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A Complete Catalogue

ShebalinVissarion


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VissarionSHEBALIN

(90-963)

His lie and work

Essay

MikhailSEGUELMAN

Moscow, 005


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What have I got to do with music except make music? How could I consider thosewho see me as a mere musician as riends, especially when I dont nd any trace inthem o a desire to join another circle embracing new ways o thinking and eeling() Bach lived or God and music, and nothing more, whereas weve lost all our godsand music is as hard to grasp as a sparrows tail (excerpt rom a letter to his wie,7-9 March, 96).

Now, my boy, were going to be working together. Are you araid? () You see,I have to warn you Were going to start with the Central School o Music2, then ()itll be the Conservatory; so ar, so good. But when we go our separate ways and youre outon your own, wanting to compose music as you - and only you - understand it, youll haveto be prepared to suer very erce criticism that will go on or a long time. So Im going toask that question once again: youre not araid, areyou? (93)3

Vissarion Shebalin ound glory and honour posthumously, alas, and thenwithin a very limited circle o admirers. Yet he was an outstanding teacher ocomposition, the best ater Myaskovsky, his own master. A teacher at MoscowConservatory, and the Gnessin and Central Schools o Music, he trained theelite o Russian composers o the time: Edison Denisov, Soa Goubaidulina,Sergei Slonimsky, Roman Ledeniov, Nikolai Karetnikov, Karen Khatchatourian,Boris chaikovsky, ikhon Khrennikov, Grigori Fried, Alexei Mouravliov, ArnoBabadjanian, Lazar Sarian, Velio ormis, as well as some o those who composed

what was known as the Soviet chanson, such as Alexandra Pakhmutova, BorisMokrussov, Evgeny Ptitchkine, Oscar Felsman. Later, Shebalin had the greatcellist Mstislav Rostropovitch, as well as pianist Lev Naoumov, one o the 0thcenturys outstanding teachers.

aken rom the standpoint o the early st century, Shebalin was obviouslythe best Director the Moscow Conservatory ever had in the history o SovietRussia. Having shaken o the yoke o traditional Russian despotism, Shebalin

was always, in the words o composer and musicologist Boris Assaev, musicsattentive escort. He was much respected and admired or his superior moralqualities, even by his enemies.

Yet in spite o this, Shebalins reputation remains discreet, and his work hasbeen eclipsed by his teaching reputation. Te composer Roman Ledeniov spokepertinently o the dizziness o the extraordinary technical requirements eltby many o his colleagues, a dizziness that made them orget the actual music.

Yet his symphonic works and his chamber music, romances and choruses abound

Vissarion Shebalin, Moscow 1942


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in unexplored splendours. His best works are a blend o exquisite taste and perectthematic harmony and attest to an outstanding technique and great open- mind-edness, or Shebalins music shows a wide variety o inuences.

Vissarion Yakovlevich Shebalin was born in Omsk, in the Akmolinsk area,beyond the Ural mountains, on 9 May 90 ( June on the Gregorian calendar).His ather Yakov Shebalin, who came rom a arming amily rom the province oomsk, taught mathematics, rst in various secondary schools, then in a schoolor surgeons assistants, beore ending his career in an agricultural school. His mother,Apollinaria Shebalina (maiden name Kalouguina), the daughter o a villagepriest, taught in a parish school. Both o Shebalins parents were utterly devotedto music, especially his ather who conducted the college choir.

In the early 0th century the new railway brought crowds o settlers romthe European part o Russia to Omsk. Te amous Soviet poet, Leonid Martinov,riend and ellow pupil o Shebalin, recalls, Sometimes the voice o the muezzincalling rom the minaret would mingle with the sounds o the bell ringing in theLutheranchurch.

Omsks geographical situation so ar away rom everywhere did not mean itwas culturally isolated. It had its own Philharmonic Society, a sister branch o theRussian Music Society. According to Shebalins memoirs, there were not manysymphony concerts, though chamber music, on the other hand, was extreme-ly well represented, as demonstrated by the ample repertoire ranging rom theViennese classics to quartets by Debussy and Ravel, all competently perormed.Te rare symphony concerts did however enable Shebalin to discover Beethoven,Schubert and chaikovsky, whose Symphony n 5moved him immensely. Terst good symphony orchestra I heard was Czech (), and was conducted by [Vaslav]

alik. Te Czech artists perormed works by Smetana and Dvorak; their perormancemade a deep and lasting impression on me5.

Te composers earliest experience o music came rom classes in piano atthe Russian Society o Music, amateur concerts at the Perm Secondary Schoolor Boys, which had its own orchestra and choir, and amily musical eveningsincluding those at the Shebalins home. Te school literary club also helped toorm the young mans personality and tastes, and in no small way. Tis was notentirely because Shebalin wrote poetry either; his understanding and grasp owords and their meaning would later win him the admiration o his peers. Works

by Catullus, Ovid, and Sappho, as well as the classical and modern poets, wereall part o Shebalins literary diet. (Incidentally, he read Latin uently).

In 99, ater hed nished studying at college, Shebalin won a place at theAcademy o Agriculture, the only large school in Omsk. But by sheer chance,the world was deprived o a uture obscure agronomist, or Shebalin ell seriouslyill and had to end his studies abruptly. Instead o doing his military service (he

was not yet old enough to be called up), the composer did the equivalent o whatwould nowadays be called Voluntary Service Overseas, and became librarian othe Siberian State Opera. Tis was when he decided to start composing. In 9he began studying under Mikhail Nevitov at Omsk Music College. Nevitov, apupil o Reinhold Glire, was an extremely talented teacher and a cultivatedman with a vast range o knowledge. It was he who introduced me to music as a

proessionand taught me how to work with care and precision.6. Nevitov revealed Wagnersmusic, that o Richard Strauss and even Schoenberg to Shebalin, as well as the Russiancomposers o the time such as Alexander Scriabin, Anatoli Alexandrov, Alexander Krein,and above all, Nikolai Myaskovsky. Te latters music aroused Shebalins admiration somuch that he entered the Moscow Conservatory in 93.

His rst meeting with the composer took place in the autumn o 9,when he submitted his piano sonata along with some romances and various oth-er pieces, to the master. He clearly has the makings o an excellent composer witha real sense o harmony (and a subtle one at that) and orm, with a preerence ormelody and some really ingenious procedures in his manner o composing - all thisacquired over a very short period - that point to a highly unusual talent.7

Te knowledge Shebalin acquired In Myaskovskys classes, which he ol-lowed rom 93 to 98, were vast and encyclopaedic. In an article covering

the masters 60th birthday, published in the Sovietskaya Mousyka review (N,9), Shebalin outlines the basic principles o Myaskovskys teaching, which

we should add, orm the basis o his own triumphant teaching career. Above all,it was ones duty to pass on musical and cultural knowledge. Nikolai Yakovlevichused to say with a touch o malice but nevertheless rather seriously: You must have areal knowledge o the wealth o [musical] literature so you dont compose somethingthat already exists out o ignorance. Next, one should never teach ones own mu-sic. Like Myaskovsky, Shebalin ound that the best solution to the problems o technique and invention lie within the pupil, and thus take his real ability at any

given stage o his own development into account. 8


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Gradually Shebalin became rst a colleague, then a riend o Myaskovsky.Te composer attended Pavel Lamms parties regularly, where new Russian workswould be discussed or perormed (in the orm o transcriptions or our or eight-handed piano). Shebalin was oten invited to the house o Maxime Goub, anamateur singer; he met the singers daughter Alice here, and in 95 they weremarried.

Shebalins Symphony n 1 was given its rst perormance on 3 November96 in the large concert hall o the Leningrad Philharmonic, with the orchestraunder the baton o Constantin Saradjev. Tis was the young composers rstmajor proessional success.

