Ksenia Probishch Biography

Without obsession, you can’t deal with music on April 5, Friday the violinist, the People's Artist of Udmurtia, the author of his own show programs music is a completely universal language. The fourth -generation hereditary musician, relatives say, gathered all the genes of our family. She was engaged in a violin from six. Musical school, music school, conservatory, graduate school - studied 19 years.

In full the program, all this passed. From the age of 16 she went on tour as a professional musician, worked in the theater. My mother went on tour in June-July-August, and why did theater families collapsed with her-this was without fail, the theater was obliged to go on tour. Of course, all contests, my first record was supervised by my mother - on the radio, at 16 years old.

During training at the conservatory, they came with a stepfather to all my responsible exams. I played with such canvases: Tchaikovsky’s concert, Prokofiev’s concert - then my parents led me into a restaurant and began to lay out everything on the shelves, where I played well, where it was bad. When I took Shostakovich’s concert, my parents said: “We wouldn’t play like that.” It was the highest praise.

When I took up the show programs, my mother, I remember, made me a remark: “You play cool, I would try someone like that, but you play everything loudly, there are no nuances, but you still have to differentiate.” She left the game a decent, academic, took up show programs. Need forced. I came here with two young children, was the first violin of a symphonic orchestra, and, as in the good old operetta, it is said, "I played for the lowest salary of the largest roles." There was such a fashionable cafe “impromptu” - the premises of the Babylon restaurant, a large scene, a piano; Sasha Dudin, our chief Shurik, worked there as a host.

The cafe announced a competition for the music program. I came with five peasants-duplicates, Brass-liquid. After the test, the director invited me: “We want to offer another option. Brass-flint is not needed, you need. One condition: we have our own pianist, and you will make a program with her. ” Thus began my restaurant career. The listeners came different. Gopota said: “The violin and the piano?

Have we come to the Philharmonic? On the other hand, then private entrepreneurship began, all businessmen were not yet businessmen and went to this cafe. My friends, a party, have stayed since that time. Everyone has become successful, and many remember the “impromptu” - now there is not enough energy. It so happened that my forced work became my hobby, I began to sew costumes, build a repertoire differently, then write the first to write arrangements-everything went gradually.

And I realized that people like it, and I myself have fun. My manner of fulfillment, of course, is not everyone to my liking, but I can’t like everyone. What persecution I have undergone, starting this game! And so, years later, colleagues on the symphonic orchestra saw me in the square with an incendiary program, and the conductor himself came up: “Listen, and this is yours!

Cool you succeed. " For 25 years I was a concertmaster of symphonic orchestras, the first violin, to whom the conductor presses his hand after the performance. This is a very difficult job, men's work. You need to deal with the whole orchestra, prepare the orchestra for the arrival of the conductor, solo. I was called the "Iron Lady", because it was necessary to growl, build everyone - from 60 to 80 people - and have iron nerves.

Every day I went into a symphony orchestra like a cage with a tiger. Especially in other cities. I never wander with obscene abuse, but I can say one word, apparently, with the necessary intonation. I became softer over the years, having left the orchestra, but what interferes with, I quickly cut off. I value my time and my emotions very much. You can’t deal with music without obsession.

As in any profession, there are a lot of trials. Something does not work, you have to rehearse in basements, hotels, corridors. Then contests, promotion - all this is very difficult, and not loving music to obsession, it is impossible to do this. Sounds when you study on the violin are very heavy. When my daughter studied, I, preserving my psyche and psyche of my child, told the teacher: “I will not come close.

Just show me the result. " How did my mother suffered these sound sounds? I don’t know a single child who would like to engage in the tool. It seems to everyone that it is simple, but you need to cut out every note. The younger ones go to a music school with pleasure, the breakdown goes from the fourth to seventh grade, and then again a desire comes. During the period of breaking, you just have to force.

I persuaded the children for bribes-I will buy something tasty on the way back. I myself wanted to be an opera singer, very, but God did not give a strong voice. In addition, she was obsessed with the theater, she wanted to become a dramatic actress, but her mother said: “graduated from a music school, and then you will decide who to be,” almost in an orderly order.

Mom made me a violinist, for which I am grateful to her. The work of dramatic actors is acting, it is very difficult. And then, artists have an age qualification, but the musicians do not have it.I can play up to a hundred years, if I keep a form if my health allows. Be creators because creative people have no age. Youth and health gives an unconditional creative process.

There are no other recipes. The music has a future! The youth is very talented, very. And beautiful at that. Classical music is developing, but more accepted by the West - they are so smart, they take all the best, invite and pay. Italy is an indicator of love for music. In the summer, concerts take place in squares. The hard workers are dirty, the T -shirt runs to the conductor: “Can you play Rossini?

Russia is a pop country, this is what upset me. However, in our city they go well to classic concerts when I play music in a romance style, let’s say, the Soviet classic is very fond of. There is a European repertoire in Europe, the Turks welcomes techno music. My task is to raise people: “Well, let's get up, take part! What will they think? What will they say? I'm very afraid of going on stage.

Both at small and large concerts are terrible mandrazh. The ability not to think about it comes with experience, because we are accustomed to the stage since childhood, in my case - from the age of six. You need to prepare for public speaking: what will you talk about, what will you play, what will you carry people, what did you want to say at all with your performance? This is not a simple process at all.

The best moment of the performance is when you are not present here. The moment of complete meditation, when you play and are in the stream, there is no peace around. This moment is completely amazing, for the sake of such moments we are engaged in creativity. The music constantly sounds in my head, absolutely. At the time of the appearance of a new melody, I need to record it. Even at night I can stand up, throw the first notes to remember tomorrow a sudden trend.

We get information with some episodes, very dosed-only now it caught and can leave. In the past, the classics received a lot of clean information at once. Mozart was a phenomenal conductor, heard not just the beginning of the melody, heard everything and wrote without drafts. They moved away from the creator. I am not a religious person, but it feels like a blockade, the wall stands between us and the creator.

There is a noise effect that prevents us from taking information from it, from the database in which everything is. Now I’m doing it without a teacher, exclusively rely on my notes, work a lot with them and, of course, listen to the masters. It is very important not to lose self -control. Before each new project, a lot is rehearsed, and, of course, some topics are attached.