The RIAMO observer has chosen the most interesting events of the upcoming weekend in Moscow and the Moscow region and found out where to go from June 23 to 25.

MIFF-2017

The 39th Moscow International Film Festival (MIFF) kicks off in Moscow on June 22. The opening film will be the Indian film epic Bahubali. Completion” directed by S.S. Rajamouli, and the festival will end on June 29 with a screening of Sofia Coppola's film "The Fatal Temptation". IN competitive program- 13 films, including "Three-year April Dream" from Japan, Turkish film "Yellow Heat", "Selfie" from Spain, "Stars" (Finland), "Hell" (Denmark) and others.

Russia is represented at the festival by director Vladimir Kott with the film Frostbitten Carp, Rustam Khamdamov with the film A Bag Without a Bottom, and Vadim Perelman with the film Buy Me. Traditionally, visitors to the festival will be able to see the novelties of Russian cinema in non-competition programs, such as Andrey Zvyagintsev's Dislike, Pavel Chukhrai's Cold Tango, Alexander Molochnikov's Myths about Moscow and many others.

Where: Moscow, cinemas "October", "Cosmos"

Festival " wild mint»

The International Music Festival "Wild Mint" will be held for the tenth time from June 23 to 25. Three stages will be arranged at the festival, on which about 70 artists from 10 countries will perform over three days.

This year, the headliners are Ivan Dorn, Bi-2 and the Melnitsa group. You can also listen to - SunSay, Therr Maitz, Optimystica Orchestra, Pompeya, Crematorium, La Dame Blanche, Zventa Sventana, Markscheider Kunst, S.P.O.R.T., The Great Machine, Guru Groove Foundation, Alai Oli, Alexei Kortnev and many others. The festival program includes the Green Age market, where natural cosmetics and healthy food will be presented, lectures by Anton Dolin and Vitaly Egorov, a food court, a handmade market and much more.

Where: Tula region, Aleksinsky district, Bunyrevo village

Price: from 850 rubles (per day) to 3750 rubles for all days

Restaurant festival Taste of Moscow

The Moscow festival of the best restaurants Taste of Moscow can be visited from 22 to 25 June. In a programme - cooking show performed by first-class Russian chefs, wine tasting and strong alcoholic beverages, culinary master classes, as well as a concert, theatrical performances and performances. At the festival, you will be able to buy delicacies, farm products, personal care products, interior items, dishes, etc. Among the restaurants that will present their products are I like Grill, Panaheli, Cheese, Cheese Connection, Outdoors " and others.

Where: Moscow, Luzhniki

Bosco fresh fest 2017

The music festival Bosco Fresh Fest 2017 will be held in Moscow on June 24 and 25. Antokha MC, The Boxer Rebellion, Vougal, Bravo, Roots Manuva, Sevdaliza, etc. will perform at the festival in two days. Morcheeba, John Newman, Parov Stelar, Sohn will be the headliners. Like last year, an additional Bosco Fresh Night program will be organized for lovers of night parties. Such leaders of the electronic scene as DMX Krew, Luke Vibert, Gunnar Haslam, Voiski, Cape Cod and Rout 8, Mall Grab and Leonid will perform on two stages of the festival Lipelis. As a program from Tele2, it will be possible to listen to the projects Naadya, On-the-Go, Sirotkin, etc. park.

Where: Moscow, museum-estate "Tsaritsyno"

Price: from 1600 to 3000 rubles

Live Sound Festival "Music of Summer"

A concert by Leonid Agutin and the Esperanto band will take place on June 24 in the Hermitage Garden as part of the Music of Summer live sound festival. The program of the open-air includes unusual arrangements, new songs of the group, which combine the rhythms of jazz and blues.

Where: Moscow, Hermitage Garden

Ahmad Tea Music Festival 2017

Festival British music Ahmad Tea Music Festival 2017 will be held for the seventh time at Muzeon on June 24. The lineup includes British musician Richard Ashcroft, vocalist of The Verve and songwriter of "Bitter Sweet Symphony", "The Drugs Don't Work", Welsh rock band Catfish and the Bottlemen and duet Seafret, who will open the festival.

Where: Moscow, Muzeon Art Park

Food Truck Festival

The festival of food trucks (diners on wheels) from June 23 to 25 can be visited in Sokolniki Park. At the festival, you should try popular street food from all over the world, visit a retro park and listen to the performance of street musicians.

Also on the program are film screenings, dance master classes from " good radio”, children's area and much more.

Where: Moscow, Sokolniki Park

"Lambada Market"

Fair of Russian designers and showrooms "Lambada Market" June 25 will be held in Moscow. More than 200 participants will present their goods at the fair. Here you can find summer collections of clothes, shoes and accessories, vintage, furniture, interior items, books and records. The drink of the fair will be the Aperol Spritz cocktail, and the food court will offer burgers, smoothies and ice cream from 30 street food projects. Popular Moscow DJs will entertain visitors.

Where: Moscow, Krasny Oktyabr, Strelka bar

Classical Music Festival

The annual classical music festival will be held on June 25 in the village of Podmoklovo near Moscow. The festival will be dedicated to baroque and renaissance music, which will be performed on authentic instruments: harpsichords, lutes, baroque flutes, violins, oboes, cellos. Especially for the festival, an old Becker grand piano from the collection of piano master Alexei Stavitsky will be brought to Podmoklovo. Visitors will be able to hear the music of Bach, Handel and Vivaldi.

Where: Moscow region, Serpukhov district, with. Podmoklovo, in front of the Church of the Nativity of the Virgin

Price: free

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On June 25, the third festival of classical music will be held on the steps of the unique Italian Baroque Church of the Nativity of the Virgin in the village of Podmoklovo, Serpukhov District. Festival organizer Vera Voronezhskaya and her father Dionisy Kryukov, rector of the temple, tell how a platform appeared in the village beyond the Oka, where the flower of the Moscow Conservatory performs.

Vera Voronezhskaya, organizer of the classical music festival in the village of Podmoklovo

What is your professional background? As far as I understand, the festivals in Podmoklovo are closely connected with the musical environment of the Moscow Conservatory?

Yes, I studied there at the Faculty of Historical and Contemporary Performing Arts. This year in the first block of our festival - from 12 to 14 o'clock - five teachers of this faculty will perform: Alexei Lyubimov, Ivan Sokolov, Ekaterina Derzhavina, Yuri Martynov and Petr Aidu.

We have always had very friendly relations between teachers and students at the faculty. At first, like everyone else, I was very surprised by this - students in the lesson can offer something themselves, and no one will tell you: "I'm right, and you will play as I said." Not only are teachers not offended, but, on the contrary, they welcome us when we go to lessons with other teachers. For example, I attend the lessons of Alexei Borisovich Lyubimov. We somehow got into a conversation, and in response to my question about the festival, he said: “Yes, I can come.”

And with Peter Aidu, it turned out to be interesting in general - he has a dacha in Podmoklovo. But we first met at the conservatory, and then met here.

