What is the name of Didula. Valery Mikhailovich Didula - Belarusian guitarist and composer

If you ask the first person you meet on the street to name the most famous Russian guitarist, then for sure the answer "DiDuLa" will dominate over other answers. Numerous concerts, TV broadcasts, albums and DVDs have made DiDuLu one of the most popular performers in Russia. At the same time, the most surprising thing is that DiDuLa plays exclusively instrumental music - a genre that is not very popular compared to the song form. Perhaps not the last role was played by the style of the performed works: flamenco, Latin American and simply acoustic guitar music in modern, fashionable arrangements.

In an exclusive and highly entertaining interview for the site, guitarist DiDuLa shares his thoughts on performance, studio work, instrumental music and its promotion.

Why did you start learning to play the guitar? Did your parents force you?

No, my parents did not force me, I came to the guitar myself. I liked the music, I liked the ringing of the strings, I liked the instrument itself, which is quite popular. It was easy to carry with you, you could go out into the yard with a guitar ... All this influenced and impressed me. So I asked my parents to buy a guitar for me. They bought me a fairly simple guitar, and since then my passion for this instrument has begun. I was engaged in self-education, and slowly, millimeter by millimeter, I advanced in the study of the guitar myself.

To this day I consider myself a student, to this day I study the instrument. This is the Great Cosmos, great depth. These six strings contain so many nuances, so many colors - a whole world. The guitar is an amazing, wonderful, unique road that I have been walking all my life.

Already at a fairly young age, at 6-7 years old, I had children's guitars. When I grew up, more serious instruments began to appear. There was a classic Cremona.

And from the age of 12-14, I already completely consciously played the instrument, studied it, taught pieces, accompanied in songs.

When you started learning to play the guitar, which musician was your idol?

As it always happens at the beginning of the journey, the first teachers were friends in the yard who played some songs by Vysotsky, Time Machine, Sunday, the Beatles - for me they were the first idols. And then records and other information began to appear. I talked and read a lot. And I began to learn about other famous musicians - classical, rock, and flamenco musicians, and jazz performers. And different guitarists at different times influenced me in different ways too.

At one time, I was struck by the sound of Andres Segovia, Manolo Sanlúcar struck me with his compositional thinking and performance of flamenco music, then there were recordings on which I studied the work of Paco de Lucia. In rock music, I really liked Ritchie Blackmore, Angus Young. In jazz music, Django Reinhardt and Luis Salinas made an impression. In classical music, Julian Brim. In interesting author's music - Tommy Emmanuel. And so on and so forth. There are a lot of names, and among them there are not only guitarists, but musicians in general, playing in any style and direction. All of them influenced me not only as a guitarist, but also as a person who writes music.

In addition, everything that surrounds me strongly influences me as a composer: nature, communication, people, films, an interesting book I read, funny situations that I notice somewhere. And my hypersensitivity, observation and, if you can call it that, insight plays a big role. I notice many interesting and different situations around, whether they are in ordinary life, in nature or in fantasy. And then I turn it all into music.

So it's not just the guitar players that influence me, not just the people - the whole life that surrounds me impresses and influences me.

Many guitarists practice playing the guitar for hours. Are you one of them? Is there time for this?

In my youth, when I was just learning the guitar, youthful maximalism allowed me to play the guitar for many hours, work out some technical tricks, look for how to connect them with my physiology, find my boundaries, my limits. I wanted to achieve not only musical, but also "sports" heights.

Over time, I got my own technical baggage, certain “chips” that are unique to me. But also those methods were identified that were not available to me due to certain circumstances. I stopped focusing on serious playing for hours and started devoting more time to composing and playing pieces of music. That is, exercises, scales and some tricks of the game went by the wayside for me, and the game of the music itself came to the fore. I take a piece and play it little by little, trying to remove everything superfluous from it. As a composer, however strange it may sound, it is interesting for me to achieve some kind of simplicity in music.

I don't really like it when a musician, in order to tell a story, convey an interesting musical idea, has to strain a lot and play fast passages, arpeggios. I want the music to be extremely simple, understandable, sincere and clear. So that any novice musician who has only recently become acquainted with the instrument can play it. This is a super task for me, much more difficult than long and technical philosophizing on an instrument with a large number of extracted notes. I try to achieve simplicity in my music.

Of course, this is not always possible. There are many works in the concerto that are quite technically complicated, in which there are a lot of experimental moments. But this is all within the framework of the concert. When I record a studio album, I try to remove all unnecessary notes, all unnecessary complications.

As practice has shown, this path is interesting and complex, since it is very, very difficult to achieve simplicity.

Actually, that's why I try not to practice for hours, but to devote this time to composing. Finding a unique consonance, a unique phrase turned out to be a difficult task. That's what I devote most of my time, both rehearsal and studio.

Tell me, is DiDuLya of ten years ago very different from the current DiDuLi?

Of course, ten years have not passed in vain. There was a certain experience, both in the production and in the managerial sphere. New knowledge appeared in the studio field, in composing work ... Eight instrumental guitar albums were released, many concerts were held.

But at the same time, a lot has not been done yet. There are still many peaks that you still want to climb.

The path we are following with my wonderful team is interesting and bright. We give music to the listener. This is a complex and interesting matter, and I am happy to talk about it.

Which of the world stars is closest to you in spirit?

I don't think about world stars, famous artists... I like a lot of completely different musicians and styles. If I may say so, I have a wide range of acceptability - this is academic music, and classical, and folklore, and modern club electronic, and guitar-experimental, and avant-garde.

