Great Russian conductor Nikolay Golovanov and Soviet conductor Cyril Kirillkrashin. Nikolai Semenovich Golovanov: Biography Monograph "Geometric Modeling"

Conductor (choral, opera, symphonic), accompania pianist, composer, teacher, public figure.

Born on January 9, 1891 in Moscow. In 1900-09, he studied in the Synodal School of Church Singing, at the end of which he became the regent of the 1st category. Among the teachers - B. C. Orlov, A. D. Kastalsky, N. M. Danilin. In 1912-18 he taught in the school. In 1914 he graduated from the Moscow Conservatory with a small gold medal in the class of composition S. N. Vasilenko (thesis - Opera Cantata "Princess Yrata"). He also studied at A. A. Ilyinsky, M. M. Ippolitov-Ivanova. Since 1909, he acted as a choral conductor, including on touring abroad (with a synodal chorus). In 1910-18 - Assistant Resent of the Synodal Choir. From 1915 he worked in the Bolshoi Theater: in 1915-19 - Khommerster's assistant, in 1919-28, 1930-36 - conductor, 1948-53- Chief conductor. B1919-48 (with interruptions) - conductor at the Opera Theater (Studio). K. S. Stanislavsky. As a symphony conductor performed with the Orchestras of the Bolshoi Theater, Moscow Conservatory, Moscow Philharmonic (1920s). Since 1930, the main conductor of the radio center, headed the opera radio; From 1937 - artistic director and chief conductor of the BSO of All-Union Radiocomite. At the same time, he spoke with the State Orchestra of the USSR Folk Instruments (1936-47), with the USSR State Spiritual Okrestra (1937-40), etc. In the extensive repertoire of the Golovanov-Symphony Conductor, the Russian Classic occupied the central place, as well as the works of modern domestic composers. Among his performing masterpieces are works A. P. Borodina, M. I. Glinka, P. and Tchaikovsky, M. P. Mussorgsky, N. A. Rimsky-Korsakov, A. N. Scriabin. First Artist in the USSR works of S. V. Rakhmaninova: "Three Russian songs" (1932), Third Symphony (1943), "Symphony Dances" (1943); N. Ya. Meskovsky: Sixth (1924), twentieth (1940) symphony; S. S. Prokofiev: Opera "Love for Three Oranges" (Big Theater, 1927), Fifth Concerto for Piano with Orchestra (1932), Fourth Symphony (1933), Suite No. 1 from Romeo and Juliet Ballet (1936), "Toast" (1939); A. I. Khachaturian: Suite from the Ballet "Gayane" (1943); T. N. Khrennikova: The second symphony (1943), etc. In 1916-43, concerted as an accompaniatrician pianist in an ensemble with AB Nezhdanova, I. S. Kozlovsky, M. O. Reizenom, M. P. Maksakova, N. D . Spieller.

The composer heritage of Golovanova includes 2 single-act opera, symphony, 2 cantata, works for the choir (including over 60 spiritual writings, see: N. S. Golovanov. Spiritual works for choir and Cappella. M., 2004), Symphony Orchestra, For piano (see: N.S. Golovanov. Sonata. Estamps. M., 2005), for voice and piano (over 140 romances), over 50 songs of songs of different peoples. In 1925-29 and 1943-48 - Professor of the orchestral and opera classes of the Moscow Conservatory. Among students, the Assistants-interns of the Bolshoi Theater - E. Akulov, Zimin, A. Kovalev, S. Sakharov; In the Moscow Conservatory - L. Ginzburg, Christmas, B. Heikin in the BSO of All-Union Radiocomitte - K. Ivanov. In 1926, the forces of the Opera Class students and the Student Orchestra carried out in the Moscow Conservatory first after the October Revolution, the production of the Tsarist Bride N. A. Rimsky-Korsakov.

Stalin's USSR premiums (1946,1949,1950,1951, including for the production of the operas "Boris Godunov", 1948; Sadko, 1949; Hvenshchina, 1950). Awarded the orders of the Labor Red Banner (1937), Lenin (1951); Medals: "For the defense of Moscow" (1949), "For Valiant Labor during the Great Patriotic War 1941-1945.".

His wife is A. B. Nezhdanova.

Literary writings: notebook Student of the IV class of the Moscow Synodal School of Church Singing N. Golovanova 1903/04 Uch. G. // Russian spiritual music in documents and materials. T. 1. Synodal chorus and school of church singing. Memories. Diaries. Letters. M., 1998; Etude about Prokofiev / Publ. O. Zakharova // Sergey Prokofiev. Memories. Letters. Articles. M., 2004.

In the spring and summer of 2010, two remarkable events occurred in Moscow: in April, a choral concert was arranged in the Rakhmaninov hall, consisting exclusively from the spiritual works of Nikolai Golovanov, and at the end of June, in the M. M. Museum Museum Glinka opened an exhibition "Images of Russia", the pictorial row of which was mainly the picturesque canvas from the collection of this composer. If you add that in recent years, its symphonic and chamber music has repeatedly sounded in concert halls, that the discs with its opera and symphony records are now under the most diverse "shortcuts", it is possible that it seems to talk about the "Resurrection of Golovanova" - as a conductor, As a composer, as a person. On this scale, such phenomena take place rarely - it can be seen, there is something in the figure of the Nikolai Semenovich Golovanov, something necessary for people today.

His biography is extremely simple and as if it would be a sample of a successful way of a boy from the "bottoms" to the tops of Glory. Born in 1891 in the family of immigrants from the peasant class, he at the age of nine was adopted in the Moscow Sinodal School of Church Singing. Thanks to an excellent boyish, the Cologis of Golovanov's wonderful musicality and wonderful musicality entered the Solochiki Solochiki (boys who are playing chants in Greek during the bishops of the ministries). And due to exceptional performance and strong character immediately moved into the first rows of students and in the last courses of the school, at the age of 17-18, already reigned by the Choir of the Marfo-Mariinsky Resident, and in 1910, that is, the 19-year-old, became a teacher of the Synodal School and assistant regent of the Synodal Choir for services in the Assumption Cathedral of the Moscow Kremlin. In 1911, in the jubilee (dedicated to the 25th anniversary of the reformed Synodal School), the concert of the synodal choir sounded two chants of the Golovanov - exapostylaria "flesh of sleep" and "apostles from the end of the world." In 1913, the Golovans replaced the famous Regent N.M. Danilina at the concerts of a synodal choir in Berlin; In 1918, four opuse of the spiritual and musical writings of Golovanov for men and mixed choir (a total of 23 rooms) came out in Yurggenson's notoization.

