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{{Short description|Soviet-Russian composer (1913–2007)}}
{{Use dmy dates|date=January 2025}}
{{Infobox officeholder
| name               = Tikhon Khrennikov
| native_name        = {{nobold|Тихон Хренников}}
| native_name_lang   = ru
| image              = Tikhon Khrennikov in Dresden.jpg
| caption            = Photograph of Tikhon Khrennikov in Dresden on 1956
| birth_date         =  {{OldStyleDate|28 May|1913|10 June}}
| birth_place        = [[Yelets]], Russia
| death_date         = {{Death date and age|2007|08|14|1913|06|10}}
| death_place        = Moscow, Russia
| death_cause        =
| office             = Member of the [[Soviet of Nationalities]] of the 6-11 convocations
| termstart          =1962
| termend            = 1989
| office1            = General Secretary of the [[Union of Russian Composers|Soviet Union of Composers]]
| termstart1         = 1948
| termend1           = 1991
| predecessor1       = [[Boris Asafiev]]
| successor1         = 
| resting_place      = [[Yelets]], Russia
| nationality        = <!--See MOS:INFONAT-->
| citizenship        = 
| education          = 
| alma_mater         = [[Moscow Conservatory]]
| occupation         = {{hlist|Composer|film composer|pianist|music teacher}}
| years_active       = 
| employer           = 
| known_for          =
| notable_works      =
| predecessor        = 
| party              = [[Communist Party of the Soviet Union|CPSU]]
| movement           = 
| awards             = 
}}
'''Tikhon Nikolayevich Khrennikov''' ({{langx|ru|Тихон Николаевич Хренников}}; {{OldStyleDate|10 June|1913|28 May}} – 14 August 2007) was a Russian and Soviet [[composer]], [[pianist]], and General Secretary of the [[Union of Russian Composers|Union of Soviet Composers]] (1948–1991), who was also known for his political activities.<ref>{{cite book|title=Historical Dictionary of Russian and Soviet Cinema|author=Peter Rollberg|publisher=Rowman & Littlefield|year=2009|place=US|isbn=978-0-8108-6072-8|pages=348–350}}</ref> He wrote three symphonies, four piano concertos, two violin concertos, two cello concertos, operas, operettas, ballets, chamber music, incidental music and film music.<ref>{{IMDb name|0451954}}</ref>

During the 1930s, Khrennikov was already being hailed as a leading Soviet composer. In 1948, [[Andrei Zhdanov]], the leader of the [[anti-formalism campaign]], nominated Khrennikov as Secretary of the Union of Soviet Composers. He held this influential post until the collapse of the [[Soviet Union]] in 1991.

== Biography ==

===Early years===
Tikhon Khrennikov was the youngest of ten children, born into a family of horse traders in the town of [[Yelets]], [[Oryol Governorate]], [[Russian Empire]] (now in [[Lipetsk Oblast]] in central Russia).

He learned guitar and mandolin from members of his family and sang in a local choir in Yelets. There he also played in a local orchestra and learned the piano. As a teenager he moved to [[Moscow]]. From 1929 to 1932, he studied composition at the [[Gnessin State Musical College]] under [[Mikhail Gnessin]] and Yefraim Gelman. From 1932 to 1936, he attended the [[Moscow Conservatory]]. There he studied composition under [[Vissarion Shebalin]] and piano under [[Heinrich Neuhaus]]. As a student, he wrote and played his ''Piano Concerto No. 1'', and his graduation piece was the ''Symphony No. 1''. His first symphony was conducted by [[Leopold Stokowski]].<ref name=EconoObit>The Economist obituary 1 September 2007 p. 73</ref> He became popular with the series of songs and serenades that he composed for the 1936 production of ''[[Much Ado About Nothing]]'' at the [[Vakhtangov Theatre]] in Moscow.<ref name=EconoObit/>

