ОРГКОМИТЕТ ФЕСТИВАЛЯ / ORGANIZING COMMITTEE
Директор фестиваля / Intendant
Александр Колотурский / Alexander Kolotursky Художественный руководитель фестиваля / Artistic director
Дмитрий Лисс / Dmitry Liss
Программный директор фестиваля / Programming director
Гюляра Садых-Заде / Gyulara Sadykh–zade
Исполнительный директор фестиваля / Executive director
Рустем Хасанов / Rustem Khasanov Маркетинг / Marketing Department
Наталия Ярославцева / Nataliya Yaroslavtseva Служба концертного зала / Department of Artists Assistance
Ольга Мехоношина / Olga Mekhonoshina Пресс-сeкретарь / Press-attaсhe
Юлия Денисенко / Julia Denisenko press@sgaf.ru Координатор фестиваля / Coordinator
Ольга Асташенок / Olga Astashenok fest@sgaf.ru
www.eurasiafestival.ru www.sgaf.ru www.sgaf.tv
РЕДКОЛЛЕГИЯ / EDITORIAL BOARD Тексты / Texts
Г. Садых-заде / G. Sadykh–zade, Е. Булычева / E. Bulycheva, Л. Ковнацкая / L. Kovnatskaya, О. Крючкова / O. Kryuchkova Переводы текстов / Translation Агентство переводов Транслит / Translit Translation Company, М. Алешина / M. Aleshina Дизайн / Design О. Дробиз / O. Drobiz
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ХУДОЖЕСТВЕННЫЙ РУКОВОДИТЕЛЬ ФЕСТИВАЛЯ – ДМИТРИЙ ЛИСС
4.10 19.00 ОТКРЫТИЕ ФЕСТИВАЛЯ Óðàëüñêèé àêàäåìè÷åñêèé ôèëàðìîíè÷åñêèé îðêåñòð. Äèðèæåð - Äìèòðèé Ëèññ Ñåðãåé Êðûëîâ (ñêðèïêà) Óí Ñèê Êèì (÷àíããó), Þæíàÿ Êîðåÿ Âåíåðà Ãèìàäèåâà (ñîïðàíî) Äåñÿòíèêîâ, Ûíõâà ×î, Âèêòîðîâà, Ãëàññ
ГОНКОНГСКИЙ ОРКЕСТР КИТАЙСКИХ НАЦИОНАЛЬНЫХ ИНСТРУМЕНТОВ Äèðèæåð – Õýé÷àí ßíü Öçàî Òàéøåíü (ñàíüñÿí) Äðåâíåêèòàéñêèå íàðîäíûå ìåëîäèè ×àíü Ìèí-÷è. «Öçèí Öè Øýíü» Ñóé Ëèöçþíü. «Ïåñíü ×åðíîé Çåìëå» Ëîó Âèíã-ôàé. «Êàïðè÷÷èî ýïîõè äèíàñòèè Òàí» ×åí Äà÷æàî. «Êàïðè÷÷èî Æåëòîé ðåêè»
ПУТЬ ВОДЫ, ПУТЬ БАМБУКА
МАНГЕЙМСКИЙ ФИЛАРМОНИЧЕСКИЙ ОРКЕСТР, Германия Äèðèæåð – Áîÿí Âèäåíîâ Àëåíà Áàåâà (ñêðèïêà) Òàêåìèöó, Ìåíäåëüñîí, Áåòõîâåí
8.10 19.00
5.10 19.00
6.10 19.00
11.10 19.00
7.10 19.00
УРАЛЬСКИЙ АКАДЕМИЧЕСКИЙ ФИЛАРМОНИЧЕСКИЙ ОРКЕСТР Äèðèæåð – Áåíäæàìèí Ýëëèí, Âåëèêîáðèòàíèÿ Äæîçåô Àëåññè (òðîìáîí), ÑØÀ Ýëãàð, Ýëëèí, Áðèòòåí, Ìàêìèëëàí
9.10 19.00 СОВМЕСТНЫЙ ФЕСТИВАЛЬНЫЙ ПРОЕКТ Ìàíãåéìñêèé ôèëàðìîíè÷åñêèé îðêåñòð, Ãåðìàíèÿ. Äèðèæåð – Áîÿí Âèäåíîâ Óðàëüñêèé ìîëîäåæíûé ñèìôîíè÷åñêèé îðêåñòð. Äèðèæåð – Ýíõý Äàíã Òõàé Øîí (ôîðòåïèàíî), Âüåòíàì–Êàíàäà Áåòõîâåí, ×àéêîâñêèé, Ìåíäåëüñîí
10.10
14.10 19.00 АМСТЕРДАМСКИЙ БАРОЧНЫЙ ОРКЕСТР, Äèðèæåð – Òîí Êîîïìàí Âàóòåð Âåðñõþðåí (ôàãîò), Íèäåðëàíäû Áàõ, Ìîöàðò, Ãàéäí
15.10 19.00 ФАЗИЛ САЙ, Турция ВЕЧЕР ФОРТЕПИАННОЙ МУЗЫКИ Áåòõîâåí, Öèììåðìàí, Ñòðàâèíñêèé, Ìîöàðò, Ñàé
16.10 19.00 ЗАКРЫТИЕ ФЕСТИВАЛЯ Óðàëüñêèé àêàäåìè÷åñêèé ôèëàðìîíè÷åñêèé îðêåñòð. Äèðèæåð – Äìèòðèé Ëèññ Ôàçèë Ñàé (ôîðòåïèàíî), Òóðöèÿ Ìîöàðò, Ñàé, Õîñîêàâà, Ñòðàâèíñêèé
СПЕЦИАЛЬНЫЙ ПРОЕКТ ФЕСТИВАЛЯ «ВЕЛИКИЙ ШЕЛКОВЫЙ ПУТЬ»
17.00
АНСАМБЛЬ МУГАМАТИСТОВ, Азербайджан Òðàäèöèîííûå àçåðáàéäæàíñêèå ìóãàìû, íàðîäíûå ïåñíè, íàöèîíàëüíûå òàíöåâàëüíûå ìåëîäèè
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Óðàëüñêèé àêàäåìè÷åñêèé ôèëàðìîíè÷åñêèé îðêåñòð Ñèìôîíè÷åñêèé õîð Ñâåðäëîâñêîé ôèëàðìîíèè. Äèðèæåð – Äìèòðèé Ëèññ Êàïåëëà ìàëü÷èêîâ è þíîøåé Ñâåðäëîâñêîé äåòñêîé ôèëàðìîíèè Äèðèæåð – Âÿ÷åñëàâ Êóëüìàìåòüåâ Õàíñ âàí äåð Çàíäåí (âàëòîðíà), Íèäåðëàíäû Êýòðèí Áðîäåðèê (ñîïðàíî), Ìýäåëèí Øîó (ìåööî-ñîïðàíî), Ìàðê Óàéëüä (òåíîð), Âåëèêîáðèòàíèÿ Áðèòòåí. Ñåðåíàäà. «Âåñåííÿÿ ñèìôîíèÿ»
Нидерланды
Äæîí Êåéäæ è Ìîðòîí Ôåëäìàí â äèàëîãå ñ êóëüòóðàìè Âîñòîêà Àëåêñåé Ëþáèìîâ (ôîðòåïèàíî, óäàðíûå) Ñòàíèñëàâ Ìàëûøåâ (ñêðèïêà, óäàðíûå) Íàòàëèÿ Ïøåíè÷íèêîâà 19.00 (ãîëîñ, ïåðôîðìàíñ, óäàðíûå) СИМФОНИЧЕСКИЙ Ïåòð Ãëàâàòñêèõ, Ìèõàèë Êîìàðîâ, Àíòîí Ìàãðû÷åâ, Àíäðåé Àëåêñååâ, ОРКЕСТР ЛЕЙПЦИГСКОГО Ðîìàí Ïàâëîâ (óäàðíûå) Patrick K.-H. (âèäåîàðò, àêóñòèêà, ýëåêòðîíèêà) РАДИО, Германия Äèðèæåð – Êðèñòèàí ßðâè Íàîþêè Ìàíàáå (ãóáíîé îðãàí÷èê ñ¸), ßïîíèÿ ×àä Õóïñ (ñêðèïêà), ÑØÀ Êåéäæ, Ôåëäìàí, Öçî ×æåíüãóàíü Áðàìñ, Àäàìñ, Áåòõîâåí ßïîíñêàÿ êëàññè÷åñêàÿ ìóçûêà ãàãàêó
12.10
ПОСВЯЩЕНИЕ БЕНДЖАМИНУ БРИТТЕНУ
13.10 20.00 17.00 РАФАЭЛЬ ПРАВОСЛАВНЫЙ АКАШ, САНДЖУ ДЕ УТРЕРА ХОР «ВИЗАНТИОН», и ЛИЛА ПРОСТРАНСТВО и АНСАМБЛЬ Румыния Äèðèæåð – Àäðèàí Ñèðáó ЕДИНСТВА ЗВУКА ФЛАМЕНКО КАНТЕ Ïðàâîñëàâíûå ïåñíîïåíèÿ Àíñàìáëü èíäèéñêîé ХОНДО, Испания âèçàíòèéñêîé öåðêîâíîé òðàäèöèè êëàññè÷åñêîé ìóçûêè, 12.10
20.00
13.10
Èíäèÿ–Ëàòâèÿ–Âåëèêîáðèòàíèÿ
ARTISTIC DIRECTOR OF THE FESTIVAL – DMITRY LISS
4.10 19.00
7.10 19.00
FESTIVAL OPENING Ural Philharmonic Orchestra Chief Conductor and Artistic Director – Dmitry Liss Sergey Krylov (violin) Woong Sik Kim (changgu), South Korea Venera Gimadieva (soprano) Desyatnikov, Eun Hwa Cho, Victorova, Glass
5.10 19.00
Conductor – Boian Videnoff Alena Baeva (violin) Takemitsu, Mendelssohn, Beethoven
8.10 19.00 URAL PHILHARMONIC ORCHESTRA
HONG KONG CHINESE ORCHESTRA Conductor – Huichang Yan Zhao Taisheng (sanxian) Ancient Chinese Folk Music Chan Ming-chi. «Jing Qi Shen» Sui Lijun. «Song of the Black Earth» Law Wing-fai. «Tang Capriccio» Cheng Dazhao. «The Yellow River Capriccio»
6.10 19.00 WAY OF WATER, WAY OF BAMBOO John Cage and Morton Feldman in the Mirror of the traditional Japanese and Chinese cultures Alexei Lubimov (piano, percussion) Stanislav Malyshev (violin, percussion) Natalia Pshenichnikova (voice, performance, percussion) Pyotr Glavatskikh, Mikhail Komarov, Anton Magrichev, Andrey Alexeev, Roman Pavlov (percussion) Patrick K.-H. (video art and sound projection, electronics) Naoyuki Manabe (bamboo mouth organ sho), Japan Cage, Feldman, Tzo Cheng-guang Japanese Traditional Music from the Gagaku repertory
12.10
MANNHEIM PHILHARMONIC ORCHESTRA, Germany
Conductor – Benjamin Ellin, UK Joseph Alessi (trombone), USA Elgar, Ellin, Britten, McMillan
9.10 19.00 FESTIVAL COLLABORATIVE PROJECT Mannheim Philharmonic Orchestra, Germany Conductor – Boian Videnoff Ural Youth Symphony Orchestra Conductor – Enkhe Dang Thai Son (piano), Vietnam–Canada Beethoven, Tchaikovsky, Mendelssohn
10.10 19.00 LEIPZIG RADIO SYMPHONY ORCHESTRA, Germany Conductor – Kristjan Jarvi Chad Hoopes (violin), USA Brahms, Adams, Beethoven
11.10 19.00 H’OMMAGE BENJAMIN BRITTEN Ural Philharmonic Orchestra Ural Symphonic Choir Conductor – Dmitry Liss Chapel of boys and young men of Sverdlovsk State Children Philharmonic Conductor – Vyacheslav Kulmametev Hans van der Zanden (horn), Netherlands Katherine Broderick (soprano), Madeleine Shaw (mezzo), Mark Wilde (tenor), UK Britten. «Serenade». «Spring Symphony»
14.10 19.00 AMSTERDAM BAROQUE ORCHESTRA, Netherlands Conductor – Ton Koopman Wouter Verschuren (bassoon), Netherlands Bach, Mozart, Haydn
15.10 19.00 FAZIL SAY, Turkey PIANO RECITAL Beethoven, Zimmermann, Stravinsky, Mozart, Say
16.10 19.00 FESTIVAL CLOSING Ural Philharmonic Orchestra Conductor – Dmitry Liss Fazil Say (piano), Turkey Mozart, Say, Hosokawa, Stravinsky
SPECIAL FESTIVAL PROJECT «THE GREAT SILK ROAD»
17.00 MUGHAMATIST’S ENSEMBLE, Azerbaijan Republic Traditional Azerbaijan mugham, folk songs and national dance tunes
12.10
20.00 13.10 17.00 RAFAEL DE UTRERA BYZANTION CHOIR, and FLAMENCO Romania ENSEMBLE CANTE Conductor – Adrain Sirbu Orthodox Byzantine chants JONDO, Spain
13.10
20.00 AKASH, SANJU and LEELA THE HARMONY SOUND SPACE The Indian Classical Music Ensemble, India–Latvia–Great Britain
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Äîðîãèå äðóçüÿ!
Dear Friends!
Ïðèâåòñòâóþ âàñ íà Ìåæäóíàðîäíîì ìóçûêàëüíîì ôåñòèâàëå «Åâðàçèÿ», ñîáðàâøåì ïðèçíàííûõ ìàñòåðîâ è èñêðåííèõ ïîêëîííèêîâ ìóçûêàëüíîãî èñêóññòâà â Åêàòåðèíáóðãå – îäíîì èç ãëàâíûõ êóëüòóðíûõ öåíòðîâ íàøåé ñòðàíû!
Welcome to the Eurasia International Music Festival that offered an opportunity to acclaimed professionals and connoisseurs of musical art to get together in Ekaterinburg – one of the major cultural centers of our country!
Âûñîêèé àâòîðèòåò è ïðîôåññèîíàëüíûé óðîâåíü îðãàíèçàòîðîâ ýòîãî ìóçûêàëüíîãî ôîðóìà – Ñâåðäëîâñêîé ãîñóäàðñòâåííîé àêàäåìè÷åñêîé ôèëàðìîíèè è Óðàëüñêîãî àêàäåìè÷åñêîãî ôèëàðìîíè÷åñêîãî îðêåñòðà – ïîçâîëèëè ïðåäñòàâèòü àóäèòîðèè ïîäëèííûõ çâåçä ìèðîâîãî è îòå÷åñòâåííîãî èñïîëíèòåëüñêîãî èñêóññòâà, ïðèãëàñèòü äëÿ ó÷àñòèÿ â ôåñòèâàëå èçâåñòíûõ êîìïîçèòîðîâ è ìóçûêîâåäîâ.
The high authority and professional reputation of the organizers of this musical forum – the Sverdlovsk State Academic Philharmonic and the Ural Academic Philharmonic Orchestra – made it possible to introduce the audience to the genuine stars of the world and national performing art, to invite renowned composers and music experts to participate in the festival. From the bottom of my heart I wish every success and creative achievements, new discoveries and unforgettable impressions to all the participants of the festival and music lovers!
Èñêðåííå æåëàþ âñåì ó÷àñòíèêàì ôåñòèâàëÿ è ëþáèòåëÿì ìóçûêè óñïåõîâ è òâîð÷åñêèõ ñâåðøåíèé, íîâûõ îòêðûòèé è íåçàáûâàåìûõ âïå÷àòëåíèé! Ñîâåòíèê Ïðåçèäåíòà Ðîññèéñêîé Ôåäåðàöèè Â.È. Òîëñòîé
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Advisor to the President of the Russian Federation V.I. Tolstoy
Äîðîãèå äðóçüÿ!
Dear Friends!
Ðàä ïðèâåòñòâîâàòü âàñ íà îòêðûòèè II Ìåæäóíàðîäíîãî ìóçûêàëüíîãî ôåñòèâàëÿ «Åâðàçèÿ»!
Welcome to the International Music Festival – Eurasia-2013!
Âòîðîé ðàç ãîñòåïðèèìíûé Åêàòåðèíáóðã âñòðå÷àåò èçâåñòíûõ ïðåäñòàâèòåëåé åâðîïåéñêîé è àçèàòñêîé êóëüòóð. Ïðåìüåðû ñèìôîíè÷åñêèõ ñî÷èíåíèé ðîññèéñêèõ è çàðóáåæíûõ àâòîðîâ, çíàêîìñòâî ñ ìíîãîíàöèîíàëüíîé êóëüòóðîé Âîñòîêà è Çàïàäà, âîçìîæíîñòü ïîîáùàòüñÿ ñ êîìïîçèòîðàìè è èñïîëíèòåëÿìè – áëàãîäàðÿ ýòîìó ôåñòèâàëü çàâîåâàë ïîïóëÿðíîñòü íå òîëüêî ñðåäè æèòåëåé óðàëüñêîãî ðåãèîíà, íî è ó ïðîôåññèîíàëüíîãî ìóçûêàëüíîãî ñîîáùåñòâà Ðîññèè è ìíîãèõ çàðóáåæíûõ ñòðàí. Ñîõðàíåíèþ è ðàçâèòèþ óíèêàëüíîãî ìíîãîíàöèîíàëüíîãî ìóçûêàëüíîãî ìíîãîîáðàçèÿ ñïîñîáñòâóåò íàó÷íî-ïðàêòè÷åñêàÿ êîíôåðåíöèÿ. Óâåðåí, ÷òî ïðîãðàììà «Åâðàçèè – 2013» èíòåðåñíà ó÷àñòíèêàì è ãîñòÿì ðàçíûõ âîçðàñòîâ, åå ðåàëèçàöèÿ áóäåò ñïîñîáñòâîâàòü ðàçâèòèþ òâîð÷åñêîãî îáùåíèÿ ìåæäó ðîññèéñêèìè è çàðóáåæíûìè ìóçûêàíòàìè.
For the second time hospitable Ekaterinburg has been welcoming prominent representatives of the European and Asian cultures. Premieres of symphonic compositions of Russian and foreign authors, interaction with the multinational culture of the East and West, communication with composers and performers add up the popularity of the festival not only among residents of the Ural Region, but also with the professional musical community of Russia and many foreign countries. The annual research-to-practice conference makes its valuable contribution to preservation and further advancement of the unique multinational musical diversity. I have no doubt that the program of Eurasia-2013 is interesting to participants and guests of different ages; its implementation will be instrumental in creative communication between Russian and foreign musicians. I wish successful performances to the festival participants and new impressions and vibrant emotions to our guests!
Æåëàþ ó÷àñòíèêàì ôåñòèâàëÿ óäà÷íûõ âûñòóïëåíèé, ãîñòÿì – íîâûõ âïå÷àòëåíèé è ïðåêðàñíîãî íàñòðîåíèÿ! Ìèíèñòð êóëüòóðû Ðîññèéñêîé Ôåäåðàöèè Â.Ð. Ìåäèíñêèé
Minister of Culture of the Russian Federation V.R. Medinsky
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Äîðîãèå äðóçüÿ!
Dear Friends!
Óâàæàåìûå îðãàíèçàòîðû, ó÷àñòíèêè è ãîñòè Âòîðîãî Ìåæäóíàðîäíîãî ìóçûêàëüíîãî ôåñòèâàëÿ «Åâðàçèÿ»!
Dear organizers, participants and guests of the Second Eurasia International Music Festival!
Ïðèâåòñòâóþ âàñ â Ñâåðäëîâñêîé îáëàñòè è âûðàæàþ óâåðåííîñòü â òîì, ÷òî áëàãîäàðÿ ïðîâåäåíèþ ñòîëü àâòîðèòåòíîãî è ïðåäñòàâèòåëüíîãî ôåñòèâàëÿ íàø ðåãèîí è åãî ñòîëèöà – ãîðîä Åêàòåðèíáóðã – åùå áîëåå óïðî÷àò ñâîþ èçâåñòíîñòü íà ìóçûêàëüíîé êàðòå ìèðà.
Its my pleasure to see you in the Sverdlovsk Region and I strongly believe that due to this reputable and prestigious festival, our region and its capital – Ekaterinburg – will gain a firm foothold and recognition in the global musical community.
Ñåãîäíÿ, êîãäà Åêàòåðèíáóðã ïðåòåíäóåò íà ïðàâî ïðîâåäåíèÿ Âñåìèðíîé óíèâåðñàëüíîé âûñòàâêè «ÝÊÑÏÎ-2020», äëÿ íàñ ýòî îñîáî âàæíî. Ìû èñêðåííå çàèíòåðåñîâàíû â òîì, ÷òîáû êàê ìîæíî áîëüøå ëþäåé â ìèðå çíàëè î Ñâåðäëîâñêîé îáëàñòè, î åå áîãàòñòâå, ñëàâíîé èñòîðèè è çàìå÷àòåëüíûõ ïåðñïåêòèâàõ.
Being in the worlds limelight is especially important for us today when Ekaterinburg is bidding for the right to host the EXPO-2020 World Universal Exhibition. We are deeply interested in getting as many people as possible to know about the Sverdlovsk Region, its wealth, glorious history and fascinating prospects.
Ñâåðäëîâñêàÿ îáëàñòü – öåíòð åâðàçèéñêîãî ïðîñòðàíñòâà, ìíîãîíàöèîíàëüíàÿ òåððèòîðèÿ, íàõîäÿùàÿñÿ íà ñàìîé ãðàíèöå Åâðîïû è Àçèè. Ñ îäíîé ñòîðîíû – íåèñ÷èñëèìûå áîãàòñòâà Èíäèè, Êèòàÿ è ßïîíèè, Áëèæíåãî è Äàëüíåãî Âîñòîêà, ñ äðóãîé – ìíîãîâåêîâûå çàïàäíîåâðîïåéñêèå è ðóññêèå ìóçûêàëüíûå òðàäèöèè. Ñîåäèíåíèå êóëüòóð Çàïàäà è Âîñòîêà ñîçäàåò ìîùíóþ òâîð÷åñêóþ ýíåðãèþ, ïîçâîëÿþùóþ îñóùåñòâëÿòü íà íàøåé òåððèòîðèè ïðîåêòû ìèðîâîãî óðîâíÿ – è íå òîëüêî â îáëàñòè ìóçûêàëüíîãî èñêóññòâà.
The Sverdlovsk Region is the focal point in the Eurasian space, a multinational territory lying at the borderline between Europe and Asia. On the one side – innumerable riches of India, China and Japan, the Middle and Far East; on the other side – centuries-old musical traditions of Western Europe and Russia. The fusion of Western and Eastern cultures generates a powerful creative energy that makes it possible to implement world-level projects within our territory – and not only in the art of music.
Õîçÿèí ôåñòèâàëÿ – Óðàëüñêèé àêàäåìè÷åñêèé ôèëàðìîíè÷åñêèé îðêåñòð – óâåðåííî âõîäèò â ÷èñëî ëó÷øèõ îðêåñòðîâ Ðîññèè. Ýòî ïîäòâåðæäàåòñÿ êàê âûñî÷àéøèìè îöåíêàìè ìóçûêàëüíûõ êðèòèêîâ, çíàìåíèòûõ äèðèæåðîâ è ñîëèñòîâ, òàê è ïîñòîÿííûì ó÷àñòèåì îðêåñòðà â ïðåñòèæíûõ ðîññèéñêèõ è ìåæäóíàðîäíûõ ôåñòèâàëÿõ, âûñòóïëåíèÿìè íà ëó÷øèõ êîíöåðòíûõ ïëîùàäêàõ ïëàíåòû. Ó÷àñòèå âûäàþùèõñÿ ìóçûêàíòîâ, èñïîëíåíèå íîâûõ è óæå ïîëþáèâøèõñÿ ïðîèçâåäåíèé, ðàçíîîáðàçèå æàíðîâ è êîëëåêòèâîâ, êàëåéäîñêîï êîíöåðòîâ – âñå ýòî äåëàåò Ìåæäóíàðîäíûé ôåñòèâàëü «Åâðàçèÿ» ñîáûòèåì óäèâèòåëüíûì è âîëíóþùèì. Æåëàþ ó÷àñòíèêàì ôåñòèâàëÿ âäîõíîâåííîé èãðû è îâàöèé ïóáëèêè, à âñåì ãîñòÿì – èñòèííîãî íàñëàæäåíèÿ îò âåëèêîëåïíîé ìóçûêè! Ãóáåðíàòîð Ñâåðäëîâñêîé îáëàñòè Å.Â. Êóéâàøåâ
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The host of the festival – the Ural Academic Philharmonic Orchestra – ranks among the best orchestras of Russia. Its growing fame is proved by the highest opinion of music reviewers, renowned conductors and soloists as well as by regular participation of the orchestra in prestigious Russian and international festivals, its performances in the best concert venues of the world. The participation of outstanding musicians, performance of new and wellbeloved musical compositions, diversity of genres and performing groups, variety of concerts – all these turn the Eurasia International Music Festival into a remarkable and exciting event. I wish the participants of the festival every success, inspirational performance and tremendous applause from the audience who, I believe, will be genuinely delighted with magnificent music!
Governor of the Sverdlovsk Region Ye.V. Kuyvashev
Ïðàâèòåëüñòâî Ñïåöèàëüíîãî àäìèíèñòðàòèâíîãî ðàéîíà Ãîíêîíã ñ ãîðäîñòüþ ïîääåðæèâàåò êîíöåðòíûé òóð Êèòàéñêîãî îðêåñòðà Ãîíêîíãà â Ðîññèè. Êîëëåêòèâ ìîæíî íàçâàòü êóëüòóðíûì ïîñëîì Ãîíêîíãà, îí îëèöåòâîðÿåò ýíåðãåòèêó, êóëüòóðíîå ðàçíîîáðàçèå è äîñòèæåíèÿ ñòîëèöû Àçèàòñêîãî ðåãèîíà. Îí àêòèâíî ïðîäâèãàåò òðàäèöèîííóþ êèòàéñêóþ ìóçûêó ñ êîëîðèòîì Ãîíêîíãà íà ìåæäóíàðîäíîé ñöåíå, åãî âûñòóïëåíèÿ íàõîäÿò íåèçìåííûé îòêëèê ñëóøàòåëåé âî ìíîãèõ ñòðàíàõ ìèðà. Ìû ãîðäèìñÿ òåì, ÷òî îðêåñòð ïîëó÷èë âñåìèðíîå ïðèçíàíèå êàê âåäóùèé èñïîëíèòåëü êèòàéñêîé ýòíè÷åñêîé ìóçûêè.  åãî ñîñòàâå 85 ìóçûêàíòîâ, êîòîðûå èãðàþò êàê íà òðàäèöèîííûõ èíñòðóìåíòàõ, òàê è íà èõ óñîâåðøåíñòâîâàííûõ âåðñèÿõ. Íàïðèìåð, ñòðóííî-ñìû÷êîâàÿ ãðóïïà ñ 2009 ãîäà èñïîëüçóåò â êîíöåðòàõ ñåðèþ «ýêîëîãè÷åñêèõ õóöèíåé», ðàçðàáîòàííûõ ñàìèì îðêåñòðîì.  ðåïåðòóàðå êîëëåêòèâà íå òîëüêî íàöèîíàëüíàÿ êèòàéñêàÿ ìóçûêà, íî è ñî÷èíåíèÿ ñîâðåìåííûõ êîìïîçèòîðîâ. Ìóçûêàíòû ïîñòîÿííî ýêñïåðèìåíòèðóþò, èñïîëíÿÿ íîâûå ïðîèçâåäåíèÿ ñàìûõ ðàçíûõ ñòèëåé è íàïðàâëåíèé. ß ïðèãëàøàþ âñåõ ïðèñóòñòâóþùèõ ïîñåòèòü íàñ â Ãîíêîíãå. ß óâåðåí, ÷òî âûñòóïëåíèå íàøåãî îðêåñòðà ïîçâîëèò âàì ïî÷óâñòâîâàòü äðóæåëþáíîå è áëàãîæåëàòåëüíîå îòíîøåíèå ñî ñòîðîíû Ãîíêîíãà. Ìèíèñòð âíóòðåííèõ äåë Ïðàâèòåëüñòâà ñïåöèàëüíîãî àäìèíèñòðàòèâíîãî ðàéîíà Ãîíêîíã Öàíã Òàê-Ñèíã
The Hong Kong Special Administrative Region Government is proud lo support the Hong Kong Chinese Orchestra’s tour performances in Russia. The Orchestra has been a cultural ambassador of Hong Kong showcasing the vibrancy, cultural diversity and achievements of Asia’s world city. The Orchestra is committed to promoting Chinese music culture with a distinct Hong Kong flavour on the international scene and has been invited to perform all over the world. We take pride in the fact that the Orchestra has won accolades as a leader in Chinese ethnic music and has drawn further praise around the world. It has 85 professional musicians, playing instruments that include both traditional ones and new and improved versions. In particular, the bowed-string section has adopted, since 2009, the award-winning Eco-Huqin series developed by the Orchestra. The Orchestra has built a repertoire that includes not only traditional Chinese music but also contemporary works. It also explores new frontiers in music through commissioning new works of various types and styles. I extend a warm welcome to all audience members to visit us in Hong Kong. I am sure you will feel the goodwill and friendship of Hong Kong from the Orchestra’s music.
The Government of the Hong Kong Special Administrative Region Secretary for Home Affairs Tsang Tak-sing
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Äîðîãèå äðóçüÿ!
Dear Friends!
Ìû î÷åíü áûñòðî ïðèâûêëè ê òîìó, ÷òî æèâåì â íîâîé ðåàëüíîñòè, â åäèíîì èíôîðìàöèîííîì ïðîñòðàíñòâå. Íî, ìíå êàæåòñÿ, èìåííî ïîýòîìó ìû îáÿçàíû äîáèòüñÿ íîâîãî óðîâíÿ âçàèìîïîíèìàíèÿ, äîáðîæåëàòåëüíîãî è ãëóáîêîãî èíòåðåñà ê öåííîñòÿì è îïûòó ðàçíûõ êóëüòóð è öèâèëèçàöèé, êîòîðûå ñåãîäíÿ âñòóïàþò â äèàëîã, êîíòàêò è êîíôëèêò êàê íèêîãäà èíòåíñèâíî.  ýòîé ñèòóàöèè åñòü îïàñíîñòè, íî åñòü ïîòåíöèàëüíî è îãðîìíûå ïðåèìóùåñòâà, âîçìîæíîñòü íîâîãî ýòàïà ðàçâèòèÿ íà îñíîâå äèàëîãà è ñèíòåçà. Óäèâèòåëüíî, íî ìóçûêà çäåñü ÿâíî îêàçàëàñü âïåðåäè. Êîãäà ìû âûñòóïàåì â êîíöåðòíûõ çàëàõ ðàçíûõ ñòðàí, íàì íå íóæíû ïåðåâîä÷èêè, è òå ïîëòîðà-äâà ÷àñà, êîòîðûå âíèìàòåëüíûé ñëóøàòåëü ïðîâîäèò íà êîíöåðòå, äàþò âîçìîæíîñòü îùóòèòü âñþ ãëóáèíó ÷óæîé, íî íå ÷óæäîé êóëüòóðû. È îáíàðóæèòü, ÷òî ìåæäó íàìè íàìíîãî áîëüøå îáùåãî, ÷åì íàì êàæåòñÿ, ÷òî çàäîëãî äî ïîÿâëåíèÿ ñîâðåìåííûõ ñðåäñòâ êîììóíèêàöèè èìåííî ëþäè èñêóññòâà, ëþáîïûòíûå, íåðàâíîäóøíûå è îòêðûòûå, íà÷àëè ýòîò äèàëîã êóëüòóð, è ìû î÷åíü ðàäû, ÷òî íàø ôåñòèâàëü ñòàíîâèòñÿ åùå îäíîé ïëîùàäêîé äëÿ òàêîãî äèàëîãà.
We got used very quickly to the fact that we live in a new reality, in the common information space. That is why I think that we should use our best efforts to achieve a new level of understanding, develop keen and deep interest in values and experience of different cultures and civilizations whose dialogue communication, making contact and coming into conflict are so intensive as they have never been before. In this situation there are not only perils, but also potentially tremendous advantages, the possibility of a new stage of development based on a dialog and synthesis. Amazingly, music has taken the lead here. When we give our performances in concert halls of different countries, we do not need interpreters, and one hour and a half or two hours, during which attentive listeners stay at the concert, help them to feel the entire depth of the culture that is unfamiliar, but not alien to them. These concerts also help to discover that we have much more in common that we would think of, that long before the present-day communications media came to our life, people of art, inquisitive, passionate and open-minded, had started the dialogue of cultures, and we are very glad that our festival is steadily turning into another ground for this dialogue.
 íàøåì çàëå ñêðèïêà Ñåðãåÿ Êðûëîâà âïåðâûå âñòðåòèòñÿ ñ êîðåéñêèì áàðàáàíîì ÷àíããó, à îäèí èç ñàìûõ èçâåñòíûõ áàðî÷íûõ êîëëåêòèâîâ – ñ îðêåñòðîì òðàäèöèîííûõ êèòàéñêèõ èíñòðóìåíòîâ. Âïåðâûå ìû ñìîæåì ïîçíàêîìèòüñÿ â òàêîì îáúåìå ñ òðàäèöèîííîé ìóçûêîé ñòðàí Âåëèêîãî Øåëêîâîãî ïóòè è îáíàðóæèòü, ÷òî íå òîëüêî êàðàâàííûå òðîïû îáúåäèíÿëè íàðîäû, ðàçäåëåííûå òûñÿ÷àìè êèëîìåòðîâ ïóñòûíü, íåïðîõîäèìûìè ãîðíûìè öåïÿìè è íåîáîçðèìûìè ðàâíèíàìè, – â ìóçûêå âñåãäà ïðîèñõîäèë ýíåðãîîáìåí, è çà ïðîøåäøèå âåêà âûñòðîåíî î÷åíü ìíîãî ìîñòèêîâ ìåæäó ñàìûìè äàëåêèìè, êàçàëîñü áû, íàðîäàìè. Ìû ñåãîäíÿ ïîä÷àñ íå îáðàùàåì íà íèõ âíèìàíèÿ, íî, ïðàâî, ñòîèò îá ýòîì çàäóìàòüñÿ. È åñëè íàø ôåñòèâàëü ïîìîæåò ñòðîèòåëüñòâó íîâûõ ìîñòîâ – ìû áóäåì ñ÷àñòëèâû. Ñîáñòâåííî, â ýòîì, ñ ìîåé òî÷êè çðåíèÿ, è ñîñòîèò åãî ãëàâíàÿ çàäà÷à.
In our concert hall, Sergei Krylovs violin met the Korean drum changgu, and one of the most famous Baroque orchestras met the orchestra of traditional Chinese instruments. For the first time, we will be able to listen to extensively represented traditional music of the countries of the Great Silk Road and learn that the nations separated by thousands of kilometers of desert land, impassable mountain ranges and boundless flatlands were united not only by caravan routes, but also by music that has always been notable for energy exchange. Over the past centuries, a lot of bridges have been built between the nations that are seemingly so different. Today, we sometimes may overlook these bridges, though they deserve the utmost attention. We will be happy, if our festival helps to build new bridges which is essentially the main objective of the festival.
Õóäîæåñòâåííûé ðóêîâîäèòåëü ôåñòèâàëÿ, íàðîäíûé àðòèñò Ðîññèè, ëàóðåàò Ãîñóäàðñòâåííîé ïðåìèè Ðîññèè Äìèòðèé Ëèññ
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Artistic Director of the Festival, People’s Artist of Russia, The Laureate of the Russian Federation National Award Dmitry Liss
Äîðîãèå äðóçüÿ!
Dear friends!
Ìû ñ âàìè ñòàíîâèìñÿ ñâèäåòåëÿìè ñòàíîâëåíèÿ ñàìîãî êðóïíîãî êóëüòóðíîãî ïðîåêòà Åêàòåðèíáóðãà è Ñâåðäëîâñêîé îáëàñòè. Ê ýòîìó ìóçûêàëüíîìó ñîáûòèþ âñÿ íàøà êîìàíäà öåëåíàïðàâëåííî øëà äîëãèå ãîäû.
We are witnessing of formation the largest cultural project in Ekaterinburg and the Sverdlovsk region. For this musical event all our team was preparing for many years.
Ôåñòèâàëü – ýòî äèòÿ, êîòîðîå ðîæäàåòñÿ ñî ñâîèì îáëèêîì, õàðàêòåðîì è ïîòåíöèàëîì. Íàøå äèòÿ ðîäèëîñü äâà ãîäà íàçàä. Îíî ïðîäîëæàåò æèòü, ðàñòåò «íå ïî äíÿì, à ïî ÷àñàì», íå òîëüêî îïðàâäûâàÿ, íî è ïðåâîñõîäÿ íàøè ñàìûå ñìåëûå îæèäàíèÿ. Îöåíèâ óñïåõ ïåðâîãî ôåñòèâàëÿ, ìóçûêàíòû âñåãî ìèðà îõîòíî îòêëèêíóëèñü íà íàøè ïðåäëîæåíèÿ. Íåñêîëüêî ëåò íàçàä ìû è ïðåäñòàâèòü ñåáå íå ìîãëè, ÷òî ê íàì ïðèáóäóò ñîòíè ó÷àñòíèêîâ èç 14 ñòðàí Åâðîïû è Àçèè. Îñóùåñòâëÿÿ ýòîò êóëüòóðíûé ïðîåêò â Óðàëüñêîì ðåãèîíå, ìû ñòàðàåìñÿ ðàñêðûòü ñóùíîñòü äâóõ êóëüòóð, êîòîðûå ïåðåïëåòåíû â íàñ ñàìèõ. Ïåðâûé ôåñòèâàëü «Åâðàçèÿ» ïðèêîâàë ê ñåáå âíèìàíèå êàê òîíêèõ öåíèòåëåé ìóçûêàëüíîãî èñêóññòâà, òàê è ïðåäñòàâèòåëåé ñàìîé øèðîêîé àóäèòîðèè. Óâåðåí, ÷òî è íà ýòîò ðàç «Åâðàçèÿ» ïîäàðèò ñâîèì ìíîãî÷èñëåííûì ãîñòÿì îùóùåíèå áîëüøîãî ìóçûêàëüíîãî ïðàçäíèêà.
The festival is a child which is born with the appearance, character and potential. Our child was born two years ago. It continues to live, grows «by leaps and bounds», not only justify, but also foreshadows our wildest expectations. Assessing the success of the first festival, musicians all over the world willingly responded to our proposals. A few years ago we could not imagine, that to us will arrive hundreds of participants from 14 countries of Europe and Asia. Conducting this cultural project in the Urals region, we try to reveal the essence of the two cultures, which are intertwined in ourselves. The first festival «Eurasia» has riveted the attention of both connoisseurs of music and representatives of a wide audience. I am sure that this time the «Eurasia» will give its many guests the feeling of a large music celebration. Want to believe that the life of the festival will be long and successful. We are already seeing as «Eurasia» is on par with the iconic festivals of Russia, adequately representing our city and the region as a cultural space.
