1 2 3 4 5 6 7 1 2 3/4 wow, what other things have become. now we were playing in the title. this is the one there on 16 7 8 9 10 11 12 13 14 15 16 how many years did it take you to master counting since 1997? well, 25 years have passed, probably, how is it that they have their own names , these two drums. this is daya and baya. that is, is it right-handed or does it turn out that he is bass? it is designed like this, in fact , the instrument is quite mystical in design, in general, it is a completely closed drum, there are no resonator parts in it holes, that is, the skin itself sounds here. as if due to this black flip-flop of ours , a lot. if you take away this black one, then he’s generally, yes, if now you start talking about the sitar, we won’t finish

the program until the morning, because here i only correctly understand the 18 resonator structure of 20 lines, please, not really, i’ll give you a couple stripped off. so yes that's right, that's because the settings are different. there are three groups of sides. here are the main two melodic ones. here the melody is played, mainly on one string. second it’s kind of additional, and it’s in the middle . yes, to make it more convenient. yes, it turns out that when i use rhythmic strings, the sound is cleaner, that is, there are a lot of innovations. eh, thanks to arabia , shankara happened, but they didn’t see shankara in itaro-v-shankar. it so happened that when i went to study, it was quite recently. that is, it was 2012 when i went to india to study, and i just happened to attend his funeral, but

i ended up in his house. so there was a concert there, where relatives and friends gathered. that is, i immediately found myself with you in this atmosphere. well, it somehow happened by accident. yes, the chain of events ultimately ended in varanasi. i went to university and studied at the music department to become a sitar player. this is how the game began to spin. she thinks, well, this is a rather complex instrument and you really need to study for a long time in order to produce sounds that attract attention to yourself like this instrument. he generally fascinates many with his sound. here. well, he attracted me so much that this is all i do. with thoughts about future match against a participant in the world championship, russia kata live broadcast on

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sberbanquet, i do, and give me a hand, we deliver from cafes and restaurants for free, dear friends. this is an anthropology podcast on the first and our guest is the project light of the night crayfish. but look, mansurit, you are not alone. there are several wind instruments here. firstly, this is turkish, and this is the armenian duduk. friend, all civilizations had such an instrument and the main thing is that it has not changed in 3-4,000 years. he hasn't changed at all. we are talking about the fact that the sound is produced by the vibration of this very reed. yes reed yes this is reed. and this is an apricot. yes, this is an apricot tree. well, the armenians were considered georgians, if only it was called balafon. layer,

when you start immersing yourself and looking at all these cultural histories of mankind , it’s simply fascinating how much diversity there is. it’s probably like how thor heyerdahl once went and proved that the oceans existed as a means of transportation. and so, through music. we can cross these internal oceans. well, let's not stray too far from music. i ask you to continue to lead us on this journey. well, let's play a game, right?

well, grandiosely, we can say that a wind instrument, what is interesting about breathing? this it’s essentially a cart for the spirit; it’s not for nothing that we talk about aspirated love and so on. then it turns out that the difference between the instruments that you pavel brought into the studio is not only in the number of holes. well, many, many, uh, musicians are mystics. they say that there is a wind instrument in it. this primordial human cry is such a prayer, yes, a prayer, and at the same time, breathing is also embedded here. here is the breath. this is the silent prayer that the hesychast has - constantly internal silent prayer. she kinda sounds like this, yeah

the power of these instruments plays turkic music, you appear sealed in a square. after all, this is a repeated phrase. these are also pentatonic of these clinton phrases. eh, there is a very complex system of some tones in e. in the ottoman language they are divided into nine parts, imagine, what kind of space there is, of course, i imagine, after all, in azerbaijan, and the shuks sings. so, anyone who loves vocal music will take their breath away. it's impossible there. such melismas, but, probably, she is also able to convey ism with these. well, well, my interest in it arose precisely in connection with byzantine music, because it was in ottoman music that traces of byzantine music remained. well, our violin is idle. or you don’t intend to play on it, the time will come to do what you want.

