister-in-law,ElenaSergeyevaTaneyeva,andhisfriend

FyodorIvanovichMaslov,bothpassedaway.52Thefollowingmonth,Taneyevattendthe

funeralofAlexanderScriabinandcaughtwhatseemedlikeacold.Afterthis,hishealth

begantodecline.Inanefforttorecover,hetraveledtohishouseinDyudkovotorest.On

June18,TaneyevwrotealettertoAnnaIvanovnaMaslovnastatingthathisheartwasvery

weak,hecouldnotgetoutofbed,andhebecamewindedquickly.53Taneyevdiedaround

noononJune19,1915.54

ThepeasantsinDyudkovocarriedTaneyev’scoffinatthefuneral.Hehadbeen

extremelywelllikedbythelocalcitizens;oneshepherdsaidthatTaneyevwishedgoodto

everyoneandneversaidabadword.55Afterthefuneral,aportionofTaneyev’sSymphony

51 Savenko, 164. 52 Ibid., 164. 53 Ibid., 165. Note that Savenko used the date June 5, 1915. This is likely June 5 according to the Julian

calendar, as this was used during Taneyev’s lifetime, and is still used by the Orthodox Church. 54 Grigory B. Bernandt, S.I. Taneev (Moscow: Muzyka, 1983), 240. 55 Savenko, 166.

13

inCMinorwasplayed.56Hiscoffin,initiallyburiedinMoscowattheDunskoyMonastery,

wasmovedin1936totheNovodevicyMonastery.HeisburiednexttoNikolai

Rubinstein.57

AfterTaneyev’sdeath,studentsandfriendsattheConservatorystartedafundin

Taneyev’snametosupportacompositioncontest.Thecommitteethatadjudicated

consistedofYuryNikolayevichPomerantsev,NikolaiRaisky,ModestTchaikovsky,andYu

D.Engel.Asecondcompetition,whichrequiredcompositionsforvoiceandorchestra,was

soonimplemented.ThepanelofjudgesincludedAlexanderGlazunov,AlexanderZiloti,

NikolaiDmitriyevichKashkin,aswellasTaneyev’sformerstudentsNikolaiMedtnerand

SergeiRachmaninoff.Asecondroundofthecompositioncontestforvoiceandorchestra

wasgoingtobeheldcommemoratingwhatwouldhavebeenTaneyev’ssixtiethbirthday,

butitwasinterruptedbytheRussianRevolutionandnevertookplace.58

Taneyevgarneredmuchrespectduringandafterhislifetimeasbothamusicianand

aperson.59Hehadexceptionallyhighmoralstandards,60anditwasnotuncommonforhim

toreturnpaymentforthings,suchasaconcertfee,becausehefeltlikehewasbeingpaid

toomuch.61Additionally,Taneyevwaspoliticallyandculturallyprogressiveforhistime.

Hewasoneofthefirsttosignthe“AddressofMoscowMusicians,”whichprotestedactsof

theTsaristregimeandrequestedgovernmentreforminthedirectionofWestern

democracies.62TaneyevalsohelpedtoappointAlexandraIvanovnaHubert,awoman,to

56 Ibid., 166. 57 Vasily Kiselyov, Tamara Livanova, and Vladimir Protopopov, eds., S.I. Taneyev: materiali I dokumenti

[Materials and Documents] (Moscow: Izdatel’stvo Akademii Nauk SSSR, 1952), 344. 58 Bernandt, 241-242. 59 Jacob Weinberg in The Musical Quarterly, said that Taneyev was a “prince in music.” 60 Sorokina, 36. 61 Weinberg, 21. 62 Ibid., 21-22.

14

thepostofinspectorattheMoscowConservatory.Whenshevoicedherdoubtsabouta

womanholdingtheposition,Taneyevconvincedherthatthiswasthenewwayofthe

world.TaneyevthenwrotetoTchaikovsky,“AproposAlexandraIvanovna’sargumentthat

itwouldbestrangetoappointawomantothispost,Isaythatinthepastitmighthave

beenindeedstrange,butnotnow,whentherearewomendoctors,academics,professors,

andsoon.”63Taneyevisstillrespectedtoday,andmanymuseums,classrooms,and

librariesbearhisname.64

TaneyevasTeacher

Taneyevtaughtandinfluencedmanywell-knownRussiancomposers.Anastasia

Belina-JohnsonwritesthatTaneyevis“consideredapillarofRussianmusiceducation,”65

partlybecauseofhisextensivelistofstudentsandpartlybecauseTaneyevwasoneofmain

disseminatorsofcounterpointtheoryinRussia.

Taneyev’slonglistofstudentsincludesSergeiRachmaninoff,AlexanderScriabin,

NikolaiMedtner,OttorinoRespighi,KonstantinIgumnov,ReinholdGlière,Alexander

Gretchaninov,AlexanderKastalsky,AlexanderGoldenweiser,andLeonidSabaneev.

TaneyevalsotaughtSergeKoussevitzky,wholaterbecamethelong-timemusicdirectorof

theBostonSymphonyOrchestra.HetaughtLeonidNikolayev,Shostakovich’steacher;

NikolaiMyaskovsky,wellknownforhissymphonies;andPavelChesnokov(1877–1944),

knownintheWestforhischoralpiece“SalvationisCreated.”TaneyevtaughtGeorgian

63 Anastasia Belina, “Representation of Clytemnestra and Cassandra in Taneyev’s Oresteia,” Studies in Musical Theater 2, no. 1 (2008): 62.

64 The Moscow Conservatory has classroom named after him, and has also named their music library after Taneyev. There is a separate building dedicated to Taneyev at the Tchaikovsky Museum in Klin, as well as a museum dedicated to Taneyev in Dyudkovo. Another museum dedicated to Taneyev is currently under construction in Moscow.

65 Belina, “The Master of Moscow,” 62.

15

composerZakariaPaliashvili,consideredthefounderofGeorgianclassicalmusic.Someof

Taneyev’slaststudentsinthe1910swereSergeiVasilenkoEvseyevandAlexander

VasilyevichAlexandrov.EvseyevwasatheoryinstructorattheMoscowConservatoryfrom

1922to1956,andhewrotebooksonharmony,polyphonyinRussianfolkmusic,anda

biographyofTaneyev.66AlexandrovtaughtcompositionattheMoscowConservatory

beginningin1918andinfluencedfuturegenerationsofRussianandnon-Russian

musicians.

ItislikelythatTaneyevinfluencedthecontrapuntaltechniquesusedin

Rachmaninoff’sandMedtner’sworks.67Medtnerstudiedcounterpointandformatthe

MoscowConservatorywithTaneyevfrom1897to1902.68Rachmaninoff’sAll-NightVigil

bearsTaneyev’sinfluencethroughitslargeform,thejuxtapositionofhomophonicand

contrapuntalsections,thematicdevelopment,anduseofimitation,particularlyinthefinal

movement(Allegro).69

Taneyev’sinfluenceextendedbeyondhisimmediatestudents.Herecommendedhis

studentGlièreasateacheroftheoryandcompositionforayoungProkofievafterTaneyev

noticedProkofiev’stalents.70EvenIgorStravinsky,inaconversationwithRobertCraft,

saidthathe“highlyvaluedTaneyev’streatiseoncounterpoint,respectedhimasa

composer...andadmiredhimgreatlyasapianist.”71

66 The book by Sergei Evseyev is titled Narodnye i natsionalnye korni muzykalnogo iazyka S.I. Taneeva

(Moscow: Gosudarstvennoe Muzykalnoe Izd., 1963). 67 Bakst, 245. 68 Savenko, 160. 69 Vladimir Morosan, “Research Report: Two Russian Choral Giants: Alexander Kastalsky (1856-1926)

and Sergei Taneyev (1856-1915),” Choral Journal 48, no. 11 (May 2008): 88. 70 Belina, “The Master of Moscow,” 64. 71 Ibid., 62.

16

Taneyev’sclassesonpolyphonyandmusicalformswereespeciallyinfluential.72He

wasathoughtfulteacher,andcaredaboutthesequentialpresentationofconceptsin

class.73Taneyevwantedhisstudentstouseinvertiblecounterpointruleswithaclear

understandingoftheirmeaningandrationale,74andhewasabletoachievethisthrough

extensivehomeworkandclassexercises.Taneyevconsideredthehomeworkandclass

exercisesessential,astheywereinteractionsbetweentheteacherandstudent.75Inhis

performancesyllabi,heincludedRussianmusicandoftenintroducednewworkscomposed

byhiscontemporariesandformerstudents.76ThisillustratesTaneyev’sdesiretopromote

thegrowthanddevelopmentofRussianmusic,notsimplyabsorbEuropeanmusic.He

inspiredrespectandaweinhisstudents;forexample,Chesnokovsaidhehadwantedto

studywithTaneyev,enjoyedstudyingwithhim,andgreatlyadmiredhim.77

Taneyevemphasisedmasteryofmusicalformsandtextintelligibilityinhisclasses.

Hewantedhisstudentstomasterformforpracticaluse,andbecauseofthis,requestedhis

studentstowriteincertaingenres,suchasaprelude,danceormarch.78Textsettingwas

alsoimportanttoTaneyev.Thesingers,heexplainedinalecture,wouldneedtobeableto

conveytheexpressionofeachphrasethroughthemusic.Onewayhesuggestedthatthe

72 Tat’iana Aleksandrovna Khoprova, Sergei Ivanovich Taneev, 1856-1915: populiarnaia monografiia

(Leningrad: Muzyka, 1980), 142. 73 Lhudmila Zionvevna Korabelnikova, “Taneev o vospitanii kompozitora [Taneev on the Education of a

Composer],” Sovetskaia Muzyka 9 (1960): 91. 74 Sorokina, 36. 75 Korabelnikova, “Taneev o vospitanii kompozitora [Taneev on the Education of a Composer],” 93. 76 Belina, “The Master of Moscow,” 63. 77 Morosan, “Research Report: Two Russian Choral Giants: Alexander Kastalsky (1856-1926) and Sergei

Taneyev (1856-1915),” 78. 78 F.G. Arzamanov, S.I. Taneev- prepodavatel’ kursa muzykal’nykh form (Moscow: Gos. muzykal’noe izd-

vo, 1963), 46-49. Arzamanov also argued that Taneyev wanted forms to be logical and convincing. When discussing form and modulations with one student, Taneyev suggested a transition from F-sharp major to the original key of D major through E minor, instead of attempting to transition directly from F-sharp major to D major.

17

emotionsofeachlinebeunderstoodwastointroducethetexthomophonicallyor,if

choosingtosetthetextpolyphonically,insuchawaythatthewordswereintelligible.79

Taneyevwasdedicatedtofurtheringhisstudents’education.Hededicatedtime

outsidetheclassroomtothem;forexample,sometimeshereadthroughWagnerscores

withhisstudentstohelpthemanalyzeandunderstandthemusic.80Hisstudentsoften

wantedtoknowTaneyev’sopinionontheirpieces;81Gretchaninovsaidthathewouldnot

makeacompositionpublicwithoutshowingittoTaneyevfirst.82Inadditiontohiscareful

attentiontohisstudents’education,Taneyevwasalsoconscientiousofhisstudents’

financialmeans.Forexample,TaneyevdirectedabenefitconcertattheConservatoryfor

thosestudentswhoneededfinancialassistance.83Herefusedtotakepaymentsfromhis

privatestudents,whichalsoallowedhimtopickstudentsbasedontalentandpotential.In

general,Taneyevapproachedhisstudents’educationthesamewayheapproachedhis

compositions:withahighdegreeofthoughtfulnessandvigor.

RussianSecularMusicandTaneyev

SecularchoralmusicbecamepopularrelativelylateinRussia,andthismeantthat

TaneyevbegancomposingwhenverylittlesecularchoralmusicexistedinRussia.Oneof

themostwellknownfiguresinnineteenth-centuryRussianmusic,MikhailGlinka(1804–

1857),didnotwritemuchchoralmusic.Laterinthenineteenth-century,agroupcalledthe

79 Savenko,161. 80 Nikolai Bazhanov, Taneev (Moscow: Molodaya Gvardiia, 1971), 79. 81 Savenko, 59. 82 Vladimir Morosan, “Research Report: Two Russian Choral Giants: Alexander Kastalsky (1856-1926)

and Sergei Taneyev (1856-1915),” 77. 83 Sorokina, 81.

18

“MightyFive”emergedinRussia,84andwhiletwoofthemembers,Rimsky-Korsakovand

Cui,didwritesomesecularchoralmusic,theircontributionswerestilllimited.Muchofthe

Russiansecularchoralliteraturethatexistedbeforewascomprisedprimarilyofopera

choruses,85andeventhroughthestartoftheRussianRevolutionin1917,mostRussian

composerswerestillwritingsacredchoralmusic.Thelackofinterestinsecularchoral

literaturewaslikelyduetotherelativelysmallnumberofcommunitychoralensembles

thatperformedsecularworks,aswellasthefocusonsacredmusicbytheTsarist

government.Ifacommunitychoirmet,itwasconsideredan“assembly,”andanassembly

hadtobegrantedpermissionfromthegovernmentwheneveritgathered.Theonly

exceptionstothisruleappliedtoinstitutionssuchaschurchesandtheaters;86thereforeit

waseasiertogatherinatheatertoperformoperathanitwastoperformaconcertof

secularchoralworks,whichrequiredanassemblypermit.

Thegradualdevelopmentofsecularchoirsinthelatterhalfofthenineteenth-

centurymirroredtheriseinnationalism.ItalsocreatedanopportunityforTaneyevto

composesecularchoralworksandhavethemperformed.Oneofthefirstsecularchoirs

wastheFreeMusicalSchoolinSt.Petersburg,formedintandemwiththeRussianMusical

Societyin1859.TheFreeMusicSchoolinitiallyfollowedEuropeanmusicpracticessuchas

teachingsingersthenoteswiththehelpofaviolin,whichwasanItalianpractice.87

Balakirev,wholedtheFreeMusicSchool,incorporatedRussiansecularoperachoruses,88

butmuchofthemusicsungbytheFreeMusicSchool’sthreehundred-voicechoirwasby

84 The Five consisted of: Mily Balakirev (1837–1910), Alexander Borodin (1833–1887), César Cui (1835–1918), Modest Mussorgsky (1839–1881), and Nikolai Rimsky-Korsakov (1844–1908). The contributions of Rimsky-Korsakov and Cui will be mentioned later in the chapter.

85 Vladimir Morosan, Choral Performance in Pre-revolutionary Russia, 118. 86 Ibid., 117. 87 Ibid., 210. 88 Ibid., 118.

19

Westerncomposers.Otherensemblessoonformed.ThefirstsecularchoirinMoscowwas

theRussianChoralSociety,foundedin1878byKonstantinKarlAlbrecht;bothTchaikovsky

andNikolaiRubinsteinwerehonorarymembers.89AlexanderArkhangelsky(1846–1924)

formedachoirin1880thatsangonlyRussianfolksongsandgaveconcertsoutsideof

Russia.90TheFreeChoralClass,financedbytheoperasingerIvanMelnikov,wasfounded

in1890,91andTaneyev,alongwithafewothers,composedworksspecificallyforit.

TaneyevwasnottheonlyRussiancomposerwritingsecularchoralmusic,although

hewasthemostprolificofhistime.OtherRussiancomposerswhocontributedsecular

choralmusicduringtheeraincludeTchaikovsky,Arensky,Rimsky-Korsakov,Cui,andlater

Gretchaninov,PavelChesnokov,andKastalsky.92Mostofthesecomposerswroteonlya

limitednumberofsecularworks,withtheexceptionofCuiandRimsky-Korsakov.While

Cuicomposedmorethansomeofhiscontemporaries,hisunaccompaniedchoralcycles

wereabouthalfthesizeofTaneyev’s.Rimsky-Korsakov,whowrotebothsecularand

sacredchoralmusic,begancomposingsecularmusicbeforeTaneyevandprovided

feedbackaboutsomeofTaneyev’searlycompositions.93Rimsky-Korsakov’spartsongs

providedastartingpointforTaneyev,sincetheyweresimilarinsize,butTaneyev

eventuallyexpandedhisintomuchlargerforms.

Taneyevbegancomposingsecularchoruses,albeitsmallones,inthemid-1870s.His

earlyworkswerefairlysimpleandshort,buttheygrewinlengthandnumberofvoicesas

89 Korabelnikova, Tvorchestvo S.I. Taneeva: istoriko-stilsticheskoe issledovanie, 194. The Russian Choral

Society, in part of their founding statement, wrote that it was the scarcity of secular Russian choral works that forced them to rely on music by non-Russian composers.

90 Morosan, Choral Performance in Pre-revolutionary Russia, 121-122. Arkhangelsky’s Choir toured and gave concerts across four continents, and it was the only choir from Russia, other than Prince Yuri Golitsyn’s serf choir, to tour outside of Russia.

91 Ibid., 119. 92 Ibid., 206. 93 Morosan, 119.

20

heevolvedasacomposer.AfterretiringfromtheMoscowConservatory,Taneyevwasable

todedicatethetimeandeffortnecessarytowritehistwolargechoralcycles,op.27andop.

35.Thesetwocyclesaresizable,andincludetwelveandsixteenchoralpiecesrespectively.

TheywerethelargestRussiansecularchoralcyclestodate.

WhileTaneyevandtheMightyFivewerebothinspiredtocreateaRussianmusical

sound,94Taneyevapproacheditdifferentlythroughhisuseofextensiveimitative

counterpoint.Despitehisuseofcounterpoint,Taneyevdidnotwanttoduplicatemusic

thathadalreadybeencomposed.InaletterdatedAugust6,1880,Taneyevwroteto

TchaikovskysayingthatRussians,the“lastnewcomerstocivilization,areoutsidethe

movementofEuropeanmusic...”95Hewentontosaymusicthatbeginswiththepeopleis

durable,andinEurope,eachartwasnationalbeforeitwasintegratedintoclassicalmusic.

Taneyevwasasupporterofusingfolkmusictocreateanationalsound,citingexamplesof

theDutch’suseoffolksongs,Gregorianmelodiesthatdevelopedfromfolkpieces,and

Germanchoralesthatwerebasedonafolkmelody.96InanotherlettertoTchaikovsky,

datedAugust18,1880,hewrotethatRussianscouldandshouldcultivatetheirownstyles

ofmusic.97Taneyevrecommendedlearning,butnotduplicating,themusicoftheWest.He

believedthatmelodyandharmonywereinfluencedbythenationality,era,andpersonality

ofthecomposer,98whichmeantthatapplyingWesterncontrapuntaltechniquestoRussian

musicwouldnotmakethemusicanylessRussianinhisview.Onewayofdoingthis,he

believed,wastobeginwithRussianmusic,eitherchantorfolk,andthenapply

94 Belina, A Critical Re-Evaluation of Taneyev’s Oresteia, 24. 95 Evseyev, “S.I. Taneyev and Folk Music,” 148. 96 Korabelnikova, Tvorchestvo S.I. Taneeva: istoriko-stilsticheskot issledovanie, 109. 97 Evseyev, “S.I. Taneyev and Folk Music,” 148. 98 Korabelnikova, Tvorchestvo S.I. Taneeva: istoriko-stilsticheskoe issledovanie, 210. Korabelnikova

argues that this is one reason why Taneyev’s music can be heard as Russian.

21

contrapuntaltechniquestoit.99Inaddition,Taneyev’suseofRussiansecularpoetrylends

itselftothecreationofaRussiansound,particularlybecausethepoetryisuniqueto

RussiancultureandbecausetheRussianlanguagehasauniquetimbre.

