In this article you can find out all the answers in the game "Who wants to be a millionaire?" for October 21, 2017 (10/21/2017). First, you can see the questions asked by the players by Dmitry Dibrov, and then all the correct answers in today's intellectual TV game "Who Wants to Be a Millionaire?" for 10/21/2017.
Questions to the first pair of players
Dmitry Ulyanov and Alexander Rappoport (200,000 - 200,000 rubles)
1. What is a person who does nothing called?
2. What do they say about a person with bad intentions: "Keep ..."?
3. What is sometimes said about the breakdown of a device?
4. How does the name of the song of the beat quartet "Secret" end - "Blues of the Stray..."?
5. In which former Soviet republic is the currency other than the euro?
6. What play did Lope de Vega write?
7. How did the students call the professor in the film "Operation Y and Shurik's Other Adventures"?
8. Who has a monument erected opposite the Theater of the Russian Army in Moscow?
9. What was the name of the gunboat that fought alongside the Varyag cruiser against the Japanese squadron?
10. What did Joseph Brodsky not advise doing in one of the poems?
11. What did the centurion constantly wear as a symbol of his power?
12. In which city in 1960 did the USSR national team become the European football champion?
Questions to the second pair of players
Vitaly Eliseev and Sergey Puskepalis (200,000 - 0 rubles)
1. How to finish the proverb: "The spool is small ..."?
2. What did Matthias Rust plant near the Kremlin?
3. What is the name of George Danelia's film?
4. Which of these is not a confectionery?
5. What was the most disrespectful nickname given to police officers in the past?
6. Who doesn't have horns?
7. What Moscow building is higher than a hundred meters?
8. Which country has never won the European Football Championship?
9. What name did Veniamin Kaverin come up with for the sailboat, and not Jules Verne?
10. What is the fort mentioned in the old expression "to walk the fert"?
11. What was the surname of the Russian general in the James Bond film A View to a Kill?
Questions to the third pair of players
Sati Casanova and Andrei Grigoriev-Apollonov (400,000 - 0 rubles)
1. What, according to a well-known phraseological unit, can cause rabies?
2. What is the name of the railway line that branches off the main track?
3. What do people invited to a buffet table most often do without?
4. What is not intended for flight?
5. Who were the girlfriends from the poem "Tamara and I" by Agnia Barto?
6. Who competes in the "White Rook" tournament?
7. What is the programmer's slang for obscure characters that appear due to an encoding failure?
8. What is the name of the main assembly of the vacuum cleaner?
9. Which of the listed marine inhabitants is a fish?
10. What was located in the middle of Lubyanka Square before the installation of a monument to Dzerzhinsky there?
11. What was different about the First Symphony Ensemble, created in Moscow in 1922?
Answers to the questions of the first pair of players
- idle
- stone in the bosom
- flew
- dogs
- Kazakhstan
- "Dance teacher"
- burdock
- Suvorov
- "Korean"
- leave the room
- vine stick
- in Paris
Answers to the questions of the second pair of players
- yes dear
- airplane
- "Autumn marathon"
- manti
- pharaohs
- at the ocelot
- Cathedral of Christ the Savior
- Belgium
- "Holy Mary"
- letter of the alphabet
- Gogol
Answers to the questions of the third pair of players
- branch
- no chairs
- omnibus
- nurses
- young chess players
- krakozyabry
- compressor
- sea Horse
- fountain
- there was no conductor
Traditionally, on Saturdays, we publish answers to the quiz for you in the Q&A format. Our questions range from simple to complex. The quiz is very interesting and quite popular, but we just help you test your knowledge and make sure that you have chosen the correct answer out of the four proposed. And we have another question in the quiz - What was the difference between the First Symphony Ensemble, created in Moscow in 1922?
- musicians played standing up
- played without notes
- there was no conductor
- the musicians were self-taught
The correct answer is C. There was no conductor
Persimfans (First Symphony Ensemble) - an orchestra without a conductor - was organized in Moscow in 1922 and became one of the most remarkable phenomena of cultural life in Soviet Russia. The ensemble gave more than seventy concerts during the season; without performing a single time outside of Moscow, Persimfans gained worldwide fame as one of the best symphony ensembles of that time. In his likeness, orchestras without a conductor were organized not only in the USSR, but also abroad - in the USA and Germany.
In 2008, Persimfans was revived on the initiative of Petr Aidu after several decades of forced hiatus. Under the auspices of Persimfans, cultural studies are carried out, exhibitions and theatrical performances are organized. Persimfans today is a universal combination of arts.