Õî÷åòñÿ âåðèòü, ÷òî æèçíü ôåñòèâàëÿ áóäåò äîëãîé è óñïåøíîé. Óæå ñåé÷àñ ìû íàáëþäàåì, êàê «Åâðàçèÿ» ñòàíîâèòñÿ â îäèí ðÿä ñî çíàêîâûìè ôåñòèâàëÿìè Ðîññèè, äîñòîéíî ïðåäñòàâëÿÿ íàø ãîðîä è ðåãèîí â êóëüòóðíîì ïðîñòðàíñòâå. Äèðåêòîð Ñâåðäëîâñêîé ãîñóäàðñòâåííîé àêàäåìè÷åñêîé ôèëàðìîíèè, ÷ëåí Ñîâåòà ïðè Ïðåçèäåíòå ÐÔ ïî êóëüòóðå è èñêóññòâó, âèöå-ïðåçèäåíò Ñîþçà êîíöåðòíûõ îðãàíèçàöèé Ðîññèè, ëàóðåàò Ãîñóäàðñòâåííîé ïðåìèè Ðîññèè, çàñëóæåííûé ðàáîòíèê êóëüòóðû Ðîññèè À.Í. Êîëîòóðñêèé
Director of Sverdlovsk State Philharmonic, member of the Presidential Council for Culture and the Arts, Vice President of Union of the Russia Concert Organizations, The Laureate of the Russian Federation National Award A.N. Kolotursky
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Гюляра Садых-заде, программный директор фестиваля
«МЫ ПЕРЕСТАЛИ ЗАМЕЧАТЬ, ЧТО ДВА МИРА, ДВЕ ЦИВИЛИЗАЦИИ СВЯЗАНЫ ТЫСЯЧЬЮ НИТЕЙ» О КОНЦЕПЦИИ И ДЕВИЗЕ Ñòðîãî ãîâîðÿ, âûðàæåíèå «Ex oriente lux» – ýòî ïàðàôðàç åâàíãåëüñêîãî ïîâåñòâîâàíèÿ î ðîæäåíèè Õðèñòà: «Vidimus enim stellam ejus in oriente, et venimus adorare eum» («Èáî ìû âèäåëè çâåçäó Åãî íà Âîñòîêå, è ïðèøëè ïîêëîíèòüñÿ Åìó»). Ïðèíÿòî ñ÷èòàòü, ÷òî ñ Âîñòîêà íà Çàïàä èäåò ñâåò èñòèíû, ýçîòåðè÷åñêîãî, èíòóèòèâíîãî, âûñøåãî çíàíèÿ, òîãî, ÷òî ïîçíàåòñÿ íå óìîì, íî ñåðäöåì. È íà ïóòè ýòîãî Ñâåòà ñòîèò Ðîññèÿ: òà ñàìàÿ «íåìûòàÿ Ðîññèÿ», ïðî êîòîðóþ ×ààäàåâ ñêàçàë: «Ìû íå ïðèíàäëåæèì íè ê Âîñòîêó, íè ê Çàïàäó, è ó íàñ íåò òðàäèöèé íè òîãî, íè äðóãîãî». Îäíàêî æå ó ìåíÿ âûðàæåíèå «Ñâåò ñ Âîñòîêà» ðîæäàåò èíûå, ìóçûêàëüíî-ýñòåòè÷åñêèå êîííîòàöèè. Ïðîãðàììà âòîðîãî ôåñòèâàëÿ «Åâðàçèÿ», êàê ìû åå çàìûñëèëè, ïðèçâàíà ñòàòü èëëþñòðàöèåé âëèÿíèÿ èñòîðè÷åñêèõ, êóëüòóðíûõ, ìåíòàëüíûõ ìàòðèö Âîñòîêà íà ñòàíîâëåíèå çàïàäíîåâðîïåéñêîé êóëüòóðû. Âëèÿíèé ìîùíûõ, ãëóáèííûõ, îíòîëîãè÷åñêèõ, îòêðûâøèõ õðèñòèàíñêîìó ìèðó ÷óæäûé, íî îáîëüñòèòåëüíî ïðåêðàñíûé ìèð, ìàëî-ïîìàëó óòîí÷èâøèé è îáëàãîðîäèâøèé ìåõàíèçì ÷óâñòâîâàíèé åâðîïåéöà. Ìû çàäàëèñü öåëüþ íà ìóçûêàëüíûõ ïðèìåðàõ îïðîêèíóòü è ðàçâåí÷àòü ÿâëåíèå, êîòîðîå ïðèâû÷íî íàçûâàåì ìóçûêàëüíûì îðèåíòàëèçìîì. Îðèåíòàëèçì âîçíèê êàê ðîìàíòè÷åñêàÿ ðåàêöèÿ åâðîïåéöà íà ýêçîòè÷åñêèé «âàðâàðñêèé ìèð», íè íà éîòó íå ïðèáëèçèâ íàñ ê èñòèííîìó ïîíèìàíèþ Âîñòîêà. Âå÷íàÿ îïïîçèöèÿ «ñâîé-÷óæîé», «Âîñòîê-Çàïàä» íàñòîëüêî óêîðåíèëàñü â åâðîïåéñêîé êóëüòóðå, ÷òî ìû ïåðåñòàëè çàìå÷àòü, ÷òî äâà ìèðà, äâå öèâèëèçàöèè ñâÿçàíû òûñÿ÷üþ íèòåé. Ïðèøëî âðåìÿ îñîçíàòü, ÷òî Âîñòîê, âîïëîùåíèå «÷óæîãî» ñòàë äëÿ íàñ ñïîñîáîì âîññòàíîâëåíèÿ ñîáñòâåííîé èäåíòè÷íîñòè, «îò ïðîòèâíîãî»: ìû îðèåíòèðóåì ñåáÿ â ìèðå, èñòîðèè è ïðîñòðàíñòâå, îòòàëêèâàÿñü îò íåêîé âíåïîëîæíîé íàì êîíñòàíòû. Ôàêòè÷åñêè è ìåòàôîðè÷åñêè, Âîñòîê – êàê ïîíÿòèå, êóëüòóðà è ñòîðîíà ñâåòà – ñòàëà äëÿ åâðîïåéöà èíñòðóìåíòîì ñîçíàíèÿ äëÿ îïðåäåëåíèÿ «Êòî ÿ?» è «Ãäå ÿ?». Áîëåå òîãî, îòâå÷àÿ íà ýòè êëþ÷åâûå «ýêçèñòåíöèàëüíûå» âîïðîñû, ìû îäíîâðåìåííî îïðåäåëÿåì è íàïðàâëåíèå: «Êóäà äâèãàòüñÿ?»
Европейский инструментарий – виолы, лютни, продольные и поперечные флейты, многие ударные инструменты – возникли как производные от средневекового инструментария Востока, так или иначе завезенного, занесенного в Европу.
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Íå ñëó÷àéíî ñëîâî «îðèåíòàöèÿ» ïðîèñõîäèò îò ñëîâà «Orient» – «Âîñòîê». È äåçîðèåíòàöèÿ, ñîãëàñíî îïðåäåëåíèþ Êàíòà, ïðîèñõîäèò, êîãäà ÷åëîâåêà ëèøàþò ñâîáîäû è ñâåòà. Èìåííî ñâåò ïîçâîëÿåò íàì óçíàòü âîñòîê, êàê ìåñòî, ãäå âîñõîäèò ñîëíöå, è íàéòè ñâîè êîîðäèíàòû â ïðîñòðàíñòâå. Äàâàéòå âñïîìíèì, ÷òî Ðåíåññàíñ â íàóêàõ è èñêóññòâàõ íàñòóïèë ñíà÷àëà íà àðàáñêîì Âîñòîêå è ãîðàçäî ïîçæå, ñïóñòÿ äâà-òðè âåêà, ïðèøåë â Åâðîïó, îáîãàòèâ åâðîïåéñêóþ êóëüòóðó íà âñåõ óðîâíÿõ è âî âñåõ âèäàõ èñêóññòâ, îò ìóçûêè – äî ïðèêëàäíîãî èñêóññòâà. Åâðîïåéñêèé èíñòðóìåíòàðèé – âèîëû, ëþòíè, ïðîäîëüíûå è ïîïåðå÷íûå ôëåéòû, ìíîãèå óäàðíûå èíñòðóìåíòû – âîçíèêëè êàê ïðîèçâîäíûå îò ñðåäíåâåêîâîãî èíñòðóìåíòàðèÿ Âîñòîêà, òàê èëè èíà÷å çàâåçåííîãî, çàíåñåííîãî â Åâðîïó. Ïåðâûìè ñâåòñêèìè ìóçûêàíòàìè è ïîýòàìè ïðè äâîðàõ Ïðîâàíñà è Îêñèòàíèè ñòàëè ìåíåñòðåëè-êðåñòîíîñöû, ïîçíàâøèå íåãó âîñòî÷íûõ ìåëîäèé è êðàñîòû âîñòî÷íîé ïîýçèè, âîñïåâàâøåé íåäîñòèæèìûé èäåàë. Òîãäà æå áûë èìïîðòèðîâàí â Åâðîïó êóëüò Ïðåêðàñíîé äàìû, êîòîðîé ïîêëîíÿëèñü èçäàëåêà, ïîêëîíÿëèñü ïëàòîíè÷åñêè – ýòî òîæå çàèìñòâîâàíèå ñ Âîñòîêà. Ìàäîííû Òðå÷åíòî è Êâàòðî÷åíòî, êóðòóàçíûé ñðåäíåâåêîâûé ðîìàí – òîò æå Êðåòüåí äå Òðóà, Âîëüôðàì Ýøåíáàõ… Òîëüêî â 17 âåêå îäèí èç âàæíåéøèõ ëèòåðàòóðíûõ ãåðîåâ Íîâîãî âðåìåíè – Äîí Êèõîò – îêîí÷àòåëüíî ïîäâîäèò ÷åðòó è çàêðûâàåò ýïîõó êóëüòà Ïðåêðàñíîé äàìû, äëèâøóþñÿ íåñêîëüêî ñòîëåòèé. Âëèÿíèå Âîñòîêà íà Åâðîïó è, ðàçóìååòñÿ, íà Ðîññèþ, íå ïðåêðàùàëîñü íèêîãäà; è ñåãîäíÿ êîìïîçèòîðû ïèøóò ìóçûêó, âäîõíîâëÿÿñü âîñòî÷íîé îðíàìåíòèêîé, îáðàçíîñòüþ, ìåëîäèêîé, èíñòðóìåíòàðèåì, – íî ïðèìåíÿÿ èõ î÷åíü ïî-ðàçíîìó. Âîñòîê ìíîãîëèê: åñòü Êèòàé, åñòü ßïîíèÿ, åñòü àðàáñêèé Âîñòîê, åñòü Èíäèÿ è Èíäîêèòàé. Íå ìåíåå ìíîãîëèêî è åâðîïåéñêîå èñêóññòâî. Îãîâîðèìñÿ: àìåðèêàíñêóþ ìóçûêó ìû òàêæå îòíîñèì ê Åâðîïå, òàê êàê îíà,
èñòîðè÷åñêè, – ïðîäóêò ýêñïîðòà èç Åâðîïû. È êîãäà â ïðîãðàììàõ ôåñòèâàëÿ çâó÷èò Ãëàññ, ìû íå ìîæåì íå îñîçíàâàòü, ÷òî ïðèíöèï ðàçâåðòûâàíèÿ ìàòåðèàëà, ýòî áåñêîíôëèêòíîå òå÷åíèå, ïîëíîå ìèêðîèçìåíåíèé – åñòü, áûòü ìîæåò, áåññîçíàòåëüíàÿ àáñîðáöèÿ, ïðèâèâêà ê åâðîïåéñêîìó ìóçûêàëüíîìó äðåâó ïðèíöèïîâ âîñòî÷íîé ìîíîäèè. Áóääèçì Êåéäæà íå ñëó÷àåí. Ìåëîäè÷åñêèå óçîðû Ìîðòîíà Ôåëäìàíà èìåþò ÷åòêèé ãåíåçèñ. Îñìûñëåíèå Âîñòîêà Áðèòòåíîì ðîæäåíî åãî âîñõèùåíèåì ÿïîíñêèì èñêóññòâîì. Êàíòå õîíäî è ñòèëü ôëàìåíêî – åñòü ïðÿìîé ðåçóëüòàò ñèíòåçà ìåñòíûõ òðàäèöèé ñ ìàâðèòàíñêèìè âëèÿíèÿìè è ìàâðèòàíñêîé êóëüòóðîé. Íî íèêòî íèêîãäà íå ïûòàëñÿ âûñòðîèòü ýòè ðàçíîðîäíûå, íà ïåðâûé âçãëÿä, ìóçûêàëüíûå ÿâëåíèÿ â åäèíóþ öåïü, ñîåäèíèòü â åäèíîé ïðîãðàììå, íàéòè ïðèíöèï, îáúåäèíÿþùèé ñòèëü øèíóàçåðè, ñòîëü ïîïóëÿðíûé â Åâðîïå, íà÷èíàÿ ñ 17 âåêà, ìóçûêàëüíûé îðèåíòàëèçì Ãëèíêè è Áîðîäèíà, îáðàçû «áëàãîðîäíûõ äèêàðåé» â èñêóññòâå âåêà Ïðîñâåùåíèÿ (âñïîìíèì «Ïîõèùåíèå èç Ñåðàëÿ» Ìîöàðòà), àìåðèêàíñêèé ìèíèìàëèçì è äðåâíåå èñêóññòâî ìóãàìàòà.
Фактически и метафорически, Восток – как понятие, культура и сторона света – стала для европейца инструментом сознания для определения «Кто я?» и «Где я?
Ìû ïîïûòàëèñü ýòî ñäåëàòü â àôèøå ôåñòèâàëÿ, îáúåäèíèâ èçáðàííûå ñî÷èíåíèÿ ïîä äåâèçîì «Ñâåò ñ Âîñòîêà». Ðàçóìååòñÿ, ïðèíöèï íå òîòàëåí: íà ôåñòèâàëå áóäóò çâó÷àòü ñèìôîíèè Áåòõîâåíà, Ìîöàðòà, Ãàéäíà è Ìåíäåëüñîíà, êîòîðûå ñ âîñòî÷íîé òåìàòèêîé íèêàê íå ñâÿçàíû. Íî â ñàìîì íàçâàíèè ôåñòèâàëÿ «Åâðàçèÿ» óæå çàëîæåíà íåèçáåæíàÿ âñòðå÷à, äèàëîã Åâðîïû è Àçèè. Ïîýòîìó â ðàìêàõ îäíîãî êîíöåðòà ó íàñ çâó÷èò Âòîðàÿ ñèìôîíèÿ Áåòõîâåíà – è Ðåêâèåì Òàêåìèöó, ÿïîíöà, ãëóáîêî óêîðåíåííîãî âî ôðàíöóçñêîé ìóçûêàëüíîé êóëüòóðå, íàõîäèâøåãîñÿ ïîä ñèëüíåéøèì âëèÿíèåì Ìåññèàíà è Äåáþññè. Êëàâèðíûé êîíöåðò Ìîöàðòà è êëàâèðíûé êîíöåðò Ôàçèëà Ñàÿ áóäóò èñïîëíÿòüñÿ â îäíîì êîíöåðòå – è íàçâàíèå êîíöåðòà Ñàÿ «Øåëêîâûé ïóòü», ðàçóìååòñÿ, ðèôìóåòñÿ ñ ïðîåêòîì world music «Âåëèêèé øåëêîâûé ïóòü». À îò ïüåñû «Öçèí Öè Øýíü» ×àíü Ìèí-÷è (Öè è Øýíü – äâà âèäà ýíåðãèè) â èñïîëíåíèè Ãîíêîíãñêîãî îðêåñòðà êèòàéñêèõ íàðîäíûõ èíñòðóìåíòîâ íåâçíà÷àé ïðîòÿíåòñÿ íèòî÷êà ðîäñòâà ê ïüåñå «Ïÿòü ïåðâîýëåìåíòîâ» Öçî ×æåíüãóàíÿ, êîòîðóþ ñûãðàþò íà ñëåäóþùèé äåíü Àëåêñåé Ëþáèìîâ è åãî êîìàíäà.
О ПРОЕКТЕ «ВЕЛИКИЙ ШЕЛКОВЫЙ ПУТЬ» ß áû ïîðåêîìåíäîâàëà ñëóøàòåëÿì, îñîáåííî íåèñêóøåííûì, âñëóøàòüñÿ âíèìàòåëüíåå â ìóçûêó, òðàäèöèè êîòîðîé âîçíèêëè ìíîãî âåêîâ íàçàä, íà ìàðøðóòàõ «Øåëêîâîãî ïóòè». Äàáû ïðèîáðåñòè àáñîëþòíî íîâûé ñëóõîâîé îïûò. Âñëóøèâàòüñÿ íåïðåäâçÿòî è òåðïåëèâî: èáî òå, êòî ñëóøàåò âíèìàòåëüíî è íåïðåäâçÿòî, áóäóò âîçíàãðàæäåíû: èì îòêðîåòñÿ ñèÿþùèé, èñïîëíåííûé íîâîé âûðàçèòåëüíîñòè çâóêîâîé ìèð.  ýòîì ìèðå âñå èíîå: â íåì íåò îïïîçèöèé è àíòèíîìèé; â íåì ìóçûêàëüíîå ðàçâåðòûâàíèå ïðèõîäèò íà ñìåíó ïðèâû÷íîìó ìóçûêàëüíîìó ðàçâèòèþ, õîä êîòîðîãî ïîäòàëêèâàåòñÿ è ñòèìóëèðóåòñÿ êîíôëèêòîì òåì, òîíàëüíîñòåé, êàäàíñîâ. ×åòêèå ñòðóêòóðû, êëàññè÷åñêèå âîïðîñî-îòâåòíûå ôîðìû îòìåíåíû; ìåëîäèÿ ðàçâèâàåòñÿ ñòàäèàëüíî, ðàçäåë ñëåäóåò çà ðàçäåëîì, è ãëàâíîå: â ýòîì âèäå ìóçûêàëüíîãî èñêóññòâà ìåëîäèÿ ñàìîöåííà. Ïðîåêò «Âåëèêèé øåëêîâûé ïóòü» – ýòî öåíòðàëüíîå ñîáûòèå, ïîòîìó ÷òî â íåì ÷åòêî îòðàçèëàñü ãåíåðàëüíàÿ èäåÿ ôåñòèâàëÿ: äèàëîã êóëüòóð Åâðîïû è Àçèè. Äðåâíèé òîðãîâûé ïóòü, íåêîãäà ñòÿãèâàþùèé, ñøèâàþùèé ñòðàíû è êîíòèíåíòû, ïðîõîäèë îò Èíäèè è Êèòàÿ – äî Êîëõèäû è Âåíåöèè, òÿíóëñÿ îò Ìåðâà – ê Çàêàâêàçüþ, îáòåêàë Êàñïèéñêîå è Ñðåäèçåìíîå ìîðÿ, çàâîðà÷èâàë ê Èñïàíèè è äàæå ê Ïîëüøå. Êàðàâàíû êóïöîâ âåçëè ïðÿíîñòè è øåëêà, à çàîäíî – ìóçûêàëüíûå èíñòðóìåíòû, ïîýçèþ è ôèëîñîôèþ ñòðàí Ìàãðèáà, Èíäèè è Êèòàÿ. Âåíåöèÿ âðåìåí Òèöèàíà áûëà çà÷àðîâàíà áëèçêèì è îïàñíûì Âîñòîêîì; ìàâðû ïðèíåñëè â Èñïàíèþ Èçàáåëëû è Ôåðäèíàíäà ãîðòàííîå ýêñïðåññèâíîå ïåíèå è ìóäðîñòü Àâèöåííû. Ëè÷íî ÿ ãëóáîêî óáåæäåíà, ÷òî ÷åòûðåõâåêîâîå ðàçâèòèå çàïàäíîåâðîïåéñêîé ãîìîôîííî-ãàðìîíè÷åñêîé ìóçûêè – íå áîëåå ÷åì ýïèçîä â îãðîìíîé èñòîðè÷åñêîé ïåðñïåêòèâå. Èñêëþ÷åíèå èç ïðàâèë; à ïðàâèëî – îãðîìíûé ñâîä ìîíîäè÷åñêèõ ìóçûêàëüíûõ òðàäèöèé, ïðèøåäøèõ ê íàì èç äðåâíåãî ìèðà è íå óòðàòèâøèõ àêòóàëüíîñòè è ñåãîäíÿ. Òàê íàçûâàåìîå «ïðîôåññèîíàëüíîå èñêóññòâî óñòíîé òðàäèöèè» – ìóãàìû, ìàêîìû, ðàãè, êþè è äàæå ÿêóòñêèå îëîíõî – âñå çèæäÿòñÿ íà åäèíûõ ïðèíöèïàõ ðàçâåðòûâàíèÿ ìàòåðèàëà, ãäå ñòàäèàëüíîñòü, ïîñòåïåííîñòü, ãîðèçîíòàëü, «ðîñò» ìåëîäèè èç ëàäîâîãî «çåðíà» – ïåðâè÷íû. Ýòî îãðîìíûé ìàòåðèê, âîçëå êîòîðîãî âîçíèê îñòðîâ – çàïàäíîåâðîïåéñêàÿ ìóçûêà, ñ åå áîëüøèì ñèìôîíè÷åñêèì îðêåñòðîì, ñ áàðî÷íîé òåîðèåé àôôåêòîâ, ê ñëîâó, ÿâíî ïðîèçâîäíîé îò âîñòî÷íîé ïðàêòèêè ìóçèöèðîâàíèÿ. Îäíàêî æå, èíòåðåñíî ïðîñëåäèòü, êàê ìåíÿåòñÿ ìàíåðà ïåíèÿ, çâóêîèçâëå÷åíèÿ, íàêàë ýêñïðåññèè ïî ìåðå ïðîäâèæåíèÿ ìóçûêàëüíîé òðàäèöèè îò Èíäèè è Êèòàÿ – ê Ñðåäíåé Àçèè, Èðàíó, Àçåðáàéäæàíó è Èñïàíèè. Òåññèòóðû ñòàíîâÿòñÿ íàïðÿæåííåå; èíòîíàöèÿ, ìÿãêàÿ è ãàðìîíè÷åñêè ñãëàæåííàÿ â èíäèéñêèõ ðàãàõ, ïðåîáðàæàåòñÿ, ñòàíîâÿñü áîëåå ýêñïðåññèâíîé óæå â èðàíñêèõ ìóãàìàõ, åùå áîëåå ïðîíçèòåëüíîé – â àçåðáàéäæàíñêèõ, äîñòèãàÿ ïðåäåëüíîé ýêçàëüòàöèè â ïåíèè þæíîèñïàíñêèõ êàíòàîðîâ. Ìåòàìîðôîçû åäèíîé, â îñíîâå ñâîåé, ìîíîäè÷åñêîé êóëüòóðû ìû ïîïûòàëèñü îòðàçèòü â ñóáëèìèðîâàííîì âèäå, â ÷åòûðåõ êîíöåðòàõ «Âåëèêîãî øåëêîâîãî ïóòè». Êîíå÷íî, ÷åòûðå ïóíêòà íà êàðòå – ýòî î÷åíü ìàëî; çà ðàìêàìè äâóõäíåâíîãî ïðîåêòà îñòàëèñü óçáåêñêèå ìàêîìû, ïàêèñòàíñêèå, èðàíñêèå, òóðåöêèå èçâîäû âåëèêîé òðàäèöèè. Óæ íå ãîâîðÿ î ñòàðèííîé êèòàéñêîé ìóçûêå. Íî «Âåëèêèé øåëêîâûé ïóòü» ñòàíåò êîíñòàíòíûì ïðîåêòîì â àôèøå: òåìà ýòà íåèñ÷åðïàåìà, è ÿ íàäåþñü, ÷òî íà áóäóùèõ ôåñòèâàëÿõ ìû ñóìååì ðàñêðûòü åå ïîëíåå è êðàñî÷íåå.
Четырехвековое развитие западноевропейской гомофонногармонической музыки – не более чем эпизод в огромной исторической перспективе. Исключение из правил; а правило – огромный свод монодических музыкальных традиций, пришедших к нам из древнего мира, и не утративших актуальности и сегодня
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О КОМПОЗИТОРАХ, ДИРИЖЕРАХ И ОРКЕСТРАХ Ôåñòèâàëüíàÿ ìîäåëü, íà÷èíàÿ ñî âòîðîãî, íûíåøíåãî ôåñòèâàëÿ, ïðåäïîëàãàåò çàêàç ñî÷èíåíèé òðåì àâòîðàì: ñ Âîñòîêà – Áëèæíåãî èëè Äàëüíåãî, èç Åâðîïû è Ðîññèè. Ýòèì ìû õîòèì ïîä÷åðêíóòü è ñèìâîëè÷åñêè îáîçíà÷èòü êîíöåïò ôåñòèâàëÿ: Åâðîïà è Àçèÿ âñòðå÷àþòñÿ íà òåððèòîðèè Ðîññèè. Ê èäåå âñòðå÷è è äèàëîãà êóëüòóð ïîäòîëêíóëî ãåîãðàôè÷åñêîå è ãåîïîëèòè÷åñêîå ïîëîæåíèå Åêàòåðèíáóðãà, ðàñïîëîæåííîãî òî÷íî íà ãðàíèöå äâóõ êîíòèíåíòîâ. Íåïîäàëåêó îò ãîðîäà äàæå âîçäâèãíóòà êîëîííà, ìàðêèðóþùàÿ «òî÷êó ñõîäà». Âûáîð ïàë íà òðåõ êîìïîçèòîðîâ. Ïåòåðáóðæåö Ëåîíèä Äåñÿòíèêîâ – íå íóæäàåòñÿ â îñîáûõ ïðåäñòàâëåíèÿõ. Ëåîíèä íàïèñàë äëÿ îòêðûòèÿ ôåñòèâàëÿ îïóñ äëÿ áîëüøîãî îðêåñòðà è ñîïðàíî, íà ñòèõè Åëåíû Øâàðö, íàçûâàåòñÿ «Ïóòåøåñòâèå Ëèñû íà Ñåâåðî-Çàïàä».  òåêñòàõ Øâàðö íåÿâíî îùóùàåòñÿ ðåôëåêñèÿ íà ïîýòè÷åñêèå ñáîðíèêè Ïó Ñóí-ëèíà, ýäàêèé ïåòåðáóðãñêèé âàðèàíò ñòèëÿ chinoiserie. À «Ñåâåðî-Çàïàä» – èìååòñÿ â âèäó, êîíå÷íî, Ïåòåðáóðã. Èçâåñòíàÿ êîðåÿíêà Ûíõâà ×î – êîìïîçèòîð êðåïêîé íåìåöêîé âûó÷êè, æèâóùàÿ â Áåðëèíå è Ñåóëå – íàïèñàëà ýôôåêòíûé êîíöåðò äëÿ ÷àíããó (êîðåéñêîãî áàðàáàíà) è îðêåñòðà ïîä íàçâàíèåì «Back into. Out of», ïåðåâåäåííûì àâòîðîì âåñüìà âîëüíî: «Ïðèðîäà, êàê îíà åñòü». Òðåòüå ñî÷èíåíèå – åêàòåðèíáóðãñêîãî àâòîðà Îëüãè Âèêòîðîâîé «Ëàçîðåâûé äðàêîí Âîñòîêà» â íîâîé àâòîðñêîé ðåäàêöèè – çàâåðøèò âå÷åð ïðåìüåð. Ê ñîæàëåíèþ, ìû íå óñïåëè çàêàçàòü àáñîëþòíî íîâîå ñî÷èíåíèå êîìïîçèòîðó-åâðîïåéöó, òàê êàê âçÿëèñü çà ôîðìèðîâàíèå ïðîãðàììû äîâîëüíî ïîçäíî. Çàòî ñîñòîÿòñÿ ðîññèéñêèå ïðåìüåðû ñî÷èíåíèé òàêèõ êóëüòîâûõ àâòîðîâ, êàê Òîñèî Õîñîêàâà è Ôàçèë Ñàé. Îïóñ Õîñîêàâû «Öèðêóëÿöèÿ îêåàíà» è Âòîðîé ôîðòåïèàííûé êîíöåðò Ñàÿ «Øåëêîâûé ïóòü» çàâåðøàò ôåñòèâàëü. Òàêèì îáðàçîì, ôåñòèâàëüíûé êîíöåïò îáðåòàåò ðåàëüíûå î÷åðòàíèÿ ÷åðåç èñïîëíåíèå íîâîé ìóçûêè: ìèðîâûå ïðåìüåðû îðêåñòðîâûõ ñî÷èíåíèé, íàïèñàííûõ ïî çàêàçó ôåñòèâàëÿ, ñïåöèàëüíî äëÿ ÓÀÔÎ – ýòî òî÷êè ñáîðêè, âîêðóã êîòîðûõ íàðàùèâàåòñÿ «ìÿñî» êîíöåðòíûõ ïðîãðàìì. «Ñòàíîâîé õðåáåò» àôèøè ñîñòàâëåí èç ñèìôîíè÷åñêèõ êîíöåðòîâ îðêåñòðà-ðåçèäåíòà, Óðàëüñêîãî ôèëàðìîíè÷åñêîãî îðêåñòðà ïîä óïðàâëåíèåì õóäîæåñòâåííîãî ðóêîâîäèòåëÿ ôåñòèâàëÿ è ãëàâíîãî äèðèæåðà Äìèòðèÿ Ëèññà. ÓÀÔÎ îòêðûâàåò è çàêðûâàåò ôåñòèâàëü, åùå îäèí êîíöåðò – â ñåðåäèíå (ìîíîãðàôè÷åñêàÿ ïðîãðàììà, ïîñâÿùåííàÿ þáèëåþ Áðèòòåíà), ïëþñ ÷åòâåðòàÿ ïðîãðàììà, ñäåëàííàÿ ñ ïðèãëàøåííûì äèðèæåðîì (â ýòîì ãîäó ýòî áðèòàíåö Áåíäæàìèí Ýëëèí). Îáÿçàòåëüíû íà ôåñòèâàëå ó÷àñòèå Óðàëüñêîãî ìîëîäåæíîãî ñèìôîíè÷åñêîãî îðêåñòðà è «Ìîëîäåæíûé ïðîåêò» – îòäåëüíûå è ñîâìåñòíûå âûñòóïëåíèÿ äâóõ ìîëîäåæíûõ îðêåñòðîâ, ïðèãëàøåííîãî è óðàëüñêîãî (Ìàíãåéìñêèé îðêåñòð ïîêà ñîõðàíÿåò ñòàòóñ ìîëîäåæíîãî). Òàêèì îáðàçîì, øåñòü ñèìôîíè÷åñêèõ êîíöåðòîâ ñ ó÷àñòèåì ðåçèäåíòîâ – ýòî îáÿçàòåëüíîå óñëîâèå ïðè ñîñòàâëåíèè ïðîãðàììû. Îñòàâøèåñÿ ëàêóíû çàïîëíÿþò òðè-÷åòûðå ïðèãëàøåííûõ îðêåñòðà, ñàìîé ðàçíîé ñòèëåâîé è æàíðîâîé íàïðàâëåííîñòè: íàðîäíûõ èíñòðóìåíòîâ (â ýòîì ãîäó ïðèåäåò Ãîíêîíãñêèé îðêåñòð), «áàðî÷íèêè» (Òîí Êîîïìàí è Àìñòåðäàìñêèé áàðî÷íûé îðêåñòð), áîëüøîé ñèìôîíè÷åñêèé (Ëåéïöèãñêèé îðêåñòð ðàäèî ñ Êðèñòèàíîì ßðâè) è îáÿçàòåëüíî – ïðèãëàøåííûé ìîëîäåæíûé êîëëåêòèâ èç Åâðîïû èëè Àçèè. Ìû ïîñòàðàëèñü ñîáëþñòè áàëàíñ ìåæäó guest-îðêåñòðàìè èç Àçèè è Åâðîïû, ÷òîáû, õîòÿ áû êîíñïåêòèâíî, îáîçíà÷èòü ôëþèäû, èìïóëüñû, èäóùèå ñ Âîñòîêà íà Çàïàä è ñ Çàïàäà – íà Âîñòîê. ×òîáû îíè ïåðåñåêëèñü â ôåñòèâàëüíîì ïðîñòðàíñòâå «Åâðàçèè», îáîãàùàÿ äðóã äðóãà äîïîëíèòåëüíûìè ñìûñëàìè, íåîæèäàííûìè êîííîòàöèÿìè. Çäåñü îñîáåííîå çíà÷åíèå îáðåòàåò êîíòåêñò: Ôåëäìàí è Êåéäæ èíà÷å ñëóøàþòñÿ ïîñëå àóòåíòè÷íîé êèòàéñêîé ìóçûêè, à Áàõ è Ãàéäí – ïîñëå èíäèéñêèõ ðàã è âèçàíòèéñêîãî öåðêîâíîãî ïåíèÿ.
О ПРОГРАММЕ Àôèøà ôåñòèâàëÿ áîãàòà íà ïðåìüåðû – ìåñòíîãî, ðîññèéñêîãî è ìèðîâîãî çíà÷åíèÿ. Âïåðâûå â Ðîññèè ïðîçâó÷èò «Âåñåííÿÿ ñèìôîíèÿ» Áðèòòåíà. Ðåäêî èñïîëíÿåìàÿ ñþèòà «Êîðîíà Èíäèè» Ýëãàðà îòêðîåò êâàçèàíãëèéñêóþ ñèìôîíè÷åñêóþ ïðîãðàììó, ïîäãîòîâëåííóþ äèðèæåðîì Áåíäæàìèíîì Ýëëèíîì; â íåå òàêæå âîøëè íèêîãäà íå èñïîëíÿâøàÿñÿ â Åêàòåðèíáóðãå «Èñïîâåäü Èçîáåëü Ãàóäè» Ìàêìèëëàíà è ñîáñòâåííîå ñî÷èíåíèå Ýëëèíà «Ïàíäîðà». Àëåêñåé Ëþáèìîâ ñïåöèàëüíî äëÿ ôåñòèâàëÿ ïðèäóìàë, íà ìîé âçãëÿä, èíòåðåñíåéøóþ ïðîãðàììó «Ïóòü âîäû, ïóòü áàìáóêà», â êîòîðîé îí ñî òîâàðèùè èçîáðåòàòåëüíî ñîïðÿãàåò îïóñû Êåéäæà è Ôåëäìàíà ñ ÿïîíñêîé òðàäèöèîííîé ìóçûêîé ãàãàêó è ìÿãêèì çâó÷àíèåì áàìáóêîâîãî ãóáíîãî îðãàí÷èêà ñå. Ñêîðåå ïåðôîðìàíñ, íåæåëè êîíöåðò â îáû÷íîì ïîíèìàíèè ñëîâà: â àíòðàêòå ìóçûêà âûïëåñíåòñÿ ñî ñöåíû â ôîéå, áóäåò çâó÷àòü âñþäó è ñîïðîâîæäàòüñÿ âèäåîðÿäîì, ñîñòàâëåííûì èç çèìíèõ ïåéçàæåé è ïîëîòåí Ïîëëîêà.  çàêëþ÷åíèå âå÷åðà áóäåò ïîêàçàí çíàìåíèòûé äîêóìåíòàëüíûé ôèëüì, â êîòîðîì Êåéäæ èãðàåò ñâîþ ïüåñó «4’33”» íà óëèöå Íüþ-Éîðêà. È êîíå÷íî, áóäåò î÷åíü ëþáîïûòíî óñëûøàòü èãðó çíàìåíèòîãî òóðåöêîãî ïèàíèñòà è êîìïîçèòîðà Ôàçèëà Ñàÿ. Íåòðèâèàëüíàÿ ïðîãðàììà ñîëüíîãî êîíöåðòà ñîåäèíÿåò íåñîåäèíèìîå: ïÿòü áàëëàä è òðè äæàçîâûå ôàíòàçèè ñàìîãî Ñàÿ, ïÿòü ïüåñ Áåðíäòà Àëîèñà Öèììåðìàíà, ëÿ-ìèíîðíóþ ñîíàòó Ìîöàðòà, «Ïåòðóøêó» Ñòðàâèíñêîãî è – ÷òî óæ âîâñå íåîæèäàííî – «Ëóííóþ ñîíàòó» Áåòõîâåíà, ñî÷èíåíèå çàèãðàííîå äî òàêîé ñòåïåíè, ÷òî îáðàùåíèå ê íåìó âîñïðèíèìàåòñÿ ñåãîäíÿ êàê êóðüåç èëè îñîáî èçîùðåííûé ñíîáèçì.
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Gyulyara Sadykh-zade, program director of the festival
«WE TEND TO OVERLOOK THAT THE TWO WORLDS, TWO CIVILIZATIONS ARE CONNECTED WITH EACH OTHER THROUGH NUMEROUS CORDS» ABOUT THE CONCEPT AND THE MOTTO Strictly speaking, Ex oriente lux is a paraphrase of the gospel narrative about the birth of Christ – «Vidimus enim stellam eius in oriente, et venimus adorare eum» (For we have seen His star in the East, and are come to adore Him). The light of truth is believed to come from the East to the West, the light of esoteric, intuitive, supreme knowledge that is perceived through the heart and not through the mind. On the way of this Light to the West there is Russia: this very «unwashed Russia», writing about which, Chaadayev noted: «We belong neither to the West nor to the East, and we possess the traditions of neither the one nor the other.» Yet, the phrase Light from the East suggests other connotations to me, the connotations of musical and aesthetical nature. We expect the program of the Second Eurasia Festival to help understand the influence of historical, cultural and mental matrices of the East on the development of the West European culture – the powerful, profound, ontological impacts that allowed the Christians to see and communicate with the world, very different from theirs, though alluring and beautiful, the world that gradually refined and elevated the Europeans sensations. We decided to turn to music so that it would help us to knock down and debunk the concept that is commonly known as musical orientalism. Orientalism emerged as a romantic response of the Europeans to the exotic «barbarian world», but we did not move an inch closer in our understanding of the East. The centuries-long «friend-foe» or «East-West» confrontation is so deep-rooted in the European culture that we tend to overlook that the two worlds, two civilizations are connected with each other through numerous cords. Its time for us to understand that the East is no longer the manifestation of everything that is «foreign» to us; instead, it can help us to improve the awareness of our own identity: We are guided in the world, in the history and in space by the reference points on the opposite side of the world. Literally and metaphorically, the East, as the concept, culture and cardinal point, is guiding the Europeans in their quest for answers to «Who am I?» and «Where am I?» Furthermore, finding the answers to these crucial «existential» questions, we can outline the direction: «Where are we going?»
European instruments – viols, lutes, fipple and transverse flutes, many percussion instruments – were modified versions of medieval instruments of the East, and originally were brought to Europe.
Its no coincidence that the word «orientation» originated from the word «Orient» – the East. Disorientation, according to Kant, occurs when a person is deprived of freedom and light. Due to light, we always know where the east is, for the sun rises there, and we can always identify our coordinates in space. We should not forget that the Renaissance in science and art started first in the Arabian East, and came to Europe two or three centuries later, influencing and revitalizing European culture at all levels and in all arts, from music to applied arts. European instruments – viols, lutes, fipple and transverse flutes, many percussion instruments – were modified versions of medieval instruments of the East, and originally were brought to Europe. The first musicians and poets at the courts of Provence and Occitania were crusaders-minstrels who had come to know delightful oriental melodies and exquisite oriental poetry praising the unattainable ideal. The cult of the Fair Lady was imported to Europe at the same time; this platonic worshiping without seeking a closer contact was also borrowed from the East. Trecento and Quattrocento madonnas, courtly love medieval poems by Chretien de Troyes, Wolfram von Eschenbach and many others… and only in the 17th century, one of the most prominent literature heroes of the new time – Don Quixote – draws the line and drops the curtain over the Fairy Lady cult epoch that lasted for several centuries. The influence of the East on Europe and, definitely, on Russia has never ended up; present-day composers create music drawing their inspiration from eastern embellishment, grace, visualization of images, and instruments, though giving their own, very individual interpretation. The East has many faces: there is China, there is Japan, there is the Arabian East, and there is India and Indo-China. European art is also the art of many faces. Lets specify one point here: talking about European music, we also mean American music, as, historically, it was exported from Europe. When at the festival concerts we listen to music by
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Literally and metaphorically, the East, as the concept, culture and cardinal point, is guiding the Europeans in their quest for answers to «Who am I?» and «Where am I?»
