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Eshpai Andrei Yakovlevich

( People's Artist of USSR, laureate of Lenin and State prizes)

Comments for Eshpai Andrei Yakovlevich
Biography Eshpai Andrei Yakovlevich
photo Eshpai Andrei Yakovlevich
Born May 15, 1925 in the old Volga city of Kozmodemyansk Mari Republic. Wife, Alexandra Mikhailovna, a pianist, for many years was head of the piano department of the publishing house "Composer". Children: Valentin - Researcher of the Institute of Cinema, Andrew (Jr.) - director of the Gorky Film Studio.

The formation of creative personality Andrei Eshpai - an outstanding composer of our brightest representative of Russia's musical culture, the main influence, no doubt, had parents.

Father, Jacob A. Eshpay (1890-1963), composer, musicologist, folklorist, choirmaster and teacher. He was a gifted man, well painted and is the author of soulful watercolor sketches. Jacob Eshpay - creator of the first Mari instrumental works for the symphony, brass band, orchestra of folk instruments, for violin and piano, a large number of solo and choral vocal works. A true example of selfless service to art is the work of J. Eshpai for recording and processing of folk music (over 500 entries). His research, he devoted folk instruments, defended his thesis and was awarded the scientific degree of candidate of art history.

. For services to the Motherland YA Eshpay awarded the Order of the Red Star (1946) and "Honor" (1951), two medals
. In memory of his outstanding musician Mari people found in his native village Kokshamary plaque, awarded him the name of one of the central streets of the capital of the republic, the city of Yoshkar-Ola.

The mother of Andrei Eshpai, Valentine K. (1898-1982), teacher of Russian language and literature, an expert on native Russian folk songs, as well as Mari, Chuvash, Mordvin, who with his youth choir sang in the teachers'. She - the niece of composer AN Togaeva, who lived in the Mariinsky Posad (Chuvashia), in whose house and met the parents Eshpai A..

In 1928 the family moved to Moscow Eshpai. His father studied at the Moscow Conservatory graduate, mother - at the Pedagogical Institute. Began musical studies and at their eldest son, Valentine. Three-year Andrew also eager to play the mysterious piano, but his studies prevented a terrible restlessness.

Each summer, the brothers spent on the Volga, the Mariinsky Posad, family Togaevyh. The owner of the house where "even the air is saturated with music" (as said already grown Andrej), Anatoliy N. Togan, composer, author of many intimate songs, the creator of several choirs, a teacher of singing, playing the harp and violin. He was friendly with the famous Mitrophan Pyatnitsky, who gave him a collection of his own songs with the words "native soul - Native Voices".

By Togaevym "to spark" flocked all who cherish art - from folk singer to the venerable artist. Among them were Marian Koval, Victor White, Ferenc Szabo. And the instigators evenings advocated wife Togaeva - Alexandra, who even after retirement continued to play on the amateur stage. In each his arrival here indispensable parties and jam sessions became the parents Eshpai A.. Deftly cut off a branch in the hands of James Eshpai turned into a whistle, horn or flute, and violin under his bow was able to sing the universal pain.

The amazing life and manifold activities father, a mesmerizing expanse of the Volga, kind and open hearts of people around could not fail to have a beneficial impact on the sensitive souls of teenagers. Is it because Andrew Eshpay so often likes to return to their country of detstvaN

A rare generosity of heart felt A. Eshpai and his first teacher in music school Gnesin - in Valeria Sheet. Their acquaintance took place, when Andrew was only 4 years. But this child, this little man, she was able to discern the makings of this, a great musician. Valeria awakened in pet fantasy thoughts and sounds, the interest in music lessons, helped him find a ready response to nature, art, and Terre des Hommes. Cognition V. sheets in various fields of artistic activity were inexhaustible. Its impact - a teacher-thinker endowed with a sense of higher justice - greatly contributed to the formation Eshpai as a creative personality.

Much attention is paid Valeria development of technical skills. "I had students who loved to play scales, without taking your hands off the keyboard, and crept along the semitones, playing scales, one by one: C major, C sharp major, D major, etc.. Previously they studied the course, each of them with great care, and only one student did not teach scales and played them without any preparation. He told me: "Why should I teach scales, when I feel them under your fingers with each key in the third, sixths, Decima". He had an amazing ear. It was Andrew Eshpay ". (From the book by E. Makurenkovoy on pedagogy V. Sheet ". - M., 1971, p.73).

From the memoirs of A. Eshpai Sheet: "Valeria - the embodiment of mind, generosity, subtle humor, aristocratic and simple. We - all of its students - were in love with her. "

Andrew's school years were surrounded by care and attention of many mentors. Among them the famous sisters Gnesinyh - Elena, Olga and Elizabeth Fabianovny. In the fateful 1941 music school Gnesin piano B. Leaf completed two bright student - Andrew Eshpay and Stanislav Neuhaus ...

Studying in the 10 th year of secondary school Eshpay continued at the Mariinsky Posad, in the evacuation. Andrew was eager to volunteer for the front, but his time had not yet come.

In January 1943 he entered the Chkalovskoye (Orenburg) machine-gun school, then graduated from the course of military translators in VIIYAKA, and with the end of 1944 Andrew Eshpay was in the army at the 1 st Belorussian Front. As part of 608 Infantry Regiment 146 Rifle Red Banner, . Order of Suvorov Ostrovskaya Division 7-Infantry Corps, 3rd Shock Army lieutenant platoon reconnaissance AY Eshpay was on the front and took part in the battles for the liberation of Warsaw, . took Pomeranian shaft (west of Bydgoszcz), . participated in the environment and the pursuit of the enemy in the area Polzin and Kolberg on the Baltic Sea, . on the Oder River and the coast of the Pomeranian Bay,
. Difficult were the fights as the approaches to the enemy's lair, and in Berlin itself. District Maobit, theater Komishe operas, the Reichstag - the place where the battle waged against the choicest parts of the SS platoon Eshpai. The walls of the Reichstag, killing two best friends Andrew, scouts Volodya Nikitinskii from Arkhangelsk and Gena Novikov from Tashkent. After the war, even before September 1946 Eshpay served in the management of information (Berlin, Karlshorst)

. Fighting the way a brave intelligence officer, Lieutenant Andrew Eshpai marked state awards: the Order of the Red Star and medals "For the liberation of Warsaw", "For the capture of Berlin", "For Victory over Germany, the Polish Medal for Warsaw, 1939-1945."
.

