What the violin said about the ghetto. Pranksters about a conversation with Viktor: A cowardly and narrow-minded man

Amazing sound for centuries violins fascinated people. Its melodic sounds pleased the ears of spoiled aristocrats in fashionable salons and forced ordinary people to dance at simple village holidays.

Devil's creation

The first violins appeared on earth only during the Renaissance (XIV-XVI centuries). Legends associated with them immediately appeared. The most famous of them says that the creator of the first instrument was none other than the devil himself. One day, the prince of darkness saw a beautiful girl on earth and fell passionately in love with her.

However, the charming woman did not respond to the feeling of the unclean, although he promised her fabulous riches for love. Then the angry devil turned the intractable beauty into a violin, giving his creation the seductive shape of his beloved. Since then, the violin has enjoyed special protection from dark forces, and with it, skilled violinists and craftsmen who create instruments.

In Sweden, there are many legends about the river spirit - Stromcarl, a virtuoso violinist who plays beautiful melodies over the water. Legends say that the music of this spirit is amazingly good and his violin can make even lame old people dance.

They used to say (and still say) about skilled musicians: they play like a strömcarl. It was believed that if a person wanted to listen to the amazing play of the inhabitant of the waters, he must sacrifice a black lamb to him.

And violinists who wanted to learn skill from Stromkarl left their instruments overnight under river bridges, where, according to rumors, the ghostly virtuoso lived.

Damn parties

In many countries, people were wary of the violin. It was believed that it was the playing of this instrument that the devils enjoyed during their feasts.

But there’s just one problem: it’s hard to find a good musician among the evil spirits. That is why many European fairy tales talk about how cunning devils go to great lengths to lure skilled violinists to their feasts, and sometimes deceive them and take away the instrument itself.

Thus, legends say that the devil, who wanted to get a good violin, took the form of a village musician and in the evening sometimes watched for his “colleague” who was returning home from work. Word by word, an acquaintance began, and at some point the evil one invited his new friend to exchange violins.

The devil's instrument looked very expensive, and therefore many poor fellows immediately agreed to exchange. But when he came home, the poor musician found in the case not a luxurious violin, but a dry branch.

But in order to lure the violinist to the damn feast, the evil one pretended to be a rich man and offered the rural virtuoso to make good money.

And only when he arrived at the customer’s house did the poor violinist realize what kind of “party” he was at. To evade the terrible “clients”, the musician needed to show remarkable ingenuity. But it also happened that he had to please devils and witches with music for an eternity.

The "red" violin that takes life

However, the most famous mystical legend associated with this instrument is the story of the “red” violin.

For several centuries, a legend has been circulating in Europe that a certain violin maker, mourning the death of his beloved wife, added her blood to the varnish with which he covered a new violin.

After this, the violin turned bright red, and the soul of the deceased moved into the instrument. In the first years of its existence, the “red” violin did not harm anyone. And then this happened.

The instrument accidentally fell into the hands of a boy violinist. The soul of a woman, enclosed in an instrument, awakened an unprecedented talent in the boy. Evil forces were going to listen to his game and, in the end, drank the child’s life without a trace.

When he died, the instrument was buried with him. However, the next day it turned out that the grave of the unfortunate man had been excavated, and the violin had disappeared. Since then, it has been “traveling” throughout Europe, choosing its owner, but every person who is “lucky” to touch the “red” violin will face terrible misfortunes and painful death.

Master's Riddles

Of course, a wary attitude towards the violin also concerned its creators. At all times, people looked at violin makers with distrust, and legends were made about the most outstanding of them during their lifetime. Although it should be noted that the personalities of these people posed many riddles to those around them.

The violins created by the great Antonio Stradivari, even three centuries after his death, have no equal. But even a careful study of these instruments did not reveal the secret of their divine voices. Stradivari's creations did not differ from other violins either in the quality of the wood, or in size, or even in varnish.

But for a long time it was believed that an amazing varnish made according to a special recipe gives an incomparable voice to the instruments of a great master. But a few years ago, some brave researchers conducted an almost barbaric experiment. The varnish was completely washed off from one of the Stradivarius violins, but even after this sacrilege it still sounded the same.

