zeneszerző
Alexey Rybnikov was born on July, 17, 1945. Having come into the world in a family of a violinist and an artist, he was surrounded by art and music from the first days of his life.
The obvious genius of the child had been noticed by the family, and his mother took him to a musical school. He passed exams in two educational institutions simultaneously — the Central Music School at Moscow Conservatoire after P.I. Tchaikovsky and the Gnessins’ School. Although he had been admitted to both, his parents chose the first one. However, the composition study, which Alexey didn’t leave during all that time, was not taught at that school. So the boy’s father introduced his son to Aram Khachaturian, who proposed the boy to study in his class. After finishing the music school in 1962, Rybnikov entered the conservatoire where his close contact with the teacher went on. Later Alexey did post-graduate studies under Khachaturian’s supervision as well.
In 1969 Rybnikov was admitted to the Union of Composers.
After that, during several years Alexey was teaching at the chair of theoretical disciplines and assisted in the class of Khachaturian. But then Alexey left teaching.
The unique author’s manner, that helps to identify any Rybnikov’s composition immediately - wrenching and penetrating themes, distinguished nobility of melodic lines, prominence, almost visualization of figurative sphere, was formed during those years.
During the period of 60–70s Rybnikov’s creative work was marked by classical symphony traditions (the author wrote camera music, concertos for the violin, for the string quartet and orchestra, for the bayan and orchestra of Russian Folk Instruments, “Russian overture” for the symphony orchestra, and many others). In spite of that, since 1965 Alexey has already started composing movie music.
Since 1979 Rybnikov has been a member of the Union of Cinematographers.
Working over the past four decades in cinematograph Rybnikov has written music for more than 100 films.
Despite the huge total number of the movie works, some of them have become important milestones in Rybnikov’s creative work. Among them there are soundtracks to such movies as:
Opera-mystery “Avos” (1979), known to the general public as “Juno” and “Avos”, was his second work. It has united central, basic elements of Rybnikov’s musical mentality — Russian sacred music, national folklore, genres of mass “city” music and figurative, ideological, and aesthetic priorities of the musician — the idea of expiation of sins by the man, his misdeeds and taking a responsibility, salvation in the God’s Love and Remission, consciousness of the Divine Mercy and praising of the Most High.
“Juno and Avos” in Lenkom (premiered in 1981) is different because it hasn’t got quite the same plot. Like the previous performance “The Star and Death of Joaquin Murieta”, “Juno and Avos” by Zakharov was born to become a manifest. It is a proclamation of independent thoughts; it is an original understanding of western standards of rock-opera genre. Zakahrov’s attempt to make the performance with less religious meaning, with more “rock” sound has been better both for the theatre and the play in its new version (not original, not Rybnikov’s one). Though, obviously, it’s another dramatic piece, not the composer’s. The accents have been shifted. In the centre there is no more a suffering man with his confusion, pain, search for himself, his soul; but a love story.
Rybnikov is a President of the National Festival “The Musical Heart of the Theatre” and Russian Family Festival “Our Buratino”.
Operafesztiváli bemutatója:
2013. 06. 20.
» Alekszej Ribnyikov: Juno és Avos