It is on the front of A. Eshpai realized his calling, he felt invincible attraction to creativity. After demobilization he became a student of music school at the Moscow Conservatory, where he studied at the two faculties: piano (class of R. Chernoff) and composer (class of E. Messner). Strong influence in shaping the composer's handwriting A. Eshpai study had a style of folk songs. This area has been especially close to him. He proceeds to the processing of songs, giving them a form of vocal and instrumental miniatures. YA Eshpay helped his son to select a distinctive national samples of the most interesting of them recorded in folklore expeditions.

In 1948, Andrew entered the Moscow Conservatory and again at two faculties: composer (class of N. Rakov, N. Myaskovsky, E. Golubeva) and piano (class of V. Sofronitsky). As a result, composing and performing achievements were recognized Eshpai excellent. Opens the way to the school of higher skills - graduate school, where he was admitted to the class Khachaturian (1953-1956).

Opus A. Eshpai student years show how quickly grew and developed skills of the young composer. He writes Sonatina for piano, pieces for violin, clarinet, flute, "Lullaby" and "Dance" for two pianos (1952), Pasacalle for the body (in memory of N. Myaskovsky, 1950). Much later, in 1977, Eshpay dedicated to the memory of his teacher, another work - the Second Violin Concerto.

For major works of that time include "Symphonic Dances" on the topic Mari (1951). Two of them are truly popular, third - the original, but close to the warehouse national melody. This mobile theme given to the author of a small clarinet (on the background of the dynamic motion of string). She got into the book D.Rogal-Levitsky Modern Orchestra (Moscow, 1956) as a successful example of using this type of clarinet.

The nature of each of the selected order relief: it is an archaic dance, burlesque melody, lyrical song. Development of order in the first part of the work is close Glinka variations, in the second - an elegant polyphonic. The depth of the ingenuity with which Eshpay builds interaction to lead to their transformation and lyrical dazzle finale. This work was included in the repertoire of many orchestras. Among the interpreters of the conductor was a remarkable musician, as S. Lynching.

The common musical roots of Mari and Hungarian peoples explains the interest to the melodies of the composer Hungary. In the "Hungarian Melodies" for violin and orchestra (1953) in the form of rapsodicheskoy combined six different character tunes, receiving extremely temperamental and consummate embodiment.

Curious history of the "Hungarian Melodies". Selecting a few folk songs, A. Eshpay decides based on them to write a song cycle and include it in the program state exam at the Conservatory. The perpetrator was found - Hungary A. Varga. He then trained at the Moscow Conservatory.

But before the exam remained two or three days. The apartment classmate Andrew violinist Eduard Grach phone rang: "Edik and save! Varga ill. Your violin will sound as good voice! "Together they played the play, then Eshpai said:" All this is not no song! This is music for violin and orchestra. I append three additional rooms with expanded tutti, and in this form, we will show the whole cycle (from a conversation with the author's essay E. Grach). Thus was born "Hungarian Melodies".

For the first time they were executed on Jan. 24, 1953 in the Concert Hall of the Tchaikovsky State Symphony Orchestra of the USSR by K. Ivanov, soloist - E. Rook. In 1955, the "Tunes" were awarded first prize in the competition of young composers of the V World Youth Festival in Warsaw.

A year before graduating from the conservatory, in 1952, Andrew Eshpay was adopted in the Union of Soviet Composers and became one of the youngest members.

In 1954, A. Eshpai drawn to a new genre for themselves in the field of symphonic music - he wrote the first piano concerto ( "In Memory of Maurice Ravel's"). Contact concerto with the great French composer is not limited only to the initiated. Eshpai builds composition of the Concerto by a through hold in each of the three parts of a short melody from the opera "Rhythms of Love" by Ravel. It has been modified, but easily recognizable. Contrastly combining it with Mari melody, the composer creates their organic emotional fusion. Methods of presentation in the Concerto close impressionistic style of Claude Debussy and Maurice Ravel, their wonderful subtleties in the transfer of feelings and tokkatnomu passionate Prokofiev.

The first performance of the Piano concert took place on December 5, 1954 in the Great Hall of the Conservatory. USSR State Symphony Orchestra conducted by Evgeny Svetlanov. Soloist made Nikolaeva T.. Andrew Eshpay still recalls with delight, as Tatiana, taking notes, three days later lost his entire three-part concert thorny heart! This is phenomenal! Indescribable!

. At the premiere, she played inspired, with the true brilliance, causing the warmest approval of the public
.

October 25, 1956 in the Hall of Columns the premiere of the First Concerto for Violin and Orchestra (with a dedication to Z. Rook) Andrei Eshpai. The performers were great-Union Radio Symphony Orchestra, conductor Evgeny Svetlanov, soloist E. Rook.

The rich melodies of folk origin of the saturation in the Piano Concerto in Violin yielded place to the original thematic material. Created by the imagination of the author's themes were extremely interesting, and the presence in them of a number of features characteristic of the Mari-Hungarian melodies (syncopation, quarto-fifths), only intensified the impact.

Always restrained and rigorous theoretical and composer Dean of the Faculty of the Conservatory Professor S. Bogatyrev after the premiere congratulated Eshpai and was surprised he said: "Just think - quint. Only just quint. And as it sounds! "(Meaning the sideline of the first movement of the Concerto.)

At the competition of young composers VI World Festival of Youth and Students in Moscow (1957) Violin Concerto Eshpai was awarded the first prize.

The years. Accumulated spiritual experience, interpret experiences, and the pain of the loss of his elder brother and the death of Valentine's friends had not abated. Here is how Eshpay of the song "Muscovites" (earrings Minor armor, 1957): "It's just amazing, all of what the song says" earrings Minor armor, was in my life. The poet-soldier Evgeny Vinokurov, of course, these details did not know. Mark Bernes brought me a finished poem and offered to write a song. I read poetry and was literally stunned

. In the fields beyond the Vistula carotid

. lie in the land of raw

. (Earth where crude, forcing the Wisla - my military roads in Poland.)

. Earrings Malaya Bronnaya

. And Vic with moss.

. (Our family lived on Bronnaya, but not in Malaya, and on the big, older brother Valentin not returned from the war.)

. And somewhere in a busy world

. Which year in a row

. Some in the empty apartment

. Their mothers do not sleep
.

(And my mom did not sleep at night.)

Lamplight inflamed

Flames over Moscow

In the Malaya Bronnaya,

In the window on the Moss.

(And the lamp was burning all night long.)

Friends do not stand. In District

Without them there is a movie.

The girls, their friends,

All married long.

(Specifically not invent).

