Contemporary composer Nikolay Voronov was born in 1991 in Moscow and from the age of five has been studying at the Gnessin Moscow Secondary Special Music School in piano with a talented teacher, Honored Worker of Culture Tatyana Abramovna Zelikman.
N. Voronov wrote his first composition (“Classical” etude for pianoforte) at the age of 8. Later, he began to try his hand at the pop genre, creating about 70 different compositions, accompanied by a synthesizer. In 2003, Nikolai returned to classical music again. In just two years, N. Voronov writes more than a dozen pieces for pianoforte, several pieces for various chamber ensembles and three pieces for a symphony orchestra.
In the past few years, Nikolai has been studying composition under the guidance of A.A. Prishchepa, participating in numerous competitions and creative evenings. N. Voronov is the laureate of the 1st prize of the competition "Piano miniature in Russian music" named after. A. G. Rubinshtein (St. Petersburg, 2005) and laureate of the 1st prize of the chamber music competition of the festival "Return" (Moscow, 2007). He studies at the conservatory, performs at concerts.
It was a sinful thing to have already wanted to post "Dragonfly of Love" and some excerpt from the epic program "Let's Get Married" with the participation of Nikolai. But the mind was enough to go to the social. network and briefly get acquainted with his work. I share.
Song "Struzh" (text, there is a song, I advise you to listen)
A happy dream pierced me!
Far above the empty dew, a horse screamed.
I also wanted to scream!
I went outside and started screaming.
Awww!
Whoooo!
OOO!!!
No one heard me, although everyone saw me.
I kept screaming.
AAA!
YUUU!
YAAA!
And suddenly a thought struck me...
They don't want to understand us.
They want to understand themselves, and we think that we.
They don't pity others, they pity themselves.
They don't praise others, they praise themselves.
They don't love others, they love themselves.
If you don't love anyone, then you don't love yourself.
If you know everything about yourself, then you know everything about others!
You think - that this does not happen (that you can know everything) - then you yourself do not know.
A terrible secret was revealed to me.
And, you know, after that you don’t want to think.
I want to swim in the fog, not understanding anything,
I want to scream!
Awwwwww!!
Wow-aaaah!
AAAA!!!
Song "Fate" (text, there is a song, I advise you to listen)
May nights, foggy nights
You will pass by the shadow, you will not be seen,
You will tell what you saw, and then you will forget,
And only the lake will remember, drying up in the sun.
Wake me up, oh life!
Tell me - what else?
Wake me up, oh life!
Tell me - what else?
Dissolving in the barely audible breath of the streets,
In which my trace will dissolve.
On the green grass, obliquely to fate,
You walk diagonally, but in fact - straight,
Fuels are following you, but in reality -
It's you who follow everyone, smiling at the sun!
Wake me up, oh life!
Tell me - what else?
Dissolving in the barely audible breath of the streets,
In which my trace will dissolve.
Wake me up, oh life!
Tell me - what else?
Dissolving in the barely audible breath of the streets,
In which my trace will dissolve.
In work operas "Janis" and "USSR"
Symphonic poem "Trees" was done in just a few hours - started and finished on August 30, 2012.
Plot: musicians on the stage. They play different music, improvise. After a while, out of nowhere, suddenly, a man appears on the stage. He tries to ask the musicians how to get through, but gets no answer. The musicians continue to go about their business as if nothing had happened. The man tries to explain that he is late, that he needs to meet the girl, that she will not understand him if he does not meet her. The musicians don't respond. He looks for a door that leads, according to him, to the street, finds it, breaks it open and gets to the meeting place, but the girl is not there. He is confused. He asks the musicians if they have seen this girl, no one answers him. Then he approaches one of the musicians, asks who he is, and, having received no answer, begins to tell him about himself, about how he met a man who told him that "love will save our world", but he does not trust these words, because they are said too brightly. He is looking for how to achieve popularity, fame, thinks about this, says that this person he met is very kind, sincere, loves people, nature, a woman, but such people are not needed now. He says that now is the time to achieve this popularity, and he has everything to achieve recognition. Only he has a problem - no one hears him.
He asks: "Where is my house?" - and, having received no answer, leaves the stage. The orchestra continues to improvise.
but in general he had a lot of pleasant and harmonious music. It will be necessary to rock-listen.