A few centuries ago, the following version was born, trying to explain the phenomenon of the master. Allegedly, in childhood, little Antonio was blessed by the Lord himself, giving him the talent to create instruments whose voice would remind people of the Kingdom of Heaven.

At the same time, the future great master received a wonderful ointment from the Almighty, which he later added to the varnish for his violins. And it was this secret ingredient that allegedly gave Stradivarius instruments a divine sound.

Servants of the Prince of Darkness

Quite different rumors circulated in European countries about the violins of Giuseppe Guarneri, nicknamed del Gesu. It was rumored that this master, bound by an agreement with the Jesuit order, was forced to sell some of his instruments to them for a small price.

Frustrated by such injustice, Guarneri made a deal with the devil, according to which he received freedom, and his violins acquired unprecedented power of influence on listeners. Since then, the sounds of del Gesu's instruments have fascinated people and allegedly awakened dark feelings and desires in their souls.

An interesting fact is that it was the Guarneri violin that for many years was the faithful companion and assistant of the most “demonic” virtuoso in the history of mankind Niccolo Paganini.

Legend has it that this brilliant musician, suffering from the humiliations of hopeless poverty and seeking recognition, gave his soul to the devil in exchange for a magnificent violin, which later brought him wealth and fame.

According to another legend, Paganini won Guarneri’s brainchild at cards in a roadside tavern from a strange man who, not at all regretting the loss, said goodbye to the young man and predicted great glory. Be that as it may, Paganini’s music did not leave anyone indifferent. Ladies at his concerts cried and fainted, and even men were not shy about their tears.

However, rumors about a deal with the devil constantly haunted the brilliant musician, which was partly facilitated by his peculiar appearance and eccentric behavior. And if during Paganini’s life few people dared to make accusations against him, then after the musician’s death the Roman Catholic Church categorically opposed his burial according to the Christian rite.

For 47 years, the body of Niccolo Paganini sought refuge in all the cities of Italy, until, finally, in 1897, his exhausting posthumous journey ended in one of the cemeteries of Parma.

These terrible wanderings of the remains of the great virtuoso gave rise to new legends. Thus, the inhabitants of the island of Saint-Honoré, where Paganini’s body found refuge for some time, say that after the remains of the musician left their lands, amazing blue lilies grew on the coastal rocks. The very spirit of the musician remained forever on these shores, and now on stormy nights you can hear the voice of his violin through the noise of the wind.

And the faithful companion of the “demonic” virtuoso is now in Paganini’s homeland - in the town hall of Genoa. And once a year, one of the young talented musicians takes it in his hands to play for the whole evening in front of listeners in memory of its first famous owner.

Elena LYAKINA

The other day in the Concert Hall. Tchaikovsky hosted an anniversary concert dedicated to the 80th birthday of the famous American composer John Corigliano. At the invitation of the Moscow Philharmonic, the hero of the day personally came to the festive evening. This was Mr. Corigliano's fourth visit to Moscow. According to him, all performances of his music in our country were “passionate, meaningful, caring.” This time, John Corigliano's music was performed by the Moscow Contemporary Music Ensemble, the Omsk Academic Symphony Orchestra, and the famous virtuoso violinist Ivan Pochekin. The Our Version correspondent managed to talk with Ivan Pochekin immediately after the concert.

- Ivan Yuryevich, please tell us how you became a violinist? Parents forced you, there was nowhere to go?

This is certainly true. I was a very active child, such a real mischief maker, a prankster. I kept breaking something: if they give me a toy, I’ll break it right away. And the age was approaching when adults needed to direct this childish energy somewhere.

I myself didn’t want to play the violin; for some reason I immediately unconsciously understood that I was driving myself into some kind of rut from which it was impossible to get out. My parents took me to my future teacher, Galina Stepanovna Turchaninova, who is probably the most authoritative children’s teacher in our country. They said that he was coming to visit us. I myself didn’t want to go there at all, I just physically resisted.

