What is different about the 1st symphony orchestra of 1922? Persimfans and the Düsseldorf Symphony Orchestra will perform a concert program in the Concert Hall
Persimfans (First symphony ensemble, an orchestra without a conductor) was founded in 1922, at a time when the most amazing things appeared in the air one after another musical ideas. Violinist and professor at the Moscow Conservatory Lev Tseitlin gathered like-minded musicians from different ensembles, and the resulting orchestra, whose members shared the ideas of collectivism and equality, performed the most various works, from Bach to his contemporaries. Persimfans existed for eleven years - in the 1930s, little remained of the innovative spirit of the previous decade. However, in 2009, pianist Peter Aidu recreated Persimfans as one of the components of the reconstruction musical environment 1920s His friends, enthusiasts from different orchestras, were sometimes willing to rehearse at night - the only time when they all found themselves free from their main jobs and other projects. The orchestra gave concerts irregularly, the composition was unstable, but the repertoire was gradually replenished. One of the first works performed by Persimfans was the most complex piano concerto by Alexander Mosolov. Other works include Beethoven's Third Symphony, Stravinsky's Dumbarton Oaks, Prokofiev's little-known ballet Trapeze, George Antheil's Mechanical Ballet for four pianos, percussion ensemble, doorbells and propellers, and the overture to Mozart's The Magic Flute in a special editorial offices for cinema, clubs, radio, schools and the stage. He performed the new Persimfans and works by the modern composer Pavel Karmanov, and performed with the group " Polite refusal", went on tour to Norway with musicians from other cities. This season at the Rachmaninov Hall, the subscription in honor of the 90th anniversary of Persimfans opens with a dedication concert to conductor and double bassist Sergei Koussevitzky, the founder of the Russian Music Publishing House, where the scores of many works by Russian composers were first published , a promoter of new music who emigrated in 1921. Musicians from the first symphony orchestra in Moscow, founded by him in 1911, formed the backbone of Persimfans. Works from Koussevitzky's repertoire will be performed - Max Bruch, Wagner in transcriptions by Pablo Casals and Karl Tausig, Tchaikovsky, Medtner, Rachmaninov and Koussevitzky himself, as well as Scriabin's "Black Mass" and "The Satanic Poem", and Prokofiev's Quintet, written on the material of the above-mentioned ballet "Trapezoid". The concert includes Peter Aidu, violinist Marina Katarzhnova, violist Alexander Akimov, double bassist Grigory Krotenko, oboist Olga Tomilova and clarinetist Evgeny Barkhatov.Aidu and Krotenko play historical instruments - a grand piano from 1900 and a double bass from 1624 (which belonged to Koussevitzky himself), respectively.
Grigory Durnovo
Press release provided by the concert organizers
The joint symphony ensemble of two sister cities - Moscow and Dusseldorf - will perform in Concert hall named after P.I. Tchaikovsky on December 14, summing up the musical outcome of 2017 - the year of the centenary of the October Revolution.
Persimfans (First Symphony Ensemble) - an orchestra without a conductor - was organized in Moscow in 1922 and became one of the most remarkable phenomena cultural life V Soviet Russia. The ensemble gave more than seventy concerts per season; Without performing even once outside of Moscow, Persimfans gained worldwide fame as one of the best symphony groups of that time. In his likeness, orchestras without a conductor were organized not only in the USSR, but also abroad - in the USA and Germany.
In 2008, Persimfans was revived on the initiative of Peter Aidu after several decades of forced hiatus. Under the auspices of Persimfans, cultural research is carried out, exhibitions are organized and theatrical performances. Persimfans today is a universal arts complex.
Demonstration latest achievements Persimfansa became a joint project with the Düsseldorf Tonhalle: on October 7 and 8, Moscow musicians teamed up with the artists of the Düsseldorfer Symphoniker. The performances of the international Persimfans created a real sensation not only in Düsseldorf itself, but throughout the country, since the German media - newspapers, electronic publications, several TV and radio channels comprehensively covered this event.
