Currentzis Mozart. Orchestra and choir musicAeterna, Teodor Currentzis
Thesis
Mayakin, Timofey Konstantinovich
Academic degree:
Candidate philosophical sciences
Place of thesis defense:
Nizhny Novgorod
HAC specialty code:
Speciality:
Theory and history of culture
Number of pages:
Chapter 1. Specifics and social functions military musical culture of Russia.
Chapter 2. Formation and development of professional music education in Russia.
Chapter 3. Service and concert activities of military orchestras and ensembles.
Chapter 4. Development of musical amateur performances in the army environment.
Introduction of the dissertation (part of the abstract) On the topic "Military musical culture of Russia"
Relevance of the research topic. The specifics, structure and functions of Russian military musical culture largely determine the relevance of its research due to the following circumstances.
Firstly, the emergence of cultural studies as a comprehensive science of culture, with all the diversity in the definition of the concept “culture”, has revealed at least three sets of problems that today determine its structure: 1) theory of culture, 2) history of culture, 3) applied cultural studies . Military musical culture is related to the problems of applied cultural studies, as are religious, moral, physical, environmental, political and legal culture. Classifying military musical culture as one of the types of cultural studies involves studying its specificity, originality and features.
Secondly, studying the specifics of military musical culture requires research into its social necessity, structure, forms of manifestation and the social functions that it performs. Analysis of these aspects is clearly insufficient in modern cultural literature.
Thirdly, the study of military musical culture, taking into account its multifaceted functions, can help increase the authority of the Armed Forces of the Russian Federation, especially in modern conditions.
Fourthly, perennial historical experience development Russian statehood showed that the army is not only an armed force, but also a spiritual one. It gave the people such outstanding figures of culture and art as N.A. Rimsky-Korsakov, A.V. Aleksandrov, S.A. Chernetsky, V.I. Agapkin and others.
Fifthly, it is relevant to study military musical culture from the point of view of its psychological, national-patriotic role in the education of personnel of the Armed Forces of our country.
The degree of scientific development of the problem. It is unfortunate to note that the level of scientific elaboration of the problem of the development of military musical culture in Russia is very weak and research is fragmentary. Considering the problem from a class angle did not always contribute to its holistic study. There are no works that directly pose the question, and only the study of many sources makes it possible to conduct such a study and highlight individual aspects, problems, and fragments.
All works, which to varying degrees reflect the problem of the development of military musical culture, can be divided into several groups.
The first includes the works of Russian culturologists of a general methodological nature, which to one degree or another touch upon the problems of musical culture in theoretical terms1.
The second group is represented by complex works of domestic art historians on the history of music and musical culture of Russia2. In them, the problem of the development of military musical culture is considered in a general form, in connection with issues of cultural construction of the state. As a rule, all these works provide a fairly detailed excursion into the history of musical life.
1 See: Arnoldov A.I. Man and the world of culture. - M., 1992; Vintshchkovsky M.N. The role and place of musical art in the formation of the spiritual world of the Soviet warrior: dis. . Ph.D. Philosopher Sci. - M., 1984: Vygotsky U.C., Luria A.R. Categories and concepts of cultural theory. - M., 1985; Dorogova JI.H. Artistic culture and the formation of a warrior’s personality: dis. . Doctor of Philosophy Sci. - M., 1990; Sokolov E.V. Concepts, essence and main functions of culture. - L., 1989, etc.
2 See: Bronfgm E.F. Musical culture Petrograd of the first post-revolutionary five years: a study. - L., 1984; Nikitina L.D. Soviet music. History and modernity. - M., 1991; Tarakanov M.E. Musical culture of the RSFSR. - M., 1987, etc.
Russia. At the same time, coverage of issues related to the development of military musical culture is fragmentary.
The fourth group includes works dedicated to history formation of the Red Army Song Ensemble and the creative activity of its first leader A.V. Aleksandrov."
