"I am just a trumpeter and do not participate in the battle. Our trumpet calls people not to mutual strife and battles, but to make peace among themselves ..." these words of Francis Bacon, an English philosopher, likes to repeat Sergeyp Proskurin - professor, teacher , conductor and head of the Russian Chamber Orchestra of the Kursk State University and, by the way, a virtuoso trumpeter.
Our meeting with Sergei Georgievich took place on the eve of three anniversaries in his life at once: the 55th anniversary of his birth, the 35th creative activity and the 10th anniversary of the creation of his favorite brainchild - the Russian Chamber. We decided to talk with the maestro about life, family, music and much more.
- Sergey Georgievich, perhaps, let's start with how you came to the world of music?
In the life of every person, everything begins with the family. I was lucky because I was born in a musical family: my mother, Polina Timofeevna, teacher primary school, played the piano and guitar, dad, Georgy Timofeevich, worked as an electrician at the factory, and also knew how to play the guitar and button accordion. Besides, mother knew well German, loved to tell fairy tales and sang, so no one was ever bored in our house. At the age of three, my father taught me to play the balalaika, and he and his mother played along with me on the guitar - this was the first trio in my life. And already at the age of six they sent me to a music school.
- So early? But School of Music- these are hours of classes, but you really want to run? ..
And I succeeded: and musical notation mastered, and ran in the yard, and even attended sections in football, gymnastics at school - one did not interfere with the other.
How did you get into playing the trumpet?
This happened later, when I left my native Stary Oskol and went to study at the music school in Gubkin. I chose the trumpet thanks to my uncle, who was also a musician, taught and conducted a symphony orchestra, he supported me a lot, guided me, one might say, was my ideal.
- Why music? After all, this is not a very profitable occupation?
Rachmaninov also wrote: Music is bad business"But after all, the works performed by our orchestra have been listened to for more than 300 years! And if they have "lived" for several centuries and still excite the public, then they must be played.
- But you are not only a virtuoso trumpeter, you have also mastered the profession of a conductor, and with brilliance ...
You know, leading an orchestra is like running a small state - heavy, serious men's work. People at your disposal different characters, training, school, and you need to combine them, subordinate them to one idea and at the same time not suppress individuality.
I started to learn conducting because, as a soloist, I had seen enough of leaders who were unworthy of their orchestras. The reason is simple: first you need to play in a team for several years, to understand how it works. Personally, I think that I fully realized as a conductor only at the age of 50.
- How was the Russian Chamber Orchestra created?
Once I realized that there is not a single chamber orchestra in the Chernozem region, but it has many advantages: it is small, flexible, mobile. In addition, it is much easier for him to find musicians, because 15 people are not 80, as in a symphony. I shared my ideas with Vyacheslav Gvozdev, rector of Kursk state university and found support from him. This is how our team was born, in which initially there were 12 people, and in this moment- 20. Just like that, the stars “came together”, or rather, two people: one is a far-sighted person with a rare business sense, and the other is a professional musician who combines European and Russian school. The result of this synthesis was our orchestra.
- What are the criteria for selection in your team?
First of all, diligence, professionalism and, of course, communication skills. There are people who are amazing musicians but can't work in a band. An orchestra is like an expensive car well-known brand: I got a part from another manufacturer - and the car will not go!
Lately I've noticed another interesting feature of our Russian chamber: formerly a musician, no matter how prepared he was, he was drawn into the rhythm of the orchestra for at least a year, but now this time period has been much reduced and takes several months, apparently, the set bar makes people work on themselves and grow.
- Are there those who have been playing with you since the day of foundation?
Certainly! Unfortunately, there are not so many of them left - Sergey Sorokin, Lada Averyanova, Karina Proskurina, Irina Sorokina. It happens that a musician gets a more financially advantageous offer and leaves, this is normal. Of course, I really want the musicians to receive a decent salary, but often this remains a dream. It is very sad to see a situation where the need forces a professional musician to do something else, such as trading. This is wrong, because to get a diploma of an orchestra player, a person needs to study for 20 years!
- Sergey Georgievich, the orchestra is a family, and each family has its own traditions and customs. And how are you?
We celebrate all the holidays together, in the summer we organize picnics with amazing barbecue. And never say bad things about your colleagues. Music environment disposes to criticism, but I initially suppressed all attempts to discuss. After all, they also said about us that we would fall apart in a year or two after the foundation. Ten years have flown by, and we do not think. Because it is not difficult to create an orchestra, but not everyone can do a lot of good things with it over the years.
Among other things, we value each other, we try not to offend even a word. For example, you can ask a musician: " What are you playing there?!"And thereby set him up for aggression and a desire to defend himself. And if you ask the question in a different way:" What's in your notes?“Agree, it doesn’t sound so insulting and defiant.
- And yet what is the uniqueness of the Russian chamber?
For ten years, the orchestra has acquired its own face and individual sound. After all, we are not trying to imitate anyone, but we live, develop, constantly create new projects, which, again, would simply be impossible without the support of the university, because it acquires unique ancient instruments for us, gave us the opportunity to create a mini-conservatory and found own studio sound recordings. Without his help, we would not have been able to invite to our concerts famous musicians and composers not only from abroad, but also from Russia.
- Tell us about the most interesting sites which had to be played.
Perhaps this is the Moscow Conservatory and National Hall Madrid. The orchestra acquired a unique sound in various churches - Catholic, Protestant. In general, it doesn't matter for our musicians where to play.
