Oboes

Frol Gerasimov

In the orchestra since 2023

Frol Gerasimov has graduated from the Gnessin Russian Academy of Music (the class of Professor L.V. Kondakov). He has taken part in master classes by Alexey Ogrinchuk, Sebastian Gimeno, Ivan Podyomov, Gregor Witt, etc.

He has participated in the programmes of the Perm Opera and Ballet Theatre Orchestra, and the State Academic Chamber Orchestra of Russia. Since 2018, he has been an artist of the Russian National Youth Symphony Orchestra (first oboe). He has worked under the direction of such conductors as Vladimir Fedoseyev, Alexey Utkin, Vladimir Spivakov, Alexander Lazarev, Valery Gergiev, Tugan Sokhiev, Paavo Järvi, Kristjan Järvi, Jean-Christophe Spinosi, Mikhail Yurovsky, and Philippe Herrewege.

WHAT BROUGHT YOU TO THE WORLD OF MUSIC?

Music entered my life when I was six. I was an active child, and my parents decided that piano lessons would have a good effect on me. Their expectations were justified, so I entered a Special School at the College of Musical and Theatrical Arts. My choice of instrument was greatly influenced by my teacher, Lyudmila Merkulova. Being an oboist, she, of course, wanted me to give preference to this instrument. She was impossible to resist — Lyudmila Mikhailovna deeply believed in what she was doing, and this belief was easily passed on to students and parents.

COULD YOU TELL US MORE ABOUT YOUR INSTRUMENT?

The oboe is one of the most difficult instruments — fortunately, I didn't know this when I was a kid. Yet that is what I like about it. When you play it, perfection constantly slips away. The moment you think, 'Right now I have the perfect cane, I'm in good shape, the piece is learned from beginning to end', something happens. With the oboe, it is impossible to achieve the perfect result once and for all, you need to constantly look for something new, and this allows you to stay in good shape.

Once, on tour, the guys from the orchestra invited me to take a walk around the city, but I had to practise, the oboe requires it. Since then, I remember the advice of my colleagues, 'Frol, you need to choose an instrument from childhood!' Of course, this is a joke, but there is some truth in it, and the choice of an instrument really determines a lot in life.

WHAT MAKES WORKING WITH MUSICAETERA SPECIAL?

At some stage of my career, I devoted all my time to improving my performing skills and techniques. I turned into a kind of athlete and thought that nothing would surprise me in music. But the very first rehearsal with Teodor turned everything upside down — I suddenly remembered that I actually make art. If you're writing War and Peace, then the quality of your handwriting isn't that important. And I've spent too much time on the beauty of the form, not the meaning.

WHICH COMPOSITION WOULD YOU LIKE TO PERFORM?

Richard Strauss's Oboe Concerto is often considered the pinnacle of the repertoire for oboists. However, I can't single out any 'exemplary' piece for myself. As they say, don't create an idol for yourself. I think it's impossible to play a piece if you don't love it, so every time I try to fall in love with the material I'm working on.

WHAT KIND OF MUSIC DO YOU LISTEN TO AT HOME?

For the soul, I mostly listen to baroque and classical music. There is some crystal purity in the music of Bach and Vivaldi — I have not yet been able to see the same thing in the works of the XX century. Some friends are surprised, they say, 'Haven't you heard enough of that at work yet?' But I am always, in any direction, looking for something new for myself — something that can surprise me in the same way that Teodor surprised me the first time.

WHAT DO YOU DO BESIDES MUSIC?

I used to love riding a bike — do you remember when small BMX bikes were in fashion? I also played basketball. At some point, I realized that these are very traumatic hobbies — one bad fall can deprive me of what a lot of effort has been invested in. So now I prefer fitness and running more. It helps to keep fit, and this is important for a musician.