The named works represent a large scientific value and are important, forming the source base of the study. At the same time, an analysis of the presented monographs, articles, and dissertation research shows that military musical culture was not the subject of independent research, and the problem of its development did not receive sufficiently comprehensive, generalizing coverage.
A separate group of sources consists of documents widely represented in historical archives Russia3, this should also include those published in different years legislative documents and acts (decrees, orders, directives, charters, instructions) indirectly affecting the problem of the development of military musical culture and which made it possible to significantly supplement the source base of the study4.
1 See: Aksenov E.S. New in the instrumentation of the Soviet military march. - M., 1970; Matveev V.A. Russian military orchestra. - M., 1965; Surin N.K. Military ceremonial music // History Reader military music. - M., 1988. - Part II; Tutunov V.I. 250 years of the Military Band Service in Russia. - M., 1961, etc.
2 See: Alexandrov B.A. The song is calling. - M., 1982; Korosshelev B.E. Art born of the people. - M., 1991; Pozhndaev G.A. Red Banner Ensemble: the path of song and glory. - M., 1988; Shilov A.B. Unknown authors famous songs. - M., 1961, etc.
3 In the Russian State Military Archive (RGVA), Russian State Archive of the Navy (RGA Navy), Russian State Archive of Literature and Art (RGALI).
4 See: Combat cavalry regulations of the Red Army. - Pg., 1920. - Parts II-III; Combat infantry regulations of the Red Army. - Pg., 1920. - Part I; Charter of the garrison service of the Red Army. - Pg., 1918, etc.
Another group of sources consists of memories, memoirs, diaries of prominent figures and cultural workers, which provide a subjective assessment of military music, musical culture in general, and its role in the moral and psychological education of soldiers1.
A separate type of material under study is represented by collections of military songs, marches, concert works for military bands and amateur groups.
The subject of the study is the military musical culture of Russia. Considering that this subject is quite multifaceted, we highlight those aspects of analysis that constitute the object of study: the historical formation of military musical culture, its specifics, the main social functions and forms of manifestation, the structure of training military musicians and conductors.
Purpose and objectives of the study. The main goal of the study is a historical and cultural analysis of the specifics, structure and functions of military musical activity.
The goal necessitated the study of a number of specific tasks that determined the content of the work:
Identification of social needs in military musical culture;
Analysis of the specifics of military musical culture as special type applied culture society;
Study of the main social functions of military musical culture with the definition of their features and meanings;
Study of the structure and features of military music education and training of relevant personnel;
1 See: Vasilevsky A.M. Life's work. - M., 1974; Vsevolzhsky I.E. Prisoners of the Sea.-M., 1961; Furmanov D.A Chapaev.-M., 1961, etc.
Analysis of the main forms of organization and manifestation of military musical activity.
Theoretical basis of the dissertation research. As theoretical foundations research was based on the work of domestic and foreign authors dedicated to analysis social essence culture, its place in the system of society, patterns of formation various types applied culture, as well as works revealing the theory of musical culture and its specific form- military musical activities. Analysis of the structure of military music education predetermined the need to turn to works of a psychological and pedagogical nature.
Methodological basis of the dissertation research. Methodologically, the work is based on dialectical method with his likes basic principles, as a principle of polarization, which made it possible to explain the contradictory nature of military musical culture as a unity of utilitarian-military and artistic-musical activity; the principle of functionality, with the help of which a multifunctional analysis of military musical culture is made; the principle of determinism, which necessitated the study of the dynamics of military musical culture depending on socio-political changes in society.
Scientific novelty of the research. The work explores problems that may be of scientific value for cultural studies (theory and history of culture):
Firstly, the specifics of military musical culture as a special type of applied culture have been clarified;
Secondly, the social determination of military music is shown by changes of a socio-political nature in the country;
Thirdly, a system of social functions of military musical culture in public life has been identified;
Fourthly, genres, forms of manifestation and types of military musical activity have been studied;
Fifthly, the features and structure of military music education at the stage of its formation and subsequent formation are analyzed;
Sixthly, the trends and prospects for the development of military-musical amateur performances are considered.