- Sergey Georgievich, what are we all about music ... Let's talk a little about you. I think our readers have repeatedly asked the question: why did you return from abroad to Russia?
Firstly, the roots were pulled, and secondly, nostalgia tortured me. Now is not the 80s when creative people they were not allowed to write, play, speak out. Everyone has the opportunity to go, for example, to America, Italy, anywhere, see how people live, even work a little, and then return. In addition, my elderly parents remained in Russia. When I returned, I found so much good in my life: I created new family, because I have three children, met with wonderful people.
- Tell me, are you also a leader in the family?
Probably not. Although in the army and at school I constantly showed leadership qualities, because I created either sports teams, or musical groups.
- Do you have creative crises?
No, I'm the type of person who will always find something to do.
- How do you relax from music?
I love taking pictures. Recently in Sweden in the mountains I "caught" a deer in the frame. I go in for sports, learn languages, and now I'm learning Italian. I also have one hobby - collecting vinyl records, and there is also a set of old equipment in good condition(even tube amplifiers) on which you can listen to them. The pride of my collection is Nikolai Geda's recordings.
I try to spend more time with my children. In general, I have four of them, by the way, I recently became a grandfather - my grandson is already four months old. You know, I so want to live longer in order to be able to be happy for my children and grandchildren!
- Sergey Georgievich, do you think a musician should be a believer?
The question of faith is always very difficult, but I believe that with the advent of Christ, the world has changed, and with it the music, which would not have appeared without the Creator.
- Your profession gives you a rare opportunity to meet interesting people. Tell us about the most memorable meetings.
I was always amazed that the more a person does and knows how to do, the easier and more modest he is in communication. Not so long ago I met Larisa Udovichenko. It would seem that an actress, a star, but how sincere she is - no arrogance, arrogance. I can say the same about Vasily Lanovoy, Evgeny Svetlanov, Mstislav Rostropovich, Marine Yashvili. Yes, fate gave me a lot interesting meetings. Communication with such people makes us better and richer spiritually.
- What would you wish the participants of the Russian Chamber Theater for a decade?
Respect and love your profession, be proud of it, because we are really engaged in a very serious, even economically unprofitable business. But after all, something else binds us - much more important, I would say, eternal, the music that we play.
Reference
Sergei Proskurin graduated from the Erdenko Children's Music School in Stary Oskol, then entered the brass department at Gubkinskoe School of Music, after there was the Saratov Conservatory and two graduate schools.
At the age of 30, Sergei Georgievich created and headed the first department of orchestral music in the Moldavian Republic at the Chisinau State Institute of Arts named after Muzicescu. In addition, in Moldova, Sergei Proskurin organized a brass quintet, as well as a symphony orchestra at the State Russian Drama Theater named after Chekhov.
In Sweden, Maestro Proskurin holds the position of Head of the Department of Wind Instruments at the State Conservatory in Falune, teaches, tours with the brass quintet created at the Conservatory in the cities of Europe, and is also actively involved in music as a trumpeter. Sergei Georgievich also writes music, and his works are performed by the famous jazz musician Max Schultz. Premiere next year Christmas Cantata"for children's choir and symphony orchestra written by the maestro.
On March 21, puppeteers around the world celebrate their professional holiday. In the Kursk Puppet Theater, the holiday will begin at 10.00.
It is planned that the opening of the new monument will take place at four o'clock in the morning on June 22.13.03.2019 Kurskaya Pravda
Tomorrow the Kuryans will be presented new program- "Melodies descended from the screen."13.03.2019 Kurskaya Pravda
in Kursk art gallery named after Alexander Deineka, the Planet of Life exhibition opens.
13.03.2019 Kurskaya Pravda 
The exhibition, which opens on March 15, presents works of painting, sculpture, graphics and arts and crafts from the gallery's collection.
13.03.2019 IA KurskCity
The Russian Chamber Orchestra played with five outstanding contemporary soloists.
The program includes the "cream" of the classics, works loved and recognizable anywhere in the world. The composition of the orchestra is also international - Russia, France, Belgium, Korea. The universal language of music helped to "play along".
“We have been practicing concerts with guest soloists for a long time. And each performance is unique. This time is no exception. Real happiness is to perform with such masters of their craft, so we prepared for a long time and carefully”,
- tells artistic director Russian Chamber Orchestra Sergei Proskurin.
The rehearsals were not in vain, and the guests who arrived noted this.
The orchestra is just amazing! It’s amazing that in a small Russian city there is a team of this level!”
By the way, the soloists themselves deserve to be discussed separately. So, let's get acquainted.
The real diva of the evening, who enchanted the whole audience with her voice, is the soloist Bolshoi Theater Oksana Lesnichaya. A native of Togliatti, who graduated from the Moscow Conservatory, who managed to work in the capital's Chamber musical theater, and at the Galina Vishnevskaya Center for Opera Singing, and at the Yurlov Choir Chapel.
Despite her young age, Oksana already has rich creative experience. IN different time she sang Cleopatra in Handel's Julius Caesar, Parasi in Sorochinskaya Fair" Mussorgsky, Xenia in "Boris Godunov", Faust's Margarita.
She was Eurydice, Lyudmila and even the Queen of the Night. And more than a dozen legendary female opera images turned out to be within the power of this charming girl. Despite hyper-employment, Oksana constantly tours, and not only abroad.
