It is fortunate that the great masters, the serious masters give carte Blanche young, modern composers. Substitute them the shoulder. Music — old and new — immediately begins to play very different colors. Here it is now: thanks to the festival of Yuri Bashmet, Italy was filled with the premiere Kuzma Bodrov — “Five reflections on the theme of the 24th Caprice of Paganini”. Bashmet has given the “green light” — and a miracle happened, people heard the living author (who was sitting right there in the second row). And from the fact that the album sounded, suddenly came to life and he and Peter Ilyich Tchaikovsky, also performed in this concert. But very few people understand it.

photo: facebook

Happened important. Even 15 years ago, the young contemporary composers clung from the walls as poor relatives . I still remember the phrase of Rodion Shchedrin on one master class at the Conservatory: “Okay, girls getting married, and you, young people, how things are going?”. Then the graduates of the composers ‘ offices I through one complained that accounted for karaoke-clubs to make money and “great” in the table to write. But time has passed. And what do we see? And we see that the composers of our young contemporaries! — begin to occupy key positions in the cultural life of the country. Go to the first position. The focus has changed dramatically. It doesn’t matter where, who and how behind them. It is important that composers “speak in the voice”, they began charismatically. They will learn, they are guided.

See for yourself: Anton Lubchenko is the artistic Director of the Sochi Philharmonic orchestra and Director of the music programs of the Alexandrinsky theatre; Dmitri kourliandski — the musical Director in the Stanislavsky “Stanislavsky”, and our hero, Kuzma Bodrov — incredibly popular author, student of Alexander Tchaikovsky, involved in many important projects; and the premiere performance of his “Five thoughts…” on the festival of Yury Bashmet in Italy in General has made furore. Interestingly, after the concert, Maestro Bashmet Bodrov proposed to write “a delicious encore”: “right in the night sit down and write.” Bis written at the request of Yuri Abramovich or not — we don’t know yet, but anyway, Bodrov and his music become a significant phenomenon in the international music life.

So I decided to talk a little bit — what is the path of the modern composer.

— Kuzma, I heard from Yuri Abramovich, on his advice, ending the viola Concerto has undergone changes…

— Yes, it is indeed altered. According to his wise advice, I revised the form, there lacked the so-called oasis of beauty — the place where you can relax from the dissonance? Since were all powerful discharge. So, we took my music from the play “don’t leave their planet” with Konstantin Khabensky, the number “land of tears”. And amazing but… everything just fell into place. Before that, it was not clear what was coming, but now there goal.

For me, as an observer, this is the most expensive: there’s a living composer, there is a live performer, and these people interact with each other, creating a new work. And that is what’s important — not written in the table. The same Anton Lubchenko said categorically — I do not write will not write. You had to write in the table?

— While, thank God, never happened. Since studying at the Conservatory, I was friends with wonderful soloists. Apparently, from what I the violinist in the past, I can find common language with musicians. Here and there was never a shortage of execution. Yes, it happens that the thing turns less often, but in this case it’s not that “luck” is the problem of the work. I’m sure if the music turned out badly or something, she won’t find a way to the public. This is of course impossible. Yes, there are rare occasions when a composer centuries “is waiting for” the opening of his work. But this is an exception. But mainly, if you work out, then he is sure to be a concert life.

For example, my viola Concerto Yuri Abramovich performed for the year three times. In Kazan, Moscow and Sochi. It’s a big success for me. Of course, I am grateful that she gives such chances.

— Bashmet wrote many composers. Two concerts he was not executed for different reasons. But you and him immediately hit it off…

— There was some internal understanding. Of course, a huge role was played by my Professor Alexander Tchaikovsky, it was he who introduced me to Maestro. And writing a viola Concerto was probably a kind of an advance of trust from the Bashmet. What’s it called… he acted as a guarantor. But… later we have lined up and their own relationships.

— I know Alexander Tchaikovsky, he’s a massive man. That had not occurred to you zavitkov that, they say, and you are now executable and in demand. Alas, it is often creativity that people pull the blanket on itself…

— Envy? No. From Tchaikovsky’s not that complex. It is free. If he sees a gifted player and talented composer, is doing everything to help him, gives impetus. I repeat — it is free and convenient, and I’ve never felt something like that, what you’re saying. On the contrary, go go, go, go! Helps.

— Do not tire of repeating that now there has been a shift: young composers, at last, vividly marked they wish, they are waiting for deeds. How do you feel this process?

— We must understand that the new language opens up new music may not be immediately clear. And I am pleased to recall the words of Gennady Rozhdestvensky, which is really all the music in my life has changed. So he talked about the way that contemporary composers are divided to him into two lines — not that that would be bad or good, — and those who opened doors, inclined to experiment, to something risk. And there are other composers who write as if traditionally, continuing immortal line of music; he was also considered very brave writing — Schnittke, Gubaidulina, Shchedrin… So the question here is — WHAT do we mean under the avant-garde.

— Those who breaks the tradition, and those it does not tear…

— I think that any music written boldly and skillfully, to be avant-garde and classic at the same time. It will cause feeling of the Music.

Is unexpectedly the exact wording — “to give the feeling of music.” We once was friends with Georgy Dorokhov. Already forever young composer. He left very early. Yes, the avant-garde, Yes, grinding the strings. But it was the “feeling”…

— I was personally acquainted. Although we are of different generations. When it arrived, I was already teaching at the Conservatory. This is perhaps a rare example of when a person is not “acting smart”, and really felt. Blood that flowed in his veins. He said the exams “Dear friend, we are here sounds write”. But there was a certain dissonance. He sincerely felt the world, music, born this way. A special person, a little alien, thought differently. Nugget. But fate decided so that it before we took.