Glass, we understand that the way the music theme is unfolding, its smooth flow full of micro-variations were subconsciously designed for the sake of absorption, grafting of the eastern monody principles into the European musical tree. The Buddhism of Cage did not come out of nothing. The melodic patterns of Morton Feldman have a well-defined origin. Brittens conceptualization of the East came from his admiration and appreciation of Japanese art. Cante jondo and flamenco resulted from the fusion of local traditions, Moorish influence and Moorish culture. However, no one ever has tried to combine these musical phenomena, seemingly so different, in the same program, to find the principle that would help to link up the chinoiserie style that has been popular in Europe since the 17th century, the musical orientalism of Glinka and Borodin, the theme of «noble savages», which had a prominent place during the Age of Enlightenment (for example, The Abduction from the Seraglio by Mozart), the American minimalism and the mugamat ancient art. We made an attempt to do it in the festival events guide by combining selected compositions under the motto Light from the East. The motto does not limit the program: the guests of the festival will be able to listen to symphonies by Beethoven, Mozart, Haydn and Mendelssohn, and their symphonies have no connection with Eastern music themes. On the other hand, the name of the festival – Eurasia – already implies that the meeting and the dialogue between Europe and Asia are inevitable. Therefore, the concert program was prepared to combine the Second Symphony by Beethoven and the Requiem by Takemitsu, a Japanese composer deeply influenced by the French musical culture, particularly by Messiaen and Debussy. Mozarts Harpsichord Concerto and Fazil Says Clavier Concerto are included in the same program – the title of Says concerto – Silk Road – resonates with the name of the world music project – The Great Silk Road. The composition Jing Qi Shen by Chan Ming-chi (Qi and Shen are two types of energy) performed by the Hong Kong Orchestra of traditional national instruments will be linked up with the composition Five Prime Elements composed by Zuo Zhenguan and performed by Alexei Lyubimov and his group.
ABOUT THE GREAT SILK ROAD PROJECT I would recommend the audience, especially to our guests who are not used to such music, to listen attentively. These musical traditions sprang up many centuries ago and are inseparably connected with the Silk Road. You will gain absolutely new auditive impression and experience. You should be an open-minded and patient listener: Those who listen attentively and openmindedly will be rewarded: They will discover a radiant world full of expressiveness and beautiful sounds. In this world everything is different: it has no oppositions and antinomies; the musical evolution does not resemble the traditional unfolding of musical themes, where the action is provoked and boosted by the conflict between the themes, tonalities, and cadences. There are no well-defined structures or classical question-answer forms; the melody develops in a multistage way, one stage follows another, and above all: the melody is valuable in itself in this musical art.
The four-century evolution of the West European homophonic and harmonic music is only an episode in the huge historical time period. It is an exception to the rule. And the rule is built on an enormous number of monophonic musical traditions that came from the ancient world and have successfully survived to the present day.
The Great Silk Road project is a central event, featuring the principal idea of the festival: the dialogue between cultures of Europe and Asia. The ancient trade route that used to unite countries and continents ran from India and China to Colchis and Venice; it extended from Merv to Transcaucasia, passing around the Caspian and the Mediterranean Seas, turning to Spain and even to Poland. Merchants caravans carried spices and silk as well as musical instruments, poetry and philosophy of Maghreb, India and China. Titians Venice was mesmerized by the East that was so close and so dangerous; the Moors brought expressive guttural singing and the wisdom of Avicenna to Spain during the reign of Ferdinand and Isabella. As for me, I am firmly convinced that the four-century evolution of the West European homophonic and harmonic music is only an episode in the huge historical time period. It is an exception to the rule. And the rule is built on an enormous number of monophonic musical traditions that came from the ancient world and have successfully survived to the present day. The so-called «professional art of narrative tradition» – mugams, makoms, ragas, kyuis and even the Yakut olonkho – is based on the uniform principles of music continuity following the primary rules of stage-by-stage gradual and horizontal evolution of the melody from the tonal «kernel». It is a gigantic continent and the West European music is just a small island that emerged near it, with its grand orchestras, the baroque doctrine of affections, which, by the way, most likely, was borrowed from the eastern practice of music making. It is interesting to analyze the changes in the manner of singing, phonation, intensity of expressiveness throughout the movement of the musical tradition from India and China to the Central Asia, Iran, Azerbaijan and Spain. The tessituras are becoming more intensive; the intonation, which is soft and harmonically leveled in Indian ragas, is changing and becoming more expressive in Iranian mugams and more high-pitched in Azerbaijani mugams, reaching the ultimate exultation in singing of cantors of South Spain. We made an attempt to show the metamorphoses of the uniform monophonic culture in a sublimated form during four concerts of the Great Silk Road Project. Definitely, four destinations on the map is just a drop in the ocean; the two-day project does not include Uzbek makoms, Pakistani, Iranian, and Turkish versions of the great tradition, let alone the ancient Chinese music. However, the Great Silk Road is a permanent project that will always be included in the festival program: The theme is inexhaustible, and I hope that we will be able to cover it at length, gaining your interest and attention.
ABOUT COMPOSERS, CONDUCTORS AND ORCHESTRAS Starting with the second festival, the festival pattern suggests commissioning music compositions to three authors: from the Middle or Far East, from Europe and from Russia. We have chosen this pattern to define and emphasize the concept of the festival: Europe and Asia have their meeting point in Russia. The idea of the meeting and the dialogue between the cultures came as natural due to the geographical and geopolitical position of Ekaterinburg located right on the borderline between the two continents. The convergence point is marked by the stele standing not far from the city. We singled out three composers. Leonid Desyatnikov, a composer from St. Petersburg, is well-known to our audience. For the opening of the festival, Leonid composed an opus for grand orchestra and soprano, to the poems by Elena Schwarz – A journey of the Fox to the North-West. The poems by Schwarz re-echo with the poetry of Pu Songling, presenting a Petersburg version of the chinoiserie style. The North-West means, of course, St. Petersburg. The renowned Korean composer – Eun-Hwa Cho, who studied in Germany and lives in Berlin and Seoul, composed an impressive concerto for orchestra and janggu (a Korean drum) – Back into. Out of or, as the author translated it – Nature as it is. The third composition is Azure Dragon of the East by Olga Viktorova, a composer from Ekaterinburg, the authors new version of the orchestral piece will crown the premiere performance concert. To our regret, we did not have enough time to commission an absolutely new composition to a European composer, as we started working on the program quite late. However, the program includes Russian premieres of the compositions by such prominent composers as Toshio Hosokawa and Fazil Say. Hosokawas opus Circulating Ocean and Says Silk Road, the second piano concerto, will be performed at the end of the festival.
The festival concept is outlined more clearly through performances of new music: the world premieres of orchestral compositions created for the festival and specifically for the Ural Academic Philharmonic Orchestra are the focal points defining the content of the concert programs.
In other words, the festival concept is outlined more clearly through performances of new music: the world premieres of orchestral compositions created for the festival and specifically for the Ural Academic Philharmonic Orchestra are the focal points defining the content of the concert programs. The core of the festival program is composed of symphonic concerts of the resident-orchestra, the Ural Philharmonic Orchestra directed by Dmitry Liss, the art director of the festival and chief conductor. The performances of the Ural Academic Philharmonic Orchestra will take place at the beginning and at the end of the festival. The orchestra will give one more concert in the middle of the festival program (the monographic program dedicated to Brittens anniversary). In addition, the fourth program of the Ural Philharmonic Orchestra with the participation of the invited conductor (this year the orchestra will be performing with Benjamin Ellin, a British conductor). The festival program also includes performances given by the Ural Youth Symphony Orchestra and within the framework of the Youth Project – individual and joint performances of two youth orchestras, the invited and the Ural orchestras (the Mannheim Philharmonic Orchestra still has the status of the youth orchestra). Six symphonic concerts with the participation of residents is the compulsory requirement to the program. The remaining lacunas are filled with three-four invited orchestras of various styles and genres: traditional national instruments (will be represented by the Hong Kong Orchestra invited this year), «baroque music» (Ton Koopman and the Amsterdam Baroque Orchestra), grand symphonic orchestras (the Leipzig Radio Symphony Orchestra conducted by Kristjan Järvi), and, of course, an invited youth orchestra from Europe or Asia. We tried to do our best to keep balance when inviting guest-orchestras from Asia and Europe, so that we could give an idea about the vibes and pulses going from east to west and from west to east. We hope that they will intersect in the Eurasia festival space, sharing additional meanings and surprising connotations. The context plays a very important role in the program arrangement: Feldmans and Cages compositions are perceived much better after authentic Chinese music, while the compositions by Bach and Haydn open up to the audience after Indian ragas and Byzantine chants.
ABOUT THE PROGRAM The festival program is rich in premieres of local, Russian and world scale. Russian audience will be able to listen to Brittens Spring Symphony for the first time. The rarely performed The Crown of India by Elgar will open the quasiEnglish symphonic program prepared by the conductor Benjamin Ellin; it will also include the new-to-Ekaterinburg The Confession of Isobel Gowdie by McMillan and Ellins own composition Pandora. I think, Alexei Lyubimov prepared an amazingly interesting program for the festival – Way of Water, Way of Bamboo, in which he and his team offer an ingenious integration of Cages and Feldmans opuses with the Japanese traditional music from the Gagaku repertoire and sweet sounds of the sho, a Japanese bamboo mouth organ. It will be a fullscale performance rather than a traditional concert: during the intermission the music will follow the audience in the lobby; it will be accompanied by the slide-show composed of winter scenic landscapes and Pollocks paintings. At the end of the concert, the audience will be able to see the famous documentary film where Cage is performing his 4’33” piece in a New York street. I am sure the audience will be interested in listening to Fazil Say, the renowned Turkish pianist and composer. The unique solo concert program combines what cannot be combined: five ballads and three jazz fantasies composed by Say, five piano pieces by Bernd Alois Zimmermann, the A Minor Piano Sonata by Mozart, Stravinskys Petrouchka and – absolutely unexpectedly – Beethovens Moonlight Sonata, the composition that has been performed so often that its selection by the pianist is perceived today as an oddity or refined snobbery.
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Профессор Людмила Ковнацкая, Санкт-Петербург
«СОЛНЕЧНОЕ СПЛЕТЕНИЕ» БРИТАНСКОЙ МУЗЫКИ
Имя композитора, сопричастного мировой культуре, символично совпадает со звучанием его страны: Britten – Britain.
Ìóçûêàëüíàÿ êóëüòóðà Âåëèêîáðèòàíèè â ïîñëåäíåé òðåòè ÕIÕ âåêà ïåðåæèëà íîâîå âîçðîæäåíèå, è ïîòîìó â ÕÕ ñòîëåòèè, êàê âî âòîðîé ïîëîâèíå ñòîëåòèÿ XVI, âî âðåìåíà «çîëîòîãî âåêà» ïðè Åëèçàâåòå Òþäîð, àíãëèéñêàÿ ìóçûêà èçîáèëóåò èìåíàìè âûäàþùèõñÿ êîìïîçèòîðîâ, àâòîðîâ ãåíèàëüíûõ òâîðåíèé, ñòàíîâèòñÿ âðîâåíü ñ àíãëèéñêîé ëèòåðàòóðîé, ïîýçèåé è òåàòðîì. Îñòðîâíàÿ ÷àñòü Åâðîïû ïðåâðàòèëàñü â çàìåòíîå ÿâëåíèå ìèðîâîãî ìóçûêàëüíîãî ïðîöåññà. Ýäâàðä Ýëãàð, Áåíäæàìèí Áðèòòåí è Äæåéìñ Ìàêìèëëàí, áðèòàíñêèå ãåðîè Åêàòåðèíáóðãñêîãî ôåñòèâàëÿ– 2013 – êîìïîçèòîðû, ÷üè ñî÷èíåíèÿ ïðåäñòàâèòåëüñòâóþò îò áðèòàíñêîé ìóçûêè â åå çíà÷èìûõ ýòàïàõ. Ïåðâûé èç àâòîðîâ – ïàòðèàðõ íîâîãî ìóçûêàëüíîãî âîçðîæäåíèÿ Àíãëèè. Âòîðîé – «ñîëíå÷íîå ñïëåòåíèå» áðèòàíñêîé ìóçûêè ÕÕ âåêà1, íîâûé «Áðèòàíñêèé Îðôåé»2, âçìåòíóâøèé íàöèîíàëüíóþ ìóçûêó íà âûñîòó ìèðîâûõ øåäåâðîâ – ñáûâøàÿñÿ ìå÷òà îñíîâîïîëîæíèêîâ ñîâðåìåííîé êîìïîçèòîðñêîé øêîëû. Òðåòèé – îäèí èç ìíîãèõ, êòî ïîæèíàåò ïëîäû íîâîé ïîñòðåíåññàíñíîé êóëüòóðíîé ñèòóàöèè ïîñëåäíåé òðåòè ÕÕ âåêà, êîãäà ïîëå êîìïîçèòîðñêîé äåÿòåëüíîñòè â ñòðàíå îêàçàëîñü ïðåäåëüíî ðàñøèðåííûì è ìîùíî âñïàõàííûì. Áåíäæàìèí Áðèòòåí (1913–1976), ÷üå ñòîëåòèå â 2013-ì ãîäó ïðàçäíóåò âåñü öèâèëèçîâàííûé ìèð, – ÿâñòâåííî ñëûøèìûé ãîëîñ ïîêîëåíèÿ òåõ, êòî ÿðêî âûñòóïèë íà ðóáåæå 30-õ è 40-õ ãîäîâ.  ñâîèõ õóäîæåñòâåííûõ èñêàíèÿõ îí òåñíî ñîïðèêîñíóëñÿ ñ êëàññèêîé åâðîïåéñêîé ìóçûêè ÕÕ âåêà (ظíáåðãà, Áåðãà, Ñòðàâèíñêîãî, Øîñòàêîâè÷à, Ïðîêîôüåâà) è ñ îïûòîì ïîñëåâîåííîãî àâàíãàðäà – ñ ñîíîðèñòèêîé è àëåàòîðèêîé, ñ ìèíèìàëèçìîì è èíñòðóìåíòàëüíûì òåàòðîì. Îí íàøåë ïóòè ïëîäîòâîðíîãî âçàèìîïðîíèêíîâåíèÿ òðàäèöèé
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Îêñèäåíòà è Îðèåíòà, íà ìåðèäèàíàõ, ïàðàëëåëÿõ è øèðîòàõ Þæíîé (Èíäèÿ), Þãî-Âîñòî÷íîé Àçèè (Áàëè), Äàëüíåãî Âîñòîêà (ßïîíèÿ), ÷òî íåóäèâèòåëüíî äëÿ õóäîæíèêà óøåäøåé îò åâðîïîöåíòðèçìà ñîâðåìåííîñòè è ãðàæäàíèíà ñòðàíû, íàñëåäóþùåé Âåëèêîé èìïåðèè Áðèòàíèè, Èðëàíäèè è Èíäèè. Èìÿ êîìïîçèòîðà, ñîïðè÷àñòíîãî ìèðîâîé êóëüòóðå, ñèìâîëè÷íî ñîâïàäàåò ñî çâó÷àíèåì åãî ñòðàíû: Britten – Britain. Åãî ìóçûêà óêîðåíåíà â íàöèîíàëüíîé ïî÷âå.  íåé æèâóò ôîëüêëîðíûå ðèòìî-èíòîíàöèè è ìåëîäèêà àíãëèéñêîé ðå÷è, â íåé âîïëîùåíû òðàäèöèè ìàñòåðîâ ìàäðèãàëèñòîâ è âåðäæèíåëèñòîâ, Äàóëåíäà è ϸðñåëëà. Åãî òàëàíò ìóçûêàëüíîãî ïîðòðåòèðîâàíèÿ áëèñòàòåëåí, îí ñîçäàë ãàëåðåþ òèïîâ, âàðüèðóþùèõ õàðàêòåðû çíàìåíèòûõ ïåðñîíàæåé áðèòàíñêîé ëèòåðàòóðû, ïîýçèè è òåàòðà. À åãî æèâîïèñíûé äàð ìàðèíèñòà è ïëåíýðèñòà ðàñêðûëñÿ â êàðòèíàõ åãî ðîäèíû – Âîñòî÷íîãî ïîáåðåæüÿ Àíãëèè è Ñåâåðíîãî ìîðÿ, çàïå÷àòëåííîãî â «Ìîðñêèõ èíòåðëþäèÿõ» îïåðû «Ïèòåð Ãðàéìñ». Âçèðàþùåìó íà óâåêîâå÷åííûå Êîíñòåáëåì è Ãåéíñáîðî ïåéçàæè åãî êðàÿ îí ìîã áû, êàê Ìàëåð, ñêàçàòü: «Âàì íåçà÷åì áîëüøå îãëÿäûâàòüñÿ âîêðóã: âñ¸ ýòî ÿ óæå îòñî÷èíèë!». Òåêñòû åãî âîêàëüíûõ öèêëîâ, êàíòàò è îðàòîðèé ñëîæèëèñü â îáøèðíóþ áðèòòåíîâñêóþ àíòîëîãèþ íàöèîíàëüíîé ïîýçèè. Ñèìâîëè÷åí è äåíü åãî ðîæäåíèÿ: 22 íîÿáðÿ – äåíü Ñâ. Öåöèëèè, ïîêðîâèòåëüíèöû Ìóçûêè è ìóçûêàíòîâ, ÷òî âûãëÿäèò çíàêîì ñóäüáû. Áðèòòåí ñ ðàííåãî äåòñòâà îùóùàë ñåáÿ ìóçûêàíòîì, êîìïîçèòîðîì è íå âèäåë äëÿ ñåáÿ èíîãî ïðåäíàçíà÷åíèÿ. Èç äàðîâàííûõ ñóäüáîé 63 ëåò áîëåå ïÿòè ñ ïîëîâèíîé äåñÿòèëåòèé îí ïèñàë ìóçûêó – ïî âåëåíèþ ñåðäöà è «íà ñëó÷àé», ñî÷èíÿë ìóçûêàëüíûå ïîäàðêè äðóçüÿì è, ïîäîáíî Øóáåðòó, çàáûâàë î íèõ. Ê ñ÷àñòüþ, îí íå çíàë êðèçèñîâ, êîòîðûå âûçûâàëè áû áîëüøèå ïåðåðûâû â ðàáîòå. Åãî êîìïîçèòîðñêèé äàð áûë ùåäðûì. Áðèòòåí îñòàâèë áîãàòîå íàñëåäñòâî. Îí âíåñ çíà÷èòåëüíûé âêëàä â èñòîðèþ âñåõ æàíðîâ åâðîïåéñêîé ìóçûêè ïîñëåäíèõ òðåõ ñòîëåòèé. Îí áûë íàäåëåí äàðîì ãàðìîíè÷íî ðàçðåøàòü ñëîæíûå õóäîæåñòâåííûå çàäà÷è, âîïëîùàòü ýêñïåðèìåíò íå â ðàäèêàëüíîì âèäå, à â óáåäèòåëüíîì ñîîòíîøåíèè íîâîãî è ñòàðîãî. Îí âïîëíå ìîã áû ïðèñîåäèíèòüñÿ ê Òîìàñó Ìàííó, êîòîðûé ãîâîðèë: «ß ëþáëþ ñëîâî “ñîîòíîøåíèÿ”. Ñ ýòèì ïîíÿòèåì äëÿ ìåíÿ ïîëíîñòüþ ñîâïàäàåò ïîíÿòèå “çíà÷èìîñòè”… Çíà÷èìîå – íå ÷òî èíîå, êàê áîãàòîå ñîîòíîøåíèÿìè». Íî âî âñåì ìèðå èìÿ Áðèòòåíà àññîöèèðóåòñÿ ñ îïåðîé. Îí ïðè÷àñòåí ê áîãàòåéøåìó îïûòó áðèòàíñêîé òåàòðàëüíîé êóëüòóðû â ïîëíîòå îáúåìà – îò ðàííèõ ïðåäîïåðíûõ æàíðîâ (ëèòóðãè÷åñêîé äðàìû, êîòîðóþ îí íàçâàë «ïðèò÷åé äëÿ èñïîëíåíèÿ â öåðêâè», ñöåíè÷åñêîãî ïàññèîíà, ñðåäíåâåêîâîãî ìèðàêëÿ) äî èçîùðåííûõ ôîðì ñþððåàëèñòè÷åñêîãî ñïåêòàêëÿ íà ñöåíå è òåëåâèäåíèè. Êàê ìóçûêàëüíûé äðàìàòóðã è ðåæèññåð îí èçîáðåòàòåëåí è îðãàíè÷åí: îí ñëûøèò ñöåíè÷åñêîå ïðîñòðàíñòâî è âèäèò ìóçûêó ïëàñòè÷åñêè. Áðèòòåí – àâòîð ïÿòíàäöàòè îïåðíûõ ðàáîò, áîëüøèõ è ìàëûõ, ñ îðêåñòðîì, êàìåðíûì àíñàìáëåì è ïîä ðîÿëü, î âçðîñëûõ è äåòÿõ. Îí ñîçäàë ñâîé Ìóçûêàëüíûé òåàòð, êîòîðûé çèæäåòñÿ íà Ãëàâíûõ êíèãàõ åâðîïåéöà (ïðèò÷àõ Âåòõîãî è Íîâîãî Çàâåòà), íà òâîðåíèÿõ âåëèêèõ ïèñàòåëåé è ïîýòîâ (Âèëüÿìà Øåêñïèðà, Ãåíðè Äæåéìñà, Ãåðìàíà Ìåëâèëëà, Óèñòåíà Îäåíà, Òîìàñà Ìàííà), íà òðóäàõ áëåñòÿùèõ ëèáðåòòèñòîâ (ïèñàòåëåé Ýäâàðäà Ìîðãàíà Ôîðñòåðà è Óèëüÿìà Ïëóìåðà, äðàìàòóðãà Ýðèêà Êðîçüå). Ó Áðèòòåíà îïåðà îïëîäîòâîðÿåò êàíòàòó, âîêàëüíûé è ïåñåííûé öèêë, ïðîáèâàåòñÿ ñêâîçü îðàòîðèàëüíîñòü. Ìîæíî ñêàçàòü, ÷òî ïîä çíàêîì îïåðû è îïåðíîñòè âûçðåâàþò åãî äàëåêèå îò ñöåíû çàìûñëû. Åãî òåìà – ãëóáèííàÿ ïñèõîëîãè÷åñêàÿ äðàìà, âåäóùàÿ ê òðàãåäèè. Òåì åãî ãåðîÿì, êòî íå ñëèâàåòñÿ ñ îêðóæàþùåé ñðåäîé, êòî îò ïðèðîäû îòìå÷åí èíàêîñòüþ, à ïîòîìó ÷óæä ñîöèóìó è åãî ïðàâèëàì îáùåæèòèÿ, ñóæäåíî ñòàòü æåðòâîé àãðåññèâíîãî è âñåïîáåæäàþùåãî çëà. Ñîáëàçí íåâèííîñòè, â äåòñêîì èëè þíîøåñêîì îáëè÷üè, è åå ïîðóãàíèå – áîëåçíåííàÿ ïåðåæèâàåìàÿ òåìà Áðèòòåíà, ê êîòîðîé îí íåèçìåííî âîçâðàùàåòñÿ. Ñìåðòü íåâèííîãî è íåâèíîâíîãî ïðåäîïðåäåëåíà áåñîâñêîé èãðîé ñëó÷àÿ, ïðîèñêàìè Àäà â äóøå ÷åëîâåêà. Òåì ñàìûì îïåðû Áðèòòåíà ñòàíîâÿòñÿ ïðèò÷àìè îá îäèíî÷åñòâå, èñïûòàíèè è æåðòâîïðèíîøåíèè. Êàòàëîã ñî÷èíåíèé Áðèòòåíà ñîäåðæèò îãðîìíîå ìíîæåñòâî ðàçíîæàíðîâîé, ðàçíîìàñøòàáíîé è ðàçíîëèêîé ìóçûêè. Ìóçûêà ïðèêëàäíàÿ – äëÿ äîêóìåíòàëüíûõ ôèëüìîâ è ðàäèîïüåñ, êîòîðóþ îí ÷àñòî ïèñàë, íàõîäÿñü â ÑØÀ â ïðåäâîåííûå è ïåðâûå âîåííûå ãîäû, íå îòâëåêàëà åãî îò ñôåð ñåðüåçíîãî ìóçûêàëüíîãî èñêóññòâà. Õîðîâóþ ìóçûêó îí ñî÷èíÿë â èçîáèëèè íà ñàìîì ðàííåì ýòàïå òâîð÷åñòâà. Îí ïðèíÿë ýòó èñêîííî àíãëèéñêóþ òðàäèöèþ, òðàäèöèþ æèçíåííîãî óêëàäà, ïðîâèíöèàëüíûõ è ñòîëè÷íûõ õîðîâûõ ôåñòèâàëåé, íåñóùóþ ïàìÿòü î ñàìûõ ðàííèõ â Çàïàäíîé Åâðîïå ìíîãîãîëîñíûõ ôîðìàõ ïåíèÿ, îá àíòåìàõ è îðàòîðèÿõ, î Ãåíäåëå,
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äîëãîâðåìåííî âëèÿâøåì íà áðèòàíñêèõ è êîíòèíåíòàëüíûõ ìàñòåðîâ ïîñëåäóþùèõ ïîêîëåíèé. Ó Áðèòòåíà åñòü õîðîâûå ïåñíè, ëèòóðãè÷åñêèå ñî÷èíåíèÿ, ãðàæäàíñòâåííûå ïðîèçâåäåíèÿ äëÿ «ëåâîãî» èñêóññòâà àíòèôàøèñòñêîé Åâðîïû. Îí ðàíî íà÷àë îòðàáàòûâàòü ìîíóìåíòàëüíóþ ìàíåðó ïèñüìà ñ áðîñêîñòüþ ïðîñòûõ ñðåäñòâ â ÿñíî ïîñòðîåííûõ êîìïîçèöèÿõ, è ñïóñòÿ ãîäû åìó áûëè ïîä ñèëó ìíîãîñëîæíûå õîðîâûå çàìûñëû. Èíñòðóìåíòàëüíûå ïüåñû îòëè÷àåò îðãàíèêà èíñòðóìåíòàëèçìà, òî åñòü ñîîòâåòñòâèå ïðèðîäå èíñòðóìåíòà, åãî âîçìîæíîñòÿì è âûðàçèòåëüíûì ðåñóðñàì. Ôîðòåïèàíî, ãîáîé, àëüò, ïðîäîëüíûå ôëåéòû, ãèòàðà, àðôà, ñêðèïêà, âèîëîí÷åëü – èíñòðóìåíòû, äëÿ êîòîðûõ ñî÷èíåíû ïüåñû è öèêëû ïüåñ, ÷àñòî âäîõíîâëåííûå èñêóññòâîì âûäàþùèõñÿ àðòèñòîâ, ñ êåì Áðèòòåí ñîòðóäíè÷àë. Ñîâåðøåííîå âëàäåíèå ñîëüíûìè èíñòðóìåíòàìè, îäíîðîäíûìè ãðóïïàìè (ñòðóííûå êâàðòåòû, ñòðóííûé îðêåñòð, äóõîâîé îðêåñòð) è ðàçíîðîäíûìè àíñàìáëåâûìè ñî÷åòàíèÿìè èíñòðóìåíòîâ íà ïàðèòåòíûõ, êîíöåðòèðóþùèõ îñíîâàíèÿõ ëåæèò â îñíîâå çàìå÷àòåëüíîé êîìïîçèòîðñêîé òåõíèêè Áðèòòåíà. Îäóõîòâîðåííîñòü äåëàåò ýòè ñî÷èíåíèÿ – áóäü òî ìèíèàòþðû-«áåçäåëóøêè» èëè êðóïíûå öèêëè÷åñêèå ôîðìû – âûñîêèì èñêóññòâîì. Ñèìôîíèÿ â òðàäèöèîííîì ñìûñëå ïîíÿòèÿ ó Áðèòòåíà îäíà – «Ïðîñòàÿ ñèìôîíèÿ» (1934); ýòî – æàíðîâàÿ ñþèòà, îñíîâàííàÿ íà äåòñêèõ ïåñíÿõ è ïüåñàõ Áðèòòåíà, åå ìîæíî íàçâàòü, ïî àíàëîãèè ñ Ïðîêîôüåâûì, «Êëàññè÷åñêîé ñèìôîíèåé» Áðèòòåíà. Åé ïðåäøåñòâîâàëà Ñèìôîíèåòòà â òðåõ ÷àñòÿõ äëÿ êàìåðíîãî îðêåñòðà (1932). Òðàóðíàÿ ñèìôîíèÿ – Sinfonia da Requiem (1940) – òÿãîòååò ê çàóïîêîéíîé ìåññå, îò êîòîðîé êàæäàÿ èç òðåõ ÷àñòåé çàèìñòâóåò íàçâàíèå, ïðåäóêàçûâàþùåå ïðîãðàììó, «ñþæåò» è îáðàçíóþ ñóòü ìóçûêè. Ñèìôîíèÿ äëÿ âèîëîí÷åëè ñ îðêåñòðîì (1963) – ïî ñóùåñòâó ñèìôîíèçèðîâàííûé êîíöåðò, ñàìûé ìàñøòàáíûé èç òðåõ èíñòðóìåíòàëüíûõ êîíöåðòîâ (Ôîðòåïèàííûé, 1938, è Ñêðèïè÷íûé, 1939). «Âåñåííÿÿ ñèìôîíèÿ» (1949) ïî-ìàëåðîâñêè ñèíòåçèðîâàëà ïðèçíàêè âîêàëüíîãî öèêëà, õîðîâîé ñþèòû, êàíòàòû è ñèìôîíèè. Îáëàñòü êàìåðíî-èíñòðóìåíòàëüíîé ìóçûêè ñîñòàâëÿåò ñåðäöåâèíó áðèòòåíîâñêîãî òâîð÷åñòâà. Ïðèíöèïû êàìåðíîãî ìóçèöèðîâàíèÿ ó Áðèòòåíà âñåïðîíèêàþùè – îíè æèâóò è â áîëüøèõ îïåðàõ, è â ìàñøòàáíûõ îðàòîðèÿõ. Îí ñîçäàâàë êàìåðíûå ðàçíîâèäíîñòè ëþáûõ æàíðîâ – îïåðû (ìèíè- è ìîíî-îïåðà), êàíòàòû, êîíöåðòà. Îí èçóìèòåëüíî âëàäåë êàìåðíûì ïèñüìîì äëÿ îäíîðîäíîãî ñîñòàâà (èì íàïèñàíû äâà ðàííèõ è òðè çðåëûõ ñòðóííûõ êâàðòåòà) è äëÿ ñìåøàííûõ ñîñòàâîâ. Áðèòòåí ëþáèë êàìåðíîå ìóçèöèðîâàíèå, íàñòðîåííîå íà âçàèìîïîíèìàíèå, áëèçîñòü è ãëóáèíó îáùåíèÿ. Êîìïîçèòîð ñàì áûë ãåíèàëüíûì àíñàìáëèñòîì, çäåñü îí áûë âåëèê è íåîòðàçèì – ñ Ïèòåðîì Ïèðçîì ïðåäñòàâëÿÿ ëè ñâîè íîâèíêè, èñïîëíÿÿ ïåñíè Øóáåðòà è Øóìàíà, ϸðñåëëà è îáðàáîòêè íàðîäíûõ ïåñåí; ñ Ìåíóõèíûì, Ðîñòðîïîâè÷åì èëè Ðèõòåðîì, â äóýòàõ, òðèî è êâàðòåòàõ. Âîêàëüíûå öèêëû Áðèòòåíà ñ ôîðòåïèàíî èëè îðêåñòðîì ïðèíåñëè åìó ìèðîâîå ïðèçíàíèå. Êîìïîçèòîðó áûëè ïðèñóùè ìåëîäè÷åñêèé äàð, îðãàíè÷íîå çâó÷àíèå ñëîâà â ìóçûêå, óòîí÷åííîå îùóùåíèå êðàñî÷íîñòè, äðàìàòóðãè÷åñêàÿ è êîìïîçèöèîííàÿ ôàíòàçèÿ, ïîçâîëÿþùàÿ ïðåäñòàâèòü êàæäûé èç ìíîæåñòâà åãî öèêëîâ èíäèâèäóàëèçèðîâàííûì, íåïîõîæèì íà äðóãèå. Âîêàëüíûå öèêëû – àíòîëîãèè è ìîíîãðàôè÷åñêèå – ñîïåðíè÷àþò ìíîãîîáðàçèåì îáðàçíîãî ìèðà ñ îïåðàìè Áðèòòåíà. Âìåñòå ñ ïåâöîì Ïèòåðîì Ïèðçîì, Áðèòòåí ïîñòèã òàéíû èñêóññòâà êàìåðíîãî äóýòíîãî ìóçèöèðîâàíèÿ.
Ïàðàôðàç íà âûðàæåíèå Ñòðàâèíñêîãî î «Ëóííîì Ïüåðî» Ø¸íáåðãà – «ñîëíå÷íîå ñïëåòåíèå ìóçûêè ÕÕ âåêà» (ñì. ðóññêîå èçäàíèå «Äèàëîãîâ» Èãîðÿ Ñòðàâèíñêîãî è Ðîáåðòà Êðàôòà, 1971, ñ. 107). 1
Áðèòàíñêèé Îðôåé – òàê ñîâðåìåííèêè íàçûâàëè ãåíèàëüíîãî Ãåíðè ϸðñåëëà (1659–1695). «Orpheus Britannicus» – äâóõòîìíûé ñáîðíèê ïåñåí ϸðñåëëà, îïóáëèêîâàííûé ïîñëå åãî ñìåðòè (1698, 1702). 2
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Professor Lyudmila Kovnatskaya, St. Petersburg
«THE SOLAR PLEXUS» OF BRITISH MUSIC
The last third of the 19th century witnessed a renaissance of the music culture in the United Kingdom, and in the 20th century, like in the second half of the 16th century during the «Golden Age» of Elizabeth Tudors reign, Britain produced composers of tremendous talent and renown, authors of amazing works raising music to the level of British literature, poetry and theater. The island in Western Europe rose to prominence in the global music evolution. Edward Elgar, Benjamin Britten, and James MacMillan, the British heroes of the Ekaterinburg Festival 2013 – are the composers whose works represent the most significant landmarks in the British music. The first of the composers is one of the pre-eminent musical figures of his time, who brought the English musical renaissance to its new peak. The second one is «the solar plexus» of the British music of the 20th century1, the new «Orpheus Britannicus»2, who brought national music to the heights of world masterpieces – the accomplished dream of the founders of the modern composition school. The third composer is one of those who reaped the benefits of the new post-renaissance situation in culture of the last third of the 20th century when the sprawled field of composition activity in the country had already been intensively plowed. Benjamin Britten (1913–1976), whose one-hundredth birthday is celebrated by the whole civilized world in 2013, the most outstanding representative of the stellar composers of the late 1930s and early 1940s. In his creative pursuit, he brought into his music the influence of European music classics of the 20th century (Schoenberg, Berg, Stravinsky, Shostakovich, and Prokofiev) and of the post-war musical avant-garde – sonoristic and aleatoric music, minimalism and instrumental theater genres. He found the way to converge successfully the traditions of Oxidant and Orient,
The name of the composer whose music is integrally connected with the world culture is symbolically consonant with the name of his country: Britten – Britain.
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which he discovered on the meridians, parallels and latitudes of South Asia (India), Southeast Asia (Bali), the Far East (Japan), which is hardly surprising for the artist representing the generation that broke off with Eurocentrism and for the citizen of the country succeeding the British Empire and its dominions – the Irish Free State and India. The name of the composer whose music is integrally connected with the world culture is symbolically consonant with the name of his country: Britten – Britain. His music takes its roots in the national soil. It is rich in folklore rhythms and intonations, in the English speech melody, re-echoing with traditions of madrigalist and virginalist masters, Dowland and Purcell. His talent for musical portraying is magnificent; he created a gallery of archetypes mirroring personalities of famous heroes of the British literature, poetry and theater. His gift of a seascape and plein air artist found expression in the pictures of his homeland – the east coast of England and the North Sea captured in the Sea Interludes from his opera «Peter Grimes». He, following Mahlers example, could say to the person looking at the landscapes immortalized by Constable and Gainsborough: «Dont bother to look: I’ve already composed them all!» The texts of his vocal cycles, cantatas and oratories were combined into an impressive anthology of national poetry Britten set to music. His date of birth is also symbolic: November 22 – St. Cecilia’s Day. Cecilia is regarded as the patroness of music and musicians, which suggests a sign of destiny. Even when a child, Britten perceived himself as a musician and a composer, seeing no other vocation for himself. Out of 63 years of his life, for more than fifty five years he composed music – following the dictates of his heart and «on the occasion», composing musical gifts to his friends and, similarly to Schubert, forgetting about them. Fortunately, he was spared crises, which would have caused long-term breaks in his work. His gift of composer was exuberant. Britten left an impressive legacy. He made a significant contribution to all genres of European music of the past three centuries. He had a talent for solving harmonically challenging artistic tasks, actualizing innovative experiments in the convincing balance between the new and the old, rather than in their radical confrontation. He could say together with Thomas Mann who noted: «I like the word «balance». For me, it means «significance»… Everything that is significant has a great deal of balance.» Nevertheless, in the whole world the name of Britten is associated with the opera. He is inseparably connected with the British theater in all its forms – from the early pre-opera genres (liturgical drama, which he referred to as «the parable for performance in the church», stage passion, medieval miracle) to sophisticated forms of surreal performance on the theatrical stage and television show. He is resourceful and naturally organic as a musical playwright and director: He can hear the stage space and see the movement of music. Britten is the author of fifteen opera compositions, large and small, with the orchestra, chamber ensemble and piano accompaniment, telling about grown-ups and children. He created his own Musical Theater that is built on the Main Books of Europeans (parables of the Old and New Testaments), on the works of great writers and poets (William Shakespeare, Henry James, Herman Melville, Wystan Auden, Thomas Mann), on the works of outstanding librettists (writers Edward Morgan Forster and William Plummer, playwright Eric Crozier). In Brittens compositions, the opera penetrates into the cantata, the vocal and song cycle, breaking through the oratorical frames. We can say that his ideas that were seemingly not connected with the stage took shape under the guidance of the opera and opera genre. His main theme is an inward psychological drama resulting in tragedy. Those of his heroes who do not fit into the ambient environment, who generically bear the burden of otherness, are cast out from society as they do not follow the rules of community life, inevitably become victim of the aggressive and overwhelming evil. The temptation disguised under a childs or young persons appearance and mocking of innocence is Brittens recurrent theme that gives him pain and agony. The death of an innocent and guiltless person is predestined by the devilish game of chance, the devils intrigues in the persons soul. In this way, Brittens operas are parables narrating about desolation, ordeal and sacrifice.
