Gregory the Minister: “Rock and roll-limited music!»
Old-timers of our portal probably do not remember that the hero of my a writer-actor-musician and, at the same time, a music lover who is always looking for something new and loves vinyl. Such characters probably don’t exist — that’s what I thought until I met Gregory the Minister, a real Renaissance man. Grigory is an actor of the “Studio of theatrical art”, the author of the bestseller” Days of Savely”, nominated for prestigious literary awards, and a musician who often performs in clubs with interesting cover programs.
— You studied at GITIS with future pop stars. How did this affect your musical development and education?
“No way! First of all, we were not taught music professionally. Acting is different. Secondly, we had a subject like music history, but no one went to it, because the couple started too early, and everyone woke up safely. About pop stars… I only do music in so far as that. This is my hobby. Mariam sekhon studied with me, for example. Masha is subsequently collected VIA “Tatiana”. She is one of the best singers in Russia in her genre. Masha and I are still friends, I love her very much! We even perform together sometimes. But my passion for music began long before my studies at GITIS — rather, it is genetic and came from my father. He was a real music fan: he played records, photographed album covers, and followed everything that came out in the West.
— And in what genre?— In what is called hard rock, classic rock… My father was also a beatleman, loved the rolling stones, Led Zeppelin and all that. Even funk, but still less. He died quite early, and left a lot of cassettes, records, notebooks with lists of songs and albums… I myself now try to listen to music only on vinyl (at least at home).Of course, my tastes were different from my father’s, I am of a completely different generation: I was born in 1983 and I love post — punk, new wave, different electronics. As for the 80’s, first of all it is the Cocteau Twins and the Cure. I’m a real “kuraman”, actually. My father had almost missed it. He no longer knew the Manchester wave.
— What’s your ‘ 90s?- Grunge, electronica, drum and bass, BritPop, trip hop. I was a teenager, and this Cup did not pass me — I drank it completely (laughs). I don’t want to grumble, but that music was much more diverse than modern music.
— Now everyone complains that there is only stillborn pop, which is stamped in America by a small “mafia” of Swedish producers. Normal listeners understand that there is absolutely nothing to catch in this radio-TV wave, and “move” to jazz and even classical music. You have a very useful experience in this regard.— No, I didn’t “move” completely, rock is my flesh and blood! I don’t renounce it. But any producer will tell you that rock is just a proper, or competent, combination of bass guitar and drums, groove and rhythm. Plus, of course, the charismatic frontman. All. That is, rock and roll-in fact, very limited music.
— You’re a lover of the early classics, the Baroque. Why, and how to “enter” this genre?— I’m not a musicologist…
— That’s why we care about you!”— But I understand that by Baroque they mean about 150 years. And immediately I remember Bach and Vivaldi.The guys who are personally closer to me-of course, this is Albinoni, whose legacy is not limited to the famous “Adagio” (which, moreover, he did not write). And here is his (already on fact his!) The oboe Concerto in C major is one of my favorites.— What about Vivaldi, but not the Seasons?”- Concert “L’amoroso”. Allegro from it is generally the main musical theme of my book “the Day of Savely”.Vivaldi, in fact, has a lot of bright works that many people will like — “Concerto alla rustica” (RV 151), flute Concerto “La Notte”… Works for 15 minutes. They are not as simple as it may seem at first — there is nothing simple in the Baroque at all. They are, I would say, emotionally pure, very joyful, but at the same time not superficial. And imbued with deep love. So the subject of Vivaldi is in my book.But he also has great vocal cycles. For example, I Wake up every morning to “Gloria excelsis deo” (RV 589).Another of the Italians is Giovanni Palestrina. And Claudio Monteverdi. Monteverdi’s Psalms are simply very beautiful!— So what if it’s not Italy?”
– Then England (laughs). There, first of all, of course, is Henry Purcell. Everyone knows that Michael Nyman borrowed the theme from his Opera “King Arthur” for his Requiem “Memorial” [it is about the prelude “What Power Art Thou” from the third act of the Opera, — ed. ed.]. But there was no ending! And Purcell for me is a composer partly politicized: “King Arthur” is about the confrontation between Whigs and tories at the turn of the century! His Opera is, in a sense, a political order. But the music is beautiful, and the context of the era is a third — rate matter. Who is interested in this now?— But it’s worth knowing…
— Yes. Handel still, of course. Although a full-blooded German, he has lived and worked in London for a long time. In General, it turns out that the English Baroque is represented by a German — this is an amazing fact.— And the ‘normal’ Germans?” Not expats?
– Well, Bang. It is clear that the vertex. I love him very much, sincerely. It is difficult for me to talk about exemplary performances, I am not an expert, I repeat, but I personally love Glenn Gould very much. Prelude number 10 in e minor. It’s a famous thing, but I like the way Gould played it. It’s important to me. By the way, when I chose the theme for” Savely”, this prelude was in the “casting”, so forgive me Bach and Vivaldi… I couldn’t decide for a long time, but I chose Vivaldi: although it may be inferior to Bach in depth, but I just wanted some Italian vitality.In General, Bach is very different: he has suites for cello, just suites — I love everything. Also “English suites”, “the Passion for John” – an unearthly story, one of the greatest works. But you can’t just listen to this music — you have to prepare.— Many Baroque artists say that this music should be listened to live, but something is lost in the recording.
— It’s undeniable! Immediate perception is much better and deeper. However, I rarely go to concerts, because I play in the theater in the evenings.I prefer vinyl as a medium. I have a Hi-Fi turntable of a fairly low level-to be honest, the initial one. But Hi-Fi is, as you know, a trap: you buy one thing and then endlessly bribe everything else.
– Favorite vinyl record?”It’s simple: Glenn Gould, the 1955 Goldberg variations and the 1981 version.
— Do you hear the difference?” What is it?— If we talk about this, then in 1981 Gould became even more concise. He generally played rather sparingly. Gould doesn’t think for you — he lets you think for yourself. And this is aerobatics, I know it from our acting business. The most class — when you at the expense of a minimum of manifestations give the maximum for the audience. Gould’s music is played in pauses. And in the theater, this is the most difficult thing — to put a pause. Stanislavsky also spoke about this. Shouting, domestic violence, scandals, dialogues-it’s not so difficult. This is why the MKhAT pause is so famous — when nothing happens on the stage and everything happens at the same time.