Grigory Krotenko: double bass
Alexey Nadzharov: electronics

The pieces, presented on this CD, have been created in the last few years. The fact that they are solo works is not a coincidence – it is in a solo, as in the most complex form of self-utterance, there is a macro- and microcosm of ideas that I implement. On the first sight it is a paradox on my way of thinking, because I was always interested in big forms and large ensembles. Solo pieces turned out to be the solution for me, since they have not only musical material, but a tight relation to synthetic elements such as electronics, video and theater. This along turned out to be noncoincidental, because the idea of a synthetic theater had become my foundation for aesthetics and the way of thinking. The interest to the dialogical monologue started with the pieces “NACKT” and “Irreversibility of Mechanism”, which became important for me as a composer and a listener. This kind of monologue is also important in other pieces alongside with “JACKSON(G)”. I could have described many works as the monologue of this moment.

Alexandra Filonenko


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Alexandra Filonenko - JACKSON(G)

Art has a feature of avoiding straightforward statements. 

More precisely, those thoughts originality of which requires an artistic language are rarely simple or straightforward. In this case, a musical statement becomes a metaphorical one. 

But what features - linguistic and stylistic - are inherent to this kind of statement? And what tasks as a result appear before the performer, the interpreter? 

Sometimes we expect a metaphor to be something complex, deliberately ambiguous, but if by the statement we gain new ways of understanding, a metaphor survives. It becomes obvious and natural like a long-time proven assertion in mathematics, which over time has become a well-known theorem... 

But then a new layer of metaphors appear. It comes naturally as a new coil of what was proven in the previous turn… Maybe there again is a choice appearing in front of the artist? What should the artist do, take part in the pursuit of the evolution of the metaphorical language, or hide, using seemingly familiar tools and forming a completely new context? 

The author, obviously, selects the second. 

Of course, this makes his music defenseless and extremely vulnerable to the performance. The slightest inaccuracy of the interpretation could trigger a completely different association and a metaphorical statement will be destroyed... 

I hope that we were able to uncover the author's intention in his modern sound where archaisms, modern expression and avant-garde ideas give birth to a new dramaturgy. 

Ilya Hoffman
__

Polina Osetinskaya: piano

Composed by: Sergey Akhunov 

Recorded by: Alexei Barashkin 
Recorded at: The D. D. Shostakovich Saint Petersburg Academic Philharmonia, Large Hall, 31 May – 4 June, 2016 
Edited by: Alexei Barashkin 
Mixed, mastered by: Alexander Mikhlin 
Cover photo by: Anna Zyabreva

Sketches

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Sergey Akhunov - Sketch VII (Performed by Polina Osetinskaya)

Тамара Зарицкая - вокал;
Виолетта Ремизова - флейта;
Виктор Самохвалов - рояль;
Станислав Поспелов - гитара;
Игорь Мозгалев - бас;
Пётр Талалай - барабаны;

Станислав Поспелов - стихи;
Чик Кория - музыка;
Юлия Ованесян - дизайн, офорт;
Игорь Смирнов - звук.

Арт-группа "Дальний свет" - Рыба тебя любит

FANCYMUSIC is a record label focused on contemporary new music recordings. It is a broad platform for a wide variety of contemporary new music composed by different russian musicians. FANCYMUSIC is also a platform on which newer names may be encountered.

Alexandra Filonenko - JACKSON(G)

FANCYMUSIC

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