The biography of Tratnikov

Makar dryness, clarity, whitened bones, “YouTube” and love for Ukrainian folklore on Saturday in the Kazan Town Hall - a concert of Leonid Arkadyevich Tratnikov, composer and former musical director of the Bolshoi Theater. The event will be held within the framework of the “theories of modernity”, the joint project of the Internet publication “Indian” and the Center for Modern Culture “Change”, and will become part of the parallel program of the summer book festival.

The concert will be attended by a soloist of the Moscow Academic Musical Theater named after Stanislavsky and Nemirovich-Danchenko Natalya Petrozhitskaya, violinist Roman Mints and Honored Artist of Russia Alexei Horbol. In anticipation of the Hinda concert, he collected ten facts that should be known about the work and life of Tratnikov. The vicious child Leonid Arkadievich emphasizes in every possible way that he was destined to become a composer.

He was asocial as a child and played infrequently with other children - musical critics, by the way, often characterize him as an inhabitant of the “ivory of ivory”, closed and mean to words about his own work. Another thing, predetermined from birth, - non -standard chords in the writings of Netellikov - the composer explains with a large distance between the fingers.

Parents gave Little Lenya a music school at the age of six, but finally, the mother of Tratnikova was convinced of her son’s abilities when, during a vacation in the sanatorium, she met music teachers who convinced her of the child’s talent. By the way, the composer’s name has nothing to do with Brezhnev - how he himself was sadly joked in an interview, he rather refers to Tsar Leonid and the battle of farmopils.

The echoes of Ukraine calls himself as a Petersburger, but his childhood and youth passed in Kharkov, where the boy was engaged in Valentin Bibik, not the most noticeable composer, who is considered unfairly bypassed in Ukraine. Bibik often turned to Ukrainian poetry and folklore, wrote essays to the verses of Taras Shevchenko. From questions about the influence of Ukraine on the life and work of the tenants, he usually evades, noting that even if Kharkov is a Russian -speaking city, in some of his works it is really possible to find references to Ukrainian culture.

For example, in the “children of Rosental” the song “Oh, I can in LIS for firewood”, and in the “times of the year” who came out this year, according to the natives of Netellikov, a special Ukrainian intonation is heard. It is also known that his next work, “Bukovinsky songs”, will be based on the folklore of Western Ukraine. The key number from the film “Moscow”, clearly showing the Tratnikov’s method, is the Soviet “The song of the collective farmer about Moscow”, in a hurryly unprofessional “pionelagar” voice, which is justified by the strangeness of the film performing this song, the composer virtually connected to “three beautiful paradise birds” Ravel 3.

Many of the cinema are known as the author of the sound support for the sound support to the author films. Nevertheless, his last work in this genre was released six years ago and the composer is not going to return to the soundtracks. He himself, although with pleasure tells reporters about the intricacies of working with directors, in an interview he constantly forgets how many films he wrote the correct answer - by fourteen.

At the same time, work on films shot according to the script of Vladimir Sorokin is atypical for the composer; Usually he prefers an inconspicuous sound design to the films “My task is to fill the void with a kind of sound mucus”, and for Zeldovich he wrote complex postmodern soundtracks that heal his own life. Music from the "target" can be heard, among other things, on Saturday in the Kazan Town Hall.

Tentranov - laureate of the Nick Prize. At the same time, he loves a movie absolutely in a vicious and even borrowed the term from this sphere to describe his works: “McGaffin”, that is, a certain object around which the plot of the work is being built in the case of Tratnikov, this is the first basis for the composition, from which it is repulsed when creating a work.

In an interview and at lectures, he often gladly talks about how he was one of the first Russian spectators of Europe von Trier and the draft of the Book of Prospero Greenaway - the composer was in Cannes thanks to music by Alexander Mitta, who was lost in Siberia. In different years, tenkov spoke approvingly about the series “The client is always dead” and with irritation - about modern Russian cinema.

According to the composer, he so often rejected the proposals to write the soundtrack that they stopped making them. The theater of tenants is the only living Russian composer, in whose track record there are two operas and operetta for the Bolshoi Theater. The most famous work of Tratnikov, the Opera Opectal,, joint work with Vladimir Sorokin, provoked the attacks of the Youth Association “Walking Together” according to Tratnikov, as if anticipating the situation, initially wanted to call the opera the same way as this movement, but later decided that “a lot of honor”.Future nurses said that this opera is an abuse of music veterans, and even consists of some unintelligible Sumbur.