Organizer the only concert in Moscow - the Apriori Arts agency represented by independent producer Elena Kharakidzyan in partnership with the Helikon Artists agency and the management of the Tonhalle Düsseldorf with the support of the Goethe-Institut in Moscow, the German Foreign Ministry and the Federal State of North Rhine-Westphalia.
Persimfans at a concert in KZCH. Photo – Ira Polyarnaya
Persimfans - or the First Symphony Ensemble, an orchestra without a conductor, was created in 1922.
The musicians of the young, free, as it seemed then, Land of the Soviets, who accepted revolutionary ideas, united into a team where “each orchestra member listens to the other and everyone in general.”
During the ten years of its existence, until 1932, the orchestra managed to become an Honored Ensemble of the Republic in 1927.
The musicians gave more than 70 concerts per season, the stars of those years performed with him as soloists: J. Szigeti, K. Zecchi, V. S. Horowitz, S. S. Prokofiev, A. B. Goldenweiser, K. N. Igumnov, G. G. Neugauz, M. V. Yudina, V. V. Sofronitsky, M. B. Polyakin, A. V. Nezhdanova, N. A. Obukhova, V. V. Barsova and others.
In the mid-1930s, against the backdrop of a growing “cult of personality,” the orchestra without a conductor seemed suspiciously free and was disbanded.
The revival of Persimfans took place in 2008 thanks to business efforts and personal charm, attracting associates Peter Aida and Grigory Krotenko.
Persimfans of the 21st century - national team best musicians from symphony and opera orchestras of Moscow, St. Petersburg, Perm and other Russian cities. "The Last of the Mohicans" enthusiasts ready to free time, often asking for time off from my main job, to rehearse for the sake of interest, for the sake of new music and the joys of co-creation on equal terms.
The cast of performers is updated by about a third each time, and each upcoming concert The question is: will it work this time?
Peter Aidu. Photo – Ira Polyarnaya But it not only turns out, it becomes an Event in the capital’s cultural life.
Persimfans evening, held at the Concert Hall. P.I. Tchaikovsky December 14, 2017, was special. For the first time, our musicians teamed up with artists from the Düsseldorfer Symphoniker on October 7 and 8 in the Düsseldorf Tonhalle concert hall.
Now 18 German colleagues, mostly brass players of the famous German school, less string players, took their places at the consoles in Persimfans.
The organizer of the concert in Moscow is the Apriori Arts agency represented by independent producer Elena Kharakidzyan in partnership with the German agency Helikon Artists and the management of Tonhalle Düsseldorf with the support of the Goethe-Institut in Moscow, the German Foreign Ministry and the Federal State of North Rhine-Westphalia. Well, how can we not remember the “German trace” in the events of October 1917!
By the way, as it became known at the briefing before the start, neither the Ministry of Culture of the Russian Federation nor the Moscow City Culture Committee, expressing interest in the Russian-German event in words, provided real support.
The concert program is essentially a performance that combines music, cinema, and elements of a parody of revolutionary propaganda theater. Here everything, right down to the “each in his own” costumes of the orchestra members, with a predominance of white, scarlet and orange, made sense.
It seems like an academic beginning. Mozart. Overture to The Magic Flute. And right there small print: "edited in 1930 for cinema, clubs and schools." An ensemble of about 10 people came out, led by Peter Aidu at the piano and an instrument or two from the group, and began the long-familiar passages in a harmonious and cheerful manner. But the video sequence!
The talented work of multimedia artist Platon Infante, who made a compilation of chronicles of the early 20th century and film footage of Dziga Vertov. Hitting marching, laughing, building new life black and white long-dead little men in the tempo of Mozart's rhythm, in its dialectical essence is simply amazing. As the first People's Commissar for Foreign Affairs of the Soviet Republic, Georgy Chicherin, said: “I had the revolution and Mozart.”