By the 1930s, Khrennikov was already treated as a leading Soviet composer. Typical was his speech during a discussion in February 1936 concerning ''[[Pravda]]'' articles "[[Muddle Instead of Music]]" and "Balletic Falsity":
<blockquote>
The resolution on 23rd April 1932 appealed to the consciousness of the Soviet artist. Soviet artists had not withstood scrutiny. After 23rd April, youth was inspired to study. The problem was, we had to master the skills and techniques of composition. We developed an enthusiasm for modern western composers. The names of Hindemith and Krenek came to be symbols of advanced modern artists. [...] After the enthusiasm for western tendencies came an attraction to simplicity, influenced by composing for the theatre, where simple, expressive music was required. We grew, our consciousness also grew, as well as the aspiration to be genuine Soviet composers, representatives of our epoch. Compositions by Hindemith satisfied us no more. Soon after that Prokofiev arrived, declaring Soviet music to be provincial and naming Shostakovich as the most up-to-date composer. Young composers were confused: on the one hand, they wanted to create simpler music that would be easier for the masses to understand; on the other hand, they were confronted with the statements of such musical authorities as Prokofiev. Critics wrote laudatory odes to Shostakovich. […] How did young composers react to ''Lady Macbeth'' [''of Mtsensk'']? This opera contains several large melodic fragments which opened some creative perspectives to us. But the entre‘actes and other things aroused complete hostility.<ref>Vystuplenie tov. Khrennikova.&nbsp;&ndash; Protiv formalizma i fal’shi. Tvorcheskaya diskussiya v Moskovskom soyuze sovetskikh kompozitorov (Comrade Khrennikov’s speech. - Against formalism and falseness. Creative discussion in the Moscow Union of Soviet Composers). ''Sovetskaya Muzika'', 1936, №3, p. 45.</ref>
</blockquote>

Together with other representatives of Soviet culture ([[:ru:Челяпов, Николай Иванович|Nikolay Chelyapov]], [[Nikolai Myaskovsky]], [[:ru:Чемберджи, Николай Карпович|Nikolay Chemberdzhi]], [[Sergei Vasilenko]], [[:ru:Белый, Виктор Аркадьевич|Victor Bely]], [[Alexander Veprik]], [[Aram Khachaturian]], [[:ru:Шехтер, Борис Семёнович|Boris Shekhter]], M. Starodokamsky, [[:ru:Хубов, Георгий Никитич|Georgy Khubov]], [[Vano Muradeli]], [[Vladimir Michailovich Jurowski|Vladimir Yurovsky]] and [[:ru:Кулаковский, Лев Владимирович|Lev Kulakovsky]]), Khrennikov signed the statement welcoming "a sentence of the Supreme Court of the Soviet Union, passed on traitors against the motherland, fascist hirelings, such as [[Mikhail Tukhachevsky|Tukhachevsky]], [[Iona Yakir|Yakir]] and others".<ref>Sovetskaya muzika, 1937, № 6, p. 5.</ref>

Having "adopted the optimistic, dramatic and unabashedly lyrical style favored by Soviet leaders",<ref>Quoted from: {{cite news | title=Tikhon Khrennikov, Prolific Soviet Composer, Dies at 94  | url=https://www.nytimes.com/2007/08/15/arts/music/15khrennikov.html?_r=1&ref=music&oref=slogin | work=[[The New York Times]] | date=2007-08-15 | access-date=2011-03-21 | first=Allan | last=Kozinn}}</ref> Khrennikov shot to fame in 1941, with the "Song of Moscow" ({{lang|ru|"Свинарка и пастух"}}, meaning "Swineherd and Shepherd") from his music score for the popular Soviet film ''[[They Met in Moscow (film)|They Met in Moscow]]'',<ref>{{IMDb title|0034249|Svinarka i pastukh (They met in Moscow)}}</ref> for which he was awarded the [[State Stalin Prize|Stalin Prize]]. In 1941, Khrennikov was appointed music director of the [[Russian Army Theatre|Central Theatre of the Red Army]], a position he would keep for 25 years.

In February 1945 Khrennikov was officially posted by the Political Authority (Politupravlenie) of the Red Army from Sverdlovsk, where he and his family had been evacuated, to the First Belorussian Front, and the Army commanded by General (later Marshal) [[Vasily Chuikov|Chuikov]].<ref>Valentina Rubtsova (Ed.). ''Tak eto bilo. Tikhon Khrennikov o vremeni i o sebe'' (''That's how it was. Tikhon Khrennikov about his time and himself''). Moscow, 1994, p. 84-85.</ref>

In 1947 he joined the [[Communist Party of the Soviet Union|CPSU]] and became a deputy of the [[Supreme Soviet]].<ref name = "Barnett">Barnett, Rob (Ed.). [http://www.musicweb-international.com/classrev/2006/Apr06/KHRENNIKOV_KAP008.htm "Khrennikov: Three Symphonies"]. ''MusicWeb International''. 6 April 2006. Retrieved 26 February 2009</ref>

