Recently, he has been often criticized for the fact that during the Maidan he did not show a civic position and did not give concerts in support of protest activists. Now Oleg Skrypka plans to organize a gallery of photos from the Maidan and an exhibition of artifacts of the revolution at the festival.
"Ukrainian Truth. Life" talked with the musician about the language issue, weapons and how to sew together eastern and western Ukraine.
- I just returned from Odessa ...
As there? I am very worried about Odessa. We, the people of Kiev, firstly, have earned our history, and secondly, we have even become accustomed to military operations. But I never would have thought that this would happen in Odessa.
Odessans, probably, could not have imagined that such a thing would happen there. It is such a peaceful city, people are so good at avoiding sharp corners… I love and respect Odessa residents very much. And even more so now.
- And why did you say that the people of Kiev deserved it?
Kyiv deserved it, because until now it has done nothing for its freedom. Activity rose only in 2004 and now, ten years later. The outcome of the current Maidan shows that responsibility cannot be removed from oneself. If again we hope that some kind "daddy" will come and "solve" our problems, then this will not happen.
- How do you see the way out of the situation? What can the people of Kiev do?
Now you need to be ready to take up arms.
- Are you ready?
I'm ready.
- Will you sign up for the National Guard?
No, not that much. I have been on the fronts of Ukrainian culture for 20 years, which is extremely important in peacetime. Since earlier society did not deal with this effectively, now we are forced to shoot.
This could have been avoided. If we were all Ukrainians together, knew the language, our own history, listened good music, went to Ukrainian concerts, read Ukrainian books - it would be impossible to create a fifth column and rely on Russian-speaking people to destroy the country and kill patriots on the streets.
Should have become cultured people who know their own language and do not cover up their own laziness and illiteracy - sanctimonious tolerance for languages. I know by myself, I learn the language for two months.
If Ukraine were Ukrainian, like France is French, or like the Czech Republic is Czech, these problems would not exist.
- That is, you support the abolition of the language law?
Two languages is hypocrisy. It is a weakness to cover up one's illiteracy, laziness and disrespect for history and culture with some kind of pseudo-democracy. As a result, a fifth column is created, and this is a very good argument to conquer territories and kill people on the street.
- Tell me, have you been in the east of Ukraine in the last month or two?
Yes, I was in Donetsk, Kharkov and Odessa.
- What was it? Meeting people or just concerts?
These were different things, creative. In Kharkov I played heroic disco, sang with the Lyapis and was on the Maidan, in Donetsk I presented my collection of clothes, played ethno disco and just talked to people, in Odessa - with a jazz concert. I recently visited both Minsk and Moscow.
Happens very interesting story. Those people with whom I communicate and who come to my performances are still selective, this is not a complete section of society. These are people who are interested in Ukrainian culture and love it.
What in Moscow, what in Minsk, what in Odessa - not a single concert takes place without the anthem of Ukraine, and not at our suggestion. People specifically do not let go of the stage without an anthem. These are not only Ukrainians, but also Belarusians and Russians. It not only inspires and pleases me, but also greatly surprises me. The changes are now strange and wonderful.
- What did you talk about, for example, with people in Donetsk? What conclusions did you draw?
In general, the east of Ukraine is an audience that since 2004 has been practically closed for me, for VV. And the Crimea has always been closed, it was impossible to break through there.
It has long been clear that these regions will disappear or become problematic points.
If you sing in Ukrainian and therefore you are an outcast there, then this is a real problem.
For some reason, it is possible to go to Moscow, St. Petersburg or Krasnoyarsk with a concert, but Kharkov, Donetsk and even Zaporozhye with Dnepropetrovsk cause difficulties.
- Why? They don't like you there, do they?
What does "dislike" mean? No, it's just that there is a scheme that makes it difficult to organize a concert.
Even those "grandmothers of St. George" who are now bawling in the streets - it's not that they don't like Ukrainians; they are simply victims of effective brainwashing. Ukrainians are not protected against this scheme. They don't submit counter-theses. I submit, but my efforts are not enough. The efforts of my and those artists, the few active citizens who are engaged in this are not enough.
