Organs biography

The published interview is a special prize of the magazine Musical Life. A music critic Irina Muravyova named after the winner. What does it mean to you for you in this competition and what was the path to it? I learned about this competition when I entered the first year of the St. Petersburg Conservatory. I then read everything about this competition, studied its scale and set myself the goal of be sure to take part in it.

In order to achieve it, I began to participate in other competitions, I gained performing practice and, no less important, experience in participating in a multi -Tour competition, because it happens that you are completely laid out on one round, and there is not enough energy to the next tour. In addition, I beat the contest programs in concerts: in general, I gradually moved to the implementation of my dreams.

You were noted for the performance of Tariverdiev’s music. In the final, you played his “Chernobyl” part of the “zone” - a complex work, including emotionally. How did you discover the meaningful system of this composition? MK I read different materials, including notes from the diary of Mikael Tariverdiev, where there are his statements about Chernobyl. Usually, even if there are traditions of performing some work, we are not fully sure whether this is exactly what the author conceived.

But in this case there is a real opportunity to find out what the composer implied. About the same quint that passes through the entire work, Michael Leonovich says that this is an image of radiation. He indicates the dynamics in the notes, somewhere the wish of the register can also indicate: the sound of a goboy or, as at the end of the “zone”, an accordion. But mostly you are free in choosing how to achieve the right image.

This work is incredibly saturated with thoughts and experiences. For example, the pastoral theme sounds, the targets writes: “Pastoral,” and I try to present the picture that he described in his diary when he was traveling to the alienation zone - empty houses, lying children's toys, pumpkins uncleaned and unrealistic silence when the birds do not sing - such surrealism, life that stopped.

So, by pieces, I collected a whole picture. Now I want to learn the second part of Chernobyl Quo vadis? Mikael Leonovich said that this is a work that concerns all mankind. I think that in every era there are some situations that make the world think about where we are moving. Therefore, the essay "Chernobyl" will always be relevant. The organ did not immediately appear in your life.

Why did you choose this historical tool? MK I was born in Ust-Ilimsk, Irkutsk region, in a small town with a population of about 80 thousand people. Few people knew about the organ there. Including me, although we took place at a music school that there is such an instrument. But when in the year I entered the Krasnoyarsk College of Arts, we had a distribution of options, and I signed up for the organ.

We began to study with Larisa Andreevna Yushkova, who, incidentally, is now teaching in Kaliningrad and came to the competition to listen to me. In the last year of college, I went to the organ competition in St. Petersburg, to Gatchina, came up successfully, received second place. Then the idea appeared to enter the organ. Fate led me to him. And after several years I can say that this was the best choice in my life.

What attracts you to the body and in the organ executive? I like MK that each organ is different. To such an extent that, playing well on one tool, you can sit down after another, and you will not succeed.

Organs are like people: you found contact with someone, but with someone you could not establish communication. In addition, the organ has a different approach to sound. On the piano, a lot depends on your carcass: today you play this way, and the instrument answers you. On the organ is different: here a lot depends on what the tool itself will give you, what registration you will choose.

You can change it, you constantly conduct a dialogue with the tool, you hear the organ motor, its breath. This is a large living creature, a whole universe that can allow you to fulfill any repertoire. In Kaliningrad, you had two different organs, both are not simple. How did you find an approach to them? MK yes, it was especially difficult to find contact with the organ in the Philharmonic.

He has manual control. At the rehearsal, I felt more comfortable after him, even reassured myself: since I felt a tool, everything will be fine. But when I went to the performance, the feeling of comfort was gone, everything became uncomfortable, I did not feel normally the pedal, it was hard to play on the soot, the excitement affected. The body of the Cathedral of the Cathedral was already familiar to me: for three consecutive years I came to Kaliningrad for organ assemblies.

I remember my first impression-shock, I was amazed at what a huge tool, how to play something, manage to make registers, how to realize its scale! Every time I come with a new program, we must look for the way to him. How does your teacher Daniel Zaretsky orient you?MK the main advice that he gives us before performances is to perform music, play essays inspired, calm, stable.

We work a lot, discussing registration options, which can give an instrument of one or another country or master. The main thing is that I feel that he gives me the opportunity to open up. We have a wonderful atmosphere in our class, we are all friends, support each other. He himself devotes his whole life to the organ and this art. As far as I remember, the “organist of the year” prize, which he received, was called “for contribution to the profession” - and this is really what he did.

He, by his own example, shows us what love for art, love for the organ and our work are. To whom did your angel fly to your competitive life end with this victory? What are the goals now set for yourself? MK do not think that my competitive life is completed. On the one hand, after the first prize of such a competition, it will be psychologically difficult to drop the bar. On the other hand, a similar situation exists in sports: athletes win the Olympics, and someone risks continuing their career, but someone does not.

Personally, I really like the skater Evgeny Medvedev - her character, her approach to sports life. She, after the Olympics, where she took silver, continued to participate in competitions and fight to the end. Therefore, I will continue to participate in competitions. I dream to go to contests to Europe, find out how everything works there, get acquainted with other organs.

There are many competitions in Russia. I hope that concert life will become more active in me now. I'm really looking forward to this. I will, of course, expand the repertoire. I think about scientific activity. The organ is becoming increasingly popular in Russia, but it is still on the path of disclosure, including in an educational manner. And here is a huge field of activity.