In Moscow in the hall. Tchaikovsky hosted another project dedicated to the 100th anniversary of the October Revolution, and the headline of his concerts was the review of the leader of the world proletariat Vladimir Ilyich Lenin about the Beethoven Appassionata Sonata he listened to - “inhuman music”.
Persimfans (First Symphony Ensemble), an orchestra without a conductor, was organized in Moscow in 1922 and became one of the most remarkable events in the cultural life of Soviet Russia. The team gave up to seventy concerts per season. Having never performed outside of Moscow, Persimfans gained worldwide fame as one of the best symphony ensembles of that time. In his likeness, orchestras without a conductor were organized not only in the USSR, but also abroad - in the USA and Germany. Some time later, there were decades of forced interruption in the activities of Persimfans.
Its revival began in 2008 at the initiative of Petr Aidu, pianist and composer, teacher at the Faculty of Historical and Contemporary Performance of the Moscow Conservatory. His interests are wide - from baroque to contemporary music. He was also interested in Persimfans. In one of the interviews, Aidu spoke about the glorious history of the orchestra without a conductor and that it was deliberately excluded from the history of Soviet music, like many cultural and scientific phenomena in the Stalin era. “I was then in search of a new form of music-making and found that we should continue it,” recalls Aidu. “Persimfans should exist as a Bolshoi theater, a conservatory. This is our Moscow one, it was located on the territory of the Moscow Conservatory, and its base was the Great Hall.”
A demonstration of the achievements of Persimfans in recent years was his joint project with the Düsseldorf Tonhalle. The United Symphony Ensemble of two sister cities - Moscow and Düsseldorf gave three concerts. On October 7 and 8, Moscow musicians teamed up with the artists of the Düsseldorf Symphony Orchestra, and on December 14, the third concert was held in the Hall. P. Tchaikovsky. In Moscow, Dusseldorfers joined our musicians. The only concert in the capital was organized by the Apriori Arts agency in partnership with the Helikon Artists agency and the directorate of Tonhalle Dusseldorf with the active support of the Goethe Institute in Moscow, the German Foreign Ministry and the Federal State of North Rhine-Westphalia.
The concert program included rarely performed works written in the 1920s. in post-revolutionary Germany and the USSR, as well as classical music: works by Beethoven and Mozart. We started with Mozart. The chamber ensemble of Persimfans performed the Overture to the opera The Magic Flute. At this time, on the stage screen, shots from the life of Soviet people flashed, which did not fit in with Mozart's music. Why were they needed? But one could not look at them, but only listen to the beautiful music of the Austrian genius. The orchestra played wonderfully. This was followed by Alexander Mosolov's Quartet No. 1 and the rather interesting symphonic rhapsody October by Joseph Schillinger, skillfully filled with the motives of revolutionary songs.
The second branch also began with the classics. Beethoven's Egmont Overture was played. It was Egmont that became the main center of the concert. Bright dramatic tension and perfect sound engineering immediately captured the audience, bursting into thunderous applause. The Overture was followed by Edmund Meisel's music for Sergei Eisenstein's film The Battleship Potemkin. This is where the footage of the film was more than appropriate. The film organically merged with the music, and looked and listened perfectly. Then there were two melody recitations by Julius Meitus "Blows of the Communard" and "On the Death of Ilyich." The evening ended with his own symphonic suite "On the Dneprostroy" - a cheerful, enthusiastic picture of the everyday life of Soviet workers.
The concert program "Inhuman Music" of the resurgent Persimfans seemed ambiguous. One got the impression that so far only musicians are interested in its existence, and not listeners at all. It was too long ago. Today, both in Russia and in the world, the conductor's orchestra reigns. The audience goes to the conductors. The last concert was attended by a far from full Hall. Tchaikovsky, and after the break, its ranks thinned out significantly, although a number of numbers, as I already wrote, were received enthusiastically. There are several lines in the program of the evening that “under the auspices of Persimfans, cultural studies are being carried out, exhibitions and theater performances are being organized. Persimfans today is a universal combination of arts. Fine, but this is only on the sidelines of the musicians. As for the broad masses, who in the twenties of the last century enjoyed the concerts of Persimfans, today they are far from his art, and they hardly need it. But for students of musical institutions, this is interesting and obviously necessary. We wish them success in this direction. Maybe we'll get something interesting.
Persimfans - the first symphony ensemble, an orchestra without a conductor, was created in 1922 and lasted ten years - a period during which, in a strange and paradoxical way, the GPU and the OGPU under the direction of F. Dzerzhinsky and V. Menzhinsky and a significant degree of artistic freedom coexisted. It was a period when all the accumulated potential of the phenomenon that is now called the "Russian avant-garde" was realized in squares, concert venues, art schools and architecture.
