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Sergei Slonimsky. The Age of the Symphony in the XXI Century. “… to me it seems that the essence of the symphony is enclosed in the idea that it is a musical diary, without words, about our time and about our very dreadful era.” Composer and professor Sergei Slonimsky shares his opinion in an interview with the Saint Petersburg Center of Contemporary Music “reMusik.org.”
reMusik Journal Saint-Petersburg Contemporary Music Center Monday, February 21, 2011 • Interview: № 1-110221 - 2011. | Organization | Publication | Recourse Center | Journal | News | Sergei Slonimsky. The Age of the Symphony in the XXI Century. “… to me it seems that the essence of the symphony is enclosed in the idea that it is a musical diary, without words, about our time and about our very dreadful era.” Composer and professor Sergei Slonimsky shares his opinion in an interview with the Saint Petersburg Center of Contemporary Music “reMusik.org.” conception, certainly, remains unchanged. Every score must Stanislava Evtyushina endure different interpretations. It wouldn’t be good if a composition were performed only in one way so that every orchestra or every conductor would play it exactly like the previous. If we speak about the unattainability of the classics, every “Faust,” which strays far from “Each of his new works is a On February 22nd in the Grand conductor and every soloist Goethe’s original. In essence, this interprets a composition in his own discovery, a revelation. One is Hall of the Saint-Petersburg State film is like very free, contemporary Philharmonic named after Dmitri way. They interpret music from an amazed with the skills of an variations. It might be more exact to Shostakovich, a performance of artistic standpoint. It is really say metamorphosis of the original artist who is so diverse in Slonimsky’s Symphony No. 21 interesting that the performer and Goethe text. I knew that an intonation and style depending “From Goethe’s Faust” will be not the author bring variety to the excellent composer and producer ent on a theme, epoch or chosen presented. The premiere of the music. I don’t like when a with whom Sokurov has worked character and at the same time symphony took place in the composition is only performed with in the past would write the remaining true to himself. He is Mariinsky Theater on January 17, once. In principle, a work needs to music for the film. Knowing that, I endure and assume these different always recognizable by special 2010 during the festival “New simply wrote for myself a whole set Horizons” under the baton of interpretations, especially if it is touches and by melodic, of motives and before all of that Valery Gergiev. being performed by a great “Margarita’s Piece.” I didn’t write harmonic and rhythmic conductor like Gergiev or Nikolai out this piece completely at first but constructions. One cannot but Sergei Mikhailovich, do new Alekseev, who will be performing wrote the first few strophes in the hear Slonimsky in a ideas ever come to you while you my symphony February 22nd in the vocal part. I also wrote the theme combination of an A major are listening the performance of a Philharmonic Hall.” for Faust, a kind of serial, twelve- - sixth chord with it’s sung particular work played by tone theme, and themes connected minor triad; with an octave different orchestras? If these new Symphony No. 22. Sergei with Mephistopheles and Walpurgis ideas come to you, do you include Mihailovich, we know that the Night. I had a satisfying amount of “split” into a tri-tone, minor them in that particular work later idea for this symphony came musical sketches for the whole second and perfect fourth (f2 – or do you use them as an impulse about after getting to know the scenario and I wanted to develop enario b1 – h1 – f2). Do you not for new compositions? scenario of the film “Faust” by them into a symphony “Faust” instantaneously recognize his director Aleksandr Sokurov. Tell which would not be similar to the whimsically syncopated “I would say that more often than us please a little bit about the “Faust Symphony” of Liszt, which hich rhythms becoming now not, simply a few unimportant slips symphony. naturally, is my favorite.” of the pen become apparent in the awkward, now exquisite and orchestral parts and in the full score Sergei Slonimsky explains about his graceful, now derisive and and by the next performance, they “I’ve been friends with Aleksandr 21st symphony; the first movement lively, now harsh and even are already gone. Referring to the Sokurov for a long time. He is “Faust.” The “Faust theme is a threatening?” original text, if the work is written wonderfully presented my opera (T.S. Bershadskaya) confidently