No less rapidly developed a "secular" career of the musician: in 1914, he graduated with honors from the Moscow Conservatory as a composer, since 1915 began to work in the Bolshoi Theater as a conductor; A lot acted as a pianist-accompaniatrician with his wife - the famous singer Antonina Nezhdanova (by the way, Antonina Vasilyevna was the only woman who sometimes participated in the spiritual concerts of a synodal choir; for her, in particular, Solo is written in so often performed today and today's chanting of Pavel Chesnokov " Angel is obamer "). In the future, after 1917, the Golovans, along with work in the Bolshoi Theater and the Moscow Conservatory, was the musical leader of the Opera Studio K.S. Stanislavsky, one of the creators and the head of the Symphony Orchestra of All-Union Radioomitte and Opera RadioTheater. He was the People's Artist of the USSR, a laureate of several state (then - Stalinist) premiums.

However, not everything was in shape in the biography of a talented musician so smoothly, as it looks like in encyclopedic articles. Already in early youth, Nikolai was so stalling and independent, that, being the best student of the synodal school of his release, he was still not listed on the honorary "golden board". As they would say now, due to the unsatisfactory evaluation for behavior (which did not prevent him, as we saw, immediately at the end of the school becoming the regent of the synodal choir). From the Bolshoi Theater, already under Soviet power, Golovanov was fired three times: at the end of the 20s, at the end of the 30s and in 1953. On the Internet, I recently got the text entitled "Golovanov - Favorite Stalin Conductor." This is not true, Nikolai Semenovich was not a favorite conductor of the leader, who intently watched the situation in the "court" theater. Complaints on Golovanov wrote both the authorities and colleagues: in relation to the case, he was uncompromising and often "did not look at the face." Nikolai Semenovich and died, being retired from the big.

A convinced patriot and by no means dissident, the heads did not advertise, but did not hide his views, including religious. He helped the Materially Moscow clergy, collected the icon and religious painting (including from the closed and destroyed temples); In his house, the poet Nikolai Klyuev read the "prohibited" poem "Pogorelshchyna" (for which he soon paid a lifetime link to the distant regime, where the wonderful Russian singer and a friend of Golovanov, the soloist of the Bolshoi Theater Nadezhda Obukhov sent him material assistance from Moscow artists). When, after the sadly famous resolution of 1948 ("On Opera V.I. Muradel" Great Friendship "") In a very difficult situation, the great Sergey Prokofiev was - his music ceased to execute, state orders stopped, - Golovanov organized an orchestrous showing of fragments in the Bolshoi Theater Ballet Prokofiev "Stone Flower" and invited Sergei Sergeevich there; After execution, the conductor and the orchestra arranged a grandious ovation to Prokofyev. By the way, Golovanov, from the youth of the favorite and who performed Prokofiev music, there is a remarkable biographical coincidence with the composer: they were born in one year - in 1891 - and died, too, in one year later - in 1953 Prokofiev in March, Golovanov in August, to Assumption. (And now every year, the statements of the Moscow coupling of the Trinity Sergiye Lavra on this festive day serve a memorial party on the grave of Nikolai Semenovich at the Novodevichy cemetery.)

It was always believed that the most important in the heritage of Golovanov is the numerous records of Russian classics, opera and symphonic, and often in our time it is called "the Great Russian Conductor." Indeed, there is such a repertoire in which the Golovans are unlikely to still have equal: for example, the operas of Roman Corsakov, the symphony works of Scriabin. But now relatively recently, one German firm has released a disk with Golovan records of symphonic fragments from the Wagner operas. With trepidation, starting to listen to his listening (after all, so many years have passed, the tastes changed!), The author of these lines quickly made sure that the time was powerless here. Yes, the Golovanov is a great conductor. At the same time, other parties to the musician's activities have become increasingly attracting attention in recent years.

After a half decades, after the death of Golovanov in his Moscow apartment in the Bolshoi Theater House in Bryusov Lane, a memorial museum was arranged. A completely unique atmosphere remained the atmosphere of this apartment - not too big, but still spacious, to the smallest detail (door handles, stucco decorations of the ceiling and walls) decorated with heads themselves and to the edges filled with painting, sculpture, books, notes. Here came the conductor musicians here and they also began to gather on certain days lived in Moscow the last "Sindals", that is, the staff of the Synodal School and singing synodal choir: they all holy honored the memory of their teachers and comrades. The Golovanov himself collected everything that belonged to the Synodal School: photos, lithographic notes of the Synodal Choir, the program of his speeches, manuscripts. As a result, a rich archive was formed, from which in our time is extracted to the light of God unique values. For example, it was in the house of Golovanov (in unknown ways that fell there), the full manuscript of the most interesting memories of the director of the Synodal School of Stepan Vasilyevich Smolensky. When the spiritual writings of composers of the new direction are published today, the researchers necessarily view the lithographs of the Synodal Choir, because they often captured different details reflecting the Maneru in which the famous choir has been performed. In the collection of Golovanov there are very valuable, often illustrated ("facial"), church books.

But Nikolai Semenovich Painting especially loved (although it's not necessary) Russian artists: in his collections are also pledged, and Nesterov, and Vasnetsov brothers, and Levitan, Korovin, and Jouk, Malyutin, and Malyutin, and Vereshchagin, and Aivazovsky , and Golovin, and Alexander Benua, and many others. The list of authors collected by him would take too much space, but even from a brief list it is clear that the Golovans preferred the work of his contemporaries. Of course, conducting many years in Big, he met with talented artists who collaborated with the theater. Was a sign of Nikolai Semenovich also with M.V. Nesterov: The musician rentlated by the Choir of the Marfo Mariinsky Resident in the same years when the artist painted her temple. Golovanov bought work at V.M. Vasnetsova, a very successful portrait of the conductor wrote S.V. Malyutin.

The Golovanov collection began to collect from the mid-1910s, and by the end of the musician's life in it, judging by the handwritten directories of Nikolai Semenovich himself, there were up to thousands of work. The weighty part of the collection (about 120 units) was the iconography - starting from the XV century. It is known that in the Moscow apartment, all the icons focused on the bedroom, where they could only see the closest people (who called this bedroom "chapel"). Other church relics were kept there (for example, the royal gates from the ruined iconostasis), as well as the objects of church utensils.

Of course, the whole collection could not fit in the apartment, and much (including icons) was in the country of Golovanov and Nezhdanova on Nikolina Mountain near Moscow. After the death of the conductor in the apartment lived his sister, which, if necessary, sold a relatively small number of picturesque works in an antique store. The huge damage of the collection caused a dacha robbery in the 1960s, when it was the paintings from there (and apparently the icons). In 1969, with the museum device, the most valuable part of the remaining collection was sent to the Tretyakov Gallery - 60 icons and 19 picturesque works, including excellent Little Little Litters; Then the so-called All-Union production and artistic plant took another 107 picturesque works and "distributed" them in various artistic museums, colleges and schools. When in 2007, the Publishing House "White City" decided in the series "Treasures of Russian Art" to publish an album dedicated to the Golovanov collection, employees of the Glinka Museum (where the branch of the Golovanov Memorial Apartment) A.A. Naumov and O.I. Zakharova made a catalog of all known works from the Golovanov collection. It turned out that the current location of a number of works distributed by the plant and others is unknown that some of them fell into Moldavia and Ukraine's museums and so on. Now there are 236 painting works in the memorial apartment, there is also a very good sculpture.

