Meet the XVIII festival Moscow autumn
Today in the Great hall of the Conservatory — the official opening of the XVIII international festival of contemporary music “Moscow autumn-96”. Concerts has just begun and will continue through November 30. However, the press-conference, organized in anticipation of the opening, it was as if the festival is over and the results are summarized clearly and irrevocably.
At the beginning of his speech the Chairman of the Union of composers of Moscow Oleg Galakhov killed all on the spot, use the word “concept” — the word, the authority of which he generously attributed to our critics, to the efforts. Oleg Galakhov assured us that the concept of the festival “Moscow autumn”, as a man may think, there is this “new works by Moscow, and not only in Moscow, composers”. In his opinion, such a concept can dare risk only such public organizations as the subordinate Union. This was followed by a completely unexpected: Galakhov himself spoke all that will be spoken in reproach to the organizers at the closing round table or printed in the Newspapers — all verbs were delivered in the future.
Galakhov said that composers in the program claimed many — 150 only Moscow, but it is a real number now writing (registered in the Union even more) — and repeated the famous phrase spoken many years ago by the results of the inventory of the writers: “Other composers we don’t have”. The chief of the Moscow shop assured us that not every show will be sold out, and that’s okay, because the festival composers are doing for themselves, and if someone has to modern music soul does not lie, it is “his problem”. In conclusion, Galakhov calmed nervous, warning that “if you hear the Quartet composer’s old age and this essay will seem traditional, nothing terrible will happen.”
I rejoice that the summing-up, which is the organizer of the festival was so well in advance will save me from having to write a two weeks review. Will add something from myself too in the future tense.
No one put a pistol from that of the first holder of the Moscow composers (of course, those who are listed, — Justin, Martynov, Yekimovskikh, Kasparov, Tarnopolsky, VL. Nikolaev) full premiere of a new work to present only Yuri Kasparov. As no one boast that strongly remember the cantata Gubaidulina “Now always snow”, has twice played at other festivals. No one will take into the account the fact that Vladimir Tarnopolsky again found their music more worthy use than the “Moscow autumn” — among its 150 no. But the most resistant will get pleasure from the fact that, not sparing time and effort, still tasted of the fruit scattered on different programs so that no one got.
Meanwhile, in 35 concerts there are a dozen quite tempting. They differ from the others in that crucial role in their configuration did not play selection Committee and well-wishers from the side — or the performers themselves, offering built on our own software. This is a project of the Goethe Institute: “Ensemble 13” from Karlsruhe with a new opus Wolfgang Rome; Rome itself personally could not come (thus violating the prestigious line-found “Autumn” in past years, thanks to Janis Xenakis and Henri Passero). This concert has already passed yesterday, but tomorrow will be repeated in St. Petersburg; with the same ease that Moscow festival, he was accepted into their schedule Northern “Sound ways”. You might find it interesting (if not too hard to swear fealty to the new international officialdom) two programs of the ensemble “Studio of new music” (the 16th in the House of composers and especially the 22nd at the Rachmaninov hall), two — ensemble Mark Pekarsky (21st in DC, 28th in the oval room at Plyushchikha) and a two-day event Romanian “Archeus” and Moscow ACM (24th and 25th in DC; on the second day they will play new opus long lost in the canadian taiga Nicholas Korndorf). The 26th will be held in DC mentioned premiere Kasparov, and the 19th — “Night in Galicia” by Vladimir Martynov, brought to mind since the last “Alternative”, and “Maze” of Nikolai Sidelnikov, borrowed from the same festival. While I don’t know if ensemble plays “Intermezzo”, but I feel certain promise of the idea in their program: singer, Plakidis, chick Corea, Falik, Knaifel and the unknown Shostakovich.
I hope that in relation to this part of Oleg Galakhov has not yet had an opportunity to sum up; if you take the test base soil “Moscow autumn”, then, treated with respect to the program (compiled from the writings of the dead this year, Boris Tchaikovsky and mieczysław Weinberg, born 90 years ago Shostakovich), you can afford to rely only on the program “Generation of the 70s” (19th in the UPC). Probably won’t be disappointed fans of military, folk, and especially choral music — how could anything be treated, only here you can see the whole existence of the traditional school. As for the “Soviet” (once) songs, it from the heights of the Column hall of utenils to the DC scene, where not even the orchestra, just a piano and soundtrack minus one.
However I want to in my words sounded not a claim, but rather sympathy to Oleg Galakhov and his colleagues. Can you blame people whose sad duty to pay the annual allowance of a demand of 150 to his comrades? The whole thing, obviously, is that the original error of the intent of becoming only the ability to multiply in the new specular reflections. From the beginning of my life’s favorite festival of the Union of composers has repeated the mistake of the famous priest’s dog ate a piece of meat. Now the story about her we have to hear the eighteenth time.