This evening is a journey through a century of chamber duets: from the lyrical pieces of Reinhold Glière to the avant-garde tension of Xenakis and new pages by Sergey Akhunov. The violin and cello engage in a dialogue on the edge of whisper and scream, showing how the language of academic music changes. A hundred years in the history of music can be lived in one evening if you listen to how the violin and cello converse with each other. The chamber duet seems to be the simplest genre, but it particularly clearly conveys how the perception of the beauty of sound, the silence between phrases, and the tension born from a single stroke of the bow changes. The program begins with eight duets by Reinhold Glière. These miniatures long remained a treasure for performers rather than for posters, but they set the tone for the evening: in their smooth lines, late romanticism still lives, but a new transparency of texture is already felt. Following them are pages by Pēteris Vasks, where chamber voices transform into reflections on the inner world of a person and on that very fortress of the soul that Teresa of Avila wrote about. Then the tension grows. Arthur Honegger's Sonatina for two violins shows how virtuosity ceases to be mere display and turns into a serious conversation between equal partners. Each episode here is constructed so that none of the musicians remains in the shadows. After that, Janis Xenakis's "Dhipli Zyia" is performed - a composition in which familiar techniques of string playing are pushed to the limit and transformed into an almost physical experience of rhythm and intonation. The final chord of the evening belongs to the new cycle by Sergey Akhunov for two violins. The composer starts from the simplest gestures, short motifs, and point-like touches of sounds and allows them to develop as if time has slowed down a bit. In this music, it is easy to catch both meditativeness and a light irony, and a sense of fragile balance, where any movement of the bow can change everything.