The apartment in Bryusov Lane was in a state of capital repairs last decade, and before the circle of her visitors was very limited, so it turned out that before the album's release, even professionals knew about the Golovanov collector and about his meeting. The exhibition "Images of Russia" is essentially the first detailed show of the Treasure of the apartment in Bryusov. (True, several years earlier in the museum two renovated most valuable canvas from the Golovanov collection were presented: "Mausoleum Taj-Mahal" V. Vereshchagin and Venice V.D. Polenova.)

The current exposition includes high samples of Russian religious arts of the late XIX and early twentieth century. First of all, the brushes Mikhail Vasilyevich Nesterov "Angel of Sorrow" (sketch for mosaic over the crip of the church of Peter Metropolitan in the Volyn Province), "Holy Varvara" (sketch for the painting of the Vladimir Cathedral in Kiev), his canvas, entitled by a string from poem A. FROM. Pushkin "Fathers Dressing devices and wives are immaculate." In this picture of Nesterov, at the request of Golovanov, repeated the motives of his most famous works: "Dustshnik" and "Great Hall".

The historical Russian theme is presented, for example, excellent P.I. Petrovicheva "Interior of the Savior Church on the Seine in Rostov Great", as well as the works of "Ivan Grozny in the Alexander Sloboda" and "Tsarevich Peter Alekseevich and Sokolniki" famous master of historical painting Claudia Lebedev, "Sagittarius on the Kremlin Tower on the Lunar Night" N.S. Matveyeva.

The undoubtedly colorful dominant exhibition was a large festive canvas Konstantin John "in Sergiev Posad" (work of 1911, the author's picture of the picture on the same topic in the Tretyakov Gallery). According to the painter itself, the "decorative and eloquent colorfulness of the forms of the past centuries" is connected here with "lively life in Live Light". Around the walls - landscape canvas of outstanding masters from the constellation of the Union of Russian Artists: S.V. Malyutina, S.Yu. Zhukovsky, K.A. Korovina, S.A. Vinogradov.

And also - a magnificent portrait of the famous Russian ballerina Olga Svetivtsevaya work S.A. Sorina, lyric narrative of Russia in Etudah A.S. Stepanova, I.I. Levitan, V.D. Polenova, the image of the unsurpassed Creator of the lyrical musical landscape S.V. Rachmaninova (portrait of work L.O. Pasternak), folk images in the paintings A.E. Arkhipova (Canvas "Modurature" and Etude to the picture "In the Spring Holiday"), L.V. Popova (Etude "On Bogomol"), V.D. Orlovsky (etude "approaching a thunderstorm") and V.V. Vereshchagin ("Troitsyn Day") ...

Thinking about a worthy "escort" collection of Golovanov in the walls of the Music Museum, the authors of the exhibition decided to accompany the painting by a special documentary nearby. Along with the paintings, ancient Russian and later singing books were exposed, the most valuable autographs of spiritual and musical works from the collection of the museum (for example, the manuscript of "Veligid Vigil" S.V. Rakhmaninova and "Kheruvim Songs" P.I. Tchaikovsky), rare photos of famous musicians and famous Russian choirs. The "secular" line of Russian art was represented by autographs and photographs of classic composers, artistic concert programs of the end of the XIX - early XX century, luxurious publications of the opera and symphony works of Russian classics. The decoration of the exposition was stylized under ancient suit of the singer of a synodal choir, made in 1908 in drawing V.M. Vasnetsova.

Everyone taken together - really "images of Russia", the poem about Russia, what she knew and loved Nikolai Semenovich Golovanov.

The exhibition "Images of Russia" constantly sounded spiritual works of Golovanov in recording from the concert at the Easter Festival of 2010, and this was not the works of the composer's youth, published in 1918, and those choirs that he wrote after 1918 - until recent years own life. I wrote, of course, "for myself", "on the table", and starting from the mid-1920s - without any hope of hearing. In this case, you can understand the table in this case, as it was in the Golovanovskaya table in the apartment in Bryusov and autographs of four dozen choirs were found, combined into four opuses (36-39): the chants of the Nativity of Christ and Liturgy, the chants of the Great Post, passionate Sedmians and Easter, "from youthful notebooks", Suite "All Surgeant John" (6 rooms) and other lateral chants.

Published in 2004 by the publishing house "Live source", these works have been waiting for a few more years. Although some rooms sometimes sang different choirs, only the detailed monographic execution, which included chants from all late covers, could give a true concept of Golovanov as a modern spiritual composer. Most of its essays are technically difficult: the composer always focused on the inner hearing on the powerful choirs that worked with, that is, on a synodal choir, on the Choir's Choir. This time, a big team was collected for the Golovan concert, a large team was collected under the control of the famous Kamersuister Alexey Puzakova (the regent of the temple of the "All Thoring John" at Ordyanka and Nikola in Tolmachi at the Tretyakov Gallery). Khommester received the blessing of the His Holiness Patriarch on the revival of the historical name of the Synodal Choir, and under this name he led the choir spoke in the historical hall of the Synodal School - now Rakhmaninovsky Hall of the Moscow Conservatory. The right to such a name will have to "earn money" for a long time, but the complex program was SPET very worthy.

What did Nikolai Semenovich encouraged to the composition of spiritual works?

As a very informed memorarist writes, in Moscow, they always knew perfectly well that the Golovans and Nezhdanov were church people. Close to Golovanov Men's arts also knew that the defender of the artists was Archpriest Nikolai Pavlovich Bazhanov, the long-term abbot of the temple of the resurrection of the word in Bryusoy Lane. And Golovanova was buried in church, though "secretly".

"When the coffin with the body of Nikolai Semenovich was taken out of the door of the Bolshoi Theater, the father of Nikolay Bazhanov was, however," without vestments ". Slightly it was known that under the gabardin cloak of the priest were hidden half-filled, instructions, Epitrohil. My father Nikolai sat in the car to the front place next to the driver, and she moved ahead of the bus on which the coffin was brought with Golovanov's body. Thus, the funeral procession at Novodevich's cemetery was headed, as it should be, an Orthodox priest. And when the coffin was lowered in the grave and sounded part-time words from the party organization of Gabta, the local committee and other public, the father of Nikolai, of course, made a funeral lithium on a wonderful musician. We, believers artists (and there were a lot of such), I eaten the Father Nicholas ... "

Judging by the dates on autographs, the new choirs often appeared in church holidays, especially many chants were created in the first period of the Patriotic War: Golovanov and Nezhdanov refused evacuation and remained in Moscow, resumed as soon as it became possible, concert activity, first of all radio. Many essays have remarkable devotations of alive and already departed - S.V. Smolensky, P.G. Chesnokov, A.D. Castal, N.M. Danilina, famous bass and church singers V.R. Petrov. Perhaps the most beautiful in the spiritual heritage of Golovanov's chanting - "Sveta Quiet" from Opus 39 - it was written in twenty days before the death of S.V. Rachmaninova (1943) and then devoted to his "Light Memory".