With an old piano Becker, who will come to us for the festival, everything was also organized as if by itself. I met the piano restorer Alexei Stavitsky and decided not to miss this chance: if he gives his pianos to other musicians, why not ask us.

Stepan Voronezh

- You present this historical grand piano everywhere as one of the main events of the festival. What is its significance?

This is a 1900 instrument restored by Alexei Stavitsky. By the way, maybe the original tafel-clavier from the time of Mozart will come to the festival - if I'm not mistaken, from the collection of Alexei Lyubimov. By the way, the collection of instruments by Aidu, Lyubimov and Stavitsky is now going through difficult times - it for a long time was in one place, and now Planet.ru is raising funds to move it to new address. All this is closely connected with Petr Aidu's Piano Shelter project, aimed at saving old instruments that someone was simply going to throw away. The project allows you to save such instruments and wait until some musician is ready to invest in their restoration.

Grand pianos Becker, one of which will just be with us at the festival, were produced in Russia. And if they are not preserved, then we simply will not be able to tell and show to posterity what kind of mechanics we had, and it was with its own specifics - not the same as in Europe. They even sound different than modern ones. Steinway or Yamaha, and look different - the forms are more elegant.

- What will be played on this piano?

This will be the first branch - the classic one. The festival will start from there at noon. We understood that romantic or late romantic music should be played on such an instrument. Ivan Sokolov will perform "Fleeting", this is an early opus by Prokofiev, and he could have played this piece on a similar piano in his time. Alexey Lyubimov - Debussy's Preludes, this composer lived in Russia for some time and could also play music on the Becker. Ekaterina Derzhavina will play "The Seasons" by Tchaikovsky, Yuri Martynov - Chopin's plays. The first part will last about two hours.

Next in the program is an hour-long break - we need it to remove the piano, put the harpsichord in its place and install other microphones (for ancient instruments there should be a different backing). And the spectators will be able to refresh themselves, take a walk around the neighborhood or go to our unique temple, which will be open all this time, they will be able to look at our famous sculptures apostles.

I can’t promise that my father will be able to give a tour at this time - perhaps he will be busy with something else, and none of us has yet learned to talk like him. But last year they succeeded - although the temple, of course, was crowded ...

Stepan Voronezh

- How will this day continue and end?

At 15:00, the baroque music department will begin, this will be the largest block - about three hours, and, most likely, it will take place with a break. Chamber ensembles will play. But there will be solo performances. For example, a very serious harpsichordist Olga Martynova, a world-famous musician, will come. Olga will perform the "French Suite" by Bach, and then she will also play as part of the ensemble Gnessin baroque- this, by the way, is also a team of teachers from the conservatory. And the ensemble Les Muscovites, where the oboist Philippe Nodel is the organizer, will play the music of Telemann and Vivaldi.

Then another one-hour break, and at 19 o'clock we will start a block of ancient dances already on another stage - on the lawn near the linden grove. I'm looking forward to it being exactly like Raphael's The Betrothal - everyone in real renaissance costumes. The accompaniment will be live music also performed on ancient instruments. A large ensemble will play, these are all also near-conservative people - students or graduates. Their leader Natalya Kaidanovskaya will collect them.

This whole project as a whole is the most interesting work of Natasha. She translates treatises of baroque dancers, if I am not mistaken, French, performed at court Louis XIV. Restores the dances described in these treatises. These are the dances that the audience will be able to see. And even the music will be unique. In the program that Natasha sent me, next to some of the dances it says: "Music restored by Petr Aidu on the top line." That is, as I understand it, Natasha had notes for dances, but not a complete score, but only a melody. And Peter, as a person who is deeply versed in this music, completed the score for the entire ensemble. It is better to come to this block in advance and not be late, it will be the shortest - an hour or even a little less.

Yes, the program looks serious. Aren't you offended that all this will take place not in some Moscow Hermitage garden, for example, but in the village of Podmoklovo?

Not only not offensive, but even the opposite. I think everyone Russian musician Today he feels that there is nowhere and no one to play. No, in Moscow, of course, there are many halls, even I, a graduate of the conservatory, play both in the Rachmaninov Hall and in the Maly. But even if you achieve such a hall, the public will not come to you as a musician without a name and the hall will not gather. The viewer often goes to some inflated names, but does not pay attention to subtle, interesting musicians. For example, Ekaterina Derzhavina - she deeply understands the music of Medtner and Haydn, she has many awards received in Germany, she records CDs there, and her concerts are held there all the time. And in Moscow, she performs once a year.

The owner of the house next to the temple powered a lot of our equipment from his electrical network. I remember that we screwed up the meter for him then, of course, and at least later compensated for everything, but he didn’t even talk about it.

- Are you leading to the fact that you give such deep musicians another platform?

No, I'm leading to the fact that the listener needs to be educated. I have been teaching in schools for a long time, and it was interesting for me to do this - not just "lead the piano", but talk about music. So that later the children listening to rap google and download Mozart to their players and tell you: “It’s okay, this is your classic, it’s interesting. And what if you go to a concert, probably, the impression will be even stronger? I actually heard such words, after the fifth grade children become so interested... It seems to me that the layer of classical culture today is leaving somewhere, becoming elitist and far from people. You see, the tradition of performing music in concert halls is relatively new, it didn't exist in the Baroque era. Ordinary people it's hard in these walls, they don't know how to behave. The concert hall becomes some kind of museum, and music is a very lively sphere...

That is, if during the performance of the famous harpsichordist children jump on the grass screaming, do you look at it calmly?

Well, we haven't played romantic music at the festival yet, I don't have that experience yet. But baroque music is quite lively. And the soundtrack will be quite strong. It cannot be drowned out by a child's cry unless all the children start screaming in unison. (laughs).

We will have a professional sound engineer. Because the first concert - four years ago - was simple, without any amplification, then there were 150 people in the audience, and this was the maximum possible. Ancient instruments - they are much quieter, they were not played by any modern and non-metal flutes.

It is obvious that the status of your project is increasing year by year. You feel the strength in yourself for the full implementation of such a festival and for its further scaling - after all, you didn’t study this kind of work on purpose, did you?

Yes, I did not study either management or organization musical events. And it is clear that four years ago I would not have pulled such a major festival and we would not have pulled it all. But year after year, a new understanding appears, and so far everything is somehow organically obtained. I set myself two tasks. The first is the popularization of classical music. The second is to make the festival in this place. To tell the world about him and help my father promote the unique temple he serves. Therefore, I don’t think that even if I were ready to make festivals in Moscow for thousands of people, it would be interesting for me. I just don't have that goal. In general, this festival is my first experience of organizing activities, I have always been a quiet child and have never even participated in school events.

Stepan Voronezh

And now, the daughter of a priest, something like this has fallen on you - TV channels come, journalists take interviews, thousands of people gather for events. Do you see this as a temptation?