And finally, I quote the post of Nikolai Voronov on the topic of the day (I highlighted in italics what I agree with):
“How I wish that the killings and terror in Ukraine, and in general, simply stopped once and for all. Someone provokes such actions - but you don’t have to respond to provocations! I can compare it with a game - someone sits down with you at the table to play, but you might not sit down with him at this table!!! To sit down means to accept the rules of the game - the rules of murder, terrorism. You yourself become a murderer! There is no need to fight with anyone! Not at all. This is stupid. And the fact that people have turned into animals is total nonsense, I don’t even know how you can say that. You can always negotiate with any person, even a murderer, it’s just that we don’t always know how. But you can. Don’t accuse the United States of provocations, don’t blame us, Russians, Ukrainians for the problem - we will never know who is really to blame, because so much has already happened that no history will clarify it. Now I personally expect only one thing - that everyone who has a weapon will throw it away once and for all and, finally, will understand the value of human life - first of all, their own. How I want everything to settle down!!!"
What can I say. GENIUS! We wish him a good positive muse-keeper of the hearth to find himself and create a sea of chic works!
Again, who saw live. Tell me.
Nikolay Voronov
Nikolai Voronov was born on May 15, 1991 in Moscow. At the age of seven, he entered the Gnessin Moscow Music School for the specialty of piano to T.A. Zelikman and studied there for 12 years. In 2000, due to a nervous illness due to fatigue from excessive piano lessons, Nikolai canceled a trip to Holland for a competition, and piano lessons gradually began to shift more and more into the background. Since 2006, the musician moved from the piano class to the Faculty of Theory and studied there with teacher Anton Anatolyevich Prishchepa. In 2008, he entered the Tchaikovsky Moscow State Conservatory at the Faculty of Composition (the third number out of 18 applicants). In the same year, Voronov began touring: he goes to concerts first with various managers, but after three years he refuses them and continues to work on his own. At the moment, Nikolai is the author of two quartets, one trio, more than ten duets, a quintet, a sextet, many piano compositions and improvisations, recorded and unrecorded. There are also compositions for orchestra - five poems.
Nikolay considers his main genre to be electronic symphonies, of which he has 25, with a total duration of more than six hours. They are electronic because they are mostly computer-based. Nikolai refuses live performers due to the impossibility of performing live and says that "live performers as pure and accurate as a computer will still not be able to play." In the 13th, 14th, 15th, 21st, 22nd and 25th symphonies, Nicholas uses his voice in various ways. Voronov's electronic symphonies were written between November 4, 2008 and August 30, 2012.
Nikolai considers the opera “Janis” to be an important work for himself, in which, in his opinion, he was able to more accurately depict the nature of a creative person. Another such composition is the poem "Trees". There, Nikolai depicts a situation where a person is left completely alone with his thoughts, simply because no one hears his thoughts. What he says is completely ignored, because everyone is busy with their own business.
Nikolai has more than 90 songs, of which only "White Dragonfly of Love", written in 2001, became truly famous. Recently, the song "Fruit Tenderness" was written, which Nikolai appreciates more than "White Dragonfly", because in "Fruit Tenderness" - the arrangement and the sounds that Nikolai himself heard, while the rhythm for "Dragonfly" " invented by a synthesizer, and Nikolai himself heard only the harmony, melody and all the rest of the design.
Now Nikolai is trying to find performers for the opera Janis, but so far without success. But he does not stop, he writes essay after essay, and in his free time he visits the conservatory, rides a bicycle and picks mushrooms.
Nikolai's music, according to him, you can try to analyze from the point of view of familiar forms, but you will get confused, because all opinions will be different. After all, in none of the composer's plays there are constructions that musicologists are so accustomed to seeing.
17-year-old Muscovite Nikolai Voronov is a true child prodigy who was never called that at home to protect him from psychological trauma. The boy, born in the family of a psychologist and accompanist, from the age of three showed extraordinary abilities in mathematics and music. At the age of five, he began studying to be a pianist at the Gnesins' Moscow Secondary Special School for Specially Gifted Children. Absolute pitch and a unique musical memory, revealed in Nikolai, led to the fact that, in parallel with the general program, they began to study composition with him. At the age of ten, Kolya Voronov composed the song “White Dragonfly of Love” on a simple synthesizer, which six years later was destined to become internet hit and bring fame to the author. And now a first-year student of the composer department of the Moscow Conservatory, a pop career began to spin - he was invited with performances to corporate parties, the New Year's light of the 2x2 channel, to the Solyanka and Caviar clubs. Offers of cooperation from representatives of show business, requests for television filming and interviews rained down on the young musician. Fans, having found out the address of the Voronovs, began to gather at his entrance. What is called a serious hype has risen.
The current situation worries Kolya Voronov's parents a lot, who fear that excessive public attention will prevent their son from completing his education and thereby ruin his talent. OPENSPACE.RU decided to find out what Kolya Voronov himself had in mind.
