Khandoshkin Ivan Biography

The country Russia Khandoshkin Ivan Evstafievich is probably Petersburg - according to the specified data, 18 30 III, in the same place - the Russian violinist, composer, conductor, teacher and collector of folk songs. He was the son of a musician Valtornist, who played in the orchestra at the court of Peter III. Musical education received under the leadership of the violinist T.

to be enlisted by the violinist in the court orchestra. Soon, as one of the best performers, it was made to the musician chamber and appointed by a capmer. He taught in music classes of the Academy of Arts.

B was invited to the Yekaterinoslav Music Academy, officially established on the initiative of G. Potemkin, it never existed, with an inspector of the academy. With con. Among his students - I. Khandoshkin was the first outstanding Russian violinist. Possessing the outstanding gift of improvisation and technical skill, he amazed contemporaries with a virtuoso game on the violin.

He also owned alt, balalaika and a 7-string guitar. Khandoshkin’s work, one of the talented Russian composers of the Daglinka era, was closely connected with his performing activities. He created more than 50 cycles of variations on Russian songs, as well as sonatians for violin, 2 violins, violins with bass. The original features of creativity were most clearly manifested in variations on folk topics.

Khandoshkin freely interprets the folk melody, the skillful harmonization of which contributes to its enrichment, the disclosure of figurative content. Khandoshkin variations are detailed concert plays with a finely designed virtuoso texture. Widely using the most difficult technical techniques, he handed over to them the folk manner of instrumental execution.

Some varying methods anticipate the “Kamarin” Glinka. Of considerable interest are 3 sonatas for the violin Solo G-Moll, ES-Dur, D-Dur. Turning to this genre, who was no longer found in European music of the 2nd half of the 18th century. His works on the presentation, nature of thematism and form are approached by the classical sonata of the Haydov-Mozart type.

The composer divides musical tissue into the main and accompanying voices. Basically, the homophone texture of Khandoshkin Sonata contains polyphony elements, double notes, chords, developed virtuoso passages are freely used. The originality of the plan distinguishes the only sonata for the violin and bass, consisting of 2 parts - a calm entry and a brilliant capricchio. In it, improvisation, characteristic of variations, is made to the fore.

Compared to the sonatas for the solo violin, it is remarkable to mix new stylistic features with old performing traditions. Handoshkin’s work, diverse in genres, characterized by courage, virtuoso scope, enriched the Russian instrumental music of the 2nd half of the 18th century. Based on high samples of folk art, developing and improving the violin technique, Khandoshkin created bright, artistically perfect solo-instrumental works, most of them remained in the manuscript.

Many of his works are apparently lost. Works: For the Solo violin - Russian songs with variations, new variations on Russian songs, six sonatas, three sonatas. Shebalin,; For the piano - variations on the Russian song “I will go to the river” and other literature: I. Yampolsky Yampolsky Vetlitsyna Source: Musical Encyclopedia - Gg. Asian luxury coexisted with poverty, education - with extreme ignorance, sophisticated humanism of the first Russian enlighteners - with savagery and serfdom.

At the same time, an original Russian culture developed rapidly. At the beginning of the century, Peter I still cut the beard for the boyars, overcoming their fierce resistance; In the middle of the century, the Russian nobility was explained by the graceful French language, operas and ballets were placed at the court; The court orchestra composed of famous musicians was considered one of the best in Europe.

Famous composers and performers, attracted here by generous gifts, came to Russia. And ancient Rus' in less than a century has stepped from the darkness of feudalism to the heights of European education. The layer of this culture was still very thin, but already covered all areas of social, political, literary and musical life. The last third of the XVIII century is characterized by the appearance of outstanding domestic scientists, writers, composers, and performers.

Among them are Lomonosov, Derzhavin, a well -known collector of folk songs by N. Lvov, composers Fomin and Bortnyansky. In this brilliant galaxy, a prominent place belongs to the violinist Ivan Evstafievich Khandoshkin. In Russia, mostly with negligence and incredulity treated their talents. And no matter how known and loved by Khandoshkin during his lifetime, not one of his contemporaries became his biographer.

The memory of him almost died out soon after his death. The first one who began to collect information about this unusual singer on the violin was the tireless Russian researcher V. Yes, and only scattered sheets remained from his search, which were still invaluable material for subsequent biographers.Odoevsky still found the great violinist, in particular his wife Elizabeth. Knowing his good faith as a scientist, the materials he collected can be believed unconditionally.

