Ensemble questa musica. State Academic Symphony Chapel of the Russian Federation. The conductor in your understanding is who

Philip Chizhevsky, conductor of the Questa Musica ensemble, told the site about what stands between classical and modern music, whether it is worth playing a symphony without a conductor, and what has never happened at the Bolshoi Theater.

KSENIA FEZ: Philip, what are your musical plans for the near future?

PHILIP CHIZHEVSKY: ~ Since this season I have been working at the Bolshoi Theater. And next season, my orchestra Questa Musica and I will give concerts at historical instruments. You have already heard a concert in Moscow with: something similar will begin at the Bolshoi Theater, where, as you know, strange music, for example Handel, has never been performed on the instruments of that historical era, to which this music belongs. We will have several projects with youth artists opera program, which is led by Dmitry Yurievich Vdovin.

I believe that any music should be performed authentically: both historical and modern, that is, in the manner and style of the era in which it was written. Historical musical instruments: gut strings, low tuning and other attributes are not an end in themselves for me. But if it is possible to use such instruments, and if there are musicians who own them, then this adds charm and flavor to the sound.

How are things going with the current classics? Do you work with contemporary Russian composers?

~ I have to carry out a big project of five operas modern composers. Now we have five names of leading avant-garde composers - quite young, all in their early 40s: Sergei Nevsky, Dmitry Kurlyansky, Boris Filanovsky, Vladimir Rannev and Alexey Simak. This will be five performances with a libretto by Boris Yukhananov, who, in fact, will play the role of director. The program is quite extensive: at first it will consist of 5 separate performances, and then it will narrow down to a marathon program of modern operas.

All living composers with whom I have collaborated write in different styles: everyone is looking for their musical path. The pleasure we get from performing quality music is easy to convey to the public. The forms of modern classical sound can only be found experimentally. We are pioneers in our era. In some decades this music will be looked at as a classical repertoire: some will be forgotten, some will remain.

How do audiences perceive new composers?

~I am happy to work with people who are responsible for the notes they write, and not just create an abstraction, which is a common technique in contemporary art generally.

An interesting fact is that for an audience that is not musically prepared, but inquisitive, the emotion that they receive from what they listen to is important. We convey this emotion by playing a Mozart sonata or an avant-garde piece - it doesn’t matter. The audience needs current.

In modern classical music Even non-musical instruments can be used: from wooden boxes to anvils. But for slim musical composition their parts must be written just as carefully as for strings, for example.

On the one hand play modern music It’s simpler: no one has done this before you - you do it as you want. When performing classical music, one should adhere to traditions and canons. But the moment of interpretation and transformation in music is also very important to me. Authentic performance is wonderful, but music is not a vacuum, Mozart’s masterpieces rush through the centuries, therefore, in my opinion, it is important to introduce the nuances of a modern interpretation, without forgetting the experience of previous generations. Then the music will breathe. Whether we are doing it right or wrong - time will tell, sweeping away everything unnecessary.

Please tell us about your profession as a conductor. In addition to directing the orchestra, does the conductor have the function of communicating with the audience through plasticity?

It doesn’t matter whether the conductor is restrained or expressive, the only thing that matters is how the orchestra plays. If the conductor's plasticity is justified, and the musicians understand him, then this good concert. Now almost any classic you can play without a conductor. At the beginning of the 20th century there was a Persimfans orchestra, in which the conductor was replaced by the first violinist-accompanist: he showed the aftertaste. With a conductor, one symphony takes three rehearsals, without a conductor - much more.

If we talk about classical music, then the conductor’s function is much broader. It lies not only in how he distributes the aftertaste, but in how he gives direction to this music, how he controls the breathing of the orchestra. An orchestra can play rhythmically, ideally in terms of all the nuances and touches, but the music will be absolutely dead - it will be uninteresting to listen to. A conductor is needed to add fire, build phrases, round them off, put accents - control movement.

