In Gavrilin biography

The pain constantly overtakes me: will they understand? Gavrilina seem to be in vain anxiety: his music is not just understanding, they love, they know, study, they admire it, they imitate it. The triumphant widespread success of his “Russian notebook”, “calls”, and Anyuta ballet - confirmation of this. And the secret of this success is not only in the rare, unique talent of the composer, but also in the fact that the people of our time have been bolding in such music - confidentially simple and stunningly deep.

It organically fused genuinely Russian and universal, the truths of antiquity and the most painful issues of modernity, humor and sadness, and that high spirituality that cleans and saturates the soul. And yet - Gavrilin is highly endowed with a rare, bitter and holy gift of a true artist - the ability to feel someone else's pain, like his Yevtushenko Gavrilin could answer A.

Eczuperi: “Where am I from? I had been from my childhood for two years when a funeral came to their family - in August the forty, my father died near Leningrad. Then there were many years of the war and an orphanage in Vologda, in which the children themselves waged an economy, planted a garden, mowed hay, washed the floors, looked after the cows. And the orchestra had its own choir and a folk orchestra, was the piano and teacher of music T.

Tomashevskaya, who opened the good and beautiful world of music to the boy. And once when a teacher of the Leningrad Conservatory came to Vologda, he was shown an amazing boy who, not yet knowing the notes, composes music! And Valery's fate has changed dramatically. Soon, a challenge came from Leningrad and a fourteen -year -old teenager went to enter a music school at the conservatory.

He was taken to the clarinet class, and a few years later, when the composer department opened in the school, he went there. Valery studied eagerly, excitedly, with rapture. Together with his peers, the same obsessed with Yu. Temirkanov, Yu. Simonov, outplayed all the sonatas and symphony of I. Haydn, L. Beethoven, all the new products of D. Shostakovich and S.

Prokofiev, which managed to get, tried to hear the music, wherever possible. Gavrilin entered the Leningrad Conservatory in G. composed a lot, but in the third year he suddenly switched to the musicological faculty and seriously engaged in folklore. He traveled on an expedition, recorded songs, gazed intently into life, listened to the dialect of village people, familiar to him since childhood, tried to comprehend their characters, thoughts, feelings.

It was a hard work of not only hearing, but - heart, soul, mind. It was then, in these war -ruined war, the poor northern villages, where there were almost no men, listening to female songs, permeated with an inescapable sadness and an indestructible dream of a different, beautiful life, Gavrilin for the first time realized and formulated the purpose and meaning of composer creativity - to combine the achievements of professional musical classics with these domestic, “low” genres, which are carried out Treasures of true poetry and beauty.

In the meantime, Gavrilin wrote an interesting and deep work about the folk sources of the work of V. Solovyov-Sedogo and in the city, however, he did not leave the essays of music, in the last courses he wrote 3 string quarters, a symphonic suite, a “cockroach”, a vocal cycle to Art. Shefner, 2 sonatas, comic cantata “We talked about art”, the vocal cycle “German notebook” on Art.

This cycle was executed in the Union of Composers, warmly met by listeners and has since entered the constant repertoire of many vocalists. Gavrilin met with the works of Gavrilin and urgently advised him to go to graduate school. Having passed all the exams for the composer faculty, plus the introductory, Gavrilin became a graduate student. As a thesis, he presented the vocal cycle “Russian notebook”.

And at the end of the city of the young, the unknown composer was called “musical Yesenin”, admired his talent; In Glinka, becoming the youngest laureate of this high reward in the country. After such triumphal success and recognition of the young composer, it was very difficult to create the following work of equally high artistic virtues. For several years, Gavrilin, as it were, "goes into the shadow." He writes a lot and constantly: these are music for films, theatrical performances, small orchestral suits, piano plays.

Friends and senior colleagues complain that he does not write large -form music and generally composes little. And here is G. Uspensky, the second “German notebook” on Art. Heine and vocal-symphonic poem on Art. Shulgina "military letters." A year later, the vocal cycle “Evening” with the subtitle “from the album of the old woman”, the third “German notebook”, and then the vocal and symphony cycle “Earth” at Art.

In each of these works, Gavrilin realizes his creative credo: “Speaking with the listener understanding the language for him.” He overcomes the abyss that now exists between the music of pop, household and serious, academic. On the one hand, Gavrilin creates pop songs of such a high artistic level that chamber and even opera singers willingly perform them.About the song “Two Brothers” the outstanding master G.

Sviridov writes to the author: “An amazing thing! I hear her a second time and cry. What beauty, how fresh form, how natural it is. What are marvelous transitions: in melodies from the topic to the topic, from a verse to a vest.

This is a masterpiece. Believe me! On the other hand, Gavrilin creates a large form - suits, poems, cantata using the techniques of modern pop music. The address of their works is primarily young people, the composer does not simplify the “high” genres of classical music, but creates a new genre, which A. Sohor called the “song-symphonic” musicologist. A huge role in the creative life of Valery Gavrilin is played by a drama theater.

He wrote music for 80 performances that went in different cities of the country. The composer himself considered completely successful work only on four of them: “After the execution I ask” in the Leningrad Youth Theater, “do not part with your loved ones” in the Leningrad Theater named after Gorky, "Stepan Razin" in the theater. The latest work served as an impulse to create one of the most significant works of Gavrilin-a choir symphony-euthanus “Carrasses” by reading V.

Astafyev, for soloists, choir and instrumental ensemble. All three works, as well as completed in the city of Korostylev, are written in the action created by the Gavrilin genre. Signs of oratorio, opera, ballet, symphony, vocal cycle, and dramatic performance are combined here. In general, theatricality, entertainment, the figurative concreteness of Gavrilin’s music is so obvious that sometimes his vocal cycles are placed in the Musical Theater “Evenings”, “Military Letters”.

Quite unexpected for the composer himself was his incredible success in the role of a ballet composer. Director A. Belinsky in separate orchestral and piano plays Gavrilin, written years ago, saw, or rather, he heard the ballet on the plot of A. Chekhov’s story “Anna on the neck”. Gavrilin says this not without humor: “It turns out that without knowing this, I have been writing ballet music for a long time, and even helping to embody Chekhov’s images on stage.

But this is not so surprising. Chekhov is my favorite writer. The vulnerability, insecurity, the special delicacy of his heroes, the tragedy of unrequited love, pure, bright sadness, hatred of vulgarity - I wanted to reflect this in music. ” The Anyuta television bomber with the blisting E. Maksimova and V. Vasiliev had a truly triumphal success, won international prizes, it was bought by television companies in the world!

In the city, the continuation of the creative union of wonderful masters was the television banter “House by the Road” based on A. Tvardovsky, staged by the V. Leningrad Theater of Modern Ballet under the leadership of B. Eifman showed the Ballet “Lieutenant Romashov” according to A. Kuprin’s story “Duel”. In both works that have become noticeable events of our musical life, Gavrilin’s music showed especially the tragedy features of the music of Gavrilin.

In March, Ostrovsky, who had already found his film cinema in the new film A. Throughout his work, Gavrilin wrote piano plays for both two and four hands. If the former enriched the pedagogical repertoire in many ways, then four -handed took a strong place on the concert stage. Bright, peculiar, characteristic, they are loved by all the pianists who choose the four -handed ensemble with the basis of their concert activity.

Up to a year, Gavrilin continued to write songs and romances. Gavrilin's music always carries kindness and light, about which the composer himself said this: “There is and will always be in life. And it will always be in the vastness of anyone, to look at how great and beautiful the Russian land is!