Of particular importance is the initiation of the last spiritual work of Golovanov - the penetrated prayer for the Holy Martyr Trifon on the text from Akathist (1952). We are talking about the famous (and then already twisted) Hierarch - Metropolitan Tryphon (Turkestan), whom Golovanov knew since his apprenticeship and to which he helped in the most difficult years. Among the Golovan albums, in which Nikolai Semenovich passed important documents for him - letters, photographs, reviews, not so long ago there were photos of the Vladyka Trifon and his poems sent by Nicholas Semenovich in 1930. It was a period when the musician was forced to leave the Conservatory and the Bolshoi Theater, when the rod was his position on the radio and in the Philharmonic. Of course, Vladyka Trifon, the beloved confessor of Moscow artistic brethren, all this was known, and his poems were to support the one who he remembered the Ussanchik boy in the Kremlin Assumption Cathedral:

... But here is three years in brilliant clothes

I melt the song of love, and faith, and hope.

From them one was different in everything -

He seemed to be the Lord, he had a pure soul

And murmured, those rushed

To the throne of God, on the sky, in Vash ...

And I was not mistaken in it. Years passed ...

In work and works, sometimes trying to

Brilliant he talent increased

And the music of Europe admired.

Although the chapters were inclined before the genius

Did not start the spirit. In the brilliance of noisy glory

He retained the whole faith of children's years,

And, not believing with what the light says,

In any change of running moments

He remembers all the heads of ancient chants

And early youth of your friends

Trying to remove the burden of their sorrows from them.

I have long once merged with him in prayer,

And now in everyday grave battle

He, remember the days of the native distant,

Not forgotten a patient old man.

And with gratitude for help and fate

I pray the Lord, let him give him happiness,

So that it does not fell in the fight against evil fate,

The saint fenced by his faith.

In the four opts of late spiritual writings, Golovanov entered the work of different years. Opus 38 is entitled "from youth notebooks": it makes up works, the first records of which are related to the period of the Synodal School; Then, in the early 1940s, they were significantly redone the hand of an experienced musician. In the leap 36, "Christmas and Liturgy chants", the chronological run - from the wonderful "you sing" with the solo soprano in 1918 (the chant began to sound in a concert with the participation of the Choir I.I. Yukhova and A.V. Nezhdanova in April 1918 ) to the Christmas Kondak "Virgo Dnee", written in memory of A.D. Castal, who died in December 1926, and further to the Christmas Tropar and Irmanos of the Christmas Canon, created in the early 1941th. People's penetrations 37 and 39 are predominantly by the 1940s, and maybe it is they who most reveal the Golenovsky hearing of the church-singing Russian tradition. In the leap 39, the last, the first six choirs are especially allocated - the Motheratic chants; They have a copyright name: Suite "All Thoring John", and the first three choirs - a lot of speaking date: the sorrowful days of November 1941. Even in this opus, there are two chants to the Heavenly patron of Golovanov - St. Nicholas - December 1941 (and precisely December 19, Nikolin Day) and the Troparic of Reverend Seraphim Sarovsky, whoroidered at the same time. In addition to the memory of Rachmaninov and "Prayers of the Saint Martyr Trifon" mentioned "Lights", there are two choirs, written in specific reasons (and, of course, fulfilled unless at the piano at home): Great multi-family dedicated to the 40th anniversary of artistical activities A. IN. Nezhdanova (May 1943), and Sadalen "Peace, Savior of our" memory of a deceased friend (1944).

To retell the music unknown to the reader - an ungrateful occupation. There is no clear answer and the question to what extent "written in the table" can enter the modern church source. Probably can be separate chants, and, of course, only where there are singers who can pass the Golovan choir. At the same time, not the slightest doubts about the church creativity Golovanov does not cause: at each moment the composer hears firmly and implements the Russian singing tradition, hears the liturgical meaning of the word and chants in general. A stylistic advantage has a native Golovanov new direction, "Synodal School School", moreover, in all the variety of options: both Castal, and Rakhmaninov, and Chesnokov, and Grechaninov. There are chasters, which, not being translated in the exact sense of the word, as if they "suffer" traditional Rospov, but also, in the most free compositions, the principle of Rospev undergoes the basis of everything. However, on top of the school, on top of the memories of the artist of another time, an artist with a very deep spiritual and actual experience sounds over the memories of the past in this music. From here - wonderful long (and such difficult for execution) melodic lines, as if "infinite breathing", from here - rich and complex (not fictional, natural) harmonic letter. The church creativity of Golovanov is his own way, not "nostalging" (although the sadness of the gone is also audible), not "stylizing" (this is not at all). For him - nothing is gone, everyone is alive.

When you listen to the Golovan chants in a row, in large quantities (you can - starting from the first, pre-revolutionary opuses), it is assumed that the author builds a certain "singing". The point is not even that Golovanov has cycles of chants, united by the themes of the church year or belonging to a particular service (if desired, it is possible to build from the Golovan Opus, together taken, the singing decision of liturgy and all-bedroom). The case, rather, in the inner unity of all of them created, in the emergence of its system of singing words and the image.

... Return Golovanova has not yet completed. So, in various editions of the Museum of Music Culture, some letters of Nikolai Semenovich published, fragments of his diary records - very interesting and colorful. It is now being prepared for the press of a whole volume of the literary heritage of the musician, where diaries and letters, and other documents will be included. There is still a recording of audio systems with the church-musical and secular heritage of the Golovanova-composer; There is a restoration and qualitative reissue of many of its conducting work. And then, more and more often, the definition of "Great" applied to the Golovanov will reveal its true meaning.

Marina Rakhmanova

Magazine "Orthodoxy and Modernity" № 17 (33)

Svencitsky A. Invisible thread. M., 2009. P. 26

The unique level of the Soviet and Russian mathematical school is generally accepted in the world, however, unfortunately, its market technological embodiments achieved in our territory and have received global recognition. Such global achievements include the work of Nikolai Golovanov, associated with a 3D-modulator, which many years ago originated and began to serve as a geometric core of the Asconian Compass-3D, and relatively recently received widely known as the C3D kernel independently distributed.

The editorial board and the Ledas company congratulate Nikolai Golovanov with an anniversary and wish him and his close further creative and any other heyday.

