PIGINI TALKS | Views on development visions and future progress | Viatcheslav Semionov | Семёнов

In this video, Maestro Viatcheslav (Slava) Semionov shares his views on development prospects of our genre, instrument, art and music leading toward future progress. Viatcheslav Semionov (1946) is a Russian accordionist, composer and music professor. He was born in Trubchevsk, Bryansk, Russia, and took up the Russian chromatic accordion (the bayan) at age 7, being taught by his father who also played the instrument. His international career began at age 21, achieving high remarks in various international competitions. Semionov began teaching in 1968 at the Rostov Musical Pedagogical Institute and became a professor of Gnessin Russian Academy of Music in 1988. His teaching has lifted more than fifty students to become competition winners at both the international and Russian levels. In addition, Semionov has achieved the following awards and titles: - Honoured Artist of Russia - Vice-President of the Music Committee of the Confederation Internationale des Accordeonistes - The Silver Disk at the International “Bayan and Bayanists” festival in Moscow - Awarded “People’s Artist of Russia” by President Boris Yeltsin - Laureate at the International Competition of Composers in Moscow -

[@DALTROVIEIRAOFICIAL]

Well Said Maestro!!!!☺ Regards From Brazil, DALTRO.

[@KirillRusinov]

❤

[@ВладимирВязовский-э6г]

❤Своевременно, глубоко и фундаментально!!!Браво!!!

[@404rimless9]

Many thanks for the contribution! I am currently working on the accordion again, especially on the history of the instrument, its development and significance, and its social aspects, as I have already done for other instruments. This "separation" or "classification" that Maestro is talking about here is an important aspect that I wasn't even aware of myself, but it is extremely important. I myself only had contact with the standard bass during my childhood and adolescence, I grew up in an area that was dominated by Hohner, there was nothing else here and the standard bass was the only option given in the harmonica schools. I am delighted that the accordion has now found such a high level of recognition in classical and art music, but this was probably only possible because the "bass application" has been extended to include melody playing on the bass side, thanks to the converters and free bass instruments available today. I am very impressed by the possibilities offered by today's modern accordions! The master is indeed right when he says that students should be given the opportunity to play the melody bass immediately.