Boris Andrianov cello concertos. Boris Andrianov: “A person should always have a point of return

Boris Andrianov was born in 1976 into a family of musicians. He graduated from the Moscow Musical Lyceum. Gnesins, class of V. M. Birina, then studied at the Moscow State Conservatory, class People's Artist USSR Professor N. N. Shakhovskaya, and continued his education at the Higher School of Music. Hans Eisler (Germany) in the class of famous cellist David Geringas.

At the age of 16, he became a laureate of the first International Youth Competition. P.I. Tchaikovsky, and a year later received the first and Grand Prix at a competition in South Africa. Since 1991, Boris has been a scholarship holder of the New Names program, which he presented with concerts in many cities of Russia, as well as in the Vatican - the residence of Pope John Paul II, in Geneva - at the UN office, in London - in St. James Palace. In May 1997, Boris Andrianov, together with pianist A. Goribol, became a laureate of the First International Competition. D.D. Shostakovich "Classica Nova" (Hannover, Germany). In 1998, he was a laureate of the XI International Tchaikovsky Competition. P.I. Tchaikovsky, where he won 3 prizes and a bronze medal.

In 2003, Boris Andrianov became the laureate of the 1st International Competition named after Isang Yun (Korea). Boris was a member of many international festivals, among them: the Swedish Royal Festival, the festival. HELL. Sakharov in Nizhny Novgorod, Ludwigsburg festival, festival in Cervo (Italy), famous festival in Dubrovnik, Davos festival.

Boris Andrianov has an extensive concert repertoire, performs with symphony and chamber orchestras, including: Orchestra Mariinsky Theater, National Orchestra French, Lithuanian Chamber Orchestra. Big Symphony Orchestra. Orchestra of the Slovenian Philharmonic. Croatian Philharmonic Orchestra, Zagreb Soloists Chamber Orchestra, Polish Chamber Orchestra, Berlin Chamber Orchestra, Bonn Beethoven Orchestra, Russian National Orchestra, Vienna Chamber Orchestra.

He also played with famous conductors, such as V. Gergiev, V. Fedoseev, P. Kogan, M. Gorenstein, V. Dudarova, V. Ponkin, V. Polyansky, D. Geringas. In 2003, Boris, together with D. Geringas and T. Vasilyeva, performed K. Penderetsky's triple concerto with the Krakow Chamber Orchestra under the baton of the author. Boris Andrianov performs a lot chamber music. His partners were such musicians as Yuri Bashmet, Menachem Pressler, Akiko Suwanai.

In 2002, the American firm DELOS released a CD containing works for cello and guitar. performed by Boris Andrianov and Dmitry Illarionov. This recording was included in the preliminary list of Grammy nominees. Boris played concerts in Russia (the Grand and Small Halls of the Moscow Conservatory, the P.I. Tchaikovsky Hall, the St. Petersburg Philharmonic), in Holland (Gebau Concerto), Japan (Tokyo Opera City), Germany (Berlin Philharmonic), Austria ( Vienna Konzerthaus) Switzerland, USA, Slovakia, Italy, France, South Africa, Korea and other countries. In 1995, he was named a laureate of the "New Names" program, and his name was entered by the first President of Russia B. N. Yeltsin in " golden book talents of Russia "XX century XI century"".

A few days before this issue went to press, Boris Andrianov returned from Chechnya, where, together with other young musicians, he took part in the first concert in the post-war republic classical music.

- Boris, what instrument do you have?

Now I play the Domenico Montagnana cello, which I managed to get from the State Collection last year. It's one of the best instruments out there, Natalia Gutman played it for a while before I got Guarneri del Gesu.

I am, of course, very happy that I got the opportunity to play an instrument of this level. True, paying for the rent and insurance of this cello is not a cheap pleasure, so I cannot but thank Gennady Petrovich Alferenko, director of Ernst & Young in the CIS, and Yuri Voitsekhovsky, director of Astor Capital Group, who helped me get such a tool.

This is a truly unique, fantastic cello - I have never had one like this before, and only now I realized what a great happiness it is. It is often said about old Italian instruments that they are capricious, that they take a long time to get used to - and this is partly true.

But when you finally get used to it, you begin to understand that it’s enough long time, which you previously spent on fighting with a not-so-good instrument, now you can spend on solving some creative tasks that you may not have set yourself before.

It turns out that really good tool- this is at least fifty percent success. By the way, on my website on the Internet there are photographs of this Montognan - very beautiful instrument, among other things.

I was told about it that it once belonged to the brother of Alexander the First, who played it, and then, after his death, lay for a long time in some palace in St. Petersburg, after which, in the early twenties, he ended up in the State Collection. By the way, when some experts looked at him, they said that perhaps this is not Montagnana, but Pietro Guarneri. Because in form this instrument, in fact, is not very similar to Montagnan. Basically, all his instruments are large, but this one is smaller.