During his time at the Conservatory, Shebalin ound another riend in the

guise o Dmitri Shostakovitch; later he became riends with Ivan Sollertinsky,a remarkable musicographer. Shebalin adored Shostakovichs music right romthe start, but at the same time he warned young composers against copyingShostakovichs style blindly by using banal themes. He was equally passionateabout Prokoevs music.

In 98, with his new diploma under his belt, Shebalin decided to goon to a doctorate. He began his teaching career at the Moscow Conservatoryduring the same year, and it was whilst he was there that his musical preerencesbecame clearer. Trough their originality o orm, the deep underlying logic andreshness o their harmony () plus their impeccable polyphony, works o his such asthe Symphony [n 1], the String Quartet [n 1], the String rio, two piano sonatas,numerous romances and other pieces all display a quite remarkable compositionaltechnique, wrote Myaskovsky.9

In the late 90s, the composer enlarged his musical eld by composing orthe stage and screen. He worked with some amous Soviet stage directors, notablywith two ounders o so-called artistic theatre, Alexander airov and VsevolodMeyerhold. He composed the music or eight o the latters plays though thelast one was never perormed. Te rst show ever to be perormed to music byShebalin, Illia Selvinskys Komandarm 2, opened on July 99; whereas thedirection aroused strong criticism, Shebalins music received unanimous praise- in act the composer even included some extracts rom his Symphony n3. ButTe Lady o the Camellias(93) ater Dumas junior was the most successul ohis incidental musical works. Meyerholds name was linked to Shebalins or hisearlier stage success, but criticism o the amous director was also levelled at all

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Te Moscow State Conservatory (1934).Seated (rom let to right): eachers: Vissarion Shebalin, Nikolai Myaskovsky,

Nikolai Giliaev, Genrikh Litinsky.Standing (rom let to right): Students: Yuri Yacevich, Aram Khatchatourian,

Senderey (?) and one unidentied person.


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the artists who worked with him. In his articleMeyerhold against Meyerhold-styleFormalism, the director takes up the deence o his composer, Te idea thatShebalin was generally thought to be the composer responsible or ormalism in musicmade me extremely angry, because I know this man has given the theatre works thatwill remain engraved in the memory (), such as no other composer has achieved.I any o my pupils or ollowers or adepts asked me, Id tell them to turn to Shebalinor the music or their shows because he is absolutely unequalled in the eld.0

With Shebalin a symphonic work undergoes some kind o transgura-tion through poetry. Tree Poems by Sergei Essenin or voice and piano become inthe composers own words preparatory studies or the Symphony no.2; the dra-matic LeninSymphonyor narrator, soloists, choir and orchestra was composedin 93, and was ollowed by the Symphony no.4in 935, devoted to the heroes

o the storming o Perekop (one o the Red Armys successul moves during theCivil War) and including songs o the time. Symphony no.3 has already beenmentioned in connection with the showKomandarm 2.

During the 930s, Shebalins success became international, thanks to aperormance o his Second Symphony in Prague (orchestra conducted byO. Jeremeiach) at the music estival o the International Society o Modern Music.It is noteworthy that in the numerous interviews given by Prokoev, wheneverhe spoke o Shebalin, it was always in the most attering terms, especially o theQuartets no.2(93), no.3 and no.4(90). Here is an excerpt rom an interviewwith Prokoev that appeared in the Gazeta Polska(936): Amongst composers ohis generation, Shebalin is the one Id give the major award to. I consider his Quartetno.2 () to be the best o its kind.

Again during the thirties, Shebalin participated actively in the newly ound-ed Union o Soviet Composers. His sights were neither on personal interest nor

glory; the overall interests o music and composers were closer to his heart, justas had been the case ten years earlier when hed been a member o the Associationo Modern Music. It so happened that he ound glory nevertheless, or althoughtotally opposed to the so-called ultra-revolutionary views o several memberso this association, Shebalin was even more ercely opposed to the militantignorance o the members o the Association o Proletarian Musicians who outo indulgence towards some supercial theories about class, tried to deny severaloutstanding musical works in both the classical and modern domains. Both or-ganisations had been dissolved in 93, and were now replaced by the Union oSoviet Composers. But in98, the proletarian musicians, the ones holdingthe reins o the Union, launched a campaign in the press against Shebalin and

attacked him at composers meetings. Shebalin rose to several managerial postsin the Union, including that o Head o the Moscow branch, but his attitude

was decidedly dierent rom that o his inquisitors. He sought to organise lively,animated discussions about contemporary works, to bring support to the best

works o art belonging to the nation and to help his ellow-composers, all hisactivities being entirely voluntary and never paid.

During the thirties, one o his numerous activities was that o restoring ornishing unnished classical Russian works. Tis is how he came to completeMussorgskys Sorotchintskys Fair, but above all, he reconstituted Mickhail GlinkasSymphony on wo Russian Temesby using the composers original notes and theexisting musical excerpts (the introduction and exposition). Nikolai Myaskovsky

wrote, Te Soviet listener owes the pleasure o hearing this symphony in a nished

state () thanks to Shebalins extraordinary art, his intuitive style and very real tal-ent or penetrating the secret o the composers intentions.

On June 9 Shebalin was President o the Minsk Commission orState Examinations or Composers, in Belorussia. He was awarded the title oDoctor o Art Criticism on the same day. Te next day war broke out. On thethird day o war, Shebalin risked his lie by creeping into the Conservatory tocomplete the administrative ormalities that would enable recent diplomas tobe validated. Armed with his briecase and nothing else (all his personal eectshad been destroyed when his hotel was bombed), and with all the railway linesblocked, he crossed the enemy lines and by his own ingenuity escaped beingtrapped, all this entirely ion his own. It was this thanks to him and him alonethat the 9 winners o the diploma could receive their actual certicates oncethe war was over.

In July 9, the composer engaged in the popular militia. Hed beenacquainted with the throes o war well beore the others so was ready to acehis ate. My dear Lenusha, this is perhaps my last chance to send you a letter ().Whatever happens (), be ready to take over as head o the amily. () I I haveto lose my lie, Im going to orce mysel to do it in a way that will be useul to my

atherland, and will not leave me covered in shame, he wrote in a heart-rendingletter to his wie, evacuated to Sverdlovsk.3 He was composing some marches orsymphony orchestra at the time, plus some songs and the Russian Overture.

He stayed in Moscow until October 9, then ater a governmental de-cision, was evacuated to Sverdlovsk (Erkaterinbourg), where he remained oralmost a year. Since the circumstances were propitious (the town had its own


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theatre or musical comedy shows), he composed a light opera, Te AmbassadorsFianc, then set to orchestrating, adapting and adding an act to the classical 9thcentury Ukrainian opera, Te Zaporogue o the Danubeby Goulak-Artiomovsky.It was also here that he conceived the light operaTe aming o the Shrew, aterShakespeares play, which then became the basis o a comic opera he wrote in the950s. Again, in Sverdlovsk he composed the Quartet no.5around some Slavtunes, as well as the cycle oFive romances ater some poems by Heine, using hisown translation o the poems.

In autumn 9 Shebalin was appointed Director o the Moscow Conservatoryand o the Central School o Music. Te six years he held the post at theConservatory are now considered to represent its Golden Age, or he achievedthe seemingly impossible. During the years o hardships due to wartime, not

only did he manage to engage or bring back the very best teachers out o evac-uation, he also improved the curriculum and above all the atmosphere inthe Conservatory. He attached great importance to teaching that would standthe test o time without interruption. At the Central School o Music he hand-picked a small group o budding prodigies or his composition class, includingNikolai Karetnikov, Sergei Slonimsky, Alexandra Pakhmutova, etc. At theConservatory, he gave musicology a new lease o lie by supporting the researchofce and instigating seminars devoted to studying sources and texts.