Location: cafe on Izmailovsky Boulevard. Characters: correspondent OPENSPACE.RU Denis Boyarinov, Nikolai Voronov and his director Alexander. Voronov studies the menu, then makes an order: meat in a frying pan, two bottles of mineral water.
- You bite your nails.
Yes (laughs embarrassedly). Can't get rid of the habit.
- It's some kind characteristic for pianists. Horowitz also bit his nails in his youth.
For pianists, this is such a disaster. By the way, Horowitz - yes. And Stravinsky didn't bite.
- Can we start the interview?
And how.
Wonderful. Your mother and piano teacher told me in detail about your, so to speak, development as a classical musician, pianist. But here is the moment when you became interested in pop music, they, according to their confession, did not notice.
In fact, my mother probably noticed, but did not tell. I got into pop music at the age of ten. Turn on the TV and listen to songs. Any - listened to the White Eagle group, Viktor Tsoi ( laughs)… What else is there? Decl! ( Recites.) "And who are you? Who are you? Who are you? And who are you? Who are you? Who are you?" Really good songs. Choi is amazing...
And so, I say that it was all in principle interesting to me. But I took up pop music when my dad bought a synthesizer at the Savelovsky market Casio CTK 571. This synthesizer has become my attribute.
- Do you still play the same synthesizer?
Yes! And I don't want to change it!
- And it works well - the keys do not sink?
Works well. On the contrary, the keys sometimes want to pull out. With root! ( Laughs.) No, I'm afraid, I'm afraid to buy a new one. ( Conversational tone.) Do you know why I'm afraid?
- Why?
Because the new one won't have the Dragonfly rhythm. No - if new, then only Casio, only Casio. Moreover, it is interesting that on the new synthesizer it will be possible to make a remix for "Dragonfly". Actually, I'm glad you've heard Dragonfly. It's incredible! It is amazing! Why all of a sudden such an attraction to the song? All of a sudden! Here there was no this song, here it appeared - and suddenly this. And now everyone says that Nikolai Voronov is my idol. ( Laughs.)
- What are you listening to now?
Now it's classical music. She has something to say to me energetically.
- What period?
Modern. Not even modern, late XIX - early XX century.
- Modernists?
Still not quite modernists, but already ... early avant-garde- Debussy, Scriabin, Mahler, Ravel are already smaller. All this is post-Chopin. Rachmaninoff is included, of course. Naturally, dodecaphonists, the New Viennese school - Berg, Schoenberg, Webern.
- I know you compose symphonic works yourself.
Yes, I do, of course. On the computer, I have three programs. I write in them, programs are immediately voiced. This is very important: you compose and immediately hear what you compose.
- How would you describe the style of your symphonic works?
I have different ones. It's probably the return of a classic. Modern harmonies… No, that's how it should be said: I'm trying to show modern harmonies with a classical style. And in general - a combination. Even "Dragonfly" is a combination. Mix of pop-rock and disco.
- Do you give titles to your symphonic compositions?
- "Opus". Opuses under numbers. I can't get the names. I give numbers to songs. Song 68 is playing now.
- So you wrote 68 songs in total?
- And why do you play the same ten pieces at concerts?
- 15. Because they are the most hit. And so far I have only learned them.
26-year-old Russian composer Nikolai Voronov, who became famous in the late 2000s thanks to his hit « White Dragonfly of love» , now leads a rather strange video blog on YouTube: in the videos, he sits in front of the camera in a half-naked form and utters little meaningful monologues. In social networks, they are worried about the mental health of a man.
Social media users suggest that a certain person is to blame for Voronov's behavior. mental disorder caused by the calm after the fame. “This is an example of how show business cripples people,” wrote the Russian Shuffle Telegram channel.
Nikolai Voronov was born in May 1991. According to his mother, he began to study music at the age of three. From the age of five he learned to play the piano at the Gnessin Moscow Secondary Special Music School. Voronov became a star at the age of 17 thanks to YouTube and the song "White Dragonfly of Love", which he wrote at the age of 10. With her, he performed at corporate parties, TV shows and clubs.
Voronov's popularity quickly waned. Last year, the young man gave an interview to StarHit, in which he said that he had left the stage because "he began to play the piano more seriously in order to become a professional who would not have any failures at all." At the same time, he stated that he hated the conservatory, where he studied for five years, because there they “taught him nothing” and did not see him as a composer. Ravens also admitted that he was not worried about past glory.