If I don’t understand some style or direction, then I try to figure it out. If, say, some kind of percussion music from the Polynesian Islands appears, I begin to delve into what kind of music it is and why it is such that I do not enjoy it. I try to understand it, to understand how it is built, what is its highlight. I understand that it is all built on rhythms, on percussion sounds, that there is polyrhythm - several rhythmic patterns that intersect, complementing each other. And after a while, I begin to enjoy this kind of music.

If there are some new trends in trance music, in club culture, I begin to delve into it. It is not so difficult, and a few hours are enough for me to listen, understand, study and then enjoy the most interesting, vivid experiments in this area.

This applies to any style, any direction. I don't shut myself off from music that I don't like, I try to understand it and understand it. And in my work as a composer, producer and professional, it helps a lot.

So this is my approach to music and world culture. I divide all music for myself into two categories - good music and bad music. On the one that "clings" me, and the one that does not "cling".

Is it easy for you to compose music? Or do you agonize over every note?

Well, you know, it's different. Some works are written immediately, instantly. Now I'm going to say something unique. I have situations when it takes five or six hours from composing music to mastering an already finished track. It's amazing, but it's true. That is, I take the instrument, an idea immediately appears in my head, I immediately call the sound engineer, he comes to my home studio, we immediately put the microphones, record, I play the second part, the third, then everything comes down and is ready for the evening master track. Everything, the work is ready!

Sometimes there are works that take years to make. You see, sometimes a couple of hours, sometimes several years. Because my inner feelings are changing.

I have a lot of some developments, fragments, musical phrases. Something has been played, something has been put in a drawer. This process is unpredictable and does not have any clearly defined framework.

Everything is very individual. Sometimes the process of composing is painful, and sometimes the work easily leaves the pen.

Can you compose music simply because it has to be done by Monday?

You know, if you do it out of sports interest, then, of course, you can. There are no problems here, because when you have been composing, recording, mastering studio technologies all your life, knowing all the methods and techniques, you can do anything. But the resulting work will not be internally connected with me. And whether this music will have a resonance in the hearts of listeners is unknown.

But technically such a task is feasible. Let's say, if they tell me to make a beautiful lyrical ballad by Monday, I will immediately sit down, compose it in a couple of minutes, write it down and mix it in a couple of hours. There are no problems. But does it need to be done at all?

I do not write to order and never work like that. When directors and film producers turn to me as a composer with a question whether it is possible to write such and such a theme or not, I say no, I will not write to order. This music will not have that degree of sincerity to which I am accustomed in my life and in my work. And so, guys, if you want to take my music, take it, listen to my albums - with a symphony orchestra, and with a group, and with a solo guitar. And then choose. If you choose something for your film, I will only be happy. Usually this is what happens - music in the cinema, in theaters, in productions, in sports comes already from albums, recorded. But I didn’t write to order, and I’m not going to write.

Are you well versed in modern recording technologies?

In my music, I found my style, my playing techniques, my instruments, and, of course, developed my own sound recording technology. I have my own, unlike anyone else, the principle of recording music. Certain microphones, guitars, working methods. It's kind of a secret - my professional, technical, musical secret, whatever you want to call it. Since I have been working in studio recording for many years, of course I understand modern recording technologies, but I repeat: my technology is a little different from the generally accepted one. My work algorithm is very comfortable and effective for me, it allows me to embody any of my fantasies.

Do you use a computer when composing and arranging? What programs do you use?

Of course, modern computer technologies, sequencers, sound libraries and modules - all the benefits that civilization has brought us, I use in full. Everything is actively used: both analog and digital equipment, and lamp devices, and all kinds of ways to record sound. The golden era of sound recording, which fell in the 1960s and 1970s, brought a lot of discoveries in this area, and I studied them quite closely. How to place microphones during recording, what techniques are used for signal compression and equalization - I studied all this in my youth, and then I began to apply it in practice, in work. So, of course, modern technologies are used tightly.

As for the programs used, there are several of them. As a rule, these are Cubase and Nuendo for PC. In general, this or that work requires a different “software” approach. I really like the specific timing of samples in the ACID program. This is a unique algorithm, with which you can achieve an interesting result. There are several more programs with different "chips" that are used in different situations. A wonderful team of sound engineers helps me with this, but, again, I myself delve deeply into this. I need to know the whole nature of the sound - from the moment I extract it, to its digitization with a given bit depth and hitting the analog tape. Every recording, every piece, and every note played goes through my personal, meticulous control. If I may say so - state acceptance. Listen, friends, to my compositions, and you will feel it in every note. You will hear not only compositional solutions, but also arranging moments, recording techniques.

In one of the last albums, which was made with a symphony orchestra, a titanic work was generally carried out. But the result was wonderful. I'm glad this album saw the light of day.

How do you record guitar in the studio?

Differently. If it is a lead guitar with a bright, specific sound, then a certain set of microphones is used. If the guitar has a muffled, low and deep sound, and it is used in the accompanying parts, then other microphones are used. Sometimes a stereo pickup of the guitar sound is used. Sometimes you can experiment with a piezoelectric pickup. You can try to record with a combo, but you can also in a line. There is also a double track. That is, everything is determined by a specific task. There are so many ways to record! Fortunately for me, as an arranger, composer and a person who understands studio technologies, the final sound of a particular work is already known in advance. That is, when I compose, I already know what the sound should be, what technique this or that guitar will be recorded with and what strings should be set on it. I know the tone, I know the tempo. Pace is very important! It is important to know whether the tempo map will be written or everything will be written ad libitum. All this is known in advance, and as a result of the recording, a good, high-quality music track is obtained. Of course, there are failures, but in any case, a clear idea of ​​\u200b\u200bhow the recording will be made and the right choice of microphones guarantees success.

Do you plan to release teaching aids, including video schools, for guitar?

