Yuri Vesnyak: Every new love story is a new play or ballad. Yuri Vesnyak - Charm (jazz waltz) Colleagues, this is a piece of mass destruction with great potential for students, because it contains not only beauty, but also technical challenges

In 1977, having graduated from the Artemovsk Pedagogical College with honors, he entered the Taganrog State pedagogical institute to the Faculty of Music and Pedagogy. And in May 1979 he transferred to the 3rd year of the faculty folk instruments Rostov State Musical and Pedagogical Institute (RGMPI) - (now the Rostov State Conservatory named after S.V. Rachmaninov) in the accordion class of Alexey Vladimirovich Sakharov.

After graduating from the Rostov State Musical Pedagogical Institute, he did military service in the Song and Dance Ensemble of the Red Banner North Caucasus Military District, where Yuri Andreevich began to write songs and dances, create instrumentation for an orchestra, accompany soloists on the button accordion, play in an orchestra and ballet, and conduct an orchestra (1982-1983)

In 1983, having been demobilized, he entered the 3rd year of the theoretical and composition department (composition department) of the Rostov State Music and Pedagogical Institute (RGMPI).
In 1984, a Concerto for a small domra and an orchestra of Russian folk instruments in 3 parts and a Symphony for an orchestra of Russian folk instruments (1985) were written. They were performed many times both at the Philharmonic and at the Conservatory by the orchestra of Russian folk instruments (conductor K. Khurdayan).

In 1986 Yuri Andreevich Graduated from the theoretical and composition department of the Rostov State Music and Pedagogical Institute (RGMPI).

His diploma work was his First Symphony (triple orchestra) in three parts, performed by the Rostov State Academic Symphony Orchestra of the Rostov State Philharmonic under the direction of conductor people's artist Russia Semyon Kogan.

Music for the joy of children!

Works for Russian folk instruments

For mezzo-soprano, accompanied by a quintet of Russian folk instruments, he arranged and instrumentalized his songs: Young Ataman, Pebble Shell, Iris, Wedding, Silver Poplar, Chur, Me and others.

For an orchestra of Russian folk instruments he created a Suite in 4 parts: 1) March 2) Scherzo “Holiday in the Village”, 3) Girls’ Lyrical Round Dance, 4) Dance. The arrangement of the orchestral Suite was made for a duet of accordion players, laureates of the 1st prize at the International Competition in Klingenthal (Germany) A. Zaikin and G. Galitsky, who recorded the suite on a gramophone record and for the fund of the All-Union Radio and Television in Moscow in 1987.

In 1999, for the accordion solo he wrote a Triptych: Impromptu, Toccata and Scherzo, as well as Concertino and Rondo Capriccioso. These pieces were included in the album “Virtuoso Pieces” for the finished button accordion.

As a result, on November 28, 2000, concert hall Rostov State Conservatory named after. S. V. Rachmaninov hosted an Author's Concert of works written for Russian folk instruments and mezzo-soprano.

Songs based on texts by Rostov authors

In 1999, he wrote a song for the 250th anniversary of Rostov-on-Don, “I live in Rostov-on-Don” (text by G. Egorov), which became a kind of anthem of the city. Other songs have also been published: “Give me a branch of viburnum” (text by L. Puzikova), tango “Blooming Roses” (text by E. Kamyshna), “With you” (text by M. Sayamov), “Years like a flock of cranes ", "Mila" (text by G. Egorov), "I renounce" (text by L. Puzikova), "Oh dolls!" (text by V. Bylkov) and others.

By order of the Rostov Greco-Roman Federation, for the opening day of the Russian Greco-Roman Wrestling Championship in Rostov (1998), he wrote the Hymn of Greco-Roman Wrestling (text by E. Kamyshna), which was performed by the soloists of the Ensemble of the North Caucasian Military District.

By order of the Administration of Rostov State University created the RSU Anthem (text by N. Erokhin) in 2002, performed by soloists Musical theater, laureates international competitions Pyotr Makarov (baritone) and Anna Savchenko (soprano).