The picture was similar to my feelings, I watched more than once during the concerts. I remember our speeches with Joseph Kobzon in Kazan - the people were crying because it touched the soul of every. Remarkable poems of the poet ".

Remarkable, of course, the music, thanks to which the song became one of the most beloved of the people.

At the unprecedented rise of the composer created the first (1959) and second (1962) program symphony. Epigraph First tragic philosophical symphonies - "We must snatch joy in the coming days". Symphony consists of two parts: one - a requiem to the fallen, the memory of front-line brotherhood, the other - happy days come with a reminiscence, a reminder - "Nobody is forgotten, and nothing is forgotten". Her first performance was held in the Great Hall of the Conservatory November 10, 1959. USSR State Symphony Orchestra conducted by G. Rozhdestvensky.

Start of the Second Symphony powerfully recalls the pulse of time - life is not static, it is a constant process of new birth, and this new approved during the continuous struggle.

Suddenly ... guitar melody accompanied by soft harp. As if a man is tired and wants to be alone with my thoughts. Such non-traditional reception for symphonic music Espa needed to enhance the contrast of light and dark forces in their extreme form.

At the end of the Second Symphony being drawn all the threads of control in one unit. The music is dominated by rapid, dynamic pressure, under the influence of which even the "theme of evil" is transformed into its antipode. It sounds here enthusiastically, triumphantly, merging in the general chorus of praise to the world - risoluto con tutta forza (strongly, with all the force).

Symphony "Praise be to the world" is dedicated to her first performers - USSR State Symphony Orchestra and conductor K. Ivanov, premiered November 4, 1962 in the Concert Hall of the Tchaikovsky.

In February 1963, died YA Eshpay - father Andrew, a wise and astute in the art, in life - vulnerable and defenseless, is kindness and sympathy. Cut short a live connection, but a son always retained affection for his father and his fidelity to the cause.

In the Third Symphony with the dedication "In memory of my father" (1964) Andrei Eshpay used two songs especially loved father. One of them "along the street" - a severe, restrained (main party) - received a through development. Another - "Water flow", as if absorbing the whole world - led to an understanding of the idea works:

Water flow - the banks remain

Birds fly away - slots remain

Leaves fall - the trees remain,

We are leaving - you stay.

Very accurate in the choice of composer solo instrument - alto flute, transmitting the sad nature of the melody. The precious jewel of folk art - the eternal memory of his father, and comfort, and compassion.

For the meeting with images of "another world" A. Eshpai resorting to serial dvenadtsatitonovoy the system (the orchestra played pianissimo, unearthly sonorities reaching enchanted), which is the antithesis of melodically vivid images of folk. The first performance of Symphony held November 20, 1964 in Brussels. Belgian Radio Orchestra conducted by K. Ivanov.

By this time is Eshpai trip to Hungary. In Budapest, took his acquaintance with Z. Koda, who knew Ya Eshpai and, as it turned out, closely followed the work of Andrew. Interlocutors brought together a mutual interest in the musical roots of Mari and Hungarian peoples, folk intimacy that comes sometimes to a full coincidence. After listening to the record of the second symphony, A. Eshpai, the code was "caught her in captivity" and said that he admired our school of composition.

In memory of Father Andrew Eshpay dedicated another memorial piece - "Songs of the mountain and meadow Mari" for symphony orchestra (1983). In "Song" composer once again, the opportunity to experience the enchanting magnetism pentatonic in prolonged exposure of the lyrical themes, and in their further development of drama.

Music appearance of this work echoes the lines of the poetry of Mari:

* If you put in the water

A piece of iron --

Water will not keep.

* You can not bring in gold

Stop loving heart.

* Because it was powder

Light snow, --

I slipped on a rock.

* To soothe

Pure Heart --

Looking for good words.

Instrumentation works relies heavily on a string orchestra that best conveys the nature of folk melodies cantilena. The first performance of "Tracks" was held on October 17, 1983 in the Great Hall of the Conservatory. USSR State Symphony Orchestra conducted by V. Sinai.

To the 100 anniversary of the Moscow Conservatory (1966) A. Eshpai along with other teachers, former students Miaskovsky, wrote the orchestral variations on themes from his symphonies Sixteenth. At the anniversary concert conservatory all these variations, combined in a single cycle, were filled with student symphony orchestra conducted by Gennady Rozhdestvensky.

In the same year Eshpay took part in the competition for binding a violin piece for the III International Competition Tchaikovsky. He composed a sonata by introducing into it a piece of string serenades of Tchaikovsky. This created a moment of surprise and made some special festivity, excitement, stressing the link works with contests.

Judge R. Principe Violin Competition (Italy) later says: "It seems to me a good introduction to the second round of plays Ovchinnikova and AA Eshpai. From the standpoint of violin technique they are written well. And yet it seemed to me that the Sonata Ovchinnikova more sense than to hearts. Eshpai warmer, more democratic ". The same idea was detected in the utterance competition winner violinist Tret'yakova: "... when the three months before the competition began, we sent out two mandatory Sonata, I chose Eshpai. This music gave the opportunity to show themselves - there are cantilena, virtuoso technique, a great idea, a lyric animality ...".

. In just two weeks Andrew Eshpay wrote Concerto for Orchestra with solo trumpet, vibraphone, piano and bass (Concerto grosso)
. In concert organically introduced elements of improvisational jazz. Solo instrument, according to the author - is a small orchestra in the orchestra, which can sound itself. But he is opposed to the rest of the orchestra.

The writing was first performed in Leningrad on Sept. 25, 1967 Grand Symphony Orchestra of the Central Television and All-Union Radio running Gennady Rozhdestvensky. Soloists were T. Dokshitser (trumpet), W. Vasil'kov (vibraphone), M. Muntean (piano), Leonid Andreev (bass).

Evgeny Svetlanov has repeatedly stood by the conductor's desk in the performance of the Concerto for Orchestra, and noted that "it is - one of the most remarkable works of art not only in Eshpai, but also in contemporary music in recent years ... It uses masterfully opportunities ... orchestra, playing all the colors and the rich in myriad discoveries literally on every page of the score ".

Second Violin Sonata came from the pen of A. Eshpai four years after the first. E. Grach, and the author first performed it in Bremen (Germany) October 21, 1970 and recorded in Cologne on the radio.

In the Sonata the composer again turned to the complicated series technique. And if in the Third Symphony with the help of series A. Eshpai managed to embody the images of evil, the Second Violin Sonata is the same technology has become the material for the expression of in-depth lyrical and focused images. Language Sonatas rich intonational fluctuation, rhythmic intricacies, sound metaphors visible and immediately felt. The writing is convincing and in a barely audible flazholetnyh fading, and in moments of genuine expression.

