Ichmouratov was born and raised in Kazan, the capital and largest city of the Republic of Tatarstan, Russia, he is the second child of Razima Ichmouratova (Gatina) and Rafail Ichmouratov. Airat Ichmouratov is a representative of a well-known Tatar theatrical dynasty.[4] His grandfather, Riza Fakhrutdinovich Ishmurat (Ishmuratov), was a playwright, public figure, publicist, and director. He was an Honored Artist of the RSFSR (Russian Soviet Federative Socialist Republic).[5]
His grandmother, Rashida Abdulazyanovna Ziganshina, was an actress at the Galiaskar Kamal Tatar Academic Theatre, a public figure, playwright, and People's Artist of the Republic of Tatarstan and the Russian Federation.[6]
Kazan State Conservatory, from where Ichmouratov graduated in 1996.
At the age of 7, Ichmouratov initiated his musical education at Kazan Children's Music School No. 3,[7] named after Röstäm Yaxin.[8] There, he began learning to play first, the recorder, and by the age of 10, he also took up the clarinet. His first teacher was Ildus Almazov, an Honored cultural worker of Tatarstan.[9] He continued his education at Kazan Music College named after I.V. Aukhadeev,[10][11] and Kazan Conservatory, graduating in 1996.[12][13] In 1993, upon being appointed as the Associate Clarinetist of the Tatarstan Opera and Ballet Theatre and the Tatarstan State Symphony Orchestra, he embarked on extensive touring in Europe.
Composer Airat Ichmouratov with Canadian cellist and conductor Yuli Turovsky and his wife, violinist Eleonora Turovsky, summer 2001
In 1997, Ichmouratov went to Canada to participate as a student at Orford Art's Centre Festival,[14] where he met renowned Soviet-born Canadian cellist, conductor and music educator[15][16][17]Yuli Turovsky, whom Ichmouratov considered a mentor[18] and with whom collaborated on multiple occasions. In 2004 Turovsky invited Ichmouratov's klezmer band Kleztory to record CD with I Musici de Montreal chamber orchestra (Chandos Records).[19][20] Ichmouratov's "Fantastic Dances" for clarinet, cello and piano with Strings and percussion were commissioned and recorded by Yuli Turovsky & I Musici de Montreal.
The work was premiered in Pollack Hall on 20 December 2007.[21]
Career
In 1998, Ichmouratov permanently moved to Montreal, Quebec, Canada, where he obtained a master's degree at the University of Montreal,[22] and where he studied with Andre Moisan. He then founded the Muczynski Trio[23] with Luo Di -Cello and Evgenia Kirjner on piano, which won 1st prize and the Grand Award at the National Music Festival (Canada, 2002) and 1st Prize at the 8th International Chamber Music Competition in Kraków (Poland, 2004).[24] Upon his initial arrival to Canada, in order to survive, Ichmouratov was compelled to play on the streets and in metro stations for the first four years.[25] During his interview with Evening-Kazan, he highlighted learning valuable skills from other street musicians, including improvisation, jazz, klezmer, and folk music. With a need to perform whatever was in demand, this experience significantly bolstered his self-esteem and played an integral role in his journey to becoming a conductor.[26] In another interview given to Christophe Huss of Le Devoir, Ichmouratov mentioned that he became a composer almost by chance. In 2000, he began studies as a conductor at the University of Montreal. During these studies, he enrolled in an orchestration class with Alan Belkin (with whom Ichmouratov later studied composition[27]) where students were tasked with composing and orchestrating a melody in three different ways. Ichmouratov became captivated by this exercise. Initially composing eight bars, he found himself unable to stop. He ultimately composed his first opus, a 45-minute-long String Quartet. After beginning as a street musician, Icmouratov is today an orchestra conductor, klezmer clarinetist, and classical composer, having crafted a considerable amount of compositions.[28]
Conductor
Ichmouratov's first conducting job, after obtaining his doctorate degree in Orchestra Conducting at the University of Montreal (2005), was with chamber orchestra Les Violons du Roy in Quebec City, where he was assistant conductor of specialist in Baroque and Classical repertoire, Canadian conductor Bernard Labadie.[29]Les Violons du Roy's Concert on 5 December 2008 "Russian Impressions" under Ichmouratov's direction, which also presented the world premiere of his own Cello Concerto, won the Opus Prize in the category – best Concert of the Year.[30] Ichmouratov was appointed resident conductor of the Quebec Symphony Orchestra from 2009 until 2011,[31] where he assisted Israeli conductor and composer Yoav Talmi. In 2011, replacing Yuli Turovsky at short notice, Ichmouratov conducted I Musici de Montréal Chamber Orchestra on tour in USA,[32] Brazil[33] and Peru.[34] During 2018–2021 Ichmouratov served as composer and conductor in residence with Longueuil Symphony Orchestra.[35] He appeared as guest conductor with multiple orchestras around the world including Izmir State Symphony Orchestra[36] (Turkey), Free State Symphony Orchestra[37] (South Africa), Tatarstan National Symphony Orchestra[38] (Russia), National Arts Centre Orchestra,[39]Orchestre Métropolitain[40] and Les Grand Ballets Canadiens[41] (Canada). In May 2022, Ichmouratov conducted London Symphony Orchestra during the recording of his own Piano and Viola Concertos for Chandos Records.[42]
