works

Ensemble

The little match girls (unsung Candlejack's songs)
for two female voices, four instruments,
electronics and video
flute, harp, piano, violin
~ 18' (2013)

About

commissioned by ACHT BRÜCKEN | Musik für Köln
Programme note

Previous performances:

Oct. 31, 2013 - Moscow, Russia
Moscow Autumn festival
Studio for New Music
May 3, 2013 - Köln, Germany
Acht Brücken Festival
Nadar Ensemble, Scott Voyles, cond.

 

An Evening Song To She Who Exists By My Name
on a poem by Daniil Kharms
for strings and bass drum
2.2.2.2.1-bass drum
duration ~35' (2011)

About

Programme note
Text of the poem serves as a musical text of the piece; the musicians pronounce it with their mouths closed, articulate separate phonemes, or even think of it without any sound realisation. The text defines the notation, structures the phrases and forms the whole, however it is never recognisable by ear. It is a hidden base of everything audible and inaudible. Musicians and audience are situated inside this hidden text.

Previous performances
Sept. ???, 2013 - Utrecht, the Netherlands
Gaudeamus music week
Moscow contemporary music ensemble
Vlad Pessin, violin, Fedor Lednev, cond.
Nov. 15, 2012 - Moscow, Russia
Moscow International House of Music
Tatiana Grindenko & Opus Posth
March 11, 2012 - Moscow, Russia
Centre DOM
V. Martynov festival
Tatiana Grindenko, Opus Posth
Feb. 21, 2012 - Moscow, Russia
Moscow Philharmony, Chamber hall
Academy of Ancient Music

Lullaby dances
for violin solo and ensemble
fl, cl, bn, perc, vn, va, vc, db
~18' (2011)

About

Ensemble XX Century, Natalia Popova, vn, Oleg Tantsov, cond.
Published by Editions Jobert

Programme note
The title of the piece doesn’t open its content – there is nothing danceable in the piece and it is not a lullaby. However, the way the title unites two contrasting states, movement and dream, two independent elements coexist in the piece. Each of these elements has its own structural logic and can exist separately: the solo violin and the ensemble parts are two independent pieces. Only the strict rhythmic periodicity unites them. These are just the two parallel realities meeting on the scene by the composer's will – the crossing point of two parallel lines.

Previous performances
Sept. 4, 2013 - Utrecht, The Netherlands
Gaudeamus music week
Moscow Contemporary Music Ensemble
Vlad Pesin, violin
Fedor Lednev, cond.
Nov. 22, 2012 - Basel, Switzerland
Ensemble Phoenix, ?, violin, Jürg Henneberger, cond.
Nov. 21, 2012 - Basel, Switzerland
Ensemble Phoenix, ?, violin, Jürg Henneberger, cond.
Oct. 5-6, 2012 - Moscow, Russia
Platforma project
Moscow Contemporary Music Ensemble, Elena Revitch, violin, Fedor Lednev, cond.
Nov. 9, 2011 - Moscow, Russia
Moscow Autumn Festival
Ensemble XX Century, Natalia Popova, vn, Oleg Tantsov, cond.
Lullaby dances

Wireless technologies
text by Stanislav Lvovsky
voice, 4 flutes, 4 saxes, bcl, cbcl, tba, perc, vn, vc, db
~ 15' (2011)

About

KNM, Natalia Pschenitschnikova
Commissioned by DAAD

Programme note
Stanislav Lvovsky's cycle is about wireless technologies which transform space, reduce distances, compress time. Letters, words and combinations of words, taken out of the text and passing from one instrument to another, serve as a material of the piece. Musicians are distributed in the concert hall space turning it into a field of crossing information flows. Only in the voice part the text builds up the right sequence.