The last decade has changed the presentation of Russians on the social phenomena. Those who unconditionally believed thrown from its pedestal. But the times did not choose, they live and die ". This artist always writes with sincerity, his heart's blood. Each work of art as their own child, and to abandon it, even in an era of change - change that to yourself, take a grave sin in the soul.

In an interview with a correspondent of the newspaper "Direct speech" A. Papushinym (30/07/1994) A. Eshpai said: "With all my heart whether written cantata" Lenin namiN "Of course. Lenin was in the minds of the people opposite of Stalin, the mainstay and foundation of the ideas in which people believe - the idea of socialism. After the war I, a war veteran - was able to get an education, write music, I do not need to think about the orchestra and the hall. That's all we should give the state free of charge, we had a marvelous house of creativity ... "Courtiers" composer I never was, and the party never was "

. At the heart of the Cantata (for mixed chorus and symphony orchestra) - Mayakovsky's early poems: "The last page of the Civil War" (I part), . "Something about Petersburg" (II part), . in Part III joined poem "Lenin is with us" and a fragment from the poem "Good",
.

Musical and dramatic conception of the works is determined primarily by the laws of symphonic development, for orchestra in the Cantata - the main character. Eshpai does not adhere to strict time limits (events move freely in time), and, as in the cinema, the author gives a sharp change of personnel, nodules.

The epic scale, with the internal conflicts I part Cantata replaced wary, muffled sound of the chorus a cappella, as if the heart is "the truth alone" - in Part II. In part III - theme of reunification, labor in the name of its benefits and personal communion with what is happening - take precedence over all other.

Composer agrees with the poet - "the day our order and good that difficult, but to build, clean and revenge just need.

Praise does not make any debt, or verse

All that we do.

I polotechestva could be demolished

And sex - to rebuild, he washed.

I am with those who came to build and revenge

In a continuous fever buden.

Homeland praise, which is,

But three times - which will.

The final takes place on the big dynamic build-up. Rapid flow of sound brings the action to the apotheosis:

. I like the springtime of mankind,

. Born in the works, and in battle

. Singing is my fatherland

. Republic of mine!

. Revaluation of values and democratic reforms in the country are half-hearted hope that one day every citizen of Russia will be able to with filial pride to say: "I sing to my fatherland"
.

The first performance of the Cantata on December 16, 1968 in the Great Hall of the Conservatory. A great symphony orchestra and a big chorus-Union Radio and Television conducted by G. Rozhdestvensky. Artistic director of the choir - K. Bird.

Later, an excellent interpreter of the Cantata was the conductor Maxim Shostakovich.

Nearly a quarter of a century after the war Eshpay wrote the operetta "No me happy" (libretto by Vladimir Konstantinov and B. Ratsera, 1969). It reflects the days of our country's valiant resistance to fascism.

The abundance of petrol and lyrical in mood of music made popular operetta for many years. She has found not only scenic, but on-screen life. The studio Gorky charged musical comedy film "Star Screen" (director V. Gorrikker).

For Bratislava (Slovakia) Theater New Stage "Andrew Eshpay created the musical" The Wedding by lot "(" forbidden love ", 1973).

Festive Overture "The Kremlin chimes" written by composer for six harps, four piano, vocal group, twelve violins, cellos, and eight great symphony orchestra. The first performance took place on the stage of the Kremlin Palace of Congresses April 21, 1970. (The orchestra and ensemble of soloists from the State Academic Bolshoi Theater. Conductor Yuri Simonov. Among the soloists-instrumentalists - K. Georgian, Natalia Gutman, T. Grindenko, L. Isakadze, O. Krysa, V. Spivakov, V. Tretyakov ...)

Debut of the Second Piano Concerto A. Eshpai held September 18, 1972 in the Great Hall of the Conservatory. USSR State Symphony Orchestra conducted by Evgeny Svetlanov, the singer was A. Eshpai.

"I am glad that I managed to convince the author to serve as the lead singer - said Evgeny Svetlanov. - At first, he did not really agree to this. And then when he came to taste and beat concert many times, he acknowledged that our decision was correct. Work with Andrei Yakovlevich interesting, though not easy, because it demands very high and the principal, and for them it is said to be ready to lay down his head. "

The concert opened with a bold, dynamic character of music (main party). Her sharp, throbbing nerve introduces tension, a kind of charge activity, and makes listeners with unflagging attention to follow the "action".

This graphically clear, embossed music contrasts the other way - an epic (adverse party), which, as before, Eshpai associates with Mari origins.

Both topics are the through the development and determine the intonation-fret coloring Concert.

In the style of a jazz concert there is also a color and Rachmaninov cantilena. Impacts on plates with a brush, bass solo pizzicato, placer passages and garlands chord piano combined with spectacular timbre combinations of the main themes of the work.

The problem of correlation of the orchestra and the soloist is the Second Piano Concerto new, tailor-made solution. If the first (youth) - the ratio was based on the opposition of piano and orchestra, an effort to bring the piano to the fore, in the second concert Eshpay follows the path of rapprochement and mutual enrichment.

The concert concludes the main party, buying the apotheosis of the nature.

Second Concerto for Violin and Orchestra was written by A. Eshpai commissioned by the International Music Council (IMC) at UNESCO and was first performed at the World Music Week in Bratislava on October 14, 1977. He had a stunning success. Symphony Orchestra of Radio City Frankfurt conducted by E. Inbal. Party played violin E. Grach.

Later, in Mexico, with no less success sounded Violin Concerto in the interpretation of the Academic Symphony Orchestra of Moscow Philharmonic under D. Kitaenko. E. Grach soloist - the first performer of almost all the violin opuses Eshpai.

In January 1983 in Bombay (India) concert came at the MMS conference (on "Music of East and West") and attracted a lot of enthusiasm symposium participants.

Musical epigraph concert dedicated to the memory Miaskovsky, has become a kind of small "Lacrimosa" (introductory section). On the sad popevki ostinato character in the party solo violin superimposed cosmically flimsy, floating sounds of vibraphone

. Home Party (as in the First Violin Concerto), resilient, dynamic, unfolding like a spiral with growing injection, and the sudden sharp slowdown, again reminding those rhythmic throws on the Mari-Hungarian origins works
.

