2024 |
Ode an den Hass (Ode to Hate)
Monologue for baritone and ensemble about the Ring of Power on text from Wagner's 'Gotterdammerung' Baritono, Fl (A.Fl, B.Fl.) Bass Clarinet, Bar.Sax, Tromb, 2 Perc., Pno, Harp, Vla, Vc, Cb. premiere: 15.07.2024. Prinzregententheater, Munich Milan Siljanov, bariton, Ensemble of the Academy of the Bavarian Opera Orchestra. Vladimir Jurowski, conductor Munich, Germany PRESS |
14' | ||||||
Night is Darkest before Dawn (Im Dunkel vor der Dammerung) for Bass Clarinet, Viola, Contrabass and orchestra 3.2.3.2.-4.2.3.1.-4 perc., Pn, Hf.-3 soloists: Bass Clarinet, Viola, Contrabass– Strings. premiere: 5.05.2024 Elbphilharmonie, Hamburg Boglarka Pecze, bass clarinet, Nils Monkemeyer, viola, Edicson Ruiz, Contrabass, Hamburg Philharmonic State Orchestra. Kent Nagano, conductor Germany PRESS |
38' | |||||||
2023 |
Das alte Jahr vergangen ist:2022
Variations on the Choral von Bach Version I: for large ensemble of baroque and modern instruments: fl., travers.fl, baroque oboe/modern ob., Cl, Bass cl, Bs.– Hr, Tr, Tn, – 2 Perc, Pn, Hp, –1 modern vn, 2 baroque vn, 1 Alto vla da gamba, 1 Bass vla da gamba, 1 Violone (or Cb); Version II: for ensemble 1.1.1.1 B.cl.,1– Hr, Tr, Tn –2 Perc, Pn, Hp - 1.1.1.1.1 premiere: 21 March 2024 ORA_Bach! Bach alive festival Mozarteum chamber orchestra, Simone Fontanelli, conductor Mozarteum, Great Hall Salzburg, Austria КОММЕНТАРИЙ (рус.) COMMENTS Das alte Jahr vergangen ist:2022 (Старый год ушел: 2022). Das alte Jahr vergangen ist:2022 (The Old Year Has Passed:2022) |
9' | ||||||
Danse macabre
for orchestra 3.3.3.3.- 4.3.3.1.- 4 perc., pn, hp - 16.14.12.10.8. premiere: 17, 18 November 2023 San Diego Symphony, Rafael Payare conductor, California festival, The Rady Shell at Jacobs Park, San Diego, USA COMMENTS Комментарий (рус.) PRESS Danse macabre Danse macabre |
15' | |||||||
Out of Step. Out of Time. March to Stay Still
for piano's keys and strings Premiere: 3 Sept 2023 Ellen Ugelvik The Norwegian Academy of Music 50th anniversary celebration. Oslo, Norway COMMENTS Комментарий (рус.) Out of Step. Out of Time. March to Stay Still Out of Step. Out of Time. March to Stay Still |
12' | |||||||
2022 |
Spanish Serenade
for mezzo-soprano, flute, violin, violoncello, (percussion ad lib.) and piano оn the poem by Goethe "Philine" Premiere: 22 July 2023 Natalia Skrycka (mezzo-soprano) "At the break of times" multiart project Kuhlhaus Berlin |
10' | ||||||
Antique Music Box from Kartvelia
for flute and piano premiere: 14.04.1923 Manuel Zurria, flute; Oscar Pizzo, piano Teatro Sperimentale Ancona, Italy |
13' | |||||||
2021 |
Last Sunset
for saxophone soprano, NASAs recording of the sound of Earth and electronics. premiere: 13.10.2021. Yui Sakagoshi, saxophone soprano Jean Geoffroy; Christophe Lebreton, Light Wall System Rahmaninov Hall of the Tchaikovsky conservatory, Moscow COMMENTS (English) Комментарий (Russian) Последний закат Владимир Тарнопольский Last Sunset Vladimir Tarnopolski |
13' | ||||||
2020– 2021 |
Small Chants Notebook
for solo wind instruments: Es ist genug, chant for bassoon solo Veni creator spiritus, organum for trombone solo Judea at Jerusalem for a saxophonist played two instruments simultaneously |
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2020 |
One Hundred Days of Solitude for viola; version for violin premiere online — 29.06.2020 Stanislav Malyshev, viola Moscow Conservatory Online festival Streaming concert of the soloists of the Studio for New Music ensemble Grand Hall of the Tchaikovsky Conservatory, Moscow |
10' | ||||||
Over Drive for ensemble 1.1.1.1.1. – 1.1.1.0. – 2perc., 2pn. – 1.1.1.1.1 or: 1.1.2.1 – 1.1.1.0. – 2perc., 1pn – 1.1.1.1.1 Recording on CD of the first part of the piece — June 2020 Online premiere of the first part of the piece — 9.12.2020 Ensemble Modern. Ingo Metzmacher, cond. Concert for the 40th anniversary of Ensemble Modern Grand Hall of the Alte Oper Frankfurt, Germany premiere of the whole piece — 12.05.1923 Ensemble Modern Bas Wiegers, conductor Mozartsaal, Alte Oper Frankfurt, Germany |
8' | |||||||
2018 |
Study of Breath for cello solo Premiere: 23.05.2018 Jens Peter Maintz, cello Institute for Advanced Study Berlin, Germany COMMENTS КОММЕНТАРИЙ (рус.)