enough and not in haste, series of his thoughts, his “Antigona” in the St. Petersburg then as a rule, the score remains philosophical reflex, his searches Kappela Hall. Unfortunately, this practically without any changes. was a one-act performance but very for the meaning of life, youth, Sometimes in a work there are some well done in direction and musical fledged happiness, for a full-fledged earthly nuances, a few touch-ups, some accompaniment. Aleksandr Sokurov existence and the unattainability of www.remusik.org/sergeislonimsky details or spots that need to be showed me the scenario for his film this dream because you can only cleared up, but in general the |1 © Санкт-Петербургский центр современной академической музыки www.remusik. or g reMusik Journal Saint-Petersburg Contemporary Music Center Monday, February 21, 2011 • Interview: № 1-110221 - 2011. | Organization | Publication | Recourse Center | Journal | News | live one life. These searches for a something of Faust’s second side today. From a different side comes omes interest. The first movement of the blissful moment, even only one, are also appear especially in the finale the opposite. Conservative and not work is a complex, rhythmical and fraught with a price, which states of the symphony where the very well educated critics, of the timbre work on one note “C.” From techniques of sound extraction from that once this moment is reached, classical from, consider that the one side, it is a parody on mini- the instruments, the musical theme life will end. Faust then falls under of flight, some sort of furious, symphony must be composed of music, maybe not a parody, a satire the power of Mephistopheles. That devilish galloping and some pulse- four movements and that in general on mini-music. Nowadays the is the overall idea for the non- raising, infernal rhythms become it must by long and boring. This fashion in music is to flaunt the fact traditional, programmatic contents very important. That is my three- contradiction is met all the time in that the work is based on one note, for the first movement of the part, program symphony, which one r our press. For me, from one side, three notes, one chord and so on. So symphony which presents to the might even say follows a romantic this bothers me because critics fall here’s the limit – one note. From a plan and was calculated for the listener quite complicated upon my symphonies from two different side, it turns out that on largest halls. The symphony is philosophical ideas and writing highly contrasting in its musical sides from the other angle, it means this one note it is possible to using serial techniques. The second language. The first movement is that it is worth it to write. Surely satisfactorily, with different movement contrasts the first. This very complicated, the second is very when critics are not satisfied, the variations in rhythm and in is now the “Song of Margarita” simple and the third movement public is very interested and the instrumental relationships, write which she sings at the spinning- combines simplicity and ight performers and conductor fight for even a complex variation, an wheel the day before being thrown complexion.” the work meaning that business invention and almost, even a sonata into prison. When she yearns for form. In the second movement there Faust, she is prepared for anything “. . . in a symphony, everything must develop over is an aria for contrabass, not a even the sacrifice of her own life in romance, but like one stupid critic order to be with him. Margarita is a a long span. Surely, the fundamental quality of a wrote, excuse me, in the journal woman that suffers, a woman who symphony is that it is not a small form and a “Musical Academy,” a symphonic calls out for sympathy but she also returning musical thought develops over a long aria with linear development with a represents the symbol of the eternal very vocal, long melody. In general, feminine in Goethe a symbol that span, not speaking of quantity of time but of in a symphony, everything must elevates the human spirit and takes unbroken and original development.” develop over a long span. Surely, it eternity or nirvana. the fundamental quality of a symphony is that it is not a small Sergei Slonimsky, during the Sergei Mikhailovich, in the goes on as usual. The business at form and a returning musical explanation of the third movement interview with Asia hand is that the symphony is the thought develops over a long span, “Walpurgis Night”, tells how the Sollertinskaya (Klassica, FM, freest from today, which can be not speaking of quantity of time but two works “Faust” by Goethe and Jan. 27th 2010), you expressed the expressed, practically, by any of