Biography of Eshpai a

The finale unfolds on a large dynamic increase. A swift sound flow leads an action to apotheosis: and I, like the spring of mankind, born in labors and in battle, singing my fatherland, my republic! Revaluation of values ​​and democratic transformations in the country give timid hope that someday every citizen of Russia will be able to say with his sons with pride: "I sing my fatherland." The first performance of the cantata took place on December 16 in the Great Hall of the Conservatory.

The large symphonic orchestra and the great choir of the All -Union Radio and Television was conducted by G. The artistic director of the choir - K. later an excellent interpreter of the cantata was the conductor Maxim Shostakovich. Almost a quarter of a century after the end of the war, Eshpai wrote to Operetta “I have no happier” by the libretto by V. Konstantinov and B. Racera, the days of the courageous resistance of our Motherland fascism were reflected in it.

The abundance of incendiary and lyrical in the mood of music made Operetta popular for many years. She gained not only stage, but also screen life. At the M. Gorky film studio, the musical film "Star of the screen" directed by V. Festive overture "Kremlin chimes" was written by a composer for six harp, four piano, vocalists, twelve violins, eight cello and a large symphonic orchestra.

The first performance took place on the stage of the Kremlin Palace of Congresses on April 21. Orchestra and ensemble of soloists of the State Academic Bolshoi Theater. The conductor of Yu. Among the instrumental soloists - K. Georgian, N. Gutman, T. Grindenko, L. Isakadze, O. Rat, V. Spivakov, V. Debut of the second piano concert A. Eshpai took place on September 18 in the Great Hall of the Conservatory.

Svetlanov, the soloist was A. And then, when he got a taste and beat the concert many times, he admitted that our decision was correct. It is interesting to work with Andrei Yakovlevich, although not easy, because his requirements are very high and fundamental, and for them he, as they say, is ready to fold his head. ” The concert is opened by the impudent, dynamic music, the main party.

Her sharp, pulsating nerve makes tension, a kind of charge of activity, and forces listeners with non -consulting attention to monitor the course of “actions”. This graphically clear, relief music contrasts another image - an epic side part, which, as before, Eshpai connects with the Mari origins. Both topics have through development and determine the intonation-lady coloring of the concert.

In the style of the concert, there are also jazz flavor and Rachmanin cantillinity. Brushing strikes, smuggles of the Pizzaato solo, passages and garlands of piano chords are combined with spectacular timbre combinations of the main topics of the work. The problem of the ratio of the orchestra and soloist finds a new, individual solution in the second piano concert. If in the first youth - the ratio was built on the contrast of the piano and the orchestra, the desire to bring the piano to the forefront, then in the second concert, Ashpai is along the path of their rapprochement and mutual enrichment.

The concert is completed by the main batch, while acquiring the nature of the apotheosis. The second concert for a violin with an orchestra was written by A. He was a stunning success. The Symphony Orchestra of the city of Frankfurt-on-Maine conducted E. The Party of the Violin performed E. Later in Mexico, the violin concert in the interpretation of the academic symphony orchestra of the Moscow Philharmonic, led by D., Soloed E.

Grach, the first performer of almost all the violin opus of Eshpai, with no less success. The musical epigraph of the concert dedicated to the memory of N. Myaskovsky was a kind of small “Lacrimosa” entrance section. On the sad taps of the Ostnate nature in the party of the solo violin, cosmically unsteady, floating sounds of the vibrophone are applied. The main party, as in the first violin concert, is elastic, dynamic, unfolds like a spiral with a great injection and a sudden sharp slowdown, again reminding these rhythmic throws about the Mari-Hungarian origins of the essay.

Subsequently, the solo violin is endowed with a virtuoso-phono role, and the melodic function consistently moves to the Alcoholcels, clarinet, flute. This contrasting polyphonic “ligature” serves as a bridge to the climax set forth by string. Inside the side batch there is a group of topics in the tradition of Mozart, Beethoven, Tchaikovsky: the 1st topic is held by the composer in three versions-at the bass clarinet, then in a solo violin and the first valtor; 2nd-the clarinet sounds against the background of Pizzicato string bass imitating the sound of the bass gitar and in a virtuoso solo violin; 3rd - forms a contrast by the topic of entry as a kind of protest, a rejection of death.