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The catalog of Brittens works features a diversity of musical compositions of different genres, types and forms. Utility music – for documentary films and broadcast plays, the music he often composed when he lived in the United States during the pre-war and the early war years did not interfere with his serious musical compositions. Choral music was composed by him eagerly and willingly during the early years of his composing work. He adopted the truly English tradition, the tradition intertwined with the lifestyle and supported by provincial and metropolitan choir festivals reminding of West European old-time multiplevoice forms of singing, anthems and oratories, Handel whose music influenced several generations of British and continental composers. Britten composed songs for choirs, liturgical compositions and left-wing musical compositions for the anti-fascist European community. He started working quite early on monumental compositions, using simple techniques and clear forms to achieve strong effect, and many years later he was able to work successfully with his polyphonic choral compositions. Instrumental works are notable for the harmony between the music and the instrument; in other words, the composition takes into account the nature of the instrument, its possibilities and expressive qualities. The piano, oboe, viola, fipple flutes, guitar, harp, violin, cello were instruments Britten chose to compose pieces and cycles of pieces that were often inspired by the mastery of the prominent artists who the composer worked with. The perfect understanding of soloist instruments, uniform groups (string quartets, string orchestras, brass bands) and various ensemble combinations of instruments on the parity and focused basis is a core component of the outstanding composition mastery of Britten. Due to the inherent inspiration, these compositions – either miniature suites or monumental cyclical works – rise to the level of high art. Britten composed only one symphony if we adhere to the classical classification – «Simple Symphony» (1934); it is a genre suite based on childrens songs and Brittens early music; it can be called, by analogy with Prokofievs symphony, «Classic Symphony» by Britten. Its predecessor was Sinfonietta in three parts for chamber orchestra (1932). The mournful symphony – Sinfonia da Requiem (1940) – reminds of a mass for the dead, and each of three parts has the relevant name introducing the program, the theme and the content of the music. Brittens Symphony for Cello and Orchestra (1963) is, in fact, a symphonized concerto, the most monumental one of the three instrumental concertos (Piano Concerto, 1938, and Violin Concerto, 1939). Spring Symphony (1949) is a Mahler-style synthesis of the vocal cycle, choral suite, cantata and symphony. Chamber and instrumental music constitutes the core of Brittens work. The principles of chamber music-making are all-pervading – they can be found in Brittens large-scale operas and in monumental oratories. He created chamber versions of any genres – the opera (mini- and mono-opera), cantata and concerto. He was a genius of chamber composition for the uniform groups (he composed two works for string quartets in his young years and three works at his mature age) and mixed groups of instruments. Britten loved chamber music inspiring mutual understanding, rapport and communication. The composer was a talented ensemblist; he was magnificent and smashing – introducing his new compositions and performing together with Peter Pears, playing songs of Schubert, Schumann, Purcell and interpretations of folk songs; with Menuhin, Rostropovich or Richter, in duets, trios and quartets. Brittens vocal cycles with piano or orchestra brought him world recognition. The composer deeply felt the melody, its vibrant colors, the harmony between the music and the words; he had unlimited scenic and composition imagination, which helped to single out each of his numerous cycles, making it one-of-a-kind and very different from the other. The vocal cycles – anthological and monographic – rival Brittens operas in their continuum of images and emotions. Together with the singer Peter Pears, Britten penetrated into the secrets of the chamber duet music art.
1 Paraphrase of the words said by Stravinsky about Arnold Schoenberg’s «Pierrot lunaire» – «the solar plexus of early twentieth century music» (see the Russian edition of «Dialogues» by Igor Stravinsky and Robert Kraft, 1971, p. 107). 2 Orpheus Britannicus (the British Orpheus) – the name given to unrivalled Henry Purcell (1659–1695) by his contemporaries. «Orpheus Britannicus» is a two-volume collection of songs by Purcell; published after his death (1698, 1702).
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ОТКРЫТИЕ ФЕСТИВАЛЯ
FESTIVAL OPENING
Óðàëüñêèé àêàäåìè÷åñêèé ôèëàðìîíè÷åñêèé îðêåñòð Ãëàâíûé äèðèæåð è õóäîæåñòâåííûé ðóêîâîäèòåëü – íàðîäíûé àðòèñò Ðîññèè, ëàóðåàò Ãîñóäàðñòâåííîé ïðåìèè Ðîññèè Äìèòðèé Ëèññ Ñåðãåé Êðûëîâ (ñêðèïêà) Óí Ñèê Êèì (òðàäèöèîííûé êîðåéñêèé áàðàáàí ÷àíããó), Þæíàÿ Êîðåÿ Ñîëèñòêà Áîëüøîãî òåàòðà Ðîññèè Âåíåðà Ãèìàäèåâà (ñîïðàíî) Äåñÿòíèêîâ. «Ïóòåøåñòâèå Ëèñû íà Ñåâåðî-Çàïàä» äëÿ ñîïðàíî è îðêåñòðà (ìèðîâàÿ ïðåìüåðà) Ûíõâà ×î. «Back into. Out of» («Ïðèðîäà, êàê îíà åñòü») äëÿ ÷àíããó ñ îðêåñòðîì (ìèðîâàÿ ïðåìüåðà) Âèêòîðîâà. «Ëàçîðåâûé äðàêîí Âîñòîêà» (ðåäàêöèÿ ê ôåñòèâàëþ) Ãëàññ. Êîíöåðò ¹ 1 äëÿ ñêðèïêè ñ îðêåñòðîì
Ural Philharmonic Orchestra Chief Conductor and Artistic Director – Dmitry Liss Sergey Krylov (violin) Woong Sik Kim (changgu, traditional Korean drum), South Korea Venera Gimadieva (soprano) Desyatnikov. «The journey of the Fox to the North-west» for soprano and orchestra (world premiere) Eun Hwa Cho. «Back into. Out of» («Nature, as it is») for changgu and orchestra (world premiere) Victorova. «Azure Dragon of the East» (revised specially for the Festival) Glass. Violin Concerto No. 1
УРАЛЬСКИЙ АКАДЕМИЧЕСКИЙ ФИЛАРМОНИЧЕСКИЙ ОРКЕСТР
URAL PHILHARMONIC ORCHESTRA
Îñíîâàí â 1936 ãîäó Ìàðêîì Ïàâåðìàíîì. Êàæäûé ñåçîí êîëëåêòèâ ïðåäñòàâëÿåò ñâûøå 70 ïðîãðàìì è áîëåå 100 êîíöåðòîâ. Èì çàïèñàíî îêîëî 20 CD.  ðàçíûå ãîäû ñ îðêåñòðîì ñîòðóäíè÷àëè äèðèæåðû: Ã. Ðîæäåñòâåíñêèé, Ê. Ïåíäåðåöêèé, Ì. Ïëåòíåâ, Â. Ôåäîñååâ, Ä. Êèòàåíêî, Â. Ãåðãèåâ, À. Áîðåéêî, Ê. Òåííøòåäò, Æ.-Ê. Êàçàäåçþñ, Ì. Èíîóý; ñîëèñòû: Ì. Ðîñòðîïîâè÷, Ä. Õâîðîñòîâñêèé, Á. Áåðåçîâñêèé, Ä. Ìàöóåâ, Ô. Êåìïô, Í. Ëóãàíñêèé, Þ. Áàøìåò, Í. Ïåòðîâ, Â. Ðåïèí, Ñ. Êðûëîâ è äðóãèå.  2007-2013 ãîäàõ ÓÀÔÎ ó÷àñòâîâàë âî ìíîãèõ ìåæäóíàðîäíûõ ôåñòèâàëÿõ, òàêèõ êàê «La Folle Journee», «Le Festival de Radio France», «Le Festival International de Piano a la Roque dAntheron», «Le Festival de Musique Classique a Saint-Riquier», «Nuits de la Citadelle a Sisteron», Ìåæäóíàðîäíûé çèìíèé ôåñòèâàëü «Ïëîùàäü èñêóññòâ», II Ôåñòèâàëü ñèìôîíè÷åñêèõ îðêåñòðîâ ìèðà, Ìóçûêàëüíûé ôåñòèâàëü «Crescendo», «Çâåçäû íà Áàéêàëå», Ìåæäóíàðîäíûé ìóçûêàëüíûé ôåñòèâàëü «Åâðàçèÿ», «Ðóññêîå ðîæäåñòâî â Êåííåäè-öåíòðå», ôåñòèâàëü Áîðèñà Áåðåçîâñêîãî è äðóãèõ. Âûñòóïëåíèÿ îðêåñòðà ñîñòîÿëèñü â òàêèõ çàëàõ, êàê «Àðñåíàë» (Ìåòö), Ìîñêîâñêàÿ è Ñàíêò-Ïåòåðáóðãñêàÿ êîíñåðâàòîðèè, Beethovenhalle (Øòóãàðò, Ãåðìàíèÿ), Concertgebouw (Àìñòåðäàì), Salle Pleyel (Ïàðèæ), Tonhalle (Öþðèõ), Palais des Congres (Íàíò), Queen Elisabeth Hall (Àíòâåðïåí), Victoria Hall (Æåíåâà), Êîíöåðòíûé çàë Ìàðèèíñêîãî òåàòðà (Ñàíêò-Ïåòåðáóðã). ÓÀÔÎ ÿâèëñÿ îäíèì èç èíèöèàòîðîâ êðóïíîãî ôåäåðàëüíîãî ïðîåêòà – Ñèìôîíè÷åñêîãî ôîðóìà Ðîññèè â Åêàòåðèíáóðãå è êîíêóðñà, ïðèçâàííîãî ñòèìóëèðîâàòü ðàçâèòèå ñèìôîíè÷åñêîãî íàïðàâëåíèÿ äëÿ äåòåé – «Ïåòÿ è âîëê», â êîòîðîì ñ 2006 ïî 2012 ãîäû ïðèíÿëî ó÷àñòèå 74 êîìïîçèòîðà.
The orchestra was founded by Mark Paverman in 1936. Every season, the orchestra has more than 70 programs in its repertoire and gives more than 100 concerts. The orchestra CD portfolio has about 20 CDs. Throughout its life, the orchestra performed under the batons of such renowned conductors as G. Rozhdestvensky, K. Penderecki, M. Pletnev, V. Fedoseyev, D. Kitayenko, V. Gergiev, A. Boreiko, K. Tennstedt, Jean-Claude Casadesus, M. Inouye; soloists: M. Rostropovich, D. Hvorostovsky, B. Berezovsky, D. Matsuev, F. Kempf, N. Lugansky, Yu. Bashmet, N. Petrov, V. Repin, S. Krylov and others. In 2007-2013, UAPO participated in many international festivals such as La Folle Journee, Le Festival de Radio France, Le Festival International de Piano a la Roque dAntheron, Le Festival de Musique Classique a SaintRiquier, Nuits de la Citadelle a Sisteron, the Arts Square International Winter Festival, the Second Festival of World Symphony Orchestras, the Crescendo Music Festival, the Stars at Baikal International Festival, the Eurasia International Music Festival, Russian Christmas at the Kennedy Center, the Boris Berezovsky Festival and others. The orchestra had performances in such concert halls as Arsenal (Metz), the Moscow and St. Petersburg conservatories, Beethovenhalle (Stuttgart, Germany), Concertgebouw (Amsterdam), Salle Pleyel (Paris), Tonhalle (Zurich), Palais des Congres (Nantes), Queen Elizabeth Hall (Antwerp), Victoria Hall (Geneva), the Mariinsky Theatre Concert Hall (St. Petersburg). UAPO is one of the initiators of the large-scale federal project – the Symphonic Forum of Russia in Ekaterinburg and the contest aimed at promotion of symphonic music for children – Peter and the Wolf – in which 74 composers took part from 2006 to 2012.
ДМИТРИЙ ЛИСС
DMITRY LISS
Ïðåäñòàâèòåëü ìîñêîâñêîé äèðèæåðñêîé øêîëû, âûïóñêíèê êëàññà Ä. Êèòàåíêî â Ìîñêîâñêîé êîíñåðâàòîðèè, åãî àññèñòåíò â ðàáîòå ñ îðêåñòðîì Ìîñêîâñêîé ôèëàðìîíèè (1982-1983).  1999-2003 ãîäàõ áûë äèðèæåðîì Ðîññèéñêîãî íàöèîíàëüíîãî îðêåñòðà. Ðàáîòàë ñ Áîëüøèì ñèìôîíè÷åñêèì îðêåñòðîì Ðîññèè, Òîêèî Ìåòðîïîëèòåí Ñèìôîíè, Íàöèîíàëüíûìè îðêåñòðàìè Ôðàíöèè, Èëü-äå-Ôðàíñ, Ëèëëÿ, ñèìôîíè÷åñêèìè îðêåñòðàìè Øâåöèè, Øâåéöàðèè, Ïîðòóãàëèè, Ïîëüøè è äðóãèõ ñòðàí. Âîçãëàâèâ â 1995 ãîäó Óðàëüñêèé ôèëàðìîíè÷åñêèé îðêåñòð, Äìèòðèé Ëèññ âûâåë îäèí èç ñòàðåéøèõ ñèìôîíè÷åñêèõ êîëëåêòèâîâ Ðîññèè íà íîâûå òâîð÷åñêèå âûñîòû. Ñðåäè íàãðàä äèðèæåðà – I ïðåìèÿ Ìåæäóíàðîäíîãî êîíêóðñà äèðèæåðîâ èìåíè Ë. ôîí Ìàòà÷è÷à â Çàãðåáå (Õîðâàòèÿ, 1995), Ãîñóäàðñòâåííàÿ ïðåìèÿ ÐÔ çà âûäàþùèéñÿ âêëàä â ðàçâèòèå ôèëàðìîíè÷åñêîé äåÿòåëüíîñòè â Ðîññèè (2008) è çâàíèå Íàðîäíîãî àðòèñòà Ðîññèè (2011). Ñ 2011 ãîäà ÿâëÿåòñÿ õóäîæåñòâåííûì ðóêîâîäèòåëåì Ìåæäóíàðîäíîãî ìóçûêàëüíîãî ôåñòèâàëÿ «Åâðàçèÿ».
Dmitry Liss is a representative of the Moscow conducting school, a graduate of Dmitry Kitayenko’s class at the Moscow Conservatory, Kitayenko’s assistant in work with the orchestra of the Moscow Philharmonic (1982-1983). In 1999-2003, Dmitry Liss was the conductor of the Russian National Orchestra. Dmitry Liss worked with the Big Symphony Orchestra of Russia, Tokyo Metropolitan Symphony Orchestra, National Orchestra of France, Orchestre national d’Île-de-France, the National orchestra of Lille, symphony orchestras of Sweden, Switzerland, Portugal, Poland and other countries. Dmitry Liss became the director of the Ural Philharmonic Orchestra in 1995, bringing one of the oldest symphony ensembles of Russia to new heights of creative art. The conductors awards include the First Prize of the L. von Matacic First International Conductors Competition in Zagreb (Croatia, 1995), the Russian Federation State Award for outstanding contribution to the development of philharmonic activity in Russia (2008) and the title of Peoples Artist of Russia (2011). Since 2011, Dmitry Liss has been the Art Director of the Eurasia International Music Festival.
СЕРГЕЙ КРЫЛОВ
SERGEY KRYLOV
Ðîäèëñÿ â 1970 ãîäó â Ìîñêâå. Îêîí÷èë ÖÌØ ïðè Ìîñêîâñêîé êîíñåðâàòîðèè, ó÷åíèê ïðîôåññîðîâ Ë. Êîãàíà è Ñ. Êðàâ÷åíêî.  10 ëåò âïåðâûå âûñòóïèë ñ îðêåñòðîì è âñêîðå íà÷àë èíòåíñèâíóþ êîíöåðòíóþ äåÿòåëüíîñòü â Ðîññèè è çà ðóáåæîì. Ñ 1989 ãîäà Ñåðãåé Êðûëîâ æèâåò â Êðåìîíå (Èòàëèÿ), ãäå îáó÷àëñÿ â Walter Stauffer Academy ó çíàìåíèòîãî ñêðèïà÷à Ñ. Àêêàðäî. Ñðåäè êîíêóðñíûõ äîñòèæåíèé ñêðèïà÷à Ïåðâûå ïðåìèè íà Ìåæäóíàðîäíûõ êîíêóðñàõ èìåíè À. Ñòðàäèâàðè â Êðåìîíå è Ô. Êðåéñëåðà â Âåíå.  2006 ãîäó, ïîñëå áîëåå ÷åì 15-ëåòíåãî ïåðåðûâà, Ñåðãåé Êðûëîâ âûñòóïèë íà ðîäèíå, äàâ êîíöåðò â Åêàòåðèíáóðãå ñ Óðàëüñêèì ôèëàðìîíè÷åñêèì îðêåñòðîì ïîä óïðàâëåíèåì Äìèòðèÿ Ëèññà. Ñ òåõ ïîð îí ÷àñòûé è æåëàííûé ãîñòü â Ðîññèè. Ñåðãåé Êðûëîâ âûñòóïàë íà ñàìûõ ïðåñòèæíûõ ïëîùàäêàõ ìèðà, ñîòðóäíè÷àë ñ âåäóùèìè îðêåñòðàìè è äèðèæåðàìè ñîâðåìåííîñòè. Äèñêîãðàôèÿ ñêðèïà÷à âêëþ÷àåò àëüáîìû äëÿ çâóêîçàïèñûâàþùèõ ôèðì «EMI Classics», «Agora» è «Ìåëîäèÿ».
S. Krylov was born in Moscow in 1970. He finished the Central Music School at the Moscow Conservatory; he was a student of Professors L. Kogan and S. Kravchenko. He made his symphony orchestra debut at the age of ten and soon participated in many concert performances in Russia and other countries. Since 1989 S. Krylov has been living in Cremona (Italy), where he studied at the Walter Stauffer Academy; his teacher was the renowned violinist S. Accardo. Sergey Krylov was awarded the First Prizes at the Antonio Stradivarius Competition in Cremona and the prestigious Fritz Kreisler Competition in Vienna. In 2006, after more than 15 years, S. Krylov started giving performances in Russia; in Ekaterinburg he played with the Ural Philharmonic Orchestra conducted by D. Liss. S. Krylov gave performances in prestigious venues of the world, worked with the leading orchestras and conductors. The list of the violinists records includes albums made by him with such record companies as EMI Classics, Agora and Melodiya.
ÓÍ ÑÈÊ ÊÈÌ
WOONG SIK KIM
Ïåðêóññèîíèñò, ðàáîòàþùèé â ðàçëè÷íûõ ìóçûêàëüíûõ ñòèëÿõ è íàïðàâëåíèÿõ. Îáó÷àëñÿ â Âûñøåé øêîëå êîðåéñêîé íàöèîíàëüíîé ìóçûêè, à çàòåì â Óíèâåðñèòåòå Äàíãóêà, ãäå ïðåïîäàåò â íàñòîÿùåå âðåìÿ. Åæåãîäíî âûñòóïàåò ïî÷òè â 100 êîíöåðòàõ ïî âñåìó ìèðó â êà÷åñòâå ñîëèñòà è â ñîñòàâå àíñàìáëåé. Ñîòðóäíè÷àåò ñ êðóïíåéøèì îðêåñòðîì Þæíîé Êîðåè – Korean Broadcasting System, ïðèíèìàåò ó÷àñòèå â ðàçëè÷íûõ òåëå- è ðàäèîïðîåêòàõ â Êîðåå è äðóãèõ ñòðàíàõ.
Woong Sik Kim is a percussionist working in different musical styles and genres. Kim studied at the National Korean Traditional Music High School and then at Danguk University where he is teaching now. Every year he takes part in about 100 concerts all over the world, performing as a soloist and with ensembles. He works with the largest orchestra of South Korea – the Korean Broadcasting System, and takes part in different TV and radio broadcast projects in Korea and other countries.
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ÂÅÍÅÐÀ ÃÈÌÀÄÈÅÂÀ
VENERA GIMADIEVA
Îêîí÷èëà Ñàíêò-Ïåòåðáóðãñêóþ êîíñåðâàòîðèþ. Ëàóðåàò Ìåæäóíàðîäíîãî êîíêóðñà èìåíè ÐèìñêîãîÊîðñàêîâà â Ñàíêò-Ïåòåðáóðãå (2008), îáëàäàòåëüíèöà I ïðåìèè Ìåæäóíàðîäíîãî Øàëÿïèíñêîãî êîíêóðñà «Ãîëîñà íàä Ïëåñîì» (2010).  2008 ãîäó ñòàëà ñîëèñòêîé Ñàíêò-Ïåòåðáóðãñêîé îïåðû.  20092011 ãîäàõ áûëà àðòèñòêîé Ìîëîäåæíîé îïåðíîé ïðîãðàììû Áîëüøîãî òåàòðà Ðîññèè.  2010 ãîäó äåáþòèðîâàëà ñ Ìîñêîâñêèì êàìåðíûì îðêåñòðîì «Musica Viva» ïîä óïðàâëåíèåì Àëåêñàíäðà Ðóäèíà.  2010 ãîäó âïåðâûå âûñòóïèëà â Ìîñêîâñêîé ôèëàðìîíèè ñ Àêàäåìè÷åñêèì ñèìôîíè÷åñêèì îðêåñòðîì ôèëàðìîíèè ïîä óïðàâëåíèåì Þðèÿ Ñèìîíîâà. Ñîòðóäíè÷àëà ñ Ðîññèéñêèì íàöèîíàëüíûì îðêåñòðîì è Ìèõàèëîì Ïëåòíåâûì, îðêåñòðîì «Íîâàÿ Ðîññèÿ» è Þðèåì Áàøìåòîì, Õîðîì èìåíè À. Â. Ñâåøíèêîâà è Áîðèñîì Òåâëèíûì. Ñ 2011 ãîäà – ñîëèñòêà Áîëüøîãî òåàòðà Ðîññèè.
Venera Gimadieva graduated from the St. Petersburg Conservatory. She is an awardee of the Rimsky-Korsakov International Competition in St. Petersburg (2008), the first-prize winner of the Chaliapin International Competition known as «Voices over Ples» (2010). In 2008, she worked as a soloist in the St. Petersburg Opera Theatre. In 2009-2011, she joined the Bolshoi Theatre Young Artists Program. In 2010, she made her debut with the Moscow Chamber Orchestra – Musica Viva – conducted by Alexander Rudin. In 2010 she debuted in the Moscow Philharmonic with the Academic Symphony Orchestra conducted by Yuri Simonov. She worked with the Russian National Orchestra and Mikhail Pletnev, with the Novaya Rossiya State Symphony Orchestra and Yuri Bashmet, the A.V. Sveshnikov Choir and Boris Tevlin. Since 2011 Venera Gimadieva has been a soloist of the Bolshoi Theatre Opera Company.
К О М П О З И Т О Р Ы
CO M P OSER S
ЛЕОНИД ДЕСЯТНИКОВ
LEONID DESYATNIKOV
Ðîäèëñÿ â 1955 ãîäó â Õàðüêîâå.  1973 ãîäó îêîí÷èë Õàðüêîâñêóþ ñðåäíþþ ñïåöèàëüíóþ ìóçûêàëüíóþ øêîëó, â 1978 ãîäó – Ëåíèíãðàäñêóþ êîíñåðâàòîðèþ. Àâòîð ÷åòûðåõ îïåð, áàëåòà, ñèìôîíè÷åñêèõ è êàìåðíûõ ïðîèçâåäåíèé, ñðåäè êîòîðûõ âîêàëüíûé öèêë «Ëþáîâü è æèçíü ïîýòà», êàíòàòà «Äàð», «Ýñêèçû ê çàêàòó» äëÿ îðêåñòðà.  Áîëüøîì òåàòðå Ðîññèè ïîñòàâëåíû åãî îïåðû «Äåòè Ðîçåíòàëÿ» (2005) è áàëåò «Óòðà÷åííûå èëëþçèè» (2011).  20092010 ÿâëÿëñÿ õóäîæåñòâåííûì ðóêîâîäèòåëåì Áîëüøîãî òåàòðà. Àâòîð ìóçûêè ê ôèëüìàì Àëåêñàíäðà Ìèòòû, Âàëåðèÿ Òîäîðîâñêîãî, Ñåðãåÿ Áîäðîâà-ñòàðøåãî, Àëåêñåÿ Ó÷èòåëÿ, Àëåêñàíäðà Çåëüäîâè÷à. Ëàóðåàò Ãîñóäàðñòâåííîé ïðåìèè ÐÔ, çàñëóæåííûé äåÿòåëü èñêóññòâ ÐÔ.
Was born in Kharkov in 1955. In 1973 he finished the Kharkov Special Music School and in 1978 he graduated from the Leningrad Conservatory. He is the author of four operas, a ballet, symphonic and chamber music compositions, including the vocal cycle «The Love and Life of a Poet», the cantata «Gift», «Sketches to Sunset» for orchestra. His opera “Rosenthals Children» (2005) and ballet «Lost Illusions» (2011) were staged at the Bolshoi Theatre. In 2009–2010 Leonid Desyatnikov worked as the artistic director of the Bolshoi Theatre. He wrote the scores for the films directed by Alexander Mitta, Valery Todorovsky, Sergei Bodrov Senior, Alexei Uchitel, and Alexander Zeldovich. He is a winner of the State Prize of Russia and an honored arts worker of the Russian Federation.
ЫНХВА ЧО
EUN-HWA CHO
Ðîäèëàñü â 1973 ãîäó â Ïóñàíå (Þæíàÿ Êîðåÿ). Ó÷èëàñü â Ñåóëüñêîì óíèâåðñèòåòå, çàòåì â Âûñøåé øêîëå ìóçûêè èì. Ãàíñà Ýéñëåðà â Áåðëèíå. Ó÷àñòíèöà ôåñòèâàëåé ñîâðåìåííîé ìóçûêè â Ñåóëå, Áåðëèíå, Äàðìøòàäòå, Òîêèî, ôåñòèâàëÿ «Ìóçûêàëüíûé Îëèìï» â Ñàíêò-Ïåòåðáóðãå. Ëàóðåàò ðÿäà êîìïîçèòîðñêèõ êîíêóðñîâ, â òîì ÷èñëå Ïðåìèè èì. Ãàíñà Ýéñëåðà (Áåðëèí, 2002), Âòîðîãî ìåæäóíàðîäíîãî êîíêóðñà Ìîëèíàðè-êâàðòåòà (Ìîíðåàëü, 2005), íà êîòîðûé ïðåäñòàâèëà Ñòðóííûé êâàðòåò ¹ 2, Ïðåìèè èì. Áóçîíè (Áåðëèí, 2008), Êîíêóðñà êîðîëåâû Åëèçàâåòû (Áðþññåëü, 2009), ãäå åå ïüåñà äëÿ ñêðèïêè ñ îðêåñòðîì «Agens» («Äåéñòâóþùèé ôàêòîð») áûëà óäîñòîåíà Ãðàí-ïðè. Ïðåïîäàåò â Âûñøåé øêîëå ìóçûêè èì. Ãàíñà Ýéñëåðà.
Was born in Busan (South Korea) in 1973. She studied in Seoul National University, then at the Hanns Eisler High School of Music in Berlin. She took part in the contemporary music festivals in Seoul, Berlin, Darmstadt and Tokyo, in the Musical Olympus International Festival in St. Petersburg. She is a prize-winner of a number of composition competitions; she was awarded the Hanns Eisler Prize (Berlin, 2002); she participated in the Molinari Quartet’s Second International Composition Competition (Montreal, 2005) where she won the second prize with her work String Quartet no.2.; she is the awardee of the Busoni Composition Prize (Berlin, 2008) and the Grand Prize at the Queen Elisabeth International Music Competition (Brussels, 2009) for her piece for violin and orchestra «Agens». At present, Eun-Hwa Cho is a teacher of the Hanns Eisler High School of Music.
ОЛЬГА ВИКТОРОВА
OLGA VIKTOROVA
Ðîäèëàñü â 1960 ãîäó íà Óêðàèíå. Îêîí÷èëà Ëåíèíãðàäñêóþ êîíñåðâàòîðèþ è àñïèðàíòóðó. Àâòîð îðêåñòðîâîé è êàìåðíî-èíñòðóìåíòàëüíîé ìóçûêè. Ðàáîòàåò òàêæå â ñôåðå 3D-èíñòàëëÿöèè, â ÷àñòíîñòè, åþ íàïèñàí äèïòèõ «Ýõî» äëÿ êàìåðíîãî àíñàìáëÿ è âèäåîàðòà. Àêòèâíî çàíèìàåòñÿ ïðîäâèæåíèåì ñîâðåìåííîé ìóçûêè íà Óðàëå, ðóêîâîäèëà êëóáîì «Àâòîãðàô», îñíîâàòåëü Àíñàìáëÿ íîâîé ìóçûêè Ñâåðäëîâñêîé ôèëàðìîíèè.  2012 ãîäó åå ïðîèçâåäåíèå «Lux Aeterna» èñïîëíÿëîñü Óðàëüñêèì ìîëîäåæíûì ñèìôîíè÷åñêèì îðêåñòðîì íà ôåñòèâàëå «Young Euro Classic» â Áåðëèíå è áûëî óäîñòîåíî I ïðåìèè Êîíêóðñà êîìïîçèòîðîâ ôåñòèâàëÿ. Äîöåíò Óðàëüñêîé êîíñåðâàòîðèè, ÷ëåí Ñîþçà êîìïîçèòîðîâ Ðîññèè.
Was born in Ukraine in 1960. She studied at the Leningrad Conservatory where she also continued her postgraduate education. She is the author of orchestral and instrumental chamber music. She also works with 3D installation: she composed the diptych «Echo» for chamber ensemble and video art. Olga Viktorova is an active promoter of modern music in the Urals; she was the director of the Autograph Club and the founder of the New Music Ensemble at the Sverdlovsk Philharmonic. In 2012, her composition «Lux Aeterna» was performed by the Ural Youth Symphony Orchestra at the Young Euro Classic Festival in Berlin and was awarded the First Prize of the composition competition. She is an associate professor of the Ural Conservatory and a member of the Union of Composers of the Russian Federation.
ФИЛИП ГЛАСС
PHILIP GLASS
Ðîäèëñÿ â 1937 ãîäó â Áàëòèìîðå (ÑØÀ).  äåòñòâå çàíèìàëñÿ â êîíñåðâàòîðèè Ïèáîäè, â 15 ëåò ïîñòóïèë â ×èêàãñêèé óíèâåðñèòåò, â 1961 ãîäó îêîí÷èë Äæóëüÿðäñêóþ ìóçûêàëüíóþ øêîëó.  1960 ãîäó ó÷àñòâîâàë â ëåòíèõ êóðñàõ Ä. Ìèéî, çàòåì äâà ãîäà çàíèìàëñÿ â Ïàðèæå ó Íàäè Áóëàíæå. Ðåøàþùèì äëÿ åãî ðàññòàâàíèÿ ñî âñåì, ÷åìó åãî ó÷èëè, è îáðàùåíèÿ ê ìèíèìàëèçìó ñòàëî çíàêîìñòâî ñ ìóçûêîé Ðàâè Øàíêàðà è ïîñëåäóþùèå ïóòåøåñòâèÿ ïî Èíäèè è Ñåâåðíîé Àôðèêå. Ê íà÷àëó 1970-õ âîêðóã Ãëàññà ñëîæèëñÿ ïîñòîÿííûé àíñàìáëü, èñïîëíÿþùèé åãî ìóçûêó. Ñðåäè êðóïíûõ ñî÷èíåíèé – îïåðû «Ýéíøòåéí íà ïëÿæå», «Ñàòüÿãðàõà», «Ýõíàòîí», «Õðèñòîôîð Êîëóìá», «Âàñêî äà Ãàìà», îïåðíàÿ òðèëîãèÿ ïî ïðîèçâåäåíèÿì Æàíà Êîêòî, 10 ñèìôîíèé, 11 êîíöåðòîâ. Ðàáîòàåò òàêæå â ñôåðå êèíîìóçûêè è ïèøåò äëÿ ñòåêëÿííûõ èíñòðóìåíòîâ.
Was born in 1937 in Baltimore (USA). As a child he studied at the Peabody Conservatory of Music; at the age of 15 he enrolled at the University of Chicago; in 1961 he finished the Juilliard School of Music. In 1960, Philip Glass studied with Darius Milhaud at the summer school of the Aspen Music Festival and then went to Paris, where he studied for two years with the eminent composition teacher Nadia Boulanger. He renounced everything he had been taught and turned to the minimalist style after he worked with the Indian composer Ravi Shankar and traveled around India and North Africa. At the beginning of the 1970s, Glass formed an ensemble that performed his music. His major compositions are operas «Einstein on the Beach», «Satyagraha», «Akhnaten», «Christopher Columbus» (The Voyage), «Vasco da Gama» (White Raven), the opera trilogy after works by Jean Cocteau, 10 symphonies, 11 concertos. Philip Glass has composed many film scores and music for glass musical instruments.
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ГОНКОНГСКИЙ ОРКЕСТР КИТАЙСКИХ НАЦИОНАЛЬНЫХ ИНСТРУМЕНТОВ
HONG KONG CHINESE ORCHESTRA
Õóäîæåñòâåííûé ðóêîâîäèòåëü è ãëàâíûé äèðèæåð – Õýé÷àí ßíü Öçàî Òàéøåíü (ñàíüñÿí) «Êàê âçîéäåò ëóíà…», äðåâíåêèòàéñêàÿ ìåëîäèÿ (àðàíæèðîâêà Ïýí Ñþâýíÿ) ×àíü Ìèí-÷è. «Öçèí Öè Øýíü» «Âåëèêàÿ ïîáåäà», íàðîäíûå ìåëîäèè äëÿ äóõîâûõ è óäàðíûõ èç ïðîâèíöèè Øàíüñè (àðàíæèðîâêà ×àíã Øèå) Ñóé Ëèöçþíü. «Ïåñíü ×åðíîé Çåìëå» äëÿ ñàíüñÿíÿ, ãîëîñà è îðêåñòðà Ëîó Âèíã-ôàé. «Êàïðè÷÷èî ýïîõè äèíàñòèè Òàí» ×åí Äà÷æàî. «Êàïðè÷÷èî Æåëòîé ðåêè»
Artistic Director and Principal Conductor – Huichang Yan Zhao Taisheng (sanxian) «As the Moon Rise», ancient tune (àrr. by Peng Xiuwen) Chan Ming-chi. «Jing Qi Shen» «The Grand Victory», wind and percussion Folk Music from Shanxi (àrr. by Zhang Shiye) Sui Lijun. «Song of the Black Earth» for sanxian, narrative singing and orchestra Law Wing-fai. «Tang Capriccio» Cheng Dazhao. «The Yellow River Capriccio»
Ãîíêîíãñêèé îðêåñòð íàöèîíàëüíûõ èíñòðóìåíòîâ áëàãîäàðèò The Hong Kong Chinese Orchestra wishes to thank the Hong Kong Special Ïðàâèòåëüñòâî ñïåöèàëüíîãî àäìèíèñòðàòèâíîãî ðàéîíà Ãîíêîíã çà Administrative Region Government for the financial support which made this tour possible ôèíàíñîâóþ ïîääåðæêó òóðà
ГОНКОНГСКИЙ ОРКЕСТР КИТАЙСКИХ НАЦИОНАЛЬНЫХ ИНСТРУМЕНТОВ
HONG KONG CHINESE ORCHESTRA
Îñíîâàí â 1977 ãîäó. Ìèññèÿ îðêåñòðà çàêëþ÷àåòñÿ â ïðîäâèæåíèè êèòàéñêîãî ìóçûêè. Çà ãîäû ñóùåñòâîâàíèÿ êîëëåêòèâ ïðåäñòàâèë áîëåå 2100 îðèãèíàëüíûõ êîìïîçèöèé è àðàíæèðîâîê, ìíîãèå èç êîòîðûõ ïîëó÷èëè íàãðàäû íà ðîäèíå è çà ðóáåæîì.  îðêåñòðå 85 ìóçûêàíòîâ, èãðàþùèõ íà òðàäèöèîííûõ è óñîâåðøåíñòâîâàííûõ êèòàéñêèõ íàðîäíûõ èíñòðóìåíòàõ, ðàçäåëåííûõ íà ÷åòûðå ãðóïïû: ñìû÷êîâûå ñòðóííûå, ùèïêîâûå ñòðóííûå, äóõîâûå è óäàðíûå. Åæåãîäíî îðêåñòð â êà÷åñòâå êóëüòóðíîãî ïîñëà Ãîíêîíãà äàåò áîëåå ñòà êîíöåðòîâ ïî âñåìó ìèðó. Êîëëåêòèâ âåäåò íàó÷íóþ è èññëåäîâàòåëüñêóþ äåÿòåëüíîñòü ïî èçó÷åíèþ êèòàéñêîé íàðîäíîé è ñîâðåìåííîé ìóçûêè. Åãî äèñêîãðàôèÿ íàñ÷èòûâàåò áîëåå 50 äèñêîâ.
The Orchestra was founded in 1977. Its performance format and repertoire include both traditional Chinese music and contemporary full-scale works. Over the years the staff of the orchestra explores new frontiers in music through commissioning new works of various types and styles, has commissioned over 2,100 original compositions and arrangements, many of which have won awards at home and abroad. At the present time the Orchestra consists of 85 musicians who perform in the four sections comprising bowed-strings, plucked-strings, wind and percussion instruments. The Orchestra organizes more than one hundred regular and outreach concerts every year around the world. It has an extensive discography of over 50, which includes live recordings of its concerts.
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ХЭЙЧАН ЯНЬ
HUICHANG YAN
Îêîí÷èë Øàíõàéñêóþ êîíñåðâàòîðèþ.  êà÷åñòâå äèðèæåðà ñîòðóäíè÷àë ñ áîëüøèíñòâîì ñèìôîíè÷åñêèõ êîëëåêòèâîâ Êèòàÿ.  1997 ãîäó âîçãëàâèë Ãîíêîíãñêèé îðêåñòð êèòàéñêèõ íàöèîíàëüíûõ èíñòðóìåíòîâ.  2010 ãîäó ñîçäàë ïåðâûé â ìèðå ìåæäóíàðîäíûé êîíêóðñ ïî äèðèæèðîâàíèþ êèòàéñêîé ìóçûêîé, êîòîðûé ïîëó÷èë âûñîêóþ îöåíêó â Êèòàå è çà ðóáåæîì.  2012 ãîäó ïðîâîäèë ìàñòåðêëàññû â Êîðîëåâñêîé êîíñåðâàòîðèè Áðþññåëÿ, êîíñåðâàòîðèè Ëþêñåìáóðãà è Âûñøåé íàöèîíàëüíîé êîíñåðâàòîðèè ìóçûêè è òàíöà â Ïàðèæå, ñòàâ ïåðâûì ïðåäñòàâèòåëåì Êèòàÿ, ïðîâîäÿùèì ïîäîáíûå ìàñòåð-êëàññû â äàííûõ ó÷ðåæäåíèÿõ. Èìååò ðÿä íàöèîíàëüíûõ è ìåæäóíàðîäíûõ íàãðàä â çíàê ïðèçíàíèÿ åãî âûäàþùèõñÿ äîñòèæåíèé â îáëàñòè êèòàéñêîé ìóçûêè è óñèëèé â åå ïðîäâèæåíèè. Ïîìèìî äèðèæèðîâàíèÿ àêòèâíî çàíèìàåòñÿ êîìïîçèöèåé.
Huichang Yan graduated from the Shanghai Conservatory of Music. As a conductor he has worked with all professional Chinese orchestras. In 1997 Huichang joins the Hong Kong Chinese Orchestra. In 2010, Yan initiated the worlds first ever «International Conduction Competition for Chinese Music», which was supported and highly commended in China and overseas. In March 2012, he was invited to give master classes at the Conservatoire royal de Bruxelles, the Conservatoire de Luxembourg, and the the Conservatoire National superieur de musique et de danse de Paris, which made him the first ever Chinese to hold such classes there. Yan is also has won of national and international numerous awards in recognition of his remarkable achievements in Chinese music as well as his efforts in promoting Chinese music.
