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Festival Martisor-2004"Martisor" was always the great cultural event in musical history of the Republic of Moldova. It became the most stable of all other musical forums. Its red-white symbols are very pleasant to both children and adults. It is a bright spring holiday, which is equally liked by both politicians and creative people, it is a wonderful holiday for all – favorite and necessary! "Martisor" is a musical festival with most varied genres in folklore and symphony music, theatre and chamber companies – for all tastes! The 38 th issue of "Martisor" was visited by guests from Germany and Japan, Russia, Ukraine and Belarus, Romania, France and Italy, Poland, China and Israel, Bulgaria and USA. "Martisor-2004" consisted of 80 concert programs held in the National Palace, Organ Hall, National Opera, National Philharmonic, etc. Almost 40 programs were shown in the regions of the republic with participation of dance and song companies from Moldova, Belarus and Ukraine, composer Liviu Stirbu, singers Nelly Ciobanu, Vitalie Dani... This year's "Martisor" was younger, and included special "Students' Martisor", which took place at the Academy of Music, where vocal, choral, and dramatic evenings with young talents were held. Among the most interesting events it is worth mentioning the ballet company from Donetsk directed by Vadim Pisarev and a number of chamber groups, such as a brass-sextet from Romania and a nice "Qiuntet Inglau BLECH" from Germany, "Acoustic Drive" with only percussions from Israel and antique music company from Poland "Camerata Cracovia". It was very pleasant to hear that Mihai Cocieru, Manager General of the National Opera in Chisinau was nominated “The Best Art Director of 2003”. Congratulations! Among our guests was the famous chamber choir from Moscow conducted by Vladimir Minin. He celebrated his 75 th jubilee recently. Minin is well-known in the Republic of Moldova, because he was the first conductor of the "Doina" choir. He worked in Poland and Novosibirsk, but he became most famous in Moscow with his chamber choir. His most important achievement was the revival of the Russian religious music. He was the first conductor to interpret Russian cult music in concert halls. His creation is a candle of the Russian culture of the 20 th century. Mr. Vladimir Minin was kind enough to answer several questions put to him by Welcome magazine correspondent. Welcome: Do you like Moldovan audience? Vladimir Minin: I adore it, because it not only listens, but also "absorbs" everything. ...and loves serious music? That very much pleases. In fact now entertaining art is preferred to that intended for human soul. People like something special, don't they? Compositions are not loved whether or not. There is deep music, it is interpreted always with a huge feeling. And there is other music where performing canons are strictly regulated and there is no opportunity "to breathe" as freely as you would like. It refers to church music though improvisation on stage is always present. For the first time you interpreted choir spiritual compositions by Chesnokov, Grechaninov and Strumskoi. You revived such works by Rakhmaninov as "The Bells", "The All-Night Vigil" and "John Chrysostom's Liturgy", as well as music by Tchaikovsky, Taneev and other Russian composers, that was labeled as “not recommended for performance”. Church interpretation "has recovered" my perception of any other music. The main task for my choir and me is to make our audience cathartic at our performances. We wanted to awe it into forgetting about the applause for some time. When you get those several seconds of dead silence, you understand that your listeners – may be for the first time ever – would be thinking about their place in this world and the legacy they would leave behind them. The Art, any art is like a burning candle, you can light it either from one or from both ends, but still it is a burning candle. And it is a part of you and of your soul that is burning out. But not for the sake of the profession! It is burning for your spectators. In the long run, it is a kind of pebble-leather. Why do we sing Sviridov, for example? I think that at the end of the 20 th century he is, maybe, unique: deeply national, loving, quivering and having a universal understanding of Russia and its people. Have you ever had any failures? Certainly, but here it is extremely important to not run into despondency, and to understand one very simple rule: the public is always right, always! It cannot understand with mind, but it feels if you talk to it sincerely or formally. If you hit their nerve you can perform as you wish, if you are not in tune with their inner depths you are doomed to failure. You managed to stand out in the struggle for the cultural wealth of Russia, you did not adapt to the Communist party repertoire and still received many awards. There are a lot of awards, but I did not count them. I remember we were on tour in Japan when by phone I was informed that I was conferred the title of “The People's Artist of the USSR". I did not really have any emotions. The only word I said then was “Thanks”. As a matter of fact the State Prize of the USSR did make me happy, because it mattered, it was a welcome sign of public recognition. The award I cherish most is the Order of St. Vladimir conferred by the Patriarch of the Russian Orthodox Church to celebrate the 25 th anniversary of the choir – for bringing back a whole layer of church music. There was another and a very precious recognition – by peers. In 1985 Vienna hosted the first world congress of choral music which we attended. After our performance the audience – professional choral performers themselves – rushed to embrace and congratulate our artists – that was, indeed, the compliment, the approbation! Profession is meaning of the life for you? My trade should be studied the whole life, because classical music is not that simple, it is necessary to grow into it and scrutinize it again and again. Only when you are sure that you have reached the essential core you can go to the choir. Rehearsals begin. Your task is to make the consciousness, the heart and the voice of the singer work in unison, to make sure that he is confident and relaxed with the music and the words he is singing become his own words. The first-night is tomorrow and before it you have to polish it on stage. The process is endless. I think, it was only by the age of 60 that I came to understand something about my profession. Of course, you can always go with the tide without mental effort. Or you can submerge into the deeper layers and even go against the stream. By Elena Uzun CDR. Schedrin “The sealed angel”. 1989, Melody Record Company |
