“Notes Interdites” is actually a “twofer,” in the sense that two
films by noted director Bruno Monsaingeon are featured on one
DVD, with this version dating from 2007. The two featured films
are “The Red Baton: Scenes From the Musical Life of Soviet Russia”
and “Gennadi Rozhdestvensky: Conductor Or Conjuror?” Both of
these 2003 films were 55 minutes long, and released by Ideale
Audience, the same label of so many other Monsaingeon films.
Both of these films involve Rozhdestvensky in a major capacity:
He reflects on what it was like to make music in Russia under
Stalin throughout much of the first film, and he is obviously the
focus of the second film. In particular, it was nice that
Monsaingeon enlisted his services for “The Red Baton,” because
as Monsaingeon eloquently wrote of Rozhdestvensky in the
accompanying booklet, “He is the last living representative of
a prestigious array of great interpreters from the Soviet era
whose names include those of Richter, Oistrakh, Rostropovich,
Gilels, Kogan and Mravinsky.” Rozhdestvensky (1931 – ) made
his debut at the Bolshoi, a year before Stalin’s death.
“The Red Baton” includes a lot of black and white footage, as
well as some color film of noted composers, including Prokofiev
and Shostakovich. Tikhon Khrennikov was the Secretary of
the Union of Soviet Composers, and his role in determining
what was considered “proper” music from contemporary
Russian composers was discussed at great length. Above all,
I was made aware of the extreme conditions of hardship and
terror endured by these musicians. To quote Rozhdestvensky
when he spoke with Shostakovich at the end of his life,
Shostakovich said “Looking back, I see nothing but ashes
and corpses.”
The second film featured Rozhdestvensky discussing his art,
and showed him in rehearsal with a few different orchestras,
including the Tonhalle Orchestra of Zurich, the Capella
Symphony Orchestra of Russia and the Orchestra of the
Ministry of Culture of the USSR. It also showed him coaching
a young conducting student. This footage was shot between
1991 and 2002. He is perhaps the most interesting conductor
to watch, due to his very unorthodox method of conducting.
He has even been known to walk around the stage during a
performance! Although his methods may be unorthodox, his
cues are absolutely clear. Watch this and you’ll see what I mean.
Earlier, I mentioned that this was a “twofer.” Actually, “threefer”
would be more accurate, since there are performances of
Schnittke’s “Dead Souls” and Prokofiev’s “Zdravitsa” included
as a 47-minute bonus feature. Taken from Alfred Schnittke’s
(1934-1998) score of a film, “Dead Souls” is a suite arranged
and orchestrated by Rozhdestvensky. It is a 30-minute work,
containing elements of humor and sarcasm which often
play a large role in Soviet music. Some of the orchestral
musicians even have visual roles, as well. The Prokofiev work
was a “Cantata” composed in 1939, in celebration of Stalin’s
60th birthday. Therefore, it is in the politically correct, populist
vein, and naturally involves a chorus. Both of these works
were recorded in Moscow in 2002 with Rozhdestvensky conducting.
At a total running time of 155 minutes, I would venture to say
that this DVD is essential viewing for anyone wishing to gain
insight into both Soviet musical life, as well as the mind and
working methods of a great conductor who is perhaps the
greatest living Russian exponent of his art. I highly recommend it.
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