The fact is that Montagnana and Guarneri were friends and they supposedly had some kind of scheme either for tax evasion or for something else ... In a word, from time to time one pasted his etiquette on an instrument made others.

What strings do you prefer to play?

- I try not to think too much on this topic, because if you delve into comparative analysis strings, then you will inevitably be engaged in moving the stand, darlings - and ad infinitum, and all this is very distracting from the case. My chord is one that many people play: "A" and "D" - "Larsen", "G" and "C" - "Thomastik" Spirocore. True, I also tried to put the lower strings on “Larsen”, especially since their new modification has recently been released.

Previously, their “salt” and “do” were very unsuccessful, but now, finally, a much better option has appeared - but still the “do” is a bit soft for my taste. As a result, after playing only "Larsen" for a while, I still returned to the lower strings of Spirocore. Because so far, in my opinion, there is nothing better.

- What kind of gripper do you use?

- Plastic, with built-in machines. Not metal, of course. By the way, in Berlin, where I studied, lives a completely brilliant man named Yasha Zhidovetsky. An absolute genius - he makes the instruments sound. You know, there are such people: they knock on the instrument, twist something there, move it - and the instrument opens. In addition, he has his own system - how to sit, how to hold the instrument ... Very interesting.

- He violin maker?

- Actually, he makes absolutely fantastic bows. And besides, he also makes a spire of his own design, with holes. The spire is made of some kind of light metal, and there are holes in it. The difference is felt immediately - it is enough to first play with an ordinary spire, and then with this one.

- Is something really getting better, or is it still some kind of "chemistry"?

No, the difference is really huge. But I also had this: once I forgot my spire somewhere on tour, and then I came to Moscow and found my old wooden crooked spire. It turned out that the effect of this wooden spire is the same as that of Yashin. Now I play and everyone is surprised - what kind of rarity is this? Because I play on an old wooden crooked spire. Of course, it needs to be put in order, because now it does not look quite presentable. But the tool, again, is revealed.

- Is there a difference for you - a curved spire or a straight one?

- Well, my spire is not so crooked - not like, for example, Rostropovich's. But in principle, it is more convenient, because when you play on a straight capstan and lean forward a little, the instrument naturally goes up a little. And when the spire is curved, the instrument moves with you during the game.

Of course, the angle of the neck when playing on a crooked capstan changes and, for example, I can hardly switch back to a straight capstan. By the way, this Montagnana first had a straight spire, which bothered me a lot. Although, here, Yasha says that all this is nonsense. In general, he often talks about some basics that we all know about, but explains them in such a way that all these well-known, but long-forgotten things begin to be perceived in a completely different way.

The entire Berlin Philharmonic goes to him. Cellists go to practice, grown men... And he is like that, you know... Well, Yasha... "Well, why did you come, what do you need?"

- A few years ago you performed in Great Hall Moscow Conservatory in the subscription "Stars 21st century". Do you feel like a star or, in any case, feel some kind of responsibility associated with your fame?

- Such a subscription is just an attractive poster, a good move that lures people to concerts - and nothing more than that. In addition, we must not forget that we are already in the 21st century, and if earlier the “stars of the 21st century” were like tomorrow’s stars, today this already speaks of some kind of accomplished “stardom”. What is wrong.

In general, "star" is a rather strange and vague concept. And, of course, I do not consider myself a star. As soon as a person begins to feel like a star, even if other people call him that, he is probably on this creative growth will stop. And I still have a lot of things I would like to achieve both creatively and in terms of career. Although this, as you know, things are completely different. There are people who are into music and there are those who are into careers.

It happens that a person is on a career take-off, and at the same time plays like a chicken paw. On the other hand, there are really outstanding artists, but, unfortunately, few people know about them. And it depends on a combination of a number of factors: the character of a person, the ability to promote oneself, the desire to go to some concerts and offer oneself to conductors, to have some good presentation of one's own...

This is how a career is made - and this is also quite a lot of work. And there are people who are good at doing all this, but at the same time they do not have time to deal, in fact, with music. Somehow they reach great heights, although they still play poorly.

I try to have some kind of harmony in my life, to develop both this and that, although, of course, there is not enough time for everything.

Do you have your own agent or manager?

“Of course, it would be great if there was a person who could tell you something and do something for you. But I don't have a big agency that really takes me seriously yet. Although in some countries there are people who help me, there are some contacts, but I don’t have real management. Hopefully not yet.

— You play solo a lot, but you also regularly perform in chamber concerts. What draws you to chamber music.

I love chamber music. Especially with such partners with whom I had the good fortune to play. You can list for a long time: these are Boris Brovtsyn, and Maxim Rysanov, and Ekaterina Apekisheva, and Alexey Ogrinchuk, and Count Murzha and many others.

By the way, I am very grateful to the Crescendo festival for giving us the opportunity to play together. For example, we played all three Brahms piano quartets, the Schumann quartet, the Shostakovich quintet with Alena Baeva who joined us. It was the greatest pleasure.