Kleztory
Kleztory at Rideau Showcase, 18 February 2015, Quebec city, Canada
Ichmouratov joined the klezmer group Kleztory in 2000. In 2004, Kleztory recorded a Chandos Records (Great Britain)[43] CD with I Musici de Montréal Chamber Orchestra and Yuli Turovsky.[44] In 2007 Kleztory's album Nomade won the Opus prize.[45] In 2014, Arrival was nominated as best album of the year in the Traditional music category by ADISQ.[46] In 2018, Kleztory won the Opus prize in the category – Best World Music Concert of the Year in Québec for Mundial Tour[47] and in 2022 in the category Best World Music Album of the Year in Québec for Momentum.[48]
Ichmouratov is recognized for his style, which intricately weaves together the threads of Russian Romanticism, Tatar heritage, French Canadian folk, and the Jewish klezmer tradition.[42] His compositions reflect a diverse array of influences, with nods to Russian composers such as Shostakovich and Prokofiev. His work frequently incorporates a tapestry of instruments, offering a fusion of classical, folk, and world music elements. This amalgamation of cultural influences results in a distinctive and multicultural sound that sets Ichmouratov apart in the realm of contemporary composition.
Among his compositions are an opera, a symphony, eight overtures, tone poems, eight concerti, concerti grossi, numerous works for chamber ensembles, solo instruments, klezmer band and compositions specifically crafted for children.
In 2017, Ichmouratov obtained his master's degree in music at the University of Montreal, specializing in Composition.[53]
Musical style
The music of Ichmouratov is usually categorized as neo-romantic.[27] Frédéric Cardin, who reviewed Chandos recording of his Piano and Viola concertos with London Symphony orchestra called him "a leader in contemporary neo-romantic music worldwide".[54] In an interview, given to la Scena Musicale, who called him "21st Century Romanticist",[27] Ichmouratov mentions that his preferred repertoire comprises compositions by notable Russian composers such as Tchaikovsky, Rachmaninoff, Shostakovich, Prokofiev, Mussorgsky, and Borodin. Ichmouratov, having grown up in Russia, expressed his connection to this musical heritage. He also holds admiration for German composers such as Mahler, Strauss, and Wagner, finding their compositions particularly inspiring.[21] Several reviewers stated Ichmouratov's music is tonal, well orchestrated, often compared to the music of Khachaturian, Kalinnikov,[55] Rachmaninoff,[56] and Prokofiev.[57] Katherine Cooper of PrestoMusic mentioned in her review that listening Ichmouratov's works without prior knowledge, she would have guessed that the majority of his orchestral music originated from the first half of the twentieth century.[58] According to Yannick Nézet-Séguin, who performed composer's music on several occasions,[59] Ichmouratov excels as a communicator in the truest sense. Nézet-Séguin states that composer's works promptly engages the listener, embarking on a journey of storytelling, landscapes, and emotions.[60] There are statements about composer's music language that are controversial. Michael Wilkinson of Music Web International in his review characterized Ichmouratov's Symphony as dull, expressing difficulty in identifying a distinctive voice within it.[61] David Nice of BBC Classical Music wrote that Ichmouratov's Youth Overture has "a creepy-weird counter-theme and a broad synthetic melody".[62] Meanwhile, Ateş Orga of Classical Source states that Ichmouratov is possessing immaculate craftsmanship, an impeccable sense of orchestration, and a rich vein of tonal/modal melody.[63] Michael Church of BBC Classical Music remarked about the second movement of Ichmouratov's Viola Concerto No.1, the music is "gorgeous and very expressive".[56]Britannica states that the era of musical Romanticism was characterized by a focus on individuality, personal emotional expression, and freedom in form.[64] We can see all these elements in Ichmouratov's music, today in 21st century. Composer in an interview with La Presse speaks about his own music:
...My music is the best way to express what I feel in my heart. It is an emotion that I transform into a language understood all over the world.[28]