Later solo violin virtuoso endowed with a background role, and the melodic function consistently turns to Viola and Cello, clarinet, flute. This contrasting polyphonic "ligature" is a bridge to a climax, the stated string

. Inside there is a group of by the party so (in the tradition of Mozart, Beethoven, Tchaikovsky):

. 1 st issue conducted by the composer in three versions - a bass clarinet, followed by the solo violin and first horn;

. 2-I - it sounds a clarinet on the background of pizzicato string bass (imitating the sound of bass guitar) and a virtuoso solo violin;

. 3rd - forms a contrast to the subject since, as a kind of protest, opposition to the death
. This topic Eshpay gives a rich orchestral garb, . as dark, . stress apotheosis, . after which the final stage of the drama of the first part of the Concert, . also rich polyphonic techniques of, . perceived as enlightenment and solace,
.

In the development of stresses infernality music. After shock episode composer comes to psychological Stratton, where the voices superimposed on each other, as if choking on its expression.

In a reprise of the Concerto, the author introduces a Russian folk song "Green Green Was sosenushka". Its development is like a magical scene of witchcraft, with a gradual extension of actors. The texture of the episode highlighted it as an example of antiphonal singing, expressed by means of the orchestra.

Code are istaivanii 1-by-second theme party, its introduction at the end of the product gives the flexibility and completeness of the form of the Concerto.

Engineering in Concert - a sort of foundation, which builds Eshpay melodically bright, deeply emotional work.

April 30, 1976 at the Bolshoi Ballet presented the premiere of A. Eshpai "Angara" (libretto by Yuri Grigorovich and V. Sokolov on the play by A. Arbuzov, Irkutsk Story "director Yuri Grigorovich).

Central axis of the dramatic ballet was the image of the Angara River - the fabulously beautiful, something terrible in its unpredictability.

The history of music knows the great examples of imaginative solutions theme of the river (the theme of the Dnieper in the "Mermaid" Dargomyzhsky, Rhine's "Das Rheingold" by Richard Wagner, the Vltava River in the symphonic cycle, "My Motherland" Smetana).

We Eshpai theme of the river was a transparent development - in many episodes of ballet heard her various options.

Extremely rich in colouristic palette "Angara", in the symphonic score composer entered the orchestra of Russian folk instruments (balalaika, domra, accordion), tools belonging to jazz and identified the author as a jazz batteria

. Complex psychologically scene ballet A. Eshpai often solves the reception monological utterance heroes: the dramatic monologue Victor in Act II, . for which the game of love suddenly turned into a sincere and deep feeling, and three monologues Valentina, . especially in Act III, . with fine gradations of feelings of the heroine - the fear, . hope, . love, . Finally, . horror of an accomplished (in the fight against the builders of the raging elements killed Sergei) replace each other,
.

Many pages of "Angara" filled with deep lyricism. An example of poetic revelation is the music "Lullaby".

Powerful water beauties "Angara" received "registration" on the Neva (Mariinsky Theater) and the Volga (Samara Opera and Ballet).

For this type of theatrical art A. Eshpai asked again in five years. In 1980 he created on the basis of the libretto I. Chernyshev ballet "Circle" ( "Remember!"). The complexity of issues (the scourge of "the end of the universe", the death of civilization, the struggle for life), a new ballet has no analogues in the past or present. The author knows firsthand that brings war.

"Even if you do not write specifically about the war - says the composer - it is still present in the artist, who was at the front. On the war can not speak the words. Anyone who was not on the battlefield, never know what war. All the characters in the land - the war has claimed the best ".

His ballet "Circle" A. Eshpai means of music is trying to warn the earthlings from the apocalypse, from the acts of human hands - the neutron bomb. That which can lead to use of modern weapons, stage shows ballet.

The revival of civilization from oblivion in the ballet can not exercise the power-consuming love of the heroine, her self-sacrifice.

Antiwar direction-musical works accomplished composer synthetic amalgam of diverse styles (classic, jazz, folk, Znamenny chant) with inherent Espa skill and taste.

The premiere of "Circle", entitled "Remember!" held on 23 February 1981 on the stage of the Kuibyshev Opera and Ballet. Ballet choreographer carried Chernyshov. Display Ballet on tour in Moscow, brought him a deserved success.

By the nature of the thematic material and its mode of development of music for the ballet "Circle" - a real symphonic score. Related to this is its natural "reincarnation" in the Fourth Symphony ( "Symphony - ballet for full symphony orchestra, 1980), the first performance which took place on October 15, 1981 in the Great Hall of the Conservatory. Orchestra of Soviet radio and television was conducted by the Central B. Fedoseev.

At the Second International Music Festival in Moscow in May 1984 was heard Concerto for Oboe and Orchestra A. Eshpai. His executors were Alexander Lyubimov (oboe) and the Latvian National Symphony Orchestra under Valery Sinai. At the request of the public concert was repeated in full. (The first performance of the works was held on Oct. 15, 1982 in the Great Hall of the Conservatory at the festival "Moscow Autumn". USSR State Symphony Orchestra conducted by V. Sinai. Party played oboe A. Lyubimov, - by him and dedicated work.)

. The concert followed the laws of the genre: it is the competitive virtuoso soloist (as well as groups of soloists) and orchestra, rich rhythm-plastic folk music-making, ease of jazz and, most valuable - the extraordinary beauty of melody
.

Transparency orchestration is replaced by a rigid canvas neuyuta to confront ideas about death. But overcoming them is not completed by the material of the main party of the Concerto, and leads to a philosophical significance, "forgiving", clearly a new theme. On this occasion Eshpay said: "... until the music came a new final theme - the Concert, as I saw him, all were. Both the form and the orchestra, and the development of material dictated by the music, which I will not hide, painfully not arise. But then suddenly came immediately when I was quite desperate to find her. This new theme released the breath and broke the shell stereotyped forms of instrumental concert, moving the story to the world of symphonic thought. And why is takN can not explain ... "

Success Goboynogo concert the audience was amazing.

All the "circles of hell" of war, held a fiery sword in each family of Russia, prepared by the Fifth "Military" Symphony Andrei Eshpai for large symphony orchestra. It tells the story of people, a man on the phenomena of the world in which there should be no place for violence.

Nude is no conflict in a work created by the clash of intonational spheres of Russian songs and images of evil with an easily recognizable Nazi march.

On the scale of the artistic embodiment of the theme of war and the strength of the emotional effect on listeners, "Military" Symphony A. Eshpai comparable to the Seventh "Leningrad" symphony, Shostakovich.

April 1, 1986 in the Great Hall of the Conservatory of the USSR State Symphony Orchestra under Evgeny Svetlanov's Fifth Symphony, first performed Andrei Eshpai.

