A decision was made to form an electronic base of symphonic music of the 20th - 21st centuries Automatic translate

MOSCOW. Remember not to forget. The return of symphonic masterpieces.

The history of Russian symphonic music of the 20th century resembles a map on which they forgot to put a considerable number of countries. Not everyone managed to dodge the system’s rink or go into a safe shadow. Similar results can boast of fine art and literature. The efforts of enthusiasts who initiated the creation of an electronic collection of symphonic works will patch up the gaps created by ruthless time. From oblivion a whole layer of wonderful music will return without gaps and silence. The never before published works of composers who have been banned will be released.

Already this year it will be possible to familiarize oneself with the scores of Vsevolod Petrovich Zaderatsky and Alexander Lazarevich Lokshin. Their broken destinies did not fit well into Soviet reality, as did their work. In the biography of Vsevolod Zaderatsky there were several outrageous moments for the new government: teaching music to Tsarevich Alexei and serving in the army of Denikin. Not hiding the last circumstance when filling out the papers, he thereby predetermined his future. The arrest of the "dangerous White Guard" in 1926 with the destruction of all the scores written by that time turned out to be only the first link in a series of endless blows of fate. Deprivation of rights, new sentence, Gulag, felled. He did not stop composing music in any circumstances. But neither the baroque cycle of 24 preludes and fugues created in the conclusion, nor the symphony, opera, oratorio and sonata had a chance to break through to a wide audience. He was ignored, called a formalist and cosmopolitan. Zaderatsky bitterly compared them to attacks on the dead man.

Alexander Yakovlevich Lokshin, whose work was tirelessly promoted by the famous viola player and conductor Rudolf Barshai, and pianist Maria Yudina considered a brilliant composer, also drank his bitter cup to the bottom. Dismissal from the conservatory in 1948 for cosmopolitanism and the popularization of the works of Berg, Shostakovich and Stravinsky. Refusal to apply for a job in Gnesinka. The trumped-up denunciation case pushed colleagues away from him and led to oblivion. For the rehabilitation of the slandered composer, it took several decades to find out the true background of this terrible story.

The scores of Nikolai Yakovlevich Myaskovsky, who also did not escape the accusations of formalism and defended his main protagonists: Shostakovich and Prokofiev, will also return to the audience. Conflict with Tikhon Khrennikov and harsh criticism of the latest symphonies and cantata “The Kremlin at Night” turned out to be enough for Myaskovsky’s work to be in the oblivion.

Elena Tanakova © Gallerix.ru