music scientist, textual critic, teacher
Evgeny Levashov
<Automatically translated, will be edited>
"...I have worked a lot with conductors. Especially a lot with Kolobov. In addition, he worked with Lazarev, and at one time with Kondrashin. And I must say that none of the conductors paid as much attention to the source details of the score as Alexander Vedernikov does. That is, he is also a thinker in this sense of the word.
In addition, he attracts me very much with his ability to build a large shape. For example, back in Puccini's opera Turandot, I noticed that Vedernikov had only two climaxes in the last act. But these are grandiose climaxes, he leads everything to them.
Of course, this does not remove the small climactic twists, but there is no monotonous tedium of many climaxes, it makes it clear what is really important. I saw the same thing in the recent production of Onegin — from a musical point of view.
And now I suddenly understood clearly how it is done. Mussorgsky has 3 bars of pause for bell ringing in one place in the score. And in the clavier, bell ringing is written out in specific harmonies.
Ten years ago, I orchestrated this clavier bell ringing so that if there are no bells, they would sound in the orchestra. But Vedernikov heard with an inner ear that it was the bells that should sound there, with precisely these main tones. From the way he worked, I understood how the dynamic and dramatic concept of the royal wedding scene is built up, like one huge wave. I have not seen anything like this from other conductors.
From the article "Evgeny Levashev: "The story of Boris Godunov is much more complicated than it seems not only to the public, but even to professional musicologists"".
Source.
"...I have worked a lot with conductors. Especially a lot with Kolobov. In addition, he worked with Lazarev, and at one time with Kondrashin. And I must say that none of the conductors paid as much attention to the source details of the score as Alexander Vedernikov does. That is, he is also a thinker in this sense of the word.
In addition, he attracts me very much with his ability to build a large shape. For example, back in Puccini's opera Turandot, I noticed that Vedernikov had only two climaxes in the last act. But these are grandiose climaxes, he leads everything to them.
Of course, this does not remove the small climactic twists, but there is no monotonous tedium of many climaxes, it makes it clear what is really important. I saw the same thing in the recent production of Onegin — from a musical point of view.
And now I suddenly understood clearly how it is done. Mussorgsky has 3 bars of pause for bell ringing in one place in the score. And in the clavier, bell ringing is written out in specific harmonies.
Ten years ago, I orchestrated this clavier bell ringing so that if there are no bells, they would sound in the orchestra. But Vedernikov heard with an inner ear that it was the bells that should sound there, with precisely these main tones. From the way he worked, I understood how the dynamic and dramatic concept of the royal wedding scene is built up, like one huge wave. I have not seen anything like this from other conductors.
From the article "Evgeny Levashev: "The story of Boris Godunov is much more complicated than it seems not only to the public, but even to professional musicologists"".
Source.
