A New Look.
Proskurin Sergey Georgievich (born January 26, Stary Oskol, Belgorod region, USSR) - Soloist-trumpeter, teacher, scientist, professor, conductor, producer.
BiographyEducation
- 1964-1970 - Starooskolskaya School of Music them. M. G. Erdenko.
- 1971-1975 - Gubkinskoe School of Music pipe class.
- 1975-1980 - Saratov State Conservatory. L. V. Sobinova, internship in the trumpet class of the Honored Art Worker of the RSFSR, Professor A. D. Selyanin.
- 1985-1987 - assistant-internship (postgraduate study) at the Saratov State Conservatory. L. V. Sobinov in the trumpet class of the Honored Art Worker of the RSFSR, Professor A. D. Selyanin.
- 1988 - Moscow State Conservatory. P. I. Tchaikovsky, an internship in the trumpet class of the Honored Artist of the RSFSR L. V. Volodin.
- 1992 - internship in the studio contemporary music E. Polyak ( NY, USA).
- 1994 - internship in the class of opera and symphony conducting by Professor D. Goy at the National University of Music (Bucharest, Romania).
- 1995 - internship in the studio early music playing authentic instruments (London, UK).
- 2000-2002 - postgraduate study at the Saratov State Conservatory named after. L. V. Sobinov in the conducting class of the People's Artist of the RSFSR, Professor Yu. L. Kochnev.
- 2002-2003 - St. Petersburg State Conservatory. N. A. Rimsky-Korsakov, class internship opera and symphony conducting by the People's Artist of the Russian Federation, Professor R. E. Martynov.
Work, creative biography
- 1976-1977 - Saratov Symphony Orchestra academic theater opera and ballet.
- 1977-1978 - Saratov Symphony Orchestra regional philharmonic society.
- 1979-1991 - Rostov Regional Philharmonic.
- 1982-1985 - Chisinau State Institute of Arts.
- 1985-1987 - Saratov State Conservatory.
- 1987-1990 - Chisinau State Conservatory.
- 1987-1990 - Founder, Head of the Department of Instrumental Performance
- 1987-1990 - Creator and artistic director Moldavian Brass Quintet (Moldova)
- 1987-1990 - Artistic Director of the Theater Orchestra. A. P. Chekhova (Chisinau, Moldova).
- 1989-1990 - Symphony Orchestra of the Moldovan Opera and Ballet Theatre.
- 1991-2000 - State Conservatory of Falyun (Sweden).
- 1995-1997 - Royal Danish Academy of Music (Copenhagen).
- 1993-1999 - Symphony Orchestra of the Dalarna Music Association (Sweden).
- 2001-2004 - chief conductor and artistic director symphony orchestra Kursk Regional Philharmonic.
From 2002 to the present - Chief Conductor and Artistic Director of the Russian Chamber Orchestra of Kursk state university.
- 2005-2007 - L. van Beethoven Conservatory in Vienna (Austria).
From 2007 to the present - Professor of Kursk State University Founder and Head of the Department of Instrumental Performance.
fruitful pedagogical activity Sergei Proskurin successfully combines with active scientific and methodological work. He published more than 200 scientific, scientific-methodical and creative works, including two monographs: "Problems of playing the trumpet of Baroque music: instruments, repertoire, traditions", "The Trumpet of the Golden Age".
Sergei Georgievich toured as a soloist, conductor, gave master classes in Russia, Japan, Taiwan, USA, Hong Kong, Sweden, Denmark, Norway, Germany, Spain, France, Austria and many other countries. Recorded over 20 CDs.
Proskurin Sergey Georgievich is the author of major international cultural and creative projects: "Maryinsky Musical Seasons", which are held annually in the palace and park ensemble "Maryino", the sanatorium for the administration of the President of the Russian Federation, the annual music festival "Russian chamber orchestra– for children”, international festival classical music"Mariinsky Assemblies", the annual project "The Bridge of Friendship": Moscow State Conservatory. P.I. Tchaikovsky and Kursk State University, joint project with ICF Spivakov "Children are the future of Russia". Sergei Georgievich is a member of the jury of prestigious international competitions: international and republican competitions of classical and contemporary music in Chisinau (Moldova), the international competition " Live music"(Stockholm, Sweden), international competitions" Mozart Prodigy "(Mürtzeschlag, Austria)," Vienna Classical "(Vienna, Austria). International competition of performers on wind and percussion instruments in Astana (Kazakhstan)
Prize awards
- 1986 - Laureate International Competition chamber music(Kishinev, Moldova)
- 1987 - Diploma-recipient at the International Brass Quintet Competition. Special prize for the performance of music by Moldavian composers (Saratov)
- 1989 - Laureate of the International Contemporary Music Competition in Chisinau (Moldova)
- 1994 - "Dalarna Culture Prize" (Sweden)
- 1996 - For concert activity awarded the Culture Prize by the Bishop of Sweden
- 2003 - "Person of the Year-2003", in the nomination "New Names" was awarded the "Kursk Antonovka" Prize
- 2004 - Laureate of the International Competition-Festival of Classical Music in El-Jem (Tunisia)
- 2004 - "Manager of the Year-2004", in the nomination "Culture" with the award of an honorary medal in the Kremlin
- 2006 - Baka El-Rashidy Red Sea Governor's Medal. (Egypt)
- 2011 - memorial sign"For Labor and Fatherland"
- 2011 - Medal of the Order of St. Nicholas, Archbishop of Myra, Miracle Worker "For merits in charity"
- 2012 - Badge of honor "For special services to the city of Kursk"
- 2013 - Awarded honorary title"Honored Worker of Culture of the Russian Federation". Decree of the President of the Russian Federation of May 20, 2013.
