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弗里德里希.利普斯的感言(Friedrich Lips. Musings)

2019-11-27 14:20:40 自由低音手风琴 阅读

Once all instruments were folkinstruments:

both percussion and variouslittlewind instruments like whistles and others;

and strings,and the human voice itself:

today it sounds like a folk voice and as an opera voice.



Composers,composer’s names,big names,also musical instrument makers were coming up,today we have found the instruments that are the basis of the tymphony orchestra.


And in this regard,it seems to me that the bayan-accordion has followed the same way from the widespread love of the people to the academic scene.


Our instrument is very melodious,our instrument has accompaniment,it is transportable.Therefore,it is loved.AllRussians,Tatars,Bashkirs,Ukrainians,Belarusians love it…

Our instrument is very melodious,our instrument has accompaniment,it is transportable.Therefore,it is loved.AllRussians,Tatars,Bashkirs,Ukrainians,Belarusians love it...


It is used with pleasure in dance music in Finland.I witnessed how people there dance polkas,tangos,waltzes accompanied by the accordion with great joy.


And this quality,the fact that the instrument came to us from the people,it seems to me that it had great effects on all the subsequent development of our instrument.


When we talk about music art,we usually talk about the triad:




But in no case,we should not forget about the master-manufacturers of musical instruments.


Today,many bayan factories in the world use a model that Yury Konstantinovich Volkovich invented in his time-our wonderful master made the bayan Jupiter,which today is the pinnacle of design ideas.

如今,世界上许多巴彦工厂都使用了尤里·康斯坦丁诺维奇·沃尔科维奇(Yury Konstantinovich Volkovich)在他的时代发明的模型-优比特巴扬,在今天看来它都是设计思想的顶峰。

Of course,with some modifications,with improvements,this model is used by our factories,and in factories in Italy,Germany...


For example,I have played Jupiter for many years.Now for many years on the accordion Jupiter-PIGINI,so-called PIGINI-Mythos,by the way I have made all the design parameters at the Italian factory PIGINI,and the reeds of the Russian master Gavrilin.I am very pleased with this instrument.


I think that the modern multi-timebre bayan with converter provides a tremendous opportunity for the performer to use the artistic and expressive capabilities of the instrument in full force.


And the composers have thoughts that we are able to express by our means.


Alexander Kholminov.Concerto for Bayan and Symphony Orchestra.

亚历山大·霍尔米诺夫(Alexander Kholminov)巴扬和交响乐团协奏曲。

I would like to say a few words about our repertoire,about our composers.


Since I have played over eighty premieres in my entire creative career,I,somewhere about,represent the whole panorama of bayan art in this particular area.


A huge impetus for the development of the accordion repertoire was made by Vladislav Zolotaryov.He was a bayan player.But he was so talented that his scores for a symphony orchestra,for choirs,for chamber orchestras,his corresponding were written not by an accordionist,but by a composer with dispositions in all directions:from romanticism to dodecaphony to modern means of expression.


Before Zolotarev,we played mostly transcriptions and original accordion music.And his music allowed to captivate the major composers of our time.Such as Sofia Gubaidulina,Edison Denisov and many others.


Probably,thanks to competitions,countless competitions,the accordionists artificially limit themselves in their repertoire.They play the same circle of some kind of brilliant accordion hits,which were written by the accordionists themselves.


Sheer clusters,sheer running…

Often there are so aggressive works that you want to stop your ears,because there is no music.

Why is there no music?Because everything is for sale,just to gain the interest of audiences.




Highlighted really excellent composers.They set big tasks.Here the accordion composers do not set big tasks.Nowadays it’s only to please the performer,the competition,the audience…

要突显那些真正优秀的作曲家。他们负有重大的责任。现在的手风琴作曲家没有给自己设定责任,他们只会取悦于演奏者、比赛 和观众。

Take a look at Gubaidulina,Kholminov,Podgaits,Bronner…

There are large-scale tasks.And it is not necessary to set tasks,lets say a world tragedy or world joy.

No need to  write “Ode to Joy” or “Apocalypse.”




Louis-Claude Daquin wrote the Cuckoo.But it is a masterpiece for all times.It is modern at all times.


Bach’s works will always be up to date,because he wrote about human problems and not  about short-term gain or public recognition.


Today,we lack integration in other types of art,e.g. we need to play with orchestras more boldly.

We have a sufficient number of works.



We need to be bolder to play with the violin,with the cello,with different compositions,with quartets.

Work with composers.Because if we write for ourselves,play ourselves,applaud ourselves,we drop out of society,nobody needs us.

We must be needed by the audience not only the accordionists.

This is very important.I wanted to emphasize this.





Efrem Podgaits.Double mirror.Concerto for Bayan,Cello and Symphony Orchestra.


I would like to appeal to young musicians.Do not play bad music.As Sergey Vasilyevich Rakhmaninov said:

Do not waste your time wandering around the Saharas of bad music.There is a view of the Sahara desert.”


Human life,he said,is short.And do not waste time on it.


The human ear is conservative.We want to listen to the familiar.We want to hear familiar songs known to us in our youth,we want to hear Italian arias,or Toccata and fugue in D minor.


But together with everyone in concerts,you should always play also new modern music,because the public should come to the hall not only to have fun,but also to learn something new. 


Of course,it is easier to play something already well known.It is more difficult to conquer the public with new works.But at the same time,this is our mission.


I often say to my students:when we play on the stage,we use the listener’s time.Thus,if we play a concert in to parts,let’s say,two hours,and a hundred people sit in the hall, conditionally speaking,then they have  totally lost two hundred hours.


But this happens if we have played badly.


If you look at this problem from the other side,if the concert is interesting,if it is informative,then the public becomes spiritualized,it learns something new,acquiring something in return for the tiem spent.


The meaning of musical art is to complete this task.


Michael Bronner.“I’m floating on the waves of love”. Eight sonnets for Bayan and Chamber Orchestra.

迈克尔·布朗纳(Michael Bronner)“我漂浮在爱的浪潮中”。 为巴扬和室内乐团做的八首十四行诗。

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