TaneyevwasanimportantfigureinRussianmusichistoryandforRussiansecular

choralmusicbecauseofhisuseofimitativecounterpoint,whichwasuniqueamonghis

contemporaries.Taneyevwaswellrespectedthroughouthislifetimeasacomposer,

educator,theorist,pianist,andperson.Immediatelyfollowinghisdeath,Taneyev’sfriends

andstudentsorganizedtofindwaystoliftupTaneyev’smemoryandcarryonhislegacyas

acomposerandeducator.Taneyev’smusicdidnotdisappearintothearchivesofRussian

museumsandlibraries,nevertobeheardagain,butneitherdidhismusicspreadoutsideof

Russia.Itisimportanttounderstandhowthishappenedinanefforttounderstandthe

developmentofRussiansecularchoralmusicandtocreatefutureaccesstohismusicinthe

West.

99 Evseyev, “S.I. Taneyev and Folk Music,” 148.

22

CHAPTERTWO

TANEYEVCHORALMUSICHISTORYANDRESEARCH

ThischapterexploresthecurrentstateofTaneyevresearch,includingliteratureand

editions,andspeakstothegenesisofTaneyev’schoralcompositions.Thehistoryofhis

choralworksisfarfromcomplete,buteveryattempthasbeenmadeinthischapterto

includeallavailableinformationaboutknowncomposition,theirdatesofcomposition,and

theirpremieres.

TaneyevScholarship

RussianLanguageSources

ResearchonTaneyevissignificantlymoreextensiveinRussianthananyother

language,andcovershisbiography,compositions,theoriesoncounterpoint,andworkas

aneducator.Forexample,therearesixbooksinRussianaboutTaneyev’sbiography,all

includingatleastminimalcommentaryonvariouscompositions.Comparatively,thereare

nobooksavailableinanyotherlanguageaddressingTaneyev’sbiography.1Nosingle

sourceincludesadedicatedhistoryofTaneyev’schoralcompositions.

OneoftheearliestRussiansourcesonTaneyevisa1925bookofessays

documentinghislife.2Theessays,writtenbyModestTchaikovsky,Taneyev’sformer

studentLeonidSabaneev,andothers,includestoriesabouttheauthors’interactionswith

1 The majority of sources are available via InterLibrary Loan, including the six books about Taneyev’s biography, but other sources are harder to access. For example, a book about Taneyev’s At the Reading of a Psalm by Nadezhda Kovalenko is only accessible in Germany, and I was only able to receive a copy of the Table of Contents.

2 Konstantin Kuznetsov, ed., Sergei Ivanovich Taneev: lichnost’, tvorchestvo I dokumenti ego zhizni: k 10-ti letiyu so dnya ego smerti [Taneyev: Personality, Works, and Documentations of his Life: Ten Years Since His Death] (Moscow: Muzsektor, 1925).

23

Taneyevaswellasdocumentationofwhatwascontainedinhispersonallibrary.Thiswas

thefirstbookdedicatedtoTaneyevafterhisdeath,andincludescommentssuchas,“[He]

hadaveryindividualstyle,clearlydistinctfromothercomposers’style.Hismain

originalityishisspecialapproachtoformandpolyphony...”3ThatTaneyevwasimportant

anduniqueamongRussiancomposerswaswell-establishedinearlyRussianscholarship.

TheTaneyevscholarwiththelongestandmostproductivecareerisLhudmila

ZionevnaKorabelnikova,aretiredmusicologistfromtheSt.PetersburgConservatory.4

AsidefromherwritingsonTaneyev’scounterpointtheoriesandinstrumentalworks,

Korabelnikovadedicatesachaptertohischoralworksinher1986book,5andstatesthat

TaneyevpushedtheboundariesoftheRussiansecularchoralcycleinsizeandscopeof

form.ShetouchesonTaneyev’sstyleinherarticleabouthislatechoruses,6primarily

discussingthestructureofTaneyev’stwolargecycles,op.27andop.35.Shedoesnot

mention,althoughitcouldbeinferred,thatTaneyevwasoneofthefirstRussianchoral

composerstomakeextensiveuseofsecularRussianpoetryinhismusic.Korabelnikova

speakstoTaneyev’scareerasaninfluentialpedagogueinher1974book,7andalsoedited

Taneyev’sdiaries8,writtenbetween1894and1909,inwhichhesharesthoughtsabouthis

3 Ibid., 36. 4 Ms. Korabelnikova has offered assistance in locating manuscripts, affirmed Taneyev’s importance in

Russian music history, and offered to answer questions I may have about Taneyev. Her assistance and encouragement has been invaluable to my research. Additionally, her research is easy to read, as it rarely indulges in hyperbolic language.

5 Lhudmilla Z. Korabelnikova, Tvorchestvo S.I. Taneeva: istoriko-stilsticheskoe issledovanie (Moscow: Muzyka, 1986).

6 Lhudmila Z. Korabelnikova, “Problema tsikla v pozdikh khjrah Taneyeva [The Problem of Cycle in Taneyev’s Late Choruses],” Sovetskaya Muzika 12 (1981).

7 Lhudmila Z. Korabelnikova, S.I. Taneev v Moskovskoj Konservatorii [Taneev in the Moscow Conservatory] (Moscow: Muzika, 1974).

8 Sergei Ivanovich Taneev, Dnevniki v trekh knigakh, 1894-1909 (Moscow: Muzyka, 1981-85).

24

ownmusicaswellasthatofsomeofhiscontemporaries.9WhileKorabelnikovaprovides

commentaryonsomeoftheformsandtextsofTaneyev’schoralworks,shedoesnot

provideafocusedstudyofallhischoralworks.

GalimaAminovapublishedadissertationin2013,andbeforethat,bothanarticle

andabookaboutTaneyev.10Sheconcentratesontextandsymbolicanalysis,andattempts

toexplainhowTaneyevrelatedOrthodoxChristianitytohismusic.Theproblemwiththis

supposedconnectionisthatTaneyevwasaself-declaredatheist,whichmakesmuchofher

scholarshipconnectinghismusictoRussianOrthodoxyproblematic.

A1991dissertationbyYuryGen-IrfocusesontheanalysisofTaneyev’schoral

works,andsuggeststhesefeaturesapplytoallofTaneyev’smusicunderthepremisethat

hischoralandinstrumentalworkswerenotstylisticallydifferent.11Gen-irdiscussesthe

styleofTaneyev’schoralmusic,butmadenolarge-scaleconclusions.Attimes,Gen-Irdoes

notclarifyhisassertions.Forexample,hestatesthatTaneyev“polyphonizes

homophony,”12butprovidesnoexamples.Thebrevityofthesubsectionsdoesnotallow

foranin-depthdiscussionofthestylistictraitspresented,partlybecausenotallsections

includeexamples.Additionally,anumberofchoralworksaremissingfromtheanalysis.

Forthisthesis,IconsultedallofTaneyev’savailableworkstoanalyzehisstyle,andthe

9 There are under twenty libraries that own a copy in the United States. No translations exist. I attempted

to cross reference dates with his compositions, but this did not provide much additional information. 10 Galima Uralovna Aminova, Идеи и интонационный строй музыки С.И. Танеева [Ideas and

Intonation Structure of Sergei Taneev’s Music], PhD diss., Iskusstvovedenie from Gosudarstvennaâ Konservatoriâ imeni P.I. Čajkovskogo, Moscow, 2013; “Орестея С.И. Танеева: Трагедия-мистерия и православие [Orestea by Sergei Taneyev: Tragedy-Mystery and the Orthodox Christianity],” Russian Journal of Academic Studies 2, no. 7 (2010): 171-175; Otechestvenniye istoki tvorchestva S.I. Taneyeva [The National Origins of Taneyev’s Works]. Krasnoyarsk: Krasnoyarskiy Gosudarstvennyi Universitet, 2006.

11 Yury Gen-Ir, Cherti stilya khorov S.I. Taneyeva [Stylistic Features of Taneyev’s Choruses] (Petrozavodsk: n/p, 1991). Shortened version available online at: www.ugenir.narod.ru. There are no page numbers since Gen-Ir published the document on a webpage.

12 According to Gen-Ir, “Polyphonizing harmony” means Taneyev either focuses on a melody and rhythmic feature of the melody, or alters and ornaments the chord structure, which gives the middle voices a voice-leading function.

25

examplesinthisthesisaremorethoroughlydiscussed.ThroughoutGen-Ir’sdissertation,it

isapparentthatheagreeswithKorabelnikova:Taneyevwasuniqueinhistime,inpart

becausehewasthefirstRussiancomposertocreatelarge-scalesecularacappellachoral

compositions.

TwootherbooksaboutTaneyevwerepublishedinRussiainthe1980s.GrigoryB.

Bernandt’sbookS.I.Taneev13referstoTaneyev’schoralworks,althoughhedoesnothave

aspecificsectiondedicatedtothem.SvetlanaI.Savenko’sbookSergeiIvanovichTaneev14

givesextensivebiographicalinformationaboutTaneyev,andprovidesanalysisand

historicalcontextforthecantataПопрочтениипсалма[AttheReadingofaPsalm](1915).

AsisthecasewithBernandt’sbook,muchofthisinformationcannotbefoundinEnglish

sources.

OtherRussianscholarshipisdatedorcontainsinformationthatisfoundinother,

morecomprehensivesources,asisthecasewithNikolaiBazhanov’sbookTaneev15(1971)

andTatianaKhoprova’sscholarship.16Evseyev’sNarodnyeInatsionalnyekorni

muzykalnogoiazykaS.I.Taneeva17of1963includesanalysisofavarietyofTaneyev’s

works,butthemusicusedisprimarilyinstrumentalorlimitedtoop.27(1911),op.23

(1907),Восходсолнца[Sunrise]op.10(1899),andСосна[ThePine](1877).Although

older,F.G.Arzamanov’sS.I.Taneev-prepodavatelkursamuzykahlnykhform18isaresource

13 Grigory B. Bernandt, S.I. Taneev (Moscow: Muzyka, 1983). 14 Svetlana I. Savenko, Sergei Ivanovich Taneev (Moscow: Izd-vo “Muzyka,” 1984). 15 Nikolai Bazhanov, Taneev (Moscow: Molodaya Gvardiia, 1971). 16 Tatiana Aledsandrovna Khoprova, Sergei Ivanovich Taneev (Leningrad: Musyka, 1968). Sergei

Ivanovich Taneev, 1856-1915: populiarnaia monografiia (Leningrad: Muzyka, 1980). 17 Sergei Evseyev, Narodnye i natsionalnye korni muzykalnogo iazyka S.I. Taneeva (Moscow:

Gosudarstvennoe Muzykalnoe Izd., 1963). 18 F.G. Arzamanov, S.I. Taneev- prepodavatel kursa muzykalnykh form (Moscow: Gos. muzykalnoe izd-vo,

1963).

26

aboutTaneyevasateacheronmusicalform,andoutlineshowTaneyevtaughtcomposition

tohisstudents,includingexamplesofdetailedfeedbackhegaveonassignments.

Theothersourcesofnoteincludetwobooksofessaysandaneditedversionof

Taneyev’sdiaries.ThevolumeofessayseditedbyFetisova,19publishedin2007,includesa

detailedchapteraboutthepersonallibrarythatTaneyevdonatedtotheMoscow

Conservatory,whichisespeciallyhelpfulinunderstandinghiscontrapuntalinfluences.A

1947bookofessayseditedbyVladimirProptopopov20containsinformationabout

Taneyev’schoralmusicandinfluences,includinganessaybyS.V.Popovwithfootnotesthat

providespecificcompositiondatesforsomeofTaneyev’schoralworks.Inanessayby

Evseyev,theauthorpositsthatTaneyev,despitebeinginfluencedbyimitative

counterpoint,wantedtousefolkmusictodevelopmusicthatwasuniquelyRussian.

ThesearenotalloftheresourcesinRussianregardingTaneyev,buttheyare

currentlysomeoftheeasiesttoaccessintheWestviaInterLibraryLoan.Otherscholarship

aboutTaneyevexists,includingsomededicatedtoTaneyev’ssmallchamberworksor

studiesonthemeswithinspecificworks,butthereisverylittleabouthischoralworks.

Non-RussianLanguageSources

English-languagescholarshipaboutTaneyevisnotasextensive,andmostof

Taneyev’smusicremainsunexploredbyWesternscholars.Muchoftheolderscholarshipis

cursoryandincludesalotofsubjectivelanguage.NewerscholarshiponTaneyevfocuses

onspecificcompositionsorhistheoriesoncounterpoint.AleadingscholaronTaneyev,

AnastasiaBelina-Johnson,suggeststhatasubstantialstudyonTaneyevdoesnotexist

19 Elena Fetisova, Novoe o Taneeve: K 150-letiiu so dnia rozhdeniia (Moscow: Deka-VS, 2007). 20 Vladimir Vasilevich Proptopopov, Pamiati Sergeia Ivanovicha Taneeva (Moscow: Muzgiz, 1947).

27

potentiallybecauseitisdifficult“toplaceTaneyev’sworkwithinaspecificcontext,

especiallyRussian,”duetohisstylenotbeingeasilydefined.21Furthermore,shestatesthat

theexistingliteratureonTaneyevdoesnotaccuratelyrepresenthisimportancein

nineteenth-centuryRussianmusic.22Thisispartofalargertrend;VladimirMorosan

pointsoutthatstylisticstudiesofspecificRussianchoralcomposersremainscarce,despite

theincreasingnumberofperformancesofRussianchoralmusic.23

OneoftwobooksTaneyevwrotewastranslatedintoEnglishin1962.24Hisstudent,

thewell-knownconductorSergeKoussevitzky,wroteanintroduction,andthebookwas

laudedbybothRachmaninoffandStravinsky.TheEnglishtranslationisabitclumsyand

canbedifficulttounderstand,buttheendorsementsreceivedfromKoussevitzkyand

StravinskyillustratehowinfluentialTaneyevwasatthetime.Taneyev’ssecondbook

remainedunpublishedduringhislifetime,butPaulGrovetranslated(1999)Taneyev’s

Учениеоканоне[DoctrineoftheCanon]fromRussiantoEnglishasapartofhis

dissertation.25GrovediscusseshowTaneyev’stheoriesinfluencedothertheoristsduring

theSovietera,butdoesnotconsiderhowTaneyevappliedthesetheoriestohisown

compositions.

ThreeotherdissertationshavebeenwritteninEnglishaboutTaneyev,although

noneaddresshischoralmusic.AnastasiaBelina-Johnson’sdissertation(2009)on

21 Anastasia Belina, A Critical Re-Evaluation of Taneyev’s Oresteia (PhD, University of Leeds, May 2009),

13. 22 Ibid., xiv. She is referring to all literature and sources, English and non-English language. 23 Vladimir Morosan, “Research Report: Two Russian Choral Giants: Alexander Kastalsky (1856-1926)

and Sergei Taneyev (1856-1915),” Choral Journal 48, no. 11 (May 2008): 75. 24 Sergei Ivanovich Taneyev, Convertible Counterpoint in the Strict Style, trans. G. Ackley Brower,

introduction by Serge Koussevitzky (Boston: B. Humphries, 1962). 25 Paul Richard Grove II, Sergei Ivonovich Taneev’s Doctrine of the Canon: A Translation and

Commentary (PhD diss., University of Arizona, 1999).

28

Taneyev’sonlyopera(Oresteia)speakstoWagner’sinfluenceonTaneyev.26Belina-

JohnsonincludesalistofimportantscholarshiponTaneyev,andwiththis,aliterature

reviewofsourcesthatspecificallyaddressescontributionsintheanalysisandhistorical

contextofOresteia.Shehasalsowrittenorco-authoredotherarticles,primarilyfocusing

onTaneyev’soperaandWagner’sinfluence.LouiseLiu’s2007dissertationspeakstothe

importanceofTaneyev’sonlypianoconcertoandsuggeststhatTaneyev’sinsecurity

preventedhimfrompublishinghisworks.27BeverlyParker’sbrief1981dissertation28

definestheoreticalterminologythatTaneyevusedinhispublishedtheorytreatise,

Подвижномконтрапунктестрогогописьма[ConvertibleCounterpointintheStrictStyle].

VladimirMorosan,ascholarofRussianchoralmusicandpresidentofthemusic

publishingcompanyMusicaRussica,publisheda2008articlefortheChoralJournalwhich

providesabriefbiographicalsketchofTaneyev,andmentionsselectedchoralworks:op.

27(1911),op.35(1914),aswellasTaneyev’stwochoral-orchestralcantatas,Иоанн

Дамаскии[JohnofDamascus](1884)andПопрочтениипсалма[AttheReadingofa

Psalm](1915).29Morosan’sbookaboutRussianchoralmusicinpre-revolutionaryRussia

providescontextforTaneyevbygivingacomprehensiveandeasy-to-readoverviewof

Russianmusichistory.30MorosanalsoconvincinglyarguesthatTaneyev’scontrapuntal

styledidnotbecomethecornerstoneofRussiancompositionalpracticesduetothelackof

26 Anastasia Belina, A Critical Re-Evaluation of Taneyev’s Oresteia (PhD diss., University of Leeds, May

2009). 27 Louise Jiayin Liu, Sergei Taneyev (1856-1915): An Analysis of his Piano Concerto in E-Flat Major and

its Relationship to Tchaikovsky’s Piano Concerto No. 1 (DMA thes., University of Northern Texas, May 2007). 28 Beverly Lewis Parker, Direct Shifting and Mixed Shifting: Important Contrapuntal Techniques of

Taneev’s Oddities? (PhD diss., University of Natal, Durban, 1981). 29 Morosan, “Research Report: Two Russian Choral Giants: Alexander Kastalsky (1856-1926) and Sergei

Taneyev (1856-1915),”: 75-96. 30 Vladimir Morosan, Choral Performance in Pre-revolutionary Russia (Ann Arbor, Michigan: UMI

Research Press, 1986).

29

trainingRussiancomposersreceivedinWesterncounterpointandtheOrthodox’sChurch’s

focusontextintelligibilityinsacredmusic.

AhandfulofarticlesandbookchaptersinEnglishdiscussTaneyev.SergeiTolstoy,

thesonofLeoTolstoy,wroteabookabouthisfatherthatincludesachapteraboutthe

relationshipbetweenLeoTolstoyandTaneyev;itprovidesinsightintoTaneyev’s

perspectiveonartbutrevealslittleaboutTaneyev’schoralrepertoire.31LeonidSabaneev’s

1927book,titledModernRussianComposersandtranslatedfromRussianintoEnglish,

containsfirst-handstoriesaboutTaneyev.32ItisalsotheearliestsourceIhavefoundthat

acknowledgesthefactthatTaneyev’spopularityislimitedtoRussia,althoughSabaneev

wascertainatthetimeofwritingthatTaneyev’spopularitywouldincrease.Anotherolder

article,“TotheMemoryofS.I.Taneev,”33alsoarguesthatTaneyevwasimportantto

Russianmusicalhistory,particularlybecauseTaneyevwascomposingmusicunlikehis

contemporaries.YuD.Engel’sshortessayinRussiansonRussianMusic,1880-191734argues

thatTaneyev’ssacredcantataПопрочтениипсалма[OnReadingaPsalm](1915)isnot

typicalofRussianmusicbecausethetextisRussian,notChurchSlavonic,themelodiesare

freelywrittenandnottraditionalplainchants,theorchestraisanequalpartnerinthe

cantataandsometimestakesprimaryimportance,andthecontrapuntalcompositional

devicesusedareunique,muchlikehisunaccompaniedchoralmusic.Itseemsthateven

earlythemessagewascleartsome:Taneyevisanoteworthycomposer.