In addition, we have an established duet with guitarist Dmitry Illarionov. True, in many works that we play together, the guitar is given, rather, an accompanying role, which Dima is not always satisfied with, but he is a surprisingly sensitive partner, and it is always very pleasant to play with him.

Among the pianists I can also name Rem Urasin, with whom we will soon have a sonata disc - Shostakovich and Rachmaninov.

Solo is something completely different. Chamber music is like a "limited liability company", where you can more afford to relax and just get high. Solo playing is more responsible, but this also has its own charm, because if at a concert everything turns out exactly the way you wanted, you also get incredible pleasure.

And I also came to the fact that I want to play solo concerts- very solo.

- Why?

- First, there is a large amount of wonderful literature that needs to be played. Bach is self-explanatory, but there is also the Kodai Sonata, the three sonatas by Britten, the Sonata by Hindemith…

Also, I recently discovered Giovanni Sollima. We know him for his piece "Violoncelles, vibrez!", but he also has a huge number of solo works for cello, which he himself plays. When I was at the cello festival in Kronberg, he gave a solo concert there, the program of which included only his own works. And the impression from this concert was stronger than from everything else that was there, although no one played there.

Of course, some of Sollima's works are played with a microphone, some use a tape recording - but, anyway, it's very interesting. I managed to get the notes of his music and now I am actively learning them.

— Did you have experience of performing such music connected with Gulda's cello concerto?

Yes, I have played it more than once. Last time, by the way, played quite recently, at the opening of the Mezhdunarodnaya metro station in Moscow with Oleg Lundstrem's orchestra. At all, last week I began to feel like some kind of street musician: either in the subway, or on City Day on the street in front of the Conservatory with the State Orchestra ...

— By the way, as far as I understand, your passions are more of an “academic” musician than a showman. However, in Lately more and more often one can observe the mixing of genres and the convergence of popular and academic culture. What do you think about it?

- This is a question that, among other things, is also related to some of the career considerations that we have already talked about. But it is also important that concerts of a certain direction can attract concert hall listeners who otherwise would not have come to this concert hall at all. Yes, this does not mean that these people will continue to go to concerts or want to somehow expand their horizons.

Yes, maybe what everyone knows about Denis Matsuev, a wonderful pianist and my good friend, but not everyone knows about Mikhail Pletnev - this is bad. But after all, Pletnev did not become less brilliant from this. And then, in any case, every listener who comes to the hall knows why he comes - and in accordance with this he chooses which of the artists he would like to listen to. Anyway, I think it's better than if the same people went to listen to pop music that evening.

In general, mixing genres is not always a bad thing. For example, lately we have become better acquainted with Valera Grokhovsky - he recently recorded a fantastic double disc. On the first disc, he just plays Bach. And on the second he plays the same Bach, accompanied by double bass and drums, but without changing anything, only adding some melismas and accents. It turned out just phenomenal Bach. Perhaps we will do something similar with the cello.

Or, for example, Yo-Yo Ma - after all, he generally plays everything. And this is a person who is known to absolutely everyone - in America, anyway. So it's in demand...

— You talk a lot and with pleasure about the musicians of your generation. Is there any musician older than you, whom you could call your idol, whom you look up to or looked up to?

- Well, by the age of thirty, of course, you should already have your own face. But, of course, there is always something to learn from. For example, learn from Bashmet's right hand. No one has such a right hand, he has the best bow change - and nothing can be done about it. By the way, it was in Kronberg that I had the good fortune to play the Shostakovich Quintet with him - they rehearsed every day for a whole week, and it was amazing. There I also managed to play with Pressler from the Bozart trio, with one of the finest musicians, I think, and this also gave me a lot.

In addition, in this context, it is impossible not to say about the teachers with whom I was incredibly lucky. I started with Vera Mikhailovna Birina, who is probably our best children's teacher, although it is still, by and large, not appreciated. In general, in Russia there is still the best children's school - because in the West in general there is a different attitude towards children. No one sits with them with a stick, they do what they want. And sometimes it would be necessary to sit with a stick - in order to achieve some results.

Natalya Nikolaevna Shakhovskaya is an excellent teacher and amazing person, which gave me a lot in every sense. And the fact that, not yet graduating from the conservatory, I began to study with Geringas, she reacted with understanding, and we remained in friendly relations. Until now, if I need to play something or need some advice - her house is always open. Were different life situations in which she helped both with advice and deed.

And, of course, the manner of playing Geringas was transferred to me to one degree or another, because he is an exceptionally bright individuality. Until now, sometimes when I study, I catch myself doing something like him.

- What do you regard as a more important result of your game: an emotional message or technical perfection?

- If we talk about recordings, then sometimes, if the mood turned out to be a good double, then, I think, it is not necessary to shred it in order to rewrite some pair of unclean notes. After all, all people, on the one hand, and on the other hand, no one needs a mechanical game. Even at a concert, when you listen to someone play and there is no little crap, the impression is not the same. Of course, stability is very important, and your crap should not go beyond any limits, but within certain limits it is quite acceptable and even brings some charm to the game.