Previous performances
June 19, 2011 - Berlin, Germany
Akademie der Kuenste poesiefestival
KNM, Natalia Pschenitschnikova

Objets impossibles II
for large ensemble 
2.2.2.1-2.2.2.1-3perc-2.2.2.1
~ 13' (2010)

About

Commissioned by Ensemble Intercontemporain
in collaboration with Arcadi, IRCAM, Cite de la musique
Abstract Birds (http://www.abstractbirds.com) - live video
Thomas Goepfer - sound analysis
Published by Editions Jobert

Programme note



“Objets impossibles” (“Impossible objects”) is a cycle of audiovisual compositions based on the common scheme of the organisation of events in time (time matrix). The matrix provides a multiplicity of interpretations: distance between events, as well as events themselves can be filled with silence, or with a sounding material. The principle of the silence and sound sequence in its turn follows a certain scheme and has several combinations. Each matrix' interpretation forms an “object”.
Each “object's” material is based on a certain theme. Thus the basis of the second “object” is the idea of “self-strained construction”. It consists of the sound-production types which demand maximum physical tension from musicians, while having a minimal sounding result. Thus, all pauses are filled with silent tension.
In each “object” the sound material is reduced to a maximally homogeneous sounding with minimal contrasts. The ensemble is treated as a composite hyper-instrument, or a holistic sounding object.
The sound material is analysed and transformed (in real time) into a video signal. However, this generated video is not itself the result – it further serves as a material, an instrument for the two video-soloists who follow their parts together with the musicians of the ensemble.

Previous performances
Mar. 11, 2013 - Wien, Austria
Konzerthaus, Mozart-Saal
KlangForum Wien, Emilio Pomarico, cond.
May 5, 2011 - Montreal, Canada
Electra festival
l'Usine C
Abstract Birds, live-video, Thomas Goepfer, sound
(24-channel audio version)
Nov. 27, 2010 - Paris, France
Cite de la Musique, Salle des concerts
Ensemble InterContemporain, Bruno Mantovani
Abstract Birds, live video

 

Objets impossibles I
for large ensemble 2.2.2.1-2.2.2.1-3perc-2.2.2.1
~ 13' (2010)

About


Commissioned by Ensemble Intercontemporain
in collaboration with Arcadi, IRCAM, Cite de la musique
Abstract Birds (http://www.abstractbirds.com) - live video
Thomas Goepfer - sound analysis
Published by Editions Jobert

Programme note



“Objets impossibles” (“Impossible objects”) is a cycle of audiovisual compositions based on the common scheme of the organisation of events in time (time matrix). The matrix provides a multiplicity of interpretations: distance between events, as well as events themselves can be filled with silence, or with a sounding material. The principle of the silence and sound sequence in its turn follows a certain scheme and has several combinations. Each matrix' interpretation forms an “object”.
Each “object's” material is based on a certain theme. Thus the basis of the first “object” is “oversaturation”. It consists of the sound types followed from a hypertrophied gesture (movement, or action) – distortion, over-pressure, etc. – an over-force which brings the sound beyond the control boundaries.In each “object” the sound material is reduced to a maximally homogeneous sounding with minimal contrasts. The ensemble is treated as a composite hyper-instrument, or a holistic sounding object.
The sound material is analysed and transformed (in real time) into a video signal. However, this generated video is not itself the result – it further serves as a material, an instrument for the two video-soloists who follow their parts together with the musicians of the ensemble.

Previous performances
Nov. 27, 2010 - Paris, France
Cite de la Musique, Salle des concerts
Ensemble InterContemporain, Bruno Mantovani
Abstract Birds, live video
May 5, 2011 - Montreal, Canada
Electra festival
l'Usine C
Abstract Birds, live-video, Thomas Goepfer, sound
(24-channel audio version)

 

Engramma
for voice and 10 instruments 
hn, tp, tb, perc, pn, acc, voice, vn, va, vc, db
~ 20' (2008)

About

Moscow Contemporary Music Ensemble, Natalia Pschenitschnikova, Fedor Lednev cond.

Commissioned by DAAD/MaerzMusik

Programme note
"Engrams are a hypothetical means by which memory traces are stored as biophysical or biochemical changes in the brain (and other neural tissue) in response to external stimuli." (Wikipedia)
Listening to a musical oeuvre we listen to ourselves. We give to what we hear characteristics which permit us to fit it into a comfortable, acceptable system. These systems will vary depending on the individual holdings, experience, preferences and expectations. Thus, the field of art is a play with perception models. In every new composition we listen to we inevitably find a hypothetic trace of memory.

