Urbanism and Morok

The state order under the direction of Vladimir Yurovsky opened the season with two concerts - in the Great Hall of the Conservatory and the Tchaikovsky concert hall. This year there are many dates that can be noted: 110 years to Shostakovich, 125 for 125-Prokofiev and his now recognized colleague Vsevolod Zaderatsky, 80 years old as the state order and the same-the sinister Pravdinsky article “Skour instead of music” dedicated to the opera “Lady Macbeth Mtsensky district”. The scrupulous manufacturer of Yurovsky programs was where to turn around.

From all other countless Moscow concerts, Yurovsky’s performances are strikingly differed precisely by these thoughtful labyrinths. You can find fault with the details: something is tightened, somewhere the soloist is unconvincing, without any hitherto unknown music, we could continue to live. But the overall design sometimes pulls on the dissertation.

Both of the programs that opened were dedicated to the XX century. Still, it is not XXI-even though there were two scheduled scores just in them: Ephraim Podgayts, known, first of all, as the author of solid music for children, presented the orchestra with an essay called “ Ages ” (these are not English “times”, but “ and Lexander g Auk and Encity from the Vetlans”, which will be “la-salt-mi-Bemol”), which is a dynamic)). cutting of dashing orchestral commotion; And Gennady Gladkov, beloved by the country for the “Bremen musicians” and “ordinary miracle”, overpassed the Prokofiev piano “obsession” in a drive opus for a symphony orchestra with electrihites, saxophons, shock installation and six solo cells.

Yurovsky, as usual, went to the remote control with a microphone in his hand, proposed another word describing the atmosphere of the Prokofievsky miniature written at the very beginning of the last century and anticipated his rumbling tread - “mackees”. The Morok, which followed in the same program, is the outstanding Shostakovich (the first symphony and symphonic anthractions from the opera on which the XX century stumbled-“Lady Macbeth”), and Berg (“Lulu-Suite” for soprano and orchestra with the Clever Sunitel Nadezhda Gulitskaya, which only lacks a more clear German diction), and early, and early The dreaming first violin concert of Prokofiev. Soloist Sergei Krylov, brilliantly frank with his violin, compensated for the inconspicuous participation of the pianist Alexei Zuev in the previous program of the state order, where he played the fourth concert of Rachmaninov.

The main event was the Moscow premiere of the brutal “plant” (1935) of Vsevolod Zaderatsky, a composer with a tragic fate, whose most important composure is 24 preludes and fugues recorded on Kolyma with a pencil on telegraph forms (they will soon be released by the Melody company in the performance of Lukas Genyushas, ​​Andrei Gunnin, Yuri Favorin, Yuri Favorin, Yuri Favorin, Yuri Favorin Nikita Mondoans, Andrei Yaroshinsky and Ksenia Bashmet). The urban theme of this program was complemented by the second symphony of Prokofiev.

XX century, his back streets and intersections, contradictions and dead ends, nightmares and revelations are the main desktop book of Yurovsky. He is interested in rummaging in it, re -read it, putting the sticky pages. And this enthusiasm is transmitted to the Philharmonic Audience, for the entire growing part of which he finally legitimized the music of the 20th century.

The further plans of the maestro for the starting season are equally smart and uncompromising. Actually, the orchestra’s birthday will be celebrated on October 5 by the world premiere of the composer-resident Alexander Vustin. And in November, a global educational program is expected at the Festival “Another Space”: in particular, for the first time in Russia, the key works of the 20th century - the “group” of Stokhausen and the symphony of Berio will be performed.