- 2013 - Badge of Honor of Kursk State University
- 2014 - Full member (academician) of the International Academy of Creativity, Moscow
- 2014 – Best Classical Music CD Recording Award, Swedish APM Film & Music CO
- 2015 - For the revival of the Russian musical culture was awarded the Medal of the Imperial Order of Saint Anna. Madrid on November 4, 2015
- 2016 - Natalia Sats Prize and medal of the International Academy of Creativity for outstanding creative contribution V musical art, Moscow, April 15, 2016.
"Uraaaaa!" - rustled through the forest, and, one hundred after another, as if sleeping out of a bag, the Cossacks flew merrily with their darts at the ready, across the stream to the camp.
One desperate, frightened cry of the first Frenchman who saw the Cossacks - and all that was in the camp, undressed, half-awake, threw guns, rifles, horses and ran anywhere.
If the Cossacks pursued the French, not paying attention to what was behind and around them, they would have taken Murat and everything that was there. The bosses wanted it. But it was impossible to budge the Cossacks when they got to the booty and prisoners. Nobody listened to the commands. One thousand five hundred prisoners were immediately taken, thirty-eight guns, banners and, most importantly for the Cossacks, horses, saddles, blankets and various items. It was necessary to get along with all this, to seize the prisoners, guns, divide the booty, shout, even fight among themselves: the Cossacks took care of all this.
The French, no longer pursued, began to gradually come to their senses, gathered in teams and began to shoot. Orlov Denisov waited for all the columns and did not advance further.
Meanwhile, according to the disposition: “die erste Colonne marschiert” [the first column is coming (German)], etc., the infantry troops of the late columns, commanded by Benigsen and managed by Tol, made their way and, as always happens, came somewhere , but not where they were assigned. As always happens, people who went out cheerfully began to stop; displeasure was heard, a consciousness of confusion, they moved somewhere back. The galloping adjutants and generals shouted, got angry, quarreled, said that they were completely in the wrong place and were late, they scolded someone, etc., and finally, everyone waved their hand and went only to go somewhere. "We'll go somewhere!" And indeed, they came, but not there, and some went there, but they were so late that they came without any use, only to be shot at. Toll, who in this battle played the role of Weyrother in Austerlitz, diligently galloped from place to place and everywhere found everything upside down. So he rode on Baggovut's corps in the forest, when it was already completely light, and this corps should have been there long ago, with Orlov Denisov. Excited, upset by the failure and believing that someone was to blame for this, Toll jumped up to the corps commander and began to reproach him severely, saying that he should be shot for this. Baggovut, the old, fighting, calm general, also exhausted by all the stops, confusions, contradictions, to the surprise of everyone, completely contrary to his character, went into a rage and said unpleasant things to Tolya.
“I don’t want to take lessons from anyone, but I know how to die with my soldiers no worse than anyone else,” he said, and went forward with one division.
Entering the field under the French shots, the excited and brave Baggovut, not realizing whether his intervention now was useful or useless, and with one division, went straight and led his troops under the shots. Danger, cannonballs, bullets were just what he needed in his angry mood. One of the first bullets killed him, the next bullets killed many soldiers. And his division stood for some time useless under fire.
Meanwhile, another column was supposed to attack the French from the front, but Kutuzov was with this column. He knew well that nothing but confusion would come out of this battle, which had begun against his will, and, as far as it was in his power, held back the troops. He didn't move.
Kutuzov silently rode on his gray horse, lazily responding to proposals to attack.
“You have everything on your tongue to attack, but you don’t see that we don’t know how to make complex maneuvers,” he said to Miloradovich, who was asking to come forward.