“An example of abstruse sound poetry of a representative of Dadaism, constructivism, surrealism, expressionism”
- according to Wikipedia. It seems like a rhythmic roll call of different, as it were, german words, phrases, sounds, slowing them down and speeding them up, the musicians liked it as a group training, a kind of stupid warm-up before the main thing. Grigory Krotenko's falsetto solos brought a constant smile.
“Product of the Epoch” is interesting to listen to once. I would shorten it by half.
And what a relief for the ear was the following Quartet No. 1, Op. 24 by Alexander Mosolov. Beautiful and pure music, unlike anyone else, by a composer who in the twenties stood on a par with Shostakovich.
Subsequently, his unique gift was broken by eight years in the camps under the article “enemy of the people.” Violinists Evgeniy Subbotin, Asya Sorshneva, Sergei Poltavsky on viola and cellist Olga Demina soulfully performed this unique Requiem to a lost generation.
Alexey Vorobyov and Persimfans. Photo – Ira Polyarnaya After the chamber-intimate Quartet in the semi-darkness, there is again a contrast. Came out full composition The orchestra is already with instruments, everyone is waiting. He, V.I. Lenin himself, rose through the aisle in the stalls to applause!
With a dramatic gesture, he shook hands with the first violin and, with the same vertical palm, gave the sign to the oboe – “A” for tuning.
Ilyich, to approving laughter in the hall and on stage, went to his place, turning out to be double bassist Alexei Vorobyov. A mustache and goatee of his own, a three-piece suit, a speckled tie and the right cap – his stage image.
"Soviet and American composer, music teacher and musicologist, primarily known for his system musical composition Schillinger."
Born in Kharkov, studied in St. Petersburg, after 1929 he lived in the USA, and was buried in New York in 1943.
Schillinger wrote the rhapsody “October” sincerely and seriously in 1927, almost on the eve of emigration, or the moment of mockery of Soviet folklore was present in the plan, but the interweaving of “You have fallen a victim”, “Internationale”, “Boldly, comrades, in step” and especially the tart “Lead us, Budyonny, boldly into battle” paired with “Fried Chicken” for more than 15 minutes brought exquisite fun to the middle and older generation who still remember these songs.
That's enough, it's time for the coda - suddenly a fugato of individual groups arose, according to all the rules. And for dessert: “We are blacksmiths, and our spirit is young” plus “Our locomotive, fly forward!”
The score is written in a complex and rich way. And they didn’t leave without a conductor! The active feeding of the head and bow of the group accompanists, led by first violinist Marina Katarzhnova, was enough.
Bores and skeptics could check out the orchestra class after intermission. Beethoven. Overture "Egmont". A staple of symphonic educational subscriptions. And already " business card» new Persimfans.
It was impossible to find fault, everything was in place - the power and purity of the winds, monolithic strings, nuances, final acceleration, feeling free flight Beethoven's melody.
Grigory Krotenko. Photo – Ira Polyarnaya After the late classic - the forerunner of romanticism, Beethoven, beloved by Lenin for “ inhuman music", another discovery. Chamber composition of the orchestra, enhanced by heavy brass and percussion compared to “ Magic Flute", played Edmund Meisel's original music for the 1926 Berlin premiere of Eisenstein's Battleship Potemkin.
We were presented with the 5th and 6th acts of the film with the author's marking of the score. From the picture of the suppression of unrest by the brutal tsarist army and Cossacks in Odessa in 1905, through the riot on the ship, ending with the passage of the Potemkin through the admiral's squadron without firing shots.
Shots of a falling stroller with a baby or the raising of a red-painted flag on the mast of a mutinous battleship, worn out to the point of textbooks, looked as if for the first time.
Graphically strict, strong in its lapidary music, Meisel’s music, sounding here and now, with imitation of cannon salvoes, confirmed: it is no coincidence that the film “Battleship Potemkin” is recognized as a masterpiece of global scale. What big plans!
What editing and dynamics, with a complete lack of technical tricks at that time. And even though Eisenstein’s script is further from the historical truth of the events of 1905 in Odessa than Goethe’s drama “Egmont” from the fate of a real count from the 16th century, who lived on the eve of the bourgeois revolution in the Netherlands, “I will shed tears over the fiction.”