31 Sergei Tolsoy, Tolstoy Remember by his Son, trans. Moura Budberg (London: Weidenfield and Nicolson,

1961). 32 Leonid Sabaneev, S.I. Taneev (Parizh: Tair, 1930), 19-39. 33 V. Karatygin, “To the Memory of S.I. Taneev,” translated by S.W. Pring, The Musical Quarterly 13, no.

4 (October 1927): 540-43. http://www.jstor.org/stable/738290 (accessed June 6, 2014) 34 Yu D. Engel, “A Cantata by S.I. Taneyev. Russian Bulletin, 3 April 1915, no. 75. Engel, pg 408-13,” in Russians on Russian Music, 1880-1917, ed. and trans. Stuart Campbell (New York: Cambridge University Press, 2003): 170-174

30

SimonDesbruslais’sarticleonTaneyevreceptionintheWest35addressesnegatively

biasedlanguageinscholarship,specificallythatofDavidBrown,whowroteintheGrove

MusicOnlinearticlethatTaneyev“hadlittleimaginativeendowment.”Desbruslaisalso

mentionsGeraldAbraham,wholeavesTaneyev’scontributionsalmostcompletely

unaddressedinhisscholarshiponRussianmusic.Thesetwoauthorsaresomeofthemost

easilyaccessibleonlineandinAmericanlibraries,andthereforetheirbiasesareoftenthe

firstinformationencounteredwhendoingresearchonTaneyev.Desbruslaismakesa

persuasiveargumentforthedamagethisnegativetonehasinflictedonTaneyev’sreception

intheWest.

ElenaGennadievnaSorokinaincludesbiographicalinformationand,more

interestingly,informationregardingTaneyev’sdeparturefromtheMoscowConservatory,

inthe2009publicationdedicatedtothe140thyearoftheMoscowConservatory.36

Rassina’sarticleabouttheConservatorylibraryincludesitemsfromTaneyev’spersonal

collection,37althoughthisinformationcanbefoundinmoredetailedRussiansources.

ThereisalsoscholarshipintheEnglishlanguagethatprovidesasmallamountof

informationonTaneyev,buthintsatlargerideasthathaveyettobeexplored.Nicholas

Brill’sbookonRussianchurchmusicistheonlyEnglishsourcethatspecificallymentions

thatTaneyevwrotesacredmusic,andBrillwritesthatwhileTaneyevwasontheadvisory

boardoftheImperialChapelChoirofSt.Petersburg,heneverthoughthiscompositions

35 Simon Stephen Desbruslais, “The Western Reception of Sergei Taneyev,” Выпуск 1, no. 9 (2015): 7-18. 36 Elena Gennadievna Sorokina, ed, The Moscow Conservatory: Materials and Documents from the

Collections of the Moscow State P.I. Tchaikovsky Conservatory and the M.I. Glinka Museum of Musical Culture (Moscow: Progress-Tradition Publisher, 2009).

37 Emilia B. Rassina, “The History of the Music Research Library Named After S.I.Taneyev of the Moscow Conservatoire,” Fontes Artis Musicae 53, no. 3 (2006): 181-86.

31

wereusefultotheOrthodoxChurch.38NikolaiRimsky-Korsakov’sbookЛетописьмоей

музыкальнойжизни[ChronicleofMyMusicalLife],translatedintoEnglish,givesabrief

accountofTaneyev’shistorywiththeMightyFive,39aconnectionthatisuntouchedin

Englishscholarship.RichardTaruskin’sbookfrom2009aboutRussianmusichighlights

theneedtoincludeTaneyev’sbiographyinhistorybooks;hementionsTaneyev,butonlyin

relationtoTchaikovskyorothermusicians,therebyconveyingtheimpressionthatTaneyev

isaminorfigureinRussianmusic,ratherthanakeyparticipant.40

OtherscholarshipinEnglishthatmentionsTaneyevisrathergeneralizedorfocuses

onTaneyev’slinkstohiscontemporaries,suchasTchaikovsky.Theolderscholarshipis

ofteninfluencedbytheauthor’spersonalopinionattheexpenseofobjectivity.Morerecent

contributions,asidefromthosethathavealreadybeenmentioned,oftenrecycleold

information.

GermanscholarshipprimarilyfocusesonTaneyev’scounterpointtheories.The

primaryGermanscholarisAndreasWehrmeyer,whotranslatedTaneyev’sУчениео

каноне[DoctrineoftheCanon]intoGermanin1994.41Healsowrotetwobooksabout

Taneyev,onepublishedin2000onhiscounterpointtheories,andanotherthatwasco-

authoredwithVasiliiIakovlevaboutTaneyev’slifeandworks.42Theco-authoredvolume

relieslargelyonwhatRussianscholarshavewritten.

38 Nicholas P. Brill, History of Russian Church Music, 988-1917 (Bloomington, Illinois: Brill, 1982), 157. 39 Nikolai Rimsky-Korsakov, My Musical Life, translated by Judah A. Joffe (New York: A.A. Knopf,

1942). 40 Richard Taruskin, On Russian Music (Berkeley: University of California Press, 2009). 41 Sergei Taneyev, Die Lehre vom Kanon, trans. Andreas Wehrmeyer (Berlin, E. Kuhn: 1994). 42 Andreas Wehrmeyer, Sergei Taneev: kleinere musiktheoretische Schriften und Fragmente (Berlin, E.

Kuhn: 2000); Vasilii Iakovlev and Andreas Wehrmeyer, Sergej Taneev: Musikgelehrter und Komponist: Material zu Leben und Werk (Berlin, E. Kuhn: 1996).

32

PublishedEditions

MostofTaneyev’schoralmusichasbeenpublishedinRussia,buttheseeditionsare

quitedifficulttoobtain.43ThefirstobstacletoaccessingRussianeditionsisnavigatingthe

onlinebrowsingandpurchasingsystem.Ifthewebsiteprovidesanoptiontobrowsein

English,asdoesthepublishingcompanyМузыка,mostlinksareunavailableinEnglish,

andthewebsiteonlyoffersarecentcatalog,whichdoesnotlistanyTaneyevchoralmusic.

IfthepurchaserisabletoreadCyrillic,asecondissuearisesinthatitiscommonfor

publishersomitsomeoftherepertoiretheyhavepublished,includingeditionsthey

actuallyhaveinstock.PublisherswhohaveeditionsofTaneyev’schoralmusicwilloften

holdontothemforrent-seekingpurposes.Athirdissueregardingpublicationisthatmost

ofTaneyev’schoralmusichasbeenpublishedincollections,ratherthaninindividual

octavos,makingitimpracticaltopurchaseforperformanceunlessadequatefundsare

available.

AnotherissueregardingRussianeditionsisthattheyareusuallycreatedforthose

whospeakRussian.TheInternationalPhoneticAlphabetisnotincluded,norisanother

pronunciationguide.Thisposestheveryobviousproblemofhowtopronouncethetextif

onedoesnotspeakRussianandreadCyrillic.Additionalinformationaboutthe

compositionislikewiseinCyrillic,renderingtheinformationinaccessibletothosenot

fluentinit.

IntheUnitedStates,thereareatotalofthirteenofsixty-threeknown

unaccompaniedchoralworksbyTaneyevavailable,notincludingthequartetsandtrios,

43 In the last forty years, the Russian publishing company Музыка (http://www.music-izdat.ru) has been the

primary publisher of Taneyev’s choral works. At last check in January 2017, there was no Taneyev choral music listed for sale on the website.

33

andnotalleditionsincludetheInternationalPhoneticAlphabet(IPA)ortransliteration.44

Foraneditiontobeusablebynon-Russianspeakers,pronunciationguidesshouldbe

included.Transliteration,whileprovidingassistancetothosewhodonotknowIPA,isnot

standardized,andmayvaryduetotheperformer’sunderstandingofthetransliteration

guide.TherearesimilarissueswithIPA,buttheyarenotaspervasive.IPAismore

standardized,butthechallengingыsounddoesnotyethaveanagreed-uponIPAsymbol.

ThedifficultyofthesesoundsisnotalwaysdiscussedinthepronunciationguidesthatI

havestudied.

MusicaRussica,thelargestpublisherofRussianchoralmusicintheWest,has

publishedninechoraloctavosbyTaneyev,withplanstopublishmore.45Manyofthe

octavosarepartoftheop.27cycle(1911),andtheeditionsareperformer-friendly;they

includebriefintroductoryremarks,aswellasapronunciationguide.Dependingupon

whentheeditionwaspublished,itmayincludetransliterationandCyrillic,butno

InternationalPhoneticAlphabet(IPA),oritmayincludeallthree.Accordingtotheowner

ofMusicaRussica,theinconsistencyofIPAinclusionisduetochangesmadeinresponseto

feedbackfromtheperformersofthemusic.OneofthegoalsoftheMusicaRussicaeditions

istoprovideapronunciationguidethatremovestheobstacleslanguageforthosewhoare

notfamiliarwithRussian.

44 This number also does not include about twenty sacred works that remained unpublished in Russia until

the late twentieth century. These works are not included in any current catalog of Taneyev’s choral music. 45 The editions are as follows: Serenade (1877), Sunrise (1897), Upon the Grave op. 27 no. 1, Evening op.

27 no. 2, The Ruins of the Tower op. 27 no. 3, Behold, Darkness has Fallen op. 27 no. 4, Prayer op. 27 no. 6, Suddenly Music Sounded op. 27 no. 7, Stars op. 27 no. 10 (op. 27 1909–1911). Musica Russica is located in San Diego, CA. Their catalog can be found here: http://www.musicarussica.com

34

Heruvimskayapesn[Cherubim’sHymn](1880)isavailableonlineintheChoral

PublicDomainLibrary46(CPDL),nineworks47areavailableonlineintheInternational

MusicScoreLibraryProject(IMSLP),andthree48arepublishedbyTheodorePresser.Many

oftheseeditionsareofthesamechoralworkspublishedbyMusicaRussica.Ruinsofa

Tower(1911),oneoftheoctavospublishedbyTheodorePresser,iscurrentlyout-of-print,

andtheonlywaytopurchaseacopyisthroughtheLibraryofCongress.Taneyev’s

choral/orchestralwork,ИоаннДамаскии[JohnofDamascus](1884),isavailableon

Amazon.comfromPerformer’sReprintsandisareprintofthepublicdomainversionon

IMSLP,withGermanaddedtotheCyrillic.TheeditionsnotpublishedbyMusicaRussica

varyinquality.Forexample,theCPDLeditionincludestransliterationbutnoCyrillic,and

theIMSLPeditionsprovideCyrillictext,butnotransliterationorIPA,andnoneofthe

publicdomaineditionsincludecontextualinformationaboutthecomposition.The

TheodorePressereditionsuseapoeticEnglishtranslationastext,anddonotincludethe

Cyrillic,IPA,oratransliteration.Thismaybebecausetheyareoldereditions,anduntil

relativelyrecently,manychoirssangRussianmusicusinganEnglishtranslation.49

46 Found here: http://www1.cpdl.org/wiki/index.php/Sergei_Taneyev 47 The editions available on IMSLP (with titles translated) are: At the Grave op. 27 no. 1, Evening op. 27

no. 2, The Tower’s Ruin op. 27 no. 3, Behold What Darkness op. 27 no. 4, The Alps op. 15 no. 2 (1900), Sunrise op. 8 (1897), Night (1881/2?), King Regner’s Song (1881), and Irmos (1879). IMSLP also includes some compositions for small ensembles and the large choral/orchestral work, John of Damascus op. 1 (1884) and At the Reading of a Psalm op. 36 (1915). The small ensemble compositions include: To Adele (revised 1887), The Monastery on the Kazbek op. 24 no. 1 (1907), Of What Do I Secretly Dream in the Quiet of the Night?, and I Waited for You in the Grotto. Found here: http://imslp.org/wiki/Category:Taneyev,_Sergey

48 The editions available for Theodore Presser (with titles translated) are: Ah Behold- the Dark of Night, Evening, and Ruins of a Tower. The Theodore Presser website can be found here: http://www.presser.com

49 When a choir sings a choral work in English that was originally in Russian, the quality of the poetry suffers. Additionally, using a language other than the original can change the quality of the choral sound.

35

TaneyevManuscripts:LocationandAccess

ThemajorityofTaneyev’schoralmanuscriptsareheldattheTchaikovskyState

MuseuminKlin.50TheseincludepiecesthatTaneyevwroteforasmallvocalensemblebut

alsoconsideredsuitableforachoir.Ihavenotlocatedanysignificantholdingselsewhere,

althoughthereareasmallnumberofdocumentsattheGlinkaMuseum51inMoscowand

theRussianStateArchiveofLiteratureandArts52(knownasRGALI).TheMoscow

ConservatoryLibrary53alsohousesscoresofTaneyev’smusic,althoughnomanuscripts.In

general,itisdifficulttodiscovermanuscriptsnotlistedinacatalogandaccesstoarchives

islimitedtorequestsfromcatalogs.Somecatalogs,suchasthatfromtheGlinkaMuseum

andtheTchaikovskyMuseum,arenotelectronic,whichmeansascholarmustgothrough

theprocessofsecuringpermissiontoaccessthecatalog.Afterpermissionissecured,

requestsfromthecatalogcantakeuptoaweekortwotobeprocessed.Insomecases,an

itemlistedinthecatalogmaynotbemadeavailabletoascholar.Inaddition,theexisting

catalogsdonotmentionthestateofthemanuscriptsources.Forexample,theTchaikovsky

MuseumholdsmanysketchesofcompositionsandtheoryexercisesbyTaneyev,butthe

catalogdoesnotspecifyifamanuscriptiscomplete,asketch,orsomethingelsecompletely.

TherearesomedistinguishingfeaturesofTaneyev’smanuscripts.Hismanuscripts

aretypicallyextremelywellorganizedandlegible.Thisistrueevenofmanyofhissketches

andexercises.Wheneverachambervocalworkmayalsobesungbyachoir,hewrote“хор

50 Tchaikovsky Museum website: http://www.tchaikovsky-house-museum.ru. In a March 2016 email, I was

informed that the holdings at the Tchaikovsky State Museum were undergoing a digitization process and would eventually be available for a fee through the website. At publication, digital manuscripts were not on the website.

51 Glinka Museum website: http://glinka.museum. The primary holdings are letters to or from Taneyev. 52 Russian State Archive of Literature and Arts (RGALI) website: http://rgali.ru/#!. Many of the documents

held by RGALI are related to Taneyev’s opera or his cantatas. There are also some documents such as letters and programs.

53 Moscow Conservatory Library website: http://www.mosconsv.ru/ru/groups.aspx?id=120422

36

[choir]”inbluepencilonthescore.Taneyevalsomarkedthetextheintendedtousefor

choralworksinthebooksofpoetryheowned,usingbluepencilaswell.54

Themanuscriptsforop.35deservespecialattentionbecausetheyhighlightthe

issuesoflostTaneyevmanuscriptsaresearchermayencounter.Onlysomemanuscripts

forthesixteenchoralworksinop.35exist;halfexistincompletedform,andIhavenot

locatedmanuscriptsorprintededitionsoftheothereight.55TheGlinkaMuseumholdsa

file(file85,no.315)thatoutlinesthecycleofop.35,whichincludesthreenotebooksand

anoutline,perhapsanearlystageofcomposition.Thesefiles,plusafewothermaterialsat

theTchaikovskyMuseum,alsogivesomedatesofperformances.56Op.35waswrittenand

performed,buthalfofthemusicofthecyclehasbeenlost.

HistoryofTaneyev’sChoralWorks

Informationaboutpremieresandperformancesisnoteasytofind,primarilydueto

lackofdocumentationandorganizationofdocumentssuchasconcertprogramsand

reviews.ThissectionsummarizesinformationfromRussianscholarship,Taneyev’sletters,

andmanuscripts,andalthoughitisincomplete,everyattempthasbeenmadetofind

composition,publication,andpremieredates.Taneyev’schoraloutputcanbedividedinto

twocompositionalperiods:1870sthrough1880sandlate1890sto1915.Hedidnot

composechoralmusicinbetweenthesetwoperiods,likelyduetotheamountof

administrativedutiesasdirectoroftheMoscowConservatory.

54 Korabelnikova, Tvorchestvo S.I. Taneeva: istoriko-stilsticheskoe issledovanie, 206. 55 Ibid., 216. Korabelnikova found a lithograph edition for a few choruses from Notebooks I and III in

Prague, but was not able to find other manuscripts for op. 35. Between the time she published her 1986 book and the publication of this thesis document, no other manuscripts for op. 35 had been located.

56 Ibid., The Glinka Museum files include no. 315 and no. 316. The Tchaikovsky Museum files are in bV, no. 226-233, 240. It gives the date for Prayer in Salzburg as December 16/19, 1911, and in Moscow on December 22, 1913.

37

Taneyevbeganhisuseofimitativecontrapuntalcompositionaltechniquesearlyin

hiscareer,techniquesotherRussiancomposerswerenotusingasaconsistentpractice.He

mayhavefocusedintenselyonchoralcompositionbecause,asKorabelnikovaargues,the

elementsofearlycontrapuntalmusiccouldbebestexpressedinvocalwriting.57Oneof

Taneyev’sfirstcompositionexercises,writtenineither1874or1875,includedafugal

sectionforSATBvoiceswithtextfromPsalm66,alsotitledБоже!Будьмилостивкнам

[GodBeMercifulUntoUs].Itwasnotpublished,however,untilthelate1980s.Other

compositionexerciseswritteninstrictcounterpoint,particularlythosefromthe1870s,

wereneverintendedforpublicationorperformance.58Taneyev’sinterestincounterpoint

waslikelyinfluencedbyHermanAugustovichLaroche,aprofessorattheMoscow

Conservatoryandafirmbelieverinunderstandingpastmusicalcultures.59Although

Taneyevdidnottakeaclassfromhim,helikelyreadhisarticleswhileastudentatthe

MoscowConservatory.

ThefirstpremiereofavocalworkbyTaneyevcamein1874,hischoral-orchestral

worktitledСлаваН.Г.Рубинштейну[GloryforN.G.Rubinstein].Performedforthefirst

timeonRubinstein’snameday,December6,itwasasurprisegiftforRubinstein.Thetext

isbyIvanVasilyevichSamarin,atheaterprofessorattheMoscowConservatory.60Фугана

русскиепесен[FugueonaRussianFolksong],anattempttocombineimitativecounterpoint

andfolkmusic,andИрмос[FirstVersefromtheFirstHymnofEpiphany]werecomposedin

1879.FirstVersefromtheFirstHymnofEpiphanywasnotpublisheduntil1999,andIhave

57 Ibid., 193. 58 Ibid., 198. 59 Savenko, 18. 60 Ibid., 24.

38

notbeenabletolocateapublicationdateforFugueonaRussianFolksong.Itislikelythat

Taneyevconsideredtheseexercises,ratherthanworksforpublication.

TaneyevcomposedtheunaccompaniedНидерландскаяфантазиянарусскую

тему[NetherlandishFantasyonaRussianTheme],whichalsofeaturedimitative

techniques,in1880.Hecomposedtwofuguesthatsameyear:Фонтан[Fountain]and

Специалистподобенфлюсу[ASpecialistisaGumboil].Alsoin1880,Taneyevwrotea

handfulofotherpiecesthatwerenotpublisheduntilthetwentiethcentury,including

Хeрувимская[Cherubim’sSong],asacredwork;Лeчьбывкровати[IWanttoLieinBed],a

comicalcanon;Однаждыкпопадье[OncetoaPriest’sWife],apieceformen’schorus;and

Торжественныйхордляприбытиягостей[CeremonialChorusfortheArrivalofGuests],

oneofthefewworksforwhichamanuscriptcannotbelocated.