Orchestration
Ichmouratov, Overture The Myth of Falcon, mm 1–4, The first page of conductor's score demonstrates full-size orchestration
According to various accounts, Ichmouratov is acknowledged as a competent orchestrator.[65][60] The majority of his orchestral compositions, spanning opera, symphony, overtures, and concertos, are scored for the full-size orchestra, reminiscent of the late 19th through the mid-20th century, and often involve an average of 80 to 100 performers with a diverse array of instruments.[66] In his Master's thesis at the University of Montreal, where he talks about his "Youth" Overture, the composer notes his admiration for the skillful orchestrations of Tchaikovsky, Shostakovich, and Rachmaninov:
... The orchestration of my overture is influenced by the great Russian composers: Pyotr Tchaikovsky, Sergei Rachmaninov, and Dmitri Shostakovich. I have always been fascinated by the orchestration skills of these composers. I noticed and used the idea of Tchaikovsky, who often uses in culminations brass harmonic pedals with little rests between them. It gives more clarity to the melody and harmonic change. I like a lot when Rachmaninov uses the entire string section to play the melody in unison accompanied by winds and brass, so I decided to use a similar orchestration for the appearance of the second theme. Shostakovich's opening fanfare in his Festive Overture was a source of inspiration for orchestration for the opening and middle fanfares of my overture.[67]
'Fate' motif: a rising seventh (A – C – G♯)
Ichmouratov, Three Viola Romances, Op. 22, 3rd movement, bars 11–13. Example of 'Fate' motif
In his interview with Keith Horner, while working on his first Chandos recording of the tone poem "Letter from an Unknown Woman,"[68] the composer mentions about the 'Fate' motif characterized by a rising seventh (A – C – G♯). This motif is a recurring musical figure that carries profound thematic significance in his compositions. The motif originated from the leap of a seventh in the English horn solo of the last movement of Shostakovich's Fourth Symphony. Ichmouratov has subtly modified this motif, introducing a minor third instead of a perfect fourth within the major seventh, marking its evolution and integration into various works such as the Three Viola Romances Op.22 (2009), String Quartet No. 4 Op.35 (2013), Cello Concerto No. 2 Op.57 (2018), Concerto Grosso N2 Op.60 (2018), tone poems for Strings like “Letter from an Unknown Woman” Op.56 (2017) and “The Ninth Wave” Op.61 (2019), Concerto for Violin and Cello Op.66 (2020), Flute Concerto Op.64 (2020), and the Opera “The Man Who Laughs" Op.75 (2023).
This motif, often associated with themes of destiny and persistence, takes on diverse expressions in his music, ranging from poignant moments to forceful dissonance. Its recurrent presence in multiple compositions underscores Ichmouratov's artistic exploration and thematic coherence across his extensive body of work.[69]
Tribute to Quebec
External audio
Quebec folk-inspired fragment from Overture "Cosmopolitan city" Op.29
Perfumed by L'Orchestre Métropolitain under Ichmouraov's baton.
On 21 October 2020, Ichmouratov received Charles Biddle[70][71] Prize. The Charles-Biddle Prize highlights the exceptional contribution of people who have immigrated to Quebec and whose personal or professional commitment contributes to the cultural and artistic development of Quebec.[72]
Several of Ichmouratov's compositions draw inspiration from the history and folk traditions of the province of Quebec, where the composer has been residing since 1998.[60] The Overture "Cosmopolitan City" op.29 was commissioned by Yannick Nézet-Séguin and premiered under composer's baton with l’Orchestre Métropolitain on 12 January 2012 in Montreal.[73] Overture constitutes a celebration of the cosmopolitan nature of the city of Montreal. Quebec folk elements in the music can be observed, as well as fragments of Armenian, Russian, Jewish, and a traditional Tatar melody, Ichmouratov's cultural origin. In 2020, a Quebec folk-inspired segment of the Overture was featured during the opening ceremony of "The National Day of Quebec" performed by Yannick Nézet-Séguin and L'Orchestre Métropolitain.[74] Additionally, in August 2022, the same orchestra presented the Overture at the base of Mont Royal in Montreal, captivating an audience of 50,000 spectators.[75][76]
Ruins of Fort Longueuil, that inspired Ichmouratov's Symphony in A minor "On the Ruins of an Ancient Fort," painting by John Poad Drake