- But, nevertheless, if something unexpected happens at a concert, do you get upset?

- Anything can happen. But the indifferent playing at the concert is not something that the listener will not forgive - he will simply forget the next day, and that's it. And this is not quite the impression that I would like to leave after my performances.

- Not so long ago you were a student, even a schoolboy, and did not know what awaits you in the future. You are lucky and you managed to become a soloist. However, what do you say to those who want to send their children to a music school today? Looking back and remembering all the excitement and difficulties on the way to the profession, do you think it was worth it?

— First of all, musicians are people whose hobby coincides with their profession. And in this sense, we should not forget about the pleasure that we get from our work, and which, probably, cannot always be compared with how people of other professions treat their work.

But, by and large, this is, of course, a huge job. Even in the "elite", let's say, Gnessin school, which I graduated from, everything is not so good. Approximately eighty percent of my classmates now work outside their profession. Only a few are still trying to become soloists.

In the West, it's different - there everyone is basically preparing to become artists of the orchestra. Even my father, who used to work in the Moscow Philharmonic Orchestra, and now works in Spain - he is an accomplished orchestra player, there is nothing shameful in this, and he himself is very glad that he works in an orchestra, he played so much wonderful music and not in the worst bands . And if you are also an accompanist in a Western orchestra, that's very good, then you even have solo concerts, you are an accomplished person, a wealthy person.

Our situation is gradually changing for the better, of course, but too slowly. Therefore, if we talk about children, I would think before giving them to music. In our country there are much simpler and less thorny paths make money and be successful. We need music much less than in Europe. If a person wants to live in our country, it is probably risky to engage in classical music. Although, if a child shows some desire and some outstanding abilities, it is also a sin to strangle all this in the bud.

I think you can give the child to study, and then already be guided by achievements. If at the age of thirteen or fifteen all this still happens against desire, then it is probably better to turn in some other direction.

- From your story it is difficult to understand where you live? It is clear that the musician-soloist leads a partly wandering life, but still - which country do you consider your home?

— A year ago I graduated from Germany and came here because I want to live and play in Russia. I want to travel around our country, and, in general, I feel comfortable only here. Wherever I am in the West, for me all cities and countries look the same, all abroad. For me there is "there" and there is "here".

When I only spoke about my intention to return from Germany here, of course, everyone dissuaded me: what are you doing, you can stay in Germany, live there, work quietly ... I can’t. And it seems to me that I'm still right, because here the situation is still changing for the better, all the same, musicians are starting to pay some money for concerts not only in Moscow, but also in other cities.

And then, how many guys, musicians from my generation, stay here and conduct at least some kind of activity? They've all left! And they only come from time to time. At the same time, I have some organizational ideas that can be implemented in Russia. Not that “who, if not us”, but there really is a field for activity. Unfortunately, few people agree with me, and there are musicians who actually feel great abroad. And I... I couldn't.

Interviewed by Boris Lifanovsky

Boris Andrianov is one of the leading Russian musicians of his generation. He is the ideological inspirer and leader of the "Generation of Stars" project, within which concerts of young talented musicians in different cities and regions of Russia. At the end of 2009, Boris was awarded the Russian Government Prize in the field of Culture for this project. Also, since the end of 2009, Boris has been teaching at the Moscow State Conservatory.

In 2008 Moscow hosted the first cello festival in the history of Russia, the art director of which is Boris Andrianov. In March 2010 the second festival "VIVACELLO", which will bring together such outstanding musicians like Natalia Gutman, Yuri Bashmet, Misha Maisky, David Geringas, Julian Rakhlin and others.
With his participation in 2000 at the Antonio Janigro International Competition in Zagreb (Croatia), where Boris Andrianov was awarded 1 prize and received all special prizes, the cellist has confirmed his high reputation, which has developed after the XI International Competition. P.I. Tchaikovsky, where he won the 3rd prize and the Bronze medal.
The talent of Boris Andrianov was noted by many famous musicians. Daniil Shafran wrote: "Today Boris Andrianov is one of the most talented cellists. I have no doubts about his great future." And at the VI International M. Rostropovich Cello Competition in Paris (1997), Boris Andrianov became the first representative of Russia to receive the title of laureate in the entire history of the competition.
In September 2007, the disc by Boris Andrianov and pianist Rem Urasin was chosen by the English magazine Gramophone as the best chamber disc of the month. In 2003, Boris Andrianov's album, recorded together with the leading Russian guitarist Dmitry Illarionov, released by the American company DELOS, was included in the preliminary list of Grammy Award nominees.