Well, I'm not just a priest's daughter, but also a musician. A musician is always a temptation and a test of pride. We have been living with this since the age of seven - when they start taking us to competitions. I remember how at the age of 13 I won the regional competition in Klin and I was sent to Japan for the Tchaikovsky competition in the age category from 14 to 18. It was something incredible for a girl from Pushchino!.. I think that all musicians, regardless of whether they are religious or not, somehow work with their sense of pride, because this is an unhealthy thing - and you need to do something with it live. It is clear that an artist must work for the public, interact with it, and if you do not have this desire - to show everything that you are capable of, then nothing will come of it. But on the other hand... I will say this as a religious person. My grandfather, a monk, always tells me: "Everything you do is for the glory of God." And if you play with this feeling, perform, then there will be success. And if you think: “It's all me, I did it all,” maybe once or twice everything will work out, and then this feeling throws people back. This can be seen even in many great performers who win high-profile competitions.

- Do you continue your musical career now?

Yes, I am a postgraduate student at the Moscow Conservatory in the class of "Orchestra of Contemporary Music". This is everything that is written in a new language, starting from Schoenberg and Stravinsky and ending with contemporary composers... We play this kind of music, we learn to understand it...

- And in this, too, there are no contradictions with church life?

Not yet. My religiosity and music lessons somehow coexist very harmoniously. A contemporary music for me, it's a delight. Someone will say that this is a cacophony, devoid of good looks. And for me, this is some kind of very interesting mathematics, higher mathematics ... You know, in the Middle Ages they studied the sciences of the quadrivium, and music was included there along with arithmetic, geometry and astronomy. And it seems to me that the music of the 20th and 21st centuries also sometimes seems to go back to that state. And mathematics is very beautiful, and it is also a manifestation of God's harmony.

Stepan Voronezh

Have you tried to evaluate the composition of your audience - how many people are from the nearest villages, how many from Moscow, do foreigners come?

It is difficult to assess, because it is not necessary to conduct surveys? Even now we don’t have enough volunteers, I even made a post on social networks on this topic - if someone wants to come to us as a volunteer, we will be very happy, and we really need it now. I know that foreigners came to the last festival, but they rested here somewhere in Pushchino. I know that people from all over Russia go to this festival, because in social networks people have already asked me where to stay.

- And besides volunteers, does anyone help you in the preparation and holding of the festival?

The administration of the Serpukhov district, its subdivision responsible for culture, is very helpful. They give us a bus to bring musicians from Moscow and back - that would be a huge expense item. They provide sound equipment, however, it is not for classical music, so we still have to rent special microphones. They give tents - for a catering point, for a souvenir shop and for musicians. They give a stage-podium on which there will be dancing this year. They even give blue cubicles for toilets. In general, they help us a lot, and we are very grateful for that. But this is understandable: for the Serpukhov region, such a major festival is a big event.

There are sympathetic villagers: at one of the past festivals, the owner of the house next to the temple powered a lot of our equipment from his electrical network. I remember that we screwed up the meter for him then, of course, and at least later compensated for everything, but he didn’t even talk about it. Volunteers - mainly from the parishioners of the temple and the villagers, to which we include summer residents. So far this year there are about ten of them - this is very little, and I hope that people will still respond. The traffic police also helps, without this we would have had a crush on the roads, otherwise they would block the entrance to the village, and the guests, leaving their cars on the roadsides, would walk the last 200 meters. But if you need to take a pensioner to a place, for example, there is such an opportunity - you just need to contact us in advance and tell us the car number.

- Are you already building any plans for the future or is it too early to talk about it before the end of the festival?

There are plans that are clear now. Next year we need to find sponsors. Yes, this year we collected the planned amount on Planet.ru, although initially we ourselves did not believe that this was possible. But it took us a lot of time and still does not allow us to pay artists a fee that would not look ridiculous. At the same time, we categorically refuse to introduce a paid entrance to the festival. Because we do not want it to become an event for an elite audience. Maybe for someone our festival will become the place of their first encounter with baroque music.

Stepan Voronezh

Dionysius Kryukov, Rector of the Church of the Nativity Holy Mother of God in the village of Podmoklovo

Tell your personal story. How did you become the rector of this temple and the co-organizer of the music festival taking place on its steps?

I am a pianist by education, I studied at the Gnessin Academy with the wonderful musician Teodor Davidovich Gutman. My wife also studied there. But at some point, I interrupted my studies, as I decided to become a clergyman, and literally in a year I turned from a pianist into a priest. It was in 1993.

I was born in Pushchino, in this academic center on the Oka River, in a family of researchers. My father is a mathematician, he is still engaged in mathematical problems of memory, modeling of consciousness and brain function. In 1990, at about the same time that I began to sing in the kliros of the St. Danilov Monastery, my father left for the same monastery and became a monk there, but is still engaged in science - he is a learned monk.

- And what was the turning point for you when you decided to get up from the piano and go to church?

You probably can't put it into words. But I always remember that, no matter how I resisted and said that I would be a musician and want to play on stage, my grandmother said: “Well, of course, you will play for a while, then you will become a priest.” My grandmother was also a nun. Her words came true. At first I built a temple and created a church community in Pushchino, the years were difficult, but it helped that the community was friendly and active.

The apostles who adorn our temple are the figures best suited for the role of a conventional cultural Christian, or a believing intellectual.

- That is, in Podmoklovo - to the Italian temple on the banks of the Oka - you came, relatively speaking, through Pushchino.

Yes, having gained some experience, I thought that I was ready to direct my efforts to the restoration of this unique temple and gratefully accepted the blessing of Bishop Yuvenaly to deal with it. Every person in our district knows this temple very well, and since I still have something to do with art, I understood all its value. And it so happened that immediately there were assistants who began to participate in its restoration. We managed to get into state program restoration - which is very difficult and in itself akin to a miracle. The restoration was led by the architect Irina Davydovna Lyubimova, she works in the Central Scientific and Restoration Production Workshops, received an award for her work in the Lopukhin Chambers, is engaged in the Novodevichy Convent and some objects of the Moscow Kremlin. Our temple for her is from the category of a hobby, as she herself jokes.

Stepan Voronezh

And yet, building a new temple in Pushchino and restoring a unique monument with a three-century history are two different things.

Yes, at that moment I felt a craving for science - apparently, the genes affected. He began to be interested in the history of the temple, the literature of that time, the historical situation. And now I have already accumulated a fairly large amount of ideas that will soon be published in the form of articles and in the form of a monograph on the history of the temple. My status as a researcher at the Likhachev Heritage Institute provides such opportunities. A topic that interests me very much now is the image of the apostles in a critical era. I can say very briefly that the apostles decorating our temple are not only one of the first such Russian sculptures made by Russian masters, but also figures that are best suited for the role of a conventional cultural Christian, or a believing intellectual. It was very important for historical period, when Russia was moving to the New Age from the era of the Middle Ages, when even the study of foreign languages ​​was perceived with suspicion. I agree with the conclusions of one researcher who unraveled the program of the sculptural decoration of our temple: this is the image of the apostles who go to preach from Jerusalem on the day of Pentecost, having received the gift of speaking in foreign languages. They even stand in the order indicated in Acts. I often give tours of the temple and around it for those who are interested in such topics for more deep level. I will also add that now we are preparing a monograph on the semantics of our temple together with the Italian architectural historian Federica Rossi, Dmitry Guzevich, who lives in Paris, and with a number of Russian researchers. This semantics is densely mixed with the politics of that time, with the emerging new culture and, of course, with theology - such a junction of three directions is of great interest not only in the scientific community, but even among media representatives.