Provisions for defense:
1. The specifics of the military musical culture of Russia, presented as a unique type of applied culture of society, are determined not only general principles musical creativity, but also the features of its application and use in military service activities.
2. The specificity of the applied nature of military music culture is determined by the peculiarities of personnel training and the content of the structure of the entire system of military music education.
3. The main types and forms of military musical activity have common and special features in peaceful and combat conditions of society.
4. An analysis of the real existence of military musical culture in the system of society reveals its main social functions: ritual-organizational, organizational-mobilizing, parade-demonstrative, national-patriotic, educational-educational, concert-theater.
5. The military musical culture of Russia as a universal and multifaceted phenomenon affects mass consciousness society.
Theoretical and practical significance of the study. In theoretical terms, the research materials may be significant for a more in-depth understanding of the problems of applied cultural studies developing within the boundaries of general theory and cultural history. This is evidenced by similar studies of design culture, behavior culture, speech culture, religious culture and etc.
We see the practical significance of the study in the possibility pedagogical use these materials not only in the system of military music education, but also in organizing more effective practical military music activities.
Approbation of research results. The results of the study were presented by the author at meetings of the Department of Culture and Art of the Military University, the military conducting department of the Military Conducting Faculty at the Moscow State Conservatory. P.I. Tchaikovsky, Department of Philosophy and Political Science, Nizhny Novgorod State University of Architecture and Civil Engineering. Certain provisions of the work were considered at a scientific and practical conference of the Military Conductor Faculty. The dissertation materials are reflected in several articles, as well as in the author’s monograph “Military Musical Culture of Russia” (M., 2010) and in the collective monograph “ Military music of Russia"(M., 2007).
The materials of the work are used in the educational process of the Military University and the Military Institute of Military Conductors.
Structure of the dissertation. The dissertation includes an Introduction, 4 chapters, a Conclusion and a Bibliography.
Conclusion of the dissertation on the topic "Theory and history of culture", Mayakin, Timofey Konstantinovich
Conclusion
The historical experience of the development of military musical culture in Russia shows that music is becoming not only an important factor in the patriotic and moral education of soldiers, but is also an integral part of their life.
In addition to this, being a powerful tool military-patriotic, moral and aesthetic education of soldiers, military musical culture also had a significant influence on the development of musical life throughout the country.
Service and creative activity A.V. Aleksandrov, S.A. Chernetsky, V.I. Agapkin, L.A. Petkevich and many other bandmasters; organization of musical and educational events throughout the country, charity concerts and tour performances with the participation of military bands, song and dance ensembles and numerous amateur Red Army groups, the development of military songs, which were widely used not only in the military environment, but also beyond - these and other facts confirm the author’s opinion about the significant influence representatives of the Army and Navy on the development of musical life throughout the country.
Thus, the analysis of the development of military musical culture allows us to make some generalizations and conclusions, the essence of which boils down to the following:
Firstly, military musical culture is an integral component musical culture of the entire country as a whole, which, along with general features: uniformity of use of musical genres, mode-harmonic tones, musical instruments, etc., and its own individual, specific features.
Secondly, military musical culture has its own rich history of origin, formation and development. It is important to note that it evolved and was inextricably linked with the process of economic, military and cultural development of the country and its Armed Forces over several centuries.
Thirdly, as the results of the study show, all personnel of the Armed Forces become its bearers, regardless of their service affiliation (in pre-revolutionary Russia The main carriers of musical culture in the army and navy were officers).
Fourthly, military musical culture did not develop arbitrarily, but on the basis of certain factors, one of which is continuity.
Fifthly, analysis of the development of military musical culture helps to clarify its place and role in various areas of military activity. The results of the study indicate that music, since the founding of the first regular regiments of the Russian army, has gradually become one of the important integral elements of the patriotic, moral and cultural education of soldiers.