Raffaele Bellafronte

Dmitry Illarionov - guitar, Boris Andrianov - cello

Boris Andrianov was born in 1976 into a family of musicians. He graduated from the Moscow Musical Lyceum. Gnesins, class of V.M. Birina, then studied at the Moscow State Conservatory, class of the People's Artist of the USSR Professor N.N. Hans Eisler (Germany) in the class of famous cellist David Geringas.
At the age of 16, he became a laureate of the first International Youth Competition. P.I. Tchaikovsky, and a year later received the first and Grand Prix at a competition in South Africa.
Since 1991, Boris has been a scholarship holder of the "New Names" program, which he presented with concerts in many cities of Russia, as well as in the Vatican - the residence of Pope John Paul II, in Geneva - at the UN office, in London - in St. James Palace. In May 1997, Boris Andrianov, together with pianist A. Goribol, became a laureate of the First International Competition. D.D. Shostakovich "Classica Nova" (Hannover, Germany). In 2003, Boris Andrianov became a laureate of the 1st International Isang Yun Competition (Korea). Boris has participated in many international festivals, including: the Swedish Royal Festival, the Ludwigsburg Festival, the Cervo Festival (Italy), the Dubrovnik Festival, the Davos Festival, the Crescendo Festival (Russia). Permanent participant of the chamber music festival "Return" (Moscow).

Boris Andrianov has an extensive concert repertoire, performs with symphony and chamber orchestras, including: the Mariinsky Theater Orchestra, the National Orchestra of France, the Lithuanian Chamber Orchestra, the Tchaikovsky Symphony Orchestra, the Slovenian Philharmonic Orchestra, the Croatian Philharmonic Orchestra, the Zagreb Soloists Chamber Orchestra ", Polish Chamber Orchestra, Berlin Chamber Orchestra, Bonn Beethoven Orchestra, Russian National Orchestra, Moscow Philharmonic Academic Symphony Orchestra, Vienna Chamber Orchestra, Orchestra di Padova e del Veneto, jazz orchestra Oleg Lundstrem. He also played with famous conductors such as V. Gergiev, V. Fedoseev, M. Gorenstein, P. Kogan, A. Vedernikov, D. Geringas, R. Kofman. Boris Andrianov, together with the famous Polish composer K. Penderecki, repeatedly performed his Concerto Grosso for three cellos and orchestra. Boris performs a lot of chamber music. His partners were such musicians as Yuri Bashmet, Menachem Pressler, Akiko Suvanai, Jeanine Jansen, Julian Rakhlin.
After the performance of the Boccherini Concerto at the Berlin Philharmonic, the Berliner Tagesspiegel newspaper published an article entitled "Young God": "... the young Russian musician plays like a god: a touching sound, beautiful soft vibration and mastery of the instrument created from the unpretentious Boccherini concerto small miracle..."

L. Boccerini - Cello concerto I

L. Boccerini - Cello concerto II

L. Boccerini - Cello concerto III

In September 2006, Boris Andrianov gave concerts in Grozny. These were the first classical music concerts in the Chechen Republic since the outbreak of hostilities.
Since 2005, Boris has been playing on unique tool works by Domenico Montagnana from the State Collection of Unique Musical Instruments.

P. Tchaikovsky - Nocturne

Giovanni Sollima - Lamentatio

Richard Galliano

Boris Andrianov

Andrianov Boris

Children born into families of talented musicians often suffer from their parents' desire to force them to become musicians as well. long game on musical instrument, rehearsals and concerts, not every child may like it, but Boris Andrianov was not like that. Already at the age of 4, he knew for sure that he wanted to become a professional musician. Parents who never imposed their views on their son helped the boy realize his dream.

Numerous teachers did not tire of repeating that this child has a real gift. If others needed to rehearse for a long time in order to play a piece, then Boris could practically reproduce everything exactly the first time. To a large extent this was the result hard work And permanent job above oneself. At the same time, the boy successfully combined musical education with the classic.

Today we can really say that Boris Andrianov is unique in many ways. He achieved everything in his life exclusively by himself. Eminent parents never used their connections so that their son could take part in any concert. From the age of 10, the boy began to actively work for his own name, so that after 15 years his name would become a symbol of real talent.

You can hear Boris Andrianov's performances in many countries of the world, where he plays solo parts or as part of a symphony orchestra. Despite the fact that the cost of tickets can reach astronomical values, it can be very difficult to find a free ticket. In many ways, this love of the public is the result of the talent and ability to read any book in an original way. classic for cello.

Titles and awards

Boris Anatolyevich is the author and leader of the international project "Generation of Stars", which helped many young and very talented musicians to start their own careers. Now any young person living in any region Russian Federation has the opportunity to participate in this program.

His first great achievement came in 1992, when he won first place at the International Tchaikovsky Competition for Youth. After 2 years young talent takes place of honor at another music competition held in South Africa. 5 years later still waiting for the next one international recognition- Laureate of the first international music competition in Hannover, Germany. In the same year he was among the winners of the Parisian cello competition.

