Alexey Sergeevich Fomin personal life. Biography

F Omin Alexey Yuryevich – group commander of the special forces detachment of the internal troops of the Ministry of Internal Affairs of the Russian Federation, lieutenant.
Born on June 30, 1977 in the city of Grozny, Chechen-Ingush Autonomous Soviet Socialist Republic. Russian. Son of a Soviet Army officer.
Due to the change of duty stations of the father, the family lived in Czechoslovakia, Buryatia, and since 1986 - on an island in the village of Dachnoye, Korsakovsky district, Sakhalin region. He graduated from high school in the nearby village of Solovyovka in 1994.
In the Armed Forces of the Russian Federation since 1995. Graduated from the Far Eastern Higher Combined Arms Command School named after K.K. Rokossovsky in 1999. In June 1999, he was sent to serve in the Internal Troops (VV) of the Russian Ministry of Internal Affairs, in the special forces detachment of the North Caucasus Military District. He carried out combat missions in the North Caucasus region.
Since August 1999, he took part in combat operations to repel the invasion of Basayev and Khattab’s gangs into Dagestan, and then in the battles of the second Chechen war.
In a battle on October 15, 1999, in the area of the village of Sernovodskoye, Sunzhensky district of the Chechen Republic, he led the actions of a reconnaissance group to rescue one of the motorized rifle units surrounded by large forces of reconnaissance militants. At the height of the battle, the special forces attacked the enemy, destroying several firing points. When the militants tried to put up organized resistance, Fomin took an open position and opened fire on the militants, drawing powerful return fire. The remaining scouts quickly destroyed all enemy firing points identified in this way. After this, Lieutenant Alexei Fomin’s group connected with the blocked motorized rifles and led them out of the encirclement. While pursuing scouts by militants, he repelled all attempts by militants to overtake the retreating groups, personally destroying several militants.
A few days later, near the village of Verkhniy Alkhun discovered a militant ambush. He secretly bypassed it with his reconnaissance group and completely destroyed it with a sudden blow, having no dead or wounded among his subordinates. During the battle, 12 militants were killed without losses, including A. Fomin personally destroyed the crew of the DShK heavy machine gun.
Z and the courage and heroism shown during the counter-terrorist operation in the North Caucasus by the Decree of the President of the Russian Federation of December 30, 1999 to Lieutenant Fomin Alexey Yurievich awarded the title of Hero of the Russian Federation.
Continues military service. In 2006 he graduated from the Combined Arms Academy of the Armed Forces of the Russian Federation. He was a company commander, head of a combat training group, senior assistant to the head of the reconnaissance department of a military unit, and deputy commander of a military unit. In September 2006-December 2008 - commander of the 346th separate reconnaissance battalion of the North Caucasus District of the Internal Troops of the Ministry of Internal Affairs of Russia (city of Blagodarny, Stavropol Territory). Since December 2008 - at the disposal of the Main Command of the Internal Troops of the Ministry of Internal Affairs of Russia (Moscow). Since 2009 - Head of Intelligence of the Separate Operational Division of the Internal Troops of the Ministry of Internal Affairs of Russia (Moscow). Since 2012 - head of the department of the regional command of the Internal Troops of the Ministry of Internal Affairs of Russia. Since 2016 - Chief of Intelligence of the Central District of the National Guard of the Russian Federation.
Colonel. Awarded medals from the Ministry of Internal Affairs.
An annual tournament in army hand-to-hand combat is held in Yuzhno-Sakhalinsk for the prizes of Hero of Russia A.Yu. Fomin.

I, Nikolai Petrovich Fomin, was born on August 2, 1864. My father, Pyotr Illarionovich, was an employee in the Ministry of Finance. My musical abilities manifested themselves from early childhood. From the age of 6-7, my father began to teach me the violin, but soon, on the advice of my cousin Ivan Iosifovich Rybasov (who graduated from the St. Petersburg Conservatory of the 1st graduating class and a great friend of P.I. Tchaikovsky), as well as my father’s great friend G. I. Venyavsky, teacher Kaminsky was invited.

