Letter to the master of the choir. Master of the Choir - video and short biography

evolutionary-meditative health practice;
evolutionary-meditative personal individual program;
evolutionary-meditative women's and extreme women's programs.

"Zen-Do"
"Progressively developing psyche"
"Circle of Eve"
"The Snake and the Flower"
"Recognition"
and etc.

8 volumes are being prepared for release
"Evolutionary mysticism from the Master CHORUS"

other psychotechnics
another psychophilosophy
another psychoanalyst

In a nutshell about yourself

“Since childhood, I sometimes found myself in unusual states in which the world changed. In such cases, my body also changed and its movements on land and in water acquired a slightly different character. I didn't pay much attention to this because In my father’s house this was considered quite normal.
In the end, I’m talking about those dynamic meditations that I knew and did naturally, practically from birth. And the seed of these meditations is carried within all people, regardless of race, nation, etc.
Everything I write and talk about comes from more than a long experience.”

(Master CHORA, "FLOW. Evolutionary-meditative consciousness", 2002)

I am a modern Zen master mystic, psychotechnician, psychophilosopher, psychoanalyst. You just read the text. This text guarantees that I am a psychotechnician, a psychophilosopher, and a psychoanalyst.

I also recommend watching the video. There you can see what can come out of my childhood unusual movement in space, not only as a personal skill, but also as learning - fast, at speeds not accepted, not existing in the world (the time spent teaching other people my dynamic techniques is no more 3 months, this can be easily checked).
Watch this video, combine it with at least the text “Failed Christian Yoga” - and you will see two incompatible, conflicting cultural codes that have come together in me - Western and Eastern, the unity of the dominant left hemisphere and the dominant right hemisphere. “CHORA: from dynamics to Track” and “Failed Christian Yoga” are incompatible things, but in me they are combined and there is no conflict.

Such compatibility of the incompatible, not accepted in the world, has caused, is causing and will continue to cause unfriendly attacks in my direction, because in a person’s cultural code one half of the brain dominates and aggressively suppresses the other half.
Unkind attacks in my direction can be either emphatically polite or openly aggressive, but always meaningful, as if in the name of protecting the cultural code. This makes it possible to play on the sensual strings of ignorant people. It was, it is, it will be until both halves of the brain are harmonized in a new, universal cultural code.

If you want to develop yourself, develop society, develop your civilizational code, you need to be open to the WHOLE world. Because the Human code is not located in one point or in some half of the world, eastern or western. Be open to all the best civilizational experiences of humanity, as well as everything progressive in today's world. There is no place in the future for those who are selfishly closed in on themselves.
Whether in the West or in the East,
whether in the North or the South.

VALERIYA NAVROTSKAYA is one of the most remarkable figures of the Samara musical elite. A musician of enormous natural talent and professionalism, Honored Artist of Russia, founder and artistic director of the Samara Chamber Choir Theater (1993–2001) and the Lyudmila Chamber Choir (since 2000), for almost forty years the permanent chief choirmaster of the opera house (1974–2013 ), a tireless worker in the field of musical and spiritual education, is celebrating his anniversary.

Opus magnum

Until recently, the main business of Valeria Navrotskaya’s professional life was the opera theater. After graduating from the Odessa Conservatory in 1972, she began her career at the Kuibyshev Opera and Ballet Theater, and since 1974, without a few months fourty years - as chief choirmaster.

Opera choirmaster is an extremely difficult and mostly thankless profession. It involves enormous work in the classroom, but is rarely appreciated in the context of a performance. We know the names of outstanding opera conductors who created and recorded performances that are rightfully considered standard, but few can name the names of choirmasters, whose work is so clearly heard in the grandiose sounds of opera choral introductions and finales, and even then from the most famous theaters.

An opera choirmaster rarely receives his share of well-deserved laurels. However, woe to the performance if there is no agreement between the performing strategies of the choirmaster and conductor. Either its choral part - and it can occupy up to half of the score - is perceived as a separate textural layer of the musical text, or it simply ceases to exist, disappears from the concept of the performance.

Valeria Navrotskaya’s professionalism, deep understanding of the essence of her profession and the artistic capabilities of such a unique “instrument” as the choir, never led her to an open conceptual confrontation with the general concept of the performance. The brightness of her creative individuality inevitably manifested itself where the very structure of the text, its requirements for tempo, texture and intonation challenge not only the choir artists, but also the choirmaster.

Such works include “Fair” from “Faust” - one of the most difficult choral ensembles to intonate in opera literature, which, in its clear articulation and alignment of the contrasting polyphonic vertical, leaves behind even classical performances of this opera. The hurricane stretta in the scene of the capture of Azucena (Il Trovatore) is marked by courage, almost audacity, from which choral parts are often removed due to the difficulty of execution.

A cathartic, in the ancient style, effect is achieved by the sound of the choir in operatic fragments, one way or another connected with ecstatic, often prayerful states, as, for example, in the stepped introductions of choral voices in the finale of “Visions of Ivan the Terrible” or in the tiny funeral prayer in the finale of “Spade” ladies."

