Ростропович: про себя, Прокофьева, Шостаковича и Бриттена

[Stanislav]

Вообще-то говоря можно много цепочек привести, в которых люди сознательно и болезненно относились к другим личностям
Дима - Прокофьев
Гтн - Рихтер
Фло - Регардс
...

Mika - Крайнев

Кворум - модераторы

Хе-хе , уверяю вас, я отношусь к реГРАдсу совершенно БЕСсознательно

Может НЕсознательно?

[flo]

Неее. именно, что БЕС

[Sofik]

"Ростропович и его современники" - это не мемуары МЛР. Это очень интересная, занимательная книга Грум-Гржимайло. В ней много диалогов с Ростроповичем. Но сам он туда вроде ничего не писал!

[Дима]

Дима, вы конечно извините, но новизны в дисскусии не вижу

Ростропович где-то уже об этом рассказывал?
Цитата про "надувающегося трубача" она откуда, а то я не первый раз натыкаюсь на неё, а откуда она не знаю.

[mika]

Этот анекдот стал наверно уже визитной карточкой МР

По Культуре это можно было услышать, когда МР давал мастер-класс, и в программе Башмета " Вокзал Мечты "

[Илья Блинов]

UK Daily Telegraph, 2004/10/28

Julian Lloyd-Webber writes:

"Mstislav Rostropivich has always been my cello hero. In Russian, his
nickname "Slava" means glory, but his playing draws attention to the music
rather than its performer. He was the only cellist I have ever seen who
overcame technical hurdles in a way I could not explain. His collaborations
with the great composers of his day and his conflicts with the Soviet
regime have been so widely documented that, on this rare opportunity to
interview him, I set out to ask him some new questions.

JLW: You have been married to Galina for more than 50 years. What is your
secret?

MR: Our secret is that many times we are apart! Music has kept us together
but Galina is a gift to me from God. I will tell you the first time we met.
I was sitting in the lobby of a hotel in Prague. Suddenly I notice these
slender legs walking down the stairs very slowly. I then see this nice
midriff - and then these magnificent breasts. I say a quick prayer to God:
please give her a beautiful face - and He did! There she was. I
immediately wooed her, and I proposed to her four days later, and we became
husband and wife. After those four days she was complaining of creases
around her eyes as I had been making her laugh so much. Recently, I was
asked by a magazine, "Is it true that you married after only four days?" I
replied, yes. Then they asked me, "Fifty years later, how do you feel now?"
I replied, I wasted four days.

JLW: In 1963, I saw you play the Dvorak Concerto at the Festival Hall. I
was 12. It was a turning point for me and it played a huge part in my
decision to become a cellist. You must have heard this story many times -
you are responsible for a lot.

MR: All my life I wanted to play music with love to every member of the
audience. Even if I have played the Dvorak Concerto thousands of times,
every time I reach the final pages I have tears in my eyes, it is so
beautiful. This is what I try to bring to the audience.

JLW: You gave nine concerts in London in 1964, playing an extraordinary 30
different concertos in just four weeks. There was a phrase in your
programme note that struck a chord with me: "The cello has become, in our
times, a tribune, an orator, a dramatic hero." Is that how you have always
perceived the cello?

MR: Yes. The cello is a hero because of its register - its tenor voice.
It is a masculine instrument, whereas the violin is feminine because of its
soprano pitch. When the cello enters in the Dvorak Concerto, it is like a
great orator. You and me - we are the heroes!

JLW: Did you ever play in an orchestra?

MR: Only one time. My dear friend Dimitri Shostakovich made a new version
of his great opera "Lady Macbeth of Mtsensk" which had been banned by the
Soviet authorities. He called it "Katerina Ismailova" and the premiere was
held in a small town outside Moscow. Shostakovich begged me to play in the
orchestra as there was little rehearsal time and the orchestra was not very
good. I was so nervous: I had never played in an orchestra before.

JLW: When you first played in England you worked with conductors such as
Sir Adrian Boult and Sir Malcolm Sargent.

MR: I first came to England in 1956 and I was so excited. Boult was quite
old when I worked with hin, and sometimes he could be a little late.
Sargent, I loved so much. He was the real English "Sir". Always with a
flower on his jacket. We recorded Miaskovsky's concerto - such a wonderful
piece - romantic and lyrical.

JLW: Your father, Leopold, was also a fine cellist who, you feel, never
achieved the recognition he deserved. What do you think you learnt from
observing him?

MR: I have a very deep religious belief. And I believe my father loved me
enormously. So all my life I wanted to succeed for him - because I loved
him. He died when I was 14 and at that point we were very poor. We were
evacuated to a small town called Orenburg during the war and I had to play
at the local theatre to earn 70 roubles - just enough to buy a block of
butter. Now I have a butter mountain! I have had more than I deserved in
my life because God gave to me what he did not give to my father.

JLW: What does money mean to you today?

MR: Now I want to use money in a good way. I make foundations back home in
Russia, I have sponsored vaccinations for more than one million children in
my homeland and I have founded scholarships in the names of my great Russian
compatriots - Oistrakh, Richter, Gilels, Shostakovich, Prokofiev and
Schnittke. These will bring young musicians to study at the Moscow
conservatoire. Today there is no free music education in Russia.