The thing is, I'm a bad teacher. And there is one more feature. I found my own, unlike anyone else's style, my playing techniques, not too accepted in the classical guitar school. Therefore, I do not risk talking about it, much less teaching it. So there are no plans for video schools.

But what I plan exactly is to tell and show how I play this or that piece, at least from those that are played in a live concert program. Many of them cause difficulties for musicians when performing. They sometimes say: "You know, it's played in such a way that it's not always possible to make out what note sounds or what sound extraction technique is used." Therefore, I want to put some works on the shelves, show how it is played. Plus, I want to prepare an album of "backing tracks" - phonograms without a guitar and other solo parts.

And I have no particular desire to publish textbooks. I think that this is not necessary. There are concerts, there are DVDs… Come to a concert, where you can study and see who DiDuLa is, compare studio and live works.

80 percent of my music is fairly simple pieces that any more or less trained musician can play. Another question is whether he can play them rhythmically in the same way, can he also feel the sustain, the dynamics of the sound, the accent? There are a lot of nuances in microrhythm. That is, it is played, it seems simple, but some note sounds a hundredth of a second earlier, some later. It seems that only three notes have been played, but they are played in a way that only DiDula can play them. I say this because other musicians who play my music send me recordings. And I see that they play it in a completely different way. They play the same notes, they seem to play everything right, but ... not like that. Because I have my own stylistic vision of sound. This is the mystery of the melody, the mystery of the music itself, which from the outside seems very simple. And behind every note there are experiences, feelings.

Do you think that playing technique plays a major or a secondary role in flamenco music?

Yes, indeed, in recent years, flamenco music has for some reason become associated with technique, with the speed of playing. And if you listen to recordings of the 1950s, 1960s, when some ordinary grandfather sits and plays music, you will notice that he does not have such speeds as, say, Paco de Lucia or Gerard Nunez has. But in flamenco music, as in any other music, the main thing is still emotions, energy, sincerity. And all the equipment goes somewhere on the tenth plan. It's great when a musician has a technique, but the main thing is that there is a competent balance of this technique with all the rest of the musical baggage. Of course, a musician always wants to show off his technique, and he shows it everywhere, in every work, losing the music itself. Therefore, it is better not to forget about music.

Naturally, in flamenco technique is needed, as in any other field. But she is not the main one. If you don't have the physiological ability to play fast, you can't learn a fast passage - don't be upset, use what you can and go deeper into emotions, into the soul, experiences. This is much more important and affects the listener much stronger than all the most beautiful techniques combined. You can listen to fast technique for exactly five minutes, and then the listener has a question - where, in fact, is the music? Where is the melody?

But in order to express your emotions in music, you need to have a lot - a certain life position, a broad outlook, understand what exactly you want to express in a work, and this is already internal, spiritual work. For any teacher, the main task is to teach the student a spiritual, empathetic game. And then the technology.

And there is another moment. Not every person has the physical ability to play fast, technically, clearly. Everyone's hands are arranged differently, there are certain shortcomings in the muscles, in the reaction. If we all look up to Paco de Lucia and watch how fast he plays, we will think that we will never succeed ... And our hands will fall. This will be a big mistake. Paco de Lucia is, first of all, a deep musician, although at one time he devoted a lot of time to his playing technique. And, unfortunately, he became a hostage to this technique of his. To a greater extent, musicians look at him and wait for him to play some technical passage. And when he played it quickly, they sigh with relief: “Oh, Paco played it quickly, so he is still in shape, everything is great!” And its form is just not in speed, not in fluency, but precisely in the depth of music. And technology doesn’t matter to him, he doesn’t take it seriously at all, for him it’s just a secondary element of creativity.

So you need to be very careful with technology, this is an insidious and dangerous thing.

Do you ever play as a mediator?

I can play as a mediator. But I have my own way of playing - to play with the index finger as a mediator. I have this pick at my fingertips, literally. My picking, positioning and position of my right hand allows me to flexibly play with either five fingers or one finger as a plectrum. In each work, in each specific case, I use different methods of playing. But I don't use a mediator at a concert.

How well do you play the piano?

Very superficial, very bad. Of course, I will do some chord constructions, but I will not be able to play something more or less complicated. So, unfortunately, I don't play the piano.

How many instruments do you have to take with you on tour? Is there a main one among your guitars?

The group I have consists of six musicians, and all of them have a wide range of different instruments. We carry a large pile of drums. As a rule, these are two snare drums, a kick drum ... Triggers are set that add electronic sounds from the MIDI module to the acoustic sound of the drums. You have to carry a large percussion set - these are congas, bongos, cajons, cymbals, rototomes, crashes ...

Of course, we take keyboard instruments, a lot of them. We use it when certain phrases, samples are included, sometimes some kind of playback starts, additional tracks. That is, absolutely all modern technologies used in live concerts are used.

We carry wind instruments, MIDI-wind instruments, all kinds of pipes: nai, horns, duduks, nozzles, buzzers. We carry bass guitars, fretted and fretless, four-, five- and six-string. All kinds of effects processors, bass guitar processing.

As a band leader, I have five main tools. These are a Godin Grand Concert electro-acoustic guitar with nylon strings, an excellent Taylor guitar with metal strings, two acoustic guitars by Alexander Kozyrev, plus a Greek bouzouka. This is my set of instruments that accompanies me at all concerts.

I can’t call any instrument the main one - they are all the main ones. All five timbres, all five sounds are unique.

