Translated material
Therapeutic procedures
Ending. The first part see No. 38 (660) dated October 2-8, 2013
Ending. The first part see No. 38 (660) dated October 2-8, 2013
The most diverse was the second day of the Pskov stage of the CressCendo music festival. [ 1 ] That evening on September 30, 2013, the piano was rolled out twice on the stage of the Pskov Regional Philharmonic. In the first branch - for Polina Ossetian, in the second - for Denis Matsuev. Musicians of the State Academic Symphony Orchestra of Russia. E.F. Svetlanova respectfully stepped aside and expected, while “Steinway & Sons”, crowned with a crown, drew from the right backstage. The crown was reminiscent of a chair, hooking on the lid of the piano up.
“What kind of concert is this? Will they sing? And dance? "
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The audience at CressCendo in Pskov does not come quite the same that usually appears at concerts of classical and jazz music in the Philharmonic. Often the audience, looking at the stage, ask each other: “Who is this? What is this?". One of the spectators asked his neighbor: “And what kind of concert is this? Will they sing? And dance? ”
But this is already as it turns out. If the mood is good, then why not dance? With a pipe or button accordion at the ready. But only on the final day.
On September 30, everything was decisive on stage.
The organizers of CressCendo, despite the specifics of the festival, try not to flirt with the audience, thereby showing respect.
CressCendo participants do not abuse the popular classic, and if they choose something well -known for execution, they try to present the work extraordinary.
Almost the main character of the first two concerts was the State Academic Symphony Orchestra of Russia. E.F. Svetlanova (GASO).
Some time ago, during the confrontation with the conductor Mark Gorenstein, it seemed that this orchestra was unsettled.
But now, with the advent of the artistic director of Vladimir Yurovsky, the HASO gives the impression of a well -established mechanism.
In addition, the young conductor Stanislav Kochanovsky, usually performing with the orchestras of the Mikhailovsky Theater and Mineral Waters, showed that he corresponds to the level of the status of the Russian Symphony Orchestra.
If at the CressCendo-2013 festival there was an opening for the Pskov listeners, then this is, first of all, Stanislav Kochanovsky. But he is not alone.
On September 30, in the first branch, Ivan Penokin (violin) performed, who performed a “poem” for a violin with the orchestra Ernest Schonson.
Ivan Piakin played the violin made by his father.
Schosson, apparently, is generally a composer close to Ivan Zakin.
After the victory at the Moscow International Competition named after Niccolo Paganini, Ivan Tkukyin recorded and released a CD with the works of Paganini and Schosson.
The most bouquets at the concert, of course, were received by Polina Ossetian.
And the most demanding and long -term calls for an exit to the bow were heard to the Narek Akhnazaryan (cello), who performed “Variations on the topic of Rococo for the cello with the orchestra” by Peter Tchaikovsky.
However, the atmosphere on CressCendo is not at all competitive. Participants carefully listen and support each other, after their performance they are in no hurry to the hotel, and in concert clothes they wait for a general way to bow.
When they say the “CressCendo team”, then this refers not only to a football team led by a talent -type center Denis Matsuev.
In addition, the final jazz evening allows you to finally mix genres and styles, get out of the usual framework.
"I do not understand what can connect stronger than my own conscience."
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Shortly before the concert on September 30, while Jazzmen, the Ivanov brothers, preparing for the next concert, have not yet approached, Polina Ossetian rehearsed in one of the dressing rooms.
When she finished, I specified Ossetian with Polina: what kind of music did she just play? Not everything was recognizable.
Polina Ossetian replied:
First - Ravel’s concert, and then one play, which I began to learn for the festival “Territory”, where we play a lot of modern music with Anton Batagov and Alexei Lyubimov. The initiator of the project is Theodore Krentzis.
Recently, in Moscow, a rock concert took place in the cinema "Mir" in support of the Russian political prisoners [ 2 ]. Classic musicians can do something like that?
We are working on this now. The organizers of the Rokyznik concert with this idea turned to me a week ago. Rock musicians performed, but we are not yet. Now there will be a process of calling to understand who is not afraid to speak. Many will probably refuse, but I would like the names to be iconic, famous, holes.
Abroad, a similar campaign is organized by Gidon Kremer.
