Just advertisingThis CD gives the listener a unique opportunity not only to get acquainted with the dark, in the Andalusian style, an early work of Alexander Gradsky much to hear how all sounded the first rock band from Moscow, besides the obvious inspiration from the aesthetics of the high baroque. No concessions to the market, such as: limitter, compressor, or shuffle through the channels - there is only the advance of musical sensitivity listener, the nuances of dynamics and contrasts of sonorities able to assess the composer and the performance level of both the author and his colleagues in the group «Skomorochi»... Read more - Songs on the music and arrangement. So, it all started with the «Skomorokhov» in 1966, where you played with Gradsky, Buynova and Shakhnazarov. What began themselves «Skomorokhs»? and the music!



In a live radio station "Echo of Moscow"
Alexander Gradsky

Visiting: Alexander Gradsky

Top: Natella Boltyanskaya

August 4, 2001

According to the materials: www.echo.msk.ru

In a live radio station 'Echo of Moscow' Alexander Gradsky

In a live radio station "Echo of Moscow" Alexander Gradsky - singer, composer. Ether is Natella Boltyanskaya.

N. Boltyanskaya - Hello, Alexander Borisovich.

A. Gradsky - Good afternoon.

N. Boltyanskaya - I'm glad to see you. You have such a strange glory. You are known as one of the toothed people in the art world, but it is actually far from it. That is in my heart ...

A. Gradsky - That is, the teeth I have and the nature of gentle and affectionate.

N. Boltyanskaya - white, soft and fluffy.

A. Gradsky - This is more convenient to make comments.

N. Boltyanskaya - Once you recently not that can not be heard, heard about "August 44th", about your music written for the cinema ...

A. Gradsky - It was.

N. Boltyanskaya - ... and once on the stages were less likely to appear. Gradsky - No, I have now changed himself, very much. Usually - it is for me every 5 years in Moscow to do a concert. This was the 90-year, 95-m and 99-m. On average, every five years in the State Concert Hall "Russia". In connection with the anniversary of the hall, and the audience, too, this year 30 years old, we decided to make my concert on 3 November. That is, I will have a birthday party, but not a round number, and "Russia" will be a round number. November 3, we do a solo concert, surprisingly, it turns every two years.

N. Boltyanskaya - In fact, it seems that you have become less visible, - it is not my sole experience. Here you are, with the help of the Internet you come from Kiev question. "Your voluntary departure from the scene - a form of aesthetic, moral and human protest against everything that they have to listen and see now, or is it an objective reality?"

A. Gradsky - The answer is very simple. It is not exactly a question. No departure from the scene did not happen. The thing is that if I'm really doing this, because I myself wondering what was happening to me by just the media, either at home or on the concert stage or in work on the music for a movie, or just on the plate. There are, in addition to all this, the presence information of each person, singer, musician, even politics. And it is the presence of the information dispensed. How? Someone very much, someone was very small.

N. Boltyanskaya - And you are afraid of overfeeding?

A. Gradsky - That's what I'm saying. I traced very clearly, and by myself and many of my friends and people who know me the tendency to how much and how much I have to be present, and where. Therefore, if you look at how I am present now and then, as I attended 25-30 years ago - it is exactly the same size. This is practically the same, plus or minus 5%. Why am I saying this? In addition, I can be, and do not mind if I was often on the air and in the media, but that the question of what. If the information about how I live - this is of little interest.

N. Boltyanskaya - Well, just ...

A. Gradsky - I. I have little interest to write about how I live. It's true. In this sense, I'd probably rather reticent man. I try not to commit acts that could give the appearance to the press zheltopressnyh articles. I try not to do them. I am a little in public places associated with presentations or some festivals. But I go there sometimes, actually. It also is dosed. So the answer is. At first I was metered power, because it was decided that it should be so much, no more, but that was not really too bad. Then I arranged this surprise. My career is more than 35 years, and I somehow problems with attendance of concerts, shopping are no records.

N. Boltyanskaya - This is true, moreover, that it has a lot of applications for the pager. But I think that we will be metered to meet these requests.