And how could it be otherwise, if it’s December 14th, the date of the Decembrist Uprising. Failed exit Senate Square noble conspirators and potential regicides or “young navigators of the future storm,” as we were told in childhood?
Having amused the incorrigible romantics, the evening's program sobered up with a couple of ironic numbers on the verge of a skit. Julius Meitus, best known for his post-war opera The Young Guard, deftly wrote “Danish” works in his youth.
“The Blows of the Communard” is an extended monologue for singer and piano in a tragic style. But the pathos of the opus turned into mockery, thanks to the peculiar vocals of Grigory Krotenko.
The virtuoso double bassist, gifted music journalist and radio presenter has a good tenor-baritone, or baritone-tenor. Individual notes sounded almost operatic! But since vocal school Krotenko doesn’t, falling “as a corpse” under the piano towards the end of the romance standing next to “Ilyich” is a logical result.
Andreq Tsitsernaki, Alexey Vorobyov, Peter Aidu, Grigory Krotenko. Photo – Ira Polyarnaya The melodic declaration “On the Death of Ilyich” over the lying “body of Lenin” by the dramatic actor Andrei Tsitsernaki, who stylishly performed the entire evening and the role of a retro entertainer, to the mournful chords of the piano by Peter Aidu, completed the episode “musicians are joking.”
Symphonic suite by Julius Meitus “On Dneprostroy” (op. 1932) – the finale of the program. Was involved largest composition orchestra, supplemented drum kit. They played fiercely, loudly, with pleasure from their own audacity. During the final bars, all the musicians blew trumpets and waved their bows while standing, emphasizing the apotheosis of the “folk” construction.
The audience went wild, charged with young energy, and did not let go. The encore was a piano concerto by Mosolov. Peter Aidu once again showed not only leadership, but also pianistic class.
Such a revolutionary panorama in a concert was unthinkable not only during the Soviet era, but also immediately after the collapse of the Union, when overnight everything great and holy became terrible and shameful. In 1992, a French friend who suddenly started singing “Internationale” in the center of Moscow “because I like the music” wanted to cover his mouth so as not to be beaten.
The average age of Persimfans participants is 30+. This generation no longer wore pioneer ties, did not study the “History of the CPSU” and did not sing about “commissars in dusty helmets.” Perhaps it is their view of 1917 that is more objective?
100 years is enough time to understand and accept the facts in all their diversity. When the last living witnesses have passed on to another world and all the memoirs of eyewitnesses have been written, it becomes possible to note significant date a solemnly mischievous concert with elements of hooliganism “Inhuman Music”.
Tatiana Elagina
First Symphony Ensemble of the Mossovet
Symphony Orchestra without a conductor. Honored Team of the Republic (1927). Organized in 1922 on the initiative of professor of the Moscow Conservatory L.M. Tseitlina. Persimfans includes orchestra members Bolshoi Theater, professors and students of the conservatory. Persimfans' work was led by an artistic council made up of its members. Since 1925, Persimfans gave weekly subscription concerts. Pianists K.N. collaborated with Persimfans. Igumnov, G.G. Neuhaus, A.B. Goldenweiser, V.V. Sofronitsky, vocalists A.V. Nezhdanova, N.A. Obukhova, I.S. Kozlovsky, and also foreign performers. Persimfans performed in the largest Moscow concert halls, in workers' clubs and cultural centers, in factories and factories. The board in 1926-29 published the Persimfans magazine with a circulation of 1.7 thousand copies. Ceased to exist in 1932.
Literature: Zukker A., Five years of Persimfans, M., 1927.
Moscow. Encyclopedic reference book. - M.: Great Russian Encyclopedia. 1992 .
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First Symphony Ensemble of the Mossovet, symphony. orchestra without a conductor. Honored Republic team (1927). Organized in 1922 on the initiative of Professor Moscow. Conservatory of L. M. Tseitlin. P. is the first in the history of music. lawsuit va symphony orchestra without... Music Encyclopedia
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