The following edition is the first attempt to present a clear picture of the vocal chamber works by St. Petersburg composer German Grigorievich Okunev (1931–1973). With few exceptions, they are largely unknown to musical audiences.
According to Galina Sergeyevna Okuneva, the composer’s widow, her husband did not place vocal chamber music high on his list of compositional priorities. However, performances of these works and research provide evidence of their high artistic value, which enriched the body of mid-to-late twentieth century vocal chamber music as well as the composer’s heritage. Performers of G. Okunev’s vocal compositions concur with this statement, specifically his student Vladislav Pashinsky, a soloist with the Bolshoi Theatre, Eleanor Lyons from the Manchester Opera, and others. The study of G. Okunev’s artistic development also reveals that vocal chamber music was a vital influence in his creative life. His earliest compositions, written while he was a child during the Great Patriotic War in besieged Leningrad, feature several settings of patriotic verses by Soviet poets B. A. Kezhun, V. A. Rozhdestvensky, M. V. Isakovsky, and V. I. Lebedev-Kumach. These songs enjoyed performances in the struggling city, and the young composer received the medal “For the Defense of Leningrad.” Each period of the composer’s short and vivid life contributed to the development of the genre. His last vocal pieces, two children’s songs with lyrics by B. Kozlov, date to 1969.
The final list of his compositions, which German Okunev compiled shortly before his death in 1973, is of particular evidence of the high standard he set for himself and his works as the list appeared to be one opus shorter than the earlier version from 1968. Therefore, the final list featured 39 works instead of the previously listed 40. Despite the composer’s productivity, much of what he had regarded favorably at first, he later ruthlessly and sometimes arbitrarily struck off the list.
The editor has considered the collective body of G. G. Okunev’s compositional works, as our aim is to display the stylistic evolution of the composer’s vocal chamber music. It should be noted that opus numbers and titles are in accordance with the final list, which the editor refers to as List 2 (the previous one — List 1, respectively). The Commentary discusses each composition and identifies its place in both lists. Unfortunately all of the manuscripts of the composer’s chamber vocal works are not currently present in the composer’s archive. In many cases only photocopies remain. Though many manuscripts are unavailable, even the remaining, if incomplete, sources enable us to make conclusions about the importance of G. Okunev’s vocal chamber works, and give insights into his unique compositional process and suggest defendable or near so final versions.
The objective of this edition is to familiarize professional musicians and music lovers with the best of G. G. Okunev’s vocal chamber music and to display his stylistic evolution. Therefore, the collection opens with the romance to A. S. Pushkin’s text: “In the plains the snow silvers” from a youth cycle “Three romances to the lyrics by A. S. Pushkin” written during the composer’s period of study at the N. A. Rimsky-Korsakov Musical College. This edition concludes with the composer’s true masterpiece — a song cycle of five romances to the lyrics by M. I. Tsvetayeva.
The edition is based on manuscripts from G. G. Okunev’s home archive (in the Commentary — Archive), and a few publications of his vocal compositions. In some cases, the editor added performance instructions, which appear in brackets.
We hope that the collection will enrich the pedagogical and concert vocal repertories and that it will provide incentives for further research in both the G. G. Okunev’s vocal style and his works as a whole. It is further hoped this publication will widen the scope of sources on the history of Russian musical culture in the latter half of 20th century. Lastly, it is further intended to preserve the heritage of a remarkable Russian composer who made an important contribution to the development of Russian national music.
Contents:
G. Ovsyankina. On Chamber Vocal Works by German Okunev
IN THE PLAINS THE SNOW SILVERS. Romance for bass and piano. Lyrics by A. Pushkin
ROMANCES. For mezzo-soprano and piano. Op. 7
1. Evening. Lyrics by I. Nikitin
2. Spring came to the Steppes. Lyrics by P. Voron’ko. Translated from Ukrainian by M. Isakovsky
FROST AND WIND… Romance for middle voice and piano. Lyrics by I. Nikitin
STORM. Romance for middle voice and piano. Lyrics by A. Pushkin
I SAW WHILE STANDING AT THE NEVA. Romance for baritone and piano. Lyrics by F. Tyutchev. Op. 10
ADOLESCENCE. Song for high voice and piano. Lyrics by Ye. Galsky
TWO ROMANCES TO THE LYRICS BY THE SOVIET POETS. For baritone and piano. Op. 17
1. Different Roads. Lyrics by V. Maksimov
2. Secular Pines. Lyrics by P. Khalov
VOCAL CYCLE TO THE LYRICS BY M. TSVETAYEVA. For soprano and piano. Op. 25
1. Rowan Tree Is Burning Red
2. In Order That You Mightn’t See Me
3. You Walk, the One Resembling Me
4. Night
5. Sunrise on the Railway
The following edition is the first attempt to present a clear picture of the vocal chamber works by St. Petersburg composer German Grigorievich Okunev (1931–1973). With few exceptions, they are largely unknown to musical audiences.