Ichmouratov's Symphony in A minor "On the Ruins of an Ancient Fort" Op.55, is another example of composer's dedication to culture and history of Quebec. Inspired by Longueuil city's history and Charles le Moyne de Longueuil's character, was commissioned and performed by French-Canadian conductor Marc David and Longueuil Symphony Orchestra.[77] In his Symphony, the composer aimed to revive the vibrancy of Longueuil,[78] a city situated on the south shore of the St. Lawrence River, tracing its history from its origins as an outpost of New France (with only the foundations of Fort Longueuil remaining) to the present day.[79] Symphony in A minor was recorded by Jean-Philippe Tremblay and L'Orchestre de la Francophonie and released by Chandos in August 2019.[80]
In 2021, Ichmouratov composed Overture "The Bewitched Canoe" op.70, inspired by folk story "La Chasse-galerie", which is a well-known French-Canadian tale depicting lumberjacks from camps operating around the Gatineau River.[81] In this story, the lumberjacks strike a deal with the devil, portraying a variant of the Wild Hunt. The most famous rendition of this tale was penned by Honoré Beaugrand (1848–1906).[82] The tale made its appearance in a book of French-Canadian folktales titled "Legends of French Canada" by Edward C. Woodley. The book was originally published in 1931 and later republished in 1938.[83]
Example of inspiration from French Canadian traditional folk theme Alouette in Ichmouratov's Overture "The Bewitched Canoe" Op.70
mm. 7–8
Klezmer influences
Ichmouratov, clarinetist and composer of the klezmer band Kleztory, April 2017
Klezmer is an instrumental musical tradition originating from the Ashkenazi Jews of Central and Eastern Europe. The core components of this tradition encompass dance tunes, ritual melodies, and virtuosic improvisations designed for listening. Typically, these elements would be performed at events such as weddings and other social gatherings.[85][86] Having an extensive experience in klezmer music[18] after serving as a clarinetist, composer, arranger for over 23 years in the klezmer band Kleztory, Ichmouratov has composed and recorded numerous works with Kleztory in the traditional klezmer style.[87][88] Also, he frequently incorporated klezmer folk elements into his classical compositions.[18][89]
The first time we can observe the klezmer influence in Ichmouratov's classical composition dates back to 2006, when Central Band of the Canadian Armed Forces commissioned, premiered and recorded "Fantasia on klezmer themes" Op.13 for clarinet and concert band.[90][91] Then in 2007, we can see klezmer inspired theme in the second movement of the "Fantastic Dances" for Clarinet, Cello and Piano with Strings and Percussion Op.15.[92]
Klezmer-inspired theme in the second movement of Ichmouratov's "Fantastic Dances" Op.15, Piano part
mm. 177–184
Commissioned and recorded by Yuli Turovsky & I Musici de Montréal chamber orchestra, the world premiere of The Fantastic Dances took place at Pollack Hall on 20 December 2007. These three dances drew inspiration from Natasha Turovsky's eponymous surrealistic paintings.[93] Then, in 2011, we can clearly observe klezmer inspired themes in his Concerto grosso N1 Op.28 for Clarinet, Violin, Viola, Cello, Piano and String Orchestra with Percussion. Composition is dedicated to Yuli Turovsky, with whom collaborated on multiple occasions. In 2004 Turovsky invited Ichmouratov's klezmer band Kleztory to record CD with I Musici de Montreal chamber orchestra (Chandos Records),[19][20] which became a milestone in career of the band.
In the latter section of the first movement, a melismatic clarinet Doina becomes a distinctive musical element that emerges. The introductory phrase of this doina plays a central role in the composition, acting as the fundamental musical motif from which Ichmouratov develops the entire concerto. The doina's origins can be traced back to Romanian folk music traditions, but now firmly rooted in the klezmer style of music.[94]
A.Ichmouratov Concerto grosso N1 II mv. Clarinet part, example of klezmer influence in Ichmouratov's music, clarinet Doina
mm. 318–321
One of the most notable indications of klezmer influence is discernible in Ichmouratov's composition “One day of an almost ordinary life” for Clarinet and String Quartet or String Orchestra Op.47 composed in 2015. It was commissioned, premiered and recorded by French-Canadian clarinetist Andre Moisan and Montreal-based Molinari String Quartet.[95] Composition written in tradition of classical concerto works, showcasing a solo clarinet, which can optionally be paired with a bass clarinet, in three movements that linked to each other. Throughout the piece, we can discern various elements drawn from klezmer traditional music such as doina and freylech,[96] the most common and straightforward type of klezmer dance tune, which is characterized by a 2 4 time signature and is designed for group circle dances. For the principal theme of the second movement Ichmouratov used a traditional klezmer tune -Di Sapozhkelekh.