Its activities ceased in 1932, when all the relevant screws of the country began to turn completely and irrevocably, and such phenomena as Persimfans and the music that was performed on the stage of the KZCh on December 14, 2017 by modern Persimfans, united with the musicians of the Düsseldorf Tonhalle, almost instantly became history .
The current incarnation of Persimfans was created in 2008 and is the result of the creative efforts of Petr Aidu and Grigory Krotenko. Perhaps, if the phrase "Island of Freedom" is applicable to anything, then this is the current Persimfans, as an antonym to the usual Ordnung, if we talk about German colleagues, or the "vale of sorrow", if we talk about compatriots. As project producer Elena Kharakidzyan said in her interview on Kultura TV, “It was difficult for the Germans, of course, because they got used to order, to a clear hierarchy,” and the point here is not even the lack of a conductor, but a completely different creative motivation of the musicians involved in the project.
Peter Aidu. Photo: Vladimir Zisman
Persimfans is not only a performing group, it is also a research center. And the entire extremely non-trivial program of the concert called "Inhuman Music" was proof of this.
In addition to the music of the 1920s, the program also included works by Mozart and Beethoven. And in the context of this evening, opening each of the two parts of the concert, they were more than organic, because being works, as they say, eternal, they were performed authentically to the time slice to which the entire concert was dedicated.
Overture V.-A. Mozart to the opera "The Magic Flute" was performed by an ensemble of soloists according to the 1930 edition - arrangements of musical works for cinema, clubs and schools. Then a whole series of such arrangements was released for an arbitrary composition such as "violin, tambourine and iron", that is, the classical works were orchestrated in such a way that they could be performed by any composition from three to a dozen people, and the piano part was a kind of direction, then is, in some way, a cross between a score and a clavier. (Actually, there is nothing historically new in this - baroque ensembles were performed in the same way, on those instruments that were on the balance sheet of the elector or bishop).
And this performance of the Mozart overture, perhaps, would have remained an academic illustration, if at that time there was no video sequence on the screen above the stage - a montage of documentary shots of the first years of Soviet power, made by an artist for whom the most interesting are multimedia genres, Plato Infante-Arana .
The impression, I must say, was created quite creepy. Firstly, the sound of the ensemble of instruments, albeit more academic than the aforementioned tambourine with an iron, created a sound somewhat different from the usual symphonic one. But the music of The Magic Flute, as an accompaniment to silent films, acquired a new, somewhat postmodern meaning.
Rehearsal. Photo: Vladimir Zisman
And, finally, the video itself with the nightmarish faces of happy Wells Morlocks, together with Mozart's music, made an indelible impression. Indeed, "of all the arts ...".
"Die Ursonate" ("Primitive, simplest sonata") by Kurt Schwitters (1887-1948), an experimental work by the German Dadaist artist, written in 1932, is on a par and in context with the choral works of D. Harms and experiments with words, sounds and the meanings of V. Khlebnikov and A. Kruchenykh. The performance of this opus was both a demonstration of a historical phenomenon of culture, and, in a way, a show, and a manifestation of irony in relation to it, which was most evident in the short falsetto solos of Grigory Krotenko and the bright phonetic cadenza performed by the artist Andrei Tsitsernaki, which united the entire concert his appearance on stage, and indeed became a permanent participant in the project.
Nevertheless, with all this self-sufficient avant-garde, in essence, closed to experiment, the work has a fairly intelligible structure and even dramaturgy, which smoothly shifts from indistinct growls to articulated speeches in a pseudo-Aryan dialect, a construction familiar to us from the finale of Fellini's "Orchestra Rehearsal" . And in part, this work associatively leads in the direction of E. Zamyatin's novel "We". What can you do - "there was such a time." In general, I would like to note that almost a century of historical experience significantly enriches the conceptual context with some bias towards general pessimism.
Quartet No. 1 (1 and 2 hours) by A. Mosolov (1900-1973) performed by Yevgeny Subbotin, Asya Sorshneva, Sergei Poltavsky and Olga Demina opened up new aspects of the composer's work, better known for his constructivist "Factory" and works with an ethnic tinge for soloist, choir and orchestra. The quartet showed the lyrical chamber-intimate musical language of the unfamiliar and not at all brutal Mosolov. Even purely formal sonoristic finds were amazing, and all this was written with that degree of sincerity, which later, in the post-war European avant-garde, was already absent.
