Translated material
Theater at the microphone
The “thunderstorm” record is strange, like everything created by the duet Fedorov - Volkov. On each album of Leonid Fedorov - Vladimir Volkov, new names and even planets arise. Planets - literary worlds of Volokhonsky, Khvostenko, Vvedensky, Khlebnikov. Not to mention the world of texts of Dmitry Ozersky. “Thunderstorm” is obeyed as the blessed program of the Soviet radio “Theater at the microphone”. Probably because Volkov’s two lightest instrumental things that open and cover the disk were written for the film, but they were not useful there. The same thing happened with the four songs of Fedorov - they were written for the theater, for the performance in Ostrovsky, but did not grow together. But the “thunderstorm” incorporated this cinema wealth.
How is the “thunderstorm” built? In the beginning, after the piano Volkov, the song by Anatoly Gunitsky "The soul does not know fate." Gunitsky, as a drummer and author of the texts, co -founder of the Aquarium group, gave it an early sound in an early sound. His songs “March”, “Poetry”, “Crowning”, “The Emperor Nero”, “My Ant” created the Oberiut atmosphere on the cult album “Triangle”, and in 1975 he had already left, began to engage in the theater, write absurd plays. Texts are the most important elements of Volkov -Fedorov records, it is they who create originality and novelty, since Fedorovsky Melodism and Volkovskaya multi -instrumental virtuosity have long become a familiar substance.
“The soul does not know fate. Hermes does not see the nursing, and strict stepdaughter Shanghai, and the eye of love, and a cup of tea. He avoids long words, does not believe in the gloomy cows, which, like hell in the window, yawn in a sleepy half -out. ”
Behind this spring depression, which is full of Russian rock, suddenly follows the “conch of the goose” of Henri Volokhonsky, the translation of the children's affectionate, purely English fairy tale about the incessant murder of geese: “Grandma Rosie, grandmother Rosie, our old goose is hesitation.” And the microlex about why the dead geese stick out upward paws in the pond. Volokhonsky’s voice-ancient, rough, fairy-tale-first appeared on the innovative disk Fedorov and wolves-trios “there will be no winter”. There, an almost absurd telephone monologue of Volokhonsky "Lenya, Lenya, this is Andrei, was suddenly recorded there.
After the goose of Volokhonsky, there is nothing to be surprised at, the folklore “Cossack” insists on the Cossack desire to destroy his wife, but even the wisdom of his wife: “You don’t hit, don’t destroy me in the evening! Kill, ruin me from midnight! "
Having accelerated in the romance, the LF suddenly gives a thriller, and written with his own hand.
This song is the news in the timbre and the register of the Fedorov voice, this is sung by a dense bass, in which Fedorov was not yet seen. It even seemed - an electronic lotion of those that are used by Leonid Fedorov in almost every case of chamber discs. Further again, Volokhonsky, telling the beginning of the beginning, his translation of the beginning of the book of Genesis - incomprehensible, terrible, solemn: "The earth was an abyss and haze, over the abyss of the darkness, and the divine vortex before the face of water flew ..."
Further, the romance “Thunderstorm” (“Among the Valley of the Average”) Merzlyakov, performed to Fedorov by both the Tsar’s Chaliapin and the Soviet Gulyaev. Fedorov made his music, why the romance acquired a dimension, the scope of the Vvedensky longing for awareness of the inevitable: “I myself am alien to some, the other runs me. All friends, all friends to black only a day! Where can I relax with my heart when the thunderstorm rises? A delicate friend sleeps in damp earth, he will not come to the rescue. Neither the family, nor the tribe in the alien side to me; My dear girlfriend does not caress me. ” The final of the romance is knocked down, in the line, the whole block, and in addition, Eurer of the sociologist - there is no tribe, society, people without cute: “Take all the gold, all honors back; My homeland is sweet to me, give me a sweet look. ”
Having accelerated in the romance, the LF suddenly gives a thriller, and written with his own hand. This is an anniversary, third, the text of the musician. The first song was a long time ago, in 1986, came to the disc “Come back to Sorrento”, the songs from which Auktsyon very rarely played. The song was called “A wonderful evening”, there the lf with the Sting falseton was brought the chorus: “Let's open this door, we will throw our shame out the window ...” The second song turned out to be almost the sequel first - it was called “Husband”, was on the bright needlework album of the LILA LILO LILOMA : “Is the husband, the power of the weak, is it not for the wrong ... The husband clearly mutated a wonderful evening and reached the desired stage in the fresh composition “strangled”, consisting of two verbs: strangled, strangled. But the fewer words in LF songs, the richer the palette of sounds.
The fairy -tale disc continues with two songs on Khlebnikov’s poems - “Virgin” and “Dog Unsuit”, and ends with the Pushkinist ballad of Vvedensky “Where. When ", recorded in the country of Andrei Bitov. This is the last thing (1941) of the Oberius - an oratorio where the Bitov heavy bass recorded on the recorder, scares the fluttering keys of Volkov. The verse is built as a Greek tragedy, and the choir of the gods, that is, the voice of the unconscious “it”, is prescribed by the Vvedensky theatrical way, because the fabric of the verse is delayed by remarks. “Farewell, field cliffs, I watched you for hours. Farewell, butterflies are alive, I starved with you. ” The reminder of Vvedensky about Pushkin looks like a ready -made play for the theater of Bogomolov. So you see the recitation of shadow, the removable of the Bogomolov actors against the backdrop of the running line-prick: "And so goodbye to everyone, he neatly folded the weapon and taking out the temple from his pocket in his head." Obviously a posthumous line, but what is surprised: “Chinars” were truly intrigued by only one topic-death.
So, the album “Thunderstorm” is if the theater is at the microphone, then purely Leningrad. Precisely because in addition to the songs of Anatoly Gunitsky and Vvedensky, the voice of the Leningrad geologist, the absurdist and the author of the Pushkin House Andrei Bitov was installed on the “Thunderstorm” disc. There was once an impressive Pushkin Band under the leadership of another co-founder of Aquarium, Alexander (Fagot) Alexandrov. That Band performed Pushkin’s drafts at the famous concert in New York 1998 (the disc “Sadlight Il” was released in 1999) with the produces of Nikolai Dmitriev: Andrey Bitov (Voice), Vladimir Tarasov (shock), Yuri Parfyenov (Truba), Alexander Alexandrov (Fagot). In our case, the intrigue of the concert-presentation of the Groza disk, appointed at the Central House of Sciences on April 15, is whether Volkov-Fedorov will be able to persuade Andrei Bitov to enter the stage.