Stepan Voronezh

Don't you see a certain irony in the fact that now you seem to have been caught up again by the music from which you once left? I mean the music festival taking place on the steps of the temple.

Basically, it was my wish. Although I cannot say that I was the main initiator of these music festivals. Still, a priest is a man who measures seven times and cuts once. But my children - and two of my four daughters study at the conservatory - and my wife also took the initiative along with them. I did not resist, but supported them, I only believed that the event should correspond to the level of the place. Surprisingly, they succeeded the first time and continue to succeed.

And I myself have always loved and love music. I still have many acquaintances in musical environment. This is connected both with my previous education and social circle, and with the current place of study of my daughters. And in general, we have such a family symbiosis: my daughter Vera started this project to help me. Because to restore such a temple for a lot of public money is a very serious matter, and I'm not sure that it would be justified if few people still knew about this place. It is important for us to popularize this place, to draw attention to it.

And in general, even the banal material content of the temple is big question, because we have twenty parishioners from the village. And only due to the fact that I am the rector of two churches, this issue does not become a problem. It was very difficult for my predecessors to survive here.

Stepan Voronezh

Filling music program festival for you as a clergyman is not a problem? Questions, what is possible and what is not worth playing on the steps of the temple, do not arise?

No, that doesn't happen. Vera and I are full like-minded people and, if necessary, we easily listen to each other. In general, I believe that art in general, especially classical music, requires a lot of spiritual work from a person. Even if the music does not speak directly about any religious motives or ideas, but simply reflects the village pastoral or large social processes, as, for example, in Beethoven, it still concerns the human soul, and, in my opinion, it is certainly connected with God. Therefore, such a neighborhood of the temple and classical music is natural.

- But there is Bach, and there is Stravinsky - and they will sound differently in the context of the temple space.

Stravinsky, by the way, was a very church-going person. It is clear that we will not play "Mephisto Waltz" on the porch of our church. But I do not see any problems with the formation of an adequate program of the festival.

Stepan Voronezh

Doesn't the release of music from the temple space onto lawns and street benches seem to you to be its desacralization? Musicians play spiritual music, and nearby children run after a balloon...

Of course not. In general, in our family, we somehow all believe that classical music has acquired, perhaps, too harsh external forms. Concert halls - after all, they appeared only in late XIX century. Prior to this, music has always sounded in the context of the life for which it was written - music for walking on water, for fireworks, for festive events ... This does not mean the servility of these works, among them there are brilliant things written by brilliant composers. But now it is customary to perceive music exclusively on velvet chairs in halls with stucco. But in this case, the naturalness of its perception is often lost. So when the music is on outdoors, it seems to me, on the contrary, that it acquires some kind of genuine breath. The same with folklore - when real folklore, not the one we were accustomed to in Soviet times, but genuine, which is studied in professional ethnographic expeditions ... So, when this folklore is sung on stage, it even looks a little out of place. He must sound in the environment in which he lived and lives.

Therefore, when we have music playing in an open space, it seems to me that it is just stepping over some kind of artificially placed barriers for it. And many people have told us that they are grateful for the opportunity to listen, without feeling the pressure of walls and ceilings, in general, complex music.

By the way, we had the first festival without any amplification of the sound at all, and we were scared, because baroque instruments are generally quiet. There were many people, and the harpsichord usually sounds for a small audience. But it turns out that the desire to listen also has its own, relatively speaking, pulling function - like in the theater, when the most significant words are spoken in a low whisper and the whole audience perceives this as a culmination, and the loudest words and remarks may turn out to be the most empty.

20.06.2017

On June 25, in the village of Podmoklovo (Moscow region, Serpukhov district), a unique outdoor baroque music festival will be held for the fourth time. Such festivals are popular in Europe, they are periodically held in St. Petersburg, but for the Moscow region - this is a rare event.

Here you can meet only individual concerts, which are sometimes given in ancient parks and estate museums, such as, for example, Arkhangelsk or Kuskovo. Therefore, we can say that the Moklovsky festival is the only event of its kind on the territory of our entire region.

Father Dionysius, rector of the Church of the Nativity of the Mother of God, which is a treasure of Russian culture, is a musician by education. And his whole family is musical, his wife is also a musician, his daughter is a graduate student of the Moscow Conservatory. It was they who came up with the idea to organize such a festival in the Serpukhov region.

We are reviving the tradition of outdoor music, says Father Dionysius. – After all, ancient music did not imply concert performance, it was music for the situation – for nature, for some kind of holiday, music on the water, music for fireworks… Now we hear it most often in the concert hall.

At the festival in Podmoklovo, you can really return to the atmosphere of antiquity. Here, all the action takes place in the open air, the musicians are located in the amphitheater near the temple columns, and the audience can comfortably sit right on the lawn or on benches, or even on bags specially stuffed with hay.

Batiushka says that the idea of ​​festivals was born precisely from the desire to popularize this church, because it received serious state funding, but at the same time, it turns out that his parish life is not so active, simply because there is a village here, and there are few people. There are 20-25 people in the service. And this is considered good.

We simply believe that such, I'm not afraid of the word, a masterpiece of architecture, a very significant object for Russian culture, should be known and should attract people's attention. So that people, coming here, through culture could somehow touch the spiritual sides. Because the cultural potential of this place is huge, and this is what helps people who have not yet completely entered the church fence, who have not quite begun to live a full-fledged church life, who are primarily interested in history and culture.

This year the festival is officially supported by the Moscow Conservatory, the core of the Faculty of Contemporary and Ancient Performing Arts. If in previous years it was mainly graduate students, graduates and students of the conservatory who responded to participate in the festival, the winners international competitions, then this year teachers and professors of the faculty will also join them.

These are world-famous people, people who stood at the origins of modern authentic performance in Russia, - says Father Dionysius. - And, first of all, we are very glad that Alexey Borisovich Lyubimov responded. For this area, this is the number one figure in our country. He himself teaches partly in Europe, partly at the Moscow Conservatory. However, he took the time to come and play some part of the program.

The program will consist of three blocks. The first block is music for the piano. The second block is music of ancient performance, ensemble music, primarily for flutes, oboes, harpsichords. This year, one of the surprises for the guests of the festival will be the performance of the Gnessin Baroque ensemble, which includes musicians known to the Moscow public in the field of early music. And the third block - ancient dances from the studio of baroque and renaissance dances "Time of dance". For this, a special area will be built on the territory of the football field.

Father Dionysius said that this year an old Becker grand piano would be brought to Podmoklovo so that the musicians could play it at the festival. Of course, this is an expensive pleasure, because you have to pay for the rental and transportation of the instrument (after the event, the piano will be taken back), but the effort is worth it - this atmospheric detail promises to be the "highlight" of the festival.

