[000:00:00;00] in particular in the enchanted wanderer, which, as i repeat again, many of his contemporaries said, is just a set of short stories that are strung on one thread, they do not flow from one another, but this is very modern, this is a very modern form, just like like some of his first-person narratives, there in the same hare harness, there is a big monologue of the hero, this is nutfiction, this is a novelistic form, it seems to me that now it looks very modern, in tune, i understand, but i'm absolutely sure of that this modern form stems precisely from the inability to make a good composition, but here you are scolding liskov , well, let’s praise him, they don’t pay enough attention to him anyway, i’m now trying to analyze just the reasons why he didn’t write a big book , that is, let's say, the czechs, who was very worried that he could not do a big thing, he did not hide it, he said brevity is the sister of talent, which does not mean at all that he praised himself, he

was a very modest person. no, he said, brevity is just a sister talent, that’s what he meant, not actual talent, yeah, but he recognized chekhov , because he was a truthful man , it seems to me that he didn’t know how to lie at all, well, he’s a doctor, a doctor should look at things straight, he needs to tell his patients the truth, you are dying, and he told himself the truth, you are dying from a fever, but liskov was not that kind of person, he was more complex, and more conflicted, he was always looking for conflict, in society he was looking for conflict, in his behavior with criticism. with publishers, moved from one to another, quarreled, and i even recognized him everywhere strangers, they said this is not our man, yes, like katkov, said the editor of the russian bulletin, this is not our man, i even found, you know, a very interesting letter from him, to the publishing house of some warsaw newspaper, where a critical article was published about him with critical statements, so he wrote to the newspaper, saying how wrong you are, i thought it’s only in our time that there are such writers,

criticism upon criticism, of course. that is, he was a restless, proud man, by the way, he did not even receive a secondary university education, but he worked all his life an official, which is surprising, and at the same time he was seriously involved in literature, and why is he not accepted in the camp of people who are fans of nabokov, zealots of the russian language, high style, liskov is considered, for some reason, well, not a camelpho, not a camelpho, because that he uses the vernacular . that’s right, it was because of the poverty of the family, although he was a nobleman by birth, they lived very poor and therefore he lived among the people, that is, he literally grew up in the same yard with the boys-crosses and therefore he knows very well the language of the people, their thinking, and this is actually his main tool and technique in his literature, but this is not recognized by the adherents of the high russian style, and he, of course , relies very heavily on the nationality in the lexical

sense. but you know, he invents a lot, which also irritated people, that is, he probably has more non-allogisms than all the writers put together, you open the book on the second or third page, you immediately encounter a whole series of strange words solid sea, a two-seater carriage, a two-seater measles, this is a nymphusoria, they call it a nymphusoria, it’s so funny , yes, waiting, waiting, yes, yes, yes, what is this, no, and the funny thing is, i even gave this as an example to my student at the lettstituta . very funny word creation, he talks about waterproof raincoats for the british cavalry, well, these macintoshes are rubberized, non-drip cables, he calls them, he calls them resin, non-drop cables, there is a very cool word here, it’s very funny, i met him at limonov’s, but we don’t we can say that this is a folk language, people don’t speak like that, maybe he’s imitating the way people make mistakes here, when yes, when

a folk storyteller tries to look like this, he creates a serious humorous effect, but i really laugh when i read livsha, but as i understand it, contemporaries they didn’t laugh, because lefty was mistaken for some kind of non-fictional story, that is, he was so convincing in this imitation of folk speech that in the end many decided that this was not his story at all. and not a story, in fact, that’s what the critics decided, because he himself wrote in the preface to the first edition that he once heard such a legend as alevshe, who shod blakha, so everyone began to say so, then he removed this preface, after all, it was as if the author’s vanity, pride, told him, that yes, that it is necessary, the only thing that he does not say in this preface, but he really did come up with a lot, and for this story, perhaps there was such a legend among the gunsmiths that the russians outdid the british, shod