Academic music

Bright beautiful simple piece for piano in the Brazilian bossa nova rhythm. Not clean jazz for piano, but a lyrical waltz in Latin American style with elements jazz, characteristic of bossa nova. Expressive melody memorable from the first bars - as the title of the piece suggests, "Charm" will immediately captivate advanced users piano for adults. Intermediate-level patients will immediately want to play it, but they will have to sit longer.

Yuri Vesnyak- Rostov composer, whose work can be found on his website. He creates in our time, and for this trivial reason the most interesting Jazz waltz “Charm” little known in music schools, it is rarely played, but with my help we will correct this situation - such a piece should be played as often as possible, my bow to the composer.

Colleagues, this is a play of mass destruction with great potential for students, because it contains not only beauty, but also technical challenges.

Who and when to play:

Elder Children's Music School classes. Advanced children and adults, advanced/upper intermediate levels: for home music playing, concert, holiday, as enriching the repertoire or additional piece to the classical repertoire.

For intermediate level (after 4 years of study) The play presents a technical challenge: you will need to work on several technical problems that you may not have encountered before.

Technical problems for intermediate (and even advanced) levels

- Coordinate the melody of the right hand with the complex, syncopated bossa nova rhythm of the left

• The play is a presentation of the theme and its further development in general forms movements to climax: The theme and climax run on a sharp bossa nova rhythm; left hand here it is decisive, it is she who gives the meaning and image to this music. If the left hand loses / cannot withstand the acute pulsation, the beating will not “feel” bossa nova syncopation- both the beauty of the melody and general image, the tone of the play, and its jazziness; jazz cannot be “blurred” or indistinct.

Intelligibility of rhythm, pulsation- the main thing that the average level will have to sit on so that the rhythm, in turn, works on artistic task higher order, maintaining the image and musical meaning Waltz.

- Polyphony in the middle part in the right hand part: here we have a complex alternation of phrases like “question-answer”, which needs to be shown with different sounds.

• Difficulty number 1 The point is that physically the phrases flow non-stop in a stormy flow - but in our playing there should be no general flow of note molecules! This is Waltz musical composition, not a Kalashnikov assault rifle. Working on sound in the Q&A is strongly advised.

• Difficulty number 2, aggravating circumstance: large transfers to right hand between “questions” and “answers” ​​- you will have to work on a moving pace. If a dynamic tempo is impossible in the light of all that has been said, we play in a moderate moderato. If you play with the right sound and good rhythm in the left hand, the tempo won't matter and it will still sound beautiful.

O women!

Yuri Andreevich, my acquaintance with your work began with “Actress”. A very touching piece. It seemed to me that it was about unhappy love. Who is she, a real woman? Or your dream embodied in music?

The actress is my wife Tatyana. Beautiful girl, a talented dancer. She was from a very rich family, I was a simple student at the conservatory, studying to become an accordion player. To put it mildly, I was no match for Tanya. She has wealthy and promising suitors, but I had nothing to offer her except my hand and my heart. But many wanted to give her such a “gift”. Tanya's birthday is January 1st. As I remember now: 1982, frosty weather, I come home to congratulate her, and my main rival is already there. Silently I sit down at the piano and play. Silence... And Tanya has tears in her eyes. I go up to her and say: “I have nothing else to give, but I love you. Will you be my wife?" We got married that same year.

And yet, it’s probably not in vain that I got the impression of an unhappy love with an actress. Did you and Tatyana not live long? It must have been hard for her to get along with the musician?

After the divorce I was terribly worried. It's no joke - then I spent 10 years partying: drinking, carousing. In a word, I tried to forget her. Now I understand that she, young, beautiful, was accustomed to a life that I could not provide for her. Yes, and my relatives kept nagging me: what kind of specialty is this - an accordion player... Someone like me won’t feed my family. Then I went to study at the composer’s department, and, as it turned out, not in vain. My soul has long felt that the accordion is not enough for me. But the fact that family life didn’t work out, it was for the better. If I lived with Tanya, I would think about completely different things and would hardly write so much. The service of the muses does not tolerate fuss. You can't say more precisely.