“I am a very sociable person, I am always open for new projects and contacts! I often perform in my native Togliatti, in the cities of the Volga region. And, of course, I could not help but succumb to the charm of maestro Proskurin, so I am here in Kursk,
– the singer admits.
“I was born in Uzbekistan and I had to work hard to find my place in opera world. But each stage gave me invaluable experience. The Moscow State Conservatory, the Vishnevskaya Center, a huge number of competitions, and there were not always victories.
But I am happy that I have such a fate. Today I am struggling with the role of Dolokhov in Prokofiev's War and Peace, and tomorrow I will be applauded by a whole hall at the festival of Russian culture in Bulgaria. Today I am in Kursk, which I am extremely happy about, the audience in the provinces is simply extraordinary, and tomorrow ... Who knows what will happen tomorrow?
In the repertoire of Yuri and Mizgir from Rimsky-Korsakov's opera "The Snow Maiden", and Tomsky from " Queen of Spades» Tchaikovsky, and Onegin, and Rigoletto, and many, many more most interesting images. Of course, the arrival of a singer of such a level as Zaltsman in Kursk is a real cultural event for our city.
No less interesting for the people of Kursk will be the performance of Rodion Zamuruev, laureate of international competitions, whose impeccable violin playing in different years conquered listeners in Russia, Spain, Chile, China, Turkey, Switzerland and many other countries.
“I have been performing since I was seven years old. I perform both with solo programs and as part of a variety of ensembles. Being on the same stage with your orchestra is very comfortable. The musicians are wonderfully prepared and very flexible, they feel the soloist, what I need, what I want to say. I am the head of a team called Mobilis, and so my Kursk colleagues can be called the same. They are very mobile."
the musician admits.
The exotic melody of the evening was the performances of the French violinist Chloe Macron and her colleague from Korea, Jun Chun Man. West and East, two poles, two elements introduced the people of Kursk not only to different musical schools, but to two universes.
And yet, no matter where the musicians came from, an attentive spectator who came to the concert heard their hearts beating in the same rhythm of the classics.
Proskurin Sergey Georgievich(born January 26, Stary Oskol, Belgorod region, USSR) - Soloist-trumpeter, teacher, scientist, professor, conductor, producer.
Biography
Education
- 1964-1970 - Stary Oskol Music School named after. M. G. Erdenko.
- 1971-1975 - Gubkin Musical College, trumpet class.
- 1975-1980 - Saratov State Conservatory. L. V. Sobinova, internship in the trumpet class of the Honored Art Worker of the RSFSR, Professor A. D. Selyanin.
- 1985-1987 - assistant-internship (postgraduate study) at the Saratov State Conservatory. L. V. Sobinov in the trumpet class of the Honored Art Worker of the RSFSR, Professor A. D. Selyanin.
- 1988 - Moscow State Conservatory. P. I. Tchaikovsky, an internship in the trumpet class of the Honored Artist of the RSFSR L. V. Volodin.
- 1992 - internship in the studio contemporary music E. Polyak ( NY, USA).
- 1994 - internship in the class of opera and symphony conducting by Professor D. Goy in National University Music (Bucharest, Romania).
- 1995 - internship in the studio early music games on authentic instruments(London, Great Britain).
- 2000-2002 - postgraduate study at the Saratov State Conservatory named after. L. V. Sobinova in the class of conducting People's Artist RSFSR, Professor Yu. L. Kochnev.
- 2002-2003 - St. Petersburg State Conservatory. N. A. Rimsky-Korsakov, class internship opera and symphony conducting by the People's Artist of the Russian Federation, Professor R. E. Martynov.
Work, creative biography
- 1976-1977 - Symphony Orchestra of the Saratov Academic Opera and Ballet Theatre.
- 1977-1978 - Symphony Orchestra of the Saratov Regional Philharmonic.
- 1979-1991 - Rostov Regional Philharmonic.
- 1982-1985 - Chisinau state institute arts.
- 1985-1987 - Saratov State Conservatory.
- 1987-1990 - Chisinau State Conservatory.
- 1987-1990 - Founder, Head of the Department of Instrumental Performance
- 1987-1990 - Creator and artistic director of the Moldavian Brass Quintet (Moldova)
- 1987-1990 - Artistic Director of the Theater Orchestra. A. P. Chekhova (Chisinau, Moldova).
- 1989-1990 - Symphony Orchestra of the Moldovan Opera and Ballet Theatre.
- 1991-2000 - State Conservatory of Falyun (Sweden).
- 1995-1997 - Royal Danish Academy of Music (Copenhagen).
- 1993-1999 - Symphony Orchestra of the Dalarna Music Association (Sweden).
- 2001-2004 - Chief Conductor and Artistic Director of the Symphony Orchestra of the Kursk Regional Philharmonic.
From 2002 to the present - Chief Conductor and Artistic Director of the Russian Chamber Orchestra of the Kursk State University.
- 2005-2007 - L. van Beethoven Conservatory in Vienna (Austria).
From 2007 to the present - Professor of Kursk State University Founder and Head of the Department of Instrumental Performance.
fruitful pedagogical activity Sergei Proskurin successfully combines with active scientific and methodological work. He published more than 200 scientific, scientific-methodical and creative works, including two monographs: "Problems of playing the trumpet of Baroque music: instruments, repertoire, traditions", "The Trumpet of the Golden Age".
Sergei Georgievich toured as a soloist, conductor, gave master classes in Russia, Japan, Taiwan, USA, Hong Kong, Sweden, Denmark, Norway, Germany, Spain, France, Austria and many other countries. Recorded over 20 CDs.