In1883,Taneyevcomposedatrioofsacredpieces,ХвалитеимяГосподнe[Praise

theNameoftheLord],Творяйангeлысвоя[HeWhoMakesHisAngels],andСпасeния

содeлалеси[ThouHastBroughtSalvation]forfivevoices,fourvoices,andsixvoices,

respectively.Itisnotknownforwhomorwhyhewrotetheseworks.Theywerepublished

in1999aspartofacollectionofTaneyev’ssacredmusic.Taneyevalsowroteafugue

(Фуга)forsoprano,alto,tenor,andbassvoicesin1883,andamadrigal(Мадригал)for

soprano,alto,andbassvoicesin1884.Ifoundapublicationdateof1981forthemadrigal,

butdidnotfindapublicationdateforthefugueanddidnotfindapublisherforeither.

ИоаннДамаскин[JohnofDamascus],1884,wasthefirstoftwosacredcantatas

Taneyevcomposed,andthoughnotthefirstofTaneyev’schoralworks,helabeleditas

Opus1.ItwasdedicatedtothememoryofRubinstein,andpremieredonMarch11,1884,

thethirdanniversaryofRubinstein’sdeath.JohnofDamascus,influencedbyTaneyev’s

39

studyofHandel’soratorios,61wasanimportantmilestoneinTaneyev’scompositionallife,

asitwasalsothefirstchoralworkforwhichTaneyevreceivedwideacclaim.62Itisa

sacredpiece,araritygiventhatmostofthepiecesbyTaneyevthatwerepublishedduring

hislifetimeweresecular.JohnofDamascuswasnotmeantfortheOrthodoxChurch,

however,asTaneyevdidnotcomposesacredchoralworksforliturgicaluse.63Similarly

notmeantforliturgicaluse,TaneyevcomposedСлавасвятымКириллуиМефодию[Glory

toCyrilandMethodius]in1885.Theworkwaslikelynotmeantforpublicationasno

premiereorpublicationinformationcanbefound.

Table1listsknowncompositionandpremieredatesforthechoralworksTaneyev

wrotetowardtheendofhisearlyperiod,whichisfromthe1870sthroughthe1880s.Хора

длямужскихголосов[ChorusesforMaleVoices],iscomprisedofNocturne,VeniceatNight,

andTheHappyHour,andwaspublishedin1881byP.Yurgenson.64Thissetwasassembled

byTaneyevaftertheindividualmovementswerepremieredbytheRussianChoralSociety,

agroupthatformedin1878andwhosemembersoftenlamentedthelackofprinted

Russiansecularchoralmusic.TaneyevwasthefirstRussiancomposertoprovidethe

RussianChoralSocietywithachoralcomposition.

61 P.I. Kovalev, “Творчество С.И. Танеева [Works of S.I. Taneev]” in Sergei Ivanovich Taneev: lichnost’,

tvorchestvo i dokumenti ego zhizni: k 12-ti letiyu so dnya ego smerti [Taneyev: Personality, Works, and Documentations of His Life: Ten Years Since His Death], ed. Konstantin Kuznetsov (Moscow: Muzsektor, 1925), 44.

62 Sorokina, 36. 63 Morosan, “Research Report: Two Russian Choral Giants: Alexander Kastalsky (1856-1926) and Sergei

Taneyev (1856-1915),”: 95. Note 9. 64 Korabelnikova, Tvorchestvo S.I. Taneeva: istoriko-stilsticheskoe issledovanie, 194. The company was

called P. Jurgenson, and was founded by Pyotr Ivanovich Jurgenson.

40

ChoralWork Composed PremieredВенецияночью[VeniceatNight] 1877 December21,1878Сосна[ThePine]65 1877 UnknownСeренада[Serenade] 1877 UnknownНоктюрн[Nocturne] 1880 1880Веселыйчас[TheHappyHour] 1880 UnknownПеснякороляРегнера[SongofKingRegner] 1880/81? UnknownВечернаяпесня[EveningSong] 1880/82? 1880-82?

Table1.End-of-earlyperiodchoralcompositions.

Inthesecondhalfofthe1880s,Taneyevcontinuedtowriteforavarietyofvoicings.

In1887,TaneyevcomposedСядузавтраякокошeчку[TomorrowIShallSitbytheLittle

Window]andСражeнныйрыцарь[TheKnightStruckDown].Thelatterpiecewaswritten

forfourbassvoices,andlikelyforaspecificensemblebecausethevoicingissorare.Адели

[Adele],withwordsbyAlexanderPushkin,wasoriginallywrittenformalechorusin1887,

andwasreworkedin1907forSSATensemble.66TaneyevcomposedЭхо[Echo]in1888,

alsoforSSATensemble,beforetakingabreakfromcomposingchoralmusicforafewyears,

likelybecausehisdutiesattheMoscowConservatorydidnotallowhimtimetocompose.

Earlyinhiscareer,Taneyevarrangedandharmonizedfolksongs.SergeiEvseyev,in

hisarticleaboutTaneyev’suseoffolkmusic,speakstothequantityoftheseworks.He

wrotethat“accordingtoanunpublishedTaneyevarchive,”Taneyevarrangednineteen

Ukrainianmelodies.67EvseyevalsoclaimsthatTaneyevarranged140polyphonicsix-voice

variationsoftheRussiansongНаулицедевкисоветсоветали[Outside,thegirlsshare

advice].68TaneyevarrangedtheRussianfolksong,Амыземлюнаняли[WeHiredthe

65 Even though it was written in 1877, Сосна [The Pine] was not published until 1940. 66 Ibid., 195. Adele is Opus 24, no. 2, and this is the opus number for the revised version. 67 Sergei Evseyev, “S.I. Taneyev and Folk Music,” in Pamiati Sergeia Ivanovicha Taneeva, ed. Vladimir

Vasilevich Proptopopov (Moscow: Muzgiz, 1947), 159. 68 Ibid., 145. Evseyev does not cite his source or say where a manuscript of this is located. This is the only

scholarship in which I found this information. I did not find any collection like this at the Tchaikovsky Museum in

41

Land]fromoneofMilyBalakirev’sfolksongcollections,69intoafour-voicefugueinstrict

style.AlsoaccordingtoEvseyev,Taneyevfurtherarrangedafour-voicecontrapuntalpiece,

andtookthesubjectfromaRussiansongtitledСиделвороннаберезе[ACrowSatina

BirchTree].70Nootherscholarshipmentionsthiswork.

Afterahiatusofsevenyears,Taneyevbegancomposingchoralworksagain;the

threecanons,Шуточныеканоны[ComicCanons],werewrittenforhisstudentLeonid

Sabaneyevin1895.ItwasaroundthistimethatTaneyevbegantousecontrapuntal

techniquesmoreextensively,particularlyhistreatmentofmotives.Healsobeganwriting

multi-workcycles,andindividualpiecesbecamelongerinduration.Восходсолнца

[Sunrise],op.8(1897),publishedin1898,wasthefirstofTaneyev’smorematureprinted

works,andwasdedicatedtotheRussianChoralSocietyinMoscow,thesameensemblethat

premieredmanyofhisshorterchoralworksfromtheearly1880s.Taneyev’sfirstworkfor

doublechorus,whichincludedcompleximitativecounterpoint,wasИзкраявкрай[From

BordertoBorder](1899).Itwaspublishedin1899anddedicatedtothechoirofthe

ImperialOperainSt.Petersburg.ThetextisbasedonpoemsbyFyodorTyutchev,apoetto

whomTaneyevturnedforinspirationmorethanonce.

In1900,Taneyevwrotetwopiecesformixedvoices,Звезды[Stars]andАльпы[The

Alps].Taneyev,whowasontheSupervisingCommitteeoftheSynodalChoralSchool,

Klin, nor did I locate it at RGALI or the Glinka Museum. Taneyev did arrange folk songs for solo singers, and the nineteen Ukrainian melodies could be published as solo works. If they are, however, they are not marked as Ukrainian. Additionally, given Taneyev’s collection of folk music and his love of contrapuntal techniques, it does not seem far-fetched that Taneyev would have composed polyphonic variations on a Russian song. I could not locate a date for these compositions, but 1885 was the year Taneyev traveled Russia and notated folk songs he heard being sung, and he could have arranged the folk pieces around this time.

69 The collection is entitled Русские народные песни для одного голоса с сопровождением фортепиано [Russian Folk Songs for Voice and Piano]. It was originally published by Музгиз in Moscow, but it is now public domain and can be found on IMSLP.

70 Evseyev, “S.I. Taneyev and Folk Music,” 145. Evseyev also notes how Taneyev used folk melodies in some instrumental works, such as the finale of his E minor symphony or in the finale of his D minor symphony.

42

composedStarsfortheMoscowSynodalChoir.Taneyevpreferredtohearachoirperform

hismusicbeforeitwaspublished,andtheMoscowSynodalChoirhadtheopportunityto

singsomeofhisworkspre-publication.71TheAlpswaswrittenforIvanMelnikov’sFree

ChoralClass,72anamateurchoirformedin1890inSt.Petersburg.

In1907,Taneyevwroteacollectionoffourpiecesforsoprano,alto,andtenor.

Althoughthesewerecomposedforasmallensemble,Taneyevindicatesinhismanuscripts

thateachpiecemaybesungbyachoir.ThesongsofthecollectionincludeСонет

Микеланджело[SonnetofMichelangelo],Римночью[RomeatNight],Неостывшаяот

зноя[StillSwelteringfromtheHeat],andТихойночью[IntheQuietNight],allwithwords

byTyutchev.73InFebruary1907,hepublishedthreeofthepiecesasop.23,removingStill

SwelteringfromtheHeat.Korabelnikovaarguesthatop.23,entitledНочью[Nights],

anticipatesTaneyev’sop.35,achoruscycleformen’schorus,primarilybyattemptingto

examineonenaturally-occuringphenomenonfromvariousangles.74

AboutthesametimethatTaneyevwroteop.27,whichwillbediscussedinthenext

section,healsocomposedtwochorusesforsoprano,alto,tenor,baritone,andbassvoices.

ThesetwopiecesaretitledТыкгнчилжизнипуть,герой[YouHaveFinishedLife’s

Journey]andСолнцеНеспящих[SonoftheSleepless].Althoughwrittenbetween1909and

1910,theydonotseemtohavebeenpublishedbefore1981.

Taneyev’sfinalcantata,Попрочтениипсалма[AttheReadingofaPsalm],tooktwo

andahalfyearstocompose,andwasfinishedonDecember31,1914.75Thetextisby

71 Popov, 139. In a letter to his publisher Mitrofan Belyayev from December 15, 1898, Taneyev wrote that

he would send the score to the publisher after he heard it sung by the Synodal Academy. 72 Popov, 138. 73 Korabelnikova, Tvorchestvo S.I. Taneeva: istoriko-stilsticheskoe issledovanie, 202. 74 Ibid. 75 Michel D. Calvocoressi and Gerald Abraham, Masters of Russian Music (New York: Knopf, 1936), 448.

43

AlekseiKhomiakov(1804–1860).Hislastcompletedwork,itwasdedicatedtohismother

andpremieredinthebighallattheAssemblyoftheNobility.76Thepremierewas

conductedbyTaneyev’sformerstudent,SergeiKoussevitzky,inPetrogradonMarch11,

1915.77TheMoscowpremiere,whichfeatured180singers,wasalsoconductedby

Koussevitzky,andtookplaceonApril1,1915.78AfterTaneyev’sdeath,afewmore

performancesofthiscantatatookplacebeforeitfelloutoffavorduetothesacredcontent.

Itwasnotperformedagainuntil1977,whenitwasrevivedbytheUSSRStateAcademic

SymphonyOrchestraandA.A.YurlovRussianRepublicCapellaChoir.79

Taneyevdidnotactivelypursuepublicationofallhisworks.Forexample,Сосна

[ThePine],writtenin1877,andФонтан[Fountain],writtenin1880,werenotpublished

untilafterhisdeath.80Otherpieceswerenotpublisheduntilmuchlater,andmostofthem

arepublishedaspartofcollectionsandnotasindividualoctavos.ForalistofTaneyev’s

worksandpublishers,seeAppendixA.

Opus27

Op.27(1909)isacycleoftwelvepiecesformixedchorusdedicatedtothechoirof

MoscowPrechistenskyWorkers’Courses,81achorusmadeupoflaborerscommittedto

improvingtheirmusicalabilities.Op.27hasbeendescribedasthepinnacleofhis

76 This is where Russian nobility used to assemble. There were various assembly places throughout Russia,

but the one in Moscow was the most well-known. Today is known as the House of the Unions. 77 Bernandt, 237. The Choir was the A.A. Arkhangelsky Choir. 78 Bernandt, 237. 79 Ibid., 239. 80 The pieces were published in Советская музыка, No. 7 (1940): ??. 81 Popov, 138.

44

unaccompaniedchoralwriting82duetotheextensiveuseofimitativecontrapuntal

techniquesandnumberofpiecesinthecycle.Itwasasignificantcontributiontothe

secularchoralgenreinRussia,asitwasthelargestunaccompaniedsecularchoralcycle

composedtodate.83VladimirMorosanreferredtoop.27asthesecularcounterpartof

Rachmaninoff’sAll-NightVigil,84anaptreferenceduetothesizeandimportofbothpieces.

Op.27isdividedintothreesections.Thefirstsection,movementsI–IV,usesfour-

partchorus;thesecondsection,movementsV–VIII,usesfive-andsix-partchoruses;and

thethirdsection,movementsIX–XII,usesavarietyofdouble-choircombinations.The

entirecycleisaboutfifty-fiveminuteslong.Korabelnikova,theleadingTaneyevscholar,

arguedthattheworkwasofaRussiannationalnature,partlyduetothefactthatitis

writtenforanacappellachorus,anensemblethatTaneyev’scontemporariesassociated

withaRussianchoralsound.85

Themovementsofop.27wereoriginallyinadifferentorderthanthatinwhichthey

werepublished.86Thepublishedorder(theoriginalplacementinparentheses)isas

follows:

1.НаМогиле[OntheGrave](3)2.Вечер[Evening](2)3.Развалиныбашни[Theruinedtower,theeagle’sdomain](1)4.Посмотри,какаямгла[Beholdwhatdarkness](4)5.Накорабле[OntheShip](5)6.Молитва[Prayer](6)

82 Lhudmila Z. Korabelnikova, “Problema tsikla v pozdikh khjrah Taneyeva [The Problem of Cycle in

Taneyev’s Late Choruses],” Sovetskaya Muzika 12 (1981): 84. 83 Korabelnikova, Tvorchestvo S.I. Taneeva: istoriko-stilsticheskoe issledovanie, 209. 84 Morosan, “Research Report: Two Russian Choral Giants: Alexander Kastalsky (1856-1926) and Sergei

Taneyev (1856-1915),”: 79. 85 Korabelnikova, Tvorchestvo S.I. Taneeva: istoriko-stilsticheskoe issledovanie, 209. Korabelnikova

argues that Taneyev’s contemporaries would associate the a cappella chorus sound with a Russian sound, particularly because they were used to Russian church music sounding through this medium.

86 Ibid., 205.

45

7.Извeчностимузыкавдруграздалась![Frometernity,suddenly,musicwasheard](addedlater)8.Прометей[Prometheus](11)9.Увидализ-затучиутес[Throughtheclouds,acliffsaw](10)10.Звезды[Stars](7)11.Погорамдвехмурыхтучи[Overthemountains,twosullenclouds](8)12.Вдни,когданадсоннымморем[Inthedayswhen,overthedrowsysea](9)

ThetextistakenfromtheCompleteWorksofYa.Polonsky,volume1,whichwas

publishedinSt.Petersburgin1885.Taneyevkeptnotesinthemarginofhispersonalcopy

ofthebook,markingthetextshethoughtwouldbeagoodfitforfuturechoruses.87

Someofthechorusesinop.27didnotseeperformancesduringTaneyev’slifetime.

Eventoday,thecycleisrarelyperformedinitsentirety.However,professionalensembles

inRussiaoftensingselectionsfromop.27,includingВeчeр[Evening],Посмотри,какая

мгла[BeholdWhatDarkness],andРазвалиныбашни[RuinsofaTower].88

Opus35

Op.35hasreceivedlittlescholarlyattention,eveninRussia.89Between1912and

1913,TaneyevcomposedthesixteenchorusesformalevoicesforthePragueInstructors’

Singer’sUnion,anensemblethathadalreadysungmanyofhischoralworks.90Taneyev

hadheardthePragueInstructors’Singer’sUnionsinghisПрометей[Prometheus]in

Praguein1911,andafterthat,hereceivedaletterfromtheSinger’sUnionaskinghimto

composeapieceforthem;91thisrequestwasthegenesisforop.35.Theearlydraftsshow

thatTaneyevoriginallyplannedtowritetwelvechoruses,andlaterexpandedtosixteen.

87 Korabelnikova, “Problema tsikla v pozdikh khjrah Taneyeva [The Problem of Cycle in Taneyev’s Late Choruses],”: 84.

88 Savenko, 157. 89 Korabelnikova, Tvorchestvo S.I. Taneeva: istoriko-stilsticheskoe issledovanie, 214. 90 Ibid., 215. 91 Ibid., 216.

46

Earlysketchesandpoetryhavebeenfoundforthreeotherpiecesthatwerenot

composed.92

Likeop.27,thecycleishighlysectionalized;insteadofthreesections,op.35has

four.MovementsI–IVwerewrittenforthreevoices,movementsV–VIIIwerewrittenfor

fourandfivevoices,movementsIX–XIIwerewrittenforfourandsixvoices,and

movementsXIII–XVIwerewrittenforfourvoices.Eachgroupofchoruseswaswrittenin

separatenotebooks,ofwhichearlydraftsandanoutlinehasbeenfound.MovementsV–

VIIIandXIII–XVIwereneverpublished,93andnomanuscriptsoftheunpublishedpieces

havebeenfoundinRussianarchives.94

ThepublishedeightpiecesandtheadditionalmaterialfromtheTchaikovsky

Museum,whentakentogether,indicatethatop.35includesthefollowingchoruses:

1.Тишина[Stillness]–A-flatmajor,Andantesostenuto,published2.Призраки[Visions]–Gminor,Vivacefantastico,published3.Сфинкс[Sphinx]–Aminor,Andantetenevrosoepesante,published4.Заря[Dawn]–Cminor,Andantesostenuto,published5.Молитва[Prayer]–Dminor,moderate?,sketches-handwritten(onlyconcludingbars)-notpublished6.Впространствахэфира[IntheExpansesoftheEther]–Amajor,moderatelyfast?,sketches(2sheetsofhandwritten,openingbars),notpublished7.Исонисмeрть[BothSleepandDeath]–unpublished8.Нeбеснаяроса[DewofHeaven]–A-flatmajor,moderateorslow?,sketchesofopeningbars,unpublished9.Мертвыекорабли[DeadShips]–Dminor,Lentopesante,Allegrotepestoso,published10.Звукиприбоя[SoundsoftheSurf]–Fminor,Allergotempestoso,published11.Морскоедно[TheSeaBed]–F-sharpminor,D-flatmajor,Adagiotenebroso,published12.Морскаяпесня[SeaSong]–Dminor(Fmajor,Dmajor),Allergroenergico,published13.Тишина[Stillness]–Gmajor,Allegro,Sketches:openingbars,notpublished14.Гибeль[TheWreck]–Gminor,Allegro,sketchesofopeningbars,unpublished15.Бeлыйлeбедь[TheWhiteSwan]–Fmajor,moderate?,sketchesofopeningbars,unpublished

92 Ibid., 217. These sketches are currently housed at the Glinka Museum in Moscow. 93 Ibid., 216. 94 Korabelnikova, “Problema tsikla v pozdikh khjrah Taneyeva [The Problem of Cycle in Taneyev’s Late

Choruses],”: 84.