A. Gradsky - No, we are not going to the music on-demand.

N. Boltyanskaya - Do not we?

A. Gradsky - Upon request - no. You told me that we will be talking about the movie.

N. Boltyanskaya - Yes, we are now put composition ...

A. Gradsky - We're just going to give the pieces, and if you're interested, let us talk about the movie, because I asked about it.

N. Boltyanskaya - So, the film "August 44th", the composer Alexander Gradsky. Let us put.

A. Gradsky - A piece can, for starters.

N. Boltyanskaya - What is it going to be?

A. Gradsky - Well, anxiety. In the movie, after all how?

N. Boltyanskaya - Disturbing music "to-do-do-dum."

A. Gradsky - Suppose. But there are drugomu.-

N. Boltyanskaya - I think that, on the one hand, music in movies kind of problem should not only implement your own. On the other hand, the melody "The Umbrellas of Cherbourg" exists by itself.

A. Gradsky - It's just a different task. In this film there ... say, decoration music, that is, there is something on the screen, and the music supports this screen. Sometimes it happens that the screen is not very interesting, and the music sounds significantly. In this case, bad directors and producers pressured music, so that the music is not bulged. They have this terminology: "Why do we have this opera?" A good directors, smart producers make the following conclusion: "If we do not finish the like artists like the writers, then, at least, the music will be great to do, will peck at the viewer And you never know, will emotionally active medium. which may be held and that the actors played it does not matter, and the writers or directors unfinished. " So built American cinema. That is where the need to "dodavit" viewer, using any means. Including a bad picture about what some Chinese police can be supplied tricks so that it already has an effect. Done no matter what people do not play, the story is not who the killer is clear from the very beginning, even before the beginning of the picture, but put so cool tricks ...

N. Boltyanskaya - And in your case?

A. Gradsky - In my case something like this happened. And the director, and producer took a different line. They decided that the music, loud-sounding and truly impact on the viewer, is not necessary. I made music in the hope that it will all be fine. And you know how much fun? When I watched excerpts from the film, (of course, I'm working with a picture), I completely missed that played Zhenya Mironov, ball, Tyszkiewicz, Petrenko. That is, I did not feel that ...

N. Boltyanskaya - Do not hold out?

A. Gradsky - Yes, they do not hold. Scenario were some difficult issues, but the book Bogomolov - absolutely great book. The scenario may be, it was not very effective, it was more ductile. In this respect, it occurred to me that if such a scenario, shooting this plastic, it would be great if the pauses in the music will strongly influence people, not because I wanted to pull the blanket over himself, but simply taken analogue. You take the matrix, the film and check the balance and sound levels. And there is a very loud, obviously, a good musical six-channel image. That's all. That is, our counterparts do not work. I have some directed at the "Mosfilm" said: "I did 300 paintings, I know." I asked him the question: "Where?" He says: "On" Mosfilm ", where else" - "Ah ... well, of course." That's the point.

N. Boltyanskaya - You recently quite often appear on all sorts of activities related to the movie.

A. Gradsky - does not appear. Why?

N. Boltyanskaya - my own eyes I saw your picture in the sea at the "Kinotavr".

A. Gradsky - Nor was I at the "Kinotavr" for several years, 6 or 7.

N. Boltyanskaya - Well, then, a question for you as a viewer. When you see a picture, you have the opportunity to divide themselves, that music is ...

A. Gradsky - Of course.

N. Boltyanskaya - Or do you still viewer?

A. Gradsky - No, I have no any viewer. I am thankful to the audience in the sense that I love, when I made a tray material professionally. In any genre - in film, music, whatever. But still you can not watch a movie, not dividing it into these component parts, if you are a professional. And I have more than 40 paintings, I have to do this, I see this as a professional. But I learned to do it - to separate himself an enthusiastic spectator, admirer, from a professional. I always know, from what rubbish verses grow innocent shame. I always know, from what made.