Proskurin Sergey Georgievich is the author of major international cultural and creative projects: "Maryinsky Musical Seasons", which are held annually in the palace and park ensemble "Maryino", the sanatorium of the Administration of the President of the Russian Federation, the annual music festival Russian Chamber Orchestra for Children international festival classical music"Mariinsky Assemblies", the annual project "The Bridge of Friendship": Moscow State Conservatory. P.I. Tchaikovsky and Kursk State University, joint project with ICF Spivakov "Children are the future of Russia". Sergei Georgievich is a member of the jury of prestigious international competitions: international and republican competitions of classical and contemporary music in Chisinau (Moldova), the international competition " Live music"(Stockholm, Sweden), international competitions" Mozart Prodigy "(Mürtzeschlag, Austria)," Vienna Classical "(Vienna, Austria). International competition of performers on wind and percussion instruments in Astana (Kazakhstan)
Prize awards
- 1986 - Laureate International Competition chamber music (Chisinau, Moldova)
- 1987 - Diploma-recipient at the International Brass Quintet Competition. Special prize for the performance of music by Moldavian composers (Saratov)
- 1989 - Laureate of the International Contemporary Music Competition in Chisinau (Moldova)
- 1994 - "Dalarna Culture Prize" (Sweden)
- 1996 - For concert activity he was awarded the Culture Prize by the Bishop of Sweden
- 2003 - "Person of the Year-2003", in the nomination "New Names" was awarded the "Kursk Antonovka" prize
- 2004 - Laureate of the International Competition-Festival of Classical Music in El-Jem (Tunisia)
- 2004 - "Manager of the Year-2004", in the nomination "Culture" with the award of an honorary medal in the Kremlin
- 2006 - Baka El-Rashidy Red Sea Governor's Medal. (Egypt)
- 2011 - memorial sign"For Labor and Fatherland"
- 2011 - Medal of the Order of St. Nicholas, Archbishop of Myra, Miracle Worker "For merits in charity"
- 2012 - Badge of honor "For special services to the city of Kursk"
- 2013 - Awarded the honorary title "Honored Worker of Culture of the Russian Federation". Decree of the President of the Russian Federation of May 20, 2013.
- 2013 - Badge of Honor of Kursk State University
- 2014 - Full member (academician) International Academy creativity, Moscow
- 2014 - Award "For best record CD of Classical Music, according to the Swedish company APM Film & Music CO
- 2015 - For the revival of the Russian musical culture was awarded the Medal of the Imperial Order of Saint Anna. Madrid on November 4, 2015
- 2016 - Natalia Sats Prize and medal of the International Academy of Creativity for outstanding creative contribution to the art of music, Moscow, April 15, 2016.
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An excerpt characterizing Proskurin, Sergei Georgievich
- With God blessing!"Uraaaaa!" roared through the forest, and, one hundred after another, as if sleeping out of a bag, the Cossacks flew merrily with their darts at the ready, across the stream to the camp.
One desperate, frightened cry of the first Frenchman who saw the Cossacks - and all that was in the camp, undressed, half-awake, threw guns, rifles, horses and ran anywhere.
If the Cossacks pursued the French, not paying attention to what was behind and around them, they would have taken Murat and everything that was there. The bosses wanted it. But it was impossible to budge the Cossacks when they got to the booty and prisoners. Nobody listened to the commands. One thousand five hundred prisoners were immediately taken, thirty-eight guns, banners and, most importantly for the Cossacks, horses, saddles, blankets and various items. It was necessary to do with all this, to seize the prisoners, guns, divide the booty, shout, even fight among themselves: the Cossacks took care of all this.
The French, no longer pursued, began to gradually come to their senses, gathered in teams and began to shoot. Orlov Denisov waited for all the columns and did not advance further.
Meanwhile, according to the disposition: “die erste Colonne marschiert” [the first column is coming (German)], etc., the infantry troops of the late columns, commanded by Benigsen and managed by Tol, made their way and, as always happens, came somewhere , but not where they were assigned. As always happens, people who went out cheerfully began to stop; displeasure was heard, a consciousness of confusion, they moved somewhere back. The galloping adjutants and generals shouted, got angry, quarreled, said that they were completely in the wrong place and were late, they scolded someone, etc., and finally, everyone waved their hand and went only to go somewhere. "We'll go somewhere!" And indeed, they came, but not there, and some went there, but they were so late that they came without any use, only to be shot at. Toll, who in this battle played the role of Weyrother in Austerlitz, diligently galloped from place to place and everywhere found everything upside down. So he rode on Baggovut's corps in the forest, when it was already completely light, and this corps should have been there long ago, with Orlov Denisov. Excited, upset by the failure and believing that someone was to blame for this, Toll jumped up to the corps commander and began to reproach him severely, saying that he should be shot for this. Baggovut, the old, fighting, calm general, also exhausted by all the stops, confusions, contradictions, to the surprise of everyone, completely contrary to his character, went into a rage and said unpleasant things to Tolya.
“I don’t want to take lessons from anyone, but I know how to die with my soldiers no worse than anyone else,” he said, and went forward with one division.
Entering the field under the French shots, the excited and brave Baggovut, not realizing whether his intervention now was useful or useless, and with one division, went straight and led his troops under the shots. Danger, cannonballs, bullets were just what he needed in his angry mood. One of the first bullets killed him, the next bullets killed many soldiers. And his division stood for some time useless under fire.