In communicating with each of my musicians of the Questa Musica ensemble, I insist that every time he perform the part as if no one had performed it before, not even himself.

Official website of the ensemble

On Small stage Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko will host the Russian premiere of George Frideric Handel’s oratorio “The Triumph of Time and Insensibility” in May.

The director of the play was Konstantin Bogomolov, who turned to musical theater for the first time.

Created a new libretto famous writer, screenwriter, artist Vladimir Sorokin.

The ensemble Questa Musica under the direction of Philip Chizhevsky is responsible for the musical component.

Shortly before the premiere, the conductor spoke about this oratorio and Handel’s music.

— Philip, as I know, Konstantin Bogomolov planned to stage “The Triumph of Time and Insensibility” three years ago. How did it happen that you became part of the already discussed performance?

— Anton Getman invited me, and on my birthday. He said that he already had an agreement with Kostya, and now he needs me and my musicians. True, he made it a condition to play historical instruments.

For me this offer was the most the best gift! “Triumph...” is a very complex and unusual project. This oratorio contains four allegorical asexual figures. I suggested that Kostya do it completely men's history, and he immediately jumped on the idea. We have four wonderful soloists, we held the first block of rehearsals with the orchestra, came up with something for continuo... But I won’t reveal all the secrets.

— You already had experience working on Handel’s music - both on the oratorio “Messiah” and on the opera “Rodelinda” - together with Christopher Moulds. Now it is one of the early creations of the great composer.

— Yes, this, as you know, is his first oratorio. We are playing the earliest version, written for his Italian patrons in 1707. Handel turned to this work thirty years later (1737), and it turned out to be half English, half Italian. And then another 20 years later (1757) the oratorio was performed entirely in English.

For Handel, this is an absolutely “avant-garde” opus. I don't like this word. After all, in principle, Handel is a rather “combed” composer. All his music is beautiful, euphonious - simply the Igor Krutoy of his time. And if you listen to the aria “Gentle Morpheus” from “Alceste”, then this clean water ABBA style.

Of course, it's the other way around, but the meaning of what I want to say is clear. In his youth, Handel still had a “wolf” sense of smell. And then he calmed down somewhat.

— In “The Triumph of Time and Insensibility” there is no the most important thing for an oratorio - the choir. One would like to call this work an opera. But, as Larisa Valentinovna Kirillina writes in her book about Handel, by order of Pope Clement XI, public opera performances in Rome from 1700 to 1721 were not allowed. Don't you think that Handel encrypted his work in this way?

- Certainly. Handel wanted to write an opera. But he was still a young man, and, as they say, he did not need problems. That's why the opera became an oratorio. There are quite a lot of composer's discoveries in the score - for example, a completely written out organ solo part. This is quite rare in his music.

In addition to gorgeous duets and arias (by the way, one aria later migrated to the opera “Rinaldo”), there are only two recitative accompaniments and two quartets, one of them full-length (“Voglio tempo”). How many similar examples do we know from him, where four people sing at the same time? This is a unique example.

In “Triumph...” the Italian style of writing is clearly felt, primarily due to the abundance of “bel canto”, the germs of which are very clearly visible. The parts of the vocalists are written in the wildest complexity! Soloists must have phenomenal technique.

Handel, like many of his colleagues, treats voices instrumentally. Let's say he has two oboes playing small notes, and then he immediately launches this texture in a vocal duet. It feels like he's mocking him a little. Handel was then 22 years old, he was overwhelmed Vital energy, he was not afraid to experiment.

But many years later he looked at his younger self through the prism of a mature musician, as Bruckner would later do when returning to his first symphony in last years life.

— Konstantin Bogomolov called Cardinal Pamphilj’s libretto “rotten.” Do you agree with him?

- I guess, yes. In general, if we look at some examples of librettos of that time, we will hardly find anything super interesting. In Pamphilya everything is clear - Pleasure says to Beauty: “You will always be beautiful.” And Time answers: “No, everything ends someday...” Well, everything is around that.