But this once you can deceive, lure, and then it went on to the fact that every day you had to learn scales, exercises, learn pieces.

- How were you forced to study?

I just obeyed my parents. I believed that I needed to obey my parents, even if I didn’t like it.

They immediately began to focus on results. It’s not like we’ll see for the first two or three years how predisposed I am, we’ll try for fun. No. I was immediately sent to the Central Music School, and there was a certain pattern that in the first grade a child should play such and such pieces, in the third - such and such, and so on. And if you don’t follow the program, then you’re falling behind. And this was very much in the air, putting pressure on me.

- It turns out that this is a tough system, worse than a cadet school.

Yes, but I think this is somewhere positive. For example, there is the European violin school system. As the German violinist Christian Tetzlaff said, until the age of 15 he rarely played more than three hours a day, mainly devoting time to the general development of his intellect.

- On the other hand, the achievements of the Russian and Soviet performing schools speak for themselves. Our system worked, how many outstanding musicians grew up.

It worked, but not on everyone. In this profession, each person needs an individual approach. If a person is very efficient, then it is easier to approach him from the technical side, play scales, exercises, and develop technique. But if a person is more creative, he is less diligent, but more thoughtful. Then, probably, he needs to develop what is close to his soul. But that's what I think now.

- Did you have strict boundaries as a child?

Yes. When they ask me how much you studied as a child, I say that no one counted the hours. I could study for days until I learned the scale. I could teach for eight hours. And this is at 10 years old. That's how it was.

- Did your parents somehow help you in your music studies?

My dad is a violin maker. And my mother, probably partly because my brother and I started playing, became a teacher. She sat with us a lot, learned a lot from our teachers, and sort of assisted them.

Initially, she, a Gnesinka graduate, played in the opera orchestra.

- What an interesting and unusual profession your father has.

At one time he combined the profession of a violinist, being an orchestra artist, and the profession of a violin maker. Then he completely chose the profession of a violin maker.

This profession is, of course, for people who are fans of their craft. My father started doing instruments, even when I was in college.

- Did your father somehow help you with the instruments you played?

Of course, it helped a lot. He made small violins for my brother and me, and not just the standard sizes that were supposed to be - eighth, half, and so on. He also made waist measurements. So, while it is usually difficult for all children to switch to a large instrument and get used to different distances on the fretboard, then it was very easy for me. And this is precisely thanks to the great work of my father.

Stradivari named after himself

- There is an opinion that if you play the violin of an outstanding master, your level of playing immediately improves. Does the quality of the instrument really have such a significant impact on the performer?

As a musician who has played the most high-class instruments, I will tell you this: of course, an instrument of this level provides additional opportunities for realizing one’s skills. But, as you know, there is also an inverse relationship. It's like with a car: the more powerful the car, the greater the potential. But at a higher level, other, more difficult tasks appear. High power is more difficult to handle. Also with sound production capabilities.

When I recorded a program on a Stradivarius instrument from the golden period "ex-Wieniawski", it took me a very long time to adapt to this violin. On an intuitive level, I began to achieve something while playing; I began to realize the possibilities and potential of the instrument.

- “Ex-Wieniawski” - this means that the virtuoso violinist Henryk Wieniawski played this instrument. The fact is that instruments often bear the names of their owners - the people who played them. For example, Bergonzi “ex-Paganini”, or Stradivarius “ex-Wieniawsky”.

But it happens differently. Here Sarasate played the "ex-Bossier" Stradival. And Bossier is a banker who owned this violin for a very long time. Now many owners attach their name to the instruments.

- These are very expensive instruments, there shouldn’t be very many of them on the market?

$17 million is the highest amount a Stradivarius violin has been sold for. This is a world record.

In general, according to statistics, Stradivarius is sold all over the world approximately once every month and a half. There are many instruments that investors love because they grow in price quickly. This is, so to speak, “short money”: bought, sold after a few years, bought again. And so the instrument is transferred to different owners, but the same musician who owns the instrument can play it.