I also use the radio system. Signal processing is carried out by the sound engineer. Soundcheck takes a very long time. In an instrumental concert, everything is built on sound, on arranging decisions. And at the concert, which lasts 2.5-3 hours, the sound quality of the guitars and the entire team as a whole is taken very seriously. Our technical rider is one of the most difficult in Russia, but, as a rule, our promoters and tour managers manage to perform it. So we do not experience any special problems with sound. Our concerts are very bright, interesting, effective. I am pleased to talk about this, as they are performed at the world level, which is confirmed by our colleagues from America, from Germany, who were at our concerts. Actually, all this is reflected in our DVDs, which we periodically release.

Where do you buy your guitars?

It happens differently. Sometimes I can buy them on tour, by accident. Sometimes they are made by the master, already mentioned earlier, Alexander Kozyrev. Sometimes I buy guitars on eBay blindly. If I see a unique instrument from my colleagues, I can buy it from them.

To date, my guitar collection includes 25 instruments. These are both acoustic and electro-acoustic instruments, both with nylon and metal strings. There are Greek bouzouki and dutar, there are fretless guitars. The collection is large, but it is not a museum collection, not exhibits. These are real working studio and concert instruments that are actively used.

Do you have electric guitars in your collection?

I don't have electric guitars. It just so happened that I made friends with some very good musicians who play electric guitars. Therefore, when the question arises in studio work about recording an electric guitar - and this is rare, but it happens - I simply invite them. They bring their amps, gadgets, instruments, and play what is required.

I have a desire to buy a good electric guitar, like the Gibson SG played by Angus Young. I like it, it is from my youth, from my childhood, that's why I want such a guitar. But I want to buy a really rare instrument of that time with a good, played body, good sustain and a great sound. Therefore, if I come across such a guitar, I will buy it with pleasure, remember my youth, play it, experiment. It is unlikely that I will use this guitar in concerts, but in some studio sketches it is quite possible. It is this Gibson model that I really like and fit me, it is comfortable for me in terms of neck and shape.

Isn't it hard to "do a show" on stage and play technical things at the same time?

I don’t “make a show”, I just play music, but internal energy, drive somehow throws me up, and in some works it starts to carry me, throw me, toss me on stage. I don't do anything on purpose, it's just music... Music is in me. And I just give it to the audience.

And I just don't think about playing technical passages. For me, all this is organic and natural - during the concert, move, jump, approach other musicians. But somewhere I can sit on a chair chamber and not move. Because certain music calms me so much that I dissolve in this musical space.

So a three-hour live concert is completely different in terms of music, dynamics, and emotions. It has everything - explosions, ups and downs, joy, disappointment, laughter and tears. And so during the concert I am also different.

Would you like to write a couple of songs with vocals?

In fact, vocals are actively present in my studio work, and at concerts it sounds in the form of samples. But here, you know, how the stars will coincide. If I find an interesting timbre and I like the vocalist, then I can use his vocals as an instrument, bringing a certain timbre coloring to this or that piece. Almost every album has this piece.

So I always perceive the voice as a musical instrument with an interesting timbre. But you don't always want to have words, so that the songs have a semantic load. Because it's not always necessary. I make instrumental music, I love it, adore it, this is what I dissolve in and get crazy pleasure and happiness.

And how popular is such instrumental music?

Very in demand! It's a constantly evolving genre. And not only guitar, but also violin, piano, electronic, ethnic. Perhaps, in our country this development is lagging behind, or rather even with a giant lag, but the problem here is that we do not have the institution of producing. There are good musicians, but there is no specialized label that would deal only with instrumental music. In particular - guitar instrumental music. In any developed western country there is a label that deals only with instrumental, only guitar, and only acoustic music, you understand! And in our entire vast country there is no such label! There are no producers, there are no production centers in this area of ​​music. That is, the problem is purely economic, going beyond creativity. That's why I started producing myself. When I arrived in Moscow in 1998, I realized that everything here is rather complicated. And he began to study the principles of production himself - how to communicate with people, how to communicate with record companies, how to convince, how to look for an opportunity to shoot a video, to record. How to properly present music, position it, find your target audience, work with promotion, with PR. A huge amount of work was done, and I am still learning to thoroughly understand the mechanism of work - not musical, but organizational. It’s an insanely difficult, but also interesting job, and I have to do it. Now it may be a little less than before. But at that time I had to work quite a lot. It was very difficult for me. I came from a small Belarusian town to Moscow, this huge, dynamic, complex city, where I had to start everything from scratch. There were ideas, beautiful melodies, music. There was a vector - where to move. And people believed me, followed me, a team was organized, the first videos were shot, the first albums were recorded, the first steps were taken in the field of advertising. And in this way, this boat called "DiDyuLya" gradually rocked.

What do you need to do for your promotion specifically? Do not be too lazy to get up early, go meet the right people, send your proposal, meet, talk, meet again ... To be in constant motion, and not only musical movement. There are no secrets here, everything is simple. And an active life position will help you.

But once again I say - in our country it is difficult. And I want to help young, beginning musicians. They send me a lot of demos, there are interesting names, and I have already taken some steps in this direction. I produced and released an album by Denis Asimovich, an amazing classical guitarist. The album is phenomenal in sound, in quality, in execution and in appearance. This is music with a mood that has found a response in the West and is being re-released in Europe. But this is academic music.

There is an idea to work in a modern genre, in a modern style, there are interesting names, so certain steps are being taken in this direction.

So I gladly accept all the demos, photos and videos that come to me, go to the websites of musicians, get acquainted with their work. That is, active work in this direction is underway.

Do you consider yourself a successful guitarist?

Well, I don't consider myself a successful guitarist, I consider myself just a musician, a composer who makes music, and the main instrument for transmitting this music is the guitar. For some reason, we have a very clear division between a guitarist and a musician. This should not be. There is just one concept - a musician. He can play the guitar, or he can play some other instrument… I don't like this division.