Society is passive - that's why I'm talking about Kyiv, which did nothing before for its freedom. We have long forgotten about the "state", and I hope that soon we will forget about it altogether. As it has never worked for us, it will never work, we will function without it. You have to take it out so it doesn't get in the way.
- Confess in the end, please. Are you a banderite?
Bandera does not exist in nature. There is no Santa Claus, there are no women, trolls and the like.
Bandera fought for the freedom of Ukraine and existed until the 53rd year, and then they were destroyed by the Chekists.
And soon, I hope, Ukrainians will become free people good will and build a beautiful society. What I wish for all nations.
The other day in Concert Hall them. Tchaikovsky took place anniversary concert dedicated to the 80th anniversary of the famous American composer John Corigliano. At the invitation of the Moscow Philharmonic, the hero of the day personally came to the festive evening. This was Mr. Corigliano's fourth visit to Moscow. According to him, all the performances of his music in our country were "passionate, meaningful, not indifferent." This time the music of John Corigliano was performed by the Moscow Ensemble of Contemporary Music, the Omsk Academic Symphony Orchestra, and the famous virtuoso violinist Ivan Pochekin. The correspondent of "Our Version" managed to talk with Ivan Pochekin immediately after the concert.
- Ivan Yurievich, please tell us how you became a violinist? Parents forced, there was nowhere to go?
Certainly, that's right. I was a very active child, such a real mischief-maker, a prankster. I broke something all the time: they will give me a toy, I will immediately break it. And the age was approaching when adults needed to direct this children's energy somewhere.
I myself did not want to play the violin, for some reason I immediately unconsciously realized that I was driving myself into some kind of rut, from which it was already impossible to get out. To my future teacher - Galina Stepanovna Turchaninova - this is probably the most authoritative children's teacher in our country - my parents took me by cunning. They said we were coming to visit. I myself didn’t want to go there at all, I just resisted physically.
But this once can be deceived, lured, and then it already went that every day it was necessary to learn scales, exercises, learn works.
How were you forced to do it?
I just obeyed my parents. I thought that parents should be obeyed, even if I don’t like it wildly.
I was immediately focused on results. Not that the first two or three years, let's see how predisposed I am, let's try for fun. No. I was immediately sent to the Central music school, and there is a kind of pattern such that in the first grade a child should play such and such works, in the third - such and such and so on. And if you do not complete the program, then you are lagging behind. And this was very much in the air, it put pressure on me.
- It turns out such a rigid system, worse than a cadet school right away.
Yes, but I think it's somewhere positive. Here is, for example, the European system of the violin school. According to the German violinist Christian Tetzlaff, until the age of 15 he rarely played more than three hours a day, mainly devoting time common development intellect.
- On the other hand, the achievements of the Russian and Soviet performing schools speak for themselves. Our system worked for how long outstanding musicians has grown.
It worked, but not for everyone. In this profession, each person needs an individual approach. If a person is very executive, then it is easier to look for an approach to him from the technical side, to play scales, exercises, to develop technique. But if a person is more creative, he is less assiduous, but more thinking. Then, probably, it is necessary to develop what is close to his soul. But that's what I think now.
Did you have strict limits as a child?
Yes. When they ask me how much you worked out as a child, I say that no one counted the hours. I could practice all day until I learned the scale. I could study for eight hours. And this is at 10 years old. That's how it was.
- Did your parents somehow help you in music lessons?
My dad is a violin maker. And my mother, partly, probably due to the fact that my brother and I started playing, became a teacher. She sat with us a lot, studied a lot with our teachers, as if assisting them.
Initially, she, a graduate of Gnesinka, played in an opera orchestra.
- What an interesting and unusual profession your father has.
At one time, he combined the profession of a violinist, being an orchestra artist, and the profession of a violin maker. Then he completely chose the profession of a violin maker.
This profession, of course, is for people who are fans of their work. My father started doing instruments when I was in college.
- Did your father somehow help with the instruments you played?
Of course, it helped a lot. He made small violins for my brother and me and not just standard sizes, which are laid - eighth, half and so on. He made more intermediate measurements. So, if it is usually difficult for all children to switch to big tool, getting used to different distances on the fingerboard, it was very easy for me. And this is precisely due to the great work of my father.
