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Friday, December 9, 2016

Shostakovich: the 15 circles of hell


We are entering a season of Shostakovich — he would have turned 110, and each of iron a year we listen to the tale of the greatness of the master. And there happened an incredible thing: the state orchestra of Tatarstan under Alexander Sladkovsky for the first time in the history of Russia the whole of August forever, nonstop was immersed in 15 DDS symphonies, all of his concertos: it was a landmark record for the firm “Melody”. Musicians little for the mind not came from the incredible burden of the marathon. We decided to take them lukewarm. Went to Kazan, desiring to paint a portrait of Shostakovich — not old-fashioned and sleek, but a living — through, belinterflou with each musician, through his instrument, destiny, emotion, word, right or wrong is not important, just the nerve is not cold. And in some point of this mosaic stood out…

Photo: shostakovich.ru

Outset that such a focus would be impossible with the Moscow orchestras — often caressed and shiny, where any question would be profound, but empty maxims; and this is the case when no mind reading needed, and instant honesty was a keen sense of people a month who lived in a communal apartment with Shostakovich. Someone he became a friend, someone no — not the point. It is important that he is alive, was the shadow left the lights on in the bathroom, forgot the glasses…

Familiarity with Shostya: “He ceased to be depressed”

Conductor Alexander Sladkovsky: Zoshchenko writes about Shostakovich as a “hard, pungent, extremely smart, strong, domineering and not very good…”. And I, you know, don’t think of him as a man living… DS the Messiah, a preacher of gigantic proportions, but… not a living creature. He only wore the guise of a man, and his genius provided a contrast of opposite qualities — from the pianist to the celestial. The man in a case, that is with glasses.

Rose asadullina, cello: 1, 2, and 3 symphonies are still a lot of unknown. Fragments of thoughts some. Like it’s not Shostakovich and Prokofiev…!

Dmitry Nikitin, English horn: I previously did Shostakovich did not understand. We have Sergei Antonov, who is a horn player, said, “Well cool!”. I could not understand — what is cool? Rachmaninoff — wide shower, fields, open spaces, the horn it extends, the head is not loaded; and here… music is all gloomy. In the morning you come to work in a good mood and leave in a good. But now in the brain of a donkey specifically. Although forced. Not so depressed. But that’s not love, no.

Aydar Bagautdinov, viola: His symphonies — a real Thriller, not enough to tell that it was the repression that under the window waited for the “funnels”, and in the hallway, collected the briefcase, and from here the suspicion in the music… it’s Important to translate it to current fears, is how the language of modern “horror” — the doll suddenly appears in the darkness on a background of lightning, eyes sticking out, arms hanging!

Elizabeth Lutsenko, violin: I’m from the Donbass. Before Shostakovich I haven’t been close, but now, when I had to leave the country, I have experienced it. He is in tune with the feelings of my people.

Dmitrii lubavin, tuba: I’m still warm from it. Play a Symphony — one tune in the head sits, then shifts into second. In the evening lips — in the trash. I have a new tune, I mean tuba, German, 22 kg, a real “Mercedes” quality, but we still got used. So tonight should be discharged after Shostakovich. The recorder will turn off. Uh… soft drinks, without fanaticism. No, really, with the beer machine (the muscles of your lips) faster relaxes. So the next morning elastic was. A bottle before bed.

Cyril Gazizov, bassoon: when I Met him I was smarter. How much — can not say. It’s like to go to Church: I feel that a shift has occurred, and what size — I do not know.

Tapersky experience: “Today ” labuha”

Nikolay Usanov, violin: If you compare his music with the movie, it is Comedy, drama, horror, and historical chronicle.

Marat wolves on the double bass: he’s Probably still dark… as a litmus test. As a documentary about a difficult time. There’s my great-grandfather on the grain cart drove: bags unload something from the bottom will scrape, some crumbs, and at night, baking bread. The night, so no one smelled the odor and told. And how will carry — and shoot.

Olga Sobyanin, viola: the Fact that he worked for several years in theaters as kinoindustria (and easier tapera), of course, left an imprint on his symphonies: it is from the movie came the wild speed of perception “pictures”; and he easily portrayed subsequently, demonstration, parade, global catastrophe. Fortunately, not everything in life understand the language of Shostakovich. Because he had lived almost 70 years old. And understood b — what he puts into the music — would rot.