Influences from world cultures
Monument to David of Sassoun in Erevan, who is the main hero of Armenia's national epic Daredevils of Sassoun, which inspired Ichmouratov's eponymous Symphonic Fantasy[97]
In addition to drawing inspiration from klezmer traditional music and Quebec folk themes, Ichmouratov frequently explores the folklore of various other world cultures, including Hungarian – Overture The Myth of Falcon Op.65 (2020), Armenian – "David of Sassoon" – Symphonic Fantasy after Armenian epos Op.11 (2006), Russian – Overture Peter the Great Op.62 (2019), Overture Koliada Op.67 (2020), Overture Maslenitsa Op.36 (2013), music tale Shabarsha for Tap Dancer and String Orchestra Op.39 (2013), 3 poems after Alexandre Pushkin Op.34 for soprano and Chamber Orchestra (2012), Japanese – Trio for Harp, Viola and Flute "Fujin's Dream" Op.58 (2018), Croatian and Serbian – Trio for Clarinet, Violin and Accordion "Tales from the Dinarides" Op.48 (2016).[98][66]
Example of inspiration from Hungarian traditional folk theme "Marosszéki kerek erdő" in Ichmouratov's Overture The Myth of Falcon Op.65
mm. 31–34
Critical reception
The overall reception of his body of work has been generally positive. However, certain compositions by Ichmouratov have garnered diverse descriptions in reviews, ranging from being hailed as gorgeous and expressive to critiques pointing to moments perceived as boring and somewhat lacking in originality. This feedback spans the entire spectrum of ratings. David Nice from BBC Music Magazine wrote: "I had to force myself to listen to the end of the A minor Symphony, more a symphonic tone-poem in four very conventional movements".[62] Guy Rickards from Gramophone wrote: "the symphony is colourful and descriptive...Attractive if not great music"[99] Michael Church of BBC Music Magazine wrote about Ichmouratov's Viola Concerto N1: "its slow movement is gorgeous".[100] Gregor Tassie of MusicWeb International wrote: "entry by the viola in a bewitchingly beautiful theme".[101] Frédéric Cardin of Panm360 wrote: "...rich in cushioned harmonies and orchestral moiré".[102]
Ichmouratov was named as Resident Composer 2012 at Concerts aux îles du Bic (Canada),[123] in 2013 Composer of Summer at Orford Arts Centre (Canada)[124] and in 2015 Summer Composer at 17e édition of Festival Classique des Hautes-Laurentides (Canada).[125] Since 2010 Ichmouratov is Associate Composer with Canadian Music Centre.[126]
Discography
Klezmer music, Kleztory (2002)
Barber, Copland, Britten, Bruch, Kazan Chamber Orchestra La Primavera – Ak Bars (2002)[127]
Melodies of Nations, Romic – Moynihan Duo – Hedone Records (2017)
Letter From an Unknown Woman, Three Romances for Viola, Concerto Grosso No. 1 – Belarusian State Chamber Orchestra, Evgeny Bushkov – Chandos (2019)[138]
Youth' Overture, Maslenitsa Overture, Symphony, Op.55 'On the Ruins of an Ancient Fort' – Orchestre de la Francophonie, Jean-Philippe Tremblay – Chandos (2020)[139]
^Рахматуллина, Назира (22 February 2005). "Концерт для гобоя с оркестром". rt-online.ru (in Russian). Газета Республика Татарстан. Retrieved 8 November 2023.
^Clarissa Coli (21 August 2011). "Musical exchange" (in Portuguese). Rio de Janeiro: Diário do Vale. Archived from the original on 26 February 2016. Retrieved 7 August 2015.
^Lise Raymond Communications (27 January 2008). "Opus Award Gala 2006–2007"(PDF) (in French). Montreal: Press release / cqm.qc.ca. Retrieved 7 August 2015.
^Beregovsky, Moishe (1982). "4. Jewish Instrumental Folk Music (1937)". In Slobin, Mark (ed.). Old Jewish folk music : the collections and writings of Moshe Beregovski. Philadelphia: University of Pennsylvania Press. pp. 530–48. ISBN081227833X.
^Rubin, Joel E. (2020). New York klezmer in the early twentieth century : the music of Naftule Brandwein and Dave Tarras. Rochester, NY: Boydell & Brewer. p. 29. ISBN9781580465984.
^Thomas, Philip. "Kleztory: Momentum". folkradio.co.uk. Retrieved 23 September 2023.
^ abJosianne Desloges (25 January 2011). "Doudouk player (in French)". Quebec, Canada: Le Soleil. Archived from the original on 26 February 2016. Retrieved 7 August 2015.
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