The biography of the Rozhnovskaya

In the early morning of June 25, Vyacheslav Georgievich Rozhnovsky, a bright musicologist, the supervisor of my candidate dissertation, and also a very charming person, with whom it was incredibly interested in communicating not only on professional topics ... I write these lines and aware of the absolute unnaturalness of the past tense: getting used to the presence of key people in life, do not have time to prepare for their departure.

Even if you know about a serious and long illness. It seemed that they would always be: Vyacheslav Rozhnovsky, Viktor Ekimovsky, Kirill Umansky, Alexander Vustin ... Members of the Moscow Association of Modern Music, who have gone into another world only over the last, covid years - for various reasons, but directly or indirectly with a covid connected. If someone is interested in medical details, in the case of Vyacheslav Georgievich Koronavirus became a catalyst for a long-standing problem-polycystic.

They buried in the whole Vyvyatsky Church on the Falcon, where he often visited; They buried in a rural cemetery in Znamensky, not far from the Moscow River. Of course, a lot of unfair and unspoken words remained, recently it was not located in prolonged conversations. He was a man of mood, so there was always the probability of getting to the melancholic mood, fraught with choleric outbreaks to happiness, short -lived.

But the other pole was something like warming solar radiation, and then it was possible to ask any questions and receive informal and unorthodox, very interested and detailed answers. Probably, it was this contrast of his nature that attracted, like a magnet. I knew V. Gnesins - according to Ekimovsky, as a free listener attended his lectures on modern music among composers.

His style of communication with the audience was especially attracted to natural artistry and charisma, a lively, emotional presentation of material without a hint of mentor and without a shadow of boring. This was not a simple retelling of educational literature - first of all, these were copyright concepts and individual interpretations. He had a colossal lecture practice in addition to Moscow, he taught at Ufa and Chisinau universities.

So when a year later the question arose about the head of my diploma, of course, I asked for Rozhnovsky. There was such a foreboding that in his class I will not only sit in Lenin and dusty archives, but also run around concerts, write reviews. That is that it will not be pure science, but a musicology with a journalistic bias. So it happened. Of course, I was interested, first of all, modern music - new and the latest, and mostly Russian.

And for V. it rarely happens when you express any concept or opinion and find a complete understanding, the resonance of the interlocutor, which also helps to formulate a thought more clearly, in optimal terms.

It was such a coincidence of thinking and in many respects of views that took place in creative interaction with V. I cannot say that in terms of human relations there was the same understanding. There were just more discrepancies. He had an aggravated intuition. It was easy to hurt him without even wanting him. He was supersensitive. Once, sitting in his apartment on Schukinskaya, he said: "I feel how the clouds are floating in the sky." He always infected with enthusiasm and impressed with fundamental.

Gnesins cannot be the head of the dissertation due to the lack of a degree, V. For this reason, he defended himself only in adulthood, after the death of his teacher. On the title sheet of his candidate dissertation “Interaction of the principles of form formation and its role in the genesis of classical forms” indicates: “Scientific adviser - Associate Professor R. Berberov”, and the name of the leader is in the black frame.

Formally, this could interfere with the statement in Vake, but, as they say, carried. I must say that V., like Berberov, he possessed the gift of oral presentation, bright, figurative and at the same time large -scale thinking, clear logic. Although he defended the dissertation based on its materials, by the way, the book “Sincretism, Interaction, Synthesis: Genesis of the Forms of Classical Music” was published, and wrote many brilliant problem articles, yet this was much more difficult for him than the oral genre.

I remember how he constantly delayed the writing of an article about the Moscow Autumn festival for the Music Academy, and when he once again appeared in the publishing house without a text, the then editor -in -chief of the magazine Yuri Semenovich Korev threatened to kill him. To which V. Yuri Semenovich can be understood: the magazine is obliged to respond to a noticeable event, and it is too late to re-prose the review of someone else.

However, the article nevertheless came out, but already to the next festival, and not so much about “autumn”, but about postmodernism, this is one of the best texts of V. here are a few more articles that he himself highlighted: “The strange ideas of Viktor Ekimovsky”, “Kitsch-low-grade or exalting? In other cases, he preferred to give an interview so as not to write the text.

It seems that the difficulties with written fixation were the result of maximalism: V.It happened that the procrastination ended only when the deadline was already yesterday. At the same time, V. I don’t know how much I manage or cannot meet its high criteria ... One of the articles V. How many meetings were still ahead, and not only on MO! Personally, it’s hard for me to present this festival without V.

Goodbye, dear Vyacheslav Georgievich! Perhaps we will meet in a different reality. Photo by the author and Yuris Wulis Author:.