Man kernel

Nikolai Golovanov was born in Berlin, where his father-officer served. Like all the military families, they often moved: Davlekanovo, Patriceevo, Borisoglebsk, Balashov. High School Nikolai graduated in the Polish city of Sprotava. Entered the Machine-Building Faculty of MVTU. Bauman and received a specialty constructor of space launch vehicles. Then came to the design office of Mechanical Engineering (Kolomna), where the future founders of Askon Alexander Golikov and Tatyana Yankina worked and which was the pranodine compass system. Nikolai Golovanov was engaged in strength: he prepared the experiments, carried out calculations, including using computing machines. At that time, many KB and Research Institutes were developing application programs that automate their enterprises. The KBM developed systems that allow using a computer to perform various engineering calculations and build drawings. In addition to other works, Nikolay Nikolayevich developed a program for analyzing the strength and stability of shell structures.

In 1989, Alexander Golikov and Tatiana Yankina left KBM and created Askon. And although everything began with electron Kulman, already then they thought of a system of three-dimensional parametric modeling, which would allow to fix the design thought not in the form of a flat drawing, but in a three-dimensional model. For their ideas, the founders of Ascona shared with Nikolai Golovanov, and in 1996 he switched to a permanent job in Ascona.

At that time, the workstations already functioned solid-state and surface modeling systems. And the developers of the compass dreamed of creating something like that and even the best, but on the usual personal computer. Three - Yuri Puddov, Vladimir Zorin and Nikolai Golovanov were engaged in mathematical problems. Today, one Nikolai Nikolayevich remained from that triple. Vladimir Zorin left Russia, worked at PTC (developer Pro / Engineer), then moved to SolidWorks. Yuri Puddov died several years ago after severe illness.

Today, Nikolay Golovanov continues to bring formulas and develop algorithms for the development and improvement of the nucleus. Together with him, young specialists work - a new generation of mathematicians. All together they create an intelligent stuffing, the brain of the Compass-3D system.

N.N. Golovanov on site

In the company Ledas, the results of N.Golovanov know well, professionally understand and highly appreciate

With the C3D Labs team

Monograph "Geometric Modeling"

Publishing and preparatory support for the English translation of the monograph N.Golovanova "Geometric modeling" and the publication of this translation was actively implemented by Joel Orr - one of the pillars and patriarchs of the analytical agency Cyon Research. Annotations to the American publication Joel writes: Golovanov created a text that will allow each student who studies geometric design, to fully realize the power and beauty of mathematics standing at the set of tools, and apply them in their work. I am very impressed with the logic, methodology and clarity of the presentation of the learning material. Highly recommend!

In the same annotation, the words of Ken Vospectrill are also given: The role of geometric modeling continues to grow ... an understanding of fundamental structures on which geometric modeling is based will allow students and developers to obtain the competence of the level of developing today. With his impressive book, Nikolai Golovanov helps to pass the way to this understanding.

Russian Soviet conductor, pianist and composer.

People's Artist of the RSFSR (1943).
People's Artist of the USSR (1948).

9 (21) January 1891 was born in Moscow, in the poor boss family.
In 1900-1909, he studied in the Moscow Synodal School, where his mentors were famous choral conduits V.S. Orlov and A.D. Castal. In 1914, he graduated with honors from the Moscow Conservatory on the class of composition from Mikhail Ippolitov-Ivanov and Sergey Vasilenko.
In 1915, he became the Cordizer of the Orchestra and the Assistant of the Khommerster of the Bolshoi Theater, from 1919 to 1928 he was the main conductor, in 1926-1929 also headed the Moscow Philharmonic Orchestra.
In 1937, he was appointed by the artistic director and the main conductor of the Great Symphony Orchestra and the Opera RadioTheater of All-Union Radiocommete.
In 1948-1953, a large theater was headed again.
In 1925-1929 and 1943-1944, he taught at the Moscow Conservatory.

prizes and awards

Stalinist Prize (1946)
Stalinskaya first degree premium (1949, for the opera performance "Boris Godunov" M.P. Mussorgsky)
Stalin's first degree premium (1950, for Opera performance "Sadko" N.A. Rimsky-Korsakov)
Stalin Prize (1951)
The order of Lenin
Order of Labor Red Banner
Medal "For the Defense of Moscow"

Medal "For Valiant Labor in the Great Patriotic War of 1941-1945"
Medal "In memory of the 800th anniversary of Moscow"

« When you think about the creative appearance of Nikolai Semenovich Golovanov, - the contemporaries wrote, the main, most characteristic feature seems to be his national essence. Russian national setting of creativity perishes performers, conductor and composer activities Golovanov». Conduger-Titan, conductor-Bogatyr, he grabbed the Russian opera from the vortices of the revolution, whose millstone cut and borrowed the traditions of Russian art. The Creator of "Big Style", his driving manner struck the power of energy, contrast, brightness of the orchestra paints. Putting Nikolai Golovanov on the stage of the Bolshoi Theater Opero "Boris Godunov" (1948, Stalinist Prize), Sadko (1949, Stalinist Prize), "Hovanshchina" (1950, Stalinist Prize ") - Vershins of the Renaissance of the Russian Opera, still uncomparable .

Music on the fracture of the 20s and 30s of the twentieth century once again turned out to be a ristal. Oil into the fire robbed Karl (car) Flash, Professor of the Berlin Higher Music School. In the work "The problem of sound in a violin game" he developed the theory of "whole races and folk tribes, who have a better sense of sound than others." Such were the "Polish and Russian elements of Jewish origin". In Germany, the scandal broke out. The famous violinist Gustav Javeman indignant: "You are taking a Jewish sense of sound as a fundamental, which is natural for you, as for the Jew, I respect. But for us, Germans, the Jewish sense of sound is not determining. " The idea of \u200b\u200bFlash was picked up in the Soviet Union. Nikolai Golovanov openly spoke that only Russian musicians and singers could be the best interpreters of Russian music. In essence, Golovanov repeated the statement of Emperor Alexander III. The legend of the Golovanov-Anti-Semite broke out and replicated all the following years. Today, Nikolai Golovanov's name is known except for connoisseurs of Russian art. Today, the name of Nicholas Golovnov - in the shade. It is not because in the halo of Glory fame, the liberal propaganda on the "Stalinist" USSR is incremented in Truch, and the art of Stalinsky "the USSR acquires the sound of Scriabinsky" Prometheus ".

About Nicolas Golovanov specifically for "tomorrow" we speak with Olga Ivanovna Zakharova, a man of amazing fate. At the end of the Moscow Conservatory (theoretical and composer faculty), she came to work at the Golovanov Museum. Ensured: distribution per year, two ... year or two were almost in half a century. Not lured neither the proposal of radio-and-sowing, nor the Institute of Art Creation, about which once only had to dream ... But we can safely say: Olga Ivanovna Zakharova, musicologist, Candidate of Art and Science - Museum of the Museum of Nikolai Golovanov. Nikolai Golovanova - Titan, the hero of Russian music.