the blah yes, that is they made a small flea, and russian gunsmiths even managed to shoe it, their work was so much more jewelry, but he did not say one important thing in the preface, after all, he added one detail in the text, which , in principle... changes the structure of the entire narrative and speaks about his ideology, about ideology liskova, few people notice this, but this is a very important detail, when lefty in england shows a flea and the english say, my god, how did you do it, what small nails must be, okay, a small horseshoe, but the nails are even smaller, then one of the creators of this flea comes up to him and quietly says: this is of course all good, dear russian master, but she danced with us, but she can’t dance with you... yes, because you upset the balance, yes, the balance of power, i didn’t calculate it, you’re wrong , yes, they calculated it engineeringly, and that is, he says, the whole idea was that the blah is dancing, performing various steps, and you just stand there, so leskov, taking this legend as a huge

compliment to the russian people, he nevertheless did not adds less in his craving for dualism, he does not add that it was necessary to do this, this dualism, this desire on the one hand to praise on the other hand to criticize, is generally his... his life, he always strived to express mutually opposite points, which is why he was not accepted at first by liberals and radicals, and after that he was rejected by conservatives , he was rejected by the liger, you correctly say that both of them eventually said, he is not ours, this constant desire, to show two views on a subject, it seems to me, determines his whole life, that is, he seems to be chasing something... which is not there, but he is there all the time comes up with, by the way, this is also characterized by an episode from the enchanted wanderer, it illustrates both lisky’s method and his outlook on life, the main character tells how he curbed a wild stallion, which bit

the riders’ knees and directly chewed their kneecaps, he says: i jumped on him there, began to rub dough into his eyes, which looks strange, and he has a pot of dough in his hand, he breaks it... forehead of the horse, begins to rub the dough, at this time the whip whips him in every possible way, right? which by the way is straight an obvious metaphor, he searched for quite a long time, obviously, to show the image of the interaction of the power of the people, that is, they cover the eyes of the people with dough, at the same time they overwhelm him, the people resign themselves, then he says a very short remark, but he resigned himself, but then he really quickly died, why they ask him, he was proud, uh-huh, just like that, when an englishman, an english coach. on dressage, asks him what his secret was, now i’m talking about liskov’s method, so, what was your secret, then - the hero flyagin says: so there is no secret, but there really is no secret, and the people passengers on this ferry ask flyagin: would you sell him this

secret, what would it be like, he says, yes, of course you would sell it, but it wasn’t there, but the englishman , he says, he thought that i had such a cunning russian cunning, and said, let’s drink rum, they went with him to a tavern, got drunk, rum, and when the englishman considered his interlocutor drunk enough, he began to ask him again, what is your secret ? the hero, unable to speak anymore because they had drunk a lot, decided to show it. he rolled his eyes at the englishman, gritted his teeth, was scared, made an aggressive face , while the pot of dough became numb, he grabbed a glass of rum, this heavy tumbler and swung it, the englishman, thinking that his death had come, simply ran away. yeah, right here we see that there are two sides, yes, there is a conflict of interests between them, as it were, but the englishman believes that there is a conflict of interests, and the russian says: no, i really don’t know, this is a fight with a non-existent

enemy, and there is, it seems to me, a very the exact image of liskov’s own behavior in life in his texts, for which such things have already been 3 hours under the spotlights, here plus 40, no less, as it itches, there was no need to put them on a naked body. royal or imperial attention question, please, colleagues, motor, camera, mosovka went, more fun , keep the penguin gait, attention to the praguns , got ready, started, finally, let's go, then our life is to play, extraordinary adventures of experts in the winter series of games from november 26 , on the first. rum castra is a product of stellar group. this podcast is a must read, i

glaina batnikov. today we are talking about nikolai liskov, his travels and stories with andrei gelasimov. why do directors love to film leskovo so much? here you are andrey, also a director by training. theatrical, yes, tell us what you think, why this particular material is asking for the hands of directors, and that there is such an attractive thing about liskov , you know, everything is very simple here, despite the fact that like you and me... in at the beginning of the conversation they said he is not a writer of the first rank, since there were great contemporaries, he was lucky, like few authors, he created several household heroes who are cult and remain later, that is, tolstoy has a whole series of them, and there is anna karenina, i don’t know, natasha rostova, fyodor mikhailovich has such characters like radion romanovich raskolnikov, svidrigailov and so on , that is, despite his eccentric work... with language, he managed to find and pluck from

