Today I would like to present you an interview with a wonderful musician, teacher and composer Viatcheslav Semionov, where he talks about his new composition – Sonata № 3 “Reminiscence of the Future”.
Written in 2013 and published in 2014, Sonata with her intensity of images, ideas, energy of statement purports to be the symbol of a new stage of the composer oeuvre. Viatcheslav Semionov answered my questions about his new work.
After almost 30 years after your First sonata you wrote Sonata №3 “Reminiscence of the Future”. This sonata is perhaps the most extensive work in your oeuvre after the concert “Frescos” as in concept and in implementation. And how did it all start? Tell us, please, how, when and why you felt a need for such an extensive statement? Was it an idea to write exactly sonata, or just a new work, which has grown into a sonata in the process?
Actually everything in my life is unconventionally, I rarely do something specially planned. It is maybe because I never had a systematic work in my life. That is to say, I work constantly and a lot but the system I have is so let say ‘branched’ that it may seem it is non-existent. But nevertheless something fused. As the tree has many branches and my life – it’s a tree, and it has so many branches, some come near, some move away. But in general, for some reason something is coming out in my life.
And I’ll start from afar. Throughout every man life, and especially creative and reflecting man, constantly arise some questions we want to find the answers. Life does not stand still, and although many things in life are repeated, but this repetition occurs at some new stage of development of human history, society, perception. And I remember in 2002, after death of submarine “Kursk” in 2000, I wanted to create a piece that would reflect what I have accumulated in my soul. People sometimes get into any compelling circumstances, extreme situations and they show themselves in very different ways. There are real men, with a capital M, and there are humanoid creatures.
I would like to reflect what concerns a real Man, my comprehension of this…
The music material that became a basis of “Caprice №2 S.O.S.”, should be the first movement of the Third Sonata. But the subject is so sore that I just spared people and decided not to torment with the big tragic composition. I also really worried about all these tragedies, because I pass all through me. When you are writing something significant, 5 minutes will not be enough, and people would have had to listen to quite a large sonata. I decided that caprice is enough, and listeners accepted it. So I tried to star Third sonata already at that time.
Then in 2003 I wrote “Frescos” (concerto for accordion and chamber orchestra). Here I posed the wider issues and tried to find answers through the Christian idea. And it seems I’ve found. Music speaks for itself, it was accepted. Although when I started writing this concert, I was not going to write such a major work. It was needed to write the composition for accordion and chamber orchestra (app. 8 minutes) for the national competition in Surgut. But I started writing, got carried away and conception has grown in the process.
And then after some of CIA “Coupe Mondiale” following Deschamps example (Frederic Deschamps – famous French accordionist and teacher) everybody started to ask regularly: “When we will listen to 3 sonata?». They asked me on the Internet, on Facebook, everywhere. I started to think that maybe time has come. But I was afraid to start. For example Third Sonata by Vl. Zolotarev is a significant and turning-point. After it has appeared many things has changed in accordion repertoire. First time in accordion history such serious questions were posed. Well, here I ventured … to infinity.
Why did you decide that it will be exactly sonata?
Well, sonata, symphony – for me it’s the same thing. Symphony is for orchestra and sonata is for solo instrument. Beethoven treats many of his sonatas like a symphony; I notice immodestly (smiles). Well, we usually are guided to have in mind the great persons. So, if Beethoven called them sonatas, why should we call any significant composition as a symphony? After all, the symphony development can be also in sonata, of course. And due to the fact that I decided to devote to our accordion community perhaps one of my most important works, this composition became a sonata…
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