m.b. —> compositions

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COMPOSITIONS

please use the links below for convenience. you are free to download and perform.

as of 2020, it's been almost 10 years that i'm composing a giant meta-cycle on letters of the pan-slavic alphabet; almost all of the following pieces belong to it.

A (Az) — for pianist and piano (2011)

Б (Bouky) — for pianist armed with voice, gong and bucket (2012)

В (Vijedi) — for air balloons, balalaika, wind instruments, duct tape, glass, piano and tape (2013)

Г (Glagolj) — hysterium on texts by Tolstoy, Chernyshevsky & Lenin for two pianos, balalaika, FLUI drum, electric shaver and electronics (2013)

Д (Dobro) concerto pour un homme et electronique (2014)

Е (Yeste) études linéaires en forme de variations (2015)

Ж (Zhivete) a play for lying violin[ist] (2016)

«—» (em dash) dumb shows for ensemble (2017)

S (Dzelo) relationship studies part I (2018)

З (Dzero) relationship studies part II (2018)

Z (Zvezda) relationship studies part III (2018)

I — en nekrolog (2019)

«Kadenza» for the 1st movement of Beethoven's 4th piano concerto (2019)

И — (Izhe) karnawal rosyjski (2020)

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withdrawn or scrapped pieces, alternate versions & juvenilia:

«U5» for prepared piano (2010)

В2 (Vijedi) — for piano (2012)

Г (Glagolj) — for bass-artist, for singing-beating pianist (2012)

untitled sketches for a piano & balalaika piece (2012)

Ж (Zhivete) — sextet (2016)

В (Vijedi) — for air balloons, balalaika, wind instruments, duct tape, glass, piano strings and tape (2013)

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A / AZ. FOR PIANIST & PIANO (2011):

final version pdfru / first version pdfru

instrumentation: piano, metal cylinder, tin bucket

duration: ~6-7'

first performance: the author, 06.iv.13, college of moscow conservatory


note: almost all material for the first four pieces was written in one hard day's night of march 2011. most of it was heavily inspired by early soviet music, national-bolshevism and teenage rebellious emotions; in a nutshell, these are kind of improvisations which i attempted to give some form to (in the years from 2010 up to 2012 most of my musical output was connected with improvisation, see shchrtttshch and saveshnik). this piece is probably the most free of the four. the working title, before i settled on the meta-cycle idea, was «split personality disorder: outer voices». in both of my live performances in 2013 i just switched my head off and it was pretty much okay for the pieces. no brain no pain. the first version had a different order of movements.

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Б / BOUKY. FOR PIANIST ARMED WITH VOICE, GONG AND BUCKET (2012):

final version pdfru / first version pdfru

instrumentation: piano, small (~20 cm in diameter) nipple gong, tin bucket, a handful of coins, a pair of chopsticks + pianist has a singing part

duration: ~5-6'

first performance: the author, 26.x.12, college of moscow conservatory

note: again based on march 2011 material, the working title was «split personality disorder: inner voices».

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В / VIJEDI. FOR AIR BALLOONS, BALALAIKA, WIND INSTRUMENTS, DUCT TAPE, GLASS, PIANO AND TAPE (2013):

pdfru

instrumentation: ~10 air balloons, balalaika, freely chosen basic wind instruments (ocarinas, whistles, recorders...), duct tape, a piece of loud-sounding glass, piano, a pair of speakers for playing the tape

duration: ~10'

first performance: the author and andrey zemtsov, 29.iv.13, college of moscow conservatory (moscow, russia)

note: the third piece was originally written as a solo piano one; but, as it is said in the preface of the score, «the thirst of madness» made me to scrap almost the whole piece sans the first system and rewrite it to be as eccentric, bizarre and «avant-garde» as possible (of course one should consider the context of it planned to be performed on «Easter evenings», organized by nerdy Soviet-style composer in a highly conservative Russian music college). the score is much cagesque/wolffesque in organization; musically, it is an attempt of making Russian freak folk or something like that. there is also an earlier version of the piece which called for piano insides to be played, which was suddenly forbidden to perform for obvious reasons two days before the concert; so, the final version was made from it on the very final day before.

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Г / GLAGOLJ. HYSTERIUM ON TEXTS BY TOLSTOY, CHERNYSHEVSKY & LENIN FOR TWO PIANOS, BALALAIKA, FLUI DRUM, ELECTRIC SHAVER AND ELECTRONICS (2013):

pdfru

instrumentation: two pianos, balalaika (scordatura des-f-b flat), flui drum (a big lid with a hole in its center, supposedly from a giant cooking cauldron?), electric shaver with trimmer function, bicycle horn, harmonica, 3-track oscillator, speakers

duration: ~8'30''

first performance: the author and andrey zemtsov, 13.iv.14, college of moscow conservatory (moscow, russia)

note: the final piece based on march 2011 material was originally written as a piece for solo bass singer and piano, but again obviously no bass singer was eager to learn it (and rightfully so), so it was reworked in what could be the first piece of the cycle that has a clear structure. musically and poetically, it's much inspired by late-soviet quasi-political works with recitation of denissov and wustin.