Patiently, by the crumbs, the Soviet researchers G. Feeschko, I. Yampolsky, B. In the information about the violinist, there were a lot of unclear, confused. The dates of life and death were not known for sure; It was believed that Khandoshkin came from serfs; According to some data, he studied with Tartini, according to others - he did not leave Russia and never was a student of Tartini, etc.

And now not everything is clarified. With great difficulty, G. Feeschko managed to establish the dates of life and death of Khandoshkin according to the church books of the burial records of the Volkov cemetery in St. Petersburg. It was believed that Khandoshkin was born in the year. Feeschko discovered the following entry: "The year, on March 19, the court retired Mumshinok, C The record indicates that Khandoshkin was born not in, but in the year and buried in a wolf cemetery.

In a number of printed works, it is reported that Eustathius Khandoshkin was a fortress of Potemkin, but there are no documentary data confirming this. It is reliably known that the teacher of Khandoshkin on the violin was a court musician, an excellent violinist Tito Porto. Most likely Porto was his first and last teacher; The version of a trip to Italy to Tartini is extremely doubtful.

Titz, Viotti, etc., can it be that when meeting Sirmen Lombardini with Khandoshkin, it was not noted anywhere that they were tartini's fellow practitioners? It is undoubted that Tartini would not have unnoticed such a talented student, who also came from such an exotic in the eyes of the Italians of the country as Russia. Traces of Tartini's influences in his works do not say anything, since the sonatas of this composer were widely known in Russia.

In a social situation, Khandoshkin achieved a lot for his time. In the year, that is, at the summer, he was admitted to the court orchestra, where he worked until a year, reaching the posts of the first chamber-musician and a dropmaster. In the year, he was listed as a teacher in the educational classes of the Academy of Arts. In classes opened in the year, along with painting, pupils taught subjects from all areas of arts.

They also taught the game on musical instruments. Since the classes were opened in the year, Khandoshkin can be considered the first violin teacher of the Academy. He studied with a young teacher at that time he was 17 years old 12 people, but who exactly was unknown. In the year, a clever businessman and former breeder Karl Knipper received permission to open the so -called “free theater” in St.

Petersburg and for this purpose to recruit 50 pupils, singers, musicians from a Moscow educational house. Under the contract for 3 years, they had to work without salary, and over the next three years to receive rubles a year, but “on their contentment”. The examination conducted after 3 years opened a terrible picture of the living conditions of young actors. As a result, the Object Council was established over the theater, which terminated the contract with Knipper.

At the head of the theater, the talented Russian actor I. He led him for 7 months - from January to July - after which the theater became state -owned. Leaving the director’s post, Dmitrevsky wrote to the guardian council: “.. I leave it to judge the highly responsible advice and the public, who had the children more enlightened: whether I had seven months or my predecessor in three years.” It is significant that the surname of Khandoshkin stands ahead of the rest, and this can hardly be considered random.

There is another Handoshkin’s biography page - his appointment to the Yekaterinoslav Academy, organized in the year by Prince Potemkin. In a letter to Catherine II, he asked: “As in the Yekaterinoslav University, where not only science, but also the arts are taught, should be a conservatory for music, I accept the courage to ask for the dismissal of the court musician Khandoshkin with a complaint for a long -term pension service and with the awarding of the rank of Mundshenka Pridvorsky.” The request of Potemkin was satisfied and Khandoshkin was sent to the Yekaterinoslav Music Academy.

According to the information reported by Feeschko, Khandoshkin left Moscow around March and organized something like a conservatory in Kremenchug, where there were a male choir of 46 singers and an orchestra of 27 people. As for the Music Academy, organized at the University of Yekaterinoslav, there, in the end, its director, instead of Khandoshkin, was approved by Sarty. The financial situation of the employees of the Music Academy was extremely difficult, for years they were not paid a salary, and after the death of Potemkin in the year, allocations ended at all, the academy was closed.

But even earlier, Khandoshkin left for Petersburg, where he arrived in the year. Until the end of his life, he no longer left the Russian capital. The life of an outstanding violinist passed in difficult conditions, despite the recognition of his talent and high positions. In the XVIII century, foreigners were patronized, they were neglected to domestic musicians.In imperial theaters, foreigners had the right to pension after 10 years of service, Russian actors and musicians - after 20; Foreigners received fabulous salaries, for example, Pierre Rode, who came to St.

Petersburg in the city of Russian earnings who held the same positions, hesitated from up to rubles a year.