Persimfans(short for First symphony ensemble , Also First Symphony Ensemble of the Moscow City Council listen)) is an orchestra that existed in Moscow from 1922 to 1932. hallmark of this orchestra was the absence of a conductor in it (partly made up for by the position of the concertmaster, who was located on a raised platform facing the orchestra). The band's first performance took place on February 13, 1922.

Created on the initiative of the violinist Lev Tseitlin under the influence of the Bolshevik idea of ​​"collective labor", Persimfans became the first high-class team that managed to bring a symphonic performance to life, based only on the creative initiative of each of the musicians. At the rehearsals of Persimfans, the methods used at the rehearsals of chamber ensembles were used, decisions on interpretation were made collectively. Among the members of Persimfans were the largest musicians of that time - soloists of the orchestra Bolshoi Theater, professors and students of the Moscow Conservatory. The performance of the orchestra was distinguished by great virtuosity, brightness and expressiveness of sound. Following the example of Persimfans, orchestras without conductors also appeared in Leningrad, Kyiv, Voronezh, and even abroad - in Leipzig and New York. This orchestra was praised by Sergei Prokofiev, who performed his Third Piano Concerto with it in 1927. In the same year, the orchestra was awarded honorary title"Honored Collective of the USSR". In the late 1920s, there were disagreements in the team, and in 1932 it was disbanded.

Persimfans played essential role V cultural life Moscow in the 1920s, influenced the development of the performing school and the formation of symphony ensembles of a later time (the Big Symphony Orchestra of the All-Union Radio in 1930 and the USSR State Orchestra in 1936). The weekly concerts of Persimfans in the Great Hall of the Moscow Conservatory were a huge success, in addition, the orchestra often performed at factories, plants and other institutions. The repertoire of the group was selected very carefully and was very extensive.

The First Symphony Orchestra without a conductor PERSIMFANS-- a landmark of early Soviet musical life, which transformed the way symphonic music is played, p...

In 2009, the Persimfans project was reborn under the leadership of Russian composer and multi-instrumentalist Petr Aidu.

Bibliography

• Poniatowski S.P. Persimfans is an orchestra without a conductor. - M.: Music, 2003. ISBN 5-7140-0113-3

Persimfans at a concert in KZCh. Photo - Ira Polyarnaya

Persimfans - or the First Symphony Ensemble, an orchestra without a conductor, was created in 1922.

Accepted revolutionary ideas musicians of the young free, as it seemed then, the Land of the Soviets, united in a team where "each orchestra listens to the other and to everyone in general."

During the ten years of its existence, until 1932, the orchestra managed to become the Honored Collective of the Republic in 1927.

The musicians gave more than 70 concerts during the season, the stars of those years performed as soloists with him: J. Szigeti, K. Cecchi, V. S. Horowitz, S. S. Prokofiev, A. B. Goldenweiser, K. N. Igumnov, G. G. Neugauz, M. V. Yudina, V. V. Sofronitsky, M. B. Polyakin, A. V. Nezhdanova, N. A. Obukhova, V. V. Barsova, etc.

In the mid-1930s, against the backdrop of a growing "cult of personality", the orchestra without a conductor seemed suspiciously free, and was disbanded.

The revival of Persimfans took place in 2008 thanks to business efforts and personal charm, which attracted associates, Petr Aida and Grigory Krotenko.

Persimfans of the 21st century is a team of the best musicians from symphony and opera orchestras in Moscow, St. Petersburg, Perm and other Russian cities. "Last of the Mohicans" enthusiasts ready to free time, often asking for time off at the main job, rehearse for the sake of interest, for the sake of new music and joys of co-creation on an equal footing.

The composition of the performers is updated every time by about a third, and each upcoming concert is fraught with the question - will it work out this time?

But not only it turns out, it becomes an Event in the cultural life of the capital.

Evening of Persimfans, held in Concert hall them. P. I. Tchaikovsky on December 14, 2017, was special. For the first time, our musicians teamed up with the Düsseldorfer Symphoniker artists on October 7th and 8th at the Düsseldorf Tonhalle concert hall.

Now 18 German colleagues, mostly wind players of the famous German school, fewer string players, took their places at the consoles in Persimfance.

The organizer of the concert in Moscow is the Apriori Arts agency represented by independent producer Elena Kharakidzyan in partnership with the German agency Helikon Artists and the directorate of Tonhalle Düsseldorf with the support of the Goethe Institute in Moscow, the German Foreign Ministry and the Federal State of North Rhine-Westphalia. Well, how can one not remember about the "German trace" in the events of October 1917!

