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The interview of Sergei with the German
Merkur from
12.12.2002.
Trumpet-Paganini
Sergei Nakariakov talks about
Show and Ideals
Already in 1990, with him
being only 13 years old, a crictic called him
for the first time the "Paganini of the trumpet"
at the Korsholm
Festival in Finnland: Today, the 25 years old Sergei Nakariakov
is
considered as T H E leading trumpetist of his generation.
His great
virtuosity enables him to play trumpet-versions of Paganini
works that
are so difficult, that even long term professionals don't
dare to play
them. As first trumpetist, SN uses a side instruments in
the classical
music: the fluegelhorn. With this instrument he ist going
to perform
tonight with the Munich Chamber Orchestra the horn concerto
of Mozart,
KV 495.
Press: What is a fluegelhorn:
SG: The fluegelhorn is a
little bit bigger than a trumpet with a bigger
pavillon. This give the instruments more sound in the lower
registers
and in comparison with the trumpet a darker, more colourful
sound.
P: Is this a sound direction
you would search for with a trumpet as
well?
SG: Not necessarilly. Of
course every Instrument has its very special
sound, and the sound of a trumpet is bright, with a heroic
power.
Nevertheless, I regard the fluegelhorn as an instrument
with which one
should be able to sing and play just as well as with a trument.
P: How did you start to play
the trumpet?
SN: This was destiny: With
six years I started to play the piano, even
though I didn't like it very much. With nine years, I hurt
myself so
that I could not practice anymore when sitting on a chair.
So my father,
who is a trumpetist himself suggested to me to play the
trumpet. On this
I very quickly started to advance.
P: You started with lessons
from your father.
SN: I not only started like
that - I still learn from him. But because
today I play some things differently to him, he prefers
calling himself
my advisor.
P: Is there a russian school
of trumpet playing?
SN: There is a lot of talk
about this. I don’t believe, that something
like this consistently exists. Every musician plays on his
very
individual way.
P: What makes musical individuality?
SN: I think on a trumpet,
knowing how to phrase is the most importatn
thing. Of course, there are very difficult pieces where
nothing else
than the temperament is of importace. But this kind of Show
is not all
that counts. Real emotional playing will always lead to
music with space
for individual phrasing.
P: The classical repertoire
for trumpet is small.
SN: But we consistently work
enlarging it. For my last CD, my father
arranged three big Bassoon concerts of Mozart, Hummel and
Weber for
trumpet, additionally the Cello concert of Saint saens for
fluegelhorn.
At the moment, we develop with my French instrument maker
Courtois in
Paris a new trumpet with four instead of three valves, in
order to
increase the scale downwards. Technically this means quite
a big change.
With this trumpet, I will be able to play something with
the Klarinett
Literature.
P: What do you expect from
contemporary compositions?
SN: Much, but not all, of
the new trumpet literature I can only
understand very limited. I just don't feel what they want
to express,
even though technically it would not be a problem I feel
it would be
unfair to present a piece to the auditorium that you emotionally
did not
understand yourself. Then you can simply present a calculaing
machine.
So thankfully I can only play the pieces, whith which I
can identify
myself.
The talk was held by Andreas
Grabner.
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