Vishnevsky, Ivan Sergeevich (musician)

From 1986 to 1996, he worked in the Main Music Edition of the All-Union Radio (USSR State Television and Radio Broadcasting, Ostankino Radio-1) as an editor , senior editor and host of programs. He developed the concepts and conducted the first broadcasts of the programs “Little Masterpieces of Big Music”, “Moments of Beautiful Music”, “Thoughts on Music”, “Fairy of Music”, “Music: Problems, Judgments, Criticism”, “Music Day”, “Concert-Thinking” ". Conducted "News of musical life", "At work noon", "Conversations of adults on the air." In Vishnevsky’s programs, in particular, such musicians as G.V. Sviridov , B. A. Tchaikovsky, V. A. Gavrilin , T. G. Smirnova, V. G. Kikta, E. F. Svetlanov , V. N. Minin, L.N. Brushtein , A.F. Vedernikov , E.E. Nesterenko, E.V. Obraztsova , V.I. Pyavko, D.A. Hvorostovsky .

From 1997 to 2008 he worked at the radio station "Narodnoe Radio". He was one of the organizers, co-author of the concept, art editor, author of screensavers and jingles, leading art and socio-political programs. He acted as a popularizer and propagandist of folk music - including in collaboration with V. M. Shchurov ^[1] . Towards the end of his life, he was deputy editor-in-chief of the Annunciation radio station, deputy editor-in-chief of the Zavtra - Yes! Radio station, host of the Den TV channel, and journalist of the Zavtra newspaper.

He prepared and published in the federal media a series of large conversations with prominent cultural figures ( I.K. Arkhipova , N.N. Dobronravov , A.N. Pakhmutova , V.M. Klykov , V.G. Rasputin , S.M. Slonimsky , V.I. Fedoseev , T.N. Khrennikov , V.A. Chernushenko , V. B. Dovgan and many others. .

Ivan Vishnevsky is known mainly as the author of choral music. His choirs were performed at the festivals of the Patriotic Choir Music (1990), “All-Russian Choral Assemblies” (2005-2006), the Easter Festival (2006-2013), festivals in Kiev (2006-2010), the choir festival Cathedral of Christ the Savior “Chants of the Christian World” (2013–2016), “Moscow Autumn” (2007–2014).

The main works:

• Five choirs to folk words for chamber female composition (1983);
• String Quartet in two parts (1985);
• Symphony concert for flute, viola and symphony orchestra (1988);
• “So ...” - a poem for a string orchestra (1992);
• “Forgotten Music” for piano and string orchestra (1996-2004);
• “Good Songs” - a concert for the choir on folk words (2005);
• Symphony concert for piano and orchestra "South Russia" (2006);
• “At the forest analogue”, songs and psalms for the choir, words by Sergey Yesenin (2006);
• “Roads” - choral suite, words by Nikolai Rubtsov (2007);
• From "Easter Hours" for the choir (2008);
• “The Firebird” - 4 poems by Sergey Klychkov for the choir (2009);
• “Sketches of drama from Ukrainian history”, oratorio, words by Nikolay Gogol (2010);
• “From Vespers Chants” (2011);
• “The Journey of Lyrnik, who knew from different nations how songs are played for the glory of God” - an oratorio for soloists, a mixed choir and an ensemble of ethnic and symphonic instruments to the words of Archpriest Andrei Spiridonov (2013);
• "New Russia" - a poem for voice and piano to the words of Russian poets (2015).

Member of the Union of Composers of Russia and the Union of Journalists of Moscow.

President of the Patriarchal Festival " Chants of the Christian World " (2013-2014).

Ivan Vishnevsky considers himself a follower and successor of Georgy Sviridov , who at the very beginning of his career, according to musicologist A. Vulfov, “listened to three early choirs of Ivan Vishnevsky for folk words written for the female composition, and was completely delighted” ^[2] . According to Vishnevsky himself,

I sincerely consider Georgy Vasilyevich Sviridov not even a highly talented, not even “just” brilliant composer, but a man who has shown himself a type that is superior both in reason and intuitive power and artistic talent of all the people I know from literature and personal meetings . <...> But how fiercely the enemies hated Sviridov! I remember the crazy gossip that Sviridov himself does not compose, but uses composers, “slaves”. Show me those unknown geniuses who composed the “Sviridov style”! And they lied and blackened because they were afraid. But there really was something to be afraid of Russophobia and culture haters, “uncompromising fighters against religious dope”. After all, Sviridov was not just brilliant - he was unprecedentedly strong and fearless. <...> I always felt that I was dealing not just with a genius who brought me closer, but with a superman. From the Elder was beating with energy unprecedented by me. The handshake was pierced by current, his thoughts took on the oppressive severity of the substance of some fantastic superdense star ^[3] .