And for Kostya, as a theatrical person, a more precise embodiment of this conventional plot is important. What did Sorokin do with the text? He just went and wrote his text! Although, of course, echoes of Pamphilya remained. I think it's incredibly well done. A very interesting solution. Here we are looking at a picture - if we guess the angle and at what angle the artist applied this or that stroke, then this picture is revealed to us. It seems to me that Sorokin did the same. He figured out Handel.

— The text of the libretto was in tune with the era. Would it be interesting? to the modern viewer this whole complex of symbols and allegories? Or is a radical decision necessary, as is the case with Sorokin’s version?

— I don’t think that the oratorio in the original historical production will be boring. But we have our own way. Surely you saw the production by Krzysztof Warlikowski in Aix-en-Provence, where in the last aria Beauty opens its veins. Everything is different with us. An artist who takes on something new for himself wants to say a lot, convey a lot to the viewer. Moreover, he is an accomplished artist.

— There was no triumph at the premiere of the oratorio, but do you think we will have one?

“I can say one thing for sure – it will be interesting.” Even now, during the rehearsal process, we feel fresh. Naturally, we play on “veins”, but I tell my musicians: friends, forget that you are baroque performers.

We look at this music through the prism of our time - both in terms of structure and in terms of articulation, strokes, dynamics. We need to look for other ways out. Yes, we know that we need to slow down here and go forward here. But why should we adhere to this 100%? We play the latest music, but we can perform baroque music from the same “look”.

In “The Triumph of Time and Insensibility” there will be a Handel, perhaps unlike the one we are used to hearing. We are making an atypical Handel. But on historical instruments.

Born in 1984 in Moscow. Graduated from Moscow State Conservatory. P. I. Tchaikovsky in the following specialties: choral conducting (class of Prof. S. S. Kalinin, 2008) and opera and symphony conducting (class people's artist Russian prof. V.K. Polyansky, 2010). Laureate of the All-Russian Conducting Competition (Moscow, 2008).

From 2008 to 2011 - Artistic director and conductor of the State Choir music college them. Gnesins, teacher specializing in conducting. In 2008 he founded the ensemble Questa Musica, with which he carried out a number of major projects in Russia and abroad.

Since 2011 - teacher at Moscow State Conservatory named after. P.I. Tchaikovsky. Since 2011 - conductor of the State Academic Symphony Chapel of Russia (artistic director Valery Polyansky).

In September 2012, at the Bolshoi Theater under the direction of Philip Chizhevsky, the premiere of Sergei Nevsky's opera "Francis" took place, and in October 2012 - the premiere performance of Michael Nyman's opera "Prologue to Purcell's Dido and Aeneas" with the State Concert Hall of Russia orchestra in Perm. In 2013, with the ensemble Questa Musica, he staged “The Story of a Soldier” by I. Stravinsky (choreography by Oleg Glushkov). Since 2014 he has been a conductor Bolshoi Theater. In 2014, he staged Mozart’s opera “Così fan tutte” at the Buryat State academic theater opera and ballet (produced by Hans-Joachim Frei). He is the musical director of the first Baroque Festival at the Bolshoi Theater (season 2014/2015).

In June 2015, together with director Boris Yukhananov, he staged the opera series “The Drillers” at the Stanislavsky Electrotheater, which includes world premieres of operas by leading Russian composers: Dmitry Kurlyandsky, Boris Filanovsky, Alexey Syumak, Sergei Nevsky, Alexey Sysoev and Vladimir Rannev.

Since 2016, Philip Chizhevsky has been collaborating with Tokio New Sity Orchestra (Japan, Tokyo). In February 2016, with Questa Musica, he took part in the Baroque Music Festival in Linz (Austria). Together with violinist Roman Mints, he recorded the music of Leonid Desyatnikov (“Sketches for Sunset” and “Russian Seasons”). Is the artistic director of II International Festival Orthodox singing “The Enlightener” (Fr. Valaam). As part of the V festival of contemporary music “Another Space”, together with V. Yurovsky and F. Ibragimov, he performed the Russian premiere of Stockhausen’s work “Groups” for three orchestras and three conductors. Twice nominated for a theater award Golden mask" behind better job conductor (2013 opera by S. Nevsky “Francis”, Bolshoi Theater and 2016 opera series “Drillers”, Stanislavsky Electrotheatre)

Member of the jury of the Golden Mask theater award 2017.