N. Boltyanskaya - A lot of questions to the pager.

A. Gradsky - Ask.

N. Boltyanskaya - I would like to ask a question, sent from Kremenchug on the Internet. "How do you feel about the music format of" chanson ", and not whether you think the style in which you work best under chanson?"

A. Gradsky - Chanson - I mean thieves song? What they mean by the word "chanson"?

N. Boltyanskaya - I have the impression that the context is such here.

A. Gradsky - You know what thing? What thieves song for me? This is nothing more than one of the genres of folk music. But this does not mean that this genre should be fomented and spread everywhere.

N. Boltyanskaya - You know that song from your other albums for known wish, you can pull up. But I let myself, let me compliment? You decent poetry.

A. Gradsky - Yes, I know that my poetry is normal, just not in all areas. When I was younger, I wrote bad. And then I began to write better, and now I write just fine, that's all. And if you learn to write poetry, it is possible, in principle, and learn. Develop yourself, your style, your knowledge. So I have happened. The more I know the more I wrote poetry. Become a genius as Pushkin, I was not to begin with. And I can not be, because the man could in 17 years to write absolutely brilliantly. I do not work out. I'm 15 years old, I wrote bad, 22 - a little better, 30 - almost good, and now quite well.

N. Boltyanskaya - "How things are going with your theater when I think to open?" - Dmitry says.

A. Gradsky - This question is certainly interesting. I have something I want to open as soon as possible. We received regular funding from the Government of Moscow, thanks to the personal intervention and the mayor, and the Moscow City Duma happened. And in general, I hope, a year and a half, maybe two. Such parameters. Case heavy. Construction is generally the case, it is impossible to guess.

N. Boltyanskaya - Such a sad message to the pager. "Natella, Gradsky music to truly appreciate only when it is not, as with all great."

A. Gradsky - As the name of a friend?

N. Boltyanskaya - Masha.

A. Gradsky - Masha, I'm with you at the same time absolutely. You are absolutely right. This you have said what I'm talking about. Because of my presence, absolutely, it prevents truly appreciate what I do. My physiognomy, as it were ... a lot of it. You tell me why I'm a little show. I know that I immediately became very much.

N. Boltyanskaya - ... as soon as the show.

A. Gradsky - Yes, it is better for a little bit, little by little. Because it is something a lot already. I have the impression of when I look at myself. I showed my concert recently, the former in "Russia" for the last time. Finally, it was installed, purchased, shown on the first channel. I see something much: and classical singing, and rock 'n roll, and even that is playing on the guitar, composes, choruses some from him. Something a lot of it up guys - I say to myself even. It would seem that there are different people. Some people look at themselves and think: "What is great!" I have a different feeling. I understand that I normally work well, a little vocal errors, there are some even achieve. But there was something I did not leave that impression. Maybe it's typically Russian trait that was not much of a man? Not like in the Russian case. Maybe that's why I have 35 years of career is because I am in the direction of somewhere to go away all the time.

N. Boltyanskaya - "Dear Alexander, 20 years ago heard your speech in VINITI, then you were crooner Since then, you have made a huge leap and become an opera singer ....

A. Gradsky - In VINITI - where is it? And, in some Institute.

N. Boltyanskaya - Yes. "They began an opera singer with excellent voice modulations." Extinguish the light, Alexander Borisovich.

A. Gradsky - Wonderful question. But I became an opera singer at the diploma in '74. That is, in 27 years, I was given a diploma at the Institute Gnesin, where it was in black and white, with the seals is written: "chamber concert and opera singer." This diploma. What I did not work in Opera? Well, I did not work. Then, at the Bolshoi Theatre I was able to participate in '88, Korsakov opera "The Golden Cockerel". Then rock and roll and pop music, then again to rock and roll, chamber music, then something with a guitar, and then verses actively gone. Then I thought: Well, interestingly, the voice ought to be used, let's try to sing in his concert arias. Then, I never sang songs Russian. Houses sang with gusto, by the piano, guitar, and "opened the gate" and "Burn, My Star". For myself, for friends. And then I think: Well, why not sing in concert? Once, he sang in the concert, did the whole program with a Russian orchestra, Osipovskaya. That is important for a person and a musician, I'm (not sure, do not overtake) is ripe to sing Russian songs in concert - you can. But understand this - you can now, or even a bit early, or even better not ... I was once a wonderful experience in this sense. I went on some jazz compilation concert and sang "Summer time". I sang very well, but not in jazz. Since then I have jazz in the concert do not sing. Because I realized that I would not like to. Although I can sing jazz any work, and even improvisation Fitzgerald again.

