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Ltd., Tokyo for Japan ,n,MHTpHH IHoCTaKOBHH AHTH^OpMaJTHCTHHeCKHH PAEK AJiH HTeija, HeTbipex 6acoB h CMemaHHoro xopa b conpóBO^eHHH (})0pTenHaH0 CjiOBa AßTopa Dmitri Shostakovich Anti-Formalist RAYOK for Reader, Four Basses and Mixed Chorus with Piano Accompaniment Text by the composer English translation by Elizabeth Wilson FOREWORD The Russian word Rayok, the diminutive form of rai, 'paradise, heaven, Eden', is used of the upper gallery in a theatre: a parallel usage to the English idiom 'the Gods'. It is also the title of a satirical scena for voice and piano composed by Modest Mussorgsky in 1870. That work (usually known in English as The Peepshow) is an extended lampoon on St. Petersburg musical society, introducing some of its leading personalities and arbiters of taste, parodying their aesthetic dogmas and accompanying them with musical quotations from their own works or enthusiasms. Mussorgsky's scena clearly served in a general sense as the model for the 'Anti-formalist' Rayok of Dmitri Shostakovich. This, too, is a satire on musical dogma: the much more pernicious ideological variety promulgated by Andrei Zhdanov, at Stalin's behest, at the First Congress of the Union of Soviet Composers in January 1948, and subsequently through the notorious Communist Party Central Committee Resolution of 10 February 1948 on the opera The Great Friendship by Vano Muradeli. Muradeli's opera (which had offended Stalin by its omission of a traditional Georgian Lezghinka) was used as a means of attacking the leading Soviet composers (Prokofieff, Miaskovsky, Khachaturian, Shebalin and Shostakovich himself) for the offence of 'Western-style Formalism'. This campaign (popularly known as the Zhdanovshchina), which broke Prokofieff, put Shostakovich in understandable fear of his life and cost him his professorship at the Moscow Conservatoire. Despite an apparent relaxation after Stalin's death, its ideological principles were re-formulated by Dmitri Shepilov, Zhdanov's successor as Cultural Commissar, at the Second Congress of the Composers' Union in 1957. It is possible that Shostakovich sketched some ideas for his satire in 1948, but it would seem that the music was largely written in 1957, in the immediate aftermath of the Second Congress. Though clearly conceived as a private riposte, without thought of publication, the work mimics the appearance of a score published 'as an aid to students' with a preliminary editorial preface and footnotes and a concluding questionnaire. The singing text, which incorporates actual quotations from speeches of Zhdanov and Shepilov, was prepared in collaboration with the composer's friend Lev Lebedinsky; while Shostakovich himself was solely responsible for the parodic prefatory essay headed 'From the Publisher'. That essay - purporting to explain how this cantata about 'The struggle of the realist and formalist directions in music', now being published 'as an aid to students', came to be discovered - is a mercilessly scatological attack, first on the ideologically-correct frame of reference required for musical composition, and secondly on certain individual apparatchiks in the Composers' Union, who are identified by transparent (and slanderous) aliases. 'P.I. OpostyloV, who discovered the score in a 'drawer with excrement', stands for Pavel Ivanovich Apostolov (1905-69), Party Organizer in the Composers' Union: his name is distorted to suggest the epithet postylyi, 'repellent'. His colleagues Sryurikov, Sryulin and Yasrustovsky indicate actual Party functionaries called Rurikov. Rumin and Yarustovsky: in each case Shostakovich has adapted the name to include sryu, the root of the verb 'to shit'. The cantata itself purports to set to music the deliberations of the Party Central Committee on the subject of 'Realism and Formalism in Music'. Apart from the Chairman, the principal speakers are identified as Yedinitsyn, Dvoikin, and Troikin, names which merely indicate 'One, Two, Three'; but their true identities are suggested by the contents of their speeches, musical allusions, and by their given initials. I.S. Yedinitsyn is Josef Stalin (Number One indeed), and delivers his speech to the strains of the Georgian song 'Suliko', one of Stalin's favourites. A.A. Dvoikin is Andrei Zhdanov, whose opening vocal flourishes allude to his studies as a singer, and whose call for a genuine, authentic Lezghinka in all Caucasian operas is a reference to Muradeli's opera. D.T. Troikin is Dmitri Shepilov: his mispronunciation of the name of Rimsky-KorSAkov is taken directly from his speech to the Second Composers' Congress, as are his prescriptive 'classical' sentiments, set to the popular Russian tunes of 'Kamarinskaya' and 'Kalinka' (and the melody of a song by Khrennikov).* It should be noted that, according to the Preface, Troikin's speech 'unfortunately remained unfinished'. This supposed incompleteness was clearly part of Shostakovich's original conception, lending his editorial satire an additional effect of verisimilitude. The first fair copy of the score stops short at the end of what is now the fifth bar before figure 34 (this edition, p.32), with the mock-editorial footnote: 'The manuscript breaks off here (see "From the Publisher")'. Shostakovich is known to have played Rayok, in this 'unfinished' version, in private, to selected friends and members of his family; and though for obvious reasons the work was never heard in public in any form during the composer's lifetime, some manuscript copies seem to have been made. It was on the basis of such a copy, which Lev Lebedinsky made available to Mstislav Rostropovich, that the first public performance in fact took place - in an English-language version - in the United States (at the Kennedy Center, Washington DC, in January 1989) and was subsequently recorded on CD. After this Washington premiere it fell to the Shostakovich Archive to produce the manuscript materials necessary for authoritative publication and performance of Shostakovich's work. During the course of the investigation, in July 1989, a manuscript was discovered which Shostakovich's friend and pupil Veniamin Basner remembered and identified as a previously unsuspected finale for Rayok. This music, beginning at the fourth bar before figure 34, clearly departs from the original idea of a deliberately 'incomplete' manuscript, and broadens the range of the satire. It continues Troikin's speech into a dialogue with the chorus threatening stern penalties against all ideological transgressors, but set to frivolous music derived from the once-popular French operetta Les Cloches de Corneville by Robert Planquette (1877). This finale is evidently later than the bulk of the composition, but how much later remains an open question. The Shostakovich Archive has suggested it was composed some time between 1965 and 1968; although the autograph manuscript is apparently in the same general style of handwriting and characteristic purple ink (which Shostakovich had abandoned by the mid-1960s) as the rest of the work. The world premiere of the complete work, with this finale, was given in September 1989 in Moscow. Malcolm Mac Donald, 1990 * It is clearly beyond the scope of this Foreword to detail all the musical and verbal allusions in such a densely satirical work. For some further information and background see the articles The Anti-Formalist Rayok' -Learners Start Here! and The Origin of Shostakovich's 'Rayok', in Tempo No.173 (June 1990), pp.23-32. AVANT-PROPOS Le mot russe Rayok et sa forme contractée rat, 'le paradis, les Cieux, l'Eden', s'emploie pour designer le dernier balcon ou poulailler au theatre. Cest aussi le titre d'une scene satirique pour voix et piano composée par Modeste Moussorsky en 1870. Cet ouvrage est une satire virulente des milieux musicaux de St.Petersbourg qui présente quelques unes de ses personnalités les plus en vue et arbitres du bon goút, et qui parodie leurs dogmes esthétiques en les accompagnant de citations extraites de leurs propres oeuvres ou de celles qui ont provoqué leur enthousiasme. II ne fait aucun doute que la scěne de Moussorsky servit de modele dans ses grandes lignes ä TAnti-formaliste' Rayok de Dimitrí Shostakovich. Cette oeuvre est eile aussi une satire des dogmes musicaux; dans ce cas cependant, c'est la varieté idéologique bien plus pernicieuse promulguée par Andrei Zhdanov, sur 1'ordre de Staline, ä l'occasion du Premier Congrěs de l'Union des Compositeurs Soviétiques en janvier 1948, et confirmee peu aprěs dans les fameuses Resolutions du Comité Central du Parti Communiste du 10 février 1948 au sujet de 1'opéra La Grande Amine de Vano Muradeli. Uopéra de Muradeli (qui avait déplu ä Staline ä cause de l'omission d'une Lezghinka traditionnelle de Georgie) servit ďinstrument pour attaquer les principaux compositeurs soviétiques (Prokofiev, Miaskovsky, Khachaturian, Shebalin et Shostakovich lui-méme) et les declarer coupables de 'Formalisme de style occidental'. Cette Campagne, connue familiěrement sous le nom de Zhdanovshschina, brisa la carriěre de Prokofiev, coüta ä Shostakovich son poste de professeur au Conservatoire de Moscou et lui fit méme craindre pour sa vie, non sans raison. En dépit d'une detente apparente ä la mort de Staline, ces principes idéologiques furent formulas ä nouveau par Dimitri Shepilov, le successeur de Zhdanov au poste de Commissaire Culturel, lors du Second Congrěs de l'Union des Compositeurs en 1957. II est possible que Shostakovich ait ébauché quelques idées pour sa satire děs 1948, mais il parait vraisemblable que la majeure partie de la musique fut écrite en 1957, en reaction immediate contre le Second Congrěs. Bien que cette oeuvre soit clairement congue comme une riposte personnelle et ne soit pas destinée ä étre publiée, eile imite dans sa presentation une partition publiée pour 'servir de guide aux étudiants'; eile s'ouvre sur une preface de 1'éditeur, complete avec notes de bas de page, et se termine sur un questionnaire. Le texte mis en musique contient des citations exactes de discours délivrés par Zhdanov et Shepilov. II fut prepare par le compositeur avec 1'aide ďun de ses amis, Lev Lebedinsky; cependant, c'est Shostakovich qui est seul responsable pour la parodie de preface intitulée 'Notes de l'Editeur'. Le texte ci-dessous - qui professe d'expliquer dans quelles circon-stances cette cantate qui illustre 'la lutte des courants realisté et formaliste en musique', publiée ici pour 'servir de guide aux étudiants', vint ä étre découverte - est une attaque scatologíque sans merci, tout ďabord contre le schéma de reference idéologique correct pour la composition musicale et ensuite contre certains individus haut-placés dans l'Union des Compositeurs, dont 1'identité est cachée sous des Pseudonymes faciles a percer (et calomniateurs). 'P.I. Opostylov', qui découvrit l'oeuvre 'dans un tiroir au milieu ďexcréments', représente Pavel Ivanovich Apostolov (1905-1969), Responsable du Parti pour l'Organisation de l'Union des Compositeurs: son nom est deforme pour suggérer 1'épithěte postylyi, 'repugnant'. Ses collěgues Sryurikov, Sryulin et Yasrustovsky sont en réalité des fonctionnaires du Parti dont les vrais noms sont Rurikov, Rumin et Yarustovsky: Shostakovich a adapté chacun de ces trois noms pour inclure sryu, la racine du verbe 'chieť. La cantate elle-méme est supposée représenter la mise en musique des deliberations du Comité Central du Parti au sujet du 'Realisme et Formalisme en Musique'. A l'exception du president, les principaux interlocuteurs sont désignés sous les noms de Yedinitsyn, Dvoikin, et Troikin, ce qui signifie tout simplement Un, Deux et Trois. Cependant, leur veritable identitě est révélée par le contenu de leurs discours, par des allusions musicales et par les initiales qui leur ont été attribué. /. 5. Yedinitsyn est Joseph Staline (Numero Un, bien entendu); il délivre son discours aux accents de 'Suliko', un chant de Georgie et un des airs favoris de Staline lui-méme. A.A. Dvoikin est Andrei Zhdanov. Les roulades vocales au debut de son discours font allusion ä ses etudes de chanteur, et son appel en faveur de l'introduction d'une authentique Lezghinka dans tout opera caucasien fait reference a 1'opéra de Muradeli. D.T. Troikin est Dimitri Shepilov: la fagon dont il se trompe en pronongant le nom de Rimsky-KorSAkov vient directement de son discours au Second Congrěs des Compositeurs, ainsi que ses opinions en faveur d'un 'classicisme' pur, mis en musique sur les airs populaires russes 'Kamarinskaya' et 'Kaiinka' (et la melodie d'un chant de Khrennikov).