other

Performed by the Ensemble C Barré, direction Sébastien Boin
8th St. Petersburg International New Music Festival reMusik.org
31.05.2021

«Strange dreams» was composed for C Barré ensemble in frames of Composers Lab of «reMusik.org» festival. This piece explores transition between conditions of being awake and falling asleep. I tried to recreate some thoughts and images emerging at this moment, which are extremely chaotic and elusive. Rhythmic structure is inspired by Myoclonus phenomenon – irregular twitching of muscles when person is falling asleep. This element creates ostinato background for brief phrases and passages, which improvisatory nature reflects the main idea of irrationality and unpredictability of this boundary state of our consciousness.

image credit: Georgia Turner

Strange dreams (ensemble, 2021)

Chronoclasm - in science fiction is one of the possible consequences of travels in time. As a result of meeting people from different eras, ideas and information are transferred from the future to the past. This causes some events and actions in the past, but all their consequences are already reflected in the future. Thus, the reality does not change, all the rings of chronoclasms ever created are already included in the course of history. On the contrary, the abolition of one of the chronoclasms will lead to a change in the future.
In this piece the idea of “broken time” is reflected in “broken” musical continuum and “broken sound”, since some of musical instruments are detuned.
The piece “Chronoclasm II” was written especially for the ensemble “C Barre” and was premiered at the festival on May 31, 2021.

Natalia Prokopenko - Chronoclasm II    for ensemble (2021)

Extreme Quiet Village [11 saxophones]

Generative Music from the Untitled Microtonal Gardening Game.

37 EDO 16 DEG 0 3 4 11 12 15 16 18 19 22 23 30 31 34 35 36

19 EDO 3233323 secundal pentads

JACK Quartet

Bludenzer Tage zeitgemäßer Musik
Remise Bludenz

recorded by Chris Swithinbank
October 6, 2022

Moveable Feast

Call For Compositions | Duisburg 2023

SACRIFICIUM - for Gusle and Symphony Orchestra

Friends and Strangers [20 instruments]

As an individual living in today's world, I often find myself questioning the impact of my human desires and actions, especially
considering the severity of climate change, environmental issues, and the suffering of nature and animals caused by human cruelty. It
feels almost indulgent to pursue personal ambitions while the Earth's climate and environment are approaching an irreversible tipping point due to human activities.

Faced with countless problems resulting from human behavior, I have experienced deep self-doubt and questioned the purpose of my own art. Feeling a sense of responsibility as a composer, I wanted to contribute, even to a small degree, to addressing these issues through my work, as the tragic consequences of our current lifestyle will undoubtedly be experienced by our generation.

When I received the commission from the IU New Music Ensemble, I resolved to convey the suffering endured by nature and animals
in some form. I collaborated with Ari Schwartz (b. 2000), the poet of "For All We Took," who is also my colleague in composition at
IU, to create a poem that criticizes human actions and apologizes to the natural world. We worked together through multiple revisions
to ensure that the poem's emotions could be effectively expressed through music.

Dedicating this piece to Mother Nature, I have experimented with contemporary musical approaches. The piece criticizes humanity,
portraying the pain and sorrow of nature and animals, and expressing apologies to the natural world. Ultimately, the piece sings of hope. I aim to convey doubts about whether humans in the present age can truly coexist with nature and whether we are incapable of change. I want to deliver a message that there is still hope if we start making small changes now.

For All We Took (2023) for soprano and sinfonietta

commissioned by Korean National Symphony Orchestra

This composition, titled "The Whale," delves into the profound issues of climate change and environmental problems, which have become the most significant challenges for the current generation of humanity due to human activities and selfishness. As I began to deeply contemplate these issues, I embarked on a sonic exploration centered around the theme of the suffering of nature's creatures at the hands of humans. 

In "The Whale," the sounds of whales are depicted in both physical forms and abstract interpretations based on personal imagination. Throughout the composition, the whale sounds are expressed in a multidimensional manner, adapting to various musical contexts. The sonic characteristics and changes in coloration within different sections offer varied perspectives on the sounds of whales. 

In the early sections, within a meditative musical concept, the composition seeks to present the diverse sounds and emotions of whales. In the middle to later sections, the piece aims to portray the whales' suffering due to the overwhelming presence of plastic pollution. Ultimately, the composition gently concludes while hinting at the souls of deceased whales and the hope for the future. 