The reverse side of the pleasure that the audience will receive from the sounds of an ancient instrument is the selfless work that Piotr Aidu and Alexei Stavitsky are doing. According to Father Dionysius, these are people who understand the value of ancient instruments and save them as much as they can.

The topic of the piano is rather painful for today, because now everyone is switching to electronic instruments, and even people who study at music schools get rid of the big pianos that they have at home, as a rule, their grandmothers keep, - says Father Dionysius.

In this stream, the largest instrument, that is, pianos, suffers the most. They are often thrown away. Often you can find an ad - I will give a piano or grand piano for pickup. Free, as long as they take it away. Piotr Aidu and Aleksey Stavitsky collect such instruments, restore them and then give them further concert life. This is actually a very large amount of selfless work, heroic work, because it is very problematic to store such a large number of large instruments. At the moment, they are being kicked out of the factory in Moscow where they kept it all, they are now urgently looking for a place where they could transport it all. But I am sure that in 50 years everyone will come to their senses and begin to appreciate and seek and restore everything. But I'm afraid that 90 percent will already be burned or thrown into the trash.

Father Dionysius himself is a pianist, which is probably why he is even more reverent about the topic of pianos. However, we will not hear his performances at the upcoming festival. He says that he lost his practice a little, and in order to perform at events of this level, you need to train every day.

Of course, the organization of such a large-scale event requires huge financial costs. The project budget amounted to 250 thousand rubles, to date, the entire amount has already been collected through a crowdfunding platform. Father Dionysius says that a lot of people responded to the announced nationwide gathering.

In addition, the Orthodox Initiative Foundation also helps us, for which we are also very grateful, it has been supporting us in this for more than a year. The Foundation supports not only this initiative, but also a youth movement organized at two churches, the rector of which is Father Dionysius - here in Podmoklovo and in Pushchino. Young people actively help in the preparation of festivals and other events.

The area helps us a lot. Without the help of Olga Anatolyevna Sidorkina, Head of the Department of Culture of the Administration of the Serpukhov District, the festival would have been on a completely different level. And the sound system, and the tents, and the stage - all this is provided by the area. And we are very grateful to them for their help. We are also helped individual people who found out about it unexpectedly, called us and offered their help.

The first festival in Podmoklovo was prepared in just a week and brought together 200 guests.

We just decided and got together, my daughter invited all her familiar musicians to participate in it through Facebook, they responded, and quite a lot of people unexpectedly came to us. Last year at two different festivals, and here not only baroque, but also classical, and folklore festivals, visited total about a thousand people. This year, Podmoklovo is also waiting for many guests.

Now the most the main problem- not even so much to organize it all purely physically, but to make the weather good. Because it will be very sad if the rain washes away such a huge titanic work, - confesses the priest. - But we really hope that the Lord will help us in this sense.

Daria Roshenya

Priest from Podmoklovo:

We will have baroque music
in Roman ruins

How temple XVIII century, overgrown with birches, became the center cultural life

On Sunday, June 25, a festival of classical music will be held in the village of Podmoklovo. In the open air in front of the unique church of the Nativity of the Virgin of the XVIII century, the stars of the performing arts will play baroque music. Why bring a piano to a rural church, what makes conservatory teachers play music in the fresh air, and what does classical music have to do with Orthodoxy? The rector of the temple tells about this to the correspondent of Pravmir, Daria Roschenya Archpriest Dionisy Kryukov.

Stone apostles stand like parishioners

A hundred kilometers from Moscow, on the high bank of the Oka, there is a temple. A white rotunda with a green dome, decorated with sixteen figures of the apostles, towers over the village of Podmoklovo. Three hundred people live in the village, and the same number come from Moscow for the summer. Nightingales sing here, lilacs and hydrangeas bloom luxuriantly, and unmowed glades are covered with forget-me-nots and dandelions. The ruins of the old castle do not particularly attract anyone, even if they remember a lot. But from the buses that park near the walls of the temple, every now and then new groups of tourists come out. They come on excursions to the rector and get some air.

Thirty years ago, overgrown with weeds and young birch, with rare sculptures on the arcade, the temple looked more like an old beggar with a gap-toothed smile than bold for Peter's time architectural solution. At the end of perestroika, the authorities undertook restoration, restored the church in rough form and soon handed it over to the Church, although there were few parishioners - the fingers of one hand would suffice.

The temple is cold. It's big on the outside and compact on the inside. The walls are without paintings, they will still be restored. On both sides of the entrance there are original sculptures from those that were not destroyed by vandals. The stone apostles stand like parishioners. I find the abbot right away. There is no hiding place in the round temple. He smiles welcomingly and says: "Let's go on the air?" And we go. From the open gallery, blown by all the winds, a stunning view of the expanses beyond the Oka opens.

– Many parishioners?

- I wish there were more...

Instead of a concert, I went to listen to the kliros

“I was lucky to be born into a family of believers,” says Father Dionysius. – My grandmother worked in the diocesan administration in Alma-Ata, where in the sixties and seventies two significant figures for the Russian Orthodox Church served: Metropolitan Joseph (Chernov) of Alma-Ata, who baptized me, and Archimandrite Isakiy (Vinogradov).

From childhood, my father knew the service, read on the kliros, loved to sing. But in his youth, when he entered the Leningrad Electrotechnical Institute, he departed from the faith. Became a mathematician. I returned to church life when I was five years old. And the history of his return demonstrates how great is the role of culture in the process of churching.

My father came to Pushchino with his family. Our town is small, and he began to miss good concerts. It is clear that in the 70s there was no developed cultural life in the academic campus, so my father decided to just see how they sing in the surrounding churches. The closest and only one was in Serpukhov, the church of Elijah the Prophet that never closed. It was 1975.

Father came to listen to the kliros, but, as he later told, he was amazed at the faces. “Wow, they sing so well,” he recalled, “while their singing was something more than a means to earn money, than just creativity. These were people inspired by prayer.” He said to himself: “I want that too,” and asked to join the kliros.

My father still has a wonderful baritone, so they took him quickly, and children's experience contributed. At first he traveled for the sake of creativity, but already with a certain aim to return to the Church. Probably, he himself did not expect that everything would spin so rapidly and by the ninetieth year he would ripen to go to the monastery. This is doubly surprising, because all this time my father was engaged in modeling the processes of consciousness, an area at the intersection of physiology and mathematics. He described the processes occurring in the brain in mathematical language. And then suddenly the monastery. With the blessing of the rector of the St. Danilov Monastery, he continues his scientific research even now.

I was lured to church only with gingerbread

- When you returned to the Church, did your father bring you back?

- His means of education were soft. Without any whip, only with a gingerbread he tried to lure me to church: sometimes with sweets, sometimes with a promise to go to a cafe after the service. To a young man, just out of childhood, it impressed. However, I also had my youthful boom, my departure and my conscious return to God.