From the age of 10 I began taking piano lessons from the former teacher of the Warsaw Conservatory, E.V. Zakharovich. While still a high school student, about 14 years old, my cherished dream was to receive a music education.

In 1883, being sufficiently prepared, I entered the St. Petersburg Conservatory in piano (A.D. Dubasova) and harmony (A.K. Lyadova). In 1885 he transferred to Professor F.F. Stein and, according to the wishes of A.G. Rubinstein, A.K. Lyadov and N.A. Rimsky-Korsakov, was assigned to a second specialty in the classes of counterpoint, form, instrumentation and practical essays by prof. N.A. Rimsky-Korsakov. In 1889, when the conducting class was opened, he was enrolled in one and was engaged in managing the orchestra under the direction of A.G. Rubinstein. He graduated from the Conservatory in May 1891 with a diploma (No. 363) and the title of free artist.

In the summer of 1888, in order to maintain the livelihood of his mother and two young sisters left after the death of his father, he made a concert trip along the Volga and Kama. In September 1888, on the recommendation of the Conservatory, he became a teacher of piano, harmony and music history at the Dannemann and Krivoshein music school. In November of the same year he organized an orchestra class, which he directed.

In 1889 he was invited to teach piano and orchestra classes at the E.P. Rapgoff music school.

In 1888, V.V. Andreev founded the “Circle of lovers of playing the balalaika”, who did not know the notes and played by ear and “by hand”, which soon gained fame thanks to a bold performance at his concert in the hall of the Credit Society, accompanied by resounding success among crowd overflowing the hall. I was also among the audience. I was deeply impressed by the original beautiful new sonority of the instruments, the amazing teamwork of the ensemble, the clear rhythm and subtle nuances. As for the repertoire, it consisted of folk songs with naive amateurish harmonization and some plays of dubious musical merit.

In October 1889, V.V. Andreev, talented, sensitive to music, but absolutely musically uneducated, realizing all his inadequacy in the development of his circle, having heard about me as an educated musician and connoisseur of Russian music, turned to me with a request for cooperation and taking on the musical development and leadership of the circle. My first steps in getting acquainted with the circle were, perhaps, careless, since I made categorical demands for a complete reorganization of the ensemble, a change in the formation of instruments, the introduction of new instrumental elements, mandatory study of playing from notes and a new artistic repertoire. Such demands of mine caused violent discontent among the members of the circle, which resulted in the demonstrative departure of most of the performers. V.V. Andreev was positively discouraged by this circumstance, despite all his trust in me, but soon calmed down, since I managed to attract my capable and musically advanced comrades from the conservatory to participate in the circle. Having thus organized a larger group of performers than before, changing the composition and structure of the instruments, as well as preparing a small but high-quality musical material, I began my studies. The first performance of the circle exceeded all expectations of both V.V. Andreev and the participants of the new composition. The issue of restoring the circle was secured and was on solid ground. Rumors about such successes of the circle forced most of the previous members to return and agree to the conditions presented, at the same time the circle began to grow with the influx of new forces, mainly from students of the conservatory.

At the same time, I began researching folk instruments and establishing their structure; Thus, new colorful elements appeared in the form of orchestral varieties of domras, gusli, pipes, keychains and percussion instruments. Along the way, I was engaged in collecting and researching authentic monuments of folk art, their stylish harmonization and developing orchestration techniques.

In 1896, I finally established the nomenclature of instruments, the role of each instrument in orchestral performance, and the form of writing scores.

Subsequent improvement of technique and artistic performance took giant strides. Thus, the “Circle of Balalaika Lovers” founded by V.V. Andreev was converted into a large orchestral group, then called the “Great Russian Orchestra”.

His concert performances in Russia and abroad have always been accompanied by great success and have earned worthy praise from the world's representatives of musical art.

