Contemporary music from Ukraine 18–19 September 2015, Vilnius Curator: Roman Yusipey LENsemble (Lithuanian Ensemble Network) Vykintas Baltakas, conductor www.lithuanian-ensemble.net ROMAN YUSIPEY, accordion VYKINTAS BALTAKAS, conductor LENsemble (Lithuanian Ensemble Network): RUSNĖ MATAITYTĖ, violin RYTIS PAULIUS JUŠKAITIS, piano GIEDRIUS GELGOTAS, flute ROBERTAS BEINARIS, oboe ANDRIUS ŽIŪRA, clarinet PAULIUS LUKAUSKAS, horn SIGITAS GAILIUS, percussion IEVA SIPAITYTĖ, violin VITA ŠIUGŽDINIENĖ, violoncello RIMA CHAČATURIAN, piano BORIS LYATOSHINSKY (1895–1968) was a leading member of the new generation of twentieth-century Ukrainian composers, conductor, teacher and a founder of so-called Ukrainian School of New Music. Lithuanian composer Osvaldas Balakauskas was among his students in 1964–1969. Lyatoshinski was born in Zhytomyr – a town, where several well-known people originated, including the pianist Svyatoslav Richter, philosopher Nikolai Berdiaev and composer Ignacy Jan Paderewski. Lyatoshinsky attended Kiev University and later the newly established Kiev Conservatory where he studied composition with Reinhold Glière. In 1922, Lyatoshinsky, by then professor and lecturer of composition in the Kiev Music Conservatoire, pioneered the development of Associazia Suchasnoi Musiki (The Society of Contemporary Music). From 1935 to 1938 and from 1941 to 1944 Lyatoshinsky taught concurrently at the Moscow Conservatory. Lyatoshinsky, despite receiving a conservative musical education, was determined to raise the standards of contemporary composition; he was not only making innovative changes regarding his own music and carrying on experimenting with various music materials but also leading other young contemporary composers, helping them to establish new methods of writing. Lyatoshinsky’s earliest compositions (Symphony No. 1) were greatly influenced by the expressionism of Scriabin and Rachmaninov. During the early period of the composer’s development, he drew some inspiration from musical works by Tchaikovsky and Glazunov too. His musical style later developed in a direction favored by Shostakovich, which caused significant problems with Soviet critics of the time, and as a result Lyatoshynsky was accused (together with Prokofiev and Shostakovich) of formalism and creation of degenerative art. Many of his compositions were rarely or never performed during his lifetime. Sonata for violin and piano, Op. 19 (1926). The idea is based on the conflict between the individual and the surrounding environment. The main theme is melodious, however has a hidden power and energy. It is characterized by the syncopated rhythm, chromatic tension of the melody and constant process of variations. The free improvisation determines the non-periodicity of musical structure. Sonata was published by Muzgiz (State Publishing House) in 1926 and Universal Edition in 1928. A representative of the so called Kiev Composers' School in 1960s–70s (together with Leonid Grabovski, Valentin Silvestrov, Vladimir Zagorcev, Vladimir Guba, Sviatoslav Krutikov, Petr Savolkin and others) VITALY HODZIATSKY (*1936) studied composition under Boris Lyatoshinski at the Kiev National P. Tchaikovsky Academy of Music in 1956–1961. In 1970 he was removed from the Soviet Composers' Union for his creative principles that contravened the Soviet position, his works were prohibited and rarely performed. In 1975–1982 Hodziatsky lead the Kiev cinema theatre music ensemble. Chamber music, movie music and compositions for the theatre take the dominant position in Hodziatsky's creative activity. Among the most prominent oeuvre: Poem for orchestra (1961), symphonies Periods (1968) and Stabilis (1990), suite Cinderella for orchestra (1987), wind quintet Morning Bird Song (Утренний крик птицы, 1994), Dreams of Childhood for nine instruments (Сны о детстве, 1997), various compositions for piano – Characteristic Scenes (1963), Sonata No. 2 (1973) etc. Gaps of the Planes (Разрывы плоскостей) for piano (1963). According to the composer, the title of the composition refers to the science of physics and phenomenon of cosmos and micro-particles. However, there are links with the human experiences and reactions to the atomic explosion and its effects. The musical texture consists of short elements with specific figures of rhythm. First the texture is getting dense and achieves its climax, which is replaced by the calming of tension. There are no traditional harmonies and scales. The sound of composition is based on the aspects of timbre, contrasts of registers and variety of articulation (various accents, staccato etc.). ANNA ARKUSHYNA (*1989) in 2014 completed her composition studies with Eugene Stankovych at Kiev National P. Tchaikovsky Academy of