===General Secretary of the Union of Soviet Composers===
On 10 January 1948, more than 70 composers, musicians and music lecturers were summoned to a three-day conference in the Kremlin, to be lectured by the communist party's chief ideologist [[Andrei Zhdanov]] on how to write music. As one of the main speakers, Khrennikov backed the party line, and attacked all three of the greatest composers present, [[Dmitri Shostakovich]], [[Sergei Prokofiev]] and Khachaturian. Years later, he defended his behaviour by telling a BBC correspondent: "They told me - they forced me - to read out that speech attacking Shostakovich and Prokofiev. What else could I have done? If I had refused, it would have been curtains for me."<ref>{{cite book |last1=McSmith |first1=Andy |title=Fear and the Muse Kept Watch, The Russian Masters - from Akhmatova and Pasternak to Shostakovich and Eisenstein - Under Stalin |date=2015 |publisher=New Press |location=New York |isbn=978-1-59558-056-6 |pages=266–67}}</ref>

[[image:Tikhon Khrennikov 1947.JPG|thumb|right|200px|Tikhon Khrennikov as a passenger in the film ''[[The Train Goes East]]'' (1947)]]
In 1948, [[Joseph Stalin]] appointed Khrennikov General Secretary of the [[Union of Russian Composers|Union of Soviet Composers]],<ref>{{cite news|title=Генеральным секретарём назначить Хренникова|url=http://lgz.ru/article/-24-6419-19-06-2013/generalnym-sekretaryem-naznachit-khrennikova/|newspaper=[[Literaturnaya Gazeta]]|date=19 June 2013}}</ref> a position he would keep until the union was disbanded with the collapse of the [[Soviet Union]] in 1991.<ref name=Khrennikov>{{cite web|title=Tikhon Nikolaevich Khrennikov|url=http://www.khrennikov.ru/eng/biography}}</ref>

In an interview with pianist [[Jascha Nemtsov]] on 8 November 2004 in Moscow, Khrennikov asserted that composer [[Mieczysław Weinberg]], when arrested, had been discharged immediately because of Khrennikov's protection. According to Khrennikov the same had happened to [[Alexander Veprik]]. Extant evidence demonstrates that Veprik spent four years in a prison camp and [[Mieczysław Weinberg]] was released in June 1953 because of [[Joseph Stalin|Stalin]]'s death.<ref>[[Jascha Nemtsov]]. {{'"}}Ich bin schon längst tot" - Komponisten im Gulag: Vsevolod Zaderackij und Alexander Veprik'. ''Osteuropa'' 6/2007, {{pp.|315|340}}</ref>

In 1949, Khrennikov officially attacked the composer [[Alexander Lokshin]], using formulations of one of Stalin's ideologists,{{explain |date= September 2022}} Pavel Apostolov. In his speech Khrennikov contrasted Lokshin's "modernist" style with the [[bylina]] ''Stepan Razin's Dream'' by [[Galina Ustvolskaya]], which he considered an ideal example of true national art.<ref>Tikhon Khrennikov: "Za noviy podem sovetskoy muziki" ("For the new rise of Soviet music"). ''Sovetskaya muzika'', 1949, № 12, p. 51; see also: A. A. Lokshin: ''Geniy zla'' (''The Genius of Evil''). 3rd, revised and expanded ed. Moscow, 2003, p. 93-94</ref>

Khrennikov's speech aroused great indignation in [[Mikhail Gnessin]], who accused him of duplicity: not daring to criticise Lokshin in a professional environment, Khrennikov attacked him ideologically from his position as a leading Soviet official.<ref>Marina Lobanova: "Ästhet, Protestler, Regimeopfer: Das Schicksal Alexander Lokschins im politisch-kulturellen Kontext der Sowjetzeit", in: M. Lobanova, E. Kuhn (eds.): ''Ein unbekanntes Genie: Der Symphoniker Alexander Lokschin. Monographien&nbsp;&ndash; Zeugnisse&nbsp;&ndash; Dokumente&nbsp;&ndash; Würdigungen''. Berlin 2002, p. 32</ref> After this ideological campaign Lokshin was excluded from academic circles.

[[File:Tikhon khrennikov.jpg|thumb|Photograph of Khrennikov in 1991]]
Khrennikov did not prevent Prokofiev's first wife, [[Lina Codina]], from being charged as a "spy" following her arrest by the [[NKVD]] on 20 February 1948. As head of the Composers' Union, Khrennikov made no attempt to have the sentence against Lina Prokofieva quashed or reduced. The Composers' Union did not help Prokofiev's sons, who were compulsorily evicted from their apartment. After Codina returned from the Gulag, the [[Union of Russian Composers|Union of Soviet Composers]] did nothing to improve the extremely bad living conditions of her family; it was the prominent singers [[Irina Arkhipova]] and Zurab Sotkilava who protected Prokofiev's first family. Afterwards, the family was exposed to regular official humiliations. According to Prokofiev's first son, Sviatoslav, the Union refused Codina permission to go to Paris, even though she had been personally invited by the French culture minister to the opening of Prokofiev's memorial board. Instead, Khrennikov took part at that ceremony with his whole family. The Union also refused Lina Prokofieva permission to go to the opening of the [[Sydney Opera House]]. At the same time, Sviatoslav Prokofiev noted the typical logic of the Soviet functionary: sometimes Khrennikov could help if it was not dangerous for his own position and career.<ref>Valentina Chemberdzhi. ''Dvadtsaty vek Lini Prokof’evoy'' (''Lina Prokofieva‘s twentieth century''). Moscow, 2008, pp. 250, 259-260, 263-264</ref>{{dubious |reason=According to Mira Mendelson, Prokofiev’s second wife, Khrennikov went out of his way to help Lina Codina, who was a personal friend of his. |date= September 2022}}

