A capricious postman of time

They don’t burn - contrary to everything - not only manuscripts, but also sound recording. Even after half a century.

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Sulamite Aronovsky is performed by Mozart

This is how the sonata of the pre-Mozart in the execution of Sulamite Aronovsky sounds. Record from the archive of the Lithuanian National Radio, 1957. The pianist has been living in London for a long time, and she was born in Kaunas. In Lithuania, she was remembered as Sulamite Juraite: she was married to the brother of the conductor of the Bolshoi Theater Algis Juraitis.

A successful graduate of the Moscow Conservatory, who then taught in Vilnius, in 1970 manages to go to relatives to the west. There she, perhaps unexpectedly for herself, remains. Since then, Sulamite had no longer returned to Lithuania, where she had an adult son then.

And in London, she soon overtakes misfortune, she falls into a car accident, after which she can no longer play. So, without this possibility, without Moscow documents, without the only radio recordings of her game, the pianist has to prove her musical storage radiation again.

And she did it. Now Sulamite Aronovsky is a professor at the London Royal Music Academy. In her 88, she leads the piano class there, among her students - world -class pianists from different countries. She is an honorary chairman of the London piano competition, a member of the jury of other international competitions. The Lithuanian part of life remained for her only in memory.

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Saved notes of Sulamite Aronovsky

But the past can present surprises. Says a musician, a host of programs on the Lithuanian national radio Marus Shinkunas :

- This story began a year ago, when I made a program about the son of Sulamite Balis Juraitis. He was in those days, 30 years ago, a talented pianist-improviser. Even when he studied at the Churlenis school, they talked about him as a child prodigy. When Sulamite left for London, she later took him with her, where he played with the stars. But the musician burned in his talent - he died in Lithuania during the next arrival here. Brilliant people leave for only their well -known reasons ...

After this program, one listener calls and says that she studied with her mother Balis, who was a wonderful pianist. I became interested, began to look for her notes, but in the phonotex I found the only old card on which it was written in a red pencil "remove, not broadcast." Where are the rest of the notes? I recall here my idol Dmitry Savitsky, who worked on Radio Liberty - he often dug up such stories.

As it was said "not to broadcast", so since then for half a century and lay there

I tried to find records, nothing worked, I was intrigued. I decided to look directly in the archives of the Lithuanian radio. Once he simply picked up a stepladder - remembering Shevchuk’s words “We carry our way” - and went to a special pantry, where old notes are stored on the shelves, back in bobbins. I turned on the flashlight in the phone and the numbers ... I found something. These were boxes with films - records of Sulamite! They lay at the very top of the rack, in dust. As it was said, "not to broadcast", so since then half a century has been laying there. Once the pianist emigrated, it means that it was believed that it should disappear from the air as a "traitor to the homeland."

Sulamite Aronovsky in the first years of life in the UK

But it is evident that the editor’s hand never rose to destroy the film, someone hid on the farthest shelf. And most importantly, there was a good person who, apparently, believed that nothing was disappearing. Anyone who nevertheless left one card with the name of Sulamite in the box of the phonotex. He left a thread, probably with the thought "maybe someone will be hooked for this someday." I hooked. On those bobbins were the sonatas of Chopin and Mozart, also Debussy, Rael and Cheurlenis performed by Sulamite Juraite. 1957 entry. Put the films on the old device, and the story spun ...

- When I first heard the game of Sulamites - outwardly very simple, transparent, light, even careless, without “twists” and hints of meaningfulness - immediately thought: only the person of the last century could play. Inner peace, clarity and serenity come not only from music itself, but also from the performer. Which at the same time as if removed.

Marus Shinkunas : I just fell in love with these records. I did not know such a pianist before, I did not see her eyes. There is no performing ego! At all. Dialogue - only with the composer. She does not lead a dialogue with her. This, probably, attracts, this is the value, the charm of the execution of those times, that school.

Yes, she really plays "without show -offs." Ponte-external effects, playing the public, demonstrative-order-what is this? This is a way to hide internal problems, disadvantages. She doesn’t need it all.

Now, in the 21st century, they often say: the musician should go on the stage naked. Baking in mind the spiritual openness, sincere return. What is it for? To show the work with which you come out. But unfortunately, many performers, it seems to me, understood this metaphor incorrect. In relation to music, to its essence, but only to itself and sometimes - almost in the literal sense. Hence the external effects, the same show -off ...