- They didn’t know how to take Murat alive in the morning and arrive on time at the place: now there’s nothing to do! he replied to another.
When Kutuzov was informed that in the rear of the French, where, according to the reports of the Cossacks, there had been no one before, there were now two battalions of Poles, he glanced back at Yermolov (he had not spoken to him since yesterday).
- Here they ask for an offensive, they offer different projects, but as soon as you get down to business, nothing is ready, and the warned enemy takes his measures.
Yermolov screwed up his eyes and smiled slightly when he heard these words. He realized that the storm had passed for him and that Kutuzov would confine himself to this hint.
“He’s amused at my expense,” Yermolov said quietly, pushing Raevsky, who was standing beside him, with his knee.
Shortly thereafter, Yermolov moved forward to Kutuzov and respectfully reported:
“Time has not been lost, Your Grace, the enemy has not left. If you order to attack? And then the guards will not see the smoke.
Kutuzov did not say anything, but when he was informed that Murat's troops were retreating, he ordered an offensive; but every hundred steps he stopped for three-quarters of an hour.
The whole battle consisted only in what the Cossacks of Orlov Denisov did; the rest of the troops only lost a few hundred people in vain.
As a result of this battle, Kutuzov received a diamond badge, Benigsen also received diamonds and a hundred thousand rubles, others, according to their ranks, also received a lot of pleasant things, and after this battle, new changes were made in the headquarters.
“This is how we always do it, everything is upside down!” - Russian officers and generals said after the Battle of Tarutino, - just like they say now, making it feel that someone stupid is doing it upside down, but we would not have done it that way. But people who say this either do not know the business they are talking about, or deliberately deceive themselves. Every battle - Tarutino, Borodino, Austerlitz - everything is not carried out in the way that its stewards intended. This is an essential condition.
An innumerable number of free forces (for nowhere is a man more free than in a battle where life and death are at stake) influence the direction of the battle, and this direction can never be known in advance and never coincide with the direction of any one force.
If many, simultaneously and diversely directed forces act on some body, then the direction of movement of this body cannot coincide with any of the forces; and there will always be an average, shortest direction, what is expressed in mechanics by the diagonal of the parallelogram of forces.
If in the descriptions of historians, especially French ones, we find that their wars and battles are carried out according to a predetermined plan, then the only conclusion that we can draw from this is that these descriptions are not correct.
The Tarutino battle, obviously, did not achieve the goal that Tol had in mind: to bring the troops into action in order, according to the disposition, and the one that Count Orlov could have had; capture Murat, or the goal of instantly exterminating the entire corps, which Benigsen and other persons could have, or the goals of an officer who wanted to get into business and distinguish himself, or a Cossack who wanted to get more booty than he got, etc. But , if the goal was what really happened, and what was then a common desire for all Russian people (the expulsion of the French from Russia and the extermination of their army), then it will be completely clear that the Battle of Tarutino, precisely because of its incongruities, was the very , which was needed during that period of the campaign. It is difficult and impossible to think of any outcome of this battle more expedient than the one that it had. With the smallest exertion, with the greatest confusion and with the most insignificant loss, the greatest results in the entire campaign were obtained, the transition from retreat to attack was made, the weakness of the French was exposed, and that impetus was given, which was only expected by the Napoleonic army to start the flight.
The Russian Chamber Orchestra played with five outstanding contemporary soloists.
The program includes the "cream" of the classics, works loved and recognizable anywhere in the world. The composition of the orchestra is also international - Russia, France, Belgium, Korea. The universal language of music helped to "play along".
“We have been practicing concerts with guest soloists for a long time. And each performance is unique. This time is no exception. Real happiness is to perform with such masters of their craft, so we prepared for a long time and carefully”,
- says the artistic director of the Russian Chamber Orchestra Sergei Proskurin.
The rehearsals were not in vain, and the guests who arrived noted this.
The orchestra is just amazing! It's amazing that in a small Russian city there is a team of this level!”
By the way, the soloists themselves deserve to be discussed separately. So, let's get acquainted.
The real diva of the evening, who enchanted the whole audience with her voice, is the soloist Bolshoi Theater Oksana Lesnichaya. A native of Togliatti, who graduated from the Moscow Conservatory, who managed to work in the capital's Chamber musical theater, and in the Center opera singing named after Galina Vishnevskaya, and in the Yurlov Choir Chapel.
Despite her young age, Oksana already has rich creative experience. IN different time she performed the parts of Cleopatra in Handel's Julius Caesar, Parasi in Mussorgsky's Sorochinskaya Fair, Xenia in Boris Godunov, and Faust's Marguerite.