Meanwhile, another column was supposed to attack the French from the front, but Kutuzov was with this column. He knew well that nothing but confusion would come out of this battle, which had begun against his will, and, as far as it was in his power, held back the troops. He didn't move.
Kutuzov silently rode on his gray horse, lazily responding to proposals to attack.
“You have everything on your tongue to attack, but you don’t see that we don’t know how to make complex maneuvers,” he said to Miloradovich, who was asking to come forward.
- They didn’t know how to take Murat alive in the morning and arrive on time at the place: now there’s nothing to do! he replied to another.
When Kutuzov was informed that in the rear of the French, where, according to the reports of the Cossacks, there had been no one before, there were now two battalions of Poles, he glanced back at Yermolov (he had not spoken to him since yesterday).
- Here they ask for an offensive, they offer different projects, but as soon as you get down to business, nothing is ready, and the warned enemy takes his measures.
Yermolov screwed up his eyes and smiled slightly when he heard these words. He realized that the storm had passed for him and that Kutuzov would confine himself to this hint.
“He’s amused at my expense,” Yermolov said quietly, pushing Raevsky, who was standing beside him, with his knee.
Shortly thereafter, Yermolov moved forward to Kutuzov and respectfully reported:
“Time has not been lost, Your Grace, the enemy has not left. If you order to attack? And then the guards will not see the smoke.
Kutuzov did not say anything, but when he was informed that Murat's troops were retreating, he ordered an offensive; but every hundred steps he stopped for three-quarters of an hour.
The whole battle consisted only in what the Cossacks of Orlov Denisov did; the rest of the troops only lost a few hundred people in vain.
As a result of this battle, Kutuzov received a diamond badge, Benigsen also received diamonds and a hundred thousand rubles, others, according to their ranks, also received a lot of pleasant things, and after this battle, new changes were made in the headquarters.
“This is how we always do it, everything is upside down!” - Russian officers and generals said after the Battle of Tarutino, - just like they say now, making it feel that someone stupid is doing it upside down, but we would not have done it that way. But people who say this either do not know the business they are talking about, or deliberately deceive themselves. Every battle - Tarutino, Borodino, Austerlitz - everything is not carried out in the way that its stewards intended. This is an essential condition.
An innumerable number of free forces (for nowhere is a man more free than in a battle where life and death are at stake) influence the direction of the battle, and this direction can never be known in advance and never coincide with the direction of any one force.
If many, simultaneously and diversely directed forces act on some body, then the direction of movement of this body cannot coincide with any of the forces; but there will always be an average, shortest direction, that which in mechanics is expressed by the diagonal of the parallelogram of forces.
If in the descriptions of historians, especially French ones, we find that their wars and battles are carried out according to a predetermined plan, then the only conclusion that we can draw from this is that these descriptions are not correct.
The Tarutino battle, obviously, did not achieve the goal that Tol had in mind: to bring the troops into action in order, according to the disposition, and the one that Count Orlov could have had; capture Murat, or the goal of instantly exterminating the entire corps, which Benigsen and other persons could have, or the goals of an officer who wanted to get into business and distinguish himself, or a Cossack who wanted to get more booty than he got, etc. But , if the goal was what actually happened, and what was then a common desire for all Russian people (the expulsion of the French from Russia and the extermination of their army), then it will be completely clear that the Battle of Tarutino, precisely because of its incongruities, was the very , which was needed during that period of the campaign. It is difficult and impossible to think of any outcome of this battle more expedient than the one that it had. With the smallest exertion, with the greatest confusion and with the most insignificant loss, the greatest results in the entire campaign were obtained, the transition from retreat to attack was made, the weakness of the French was exposed, and that impetus was given, which was only expected by the Napoleonic army to start the flight.
Through the snow-white tulle curtains, the sun's rays danced like cheerful bunnies along the intricate patterns of the parquet, typed from different types of wood, competing with those that frolicked on the blue-and-blue silk wallpaper along the walls of the large hall with two fireplaces. Through the same white cobweb of curtains, the sounds of violins, flutes, cellos spilled out of the windows, gathering together under the ultramarine high sky into the masterpieces of Bach and Mozart, Handel and Ravel.
"Stop! Stop! Where are you in such a hurry? -stern voice broke the cycle of sounds and sunbeams. - And you - louder! From the third measure!
The balance was restored, everything began to spin, as if there had not been this sudden break. The music spread along the shady alleys of the manor park, overtaking the leisurely strolling ladies - in straw hats, with veils and fans and gentlemen in tailcoats and top hats. As if the last 150 years had not happened: the twenty-sixth assembly began on the summer Saturday morning in the estate of Maryino of the princes Baryatinsky. Now this ball is called “Mariinsky Assemblies”.
Late the night before, we, guests from Moscow, were met at the Kursk airport by the same owner of a stern voice - in a checkered shirt with short sleeves and summer trousers. He never wanted to give us our suitcases, he carried everything himself, and there was not a trace of severity in his voice:
No no no! I'm not giving it! Let me myself, you are guests, and I meet you, - said the well-known the music world maestro, virtuoso trumpeter, conductor, professor Sergei Georgievich Proskurin. There was no way to disobey, I had to submit. The next morning, together with the musicians of the Kursk Russian Chamber Orchestra and guests, we loaded into cars and went to Maryino. It would seem that they were brought to the wilderness, to the province. What can be interesting here? But an hour and a half drive from Kursk is an old estate, or rather, one of the masterpieces of Russian 19th architecture century.
