[000:00:00;00] administrative-command system, well, they showed, by the way, his weakness, including as a parent, as a father, who simply cannot establish relationships with his own daughter, by the way, that’s why, when galina leonidovna met yuri churbanov, who had the title mayor already at that time, that is, a handsome, stately officer appeared in the family, he later, of course, brezhnev was glad that, as he believed, gali came to her senses, but gali did not come to her senses for long, the love passed, the tomatoes withered, so she again rushed into various adventures, including from borisov, galina leonidovna divorced churbanov while he was in prison, such an option is provided by law, in my opinion to this day, that if a person is convicted, then

his... consent to divorce is not required, and in the case materials, in including those that i published in the mkk in other newspapers, there - her assistants and people from relatively speaking, i don’t mean anything derogatory in this term from the servants, but they said that she tried in every possible way to squeeze out property from her... ex- husband at that time, all the property for which he could claim. i went with my colleagues, documentarians, to colony number 13, in nizhny tagil, there was a colony for party workers and security forces. i actually started this whole thing so that i could talk to churban after the fact, after

the conversation, he was naturally not happy, eh. during our meeting he was extremely laconic and i then made a very interesting discovery for myself that the camp authorities, in general, were also, well, relatively speaking, on the side of churbanov, that is, they sympathized with him, that is, in the eyes of all the people from the system , from well, let's say, those whom he calls security forces, he was a victim, he was also a victim of journalistic pressure, very contradictory, there are assessments of his own activities in the ministry of internal affairs, many of the people in that system say that he is something he actually did something there in general, he didn’t give the impression of a person who could work on something, he gave the impression of a person who really likes to relax and enjoy

life, and at the same time: again, he didn’t look like an intrigue. boris buryat told me, when meeting, within the walls of the prosecutor general's office of the soviet union, that he said that they would kill me. i don’t know how sincere he was, he said that he was afraid of freedom, that if he was free, they would kill him. after his release, after some time he very quickly came across penicitis on the surgeon’s table, and during this operation to remove pedicitis, he died. as doctors say, the operation is generally very simple, but anything can happen, of course, supporters of conspiracy theories, how comfortable it is to think that he was simply killed on this operating table, and i think so myself, in order to pin a lot of very serious cases on him later, after

his release yuri mikhailovichnov actually did not communicate with... he got married for the third time, the first marriage was on tour, when we were neighbors, he had an official marriage, in the third marriage they say that he was happy, he died simply from a stroke, that is, from the heart, i think that to a large extent, of course, this whole story undermined him, was boris buryatsin guilty of his death, well, maybe indirectly, only as a person who... spoiled his nerves a lot, in fact, if if only they had not met galya brezhneva at one time, maybe they would have lived longer and lived happily, but who knows , for sure it was a podcast chronicle of the end of times, my name is evgeniy dodalev,

there will be other stories further. hello dear friends, now is the very meeting that... as a rule, it leaves no one indifferent, someone once took the melody to a company and published a record by hari prosad chaurasi, but it probably had something to do with our friendship with mrs. happened, we began to listen to raga, we began to study this culture, and it is 6,000 years old , in no way did any of us become hindus , you see, this is an orthodox cross, it does not bother anyone else, but this culture, we loved our generation with all our souls, and today it is with special pleasure that we welcome these brilliant musicians to our studio, first of all, you need to know pavel pravin, here he is, this is the leader,

the tireless composer and bansuri, here it is, the same bansuri on which hari prosat chaurasi played, and you played him i personally saw it, yes, yes, i met him several times, my teachers introduced me to him, they are related, wow . so he said: you have a wonderful teacher, you need to study with them, and you don’t need anything else, this is not an arrogant person, he is the most humble person, this is a man, being the founder of a whole style of playing the bonza, he tells one story about him when he’s, uh, in a hotel, his relatives are all asleep, and he’s studying in bansur, he ’s studying quietly so as not to disturb his sleep, but what about your like-minded people, who they? but this is a huge honor for me, i don’t know how i was so lucky in life that i can play with these people, genno, in my opinion, is gennady lavrenti, yes, yes, a fantastic multi-instrumentalist who

also plays ottoman music, and byzantine music, even byzantine, yes, it was necessary, yes, it was necessary, yes, yes, he plays with yanis, a greek who sings byzantine chants, traditional, so... right there is india, right there, as you see, metal lotions, we know what these things are, they make the guitar is roaring, as you understand, you are blackmer, it’s just a delay, that’s what we call it, the warmer, that is, straight, yes, and of course, techburgov plays the sitere, and this is an eternal conversation, ivan muralov, yes, this, he not just a sitarist, he is a sitarist from varanasi, he is his tradition in varanasi, that is, it is a city, a portal, people come there, hundreds of thousands of pilgrims come to say goodbye, to leave their path in life, having listened to wonderful sounds, including