ЦЗАО ТАЙШЕНЬ
ZHAO TAISHENG
×ëåí Àññîöèàöèè êèòàéñêèõ ìóçûêàíòîâ è êîìèòåòà Öåíòðàëüíîé êîíñåðâàòîðèè àññîöèàöèè âûïóñêíèêîâ ìóçûêàëüíûõ ó÷ðåæäåíèé (Ãîíêîíã). Íà âòîðîì êóðñå êîíñåðâàòîðèè ñòàë ëàóðåàòîì Ïåðâîãî ìåæäóíàðîäíîãî êîíêóðñà äåðåâÿííî-äóõîâûõ è ñòðóííûõ èíñòðóìåíòîâ îáëàñòè Öçÿííàíü.  1996 ãîäó ïðåìüåðà åãî «Äåìîíà ñ íåáåñ» çàâîåâàëà Ïðåìèþ çà âûäàþùèåñÿ àðòèñòè÷åñêèå äîñòèæåíèÿ íà Òðåòüåì ñìîòðå íàöèîíàëüíîé èíñòðóìåíòàëüíîé ìóçûêè Êèòàÿ. ×æàî ñòàë ó÷àñòíèêîì Àçèàòñêîãî ôåñòèâàëÿ óäàðíûõ èíñòðóìåíòîâ, à òàêæå âûñòóïèë íà çàêðûòèè Âòîðîãî íàöèîíàëüíîãî ôåñòèâàëÿ Ïåêèíñêîé îïåðû. Îí ïðåäñòàâëÿë äåëåãàöèþ Ïåêèíà â Ñêàíäèíàâèè, äåìîíñòðèðóÿ çâó÷àíèå êèòàéñêèõ èíñòðóìåíòîâ ñàíüñÿí, ñþíü è øýí.  1998 ãîäó áûë ïðèçíàí îäíèì èç äåñÿòè ëó÷øèõ èñïîëíèòåëåé Ïåêèíà.
Member of the Chinese Musicians Association and a committee member of the Central Conservatory of Music Alumni Association (Hong Kong). In his second year at the Conservatory, he won at the First International Jiangnan Wind and String Competition. In 1996, his premiere of Demon from Heaven won an Outstanding Performance Award at the 3rd All China Folk Music Instrumental Music Showcase. Zhao participated at the Asian Percussion Festival and also performed at the closing ceremony of the 2nd National Peking Opera Festival. He was on the Beijing delegation to Scandinavia, on which occasion he demonstrated the sounds of the Chinese instruments sanxian, xun and zheng. In 1998 he was named one of the Ten Best Performers of Beijing.
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ПУТЬ ВОДЫ, ПУТЬ БАМБУКА
WAY OF WATER, WAY OF BAMBOO
Äæîí Êåéäæ è Ìîðòîí Ôåëäìàí â äèàëîãå ñ êóëüòóðàìè Âîñòîêà Íàðîäíûé àðòèñò Ðîññèè Àëåêñåé Ëþáèìîâ (ôîðòåïèàíî, ïîäãîòîâëåííîå ôîðòåïèàíî, ýêçîòè÷åñêèå è óäàðíûå èíñòðóìåíòû) Ñòàíèñëàâ Ìàëûøåâ (ñêðèïêà, ýêçîòè÷åñêèå è óäàðíûå èíñòðóìåíòû) Íàòàëèÿ Ïøåíè÷íèêîâà (ãîëîñ, ïåðôîðìàíñ, óäàðíûå) Ïåòð Ãëàâàòñêèõ, Ìèõàèë Êîìàðîâ (ýêçîòè÷åñêèå è óäàðíûå èíñòðóìåíòû) Àíòîí Ìàãðû÷åâ, Àíäðåé Àëåêñååâ, Ðîìàí Ïàâëîâ (óäàðíûå) Patrick K.-H. (âèäåîàðò, àêóñòèêà, ýëåêòðîíèêà) Ãîñòü ôåñòèâàëÿ: Íàîþêè Ìàíàáå (ãóáíîé áàìáóêîâûé îðãàí÷èê ñ¸), ßïîíèÿ Êåéäæ. «Amores» äëÿ ïîäãîòîâëåííîãî ôîðòåïèàíî è óäàðíûõ. Øåñòü ìåëîäèé äëÿ ñêðèïêè è ôîðòåïèàíî. «Ñåìü õàéêó» äëÿ ôîðòåïèàíî. «Âîîáðàæàåìûé ïåéçàæ ¹ 1» äëÿ ãåíåðàòîðà ñèíóñ-òîíîâ, ôîðòåïèàíî, áîëüøîé òàðåëêè è âèäåîïðîåêöèè. «Ïðåëþäèÿ ê ìåäèòàöèè» äëÿ ïîäãîòîâëåííîãî ôîðòåïèàíî. «Çàëèâû» äëÿ 4 èñïîëíèòåëåé (ìîðñêèå ðàêîâèíû, ìîðñêîé ðîã è çâóêè îãíÿ). «Ïðîãóëêà ñ âîäîé», òåëåâèçèîííûé ïåðôîðìàíñ â èñïîëíåíèè àâòîðà. «Ìåçîñòèõè» äëÿ ãîëîñà è ïåðôîðìàíñà. «Ìóçûêàëüíûå ñêóëüïòóðû» äëÿ ýëåêòðîííûõ è èíñòðóìåíòàëüíûõ çâóêîâ. «Two4» («Äâà4») äëÿ ñêðèïêè è ñ¸. «×óäåñíàÿ âäîâà âîñåìíàäöàòè â¸ñåí» è «Nowth Upon Nacht» äëÿ ãîëîñà è çàêðûòîãî ôîðòåïèàíî. «Four3» («×åòûðå3») äëÿ 4 èñïîëíèòåëåé (ôîðòåïèàíî, «ïîñîõè äîæäÿ», ãåíåðàòîð ñèíóñ-òîíîâ, òèøèíà). «4’33”» (ôèëüì: Êåéäæ, èñïîëíÿþùèé ñâîþ ïüåñó íà óëèöå Íüþ-Éîðêà). «Ìóçûêà ãîñòèíîé», äëÿ êâàðòåòà óäàðíèêîâ è ÷òåöîâ Ôåëäìàí. «Only» äëÿ ãîëîñà. «Ãîëîñ, ñêðèïêà è ôîðòåïèàíî». «Followe Thy Faire Sunne» äëÿ ãîëîñà è êîëîêîëà «Banshikicho», ÿïîíñêàÿ êëàññè÷åñêàÿ ìóçûêà ãàãàêó äëÿ ñ¸ Öçî ×æåíüãóàíü. «Ïÿòü ïåðâîýëåìåíòîâ» äëÿ ïÿòè óäàðíèêîâ  àíòðàêòå: Êåéäæ. «Íàâñåãäà è ñîëíå÷íûé àðîìàò» äëÿ ãîëîñà è óäàðíûõ. «Âàêõàíàëèÿ», «Ìóçûêà äëÿ Ìàðñåëÿ Äþøàíà» äëÿ ïîäãîòîâëåííîãî ôîðòåïèàíî
John Cage and Morton Feldman in the Mirror of the traditional Japanese and Chinese cultures Alexei Lubimov (piano, prepared piano, exotic and percussion instruments) Stanislav Malyshev (violin, exotic and percussion instruments) Natalia Pshenichnikova (voice, stage performance, percussion) Pyotr Glavatskikh, Mikhail Komarov (exotic and percussion instruments) Anton Magrichev, Andrey Alexeev, Roman Pavlov (percussion) Patrick K.-H. (video art and sound projection, electronics) Special Festival Guest: Naoyuki Manabe (traditional Japanese bamboo mouth organ sho), Japan Cage. «Amores» for prepared piano and percussion. Six Melodies for violin and piano. Seven Haiku for piano. «Imaginary Landscape No. 1» for sinus wave generators, piano, large cymbal and for projection to screen. «Prelude for Meditation» for prepared piano. «Inlets» for 3 players of water-filled conch shells, 1 conch-player using circular breathing and fire sounds. «Water Walk», a television performance of the composer. «Mesostics» for voice and a stage performance. «Sculptures musicales» for electronic and instrumental sounds. «Two4» for violin and sho. «The Wonderful Widow of Eighteen Springs» and «Nowth Upon Nacht» for voice and closed piano. «Four3» for four performers (rainsticks, violin or oscillator, piano, silence). «4’33”» (video film: John Cage performing on the street in New York). «Living Room Music» for percussion and speech quartet Feldman. «Only» for solo voice. «Voice» for violin and piano. «Followe Thy Faire Sunne» for voice and chime «Banshikicho», Japanese Traditional Music from the Gagaku repertory for sho Tzo Cheng-guang. «Five Prime Elements» («Wu Xing») for five players on percussion instruments In the intermission: Cage. «Forever and Sunsmell» for voice and percussion. «Bacchanale», «Music for Marcel Duchamp» for prepared piano
АЛЕКСЕЙ ЛЮБИМОВ
ALEXEI LUBIMOV
Íàðîäíûé àðòèñò Ðîññèè, ïðîôåññîð Ìîñêîâñêîé êîíñåðâàòîðèè. Îäèí èç ñàìûõ ðàçíîñòîðîííèõ è îáðàçîâàííûõ ìóçûêàíòîâ ñîâðåìåííîñòè.  1968 ãîäó îêîí÷èë Ìîñêîâñêóþ êîíñåðâàòîðèþ, ãäå åãî ó÷èòåëÿìè áûëè Ã. Íåéãàóç è Ë. Íàóìîâ. Óæå áóäó÷è ê òîìó âðåìåíè ëàóðåàòîì êðóïíûõ ìåæäóíàðîäíûõ êîíêóðñîâ, àêòèâíî ãàñòðîëèðóåò ïî ñòðàíå, âûñòóïàÿ ñ êðóïíåéøèìè ñèìôîíè÷åñêèìè è êàìåðíûìè êîëëåêòèâàìè. Ïðîâîäèò ìàñòåð-êëàññû íà èñòîðè÷åñêèõ êëàâèðàõ; ïîñòîÿííî ó÷àñòâóåò â êðóïíåéøèõ ôåñòèâàëÿõ ïî âñåìó ìèðó; âõîäèò â ñîñòàâ æþðè ìíîãèõ ìåæäóíàðîäíûõ êîíêóðñîâ. Ëþáèìîâó ïðèíàäëåæèò îáøèðíàÿ äèñêîãðàôèÿ íà ôèðìàõ «Ìåëîäèÿ», «Teldec», «Sony Classical», «BIS», «Erato».  1997 ãîäó îñíîâàë Ôàêóëüòåò èñòîðè÷åñêîãî è ñîâðåìåííîãî èñïîëíèòåëüñêîãî èñêóññòâà â Ìîñêîâñêîé êîíñåðâàòîðèè. Òàêæå ÿâëÿåòñÿ ïðîôåññîðîì óíèâåðñèòåòà «Ìîöàðòåóì» â Çàëüöáóðãå.
People’s Artist of Russia, professor of the Moscow Conservatory. A. Lubimov is one of the most versatile and educated musicians of the modern times. Having finished the Moscow Conservatory in 1968, where he was taught by G. Neigauz and L. Naumov, A. Lubimov who had already been an awardee of prestigious competitions started touring with concerts around the country, giving performances with the largest symphony and chamber ensembles. A. Lubimov gives master classes on historic claviers; he is a regular participant of the worlds major festivals; he is a member of jury at many international competitions. He has an impressive list of records made with such record companies as Melodiya, Teldec, Sony Classical, BIS, Erato. In 1997, A. Lubimov founded the Department of Historical and Modern Art Performance at the Moscow Conservatory. The musician is also a professor of the Mozarteum University in Salzburg.
СТАНИСЛАВ МАЛЫШЕВ
STANISLAV MALYSHEV
Ðîäèëñÿ â 1980 ãîäó â Ñâåðäëîâñêå. Îêîí÷èë Ìîñêîâñêóþ êîíñåðâàòîðèþ è àñïèðàíòóðó. Ëàóðåàò Ìåæäóíàðîäíûõ êîíêóðñîâ èìåíè Í. Ðóáèíøòåéíà (2006) è Ä. Øîñòàêîâè÷à (2008). Âûñòóïàåò ñ òàêèìè ñèìôîíè÷åñêèìè êîëëåêòèâàìè, êàê «Globalis», «Âðåìåíà ãîäà», Îðêåñòð îïåðíîãî òåàòðà Íèööû (Ôðàíöèÿ), «Musica Viva». Ìóçûêàíò âûñòóïàë â ëó÷øèõ êîíöåðòíûõ çàëàõ Ðîññèè è Åâðîïû – Konzerthaus (Berlin), Site de la music (Paris), Êîíöåðòíûé çàë èì. ×àéêîâñêîãî. Ñ 2008 ãîäà – ñîëèñò àíñàìáëÿ Ìîñêîâñêîé êîíñåðâàòîðèè «Ñòóäèÿ íîâîé ìóçûêè». Ñîòðóäíè÷àåò ñ ñîâðåìåííûìè êîìïîçèòîðàìè, ñðåäè êîòîðûõ Ê. Ïåíäåðåöêèé, Ñ. Ñëîíèìñêèé, Â. Òàðíîïîëüñêèé, Â. Ñèëüâåñòðîâ. Ó÷àñòíèê ðÿäà ôåñòèâàëåé: «Ìîñêîâñêàÿ îñåíü», «Ìîñêîâñêèé ôîðóì», ôåñòèâàëü Áàõà â Ñòàìáóëå (Òóðöèÿ), Ê. Êàðàåâà â Áàêó, êëàññè÷åñêîé ìóçûêè â Ýëü Äæåìå (Òóíèñ), Nice Manca Music Festival (Ôðàíöèÿ), St. Gallen (Àâñòðèÿ).
Stanislav Malyshev was born in 1980 in Sverdlovsk. He graduated from the Moscow Conservatory and a postgraduate class. He is an awardee of N. Rubinstein (2006) and D. Shostakovich (2008) international competitions. He gives performances with such symphony orchestras as Globalis and The Seasons, Opera Orchestra of Nice (France) and Musica Viva. The musician gave his concerts in the best concert halls of Russia and Europe – Konzerthaus (Berlin), Site de la music (Paris), Tchaikovsky Concert Hall. Since 2008 he has been a soloist of the Moscow Conservatory Studio for New Music. He collaborates with contemporary composers, including K. Penderecki, S. Slonimsky, V. Tarnopolsky, V. Silvestrov. He is a participant of a number of festivals: Moscow Autumn, Moscow Forum, Bach Festival in Istanbul (Turkey), K. Karaev Festival in Baku, classical music festivals in El Djem (Tunisia), Nice Manca Music Festival (France), St. Gallen (Austria).
НАТАЛИЯ ПШЕНИЧНИКОВА
NATALIA PSHENICHNIKOVA
Îêîí÷èëà Ìîñêîâñêóþ êîíñåðâàòîðèþ. Âåäåò îáøèðíóþ êîíöåðòíóþ äåÿòåëüíîñòü êàê ôëåéòèñòêà è âîêàëèñòêà â îáëàñòè àóòåíòè÷íîãî èñïîëíèòåëüñòâà, ñîâðåìåííîé ìóçûêè è ñâîáîäíîé èìïðîâèçàöèè.  1987 ãîäó âìåñòå ñ À. Ëþáèìîâûì îñíîâàëà ôåñòèâàëü «Àëüòåðíàòèâà», êîòîðûì ðóêîâîäèëà äî 1991 ãîäà. Ñ 1993 ãîäà æèâåò â Áåðëèíå. Åå êîíöåðòíàÿ äåÿòåëüíîñòü îõâàòûâàåò áîëüøèíñòâî åâðîïåéñêèõ ôåñòèâàëåé ñîâðåìåííîé ìóçûêè, òàêèõ êàê Donaueschinger Musiktage, Wien Modern, Biennale di Venezia, Huddersfield Contemporary Music Festival, Kammermusikfest Lockenhaus, Maerzmusik. Äëÿ íåå ïèñàëè òàêèå êîìïîçèòîðû êàê Ã. Êàí÷åëè, Ä. Êóðëÿíäñêèé, Á. Ôèëàíîâñêèé, Ã. Äîðîõîâ. Òåñíî ñîòðóäíè÷àåò ñ Ã. Âèíîãðàäîâûì, Ì. Õèðàÿìîé, À. Ëþáèìîâûì, Ä. Ìîññîì, àíñàìáëÿìè ÌÀÑÌ, «Êëàíãôîðóì», «Ëîíäîí Ñèìôîíèåòòà», «MusicAeterna»; äèðèæåðàìè Ò. Êóðåíòçèñîì, Â. Þðîâñêèì. Çàïèñè Íàòàëèè Ïøåíè÷íèêîâîé âûõîäèëè íà ôèðìàõ «Ìåëîäèÿ», «ÅÑÌ New Series» è «Col Legno».
Graduated from the Moscow Conservatory. She is an active concert performer as a flutist and vocalist, specializing in authentic performance, contemporary music and free improvisation. In 1987, she and A. Lubimov founded the Alternativa festival that was directed by her till 1991. Since 1993 she has been living in Berlin. She participates with her concerts in most of the European festivals of contemporary music, including Donaueschinger Musiktage, Wien Modern, Biennale di Venezia, Huddersfield Contemporary Music Festival, Kammermusikfest Lockenhaus, Maerzmusik. The music for her was composed by G. Cancelli, D. Kurlyandsky, B. Filanovsky, G. Dorokhov. She collaborates actively with G. Vinogradov, M. Hirayama, A. Lubimov, D. Moss, Moscow Contemporary Music Ensemble and Klangforum Ensemble, London Sinfonietta, MusicAeterna, conductors T. Kurentzis and V. Yurovsky. N. Pshenichnikova made records with Melodiya, ÅÑÌ New Series and col legno.
ПЕТР ГЛАВАТСКИХ
PYOTR GLAVATSKIKH
Èñïîëíèòåëü íà ìàðèìáå, êîíãî, äàðáóêå, òèìáàëåñ è äðóãèõ óäàðíûõ èíñòðóìåíòàõ, àêòèâíî ðàáîòàåò â ýëåêòðîííîì íàïðàâëåíèè. Àâòîð è èäåîëîã ïðîåêòà «Ïóòåøåñòâèå â ðèòì», ñåðèè êîíöåðòîâ ñîâðåìåííîé ìóçûêè. Îêîí÷èë ÑÌØ ïðè Óðàëüñêîé êîíñåðâàòîðèè, Ìîñêîâñêóþ êîíñåðâàòîðèþ è àñïèðàíòóðó, à òàêæå àñïèðàíòóðó Âûñøåé øêîëû ìóçûêè â Øòóòãàðòå. Ðàáîòàë â Àêàäåìè÷åñêîì îðêåñòðå ðóññêèõ íàðîäíûõ èíñòðóìåíòîâ ÂÃÒÐÊ ïîä óïðàâëåíèåì Í. Íåêðàñîâà, òåàòðå «Íîâàÿ îïåðà», Ìîñêîâñêîì ìóçûêàëüíîì òåàòðå èì. Ñòàíèñëàâñêîãî è Íåìèðîâè÷à-Äàí÷åíêî, «Òåàòðå íà Òàãàíêå». Ó÷àñòâîâàë â ìàñòåð-êëàññàõ Ðîáåðòà Âàí Ñàéçà (Àìåðèêà) è Íåáîéøà Èîâè÷à Æèâêîâè÷à (Ñåðáèÿ, Ãåðìàíèÿ). Ñòàë ïåðâûì ðóññêèì èñïîëíèòåëåì, ïðèãëàøåííûì ñàìîé èçâåñòíîé ìàðèìáîôîíèñòêîé â ìèðå Êåéêî Àáý íà ìàñòåð-êëàññ, ïðîõîäèâøèé â ðàìêàõ ìåæäóíàðîäíîãî êîíêóðñà èñïîëíèòåëåé íà ìàðèìáå â Øòóòãàðòå.
Pyotr Glavatskikh gives concerts, playing the marimba, congo, darbuka, timbales and other percussion instruments; he plays electronic musical instruments. He is the author and promoter of the project «Traveling into Rhythm» and a number of concerts of contemporary music. He finished music school at the Ural Conservatory, Moscow Conservatory and a post-graduate course at the Stuttgart Higher Music School. He worked with the Academic Orchestra of Russian Folk Instruments, which was directed by N. Nekrasov, with the Novaya Opera Theatre, the Stanislavsky and Nemirovich-Danchenko Musical Theatre, Taganka Theater. He took part in master classes of Robert van Sice (USA) and Nebojsa Zivkovic (Serbia, Germany). He became the first Russian performer who was invited by Keiko Abe, the worlds most famous marimba player, to her master class conducted during the international competition of marimba players in Stuttgart.
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PATRICK K.-H.
PATRICK K.-H.
Ñàóíä-àðòèñò, ìåäèà- è âèçóàëüíûé õóäîæíèê, êóðàòîð ïðîãðàìì ñîâðåìåííîãî èñêóññòâà. Ðàáîòàåò ñ ýëåêòðîííûìè è öèôðîâûìè ìåäèà, ñðåäñòâàìè àíèìàöèè è ïðîñòðàíñòâåííîãî çâóêà, ñîçäàâàÿ ïðîèçâåäåíèÿ íà ñòûêå æàíðîâ. Åãî çâóêîâûå èíñòàëëÿöèè áûëè ïðåäñòàâëåíû â ÌÌÑÈ, ÃÖÑÈ (Ìîñêâà), íà Âåíåöèàíñêîì áèåííàëå (Èòàëèÿ), Brut (Àâñòðèÿ), Diapason Gallery for Sound Art (NYC). Åãî àíèìàöèÿ è âèäåîàðò äåìîíñòðèðîâàëèñü áîëåå ÷åì íà 100 ôåñòèâàëÿõ â Ðîññèè è çà ðóáåæîì, â òîì ÷èñëå íà Ìîñêîâñêîì ìåæäóíàðîäíîì êèíîôåñòèâàëå, Ìåæäóíàðîäíîì ôåñòèâàëå Ñåðãåÿ Êóð¸õèíà (SKIF, Ñàíêò-Ïåòåðáóðã), «Íîâàÿ äðàìà» (Ìîñêâà), Lange Nacht des Films (Àâñòðèÿ), Russian Act (Âåëèêîáðèòàíèÿ, Ñèíãàïóð), «ÀÐÒ Ìîñêâà». Àâòîð ìóçûêè è âèäåî ê ñïåêòàêëÿì ñîâðåìåííîãî òàíöà Òåàòðà íàöèé, «ÖÅÕ», Êàìåðíîãî áàëåòà «Ìîñêâà», ÌÕÒ èì. À.Ï. ×åõîâà. Èññëåäóåò òåõíîëîãèè è ïðàêòèêè ðèñîâàííîãî çâóêà è ìåõàíèçèðîâàííûõ àóäèî-ñêóëüïòóð â äóýòå ñ êîìïîçèòîðîì Îëåãîì Ìàêàðîâûì.
Patrick K.-H. is a sound-artist, media and visual artist, facilitator of contemporary art programs. He works with electronic and digital media, animation and 3D positional sound, creating compositions across genres. His sound installations were demonstrated at the Moscow Museum of Modern Art, the National Centre for Contemporary Arts (Moscow), the Venice Biennale (Italy), Brut (Austria), Diapason Gallery for Sound Art (NYC). His animation and video-art were demonstrated at more than 100 festivals in Russia and other countries, including the Moscow International Film Festival, SKIF Festival (St. Petersburg), Novaya Drama festival (Moscow), Lange Nacht des Films (Austria), Russian Act (UK, Singapore), Art-Moscow. He is the author of music and video to performance productions of modern dance at the Theater of Nations, TSEKH, Moscow Chamber Ballet, Chekhov Moscow Art Theatre. He studies techniques and practices of drawn sound and mechanized audio-sculptures, working with composer Oleg Makarov.
НАОЮКИ МАНАБЕ
NAOYUKI MANABE
ßïîíñêèé ìóçûêàíò, èñïîëíèòåëü íà ãóáíîì îðãàíå ñ¸ ÿïîíñêîãî ïðèäâîðíîãî îðêåñòðà ãàãàêó. Îáó÷àëñÿ ìóçûêå â Âûñøåé øêîëå ßýé (ïðåôåêòóðà Êàíàãàâà), â ìóçûêàëüíîì êîëëåäæå Ñýíäçîêó (ïåíèå è êîìïîçèöèÿ), â Òîêèéñêîì èíñòèòóòå èñêóññòâ (îòäåëåíèå ÿïîíñêîé òðàäèöèîííîé ìóçûêè ãàãàêó). Ëàóðåàò ìíîãèõ êîìïîçèòîðñêèõ è èñïîëíèòåëüñêèõ êîíêóðñîâ.  2000 ãîäó Ìàíàáå íà÷àë ñåðèþ ñîëüíûõ êîíöåðòîâ, èññëåäóÿ âîçìîæíîñòè îðãàíà ñ¸. Ïîìèìî ñîëüíûõ êîíöåðòîâ, èñïîëíÿåò ñâîè ïüåñû äëÿ ñ¸ â àíñàìáëå ñ èíñòðóìåíòàìè àêàäåìè÷åñêîé òðàäèöèè – ñêðèïêîé, êîíòðàáàñîì, óäàðíûìè, ðàñøèðÿÿ âîçìîæíîñòè ýòîãî ñòàðèííîãî èíñòðóìåíòà. Èãðàåò ìóçûêó ãàãàêó íå òîëüêî íà ñ¸, íî òàêæå íà ãàêóñî (ðàçíîâèäíîñòü êîòî), ãàêóáèâà (ðàçíîâèäíîñòü ëþòíè áèâà). Ôèðìîé «Kojima Recordings» áûë âûïóùåí äèñê «Êîêþ» («Äûõàíèå») ñ ñîëüíûìè êîìïîçèöèÿìè Í. Ìàíàáý íà ñ¸.
Naoyuki Manabe is a Japanese musician, sho mouth organ performer of the Gagaku, Japan’s imperial court ensemble. He studied at the Yaei High School (Kanagawa Prefecture), at the Senzoku College of Music (singing and composition), at the Tokyo Fine Arts School (Department of Japanese traditional gagaku music). He is an awardee of many composition and performers competitions. In 2000, N. Manabe started solo concerts, studying possibilities of the sho organ. In addition to solo concerts, Manabe performs his pieces for sho with the ensemble playing academically traditional instruments – the violin, contrabass, percussion instruments, extending ensemble possibilities of the ancient instrument. He performs gagaku music not only by playing the sho, but also the gakuso (type of koto), gaku-biwa (type of biwa lute). Kojima Recordings released CD «Kokyu» (Breathing) with solo compositions by N. Manabe for sho.
К О М П О З И Т О Р Ы
CO M P OSER S
ДЖОН КЕЙДЖ
JOHN CAGE
Ðîäèëñÿ â 1912 ãîäó â Ëîñ-Àíäæåëåñå, ó÷èëñÿ â Âûñøåé øêîëå Ëîñ-Àíäæåëåñà è Ïîìîíà-êîëëåäæå.  1930-å èçó÷àë ìóçûêàëüíóþ êîìïîçèöèþ â Íîâîé øêîëå ñîöèàëüíûõ èññëåäîâàíèé Ëîñ-Àíäæåëåñà. Ïîñëå âñòðå÷è â 1934 ãîäó ñ Àðíîëüäîì ظíáåðãîì îêîí÷àòåëüíî ðåøèë ïîñâÿòèòü ñåáÿ ñî÷èíåíèþ. Êåéäæ ñòàë îäíîé èç ãëàâíûõ ôèãóð ìóçûêàëüíîãî àâàíãàðäà, âûäâèíóâ ðåêîðäíîå ÷èñëî ðàäèêàëüíûõ èäåé, ïðè÷åì âñå îíè áûëè ïðèíÿòû è ðåàëèçîâàíû ðàçëè÷íûìè êîìïîçèòîðàìè. Ñðåäè åãî îñíîâíûõ èäåé: èñïîëüçîâàíèå ïîäãîòîâëåííîãî ôîðòåïèàíî; ðàáîòà ñ ìàãíèòîôîííûìè çàïèñÿìè; âîçíèêøàÿ ïîä âëèÿíèåì áóääèçìà «ýñòåòèêà ìîë÷àíèÿ», êîòîðàÿ ïðèâåëà ê ïîÿâëåíèþ çíàìåíèòîé ïüåñû «4’33”» è åùå íåñêîëüêèõ ïîäîáíûõ; ìåòîä óïðàâëÿåìîé ñëó÷àéíîñòè â êîìïîçèöèè, êîòîðûé ïðèâåë ê ïîÿâëåíèþ àëåàòîðèêè. Óìåð â 1992 ãîäó Íüþ-Éîðêå.
Was born in 1912 in Los Angeles, studied at Los Angeles High School and Pomona College. In the 1930s, he studied composition at the New School for Social Research in Los Angeles. After he started studying with Arnold Schoenberg in 1934, he made up his mind to concentrate on music composition. Cage was one of the leading figures of the post-war avant-garde, having put forth a record number of radical ideas, which were accepted and implemented by different composers. His most innovative ideas include using of the prepared piano; work with tape recordings; «aesthetics of silence», which was developed under the influence of Buddhism and is best illustrated by «4’33”», his famous composition; the chance-controlled method of composition that resulted in aleatoric music. Was died in 1992 in New York.
МОРТОН ФЕЛДМАН
MORTON FELDMAN
Ðîäèëñÿ â 1926 ãîäó â Íüþ-Éîðêå â ñåìüå åâðåéñêèõ ýìèãðàíòîâ, âûõîäöåâ èç Ðîññèéñêîé Èìïåðèè. Ìóçûêå îáó÷àëñÿ ÷àñòíûì îáðàçîì. Íà÷èíàÿ ñ 1950 ãîäà âûñòóïàë êàê ñîðàòíèê Äæîíà Êåéäæà. Àâòîð ìåòîäà àíàëèçà äîäåêàôîííîé ìóçûêè, ïîëó÷èâøåãî íàçâàíèå «ñåò-òåîðèè» («òåîðèè ðÿäîâ»). Çàíèìàëñÿ ðàçðàáîòêîé íîâûõ ñèñòåì íîòàöèè: ãðàôè÷åñêîé íîòàöèè, «ðèòìè÷åñêè ñâîáîäíîé íîòàöèè», «íîòàöèè ãîíî÷íûõ äèñòàíöèé» (àëåàòîðè÷åñêîé), – íî â ïîñëåäíèå äâà äåñÿòèëåòèÿ ñâîåé æèçíè âåðíóëñÿ ê òðàäèöèîííîìó ñïîñîáó çàïèñè.  1973 ãîäó ïîëó÷èë ìåñòî â óíèâåðñèòåòå øòàòà Íüþ-Éîðê â Áóôôàëî è ñìîã íàêîíåö îñòàâèòü ñåìåéíûé (òåêñòèëüíûé è ïðà÷å÷íûé) áèçíåñ. Ñðåäè åãî ñî÷èíåíèé àíòèîïåðà «Íè…» (1977) íà òåêñò åãî äðóãà Ñýìþýëà Áåêêåòà. Óìåð â 1987 ãîäó â Áóôôàëî.
Was born in 1926 in New York into a family Jewish immigrants from the Russian Empire. He studied music with private teachers. In 1950 he met John Cage and they became good friends. Morton Feldman is the author of the analysis of dodecaphonic music, which is known as the set theory (theory of tone rows). He developed new systems of notation: graphic notation, arhythmic notation, racecourse (aleatoric) notation; however, during the last twenty years of his life he used conventional notation. In 1973, he was offered a position at the State University of New York in Buffalo and was finally able to give up the family (textile and laundry) business. His compositions include the anti-opera «Neither…» (1977) with the text written by his friend Samuel Beckett. Was died in 1987 in Buffalo.
ЦЗО ЧЖЕНЬГУАНЬ
TZO CHENG-GUANG
Ïðèíàäëåæíîñòü ê äâóì ðàçíûì êóëüòóðàì Âîñòîêà è Çàïàäà îïðåäåëèëà ñàìîáûòíûé õàðàêòåð òâîð÷åñòâà Öçî ×æåíüãóàíÿ. Êîìïîçèòîð ðîäèëñÿ â Øàíõàå, à â 1961 ãîäó ïðèåõàë â Ñîâåòñêèé Ñîþç, ó÷èëñÿ â Íîâîñèáèðñêå ïî êëàññó âèîëîí÷åëè è â Ìîñêâå ïî êëàññó êîìïîçèöèè. Ëàóðåàò âñåñîþçíîãî è ìåæäóíàðîäíûõ êîíêóðñîâ êîìïîçèòîðîâ. ßâëÿåòñÿ øèðîêî èñïîëíÿåìûì àâòîðîì, ó÷àñòíèêîì ìíîãèõ ôåñòèâàëåé ñîâðåìåííîé ìóçûêè. Æèâåò â Ìîñêâå.
The music of Tzo Cheng-guang is influenced by his affiliation to two different cultures of the East and the West. The composer was born in Shanghai, and in 1961 he came to the Soviet Union where he studied the cello in Novosibirsk and composition in Moscow. He is a laureate of the All-Union and International Competitions of composers, the author of many popular compositions, a participant of many contemporary music festivals; he lives in Moscow.
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МАНГЕЙМСКИЙ ФИЛАРМОНИЧЕСКИЙ ОРКЕСТР, Германия Äèðèæåð – Áîÿí Âèäåíîâ Àëåíà Áàåâà (ñêðèïêà) Òàêåìèöó. Ðåêâèåì Ìåíäåëüñîí. Êîíöåðò äëÿ ñêðèïêè ñ îðêåñòðîì Áåòõîâåí. Ñèìôîíèÿ ¹ 2
MANNHEIM PHILHARMONIC ORCHESTRA, Germany Conductor – Boian Videnoff Alena Baeva (violin) Takemitsu. Requiem Mendelssohn. Violin Concerto Beethoven. Symphony No. 2
МАНГЕЙМСКИЙ ФИЛАРМОНИЧЕСКИЙ ОРКЕСТР
MANNHEIM PHILHARMONIC ORCHESTRA
Ñîçäàí â 2009 ãîäó êàê îðêåñòð-àêàäåìèÿ äèðèæåðîì Áîÿíîì Âèäåíîâûì.  ñîñòàâå – ìîëîäûå ìóçûêàíòû, äëÿ êîòîðûõ Ìàíãåéìñêèé ôèëàðìîíè÷åñêèé îðêåñòð ÿâëÿåòñÿ òðàìïëèíîì â ïðîôåññèþ. Ïîñëå çàìå÷àòåëüíîãî äåáþòà áîëåå 60 þíûõ àðòèñòîâ áûëè ïðèãëàøåíû íà ðàáîòó â èçâåñòíûõ îðêåñòðàõ ïî âñåìó ìèðó. Ìàíãåéìñêîìó êîëëåêòèâó óäàëîñü îáðàòèòü íà ñåáÿ âíèìàíèå ñàìîé âçûñêàòåëüíîé ïóáëèêè ñî÷åòàíèåì ìîëîäîãî çàäîðà è âûñîêîãî ïðîôåññèîíàëüíîãî óðîâíÿ. Îðêåñòð óæå çàêëþ÷èë ñîãëàøåíèÿ î ñîòðóäíè÷åñòâå ñ âåäóùèìè ìèðîâûìè êîíöåðòíûìè àãåíòñòâàìè Àìñòåðäàìà (TACT) è Íüþ-Éîðêà (CAMI), ïî êîòîðûì îí âûñòóïèò ñ êîíöåðòàìè â Ãåðìàíèè è çà ðóáåæîì. Íà÷àëî ãàñòðîëÿì ïîëîæèò ïîåçäêà â Ðîññèþ äëÿ ó÷àñòèÿ â ôåñòèâàëå «Åâðàçèÿ», à òàêæå òóðíå ïî ÑØÀ. Òâîð÷åñêîìó ðàçâèòèþ êîëëåêòèâà â çíà÷èòåëüíîé ñòåïåíè ñïîñîáñòâóåò ñîòðóäíè÷åñòâî ñ ìèðîâûìè çâåçäàìè, ñðåäè êîòîðûõ Ìèøà Ìàéñêèé, Éîõàííåñ Ìîçåð, Ñåðãåé Íàêàðÿêîâ, Äèìèòðèñ Ñãóðîñ è Âèêòîðèÿ Ïîñòíèêîâà.
The orchestra was founded in 2009 as an academy orchestra by conductor Boian Videnoff. Its members are young musicians for whom the Mannheim Philharmonic Orchestra is a launching pad for their future professional career. After their successful debut, more than 60 young orchestra musicians were invited to work in famous orchestras in different countries of the world. The Mannheim Philharmonic Orchestra captured attention of the most sophisticated audience by the combination of juvenile ardor and high professional level. The orchestra has signed cooperation agreements with the worlds leading concert agencies of Amsterdam (TACT) and New York (CAMI) and is ready to give concerts in Germany and other countries. The tour will start with the participation in the Eurasia Festival in Russia and concert performances in the USA. The orchestra is attaining new heights of creativity due to the cooperation with such internationally acclaimed stellar musicians as Mischa Maisky, Johannes Moser, Sergei Nakariakov, Dimitris Sgouros and Viktoria Postnikova.
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БОЯН ВИДЕНОВ
BOIAN VIDENOFF
Ðîäèëñÿ â 1987 ãîäó â Ñîôèè (Áîëãàðèÿ) â ñåìüå ìóçûêàíòîâ. Îáó÷àëñÿ â Óíèâåðñèòåòå ìóçûêè è èñïîëíèòåëüñêèõ èñêóññòâ â Ìàíãåéìå, â Ìóçûêàëüíîé àêàäåìèè Chigiana â Ñèåíå, çàíèìàëñÿ äèðèæèðîâàíèåì ïîä ðóêîâîäñòâîì ïðîôåññîðà É. Ïàíóëà. Áîëüøîå âëèÿíèå íà ìîëîäîãî ìóçûêàíòà îêàçàëè òàêèå âûäàþùèåñÿ äèðèæåðû êàê Ã. Ðîæäåñòâåíñêèé, Ã. Õåðáèã, Ñ. Ñêðîâà÷åâñêèé è Ì. Âèîòòè. Íà÷èíàÿ ñ 18 ëåò, Áîÿí Âèäåíîâ â êà÷åñòâå ïðèãëàøåííîãî äèðèæåðà âûñòóïàåò ñ îðêåñòðàìè Åâðîïû è Àçèè.  2008 ãîäà îí áûë âûáðàí Ãóñòàâî Äóäàìåëåì äèðèæèðîâàòü åãî îðêåñòðîì «Ñèìîí Áîëèâàð» íà ìàñòåð-êëàññå, ïîñâÿùåííîì Ïÿòîé ñèìôîíèè Áåòõîâåíà. Ðåãóëÿðíî ðàáîòàåò ñ èçâåñòíûìè ñîëèñòàìè, òàêèìè êàê É. Ìîçåð, Ñ. Íàêàðÿêîâ, À. Áàåâà, À. Ãèëìàí è äðóãèìè.  2009 ãîäó îñíîâàë Ìàíãåéìñêèé ôèëàðìîíè÷åñêèé îðêåñòð, ñ êîòîðûì â 2011 ãîäó ñîâåðøèë ãàñòðîëüíûé òóð èç 13 êîíöåðòîâ ïî Êèòàþ.
Boian Videnoff was born in 1987 in Sofia (Bulgaria) to a family of musicians. He studied at the University of Music and Performing Arts in Mannheim, at the Accademia Musicale Chigiana in Siena, studied conducting under the guidance of Jorma Panula. The young musician was greatly influenced by such outstanding conductors as G. Rozhdestvensky, G. Herbig, S. Skrowaczewski and M. Viotti. Since the age of eighteen, Boian Videnoff has appeared as a guest conductor with of Europe and Asia. In 2008, he was invited by Gustavo Dudamel to conduct his Simón Bolívar Orchestra during the master class dedicated to Beethoven’s 5th symphony. He regularly works with such famous soloists as J. Moser, S. Nakariakov, A. Baeva, A. Gilman and others. In 2009, he founded the Mannheim Philharmonic Orchestra, with which he toured around China, giving 13 concerts in 2011.
