Not that AmericaIn the Small hall of the Philharmonic society the second festival " has ended; the Modern past “ which theme this year — “ the USA, the XX-th century “. The program has appeared made in such a manner that Vladimir Rannev, do not get it an aaplet, would not risk to correlate the majority from sounded with America.
in Russia the American academic music as did not sound earlier for the clear reasons so does not sound and now, already on not clear. The exception is made by composers - the minimalists familiar to us are faster not on live executions in concerts, and on a compact - to disks and soundtracks to films. Other huge and various composer world of America at us is not presented almost. For recalculation of it “ almost “ there is enough fingers of one hand. The brightest event of last years - “ the American season “ Fund About Arte as which curator has acted the main expert in Russia the academic music of the USA - the musicologist Olga Manulkina. Then it managed to bring to Petersburg strong ensembles and the most powerful repertoire. That, unfortunately, you will not tell about festival “ the Modern past “ and its concert - closing. It is clear that at the noble initiative hudruka Albert Barbeta`s festival is not present stolkih possibilities, as at Fund About Arte. But the XX-th century of the American music has appeared at a concert absolutely monotonous and provincial. So, from creativity of masters Rut Crawford Siger and Eliot Carter such opuses which, if not to know the others have sounded, are certified at us usually as “ music of the union of composers “ - that is the ordinary academism deprived of individuality. The Viola In My Life Mortora Feldman has been executed “ Avant-guard - a quartet “ smurno and obessilenno, but not with that deliberate and characteristic for Feldman obessilennostju which disconnects will and carries away the listener in life superstructures and as though it is simple flat-out.
execution akkordeonistom Sergey Chirkovym Souvenir John Cage became an exception. The distinct relation of the musician to the text and exact transfer of this relation is just such game which it is accepted to name “ shining “. And so Sergey Chirkov also has played.
in dialogue with the American music the festival has invited several composers, having ordered it vocal plays on Vladimir Nabokov`s texts. Russians Michael Krutik and Nikolay Mazhara, American Timoti Dann and Iranian Mehdi Hossejni have shown the strong composer technics and an ingenuity, but have appeared hostages inappropriate - fat and sdavlenno - akademichnogo - Boris Pinhasovicha`s baritone. Now it is difficult to find so ottalkivajushche old-fashioned execution even repertoire of a XIX-th century natural to this vocal style. What to speak about XXI-st century music participation to which Boris Pinhasovicha`s vocal differently as misunderstanding you will not regard.
has finished a concert “ Summer harbour with Dance on a circle “ - the big thing of Nilsa Vigelanda, the professor from New York invited by festival in quality not only the composer, but also the lecturer. Music, the difficult text and the underlined severity in any way did not give out strong manufacture in the author of the inhabitant of New York teaching on Manhattan. Its cool Scandinavian style reminded more likely of festival Nordic Music programs. At all advantages of this beautiful play, it has supported the general bewilderment from strange made program in which the spirit of the American music of the XX-th century soared only in rare opuses - exceptions, in the rest being in shabby, with a naphthalenic smell a dress coat.