* II est interessant de noter que, selon la Preface, le discours de Troikin 'demeure malheureusement inachevé'. II ne fait aucun doute que l'intention originale de Shostakovich était de laisser l'ouvrage incomplet, prétant ainsi ä sa preface satirique une plus grande vraisemblance. La premiere copie au net de la partition s'arrete brusquement ä la fin de ce qui est maintenant la cinquiěme mesure avant le numero 34 (page 32 dans cette edition) avec une annotation de fantaisie de la part du prétendu éditeur: 'Le manuscrit s'arrete ici (voir "Notes de l'Editeur")'. On sait que Shostakovich joua Rayok dans cette version 'inachevée' en přivé, pour un cercle choisi d'amis et de parents. Bien que l'oeuvre n'ait jamais été jouée en public sous quelque forme que ce soit du vivant du compositeur, pour des raisons parfaitement evidentes, il semble qu'un certain nombre de copies manuscrites aient été faites. L'oeuvre recut sa premiere execution publique grace ä l'une de ces copies que Lev Lebedinsky mit ä la disposition de Mstislav Rostropovich. Cette execution, dans une traduction en anglais, prit place au Kennedy Centre, Washington DC, aux Etats-Unis en Janvier 1989 et fut ultérieurement enregistrée sur disque compact. Aprěs la premiere ä Washington, c'est aux Archives Shostakovich que revint la täche de preparer les sources manuscrites nécessaires servant de base ä une publication definitive et ä 1'exécution de l'oeuvre de Shostakovich. Pendant que ce travail de recherche sc déroulait, on découvrit en juillet 1989 un manuscrit dont un ami et élěve de Shostakovich, Veniamin Basner, se souvenait et qu'il parvint ä identifier comme un final de Rayok dont personne jusque la n'avait soupgonné l'existence. Ce fragment, qui commence ä la quatriěmc mesure avant le numero 34, s'eloigne clairement de 1'idée originale d'un manuscrit laissé délibérément incomplet, et élargit la portée de la satire. Aprěs son discours, Troikin poursuit un dialogue avec un choeur brandissant la menace de chátiments rigoureux contre tous ceux qui osent enfreindre 1'idéologie acceptée, mais mis en musique sur un air guilleret extrait ďune opérette qui connut pendant un temps un grand succěs populaire, Les Cloches de Corneville de Robert Planquette (1877). Ce final est de toute evidence postérieur ä l'ensemble de la composition, mais de combien ďannées au )uste demeure une question sans réponse. Les Archives Shostakovich ont avancé 1'hypothěse d'une date de composition entre 1965 et 1968, bien que le manuscrit de ce final révěle la méme éeriture que le reste de l'ouvrage, et la méme enere violette caractéristique que Shostakovich avait abandonnée au milieu des années soixante. La premiere execution mondiale de l'oeuvre complete avec ce final fut présentée en septembre 1989 ä Moscou. Malcolm MacDonald, 1990 * II est malheureusement impossible d'etudier en detail dans le cadre restreint de cet avant-propos toutes les allusions verbales et musicales dans une oeuvre si fortement satirique. Pour des renseignements supplementaires et des notes de fond, il est recommande de consulter les articles L'Anti-Formaliste 'Rayok' - c'est ici que les eleves commencent! et L'Origine de 'Rayok'de Shostakovich, Tempo No. 173 (juin 1990), pp.23-32. VORWORT Das russische Wort Rajok, ein Diminutiv von rai ('Paradies, Himmel, Eden'), bezeichnet den höchsten Rang im Theater, was auch dem deutschen Idiom 'Olymp' entspricht. Rajok ist auch der Titel einer satirischen Szene für Singstimme und Klavier von Modest Mussorgski aus dem Jahre 1870. Diese Satire auf die musikalische Gesellschaft St.Petersburgs parodiert die ästhetischen Dogmen der dortigen führenden Persönlichkeiten und Autoritäten in Geschmacksfragen und ordnet ihnen musikalische Zitate aus deren Werken oder aus denen ihrer Idole zu. Mussorgskis Werk stand in gewisser Weise auch Pate beim 'antiformalistischen' Rajok von Dmitri Schostakowitsch. Auch hier handelt es sich um eine Satirc auf musikalische Dogmatik, allerdings auf eine Dogmatik von wesentlich bösartigerer, ideologischer Natur, wie sie auf dem ersten Kongreß des Sowjetischen Komponistenverbandes im Januar 1948 von Andrej Schdanow im Auftrag Stalins, und dann auch in der gefürchteten Resolution des Zentralkomitees der Kommunistischen Partei vom 10. Februar 1948 bezüglich Wano Muradelis Oper Die große Freundschaft vertreten wurde. Diese Oper, die das Mißfallen Stalins dadurch erregte, daß in ihr die traditionelle georgische Lesginka fehlte, war der Vorwand für den Angriff auf die führenden Komponisten dieser Zeit - Prokofjew, Mjaskowski, Chatschaturjan, Schebalin und Schostakowitsch - und deren 'westlichen Formalismus'. An dieser als Schdanowschtschina bezeichneten Kampagne zerbrach Prokofjew, und sie kostete Schostakowitsch, der den Rest seines Lebens in ständiger Angst verbrachte, seinen Lehrstuhl am Moskauer Konservatorium. Denn trotz einer scheinbaren Lockerung nach Stalins Tod wurden die ideologischen Prinzipien von Schdanows Nachfolger als Kulturkommissar, Dmitri Schepilow, auf dem zweiten Kongreß des Komponistenverbandes im Jahre 1957 neu formuliert. Es ist möglich, daß Schostakowitsch zwar einige Ideen zu dieser Satire bereits 1948 zu Papier brachte, wahrscheinlicher ist jedoch, daß er die Musik zum Großteil 1957 komponierte, unmittelbar nach dem zweiten Kongreß. Das Werk ist ganz offensichtlich als eine persönliche Erwiderung konzipiert, ohne die Absicht einer Veröffentlichung, und ahmt in seinem Aufbau eine 'Lehrpartitur für Studenten' mit einleitendem Vorwort des Verlages, Fußnoten und abschließenden Fragen nach. Schostakowitsch schrieb den Gesangstext, der Zitate aus Reden Schdanows und Schepilows enthält, gemeinsam mit seinem Freund Lew Lebedinski, ist jedoch für das parodistische Vorwort mit dem Titel 'Vom Verleger' allein verantwortlich. Dieser Aufsatz, der beschreibt, wie diese Kantate über 'den Kampf der realistischen und formalistischen Richtungen in der Musik' - nunmehr als 'Lehrpartitur für Studenten' veröffentlicht -aufgefunden wurde, ist ein gnadenloser, skatologischer Angriff vor allem auf die Forderung nach einer ideologisch korrekten, für eine musikalische Komposition notwendigen Einstellung und zweitens auf bestimmte Apparatschiks im Komponistenverband, die durch leicht durchschaubare (und absolut ehrenrührige) Decknamen gekennzeichnet sind. 'P.I. Opostilow', der die Partitur in einer 'Schublade voller Exkremente' entdeckte, ist ganz offensichtlich Pawel Iwanowitsch Apostolow (1905-69), der Parteiorganisator im Komponistenverband. Sein Name ist so deformiert, daß er das Attribut postili, 'abstoßend', nahelegt. Seine Kollegen Srjurikow, Srjulin und Jasrjustowski stehen stellvertretend für die Parteifunktionäre Rurikow, Rumin und Jarustowski, wobei Schostakowitsch in jeden Namen die Silbe 'srju' - die Wurzel des Verbs 'scheißen' - eingeschlossen hat. Die Kantate selbst gibt vor, eine Vertonung der Überlegungen des Zentralkomitees zum Thema 'Realismus und Formalismus in der Musik' zu sein. Außer dem Vorsitzenden werden die drei wichtigsten Sprecher als Jedinizin, Dwoikin und Troikin ('Eins', 'Zwei' und 'Drei') identifiziert, wobei jedoch ihre wahre Identität aus dem Inhalt ihrer Reden, den musikalischen Anspielungen und ihren Initialen erkennbar ist. LS. Jedinizin steht für Josef Stalin (wahrlich eine Nummer Eins), dessen Rede von den Klängen eines seiner Lieblingslieder, dem georgischen 'Suliko', untermalt wird. A.A. Dwoikin ist Andrej Schdanow, dessen vokale Eröffnungsfloskeln an seine Gesangsausbildung erinnern sollen und dessen Befehl, daß alle kaukasischen Opern eine echte, authentische Lesginka enthalten müßten, auf Muradelis Oper anspielt. D.T. Troikin ist Dmitri Schepilow. Seine falsche Aussprache von Rimski-KorSSAkows Namen wurde direkt seiner Rede auf dem zweiten Komponistenkongreß entnommen, ebenso seine Forderung nach einer 'klassischen' Empfindung, die mit den populären russischen Volksmelodien 'Kamarinskaja' und 'Kaiinka' (und der Melodie eine Liedes von Chrennikow) untermalt ist.* Im Verlagsvorwort heißt es, daß Troikins Ansprache 'leider unvollendet' geblieben sei. Diese angebliche Unvollständigkeit entsprach ganz offensichtlich Schostakowitschs Konzept, dieser Satire damit die Wirkung zusätzlicher Echtheit zu verleihen. Die erste Reinschrift der Partitur bricht am Ende des heute fünften Takts vor Ziffer 34 (in dieser Ausgabe S.32), mit der authentisch wirkenden Fußnote ab: 'Hier endet das Manuskript (s. "Vom Verleger")'. Es ist bekannt, daß Schostakowitsch Rajok in dieser 'unvollendeten' Version im privaten Rahmen für enge Freunde und Familienmitglieder gespielt hat, und obwohl das Werk aus ganz offensichtlichen Gründen zu seinen Lebzeiten nie öffentlich aufgeführt wurde, gibt es doch einige Manuskriptkopien. Mit einer dieser Kopien, die Lew Lebedinski Mstislaw Rostropowitsch zur Verfügung stellte, fand die erste öffentliche Aufführung dieses Werks statt, und zwar in englischer Sprache am Kennedy Center in Washington DC im Januar 1989, die dann auch auf CD eingespielt wurde. Nach der Erstaufführung in Washington oblag es dann dem Schostakowitsch-Archiv, das entsprechende Material für eine maßgebliche Veröffentlichung und Aufführung dieses Werkes von Schostakowitsch nach dem Manuskript herzustellen. Während der Nachforschungen im Juli 1989 wurde ein Manuskript entdeckt, das Schostakowitschs Freund und Schüler Wenjamin Basner als ein bisher unbekanntes Finale zu Rajok identifizierte. Diese Musik, die mit dem vierten Takt vor Ziffer 34 einsetzt, weicht ganz offensichtlich von der ursprünglichen Idee eines absichtlich 'unvollständigen' Manuskripts ab und weitet den satirischen Wirkungsbereich noch weiter aus. Troikins Ansprache geht in einen Dialog mit dem Chor über, worin er allen ideologischen Missetätern strengste Strafen androht, dies jedoch zu einer frivolen musikalischen Begleitung, die von der ehemals populären französischen Operette Les Cloches de Corneville (1877) von Robert Planquette abgeleitet ist. Dieses Finale ist natürlich späteren Datums als die restliche Komposition, um wieviel später ist jedoch unbekannt. Das Schostakowitsch-Archiv nimmt als Kompositionsdatum die Zeit zwischen 1965 und 1968 an, wobei allerdings das Manuskript anscheinend mehr oder weniger in derselben Handschrift und mit derselben charakteristischen lila Tinte (die Schostakowitsch seit Mitte der 60er Jahre nicht mehr benutzte) geschrieben ist wie die übrige Komposition. Das komplette Werk, einschließlich des Finales, wurde im September 1989 in Moskau uraufgeführt. Malcolm Mac Donald, 1990 * Es können in diesem Vorwort natürlich nicht alle musikalischen und verbalen Anspielungen einer Satire von derartiger Dichte erfaßt werden. Weitere Informationen und Hintergrundnotizen finden Sie in den Artikeln The Ami-Formalist 'Rayok' - Learners Start Here! und The Origin of ShostakoviMs 'RayoW in Tempo Nr.173 (Juni 1990), S.23-32. B nOMOIHb H3YHAI0IHHM Bopbôa peajiHCTHMecKoro HanpaBJíeHHH b My3biKe C (J)OpMaJIHCTHHeCKHM HanpaBjíemieM B My3bIKe CjiOBa h My3biKa HeH3BeCTHbIX aBTopoB11 * KaK coo6maeT O-r^eji My3biKajibHoň Ee3onacHOCTn, aBTopu pa3biCKHBaioTCH. O M.B. 3aBepHeT, hto ohm 6yflyT pa3bicKaHbi. (MjAaTejibCTBo) AS AN AID TO STUDENTS The struggle of the realistic and formalistic directions in music The words and music by unknown authors* As we are informed by the Department of Musical Security, the authors are being sought. The D.M.S. assured us that they will be found. (The Publishers) OT H3AATEJIbCTBA ripefljiaraa BHHMaHHK) HauiHX My3biKaJibHbix KpyroB npHjiaraeMoe COMHHeHHe, H3gaTejlbCTBO CHHTaeT HeOÖXOflHMbIM COOÔLLUITb cjieAy- romee. PyKonHCb flaHHoro coHHHeHHa obrna o6Hapy*eHa b am,HKe c HeHHCTOŤaMH KaHflHflaTOM n3Hm,Hbix HayK n.H.OnocTbijioBbiM.Tma-TejibHo OTaejiHB OT pyKonHCH npHJinnwHe k Heň HenHCTOTbi, tob.O-nocTbiJiOB, npeflBapMTejibHo H3yHHB ee (pyKormcb), nepeaaji ee H3-saxejibCTBy co cbohm npeiiHCJioBHeM, KOTopoe mm npeijjiaraeM bhh-MaHHfo iHTaTejieft. Bot hto nwuieT 06 stoh pyKonwcH Il.H.OnocTbiJioB. "OöHapyjKHB b aiuHKe c HeHHCTOŤaMH flaHHyio pyKonHCb, a cnep-Ba xoTeji oTnpaBHTb ee oôpaTHO, t.e. b aium c HeHHCTOŤaMH. OflHaKO noij HeHHCTOŤaMH a oÖHapyxHJi He3aKOHHeHHoe npoH3Bene-HHe BOKajibHOro ™na. 3to 3acTaBHJio MeHa TmaTejibHO OTflejíHTb pyKOnHCb OT HeHHCTOT. (...)'■ HecMOTpa Ha npnHHTbie Mepbi (6biJiH flonpomeHbi Bce komiio3h-Topbi h Bce noSTbi) aBTopoB (aBTopa? ľl.O.) My3biKH h TeKCTa oÔHapy^KHTb He ygajiocb. TaKHM o6pa30M, cjienyeT CHHTaTb, hto sto coHHHeHHe npHHafljie>KHT HeH3BeCTHbiM aBTopaM (aBTopy? n.O.), OflHaKO BbigaKimHeCH flOCTOHHCTBa K3K My3bIKH, TaK H TeKCTa 3acTa- BJT5HOT Hac CHHTaTb, hto mm HMeeM jjejio c BbiflaioiuHMCH npOH3Bene-HHeM. KoMno3HTop2 MacTepcKH Hcnojib3yeT HapoaHoe TBopnecTBO (cm. 6, 12, 23, 28 -6 TaKT, 33). My3WKa opraHHnecKH cjwBaeTca c TeKCTOM, H30ÖHJiyKDUIHM rjiyÖOKHMH MblCJIHMH. B npOCTblX H aCHblX cjioBax no3T2 H3JiaraeT BaoxHOBJisHomne yKa3aHHa. B >khboh h acHoň cpopMe BbicTynaioT TpH opaTopa, ynacTHHKH CBo6onnoň AHCKycCHH: EflHHHUblH, ÍIBOHKHH H TpOHKHH. B BblCTynjieHHH TpOHKHHa TeKCT c npo3bi nepexoflHT Ha no33Hio. npeBoexo/jHO OTToneHHbiň cthx (cm. 33) 3acTaBJiaeT nyMaTb o pa3HocTopoHHOCTH jjapoBaHHa nosTa. Grie-flyeT, oflHaKO, cflejiaTb oflHO 3aMenaHHe: b penn TpoňKHHa oh ouih-6OHHO apTHKyjlHpyeT "'PHMCKHň-KopCáKOB", xot» BceMy MHpy H3Be-CTHO, HTO H a AO npOH3HOCHTb "PHMCKHH-KopCaKÓB". ľlp03aHHeCKHH TeKCT, KaK H n03THHeCKHH, HanHcaH TaKiKe npeBoexouHO. ABTop KaK 6bi BBOflHT Hac Ha coöpaHHe bo J^Bopue KyjibTypbi, nocBameHHoe >Kryneň npoôjieMe Haiueň coBpeMeHHOcra, a hmchho: ôopbôe peajiH-CTHHecKoro HanpaBjrcHHíi b My3biKe c cbopMajiHCTHHecKHM HanpaBJíe-nnľ\i b Heň >Ke. ABTop He pncyeT cnjioiiiHOH po30Boň KpacKoň Hamy KyjibTpaôoTy. Tohkhm carapHHecKHM unpHXOM (cm.4 TaKT nocjie Hanajia: "Hapogy y Hac, npaBga, ceronHa MajioBaTO') oh eflKO BbiCMeHBaeT HeKOTopwx ropeKyjibTpaöOTHHKOB, He yMeioiuHx npn-BJieHb BHHMaHHe >KajjHbix no KyjibTypbi HaujHX noceraTeneň KJiyôoB k iKryHMM npoĎJieMaM My3biK03HaHHS. 