Verfügbarkeit: Dekabrʹskie večera Svjatoslava Richtera

Dekabrʹskie večera Svjatoslava Richtera: k 25-letiju festivala = Svyatoslav Richter's december nights

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Bibliographische Detailangaben
Format:	Buch
Sprache:	Russian English
Veröffentlicht:	Moskva Jurgenson 2005
Schlagworte:	Festival Svyatoslav Richterʾs December Nights > Moskau Geschichte 1981-2005
Online-Zugang:	Inhaltsverzeichnis Abstract
Beschreibung:	Teilw. in kyrill. Schr., russ. - Zsfassung in engl. Sprache
Beschreibung:	323 S. überw. Ill.

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Datensatz im Suchindex

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adam_text	Содержание Юрий Башмет Мои дорогие адреса 11 Ирина Антонова Наш «горделивый музыкальный корабль» 14 Инна Прусс Зимний путь 22 Леонид Гаккель Декабрьские вечера: имена, время, место 30 1981 Русские художники и музыка. XIX — начало XX века 38 1982 Век Моцарта. Интерьер и художественная среда 46 1983 Образы Англии {традиции и фантазия) 54 1984 Мастера XX века 66 1985 Мир романтизма 76 1986 Чайковский, Левитан 94 1987 Иоганн Себастьян Бах 106 1988 Ансамбли: сотворчество, содружество, гармония 120 1989 Мир Пастернака 130 1990 Звездный час {к 10-летию фестиваля) 142 1991 Классика и авангард 152 1992 Людвиг ван Бетховен 162 1993 Россия — Франция: встреча и диалог 174 1994 Художник читает Библию 186 1995 Юбилейные приношения (к 15-летию фестиваля) 194 1996 Посвящение Шостаковичу 202 1997 Романтическое интермеццо (Шуберт, Мендельсон, Брамс) 212 1998 Поэзии магический кристалл... 222 1999 Се человек 230 2000 Зримая музыка (к 20-летию фестиваля) 240 2001 В сторону Пруста (Моне, Дебюсси и другие) 250 2002 Образы Италии (музыка и живопись) 260 2003 Гармония и контрапункт. Россия — Германия, XIX век 272 2004 Отражения — метаморфозы 286 2005 Музей и музы 300 Участники фестиваля Декабрьские вечера Святослава Рихтера (1981-2005) 305 Summary Yuriy Bashmet Addresses Dear to Me 313 Irina Antonova Our Majestic Musical Ship 314 Inna Pruss A Winter Journey 316 Leonid Gakkel December Nights: Names, Time, and Place 318 322 Содержание Ю О О Contents Yuriy Bashmet Addresses Dear to Me 11· Irina Antonova Our Majestic Musical Ship1 14 Inna Pruss A Winter Journey 22 Leonid Gakkel. December Nights: Names, Time, and Place 30 1981 Russian Painters and Music: The 19th and the Beginning of the 20th Century 38 1982 The Age of Mozart: Interior and Artistic Milieu 46 1983 Images of England: Traditions and Fantasy 54 1984 Masters of the 20th Century 66 1985 The World of Romanticism 76 1986 Tchaikovsky and Levitán 94 1987 Johann Sebastian Bach 106 1988 Ensembles: Co-Creation, Concord, and Harmony 120 1989 The World of Pasternak 130 1990 The Hour of Triumph (the Festival s 10th Anniversary) 142 1991 Classics and Avant-Garde 152 1992 Ludwig van Beethoven 162 1993 Russia — France: Encounter and Dialogue 174 323 Contents Ю О о CM 1994 The Artist Reads the Bible 186 1995 Anniversary Tributes {the Festival s 15th Anniversary) 194 1996 Dedication to Shostakovich 202 1997 Romantic Intermezzo: Schubert, Mendelssohn, and Brahms 212 1998 The Magic Crystal of Poetry 222 1999 EcceHomo 230 2000 Visible Music (the Festival s 20th Anniversary) 240 2001 In the Direction of Proust: Monet, Debussy, and Others 250 2002 Images of Italy: Music and Painting 260 2003 Harmony and Counterpoint- Russia — Germany, 19th century 272 2004 Reflections — Metamorphoses 286 2005 The Museum and the Muses 300 Participants of Svyatosiav Richter s December Nights (1981—2005) 305 Summary Yuriy Bashmet Addresses Dear to Me 313 Irina Antonova Our Majestic Musical Ship 314 Inna Pruss A Winter Journey 316 Leonid Gakkel December Nights: Names, Time, and Place 318 Yuriy Dearto Me I have participated in many important music festivals throughout the world, but the December Nights is a special event. It is unique, since it combines music and painting in a rich and harmonious whole. And it is all the more unique, since the spirit of Svyatoslav Richter hovers in the hall at each of its concerts. The Richter s aura is the main inspiration behind the festival. And, of course, it is a star festival; suffice it to examine its programs of all years past. I am proud to be a permanent artist of December Nights. One of the unforgettable moments of my career was the concert at the Small Hall of the Moscow Conservatory, when Richter and 1 performed Shostakovich s Sonata. The great maestro was eager to communicate with the talented youth. And we — my col¬ leagues and I — were happy that this genius lived there, next to us. He could have lived anywhere, even on Mars, but he lived in Moscow, on Bronnaya Street. One day I asked Svyatoslav Teofilovich whether the idea to emigrate ever crossed his mind. He said that there were certain reasons to leave this country — for instance, the absence of toilet paper in public facilities. But Richter attached much more impor¬ tance to the country s intellectual and spiritual atmosphere. I might compare this to the music of Bach performed on an electronic musi¬ cal instrument. Its essence is so profound and sublime that no electronic instrument, no computer, can distort it. I prefer to listen to Bach on authentic instruments, but Bach is Bach even when played on a synthesizer. For me, as well as for any of those who were lucky enough to appear with him onstage, Richter was the paragon of a musician. There are great pianists who lack energy, intellect, or emotional power — in short, they are creative personalities of minor calibre. Richter s personality was immense. It happened that he was a pianist, but even if he had had a different trade, he would have been a person whom people on the street would ask for an auto¬ graph. With Richter, it was just like that. Even those who did not recognize him on the street felt that this man was outstanding. On hearing the Shostakovich s Sonata performed by us, Martha Argerich said: My God, now I have fallen in love with three musicians at once: the composer Shostakovich, the pianist Richter, and the viola player Bashmet. Indeed, I have discovered them . For us, he was a model of one s attitude to one s work, life, and conduct. Even now, he is the principal moral authority for me. side by side with my mother and my family. When I was invited to the festival for the first time, I was already engaged and could not appear. Later, when 1 began to par¬ ticipate in December Nights concerts, Moscow became the centre of my activities, and this centre had two addresses: the Pushkin Museum and Bronnaya Street. Now I feel nostalgia for those December days, when we lived for the festival alone. It traditionally closed on December 30. The next day would be an idle one, and we would realize that we had no Christmas tree. In those times it was not so easy to procure one: you had to stand in long lines. However, we were always able find a tree in the evening, a few hours before midnight. And this happened three or four winters in a row. The organizers of December Nights are devoted to the fes¬ tival with all their hearts. First of all, I should mention the great Irina Aleksandrovna Antonova, the mover of the whole event. Inna Efimovna Pruss has been at the head of the festival s administra¬ tion throughout all these years. All of us, Richter s associates, try to keep his flag flying. I consider it a great honour to become the artistic director of December Nights. No doubt Richter cannot be replaced. He was unique. Yet his undertaking has to be continued by somebody. And the festival is still alive! Now it is celebrating its silver jubilee. The past twenty-five years can be considered a triumph for the festival. And we ll continue Richter s work, trying our best to heighten our standards. I am sure that Richter rejoices at our efforts. I would like to congratulate those involved in the festival: our artistic council, our technical staff, and, especially, our audiences. Their attention is so dear to us! And í am sure that the work will not die. The festival exists in the vanguard of cultural life, and it has to remain there. Every year my touring schedule is organized in such a way that in December I am in Moscow. Every December I recall my 313 Yuriy Bashmet: Addresses Dear to Me LO О О CNJ student years and the apartment at Bronnaya Street. We were preparing for the event, inspired by the common idea. Everything revolved around