In 1914, from November I was the second conductor of the orchestra, and after the death of V.V. Andreev (December 25, 1918) - the chief conductor.

This is a brief history of my methodological work on folk instruments and instrumental music.

From September 1918, he was invited as a professor of piano playing at the State Institute of Music Education.

At the beginning of October 1918, he entered the service of the Musical Subdepartment of the Commissariat of People's Education, the commission for developing programs for music schools, and at the same time a teacher and head of the educational department of the 3rd school of the People's Commissariat of Education of the People's Commissariat of Education.

During the establishment of the Political Education of the People's Commissariat of Education and the subsequent transition to the jurisdiction of the Ministry of Education and Science of the Russian Federation, he was a member of the methodological, editorial and qualification commission, and was also involved in organizing folk instrument orchestras in Leningrad workers' clubs and home education centers.

On September 10, 1919, by order of the Maritime Department, he was appointed to serve in the Political Directorate of the Baltic Fleet as the head of music schools, orchestras and choirs of all Baltic Fleet bases.

From February 1, 1921, he was a teacher of the higher piano course at the 2nd Music College. On October 15, 1921, he was assigned to the Leningrad State Conservatory as a teacher in the classes of orchestration and orchestral playing of folk instruments.

Since 1919 he was a member of the Society of Orchestral Figures in the conductors section, and since 1923 - a member of the All-Rabis.

Since 1923, I have been the chairman of the MOPR cell and since September 11, 1933, a member of the labor protection and wage regulation sector of the trade union committee of the Leningrad State Conservatory.

According to the resolution of the Central Commission for the Assignment of Personal Pensions under the NKSO of the RSFSR, from March 1, 1931, I was assigned a personal pension for life.

Alexey Fomin is a Russian performer who composes amazing music. Coming from a simple Soviet family, Alexey independently studied the world of music and plunged into it headlong.

Hello, Alexey. Let's start, perhaps, with this question: nu-jazz is a “difficult” genre, especially for Russia, why exactly it?

Nu-jazz is a mixture of jazz, electronic music (house, broken beat, jungle, etc.), soul, funk, something with “near-jazz” harmonies, often on a broken rhythm, sometimes with very technical instrumentalists... To compose for a specific purpose I didn’t have any music in this genre. I always really liked listening to all those works that were close to this genre and, not by chance, the first melody I recorded was in the nu-jazz genre. I've always loved keyboard instruments, I loved making amazing harmonies and sounds. I especially liked the timbre of the piano, saxophone, and many other musical instruments. Later it so happened that for me nu-jazz became closer and more accessible than other types of music.

Alexey Fomin on iTunes.

You graduated from the Tula State Mechanical Engineering College and served in the army, did you really lose your love for music after all this?

No, she hasn't disappeared. I have always loved music; if at some point I didn’t play or compose myself, I always listened to it. I bought musical equipment, money for which I saved for a long time and acquired it gradually. I mostly listened to sad music. In my opinion, only such music elevates and ennobles a person, makes him kinder. Friends always advised me to listen to something different, more fun. But if we feed our mind only with fun, the mind will atrophy and will not be able to function normally. For example, he will no longer be able to respond to someone else’s pain.

You are honest - you have no support from your loved ones. Is your persistence in doing what you love a response to the system that surrounds you?

Music has always supported me. I make music, first of all, because I love this activity and I want to convey everything that is in my soul through a lot of different sounds in my synthesizer. Create a small composition that will tell the listener everything.

Have you ever had a desire to get a professional music education, so that you could become a music teacher yourself and teach “the young punks who will wipe us off the face of the Earth”?

Of course, there is a desire to receive a professional music education. But in the hustle and bustle of life, when you have to earn money and do a lot of things, it’s difficult to find time for this. But even without a musical education, nothing stops me from finding time and creating a new piece of music using my Roland keyboards.

