Nekrasov conductor biography

For 38 years, he was the chief conductor and artistic director of the academic orchestra of Russian folk instruments of radio and television, now the orchestra bears his name. Charming, beautiful, multifacetedly talented, brilliantly educated. In their hospitable house in Tikhvinsky Lane in Moscow, where music constantly sounded, where the atmosphere of creativity and genuine service reigned, singers and musicians easily came, whose names make up the pride of Russian musical culture - Sergey Lemyshev, Lidia Ruslanova, Mark Reisen, Vera Davydova, Ivan Patrzhinsky.

Nikolai Nikolaevich often came to his father on the radio, and since he had already confidently owned a game on Domra and Balalaik, participated in studio records, studied the art of playing a microphone. In the year, Nikolai Nikolaevich graduated from the music school with honors, brilliantly properitated by Vasily Kalinnikov in the column hall of the House of Unions, and it would seem that it was a direct road to the Gnesinsky Institute, to new musical victories, but ...

the country needed pilots. And he, as a Komsomol of the course, was sent to the flight school of the city of Uman, where he became one of the best cadets of the school. There was a successful flight career ahead, but he seriously caught a cold and got into the hospital. The head doctor, with whom Nikolai Nikolaevich immediately made friends on the basis of love for music and chess, frankly said that Nekrasov could not fly, and sitting at his active character - too.

So Nikolai Nikolaevich again ended up in Moscow, easily, despite a significant break in the classroom, entered the Gnesin Institute, and already in the year became a laureate of 1 prize at the competition of young performers, which took place as part of the international festival of youth and students, amazing everyone with a brilliant performance of the Vienna Caprice on the Balalake.

In the year, the musician was invited to conduct the Pyatnitsky choir orchestra, and in the same year, along with the choir that participated in the Russian festival musical program, organized by the legendary impresario Paul Yurok, he ended up in New York. As Nikolai Nikolaevich recalled, all evenings were free, as he participated only in rehearsals and did not go on stage. He walked around the city, gained new impressions, and then it suddenly turned out that the second conductor could not fly, who was supposed to conduct with Gennady Nikolayevich Rozhdestvensky a grand representation in two departments with a prologue and an epilogue in which all the participants of the festival took part.

What to do? And then they remembered that there is a conductor - Nikolai Nekrasov! As Nikolai Nikolaevich said, he was handed a huge stack of absolutely unfamiliar symphonic scores, they said - “The night is ahead, should have time” and sent to study the material. It took all the courage and the ability to concentrate in order to force yourself to go to the orchestra. He did not remember how the rehearsal began, but everything went well, thanks to the professionalism of both the conductor himself and the musicians of the local symphony orchestra.

Nikolai Nikolaevich was very proud that his speech was praised by Boris Alexandrovich Pokrovsky, who was the director of this performance. After that incident, he was invited by the conductor of the orchestra to his ensemble Igor Alexandrovich Moiseev, with whom he was around 13 years old, and he learned a lot from him. In the year, and what is very important-at the invitation of the musicians, led by conductor-Vladimir Ivanovich Fedoseyev-Nikolai Nikolaevich Nekrasov came to the famous orchestra of Russian folk instruments then-the All-Union Radio and Central Television, returned to the walls of the walls, where his father once worked.

It was already then a standard orchestra, the sound of which became a symbol of Radio Moscow, an orchestra with its unique style, repertoire, and manner of performance. Nicholas Nikolaevich needed all his will, talent, erudition, skill, professionalism, wisdom and patience to gain the trust of musicians, to make them like -minded people. The era of Nekrasov began with the triumphal tour of the orchestra in Spain, the orchestra drove almost all the cities of the country, performed in Portugal, and then, after some time, at the request of the audience, he returned to Spain again.

It’s hard to believe now, but to buy a ticket for an orchestra concert, people stood at night. And such a picture could be observed in England, France, America. Here you can recall the amazing tour of the orchestra in France in the year. For a month, the musicians of the orchestra lived in Paris, and each day performed at the Paris National Opera Theater, giving 2 concerts a day, at each concert - a full house, many came to the concert to hear “burning - the incinerating orchestra of Nekrasov”, which are subject to the most delicate Pianissimo and the most powerful fortissimo.

And one particularly emotional critic wrote that when he heard the orchestra of folk instruments of Radio Moscow sobbed with delight, like a child.Everyone really liked the musical painting “Evening Ring”, in which a real miracle of the birth of sound took place from the air, and many went several times to understand whether the musicians of the orchestra sing in one of the episodes, or is it some incomprehensible mysterious special effect?

