Triumph of the Tchaikovsky Competition Debarg and his victorious fourth place Automatic translate

The history of the Tchaikovsky competition does not know the subjunctive mood. Unformatted genius Luke Debarg was in a dubious fourth place. Something Salirevsky is fancied in this attempt to punish for the lack of academicism and the ability to make the audience happy with the first passage. Debarg’s story casts doubt on the traditional approach to learning and preparing for creative competitions. The love of music, gradually ripening, without training and vain crush at children’s competitions, tends to remain eternal. You can approach the instrument for the first time at 11, and find the main teacher in your life at 20. Hear Mozart at 10 and discover a new world that becomes salvation and the meaning of life. And it accepts you at the very moment when you are truly ready for it. Dostoevsky, Bulgakov, jazz with his freedom and improvisation, poems, music and prose, memorized every day - everything goes to that piggy bank, which the soul constantly looks into.

The luggage from the piano lessons learned by ear, performances in jazz clubs, studies at the literary faculty and work in the supermarket did not prevent Rena Shereshevskaya from seeing her genius from her first lessons. "When would you know from what rubbish…". And the puzzle has developed. Now he is in great demand among journalists, agents, producers, and the concerts are sold out several months in advance. At the stage of preparation, Rena was the only one who believed, supported, increased self-esteem. It was with her that it was possible "to rush in a frenzy towards music." After moving to France, the talented pianist from Baku, a graduate of the Moscow Conservatory, became the last hope for many gifted children there to achieve more than the leveling education system offers.

Long-term forecasts in the case of Luka are impossible. Mozartianism and the Procrustean bed of the music industry are two incompatible things. “I want to be the mistress of the sea” is not about Debarg. He invites the public not to dissect music, striving for an impeccable void. It just allows you to hear, understand and live it with him. In the turns slowed down to the finals - not weakness, but deliberate instability, which is more important for the Frenchman than any Grand Prix. Music is not defeated and not used, and Debarg does not need more.

Elena Tanakova © Gallerix.ru