Not all the reorms he advocated were put into action, notably the oneconcerning the appointment o Italian teachers or the singing department at theConservatory. Te note he wrote ater his return rom Italy to extol the idea ellinto the hands o the apparatchikso culture in that sad year o 98.

His behaviour in this terrible year was worthy o a soldiers courage onthe battleeld. Te decree issued by the Central Committee o the Soviet UnionCommunist Party accused the major Soviet composers o ormalism, adulation othe West, and deviation rom the Party line in the training o young composers.Shebalin, as Director o the Conservatory, Shostakovich, who taught there atShebalins request, and Prokoev were amongst the rst to undergo the impact othese accusations. Shebalin deended both his students and his ellow-teachers,and tried to soten the harsh blows dealt by the Soviet ideology, but the price hepaid or these episodes was a stroke at the age o 5, leaving works unwritten andthoughts unormulated, and curtailing his short - all too short - lie. In autumn othe same year he was dismissed rom his post at the Conservatory, where he onlyreturned in 95. Ivan Petrov, a remarkable military band conductor and riend

o Myaskovsky and Shostakovich oered asylum to Shebalin at the MilitaryConductors Institute. According to the composers niece, Oxana Jelokhovtseva,the Central Committee summoned Petrov to ask why he hadnt sought advicebeore taking this kind o initiative. Petrov bravely replied, Usually I only askadvice when Ive got doubts aboutwhat Im doing.5 Another detail says a lot aboutShebalin, too: he implored Petrov to think about the unpleasant consequences ohis decision. But the necessary department note was signed instantly. When hegot home, Shebalin could not hold back his tears

Te Sonata or violin and viola, the Quartets no.6and no.7and the rioorpiano, violin, and cello are amongst Shebalins loveliest works rom the late0s. Ater 98, the composer attacked a new genre, choral music. It would benaive to think this new departure in his work was provoked by Party directives

(the Jdanov decree called upon composers to write music on texts taken romolklore), but Te FiveChoruses on poems by Pushkin, op.42are a masterpiece otheir kind and it would be hard to produce anything simpler, yet what innova-tion, what reshness they display!

On September 953 Shebalin suered a stroke. His right side was para-lysed and he could no longer speak. In his periods o remission hecontinued to

work with his students and wrote his scores with his let hand. During the lastyears o his lie he composed the Quartets no.8and no.9, the rilogy oSonatas

or violin, viola andcello, op.51, some choral works and some incidental and lmmusic. Te rst perormance oTe aming o the Shrewwas given in October955, with piano accompaniment, by the Soviet Opera troupe rom the CentralHall o Artists in Moscow. Its rst real stage production took place in 957 atKoubichev (Samara). In 96, Shebalin took up his Symphony no.4again, thennished the FithSymphonyjust one year later.

Te composer died in Moscow on 9 May 963.

Shebalin is hardly ever perormed nowadays and certain works have notsurvived beyond their time (aesthetic and artistic diktatstake pride o place overthe value o the composers musical personality). No doubt a lack o curiosity onthe part o perormers may also account or this, or, even worse, their negative

judgements, not very proessional and issued ar too hastily. Without claimingto oer an in-depth analysis o his music, we propose to list Vissarion Shebalins

works in detail. Te symphonic works comprise ve symphonies, the DramaticLenin Symphony, a Sinonietta, some suites and overtures covering dierent


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styles o Soviet music rom the 90s right up to the early 960s. Te rst and lasto these works are the Firstand Fith Symphonies, dedicated to Myaskovsky andin memory o him respectively. Te Second Symphony, the Lenin Symphonyandthe Fourth Symphonywere inspired by literary themes or works o literature.

Te Second Symphony, in C sharp minor, op. (99) is an unjusti-ably neglected masterpiece. As mentioned above, it was inspired by a cycle oromances on poems by Essenin. Shebalin had a real talent or transusing a vo-cal element into his symphonies, but here it is more the idea o common styles,links between the world o poetry and the world o music, that prevail. Tistwo-part dynamic work uses a very interesting musical vocabulary, where the im-pressionist accents o the overture (violins, then violas) give way to the incisive,dramatic tone o the nale.

Te dramatic symphony Leninor narrator, soloists, chorus and orches-tra, op. 16(93) was inspired by the poem Vladimir Ilitch Lenin by VladimirMyakovsky. Te work is typical o Soviet symphonic composition o the earlythirties, hailing revolutionary ideas and tending to associate conventional ormswith the new ideology and propaganda. Te idea o the chorus is highly origi-nal. In 97, Dmitri Shostakovich composed his Symphony n 2, known as theOctober Symphony, ollowed by his Tird Symphonyin 99, known as the Firsto May Symphony, bothwith a chorus, and both ater Soviet poems. So here thechorus does not merely have a so-called semantic role, it also intervenes as aspecial eect. In Shebalins Dramatic Symphony, however, eects are secondary;it is the proound sense o tragedy that prevails. As an uncontested master opolyphony, Shebalin begins his composition with a ugue. Te slow part is anadaptation o the baroque style rom its most ourishing period, as ound in theoratorios o Bach and Handel.

Symphony n 3, C major, op. 17, (935) is in his own words, a tribute toProkoev. Te composer inserted excerpts rom his work or the playKomandarm2into this symphony. Te Finale(th part) is one o the numerous examples opolyphony used in the sonata orm. With the passacaglia and double ugue, thetheme o the ormer is also the second theme o the latter.

At rst sight Symphony n4 Perekop, in B fat major, op. 24 (935) be-longs to the tradition o Soviet symphonies o the 30s, pot-pourris where onesong ollows another, to comply with ofcial recommendations. But Shebalinhas composed a real symphony by subversively undermining such absurd in-

structions. Amongst the works that provided his inspiration, he quotes HectorBerliozs Great FuneralSymphony. In 96, he undertook the task o revising thissymphony or a new score.

Symphony n 5 in C major, op. 56(96) returns to the pure art o sym-phonic composition. It was composed ater a pause o several years, and we canonly regret that circumstances and illness oten prevented Shebalin rom composingother symphonies (in the same way as Shostakovich, once hed seen the vio-lent opposition to his Lady Macbeth, didnt want to compose any more operas).Te writing o this Fith Symphonywas inuenced by Russian epic symphonies.

Te Violin Concerto in G minor, op. 21 (90), the summit amongst allShebalins creations o the 30s, is the most perect o his symphonic works. It was

given its rst perormance on 9 December 90 by the Leningrad Philharmonicunder the baton o Edward Grikurov (soloist Isaak Jouk). Unortunately, theenthusiastic opinions o Shostakovich, Sollertinsky and some o the best critics

were not able to help revive this work that so rapidly ell into oblivion. UnlikeKhatchaturians Violin Concerto, composed the same year and inuenced byRomanticism, Shebalin turned more to the Baroque.Te relationship betweenviolin and orchestra as well as that between the groups o dierent instrumentsis closer to the model o a concerto grosso. Te work comprises an introduction,a ugue, an arietta, a rondo. Te ugue is a combination o typically Bach-stylethemes, modern melodies and dodecaphonic elements. Te aria has some som-bre, dark accents, with typical orchestration or the theme: a double bass, abass clarinet, two clarinets and an oboe, with a harp in addition. Te nale isa symphonic rondo. Te Violin Concerto is certainly another neglected master-piece. Criticisms levelled at it by certain Soviet critics appear all the more stupid;according to Yuri Khoklov, author o Te Soviet Violin Concerto, ormalism

prevails6 in this Opus 21.

