Creativity of Didzhal Biography

The history of the Diedul project was born on January 24 of the year in the city of Grodno. This Belarusian town is beautiful with its architecture and rich in musical traditions. Nearby are the boundaries with Poland and Lithuania, the result of which is a large cultural interaction. There are a lot of nationalities in the city: Poles, Jews, Lithuanians, Belarusians, Russians, Ukrainians.

The city is interesting, pleasant, only warm memories remain about it. The first guitar did the mother was given by the mother when he was five years old. Interest in the instrument was unusual, maybe because in the yard someone was constantly striking on the guitar, and maybe because he was generally drawn to music. Like every child, Didioli had all kinds of players with records in childhood, which also had a fairly strong effect.

With the first guitar, the first unobtrusive experiments with sound came: a sensor was put on the guitar, homemade amplifiers were turned on, all sorts of lotions were made. For the Diduly, the period of guitar courses began: the teacher showed what chords exist, how to play, what manners and methods of the game exist. This was the beginning, the first steps in the development of the guitar.

The craving for experiments with the guitar was unquenchable, the guys attended concerts, watched how they play at weddings, and how all this is happening - it captured and had a serious effect on interests and ideas. Didzhalyu with friends, also fascinated by the guitar, showed each other new achievements, competed, which, of course, pushed, forced to work and keep themselves in suspense.

Years passed, the experiments continued, the first group appeared. The didom was taken into the vocal and instrumental ensemble "Scarlet Dawns", as a third guitarist. There were many people in the ensemble - an expanded composition, there was a wind section, keyboards. Concerts were held on collective farms and state farms, as well as in the city. Nikolai Khitrik, the permanent leader of the ensemble, and work there, gave extensive experience and important performances.

In the process of work, several people were filtered, after which the performances were continued in a local cooperative restaurant. It was an amazing school: six hours of game every evening, seven days a week, a variety of music was played almost without interruption. This could be called the first serious school, where the digital knowledge and skills of performances before the public were gained, in addition, the first money was earned, which he was very proud of, because making money, making his favorite business - the dream of anyone.

However, the ensemble broke up, after which the sound engineering period of work came for the Didiuli. He went to the Dance Ensemble “White dew” - a very serious, authoritative team of Grodno, who had touring experience and success. Different music was played, singing and dancing, basically it was folk dances - Polish, Belarusian, Ukrainian, gypsy. The team was great and versatile, where the didzerus became a sound engineer - the work is important and responsible, and at the same time very interesting.

Although during the work I had to learn a lot: how to make sound, how different instruments sound, how the audience generally accepts one or another number. After all, the sound engineer, sitting in the concert hall, like no one, feels what is happening on the stage, what is the reaction of the audience in the hall, which numbers are better accepted, which is worse, how sound affects the viewer.

The subtle psychological moments of the concert - this is what Didule managed to learn when working in this team. Huge experience was also gained from communication with musicians - they were people who passed fire and water, with a powerful academic education who played folk music like no other. The tour of the ensemble had a very strong influence on the further work of Diduli, because the tour took place both on the territory of our vast Motherland and abroad.

The variety of people, the traditions of these countries made an indelible impression. Working with this team, Didzhalya went to Spain, where his acquaintance with the style of Flmenco, the Spanish folk tradition, occurred. Although he had been interested in and studied their music before, he delved into it, but only in Spain did she understand him. The ensemble spent quite a lot of time there, various musical instruments were purchased there.

Also, during his stay in Spain, Dydel arranged street concerts, which gave extensive experience and hardening. Working in an ensemble, Didjul talked not only with musicians, but also with dancers and choreographers, after all, it was a dance ensemble. The first serious composer experiments began there, having a good technological base in the ensemble, the Didiul began to record more or less professionally.

His first notes, the first ideas about concerts began to be born there. At first there was cooperation with the dancers, then an acquaintance with the beautiful guitarist Vladimir Zakharov, a wonderful dancer and choreographer Dmitry Kurakulov, occurred. So the dance-musical trio and an excellent concert program was created.The period in the "white dew" was a time of ideas, the atmosphere of the team, communication with interesting people, and touring very strongly influenced.

After some time, Didzhalya found out that a competition was held on Belarusian television, where interesting young performers of different genres are invited. If you go through the qualifying tour, great prospects will open. He decided to try, and, collecting things and tools with Dima Kurakulov, he went to another city, where the competition was held.

Didzhalyu and Dima passed the qualifying tour, after which they were invited to shoot. This was a great enthusiasm, preparation for filming was very serious. To his surprise, having played some acoustic things familiar to him, the next tour went through and got to the gala concert. It was a great victory and success - the dream of a large audience came true. Dating with professional directors, editors, they helped, shared their own experience, indicated what to strive for and in what direction to work.