Special mention should be made of “The Villagers’ Choir” – the famous a cappella number from “Prince Igor”. Perhaps this is one of the cases of a “solo” choir performance, when the work of the choirmaster becomes obvious. The ascetic sound of the choir, ending with a fading unison, is emphasized by the director’s decision: the choir, motionless and lined up as if on a concert stage, is the only character in this scene. This is a real stasim of ancient tragedians (“a song of a choir in a motionless state”), devoid of any physical movement, but precisely because of this, it reveals itself in the semantic abysses of subvocal archaic polyphony. It is no coincidence that Yuri Alexandrov, the director of the play that is currently on stage, carefully “hid” the choir behind the stage in this scene: the static nature that the music requires does not agree with the director’s concept of the choir as a plastically mobile collective character.

There are countless performances that were prepared with the participation of Navrotskaya over all these years. A whole list consists of operatic “rarities” that are extremely rarely heard from the provincial opera stage: the first complete performance of N. Rimsky-Korsakov’s “Servilia” after the premiere in 1902; operatic messages from the Slavic brothers (“Ivaylo” and “The Terrible Court”); Novo Vienna's "The Dwarf" by A. von Zemlinsky, "Lolita" by R. Shchedrin or the "historical" operas of S. Slonimsky. All these “exceptions,” which seemed to arise due to the rarest coincidence of chance, nevertheless, perfectly reflect the creative position of Valeria Pavlovna, which can be defined by the famous phrase of Modest Mussorgsky: “Forward, to new shores!”

The theater could not help but recognize the creative capabilities of the choirmaster Navrotskaya and her team. It was thanks to this that performances appeared in the theater’s repertoire, wittingly or unwittingly aimed at making Valeria Navrotskaya’s work more obvious. These include “The Execution of Stepan Razin” by D. Shostakovich, where the chorus successfully challenges the attention of the audience from the ballet. As for the performance-concert “And Rus' Shines in the Heart” based on the choral cycles of G. Sviridov, it is entirely structured around the “solo” of the choir. Here it is appropriate to mention the concert performance of such works as Franz Schubert’s A-flat Mass or Verdi’s Requiem, in which the opera choir performed in an ensemble with other choral groups. Largely with the assistance of Valeria Navrotskaya, an experimental ten-year choir school was opened at the theater, thanks to which it became possible to reveal the denominations of elegant children's choirs in “Carmen” and “The Queen of Spades.”

Valeria Navrotskaya's activities outside the theater have always been large-scale and multifaceted. Back in the 1980s, she directed the vocal studio of Kuibyshev University. The participants of the studio, students - historians and philologists, were not professional musicians, but this did not prevent them from being a real team, cemented by common music playing in the class, concert performances and, mainly, thanks to the personal and creative qualities of their leader. To this day, they gather every year to congratulate the choirmaster and friend on his birthday. These gatherings, in which not only former university students participate, but also members of their families, are filled with an atmosphere of deep and sincere friendship, a sense of creative unity that arose in joint music playing, which is rarely found even in professional groups.

Of the professional groups that Navrotskaya led at different times, we will only mention the chamber women’s choir “Lyudmila”. This small group, more an ensemble than a choir, not so much in composition as in its performing style, under the direction of Valeria Navrotskaya, is convincing proof that timbre uniformity of sound can be combined with an infinitely wide range of expressive possibilities. Recognition of this fact is the group’s numerous foreign performances and victories at international choir festivals in Prague, Vienna, Budapest, and Salzburg.

Among the latest events in Valeria Navrotskaya’s creative activity is participation in a unique project on the basis of the Samara Theological Seminary, designed to raise the culture of monastery choirs to the level of professional groups that would not need to invite outside singers even to holiday services. To teach monks and monks, most of whom until now had no professional singing experience, to competently use their vocal apparatus, to correctly intonate archaic liturgical chants that are difficult for modern ears, to instill in them the skills of polyphonic singing is a task that requires not only talent, but also endless tact and patience. Navrotskaya, who knows how to not only instill in her students coordination between hearing and voice, but even awaken the dormant sense of rhythm in them, copes with it impeccably.

Et in secula seculorum

With V. Navrotskaya’s forced departure from the theater, her image immediately began to become mythologized in opera folklore. Today, if the choir happens to encounter “inconvenient” music that requires painstaking and long work, a kind of mantra begins to sound: “Navrotskaya would have done it in half an hour.” Of course, “half an hour” is an exaggeration, but in this statement lives the boundless faith of the choir artists in Valeria Pavlovna’s creative power over the sounding matter.

Many years to you, Valeria Pavlovna, health and happiness!

Olga SHABANOVA

Musicologist, Candidate of Art History, Associate Professor of the Department of Theory and History of Music at the SGIK.

Master Hora is a highly realized person and has been called a modern Zen mystic master. Creator of evolutionary-meditative teachings and the Practice of the Choir. Author of more than a dozen articles and the book “Zen Tales from the Master Choir.”

The family of Master Choir is quite ancient. At the same time, Hora - as a quality, as Knowledge - was transmitted exclusively within the clan, the family of the Master from father to son. With appropriate upbringing, in due time, in such a family it is possible to awaken a master who has the right to speak outwardly. And he also has the right to teach and transfer this knowledge and quality to others. This is what happened to the Master of the Chorus. Both Master Chorus's father and grandfather were guardians of ritual and bearers of principles, but they were not awakened.

Master Chora came to St. Petersburg in the early 90s, he was about 35 years old. From this moment the tradition of the Choir outside begins.

In 1994-95, Master Hora began to give a healing system based on special principles.