According to Galina Sergeyevna Okuneva, the composer’s widow, her husband did not place vocal chamber music high on his list of compositional priorities. However, performances of these works and research provide evidence of their high artistic value, which enriched the body of mid-to-late twentieth century vocal chamber music as well as the composer’s heritage. Performers of G. Okunev’s vocal compositions concur with this statement, specifically his student Vladislav Pashinsky, a soloist with the Bolshoi Theatre, Eleanor Lyons from the Manchester Opera, and others. The study of G. Okunev’s artistic development also reveals that vocal chamber music was a vital influence in his creative life. His earliest compositions, written while he was a child during the Great Patriotic War in besieged Leningrad, feature several settings of patriotic verses by Soviet poets B. A. Kezhun, V. A. Rozhdestvensky, M. V. Isakovsky, and V. I. Lebedev-Kumach. These songs enjoyed performances in the struggling city, and the young composer received the medal “For the Defense of Leningrad.” Each period of the composer’s short and vivid life contributed to the development of the genre. His last vocal pieces, two children’s songs with lyrics by B. Kozlov, date to 1969.
The final list of his compositions, which German Okunev compiled shortly before his death in 1973, is of particular evidence of the high standard he set for himself and his works as the list appeared to be one opus shorter than the earlier version from 1968. Therefore, the final list featured 39 works instead of the previously listed 40. Despite the composer’s productivity, much of what he had regarded favorably at first, he later ruthlessly and sometimes arbitrarily struck off the list.
The editor has considered the collective body of G. G. Okunev’s compositional works, as our aim is to display the stylistic evolution of the composer’s vocal chamber music. It should be noted that opus numbers and titles are in accordance with the final list, which the editor refers to as List 2 (the previous one — List 1, respectively). The Commentary discusses each composition and identifies its place in both lists. Unfortunately all of the manuscripts of the composer’s chamber vocal works are not currently present in the composer’s archive. In many cases only photocopies remain. Though many manuscripts are unavailable, even the remaining, if incomplete, sources enable us to make conclusions about the importance of G. Okunev’s vocal chamber works, and give insights into his unique compositional process and suggest defendable or near so final versions.
The objective of this edition is to familiarize professional musicians and music lovers with the best of G. G. Okunev’s vocal chamber music and to display his stylistic evolution. Therefore, the collection opens with the romance to A. S. Pushkin’s text: “In the plains the snow silvers” from a youth cycle “Three romances to the lyrics by A. S. Pushkin” written during the composer’s period of study at the N. A. Rimsky-Korsakov Musical College. This edition concludes with the composer’s true masterpiece — a song cycle of five romances to the lyrics by M. I. Tsvetayeva.
The edition is based on manuscripts from G. G. Okunev’s home archive (in the Commentary — Archive), and a few publications of his vocal compositions. In some cases, the editor added performance instructions, which appear in brackets.
We hope that the collection will enrich the pedagogical and concert vocal repertories and that it will provide incentives for further research in both the G. G. Okunev’s vocal style and his works as a whole. It is further hoped this publication will widen the scope of sources on the history of Russian musical culture in the latter half of 20th century. Lastly, it is further intended to preserve the heritage of a remarkable Russian composer who made an important contribution to the development of Russian national music.
Contents:
G. Ovsyankina. On Chamber Vocal Works by German Okunev
IN THE PLAINS THE SNOW SILVERS. Romance for bass and piano. Lyrics by A. Pushkin
ROMANCES. For mezzo-soprano and piano. Op. 7
1. Evening. Lyrics by I. Nikitin
2. Spring came to the Steppes. Lyrics by P. Voron’ko. Translated from Ukrainian by M. Isakovsky
FROST AND WIND… Romance for middle voice and piano. Lyrics by I. Nikitin
STORM. Romance for middle voice and piano. Lyrics by A. Pushkin
I SAW WHILE STANDING AT THE NEVA. Romance for baritone and piano. Lyrics by F. Tyutchev. Op. 10
ADOLESCENCE. Song for high voice and piano. Lyrics by Ye. Galsky
TWO ROMANCES TO THE LYRICS BY THE SOVIET POETS. For baritone and piano. Op. 17
1. Different Roads. Lyrics by V. Maksimov
2. Secular Pines. Lyrics by P. Khalov
VOCAL CYCLE TO THE LYRICS BY M. TSVETAYEVA. For soprano and piano. Op. 25
1. Rowan Tree Is Burning Red
2. In Order That You Mightn’t See Me
3. You Walk, the One Resembling Me
4. Night
5. Sunrise on the Railway
Предлагаемое издание впервые относительно полно представляет камерно-вокальное творчество петербургского композитора Германа Григорьевича Окунева (1931–1973). За исключением отдельных произведений оно неизвестно широкому кругу музыкальной общественности.
