"I should have come back." The audience cried at this only Hvorostovsky concert

In June 2017, the last concert of the famous artist took place in Krasnoyarsk. A sore hand did not prevent Dmitry Hvorostovsky from entering the stage.

The owner of one of the best voices of the planet entered the stage of the Krasnoyarsk Grand Concert Hall, visibly limping, with a fixed hand. It was obvious that it was difficult for him to move. Every time the artist appeared on the stage, the audience greeted him standing.

This concert was postponed several times due to the artist's health - in 2015, Hvorostovsky announced that he was suffering from a brain tumor. A few days before his arrival in Krasnoyarsk, he fell and dislocated his shoulder. But the injury did not prevent him from coming home to give a single concert.

Hvorostovsky performed the Demon's aria from Rubinstein's opera, Aleko's cavatina from Rachmaninov's opera. And, of course, the famous romance "Dark Eyes".

During the performance, the singer often put his hand to his heart, making it clear that this meeting was very dear to him.

“I thank you all for such an award, for respect. My performances make me move on, move forward, ”the artist admitted.

Later, on his Facebook page, Vadim Vostrov, who works on the TVK-6 channel, left the following entry:

“The media will not write the truth about yesterday's Hvorostovsky concert for ethical reasons. And they will probably do the right thing. And I will write, because I think it is important to say this.

He came out again and again, smiled and brought young performers on stage, joked and supported them as best he could. At the end of the concert, it became clear what it cost him. “I had to return. Because I love you, because this is my hometown,” said Dmitry and began to cry. He couldn't get an encore. The one time in his career when it wasn't necessary. He did more than he could at the concert.

I felt ashamed of my thoughts, of my spectator selfishness at the beginning. And I also realized what Hvorostovsky does not need. He definitely doesn't need any regular encouragement.

He understands everything and will fight. He said, "Goodbye!" - and once again repeated: "Goodbye!". And I know that he will try, it is not for us to teach him courage. And we will pray for him.

Everyone often hears this and talks about themselves and about others. And they hear these phrases from others in their address. And who asked for what you owe and to whom you owe?

Here, sit down. In front of the mirror. And ask yourself: what do you owe? And then: to whom and for what? The answers are not always easy to find.

I will give one example.

I owe you. Don't you tell me. Nobody nobody. I.

What benefit did you receive? Moving from one place to another. Minus the possible pleasure of the rest.

What I got.

1. up - I helped a good person
2. When we meet again, we will be able to continue communication as we already know each other, plus I helped.
3. On occasion, the opposite sex - even flirt and develop relationships.
4. If you agree that you should, I can ask for help and it will be difficult for you to refuse.

Also, you didn't ask me for help. You did me a favor by accepting my help. In fact, I forced you to accept it from me. There were no contractual agreements. Do you hear? It didn't come. And there are no terms of the contract and it is not possible to violate them due to their absence. And the claim - you owe me, it is at least stupid to listen to me from me. It's stupid of me to ask.

And now we will transfer this to the relationship between children and parents.

When were you born, you were not asked? No

When you were raised, did not sleep at night, dressed, fed, did you force them to do this? No

When you were sent to kindergarten, then to school. Did they pay for it, did they ask your consent? No

In this case, your GRATITUDE (I give good from the heart) is your good will, as a tribute to this. And you don't have to.

When you give birth, raise, garden, school and so on, do you ask your child? No! You are doing it of your own free will. You didn't have an abortion, you didn't leave in the maternity hospital, you didn't hand over to the orphanage. You forced him to accept your choice of how to live! What right do you have to demand anything from him? Say thank you that he, growing up, generally talks to you.

It is clear that this is rude and direct. But recognizing this as the initial conditions of the absence of contractual obligations, in which there are no stipulated obligations of the parties. We come to the question of who owes whom and for what? Who sets the price and amount of gratitude? All on the level do you understand me? And one is waiting for gold for what he did without asking, and the other also pays in gold for what he was forced to receive. Only gold is different for everyone as a currency in our world. And there is usually no common currency. And one is waiting for euros or pounds sterling, and the second pays money (which for him is his currency).

Ask yourself who owes and owes you, and to whom you owe and owe, and for what.

How Alexander Sladkovsky arranged a creative evening for Alexei Rybnikov in Kazan

The second concert of the VIII International Festival of Contemporary Classical Music named after Sofia Gubaidulina Concordia was the recital of the famous composer Alexei Rybnikov - the audience got the opportunity to recognize the author of "Juno and Avos" from the other side - as a talented symphonist. About which of his works has not been performed for 50 years and which of the young Kazan composers came to be inspired by the music of the master - in the report "BUSINESS Online".

“WAS TERRIBLY CURIOUS, WHAT WAS WRITTEN THERE IN 1969?”