N. Boltyanskaya - That is not gravitate to this?

A. Gradsky - Technically, I can do it, but this is very small. We must have a soul according to jazz music, we must devote all my life to this. This is a huge reservoir of that I did not raise. Well, what I have to climb? Said Gradsky can sing though editorial "Truth". I can sing editorial "Truth".

N. Boltyanskaya - Why?

A. Gradsky - I say why. Same thing happened with jazz. I will not sing jazz.

N. Boltyanskaya - came another question on the pager. "Ask Alexander Gradsky, is it true that he is mischievous and greedy, as they say about him?" Harmful - yes, greedy - not.

A. Gradsky - I do not harmful and not greedy. Who says I know. There are a couple of idiots who live as artists rather poor, one dimensional, one-sided, with one color. But they live a couple jerks due to the fact that they call someone names, with which they communicate. They called the name "Doe", and Doe is known all over the country. I'm not talking about myself. And he said that Doe, is in eighth grade, picking his nose. At this point, it appears that people stuck to the "Doe" family. Or out of some people in the air, and some great artist name-calling obscenely. And after 2-3 days will say: "Who is this artist's obscenely named this?" It turns out that some Fipkin. You look in six months this Fipkin already on the air. And though he's my friend, I will not call his name, but the way, what a person gets into an informative field, they selected him ... I would have a way for themselves not chosen. It is well done, he chose this method. You see, there are people who are called famous people smart, stupid, greedy, kind, crazy, normal, Lovelace, impotent, muzhelozhtsami - this process is known for many years.

N. Boltyanskaya - Yes, this is the old way.

A. Gradsky - glued to someone, he got. So I can say that there is no why, I am quite wasteful. Sometimes it is very ekonomnyy.-

N. Boltyanskaya - Alexander, say, you were at this year's festival Grushinskii. I as a private person is very interesting.

A. Gradsky - Yes, I really enjoyed.

N. Boltyanskaya - And how?

A. Gradsky - came out, it was great, all included flashlights, there were more than 120 thousand people, say, sitting on a mountain.. And remarkably, the mountain was like the night sky, because people's faces are not visible, and the movement of the hands, lanterns ...

N. Boltyanskaya -. About 300 thousand people were in this year.

A. Gradsky - said. But this is not, of course, I do not think. In total, maybe yes.

N. Boltyanskaya - Question pager. "Which album in which he recorded the song on the verses Sasha Cherny" Yellow House "?" - Victor from St. Petersburg.

A. Gradsky - Very simple answer to this question. On the album "Satires" in '80 record, and release, if I remember correctly, or the 87th, or the 88th, it is "Melody" has released. Now, a laser disc, that is, the CD, which is called "Satire", there it is.

N. Boltyanskaya - Let's listen to music?

A. Gradsky - Yes, this piece of cinema. The chase, then Russian theme, because there are guys win Russian traitors and beautiful Russian Topic byla.

A. Gradsky - Well, the chase is over, and then comes the echo of the drums, and the lyrical theme. We talked about the movie, remember I told you? This track is quite self-sufficient. It was possible to add some noise fare machines. It's the chase, some soldiers in uniform, the enemies run away, others are catching up ... but when a person does not know how to build a sound palette in the film, directed by, for example, does not understand this, he begins a desperate search for that pull, that crush. And in this sense it works, I would say, illiterate, and defeats the purpose of music. Look at what is going to happen.