Study of Breath Владимир Тарнопольский
Study of Breath Vladimir Tarnopolski |
13' | ||||||
2017 |
Be@thoven – Invocation (after Piano Concerto No.4 by Beethoven) for orchestra Premiere: 10.09.2017, Orchestra Radio Hessen (Frankfurt) conductor Andres Orozco-Estrada BeethovenFest 2017 Concert Hall of the World Conference Center Bonn, Germany Orch: 3.2.3.3. – 4.2.3.1 – 5perc. 2pn. 1hp. – 16.14.12.10.8 KOMMENTAR (Deutsch) Комментарий КОММЕНТАРИЙ – Видео PRESS REVIEWS & INTERVIEW Be@thoven – Invocation Владимир Тарнопольский Be@thoven – Invocation Vladimir Tarnopolski |
17' | ||||||
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Perpetuum Moebius for flute, bass clarinet, violin, cello and piano FP: 09.03, 2017, Pierre Boulez ensemble conductor Daniel Cohen Pierre Boulez Hall's opening weeks Berlin, Germany COMMENTS (English) Kommentar (Deutsch) Perpetuum Moebius Vladimir Tarnopolski Perpetuum Moebius (2017)
Vladimir Tarnopolski |
8' | |||||||
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Blue Shift for orchestra FP: 12.01.2017, Munich Philharmonic Orchestra Valery Gergiev, conductor Gasteig Kulturzentrum Munich, Germany Orch: 5.4.6.4.- 6.3.3.1.- 6 perc., pn, hp, 16. 14. 12. 10. 8 |
20' | |||||||
2016 |
Scattered Words for soprano and piano on a poem by Boris Pasternak (translations: English, Deutsch) FP: 9 July 2016, Kissinger LiederWerkstatt, Rossini-Saal, Bad Kissingen, Germany Caroline Melzer, soprano; Axel Bauni, piano PRESS
Борис Пастернак Мой друг, ты спросишь, кто велит,
Boris Pasternak My friend, you will ask, who ordains
Boris Pasternak Du fragst, Freund, wer befiehlt,
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11' | ||||||
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2015 |
Fanfare for a Festival for trumpet and horn FP: 13 October 2016, Moscow Forum festival Moscow Tchaikovsky Conservatory, Rakhmaninov Hall soloists of the Studio for New Music ensemble |
1' | ||||||
Study of a girl reading Pavese for soprano and ensemble FP: 7 October 2015, La Biennale di Venezia, Ca' Giustinian – Sala delle Colonne Studio for New Music ensemble, Ekaterina Kichigina (soprano), Igor Dronov (conductor) Text: Cesare Pavese Orch: 1.0.1.0 – perc (2) – sopr – pno - 1.1.1.0 Mattino, the poem by Cesare Pavese
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13' | |||||||
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Tabula Russia for orchestra FP: 11 September 2015, The Rotterdam Philharmonic Gergiev Festival, The Netherlands Rotterdam Philharmonic Orchestra conductor — Valery Gergiev Orch: 3.3.3.3. – 3.3.3.1 – 6 perc., pno, harp – 16. 14.12. 10. 8 COMMENTS PRESS REVIEWS (Dutch & German) CD: CD–portrait CD: Orchester der Russisch-Deutschen MusikAkademie Tabula Russia (2015) Vladimir Tarnopolski |
12' | |||||||
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2013 |
Redshift for large orchestra and electronic FP: 01.December 2013, Auditorium Rainier III, Monte-Carlo, Monaco Orchestre Philharmonique De Monte-Carlo Dima Slobodenioukб conductor Alexis Baskind, realisateur informatique musicale Auditorium Rainier III, Monaco Orch: 2Picc (2.=fl.)3.Fl (3.=picc.), 4., 4., 2Bcl.(2=Cb.cl), 4.(4.=C-bsn) - 6.3.3.1. - 6Perc. - 2 MIDI keyboards, Harp - 16. 14. 12. 10. 8 COMMENTS (English) COMMENTAIRE (Français) Redschift (2013) Vladimir Tarnopolski Redschift (2013) Ces galaxies et nébuleuses stellaires montrent des spectres de couleur d’une beauté fantastique et d’une étonnante variété de formes : ellipses, spirales ainsi que d’innombrables structures irrégulières. Apparemment immobiles pour l'observateur profane, en réalité, suivant la loi du décalage vers le rouge (red shift) découverte par l'astronome Edwin Hubble, ces formations gigantesques s'éloignent les unes des autres à une incroyable vitesse en constante augmentation. De ceci résulte l'apparente calme grandeur de l'univers, qui en réalité recèle une énergie monstrueuse en mouvement constant, énergie à la fois créatrice et destructrice. Ma composition est l'expression d'une métaphore sonore spécifique à l'idée de Hubble. Émergeant d'une masse amorphe de la "nébuleuse sonore", les structures fractales de hauteurs se cristallisent progressivement. D'une manière similaire et progressive, la "gravitation syntaxique" crée de larges périodes reposant sur des décalages de phase. Le jeu dramatique entre matière et énergie, le passage de l'un à l'autre, conduit à une expansion constante et croissante de l'espace sonore. Le principe du décalage vers le rouge — l'indicateur visuel de l'expansion grandiose de l'univers — est imprimé dans la texture musicale, non seulement métaphoriquement, mais aussi structurellement. Dans la formation des paramètres de la composition sonore, l'idée de décalages de phase se traduit par des décalages de hauteurs— c'est-à-dire par la transposition d'accords fractals adjacents — et par des décalages dans le domaine des fréquences — c'est-à-dire des transformation du timbre. Vladimir Tarnopolski |
18` | ||||||
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2010 |
Last and Lost for chamber ensemble FP: 27.August 2011, Ferenz Liszt festival, Weimarhalle – Großer Saal, Weimar Klangforum Wien, Sylvain Cambreling, cond. Ens: A.fl., B.cl., Perc., Pno, Harp, Vn, Vla, Cello COMMENTS Last and Lost (2010) Vladimir Tarnopolski |