— So what now backed music? Do not you think that it used to be easier because people in something they believed, “in every Church there lived a God.” And now? Where is the support? What nourishes?

— It seems to me that the music was difficult to compose always. Both then and now. Judge for yourself: how many composers were in each era?

— Yes, hundreds and hundreds.

— Well, as we from the era of only a dozen and counted. Who stayed, who became the standard. So difficult to write was always there. Will lead the words, and then call the author of “what is writing now? One roar. Anything is unclear. That’s before the music was!”. And it wrote Goethe.

Yes, there is context that helps. For example, in the writings of the Church is the context of the Liturgy, the context of the Latin language here in the first place, must have heard the word.

— That is it limits?

— Well, of course. When you have some limitations, writing is easier, because you have no choice. And when there is no external context, you have to write yourself, and then comes to the fore the context of the performer. Because writing for Bashmet is one thing, to Berezovsky — other, for STS — third. For example, Boris Berezovsky, I (at his request) wrote a Sonata for cello and piano, which he played in France. By the way, he told me in the beginning that I wrote, as you wish. The way I feel. And here the energy of the artist is of paramount importance…

For example, the energy Bashmet.

— Most of the concertos written for Bashmet, beautiful but bleak. Inside the gloomy energy. And Schnittke, and Gubaidulina. Alexander Tchaikovsky, perhaps the most optimistic scenario, but still a lot of nostalgia, of sweet sorrow. In my concert — some of the following energy Plast…

— You wrote and write for Nikita Borisoglebsky…

— Yes, he’s a close friend. It has an incredible passions: plays strong, powerful. I know that it is possible to write a work of any complexity, he will play. By the way, almost all my violin pieces were created for him.

— What else is important for a composer, in addition to communicating with the future by?

Order. Whatever it was, but that ordering is inspiring. There is a sense of its relevance, there is a purpose, and every time you are trying to jump the bar. To that often the orders are interesting, they are learning, as, for example, a year ago was the custom for choir, viola and string orchestra. And so it was that the choir was an Amateur one, half of the singers at all music did not know, and on the other hand, an orchestra that can play everything. And you deliberately write a simple invoice for choir and more difficult for the orchestra.

— That is, the order creates a reality that speculative not to recreate it.

Yes. Besides, you just live on this money. Alas, many colleagues, composers are forced to work in music schools and giving private lessons. It’s sad, of course.

Something told me Sofia Gubaidulina in one interview — “thread the needle so to build my life myself not to betray the profession.” That is, do not go on the side. From the principle.

— We are with her, by the way, talking and quite friendly. At her invitation I visited three times in Salzburg. So she said that she never had to look for performers. It is difficult to say now who ain’t played it. All! Yeah, she’s an honest, chivalrous attitude to the profession. I know that she has no mobile phone, no Internet, she only the evening includes homemade…

— Yes, I called her often to Germany. Lives in this village, says it’s important for me field, meadow…

She needs silence. She’s not even close to the supermarkets.

— But speaking about the various roads within the composer’s profession: here you are, working with such values as Bashmet, Berezovsky is unlikely to totally go away for illustrative music, say, music?

— To be honest, this year I have got good movie, I myself did not made any huge effort. Here with Khabensky made the film for the new film of Lungina now finishing music. Yes, in films, indeed, a different context requires something different from music than usual. And work is not easy. For example, if very emotionally to respond to the picture, the music starts to bulge. You have to really listen, to put the counterpoint. So at the expense of someone who is omnivorous, and those who work strictly in one key — a complex question. Know exactly what the music performer should be clear. CLEAR. The contractor must understand that he plays. Because you can’t spend the time to learn the material and do not understand — and what it all. And this clarity should be in any music — as in bold language, and in traditional. It’s all very complicated. Each essay must be something special…

My good friend Igor Raykhelson, a wonderful composer, pursued this idea in an interview how important it is to be hungry. Despite all the hardships the American emigration, there “was whispered inside,” it was better when the shower was not very fun…

— I don’t know, I honestly never thought about it. Written, and the glory of God. There is no feeling that I must be hungry.

— Well, Yes, God deliver us from shocks…

— No, well, any event leave an imprint. But, I think that the composer needs to be fed, to live in a nice apartment, to live by their work.

And privacy isn’t necessary?

— In Moscow it is difficult to do. Here, I constantly busy. So you have to carve out time for thought, or ceases to write. Here in August, when I’m in Spain, I always write, I am there very happy that I pulled every five minutes. Yes, in this respect, a break from the constant worries, but, unfortunately, we have to learn to combine slice of life with writing music. Someone can afford to go to the country and work there. And I have chosen a road that will not slip away easily. And it must be at least two to three hours a day, but to write. Sometimes even forcing yourself. Definitely. It is impossible to give in to the inner voice: “Today I’m a little tired. Let’s Kuzma, tomorrow.” It is very insidious. Once put off until tomorrow — and go.

— But you love composing…

— How! Always nice to finish an essay, but very hard to start because you don’t know what to write. Every time disappointed in myself, but have further to go. Perhaps you have something similar feel when writing a text,…