Mario and Trigon

Trigon or how to surmount sound

The way of Artist is not always a vanishing in the Universal Harmony. Very often it is an overcoming stereotype, environment resistance, our own doubts and our nature. Meeting with the equal Master engenders wish to deorbit and to enter his field of attraction. It is a regular revolution and peace of the harmony of sounds expressed by somebody else (away with doubts and torments of vagueness).

It is a lulling beat of a rehearsed guidability. At those particular moments they decide who you are: an independent unit of the world of music harmonies, a pilgrim carrying only unbearable reality ease or a great craftsman living in warmth of existing and created (not by you often) sounds and harmonies, only a third point of the most stable geometric figure.

“And people went from their flats,
And listlessly the grass dried out.
Again the silence, utter calm.
As unconcern and as an oval!
I abhorred an oval since my childhood!
I always drew an angle since my childhood!”

(Pavel Kogan)

“Trigon” is a three-angle geometric figure. And it is a name of a Moldavian group of three members (Testemitanu is a bass guitarist, Baltaga is a percussionist, Stephanets is a viola player) from absolutely different music worlds. But at the same time their music is a single and diverse concord of Moldavian folklore, jazz, chamber instrumental music, rock and funk.

Uniting the things that couldn’t be united they became the fathers of a new trend of music. Art-jazz-folk is a variety of sound palette, broken rhythms, surprises of improvisational turns interspersed with artistic involvement in something like a pageant.

The Europeans begin to agonize on the word Moldova. Wine, former (present) ancestral lands of Rumania and sort of Dracula… In 1966 three unbelievably gifted musicians (the bass guitarist Sergiu Testemitanu, the percussionist Oleg Baltaga and the hereditary lautari, natural musician and violin player Anatol Stephanets) recorded their debut album “The Moldovan Wedding in Jazz”. So they made the whole musical world to learn where Moldavia was. They were awarded with the grand prize of the French Charles Cros Art Academy.

As for Marian Caldaruru a saga about his short-term but brilliant collaboration with “Trigon” developed in genre of elliptic short story. It is the situation when a developed protagonist goes back to the beginning of the story. Once when Mario worked on radio he invited the musicians to guest his show. And there were those musicians who wrote a reference letter for young Marian and sent it to Arkadi Schilkloper (French horn, Alpine horn and flugelhorn) to Moscow. And when he was leaving for Germany he in turn informed of the new professional quality of Mario. According to Schilkloper that time Marian Caldaruru became a unique master with his own hand, style and inherent freedom. By quirks of fate there were just the qualities that influenced on the solution to invite Mario to join “Trigon” and became the reason of his retirement from the group.

But it was 2000 and at that time he became the third support point restored balance of the group. That time position of the group became unstable because the bass guitarist Sergiu Testemitanu and the drummer Oleg Baltaga left it. Aleksandr Murzak takes the place of Testemitanu and the third place was vacant.

But joining the strict mathematically checked and rehearsed improvisational outline of the group Mario introduced exotic notes into the new company. From Moscow Mario brought not only a spirit of free, uninhibited improvisation (the Schilkloper school) but also new instruments (ceramic percussion, diplipito and janggos) made by him (o! It was absolute Selfness in all: freethinking and free acting).

In sight of many musical critics in 2000 no less star a group appeared. It was a brilliant trio of Anatol Stephanets, Aleksandr Murzak and Marian Caldaruru. Their CD “Voice of my Earth” will become their best joint project. The disk was presented the Moscow sophisticated audience at the cultural centre “House” (“Dom”). That time the “House” was a mecca for all ethnic musicians.

As always the leader of the group Anatol Stephanets was a charismatic, virtuous, vehement, unquestionable and incontestable nerve of the program presented at the “House”. But in spite of it many listeners felt wind of democracy blowing from music of “Trigon” after Mario joined the group. Most of all it appeared in the first composition of the album “Dreams of Transylvania”. The Universe gifted Murzak, Caldaruru and Stephants (bass guitar, Irish tambourine bodhra and alt) with magnetic light improvisation. And they failed to reiterate that improvisation after Mario left them.

Except of divine ease of creativity godsent by the Universe every day any artist are in torments of workmanship and Jesuitical exhaustible self-cultivation. But the question “What is a purpose of such exhaustible efforts?” is quite a different matter. It is an attempt to drive you into another’s pattern even through it is the most perfect one, to feel you comfortably and to sail a common caste corporate idea. Or it may be Master’s restlessness leading him to a new turn of freedom of creativity named as “I am aware that I know nothing”.

It was just the reason of their rapture rather than a geographical conflict (“Trigon was in Chisinaú, Mario was in Moscow). The reason was a question of free choice. Choice of creative principles. Marian Caldaruru chose absolute freedom changed into many colored palette of projects (Starostin – Mario, Klevenski – Mario, Burger (tuba, Germany) – Mario, Goncharov (tuba) – Mario and the others…) not a strict brilliant “trigonometric” dictatorship of harmony.

There was France, Poland, Germany and Rumania. All of them were the places, where three planets move together on the same orbit named “Music”. The New Zealand Congress of Viol made the story of the artistic alliance “Stephanets – Murzak – Caldaruru” final. But their friendship of many years wasn’t broken. The musicians differ from the politicians because parting they don’t sent out killers, they bring a bottle of good wine.

“Trigon” is a geometric figure, basing on three angles. They say that it is the most stable geometric figure.

“And people went from their flats,
And listlessly the grass dried out.
Again the silence, utter calm.
As unconcern and as an oval!
I abhorred an oval since my childhood!
I always drew an angle since my childhood!”

(Pavel Kogan)

Who proved that soul balance harmony, symphony of shriveled grass and silence of the universe are not an environment of the Artist following his own way? He doesn’t have to be the third point of support of a stable structure forever. There is a sky of stars over your head and unbearable reality ease.

Written by:

Evelina

Evelina Killing-Biryukova

Creative director of the eArt GROUP producing centre