3aTeM BeaymHH KaK 6bi npenoCTaBJíaeT cjiobo tob.H.C.Eahhh-Ubmy. Bjio)KeHHbiH aBTopoM B ycTa TOB.EflMHHUbiHa rjiyöoKHH aHa-J1H3 coBpeMeHHoro nojio*eHHa b My3biKe Bbi3biBaeT BOCTopr co6paB-uiHxca, KOTopbie npHBeTCTBywT M.C.EiiHHHUbiHa ĎypHbiMH, flojrro He CMOJiKarouiHMH anjioflHCMeHTaMH, nepexoaamHMM b OBauHHD (cm. 13). Haao CKa3aTb, hto penb TOB.EflHHHUbiHa aBJíaeTCa HacTOamHM uieneBpoM h b My3biKajibHOM OTHOiueHHH. OHa HanncaHa nocTynHbiM H nOHHTHbIM H3bIKOM. ľlOflpOOHblH My3bIKajIbHbIH aHajlH3 Mbl qjejia-eM Hl! AC 3aTeM BenymHH KaK 6bi npefloCTaBJíaeT cjiobo tob.A.A.Abohkh-Hy. BnecTHinee ocTpoyMne opaTopa, ero ocTpoyMHeňujHe yijapbi no flHCCOHaHCaM H aTOHajIbHOCTH BbI3bIBaK)T CMeX COÔpaBUIHXCH (cm. 15 h 16). "CMex y6HBaeT". H neňcTBHTejibiio, tob.JIbohkhii cbohmh ocTpoyMHeHiHHMH 3aMeHaHH»MH no aflpecy "TeopHň" h "TeopneK" HHccoHaHCHCTOB h aTOHajiHCTOB yÖHBaeT HanoBaji Bce sth "TeopnH" h "TeopHHKH". C npejejibHOH acHOCTbio roBopHT tob. A. A.JIbohkhh O MejIOHHHHOCTH H H35H1JHOCTH (CM. 17). EľO BbICKa3bIBaHH» O MejIO- HHHHOCTH H H3ÍHHHOCTH BOHUyT B 30JIOTOH tpOHH HaUierO My3blK03IIU-HHS. rioflJIHHOH BepUJHHOM MblCJlH SBJíaKJTCa 33MeH3HHa flBOHKHHa O jie3ľHHKe. Oh npaMO h yôeijHTejibHO noKa3biBaeT, hto jie3THHKa n KaBKa3CKHx onepax aoji>KHa 6biTb HacToauieň (cm. 22). TjiyöoKoo coaep>KaTejibHoe BbicTynjrcHHe tob. A.A.flBOHKHHa óbino Tenjio BCTpeneHO coôpaBLUHMMca. ABTopaM (aBTopy? n.O.) npcKpacHO yaajiocb nepeflaTb aTMoc-(pepy CBOĎOBHOH IJHCKyCCHH, HTO OCOĎCHHO yöenHTejTbHO noKa3aHO B peHH TOB. JI.T.TpOHKHHa, K COJKajICHHK), OCTaBUICHCH HC3aKOHHeH-HOH. TOB.TpOHKHH yÔeflHTejlbHO rOBOpHT O TOM, HTO H3M HyJKHbl CHMCDOHHH, CKDHTbl, nOSMbl. Oh TOBOpHT O CAO>KHOM nyUjeBHOM MHpe Hauiero nejroBeKa, oh npH3biBaeT yHHTbca y KjiaccHKOB (cm. 28). K0Mn03HT0p C ĎOJIbITJHM MaCTepCTBOM H nOflJIHHHbIM HOBaTO- pcTBOM nepenaji b My3biKe bcc rnyôoKHe MbicjiH TeKCTa. Oh npaBH-JibHO jjeJiaeT, hto TBopnecKH Hcnojib3ycT oorarenuicc HapoijHoe TBopnecTBO. TaK, b penn M.C.EnHHHUbiHa HyBCTByeTCa hto-to k3b-Ka3CKoe. B penn A.A.UBoňKHHa, ocoôeHHO b tom Mecre, rge oh TOBOpHT, HTO Jie3ľHHKa JJOJDKHa ÔbITb HaCTOamCH, T3K>KC HyBCTByeT- ca HeHTO KaBK33CKOe. B peHH H.T.TpoHKHHa, rae oh npHjbiBaer yHHTbca y KjiaccHKOB, MacTepcKH Hcnonb30BaHa KaMapHHCKaa (cm. 28). OcoôeHHO yöeflHTejTbHO KOMno3HTop H3jiaraeT Hanôojiee 3HanH-TejibHbie MecTa TeKCTa. ľne penb nneT 06 H3amH0M, My3biKa HjamHa (cm. 17); rn;e penb HneT o MejioflHHHOM, My3biKa MejiojjHHHa (cm. 19). HMeHHO T3K H TOJIbKO TaK flOJDKHbl COe^HHaTbCa My3bIKa C TeKCTOM. A ecjiH sto TaK, a 3mo UMenno man, to cjieflyeT CHHTaTb, hto KOMno3HTopy yaanocb sto cnejiaTb TaK. Bce sto oôpaMJieHo Mysbi-KOH, b KOTOpoň HyBCTByeTcs pyccKoe Hanajio (cm. Hanajio h 33). 3to CBHfleTejibCTByeT o tom, hto aBTop npH3HaeT eedymee 3HaneHue pyccKOŮ My3biKiŕ. He Bce, oflHaKO, ynajiocb KOMno3HTOpy. Bbime a y>Ke yKa3aji, hto oh apTHKyjlHpyeT "PHMCKHH-KopcáKOB", xoTa BCeMy MHpy H3BeCTH0, HTO HaHO npOH3HOCHTb "PHMCKHH-KopCaKÓB" (cM.penb Ha Ci.e3ne KOMno3HTopoB). 3to cjieijyeT CHHTaTb KpynHbiM HeAOCTaTKOM napTHTypbť, KpynHbiM, ho He pemaioniHM. OcHOBHbie flOCTOHHCTBa flaHHOrO npOH3BejjeHHa - STO HapOflHOCTb. aCHOCTb, rjiyÔHHa, nojjjiHHHoe HOBaTopcTBO..." 3flecb pyKonncb n.H.Ono-CTbiJioBa oöpbiBaeTca. HeKOTopoe BpeMa TOMy Ha3an n.H.OnocTbijioB, corjiacHO Bflox-hobjihkuuhm yKa3aHHaM, 6opacb HanpaBO h HajieBO, yTpaTHJi paBHO-BecHe h ynaji b siiíhk c HeHHCTOŤaMH. HaxojjHBuiHeca BMecTe c hhm ero ĎoeBbie copaTHHKH: HJieH KOJiJierHH MHHHCTepcTBa HneňHofl Hhctotm E.C.CpropHKOB, a TaK>Ke paôoTHHKH OTjjejia My3biKa-jibHoň Be3onacH0CTH B.M.HcpycTOBCKHH h n.H.CpioMHH HeMefljieH-Ho Bbi3BajiH no TejiecpoHy-aBTOMaTy HaxoijaujHHca b stom *e KBapTa- Jie aCCeHH3aUHOHHbIM 0Ö03, KOTOpblň He3aMeflJIHTejlbHO IipHÖbIJI K MecTy npoHCiuecTBHa. Boopy>KeHHbie nepenoBoň tcxhhkoö jiyHnme aCCeHH3aT0pbI CTOJIHUbI BbIJlOBHJIH H3 auXHKa C HeHHCTOŤaMH JIHUJb CeMb KyCKOB Ka^a, HM B OAHOM HS KOTOpblX He ÔbIJI ono3HaH TOB.OnocTbiJioB. B ôecene c HaoiHM cotpvjihhkom Bpan-acceHH3aTop YÖHHueB CKa3aji, hto TaKoro pojja cjiynaH 6biBaK)T, hto, ecjiH noMecTHTb nejiOBeKa THna OnocTbiJioBa b hihhk c HeHHCTOŤaMH, to oh KaK 6bi b HHX pacTBopaeTca. TparnnecKaa rnGejib n.M.OnocTbi-jioBa 6bijia 3acbwKCHpoBaHa aKTOM mhjihijhh h acceHH3auHOHHoro o6o3a. Korija o TparnnecKOH môejiH OnocTbiJioBa y3HajiH BbiuiecTO-amne h BbicoKOCTOamne fleaTejiH, ohh eflHHonyuiHO 3aaBHJTH: ">Kajib, *ajib. HaM OnocTbiJioBbi Hy>KHbi". ílojir HauiHX My3biKajibHbix aeaTejieň 3aKOHHHTb stot npeßocxofl-Hbiň niyôoKHH aHajiH3 TOB.OnocTbijioBa h fleňcTBOBaTb b tom x.e flyxe. 1 Hajicc n.H.OnocTbUlOB no^poÖHO onHCbmaeT, KaK oh OT^ejia/i HeHHCTOTbi OT pyKOHHCH. 3to onucaHHe He npeflCTaBJiseT coöoh HenocpeACTBeHHoro HayiHoro HHTCpeca, no3TOMy M3jjaTejibCTBO ero BbinycKaeT. (ripHM.ÍÍ3fl.) ' Aajicc bo Bccx c^yMa»x, Koraa 6yj3eT hbth penb 06 aBTope MV3biKH, h 6y^y llHCaTb "K0MIIO3HTOp" H COOTBeTCTBCHHO O TCKCTC - "n03T", XOTfl He J1M1HCHO ■03M03KHOCTH, 4TO KOMHO'JHTop H ÍI03T HBJIHIOTCH OÄHHM ^HHOM. (ľl.O.) 3 KypcHB BC3ne n.H.OnocTbiJiOBa. (ripHM.M3A-) 4 TOB.OnocTbiJioB ouiHÖaeTC«: aaHHoe npoM3BCAeHHe noKa cymecTBycT b bhac KJiaBHpa. (npHM.M3fl.) FROM THE PUBLISHER The Publishers, in drawing the attention of musical society to the attached composition, consider it essential to provide the following information: The manuscript of the said work was discovered in a drawer with excrement by the Candidate of Graceful Sciences, P.I. Opostylov. After meticulously detaching the excrement that was stuck on to the manuscript, Comrade Opostylov, having made a preliminary study of it (the manuscript), handed it over to the Publishers with his own Preface, to which we wish to draw the reader's attention. Here is what Comrade Opostylov has written about this work. "Having discovered the given manuscript in the drawer with excrement, I initially wished to send it (the manuscript) back, i.e. to the drawer with excrement. However, underneath the excrement that was stuck to the manuscript, I discovered a work of vocal description. This forced me to carefully remove the excrement from the manuscript. (...)'. Notwithstanding all measures taken (all composers and poets were interrogated) we have not succeeded in identifying the authors (or author? P.O.) of the text and music. Therefore it follows that the composition was written by anonymous authors (author? P.O.), and yet the outstanding qualities of both the music and the text, force one to consider that we are dealing with an outstanding work. The composer2 has used the national creative traditions in a masterly fashion (see figures 6, 12, 23, 28 - 6th bar, and 33 in the score). The music integrates organically with the text, with its abundance of profound ideas. In simple and clear words, the poet2 lays out his inspiring directives. The three orators, the participants of the Free Discussion, Yedinitsyn, Dvoikin, and Troikin, hold forth in a manner that is both animated and clear. In Troikin's speech, the text is transformed into poetry. The marvellously refined verse (see figure 33) makes one ponder on the author's many-sided gifts. However, there is a point to be made about the text. In Troikin's speech, he mistakenly stresses the name "Rimsky-KorSAkov", (although the whole world knows that it should be pronounced "Rimsky-KorsaKOV"). Both the prose of the text and the poetry are superbly written. The author, as it were draws us into the world of the Palace of Culture for a meeting, dedicated to the burning problems of contemporary society, and specifically that of the struggle of the realist tendency in music with that of the formalist. The author does not paint a completely rosy picture of our work in the cultural field. With a fine satirical stroke (see 4th bar from beginning: "the audience today sadly is on the thin side.") he caustically ridicules some of those incompetents working in the field of culture who are unable to encourage those hungry for culture and interested in the burning problems of musical scholarship to visit our clubs. Then, as it were, the Chairman proposes the stand to Comrade I.S. Yedinitsyn. The profound analysis of the present-day situation in music, which the author places in the mouth of Yedinitsyn, arouses the delight of the assembly, who greet Comrade Yedinitsyn with prolonged tumultuous applause turning into an ovation (see figure 13). It must be said that Comrade Yedinitsyn's speech in terms of musical scholarship is a real masterpiece. It is written in comprehensible and accessible language. We will analyse it in detail later. Then the Chairman proposes the stand to Comrade Dvoikin. The brilliant wit of the orator and his highly amusing witticisms on the subject of dissonances and atonality provoke the laughter of the assembled (see figures 15 and 16). "Laughter kills". And indeed, Comrade Dvoikin with his most amusing remarks about the theories and quasi-theories of dissonance and atonality, once and for all destroys "the conclusions" of these theories and quasi-theories of dissonance and atonality. With the utmost lucidity. Comrade Dvoikin speaks about melodiousness and gracefulness* (see figure 17). His remarks on melodiousness and gracefulness will become part of our treasured heritage of musical and linguistic scholarship. Dvoikin's remarks about the Lezghinka attain the very heights of perception. He convincingly demonstrates that in Caucasian operas the Lezghinka must be genuine (see figure 22). The profound, informative speech of Comrade Dvoikin was warmly greeted by the assembled. The author (authors? P.O.) have admirably succeeded in conveying the atmosphere of free discussion in this work, as is demonstrated particularly convincingly in Comrade Troikin's speech, which unfortunately remained unfinished. Comrade Troikin speaks with conviction of our need for symphonies, suites, and poems. He speaks about the complex spiritual world of our Soviet man, and he urges us to learn from the classics (see figure 28). In his music the composer with great mastery and genuine innovation conveys the profound ideas of the text. He acts correctly in creatively making use of our extremely rich national creative tradition. Thus in I.S. Yedinitsyn's speech one notes something of the Caucasian. In Dvoikin's speech, especially in those places where he speaks of the type of Lezghinka needed in Caucasian opera, a Caucasian element can similarly be detected. In Troikin's speech, where he calls on us to learn from the classics, the Kamarinskaya is used in masterly fashion (see figure 28). The composer presents the most significant ideas of the text particularly convincingly. When the graceful is mentioned, there the music is graceful (see figure 17). When melodiousness is mentioned, there the music is melodious (see figure 19). In this way precisely, and only in this way, should music and text be integrated. And if this is so, and it is precisely so, then one must acknowledge that the composer has succeeded in doing so. All this is framed by music whose Russian beginnings are evident (see beginning and figure 33). This testifies to the fact that the author recognizes the leading significance of Russian music.' However, the composer has not succeeded in everything. As I pointed out earlier he incorrectly stresses the name "Rimsky-KorSAkov", although the whole world knows that one should pronounce it "Rimsky-KorsaKOV" (see the speech at the Composers' Congress). This is a grave defect of the score4, but not a decisive one. The chief merits of this work - its national style, its profundity, its genuine innovation Here the manuscript of Comrade Opostylov breaks off. Some time ago Comrade Opostylov, struggling to the left and to the right in accordance with the inspiring Party directives lost his balance and fell into the drawer with excrement. His comrades in arms who were with him at the time, the member of the Collegium of the Ministry of Ideological Purity B.S. Sryurikov, and also the employees of the Department of Musical Security of the MIP, B.M. Yasrustovsky, and P.I. Sryulin, immediately called from a telephone booth (which happened to be in the same part of town) the district Sewage Disposal Unit, who arrived without delay at the venue of the described accident. Armed with the latest technology, the best of the capital's sewage-disposal experts extracted from the drawer of excrement a mere seven pieces of faeces none of which, however, could be identified as P.I. Opostylov. In a talk with one of our colleagues, a doctor - sewage-disposal expert Ubiitsev said that such cases were known to happen and if a person such as Opostylov were to be put into a drawer of excrement, then he, so to speak, would dissolve in the excrement, making it impossible to distinguish between the excrement and P.I. Opostylov. The tragic end of P.I. Opostylov was recorded in a report drawn up by the Militia and the sewage-disposal experts. When the high-ranking and very high-ranking functionaries learned of the tragic end of Opostylov, they unanimously declared: "A shame, a shame. We need Opostylovs." It is the duty of musical functionaries to complete Opostylovs superb and profound analysis, and to act in the same spirit. 1 At this point P.I. Opostylov describes in detail how he cleaned the excrement off the manuscript. However, this description in itself is of no real scientific interest, and therefore the Publishers have decided to omit it. (Editor's note) 2 In all further cases when talking of the author of the music, I will refer to him as "the composer" and to the author of the text as "the poet", although the possibility does exist that the composer and the poet are one and the same person. (P.O.) ' Here, as elsewhere the italics are Opostylov's. (Editor's note) 3 Comrade Opostylov is mistaken: the said work as yet only exists in piano score. (Editor's note) *In sung translation of libretto "elegant" and "elegance" used instead of "graceful" and "gracefulness". (Translator's note) AHTH0>OPMAJIHCTHHECKHH PAEK' .leiici BVHuuHe Jliiua BenymHH .............................................................. 