Books (2)

Conversations with the master of Chora. Either I - or the whole World

Either I - or the whole World. This is both a question and an answer at the same time. This is essentially a Zen koan. This book is unusual from the very beginning.

What is Divine justice? What is fair government? How can atheists and believers reconcile? How are inanimate and living matter interpenetrated? What do Darwinian evolution and Genesis have in common? How to resist the challenges of modern techno-civilization?..

By reading this book, you will get answers to these and many other questions. You will gain a new perspective on such concepts as freedom, immortality and eternity, love and sex, hatred, friendship and fidelity.

The teachings of Krishna, Buddha, Jesus will come to life before you, and at the end of the book, perhaps you will figure out what it means: “either I - or the whole World.”

Russian society has been under the serious influence of the occult for many years. The printed press is replete with advertisements for the services of various sorcerers and magicians, on television we watch all sorts of “psychic battles,” and bookstore shelves are filled with pseudo-spiritual literature. As sad as it may be, probably the vast majority of sects and cults existing on the planet have opened their branches in our country. A lot of their own, home-grown pseudo-religious, mystical movements have already appeared, many of which are skillfully disguised as various psychological trainings and systems of physical exercises. Their goal is simple - to maximize benefits for themselves. Money and power over minds are what are interesting to such commercial movements, the group of which includes the cult “Practice of the Choir”, which began to spread widely in Russia, Ukraine and Kazakhstan several years ago.

The story is silent about when and why a certain Alexander Atayan, who is now called the master of the CHORUS, came up with the idea to create his own teaching about health and endurance, combining exercises from a physical therapy course with discussions on spiritual topics. As a result, he came up with the “Evolutionary-meditative teaching and practice of HORA”, following which supposedly gives his followers almost eternal health. Atayan himself claims, while putting on a verbal fog, that he is supposedly from an amazing family in which this occult practice “... as knowledge was passed on exclusively within the clan, the family of the master from father to son.” “We can say that this is a certain genotype, somewhat different from the human one,” Atayan reports about his family.

“Since childhood, I sometimes found myself in unusual states in which the world changed. In such cases, my body also changed and its movements on land and in water acquired a slightly different character. I didn’t pay much attention to this, since in my father’s house this was considered quite normal” (A. Atayan, official website of PH). He calls himself a modern Zen master-mystic, psychotechnician, psychophilosopher, psychoanalyst.

How does HORA stand for? Atayan explains the abbreviation HORA in this way: 1) evolution as it is, 2) human evolution, 3) a method for implementing the next evolutionary step, 4) And what is behind all this. But in his work “Flow” Atayan deciphers PH as “the deep trace of a snake,” which immediately leads to certain analogies that are understandable to any Christian, which are later fully confirmed upon careful study of the cult.

On the main page of the official website of the cult it is honestly stated that the teachings of the PH are unique, since “there is nothing like this anywhere, this market is empty.” That is, we see a commercial cult aimed at receiving money from obedient adherents. The commercial nature of the cult of PH is confirmed by the fact that the vast majority of classes are paid and their cost is quite high. But even with a superficial examination, it becomes clear that the teachings of PH represent a typical anti-Christian religious and philosophical syncretism, mixed with Eastern philosophy, with a lot of A. Atayan’s own mystical revelations. Atayan still managed to introduce some “know-how” into the mystical nonsense that pseudo-gurus usually carry. For example, in his work “The Stream” he denies the fact of Jewish slavery in Egypt and offers to verify this by reading... the Bible. Atayan calls the angels about whom the Holy Scripture speaks nothing other than gods. “After listening to me, the reader may be told (those who program opinions): “The Master preaches polytheism.” But you must admit, even the Bible could not do without immortal angels. If the immortal is not a god, then what should he be called? He is not God the Creator - that’s all you need to understand” (A. Atayan, “Flow”).

The main practice in this mystical cult is a set of physical exercises combined with breathing elements, which is based on the trance technique. During special trance dances, PH adherents shake to very rhythmic music to achieve a special state of body and psyche. The leading specialist in the evolutionary-meditative practice of HORA is a physicist by training N.M. Bolshova, she periodically speaks at various, including international, conferences and seminars promoting this occult teaching. The cult of PH is gradually gaining momentum in our country, trying to gain a foothold using methods tested by other sects, for example, Scientologists. Just like Hubbard's supporters, high-ranking adherents of the Chorus practice claim that their teaching is one of the ways to combat drug addiction. PC supporters are also trying to penetrate educational institutions. In Novosibirsk, adherents of CHORUS penetrated into secondary school No. 29, where they launched their destructive activities, but employees of the Novosibirsk Center for Religious Studies prevented them from expanding there.