sitara, then let’s not delay, let’s carry out this procedure with our

viewers right now. if i say that we have just become acquainted with the work of pavel pravin’s project, i am on the right track, that’s the name of the project, this project is called the light of night cancer, that is , there is a concept that daylight, it closes the light of the soul, precisely at night , when the sun lets go of the earth, we can see the inner light, so this is the concept that the night ragas, they open the spiritual light. were you playing traditional tunes now, or is that your job? these are traditional melodies like this a certain compilation, the kavali genre was heard here, mas calannder, this is such a wandering traveler, a dervish who is looking for new places, new music, new knowledge, who set off with a caravan on the road, but this kind of stuff, roughly speaking, i... will say that we

actually played a very famous song sung by the kavali singers, so we played it instrumentally, we must ask you what you need to understand in a raga, but you need to understand the tal and the tal is built called the rhythmic-melodic pattern that you perform so many of them, rupoktal , god, none of the russian people in the world will understand, is this a rupok one, two? 2 3 4 5 6 7 1 2 3 seven-fourth wow what other tales are there now we played in tintal this is such a tal yes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 how many years did it take you to do this to master the scoreboard since the year ninety-seven, well, how many years have passed 25 probably how is it that , they have their own names, these two drums, these

are daya and baya, that is, this is your baya, how is it that he plays bass, that’s how he works , actually quite mystically constructed the instrument, in general, is a completely closed drum, there are no resonator holes in it, that is, the skin itself sounds here, as if , due to this black coating there is a lot, but if this black coating is removed, then it will not sound at all, oh well, if now we will start talking about the sitar, we will not finish until the morning. gears, because here, i only understand correctly, there are 18 resonator strings, 20 strings, sorry, please, i robbed, no , in fact i removed a couple, so yes, that’s right , that’s because the settings are different, there are three groups of strings, this here's the main thing, two melodically, please show them to us, the melody is played mainly on one string, it’s like an additional one, here it is in the middle

, and to make it convenient, the rhythmic string , yes, it turns out that when i use rhythmic strings, the sound turns out to be cleaner, that is, there are a lot of new things thanks ravi shankar succeeded, but they didn’t see shankar, so it turned out 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 i ended up... i ended up in his house, and there was a concert there, where relatives and friends gathered, that is, i immediately, uh , found myself in this atmosphere, his spirit was with you, well , something like that. it happened by chance, a chain of events, in the end i entered the university in varanas, studied at the music department to become a sitar player, and that’s how i got into it, what we need to understand about playing the nosa, well, it’s quite a complex instrument, and it takes a long time to study in order to produce

such sounds, which attract the attention of themselves, so this instrument is it, it is many the sound is absolutely captivating. here, but he attracted me so much that i’m just doing this, dear friends , this is an anthropology podcast on the first and our guest is the project light of the night ragas, and look, bansuri is not the only one here, here in fact several wind instruments, firstly, this is turkish, this is bansuri, and this is duduk. armenian, all civilizations had such an instrument, and the main thing is that it has not changed, for 3-400 years, it has not changed at all, we are talking about the fact that the sound is produced by the vibration of this very reed, yes reed, yes, reed, yes, this is a reed, here it is on top, and this is an apricot, the base of a reed, yes, yes, this is an apricot tree, yes, but

the armenians have their own way, the georgians have it, the turks call it a balloon, but the armenians have their own way when you begin to immerse yourself in the history of mankind. it’s simply breathtaking how much diversity there is, it’s probably like in his time, so he 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 be too far to move away from music, i ask you to continue to lead us

on this journey, so shall we play husseini? well, grandiosely, we can say that the wind instrument is interesting because breathing is essentially a source of inspiration for the spirit, it’s not for nothing that we are talking about aspirated love and so on, then it turns out that the difference between those instruments that you pavel brought to studio not only in quantity. well, many, many musicians, mystics, they say that a wind instrument contains this... this is the original human cry, such prayer, prayer, at the same time there is also a breath here, in

this breath, this silent prayer that issykhasto has, constantly an internal silent prayer, it seems to sound, this is the power of these instruments, playing turkic music , you find yourself sealed in a square, because these are repeating phrases , they are also pentatonic, yes, but inside these... pentatonic phrases, there is a very complex system, some tones in ottoman music are divided into nine parts, imagine what kind of space there is, i imagine, because in azerbaijan ashuk will sing in such a way that anyone who loves vocal music will take the breath away, this is impossible, there are such milisms there, well, probably ney is able to convey it, yes, but my interest in it arose precisely in connection with the byzantine empire . music, because it was in ottoman music that traces of byzantine music remained, so, well, our violin is idle, or you do not intend