boy

what did you say just now? and this was bach's aria and the lord's prayer in army language in army language, is this the language that the savior spoke? yes, the fantastic aria bakhov could not sing. well, in fact, i took it from a notebook from anna and magdalene bach, that is, it’s for children. in in general, my son played her play once. here i am, when i heard it, i thought it would be nice to transfer it to this guitar. it’s just

that on this guitar, as you know, the simplest chords are the most difficult to play, and that is, it can be compared to how to drive, uh, over rough terrain in a sports car. that's good, then here's the question. these are not toys, wind instruments, the city is not suitable for rehearsing, but in order to play like this, you must not just rehearse on them, but sleep with them, when uncle jivan became the first varpet master in in the world, this is how the mountains of armenia helped him. he went to the mountains there and rehearsed, this same one, he was an artificial master of making duduks too. who thinks, i will still say it is similar, since this is an apricot stick in armenian. here in the sense that after all, tuk is a turkish word, and then you will have to keep in mind, turkish melos, but still, the armenians don’t give a fuck yesterday. although it seems like we were saying the same thing, so he gave me a beautiful instrument, personally

made by his hands. i tried for 2 weeks cause at least one sound. and when she met for a week, i understood. i wish i didn't have it. so my beauty is lying in a prominent place, where you and these tutors are. how are you doing? there's something on the neighbors' faces. so i started doing all this. my neighbor on the left side moved in with a clarinet player. uh, from above, and that is, wind players are appearing, that is, when i lived in india there, uh, neighbors, they, in principle, came out at night and seemed to order, they directly asked for stew concert. that is, how people perceive, understand, that here is a musician and he needs to play. they even brought gifts. i had this too. i was sitting playing on the scoreboard , studying somewhere in a shed, and a servant of the owners came to me, and with gestures he began to explain to me, like, dear, you need to go to the mandir to the commander. that is, in the temple square. go play while you're sitting here. yes

, even our friends could relate to the drums. um, when did you go to bed? i lived there, well, friends such a swiss indian hmm such a family, that's it. they asked me to play the violin. and we'll go to bed. here you go play here in this room. and we are there in another room, yes, that is, that’s exactly what i liked, for example, this, of course, the sitar - this is someone else’s person who will take it, the second one he plays himself. but in india they really supported me, that is, when i heard a knock, the door, when i started playing very early, i think, well, now they will swear. so they say that you play so little. yes, we need more. why are you coming here? let's get busy, no problem, the spark plugs have been replaced.

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understand something in this raga. it also has its own phases. there's a whole history of drama there. yes , firstly, of course, this is a mode that has an upward movement and a downward movement. and the interaction of these two movements creates an ornamental pattern. and one more very important point. this race times this mood there are a lot of them. this may be the way to say separation in love. that is, they they are very different very many different these times. and just like when you are immersed, here is a musician, he conveys this feeling of state. and how it carries this state, but to work together with the musician he must listen to it himself. what is the magic of eastern listening? from the ultra musicians he can say there, and i play this, play this is the tal for me, please, this is it, yes, then it goes down. yes yes yes. this, for example, is a performance by a tabla player - that’s what it is.

in general, it’s an interactive thing, because the tables come out. he always has to say, i will try to fulfill. now such and such a kaidu there, such and such a composition there, which i composed. maybe there is my teacher’s teacher or there, which i composed myself, all sorts of things happen. this is actually my teacher. my first kishbchouri. he told me about it and i kind of... well, in general, since i have never seen this, and they have not i understood what it was, and then in india i saw how it really was. well, and at the sheika concert i said that he was the maharajik, unfortunately, he died already, probably five years ago. but then i was present at his concert, and i saw some old men sitting in front, and they started talking to him, and my friend said to me. look, he orders it for him. he says, play me from the 6th beat, please, chakarda. there ’s something about this talis, and he tried and didn’t succeed, first here, and then here

the second time he succeeded. so it's an interactive sense of music, right? let's play something else then. i would like to play one composition. it's called zavk, il this is my composition based on the words of bhaudin. chief gang. this is uzbekistan wow, this is bukhara, this was the sufi to whom timerlan came, dismounted and listened to him. well, who this is usually within islamic culture is a wandering dervish who is looking for the truth. and uh sufi in the east. they were part of the culture, they for example. do you think that avicenna yes, he spent the night sufi, yes, and uh, bukhara, uh, this is the place where uh? where and where are bahuudin nachbad an amazing place,

people come there from all over the middle east. and this is a song with several of his main phrases, and dil-bayoru yes with bakhor e hands in labor heart in god