A. Gradsky - A comment like that. This is the episode in the film there was no place, in any capacity.

N. Boltyanskaya - It's a shame, is not it?

A. Gradsky - neither as a lining or as content, to support the emotional mood, say. I could not imagine that in a good Hollywood movie, in any - sentimental, military, what you will, - the so-recorded music here ... after all 120 people working: an orchestra, musicians, sound engineers, those who are treated with a film, computer. Oh, I'm not talking about myself. And it was done on orders. It was not just from the head, and on the instructions. As a result, they said: "There is something we have no place to insert." I showed a few places where you can insert was good, and another place showed where I put in, but failed.

N. Boltyanskaya - Paging about only what sounded compositions. "The music in the best traditions of the Soviet song classics." Do you agree with this statement?

A. Gradsky - Looks like. Generally, it is Russian theme, because it is made in the Russian classical tradition, which in the Soviet classics, too, was present, this melody. This is also because a film about the Soviet times, about the war, about the Soviet people and about the Russian people at the same time. That is, I perceive it as a compliment. Another thing is that it is written in a modern way, that is, the orchestra plays, it sounds all in a modern way. We do not stand still, everyone is trying to rise above itself.

N. Boltyanskaya - What do you think is more dangerous for the person who considers himself a creator? Overestimate or underestimate yourself?

A. Gradsky - Dangerous overestimated.

N. Boltyanskaya - Why?

A. Gradsky - Because underestimate yourself - it's pricing options. You underestimate yourself, but it works. Do you work yourself, and work as you can. But at the same time say to yourself: "Yes, no, I, in general, no, something I do not know ..." And while no effect on the process of creation, the work is not provided. But if you overestimate yourself, you just immediately Khan. Because you move out the roof, you do not understand ...

N. Boltyanskaya - Or maybe the other way around?

A. Gradsky - No, you stop work on yourself, believe that you have all okay and nothing to do. No, of course, if the answer to your question, which is more harmful, of course, re-evaluation is more harmful.

N. Boltyanskaya - Well, then tell me, what do you think ...

A. Gradsky - You probably mean giving yourself more to set the bar itself, that "I'm super", and under the bar to pull yourself?

N. Boltyanskaya - Nah. I meant something quite different. When a person deeply and sincerely convinced that he is a genius (Igor Northerner), sometimes it seems that this confidence is passed around. No?

A. Gradsky - This support element ...

N. Boltyanskaya - You know, when a woman of average external merits firm knows that she is a beauty ...

A. Gradsky - At some point it someone will say: "Listen, you look carefully in the mirror."

N. Boltyanskaya - "Yes, you're blind."

A. Gradsky - If a person is sure that he has the talent or vysokotalantliv, then he raises the bar by which he must evaluate their performance. Suppose I say to myself or someone I'm super, but if all of a sudden I started to say so, then I have to prove it. It is even more difficult. It is necessary to prove it to themselves and to others. And just to escalate what you are brilliant, and people will take you, but believe? Yes, they will never believe it. If by that something is: a beautiful voice, virtuoso on any instrument, brilliant poetry of some of our modern or old poet - that is, if by that is really something to eat, then the viewers or listeners to you may slightly offended that such vypendrezhnik that himself so actively behaving. But at the same time say that the man - bullshit, but in general, he is talented. In Russia it is.

N. Boltyanskaya - Alexander, tell me honestly, a disc with your anniversary concert brought you to tease your fans on "Echo of Moscow"?

A. Gradsky - I can give you his. Especially because I already gave at least five times.

N. Boltyanskaya - Maybe we'll play him something?

A. Gradsky - Well, play if you want.

N. Boltyanskaya - to choose you?

A. Gradsky - I do not know, that was not the impression that people only instrumental music brought to the radio. It depends on what you want. There's a classic Russian music, their stuff.

