Music written for the silent movie “Bed and Sofa” as being performed by “Vernisage” duet in Brussels (CliqueArt Scene), 2018.
Cello: Dmitry Gudimov
Πιάνο: Ελένη Κουτή.

Третья Мещанская The Third Meschanskaya
This is the cello and piano version of the Opening Theme.

The Third Meschanskaya (Bed and Sofa - 1927) Третья Мещанская Tretya Meshchanskaya Original Music by Spiros Deligiannopoulos (Ζωντανή) μουσική: Σπύρος Δεληγιαννόπουλος (Ζωντανή) μουσική: Σπύρος Δεληγιαννόπουλος - Φεστιβάλ Κινηματογράφου "Μιχάλης Κακογιάννης" - Αθήνα - 29/6/2016.
Bed and Sofa (Russian: Третья Мещанская) is the English name of a 1927 Soviet silent film originally released in the Soviet Union as Tretya meshchanskaya, and is sometimes referred to as The Third Meschanskaya. In addition to the title, Bed and Sofa it was also released outside of the Soviet Union under the alternate titles of Three in a Cellar, Old Dovecots, and Cellars of Moscow.[The film gets its Russian title from the street on which the main characters live, Third Meshchanskaia Street., Directed by Abram Room and written by Room and Viktor Shklovsky, the film starred Nikolai Batalov as the husband, Kolia, Lyudmila Semyonova as the wife, Liuda, and Vladimir Fogel as the friend, Volodia. Billed as a satire and comedy, Bed and Sofa nonetheless portrayed the realities of the Moscow working poor, while also dealing with starkly sexual situations such as polygamy and abortion. It was originally banned in both the United States and Europe due to those stark sexual situations. While movies made in the USSR would soon be regulated to the ideals of Soviet realism, some films at this time were able to present starker themes. Even so, Bed and Sofa was controversial at the time of release in the Soviet Union, due to its focus on human relationships, while the state and the party are almost completely disregarded. In fact, at one point Kolya even declines to go to a Party meeting. In addition, the film's resolution is ambiguous and comes about without any input from the collective. However, it is now considered a landmark film because of humor, naturalism, and its sympathetic portrayal of the woman.

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