АЛЕНА БАЕВА
ALENA BAEVA
Ðîäèëàñü â 1985 ãîäó. Îêîí÷èëà Ìîñêîâñêóþ êîíñåðâàòîðèþ (êëàññ ïðîôåññîðà Ý. Ãðà÷à). Ïî ïðèãëàøåíèþ Ì. Ðîñòðîïîâè÷à ïðîøëà ñòàæèðîâêó âî Ôðàíöèè. Çà ïëå÷àìè ñêðèïà÷êè – áëåñòÿùàÿ êîíêóðñíàÿ èñòîðèÿ.  íàñòîÿùåå âðåìÿ âûñòóïàåò â ëó÷øèõ êîíöåðòíûõ çàëàõ ìèðà, ñîòðóäíè÷àåò ñ âåäóùèìè ñèìôîíè÷åñêèìè îðêåñòðàìè è äèðèæåðàìè. Ñðåäè åå ïàðòíåðîâ ïî êàìåðíîìó ìóçèöèðîâàíèþ – À. Êíÿçåâ, Þ. Áàøìåò, Ä. Ñèòêîâåöêèé, Þ. Ðàõëèí. Ïðèíèìàåò ó÷àñòèå â òàêèõ ôåñòèâàëÿõ, êàê «Äåêàáðüñêèå âå÷åðà», «Âèðòóîçû XXI âåêà» (ÑØÀ), Àêàäåìèÿ Ñ. Îçàâû (Øâåéöàðèÿ), «Ñêðèïêà â Ëóâðå» (Ôðàíöèÿ), «Çâåçäû áåëûõ íî÷åé», «Ðàâèíèÿ» â ×èêàãî (ÑØÀ). Èìååò ðÿä çàïèñåé íà ðàäèî è òåëåâèäåíèè ìíîãèõ ñòðàí ìèðà. Åå êîíöåðòû òðàíñëèðîâàëèñü òåëåêàíàëàìè «Êóëüòóðà», «Mezzo», «Arte», à òàêæå ðàäèî «Áè-áè-ñè». Èãðàåò íà ñêðèïêå Ñòðàäèâàðè, ïðèíàäëåæàùåé Ãîñóäàðñòâåííîé êîëëåêöèè óíèêàëüíûõ ìóçûêàëüíûõ èíñòðóìåíòîâ.
Alena Baeva was born in 1985. She graduated from the Moscow Conservatory (she was taught by professor E. Grach). By the invitation of M. Rostropovich, she had her traineeship in France. The violinist has been very successful in competitions. At present, she is giving performances in the best concert halls of the world; she works with the leading symphony orchestras and conductors. Her partners in chamber concerts were A. Knyazev, Yu. Bashmet, D. Sitkovetsky, Yu. Rakhlin. She takes part in such festivals as December Evenings, Virtuosos of the 21st Century (USA), S. Osawa Academy (Switzerland), Violin in the Louvre (France), Stars of the White Nights, Ravinia in Chicago (USA). She has a number of recordings made with radio and television in many countries of the world. Her concerts were broadcast by Culture, Mezzo and Arte TV channels and BBC radio. She plays a Stradivarius violin owned by the State Collection of Unique Musical Instruments.
К О М П О З И Т О Р
CO M P OSER
ТОРУ ТАКЕМИЦУ
TORU TAKEMITSU
Ðîäèëñÿ â 1930 ãîäó â Òîêèî; ðàííåå äåòñòâî ïðîâåë â Êèòàå, ãäå ðàáîòàë åãî îòåö.  1938 ãîäó ñåìüÿ âåðíóëàñü â ßïîíèþ.  14 ëåò áûë ìîáèëèçîâàí è â àðìèè âïåðâûå ïîçíàêîìèëñÿ ñ çàïàäíîé ìóçûêîé, à èìåííî ñ ïåñíåé Æàíà Ëåíóàðà «Parlez-moi d’amour». Ïîñëå âîéíû ðàáîòà íà àìåðèêàíñêîé âîåííîé áàçå óãëóáèëà åãî çíàêîìñòâî ñ ïðåäìåòîì, è îí ðåøèë ïîñâÿòèòü ñåáÿ êîìïîçèöèè, îñâîèâ ïðîôåññèþ ñàìîó÷êîé.  1951 ãîäó ó÷àñòâîâàë â ñîçäàíèè àâàíãàðäíîé õóäîæåñòâåííîé ãðóïïû «Äçèêêåí-Êîáî» («Ýêñïåðèìåíòàëüíàÿ ìàñòåðñêàÿ»). Ê íà÷àëó 1960-õ äîñòèã ìåæäóíàðîäíîé èçâåñòíîñòè è âñêîðå ñòàë ñîòðóäíè÷àòü ñ Äæîíîì Êåéäæåì, ïîä âëèÿíèåì êîòîðîãî ñòàë âíèìàòåëüíåå îòíîñèòüñÿ ê ÿïîíñêèì ìóçûêàëüíûì òðàäèöèÿì è âêëþ÷àòü â ïàðòèòóðû íàöèîíàëüíûå èíñòðóìåíòû. Ëàóðåàò ðÿäà ìåæäóíàðîäíûõ ïðåìèé, ó÷àñòíèê ôåñòèâàëåé â Îëäáîðî è Òýíãëâóäå. Ïîñòîÿííî âûñòóïàë ñ ëåêöèÿìè è ýññå î ñîâðåìåííîé ìóçûêå. Óìåð â 1996 ãîäó â Òîêèî.
Was born in 1930 in Tokyo; spent his early childhood in China where his father worked. In 1938, the family returned to Japan. At the age of 14 he was conscripted and in the army he heard Western music for the first time; in fact, it was Jean Lenoirs song «Parlez-moi d’amour». After the war, he worked for the U.S. Armed Forces and took the opportunity to listen to as much Western music as he could; eventually, he decided to start composition, being largely self-taught throughout his musical career. In 1951, he was one of the founding members of Jikken Kîbî (Experimental Workshop), an avant-garde artistic group. By the early 1960s he rose to international prominence and soon started working with John Cage who had a considerable influence on him, making him turn to Japanese musical traditions and include national instruments in his compositions. Toru Takemitsu is an awardee of a number of international prizes, a participant of festivals in Aldeburgh and Tanglewood. He was notable for his lectures and essays about modern music. Died in 1996 in Tokyo.
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УРАЛЬСКИЙ АКАДЕМИЧЕСКИЙ ФИЛАРМОНИЧЕСКИЙ ОРКЕСТР Äèðèæåð – Áåíäæàìèí Ýëëèí, Âåëèêîáðèòàíèÿ Äæîçåô Àëåññè (òðîìáîí), ÑØÀ Ýëãàð. «Êîðîíà Èíäèè», ñþèòà äëÿ îðêåñòðà, îð. 66à (ïåðâîå èñïîëíåíèå â Åêàòåðèíáóðãå) Ýëëèí. Êîíöåðò «Ïàíäîðà» äëÿ òðîìáîíà ñ îðêåñòðîì (ïåðâîå èñïîëíåíèå â Åêàòåðèíáóðãå) Áðèòòåí. «×åòûðå ìîðñêèå èíòåðëþäèè» èç îïåðû «Ïèòåð Ãðàéìñ» Ìàêìèëëàí. «Èñïîâåäü Èçîáåëü Ãàóäè» (ïåðâîå èñïîëíåíèå â Åêàòåðèíáóðãå)
URAL PHILHARMONIC ORCHESTRA Conductor – Benjamin Ellin, UK Joseph Alessi (trombone), USA Elgar. «The Crown of India», orchestral suite, op. 66a (first performance in Yekaterinburg) Ellin. Concerto «Pandora» for trombone and symphony orchestra (first performance in Yekaterinburg) Britten. «Four Sea Interludes» from opera «Peter Graims» McMillan. «Confession of Isobel Gowdie» (first performance in Yekaterinburg)
БЕНДЖАМИН ЭЛЛИН
BENJAMIN ELLIN
Áðèòàíñêèé äèðèæåð è êîìïîçèòîð. Ðîäèëñÿ â 1980 ãîäó. Ó÷èëñÿ â Øêîëå ìóçûêè è äðàìû Ãèëäõîë (Ëîíäîí).  íàñòîÿùåå âðåìÿ – ãëàâíûé äèðèæåð Ñëåéòóýéòñêîãî ôèëàðìîíè÷åñêîãî îðêåñòðà, ìóçûêàëüíûé äèðåêòîð Thursford Productions, Ñàóò-Áàíê-àíñàìáëÿ è Ôîêóñ-îïåðû, à òàêæå ïðåçèäåíò Ïåìáðóêñêîé ìóçûêàëüíîé àêàäåìèè (Ëîíäîí). Ðåãóëÿðíî âûñòóïàåò ñ Íàöèîíàëüíûì ìîëîäåæíûì îðêåñòðîì è ìîëîäåæíûì îðêåñòðîì «Ñèìôîíèåòòà».  2002 ãîäó âîçãëàâèë ïðîåêò «Ìîëîäåæíûé îðêåñòð â øêîëå».  2007 ãîäó ñòàë ëàóðåàòîì I Ìåæäóíàðîäíîãî êîíêóðñà äèðèæåðîâ èìåíè Å. Ñâåòëàíîâà â Ëþêñåìáóðãå. Òàêæå Ýëëèí – îáëàäàòåëü ñòèïåíäèè èìåíè Í. Âèíòà (2002), ïðåìèè Ë. ×åñòåð è Ä. Ôëåò÷åðà îò Ìîëîäåæíîãî íàöèîíàëüíîãî îðêåñòðà Âåëèêîáðèòàíèè (1998). Êàê êîìïîçèòîð ðàáîòàåò ïî çàêàçó êîëëåêòèâîâ è ôåñòèâàëåé Ôðàíöèè, Êèòàÿ, Êàíàäû.  2009 ãîäó ïîëó÷èë ïðåìèþ îò Êîëëåäæà èçÿùíûõ èñêóññòâ èìåíè Ì.À. & Ã. Áàðëîó (Ïðîâî, øòàò Þòà, ÑØÀ), ñòàâ âòîðûì áðèòàíñêèì êîìïîçèòîðîì çà ïîñëåäíèå 25 ëåò, ïîëó÷èâøèì ýòó íàãðàäó. Ïðåìüåðà åãî êîíöåðòà äëÿ òðîìáîíà ñ îðêåñòðîì áûëà èñïîëíåíà êîíöåðòìåéñòåðîì ãðóïïû òðîìáîíîâ Íüþ-Éîðêñêîãî ôèëàðìîíè÷åñêîãî îðêåñòðà Äæîçåôîì Àëåññè â 2012 ãîäó.  òîì æå ãîäó âûøåë äåáþòíûé CD êîìïîçèòîðà «Three States at Play».
British conductor and composer. He was born in 1980. Benjamin Ellin studied at the Guildhall School of Music and Drama (London). At present, he is the principal conductor of the Slaithwaite Philharmonic Orchestra, music director of Thursford Productions, Southbank Centre’s Soundbank Ensemble and Focus Opera, and the president of the Pembroke Academy of Music (Walworth, London). B. Ellin gives regular performances with the National Youth Orchestra and Youth Orchestra Sinfonietta. In 2002, Benjamin was the key member of the project - Youth Orchestra In School. In 2007, B. Ellin was awarded the 1st Prize at the First Evgeny Svetlanov International Conducting Competition in Luxembourg. Ellin is also an awardee of N. Wint scholarship (2002), L. Chester and D. Fletcher prize from the UK National Youth Orchestra (1998). He took part in master classes of G. Noseda in Stresa (Italy, 2006) and Sir Colin Davis (the London Symphony Orchestra, 2005). In 2009, the musician was awarded the Barlow Endowment Prize for composition from the Barlow College of Fine Arts (USA, Utah, Provo), being the second British composer who had received this award over the last 25 years. His trombone concerto was premiered by the New York Philharmonics Principal trombonist, Joseph Alessi, in April 2012. Benjamins debut composition CD was released in the same year (Three States at Play).
ÓÐÀËÜÑÊÈÉ ÀÊÀÄÅÌÈ×ÅÑÊÈÉ ÔÈËÀÐÌÎÍÈ×ÅÑÊÈÉ ÎÐÊÅÑÒÐ (ñòð. 22)
URAL PHILHARMONIC ORCHESTRA (p. 22)
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ДЖОЗЕФ АЛЕССИ
JOSEPH ALESSI
Ïåðâûé òðîìáîíèñò Íüþ-Éîðêñêîãî ôèëàðìîíè÷åñêîãî îðêåñòðà ñ 1985 ãîäà. Îêîí÷èë ʸðòèñîâñêèé èíñòèòóò ìóçûêè â Ôèëàäåëüôèè. Âûñòóïàåò â êà÷åñòâå ñîëèñòà ñ âåäóùèìè ñèìôîíè÷åñêèìè îðêåñòðàìè ìèðà. Ïðèíèìàë ó÷àñòèå â ìíîãî÷èñëåííûõ ôåñòèâàëÿõ, â ÷èñëå êîòîðûõ Ôåñòèâàëü êàìåðíîé ìóçûêè â Ïîðòîãðóàðî (Èòàëèÿ), ôåñòèâàëü â Êàáðèëüî (ÑØÀ), Ìåæäóíàðîäíûé ôåñòèâàëü òðîìáîíèñòîâ â Ôåëüäêèðõå (Àâñòðèÿ), Ìåæäóíàðîäíûé ôåñòèâàëü ìåäíûõ äóõîâûõ èíñòðóìåíòîâ â Ëèëëå (Ôðàíöèÿ). Îñíîâàë àíñàìáëü äóõîâûõ èíñòðóìåíòîâ â Èíñòèòóòå äóõîâûõ èíñòðóìåíòîâ èìåíè Ð. Ìåíäåñà â Òåìïå (øòàò Àðèçîíà). Ïðåïîäàåò â Äæóëüÿðäñêîé øêîëå, åãî ó÷åíèêè ðàáîòàþò â êðóïíåéøèõ ñèìôîíè÷åñêèõ îðêåñòðàõ ÑØÀ è äðóãèõ ñòðàí. Ïðîâîäèò ìàñòåðêëàññû ïî âñåìó ìèðó. Óäîñòîåí ïðåìèè Ìåæäóíàðîäíîé àññîöèàöèè òðîìáîíèñòîâ çà âêëàä â ðàçâèòèå òðîìáîííîé ìóçûêè è èãðó íà òðîìáîíå.
Joseph Alessi was appointed Principal Trombone of the New York Philharmonic in 1985. He graduated from Philadelphia’s Curtis Institute of Music. Joseph Alessi performs as a soloist appearing with the worlds leading symphony orchestras. He has taken part in numerous festivals, including the Festival of Chamber Music in Protogruaro (Italy), Cabrillo Music Festival, International Trombone Festival in Feldkirch (Austria), and International Meeting of Brass Instruments in Lille (France). He is a founding member of the Summit Brass ensemble at the Rafael Mendez Brass Institute in Tempe, Arizona. He teaches at the Juilliard School; his students work with the largest symphony orchestras of the USA and other countries. He gives master classes throughout the world. Joseph Alessi is a performer of premiere compositions for trombone and orchestra. He was awarded an International Trombone Association Award for his contributions to the world of trombone music and trombone playing.
К О М П О З И Т О Р Ы
CO M P OS ER S
ЭДВАРД ЭЛГАР
SIR EDWARD WILLIAM ELGAR
Ðîäèëñÿ 1857 ãîäó â Áðîäõàðòå (Âåëèêîáðèòàíèÿ) â ñåìüå âëàäåëüöà ìóçûêàëüíîãî ìàãàçèíà, êîòîðûé èãðàë íà ôîðòåïèàíî è ñêðèïêå. Ýëãàð íå ïîëó÷èë ñèñòåìàòè÷åñêîãî îáðàçîâàíèÿ.  15 ëåò îí ðàáîòàë ó ïðèñÿæíîãî ïîâåðåííîãî, ñ 16 ëåò íà÷àë æèçíü «ñâîáîäíîãî õóäîæíèêà», çàíèìàÿñü èãðîé íà ñêðèïêå è îðãàíå, äèðèæèðîâàíèåì, ïåäàãîãèêîé è êîìïîçèöèåé.  1890-å Ýëãàð ïîëó÷àåò ïðèçíàíèå íå òîëüêî â ïðîâèíöèè, íî è â Ëîíäîíå, ïîÿâëÿþòñÿ òàêèå øåäåâðû, êàê âàðèàöèè «Ýíèãìà» äëÿ îðêåñòðà, îðàòîðèÿ «Ñîí Ãåðîíòèÿ» è ðÿä êàíòàò.  1900 ãîäó îí ñòàíîâèòñÿ ïî÷åòíûì äîêòîðîì Êåìáðèäæà, åãî ïðîèçâåäåíèÿ âûõîäÿò çà ïðåäåëû Àíãëèè.  1904 ãîäó â òåàòðå Êîíâåíò Ãàðäåí ïðîõîäèò òðåõäíåâíûé ôåñòèâàëü åãî ìóçûêè. Ñðåäè ëó÷øèõ ïðîèçâåäåíèé, ñîçäàííûõ Ýëãàðîì â ÕÕ âåêå, – îðàòîðèè «Àïîñòîëû» è «Êîðîëåâñòâî», äâå ñèìôîíèè, ñêðèïè÷íûé è âèîëîí÷åëüíûé êîíöåðòû. Óìåð â 1934 ãîäó â Âóñòåðå.
Was born in 1857 in Broadheath (UK) into a family of the music shop owner, his father also played the piano and violin. Elgar did not receive professional university education. At the age of 15, he started working as a clerk at the office of a local solicitor; when he was 16, he left the solicitor and embarked on his musical career as a free-lance artist, playing the violin and organ, doing conducting, teaching and composing music. In the 1890s, Elgar won the recognition from the public not only in the province, but also in London due to his masterpieces such as «Enigma Variations» for orchestra, the oratorio «The Dream of Gerontius» and a number of cantatas. In 1900, he was granted honorary doctorate by Cambridge University; his compositions become famous outside Great Britain. In 1904, the three-day festival of his music was held at Covent Garden. The best compositions created by Elgar in the 20th century include oratorios «The Apostles» and «The Kingdom», two symphonies, violin and cello concertos. Died in 1934 in Worcester.
ДЖЕЙМС МАКМИЛЛАН
JAMES MACMILLAN
Ðîäèëñÿ â 1959 ãîäó â Êèëâèííèíãå (Øîòëàíäèÿ).  1981 ãîäó ïîëó÷èë ñòåïåíü áàêàëàâðà ìóçûêè â Ýäèíáóðãñêîì óíèâåðñèòåòå, â 1987 ãîäó – ñòåïåíü äîêòîðà ôèëîñîôèè â óíèâåðñèòåòå Äàðýìà.  ãîäû ó÷åáû áûë ïîñëåäîâàòåëåì ïîëüñêîãî «àâàíãàðäà ñ ÷åëîâå÷åñêèì ëèöîì», ïîçäíåå èñïûòàë âëèÿíèå Øíèòêå è Ãóáàéäóëèíîé.  1988 ãîäó âåðíóëñÿ íà ðîäèíó.  1990 ãîäó äîáèëñÿ çíà÷èòåëüíîãî óñïåõà ñ ïîëóîïåðîé «Busqueda» («Ïîèñê»), ïîñòàâëåííîé íà Ýäèíáóðãñêîì ôåñòèâàëå. Ñ ýòîãî âðåìåíè – øòàòíûé êîìïîçèòîð Êàìåðíîãî îðêåñòðà Øîòëàíäèè, â 20002009 ãîäàõ ñîòðóäíè÷àë ñ îðêåñòðîì Áè-Áè-Ñè êàê êîìïîçèòîð è äèðèæåð, ñ 2010 ãîäà – ãëàâíûé ïðèãëàøåííûé äèðèæåð Êàìåðíîãî ôèëàðìîíè÷åñêîãî îðêåñòðà Ðàäèî Íèäåðëàíäîâ. Àâòîð Âèîëîí÷åëüíîãî êîíöåðòà äëÿ Ìñòèñëàâà Ðîñòðîïîâè÷à. Ñðåäè ïîñëåäíèõ ñî÷èíåíèé îïåðà «Æåðòâîïðèíîøåíèå» íà ñþæåò èç «Ìàáèíîãèîíà» (2007), «Ñòðàñòè ïî Èîàííó» (2008), Ñêðèïè÷íûé êîíöåðò äëÿ Âàäèìà Ðåïèíà (2010).
Was born in 1959 in Kilwinning (Scotland). In 1981, he studied composition at the University of Edinburgh, where he earned a Bachelor of Music degree; in 1987 he gained a PhD degree at Durham University. During his student years, he was greatly inspired by the Polish «avant-garde with a human face»; later, he was influenced by Schnittke and Gubaidulina. In 1988, he returned to Scotland. In 1990, he achieved significant success brought to him by his halfopera «Busqueda» (Search), which was commissioned by the Edinburgh Contemporary Arts Trust. The successful premiere led to his appointment as Affiliate Composer of the Scottish Chamber Orchestra; in 2000–2009 he worked with the BBC Philharmonic Orchestra both as composer and conductor; in 2010 he was appointed principal guest conductor of the Netherlands Radio Chamber Philharmonic. He is the author of the cello concerto for Mstislav Rostropovich. His latest compositions include the opera «The Sacrifice» based on a story from the Mabinogion (2007), «St John Passion» (2008), the violin concerto for Vadim Repin (2010).
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СОВМЕСТНЫЙ ФЕСТИВАЛЬНЫЙ ПРОЕКТ
FESTIVAL COLLABORATIVE PROJECT
Ìàíãåéìñêèé ôèëàðìîíè÷åñêèé îðêåñòð, Ãåðìàíèÿ Äèðèæåð – Áîÿí Âèäåíîâ Óðàëüñêèé ìîëîäåæíûé ñèìôîíè÷åñêèé îðêåñòð Äèðèæåð – ëàóðåàò ìåæäóíàðîäíîãî êîíêóðñà Ýíõý Äàíã Òõàé Øîí (ôîðòåïèàíî), Âüåòíàì–Êàíàäà Áåòõîâåí. Êîíöåðò ¹ 5 äëÿ ôîðòåïèàíî ñ îðêåñòðîì ×àéêîâñêèé. «Èòàëüÿíñêîå êàïðè÷÷èî» Ìåíäåëüñîí. Ñèìôîíèÿ ¹ 4 «Èòàëüÿíñêàÿ»
Mannheim Philharmonic Orchestra, Germany Conductor – Boian Videnoff Ural Youth Symphony Orchestra Conductor – Enkhe Dang Thai Son (piano), Vietnam–Canada Beethoven. Piano Concerto No. 5 Tchaikovsky. «Italian Capriccio» Mendelssohn. Symphony No. 4 «Italian»
УРАЛЬСКИЙ МОЛОДЕЖНЫЙ СИМФОНИЧЕСКИЙ ОРКЕСТР
URAL YOUTH SYMPHONY ORCHESTRA
Åäèíñòâåííûé â Ðîññèè îðêåñòð-àêàäåìèÿ, ñî÷åòàþùèé îáðàçîâàòåëüíóþ ôóíêöèþ è êîíöåðòíóþ ïðàêòèêó, ñîçäàí â 2006 ãîäó.  åãî ñîñòàâå – 67 ñòóäåíòîâ ìóçûêàëüíûõ ó÷ðåæäåíèé Åêàòåðèíáóðãà. Ïðîâîäÿòñÿ íå òîëüêî ðåïåòèöèè è êîíöåðòû ñ âûäàþùèìèñÿ äèðèæåðàìè è ñîëèñòàìè, íî è âñòðå÷è è ìàñòåð-êëàññû ñ ïðåäñòàâèòåëÿìè ðàçëè÷íûõ èñïîëíèòåëüñêèõ øêîë, èçó÷àþòñÿ òðàäèöèè èñïîëíåíèÿ êëàññè÷åñêèõ è ñîâðåìåííûõ îðêåñòðîâûõ ñî÷èíåíèé. Åæåãîäíî ìîëîäûå ìóçûêàíòû âûñòóïàþò â 30 êîíöåðòàõ, ïðåäñòàâëÿÿ íà ñóä ïóáëèêè 20 ïðîãðàìì. Ïîìèìî ìàýñòðî Ýíõý, îðêåñòðîì äèðèæèðîâàëè Ñ. Ñîíäåöêèñ, Â. Ôåäîñååâ, Ä. Ëèññ, Ñ. Ðîëäóãèí, Ì. Öèíìàí, Ð. Àáÿçîâ. Ðîññèéñêàÿ ïðåìüåðà îðêåñòðà ïðîøëà â 2009 ãîäó, êîãäà ÓÌÑÎ âûñòóïèë â Áîëüøîì çàëå Ìîñêîâñêîé êîíñåðâàòîðèè â ðàìêàõ àáîíåìåíòà Ìîñêîâñêîé ôèëàðìîíèè (äèðèæåðû – À. Ðóäèí è Ýíõý). ÓÌÑÎ ó÷àñòâîâàë â III Ìóçûêàëüíîì ôåñòèâàëå Ä. Ìàöóåâà «Crescendo», â «Êîãàí-ôåñòèâàëå», ïîñâÿùåííîì ïàìÿòè âûäàþùåãîñÿ ñêðèïà÷à ÕÕ ñòîëåòèÿ Ë. Êîãàíà. Ó ìîëîäîãî êîëëåêòèâà ñåðüåçíûé ãàñòðîëüíûé îïûò: Ìåæäóíàðîäíûé ôåñòèâàëü ìîëîäåæíûõ îðêåñòðîâ «Åâðîîðêåñòðèÿ» â Ðîññèè (2007) è Ôðàíöèè (2008).  2012 ãîäó ÓÌÑÎ ïðèíÿë ó÷àñòèå â ôåñòèâàëå «Young Euro Classic» â Áåðëèíå, ñòàâ åäèíñòâåííûì êîëëåêòèâîì, ïðåäñòàâëÿþùèì Ðîññèþ.
The one-of-a-kind Russian orchestra-academy combines education and concert life; it was founded in 2006. Its performers are 67 students of Ekaterinburg musical institutions. The performers have not only rehearsals and concerts with outstanding conductors and soloists, but also meetings and master classes with representatives of different performing schools, studying traditions of performance of classical and contemporary orchestra compositions. Every year young musicians give 30 concerts, presenting 20 concert programs to the audience. Besides Maestro Enkhe, such famous conductors collaborated with the Orchestra as S. Sondetskis, V. Fedoseev, D. Liss, S. Roldugin, M.Tsinman, R. Abyazov. UYSO gave concerts in the Grand Hall of the Moscow Conservatory (conductors A. Rudin and Enkhe). UYSO participated at the Third Matsuev Crescendo Music Festival, Kogan-Festival dedicated to L. Koga, the prominent violinist of the 20th century. The young orchestra boasts impressive concert touring experience: the Euroorchestries International Youth Orchestra Festival in Russia (2007) and France (2008). In 2012, UYSO took part in Young Euro Classic-2012 in Berlin, being the only orchestra representing Russia.
МАНГЕЙМСКИЙ ФИЛАРМОНИЧЕСКИЙ ОРКЕСТР (ñòð. 32)
MANNHEIM PHILHARMONIC ORCHESTRA (ð. 32)
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ЭНХЭ
ENKHE
Âûïóñêíèê Óðàëüñêîé êîíñåðâàòîðèè ïî äâóì ñïåöèàëüíîñòÿì: «âèîëîí÷åëü» è «ñèìôîíè÷åñêîå äèðèæèðîâàíèå». Ïîòîìñòâåííûé äèðèæåð. Ëàóðåàò IV Ìåæäóíàðîäíîãî êîíêóðñà èìåíè Ñ. Ïðîêîôüåâà.  íàñòîÿùåå âðåìÿ – äèðèæåð Óðàëüñêîãî ôèëàðìîíè÷åñêîãî îðêåñòðà, ïðåäñòàâëÿþùèé áîëåå 20 ïðîãðàìì â ñåçîíå, ñîòðóäíè÷àþùèé ñ èçâåñòíûìè ñîëèñòàìè ñîâðåìåííîñòè. Ñ 2007 ãîäà – ãëàâíûé äèðèæåð Óðàëüñêîãî ìîëîäåæíîãî ñèìôîíè÷åñêîãî îðêåñòðà. Ïîä óïðàâëåíèåì Ýíõý ÓÌÑÎ ïðåäñòàâëÿåò äâå àáîíåìåíòíûå ñåðèè, ó÷àñòâóåò â ïðîñâåòèòåëüñêèõ ïðîãðàììàõ äëÿ âóçîâ Åêàòåðèíáóðãà è áëàãîòâîðèòåëüíûõ ïðîåêòàõ äëÿ äåòñêèõ äîìîâ Ñâåðäëîâñêîé îáëàñòè, âûñòóïàåò íà ìåæäóíàðîäíûõ ôåñòèâàëÿõ â Ðîññèè è çà ðóáåæîì.
Enkhe is a graduate of the Ural Conservatory where he majored in the cello and symphonic conducting. He descended from a family of conductors. He is an awardee of the Fourth Prokofiev International Competition. At present, he is a conductor of the Ural Philharmonic Orchestra presenting more than 20 programs during the concert season; he works with famous modern soloists. In 2007 he was appointed the principal conductor of the Ural Youth Symphony orchestra. Under his directorship, UYSO gives concerts in two subscription programs, participates in educational programs for higher schools of Ekaterinburg and in charitable projects for orphanages of the Sverdlovsk Region; participates in international festivals in Russia and other countries.
БОЯН ВИДЕНОВ (ñòð. 33)
BOIAN VIDENOFF (ñòð. 33)
ДАНГ ТХАЙ ШОН
DANG THAI SON
Âñåìèðíî èçâåñòíûé âüåòíàìñêèé ïèàíèñò. Ó÷èëñÿ â Ìîñêîâñêîé êîíñåðâàòîðèè ó Â. Íàòàíñîíà è Ä. Áàøêèðîâà. Âûøåë íà ìèðîâóþ ìóçûêàëüíóþ àðåíó â 1980 ãîäó, êîãäà åìó ïðèñóäèëè Ïåðâûé ïðèç íà X Ìåæäóíàðîäíîì ôîðòåïèàííîì êîíêóðñå èì. Øîïåíà â Âàðøàâå. Âïåðâûå îäíî èç ëó÷øèõ ìåæäóíàðîäíûõ ñîðåâíîâàíèé áûëî âûèãðàíî àçèàòñêèì ïèàíèñòîì. Âûñòóïàë áîëåå ÷åì â ñîðîêà ñòðàíàõ ìèðà, â òàêèõ çàëàõ êàê Lincoln Center (ÍüþÉîðê), Barbican Center (Ëîíäîí), Salle Pleyel (Ïàðèæ), Herculessaal (Ìþíõåí), Musikverein (Âåíà), Concertgebouw (Àìñòåðäàì), Îïåðíûé òåàòð (Ñèäíåé), Suntory Hall (Òîêèî). Èãðàë ñ îðêåñòðàìè ìèðîâîãî êëàññà, âõîäèë â ñîñòàâ æþðè ïðåñòèæíûõ ìóçûêàëüíûõ êîíêóðñîâ. Âûñòóïàë ñ òàêèìè äèðèæåðàìè, êàê ñýð Í. Ìàððèíåð, Ï. Öóêêåðìàí, Ì. ßíñîíñ, È. Ôèøåð, Â. Ñïèâàêîâ, Ä. Êèòàåíêî, Ä. Ëàêðàí è äðóãèìè.  îáëàñòè êàìåðíîé ìóçûêè ñîòðóäíè÷àë ñ Îêòåòîì Áåðëèíñêîé ôèëàðìîíèè, Ñòðóííûì êâàðòåòîì Ñìåòàíû, Á. Òàêóýëëîì, Ö. Öóöóìè, Ï. Öóêêåðìàíîì, Á. Áåëêèíûì, É. Ñóêîì, À. Ðóäèíûì, À. Ãàâðèëîâûì. Ñäåëàë çàïèñè äëÿ ôèðì «Deutsche Grammophon», «Ìåëîäèÿ», Polskie Nagrania, CBS Sony. Äàåò ìàñòåðêëàññû è ãàñòðîëèðóåò ïî âñåìó ìèðó.
Dang Thai Son is an internationally acclaimed Vietnamese pianist. He studied at the Moscow Conservatory with V. Natanson and D. Bashkirov. He was propelled to the forefront of the musical world in 1980 when he was awarded the First Prize at the 10th International Chopin Piano Competition in Warsaw. It was also the first time that a top international competition was won by an Asian pianist. He performed in more than forty countries in such halls as the Lincoln Center (New York), Barbican Center (London), Salle Pleyel (Paris), Herculessaal (Munich), Musikverein (Vienna), Concertgebouw (Amsterdam), Opera House (Sydney), and Suntory Hall (Tokyo). He has played with numerous world-class orchestras and was a member of the jury at prestigious music competitions. He has appeared under the direction of Sir N. Marriner, P. Zukerman, M. Jansons, I. Fisher, V. Spivakov, D. Kitaenko, J. Loughran, etc. In the field of chamber music, he has performed with the Berlin Philharmonic Octet, the Smetana String Quartet, B. Tuckwell, T. Tsutsumi, P. Zukerman, B. Belkin, J. Suk, A. Rudin, A. Gavrilov. He has recorded for Deutsche Grammophone, Melodya, Polskie Nagrania, CBS Sony. He gives master classes and tours all over the world.
КАМЕНСК-УРАЛЬСКИЙ
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НИЖНИЙ ТАГИЛ
СОВМЕСТНЫЙ ФЕСТИВАЛЬНЫЙ ПРОЕКТ
FESTIVAL COLLABORATIVE PROJECT
Ìàíãåéìñêèé ôèëàðìîíè÷åñêèé îðêåñòð, Ãåðìàíèÿ Äèðèæåð – Áîÿí Âèäåíîâ Óðàëüñêèé ìîëîäåæíûé ñèìôîíè÷åñêèé îðêåñòð Äèðèæåð – ëàóðåàò ìåæäóíàðîäíîãî êîíêóðñà Ýíõý Áåòõîâåí. Ñèìôîíèÿ ¹ 2 ×àéêîâñêèé. «Èòàëüÿíñêîå êàïðè÷÷èî» Ìåíäåëüñîí. Ñèìôîíèÿ ¹ 4 «Èòàëüÿíñêàÿ»
Mannheim Philharmonic Orchestra, Germany Conductor – Boian Videnoff Ural Youth Symphony Orchestra Conductor – Enkhe Beethoven. Symphony No. 2 Tchaikovsky. «Italian Capriccio» Mendelssohn. Symphony No. 4 «Italian»
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СИМФОНИЧЕСКИЙ ОРКЕСТР ЛЕЙПЦИГСКОГО РАДИО, Германия
LEIPZIG RADIO SYMPHONY ORCHESTRA, Germany
Äèðèæåð – Êðèñòèàí ßðâè ×àä Õóïñ (ñêðèïêà), ÑØÀ Áðàìñ. Àêàäåìè÷åñêàÿ òîðæåñòâåííàÿ óâåðòþðà, op. 80 Àäàìñ. Êîíöåðò äëÿ ñêðèïêè ñ îðêåñòðîì Áåòõîâåí. Ñèìôîíèÿ ¹ 8
Conductor – Kristjan Jarvi Chad Hoopes (violin), USA Brahms. Academic Festival Ouverture, op. 80 Adams. Violin Concerto Beethoven. Symphony No. 8
СИМФОНИЧЕСКИЙ ОРКЕСТР ЛЕЙПЦИГСКОГО РАДИО Îäèí èç ñòàðåéøèõ íåìåöêèõ îðêåñòðîâ. Áàçèðóåòñÿ â Ëåéïöèãå è ðàáîòàåò â öåíòðàëüíîé Ãåðìàíèè (â Ñàêñîíèè, Òþðèíãèè è ÀíãàëüòÑàêñîíèè). Âåäåò àêòèâíóþ êîíöåðòíóþ äåÿòåëüíîñòü, åæåãîäíî âûïóñêàåò íîâûå çàïèñè, ïðèíèìàåò ó÷àñòèå âî âñåõ ñôåðàõ ìóçûêàëüíîé æèçíè ñòðàíû, ÿâëÿåòñÿ ïîñòîÿííûì ó÷àñòíèêîì ðàçëè÷íûõ ðàäèî- è òåëåâèçèîííûõ ïðîåêòîâ. Êîëëåêòèâ óäåëÿåò áîëüøîå âíèìàíèå ðàáîòå ñ ìîëîäåæüþ, ñ÷èòàåò îäíîé èç ñâîèõ îñíîâíûõ çàäà÷ ïðèâëå÷åíèå íîâîãî ñëóøàòåëÿ ê êëàññè÷åñêîé ìóçûêå; ðåàëèçóåò ìíîæåñòâî êðîññ-êóëüòóðíûõ ýêñïåðèìåíòîâ, èñïîëíÿåò ñîâðåìåííóþ ìóçûêó. Ñåãîäíÿ Ñèìôîíè÷åñêèé îðêåñòð Öåíòðàëüíîãî ðàäèî Ãåðìàíèè èçâåñòåí âî âñåì ìèðå, åãî çàïèñè óäîñòîåíû ìíîæåñòâà ïðåñòèæíûõ ïðåìèé è íàãðàä. Êîëëåêòèâ ìíîãî ãàñòðîëèðóåò, ó÷àñòâóåò â ðàçëè÷íûõ ôåñòèâàëÿõ è ÿâëÿåòñÿ «ìóçûêàëüíûì ïîñëîì» öåíòðàëüíîé Ãåðìàíèè. Ñ 2013 ãîäà îðêåñòðîì ðóêîâîäèò Êðèñòèàí ßðâè, èìÿ êîòîðîãî ñåãîäíÿ âõîäèò â ÷èñëî ñàìûõ èçâåñòíûõ äèðèæåðîâ ìèðà.
LEIPZIG RADIO SYMPHONY ORCHESTRA The MDR Leipzig Radio Symphony Orchestra is Germanys oldest radio orchestra. The orchestra is based in Leipzig and works in Central Germany (Saxony, Thuringia and Saxony-Anhalt). It has a very active concert life, producing annually new recordings, participating in musical life of the country, being a regular participant of different radio and TV broadcasting projects. The orchestra maintains close connection with young people; one of its main objectives is to inspire new audiences for classical music. The orchestra implements numerous cross-cultural projects and plays modern music. Today, the MDR Leipzig Radio Symphony Orchestra is enjoying worldwide fame; its recordings received many prestigious awards and prizes. The orchestra gives concerts in different cities and countries; it participates in different music festivals and is seen as «a musical ambassador» for Central Germany. Since 2013 the orchestra has been conducted by Kristjan Jarvi, one of the most globally known conductors.