Richter, everybody was carried away. The enthusiasm of those December days is ingrained in me. And I know that in December my place is in Moscow, at December Nights. Irina Antonova: Our Majestic N Music is the most important thing in my life, but my life is not music alone. I could have become not only a musician, but. .. yes, I could have become an artist, a painter... Svyatosiav Richter In the summer of 1981, in the beautiful French city of Tours, after a fantastic performance of Liszt s Transcendental Studies, Svyatosiav Richter agreed to establish an annual musicfestival at the Pushkin Museum of Fine Arts. He also proposed the festival s name: December Nights. By that time, Richter s relations with the Pushkin Museum had had a long history. His first concert at the museum took place in 1949. With time his appearances became more frequent. Since 1974, he played in the halls of the museum every year, appearing with Nina Dorliac, Oleg Kagan, and the chamber orchestra under Yuriy Nikolaevsky. In 1978, Richter presented his private collection of paintings and drawings at the Pushkin Museum — portraits of those he knew and loved. The exhibition was named A Musician and His Encounters in Art. Richter did not actively acquire art: his collection, though fairly extensive, consisted mainly of gifts from his artist friends. And yet the exhibition revealed an important part of the great musician s spiritual world — his love for fine arts. Heinrich Neuhaus perceived this before anybody else: He isa man of vision to the same extent as of hearing, and this is a rare combination! For him, any music is full of images . Richter was sure that he could become a painter. Half-joking- ly, he said that he had been a painter in his past life — a Renaissance one, of course . The pianist s attempts at fine arts are small pastels, created apparently in the first half of the 1950s. For the first time we saw them at December Nights 1988, side by side with works by such nonpainters as Eisenstein, Goleyzovsky, Akimov, and Alpatov. According to Richter, music does not exist all by itself; it is related to many other things . He loved to draw associations between fine arts and music. For instance, explaining his attitude to Rimsky- Korsakov, he said: What contemporary composer stands close 314 Irina Antonova: Our Majestic Musical Ship Ю О о CN to Rimsky? Perhaps, Britten. Both used watercolour or gouache instead of oil paint . All this helps to explain the essence of the phenomenon of December Nights. Richter appeared in the most prestigious halls of the world. Hence, the museum for him meant something more than a mere concert platform. The question arises: What did December Nights signify for Richter? The festival in the museum was Richter s violon ďingres — the fulfillment of his second vocation. As is well known, Ingres, apart from being a famous painter, played the violin in an orchestra. Highly talented personalities often feel a need for self-realization in several areas of creative work. In Richter, there was something of a painter, a conductor, an actor, and a theatre director. In the White Hall of the Pushkin Museum he had a chance to become Homo Ludens — a playing man . His was a serious, grand game — the game of reincarnation, allowing him to express him¬ self by means of various arts. In Richter s own words, he wanted to have a symbol of his own that represented the union of all arts invented by God! The accord of arts is the main theme of December Nights. Hence, every musical program is accompanied by a special exhibi¬ tion. Our task is to reveal associative links between images, ideas, and modes of expression in different arts, rather than to illustrate one kind of art by means of another. Richter was highly satisfied with the programs dedicated to Mozart (with the exhibition Interior and Artistic Milieu), to Beethoven s chamber music (with the exhibition of etchings by Rembrandt), and, especially, to the theme of romanti¬ cism at December Nights 1985, when the hall of the museum was transformed into a romantic-era salon. In light of the festival s main idea, the nights dedicated to the music of the 20th century have also proved very successful. The music of Stravinsky, Prokofiev, Shostakovich, Bartók, Hindemith, and Britten was accompanied by the exhibition of Matisse s book drawings —the painter himself called them a visual equivalent of verse (it is not out of place to remember Ingres who apprecia¬ ted the capacity of singing with one s pencil ). This was comple¬ mented by an evening of 20th century European poetry and by stage performances of Britten s operas and Stravinsky s The Soldier s Taie. What do December Nights signify for the museum? December Nights entered the life of the museum naturally and effortlessly. They have become its second vocation , its violon d Ingres, so to speak. Thanks to them, we can communicate with art lovers on a larger basis. The music festival has imparted to the muse¬ um a new dimension, enriching and deepening the perception of it, provoking reflections about the evolution and the nature of art. Finally, what do December Nights signifyfor those who come to view works of art? Thanks to the combined effect of various arts, the visitors achieve a higher degree of perception and comprehension of both music and fine arts. The world of sounds and the world of colour, when united, work wonders. Richter conceived December Nights precisely in this manner. In the end, this is enlightenment at the high¬ est level. Here, the main idea of our festival comprises a single whole with the museum s first vocation —to act as mediator between the spectator and the world of arts. Richter brought to the museum his team of brilliant young musicians: Oleg Kagan, Nataliya Gutman, Yuriy Bashmet, Viktor Tret yakov, Eliso Virsaladze, and Elisabeth Leonskaja. Richter supported Evgeniy Kissin at the very beginning of his brilliant career. He collaborated with the young theatre director Yuriy Borisov and the young conductor Vladimir Ziva. He performed with the venerable Borodin Quartet and the excellent singer Galina Pisarenko. Nina L vovna Dorliac was invariably with him. Her approval was, per¬ haps, of decisive importance for preserving the festival overall these years. Richter s name attracted a number of talented domestic and foreign artists to December N/grrts, while among the festival s guests we were happy to see such luminaries as Galina Ulanova. Petr Leoni- dovich and Sergey Petrovich Kapitsa, InnokentiySmoktunovsky, Aleksandr Solzhenitsyn, Dmitriy Zhuravlev, Alfred Schnittke, Yuriy Lyubimov, Evgeniy Evtushenko, Irina Shostakovich, Giya Kancheli. Tengiz Abuladze, Evgeniy Pasternak, Lev Naumov, Irakliy Andronikov. Zara Dolukhanova. Oleg Tabakov, and Evgeniy Mironov. 315 Irina Antonova: Our Majestic Musical Ship LO О О CNI After Svyatoslav Teofilovich s death, Nina L vovna saw his worthy successor to December Nights in Yuriy Bashmet. Devoted to the memory of his friend, Yuriy Abramovich assuredly captains our majestic musical ship. Twenty-five years have passed since the inauguration of the first December Nights. This is a serious date for any artistic under¬ taking. We remember with gratitude all those who believed in us and helped to realize our project: the members of the Artistic Council, our noble patrons, the remarkable musicians, poets and artists, as well as our beloved audiences. December Nights have become an essential part of the history of the Pushkin Museum of Fine Arts, Now, what does the future have in store for us? Inna Pruss: A Winter Journey The international music festival December Nights, held annually at the Pushkin Museum of Fine Arts in Moscow, celebrates its 25th anniversary this year. Svyatoslav Teofilovich Richter, the initiator of December Nights, appeared at each festival from 1981 to 1992 and remained the festival s artistic director until his death in 1997. Thereafterthe festival was renamed Svyatoslav Richters December Nights. Yuriy Bashmet has been its artistic director since 1998. During these 25 years, 363 concerts took place at December Nights, as well as 25 exhibitions of works ranging from classics to avant-garde, from the Middle Ages to our times. The festival s concert programs, apart from numerous cham¬ ber and solo instrumental works, have included masses, oratorios, sacred and secular choral music, works for chamber orchestra, con¬ cert and stage performances of operas, as well as dramatic perfor¬ mances and poetry recitals accompanied by music. The festival s stars have included many outstanding Russian and foreign musicians, actors, poets, and stage directors. Let us enu¬ merate just a few of them: the Hagen Quartet, Takács Quartet, Arditti Quartet, Beaux Arts Trio, King s Consort, Henry s Eight, II Giardino Armonico, Hilliard Ensemble; violinists Christian Tetzlaff, Isabelle van Keulen, Pierre Amoyal; viola player Gerard Caussé; pianists András Schiff, Christoph Eschenbach, Justus Frantz (unfortunately, the unforgettable duo of the latter two pianists no longer exists), Murray Perahia, Lars Vogt, Piotr Anderszewski, the rising star Jonathan Gilad; wind players András Adorján, Eduard Brunner, Radovan Vlatkovic, the Moraguès Quintet; singers Barbara Bonney, Bernarda Fink, Christoph and Stephan Genz, Marc Padmore, Dominique Labelle, Mitsuko Shirai with pianist Hartmut Höll, lain Bostridge and, finally, the marvellous Robert Holl, one of the favourites of December Nights. The artwork shown at the exhibitions of the December Nights is no less diverse: paintings, drawings, sculptures, and specimens of applied art from museums in Russia, Britain, France, Germany, Poland, the United States, Austria, and Spain, as well as from Russian and foreign private collections. 316 Inna Pruss: A Winter Journey Ю О О CM At the heart of December Nights is the idea of the synthesis of fine arts and music. Every year a special atmosphere is created in accordance with the subject matter chosen for that year s festival. This intensifies the spectator/listener s perception and makes his or her eye and ear more sensitive. For the past 25 years, various forms of symbiosis of music and fine arts have been tried: representation of the artistic image of the epoch {The Age of Mozart: Interiorano Artistic Milieu, 1982), survey of the culture and history of a particular nation (images of England: Traditions and Fantasy, 1983; /mages of Italy, 2002), demonstration of cultural interactions {Russia — France: Encounter and Dialogue, 1993; Harmony and Counterpoint, Russia — Germany, the 19th Century, 2003), parallels between fine arts and music within a single culture (Russian Painters and Music: The 19th and the Beginning of the 20th Century, 1981; Tchaikovsky and Levitán, 1986) or a single epoch (The World of Romanticism, 1985), presentation of associative orthematic relationships (the music of Beethoven and the etchings of Rembrandt, 1992; Trie Artist Reads the Bible, 1994; Ecce Homo, 1999). The motto oí December Nights 1988, Ensembles: Co- Creation, Concord, and Harmony, can be considered a summarizing formula of the entire festival and one of the main ideas behind it. No art exists by itself; the arts are but constituent parts of the compre¬ hensive so-called human culture. And in this sense the ensemble is a key notion for Svyatoslav Richters December Nights. The interac¬ tion of arts at December Nights makes it possible to discover new nuances and meanings in the works that are heard and seen, to per¬ ceive the painter s or composer s art in a larger context of culture and time, to show the parallel evolution of genres in music and fine arts (Reflections — Metamorphoses, 2004). Apartfrom pure music and fine arts, the programs of several festivals contained poetry recitals (1983,1984,1989,1998, 2001), dramatic performances accompanied by music (The Tempest by Shakespeare with music by Purceii, 1983; The Snow Marden by Ostrovsky with music by Tchai¬ kovsky, 1986), and chamber opera performances (Britten sA/bert Herring and Тле Turn of the Screw, Rebikov s The Christmas Tree, Mozart s Apollo et Hyacinthus). Hence, all the arts enjoy equal rights, forming an organic unity within the precincts of a fine arts museum. The elegant White Hall of the museum resembles the interior of a palace or temple. At the December Nights concerts, this enhan¬ ces the emotional perception of music. The spectator/listener finds himself in a splendid milieu that is quite natural for fine arts and music. At the same time, the White Hall is rather a chamber space (it seats 400); hence, a listener can feel like a visitor at a salon, where the border between performers and audience is not so clear-cut as in a standard concert hall. Having finished their performance, the musicians take their places in the salon . The listener is a guest of the museum rather than an element of a nameless whole, the mass , while the museum appears in a new role —that of a benevo¬ lent host. People come hereto communicate — with art, with musi¬ cians, with each other. And this, indeed, is December Nights most important social mission. 317 Inna Pruss: A Winter Journey Ю О О CN Leonid Gakkel December Nights: Names, Time, and Place Richter. No doubt this name has to be mentioned first. Svyatoslav Teofilovich responded immediately to Irina Aleksanclrovna Antonova s half-question, half-request about a festival at the Museum of Fine Arts in Moscow. The festival in Tours was purely musical, while the Maestro needed a festival embracing several arts. He was greatly interested in the stage — he wished to produce operas, performances with music, and the like. And he was enthu¬ siastic about exhibitions — both as an enlightened connoisseur and as an amateur painter. In short, December Nights were created by a man of culture, a Wagnerite, for whom the category of Gesamtkunstwerk had a profound and relevant meaning. Richter s satisfaction with the idea of the December Nights could be described in Webern s words: The correlation sounds . At the very beginning it was decided that each edition of the festival would have a subject matter (and a motto) of its own. This ignited Richter s astounding imagination. Until 1997 — the year of his death — he devised the concept of December Nights, every time finding deep and unusual generalizations. As performer, he participated in December Nights until 1992. His last appearance was on December 3,1992, at the 12th December Nights, dedi¬ cated to Beethoven. In all, he played in ten festivals. All his con¬ certs were outstanding, while such events as the performances of the Tchaikovsky s Trio Piano (with Nataliya Gutman and Oleg Kagan), Schubert s Winterreise (with Peter Schreier), and Franck s Quintet (with the Borodin Quartet) are remembered as grandiose, epoch-making achievements. The group of star musicians that formed around the Maestro at the early December Nights was aptly labeled Richter s Galaxy . Its members — the late Oleg Kagan. Nataliya Gutman, Yuriy Bashmet, and Viktor Tret yakov — regularly appeared at the festival as Richter s ensemble partners. Other permanent December Nights artists include Eliso Virsaladze, Oleg Maisenberg, Lyudmila Berlinskaya, Galina Pisarenko, Nelly Li, Robert Holl, and the Borodin String Quartet. Richter needed to have such a circle of associates around him. They supported the great musician, helping him to do the very thing he considered indispensable. Time. The first ten festivals took place in the 1980s. The early 1980s were an era of stagnation and cynicism; it is no wonder that in those times December Nights were perceived asa genuine spiritual asylum and one of the most attractive cultural phenome¬ na in the Soviet Union. In 1985, the course of events accelerated and life changed. In myopinion, the six festivals of the Perestroika period were espe¬ cially successful. They helped us calm down and take a deep breath amid the excitation of those years. In the dramatic and largely disappointing 1990s, the festi¬ val s programs emphasized the element of timelessness. The 1994 festival was the first whose subject matter dealt with Christian faith: The Artist Reads the Bible. Five years later the 2000th anniversary of Christianity was celebrated with the festival Ecce Homo, with a unique exhibition of Russian and European wooden sculpture. The idea of the 2000s is still hard to divine. Anyway, Decem¬ ber Nights continue to present European culture in its diversity (three of the recent festivals were dedicated to France, Italy, and Russian — German ties, respectively). Richter s main idea — to make the correlations sound — is alive. Encounters. The festival was created by a great performer. And the performer s task is dialogue with music and dialogue with the past — since all music was created at some time by someone. In