Successful or not successful is also an abstract concept. Everything is relative. I position myself as a person who works hard, enjoys performing, composing music, and the very process of making music. And the concept of success for me is absolutely vague and means nothing. And it doesn't affect me as a composer or as a person. And even somehow annoying. Now you are asking me this question, and it even jars me a little. I'm just a musician who plays and composes.

- In words: Leilochka, oh, everything is there, but in reality nothing ...

More than a modest hotel in the district center of Bulaevo. And this is really her, Leila Khamrabaeva, a Russian citizen and Didula's ex-wife. The metropolitan thing does not seem to notice the miserable situation. He says he was lucky to stay here, and not in the bullpen.

Darkhan Akhmetov, Deputy commander of the military unit 2032:

- I crossed the state border along the field, the children also crossed on foot, but using scooters.

- Scooters?

- Yes, ordinary children's scooters.

It turned out that the recalcitrant Leila divorced her famous husband Valery Didula 8 years ago. But he, although he has not seen the children for years, forbade them to travel abroad. And the woman so wanted to go home, to Tajikistan. How to illegally cross the border, I learned on the Internet. From Moscow, we first traveled by train, then walked. How Layla expected to remain unnoticed is a question that she herself cannot answer. I crossed the Russian border without difficulty, but the Kazakh border guards have a diamond eye.

- What is the reason to impose a travel ban on children? It's just so that it would be disrespectful to go to the courts, so that it would be disrespectful to ask for alimony.

Valery Didyulya is a famous Russian guitarist of Belarusian origin. Hence the rare name. Known for a modest rider and full halls of fans. Even the Kremlin took it, that is, he gave solo concerts in the Kremlin Palace. Before this incident, I did not have time to disgrace.

She thought that he would masterfully play on the strings of her subtle soul, but as a result, he played on the nerves for 6 years. And won't stop. According to the fugitive, the lawsuit for decent alimony from Didula has been going on for several years. For a penny, Leila, as a former producer of her husband, does not agree. Knows how much he earns. She says that her husband has not been generous before.

Leyla Khamrabaeva, ex-wife of Valery Diduli:

- Kindergartens, schools, this, that, swimming, I supported everything, all kinds of choreographies and so on, I paid for it all myself. And he, it turns out, was saving up for a Mercedes, for a gold watch.

It is interesting that Didula adopted the girl Leyla from her first marriage. And then the couple had a common son. But de jure it still turns out that Didula is the father of both, which means that he may not allow them to travel abroad. However, he was already too late with the bans: Leyla was fined 70,000 tenge and released. She went to her native Tajikistan.

Leyla Khamrabaeva, ex-wife of Valery Diduli:

- I do not follow ... But officially he has no other children. Officially, he has these two children, and he had this marriage, with me.

Valery Didula is a first-class guitarist, composer, arranger, amazing showman who knows how to charge the audience with his emotions. Now he is famous all over the world. Does he owe this talent or many years of titanic work? What interesting information does Didula's biography contain? Family, photo of the artist - all this will be presented to your attention in the article.

Childhood

The famous artist was born on January 24, 1969 (48 years old) in the city of Grodno, the Belarusian Republic (then part of the USSR). Parents Mikhail Antonovich and Galina Petrovna had nothing to do with musical activity. Mom was an accountant in the field of catering, dad was a high-class locksmith. Whatever little Valera was fond of, he always found support in the family. This is probably why, seeing her son's interest in music, his mother gave him a toy guitar for his fifth birthday, which looked very much like a real one. In addition to the guitar, Valery was fond of chess, radio work, and swimming. But most of all he was drawn to music. It was the support of his parents, according to Didula, that became the impetus for his musical achievements.

First steps to success

As a teenager, Valery received a real guitar as a gift from his parents. By this time, his passion had become serious. He learned to play the guitar, experimented with sound at home. Then he began to try various devices: sensors, pads, sound amplifiers. He was very diligent in his hobby, constantly honing his guitar skills. Even his teachers were surprised by this. Friends of the future musician were also fond of this instrument, so they always had an unspoken competition: who is better, who will play more interesting. This went on for several years.

Carier start

In the BSSR, there was a rather popular VIA "Scarlet Dawns" in Soviet times. Working as a guitarist in an ensemble was Diduli's first place of realization as a musician. With concerts they traveled all over the republic. This work taught Valery to stand in front of the public with dignity. Many hours of performances honed skills and developed endurance. But with the collapse of the USSR, the guys dispersed in search of a more promising job, and only Valery continued to play the guitar.

Diduli's next musical experience was the White Dew dance group. This team was famous and successful. The guys mostly danced folk Polish, Belarusian, Ukrainian. Here Valery worked as a guitarist and sound engineer. He liked folk music, and later its motives can be heard in the musician's own works. Sound engineering work was very responsible. It was necessary to figure out how not only the guitar sounds, but the whole arsenal of musical instruments used at concerts. It was also necessary to adjust the sound in such a way that it would be advantageous to the viewer, harmoniously merging with the dance. Didula watched the reaction of the audience at the performances: what goes well and what needs to be improved. So he saw the preferences of the public, adjusting to it. This experience is also very useful to the musician in his creative development.

With the ensemble, Valery went on numerous tours. He visited European countries: Spain, Italy, Poland, Switzerland, France, Germany. And each left a strong indelible impression. But he especially fell in love with Spain with its flamenco style.

Working in an ensemble and communicating with professional musicians, Didula discovers the talent of a composer for the first time and even thinks about solo performances. The very atmosphere of the ensemble - a lot of talented, young, bright people, the love of the public, tours - inspired the young Valera Didula to develop and succeed.