First lesson. The accumulated experience indicates that the development of military musical culture is directly related to the economic, political and cultural development of the state.
Lesson two. The rapid flourishing of military musical culture is possible only when the state treats its army with respect, delving into its material and spiritual needs.
Lesson three. Historical practice shows that the decline in interest on the part of the state and the leadership of the Armed Forces in cultural education officer and soldier ultimately leads to a weakening of patriotic and moral education soldiers in both peace and war.
Lesson four. An objective analysis shows that in order to ensure the successful development of military musical culture, it is necessary to have a well-organized system of training and staffing military conductors, musicians, and cultural and educational workers in the Armed Forces.
In addition, for more effective activities of these specially trained military personnel in the field of musical education of soldiers, it is also necessary to have a well-functioning system of supplying troops with both technical means of propaganda (records, video cassettes, CDs with recordings of classical, military and modern music), and musical instruments, publications of music collections of military songs, marches, popular domestic music magazines.
The relevance of the topic of the dissertation research, the increasing interest in it among cultural scientists, historians and musicologists also allow us to formulate some theoretical and practical recommendations.
Firstly, it would be of great benefit to unite the efforts of cultural scientists, historians and musicologists in research various aspects the development of military musical culture from the birth of the regular army to our time.
Work on the dissertation made it possible to identify a range of problems that could become the subject of further independent scientific research. These include: “The development of military rituals in Armed Forces», « Organization musical leisure military personnel" etc.
Secondly, it is necessary to publish Toolkit on the history of the development of military musical culture in various historical stages, for work on which it is advisable to involve specialists from the Department of Culture and Art of the Military University and the Department of Theory and History of Music of the Military Institute of Military Conductors.
Thirdly, on the basis of new data on the development of military musical culture, it is necessary to clarify the content of reference military and musical publications, as well as to supplement the definition of “military musical culture”, its classification, features and differences.
Fourthly, in connection with the change in political thinking in recent years, as well as the change in ideological guidelines in the minds of soldiers of the modern Armed Forces of the Russian Federation, there is a need to supplement the sections of the program of the course of lectures at the Department of Culture and Art of the Military University, dedicated to the artistic culture of military personnel, and in the future use the accumulated material in the course of lectures on the public and state training program.
Fifthly, it would be advisable to return many ancient marches and military songs to the army and navy, for this purpose publishing several new military collections of songs and marches for various branches of the Armed Forces of the Russian Federation. Introduction to everyday life Russian troops will significantly enrich not only the service and combat repertoire of modern orchestras, but also expand the song repertoire of soldiers' amateur groups.
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248. ARCHIVE DOCUMENTS AND MATERIALS
249. Russian State Military Archive (RGVA).
250. Fund 4 Administration of the People's Commissar of Defense of the USSR.
251. Op. 15a. D. 61, 90, 92, 99, 144, 163, 246, 403, 414, 434, 444, 446, 450, 469, 470, 488.
252. Fund 9 Political Administration of the Red Army. Op. 11. D. 17, 23, 57, 129, 174, 175, 188, 189.
253. Op. 12. D. 2, 4, 6, 11, 21, 41, 43, 44, 46, 48, 49, 53, 54. Op. 13. D. 18, 58, 103, 107, 110, 112, 113, 480, 486, 535, 536, 564, 571, 652.
254. Op. 29. D. 404, 432, 485, 486, 487, 492. Op. 35. D. 26, 94.
255. Fund 24696 Military Academy them. M.V. Frunze.
256. Op. 1. D. 106, 108, 218, 219, 222, 223, 227, 230, 233, 241, 244, 247, 248, 249, 256, 257, 258, 261, 262, 269, 270, 271.
