Явление Караманова
In anticipation of the new year in the musical life of Kazan, an event occurred was noticed, unfortunately, few. This concert orchestra Kazan Conservatory, filled with the monograph program of works by Alemdar Karamanov. This name is little known to a wider audience, and among music composer, connoisseur of creativity - just one. What is behind the choice of his works for the student orchestra concert?
Alemdar Karamanov - the biggest contemporary composer. A graduate of the Moscow Conservatory, he belongs to a generation of composers of the sixties, represented by such names as Vladimir Gavrilin, S. Gubaidulina, Edison Denisov, Giya Kancheli, Alfred Schnittke, Rodion Shchedrin, etc. Some of them for their commitment to modern Technology letters were declared "avant-garde": hushed their writings and were known only to a narrow circle of friends and colleagues.
Karamanov only can be partly attributed to this group of composers. Although in his time, he paid tribute to the musical modernist, his work was always distinguished by freedom, autonomy, was out of fashion. And because almost no executable in the 60's and 70's, Karamanov not become a cult figure in post-Soviet period, being in the shadow of "hyped" in the new era avant-garde. Music Karamanov, occasionally sounded in the 80 years in Moscow, almost turned into a modern performing the process.
Tom There are several reasons. Firstly, the music Karamanov - not opportunistic and does not scandalous, is not trivial and not supermodernovaya. Secondly, the composer has long he lives in Simferopol, very remote from the world's music centers. On the reasons for his move, he says: "At the end of 1964 in Moscow, I experienced a very difficult period of life associated with the persecution Conservatory in circles, higher partocracy bright innovative directions in our culture ... I just at that time passed stage of its modern "golden age". My music has been very difficult "avant garde" in nature, it was written many products. Such things at the conservatory can not accept. I, as a freelance artist, he could not change his mind, could not have written otherwise. All this has led to the fact that my work as it decayed, dead in my soul, and I was in a very depressed state of mind, never wrote a few months, although before that I was writing incessantly ... I needed, if anything, a kind of isolation, the ability to concentrate, to hear a different ... I left home in the Crimea, throwing away the useless and felt the joy of silence. "
composer talks about a new, Simferopol, period, as the "pereosuschestvlenii" creative spirit, "the cleansing and adopting their language," based on the Russian tradition, "a fertilized so refreshing that there is in contemporary music." A. Karamanov, According to the eminent musicologist Yu Kholopova, "was the first turning against the avant-garde in the way of religious music."
He is the author of two ballets, 24 symphonies (with the first ten of them were created during his student years - an unprecedented event in music history), overtures, poems, concertos, chamber and vocal works, choral cycle, "Stabat mater", the Requiem and the Mass (in Latin canonical texts), music for plays and films (among them - dokumetalny film M. Romm's "Ordinary Fascism", feature film W. Kuczynski, "Love and Privileges", etc). In Concert Orchestra Conservatory were filled with the Seventh Symphony, "Lunar Sea," Concerto for Piano and Orchestra "Ave Maria" and "Spring Overture". Created in different years These essays, however, gave the impression of something solid, monolithic. It's like a different manifestations of a single creative mind.
important thing is that distinguishes Karamanov music - it's a deep emotional, spiritual, humanity. This exciting, anxious, directly penetrating into the soul of music We are no longer heard. It does not fit into traditional genre forms, devoid of the usual dynamism, longing for a certain finish and at the same time expressive and expressive. Beautiful, perfect every time it is playing! It is free and original, self-sufficient and self-worth and, as it does not need to decipher (Although, of course, the iconic, symbolic level in each essay, of course, present). This music is interesting, fascinating, captivating, is if you want therapeutic effect, immersing the audience in a world of harmony, beauty, and spirituality. I remember the idea of "Mystery" Alexander Scriabin - grand, but, alas, unfinished compositions, performed by which, according to the author, was to engage all of humanity. And Karamanov, perhaps, the closest approach this idea of spiritual transformation of the world.
course, in the creation of this expressive effect, and experiences a huge role played by the performers. And in the first place - conductor Edward Gulbis. Artistic director and chief conductor of the Moscow Symphony Orchestra im.S.Rahmaninova, he is a close friend and one of the first interpreters of works by A. Karamanov. He was invited to Kazan for this program. This talented, fine musician, just conscious and able to reconstruct the specifics of music composer. His conducting style was distinguished by emotion and anxious, the ability to create a long-unfolding, constantly changing musical flow, multicolor and spiritual world works Karamanov. And the orchestra under maestro experienced changed (This is after all a student team, a very short period of time, play music in the same composition). Sound of the orchestra was thrilling and exciting, performance - professional and technical. Significant role in achieving this, I think, played a young conductor Kazan Tahir Babajanov, who took involved in the preparation of this program. was attended by the sister of the composer - Sevil Karamanov, is a passionate advocate of his music. Encouraged by the warm reception and great success essays brother, she looked forward to continued cooperation with the Kazan musicians.
Finally - Another quote from an article by Yu Kholopova A. Karamanov about music: "It is alien to the desire to keep pace with the time to do" everything "to follow the current music fashion. But just hermits are often carriers of the deep ideas of the epoch. "
T. Almazova 
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