По воспоминаниям вдовы композитора Галины Сергеевны Окуневой, Герман Григорьевич не считал камерно-вокальный жанр основным в своем творчестве. Однако пристальное изучение романсово-песенной лирики Г. Г. Окунева позволяет убедиться в том, что она обладает высокими художественными достоинствами, обогащающими не только авторское наследие, но и камерно-вокальный жанр второй половины XX века в целом. В пользу этого свидетельствуют и концертная практика, и отзывы исполнителей вокальных сочинений Г. Г. Окунева — в частности, его бывшего ученика, солиста Большого театра Владислава Георгиевича Пашинского (1932–2007), известной петербургской певицы Татьяны Ивановны Мелентьевой, артистки Манчестерского оперного театра Элеоноры Лайонс и других. Творческая динамика Г. Г. Окунева также показывает, что камерно-вокальный жанр проходит через весь его путь в музыке. Уже среди детских произведений, написанных в годы Великой Отечественной войны в блокадном Ленинграде, встречается немало песен на патриотические стихи советских поэтов: Б. А. Кежуна, В. А. Рождественского, М. В. Исаковского, В. И. Лебедева-Кумача. Они исполнялись в осажденном городе, и юный автор был награжден медалью "За оборону Ленинграда". Каждый период недолгой яркой жизни композитора вносил свою лепту в развитие жанра. Последние вокальные сочинения — две детские песни на стихи Б. Козлова — датируются 1969 годом.
В настоящем издании мы исходили из всего творческого наследия Г. Г. Окунева, желая показать стилевую динамику его камерно-вокальной лирики. Однако нумерация опусов и их названия указаны по последнему авторскому перечню, который обозначен нами как список № 2 (соответственно, первый список — № 1). Каждому романсу предпосланы комментарии, определяющие его место в обоих авторских списках.
Цель данного издания — познакомить музыкантов-специалистов и любителей музыки с лучшими достижениями Г. Г. Окунева в камерно-вокальном жанре и показать эволюцию авторского стиля. Поэтому открывает сборник романс на стихи А. С. Пушкина "В поле чистом" из юношеского цикла "Три романса на стихи А. С. Пушкина", относящийся еще к годам обучения в Ленинградском музыкальном училище им. Н. А. Римского-Корсакова, а завершает его созданный в зрелые годы подлинный шедевр — вокальный цикл на стихи М. И. Цветаевой.
Издание основывается на рукописных материалах архива Г. Г. Окунева, хранящегося у него дома (в комментариях — архив), и немногих публикациях его вокальных сочинений. В отдельных случаях нами добавлены исполнительские ремарки, которые взяты в скобки.
Содержание:
Г. Овсянкина. О камерно-вокальном творчестве Германа Окунева
В ПОЛЕ ЧИСТОМ. Романс для баса и фортепиано. Стихи А. Пушкина
РОМАНСЫ. Для меццо-сопрано и фортепиано. Ор. 7
1. Вечер. Стихи И. Никитина
2. По степям — весна. Стихи П. Воронько. Перевод с украинского М. Исаковского
МОРОЗ, И ВЕТР… Романс для среднего голоса и фортепиано. Стихи И. Никитина
БУРЯ. Романс для среднего голоса и фортепиано. Стихи А. Пушкина
ГЛЯДЕЛ Я, СТОЯ НАД НЕВОЙ. Романс для баритона и фортепиано. Стихи Ф. Тютчева. Ор. 10
ЮНОСТЬ. Песня для высокого голоса и фортепиано. Стихи Е. Гальского
ДВА РОМАНСА НА СТИХИ СОВЕТСКИХ ПОЭТОВ. Для баритона и фортепиано. Ор.17
1. Разные дороги. Стихи В. Максимова
2. Сосны вековые. Стихи П. Халова
ВОКАЛЬНЫЙ ЦИКЛ НА СТИХИ М. ЦВЕТАЕВОЙ. Для сопрано и фортепиано. Ор. 25
1. Красною кистью рябина зажглась
2. Дабы ты меня не видел
3. Идёшь, на меня похожий
4. Ночь
5. Рассвет на рельсах
Predlagaemoe izdanie vpervye otnositelno polno predstavljaet kamerno-vokalnoe tvorchestvo peterburgskogo kompozitora Germana Grigorevicha Okuneva (1931–1973). Za iskljucheniem otdelnykh proizvedenij ono neizvestno shirokomu krugu muzykalnoj obschestvennosti.