I didn't have any problems with this. I live and grieve, as before. Only sadness is not from the fact that they forgot me, but from the fact that all life around is dying.
Nikolay Voronov.
17-year-old Muscovite Nikolai Voronov is a true child prodigy who was never called that at home to protect him from psychological trauma. The boy, born in the family of a psychologist and accompanist, from the age of three showed extraordinary abilities in mathematics and music. At the age of five, he began studying to be a pianist at the Gnesins' Moscow Secondary Special School for Specially Gifted Children. Absolute pitch and a unique musical memory, revealed in Nikolai, led to the fact that, in parallel with the general program, they began to study composition with him. At the age of ten, Kolya Voronov composed the song “White Dragonfly of Love” on a simple synthesizer, which six years later was destined to become internet hit and bring fame to the author. And now a first-year student of the composer department of the Moscow Conservatory, a pop career began to spin - he was invited with performances to corporate parties, the New Year's light of the 2x2 channel, to the Solyanka and Caviar clubs. Offers of cooperation from representatives of show business, requests for television filming and interviews rained down on the young musician. Fans, having found out the address of the Voronovs, began to gather at his entrance. What is called a serious hype has risen.
The current situation worries Kolya Voronov's parents a lot, who fear that excessive public attention will prevent their son from completing his education and thereby ruin his talent. OPENSPACE.RU decided to find out what Kolya Voronov himself had in mind.
Location: cafe on Izmailovsky Boulevard. Characters: Correspondent OPENSPACE.RU Denis Boyarinov, Nikolai Voronov and his director Alexander. Voronov studies the menu, then makes an order: meat in a frying pan, two bottles of mineral water.
- You bite your nails.
Yes (laughs embarrassedly). Can't get rid of the habit.
- This is some kind of characteristic feature for pianists. Horowitz also bit his nails in his youth.
For pianists, this is such a disaster. By the way, Horowitz - yes. And Stravinsky didn't bite.
- Can we start the interview?
And how.
Wonderful. Your mother and piano teacher told me in detail about your, so to speak, development as a classical musician, pianist. But here is the moment when you became interested in pop music, they, according to their confession, did not notice.
In fact, my mother probably noticed, but did not tell. I got into pop music at the age of ten. Turn on the TV and listen to songs. Any - listened to the White Eagle group, Viktor Tsoi ( laughs)… What else is there? Decl! ( Recites.) "And who are you? Who are you? Who are you? And who are you? Who are you? Who are you?" Really good songs. Choi is amazing...
And so, I say that it was all in principle interesting to me. But I took up pop music when my dad bought a synthesizer at the Savelovsky market Casio CTK 571. This synthesizer has become my attribute.
- Do you still play the same synthesizer?
Yes! And I don't want to change it!
- And it works well - the keys do not sink?
Works well. On the contrary, the keys sometimes want to pull out. With root! ( Laughs.) No, I'm afraid, I'm afraid to buy a new one. ( Conversational tone.) Do you know why I'm afraid?
- Why?
Because the new one won't have the Dragonfly rhythm. No - if new, then only Casio, only Casio. Moreover, it is interesting that on the new synthesizer it will be possible to make a remix for "Dragonfly". Actually, I'm glad you've heard Dragonfly. It's incredible! It is amazing! Why all of a sudden such an attraction to the song? All of a sudden! Here there was no this song, here it appeared - and suddenly this. And now everyone says that Nikolai Voronov is my idol. ( Laughs.)
- What are you listening to now?
Now it's classical music. She has something to say to me energetically.
- What period?
Modern. Not even modern, late XIX - early XX century.
- Modernists?
Still not quite modernists, but already ... Early avant-garde - Debussy, Scriabin, Mahler, Ravel is already less. All this is post-Chopin. Rachmaninoff is included, of course. Naturally, dodecaphonists, the New Viennese school - Berg, Schoenberg, Webern.
- I know you compose symphonic works yourself.
Yes, I do, of course. On the computer, I have three programs. I write in them, programs are immediately voiced. This is very important: you compose and immediately hear what you compose.
- How would you describe the style of your symphonic works?
I have different ones. It's probably the return of a classic. Modern harmonies… No, that's how it should be said: I'm trying to show modern harmonies with a classical style. And in general - a combination. Even "Dragonfly" is a combination. Mix of pop-rock and disco.
- Do you give titles to your symphonic compositions?
- "Opus". Opuses under numbers. I can't get the names. I give numbers to songs. Song 68 is playing now.
- So you wrote 68 songs in total?
- And why do you play the same ten pieces at concerts?
- 15. Because they are the most hit. And so far I have only learned them.