Previous performances
Nov. 19, 2010 - Moscow, Russia
Moscow composers' house
Moscow Autumn festival
Moscow Contemporary Music Ensemble, Ekaterina Kichigina, Fedor Lednev cond.
March 22, 2009 - Berlin, Germany
Juedisches Museum. Glashof
MaerzMusik
Moscow Contemporary Music Ensemble, Natalia Pschenitschnikova, Fedor Lednev cond.

 

Unsolvable acoustic case
for 6 percussionists, ensemble and live electronics
~ 25' (2007)

About

Champ d'action/Slagwerkgroep Den Haag

Commissioned by Champ d'action

Programme note
Musical oeuvre is a complex of limits. Line up, length, technical abilities of instruments, physical abilities of musicians, concert hall acoustics, human ear perception barriers, background and experience of the audience, musician, composer, elaborated stereotypes, latent commitments, mutual expectations… It loops a dead circle, secret convention, assuring a certain degree of comfort for the listener, musician, composer. It seems impossible to break the circle without breaking conventions. But the idea of breaking conventions became in its turn a banality. Actually, the history of music in general is a history of breaking conventions. So, probably we can only bask in the irresistance or resistance to the situation formed by circumstances…
In this piece I tried to mark clearly all the limits of its functioning. Instruments are used at the extremes of their possibilities. All sounds are unstable – the sound production (sound as a consequence of a gesture) guarantees the minimal possibility for the musician to control the sound result, so only fragile territories of the sound are used. The ensemble of 12 musicians is considered as an aggregate – a huge monolith instrument, generating a maximally complex sound. The volume and complexity of the sound structure disables differentiated perception of its texture. Electronics in its turn is used as another, external limiter – frequencies produced by the ensemble are clipped from both sides and one of the used instruments is a no-input-mixing-board (i.e. line-in is connected with line-out) – a pure example of closed construction. All these circumstances are to make the piece as a closed mechanism, a construction which acts beyond conventional conceptions of the musical oeuvre or the concert situation in general…


Previous performances
Jan. 29, 2008 - Brussels, Belgium
Kaaitheater
Champ d'action/Slagwerkgroep Den Haag
Nov. 9, 2007 - Brugge, Belgium
Concertgebouw
Champ d’action / Slagwerkgroep Den Haag
Oct. 20, 2007 - Antwerpen, Belgium
De Singel
[email protected]
Champ d’action / Slagwerkgroep Den Haag

 

Lacrimosa [anatomy of pain]
consists of:
Lacrimosa for choir (40 voices) and soprano (canonic text)
and Lacrimosa [anatomy of pain] for large ensemble, soprano, narrator and live electronics (text by Dimitrios Yalamas)
1.1.1.1 - 1.1.1.0 - 2 - pn - soprano - narrator - 2.1.1.1
~ 16' (6' + 10') (2006)

About

KlangForum Wien, New Siberian Singers, Natalia Pschenitchnikova, Dimitris Yalamas, Teodor Currentzis, cond.

Commissioned by Territory festival

Programme note

Previous performances
June 28, 2007 - Athens, Greece, Peiraios 260, Stage D.
Hellenic festival
Musica aeterna ensemble, New Siberian Singers, Natalia Pschenitchnikova, Dmitri Cheglakov, Teodor Currentzis, cond.
Oct. 18, 2006 - Moscow, Russia
Moscow Philharmonia Hall
"Territory" festival
KlangForum Wien, New Siberian Singers, Natalia Pschenitchnikova, Dimitris Yalamas, Teodor Currentzis, cond.


 

White concerto
for ensemble (b-fl,b-cl,tbn,acc,pn,perc)
~ 10'

About



eNsemble

Commissioned by eNsemble, Russia
Published by Editions Jobert

Programme note
Overloaded with graphics text. Physical efforts, musicians apply to perform sometime totally absurd actions. All this – just a soundless background, outer conditions which can provoke accidental, unfixed in the score sounds. These sounds are the material of the piece. So the texture of a white paper outlines shapes of possible pictures. Waiting for a sound in a swelling emptiness is the theme of the piece.


