Let me explain

Like any artist, Alexander Gradsky may not like, and their repertoire and performing style and vocal abilities. We can talk at all about the small taste of the listener, and his passions, gravity.

April 24, this newspaper published a letter V.Apalikova , which was expressed dissatisfaction and manner of Alexander Gradsky, and his repertoire. As demonstrated by mail edition, this view has ardent supporters and vocal opponents. "I was fortunate to get to the concert Gradskiy. The program, which was introduced by the singer to the audience, different informative, interesting vocal and instrumental decision. Performance hall singer captured almost instantly - Contact has been established. " "I dream to go to the concert Gradskiy, deeply troubled him" Russian songs. " But now I think maybe he did not sing my heart, as a cold, calculating mind? Like, look at how I can sing soul, is another singer so can? "" To get a ticket to his concert was difficult. We were "lucky" - have never ever seen such a blatant hack. " "Why comrade. Apalikov allows himself so peremptorily judge repertoire of the actor? Is not it better to try to understand the artist and his work is not to try to their own notions about art. " Etc.

As you can see, even in these excerpts from letters such polar and, significantly, the excited judgment. And this is not just due to impulsivity authors, and obvious interest to creativity Gradskiy. In any case, even the "opposing" letters in common one - "a ticket to get it was difficult».

But there are uncertainties. Of course, the best contact with the audience - the performance from the stage. But then, I think, and there was a need for direct conversation with the winner of the International Competition Alexander Gradsky. We showed him the editorial mail.

Start with the most simple and natural question asked by a reader A. Provatorov: "Tell us how to become a musician Gradsky!»

- And the answer is quite simple. Now I'm 29 years old. Once my parents sent me to a music school, learned to play the violin. Then he graduated from the Institute Gnesin received certification opera singer and performer of chamber music. Then he studied at the Conservatory in composition. I consider myself very lucky - I had a wonderful teacher. The brightest days in the conservatory, I connected with a wonderful man Tikhon Khrennikov. He feels the extraordinary abilities of the person, his mood, is able to gently but firmly and convincingly persuade. I was left with a sense of joy not communicate with the venerable maestro, and with a senior friend who knows more and can and, most importantly, wants to help. This man is an unusually wide range, it has so many different students.

And what teachers were Gnessin! Lubov Kotelnikov, Nina Verbova, Natalia Spiller. Nina Alexandrovna connected all my destiny singer. He is a man of the highest culture and endless kindness. Teacher made me a singer and, above all, have learned to work.

- However, in the letter D. Vinnikov said: "Apparently, it all comes easily. Came, sang, rode on ».

- I can not say that, even in secret, I would like to see me all the "easy for me." If we accept this vague term, the results give only exhausting work. Another thing is that this "exhaustion" brings me joy. And if the student does not see the "work", then it is good. I believe that for a musician, in addition to the school, the most important - self-discipline and self-education. This goes for any profession. I study a lot of books, manuals on instrumentation, analysis forms, jazz.

Lot I listen to music - ancient and modern. I consider myself a musician, steeped in classic style - Bach, Beethoven, Shostakovich, Prokofiev. Without a doubt, Mozart. Closest to me Chopin, although I do not own a piano player and bad this tool.

Course, necessary and common development - literature, art, languages, but just the very life around, her wisdom and depth.

Shostakovich, Prokofiev, Rachmaninoff - they were men of great culture and great moral strength.

- Do you consider yourself a disciple of the classical school, and at the same time you are the creator of "Rock Band." In what is the relationship? Say I. Razumovskaya reader appreciates your creativity. But it appears that the natural question.

- Back when I was a student, some of my friends were surprised that day I sing Italian arias, and the evening doing rock music. I still do not see the dichotomy. Even then, I began to use the rock techniques Italian bel canto singing and expressive speech, typical of Russian singing school. I thought it was not a split, and mutual enrichment. But the time came when I had to choose. After graduation I was invited to several opera houses. But in 1973, I began work on the film "Romance for Lovers." That was a job! After the movie, I realized that for the expression of what I feel I do not have enough performance already written to me the music, the film made me a professional. I work on it when there were so many difficulties, that, having overcome them, it was impossible not to turn professional. Maybe I'm wrong. But then I believed it, and entered the conservatory does not track faculty.

What I'm doing now - rock. I think the general development of music - symphonic, and jazz, and rock - is the well-known merger interpenetration. Gershwin wrote symphonic works, while there are elements of Rodion Shchedrin's jazz music and even jazz improvisation.

am sure that Russian poetry can bring something new to the modern music. American and British rock, with all its expressiveness is more philosophical and contemplative. (This is not a commercial music. Perhaps she also needed as a matter of fun, but we need to clearly distinguish between what is true value, and that - consumer goods). You see, the author of the work can not be an observer of events, he must be a member of events, experiencing the beginning. Russian poetry to music could enrich human content. I'm trying to move in this direction. There are, of course, shyness before high verses on them hard to write music because they already have their own music. I try to read them in their own way. It may not match the reading of a particular listener. It is natural. It's a shame more - when you do not want to understand.

That is because the question of questions: is the listener to follow the performer? Not just to get what he used to. We have to go to a concert with an open mind. Artist long preparing for a concert. The listener must also prepare. You can not argue: become such as I want, or (awful) I refuse to take you. Intercourse disappears, I lose people.

- Our friend has other claims. R. Solovyov, for example, confuse the "externalities" of a performance. Discontent is loud and way of singing. And since there is such a view and, apparently, it holds more than one author of the letter, then around his attention, I think, inappropriate.

- Why loud? This requires a new music, a new style. I think that over time will get used to the volume and style of rock. Besides concerts in large halls where no more sound in long ranks of spectators can not hear anything.

way, the volume of performance - it's just the emphasis in the climactic ground. Sometimes you need and whisper. If "Spain" with lyrics by Nicholas Aseeva sounds hard and loudly, that "In the fields covered with snow and rain," Robert Burns, in any case does not permit higher voice capacity. It all depends on the task, which is set in a particular product.

- Finally, a question: What are you working now!

- edited and completed the opera "Stadium", recorded the cycle "Russian Songs" in order to release it on a big plate, penned a few new songs, songs, written music for two feature films and two cartoons, where I am also the author of texts, and performer. Over the last two years I was on tour in about forty cities. I write the ballet "Mowgli" the tale of Kipling (libretto Natalia Konchalovskaya). Finish the film music for television, where he will act in and sing.

In conclusion, I would like to stress - the artist, the author should complicity listener, the desire and ability to understand.

Interviewed by E. graphs

these articles 25 years and, in my opinion, they are quite clearly a reflection of the world in which we lived. And the very fact of discussion (albeit short) on the work of A. Gradsky in such a serious publication of the Soviet press.

Boris Krutko-Cukrowski (29.06.04)