Didn't want to become a film composer? Guaranteed job, stable income.

I wanted to. First of all, because it is very interesting. Describe with the help of music everything that happens to the characters in the film on the screen. Drastically change the musical theme depending on what is happening. I always strive for this. Friends, listening to some of my tracks, claim that they would fit like some kind of movie.

Have you been attracted to other musicians by music in terms of creating arrangements?

In the future, I think everything is possible. There were offers from various musicians, but I haven’t done it yet. I just write something of my own when I have time.

Alexey Fomin on Yandex.Music.

Why is it easier for a talented self-taught musician to achieve recognition and success in Europe and the USA?

Basically in Russia the same music of well-known popular performers is played on radio and television. There are the same faces all around, set the teeth on edge. Our country lags behind the West in terms of music promotion. It’s probably easier to achieve recognition there, but I don’t think it’s easy in principle. We live in the age of so-called “digital” musical art (from the word “digital” - digital). A symbol of “digital” aesthetics in music is any sequencer - a computer program with ready-made samples. These programs are used by both professional musicians and composers, and amateurs. In part, this means that any person writing music today works with certain basic elements, using knowledge, techniques and tools developed over many decades by their predecessors. It’s difficult to surprise with something new today. This leads to the fact that it is increasingly difficult for the composer to develop his own individual handwriting and style. And the point of creating a work increasingly comes down to demonstrating the most successful combinatorics, and not something innovative in music. This is a given of our time and must be accepted.

What is the main “problem of Russian music” and the industry as a whole, in your opinion?

We have a very strong, especially now, Orthodox normativity, dictating how not to behave, how to dress, what topics to talk about, what not to talk about. And this column of normativity, among other things, determines that we continue to perceive art as a certain object from which we must read the meaning put into it by a professional operator. This is why people in our country still do not participate in the creation of pop music, believing that there are special professionals for this, and there is no point in interfering with them. And then we will appreciate what these pop “pop singers” again offered us. At the same time, it’s not that we can’t do anything of ours, we shouldn’t put anything of ours here. Maybe this is why now you can meet many people who have no musical taste and no specific musical preferences, listening to everything. Simply because music is, after all, fun.

Can you name the musicians who left the most “strong mark” on your heart? You wrote that for some time, even listening to chanson, it is very difficult to correlate it with your tracks.

Yes, I also listen to chanson. But it is also different. Well, the musicians who left a strong mark are Beethoven, Wagner, Bach, Ennio Morricone, Paul Mauriat, James Last, Giovanni Marradi, Franz Liszt, Mikael Tariverdiev, Fausto Papetti as well as Bob Acree, American jazz pianist, Louis Armstrong and many other famous composers musicians.

Listening to your compositions, do you get the feeling that you were influenced not only by music, but also by literature/cinema? More?

Yes, this is undoubtedly true. I have read many different works, although I read less now. I watch different films: dramas, melodramas, historical, detective, scientific.

Your “musical biography” is not simple. Why haven't you sent everyone and everything to hell yet? Why don't you erase music from your life forever?

All these years, music has supported me. And in not the best times in my life, music was the only salvation. Perhaps due to the fact that I did not receive support from the people around me then. And today music continues to support me. By composing my compositions, I myself receive satisfaction from my work, and it may happen that my musical composition will find a response in someone’s heart.

A little bit of Proust: if the Devil promised you recognition in the world of music and asked nothing in return, would you agree?

You know, in our world nothing is free. We have moved into the era of consumption not only of goods, but also of relationships, people... Of course, there are always exceptions... But... “free cheese is only in a mousetrap,” so I would not accept anything, even if nothing is required in return, especially more from the Devil.

What are your immediate plans?

Work on new compositions without words and release a new album soon.

Alexey, thank you for the interview. Our final, signature question: what advice would you give to those who are just starting their musical journey?