"TOMORROW". Olga Ivanovna, for a quarter of a century of liberals and even patriots inspire the idea of \u200b\u200bthe Breakage of the Russian man, that he lives in the mud and eternal unstores. But here you are in the Museum of Golovanov, and the world of the artistic taste turns out to be, as if yours. What family is the Golovanov born, Ros? What influenced his formation?

Olga Zakharova. By origin, Nikolai Golovanov from the peasants of the Sybirsk province, but his parents have already settled in Moscow. Father - tailor, mother almost did not know a diploma. Golovanov had musical abilities very early, and this gave the opportunity to take him into a unique establishment, which was the Synodal School of Church Singing. At the end of the XIX century and up to the revolution, the Synodal School experienced the period of take-off, climax. This reformer came to the school, a very educated person, a scientist, medieval and composer Stepan Smolensky. The School worked the Cabinia of Russian spiritual music Castal, Chesnokov, Nikolsky. In 1901, Smolensky was transferred to the court singing chapel of St. Petersburg, but, nevertheless, in Moscow he managed to lay the foundations of serious training and church, and the general system. In the school was a stunning choir. The choir consisted of boys and wolne-free singers. Basy octavists were famous - very low bass, and led the regitor with a capital letter Vasily Sergeevich Orlov. Already on the slope of the years, Golovanov will write: "The synodal school gave me everything - the moral principles, the vital foundations, the ability to work much and systematically, instilled a sacred discipline."

"TOMORROW". How difficult was to enroll in such a school?

Olga Zakharova. Of the 360 \u200b\u200bboys, - remembered the Golovans, "few lucky, boys from different cities of Russia were chosen. That was a private boarding school, where not only gave education, but also provided everything necessary. Golovanov had a wonderful voice. And it was noticed. In the choir he was the so-called appraiser, that is, a soloist. The apparatus is a church term, as well as regent. There were three appraisers, and the choir during solemn services was sometimes seventy or more people. The choir served such a shrine of Russia as the Assumption Cathedral in the Kremlin. In addition, the boys worked truly. There were orders for a synodal choir from rich houses for the funeral, wedding. He performed a chorus and in the Moscow Conservatory, gave tour of the abroad.

"TOMORROW". Is it true to say that the Grand Duchess Elizaveta Fedorovna noticed Golovanov in the Assumption Cathedral?

Olga Zakharova. Elizaveta Fedorovna often visited the service in the Assumption Cathedral. According to the memories of one of the synodals, she went on foot from the Marfo Mariinsky Resident in the Kremlin. There is information that the Golovanov, being another student of the Synodal School, was invited by her as a regent for services in the Nikolaev Palace of the Kremlin.

"TOMORROW". And immediately after graduation, Golovanov received an invitation to become a regent of the Marfo Mariinsky Resident.

Olga Zakharova. Not only. Golovanov graduated from the school in 1909. And he was left by the teacher of the school, and the junior assistant to the regent. The Great Princess invited to be regent in the Marfo Mariinsky Resident. The main Pokrovsky Cathedral was then built, the services were in the house, Martha and Maria Church. And in 1911, he became the senior assistant regent, in addition he studied at the Conservatory in Sergey Vasilenko in the class of composition and the theory of music.

"TOMORROW". Due to employment, I had to leave the abode?

Olga Zakharova. Yes, but the Golovans for the whole life retained the memory of the great princess Elizabeth Fedorovna. The museum has a document, indicating that it was always satisfied with the work performed by the Golovanov in the monastery. The Album of Golovanov placed a photo of the Grand Duchess, which, perhaps, she gave him a farewell when leaving the Marfo-Mariinsky monastery. A gift from the choir - metronome, on its elegant bronze lining engraved: "From the grateful choir sisters of the Marfo-Mariinsky monastery," and the dates when he came and left the monastery.

"TOMORROW". With the artist Nesterova Golovanov met here? What is known about their relationship?

Olga Zakharova. Golovanov communicated with the artist in different years, was friendly with the autobiographer of the artist, foolish. Preserved their correspondence. Golovanov has several works Nesterov: "Holy Varvara", "Angel of Sorrow", "Capri. Italy "is pre-revolutionary work, and the work of the Soviet period" Desert fathers and wives are immaculate. " Moreover, the last is the author's version, which is different from the one in the Tretyakov Gallery.

"TOMORROW". Debut as a conductor took place after the end of the conservatory or before?

Olga Zakharova. At 20, in 1911, Golovanov conducted in the Moscow Conservatory. That was debut. Synodal choir performed by Liturgy by Sergey Rakhmaninov.

"TOMORROW". We approach the years of the revolution, which Golovans seemed to not notice because of love in Nezhdan. I would like you to have told us about this story of the Great Love. Who did the first notic?

Olga Zakharova. In 1914, the Golovans finally ended the conservatory. His diploma work is the Opera "Queen of Yrata". When music, as it was relied, lost on two pianos before the examination commission, then she produced a furor. Opera celebrated a special cash premium in 1000 rubles. The director of the Conservatory of Ipolitov-Ivanov decided: Opera must be certainly executed. But the World War I broke out. Nevertheless, the music was performed in the form of suite. About Golovanov immediately spoke, they began to write about him. And in 1915, Golovanov conducted the summer symphony concerts in Sokolniki. Participants - the orchestra and soloists of the Bolshoi Theater. And here, I think Nezhdanova could pay attention to him.

"TOMORROW". Nezhdanova was much older than Golovanov.

Olga Zakharova. When Golovanov was born, 1891, Nezhdanova already met in Odessa, where she comes from and where her family lived. Nezhdanova was older than Golovanov for 18 years. She had two brothers, sister and all the younger. To somehow help the family, she worked for eight years to help the teacher. And since 1902, Nezhdanova has already shone in the Bolshoi Theater. She had, of course, a stunning voice, some kind of angelic purity. I think that at first Intranslated by voice can be said. Later, the Golovans wrote that Nezhdanova was childishly chista soul, even was naive. Nezhdanov also said that when he saw Golovanov, a "injection" occurred, he "progress". Maybe this is called love at first sight?

In 1918, Golovans for Nezhdanova, explicitly to order, made a casket. Very beautiful carved work. You open and on the lid a great letter of Golovanov for the day of her name and the Holy Trinity. Inside the casket, some other romance is still discharged, which he dedicated to Nenozhanaya. Romance "What is Great?" To the poems of Igor Northerner. Here with this box, perhaps, the history of love began. At the same time, the Golovans became a permanent pianist-accompaniment of the Great Singer. In addition, both of them were believers.

"TOMORROW". Marriage was church?

Olga Zakharova. They consisted in civil marriage. But, according to the priest, Father Valerian Krecheov was secretly crowded. Nezhdanova lived in the apartment floor below, the general they had a cottage on Nicolina Mount.