In other words, creativity and family are incompatible. Should a true creator be lonely and unhappy?

I am a very positive and cheerful person. Scripture clearly states that despondency is a sin. My 10 years of partying had a detrimental effect on my creativity. When I drank, the muses were silent. And then I realized: the only thing that inspires me is beauty. And who carries the beauty within? Of course, women. Each new love story is a new play or ballad.

What is it like for a composer to live in Russia, where classical music is not valued?

Very difficult. Although in our country there are many people who are not indifferent to music. In the early 2000s, money was very difficult, and the woman I loved, to whom I dedicated the ballad “Don’t Go,” left me. But it seemed to me that it didn’t work out, it didn’t touch my soul. And then a very famous Rostov lawyer knocked on the door. It turned out that he had an office behind the wall. He asked me to play, and at the end he burst into tears. He also had some kind of personal drama, that’s why he was so into it. Then he began to help me. Recorded an album and gave two concerts at the Philharmonic. This lawyer introduced me to a new muse.

Have you dedicated your works to every woman?

No, only those who evoked strong emotions. My patron had a secretary who also came to listen to my music. There was nothing between us. Just three meetings and one single kiss. But the emotions are unforgettable. And a new play - “In the Clouds”. I only imagined our relationship, she disappeared, flew away and disappeared like a bird into the clouds.

Among your fans are not only adults, you have managed to win over another, most difficult, audience - children. Tell us how you got into the Puppet Theater?

Again, thanks to a woman - my wife. Early in the morning on Women's Day, March 8, near the flower shops at the Central Market, Vladimir Sergeevich Bylkov called out to me. The most talented artistic director of the Puppet Theater. Unfortunately, he has been gone for a long time. I just defended my diploma - I played my Concerto for symphony orchestra. The conductor was Semyon Arkadyevich Kogan. I was very surprised that Bylkov recognized me. The composer died in the theater under unknown circumstances and a competition was announced to replace him. It was necessary to write music for The Three Little Pigs. I run to my wife with roses, happy, and shout: “Bylov wants to take me to his theater, can you imagine?” She looks indifferently, does not understand how important this is for me, a beginner and at that time unemployed composer. And they took me. It truly was a magical three years of my life. I wrote music for 10 performances, and every time everything worked out so easily, right off the bat.

20 years later

Your name is still on the theater’s posters, and people still like the performances to this day. What's the secret?

There is no secret. Writing for children is easier. They don't know how to hide their feelings. If they are sad, they cry, if they are happy, they laugh. I still remember how happy they were and danced after the performances. Children in all cities of Russia play “Russian Carlson”. The melody is very playful and simple. The little one thinks: Russian Carlson is me.

People listen to your music with pleasure; audio and video recordings on the Internet have thousands of views from people from different cities of Russia. Isn't it time to conquer the world?

Now I’m just preparing for tour concerts. They invite you to the UK, Germany, Australia and even Brazil. I'm waiting for the challenge and writing music. I’ll tell you a secret: I dream of writing music for opera and ballet. I'm waiting for my playwright.

And based on what works?

Of course, according to fairy tales. I am a storyteller, looking for true beauty and believing in miracles. I decided to take a swing at “The Little Mermaid” by Hans Christian Andersen.

Will this be an opera for children or for adults?

The fairy tale itself is philosophical, so the opera should also have meaning. Probably more for adults. In general, I am not a fan of isolating my audience. I’m watching it now, and my fans are mostly young people.

This means that ours is not such a lost generation. After all, to love classical music, you need to be a prepared person. With a rich spiritual world. By the way, how do you feel about modern genres- rap and rock?

I'm a melodist, so regardless of the genre, there has to be melody first. I really love the rock ballads of Scorpions and Queen. Rap is, in my opinion, not music. In general, no one has yet surpassed Bach, Mozart and Beethoven. Their works are the best in the world of music.