Misplaced Pages

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Nikolai Golovanov" – news · newspapers · books · scholar · JSTOR (November 2021) (Learn how and when to remove this message)

Nikolai Semyonovich Golovanov (January 21 1891 [O.S. January 9] – August 28, 1953) PAU, was a Soviet conductor and composer, who was married to the soprano Antonina Nezhdanova.

He conducted the premiere performances of a number of works, among them Nikolai Myaskovsky's Sixth Symphony in May 1924.

Golovanov held some of the highest musical positions in the USSR, including an extensive association with the Bolshoi Opera. In her autobiography, Galina Vishnevskaya terms him the theater's chief conductor, and tells of his dismissal from the Bolshoi and his death - which she attributed to the humiliation of the experience of losing this position. It has been reported that Golovanov's firing was the result of Stalin's displeasure at Golovanov's having tried to use a Jewish singer, Mark Reizen, in the title role of Tsar Boris Godunov in his recording of Mussorgsky's opera. Golovanov actually did record the opera with Reizen as Boris, but later remade Reizen's part with another Boris, Alexander Pirogov.

Golovanov's recorded output was substantial and quite individual in interpretive approach. In his discography we find all but one of the Liszt tone poems, the complete Scriabin symphonies and Piano Concerto, Tchaikovsky's First and Sixth symphonies, as well as shorter works, Beethoven's First Symphony, Violin Concerto and Triple Concerto, Rimsky-Korsakov's Scheherazade and his operas Sadko and Christmas Eve, Mussorgsky's Boris Godunov and Pictures at an Exhibition, Rachmaninoff's Second and Third symphonies, the opera Aleko and other compositions, Glazunov's Fifth, Sixth and Seventh symphonies, and scores by Grieg, Mozart and others.

Based upon the evidence of his recordings, Golovanov's characteristic performance mode was full-blooded and nearly vehement in tone, with a powerful, almost overloaded sense of sonority, and extreme flexibility in matters of tempo, phrasing and dynamics. Others have characterised his approach as heavily controlling after the manner of Toscanini, excessively wayward in the way he often ignored the markings in the written score to suit his own inflated sense of musical importance, and generally self-indulgent in the extreme. The timing of the orchestral ensemble often suffered in trying to keep up with his inconsistent and demanding beat.

In addition to audio recordings by Golovanov, there is a film of Golovanov conducting the USSR State Symphony Orchestra in a performance of Tchaikovsky's 1812 Overture. As was the practice in Soviet times, the Tsarist anthem was replaced with the chorus "Glory, Glory to you, holy Russia!" from Mikhail Glinka's A Life for the Tsar. The film does not feature synchronous sound, but has short segments of Golovanov conducting.

Golovanov was also a composer; his works include the opera "Princess Yurata", a symphony and other orchestral works as well as choral music.

Notes

1. Russian: Николай Семёнович Голованов, romanized: Nikolay Semyonovich Golovanov

References

1. "Myaskovsky's Official Website".
2. "AllMusic".

• 1891 births
• 1953 deaths
• Soviet classical composers
• 20th-century Russian conductors (music)
• Russian male conductors (music)
• 20th-century Russian male musicians
• People's Artists of the RSFSR
• People's Artists of the USSR
• Recipients of the Stalin Prize
• Recipients of the Order of Lenin
• Recipients of the Order of the Red Banner of Labour
• Russian classical composers
• Russian male classical composers
• Russian classical musicians
• Soviet composers
• Soviet male composers
• Soviet conductors (music)
• Burials at Novodevichy Cemetery