Collaborates with leading Russian and foreign orchestras, including: Tokio New City Orchestra, Brno Philharmonic Orchestra (chief conductor - Alexander Markovits), Brandenburgische Staatsorchester (artistic director Howard Griffiths), Lithuanian Chamber Orchestra, Theater Orchestra New Opera"(chief conductor Jan Latham-Koenig), National Philharmonic Orchestra of Russia (artistic director Vladimir Spivakov), New Russia(artistic director: Yuri Bashmet), Russian Philharmonic (artistic director: Dmitry Yurovsky), State Symphony Orchestra named after. E. F. Svetlanova (art director Vladimir Yurovsky), Musica Viva(art director: Alexander Rudin).

Philip Chizhevsky born in 1984.

Born in 1984 in Moscow. Graduated from Moscow State Conservatory. P.I. Tchaikovsky in the following specialties: choral conducting (class of Prof. S.S. Kalinin, 2008) and opera and symphony conducting (class of People's Artist of Russia Prof. V.K. Polyansky, 2010). Laureate of the All-Russian Conducting Competition (Moscow, 2008).

From 2008 to 2011 - Artistic director and conductor of the choir of the State Music College named after. Gnesins, teacher specializing in conducting.

In 2008 he founded the ensemble Questa Musica, with which he carried out a number of

major projects in Russia and abroad.

Since 2011 - teacher at Moscow State Conservatory named after. P.I. Tchaikovsky.

In 2011, he became conductor of the State Academic Symphony Chapel of Russia. Over the years of work, the musician assisted Gennady Rozhdestvensky in preparing the band's subscription concerts. With the Chapel Orchestra, Chizhevsky took part in the First All-Russian music competition and was awarded the gratitude of the Minister of Culture Russian Federation. In 2012, he conducted the premiere of Michael Nyman's opera “Prologue to Purcell's Dido and Aeneas” in Perm.

September evenings
Torzhok 2014

In September 2012, at the Bolshoi Theater under the direction of Philip Chizhevsky, the premiere of Sergei Nevsky’s opera “Francis” took place, and in October 2012 - the premiere performance of Michael Nyman’s opera “Prologue to Purcell’s Dido and Aeneas” with the State Concert Hall of Russia orchestra in Perm. In 2013, with the ensemble Questa Musica, he staged “The Story of a Soldier” by I. Stravinsky (choreography by Oleg Glushkov). Since 2014 he has been conductor of the Bolshoi Theater. In 2014, he staged Mozart’s opera “Così fan tutte” at the Buryat State Academic Opera and Ballet Theater (produced by Hans-Joachim Frei). He is the musical director of the first Baroque Festival at the Bolshoi Theater (season 2014/2015).

In June 2015, together with director Boris Yukhananov, he staged the opera series “The Drillers” at the Stanislavsky Electrotheater, which includes world premieres of operas by leading Russian composers: Dmitry Kurlyandsky, Boris Filanovsky, Alexey Syumak, Sergei Nevsky, Alexey Sysoev and Vladimir Rannev.

Since 2016, Philip Chizhevsky has been collaborating with Tokio New Sity Orchestra (Japan, Tokyo).

In February 2016, with Questa Musica, he took part in the Baroque Music Festival in Linz (Austria). Together with violinist Roman Mints, he recorded the music of Leonid Desyatnikov (“Sketches for Sunset” and “Russian Seasons”). He is the artistic director of the II International Festival of Orthodox singing “Enlightener” (Fr. Valaam). As part of the V festival of contemporary music “Another Space”, together with V. Yurovsky and F. Ibragimov, he performed the Russian premiere of Stockhausen’s work “Groups” for three orchestras and three conductors.