Shebalins chamber music is ull o wonderul passages that have still notbeen appreciated or their true worth. Like all the masters o the past, Shebalin,liked working with very limited groups o musicians, and it is precisely here thathis impeccable taste comes to light, as do his artistic sense and logic in the wayhe handles the theme and its development. Te Sonata or violin and viola inC minor, op. 35(9), is a agrant example here: the composer has recourseto both the principles o baroque music and those o the sonata. His musicalvocabulary is a ree and personal reworking o the neoclassical idiom (wherethe inuence o Prokoev and Hindemith can still be perceived, nevertheless).


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Amongst Shebalins neoclassical works, the Piano Sonatinas, op.12 (99) areparticularly worthy o mention.

Each o the composers nine Quatuorsmerits a detailed individual study.But its the Quatuor n 5 on Slavonic Temes, in F major, op. 33 (9) that isthe most popular. Te themes o all ve movements are borrowed rom Russian,Slovakian, Ukrainian, Polish and Serbian olklore in turn. Shebalin really ap-preciated the variation and used it requently; here it is his main method odevelopment, and reaches the height o its complexity in the Finale.

In the rio or piano, violin and cello in A major, op. 39(97), the themewith variations (third part) seems to divide the cycle into our parts, and serve

as the module or the whole work, inspired by a chaikovskyrio in memory othe great artist, Nikolai Rubinstein. In the purest Russian piano trio tradition,the principal theme is quite slow. In the Finale, however, it takes on the plenitudeo a generously majestic peal o bells. According to Alexander Bonduriansky,teacher at the Moscow Conservatory, and pianist with the Moscow rio, this riois an epic canvas close to the legends o the Old Russia.7

My relationship to romances has evolved somewhat () In the early days I hada modernist conception o the voice and its accompaniment, even when consideredin a baroque perspective. Ten I elt more and more drawn towards simplicity andmodesty, wrote Shebalin8. He also said that over time, the original chant (melopea)had given way to a more highly developed vocal cantilena. His choice o authorsat this period attests to this decisive moment - it ranges rom Sappho, Rilke, Blok,Akhmatova, Khodassevich to the Soviet poets, via Pushkin, Lermontov and Heine.Amongst others, mention should be made o the Five Romances ater poems byHeine, op.26 (1942), plus the Six Romances ater Poems by M. Lermontov, op.48

(939; 95-95).

Like his master Myaskovsky, Shebalin did not have the pleasure o hear-ing his own symphonies played with any regularity. His chamber music, on theother hand, ound perormers whilst he was still alive. His quartets have beenplayed by some outstanding musicians, notably the Beethoven and BorodinQuartets (Dmitiri Shebalin, the composers son and a remarkable viola player,was a member o the latter or a while). Tese musicians have also perormedworks by Shebalin in duo or trio, e.g. Dmitiri syganov, the violinist o theBeethoven Quartet and Vadim Borissovsky, the viola player o the same quartet,have played the Sonata or violinand violaas a duo. Pianist Lev Oborin, violinist

David Oistrakh and cellist Sviatoslav Knuchesvitsky have given a remarkableversion o the Piano rio, and Leonid Kogan gave a wonderul rendering o theViolin Concerto. Te choral works remain very popular, especially those inspiredby Pushkins poetry. Te operaTe aming o theShrewhas been produced manytimes on stage (it has recently been staged by the Moscow Chamber MusicTeatre, with Boris Pokorvsky conducting).

But the act remains that Shebalins work is rarely perormed. We hopethat the publication o the catalogue o his works will revive or arouse new inter-est in them, so they can at last take the place they deserve in the annals o 0 thcentury music.

Shebalin owes a lot to Alice Maximovna Goub (Shebalina) (90 - 00).

As heir to his work, she held his posthumous ate in her hands. A trained doctor,she helped her husband back to an active lie ater his illness. Her contributionto the promotion o his music and the preservation o his correspondence willnever receive the appreciation it deserves. Alice Shebalina took an active partin setting up the rst editions o all the group works published over a period oty years ater the composers death, in particular the authorised biography ohis lie and works based on original sources (letters, documents, excerpts romcorrespondence, articles etc.; c. Vissarion Yakovlevich Shebalin, Years and works).Te volume named VissarionYakovlevich Shebalin, Lie and works, that containsnotably completely unknown extracts rom the memoirs o the composer andhis close circle o riends, was also prepared with Alice Shebalinas help, but onlypublished ater his death.

Mikhail Seguelman

Shebalin on music and musicians. aken rom his memoirs, letters and notes (unpublished)// V.Y. Shebalin,His lie and work. exts selected by Valeria Rajeva, Moscow 003, p. 6.

Te Central School o Music, near the Moscow Conservatory, where musically gited children study accordingto a combined programme covering that o secondary school, primary music school and secondary musicschool (early years). At the end o this cursus pupils are awarded a diploma marking the end o theirsecondary studies.

3 Nicolai Karetnikov, My rst lesson// In memory o Shebalin. Memoirs, documents. exts selected by AliceShebalina, edited by Marina Sabinina.Moscow, 98, p. 5.

Leonid Martinov, Collected Works, Moscow, v. III.// Alice Shebalina. V.Y. Shebalin, His Lie and Works,edited by Marina Sabinina, Moscow, 98, p. 5.


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5 Memoirs o V.Y. Shebalin // V.Y. Shebalin, His Lie and Work, p. 9.6 Ibid., p. 0.7 Letter rom N. Myaskovsky to M. Nevitov // In Memory o Chebalin, p. 7.8 V. Shebalin, Myaskovsky the Master // Collected Documents in two volumes, v. I, Moscow, 96, p. 99-00.9 Personal le o V. Shebalin, Archives o the Moscow Conservatory// His lie and works, p. 53.0 Vsevolod Meyerhold, Articles, Letters, Speeches, Interviews, part II, Moscow, 968 // Isaak Glikman, Meyerhold

and the Musical Teatre, Leningrad, 989, p. 33-3. Prokoev on Prokoev. Articles and interviews. Edited by V. Varounts, Moscow, 99, p. 35. N. Myaskovsky, Letter to theJournal oSoviet Art, 8 March 938// His Lie and Work, p. 0. In the same

letter Myaskovsky criticises Yuri Keldych, one o the teachers at the Moscow Conservatory, violently. Telatter had made some serious mistakes on the programme o the concert o Glinkas music (an erroneousdenition o the orm o the compositions. Hed also described Glinkas orchestral piece In Memory o Friendshipas being stylistically in the spirit o the 8 th century, whereas it is in act an orchestration o the NocturnebyJohann Nepomuk Hummel).

3 Letter rom Vissarion Shebalin to Alice Shebalina// His Lie and Work , Moscow 990, p. .

Te Central Committee o the Soviet Union Communist Party i.e. Bolsheviks.5 Oxana Jelokhovtseva, He Had A Noble Soul// Lie and work, p. 330.6 Yuri Khoklov, Te Soviet Violin Concerto, Moscow, 956, p. 57.7 Alexander Bonduriansky, Notes on the Piano trios o V.Y. Shebalin// Lie and work, p. 330.8 Memoirs o V.Y. Shebalin // Lie and work, p. 66.

Vissarion ShebalinCatalogue o Works published by Editions Le Chant du Monde

with opus numbers

Te catalogue o Vissarion Shebalins works can be oundwithout opus numbers on the website o

Les Editions Le Chant du Mondeunder the heading composer.

http://www.chantdumonde.com

Op.1, 1922wo Poems by Richard Dehmel

wo romances or voice (high register) with piano, on two poems by Richard

Dehmel.

ranslation by D. Usov.

Dedicated to A.F. Gube.

. Te evening voice.

. From aar.

First edition: Music division o Gosizdat Publishers, 96.

First perormance: 9 October 9, Moscow, N. Alexandrova, An. Alexandrov.