The ideological campaigns of 1948–49 against [[Formalism (music)#Formalism in the Soviet Union|musical formalism]] were directly connected with the offensive against "[[rootless cosmopolitan]]s," which formed a part of the [[Persecution of Jews#Soviet Union|state anti-Semitism in the Soviet Union]] that flourished after the Second World War.<ref>Benjamin Pinkus. ''The Soviet Government and the Jews 1948&ndash;1967: A documented study''. Cambridge University Press, 1984. pp. 101, 112-113, 158-159, 491, 510.</ref>{{dubious |reason=The 1948 anti-formalist campaign in music was the direct result of Stalin’s anger at Vano Muradeli’s opera ''The Great Friendship''. |date= September 2022}} The leadership of the Union of Soviet Composers branded certain composers as "[[Soviet anti-Zionism|Zionist aggressors]]" or "agents of world imperialism", and made accusations of "ideologically vicious" and "hostile" phenomena in Soviet musical culture. An accusation of Zionism was often used as a weapon against people of different nationalities, faiths and opinions, such as [[Nikolai Roslavets]]. "Struggle against formalists" was pursued in other countries too. According to [[György Ligeti]], after Khrennikov's official visit to Budapest in 1948, ''[[The Miraculous Mandarin]]'' by [[Béla Bartók]] was removed from the repertoire and paintings by French impressionists and others were removed from display in museums.<ref>"Ich sehe keinen Widerspruch zwischen Tradition und Modernität!". "György Ligeti im Gespräch mit Marina Lobanova": ''[[Das Orchester]]'' 12/1996, pp. 10–11.</ref>

Khrennikov and other functionaries of the Union of Soviet Composers constantly attacked the heritage of the Russian avant-garde as well as its researchers.<ref>M. Lobanova: '"Er wurde von der Zeit erwählt": Das Phänomen Tichon Chrennikow'. In "Schostakowitsch in Deutschland" (= Schostakowitsch-Studien, Band. 1). Published by H. Schmalenberg (''Studia slavica musicologica'', Vol. 13). Berlin 1998, pp. 117–139.</ref> For example, the East German musicologist {{ill|Detlef Gojowy|de}} (1934–2008) was persecuted because of his promotion in the West of modern Soviet music of the 1920s. Gojowy was proclaimed to be an "anti-Soviet writer"&nbsp;&ndash; until 1989 he was forbidden to visit the Soviet Union and some of his publications that he sent to Soviet colleagues were intercepted by customs. At the same time, Soviet musicologists engaged in developing a Russian avant-garde tradition were officially prohibited from going abroad.<ref>{{cite book | author = Detlef Gojowy | title = Musikstunden: Beobachtungen, Verfolgungen und Chroniken neuer Tonkunst | publisher = Dohr | year = 2008 | isbn = 978-3-936655-54-4}}</ref> Once again, Nicolai Roslavets was an example.

Khrennikov was a Member of [[Central Committee of the Communist Party of the Soviet Union]] from the 1950s on.{{Year needed|date=September 2022}} From 1962, he was a representative in the [[Supreme Soviet of the USSR]].

===Later years===
[[image:Могила Т. Н. Хренникова. Елец.jpg|thumb|right|200px|Khrennikov's grave at [[Yelets]]]]
In his last years, Khrennikov publicly stated his disapproval of [[Perestroika]], its leaders, and the fall of the Soviet Union:

<blockquote>It was a betrayal by our leaders. I consider [[Gorbachev]] and his henchmen, who deliberately organised persecution of Soviet art, to be traitors to the party and the people [...]".<ref>Tikhon Khrennikov: "Ya chist pered muzikoy i narodom ..." ("I am innocent towards music and the people ..."). ''Zavtra'', № 41 (254), 13 October 1998. {{cite web |url=http://www.zavtra.ru/cgi/veil/data/zavtra/98/254/81.html |title=Тихон Хренников: __ "Я ЧИСТ ПЕРЕД МУЗЫКОЙ И НАРОДОМ..." |access-date=2009-10-02 |url-status=dead |archive-url=https://web.archive.org/web/20091205195012/http://www.zavtra.ru/cgi/veil/data/zavtra/98/254/81.html |archive-date=5 December 2009 |language=ru}}</ref></blockquote>