Tennikov at least took the scandal calmly, but for a long time preferred not to remember the work until this year, when it was finally published on the disk. In the year, Tapetnikov was appointed the musical director of the Bolshoi Theater - a sensational event, given that he became the first composer and not the conductor in this post. In an interview, Leonid Arkadievich emphasized that he perceives the appointment as an interlude in the life of a large one, and himself as a crisis manager.

After the season, the Bolshoi Theater left tenfold, but during this time he managed to contribute to one of the key theatrical premieres of the decade - the production of Votzeck by the German playwright Berg. The text of the foreman is a postmodernist. His perception of music and the world as a text is perhaps the first thing that catches your eye? It also means incredible attention to someone else's text - in this sense, according to the writings of Tratnikov, one can study the history of literature.

Poems by Rilke, Tyutchev, Harms, Oleinikov, Gerald Menlie Hopkins, Aronzon, Tao Yuan-Min, Derzhavin, Karamzin and Balzac-the scatter is colossal, but in each case the composer is extremely carefully treated with the text and even where it really is not, tries to represent the very essence of someone else's work, to find its nerve. Quotes and allusions, this item follows from the previous one.

As early as the beginning of the x tenners, he became interested in the preparation of classical music with the help of modern means. Later, he often turned to both the deconstruction of Moscow and the stylization of “children of Rosental” - in his work there is no direct quotes, they are always skillfully hidden and disguised, but the very fact of cross -pollination does not deny the foremen.

Once, from the creative stupor he was saved by the Slovenian industrial roles of Laibach, whose song he heard in the post office of the program “Quiet House” Sergey Sholokhov. He also has a “return” suite, the ending of which, according to the author, like the transmission of “guess the melody” is consciously based on the use of barely recognizable quotes. In the music of Tratnikov, allusions are guessed by Haydn, Saint-Sansa, Piazzolla, and the Petersburg tradition in it is combined with American minimalism.

In the soundtrack to the film "Sunset" the composer interfered with tango with Clezmer, and in "Return" - a Russian long song with Japanese music Gagak. Tennikov compared his works with a patchwork mosaic: “This is the principle of centon, when the text is woven from pieces, like a patchwork blanket. A whimsical collage, apparently, is homogeneous. There can be many seams, but they should not be visible to the naked eye.

” The vocal cycle “The Love and Life of the Poet” of tenants considers his most significant work 7. Nousrau is noteworthy that the tenkov comes to the same festival where John Sibruk, the author of the term “Nousrau”, implies the mixing and mutualization of low and high cultures. As critic Dmitry Renansky once aptly wrote about Tratnikov, Leonid lives Con Tempo, that is, corresponding to his time.

In addition to love for the series of tenants, it is known for easily in a conversation about Martynov to draw an analogy with the prince and discusses with ABBA interviewers along with Stravinsky. The difference between the elite and plebeian for him does not seem to exist - the composer is critical of everything. Musical omnivorousness is more adhering to me, agree, ”said tenkov in an interview.

It was called YouTube and corresponded to the name one hundred percent: the tenkov chose several videos that I found on the network, and connected them together. He wrote about the academic music of the tenfold something like this: “Let us recall the unbearable uncomfortables, it is such a noun -“ Homeless ”,“ unemployed ”ETC, who is in the rain and bucket to drag into the concert hall, so that, about horror, to listen to music in real life.” The removal of Netellikov is often called the composer cold, writing music for the mind, but this is not entirely true.

The violinist Roman Mintz builds the genealogy of the manner of Tftelikov to Maler, combining seriousness and crawle, irony and self -irony. The composer himself spoke about his work as follows: “I love dryness, rigidity, clarity, an unconditional sound of the piano, yes, yes. Cold, cold. The texture of the bones are whitened by time, something like that. ” The detachment, according to Tratnikov, is a necessary protective measure so as not to get into the processed material and not get bogged down in it.

The doom of the foremen does not hide love for depressive art, and in his music there is also a lot of tragedy. Desperately not similar to Vladimir Martynov, musically, foremen, nevertheless, nods positively in an interview with the mention of the “end of the time of composers” and loves to reflect - both in a conversation and in works on a dead end, which entered European academic music in the second half of the 20th century.

But if you look from the other side, perhaps this is not a dead end, but a peak with which you can examine the open spaces conquered by predecessors.The teaser to the latter at the moment of the record of the execution of Tratnikov - “Russian Seasons” played by the Lithuanian Chamber Orchestra under the direction of Philip Chizhevsky with the participation of Roman Mintz and Alexei Horbole Cover: YouTube.