Op.2, 1923String Quartet n 1

Dedicated to Mikhail Nevitov.

. Allegro.

. Andante tranquillo, con espressione.

. Vivo.


New edition: Muzguiz, 963.First perormance: 9 October 9, Moscow, Te Moscow Conservatoire Quartet.

Arrangement or -handed piano by the author.

Manuscript. Te composers archives.

Op.3, 1922 - 1923Five pieces on poems by Sapho

For voice (high register) and piano.

ranslation by Viatcheslav Ivanov.

Dedicated to N.G. Alexandrova.


11/25

0

. I like sensuality.

. I the young woman is in my house.

3. Te time will come.

. In the nymphs grotto.

5. No oak can withstand the orce o a violent wind.


First perormance: 9 October 9, Moscow, N. Alexandrova, An. Alexandrov.

96 New revised version.


Op.4, 1924rio in G minor or violin, viola and cello

Dedicated to Mikhal Leonovich Starokadomsky.

.Moderato. Allegro risoluto.. Cantabile.

3. Vivace con severita.

. Teme and variations.

Manuscript. Te State archives (Literature and Fine Arts).

First perormance: March 98, Moscow, B. Simsky, G. Gambourg, V. Kubacky

(members o the Stradivarius Quartet).

New revised version.

First edition: Muzguiz, 937.

First perormance: March 93, Moscow, Ya. argonsky, E. Strakhov, L. Adamov.

Op.5, 1925Plantain

On texts by Anna Akhmatova.


. I asked the cuckoo.. Silence ell in the house.

3. I havent put curtains up at my windows.


New edition: Muzguiz, 96.

Anthology Selected Romances and Songs, Book .

Op.6, 1925Symphony n 1 in F minor

Dedicated to Nikolai Myaskovsky.

. Moderato.

. Andante, molto quieto.

3. Allegro guisto.

First perormances:

3 November 96, Leningrad, conducted by Constantin Saradche.

0 March 99, Moscow, conducted by Nikolai Golovanov.


1935 Arrangement or two -handed pianos by Pavel Lamm.Manuscript. Te composers archives.

Op.7, 1925wo Poems by Alexander Blok

wo poems or baritone with piano.

.Te pipe began to sing.

. Late autumn.First edition: Music division o Gosizdat Publishers, 96.




Op.8, 1921Rondo or piano

Dedicated to Lev Oborin

Manuscript. Lev Oborins archives.

First perormance: 0 March95, Moscow, Lev Oborin.

1925 New revised version.First edition: Music division o Gosizdat Publishers, 95.

Op.9, 1926 - 1929Tree poems by Sergei Essenin


Dedicated to Alice Maximovna Shebalina.

. Te Cow.

. Te Fox

3. Song about a dog.



Anthology Selected Romances and Songs, Book.

First perormance: March 98, Moscow, O. atarinova and the composer.


12/25

Op.10, 1926-1927Sonata in E fat minor or piano

Dedicated to N.S. Gilyaev.

. Andante. Allegro agitato.

. Andante con espressione.

3. Allegro ermamente.

Manuscript. Te State archives (Literature and Fine arts).


Op.10a, 1929wo poems by Rainer Maria Rilke

For voice (medium register) and piano.

Dedicated to M.G. Gube.. Manchmal geschiet es in tieer Nacht [Many times in the still o the night]

. rume [Dreams]


Op.11, 1929Symphony n 2 in C sharp minor

Dedicated to Alice Maximovna Shebalina

. Andante.

. Allegro assai.


First perormance: 6 May 93, Moscow, conducted by Vassily Shirinsky.

New edition: Soviet composer, 976.

Arrangement by the author or our-handed piano.


1935 Arrangement by Pavel Lamm or two -handed pianos.Manuscript. Te composers archives .

Op.12, 1929Tree Piano Sonatinas

Sonatina n1 in E fat major

. Moderato non troppo e cantabile.

. Song.

3. Fughetta.

Sonatina n2 in C major

. Prelude.

. Song.

3. March.

. Rondo.

Sonatina n3 in A major

. Introduction.

. Burlesque.

3. Meditation.

. Finale.

First edition: Muzguiz, 93, 936.

First perormance: January 93, Moscow, Heinrich Neuhaus

Op.13, 1930Blue May, ree country

Cantata or choir and orchestra on the text by Nikolai Asseev.


First perormance: December 93, Moscow, Te Bolshoi Teatre Choir and

Orchestra conducted by Vassily Shirinsky.

Op.14 n 1, 1931-1932Concertino in G major or violin and string orchestra

Dedicated to Ya.B. argonsky

. Allegro (quasi cadenza).

. Largo e cantabile.

3. Allegro.


First perormance: 8 April 93, Moscow, Ya. argonsky and the Moscow

Conservatoire Orchestra, conducted by V. Pokrovsky.

New revised version o the part or violin: L. Feigin

First edition: Te Soviet Composer, 960.

Arrangement or violin and piano by the author.


Op.14, n 2, 1933Concertino in C major or French horn and small orchestra

. Moderato cantabile. Allegro.

. Andante.


13/25

5

3. Vivo.


First perormance: 93, Moscow, A. Yankelevitch & the USSR Radio Orchestra,

conducted by Nikolai Anossov.



First perormance: December 96, Moscow, B. Aanassiev and the USSR

Radio and elevision Orchestra, conducted by Leo Ginzbourg.

Arrangement or French horn and piano by the author.


Op.15, 1930Four Songs on texts by A.HidasFor voice (high register) and piano.

.Te grain is beginning to ripen.

. Evening has come.

3. Sleep, little boy.

. Friend ucodis song

First edition: Muzguiz, 93, 933.

New edition: Te Soviet Composer, 96.

Anthology Selected Romances and songs, Book .

1931 Arrangement or voice (high register) and orchestra by the author.Manuscript. Te music library o the Radio and elevision State Committee

First perormance: 0 March 93, Moscow, Elena Kruglikova,

Te Moscow Philharmonic, conducted by Vassili Shirinsky.

Op.16, 1931Lenin

A dramatic symphony or narrator, soloists (soprano, mezzo-soprano, tenor and

bass), choir and orchestra, ater the poem by Vladimir Mayakovsky Vladimir

Ilich Lenin.

. Allegro risoluto.

. Largo.

3. Moderato non troppo e risoluto.

First perormance: 6 November 93, Moscow; K. Derzhinskaya, V. Davydova,

A. Alexeev, V. Slivinsky and A. Glumov (narrator), Bolshoi Teatre Orchestra

conducted by Alexander Melik-Pachaev.


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6 7



First perormance: 5 April 960, Moscow; soloists . Antipova, V. Borisenko,

A. Orenov, A. Petrov and B. Morgunov (narrator), Te Republican Choir

conducted by A. Yurlov,

State Radio and elevision Orchestra conducted by Alexander Gauk.

Arrangement or voice and -handed piano by the author.


Op.17, 1934 - 1935Symphony n 3 in C major

Dedicated to Dmitri Shostakovich.

. Allegro assai.. Moderato.

3. Vivo assai.

. Moderato e maestoso. Allegro assai (Passacaglia e uga).


First perormance: February9, Moscow, Te State Symphony Orchestra,

conducted by Nikolai Anosov.

Arrangement or two -handed pianos by Pavel Lamm.


Op.18, 1934 - 1936Orchestral Suite n 1

Dedicated to Lev Atovmian.

. Funeral march.

. Dance.

3. Slow waltz.

. Dance.

5. Song.

6. Waltz.

First edition: Soviet Composer, 96.

First perormance: May 93, Moscow, Te Bolshoi Teatre Orchestra

conducted by Viktor Kubatsky.

Op.19, 1934String Quartet n 2 in B fat major

Dedicated to the Beethoven Quartet.

