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Flying
Continued from Page 9
practice.
That kind of proficiency—both in
juggling and in the concurrent activi
ties like singing and dancing — made
the Flying Karamazov Brothers per
formance a success despite some troub
les.
This was the troupe’s fourth Lin
coin appearance and not its best. One
member, Dmitri, was absent due to a
“labor dispute” — his wife had re
cently given birth.
A replacement was found, but the
performance suffered: many pins were
dropped, many more than were
planned. Yet the Brothers incorpo
rated such accidents into their routine
and even enhanced the performance
with some amazing recoveries as wel 1
as some awful jokes about the drops.
The appreciative crowd was treated
to an encore which continued to de
light even as the Brothers combined
juggling and music with a serious
message about the need for environ
mental awareness and action.
Describing the earth as a large
sphere on which we all live with
limited resources, the troupe called
upon everyone to learn how to juggle.
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Trio
Continued from Page 9
his emigration he had fewer and
fewer opportunities to play. All
three musicians said a lack of sup
port for the arts was the primary
reason for leaving the Soviet Un
ion.
“There was a show put on for
West-Soviet Union’s flourishing
culture,” Dubinsky said. “This was
just hype. Outside of a few large
cities, there was no culture in the
Soviet Union.”
However, Dubinsky did have
an opportunity to work with Dmitri
Shostakovich, one of the 20th cen
tury’s greatest composers, while in
Russia. Dubinsky said he treasured
their acquaintance.
“We worked together for over
20 years,” Dubinsky said. “Before
a performance, we would play his
pieces for his approval. Musically,
we knew each other well.”
Shostakovich’s music was po
litical.
“The message of his music was
the little person against the big
state,” Turovsky said. “That was
obvious for us, for the audience
and for the Party. At performances
the audience came to listen for this
message. Because we could not
criticize the government in any .
verbal way, his music took on a
special significance.”
After the musicians came to the
West, they were cut off from their
Russian families and friends. For
the first 10 years they were afraid
even to write to them. They later
arranged secret meetings in the
West. Recent political changes in
the Soviet Union have the musi
cians considering a tour of their
native country and a possible visit
to former home Moscow.
“Two years ago we were of
fered an opportunity to play at a
festival in Georgia,” Dubinsky said.
“And we considered it. We have
many friends there, but then the
bloodshed started, and we thought
we would wait.”
Members of the trio said they
were terrified during the August
failed coup in the Soviet Union and
kept a constant eye on the televi
sion. Now they arc watching with
the rest of the world to see what
will happen to their country.
“Two things must not be forgot
ten,” Dubinsky said of the coup.
“First, Gorbachev is a Communist,
that is the goal of his life. Second,
we must not forget the famous phrase
Gorbachev told Yeltsin when he
fired him. He said,‘You will work,
but I will never let you into big
politics.’ As a result, the best people
around him left. Before the coup,
he was surrounded by mcdiocri
( ties.”
Turovsky also had criticism for
the Soviet leader.
“There is a general opinion in
America that Gorbachev is a big
hero,” he said. “But we always fell
that he followed the events rather
than created them.”
The three musicians also ex
pressed disappointment at the na
tionalist hatred among the Soviet
republics. However, they agreed
that they deserved their independ
ence.
“What is happening now is the
disintegration of the empire,”
Turovsky said. “We always knew
this was coming. The only solution
was for each nation to rule itself.”
Despite the turmoil in the So
viet Union, the members of the
Borodin Trio said they hope peace
and democracy can be achieved. In
the meantime, members will con
tinue to live in the United Stales.
Dubinsky and Edlina are pro
fessors at the University of Indiana
and Turovsky is a professor at the
University of Montreal. None plans
to retire soon.
And if Dubinsky’s formula fora
chamber ensemble’s 30-year life
span is correct, the Borodin Trio,
formed in 1976, should just be
reaching its peak.
“They say it takes about 10 years
to understand each other,” he said.
“So, they try to listen. The second
decade they do listen, and the last
10 years they won’t want to listen
anymore, so the ensemble grows
apart.”
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