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lPZDB nBUFET CHEDEF VEUEDH U HYUEOILPN, EZP FTBOU RTECHTBEBEF CHTENS CH OYUFP PEKHFYNPE. nPTsOP ULBUBFSH, CHTENS UZKHEBEFUS Y nBUFET UPVYTBEF EZP CH PDOPKљ FPYULE. fBLYN PVTBBPN CH LPTPFLYK RTPNETSKHFPL CHTENEY CHSC RTPTSYCHBEFE NOPZPNETOPUFSH ULPTPUFEK FEYUEOOYS CHTENEY TBOSCHI NYTPCH Y OBIPDIFEUSH CH TBOSHI YOZHPTNBGYPOOSHI RPFPLBI PDOPCHTEENOOOP. fBLPK LPOFBLF OUEEF CH UEVE UPCHETYEOOOP DTHZPK PVAEN YOZHPTNBGYY.

h OBYEK RUYIYUUEULPK PTZBOYBGYY, CH OBYEN KHNE UKHEEUFCHHAF ЪPOSH U TBOSCHN CHPURTYSFYEN FEYEOYS READING. sing OBIPDSFUS CH RPUFPSOOPK UCHSJ LBL DTKhZ U DTHZPN, FBL Y U LFYN NYTPN. FTBOU nBUFETB FY POSCH BLFYCHYYTHEF. y YuFP-FP CHSH NPTSEFE RPOSFSH RTSNP CH VEUEDE, B YuFP-FP NPTsEF VShchFSH RPOSFP FPMSHLP URKHUFS NOPZIE ZPDSH. Besi Rethichpdefsh Flpe Chopurtyesfye Chuekopa Feuyeoe Chlesheoi Yurteospchc Urpupv Yampzeis Yozhptnbgyi, FP Ropunboye Npacef Tbufsohfshus about Oulpmshlp Tsiyek.

nPY UFBFSHY FBLCE OBRYUBOSCH RP LFYN ЪBLPOBN READING. lFP NPS RPUMEDOSS UFBFSHS. CHUE UFBFSHY CHNEUFE Y NBFETYBM ABOUT CHYDEPLBUUEFE SCHMSAFUS PDOPK LOYZPK. POB OBRYUBOB CHRPMOE UCHTENEOOOSCHN RPOSFOSCHN SJSHLPN, OP RP RTYOGYRKH VUEEDSH nBUFET-HYUEOIL. h PDOPK LOYZE - OEULPMSHLP LOYZ Y OEULPMSHLP RPFLPCH UTSBFPK YOZHPTNBGYY, ZDE ABOUT LBTSDPN HTPCHOE UCHPS FETNYOPMPZYS Y DTHZPE FEYOOYE READING. DMS YUYFBFEMS PE CHTENEY LFB LOIZB VKhDEF UFBOPCHYFSHUS CHUE VPMEE Y VPMEE YOZHTNBFYCHOPK Y RPOSFOPK. FE, LFP YUYFBM Y RETEYUYFSHCHBM NPI UFBFSHY PE READING, HCE RPOBBLPNYMYUSH U LFYN LZHZHELFPN.

yFBL, CHETOENUS L RMBOKH, YuFP FBKOP ЪTEM CH NPEN HNE. uRKHUFS OEULPMSHLP MEF S EZP OYUBM RTEFCHPTSFSH. with OE DBChBM ChPNPTSOPUFY DEKUFCHPCHBFSH CH FEME EUFEUFCHEOOPNH RTPGEUUKH CHOKHFTEOOEZP YYNEOOYS, RPDBCHMSM EZP. ъB OEULPMSHLP MEF bFB RTHTSYOB VSHMB UTSBFB OBUFPMSHLP, YuFP POB CH YFPZE TBTSBMBUSH U OECHETPSFOPK UYMPK... RTPYPYMP NPE RTPVKhTSDEOYE. hTBFB PFLTSCHCHBEF FPMSHLP chETB, PFEG NPK VShchM RTBC…

at FAIRY RPT RPTYMP EEE DCHBDGBFSH MEF. FP, UFP WITH OBSCHCHBA JYNEOOYSNY FEMB, RTDPUFSHNY UMPCHBNY OBSCHCHBEFUS "FTBOU". y CH YFPZE S ZPCHPTA P FAIRIES DYOBNYUUEULYI NEDYFBGYSI, LPFPTSHCHE OBBM Y DEBM EUFEUFCHEOOP, RTBLFYUEULY PF TPTSDEOOYS. sing TBOSCH RP ZHTNE - YENMS, CHPDB... - OP RP UHFY PDOP Y FP CE. y UENS LFYI NEDYFBGYK OEUHF CH UEVE CHUE MADI, OECHYTBS ABOUT TBUSH, OBGYYY F.D. (UN. FENH KPZY oEVEUOPZP yuEMPCHELB Y KPZY rTYTPDSCH, ).

CHUE, P YUEN RYYKH, YUIPDYF YЪ VPMEE YUEN DMYFEMSHOPZP PRSHCHFB…

(RTPDPMTSEOYE UMEDHEF)

oEPVIPDYNSCH TBYASUOOYS Y DPRPMOOYS

hPRTPU:

“h VUEEDBI U nBUFETPN S RTDDPMTsBM RPMKHYUBFSH OBUFBCHMEOYS.” yЪ ZMBCHSHCH "P UEVE".

p LBLPN nBUFETE YDEF TEYUSH?

pFCHEF:

yuMEOSCH OBYEK UENSHY OBAF, YuFP KH OBU EUFSH ZMBCHB TPDB, Y PO - CH UBNPN OBYUBME, LBL KH ECHTEECH bChTBBN. th DMS CHUEI OBU PO PG - OBU ZPURPDYO. lBL EZP ЪПЧХФ, ABOUT CHYDEPLBUUEFE WITH ULBUBM (UN. DBMEE).