Conductor Alexander Sladkovsky: Now it would be called labuha, and before playing in the cinema was an art, and the people who owned the improvisation, in fact, possessed the world. Although it is hell work, and from this it was possible to go mad.

If he chose the way of the pianist, that would not be a composer. The piano took him fully.

A living textbook, “written in blood”

Kirill Karimov, viola: I in 1986 was born, the Soviet Union in any form is not found. So for me, Shostakovich is a music historian, live tutorial. It has no semitones. Specific, strong emotions: either a mess or a big, even somewhat hysterical elation.

Olga Sobyanin, viola: Okay, he — the chronicler of the Soviet era. But we must understand that during this period (conventionally, from 1917 to 1975, upon the death of DDS) in the USSR was concentrated all the world’s development model, it was a Grand planetary experiment, and Shostakovich fabric for cloth unsubscribe naturally and honestly every milestone. And he wrote with blood.

Asya Gareeva, violin: We understand it better than contemporaries, because the music DS was ahead of its time 50 years. The hearing is inert, then the people were unusual style of the composer-innovator. Now it perfectly fits on your ear.

Andrey Sushkov, Alto: Man is a paradox. Honest, but a lot of making it up, overreacting over nothing. Conscientious to the extreme, therefore, could not forgive himself one moment of cowardice. When the “black funnels” took from his house all but two families and once again drove for the portion, Shostakovich sat on the suitcase and caught myself thinking: “I’m Afraid that will take me”.

Conductor Alexander Sladkovsky: Here say — “he assented to the Soviet regime.” And what was he to do? Property genius provides soft power, he’s not the tin man that all polocrosse, not a strong man; Shostakovich “it takes all that into consideration, but not bent. Well, simulate the situation — what would happen if in 1936 he told the Council of people’s Commissars: “I’m in a coffin seen all your articles in “Pravda”, all your “Sunbury instead of music!”. And?


Conductor Alexander Sladkovsky. Photo: tatarstan-symphony.com

…He ate the salt of nothing. His Symphony is the circles of Hell, from the First to the Fifteenth, with monsters and vampires, Hitchcock is resting. If Stalin in his opus gets the Superman, the final of the 15th or in the Second cello Concerto is just a rattling of bones, the skeletons, the same confusion, which drove him all his life.

Naila Monasypova, violin: In life he was a quiet, unassuming intellectual, and sarcastic music. Openly expresses the attitude to the system in which he lives. That is why it is relevant, because the system and people don’t change.

No one in the orchestra does not hurt, although “psychoactive music”

Arthur Mukhametshin, clarinet: since my childhood I was a garden boy, Hector loved more than to make music. And when I discovered Shostakovich, truly fell in love with him. He is… too perky.

Dmitrii lubavin, tuba: Shostakovich loved the tuba, never hurt. Good Symphony, is where to blow, the subject, not Tchaikovsky. I think he’s with her specially experimented, because in these bands wrote! And “the canister” (i.e. the mute) often uses, unlike other. Although the music is all so psychotropic, chakanetsa. Prickly it.

Natalia Nikolaeva, xylophone: My tool draws not people, not landscape details, and the mood. It is a grim, skull — like etchings of Francisco Goya.

Natalia Antonova harp: Usually in symphonies harp “drowning”, but in Shostakovich it is always clearly audible. His harp is either bell-choral (as in 11), or (in conjunction with the celesta) cold appearance of inevitability and rock. Not only that: he always makes the music wish — from 2 to 4 ARF!”. Luxury unprecedented today. Because harp school in the Union was incredibly bright. And write one party for two was a natural thing for a composer is added to bertosalotti. And now everything is tense: why a second, if she has the same party?

Alina Janina, violin: Fourteenth love. It fascinates with its madness. Well the man was going through inside, if it is written? Someone does not understand, say: complete nonsense. But I don’t think so.