Po vospominanijam vdovy kompozitora Galiny Sergeevny Okunevoj, German Grigorevich ne schital kamerno-vokalnyj zhanr osnovnym v svoem tvorchestve. Odnako pristalnoe izuchenie romansovo-pesennoj liriki G. G. Okuneva pozvoljaet ubeditsja v tom, chto ona obladaet vysokimi khudozhestvennymi dostoinstvami, obogaschajuschimi ne tolko avtorskoe nasledie, no i kamerno-vokalnyj zhanr vtoroj poloviny XX veka v tselom. V polzu etogo svidetelstvujut i kontsertnaja praktika, i otzyvy ispolnitelej vokalnykh sochinenij G. G. Okuneva — v chastnosti, ego byvshego uchenika, solista Bolshogo teatra Vladislava Georgievicha Pashinskogo (1932–2007), izvestnoj peterburgskoj pevitsy Tatjany Ivanovny Melentevoj, artistki Manchesterskogo opernogo teatra Eleonory Lajons i drugikh. Tvorcheskaja dinamika G. G. Okuneva takzhe pokazyvaet, chto kamerno-vokalnyj zhanr prokhodit cherez ves ego put v muzyke. Uzhe sredi detskikh proizvedenij, napisannykh v gody Velikoj Otechestvennoj vojny v blokadnom Leningrade, vstrechaetsja nemalo pesen na patrioticheskie stikhi sovetskikh poetov: B. A. Kezhuna, V. A. Rozhdestvenskogo, M. V. Isakovskogo, V. I. Lebedeva-Kumacha. Oni ispolnjalis v osazhdennom gorode, i junyj avtor byl nagrazhden medalju "Za oboronu Leningrada". Kazhdyj period nedolgoj jarkoj zhizni kompozitora vnosil svoju leptu v razvitie zhanra. Poslednie vokalnye sochinenija — dve detskie pesni na stikhi B. Kozlova — datirujutsja 1969 godom.
V nastojaschem izdanii my iskhodili iz vsego tvorcheskogo nasledija G. G. Okuneva, zhelaja pokazat stilevuju dinamiku ego kamerno-vokalnoj liriki. Odnako numeratsija opusov i ikh nazvanija ukazany po poslednemu avtorskomu perechnju, kotoryj oboznachen nami kak spisok № 2 (sootvetstvenno, pervyj spisok — № 1). Kazhdomu romansu predposlany kommentarii, opredeljajuschie ego mesto v oboikh avtorskikh spiskakh.
Tsel dannogo izdanija — poznakomit muzykantov-spetsialistov i ljubitelej muzyki s luchshimi dostizhenijami G. G. Okuneva v kamerno-vokalnom zhanre i pokazat evoljutsiju avtorskogo stilja. Poetomu otkryvaet sbornik romans na stikhi A. S. Pushkina "V pole chistom" iz junosheskogo tsikla "Tri romansa na stikhi A. S. Pushkina", otnosjaschijsja esche k godam obuchenija v Leningradskom muzykalnom uchilische im. N. A. Rimskogo-Korsakova, a zavershaet ego sozdannyj v zrelye gody podlinnyj shedevr — vokalnyj tsikl na stikhi M. I. Tsvetaevoj.
Izdanie osnovyvaetsja na rukopisnykh materialakh arkhiva G. G. Okuneva, khranjaschegosja u nego doma (v kommentarijakh — arkhiv), i nemnogikh publikatsijakh ego vokalnykh sochinenij. V otdelnykh sluchajakh nami dobavleny ispolnitelskie remarki, kotorye vzjaty v skobki.
Soderzhanie:
G. Ovsjankina. O kamerno-vokalnom tvorchestve Germana Okuneva
V POLE CHISTOM. Romans dlja basa i fortepiano. Stikhi A. Pushkina
ROMANSY. Dlja metstso-soprano i fortepiano. Or. 7
1. Vecher. Stikhi I. Nikitina
2. Po stepjam — vesna. Stikhi P. Voronko. Perevod s ukrainskogo M. Isakovskogo
MOROZ, I VETR… Romans dlja srednego golosa i fortepiano. Stikhi I. Nikitina
BURJa. Romans dlja srednego golosa i fortepiano. Stikhi A. Pushkina
GLJADEL Ja, STOJa NAD NEVOJ. Romans dlja baritona i fortepiano. Stikhi F. Tjutcheva. Or. 10
JUNOST. Pesnja dlja vysokogo golosa i fortepiano. Stikhi E. Galskogo
DVA ROMANSA NA STIKHI SOVETSKIKh POETOV. Dlja baritona i fortepiano. Or.17
1. Raznye dorogi. Stikhi V. Maksimova
2. Sosny vekovye. Stikhi P. Khalova
VOKALNYJ TSIKL NA STIKHI M. TSVETAEVOJ. Dlja soprano i fortepiano. Or. 25
1. Krasnoju kistju rjabina zazhglas
2. Daby ty menja ne videl
3. Idjosh, na menja pokhozhij
4. Noch
5. Rassvet na relsakh