IN early XXI century, Boris Andrianov becomes the laureate of the music competition in Zagreb, where he received not only the first prize, but also became the undisputed leader in all other categories. In 2003 he goes to the international musical competition V South Korea where it takes first place.

In addition to participating in numerous competitions and music forums, the cellist performs with chamber and symphony orchestras different countries, the name of each of which has long become a household name. Despite the large number of proposals from different countries, the musician prefers chamber music. His favorite orchestra is Krzysztof Penderecki's.

Andrianov Boris at your event

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Born in 1976 in a family of musicians. Graduated from the Moscow Music Lyceum. Gnesins (class of V. M. Birina), then studied at the Moscow State Conservatory. P. I. Tchaikovsky (class of the People's Artist of the USSR, Professor N. N. Shakhovskaya), continued his education at the Higher School of Music. H. Eisler (Germany) in the class of the famous cellist D. Geringas.

At the age of 16, he became a laureate of the I International Youth Competition. P. I. Tchaikovsky, and a year later he received the 1st prize and the Grand Prix at a competition in South Africa.

Since 1991, Boris has been a scholarship holder of the "New Names" program, which he presented with concerts in many cities of Russia, as well as in the Vatican - the residence of Pope John Paul II, in Geneva - at the UN office, in London - in St. James's Palace.

In May 1997, B. Andrianov, together with pianist A. Goribol, became a laureate of the I International Competition named after. D. D. Shostakovich "Classica Nova" (Hannover, Germany). In 1998, at the XI International Competition named after. P. I. Tchaikovsky, the cellist won the III prize and the Bronze medal. 2000 brought victory in the International Competition. A. Janigro in Zagreb (Croatia), where Boris Andrianov was awarded the 1st prize and received all the special prizes. In 2003, the cellist became a laureate of the I International Competition. Isang Yuna (Korea).

Boris Andrianov has participated in many international festivals, including: the Swedish Royal Festival, the Ludwigsburg Festival, the Cervo Festival (Italy), the Dubrovnik Festival (Croatia), the Davos Festival, the Crescendo Festival (Russia). Permanent participant of the chamber music festival "Return" (Moscow).

In 2003, Boris Andrianov's album, recorded together with the leading Russian guitarist Dmitry Illarionov, released by the American company DELOS, was included in the preliminary list of Grammy nominees. In September 2007, a disc by Boris Andrianov and pianist Rem Urasin was chosen by the English magazine Gramophone as the best chamber disc of the month.

Boris Andrianov is the ideological inspirer and leader of the Generation of Stars project, within the framework of which concerts of young talented musicians are held in different cities and regions of Russia. At the end of 2009, Boris was awarded the Russian Government Prize in the field of Culture for this project. Also, Boris Andrianov is the art director of the first in the history of Russia cello festival"VIVACELLO", which for several years has been gathering such outstanding musicians as M. Maisky, D. Geringas, Y. Rakhlin and others. Since the end of 2009, Boris has been teaching at the Moscow Conservatory.

Boris Andrianov gives concerts in the best halls Russia, as well as on the most prestigious concert venues Holland, Japan, Germany, Austria, Switzerland, USA, Slovakia, Italy, France, South Africa, Korea, Italy, India, China and other countries. Collaborates with such famous conductors as V. Gergiev, V. Fedoseev, M. Gorenstein, P. Kogan, A. Vedernikov, D. Geringas, R. Kofman. Together with the famous Polish composer K. Penderecki, Boris Andrianov repeatedly performed his Concerto Grosso for three cellos and orchestra.

Boris pays a lot of attention to chamber music. His partners were such artists as Y. Bashmet, M. Pressler, A. Suvanai, J. Jansen, Y. Rakhlin and other talented musicians.
Since 2005, Boris has been playing a unique instrument by Domenico Montagnana from the State Collection of Unique Musical Instruments.

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“My heart is given to red and white flowers forever. I have a friend with whom we used to support Spartak together. But he went to live in England and is now a fan of Arsenal. I can't understand this. I tell him: “How can you? It's the same as betraying mother! In my opinion, you should always be near your favorite club: both in joyful days and in difficult ones. With all my heart I wish Spartak success.

“I hope that this year the old Spartak will revive, and we will win the tenth championship in Russia. It was a huge and very pleasant surprise for me that my native club gave me the opportunity to attend all its home matches. My heart is given to red and white colors forever. I have a friend with whom we used to support Spartak together. But he went to live in England and now supports Arsenal. I can’t understand this. I tell him: “How can you? It's like betraying your own mother!" In my opinion, you should always be near your favorite club: both in joyful days and in difficult ones. With all my heart I wish Spartak success this season.

Go to the stadium more often: now to Luzhniki, and when we build our Spartak stadium. As a musician, I know perfectly well that it is much more pleasant to play with a full hall. The same goes for the team - with the stands full," the official website of Spartak quoted Andrianov as saying.