arranging such dialogues, Richter proved to be exceptionally ingenious. For some festivals, he proposed subject matters directly aimed at ties between countries, arts, and epochs: Russian Pain¬ ters and Music: The 19th and the Beginning of the 20th Centuries (1981), Classics and Avant-Garde (1991), and Russia — France: Encounter and Dialogue (1993). This direction was continued later with such festivals as Harmony and Counterpoin: Russia — Germany, 19th century (2003); The Magic Crystal of Poetry (1998); and Visible Music (2000). Some festivals, on the contrary, were built on a single epoch or style: The Age of Mozart: interior and Artistic 318 Leonid Gakkel. December Nights: Names, Time, and Place LO О о (M Milieu (1982), The World of Romanticism (1985), Romantic Inter¬ mezzo: Schubert, Mendelssohn, Brahms (1997). At times, December Nights took the form of splendid fantasy on a given theme: ¡mages of England: Traditions and Fantasy (1983 — here the Maestro s imagination was, indeed, irrepressible); In the Direction of Proust: Monet, Debussy, and Others (2001); and Images of Italy (2002). The union of fine arts and music still remains the core of December Nights. The exhibitions are conceived and realized with exceptional thoroughness, on an exceptional scale. At each exhibi¬ tion, items are brought from other museums and collections, often from abroad. The initiative and the consistency of Irina Aleksand- rovna Antonova, the creator of the visual part, are truly admirable. The question of priority (between exhibition and concert) has never arisen — neither when Richter was playing, nor when extraordinary exhibitions were arranged, such as Complete Etchings by Remb¬ randt: From the Collections of the Pushkin Museum of Fine Arts and the Hermitage (1982); fìVe Centuries of European Drawing: From the Former Collection of Franz Koenigs (1995)); and Our Only Objective Is the Future: From the Collection of A. Rodchenko and V.Stepanova (1991). Music. The overall number of composers represented in the programs of December Nights approaches 200. Special festivals were dedicated to Mozart, Tchaikovsky, Bach, and Beethoven. The programs of both romantic festivals, the 5th and the 17th, included, naturally, only works by romantic composers — Schubert, Schumann, Chopin, Mendelssohn, and Brahms. At some festivals {The Artist Reads the Bible, Ecce Homo, Images of Italy), a great deal of early music was performed. The music of the 20th century, especially by Russian composers, was performed more often than the music of any other epoch. Among the 20th century composers, Shostakovich was hors concours: his pieces were performed at ten festivals. The favourite composer of December Nights on the whole was Haydn, whose works were performed at 11 festivals. It goes without saying that the value of music is not meas¬ ured by the number of performances. Rarities are especially attrac¬ tive, and the audiences of December Nights were lucky enough to enjoy Liszt s spiritual compositions, songs by Cornelius and Pfitzner, Mendelssohn s one-act song opera Heimkehr aus der Fremde, Beethoven sStringQuartetopusOS in Mahler s arrange¬ ment for string orchestra. The quantity of music heard at Richter s festivals is enormous. And all this music has constituted an integral soundingfield, which, I suppose, agrees with the spirit of Richter as a performer. Performers. Every performer appearing at December Nights has to meet unusually high professional, cultural, and moral requirements. Hence, all the musicians at the festival belong to the elite of the contemporary musical world. They can be grouped in four circles. The Richter circle , apart from the musicians mentioned above, includes pianists Elisabeth Leonskaja and Vasiliy Lobanov, as well as conductors YuriyNikolaevsky and Vladimir Zi va. The circle of stars from abroad includes the great violinist Isaac Stern (who gave a recital with Efim Bronfman at the 1991 fes¬ tival Classics and Avant-Garde); pianists Evgeniy Kissin (who made his December Mgrits debut at the age of 14), Zoltán Kocsis, Murray Perahia, András Schiff, Martha Argerich, and Christoph Eschenbach; violinists Gidon Kremer and Vadim Repin; the Hungarian Takács Quartet and the famous Hagen Quartet from Austria. To the same circle belongthe famous early music specialists who have appeared at December Nights since the end of the 1990s: Michael Chance, Anthony Rooley, King s Consort and li Giardino Armonico. Naturally, the broadest circle at December Nights is made up of domestic artists of middle and older generations: Mikhail Pletnev, Vladimir Spivakov, Dmitriy Bashkirov, Aleksey Lyubimov, Vladimir Kraynev, the Lisitsian family, Irina Bogacheva, Aleksandr Knyazev, and Aleksandr Rudin. To these, one might add our star actors Anastasia Vertinskaya, Alia Demidova, Sergey Yursky, Mikhail Kozákov, Vasiliy Lanovoy, and Evgeniy Mironov. who have also appeared infestival programs. Thefestivals Masters of the 20th Century and The World of Pasternak were marked by recitals of such highly popular poets as Bella Akhmadulina, Andrey Voznesensky, Evgeniy Evtushenko, and the lesser known Boris Chichibabin, a fine poet from Khar kov. Outstandingamong the participants of Decem¬ ber Nights were our leading theatre directors Boris Aleksandrovich 319 Leonid Gakkel. December Nights: Names, Time, and Place Ю О О CM Pokrovskyand Anatoliy Vasiľevich Efros. Pokrovsky staged operas by Britten, while Efros — staged The Tempest by Shakespeare with music by Purceii. Apa rt from renown masters, each festival introduced younger musicians whose names were hardly familiar to most listeners. Without this, an elite festivai could hardly preserve its viability for so long a time. In 1990 the pianist Boris Berezovsky made his first appearance; in 1997, — Ignat Solzhenitsyn performed. Then came the turn of Austrian violinists Julian Rachlin and Thomas Zehetmair, Russian pianist Aleksandr Meľnikov, French pianist Jonathan Gilad, German pianist Lars Vogt, and German violinist Christian Tetzlaff. The Academy of Young Singers of the Mariinsky Theatre was heard at the festival Images of Italy, while Anna Netrebko, our new opera superstar, sang at the following festival, Harmony and Counter¬ point: Russia — Germany, 19th century. Place. Unforgettable are the Moscow winter evenings. Unforgettable is the side entrance of the Museum designated for the December Nights audience. The organizers admit all musicians, no matter where they come from. Everybody has the presentiment of encountering music, arts, and fellow lovers of music and art. During these 25 years, a entirely new generation has grown up, and yet, December Nights have survived. Irina Aleksandrovna Antonova, YuriyAbramovich Bashmet, and Inna Efimovna Prussdo their best to prevent the festival from disintegrating under the pres¬ sure of contemporary life, to make music sound among the noises of the new century. Richter s festival is supported not only by its partners and sponsors, but also by its audiences, since love and memory, too, are of certain use. And, besides, the December Nights festival supports itself. The assets of the festival are so great that nothing in the world can change its value or reduce its importance. 320 Leonid Gakkel. December Nights: Names, Time, and Place LO О О CN