yFPZP, YuFP chBN OHTsOP RPOSFSH. nBUFFET CH RETECHPDE ABOUT OPTNBMSHOSHCHK SJSCHL POBYUBEF ZPURPDYO, IPSYO. f.E. NPK PFEG DMS NEOS - NPK ZPURPDYO. th EUFSH RETCHSHCHK zPURPDYO, LPFPTSCHK DMS CHUEI OBU zPURPDYO, F.E. nBUFFET nBUFETPCH. with refinery VUEEDPCHBFSH LBL UP UCHPYN PFGPN (ZPURPDYO), FBL Y U RETCHSHCHN - zPURPDYOPN ZPURPD. lBL CHYDYFE, SING CHUE nBUFETB (ZPURPDB).

lBL FPZDB PVEBMUS, FBL Y UEKYBU LPZDB OHTSOP, PVTBEBAUSH. TBOSHIE PVTBEBMUS RPYUBEE, UEKYUBU - RPTECE. VShchM NMPPDK, ZMKHRShchK, OBDP - OE OBDP, PVTBEBMUS. lFP UCHPKUFCHOOOP CHUEN DEFSN. UEKYUBU RPCHTPUMEM, MYYOYK TB OE DPLKHYUBA. еUMY S UBN CH UPUFPSOY PFCHEFYFSH ABOUT LBLPK-FP CHPRTPU, CHPKOILYK H NEOS, OBYUIF, S CH UPUFPSOYY TBBTEYBFSH CHPRPTUSCH, RTPVMESCH, Y VTBFSH PFCHEFUFCHOOPUFSH ABOUT UEVS, LBL Y RPMPTSEOP ZPURPDYOH, F.E. nBUFETH.

fP CE UBNPE DEMBAF NPI HYUEOIL. eUFSH CHPRPTUSCH, ABOUT LPPTSHCHE SING PFCHYUBAF MADSN UBNPUFPSFEMSHOP, RPD MYUOHA PFCHEFFUFCHEOOPUFSH, Y EUFSH CHPRPTUSCH, LPFPTSHCHE SING RETEDBAF NOE.

nBUFET iptb, 03/06/03

TPD nBUFETB iptb

NPK TPD PFMYYUBMUS PF DTKHZYI FEN, YuFP YUMEOSH TPDB FBL YMY YOBYUE PVMBDBMY OEULPMSHLP OEPVSHCHYUOSCHNY CHPNPTSOPUFSNY.

OH DMS LPZP LFP OE SCHMSMPUSH YUEN-FP OPPVSHYUOSCHN - OH DMS YUMEOPC OBEZP TPDB, OH DMS DTHZYI TPDPCH, U LPFPTSHNY NSCH UPRTYLBUBMYUSH. bFP FTBDYGYPOOBS OPTNB CHBINPPFOPYEOYK.

YuFPVSHCH OE LBBBFSHUS RTEFEOGYPOSCHN, ULBTSKH RP-RTPUFPNKH: UYUYFBEFUS, UFP NSCH OUEEN ABOUT UEVE UCHSEOOOSCHK OBL PZOS Y UYUIFBENUS EZP DHIPCHOSCHN CHPRMPEEOYEN. OE CH FPN UNSHUME, UFP RP KhZMSN IPDN Y TBURMBCHMEOOOSCHK NEFBMM UNITED…

NPK TPD PLPOYUBFEMSHOP VSHM RETEVIF CH UFBMYOULYE CHTENEOB. h OEN OYLPZDB OE ЪBOYNBMYUSH PVHYUEOYEN YMY RETEDBUEK BOBOYS RTSNP. NPK PFEGNOE RP RPCHPDH PVHYUEOYS PVYASUOSM RTPUFP: “fsch RMPFSh PF RMPFY YUETE NEOS, CHPURYFSHCHCHBEYSHUS CH DHIE ЪBCHEFPCH FCHPYI RTEDLPCH Y UYDYYSH UP NOPK ЪB PDOYN UFPMPN. fsch OUEYYSH CH UEVE CHUE, YuFP NPTSEF OEUFY CH UEVE MAVPK YI MADEK CH LFPN NYTE Y PFMYUBEYSHUS PF OYI MYYSH FEN, YuFP YUHFSH VMYTSE UFPYYSH L yUFPYUOILH. OE VPMSHIE, OE NONSHIE. x YUMEOPCH OBIYEZP TPDB - EDYOSCHK DHIPCHOSCHK RTEDPL, LPFPTSCHK OBN CHUEN SCHMSEFUS DHIPCHOSCHN PFGPN. UCHSFPK veUUNETFOSHK RETCHPRTEDPL-pFEG. rPUYUYFBEF OHTSOSCHN - RTPKDEYSH RTSNPE PVHYUEOYE. b NOE DPCHETEOP ЪBOYNBFSHUS FChPYN CHPURYFBOYEN, Y CH LFK TSYYO FSHCHNOE USCHO. fChPK DED UCHPENKH PFGH VSHM DTHZPN… Y F.D. th OBULPMSHLP FSH CHPURYFBO, OBUFPMSHLP FSH Y VMYJPL L yUFPYUOILH.”

dBA RPSUOOYE ABOUT CHCHYULBUBOOPE: OH CH LPEN UMHYUBE OE RHFBFSH CHPURYFBOYE Y PVTBPBCHBOYE. chPURYFBOYE - LFP YUFYOB, PVTBBPCHBOYE - LFP RTBCHDB. pDOP - CHYOP, DTHZPE - CHPDB. CHUE PUFBMSHOP - NETB UNEEEOYS.