One conflict situation I saw that my father did not use force, but humbled himself before me. Having the right to insist on his own, he yielded and even asked for forgiveness. It was a revelation. I suddenly felt a strong desire, like him, to sing in church, to serve God, and to gain this freedom of spirit.

I was given a musical life. True, I began to study music late, at the age of ten, for a professional career this is close to disaster. But I entered School of Music, then to the Gnessin Academy, where he met his wife. And our family turned out to be musical: one daughter is a postgraduate student at the Moscow Conservatory, and the second is in the same place in her second year, the third is an icon painter, but the fourth decided to devote her life to folklore ...

Tension between faith and reason

- How did you become a priest?

- In the perestroika years, when life began to crush and crush everyone under it, I began to sing in the kliros. And closer and closer to the Church. At some point, I suddenly realized that I was already on the threshold of the priesthood. And so it happened: yesterday I was a pianist, and today I am a priest without any education. I had to study at the seminary in absentia.

The nineties were difficult years. There were few priests, and there was an acute need to plug the holes, well, at least by someone. I was assigned to the parish in Pushchino. It was my hometown, the center of academic research. In part, this contributed to my activity, but still, it was difficult for me, a young musician. With obviousness, I discovered the notorious conflict between the intelligentsia and Orthodoxy.

There are now more conscientious parishioners in the city than in the countryside. And they fast there stricter, oddly enough, and pray longer

- What was the conflict like?

“Obviously, there is a certain tension between faith and reason. We often use the common thesis: reason is one thing, faith is another. Reason tells how the world works, faith - why it is so arranged. This is an apologetic alphabet.

In the distant 90s, along with the revival of Orthodoxy, oriental cults, esotericism, extrasensory perception, palmistry were popular, which was just not there. Do not forget that the intelligentsia quite broadly interprets the concept of spirituality, so any limitation of oneself, and even more so by any one area, was perceived by it with a minus sign.

The problem was this: faith is hard to feel, even harder to prove. And when a person began to become churched, it seemed to him that not only was nothing happening to him, but no one was giving any guarantees. In fact, this conflict was mainly manifested.

Now, when I simultaneously serve in the academic campus and in the rural church in Podmoklovo, I see that something is changing. There are now more conscientious parishioners in the city than in the countryside. And they fast there stricter, oddly enough, and pray longer. And in the countryside, unfortunately, the feeling that all this is not just neglected, but frankly alien to people.

- Having received an appointment to the parish in Pushchino, did you feel the resistance of the local intelligentsia?

– No, I didn’t feel it, it was felt more by my predecessor, then already elderly Archimandrite Jacob, who had just begun the construction of a church in Pushchino.

Vladyka Jacob was a simple man. It was difficult for him to find a common language with the local intelligentsia. He was simply not accepted. He loved nature, loved to mow. Got cows, goats. In the middle of an academic city, such a free treatment of nature seemed rather strange to many.

We ourselves discovered fellowship as a form of churching

When I replaced him, my father, by that time Hieromonk Feofan, helped me in my development as a priest and rector. “Don’t change anything, in time everything will fall into place by itself,” said the father. Gradually there was a parish, appeared Sunday School. We talked a lot with young people, discussed Scripture over tea, art films. Now it's a habit educational form at the parish, and at the time when I became rector, there was nowhere to learn this. We ourselves discovered fellowship as a form of churching. And everything with us was built on bare enthusiasm.

- It turns out that there were no difficulties after all?

- But why? They were just different. I had to continue building the temple. Historically, there was no temple in the academic city. There was only a temple at the estate in the village of Pushchino, and in the city itself, which is very young, they had to build a church with their own hands, diligence and the grace of God. And we built a very beautiful temple designed by Viktor Varlamov. It doesn't look new at all. We had the opportunity to invite significant masters of modern art to decorate it. church art: Alexander Sokolov, Alexander Chashkin, Alexander Lavdansky, Igor Samolygo and others.

When I realized that the construction work was nearing completion, the experience had accumulated, and I still had a creative itch to participate in the cultural program, I began to dream of a church in Podmoklovo and gladly accepted the blessing of Vladyka Yuvenaly. The parish here was not crowded, restoration work was not actually carried out.

Our priest brother is not very versed in culture

What attracted you to the temple?

- Architecture. This is an outstanding monument, which alone in national culture costs. Like any Pushchi dweller, I knew from childhood about the round temple, overgrown with birch and elderberry. At that time, Father Victor served here, with whom we had good friendly relations. I visited him often.

In general, this architecture cannot leave indifferent those for whom it is integral part internal device.

But our brother priest is not very versed in the intricacies of culture. I speak of this with regret. I am convinced that priests need to be seriously educated.

I remember once they brought me old books, which one priest was ready to piously send into the oven. Well, what to do when the book has no beginning, no end, no reading, no adaptation to worship. I looked, and something stopped me from disposing of them. I found that they were decorated in a suspiciously beautiful and archaic style. Studying the temple, I suddenly found out that the books brought to me were from the seventeenth century. You see, we have no icons of the 17th century left, but I won’t say anything about books at all. But for many priests these unique monuments Russian culture - waste material.

I was so carried away by books, so deeply immersed in their history, that I wrote a work on early printed books and the psychology of the reader of that time: “The book is like a shrine.” Books were what shaped people's lives.

Serve just enough so that the Gifts do not freeze

– But not every priest will ask for a temple overgrown with forest. Recovery takes effort and money. It's easier to take a good income ...

“My friends supported me. They promised to help. Then there were more and more people who were ready to engage in the restoration of the temple every day. Finally, in 2009, the temple was included in the state restoration program. I really did not have a period of vegetating on a pile of stones, like many priests who pray for a long time that the Lord would send them someone to help them. In that sense, I'm spoiled by the way things worked out so well. People just showed up.

My predecessor, Father Victor, had a hard time. The rough temple was restored at the end of the Soviet period, albeit not really high level.

The restorers then really saved the temple: they collected five broken sculptures thrown by vandals from the gallery. They even planned to open a sculpture museum here. But in 1992 the temple was handed over to believers. It was unheated, and somehow Father Victor confessed to me: “In winter, my task was to serve just as long as Dary would not freeze.”

- Do I understand correctly: did you have an inner conviction that the temple, half an hour away from Serpukhov, where there are dozens, if not hundreds of large and small churches along the road, in a village in which almost no one is left, needs to be dealt with? In the sense that he is able to attract people and a full-fledged parish can arise here?

- Yes exactly. To be honest, the local population is scarce, but they go to church. If there are ten people in winter, we are glad.

I don’t know if it was just interest that moved me, or whether it was a stimulus for my own development. Perhaps the genes of a researcher have awakened in me. As a musician, I like everything related to art and culture, and as a scientist, it is interesting to dive into the study of things. More and more I was fascinated by this masterpiece of the early Petrine era with an ensemble of the first Russian sculptures created from local material by Ivan Zimin and his comrades. From this temple, in general, you can start counting Russian round plastics.

The temple in 1714 began to build Prince Grigory Fedorovich Dolgorukov, former ambassador in Poland. He built it intermittently for twenty years. It was his calling card. The tradition of building temples as a presentation of the owner has been known since the late Middle Ages.