She was Eurydice, Lyudmila and even the Queen of the Night. And more than a dozen legendary female opera images turned out to be within the power of this charming girl. Despite hyper-employment, Oksana constantly tours, and not only abroad.
“I am a very sociable person, I am always open for new projects and contacts! I often perform in my native Togliatti, in the cities of the Volga region. And, of course, I could not help but succumb to the charm of maestro Proskurin, so I am here in Kursk,
– the singer admits.
“I was born in Uzbekistan and I had to work hard to find my place in opera world. But each stage gave me invaluable experience. Moscow State Conservatory, Vishnevskaya Center, great amount competitions, and there were not always victories.
But I am happy that I have such a fate. Today I am struggling with the role of Dolokhov in Prokofiev's War and Peace, and tomorrow I will be applauded by a whole hall at the festival of Russian culture in Bulgaria. Today I am in Kursk, which I am extremely happy about, the audience in the provinces is simply extraordinary, and tomorrow ... Who knows what will happen tomorrow?
In the repertoire of Yuri and Mizgir from Rimsky-Korsakov's opera "The Snow Maiden", and Tomsky from " Queen of Spades» Tchaikovsky, and Onegin, and Rigoletto, and many, many more most interesting images. Of course, the arrival of a singer of such a level as Zaltsman in Kursk is a real cultural event for our city.
No less interesting for the people of Kursk will be the performance of Rodion Zamuruev, laureate of international competitions, whose impeccable violin playing in different years conquered listeners in Russia, Spain, Chile, China, Turkey, Switzerland and many other countries.
“I have been performing since I was seven years old. I speak with solo programs and in various ensembles. Being on the same stage with your orchestra is very comfortable. The musicians are wonderfully prepared and very flexible, they feel the soloist, what I need, what I want to say. I am the head of a team called Mobilis, and so my Kursk colleagues can be called the same. They are very mobile."
the musician admits.
The exotic melody of the evening was the performances of the French violinist Chloe Macron and her colleague from Korea, Jun Chun Man. West and East, two poles, two elements introduced the people of Kursk not only to different musical schools, but to two universes.
And yet, no matter where the musicians came from, an attentive spectator who came to the concert heard their hearts beating in the same rhythm of the classics.
"I am just a trumpeter and do not participate in the battle. Our trumpet calls people not to mutual strife and battles, but to make peace among themselves ..." these words of Francis Bacon, an English philosopher, likes to repeat Sergeyp Proskurin - professor, teacher , conductor and head of the Russian Chamber Orchestra of the Kursk State University and, by the way, a virtuoso trumpeter.
Our meeting with Sergei Georgievich took place on the eve of three anniversaries in his life at once: the 55th anniversary of his birth, the 35th creative activity and the 10th anniversary of the creation of his favorite brainchild - the Russian Chamber. We decided to talk with the maestro about life, family, music and much more.
- Sergey Georgievich, perhaps, let's start with how you came to the world of music?
In the life of every person, everything begins with the family. I was lucky because I was born in a musical family: my mother, Polina Timofeevna, teacher primary school, played the piano and guitar, dad, Georgy Timofeevich, worked as an electrician at the factory, and also knew how to play the guitar and button accordion. Besides, mother knew well German, loved to tell fairy tales and sang, so no one was ever bored in our house. At the age of three, my father taught me to play the balalaika, and he and his mother played along with me on the guitar - this was the first trio in my life. And already at the age of six they sent me to a music school.
- So early? But a music school means hours of classes, but you really want to run around? ..
And I succeeded: and musical notation mastered, and ran in the yard, and even attended sections in football, gymnastics at school - one did not interfere with the other.
How did you get into playing the trumpet?
This happened later, when I left my native Stary Oskol and went to study at the music school in Gubkin. I chose the trumpet thanks to my uncle, who was also a musician, taught and conducted a symphony orchestra, he supported me a lot, guided me, one might say, was my ideal.
- Why music? After all, this is not a very profitable occupation?
Even Rachmaninoff wrote: "Music is a bad business." But after all, the works performed by our orchestra have been listened to for more than 300 years! And if they have "lived" for several centuries and still excite the public, then they must be played.
- But you are not only a virtuoso trumpeter, you have also mastered the conductor's profession, and with brilliance ...
You know, leading an orchestra is like running a small state - hard, serious work for men. People at your disposal different characters, training, school, and you need to combine them, subordinate them to one idea and at the same time not suppress individuality.
I started to learn conducting because, as a soloist, I had seen enough of leaders who were unworthy of their orchestras. The reason is simple: first you need to play in a team for several years, to understand how it works. Personally, I think that I fully realized as a conductor only at the age of 50.
- How was the Russian Chamber Orchestra created?