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КРИСТИАН ЯРВИ
KRISTJAN JARVI
Ðîäèëñÿ â Ýñòîíèè, âûðîñ â ÑØÀ. Åãî èìÿ – ñèíîíèì õóäîæåñòâåííîãî ðàçíîîáðàçèÿ. Áëèñòàòåëüíûé ïèàíèñò, èñêëþ÷èòåëüíî âîñòðåáîâàííûé äèðèæåð. Ðåãóëÿðíî âûñòóïàåò ñ ëó÷øèìè ñèìôîíè÷åñêèìè êîëëåêòèâàìè ìèðà.  êîíöåðòàõ îáúåäèíÿåò òðàäèöèîííûé ðåïåðòóàð ñ îðèãèíàëüíûìè ïðîãðàììàìè ñîâðåìåííîé ìóçûêè. Ñîòðóäíè÷àåò ñ âåäóùèìè êëàññè÷åñêèìè è äæàçîâûìè ìóçûêàíòàìè. ßâëÿåòñÿ îñíîâàòåëåì è äèðèæåðîì íüþ-éîðêñêîãî àíñàìáëÿ «Àáñîëþò» è Áàëòèéñêîãî ìîëîäåæíîãî îðêåñòðà, ñ êîòîðûì â 2009 ãîäó âûñòóïàë íà îòêðûòèè Áðåìåíñêîãî ìóçûêàëüíîãî ôåñòèâàëÿ è íà ìóçûêàëüíîì ôåñòèâàëå â Óçíàìå, à òàêæå ãàñòðîëèðîâàë ïî ñòðàíàì Áàëòèè. Îäèí èç îðãàíèçàòîðîâ ïðîãðàììû ýñòîíñêèõ äåòñêèõ äîìîâ «Muusikaselts». Êðèñòèàí ßðâè áûë èíèöèàòîðîì ñîçäàíèÿ áîëåå ñîòíè íîâûõ ïðîèçâåäåíèé. Çàïèñàë 25 àëüáîìîâ, ñíèñêàâøèõ ìíîæåñòâî íàãðàä. Ñðåäè íèõ – «Ãðýììè» («Çà ëó÷øåå èñïîëíåíèå îïåðû») è Ïðåìèÿ íåìåöêîé êðèòèêè («Çà ëó÷øèé àëüáîì»).
Kristjan Jarvi was born in Estonia and raised in the USA. His name is synonymous with artistic and cultural diversity. He is a distinguished pianist and exceptionally sought-after conductor. He gives concerts with the best symphony orchestras of the world. In his concerts he combines the traditional repertoire and creatively different programs of modern music. He collaborates with the leading classical and jazz musicians. He is the Artistic Advisor to the Basel Chamber Orchestra, Founder and Music Director of New Yorks Absolute Ensemble and the Baltic Youth Orchestra, which in 2009 opened the Bremen Music Festival, took part in the Usedom Music Festival and toured the Baltic Sea Nations. He is one of the cofounders of the Muusikaselts Estonian Orphanage Program. K. Jarvi has spearheaded more than one hundred new compositions. He has 25 albums recorded, all of them received numerous awards, including the Grammy Prize for Best Opera Performance and the Prize of the German critics for Best Album.
ЧАД ХУПС
CHAD HOOPES
Ó÷èëñÿ â Ìóçûêàëüíîì óíèâåðñèòåòå Êëèâëåíäà, Íàöèîíàëüíîì öåíòðå èñêóññòâ â Îòòàâå è Èíñòèòóòå Õåéôåöà. Âïåðâûå íà áîëüøóþ ñöåíó âûøåë íà ôåñòèâàëå â Òîñêàíå (Èòàëèÿ), ãäå åãî èñïîëíèòåëüñêîå ìàñòåðñòâî ïîëó÷èëî âûñîêóþ îöåíêó ìóçûêàëüíîé îáùåñòâåííîñòè. Ïîáåäà íà Þíîøåñêîì êîíêóðñå èìåíè È. Ìåíóõèíà ïîëîæèëà íà÷àëî ãàñòðîëÿì 18-ëåòíåãî àìåðèêàíñêîãî ñêðèïà÷à ïî âñåìó ìèðó. Îí ñîòðóäíè÷àåò ñ êðóïíåéøèìè îðêåñòðàìè, ÿâëÿåòñÿ ïîñòîÿííûì ó÷àñòíèêîì ìóçûêàëüíûõ ôåñòèâàëåé è òàêèõ ìàñøòàáíûõ òåëåïðîåêòîâ, êàê «CBS Early Show» è NBC affiliate station WKYC â Êëèâëåíäå, NPR station WCLV â Îãàéî è øîó «Æèâîé çâóê â Êàðíåãè-õîëë» íà òåëåêàíàëå Public Broadcasting Service.  íàñòîÿùåå âðåìÿ æèâåò â Êëèâëåíäå, èãðàåò íà ñêðèïêå Ñòðàäèâàðè 1713 ãîäà.  îêòÿáðå 2013 âûéäóò ïåðâûå çàïèñè ñêðèïà÷à, êîòîðûé â 2012 ãîäó ïîäïèñàë êîíòðàêò ñ ôðàíöóçñêîé çâóêîçàïèñûâàþùåé êîìïàíèåé «Naive».
Chad Hoopes studied at the Cleveland Institute of Music, Ottawas National Art Center and the Heifetz Institute. He debuted at the Tuscan Sun Festival (Italy), where his performance art was highly appreciated by the audience and praised by musical community. He has been appearing with numerous ensembles throughout the world since the age of 18 when he won the first prize at the Ye. Menuhin International Violin Competition of Young Performers. He works with the largest international orchestras, takes part in music festivals and in such large-scale TV projects as CBS Early Show and NBC affiliate station WKYC in Cleveland, NPR station WCLV in Ohio, Live at Carnegie Hall show broadcast on the Public Broadcasting Service channel. At present, Chad Hoopes lives in Cleveland, plays the 1713 Antonio Stradivari. In October 2013 music lovers will be able to hear the first recordings of the violinist who signed the contract with the French record company NAIVE in 2012.
К О М П О З И Т О Р ДЖОН АДАМС
CO M P OSER JOHN ADAMS
Ðîäèëñÿ â 1947 ãîäó â Âóñòåðå (øòàò Ìàññà÷óñåòñ, ÑØÀ).  1971 ãîäó îêîí÷èë Ãàðâàðäñêèé óíèâåðñèòåò, ïàðàëëåëüíî èãðàÿ íà êëàðíåòå â Áîñòîíñêîì ñèìôîíè÷åñêîì îðêåñòðå.  1972-1982 ãîäàõ ïðåïîäàâàë â êîíñåðâàòîðèè Ñàí-Ôðàíöèñêî, ñ 1978 ãîäà – êîíñóëüòàíò ñèìôîíè÷åñêîãî îðêåñòðà ÑàíÔðàíöèñêî. Âîçãëàâëÿë ðÿä ôåñòèâàëåé. Ëàóðåàò Ïóëèòöåðîâñêîé ïðåìèè, ÷åòûðåõêðàòíûé ëàóðåàò ïðåìèè «Ãðýììè», ïî÷åòíûé äîêòîð ÑåâåðîÇàïàäíîãî, Ãàðâàðäñêîãî è Éåëüñêîãî óíèâåðñèòåòîâ. Ñðåäè åãî íàèáîëåå èçâåñòíûõ ïðîèçâåäåíèé «Ó÷åíèå î ãàðìîíèè» (1985), «Ãàðìîíèóì» (1991), «Íàèâíàÿ è ñåíòèìåíòàëüíàÿ ìóçûêà» (1998) äëÿ îðêåñòðà, îðàòîðèÿ «Äèòÿ» (2000), îïåðû «Íèêñîí â Êèòàå» (1987), «ß ñìîòðåë â ïîòîëîê è óâèäåë íåáî» (1991), «Ñìåðòü Êëèíãõîôôåðà» (1995), «Àòîìíûé äîêòîð» (2005).  2013 ãîäó íàïèñàí êîíöåðò äëÿ ñàêñîôîíà ñ îðêåñòðîì.
Was born in 1947 in Worcester, Massachusetts. In 1971 he graduated from Harvard University, while being a clarinetist for the Boston Symphony Orchestra. In 1972– 1982 he taught at the San Francisco Conservatory of Music; in 1978 he was appointed a music consultant to the San Francisco Symphony Orchestra. He was the music director of a number of festivals. He was awarded the Pulitzer Prize; he is a four-time winner of the Grammy Award; he was awarded an honorary doctorate by the Northwestern, Harvard and Yale universities. His bestknown works include «Harmonium» (1991), «Harmonielehre» (Theory of Harmony) (1985), «Naive and Sentimental Music» (1998) for orchestra, oratorio «El Niño» (2000), the opera «Nixon in China» (1987), «I Was Looking at the Ceiling and Then I Saw the Sky» (1991), «The Death of Klinghoffer» (1995), «Doctor Atomic» (2005). In 2013 John Adams composed a concerto saxophone and orchestra.
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ПОСВЯЩЕНИЕ БЕНДЖАМИНУ БРИТТЕНУ Óðàëüñêèé àêàäåìè÷åñêèé ôèëàðìîíè÷åñêèé îðêåñòð Ãëàâíûé äèðèæåð è õóäîæåñòâåííûé ðóêîâîäèòåëü – Äìèòðèé Ëèññ Ñèìôîíè÷åñêèé õîð Ñâåðäëîâñêîé ôèëàðìîíèè Õóäîæåñòâåííûé ðóêîâîäèòåëü – çàñëóæåííûé äåÿòåëü èñêóññòâ Ðîññèè Âåðà Äàâûäîâà Êàïåëëà ìàëü÷èêîâ è þíîøåé Ñâåðäëîâñêîé ãîñóäàðñòâåííîé äåòñêîé ôèëàðìîíèè Õóäîæåñòâåííûé ðóêîâîäèòåëü – ëàóðåàò ìåæäóíàðîäíûõ êîíêóðñîâ Âÿ÷åñëàâ Êóëüìàìåòüåâ Õàíñ âàí äåð Çàíäåí (âàëòîðíà), Íèäåðëàíäû Êýòðèí Áðîäåðèê (ñîïðàíî), Ìýäåëèí Øîó (ìåööî-ñîïðàíî), Ìàðê Óàéëüä (òåíîð), Âåëèêîáðèòàíèÿ Áðèòòåí. Ñåðåíàäà äëÿ òåíîðà, âàëòîðíû è ñòðóííûõ (ïåðâîå èñïîëíåíèå â Åêàòåðèíáóðãå). «Âåñåííÿÿ ñèìôîíèÿ» (ïåðâîå èñïîëíåíèå â Ðîññèè)
H’OMMAGE BENJAMIN BRITTEN Ural Philharmonic Orchestra Chief Conductor and Artistic Director – Dmitry Liss Ural Symphonic Choir Artistic Director – Vera Davydova Chapel of boys and young men of Sverdlovsk State Children Philharmonic Choirs Art Director and Conductor – Vyacheslav Kulmametev Hans van der Zanden (horn), Netherlands Katherine Broderick (soprano), Madeleine Shaw (mezzo), Mark Wilde (tenor), UK Britten. «Serenade» for tenor, horn and strings (first performance in Yekaterinburg). «Spring Symphony» (first performance in Russia)
УРАЛЬСКИЙ АКАДЕМИЧЕСКИЙ ФИЛАРМОНИЧЕСКИЙ ОРКЕСТР (ñòð. 22) URAL PHILHARMONIC ORCHESTRA (p. 22) ДМИТРИЙ ЛИСС (ñòð. 23) DMITRY LISS (ð. 23)
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КЭТРИН БРОДЕРИК
KATHERINE BRODERICK
Âûïóñêíèöà Íàöèîíàëüíîé îïåðíîé ñòóäèè Ëîíäîíà (2002). Ñòàæèðîâàëàñü â Øêîëå ìóçûêè è äðàìû â Ãâèëäõîëå, Êîðîëåâñêîì êîëëåäæå ìóçûêè â Ëîíäîíå è Âûñøåé øêîëå ìóçûêè è òåàòðà èìåíè Ô. Ìåíäåëüñîíà â Ëåéïöèãå. Òâîð÷åñêèé äåáþò ïåâèöû ñîñòîÿëñÿ â 2007 ãîäó, êîãäà îíà èñïîëíèëà ïàðòèþ Âîãëèíäû â «Ãèáåëè áîãîâ» Ð. Âàãíåðà ñîâìåñòíî ñ Ñèìôîíè÷åñêèì îðêåñòðîì BBÑ ïîä óïðàâëåíèåì Ä. Ðàííèêëñà.  íàñòîÿùåå âðåìÿ – ó÷àñòíèöà ïðîåêòà Àíãëèéñêîé íàöèîíàëüíîé îïåðû, ïîääåðæèâàþùåãî ìîëîäûõ èñïîëíèòåëåé. Àêòèâíî ñîòðóäíè÷àåò ñî ìíîãèìè òåàòðàìè ìèðà, â ÷èñëå êîòîðûõ Ëåéïöèãñêèé îïåðíûé òåàòð. Ìíîãî ãàñòðîëèðóåò, âûñòóïàÿ ñ òàêèìè îðêåñòðàìè, êàê «Ìîöàðòåóì», Íàöèîíàëüíûå ñèìôîíè÷åñêèå îðêåñòðû Èñïàíèè è Ïîëüñêîãî ðàäèî, Ñèìôîíè÷åñêèé îðêåñòð Ñèíãàïóðà.
Katherine Broderick graduated from the National Opera Studio in London (2002). She had her internship at the Guildhall School of Music and Drama, at the Royal College of Music in London and Mendelssohn Hochschule in Leipzig. The singer debuted in 2007 in the role of Woglinde in Götterdammerung (Twilight of the Gods) by R. Wagner, together with the BBC Symphony Orchestra conducted by D. Runnicles. At present, she is participating in the project of the English National Opera aimed at young performers. She collaborates actively with many opera theaters worldwide, including the Leipzig Opera Theater. Her tour life is also very intense; she sings with such orchestras as Mozarteum, the National Symphony Orchestra of the Polish Radio, the National Orchestra of Spain, the Symphony Orchestra of Singapore.
МЭДЕЛИН ШОУ
MADELEINE SHAW
Âûïóñêíèöà Øîòëàíäñêîé Êîðîëåâñêîé àêàäåìèè ìóçûêè è Îïåðíîé ñòóäèè ïðè Àíãëèéñêîé íàöèîíàëüíîé îïåðå, ïîääåðæèâàþùåé ìîëîäûõ èñïîëíèòåëåé. Ïðèíèìàåò ó÷àñòèå â ñïåêòàêëÿõ òåàòðîâ Âåëèêîáðèòàíèè è ñòðàí Åâðîïû: Êîâåðíò Ãàðäåí â Ëîíäîíå è Opera North â Ëèäñå (Âåëèêîáðèòàíèÿ), ËàÌîííå (Áåëüãèÿ), Ëà Ñêàëà (Èòàëèÿ); à òàêæå ñîòðóäíè÷àåò ñî ìíîãèìè êðóïíûìè îðêåñòðàìè: Êîðîëåâñêèì ñèìôîíè÷åñêèì îðêåñòðîì Øîòëàíäèè, BBC National Orchestra of Wales è Halle Orchestra.  ðåïåðòóàðå – ïàðòèè â îïåðàõ è ïðîèçâåäåíèÿõ äðóãèõ æàíðîâ, ñðåäè êîòîðûõ «Ðåêâèåì» Ìîöàðòà, Ìåññà h-moll è «Ðîæäåñòâåíñêàÿ îðàòîðèÿ» È.Ñ. Áàõà, «Êàðòèíû ìîðÿ» Ýëãàðà, «Ðåêâèåì» Âåðäè, âîêàëüíûå ñî÷èíåíèÿ Ê. Âàéëÿ, Ñ. Áàðáåðà è äðóãèå.  êîíöåðòíîì ñåçîíå 2012-2013 ïåâèöà áûëà çàíÿòà â ïîñòàíîâêàõ «Êàðìåí» è «Íþðíáåðãñêèõ ìåéñòåðçèíãåðîâ» â Íàöèîíàëüíîì îïåðíîì òåàòðà Àíãëèè.
Madeleine Shaw is a graduate of the Scottish Royal Academy of Music and the Opera Studio supported by English National Opera. Being a participant of the program of the English National Opera that supports young performers, she takes part in performance production of theaters in Great Britain and Europe. In her repertoire, the singer has operatic roles and numerous solos in different genres, including Mozart Requiem, Ìåññà h-moll and Bach Christmas Oratorio, Elgars Sea Pictures, Verdi Requiem, vocal compositions by K. Weill, S. Barber and others. She collaborates with many large orchestras of Great Britain and Europe: the Royal Scottish Symphony Orchestra, the BBC National Orchestra of Wales and the Halle Orchestra as well as with opera theaters Royal Opera, Covent Garden, Opera North, La Monnaie, La Scala. In 2012-2013 the singer took part in performance productions of Carmen and Die Meistersinger von Nurnberg at the English National Opera Theatre.
МАРК УАЙЛЬД
MARK WILDE
Ðîäèëñÿ â Øîòëàíäèè. Ó÷èëñÿ â Óíèâåðñèòåòå Âîñòî÷íîé Àíãëèè è Êîðîëåâñêîì ìóçûêàëüíîì êîëëåäæå. Ðåãóëÿðíî âûñòóïàåò íà ïðåñòèæíûõ êîíöåðòíûõ ïëîùàäêàõ, âêëþ÷àÿ ñöåíû Ñàâîéñêîãî òåàòðà îïåðû è áàëåòà, Àíãëèéñêîé è Óýëüñêîé íàöèîíàëüíûõ îïåð, Opera North â Ëèäñå, Ëîíäîíñêîãî îïåðíîãî òåàòðà. Ñîòðóäíè÷àåò ñ îðêåñòðàìè Êîðîëåâñêèì ôèëàðìîíè÷åñêèì, Ëîíäîíñêèì ñèìôîíè÷åñêèì, Ðîññèéñêèì íàöèîíàëüíûì, ñèìôîíè÷åñêèìè êîëëåêòèâàìè Ãàííîâåðà, Ëàõòè, «Áðèòòåí Ñèíôîíè», Àêàäåìèåé ñòàðèííîé ìóçûêè è äðóãèìè. Ïîñòîÿííûé ó÷àñòíèê ìåæäóíàðîäíûõ ôåñòèâàëåé, ñðåäè êîòîðûõ Ãëàéíäáîðíñêèé, Áàêñòîíñêèé, Ýäèíáóðãñêèé, «Mostly Mozart». Èìååò çàïèñè íà ðàäèî BBC, ñòóäèÿõ çâóêîçàïèñè «Naxos», «Docker», «Hyperion». Àíãàæåìåíòû Ìàðêà Óàéëüäà â ñåçîíå 2012-2013 âêëþ÷àëè îïåðó «Ïîõîæäåíèÿ ïîâåñû» Ñåëëåìû íà Ôåñòèâàëå èì. Ýíäåëëèîíà, ïàðòèþ Ôðåäåðèêà â îïåðå «Ïèðàòû Ïåíçàíñà» Ñàëëèâàíà ñ êîíöåðòíûì îðêåñòðîì «ÐÒÅ», «Ìåññèþ» Ãåíäåëÿ ñ îðêåñòðîì Oxford Philomusica, «Ñòðàñòè ïî Èîàííó» Áàõà â Óèí÷åñòåðñêîì ñîáîðå è ó÷àñòèå â Ãàðñèíãòîíñêîì îïåðíîì ôåñòèâàëå.
Mark Wilde was born in Scotland. He studied at the University of East Anglia and the Royal College of Music. He gives concerts in the most prestigious concert venues, including the Savoy Opera and Ballet Theatre, English and Welsh National Opera Theatres, Opera North, London Opera Theatre. He collaborates with the Royal Philharmonic Orchestra, Russian National Orchestra, Hannover Orchestra, Lahti Symphony Orchestra, Britain Symphony, London Symphony Orchestra, Academy of Ancient Music, etc. He is a regular participant of international festivals, including Glyndebourne, Buxton, Edinburgh, Mostly Mozart Festival. He made recordings with the BBC radio. He collaborates with such record companies as Naxos, Docker, Hyperion. In 2012/2013 Marks performances included Sellems The Rakes Progress at the Endellion Festival, Frederic The Pirates of Penzance for the RTE Concert Orchestra, Messiah for Oxford Philomusica, St John Passion in Winchester Cathedral and participation in the Garsington Opera Festival.
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ХАНС ВАН ДЕР ЗАНДЕН
HANS VAN DER ZANDEN
Îäèí èç âåäóùèõ âàëòîðíèñòîâ Åâðîïû, ñîëèñò Áðþññåëüñêîãî ôèëàðìîíè÷åñêîãî îðêåñòðà. Ïî îêîí÷àíèè êîíñåðâàòîðèè áûë ïðèãëàøåí â Áåðëèíñêèé êàìåðíûé îðêåñòð Neues Berliner Kammerorchester, ãäå áëèñòàòåëüíî íà÷àë ñâîþ êàðüåðó êàê ñîëèñò-âàëòîðíèñò. Ñîòðóäíè÷àë ñ ñàìûìè çíàìåíèòûìè åâðîïåéñêèìè îðêåñòðàìè, ðàáîòàë ñî ìíîãèìè âûäàþùèìèñÿ äèðèæåðàìè, ñðåäè êîòîðûõ Ì. ßíñîíñ, ñýð Í. Ìàððèíåð, ß. âàí Çâåäåí, Ì. Þðîâñêèé, Ä. Þðîâñêèé, Ý. Èíáàë, Í. ßðâè, À. Âåäåðíèêîâ. Ðåïåðòóàð àðòèñòà îõâàòûâàåò ïðàêòè÷åñêè âñå ñî÷èíåíèÿ âàëòîðíîâîé ìóçûêè. ßâëÿåòñÿ èñïîëíèòåëåì ñàóíäòðåêîâ ê ðÿäó êèíîôèëüìîâ, ñðåäè êîòîðûõ «Àðòèñò», óäîñòîåííûé ïðåìèè «Îñêàð» â íîìèíàöèè «ëó÷øàÿ ìóçûêà». Èãðàåò íà âàëòîðíàõ «Alexander» è ìîäåëè «Hans van der Zanden», ñäåëàííîé ñïåöèàëüíî äëÿ íåãî çíàìåíèòûì ìàñòåðîì Ê. Ôåððîì.
Hans van der Zanden is one of the leading French-horn players of Europe, soloist of the Brussels Philharmonic Orchestra. After graduating from the conservatory he was invited as soloist to the Berlin Chamber Orchestra - Neues Berliner Kammerorchester, where he brilliantly began his career as a solo-horn player. He worked with the most famous orchestras of Europe, with such renowned conductors as M. Jansons, Sir N. Marriner. J. van Zweden, M. Jurowski, D. Jurowski, E. Inbal, N. Jaarvi, A. Vedernikov. He plays almost the entire horn repertoire. He has recorded music for a number of movies including «The Artist», which was awarded Oscar in the nomination «Best Music». Hans van der Zanden plays a horn build by firm Alexander and a customized horn, model «Hans van der Zanden» made exclusively for him by popular master Klaus Fehr.
URAL SYMPHONIC CHOIR
СИМФОНИЧЕСКИЙ ХОР СВЕРДЛОВСКОЙ ФИЛАРМОНИИ Ñîçäàí â 2008 ãîäó. Âåäåò íàñûùåííóþ êîíöåðòíóþ æèçíü, ñîòðóäíè÷àÿ ñ ìýòðàìèäèðèæåðàìè: Ê. Ïåíäåðåöêèì, Ä. Êèòàåíêî, Æ.-Ê. Êàçàäåçþñîì, Å. Áðàæíèêîì; âûåçæàÿ íà ãàñòðîëè â Ìîñêâó (Êîíöåðòíûé çàë Ìîñêîâñêîé ôèëàðìîíèè), Îìñê (2012); ó÷àñòâóÿ â êðóïíåéøèõ êóëüòóðíûõ ïðîåêòàõ, òàêèõ êàê I Ñèìôîíè÷åñêèé ôîðóì Ðîññèè â Åêàòåðèíáóðãå (2010), ôåñòèâàëü «Ôðàíöóçñêàÿ îñåíü â Åêàòåðèíáóðãå» (2010), Áàõîâñêèé ôåñòèâàëü «Bach-fest» (2011, 2012), I Ìåæäóíàðîäíûé ìóçûêàëüíûé ôåñòèâàëü «Åâðàçèÿ» (2011).  2012 ãîäó Ñèìôîíè÷åñêèé õîð ïðèíÿë ó÷àñòèå â Ìåæäóíàðîäíîì ìóçûêàëüíîì ôåñòèâàëå «La Folle Journee» (Ôðàíöèÿ), ïîëîæèâøåì íà÷àëî çàðóáåæíûì ãàñòðîëÿì õîðà.  äíè ôåñòèâàëÿ òåëåêàíàë «Arte» â ïðÿìîì ýôèðå òðàíñëèðîâàë äâà êîíöåðòà ñ ó÷àñòèåì Ñèìôîõîðà íà òåððèòîðèè Ôðàíöèè è äðóãèõ ñòðàí Åâðîïû.  ìàðòå 2013 ãîäà ñîñòîÿëîñü âûñòóïëåíèå êîëëåêòèâà â ïàðèæñêîì çàëå Ïëåéåëü.
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The Symphonic Choir was organized in 2008. The Symphonic Choir has an eventful concert life, working with such renowned conductors as K. Penderetsky, D. Kitaenko, J.-C. Casadesus, E. Brazhnik, going on tours to Moscow (the Concert Hall of the Moscow Philharmonic), Omsk (2012), taking part in the major cultural projects such as the Symphonic Forum of Russia which was held in Ekaterinburg (2010), the festival French Autumn in Ekaterinburg (2010), the Bach Festival «Bachfest» (2011, 2012), the First Eurasian International Music Festival (2011). In 2012, the Symphonic Choir took part in the International Music Festival – La Folle Journee (France), which was its first-time experience in guest-performance outside Russia. During the festival, the Arte TV channel broadcast live two concerts with participation of the Symphonic Choir for audiences in France and other countries of Europe. In March 2013, the choir had a performance in La Salle Pleyel in Paris.
ВЕРА ДАВЫДОВА
VERA DAVYDOVA
Îêîí÷èëà Óðàëüñêóþ êîíñåðâàòîðèþ è àññèñòåíòóðóñòàæèðîâêó êîíñåðâàòîðèè, ãäå ïðåïîäàâàëà äî 2007 ãîäà. Íå ïðåðûâàÿ ïåäàãîãè÷åñêîé äåÿòåëüíîñòè, â 1990 ãîäó ñòàëà ãëàâíûì õîðìåéñòåðîì Åêàòåðèíáóðãñêîãî òåàòðà îïåðû è áàëåòà, ÷òî, ïî ìíåíèþ ìóçûêàëüíîé îáùåñòâåííîñòè ãîðîäà, çàìåòíî èçìåíèëî ðîëü è ìåñòî õîðà â òåàòðàëüíîì «îðãàíèçìå». Ïðåññà ïîñòîÿííî îòìå÷àëà ðàáîòó õîðà êàê áåçóñëîâíîå óêðàøåíèå îïåðíûõ ïîñòàíîâîê.  1997 ãîäó ñòàëà îáëàäàòåëåì ïðåìèè Ñîþçà òåàòðàëüíûõ äåÿòåëåé Ðîññèè çà ïîñòàíîâêó «Ñêàçàíèÿ î íåâèäèìîì ãðàäå Êèòåæå» Ðèìñêîãî-Êîðñàêîâà, à â ìàðòå 2000 ãîäà – Ãóáåðíàòîðñêîé ïðåìèè çà ó÷àñòèå â ïîñòàíîâêå îïåðû ×àéêîâñêîãî «Ìàçåïà». Òâîð÷åñòâî Âåðû Äàâûäîâîé íàøëî ñâîå îòðàæåíèå è â äèñêîãðàôèè (3 àëüáîìà: «Ëþáîâíûé íàïèòîê» Äîíèöåòòè, «Ñîðî÷èíñêàÿ ÿðìàðêà» Ìóñîðãñêîãî, «Êèòåæ» Ðèìñêîãî-Êîðñàêîâà).  2001 ãîäó ïîëó÷èëà çâàíèå Çàñëóæåííîãî äåÿòåëÿ èñêóññòâ ÐÔ. Ñ 2007 ãîäà æèâåò è ðàáîòàåò â Ìîñêâå, ãäå ñòàëà ïðîôåññîðîì Ìîñêîâñêîãî èíñòèòóòà ìóçûêè èìåíè À.Ã. Øíèòêå. Ñ 2008 ãîäà – õóäîæåñòâåííûé ðóêîâîäèòåëü Ñèìôîíè÷åñêîãî õîðà Ñâåðäëîâñêîé ôèëàðìîíèè.
Vera Davydova graduated from the Ural Conservatory and completed a conservatory assistantship-internship course; she taught at the Conservatory till 2007. In 1990, without interrupting her teaching work, Vera Davydova was invited to work as the principal choirmaster at the Ekaterinburg Opera and Ballet Theater, which in the opinion of the musical public of the city, repositioned and enhanced the significance of the choir in the life of the theater. The work of the choir was always praised by the press as an unquestionable adornment of opera performances. In 1997, V. Davydova was awarded by the Theater Union for the staging of The Legend of the Invisible City of Kitezh, and in March 2000 she received the Governors Award for her participation in the staging of Mazepa by Tchaikovsky. The creative work of the choirmaster is represented in the music collection (3 albums with recordings of «The Elixir of Love» by Donizetti, «The Sorochinsky Fair» by Mussorgsky, and «Kitezh» by Rimsky-Korsakov). In 2001, V. Davydova was awarded the title of the Honored Artist of the Russian Federation. Since 2007 Vera Davydova has been living and working in Moscow. She is a professor of the Schnittke Moscow State Institute of Music, and since January 2008 she has been the art director of the Symphony Choir of the Sverdlovsk Philharmonic.
CHAPEL OF BOYS AND YOUNG MEN OF SVERDLOVSK STATE CHILDREN PHILHARMONIC
КАПЕЛЛА МАЛЬЧИКОВ И ЮНОШЕЙ СВЕРДЛОВСКОЙ ГОСУДАРСТВЕННОЙ ДЕТСКОЙ ФИЛАРМОНИИ Êàïåëëà ìàëü÷èêîâ è þíîøåé, îäèí èç ïåðâûõ êîëëåêòèâîâ Ñâåðäëîâñêîé äåòñêîé ôèëàðìîíèè, ñîçäàíà â 1979 ãîäó.  åå ñîñòàâå – ìàëü÷èêè è þíîøè îò 4 äî 20 ëåò.  íàñòîÿùåå âðåìÿ Êàïåëëîé ðóêîâîäèò Âÿ÷åñëàâ Êóëüìàìåòüåâ. Êîëëåêòèâ, ïðîäîëæàþùèé òðàäèöèè ðóññêîé õîðîâîé ïåâ÷åñêîé øêîëû, ÿâëÿåòñÿ ëàóðåàòîì ìåæäóíàðîäíûõ êîíêóðñîâ è ôåñòèâàëåé â Áåëüãèè, Áîëãàðèè, Ãåðìàíèè, Ãîëëàíäèè, Ãðåöèè, Ôðàíöèè, ßïîíèè, ×èëè, Óêðàèíå.  2012 ãîäó Êàïåëëà ìàëü÷èêîâ è þíîøåé ñòàëà ëàóðåàòîì I ïðåìèè ñðàçó â äâóõ íîìèíàöèÿõ («äóõîâíàÿ» è «ñâåòñêàÿ» ìóçûêà) Ìåæäóíàðîäíîãî ôåñòèâàëÿ-êîíêóðñà õîðîâ è âîêàëüíûõ àíñàìáëåé «Ñëàâüñÿ!» â Íåñåáðå (Áîëãàðèÿ). Êîëëåêòèâ âåäåò àêòèâíóþ êîíöåðòíóþ äåÿòåëüíîñòü â Åêàòåðèíáóðãå è Ñâåðäëîâñêîé îáëàñòè, óñïåøíî ñîòðóäíè÷àåò ñ ïðîôåññèîíàëüíûìè õîðàìè, îðêåñòðàìè è âåäóùèìè ñîëèñòàìè ãîðîäà. Þíûå ïåâöû âûñòóïàëè íà òàêèõ ñöåíàõ, êàê Êîíöåðòíûé çàë «Ðîññèÿ» è Êðåìëåâñêèé äâîðåö ñúåçäîâ â Ìîñêâå, Äîìñêèé ñîáîð â Ðèãå, Òåàòð îïåðû è áàëåòà â Òáèëèñè. Êîíöåðòû õîðà çàïèñàíû íà Öåíòðàëüíîì òåëåâèäåíèè.
The chapel of boys and young men, one of the first groups of Children’s Philharmonic, was founded in 1979. Its performers are boys and young men from 4 to 20 years old. At present, the chapel is directed by Vyacheslav Kulmametyev. The chapel continues the tradition of Russian school of choral singing; it is an awardee of international competitions and festivals in Belgium, Bulgaria, Germany, Holland, Greece, France, Japan, Chile, Ukraine. In 2012, the chapel of boys and young men won the First Prize in two nominations, sacred and secular music, at the International festival competition of choirs and vocal ensembles «Slavsya!» in Nesebr (Bulgaria). The choir has an eventful concert life in Ekaterinburg and the Sverdlovsk Region; it collaborates successfully with professional choirs and the leading soloists of the city. The young singers has given concerts in such venues as the Rossiya Concert Hall and the Kremlin Palace of Congresses in Moscow, Dome Cathedral in Riga, Opera and Ballet Theater in Tbilisi. Their performances were recorded by the Central Television.
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12.10
СПЕЦИАЛЬНЫЙ ПРОЕКТ ФЕСТИВАЛЯ «ВЕЛИКИЙ ШЕЛКОВЫЙ ПУТЬ»
АНСАМБЛЬ МУГАМАТИСТОВ, Азербайджан:
MUGHAMATIST’S ENSEMBLE, Azerbaijan Republic:
çàñëóæåííûé àðòèñò Ðåñïóáëèêè Àçåðáàéäæàí Ýëüøàí Ìàíñóðîâ (êÿìàí÷à), Àëåêïåð Àëåêïåðîâ (òàð), Àáóçåð Ãþëàëèåâ (áàëàáàí, çóðíà), ëàóðåàò I ïðåìèè Ìåæäóíàðîäíîãî êîíêóðñà ìóãàìà â Áàêó Ýòèðàì Ãóñåéíîâ (âîêàë), Ðàìèí Àáäóëëàåâ (íàãàðà), Àðçó Àëèåâà (âîêàë), Òðàäèöèîííûå àçåðáàéäæàíñêèå ìóãàìû, íàðîäíûå ïåñíè, íàöèîíàëüíûå òàíöåâàëüíûå ìåëîäèè
Elshan Mansurov (kyamancha), Alekper Alekperov (tar), Abuser Gulaliev (balaban, zurna), Etiram Guseinov (voice), Ramin Abdullayev (nagara), Arzu Aliyeva (singer) Traditional Azerbaijan mugham, folk songs and national dance tunes
АНСАМБЛЬ МУГАМАТИСТОВ
MUGHAMATIST’S ENSEMBLE
Óíèêàëüíûé òâîð÷åñêèé êîëëåêòèâ, îáúåäèíÿþùèé øåñòü ìóçûêàíòîâ, èñïîëíèòåëåé íà íàöèîíàëüíûõ àçåðáàéäæàíñêèõ èíñòðóìåíòàõ, êàæäûé èç êîòîðûõ – ñîëèñò. Àíñàìáëü ïðåçåíòóåò óíèêàëüíûé ïëàñò àçåðáàéäæàíñêîé êóëüòóðû, ñîõðàíÿåò åå òðàäèöèè è çâó÷àíèå ñòàðèííûõ íàöèîíàëüíûõ èíñòðóìåíòîâ. Ó÷àñòíèêè: Àëåêïåð Àëåêïåðîâ – ëàóðåàò ìåæäóíàðîäíûõ êîíêóðñîâ è ôåñòèâàëåé, ïðåïîäàâàòåëü Íàöèîíàëüíîé êîíñåðâàòîðèè Àçåðáàéäæàíà; Àðçó Àëèåâà – ëàóðåàò ìåæäóíàðîäíûõ êîíêóðñîâ è ôåñòèâàëåé, ñîëèñòêà Ãîñóäàðñòâåííîãî òåàòðà îïåðû è áàëåòà èì. Ì.Ô. Àõóíäîâà; Ýõòèðàì Ãóñåéíîâ – ëàóðåàò ìåæäóíàðîäíûõ êîíêóðñîâ ìóãàìà, ìàãèñòð Àçåðáàéäæàíñêîé íàöèîíàëüíîé êîíñåðâàòîðèè; Ðàìèí Àáäóëëàåâ – ó÷àñòíèê ìíîãèõ ìåæäóíàðîäíûõ êîíêóðñîâ è ôåñòèâàëåé ìóãàìà; Àáóçåð Ãþëàëèåâ; Ýëüøàí Ìàíñóðîâ – õóäîæåñòâåííûé ðóêîâîäèòåëü êîëëåêòèâà, çàñëóæåííûé àðòèñò Àçåðáàéäæàíà, äîöåíò Íàöèîíàëüíîé êîíñåðâàòîðèè Àçåðáàéäæàíà, ëàóðåàò Ïåðâîãî Ìåæäóíàðîäíîãî êîíêóðñà èì. Óçåèðà Ãàäæèáåêîâà.
This uniquely creative group consists of six musicians who play traditional Azerbaijani instruments, each of whom is a soloist. The ensemble presents a unique stratum of Azerbaijani culture that preserves its traditions as well as the sound of its age-old traditional instruments. The members are: Alekper Alekperov – who has won international competitions and festivals and is an instructor at the Azerbaijan National Conservatory; Arzu Aliyeva – who has won international competitions and festivals and is a soloist with the Akhundov Azerbaijan State Academic Opera and Ballet Theater; Ekhtiram Guseynov – who has won international Mugham competitions and is a master with the Azerbaijan National Conservatory; Ramin Abdullayev – who has taken part in many international Mugham competitions and festivals; Abuzer Gyulaliyev; Elshan Mansurov - the ensemble’s artistic director, an Honored Artist of Azerbaijan, an assistant professor at the Azerbaijan National Conservatory, and the winner of the First International Gadzhibekov Competition.
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СПЕЦИАЛЬНЫЙ ПРОЕКТ ФЕСТИВАЛЯ «ВЕЛИКИЙ ШЕЛКОВЫЙ ПУТЬ»
РАФАЭЛЬ ДЕ УТРЕРА (вокал) и АНСАМБЛЬ ФЛАМЕНКО КАНТЕ ХОНДО, Испания:
RAFAEL DE UTRERA (flamenco singer) and FLAMENCO ENSEMBLE CANTE JONDO, Spain:
Êàðìåí Ëîñàíî (òàíåö), Õîñå Êåâåäî «Áîëèòà» (ãèòàðà), Õåñóñ Ãåððåðî (ãèòàðà), Ïàêèòî Ãîíñàëåñ (óäàðíûå)
Carmen Lozano (flamenco dancer), Jose Quevedo «Bolita» (guitar), Jesus Guerrero (guitar), Paquito Gonzalez (percussion)
РАФАЭЛЬ ДЕ УТРЕРА Ðîäèëñÿ â 1973 ãîäó. Ïðîôåññèîíàëüíóþ ìóçûêàëüíóþ êàðüåðó íà÷àë íà ñöåíå «Los Gallos» â Ñåâèëüå. Ó÷àñòèå â ôåñòèâàëå «Flamenco Bienal of Flamenco Arts» (1998) ïîçâîëèëî Ðàôàýëþ çàíÿòü âèäíîå ìåñòî â ìèðå ôëàìåíêî. Ïîáåäèë íà êîíêóðñå Ôåñòèâàëÿ ôëàìåíêî â Íèìå (Ôðàíöèÿ). Ñîòðóäíè÷àë ñ òàêèìè çíàìåíèòûìè ãèòàðèñòàìè ôëàìåíêî, êàê Òîìàòèòî è Õåðàðäî Íóíüåñ.  2000 ãîäó âûñòóïèë íà ôåñòèâàëå «Flamenco Bienal of Seville» â Ñåâèëüå è ïðèñîåäèíèëñÿ ê Ïàêî äå Ëóñèè â åãî â ìèðîâîì òóðíå. Ïðèíèìàë ó÷àñòèå â ñîçäàíèè äîêóìåíòàëüíîãî ôèëüìà î æèçíè Ïàêî äå Ëþñèè. Ìíîãî ãàñòðîëèðóåò â Åâðîïå è Ñåâåðíîé Àìåðèêå. Çàïèñàë àëüáîìû ñ òàêèìè àðòèñòàìè, êàê Õîñå Ìåðñå, Õîñå Àíòîíèî Ðîäðèãåñ, Íèíüî äå Ïóðà. Åãî ïîñëåäíèì ïðîåêòîì áûëî ñîòðóäíè÷åñòâî ñ íèäåðëàíäñêèì îðêåñòðîì Ìåòðîïîëü (Netherlands Metropole Orchestra) ïîä ðóêîâîäñòâîì Âèíñà Ìåíäîçû, ñ êîòîðûì îí çàïèñàë àëüáîì «Proyecto Lorca».