11` | ||||||
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Fur Isolde for flute solo premiere: Darmstadt summer courses 2010 Germany |
4` | |||||||
2008 |
Eastanbul for large ensemble FP: 11 October 2008, Alte Oper Frankfurt, Ensemble Modern, cond. Alejo Perez< Ens: 1.1.2.1. – 2.2.1.0. – 2Perc.- 2Pf(2 also Synth) – 1.1.1.2.1. COMMENTS (English) Kommentar (Deutsch) MP3: listen to audio recording |
20` | ||||||
2007 |
Boxing Pushkin a scene within a collective opera Scenario and choreography: Andrea Boll Music: Vladimir Tarnopolski, Olga Bochikhina, Vladimir Gorlinsky, Nikolay Khrust, Aleksey Sioumak FP: 13-19 May 2007, Arnhem, Apeldoorn, Nejmigen, Amsterdam, Hague Voices: 2Sopr, MSopr, Bar, Bas Ens: 2.0.1.0 – 2Sax – 2.2.2.1. ElGuir.BGuit- 3Perc.- Pf.Synth.Bayan – 2.1.1.1. |
≈ 70` |
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2006 |
Jenseits der Schatten (Beyond the Shadow) an opera with multimedia Scenario: Vladimir Tarnopolski after "Cave Allegory" by Plato and "Origin of Painting from a Shadow" by Pliny Texts: Dante, Leonardo, Nietzsche. The compilation and additional fragments by Ralph Günther Mohnnau Costumes and Stage design: Babis Panagiotidis Video design and Technology: Frieder Weiss FP: 20 September 2006, Beethovenfest, Kunst- und Ausstellunghalle. Opera Bonn, Palindrome Dance Company, MusikFabrik ensemble, cond. Wolfgang Lischke. Staging — Robert Wechsler. Voices: 2Sopr,MSopr, Ten, Bar, Bas. Ens 1 (right): 1.1.1.0 – 1.0.0.0.- 2Perc.- Pf(=Synth.) – 1.1.1.0. Ens 2 (left): 1.0.1.0 – Sax – 0.0.1.0.- 1Perc.- Hp – 1.1.1.1. PICTURES from the Premiere VIDEO of the full opera from the premiere in Beethoven festival. Bonn 2006: Video samples COMMENTS PRESS REVIEWS (German, Russian) Jenseits der Schatten The impulses for the creating of this scenario came from two ancient sources — the «Cave Allegory» by Plato and the story about the Origin of Painting from Shadow by Plinius the Elder. Both these stories are based on different interpretations of the phenomenon of Shadow. For Plato the shadow is a sign of the Eidos (the idée) and for Plinius the shadow is a prototype of the Painting. In my scenario I unite these two ideas and develop them in theirs interconnection in another form. Contrary to Plato in the scenario just the Art unbind the prisoner from the cave. And contrary to Plinius the shadow is something much more significant than only an optic phenomenon. The Shadow in the opera comes out of collision between Light and Dark. The composition of the opera is based on parallel development of two blocks. The first block represents the Allegories of Arts. It is visualized by 3 sopranos and the female-dancer. The second block represents the Prisoners in the cave. It is vizualized by male trio and the male dancer. Only one of the Prisoners — the Dancer — finds the way to the Light at the end of the opera. The fragments from the texts by Dante («Divine Comedy», male trio), Leonardo («The Disput of the Arts», female trio), Nietzsche («Jenseits von Gut und Bose») are used in the opera. The compilation of the texts as well as several additional fragments were set up by Ralph Günther Mohnnau. |
≈ 65` | ||||||
2004 |
Foucault's Pendulum for orchestra FP: 11 ноября 2004, Concertgebouw, Main Hall, Amsterdam, Schönberg Ensemble, дирижер – Reinbert de Leeuw Оркестр: 2.1.1.BCl.Sax.1 – 1.1.1.0 – 2Perc – Pno,Hp,Cymb,Guit – Bayan,Acc – 1.1.1.1.1 COMMENTS FOUCAULT'S PENDULUM Vladimir Tarnopolski CD: MSCCD 0224 |
25' |
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2003 |
Feux follets for orchestra FP: 8 December 2003, Cité de la Musique, Paris, Ensemble Intercontemporain, conductor Vladimir Jurowski Ens: 3.2.2.Bcl.2.– 2.2.2.1 –3Perc., Pn, Hp – Strings COMMENTS Feux follets for orchestra (2003) Vladimir Tarnopolski |
10' |
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2003 |
A True Story About Cinderella A Musical Fairy Tale for Adults Accompanied by Children. For children's choir, children's orchestra,6 narrators and professional ensemble Text: Roald Dahl's "Revolting Rhymes" adapted by Donald Sturrock FP: 28 April 2003, Barbican hall, London, Centre for Young Musicians orchestra and London Schools Symphony orchestra, conductor Peter Ash Childern's orch.: flexiband (any wind instruments; 4 parts), 5 percussions as soloists and percussion ensemble, harp, piano solo, string group Children's choir 6 Narrators Ens.: 1.1.1.BCl.1. – 1.1.1.0. – 2Perc – Hp – 1.1.1.1.1. COMMENTS (rus) PRESS REVIEWS (English. Russian) PICTURES from the Premiere ЗОЛУШКА |
60' | ||||||
2001 |
Chevengur for voice and ensemble Text: Andrey Platonov FP: 4 September 2001, Paradiso, Amsterdam, Studio for New Music, soprano Svetlana Savenko, conductor Igor Dronov Ens: 1(=BFl).0.1.BCl.0. – 0.0.1.0. – Perc – Bayan – Tape – M-Sopr – 1.0.1.1.1. Natalia Pshenichnikova, mezzo-soprano Studio for New Music, conductor Vladimir Gorlinski July 26, 2010. Darmstadt, Germany Alexandra Lubchanski, mezzo-soprano Der Gelbe Klang Ensemble, conductor Vladimir Jurowski December 17, 2023, Munich Vladimir Tarnopolski's commentary: COMMENTS and TEXT Kommentar und Text (Deutsch) Комментарий (рус.)