Denis Petrov, pipe: I — dujowich and must be bold. But after immersion in Shostakovich forgot what is fear. Ready now, he (Shostakovich played the piano right on the square. — Ed.) fearlessly take to the streets and burst into the game.

Sergei Kokovkin, French horn, His horn it’s easy to use as the soundtrack to the television about a criminal.

Seventh Symphony: “the Fight is on, people fall down dead”

Alina Janina, violin: Listen to seven — tears: the fight is on, people fall down dead.

Dmitrii lubavin, tuba: I hail from the countryside, he studied at music College and at the same time on the tractor plowed… And then the Director of the farm said, “Dimka, your school — the tenth case, the first here in the field.” After that I entered the Conservatory. My teacher, himself the orphanage, tuba Maruska called: “Take Maruska, let’s play! Did you eat? As a “no”? Here the ruble go to the canteen”. Not eating on the tube can not play, there’s no bearing. Think over in Leningrad, the starving people were playing the Seventh Symphony, the Siege. Here we are — healthy, full — places are unable to do something, the sharps are confused, and they… from the front, maybe a tool for a long time in hands did not hold, as did that of the Nazis, heard at the live concert I went on the skin.

Edward Akhmatov, piano: When you sing it, think about the children. As they were hard. Worried To tears.

Ramil Safin, bassoon: the Premiere of the Seventh in the half-dead city — a huge example of heroism of the spirit. Every time you play it, I don’t want to think about how you played it then, and… tighten the belt. So Shostakovich’s impossible to do “from scratch”, is nonsense. Need to know the history.

Conductor Alexander Sladkovsky, And behold I am with the guys about winter Petersburg tell how fragile all at high humidity. Burst trees from these differences… DDS Symphony — Symphony not at all. No wonder he and Meyerhold were friends (even lived with him), Zoshchenko…

Every thing is a theatrical production with a great variety of actors and a parade of soloists. He brilliantly builds up the characters. The firing, the crowd, running is a tactile sensation.

Dmitry [pipe: It is pipe is not spared, where it can be done solo, and such that the Oh-Oh-Oh.

Not castrated. Give full sound!

Dmitrii lubavin, tuba: Shostakovich even false orchestra was forgiven, if there was a right character. Here’s our conductor says, “do not You see that you have La flat in music, I don’t need it”. And it is necessary to shvarknut good, that the soul took.

Fail Gil’manshin I, bass clarinet: my first statement in the orchestra I got 6th Symphony. The finale flies by at a frantic pace, that I experience and not enough to play it just exactly as written. Arbitrarily left. I hope Dmitry Dmitrievich was not offended.

Ramil Safin, bassoon: In some places, it seems that Shostakovich deliberately wrote in the party so that they sound out of tune, out of tune. Well, it’s impossible to play wooden brass unisons correctly in these registers! So, when it sounds out of tune — this is WHAT it should be: you receive the correct character. I do not agree that Shostakovich is painful. Rather, he is a great psychologist, just hits.

Conductor Alexander Sladkovsky: I played the 10th Symphony with the orchestra of “Maggio Musicale Fiorentina” in Florence. There is no need to explain about the NKVD, but just pull out Sol: if two Fort drum, you have to play three, do not hesitate to machine-gun firing reached the hall. But in Europe there is one problem: they then come and say: “you Know, Maestro, so we have not decided, it’s too loud, the musicians stop, the ears need to take care”. But Shostakovich is the magic of sound, and if the decibels to reduce — will be neutered Shostakovich!

Andrei Tsarev, bass: In his music the Russian a little more Jewish. He said that all the music is good, but the Jewish special. It can be simultaneously joyful and sad.

Dmitry Babintsev, horn: he exudes a powerful momentum, no lethargy. I’m playing and burning!

Mikhail Grinchuk, cello: And I take emotional nourishment not from the music: I am fond of underwater hunting, pneumatic crossbow (mostly at night, to worse), sailing… need to be filled before stepping up to the Shostakovich. It is impossible to play about the tragedy without experiencing personal grief. How can you talk about what you do not know?

***

Conductor Alexander Sladkovsky, Take this wand, I conducted the entire month. Just Shostakovich. Broke them tortured. It’s like two flowers to his portrait. My gift to you.

Kazan

source

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