Once I realized that there is not a single chamber orchestra in the Chernozem region, but it has many advantages: it is small, flexible, mobile. In addition, it is much easier for him to find musicians, because 15 people are not 80, as in a symphony. I shared my ideas with Vyacheslav Gvozdev, rector of Kursk State University, and found support from him. This is how our team was born, in which initially there were 12 people, and in this moment- 20. Just like that, the stars “came together”, or rather, two people: one is a far-sighted person with a rare business sense, and the other is a professional musician who combines European and Russian school. The result of this synthesis was our orchestra.
- What are the criteria for selection in your team?
First of all, diligence, professionalism and, of course, communication skills. There are people who are amazing musicians but can't work in a band. An orchestra is like an expensive car well-known brand: I got a part from another manufacturer - and the car will not go!
IN Lately I noticed another interesting feature of our Russian chamber music: before, a musician, no matter how prepared he was, was drawn into the rhythm of the orchestra for at least a year, but now this time period has been much reduced and takes several months, apparently, the set bar makes people work on themselves and grow.
- Are there those who have been playing with you since the day of foundation?
Certainly! Unfortunately, there are not so many of them left - Sergey Sorokin, Lada Averyanova, Karina Proskurina, Irina Sorokina. Sometimes a musician gets a better deal financially offer and go away, that's fine. Of course, I really want the musicians to receive a decent salary, but often this remains a dream. It is very bitter to watch the situation when the need forces professional musician engage in other activities such as trading. This is wrong, because to get a diploma of an orchestra player, a person needs to study for 20 years!
- Sergey Georgievich, the orchestra is a family, and each family has its own traditions and customs. And how are you?
We celebrate all the holidays together, in the summer we organize picnics with amazing barbecue. And never say bad things about your colleagues. Music environment disposes to criticism, but I initially suppressed all attempts to discuss. After all, they also said about us that we would fall apart in a year or two after the foundation. Ten years have flown by, and we do not think. Because it is not difficult to create an orchestra, but not everyone can do a lot of good things with it over the years.
Among other things, we value each other, we try not to offend even a word. For example, you can ask a musician: "What are you playing there?!" And thereby set him up for aggression and a desire to defend himself. And if you ask the question in a different way: "What do you have in the notes?" Agree, it does not sound so insulting and defiant.
- And yet what is the uniqueness of the Russian chamber?
For ten years the orchestra has gained own face and individual sound. After all, we are not trying to imitate anyone, but we live, develop, constantly create new projects, which, again, would simply be impossible without the support of the university, because it acquires unique vintage instruments, gave the opportunity to create a mini-conservatory and establish his own recording studio. Without his help, we would not have been able to invite to our concerts famous musicians and composers not only from abroad, but also from Russia.
- Tell us about the most interesting venues you have played on.
Perhaps this is the Moscow Conservatory and National Hall Madrid. The orchestra acquired a unique sound in various churches - Catholic, Protestant. In general, it doesn't matter for our musicians where to play.
- Sergey Georgievich, what are we all about music ... Let's talk a little about you. I think our readers have repeatedly asked the question: why did you return from abroad to Russia?
Firstly, the roots were pulled, and secondly, nostalgia tortured me. Now is not the 80s when creative people they were not allowed to write, play, speak out. Everyone has the opportunity to go, for example, to America, Italy, anywhere, see how people live, even work a little, and then return. In addition, my elderly parents remained in Russia. When I returned, I found so much good in my life: I created new family, because I have three children, met with wonderful people.
- Tell me, are you also a leader in the family?
Probably not. Although in the army and at school I constantly showed leadership skills, because he created either sports teams or musical groups.
- Do you have creative crises?
No, I'm the type of person who will always find something to do.
- How do you relax from music?
I love taking pictures. Recently in Sweden in the mountains I "caught" a deer in the frame. I go in for sports, learn languages, and now I'm learning Italian. I also have one hobby - collecting vinyl records, and there is also a set of old equipment in good condition (even tube amplifiers), on which you can listen to them. The pride of my collection is Nikolai Geda's recordings.
I try to spend more time with my children. In general, I have four of them, by the way, I recently became a grandfather - my grandson is already four months old. You know, I so want to live longer in order to be able to be happy for my children and grandchildren!
- Sergey Georgievich, do you think a musician should be a believer?
The question of faith is always very difficult, but I believe that with the advent of Christ, the world has changed, and with it the music, which would not have appeared without the Creator.
- Your profession gives you a rare opportunity to get acquainted with interesting people. Tell us about the most memorable meetings.