“Everything is surprisingly good with the musical life in Kazan,” said the famous composer Alexey Rybnikov last Wednesday at an Internet conference with BUSINESS Online readers. And if in terms of rock and pop directions one can argue with him, then the niche of classical music is really not just filled, but is the pride of the capital of Tatarstan. It so happened that the classics developed in parallel with Kazan itself, which Rybnikov also noticed: “When I first came here, I got off the train, I thought:“ Poor Alexander Sladkovsky, how will he be here, everything is dug up, everything is dug up! then, and now - a completely different impression, one can envy how comfortable the conductor Sladkovsky lives here, how comfortable everything has become here, tastefully done, harmoniously. The capital of the Republic of Tatarstan is striking, the changes are colossal.” At the same time, Rybnikov also mentioned changes in the State Symphony Orchestra of the Republic of Tatarstan, which he considers one of the best in Russia. “He has a very high rank both in Moscow and in Europe. This is a miracle that Sladkovsky did. I asked him yesterday how he did it. He says: “Yes, just discipline and talent, of course.” Absolutely enchanting orchestra,” concludes the composer.

Rybnikov arrived in Kazan for his creative evening within the framework of the VIII International Festival of Contemporary Classical Music named after Sofia Gubaidulina Concordia. The program included only his works - "Symphonic Pictures" and "Symphony No. 6". It is not known who the listeners came to in the first place - Rybnikov the film composer or the symphonist, but as soon as he went out to the journalists, ladies with phones immediately reached out to him, who were clearly eager for a selfie. Smartphones pointed towards the stage, the correspondent of "BUSINESS Online" often saw during the concert - which means that the less replicated side of Rybnikov's work also resonated in the hearts of the listeners.

Why did the composer choose such a program for this evening? “I really wanted Sladkovsky to play Symphony No. 6, it seems to me that this is his scale work, I associate it with him. And the scale of Sladkovsky is when he took and recorded all the symphonies of Shostakovich, recorded three symphonies of Mahler, now he will record all the symphonies of Tchaikovsky, ”Rybnikov smiles. He wrote the concert capriccio "Buffoon" from "Symphonic Pictures" in 1969, the work received an award at the All-Union Competition for Young Composers, after which it was performed only twice. “And since then, for almost 50 years, it hasn’t sounded anywhere at all. Therefore, it was terribly curious, what is it written there in 1969? How will this work sound now, in the modern world? the composer said before the concert.

ANCIENT STATES AND FALLEN ANGELS

From the very first notes of "Skomorokh" it became clear why it had not been performed for almost half a century - it should have been done Alexander Sladkovsky. He brings back to life scores forgotten for 50 years - and again we have before us an avant-garde, bold, colorful work, which has earned high marks from the jury of the competition for young composers. The plot of the capriccio is tragic: a farce jester amuses the audience with funny jokes, behind which lies the bitter truth. However, the crowd does not understand him, and in the finale the buffoon dies. Sladkovsky, preserving this tangible tragedy, exciting the listener with a premonition of the inevitable denouement, brings to the fore the daring freedom of the work, bizarre fantasy, unexpected compositional techniques. It is as if the conductor is releasing the wondrous energy of this capriccio, which has been dormant for so many years, and now the buffoon in front of us again grimaces and dances. Subtly and accurately emphasized folklore motifs are replaced by images of chaos, until everything melts into a weightless code, which for Sladkovsky symbolizes not just a departure to another world, but the acquisition of some kind of higher wisdom, absolute understanding and acceptance.

From the very first notes of "Skomorokh" it became clear why it had not been performed for almost half a century - Alexander Sladkovsky should have done this

"Night Song" for violin and orchestra is Rybnikov's paraphrase on the themes of the 60s. “I wrote this concert capriccio for my 60th birthday. There are themes from the first, second symphonies, violin concerto and even a theme that was in one film. This is such nostalgia for that time, ”said the composer. Soloist in "Night Song" concertmaster of the orchestra Alina Yakonina. “A wonderful girl, fragile, but plays very emotionally. For me, it was also amazing - the accompanist was shown at the level of a high-class soloist-violinist, ”said Rybnikov. The performance of this capriccio proves that not only soloists can claim such a high rank. Yakonina's violin sounds really great - she leads, sets the tone, takes her into the abyss of passions and returns to the light again. Sladkovsky, penetratingly and lyrically developing the most beautiful main theme, seems to lift the violin, allowing the soloist to fully reveal her mastery. The conductor fills the episodes of love trials with such nerve, such tension and emotional strength that the orchestra seems to turn into a living person who frankly talks about his feelings.