Previous performances
March 18, 2010 - Paris, France
Auditorium Marcel Landowski
Ensemble 2E2M, Pierre Roullier
Apr., 2007 - St.-Petersburg, Russia
Central communication museum
Pythian games
eNsemble


 

Negative modulations
for ensemble, soundtrack, video,
interactive system by Olga Kumeger 
1.0.1.1-1.1.1.0-perc-pn-1.1.1.1 ~ 15' (2006)

About

Accademia Teatro alla Scala, Giorgio Bernasconi

Commissioned by Moscow Contemporary Music Ensemble, Russia

Programme note
The process of “artistic perception” (Schklovski) is similar to that of peering into the darkness. While your eyes get accustomed to the darkness, objects’ shapes appear in space. We give these objects the characteristics, which permit us to keep ourselves within a comfortable, acceptable system. In such conditions we recreate our own worlds from scratch. These new-born worlds will vary depending on the individual holdings, experience, preferences and expectations.
In “Negative modulations” the maximally formalized material represents the negative of a musical tissue. Thus - as in photography - the process of performance can be defined as negative (transformation (or modulation) of a hidden image into a visible one, i.e. the negative), while the process of perception, as a positive one (transformation of a negative image into a positive one).
The video (originally interactive), in its turn, represents a parallel process: counterpoint of abstract visual images/events/impressions forming an autonomous scale.

Previous performances
Oct. 1, 2011, Strasbourg, France
Musica Strasbourg Festival
Ensemble Le Balcon, Martine Pascal, cond.
Sept 23, 2011 - Paris, Franse
Église Saint-Merry
Ensemble Le Balcon, Martine Pascal, cond.
Oct. 14, 2008 - Milan, Italy
Teatro alla Scala, "A. Toscanini" Boxes Foyer
Accademia Teatro alla Scala, Giorgio Bernasconi
Oct. 12, 2008 - Venice, Italy
Teatro alle Tese
Venice Biennale Music Festival
Accademia Teatro alla Scala, Giorgio Bernasconi
Apr. 24, 2006 - Moscow, Russia
Moscow International House of Music
Moscow Contemporary Music Ensemble
Apr. 12, 2006 - Moscow, Russia 
Center DOM
Moscow Contemporary Music Ensemble

 

Contra-relief
1.1(E-hn).2(cl+bcl).1 - 1.1.1.1 - 3 - pn - 2.1.1.1
~ 16' (2005)

About

Schoenberg ensemble, Reinbert de Leeuw, cond.

Commissioned by SWR, Germany

Programme note
The composition is an attempt to reconstruct Vladimir Tatlin’s Monument to the 3rd Communist International. The piece is part of the program “Reconstruction” of the Structural Resistance Group (StRes), dedicated to reconstruction of lost monuments or utopian projects of the Russian avant-garde of the 1920s.

Brief glossary
Contra-relief – a term introduced by Vladimir Tatlin to designate three-dimensional space compositions made from expressly "unartistic" materials (iron, cardboard, wood, glass, plaster etc., sometimes combined with household items or fragments of ready-mades), that are both objects of art and art itself...
Vladimir Tatlin [1885 - 1953], Russian artist, designer, scene-designer, a major representative of innovative art of the 1920s, founder of artistic constructivism. Author of the Monument to the 3rd Communist International ("Tatlin Tower")…
Monument to the 3rd Communist International ("Tatlin Tower") – was displayed in December 1920 in Moscow during the 8th Congress of Soviets. The structure 1.5 times higher than the Eifel Tower was designed as an administrative and propaganda centre of Comintern, an organization that prepared the mankind for the worldwide revolution…

Brief description
A structure made of metal beams and four transparent cubic capacities revolving with different speeds was to accommodate Comintern’s executive, legislative and propaganda agencies. The diagonal of the "Tatlin Tower" was connected with the two spirals encompassing it, while the revolving capacities were integrated into the bare frame structure. The original five-meter-high model of the "Tatlin Tower", last time displayed in 1930, was later lost (the most accurate of many “Tower” model reconstructions was made in Russia in 1992-93).