I have always been struck by what more people does and knows how, the easier and more modest he is in communication. Not so long ago I met Larisa Udovichenko. It would seem that an actress, a star, but how sincere she is - no arrogance, arrogance. I can say the same about Vasily Lanovoy, Evgeny Svetlanov, Mstislav Rostropovich, Marine Yashvili. Yes, fate gave me many interesting meetings. Communication with such people makes us better and richer spiritually.
- What would you wish the participants of the Russian Chamber Theater for a decade?
Respect and love your profession, be proud of it, because we are really busy in a very serious, even unprofitable economic terms deed. But after all, something else binds us - much more important, I would say, eternal, the music that we play.
Reference
Sergei Proskurin graduated from the Erdenko Children's Music School in Stary Oskol, then entered the wind department at the Gubkinsky Musical College, after that there was the Saratov Conservatory and two graduate schools.
At the age of 30, Sergei Georgievich created and headed the first department in the Moldavian Republic orchestral music in Chisinau state institute Arts named after Muzichesku. In addition, in Moldova, Sergei Proskurin organized a brass quintet, as well as a symphony orchestra under the State Russian drama theater named after Chekhov.
In Sweden, Maestro Proskurin holds the position of Head of the Department of Wind Instruments at the State Conservatory in Falune, teaches, tours with the brass quintet created at the Conservatory in the cities of Europe, and is also actively involved in music as a trumpeter. Sergei Georgievich also writes music, and his works are performed by the famous jazz musician Max Schultz. In the coming year, the premiere of "Christmas Cantata" will take place for children's choir and a symphony orchestra written by the maestro.
On March 21, puppeteers around the world celebrate their professional holiday. In the Kursk Puppet Theater, the holiday will begin at 10.00.
It is planned that the opening of the new monument will take place at four o'clock in the morning on June 22. 13.03.2019 Kurskaya Pravda
Tomorrow the Kuryans will be presented new program- "Melodies descended from the screen." 13.03.2019 Kurskaya Pravda
in Kursk art gallery named after Alexander Deineka, the Planet of Life exhibition opens.
13.03.2019 Kurskaya Pravda 
The exhibition, which opens on March 15, presents works of painting, sculpture, graphics and arts and crafts from the gallery's collection.
13.03.2019 IA KurskCity
PROSKURIN, Sergey Georgievich (born January 26, 1957) - virtuoso trumpeter, conductor, professor, head of the instrumental performance department of Kursk State University (KSU) and the Beethoven Conservatory of Vienna, chief conductor and artistic director of the Russian Chamber Orchestra of KSU (2013) .
Initial professional education received at the Gubkin Music College (Belgorod Region) in the trumpet class. Then he continued his education as a trumpeter and conductor at conservatories: in Saratov, in the trumpet class of Professor A.D. Selyanin, St. Petersburg, class of opera and symphony conducting by Professor R.I. Martynov. Trained in the class of opera and symphony conducting of Professor D.S. Goya.
In 1988 - the winner of the first international competition of brass - quintets, in Saratov.
At the international jazz festival-competition "Chisinau-90" he won the first prize as a conductor and artistic director of the orchestra of the Moldavian State Conservatory named after Musichesku, won the Grand Prix as a trumpet soloist.
Since 1988 he has been a member of the worldwide organization of the International Guild of Trumpeters.
At the age of 30, he created and headed the first department of pop-jazz music in the Moldavian SSR at the Chisinau State Institute of Arts. G. Muzichesku. He brought up a galaxy of talented trumpeters, laureates of republican and international competitions - Vladimir Kaverdu (laureate of the republican competition, 1987), Yuri Taranenko (laureate of the first All-Russian competition of brass quintets, Saratov, 1988), Petr Strelchuk, Oleg Gritsev (diploma winners of the international competition in Tallinn, 1988 ), Sergei Karaiman.
In 1984, he organized the first brass quintet in the Republic of Moldova, which became a laureate of the first international competition of brass quintets in Saratov. In parallel, he created an orchestra at the State Russian Drama Theater. A.P. Chekhov, where he served as a conductor and artistic director.
Proskurin has been working in Europe for more than 20 years. He taught and headed the department of wind instruments at the State Conservatory of Sweden in Falyun. He organized a brass quintet touring the cities of Scandinavia and Europe, worked as the first trumpeter in the Dalyarn Chamber Orchestra, led the trumpet and ensemble class at the Royal Academy of Music in Copenhagen (1995-1997).
In the 1990s conducts a series of master classes as part of the prestigious ITG (International Trumpet Guild) seminars, combining them with concert performances: London (1995,1996), Gothenburg (1996), Oslo (1997), New York (1997), Chicago (1998).