nBUFET iptb, 1997 Z.

rTPVHTSDEOOYE nBUFETB iptb

chTENS RTPVHTSDEOOYS, CHTENS YPLB, CHTENS UNETFY, CHTENS TPTsDEOOYS - RBTBD RMBOEF DELBVTSH 1983 - SOCHBTSH 1984 ZPDB.

dCHEOBDGBFYMEFOIK GYLM - PUNSCHUMYFSH, TBBPVTBFSHUS Y MBVPTBFPTOP, DPCHETYFEMSHOP RTPCHETYFSH U MADSHNY.

l LPOGKH 12-MEFOESP GYLMB - TPTsDEOOYE USCHOB - RTYIPD vTBFB.

1996 ZPD - OBYBMP TBVPFSH CHCHOE.

nBUFET iptb, 1997 Z.

NYUFYUEULYE TPDYFEMY nBUFETB iptb

nBUFET iptb: “s RTYCHEDH RTYNET YUCHPEZP CHIDEOYS. with RTPVHTSDBAUSH, LFP RTPYUIPDYF ABOUT ZHPOE RYTBNYD. UYDYF NPS NBFSH CH PVMYLE YODYKULPK TSEOOYOSCH KHDYCHYFEMSHOEKYEK LTBUPFSCH. UIDYF ABOUT ENMA, ABOUT THLBY ITS, NMBDEOOEG. bFH TsEOEYOH NPTsOP PRYUBFSH FPMSHLP PDOYN UMPCHPN - NBFSH CH RPMOPN UNSHUME bFPZP UMPChB. th VPMSHYE - OILBL. OILBLYI VPMSHYE NSCHUMEK OE RPSCHMSEFUS. bVUPMAFOPE UMPChP "NBNB". th VPMSHYE OILBL. POB RETEDBEF NOEOS ABOUT THLY, S VEKH UEVS, NMBDEOGB, UNPFTA ABOUT UEWS, OPU NPK CH ЪCHBTE UMEZLB - Y S RPOINBA, YuFP RP TsYOY RTYDEFUS TsBTLP.

rPChPTBYYCHBA ZPMPCHH, OBRTPFYCH NEOS UFPYF NPK PFEG. YNS ENKH - UNETFSH. h eZYRFE EZP ЪЧБМИ UEF. BY PUEOSH RMPIPK RETUPOBTTS CH EZYRFE. oP LFP DMS EZYRFSO. rPFPNH YuFP ON OPUYM VPTPDKH, VShchM VPTPDBF - ON VSHHM DTHZPK TBUSCH. lFP TBCHOPUIMSHOP, LBL X LIFBKGECH DTBLPO - OELPE DHIPCHOPE UKHEEUFCHP, B DMS OBU - S DKHNBA, RPOSFOP, LBLYE BUUPGYBGYY. FP CE UBNPE VSHMP KH EZYRFSO. h RKHUFSCHOE, LPFPTBS ABOUT UEZPDOSYOYK DEOSH EUFSH, FBN TsYMB UCHEFMPLPTSBS TBUB. POB DMS OYI VSHMB LBL UNETFSH.

yI RTBLFLYLB ЪBLMAYUBMBUSH CH RPUFEREOOPN KHNYTBOYY, y YuETE bFP SING RPUBCHBMY ZMHV Y OSHCH, DPUFYZBMY ZMHVYO ACCOUNTING. UEZPDOS MADI OBAF, YuFP EUFSH FE, LPFPTSCHE VSHCHMY ABOUT RPTPZE UNETFY, Y POY U YUEN-FP UFBMLYCHBMYUSH. b CHPF X LFYI UKHEEUFCH LFP VSHMP RTBLFYLPK. POB OE VSHMB DPUFKHROB DMS CHUEI, RPFPNH YuFP RTPKFY FBN - YUTECHSHCHUBKOP UMPTsOP. rPUFY OECHPNPTSOP. OP OELPFPTSCHE FBN RTPDCHYZBMYUSH.

at PDOPK UFPTPOSH - YODYKULBS TsEOEYOB, PMYGEFChPTSAEBS UPVPK CH RTYOGYRE KPZH. at DTHZPK UFPTPOSCH - CH RTYOGYRE ECHTPREKULIK NHTSYUYOB, PMYGEFCHPTSAEYK UPVPK OBOYE YUETE UNETFSH.”

pVHYUEOYE nBUFETB iptb

(YЪ MELGYY ABOUT CHYDEP, nPULCHB, UEOFSVTSH 1999 Z.)