Music and currently is a student of composition and theory of music under prof. Beat Furrer at the University of Music and Performing Arts in Graz. Arkushyna has participated in composition workshops, took lessons for improvisation and composition in Russia and Ukraine. She was a participant at the Klangwerkstatt Festival in Berlin, 2011, and a finalist of the composer's competition Step to the Left-4 in St. Petersburg, 2011; in 2014 she got a special award in the Pre-Art Composers Competition in Switzerland. The various ensembles, including Ensemble Nostri Temporis, Ensemble JungeMusik Berlin, Amsterdam Collage Ensemble, Moscow Contemporary Music Ensemble, ensemble MusikFabrik, performed music by Anna Arkushyna. Körnung (Graininess) for ensemble (2012–2013). I have been for a long time attracted by topic of grain and noise on old photos or photos with low quality, which consists of very small details and particles, which sometimes you can see even with the naked eye. Something similar I tried to reproduce in this piece. The composition was based on the idea of relationships of granulated sound and white noise. Every element I mind as a small atom. I choose special kinds of sounds like white noise, or very quiet and fragile sounds (airsounds, frullatos, tremolos, and very soaring noises). The structure consists of several periods connected by the sounding of just eight pitches. The periods pass smoothly without any stops and contrasts. Each period has its own climax and a kind of texture. (Anna Arkushyna) MAXIM KOLOMIIETS (*1981) graduated from the Kiev National P. Tchaikovsky Academy of Music in 2005 as oboist and in 2009 as composer. Since 2014 he has been studying composition at the Hochschule für Musik und Tanz in Cologne under Johannes Schöllhorn. He is a co-founder of Ensemble Nostri Temporis and founder of Luna Ensemble for ancient music. He is the winner of the national competitions Gradus ad Parnassum (Kiev, 2000), Step to the Left (Saint Petersburg, 2012) and 3rd prize laureate at the Vareler Komponistenpreis (Oldenburg, 2015). As the performer Kolomiiets took part in many Ukrainian and foreign festivals and master courses. His music has been performed at the international festivals: Other space, Gogolfest, Contrasts, Summer New Music Courses in Darmstadt, Randfestspiele in Zepernick, World Music Days in Leuven etc. Among the performers of his music are the National Symphony Orchestra of Ukraine, Kiev Chamber Orchestra, Syrinx Flute Quartet, Ensemble Nostri Temporis, GAM-Ensemble, Moscow Contemporary Music Ensemble, musikFabrik, Vladislav Pesin, Ian Pace, Roman Yusipey. Re-pulse for oboe and accordion (2012) Pulse is the possible metaphorical entrance into the existence and filling the space with self. The heartbeat, day and night and the trajectories of planets are the different forms of emptiness. The emptiness slowly fills in the space and transforms into the familiar shapes of color, desire, fading glance. Thus we recognize ourselves in the emptiness and achieve our nothigness. re-surrection, re-building, re-order, re-flection, re-jection Reflection of time slowly dissapears in the pulsatory emptiness. (Maxim Kolomiets) BOHDAN SEHIN (*1976), a composer, project coordinator, studied composition with Myroslav Skorik at the Lviv M. Lysenko National Music Academy. In 2003 and 2006, he participated in the Gaude Polonia scholarship program and studied composition with Zbigniew Bujarski in Cracow and Zygmunt Krauze in Warsaw. Sehin is a recipient of the Warsaw Autumn Friends Foundation scholarship (2003), a Gulliver Connect (2008) and Ukrainian Presidential (2008–2010) grants. Multiple awards for both composition and theatrical work in Ukraine and Poland. Sehin is a member of the Ukrainian National Composers Union and has worked on a number of projects in collaboration with the Polish Institute and the Austrian Cultural Forum in Kiev, the Goethe-Institut in Ukraine. In 2009 he began coordinating projects for the Ensemble Nostri Temporis, becoming its director the following year. Founder and artistic director of the COURSE (International master-classes for new music) and Ukrainian Biennale for New Music. From 2012 he is the commercial director for the new music development of Lviv Philharmonic Society and executive director of the Contrasts International Contemporary Music Festival. Featuring symphonic, choral, and chamber works, as well as music for theatrical productions, Sehin’s work has been performed for audiences in Poland, Belarus, Lithuania, Russia, France, Switzerland, Germany, China and certainly in Ukraine. And the Sailors Enjoying the View of the Earth... for accordion (2011). The original title in Polish A jak żeglarze ziemi cieszą się widokiem... is a quotation