By the way, as it became known at the briefing before the start, neither the Ministry of Culture of the Russian Federation, nor the Committee for Culture of the city of Moscow, expressing their interest in the Russian-German event in words, did not provide real support.

The concert program is essentially a performance that combines music, cinema, elements of a parody of the revolutionary agitation theater. Here, everything, down to the “each in his own” suits of the orchestra players, with a predominance of white, scarlet and orange, made sense.

Seems like an academic start. Mozart. Overture to The Magic Flute. And right there small print: "in the processing of 1930 for cinema, clubs and schools." An ensemble of about 10 people came out, led by Petr Aidu at the piano and an instrument or two from the group, harmoniously and cheerfully began long-familiar passages. But the video!

The talented work of multimedia artist Platon Infante, who cut the chronicle of the early 20th century and Dziga Vertov's film footage. Getting marching, laughing, building new life black and white long-dead little men in the tempo of Mozart's rhythm, in his dialectical essence is simply amazing. As the first People's Commissar for Foreign Affairs said Soviet Republic Georgy Chicherin: "I had a revolution and Mozart"

"An example of abstruse sound poetry of a representative of Dadaism, constructivism, surrealism, expressionism"

– according to Wikipedia. It seems that the musicians liked the rhythmic roll call of different German words, phrases, sounds, slowing down and speeding them up, like group training, a kind of foolish warm-up before the main one. Grigory Krotenko's falsetto solos evoked a constant smile.

"Product of the era" is curious to listen to once. Would cut it in half.

And what a respite for hearing was the next Quartet No. 1, op. 24 by Alexander Mosolov. Beautiful and pure, unlike anyone else, the music of a composer who in the twenties stood on a par with Shostakovich.

Subsequently, his unique gift was broken for eight years in camps under the article "enemy of the people." Violinists Evgeny Subbotin, Asya Sorshneva, Sergei Poltavsky on viola and cellist Olga Dyomina heartily performed this kind of Requiem for a lost generation.

After the chamber-intimate Quartet in the semi-darkness, there is again a contrast. Came out full squad orchestra already with instruments, everyone is waiting. Through the aisle in the parterre, to applause, He rose - V. I. Lenin himself!

With a picture gesture, he shook hands with the first violin, with the same vertical palm he gave a sign to the oboe - “la” for tuning.

Ilyich, to the approving laughter in the hall and on the stage, went to his place, turning out to be double bassist Alexei Vorobyov. Mustache and beard with a wedge, a three-piece suit, a speckled tie and the right cap - a stage image.

"Soviet and American composer, music teacher and musicologist, primarily known for his system musical composition Schillinger".

Born in Kharkov, studied in St. Petersburg, after 1929 lived in the USA, buried in New York in 1943.

Sincerely and seriously, Schillinger wrote the rhapsody "October" in 1927, almost on the eve of emigration, or a moment of mockery of Soviet folklore was present in the plan, but the interweaving of “You fell a victim”, “International”, “Boldly, comrades, in step” and especially tart “Lead, Budyonny, we are bolder into battle” paired with “Fried Chicken” for more than 15 minutes delivered middle-older generation, who still remembers these songs, exquisite fun.

Enough already, it's time for the code - suddenly there was a fugato individual groups, by all means. And for dessert: “We are blacksmiths, and our spirit is young” plus “Our locomotive, fly forward!”

The score is written in a complex, rich manner. And after all, they did not disperse without a conductor! Enough active heading, a bow of the accompanists of the groups led by the first violin Marina Katarzhnova.

The orchestra class bores and skeptics could check in after intermission. Beethoven. Egmont Overture. The regular dish of the symphony-cognitive season tickets. And already " business card» new Persimfans.

It was impossible to find fault, everything was in place - the power and purity of the wind instruments, the monolithic strings, the nuances, the final acceleration, the feeling of the free flight of Beethoven's melody.

After late classic- the forerunner of the romanticism of Beethoven, beloved by Lenin for " inhuman music, another discovery. The chamber composition of the orchestra, reinforced with heavy brass and percussion compared to the Magic Flute, played original music Edmund Meisel for the 1926 Berlin premiere of Eisenstein's Battleship Potemkin.

We were presented with the 5th and 6th acts of the film with the author's markup of the score. From a picture of riot control brutal tsarist army and the Cossacks in Odessa in 1905, through a riot on the ship, ending with the passage without shots of the Potemkin through the admiral's squadron.

