The return of the Marquis

Jokes jokes , and once the youth festival "Return" was held for the 20th time. And at the same time he was not blown away, he did not ferment, did not slide into the gained post -annual routine. On the contrary, about all four programs, it is clear that you will not hear this anywhere else, that this is a charge of curiosity, energy, freshness, musical quality and music of indifference for the whole year.

This time the thematic names of the first three evenings are painted with tragic and mining tones: “The torment of love”, “Sunset”, “epitaph”. In their mischievous conceptual vinaigrette, there are not mixed rarities: piano trio Leosha Yanachek and Bedrzhikha Smetana, the lyrical poem "Sunset" Ottorino respiga for the voice and string quartet for the poems of Shelley, the Quintes of the Soviet author of the complex fate of Alexander Lokshin (two violins, two Altoloncels and an important representative) and an important representative) The British composer school Ralph Wiliams (Clarnet, Valtorna, Violin, Cello, Piano).

At the same time, at the fundamental masterpieces of the chamber repertoire, they also smear here without any fear and with a complete base-in the middle of a bizarre musical mosaic with unshakable peaks, the second string sextet of Brahms (led by the first violin Alena Baeva) or the Major Trio of Schubert for piano, creaks and cello (Ekaterina Apekisheva, Roman Mints, Christina Blauman). The “Amur Waves” waltz, which has a chosenly opening the festival (what is the same or another of the essay that has the declared topic-is still excitingly explaining the booklet), is adjacent to the pianist Vadim Kholodenko with the equally generously executed by the two “spatrids of Petrarch” by Ferenc Liszt.

Of our modern composers, Peteris Vasks (“Plains”), Tristan Murai (“Thirteen flowers of the setting Sun”), Leonid Tennikov (“Sketches for Supplied”), Sergey Akhunov (“Quintet of Memory of the Musician”) and Sergey Nevsky (“Rules for Love” (“Rules for Love” (“The Rules for Love” on the texts of Soviet schoolgirls) are cooked together. The opus of Nevsky with a smart and bold singer-actress Julia Korpacheva as a soloist is an unusually successful and elegant exit of “returning” to the narrow-chapsing territory of concerts and festivals of modern music, the need for which in the form of a sort of harsh ghetto immediately seems doubtful.

Nevertheless, the “return” is, first of all, the festival of instrumental music (it shakes a very small amount of singing), or rather, the festival of strong strings and pianists. This time there were not just a lot of them, but somehow indecent a lot, you can’t list everyone. Several precious oven, including flutists, Maria Alikhanova and Maria Fedotova, clarinetists Mikhail Beznosov, Igor Fedorov and Anton Dressler, Goboist Dmitry Bulgakov (along with Roman Mintz, the permanent leader of the festival), and the facetish patriarch Valery Popov were added to their luxurious company. And the most precious - Valtornist Stanislav Davydov.

The status of the festival, which positions itself independent and foolish, nevertheless steadily increases. As a modest listener in the Rachmaninsky hall, you could meet Yuri Bashmet. And all four evenings, the radiant old man with burning eyes was decorated with his presence, on the last evening, traditionally referred to as a “concert on the applications”, which went on stage to sit in front of the 13 “returners” ensemble in a chair and thoroughly land the “zigfried-idyll” by Richard Wagner. It was the 86-year-old Lev Marquis, the legend from the past, the accompanist of the orchestras Rudolf Barchei and Kirill Kondrashin, one of the most famous Soviet emigrants, who left the country in 1981, the head of the Amsterdamic Symphonyetta. Needless to say, the festival celebrated his 20th anniversary beautifully. 20 years ago it seemed that the age principle for “return” was determining. Now his uniqueness is determined, of course, not by age, but by the joy of meeting superprofessions and like -minded people.