JLW: Like our cello "Grandfather", Pablo Casals, you have not been afraid
to speak out politically. There was your famous open letter to Pravda in
defence of Solzhenitsyn. You have also made friends with American
presidents. Were you ever tempted to go into politics?

MR: Never. People make a big mistake to think that I'm interested in
politics. I am interested in people. At first, when Solzhenitsyn was in
trouble, I was a very good "Soviet citizen". But when I heard of his
plight, I went to see him and he was being treated like a dog. I offered
him refuge and that is when my troubles started.

JLW: You have collaborated with some of the greatest 20th-century
composers: Britten, Shostakovich, Prokofiev. Are composers of such stature
writing today?

MR: Yes, I think there could be. But we may not have discovered them yet.
I admire Sofia Gubaidulina, the Georgian, and in my home city, Baku, there
is a brilliant young composer called Ali-Zadeh. Also, Henri Dutilleux is
wonderful.

JLW: Your concert schedule as both conductor and cellist remains punishing.
Is the word "retirement" not in your vocabulary?

MR: Absolutely not. For my 70th birthday I thought I should finally take a
vacation. The first day I thought: this is nice, sitting on the beach. The
second day: this is quite nice, sitting on the beach. The next day I wished
to commit suicide, I was so bored. Now I will never take a vacation -
until, of course, the endless vacation!

JLW: You are 78, you have had a fantastic career and have inspired many
musicians. Any regrets?

MR: [Long pause]. I think no, nothing. Because all the tragic moments in my
life have made my character.

[Дима]

Кстати я только сейчас прочёл в сети, но может это не всем известно, что в Большом театре в следующем сезоне Ростропович должен поставить Войну и мир Прокофьева. И это не может не радовать.

[Читатель]

UK Daily Telegraph, 2004/10/28
Julian Lloyd-Webber writes:
JLW: Did you ever play in an orchestra?
MR: Only one time. My dear friend Dimitri Shostakovich made a new version
of his great opera "Lady Macbeth of Mtsensk" which had been banned by the
Soviet authorities. He called it "Katerina Ismailova" and the premiere was
held in a small town outside Moscow. Shostakovich begged me to play in the
orchestra as there was little rehearsal time and the orchestra was not very
good. I was so nervous: I had never played in an orchestra before.

Что за чепуха! Что это за премьера "Катерины Измайловой", которая якобы состоялась где-то в маленьком городе за пределами Москвы? Я уж не говорю о том, что впервые оперу "Леди Макбет..." переименовал в "Катерину Измайлову" В.И.Немирович-Данченко в своей постановке в 1934 г.
И вообще, точка зрения, что новую редакцию этой оперы Шостакович якобы сделал под давлением советских властей, весьма спорна. Известно, что когда в 1964 г., еще при жизни Шостаковича, в Ла Скала решили поставить первоначальный вариант оперы, Шостакович разрешение не дал, дав тем самым понять, что считает вторую редакцию окончательным вариантом оперы. При жизни Шостаковича практически повсеместно, а опера ставилась во многих театрах, в том числе и за границей, использовалась именно последняя редакция. Только после смерти Шостаковича, когда он уже не мог возразить, началась вся эта "вакханалия" с постановками оперы в первой редакции. И это в те времена, когда воля автора считается священной, во времена уртекстов и аутентизма.

[Дима]

Ростропович - http://www.mk.ru/numbers/1813/article60938.htm (Московский комсомолец, 10.09.2005):
"Я… когда исполняю Дворжака, считаю, что гениальней его нет. А потом сажусь за Шостаковича и думаю: “Вот она, музыкальная истина!” А Малер? Мы еще в консерваторском классе играли его симфонии в четыре руки. Но однажды до Прокофьева дошли слухи, что мы увлекаемся Малером. Прихожу к нему домой, а он с порога: “Слава, а что это среди молодых композиторов появилась какая-то странная эпидемия?” Думаю: “Гриппом, что ль, кто заболел?” Спрашиваю: “Какая?” А он: “МАЛЕРИЯ!”

[RU]

Ростропович - http://www.mk.ru/numbers/1813/article60938.htm (Московский комсомолец, 10.09.2005):
"Я… когда исполняю Дворжака, считаю, что гениальней его нет. А потом сажусь за Шостаковича и думаю: “Вот она, музыкальная истина!” А Малер? Мы еще в консерваторском классе играли его симфонии в четыре руки. Но однажды до Прокофьева дошли слухи, что мы увлекаемся Малером. Прихожу к нему домой, а он с порога: “Слава, а что это среди молодых композиторов появилась какая-то странная эпидемия?” Думаю: “Гриппом, что ль, кто заболел?” Спрашиваю: “Какая?” А он: “МАЛЕРИЯ!”

По имеющимся неофициальным данным Мемуары СЛР существуют, но,якобы, не закончены. Возможно , что он распорядился издать их только после....ну вы понимаете. Но я готов ждать сколько угодно. Ростропович при всей своей крайней противоречивости едва ли не последний из могикан.
Его обаянию не поддаться невозможно, а то,что его многие недолюбливают- так это только доказывает его безусловную неординарность.