6ac H.C.EflHHHqbiH...................................................... 6ac A.A.rj,BOMKHH........................................................ 6ac JT.T.TpoHKHH ........................................................ 6ac My3biKanbHbie aeaTejw n aeaTeJibHHu,bi.....CMemaHHbiň xop KH (bopMajIHCTHHeCKOH. BejyinHH: lIpaBHJibHo! BepHo! ToBapHiini, noôJiaroaapHM *e Haiuero pOflHOrO H JlIOÖHMOrO BejIHKOrO EaHHHUblHa 3a HCTOpHHe- CKyio penb, 3a ero BbiCTynjieHHe, oôorameHbe h ocBemeHbe Ba)KHbix BonpocoB My3biKajibHoro aeJia. upHMeiaHHe: JUjih HcnojiHeHHfl 3Toro npoH3BeaeHHa TpeôyioTca neTbipe 6aca-cojHCTa h cinemaHHbiH xop.OjjHaKO kojikhcctbo Hcnoji-HHTenefl mo>kho yMeHbiiiHTb ao oflHoro 6aca.ApTHCT-6ac HOJixceH HHiub yineTb nepeBonjiomaTbca h, TaicHM o6pa30M, oh cMoxeT HcnojiHHTb Bee neTbipe pojiH. Xop My3biKajibHbix aeaTejieň h aeaTejibHHii moxho coBceM He HcnojiHaTb, t.k. Bca ponb My3biKajibHbix Heaxeneu h aeaTejibHHU, 3aKJiiOHaeT- CH B BOCTOp>KeHHOCTH H CMeiUJIHBOCTH, HTO nO XOfly fleHCTBHH H TaK aCHO, - HHane H He MOXteT 6bITb. (IlpHM. aBTOpOB) BeayinH: Hy, kuk. TOBapHmn, HaHHěM, hto jih? Hapony y Hac, npaBaa, ceroAHH MajioBaTO. y Hac, npaBaa, eme npeBajiHpyeT Heaoo-ueHKa KyjibTypHoro MaKCHMyMa jieKmiOHHon nponaraHjjbi. Ho, nocKOJTbKy no njiaHy Haiuero asopiia KyjibTypbi y Hac ceroflHa coctohtch pan BbiCTynjieHHH Ha Teiny "PeajiH3M h cpopMajiH3M b My3biKe", mm ee, 3Ty TeMy, to ecTb 3th caMbie BbiCTynjieHbH npoBepHÖM. lIpaBHJibHo? ripHHflTO. BcTynHTejibHoe cjiobo Ha 3Ty TeMaTHKy CKa>KeT \iy3biKOBea HOMep OAHH, Ham rjiaBHbiň KOHcynbTaHT n My3biKajibHbiň KpHTHK TOBapHIH EflHHHIJblH. IlonpHBeTCTByeM, TOBapHHHl, Haiuero aopororo (nocmenenno npuxodum e eocmopz) h JHo6hMOI"0 BejTHKOrO TOBapHma EflHHHUblHa. (npuiueA e eocmopz. Bypnue, npodoJiMumenbHbie aruioduc-Meumbi, nepexodnw,ue e oeau,iuo. Bee ecmaiom.) My íi.ik;i ii.in.K- nenTejiH h ;ien ic n.iiitui.i (yxce e eocmopze): CjiaBa! CjiaBa BejiHKOMy EaHHHirbiHy! CjiaBa! (Bee cadnmcn) 1 iiiiii9iii.nl (numaem no ôyMOMKe): ToBapHinH! PeajiHCTHMecKyK) My3biKy nHiuyT HapogHbie kom-no3HTopbi, a cpopMajiHCTHHecKyK) My3biKy nnuiyT aHTHHapoa-Hbie KOMno3HTOpbi. CnpauiHBaeTca, noneMy peajiHCTHHe-CKyro MysbiKy nHiuyT Hapojmbie KOMno3HTOpbi, a cpopMajiH-CTHHecKyK) My3biKy nnuiyT aHTHHapoflHbie KOMno3HTopbi? HapoAHbie KOMno3HTopbi nwiuyT peajiHCTHnecKyio My3biKy noTOMy, TOBapHinH, hto, aBJiaacb no npnpoae peajiHcraMH, ohm He MoryT, He MoryT He nwcaTb My3biKy peajiHCTHnecKyio. A aHTHHapoflHbie KOMno3HTopw, aBJiaacb no npnpoae cpop-MaJTHCTaMH, He MoryT (nay3a), He Moryr He nwcaTb My3biKy qbopMajiHCTHHecKyro. 3aaana, cjieaoBaTejibHO, 3aKJiioHaeTca b tom, mtoöw Hapoa-Hbie KOMiio3HTopbi pa3BHBajiH 6 My3biKy peajiHCTHHecKyio, a aHTHHapoaHbie KOMno3HTopw npexpaTHJiH 6bi CBoe 6ojiee neM coMHHTeabHoe 3KcnepHMeHTHpoBaHHe b oôjiacra My3bi- (BypHbie, npodojwtcumesibHbie anAoducMeumu, nepexodn-w,ue e oeaufiK). Bee ecmatom.) BeaymiiH, MvibiKa.ii.iihic ;ieHTe.iH h lont'.ii.HHULi: CnacHoo, cnacHÖo 3a HcropHnecKyio penb! CnacHÔo, cnac«6o 3a OTenecKyK) 3a6oTy! (Bee cadnmcsi) BeavmHH: no cjieayeMy 3aTeM njiaHy npeaocTaBHM cjiobo My3biK0Beay HOMep ABa, HMeroiyeMy k TOMy «e rojioc h B03MO>KHOCTb BOKajiH3npoBaTb. IlpeaocTaBnflK) cjiobo TOBapnmy flBOH- KHHy. JtBOHKHH (ocmpum): ToBapnniH! Cbohm BbicTynjieHHeM h He HMeio b BHay BHOcHTb aHCCOHaHCbl (CMex) HJIH aTOHajIbHOCTb (CMex) B Te MblCJIH, KOTopue Mbi 3aecb cJibixa^H. Mbi, TOBapHmH, TpeöyeM ot My3biKH KpacoTbi h H3$imecTBa. BaM 3TO CTpaHHO? fla? Hy, KOHeHHO, BaM CTpaHHO 3TO. CTpaHHbIM B3M 3TO Ka>KeTCH, CTpaHHbIM BaM 3TO KajKeTCH. fla, Hy, KOHeHHO, BaM CTpaHHO 3TO, CTpaHHbIM BaM 3TO KajKeTCJI, CTpaHHbIM BaM 3TO Ka>KeT- «I, 6yaTO 3aecb hto-to He TaK. A MOKay TeM, sto TaK! H He oroBopHJica! Mbi ctohm 3a KpacHByio, H3amHyio My3biKy. My3biKa HeMenoaHHHaa, My3biKa HescTeTHHHaa, My3biKa He-rapMOHHHHaa, My3biKa HeH3anj,Haa, sto, sto... ôopMaiuHHa. Hjih, hjih... My3biKajibHaa aymeryÔKa. (o6iu,uü xoxom. JJsoůkuh mooKe cMeemcn.) /Ibohkhh: Bo3jiio6hm >Ke npeKpacHoe, KpacHBoe, H3amHoe, bo3jiio6hm 3CTeTHHHoe, rapMOHHHHoe, MejioaHHHoe, 3aKOHHoe, nojiH-cpOHHOe, HapoaHoe, ÖJiaropoaHoe, KJiaccHHecKoe. KpoMe toto, TOBapHmn, a aoJiaceH BaM cooöniHTb, hto b K3BKa3CKHX onepax aoJixHa 6biTb HacToamaa jie3rHHKa, ao-ji>KHa ôbiTb HacToamaa jie3ľHHKa. B KaBKa3CKHX onepax jie3rHHKa npOCTOH aOJI>KHa 6bITb H H3BCCTHOH, JIhxoh, oöbiHHOH, nonyjiapHOö M o6a3aTejibHO KaBKaiCKOH. OHa aoJi>KHa 6biTb HacToameň, Bceraa aoJiJKHa 6biTb nacToameň, H TOJibKo, TOJibKo HacToameň, rj,a, aa, aa, aa, aa, HacToameň. [noBTopHo] M\ ii.iKa.ibiihif K'aie.iH h ieaicii.iinm,i (jiuxo, no-kü&kü3cku, eocKJiunaiom, meM caMbm yôedumejibno dejuo-Hcmpupyn ceoio nojinyto co/iudapnocmb c edoxHoejintomimu ykq3ühurmu Toeapuiuü A.A. MeoŮKuna): Acca! Acca! Acca! ANTI-FORMALIST 'RAYOK' Dramatis Personae Chairman..........................Bass LS. Yedinitsyn........................Bass A.A. Dvoikin ........................Bass D.T. Troikin ........................Bass Musical functionaries .............. Mixed Choir Note: Four basses and a choir are needed for a performance. However, the quantity of performers can be reduced to one bass. The artist must be able to transform himself and thus perform all four roles. The choir of musical functionaries can be omitted altogether since the whole function of the said functionaries is in their expression of sycophantic delight and amusement, which during the course of action becomes obvious. It cannot be otherwise. (Authors' note) Chairman: Well, comrades, I suggest we start, shall we? The audience today, sadly is somewhat on the thin side. It's true, indeed, we still underestimate in terms of culture the impact that lectures can have in the way of propaganda. But according to schedule, come what may, this shrine of culture provides for us tonight a platform for certain speeches. The theme is "Realism and Formalism in Music". We shall keep to this subject, and we'll ask the principal speakers to address us now. All agreed? Passed as read. The introductory statement and views on this topic will come from our music expert Number One, our greatest arbiter and music critic dear Comrade Yedinitsyn. Let's extend our warmest, heartiest welcome to our most distinguished guest, (gradually going into raptures) our cherished friend and greatest leader, dear Comrade Yedinitsyn. (he goes into raptures) Hail him! (Tempestuous, prolonged applause, becoming an ovation. All stand up.) Musical Functionaries (already in raptures): Hail him! Hail Him! Our great leader Yedinitsyn Hail Him! (everybody sits down) Yedinitsyn (reading from a piece of paper): Dear comrades! While realistic music mostly is written by so-called composers of the People, formalistic music for some reason is written by those composers who are against the People. Comrades, one must ask why it is that realistic music is always written by so-called composers of the People, whereas formalistic music is always written by those composers who are against the People? Those composers we call People's composers write realistic music simply due to the fact, dear comrades, that, being by nature realists right to their very core, they simply can't help, they simply cannot help writing music which is realistic, whereas those we call anti-people composers, being by nature unrepenting formalists, cannot help, cannot help, cannot help writing music which is formalistic. Our purpose consequently is to create conditions in which our People's composers will be able to develop melodies of realistic kind, whereas such composers who are against the People should at once abandon their highly suspicious efforts and their dubious experimentation relating to music of formalistic kind. Chairman: Excellent, perfect! Astonishing. Let us thank him, comrades. Let us thank our dearest and most intimate of friends, Comrade Yedinitsyn for his lucid, rare and most historic oration which did so much to educate us and to elucidate such vital questions on the subject of music. (Tempestuous and prolonged applause which becomes an ovation. Everybody stands) Chairman and Musical Functionaries: We thank you, we thank you, thank you for your historic words. We thank you for your solicitude and paternal concern! (everybody sits down) Chairman: According to the authorised schedule, the next speaker will be our music critic Number Two, among whose talents is a fine voice and who is famous for vocalising his speech. I call upon our next guest, let's hear Comrade Dvoikin. Dvoikin (wittily): Dear comrades all, in my short but candid speech I promise not to interpolate dissonances.... Musical Functionaries: Ha ha ha ha ha ha, ha ha ha ha! Dvoikin (still joking): Or a-tonal nonsense .... Musical Functionaries: Ha ha ha ha ha ha ha ha ha ha .... Dvoikin: in notions expressed by the previous speaker. It's true, comrades, in music we insist on what we call beauty and elegance. You find it funny? Yes? Well, I dare say you find it funny! Funny and strange it seems to you, funny and strange it seems to you ... Well, I dare say you find it funny! Funny and strange it seems to you, funny and strange it seems to you, as if things were not quite right. And still I say it is right! I did not make a bloomer. We're for music that radiates both beauty and elegance! Music which is not melodious, music which is not aesthetical, music which is not harmonious, music which is not elegant is like..., like a.... piercing road drill, like a kind of musical gas chamber. Musical Functionaries (general laughter): Ha ha ha ha ha ha ha...... Dvoikin (also laughs): Let's cherish what is beautiful and delicate and elegant, let's cherish what is exquisite and harmonious and melodious, legitimate and polyphonous and popular, what is virtuous and classical too.... Ending my speech, dear comrades, with your leave I'd like to declare that Caucasian operas require a real, legitimate Lezghinka, there must be a legitimate Lezghinka. Caucasian operas do call for a basic popular Lezghinka. It must be dashing, plain and folksy, it must be obviously Caucasian. It cannot fail to be authentic, it simply has to be authentic, it must be nothing but authentic. Yes, yes, yes, yes, yes, be authentic. [Repeated with interjections of chorus] Musical Functionaries (exclaim with bravura in the Caucasian manner, thereby convincingly demonstrating their complete solidarity with the inspiring directives of Comrade A. A. Dvoikin): Assa, Assa! Bejiyiniiii: Bot noflUHHHO HayHHoe BbicTynjieHHe, KaKOň aHajiH3! KaKaa rjiyÔHHa! ()KudKue anjioducMeHrribi, He nepexodnmue e oeauuw. Bce cudnm.) Cjiobo HMeeT TOBapHUJ, TpOHKHH. TpOHKHH! ToBapHmw! (coôupaemcH c mwc/ihmu) Mbi aojiXHM 6biTb KaK KJiaccHKH. y Hac Bcě aojiscHO 6biTb KaK y KnaccHKOß! fla! DlHHKa, HaHKOBCKHH, PHMCKHH-KopcáKOB Bbl MV3bIKajIbHbI, H3»ÜJ,HbI, CTpOHHbI. TjIHHKa, HaHKOBCKHH, PHMCKHH-KopcáKOB Bbl MejlOflHHHbl, KpaCHBbl, 3ByHHbI! PjIHHKa, HaHKOBCKHH, PHMCKHH-KopcáKOB Bbi 3aneBaeTe HecKOJibKO CTpyH. KaK 3TO npaBHJTbHO, KaK 3TO BepHo! Ham nenoBeK oneHb cjioxhwh opraHH3M, OneHb cjioxcHbiň opraHH3MÍ ITOSTOMy, TOBapHlUH, HaM HyjKHbl CHMCpOHHH, nOSMbl, KBap-TeTbl, COHaTbl, CKJHTbl, CIOHTbl, KBMHTGTbI... QOHTbl, CrOHTKH, COHaTKH MOH, Pa3BecějIbie KBapTeTHKH, KaHTaTKH MOH. 3x, TjiHHKa, KajiHHKa, MajiHHKa moh, Pa3CHMCbOHHH, n03MKa, CIOHTKa MOH. 3x, TjIHHKa, fl3ep>KHHKa, THLUHHKa MOH, Pa3xpeHOBaa nosMKa, CIOHTKa, moh... Ho HyjKHO noMHHTb Bcerga: BHHTejIbHOCTb, ÖflHTejlbHOCTb Bcerna, Be3ne, BflHTenbHOCTb, öflHTejibHocrb Bcerna bo bcöm. riocTOHHHO Bcioay 6an! HnKOMy He roBopw! My í i. i k : i 11.111, it- .ich rein H ;ien TeJlbHHUbi: BAHTejIbHOCTb, 6flHTejIbH0CTb Bcerna, Be3ne, BflHTenbHOCTb, OnHTCJIbHOCTb Bcerna bo bcöm. rioCTOflHHO BCKDfly 6nHTe! HHMero He roBopwTe! TpOHKHH: BejIHKHH BO>KJib Hac BCeX yHHJI h 6ecnpecTaHHO roBopwi: CMOTpHTe 3neCb, CMOTpHTe TaM, riycTb ôyaeT crpaiiiHO BceM BparaM. CMOTpH Tyfla, CMOTpH CK)fla H BbiKopneBbiBan Bpara. Mv3biKajibHbie jteaTejiH h aeaTe.n.iiHUbi: CMOTpHTe 3aeCb, CMOTpHTe TaM, riycTb Bpar TpenemeT no flOMaM. CMOTpH Tyfla, CMOTpH CHDfla H BbiKopMěBbmaň Bpara. TpOHKHH: BHHTejlbHOCTb, ÖnHTejIbHOCTb Bcerna, Be3ne, BaHTejlbHOCTb, ÖflHTejlbHOCTb Bcerjja bo bcöm. Ha flaBaTb jiioöoh nonbiTKe npoHHKOBeHbH 6ypy>Kya3H0H HgeojiorHH b Hauiy MOJionexb. 3thm tm HaiiiH Haen c6epea<ěiiib. Hy, a ecjiH 6yp>Kya3Hbie Haen KTo-HH6yab BOcnpHMeT, Haaojiro Tex 6yaeM Mbi caxaTb, H b Jiarepn ycHJieHHoro pe>KHMa noMemaTb. My ibika.ibiibiť iCMre.iii h ich i e ii.mini.i: Ha, aa, aa, aa, Ca>KaTb, caxaTb, H b narepn Bcex' HanpaBJíHTb. ... . TpOHKHH! BejíHKHH Boacab Hac Bcex yHHJi H nOCTOHHHO TOBOpHJi: CMOTpHTe 3aecb, CMOTpHTe TaM, nycTb 6yneT CTpauiHO BceM BparaM. M\ ii.ika.ibHbív jemejiii h ;ivnie.iLHHubi: CMOTpHTe 3HeCb, CMOTpHTe TaM, nycTb Bpar TpenemeT no HonaM. CMOTpH Tyaa, CMOTpH ClOfla H BbiKopneBbiBan Bpara. TaHeu; Hmcctcsi b BKiy "Bcex", noflflaBiuHxca bjihshhkj 6ypjKya3HOH Hfleo.iorHH. Bcex BbiCbiJiaTb b jiarepa öbijio 6bi oiuhôkoh: Hano, BCflb, HTOöbi ocTa/ica KTO-TO... HJia 6ecnomaflHOH 6opb6b[ c jiroôbiMH nonbiTKaMH npoHHKHOBCHba 6yp>Kya3HOH HfleojiorMH. (ílpHMeMaHHC peflaKUHH). : OnHcaHHe TaHua: Ha mothbc "CMOTpHTe 3jecb" TaHuyiomnc CMOTpaT iflecb. Ha mothbc "Cmotphtc TaM" TaHuyiomHe CMOTpaT TaM. Bbipa>KCHHe jihu y TaHuyKDinHx AOji>KHO 6biTb TaKoc. 