Biography of the Voskresensky singer

Someone becomes famous almost unexpectedly for others sometimes for himself. Glory flashes for him instantly and enchantly brightly; So went down in the history of the piano execution of Van Klibern. Others start slowly. At first, inconspicuous in the circle of colleagues, they gain recognition gradually and gradually - but their names are usually pronounced with great respect.

This path, as experience testifies, is often more reliable and more true. It was they who was in art Mikhail Voskresensky. He was lucky: fate brought him with Lev Nikolayevich Oborin. At Oserin in the early fifties-at the time when Voskresensky first crossed the threshold of his class-there were not so many truly bright pianists among the students. The Voskresensky managed to win leadership, he became one of the first -born among the laureates of international competitions prepared by his professor.

Moreover. The restrained, at times, maybe slightly alienated in relations with student youth, Oborin made an exception for Voskresensky - he allocated him among the rest of the students, made his assistant in the conservatory. For a number of years, a young musician worked side by side with a famous master. He, like no one else, was opened by the secret caches of the Okorinsky performing and pedagogical art.

Communication with the strip gave Voskresensky an exclusively a lot, determined some fundamentally important faces of his artistic appearance. But more on that later. Mikhail Sergeyevich Voskresensky was born in the city of Berdyansk Zaporizhzhya region. He lost his father early, who died in the days of the Great Patriotic War. He was raised by his mother; She was a music teacher and taught her son the initial course of the piano game.

The first years after the end of the war, Voskresensky spent in Sevastopol. He studied at high school, continued to engage in the piano under the supervision of his mother. And then the boy was transported to Moscow. Klyachko put an end to my childishly naive ideas about the piano game. He set serious artistic and performing tasks in front of me, introduced into the world of real musical imagery he often and successfully played in open evenings and concerts.

With enthusiasm he worked on technology: I learned, for example, all fifty sketches of the Op. I would not recommend any of the young pianists to bypass this author during their studies. ” In a word, it was not difficult to enter the Moscow Conservatory for him. He was enrolled in the first year student in the year. For some time his teacher was J. Milstein, soon, however, he went to the fest.

It was a hot, tense time in the biography of the oldest musical university in the country. The time of the performing contests Voskresensky, as one of the leading and most “strongest” pianists of the Oborin class, completely paid tribute to the universal hobby. In the year, he goes to the Schumann International Competition to Berlin and returns from there with the third prize. A year later, he has a “bronze” at the Pianists competition in Rio de Janeiro.

Finally, in the year he completes his competitive “marathon” in the van Klibern in the United States, third place. Only not always, you see, everything here depended on me. Sometimes the circumstances took shape that it was not possible to refuse to participate in the competition and then, I must admit, the competitions were fascinated, captured - youth is youth. They gave a lot of purely professional terms, contributed to pianistic progress, carried a lot of vivid impressions: joy and grief, hopes and disappointments yes, yes, and disappointment, because at the competitions - now I am perfectly aware - the role of Fortune, happiness, and the chance of the Assistant at Okorin is completed by the fact that he is entrusted with his own class about the young musician about one of him.

Direct and consistent adherents of the Osurinsky line in pianism. And with a full basis. Like his teacher, Voskresensky from an early age was characterized by a calm, clear and smart look at the music performed. Such, on the one hand, is his nature, on the other, the result of longery creative communication with the professor. In the game of Voskresensky, in his interpretation concepts - nothing excessive or imbalanced.

Excellent order in everything that is done behind the keyboard; Everywhere and everywhere - in sound gradations, pace, technical details - strictly strict control. In interpretations, it is almost no controversial, internally contradictory; What is even more important for characterizing his style is nothing excessively personal. Listening to the pianists like him, sometimes the words of Wagner, said that music, performed clearly, with faithful artistic meaning and at a high professional level, “correctly”, in the expression of the great composer, brings Wagner R., and Bruno Walter, as you know, was even further, “ shine".We repeat the Voskresensky, the exact pianist and another feature of his performing interpretations: in them, as once at Okorin, - neither the slightest emotional plaque, nor the shadow of affectation.

