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Boris Arapov
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Boris Aleksandrovich Arapov (Russian: Бори́с Алекса́ндрович Ара́пов; 12 September 1905 in Saint Petersburg – 27 January 1992 in Saint Petersburg) was a Soviet and Russian composer. People's Artist of the RSFSR (1976).
Key Information
Life and career
[edit]Arapov grew up in Poltava, Ukraine, and took his first musical instruction class there. He moved to Petrograd (formerly Saint Petersburg) in 1921, and took piano lessons with Maria Yudina. However, a hand disease later forced him to abandon piano playing.[1] His instruction class in composition started in 1923 at the Leningrad Conservatory, where he was taught by, amongst others, Vladimir Shcherbachov.
He later became a teacher at the conservatory, and a professor in 1940. In 1951, he became the director of the faculty for orchestration and the faculty of composition in 1976. He received titles of People's Artist of the RSFSR (1976) and Order of Lenin (1986). His students included the Georgian composer Dagmara Slianova-Mizandari.[2]
Arapov oriented himself first of all towards the officially desirable composition style and worked primarily with nationalist elements, mainly restricting his subject matter to Russian folklore. However, from around 1960, his compositional style started to become more experimental, introducing a more complicated harmonic, rhythmic and sound colour. As subject matter, he more often selected works of literature. Although this later work is generally tonal, the levels of internal discord are higher than previously. In his very last works, Arapov introduced a religious subject matter.
Selected works
[edit]Orchestral
[edit]- Symphony No. 1 in C minor (1947)
- Symphony No. 2 in D major (1959)
- Symphony No. 3 (1963)
- Symphony No. 4 for voices, choir and orchestra (1975)
- Symphony No. 5 (1981)
- Symphony No. 6 for voices, choir and orchestra (1983)
- Symphony No. 7 (1991)
- Concerto for orchestra (1969)
- "Tajik Suite" (1938)
- "Russian Suite" (1951)
- Violin Concerto (1963/64)
- Concerto for violin, piano, percussion and chamber orchestra (1973)
- "The Revelation of St John" for cello, piano, percussion and string orchestra (1989)
Stage works and other vocal music
[edit]- "Hodja Nasreddin", comic opera (1944)
- "The frigate "Victory", opera with text by Alexander Pushkin (1959)
- "Rain", chamber opera from W. Somerset Maugham (1967)
- "The Picture of Dorian Gray", ballet from Oscar Wilde (1971)
- "Four Seasons", vocal cycle for soprano, tenor and nine instrumentals (1978)
Chamber music
[edit]- Trio with Mongolian themes, for clarinet, viola and piano (1938)
- Violin Sonata (1978)
- Cello Sonata (1985)
- Horn Sonata (1981)
- Sonata for solo violin (1930)
- Quintet for oboe, horn, harp, viola and cello (1979)
Piano music
[edit]- Piano Sonata No. 1 (1970)
- Piano Sonata No. 2 (1976)
- Piano Sonata No. 3 (1987)
- Piano Sonata No. 4 (1990)
- Piano Sonata No. 5 "De profundis" (1992)
References
[edit]- ^ Lewis, Joseph W. Jr. (2010), What Killed the Great and Not So Great Composers?, AuthorHouse, p. 454, ISBN 978-1452034386.
- ^ Boenke, H. Alais (1988). Flute Music by Women Composers: An Annotated Catalog. ABC-CLIO. ISBN 978-0-313-26019-3.
Boris Arapov
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Early Life and Education
Family Background and Childhood
Boris Arapov was born on September 12, 1905, in Saint Petersburg, Russian Empire. [5] [6] He was the son of Alexander Borisovich Arapov, who descended from an old noble family, and Elizaveta Ivanovna Arapova (née Merz), daughter of the architect Ivan Alexandrovich Merz and great-great-granddaughter of the inventor Ivan Petrovich Kulibin. [5] He received his first musical instruction from his mother, and later studied piano with Zaitseva-Zhukovich.Move to Petrograd and Conservatory Studies
In 1921, he began piano studies under Maria Yudina and Samariy Savshinsky. [1] A hand injury subsequently forced him to abandon his plans for a performing career on the instrument. [1] He shifted his focus to composition, entering the Leningrad Conservatory in 1923 as a student of Vladimir Shcherbachov. [1] Arapov graduated from the conservatory in 1930, completing the composition class of Professor V. V. Shcherbachov. [7]Compositional Career
Early Period and Style Development
Boris Arapov's early compositional period, from the 1930s through the 1940s, was shaped by an alignment with the officially sanctioned stylistic norms of Soviet music, relying primarily on nationalist elements and Russian folklore as core components. [1] His early works restricted subject matter largely to Russian folklore, reflecting the prevailing ideological preferences for accessible, folk-inspired expression that emphasized national identity and cultural heritage. [1] During World War II, while evacuated to Tashkent, Arapov studied indigenous Uzbek folklore, which influenced his incorporation of diverse folk traditions into his music, including the creation of the Uzbek-themed opera Khodja Nasreddin (1944, premiered in Tashkent). [6] This phase demonstrated his engagement with folk materials beyond strictly Russian sources, yet remained within the broader framework of nationalist and folk-oriented aesthetics. [6] His early style emphasized straightforward melodic structures drawn from folk traditions and nationalist themes, avoiding greater harmonic or rhythmic complexity. [1] Arapov also entered film scoring during this period, beginning in the 1930s, as part of his broader activities in Soviet cultural life. [1] This adherence to folk and nationalist elements continued until around 1960, when his approach began to shift toward more complex harmonic and rhythmic techniques. [1]Mature Period and Major Symphonies