unbroken and original “The Master and Margarita” by opinion that “The symphony is structural principal. It might be a development. The third movement Mikhail Bulgakov have something the most free form, which is an form with large movements, which is a triple fugue on three completely in common. expression of the inner and outer comment on each other and which contrasting chromatic themes. At being of the whole human race. It merged by a discontinuous single the end and in the coda, the “In the third movement a is definitely not a formal plan.” development. It can be a very invention on a single note “C” devilish image of Faust is revealed, laconic from for after the symphony returns already in the look of a We are very interested to know, and this image is not just the of Wagner it’s not possible to festive conclusion. All of the string roaming fires and infernal events of what is the difference between the writing of a symphony today from require a certain length from a players stand up and at the end the “Walpurgis Night.” This image in Goethe’s Faust, without question, the traditional form? sonata or a symphony. The length audience see a sort of instrumental influenced the great white hall of might be calculated not only by theater. It might be such. In reality Satan in the novel “Master and “Yes, It seems to me that minutes but also by seconds. it is a satirical-grotesque symphony. Margarita” by Bulgakov. At the end listeners, conductors and Finally, it might be a cyclic form, Incidentally, this genre can be found of the finale of the symphony, which Beethoven changed during in Shostakovich’s ninth symphony, performers, concerning this appears the theme of Faust in full, the writing of his sonatas. In that but there it is expressed differently, climactic account for in essence the question, are simply a few generations ahead of the music scale form there is no large-scale first and in some other symphonies, or central hero (hoping, searching and committing crimes) is willfully and critics, which are all the time movement or sonata form and also their separate movements, as a trick. unwillingly, working under the making it difficult for us to work not always variations. There can be The symphony can be especially power of the devil and at the same freely in the area of the symphony. any kind of succession of form. tragic as in say, my tenth symphony time reaching for the light and the From one side, some critics confirm For example, the public and “Circles of Hell” alla Dante, where ideal human existence. The finale especially the young listeners nine movement or nine cycles and that the symphony is an outdated can be call more or less tragic received my twentieth symphony, two series unfold like a snake. In because in this symphony there are form. Surely, they are looking at the symphony as necessarily a four-part which was performed in St. the last two movements, the music no pretenses to expound the complete conception of Faust and sonata Allegro, andante, scherzo, Petersburg and then in Moscow at a unfolds horizontally, in the last more precisely the two sides of his and finale cycle. By no means is conference of composers, I can cycle, vertically always aligning in character. At the same time, this the only type of symphony allow myself to say, with great chords. They fill almost all of the |2 © Санкт-Петербургский центр современной академической музыки www.remusik. or g reMusik Journal Saint-Petersburg Contemporary Music Center Monday, February 21, 2011 • Interview: № 1-110221 - 2011. | Organization | Publication | Recourse Center | Journal | News | space as if already evil occupies writing, then they don’t have to be Myaskovsky, one of my favorite Myaskovsky, Rachmaninoff, and these paths. In these paths, torment reduced to stylized neoclassical and respected composers. late Tchaikovsky. The form of the is clenched in the space of sound. forms of inventions and fugues in Myaskovsky, in his creative work, symphony wrote itself very At the end, in general, the light goes their original forms. Because of was focused on the late romantics. naturally, without any stylizations, out in the hall and the symphony that, it seems to me that the essence This symphony was not long ago because, I think, primarily about the end in complete darkness. The of the symphony concludes in that it performed in the Hall of l essence of Tchaikovsky and about symphony is dedicated the living is a kind of diary of humanity Tchaikovsky, in Moscow under the the emotions of this music. and dying in Russia, that is, to all of without words about our time and direction of Yuri Simonova with the Although, if an educated us, to all people who go through the about our very dreadful era. Such