For a long time, the main concert site of the orchestra was the column hall of the House of Unions, our outstanding soloists performed there with the orchestra: Irina Arkhipova, Elena Obraztsova, Tamara Sinyavskaya. Nikolai Nikolayevich Nekrasov had one rare quality - he knew how to gather talented people around him. The house on Pyatnitskaya, 68 became a kind of creative center, where singers, instrumentalists composers came with their new ideas, proposals, showed newly created works.

Nikolai Nikolaevich supported this bold idea, and it was decided that before performing the cycle in concerts, it was necessary to show it to the author - George Sviridov. Everyone was very worried, as it was known how the composer relate to his works and how carefully chooses the performers of his works.

To the joy of everyone, permission was obtained, and the cycle was successfully performed in concerts. Nikolai Nikolaevich Nekrasov believed that the classic - Russian and foreign - must be in the orchestra repertoire, the only condition - the original and the arrangement should be equivalent in meaning and expressiveness. In the orchestra, real masterpieces of classical music transformations were created, among them-“Magic Lake” Lyadov, “Praise of the Desert” by Rimsky-Korsakov, “Hut on Chicken legs” and “Bogatyr gate” from the cycle “Pictures from the exhibition” of Mussorgsky, “Serenade” Schubert, the music of Peter Ilyich Tchaikovsky to the spring fairy tale of Ostrovsky "Snow Maiden", and many, many others.

By the way, it was in the musical house on Pyatnitskaya that the idea of ​​the program “Irina Arkhipova and Nikolai Nekrasov represented ...”, which went on the stage of Tchaikovsky’s concert hall for about 10 years and was very popular with the audience. In this program, young singers, laureates of international competitions performed romances and Russian songs with the orchestra, received the tradition of performing this music as if “first-hand”, learned to truly love and understand this music, appreciate its beauty.

As for the orchestra, Nikolai Nikolaevich always supported young musicians-performers on Domra, Balalaik, Bayan in their desire to discover something new, did not spare time if they came to him for advice, or showed some new work, they were looking for a sound, a manner of execution, in order to deepen the meaning of the work performed, to make it clear for the listener, and taught him to carefully and thoughtfully work on working Each work, as he himself worked.

Nikolai Nikolaevich very vividly responded to everything new. So, in the year the idea arose with a charitable concert to the Holy Aleksievsky deserts, where children who were left without parental care live and are brought up. Nikolai Nikolaevich immediately agreed, the concert took place - and it was a real shock for both listeners and performers, Nikolai Nikolaevich later said that they had not listened to him for a long time so carefully, thoughtfully, and with such admiration.

By the way, the friendship of the orchestra with the pupils of the desert still continues, concerts, with the light hand of Nikolai Nikolayevich have become traditional. Nikolai Nikolaevich Nekrasov believed that the orchestra of Russian folk instruments is a matter of his life, he saw his task in introducing as many listeners as possible to Russian instrumental music, to teach them how to truly listen and hear the Russian orchestra, so he never refused a conversation with correspondents, even after the concert, when there would seem no vote or strength.

And, nevertheless, he, as they say, gathered his will into a fist, and it turned out an interesting interview. Like every outstanding person, he had his own rules, for example, Nikolai Nikolaevich did not give an interview on stage: the scene - for music! Like every creator, he was a little superstitious: before each exit on the stage, he certainly had to knock on a tree.

By the way, in many modern halls with a tree-problems, a circle of plastic, and, for example, in Paris they found a way out-they made a special wooden bar and made a touching inscription in French, now it is stored by the librarian and accompanist of the double-bass group-Igor Borisovich Lokhnev. Nikolai Nikolaevich loved his audience, he was friends with Academician Chazov and his center, with professors and teachers of the Mendeleev University, with pleasure played at the Pushkin Museum on the Presenca and Gallery of the artist Ilya Glazunov, believed that the public, which constantly comes to concerts, is the present domesticity of the orchestra, it combines the past and does not present the present.Nikolai Nikolaevich believed that the more the person is talented, the more he feels in touch with his land on which he was born, and the more carefully he relates to the property - cultural, folk, in this case it is a folk song, which he promotes in his concerts at various concert venues.

Nikolai Nikolaevich was a genuine expert on folk song, he kept a large number of collections of Russian songs at home, he heard many songs from his father. In the performer, he appreciated sincerity, immediacy, expressiveness, considered the song “Goodbye joy, my life” performed by Alibek Donyshev, “here is the three postal one” - performed by Virgilius Noria and the song “Noisy Kamysh” performed by Joseph Kobzon.

At the end of his life, Nikolai Nikolaevich began working on a program from ancient historical Russian folk songs that never sounded on a concert stage, but did not happen, time is inexorably ... Text: Irina Chernyshova, editor of the Academic Orchestra of Russian Folk Instruments named after Nikolai Nekrasova recent events.