Improvise classical avant last male and female music of Bach and the proximity to the need and why music is on the brink of extinction. One of the most important musical events in recent months has been the release of a new CD Violin Concerto, "In tempus praesens» Sofia Gubaidulina, a living classic of contemporary music. Sofia Asgatovna recently visited Moscow, where he. Introduced the new work at a meeting with students of the Conservatory Gubaidulina has refused to call this a conversation master class, because we believe that you can not teach anything. On the one hand, the countries in the world for the famous composer of more than 50 years. On the other hand, it is understandable from the perspective of the master, which is almost never drawn to traditional musical forms and instrumental compositions, not writing symphonies, concertos and sonatas in the traditional sense. 25-30 years on Gubaidulina not say, other than in connection with the "Moscow Troika", which Denisov and Alfred Schnittke and Edison. It is obvious today that Gubaidulina - completely independent, and perhaps the most original composers of the circle, avoiding the most influence at all. She studied composition with Nikolai Pake and Vissarion Shebalin, was a friend of the composers of different generations and schools, but did not join one and relies on the advice of Dmitri Shostakovich to follow: "I wish you to keep your go" wrong Gubaidulina "Way." compositions performed by the fourth decade of the largest Russian and foreign musicians and groups - including Gennady Rozhdestvensky, Gidon Kremer, Natalia Gutman, Mark baking, Simon Rattle, Kent Nagano, Mstislav Rostropovich, Valery Gergiev, Anne-Sophie Mutter, "Kronos Quartet" and many others. Gubaidulina - winner of three dozen awards awarded her in Russia, Germany, USA, Japan, Denmark, Sweden, China and other countries. Other artists in this situation would rather rest on our laurels, but Gubaidulina. She continues to work in her village Appen near Hamburg, where he has lived since the early 1990s. Life in Appen, the game in non-traditional instruments and the survival of the said music in the world today by Sofia Gubaidulina in an interview with Ilya Ovchinnikov. - Is it true that your special interest opposition "male - female", including with regard to the creation? - My main interest is the acoustic properties of the sound. As for the male and female, in the last century was an experiment: How can a woman take part in a composer. Finally, before it was somehow not accepted ... Fanny Mendelssohn's sister, showed him his compositions, he praised it, but I doubt that in the worldly sense, it continues. In the twentieth century, it is different, the girls started to play the tuba and bass clarinet. What's next - we'll see. If we set aside us, here the score Ivana Loudovoy, Czech, - a very good composer. And Marek Kopelenta score. Not knowing where to their not, I say that she wrote a woman and a man. I appreciate both very high, so that there is no opposition, the music is good or bad. On the other hand, I would love to see any future musicologist and scholar immersed in this issue - maybe there are some major differences. Sofia Gubaidulina. Photo of jblog.com.br - your second violin concerto "In tempus praesens" was recently published on a CD with performances of Bach. Her first violin concerto "Offertory," written for Gidon Kremer, also based on a theme by Bach. A replay of this neighborhood is probably not a coincidence? - In fact, the music of Bach and his shape at all for me to play a fundamental role. But I did not want a second concert is different than the first. At the same time, it is again a solo violin and orchestra, and I immediately agreed to remove the violin from the orchestra - for solo violin was not alone with the other violins left had competition. But a very large part made of brass, and in one place - solo tam-tam. Used on the recording was tomtom enormous size, a monster! But Bach does in my mind, it seems almost all my works. But this effect can not even guess at the hearing of the work, it is not in the sound of music, sound material disclosed. Bach did not play there. This deep, structural and material combine at the level of intonation and harmony, I do not think so. - Do you have a sense of continuity with one another to any great composers of the past? As far as their music are combined with you? - In the case of Bach can really talk about continuity. And, for example, regarding Mozart, I do not feel it. Of course, the great composer Mozart - I love Mozart, Beethoven, Haydn, particularly. I have a great desire to Bach, but is it possible to say that my music and mix? I'm dying of Beethoven, but not my work and fit together? I think that music combined dobahovskogo time with my best - Ockeghem, Palestrina, Schütz. Neighborhood, different, less so for the last romance ... Mahler's music does not fit with my period, I think, but now I can not analyze why. - Have created more than 30 years ago, and Viktor Suslin and Vyacheslav Artemov group of "Astraea", their goal was to revive a free relationship with sound using non-traditional methods of playing. Is not it? - Collects the three of us were from the mid-70s. It was not the kind of play together and the kind of religious school - Suslin was and is her soul. Now we have a third son was Suslin - Alexander, his bassist. However, the bass is not allowed in our meetings, as the piano and violin, we are mainly interested in instruments that we are not able to play. We collect them specifically - whether Japanese koto instrument, or cores, or vestibule. It's still a big role for me - trying to improvise in order to liberate the imagination of critics for future performance - it's a certain principle that losing modern life gradually. It would like to return, and we have the opportunity to do so, even in our little group. Artemov and unfortunately disappeared from our perspective, when we moved to Germany - I do not even know where to write. - Once you have called your spiritual brother of the Italian composer Luigi Nono, avant-garde techniques combines with loyalty to the ideas of communism. Is there anyone among contemporary composers, as close to you in the spirit? - Speaking of spiritual brotherhood, Viktor Suslin, of course, my brother. We are friends houses, and when we meet at the table, the wife of Victor may have reconciled. All the time we did not agree with each other, but if we. Not the same opinion, we are not trying to upset any other It was the basis of our relationship, which I as a positive - as if we all had the same? We live in a house next to his in my. He had pulled me back to the village, thanks to him, I got in a friendly situation. There are two roads, no shop and field. If we have to meet with the artists and concerts, there is always a taxi. Additionally, there are buses and other public transport, it is easy to adapt. Difficulties that I did not see. And I travel a lot, much more than we would like. There is little time to work. - Which of the trips on the last time she has impressed you the most? - A huge impression I left with from Beijing. The Chinese are crazy now want to master the whole of European culture. Right - their national, they are not losing. But if you take away even the European mentality, they are rich only. I liked the way it organizes the training of young people. We are a young man not ever dreamed of. I attended a school for young people aged 12 to 18 years - the most important period. He built a hall for students and built body. Real big concert hall for students, with access to the tool! - They often say that rich countries are now paying for a loss of culture and technological advancement. If that's true, if you compare the situation of classical music at home and in countries like Austria? - Well-being is not always the basis for a high art. While I understand that material wealth to serve as art - art without support is not live. Our music will remain in the table if they do not pay the performers. But wealthy people, whether in the West or in Russia, often something wrong in their mental, emotional and intellectual life. Some tragic things they can only represent themselves, to imagine, but to really experience what the person has experienced unfavorable. Is the global process that requires a high, serious music to the brink of extinction. - What exactly do you mean? - First of all, this is reflected in the funding. For example, in Amsterdam "Schoenberg Ensemble" is directed by conductor Raynbert de Leeuw: like from year to year performance of contemporary music. And then I learned that it can reduce the financing! Or a wonderful Swedish percussion ensemble Kroumata Percussion Ensemble, with whom we work - they now have a jubilee year to 30. I was in a house with all its instruments collected - of course, it's expensive. And they also cut funding! Sun Ensemble destroyed - and that is the pride of the whole country. We are on the brink of disaster, and the greater importance of idealism, as the victim's life. One such place of idealism - the Kuhmo Festival in northern Finland. He was almost 40, he is known worldwide by artist enthusiasts, but the funding is very small. For how long will enthusiasm? I do not know, but it is necessary. - Sometimes you want to young composers suggestions or do you think that it is impossible? - I do not like, do not love teaching, each time giving up all initiatives as education were related. Recently I was invited to France, there will American composers, mostly from the Juilliard School and the European. I said I would not, if it's "Master Class", and its another thing - just a meeting, as it was in the winter garden. I have not shown one of his works, not to comment on demand. We met, talked, and everyone in this conversation identify their pain, sound pain or his joy, the sound of joy. Such meetings can I take, but to evaluate and criticisms - some included in the wrong. I myself do not know what can I learn? Ilya Ovchinnikov, "Private Correspondent"
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