a short music fragment to a theatre play by Ivan Vyrypaev (directed by Nikita Betekhtin), 2018

Sun Line (music to a theatre play, N.Novgorod)

Damir Bacikin plays "INVOCATION" for solo trumpet.
World premiere at the Randspiele Zepernick 28.August 2021

"INVOCATION" for solo trumpet by Alexandra Filonenko

Alexandra Filonenko "MEMORY CODE" (2021) für großes Orchester und Zuspiel 
Auff: Russisches Jugendliches Symphonieorchester unter der Leitung von Fedor Lednev
Die Premiere fand in Moskauer Philharmonie im Rahme des Projekt "Russische Musik 2.1" von Aksenov Family Foundation

MEMORY CODE

Ausschnitte (live) der Uraufführung von Svete tihij von Alexandra Filonenko gesungen von Cantando Admont vom 20. Mai 2022 in der Leechkirche Graz

Ausschnitte (live) der Uraufführung von Svete tihij von Alexandra Filonenko

"ICH" by Alexandra Filonenko (music) & Jasmin Schaedler (libretto) for voice & tape from an inclusive music theatre & dance production "VOX EX NIHILO"* (*Voice from the Void) by InterAKT Initiative. 
 Live performance at the Theaterhaus Stuttgart, 2023.

Alexandra Filonenko - "ICH" for voice & tape

"Out Of The Blue" by Rainer Rubbert (music) and Tanja Langer (libretto)from an inclusive music theatre and dance performance "VOX EX NIHILO"* (*Voice from the Void) by the InterAKT Initiative. Performed live at The Theaterhaus Stuttgart, 2023.

Out Of The Blue - Rainer Rubbert (music), Tanja Langer (libretto)

Göttin der Geschichte(2024) for Mezzo-soprano and  Orchestra after a poem "Asow-Feldzug" by Tomas Venclova, Christina Daletska, mezzo-soprano , Basel Sinfonietta, Titus Engel, WP Warsaw, Warsaw Autumn 2024, Recorded by Polskie Radio 22.09.2024

Göttin der Geschichte (2024) für Mezzosopran und Orchester

The main idea for this composition was inspired by a set of snapshots obtained by means of the "Hubble" telescope. The galaxies and stellar nebulae demonstrate color spectra of fantastic beauty and an astonishing variety of forms: ellipses, spirals and innumerable irregular structures. Appearing to be immobile to the lay observer, in reality, following the law of the red shift, discovered by astronomer Edwin Hubble, these hyper-gigantic formations move away from each other with an incredible, continuously increasing speed. This results in the calm grandeur of the universe which in reality presents a monstrous energy of constant motion, one that simultaneously is creative and destructive.

My composition expresses a peculiar sound metaphor of Hubble's idea. Out of an amorphous mass of the "sound nebula" the fractal pitch structures gradually crystallize. In a similarly gradual way the "syntactic gravitation" forms large-scale phased periods. The dramatic play of matter and energy, the changeover of one to the other, leads to a constantly accelerating expansion of the sound space.

The principle of the red shift — the visual indicator of the grandiose expansion of the universe — is imprinted in the musical texture, not only metaphorically, but also structurally. In the formation of the composition's parameters of sound, the idea of phased shifts is reflected in shifts of pitches — the intervallic displacement of adjacent sound fractal chords — and shifts in the frequency domain — mutations of the timbre.

Redshift for orchestra and electronics

string quartet II [2017]

Andrey Nemzer, countertenor, Ekaterina Pressler, Piano. Sergej Newski/Leonid Imennykh electronics.

Tarussa (2020) for voice piano and playback  after Paul Celan

Extract of John Croft's 'Lost Songs' (2017) for soprano and live electronics. Released as a digital EP on First Hand Records in January 2021.

https://firsthandrecords.com/products-page/album/john-croft-lost-songs-ep/