Such a cute and home renaissance

Desert huge rooms, echoing acoustics, crooks the theorba, picks up a baroque guitar, assentes the cellon, a bent zinc withdraws melodies of the 16th century with its pure boyish timbre, a voiced sakbut, the predecessor of a thrombone join it, and together two winds are carried under the dome; Little Viola, the great -grandmother of the violin, is spinning with the performer holding it in their hands, the singers tap with heels and castenets, and dance shock. The music is incomprehensible when it arises and it is incomprehensible when it ends, it immerses the listeners into an endless, fluid and very comfortable improvisational stream, surrounds them from all sides in the literal sense - because the musicians for the most part do not stand in one place.

And all this does not happen in any revival Palazzo, but in the center of the city of Moscow, at the Stanislavsky and Nemirovich-Danchenko music theater, in his dimensionless atrium gained during the reconstruction, still associated primarily with crowded corporate buffes. And now here it has been started - very small, without any opera, but light, almost homemade, a little stupid and terribly sweet. A revived fairy tale from an antique store.

Taking advantage of the fact that the young conductor Ivan Velikanov, a well -known expert and propagandist of a completely old, add -on musical tradition (among his achievements, was an alta ensemble, Capella with the unique, the only Renaissance copper instruments in Russia, the international festival of music and dance of the Renaissance La Renaissance , the epoch-making first Russian performance of the Vsevy Virgin Mary, Claudio Monteverdi, under the control of Andrew Lawrens King, who took place this summer in the Evangelically-Lutheran Cathedral of Peter and Pavel in China-Gorod), the theater decided on an experiment-a new cycle of concerts in the atrium under the common name “ Musica Animam curat ” (“ Music is a doctor ”).

The first concert was called “ All ' Improvviso ” , the program promised improvisations on Italian, Spanish, English topics of the Renaissance, including the main hits like the song “Green Sleeves” (“ Greensleves ”) attributed to the English king Henry VIII. The Russian language unexpectedly sounded to BIS with Zinc and Viola - “And the bosses are all in care, / And the sailors are all in work: / differently it climbs from below, / otherwise flies down on top, / flies downward”. The musicians wittily added to the European melodies of Kant Petrovsky times about navigation during a storm, which did not bring any dissonance to the general atmosphere of admiring the old good pre -author musical era - the very one when the trees were large, and the performer was also a composer.

The ability to compose, improvise as one of the most natural properties of the musician of those old centuries is something directly opposite to modern opera training. And the theater, which started this in its walls, is still opera. And the most amazing thing turned out to be how neatly and friendly the connection of the start-up instrumentalists, not the first day communicating with such music, as well as the instruments it required (in addition to the Great himself, playing on zinc and harpsichord, it was Marina Belova, Alexander Gorbunov, Grigory Krotenko, Andrian Princes and Dmitry Vlasik), with several soloists of the theater, with several soloists, with several soloists, with the theater, with the theater, timidly published in the new world, where you do not need to shout out the orchestra hole. Where you need to flirt with all these strange puffs and guitars and not be surprised if people playing on them suddenly decide to sing you. There were six such daredevils-Natalya Muradymova, Olga Lutsiv-Ternovskaya, Svetlana Sumacheva, Thomas Baum, Dmitry Kondratkov and Anton Zhaev.

The poster really did not exist, who knew, he came-which informed what was happening a little the sectarian-prisoner hue. But the next such meeting for the initiates has already been announced - on January 13, a costume concert “In the Castle and the Square” is promised on January 13, has nothing to do with the Russian old new year. The program includes court and folk songs and dances of Western Europe of the XV -XVI centuries.