CHEVENGUR for soprano and ensemble (2001) PRESS |
13' |
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1999 |
Wenn die Zeit über die Ufer tritt (When Time Overflows its Margins) The Anatomy of Melancholy opera in three scenes Text: Ralph Günther Mohnnau after Anton Chekhov FP: 27 April 1999, Münchener Biennale, Staatstheater am Gärtnerplatz, cond. Ekkehard Klemm Voices: 2Sopr,MSopr, CTen, Ten, Bar, Bas. Orch: 2(I=Picc,II=Picc,=AFl).1.1.BCl.1 – ASax, BarSax – 1.1.1.1.- 3Perc.- Pf(=Synth.)Hf – Guit.EGuit.BGuit –Soli:Vn.Vl.Vc – 5.0.3.3.1. Pictures and Comments (English) Foto und Kommentar (German) Press reviews (German, Russian) Video samples (4) Audio samples (2) Wenn die Zeit uber die Ufer tritt My opera "When Time Overflows…" was written in 1999 as a commission for the the festival of contemporary music theater – Münchener Biennale. The opera is based on separate situations and motives of the well-known Chekhov pieces – "Three Sisters", "Seagull", "Uncle Vanya" and others. However, the libretto does not simply follow these pieces but creates a certain new METATEXT, like a commentary on Chekov. At the same time, the impulse for the development is not the plot, which would be typical for a so-called literary opera, but a principle of confrontation of the same party situation in the three scenes of the opera. In the first scene the action happens in a Russian province during the time of Chekhov (at the turn of the XX century); the second scene takes place in our times, in a certain cultural center at the turn of the millennium; and in the third one we find ourselves in an indefinite future, in a certain virtual space. According to the three different times (past– present – future) and three different mentalities (a Russian province – a world capital – an "above-the-planetness"), the topics of the talks change: from love (1st scene) — to art (2nd scene), and, finally— to death (3rd scene). For all the external contrasts of the entourage it turns out that the existential problems of man appear to be the same in all times, namely — the impossibility of communication and of mutual understanding, the persistence of loneliness and the absence of a sense of meaning in life. These problems can never be solved, but are redoubled during the course of the development of our civilization. This immutability is reflected in a particular aspect of the construction of the opera in which the three scenes represent three free variations with a recurring structure. At the beginning of each scene there is the same text. "Today is Sunday" – an episode of the three sisters, who nostalgically dream about something. Then two male characters appear and introduce the major theme of the scene: love, art or death. Finally, after the ostinato culminations, two more characters – a bass and a counter-tenor – switch the "lofty" talks in a slightly parodic-grotesque context. Each scene finishes with an episode of the "clock", inexorably counting time, and the title cue of the opera "When Time Overflows its Margins". With this construction, I wanted to communicate one of the central existential ideas of Chekhov – that people do not change; only objects change. Such a construction, which is based on a principle of three, connects with a special understanding of a temporal phenomenon. Time is not a vector here (there is practically no action in the opera), but a kind of annual ring, each of which is a variant of a previous one. Along with immutability, there also functions an opposite principle of progressive deconstruction in the opera, applying to the quality of sound texture. Thus, as the opera progresses, the instruments more and more often use different "non-classical," "estranging" devices of sound producing: multiphony with the winds, half-sounds with the strings and many others. In the most obvious way this deconstruction is shown in the evolution of the only leitmotiv of the opera - the motive of time. Emerging from sudden rustles, it gains a bell-like character in the first scene, and then it loses its determinacy more and more, dissolving in glissandos and turning to gnashings and clusters. No less radically, the principle of deconstruction is shown in the evolution of the vocal line: if a complicated cantilena prevails in the first scene, then in the second one Sprechstimme, singing of consonants, and the fragmentation of the text play more important role. Finally, in the third scene, the words themselves deconstruct into their separate sounds, which are distributed between the characters. A type of vocal line in some episodes is written graphically: a vibrato turns to a choking tone and other non-classical kinds of singing. All the three scenes contain many quaint details from Chekhov's epoch, all of which are present and "active", though often also by detached and unexpected means, transgressing their classical functions: the usual shot-gun, well-known from Checkhov's stories, actually shoots here and even twice, the piano turns out to be a mechanical one, the clock with chimes, the striking of which marks the division between the scenes, suddenly indicates in a loud volume the real time in the real performance. The individual descriptions of the characters, which still can be guessed in the first scene, are also under