Ensemble ‘Rustavi’ Administration Press Release, July 24th, 2012
A letter of Konstantine Gabashvili, Ambassador Extraordinary and Plenipotentiary of Georgia in the Republic of Italy, to professor Anzor Erkomaishvili and the Ensemble ‘Rustavi’s participation in 19th Congress of the ‘International Musicological Society’ in Rome.
‘Sometimes there are especially wonderful days.
There was held another concert of the ‘Rustavi’, Georgian ensemble, in the great musical centre ‘Auditorium’ of Rome in Italy on July 2nd 2012. To say it more precisely, it wasn’t the ‘another’ concert or triumphal celebrations of the Georgian ensemble all of us are familiar with. It was a special event in international musical life because of its format.
It is especially noteworthy the format our magnificent ensemble was participating in. In this way, it becomes clearer the special interest and appreciation of the international musical society in relation to the ‘Rustavi’, Georgian ensemble, we can say to Georgian folklore vocal as a unique musical phenomenon.
In Rome, on July 1-7, there was held 19th Congress of the ‘International Musicological Society’ the name of which was ‘musics, cultures, identities’. Outstanding music experts, musicians of the world and Europe enrolled in this organisation during seven days were listening to the speeches and the performers, were discussing and thinking, with general public they were listening to the high music with great pleasure.
It is impossible to list the presented huge programme completely in this short retort. We can name only a few countries or topics in order to imagine the scale, to have an impression – China, Japan, Armenian church hymns, South America, Africa, Europe, Renaissance and Middle Ages polyphony, nationalism and transculturalism, counterpoint and the nature in 18th century, Afro-Kuban religious ceremonial music. Early Italian opera, the music of Germany in XX century, composition technology, northern European musical identity, Stravinski, British music, musical aspect of the formation of European citizenship, woman and man in music, Jewish music, America, France, Turkey etc. The speeches, seminars, concerts were accompanied with demonstrations and exhibitions of musical instruments.
Here, at this grand musical forum Mr Anzor Erkomaishvili delivered one hour and a half speech about Georgian polyphony. No one can be compared to him in the knowledge of Georgian folk music, in gathering and fixing, classification and performance of the really unique pearls. The one hour and a half lecture or to say more precisely the workshop, with the members of the ensemble, introduced the samples, types, music system, texture of the Georgian polyphony to the world’s outstanding specialists or young scholars, musicians and historians in detail. It was also accompanied with a lecture about folk instruments.
There was sitting an illustrious Italian professor of music next to me, with his Italian lady assistants, that couldn’t help silently imitating to sing melody, occasionally crooning, pointed with their eyes to the assistants who were in a state of complete felicity at the Georgian generosity. The professor was a bit sad, as I noticed, only by the fact that during the demonstration the fragment of the song was stopped occasionally – ‘Wonderful’, – the professor told me at last. There, in front of us, were sitting German scientists, in an extraordinary situation gesturing with their fists expressed happiness caused by the complexity and beauty of the Georgian tune. Then, at the end of the speech, most of the attendants gathered around Mr Anzor Erkomaishvili and put him plenty of questions.
After a short pause, there was held the ensemble’s concert in the grand hall.
It went in an ordinary way – with a great triumph.
It was a wonderful, exceptionally wonderful day’.