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Sunday, February 25, 2018

Aidar Gainullin suggested inviting Bayan in regular schools

Isn’t it better instead of boring music lessons on the piano in regular schools, to introduce such a bright instrument like the accordion or the accordion, which would be closer to the children, and most importantly — contributed to greater promotion of banago art? As we talked with a famous musician Aidar Gainullin in the midst of its anniversary season.

photo: Gennady Cherkasov

Aydar Gainullin

— Aydar, we see a large number of violinists and pianists, but as a thriving shop Bayan/accordion players? And not only in Russia but also in Europe?

— In fact, the General situation in the world bannom alarming. The flow entering education has decreased dramatically. Few people coming, which, incidentally, affects different European factories that manufacture accordions and bayans; for example, in Italy other well-known firms just on the verge of bankruptcy. Don’t purchase tools. So the situation is sad. If you take the time after the war, then all the mass is going to study the accordion (in Europe everything is called accordion — what keyboard instrument that push-button), has been a tremendous rise in the popularity of the genre… My Professor Friedrich lips, working in the Soviet concert organizations, and has performed across the country — the demand was incredible. Now otherwise very difficult to gather the audience for serious bannow program.

But composers write the music for your shop?

— Of course, Sofia Gubaidulina. Very much written, have a great concert for cello and accordion with orchestra “the Seven words of Christ,” is the most often performed work in the world of avant-garde music. Frederick R. often plays it and I go in his footsteps — played in GermanyGermans coming up then, almost crying, amazed.

— Well, what you need to do to the youth went to the Bayan/accordion?

— Need to do more pilot projects for young people. From childhood to instill good taste. Why in ordinary schools can not speak the Philharmonic artists? And if instead of a traditional pianist, lessons came accordionist is found in children where a greater response.

— All know that school music lessons are deprived of vocational guidance, they just kind of develop-entertain.

— Of course. What schools today teach? We had to sing the “Orlenok”; I think the repertoire has not changed. And it should be closer to modern children, to the visual material on which they grow. Now in movies, cartoons has other heroes. It is necessary to ignite interest. And then the accordion would be very helpful. That is, to move to school practices that exploit such stars as Vanessa Mae and David Garrett. The latter, held as absolutely classical violin virtuoso, decided at some point to be closer to youth — beat all the popular hits: “Metallica”, “Rammstein”, “Nirvana” and so on. And now he knows anyone in Germany. After his projects, I’m sure many kids want to go to mass on the violin, seeing what her capabilities… David for children — a new musical hero that I want to take an example.

— With the accordion such promotion going on? Referring to the symbiosis of classics and popular culture?

— That I’m just now preparing a programme for young people — there is rock, classical, and “Prodigy”, and “Metallica”, now write the arrangements with the orchestra. The orchestra is very important, young people should come to the orchestra: he will only emphasize the role of the accordion, on which that will be open to many, — you can play not only “Kalinka-Malinka”.

— But interestingly, as is the case in France? Very often, showing the “French flavor”, having the hurdy-gurdy, accordion…

In France the situation is better, but again — which side? If you take the direction of “folk”, but nabereshnoy it is very developed. And even has a channel which broadcasts a program of purely cabaret variety show. But it’s the same our “Kalinka-Malinka”, in fact. But with the classics on the accordion — the same problems as everywhere else.

— A number of soloists themselves-Bayan does not increase?

— I went all the way of the soloist; he graduated from the Academy, won all the competitions, so here goes: Yes, every year produced a strong Bayan, but, unfortunately, they then have nowhere to play — we have that in Europe. The accordion is very difficult to move, especially if you’re playing the classics. Where do you play? Or at competitions as a guest, either for Bayan festivals, whose number is also small. So, Bayan/accordion players are hard to grow, unabated.

— In this sense lucky…

— When I for Rostropovich played the entire “the Revizsky fairy tale” Schnittke, he came to me and said — “How is this possible on the accordion to play for the entire Symphony orchestra?” He was impressed. But it’s good that he even heard me. And if not heard? And as we met him, Rostropovich became interested in more — how to live than you earn? Then he said — “I’ll help”, and later was invited to their Golden wedding, was invited into the hall gavo in Paris… Guardianship is very important for the budding talent.

But to have to look for the different ways…

— Of course. To write music to films, to work in different genres; here I am now on your set electronic accordion MIDI system on the left and right hand, can now use various electronic sounds like synth (guitar, bells, piano) and to combine all this with a live electronic sound. Young people it will all be very interesting, especially because I will be the first performer this MIDI-system (just got it yesterday, our Russian master has developed, this has no in the world). Although I do not know whether they will be able to use it on my anniversary concert on October 20 at the House of music, yet is approbation.


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