He will speak on November 16 with.

the program "Great Romantics". A musician whom the public likes for a bright, expressive.

the manner of the game, the depth of interpretations and irreproachable technique, will perform the works of Schumann, Chopin and Scriabin. Correspondent "Utra" managed to ask the maestro several questions. - From school years.

many remember the three great "Sh" musical romanticism - Schubert, Schumann, Chopin.

you are in the program instead of Schubert Scriabin, his early foreplay. What is.

internal logic of the program? - Each specific program depends on the ideas of the general.

order, and from particular moments of the present day. I just finished recording.

Preludes Scriabin and therefore decided to include opus 11 in his program. "Symphonic etudes" many people asked me to play again, and I with a huge.

I do it with pleasure. "Polonaise fantasy" I played a lot, except for.

the last few years, and now I return to the play with new feelings.

In addition, "Polonaise-Fantasy" gives the necessary balance, it is good for beginning and.

forms a natural strong connection between Chopin and Scriabin. - Composers whose.

the music you play, were outstanding pianists, and their pianism found.

reflection in piano texture. - And Chopin, and Scriabin - piano geniuses, they knew him.

from within like no one. Scriabin and Chopin have all written very pianistically, this.

perfect pianism. Schumann is not perfect, he was not in general professional.

pianist, and many complain that his writings are written inconveniently. Yes, in part.

right. "Symphonic Etudes, on the one hand, suggest an orchestral scale.

On the other hand, it is so piano that, even if its.

orchestrate, it will not be better, because Schumann comes from the very nature of the piano and.

achieves amazing orchestral effects precisely through the piano approach. You.

know the expression "poet of the piano"? All of them were poets of the piano,.

piano for them - a whole world in which they could express their thoughts and.

feelings. - Each of these.

composers their own bright individual style of writing. Do they have any.

especially dear to your fingers and heart features? - All these works are inextricably linked with the individuality.

each composer. They were very different people, and it's audible in their music,.

having heard that, it is impossible to be mistaken in authorship. I can not say that.

I especially try to emphasize some features, I hope this works.

in a natural way. But I must say that all these composers, like many in the.

that time were improvisers, and in part their music is the result.

recorded improvisations. The improvisational beginning is very strong in their music, and for.

it is very important to me. Still dear to me in the music of romanticism is that it expresses.

the subjective world of each author, is engendered by very personal, even intimate, secretive.

feelings. For me this is especially valuable, and I try to reproduce those feelings and.

ideas that they owned. - And what ideas they.

owned? Of course, we have a lot of these composers by their letters, by memories.

theirs and contemporaries. But how do you imagine each of them, entering the Bolshoi stage.

Hall? - I do not think that when I go to the stage of the Great Hall, I will.

to represent the concrete thoughts of these people, and, probably, not in them is the matter.

Indeed, we know a lot about their life, but we will never learn much. It seems,.

that everything is known about Chopin, but I think he was a very fragile person, vulnerable and.

we know about him not all. Scriabin, although very similar to Chopin by warehouse.

his personality, fragility, sensitivity, but he was just very open,.

always played unfinished writings to friends and generally willingly shared his.

thoughts. However, the personality traits of the composer, which, undoubtedly, it is important to know,.

Not always find direct reflection in creativity. And vice versa: what is important in.

creativity, is not always connected with the everyday, human features of the author. - Thanks to your.

style of the game - expressive, exciting, emotional - you have long and.

rightly called one of the best interpreters of romantic music. And what.

for you is the main features of the romantic piano style? - This is a complex issue and it is rather a matter of special.

music research. But what you said, of course, refers to.

romantic style: expression, emotionality, in a sense.

improvisation - without this romantic music is unthinkable. And I think that.

not only romantic, but also every other, to be honest. We can say that in the XIX.

and the first half of the twentieth century, the so-called romantic trend was so overwhelming that in.

in a sense, turned into a stamp. There were unthinkable overlaps, when.

pianists corrected the text of the composers in accordance with their.

representations, which is completely unacceptable. Romantic music has acquired.

huge popularity, and sometimes this popularity was used, even a hundred years.

back, for commercial purposes. People exploited the external effects of this music,.

forgetting about much more valuable things.

"We are used to thinking,.

that almost all the romantic music software. Many of Chopin's plays and.

Schumann is disassembled in cycles with detailed explanations of what is happening there. On.

Preludes Scriabin long ago stuck to the label "lyric diary". And to what extent.

for you this music is plot?.

- Of course, there are works where there is a narrative, and his.

Need to know. But this is not the main thing. Yes, history can add something to our.

understanding of the work, but there are purely musical values ??that people.

must feel and understand. The most important thing is the penetration into the actual.

musical fabric. This is much more valuable than just an autobiographical data or.

plot that the composer could lay down in his music.

"What meaning are you,.

playing a romantic repertoire, give knowledge of the context - literature,.

painting, history of the time?.

- For me this is an unconditional thing: to play Schumann without knowing.

literary sources of his music, not knowing the works of Hoffmann, "Kreisleriana",.

it is simply impossible. In them the basis of Schumann's works, and without this knowledge music.

will be much poorer. The spectrum of emotions, thoughts and ideas is unusually expanding,.

When a person knows the culture of the era in which this music grew.