adam_txt	Содержание Юрий Башмет Мои дорогие адреса 11 Ирина Антонова Наш «горделивый музыкальный корабль» 14 Инна Прусс Зимний путь 22 Леонид Гаккель Декабрьские вечера: имена, время, место 30 1981 Русские художники и музыка. XIX — начало XX века 38 1982 Век Моцарта. Интерьер и художественная среда 46 1983 Образы Англии {традиции и фантазия) 54 1984 Мастера XX века 66 1985 Мир романтизма 76 1986 Чайковский, Левитан 94 1987 Иоганн Себастьян Бах 106 1988 Ансамбли: сотворчество, содружество, гармония 120 1989 Мир Пастернака 130 1990 Звездный час {к 10-летию фестиваля) 142 1991 Классика и авангард 152 1992 Людвиг ван Бетховен 162 1993 Россия — Франция: встреча и диалог 174 1994 Художник читает Библию 186 1995 Юбилейные приношения (к 15-летию фестиваля) 194 1996 Посвящение Шостаковичу 202 1997 Романтическое интермеццо (Шуберт, Мендельсон, Брамс) 212 1998 Поэзии магический кристалл. 222 1999 Се человек 230 2000 Зримая музыка (к 20-летию фестиваля) 240 2001 В сторону Пруста (Моне, Дебюсси и другие) 250 2002 Образы Италии (музыка и живопись) 260 2003 Гармония и контрапункт. Россия — Германия, XIX век 272 2004 Отражения — метаморфозы 286 2005 Музей и музы 300 Участники фестиваля Декабрьские вечера Святослава Рихтера (1981-2005) 305 Summary Yuriy Bashmet Addresses Dear to Me 313 Irina Antonova Our 'Majestic Musical Ship' 314 Inna Pruss A Winter Journey 316 Leonid Gakkel December Nights: Names, Time, and Place 318 322 Содержание Ю О О Contents Yuriy Bashmet Addresses Dear to Me 11· Irina Antonova Our 'Majestic Musical Ship1 14 Inna Pruss A Winter Journey 22 Leonid Gakkel. December Nights: Names, Time, and Place 30 1981 Russian Painters and Music: The 19th and the Beginning of the 20th Century 38 1982 The Age of Mozart: Interior and Artistic Milieu 46 1983 Images of England: Traditions and Fantasy 54 1984 Masters of the 20th Century 66 1985 The World of Romanticism 76 1986 Tchaikovsky and Levitán 94 1987 Johann Sebastian Bach 106 1988 Ensembles: Co-Creation, Concord, and Harmony 120 1989 The World of Pasternak 130 1990 The Hour of Triumph (the Festival's 10th Anniversary) 142 1991 Classics and Avant-Garde 152 1992 Ludwig van Beethoven 162 1993 Russia — France: Encounter and Dialogue 174 323 Contents Ю О о CM 1994 The Artist Reads the Bible 186 1995 Anniversary Tributes {the Festival's 15th Anniversary) 194 1996 Dedication to Shostakovich 202 1997 Romantic Intermezzo: Schubert, Mendelssohn, and Brahms 212 1998 The Magic Crystal of Poetry 222 1999 EcceHomo 230 2000 Visible Music (the Festival's 20th Anniversary) 240 2001 In the Direction of Proust: Monet, Debussy, and Others 250 2002 Images of Italy: Music and Painting 260 2003 Harmony and Counterpoint- Russia — Germany, 19th century 272 2004 Reflections — Metamorphoses 286 2005 The Museum and the Muses 300 Participants of Svyatosiav Richter's December Nights (1981—2005) 305 Summary Yuriy Bashmet Addresses Dear to Me 313 Irina Antonova Our 'Majestic Musical Ship' 314 Inna Pruss A Winter Journey 316 Leonid Gakkel December Nights: Names, Time, and Place 318 Yuriy Dearto Me I have participated in many important music festivals throughout the world, but the December Nights is a special event. It is unique, since it combines music and painting in a rich and harmonious whole. And it is all the more unique, since the spirit of Svyatoslav Richter hovers in the hall at each of its concerts. The Richter's aura is the main inspiration behind the festival. And, of course, it is a 'star' festival; suffice it to examine its programs of all years past. I am proud to be a permanent artist of December Nights. One of the unforgettable moments of my career was the concert at the Small Hall of the Moscow Conservatory, when Richter and 1 performed Shostakovich's Sonata. The great maestro was eager to communicate with the talented youth. And we — my col¬ leagues and I — were happy that this genius lived there, next to us. He could have lived anywhere, even on Mars, but he lived in Moscow, on Bronnaya Street. One day I asked Svyatoslav Teofilovich whether the idea to emigrate ever crossed his mind. He said that there were certain reasons to leave this country — for instance, the absence of toilet paper in public facilities. But Richter attached much more impor¬ tance to the country's intellectual and spiritual atmosphere. I might compare this to the music of Bach performed on an electronic musi¬ cal instrument. Its essence is so profound and sublime that no electronic instrument, no computer, can distort it. I prefer to listen to Bach on authentic instruments, but Bach is Bach even when played on a synthesizer. For me, as well as for any of those who were lucky enough to appear with him onstage, Richter was the paragon of a musician. There are great pianists who lack energy, intellect, or emotional power — in short, they are creative personalities of minor calibre. Richter's personality was immense. It happened that he was a pianist, but even if he had had a different trade, he would have been a person whom people on the street would ask for an auto¬ graph. With Richter, it was just like that. Even those who did not recognize him on the street felt that this man was outstanding. On hearing the Shostakovich's Sonata performed by us, Martha Argerich said: 'My God, now I have fallen in love with three musicians at once: the composer Shostakovich, the pianist Richter, and the viola player Bashmet. Indeed, I have discovered them'. For us, he was a model of one's attitude to one's work, life, and conduct. Even now, he is the principal moral authority for me. side by side with my mother and my family. When I was invited to the festival for the first time, I was already engaged and could not appear. Later, when 1 began to par¬ ticipate in December Nights concerts, Moscow became the centre of my activities, and this centre had two addresses: the Pushkin Museum and Bronnaya Street. Now I feel nostalgia for those December days, when we lived for the festival alone. It traditionally closed on December 30. The next day would be an idle one, and we would realize that we had no Christmas tree. In those times it was not so easy to procure one: you had to stand in long lines. However, we were always able find a tree in the evening, a few hours before midnight. And this happened three or four winters in a row. The organizers of December Nights are devoted to the fes¬ tival with all their hearts. First of all, I should mention the great Irina Aleksandrovna Antonova, the 'mover' of the whole event. Inna Efimovna Pruss has been at the head of the festival's administra¬ tion throughout all these years. All of us, Richter's associates, try to keep his flag flying. I consider it a great honour to become the artistic director of December Nights. No doubt Richter cannot be replaced. He was unique. Yet his undertaking has to be continued by somebody. And the festival is still alive! Now it is celebrating its silver jubilee. The past twenty-five years can be considered a triumph for the festival. And we'll continue Richter's work, trying our best to heighten our standards. I am sure that Richter rejoices at our efforts. I would like to congratulate those involved in the festival: our artistic council, our technical staff, and, especially, our audiences. Their attention is so dear to us! And í am sure that the work will not die. The festival exists in the vanguard of cultural life, and it has to remain there. Every year my touring schedule is organized in such a way that in December I am in Moscow. Every December I recall my 313 Yuriy Bashmet: Addresses Dear to Me LO О О CNJ student years and the apartment at Bronnaya Street. We were preparing for the event, inspired by the common idea. Everything revolved around Richter, everybody was carried away. The enthusiasm of those December days is ingrained in me. And I know that in December my place is in Moscow, at December Nights. Irina Antonova: Our 'Majestic N Music is the most important thing in my life, but my life is not music alone. I could have become not only a musician, but. . yes, I could have become an artist, a painter. Svyatosiav Richter In the summer of 1981, in the beautiful French city of Tours, after a fantastic performance of Liszt's Transcendental Studies, Svyatosiav Richter agreed to establish an annual musicfestival at the Pushkin Museum of Fine Arts. He also proposed the festival's name: December Nights. By that time, Richter's relations with the Pushkin Museum had had a long history. His first concert at the museum took place in 1949. With time his appearances became more frequent. Since 1974, he played in the halls of the museum every year, appearing with Nina Dorliac, Oleg Kagan, and the chamber orchestra under Yuriy Nikolaevsky. In 1978, Richter presented his private collection of paintings and drawings at the Pushkin Museum — portraits of those he knew and loved. The exhibition was named A Musician and His Encounters in Art. Richter did not actively acquire art: his collection, though fairly extensive, consisted mainly of gifts from his artist friends. And yet the exhibition revealed an important part of the great musician's spiritual world — his love for fine arts. Heinrich Neuhaus perceived this before anybody else: 'He isa man of vision to the same extent as of hearing, and this is a rare combination! For him, any music is full of images'. Richter was sure that he could become a painter. Half-joking- ly, he said that he had been a painter in his past life — 'a Renaissance one, of course'. The