Moscow Philharmonic. musicologist carefully looks at the circle of hell during life and because eras of the division of people into Myaskovsky was a teacher of many score, he will see much that is of that, maybe we could be freed separate atoms when literally taken composers. His musical individual in the melodies, in the from this hell in that light. We’ve to the limit, are a struggle of grandchildren were Schnittke, use of modes, in the harmonies, all experienced how badly people everybody against the individual, Denisov, Gubaidulina and many which might sound borrowed but live. In general, it is necessary to the individual against everybody others. I, myself, studied under are in reality not traditional, that say that for me the main theme in and everybody against everybody. o Shabalina who was a student of appears in some fundamental the symphony is the very bad, If anything I am probably more of a Myaskovsky. Without looking at form . . . . difficult and unsettled life of the romantic in music than a neoclassic. the success of his work, his fate was In general, I really respect everyday, decent, honest man. It Regarding form, they can be really a tragic one. In 1948, when he was serious musicologists and many of concerns his incompatibility with varied. They can be polyphonic, already around seventy years old, he them write about my music, but I life, his loneliness, and unrelenting homophonic sonorous, melodic or was rudely and indiscriminately can’t stand snobby music critics. deemed to be an anti-Soviet Soviet Because of that I have a very “. . . .critics fall upon my symphonies composer. Three years after that he strange fate that all of my works was already dead. In the symphony weather it be an opera, symphony, from two sides from the other angle, it seven, number twenty-seven, looking away romance or quartet seem to receive means that it is worth it to write. Surely from the fact that the music is contemptuous statements and when critics are not satisfied, the public is lyrical and vocal, there is no reviews about deficiencies. What very interested and the performers and stylization after Myaskovsky or use then, when after a few years, ten, conductor fight for the work meaning of his themes. The symphony was twenty, thirty, they will write that business goes on as usual.” performed on a concert, where on dissertations and defenses about my the second half was the 3rd piano music. There are about two concerto of Rachmaninoff examples of positive reviews and a struggle with all sorts of monophonic. In my works there is (performed by Boris Berizovsky, million examples of bad P.R.. temptations, aggression, and also a monophonic symphony not to be confused with the Perhaps it is already beginning to rudeness. It also refers to the eternal number six. The symphony is oligarch) and on the first half with suit me. Because of that, from the contradiction of everyday, idealistic composed in one voice and almost the Overture to the Opera Evrianta latest symphonies, I dedicated problems and life’s tyranny and you everything is in the hypo-phrygian by Weber. The public clamored for number twenty-eighth (I have a can say pressure from the powers mode and in different, tickets to this concert with such a kind of detailed dedication which I that be. That is the theme; how nontraditional modes. There the varied program and completely intend to print in the score.) to my varyingly it is embodied in life, and four-tone form of the eighth filled the hall. Everybody came to musical enemies, which constantly how varied people are in life, and symphony, which might be called a hear the young pianist play are helping the anti-muse, the how varied are the expressive symphony motet or a one-part Rachmaninoff but they author of boredom, laziness and techniques and forms in music. symphony. It’s an instrumental enthusiastically received the 27th angry reaction. I then turn all of this Because of that, music must not be concerto for strings with trombone symphony because it is very vocal. into creative energy. The more an unpretentious miniature of a and bells. In it the four-tone With surprise, all the people present prohibitions and abuse, the larger short breath. It must be a canvas of melodic turns play a large role like heard that in a contemporary the symphony will be, the more a large breath in space with in the tenth symphony or, for elody, symphony there can be melody, that interested the public. I think hat development of musical ideas. Any example, in the thirteenth. The there can be long, melodic kind of dedication has not yet been musical idea, including melody, but thirteenth symphony is called “Four development and that it is also incorporated into compositional if