At the end of the first part, the orchestra performed the iconic, but extremely rarely performed work of Joseph Schillinger (1895-1943) symphonic poem "October". I. Schillinger is better known as a music theorist, as a scientist who created a holistic theory of music, which fit into his twelve books of the System and as a teacher, from whom, of course, after his departure from the USSR in 1928, George Gershwin and Glenn studied or took lessons. Miller, Gerry Mulligan and Benny Goodman.
However, his poem "October", written in 1927, is considered one of the most striking works of this decade. In fact, it is a collage of symphonic quotes of the era - from the melodies of a Jewish shtetl, organically flowing into microfragments of the "March of the Cavalry" by the Pokrass brothers, the Internationale, various marches from "We all came out of the people" to the mournful "... fell victim in the fatal struggle" and further down the list, right up to "Fried Chicken" in an extremely pretentious presentation in a reprise - a collage that skillfully demonstrates the organic commonality of the musical material. And all this in the form of a piano concerto.
Photo: (c) Ira Polyarnaya/Apriori Arts Agency
Of course, in order to read the meanings inherent in the work, one must know the primary sources that are washed out of the memory of generations living almost a hundred years later, and the German part of the orchestra is probably completely unfamiliar. These are the features of musical esotericism, alas.
The second part was opened by Ludwig van Beethoven's overture "Egmont". Apparently, this work traditionally belongs to stormy revolutionary music, except for a few almost uniquely vulgar measures in the finale. Although here, in creating these harmonic combinations, it seems that Beethoven was the first. That is, an innovator and a pioneer.
Strictly speaking, in this work it does not matter at all whether there is a conductor at the podium or not. The only problematic place is the transition from the slow intro to the Allegro, the orchestra still plays according to the concertmaster. So it was this time - Marina Katarzhnova, who passionately led the "upper part" of the string score, launched the Allegro absolutely accurately and distinctly, and as a result, the famous overture did not differ in any way from the traditional performance either in ensemble, or in tempo, or in dynamics. . Maybe only by the aura of freedom and pleasure. That is, a conductor more, a conductor less ...
Photo: (c) Ira Polyarnaya/Apriori Arts Agency
Recently, it has become a common phenomenon for orchestras to perform concert music for films accompanied by video sequences. The most typical example is the performance of S. Prokofiev's suite "Alexander Nevsky" to the footage of Sergei Eisenstein's film. This is done with almost the same frequency as the performance of A.S. Pushkin's story "The Snowstorm" by the readers to the music of the suite of the same name by G. Sviridov performed by the same (that is, any) orchestra.
But the performance "under the frame" of the music of the Austrian and German composer Edmund Meisel (1894-1930) for Eisenstein's film "Battleship Potemkin" is a different story. The soundtrack by E. Meisel is to a much greater extent actually the music of the cinema than the suite by S. Prokofiev.
Therefore, its performance by the Persimfans Chamber Ensemble, on the one hand, was a very difficult task, and secondly, it was extremely interesting to get acquainted with this bright work, one of the early and notable examples of film music, equal to this work of the great Eisenstein. At the same time, you get great pleasure both from the skill of the musicians and the skill of the composer, because, finally, you pay attention not only to the film, but you hear and notice with what technological means E. Meisel solves certain problems, up to the image of the movement by musical means. pistons of steam engines - the practical equivalent of A. Mosolov's "Plant" or A. Honegger's "Pacific 231" or purely formalistic, but very effective techniques like ascending sequences to embody the growing tension. And here, of course, the exact hit in the frame is the highest ensemble aerobatics of the group of soloists Persimfans.
The concert ended with works by Julius Meitus (1903-1997). Grigory Krotenko, to the accompaniment of Petr Aidu, performed a vocal work entitled "The Communard's Blows", and Andrey Tsitsernaki - a declamatory opus by Julius Meitus "On the Death of Ilyich", during the performance of which the course of events was convincingly illustrated in the style of the early Soviet workers' theater (works of 1924).
Photo: Vladimir Zisman
At the end, the orchestra performed the symphonic suite "On the Dneprostroy" (1932), a work already familiar to the admirers of Persimfans, rather complex in performance, but nonetheless masterfully performed by the orchestra.
As an encore, Piotr Aidu and the Persimfans Orchestra performed a rather laconic piano concerto by A. Mosolov.
In conclusion, I cannot deny myself the pleasure of quoting a phrase from an article by Joseph Schillinger, written in 1926 and carefully reprinted in the program released for the concert "Inhuman Music". "In no other orchestra have I seen such a loving attitude towards the score, such a desire to fulfill it one hundred percent." The current Persimfans has fully preserved this tradition.