257. Fund 25018 Kursk Military Music School. Op. 1. D. 1.
258. Fund 25019 Tashkent Military Music School.
259. Op. 1. D. 1, 3, 8, 12, 14.
260. Fund 33451 Petrograd Military Music School. Op. 1. D. 11, 32.
261. Russian state archive Navy1. GRGA Navy).
262. Fund p 34 - Political Administration of the Baltic Fleet.
263. Op. 2. D. 26, 27, 34, 37, 47, 55, 110, 121, 254, 285, 286, 414, 484, 523,683, 1411.
264. Fund p 309 - School of Music training squad Naval Forces Baltic Sea.
265. Op. 1. D. 1, 4, 11, 12, 13, 15, 16, 32, 33, 37, 56. Op. 2. D. 7, 8, 9, 34.
266. Fund r - 1000 - Pacific fleet crew. Op. 1. D. 20.
267. Fund r 1012 - Management political propaganda Pacific Fleet Op. 2. D. 20.
268. Fund r 1873 - Leningrad Naval School for military musicians.1. Op. 1. D. 1.
269. Russian State Archive of Literature and Art (RGALSH.
270. Fund 1943 - Semyon Aleksandrovich Chernetsky Fund.
271. Op. 1. D. 1, 8, 11, 13, 18, 23, 24, 25, 48, 49, 51, 54, 55, 58, 59, 63, 64, 65, 72, 82, 100, 102, 147, 151, 156, 218, 221, 223, 233, 312.
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The date of the establishment of the Military Band Service in Russia is considered to be February 19, 1711. On this day, Peter I signed Decree No. 2319, which declared “States of cavalry and infantry regiments with an indication of their location in the provinces.”
These states provided for orchestras in each infantry regiment consisting of one foreign oboist and eight Russian oboists. In addition to the orchestra, the regiment was determined to have 16 drummers who performed signal service.
The orchestra was led primarily by foreign musicians who had the rank of non-commissioned officer and were the predecessors of bandmasters (the position of bandmaster was introduced in Russian army orchestras in the first half of the 18th century).
To improve the management of military bands, in the first half of the 19th century, the position of chief bandmaster of the guard troops was introduced, to which A. Derfeld was appointed. After his death, this post was occupied by F. Haase (1830-1851), A. Chapievsky (1851-1855) and A. Derfeldt - son (1855-1869). In 1869 the position was abolished.
Of great importance for the development of military music in Russia was the multilateral and active work ON THE. Rimsky-Korsakov, who was an inspector of naval choirs (orchestras) from the introduction of this position (1873) until its abolition (1884). During the 11 years of his work in this post, Rimsky-Korsakov not only improved the composition of military bands, but also put a lot of effort and energy into the selection and training of military musicians and bandmasters.
During the period of construction of the Red Army, governing bodies for the management of military bands, both in the center and locally, did not yet exist. The great need for ideological and cultural education of personnel led to the fact that already in 1919 the artistic department of the Propaganda and Educational Department of the Political Directorate of the RVSR was created, which included a music section, called until March 1920 the Music Bureau. The music section was divided into five subsections: repertoire, choral, orchestral, folk instruments and chamber (educational concerts).
To manage military bands locally, inspections of military bands headed by inspectors were organized in the districts.
In order to more efficiently organize and manage the military bands of the Red Army, in January 1921, the “Regulations” and “Staff of the Bureau of Military Brass Bands of the Red Army and Navy under the Agitation and Education Department of Pura” were put into effect. This staff introduced the positions of the head of the bureau, his assistant and 30 instructors.
In August 1921, the Bureau of Military Brass Bands of the Army and Navy was reassigned to the Headquarters of the Red Army and was renamed the department of the Headquarters of the Red Army for the management of military bands with management rights. The department was in charge of all issues of organizing military bands of the Red Army and supervised their special training. V.L. was appointed head of the department. Messman.
In 1922, new changes took place in the organization and leadership of the military band service. The department of the Red Army Headquarters for managing military bands was disbanded, and its functions were assigned to the Directorate for Training and Service of Troops of the Red Army Headquarters. These changes, as well as subsequent ones, were dictated by organizational measures taken in the Red Army in connection with military reform.