to play it, there, the time will come, then do what you want,

a vum. what was said just now? oh, this, this was bach's aria, and the prayer, our father, in aramaic language, in aramaic, this is the language in which the savior spoke, yes, yes, it’s fantastic that bach’s aria, bach’s aria, bach couldn’t sing, well , it’s... uh, actually i took it from anna magdalene bach’s notebook,

that is, this is basically a children's piece, my son played it once, so i did, when i heard it, i thought it would be nice to put it on this guitar, it’s just that, as you know, the simplest chords can be played on this guitar the hardest thing, and that is, it can be compared to how, uh, driving a sports car over rough terrain, something like this, okay, then like this the question is, these are not toys, wind instruments, the city is not suitable for rehearsing, and in order to play like this, you need to not just rehearse on them, sleep with them, when uncle jivan became the first... master of the world, so the mountains helped him armenia, he went to the mountains and rehearsed there, uncle jivan was a skilled master in making duduks, too, who thinks i will say syranopoh, since it’s in armenian, but syranopoh, yeah, apricot stick, pipe in the sense that after all, duduk is a turkish word, then you will have to keep it in mind

turkish melos, after all, armenian theranopoch, although it seems like we were saying the same thing, so he gave me... a wonderful instrument made by his own hands, i tried for 2 weeks to blow at least one sound, and when she was on the third i gave it out for a week, i realized, it would be better if i didn’t blow it out , so i have a beauty lying in a visible place, where you are rehearsing with this, how the neighbors haven’t kicked you out yet, somehow i started, when i was doing all this, i have the neighbor on the left side, the clarinetist moved in, on top, that is, the wind players began to appear, that is, when i... in india, there were neighbors, they basically went out at night and seemed to order ragu directly, asked for concerts, that is, as if people, they 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, a servant of the owners came to me and began to explain to me with gestures, like, dear, you need to go to

the mandir, to the mandir, that is, to the temple square, go and play. why are you sitting here, yes, yes, it was like that, even drums can carry, and our friends - when they went to bed, i lived there with friends of this kind - a swiss-indian family, so they asked me to play the violin, and we will go to bed, then you play here in this room, and we are there in another room, so on nasdy, yes, that is, they liked, for example, this, well, of course, the sitar is his own, this is generally the case, a person takes a sitar, he plays it himself. but in india they really supported me, that is, when i heard a knock on the door, when i started very early play, i thought, well, now they will swear, so they say that you play so little , that you started so late, but you need more, why did you come here, let’s study, let me remind you that this is an anthropology podcast on

the first, we have pavel pravin is visiting with his brilliant project: the light of the night crayfish, what you need to understand about it in this raga, it also has its own phases, there is a whole story there in dramaturgy, and well, firstly, of course, this is the mode that of which there is an upward movement and a downward movement, this is the interaction of these two movements create a pattern, an ornament and one more very important point - this is race, race is a mood, there are a lot of them, maybe, so to speak, the race of separation, the race of love, that is, they are. very different, very many different of these races and as if when you are immersed, here is a musician, he conveys this feeling of state, and as if raga itself carries this state, but the listener himself must work together with the musician, yes, yes, this is a joint process , this is this magic, this is the magic of eastern listening, the viewer is not separated from a musician, so he can tell him, but play like this, play like this, like this for me

please, like this and then it goes down, yes, yes, yes? this is, for example, a performance by a tabla player, this is, in general, an interactive thing, because the tabla player comes out, he always has to say, i’ll try to perform such and such a kaida now, such and such a composition, there, which he may have composed there my teacher’s teacher or there, which i composed myself, all sorts of things also happen, so in fact , my first teacher, kishabri, he told me about this, and i kind of, well, in general, since i had never seen this, i didn’t understand what it was... and then in india i saw how - indeed, i was present at the concert of srikishon maharaj, unfortunately, he probably passed away about five years ago, but i was present at his concert then , and i saw some old men sitting in front, they started talking to him, and my friend said to me, look, he’s ordering it for him , he says, play me from the sixth blow,

please, the chakardar is in this thali, well , he tried something and it didn’t work out for him first, here, and then the second time he succeeded, can you imagine what a feeling of music, yes, then let’s play something else, i would like to play one composition, it ’s called zavk idil, this is my composition of the words of bahaudin nachband, this uzbekistan, wow, this is bukhara, it was a sufi to whom timerlan came, dismounted and listened to him, we must explain who a sufi is, usually it is within islamic culture, it is a wandering dervish who is looking for the truth and the sufi... in the east, they , they were part of the culture, they, for example, it is believed that avicena, a summer resident, he was a sufi, and bukhara, this is the place

where, where the bahaudin nachband is like, an amazing place from all over the middle east, people come there, and this is this song with several of his main phrases, dil bayoru, with

bakor, hands in labor, heart in god.