deconstruction later on: the characters gradually lose even their names (in the second scene they are marked only with the first letters of their names, and in the third one— with neutral numbers). The absence of true characters leads to the impossibility of including any solo arias in the structure of the opera; that's why the composition is the opera-ensemble. The principle of ensemble became a clue for me in my work: three sisters sing all together, they represent a certain triple-unity. In addition, number 3 is another important organizing moment of the opera. The three sisters are accompanied by the solo string trio. Three themes (love-art-death) determine the content of three scenes, which embody three times and three places. In the three culminations, Latin words sound three times when the characters scan the key words in each of the scenes. That is, the idea of Latin I drew from fleeting details form Chekov's Masha (Three Sisters) who in anger at her husband conjugated the Latin verb 'to love' — amo. From this seed I tried to grow a tree determining the sense and construction of the entire opera. This example illustrates well my approach to Chekov's text. I am absolutely not attempting to approach the so-called "genuine", but in any case I don't think that this is possible in opera. On the contrary, I completely refuse the naive idea of setting to music the text of Chekov. I am convinced that the modalities and languages of art are non-translatable from one to another, and even the simplest dramatization of any play on the theatrical stage forces the director to qualitatively rethink and restructure all of the material. When we speak about an opera, howerer the composer is simply obliged to find a completely new code, a new construction and a new style to the material. In this way, the most important problem for me appeared to be the fusion of various types of stylistic elements, but not in the banal polystylisticism a la Schnittke which brings together in only essence the sum of stylisation and citation, but in depth, at the level of 'sound-genetics'. I have tried to find some kind of metastyle in the sonoric magma which one way or another would wash away any potential certainty by means of sonoric waves of harmony-timbre-noise. For myself. I characterise this as a new euphony (a new harmony) in which is counterposed consonance and dissonance, sound and noise, harmony and timbre, acoustic and electronic instruments. In the opera, I often returned to the scarcely perceptible stylistic allusions which change their contours like a chameleon. I "recalled" in music frozen moments of Glinka, cards of Tchaikovsky, chimes of Mussorgsky, endless cantilenas of Rachmaninov, and the shrill anguish of Lady Macbeth, although of course, the listener of these allusions will not be aware of this. In the first scene, I even cited a phrase of Liebestraum of Liszt, and at the culmination of the opera used elements of rap and minimalism. By way of development these idioms aquired a palpable critical accent and in the end destroyed themselves under the weight of their own characteristics. However I tried to articulate this whole stylistic spectrum not on the level of a superficial comparison but through a root system sprouting through the sound fabric. Today, at the threshold of the 21st Century, there are no "good" and "bad" media. All depends on how the employed means address the given individual conceptions of a given concrete composition; on how interesting is the given individual idea. So with this opera, I tried, not breaking from the principle precepts of the opera genre to find more freedom in the creation of new ideas. In the last scene, the librettist includes the death address to humankind communicated by the members of the suicidal religious sect "Temple of the Sun", who poisoned themselves en masse. This unexpected, and perhaps shocking idea in the context of Chekov, seems to be in my view a very organic one for the opera: the text of the address has deep and unexpected, almost literal deep parallels with some of the maxims of Chekhov's characters. It encloses the ring of the opera's plot and marks the "timeless" archetypical nature of the age-old problem of our short existence, as discovered by the genius of Chekhov. |
≈ 90` |
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1998 |
Ins Theater Dance-, Word-, Light-, Music-Play Text: Ernst Jandl FP: 15 June 1998, International Theaterschool Festival, Amsterdam, Orchestra de Ereprijs 3 voice-groups: children, women, men Orch: 1(=picc).0.0.BCl.0. — ASax, BarSax. – 2.1.2.1. — 1(2)Perc – 3 Tapes– Pf (=Synth)– EGuit, BGuit |
17' |
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1996 |
…Le vent des mots qu'il n'a pas dits (…The Wind of Unspoken Words) for cello and orchestra Orch: 3(II, III=Picc).3.3(III=Picc).BCl. 3. – 4.2.2.0. – 2Perc – Hp – 0.0.8.6.4. Premiere — 1996, Polish Radio Concert Studio. Julius Berger, cello (Germany), Sinfonia Varsovia orchestra, conductor Wojciech Michniewski. Russian premiere — 21 November 2006, Moscow Conservatoire Grand Hall, Concert-closing of The 7th festival "Dedicated to Oleg Kagan". Performed by Natalia Gutman, cello, and Novaya Rossiya State Orchestra, conductor Yury Bashmet. COMMENTS Комментарий (рус.)