So, the temple in Podmoklovo was a demonstration by the customer of his capabilities, his cultural orientation, taste, political weight in the state, characteristic of the era. By the way, this topic also became the subject of my scientific research: how the individuality of the customer is manifested through architecture. In a word, I have a lot of things started to turn out. Moreover, I was not alone in my zeal.

How the apostles rehabilitated foreign languages

– Surely there are many legends around such a temple?

There are many legends, but even more truth. Andrey Pilipenko, a colleague from the Serpukhov Historical and Art Museum, helped me to study it. He revealed, for example, that the sculptures are according to a certain program. There are twelve apostles and four evangelists (two apostles - Matthew and John - are repeated). And the apostles even in the pre-Petrine time, under Alexei Mikhailovich, were the image of the intelligentsia.

- Where is the connection?

– In the classical Russian Middle Ages, foreign languages ​​were treated as demonic occupations. We still use the etymology of that time when we call the inhabitants of Germany Germans, that is, dumb. And even earlier they said "he babbles like a Latvian." But in the era of Alexei Mikhailovich, the attitude towards foreign languages ​​changed to a more attentive one. Perhaps because it has already been conquered former territory Commonwealth. And where is Polish, there is Latin, and before European languages near.

In order to rehabilitate foreign language classes, attention was paid to the apostles who received the gift of speaking in tongues on the day of Pentecost. In fact, the temple in Podmoklovo is a miracle of Pentecost. The apostles in the gallery are in an order that corresponds to the text of the first chapter of the Acts of the Apostles, which describes how the apostles gathered in the Zion upper room and the Holy Spirit descended on them. They began to speak in unknown tongues and went to preach. Sixteen figures on the arcade indicate the direction of movement of the apostles in all directions of the earth.

Moreover, they are mentioned in pairs in the text. And on the temple they stand in pairs, in accordance with the text, and each pair forms the diameter of a circle. "...Where two are gathered in My name, there I am in the midst of them." The middle of the diameter is the center of the temple. In other words, this temple was an image of the apostolic preaching.

In the time of Peter the Great, foreign languages ​​became a symbol of the era of enlightenment. Moreover, in the early time of Peter the Great, enlightenment was not yet tinged with atheistic shades. On the contrary, the aristocracy was extremely religious, and Tsar Peter himself sang in the kliros. Enlightenment was inextricably linked with faith.

– To what extent was this place visited and did contemporaries read all these symbols?

- Of course, people of Dolgorukov's circle read it. Baroque is always allusions and subtexts. This is the era of a certain pictorial language. They all understood perfectly well what the circle means, why it is used here.

Here is an octagon on a quadruple - one of the most common architectural compositions For late XVII- early 18th century. The octagon is an eight-part structure, the figure eight is a symbol of infinity. For people who were initiated, who knew the cultural and theological language, all this was obvious. Therefore, when they came to the temple in Podmoklovo, they saw these eight axes, it became clear to them that the temple is an image of paradise. And for Peter's time - the theme of paradise. Peter built Petersburg as his own paradise. In fact, Peter's baroque is very optimistic and conveys the idea of ​​building a new Russia, which will be the image of an earthly paradise.

missionary bait

- That is, the temple was still not a naked aestheticism and a fashionable trend. Did people perceive all these images?

– Yes, this is obvious to me, although it would probably be too bold to say that all segments of the population could consider these meanings. Local serfs were not taken into account. They had their own wooden temple in the center of the village. And the Church of the Nativity of the Virgin was a brownie, a manor, even a palace. A colossal amount was spent on it - 1375 rubles - the annual salary of Grigory Fedorovich at the beginning of his career. Enormous money was invested in the temple, while the manor house was wooden, with nine windows. Not a palace, in a word.

At the beginning of the eighteenth century, aristocrats first built a temple, and then luxurious housing. To build a temple was a life program for a person who thanks God for his well-being. The temple in Podmoklovo belongs to this category.

- Did you start reviving the temple in the hope that the local villagers would penetrate the essence of the sculptural decorations and see the image of paradise?

- You know, to each his own. Christianity, Orthodoxy - it is for all segments of the population: for aesthetes, and for the simple, for academics, miners, for the young, for the old, for Russians, for the French. Orthodoxy is universal. This is faith that can find its way to the heart if a person is ready to open his heart. And this architecturally grandiose temple can be a home for both local villagers and people with a high educational level and great aesthetic demands.

Orthodoxy is for all segments of the population: for aesthetes, and for the simple, for academicians, miners, for the young, for the old, for Russians, for the French

I believe that the cultural potential of the temple in Podmoklovo is a way to make it a missionary "bait". Someone will come to admire the beauty and marvel at the place, and then they will be imbued with the service, or maybe they will see how the parish communicates. Here we arrange open-air festivals, meals, youth labor gatherings. Such communal life, if you get to know it, can make you feel what Christianity is in its essence.

Music festival in ancient ruins

– How and why did the idea of ​​a classical music festival come about?

- My daughter, Vera Voronezh, suggested. By virtue of my work, I am not prone to adventures, but Vera was persistent. She really wanted to organize a festival for fellow students and acquaintances. She insisted for a long time. I scoffed and agreed.

- You wanted to arrange a concert in the temple?

- No, outside, near the walls. This was in 2014. The temple was in the woods. On reflection, we decided to hold the first festival of classical music near the ruins of the manor house. With this long-suffering manor house we have depicted antique ruins. And I must say, the festival, made in a week, on its knee, unexpectedly gathered a lot of spectators.

– Were they lovers of baroque music?

- Not only. The fact is that baroque music is Vera's area of ​​interest, as is her authentic performance. This direction implies the performance of Beethoven not on the Steinway piano, but on the hammerklavier, and Chopin - on the instruments of his time - early pianos. Of course, they were grand pianos, but they are seriously different from modern ones in terms of mechanics. And although Yamaha and Steinway are universal instruments, but from the point of view of the truth of performance, musical truth, it is necessary that the music sound on those instruments that then existed, at least on their replicas.

Vera offered to play baroque music in the "Roman" ruins, since we have our own harpsichord, and her friends play ancient wind and string instruments. And it turned out to be a good festival. Small, literally three hours. But the people liked it.

The next time, already in 2016, we decided to reach a new level and hold two festivals at once: baroque and folklore with a difference of a week.

And this year, Vera has a new adventure. And I believe in the musical flagship of our family, especially since the organization of the entire musical part lies with it. She even organized crowdfunding and managed to raise funds for our new project.

Piano on the porch, stalls on the grass and music as a donation

- What is the adventure of the third festival?

– We decided not just to hold a festival, but to bring a whole piano. Moreover, the grand piano is historical - "Becker" of 1900, which we will put under the gallery. The natural amphitheater will auditorium, and the porch of the temple - an impromptu stage. We even have an unspoken playful name for the program - "piano on the porch". At the same time, we will not deviate from the tradition of authentic sound. All baroque music will be played on ancient instruments, and on the Becker piano - works by more than late period.