النعم السلام well, what can you say? dear friends, it’s better not to even say anything, keep an eye on the tour posters, now we have to repeat it again, right. in general, this is pavel pravin, that’s what i need to say, should i travel around the country or only in moscow? well in general, there are a lot of trips, but with different, completely different projects , and i recently came from krasnoyarsk, i’m playing with such an interesting, very very interesting vocalist gurud, there is such a project, he’s from sakhalin, he has such interesting throat

singing and my mother is also from sakhalin. oh, so we’re going, it’s a wonderful place, yuzhno-sahalsk, and all this stuff there, listen, whoever’s name is gurudeva, listen, it’s like ivan ivanov, please tell me, could you finish this of ours with something? i'll meet you, hindu truka, and there we are would like, probably, to be the immortal words of kabir, but he translates the meaning simple, not... whoever you are, christian, muslim or hindu, if the lord is the wind, then it equally fills the soul of everyone who comes to him. the main thing is to go, this is something worth thinking about while listening to this composition, we thank you for your attention, may god grant you success in everything you do, and of course, the main thing

is health, all the best, thank you.

quietly with my song, tell your heart the secret of who is dearest to you, but neither grief nor care, you are my friend, don't multiply. give a motive on the sly to those who go on a journey into the distance. یا rahman i am rahim, i am rahman, i am rahim,

astamaya. hello, this is a podcast of witnesses from einstein, my name is natalya ryabchikova, i am a film historian, together with my colleague stanislav dyadinsky, we talk about who and how created the famous classics.

little-known forgotten soviet and russian films and today we have a program that is not quite ordinary, not quite an ordinary podcast, because today we have a living person as a film archive, we will talk about the film with difficulty to be the god of alexey yuevich german and we will talk about him with leonid yarmolnik. good evening, good evening, good evening. our first question, of course, should not concern the film, we must approach it, we must talk about it, of course. in herman’s film i watched the most, naturally, my friend ivan lapshin loves the picture most of all, but there is a slight difference, checking on the roads, i adore the picture, a little more difficult for me was the picture where yura directed and played the main role, khrustalev’s car, and khrustalev's car, yes, but then, when we were making films, it seemed to me that our film was even more complex from

the point of view of the audience’s perception, for example, my wife, she adores herman’s films, because she is an artist, i generally believe that he filmed artistry through documentary means. for this movie he had special operators, fedosov, with whom he worked for many years, and not without my participation , yuri viktorovich klimenko joined this team, who shot almost, well, more than half of this picture, something i understood that... then i don't i understood that we quarreled a lot, because we had different views, well, as an actor who must experience doing something on camera, we had different ideas about how it was experienced, and whether it was soviet science fiction, or rather, were soviet films about space fantastic, yes, because it seems like even herman’s film , on the one hand, it seems to be a fantastic story about how an earthling ends up on another planet, on the other hand, it’s an absolutely

everyday, mundane story , that's what attracted you, i’ll tell you more that this is again strugatsky, this is not another planet, this is us, this is what they are all about, and this is not all about the planet, but about people, so different , well, that is, there are people to whom civilization should be grateful, there are those freaks who destroy this civilization, and naturally, how it was necessary to come up with the idea that it was there several centuries before, history does not coincide, that means before rumat, who seems to want change the life of this planet, it doesn’t work, it doesn’t work because he can’t, and because he can’t change people , he can’t, he doesn’t succeed in convincing either, and in general , oh, since we’re already talking, i can tell you that it’s my merit, i’ve been persuading for many years herman, so that the film would still be called it’s hard to be a god, and herman himself is a very jealous person, and naturally,

this is the story of the strugatskys, and this may be one of the best book titles that can generally be presented in world literature, he wanted to call it the history of the arkanar massacre, well, that is, there were several... what the tobacconist said from tobacco street from tobacco street, yes, and it’s good that the film was filmed over 14 years, because 14 years convinced him that, firstly, this is not only respect, and love for strugatsky, it’s immediately clear what we’re talking about - such a brilliant work, the attention to this film is already different, to this title, let’s maybe look at the very beginning, a small fragment, to also let the audience understand what we’re talking about, this ... this is not earth, this is another planet, just like earth, but did not catch up with it by 800 years, there were several similar planets, it was smaller closer, in addition, the gray

castles here led to the idea of ​​​​the beginning of a revival and three dozen scientists were thrown here, but there was no revival here. there was a reaction to something that almost didn’t happen. the strugatskys generally used space themes, followed by herman, in order to express some ideas that were exciting then in the sixties, and herman was worried then in the sixties and eighties and when he had a second attempt to approach on this topic, actually in the 2000s, there was this phrase: if the grays triumph, if the grays triumph, then the blacks come to power. in fact, this is for all times, for the entire civilization, if there are some distortions in history and we understand something that is being done wrong, then this is only a harbinger of what can happen next, well, the whole history of mankind is like this, and when you book it turned out to be difficult to be