In the USSR no one knew what a musical, but the songs from the musical Comedy “Cheerful children” “Circus” “Volga-Volga” and “Spring” sang the whole country, and operetta scenes with the full house was “the Son of a clown,” “the way to happiness” and “Grooms”.
Become people’s “Song of the Motherland” could become the anthem of the Soviet Union. Maestro lived a short life (he died at the age of 55 years), but left a huge artistic heritage: 14 operettas, 3 ballets, 2 cantatas, 80 choruses, more than 100 songs and romances, music for 88 dramatic plays and 42 films, 43 compositions for stage and 12 for jazz orchestra, 17 melodeclamations, 47 52 piano and symphonic works. The most recognizable and unexpected melodies of Isaac Dunaevsky will be performed from 25 to 31 July, on the official pages in social networks and on Youtube channel of the Moscow regional Philharmonic.
postpandemic Why in our time the music of Isaac Dunaevsky sounds as modern as more than half a century ago? What is missing in modern music? And is there a future for film composers? To these and other questions to the correspondent “RG” said the son of the Maestro, the artistic Director of Moscow regional Philharmonic Maksim Dunayevsky.
Maksim Isaakovich what you hear and see the audience?
Maxim Dunaevsky: of Course, music by Isaac Dunaevsky. A festival in memory of my Oct we hold in very difficult conditions. Unfortunately, due to new regulations of the Seating arrangement of the musicians, failed to attract a full Symphony orchestra, but Isaac Dunaevsky wrote it for him. So I decided to sing the famous tunes of his father’s original compositions and small ensembles. You’ll hear the fantasies of Isaac Dunaevsky, his melodies will be performed on the psaltery, balalaika, classical and jazz idiom.
to List those who will serve you for a long time – this is an old friend and talented actor Dmitry Kharatyan, a well-known jazz musicians, honoured artists of Russia Andrey and Mikhail Ivanov, a young Opera singer Alina Yarovaya, a soloist of the orchestra “the gusli players of Russia” Olga Alekseeva, conductor of ensemble of Russian music and dance “Sadko”, a balalaika virtuoso Denis Zabavsky. Should be a nice festival which I hope will please the audience. It is designed to be watched and listened in phones and various gadgets.
That is the months of isolation were not in vain. Musicians don’t frighten online formats?
Maxim Dunaevsky: Not scary. We have mastered shooting features and sound to our concerts always sounded on the level. Although we at the Philharmonic online the speech was to quarantine. Just now the audience and the actors give this format a larger value. And I disagree with those who say that online is a necessary measure, which never will replace live performances. Yes, live concerts does not replace, for in art the most important is direct, without any intermediaries, communicating with the public actors. Exchange of energy is what’s important. But the online format can be used as one of the tools of PR and promotion of art. People are accustomed to online broadcasts, readily them looking. Why not use it? But only as a nice addition to live performances, and not as a substitute.
Your father had a brilliant melodist talent and was able somehow to combine light music with the symphonic genre. Dmitri Shostakovich called it the Overture to the film “Children of captain Grant” an outstanding phenomenon of symphonic music. What’s the link between the two composers?
Maxim Dunaevsky: They are both followers of Russian symphonic music, Russian art. Besides, they were friends, although that is rarely remembered. I remember as a child our garden was near the House of composers in Ruza. We talked a lot, often went to each other’s homes. And Shostakovich, Isaak Dunayevsky was very appreciated the skill of each other. Moreover, Dmitry Dmitrievich thought my dad was a composer of international level. Unfortunately, the world did not know him as well as Shostakovich, I think, to blame our “iron curtain”.
Isaak Dunayevsky still recognized as a classic of film music. And you continued the family business – it’s no joke to write melodies for more than 70 films. Popular today the profession of a film music composer?
Maxim Dunaevsky: Very popular, but the level of professionalism is minimized. So today neither I nor Alexei Rybnikov, nor Alexander Zhurbin, nor many other of our mighty and I can even say the last “handful” is not really needed. Creativity need not, demand so-called soundtrack, and this music can write any. You do not even have to be a musician. And it is unfortunately a global trend. Only in Hollywood movie music still plays an important role. And less expensive film industries, European and our including the role of the melody is kept to a minimum. This, in my opinion, greatly impoverishes movie, but rather the art of cinema. Because the blockbuster I don’t think art is popular culture or, as he said Sergei Eisenstein, an attraction. Fortunately, this great movie has been preserved, and it needs good music. But good examples are becoming fewer.
You are invited to compose music for film?
Maxim Dunaevsky: Sometimes name, but the scenarios are so uninteresting and dull that I refuse such offers. I’m not interested.
Then can save the theatre and musicals?
Maxim Dunaevsky: In the theater it’s different. Especially in the music��om the theatre is actively developing and, fortunately, a very popular good music and true authors. I am now working on two musicals, which was a little late because of the pandemic, but we had time to finish. For the Moscow operetta theatre – the musical Comedy “the Service of her Imperial Majesty” and for the Theatre of the Russian army – a very large and dramatic musical based on a historical theme “Saint Anne”.
as we speak, I have a frivolous question and not confuse the two composers today Dunaevsky?
Maxim Dunaevsky: you Know, sometimes that is confusing (laughs – approx. ed.). Time blurs the line, especially for young people born in the 21st century that Isaac Dunaevsky Maxim Dunaevsky – it’s all the same.
What you managed to teach your father?
Maxim Dunaevsky: unfortunately, he was never my mentor. He never had a chance. But he liked that I was in very early childhood has displayed a penchant for composing. It is strongly demonstrated to friends and joked a lot about it. Apparently, he thought that was very funny.
My real mentors have become great composers – Andrey Eshpai, Dmitri Kabalevsky, Tikhon Khrennikov, Alfred Schnittke. Believe his great luck, he could directly communicate with them, to learn, to absorb the best. I think after this, even mediocre people could not begin to write music.
today, listen to the music is very gifted and talented people, young and not so, and was horrified to find that they lack real education and socializing with great people. They are some small, and work small.
What, in your opinion, not enough of this music?
Maxim Dunaevsky: the Music of brightness, sunshine. Of course there are exceptions, the music is very tragic inclination, like that of Dmitri Shostakovich. But in principle, all of the best music of the world – always beautiful, bright and Sunny in its content. It can be sad, dramatic, even tragic, but it is always a lot of light.
As the Moscow regional Philharmonic society has endured these many months of enforced isolation. When planning to re-open to the public and to play a live concert?
Maxim Dunaevsky: First there was a little confusion, but then we gathered zorganizowanie and continued to work. Give online concerts, which enjoyed great popularity among the public. And in August we plan to open and give the first concerts in the open air. In September even pull off a big festival. Usually we held it at the end of June-beginning of July, but this year because of the pandemic, we have slightly changed the format of our traditional FESTIVA��I “Summer. Music. The Museum” and moved it to September. I really hope that by the time all will remove all restrictions and then we’ll run it in all its glory.