Through hardship to the stars

While working in the White Dew ensemble, Valery came across an advertisement for a competition held for young performers. Advertising promised great prospects for the participants who made it to the final. He took a chance, leaving to try his luck in another city where the shooting took place. And to my surprise Not only passed the qualifying round, but also got to the gala concert. Dreams of a solo career began to come true. The competition gave him many useful contacts. Professional directors, editors, producers shared their experience and gave practical advice.

Minsk businessman and musician Igor Bruskin, after getting acquainted with the work of Didula, provides him with a job in his salon, where musical instruments are sold. Frequent business trips to Moscow in order to sell instruments to various recording companies give new invaluable experience to the guitarist Didula. In addition, he gives small concerts in Minsk. His music is a combination of folk motives, Spanish flamenco style with the addition of electronic processing. The performance style of Didula's compositions has already become final. He is slowly but surely moving towards his dream of recording an album.

Unexpectedly, fate gives Valery a very successful and fateful chance. The participants of the TV contest, in which Didula participated, were invited again to participate in the large-scale festival "Slavianski Bazaar". It was a great opportunity to express yourself and your work. After the performance, he was invited to work in Moscow, and he agreed. Life in Moscow has become a difficult test for the guitarist. The producers rejected him, referring to the fact that playing the guitar is not in demand by the public, and will not bring success. Didula had to earn a living by street performances. Only an acquaintance with the then influential Muscovite Sergey Kulishenko helped Valery Didula stay and asked the musician to give him guitar lessons for money. He also sponsored the release of the guitarist's first album at the Mei Liana recording studio. This famous guitarist soon helped Valery organize his home studio. Thus began the real work of the composer and virtuoso guitarist Valery Diduli.

Success

Diduli's first album did not arouse enthusiasm among major record companies, and there was no money for a solo concert. But it didn't stop. Speaking in clubs, Didula corrected his music, taking into account the preferences of the public. The talented musician Sergey Migachev helped Valery in his work. At one of the performances, Didula was approached by representatives of the Global Music company and invited for an interview. This is how the first contract was born.

But the cooperation did not bring creative fruits, and soon the contract was terminated. But new useful acquaintances appeared. A series of events brought the musician to Prigogine, who offered Didula a job at his company Knox Music. After signing the contract, large-scale work began to promote the young guitarist: the release of the debut album, the shooting of a video featuring Alla Dukhova's ballet, advertising, and participation in television programs. All this contributed to the growth of popularity of Valery Diduli. Albums begin to quickly disappear from store shelves. Teamwork with Migachev and Prigogine was very productive.

After the successful release of the first album, the circle of acquaintances of the musician is still expanding. Russian pop stars begin to cooperate with him. Christina Orbakaite, Abraham Russo, Dmitry Malikov - this is an incomplete list of artists who turned to Didula as a composer.

The following albums "Road to Baghdad", "Satin Shores" no longer leave any doubts about the professionalism and talent of the guitarist and bring him fame.

Creativity Diduli now

Having gone through a difficult path and honed his guitar skills to perfection, Valery is looking for new ways to express his talent. The creation of “sound in sound” compositions, when the background sound is added to the main sound, served as the beginning of writing music that favorably affects the psychological health of a person. This fact is confirmed by expert psychologists.

To date, Valery Didula gives more than 120 concerts a year, releases new albums, and produces other performers. His work is in demand.
In addition to music, Didula tried himself as a movie actor. He played the role of a guitarist in A. Konchalovsky's film "House of Fools".

Guitarist character

About himself, a talented musician says that he is a calm, balanced person. He does not like scandals and adventures. And he has a surge of energy in performances. At his concerts, Didula gives vent to feelings and emotions, creating a vivid show combined with high-quality, unsurpassed music.

Appearance

Valery Didula is a short (170 cm) slender blond with blue eyes. Charm and poise complete the image.

Biography of Diduli: family, wife, children

How did the personal life of this wonderful artist? Diduli's biography, wife, children - all this is interesting to fans to the smallest detail. The performer does not like to talk about his personal life. But the artist is always in sight, and some information still leaks. Although it probably contains a lot of speculation.

There is information that Didula was married to a Tajik Leyla Khamrabaeva. The marriage produced a son and a daughter. The musician broke up with Leila, but resentment haunts his ex-wife. She is in a constant fight for child support, spreading rumors that her ex-husband and father of her children is not paying them a dime. Diduli's lawyer denies these rumors, arguing that the ex-wife regularly receives alimony, and there is no debt.

New love

As evidenced by the biography of Diduli, the artist has a family, a wife (photo in the article) today. His wife is a young talented singer named Evgenia, who works in his group. Didula speaks very warmly of her, calling Evgenia her muse, inspiring him to new works. In this happy marriage, a daughter was born. That's all the meager data about the personal life of the musician.

Valery Didula is not only a composer, performer, arranger, sound engineer, but also a producer of his group called "DiDyuLya". This gives the artist's work integrity and harmony. The DiDuLa project is a combination of talent, experience, great work, determination and, of course, self-confidence.

Didula, "The Way Home", video

The popular Belarusian musician, composer and guitarist Didyulya (full name Didyulya Valery Mikhailovich) was born in the city of Grodno on January 24, 1969 (01/24/1969). Didula works in the style of folk music, fusion and new age.

When Dilyula was five years old, his mother gave the boy a guitar, thus determining his further creative path. From that moment on, Didula did not part with his favorite musical instrument, experimented with an amplifier and a pickup. The boy gained experience, watched the musicians play at concerts and weddings. Soon Didula became a member of the VIA "Scarlet Dawns", led by Nikolai Khitrik. The team performed at state farms and restaurants, toured the cities.