47

16.Лебeдь[TheSwan]–A-flatmajor(Fminor?),Moderate?,Sketchesofopeningbars,violinandoboeparts(1handwrittensheet-originallywasoboepart,thenviolin),unpublished95

AdditionalTaneyevSources

ThediscographyofTaneyev’schoralmusicisnotextensive.Itconsistsofthesame

smallbodyofmusicrecordedmultipletimes,namelyhistwocantatasandselectionsfrom

op.27.OfthefifteenrecordingsfeaturingTaneyev’schoralworks,tenofthemare

recordedbyRussianensembles.TherearesevenrecordingsofTaneyev’slargechoral-

orchestralworks,ИоаннДамаскин[JohnofDamascus]orПопрочтениипсалма[Atthe

ReadingofaPsalm],andallbutoneofthemarerecordedbyRussianensembles.Thenon-

RussianrecordingofJohnofDamascusisonaRussian-themedalbumperformedbya

Germanensemble.Op.27,orselectionsfrom,istheprimarycompositionthatisotherwise

recorded.AppendixBsharesadiscographyofTaneyev’schoralworks.

FestivalsorconferencescelebratingTaneyevhavebeenheld,buttheyhavebeen

infrequentandpoorlypublicized,andmostTaneyevfestivalsarespecificallyrelatedto

eitherhiscounterpointanalysistheoriesorhisstringquartets.Aconferencewasheldat

theMoscowConservatoryin2006,150yearsafterTaneyev’sbirth,butithasbeendifficult

toidentifyothereventsrelatingtoTaneyev.2015markedthecentennialofTaneyev’s

death,buttherewasnotalargeresponsefromtheinternationalcommunityandnolarge-

scaleorganizedeventinRussia.

95 Information marked with a question mark (?) is derived from the outline of the opus found at the

Tchaikovsky Museum in Klin. However, the information cannot be confirmed since complete drafts have not been found.

48

Taneyev’sReputation

Taneyev’smusicislessknownoutsideofRussiaforacombinationofreasons,

includingtheirstylisticdivergencefromthemainstream,theiruseofseculartexts,barriers

presentedbytheRussianlanguageinwhichtheyarewritten,andcataclysmiceventsthat

occurredontheworldstagealmostimmediatelyproceedingTaneyev’sdeath,namely

WorldWarIandtheRussianRevolution.Ifscholarsunderstandthebarriersthatrestrict

informationaboutandaccesstoTaneyev’smusic,thensolutionstoovercomingthose

barrierscanbediscovered.

Taneyev’sextensiveuseofimitativecontrapuntaltechniques,aswellashisstudyof

invertiblecounterpoint,wasconsideredold-fashionedduringhislife.Hedidnotwritein

thesamecompositionalstyleastheMightyFive,who,intheiraimtocreatedistinctRussian

music,originallyshunnedcompositionaltechniquestaughtinformaltraining.Whilethe

MightyFivehavebeenstudied,Taneyevhasbeenoverlookedbymusicologistsoutsideof

Russia.96Iftheglobaltrendwastoresearchfolkornationalmusicandthedistinctsounds

ofnationalmusic,Taneyev’scontrapuntaltechniquesfromtheWestwouldnotfitthe

criteria.

AnotherissuewithTaneyev’suseofcounterpointwasthatitwasnotatechnique

extensivelytaughtorreveredinRussiaduringthistime,97yetheaimedtousecontrapuntal

techniquestodevelopaRussianstyleofmusic.InalettertoTchaikovsky,Taneyevargued

thatRussianmusicdidnothaveitsowndistinctstyle,anditneededtobedeveloped,98and

96 Taneyev’s compositions were written about the same time as the beginning of many nationalistic

movements. The Mighty Five from Russia (Balakirev, Cui, Mussorgsky, Rimsky-Korsakov, and Borodin) pre-dated Taneyev’s compositional output by about ten years. Composers from other nations around Taneyev’s time and slightly after focused on a national sound include Les Six, Janacek, Smetana, Sibelius, and Vaughan Williams.

97 Savenko, 4. 98 Leonid Sabaneev, Modern Russian Composers, (New York: International Publishers, 1927): 14.

49

Taneyevemphasizedlearningfrom,notadopting,musicoftheWest.99Russianchoral

scholarVladimirMorosansuggeststhatthelackofcounterpointtraininginRussiacould

haveimpactedTaneyev’sinfluence.100WhilemanyofTaneyev’sstudentsused

contrapuntaltechniquesintheircompositions,noRussiancomposeractiveatthetime

usedthemaswidelyasTaneyev.

Taneyevdidnotpublishsacredchoralworks,whichwasoutsidethenorminRussia

duringhislife.Sacredchoralworks“generallyoutnumberedthesecularbyaratioof

betweenfiveandtentoone”inRussia.101Aself-declaredatheist,Taneyevfeltitwouldbe

fraudulenttocomposesacredmusicforliturgicaluse,eventhoughhedidcomposesacred

musicthathedidnotpublish.EvenifTaneyevhadbeeninterestedincomposingsacred

choralmusic,helikelywouldhavefaceddifficultiesinthereceptionifit;theimitative

counterpointthathepreferredwasnotconducivetounderstandingthetext,andchoral

workscomposedfortheOrthodoxChurchtraditionallyemphasizedtextintelligibility.102

Taneyevwasnotapromoterofhisownworks,andhewasoftenhesitanttopublish

thembecauseofself-doubt.WhenTaneyevdied,heleftbehindalargenumberofpapers

thatincludedcompositionshehadnevermentioned.103Infact,Taneyevwassurprised

whenhispublisher,MitrofanBelyayev,proposedtopublishhisoperaandquartets,and

TaneyeveventriedtoconvinceBelyayevtopayhimlessthantheyofferedforthem.104He

oftenshowedhisunpublishedworksonlytoTchaikovskyandperhapsafewother

99 Evseyev, “S.I. Taneyev and Folk Music,” 149. 100 Morosan, Choral Performance in Pre-revolutionary Russia, 232. 101 Ibid., 121. 102 Ibid., 232. 103 Sabaneev, Modern Russian Composers, 29. 104 Ibid., 32.

50

friends105;inalettertoTchaikovsky,Taneyevwrotethathewantedtokeephis

compositionsanonymous.106

TimingofeventsinsideandoutsideofRussiaalsoaffectedTaneyev’sreputation.He

diedaspoliticalunrestinRussiawasgrowing,culminatingintheRussianRevolution.

ThesemajorchangesinRussiaovershadowedthepopularityofTaneyev’smusicoutsideof

Russia.Notonlywouldtheglobalcommunityhavepaidlittleattentiontotherecently

deceasedcomposerinlightofthegovernmentalchanges,buttheworldwasalsoreelingat

theonsetofWorldWarI.

WhilescholarsinRussiahaverecognizedTaneyev’simport107,musicologistsoutside

ofRussiahavenotbeenfavorableintheirassessmentofTaneyev.DavidBrown,a

TchaikovskyscholarwhowrotetheentryaboutTaneyevinGroveMusicOnline,writes,

...theconventionalcharacterandinequalityofhis[Taneyev’s]musicalinventioncausestheachievementtofallshortoftheintent.TaneyevhadnoneofTchaikovsky’sgiftforfull-bloodedmelody,andhislyricalpassagessoundlikehismaster’sattheirweakest;norhadheanygraceofMussorgsky’sabilitytocaptureacharacteroractionwithinanunforgettablemusicalinvention.108

ItisunfortunatethatthissubjectiveassessmentofTaneyev’smusichasbeenallowedto

persist.GeraldAbrahamalsotreatsTaneyevasasecondaryfigureinRussianmusic

history.ReceptionofTaneyevhasbecomemorebalancedinrecentscholarshipwrittenin

English,althoughthenewscholarshipdoesnotserveaswideanaudienceasdoesGrove

105 Liu, 7. 106 Herbert Weinstock, Tchaikovsky (New York: Alfred A. Knopf, 1943), 223. The letter is dated from

August 12, 1880. 107 Korabelnikova’s scholarship consistently addresses Taneyev’s contributions to Russian choral music as

a composer and teacher. Russians consider Taneyev an important part of their history, which is reflected in the way Taneyev is celebrated in museums and schools (he has a classroom named after him at the Moscow Conservatory).

108 David Brown, "Taneyev, Sergey Ivanovich," Grove Music Online, Oxford Music Online (Oxford University Press), accessed June 14, 2014.

51

MusicOnline.TheGroveentryisstillthemostwidelyaccessed,andmanyyoungscholars

turntoGroveOnlinefirstforinformation.Thiscanleavealastingandunfairperspective.

Russianchoralmusic,especiallythatwithunfamiliartexts,hasattimesnotbeen

performedduetolanguagebarriersandthelackofaccesstohelpwithpronunciation.

Taneyev’suseofsecularRussianpoetryalsomeantthatmuchofthetextwouldhavebeen

newtotheWest,andlearningnewandunfamiliartextcouldbeadeterrenttoperforming

Taneyev’smusicoutsideofRussia,especiallygiventhedifficultyoftheRussianlanguage.

ThescholarshippublishedoutsideofRussiadoesnotaccuratelyreflectTaneyev’s

importance,andtheeditionsavailablearelimitedinnumberandoftenunusableto

performersoutsideofRussia.ThediscographyofTaneyev’schoralmusicfollowsthesame

trend,withsignificantlymoreRussianensemblesrecordinghisworksthananyother

country.However,Taneyev’scompositionalstyle,whichisthefocusofChapterThree,was

uniqueamongRussiancomposers.Russianscholarship,outsideofKorabelnikova’swork,

doesnotarguethatTaneyevwasimportant,butthisseemstobeanunderlying

assumption.Additionally,theamountofscholarshippublishedinRussiademonstratesthat

TaneyevwasanimportantfigureinRussianhistoryduetohiscontributiontoRussian

secularchoralmusic,theinfluenceofhiscounterpointtheories(whichthisthesis

documentdoesnotcover),andthestudentsheinfluenced.

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CHAPTERTHREE

HISTORYANDSTYLEOFTANEYEV’SCHORALWORKS

“Taneyev’smusicis,aboveallthings,rich...”1

OnecannotunderestimateTaneyev’sextraordinaryimportinthedevelopmentandmaturegrowthofthe‘newRussianchoralschool,’agroupofcomposers,mostofthemconnectedwiththeMoscowSynodalSchoolofChurchSinging,whowereresponsibleforthegreatestexplosionofchoralcompositionsincetheRenaissance.2

InalettertoPiotrTchaikovskydatedAugust191880,Taneyevwrote:“Without

inspirationthereisnocreativity.Butinmomentsofcreativity,thehumanbraincannot

createsomethingcompletelynew;itcanonlycombinewhatitalreadyhas,whatithas

acquiredthroughpractice.Thatiswhyeducationisnecessaryasanaidtocreativity.”3As

alreadymentionedinChapterOne,Taneyevbelievedcontrapuntalmusicwasinfluencedby

thenationality,era,andpersonalityofthecomposer,whichmeantthatinhisview,theuse

ofextensiveimitationdidnotprecludehismusicfrombeingheardasdistinctlyRussian.

TaneyevcombinedRussianmelodieswithcounterpointinhisearlierchoralmusic,buthe

alsobelievedhewascreatingdistinctlyRussianmusicbyusingcounterpointwithout

Russianmelodies.

TaneyevwasoneofthefirstRussiancomposerstowriteunaccompaniedsecular

choralmusic,andhewasthefirstRussiancomposertocreatelarge-scaleacappellasecular

1 V. Karatygin, “To the Memory of S.I. Taneev,” translated by S.W. Pring, The Musical Quarterly 13, no. 4

(October 1927): 540-43. http://www.jstor.org/stable/738290 (accessed June 6, 2014): 544. 2 Vladimir Morosan, “Research Report: Two Russian Choral Giants: Alexander Kastalsky (1856-1926) and

Sergei Taneyev (1856-1915),” Choral Journal 48, no. 11(May 2008): 83. 3 Sergei Evseyev, “S.I. Taneyev and Folk Music,” in Pamiati Sergeia Ivanovicha Taneeva, ed. Vladimir

Vasilevich Proptopopov (Moscow: Muzgiz, 1947), 149.

53

choralcompositions,4althoughhisearlyworksweremuchsmallerinscopethanhislater

works.BorisAsafyev,aRussiancomposerandmusicologist,believedTaneyev’slasttwo

cycles(op.27andop.35)werethehighestachievementsinRussiansecularchoralmusic

beforetheRussianRevolution.5

Taneyevwroteseveralsacredcompositionsaswell,butnoneweremeantfor

churchuse.HetoldpianistE.V.Bogoslovskythathecouldnotwritechurchmusicbecause

hewasa“nonbeliever.”6Eventhoughheusedsacredtextsinhislargechoral/orchestral

works,itwasasameansforphilosophicalreflection.7Despitenotwritingsacredpiecesfor

publication,TaneyevbelievedthecontrapuntalstyleofPalestrinawastheidealsacred

model.8Inhisunpublishedreligiousmusic,Taneyevoftenreliedonstrictercontrapuntal

writingthaninhissecularmusic.

Taneyev’sInfluences

Taneyev’scompositionswereinfluencedbyhisunderstandingofcompositional

practicesthroughouthistory.Thisdesiretohaveahistoricalunderstandingofcomposition

waslikelyinfluencedbyHermanLaroche(1845–1904),afacultymemberattheMoscow

ConservatorywhenTaneyevwasastudent.Larocheemphasizedahistoricalapproachto

thestudyofmusictheory,9andTaneyevreadLaroche’swritingswhenhewasastudentat

4 Yury Gen-Ir, Cherti stilya khorov S.I. Taneyeva [Stylistic Features of Taneyev’s Choruses]

(Petrozavodsk: n/p, 1991). 5 Svetlana I. Savenko, Sergei Ivanovich Taneev (Moscow: Izd-vo “Muzyka,” 1984), 158. 6 S.V. Popov, “The Choral Works of S.I. Taneyev,” in Pamiati Sergeia Ivanovicha Taneeva, ed. Vladimir

Vasil’evich Proptopopov (Moscow: Muzgiz, 1947), 138. 7 Savenko, 157. 8 Alexander Mihailovic, ed., Tchiakovsky and His Contemporaries: A Centennial Symposium (Westport,

Connecticut: Greenwood Press, 1999), 200. 9 Ellon D Carpenter, “The Contributions of Taneev, Catorie, Conus, Garbuzov, Mazel, and Tiulin,” in

Russian Theoretical Thought in Music, ed. Gordon D. McQuere (Ann Arbor, Michigan: UMI Research Press, 1983), 254.

54

theMoscowConservatory,thesametimeLarochewasonfaculty.Followingthishistorical

approach,TaneyevreferencedcomposerssuchasHeinrichFinck,LoysetCompère,Josquin

desPrez,PierreMoulu,LudwigSenfl,AdrianWillaert,andBenedictusDucisinhis

Подвижномконтрапунктестрогогописьма[ConvertibleCounterpointintheStrictStyle].

TaneyevdedicatedhisConvertibleCounterpointintheStrictStyletothememoryofLaroche,

perhapsacknowledgingtheimpactLarochehadonhismusicalstudies.

HisMusicLibrary

TaneyevbequeathedhislibrarytotheMoscowConservatory.Thecomposersand

ideasthatinfluencedhimcanbeascertainedthroughthemusicandbooksheowned,as

wellashisannotationsinthem.Musicusingcontrapuntaltechniquesandbooksabout

counterpointweremajorcomponentsofhislibrary,notsurprisinggivenTaneyev’s

compositionalstyle,theclasseshetaughtattheMoscowConservatory,andthetreatiseon

counterpointhepublishedduringhislifetime.

PalestrinaandJ.S.BachwerethetwocomposersmostrepresentedinTaneyev’s

library.TaneyevownededitionsofalmostallofPalestrina’sworks,includingcopiesofthe

masses,motets,andmadrigalspublishedbyBreitkopf,whichusedmodernclefswith

GermantranslationsaddedtotheLatintext.Taneyevalsoownedcopiesofmostofthe

worksbyJ.S.Bach,andheanalyzedmanyofBach’scantatas;hisannotationsincludethe

dateofhisanalysisanddocumentationofparallelfourths,falserelations,form,andbasso

55

ostinato.10TaneyevusedhisanalysisofBachandPalestrinatoinformhisunderstandingof

contrapuntalcompositiontechniquesandcounterpointanalysis,respectively.

TaneyevalsostudiedmanyotherWesternEuropeanRenaissancepolyphonic

masters.Inhislateryears,forexample,TaneyevdedicatedtimetostudyingJosquin,buthe

alsoanalyzedtheworksofotherearlycomposerssuchasClémentJanequin,Orlandodi

Lasso,CristobaldeMorales,BartolomedeEscobedo,ThomasSelle,NicolaVicentino,

GioseffoZarlino,LuigiBattiferi,AngeloBerardi,GirolamoFrescobaldi,andGiovanni

Rovetta.ThecomposersfromtheBaroqueandClassicalperiodsthatheldTaneyev’s

interestincludedNiccolòJommelli,BenedettoMarchello,FrancescoDurante,LeonardoLeo,

AntonioGiannettini,GiacomoPerti,JohannGeorgConradi,QuirinoColombani,Antonio

Caldara,AntonioLotti,JohannKirnberger,GeorgChristianSchemelli,GiovanniBattista,

FeliceGiardini,AntonioSalieri,EmanuelAloysFörster,JosephJoubert,andFranzKommer.

Manyofthesecomposerswrotecontrapuntalworksorstudiedwithcontrapuntalmasters.

W.A.MozartwasthemostwidelyrepresentedClassicalcomposerinTaneyev’sscore

collection,andTaneyevstudiedMozart’scounterpointnotebooksaswell.11Given

Taneyev’sthoroughstudyofcounterpoint,itisnosurprisethathewastheleadingRussian

composerandpedagogueoncounterpoint.

Taneyevwasinterestedinoratoriosandoperas,aswell.Hestudiedthe

compositionalprocessandtechniquesofHandel,12particularlytheoratorios.Handel’s

oratorioslikelyinspiredTaneyevtocomposehisown.InadditiontoHandel’sscores,

10 F. Savelova, “S.I. Taneev and his library,” in Sergei Ivanovich Taneev: lichnost’, tvorchestvo i dokumenti ego zhizni: k 12-ti letiyu so dnya ego smerti [Taneyev: Personality, Works, and Documentations of His Life: Ten Years Since His Death], ed. Konstantin Kuznetsov (Moscow: Muzsektor, 1925), 188.

11 Carpenter, 254. 12 P.I. Kovalev, “Taneev’s Oeuvre,” in Sergei Ivanovich Taneev: lichnost’, tvorchestvo i dokumenti ego

zhizni: k 12-ti letiyu so dnya ego smerti [Taneyev: Personality, Works, and Documentations of His Life: Ten Years Since His Death], ed. Konstantin Kuznetsov (Moscow: Muzsektor, 1925), 36.

56

TaneyevownedoperasandoratoriosbyGraun,Rosetti,Gluck,andSchweitzer.13Taneyev

composedsixchoral/orchestralworks,althoughthereiscurrentlynocomprehensivestudy

onanyofthem.

LatercomposerswerealsorepresentedinTaneyev’sscorecollection,including

LudwigvanBeethoven,14FranzJosephHaydn,FelixMendelssohn,RobertSchumann,

FrédéricChopin,FranzSchubert,HectorBerlioz,RichardWagner15,C.P.E.Bach,Johannes

Brahms,FranzLiszt,CésarFranck,CamilleSaint-Saens,GabrielFaure,VincentD’Indy,

HenriDuparc,ÉmileDurand,JulesMassenet,RichardStrauss,MaxBruch,EdvardGrieg,

JosephSuk,VitezslavNovak,V.Nikshak,andMikhailGlinka.ItisevidentthatTaneyev’s

attempttobewellinformedaboutearlierstylescompelledhimtocollectmusicthat

representedavarietyofgenres,nationalstyles,andtimeperiods.