The footage of a falling stroller with a baby or the raising of a red-painted flag on the mast of an insurgent armadillo, worn out to a textbook, looked like for the first time.

Graphically strict, strong in its lapidarity, Meisel's music, sounding here and now, with an imitation of cannon volleys, confirmed that the movie "Battleship Potemkin" was not accidentally recognized as a world-class masterpiece. What big plans!

What editing and dynamics, in the complete absence of technical tricks at the time. And let the Eisenstein script from historical truth The events of 1905 in Odessa are further than Goethe's drama "Egmont" from the fate of a real count from the 16th century, who lived on the eve of the bourgeois revolution in the Netherlands - "I will shed tears over fiction."

And how else, if in the yard on December 14 - the date of the Decembrist Uprising. The failed exit to the Senate Square of conspiring nobles and potential regicides or “young navigators of the future storm”, as we were told in childhood?

Having amused the incorrigible romantics, the program of the evening sobered up with a couple of ernicheskie numbers on the verge of a skit. Julius Meitus, best known for his post-war opera The Young Guard, deftly wrote "Danish" compositions in his youth.

“Blows of the Communard” is an extended monologue for a singer and piano in a tragic style. But the pathos of the opus turned into a mockery, thanks to the peculiar vocals of Grigory Krotenko.

Double-bass virtuoso, gifted music journalist and the radio host has a good tenor-baritone, or baritone-tenor. Some notes sounded almost like an opera! But since vocal school Krotenko does not, the fall of the “corpse” under the piano to the end of the romance standing next to “Ilyich” is a logical outcome.

The melodeclamation “On the death of Ilyich” over the lying “body of Lenin” by the dramatic actor Andrei Tsitsernaka, who stylishly performed the whole evening and the role of a retro entertainer, to the mournful piano chords of Pyotr Aidu, completed the episode “musicians are joking”.

The symphonic suite by Julius Meitus "On the Dneprostroy" (op. 1932) is the finale of the program. Was involved the largest composition orchestra, added drum kit. They played furiously, loudly, with pleasure from their own audacity. At the final bars, all the musicians blew into the pipes and waved their bows while standing, emphasizing the apotheosis of the "folk" building.

The hall went on a rampage, charged with young energy, did not let go. Mosolov's piano concerto sounded as an encore. Piotr Aidu once again showed not only leadership, but also pianistic class.

Such a revolutionary panorama in a concert was unthinkable not only in the days of the USSR, but also immediately after the collapse of the Soviet Union, when suddenly everything great and holy became terrible and shameful. In 1992, suddenly singing in the center of Moscow "International" "because I like the music" French friend I wanted to cover my mouth so they wouldn't beat him.

The average age of Persimfans participants is 30+. This generation no longer wore pioneer ties, did not study the "History of the CPSU" and did not sing about "commissars in dusty helmets." Perhaps it is their view of 1917 that is more objective?

100 years is enough time to understand and accept the facts in all their versatility. When the last living witnesses have gone to another world and all the memoirs of eyewitnesses have been written, it becomes possible to note significant date solemnly mischievous concert with elements of hooliganism "Inhuman Music".

Tatyana Elagina

First Symphony Ensemble of the Moscow City Council

Symphony Orchestra without a conductor. Honored Collective of the Republic (1927). Organized in 1922 on the initiative of Professor L.M. Zeitlin. The composition of Persimfans included orchestra members of the Bolshoi Theater, professors and students of the conservatory. The work of Persimfans was headed by an artistic council from among its members. From 1925 Persimfans gave weekly subscription concerts. Pianists K.N. Igumnov, G.G. Neuhaus, A.B. Goldenweiser, V.V. Sofronitsky, vocalists A.V. Nezhdanova, N.A. Obukhova, I.S. Kozlovsky, and foreign performers. Persimfans performed in the largest Moscow concert halls, in workers' clubs and houses of culture, at factories and plants. The Board in 1926-29 published the magazine "Persimfans" with a circulation of 1.7 thousand copies. Ceased to exist in 1932.

Literature: Zukker A., ​​Five years of Persimfans, M., 1927.

Moscow. Encyclopedic reference book. - M.: Great Russian Encyclopedia. 1992 .

