The Russian Musical Edition is a division of Classics International Corporation, with headquarters in Paris.  Its primary purpose is the promotion of «all forms of Slavic Art» in the West. 

Its director, Igor PANOV is a composer, a pianist and a musicologist.  He is 38 years old, a graduate of the Fine Arts Academy of Kharkov (Ukraine) and of the National Tchaikovsky Conservatory of Kiev.

Born in Siberia, «thanks,» he says, to the Stalinist regime, he subsequently received his musical education in Kiev.  After serving as an active member of the Union of Composers of the ex-URSS and Ukraine, he decided to leave his fatherland in 1989, «completely discouraged by the Soviet system» which was shortly to undergo a radical political upheaval.

Today, Igor PANOV lives in Paris without having severed the Eastern umbilical cord. Professional obligations lead him frequently to visit Russia and the United States.  An impassioned and dedicated man, Igor PANOV responds to the questions of Listen & See concerning his freely chosen role of ambassador of Slavic art... 

Noel Lopez: What motivations led you to found the Russian Musical Edition, and to become, in a manner of speaking an «ambassador» of Slavic music in the West?   

Igor Panov: When I was a member of the Union of Composers, I waged a veritable aesthetic war against Soviet conformism. I constantly militated for an opening towards the West, but in vain.  When I got to Paris, after the political turmoil in the USSR, I quite naturally continued my efforts and created Classics International in order to further an interpenetration of Eastern and Western cultures. The Universe of Slavic and Russian music is so rich that we at EMR feel a kind of moral obligation that I can call «supreme», perhaps also a little «mystical »...  

Does the opening towards the West further cultural life in Russia and in the other Eastern European countries?   

In some ways it contributes to it, but I am personally convinced that any evolution must come from within.  It must be governed by its own rules, not directly influenced by external conditions or events. Also, one should not forget the significant number of masterpieces born in adversity and accompanied by suffering; the breath of freedom is not always a guarantee of heightened artistic expression.  In fact, this opening has contradictory influences, some good and others harmful.  Time will tell... 

Just what is at stake here?   

The stakes are numerous and weighty.  I think that, in the perspective of a more harmonious Europe and a more harmonious world it is necessary that East-West exchanges continue and multiply.  For their part, the Slavic peoples and nations have much to contribute to the Westerners.  Our culture is so rich, so diverse and so little known.  We ourselves, within our own cultural sphere, often make astonishing discoveries. What pleasure then, to share these priceless treasures with Europeans and Americans!   

What does French culture represent in Russia?  Are we really appreciated?   

Your culture is appreciated and active mainly in the fields of literature, poetry and painting. Historically, these domains are well integrated.  In music, there are noticeable differences of opinion.  There is an unquestionable interest for ancient music (vocal polyphonies in particular) but also Baroque and Renaissance...  Let us say that the Russian people are sensitive to the smoothness of writing, which characterizes your music. Given the opportunity, Russians are emotionally receptive.  One might say that your music is more or less known and considered here, up to Debussy.   Afterwards, French music is more or less familiar and diversely appreciated: there is “gold dust” and then there is just “dust”.

In general we have a rather dim view of “contemporary” music.  Certain French and European composers whose works are uniquely defined by vanguard experiments have very little chance of moving us.  Moreover, this music is almost never really accepted in Russia.  Our scale of values is weighted in favour of what one might call «sensual» factors, quick to move the mind and the heart, and not directed towards erudite research exclusively related to formal considerations.   

East-West aesthetic debates are not yet going to disappear.  Not before the beginning of the third millennium, at which time I hope exchanges, will be, in any case, more developed.   

What are the activities of Classics International Corporation apart from those related to the Russian Musical Edition?

In France, it is above all the pursuit of the Slavic Arts Festival, which takes place in Paris, at the end of May.  This event has the approval of the Ministry of Culture and of the cabinet of the President of the Republic,  Jacques Chirac.  Concurrently, we set up many concerts in Paris with the participation of internationally known interpreters.   The Musical Review of Paris ensures its press promotion and our label; Russian World Music Inc.- R. W. M. assumes the discographic coverage on CDs and cassettes.    

Does the Western musical edition, such as it is distributed today, satisfactorily take into account the artistic wealth of Slavic music?   

You have the answer to your question in the creation of our publishing house.  However, I do not think that this lack of diffusion is the fault of Western editors.  The great scope of our culture requires research so thorough that only specialists in the subject can ensure it. Russian Musical Editions have assumed this task, but we are quite conscious that its weight is such that its completion will lie with future generations.   

Is your publishing house also interested in the importation of Western scores into Russia?  Is there a virtual market?   

For us it is a dream-market.  As soon as the situation becomes stabilized, we shall take steps. However, one must be cautious, as there are enormous problems relating to royalties. And Russian editors will certainly struggle to protect their own market.  On this subject, we remain prudent but optimistic.   

Your Catalogue also proposes scores by present-day composers.  Do you hope in the future to widen this sector or rather to specialize in the Slavic legacy?   

It is logical that we concentrate on the music of our specific cultural domain, as our teams were trained in the light of its promotion, which is the very “raison d’être” of our company.  However, our catalogue actually comprises many musicians of our time.  Our “XXth Century Russian Music” collection proposes, for example, works by Igor Nikiforov, Alexandre Danilevsky, Alexandre Schupaque, Alexandre Opanasuque, Igor  Tignol... and Igor Panov.  Composers of today who, like myself, have preserved a « Slavic heart ».  Recently, we have decided to publish the work of Ivan Lamine, a composer who resided in Franc and was, killed by a «stray bullet» during the liberation of Paris.  We should like the public to rediscover his œuvre, almost exclusively dedicated to orthodox music.  We are preparing the publication of his very beautiful Sacred Choruses and a symphonic suite entitled Cathedral Music.   