"Music of Lycia" Rybnikov wrote in 2012 in Turkey. “Lycia is an area that was both in Byzantium and under Rome, and now is part of Turkey. A lot of historical events, battles and battles took place there. Some kind of aura was created in that place, the energy appeared, that I wrote a work, ”the composer explained. This ancient energy is really felt, and it seems that only the GSO RT under the leadership of Sladkovsky can tame it. Here there is a place for brilliant victories, and terrible elements, and destructive war. Rybnikov, like an archaeologist and historian, recreates the image of a lost civilization, while Sladkovsky breathes life into it, at least for a moment.

The composer singles out Symphony No. 6 especially as a complex program work. “It is called the Tenebrosa symphony, the symphony of twilight, and is part of a large work that should sound after the choral concert “The Quietest Prayers”,” Rybnikov explained. The symphony reproduces the story of the fallen angels' rebellion from John Milton's Paradise Lost. The first part is called "Metamorphoses of the angel of light", the fall of the main angel. The second is Toccato Macabre, the rebellion of the fallen angels, the third is Sarabanda Angelica, the sad song of the angels who mourn their brothers, and the last part is the fall of the fallen angels into darkness. “This plot is repeated in my next work, The Liturgy of the Catechumens. Everything ends in "The Resurrection of the Dead", which Sladkovsky also already played. I want him to play the whole cycle, ”Rybnikov notes. He emphasizes that thanks to the chief conductor of the GSO RT, he heard a lot of new things in the symphony: “Gergiev played wonderfully, after that the symphony was played in very good European halls by both Romanian and Hungarian conductors, and everywhere it was accepted with great success. But yesterday, when I came to the rehearsal, I heard a lot of new colors, which I really liked.”

Symphony No. 6 performed by the State Symphony Orchestra of the Republic of Tatarstan is really amazing - it is so multifaceted, bright, filled with inner strength and power. Sladkovsky interprets the conflict of darkness and light masterfully, achieving a special melodiousness from the violins and celesta, which he contrasts with the intense sharpness and depth of percussion and wind instruments. At the same time, the entire orchestra is so collected, coordinated and harmonious that it seems to breathe in unison - it is impossible to notice the slightest roughness, not a single negligence. Each time it raises a logical question: “How? They are real people!” In our opinion, the guarantee of such a performance lies in the absolute clarity of Sladkovsky's instructions and complete mutual understanding between the orchestra and the conductor, when the slightest movement of the maestro is immediately caught and unmistakably determined. The spectators who came to the concert did not fail either - after the performance of the symphony by the orchestra members Sladkovsky and Rybnikov, a storm of applause awaited, the inspired audience simply did not want to let the musicians go. Among the dispersed public, the correspondent of "BUSINESS Online" heard admiring phrases about the special spirituality and soaring that appeared after this music.

After the performance of the symphony by the orchestra members Sladkovsky and Rybnikov, a stormy ovation awaited, the inspired audience simply did not want to let the musicians go.

“I AM NOW SITTING AND INSPIRED FOR NEW ACHIEVEMENTS”

But besides ordinary listeners, Rybnikov's colleague, a young Tatarstan composer, also came to the concert. Elmir Nizamov. “As chairman of the Union of Composers, I must say that he [Sladkovsky] conducts the music of his contemporaries a lot, often and inspires contemporary composers to write new works,” Rybnikov noted. Nizamov confirmed this: “I am now sitting and getting inspired for new achievements, I hope they are ahead. How often can we listen to a composer's work together with its creator? This is a very moving and important moment. Thank God that Slonimsky and Rybnikov are actively working and there is such a unique opportunity to get in touch with them in the literal and figurative sense of the word. I love our orchestra very much, I worked with it a lot, and we performed separately with Sladkovsky. The orchestra is always waiting for new compositions from me, and they are ripening, being created, ”the composer promised.

In addition to ordinary listeners, Rybnikov's colleague, young Tatarstan composer Elmir Nizamov (left) also came to the concert.

The theme of young composers will be continued in the next concert of the Concordia Festival. On October 31, the world premiere will take place: the composition Equilibrio will be performed for the first time by the GSO RT and maestro Sladkovsky Anna Pospelova- finalists of the All-Russian competition of compositions by young composers for the symphony orchestra "Another Space". The debut performance will take place as part of the All-Russian virtual concert hall project, which is held jointly with the Moscow State Academic Philharmonic.

The conductor of the Mariinsky Theater was invited to conduct the GSO RT along with Sladkovsky on the festival evening. Soloists will perform Ivan And Mikhail Pochekin, Anastasia Kobekina. In addition, the program includes a premiere performance of the work “The Factory. Music of Machines" by a Soviet composer Alexandra Mosolova, concerto for violin and viola and orchestra Krzysztof Penderecki, as well as a concerto for cello and orchestra Vitold Lutoslavsky.