In another interview given to the same newspaper ''Zavtra'' (meaning "Tomorrow") he described Stalin as a "genius", an "absolutely normal person", tolerant of criticism:
<blockquote>Stalin, in my opinion, knew music better than any of us. […] As in classical Ancient Greece, so too in the Soviet Union music was of the greatest importance to the state. The spiritual influence of the greatest composers and artists in the formation of intelligent and strong-willed people, first of all through radio, was huge.<ref>Tikhon Khrennikov: "Stalin znal muziku luchshe nas ..." ("Stalin knew music better than we ..."). ''Zavtra'', № 39 (671), 27th September 2006. {{cite web |url=http://www.zavtra.ru/cgi/veil/data/zavtra/06/671/81.html |title=Тихон Хренников: __ "СТАЛИН ЗНАЛ МУЗЫКУ ЛУЧШЕ НАС..." |access-date=2009-10-02 |url-status=dead |archive-url=https://web.archive.org/web/20091205194946/http://www.zavtra.ru/cgi/veil/data/zavtra/06/671/81.html |archive-date=5 December 2009 |df=dmy-all |language=ru}}</ref></blockquote>

Khrennikov's memoirs were published in 1994. Months before his death in Moscow on August 14, 2007, at the age of 94, Khrennikov had two requests in his will: to be buried in the city where he was born and have his grave next to his parents. He also requested to have an Orthodox cross erected on the grave. Both wishes were granted.

== Compositions ==

=== Symphonies ===
* Symphony No. 1 in B-flat minor, Op. 4 (1933–35)
* Symphony No. 2 in C minor, Op. 9 (1940–42)
* Symphony No. 3 in A major, Op. 22 (1973)

===Other symphonic works ===
* "Mik", suite for orchestra, Op. 3 (1934)
* Much Ado About Nothing, incidental music, Op. 7 (1935–36)
* "Don Quichotte" by Mikhail Bulgakov, suite for orchestra, Op. 10 (1941)
* "Love For Love", suite from the ballet, Op. 24b (1976)
* "A Hussar Ballad", suite from the ballet, Op. 25b (1978)

=== Concertos ===
* Piano Concerto No. 1 in F major, Op. 1 (1932–33)
* Violin Concerto No. 1 in D major, Op. 14 (1958–59)
* Cello Concerto No. 1 in C major, Op. 16 (1964)
* Piano Concerto No. 2 in C major, Op. 21 (1972)
* Violin Concerto No. 2 in C major, Op. 23 (1975)
* Three Pieces for Violin and orchestra, Op. 26b (1978)
* Piano Concerto No. 3 in C major, Op. 28 (1983–84)
* Cello Concerto No. 2, Op. 30 (1986)
* Piano Concerto No. 4, for piano, string orchestra and percussion, Op. 37 (1991)

=== Operas ===
* "[[Into the Storm (opera)|Into the Storm]]", four acts, Op. 8 (1936–39) - Libretto by A. Faiko and [[Nikolai Virta]] based on N. Virta's novel "Loneliness".
* "Brother-in-Law Without Kindred ([[Frol Skobeev]])", comic opera, Op. 12 (1945–50) - Libretto by S. Tsenin after D. Averkiev's Play "Frol Skobeev".
* "Mother", three acts, Op. 13 (1952–57) - Libretto by A. Faiko based on [[Maxim Gorky]]'s novel "Mother".
* "One Hundred Devils and Just One Girl", operetta in three acts, Op. 15 (1962–63) - Libretto by E. Shatunovsky.
* "A White Night", musical chronicle in three acts, Op. 17 (1966) - Libretto by Y. Shanutovsky, after Tolstoi.
* "The Low-Born Son-in-Law" (1967) - second version of "Frol Skobeyev" (1950)
* "The Boy Giant", children's opera in three acts, Op. 18 (1968–69) - Libretto by N. Shestakov and N. Satz.
* "Much Ado About Hearts", three acts (1972–73) - Libretto by [[Boris Pokrovsky]] after Shakespeare's "[[Much Ado About Nothing]]".
* "Dorothea", two acts, Op. 27 (1982–83)
* "Golden Calf", Op. 29 (1984–85), based on the novel by [[Ilf and Petrov]]
* "The Naked King", comic opera, Op. 31 (1988)
* Musical for children "Wonders, oh, wonders!", musical for children (2001)
* "At 6 P.M. After the War", musical (2003)

