The program

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Beethoven: Trio, op 11, for clarinet, cello and piano

Glinka: Trio Pathétique for clarinet, cello and piano

Schnittke: Suite In the Old Style

Animation films by Khitruk, Norstein and Khrzhanovsky.

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​A Note from Leon:

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Dear friends,

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​Who would have imagined that composers like Beethoven, Glinka, or Schnittke would end up linked to cartoons? Ludwig Van and Mikhail Ivanovich, please forgive me, but your trios and dances will now be played alongside animated images, each frame telling its own story, and every note unlocking a heart.

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And yet, if there is any place where such a meeting of worlds should happen, it is here, at the Resonance concert .If all goes according to plan, it won’t just stir our souls but might also shake up our ideas about animation as an art form. We aim to delight not just our music lovers but also those who feel a bit confined in the world of pure music. After all, here both music and animation — mirroring the spirit of anima (soul) within anime—unite to ignite our imagination.

 

Who but Yuri Norstein, the magician behind the unforgettable “Hedgehog in the Fog,” could transport us into a realm where anything is possible?

 

Norstein collaborated with the brilliant composer Meerovich, who I suspect was influenced by none other than the great Glinka. It’s as if these two kindred spirits shared a cup of tea across the gulf of time, each from his own century. Together, through their work, they invite us to shed the cynicism of the modern age and immerse ourselves in the innocence and charm of the 19th century.

 

The pairing of Weinberg with Fyodor Khitruk   is equally fascinating. Khitruk  won everyone over with his Winnie the Pooh and “Boniface” but his films are not just cartoons; they are still relevant artistic work. And Weinber’g , renowned for his grand compositions in opera and symphonies, finds his music taking on new, unexpectedly playful shades when paired with animation.

 

And Schnittke with Khrzhanovsky is an opera all its own. Who would have guessed that absurdity and surrealism, mixed with polystylism and a disregard for being "banal," reminiscent of olden styles, would complement each other so perfectly? Without animation, I fear Schnittke might have been less popular and accessible; here, he embraced experimentation in a more approachable way, which apparently became quite popular.

 

I also want to highlight that our concert will feature performances from the wonderful Russian-American cellist Andrey Tchekmazov and Ukrainian-American clarinetist Alexander Bedenko. These incredible musicians will bring a note of international collaboration to our program, which, as we know, sometimes sounds more harmonious in the concert hall than on the political stage. Who knows, perhaps their musical union will inspire someone in Washington to create a truly united world and anime that unites without excessive animation.

 

So, dear friends, we invite you to temporarily set aside all your worries and immerse yourself in this unique world where classical music meets animation, and every chord and brushstroke awakens the soul-anima to life. Isn't it a wonder to see how music brings a scene to life, making images that let us hear the sounds?

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​Musically yours,
Leon Livsin