Opensound Orchestra
Stanislav Malyshev- conductor

Recorded on Mosfilm on November 30, 2021

Fenix by Polina Nazaykinskaya

Polina Nazaykinskaya Caprice N.1 for violin solo
performed live by Kinga Augustyn

Caprice N.1 for violin solo

Lamentation of the Bird

Ophela`s Song for soprano and string orchestra 

Two Songs for Soprano and Strings (I) Ophelia`s Song

Polina Nazaykinskaya Caprice N.4 for violin solo
Performed by Kinga Augustyn

Caprice N.4 for violin solo

Polina Nazaykinskaya "Caprice for Violin N.5"
Recorded live by Kinga Augustyn

Caprice N. 5 for violin solo

An earlier work of mine... Romantic, dramatic, and everything in between...

Maryana Osipova, violin
Olga Kirpicheva, piano

Canzonetta for violin and piano

Reading The Wind

Nazaykinskaya. 5 Romances For Soprano And Piano

Polina Nazaykinskaya "Rondo For Our Times" for alto saxophone and piano.

Maria Nemtsova- piano
Vitaly Vatulya- alto saxophone

Rondo For Our Times

Dr. Ben McIlwain- soloist 
Polina Nazaykinskaya- conductor
University of Southern Mississippi Orchestra
Feb. 12, 2015- premiere performance

Polina Nazaykinskaya. Concerto for Trombone and Orchestra (2015)

Tromboteam! presents Polina Nazaykinskaya`s "Pavana". 


Pavana for Trombone Quartet

“Symphony for Strings” (2024) by Polina Nazaykinskaya 
Commissioned by Portland Youth Philharmonic 
Recorded by OpensoundOrchestra:
Violins: Stanislav Malyshev, Maria Fomichenko, Iskander Akhmedov, Inna Zilberman, Irina Chepizhnaya
Violas: Ksenia Zhuleva, Ekaterina Myasnikova
Cellos: Olga Kalinova, Rostislav Chuchalin
Bass: Alexander Pavlov 
Audio engineer Ilya Karpov

Symphony for Strings

A Glimpse Of Hope (2015)

Triptych based on poetry by Sara Teasdale(2016). Performed by The Seraphim Singers, conducted by Jennifer Lester. 

I.
My window-pane is starred with frost, 
The world is bitter cold tonight, 
The moon is cruel, and the wind 
Is like a two-edged sword to smite.

God pity all the homeless ones, 
The beggars pacing to and fro. 
God pity all the poor tonight 
Who walk the lamp-lit streets of snow.

My room is like a bit of June, 
Warm and close-curtained fold on fold, 
But somewhere, like a homeless child, 
My heart is crying in the cold. 

II.  
I saw a star slide down the sky, 
Blinding the north as it went by,
Too burning and too quick to hold,
Too lovely to be bought or sold,
Good only to make wishes on
And then forever to be gone.

III. 
I am a cloud in the heaven's height, 
The stars are lit for my delight, 
Tireless and changeful, swift and free, 
I cast my shadow on hill and sea-- 
But why do the pines on the mountain's crest 
Call to me always, "Rest, rest"?

I throw my mantle over the moon 
And I blind the sun on his throne at noon, 
Nothing can tame me, nothing can bind, 
I am a child of the heartless wind-- 
But oh the pines on the mountain's crest 
Whispering always, "Rest, rest."


Choral Triptch On Sara Teasdale

Symphony N.1 "April Song" excerpt

A birthday gift  for very special twins, Zayd and Zizi

For Zayd and ZiZi

Polina Nazaykinskaya Symphony N.1 "April Song" II. Grave
performed by the Metropolitan Symphony Orchestra on April 2nd, 2017

II. Grave (Symphony N.1 "April Song")

THERESIENSTADT

					Mirko Tuma

From Crutches of Dusk, 1974.

Gods poured on us pitch-black asphalt
Yesterday,
And our nerve-ends
Were twitching-apoplectically
Like gravel
Under the skin
Until
Our pores, screams, scars, guts, acid, hair and marrow
Became
Inseparably glued together.

A bolt of lightning
Like a celestial missile
Struck,
And the steel-biting, soul-lifting crane
Was left motionless,
Its wolf teeth exposed
To the hail.

Human silence
Followed
The iceman on his bunk-to-bunk route
Selling fresh corpses.