pianist's attempts at fine arts are small pastels, created apparently in the first half of the 1950s. For the first time we saw them at December Nights 1988, side by side with works by such 'nonpainters' as Eisenstein, Goleyzovsky, Akimov, and Alpatov. According to Richter, 'music does not exist all by itself; it is related to many other things'. He loved to draw associations between fine arts and music. For instance, explaining his attitude to Rimsky- Korsakov, he said: 'What contemporary composer stands close 314 Irina Antonova: Our 'Majestic Musical Ship' Ю О о CN to Rimsky? Perhaps, Britten. Both used watercolour or gouache instead of oil paint'. All this helps to explain the essence of the phenomenon of December Nights. Richter appeared in the most prestigious halls of the world. Hence, the museum for him meant something more than a mere concert platform. The question arises: What did December Nights signify for Richter? The festival in the museum was Richter's violon ďingres — the fulfillment of his second vocation. As is well known, Ingres, apart from being a famous painter, played the violin in an orchestra. Highly talented personalities often feel a need for self-realization in several areas of creative work. In Richter, there was something of a painter, a conductor, an actor, and a theatre director. In the White Hall of the Pushkin Museum he had a chance to become Homo Ludens — a 'playing man'. His was a serious, grand game — the game of reincarnation, allowing him to express him¬ self by means of various arts. In Richter's own words, he wanted to have a symbol of his own that represented 'the union of all arts invented by God!' The accord of arts is the main theme of December Nights. Hence, every musical program is accompanied by a special exhibi¬ tion. Our task is to reveal associative links between images, ideas, and modes of expression in different arts, rather than to illustrate one kind of art by means of another. Richter was highly satisfied with the programs dedicated to Mozart (with the exhibition Interior and Artistic Milieu), to Beethoven's chamber music (with the exhibition of etchings by Rembrandt), and, especially, to the theme of romanti¬ cism at December Nights 1985, when the hall of the museum was transformed into a romantic-era salon. In light of the festival's main idea, the nights dedicated to the music of the 20th century have also proved very successful. The music of Stravinsky, Prokofiev, Shostakovich, Bartók, Hindemith, and Britten was accompanied by the exhibition of Matisse's book drawings —the painter himself called them 'a visual equivalent of verse' (it is not out of place to remember Ingres who apprecia¬ ted the capacity of 'singing with one's pencil'). This was comple¬ mented by an evening of 20th century European poetry and by stage performances of Britten's operas and Stravinsky's The Soldier's Taie. What do December Nights signify for the museum? December Nights entered the life of the museum naturally and effortlessly. They have become its 'second vocation', its violon d'Ingres, so to speak. Thanks to them, we can communicate with art lovers on a larger basis. The music festival has imparted to the muse¬ um a new dimension, enriching and deepening the perception of it, provoking reflections about the evolution and the nature of art. Finally, what do December Nights signifyfor those who come to view works of art? Thanks to the combined effect of various arts, the visitors achieve a higher degree of perception and comprehension of both music and fine arts. The world of sounds and the world of colour, when united, work wonders. Richter conceived December Nights precisely in this manner. In the end, this is enlightenment at the high¬ est level. Here, the main idea of our festival comprises a single whole with the museum's'first vocation' —to act as mediator between the spectator and the world of arts. Richter brought to the museum his 'team'of brilliant young musicians: Oleg Kagan, Nataliya Gutman, Yuriy Bashmet, Viktor Tret'yakov, Eliso Virsaladze, and Elisabeth Leonskaja. Richter supported Evgeniy Kissin at the very beginning of his brilliant career. He collaborated with the young theatre director Yuriy Borisov and the young conductor Vladimir Ziva. He performed with the venerable Borodin Quartet and the excellent singer Galina Pisarenko. Nina L'vovna Dorliac was invariably with him. Her approval was, per¬ haps, of decisive importance for preserving the festival overall these years. Richter's name attracted a number of talented domestic and foreign artists to December N/grrts, while among the festival's guests we were happy to see such luminaries as Galina Ulanova. Petr Leoni- dovich and Sergey Petrovich Kapitsa, InnokentiySmoktunovsky, Aleksandr Solzhenitsyn, Dmitriy Zhuravlev, Alfred Schnittke, Yuriy Lyubimov, Evgeniy Evtushenko, Irina Shostakovich, Giya Kancheli. Tengiz Abuladze, Evgeniy Pasternak, Lev Naumov, Irakliy Andronikov. Zara Dolukhanova. Oleg Tabakov, and Evgeniy Mironov. 315 Irina Antonova: Our 'Majestic Musical Ship' LO О О CNI After Svyatoslav Teofilovich's death, Nina L'vovna saw his worthy successor to December Nights in Yuriy Bashmet. Devoted to the memory of his friend, Yuriy Abramovich assuredly captains our majestic musical ship. Twenty-five years have passed since the inauguration of the first December Nights. This is a serious date for any artistic under¬ taking. We remember with gratitude all those who believed in us and helped to realize our project: the members of the Artistic Council, our noble patrons, the remarkable musicians, poets and artists, as well as our beloved audiences. December Nights have become an essential part of the history of the Pushkin Museum of Fine Arts, Now, what does the future have in store for us? Inna Pruss: A Winter Journey The international music festival December Nights, held annually at the Pushkin Museum of Fine Arts in Moscow, celebrates its 25th anniversary this year. Svyatoslav Teofilovich Richter, the initiator of December Nights, appeared at each festival from 1981 to 1992 and remained the festival's artistic director until his death in 1997. Thereafterthe festival was renamed Svyatoslav Richters December Nights. Yuriy Bashmet has been its artistic director since 1998. During these 25 years, 363 concerts took place at December Nights, as well as 25 exhibitions of works ranging from classics to avant-garde, from the Middle Ages to our times. The festival's concert programs, apart from numerous cham¬ ber and solo instrumental works, have included masses, oratorios, sacred and secular choral music, works for chamber orchestra, con¬ cert and stage performances of operas, as well as dramatic perfor¬ mances and poetry recitals accompanied by music. The festival's stars have included many outstanding Russian and foreign musicians, actors, poets, and stage directors. Let us enu¬ merate just a few of them: the Hagen Quartet, Takács Quartet, Arditti Quartet, Beaux Arts Trio, King's Consort, Henry's Eight, II Giardino Armonico, Hilliard Ensemble; violinists Christian Tetzlaff, Isabelle van Keulen, Pierre Amoyal; viola player Gerard Caussé; pianists András Schiff, Christoph Eschenbach, Justus Frantz (unfortunately, the unforgettable duo of the latter two pianists no longer exists), Murray Perahia, Lars Vogt, Piotr Anderszewski, the 'rising star'Jonathan Gilad; wind players András Adorján, Eduard Brunner, Radovan Vlatkovic, the Moraguès Quintet; singers Barbara Bonney, Bernarda Fink, Christoph and Stephan Genz, Marc Padmore, Dominique Labelle, Mitsuko Shirai with pianist Hartmut Höll, lain Bostridge and, finally, the marvellous Robert Holl, one of the favourites of December Nights. The artwork shown at the exhibitions of the December Nights is no less diverse: paintings, drawings, sculptures, and specimens of applied art from museums in Russia, Britain, France, Germany, Poland, the United States, Austria, and Spain, as well as from Russian and foreign private collections. 