Among Proskurin's students are laureates of international competitions who have become soloists of leading orchestras in Europe: Göran Christensen - soloist of the Royal Orchestra in Stockholm, Lash Karlin - soloist of the Berlin Opera, Nikolai Wiltoft - soloist Paris Opera, Karl Husum - soloist of the State Symphony Orchestra of Radio and Television of Denmark, Lasch Hansen - soloist of the Royal Danish Orchestra, Konstantin Strelchuk - conductor of the Presidential Orchestra of Moldova, Petr Strelchuk - soloist of the Moldovan State Philharmonic.
Since 2001, he has been working in Kursk as Artistic Director and Principal Conductor of the Symphony Orchestra of the Kursk Regional Philharmonic. At the same time, he creates his own group - the Russian Chamber Orchestra, which received the status of a university orchestra.
Since 2004 - has been teaching at the Kursk State University, combining work with the position of professor at the Conservatory. Ludwig van Beethoven in Vienna (Austria). Among his students, the most famous are: Pavel Pazon (international competition young composers"Crystal tuning fork", Moscow), Yuri Pastukhov (diploma XVII International festival of classical music, El-Jem, Tunisia), Andrey Goncharov, Valery Yakovlev (winners of the 1st prize at the international festival of students, KSU, 2004). some of them became teachers: Yu. College of Music them. G.V. Sviridova, V. Yakovlev - Deputy Director of the same college.
Proskurin is the author of more than 200 scientific, scientific, methodological and creative works, including two monographs: "Problems of playing the trumpet of Baroque music: instruments, repertoire, traditions", "The Trumpet of the Golden Age".
On the basis of KSU, he organized several successfully operating creative groups: the Russian Chamber Orchestra, the KSU Brass Quintet, the Student String Ensemble. Brass quintet of KSU is a diploma winner of the international festival of creative youth and students (Alushta, 2004, 2006), laureate of the international competition "St. Petersburg in the mirror of world musical culture" (St. Petersburg, 2006), laureate of the international competition "Mozart-wunderkind" ( Mürtzeschlag, Austria, 2007), winner of the Grand Prix of the international competition "Wiener-klassik" (Vienna, Austria, 2007). The string ensemble, organized in 2009 and consisting of students of the Faculty of Arts, annually takes top places on regional competition"Student Spring of the Nightingale Territory", is the owner of the Grand Prix.
In 2011, at the initiative of Proskurin and with his active participation, the department of instrumental performance was opened at KSU.
Thanks to Proskurin, lectures and master classes began to be held at KSU, unique concerts by world-famous musicians and conductors: Dumitru Goy (Romania), Jonathan Bratt (Great Britain), Mats Oberg (Sweden), Mak Ko Lak (Taiwan), Alex Shramek (USA), Vladimir Kaverda (Ireland), Winston Vogel (USA-Israel), Franz Shotsky (Germany), Sergey Kalyanov (France), Dmitry Loos (Spain) and other famous Russian and foreign performers.
Creative teams, created by Proskurin, are active in concert activities. Performing at prestigious concert venues: Moscow, Europe and America.
Proskurin has recorded 16 CDs as a soloist and conductor. According to the results of the competition - the selection of CDs of classical music, the Directorate of the State central museum musical culture. M.I. Glinka noted the disk of the Russian Chamber Orchestra of KSU as the best recording of 2010.
Concert programs collectives led by Proskurin are distinguished by a wide repertoire. They contain not only famous writings but also little-known music by ancient and contemporary composers.
He was the initiator and organizer of world and Russian music premieres in Kursk. For the first time, works by modern American (Griffis, Nelsen, conductor Alex Shramek) and Canadian composers (Steve Shenet), the ancient Swedish composer Johan Roman (suite, violin concerto orchestrated by Proskurin) and the composer of our time Göran Agdur (suites, music, written especially for the RKO “Yoran Agdur in Kursk”), etc. He was the organizer of an exclusive concert, where the music created in 1822 by Prince I. Baryatinsky was played for the first time. Proskurin found the score of his Overture in the archives of the capital, edited it, re-instrumented it and presented it to the audience. The premiere received a wide public response.
Proskurin does a lot in Kursk social activities. Constantly provides support to general education and music schools of the city, organizes charity concerts in orphanages and boarding schools, hospitals and nursing homes.
He is the author of five major annual cultural and creative projects: Musical seasons in Maryino", takes place in the palace and park ensemble "Maryino ", music Festival Russian Chamber Orchestra for Children international festival classical music "Mariinsky Assemblies", "Friendship Bridge" jointly: Moscow State Conservatory. P.I. Tchaikovsky and KSU, "Children are the future of Russia" together with the International charitable foundation Vladimir Spivakov. He tours a lot, participates in festivals and competitions as a member of the jury around the world.
In the 1980s member of the jury of international and republican competitions of chamber and contemporary music in Chisinau (Moldova).