How did the king of the assembly come up with
“... Balls were introduced to Russia by Peter the Great, upon his return from abroad, in 1717. The French court and high Parisian society then, as now, were trendsetters of fashion, taste, courtesy and secular communication - all this was tempting news for the Russian Monarch. The Great Transformer immediately realized what a noble influence he would have on the half-educated Russian society and to mitigate the rudeness of the then morals, the destruction of the seclusion of a woman "- can be read in chapter V" Balls and Theaters "of a collection of tips and instructions for various occasions at home and public life(St. Petersburg, 1889). The result was not long in coming. In 1719, a decree was issued on hitherto unheard of meetings of both sexes, called assemblies, where, among other things, it appeared:
“The assemblies can come: officials at any time, walk, dance, sit or play. So are all the nobles, the most famous merchants, shipwrights and office workers with their wives and children. Whoever transgresses the rules is punished to drain the goblet of the great eagle.
Future brides, imprisoned in high chambers, who only on holidays dared to come up to the windows to look at street festivities, secretly rejoiced at the upcoming freedom. Their mothers, brought up in the old days, obeyed the Sovereign's will with great reluctance, complained about the depraved time, when young girls were suddenly allowed not only to talk without blushing with young men, but even to jump with them in a dance.
The assemblies were organized as follows. In one room-hall they danced, in another there were chess and checkers, in the third - pipes with wooden matches and loose tobacco, bottles with valuable wines. The ladies were treated to tea and coffee, almond milk and jam. The music at the assemblies was for the most part wind: trumpets, bassoons, oboes, timpani. Amazing music performed by invited virtuosos captivated everyone, they said that "that holiday is not a holiday where Holstein musicians did not play."
musical prince
Almost three centuries later, the first Mariinsky Assembly was held in the former princely palace, and in June of this year we were participants in the 26th. In one way or another, a part of the program is dedicated to Prince I. I. Baryatinsky, who built the estate and the park ensemble as a symbol of the dignity and greatness of the princely family; By a happy coincidence, it has survived almost unchanged to this day.
concert music life V early XIX centuries, however, was not publicly available. Her limitations were made up for by home music-making, which became an integral part of the life of the educated part of Russian society, both in the capitals and in the provinces. And was it a division into provinces and capitals? A significant part of society only spent time in the summer in country houses. Music developed and flourished in literary and artistic circles and salons in Moscow, St. Petersburg, in the houses of Counts Sheremetevs, Vielgorskys, Princess Volkonskaya and many others. famous families. A special place in this series was occupied by noble estates who were quite self-sufficient cultural centers, where it sounded not only chamber music, but also opera and major symphonic genres.
In the 19th century, through the efforts of Prince Ivan Ivanovich Baryatinsky, his estate turned into one of the diamonds on the map of Russia's cultural treasures. During his life (1767–1825), the prince managed to take advantage of his origin and position on a grand scale, to find application for his outstanding musical and artistic abilities.
WITH adolescence Ivan Ivanovich Baryatinsky was on military service: at the age of 13, he was enrolled as a lieutenant in the Catherine's hussar regiment and was appointed adjutant to Field Marshal Prince Potemkin. Later he served in the Semyonovsky regiment, was a volunteer in the Polish army and distinguished himself during the assault and capture of Prague by Suvorov's troops, worked in the Russian diplomatic mission in London, then in Munich. After the death of both parents, Ivan Ivanovich retired from business in 1812, returned to Russia and settled in the inherited estate of Ivanovskoye in the Rylsky district of the Kursk province. This is one and a half kilometers from Maryin, here in 1811-1820. on the banks of the Izbica River, a princely residence is being built.
Since then, a full-blooded and rich life has flourished in the estate. The prince was successful agriculture, applying the latest achievements of European agronomic science, but his interests were very extensive. Excellent art collections, a significant collection of books, and a music archive have come down to us. The compositions of the prince himself have also been preserved: an overture for a large symphony orchestra, a four-hand sonata and country dances. Without a doubt, all these works were heard at the assemblies in Maryino, including dance music. According to the information that has been preserved about this, one can judge the musical tastes in the palace.
The prince lived very openly: guests constantly came to him, noisy balls were held in the palace and theatrical performances. in Maryina was permanent theater where plays were staged in Russian and French. Moreover, in productions for mother tongue peasants participated, and in French - family members, tutors, landowners who lived in the neighborhood. The orchestra consisted of 40-50 musicians, mostly serfs. And not only from their own. The Baryatinskys were known as patrons of the arts. Prince Ivan Ivanovich bought one talented serf violinist for ten thousand rubles - an astronomical amount for those times. Ivan Ivanovich approached the musical education of gifted peasant children very thoroughly: they were sent to study in St. Petersburg.
Where are you driving!
Two centuries later, Sergei Proskurin came to the Russian state library to personally study the archive of Prince Baryatinsky.
I have found three works written by him. These are real gems of the music archive! I leafed through the notes with the delight and excitement of a pioneer. He disassembled the orchestral parts, read the musicians' notes on the margins of the notes, peered into the prince's handwriting. By the way, when we held our first Assembly in 2005, the Russian Chamber Orchestra performed the found Overture in D minor for a symphony orchestra for the first time. What strikes me the most? The highest musical education of the prince. By our standards, this is the level of the conservatory, not lower!
Correspond high bar performance skills, set by Prince Baryatinsky, today, in the 21st century, the musicians of Sergei Proskurin's orchestra are striving.