oblivion a couple of characters who remained cult, this is first of all katerina izmailova from ledin magbit, tsensk district, lefty, whom any child, who any child knows at school and so on, here he managed to do this, and the directors are led to feel this fat, yes fat, absolutely right, they are led by this temptations and thinks, now he is, well, katya izmailova fell in love, fell in love, that means some kind of carnal passion , just such a passion, well, this is good material for a lawsuit, passion of course, and they also begin to kill the father-in-law of the nephew’s husband, in general , blood flowed like a river at the end she still jumped into the volga with his homewrecker, hugging her , everyone of course says yes, we have the material, but it almost never works out, in any case, in cinema it doesn’t work out because of the incorrect calibration of the degree of convention. this is interesting, it’s impossible in the sense of realistically imagining

such a story, and it’s even impossible, cinema suggests , strictly psychological and strictly, most often realistic, if it’s not a hard arthouse, a realistic depiction of the character’s behavior, liskov’s hero generally behaves like that they don’t lead, it’s impossible, he does, that is, they behave unrealistically or not at all , he makes a popular print, that is, he turns out , he cannot be a master of a psychological portrait, what the director relies on, maybe he can make... an antique tragedy, and lady macbeath is, in principle, quite sophocal, whatever you want, shakespeare, shakespeare, in fact, and ras lady magbeth, although he did not come up with this name, it was an allusion to turgeniev’s story, the hamlet of shchegrovsky district, that is here the story was written a little earlier and was famous and here again he plays in reflected light, which was the nature of liskov, but his story becomes more famous than, of course, he has already been forgotten, he has been forgotten, no one remembers shchegrovsky's hamelt

. visual staging of his work, then it can only be with a high degree of convention, say a plasticine cartoon , where where, plasticine please, please, that’s where these characters appear right on the go, or it should generally be a puppet theater, that is, a nativity scene, this is a very interesting one, a look at liskov, it would seem that he is such a documentarian. no, here are the characters in the den, who are held by this role player above his head, this is he who will hold katerina izmailova, and here he will commit her husband and their murder, this will be done with the necessary degree of organicity corresponding to the text, when in the movie actress psychologically prepares for these murders, loses, natalya andreichenko played in balayan’s novel, but why does liskov have such an image, at the same time as a pochvennik,

a populist, and if he is... only really in fact, the author of the postmodern method, the populist’s term stuck to him exactly because of his experiments in the field of language, that is , the fact that he relied, as if on the folk language, i still emphasize, this is not quite a folk language, so people do not they say that this was extremely important to him, in some essay from paris he very proudly wrote that i did not study russian by talking to people from st. petersburg. by the way, yes, i paid attention to this, because there is a whole genre of conversation with a taxi driver, yes, it still exists and existed then, i know people, from conversations with cab drivers, yes, but he had in mind precisely his major opponents, drugenev, dostoevsky , tolstoy, like, these people, they are terribly far from the people, like yes, as herzon said, but look, here he got caught in a trap that i did not expect, but it is so, and for the 19th century, it probably looked like that. but the fact is that later

the social structure of the state and society changed, if he could then reproach his contemporaries for being far from the people, and he was closer to them, yes, then later, literature itself became the people, writers became from the people, they no longer needed to study this language, the entire 20th century these writers are the people, starting with maxim gorkov, then this game became extremely archaic. this podcast is a must-read , i’m ogladnikova, my guest today is andrey gelasimov, a writer, screenwriter, we’re talking about nikolai liskov, how his life went in general, that is, this work. where he worked in some criminal chamber, maybe this also gave him material, or well, in general , some kind of a little strange fate, but there such a person, it seems like a nobleman, seems to be from the people, it seems like a writer, it seems like a person there without education, that is, like a nobleman, after all, he’s one of the new nobles, his

father earned a noble title, these are not hereditary nobles , which were before peter at the rivers, i think that was the whole point. that’s why he didn’t finish his studies, because the family was quite successful, he could have left the gymnasium, because he understood that he would not be lost, he did not need to make his way on his own, his father was a fairly large official, and therefore, in general, he could find a place in life, so and settled down, that is, he went to kiev as a young man, lived with his uncle, his uncle is a professor at the kiev medical institute, these are generally serious people, very significant in society, and he became the boss there, that is, it is clear that not without his uncle’s patronage , yes. that is, he has no education, and that means he became the boss, as i understand it, it’s like now the passport office , from where, by the way, he flies in with a bang because he wrote some kind of article that his colleagues didn’t like, well, as they write, as if they set him up to initiate a case about bribe, i don’t know whether it was a bribe or not, but he lost his place, went to his other

