CLASSIC—AVANT-GARDE — IS A SYNONYM OF PROGRESSIVE
The soloist ensemble “Classic–Avant-garde” begins a season with world premieres
— Kozlovskiy is really a great, venerable artist, — narrates the art director and ensemble conductor Vladimir Baidov. — He served as the director of imperial theatres, wrote for big orchestras. And he was born in Mogilev region, and there he came to die… I can not imagine how one can not know and perform the works of that genius, he wrote the only masterpieces! But his works are not included into the repertory of our musical educational institutes — what a paradox…
We are having a conversation after rehearsal — light and elegant Kozlovskiy music is relevant to atmosphere of a tightish but very cozy class in the Belgosphilarmony building. On the wall I notice a bright picturesque painting in the style of Henri Matisse. As it turned out, it is neither more nor less than decoration to “The Soldier’s History” — musical fairy tale by Igor Stravinsky, staged by the ensemble several years ago…
In the beginning of the last century avant–garde became a symbol of progressive and modern. All, what was forbidden some time ago, now was considered new and fresh. The names of Denisova, Shnitke, Gubaduilinoy on posters called unconceivable agiotage. Exactly at that time “The Classic—Avant-garde” appeared.
In general, all began from anecdote, or, as you like, from a good improvisation, when Vladimir Baidov bought a ticket and almost came as a spectacular to the concert that he had to conduct himself. “The Classic-Avant-garde” in itself did not exist at that time, its predecessor was the Soloists Ensemble of the State Chamber Orchestra of the Republic of Belarus under Baidasov governing. So, one day having just returned from his tour, Vladimir Alexeevich saw a poster where it was stated that some musical group named “The Classic-Avant-garde” performed the same repertory as his musicians did. The concert would be performed the next day… Being intrigued, Vladimir Baidov had bought a ticket. And in the evening his friend phoned him, the first director and creator of “The Camerata” Oleg Shikunov: “Tomorrow you will perform, please, be ready!” As it turned out, Shikunov invited one Sweden poet avant-gardist, leased a hall and included Baidov into its conceptual program, having changed the name of ensemble to less official. The success was phenomenal! In order to listen the young and insolent men gathered conservatory professorship and their students — in a hall of “The Christophorus” where “The Classic-Avant-garde” performed for the first time — literally there were no space to stand…
By the way, firstly Baidov was not only a director of “The Classic–Avant-garde”.
— Some time ago I managed to play a contrabass and to conduct the orchestra, but now since the program is difficult, I cannot combine these functions, — Vladimir Alexeevich is explaining the specific of his work. — While playing the modern composers’ music one can not do without the conductor, because of difficulty of their musical texts.
Besides, the old musical works require close attention, too. Frequently the musicians are able to find only separate orchestra parties without any score and have to work hard in order to restore the lost music.
Beautiful Belarusian music existed in the XVIth and in the XVIIth centuries, operas and symphonies sounded. But for long years all this treasure remained unclaimed, — the conductor complains.
But luckily he has like-minded persons. By their own efforts and for own expense they developed an internet–recourse, gave out disks.
— I see a lot of young faces in your ensemble, at the same time your collective is more than 20 years old, — I am sharing my observation with Vladimir Alexeevich.
— As you can see, our repertoire consists of modern and classic music. And into the education process our future musicians during a long period were not studying the modern art, and only now this gap is beginning to bridge. But inquisitive look and interest to all new is typical for young people. The youth is always in avant-garde… By the way, today we are practically the only ensemble who deals with modern Belarusian music. And we would hold a proper festival, as we did it three times: in 1991, 1993 and in 1994. Abroad about 5 — 7 festivals take their places annually and in our country — none. I hope that these are temporary difficulties…
Заметили ошибку? Пожалуйста, выделите её и нажмите Ctrl+Enter