"TOMORROW". I wonder what way of life did they learn?

Olga Zakharova. They somehow very fun spent their leisure, some kind of delight before life. On the shields were arranged walking around the apartments, were rich, sang carols. Very loved to travel. We went to Italy, stayed at the Villa of the English Conductor Albert Cautus. In 1926, Bernard Shaow rested nearby, he often visited Cautus. Once caught Nevozhanu and Golovanov. Nezhdanova sang to him "Solovya" and Russian folk songs. Bernard Shaw came to delight, and he was very collective, if not to say - poisonous sometimes. He presented an unexpected photo and wrote: "I now understand why God gave me to the 70th age, is to be able to hear his best creation - Nezhdanov."

Golovanov and Nezhdanov were fond of painting, collecting. Nezhdanova herself painted, even her portrait of Golovanov. Antonina Vasilyevna had an excellent collection of painting, no less luxurious than Golovanov. In addition to the paintings of Russian and foreign artists, Golovnov gathered the icons, there were about a hundred. Sixty are transferred to the Tretyakov Gallery.

"TOMORROW". The death of Antonina Vasilyevna Nezhdanova in 1950 was a shock for Golovanov. And you can say, he did not cope with him.

Olga Zakharova. Yes. After the death of Nezhdanova, in October, the Golovans held a grandiose concert of her memory. And soon fell ill. He had pneumonia. Golovanov treated the newest then penicillin drugs. The temperature fell, it seemed that everything was normal, as suddenly, paralysis broke it. Stroke. He was able to assist in time and treated, supported the whole year. The movement restored, speech, but doctors banned public speeches. At the same time, the Golovanov remained the musical leader of the Bolshoi Theater and the Orchestra of All-Union Radio. And carried out the records of twelve symphony sheets of sheet, symphonic passages from Wagner operas. Stunning completely records! No one could even imagine that they were made by Golovanov after stroke.

"TOMORROW". Olga Ivanovna, there is a myth of Golovanov - Tirana, a despote.

Olga Zakharova. Nikolai Semenovich Golovanov was distinguished by an explosive temperament. In it lived as if two different people. Outside of work, even during the rehearsal break - he was a good-natured, very good interlocutor, a very fun man. During the work, he was transformed, became tough and overweight. If he, at his own insight, saw some kind of mood in the orchestra, not even the eyes, then he boiled and could be rude, sharp. He did not tolerate the slightest falsehood, he treated the conduct, to the execution as a kind of church service. Even there were such memories of Kharladih Vasilyevich Birds. He says that in the manner of conducting the heads, there was something from the sacred.

"TOMORROW". And we note that in that damned, totalitarian, the godless Time of Golovans constantly left religious abbreviations on the scores.

Olga Zakharova. They managed to read. These are the first words of prayer. Most often "IV. B. M. " - The Iverskaya God Mother. Sometimes he even wrote the "Lady Mother's Iver, help." There is also an appeal to Seraphim Sarovsky, Savva Zvenigorodsky. I think this tradition is not only Russian, in general, Christian. Johann Sebastian Bach, for example, put the crosses. On the score of the sixth symphony of Tchaikovsky - "blessing Lord" and at the end - thanksgiving.

"TOMORROW". Olga Ivanova, the name of the Golotanov gold letters carved in the Bolshoi Theater's Heavenly Pantheon. Wola, courage, talent Golovanov crushed the whole of this alien theater internation and returned the theater to the Russian direction. I would like to talk with you about Golovanov and the Bolshoi Theater.

Olga Zakharova. Golovanov came to the Big Theater in 1915. At the modest post of assistant Hormeister. In 1919, it can be said, healed to the conductor theater podium. The Golovans doubted the head for a long time, but the conductor was urgently needed, after the revolution, the conductor Theater Emil Cooper was emigrated. Then even to such tricks were resorted: Golovanov said - the rate of assistant Hormeyster is canceled and need to be addressed: either become an opera conductor, or leave the theater. And he with the theater has already gone, there were Shalyapin, Nezhdanov, Sobinov ... and the Golovans decided. The first opera, which he conducted - "Tale of Tsar Saltan". 1919 year. The laudatory letter was preserved by Vladimir Nemirovich-Danchenko. Golovanov became interested in work and Russian opera became his repertoire.

"TOMORROW". And I began to fuck heads of the Russian Association of Proletarian Musicians.

Olga Zakharova. The campaign of the trace began in 1928 and I think, began first inside the largest theater. The theater was unhappy with the style of leadership of Golovanov. He, of course, was an authoritarian person. Then it was considered a remnant of departed culture, Barze. He was called "Barin", but those to whom he just had a claim as professionals. Rapm united the young generation of musicians, revolutionary. So revolutionary that it seemed to them: the Big Theater does not do anything. With a classic not along the way. Moreover, these people were amateurs, in general, not really educated, and the ideology left at the expense.

Somehow in a private conversation with your teacher Vasilenko (and Vasilenko was preparing the premiere in the Bolshoi Theater - Opera "Son Sun") that the Opera "Boris Godunov", which was preparing for the production, must conduct a Russian conductor. And instructed Aria Moiseevich Pazovsky. The words of Golovanov were heard, transferred and began to incriminate anti-Semitism. In those years, it was a terrible accusation. A campaign called "Golovanovschina" broke out. The scandal twisted into a conservatory, where the Golovanov revived a conservative orchestra. Here also started "cleaning". Pollying Golovanov and in the newspapers, it even came to court. Golovanov, it should be noted, I knew how to defend yourself. He somehow prepared for all these disassembly, he had concrete facts, arguments.

"TOMORROW". Nevertheless, Golovanov was fired from the theater.

Olga Zakharova. Golovanov was fired from the Bolshoi Theater, but he continued to give concerts in the conservatory. The audience was sharply shared on the "Golovanov" and those who condemned him. The case came at once to the whistle, on the verge of hand-to-hand.

"TOMORROW". How many times did he leave the Bolshoi Theater?

Olga Zakharova. Three times. He did not leave, and his "left." The first time is 1928. But in 1930 they returned, and by a decree of the Commission of the Central Committee, that is, they rehabilitate from above. Second dismissal - 1936.

"TOMORROW". What was it caused?

Olga Zakharova. To a large extent already marked with the style of management. But there was still a story associated with the composer, Ivan Dzerzhinsky, the author of the Opera "Quiet Don". It was believed that the heads were too reworked by this opera. She was a talented, but amateur, very bad tool. In general, the Golovans got great over her to imagine adequately in the Bolshoi Theater. Dzerzhinsky in those years was raised "on the shield." The premiere of his opera in the author's editorial board in Leningrad was successful, Himel Samosud was conducted. The composer was offended by Golovanov because of the editorial office, and as a result, Golovanov removed and put Samuel Abramovich Samoyu. Golovanov, which is interesting, wrote a calendar on a leaflet, on the day of his dismissal: "The Committee was given aboutm art learned Samosud over Golovanov. "

"TOMORROW". But kept in strategic reserve.

