AHTHOOPMAJIHCTHHECKHň 'PAEK' J3eHCTB\H)mne Jlima BeflymHH .............................................................. 6ac H.C.EflHHHiibiH...................................................... 6ac A.A.Hbohkhh........................................................ 6ac fl.T.TpoHKHH ........................................................ 6ac My3biKajibHbie AesrrejiH n AeaTejibHHUbi.....cMeuiaHHbiťi xop ripMivieHaHiie: J](jia HcnojiHeHH» SToro npoH3BeAeHHa TpeSyioTca MeTbipe ôaca-cojiHcra h CMeuiaHHbiň xop.OAHaico kojihmcctbo hciioji-HHTeJiefl MOXHO yMeHbiuHTb no OAHoro 6aca.ApracT-6ac AOjixeH JiHiiib yMeTb nepeBonjiomaTbca n, TaKHM o6pa30M, oh cMoxeT HcnojiHHTb Bce nerape pojiH. Xop My3biKajibHbix ^eaTeneň n nesncjihmm, mojkho coBceM He HcnojiHHTb, t.k. Bca pojib My3biKajibHbix fleaTejieň h AeaTejibHHU, 3aKJiK>HaeT- Ca b BOCTOpXCeHHOCTH h CMeiHJIHBOCTH, HTO no XOAy HeÄCTBHa h TaK acHO, - HHane h He MoxeT 6biTb. (IlpnM. aBTopoß) Be^ymň: Hy, KaK, TOBapHiijH, HanHěM, mto jih? HapoAy y Hac, npaBfla, ceroflHa MajioBaTO. y Hac, npaBfla, eme npeBaJinpyeT Hefloo-ueHKa KyjibTypHoro MaKCHMynia jickuhohhoh nponaraHAbi. Ho, nocKOJTbKy no njiaHy Hauiero AB0pu,a KyjibTypbi y Hac ceroflHa coctohtch paA BbicTynjieHHH Ha TeMy "PeajiH3M h 4>opMajiH3M b My3WKe", Mbi eě, STy TeMy, to ecTb stu caMbie BbiCTynneHba npoBepHěM. IIpaBHJIbHO? IIpHHaTO. BcTynHTejibHoe cjiobo Ha STy TeinaraKy cKaxeT My3biK0BeA HOMep oflHH, Ham rjiaBHbiň KOHcyjibTaHT h My3biKajibHbift KpHTHK TOBapnm EflHHHUblH. IlonpHBeTCTByeM, TOBapnmH, Hauiero flopororo (nocmenenno npuxodum e eocmopz) n jiioöHMoro BejíHKoro TOBapnma EAHHHUbiHa. (npuiueji e eocmopz. Bypnbie, npodojiMumeAbHue aruioduc-Meumbi, nepexodnimie e oeau,uw. Bce ecmaiom.) MysbiKajibiibie jieaTejiii h aejiTeiibmiubi (yxce e eocmopze): CjiaBa! CjiaBa BejíHKOMy EAHHHUbiHy! CjiaBa! (Bce caônmcn) E;(HiiHitbiii (numaem no ôyMCatcKe): ToBapHiini! PeajiHCTHHecicyio My3bixy nnuiyT HapoAHbie kom-no3HTopw, a (popMajiHCTHHecKyio My3biKy nnuiyT aHTHHapo«-Hbie KOMno3HTopbi. CnpauiHBaeTca, noneMy peajincTHie-CKyio My3biKy nHuiyT HapoAHbie KOMno3HTopbi, a cpopMajin-cTHHecKyio My3biKy nnuryT aHTHHapoAHbie KOMno3HTopbi? HapoAHbie KOMno3HTopbi nHiuyT peajiHCTHHecKyio My3bixy noTOMy, TOBapnmH, hto, aBJíaacb no npnpoae peajiHcraMH, ohm He MoryT, He MoryT He nncaTb My3biKy peaJiHCTHiecKyio. A aHTHHapoAHbie KOMno3HTopbi, HBJíaacb no npnpoAe cpop-MajiHCTaMH, He MoryT (nay3a), He MoryT He nncaTb My3biKy (pOpMajlHCTHMeCKyK). 