In his mature period, beginning after World War II, Boris Arapov devoted much of his creative energy to the grand symphony genre, producing seven numbered symphonies between 1947 and 1991 that form the core of his legacy. These works are characterized by high spiritual pathos, powerful symphonic development, and a tendency toward programmatic content reflecting broad humanistic, historical, and philosophical concerns. Arapov's style in this era featured intellectual intensity, sharp rhythms and timbres, and theatricality in symphonic thinking, while avoiding adherence to any single compositional method.[5] His Symphony No. 1 in C minor (1947) was composed for the 30th anniversary of the Soviet state and incorporates echoes of the Great Patriotic War.[5] The Symphony No. 2 in D major (1959) was dedicated to the 10th anniversary of the People's Republic of China.[5] Symphony No. 3 served as the composer's voice in defense of peace throughout the world.[5] The Fourth Symphony (1975) depicts the history of mankind.[5] The Fifth Symphony (1981) portrays the inner world of contemporary man and lends itself to strongly plot-driven scenic or cinematic interpretation.[5] The Sixth Symphony (1983), titled Triptych, addresses ideas and problems that worried the world in the last decades of the 20th century, integrating poetry and prose by authors including Valery Bryusov, Maximilian Voloshin, Vladimir Mayakovsky, Sergei Orlov, Stepan Shchipachev, Boris Pasternak, and prose by Chingiz Aitmatov to form dramatic conceptions in deep unity with the literary sources.[5] The Seventh Symphony (1991), composed at age 85, stands out for its concentration of thought, strictness of style, and laconic expression, focusing on the most essential aspects of life and expressing the conviction that evil is transient, falsehood will be exposed, and life is ultimately wise and beautiful.[5] During the same period Arapov also produced notable concertos that share stylistic affinities with his symphonic output. The Violin Concerto dates from 1963–1964.[8] The Concerto for orchestra was composed in 1969.[8] The Concerto for violin, piano, percussion, and chamber orchestra (1973) is dedicated to the memory of Igor Stravinsky.[5][8]Late Period and Philosophical Works
In his late period, after turning eighty in 1985, Boris Arapov produced a series of deeply philosophical works that stand apart in his oeuvre for their spiritual intensity and reflective maturity. These compositions, created in the final years of his life, convey the perspective of a seasoned artist who regards the world with a blend of sympathy and aloof detachment, distilling eternal truths while discarding the ephemeral. They reflect his continued loyalty to the innovative pathos of early twentieth-century avant-garde composers while remaining firmly anchored in millennia-old European musical and literary traditions.[2] Arapov's late style incorporated increased experimentation with dissonance while remaining tonal, and introduced religious and apocalyptic themes rooted in New Testament imagery, particularly the Book of Revelation. His music explores the inseparability of soul and body, the universal scale of human suffering aligned with personal experience, and the perpetual struggle between light and darkness. The vocal cycle Soul and Body, for baritone and piano, set to verses by Nikolai Gumilev and Osip Mandelstam, exemplifies this lyrical and philosophical reflection, drawing poetic images of personal breath on the "glasses of eternity" and woe as a "reliable shield of the soul" to measure profound existential concerns.[2] Among the most significant late works is "The Revelation of St John", scored for cello, piano, percussion, and string orchestra, a score that is both epic and acutely lyrical, linking the vast scope of the Apocalypse to intimate personal experience. Symphony No. 7 forms a multi-faceted instrumental drama that finds a common denominator with the Revelation piece in its dramatic depth and philosophical reach. Piano Sonata No. 5 "De profundis" further embodies Arapov's late mastery, articulating spiritual and existential truths with concentrated intensity.[2]Stage Works
Operas
Boris Arapov composed three operas during his career, spanning different periods and demonstrating his evolving approach to vocal-dramatic forms.[2] His first opera, the comic Hodja Nasreddin, premiered in Tashkent in 1944.[9][6] Written during his wartime evacuation to Uzbekistan, the work incorporated elements of local folklore and was designated as an Uzbek opera in some contexts.[6] The second, The Frigate 'Victory', drew its text from Alexander Pushkin and received its radio premiere in Leningrad on October 12, 1959.[9][6] Arapov's final opera, the chamber opera-novel Rain based on a story by W. Somerset Maugham, was completed in 1967 and given its concert premiere in Leningrad on April 25, 1968.[5][9][6] This work stands out as a nonconformist chamber piece characterized by concise, swift, figurative, and succinct musical language, with beautiful and memorable material and a symphonic treatment of characters, stage situations, psychological elements, and landscape sketches.[5]Ballet