We also work with musicians of other schools and tendencies: for example, Robert Cornman and Griffith Rose, both Americans, have recently signed up with us.   

You propose a broad catalogue of popular and religious music… 

Correct.  I believe that these kinds of music have every right to be heard.  Religious music is part of our legacy, and do not find this attitude contradictory.  The Russian romantic love-song has long since been known throughout the world, and orthodox music is making its way.  But do you know the songs of the great Russian countryside to which Stravinsky turned for inspiration in his  Rite of Spring?  They are a must!   

E.M.R.  Classics International also is concerned with the masterworks of the traditional Russian repertory…

Our catalogue contains many great names in Russian music: Glinka, Tchaikovski, Moussorgski, Rimski-Korsakov...  without forgetting other musicians of the XIXth century less well-known to Westerners, such as Alexander Dargomijski, Vassily Kalinnikov, Sergei Taneev or Anton Rubinstein.  From the standard repertory, we also propose works for piano by Purcell, Bach, Mozart, Beethoven, Schumann, Chopin...   

Our company is not yet ten years old and its catalogue is in constant progression. We must dig even deeper. Our national archives surely contain many hidden treasures.  It is up to us to collect them and remove the dust from their covers.  A propos, we are currently preparing to publish a collection entitled  "A Slavic Carmina Burana", under the direction of Alexandre  Danilevsky, containing twenty Russian songs dating from the period of Peter the Great.  Their beauty and their originality will astonish you!   

As a composer, you seem to have an esthetical credo regarding music.  Is this due to your Russian emotional and cultural heritage?   

I am absolutely persuaded that true art is eternal and not confined to any particular period such as one could say about “contemporary” art.  My goal is first and foremost to restore the warmth of deep feeling to music, and to awaken in man enough strength to believe in beauty.  I dream of a new Renaissance which would reap the ample benefits already latent in Russian and Slavic music.    

Despite an important catalogue of XXth century music, you nonetheless seem to attach little importance to music that you find structurally too far out?   

You know, one cannot play anymore with the language of music with impunity. In a manner of speaking, it subsumes a certain divine Idea of Creation; it is more than mere matter, but rather a sort of energy, which binds us to all that is noblest in ourselves.  But how can one embellish the soul by a soulless art?  Too many proponents of the aesthetic vanguard hide their own creative impotence in this «fog of aesthetics»: The "Masterless Hammer" has struck too long.  Now we are seeking a hammerless Master!  True worth can only be the product of an enlightened mind, with lofty aims.  For us this is where the veritable «avant-garde » resides!   

The typology of your scores is very neat.  The scores themselves hew close to the originals.   How do you achieve this?   

First of all, our scores are made in the United States and Russia by highly professional, well-equipped engravers, veritable miracle-workers.  In addition, our finished scores are the product of several layers of re-creation, beginning with the original.  This complete process involves working with highly qualified Russian musicologists, at great pains to reproduce the original manuscript as faithfully as possible. They correct all sorts of errors such as errors in fingering, wrong notes or bad articulations.  Old engravings abound in these errors, which some not very scrupulous editors leave uncorrected through neglect.  Finally, I personally supervise the final phase by checking each score before printing. Each member of the team has at heart the object of restoring the legacy of our beloved masters. There are no secrets.  The love we bear towards our work is the real guaranty of an impeccable result

Why do you issue your scores in the United States and France?   Can't they be accomplished in Russia?   

Professionalism is the answer.  The Americans are more dynamic and conscientious.  The financial aspect also plays an important part and the cost-benefit fraction remains more favourable there than in Europe.  One can hope that Russia will evolve swiftly and in the right direction.  In a more or less remote future, we do not exclude joint ventures with editors in Russia.   

I understand that E.M.R’s scores of vocal music scores are quite special.  What does this mean?   

Our innovation consists in the presentation of vocal music with a parallel phonetic transcription in the original language.  This affords an easier approach for Westerners.  We also propose an optional cassette: an audio version of the work, diminishing the inherent pronunciation problems.  We would like our vocal legacy to be available for interpretation throughout the civilized world.  As far as sales go, this idea is already a success.  Beyond this material aspect, we pride ourselves on our contribution to international recognition of our music.   

Have you found that France affords a favourable terrain for distribution?   Do the retailers subscribe to your catalogue?   

E.M.R.s prices are considerably less expensive than (almost one half of) those commonly practiced; we also offer superior quality.  To answer the second part of your question, French retailers are certainly aware of the specificity of our catalogue, but our scores have a lower renewal rate than those of your European neighbours.  Lastly, we hope that our Web site will help consolidate our position on the international market.   

You wish to be better known in France as an editor, and to enlarge your catalogue with new works.  Can you sketch out the type of composer you are seeking?

Although our catalogue has a strong Slavic accent we do not attach the least importance to the nationality or the age of the authors with whom we wish to collaborate.  Any creator is welcome to the family of the Russian Musical Editions on the condition, of course, that his work be of good quality and adheres to the musical values, which we further.  If their author meets these two criteria, his compositions will most probably appear in our catalogue as soon as possible.   

Do you have a special message for French editors and composers?

       I would like to suggest that my French colleagues not hesitate to publish Slavic composers. There are real future prospects, and not a great deal of competition.  You must admit that this is as rare as it is pleasant. 

       I should like to give a small piece of unsolicited advice to my composer colleagues: remain sincere in your artistic endeavours. Gain perspective and draw your inspiration from your personal background.  Give the “contemporary” a rest... it is so tired!  Let us look forward to the Ars Nova of the XXIth Century, as Guillaume de  Machaut did in his own time. 

The third millennium deserves your efforts.   

Remarks collected by Noel Lopez, Ecouter, Voir. Paris, 1998.    

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