Le vent des mots qu'il n'a pas dits Владимир Тарнопольский
Le vent des mots qu'il n'a pas dits Vladimir Tarnopolski |
15' |
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1995 |
Landschaft nach der Schlacht nach Lectüre der Duineser Elegien von Reiner Maria Rilke (Landscape after the Battle) for large ensemble, baritone solo and bass choir (ad lib) FP: 6 May 1995, Frankfurt, Ensemble Modern, bas Nicolas Isherwood, cond. Friedrich Goldmann Ens: 1(=AFl).1(=EHrn).1(=Picc).BCl.(=CbCl).1. – 1.1.1.0. – 2Perc –Hp, Pf – Tape – 1.1.1.1.1. Edition: C.F.Peters COMMENTS (deutsch)
Landschalt nach der Schlacht
für ensemble und bass nach Lekture der Duineser Elegien von R.M.Rilke (1995) Das poetische Bild des Titels greift ein Motiv in der Kunst der letzten Zeit auf: die Idee des Nachworts, des Postscriptums. Indem das Werk Tarnopolskis die Reihe von Werken ahnlichen Charakters (ort-setzt, bildet es zugleich einen Ruckblick auf diese Idee: die Landschaft einer verwusteten, verlassenen Welt wird durch Rilkes poetische Bilder in ein erhabenes Panorama des Weltgeschehens verwandelt. Rilkes Duineser Elegien stellen eine Reaktion des Dichters auf die Ereignisse des Ersten Weltkriegs dar. Ihre schreckliche, monumentale und zugleich zitternd verschwommene, aus winzigen Details gewobene Welt gibt bizarre Kriegserfahrungen wieder. Ein uberwaltigendes Bild der Kosmogonie mit tragischen Kollissionen und Kataklismen des Seins entsteht. Der grosse Weltrhythmus erscheint im standigen Werden und Untergehen. Diese widerspruchlich-zerrissene Einheitlichkeit der Welt birgt den Begriff des Schonen in sich. Die Idee des Ubergangs der Schonheit in ihren Gegensatz bildet den Hauptinhalt des Werkes von Tarnopolski, was in erster Linie durch klangfarblich-instrumentale Mittel wiedergegeben wird. Aufgrund einer detailliert durchgearbeiteten Skala der Tonschwebungen werden naturliche Klangfarben verfremdet, originale Tone mutiert und klangfarbliche Ubergange erreicht. Das Werk ist dem Ensemble Modern gewidmet. Rainer Maria Rilke «Duineser Elegien» (1912-1922) aus: «Die erste Elegie» Wer, wenn ich schriee, horte mich denn aus der Engel Ordnungen? /…/ ich verginge von seinem starkeren Dasein. Denn das Schone ist nichts als des Schrecklichen Anfang, den wir noch grade ertragen, und wir bewundem es so, weil es gelassen verschmaht uns zu zerstoren. /…/ aus: «Die dritte Elegie» Eines ist, die Geliebte zu singen. Ein anderes, wehe, jenen verborgenen schuldigen Fluß-Gott des Bluts. /…/ O des Blutes Neptun, o sein furchtbarer Dreizack. O der dunkele Wind seiner Brust aus gewundener Muschel. /…/ |
25' |
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Szenen aus dem wirklichen Leben (Scenes from the Real Life) for soprano, flute, French horn and piano Text: Ernst Jandl I. My Own Song. II. Inhalt. III. Chanson. IV. Ins Theater FP: 8 September 1995, Berliner Festwochen, Ensemble Modern, soprano Susan Narucki COMMENTS
Vladimir Tarnopolski. Scenes from Real Life for soprano, flute, French horn and piano, was written in 1995 with a commission from the Berliner Festwochen for Ensemble Modern. The composition is based on the texts of Austrian poet Ernst Jandl (1925-2000). This four-part composition unfolds in a similar way to a sonata-symphonic cycle: a dramatic and contrasting first movement (Allegro), a meditative second movement, a scherzo, followed by a final. Svetlana Savenko PRESS Article by Olga Bochikhina |
20' |
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1994 |
The Breath of the Exhausted Time FP: 9 May 1994, Gasteig, München, Symphonieorchester des Bayerischen Rundfunk, cond. Alexander Lazarev 4(II, III=Picc, IV=alto).3(III=EHrn).3.2BCl.3(III=CBsn). – 6.2.4.1. – 6Perc – Hp, 2 Synth(II=Pf) – 2 EGuit – 14.12.10.10.8. Edition: C.F.Peters COMMENTS REVIEWS
The Breath of the Exhausted Time Vladimir Tarnopolski |
24' |
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1993 |
Ah, ces russes… ou l'Elexir Magic Music-farce Text: Irina Maslennikova FP: 27-28 May 1993, Rencontres Musicales d'Evian, Ensemble Studio for New Music, cond. Mstislav Rostropovich Voices: 3 Sopr, 3 MSopr, 1 CAlt, 3 Ten, 3 Bar, 1 Bass Orch.I: 1(=Picc).1(=ASax).1(=Picc,=SSax).BCl(=ASax).Bsn(=CBsn). – 2.1.1.1. – 2Perc – Pf(=Cemb,=Cel) — 1.1.1.1.1. Orch.II (strings): 4.4.2.2.0. |
45' |
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Welt voll Irrsinn (World Full of Madness) for large ensemble Texts: Kurt Schwitters I. Welt voll Irrsinn. II. Zwölf. III. Banalitäten aus dem Chinesischen. FP: 12 июня 1993, Амстердам, оркестр &laque;de Ereprijs&raque; Ens: 1(=Picc).0.1(=BCl).0. — ASax,BarSax(=SSax) – 2.1.2.1. — 1Perc – Tape – Pf (=Synth)– EGuit, BGuit Издательство: C.F.Peters CD: KLIMOP 006 TEXT and COMMENTS |
15' | |||||||
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1992 |
O, PÄRT – OP ART Triad installation for clarinet, violin, viola, cello and piano FP: 8 December 1992, Tchaikovsky Consert Hall, Moscow-Modern Festival Edition: C.F.Peters |
10' |
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Amoretto for soprano, 2 clarinets (II=BCl), viola, cello and double-bass Text: Edmund Spenser FP: 17 August 1992, Dartington, UK, Composers Ensemble, soprano Mary Wiegold |
7' |
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1991 |
Cassandra for large ensemble FP: 8 September 1991, Alte Oper, Frankfurt-Feste, Ensemble Modern, cond. Ingo Metzmacher Ens: 1.1.2(II=BCl).1(=CBsn). – 1.1.1.1. – 2Perc – Pf, Synth, Hp – 1.1.1.1.1. Edition: C.F.Peters COMMENTS Комментарий (рус.)