See what the "First Symphony Ensemble of the Moscow City Council" is in other dictionaries:

The First Symphony Ensemble of the Moscow City Council, symphony. orchestra without a conductor. Honored Collective of the Republic (1927). Organized in 1922 on the initiative of Professor Mosk. Conservatory L. M. Zeitlin. P. the first in the history of music. lawsuit va symph. orchestra without ... ... Music Encyclopedia

The first symphony ensemble of the Moscow City Council, the Simferopol orchestra without a conductor. Founded in 1922 on the initiative of Professor L. M. Zeitlin of the Moscow Conservatory; existed until 1932. Honored Collective of the Republic (1927). As part of P. ... ... Big soviet encyclopedia

- (The First Symphony Ensemble of the Moscow City Council), a symphony orchestra without a conductor. Worked in 1922 32 (organizer L. M. Zeitlin). Honored Collective of the Republic (1927). * * * PERSIMFANS PERSIMFANS (The First Symphony Ensemble of the Moscow City Council), ... ... encyclopedic Dictionary

- (short for the First Symphony Ensemble, also the First Symphony Ensemble of the Moscow City Council) an orchestra that existed in Moscow from 1922 to 1932. A distinctive feature of this orchestra was the absence of a conductor in it. First performance ... ... Wikipedia

- (The First Symphony Ensemble of the Moscow City Council) a symphony orchestra without a conductor. Worked in 1922 32 (organizer L. M. Zeitlin). Honored Collective of the Republic (1927) ... Big Encyclopedic Dictionary

Concert of Persimfans in the Great Hall of the Conservatory. Moscow. Persimfans The first symphony ensemble, a symphony orchestra without a conductor. Honored Collective of the Republic (1927). Organized in 1922 on the initiative of Professor L.M. Zeitlin. Part… … Moscow (encyclopedia)

The opening program of the Boston Symphony Orchestra (BSO) consisted exclusively of works by Russian composers.

At the same time, despite the lack of music by Tchaikovsky, Stravinsky and Rachmaninov, the evening turned out to be bright: BSO conductor Andris Nelsons offered a fresh look at the works of Shostakovich, Prokofiev and Mussorgsky.

The concert opened with a six-minute "Festive Overture" by Shostakovich, which he wrote in 1954 for a concert at the Moscow Bolshoi Theater in honor of the 37th anniversary of the Bolshevik Revolution.

The basis of the work, which he reportedly wrote in three days, is a fanfare, in the middle one can guess the theme of the composer from "Lady Macbeth Mtsensk district”and the motives of Glinka’s overture to“ Ruslan and Lyudmila ”.

Last year's Grammy-winning BSO performance of Shostakovich's Tenth Symphony conducted by Nelson was pleasing with transparency and complexity. The presented "Festive Overture" was notable for its openness, while not inferior in purity. The opening fanfare showcased a rich brass band.

After them, Nelsons ran the music as if it were an accompaniment to the cartoon "Road Runner"; sometimes it was like a kind parody of John Williams in an epic spirit. In the final fanfare, Nelsons brought to the fore the composer's light references to tsarist Russia. This piece would be a wonderful opening to any season of the orchestra.

Third piano concerto Prokofiev was soloed by Chinese star pianist Lang Lang, whose performance can: 1) dazzle with virtuosity; 2) cause a strange kind of idiosyncrasy; 3) differ in roaring on the keys; 4) contain all of the above features.

This time we were dealing with point 5) not to differ in any of the above. Of course, this performance was surprisingly technical (could Lang Lang play differently?), but the musician played at a steady pace, thoughtful and atmospheric, as on the 2013 recording with Simon Rattle and the Berlin Philharmonic.

The Saturday performance, however, required much more imagination than the Berlin recording, for which Nelsons' work must be commended.

The opening battle between piano and orchestra was a kaleidoscope of well thought out dynamics and phrasing. The gavotte and variations, which began in the second part of the theme, were Prokofiev's in spirit and were performed sharper than usual, but Lang Lang did not miss his chance to take advantage of the vast space of the famous fourth variation and linger on it without going to extremes.

Here and in the luxurious second theme of the Allegro ma non troppo finale, he played in the spirit of Rachmaninov, which, probably, not everyone liked. I really missed the light-heartedness (some would call it defiance) of my favorite recordings by William Kapell and Martha Argerich. But, in spite of everything, it was a balanced, thoughtful performance, without liberties and self-indulgence.

Too bad I can't say the same about Lang Lang's encore. If something was to continue the concert, it had to be something Russian. Instead, he played the first intermezzo of the Mexican composer of the early 20th century, Manuel Pons, a salon work that does not reflect either the composer's thoughtfulness or his technique.