. Largo. Allegro.

. Andantino. Vivo.

3. Andante cantabile.

. Allegro risoluto.


Scores and parts.


First perormance: 8 March 935, Moscow, Te Beethoven Quartet.

Op.20, 1933 - 1934

Overture or choir and orchestra on a text by Sergei Gorodetsky

(ad libitumchoir)

Manuscript. Te music library o the State Committee or Radio and elevisionFirst perormance: 8 January 93, Moscow, Orchestra and Choir o the Radio,

conducted by Alexander Gauk.

Op.21, 1936 - 1940

Concerto in G major or violin and orchestra

Dedicated to I.A. Zhuk.

. Introduction and ugue.

. Maestoso. Allegro.

3. Air. Andante.

. Rondo. Allegro.


First perormance: 5 November 90, Kiev, I.A. Zhuk and Orchestra,

conducted by Leo Ginzbourg; 9 December 90, Leningrad, I.A. Zhuk and

the Leningrad Philharmonic, conducted by Edward Grikurov.

Arrangement or violin with piano by the author.

First edition: Te Union o Soviet Composers Publications, 93.

Op.22, 1935

Suite n 2 or Orchestra

(adapted rom the incidental music oTe Lady o the Camelliasby Alexandre Dumas).


1961 New revised version.In memory o Vsevolod Meyerhold.


15/25

8 9

. Waltz.

. arentella.

3. Slow waltz.

. Bolero.

5. Romantic waltz.

6. Pot-pourri.

7. Romance without words.

8. Gallop.


First perormance: 9 October 96, Moscow, State Symphony Orchestra

conducted by Evgueny Svetlanov.

Op.22 bis, 1934Suite or voice (high register) and orchestra

(adapted rom the music oTe Lady o the Camellias by Alexander Dumas, on

texts by Pierre-Jean Branger, Heinrich Heine, Michael Kuzmin).

Dedicated to V. Dukhovskaya.

Manuscript. Archives o V. Dukhovskaya.

Arrangement or voice (high register) and piano by the author.

First perormance: 7 February 935, Moscow, V. Dukhovskaya and V. Vassiliev (piano).

Op.23, 1935

12 poems by Alexander Pushkin

For voice (middle register) and piano.

Book .

. o Adle.

. Te Rose.3. Elegy.

. Ardent desire burns in my blood...

5. Spanish Romance.

6. I am there, Inesiglia

Book .

7. Its time, my riend, its time.

8. Page rom an album.

9. Te Nightingale and the rose.

0. I drink to Maries health...

.What good is boredom?

. Arion.




First perormance: 8 May 936, Moscow, E. Romanova and Boleslav Yavorsky

(piano).

Je suis l, Inesiglia

For voice (middle range) and orchestra, to lines by Alexander Pushkin.

Manuscript. Te music library o the State Committee or Radio and elevision

First perormance: 7 April 935, Moscow, Radio, V. Issaeva, Radio Orchestra

conducted by E. Senkevich.

Spanish Romance

For voice (middle range) and orchestra, to lines by Alexander Pushkin.

Manuscript. Te music library o the State Committee or Radio and elevision

First perormance: 7 April 935, Moscow, Radio, V. Issaeva, Radio Orchestra

conducted by E. Senkevich.

Op.24, 1935Symphony n 4 in B major

Dedicated to the heroes o Perekop.

. Andante. Allegro. Andante.

. Allegro molto.


First perormance: 7 February 936, Moscow, Te Radio Orchestra conducted

by Alexander Gauk.



First perormance: 8 October 977, Moscow, Symphony Orchestra o the

Moscow Philharmonic, conducted by B. Gusman.

935 Arrangement by Pavel Lamm or two our-handed pianos.


96 Arrangement by the composer or our-handed piano.



16/25

30 3

Op.25, 1936Overture or orchestra in D major on Marian themes

First edition: Musond, 9.i


First perormance:8 December 936, Moscow, Te Radio Orchestra conducted

by Nikolai Golovanov.

Op.26, 1940-1942Five Romances

o words by Heinrich Heine (translated by the composer), or voice (middle

range) and piano.

Dedicated to M.G. Gube.

. On the distant horizon.

. By the sea.3. A cold gloom holds me in its grip.

. My heart, my heart, you were suering.

5. Te Sombre North




First perormance: 5 March93, Moscow, Vladimir Zakharov and E. Yakobson

(piano).

Op.27, 1939,1956 - 1959Te Sun Over the Steppe

Opera in 3 acts, 6 tableaux. Libretto by Ya. Galitsky.

About civil war in Russia; the action takes place in Stanitsa, a Cossack village on

the River Don, in 99.

Manuscript. Te State archives (Literature and Fine Arts).First edition: Te Soviet Composer, 96.

Arrangement or piano

First perormance o ragments o the opera: 8 December 939, Moscow,

Te Soviet Opera Ensemble o the Russian Teatre Society, conducted by K.

Popov, choir master Ivan Youkhov.

First perormance o the whole opera: 9 June 958, Moscow, Te Soviet Opera

Ensemble o the Russian Teatre Society, conducted by S. Malyavin.

Arrangement or voice with piano by the composer.


Op.28, 1938String Quartet n 3 in E minor

Dedicated to Nikolai Myaskovsky.

. Allegro.

. Vivace.

3. Andante.

.Allegro risoluto.



First perormance: 8 November 939, Moscow, Beethoven Quartet.

Op.29, 1940String Quartet n 4 in G minor

In memory o Sergei aneev.

.Allegro.

.Andante.

3.Vivo (Alla marcia).

. Andante. Allegro assai.

First edition: Publications o the Union o Soviet Composers, 93.


First perormance: 3 November 90, Moscow, Beethoven Quartet.

Op.30, 1939 - 1940Orchestral variations on a popular Russian theme

(My countryside, open countryside taken rom the anthology by Mili

Balakirev

0 popular songs rom Russia).

. Largo.

. Andante cantabile (Teme).

3. Istesso tempo (I var.).

. Pi mosso (II var.).

5. Allegretto (III var.).

6. Vivo (IV var.).

7. Adagio (V var.).

8. Allegro assai (Finale - VI var.).


New edition: Publications o the Union o Soviet Composers, 97.

First perormance: Radio, October 9, Te Radio Orchestra conducted by

the composer; 3 November 90, Moscow, Te State Symphony Orchestra

conducted by Alexander Gauk.

3


17/25

3 33

Op.31, 1941

Russian Overture in E minor or orchestra


First perormance: 7 June 9, Moscow, Te State Symphony Orchestra

conducted by Nikolai Anossov.

Arrangement or our-handed piano by the composer.

Manuscript. Te Glinka State Museum o Musical Culture.

Arrangement by A. onin or orchestra o olk instruments


Op.32, 1937 - 1939

Four poems by Sappho


Dedicated to E.V. Kopossova-Derzhanovskaya

. Waiting.

. Prayer to Aphrodite

3. ears or Adonis

. Beloved Mother

1945 New revised versionManuscript. Te composers archives.

Op.33, 1942

String Quartet n 5 in F major

(on Slav themes).

.Moderato. Allegro.

. Andante.3. Allegretto.

. Andante.

5. Finale. Allegro.



First perormance: November 9, Moscow, Beethoven Quartet.

Arrangement or piano by the composer.

Manuscript. Glinka State Museum or Musical Culture

Op.34, 1943

String Quartet n 6 in B minor

. Allegro.

. Andante.

3. Vivo.

. Allego giusto.


First perormance: 6 January 9, Moscow, Beethoven Quartet.

Op.35, 1940 -1944

Sonata in C minor or violin and viola

. Allegro assai.

. Andante espressivo.