Eshpai serves this topic in a rich orchestral vestment, in the form of a gloomy, intense apotheosis, after which the final stage of the drama of the first part of the concert, also saturated with polyphonic techniques, is perceived as enlightenment and calm.The development emphasizes music infernal. Through the shock episode, the composer comes to the psychological strett, where the voices are overlapping each other, as if choking in their expression.

The author introduces the Russian folk song “Green Pine has green was green” into the reprime of the concert. Its development is like a magical scene of witchcraft with a gradual expansion of the circle of actors. The texture of the episode distinguishes it as an example of antiphone singing, expressed by the orchestra. The code is built on the 1st theme of the side party, its introduction at the end of the work gives flexibility and complete the form of the concert.

The technique in the concert is a kind of foundation on which Eshpai builds a melodically bright, deeply emotional work. Eshpaya “Angara” Libretto by Yu. Grigorovich and V. Sokolov based on A. Arbuzov’s play “Irkutsk History”, the director of the central axis of the dramaturgy of the ballet was the image of the Angara River - either fabulously beautiful, then terrible in its unpredictability.

The history of music knows the magnificent examples of the figurative solution of the topic of the Dnieper Topic in the "Rusalka" by A. Dargomyzhsky, the Rhine in the "Gold of the Rhine" by R. Wagner, the Vltava in the symphonic cycle "My Motherland" B. The Eshpay’s theme has endured through - in many episodes of ballet, its various options sound. The Angara color palette is exclusively saturated, the composer introduced the instruments of the Russian People’s Orchestra Balalaik, Domra, Bayan, tools belonging to Jazz and designated by the author as Jazz Batteria.

The psychologically complex ballet scenes A. Eshpai often decides the technological statement of the heroes: the dramatic monologue of Victor in the II act, for whom the game of love suddenly turned into a sincere and deep feeling; The three monologues of Valentina, especially in the III act, with the subtle gradation of the feelings of the heroine - fear, hope, love, finally, the horror before the builders who has become a raging element, Sergei replaces each other.

Many pages of "Angara" are performed by deep lyricism. An example of poetic revelation is the music of "lullaby." The mighty waters of the beauties "Angars" received a "residence permit" on the Neva Mariinsky Theater and on the Volga of the Samara Opera and Ballet Theater. A. Eshpai turned to this type of theatrical art again five years later. In the year, he creates on the basis of the libretto of I.

Chernyshev Ballet “Circle” “Remember! Complex in the problems of the disaster of the “end of the universe”, the death of civilization, the struggle for life, the new ballet has no analogues either in the past or in the present. The author is in handy that the war brings with him. The war cannot be said in words. Anyone who was not on the battlefield will never know what war is. All the heroes in the ground - the war took the best.

" With his ballet, the “circle” A. Eshpay is trying to warn earthlings against the Apocalypse by means of music, against the act of human hands - a neutron bomb. What the use of the latest weapons can lead to, scenes the ballet. The revival of civilization from non -existence in the ballet manages to carry out the power of the all -consuming love of the heroine, her self -sacrifice.

The anti-vein orientation of the musical and dramatic work was decided by the composer by the synthetic alloy of heterogeneous styles of the classic, jazz, folklore, a banner chanting with an eshpay skill and taste. The premiere of the ballet "Circle" called "Remember! The production of the ballet was carried out by the choreographer I. showing the ballet on tour in Moscow brought him a well -deserved success.

By the nature of the thematic material and according to the methods of its development, the music of the ballet “Circle” is a real symphonic score. Her natural “reincarnation” in the fourth symphony - ballet symphony for a large symphony orchestra, the first execution of which took place on October 15 in the Great Hall of the Conservatory, is connected with this.

The Great Symphony Orchestra of the All -Union Radio and Central Television conducted V. at the second international music festival in Moscow in May, a concert for Goboy and orchestra A. his performers were A.