3a;jaMa, cjieAOBaTejibHO, 3aKJiioiaeTca b tom, HToSbi Hapo«-Hbie KOMno3HTopbi pa3BHBajiH 6 My3biKy peajiHCTHHecKyio, a aHTHHapoflHbie KOMno3HTopbi npeKpaTHJiH 6bi CBoě 6oJiee HQM COMHHTeJIbHOe SKCnepHMeHTHpOBaHHe B OÔJTaCTH My3bl- KH CpOpMajTHCTHHeCKOH. BeayiHHií: IlpaBHJibHo! BepHo! ToBapnuni, noôjiaroAapHM ace Hauiero poßHoro h jiioöHMoro BejíHKoro EAHHHUbma 3a HCTopHHe-CKyio peHb, 3a ero BbiCTynJieHHe, oôorameHbe h ocBemeHbe BaxHbix BonpocoB My3biKaJibHoro AeJia. (BypHbie, npodoAxumejibHbie aruioducMeumbi, nepexodn-w,ue e oeaifuio. Bce ecmaiom.) BeAyWHťi, MVíbiKa.ibHbie achtcjih h HejrrejibHHijbi: CnacHßo, cnacHÔo 3a HCTopHnecKyio peib! Cnacnöo, cnacn6o 3a OTenecKyio 3a6oTy! (Bce caônmcn) BejrymHŮ: rio cjieAyeMy 3aTeM nnaHy npeAOCTaBHM cjiobo My3biK0BeAy HOMep Asa, HMeřomeMy k TOMy xe ronoc h B03MoacHOCTb BOKajiH3HpoBaTb. TIpeAocTaBJiHio cjiobo TOBapHury ,D,boh- KHHy. ÍJbohkhh (ocmpum): ToBapmini! Cbohm BbicTynJieHHeM a He HMeio b BHAy BHOCHTb AHCCOHaHCbi (cjuex) hjih aTOHajibHocTb (cjuex) b Te MbicJiH, KOTopbie mm 3Aecb cjibixaJiH. Mbi, TOBapnmH, TpeôyeM ot My3biKH KpacoTbi h H3amecTBa. BaM sto CTpaHHO? fla? Hy, KOHeMHO, BaM CTpaHHO 3T0. CTpaHHbIM BaM 3T0 Ka>KeTca, CTpaHHbiM BaM sto KaxeTca. fla, Hy, kohciho, BaM CTpaHHO sto, CTpaHHbIM BaM sto KaxeTca, CTpaHHbiM BaM sto KaaceT-ca, 6yAT0 3Aecb mto-to He Tax. A Me»cAy TeM, sto Taic! H He oroBopHJica! Mbi ctohm 3a KpacHByio, H3an;HyK) My3biKy. My3biKa HeMejioAHHHaa, My3biKa HescTeTHMHaa, My3biKa He-rapMOHHMHaa, My3biKa HeH3aiHHaa, sto, sto... 6opMamnHa. Hjih, hjih... My3biKaJibHaa AymeryÔKa. (o6w,uů xoxom. JIboükuh moxe cMeemcn.) JIbohkhh: Bo3jiio6hm x.e npexpacHoe, KpacHBoe, H3amHoe, bo3jiio6hm scTeTHHHoe, rapMOHHHHoe, MejiOAHHHoe, 3aK0HH0e, nojiH-(poHHoe, HapoAHoe, öjiaropoAHoe, KJiaccHHecKoe. KpoMe toto, TOBapHm,H, a AOJiaceH BaM cooömHTb, hto b KaBKa3CKHX onepax AOJiXHa 6biTb HacToamaa jie3rnHKa, ao-Ji>KHa 6biTb HacToamaa Jie3rHHKa. B KaBKa3CKHX onepax ne3rHHKa npOCTOH AOJIXHa 6bITb H H3BeCTHOH, JIhxoíí, oôbiHHoň, nonyjiapHOH H o6a3aTeJibHO KaBKa3CKoň. OHa AOJixHa 6biTb HacToameň, BcerAa AOJixHa 6biTb nacToameň, H TonbKO, TOJibKO HacToameň, fla, Aa, A3, Aa, Aa, HacToameň. [noBTopHo] MyjbiKa.ibHbie ^eaTejiH h AeHTCJihrnmbi (jiuxo, no-KaeK03CKu, 60CKAu\A,amm, meM caMbun yöedumejibuo dejno-Hcmpupyn ceoio no/inyio conudapnocmb c edoxHoe/intovnuMU yKa3auuHMU Toeapuuia A.A. JJsoůkuhu): Acca! Acca! Acca! ANTI-FORMALIST 'RAYOK' Dramatis Personae Chairman..........................Bass I.S. 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! Beaymmí: Bot nofljiHHHo HaynHoe BbicTynjieHHe, Kaicoň aHajiH3! Kaxaa rjiyÖHHa! ()KuÔKue anjioducMewnbi, ne nepexodnmue e oeai^wo. Bce cudstm.) Cjiobo HMeeT TOBapHm TpoHKHH. TpOHKHH: ToBapHiini! (coôupaemcn c mucahmu) Mbi noJiXHbi öbiTb KaK KjraccHKH. Y Hac Bcé flOJiacHO 6biTb KaK y KJiaccHKOß! fla! TjTHHKa, HaHKOBCKHH, PHMCKHH-KopcáKOB Bbl My3bIKajlbHbI, H3HlUHbI, CTpOHHbI. TjIHHKa, HaHKOBCKHH, PHMCKHH-KopcáKOB