Sixth written, "liturgical" symphony contributed event which galvanized the entire country, - millennium of Christianity in Russia. Do not stay aside and Eshpay. According to the composer, he chose the text of Chapter 13 of the First roslaniya to the Corinthians St. Paul "as a material for the development of the burning topics of concern to people today as a thousand, two thousand years ago. After writing the chorus a cappella, where in addition to the named text was used apocryphal (ie. Noncanonical) message, "Oh, vsepetaya Mother" and iromodalny (calendar) Choir "cup of salvation", espa seemed that the selected material requires a full-scale musical solutions. A new, more intense version of. But the feeling remained understatement. And the attraction of the orchestra became a necessity recognized. Thus was born the sixth "Liturgical" Symphony

. Epistle of St. Paul from the depths dvadtsativekovoy prescription in symphony "reading" Eshpai drawn to the contemporary:

. "If I speak in the tongues of men and of angels, but have not love, I - brass or a tinkling cymbal sounding
.

If I have the gift of prophecy, and understand all mysteries and all knowledge, and I have all faith, so that I could remove mountains, but have not love, - I am nothing

. And if I give all my possessions and my body to be burned, but have not love, - no I gain nothing.

. Love is patient and kind, love does not envy, love does not championed, not proud,

. Not running amuck, does not seek its own, not easily provoked, thinketh no evil;

. Do not rejoice in iniquity, but rejoices in the truth;

. It bears all things believes all things, hopes all transfers
.

Love never fails, though prophecies will cease, and will cease, and knowledge away with.

For we know in part and prophesy in part;

When will the perfect, then what part, to stop ...

Now we see as if through a glass, darkly,

At the same time face to face;

Now I know in part, and then learning, just as I am known.

And now abideth these three: faith, hope, love, but love them more ".

Before the symphony Andrew Eshpay asked to read scenes from the text on the modern Russian language. Hearing the message from the people clearly understand what is heard today in Old Church Slavonic, and can better feel the "spirit of the symphony, called the author of" liturgical ".

The choir sings in the Symphony is not only a cappella, but also in conjunction with the orchestra. This enabled the author to be more flexible in the media and out of the restrictive framework znamenny chant. All development of "liturgical" is subordinated to the logic of symphonic action

. The Moscow premiere of the Sixth Symphony took place on November 19, 1989 in the Great Hall of the Conservatory in the performance of Volgograd and Magnitogorsk Choir, . Grand Symphony Orchestra of the State Television and Radio by V. Fedoseev,
.

Seventh Symphony for large symphony orchestra written by Andrei Eshpai in 1991, at the beginning of fundamental changes and transformations in the country. She slept until recently an impenetrable veil over the teaching of Christ, it became possible in Russia to the free circulation of the Gospel theme, as in the Sixth "liturgical". In the Seventh Symphony no text material, it is solved purely instrumental means, but has not become less significant. The writing touches the eternal question: what is zhiznN And his music Eshpay responsible for almost Blaise Cendrars: "... this - we, and God, and I - and this is eternity ".

Andrei Eshpai said: "All my life we are writing one single product. This work - our life. Seventh Symphony - one of its parts. Symphony of this one, with contrasting sections, as typical cyclic form. Is it the most difficult episode - pizzicato strings, over which long struggled E. Svetlanov, but did it brilliantly. The story goes into the sky, disappears, istaivaet ... "

In memory of Dr.. Shostakovich String Quartet devoted Eshpay "Concordia discordans" (consent dissenting). "He is not dead, who have not forgotten". All intonational sphere quartet in each section emphasizes the image of whose memory is devoted to writing

. In 1999, the composer had completed the "Four poems" for symphony orchestra, chorus and narrator (poetry Lermontov, M. Tsvetaeva, S. Esenina, Glinka), throwing an invisible bridge from the Old Slavic language of the Sixth Symphony to a high of Russian poetry
. Building on the basics, the author found adequate musical response to each verse, combining them into a single living organism

. On the eve of 2000, Andrei Eshpai implemented plan, . which none of the composers before him had dared, . - Completed the "gold series" Concerts for all instruments of the symphony orchestra (except for tubes due to the specifics of playing time): Four Violin, . Two piano, . Concerto for Viola, . Oboe, . Flute, . Saxophone, . cello, . bass (or bassoon), . Clarinet, . horn, . Double Concerto for trumpet and trombone, . Concerto for orchestra with solo trumpet, . piano, . vibraphone and bass,
.

Based on the idea of orchestral works and intuitive flair, the orchestra Eshpai on the product and the product is constantly evolving, varied and never repeats. For example, in the composer's Cello Concerto took the strings plus piano and harp, in contrabass (or fagotovom) - only strings. The texture of polyphonic works thoroughly and meticulously detailed. For all the complexity of the technical side of Concerts Music remains in eshpaevski elevated and attractive.

For simple enumeration Concert A. Eshpai is a huge, hard work, requiring the mobilization of both mental and physical strength. It is encouraging that the works of sound, and not written "in the table. If all the composer's opus multiplied by the number of bands, artists, and then lay down with their compositions, it turns out that an army of first-rate musicians playing Eshpai. The ranks of his students grow and are replenished. To date, they already account for multi-million audience. Well remembered in the hearts of people copyright the concerts of the composer, his warm meeting with the workers of the villages and businesses, students, pupils, his patronage concerts in soldiers, speeches and debates in the houses of culture, clubs, on radio, television and print.

He was assisted to open in the most remote corners of the Union of children's music schools. By the way, Eshpai not forget about music for children, and has published dozens of owned and instrumental miniatures (some included in the "Children's Album, 1970)

. In non-exhaustive list of geographical locations, . where we have seen and heard Eshpai "live", . appear Yakutia (with Ojmjakon and Peace), . Tyumen and Novosibirsk, . Urals and Sochi, . native of Yaroslavl on the Volga to Astrakhan, . St. Petersburg and the Don, . North Caucasus and the Arctic, . capitals of the former Soviet republics ..,
.

Since 1961, the composer often abroad. He was a member (sometimes chairman) jury popular competitions and festivals. This - Zielona Gora, Sopot, Warsaw Autumn in Poland, "A Week of Musical Arts for Children and Young People in Bulgaria," Prague Jazz Festival in the Czech Republic, etc..

Music of Andrey Eshpai not require language - it was played and continues to be heard abroad on his own performance, the performance of our touring orchestras and soloists, as well as in the interpretation of many European orchestras. Heartfelt sympathy and gratitude expressed Espa symphonic audiences all over the world: in Japan and India, in almost all European countries, Canada and the U.S..