Stradivari named after himself
- There is an opinion that if you play the violin outstanding master, then you immediately increase the level of the game. Does the quality of the instrument really have such a significant effect on the performer?
I, as a musician who played the most high-class instruments, will tell you this: of course, an instrument of this level provides additional opportunities for realizing one's skills. But, as you know, there is an inverse relationship. It's like with a car: the more powerful the car, the greater the potential. But at a higher level, other, more difficult tasks appear. High power is more difficult to handle. The same goes for the audio capabilities.
When I recorded the program on the Stradivarius instrument of the golden period "ex-Wienyavsky", I adapted to this violin for a very long time. On an intuitive level, I started to get something while playing, I began to realize the possibilities, the potential of the instrument.
- "Ex-Wieniawski" - this means that the virtuoso violinist Henryk Wieniawski played this instrument. The fact is that the instruments often bear the names of the owners - the people who played them. Here, for example, Bergonzi "ex-Paganini", or Stradivari "ex-Vienyavsky".
And it happens differently. Here Sarasate played "ex-Bossier" on Stradivali. A Bossier" is a banker who owned this violin for a very long time. Now many owners attach their name to the instruments.
- After all, these are very expensive instruments, there should not be very many of them on the market, right?
$17 million is the largest amount for which a Stradivarius violin was sold. This is a world record.
In general, according to statistics, Stradivarius is sold all over the world about once every one and a half months. There are many instruments that investors love, as they quickly grow in price. This is, so to speak, “short money”: bought, sold a few years later, bought again. And so the instrument is transferred to different owners, while it can be played by the same musician who has the instrument in use.
- And how does the transfer of the instrument take place, is some kind of contract signed? And how does the owner monitor the safety of the violin?
Of course, a lot of documents are being signed. In addition, a special caretaker is attached to each such violin - a person whom the owners trust.
Once in the period specified in the contract, the musician specially arrives, for example, in London or Paris, or somewhere else where this person works, for the so-called inspection. And the caretaker appreciates the accuracy of the performer. It also happens that the instrument is taken away, they are afraid that the performer is not very accurate, does not treat the instrument with care enough. There have been such cases.
- Does the performer pay for the use of the instrument?
It happens differently. They can give for free, they can rent. Or the contractor will pay for the insurance. It happens that the sponsor pays the insurance, or the owner himself. The insurance market is huge right now.
Play in front of the creator - cut like a living
- I know that you played a recent concert in Moscow dedicated to the 80th anniversary of the famous American composer John Corigliano in the presence of the author. How do you perform works in front of their direct creator? After all, a composer can have his own way of hearing music.
Of course, it's like cutting alive. History knows many scandals of brilliant people. For example, when David Oistrakh played Prokofiev's first concerto, Sergei Sergeevich hacked him to death right on the stage.
If the composer trusts the performer, then the main thing is to get into the idea, to understand it. The composer, in this case, will be pleased with the different development of his idea, since one performer can see it this way, and the other in a completely different way. This is where the wise author realizes that even after 100 years he will still not be able to fully control the performance, but he can set the correct manner of performance now.
If the author does not trust the performer, then it is very difficult and very exciting. For example, I am nervous in front of the author, but at the same time I understand that the more I submit ideas myself, the more his work will develop. Yes, the author can refuse to play in this style, but it's still very important to offer ideas.
Corigliano was pleased, thank God. He listened to the rehearsal, made general remarks, probably the same remark he would have made if he had listened to a rehearsal of other music. Gave general advice, showed some tricks. He has wishes in the text, about the speed of execution in some places he writes "perform quickly, as the performer can." That is, he completely trusts the performer.
It's great because people lack musical erudition.
It is so lacking that, at times, the audience begins to applaud somewhere in the middle of the work, between its parts.
Or they come to the pretentious concerts of famous performers, because they got tickets for a lot, and then they sit and shoot on the iPhone.
Similar lectures are held by the Moscow Philharmonic before concerts.
- In general, the applause of the audience is an important component for you?