In the 1990s member of the jury of the international competition "Live Music" (Stockholm, Sweden).
In 2000 - member of the jury of the international competition for blind performing musicians (Kursk, Russia, 2005) and international competitions "Mozart Prodigy" (Mürtzeschlag, Austria, 2007), "Vienna Classical" (Vienna, Austria, 2007).
Awards: international award Bishop of the Lutheran Church of Sweden musical instrument- Bach-Stradivarius trumpet, Dalyarna Culture Prize international award (Sweden, 1994), Red Sea Governor Baka El-Rashidy medal, Man of the Year (Kursk 2003), Kursk Antonovka award, Manager of the Year title -2004" with the award of a medal, an honorary diploma of the Ministry of Education and Science Russian Federation(November 16, 2009 order No. 859), a commemorative badge "For Labor and the Fatherland" (2012), an honorary badge "For special services to the city of Kursk" (2012).
On May 20, 2013, by decree of the President of the Russian Federation N 497, Proskurin was awarded the honorary title "Honored Worker of Culture of the Russian Federation."
) - Russian musician, trumpet soloist, teacher and conductor.
| January 26(1957-01-26) (aged 62) | |
| Stary Oskol | |
| Russia | |
| Trumpet soloist, teacher, conductor | |
| pipe | |
| classical music | |
Education
- 1964-1970 - Stary Oskol Music School named after. M. G. Erdenko.
- 1971-1975 - Gubkin Musical College, trumpet class.
- 1975-1980 - Saratov State Conservatory. L. V. Sobinova, internship in the trumpet class of the Honored Art Worker of the RSFSR, Professor A. D. Selyanin.
- 1985-1987 - assistant-internship (postgraduate study) at the Saratov State Conservatory. L. V. Sobinov in the trumpet class of the Honored Art Worker of the RSFSR, Professor A. D. Selyanin.
- 1988 - Moscow State Conservatory. P. I. Tchaikovsky, an internship in the trumpet class of the Honored Artist of the RSFSR L. V. Volodin.
Work, creative biography
- 1976-1977 - Symphony Orchestra of the Saratov Academic Opera and Ballet Theatre.
- 1977-1978 - Symphony Orchestra of the Saratov Regional Philharmonic.
- 1979-1991 - Rostov Regional Philharmonic
- 1985-1987 - Saratov State Conservatory.
- 2001-2004 - Chief Conductor and Artistic Director of the Symphony Orchestra of the Kursk Regional Philharmonic.
- 2007-2018 - Professor at Kursk State University. Founder and head of the department of instrumental performance.
From 2018 to the present - professor at the Saratov State Conservatory, head of the conducting department.
From 2002 to the present, Artistic Director and Conductor of the Russian Chamber Orchestra
Social activity
Member of the public council at the Ministry of Internal Affairs of Russia for the Kursk region
Vice President of the Sports Kickboxing Federation of the Kursk Region
Prize awards
- 1987 - Diploma-recipient at the International Brass Quintet Competition. Special prize for the performance of music by Moldavian composers (Saratov)
- 2003 - "Person of the Year-2003", in the nomination "New Names" was awarded the "Kursk Antonovka" Prize
- 2004 - "Manager of the Year-2004", in the nomination "Culture" with the award of an honorary medal in the Kremlin
- 2011 - Memorial sign "For Labor and Fatherland"
- 2011 - Medal of the Order of St. Nicholas, Archbishop of Myra, Miracle Worker "For merits in charity"
- 2012 - Badge of honor "For special services to the city of Kursk"
- 2013 - Awarded the honorary title "Honored Worker of Culture of the Russian Federation". Decree of the President of the Russian Federation of May 20, 2013.
- 2013 - Badge of Honor of Kursk State University
- 2014 - Medal for a significant contribution to the preparation and holding of the XXII Olympic winter games and XI Paralympic Games in Sochi. President of Russia V.V. Putin
- 2014 - Full member (academician) of the International Academy of Creativity, Moscow
- 2016 - Natalia Sats Prize and medal of the International Academy of Creativity for outstanding creative contribution to the art of music, Moscow, April 15, 2016.
- 2017 - Medal "Loyalty to Russia, Honor, Dignity" of the State Security Veterans Fund. Fund President Major General V. Kruglov
- 2017 - Order of St. Nicholas Archbishop of Mirlikiysky the Wonderworker "For outstanding services in matters of charity and mercy, to the glory of the Land and the Russian people" Order No. 335
- 2017 - Awarded with the medal "Glory and Honor" 1st degree Russian Orthodox Church for the contribution to the conservation traditional values in society January 26, 2017 award No. 83. Patriarch of Moscow and All Rus' Kirill