Since October 1924, the position of inspector for orchestral affairs of the Red Army was introduced at the combat department and the department for staffing the Red Army administration. On December 1, 1931, management of the military band affairs in the Red Army was transferred to the Combat Training Directorate of the Red Army. The inspector for military orchestra affairs of the Red Army began to report directly to the Chief of Staff of the Combat Training Directorate of the Red Army.
In the pre-war and war periods (1939-1945), the name of the central body of the Military Band Service was repeatedly changed: Inspectorate of Military Bands of the Red Army, Department of Bands, then again Inspectorate of Military Bands of the Red Army. IN different time they were subordinate to the Main Directorate of Red Army formations, the Main Political Directorate, the Infantry Inspector of the Red Army and other commanders. In 1947, the Inspectorate of Military Bands of the Armed Forces of the USSR was formed, reporting to the Chief of Staff of the Ground Forces.
The Inspectorate of Military Bands of the Soviet Army subsequently became known as the Military Band Service of the Ministry of Defense of the USSR, the Military Band Service of the Ministry of Defense of the Russian Federation, and since 1997 - the Military Band Service of the Armed Forces of the Russian Federation.
Over the years Military Band Service headed by: S.A. Chernetsky (1924-1949), I.V. Petrov (1950-1958), N.M. Nazarov (1958-1976), N.M. Mikhailov (1976-1993), V.V. Afanasyev (1993-2002), V.M. Khalilov (2002-2016).
Conducting Currentzis
If we judge which of our performers has most deserved the right to perform with, then the first name that comes to mind is his orchestral and choral group musicAeterna. Who else developed Mozart's field so systematically ("", "", "", "", and other scores)? Who else is so fanatical in conveying the sound color of the 18th century, who has at his disposal a full orchestral set of authentic instruments and an ensemble of musicians who confidently own them? poster Especially if we remember that we have few artists equal to Currentzis in their ability to create an aura of expectation of a miracle. Not only because of PR art: more often than not, this miracle really happens. It happened this time too: Mozart’s music opened portals to completely unexpected sound worlds.
The musicAeterna singers and orchestra members wore monastic-like dresses
Actually, Mozart’s sound world itself turned out to be unexpected. It is clear that Currentzis hears him completely differently than, say, Sveshnikov. The choral sound is instrumental, its harmony is pure to the point of distillation. Bowed players seem to constantly play with a light mute - after all, they have gut strings, not steel strings. The pace, as a rule, is much faster than usual...
It’s a shame, I don’t know where this law of authenticity comes from, that in the past everything was played much faster than the academicism of the 19th and 20th centuries inspired us to believe. Indeed, in other parameters, the development of music went in the direction of intensification: raising the tuning fork, increasing sonority... Why should the tempo demonstrate the opposite dynamics?
But let’s leave it to the authenticists to prove their theoretical correctness. As for Currentzis, in most cases he proves that he is right not as a theorist, but as a practitioner - by the degree of persuasiveness of what he sounds. Yes, the first bars of the Requiem aeternam, known from childhood, shocked us with the “frivolity” of the accompaniment of um-tsa um-tsa. But this is a deception - the stronger the contrast of the initial sensation with the true energy of this music, when it is revealed to us in the sharpness of accents, the sharpness of the dotted rhythm, the aggressiveness of instant crescendos and diminuendos, the infernal “illumination” of brass and timpani. “Divine”, “angelic” Mozart turns out to be able to speak simply, without shouting, but extremely harshly and truthfully about the most tragic things.
Sometimes this tragedy grows to the scale of heroism - as if we are listening to some decisive aria of a commander from an opera. As in Rex tremendae or Domine Jesu Christi. As if the one who punishes sinners commits not only an act of retribution, but also a feat of victory over himself, over his focus on universal love - for the sake of the triumph of justice. Remember the suffering face of Christ with Last Judgment Michelangelo?..