As for peace in the game - it was in her fate was a lull in front of the storm. Because after this record, Sulamite overtook two blows in life. At first she fell into a car accident, and the consequences were very severe: the spine no longer allowed to play, then her son died in Lithuania.

The records that I discovered remained the only ones for her. First and last! In addition, she herself never heard them. And these records are with me. I felt that I was holding a musician in my hands all my life. After all, after the accident, she could not prove in England that she was generally a pianist. Moscow refused to send confirmation about its studies at the conservatory.

I digitized everything found, put in order. I found the phone of Sulamites, I called her: “Professor, I found your records of 1957! -“ What are the notes, do they exist? I don’t understand what you are talking about. ”Here I realized the seriousness of the situation and flew to London.

Dialogue - only with the composer. This is the value, the charm of the execution of those times

What was her reaction when the pianist first heard her own game half a century ago? At first, she could not say a word, then she laughed nervously from excitement, could not stop ... She said that this was incredible. Returned to her own past, young to her. This record was made immediately after it returned to Lithuania after graduate school in Moscow, the pianist was still as joking, "hot", in good shape. This record not only returned her to the memories, but also opened the horizons.

- How do you regard this story in the end? Your indifference, luck and the same stepladder - did it all help to illuminate the life of the musician with a very difficult fate with the light of youth?

Musician and radio host Marus Shinkunas

Marus Shinkunas : Life puts everything in its place. Sooner or later. It happens that one who has nothing to say, shouts the louder of himself, looking for fame, but then no one will need him. No one will remember. Will not even look! But these are quiet ... In art there are many such worthy, but forgotten. And once their time will come. It is only necessary not to be afraid and to someone to take that ladder ... Art is experiencing all the eras and power. So it was, and so it will be.

- This story confirms the well -known thought of Joseph Brodsky that everything is subject to time, except for one - memory. In front of her, time loses its power and omnipotence.

Marus Shinkunas : History always experiences talents. They seem to go through the time filter: who will pass, who is not. That our life, game ...

Mother and son seemed to meet again, already on the air, after thirty years of parting

After these events, I made a second program on national radio, in which I combined music performed by Sulamite and Balis. Mother and son seemed to meet again, already on the air, after thirty years of parting. Many listeners called, the students said: "We have not heard her voice for 50 years." She herself was very delighted when, after transferring to her home in London, Lithuanian ambassador with flowers came.

She is unlikely to come to Lithuania, they will not give the heavy memories associated with the loss of her son, and it is difficult to move far when physical capabilities are limited. For the artist, the place is emotionally a lot means, this is a serious thing. She lives where she lives.

If someone believes that Lithuania has forgotten such as Sulamite, then I want to justify my favorite little country. Lithuania would not have stood so much in her history, so many tests, would not have survived the years of occupation if she had not forgotten something.

-That is, in your opinion, the country needed episodic amnesia to survive?

- They said well. Yes! There are no right and guilty in many vicissitudes. We had too many things. And there will probably be. There will still be.

Sulamite Aronovsky, London

From London - today's voice of Sulamite Aronovsky:

- This is just a miracle for me! What was found after so many years. I am grateful to Maryus for everything. Although the old record is that in modern technology now, of course, there are more opportunities for sound quality than then - but it is very interesting to listen. For me it was such a pleasant surprise. I did not expect!

- When I heard these notes, the first feeling: now they don’t play like that. Your delicate detachment as a performer is felt. Mary Greenberg was reminded. Modern pianists seem to show themselves, not a composer.

-Similarly, they don’t play, they play differently, and how many beautiful pianists! For the modern public, they are more suitable. Because everything changes. Tastes are changing - listeners and performers. Greenberg was closer not only in style, but also by age. I studied in Moscow at the department of Alexander Goldenweiser, worked with Grigory Ginzburg and Abram Shatzkes. They paid great attention to the phrasing and sound balance.

Each era has its own characteristics of taste and style in art. Everything changes. Always. This is fine. And each performer has its own ways of expressiveness.

“ Vladimir Ashkenazi was your fellow student.” And later in London you already taught his son.

- Yes. He graduated from my conservatory. I was generally lucky with the students, there were many young pianists who are now outstanding and perform around the world. For example, the Englishman Nicholas Hodges - now he is a professor in Stuttgart, an unusually talented pianist, for whom modern composers specially write. Or Israeli Amir Katz.