CASSANDRA Vladimir Tarnopolski
КАССАНДРА Владимир Тарнопольский |
23' |
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Studio for New Music (Moscow), conductor Igor Dronov |
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1990 |
Per archi in memory of Luigi Nono for percussion quartet FP: 12 April 1991, Tchaikovsky Consert Hall, Moscow, Pekarsky Ensemble |
10' |
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Echoes of the Passing Day
Trio for clarinet, cello and piano FP: 26 November 1990, Huddersfield Contemporary Music Festival, Chameleon Ensemble COMMENTS
ECHOES OF THE PASSING DAYS
ОТЗВУКИ УШЕДШЕГО ДНЯ Владимир Тарнопольский ARTICLES |
18' | |||||||
Oleg Tantsov, clarinet; Natalia Savinova, cello; Viktor Yampolski, piano |
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1989 |
Eindruck-Ausdruck. Hommage a Kandinsky (Impression-Expression) 1st version: for piano solo FP: 18 ноября 1989, Aktive Musik Festival, Dortmund, Tatjana Porwoll 2nd version: for piano and large ensemble (1992) Ens: 1.1.2(II=BCl).1. – 1.1.1.0. – 2Perc – Hp, Pf solo – 1.1.1.1.1. CD: MEGADISC MDC 7838 FP: 19 February 1993, Radio France, Paris, Moscow Ensemble of Contemporary Music, piano — Vladimir Yampolsky 3rd version: for piano, flute, clarinet and string trio (1996) FP: 2 October 1996, Gesteig, München, piano Siegfried Mauser COMMENTS (English) ARTICLES
EINDRUCK-AUSDRUCK
IMPRESSION-EXPRESSION III |
12' | ||||||
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Troïsti muziki Piano trio with singing Hymn to the Christian Povetry by Grigoriy Skovoroda FP: 11 October 1989, Alternativa Festival, Moscow |
23' |
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Upon Reading Mussorgsky's Draft Notebooks Theatre music for chorus, soloists, narrator and chamber orchestra FP: 19 April 1989, Pokrovsky Chamber Music Theater, Moscow, cond. Gennady Rozhdestvensky Voices: M-Sopr, Bar Choir: 5.5.5.5. Orch: 1.1.1.1(=BCl).1. – 2.1.1.0. – 2 Perc – Strings |
25' |
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1988 |
Brooklyn Bridge, or My Discovery of America Cantata for soprano, tenor and orchestra (or large ensemble) Text: Vladimir Mayakovsky I. Brooklyn Bridge. II. Prohibition. III. The Horns instead of Bells. IV. American Russians 1st version (for orchestra): Orch: 1.1.1.BCl.1. – SSax, 2ASax – 2.1.1.1. – 3Perc – Hp, Pf, Balalayka (ad lib.), Bayan – Sopr, Ten – Strings FP: 10 November 1989, San Diego Symphony Orchestra, cond. Vassily Sinaisky 2nd version (for large ensemble): Ens: 1.1(=ASax).1(=SSax).BCl(=ASax).1. – 2.1.1.1(ad lib.). – 2 Perc – Hp, Pf, Balalayka (ad lib.), Bayan – Sopr, Ten – 1.1.1.1.1. FP: 4 June 1989, Almeida Festival Music, London, Ensemble of soloists of Bolshoy, cond. Alexander Lazarev COMMENTS
BROOKLYN BRIDGE
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17' | ||||||
1987 |
Choralvorspiel “Jesu, deine tiefen Wunden” (Choral Prelude “Jesus, Your Deep Wounds”) for string trio, percussions and ensemble FP: 18 April 1987, Bolshoy Theatre, Moscow, Ensemble of soloists of Bolshoy, cond. Alexander Lazarev Ens: 1.1.2.1. — 2.1.1.0. — 3Perc – 1.0.1.1.1. Disposition of instruments COMMENTS The Chorale Prelude Jesu, deine tiefen Wunden (1987) (1987) was written for the Ensemble of Soloists of the Bolshoi Theater orchestra and dedicated to its founder Alexander Ivashkin. The composition was inspired by the Passions of Durer and is based on the melody of the 16th century Protestant chorale. The idea of commenting the chorale’s text by musical means, traditional for the genre of the chorale prelude, receives here a theatrical manifestation, as well — during the course of the entire composition, two solo percussionists slowly move towards the direction of the conductor along a long array of percussion instruments, depicting flogging by their bodily motions during the performance. The objects of sound production here are not only the traditional orchestral percussion instruments, but also rods, strikes on drawn-out palms of hands (“slaps in the face”), the clinking of 30 coins and strikes of hammers. The object of the flogging turns out to be the conductor himself, who freezes at the end of the piece in the pose of a crucifixion. The figurative qualities inherent in the genre of the instrumental theater here forms the logical conclusion of the traditional idea of commentaries of the chorale text. This naturalistic picture in the vein of Durer comprises the composition’s first stratum. The second