Irina Shostakovich congratulates Teodor Currentzis
And what an amazing polyphony in Kyrie eleison, where the thematic voice in its melodiousness seems to soar to heaven, and the counterpoint scatters in a fraction of abrupt, almost staccato sounds, as if sinners are falling into hell in a swarm. Not a single previous performance heard by the author of these lines revealed this fugue with such meaning.
It didn’t all sound convincing to the ear. Excellent soloists - Natalia Lyaskova (mezzo-soprano), Thomas Cooley (tenor from the USA), Edwin Crossley-Mercer (bass from France). But why did the flat and “orphan” voice of Elizaveta Sveshnikova (soprano), which in the end also began to detonate, stand out so sharply from their ensemble, as if from the porch?
And, it seems to me, even being a convinced authenticist, you need to know the limit in mannerism: often the performers flaunted intra-phrase crescendo-diminuendo “in the old style” so much that the ends of the motives were simply swallowed in silence. I don't think Mozart would have been happy about that.
But what made me gasp was the few bars of fugato inserted after Lacrimosa, which are usually not performed: this is the last thing Mozart wrote in his life - he wanted to complete this number with a polyphonic chant of the word “amen”, but only managed to make a sketch.
And between the last two parts of Agnus Dei and Communio something completely unexpected happened: the choir suddenly switched to Russian and, using a simple epic tune, began to sing the sad story of Mozart himself, who fell ill after the “black man” came to him, who ordered the Requiem, and died for this work... Purists may be indignant - but the Requiem is really not finished, and composers have the moral right to offer their completion. Several years ago, Currentzis carried out such a project - “Complete Mozart’s Requiem.” Instead of the pieces completed by Mozart’s student Franz Xaver Süssmayer, four proposed their own versions Russian authors. What we have heard now is the contribution to the project of Sergei Zagniy, one of the most prominent composers of the middle generation. The contrast of styles did not weaken at all, but on the contrary only strengthened the relief of the form. And the intonation in the spirit of the epic highlighted the figure of Mozart as the main character of his own unfinished funeral hymn...
The concert had an unexpected continuation in the foyer by candlelight
However, if you thought that with this surprise all the doves were released from Currentzis’s pockets, you are mistaken. The last menacing fifth of the Requiem sounded, followed by a long ovation. Then even longer traditional congratulations from friends and most loyal fans, from Irina Shostakovich to Roman Abramovich, behind the scenes. The bulk of the public had long since left. But those who were loyal were awaited by royal gratitude from the maestro. Designed with his characteristic directorial ingenuity. In the foyer with still seething people, the lights suddenly went out. Confusion and murmur. Through it, in a minute or two, there is a barely audible choral tone, a light ringing of a bell, and an interweaving of several trebles of unimaginable, languid beauty. The face and hands of the conducting Currentzis are barely visible in the flickering light of the candles. The faces of the choir are in dark, almost monastic robes, left on the singers from the Requiem. What is this, Balkan prayer music? Caucasian cult chants? It turned out to be the work of the German nun Hildegard von Bingen. XII century. Another proof that the root feeling of beauty and the desire for God is the same in all people, regardless of times, nationalities and confessions, and its brilliant manifestations are intelligible to anyone, and this art is not subject to aging.
The music of Hildegard von Bingen sounded as an afterword to Mozart's Requiem. Or a preface born for six centuries earlier.
I admit with shame that I heard Hildegard’s creation for the first time. Judging by what was said, she - great composer. A woman... A distance of nine hundred years... All this is shocking. Several years ago, Currentzis was also shocked. Now, they told me, Theodore is burning with the idea of making a whole program-performance based on the work of Hildegard. Perhaps this will come true for the Diaghilev Festival 2019. And they showed us the first sign of the project.
These are the dizzying distances the echo of Mozart’s music has taken us to.
Photo by Sergei Biryukov
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