RAFAEL DE UTRERA Rafael de Utrera was born in 1973. He started his professional musical career at Los Gallos in Seville. The participation in the festival «Flamenco Bienal of Flamenco Arts» (1998) raised Rafael to prominence in the world of flamenco. Rafael is the winner of the competition at the Flamenco Festival in Nîmes (France). He collaborated with such renowned guitar players of flamenco as Tomatito and Gerardo Nunez. In 2000, he took part in Flamenco Bienal of Seville and joined Paco de Lucía in his world tour. He took part in making a documentary film about the life of Paco de Lucia. Rafael de Utrera gives many concerts in Europe and North America. He has albums recorded with such artists as Jose Merce, Jose Antonio Rodriguez, and Nino de Pura. His most recent project was work with the Netherlands Metropole Orchestra conducted by Vince Mendoza with whom Rafael had recorded the Proyecto Lorca album.
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СПЕЦИАЛЬНЫЙ ПРОЕКТ ФЕСТИВАЛЯ «ВЕЛИКИЙ ШЕЛКОВЫЙ ПУТЬ»
ПРАВОСЛАВНЫЙ ХОР «ВИЗАНТИОН», Румыния
BYZANTION CHOIR, Romania
Õóäîæåñòâåííûé ðóêîâîäèòåëü è äèðèæåð – Àäðèàí Ñèðáó Ïðàâîñëàâíûå ïåñíîïåíèÿ âèçàíòèéñêîé öåðêîâíîé òðàäèöèè
Artistic Director and Conductor – Adrain Sirbu Orthodox Byzantine chants
ПРАВОСЛАВНЫЙ ХОР «ВИЗАНТИОН»
THE BYZANTION CHOIR
Ñîçäàí â ãîðîäå ßññû (Ðóìûíèÿ) â 1997 ãîäó ïî áëàãîñëîâåíèþ Ìèòðîïîëèòà Ìîëäàâñêîãî è Áóêîâèíñêîãî Òåîôàíà ïðè ó÷àñòèè Óíèâåðñèòåòà èñêóññòâ èìåíè Äæ. Ýíåñêó. Ñ 1997 ãîäà õîð âåäåò àêòèâíóþ êîíöåðòíóþ äåÿòåëüíîñòü è ïðèíèìàåò ó÷àñòèå â òàêèõ ìóçûêàëüíûõ ôåñòèâàëÿõ, êàê Rencontres Musicales de Vezelay è Rencontres Medievales de Thoronet âî Ôðàíöèè, Spiritualita di Torino â Èòàëèè, The friends of Santorini â Ãðåöèè, Archaion Kallos â ×åõèè, Ôåñòèâàëü ïðàâîñëàâíîé ìóçûêè â Ðîññèè (Ñàíêò-Ïåòåðáóðã). Åæåãîäíî àðòèñòû õîðà ó÷àñòâóþò â áîãîñëóæåíèÿõ íà ñâÿòîé ãîðå Àôîí (Çàïàäíàÿ Ãðåöèÿ). Âîçðîæäàÿ è ñîõðàíÿÿ â ñâîåì òâîð÷åñòâå òðàäèöèè ñâÿùåííûõ ïåñíîïåíèé, õîð «Âèçàíòèîí» âíîñèò âêëàä â òûñÿ÷åëåòíþþ èñòîðèþ ìîíîäè÷åñêîãî ïåíèÿ. Ñëîæíîñòü è óðàâíîâåøåííîñòü çâó÷àíèÿ, îòñóòñòâèå èñêóññòâåííîñòè è êàêîé-ëèáî ýêñòðàâàãàíòíîñòè â ñòèëå èñïîëíåíèÿ ñîçäàþò óäèâèòåëüíûé ìóçûêàëüíûé îáðàç, î êîòîðîì ðóìûíñêèé èñòîðèê Í. Éîðãà ñêàçàë: «Âèçàíòèÿ ïîñëå Âèçàíòèè».
Currently functions in Iasi (Romania) with the blessings of His Eminence Teofan, Metropolitan of Moldavia and Bukovina, and under the auspices of the University of Art «George Enescu» Iasi. Since 1997, the Choir performs at important international music festivals (Rencontres Musicales de Vezelay and Rencontres Medievales de Thoronet in France, Spiritualita di Torino in Italy, The friends of Santorini in Greece, Archaion Kallos in the Czech republic, Summer School Orthodox Music Festival in St. Petersburg). Every year, the members of the Choir take part in the patron saints feasts at the monasteries on Mount Athos. The Byzantion choir contributes to maintaining and restoring the beauty of the sacred monody of a millenarian tradition. Complexity and sobriety as well as its lack of artificiality and extravagance reveal the musical image of what the Romanian historian Nicolae Iorga called Byzantium after Byzantium.
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АДРИАН СИРБУ
ADRIAN SIRBU
Ïîëó÷èë îáøèðíîå ñâåòñêîå è äóõîâíîå ìóçûêàëüíîå îáðàçîâàíèå â Óíèâåðñèòåòå èñêóññòâ èìåíè Äæ. Ýíåñêó, Ïðàâîñëàâíîé ñåìèíàðèè ãîðîäà Ëàçè (Ðóìûíèÿ), Êîíñåðâàòîðèè â Àôèíàõ. ßâëÿåòñÿ àâòîðîì èññëåäîâàíèé ïî òðàäèöèÿì âèçàíòèéñêîãî ïåíèÿ, à òàêæå ïåðåâîä÷èêîì ðÿäà êíèã ñ ãðå÷åñêîãî ÿçûêà íà ðóìûíñêèé, ñðåäè êîòîðûõ «Òåîðèÿ è ïðàêòèêà öåðêîâíîé ìóçûêè» è «Ãîëîñà Âèçàíòèè» Ã. Êîíñòàíòèíîó. Âåäåò àêòèâíóþ êîíöåðòíóþ äåÿòåëüíîñòü ñ õîðîì «Âèçàíòèîí», ïðèíèìàåò ó÷àñòèå â ôåñòèâàëÿõ è êîíöåðòíûõ ïðîãðàììàõ ïî âñåìó ìèðó. Ñîâìåñòíî ñ õîðîì îñóùåñòâèë çàïèñè 13 àëüáîìîâ ñ âèçàíòèéñêèìè ïåñíîïåíèÿìè, ðîæäåñòâåíñêèìè ãèìíàìè è êîëÿäêàìè. Ñ 2004 ãîäà ÿâëÿåòñÿ ïîñòîÿííûì ó÷àñòíèêîì Ãðå÷åñêîãî âèçàíòèéñêîãî õîðà íà ñâÿòîé ãîðå Àôîí, ñ 2010 – Õîðà ñðåäíåâåêîâîé ìóçûêè â Áåëüãèè. Ñ 2011 ãîäà ÿâëÿåòñÿ îðãàíèçàòîðîì Ìåæäóíàðîäíûõ ìàñòåðêëàññîâ ïî âèçàíòèéñêîé ïåâ÷åñêîé òðàäèöèè è âîçãëàâëÿåò Êóëüòóðíóþ àññîöèàöèþ «Âèçàíòèîí».
Adrian Sirbu supervisor and conductor of the Byzantion Choir, which was founded in 1997. He received a secular and spiritual education of the «George Enescu» University of the Arts, of the «St. Basil the Great» Orthodox Theological Seminary of Iasi (Romania), of the State Conservatory of Athens. He expanded his research activity by publishing several articles in specialist journals and by translating several books from Greek into Romanian, such as «The Theory and Practice of Church Music» by Georgios Konstantinou. Adrian Sirbu leads concert activities, he took part in numerous festivals and international symposiums around the world. He has edited 13 albums of byzantine music and Christmas carols. From 2004 Adrian is a member of the Greek Byzantine Choir (Athens) and from 2010 he is a member of the Medieval Music Choir of Graindelavoix (Belgium). Since 2011 he is the organizer of the International master classes on the Byzantine tradition of singing and directs the Cultural Association Byzantion.
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СПЕЦИАЛЬНЫЙ ПРОЕКТ ФЕСТИВАЛЯ «ВЕЛИКИЙ ШЕЛКОВЫЙ ПУТЬ»
АКАШ, САНДЖУ И ЛИЛА Пространство единства звука
AKASH, SANJU AND LEELA The Harmony Sound Space
Àíñàìáëü èíäèéñêîé êëàññè÷åñêîé ìóçûêè, Èíäèÿ–Ëàòâèÿ–Âåëèêîáðèòàíèÿ: Àêàø Ñåðãåé Àíöóïîâ (ñàðîä), Ñàíäæó Âèøíó Ñàõàé (òàáëà), Ëèëà Ëþäìèëà Æóðêîâà (òàìïóðà)
The Indian Classical Music Ensemble, India–Latvia–Great Britain: Akash Sergejs Ancupovs (sarod), Sandju Vishny Sagai (tabla), Leela Ludmila Zurkova (tampura)
АНСАМБЛЬ ИНДИЙСКОЙ КЛАССИЧЕСКОЙ МУЗЫКИ
THE INDIAN CLASSICAL MUSIC ENSEMBLE
Àêàø Ñåðãåé Àíöóïîâ óæå 30 ëåò ñîâåðøåíñòâóåò ìàñòåðñòâî èãðû íà ñàðîäå, óíèêàëüíîì èíäèéñêîì èíñòðóìåíòå.  2009 ãîäó îí îñíîâàë â Ðèãå Øêîëó èíäèéñêîé êëàññè÷åñêîé ìóçûêè «Ñàðàñâàòè». Ñàíäæó Âèøíó Ñàõàé â øåñòîì ïîêîëåíèè ïðåäñòàâëÿåò èñêóññòâî èãðû íà òàáëà. Âûñòóïàë â ñàìûõ ïðåñòèæíûõ êîíöåðòíûõ çàëàõ Åâðîïû, Àçèè è Àìåðèêè: â Êàðíåãè-õîëëå â Íüþ-Éîðêå, â Àëüáåðò-õîëëå â Ëîíäîíå, èãðàë íà îòêðûòèè Îëèìïèéñêèõ èãð â Ñîëò-Ëåéê-Ñèòè. Êîðîëåâà Âåëèêîáðèòàíèè Åëèçàâåòà II è ïðèíö ×àðëüç ïðèãëàøàëè Ñàíäæó äëÿ èãðû íà çàêðûòûõ êîíöåðòàõ. ßâëÿåòñÿ ðóêîâîäèòåëåì Îðêåñòðà ìóçûêàëüíîé ìîëîäåæè Þæíîé Àçèè. Âèðòóîçíàÿ èãðà òàíäåìà Àêàøà è Ñàíäæó â ñî÷åòàíèè ñ òàìïóðîé Ëèëû Ëþäìèëû Æóðêîâîé ïîëó÷èëà âûñîêèå îöåíêè ñëóøàòåëåé, êîòîðûå èìåëè âîçìîæíîñòü íàñëàäèòüñÿ èõ ìàñòåðñòâîì è îáàÿíèåì èíäèéñêèõ êëàññè÷åñêèõ ðàã.
Akash Sergei Antsupov about 30 years perfecting his mastery of the sarod, a traditional Indian instrument. In 2009 Àkash founded school of Indian classical music «Saraswati» in Riga. Sanju Vishnu Sahai being the sixth generation of Tabla players in the lineage. Sanju is an international artist and performs all over Europe, USA and Asia. His performance concert venues include: Carnegie Hall (New York), The Royal Albert Hall (London), Winter Olympics in Salt Lake City (USA) and many others. The Queen of Great Britain Elizabeth II and Prince Charles invited Sanju Sahai to perform on private concerts. Sanju is also Percussion Conductor of a unique South Asian music youth orchestra. Tandem Akasha and Sanju combined with tampura Lila Ludmilla Zhurkova received high marks audience.
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АМСТЕРДАМСКИЙ БАРОЧНЫЙ ОРКЕСТР, Нидерланды
AMSTERDAM BAROQUE ORCHESTRA, Netherlands
Õóäîæåñòâåííûé ðóêîâîäèòåëü è äèðèæåð – Òîí Êîîïìàí Âàóòåð Âåðñõþðåí (ôàãîò), Íèäåðëàíäû È.Ñ. Áàõ. Ñþèòà äëÿ îðêåñòðà ¹ 3, BWV 1068 Ìîöàðò. Êîíöåðò äëÿ ôàãîòà ñ îðêåñòðîì, ÊV 191 Ãàéäí. Ñèìôîíèÿ ¹ 103 «Ñ òðåìîëî ëèòàâð»
Artistic Director and Conductor – Ton Koopman Wouter Verschuren (bassoon), Netherlands J.S. Bach. Orchestral Suite No. 3, BWV 1068 Mozart. Concerto for bassoon and orchestra, ÊV 191 Haydn. Symphony No. 103 «The Drum-roll»
Ïðè ïîääåðæêå Ìèíèñòåðñòâà êóëüòóðû ÐÔ
АМСТЕРДАМСКИЙ БАРОЧНЫЙ ОРКЕСТР
AMSTERDAM BAROQUE ORCHESTRA
Îñíîâàí âñåìèðíî èçâåñòíûì ãîëëàíäñêèì îðãàíèñòîì, äèðèæåðîì è êëàâåñèíèñòîì Òîíîì Êîîïìàíîì â 1979 ãîäó. Âñå ó÷àñòíèêè êîëëåêòèâà – çíàìåíèòûå ìóçûêàíòû, ýêñïåðòû â îáëàñòè ñòàðèííîé ìóçûêè. Êîíöåðòû Àìñòåðäàìñêîãî áàðî÷íîãî îðêåñòðà ñ íåèçìåííûì óñïåõîì ïðîõîäÿò â Concertgebouw (Àìñòåðäàì), Theatre des Champs-Elysees (Ïàðèæ), Alter Opera (Ôðàíêôóðò), Êàðíåãè-õîëë è Ëèíêîëüí-öåíòðå (Íüþ-Éîðê), Ìþíõåíñêîé ôèëàðìîíèè.  1994 ãîäó îðêåñòð âìåñòå ñ Àìñòåðäàìñêèì áàðî÷íûì õîðîì ðåàëèçîâàë êðóïíåéøèé ïðîåêò – çàïèñü âñåõ êàíòàò È.Ñ. Áàõà, çà ÷òî áûë óäîñòîåí ïðåñòèæíîé íåìåöêîé ïðåìèè «Echo Klassik». Òàêæå êîëëåêòèâ ïðèíÿë ó÷àñòèå â çàïèñè ìíîãèõ äðóãèõ áàðî÷íûõ ñî÷èíåíèé, òàêèõ êàê «Ñòðàñòè ïî Ìàòôåþ», «Ñòðàñòè ïî Ìàðêó» è «Ìóçûêàëüíîå ïðèíîøåíèå» È.Ñ. Áàõà, îïåðà Ä. Áóêñòåõóäå «Omnia». Ñðåäè íàãðàä è ïðåìèé îðêåñòðà – Gramophone Award, Edison Award, Diapason d’Or, BBC Award, ïðåìèè èìåíè Ã. Áåðëèîçà.
Ton Koopman founded the Amsterdam Baroque Orchestra in 1979. The group consists of internationally renowned baroque specialists. The Orchestra regular guests at the major concert halls of Europe, the USA and Asia. The Amsterdam Baroque Choir was founded in 1992 and often work with Amsterdam Baroque Orchestra. In 1994 the Amsterdam Baroque Orchestra with Choir embarked upon the most ambitious recording project of the last decades: the integral recording of Bachs secular and sacred cantatas. For this extraordinary project Koopman and his ensemble received the Deutsche Schallplatten-Preis Echo Klassik. Also, the Orchestra has recorded other Baroque works, such as St. Matthew and St. Markus Passion, Bachs Cantatas, the first sixteen volumes of the Buxtehude Opera-Omnia Edition and Bachs Musical Offering. The Amsterdam Baroque Orchestra has received many prestigious awards and honors, such as Gramophone Award, Edison Award, Diapason d’Or, BBC Award and others.
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ТОН КООПМАН
TON KOOPMAN
Çíàìåíèòûé îðãàíèñò, êëàâåñèíèñò è äèðèæåð, îñíîâàòåëü Àìñòåðäàìñêîãî áàðî÷íîãî îðêåñòðà (1979) è Àìñòåðäàìñêîãî áàðî÷íîãî õîðà (1992), ïîëó÷èâøèõ âñåìèðíîå ïðèçíàíèå. Ïðîôåññîð Ãààãñêîé êîíñåðâàòîðèè. Âåäåò àêòèâíóþ êîíöåðòíóþ äåÿòåëüíîñòü êàê ñîëèñò, êîíöåðòìåéñòåð è ðóêîâîäèòåëü îðêåñòðà, ñîòðóäíè÷àåò ñî çâóêîçàïèñûâàþùèìè êîìïàíèÿìè «Erato», «Sony», «Philips» è «Deutsche Grammophon». Äîëãîå âðåìÿ áûë ãëàâíûì äèðèæåðîì Êàìåðíîãî îðêåñòðà Íàöèîíàëüíîãî ðàäèî Íèäåðëàíäîâ, à òàêæå ñîòðóäíè÷àë ñ Êîðîëåâñêèì îðêåñòðîì Êîíöåðòãåáàó (Àìñòåðäàì), Ôèëàðìîíè÷åñêèì îðêåñòðîì Ôðàíöóçñêîãî ðàäèî, îðêåñòðàìè Áîñòîíà, Êëèâëåíäà, ×èêàãî, Íüþ-Éîðêñêîé ôèëàðìîíèè è ìíîãèìè äðóãèìè. Ïðèíèìàåò ó÷àñòèå â èçäàíèè ñòàðèííîé ìóçûêè: â èçäàòåëüñòâå «Breitkopf & Hartel» ïîä åãî ðåäàêöèåé âûøëî Ïîëíîå ñîáðàíèå îðãàííûõ êîíöåðòîâ è îðàòîðèÿ «Ìåññèÿ» Ãåíäåëÿ, «Das Jungeste Gericht for Carus» Áóêñòåõóäå. ßâëÿåòñÿ îáëàäàòåëåì ïðåñòèæíîé íåìåöêîé ïðåìèè «Echo Klassik», áðèòàíñêèõ Gramophone Award è BBÑ (2008), ãîëëàíäñêèõ Silver Phonograph Prize è VSCD Classical Music Award, íîìèíàíòîì «Grammy» çà èñïîëíåíèå è çàïèñü ïîëíîãî ñîáðàíèÿ äóõîâíûõ è ñâåòñêèõ êàíòàò È.Ñ. Áàõà è ñî÷èíåíèé Ä. Áóêñòåõóäå. Ñ 2004 ÿâëÿåòñÿ Ïðåçèäåíòîì Ìåæäóíàðîäíîãî îáùåñòâà Áóêñòåõóäå, ïðîôåññîðîì Óíèâåðñèòåòà ãîðîäà Ëåéäåíà, Ïî÷åòíûì ÷ëåíîì Ëîíäîíñêîé êîðîëåâñêîé àêàäåìèè ìóçûêè, õóäîæåñòâåííûì ðóêîâîäèòåëåì ôåñòèâàëÿ «Itineraire Baroque» âî Ôðàíöèè. Çà âûäàþùèéñÿ âêëàä â ðàçâèòèå è ïîïóëÿðèçàöèþ ìóçûêè È.Ñ. Áàõà â 2006 ãîäó îáåðáóðãîìèñòðîì ãîðîäà Ëåéïöèãà íàãðàæäåí ñïåöèàëüíîé Áàõîâñêîé ìåäàëüþ.
The famous organist, harpsichordist and conductor, founded the Amsterdam Baroque Orchestra (1979) followed by the Amsterdam Baroque Choir (1992). Koopman’s extensive and impressive activities as a soloist, accompanist and conductor have been recorded on Erato, Teldec, Sony, Philips and Deutsche Grammophon. Very active as guest conductor, Koopman has worked with the most prominent orchestras of the world. Among them the Royal Concertgebouw Orchestra Amsterdam, Berlin Philharmonic, BR Orchestra in Munich, DSO Berlin, Tonhalle Orchestra Zurich, Orchestre Philharmonique de Radio France Paris, New York Philharmonic and others. Ton has been awarded the Deutsche Schallplattenpreis «Echo Klassik», the BBC Award (2008), the Prix Hector Berlioz and has been nominated for the Grammy Award (USA) and the Gramophone Award (UK). He is the President of the «International Dietrich Buxtehude Society», recording of the complete works by Dietrich Buxtehude, one of the great inspirers of the young J.S. Bach. Koopman is a professor at the Royal Conservatory in The Hague, University of Leiden and an Honorary Member of the Royal Academy of Music in London, artistic director of the French Festival «Itineraire baroque». In Leipzig he was awarded special medal J.S. Bach.
ВАУТЕР ВЕРСХЮРЕН
WOUTER VERSCHUREN
Ãëàâíûé ôàãîòèñò Àìñòåðäàìñêîãî áàðî÷íîãî îðêåñòðà, øèðîêî èçâåñòåí â Åâðîïå è ÑØÀ êàê îäèí èç ëó÷øèõ èñïîëíèòåëåé, îòäàþùèõ ïðåäïî÷òåíèå ìóçûêå ýïîõè áàðîêêî. Àêòèâíî êîíöåðòèðóåò â êà÷åñòâå ñîëèñòà ñ òàêèìè çíàìåíèòûìè êîëëåêòèâàìè, ñïåöèàëèçèðóþùèìèñÿ íà èñïîëíåíèè ñòàðèííîé ìóçûêè, êàê La Petite Bande (Ôðàíöèÿ), Àêàäåìèÿ ñòàðèííîé ìóçûêè (Àíãëèÿ), Concerto Palatino (Èòàëèÿ), Oltremontano. Ñîòðóäíè÷àåò ñî çâóêîçàïèñûâàþùèìè êîìïàíèÿìè «Sony», «Alpha», «Erat», «Antoine Marchand».  2009 ãîäó ñîâìåñòíî ñ «Challenge Records» çàïèñàë íåèçâåñòíûå ñîíàòû Íèêîëàóñà ôîí Êðóôòà, âûçâàâ âîñòîðæåííûå îòçûâû â ïðåññå ðàçíûõ ñòðàí ìèðà. Ïðåïîäàåò â Êîðîëåâñêîé êîíñåðâàòîðèè â Ãààãå è Êîíñåðâàòîðèè â Óòðåõòå. ßâëÿåòñÿ îäíèì èç îðãàíèçàòîðîâ Ôåñòèâàëÿ ñòàðèííîé ìóçûêè «Amherst Early Music Festival» è ëåòíèõ êóðñîâ â Óòðåõòå, ïîñâÿùåííûõ ìóçûêå XVI–XVII âåêîâ. Åæåãîäíî ïðîâîäèò ìíîæåñòâî ìàñòåð-êëàññîâ â Åâðîïå, ÑØÀ è íà Áëèæíåì Âîñòîêå. Îáëàäàòåëü ñïåöèàëüíîãî ãðàíòà Ôîíäà ×àðëüçà Á¸ðíè çà èññëåäîâàíèÿ ñî÷èíåíèé ñòàðèííûõ êîìïîçèòîðîâ è îòêðûòèå íåèçâåñòíûõ êîìïîçèöèé äëÿ ôàãîòà.
Regularly performs throughout Europe and the U.S.A, and is at home with repertoire ranging from the Renaissance to the Romantic, principal bassoonist of The Amsterdam Baroque Orchestra and regularly plays with other renowned period orchestras such as The Orchestra of the 18th century, La Petite Bande (France) and The Academy of Ancient Music (England), Oltremontano. He can also be heard on countless other orchestral and chamber music CDs on labels such as Sony, Alpha, Erato and Antoine Marchand. In 2009 with Challenge Records recorded unknown Sonatas by Nikolaus von Krufft. It was enthusiastically received by the international press. Wouter teaches at the Royal Conservatory in The Hague and the Utrecht Conservatoire. Together with the ensemble of ancient music Caecilia-Concert organize the summer course Fiori Musicali for 16th and 17th music in Utrecht. He regularly gives master classes in Europe, the USA and the Middle East, and coaches for such festivals as the Amherst Early Music Festival. Wouter Verschuren is also active as a researcher, with the primary aim to rediscover forgotten repertoire for dulcian and (historical) bassoon. To support this project he received a grant in 2010 from the Charles Burney Fund.
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15.10
ВЕЧЕР ФОРТЕПИАННОЙ МУЗЫКИ
PIANO RECITAL
Ôàçèë Ñàé (ôîðòåïèàíî), Òóðöèÿ Áåòõîâåí. Ñîíàòà ¹ 14 «Ëóííàÿ» Öèììåðìàí. 5 ïüåñ èç öèêëà «Enchiridion» Ñòðàâèíñêèé. «Ïåòðóøêà» Ìîöàðò. Ñîíàòà ëÿ ìàæîð, KV 331 Ñàé. 5 áàëëàä. 3 äæàçîâûå ôàíòàçèè
Fazil Say (piano), Turkey Beethoven. Sonate ¹ 14 «Moonlight» Zimmermann. 5 pieces from «Enchiridion» Stravinsky. «Petroushka» Mozart. Sonate A-dur «Alla Turca» Say. 5 ballades. 3 jazz fantasies
ФАЗИЛ САЙ
FAZIL SAY
Ðîäèëñÿ â 1970 ãîäó â Àíêàðå. Ó÷èëñÿ â Àíêàðñêîé êîíñåðâàòîðèè, çàòåì â Áåðëèíå è Äþññåëüäîðôå.  1984 ãîäó íàïèñàë ïåðâîå êðóïíîå ñî÷èíåíèå – ñîíàòó äëÿ ôîðòåïèàíî.  1987 ãîäó ñî÷èíåíèå Ñàÿ «×åðíûå ãèìíû» äëÿ ñêðèïêè è ôîðòåïèàíî çâó÷àëî íà ïðàçäíîâàíèè 750-ëåòèÿ Áåðëèíà. Ó÷àñòíèê êðóïíåéøèõ ìåæäóíàðîäíûõ ôåñòèâàëåé êàê ïèàíèñò è êîìïîçèòîð. Ñðåäè çàêàç÷èêîâ åãî ïðîèçâåäåíèé Çàëüöáóðãñêèé ôåñòèâàëü è òåàòð íà Åëèñåéñêèõ ïîëÿõ. Ïîñòîÿííî îáðàùàåòñÿ ê òóðåöêèì ñþæåòàì è òóðåöêîìó ôîëüêëîðó, ïèøåò äëÿ íàöèîíàëüíûõ èíñòðóìåíòîâ. Àâòîð òðåõ ñèìôîíèé («Ñòàìáóëüñêàÿ», «Ìåñîïîòàìèÿ», «Âñåëåííàÿ»), ïüåñû äëÿ ôîðòåïèàíî ñ îðêåñòðîì «Äóìàÿ îá Ýéíøòåéíå» (1993), îðàòîðèè «Íàçûì» (2001), Ðåêâèåìà (2003), êîíöåðòîâ äëÿ ðàçëè÷íûõ èíñòðóìåíòîâ (â òîì ÷èñëå ñêðèïè÷íîãî êîíöåðòà «1001 è îäíà íî÷ü â ãàðåìå», 2007), êèíîìóçûêè.
Was born in 1970 in Ankara. He studied at the Ankara State Conservatory, then continued his music education in Berlin and Dusseldorf. In 1984, he wrote his first large piece – a piano sonata. In 1987, Says composition «Black Hymns» for violin and piano was performed in Berlin during the celebration of its 750th anniversary. Fazil Say is a participant of major international festivals as pianist and comoser; his compositions are commissioned by the Salzburg Festival and the Theatre des Champs-Elysees. He seeks his inspiration in Turkish themes and folklore, composes music for national instruments. He is the author of three symphonies («Istanbul Symphony», «Mesopotamia», «Universe»), the opus for piano and orchestra «Thinking Einstein» (1993), the oratorio «Nazim» (2001), Requiem (2003), concertos for different instruments (including the Violin Concerto «1001 Nights in the Harem», 2007), scores for films.
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К О М П О З И Т О Р
CO M P OSER
БЕРНДТ АЛОИС ЦИММЕРМАН
BERND ALOIS ZIMMERMANN
Ðîäèëñÿ è óìåð â îêðåñòíîñòÿõ ʸëüíà (1918 – 1970). Èçó÷àë ôèëîñîôèþ, íåìåöêóþ ëèòåðàòóðó è ìóçûêó â óíèâåðñèòåòàõ ʸëüíà, Áîííà è Áåðëèíà. Ïîñëå ïðèçûâà â àðìèþ áûë íà Âîñòî÷íîì ôðîíòå, çàòåì ïåðåâåäåí âî Ôðàíöèþ, ãäå ïîçíàêîìèëñÿ ñ ïðîèçâåäåíèÿìè Ìèéî è Ñòðàâèíñêîãî. Ïîñëå âîéíû ïðåïîäàâàë â ʸëüíñêîì óíèâåðñèòåòå è â Âûñøåé øêîëå ìóçûêè ʸëüíà.  1949-1961 ãîäàõ àêòèâíûé ó÷àñòíèê Äàðìøòàäòñêèõ ëåòíèõ êóðñîâ íîâîé ìóçûêè. Ê 10-ëåòèþ êóðñîâ Öèììåðìàíîì íàïèñàíî åãî ïåðâîå ñî÷èíåíèå, öåëèêîì âûäåðæàííîå â ñåðèéíîé òåõíèêå – «Ïåðñïåêòèâû, ìóçûêà äëÿ âîîáðàæàåìîãî áàëåòà» äëÿ äâóõ ôîðòåïèàíî. Ñðåäè åãî ãëàâíûõ ïðîèçâåäåíèé îïåðà «Ñîëäàòû» (1960), «Ôîòîïòîñèñ» äëÿ îðêåñòðà (1968), «Ðåêâèåì íà ñìåðòü ìîëîäîãî ïîýòà» (1969). Óäîñòîåí ðÿäà ìåæäóíàðîäíûõ ïðåìèé.
Was born and died near Cologne (1918 – 1970). He studied philosophy, German literature and music at universities in Cologne, Bonn and Berlin. After he had been drafted into military service, he went to the Eastern Front, but then he was transferred to France where he heard compositions of Milhaud and Stravinsky. After the war, he taught at the University of Cologne and the Cologne Music High School. In 1949-1961 he took part in the Darmstadt summer courses for new music. By the 10th anniversary of the courses Zimmermann created his first composition featuring the serial music style – «Perspectives – Music for an imaginary ballet» for two pianos. His main compositions include the opera «The Soldiers» (1960), «Photoptosis» for orchestra (1968), «Requiem for a Young Poet» (1969). He was awarded a number of international prizes.
16.10
ЗАКРЫТИЕ ФЕСТИВАЛЯ
FESTIVAL CLOSING
Óðàëüñêèé àêàäåìè÷åñêèé ôèëàðìîíè÷åñêèé îðêåñòð Ãëàâíûé äèðèæåð è õóäîæåñòâåííûé ðóêîâîäèòåëü – Äìèòðèé Ëèññ Ôàçèë Ñàé (ôîðòåïèàíî), Òóðöèÿ Ìîöàðò. Êîíöåðò ¹ 21 äëÿ ôîðòåïèàíî ñ îðêåñòðîì, KV 467 Ñàé. Êîíöåðò ¹ 2 äëÿ ôîðòåïèàíî è ñòðóííîãî îðêåñòðà «Øåëêîâûé ïóòü» Õîñîêàâà. «Öèðêóëÿöèÿ îêåàíà» Ñòðàâèíñêèé. «Âåñíà ñâÿùåííàÿ»
Ural Philharmonic Orchestra Chief Conductor and Artistic Director – Dmitry Liss Fazil Say (piano), Turkey Mozart. Piano Concerto No. 21, KV 467 Say. Concerto No. 2 «Silk Road» for piano and string orchestra Hosokawa. «Ocean Circulation» Stravinsky. «Rite of Spring»
ДМИТРИЙ ЛИСС (ñòð. 23) УРАЛЬСКИЙ АКАДЕМИЧЕСКИЙ ФИЛАРМОНИЧЕСКИЙ ОРКЕСТР (ñòð. 22)
DMITRY LISS (ð. 23) URAL PHILHARMONIC ORCHESTRA (p. 22)
ФАЗИЛ САЙ (ñòð. 50)
FAZIL SAY (ð. 50)
К О М П О З И Т О Р
CO M P OSER
ТОСИО ХОСОКАВА
TOSHIO HOSOKAWA
Ðîäèëñÿ â 1955 ãîäó â Õèðîñèìå.  1976 ãîäó îêîí÷èë Òîêèéñêèé óíèâåðñèòåò.  ýòî âðåìÿ èíòåðåñîâàëñÿ òîëüêî çàïàäíîé ìóçûêîé.  1976-1986 ãîäàõ ó÷èëñÿ â Áåðëèíñêîì óíèâåðñèòåòå èñêóññòâ è Ôðàéáóðãñêîé Âûñøåé øêîëå ìóçûêè. Ïîñòîÿííûé ó÷àñòíèê êðóïíåéøèõ ìåæäóíàðîäíûõ ôåñòèâàëåé, åãî ïåðâàÿ îïåðà «Âèäåíèÿ Ëèðà» èñïîëíÿëàñü â ðàìêàõ Ìþíõåíñêîãî áèåííàëå (1998). Äîöåíò Äàðìøòàäòñêèõ ëåòíèõ êóðñîâ íîâîé ìóçûêè. Ëàóðåàò ðÿäà ìåæäóíàðîäíûõ ïðåìèé.  êîíöå 1980-õ çàèíòåðåñîâàëñÿ òðàäèöèîííîé ìóçûêîé ßïîíèè è íàöèîíàëüíûìè èíñòðóìåíòàìè.  1989-1998 ãîäàõ âîçãëàâëÿë Ìåæäóíàðîäíûé ñåìèíàð è ôåñòèâàëü ñîâðåìåííîé ìóçûêè â Àêè¸ñè-äàé (ïðåôåêòóðà ßìàãóòè). Àâòîð îðàòîðèé «Áåççâó÷íûé ãîëîñ Õèðîñèìû» (2001) è «Áåççâåçäíàÿ íî÷ü» (2011), ìóçûêè ê ôèëüìàì Êîõýÿ Îãóðè «Æàëî ñìåðòè» (1990) è «Ñïÿùèé» (1996). Ñ 2004 ãîäà ïðåïîäàåò â Òîêèéñêîì ìóçûêàëüíîì êîëëåäæå.
Was born in 1955 in Hiroshima. In 1976 he graduated from the University of Tokyo. At that time he was interested only in western music. In 1976-1986 he studied at the Berlin University of Arts and the Freiburg State School of Music. After his university years, he lived in German speaking countries for a long time. He is a permanent participant of major international festivals; his first opera «Vision of Lear» was premiered at the Munich Biennale (1998). He is Dozent of the Darmstadt Summer Courses for new music. He has been awarded a number of international prizes. In the late 1980s, he developed strong interest in traditional music of Japan and national instruments. In 1989–1998 he was the artistic director of the International Contemporary Music Seminar and Festival in Akiyoshi-dai (Yamaguchi Prefecture). He is the author of oratorios «Voiceless Voice in Hiroshima» (2001) and «Starless Night» (2011), scores to the films directed by Kohei Oguri «The Sting of Death» (1990) and «The Sleeping Man» (1996). Since 2004 Toshio Hosokawa has been teaching at the Tokyo College of Music.
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OFF-ПРОГРАММА 4.10 ïò Ïîñëå êîíöåðòà Ìàëîå ôîéå «×åðåìóõîâûé ïèðîã» Àâòîãðàô-ñåññèÿ: Ä. Ëèññ, Ë. Äåñÿòíèêîâ, Ûíõâà ×î, Î. Âèêòîðîâà, Óí Ñèê Êèì, Â. Ãèìàäèåâà, Ñ. Êðûëîâ 5.10 ñá 13.00 Êàìåðíûé çàë «Áåñåäà ñ ãîñòåì». Ë. Äåñÿòíèêîâ, Ûíõâà ×î, Î. Âèêòîðîâà. Âåäóùàÿ – Ã. Ñàäûõ-çàäå Ïîñëå êîíöåðòà Ìàëîå ôîéå «×åðåìóõîâûé ïèðîã» «Áåñåäà ñ ãîñòåì» è àâòîãðàô-ñåññèÿ: Õýé÷àí ßíü, ìóçûêàíòû Ãîíêîíãñêîãî îðêåñòðà ñ èíñòðóìåíòàìè 6.10 âñ Ïîñëå êîíöåðòà Ìàëîå ôîéå «×åðåìóõîâûé ïèðîã» Àâòîãðàô-ñåññèÿ: À. Ëþáèìîâ, Ñ. Ìàëûøåâ, Í. Ïøåíè÷íèêîâà, Ï. Ãëàâàòñêèõ, Ì. Êîìàðîâ, À. Ìàãðû÷åâ, À. Àëåêñååâ, Ð. Ïàâëîâ, Patrick K.-H., Í. Ìàíàáå 7.10 ïí 13.00
Êîíöåðòíûé çàë Óðàëüñêîãî ìóçûêàëüíîãî êîëëåäæà (äëÿ ñòóäåíòîâ è ïðåïîäàâàòåëåé) Ìàñòåð-êëàññ «×òî òàêîå ãðóâ, è ñ ÷åì åãî åäÿò». Ïðåïîäàâàòåëü êëàññà àíñàìáëÿ â Öåíòðàëüíîé ìóçûêàëüíîé øêîëå ïðè Ìîñêîâñêîé ãîñóäàðñòâåííîé êîíñåðâàòîðèè Ïåòð Ãëàâàòñêèõ (óäàðíûå) 15.00 Ìàëûé çàë Óðàëüñêîé ãîñóäàðñòâåííîé êîíñåðâàòîðèè (äëÿ ñòóäåíòîâ è ïðåïîäàâàòåëåé)
Ìàñòåð-êëàññ. Ïðîôåññîð Äæóëüÿðäñêîé øêîëû, êîíöåðòìåéñòåð ãðóïïû òðîìáîíîâ Íüþ-Éîðêñêîãî ôèëàðìîíè÷åñêîãî îðêåñòðà Äæîçåô Àëåññè Ïîñëå êîíöåðòà Ìàëîå ôîéå «×åðåìóõîâûé ïèðîã» Àâòîãðàô-ñåññèÿ: Á. Âèäåíîâ, À. Áàåâà 8.10 âò 11.30
Îáëàñòíîé öåíòð ðåàáèëèòàöèè èíâàëèäîâ (Åêàòåðèíáóðã, óë. Áåëèíñêîãî, 173à) (äëÿ ïðåññû)
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