“Chernobyl” by Mikael Tariverdiev – difficult about difficult •

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I even hope that I helped this publication a little: when I saw a recording by Artem Anokhin, the publisher of this tape, that there is such a source, I immediately wrote that it would be worth publishing in circulation and I would be happy to buy such a publication. . A month passed with a little, and this work appeared in the catalog of the label Reel to reel tapes Russia in the form of tape 2/38. There are still 2/19, 4/19 and even a cassette, but I was not interested in anything lower than 2/38. And if so – asked for a copy, went and bought it.

I am absolutely sure that the tape should be collected not for the sake of quantity, but the most interesting, albeit less, but better. And for a person who is very interested in classical music, including on tape, Tariverdiev’s “Chernobyl” is just the same. The work is not that rare: it can be said to be almost non-existent. Probably, you can find the score, but there were no publications, and I’m not even sure that it was ever performed, except in Chelyabinsk in 1987, where the original recording was made.

It so happens that there are hundreds of performances of the mainstream in the classics, but some works have been performed literally once or very rarely. I remember looking for the original edition (although in numbers, there is no other) of the Story of Dr. Faust Schnittke. The only performance. And this is not an isolated example.

And the question here is not uncommon: rarity for the sake of rarity has never interested me, and I have long won the collector in myself – I look for and store only what I listen to. There are just complex, sometimes ambiguous works, to which performers and conductors turn very rarely, and not every listener will go for it. Just our case.

Before telling further – just quote from the booklet that accompanies the publication: so much will become clearer.

I will say for myself that this is not classical music in its usual sense. But I do not want to delve deeper into attempts to classify. You can call it neoclassical, avant-garde – but does it change anything? No. You just have to listen and perceive. The work is strong, it can be heard immediately, listening immerses in itself from the first seconds, figurative thinking turns on immediately.

The first listening to the publication, as it turned out, was not at my house, but visiting Dmitry Alexandrov (@BigD), and I even tried to somehow distance myself from the music. It is necessary to listen to it in silence, alone with oneself, despite the absolutely unambiguously read “not joyful” motive, one wants to immerse oneself in it, to feel it. Makes an impression.

At some point in my head I began to draw analogies with “Crying on Hiroshima” Penderetsky together with the visualization of this music by David Lynch (by the way, the strongest combination, we must pay tribute), but here I do not want to compare, in fact: rather thinking first tried to catch the event’s starting point. But it is not necessary, it is not necessary at all. The work is completely independent and original, everyone will evoke their own associations and thoughts… It is a pity that I can not give a link to any streaming or something like that – the record is nowhere, and I sincerely wish you could hear it.

Harry Grodberg’s performance has nothing to compare with, but you can obviously hear a very careful, empathetic attitude to the melody, it clearly required inner work, feeling. No formal notes. When suddenly there is applause at the end of the recording, you realize how far thoughts and feelings have gone from the current reality. The applause seems unreal, from another world. And what I have noted here in relation to myself: the work is heavy, but at the same time it is filled with a desire to live, the flow is not down. And now in the moment of time it is felt very clearly.

Finally, we must say about the record and the publication. The level of sound, the sound of the organ – all very high quality, apparently the source is well preserved and was carefully published. I don’t even want to talk about a beautiful box, a quality spool and a thick ribbon – everything is sound, but I would be just as happy with this record, if it was just in a cardboard box on the core and signed with a pencil. Because music. Thank you for this publication.

Characteristics of the edition: 2/38 cm / sec, IEC / CCIR, 355 nVb, SM900 tape, reproducing and recording machines – Studer A80.

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