relatives, began to live with his aunt’s husband, an englishman, shcott by name, began to work in his trading house, he was engaged in business, and liskov told him at this moment, about 30 years old, he starts... all over the country as an obvious sales agent and here he also collects a lot of material, including of a criminal nature, that is, the family played a very big role and i think not always positive, because if if he , like maxim gorky, made his way himself, here in he was among people, and came from among people, and would have achieved his own success, then this success would have been more justified and would have given him more grounds, reasons to believe in himself, not to be nervous and to do everything normally, but he was a very hard worker... he created a lot, wrote a lot, that is, it turns out, after all, these internal conflicts, they did not prevent him from being productive, yes, thank god, the legacy is very large, he really worked a lot, although somewhere i read from him about here's the work about how he treated her, payment for this work, among other things, and

when he wrote the story sealed or sealed angel, i don’t know how i think sealed, that’s when he wrote it, they bought it from him for 500 rubles, it sounds like a lot of money, but he writes: he carved it for six months, and 500 rubles for six months - this is not very much, you get tired of grinding, this word grinding also tells us how long, attention, he bothered with all these waterproof cables and expectations, that is, every time he had to sit down and grind this text instead of tell a story like that the fact of the matter is that dostoevsky, he earned his bread from this literature, and maybe that’s why he actually had such voluminous texts, but they paid for the number of words, and liskov, he has another source of income, he is an official, and accordingly, he treats literature as art and sits, grinds out words, yes, this is just another life situation, well, there was little money when he, uh, in my opinion, ended up working in the ministry of education at the end of his life,

and there he determined which books could be to print for public libraries, his salary was set at 1000 rubles a year, but just do the math, it’s not much even in terms of why we can say that liskov gorky gave a second life, that is, liskov could have gotten lost and become some kind of intermediate literature, yes, but gorky pulled him out, already in the 20th century, paying attention to liskov’s legacy, that is , what role gorky played, what do they have in common, you know, as far as i remember, for example, when lady magbet of the tsensk district this point was published, he didn't attract public attention in general. he was simply not noticed, i think here liskov’s posthumous fate smiled on him exactly according to what we were talking about, the state system changed, the civilizational model changed, the people became nominally the ruler of the state, bitter, as the main proletarian writer, he needed to find

some kind of tradition in the 19th century, which he seems to continue, uh-huh, yes, by the way, this is an interesting fact, you know, and then he says, look, this man spoke in the folk language, wrote about folk heroes, about people's problems, about people's problems, moreover, he came up with a certain cruel merchant's wife, attention, an exploiter of the working people , who is also a murderer, and also terrible, and so on, and all this, i think, coincided with ideology, with state policy, so the century he was directly helped, well, note andrei that gorky himself is not as popular as leskov, that is, probably, if you compare now, gorky’s legacy has fallen somewhere into oblivion, although it would seem that in soviet times he was, well, the greatest had power, here in the cultural layer, right? but for some reason liskov has remained and is still relevant. this is a question of connection to modern times.

gorky put all his capital, all the investments he had, artistic, investments of talent, he invested everything in the theme of revolution and then he won a lot in terms of success, yes, stalin treated him kindly, the proletarian press and so on, because he is a singer revolution, a singer of the common people, but it so happened, excuse me, that the revolution lost its relevance, yes, with the collapse of the soviet union, with the movement. leskov did not become attached to a specific historical and, moreover, political event, which ultimately played a role in his posthumous success, he simply described these people, well, you see, it turns out that at the moment, well, when he lived and worked, it turns out that this was his minus, his they didn’t recognize him anywhere because he didn’t belong to any political camp, it was impossible to format him, but in the end, a century later it turned out that it was his. now i’ll explain, it was not only impossible not only to format it, it