Don’t look, my gentle one, 
Don’t look
At the barbed wire mountains
Feeding the charismatic soil
Rock by rock, limb by limb,
Sonnet by sonnet.

After nights and nights of labor
(overtime for a can of sardines)
The earth became flat
(for the first time since Galileo).
And we wished we could hold each other
(as we used to before the storm.)

My number was J-608,
But then you were snow-pure,
Untrampled upon,
Unhurt, unmutilated,
Mine, away from me
In the rainbow’s lopsided cradle.

Sleep angel, sleep
Above the wolf-teethed crane…
My little one…so little
That I can see you only
Under the microscope of dreams-

If dreams mean anything.

Theresienstadt

Konstantin Soukhovetski- piano
Julian Milkis- clarinet
Regi Papa, Nikita Morozov- violins
Will Curry- viola
Ani Kalayjian- cello 
Alex Bickard- double bass
Polina Nazaykinskaya- conductor
Recorded by John Kilgore 

Written and dedicated to Pascal Rioult. 
Premiere Performance at the Joyce Theatre: 
https://vimeo.com/275147524

Nostalghia

Performed by Konstantin Soukhovetski

Composed by Polina Nazaykinskaya for her long-time creative partner Konstantin Soukhovetski, Sparks is inspired the enigma of Cosmos. 
The perfect epigraph to it are the words of American cosmologist Carl Sagan:
“The Cosmos is all that is or was or ever will be. Our feeblest contemplations of the Cosmos stir us -- there is a tingling in the spine, a catch in the voice, a faint sensation, as if a distant memory,
of falling from a height. We know we are approaching the greatest of mysteries.”
The musical fabric of Sparks is simply there – we join it for the time being to be pulled into its magnificent gravitational pull – but what it conveys is not the finite realm of human condition but
the pulsation of the ever-expanding cosmos; breathing, evolving, unraveling before us in its infinite variety. Neither good nor bad, evil or kind, brief or everlasting – the universe of Sparks is omnipresent, continuous marvel to which we are all but invited guests.

"Sparks" for piano solo

performed by the Yale Philharmonia, Farkhad Kyudyev- conductor.

Polina Nazaykinskaya "Winter Bells" for orchestra

Winter Bells-excerpt

"If I Had One More Day" by Polina Nazaykinskaya and Konstantin Soukhovetski. Poem by Gerald Appelstein.
Performed by Michael Corvino, baritone and Konstantin Soukhovetski, piano

If I had one more day

I’d spend it driving to your fav’rite place

Catching you every time you fell 

Showing care, always wishing well


If I had one more hour

I’d make sure to ask `bout your secret dreams

Hoping you might ease your mind

Thinking that I could have helped in time

Finding a way to share in the things you love

Wondering if you know all this from above

Silly to feel time will never waste away

Now it has stopped, wish you had planned to stay

If I had one more minute

I’d try so hard to hug your face

If I had one more minute

I’d try so hard to hug your face and say farewell


Breaking away from those who would steal

Listening well that you knew it was real


One more, one more… 


If I had one more second 

I’d stop to take a picture of your smile

Watching you light up the room

Clenching this last beat until the gloom


Finding a way to endure without your love

Wond`ring if you know this up above

Finding a way to endure without your love

With you high above

With you high above

"If I Had One More Day" based on the poem by Gerald Appelstein

"Homebound" for voice and piano
Music by Polina Nazaykinskaya
Text by Konstantin Soukhovetski 

Katie Weber- voice
Konstantin Soukhovetski- piano

Homebound

The music of an award-winning composer Polina Nazaykinskaya, is performed regularly in the United States, Russia, and Europe. Her first symphonic poem, "Winter Bells," is in high demand every season by orchestras such as the Minnesota Orchestra and the Russian National Orchestra, among others. 

In the 2024-2025 concert season, Polina's orchestral music will be performed by the Utah Symphony, Portland Youth Philharmonic, Eastern Connecticut Symphony Orchestra, The Syracuse Orchestra, and the Atlanta Symphony. In May 2025, Polina’s new ballet for MorDance will be premiered in New York. In May 2025, Polina’s chamber opera, "Her New Home" will performed at the Garth Newel Center. Recent concert seasons highlights included the premiere of two new ballets, "The Rising" and "Emily," performed by the San Francisco Ballet and MorDance in New York City. 

