Sayyn Hoo Namchylak Biography

Wonderful paintings opened to him! Sometimes it seemed to him that his throat was swelling, acquiring wild sizes that go into the afterlife. And through the red veins of his larynx, he saw unthinkable, erratic realities: a deity running with a bucket of chicken, some lines and a mouse, confused in plexuses of the Hegelian spirit. But the external was of little interest to him: sometimes this afterlife he saw seemed to him just an afterlife sleep, more corresponding, though, of his reality than ordinary earthly sleep - his own.

In general, he lived with this throat. He already clearly felt the void in his throat, because his consciousness went aside. Sometimes, having closed his eyes, he published some continuous rumbling, sound Velcro, just unhealthy sounds. ” Travel to the Center of Asia. Biennale at the Lenin Museum. The festival of music and the faith of the Utuu-Hauree. Sainho, and, along the way, very little is written about the meaning of Sainho, and, along the way, very little has been written in Russian in Russian.

Because it is important for her - first of all - not a technique, not a form. And what? What causes the greatest bewilderment: a strange convergence of the incompetent. Along the way, I note that he noted the same line with another great Russian singer - Valentina Ponomareva. Sainho is not only a “cave of your voice”, but the author of numerous various projects, cooperation in a variety of genres of modern art.

She graduated from the Moscow Music School. Ippolitova-Ivanova, People's Department of the Gnesinsky Institute in Moscow, graduate school of the Gnesin Institute. Not limited to Tuvan music itself, it focuses on archaic music and musical traditions of the peoples of Siberia and the Far East: Nganasan, Itelmen, Koryakov, Nivkhov, Tofalarov, Nanais, Buryat and Russians. In the year, she was awarded the second award at the All -Russian contest of folk song performers in Krasnodar and the Special Prize named after Irma Yaunzem.

The performance with great success was a great resonance. Letov-Aleksandrov-Sainho in the year musicologist Tatyana Didenko introduced me to Lyudmila, then a graduate student of the People’s Branch of the Institute named after Forgotten Streets of St. There, for the first time, Lyudmila Namchylak spoke under the stage pseudonym Sainho from her Tuvan name Sayyn-Kho.

I admit, I Alexandrov and I jokingly, we call it so sometimes ... The performance in Abakan was very successful and entailed many numerical invitations to Soviet jazz festivals, and for Sainho - proposals for cooperation with other groups. At our own peril and risk, we took Sainho with us, dividing the duet’s fee into three, while Alexandrov abandoned the hotel in favor of Sainho.

Most likely, she made the right choice, because the crisis associated with the collapse of the USSR for many years slowed down the innovation life in Russia, the intensity of which has not yet reached the end of the x. The foreign career of Sainho was very successful. Of all the ex-Soviet musicians of the new Jazz, Sainho reaches the greatest authority and recognition abroad.

II “The mind is like a tide, its vastness is oceanic. This is the coast of technologicalnosis, endless beach, endless bays. In fact, this meant that the language of new improvisational music was becoming for Sainho - one of the possible languages, the language of the cultural minority, which was not so complicated for it to get comfortable with it.

Kitze75 The fact that the avant -garde easily closes with the archaic has long been a common place, truism. One could continue in the same spirit - as Derek Bailey did until his death or continues to do Parker for several decades without the slightest change, moreover, the situation was very favorable to her. If the idioms of European music, jazz, popes, etc. And Sainho, as it is, is a specialist in archaic chants, or wider-vocal practices of the peoples of Siberia and the Russian Far East.

As a matter of fact, this protest gave rise to an ethno-mod in clothes, music, cinema, etc. However, the public is a loan of public confidence, as if energy doping, an advance, on the one hand, and the habit of overcoming obstacles, mastering new cultural and energy spaces, languages-on the other hand, prompted Sainho to experiments with electronic music. The Leningrad musical critic and organizer of new-music events Alexander Kan once, about 20 years ago, said that our improvisation and leading music is genetically connected not with jazz, but with rock.

Continuing it, I would add that modern electronic music is largely genetically connected with Rock Alexei Borisov, Ivan Sokolovsky, with rock - as an energy -saturated intensive protest music, which is not aimed at comfort, amusement. For Sainho, the content plan is very important, therefore it is very natural to appeal to the genre of songs or even a musical fairy tale, while maintaining all the luggage of techniques developed in the field of new improvisational music.Such is the fate of Free jazz in the era when, according to Gas Van Sent, it is fashionable to be normal when design and advertising are squeezed to complete inability to creativity and co-creation.

Perhaps the first experiment of Sainho in this direction should be recognized as cooperation with the Pioneer of Aisid-Jazz Ivan Sokolovsky already in me this fairy tale reminded the ancient Soviet diarlms with the tales of the peoples of the USSR. It is interesting that it was musically solved polystilistically: from the freest “plague” with the accordionist Evelina Petrova to the Tuvan samba, and this does not feel any violence against the genre.

It seems to me that for Sainho herself, it is not so important and fundamentally in itself what she does-a frequ jazz or a pop song. The context is important, the message that can be conveyed is important, through music or any other artistic activity, the form of which varies depending on the audience. The audience should speak in the language that it is able to perceive.

In addition, it should be borne in mind that the song is the most important genre in Tuvan music. All that jazz recently the theme of modern communications is the most interesting for living in the West Sainho. Civilizations, which are influenced by Buddhism, easily master modern digital technologies. There are no barriers for Sainho, the development of any technological innovations is rapidly, but without bouncing on them.

These or other idioms, technologies do not harden it, it is not fixed on them, which in itself very rarely happens in modern artistic practice.

Perhaps this is due to the peculiarities of perception of time by the Tuvans, when it is measured not by hours-mines, but by the events “next time .. She plans to have videos using the most modern means of communication as topics, performances with masks of mystery Tsam. In modern culture, it is now attracted by high intensity, psychedelically extraordinary super -scority.

The musicians always have unconventionalness, unpredictability and rigidity, “faces of the face” ... It seems to me that the most important feature of it is the ability to overcome stylistic distinctions, for example, the negative aesthetics of new improvisational music, in general, any traditionalism, understood as purism, restrictive-dimegrading. For several years, Sainho has been bringing Austrian, German, Swiss and American innovation musicians to Russia, Siberia, performing huge educational work for the Russian stage.

For her, there is no “conflict” between traditional and new jazz. Check your mailbox! Please leave this field empty.