Photo from the site http://www.borisandrianov.com/

The Eighth VivaCello Festival has begun in Moscow, where well-known and not yet well-known, and sometimes even the newest, cello music is presented by reputable performers. Artistic director cellist Boris ANDRIANOV is a creative person, the author of several projects. One of them takes place in early June, when a team of musicians goes to the outback, in particular, to the Vladimir region, and gives concerts there under open sky. NG correspondent Marina Gaikovich spoke with Boris Andrianov on the eve of the opening concert of VivaCello. The festival will run until November 25th.

The program of the festival is very curious, but this year I did not notice the premiere of a new composition, as is usually the case at VivaСello. Usually a new composition is written for each festival.

We have a Dubunion concerto, which the composer made especially for us in a new version, which we position as a world premiere. The concerto was recorded for cello with a brass band, and it was specially made for us with a symphony. There will be a Russian premiere of Anya Drubich's Kaddish for cello and orchestra.

- Is this the daughter of Sergei Solovyov and Tatyana Drubich? Doesn't mean she writes. Heard her as a pianist.

She composed music for Anna Karenina. And to the film by Anna Melikyan "Star".

Could you introduce the cellists who will perform at the festival, whose names are not so widely known in Russia?

Nicolas Altstedt and Thorleif Tedeen will perform, this is not the first visit to Russia by German and Swedish cellists. Thorleif and I played a lot of chamber music together at various festivals. Wonderful person, experienced. Nicholas is younger, studied with David Geringas, he now has a stormy career, he conducts and plays. Very popular in Europe now.

Jens Peter Mainz and Wolfgang Emanuel Schmidt are already known to our music lovers, they played at the Tchaikovsky competitions. Both are now successful teachers. Andrei Iones is the winner of the last Tchaikovsky Competition. Claudio Borges performs at our festival for the third or fourth time.

- The project "CelloDuello" attracted attention in the poster. Please tell us about him.

These are two such two-meter German guys who studied with Geringas too. Both performed at the Tchaikovsky competitions. Wolfgang played that unfortunate one when no one got anything. And Peter Mainz played in 1998, became the winner of the competition. They have been performing together as a duet for a long time, they have a program with which they performed everywhere except us. It's really, interesting concert, besides, I must say, it is not easy to play a cello duet.

- An ensemble of 12 cellos at the Berlin Philharmonic!

Yes, they are fantastic. They have existed since 1972. By the way, they came to us for the first festival, it was their first visit to Russia. Then the Moscow Philharmonic brought them again.

- Does cello music need propaganda today?

Always needed, of course. Even Coca-Cola, the taste of which everyone knows, is advertised everywhere. And what about our half a percent of the population who know what a cello is ... Let them be at least two percent., It will already be good. If people will discover new tool, then we will consider that our mission is completed. The festival is another reason for us to play music together, a reason for a new composition to appear. Once again, chat and play music. And show what a beautiful instrument we have. Bring new musicians so that they can see how good we are, and we can hear how they are. In general, everything is one sheer pleasure.

You hold the position of art director, but organizational work not doing?

I am not only involved in the creative side. You have to do a little of everything. This is my brainchild, I found people who took it all under their wing. We are supported. Thanks to the efforts of foundations, everything exists.

- And the Moscow Philharmonic?

The Philharmonic shares, shares with us part of the concerts, in particular the opening and closing concerts.

What prompted you to project, festival work? It seemed that everything should be fine with you, the winner of the Tchaikovsky Competition.

I just thought why not give it a try. After all, I played at various festivals, including cello ones. I travel a lot and know many musicians who would like to come to Russia. It all started almost from scratch. I have been very lucky with the U-Art Foundation. This is a unique case when the festival is held entirely with private money. It doesn't exist anymore, so it's good example patronage. Culture support. An example for others.

There is the Return festival, which has been going on for 20 years now, it is made by my friends Roma Mints and Dmitry Bulgakov. They are engaged in franchising, collecting money for the festival. I'm lucky that I don't have to do this.

Your project is much more expensive. Concerts with symphony orchestra, order new essays. At one time, even Penderecki wrote for you.

Certainly. Now U-Art and I are also doing the Vivarte chamber music festival in the Tretyakov Gallery in autumn and spring. I am glad that we have a well-coordinated team. All are very professional. Although a little did not understand at first how to be in this activity. For those who work in the Foundation, the organization of the festival was a novelty. Now everything is very stylish and beautiful - this is about the wrapper, but this is also important.

- Do you feel how your festival is developing? Is there a feedback from the performers, from the listeners?

Everyone wants to come back! The festival is definitely growing. We do not increase the number of concerts, do not become larger. We keep our format, but, for example, this year we have added master classes that were not there before. About 20 hours. Cellists will give lessons within the walls of the Moscow Conservatory, all students are terribly happy. We have received a huge number of applications. We select so that everyone can try. By pull, I first push through all my students, then the rest (laughs). Although some teachers do not allow you to play with others - why, you have me.

Does teaching bring you joy?

Not always.

- Why?