Boris Arapov composed a two-act ballet titled The Picture of Dorian Gray, based on Oscar Wilde's novel, in 1971. [7] This work formed a chamber-stage diptych with his earlier opera-novella Rain (1967), and is characterized as a non-conformist composition with a strong, sophisticated musical language and a laconic, swift dramatic embodiment. [7] The ballet features vivid characterizations of individual figures, precise stage situations, and psychological and landscape sketches that are figurative, capacious, and truly symphonic in construction, all grounded in beautiful and memorable musical material. [7] Its orchestral writing creates images of almost cinematic tangibility, allowing the score to evoke sharply plot-driven or film-like action. [7] Later, Arapov prepared a purely symphonic version known as the Choreographic Poem after Oscar Wilde's The Picture of Dorian Gray, derived from the 1971 ballet music. [7] This adaptation retains the score's full completeness and independence when performed without staging, confirming its viability as concert music. [7]Film and Television Scoring
1930s and 1940s Film Scores
Boris Arapov composed scores for several Soviet films during the 1930s and 1940s, contributing to the era's cinema alongside his developing classical style. [3] His credits include Conquerors of the Night (1933), Lunnyy kamen (1935), The Crossing (1940), Yego zovut Sukhe-Bator (1942), and Adventures in Bokhara (1943), where he is listed as composer in each case. [3] These works reflect his early engagement with film music in Soviet productions, often adventure or historical in nature, though detailed analysis of his scoring techniques for these films remains limited in available sources. [3]1950s and Later Credits
After his earlier film work in the 1930s and 1940s, Boris Arapov's contributions to cinema and television became notably infrequent, with only two documented credits in the subsequent decades.[3] In 1954, he composed the score for the Soviet film Kortik, directed by Mikhail Schweitzer and Vladimir Vengerov.[3][10] His final screen credit came in 1990 with the television movie Istoriya bolezni, where he was listed as composer under the name B. Arapov.[3][11] These sparse engagements reflect the limited scope of his later screen work, occurring near the end of his life before his death in 1992.[3]Teaching Career
Positions at the Leningrad/St. Petersburg Conservatory
Boris Arapov began his teaching career at the Leningrad Conservatory in 1930, the same year he graduated from the institution in composition. [12] He was appointed professor in 1940, a position he held for the remainder of his life. [13] In 1946, Arapov became head of the Department of Orchestration, where he oversaw training in instrumentation and related disciplines until 1975. [14] From 1975 until his death in 1992, he headed the composition department at what became the St. Petersburg Conservatory following the city's renaming in 1991, guiding the department through its later decades. [14] [13] His institutional roles reflected a long and influential academic tenure spanning more than sixty years, during which he progressed from instructor to senior leadership in key compositional and technical areas. [13]Notable Students and Mentorship
Boris Arapov was widely recognized as the acknowledged head of the Leningrad composers’ school throughout the 1970s and 1980s. [7] He exerted considerable influence as a mentor, attending premieres of new works by each of his numerous students during this period. [7] More than sixty composers graduated from his composition class, many of whom went on to occupy leading positions in the musical life of Russia and abroad. [14] Among his most notable students are Sergei Slonimsky, Alexander Knaifel, Leonid Desyatnikov, Isaac Schwartz, Vladimir Tsytovich, Yury Falik, and Gennady Banshchikov. [7] [14] These and other pupils formed a significant part of the pleiad of Soviet and foreign composers and musicologists whom Arapov mentored over his long teaching career. [7]Awards and Recognition
Later Years and Death
Final Compositions and Activities
In his final years, Boris Arapov remained remarkably productive as a composer, continuing to create significant works well after his eightieth birthday in a systematic and concentrated manner. [2] His late compositions reflect the perspective of a wise artist who had lived a long and eventful life, combining lyrical and philosophical depth with an ongoing commitment to musical innovation rooted in earlier avant-garde influences and millennia-old traditions. [2] Among his most notable late works are the vocal cycle "Soul and Body" for baritone and piano, set to verses by Nikolai Gumilev and Osip Mandelstam, the Seventh Symphony, and "Revelation of John the Evangelist" (also known as "Revelation of St. John the Divine"), scored for string orchestra, cello, piano, and percussion. [2] These pieces stand out for their integration of epic scale and intense personal experience, particularly in the religious-themed "Revelation," which aligns the universal scope of the Apocalypse with deeply introspective expression. [2] [1] In his very last compositions, Arapov introduced religious subject matter, marking a distinctive turn in his creative output. [1] Arapov sustained his leadership role as head of the composition department at the Leningrad/St. Petersburg Conservatory throughout this period, remaining actively engaged in teaching until the end of his life. [2]Death
Boris Arapov died on January 27, 1992, in Saint Petersburg, Russia, at the age of 86. [14] [15] [16] This date is widely confirmed across Russian biographical sources, including those associated with the St. Petersburg Conservatory where he taught for decades. [17] Some conflicting reports list January 21, but the preponderance of evidence supports January 27.References
- https://www.wikidata.org/wiki/Q709068