Twice nominated for the Golden Mask theater award for the best work of a conductor (2013 S. Nevsky’s opera “Francis”, Bolshoi Theater and 2016 opera series “Sverliytsy”, Stanislavsky Electrotheatre)

Member of the jury of the Golden Mask theater award 2017.

MMDM 10/20/2015
Anniversary concert of A. Zhurbin

Collaborates with leading Russian and foreign orchestras, including: Tokio New City Orchestra, Brno Philharmonic Orchestra (chief conductor - Alexander Markovits), Brandenburgische Staatsorchester (artistic director Howard Griffiths), Lithuanian Chamber Orchestra, New Opera Theater Orchestra ( chief conductor Jan Latham-Konig), National Philharmonic Orchestra of Russia (artistic director Vladimir Spivakov), New Russia (artistic director Yuri Bashmet), Russian Philharmonic (artistic director Dmitry Yurovsky), State Symphony Orchestra. E. F. Svetlanova (art director: Vladimir Yurovsky), Musica Viva (art director: Alexander Rudin).

Born in 1984 in Moscow. He graduated from the Moscow Conservatory with two specialties: choral conducting (class of Stanislav Kalinin) and opera and symphony conducting (class of Valery Polyansky). In 2008 he became a laureate All-Russian competition conductors in Moscow, and then founded the ensemble Questa Musica, with which he works in Russia and abroad. In 2013, with this group he presented a production of Stravinsky’s “Tale of a Soldier” in Theater Center on Strastnoy (choreography by Oleg Glushkov), and in 2016 took part in the Baroque Music Festival in Linz (Austria). He directed the choir of the Gnessin State Music College, where he also taught conducting.

In 2011 he became conductor of the State Academic Symphony Chapel of Russia ( artistic director– Valery Polyansky). He assisted Gennady Rozhdestvensky in the preparation of the band's subscription concerts, and participated with the Capella Orchestra in the First All-Russian Music Competition, for which he was thanked by the Minister of Culture of the Russian Federation. Conducted the premiere of Michael Nyman's opera "Prologue to Purcell's Dido and Aeneas" in Perm. In 2012, he directed the premiere performance of Sergei Nevsky's opera Francis at the Bolshoi Theater of Russia. For this work he was nominated for a National theater award"Golden Mask". In 2014 - full-time conductor of the Bolshoi Theater, since 2015 - guest conductor. Musical director I Baroque Festival of the Bolshoi Theater. In 2014, he staged Mozart’s opera “This is what all women do” at the Buryat State Academic Opera and Ballet Theater (produced by Hans-Joachim Frei). In June 2015, together with director Boris Yukhananov, he staged the opera series “The Drillers” at the Stanislavsky Electrotheater, for which he was again nominated for the “Golden Mask”.

As part of the V festival “Another Space”, together with Vladimir Yurovsky and Fuad Ibragimov, he performed the Russian premiere of Stockhausen’s “Groups” (2016). Member of the jury of the Golden Mask Award (2017). Musical director of the production of the oratorio “The Triumph of Time and Insensibility” by Handel in Musical theater named after Stanislavsky and Nemirovich-Danchenko (2018). Collaborates with Russian and foreign orchestras, including the State Orchestra of Russia named after E. F. Svetlanov, the National Philharmonic Orchestra of Russia, "New Russia", "Russian Philharmonic", the orchestra of the Moscow Theater "New Opera", Moscow chamber orchestra Musica Viva, Philharmonic Orchestra Brno, Brandenburg State Symphony Orchestra, Lithuanian Chamber Orchestra and New Tokyo City Orchestra. Together with violinist Roman Mints, he recorded works by Leonid Desyatnikov “Sketches for Sunset” and “Russian Seasons”. Since 2011 he has been teaching at the Moscow Conservatory.