Previous performances
Sept. 18, 2010 - Schwaz, Austria
Klangspuren festival
Moscow Contemporary Music Ensemble, Fedor Lednev
Sept. 17, 2010 - Bolzano, Italy
Transart festival
Moscow Contemporary Music Ensemble,
Fedor Lednev
March 26, 2009 - Berlin, Germany
Philharmonie. Kammermusiksaal
MaerzMusik
Ensemble Contrechamps, Beat Furrer cond.
March 24, 2009 - Geneva, Switzerland
Festival Archipel
Ensemble Contrechamps, Beat Furrer cond.
May. 12, 2007 - Amsterdam, the Netherlands
Muziekgebouw aan ‘t IJ
Schoenberg ensemble, Reinbert de Leeuw, cond.
May. 11, 2007 - Hague, the Netherlands
Nieuwe Kerk
Schoenberg ensemble, Reinbert de Leeuw, cond.
Oct. 21, 2006 - Donaueschingen, Germany
Donaueschinger Musiktage
Schoenberg ensemble, Reinbert de Leeuw, cond.

 

DSCH. Recollecting the name
1.1.1.1 - 1.1.1.0 - 2 - hp - pn - 2.1.1.1
~ 12' (2005)

About

Published by Editions Jobert

Programme note
The piece was written for the 30th anniversary of Dmitri Schostakovitsch's death and includes his monogram - DSCH. Addressing known monograms is quite often for music. However, it carries a forgery danger. Just the formal use of such motives provokes retrospection – the ear automatically loads them with content, and we start to hear shapes of familiar music. Thus the composition which uses such motives occasionally takes on the qualities of the original. Is that nevertheless possible to percept such figures regardless the acquired context? Is that possible to return them their genuine purity? I wanted to desacralize that motive, to mention the name of Schostakovitsch without any pathos, or officiality.

Previous performances
Jan. 14, 2010 - Paris, France
Auditorium Marcel Landowski
Ensemble 2E2M, Pierre Roullier
Nov. 14, 2006 - Moscow, Russia
"Moscow Autumn" festival
House of Moscow Composers
Moscow Contemporary Music Ensemble, Alexei Vinogradov, cond.

 

Life and death of Ivan Ilich
1.1.1.1 - 1.1.1.0 - 2 - hp - pn - 2.1.1.1
~ 12' (2005)

About

KlangForum Wien, Jurjen Hempel

Commissioned and published by Le Chant du Monde

Programme note
"Death is over. There is no death anymore" - these are the last words of Ivan Ilich in the Tolstoj novel "Death of Ivan Ilich". There are two parts in the piece which use similar material. In the first part material is quasi unsystematized, chaotic - in the second there appears an audible system. At the same time - both parts have identical macro-rhythmic organization. In the center there is an explosion, signifying the change of these two states of material. I can't say which part corresponds to life and which - to death. They're just two sides of same...

Previous performances
Jan. 14, 2010 - Paris, France
Auditorium Marcel Landowski
Ensemble 2E2M, Pierre Roullier
March 13, 2008 - Vienna, Austria
Wiener Konzerthaus, Mozart-Saal
KlangForum Wien, Jurjen Hempel
Nov. 7, 2005 - Moscow, Russia
Moscow composers house
Moscow Autumn
Moscow Contemporary Music Ensemble, Alexei Vinogradov, cond.

 

4 states of the same
fl, cl, tb, perc, voice, vn, vc
~ 10' (2005)

About

Ensemble 2E2M, Boris Filanovski, Pierre Roullier

Commissioned by eNsemble, Russia
Published by Editions Jobert

Programme note
The material of the piece are letters. Strings scratch them out with the bows, winds speak them into the instruments, the voice chokes with them, percussionist hits them onto the typewriter. But these letters do not form any text, they do not bear any message. They are nothing else than empty forms, abstract signs, mimic articulations - before the word birth or after its death. It is a sort of cemetery for words and sounds. It is a tomb for a former word-and-music union which seems impossible anymore.

The piece is a part of the project Orthography by the Structural Resistance Group (StRes).

Previous performances
March 18, 2010 - Paris, France
Auditorium Marcel Landowski
Ensemble 2E2M, Boris Filanovski, Pierre Roullier
Dec. 23, 2009 - Moscow, Russia
"Machina" project
Moscow Art Theater
Moscow Contemporary Music Ensemble, Boris Filanovski, Fedor Lednev
Apr. 26, 2009 - Berlin, Germany
Temporaere Kunsthalle
KNM, Boris Filanovski, Roland Kluttig
Jan. 27, 2006 - St.-Petersburg, Russia
Central communication museum
StRes presents "Orthography" project
eNsemble, Boris Filanovski, Fedor Lednev
Sept. 10, 2005 - St.-Petersburg, Russia 
Shemiakin foundation concert hall 
New Nordic Music 
eNsemble, Boris Filanovski, Fedor Lednev
Apr. 26, 2005 - St.-Petersburg, Russia
Central communication museum
Pythian games
eNsemble, Boris Filanovski, Fedor Lednev

 

still_life
1.E.h.0.1-1.1.1.1-perc-hp-1.1.1.1
~ 9' (2004)

About

ASKO ensemble, Jussi Jaatinen, cond.

