– Boris, in 2008, under your leadership, a festival of “Dedicated to Mstislav Rostropovich.” The current name he did not exist, as there was no annual periodicity. As far as the current state of the festival corresponds to what you wanted then?
– Of course, I am pleased that he has regularly been held for so many years! We are very fortunate that in a difficult time when the support of art has become a big problem, the festival continues to live and remain independent. Without the participation of any major organizations, primarily the state, we do it on their own, because there were people who believed in the idea of the festival and stay with us. If we talk about the creative side, the number of musicians, a variety of concerts can not but rejoice. Maybe I would like to see the program of the festival richer and volume: to one and a half weeks passed not five concerts, and fifteen that they were accompanied by master classes – hopefully we will come to it. While our resources do not allow this, in spite of the stable existence of the festival. And it is possible only because our patrons fully charge the costs. Through this festival takes place regularly, and almost all well-known cellists visited among his guests Natalia Gutman, David Geringas, Mischa Maisky, Alexander Rudin, Steven Isserlis, Alexander Knyazev, this year will arrive Ivan Monighetti Christina Blaumanja Jonathan Rouzman and it still not all!
– If there is a festival of thanks to patrons, can we call it independent?
– It is independent in the sense that my patrons complete trust in everything, including the drawing up of programs; we do not need to win any tender was, to account for every ruble, do not need anyone to write explanations of what we are going to do and why. Our sponsors – Iveta and Tamaz Manasherov – people who have become over the years my close friends, they are well versed in the field of musical culture. Of course, money is not unlimited, but still I can call it independent in comparison with festivals that take place in the budget.
– On the eve of the first festival you said: “Every festival should devote to different outstanding musicians of the past – they know everything Rostropovich and Gregor Piatigorsky and Daniil Shafran already beginning to forget. ” Concert in memory of Daniel Shafran two years ago, is still held, whether the planned initiation other masters?
– Unfortunately, not all of our creative ideas is possible to realize. I am glad that we managed to do a concert-dedication Daniil Borisovich, it seemed to me important. Then I happened to play on his instrument, and when we are reminded of his 90th anniversary, turned out almost the only ones who did it. Unfortunately. I agree that we need to continue this tradition, to remember the great masters – our responsibility. In this direction, we must work harder, it is very important. It’s unfortunate that, in addition to the concert of memory of Saffron, we have these initiations is no more.
– I think they need to do: for instance, a member of one of the festivals VivaCello Mischa Maisky studied and Mstislav Rostropovich and Gregor Piatigorsky. For each of them, he says, as a close, living for a man, but the Pyatigorsk today remember is much worse than Rostropovich.
– About Piatigorsky’s understandable though, because he for many years I lived in America and was significantly older and Rostropovich, and saffron. And Saffron has always lived and worked in Russia, but forget it here, unfortunately. Although it is known records very much. But concerts and festivals his memory, as is the case with Rostropovich, is not carried out. What to say about Pyatigorsk … Incidentally, in Los Angeles in his honor held a major Cello Festival, with master courses, chamber and symphony concerts. We like this yet, although it would seem, who, if not us, to do it. And I remember this. We continue to go with the cello in life, gratefully remembering the masters of the past and opening up new names.
– Concert in memory of Saffron differed particularly interesting program: in addition to the Tchaikovsky, there were three of the composer of the new Time – Frank Martin, Giya Kancheli and Giovanni Sollima with a new composition. For many listeners they are all united contingent concept of “modern music”, which the audience seemed to be not very fond of, though the hall was packed. Although long concert ended around 22.00, the audience demanded an encore. Was it a surprise for you?
– Incomplete Hall saddens me, and the full – happy and the more, the more we have of his audience. She knows that the festival VivaCello no “walk-through” concerts. In the evening we played great soloists David Geringas, Alexander Rudin, Giovanni Sollima – the names speak for themselves, and is not so important that these musicians play. I am glad that the effect was like that, and, if you remember, when Sollima finished, the hall was just pandemonium, people reacted violently as in the stadium. This year, at the opening, in addition to Saint-Saens and Vivaldi will sound Kancheli and Schnittke. I’m sure this did not deter, the participants of the concert-opening of a very strong and diverse. On stage, there will be eight soloists, as the scheduled four concerts for Violin, Cello and Orchestra, and at the close – a world premiere. And we look forward to a full house again.
– Do not you have the feeling that there is a kind of festival in spite of the general political and cultural situation? Among your colleagues all the more talk about how difficult to arrange concert tickets to sell, inform and, most importantly, to entice the public.
– Of course, all these difficulties and we are experiencing. But if you find a group of like-minded people who look to you in the same way, new opportunities. The best example – the festival of chamber music “The Return”, recently nominated for the prize of the Association of music critics as the event of the year. “Return” does exist in spite of everything, and already the nineteenth year! This is no joke, and for me, “Return” – an example to follow. With the people who make this festival, I communicate almost all his life, and by their example, I can say that nothing is impossible. If you sit around and complain about how everything is difficult, nothing happens. And if you make an effort – everything is possible. People want to listen to good music, and the musicians want to play it. It is necessary to make efforts to unite them.