Gidon Kremer organizes a concert in Berlin on October 7, and he is dedicated to the 7th anniversary of the murder of Anna Politkovskaya and the persecution of political prisoners. The world stars will perform at this concert-Marta Argerich, Daniel Barenboy, Emmanuel Pau, Guy Kancheli with the premiere of the new essay-to the 50th anniversary of Mikhail Khodorkovsky and my friend Alexei Horbol. So, as you can see, it is in the air. Of course, there will be people who want to take part in this.
Probably, our classic musicians are more difficult to collect. They support power, and power supports them. In this sense, rock musicians have always been more independent, it is easier for them.
Certainly.
What words can be found so as not to persuade, but to reach out of the hearts of people living in such high areas?
It seems to me that a person should, first of all, talk with his conscience. If he considers it possible not to intercede for people who are innocently, illegally sitting in prison, who are not even released at the funeral of their mother, for the funeral of grandmother ... This is an obvious injustice that is happening before our eyes. It is clear that many are tied with something ... But I do not understand that it can connect stronger than my own conscience.
I am sure that not everyone approves your active political activity in your environment.
I would like to clarify: I have no active political activity. I hate politics, I hate politics, horseman backstage games, but I oppose injustice, wherever it is.
If injustice is manifested in relation to the prisoners of the “swamp business”, then I am against this. If injustice is happening in relation to sick children lying in intensive care, and parents are not allowed there, then I will talk about it. If people die from cancer without pain relief, because to obtain painkillers, 9 circles of hell must be passed - this is an occasion to scream about it.
Where I see injustice, I want, at least, to express my opinion. Perhaps it is important for someone. Just keep in mind that this is not a political activity, but a manifestation, banally speaking, a civil position.
Returning to today's concert. Have you chose Ravel's concert yourself or was it the organizers' proposal?
The organizers asked me: what concert would I like to play? I offered a choice of several options. And the leadership of the festival considered Ravel’s concert the most attractive to the public.
Today you speak with the State Academic Symphony Orchestra named after E.F. Svetlanova. Here they constantly emphasize that in terms of status it is the best orchestra of Russia. But music is not a sport. How to distinguish a great orchestra from ordinary?
Of course, this is one of the main orchestras. Firstly, this orchestra was led by the great conductor Evgeny Svetlanov. If I am not mistaken, led 35 years. This is almost the last of the Mogican. The orchestra has a huge repertoire, and the new artistic director Vladimir Yurovsky, it seems to me, does a lot to make the orchestra expand its repertoire, form a new look at the music, at its performance. He developed a willingness to play any music.
I am very impressed with such an intellectual approach. The orchestra has not just programs, but programs related to some idea, they are always united by something.
In this sense, I applaud the new artistic leadership of the orchestra. It seems to me that in our time this is a very correct way: not just to play the same time of Tchaikovsky for the five -hundredth time, but to open new works to the public. It is necessary to educate the audience, lead.
A new look ... Sometimes it sounds bold, sometimes-frightening ... The views are different. And the desire to symbolized, it happens, leads classic musicians somewhere to the side. Are you generally ready for experiments?
I believe that you have to be prepared for experiments. Otherwise, a person is woking in his repertoire. And only a constant training of its own intelligence and its own apparatus, associated with playing new music, complex music, incomprehensible music, unknown music - keeps musicians in good shape. It doesn’t matter - this is a musician of an orchestra or a soloist, or a conductor. It is necessary to expand your musical horizons, hone your musical instrumentation, musical language, diversify skills. This is the most important thing in the musician.
Have you performed in Pskov before?
No, the first time, although I have been here many times-both in Pskov and in the Pskov-Pechersk Monastery. But you know, one interesting thing happened. I understood this literally just last night. After all, today September 30 is the holiday of faith, hopes, love and mother of Sofia.
And two years ago I had to come to Pskov and open the season in the Philharmonic. On September 30, a charity concert was supposed to take place, the collection from which was supposed to go to the construction of the temple, which was built here by joint efforts. Already hung around the city of Afisha.
But the fact is that then I was pregnant with my son - in the fifth month. And I, having arrived with a tour on September 24, went to the doctor. I was immediately put on preservation to the hospital and forbidden to go anywhere. Of course, I obeyed - the child is certainly more important to me. Therefore, I would like to apologize to all the Pskov listeners who were going to that concert, and to say that it was the third concert in my life, which I canceled. I think that for a good reason.