Commissioned by Gaudeamus Music Week

Programme note
Still_life for 14 instruments was composed in 2004: “It is an attempt to disclose a potentiality of combination and interaction of sound zones that have different dynamics, timbre and texture density. Every separate zone is incapable of breaking free from the frames of its own characteristics, however, in their combination newer derivatives keep arising. This is an attempt to represent today’s man-driven world, where every man serves as a part of a global relations system: he has his own responsible function and cannot break free from it.

Previous performances
Sept. 29, 2009 - Vaexjoe, Sweden
ISCM World music days
Vaexjoe University
Norrbotten NEO, Petter Sundkvist
Sept. 7, 2004 - Amsterdam, the Netherlands
Paradiso
Gaudeamus Music week
ASKO ensemble, Jussi Jaatinen, cond.

 

..pas d'action
cb.cl, alp-hn, perc, pn, vn, vc
~ 8' (2003)
bfl, bcl, perc, gtr (or pn), vn (or va), vc
(2011)

About

Ensemble Aleph

Programme note
The piece represents a hermetic dialectic construction, a kind of "self strained" sound, even visual object, if taking into consideration a live performance process. The piece is founded on elementary oppositions: long notes - short notes; standard instruments - rare instruments; strictly organized texture - free texture; movement (action) and its absence.

Previous performances
Nov. 16, 2012 - Moscow, Russia
Moscow autumn
Studio for New Music
Feb. 25, 2011 - Livorno, Italy
Teatro La Goldonetta
Ensemble L'arsenale
(version for bass flute and ensemble)
Oct. 23, 2010 - Paris, France
Theatre Dunois
Ensemble Aleph
Feb. 11, 2006 - Salzburg, Austria
Aspekt
Ensemble Aleph
Feb. 27, 2005 - Reims, France
Fond Regional d'Art Contemporain Champagne-Ardenne
Ensemble Aleph
Nov. 27, 2004 - Paris, France
Theatre Dunois
3e Forum Int. des Jeunes Compositeurs
Ensemble Aleph
Nov. 25, 2004 - Paris, France
Theatre Dunois
3e Forum Int. des Jeunes Compositeurs
Ensemble Aleph
Oct. 9, 2004 - Dresden, Germany
Festspielhaus Hellerau
Dresdner Tage der zeitgenossischen Musik
Ensemble Aleph
Sept. 10, 2004 - Amsterdam, the Netherlands
De IJsbreker
Gaudeamus Music week
Ensemble Aleph
July 25, 2004 - Mill of Ande, France
3e Forum Int. des Jeunes Compositeurs
Ensemble Aleph

 

Innermost man
fl, b.cl, hn, tp, tb, perc, pn, bayan, S., vn, va, vc, cb 
~ 10' (2002)

About

Moscow Contemporary Music Ensemble, Maria Boulgakova, Alexei Vinogradov, cond.

Commissioned by Studio for New Music, Russia

Programme note
"The Man is not a mind but a body packed with passionate tendons, blood-filled canyons, hills, openings, pleasures and oblivion." (From Andrey Platonov, Chevengur – Unpublished translation by R. & E.Chandler)
"A huge naked man, puffed up from the wind and his own grief, was dying but by little bit, as his life went by." (From Andrey Platonov, The Foundation Pit – tr. R.Chandler & G.Smith, Harvill, 1996)
"A man obtained himself from somewhere by his own solitary force." (From Andrey Platonov, Chevengur – Unpublished translation by R. & E. Chandler)
At the core of this work are three characteristics of man revealed by Platonov in his novels Chevengur and Kotlovan. Each of these characteristics is given its own musical material, and it is the border collisions and interpenetrations between them that bring to light the essence of Platonov’s man. One of the work’s significant aims is to attempt the expression in music, by way of graphic parallels, of the ‘awkwardness’ and deliberate ‘inappropriateness’ of Platonov’s language. The musicians are obliged to ‘battle with’ the text, in an effort to overcome not only the limitations of their instruments but also their own physical strength.
Translation © Anthony Phillips, 2002