And thank you very much. First of all, love music, work hard and believe in success. I also advise you not to lose your individuality. Unfortunately, having heard a piece of music, a musician most often begins to copy it, not realizing that someone else might like his playing style and style more and even replace the original in the future. Spend more time practicing music and not elevating your talents.

Alexey Fomin

When I was very young, I loved to sing, loved any audio equipment, and even then I played the piano. During his school years he was involved in professional sound recording.

I began to study music seriously in 2014. I did not receive a musical education. Almost all tracks were recorded between 2014 and 2016. The most famous compositions: “Dark Thread”, “Secrets of the Universe”, “Calling You”, “Unfulfilled Dreams”, “At the Cliff”, “Well Here Comes Autumn”, “Honesty”, “Everything for You”, “Reality” . In total, about 70 musical compositions without words were recorded.

The tracks of musician Alexey Fomin, short in duration, leave special strong feelings after listening. Alexey Fomin is a composer, arranger and performer of his works.

In 2018, Alexey Fomin, together with the project “Golden Path”, recorded his first album “Sad Rain”. The album was published in St. Petersburg by the recording company: Open Innovative Technologies

Review of the work of Alexey Sergeevich Fomin

All tracks are original and interesting.

"Distant Stars" envelops you with its atmosphere. The emphasis is not on
melody, but to create a cosmic sound. The author plays on
synthesizer, allegedly creating a message from the depths of the universe.

"Reality" has a "detective" sound, it would fit like
soundtrack to the film. Interesting bass line performed in blind style
takes almost all the attention. Synths flow into the melody.
A small reference to depth, mysticism and secrets.

“At the Cliff” is a thoughtful and provocative tune. Provocative as well
a set of synths and a melody that combines both sad shades and
joyful. Towards the end of the track the melody changes, the melody resembles
fall, as if hinting that the hero of the track was thinking and deciding.

"Unfulfilled Dreams" is again a thoughtful melody, but performed in a more
classic sound.
All tracks are of fairly high quality.

Team [email protected]

Address: Russia Tula Favorite music: Nu-jazz Marital status: Single Birthday: December 20, 1984

Alexey Fomin (Alexey Sergeevich Fomin) - electronic musician, composer. Musical preferences are in the area of new age styles, house, electronics, etc. From a simple family, father - Sergey Anatolyevich Fomin, a former athlete - candidate master of cycling. Mother - Fomina Lyudmila Alekseevna - chemist-biologist. He studied at Tula secondary school (Gymnasium) No. 20. After graduating from school, he entered the Tula State Mechanical Engineering College named after Nikita Demidov. When I was very young, I loved to sing, loved any audio equipment, and even then I played the piano. During his school years he was involved in professional sound recording. I began to study music seriously in 2014. I did not receive a musical education. Almost all tracks were recorded between 2014 and 2016. The most famous compositions: “Dark Thread”, “Secrets of the Universe”, “Calling You”, “Unfulfilled Dreams”, “At the Cliff”, “Well Here Comes Autumn”, “Honesty”, “Everything for You”, “Reality” . In total, about 70 musical compositions without words were recorded.

The tracks of musician Alexey Fomin, short in duration, leave special strong feelings after listening. Alexey Fomin is a composer, arranger and performer of his works. In 2018, Alexey Fomin, together with the project “Golden Path”, recorded his first album “Sad Rain”. The album was published in St. Petersburg by the recording company: Open Innovative Technologies

In August of the same 2018, he collaborates with the Moscow label "Extraphone," (LLC "Capital Advertising and Producing Center"), and records a mini-album "Immersion" Among the singers collaborating with Extraphone (LLC "Capital Advertising and Producing Center" ) -Sofia Rotaru, Lyudmila Markovna Gurchenko, Alla Borisovna Pugacheva, “Agatha Christie”, Nikolai Karachentsov, Nikolai Vladimirovich Fomenko.

December 14, 2018 The record company ONE Music has released a mini-album by Alexey Fomin “Late Autumn”