The symphony by the name of "Siberia"

My symphony No. 6, opus 75, was written in 2016 and has a subtitle "Siberia'. The music pays a tribute of respect to the land of Siberia and its inhabitants. The first idea of the composition for organ and orchestra was the acquaintance to the famous organ-player Maria Blazhevich. Why? On the one hand, because the symphony had to be performed in the philharmonic hall of the city of Tomsk, and by another - I have been deeply connected with Russia and Russians, and I wanted to devote to people from Siberia something special. Then I was captured by Maria's idea to use such musical instruments as button accordion, domra and balalaika. The orchestra continued to grow: the concert royal was added, then I decided to use a big symphonic orchestra (without contrabass because at that time there was no contrabass player available) - the orchestra was very big and unusual. All musical instruments, as I am convinced, have had their own, independent sounds, and then the orchestral part got many functions, in addition to the maintenance function. It is like in the nature - we see a big picture and even the smallest details make the sense, perform its functions. Though the organ is one of the biggest and richest musical instruments, it doesn't always solo, as a concert royal in a piano concert. In this symphony there are many different combinations of timbres and musical instruments, which precisely correspond to an image of Siberia that is music itself. I tried to "draw" the nature of Siberia musically though I understood that 45-minute music couldn't fully represent such huge and beautiful landscape. But it was not only about ¹ Послушать симфонию можно по адресу: https://yandex.ru/search/?text=%D0% B0%D0%BB%D0%B5%D0%BA%D 1%81 %D0%B0%D0%BD%D0%B4%D 1%80 %20%D0%BC%D0%BE%D0%B7%D0%B5%D0%BB%D0%B5%D1%80%20%D 1%81 %D0%B8%D0%BC%D 1%84%D0%BE%D0%BD%D0%B8%D 1%8F%206 &lr=67&clid=2270456&win=244#/videowiz?filmId=12439135195186096995 -Примеч. ред. the landscape of Siberia - in the second part I musically represented the subject and pictures of the conquest of Siberia by Yermak. The first part represents introduction. This music seems to me similar to the big wide woods with rivers and lakes. In the second part, Siberia is "defeated", which comes to an end very much majestically, practically with the anthem. I used a big number of various timbres and rates. The third part is the fugue. As the mountains of Siberia, the music literally "piles up" this form. It begins silently, with monophonic motive (subject), then more and more musical instruments are added, and the theme sounds louder and louder. So appears the "musical mountain" - it is about an internal "scale" and feeling of the person while he is in Siberia. The fourth part is occupied by a landscape of northern Siberia. Music seems cold here as though you get to a winter landscape - in winter forests, snow-covered fields, frozen lakes and rivers. At some point I quote from one play for chorus which sings "God, pardon me". In the fourth part of the symphony before my eyes there was not only a winter landscape, but in the center of it - there was a church with warm candles, praying monks and icons. Here I not simply draw an impressionist picture, it goes much further, it can be cold and rough, but in the hearts of people - it is warm. The mind is concentrated on the most important things of our life. I've met many people in Russia - they are warm, understanding, deeply religious. It can be 25 degrees Celsius outside, but the soul doesn't freeze. The fifth fragment of my symphony is an optimistic, cheerful and vigorous music. It is a final pleasure of life, celebration of spirit which shines and doesn't know a cold weather. I am very grateful that last year in the philharmonic hall of the city of Tomsk took place the premiere of the second and third parts of my symphony, which I devoted to Maria Blazhevich. I thank all musicians of orchestra and its conductor Denis Nemirovich-Danchenko who did such a huge work.

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