And so it coincided that the concert at the festival was scheduled for September 30 later! And so I arrived and is very glad that I will play, and this somehow compensates for the Pskovs that cancellation.
"I like this voice"
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The jazz evening of CressCendo-2013 on October 1 began in the same way as a year ago-from the Pskov Chi-Medes. On the stage, the Symphony Orchestra of the Pskov Regional Philharmonic (artistic director and chief conductor Gennady Chernov) was already familiar in 2012. Hence the name of the concert: "Symphojaz and the stars of New York."
Under the stars of New York meant American Paulin Jin (vocals).
Part of the listeners at first was slightly confused. The Symphy was quite outrained by the Jazz.
The smuggler Andrei Ivanov confirmed from the stage: “The beginning with us, perhaps, is more classic than usual,” but promised to catch up.
After the performance of two famous plays (“My dream” by Mikhail Ivanov and “Return” by Andrei Ivanov) the public waited for the world premiere. The host of the concert announced the author: Dave Brubek. It was a reservation. The author of a specially written play is Chris Brubek (thrombonist and bass player), the son of the famous Dave Brubek, one of the participants in the quartet of the Brubekov brothers.
This quartet is sometimes a member of CressCendo-2013 Trubach Vladislav Lavrik. Hence the world premiere, when one of the best trumpeters of Russia Vladislav Lavrik entered the stage.
A little later, having caught the improvisational wave, he will begin to use the pipe for not their purpose, waving it over his head. His playful impulse will be picked up by one of the Pskov Rupids Aidar Gainullin (Bayan).
But first, Paulin Jin will come to the stage - in order to perform the penetrating Spirichuel.
“I like this voice,” the very viewer will say, who at the beginning of the concert asked: “What kind of concert is this?”
When the viewer says: “I like this voice,” Paulin Jin will not begin to sing yet.
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One of the most striking numbers of the symphojaz evening is the performance of the bell blues "Bells Blues" (music by Mikhail Ivanov, the words of Jila Waddy).
Last year, Bells Blues sang in Pskov one of the authors - American Jill Weddy. This year other accents were made.
The play was dedicated not only to Russian bells, but also by Belze - Svyatoslav Belze, a constant participant in CressCendo, who left Pskov the day before. It turned out "Svyatoslav Bells Blues."
Another hero CressCendo-2013 naturally became George Gershvin. This is the only composer whose works sounded in the Pskov Regional Philharmonic for three consecutive days - both in jazz and in classical processing.
The concert ended incendiary - “fiesta” of the authorship of Mikhail Ivanov.
“FIEST” is just the play where all the participants in the concert could show themselves without exception: Polina Orbakh (vocals), Sofia Petrova (violin, vocals), Paulin Gene (vocals), Aydar Gaynullin (Bayan, Vocal), Igor Starikov (Piano), Mikhail Ivanov (piano), Dmitry Vlasenko (shock), Andrey Ivanovo) (double bass) and Vladislav Lavrik (pipe). Plus, the Symphony Orchestra of the Pskov Regional Philharmonic, who was on stage all evening.
It turned out a full festivities worthy of a direct broadcast.
No wonder the art director of the CressCendo festival Denis Matsuev, referring to German experience, said that he dreamed of direct broadcasts on the Internet.
Anyway, the large concert hall of the Pskov Regional Philharmonic, designed for 900 students, will never accommodate everyone.
Alexey Semenov
1 See: A. Semenov. Therapeutic procedures. Part One // "PG", No. 38 (660) of October 2-8, 2013; A. Semenov. Truth in fire. Part One // "PG", No. 37 (559) dated September 28 - October 4, 2011; A. Semenov. Truth in fire. Part two // "PG", No. 38 (560) of October 5-11, 2011; A. Semenov. Autumn gramophone. Part One // "PG", No. 38 (610) of October 2-9, 2012; A. Semenov. Autumn gramophone. Part two // "PG", No. 39 (611) of October 9-16, 2012
2 See: A. Semenov. Prison Rock // "PG", No. 37 (659) of September 25 - October 1, 2013