nBUFFET iptb: “...rPDYAEN LHODBMYOY UPRTPCHPTsDBEFUS UNETFSHA CHUEI UNETFEK. nBMP LFP PFFHDB CHSHCHVYTBEFUS. pVSHYUOP CHSHCHVYTBAFUS YMY VPMSHOSCHNY, YMY TBVYFSHCHNY, YMY RPFETSCHIYNY TBHN - DPUFBFPYUOP PRBUOPE DAMP. OP FE, LFP CHSHCHVYTBMUS PFFHDB, SING RTYOPUIMY LBLYE-FP OBBOYS. […]

yuete LBLHA CE KPZH S RTPDCHYZBMUS? with OE ЪBOYNBMUS OE PDOPC KPZPK. s OE OBA OH PDOPZP NBUFETB, LPFPTSCHK YUETE LBLHA-MYVP KPZH RTYYEM L UCHPENKH RTPVKhTSDEOYA, RPTPUCHEFMEOYA YMY EEE LBL-FP. OP S OBA RTPVKhDYIYUS NBUFETPCH, LPFPTSHCHE PUCHEFMSMY MAVKHA KPZH, LBL VSHCH POBO OH OBSCHCHBMBUSH. FB KPZB, YUETE LPFPTHA POY RTYIPDIMY, ITS NPTsOP OBCHBFSH UBLTBMSHOPK. vPTSEUFCHOOOPK. rPFPNH YuFP PVKHYUBAF YNEOOOP vPZY, PVKHYUBAF YNEOOOP hyuyfems. oE RP-DTHZPNH.

lBL NEOS HYUMY TBNSCHYMSFSH? METSKH S CH UCHPEK LLPNOBFE... LFP OUEULPMSHLP DMYOOBS YUFPTYS, S RPUMEDOAA YBUFSH TBUULBTSH. y ChPF NPE FEMP OEUEFUS CH RTPUFTBOUFCHE, y DKHYB NPS OBZPCHBTYCHBEF, OBRECHBEF NBOFTH OEBCHYUYNP PF NEOS, LFP URPOFBOOP. lFP OE UPOBFEMSHOPE SCHMEOYE, LFP YNEOOOP URPOFBOOPE YUYUFPE SCHMEOYE. y S OBSCHCHBA YNS hyufems. with OE ЪOBA, UEKUB BY TSYCH YMY OEF. uMYYLPN NOPZP UYM WITH PFOSM, UMYYLPN NOPZP. OBSCHCHBMY EZP RP FEN READING ZYNBMBY-zHTH. th ChPF S PRHULBAUSH CH ZPTBI. lBL OH UFTBOOP, LFP RTPYUIPDYF RPYUENH-FP CH fYVEFE. reTEDP NOPK PZTPNOPE VEMPE SKGP NEFTB FTY CHSCUPFPK UCHEFSEEEUS. dEMP RTPYUIPDYF ABOUT TBUUCHEF. y TSDPN LKHUPL ENMY CHURBIBO, y S RPOINBA, YFP ЪDEUSH UFPSM KHYUYFEMSH, LFP NEUFP OPP EZP. with UFBA ABOUT LPMEOY - OEF OILBLPZP KHOYTSEOYS, LFP YNEOOOP URPOFBOOP Y PF CHUEK YUYUFPFSCH - Y NOE IPUEFUS, YUFPVSH MPV NPK FTEUOHM, Y LTPCHSH RTPMYMBUSH. with RSCHFBAUSH ZPMPCHPK KHDBTYFSHUS P ENMA - OYUEZP OE RTPYUIPDYF, RPFPNH YuFP YENMS RPD EZP OPZBNY UMYYLPN RPDOSMBUSH, CHURBIBOB. with KHURPLPYMUS, NPMYUB UYTSKH - UCHEF OBYUBM TBUUEICHBFSHUS RP CHUENKH NYTH, LBL RBHFYOB.

reTEDP NOPK UFPYF OPTNBMSHOSCHK YUEMPCHEL, YUHFSH OITSE NEOS TPUFPN, RPMKHUEDPK, MEF UPTPLB RSFY RP FEN CHTENEOBN, MEF RSFOBDGBFSH. h VEMPK PDETSDE, YUYUFP CHSHVTYFSHCHK, Y TSICHPFYL. fBLPK CHPUFPYuOSCHK YUEMPCHEL. po RDPIDYF LP NOE Y UBDYFUS TSDPN UP NOPK FPCE ABOUT LPMEOY. TBDPUFSH, LPFPTBS PVHTECHBEF EZP Y NEOS - OH RTPUFP UMPTsOP RETEDBFSH. NEOS CHUEZP FTSUEF. th NEOS, th EZP. y S CHOKHFTEOOE OBUYOBA PUPOBCHBFSH, YUFP OBDP KHURPLPIFSHUS. eUMY S OE KHURPLPAUSH - RPOINBEFE, EUFSH CHTEENOOOPK RTPNETSKHFPL, F.E. CHUENKH EUFSH UCHPE CHTENS. f.E. ABOUT FBLPN CHPЪVHTSDEOOY NPTSEF RTPYЪPKFY YUFPEEOOYE FPCE. y S OBUYOBA NEDMEOOOP KHURPLBYCHBFSH UEVS, S HCE L FPNH CHTENEY VSHM DPUFBFPYUOP PRSHCHFOSCHK, YUFPVSH RPOINBFSH, UFP RTPYUIPDYF.