Currently, the U.S. started producing a ten anthologies of music in recording Eshpai A.. Already recorded three CDs.

Being in New York in 1973 Eshpay visited the house recently deceased Igor Stravinsky. Heart had a conversation with his widow, Vera Arturovnoy and R. Kraft - conductor and biographer of Stravinsky. All the furnishings in the house Espa vividly recalled the previous meeting with the great composer in Moscow and Budapest.

Even earlier, in 1968, was an acquaintance A. Eshpai with another famous composer of the twentieth century - K. Orfom. At the invitation of the German composer in the music festival in Stuttgart (Germany) arrived T. Khrennikov, K. Khachaturian, R. Shchedrin and A. Eshpai. They attended the premiere of Orff's "Prometheus". In the house of the Carl Orff Eshpai thrilled the whole museum of percussion instruments, collected in travels to Africa, Japan, Indonesia, finally, made by the composer himself.

In the working AG's office hangs a picture Eshpai German composer with a humorous inscription: "Thank you, heartfelt thanks from three-quarters of a century of Carl Orff's". Andrei Eshpai wondering: preparing Recital of about is his own three-quarters of the centennial. The only "consolation" for Eshpai is that he did not yield Orfu in the speed with which he raced through the apartment, showing the dignity of his adored tools.

"I'll never be an old man, - said Andrei Eshpai. - I'm 75 and I'm 19 "- thereby confirming the truth that" the soul does not age, but talent nepodvlasten time.

By the indisputable achievements Eshpai applies his landmark symphonic picture "Suvorov Crossing the Alps", made at the XIX International Festival of Contemporary Music in Moscow (November 1997). Andrei Eshpai as a front-scout, as a patriot of the Russian land, and as a connoisseur of the history of Russia, has long wondered and worried about one of the most famous campaigns in the history of war - Swiss expedition Suvorov 1799. Sunk into his soul and the word commander, addressed to the army: "We will have works great, unprecedented in the world, We are on the brink!" But we - Russian! "God with us!" Save me, save me the honor and heritage of Russia! "

. Eshpai even been to Devil's Bridge, on a pass in the Alps - in this natural trap, he heard a terrible roar from the depths of treacherous gorges, almost personally saw the dangerous path that selected Suvorov, to save from ruin the army
.

Composer captured that feel about. Without artillery fire and excessive noise effects, he drew a highly artistic picture, in which visible and chilling risk, and unparalleled courage, and defying death. This orchestra-deployed cloth Eshpay expressed delight and admiration for the fortitude of the Russian soldier, but not only ...

Author "from the depths of the soul" wanted to recreate the tragic reality of the last moments of his war, when with friends made plans to meet after the Victory. And all gone ...

"Rossiyskaya Gazeta musical" (1999, N4) described the evening, devoted to 200 anniversary of the legendary transition of the Russian army over the Alps, led by Alexander Suvorov, in the hall of the Academic Orchestra of St. Petersburg. "The culmination of the evening was the performance of the orchestra of the Leningrad military district headquarters symphony, Andrei Eshpai" Suvorov Crossing the Alps "(in the transcription for wind orchestra Ya Bartashevich) ... Russian feeling, bright, temperamental essay Eshpai captivated the audience and had such a rapid success that we had to repeat his final. Against the background of the final chord on the wave of the hand conductor of the room solemn march came a company of the honor guard with banners Suvorov's troops provided by the Military Historical Museum of AV Suvorov. A colorful procession only reinforced the impression of the concert. Musicians and listeners unanimously commended this music and poetry reading as a wonderful and unforgettable "

. The triumphal procession "Suvorov" on the concert halls of Russia began, . will continue in the XXI century, . but now, . the reaction of listeners, . certainly, . that the symphonic picture "Suvorov Crossing the Alps" - is a feat of musical composer Andrew Eshpai,
.

Throughout his life in art Eshpay wrote film music. He - the author of music to more than sixty films and television films, delivered at various studios country. Especially fruitful was his collaboration with directors Alexander Saltykov ( "petticoat", . "Director", . "And there was evening, . and there was morning ", . "Sibiryachka", . "Point of No Return", . Family Ivanov ", . "Emelyan Pugachev", . "The way to immortality"); E. Tashkovym ( "Pages of the former", . "Thirst", . "Come tomorrow", . "Major Whirlwind", . "The adjutant of his excellency", . Children Vanyushina ", . "Crime"), Levin ( "The Story of first love, . Strong Hurricane, . "A long way in the maze"); V. Zhilin (Amended to believe ", . "He took the train driver"),
. Three recent work in cinema: a film directed by V. Pendrakovskogo "I am free, I'm nobody's" with wonderful actors N. Ruslanova and B. GAFTA starring children's film "Lisa and Elisa," directed by A. Zguridi and the thriller "Dying is easy," directed by A. Hwang.

Cinema music Eshpai characterized surprisingly accurate sense of form, the wealth of tools, together with the entire arsenal of technical means, a special symphonic perfection. Eshpaevskaya music, has become an integral part of Russia's cinema, is continuously in development, in search. Despite all the difficulties experienced in cinema today, Eshpai his musical palette tends to the philosophical study of secret movements of the soul and the nature man.

Cinema closer together composer with many poets: G. Registan, R. Christmas, L. Derbeneva, V. Karpeko, G. Pozhenyanom, E. Evtushenko, in collaboration with the wonderful songs that were written. Creative contacts have continued and after the film's release. Songs obtains wings, borne into independent life. Among them: "From the first meeting with you," "Why, otchegoN I do not know myself," You, only you "- the verses G. Registan," I told you not all the words, "over a lazy river, bent willow. .. " - On the verses in. Karpeko; "The night was a heavy rain" (or "We'll have two banks of one river") - on the verses r. Pozhenyan, "A thousand years of friendly student", . "If you do not remember me" - the verses L. Derbeneva; Marsh Builders ", . "And it snows", . "What do you know about love lyubovN", . "Do Zashumit clover field ...", . "Olkhovaya Earring" ( "damage if the wind in the palm catkin alder ...") - in poetry Evtushenko,
.

Eshpai interesting music for theatrical productions (there are about 20): "Dangerous Age" (a song Marthe - "Whether a meeting, eh not meet ..." - the verses Kotova) and "You're twenty-two old men" ( staged performances of both C. Stein Lenkom), "Wizards live side by side" (staged by A. Tutyshkina, theater miniatures led Raikin), "Improbability Theory" (directors in. Komisarjevsky, I. Gubenko, Theater Yermolova), "The Kid and Carlson, who lives on the Roof" (statement of M. Mikaelian) and "Ordinary Miracle" (Head of Production V. Pluchek, director M. Mikaelian, Theater of Satire).

