Marble staircase in the past: a musical evening in the estate of the XIX century
What do Kreutzer Sonata, Tolstoy's novel and Doppler's flute have in common? The answer was sought by listeners in the estate of the XIX century together with the ensemble "Classicpost" - and it was consonant with "Ode to Joy"
I carefully opened the door and entered the nineteenth-century manor, left a rain-wet coat in the wardrobe, and climbed the carpeted marble staircase to the second floor—a ritual that was probably performed by Ivan Prove’s guests more than a hundred years ago. I think that evenings like this took place here and during the life of the merchant: since the patron supported the fine arts, he could well love the musical. And for good reason now the premises of his home are so organically converted into concert halls. Thinking about it, involuntarily you feel involved in something greater, age-old, great.
You always come to concerts with different expectations. Sometimes it is a mild skepticism, and sometimes cautious hope. But here, I must admit, the expectations were the most pleasant - I was biased in advance. And I don’t think I’m the only one: otherwise, why did a few dozen people get here in such bad weather?
This evening in the estate Prove-Kalish listeners were waiting for classical music performed by the ensemble "Classicpost". This is not a static team: for the concerts of the project, various virtuosos come together every time, but always the best of the best. The musicians are led by cellist Svetlana Yartseva. She was also responsible for the word of art, translating music into a language that laypeople like me understand, stories and associations.
It was about the Kreuzer Sonata of Ludwig van Beethoven. This composition repeatedly evoked the response of other creators at different times: Leos Janacek and Franz Doppler composed their works with this name, and the writer Leo Tolstoy was inspired to write the novel of the same name. But everyone can read Tolstoy himself, but listening to these compositions in a live performance is a rare chance.
The music started. The violin and the piano took on Beethoven. The delicate fingers of Aksinya Potemkina jumped on the keys, and with a bow, like a magic wand, the rules of Arseny Sibilev. In choosing the words for this report, I want to be fair to all musicians, but I am not fair, and, as I said, biased. And yet I will try to justify myself: the concert venue in the Prove Kalish estate is small. I don’t think this intimacy is a downside; on the contrary, it only reinforced my sense of belonging to the past, as if only the closest ones were invited here to enjoy music together. Listeners sit on three sides from the performers, which means that not everyone will get to see the faces of the soloists.
Those who wept that evening heard my prayers: the violinist turned towards us. I have already heard and described Arsenia Sibileva’s performance, and I must confess that I came for her. I am in love with her performance, her facial expressions, her gestures: I have never seen such passion for music, such immediacy and honesty in my work. The girl communicates with all the audience - musicians and listeners - without words: violin, look and movements.
I did not see the faces of most of the performers - when they moved to Janacek, this happiness went to others. So, listening to music, I looked at the guests of the estate. Their faces reflected everything: brooding, daydreaming, joy; someone even let down a tear, but nowhere did I recognize boredom. The string quartet, in which, in addition to Arsenia, Vasily Danilets, Fedor Kalashnikov and the artistic director of the Svetlana ensemble participated, adequately strengthened the magic Beethoven started.
On Doppler, Irina Stachinskaya took up the flute. Perhaps only the ovens know what it is to breathe fully. Arriving home, I took up the tool lying idle: deflated in half a minute. But here it is not only about the strong lungs of the girl, but also about skill. If Franz Doppler was called "Paganini flutes", then Irina, without cunning, deserves this title - so she was both technical and free.
The last song was "Ode to Joy" - the concert returned to Beethoven. It was the joy that the listeners got, but not because of the ending - this emotion was given by the joint efforts of the musicians. And then: the rain, the road and the agonizing wait for the next meeting.