Bbl MejIOflHHHbl, KpaCHBbl, 3ByHHbl! TjIHHKa, HaÖKOBCKHH, PHMCKHH-KopcáKOB Bbi 3afleBaeTe hcckojibko CTpyH. KaK 3TO npaBHJibHO, KaK sto BepHo! Haní HejioBCK oneHb cjioxchmh opraHH3M, OneHb cjiojKHbiH opraHH3MÍ ri03TOMy, TOBapHIUH, HaM HyXCHbl chmc})ohhh, n03MbI, KBap-TeTbl, COHaTbl, CÍOHTbl, CÍOHTbl, KBHHTCTbl... ClOHTbl, CK5HTKH, COHaTKH MOH, Pa3Becějibie KBapTeTHKH, KaHTaTKH moh. 3x, TjiHHKa, KajiHHKa, ManHHKa moh, Pa3CHMKHHKa, THUIHHKa MOH, Pa3xpeHOBan noaMKa, cioHTKa, moh... TpOHKHH*. BflHTejIbHOCTb, ÖAHTejIbHOCTb Bcerna, Be3ne, BflHTejIbHOCTb, ÖnHTejIbHOCTb Bcerna bo bcčm. Ha AaBaTb jiioöoh nonbiTKe HpoHHKOBCHbH öypyacya3Hoft HAeojiorHH b Haiuy MOJiofleacb. 3thm Tbi HaiiiH Hflen cöepexemb. Hy, a ecjiH 6yp:*ya3Hbie Hflen KTO-HHÖyflb BOCnpHMeT, Hanojiro Tex öyneM Mbi ca>KaTb, H b jiarepH ycHJieHHoro peacHMa noMemaTb. My3biKajibHbie aeHTCJin h aeHTejibHiiubi: fla, na, na, na, CaxaTb, caxaTb, h b jiarepa Bcex1 HanpaBjíHTb. TpOHKHH: BejIHKHH bo>Knb Hac BCeX yHHJT H nOCTOHHHO rOBOpHJi: CMOTpHTe 3fleCb, CMOTpHTe TaM, nycTb 6yneT CTpauiHo BceM BparaM. M\3biKaJibiibie fleHTejiH h aeHTeJibiiHUbi: CMOTpHTe 3neCb, CMOTpHTe TaM, riycTb Bpar TpenemeT no HonaM. CMOTpH Tyjia, CMOTpH cK>na H BbiKopnOBbiBaň Bpara. Ho HyaíHO noMHHTb Bcerna: BnHTejIbHOCTb, SnHTejIbHOCTb Bcerna, Be3ne, BnHTejIbHOCTb, OflHTejIbHOCTb Bcerna bo bcöm. nocTOHHHO Bciony 6nn! HHKOMy He roBopH! Taneu2 My3biKajibHbie aeHTejm h aeflTejibiiiiubi: BnHTejIbHOCTb, ÖnHTejIbHOCTb Bcerna, Be3ne, BnHTejIbHOCTb, ÖnHTejIbHOCTb Bcerna bo bcöm. nOCTOHHHO bck>ny ÖnHTe! Hniero He roBopHTe! TpOHKHH: BejIHKHH BO»mb Hac Bcex ynnji h öecnpecTaHHO roBopHJi: CMOTpHTe 3neCb, CMOTpHTe TaM, nycTb öyneT CTpauiHO BceM BparaM. Cmotph Týna, CMOTpH ciona H BbiKopiěBbiBaH Bpara. My3biKajibHbie aenTCiH h aeHTeJibiiHUbi: CMOTpHTe 3neCb, CMOTpHTe TaM, nycTb Bpar TpenemeT no noMaM. Cmotph Týna, cmotph ciona H BbiKopněBbiBaH Bpara. 1 HfneeTca b bh^y "bccx", nonnaBiuHxca bjihshhk) 6yp>*cya3HOH HfleojiorHH. Bcex BbicbmaTb b jiarepa SbiJio 6bi oujhôkom: Hano, Beab, mtoďm ocTajica kto-to... flJia 6ecnomaflHoň 6opb6bi c jiK>6biMH nonbiTKaMH npOHHKHOBCHba 6yp>Kya3HOň HfleojiorHH. (ripHMenaHHC peflaiciuiH). : OnMcaHHc TaHua: Ha mothbc "CMOTpHTe anecb" TaHMyromwe CMOTpsrr 3jccb. Ha mothbc "Cmotphtc TaM" TaHi^yiomHC cmotpht TaM. Bbipa*cHHe jihu y TaHuyrouiHx aojijkho 6biTb TaKoe, htoöw HauiH hachhbic Bparn nonaflajiH 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! 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 all1! 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 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. 1 '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