Taneyevalsoownedandstudiedscoresbyhiscontemporaries,includingPiotr

Tchaikovsky,AntonRubinstein,AntonArensky,SergeiRachmaninoff,NikolaiRimsky-

Korsakov,ModestMussorgsky,CésarCui,AlexanderBorodin,MilyBalakirev,Alexander

Glazunov,andAlexanderGretchaninov.Atfirst,TaneyevdidnotcarefortheMightyFive.

HebelievedthatMussorgskytriedtowritewith“unenlightenednationalism,”16andata

13 Savelova, 191. 14 Savelova, 188. Taneyev compared musical structure between Beethoven and Mozart, and in his analysis,

noted when the theme moved between voices. It is likely from this understanding of structure that he defended Beethoven to Tolstoy.

15 Taneyev studied and was influenced by Wagner. This was observed when analyzing Taneyev’s opera Oresteia and comparing it to Wagner’s operas. Indepth study of how Wagner influenced Taneyev’s opera (and perhaps his other music) is beyond the scope of this thesis. For more information, see Anastasia Belina-Johnson’s chapter in Wagner in Russia, Poland, and the Czech lands: Musical, Literary, and Cultural Perspectives, eds. Stephen Muir and Anastasia Belina-Johnson (Farnham, Surrey: Ashgate, 2013) or Belina-Johnson’s A Critical Re-Evaluation of Taneyev’s Oresteia (PhD, University of Leeds, May 2009).

16 Leonid Leonidovich Sabaneev, Modern Russian Composers, (New York: International Publishers, 1927): 23.

57

rehearsalhetoldBalakirev,“Wearedissatisfiedwithyou.”17Sometimeinthe1890s,his

feelingstowardtheMightyFivechanged,althoughtovaryingdegrees.Taneyevbeganto

appreciateBorodinandGlazunov,andMussorgskyheregarded“onlywithdislikeand

ridicule.”18Despitehisinitialdislikeoftheirmusic,Taneyevwasinagreementwiththem

aboutcreatingaRussianstyleofmusic.Taneyev,however,soughttoaccomplishthis

throughtheverydifferentmeansofcombiningcounterpointwithRussianmelodies.

TaneyevandHisUseofFolkMusic

Taneyev’slibrarycontainedcompilationsofRussianfolksongs,transcribedby

himselfandothers.Attheendofthe1870s,therewereveryfewtranscribedRussianfolk

musicarrangments.19DimitriAgrenev(1836–1908),aRussianchoralconductorwho

traveledwithhischoirtoothercountries,programmedRussianfolkmusic,butTaneyev

dislikedhisarrangements,statingtheywerenotskillfullycrafted.20In1885,thesameyear

thatAgrenevtouredGermanywithhischoir,TaneyevtraveledtotheCaucasustocollect

folkmusic.HealsocollectedUkrainian,Russian,andBelorussianfolksongarrangements.21

In1901,TaneyevbecameafoundingmemberoftheMusico-EthnographicCommission,22

anorganizationconnectedwiththeMoscowConservatorythatcollectedfolkmusic.

Aroundthistime,choralsinging,particularlythatoffolkmusic,begantopiquetheinterest

17 Nikolay Rimsky-Korsakov, My Musical Life, translated by Judah A. Joffe (New York: A.A. Knopf,

1942): 383. 18 Ibid., 383. 19 Evseyev, “S.I. Taneyev and Folk Music,” 150. 20 Vladimir Morosan, Choral Performance in Pre-revolutionary Russia (Ann Arbor, Michigan: UMI

Research Press, 1986), 122-3. 21 Evseyev, “S.I. Taneyev and Folk Music,”145. He harmonized and adapted over 38 folk songs. He

harmonized “Eight Little Russians Songs from N.A. Yanchuck Collection,” which was later printed in Trudy muzykal’noetnograficheskoi komissii vol. IV, Moscow, 1912.

22 Daniel Jaffé, Historical Dictionary of Russian Music (Lanham, Maryland: Scarecrow Press, 2012), 324.

58

ofmoreRussians,althoughitwasnotuntilaftertheRevolutionof1917thatthefolkchorus

becamemoreprominent.23

Inhiscompositions,Taneyevoftencitedandadaptedfolkmelodies;24hewasa

leaderincollectingandarrangingRussianfolkmusic.AlthoughTaneyevfocusedlesson

folksongsinhislaterworks,25hebelievedtheywerenecessaryandimportanttoRussian

music26inbotheducationandcomposition.SergeiEvseyev,aRussianmusicologistand

folkmusicspecialist,arguedthatTaneyevwasprogressiveinthebytheprocessinwhich

hecreatedRussianmusic,andhissolofolksongarrangementswerealargecontributionto

Russianmusic.27

StylisticFeaturesofTaneyev’sChoralMusic

LhudmillaKorabelnikovawritesthatTaneyev’schoraloutputcanbedividedinto

twoperiods:1870sthrough1880sandlate1890sto1915.28Taneyevdidnotcompose

choralmusicbetweenthetwoperiods.Hisearlychoralmusicanticipateshismature

works,particularlyhisinterestintextsaboutnatureandhisuseofimitativecounterpoint.

WhileTaneyevwrotechoralcyclesthroughouthiscareer,thelatercyclesarelengthierand

includemorevoices.

Taneyevwascalled“theFire-stationBach”byTchaikovsky,partlybecauseof

Taneyev’sloveofimitativecounterpoint,andpartlybecauseTaneyevlivednearafire

23 Morosan, Choral Performance in Pre-revolutionary Russia, 124. 24 Evseyev, “S.I. Taneyev and Folk Music,” 146. 25 Stuart Campbell, ed. and trans., Russians on Russian Music, 1880-1917 (Cambridge, New York:

Cambridge University Press, 2003), 154. 26 Evseyev, “S.I. Taneyev and Folk Music,” 152. Taneyev commented in his diary in 1895 that folk songs

were necessary and important. 27 Evseyev, “S.I. Taneyev and Folk Music,” 174. 28 Lhudmilla Z. Korabelnikova, Tvorchestvo S.I. Taneeva: istoriko-stilsticheskoe issledovanie (Moscow:

Muzyka, 1986),193.

59

station.29TaneyevwrotecounterpointexercisesinthestyleofPalestrinaandBachto

masterthetechniques,buthedidnotusestrictimitationinmostofhispublishedchoral

works.Rather,Taneyevusedpointsofimitationderivedfromatheme;hetreatedthe

manipulationoftheimitationwithimportanceequaltothatofthethemeitself.30

ContrapuntalTechniques

OneofthemostdistinctivecompositionaldevicesfoundinTaneyev’smusicisthe

useofimitativecounterpoint.Whilehedidnotpublishaself-standingfugue,modified

formsexistassectionsinlargerworks.Heusedfugalimitationasaprocessofcomposing,

ratherthansimplyaformorganization;becauseofthis,discussiononfugalimitationcan

befoundintheContrapuntalTechniquessectionasopposedtotheFormsection.

FugalImitation

ModifiedfuguesappearofteninTaneyev’schoralworks.Imitativedevices

associatedwithfugues,suchasstrettoandfalseentries,alsotakeonasignificantrolein

Taneyev’scompositions,andareespeciallyprevalentinhislaterchoralworks.

Фонтан[Fountain],showninExample1,andwrittenin1880,isagoodexampleof

fugaltreatmentthatTaneyevemploysinearlyworks.Thesubjectisintroducedbythealto,

followedbyarealanswerafifthbelowinthebaritone.Thereisnocountersubject.A

modifiedinvertedstatementbeginsimmediatelyaftertherealanswerinthebaritoneinm.

9.Afterthesubjectispresentedbyboththealtoandbassvoice,thereisashortepisode.

29 Stephen Muir and Anastasia Belina-Johnson, eds., Wagner in Russia, Poland, and the Czech Lands:

Musical, Literacy, and Cultural Perspectives (Farnham, Surrey: Ashgate, 2013), 9n41. 30 Gen-Ir. Gen-Ir argued that Taneyev’s thoughtfulness of counterpoint is not dry or pedantic, but Taneyev

used both an intellectual and emotional approach in his compositions.

60

Thebassvoiceintroducesasecondsubjectintheanacrusistom.19,presentedinstretto.

Thesecondepisodeisinmm.24–25,andneitherepisodesrecallmaterialfromtheir

preceedingsubjects.Thefinalentryofthefirstsubjectbeginsinm.27inthebass,andthe

counterpointendsinm.36,followedbyacoda.Theshortcompositiondemonstrates

Taneyev'searlyworkinfugaltreatment.

Example1.Фонтан.

Subject 1

Answer 1- RealModified Inverted Answer

Subject 1 Subject 2

Answer 2- Tonal

Subject 2 Subject 2Stretto - - - - - - - - - - - -

Episode

Episode

61

Example1—continued.

AnotherexampleoffugalimitationtypicalinTaneyev’sworksisfoundinПрометей

[Prometheus](1911),mm.23–73,labeledatriplefuguebyTaneyev(AppendixC).Thefirst

subject,introducedinthebassvoiceinm.22,isjuxtaposedwithfreecounterpointinthe

firsttenorvoice.Thesecondsubjectoverlapswiththefirst,andisintroducedinm.23in

thealtovoice.Thethirdsubject,overlappingwithboththefirstandsecondsubject,is

introducedinm.25inthesecondtenor.Bothrealandtonalanswersareused,butthe

answersaremodified,andnonereproducetheoriginalsubjectinitsentirety.Theseare

indicationsthatthispassageisbasedonfugalimitation,focusingontheprocessinsteadof

strictfugalform,sincethesesubjectsdonotreturnincompleteformattheoriginalpitch

Final Entry- Subject 1

Coda

Answer 2- Tonal

Modified Answer 1

Answer 2- Tonal

Stretto - - - - - - - - - - - -

Stretto - - - - - - - - - - - - - - - - - - - - - - - - - -

62

level.Theanswertothefirstandthirdsubjectsareatafifth,andtheanswertothesecond

subjectisatafourth.Thedevelopmentbeginsinm.32,whenthefirsttenorgivesan

answertothethirdsubjectataseventh.Unliketraditionalfugues,noneofthesubjectsare

heardagainintheirentirety,althoughdevelopmentoftheheadsofthesubjectscontinues

throughvariouskeycenters.Thishappensinstretto(mm.45–48)aswell.

Погорамдвехмурыхтучи[TwoSullenCloudsAmongtheMountains],op.27,no.11

(1911),aportionofwhichisfoundinAppendixD,culminatesinstrettoontheopening

motive.Themotiveismarkedwithstarsinmm.1–3.ThereturnisshowninExample2,

beginningwiththeanacrusistom.102inthebassvoiceofchoir1.Thepresentationofa

mainmotiveinstrettoiscommonthroughoutTaneyev’slaterchoralmusic.

63

Example2.Погорамдвехмурыхтучиstrettoending.

AnotherprominentfugaltechniquethatTaneyevappliesisfalseentries.Inmm.18–

19ofTwoSullenClouds,seeninAppendixD,Taneyevincludesafalseentryinthetenor

voiceofchoir2.Whiletherearefalseentriesthroughouttheprecedingmeasures,thisfalse

entryoccurstwomeasuresbeforeaniterationoftheoriginalmotiveatoriginalpitchlevels

inthebassvoice.Severalexamplesoffalseentriesoccurinthedevelopment(beginningin

m.32)ofPrometheusaswell,withmorefalseentriesofthethirdsubjectthantheothertwo

subjects.Thiscontinuesuntilthestrettooftheheadofthethirdsubjectinm.45.

Stretto - - - - - - - - - - - - - -

64

PointsofImitation

Taneyevtreatspointsofimitationinavarietyofways.Usingbothexactandloose

imitation,thematerialisoftenderivedfromtheopeningtheme,althoughnotalways.

PointsofimitationweremorenumerousinTaneyev’smorematureworks.

Taneyev’s1877choralworkСеренада[Serenade]containsbriefimitationinmm.

23–27,observedinExample3betweenthepairedmiddlevoicesandthebass.This

imitativepassageistheonlyoneintheentirepiece,butisaforeshadowingoftheimitation

tocomeinTaneyev'slaterchoralcompositions.

Example3.Серенадаmm.23–27.

Лечьбывкровати[IwanttoLieinBed],writtenin1880,containspointsof

imitationalternatingbetweenvoices.Thefirstexampleisinmm.6–9(seeExample4),in

whichatwo-measuremotiveisimitatedattheoctaveinthetenorandbassvoices.Another

exampleisfoundinmm.11–15(Example5),whereanascendingsixteenth-notemotive

passesbetweenthesoprano,tenor,andbassvoices.Amodifiedversionofthefigure

65

appearsinm.15inthesoprano.Herethesixteenth-notefigureispartiallyinverted.None

oftheimitativematerialisrelatedtothehomophonicmaterialinthepiece.

Example4.Лечьбывкроватиmm.6–9tenor/bassmotives.

Example5.Лечьбывкроватиmm.11–15sixteenthmotive.

66

Op.27,no.11Погорамдвехмурыхтучи[TwoSullenCloudsAmongtheMountains]

(1911),foundinAppendixD,servesasarepresentativecompositionthatfeaturesimitation

basedonshort,thematiccellsinTaneyev'smaturechoralworks.Theopeningmelodic

motiveinSectionA,seenintheinitialentranceofthesopranovoice,isimitatedatthe

octaveinthetenorofchoir1,andthebass,alto,andsopranoofchoir2.Themotivereturns

intheanacrusisofm.9.Whenthemotiveisalteredandreturnedatdifferentpitchlevelsin

thedevelopmentbeginninginm.11,itstillappearsinimitation.

SectionB,beginninginm.27,employsdoubleimitation,andtheprominenceof

thesepointsofimitationgivetheinitialimpressionofcanon.Thesopranos/tenorsofchoir

1arefollowedbythealtos/bassesofchoir1,whoarefollowedbythesopranos/tenorsof

choir2andthenthealtos/bassesofchoir2inatypeofdouble-doubleimitation.The

imitationcontinuesuntilm.32,atwhichpointthedottedeighth-noterhythm,whichisthe

headofthemotiveinSectionB,isusedasaunifyingmusicalthought.

Морскоедно[TheSeaBed],op.35,no.11(1914),showninExample6,opensin

exactimitationbetweenthetenorandfirstbass,buttheintervalsaremodifiedinm.5.In

m.7,theimitationistransferedtothesecondbass.Thesecondtenorrestatestheoriginal

melodicmaterial,andthefirsttenorproceedstoenteratthefifthinm.10.Themusic

continuesinthisimitationuntilacadenceatm.18.31

31 Material denoted with a gold color is imitative, but at a different pitch level.

67

Example6.Морскоедноopeningimitativematerial.

Themes

Taneyevusuallyutilizedonlyonethemeperworkorlargesection.Thesethemes

arestatedveryclearly,eitherinunisonorsetagainstasimplertexture.Herestatesa

melodyinitsoriginaliterationonlytocallattentiontoformortext.Theformofapiececan

oftenbeidentifiedthroughtheanalysisofthethemesorthematicmotives,aswellas

throughhowTaneyevhandlesthereturnofthethemes.Gen-Irsuggeststwotypesof

themes:asmall,core-typeinwhichshort,melodicphrasesaredeveloped,andatypeof

68

fortspinnungthemethatusesinitialthematicideasmultipletimeswithnosignificant

transformation.32Bothtypesofthematicdevelopmentallowthethemetobeusedin

differentiterationsthroughoutthepiece,althoughthefirst“type”ofthemeGen-Irsuggests

isbettertermedamotive.

MotivicUse

OneofthefeaturesofTaneyev’schoralmusicisthepervasiveuseofmotivesasa

unifyingdevicethroughoutapiece.Inmanyofhischoralcompositions,themotiveis

restatedinimitation.Thelengthofmotivesisrarelylongerthantwomeasures,andthe

motivesareusuallycharacterizedbyimportantrhythmicandmelodicelements,although

thereareafewexamplesofrhythm-onlymotives.Themotivicmanipulationtypically

includessequencing,alterationofpitchintervalswhileretainingtheoriginalmotivic

rhythm,andmodifyingtherhythmwhilekeepingtheoriginalpitchesorintervals.Taneyev

rarelydisplacestherhythmofamotive,insteadkeepingtheoriginalarsisandthesisofthe

motive.Thesemotivesareoftenrestatedintheiroriginalformsattheendofworksorin

anysignificantnewsection,andinthisway,helpsoutlinetheformofawork.

AnexamplethatshowcasesatypicaltreatmentofamotiveisfoundinВечер

[Evening],op.27,no.2(1911),showninExample7.Themotive,whichpermeatesthe

composition,isrelatedtotheopeningstatementinthesoprano.Theseparatemotiveis

firstheardinthetenorinm.6.

Oncethetenorvoiceintroducesthemotive,itisthenrepeatedbyothervoicesat

differentpitchlevelswhileretainingthesameintervals(SeeExample7).Themotivedoes

32 Gen-Ir.

69

notchangesignificantlyuntilm.16,wherethethirdintervalofthestatementpresentedin

thesopranovoiceissmallerthanpreviousiterations.Themotiveisthenstatedin

alterationbetweenthesopranoandtenorvoicebeforethetopthreevoicespresentanother

iterationofthemotiveinm.22.Atthisiteration,thefirsttwointervalsareinverted.

TherecapitulationofEveningbeginsinm.45,showninExample8,andbringsa

mirroredreturnoftheopeningmaterial.Themotivicchangesfromm.16arerestatedinm.

45,whichlaststhreemeasuresbeforerecallingmaterialfromm.10.Finally,theopening

materialoftheworkisrestatedinm.55.Themotivereturnstoitsoriginalpresentationby

retracingthealterationsinreverseorder.

70

Example7.Вечерmm.1–26.

Opening Statement

Motive

71


Altered motive

Altered motive

Altered motive

72

Example8.Вечерmm.46–end.

Same as m. 16

Same as m. 10

Recalls mm. 1-5

73


Rhythmicmotivesarealsoused,albeitrarely.InАдель[Adele](1887),therhythmic

motiveofeighth-quarter-eighth-quarterdoesnothaveamelodiccontourassociatedwith

it,astherhythmitselfprovestobedistinctive.Themotivebeginsintheaccompanying

voicesinm.1,asshowninExample9,butisfoundthroughoutthemelodyaswell.

Example9.Адельmm.1–5rhythmicmotive.

74

Погорамдвехмурыхтучи[TwoSullenCloudsAmongtheMountains],op.27,no.11

(1911)containsmultiplemotivesusedthroughoutthework.Inadditiontotheexamples

providedinthissection,pleasealsorefertoAppendixD,whichisareproductionofalarge

portionofTwoSullenCloudsAmongtheMountains.Thisdiscussionincludesexamplesof

motivicalteration,sequencing,theuseofamotivetotransitionbacktopreviousmaterial,

andtheuseofmotiveswithoutlastingimpact.

TherhythmicmotiveshowninExample10,alsooutlinedinredinAppendixD,

openstheentirepieceandisseenperiodicallythroughoutSectionAbothwithandwithout

thehalfnote.ThemotiveisalsoheardperiodicallythroughoutSectionB,andisusedto

transitiontoSectionA’beginninginm.70.

Example10.Погорамдвехмурыхтучиrhythmicmotive.