3. Vivace.


New edition: Publications o the Union o Soviet Composers, 97.

First perormance: 5 April 95, Moscow, Dimitri siganov (violin) and

Vadim Borisovsky (viola).

Op.36, 1936 - 1937

Four Romances on texts by Alexander Pushkin


. Cassack

Dedicated to V. Dukhovskaya.

. On the pebbles, on the yellow sand

3. Zemphiras Song

. On Anacreon


Anthology Pushkins work in the romances and songs o Soviet composersNew edition: Te Soviet Composer, 96.


Op.37, 1943

Te Lark

Choreographic suite or orchestra. Libretto by Kasyan Goleizovsky.

. Introduction.

. Dance o the young maidens.

3. Song and scene o the lark.


18/25

3 35

. Duet: Young girl and a shepherd.

5. Final dance.


First perormance with choreography: May 9, Moscow, Te Bolshoi Teatre

Dance School

First symphonic perormance: 3 January 96, Te State Symphony Orchestra,

conducted by Vassily Nebolsine.

Arrangement or piano by the composer.


Dance o the young maidens, taken rom the Choreographic Suite Te Skylark.

Arrangement by Edison Denisov or our-handed piano.

First edition: Muzguiz, 96. Album o easy arrangements or our-handed piano, N.

Op.38, 1946Moscow

Cantata or soloists (soprano, mezzo-soprano, tenor and bass), choir, organ and

orchestra

o words by B. Lipatov.

. Moscow.

. Song o the young girl.

3. Battle.

. Memory.

5. Glory.


First perormance: December 96, Moscow, O. Sveshnikova, Z. Petrova,

N. Dugine,V. utunnik, Moscow Conservatory Choir and Symphony Orchestra conducted

by Nikolai Anossov, Choirmaster V. Mukhin.

Arrangement or voice and our-handed piano by the composer.

First edition: Musond, 96.

Arrangement or voice and piano by Lev Atovmian.


New edition: Music, 968.


19/25

36 37

Battle(third part o the Moscow Cantata)

Arrangement or choir and piano by the composer.

First edition: Muzguiz, 95. Choral Anthology o the Glory o the

Fatherland, n.

Op.39, 1946 - 1947rio in A major or violin, cello and piano

Dedicated to Lev Oborin, David Oistrakh and Sviatoslav Knushevitsky.

. Moderato.

. Allegro assai.

3. Largo (Tema con variazione).


First perormance: January 950, Moscow, Lev Oborin, David Oistrakh and

Sviatoslav Knushevitsky.

Op.40, 1948Seven Songs to lines by A.Kovalenkov(taken rom the book Te Clear Day)


Dedicated to Alice Maximova Shebalina.

. Song.

. Forget my tears.

3. Te carp (Te snow has melted, its spring in the valley, ).

. Surrounded by marshland owers.

5. ourist (Te Silver birch is leaning over the precipice...).

6. Sad note (Te song is sung on a sad note...).

7. Te blue air is ull o sunshine.

First edition: Muzguiz, 956. N, , 5-7 in Five songs to lines

by Kovalenkov.


Anthology Selected Romances and songs, Book .First perormance: 8 June 957, Moscow, Nina Dorliak and Vera Shubina (piano).

96 Arrangement o songs ns , , 5-7 or voice (high register) and orchestra.


Op.41, 1947- 1948String Quartet N 7 in A major

Dedicated to the Beethoven Quartet or its 25th anniversary.

. Allegro moderato.

. Vivo.

3. Andante.

. Allegro assai.

First edition: Muzguiz, 95. Scores.


First perormance: December 98, Moscow, the Beethoven Quartet.

Op.42, 1949Five unaccompanied choruses

o verses by Alexander Pushkin.

. Message to the Decembrists (At the bottom o the Siberian mines...).

Dedicated to A.V. Sveshnikov.

. Winter road (Trough the showery mist ).

Dedicated to A.V. Sveshnikov.

3. Stenka Razins Song (Not a single horses hoo should be heard...).

Dedicated to V.P. Mukhin .

. Echo (I an animal bellows in the depths o the orest...)

Dedicated to S.V. Popov.

5. A white-anked chatterbox (A white-anked chatterbox at my gate).

Dedicated to D.S. Vasiliev-Buglay.

First edition: Muzguiz, 950. N, , , 5 in the anthology Four choruses to

verses by Alexander Pushkin.


Anthology Selected choruses.

First perormance: 30 November99, Moscow, Choir o the Russian Republic

conducted by K. Lebedev.

Op.43, 1949 - 1951Sinonietta

. Moderately ast.

. Expressivo - cantabile3. With ease, ast.

. Slowly.


First perormance: November 95, Moscow, Great Radio Symphony

Orchestra conducted by Alexander Gauk.

Arrangement or our-handed piano by the composer.


Andante (Fourth movement) de Sinonietta. Arrangement by A. onin or

orchestra o traditional instruments.


20/25

38 39

First edition: Te Soviet Composer, 96. Anthology Arrangements or an

orchestra o traditional Russian olk instruments.

Op.44, 1949Tree unaccompanied choruses

o verses by Alexei Soronov.

. Absinthe (or male choir, With heels, with boots...)

Dedicated to G.G. Ernesaks.

. Virginia creeper (or womens choir, Climbing Virginia creeper...).

3. Immortal (or mixed choir, Day has risen across the steppe...).

Dedicated to A.V. Preobrazhensky.

First edition: Muzguiz, 95, 959, ns , 3 in Selected choruses.

Te Soviet Composer, 958, n in Four choruses.

Op.45, 1950Six unaccompanied choruses

o verses by M. ank.

Dedicated to G.R. Chirma.

. Te Cossack was making his horse run.

. Te Mother passed certain thoughts on to her son.

3 .Te Lark (Spring called it)).

. Te Birch ree (What do you miss rom near your hillside?).

5. A Fine Spring (Te snow plough s topped).

6. Above the Kurgans (Fughetta) (You ell asleep, alcons).

First edition: Muzguiz, 95, 959, ns -5 in Selected choruses.

Te Soviet Composer, 958, n 6 in Four choruses.

First perormance: Minsk, Belorussian Choir conducted by Grigory Chirma.

Op.46, 1946 - 1956

Te aming o the ShrewComic opera in acts and 5 tableaux.

Libretto by A. Gozenpud ater William Shakespeare

First edition: Musond, 956. Version or voice and keyboard.

Second edition: Te Soviet Composer, 958. Version or voice and keyboard.

Tird edition: Muzguiz, 963. Printed scores.

First concert perormance: st October 955, Moscow, Te Soviet Opera

Ensemble o the Russian Teatre Society conducted by O. Bron, directed by

S. Malyavin, Choirmaster M. Grigoriev.

First public perormance: 5 May 957, Kubichev, Te Ballet and Opera Teatre

conductor S. Bergolts, director S. Schtein;

July 957, Moscow, Subsidiary o the Bolshoi Teatre, conductor Z. Khalabala

(Czechoslovakia), director G. Ansimov. Principal roles played by: Petruccio -

Vladimir Otdelenov, Baptista Minola - Mark Rechetine, Katarina - Galina

Vichnevskaya ;

3 January 960, Te Bolshoi Teatre, conductor E. Akulov. Principal roles

played by: Petruccio - E. Kibkalo, Baptista Minola - A. Eizen, Katarina -

. Milachkina.


o verses by Mikhail Lermontov.

Dedicated to A.P. Koposov.

. Te Soldiers omb (Hes sleeping the nal sleep...).

. Te Veil (Te Solitary White Veil...).3. Te Rock (Te Golden cloud was going down).

First edition: Muzguiz, 95, 959, in Selected choruses.

New edition: Muzguiz, 956, n 3 in Choruses.