The Whale (2023, rev. 2024) for orchestra

Dissolution (2024) for cello solo

[Program Notes]
The title of the piece, "Chiyu," represents the Korean pronunciation of the word "치유," which translates to "healing" in English. While healing typically conveys the idea of curing diseases, "chiyu" embodies a more psychological, experiential, and humanistic approach. 

This piece is composed as a response to unexpected and challenging hardships that intrude as unwelcome guests into everyday life, causing deep wounds and feelings of melancholy. The process of composing the piece itself was aimed at psychological healing, seeking sounds that bring solace and tranquility to the mind, without being constrained by any particular formal structure. 

Throughout the composition process, I sought to find healing for these emotions, relying on the act of composing itself to seek emotional stability within myself. I aimed to express my emotions delicately and emotionally, drawing upon the unconscious resonance of sounds, without the restraint of rational control. I crafted the music using contemporary musical language, capturing the unique sensations inherent in these sounds with sensitivity and emotion.

Additionally, elements of meditation that brought comfort to me during a brief stay at a hanok (traditional Korean house) called 치유재 (Chiyoujae, literally "Healing Studio") in Seoul's Bukchon area are reflected throughout the composition.

Performed by Dissolution Ensemble 
Recorded live at Akademie für zeitgenössische Musik (Blackbox Kosmos, Hochschule Luzern – Musik) on 19 Feb, 2024

치유 (Chiyu; Healing; 治癒, 2023) for quintet – Younje Cho / 조윤제

Pièce pour 14 musiciens:
Flute Clarinette Cor Trombone Piano Harpe Violons Alto Violoncelle Contrebasse 
Enregistrement de la création publique au Crr de Boulogne Billancourt avec les étudiants sous la direction de Jean-Christophe Vervoitte

Aspérité

Pièce pour Voix et dispositif sonore et visuel conçue par Valérie Giovanni 
Chant: Amélie Raison

Osmc

Julia Wolfe- Compassion

zoom live recording at Arboretum Festival, August 19th 2017

arranged for 11 strings
Forest Strings Ensemble

Carissa Klopoushak
Marc Djokic
Andrea Armijo Fortin
Heather Schnarr
Hilda Cowie
Marjolaine Lambert
Marlena Pellegrino
Thaddeus Morden
Raphael Weinroth-Browne
Sonya Probst
Paul Casey

ERE [ 11 string arrangement ] (2017)

I like messing with tuning and rhythm, occasionally I might even make actual music.

Bandcamp, which has a lot of my older stuff: https://guessw3rk.bandcamp.com/

youtube: https://www.youtube.com/channel/UCLHHDTjGCsETTIrbGTrL6Mw

got a freesound page, where I upload glitchy sound textures and such : https://freesound.org/people/dudebroman2/

Alexey Logunov was born in Leningrad, Russia. He graduated in 2014 from Saint-Petersburg State Conservatory of Rymsky-Korsakov, where he studied composition with Vladimir Tsitovich and Gennady Banshchikov and was later assistant to Sergei Slonimsky. Logunov studied piano performance at Saint Petersburg Conservatory, mentored by Ekaterina Murina from 2016 to 2018. In 2020, he earned a Master of Music degree in Composition from the Indiana University Jacobs School of Music, where he studied with P. Q. Phan, Eugene O’Brien, and Tansy Davies. Logunov is now a doctoral student and associate instructor of composition at the Jacobs School.

Logunov’s compositions have been performed at numerous festivals in Russia and internationally, including From Avantgarde to Present Days, Children’s Earth, Sound Ways, reMusik.org, Musica Futura (Minsk, Republic of Belarus), New music-new reality (Ekaterinburg), Composer 2.0 (Yaroslavl) and the Midwest Composers Symposium 2019 (Indiana University, USA), Performing Media Festival 2024 (South Bend, Indiana) and SEAMUS@40 (Louisiana State University, USA). He collaborated with artistic groups “Musica Futura” and “Dialectic of Sound” from 2010 to 2011. In 2016, he participated in the “Roche Continents” program in Salzburg, Austria. The following year, he joined a concert tour of France’s Atlantic coastal cities as part of the Dinard Réunit les Jeunes Virtuoses festival. He was respectively a scholar of and a student of the X and XI International Young Composers Academy in Tchaikovsky-city and a participant of 2023 Splice Institute (Kalamazoo, Michigan).

Strange dreams (ensemble, 2021)

Alexey Logunov

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