At an evening in the Great Hall of the Conservatory, a symphony orchestra without a conductor brilliantly played a variety of works from the 1910s-1930s, from Prokofiev's famous violin concerto to Daniil Kharms' cantata.
The sonorous name "Persimfans" stands for "The First Symphony Ensemble". The difference between an ensemble and an orchestra is that, contrary to the rules, it fundamentally plays without a conductor. Such an ensemble was created in Moscow in 1922 by young musicians who dreamed of transferring communist ideals to such a bourgeois cause as symphonic music. The most surprising thing is that they succeeded: according to contemporaries, Persimfans performed the most complex works of the classical repertoire with marvelous coherence and power. But by 1933, the demonstration of the possibility of solving complex problems by a large team without sensitive individual leadership became somewhat untimely - and Persimfans was disbanded.
When everyone is their own conductor...
To be revived in 2009, through the efforts of the same young avant-garde archaists with conservative training, primarily pianist Petr Aidu and double bass player Grigory Krotenko. However, the context in the 21st century is already different. Not so much political as musical. After all, "post-bop" jazz bands, and especially prog-rock bands such as King Crimson, taught us that "fancy" music can be played without notes on music stands and a conductor at the podium - but with a fair dose of theatricality. This is exactly what was revealed at the concert of the new Persimfans on April 9, 2017 in such a citadel of academicism as the Great Hall of the Moscow Conservatory. However, the program was avant-garde in moderation. It included Sergei Lyapunov's oriental symphonic poem "Hashish" (1913) based on the poem of the same name by Arseny Golenishchev-Kutuzov, Sergei Prokofiev's 1st Violin Concerto (1917), Julius Meitus' symphonic suite "On the Dneprostroy" (1932) and a cantata Daniil Kharms (!) "Salvation" (1934).
Persimfans started with Dneprostroy. The author of the suite is known as an orthodox socialist realist, the author of the now forgotten operas "The Ulyanov Brothers", "Richard Sorge", "Yaroslav the Wise". But in the 1920s, it was he who created the first jazz band in Ukraine and was the only "serious" composer interested in such an avant-garde contraption as "proletarian noise orchestras" - far ahead of the "noise" and "industrial" of the electronic era! In the suite of 1932, which sounds rare, these interests of his found direct expression. And yes, it did sound like prog rock at times. Only not on guitars and synthesizers, but on the instruments of a large symphony orchestra, from harp to drums. This strange effect manifested itself even more in "unscheduled" work by Meitus, not previously announced in the program - a small oratorio for a reader with an orchestra "Death of Ilyich".
But having put Prokofiev's violin concerto in the program, Persisfans, of course, strongly "substituted". This concert was recorded by the best violinists with the best conductors. But the violinist Asya Sorshneva, who, despite her youth, is the artistic director of the Lege Artis festival in the Austrian city of Lech am Alberg, and Persimfans have completely withstood the "competition". Their interpretation of one of the masterpieces of modernism was sometimes unexpected, but always convincing.
The same can be said about an example of pre-revolutionary orientalism - Lyapunov's "Oriental symphonic poem", written on the plot of a small poem of the same name by A.A. Golenishchev-Kutuzov, poet and officer. Before the beginning of the music, it was performed in abbreviated form by the actor Andrey Yemelyanov-Tsitsernaki, who took on the role of both the reciter and entertainer. The poem describes the intoxicating dreams of a poor smoker, in which he either ascends to heaven, or falls into hell. Now, of course, this spicy work is perceived not so much as "oriental", but as "psychedelic" - taking listeners not to Central Asia of the 19th century, but to California in the 1960s ...
A concert in the Great Hall of the Conservatory is a leap into the legendary era of the 1920s
The last piece of the concerto is almost an encore. Harms, of course, did not leave a cantata with notes; he marked out a table with texts for four soloists and many "technical" instructions, on the basis of which the modern composer Andrei Semenov "harmonized" the text. Persimfans performed this opus, which is about two girls drowning in the sea and two brave rescuers (“the water flows, klu-klu-klu-klu, and I love-love-love!”), as a choral work, breaking into 4 groups.
And then, when the musicians put down their instruments and stood facing the audience, showing young faces and bright red, not at all academic attire, it became completely clear: although the concert in the BZK is considered the “exit act” of the Lege Artis festival, in reality it is a jump in the legendary era of the 1920s. To paraphrase the poet of that time: the avant-garde is the youth of the world and it must be performed by the young!