I try to help musicians find myself

Each time, experience tells me what direction to offer the pianists so that they develop their individuality. I try to help musicians find myself. So that they could express their thoughts and feelings in the game.

If you return in the last century, I then had so many tragic events and experiences! It was necessary to make decisions, I could not live and play music as I wanted. It was necessary to reckon with what was the main thing. I then had a son, thought about him. It was not easy to work, but I managed.

-In England, when it was necessary to join the musical world, you could not show what you are capable of because of the accident. And documents from Moscow were not sent. They were forbidden to broadcast your notes.

While I listen to music, my life has some sense

- Of course, it was very painful. But Volodya Ashkenazi helped me, who testified to my qualifications. I confirmed that I really have an education and my diplomas exist. Then I gradually recovered after the accident and got used to the academy. I can well show students how to achieve a certain sound and style.

- At one time, you even founded your own international pianist competition in the UK.

London is now the world center of musical art

- It exists, but now we are not actively doing this. Because the country has a complex political and economic situation. In general, now the majority of students who come to the Academy play very well. In my opinion, London is now the world center of musical art. We can say that we are spoiled by such a high performing level.

I also really like the famous pianist of Russian descent Arkady Volodos. I consider it outstanding.

- What, professor, do you want yourself?

- To continue to work with students. While I do this and listen to music, my life has some sense. But with age it becomes more difficult ... If I can help people with something, it is inspiring.

Professor Veronica Vitaite

I gave me to listen to the notes found to the professor of the Lithuanian Academy of Music and the theater pianist Veronica Vitaite:

- I remember the young student Sulamite as a teacher - this beautiful lady, elegant, strict. So many years have passed, and such an amazing find! There is something mystical even in this.

High class musician, great culture. This was felt in relation to the sound. Her touch to the instrument is thin, expressive. Mozart in a real style, in my opinion, has been played: transparently, of course, simple. This apparent simplicity is the most difficult thing in our business!

Music in general is an art that sounds and develops in time

Now we often see the performers with the desire to show off, play the public. She feels her own inner high bar. Penetration, persuasiveness and amazing sense of time. Music in general, unlike painting, for example, is an art that sounds and develops in time. If the musician feels well, this is the most “today a little differently than yesterday”, then this is a high class.

The main thing, of course, is for the musician to get a real, good school. On the other hand, individuality. We go to the concert and want to listen to a specific performer, namely him.

Students sometimes have an internal conflict between the canons of the school and the individuality. But I am sure: the deeper, the richer personality of the musician, the less he needs to be afraid of the loss of his Self. The school is very important for understanding the basics, understanding the style. And the same time. And your touch to the instrument will still remain yours, individuality - if it is - will not go anywhere.

Everything needs to be done so that people say: what a wonderful music!

Before the concert I tell my students: think about yourself, think about the author! Out about a child with Mozart’s music - you are responsible for him, you must play to show primarily the genius of the composer. Everything needs to be done so that people say: what a wonderful music! Then they will say thanks to the performer.

And on the stage you can’t hide for anyone. Especially the pianist, especially when he is alone. Either you are a king or a naked king. And you won’t get away from yourself either. At the same time, everyone shows how much you are able to bow to the genius, whose music you perform.

Composer Anatoly Shenderovas

Now another similar story . It was told to me by the Lithuanian composer Anatoly Shenderovas .

In the 70s, the cellist David Geringas recorded the work of Shenderovas in Lithuania for the company "Melody". Everything was already ready for the release of the gramplast, the signatures and approvals were collected, but here Goeringas, who previously received a gold medal at the Tchaikovsky competition, submitted documents for departure from the USSR. The fact is that they stopped releasing him on tour of the capitalist countries, Geringas did not want to put up with this and was going to emigrate. Immediately a total ban on everything related to the cellist was imposed.

“I did not find out about this right away,” says Schenderovaas. “The editor Zina Nutautite calls from the graduate studio in Vilnius: Anatoly, come. I come, she says: a nuisance. And shows a layer layout (it should have been the first for me), on which the record is canceled and signature of the boss.

It turned out that the order came to destroy the materials in the presence of the director of the studio. And the director is sitting with us and the conspiratorial says: Well, let's destroy! Then Zina wrapps Bobin in paper and gives me: Put somewhere, hide! And both in the magazine signed that the record was destroyed. "

Many years passed, and in 2002 a German Firm of Frame released a CD with Schenderovas music, including the very original record in it. Rescued thanks to such editors who were in no hurry to follow the instruction to "destroy".