N. Boltyanskaya - I love your stuff.

A. Gradsky - Well, put the year 2000.

N. Boltyanskaya - Track name.

A. Gradsko - the 10th in the second plate. This song is very fresh, the only one that was written in 2000.

N. Boltyanskaya - Now we will deliver.

A. Gradsky - What you do not ask me anything?

N. Boltyanskaya - What you ask?

A. Gradsky - about politics, about the money ...

N. Boltyanskaya - About the money you asked ...

A. Gradsky - Such a funny thing ... a wonderful thing, you know, what is? I'm joking, of course, I did not have to ask. But the amazing thing. About life, about intellectualism, about the problems of the philosophy of our Russian all the time for some reason, ask the writers, when writers - they write, but they do not say. Writers can not speak, they are tongue-tied. Musicians always talk better. Listen to Rostropovich said Vladimir Spivakov, as the Shostakovich brilliantly. A writer says, "Well, I ... I think this ... write cho That's my hero, is he?". "And what do you think about Russian philosophy?" - "I think sho philosophy in Russia ..." It's just you can lose control. Why do we never asked about it?

N. Boltyanskaya - The fact that you think about the cultural life of Russia? And I'll tell you why I do not ask you this question.

A. Gradsky - You know, I'll answer.

N. Boltyanskaya - No, I'm not afraid of what you will answer, but I have the impression that you have the opportunity to say what you think about the cultural life of Russia.

A. Gradsky - Through music?

N. Boltyanskaya - Of course.

A. Gradsky - In fact, I always do. But journalists always require direct speech.

N. Boltyanskaya - And the music is more weighted. And so you say something, and then regret it.

A. Gradsky - No, I do not speak. At the same calibrated me, what I say, because I study and prepare the recapitulation, to be honest.

N. Boltyanskaya - Let's sing.

A. Gradsky - Let the year 2000, where everything is written, all skazano.-

N. Boltyanskaya - And then you want me to ask you what you think about the culture?

A. Gradsky - Of course. However, it was written in January and February of 2000. And no one knew that in May and June will take place.

N. Boltyanskaya - Question pager. "How's your son, Daniel?"

A. Gradsky - Normal fares. Currently located in St. Petersburg with friends. Tomorrow will come.

N. Boltyanskaya - Music knows?

A. Gradsky - Yes, and not just one.

N. Boltyanskaya - Immediately it was a lot of requests to give your drive a specific audience, "Echo of Moscow". Wonderful entirely the question: "What do you need to be completely happy?"

A. Gradsky - Hrr ...

N. Boltyanskaya - Oh, everything is so delicious?

A. Gradsky - No, I think, to feel even a couple of years in respect of voice ... saying that the voice should deteriorate over time, etc. I need 2-3 years, because during this time I will be able to write "The Master and Margarita", his opera. Obviously, I can. And I definitely need to be in good vocal form, these 2-3 years. What there will continue to be - this is the question, and there is little significant for me. A record their two parties, even if the party and the party Masters Yeshua vocal in good condition - it is very important.

N. Boltyanskaya - And who wrote the libretto?

A. Gradsky - Libretto - there difficult. Composite libretto, many authors. Naturally, all on Bulgakov.

N. Boltyanskaya - Who would have thought, Alexander Borisovich.

A. Gradsky - This is me for those who do not read. I've met one lady, she does not read "The Master and Margarita." A nice-looking, lovely woman. Once we got used to it should know all. But she did not read, what to do now.

N. Boltyanskaya - What can I say? First, recall that Alexander Gradsky today on the air. Secondly, I hope that we will have an exclusive opportunity to announce that one of his new things when they become available.

A. Gradsky - I'll leave you to record, and sounds themselves.

N. Boltyanskaya - A "Master and Margarita" by an unknown author?

A. Gradsky - It's natural. I hope that in 2-3 years, I somehow do it. Because the hands are now released, in order to work on this opera. If only again will not bring any film ...

N. Boltyanskaya - ... which you then cut.

A. Gradsky - ... which then crush and then I say to myself, I wrote good music dovolno-taki normally recorded, I paid for it a lot, and now I have the opportunity to release his opera, and make it the way I want. But sorry, I love movies. Konchalovsky said that I can put in a movie theater from morning till night, and I'll sit like crazy and watch this movie. I really love movies.

In a live radio station "Echo of Moscow" was Alexander Gradsky - singer, composer

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