316 Inna Pruss: A Winter Journey Ю О О CM At the heart of December Nights is the idea of the synthesis of fine arts and music. Every year a special atmosphere is created in accordance with the subject matter chosen for that year's festival. This intensifies the spectator/listener's perception and makes his or her eye and ear more sensitive. For the past 25 years, various forms of symbiosis of music and fine arts have been tried: representation of the artistic image of the epoch {The Age of Mozart: Interiorano Artistic Milieu, 1982), survey of the culture and history of a particular nation (images of England: Traditions and Fantasy, 1983; /mages of Italy, 2002), demonstration of cultural interactions {Russia — France: Encounter and Dialogue, 1993; Harmony and Counterpoint, Russia — Germany, the 19th Century, 2003), parallels between fine arts and music within a single culture (Russian Painters and Music: The 19th and the Beginning of the 20th Century, 1981; Tchaikovsky and Levitán, 1986) or a single epoch (The World of Romanticism, 1985), presentation of associative orthematic relationships (the music of Beethoven and the etchings of Rembrandt, 1992; Trie Artist Reads the Bible, 1994; Ecce Homo, 1999). The motto oí December Nights 1988, Ensembles: Co- Creation, Concord, and Harmony, can be considered a summarizing formula of the entire festival and one of the main ideas behind it. No art exists by itself; the arts are but constituent parts of the compre¬ hensive so-called human culture. And in this sense the'ensemble' is a key notion for Svyatoslav Richters December Nights. The interac¬ tion of arts at December Nights makes it possible to discover new nuances and meanings in the works that are heard and seen, to per¬ ceive the painter's or composer's art in a larger context of culture and time, to show the parallel evolution of genres in music and fine arts (Reflections — Metamorphoses, 2004). Apartfrom pure music and fine arts, the programs of several festivals contained poetry recitals (1983,1984,1989,1998, 2001), dramatic performances accompanied by music (The Tempest by Shakespeare with music by Purceii, 1983; The Snow Marden by Ostrovsky with music by Tchai¬ kovsky, 1986), and chamber opera performances (Britten'sA/bert Herring and Тле Turn of the Screw, Rebikov's The Christmas Tree, Mozart's Apollo et Hyacinthus). Hence, all the arts enjoy equal rights, forming an organic unity within the precincts of a fine arts museum. The elegant White Hall of the museum resembles the interior of a palace or temple. At the December Nights concerts, this enhan¬ ces the emotional perception of music. The spectator/listener finds himself in a splendid milieu that is quite natural for fine arts and music. At the same time, the White Hall is rather a chamber space (it seats 400); hence, a listener can feel like a visitor at a salon, where the border between performers and audience is not so clear-cut as in a standard concert hall. Having finished their performance, the musicians take their places in the 'salon'. The listener is a guest of the museum rather than an element of a nameless whole, the 'mass', while the museum appears in a new role —that of a benevo¬ lent host. People come hereto communicate — with art, with musi¬ cians, with each other. And this, indeed, is December Nights' most important social mission. 317 Inna Pruss: A Winter Journey Ю О О CN Leonid Gakkel December Nights: Names, Time, and Place Richter. No doubt this name has to be mentioned first. Svyatoslav Teofilovich responded immediately to Irina Aleksanclrovna Antonova 's half-question, half-request about a festival at the Museum of Fine Arts in Moscow. The festival in Tours was purely musical, while the Maestro needed a festival embracing several arts. He was greatly interested in the stage — he wished to produce operas, performances with music, and the like. And he was enthu¬ siastic about exhibitions — both as an enlightened connoisseur and as an amateur painter. In short, December Nights were created by a man of culture, a Wagnerite, for whom the category of 'Gesamtkunstwerk' had a profound and relevant meaning. Richter's satisfaction with the idea of the December Nights could be described in Webern's words: 'The correlation sounds'. At the very beginning it was decided that each edition of the festival would have a subject matter (and a motto) of its own. This ignited Richter's astounding imagination. Until 1997 — the year of his death — he devised the concept of December Nights, every time finding deep and unusual generalizations. As performer, he participated in December Nights until 1992. His last appearance was on December 3,1992, at the 12th December Nights, dedi¬ cated to Beethoven. In all, he played in ten festivals. All his con¬ certs were outstanding, while such events as the performances of the Tchaikovsky's Trio Piano (with Nataliya Gutman and Oleg Kagan), Schubert's Winterreise (with Peter Schreier), and Franck's Quintet (with the Borodin Quartet) are remembered as grandiose, epoch-making achievements. The group of star musicians that formed around the Maestro at the early December Nights was aptly labeled 'Richter's Galaxy'. Its members — the late Oleg Kagan. Nataliya Gutman, Yuriy Bashmet, and Viktor Tret'yakov — regularly appeared at the festival as Richter's ensemble partners. Other permanent December Nights artists include Eliso Virsaladze, Oleg Maisenberg, Lyudmila Berlinskaya, Galina Pisarenko, Nelly Li, Robert Holl, and the Borodin String Quartet. Richter needed to have such a circle of associates around him. They supported the great musician, helping him to do the very thing he considered indispensable. Time. The first ten festivals took place in the 1980s. The early 1980s were an era of stagnation and cynicism; it is no wonder that in those times December Nights were perceived asa genuine 'spiritual asylum' and one of the most attractive cultural phenome¬ na in the Soviet Union. In 1985, the course of events accelerated and life changed. In myopinion, the six festivals of the Perestroika period were espe¬ cially successful. They helped us calm down and take a deep breath amid the excitation of those years. In the dramatic and largely disappointing 1990s, the festi¬ val's programs emphasized the element of timelessness. The 1994 festival was the first whose subject matter dealt with Christian faith: The Artist Reads the Bible. Five years later the 2000th anniversary of Christianity was celebrated with the festival Ecce Homo, with a unique exhibition of Russian and European wooden sculpture. The idea of the 2000s is still hard to divine. Anyway, Decem¬ ber Nights continue to present European culture in its diversity (three of the recent festivals were dedicated to France, Italy, and Russian — German ties, respectively). Richter's main idea — to 'make the correlations sound' — is alive. Encounters. The festival was created by a great performer. And the performer's task is dialogue with music and dialogue with the past — since all music was created at some time by someone. In arranging such dialogues, Richter proved to be exceptionally ingenious. For some festivals, he proposed subject matters directly aimed at ties between countries, arts, and epochs: Russian Pain¬ ters and Music: The 19th and the Beginning of the 20th Centuries (1981), Classics and Avant-Garde (1991), and Russia — France: Encounter and Dialogue (1993). This direction was continued later with such festivals as Harmony and Counterpoin: Russia — Germany, 19th century (2003); The Magic Crystal of Poetry (1998); and Visible Music (2000). Some festivals, on the contrary, were built on a single epoch or style: The Age of Mozart: interior and Artistic 318 Leonid Gakkel. December Nights: Names, Time, and Place LO О о (M Milieu (1982), The World of Romanticism (1985), Romantic Inter¬ mezzo: Schubert, Mendelssohn, Brahms (1997). At times, December Nights took the form of splendid fantasy on a given theme: ¡mages of England: Traditions and Fantasy (1983 — here the Maestro's imagination was, indeed, irrepressible); In the Direction of Proust: Monet, Debussy, and Others (2001); and Images of Italy (2002). The union of fine arts and music still remains the core of December Nights. The exhibitions are conceived and realized with exceptional thoroughness, on an exceptional scale. At each exhibi¬ tion, items are brought from other museums and collections, often from abroad. The initiative and the consistency of Irina Aleksand- rovna Antonova, the creator of the visual part, are truly admirable. The question of priority (between exhibition and concert) has never arisen — neither when Richter was playing, nor when extraordinary exhibitions were arranged, such as Complete Etchings by Remb¬ randt: From the Collections of the Pushkin Museum of Fine Arts