Here's what Zina thinks about this now :

- I have been working in the Vilnius Studio of the Frame since 1964. When that story happened, there was absolutely no thought that I was some kind of hero there, I just wanted to save the record. About risk, if it had been revealed, I did not think. Rather, my youth did not think. We’ll get out somehow!

I am very glad that after so many years, Schenderovas's record still came out. He then calls about this: Zinite, good news! Everyone called me not Zina, but Zinet. Not because I'm small, or maybe because they loved? When it happens sad, I take this disk in my hands and read the inscription: "Thank you!"

The recording was preserved in good condition. The work of Shenderovas is excellent, Goeringas is a lovely person. Well, how could it be not to save? We all lived with our colleagues then with this thought. Something good in my life and I did for people.

- Although sometimes, at the direction of the instructions from above, it was even cut by scissors of objection films, it cannot be said that there were many cases of such repression?

- Yes, you can’t. Only separate. Moreover, not everything that was happening in Lithuania was known to the Moscow officials.

I wish the audience to get vinyl from distant shelves - he is now reigning all over the world

Справедливости ради надо признать, что в целом к нам в Москве на фирме "Мелодия" относились хорошо – для Литвы выделяли качественные пленки, быстро давали добро на записи. Возможно, людей, принимавших такие решения, уже нет, но я еще жива и хочу сказать им спасибо. Еще желаю слушателям, чтобы достали с дальних полок винил – он сейчас во всем мире опять царствует!

А вспоминая ту историю, я всегда радуюсь. Беру эту пластинку как золотую. Потому что у меня на сердце легко.

Перипетии драматичной судьбы Суламиты Арановски произвели впечатление на сценариста, много лет проработавшего на Литовском национальном радио и телевидении, публициста Пранаса Моркуса :

– История из разряда подтверждающих расхожее "рукописи не горят". С чем раз за разом сталкиваемся. Поскольку речь о музыкальной записи, значит – пластинки не бьются, пленки не размагничиваются. А если уж дать воображению волю… У питерских музыкантов давным-давно отобранные и рассыпанные саксофоны, по которым проползали гусеницы Челябинского тракторного завода, как ни в чем не бывало продолжают играть и поныне. Утешение всегда желанно, тем более жизнь человека – сплошная цепь потерь и утрат.

Я был свидетелем послевоенного разгрома фондов каунасской и вильнюсской радиостанции

Коль речь о радио, то я был свидетелем послевоенного разгрома фондов каунасской и вильнюсской радиостанции. Погром изничтожил голоса актеров, ученых и политиков Первой республики. Десятилетие спустя та же участь постигла наговоренное и наигранное в сталинские времена. Об этом, правда, как-то особо никто не жалел. Хотя, если порассудить…

Позже на моем веку удары по радио- и телефондам тоже наносились, но точечные. Заливалась соловьем в эфире, к примеру, светловолосая певица, да вот, вышла замуж за лицо, как тогда называлось, еврейской национальности. Тут эмиграция, само собой. И вот замолкла в эфире соловушка, словно и не было ее вовсе.

Или же: дошла до Москвы весть, что любимец советских людей Микис Теодоракис, дескать, смутно высказался об августовском вторжении в Чехословакию, – устроили экзекуцию и ему. Записи его и имя мгновенно осели в черных списках рядом с именами греческих полковников, Хорхе Луиса Борхеса, Рудольфа Нуриева, Николая Гумилева и самого Льва Троцкого.

Любые времена – очень капризный почтальон

Кроме всего прочего, режим тот был мелочно-мстительным. Но дело не только в нем. Любые времена – очень капризный почтальон. Да и пошутить не прочь. Вот на днях по адресу доставлено письмо, блуждавшее по белу свету с конца Мировой. И не этой, а еще той. В Литве недавно объявили, что десяток-другой предназначенных на расчленение пластинок некто утащил и закопал в бидоне под яблоней в саду. Так что голоса из прошлого стали ныне доноситься.

И вот случай наш: картонку с записью моцартовской сонаты чья-то таинственная рука потихоньку затолкала в запыленный угол, подальше от человеческих глаз, оставив на усмотрение судьбы. А судьба красивой пианистки возьми да и преподнеси ей радостный подарок – золотой ключик от волшебной шкатулки юности. Как тут не заулыбаться, не порадоваться, не вознести пенистый кубок!