Inspired by music promoters A. Eshpai - conductors Lynching S., K. Ivanov, E. Svetlanov, D. Rozhdestvensky, V. Sinai, Valery Gergiev, A. Vedernikov, D. Kitaenko, G. Provatorov, father and son A. and M. Jansons, . V. Dudarova, . Ponkina, . Tsung E, . K. Mazur, . E. Inbal; violinists E. Rook, . M. Iashvili, . V. Tretyakov, . H. Ahtjamova, . L. Dmiterko, . A. Anchevskaya, . D. Koch; pianists T. Nikolaeva, . Petrov, . A. Bahchiev, . J. Zak, . V. Krainov, . M. Munteanu, trumpeter T. Dokshitser, . flutists I. Matuzov, . Shapkin, violist Yuri Bashmet, . bass Komachkov R., . clarinetist N. Cox, . oboist A. Lyubimov, . saxophonists M. Leonard, . S. Gurbeloshvili; singers R. Sikora, . Troshin, . M. Kristalinskaja, . M. Bernes, . E. Kibkalo, . E. Gil, . L. Zykina, . S. Rotaru, . L. Gurchenko, . Kobzon, . E. Polomian,
.

There is another group with whom a number of walks of life music Eshpai - is Symphonic Orchestra under the direction of O. Lundstrem. For him, the composer wrote a variety of jazz compositions, songs. The team plays film music Eshpai, making their own transcriptions.

The first premiere of the third millennium in the Great Hall of the Conservatory became "Lamento and Toccata" - A. Eshpai pieces for string orchestra, performed by Chamber Orchestra "Muscovy" (conductor - E. Rook). The first piece - a rare beauty, lofty and tragic, the second - rhythmically pumping, but enlightened, - form a cycle, full of internal contrasts and contradictions than wholly cuts.

Waiting for a new major performance Eshpai essay - "Games for Orchestra". The author calls the "Games" to his declaration of love Symphony Orchestra. And, as always, it continues to look for those hidden features that can convey the inexpressible.

Despite all the vicissitudes of life today, Andrew Eshpay devoted to his Muse and his inspiration. "My credo - says the composer, - the words of Nikolai Yakovlevich Myaskovsky:" To be honest, flame to art and to his line ".

Soaking crazy loads and harsh reality of our days to Andrew's family helps Espa ...

Two Andrei - Senior and Junior - a special theme. Their collaboration began in 1972, when Andrew Sr. wrote the song on the verses Andrew Jr. "I call you, but the cry has disappeared in the mist" - for the movie "Point of No Return". This was followed by two short films directed by Andrew Jr. - "Bells" and "When playing Bach's". The first Andrew Sr. wrote the music, the second did the orchestral treatment of Bach's music

. In the full-length feature film "Shut" and "The Insulted and Injured" (with Nastassja Kinski and Nikita Mikhalkov), directed by Andrew Jr. used the "ready" music of Andrew, Sr.: The first - an episode of "Songs of mountain and meadow Mari", . the second - an episode from the Second Violin Concerto,


. To date, Andrew Sr. wrote a poem Andrew Jr. ten essays: "Lullaby", . Choir "Memories" ( "easy to sail in the sky clouds"), . "Christmas Song", . two works - "Conversation" and "Romance" (which are marvelous singing Nani Bregvadze) etc.,
.

In the short days of rest composer Eshpay keen downhill skiing, was an avid motorcyclist and motorist. He continues to drive a good car, ready now, he said, to go to learn to fly, as initially wanted "to live music and live in aviation". But at all times the most desirable for him was to ride on the Volga River on the old paddle steamer. It is not even a hobby, it is - the highest pleasure of endless dreams

. The appearance of the composer Andrei Eshpai be incomplete, . if you do not touch on other aspects of its activities: teaching - from 1965 to 1971 he led a composition class at the Moscow Conservatory, , . VIII (1986), . XI (1998) International competition named after P. Tchaikovsky,
. Eshpai - members of international meetings with composers in Austria, Hungary, Italy, Canada, Cuba, Norway, USA, Germany, Sweden, Japan.

Andrew Eshpay - Honorary Citizen of Kozmodemiansk and Yoshkar-Ola, and since 1979 - Honorary Member of the F. Liszt Society in the U.S.. He - President Rossiyskogo copyright society.

A. Espa awarded the title People's Artist of USSR "(1981), he was awarded the Lenin Prize (1986) for the Concerto for Oboe and Orchestra, and" Songs of the mountain and meadow Mari and the USSR State Prize (1976) for the Second Piano Concerto. For services to the Fatherland in peacetime, he was awarded the Order of Lenin (1985), Labor Red Banner (1971), World War II degree (1985), "Badge of Honor" (1967).

Eshpai - musician, the creator and master of his craft, he is considered a classic of domestic music. Concert halls are overcrowded with only one mention of his name on the playbill. That's because he can "magically carve, as the lightning and the sky, and thought and soul on this sinful earth. He generously gives light and joy to people, gives them food for the mind and heart. And at the same time, his music is clearly evident traits of the author - this highly talented individual. What Eshpay - so is his music.

By nature Andrei Eshpay - energetic man, impulsive, witty, charming (both internally and externally), and incredibly hard-working and purposeful. And behind all this - a deep intelligence, vulnerability, emotional purity. It instantly penetrates into the essence of the complicated issue and certainly find the right solution, it is open and easy to communicate, always a helping hand, will support. But still unsolved nature of his talent, the mystery of the phenomenon by name - Eshpai.


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  • Nicholas Cox for Eshpai Andrei Yakovlevich
  • I have only just discovered that Andrej died in November 2015. He wrote his Evening Shadows(cl & pno) for me in 1994 in memory of my father and came to London for the premiere at the Wigmore Hall. He came to dinner with the Cultural Attaché from the Russian Embassy at my flat in London. He entertained us at the piano for the whole evening. He was a fantastic jazz pianist. He then wrote me a Clarinet Concerto which I am ashamed to say I have never had the opportunity to play. I originally met him in Moscow in 1993 when he came to a recital I gave at the Dom Druzhby and after we had played an early folk song arrangement of his, he sat down at the piano and played his latest work! The text of this article is not well translated in to English, but I have very much appreciated reading this. The Wikipedia entries in his name need updating to include several works. Do you know where most of his works can be found?
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