=== Ballets ===
* "Our Courtyard" (Happy Childhood), children's ballet in one act, Op. 19 (1970)
* "Love For Love", two acts, Op. 24 (1976)
* "A Hussar Ballad", three acts, Op. 25 (1978)
* "Napoleon Bonaparte", Op. 40 (1994)
* "The Captain's Daughter", Op. 41 (1999)

=== Music for plays ===
* "Mik" (1934)
* "Alexander Shigorin" (1935–36)
* "Big Day" (1937)
* "Guilty Without a Sin" (1937)
* "I'm the Son of Working People" (1938)
* "Romantics" (1939)
* "Don Quichotte" by Mikhail Bulgakov (1941)
* "A Long Time Ago" (1942)
* "Birthday" (1944)
* "Marine Officer" (1944)
* "Wise Things" (1965)
* "Rootless Son-in-law" (1966)

=== Chamber music ===
* "Birkenstamm", version for violin ensemble (1935)
* String Quartet No. 1 (?)
* String Quartet No. 2 (?)
* Three Pieces for Violin and piano, Op. 26 (1978)
* String Quartet No. 3, Op. 33 (1988)
* Sonata for Cello and piano, Op. 34 (1989)
* Five Pieces for woodwind instruments, Op. 35 (1990)

=== Piano works ===
* Five Pieces for piano, Op. 2 (1933)
* Three Pieces for piano, Op. 5 (1934–35)
* Five Pieces for piano, Op. 38 (1992)
* Six Children's Pieces for piano, Op. 42 (2002)

=== Vocal and choral works ===
* Three Romances for voice and piano after Pushkin, Op. 6 (1935)
* "Birch Tree", song for voice and piano (1935)
* Three Lieder for voice and piano, Op. 7b, from the incidental music "Much Ado About Nothing", Op. 7 (1935–36)
* "Three Pans", song for voice and piano (1939)
* "We Are Masters of the War", song for chorus and piano (1941)
* "Song About a Moscow Girl", song for voice and piano (1941)
* "Song About Friendship", song for voice and piano (1941)
* Five Romances for voice and piano after Robert Burns, Op. 11 (1942)
* "Farewell", song for voice and piano (1942)
* "There is a Good Town in the North", song for chorus and piano (1942)
* "New Year’s", song for voice and piano (1942)
* "Everybody for the Motherland", song for chorus and piano (1942)
* "Men from Ural are Great Warriors", song for chorus and piano (1942)
* "Song of the Soviet Union", song for chorus and piano (1943)
* "Luchint’s Song", song for chorus and piano (1943)
* "Song of Song", song for voice and piano (1944)
* "Waiting Home", song for voice and piano (1944)
* "Moscow’s Windows", song for voice and piano (1960)
* "Morning Song", song for voice and piano (1960)
* "Our Soviet Country", song for chorus and piano (1964)
* Three Poems for chorus, Op. 20 (1971)
* Three Sonnets by W. Shakespeare for voice and piano, Op. 32 (1988)
* Three songs based on the lyrics by Nekrasov for chorus a capella, Op. 36 (1990)
* Five Romances after lyrics by Ivan Bunin, Op. 39 (1992)
* "Tatyana’s Day", waltz, for voice and piano (2004) - after Mikhail Lomonosov

=== Film music ===
* "Struggle Is Still On" (1938)
* "Swineheard and Shepherd" (1941)
* "Return with Victory" (1941)
* "[[Six O’Clock in the Evening After the War]]" (1944)
* "[[The Train Goes East]]" (1947)
* "[[The Miners of Donetsk|Miners of Donetsk]]" (1950)
* "Cavalier of the Golden Star" (1951)
* "At Six PM after the War" (1952)
* "[[True Friends (film)|True Friends]]" (1953)
* "[[The Captain's Daughter (1958 film)|The Captain's Daughter]]" (1958)
* "[[Hussar Ballad]]" (1961)
* "[[Comrade Arseny]]" (1964)
* "[[No Password Necessary]]" (1967)
* "Mother" (1968) - sound version of the 1926 silent film
* "Three" (1969)
* "[[Ruslan and Ludmila (film)|Ruslan and Ludmila]]" (1972)
* "Stars and fans" (1973)
* "[[Talents and Admirers (film)|Talents and Admirers]]" (1973)
* "Afterthought Had Hit You, Congratulations!" (1976)
* "Duenna" (1978)
* "We Were Chosen by Time" (1978)
* "The Antarctic Novel" (1979)
* "Money Box" (1980)
* "Heart Operation" (1982)
* "Love for Love" (1983)
* "Two Comrades" (1999)