Made in 1922 by Ravel, an orchestral arrangement of Mussorgsky's 1874 piano work Pictures at an Exhibition remained popular for almost a century, and with good reason. Perhaps it did not sound in such a Russian spirit as, for example, Vladimir Ashkenazy, but Ravel with highest respect reacted to the work of Mussorgsky.

He wrote a sophisticated arrangement, with more nuance than the piano original, full of glissando and portamento, as well as breathtaking, inspiring instrumental solutions: alto saxophone for the troubadour from the "Old Castle", tuba for the Polish cart ("Cattle"), a muted trumpet for the compassionate Shmuile from Samuel Goldenjerg and Shmuile.

This piece, performed by Nelsons and the Boston Symphony Orchestra, was the best I have heard in 50 years. There was a seriousness in the opening "Walk" that was absent in Shostakovich, it was an interesting walk, and not only because of the alternation of five and six quarters. The subsequent "Walks" seemed to anticipate the pictures that were to follow them: one could hear the creak of "Cattle", and then the thunderous Goldenberg.

In general, the performance lasted 34 minutes, which is not too long, while the music was unusually saturated with drama, air and color. " old lock” swayed like a gentle barcarolle, one could imagine the reflection of the old castle in the water. The Tuileries children had a sly argument, the Cattle began softly and slowly, but came to a powerful climax.

The trio from the Ballet of the Unhatched Chicks was full of leisurely walking, the Limoges gave room for sighs and exploded with market gossip, the Cum mortuis in lingua mortua, the walk in all but name, was tenderly moderate without shyness.

"Baba Yaga", inspired by a hut on chicken legs, which also serves as a clock, was more mobile, but not too much. Her reminiscent nightmare the culmination was dissolved in the peaceful magic of Kyiv's Bogatyr Gates, where Nelsons emphasized the rhythms and harmonies of the Russian Orthodox liturgy. The space of the final pages was justified by the scale of reading. I hope the Boston Symphony has recorded this performance.

Persimfans - the first symphony ensemble of the Moscow City Council - a symphony orchestra without a conductor. Honored Collective of the Republic (1927).

Organized in 1922 on the initiative of Professor L. M. Zeitlin of the Moscow Conservatory. Persimfans - the first in history musical art symphony orchestra without a conductor. The composition of Persimfans included the best artistic forces of the Bolshoi Theater Orchestra, the progressive part of the professorship and students of the orchestral faculty of the Moscow Conservatory. The work of Persimfans was headed by the Artistic Council, which was elected from among its members.

The basis of the orchestra's activities was the renewal of the methods of symphonic performance, based on creative activity ensemble members. The use of chamber-ensemble methods was also an innovation. rehearsal work(first by groups, and then by the whole orchestra). In the free creative discussions of the Persimfans participants, common aesthetic attitudes were developed, questions were raised musical interpretation, the development of the technique of playing instruments and ensemble performance. This had a great influence on the development of the leading Moscow schools of playing string and wind instruments, contributed to raising the level of orchestral playing.

Weekly subscription concerts of Persimfans (since 1925) with a variety of programs (in them great place assigned to novelties contemporary music), in which the soloists were the largest foreign and Soviet artists(J. Szigeti, K. Zecchi, V. S. Horowitz, S. S. Prokofiev, A. B. Goldenweiser, K. N. Igumnov, G. G. Neuhaus, M. V. Yudina, V. V. Sofronitsky , M. B. Polyakin, A. V. Nezhdanova, N. A. Obukhova, V. V. Barsova, etc.), became essential component musical and cultural life of Moscow. Persimfans performed in the largest concert halls, also gave concerts in workers' clubs and houses of culture, at plants and factories, and went on tour to other cities of the Soviet Union.

Following the example of Persimfans, orchestras without a conductor were organized in Leningrad, Kyiv, Kharkov, Voronezh, Tbilisi; similar orchestras arose in some foreign countries(Germany, USA).

Persimfans played a prominent role in the communion broad circles listeners to the treasures of the world musical culture. Nevertheless, the idea of ​​an orchestra without a conductor did not justify itself. In 1932 Persimfans ceased to exist. Other orchestras without a conductor, created according to his model, also turned out to be short-lived.

In 1926-29 the magazine Persimfans was published in Moscow.

Literature: Zucker A., ​​Five years of Persimfans, M., 1927.

I. M. Yampolsky