When I play, I somehow immerse myself inside myself, and sometimes I perceive applause like glass. I don't feel anything. And then the whole evening after the concert I can’t get out of this state, sometimes I can’t even fall asleep.
- There is an opinion that foreign musicians are very mercantile. They rarely play encores, they only play what they were paid for. And ours in this sense are more generous. Are you ready to thank the audience and perform something extra?
I often cook out of sports interest complex works that I want to play. For me, the encore is a continuation of the program, and not something foreign. These are Paganini's caprices or parts from Bach's sonatas and partitas or other works for solo violin. And if the audience wants it, then I always play.
Ivan Pochekin is a Russian violinist, one of the brightest representatives Russian violin school. The son of the famous violin maker Yuri Pochekin.
In 2002 he made his debut in Great Hall Moscow Conservatory, performing the Second Violin Concerto by Sergei Prokofiev.
And in 2005 he won the III international competition violinists them. Niccolo Paganini.
Performed with such outstanding conductors, as V. Gergiev, M. Pletnev, V. Spivakov, A. Sladkovsky, F. Matrangelo, V. Fedoseev, F. Haider and others.
He took part in various festivals, such as the Musical Kremlin, Moscow easter festival, Crazy Day in Nantes and Pianoscope in Beauvais.
At the invitation of Denis Matsuev, he performed in the programs of the Crescendo festivals in Kaliningrad and Pskov and "Stars on Baikal" in Irkutsk.
Collaborates with the State Academic symphony orchestra Russia them. E.F. Svetlanov, orchestra Mariinsky Theater, Russian national orchestra, Grand Symphony Orchestra. P.I. Tchaikovsky and others.
For centuries, amazing sound violins enchanted people. Her melodic sounds pleased the ears of spoiled aristocrats in fashionable salons and made ordinary people dance at unpretentious village holidays.
Devil's Creation
The first violins appeared on earth only in the Renaissance (XIV-XVI centuries). Immediately there were legends associated with them. The most famous of them says that the creator of the first instrument was none other than the devil himself. Once the prince of darkness saw on earth beautiful girl and passionately fell in love with her.
However, the charmer did not respond to the feeling of the unclean, although he promised her fabulous riches for love. Then the angry devil turned the intractable beauty into a violin, giving his creation the seductive forms of his beloved. Since then, the violin has enjoyed special patronage of the dark forces, and with it skillful violinists and craftsmen who create instruments.
In Sweden, there are many legends about the river spirit - strömkarl, a virtuoso violinist playing beautiful melodies over the water. Legends say that the music of this spirit is delightfully good and his violin can make even lame old people start dancing.
They said about skillful musicians (and they still say): he plays like a strömkarl. It was believed that if a person wished to listen to the amazing game of the inhabitant of the waters, he should sacrifice a black lamb to him.
And violinists who wished to learn the skill of a strömkarl left their instruments overnight under river bridges, where, according to rumors, a ghostly virtuoso lived.
Damn revels
In many countries, people were wary of the violin. It was believed that the devils enjoyed playing this instrument during their feasts.
Yes, but here's the trouble: it's hard to find a good musician among evil spirits. That is why many European fairy tales talk about how cunning imps go into all serious trouble, just to lure skillful violinists to their feasts, and sometimes they deceive the instrument itself by deceit.
So, legends say that the devil, who wants to get a good violin, took the form of a village musician and sometimes in the evening lay in wait for his "colleague" who was returning home from work. Word for word - an acquaintance was struck up, and at some point the unclean one offered to exchange violins with a new friend.
The devil's tool looked very expensive, and therefore many poor fellows immediately agreed to an exchange. But when he came home, the poor musician found in the case not a luxurious violin, but a dry branch.
But in order to lure the violinist to a damn feast, the unclean one pretended to be a rich man and offered the rural virtuoso to earn good money.
And only when he arrived at the customer's house, the poor violinist realized what kind of "party" he was in. To elude the terrible "clients", the musician needed to show remarkable ingenuity. But it also happened that he had to please devils and witches with music for an eternity.
"Red" violin that takes life
However, the most famous mystical tradition associated with this instrument is the history of the "red" violin.
