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They continue living amongst all of us nowadays — these shades of the passed ages’ composers, whose music we adore — they revive in this adoration. They never cease creating above our minds, through our spirits and simultaneously with our souls. The same blissful emotion found abode in me, when giving birth to my cello sonata I felt predecessors to have been present in my creative process.
The German cellist Birgit Hellmers, disciple of Boris Pergamenshchikov, wanted her concert programme to be compiled of different authors, forming meanwhile something inseparable by their meaning. The concert was opened by the Three Pieces of Robert Schumann and concluded by Dmitri Shostakovich’s Cello Sonata. That modulating arch between the styles was not limited only this way.
As for my Cello Sonata, it was conceived according to the strongest aspiration of the heart and mind amalgamated in one whole, but not only for to gain Musorgsky’s “new banks” — no, that was the existing music that did not fear me.
This composition is on roll, enjoying its popularity. Such musicians as B. Hellmers and A. Nikolayev, N. Boykova and O. Averyanov, L. Shukayev and S. Zakaryan, S. Slovachevsky and E. Gaudasinskaya, M. Yatsunenko and L. Azarova managed to interpret it. The Sonata was performed in Petersburg, Hamburg, Bremen, Paris, Hanty-Mansiysk, it was recorded at the Petersburg radio and Keln TV.
It happened after the concert of the Petersburg Music Spring — 2004, when the famous cellist S. Slovachevsky once said such words in his interview to the producer V. Kovalenko: “ I am delighted to understand there are the composers in the 21st century capable to invent such genuine canvases. The Sonata we performed is both large-scaled and philosophical, making listeners and interpreters ponder over it…”