- How does the transfer of the instrument take place, is some kind of agreement signed? And how does the owner ensure the safety of the violin?

Of course, a lot of documents are signed. In addition, each violin has a special caretaker - a person whom the owners trust.

Once during the period specified in the contract, the musician specially comes, for example, to London or Paris, or anywhere else where this person works, for a so-called inspection. And the caretaker evaluates the performer’s accuracy. It also happens that the instrument is taken away because they are afraid that the performer is not very careful and does not treat the instrument with enough care. There have been such cases.

- Does the performer pay for using the instrument?

It happens differently. They can give it for free, or they can rent it. Or the performer will pay for the insurance. It happens that the insurance is paid by the sponsor, or the owner himself. The insurance market is huge now.

Play in front of the creator - cut alive

- I know that you played a recent concert in Moscow dedicated to the 80th anniversary of the famous American composer John Corigliano in the presence of the author. How do you perform works in front of their direct creator? After all, a composer may have his own way of hearing music.

Of course, it’s like cutting someone alive. History knows many scandals of brilliant people. For example, when David Oistrakh played Prokofiev’s first concerto, Sergei Sergeevich hacked him to death right on stage.

If the composer trusts the performer, then the main thing is to get into the idea and understand it. The composer, in this case, will be pleased with the different development of his idea, since one performer can see it this way, and another completely differently. This is where the wise author realizes that even after 100 years he still will not be able to completely control the execution, but he can set the correct manner of execution now.

If the author does not trust the performer, then it is very difficult and very exciting. For example, I am nervous in front of the author, but at the same time I understand that the more ideas I give myself, the more his work will develop. Yes, the author can refuse, prohibit playing in this style, but it is still very important to offer ideas.

Corigliano was pleased, thank God. He listened to the rehearsal, made general comments, probably the same comments he would have made if he had listened to a rehearsal of other music. He gave general advice and showed some techniques. He has wishes in the text, about the speed of execution in some places he writes “perform as quickly as the performer can.” That is, he completely trusts the performer.

This is great because people lack musical erudition.

It’s so lacking that, sometimes, the audience begins to applaud somewhere in the middle of the work, between its parts.

Or they come to pretentious concerts of famous performers because they got tickets at a high price, and then sit and take pictures on their iPhone.

The Moscow Philharmonic holds similar lectures before concerts.

- In general, is the audience’s applause an important component for you?

When I play, I somehow immerse myself inside myself, and sometimes I perceive the applause like glass. I don't feel anything. And then the whole evening after the concert I can’t get out of this state, sometimes I can’t even fall asleep.

- There is an opinion that foreign musicians are very mercantile. They rarely play encores; they only play what they were paid for. And ours are more generous in this sense. Are you ready to thank the audience and perform something extra?

I often prepare complex pieces out of sporting interest that I want to play. For me, the encore is a continuation of the program, and not something foreign. These are Paganini's caprices or movements from Bach's sonatas and partitas or other works for solo violin. And, if the public wants, then I always play.

Ivan Pochekin is a Russian violinist, one of the brightest representatives of the Russian violin school. Son of the famous violin maker Yuri Pochekin.

In 2002 he made his debut in the Great Hall of the Moscow Conservatory, performing Sergei Prokofiev's Second Violin Concerto.

And in 2005 he won the III International Violin Competition. Niccolo Paganini.

He performed with such outstanding conductors as V. Gergiev, M. Pletnev, V. Spivakov, A. Sladkovsky, F. Matrangelo, V. Fedoseev, F. Haider and others.

He took part in various festivals, such as the “Musical Kremlin”, Moscow Easter Festival, “Crazy Day” in Nantes and “Pianoscope” in Beauvais.

At the invitation of Denis Matsuev, he performed in the programs of the Crescendo festivals in Kaliningrad and Pskov and “Stars on Baikal” in Irkutsk.

Collaborates with the State Academic Symphony Orchestra of Russia. E.F. Svetlanov, the Mariinsky Theater Orchestra, the Russian National Orchestra, the Bolshoi Symphony Orchestra. P.I. Tchaikovsky, etc.