they are melody then they must Stasima from an Ancient Tragedy,” important. This work is written in practice. The goal of these people is be in a modal relationship, which is but the tragedy is not noted. Its parts moderato, the form: sonata-moderato, scherzo, quite simple. They want scare the original and not an unoriginal are Stasimas, that is, choral speech decapo, even scherzo-decapo, instrumental theater into not presenting the following must not be taken from and expressive commentary in an aria, adagio, and finale. The tragic opera. They want to insult and scare the arsenal of romanticism or instrumental form. sonata finale is in a rondo-sonata form with the conductor so that he won’t Prokofiev. If they are harmonies, The twenty-seventh symphony gic a tragic coda. In the given example perform the symphony of the given then they must be individual is from the later symphonies and is is a wonder plan for a program; author. It means that I really bother outlines. Figuratively speaking of dedicated to the memory of the dedication and orientation to the somebody. There are conductors harmonies, if there is polyphonic noble Nikolai Yakovlevich type of symphony of the time of that are not scared. In this group |3 © Санкт-Петербургский центр современной академической музыки www.remusik. or g reMusik Journal Saint-Petersburg Contemporary Music Center Monday, February 21, 2011 • Interview: № 1-110221 - 2011. | Organization | Publication | Recourse Center | Journal | News | belongs Yuri Simonov, whom I shows a reaction to the serialism consider a great conductor. I “It is necessary to strive for an ancient breath, and ultra-chromaticism of followed his work with great which can be found in ancient Greece and in Schoenberg. Glass on the other admiration. He led six rehearsals of hand shows a reaction to the post- ancient, eastern music. That is the only way a mixed program and gave out dodecaphony composers for music, ninety percent of which was achieve a new quality in the 21st century. It’s the example Boulez, Stockhausen, unknown, which could have been new Renaissance.” Ligeti and my favorite Luigi Nono played out somehow, having who was a wonderful composer. recalled that which was written. He This is reaction to the side of drew out all of his exclusive, Prigozhin who, in my opinion, is on Boulez who to this day lives and conscious primitivism and closeness conductor’s shades and nuances. the same level with Denisov, works. There is the work of to mass culture. We also have those That is what can make the Schnittke and Gubaidulina. Simply Messiaen with his completely types of composers. I don’t have difference in every performance; St. Petersburg musicologist (I mean original modes, arithmetic contact with them, although one or individuality, exclusive shades and here, more language, original rhythms another of them has their market nuances and, of course, agreement often than not, historians of Russian connected to the east and with and agents for advertising and sales. with the author. These were really music), poorly work and poorly Indian music. There are very many This we all know well but that type joyous days for me. spread propaganda of their own different schools and trends. of music does not develop the achievements so that even Finally, there is a line, in the human essence does not answer the Balakirev, Glazunov and Lyadov opinion of Slonimsky, of which task of art and that means it does What are the differences that are not studied to the degree in little is known in our music. This is not give the possibility to educate you see between the St. which Tchaikovsky, Rachmaninoff, the line of Slavic folklore for the soul of a human. That is why we Petersburg school of composition Metner and evern Myaskovsky are example Boguslav Martin and Karol are speaking about a large, varied and the western school, in studied. With contemporary Szymanowski. school like the Russian, not only St. particular, the differences from composers, the same thing happens. Petersburg, and western. Between the period of the second half of If a person from Moscow justifiably “I really love the pieces of the European and American schools the 20th century until the present? nurtures, remembers and cherishes Martin, his cantata “Bouquet of there are a few differences. The not only Gubaidulina, Schnittke and Flowers” and Szymanovsky’s “12 Americans, it is true, have mini- “This is a very logical question. Denisov (Gubaidulina is actually Large Songs,” the oratorio “Sabat compositions, which invaded It is simply for me personal like for living, a great friend and a Mater” and others. But surely this is Germany. I think that in all of these a practical musician, the wonderful composer), but