Michael Barenboim Biography

Both followed his footsteps and made a career of professional musicians, however, in different directions. The first found himself in hip-hop, the second remained in the classics. Yuch your debut in the Berlin Philharmonic is associated with the essay, which you recorded a little more than two years ago with the Vienna Philharmonic Orchestra - this is the Schönberg violin concert. For you, the figure of Schounberg, his influence on the music of the XXI century - within the framework of accepted canons?

The MB what Schounberg did for the development of music in the 20th century, the composer himself regarded as a completely natural and absolutely necessary stage. Being a young man, he attributed himself to the post -graders, but it was so before his studies from Alexander von Ceminsky. These classes brought the Wagnerian harmonic language to Schounberg's own music. It was this symbiosis - the harmonic language of Wagner in combination with the Brahms system of organizing sounds and a counterpoint - that influenced Schonberg of a new direction.

I can’t help but quote the famous phrase of Schoenberg: “I am glad that another incomprehensible play appeared in the repertoire,” noting that the violin concert is complicated not only technically, but also to understand the musician “for the head”. Starting to learn a thing, do you perceive such composer comments as a professional challenge? MB of course, this is a real test.

Technically, he probably surpasses all other concerts in a violin repertoire! At the same time, the modernity of this music is heard by the naked ear, and the soloist is faced with the task of making Brahms in this work and in most of its other dodeconon opuses. The violin concert clearly demonstrates that Schönberg simultaneously belongs to the innovators and to traditionalists.

The JUC of one of the features of this composition is a fairly autonomous violin party. Does this difficult for you in interaction with the orchestra? MB Violin Party completely soloing much more to Berg. But musical material, at the same time, is considered as a whole, which means that a pure accompaniment plays very rarely. How much was the attitude of the Boulez-Diriger from his composer perception of the music of the father of the Devennoye system?

MB BULEZ, like a composer and conductor, studied with interest the scores of Schounberg. There was no significant difference in this. His approach to conducting grows from his own music; Late works most strongly affect the principles of his conducting practice. I won’t be mistaken if I say that Boulez himself had a huge impact on you as a musician? Why, knowing the “inside out” of the violin as an instrument, he did not bring his large -scale composition into the violin repertoire?

This second play, one of the main in its late composer heritage, is especially important for a solo violin repertoire. Boulez's music, his experience as a conductor and his whole approach to music as a whole, really influenced the image of my thinking, but this can be talked about for hours ... Yuch your vision of musical works, it seems to me, is more conducting a conductor, more expanded than “classic” soloists.

MB I had such an experience - I played a Mozart concert several times without a conductor. This, of course, can be realized from time to time, but I perfectly understand that I am not a real conductor, although I enjoy this activity sometimes if a case falls. It is impossible to replace a good conductor. How was the idea of ​​creating such an alloy of virtuoso Italian music of different eras?

MB seemed interesting to me to trace how the violin music in Italy has changed over the centuries. In the plays on this disk we can find that those features that are traditionally associated with Paganini style extreme emotionality, crazy virtuosity, are inherent in the whole violin music of Italian authors. The JUC is among the selected composers, whose music sounds on the disk, is Salvatore Sharrino, the now living composer.

What impression did he make on you? MB his music is unique and very difficult to describe, because Sharrino spectacularly created a new world of sounds. From the very beginning it seemed to me fascinating - to start in search of sensual beauty through the unorthodox sounds of his works. In a personal meeting with Sharrino, we briefly discussed his plays.

It was very pleasant that he helped me clarify some details of the performance. Basically, this conversation with the master helped me better understand his views, lying outside his composer activity. The Yuch at your concerts in the Berlin Philharmonic Place of the sick Zubin Meta was taken by the artistic director of two European orchestras - Vasily Petrenko. MB I have never performed with him before, but our double debut with the Berlin Philharmonic Orchestra is an excellent occasion for this.

Ideally, and especially with such a contrasting and difficult repertoire, the relationship between the soloist and the conductor should take shape in the real partnership.It is very important for joint efforts to work on the creation of interpretation, and not to occupy passive positions when everyone is immersed in their own thoughts. I read Yuch that you did not so long ago performed with the orchestra of the Odessa Philharmonic.

Do you plan to come with concerts to Russia, a country with which you are genetically connected in one way or another? I would really like MB, but so far, unfortunately, there are no such plans. I hope they will appear in the future.