From Zurich to Perm
My previous monologue ended with my arrival to Moscow where I played concert at the Philharmonic and then flew to Zurich.In the first airing of my video-blog I mentioned that I will make a very swift trip – so it happened! The next morning I was rehearsing Rachmaninov’s Third Concerto with V. Gergiev and The Zurich opera Orchestra. The main concern was that this orchestra never played this concerto, or played it very long ago. And this concert is rather an orchestra part, almost a symphony, than a usual accompaniment to the soloist. V. Gergiev arrived one day ahead of me and rehearsed with the orchestra without a soloist.We learned about the scheduled joined concert in famous Zurich Tonhalle only one month before. But we managed to reach almost an ideal quality even in this extreme timing; maestro Gergiev can subdue any orchestra to his will, even the Zurich opera orchestra with their soft, velvety sound. Sometimes this kind of extreme schedules work better. There is always a huge risk but, on the other hand, it has a toning effect: some different receptors, that would not work when you have three or four rehearsals before the concert, switch on. When you are on stage with the conductor like Gergiev you always know that someone backs you: Gergiev absolutely controlled the orchestra of 100 musicians. It was a pure music: the Zurich Orchestra musicians are real professionals, and they managed to plunge into one of the most difficult concerts ever played. Then I flew to Amsterdam where I played the same concert with the Netherland Radio Orchestra and young American conductor James Gaffigan. We had already performed together Rachmaninov’s 2 Concerto a year ago with the National Symphonic Orchestra in Washington. Gaffigan is a very interesting young musician from the newest generation of American conductors. And of course, the conductor has a very important role when playing Rachmaninov 3rd concerto. He needs to constantly control every technicality and must have quite a strong foresight. Gaffigan succeeded brilliantly. It is not for the first time that I work with The Netherland radio orchestra: a year ago we had a concert with very young but already famous Russian conductor Vassily Petrenko, who is the head of the Liverpool Orchestra. I am very happy with the results of our work with The Netherland Radio Orchestra. I have also played few times with another Dutch orchestra of high standing: The Royal Concertgebouw Orchestra and their conductor Mariss Jansons. With Jansons and the Bavarian Radio Orchestra we recorded Shchedrin’s concerto nine years ago.Following The Netherlands Radio Orchestra performance I had an opportunity to play at Concertgebouw. Concertgebouw is a very special concert hall, one of the top five halls in the world: with great acoustics, long honorable history, sacred for every musician. Its very home-like atmosphere, cozy aura that makes it very special. To get on stage one needs to walk down a huge staircase that a lot of very famous musicians put their feet on. Huge doors open and you make a long descent before you reach the stage. It is a very special ritual due to this hall’s peculiarity. Next September I will be playing solo concert at Concertgebouw again during the renown Meesterpianisten serie ( promo video of 2012-2013 season can be seen on the serie’s official site), and next year, together with Mariss Jansons and The Royal Concertgebouw Orchestra, we will play Rachmaninov’s Rhapsody on the Theme of Paganini.I regret enormously that I did not have an iPhone yet when I was in Amsterdam. Right after this performance I decided to buy an iPhone to record my videos. A movie was made about my concert in Amsterdam and the extract can be seen here… The full version of the concert will be published on Internet very soon.
After Amsterdam I went to Perm, Russia where my second festival took place. In the last few years Perm has embraced the real Cultural Revolution: governor Chirkunov, local ministry of culture started a great number of different projects and festivals, they support theatres and plan to open the Conservatory. They proposed me to organize a three to four days festival with very rich program. Last year we had a concert of Moscow’s Virtuosos, my solo concert, one jazz concert. The “Novaya Rossia” orchestra conducted by my friend Alexander Sladkovsky played at the opening concert of this year’s festival. Alexander is now the chef-conductor of the Tatarstan National Orchestra in Kazan and led it to a very high level. I recently played with him in Moscow University while receiving Honorary Professorship. Every year in June, during my Volga tour, I visit Kazan. New president Minnihanov takes a great care of culture in the republic. He just issued a big grant to the orchestra. The Kazan orchestra maintains a very high standard and it became possible because of Alexander Sladkovsky, one of the best conductors of the middle generation of Russian conductors. I am very happy about a significant progress of the Tatarstan Symphony Orchestra. Under Alexander Sladkovsky direction the orchestra’s play became great.Fuat Mansurov, who passed away very recently, was a chief conductor of the orchestra before Sladkovsky. I remember how we played together Shostakovitch’s Second Concerto and Tchaikovsky. Fuat Mansurov was a legend. He also used to be one of the conductors of the Bolshoi Theatre Orchestra. Getting back to Sladkovsky: I invited him numerous times to perform in my personal seasonal