and the Hermitage (1982); fìVe Centuries of European Drawing: From the Former Collection of Franz Koenigs (1995)); and Our Only Objective Is the Future: From the Collection of A. Rodchenko and V.Stepanova (1991). Music. The overall number of composers represented in the programs of December Nights approaches 200. Special festivals were dedicated to Mozart, Tchaikovsky, Bach, and Beethoven. The programs of both 'romantic' festivals, the 5th and the 17th, included, naturally, only works by romantic composers — Schubert, Schumann, Chopin, Mendelssohn, and Brahms. At some festivals {The Artist Reads the Bible, Ecce Homo, Images of Italy), a great deal of early music was performed. The music of the 20th century, especially by Russian composers, was performed more often than the music of any other epoch. Among the 20th century composers, Shostakovich was hors concours: his pieces were performed at ten festivals. The favourite composer of December Nights on the whole was Haydn, whose works were performed at 11 festivals. It goes without saying that the value of music is not meas¬ ured by the number of performances. Rarities are especially attrac¬ tive, and the audiences of December Nights were lucky enough to enjoy Liszt's spiritual compositions, songs by Cornelius and Pfitzner, Mendelssohn's one-act 'song opera' Heimkehr aus der Fremde, Beethoven'sStringQuartetopusOS in Mahler's arrange¬ ment for string orchestra. The quantity of music heard at Richter's festivals is enormous. And all this music has constituted an integral soundingfield, which, I suppose, agrees with the spirit of Richter as a performer. Performers. Every performer appearing at December Nights has to meet unusually high professional, cultural, and moral requirements. Hence, all the musicians at the festival belong to the elite of the contemporary musical world. They can be grouped in four circles. The 'Richter circle', apart from the musicians mentioned above, includes pianists Elisabeth Leonskaja and Vasiliy Lobanov, as well as conductors YuriyNikolaevsky and Vladimir Zi va. The circle of stars from abroad includes the great violinist Isaac Stern (who gave a recital with Efim Bronfman at the 1991 fes¬ tival Classics and Avant-Garde); pianists Evgeniy Kissin (who made his December Mgrits debut at the age of 14), Zoltán Kocsis, Murray Perahia, András Schiff, Martha Argerich, and Christoph Eschenbach; violinists Gidon Kremer and Vadim Repin; the Hungarian Takács Quartet and the famous Hagen Quartet from Austria. To the same circle belongthe famous early music specialists who have appeared at December Nights since the end of the 1990s: Michael Chance, Anthony Rooley, King's Consort and li Giardino Armonico. Naturally, the broadest circle at December Nights is made up of domestic artists of middle and older generations: Mikhail Pletnev, Vladimir Spivakov, Dmitriy Bashkirov, Aleksey Lyubimov, Vladimir Kraynev, the Lisitsian family, Irina Bogacheva, Aleksandr Knyazev, and Aleksandr Rudin. To these, one might add our star actors Anastasia Vertinskaya, Alia Demidova, Sergey Yursky, Mikhail Kozákov, Vasiliy Lanovoy, and Evgeniy Mironov. who have also appeared infestival programs. Thefestivals Masters of the 20th Century and The World of Pasternak were marked by recitals of such highly popular poets as Bella Akhmadulina, Andrey Voznesensky, Evgeniy Evtushenko, and the lesser known Boris Chichibabin, a fine poet from Khar'kov. Outstandingamong the participants of Decem¬ ber Nights were our leading theatre directors Boris Aleksandrovich 319 Leonid Gakkel. December Nights: Names, Time, and Place Ю О О CM Pokrovskyand Anatoliy Vasiľevich Efros. Pokrovsky staged operas by Britten, while Efros — staged The Tempest by Shakespeare with music by Purceii. Apa rt from renown masters, each festival introduced younger musicians whose names were hardly familiar to most listeners. Without this, an elite festivai could hardly preserve its viability for so long a time. In 1990 the pianist Boris Berezovsky made his first appearance; in 1997, — Ignat Solzhenitsyn performed. Then came the turn of Austrian violinists Julian Rachlin and Thomas Zehetmair, Russian pianist Aleksandr Meľnikov, French pianist Jonathan Gilad, German pianist Lars Vogt, and German violinist Christian Tetzlaff. The Academy of Young Singers of the Mariinsky Theatre was heard at the festival Images of Italy, while Anna Netrebko, our new opera superstar, sang at the following festival, Harmony and Counter¬ point: Russia — Germany, 19th century. Place. Unforgettable are the Moscow winter evenings. Unforgettable is the side entrance of the Museum designated for the December Nights audience. The organizers admit all musicians, no matter where they come from. Everybody has the presentiment of encountering music, arts, and fellow lovers of music and art. During these 25 years, a entirely new generation has grown up, and yet, December Nights have survived. Irina Aleksandrovna Antonova, YuriyAbramovich Bashmet, and Inna Efimovna Prussdo their best to prevent the festival from disintegrating under the pres¬ sure of contemporary life, to make music sound among the noises of the new century. Richter's festival is supported not only by its partners and sponsors, but also by its audiences, since love and memory, too, are of certain use. And, besides, the December Nights festival supports itself. The assets of the festival are so great that nothing in the world can change its value or reduce its importance. 320 Leonid Gakkel. December Nights: Names, Time, and Place LO О О CN
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spelling	Dekabrʹskie večera Svjatoslava Richtera k 25-letiju festivala = Svyatoslav Richter's december nights [sost. Irina Antonova ... Podrob izobrazitelʹnych materialov ... Inna Pruss] Svyatoslav Richter's december nights Moskva Jurgenson 2005 323 S. überw. Ill. txt rdacontent sti rdacontent n rdamedia nc rdacarrier Teilw. in kyrill. Schr., russ. - Zsfassung in engl. Sprache Festival Svyatoslav Richterʾs December Nights Moskau (DE-588)7615732-5 gnd rswk-swf Geschichte 1981-2005 gnd rswk-swf Festival Svyatoslav Richterʾs December Nights Moskau (DE-588)7615732-5 f Geschichte 1981-2005 z DE-604 Antonova, Irina Aleksandrovna 1922-2020 Sonstige (DE-588)133416992 oth Pruss, Inna E. Sonstige oth Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014988687&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014988687&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract
spellingShingle	Dekabrʹskie večera Svjatoslava Richtera k 25-letiju festivala = Svyatoslav Richter's december nights Festival Svyatoslav Richterʾs December Nights Moskau (DE-588)7615732-5 gnd
subject_GND	(DE-588)7615732-5
title	Dekabrʹskie večera Svjatoslava Richtera k 25-letiju festivala = Svyatoslav Richter's december nights
title_alt	Svyatoslav Richter's december nights
title_auth	Dekabrʹskie večera Svjatoslava Richtera k 25-letiju festivala = Svyatoslav Richter's december nights
title_exact_search	Dekabrʹskie večera Svjatoslava Richtera k 25-letiju festivala = Svyatoslav Richter's december nights
title_exact_search_txtP	Dekabrʹskie večera Svjatoslava Richtera k 25-letiju festivala = Svyatoslav Richter's december nights
title_full	Dekabrʹskie večera Svjatoslava Richtera k 25-letiju festivala = Svyatoslav Richter's december nights [sost. Irina Antonova ... Podrob izobrazitelʹnych materialov ... Inna Pruss]
title_fullStr	Dekabrʹskie večera Svjatoslava Richtera k 25-letiju festivala = Svyatoslav Richter's december nights [sost. Irina Antonova ... Podrob izobrazitelʹnych materialov ... Inna Pruss]
title_full_unstemmed	Dekabrʹskie večera Svjatoslava Richtera k 25-letiju festivala = Svyatoslav Richter's december nights [sost. Irina Antonova ... Podrob izobrazitelʹnych materialov ... Inna Pruss]
title_short	Dekabrʹskie večera Svjatoslava Richtera
title_sort	dekabrʹskie vecera svjatoslava richtera k 25 letiju festivala svyatoslav richter s december nights
title_sub	k 25-letiju festivala = Svyatoslav Richter's december nights
topic	Festival Svyatoslav Richterʾs December Nights Moskau (DE-588)7615732-5 gnd
topic_facet	Festival Svyatoslav Richterʾs December Nights Moskau
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014988687&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014988687&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA
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