from Homer's Odyssey, Book 23. The initial version was composed for organ solo was designed for the project Organ Odyssey under the request by Polish composer and organist Dariusz Przybylski. The premiere was held in Warsaw Autumn festival, 2011. In 2012, accordionist Roman Yusipey arranged the second edition for accordion solo. According to composer, the main idea was not a musical expression of literary images, but a desire to show the emotional status of Homer's heroes. The music is focused on details and their transformations in the way of slow motion. The tension changes into the joy, which subsequently transforms into the serenity and peacefulness. ANNA KORSUN (*1986) graduated from Kiev National P. Tchaikovsky Academy of Music and Hochschule für Musik und Theater in Munich (under Prof. Moritz Eggert). She took part in the workshops of Gaudeamus Music Week, ensembles Richerche, Aventa and Neue Vocalsolisten Stuttgart and various composers. Anna was artist-in-resident of Schloss Solitude (2014–2015) and Paris Cite Internationale des Arts (2014). She is a winner of Gaudeamus Music Prize (2014), and a laureate of the international composition competitions such as Neue Toene, MUSLAB Mexico 2014, 8. pre-art and Harald Genzmer. In 2014 Anna got Director's Choice Award in Boston Metro Opera, in 2012 she won Leonhard und Ida Wolf-Gedächtnispreise in Munich, in 2011 she received a commission for new chamber piece from Kulturkreis Gasteig. As composer and performer she took part in various concert series and festivals such as International Summer Course for New Music in Darmstadt, ISCM 2014, Warsaw Autumn, Musikfest der MGNM, Lange Nacht der Musik, Junge Solisten, Sound Walk / Sound Garden 2012, Days of Ukrainian Music in Poland, Premiers of Seasons, Kievmusikfest, Youth Forum, Gogolfest, Tax Free, Exposition XXI. Among performers of her music are Neue Vocalsolisten Stuttgart, ensemble mosaik, Looptail, Camerata Silesia, eNsemble ProArte, VocalLab, Ensemble Oktopus, Moritz Eggert, Natalia Pschenitschnikova, Marij van Gorkom, Ensemble Nostri Temporis. Her music is broadcasted on Dutch National Radio and Radio Monalisa, Polish Radio Two, French Musique, Antena 2, Relevant Tones, Hildegard to Hildegard, Concertzender. Anna is co-organizer and participant of concert series 6+1, organ music project Ereignishorizont and concert cycle Evening of Low Music. UnderSurFace (2012) for ensemble The composition is a collaboration work of composer Anna Korsun and artist Jenia Tchaikovskaya. The synthetic project consists of video-art and musical composition, both of them were developed and created simultaneously in joint process as one piece. Dramaturgy of the piece is based on two contrast polyphonic layers. Seeming independent and polar they, however, are always leading to impact. The performing ensemble consists of flute, oboe, horn, piano, violin and violoncello. (Anna Korsun) VICTORIA POLEVA (*1962) in 1989 graduated from Kiev National P. Tchaikovsky Academy of Music (composition with Prof. Ivan Karabyts) and in 1995 completed her post-graduate studies under Prof. Levko Kolodub. Since 2005 she is a freelance composer. In 2010, Poleva took part in Kremer’s international project Art of Instrumentation, devoted to Johann Sebastian Bach and Glenn Gould. In 2011 she was invited as composer-in-residence at the Lockenhaus Festival (Austria). Poleva’s music was performed at Beethovenfest Bonn, Lockenhaus Chamber Music Festival, Yuri Bashmet’s Festival in Minsk, Valery Gergiev’s Easter Festival in Moscow, Chamber Music Connects the World in Kronberg, Dresdner Musikfestspiele, Philharmonie Berlin, Köln Philharmonie, Theatre de Chatelet Paris, Rudolfinum-Dvorak Hall in Prague, Concert Auditorio Nacional de Espana in Madrid, George Weston Recital Hall in Toronto, Yerba Buena Theater in San Francisco, Oriental Art Center Shanghai, Seoul Art Center, Esplanade Concert Hall Singapore, festivals of the new music in Ukraine, Sweden, Finland, Switzerland, Italy, Poland, UAE, Peru and Chile. Her early works were related to the aesthetics of the avant-garde and poly-stylistics (Gagaku ballet, Transform for symphony orchestra, Anthem for chamber orchestra, Еpiphany for chamber ensemble, Horace’s ode). From the late 1990s, her music became identified stylistically with “sacred minimalism” (Pärt, Vasks, Tavener, Gorecki). An important period in Poleva’s creative work is related to intensive studies and embodiment of texts from divine services in the music. Null for accordion (2005, dedicated to Roman Yusipey). This work is an attempt to create an original kind of anti-music. Absolute, non-personal, supra temporal. Which would encompass all possible space of the roaring emptiness. Nothing-music. (Victoria Poleva)