Dmytro Logvin is the director of Four Seasons Chamber Orchestra and he also holds the position of the Managing Director of PinchukArtCentre for many years.

Apart from that he has become an invited conductor of the chamber orchestra “Kyiv Soloists”. The musician and manager told TOP 10 about the difficulties of his work.

At the same time you perform functions of a conductor and a manager. Why, in addition, have you also agreed to conduct Kyiv Soloists?

As a matter of fact, it is not an easy thing to combine these functions. It is difficult, having finished the rehearsal of Mozart, without a break, to join the budget session of PinchukArtCentre for the next year. Or, having chaired the meeting on the technical equipment of the museum, to start a rehearsal of a Haydn symphony. But it has been 15 years since I worked with Viktor Pinchuk and we have very close relations. However, 15 out of 40 years is quite a long period of life. I like this job, especially I like that it implies a result. I do not like idle working without a feeling of the result. At the end of 2002 we spoke with Viktor Pinchuk about creation of a museum, and there was a fund established in 2003, and a three-day workshop with a subject “How should a contemporary museum look like” took place, and then exhibitions were placed in the art centre one after another. That means the results have been quite tangible at every stage.

It is very important for me. Nevertheless, a moral priority for me is conducting. Since 1993 I have been at the console of Four Seasons orchestra, whose supporter is Viktor Pinchuk. Being an invited conductor of Kyiv Soloists is excitement for me in the first place. Because one thing is to work with your permanent team, where they understand you with a single word, where many things are perceived intuitionally, and another thing is to start managing an absolutely unknown team, motivate musicians, and make them follow you. If you manage it that is the thing you are working for.

Is the support by Viktor Pinchuk also meant for Kyiv Soloists?

This is not in the plan. I cannot even state that he is happy that I am working with them; we have had a conversation regarding this. I will not let myself to bother Viktor Pinchuk with such requests.

Are you going to change anything drastically in this orchestra – a repertoire, its image?

– No. This is a famous and very professional team, there are young high-qualified musicians in it, it is a very flexible material that is interesting to work with. As for the repertoire of the chamber orchestra it is quite limited. Of course we can do arrangements but they are secondary. Kyiv Soloists have a great potential but in my opinion, it was somewhat restrained due to various reasons for the past several years. I am interested in this very potential energy in this orchestra. I am trying to do my best so that the ensemble would be evaluated highly by audience, so that it would become a Kyiv brand similar to the brand of Four Seasons orchestra for Dnepropetrovsk.

Please tell me of your experience of creating Four Seasons orchestra. What influenced its status apart from continuous sponsor support of Viktor Pinchuk?

We were creating the orchestra in extreme conditions. It was the time when fifteen-twenty spectators in the concert hall was a norm for the concert. Absolutely useless rules created by people being far from the music were in force in our area. For instance, these people could approve or reject a concert program. We went away from all this and created a hundred per cent private orchestra. They predicted that it would collapse in six months, that there would be no money and nobody would be attending our concerts. But I did not pay any attention to those conversations. And as the time passed by we proved the capability of the orchestra with full halls, gorgeous critical replies, comments of brilliant soloists that performed with us. I was dealing not just with matters of art but for instance I was keeping an eye on appearance of the musicians from haircuts to socks. On my time I could send a musician away from the stage if he came to the concert in a tailcoat and red socks. But the main thing is a properly composed program. Apart from the top compositions of classical music I always select those that have never been performed in Ukraine or in Dnepropetrovsk. But it is important that it is classic. There are lots of classical compositions unknown to us. And playing this music always attracts audience; it appreciates when she is treated with respect. But the point is that the music is such a sphere where one needs to be proving something constantly, to prove to yourself in the first place. I do not know a single musician who was not worrying before entering the stage. In this way our profession differs from the work, let us say, of an engineer or a factory master, where a mechanical process is involved. In music, especially in the profession of a conductor, everything is different. Generally up to now there is no clear answer to the question, what is a conductor for? There are eighty or thirty people with high education, all of them have notes and the pace and nuances set by a conductor. What does a conductor do? Perhaps Rimskiy-Korsakov was the one to reply best of all to this question: “Conducting is a vague matter”…

10 attributes of a music event by Dmytro Logvin

1. Proper composed concert program.

2. Famous names of performers.

3. Quality of performance.

4. Advertising.

5. PR. Alla Pugacheva said the best phrase about PR: “Write anything about me except for an obituary notice.”

6. Appearance of musicians, image.

7. A properly chosen location for a concert. In my opinion in Kyiv the worst location for classic music is Palace “Ukraine”, the best location is National Philharmonic.

8. It is difficult to get the tickets.

9. Sensation.

10. The concert itself. The thing it is all about.

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