After the Scarlet Dawns group broke up, Didula became a sound engineer in the White Dews ensemble from Grodno, which worked mainly in the genre of folk music. As part of the group, Didula went on tour in many European countries. In Spain, Didula learned the flamenco style, which later had a great influence on the musician's work. Diduli's first music album, released in 2000, was called "Flamenco".

In 2002, Didula created his own musical group. The musicians used electronic music, experimented with house-style arrangements.
Didula created more than a hundred pieces of music, being at the same time a performer, composer and producer. Didula gives one hundred and twenty concerts a year and is recognized as the most touring musical group in Russia. Together with Didula, Khaibula Magomedov (keyboards), Alexander Leer and Rustem Bari (percussion), Dmitry Ershov (bass), Ramil Mulikov and Valery Skladanny (winds) perform.
As we already wrote, . The musicians intend to perform the song "Now you" re gone "(" Now you're gone "). The music was written by Didula himself, the words of the soloist of the famous Deep Purple band Joe Lynn Turner.

Good day, citizens!
I want to tell you about another talented musician. Although when I first heard him, I would not have thought that he was from Belarus. It seemed to me that he was a Spaniard or another eastern country. I was misled by his music: such as "Arabica", "Isadora", "Flamnenko", "Spain", "Train to Barcelona", "Road to Baghdad", "Leila", etc.
I will try as always shorter :) to tell about it. If you want to know more, there is a lot of information about him on the Internet. Better to listen though.

Valery Mikhailovich Didula(January 24, 1969, Grodno) - Belarusian guitarist and composer, leader of the DiDyuLya group. Performs folk and fusion music.

Didula was born in the city of Grodno. This Belarusian town is beautiful with its architecture and rich in musical traditions. Nearby are the borders with Poland and Lithuania, resulting in a great cultural interaction. A lot of nationalities live in the city: Poles, Jews, Lithuanians, Belarusians, Russians, Ukrainians. The city is interesting, pleasant, only warm memories remain about it.

DiDuLe's first guitar was given to him by his mother when he was five years old. Interest in the instrument was unusual, maybe because someone was constantly strumming the guitar in the yard, or maybe because he was drawn to music in general. Like every child, DiDuly had all sorts of record players in childhood, which also had a rather strong influence. With the very first guitar, the first unobtrusive experiments with sound came: a sensor was placed on the guitar, home-made amplifiers were turned on, all sorts of gadgets were made. For DiDuLi, a period of guitar courses began: the teacher showed what chords exist, how to play, what manners and techniques of playing exist. This was the beginning, the first steps in mastering the guitar.

After some time, DiDuLa found out that a competition was being held on Belarusian television, where interesting young performers of various genres were invited. If you pass the qualifying round, great prospects will open up. He decided to try, and, having collected things and tools with Dima Kurakulov, he went to another city, where the competition was held. DiDuLa and Dima passed the qualifying round, after which they were invited to shoot. It was a great inspiration, preparation for filming was very serious. To his surprise, having played some of his usual acoustic things, DiDuLa went through the next tour and got to the gala concert. It was a great victory and success - the dream of a large audience came true. In the same place, acquaintances with professional directors and editors took place, they helped, shared their own experience, indicated what should be strived for and in what direction to work. The talented Belarusian composer Oleg Eliseenkov played an important role in DiDuLi's promotion at the competition. His help was simply invaluable, his advice was accurate and helpful.

But the scope of a sound engineer becomes too narrow for DiDuLi - you want to do what you love - guitar, composition, sound, arrangement, your own author's music. And at the invitation of businessman and pianist Igor Bruskin, he moves to Minsk. Bruskin owns a music salon that sells various instruments. DiDula is engaged there in consultations and sales, working with various musical equipment, often travels to Moscow, where, interacting with recording studios, concert halls and other musical organizations where this equipment was supplied, he gains useful experience.

Suddenly, in the wake of the TV contest, at a very large festival "Slavianski Bazaar" a small program was organized, where all the artists who participated in the TV contest were invited. Finally, it became possible to make a more serious statement about oneself - the festival was broadcast to all CIS countries, as well as to Poland, the Baltic states and Bulgaria. This gives DiDula a great incentive to continue working in the direction in which she was going, building a clear position - doing instrumental music, guitar, guitar aesthetics and all this with a little influence of folk music. Also, DiDuLa tried to mix electronic music to some extent. Visiting the Slavianski Bazaar has remained a good tradition, even after DiDuLa moved to Moscow. This period is typical for DiDyuLi by working closely with local choreographers, creating unusual and interesting numbers.

But Moscow beckons with its diversity and great prospects. Didula warmly says goodbye to Igor Bruskin and moves to Moscow. At first it was very difficult - after all, the capital is very specific - it has its own customs, principles, traditions. For a visitor, this is a completely unusual and unfamiliar city, other people. But the goal, stubbornness in achieving it and faith in success helped a lot to overcome difficulties. The Arbat period began - street performances, but not of a ragged street artist, but of a professional musician with good technique and appearance, who played, first of all, for his own pleasure. Here DiDula met many people, including Sergey Kulishenko, at that time he held a high commercial position. Although DiDula was not very easy to get close to strangers, but against the background of the difficulties that arose, he had to make a choice: either call one of those whom he met, or leave Moscow.