An important role in the promotion of Didzuli in the competition was played by the talented Belarusian composer Oleg Eliseenkov. His help was simply invaluable, his advice is accurate and useful. The framework of the sound engineer becomes too narrow for the didzer - I want to do what I love - guitar, composition, sound, arrangement, my author’s music. And at the invitation of businessman and pianist Igor Bruskin, he moves to Minsk.

Bruskin owns a musical salon selling various instruments. Dydela is engaged in consultations and sale there, work with various musical equipment, often travels to Moscow, where, interacting with recording studios, concert halls and other musical organizations where this equipment was supplied, gains useful experience. Suddenly, in the footsteps of the television card, a small program was organized at the very large festival “Slavic Bazaar”, where all the artists participating in the television course were invited.

Finally, it became possible to more seriously declare itself - the festival was broadcast to all CIS countries, as well as to Poland, the Baltic states and Bulgaria. This gives Didule a great incentive to continue to work in the direction in which she was conducted, lines up a clear position - taking instrumental music, guitar, guitar aesthetics and all this under the slight influence of folklore music.

Diedul also tried to some extent to see electronic music for this. This period is characteristic of a testyuli with close work with local choreographers, the creation of unusual and interesting numbers. But Moscow beckons itself with its diversity, great prospects. At first it was very difficult - because the capital is very specific - there are morals, principles, traditions.

For a visiting person, this is a very unusual and unfamiliar city, other people. But the goal, stubbornness in its achievement and faith in success helped to overcome difficulties. The Arbat period began - performances on the street, but not a street artist, but a professional musician with good technology and appearance, who played, first of all, for his own pleasure. Here, Didzhaly met many people, including Sergey Kulishenko, at that time he held a high commercial position.

Although Diedul was not very easily approached by strangers, but against the backdrop of the difficulties that had arisen had to make a choice: either to call one of those whom he met, or to leave Moscow. Sergei wanted to learn how to play the guitar, so the Diddle had the first student. Sergei also showed interest in the activities of Dyduli, helped with housing and tools, paid for the first professional entry at the studio of the wonderful guitarist May Liana.

A high -quality home -based studio of sound recording determined the direction of further work of Diemi. May Liana went well - eight compositions were recorded, technically everything was at the highest level, although artistic - not that. Didzhalya very warmly recalls communication with May Liana, a talented guitarist and composer, a good teacher and respected friend.

Didzhalyu, along with Sergey, began to develop the issue of creating their home -based recording studio, investigated the market of musical equipment. A set of equipment was formed, which was installed in the country's country house. A serious systematic work in the field of sound, guitar, exercises, classes, search began. An interesting acquaintance with the team of popular music Arkady has started.

He was an interesting Samara musician, singer, composer; Their joint club performances began with the didem. Through Arkady, a acquaintance with Sergey Migachev, a sound producer, an arranger, a person understanding music, familiar with modern computer and analog technologies, occurred. After a year of zealous joint work under the leadership and with the help of Sergei Kulishenko, the debut album “Flmenko” was recorded and the first video clip “Isadora” was removed.

But in large recording companies, Diegul was waiting for a refusal: they all claimed that instrumental music is not for Russia, this genre is not interesting. There were no financial opportunities for showing a great public for his music, which put the didzeli project and did not inspire optimism. At one of the club concerts, a acquaintance with Sergey Baldin, a man, is now quite famous, he was interested in music, performance.

He suggested that Didule meet in the office of Monolit, where to talk about cooperation. The company's management, after listening to the material, after long thoughts, refused. Speaking and analyzing that the audience likes more, Didjul was able to adjust his album, he achieved an interesting, unusual sound from his guitar. At one of the next concerts, people who invited him to negotiations with Global Musik approached Didul.

The company became interested in the project and agreed to cooperate. The first contract was signed. But, unfortunately, the matter did not go further: for incomprehensible reasons, the company did not show activity in work. Six months of cooperation did not go in vain: Didjul met Timur Salikhov, the director with whom he works now. This person is ideal for his work - professional grip and subtle diplomacy.

The contract with Global Music was terminated. After some time, Didule called the Russian studio, offered to place one of the compositions in the collection. In the office where the meeting was scheduled, Didyul was able to talk with Joseph Prigozhin - a young, grown specialist. He said that he was creating a new company, Knox Musick, he is interested in new projects, and he would like to cooperate.

It was not required to answer the long thoughts - Didjul agreed.

Materials were viewed, the direction of further work was discussed and the contract was signed. Immediately, the shooting of the new Flmenko clip began with the participation of Alla’s ballet of the brass Todes.