Polina's collaborators include internationally renowned choreographers Pascal Rioult, Yuri Possokhov, Jonah Bokaer, Morgan McEwen, and Ulyana Bochernikova. Polina works closely with the world's leading conductors, such as Osmo Vänskä, Teodor Currentzis, Aziz Shokhakimov, Sarah Hicks, Toshiyuki Shimada, Lawrence Loh, Hannu Lintu and David Hattner. Polina's compositions are actively performed by internationally acclaimed soloists such as trombonist R. Douglas Wright, violinist Elena Korzhenevich, and pianist Anton Nel. 

With her larger chamber music works, Polina frequently turns to the tragedy of humanity's collective history, in particular, the Holocaust. Her work "Haim" is performed annually around the world and has become an important ensemble composition of the second decade of the 21st century.

Between 2021 and 2024, Polina was the Philharmonic Orchestra Conductor of the Greater Connecticut Youth Orchestras. Before her work with the GCTYO, she led the British Youth Music Theatre, RIOULT Dance NY, the University of Southern Mississippi Orchestra, and the Russian Youth Symphony Orchestra.

Over the past decade, Polina formed a creative alliance with an award-winning pianist and librettist, Konstantin Soukhovetski, with whom they have premiered many works of diverse genres, from solo piano to ballets. Currently, they are working on an opera commissioned by Opera Mississippi to commemorate the company's 75th anniversary and to be premiered in 2026. 

Polina's musical language embodies the diversity of multicultural education. She graduated from the Tchaikovsky Conservatory College in Moscow as a double major in composition/violin, studying with Konstantin Batashov and Vladimir Ivanov. Polina earned her Master' and Artist's Diploma in composition at the Yale School of Music with Christopher Theofanidis and Ezra Laderman. Currently, Polina is a Doctorate Candidate at The Graduate Center CUNY under the mentorship of Tania León. 

Many of Polina's honors and awards include the Charles Ives Scholarship from The American Academy of Arts and Letters and the Paul & Daisy Soros Fellowship for New Americans.

Polina is an Adjunct Lecturer of Composition at Brooklyn College Conservatory and a Teaching Artist at the Educational Center for the Arts in New Haven.
Polina’s collaborators include internationally renowned choreographers Pascal Rioult, Jonah Bokaer, and Ulyana Bochernikova. Polina works closely with the world’s leading conductors, such as Osmo Vänskä, Teodor Currentzis, Fabio Mastrangelo, Sarah Hicks, Toshiyuki Shimada, Lawrence Loh, and Hannu Lintu. Polina’s compositions are actively performed by internationally acclaimed soloists such as trombonist R. Douglas Wright, violinist Elena Korzhenevich, and pianist Olga Kirpicheva. 

With her larger chamber music works, Polina frequently turns to the tragedy of humanity’s collective history, in particular the Holocaust. Her work “Haim”, is performed annually around the world and has become an important ensemble composition of the second decade of the 21st century.
‍
Starting Fall 2021 Polina is named the Philharmonic Orchestra Conductor of the GCTYO. Prior to her current position, she has led The British Youth Music Theatre, RIOULT Dance NY, The University of Southern Mississippi Orchestra, and The Russian Youth Symphony Orchestra.

Over the past decade, Polina formed a creative alliance with an award-winning pianist and librettist Konstantin Soukhovetski, with whom they have premiered many works of diverse genres, from solo piano to ballets. Currently, they are working on an opera, commissioned by Opera Mississippi to commemorate the company’s 75th anniversary and to be premiered in 2023. 

Polina’s unique musical language embodies the diversity of multi-cultural education. She graduated from the Tchaikovsky Conservatory College in Moscow as a composition/violin double major, studying with Konstantin Batashov and Vladimir Ivanov, respectively. Polina earned her Masters' and Artist Diploma in composition at the Yale School of Music with Christopher Theofanidis and Ezra Laderman. Currently, Polina is a Doctorate Candidate at The Graduate Center CUNY under the mentorship of Tania León. Many of Polina’s honors and awards include Charles Ives Scholarship from The American Academy of Arts and Letters and the Paul & Daisy Soros Fellowship for New Americans.

Polina is an Adjunct Lecturer of Composition at Brooklyn College Conservatory and a Teaching Artist at the Educational Center for the Arts in New Haven.

Polina Nazaykinskaya

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