was impossible to use it in specific political goals, well, yes, and this often raises writers to the top, then it raised it now , it was the same with gorky, with other writers and so on, so he was in no way suitable for any political party to raise him to the shield to say, lenin said, literature must be party, either party or not, that is, it must express the interests of some group. political, but liskov turns out not, but if we are talking about the long game, then he won, because no one remembers what the political battles were like at the end of the 19th century century, no one even remembers the beginning of the 20th century, soon everyone will forget the battles of the beginning of the twenty-first, liskov will remain with his left-hander, he won for a long time, he tried to make political statements, apparently realizing that he could not keep up. behind the passage of modernity, yes, the ship is sailing away somewhere, which means he is speaking, and i am here, and he sometimes, it means, spoke out before his death, there

he literally publishes a collection of very critical texts in relation to russian reality, that is, there is a story about him there, where he laughs at those people who propose to isolate themselves from russia, because he has his own special way, ours, here we are on our own , we don’t need any western european states, we are all ourselves, and he ridicules this and gives an example of just his own husband, his aunt shkott, for whom he worked as a sales agent, he tells a story about him, that either in the sixties or in the seventies, this same shkott tried to introduce efficient land use for his peasants, they plowed with a wooden plow, and he brought them british plows, what happened next, schcott went to count perovsky, he was such lev perovsky. and he was the minister of appanages, as far as i remember, and the minister of internal affairs, he knew him, came to him and said: mr. count, we came up with such a thing there, he

went to look and said, it’s wonderful, really, everything, i forbid sakha, and he , how to say, did not own, but administered all the appanage peasants of russia, the ministry of appanages is the ministry that dealt with the affairs of the romanov family, that’s all the peasants, which belonged to the romanovs were called appanage peasants, and perovsky said, i guess he’s saying all-powerful ones... i’ll transfer them to these british plows, that is , can you imagine what kind of budget such a government purchase would have allocated for this thing, yes, perovsky, that means he thought , not a bad idea, but at this moment, when all this is happening, a certain peasant comes out, as liskov writes, and says: “father, let me turn to count perovsky, he tells you, he likes these foreign plows, he says , yes they like it, and you that no, he says, well, whatever you say, you say, i like it, i will like it, he says, no, no , tell me your opinion, the count tells him, so he says, and my opinion is, where are they from?" "they came- then, here he says, well, from england, he says, from the germans, therefore, i am now quoting verbatim, from the germans, therefore, he says, well, that means from the germans, then this

old man says christian: this means from where they buy bread from us , so, that is, they cannot make so much bread on their plows, but they buy from us, and we make it on plows, and so, this is interesting, how do you like the logic, so if he says, we’ll sit on them, this old man says, where will we buy bread then? attention, litskov further writes in his story a corral: perovsky did not find a witty answer, because well, it was a genius that he drove him, it was a genius that he drove him into a corner. peasant and perovsky when he arrived, and his official of his administration was standing next to him, and they were listening , look, they listen to this, look, they brought this joke to st. petersburg and it went viral, everyone started laughing at count perovsky and then he, realizing that he had become a laughing stock, he forbade shcott to introduce british plows, and liskov tells this story. then he brings an even more terrible one, he says: shkot built stone houses for these peasants, they lived in huts where there was no stove pipe, they

walked and walked, they say, our grandfathers did not live in stone and we don’t... don’t breathe stone, uh-huh, only the tree breathes, of course, yes , they stayed in their tree, and as liskov writes, he writes very rudely, harshly, that they used stone houses to walk there before the wind, as needs, he says: the village smelled terrible, he is always looking for an object for a critical attack in all camps, he says, you have it in all directions, but you have this wrong, you have this wrong, here they are like this, the main thing for him is to have an angle of attack, that’s what the fox needs. you need to clean the gun with a brick, find some one in leftsha, but at the end he inserts yes that livsha says the british don’t clean guns with bricks, he thus accuses the russian ministry, it was called the war ministry, the ministry of defense, in the fact that they were not prepared for the crimean company, and in 1854, that this is how everything happened because of you, and there count chernyshov, the minister of war, was made a very negative character in this sense,