Anothermotive,showninExample11,isalteredthroughoutTwoSullenClouds.The

varioustreatmentsaredenotedinAppendixD.Themotive,presentthroughoutsectionA,

isalteredthroughout.Inm.11,thesopranoofchoir2presentsthesecondhalfofthe

motiveatadifferentpitchlevel,followedimmediatelybythebassofchoir1presentingthe

firsthalfofthemotive.Fromm.13–27,themotiveispresentedatdifferentpitchlevels

withinversionandalterationofintervalliccontent.

75

Example11.Погорамдвехмурыхтучиsopranomotive.

SequencingisanothermeansTaneyevemploysindevelopingmotiviccontent.

Similarsequencingoccursinbothchoir1andchoir2inTwoSullenClouds;choir2presents

thesequencefirstinm.37,andchoir2returnsthesequenceinm.58.Thesequential

motiveitselfisbasedonthedottedeighth-noterhythmthatisoneoftherhythmicthemes

ofSectionB.Theuseofthissequenceisshort,andismarkedinAppendixD.

Augmentingarhythmicvalueandinvertingintervalsareothercommonwaysin

whichTaneyevtreatsmotives.Themostcommonusageofinversionoraugmentationis

withafalseentryorpartialmotive.Inm.52ofPrometheus,seeninAppendixC,for

example,afalseentryofaninversionofthefirstsubjectappearsinthebassvoice.

Somemotivesappearonlybriefly,oftenasawaytodevelopashortpassage.Some

examplesoftheseshort-livedmotivesarementionedinthePointsofImitationsection,but

theiruseinTwoSullenClouds(AppendixD)servesasafinalexampleoftheirfunction

withinawork.Inmm.5–7,choirs2and1exchangematerialantiphonally.Therhythmand

contouroflinesusedarenotderivedfromanyspecificthemeormotive,noristhematerial

usedagaininanysignificantway.

76

Form

Taneyevbelievedthatgreatmusicwaswrittenusinglogicalorganizationand

carefulplanning,33andhiscompositionsarerecognizablefortheirorganizationofkeys,

themes,andmotives,whichheoftenoutlinedbeforehecomposedawork.34Hischoral

cyclesstandasexcellentexamplesoftheprocessbywhichheintegratesmotivic

developmentintolarge-scaleorganization.Earlythematicsketchesofvariousmovements

ofop.27canbefoundattheTchaikovskyMuseum.Inthesurvivingsketchesofop.27,

Taneyevoutlinedvariouspossibilitiesfordevelopingthemotivicmaterial.Hebelieved

compositionsshouldbebasedonanalysisandpreparationofthematicmaterialsinorderto

reachfullmusicalpossibilitiesandmaximizecreativity.35Healsooutlinedtheorderof

worksinacycle,althoughthiscouldchangelater,asitdidwithop.27.Carefulplanning

andorganizationalsoincludedform,andTaneyevoftenusedmodifiedversionsof

traditionalforms.

ThelargechoralcyclesTaneyevcomposedwerenewtosecularRussianchoral

music.MorosancomparedTaneyev’slarge-scalechoralcycle,op.27(1911),to

Rachmaninoff’sAll-NightVigil,op.37,andarguedRachmaninoffwaslikelyinfluencedby

Taneyev’scommitmenttoform.36Manyofthemovementsofop.27usedmodified

traditionalforms.Kovalev,anearlyRussianmusicscholar,arguedthatoneofthereasons

33 Nicolas Slonimsky, Nicolas Slonimsky: Writings on Music, Electra Slonimsky Yourke, ed. (New York:

Routledge, 2004), 100. Taneyev also believed organization and planning could include the use of patterns and arithmetic.

34 Brown, "Taneyev, Sergey Ivanovich." His normal practice was to outline an entire work before writing any singular movement or section in its final form.

35 James Bakst, A History of Russian-Soviet Music (New York: Dodd, Mead, 1966), 245. 36 Morosan, “Research Report: Two Russian Choral Giants: Alexander Kastalsky (1856-1926) and Sergei

Taneyev (1856-1915),” 29.

77

TaneyevwasoriginaltoRussianmusicwasbecausehecombinedmeticulousconstruction

oftheformwithcontrapuntalwriting.37

Anexampleofamodified,traditionalformusedbyTaneyevisИзкраявкрай[From

BordertoBorder](1899),whichhastraitsofsonataform.Theexposition(mm.1–39)isin

EminorandtherelativeGmajor,normalkeyareasforasonatainaminorkey.The

development,beginninginm.40,proceedsthroughvariouskeycenters.Therecapitulation

returnsinm.69intheexpectedoriginalkeyofEminor.FromBordertoBorder,isadouble

choruspiece,hasthematicmaterialthatrecursinbothchoirs.Theextensiveimitative

counterpointinFromBordertoBorder,combinedwithselectedtraitsofsonataform,isan

exampleoftheoriginalityKovalevarguedforinthepreceedingparagraph.

AnotherexampleofamodifiedformisfoundinПромeтей[Prometheus](1911),

whichisinlooserondoform,outlinedinTable2.TheAsectionsarehomophonic,giventhe

samemetronomemarking,containsimilarmusicalmaterial,areinB-flatmajorwiththe

exceptionofA’whichisinB-flatminor,andareshorterthanthecontrapuntalsections.

SectionBandCarebothcontrapuntal,butsectionCisbasedonmotivesinsteadofa

thematicstatement.ThefirstBsectionisatriplefugueandthesecondBsection,whilenot

afugue,includesmaterialderivedfromathemeintroducedinthesopranoattheonsetof

m.132.AlthoughB-flatmajorissometimesthewrittenkeysignature,B-flatmajorisnever

thekeycenterforSectionsBandC.

37 Kovalev, 36. Kovalev is quite emphatic about this. He describes Taneyev’s contrapuntal writing as

“unreachable to simple mortals.” On the same page he writes “Taneyev’s polyphony is his deeply individual style, and his alone.”

78

Промeтей[Prometheus]formoutline

Section A B A C A C’ A’ B’ A End

Measure 1 23 74 80 89 109 126 132 149 182

KeyCenter

B♭ Dminor

B♭ Fbased

B♭ VariesB♭

minor VariesB♭ B♭

Texture38 H P H P H P H P H

Table2.Промeтей[Prometheus]form.

Unisonsandoctavesarealsoperiodicallyusedtosignalformalboundariesin

Taneyev’slatechoralworks,usuallysuggestinganeworreturningsection.Звезды[Stars],

op.15,no.1(1900)beginsinoctaves,andthesereturnonceabouthalfwaythroughthe

piece.ThereturnoftheoctavesisoneindicationthatStarshasatwo-partform.Another

exampleofoctavesoutliningformisfoundinРазвалинубашни,жилищеорла[TheRuins

oftheTower],op.27no.3(1911).Thepiecebeginswithoctaves(Example12)thatreturn

periodicallythroughoutthepiecetodenoteanewsection.Theseoctavesalsoreturnata

differentpitchlevelinmm.42–44(Example13).Theanacrusistom.45isanewsection,

andusestheoctavethemesupportedbytripletfiguresbeneathit.Areplicationofthe

openingoctavesalsomarktheapproachingendofthework,showninExample14,mm.

85–86.

38 “P” means polyphonic. “H” means homophonic.

79

Example12.Развалинубашни,жилищеорлаmm.1–7.

80


81


Taneyevlabeledsomeofhisworks“fugue”and“canon.”Forexample,heincludeda

canoninНочь[Nights],thefirstpieceinasetoftwochorusesformalevoiceswritteninthe

early1880s.Thecanonandderivedmaterialextendsforfifty-sixmeasures,ornearlya

thirdofthecomposition.Eachvoiceentersafifthabove(orfourthbelow)thepreceding

voice,andthecanoncontinuesfollowingtheleadvoiceinprimarilystrictimitation,only

adjustingperiodicintervals.ThisisoneofthefewexamplesofcanoninTaneyev’schoral

82

worksmeantforperformance;mostothercanonsthathecomposedwereexercises.There

wereahandfulofchoralworksthatTaneyevlabeledafugue,althoughtheseonlyloosely

followedthetraditionalformofafugue.

Texture

InTaneyev’slaterunaccompaniedchoralmusic,asignificantchangeintextureis

oftenusedtodelineatesections.Thischangemayoccurincombinationwithorinsteadof

octavesandunsions(discussedintheFormsectionabove).Taneyevusesavarietyof

textures,manywithinasinglecomposition.WhileobviouslynotuniquetoTaneyev,the

useoftexturetodelineateformisacharacteristicseeninmanyofTaneyev’schoralworks.

SincemostofhiscontemporariesdidnotusecounterpointasextensivelyasTaneyev,this

useisquitenoticeableinhismusic.

Anexampleofvaryingtextureisfoundinmm.26–30ofАльпы[TheAlps](Example

15).AlthoughTheAlps(1900)containsvaryingpolyphonicandhomophonictextures,the

antiphonaleffectfoundhereoccursonlyatthisjunctureofthework.Briefpairingsof

voicessetinoppositionforanantiphonaleffectareextremelycommoninTaneyev’smusic.

83

Example15.Альпыantiphonaleffect.

ThefugalimitationinПрометей[Prometheus](1911),foundinAppendixC,

featurespairedvoicesasthesectionnearsitsend,aneffectparticularlynoticeable

beginninginm.63.Thistypeofrhythmicpairingofvoices,signifyingthesectionissoon

ending,isextremelycommoninTaneyev’schoralmusic.

Извечностимузыка[SuddenlyMusicSounded],op.27,no.7(1911),isanother

exampleinwhichthecomplexityofthepolyphonictextureisdecreasedattheendofthe

section.TheendofthefirstsectioninSuddenlyMusicSoundedissignaledbyhomophonic

textureatthelastdottedquarternoteofm.13(Example16).Thenextsectionbeginningin

m.22,notshownhere,isagaincontrapuntal.

84

Example16.Извечностимузыкаtexturechange.

Taneyevuseshomophonictexturetodenotethebeginningandendofachoralwork

inadditiontodelineatingbetweensections.AnexampleofthisisfoundinРазвалину

башни,жилищеорла[TheRuinsoftheTower](1911),whichincludestwohomophonic

sections.Theintroductionisprimarilyhomophonic.Aportionoftheintroductioncanbe

seeninExample12onpage79.TheRuinsoftheToweralsoendswithahomophonic

section,beginninginmm.84–end(Example14onpage81).Thesehomophonicsections

framethechoralworkandmarktheintroductionandthecoda.

Harmony

Taneyev,likehisRussiancontemporaries,didnotmakeharmonicadvances;

however,hedidnothaveaconservativeharmonicview,nordidhebelievethecurrently

85

usedharmonicsystemhadreacheditslimit.39Taneyevenjoyeddissonance,“bizarretonal

half-ornaments,”40andstrikingmodulations.41However,muchoftheharmonyfoundin

Taneyev’schoralmusicwastypicalofhistime.

InВечер[Evening],op.27,no.1(1911),beatoneinm.15endsonaB-flatmajor

chord,whichconcludesthefirstsection(Example7onpages70and71).Thenextsection

ismarkedbyatransitionfromaB-flatmajorchordtoanaugmentedE-flatchordwithan

addedmajorseventh(seeExample17).Itistheaugmentedfifththatmakesanimpression

onthelistener,anditistheonlyaugmentedchordinthework.Itisrepeatedatm.46.

Example17.ВечерaugmentedE-flatchord.

39 A.G. Mikhailenko, “Cherti tonalnoy organizatsii fug S.I. Taneyev [Tonal Characteristics of Taneyev’s

Fugues],” in Teoreticheskiye problemi polifonii [Theoretical Problems of Polyphony], L. Popelyash ed. (Moscow: Muzika, 1980), 95.

40 Leonid Sabaneev, S.I. Taneev (Parizh: Tair, 1930), 28. 41 Mikhailenko, “Cherti tonalnoy organizatsii fug S.I. Taneyev [Tonal Characteristics of Taneyev’s

Fugues],” 99.

I IV+7

86

HarmonicPlan

Taneyev’sinterestinstructurealsoincludedthelogicoftheharmonicplan,howthe

keycentersrelatedtoeachother,andiftheprogressionwasjustifiedfromanartistic

standpoint.42AccordingtoTaneyev,tonalplansinacompositionshouldbelogicalinorder

tobeharmonicallyinnovative,sincewithoutlogicaharmonicprogressionwillnotmake

sensetothelistener.Молитва[Prayer],op.27,no.6(1911)isanexamplesuchalogical

harmonicplan,asthekeycentersarebuiltonrelatedintervals.PrayerbeginsinA-flat

major,andtheoverarchingkeystructureisseeninTable3.Thekeycentersarerelatedby

athirdandtheharmonicplanissymmetrical.AttheendofthesectioninD-flatmajor,D

minoristonicizedbrieflyonthewaytoGminor,Cmajor,andthentoFmajorinm.62.

KeyCenter A-flatmajor Fminor D-flatmajor Fmajor A-flatmajorMeasure 1 20 37 62 80

Table3.Молитва[Prayer]keystructure.

IntervalUse

Tritonesandotherdissonantintervals,suchasdiminishedthird,augmentedfifth,

diminishedseventh,anddiminishedeighthcanbefoundinTaneyev’schoralcompositions.

Theuseoftheseintervalsisnotintendedtodestabilizethekey,asTaneyevbelievedthat

replacingdiatonicharmonywithoverlychromaticharmonypotentiallyleadstoa

deteriorationoftonalityandthusdestroythemusicalform.43

42 A.G. Mikhailenko, “Cherti tonalnoy organizatsii fug S.I. Taneyev [Tonal Characteristics of Taneyev’s

Fugues],” in Teoreticheskiye problemi polifonii [Theoretical Problems of Polyphony], L. Popelyash ed. (Moscow: Muzika, 1980), 95-96.

43 Gen-Ir.

87

Diminishedfourthsanddiminishedseventhssymbolizesufferingordistress,an

affectthatlikelyderivedfromTaneyev’spenchantforBaroquemusicanditsconcomitant

doctrineoftheaffections.Forexample,adiminishedfourthinm.7ofНамогиле[Uponthe

Grave],op.27,no1(1911),isusedtounderscorewiththetext“забытаямогила,”

[“forgottengrave”].ThisisseeninExample18.

Example18.Намогилеm.7diminishedfourth.

PedalPoints

PedalpointsarefoundquiteofteninTaneyev’sworks,especiallyinhismature

choralworks.TheuseofpedalpointsisnotuniquetoTaneyev,astheywereheavily

utilizedinRussiansacredchoralmusicofthetimeaswell.Multipleexamplesofpedal

pointsexistinМонастырьнаказбеке[MonasteryontheKabek](1907),suchasinthe

tenorvoiceatm.49(Example19)andm.58(Example20).Anexampleisalsoseenin

Example7(pages70and71)intheopeningmeasuresofВечер[Evening]inthebassvoice.

За - бы - та - я мо - ги - ла

88

Example19.Монастырьнаказбекеtenorpedalpoint.

Example20.Монастырьнаказбекеtenorpedalpoint.

Hemiola

HemiolacanbefoundinmanyofTaneyev’sworks,althoughtheuseofhemiolain

RussianchoralmusicisofcoursenotuniquetoTaneyev.InВечер[Evening],op.27no.2

(1911),hemiolaispresentinthealtolineinm.14,andthetenorinm.15(Example21);the

89

altolinerepeatsthehemiolamultipletimesthroughoutthework.Inop.27,no.7Из

вечностимузыка[SuddenlyMusicSounded](1911),ahemiolacharacterizesthemotive

passedbetweenvoices.ItcanbeseeninExample22inm.22inthefirsttenorvoice,m.23

inthealtoandbass,andm.24inthesecondtenorandbass.

Example21.Вечерhemiola.

90

Example22.Извечностимузыкаhemiola.

Duplemeterisalsoinsertedintriplemeterandvisaversainsomeworks.Although

shiftingpatternsisnotapervasivecompositionaldeviceinTaneyev’schoralworks,itisa

techniquetowhichhesometimessubscribedinclimacticmoments.Thisisprimarilyseen

inhisearlyworks.InАдель[Adele](1887),tripletsappearinduplesubdivisions(Example

23).Inanotherexample,Эхо[Echo](1888),theduplesinmm.14–16createrhythmic

contrastwiththetriplesubdivisionofthe6/8time(Example24).

91

Example23.Адельhemiola.

Example24.Эхоhemiola.

92

Text

Taneyevwasfastidiousaboutthetypeoftextshechoseandhowhesetthem.

Taneyevtoldoneofhisstudents,V.I.Metzel,thathefocusedonpsychology,feelings,or

moodsinhismusic.44Theexpressionofthetextwasincrediblyimportanttohim,andhe

settextssothatwordsareintelligibledespitethecounterpoint.Sinceclarityofwordswas

animportantobjectiveforTaneyev,hewouldoftenbeginapiecewithsimplertextureso

thatthetextandmoodcouldbeunderstood.45Someexampleshavealreadybeen

mentioned,suchastheinРазвалинубашни,жилищеорла[TheRuinsofaTower](1911).

InExample13onpage80,thevoicesareinoctavesinmm.43–44.Whenthemusic

continuesinpolyphonyatthepick-uptom.46,thetextthathasalreadybeenheardinmm.

43–44isthensetincounterpoint.Thistechniqueismoreprevalentinhislaterworks,

especiallyinthecompositionsthatincludepolyphonicsections.RussianscholarSavenko

rightlysuggeststhatthetextshouldbethoughtofasawhole,notasapart,andthemoodof

anentirepoemshouldbekeptinmind,especiallyasthecounterpointbecomesmore

complex.46Theclarityoftextattheonsetaidsinkeepingthemoodofthetextthrougha

densetexture.

Rhythm,melody,andharmonychangedependinguponwordpainting,textmeaning,

ortheneedfortextclarity.Declamatorytexturestakeonanincreasingimportancein

Taneyev’slaterworks,astheydointheworksofTaneyev’scontemporariesArenskyand

44Lhudmila Z. Korabelnikova, “Taneev o vospitanii kompozitora [Taneev on the Education of a

Composer],” in Sovetskaia muzyka 9 (1960): 92. 45 Savenko, 161. 46 Ibid., 157.

93

ViktorKalinnikov.47Taneyevusesunisons,octaves,andimitationtoemphasizekeywords.

Importantwordssometimescoincideindifferentvoices,suchastheoutervoices.48

WhenTaneyevwasdecidingontexts,hewasdrawntopoetssuchasYakov

Polonsky(1819–1898),whosepoetrywassettomusicbymanyRussianmusicians,and

KonstantinBalmont(1867–1942),aRussianpoetwho,likeTaneyev,wasnotinfavorofthe

Tsaristgovernment.Polonsky’stextsweresetinTaneyev’slargechoralcycle,op.27

(1911).Op.35(1914),acycleofsixteenchorusesformen’svoices,usedthetextof

Balmont.Otherauthors’textsweresetaswell,includingFyodorTyutchev(1803–1873)in

Восходсолнца[Sunrise]op.8(1897),Изкраявкрай[FromBordertoBorder]op.10

(1899),andАльпы[TheAlps]op.15,no.2(1900).AcommonthemeforTyutchevwasthe

interactionofhumanswiththecosmosandthelargeruniverse,49aconceptinwhich

Taneyevwasinterested.Звезды[Stars],op.15no.1(1900),withtextbyAleksei

Khomiakov(1804–60),alsomarriestheideaofstarsintheheavenswiththelargerconcept

ofthoughts,whichfloataroundthestars.