Moreover, outstanding performers, teachers of the Moscow Conservatory, those who now teach musicians and are the core of the Faculty of Historical Performing Arts of the Moscow Conservatory responded to our idea: Alexei Lyubimov, Ekaterina Derzhavina, Olga Martynova and the Gnessin baroque ensemble, Les Moscovites, Yuri Martynov and others . Their participation is an honor, joy and pride for us. Musicians participate in the project for free. They donate their performing arts to the temple. Knowing perfectly well that people will be attracted by their names, that the temple will gain additional fame, they participate, and this is their form of manifestation of Christianity.

– And you don’t feel a contradiction here: classical music on the porch Orthodox church. Doesn't the neighborhood of these two concepts cause dissonance?

- Well, what here can be a contradiction?

“Music itself is a rather passionate phenomenon. A temple is a place where we meet with God.

- I understand what you're talking about. Yes, there is such a view. But in fact, classical music is always serious, even when it's entertaining. She always says something deep to your soul. That is why this music is eternal. Like classical literature, like high works visual arts, although it is not directly "texts" on a religious plot or on religious occasions, it is deeply meaningful. In general, we know very little about music.

For example, Bach's Well-Tempered Clavier is a sound gospel. Bach used certain musical rhetorical figures creating this harmonious system. And these figures not only carried semantic load and symbolism, they were perceived by people literally as a text. The Well-Tempered Clavier we know from music school as a student work, was a deeply religious work.

- Are you saying that this is not a “musical multiplication table” and not an essay for kneading fingers?

– No, this is a work for kneading the soul. This is a kind of prayer, because each prelude and fugue is associated with a certain passage from the Gospel. It is known that the C major prelude and fugue, which is often performed as “Ave Maria”, is a symbol of the Annunciation. There's a scene doomsday, the Sermon on the Mount, and in fact the entire Gospel.

Very many spiritual people have noticed that cultural figures are most sensitive to religious issues, that is, those who have artistic taste who understands what is good and what is bad, who distinguishes halftones and nuances. And why? Because they have already worked their soul. In this sense, music is quite an ascetic exercise.

– Do you want to say that your festival is also a form of preaching?

- Undoubtedly. At the most superficial level, this is drawing attention to the temple, the second level is our desire to show that parish life can acquire the most different forms. Well, the third layer is the desire to give people the opportunity to work mentally.

- work hard because classical music hard to listen?

Everything authentic requires work and immersion. True art requires work, as does our faith. Here people come to us and say: oh, what an unusual temple, oh, how wonderful. But few people notice that it has eight axes. Few people think that cute flying angels are not “putti” at all. Even less often, they notice a stone block with bunches of grapes, placed at the very height, under the arch. And rarely does anyone bring it together and think: why, why all this? But because everything was created not for itself, but for God. Art has always been a means of giving thanks to God. Because it is a high and difficult work.

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We have selected the most interesting cultural and sports events in the Moscow region and found out where to go this coming weekend, June 23-25.

Performance "Republic of SHKID" in Sergiev Posad

The performance "The Republic of ShKID" based on the famous story by G. Belykh and L. Panteleev will be held in the cultural and educational center "Dubrava". A performance about those for whom fate prepared the fate of vagabonds, but life in the "Republic of SHKID" helps them achieve more. Start at 19:00.

Where: Moscow region, Sergiev Posad, md. Semkhoz, st. Parkovaya, 16

Price: 600-800 rubles

Day of the Olympics in Podolsk

The International Olympic Day will be celebrated in Podolsk on the sports ground behind the Metallurg House of Culture in the Lvovsky microdistrict. For guests of the holiday will be held fun starts and relay races, as well as competitions in Summer Olympic sports. Start at 11:00.

Where: Moscow region, city of Podolsk, st. Gorky, d. 5

Price: for free

The performance "This, girls, is war" in Krasnogorsk

A military drama about four young girls who find themselves in the war will be shown at the Luch House of Culture in Krasnogorsk. The performance of the modern playwright Taras Drozd touches upon the issues of friendship and betrayal, love and hate. Start at 19:00.

Where: Moscow region, o. Krasnogorsk, the village of Petrovo-Dalnee, st. Shkolnaya, 24

Price: for free

Performance "Lukomorye" in Drakino

The performance "Lukomorye", which is based on the poem "Ruslan and Lyudmila" by A. S. Pushkin, will be held as part of the "Open Air Theater" project. The plot is adapted for viewers of all ages. The performance is accompanied symphonic music great Russian composers - Borodin, Mussorgsky, Tchaikovsky. Start at 19:00.

Where: Moscow region, Serpukhov district, Drakino village, Drakino park

Festival "Russian Song - 2017" in the Voskresensky district

The festival "Russian Song - 2017", dedicated to the work of Lyudmila Zykina, will be held in the urban settlement of Beloozersky in the village of Mikhalevo on the banks of the Moscow River. The participants of the festival will be groups from the Moscow region, as well as individual soloists and duets. Start at 13:00.

Where: Moscow region, Voskresensky district, with. Mikhalevo, st. Sovetskaya, 47A

Price: for free

Country gatherings in Melikhovo

In the Melikhovo estate on Saturday it will be possible to plunge into a leisurely country life. Guests of the event will enjoy tea with a Russian samovar, traditional dacha games and entertainment of the late 19th century, and a dacha theater. Visitors will be able, under the guidance of a director, to prepare a theatrical divertissement - the genre of "live picture". The guests will act out one of Anton Pavlovich Chekhov's dacha stories. Start at 17:00.

Where: Moscow region, Chekhov district, s. Melikhovo

Price: 1500 rubles

The holiday of Ivan Kupala in the Dmitrovsky district

The celebration of Ivan Kupala's Day "In Search of a Fern Flower" will be held at the Shikhovo Zoo Farm in the village of Komarovka, Dmitrovsky District. Although the event will take place during the day and not at night, as required by tradition, all the necessary points will be taken into account. Guests of the event are waiting for jumping over the fire, fortune-telling, weaving wreaths, as well as a quest and various master classes. Start at 16:00.

Where: Moscow region, Dmitrovsky district, Komarovka village, building 48

Price: 500 rubles, children - 250 rubles

Baroque Music Festival in Podmoklovo

The baroque music festival will take place in Serpukhov next to the Church of the Nativity of the Virgin, located on the banks of the Oka River. Musicians will perform works from the late 16th century on harpsichords, lutes, oboes and flutes. The performers will be laureates of international competitions, graduates of the Moscow Tchaikovsky Conservatory. Start at 12:00.

Where: Moscow region, Serpukhov district, with. Podmoklovo

Price: any donation

Performance "The Scarlet Flower" in provincial theater

The play "The Scarlet Flower" based on the fairy tale by S. Aksakov will be presented at the Provincial Theater. Known History O good girl, magic flower and the enchanted prince both adults and children will like it. The recommended age for children is six years and older. Start at 12:00.

Where: Moscow, Volgogradsky prospect, 121

Victoria Kulagina