4To6bi HauiH HncHHbíc Bpai n nonajjajiH OT CTpaxa. Chairman: That was a truly scholarly, inspired oration! What great perception, what penetrating thoughts! (Weak scattered applause, which does not become an ovation. Everyone remains seated.) Comrades, our next guest is Comrade Troikin. Troikin: Dear comrades all! (gathering his thoughts) .... We must try to be classical. You must all compose the way the classics did. Yes! Glinka, Tchaikovsky, Rimsky-KorSAkov, Musical, graceful and always refined! Glinka, Tchaikovsky, Rimsky-KorSAkov, You are so sonorous, lovely and rich! Glinka, Tchaikovsky, Rimsky-KorSAkov, You do affect certain strings in our hearts. This is the truth, comrades, that's how it should be! Our Soviet man is a complex organism! Very complex organism. Dear comrades, that's the reason why, - why we now need symphonies, and poems, quartets and cantatas and quintets, sonatas, sonatas... Sonatas, sonatas, sonatas, my pets, And such jolly wee cantatas and quartets and motets. Ech, Glinka, Kalinka, Malinka, my pets, What a shitty lot of poems, quartets and fughettes. Ech, Glinka, Dzerzhinka, Tishinka, my pets, What a shitty lot of poems, quartets and fughettes.... But we must never forget: Vigilance, vigilance, never relax, Vigilance, vigilance, in everything. Always watchful, on your guard! Not a word to anyone! Musical Functionaries: Vigilance, vigilance, never relax, Vigilance, vigilance, in everything. Always watchful, keep on your guard! Not a word to anybody! Troikin: As our great leader teaches us, and never tires of pointing out: Look here, look there, look everywhere, We'll make the foe cringe in his lair, Keep looking here, keep looking there, Let all our enemies beware. Musical Functionaries: Look here, look there, look everywhere, We'll make the foe cringe in his lair, Keep looking here, keep looking there, We'll make our enemies despair. Troikin: Vigilance, vigilance, Never relax, Vigilance, vigilance, In everything. We shall not permit the rotten Influence of a bourgeois ideology To infiltrate our Soviet youth. Thus we'll preserve the true force of our ideas. And if bourgeois concepts should take hold of anyone, Then we'll imprison them, Put them inside for years to come. In labour camps, of strictest regime, Inside with all of them. Musical Functionaries: Yes, yes, yes, yes, Inside, inside, To labour camps we'll send them all'! Troikin: As our great leader teaches us, and never tires of pointing out: Look here, look there, look everywhere, We'll make the foe cringe in his lair. Musical Functionaries: Look here, look there, look everywhere, Let all our enemies beware, Keep looking here, keep looking there, We'll make our enemies despair! Dance2 'AH': we have in mind 'all' who are under the rotten influence of bourgeois ideology. To send 'all' to labour camps would be an error; after all, it would be necessary for somebody to remain to continue the merciless fight against the attempted infiltration of bourgeois ideology. (Editor's note) ' Description of the dance: On the motif "Looking here", the dancers should look here. On the motif "Look there", the dancers should look there. The expression on the dancers' faces should be such that our ideological enemies dissolve in terror. The first public performance of this work, in its incomplete form, was given in an English-language version on 12 January 1989 at the Kennedy Center Concert Hall in Washington DC, directed from the piano by Mstislav Rostropovich, with Jonathan Deutsch, Eric Halfvarson, Julian Rodescu, Andrew Wentzel (basses) and members of the Choral Arts Society of Washington. The same artists subsequently recorded their performance on Erato ECD 75571, coupled with a Russian-language performance in which Rostropovich directed the basses Nicola Ghiuselev, Nikita Storoyev, Romuald Tesarowicz and Arcadi Volodos, with the Ensemble Audite Nova. The world premiere of the complete work was given on the 83rd anniversary of the composer's birth, 25 September 1989, in the Great Hall of Moscow Conservatoire, in a stage production by Valery Polyansky, who also conducted; the other performers were Dmitri Dorliak (reader), Igor Khudoley (piano) and members of the State Chamber Choir of the USSR Ministry of Culture. Duration: c. 18 minutes There is a small ad lib cymbal part (see p. 34) This score constitutes the complete material for this work Cover design by Lynette Williamson AHTHcbopMaJMCTHHeCKHH PAEK Anti-Formalist RAYOK English translation by ELIZABETH WILSON Moderato sC beziyiiihM CHAIRMAN p ZIMMTPMM IUOCTAKOBHH DMITRI SHOSTAKOVICH 0 0 0 0 0 Hy, K3K TO-Ba-pH-IUH,Ha HHeM,HTO JIH? Well, com-rades I suggest we start, shall we? Ha- The i ipp --•----1— j rjnJ BeA. c/». • po-47 y Hac, npaB-/ia, au-aience to - day, sad - ly ce - ro4 - hh, Ma- jio - Ba - to. is some-what on the thin side. pea — ■ a ■ ■ I - 3=f '-i 1-- 1-- 4= _1 ■-# ■ --* J-i *-• 9 1-» -* 1-J y Hac, npaB-aa, e - me npe-Ba-jm-py-eT He - Äo - b - u.eH-Ka Kyjib-Typ It's true, in - deed, we still un-der - es - ti-mate in terms of cul-ture the im w i lz-#J—-&.............. 1-J >> „ i-r v-Y- "V-V-*— ~>-5—a i S—S—s—*\— i J —>— p p bJ # 4 iLW-1—*- 4-P p bJ1 J' i^5- —• i—<— BeA. -Ho-ro MaK-CH-My-Ma •/>ac< Mai /ec - tures can have JieK- uh - oh-hoh npo-na - raH in the way of pro-po - gan da. f f 4 ^ J s. © Copyright 1991 by Boosey & Hawkes Music Publishers Ltd. for the territory of the UK, Republic of Ireland and countries of the Commonwealth,other than those of North and South Americas. English translation © Copyright 1991 by Boosey & Hawkes Music Publishers Ltd.for all countries of the world. Be/i. Ch. k> - t j.;> |J> * y P p p j I J1 g g p p p p: Ho, noe-KOJib-Ky 2?« 2 ac - cord-ing no DJia-Hy Ha-uie-ro flBop-n.a Kyab-Ty-pbi /o sche-dule, come what may, this shrine of cul-ture I cresc. i 11J J i Bea. C*. y Hac ee-ro-4Hfl eo - cto - ht - e.a pro-videsfor us to-night a plat-form Tpna Bbic - Tyn - Jie - hhh ./by cer - tain spee-ches. Ha Te - My The theme is 4 J 4 fespr. M p g g I p r p p r p p p 5 Bea. C/i. "Pe - a - JIH3M H (J)Op-Ma-JIH3M B My '7?e - a - lism and For - ma-lism in mil 3bl sic'.' Key mm e - e, We shall keep 3 - Ty Te - My, to the sub-ject JV- jy iv iy Eg 7" * p p p p p p r ip p p PJ'J (My3BiKajibHbie AeflTejiH Mo-iraT) (The musical functionaries say nothing) Bea. TO eCTb 3 - th ca-Mbi-e and we'll ask the prin - ci-pal Bbic-Tyn-JieHb-H npo-Bep-HeM. FIpa-BHJib-HO? spea-kers to ad-dress us now. All a - greed? S3 :» 7 » 7 K=r7—mz -5^=5—"—£ :^ 7 ^_JZ=»-^-J t3 [Pi Bea. Ch. m ilpH -HR- TO. Passed as read. / 21 3^ I > J.|J'J'P P P P * p" BeTy-nH-Te^ib-Ho-e cjio-bo Ha JAe in - tro - duc-tory state-ment and 2--_-•-3" p=5 BeA. CA. ^5 ■ ■ 3 . Ty - Te - Ma-th - ny z'íezes o/í ŕÄís to - /)j'c ari/i CKa - 5KeT My-3M-KO-B6fl HO come from our mu-sic ex-pert Num Mep 0 - AHH, ber One, 1 Haru our g J> J^p p p p p P espr. I jw h p p p ? r p BeA. CA. rjiaB-HHH KOH-eyjit-TaHT h My- 3W - najib - hhh kph-thk grea-test ar - bi - ter andfore-most mu - sic cri- tie, TO - Ba - pniu dear com-rade E- m Ye - di ■ S ■o-n TJ 8....... rit. BeA. Ch. m [Š] a tempo KJľr \* ^ j^p p p p ľpj HH ni UblH. tsyil. P ľlo-npn-BeT-CTBy-eM, to - Ba-pH-mn, Ha - nie-ro Let's ex-tend our warm-est, hear-ti - est wel - come to , br bff C g g CC CC j^f fggf gff f =j= s: •TV Si i» (nocTeneHHo npuxcviHT b BoeTopr) (gradually going into raptures) m. p p p p rp ^ Bea. Ch. 5 p p p p r a,o - po - ro - ro h o«y dis - tin -guishedguest, JIK our 6h - mo - ro Be - jih - ko - ro to cher - ished friend and great - est lea - der, 1 >): r ^ p ft ftf ft i*r p, 1 p I I p p» p £=p=? BypHbie,npo40Ji3KHTeJibHbie anj!04HCMeHTbi, nepexoaautHe b oBaumo. Bee BdaiOT. Tempestuous,prolonged applause,becoming an ovation. All stand up. (npHnieji b Bocropr) ' (lie goes into raptures) JJ 1* Bea. Ch. -Ba - pn-ma E-AH-HH-UM - Ha!_ Dear com-rade Ye-di - ni - tsyn.L Cjia-Ba! Hail him! MY3bIKAJIbHbIE RERTEJM H RESITEJlhR]AU,h\ (yme b BOCTopre) MUSICAL FUNCTIONARIES (already in raptures) COIIPAHO ~ SOPRANOS XT G/ia-Ba Be - Jim - ko-mv Hail him Our great lea-der AJIbTbl ALTOS Gfla-Ba! Hail him! Czia-Ba Be - Jia - ko-mv Hail him Our great lea-der TEHOPA TENORS p p * IP P > P T P p 1 BACbl BASSES Cna-Ba! /TafZ Aim/ of 3 at Cjia-Ba Be - jih - ko - My Hail him Our great lea-der t mm N Wl Bea. Ch. y. p p p p r p v 11 p , =p=p m E-4H-HH-I1W - Hy!_ C^a-Ba! Ye- di - in - tsyn!_ Hail him! Cjia-Ba Be - Jin - Ko-uy E - ah - hh - iibi Hail him! Our great lea-der Ye - di - ni ■ ■ ■ M m—0—0—4-0—0 P P P P P P di-i E-^H-HH-ubi - Hy!_ Cjia-Ba! Ye-di-ni - tsyn!_ Hail him! Cjia-Ba Be - m - Ko-iny E-^h-hh-hbi Hail him! Our great lea-der Ye - di - ni p 1 1 1 * P s-fr-s E-JHH-HH-ribl - Hy!_ Ye-di - ni - tsyn.L Jjia-Ba! Cjia-Ba Be - jih - ko - My E-^h-hh-um /fatZ Atm/ Hail him! Our great lea-der Ye-di-ni 6 ... [ß] E/lMHMLlbIH (HHTaeT no 6yMaacKe) YEDINITSYN (reading from a piece of paper) ? pNJp p p p m i"p p p-jrp-pf é Ťo - Ba - pn-mn! Pe - a-JiHC - TH-Mec-Ky-w My-3bi-Ky Dear com - rades! While re - a - lis-tic mu-sic most-ly is dim. P Eä. F^Ťfr red. ^ )> P p ? p r PpPPPPPýt P P P P ^ H nH-myT Ha-poü - Hbi - e kom-no-3H- To-pw, writ-ten by so called com-po-sers of the Peo-ple, a cpop-Ma-JiH-CTH-^ec-Ky - K) for - ma-lis - tic mu-sic for some h_i_i_i_ 3t$ «—s—•-c—• 3EÉ n p ^ r p p|ifJ ^J1^ aH 6y E ľed. My - 3bi - ny rea - son is riH-IIiyT writ-ten TH - Ha - po^ - Hbl - e ROM-IK) - 3H - TO-pbl. those com - po - sers who are a-gainst the Peo-ple. h Si i 0 Eä. Yed. Cnpa-nin-Ba- eT - c, Com-rades one must as *, no-ne Ä «7í;y it 4r y pp p - My pe-a-JiHC is that re - a \'a ^ 7 ŕ ť] - TH-Mee-Ky-Jo My-3bi-Ky - lis - tic mu-sic is al-ways S m 7 S 7_1 li^ ? í* ĺ *f—r—í- • L *ŕ i *ŕ 4 I 7 1 7 I 7 •i L V *f 1 V i; » /* * ./ b y-i—y-Z- 'V7 j V7 ♦ ♦ ♦ ♦ Ea. Yed. w p r > r r p hp p p p I; * I I g 11 nn-ruyT Ha-po/i - hhi - e KOM-no-3H-to-pu, writ-ten by so called com-po-sers of the Peo-ple, a cpop-Ma-Jinc-TH-4ee-Ky-K) where - as for - ma - lis - tic music h-=h-=h-=k— h 7 ii 7 ii 7 ii - IF S r r r in p^ r P J^^fi Ea. Yed. My - 3bi - Ky is al - ways nn-myT aH - th - Ha - poji - Hbi-e KOM-no - 3H-T0-pbi? writ-ten by those com - po - sers who are a-gainst the Peo-ple? e 7 *yyy*yM ♦ * ♦ ♦ Ea. red. r p p ip p i Ha - poa - hh - e kom - no Those com-po - sers we call_ 3H - to - pbi nn-myT pe - a-jih- Peo - pie's com -po-sers write re - a 1 jg B I 5. Ea. •— ■i P P m m m a p p r p p r ^ '-! ■ r ' p V V 1= -cth-nec-ny- jo My-3bi-Ky ■lis-tic mu-sic sim-ply due no to jjJEjg 1 TO Me My, /acr, TO - Ba - pn - IHH, etear com-rades, that, TT E 8 Ea. Yed. 4^ r ;f JbP p ppip p p p'TPr i» J r r hto, hb - Jia-HCb no npw - po- Ae pe - a- Jine-Ta-MH, be • big by na-ture re- a - lists right to their ve - ry core, 0 - HH He they sim - ply r J r r «... bin Efl. BEgg j mo - ryT, J br r ir J P He mo - ryT He nn - caTt they sim - ply can - not help I i I r ' r I *—* Ej. p p p p p pbP P P P ^ jl Jl jl r P P My - 3bi - Ky pe - a - jihc - m - nee - Ky - w. A aH - th - Ha - poa - hw - e wri-ting mu- sic which is re - a - lis - tic, where - as those we call an - ti gji «... Iff Fed. s hr ;r Jjr jpp" J r r i^p p ppp p p p r KOM - no - 3H - TO-pbl, -^eo - pie com-po - sers, SB - AH - HCb be - ing by no npH-po-Ae cpop-Ma-JMc-Ta-MH, na-ture un-re-pent-ingfor- ma-lists, i «.. 9 i He nn-eaTb can-not help He mo - ryT, caw - «0/ /jeZ/>, He mo - ryT can - not help, r J r 1 r J r 1 10 y^ ppppP plTPPP' 1"- * 7plpp* p p P p 1 My-3bi-Kycpop-Ma-jiHC - TH-nec-Ky-K). writing music which is for-ma-lis-tic. 3a - aa-ia, ane-Ao-Ba-Tejib - Our pur-pose con-se-quent-ly flg|I &..... i Ea. HO, 3a-KJIrO - na - eT - Cfl B T0M,HT0-6tI Ha - p04 - Hbl - e KOM - no - 3H - TO - is to ere - ate con-di-Hons in which our Peo - pie's com-po - sers will be •mi 1 h- V I ?-7-? iT i i* i Ea. p p Mr m -pw_ pa3-BH - Ba ab - le to de - ve h_K m 6 lop I y 1 y jt 3EE£ My - 3bi - Ky pe - a - jih -me - lo - dies of re - a **rr^-rV- 11 hi > i L *-»-- W——if—* wn-J-— 1 '? 7 " T * ' -cth - nee-Ky-K), - lis - tic kind, wl a aH - th -tere - as such < p=t==i Ha - p04 - K :om-po - si hi - e k &F 1 p p pT =1 0M-H0-3H- TO - pbl re a-gainst the Peo - pie y t> 1/ i—' i 7 i—£— -^rrt-^ , -^-- ■ 7 ■ 7 S 7 f r i ■— i n r ff=S -4 p ' | ' '■ g g p if VJ— j *- n ahi pe-Kpa-' >«Zd at oi t *— ice i I L-IH 6 t - bi ■*——'- bi CBo-e in-don their t * 6o - M high - — < - e .Si neM s-pi-=± r r 4 COM-HH-TeJIfc- H cj'oks e/"-forts ai O - e 3K< M 3 -ne - pp -bious ex M — z=, -MeH-T -/e - r =y H- po-i-men-N *l:.l> L —^—. —a V ft 7 j) 7 -« -4 !>=!=--M I — i 7 _ t + Yed. P 7 g ■ ^ir p p r""> p i J'J'i'i'i'^p Ba - hh - e Bo6-jia-eTH My - 3m-kh rj>op-Ma-jiH-cth-ne-CKofi. ta - Hon re - la - ting to mu - sic of for - ma - lis - tic kind. ^ri z^n 7 N7 N 7 N 7 12 BEHyiUMH CHAIRMAN I P p P ^ £2 ripa - BH^t-Ho! Bep-Ho! - eel-lent, per-feet! To - Ba - pH - UJ.H, A - sto - nish - big! no-6jia- ro - aa Let us thank him, 1 *——-. w-*-w 11 Bea. Ck. 