Taneyevoftenselectedtextswithcollectivelanguage,ortextswiththe“we”

perspective.ThePolonskytextofop.27uses“I”onlyonce,inПрометей[Prometheus],

perhapsbecausethenarrativeistoldfromthemaincharacter’sperspective.50Useof“I”is

oftenonlyfoundinsolosongs,whichsomeRussianscholarsrefertoas“romances.”51The

47 Korabelnikova, Tvorchestvo S.I. Taneeva: istoriko-stilsticheskoe issledovanie, 210. 48 I. Grinchenko, “Genre of a Choral Miniature in Russian Music on the Boundary of the XIX-XXth

Centuries (on examples of S. Taneyev’s Twelve Choruses a cappella Op. 27,” in South-Russian Musical Anthology 12 (January 2013): 24.

49 Korabelnikova, Tvorchestvo S.I. Taneeva: istoriko-stilsticheskoe issledovanie, 200. Nights, op. 23, falls into this category.

50 Ibi., 206. 51 Alexander Poznansky, The Tchaikovsky Handbook: A Guide to the Man and His Music (Bloomington:

Indiana University Press, 2002), 156.

94

firstpersonpluralreferencesoccurinНакораблe[OntheBoat]andМолитва[Prayer]in

op.27.

ImagerywasimportanttoTaneyev,andiscommontohismusic.Natureimagery

aboundsinop.27.Намогиле[UpontheGrave],no.1,referstograss,trees,andleavesthat

overcomegraves,andwhenthetextspeaksaboutthe“вершиноюгустою[thickcrown]”

ofanoaktree,themelodiclineswiftlyandstronglyascends.Вечер[Evening],no.2,

containsimageryofsunsets,skies,seas,forests,andrain.AlsoinEvening,staccato

articulationsimulatesdrewdropsthatarelikepearls.Развалинубашни,жилищеорла

[TheRuinsoftheTower],no.3,includestextdescribingwind,rocks,andtheocean;the

introductorymaterialcanbeseeninExample12onpage79.Themusicascendsinpitch

whilethetextdescribestheheightofthegraycliff.Therearealsomultipleworksinop.35

thatcontainnatureimagery.

AsmentionedinChapterOne,textsettingwasanimportantpartofTaneyev’slesson

plans.Hesuggestedthattheentirechoirintroducestexthomophonicallyor,ifitwereset

polyphonically,inawaythatallowedthewordstobeintelligible.52Thiscanbeseeninhis

ownmusic.Taneyevoftenintroducestextinunison,homophonicchordalblocks,orinthe

openingthematicmaterialbeforetheadditionofmorecomplexcounterpoint.

Conclusion:SummaryandFuture

SergeiTaneyev’scontributionstoRussiansecularchoralmusicmakehiman

importantfigureinmusichistory.HeexpandedthesignificanceofRussiansecularchoral

music,andhewasuniqueamonghisRussiancontemporariesinhispervasiveuseof

52 Savenko,161.

95

counterpoint.TaneyevwasalsoateacherofmanyinfluentialRussianmusicians,andhis

influencecanbeseenintheircompositions.ItislikelyTaneyev’sfrequentuseof

counterpointkepthimfrombecomingwellknownoutsideofRussia,asitwasnotanexotic

soundoranewcompositionaltechniqueintheWest.

BeforeTaneyevbeganwritingchoralmusic,veryfewRussiansecularchoralworks

existed.MostRussianchoralworkswerewrittenforRussianOrthodoxliturgy,andwhen

secularchoralensemblesbegantoform,theyprimarilysangoperachorusesorworksfrom

othercountries.TaneyevcomposedRussiansecularchoralmusicforsomeofthese

ensembles,producingwelloverfiftyworks,notincludingcompositionsforsmallensemble

thathenotedcouldbesungbyachoir.Ashematuredasacomposer,hisworksbecame

longerandmorecomplex.

ThemostdistinctivestylisticfeatureofTaneyev’sunaccompaniedchoralmusicis

hisuseofimitativecounterpoint.Hewasanexpertatcomposingathemeandcrafting

motivesfromthattheme,andoftenthepointsofimitationwereusedtodevelopa

composition.Taneyev’schoralmusicaddstotherichtraditionofRussianchoralmusicby

incorporatingthecreativityandstructureofimitativecounterpointintothatdistinctly

Russiansound.

ThereisstillmuchresearchtobedoneonTaneyev.Whilethispaperbriefly

discussedtexts,additionalscholarshipisneededregardingthetextshesetandthe

treatmentofthem.AnotherapproachtoanalyzingTaneyev’schoralmusiccouldbe

throughthelensofTaneyev’stwotreatises,ConvertibleCounterpointintheStrictStyleand

DoctrineoftheCanon.Additionally,furtherunderstandingofTaneyev’scompositional

lineagewouldbeusefulindeterminingtheimpacthehadonRussianmusicasateacher

96

andcomposer.Lastly,thereisaneedforthepublicationofeditionsthatnon-Russian

performerscanuse,includingcomponentssuchaspronunciationguides.Theinformation

inthisdocumentoffersabasisforfutureresearch,afoundationtocreateeditionsof

Taneyev’ssecularchoralworks,andastylisticguideforthosewantingtoprogramand

understandTaneyev’schoralmusic.

SacredmusiccomprisesthemajorityofRussianchoralworksperformedinthe

West,butitdoesnotpresentthewholepicture.KnowledgeofTaneyev’ssecularchoral

worksandpartsongsaddssignificantlytothebodyofRussiansecularchoralworksprior

totheRussianRevolution.WithoutaclearunderstandingoftheRussiansecularmusic

tradition,scholarsandperformershaveapartialviewofRussianchoralmusic.Adeeper

understandingoftheRussiansecularchoraltraditionandTaneyev’spositionwithinit,

alongwithcreationofqualityeditions,willcontributetoaricherunderstandingofRussian

musichistoryandallowforperformanceofTaneyev’smusicoutsideRussiaandthroughout

theworld.

97

APPENDIXA.TANEYEV’SCHORALCATALOGUEANDPUBLISHERS

98

RussianTitle/EnglishTitle Voicing PublisherБожe!будьмилостивкнам/GodBeMercificulUntoUs(Psalm66) SATB Издательство"Музыка"1Сосна/ThePine SATB Издательство"Музыка"Сeренада/Serenade SATB

MusicaRussica(PS040)Издательство"Музыка"

Венецияночью/VeniceatNight SATB Издательство"Музыка"Фуганарусскиепесен/FugueonaRussianFolksong N/AНидерландскаяфантазиянарусскуютему/NetherlandishFantasiaonaRussianTheme 12vv Издательство"Музыка"Хeрувимская/Cherubim'sSong SSATBB

CPDLИздательство"Музыка"

Торжественныйхордляприбытиягостей/CeremonialChorusfortheArrivalofGuests STBB N/AХорадлямужскихголосов/ThreeChorusesforMaleVoices Издательство"Музыка"I.Венецияночью/VeniceatNight Издательство"Музыка"II.Ноктюрн/Nocturne Издательство"Музыка"III.Веселыйчас/HappyHour Издательство"Музыка"Лeчьбывкровати/IWanttoLieinBed SATB N/AИрмос/Irmos(FirstVersefromthefirsthymnofEpiphany) TTBB

IMSLPИздательство"Музыка"

Шуточныйхор-фугы/TwoComicFugues Издательство"Музыка"I.Фонтан(Еслиутебяесть)/Fountain ABarB Издательство"Музыка"II.Специалистподобенфлюсу/ASpecialistislikeaGumboil ATB Издательство"Музыка"Однаждыкпопадье/OncetoaPriest'sWife BBB N/AХорадлямужскихголосов/ChorusesforMaleVoices Издательство"Музыка"

1 http://www.music-izdat.ru

99

I.Ночь/Night TTBB


II.ПеснякороляРегнера/KingRegner'sSong TTBB


Фуга/Fugue SATB N/AДуховно-музыкальныхсочинений/ThreeSacredPieces N/A

I.ХвалитеимяГосподнe/PraisetheNameoftheLord SATTB

Издательство"Музыка"Моск.гос.консерваторииим.П.И.Чайковского2

II.Творяйангeлысвоя/HeWhoMakesHisAngels SATB

Моск.гос.консерваторииим.П.И.Чайковского

III.Спасeниясодeлалеси/ThouHastBroughtSalvation SAATTB


Мадригал/Madrigal SAB N/AСлавасвятымКириллуиМефодию/GlorytoCyrilandMethodius ? N/AСядузавтраякокошeчку/TomorrowIShallSitbytheLittleWindow 4vv N/AСражeнныйрыцарь/TheKnightStruckDown BBBB


Эхо/Echo SATBB Издательство"Музыка"Шуточныеканоны/ThreeComicCanons N/A

Восходсолнца/Sunrise,op.8 SSAATTBB

MusicaRussica(PS037)IMSLPИздательство"Музыка"M.Belyayev

Изкраявкрай/FromBordertoBorder,op.10

doublechorus Издательство"Музыка"

Хораacappella(2)/Choruses,op.15 Издательство"Музыка"I.Звезды/Stars SATB Издательство"Музыка"II.Альпы/TheAlps SATB Издательство"Музыка"

2 http://www.mosconsv.ru/ru/publications.aspx

100

Хора(2)/Choruses SATBB N/AI.Тыкгнчилжизнипуть,герой/YouHaveFinishedLife'sJourney SATBB N/AII.СолнцеНеспящих/SonoftheSleepless SATBB N/AВечернаяпесня/EveningSong

Malechorus Издательство"Музыка"

Хоров/Choruses(12),op.27

I.Намогилe/OntheGrave SATB

MusicaRussica(PS020)IMSLPИздательство"Музыка"

II.Вeчeр/Evening SATB

PD-IMSLPMusicaRussica(PS012)TheodorePresser(312-41614)Издательство"Музыка"

III.Развалиныбашни/TheTower'sRuin SATB

IMSLPMusicaRussica(PS022)TheodorePresser(312-41615)Издательство"Музыка"

IV.Посмотри,какаямгла/Behold,whatDarkness SATB

IMSLPMusicaRussica(PS002)TheodorePresser(312-41616)Издательство"Музыка"

V.Накораблe/OntheBoat SATTB Издательство"Музыка"VI.Молитва/Prayer SATTB MusicaRussica(PS028)VII.Извeчностимузыкавдруграздалась!/MusicSuddenlySoundedfromEternity SATTB MusicaRussica(PS029)VIII.Промeтей/Prometheus SATTB Издательство"Музыка"IX.Увидализ-затучиутес/FromBehindtheCloudISawaRock SSATTB Издательство"Музыка"X.Звезды/Stars SSATTB

MusicaRussica(PS032)Издательство"Музыка"

XI.Погорамдвехмурыхтучи/TwoSullenCloudsAmongtheMountains

SATB/SATB Издательство"Музыка"

XII.Вдни,когданадсоннымморeм/OnaDayWhenOvertheSunnySea

SATB/SATB Издательство"Музыка"

Хорыacappellaдлямужскихголосов/Chorusesformalevoices,op.35 I.Тишина/Stillness TBB Издательство"Музыка"

101

II.Призраки/Visions TTB Издательство"Музыка"III.Сфинкс/Sphinx TBB Издательство"Музыка"IV.Заря/Dawn TTB Издательство"Музыка"V.Молитва/Prayer 4/5vv N/AVI.Впространствахэфира/IntheExpansesoftheEther 4/5vv N/AVII.Исонисмeрть/BothSleepandDeath 4/5vv N/AVIII.Нeбеснаяроса/DewofHeaven 4/5vv N/AIX.Мертвыекорабли/DeadShips TTBB Издательство"Музыка"X.Звукиприбоя/SoundsoftheSurf TTBB Издательство"Музыка"XI.Морскоедно/TheSeaBed TTBB Издательство"Музыка"XII.Морскаяпесня/SeaSong TTB/TBB Издательство"Музыка"

XIII.Тишина/Stillness 4vv N/AXIV.Гибeль/TheWreck 4vv N/AXV.Бeлыйлeбедь/TheWhiteSwan 4vv N/AXVI.Лебeдь/TheSwan 4vv N/A WITHACCOMPANIMENT: СлаваН.Г.Рубинштейну/GlorytoN.G.Rubinstein N/AЯпамятниксебевоздвигнерукотворный/IhaveBuiltMyselfaMonument Издательство"Музыка"Попрочтениипсалма/AttheReadingofaPsalm,op.36

IMSLPМузыкалныйСектор3

ИоаннДамаскин/JohnofDamascus,op.1

IMSLPP.JurgensonИздательство"Музыка"

Квартeтчиновников/CivilServants'Quartet N/AАпофeозхудожника/ApotheosisoftheArtist

MaleChorus N/A

3 http://sias.ru/en/publications/

102

Chamberworksthatcouldbesungbychoir: Квартетаacappella:длясмешанногохора/Quartetsformixedchorus,op.24 Издательсто"Музыка"МонастырьнаКазбеге/MonastaryontheKabek SSAT

IMSLPИздательсто"Музыка"

Адели(revised)/ToAdele SSAT N/AАдели/ToAdele BBBB


Терцета(2)/Terzettos BBB I.Скромность/Modesty BBB N/AII.Разныевина/DifferentWines BBB N/AБтальянскиепесни(2)/ItalianSongs

I.Voca,Voca SATB,pf N/A

II.Addio,miabellaNapoli SAB,pf N/AСозеравеетпрохладаинега/ItBlowsfromtheLake SAT,pf N/AТерцета(3)/Terzettos,op.23 SAT,pf Издательсто"Музыка"I.СонетМикеланджело/SonnetofMichaelangelo Издательсто"Музыка"II.Римночью/RomeatNight Издательсто"Музыка"III.Тихойночью/IntheSilentNight Издательсто"Музыка"Неостывшаяотзноя/StillSwelteringfromtheHeat SAT,pf Издательсто"Музыка"Созеравеетпрохладаинега/ItBlowsfromtheLake SAT,pf N/AТерцета(2)/Terzettos TbarB I.Очемвтишиночейтаинственномечтаю?/OfWhatdoISecretlyDreamintheQuietoftheNight? TBB,pf


II.Явгротеждалтебя/IWaitedforYouintheGrotto TBarB,pf


SACREDMUSIC

ХвалитеимяГосподне SATTB N/AМашистова SAATB Издательсто"Музыка"

103

СветеТихий SAATB

Издательсто"Музыка"Моск.гос.консерваторииим.П.И.Чайковского

Благослови,лушемоя,Господа SATB


Блаженмуж SSATTB


Господи,возвах.Глас1 SATB


Тропарьвоскресный.Глас1 TTBB


Иныне...Преблагословеннаеси AATB


ВзбраннойВоеводе SAATTB


Впамятьвечную SATB


Чашуспасенияприиму SATB


ВоВсюземлю SATB


Спасениесоделалеси SAATTB


Радуйтеся,праведнии SATB


Творяйангeлысвоя SATB


Ирмос1-йпесниканогнанаБогоявление SATB


ИНыне,Иприсно ? Издательсто"Музыка"4Госполи,услышьмолитвемою ? Издательсто"Музыка"

4 The last five titles were listed at the end of a collection as being printed in the second book of the

collection. I was unable to secure a copy of the second book in the collection, and therefore cannot verify the voicings.

104

НескрывайлицаТвоегоотменя ? Издательсто"Музыка"СлавимТебя,Боже ? Издательсто"Музыка"ХерувимскаяКиевскогороспева ? Издательсто"Музыка"

105

APPENDIXB.CHORALMUSICDISCOGRAPHY

106

SergeiTaneyevChoralMusicDiscographyChistyakov,Andrey.ThreeRussianCantatas.ChoiroftheMoscowChoralAcademy

Orchestra.RussianSeason,1993. [JohnofDamascus]Creed,Marcus,conductedby.Russia.SWRVokalensembleStuttgart.HännslerClassic,

CD93.317,2014. [Stars,AbovetheHills,OnDayswhenontheDreamingSea-allfromOpus27]Golovanov,Nikolai.Taneyev:SaintJohnofDamaskusCantata.USSRStateRadioChoir&

USSRRadioSymphonyOrchestra.MusicOnline,2007. [JohnofDamascus]Jurowski,Michail.RussianChoralandOrchestralWorks.RundfunkchorBerlin,Rundfunk-

SinfonieorchesterBerlin.KochSchwann,3-6553-2,2002. [JohnofDamascus]Kaljuste,Tonu,conductedby.TwelveChoruses,Op.27.NetherlandsChamberChoir.Globe,

2005. [Opus27]Minin,Vladimir,conductedby.RussianVoices.MoscowStateChamberChoir.Deutsche

Grammophon,00028947424123,2003.[FromBordertoBorder,Evening,TheTower’sRuin,BeholdwhatDarkness,Prayer,FromBehindtheCloudISawaRock]

Pletnev,Mikhail,conductedby.Rachmaninof:TheBells,Op.35/Taneyev:JohnofDamascus.

MoscowStateChamberChoir.DeutscheGrammophon,B00005AX5X,2001. [JohnofDamascus]Pletnev,Mikhail,conductedby.Taneyev:AttheReadingofaPsalm.GlinkaChoralCollege

Boys’Choir,RussianNationalOrchestra,St.PetersburgStateAcademicCapellaChoir.Pentatone,PTC5186038,2004.

[AttheReadingofaPsalm]SacredTreasuresIII:ChoralMasterworksfromRussiaandBeyond.Variousperformers.

HeartsofSpace,C062,2000. [Serenade]Sandler,Grigori,conductedby.ChoralMusic:P.Chesnokov,S.Taneyev.LeningradTVand

RadioChorus.CDKMusicClassical,CDK0013,2016.[Evening,Serenade,OntheBoat,Starsop.15no.1,TheTower’sRuin,Prometheus,Adele,OntheGrave,ThePine,TheAlpsop.15no.2,Sunrise

107

Sanderling,Thomas,conductedby.Taneyev,S.I.:SuitedeConcert/IoannDamaskin[Johnof

Damascus].GnesinAcademyChorus,RussianPhilharmonicOrchestra.NaxosRightsInternationalLtd,8.570527,2009.

[JohnofDamascus]Shepel,Oleg,conductedby.SergeyTaneyev,12PartSongsonPoemsbyPolonskyOpus27.

VoronezhChamberChoir.Etcetera,1993. [Opus27]Simpson,Robert,conductedby.RavishinglyRussian:19thand20thCenturyRussianSecular

ChoralMusic.HoustonChamberChoir.MSRClassics,B002AH97OG,2009. [TheRuinsoftheTower;Evening;Behold,ShadowshaveFallen]Svetlanov,Evgeny,conductedby.SergeiTaneyev:AttheReadingofaPsalm.A.A.Yurlov

StateRepbulicanRussianChoirCapella,USSRStateAcadmicSymphonyOrchestra.Melodiya,2011.

[AttheReadingofaPsalm]Taneyev:ChorusesforMen’sVoices.ValeryRybinChoir.RussianSeason,1993.

108

APPENDIXC.PROMETHEUSTRIPLEFUGUE

109

Triple Fugue

Subject 1

Subject 2

Subject 3

Answer 1- Real

Subject 2

Answer 3- Tonal

Incomplete Subject 1

Answer 2- Tonal

Subject 3 false entry

Development

Exposition

110



Subject 1

Modified Subject 2



Modified Subject 2



111

Stretto based on head of subject 3

112

Inverted False Entry Subject 1

Inverted False Entry Subject 1

115

APPENDIXD.TWOSULLENCLOUDSAMONGTHEMOUNTAINS

116

Section A

119

Second half of motive

Altered interval

Altered pitches

Altered intervals

Development

120

Altered intervals

Inverted and altered intervals

Altered interval

Partial motive

Inverted partial motive

Altered false entry

121

Altered interval

Altered intervals

Altered intervals

Altered and inverted intervals

Altered and inverted intervals

Inverted intervalsFalse entry

122

Original

Altered intervals

Altered pitches

Altered pitches

123

Altered pitches

Altered interval

Altered pitches

124

Section B

127

Sequence

131

Sequence

135

Section A’

136

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