First perormance: Moscow, Te State Choir, conducted by A. Preobrazhensky.

Op.48, 1951Six Romances to verses by Mikhail Lermontov


Dedicated to N.D. Schpiller.

. Beneath a mysterious cold mask.

. An involuntary tear.

3. Te op o the mountains (Te op o the mountains is swathed in the black

o night).

. I want to live.5. I used to love kisses in those days.

6. I I hear your voice.

First edition: Muzguiz, 955

New edition: Te Soviet Composer, 96, in Selected Romances and songs, Book .

First perormance: 8 November 95, Moscow, N. Schpiller and S. Stutchevsky

(piano).


o lines by Soviet poets.


21/25

0

. A Major Construction. ext by B. Yuzhanin.

Dedicated to V.P. Stepanov.

. On the hillock. ext Ya. Ukhovskoy.

Dedicated to V.G. Sokolov.

3. Sun above the world ext V. Azarov.

First edition: Muzguiz, 95, 959, n , in Selected choruses; n 3 -

Manuscript lost.

Op.50, 1952Four unaccompanied choruses

to verses by M. Issakovsky.

. May every hour be splendid

Dedicated to A.S. Stepanov.

. Te Oak ree (Te Oak stands greenly on the hill).3. Its good to take a stroll in Spring.

Dedicated to A.S. Stepanov.

. Autumn (Te Wheat is in, the hay is cut).

First edition: Muzguiz, 95, 959, in the Selected choruses collection.

Op.51, 1957 - 1958Tree Sonatas, Op.51, n 1, n 2 and n 3Sonata or violin and piano in A major

Dedicated to Rostislav Dubinsky.

. Allegro.

. Non troppo vivo scherzando.

3. Andante.

. Allegro.


First perormance: 6 November 960, Moscow, Rostislav Doubinsky (violin)

and Luba Edlina (piano).

Op.51, n 2, 1954Sonata in F minor or viola and piano

Dedicated to Dmitri Shebalin.. Con liberta. Allegro.

. Andante con moto.

3. Allegro assai.


First perormance: 6 October 956, Moscow,

Dmitri Shebalin and Luba Edlina (piano).

Op.51, N 3, 1960

Sonata in C major or cello and piano

Dedicated to Mstislav Rostropovitch.

. Allegro assai.

. Vivace.

3. Andante.

. Allegro.


First perormance: 5 November 96, Moscow, Mstislav Rostropovitch (cello)

and Alexei Zybtsev (piano).

Op.52, 1959 - 1960

Tree choruses

on verses by Moldavian poets.

Dedicated to .F. Muller

. wilight in the valley (When evening alls ). ext by P. Zadnipru.

. Poplar (Te old poplar in ront o the door). ext by L. Delianu.

3. Marior is leaving (With laughter, jokes and joy). ext by Yu. Barzhansky.


Op.53, 1960

String Quartet n 8 in C minor

Dedicated to the Borodin Quartet.

. Andante.

. Allegro.

3. Adagio.

. Allegro.


Quartets vol. II. Scores.

First perormance: 5 May 96, Moscow, the Borodin Quartet;

3 October 96, Leningrad, the Borodin Quartet.

Op.54, 1961

Land o My Birth

Eight poems by Alexander vardovsky. For voice (high register) with piano.

. Tank you, land o my birth

Dedicated to E.P. Razoumova.

. Wind (What wind, can you hear it? ).


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Dedicated to E.P. Razoumova.

3. I havent got time to make un...

Dedicated to D.S. Futer.

. Te snows are darkening

Dedicated to A.S. chibissova.

5. o ellow-writers (Plying ones trade without any superuous anxiety)

Dedicated to I.F. Lorie.

6. I dont know how Ive loved

Dedicated to A.S. svetkova.

7. o those who criticise me (You who are always trying to teach me)

Dedicated to D.S. Futer.

8. At Paduns (Te river sang ).

Dedicated to A.R.Luria

First edition: Te Soviet Composer, 96, in Selected Romances and songs,

Book .

Op.55, 1961

In the land o the Mordves

Tree songs or voice (high register) with piano, to verses by A. Prokoev.

Dedicated to Galina Pavlova Vishnevskaya

. Stay in my memory...

. Te wild cherry tree is ourishing

3. A white snow storm (Te night was covered with a widows shawl)

First edition: Te Soviet Composer, 96, in Selected Romances and Songs,

Book .

1962 Arrangement or voice (high register) and orchestra.Manuscript. Te composers archives.

First perormance: 9 October 96, Moscow, Galina Pavlova Vichnevskaya, TeState Symphony Orchestra conducted by Evgueny Svetlanov.

Op.56, 1962

Symphony n 5 in C major

In memory o Nikolai Myaskovsky.

. Andante. Allegro.

. Lento. Allegro.

3. Allegro con uoco.

. Allegro. Andante.

First edition: Muzguiz, 96. Printed scores.

First perormance: 9 October 96, Moscow; the State Symphony Orchestra

conducted by Evgueny Svetlanov.

Arrangement or our-handed piano by G. Zinger.


Op.57, 1963

o my grandchildren

Four unaccompanied choruses or children.

. In the garden.

Dedicated to Mika.

. Te Bee.

Dedicated to Lena.

3. Te Rain. ext by B. Zakhoder.

Dedicated to Peka.

. Summer is here. ext by L. Kvitko, translation by E. Blaguinina.

Dedicated to Katia.

First edition: Music, 96.


Op.58, 1963

String Quartet n 9 in B minor

Dedicated to the Borodin Quartet.

. Largo. Allegro.

. Andante.

3. Allegro molto. Andante. Allegro pi mosso.

First edition: Compositeur sovitique, 970.

First perormance: 8 April 963, Leningrad, the Borodin Quartet;

April 963, Moscow, the Borodin Quartet.

Op.59, 1963

On the edge o the wood

Seven unaccompanied choruses or children, to texts by E. Serova.

Dedicated to Katia Shebalina.

. Snowdrop.

. Lily-o-the-valley.

3. Violet.

. Buttercup.


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5. Forget-me-not.

6. Dandelion.

7. Carnation.

First edition: Music, 96.


Op.60, 1963

Sonatina in G major or six-stringed guitar

Dedicated to A.M. Ivanov-Kramskoy.

. Allegro.

. Andante.

3. Allegro assai.


Op.61, 1963

Orchestral Suite n 3

(Incidental music or Te Stone Guestby Alexander Pushkin). Concert

arrangement by L.V. Feigin.

. Introduction.

. Lauras Dance.

3. Habanera.

. Intermezzo.

5. Scene and serenade.

6. Chant in the convent.

7. Fast dance.

8. Finale.


Op.62, 1963Orchestral Suite n 4

(Incidental music or Lady Windermeres Fan, by Oscar Wilde). Concert arrangement

by L.V. Feigin.

. Clock with a peal o bells.

. Andante.

3. Minuet.

. Dance o the dolls.

5, 6, 7 Tree waltzes.

8. Finale.

1986 Concert arrangement by V. Agaonnikov.

. Introduction.

. Arrival o the guests.

3. Waltz.

. Erlins wait.

5. Dance o the dolls.

6. Farewell waltz.



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Les ditions Le Chant du Monde3/33, rue Vandrezanne - 7503 Paris

el : 33 (0) 53 80 30 - Fax: 33 (0) 53 80 8E-mail: [email protected]

Website: www.chantdumonde.com


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Te Moscow State Conservatory (93).Seated (rom let to right): eachers: Vissarion Shebalin, Nikolai Myaskovsky,

Nikolai Giliaev, Genrikh Litinsky.Standing (rom let to right): Students: Yuri Yacevich, Aram Khatchatourian,

Senderey (?) and one unidentied person.

CatChebaline UK GL BaT1

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