'h r> p t h U1 im P n P^t^ -pHM ace com - rades. Ha - me - ro poa. - ho - ro h Jiio - 6h - mo - ro Be Let us thank our dear - est and most in - ti - mate of 1 m i p p ip r r r g ■ p r i I -JIH - KO - TO friends, Com-rade E-w - HH-u,bi-Ha 3a hc - to - pn-He-CKy-io penb, 3a e Ye - di - ni-tsyn for his lu - cid, rare and most his - to - ric o m i n m m mm mm mm m-—: Bea. Ch. *h r mt ppp ro Bbi-CTyn-Jie - hh - e, o - 6o-ra-me - Hbe - flow which did so much to e - du - cate_ us h o-CBe- me - Hbe and to e - lu-ci-date EEC 1 1 5 1 jr. fit. Bea. Baac - hhx bo such vi - tal npo - cob ques - Hons My - 3bi - Kajib - ho - ro on the sub - ject of a.e - Jia. mu-sic. 1 1^ 3 $H I I ; j .j 12 [J3l a tempo BypHbie,npoiio^3KHTeJi!.Hbie aruioAHCMeHTBi, nepexoflamHe b OBauwo. Bee BCTaioT. Tempestuous, prolonged applause,becoming an ovation. All stand up. Ben. Ch. gJHil P P v P E P |T PPPP PPP|f y P P P y P Cna-CH-6o, cna-CH-6o We thankyou, we thankyou COnPAHO SOPRANOS 3a hc - to - pn-nec-Ky-io pent! Cna-cn-6o, cna- thank you for your his-to-ric words! We thankyou for <^"7 p p p p m P P p p—rrp7 Cna-CH-6o, ena-CH-6o 3a hc - to - pH-Hec-Kv-w penb! Cna-CH-6o. cn; jiia-cn-6o, cna-cH-6o We thank you, we thank you AJlbTbl ALTOS 3a hc - to - pH-Hec-Ky-w penb! Cna-CH-6o, cna-thank you for your his-to-ric words! We thank you for f''^p p p p p p I* p p ^f|TTJ~>p p p>p TEHOPA TENORS Ln p f p p pi* p p p p p p p i' 7 p r p- ch-oo, cna- ch-oo 3a hc - to - pH-Hec-Kv-w penb! Cna-CH-oo, cna- BACbl BASSES na- ch-oo, cna- ch-oo We thank you, we thank you 3a hc - to - pn-Hec-Ky-H) penb! Cna - ch - 6o, cna- thank you for your his -to-ric words! We thank you for a tempo _ —n -rn _ _ f « « 4 « « « « 9999 m mm mm zj-yi P P P-£-C_ -f^-phi Bee eaAflTca. Everybody sits down. -CH - 6o 3a o - Te - wee - Ky - k> sa - 6o-tv! your so - li - ci-tude and pa - ter - nal con-cern!— -CH - 00 3a 0 -Ch - oo 3a o - Te - nec-Ky - w 3a - 6o-Ty! your so - li - ci-tude and pa - ter - nal con-cern!— p r p p r r ii p p p p CH - 00 3a 0 -ch - oo 3a o - Te 3»onr so - £»' - ci-tude nee - ky - m awrf - ter 3a - 6o-Ty! wai con-cern!- P 0 0 0 0 Bea. Ch. g | | njia- Hy sche-dule. 1 I 7 P p p • m npe-/ioc - Ta-BHM cjio-bo My-3bi-K0- Be-Ay Ho-Mep ABa, h //jg spea-ker will be our mu-sic cri-tic Number Two, a m *—<*—? * | | j | j | J' Be4. CA. - Me - K) - me - My k to -My ace ro - jioc h bo3 -mong whose ta - lents is a fine voice_ and who is MOHC-HOCTb BO-Ka-JIH-fa - mous for vo - ca ■ m 3 3 rit. a tempo i1 a I J> Bea. CA. 3H Sing"_ po BaTb. speech. ripe-zio-eTaB - jih-kj cjio-bo to-/ call u - our next guest, let's si u LT r si 1 3 E: 14 15 DVOIKIN P mm To- Dear Ch. -Ba - pH-my ^BOH-KH-Hy. hear Comrade Dvoi - kin. m. TTfffffff -f- ........:j=—i - 1 J U f dim. f (OCTpHT) (wittily) ,/HbOH. Dvkn. :h% p p r f * P mrJJjg rit. 1 -Ba - pn - ma! coju - rades all, Cbo in HM. my. Bbl short. dyn but. a tempo t ,11 rit. CI ICUIJIU ~ —----------^ — Dvkn. ■Jie - hh - eM can - aVa' speech I He h - Me pro-mise not. K>. b bh a tempo CMex Laughter 15 I flBOÖ. -ay BHO-CHTb ÄHC-CO - HaH-CU, ■ ter-po-late dis- so - nan-ces. . . CHAIRMAN *P 811 g § p p p p Mit Xa xa xa xa xa xa &a /ta /;« /j« /ia xa xa xa xa! ha ha ha ha! COnPAHO SOPRANOS i p p i p i 3 AJItTLI Xa xa xa xa xa xa! Ha ha ha ha ha ha! TEHOPA TENORS Xa xa xa xa! /fa Aa ha ha! EACH BASSES Xa Ab xa xa xa xa xa! ha ha ha ha ha! P P P g Mit a tempo Xa xa xa xa! Ha ha ha ha! I i (npoflOJiacaeT) (sft'W joking) rit. — flßOH Dvkn. m a tempo H or. JIH. a TO «a/_ HaJIb-HOCTb «o« - sense. . ___PQ' es 1 ^ 4 t> IGT ~3- 16 it f c 1 >z CMex Laughter ilBOfl.FS^ Dvkn. E*- -or _ >): j g M I P|l>p.p p p j BTe MblC-JIH, KO - To-pu - e in no-Hons ex-pressed by the BeA. Ch. Xa xa xa xa xa xa Ha ha ha ha ha ha xa xa xa xa! ha ha ha ha! 'Ok i p i p.—* £E2 Xa xa xa xa xa xa! Ha ha ha ha ha ha! p = =t TrP-P--fr-I*--f!-" m Xa x Ha h a xa x a ha h N=1 a! a! -fl- ffi P P P P P P ' Xa xa xa xa xa xa! Ha ha ha ha ha ha! [*> - | J=*=| ^- -M-- 1 Xa xa xa xa! Ha ha ha ha! SI P 1* *f 1* 1* 1* Aboh. I r i p i 17| Allegretto 1 ii ■ p IP p p 11 j Mbi 3/iecb cjibi-xa - jih. />re - zn' - oms spea-ker. Mbi, to - Ba-pH-mn,Tpe-6y-eM /f's true, comrades, in mu-sic we in- -«-• I ft 4V a I f f 17 ÜBOß. Dvkn. ■H\ r p p p ir p J» P F ir p OT My-3bI-KH Kpa - CO-Tbl H H - 351 - IIjeC-TBa. -sj'sť_ on what we call beau-ty and e - le-gance. BaM 3 - TO CTpaH-HO? You find it fun - ny? at * r r flBOÖ. Dvkn. r P P P P ň Ě m ) 1 7 Yes?. Hy, KO - Hen - ho, BaM CTpaH - ho a - to. Well, I dare say you find it fun - ny! § ^ P j j j P p P ? |p p p p p p p=6 UBOH. Dvkn. CTpaH-HbIM BaM 3 - TO Ka - HCeT - CH, CTpaH-HbIM BaM 3 - TO Ka - JKÔT - ca. Fun - ny and strange it seems to you, fun - ny and strange it seems to you. Zbofl. Dvkn. 'hK * p p P p p i" p r p ßa, Hy, Ko-Hen-ho, BaM CTpaH - ho 3 - to, CTpan-HbiM bsm 3 - to Ka-aceT-ca, Yes, well I dare say you find it fun - ny! Fun - ny and strange it seems to you, 3= 18 KBi g ^ 1 P P P P P l''P p j *p CTpaH-HbiM BaM 3 - to Ka-aceT-CH, 6ya - to 3/ieeb ito-to He TaK. fun - ny and strange it seems to you, as if things were not quite right. t * If 1^1 18] a tempo flBoa. Dvkn. P 8P i=2 A Meac-iiy TeM, And still I say 3 - TO TaK! it is right. a. i. He o - ro - bo did not make a 7 7 f i; pi Hboh. pM bloo ch! _ mer.. Mbl CTO - HM We're for mu 3a Kpa - ch - By - ro, h - sic that ra - di - ates both ^ 7 7 ^ ■ * z: i <2 /IboS. Dvkn. [19 r iiir m mm -3HU1 beau ty K) My 3bl - Ky. le -gance! My - 3bi - Ka He - Me - jio Mu - si'c which is not me i f 1* I p 19 -i— 1-p-f -f »— r n r = - / 7—i -J—L HH - Ha- f j - di- oi í. (S, M w r v y y - 3bi - Ka h u - sic which it -r e- 3 MC 3 - T t at j— e -fr-l-/-I- J THH - Ha - H, the - ti - cat, -H- 7—i v i 1 j v TT-J 1 $ II 1 —t 1 H h n m %, m %, 4f r- 7 7 7 7 1 -H--1-- -4- ÜBOß. Dvkn. m íl My - 3bi - Ka He-rap-Mo w/t - sic which is not har HUH - Ha- H, wo - ni-ous, My m u 3bi - Ka He - n -sic which is_ not pÉ iy i 8 II II f=r 1=1 I ZIboh. Dvkn. rit. cresc. ."34 120 Adagio !Ě3Ě y / 7 -3HIII, - Ha - H, e - le-gant 3 - TO, is like. 3 - TO. like a.. 6op pier Ma CIM/J UIH - Ha! road drill! ff m y y j £ i 2_£: Dvkn. (J. J) B: H-JIH, H - JIH . . j's Zífce... like a... My-3bi - KaJib kind of mu Ha - íi ay - me - ry6 si - cal gas cham Ka.. ber.. 20 flBQfl.|fci:Lk T3T Dvkn. Moderato 06mnft xoxot. Abohkhh Toace cMeeTCfl. General laughter. Dvoikin also laughs. jßp É SEES 2jr CHAIRMAN Xa xa xa Aa Aa xa Art xa Aa ž 1^ j> sees COnPAHO SOPRANOS ft Xa xa xa //a Aa Aa xa xa xa xa xa xa xa xa xa ha ha ha ha ha ha ha ha ha mug B B - 1 B B j f±5 AJlbTbl ALTOS Xa xa xa xa xa xa xa! Ha ha ha ha ha ha ha! ft 1 P P O lag J» J»J>* B <*; - TEHOPA TENORS Xa xa xa J3a Aa Aa fti xa xa xa xa! Aa Aa Aa ha! FFPia^p p p B c - BACbl BASSES Xa xa xa Ufa Aa Aa xa xa xa xa! Aa Aa Aa ha! Moderato Xa xa xa xa xa xa xa xa xa xa xa xa Ha ha ha ha ha ha ha ha ha ha ha ha 3 »—» •—» m m LA* i v o v o US ^[jo] Allegretto xa xa Aa Aa BeA. a. xa xa xa xa! Bo3 - jho-6hm ace npe-Kpae - ho - e, Kpa- Aa Aa Aa ha! Let's che - rish what is beau - ti- ful and B i|Jv t ^ xa xa nxa Aa Aa Aa xa Aa xa Aa xa! ha! (B.) (B.) ^ 1 7 Ě=fe I v o 1 vo 1 xa xa 'xa xa Aa Aa Aa Aa xa Aa xa! ha! Allegretto }: i iijii7 i71 ^_ /TN Ä: ♦ ft ft ff ff I 21 AboPi. Dvkn. r> r Mr p r jiu j> r p ir p p g p ■ ch - bo - e, h - 3am - Ho-e, bo3-jik> - 6hm bc - Te - thh - ho - e, rap-mo- de - li - cate and e - le-gant, let's die - risk what is ex - qui-site and har- II if an it it p p p If p p r p |p p p p p if p p y p flBOH. Dvkn. 2 ■HHH - HO-e, Me-JIO-AHH - HO - e, 3a - KOH -wo - ni-ous and me - lo - di-ous, le - gi ho - e, no - jib - c})oh - Ho-e, Ha - ft- mate and po - ly - pho-nous and a a ft ft 11 it it j j , 7 r r 7 r r ^ji. r p n p p >r p p 7 p ip p^ fespress. Dvkn. -Y-r -po/i -Ho-e, 6jia-ro- poa - Ho-e, iuac-cn-Hec-Ko-e. />o - pu - lar,what is vir - tit-a us and clas-si-cal too... Kpo End Me TO - tt tt ti tt a ft ,ff,ffi Be flBOfi. m r ._p. I gfc l n a - ro, to - Ba - pu - u>h, a aoji speech, dear com - rades, with your leave HCeH BaM co-o6-mnTb, 7W like lo de-clare HTO B K3B-Ka3- CKHX that Cau - ca - sian ^^T^-T- ff Iff i ,f f* Tf f i li ti; v i 7 ■- -7— «- -„- W= -«i—• W -9 -7 ■ —7— 22 Uboh. Dvkn. if f r p 0 0 ne - pax aojiw. - Ha 6biTb Ha pe - ras de - mand a real CTO - H le - gi ma - H ti - mate Jie3 - THH Lez - ghin Ka ka, there TT #BOfi. • ■—ft-- Ht--« y =i 7 t> > 1—1 f—I ■ Ha 6i>iTt Ha - cto - a - m,a-a Jie3 - thh must be a le - gi - ti-mate Lez - ghin Ka. ka. 7 m ~ ^ ■> n v £ m ipi Ipl ^BOH. Dvkn. 1331 Allegro Hj> p p p IPEP p p P IP 1 Ppp B KaB-Ka3-CKHX o-ne-pax Jie3-thh - Ka Cau-ca-sian o-pe-ras do call for npO-CTOH 40JI3K - Ha 6bITb H H3-BeCT-H0H, a 6a - sic po - pu - lar Lez-ghin - ka. ■ m f V Hi AboA. Dvkn. -y-h ■> p p p iP P up i p r i t p p p i p j p p^ jih-xoh, o-6bi4-Hofi, no-ny - jmp - hoh .Z7 masl be dash-ing,plain and folk - sy, H o - 6h - 3a-TeJib-Ho KaB-Ka3 - ckoh. iY m«sZ 6e ob-vious-ly Can - ca - sian. gl i i if—r a j j 23 ZIboK. Dvkn. 0 - Ha aoji3K-Ha 6t.iTt Ha-CTO - a - men, can-not fail to be ait - then - tic, Bce-raa aoawl - Ha6biTb Ha-CTo - a - mew, it sim-ply has to be an - then - tic, m S.ap:*lt rp p pip P p pi J r 1 1 J'J1 pi p p p J11J bJ IWS H TOJIb-KO^OJIb-KO Ha-CTO - H - IHe0, j'r must be no-thing but au - then - tic, aa, aa, aa, aa, 4a, Ha-CTo - h - mew. Yes, yes, yes, yes, yes, be au - then - tic. m S Hi a:-la:-m 0 > My3bma^bHbie aesnejiu h AesrrejibHHiibi jihxo, no-^BKa3CKH,BoeK^HiiaK)T,TeM eaMbiM ybemreJibw 4eMOHCTpHpya CBOK) no^HyK) CCWIHAapHOCTb C BAOXHOBJIHKDUIHMH yKa3aHHHMH TOBapHIIia A.A./J^BOHKHHa. Musical Functionaries exclaim with bravura in the Caucasian manner, thereby convincingly demonstrating their complete solidarity with the inspiring directives of Comrade A.A.Dvoikin. '> j 1 p p P |P^g P IP P PPIP Dvkn. ~E==± B KaB-Ka3-CKHx o-ne-pax Jies - thh - Ka BEflyiUHH ^au ' ca ' S!a" °-Pe ' ras do call for npO-CTOH flOJIJK - Ha 6bITb H H3-BeCT - HOH, a ba - sic po - pu - lar Lez-ghin-ka. CHAIRMAN ff > Ac - ea! As - sal COnPAHO, AJILTLI SOPRANOS, ALTOS Ac -As -TEHOPA, EACbl TENORS, BASSES ca! sa! JL Ac As > ea! sa! m t f r 24 RboPi. Dvkn. 'H\ y P P P |P P P P I r I i P P PI I I B ftpt jih-xoS, o-ÖHH-HOH, no - ny - Jiap - HOH It must be dash-ing,plain and folk - sy H 0 - 6fl - 3a-TeJIb-HO HEB - K33 - CKOH. i7 wwstf be ob-vious-ly Can - ca - sian. m1 1 ZIboh. Dvkn. m ip pppf ? p p p i p p p p O-Ha ii0Ji3K-Ha 6biTb Ha-CTO - a - meH, It can-not fail to be an - then - tic, CHAIRMAN Bce-raa ac-jrac - Ha 6biTb Ha-CTo - a - meft, it sim-ply has to be an - then - tic, Ac As ca! sal COnPAHO, AJIbTbl SOPRANOS, ALTOS mm Ac - ca! As - sal TEHOPA.EACbl TENORS, BASSES Ac - ca! As - sa! > m i a-pi jp p pip p p pi r r i ? p p pi p a p pg h Tojib-Ko,TOJib-Ko Ha-CTo - h - men, aa, aa, aa, aa, aa, Ha-CTo-a - men. it must be no-thingbut au - then - tic, Yes, yes, yes, no-thing but an-then - tic. i «—« fei J SO fee* 25 25 Rbou. Dvkn. nhv p p pippp pit p p g ir g g p B KaB-Ka3-CKHX o-ne-pax Jie3- thh - Ka Cau-ca-sian o-pe-ras do call for BE/jyiUMH CHAIRMAN npO-CTOH AOJIM-m 6bITb H H3-BeCT - HOH, a ba - sic po • pu - lar Lez-ghin - ka. Ac - oa! ^4s - sa! COnPAHO, AJILTLI SOPRANOS, ALTOS Ac As ea! sa! Ae - ea! As - sa! TEHOPA.EACbl TENORS, BASSES Ac Js ea! sa/ i Ac ,4s ea! sa/ Ae As ea! sa/ i f Dvkn. Bea. ■a. jih-xoh, o-6bi4-HOH, no-ny - Jiap- hoh h 7/ jwwstf ee dash-ing, plain and folk - sy, it m o - 6a ■ Ast be 3a-TeJIb-HO KaB-K33 - CKOH. ob-vious-ly Cau-ca - sian. -fcV „ „ - „-„- -........_., V -M_ ./ "fl"; -f- ^-1 -A- A_ -a_-1- Ac - < 2a! Ac - ( ml 26 p p p I g 6 ^ O-Ha aoJiac-Ha 6biTb Ha-CTO - a - mefi, ca* - mo< fail to be an - then - tic, Bce-raa aoj]3K - Ha 6biTb Ha-ero - a - mefl, it sim-ply has to be an-then - tic, Bea. Ch. Ac - ea! As - sa! Ac - ca! As - sa! as Ac - ca! As - sa! Ac ca! sa! Ac - ca! ^4s - sa/ i Ac - ca! As - sa! S8 Dvkn. Bea. Ch. m j >p p p ip g p pi p r i >p p pi p p p p iJ iiJ \% H TOflb-KO, TOJIb-KO Ha-CTO - H - men, yes, no-thing, no-thing but au - then - tic. 4a, Aa, Aa, Aa aa, Ha-do - a - meft! Yes, yes, yes, no-thing but au-then - tic! Ac - ca! ^4s - sa! Ac - ea! As - sa! e Ac ca! sa/ Ac - ca! yls - sa! a Ac - ca! y4s - sa! Ac - ca! .<4s - sa! > 9- > if ,1 1*1 fete ^ ■* ff r— ¥ ri- ■ L • > i-L -«-. 1-1 1—« 1 -« —1 r ■—« -4 1 -1 1-«- -•-L ■—1)1 /(■} . l! d 26 27 Bea. C/í. Bot no/i-JiHH-HO Ha - yn - ho-e bw - CTyn 77«aŕ a>as a tru-ly scho-lar-ly, in-spired o Jie - hh - e! ra - tion! m Ka- What Jf ^-J3- Si •—* V—*-w JKHflKnean^o4HCMeHTbi,HenepexoaaiHHe BOBaiwio. Bee chart. Weak,scattered applause, which does not become an ovation. Everyone remains seated. -koh a - Ha - Jim\ Ka-na-H rjiy-6n - Ha! great per - cep - tion, what pe-ne-tra-ting thoughts! Tit. m m EI e dim wm ♦ ♦ ♦ 33 * •-♦ ♦ ♦ 27] Moderato Bea. Cjio - BO Cow - rades, n - Me eT guest TO IS Ba Com P n m rade • ■ ■ « 1-- ■ Ä —# -- m 1 m ■m—i -1 —» L • - j—4—J f3=j J- « 0 f- -m -- — i #■ [ cresc. 9- m— 3-- ■ l_ ■ ;-■-* • p it To - Ba - pH-mn! Dear Com-rades all! Mbi. a zi: a—a: a=a III III Tpofl, Trk. m up sfip P CrP.C/lP £*P _ AOJI3K-HH 6bITb_ KaK kjiac - CH - KH. Y_ _ must try to_ clas - si - cat. You. ft Hac Bee 4oji3k-ho 6biTbKaK y must all com-pose the—way the 1 rit. TpOH. Trk. Allegretto 1 Kjac - ch - kob. Aa!_ cias - stcs rftrf. Yes!. Tjihh Glin Ka, Haft Aa, Tchai KOB - CKHH, p B 1 j f Tpoft. TV*. 