For several centuries, a legend has been circulating in Europe that a certain violin maker, mourning the death of his beloved wife, added her blood to the varnish with which he covered a new violin.
After that, the violin turned bright red, and the soul of the deceased moved into the instrument. In the first years of its existence, the "red" violin did no harm to anyone. And then this is what happened.
The instrument accidentally fell into the hands of a violinist boy. The soul of a woman, enclosed in a tool, awakened an unprecedented talent in the boy. The evil forces were going to listen to his play and, in the end, they drank the life of the child without a trace.
When he died, the instrument was buried with him. However, the next day it turned out that the grave of the unfortunate man had been excavated, and the violin had disappeared. Since then, she "travels" throughout Europe, choosing her owner, but every person who is "lucky enough" to touch the "red" violin will face terrible misfortunes and painful death.
Master's Riddles
Of course, the wary attitude towards the violin also concerned its creators. At all times, people looked at violin makers with distrust, and legends were made about the most prominent of them even during their lifetime. Although it should be noted, the personalities of these people asked others a lot of mysteries.
The violins created by the great Antonio Stradivari, even three centuries after his death, have no equal. But even a careful study of these instruments did not reveal the secret of their divine voices. The creations of Stradivari did not differ from other violins either in the quality of wood, or in size, or even in varnish.
But for a long time it was believed that the incomparable voice of the great master's instruments gives an amazing varnish, made according to a special recipe. But a few years ago, some brave researchers carried out an almost barbaric experiment. One of the Stradivari violins was completely washed off the varnish, but even after this blasphemy, it sounded the same.
A few centuries ago, the next version was born, trying to explain the phenomenon of the master. Allegedly, in childhood, little Antonio was blessed by the Lord himself, giving him the talent to create instruments whose voice would remind people of the Kingdom of Heaven.
Then I got the future Great master from the Almighty a wonderful world, which he later added to the varnish for his violins. And it was this secret ingredient that allegedly gave Stradivari instruments a divine sound.
Servants of the Prince of Darkness
Quite different rumors circulated in European countries about the violins of Giuseppe Guarneri, nicknamed del Gesu. It was rumored that this master, bound by an agreement with the Jesuit order, had to sell some of his tools to them for a small price.
Annoyed by such injustice, Guarneri made a deal with the devil, according to which he received freedom, and his violins gained unprecedented power to influence listeners. Since then, the sounds of del Gesù's instruments have fascinated people and allegedly awakened dark feelings and desires in their souls.
An interesting fact is that it was Guarneri's violin long years was a faithful companion and assistant to the most "demonic" virtuoso in the history of mankind Niccolo Paganini.
Traditions say that this brilliant musician, suffering from the humiliation of hopeless poverty and seeking recognition, gave his soul to the devil in exchange for a magnificent violin, which later brought him wealth and fame.
According to another legend, Paganini won the brainchild of Guarneri at cards in a roadside tavern from strange person, who, not at all regretting the loss, at parting predicted great glory to the young man. Be that as it may, Paganini's music did not leave anyone indifferent. The ladies at his concerts sobbed and fainted, and even the men were not ashamed of their tears.
However, rumors of a deal with the devil constantly haunted the brilliant musician, which was partly facilitated by his peculiar appearance and eccentric behavior. And if during the life of Paganini few people dared to speak out against him with accusations, then after the death of the musician, the Roman Catholic Church categorically opposed his burial according to the Christian rite.
For 47 years, the body of Niccolo Paganini sought refuge in all the cities of Italy, until, finally, in 1897, his exhausting posthumous journey ended in one of the cemeteries of Parma.
These terrible wanderings of the remains of the great virtuoso gave rise to new legends. So, the inhabitants of the island of Saint-Honoré, where Paganini's body found shelter for some time, say that after the remains of the musician left their lands, amazing blue lilies grew on the coastal rocks. The very spirit of the musician remained forever on these shores, and now on stormy nights, through the noise of the wind, you can hear the voice of his violin.
And the faithful companion of the "demonic" virtuoso is now in the homeland of Paganini - in the town hall of the city of Genoa. And once a year, one of the young talented musicians picks it up to play for the whole evening in front of the audience in memory of its first famous owner.
Elena LYAKINA