Russian musicians play very emotionally. European orchestras play more precisely, virtuoso. I think that our orchestra differs from other provincial orchestras in that we play in a European way, technically, but with Russian energy, - says the conductor.
For almost a quarter of a century, Sergei Proskurin has worked in the best orchestras in Europe and America. He was born in 1957 in Stary Oskol, graduated from the Saratov State Sobinov Conservatory, did an internship at the Moscow Conservatory, as well as in different cities of the world, including New York and London, worked with many orchestras around the world, recorded more than twenty CDs. Composer, conductor, founder and leader of the Russian Chamber Orchestra in Kursk, professor at Kursk State University, founder and head of the department of instrumental performance, professor at the conservatories of Vienna, Copenhagen and Stockholm. A brilliant career that one can only dream of! And in the early 2000s, he surprised his European colleagues - he went to Russia, to the provinces and created his own Russian chamber orchestra from scratch.
After a two-hour rehearsal, the maestro walks with the guests through a huge park and shares his memories. Of course, we are very interested to know how he took it and returned to the Russian wilderness?
You know, somehow it turned out that I always lived in the capitals: now in Denmark, then in Austria, then in Moldova, but I always wanted to live in Russia. Maybe this will seem a little strange. When I returned to Russia, my friend Gunar Granz, a musician from Sweden, wrote to me: “You have lived here for so many years, you don’t know where you are going! Russia is another country. You will come back in a year and there will be no work. Let's draw up a document that you went to Russia for an internship so that you can return home through the trade union.
Sergei Georgievich speaks very simply, as if everything happened exactly as it should.
But I had a dream - to express what has accumulated in my soul for for a long time: read books, maybe some childhood dreams, my early impressions of music ... I wanted to create such an orchestra so that I could be responsible for it from beginning to end - my team, well, like my own family.
In these words, on a walk after a rehearsal in a beautiful pine forest I hear the main thing - my family. Treat everyone in the orchestra like family.
Homecoming
My dream has come true, - Sergei Georgievich says with joy in his voice, - I am fully responsible for this orchestra. This is extremely difficult, because the province is not Moscow, where the Conservatory is, and so many educational institutions, and so many musicians can be attracted. We have to deal with almost everyone individually, and in pairs, and in groups. Of course, there are also experienced musicians. But I feel extraordinary joy that there is such an orchestra in the province. It seems to me that it is very important that my dream turned out to be necessary for someone.
These words sink into the soul immediately. Let's all walk together, slowly. At the end of our discordant column, Vladyka John, Metropolitan of Belgorod, is also a guest, telling something to his interlocutor. The incomparable aroma of the living forest intoxicates, underfoot there are rotten leaves, Ivan-tea, needles, the mysterious smell of marsh flowers, and the sounds of leaves, wind, water. The maestro himself in an ordinary white T-shirt and linen trousers, which have already slightly lost their morning smoothness, looks close and dear. That is how it is.
Why did you return? - with reporter persistence I ask a banal question.
Russia is my home, and there is nowhere better than Russia for me. I am sure that our people are the carriers of a truly self-formed civilization. We are not Europe or Asia. When we can realize who we really are, everything will start to improve, - Sergey Georgievich speaks so convincingly that you believe and rejoice at such a coincidence in views.
Today the Kursk Chamber Orchestra is known all over the world. Soloists from Covent Garden, the Berlin and Stockholm Royal Opera perform with him. With delight, the maestro recalls how the orchestra performed in Moscow in May of this year, in the hall of the Cathedral of Christ the Savior, when Patriarch Kirill's name day was celebrated:
Performing in the presence of His Holiness is a great responsibility, but also a no less joy both for me personally and for the musicians who came to the very heart of our country from a distant city.
Pupils of Proskurin are now playing on best scenes peace. Sergei Georgievich takes it for granted, recruits new talented musicians from the province. With all his work, he proved that it is possible to create an orchestra in the Russian outback, the tours of which are scheduled for the year ahead. But the most beloved audience is waiting for him here - at the Mariinsky Assemblies.
A miracle is born
How did your friends, fellow musicians accept your dream?
I was not understood. After all, many of my students work at the Paris Opera, and in London, and in Royal Opera Stockholm is played on Danish radio and television in more than ten of the world's leading orchestras. And now, do you know how it all turned out? Now European musicians - singers, soloists - dream of coming here and playing with our orchestra!
A simple people can get to the assemblies?
Of course, you just need to notify the day before that they will come. If for two days, with an overnight stay, then arrange in advance with the sanatorium in Maryina, these are our friends, they provide places.
For two days, the director of the sanatorium acts as the main entertainer, holding contests, tea parties and lotteries. In an impeccable suit, with a bow tie, in gloves, Sergei Leontiev not only plays a role, but in fact is a hospitable host.
In Kursk itself, the Proskurin Orchestra also gives concerts, some of them are completely free.
We in the city give more than 20 free charity concerts in year. Everyone can come! It is a pity that sometimes the halls cannot accommodate everyone and 200, 300, 400 people are forced to stand in the lobby. I see completely new people at concerts, - Sergey Georgievich shares. - I hope that we were able to form, educate a part of the public that did not know before that there is chamber music, there is classical music, and that it should be listened to live. Many of those who attend our concerts say: “We just discovered some kind of treasure for ourselves!” Apparently, this is the answer to the question why I returned.