Previous performances
June 15, 2013 - Voronezh, Russia
Voronezh Conservatory
Platonov festival
Studio for New Music, Svetlana Savenko, voice
Igor Dronov, cond.
March 22, 2009 - Berlin, Germany
Juedisches Museum. Glashof
MaerzMusik
Moscow Contemporary Music Ensemble, Natalia Pschenitschnikova, Fedor Lednev cond.
Oct. 25, 2006 - Moscow, Russia
Rachmaninov hall
Denisov festival
Moscow Contemporary Music Ensemble, Maria Boulgakova, Alexei Vinogradov, cond.
Sept. 29, 2003 - Berlin, Germany
Philharmonie Kammermusiksaal
Berliner festspiele
Studio for New Music. Igor Dronov, cond.
Sept. 3, 2003 - Amsterdam, the Netherlands
Beurs van Berlage, Graanbeurszaal
Gaudeamus Music Week
Moscow Contemporary Music Ensemble, Maria Boulgakova, Alexey Vinogradov, cond.
May 24, 2002 - Oxford, UK
Jacqueline du Pre Music Building
Oxford Contemporary Music festival
Studio for New Music. Igor Dronov, cond.
May 21, 2002 - Oxford, UK
Hollywell music room
Oxford Contemporary Music festival (workshop)
Faculty New Music Ensemble. John Traill, cond.

 

Brown study
b.fl,b.cl, perc, pn, vn, vc, cb
version for fl, b.cl, perc, pn, vn, va, vc
~ 8' (2002)

About

Moscow contemporary music ensemble, Alexei Vinogradov

Commissioned by ensemble IXION, UK

Programme note
The work was one of my first attempts to reject the motive-thematic principles of shaping musical material. Since 2002 my central idea has been to combine the principles of visual perception with a musical situation. The idea of perception of visual object is “observation”, i.e. the time during which we observe an unchangeable object or process (in case of kinetic object). During the perception our knowledge of the object and our relation to it change, thus an unchangeable object finds temporal dimension and changes (or provokes our inner changes). The piece has multitude of constantly moving small details (as a Brownian motion - the random movement of particles). But at the same time it stays unchangeable. The motion in the piece is not horizontal – it is oncoming. As when we look through a microscope: first we see (hear) a multitude of details; if we “zoom in” – they separates; if we zoom more and more – they disappear. Just the spectator stays behind. Alone with the silence.

Previous performances
Apr. 6, 2011 - Moscow, Russia NCCA
Ensemble XX century, Oleg Tantsov
Nov. 26, 2008 - Moscow, Russia
Moscow composers house
Moscow autumn
Moscow contemporary music ensemble, Alexei Vinogradov
Nov. 22, 2008 - Kaunas, Lithuania
Philharmonic Hall
Is Arti, XIII International festival of contemporary music
Moscow contemporary music ensemble, Alexei Vinogradov
July 7, 2006 - Finland
Time of Music
Moscow Contemporary Music Ensemble
July 4, 2006 - Moscow, Russia
"Culture" radio, live broadcasting
Moscow Contemporary Music Ensemble
May 19, 2006 - Moscow, Russia
Moscow International House of Music
Moscow contemporary music ensemble, Alexei Vinogradov
Sept. 17, 2005 -Warsaw, Poland
Warsaw autumn
Moscow contemporary music ensemble, Alexei Vinogradov
Oct. 10, 2002 - London, UK
The Warehouse
BMIC 'CUTTING EDGE' CONCERT SERIES
IXION ensemble

 

Ars stricta
1.1.1.1-1-mar-hp-pn-2.1.1.1
~ 20' (2001)

About

Published by Le Chant du Monde

Programme note


Previous performances
May 13, 2002 - Moscow, Russia
Rachmaninov hall
Final examination concert
State academic symphony orchestra, Felix Korobov, cond.