orange

well, here you say, dear friends, it’s better not to even say anything, but to keep an eye on the tour posters. now we need to repeat it correctly again; in general, pavel is correct. so what should i say? but there are children all over the country, only in moscow. well in general, there are a lot of trips, but with completely different different projects, and i recently arrived from krasnoyarsk. uh, playing with such an interesting, very interesting vocalist guruda , there is such a project. he’s from a, he’s from sakhalin, he has such an interesting throat singing, and my mother is also from sakhalin. oh , so we're going, uh, yuzhno-sakhalinsk. and listen to all this stuff, well , listen to whoever’s name is guru. this is like ivan

ivanov. please tell me if you could finish this with something during our meeting. ahh, well, there is uh we would like, probably, maybe in the words of the immortal words of kabir, it translates into a simple meaning not uh, whoever you are uh, christian, muslim or hindu, if the lord is the wind, then it fills equally the sails of everyone coming to him, the main thing is to go. this is something worth thinking about, uh, while listening to this composition. we thank you for your attention. may god grant you success in everything. what are you doing? well, of course, the main thing is health. all the best. thank you.

dima and sochi breathe dima from the night of sorrow and the saint share a fair wind, quietly, with my song, tell everyone the secret of your heart, who

is the only one for you, but not grief or worries. you my friend, don't multiply. give a motive on the sly to those who go on a journey into the distance. i was starving. asya then massage my comasoma john tyrga, my grounded amri there gamaya lupus. never

will. hello dear friends. this is a podcast of the lives of wonderful people and with you i am its leading writer alexey varlamov, and today we will talk to the wonderful writer and philosopher mikhail mikhailovich prishvin. i am sure that you are all very familiar with it.

this is a name from childhood school years, when you wrote dictations of presentation, the authors, who were none other than our hero mikhail prishvin, by the way, say e this is a tradition when soviet schoolchildren wrote their first lines based on his texts in school notebooks. it happened during his lifetime in the 30s and 40s. and prishvin was very amused by this, because he himself was a careless student. he was retained for the second year. then everyone kicked him out of the gymnasium. and so he wrote that so many years had passed since you kicked me out of school. and now according to me through books, children learn to write and read. well, of course, for most of us, this is a naturalist writer, the author of wonderful stories about birds, dogs, and other animals about trees, about nature, in general. and i thought so for a long time, until, during the times of glasnost and perestroika

, i came across his diary in the october magazine. and this diary absolutely changed my understanding of this man and made me take him extremely seriously and write a book about him. and in general, never stop thinking about mikhail prishvin, paustovsky once said that if nature could feel gratitude to a person for the fact that he sang beauty to him, then the first person to receive this gratitude would be mikhail prishvin. i think not only nature, but also russian history of the 20th century, is also very grateful i'll sew it on. but the evidence that he left about her in his main book, and prishvin’s main book was precisely his diary, which he kept throughout. and for fifty years he wrote every day several pages and the volume of this diary, which quite recently was published in full volume

of this diary, about 25 of these volumes and, probably, the one who reads all these 25 volumes will be as wise as prishvin . what do we know about this man, and he was born in 1873, and was born not far from a wonderful russian city, yelets, in a merchant family, lost her father early, and there yelets went to study at the gymnasium. in yelets there was only one gymnasium, a gymnasium. this is a wonderful topic that ivan bunin and the future philosopher and priest sergei bulgakov studied there. and the geography teacher in this gymnasium was none other than the philosopher vasily vasilyevich rozanov and that’s it. this was around the same time. just imagine a small, beautiful, charming yelets men's gymnasium, which, by the way, has survived to this day and there is now a school there. and

once upon a time, almost a century and a half ago , we met in this school. well, we missed each other a little, because bunin was numerically from this gymnasium or left this gymnasium a little earlier than we came to this wonderful building, consciously they coincided and in fact rozanov played a huge role in the fate of prishvin because at first he really appreciated this stubborn dreamer, this dreamer who dreamed of making a journey. one day he ran away from school with his friends on a boat along a quiet pine river , was caught by a police bailiff and returned to the anthem. the boy evenly supported him in this action in this escape, and then they quarreled, because there were two such roosters, there were two such very proud independent people between them.