== Recordings (very incomplete list) ==
* Piano Concertos No. 1–3. Tikhon Khrennikov (piano), [[State Academic Symphony Orchestra of the Russian Federation|USSR State Symphony Orchestra]], conducted by [[Yevgeny Svetlanov]].<ref name=Woolf2006>{{cite web|last=Woolf|first=Jonathan|title=[CD review]|url=http://www.musicweb-international.com/classrev/2006/Dec06/Khrennikov_cdkap.htm|publisher=musicweb-international.com|access-date=27 June 2013|date=December 2006}}</ref>
* Piano Concerto No. 4, String Quartet No. 1, Cello Sonata, Songs.<ref name=Woolf2006/>
* Symphonies No. 1–3. USSR State Symphony Orchestra, conducted by Yevgeny Svetlanov. Recorded 1973, 1978.<ref name=Woolf2006/>
* Iz-za lesa svestitsya (The half-moon shines) and Spi, Natasha, spi, rodnaya (Sleep, Natasha, sleep, my darling) from [[Into the Storm (opera)]] Op. 8; Sam ne znayu pochemu (For some unknown reason) from Mother (Khrennikov opera) Op. 13. Daniil Shtoda (tenor), [[Philharmonia of Russia]], [[Constantine Orbelian]]. [[Delos Productions|Delos Records]] 2005

== Interviews ==
Some of Khrennikov's statements mentioned above are included in the 2004 documentary ''Notes interdites: scènes de la vie musicale en Russie Soviétique'' (English title: ''The Red Baton'') by [[Bruno Monsaingeon]].<ref>[http://www.worldcat.org/oclc/225637607 ''Notes interdites : scènes de la vie musicale en Russie Soviétique'']: entry at [[WorldCat]]</ref><ref>Joan O'Connor. 
"''Notes interdites: scènes de la vie musicale en Russie soviétique'' (review)". ''Notes'' - Volume 65, Number 3, March 2009, pp. 567–570. [http://muse.jhu.edu/journals/notes/v065/65.3.o-connor01.html Available online] at the [[Project MUSE]] web site.</ref>

Khrennikov was interviewed by former BBC correspondent [[Martin Sixsmith]] for the BBC's 2006 radio show ''Challenging the Silence''. In it Khrennikov denied the suggestion that he was at the heart of the criticism of composers such as Prokofiev and Shostakovich,{{Clarify|date=September 2022}} though he expressed pride that he "was Stalin's Commissar. When I said No! (he shouts), it meant No."<ref>{{cite web | url = https://www.theguardian.com/music/2006/jul/15/classicalmusicandopera.music | title = The secret rebel | access-date = 2011-03-22 | author = Martin Sixsmith | date = 2006-07-15 | work = The Guardian}}</ref>

==Recognition==
[[image:Putin awarding state prizes (2003-06-10) 05.jpg|thumb|right|200px|Khrennikov awarded Presidential Prize in the field of Literature and Arts in 2003]]
[[File:Tikhon Khrennikov Postal stationery envelope Russia 2013 No 242.jpg|thumb|right|320px|[[Stamped envelope]] issued to commemorate the 100th birth anniversary of Tikhon Khrennikov. <small>[[Russian Post]], 2013.</small>]]
;Prizes
* [[USSR State Prize|Stalin Prizes]]:
:second degree (1942) – for the music to ''The Swineherdess and the Shepherd'' (1941)
:second degree (1946) – for the music to ''[[Six P.M.]]'' (1944)
:second degree (1952) – for the music to ''Donetsk Coal Miners'' (1950)
* [[USSR State Prize]] (1967) – for a series of instrumental concertos (Concerto for Violin and Orchestra, Concerto for Cello and Orchestra)
* [[Lenin Prize]] (1974) – for the 2nd Piano Concerto with orchestra
* [[Glinka State Prize of the RSFSR]] (1979) – for the 2nd Concerto for Violin and Orchestra
* Prize of the President of the Russian Federation (2003)

;Titles
* [[People's Artist of the USSR]] (1963)
* [[People's Artist of the RSFSR]] (1954)
* [[Merited Artist of the Russian Federation|Honored Artist of the RSFSR]] (1950)