UFP LFP PVPOBYUBEF? with UYTSKH RP EZP MECHHA THLH. nMBDIYK VTBF, OE JOBYUE. LFP ON FBLPC? dMS NEOS LFP - PFEG NYTB. rP-DTHZPNH OE OBCHBFSH. lFP BVUPMAFOBS TEBMYBGYS, BVUPMAFOBS. oE RP-DTHZPNH. with HURPLBICHBAUSCH. po LMBDEF RETEDP NOK LHUPL ENMY Y ЪBDBEF CHPRTPU: “YuFP LFP FBLPE?” with ENKH YUEUFOP YUUFPUETDEYUOP PFCHEYUBA: “oE YOBA, ZHTH.” BY ZPCHPTYF ABOUT UCHPEN SJSHLE, WITH NSHUMA RP-TKHUULY ZPCHPTA RP-TKHUULY. y RTPYUIPDYF UYOITPOOSCHK RETECHPD, OE RTPUFP UMPChP Ch UMPChP, B UHFSH.

rTPDPMTSEOYE EZP TEYUY: “eUMY VSC FSHCHNOE DPCHETSM, FP CHPRTPUPCH OE ЪBDBCHBM.” yuEUFOPE UMPPCH, S OE ЪBDБЧБМ CHPRPTUPCH, CHPRTPU CHTPDE VSC ЪBDBM ON. VPMEE BVUKHTDOPZP CHPRPTUB Y VPMEE BVUKHTDOPZP DEKUFCHYS S CH UCHPEK TSYOY OE CHUFTEYUBM. with EEE OE RPOINBA, YFP RTPYUIPDYF, Y PFCHYUBA: “with UPZMBUEO, ZHTH.” NEOS CHSMY, ЪBYCHCHTOKHMY PVTBFOP.

y CHYTSKH S UEWS METSBEIN ABOUT RPUFEMY, y S NEDMEOOOP CHPCHTBEBAUSH CH UCHPE FEMP. CHUE PUFBMSHOPE - RPFBROPE CHPCHTBEEOYE Y UNETFY.”

nBUFET iptb, 09/18/1999

ъBLMAYUEOOYE:

« iPTB- CH RETECHPDE U BTNSOULPZP ABOUT TKHUULYK POBYUBEF zMHVYOB.

iptb- FPYuOSCHK UNSHCHUM - dPN pFGB.

nBUFFET iptb- POBUBEF rTBChP TBULTSHFYS iptb Ch zMHVYOH CHCHOE - TPChOP OBUFPMSHLP Y CH FPK ZHTNE, LBL nBUFET UYFBEF OEPVIPDYNSCHN DMS NBLUINBMSHOP DPUFKHROPZP RPOINBOYS LPOGERGYY FTEOYOZB.”

nBUFET iptb, YOZHPTNBGYPOOSCHK UVPTOIL No. 2

CHADHAKE:

DKHNBA, RPOENOPZKH RTYIPDIF SUOPUFSH, YuFP nBUFETBNY FBLPZP KhTPCHOS OE UFBOPCHSFUS, ЪBOINBSUSH LBLYNY-MYVP RTBLFYLBNY. yNY TPCDBAFUS.

eUMY FPYuOSCHK UNSHCHUM iptb - dPN pFGB, FP nBUFET iptb, LTPNE CHUEZP RTPYUEZP POBYUBEF - nBUFET YЪ dPNB pFGB.

PUFBEFUS CHPRTPU: YuFP DEMBFSH OBN, RTPUFSHCHN UNETFOSCHN?

pFCHEF RTPUF Y RTBZNBFYUEO: EUMY NSCH - DEKUFCHYFEMSHOP DEFI pFGB oEVEUOPZP, FP OBN OBDMETSYF UMEDPCHBFSH FEN rKhFEN, LPFPTSCHK OBRTSNHA KHLBBO YЪ dPNB eZP.

ABOUT LFPN RTPEBAUSH U CHBNY DP 15 SOCHBTS.

rYYYYFE NOE RP BDTEUKH: info@hora. ru

at HCHBTSEOYEN,

CHEDHAKE TBUUSCHMLY, rBCHEM VEUUNETFOSHCHK

h CHSHCHRKHULE YURPMSHHPCHBOSH NBFETYBMSH UFBFSHY nBUFETB iptb “rpfpl. ьЧПМАГИПОП-НДИФБФИЧОП УПЪОПОВЕ» ї b. bFBSO, 2002, PFCHEFSHCH ABOUT CHPRTPUSCH KHUBUFOYLPCH ЪBOSFYK ї b. bFBSO, 2001-2003, yOZhPTNBGYPOOSCHK UVPTOIL No. 2 “...DBTSE CHEFET CH RKHUFSCHOE PUFBCHMSEF UMDSH...” ї b. bFBSO, 2002, MELGYS “iptb - ZMHVPLYK UMED UNEY” ї b. bFBSO, 1999, tBOOE FELUFSCH nBUFETB ї b. bFBSO, 1998.

Choinboye! Chue Rkhvmilhenscheh, tbuushmla nbfetybmsh nbufetb IPTB Kommersantbt -topchchshcbchfptulpn PVEEEOSHSH KOLPOPDBPDBPDMSHUUFPN Pvfptulpn RTBCHE. h YUBUFOPUFY, RTY GYFYTPCHBOY UUSCHMLB ABOUT BCHFPTB (nBUFET iptb) PVSBFEMSHOB. iptb Y nBUFET iptb SCHMSAFUS OBTEZYUFTYTPCHBOOSCHNY OBBLBNY. rTY GYFYTPCHBOY nBUFETB iptb YMY BCHFPTB TBUUSCHMLY CH YOFETOEF, RTPUSHVB UUSCHMBFSHUS ABOUT UBKF h YЪVTBOOPE