9^* r if g r Phm - ckhh - Kop - ca - KOB, i?f»l - s£;y - Kor - sd - kov, Bbl My - 3bl - Ka.7]b-Hbl, H - 3HD4 - Hbl, CTpofi - Hbl. Mu - si - cal, grace-ful and al - ways re - fined. mm 3^ 9 m PPPl 3=£ IP 3=¥ Tpofi. Trk. r ir r * Dihh - Ka, Han - kob-ckhh, Phm-ckhh- Kop - ca- kob, Glin - ka, Tchai -kov - sky, Rim - sky - Kor - sa - kov, Bbl Me - JIO - flHH-HH, Kpa You are so so - no - rous mm 30 *>: -- •-r ■ ■->- ■ - 1»- K r * a • ' 1 -*- 1 4_ -£-■ TpoK. TV*. -CH - Bbl, 3BV4 - Hbl! love - ly and rich! Ymn - Ka, Haft - kob-ckhh, Glin - ka, Tchai - kov - sky, Rim - sky - Kor - sa - kov, upp m »—» s 3^ 3=3e f f i i TpoS. Trk. Bbi 3a - ae - Ba - e - re Hee - KOJib - ko CTpyH. You do af - feet cer - tain strings in our hearts. KaK a - to npa-BHJib - ho, This is the truth, com - rades, m l } mm f Tpoft. Trk. m KaK a - to Bep - ho! that's how it should be! Hani ne - jio - BeK Our So - viet man f i ? I * * f 3^ 0 is HeHb CJIOttC a com HblH plex J j j 30 Tpoň. Trk. -ß—ß- 72n op - ra - HH3M. or - ga - nism. Ham ne - jio - Ben Our So-viet man I Ji Ji J> Ji JJI'É 0-HeHt CflOHC-Hblfi 0p-ra- HH3M. ís a com-plex or-ga-nism. ji st f-t J A m f f 31 f f |» #—• Tpoň TV*. B Ž i) J> J) J) IZ2 Ham ie - ko - BeK Our So - viet man o-neHb c^oac-HHH op-ra- hh3m. is a com-plex or - ga -nism. Ham 4e - jio - BeK Our So - viet man *—t t ■ß- -0-^— 1— 1— > T ji --i i —^— -4)|-n—r— >— f— "1—*—ř— *- -}-}-1 f— ->—>— 4- 71-f-*— f ~1->-f—' ^J---ř m í— J * * 1 --f-£- w --ř-í— • -J-í-í— /Ji... ' 01 vi er esc ff - Presto Tpofi Trk. ■)■■ s s p g §jai j o-neHb ejioHc-Hbifi op-ra - hh3m!_ is a com-plex or-ga - nism!_ I f f4 SE f f TpOH. Trk. 1 i i >nlH p p pp|F I /Tz 0-4eHb CJIOK-HblH op-ra-HH3M! Ve - ry com-plex or-ga-nism! 32] Moderato 31 P Tpofi Trk. I > P p P P P J P j t P P P P lp P P M 7 IIo - 3 - TO - My, TO - Ba-pH-IltH, HaM Hy}K-HbI CHM-(j)0- HH -H, Dear com-rades that's the reason why, -why we now need sym-pho-nies no -and ■9-" IE T5 rit. Tpofl. Trk. V: p p v p P P 7 P ip p t p p p v p |p p v p p p I g -3 - Mbl, po-ems, Q-9- KBap-Te - Tbi, quar- tets and CO - Ha-Tbl, can - ta- tas ■9- CK) - H - Tbi, and quin-tets, ck) - H - Tbi, so - na-tas, kbhh-Te-Tbl. so - na-tas. .21 TT i 5 accelerando poco a poco Tpoii. Trk. k>- b ^ ip p j' J' ir J» i' » p ir m -ce - jiw - e KBap - Te - th - kh, KaH - Ta jot - ly wee can - ta - tas and quar - tets TKH MO - H. 3x, and mo - tets. Ech, Tjihh Glin Ka, Ka ka, Ka f y ft |> f y ft 32 TpoK. Trk. P ■jinn - Ka, Ma - ma ■ tin - ka, Ma - lin Ka MO - H, ka, my pets, pa3-CHM - (pO What a shit HH-a, no - 3M Zo£ 0/ po Ka, CK) -ems, quay- P Tpoa. gj: 7VA -HT - Ka MO - a. 8x, T^HH ■tets and fu - ghettes, Ech, Glin Ka, ,H3ep-3KHH &a, Dzer - shin Ka Th - IIIHH ka, Ti - shin Ka MO ka, my 5 5 5 TpoK. 2>A. a -a, pa3-xpe-Ho pets, What a shit Ba-a no - 3M ty lot of po Ka, CK) - HT ems, qittar - fete m \ y j p j ; I p 1 j lg Ka, mo - a... Ho awd - ghettes... But ['] 5 V ritenuto 34 TpoK. Trk. u. Alia marcia z.__ g Hy}K - HO awe w«s^ noM - HHTbBcer-aa: «e - yer ybr - get: t>m - TO/Ib-HOCTb, 6flH - TeJlb-HOCTb, Vi - gi - lance, vi - gi - lance, m fit mm cresc. f §5 5 5 1 1 see 'Foreword' 33 Tpoä. Trk. ■>:% i I p pip i if p p if p p h F ppip w Beer-/ia, Be3-/ie, «e - wer re - Ja*, tm - Teju-HocTb^flH - TeJib-HocTb Bcer-aa BO BCeM. Vi - gi - lance, vi • gi - lance, in e - very-thing. ifi j p r m 3 3 fee 35 Tpoß. m iTprp piff p p Tipp p pia«p p j m i flo-CTO - HH - HO BCM-fly 6^h! Hh-ko-My He Al-ways watch-ful, on your guard! Not a word to TO - BO - pH a - «_y - one 3 COnPAHO SOPRANOS 3 AJILTbl ALTOS EßH - TeJIb-HOCTb, Vi - gi - lance, 1 TEHOPA TENORS J i 5 3 1 BACbl BASSES EflH - TeJIb-HOCTb, Vi - gi - lance, f. SO p 0 , *« I'] 3 ^5 34 h 11 J1 mil * ir 11 ir 11 iv^^ 6/ih - Te^b-HocTb Bcer-4a,Be3 -ae, - gi-lance, ne-ver re - lax, 6m - Tejib-H0CTb,6AH - TeJib-HoeTb Bcer-^a, bo Vi - gi - lance, vi - gi-lance, in e-very it j 5 J' J'Ji IhiE^ 5 ^^^^ h y J' i p J1 I I* ^ > J' 6flH - Te^b-HoeTb Bcer-4a,Be3-fle,Beer-aa,Be3-^e. ..TeJib-H0CTb,6£H - Tejib-HOCTb Beer-aa,BO vi - gi-lance, ne-ver re - lax, ne-ver re - lax. ..gi- lance, vi - gi-lance, in e-very- g| f I p I I 8 g | f J'J> p i j I g p I^B is m m E2 Piatt i(ad lib) f ^5 7 k S ^5 M sub.p e cresc. 5 h li' J' J' i1 IJ^ i' J> l»J' ^ g j 7 i BCeM. ■ thing. IIo - cto - hh - ho Bew-fly tm - Te! Hn-ne - ro He Al - ways watch-ful, keep on your guard!Not a word to sub.p e cresc, ro - bo - pn - Te! a - ny - bo - dy! i_I i i i jrpvj. i J' Ij-> a J' P ^ sub.p e cresc. ^5 • 1) BceM,Bcer-iia bo BceM..CTo- hh - ho BCio-ay 6ah - Te! Hn-ne-ro He ■thing, in e - very - thing. watch-ful, keep on your guard! Not a word to sub.p e cresc. ro - bo - pn - Te! a - ny - bo - dy! p p ^Hjp p j p IP P P P Ip p I g j pip 7 6 _ Jp SI s«A.j9 e cresc. /Ii f& TPOMKMH troikin 36| Maestoso 35 I Be-«in-khh B03K/it HacBeex y - hhji h 6ec-npe-CTaH-Ho ro - bo - pHJi: CMo-TpH-Te As our great lea - der tea-ches us and ne-ver tires ofpoint-ing out: Lookhere,look 5=£ Piatt i _JL ^1 m M1J Tpofl. Tr*. J>P p lp ?p p J1 5 3aecb, CMo-Tpn-Te TaM, nyeTb 6y - aeT CTpam-Ho BceM Bpa-raM. Cmo-tph Ty-there, look e - very - where, We'll make the foe cringe in his lair. Keep look • ing h 5 * f v=M "P~ J^P 37 3v 8 7 i - ,aa, GMo-TpH cio - na a Bw-Kop-ne-Bbi-Bafl Bpa-ra._ here, keep look-dng there, Let all our e - ne-mies be - ware. COriPAHO sopranos CMO-TpH-Te AJILTLI Look here,look altos ff 3(3 3/ieeb, cmo-Tpn - Te tsm, nycTb Bpar Tpe - ne - meT no no - urn. Cmo-tph Ty there, look e - very - where, We'll make the foe cringe in his lair, Keep look -ing I % b> u = S- \-- -\-k-c-:- 1 h Jf=f -HA L h 1 d 1-1 s—- \-- Jj J1 J -rV- 1 h n-T --m P-- '--1 iM—?—b-^—H— 3Aecb, cmo-TpH - Te TaM, nycTb Bpar Tpe - ne - meT no no - msm. Cmo-tph Ty there, look e - very-where, We'll make the foe cringe in his lair, Keep look-ing m I Jic p ip- p J' i; j J1 > i i s tftf-cftf,|^r trtfrcf-cftf-cfjtafetafe HI 4 t=F=JF -aa, cMo-Tpn cm - aa h bu - Kop - ne here, keep look - ing there, We'll make our e bm - Ban Bpa - ra. ne - mies des - pair. -/ja, CMo-Tpn cio - aa h bh - nop - ne here, keep look - ing there, We'll make our e bh - Ban Bpa - ra. ne - mies des - pair. I 5 TPOHKHH lM TROIKIN P. 37 r P p If P P h P | plprj Bah - Tejit-HoeTt,6AH - Tejit-HocTt Bcer-aa,Be3-fle, Vi - gi-lance, vi - gi-lance, ne-ver re-lax, 6ah - TeJib-HocTb, Vi - gi - lance, mm h is 3E3 39 33 p p I* p p p Ip » t lp p P P ip p \ I Tpoft. Trk. 6AH - TeJIb-HOCTb oi - - lance, Beer -Aa bo BceM. t»t e - very-thing. He aa-BaTb jiio-6oh no-nwT-Ke We shall not per - mit the rot - ten V:¥* j f y f j. E2 Tpofi. HI 7VA. C ¥* p p p P P l«Pig=lg pif p p j P^ npo-HHK-HO-BeHb - h 6yp - scy - a3-Hoii h /« - flu-ence of a bour-geois i - de - o Ae - o - jio - rn - h b Ha - niy mo - jio -lo - gy to in - fil-trate our So - viet i t 1 > b 71 7 f 7 g j j 40 TpoS. TV*. p * * p p ir p -p-ij> P r p ip 7 g - Aeacb. youth. 8 - thm Tbi Ha - niH h - Ae - h c6e - pe - acenib. Thus we'll pre-serve the true force of our i - deas. 3 s tiff Tpofi. Trk. ■>■■¥* p p p p ip p m g p i e i $ 111 p i Hy, a ec - jih 6yp-acy - as - hm - e h - Ae - h kto- HH-6yAb Boc-npn - MeT, Ha- if bour-geois con-cepts should take hold of a - ny - one, Then we'll im - pri - son them, gj r t mm TpoH. TV*. fill ;; "> gg r p p i j. p p p ip > * i"r p *p i j V cresc. -flOJi - ro Tex 6y-AeM mm ea-iicaTb. Pm/ §em in - side for years to come. H b Jia - re - pa y /it - fcotti- camps of Tpofi.ggg 42 Tpoa.l fc): Mit Trk. - mm I , r if I _ ca _ /« acaTb, side, ea acaTt! side! aa, ea acaTb, side, ea IH acaTb! M side, To BJia - re /a - hour pa camps I Aa, ca yes, In scaTb, side, ea in acaTb! M side, To b Jia - re - pa la - hour camps sal dim. p #5 *MweeTca b may "Bcex" no/uaBiuHxca bjihhhhk> 6ypiKya3Hoft HflecuorHH.Bcex BbiebiJiaTb b Jiarcpn 6buo 6w odjh6koh: Ha4o,Be4b,HTo6bioCTaJicn kto-to 4Jifl 6ecnoma;iHoH 6opb6bi cito6biMn noEWTKaMH npoHHKHcmeHbH 6yp;Kya3HoEi naeo;iornH. (IIpHMeHaHHe peaaKumi). have in miiid'all' who arc under the rotten influence of bourgeois ideology. To Mud 'aW to labour camps mould be an error; after all, It mould be necessary for somebody to remain to continue the merciless fight against the attempted infiltration of bourgeois ideology. (Editors note). 43| Meno mosso Tpoft. ZV4. Be-JIH-KHH BOOKilb HSC BCeX y-HHJI H no-CTO-HH-HO rO-BO-pHp|:CMO-TpH-Te 3fleCb,CMO-TpH-Te As our great lea - der tea-dies us andne-ver tires ofpoint-ing out, Lookhere,lookihere,look e-very- mm 1 as Meno mosso i as Tpofl. g P P p PIP ^ I 44 3=£ 7V*. it TaM, nycTb 6y-.aeTCTpaiii-HO BceM Bpa-raM. - where, We'll make the foe cringe in his lair.. X CMO-TpH-Te 3/ieCb, CMO-TpH-Te Look here,look there, look e-very if fag CMO-TpH-Te 3aeeb, CMO-TpH-re Look here, look there, took e - verv JL ^np'p i g p if 41 ft T3M, nyeTbBpar Tpe-ne-meT no ho - naM. Cmo-tph Ty - aa, CMO-TpH cio - aa h Bbi-Kop -where, Let all our e - ne-mies be - ware, Keeplook-ing here, keep look-ing there, We'll make our TaM, nyeTbBpar Tpe-ne-mer no ho - naM. Cmo-tph Ty - aa, eMO-TpH cm - jxa a Bbi-Kop -where, Let all our e - ne-mies be - ware, Keeplook-ing here, keeplook-ing there, We'll make our ilK' M IP ^PfP É ml P accelerando Presto ne - Bbi e - «e Baft Bpa mies des ra! _ pair!. ne - Bbi e - ne Baň Bpa mies des -)■■% r P iľ=^ ra!_ pair.L ÉÉ accelerando 'm. Presto m i í- -j7—r T 7 42 H I] 'AHEU -5- fMf-f *—1 »—1 ■ ■ — f » i ft — T i*= rf -■ r • p . f r -p— * rMi \— |M J 1 fag' u-£ J - i - T L =fc=l if- -— •—I p= •): | —*—9^ -f— ■ p r -■ ► f—L —J- =41 s i |J_Z-£-^_ .ft ■ ---^ ■ -ff^ -ir»t— • ■ * .... _L«, 1* -J--—-■ m i—f. —^ yf f=S J-1—■dB f& '- *- p —*- J CJ 1 -—"—£-- '1: :ii ■ ■1_ 1* rf J fa—.J • ■ • ■ ------ - m rf-#| t-. f=f f *f —^ •If" »—i 1 J --W->- p 0 --jp M * ---9 pi ■ te- ■I' ' -If 1-1— ** f ■ -rf ar > J-1—MR p r —#- 1 _j—*-- P-M— *OnneaHne TaHua: Ha moth Be "CMOTpme 3accb" TaHuy>omne cmotpht 3jeeb Ha moth bg "CMOTpnTe tsm" TaHuywiuwe CMOTpaT TaM. BbipaaceHHe may TaHuyiomux jo.ijkho 6un TaKoe,4To6u hsuih meflHUC eparH nonaja^h ot dpaxa. *Ueicriplion of the ttance: on the motif "Look hen" the dancer's should look here. On the motif "Look there" the dancers should look there. The expression on the dancers'faces should be such that our ideological enemies dissolve in terror. <• i+ **Jlo6aBJieHHG pejaKTopa. B aBTorpatpe 3tot aKKopj oTcyTCTByer. —w , .,,» **This final chord is nut included in the manuscript. BonpOCbl no e IHHmie-IJBOHKO-TpOHKHHCKOH 3CTeTHKC 1. KaKyio My3biKy nHiuyT Hapo^Hbie KOMno3HTOpbi? 2. KaKyio My3biicy nHiuyT aHTHHapoflHbie KOMno3HTopbi? 3. rioMeiviy HapoflHbie KOMno3HTopbi nHiuyT peajiHCTHnecKyio My3biKy? 4. rioHeiviy aHTHHapoflHbie KOMno3HTopbi nHiuyT (popMajiHCTHHecKyio MysbiKy? 5. B neM 3aKJiK>MaeTCH 3aflana HapojiHbix KOMno3HTopoB? 6. J],oji>KHbi xih aHTHHapoflHbie KOMno3HTopbi npeKpaTHTb CBoe Sojiee HeM coMHHTeJibHoe 3KcnepHMeHTHpoBanHe? 7. TpeSyeM jih mm ot My3biKn KpacoTbi a H3amecTBa? 8. HeM HBjiaeTCH My3biKa He MejiOflHMHaa, He 3CTeTHHHaH, He rapMOHHHHaa, He H3aiuHaa? 9. Hto TaKoe My3biKajibHaa 6opMaiiiHHa h My3biKajibHaa nymeryOKa? 10. KaKOH flOJi>KHa 6biTb ne3rnHKa b KaBKa3CKHx onepax? 11. .Elp.riJKHbl JIH Mbl 6bITb K3K KJiaCCHKH? 12. J1,oji>kho sin y Hac SbiTb Bee KaK y KJiaccHKOB? 13. Cjio>khmh jih opraHH3M y Hauiero nejiOBeKa? 14. Hy>KHbi xih HaM CHMCpoHHH, nosMbi, KBapTeTbi, coHaTbi, cioHTbi, cpyrw? List of questions on Yedinitsyn/Dvoikin/Troikin aesthetics 1. What kind of music is written by people's composers? 2 What kind of music is written by anti-people's composers? 3. Why do people's composers write realistic music? 4. Why do anti-people's composers write formalist music? 5. How do you define the aim of people's composers? 6. Should anti-people's composers cease their highly suspicious experimentation? 7. Do we demand beauty and elegance from music? 8. What is the nature of unmelodic, unaesthetic, unharmonious, and inelegant music? 9. What is a musical road drill and a musical gas chamber? 10. What are the properties of the Lezghinka in Caucasian operas? 11. Should we be like the classics? 12. Should everything we do be like the classics? 13. Does our Soviet man have a complex organism? 14. Do we need symphonies, poems, quartets, sonatas, suites and fugues? [5b] Pomůcka studentům O boji realistických tendenci v hudbě a formalistických tendencí v hudbě Slova i hudba neznámých autorů* * Jak nás informoval Resort Hudební bezpečnosti, po autorech se pátrá. R H. B. ujišťuje, že budou vypátráni. (poznámka vydavatele) Od vydavatele Ještě před tím, než předložíme naší hudební veřejnosti následující dílo, vydavatelství považuje za nezbytné doplnit některé údaje. Rukopis tohoto díla byl objeven v krabici s nečistotami kandidátem estetických věd P. I. Opostylovem. Pečlivě odděliv od rukopisu přilepené k němu nečistoty, soudruh Opostylov, zběžně jej (rukopis) přehlédnuv, předal jej vydavatelství s vlastní předmluvou, kterou předkládáme vaší pozornosti. Toto o rukopise napsal P. I. Opostylov: »Když jsem objevil v krabici s nečistotami tento rukopis, chtěl jsem jej původně vrátit zpět, tedy do krabice s nečistotami. Pod nečistotami, které byly přilepeny k rukopisu, jsem však objevil nedokončené dílo vokálního typu. To mě přimělo pečlivě rukopis oddělit od nečistot (...f Navzdory přijatým opatřením (byli vyslechnuti všichni skladatelé i všichni básnici) se nepodařilo určit autory (autora? poznámka P. I. Opostylova) hudby ani textu. Je tedy třeba předpokládat, že se jedná o dílo neznámého autora (autorů? poznámka P. I. Opostylova). Mimořádná úroveň jak hudby, tak i textu nás přivedla k názoru, že jde o dílo mimořádné úrovně. Skladatel3 mistrně čerpá z odkazu lidové tvorby (viz č. 6, 12, 23, 28 - od 6. taktu, 33). Hudba se ústrojnč pojí s textem, který je prostoupen závažnými idejemi. Prostými a jasnými slovy básník (a snad současně i skladatel, neboť je možné, že se v obou případech jedná o jednu a tutéž osobu - poznámka P. L Opostylova) nabízí inspirující výzvy. Živě a srozumitelně vystupuji tři řečnici, účastníci svobodné diskuse: Jedinicyn, Dvojkin a Trojkin. V Trojkinově řeči se mění próza na poezii. Verš znamenité úrovně (viz č. 33) přímo evokuje domněnky o šíři básníkova nadání. Přesto si k textu nelze odpustit jednu poznámku: V své řeči Trojkin chybně artikuluje .JAimskij-Korsákov" ačkoliv všichni víme, že se vyslovuje „Rimsirij-Korsakóv." Stejně znamenitě jako verše působí i prozaický text. Autor jako by nás zavedl do Paláce kultury na schůzi věnovanou palčivým problémům naší současnosti, jmenovitě boji realistických tendencí v hudbě s formalistickými tendencemi v tomtéž. Naši práci na poli kultury autor rozhodně nelakuje narůžovo. V břitkých a satirických slovech (viz takt č. 4 od .Publikum je u nás jaksi nesprávně zaměřeno.") stíhá ty špatné kulturní pracovníky, kteří nedokážou strhnout návštěvníky kulturních klubů pracujících ke studiu aktuálních otázek hudební vědy. Poté předseda předává slovo soudruhovi I. S. Jedinicynovi. Hluboká analýza současné situace v hudbě, autorem vložená do úst soudruha I. S. Jedinicyna, vyvolává nadšení účastníků schůze, kteří vítají I. S. Jedinicyna bouřlivým a dlouho neutuchajícím skandovaným potleskem přerůstajícím v ovace (viz č. 13). Je třeba říci, že řeč soudruha Jedinicyna je vskutku základním dokumentem pro otázky hudby. Je psána přístupně a srozumitelně. Hudební rozbor poskytneme později. Posléze předseda přenechává slovo soudruhovi A. A. Dvojkinovi. Oslnivý vtip řečníka a jeho duchaplné výpady proti disonancím a atonalité vyvolávají smích účastníků (viz č. 15 a 16). I smích bojuje. Ano, soudruh Dvojkin svými zacílenými poznámkami na adresu všech těch „teorií" a „teorijek' disonantistů a atonalistů rozmázl všechny tyto „teorie" a „teorijky" na celé čáře. Zcela jasně definuje soudruh A. A. Dvojkin melodičnost a uměřenost (viz č. 17). Jeho výroky o melodičnosti a uměřenosti se stanou součástí zlatého fondu naši 2 poznámka vydavatele: P. I. Opostylov dále podrobně popisuje, jak oddělil nečistoty od rukopisu. Tento popis sám nepředstavuje vědecký zájem, proto jej vydavatel vypouští. 