also quoted on the market of avande trends it is possible to find many understanding of a school changes Sildelnikov and Karetnikov who is , garde work, in festivals. This music rational and useful elements. For with the understanding of older, then here it is forgotten. This is absolutely intelligible for the example you can find the widening individuality. Because of that, I is very bad because here there is the widest group of listeners and at the of the study of instruments. I don’t undertake to formulate what is school of Sherbachev, which carries same time not reduced to the consider that in many trends the in the parts of the St. Petersburg a freer character from the side of primitive of Orfa or Phillip Glass. sphere of instrument study, simply school of composition, if because, composition of a cycle and of All of this is very interesting to me, many sound-extractions in every for one reason, the Shostakovich musical language, which is not the melodies, harmonies, clarity, the instrument became the same very school is the official, recognized reduced to only one mode, to the lity natural originality and at the same landmark or defining moment like it school. I think in the forties, when open genius of Shostakovich or to primitive time the non-primitive quality, the became during the time of Debussy, this school conversely pursued, that only one form of the deployment of sense of folklore which comes form Scriabin, and Ravel. In the it was new for that time. After fifty themes.” any country including Russia. I beginning of the 20th century was or sixty years these ideas became consider that Russian national the sphere of harmony or the sphere something elemental of Sergei Mikhailovich speaks melody is not reduced to the school of chords. That which the conservatism and many composers regarding western music, about that of Sviridov because he wrote that impressionists opened up has not simply imitate the genius of he can’t say that there exists only the diatonic is seven sounds, been written off. Everything is Shostakovich. That’s one thing. one school. He goes through onality tonality must be chiefly in the minor accounted for; everything went in From a different side, there is, we examples of the different school modes and chiefly in the natural the general baggage. They created will say the school of Shervachova like the sonorous with its mode. Thank God that this is his wonderful works. Luigi Nono, a very great St. Petersburg paradoxical, philosophical core. He individual opinion. It could be Ligeti with his “Requiem,” Boulez, composer who was unjustly talks about his admiration for Cage different like with indirect some composers of sonorous forgotten. He gave meaning to in America and the Minimalists, chromaticism, with a strong composition: Edgard Varese, individual freedom of every which also study different African closeness to old village songs with Crumb and Cage created wonderful individual symphonic composer and rhythms, the Gamalan and others. In its very complex, branched rhythm. works in the same way. They are all every individual symphony. From line with this school, there are In this trend, I really like the cantata greatly varied. For me, the most his students you can find the others like the Complex-City with “Bouquet of Flowers” by Martin. important thing is individuality. All wonderful composer-inovator, who Norman Hall, Bervist, and others. Orff is not so close to me because of the composers I have listed have is recently deceased, Lucian There is the post-serial school of work is really reactionary. He individuality and are not just |4 © Санкт-Петербургский центр современной академической музыки www.remusik. or g reMusik Journal Saint-Petersburg Contemporary Music Center Monday, February 21, 2011 • Interview: № 1-110221 - 2011. | Organization | Publication | Recourse Center | Journal | News | presenters of a certain school. This white, black and white, and black can also be said about Messiaen and notes, like long values, half length Sergei Mikhailovich Slonimsky (Russian: Сергей about Lutoslavsky who I really like. values, short values, fast values, but Михайлович Слонимский) is a Russian and Soviet Lutoslavsky is one of the great not twice as short as the long. To composer, pianist and musicologist. composers who found in the rough physicist this type of thing is clear. He was born in 1932 in Leningrad, studied composition stream of contemporary schools and In a kindergarten it’s a bit early to under Shebalin, Evlakhov, polyphony – under Nicolai Uspensky, currents his own mode, his own talk about the “Theory of the author of the reading book “Samples of Ancient Russian Vocal frigate, which went confidently with Relativity” and