;Awards
* [[Hero of Socialist Labour]] (1973)
* Four [[Order of Lenin|Orders of Lenin]] (1963, 1971, 1973, 1983)
* [[Order of the Red Banner of Labour]], twice (1966, 1988)
* [[Order of Honour (Russia)|Order of Honour]] (1998)
* [[Medal "For Valiant Labour in the Great Patriotic War 1941–1945"]] (1946)
* [[Medal "For the Defence of Moscow"]] (1946)
* [[Medal "For the Victory over Germany in the Great Patriotic War 1941–1945"]] (1946)
* [[Medal "In Commemoration of the 800th Anniversary of Moscow"]] (1947)
* [[Jubilee Medal "Twenty Years of Victory in the Great Patriotic War 1941–1945"]] (1965)
* [[Jubilee Medal "Thirty Years of Victory in the Great Patriotic War 1941–1945"]] (1975)
* [[Jubilee Medal "Forty Years of Victory in the Great Patriotic War 1941–1945"]] (1985)
* [[Medal "Veteran of Labour"]] (1995)
* [[Jubilee Medal "50 Years of Victory in the Great Patriotic War 1941–1945"]] (1995)
* [[Medal "In Commemoration of the 850th Anniversary of Moscow"]] (1997)
* [[Jubilee Medal "60 Years of Victory in the Great Patriotic War 1941–1945"]] (2005)

;International awards and titles
* [[Decoration of Honor Meritorious for Polish Culture]] (Poland)
* [[Medal "Friendship of Peoples"]] (Mongolia)
* Silver Medal of the World Peace Council (1959)
* [[Order of Saints Cyril and Methodius]], 1st class (Bulgaria, 1968) 
* Corresponding Member of the [[German Academy of Arts]] (GDR East Germany, 1970)
* Medal "25 Years of People's Power" (1970)
* Academician of the [[Academy Tiberiyskoy]] (Italy, 1976)
* Prize of the [[International Music Council]] of [[UNESCO]] (1977) 
* Member of "Legion of Gold" (Italy, 1981)
* Medal of Georgi Dimitrov (1882–1982) (Bulgaria, 1982)
* Order of the Friendship of Peoples (GDR, 1983)
* Academician of the [[Academy of Santa Cecilia]] (Italy, 1984)
* [[Order of Merit culture]] (Romania, 1985)
* Medal of Richard Strauss (GDR, 1985) 
* Officer of the [[Ordre des Arts et des Lettres|Order of Arts and Letters]] (France, 1994)
* [[UNESCO Mozart Medal]] (2003)

==Quotations==
{{Too few opinions|date=March 2009}}

{{blockquote|Khrennikov had to take part in repressions against Shostakovich during the enforcement of the "Party line" in music, but unlike the leadership of the Soviet Writers Union, he was never involved in political reporting on his colleagues. |K. A. Zalessky|''Stalin's Empire: A Biographical Encyclopedic Dictionary''<ref>K. A. Zalessky. ''{{Lang|ru|Империя Сталина. Биографический энциклопедический словарь}}'' (''Stalin's Empire: A Biographical Encyclopedic Dictionary''), Veche, Moscow, 2000.</ref>}}

[[File:Putin awarding state prizes (2003-06-10) 05.jpg|thumb|Khrennikov receiving an state prize from [[Vladimir Putin]] in 2002]]
{{blockquote|Khrennikov not only survived Stalin's repressive reign but lived in comfort under the succession of Soviet rulers and post-Soviet presidents that followed: Khrushchev, Brezhnev, Andropov, Chernenko, Gorbachev, Yeltsin and Putin. He remains an influential musical figure: he is a professor at the Moscow Conservatory and has been chairman of the Tchaikovsky Competition for the last 25 years. In his native city of Yelets, his home has been turned into a museum and an arts school, and a statue has been erected in his honor. His socialist realist works are regularly performed and his songs remain as popular as ever. Khrennikov's long and improbable career began in 1948, when Stalin personally picked him to lead the Union of Soviet Composers. His first accomplishment on the job was an attack on abstract, "formalist" music in a speech at the First Congress of Composers in 1948, two months after the infamous Resolution of the Central Committee that condemned the "formalism" of Shostakovich, Prokofiev and others. "Enough of these symphonic diaries - these pseudo-philosophic symphonies hiding behind their allegedly profound thoughts and tedious self-analysis," he proclaimed. "Armed with clear party directives, we will stop all manifestations of formalism and popular decadence." |Vadim Prokhorov|''Andante'', 24 June 2003}}

==See also==
*[[Khrennikov's Seven]]

==References==
{{Reflist}}

== External links ==
{{Commons category|Tikhon Khrennikov}}
*[http://khrennikov.ru  Official Site of Tikhon Khrennikov]
*[https://web.archive.org/web/20080918062327/http://home.wanadoo.nl/ovar/khrenn.htm Onno van Rijen's page on Tikhon Khrennikov]

{{Authority control}}

{{DEFAULTSORT:Khrennikov, Tikhon}}
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