Nothing from immodesty in the manifestation of feelings. Everywhere - from musical classics to expressionism, from Handel to Onegger - mental harmony, elegant balance of inner life. Art, as philosophers previously expressed, rather “Apollonian” than the “Dionysian” warehouse characterizing the game of Voskresensky, one cannot keep silent about one long-standing and well-visible tradition in musical art.

In foreign pianism, she is usually associated with the names of E. Petri and R. Kazadeisyus, in the Soviet one-again with the name of L., this tradition puts at the forefront of the performing process the structural idea of ​​the work. For artists adhering to it, music is not a spontaneous emotional process, but a consistent disclosure of the artistic logic of the material.

Not spontaneous will, but beautifully and carefully carried out "construction". They, these artists, are invariably attentive to the aesthetic qualities of the musical form: to the harmony of the sound structure, the ratio of the whole and privacy, the verification of proportions. It is no coincidence that I. Klyachko, better than anyone else familiar with the creative method of his former student, wrote in one of the reviews that the Voskresensky manages to achieve “the most difficult-expressiveness of the form as a whole”; Similar opinions can often be heard from other specialists.

In the responses to Voskresensky’s concerts, it is usually emphasized that the performing actions of the pianist are well thought out, justified, designed. Sometimes, however, criticism believes, all this is somewhat muffled by his liveliness of a poetic feeling: “For all these positive moments,” L. Zhivov noted, “the pianist’s game is sometimes still felt by excessive emotional restraint; It is possible that the desire for accuracy, the special efficiency of each detail sometimes goes to the detriment of improvisation, immediacy of execution ”L., can be a critic of rights, and Voskresensky is really not always, not at every concert he fascinates and lights up.

But almost always convinces at one time B. Asafiev wrote in the wake of the performances in the USSR of an outstanding German conductor German Abendrot: “Abendrot knows how to convince, not always able to captivate, raise and fascinate” Asafiev B. Critical articles, essays and reviews. Similarly, the audience of the forties - fifties always convinced L. Oburin; This is essentially the impact on the public of his student.

They usually speak about him as a musician with an excellent school.

Here he is really the son of his time, generation, environment. And without exaggeration, one of the best on the stage is invariably correct: many could envy such a happy combination of the school, psychological stability, and self -control. Oborin once wrote: “In general, I believe that each performer, first of all, would not hurt to have a dozen two rules of“ good behavior in music ”.

These rules should concern the content and forms of execution, aesthetics of sound, pedaling, etc. On some principles of piano technique, the issues of piano execution. It is not surprised that Voskresensky - one of the creative adherents of the Overin and the people closest to him - tightly learned these rules during his studies; They became his second nature. Whatever author he put in his programs, in his game, frames are always felt, outlined by impeccable education, stage etiquette, and excellent taste.

Previously, he happened, no, no, and he went beyond this framework; You can recall, for example, his interpretations of the sixties - “Creislerian” and “Vienna Carnival” by Schumann, some other works. There is a Grumplastin of Voskresensky, vividly reminiscent of these interpretations. In a fit of youthful ardor, he at times allowed himself to sin in something against what was understood as the performing “Komilfo”.

But this is only before, now never. In the seventies and eighties, performed by Voskresensky, one could hear a number of essays-the Silmol-Majoric sonata, the musical moments and the fantasy of the Skitalet Schubert, the fourth piano concert of Beethoven, the concert of Shnitka, and much more. And I must say, each of the programs of the pianist delivered a lot of truly pleasant minutes to the audience: meetings with intelligent, impeccably educated people are always pleased-the concert hall in this case is no exception.

At the same time, it would be wrong to believe that the performing virtues of Voskresensky only fit under a certain voluminous arch of excellent rules - and only its taste and musical feeling - from nature. He could have the most worthy mentors in his youth-and yet they would not have taught the fact that the main and most secret in the artist’s activities would not have been taught.

Reynolds, then there would no longer be taste or talent ”about music and musicians.As an interpreter, Voskresensky loves to take on the most different music. In oral and printed performances, he repeatedly spoke out, and with all the conviction, for the possible latitude of the repertoire of the touring artist. He cannot limit his tastes to some specific style.

The modern pianist should be universal. ”Voskresensky M. at the Voskresensky himself is really not easy to isolate what would be preferable for him as a concert.