subscription concerts. Very recently we played at the anniversary of Prof. Dorensky where he brilliantly accompanied all Sergey Leonidovitch’s students. This concert was broadcasted on "Cultura" channel. I believe that Sasha Sladkovsky is the future of the new school of Russian conducting. Alexander Sladkovsky and “Novaya Rossia” orchestra played greatly at concerts in Perm and Berezniki.In Berezniki we had one off-site concert where young Alexander Buzlov and Boris Brovtsyn splendidly played Brahms' double Concerto. A lot of famous musicians and orchestras started coming to Berezniki to perform. Then I had a solo concert in Perm and the chamber music concert that I need to mention separately. We played Bartok’s quintet, that I talked about in my previous monologue, with the same artists than in Annecy: violin – Sergey Krylov, 2nd violin – Boris Brovtsyn, viola – Julia Deineka, cello – Alexander Buzlov. With this combination of musicians Bartok’s quintet sounds perfect: it really impressed the experienced Perm audience. The musicians that went on stage with me were amazing. Every one of them is the real pride of Russian soloist school. We have managed to rehearse this quintet – one of the most difficult in the history of chamber music - literally within two-three rehearsals. I have an incredible pleasure performing with these great artists. We had already played this quintet in Annecy, in Irkutsk during my Christmas season evenings in January, and then in Perm. During the first part of the concert we performed Schostakovitch’s and Rachmaninov’s trios.If I start counting my visits to Perm, it will come to 15. I had my solo concerts, as well as my performance at the Perm Ballet and Opera theatre with Ballet Imperial project with Balanchin’s choreography on Tchaikovky’s 2nd concerto music. I want to talk about the “New Names” foundation which I include in almost every one of my projects. I can talk endlessly about this “family”. It is because of them that I found myself in Moscow in 1991, when Yvetta Nikolaevna Voronova approached me and said that they wanted to invite me to Moscow to study at the Moscow Central Musical School. This moment changed my life. I don’t know where I would be now without “New Names” and their support.“New Names” is the help, support, grants, master-classes, internships, purchase of instruments and most importantly – stage experience. It is a great incentive for a young musician to see that he is needed, supported, that he is being invited to play concerts, that there are people who believe in him and follow his progress. I am talking not only about me but of all musicians of my generation who perform now everywhere around the world. Ninety nine percent of us are students of the “New Names” foundation.Yvetta Nikolaevna Voronova has a unique gift: not a musician herself, she sees a special spark of talent in a little kid: she unmistakably knows who needs her support and faith. I really want to wish her a lot of health. This year we all get ready to celebrate Yvetta Nikolaevna’s jubilee by participating in a big gala-concert dedicated to our “Second mom”.I love “New Names” concerts. Sometimes we invite some well- known musicians, previous “New Names” grant fellows, and on the spot they create incredible ensembles with children, who just received the grant. The atmosphere during these concerts is amazing: very touching, almost making you cry.Our country in every corner has some astonishing talents. As a rule a musical talent is born in a non-musician family. And it is a great mystery why.“New Names”, which is now more than 20 years old, is the brand that we all are proud of. More than 10 thousand musicians, children and adolescents, took part in it. We are proud that the project develops: we are now getting amazing results from the part of the project “New Names to the regions of Russia”. Last year grants were given to kids from Perm, Omsk, Irkutsk, Krasnoyarsk, Novosibirsk, Kemerovo, Orenburg, Kaliningrad, Ekaterinburg. Best teachers from Moscow and St.Petersburg, from Central Musical School, School named after Gnesiny, and, Moscow Conservatory went to these cities to give master-classes and to choose young talents for grants. We will follow their development.This year in Perm grants were given to:Maria Slacheva (cello) – Maria received “New Names” grant for the second time. She has an incredible talent and inner depth of interpretation. I believe she has a great future ahead of her.Khairutdinov Vitaly (piano)Nelubina Vasilisa (violin)Votyakov Nikita (xylophone)These kids are already members of our big family, we will follow their professional growth, and will help them develop. We really want to wish them persistence and luck. See you next year in Perm!This year is 20th anniversary of music school in Suzdal. This is a unique summer camp where talented kids from all around the country come to meet the best teachers. I remember when I went there as a kid. We were rehearsing, creating new programs, participating in master-classes from legendary professors of Moscow Conservatory. At the same time we played football, had plenty of sport activities. It was a real creative summer school.I am very glad that the story of the “New Names” still develops. In every city I tour or organize a festival we always arrange for the “New Names” activity. Participation of “New Names” artists is the must for all of my festivals: "Crescendo", "Stars of the Baikal" or any other regional festival. It is a matter of honor for me.« back