Koshkin in Kolkata

I met Nikita Koshkin in Calcutta. He stood outside the gate of the ICCR smoking a cigarette. I smiled, he nodded back. The next day I managed to say Hi and tried to start a conversation. All I could think of asking was what he thought of Indian classical guitarists. So I did.

And then I regretted not asking all the other things I wanted to know. Alexei Khorev had appeared, smoking another cigarette and talking rapidly in Russian. They already knew each other. Alexei’s father, also Alexei, was a famous guitar teacher in Russia and Alexei had grown up playing on stage, giving concerts with the family guitar ensemble and now he taught in Paris.

Alexei was staying across the landing from me and all night we’d hear Koshkin pieces coming out of his room. Alexei was participating in the Calcutta International Classical Guitar Competition. His entire competition repertoire was Koshkin and it was beautiful. He later won a special prize for the best Koshkin interpretation.

For an instrument that hasn’t many composers, Nikita Koshkin is a contemporary hero. Much of the music played on the classical guitar wasn’t originally written for the instrument and was transposed for it. A lot of other guitar music is composed by non-guitarists, on the request of performers. Koshkin is both - he’s a guitarist who writes for the guitar and knows how to exploit the possibilities and limitations of it. The world celebrates him. The world of classical guitar, that is.

It’s always difficult to explain what the classical guitar sounds like. It’s most difficult while talking, standing face-to-face even though Vicky Christina Barcelona has made it easier. The easiest way to explain is online, with an instant messanger. You can send over a few links. Albeniz of course (there’s a reason why Asturias is a classical cliche). Then probably a Bach transcription, but not always. But you must always link explanations with The Usher Waltz.

I discovered The Usher Waltz because of Kuldeep Barve. Kuldeep introduced me to a lot of music. I was just beginning to discover the joys of unlimited internet between 2 and 8am that my exciting new broadband connection gave me. South Park seemed more important to acquire than Julian Bream recordings. But Kuldeep gave me mp3s, links and videos, DVDs full of music, happy to share what he had with another person who played classical guitar. One CD had Elena Papandreou playing Koshkin. Another was John William’s Seville Concert which at 29”30 features The Usher Waltz. (http://www.youtube.com/watch?v=w3ulenPf_II)

I googled the piece and found it was a Koshkin work referencing Edgar Allen Poe’s short story, Fall of the House of Usher. That year I discovered Edgar Allen Poe, memorised The Raven and realised I was hooked to Koshkin. I’d listen to The Usher Waltz over and over, imagine the story playing out and imagine myself playing it some day.

When I saw Alexei on the morning of the competition, he looked pale and there were bags under his eyes from all those nights of guitar playing. He was sitting on a stool away from everyone else, still practising. “You look like Usher!” I told him. He gave me a glazed smile but didn’t stop playing.

Alexei practises before the competition

Nikita Koshkin was in Calcutta in December as cheif guest of the Calcutta International Classical Guitar Festival. He came with his wife, Asya Selyutina. Asya would debut his newest works, the first part of a series of 24 preludes and fugues. And at the end of that concert the Kolkatta audience would get to their feet, clapping long and hard after the music was over.

Months later, the rest of the world is still discovering these pieces. The score will be published only after the premiere recording is out. But one by one, Nikita Koshkin uploads videos of them - one set of prelude and fugue at a time - on Facebook. Each is black-and-white and shot by Roman Gurochkin. Asya plays the guitar. (http://www.youtube.com/watch?v=45-o8NxFIX0)

Each time he uploads a new piece, I feel lucky I’m able to listen to it again. I feel happy he came to India and that I didn’t hesitate to ask for friendship on Facebook. I thank the Calcutta Classical Guitar Society for making his visit possible.

And each time he uploads a piece, I wonder whether I should resign myself to the fact that I may never be able to play it.