3 poznámka P. I. Opostylova: Ve všech dalších případech, když bude řeč o autorovi hudby, budu psát „skladatel" a v souladu s tím o autorovi textu - „básník," přestože existuje možnost, že skladatel i básník jsou jedna a tatáž osoba. muzikologie. Opravdový vrchol pak představují Dvojkinovy pasáže o lezgince. Bez nějakých zavádějících pasáží přesvědčivě dokazuje, že lezginka v kavkazských operách musí být pravá. Nesmírně obsažné vystoupení soudruha A. A. Dvojkina přijali účastnici schůze s vřelými sympatiemi. Autor (nebo autoři? poznámka P. O.) dokázal zdařile vystihnout atmosféru svobodné diskuse, což se zvláště projevuje ve vystoupeni soudruha D. T. Trojkina - žel ve vystoupení nedokončeném. Soudruh Trojkin přesvědčivě poukazuje na to, že potřebujeme symfonie, suity, symfonické básně. Pojednává o složitém duševním světě našeho člověka a vyzývá nás, abychom se učili od klasiků (viz č. 28). Skladatel s velkým mistrovstvím a s opravdovým novátorstvím vyjádřil ve své hudbě všechny hloubky textu. Právem využívá i velké bohatství lidového umění. Tak třeba v řeči I. S. Jedinicyna je cítit něco kavkazského. V řeči A. A. Dvojkina, zvláště při slovech, že lezginka musí být pravá, také cítíme něco kavkazského. V řeči D. T. Trojkina, v pasáži, v níž vyzývá, abychom se učili od klasiků, je mistrně využita Kamarinskaja (viz č. 28). Skladatel zvláště přesvědčivě interpretuje nej významnější místa textu. V okamžiku, kdy se pojednává o krase, je hudba krásná (viz č. 17). Tam, kde se hovoří o melodičnosti, je hudba melodická (viz č. 19). Pravě a pouze takto se maji spojovat hudba a text. Jestliže tomu tak je, a opravdu tomu tak je, pak je třeba konstatovat, že se toto spojení skladateli plně zdařilo. Vše je spojeno hudbou, v níž postřehneme ruské kořeny (od č. 33). To svědčí o tom, že autor přiznává ruské hudební kultuře vedoucí úlohu.* Ne vše beze zbytku se skladateli zdařilo. Již dříve jsem poukázal na to, že akcentuje „a" ve slově „Korsakov," ačkoliv všichni dobře vědí, že prízvuk je na „o" - „Korsakov" (viz řeč na Sjezdu skladatelů). To je samozřejmě podstatný nedostatek partitury,5 nikoliv však nedostatek převažující. Základní přednosti analyzované skladby jsou lidovost, jasnost, hloubka a opravdové novátorství...« - Zde rukopisná předmluva P. I. Opostylova náhle konči. Před časem P. I. Opostylov ve shodě s inspirujícími idejemi a principy bojoval jak napravo, tak i nalevo, ztratil rovnováhu a spadl do krabice s nečistotami. Jeho spolubojovníci, kteří byli spolu s ním v akci - a sice člen výboru Ministerstva ideové čistoty B. S. Srjurikov, stejně jako pracovnici resortu Hudební bezpečnosti B. M Jasrustovskij a P I. Srjumln - z telefonního automatu, který se shodou okolností nacházel ve stejné části města, neprodleně kontaktovali nejbližší fekální jednotku, která se na místo dostavila bez prodlení ihned po popsaném incidentu. Vyzbrojeni nejmodemějši technikou, specialisté z fekální stanice, která se řadí knejlepším fekálním stanicím v hlavním městě, vyňali z krabice s nečistotami toliko sedm kusů trusu, z nichž žádný nebyl identifikován jako soudruh Opostylov. V besedě snáším spolupracovníkem fekální expert doktor Ubljcev sdělil, že takové případy jsou známy a že pokud umístíme člověka typu Opostylova do krabice s nečistotami, pak se v nich následně celý rozpustí, přičemž nelze odlišit trus od P. I. Opostylova. Tragický konec P. I. Opostylova byl zaprotokolován milicí a fekální stanicí. Když se o tragickém konci P. I. Opostylova dozvěděli vyšší a vysocí činitelé, jednomyslně deklarovali: „Jaká škodal Je nám třeba Opostylovů." Je povinností našich hudebních činitelů dokončit tuto skvělou a hlubokou analýzu soudruha Opostylova a jednat v jejím ducha 4 poznámka vydavatele: Užití kurzívy: P. I. Opostylov 5 poznámka vydavatele: Soudruh Opostylov se mýlí: skladba existuje pouze v klavírní verzi. [6b] Antifbrmallgtické nebíčko - libreto Poznámka: K provedeni je třeba čtyř basů a smíšeného sboru. Přesto lze množství sólových interpretů snížit na jediný bas. Umelec musí být schopen sebatransformaca, čímž zastane všechny čtyři rola Sbor hudebních činitelů a činitelek je možné zcela vynechat, neboť celá role hudebních činitelů a činitelek spočívá v projevech jásotu a radosti, což je zřejmé i ze samotného deje - jinak to ani být nemůže, (pozn. autorů) Osoby: Předseda-bas L S. Jedinicyn - bas A. A. Dvojkin - bas ;D.T.Trojkin-bas Sbor hudebních činitelů a činitelek Předseda: Tak, soudruzi, začneme, ano? Publikum je u nás jaksi nesprávné zaměřeno. Pořád ještě přežívá podceňování kulturního významu přednáškové propagandy. A protože na základě plánu našeho domu kultury máme dnes na programu několik vystoupení na téma „Realismus a formalismus v hudbě," tak se, soudruzi, do toho pustíme. Co říkáte? (Hudební činitelé mlčí.) Přijato jednomyslně. Úvodní referát na tuto tematiku přednese náš hudební vědec číslo jedna, náš hlavní poradce a hudební kritik, soudruh Jedinicyn. Soudruzi, zdravíme našeho drahého a milovaného (postupné se dostává do vytrženi) velkého soudruha Jedinicyna. (Bouřlivý, skandovaný potlesk přerůstající v ovace. Všichni vstanou) Hudební činitelé a činitelky a Předseda ffiž ve vytržení): Sláva! Sláva velikému Jedinicynovi! Sláva! (Vlichni se posadí.) Jedinicyn (čte z papírku): Soudruzi! Realistickou hudbu komponuji lidoví skladatelé, zatímco formalistickou hudbu komponují protilidoví skladatelé. Napadá nás l Otázka: proč realistickou hudbu komponují lidoví skladatelé, zatímco formalistickou hudbu komponuji protilidoví skladatelé? Lidoví skladatelé píší realistickou hudbu, soudruzi, proto, protože, jsouce povahou a založením realisty, nemohou nepsat jinou než realistickou hudbu, zatímco protilidoví skladatelé, jsouce povahou a založením formalisty, nemohou nepsat jinou hudbu než formalistickou. Je zapotřebí, soudruzi, aby lidoví skladatelé dále ■ rozvíjeli tvorbu realistické hudby a aby protilidoví skladatelé přestali se svými více než pochybnými experimenty formalistické povahy. Předseda: Výborně! Skvělé! Soudruzi, poděkujme našemu drahému a milovanému soudruhovi Jedinicynovi za jeho historický projev, za jeho vystoupení a za ' obohaceni a objasněni důležitých otázek hudební tvorby. (Bouřlivý, skandovaný potlesk přerůstající v ovace. Všichni vstanou) Hudební činitelé a činitelky a Předseda: Děkujeme, děkujeme za historický projev, děkujeme za otcovskou péči a starostlivost! (Všichni se posadí.) Předseda: Podle plánu následuje, soudruzi, vystoupení našeho muzikologa číslo dvě, soudruha Dvojkina, o kterém je známo, že má krásný hlas a vokalizuje své projevy. Předávám slovo soudruhu Dvojkinovi. Dvojldn: Soudruzi! (žertuje) Svým vystoupeni nechci zdůrazňovat disonance (smích) nebo (dále žertuje) vnášet principy atonatity (smích) do ideji, které jsme vyslechli. Soudruzi, my vyžadujeme od hudby krásu a souměrnost. Zdá se vám to divní? Ano, vám se to zdá divné, divné soudruzi, a přece tomu tak je. Nepřeřekl jsem se, je tomu tak Jsme pro takovou hudbu, která je krásná a souměrná. Hudba nemelodická, neestetická, neharmonická, nesouměmá - to je něco jako vrtačka u zubaře nebo plynová komora. (Obecný smích. Dvojkin se také sméje.) A tak si, soudruzi, zamilujme to krásné, souměrné, estetické, harmonické, melodické, pravidelné, polyfonni, lidové, ušlechtilé, klasické. Kromě toho bych vám rád, soudruzi, oznámil že vkavkazských operách to nejde bez pravé lezginky, prostě tam musí být opravdová lezginka. (ztvrdnou mu rysy a začne skandovaně recitovat) V kavkazských operách lezginka musí být prostá, populární, udatná, prostá, populární a určitě pravá kavkazská hlavně musí byt vždycky pravá a jenom pravá a vždy pravá a pravá, pravá, pravá, pravá!!! (opakovaně) Hudební činitelé a činitelky (začnou se tvářit udatně, imituji kavkazská horaly, vykřikuji a co nejhodnověrněji manifestuji svoji solidaritu se směrnicemi, které jim vnukl soudruh Dvojkin): Assa! Assa! Assa! Předseda: To bylo pravé vědecké vystúpení. Jaká analýza! Jaká hloubka! (SkromnějSl potlesk, rozhodně nepřechází do ovaci Viichni sedí.) Slovo má soudruh Trojkin. Trojkin: Soudruzi! (třídí si myšlenky) Musíme byt jako klasikova Všechno musíme mít jako klasikové. Ano! Olinka, Čajkovskij, Rimskij-Korsakov jsou pbi hudby, krásy a řadu. Olinka, Čajkovskij, Rimskij-Korsakov jsou zvuční, zpěvní, krásni a správní! Olinka, Čajkovskij, Rimskij-Korsakov dotýkají se těch správných strun! Tak je to správné, tak to má být! Náš člověk - to je totiž, soudruzi, velmi složitý organismus (zasmuší se), velmi složitý, velmi složitý organismus, ano, soudruzi, velmi složitý organismus je totiž našinec. A proto, soudruzi, potřebujeme symfonie, symfonické básně, kvartety, sonáty, suity, suity, kvintety... Suita, suita, sonátkoty má, kvartetky, kvartetky, kantátko ty má. Ach, Olinko, kalinko, malinko ty má, Ty symfonie, poémko, suitko ty má. Ach, Olinko, Dzeržinko, Tiäinko ty má, Rozkřeněná poémko, suitko ty má... Ale je třeba, soudruzi, mít vždy na paměti: Bdělost, bdělost a ostražitost, vždy a všude, ať tu kdo chce s námi bude prostě bdělost, pořád, všude, ať tu kdo chce s námi bude. Buďte bdělí, držte hubu, ostražití čím dál tím víc, mlčte, neříkejte nikde nic! Hudební činitelé a činitelky: Bdělost a ostražitost vždy a všude, ať tu kdo chce s námi bude, buďme bděli, držme hubu, ostražní čím dál tím víc, mlčme, mlčme, neříkejme nikdy, nikde a nikomu nic! Trojkin: Náš velký vůdce říkal rád a opakoval nastokrát: všeho si všímejte, ošidit se nedejte, šmírujte tady a šmírujte všude všem diverzantom nedobře bude šmírujte tady, šmírujte všude a všem špiónům nedobře bude. Hudební činitelé a Činitelky: Všeho si všímejme, ošidit se nedejme, šmírujme tady a šmimjme všude všem diverzantom nedobře bude. Trojkin: Bdělost, bdělost, vždy a všude bdělost, bdělost, všude bude. Nedopousťme, soudruzi, aby buržoázni ideje zasáhly naši mládež. Kdo senepodřidí, nebude držet zobák, potáhne do řiti a čeká ho koncentrák Hudební činitelé a činitelky: Ano, ano, ano, ano, všechny4 čeká koncentrák Trojkin: Náš velký vůdce říkal rád a opakoval nastokrát: všeho si všímejte, ošidit se nedejte, Šmírujte tady a smiřujte všude všem diverzantom nedobře bude. Hudební činitelé a činitelky: Kdo se nepodřidi, nebude držet zobák, potáhne do řiti a čeká ho koncentrák. Všeho si všímejme, ošidit se nedejme, šmírujte tady a šmírujte všude, všem diverzantom nedobře bude! TANEC' Máme na mysli „všechny," kdo se nacházejí pod vlivem buržoázni ideologie. Všechny poslat do lágrů by však bylo chybou: někdo tu přece musí zůstat, aby pokračoval v nelítostném boji proti pronikáni prohnilé buržoázni ideologie, (poznámka vydavatele) 7 Popis tance: na motiv „šmírujte tady" tanečníci šmírují tady. Na motiv „šmírujte všude" tanečníci šmírují všude. Výraz v jejich tvářích musí být takový, že se naši ideoví vrahové rozpadnou v hrůze. český překlad a zveršovaní libreta: Miloš Štědroň Otázky k procvičeni iecUnicynskD-cfroildnsko-troikinské estetiky: 1. Jakou hudbu píší lidoví skladatelé? 2. Jakou hudbu píší protilidoví skladatelé? 3. Proč lidoví skladatelé píší realistickou hudbu? 4. Proč protilidoví skladatelé píší formalistickou hudbu? S. V čem spočívá úloha lidových skladatelů? 6. Je zapotřebí, aby protilidoví skladatelé přestali se svými více než pochybnými experimenty formalistické povahy? 7. Vyžadujeme od hudby krásu a souměrnost? 8. Jak se jeví hudba nemelodická, neestetická, neharmonická, nesouměrná? 9. Co jsou v hudbě vrtačka u zubaře a plynová komora? 10. Jaká musí být lezginka v kavkazských operách? 11. Musíme být jako klasikové? 12. Musíme mít všechno jako klasikové? 13. Je náš člověk složitý organismus? 14. Potřebujeme symfonie, symfonické básně, kvartety, sonáty, suity, fugy?