stratum, presenting the antagonistic element, is formed by the string trio, which symbolizes the idea of the unity of the Trinity. The music of the trio presents a mirror canon around the key pitch of the composition — F# (the musical term “sharp” is translated into German by the same word as “cross” — Kreuz). The third stratum is formed by the dissipated phrases of the chorale of wind instruments. The entire musical-theatrical action is developed against the background of various sound-depictive noises “suggested” by Durer’s tapestries transforming into one another —the sound of the sand of the Judean desert, the stampede of the Roman cavalry, etc. This fourth figurative, noise-induced strata is performed by the wind musicians playing in pauses during the phrases of chorales on percussion instruments. Valeria Tsenova
CD: MEGADISC MDC 7838 |
10' |
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Three Graces
Opera-parody in three scenes Text: Carl Maria von Weber FP: 30 April 1988, Bolshoy Hall of Schostakovich Philarmony, Leningrad, Orchestra and Choir of Culture Ministry USSR, cond. Gennady Rozhdestvensky Voices: Sopr, MSopr, Ten, Bar, Bass, Narr Choir: 4.4.3.3. Orch: 1(=Picc).1.1(=Picc).1(=CBsn). – 4(or 2).0.0.0. – 1(or2)Perc – Cemb, Hp – 6.4.3.3.1. Edition: C.F.Peters |
45' |
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1986 |
Psalmus poenitentialis Concerto for choir, violin solo, organ and percussion Text: Ps.31 FP: 6 мая 1990, Schola Cantorum of Oxford, London COMMENTS (eng) КОММЕНТАРИЙ (рус.)
PSALMUS POENITENTIALIS (Ps.31). (Psalm of Repentance)
PSALMUS POENITENTIALIS (Ps.31). (Покаянный псалом) |
28' |
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1984 |
Wahnfried for violin solo, piano, 6 Wagner's Tubas (or 5 trombones and tuba), 5 flutes traverse (or flutes and clarinets), choir invisible (or tape) Text: Richard Wagner FP:4 May 1991, Bolshoy Hall of Tchaikovsky Conservatory, Moscow, Orchestra and Choir of Culture Ministry USSR, cond. Gennady Rozhdestvensky |
9' | ||||||
1983 |
Music in Memory of Dmitry Shostakovich Collage for narrator and chamber orchestra Texts: Anna Akhmatova, Michael Matussovsky, Alexander Mezhirov, James Patterson FP: 12 January 1985, Bolshoy Hall of Tchaikovsky Conservatory, Moscow, Orchestra of Culture Ministry USSR, cond. Gennady Rozhdestvensky Orch: 1(=Picc,=AFl).1(=EHrn).2(I=Picc,II=BCl).1(=CBsn). – 2.1.0.0. – 3Perc — Pf(=Cel) – Tape – Narrator –12.0.6.6.4. |
17' |
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1982 |
Symphony
FP: 26 November 1983, Bolshoy Hall of Tchaikovsky Conservatory, Moscow, cond. Igor Chalyshev Orch: 3(II=Picc).3.3(II=Picc,III=BCl).3(III=CBsn). — 4.3.3.1. — 3Perc — Pf, Hp — 16.14.12.10.8. |
30' |
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1980 |
Cello Concerto FP: 21 December 1982, Grand Hall of Tchaikovsky Conservatory, Moscow; Orchestra of the Ministry of Culture, Sergey Sudzilovsky, cello; cond. Gennady Rozhdestvensky Orch: 3(II=Picc).2.CorA.3(III=BCl).3(III=DBn) – 4.3.3.1. – 2Perc — Pft(Cel), Hp — Vlc solo.– 14.12.10.8.6. Edition: Sovetsky Kompositor |
20' | ||||||
1978 |
Symphonic Prologue for orchestra FP: 26 November 1978, Bolshoy Hall of Tchaikovsky Conservatory, Moscow, cond. Vladimir Kozhukhar Orch: 3(II=Picc).3.3(II=Picc, III=BCl).3(III=CBsn). — 4.3.3.1. — 3Perc — Pf, Hp — 16.14.12.10.8. |
15' |
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1977 |
String trio FP: 7 June 1978, Small Hall of Tchaikovsky Conservatory, Moscow |
15' |
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1976 |
Italian songs for soprano and piano Text: Alexander Block |
10' |
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Kammerharmonie for harp, cello and double-bass |
10' |
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1975 |
Quintet for flute, oboe, clarinet, bassoon, French horn |
10' |
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1974 |
Hommage a Joan Miro for harp solo |
5' |
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Moments for piano solo |
10' |
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1973 |
Carpathians variations 1st version: for piano solo 2nd version: for school chamber ensemble (1.1.1.1. - 1.0.0.0. - Hp - Strings) |
8' |
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The Pipe is Sounded for soprano, flute, alto and harp Text: Alexander Block |
15' |
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1972 |
Partita 1st version: for piano 2nd version: for organ |
10' |