who says, keep quiet about this, no one speak. but i don’t know, by the way, how technically and engineeringly savvy he was or in military affairs and knew why we really had a problem with guns, but i, since i was also involved in films and myself wrote something about the sevastopol defense, i know for sure, he either guessed right or i didn’t i know, someone told him, the point is not that you can’t clean with bricks, the point is that the british came to the crimean peninsula, literally, with rifled weapons, they had fittings in which there were rifled weapons, which made it possible to shoot ... three or four times further than we shot from the previous day, we had a smoothbore gun, the bullet flew much closer, because of this, the rifle teams were selected to a distance that russian guns could not reach, and they fired from this distance, interrupted servants of our artillery batteries, that is, the artillery could not even

respond with shell fire, because they were shooting much further, in the memories of, say, one participant... of the sevastopol defense, i read that once some midshipman, crying from powerlessness that they were being shot, said into the stones, guys, they they grabbed the cobblestones and ran to shtutsernikov, the problem with shtutsernikov was that it was necessary to reload it from the barrel, the weapon was passed back, they loaded it from behind, the loaded one was passed from there, and that means they were in this one, while it was being passed on, the russian sailors managed to run with the stones , with cobblestones to the fittings and killed them with these stones, i read that we didn’t have rifled weapons and after the defeat in the sevastopol company , reform in the army really began and quite quickly we had modern rifles, but liskov turns out to be strong in legends and stories, well, yes

, you can put it this way, he at least always strives for a myth, for a certain parable , and enters the parable space, there and there he is the king, the absolute, that is, if among our viewers there are people who like non-realistic space, symbolic, full of parable allegories, then liskov, of course, is their writer, especially if they like funny games with words , cool, thank you very much for the conversation, andrey, it was very interesting, it seems to me that we took a little different look at the classic liskov and his symbolic space, this was a must-read podcast, i 'm glayna baatnikova, my guest was andrei gelasimov, a writer, we talked about nikolai liskov, an underrated classic of russian literature.

hello, dear friends, today we have very dear guests. you saw that here, as part of the anthropology podcast on the first channel, we played instruments with the most exotic names, we played electric instruments, we played acoustic drums, please tell me, why don’t we invite our dear balaika to a meeting with you, and we did it, yes, but as always, what a catch, this brilliant ensemble, it doesn’t even have a name yet... so please introduce yourself properly, my name is stepan kornaenko, the string project, this is belarus , from belarus, the city of svetlogorsk, it’s very nice, my name is evgeniy, dark soul, but this name has long been invented, and together we are producing tracks with balalaika, that is, in different genres, before your eyes our guests will now try to improvise, make a whole, whole

a play so modern, but with

the good old stuff. well, i’ll tell you, this is a very radio-friendly format, just you and me, can i speak for both of us, as soon as we separated , the play was already over, there is a balalaika, of course, there are sad, meditative plays for the balalaika, but basically, of course, it’s an instrument of glee, yes, that’s how she starts straight up on her own feet in hey, well, of course, where did you study? primary education in belarus slogorski, then he graduated from college in belarus too, in balalaika, in balayaka everything in

moscow is already in the higher class, and when your mother took you to this school, the guys didn’t laugh in class, ha-ha-ha , got likes on i went myself, oh well, but these are only balalaikas for grandfathers, no, felt boots, bast shoes, balalaika, i went to... guitar right away, and then like this it turned out that, why were you so attracted to this balalaika? a wonderful russian instrument with a unique timbre, how it is built, memillav, two strings in unison in a fourth , is this a native tuning, or is it an academic tuning, yes, this is a tremulo, and how is it that your toenails don’t break during... i demanded this, you always have to keep in shape, play, we don’t play with a fingernail, but like a pad, are you in demand or are you still an amateur, well, actually now and for now it’s an amateur, because we have neither a concert

director nor management, that is, in principle we have a ready-made project, multi-genre, even now we have a cover program, we did it separately, we are also doing a new project with electro-laika, that is, it is a house project. more commercial music, we mean chaos - this is when you can dance, but that means we will hope that our musicians have harnessed the balalaika with its age-old proven manners, you know, that it makes everyone want to dance, and we hope that in modern clubs the good old unseeing instrument will also come, confirmation of such words, i ask you

to play something else. pavel andreevich koltsov, adjutant to the commander, a man, a legend, a star of our cinema, artistic director of almost the most classic small theater in the country. i don’t consider myself a great artist, just an old one, one of the old artists of the small theater, he just said that he is a small actor, he is a great russian actor, for the last few years he has hardly appeared on television, all these years we have been waiting for him for an interview , what a miracle, we waited for an invitation to