It's evening, the concert is about to begin. The round hall of the palace, the walls rise up to the sky, under the roof of patterned glass, and time seems to have returned 200 years ago. The musicians have changed: men in suits, ladies in ball gowns. But the miracle itself is born at the moment when the conductor's baton soars up, freezes, as if foreseeing that in a moment this hall, this house, hidden in a remote corner of a huge country, will burst - like the wind, like those very morning rays the sun is a real, albeit invisible, beauty.
Sergei Georgievich Proskurin
chief conductor and artistic director of the Russian Chamber Orchestra, trumpet soloist, teacher, scientist, professor at the Kursk State University and the Conservatory. Ludwig van Beethoven in Vienna (Austria). Received musical education at the conservatories of Saratov (in the trumpet class) and St. Petersburg (in the class of opera and symphony conducting). Trained in London and New York, then in Bucharest. Along with concert activity soloist-trumpeter and conductor was engaged in pedagogical work. He taught at the conservatories in Saratov, Chisinau, Falyun (Sweden), at the Royal Academy of Music in Copenhagen (Denmark). Toured the cities of Russia, in former republics Soviet Union, in Japan, Taiwan, USA, Hong Kong, Sweden, Denmark, Norway, Germany, Spain, France, Austria and many other countries. Has recorded 20 CDs as a soloist and conductor. He has more than 200 scientific and creative publications. Sergei Proskurin is the author of major international cultural and creative projects: the Maryinsky Musical Seasons, which are held annually in the Maryino Palace and Park Ensemble, the annual music festival Russian Chamber Orchestra for Children, the international classical music festival Mariinsky Assemblies, and others .
Text and photo by Yulia Makoveychuk
) - Russian musician, trumpet soloist, teacher and conductor.
| Proskurin Sergey Georgievich | |
|---|---|
| basic information | |
| Date of Birth | January 26(1957-01-26 ) (62 years old) |
| Place of Birth | Stary Oskol |
| A country | Russia |
| Professions | Trumpet soloist, teacher, conductor |
| Tools | pipe |
| Genres | classical music |
| Awards | |
| rco.k46.ru | |
Biography
Education
- 1964-1970 - Stary Oskol Music School named after. M. G. Erdenko.
- 1971-1975 - Gubkin Musical College, trumpet class.
- 1975-1980 - Saratov State Conservatory. L. V. Sobinova, internship in the trumpet class of the Honored Art Worker of the RSFSR, Professor A. D. Selyanin.
- 1985-1987 - assistant-internship (postgraduate study) at the Saratov State Conservatory. L. V. Sobinov in the trumpet class of the Honored Art Worker of the RSFSR, Professor A. D. Selyanin.
- 1988 - Moscow State Conservatory. P. I. Tchaikovsky, an internship in the trumpet class of the Honored Artist of the RSFSR L. V. Volodin.
Work, creative biography
- 1976-1977 - Symphony Orchestra of the Saratov Academic Opera and Ballet Theatre.
- 1977-1978 - Symphony Orchestra of the Saratov Regional Philharmonic.
- 1979-1991 - Rostov Regional Philharmonic
- 1985-1987 - Saratov State Conservatory.
- 2001-2004 - Chief Conductor and Artistic Director of the Symphony Orchestra of the Kursk Regional Philharmonic.
- 2007-2018 - Professor at Kursk State University. Founder and head of the department of instrumental performance.
From 2018 to the present - professor at the Saratov State Conservatory, head of the conducting department.
From 2002 to the present, Artistic Director and Conductor of the Russian Chamber Orchestra
Social activity
Member of the public council at the Ministry of Internal Affairs of Russia for the Kursk region
Vice President of the Sports Kickboxing Federation of the Kursk Region
Prize awards
- 1987 - Diploma-recipient at the International Brass Quintet Competition. Special prize for the performance of music by Moldavian composers (Saratov)
- 2003 - "Person of the Year-2003", in the nomination "New Names" was awarded the "Kursk Antonovka" prize
- 2004 - "Manager of the Year-2004", in the nomination "Culture" with the award of an honorary medal in the Kremlin
- 2011 - Memorial sign "For Labor and Fatherland"
- 2011 - Medal of the Order of St. Nicholas, Archbishop of Myra, Miracle Worker "For merits in charity"
- 2012 - Badge of honor "For special services to the city of Kursk"
- 2013 - Awarded the honorary title "Honored Worker of Culture of the Russian Federation". Decree of the President of the Russian Federation of May 20, 2013.
- 2013 - Badge of Honor of Kursk State University
- 2014 - Medal for a significant contribution to the preparation and holding of the XXII Olympic Winter Games and the XI Paralympic Games in Sochi. President of Russia V.V. Putin
- 2014 - Full member (academician) of the International Academy of Creativity, Moscow
- 2016 - Natalia Sats Prize and medal of the International Academy of Creativity for outstanding creative contribution to the art of music, Moscow, April 15, 2016.
- 2017 - Medal "Loyalty to Russia, Honor, Dignity" of the State Security Veterans Fund. Fund President Major General V. Kruglov
- 2017 - Order of St. Nicholas Archbishop of Mirlikiysky the Wonderworker "For outstanding services in matters of charity and mercy, to the glory of the Land and the Russian people" Order No. 335
- 2017 - Awarded the medal "Glory and Honor" 1st degree of the Russian Orthodox Church for his contribution to the preservation of traditional values in society January 26, 2017 award No. 83. Patriarch of Moscow and All Rus' Kirill