The first person DiDuLya called was Sergei Kulishenko. Sergey wanted to learn how to play the guitar, so DiDuLi got his first student. Sergey also showed interest in DiDuLi's activities, helped with housing and instruments, paid for the first professional recording at the studio of the wonderful guitarist May Lian. A high-quality home recording studio determined the direction of DiDuLi's further work. Mei Lian's recording was excellent - eight songs were recorded, technically everything was at the highest level, although artistically - not that. DiDuLa very warmly remembers communication with Mei Lian, a talented guitarist and composer, a good teacher and respected friend. DiDuLa, together with Sergey, began to develop the issue of creating their own home recording studio, explored the market for musical equipment. A set of equipment was formed, which was installed in Sergei's country house. Serious systematic work began in the field of sound, guitar, exercises, classes, search. An interesting acquaintance with the popular music group Arkady began. It was an interesting Samara musician, singer, composer; their joint club performances with DiDuLei began.

This period of DiDuLi's work is also associated with acquaintance with truly world-class stars: Placido Domingo, Bryan Adams. There is an idea to work with Abraham Russo, the goal is to record several songs, DiDuLya acts as a composer, arranger and producer. The work is going very well in tandem of Sergey Migachev, Avraam Russo and DiDyuLi, resulting in a large-scale project. The circle of acquaintances with artists is expanding, young performers are involved in the work, people are bright and interesting. The touring activity is expanding, new cities and clubs are included. During these tours, new instruments are acquired, as well as experience and ideas, which is beneficial for creativity.

An album is born "Road to Baghdad"(Video clips “Leyla” and “Arabica” were filmed on the melody from this album). . There are complications in relations with Prigogine and his company "Knox Music". At the same time, there was an acquaintance with Andrei Konchalovsky and shooting DiDuLi in his film "House of Fools". During filming, DiDuLa worked with Bryan Adams, who also took part in the film. In the film, DiDuLa played a guitarist, in other words, he played himself. Pirated copies of discs began to appear - undoubtedly, one of the types of artist recognition. At one of DiDuLi's concerts, Dmitry Malikov invited him to release an instrumental work together. DiDuLa agreed, the idea of ​​the work was born quite quickly, so the composition "Satin Shores" was created. In the same vein, there was cooperation with Christina Orbakaite, a joint composition was born.

DiDula seeks to diversify and enrich the palette of sounds in the works performed, to make his music not only more beautiful, dynamic, lively, but also close and understandable to people. The idea of ​​the need to create your own group - a team of like-minded people - visits more and more often, because only with a permanent composition can you freely travel around the country and give concerts, no longer adjusting to the work schedule of the invited musicians. DiDula begins to look for and select people one by one with whom one could share all the joys and hardships of life "on wheels" - the life of a frequently touring artist. Those with whom it would be possible to move to a new stage in creativity. The set begins: bass guitarist Yaroslav Oboldin, keyboardist Alexander Leonov, percussionist Kirill Rossolimo, sound engineer Boris Solodovnikov, drummer Andrey Atabekov are invited. The group is rehearsing, a program is being prepared, consisting partly of new, partly of old music, supplemented with new colors. There is a search for his own style, the continuation of studio experiments.

"Legend"(2004) - the first album recorded by the band. In the same 2004, DiDuLi's largest solo concert in St. Petersburg was successfully held. The Oktyabrsky Concert Hall, designed for 4,000 spectators, was overcrowded. On the official website of Oktyabrsky, you can still see the poster of DiDuLi after the words "... and new names rise to the starry sky"
In 2005, a triumphal concert follows in Moscow, on the stage of the Rossiya State Central Concert Hall. It is a great success and a great achievement for any artist to perform in one of such well-known and large halls. Undoubtedly, concerts at these venues are also a significant event in the history of the group, for which they have been going for a long time and diligently preparing.
2006 was a very fruitful year. 2 albums were released at once: "Cave CityINKERMAN", from which a clip was shot for one of the compositions of the same name, and "Colourful dreams".
The following were released 2 discs from the "Grand Collection" series (Audio CD - a collection of 19 tracks and an mp3 CD).
All DiDyuLi albums published at that time were translated into the popular mp3 music format in the best quality, starting with "Flamenco" ending "Cave City" Here you can also find all the clips and 2 video clips from the live concert «Live in Moscow» filmed at the State Central Concert Hall "Russia". The full mp3 version of this concert is also included on the disc. The long-awaited DVD is finally on sale. «Live in Moscow»(and the version of the concert on Audio CD), which is a video recording of the Moscow concert.

Compositions from new albums, such as "Inkerman Cave City", "Parcel from Romania", "In Exile", "Circle Dance", "Colored Dreams" were included in the updated concert program of the group, with which the musicians first pleased the audience on June 2 2007 in Moscow (concert at the Gorky Moscow Art Theater).
The excitement around the album does not have time to subside "Colourful dreams", as already in May 2007 a new album is released "Music of an unmade movie" recorded with the accompaniment of a symphony orchestra. Album "Music of an unmade movie" became the most unexpected and most discussed project of the group on the site.
The popularity of DiDuLi's music is growing and, accordingly, the geography of tours is expanding - now it is not only Russia, but also neighboring countries and European countries.
The group takes part in the "Song of the Year" in Belarus - the musical result of the year, organized by the ONT television company, the names of the participants of which are traditionally determined by the results of the rating of the country's leading FM radio stations.
DiDuLi's music is used as a soundtrack to the film by Alexei Kolmogorov "Photo of my girlfriend". Also, director Kolmogorov is filming a new video clip - for the composition "Train to Barcelona".
On March 11, 2008, an agreement was signed with the British Broadcasting Corporation BBC on the use of two tracks by DiDuLi from the album Colored Dreams: "Distant City", "Colourful dreams". Tracks will be used by the BBC in a five-episode documentary "Russia - a Journey with Jonathan Dimbleby" - "Russia - A Journey with Jonathan Dimbleby"(producer - George Carey, written by - Jonathan Dimbleby, manufacturing company Mentorn Media).