theater square, rebuild everything. we agreed for 30 minutes, but the people's artist did not let us go for 3 hours, the conversation turned out to be confessional, i have no enemies , i did no harm to anyone, the favorite of all women of the soviet union, and such a person, very simple, sweet, charming, our exclusive - unique footage taken a few days before the emergency hospitalization of yuri solomin, exclusive with dmitry borisov, premiere. on saturday on the first. yes, well, this, you know, your compositions are more complicated, of course, here you are this balalaika makes you think, and not just make funny, fair sounds, this is, of course, very good, but how did you manage to marry this disc-jackey set, well, yes, well, more precisely, it’s not a

jackey disc at all, that is, this. .. an element of the game, because we are writing the entire production from scratch, that is, i myself am the producer of this project , that is, i write all the kicks, basses and so on, and this rice, yes, yes, design and so on, and then please make some solo sound, solo sound - it will already be here, yes, so that we understand, a little later, you did a great job, by the way, this sound is balalaika, yes, that’s how you did it, that is, the balalaika works for you too. goes through the effects, yes, we have an effects processor, everything is already processed here, all the effects, all the compression, equalization, and so on, that is, essentially at the checkpoint, that is, we come to the site, turn on the remote control, let's go to work, then show us please let us know your laboratory, how this is all done, now we will write house music, that is , we need to catch the groove, that is, we have a kick drum,

bass, base, yes, base. and now we’ll go into the synthesizer, find some kind of bass, now we’ll match the kick drum with the bass, mix it up, that is, it should go like this , a certain groove, and also a nuance of this genre, that is, in general it can be built on one note , that is, we take one one d, it’s already all on it and it’s all gone, but for the balalaika it’s better after all in a a minor, because e is there, no, well, well, yes, for classical, yes, so do not force a person to break his fingers, and we rebuild the tools, then is here, now he set the task to d , it will be d, and you have an open chord, d works out, we’ll omit the d, now a little,

build, did you have the processing likes? also on the computer, yes, yes, yes, yes, now we will write the rhythm of the balalaika, which also gives some kind of movement, come on, come on, well, a riddle, groove, then on percussion, we need a clap and percussion is also a plus some kind, in order to create another rhythm, you will now add sounds, you understand, they will interfere with each other, no, everything should be, we will also shine through the percussion from the kick from the barrel. so there is, but let's write down some kind

of atmosphere, now the design is underway, that is, balalaika, almost all of our tracks are based on this, we still need reverses. and the atmospheric ones, yeah, that is, we recorded a direct balalaika and now a long time ago and now it will be in reverse, that is, we are already entering the track. very good. that is, this is an element from the design, well, in fact, all this is very good , it is, of course, immediately recognizable, each of

us who was at the dance, of course, knows this type of music, but comrades, there’s not enough something very important, without which the husky ball doesn’t exist, namely the theme, now you’ll play the melody on top of everything, what you just played so cool, masterfully for us here , but let’s give the melody, of course, now, now.

in this application, it seems to me that the musicians have found exactly what is required from the balalaika, which is very accentuated, compared to a violinist, you know, and you, of course, for such music... this very accented rhythmic instrument is such as balala is of course very appropriate, why didn’t anyone do it before i thought of taking this like and using it in rock roll, it’s surprising, yes, well, there’s also the technique of syncopation, that is, it’s like it’s all in motion, that is, here we are a little brighter, that is, it’s not about her playing, yes, yes, that , we, in principle, can be further developed, developed, developed, very good, very

interesting, dear friends, this is an anthropology podcast on channel one, our guest is an ensemble that so far... doesn’t have a name for the whole, maybe you can give us one tell me, in the meantime let me greet you on behalf of the good old balalaika and the new dance music, well, and the use of the balalaika, what else happens, but well, we made a full-length film, oh, we wrote it completely, there is completely different music, yes, but now can you give us some fragment, specifically cinematic? it wasn’t, you can recreate it now, but we have, it turns out, there are some solo acoustic tracks recorded , that is, on an acoustic balalaika, we also used an alt balalaika, keys, violin instruments, very interesting, we wrote