Olga Zakharova. In 1937 he was awarded artists, soloists of the Bolshoi Theater. Golovanov from the newspaper found out that he was awarded. Moreover, he decided that this is a mistake, typo, which was awarded not him, and singer Dmitry Golovin. Golovanov returned to the theater in 1948, and would be returned before, but there was a war. Having learned about the return to the theater, the cordial attack moved from joy. Microsophartic.

"TOMORROW". He was so emotional?

Olga Zakharova. Yes, of course, he was very emotional. In addition, the Big Theater was a significant place for him.

"TOMORROW". War where Golovanova found?

Olga Zakharova. When the Great Patriotic War broke out, the Golovans with Nezhdanova were at the cottage in the suburbs. And in the hottest, difficult days, when the troupe, the Bolshoi Theater orchestra had already left for evacuation, the heads began to collect the orchestra. It was quite difficult. Wavings, bombing, everyone is trying to leave Moscow.

"TOMORROW". And they stayed?

Olga Zakharova. Golovanov and Nezhdanova repeatedly recommended evacuated. But they refused. Antonina Vasilyevna Nezhdanova decided to stop acting before the war. Age. However, in the very first years of the war, she began to perform on the radio. Only 1942 gave fifty with more concerts. And the Golovans scored musicians to the orchestra, broadcasts began. These broadcasts were of great importance for those who were far from Moscow. In the capital, music, concerts! And the music was revived, which has not been sounded for a long time for various reasons. Let's say, Overture "1812 year" Tchaikovsky. She ended with the royal anthem "God king King", Zolovanov replaced the "nice" and began to fulfill it. The museum has a note from the pilot, who made the flight to Tehran. So, during this flight, he listened to the overture of the "1812 year."

"TOMORROW". Great story! I propose to talk now about the triumph of Golovanov in the Bolshoi Theater.

Olga Zakharova. From 1948 to 1953, the years of the climax of work Golovanov in the Bolshoi Theater. Three years in a row: 1948, 1949, the 1950s were operas - "Boris Godunov", "Sadko", "Hovidashchin", which were awarded the highest award, the Stalinist Award I degree. These were completely brilliant productions. Masterpieces. Golovanov took revenge.

"TOMORROW". There is a version, Stalin sympathized with Golovanov.

Olga Zakharova. It is definitely that Stalin appreciated the Bolshoi Theater and Golovanov at the head of the Bolshoi Theater. He treated the heads to Stalin before the war I am unknown to me, but after the war rated. Note, it was when Stalin Golovanov achieved very high bids for the orchestra, good tools were acquired, that is, all conditions were created for truly creative work and supporting the life level of musicians. And in the Bolshoi Theater, and in the Radio Orchestra, to whom Golovanov led.

"TOMORROW". But Stalin dies, Khrushchev dismisses Golovanov.

Olga Zakharova. The formal hook - the heads operates in two large groups and is not conducted in the Bolshoi Theater. Another reason - I told me a historian of Maksimenkov. In those years it was important to create a Soviet classical opera, and the heads were very skeptical about this. He did not see modern music worthy of the Bolshoi Theater. Although then ordered Opera and Shostakovich, Opera "October", and was preparing for the statement of the Opera "Decembrists" Shaporin. The possibilities of composers did not meet the requirements of Golovanov.

There was another reason. In 1952-1953, Golovanov prepared a decade of the art of Belarus in Moscow. Then decades of different republics were carried out with great pomp, pomp. And in Minsk, Golovanov began a clash with the singer Larisa Alexandrovskaya, who was a deputy of the Supreme Council. She prepared as a director for the decade Opera "Girl from Polesia" Tikotsky. Golovans very critically referred to the production and demanded alterations. Apparently, he said something sharp by this singer. And she was a girlfriend of a man who became Minister of Culture at Khrushchev, Ponomarenko. When Ponomarenko became Minister of Culture, he was Golovanov and took off.

"TOMORROW". Golovanov waited for him to be returned?

Olga Zakharova. You know, there is such a myth that the Golovans, already be fired, came to a large theater from a service entrance and presented his certificate. He was told that you no longer work here, you are a pensioner. The order and the dismissal of Golovanov from the radio orchestra was preparing.

"TOMORROW". The heart of Golovanov could not stand the humiliation.

Olga Zakharova. Yes. Having received the news of the dismissal, the heads soon died. August 28, 1953. On Assumption ... For the first time, he advocated a synodal choir. Career of the Golovanova-musician began with services in the Assumption Cathedral. The Golovans himself said that he had the most significant days in his life with the audit. I thought now that here is also in Bryusov Lane, the Church is near and too.

"TOMORROW". Olga Ivanovna, the heads of all their lives continued to write spiritual music. What is his last essay?

Olga Zakharova. More than the essay of Golovanova, the summer of 1952, prayer to St. Trifon. He, of course, recalled his confessor. There was such a metropolitan trifon of Turkestan, the author of the Akathist "Thank God for everything." In the exposition of the museum there is a poem of the Trifon, which he wrote and sent Golovanov in the 1930th year in connection with the Golovanovskoye Campania. In the poem, he recalls the singing of Golovanov also a boy, as he solrated, and how this halo was breathed over him ...

"TOMORROW". Genius.

Olga Zakharova. Yes.

"TOMORROW". Value of Golovanov for Russian, world musical culture.

Olga Zakharova. You know when in 2011 a film was made about Golovanov on the Culp channel, he received such a name: "Nikolai Golovanov. Chief conductor of the Soviet Union. " He was really the brightest Soviet conductor of the first half of the twentieth century. He was in the avant-garde of the musical life of Moscow. For modern musicians, conductors, the public of the Golovanov became a symbol of the Russian start in conducting. I touches me that such an outstanding musician, like Mikhail Vasilyevich Plenev, is his big fan and a propaganda of creativity. And not only with us, but also abroad.

Golovans perfectly performed Wagner. In Germany, disks, a series "Great Conductors". And in this series, two Conductors: with the German side - Wilhelm Furtvengler, with Russian - Nikolai Golovanov.

"TOMORROW". The subject in the museum with which a sacramental story is connected.

Olga Zakharova. I think it is a sword of the beginning of the twentieth century. There is a testimony that when the royal services passed, the king came to the Kremlin, sang a synodal choir. Regent Chorah was supposed to fall into the Vitzmundir with a sword. The museum has a photo of 1914, the exit of the imperial family from the Assumption Cathedral in the miracles of the monastery. And in the background photos of the Synodal Choir and Golovans. Exactly in the Vitzmundyr and, probably, it is with this very sword.

"TOMORROW". Golovanov and in heaven - a warrior of Russian art.