quantum mechanics. Art”, piano – under Artobolevskaya, Savshinsky, Nilsen. an individual style having mighty Exactly because of this, I consider influence on many. Of course, that any sort of dogma of method in Sergei Slonimsky is a professor at the St. Petersburg state conservatory named after Rimsky-Korsakov and Samara conversations about the end of our time, even in the teaching of Pedagogical University, Winner of the Glinca state Prize and of the compositional creativity and the end composition is extremely St. Petersburg Government Prize, Academician of the Russian of a genre is just craftiness. I don’t dangerous. You need to individually Academy of Education, the People’s Artist of Russia. know why people, who continue to find your way in creativity and in compose, what to deny other the pedagogical work. Everything The composer’s father was a Russian writer and an active same right. I am against any sort of depends on the plan of composition member of the literary circle “The Serapion Brothers” – Mikhail denial. The point of a school is to and the individuality of the Slonimsky (1897-1972); his uncle Nicolai Slonimsky (1894-1995) was a famous American musical expert, the author of fundamental stop banning melody, to stop student.” musical encyclopedias; his father’s cousin Anthony Slonimsky banning harmony, to stop banning (1895-1976) was a famous Polish poet and political dissident. polyphony, to stop banning Thank you, Sergei Mikhailovich Sergey Slonimsky is the author of such operas as “Virinea” (1967), sonorousness, to stop banning for the interview. “The master and Margarita” (1972), “Mary Stuart” (1980), traditional forms (from periods to “Hamlet” (1990), “Tsar Ixion” (1993), “Ioann the Terrible’s sonata form), to stop banning free Thank you. vision” (1995); of ten symphonies (The Tenth – “Circles of Hell” forms (nontraditional – the limits of after Dante – recorded on CD in Russia), the ballet “Icarus”. wideness), to stop banning “Virinea” was staged in Moscow, St. Petersburg, Samara, symphonic works, to stop banning Perm; his opera “The Master and Margarita (chronologically the vocal and so on and so on. It is first adaptation for stage of Bulgakov’s novel) had been prohibited necessary to strive for an ancient for stage during seventeen years after the performance of the first breath, which can be found in act in the Leningrad House of Composers conducted by Gennady ancient Greece and in ancient, Rozhdestvensky. “Mary Stuart” was staged in Samara, St. Petersburg, Leipzig, Olomouts, Alma-Ata. Dramma per musica eastern music. That is the only way “Hamlet” is on in Samara and Krasnoyarsk. The ballet “Icarus” achieve a new quality in the 21st was shown in Bolshoi Theatre, on the stage of the Kremlin Palace century. It’s the new Renaissance. I of Congress (choreographer and performer – Vladimir Vassiliev), see that and because of that musical in the Mariimsky Theatre of St. Petersburg (choreographer Igor speech, which is in many depends Belsky) and in Brno (choreographer Daniel Visner). on the idea and to whom it is written. If you are applying yourself Sergei Slonimsky the author of more than a hundred Concerto-Buffo (performed several compositions, among them – Concerto to a kindergarten audience then it’s times in the USA and England conducted by Yuri Temirkanov), not worth it to write a piece of Organ, Violin, Oboe, Balalaika, Electric Guitar Concerts, recently sonorous music in the spirit of my finished Piano Concert (“Jewish Rhapsody”), Cello Concert, 24 quartet “Antiphony.” If you’re preludes and fuges, which are played in Russia and abroad and are writing for an audience of scientist in the pedagogical and concert repertoire of pianists. who can perceive higher mathematics and atomic physics Theatre and symphony opuses of the composer were perfomed by such famous conductors as Temirkanov, Gergiev, then you don’t need to give them Kondrashin, Yansons, Grikurov, Rozhdestvensky, Chernushenko, some children’s pieces. You need to Sinaisky, Simonov, Ermler, Chistyakov, Talmi, Krents, Class, show them an “Antiphony,” with its Sondetskis, Dalgat, Nesterov, Provatorov, Kovalenko, Shcherbakov quantum rhythms because that type and many others. of work is closer to physics. The closeness to physics refers to the rhythmic units not being measurable (one of my little discoveries or maybe not.) I wouldn’t say that they More about Sergei Slonimsky: are uncontrollable but they are /sergeislonimsky www.remusik.org/sergeislonimsky controlled within improvisational deviations of the finest performers. They are written correspondingly by |5 © Санкт-Петербургский центр современной академической музыки www.remusik. or g
"Interview with Sergei Slonimsky - reMusik.org 2011"