There are different students, the level is uneven. But on this moment I am glad of the situation in the class. When a student has a desire, the desire wakes up in you. The main thing is that the students are adults and understand that they are engaged in a serious business that needs to be given. When this happens, they begin to think for themselves. When they come and you're doing creative work, and not you telling them which note is pure/off-key or like in first grade, give me finger strokes. Then it's nice. I now have only four and I barely have time to study with them, I have only been in Moscow for two weeks since July. Sometimes I take someone on tour, we do concerts together. I recently took one student to the Tver Philharmonic, in Kaliningrad, Vladimir. They also learn at my concerts. It's still a plus that I'm a playing musician. I also studied in this format with David Geringas, who was also always on tour. And he came only on big holidays. But we always lacked his attention.

- There are no thoughts: in our time there was a level, but now ...?

And so it is. Previously, the level was stronger.

- By the way, Geringas will play with the young pianist Philip Kopachevsky. Will this be their first meeting?

Yes! They are delighted with each other. They had already rehearsed in October and were very close to each other. Which makes me unspeakably happy. It could have been different. Knowing the habits of his professor.

- Not too accommodating?

He does not treat all performers favorably. Especially in Beethoven, where he has his own clear idea of ​​​​how to play. And if a partner does not suit him, especially in such a program, then write wasted.

Please tell us about your other - summer - project "Musical Expedition". I was lucky this year to attend concerts in Vladimir region. Very romantic: a farm, or an old count's ruins...

It was our joint idea with Alisa Biryukova (Deputy Director of the Department of Culture of the Vladimir Region - "NG"). The idea was born during the previous project "Generation of Stars". We came there with Dima Larionov and Count Murzha, played concerts. And on the way we stopped at the Khrapovitsky estate. That's when the idea was born, why not try to play a concert in this estate. So that the regional government pays attention to this dilapidated castle. Gradually, the idea of ​​a “Musical Expedition” came up, when we travel around the region (and now there are several regions), play an open-air concert in the summer for everyone. It's great that so many people are coming. It is clear that this locals for whom everything is definitely new. After all, access to academic music in such places is very limited. Residents of a small village would never even think of turning on the Kultura TV channel; there is no other way to hear the classics. At such festivals we both have a rest and work. This is great fun. I think we have an original idea with " musical expedition". Especially with our color and remoteness, isolation - the village. This year we plan to go to the Vologda region.

- I remember when the first festival was born you wanted to carry the audience with you.

Yes, we wanted to, but we cannot reach the tourist format. Some part of the audience comes from Moscow on their own, 30-40 people. From big cities Vladimir region people come to our concerts

As far as I know, when you play in estates, you are trying to draw the attention of the regional administration to these objects. Restoration of the Khrapovitsky estate are doing?

As far as I know, they are going to start. It's very expensive - it's huge! I know that it was transferred to the category of museums.

- How many projects do you have in total?

Already four.

- Wow, approach Matsuev soon!

With Denis, everything is tied to the name. He has the ability to collect bright stars and take them to the outback. It's easy for him. And it's a big deal that they travel around Russia. We have a different format. We try, after all, every time to make our own format: there is a chamber music festival in Tretyakov Gallery, the cello festival, the traveling festival, and the "Generation of Stars" - educational. Since we live here, in Russia, and have not gone anywhere, it means that we must be useful.

“By the way, why didn’t you leave?”

And I left and came back. I studied in Germany, lived in America.

- So it was a conscious choice?

Yes, my soul was calling. Still, a person should always have a point of return. And somehow, over time, I had all these things that made me spend more time traveling around Russia. Just returned from a tour of the Yamalo-Nenets autonomous region, where he visited places where the musician's foot had not yet set foot. They played in music schools and houses of culture. For 5-6 years we have been traveling with pianist Rem Urasin and accordionist Kolya Sivchuk, giving master classes and playing concerts. Each time in a different city. Yesterday I had a concert in the village of Khanymei. Today I arrived from the city of Noyabrsk. From the plane I went to the rehearsal of the Dubunion concerto. Then he went to rehearse a concert by Brodsky with Smolyaninov at the House of Music. Now I'm going home and talking to you.

In this regard, I cannot but recall Richter, who played concerts in the outback even on bad instruments. What you are doing is very patriotic.

Well in Soviet time there was a system when everyone had to work out from the Mosconcert. There was a good system. Now she is gone. But we have such a huge country and in general, like, now there is no time for music. Take Yamal. Imagine the city of Gubkinsky for 10,000 inhabitants. Children's School of Music looks like a sheikh's palace, the oil workers built. An amazing piano is worth it. But there is no one to set it up! And the last concert there was ours, last year. Why is this room needed then? Of course, it would be wiser to distribute these funds over several years: hold regular master classes, concerts, buy violins and pipes for children, and support them all the time. There people live in difficult conditions. But, despite this, they give children to violins and pipes. A deep bow to the teachers that they are doing music there.