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Д / DOBRO. CONCERTO POUR UN HOMME ET ÉLÉCTRONIQUE (2014):

pdfru

instrumentation: piano (+muting), metallophone, 2-track oscillator, speakers

duration: ~6'

first performance: the author, 13.xii.14, central music school's hall on malaya kislovka str. (moscow, russia)

note: the piece was written in an attempt to clear the musical language of mine of harmonic and chordal verbosity as much as possible, which actually led to an extremely linear quasi-minimalist piece.

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E / YESTE. ÉTUDES LINÉAIRES EN FORME DE VARIATIONS (2015):
pdfru / first manuscript / final manuscript

instrumentation: upright piano with strings detuned on one particular key and front lid completely removed, grand piano, macintosh computer

duration: ~11'

first performance: never performed in public, a recording exists

note: a piece based on two ideas, the first being an ordinary c minor scale, the second being the only augmented note of the harmonic c minor scale, which is augmented even more by detuning it.

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Ж / ZHIVETE. A PLAY FOR LYING VIOLIN[IST] (2016):
pdfru

instrumentation: grill grate, violin bow, violin with DAE strings muted & G string tuned up to D (you wouldn't like to use your main violin for that for sure), handwatch, sinus tone generator, some way to play the tape, piano

duration: ~11'

first performance: never performed in public, two recordings exist

note: an attempt to write a piece with as less piano as possible (symbolically, it is needed here just one time and just for one key); a piece with a bowed grill grate as a main instrument (well, almost). the reductionist tendension of the previous three works has its peak.

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«—» / EM DASH. DUMB SHOWS FOR ENSEMBLE (2017):

zip-pdfru

instrumentation: violin, viola, cello, double bass, tenor-bass trombone, alto sax, piano

duration: ~7'30''

first performance: molot ensemble, 28.iii.17, alexandrinsky new stage (st. petersburg, russia)

note: an attempt to write a legit ensemble piece, moreover with a clear deadline and a clear theme (the work was written for a pop-art themed concert). almost all material is borrowed from various sources: 1) my own works, including withdrawn ones (namely A, Б, В2, Ж the sextet); 2) schubert's «rosamunde» string quartet; 3) 4-voice examples from a musical theory book by Myasoyedov.

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S / DZELO. RELATIONSHIP STUDIES PART I (2018):

pdfen / sketchbook

instrumentation: synthesizer or a piano for notated part, [modular] synthesizer for noise effects, electric guitar with tremolo & reverb & distortion pedals, drumset, an additional snare drum, some kind of bell, some way of playing tapes, alto or baritone saxophone, optional strings

duration: ~5'30''

first performance: kymatic ensemble, 1.ix.18, stanislavsky electrotheatre (moscow, russia)


note: an attempt to write a «party piece» heavily inspired by pop music. written during the hard times of mostly playing shitty post-minimalist works and non-art stuff and trying to find some path that a trained musician wouldn't be ashamed of. the piece opens the trilogy of «relationship studies», the base idea of which was inspired by three different letters in old slavic writing all meaning the same pair of sounds (s/z).

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З / DZERO. RELATIONSHIP STUDIES PART II (2018):

instrumentation: a tape piece that one should assemble by h/erself.

duration: ~5'

first performance: never performed, a recording exists

note: an attempt to write an «amateur» piece with written instructions which can be performed by anyone.

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Z / ZVEZDA. RELATIONSHIP STUDIES PART III (2018):

pdfen

instrumentation: two TRENSUM mirrors, some metal balls, midi keyboard, triangle, cello, flute, clarinet

duration: ~10'30"

first performance: molot ensemble, 14.v.18, glinka museum (moscow, russia)

note: the only «serious» piece of the trilogy, an attempt to write an ensemble piece with a certain mirror from ikea playing the main role. the piece was supposed to be called «zemlja» («earth»), as in old church slavonic tradition, but at some point of composing i suddenly thought to give it an own name, pan-slavic word for «star», feeling that it would suit it; and it really does.

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I / EN NEKROLOG (2019):

zip-pdfen

instrumentation: scordatura violin (G string tuned down to F), scordatura cello (C tuned down to B), flute, clarinet, piano muted with duct tape, household cooling fan, a wrench, a way to play the two-channel tape

duration: ~7'30''

first performance: molot ensemble, 29.iii.19, nynorskens hus (oslo, norway)

note: a piece written for a knut hamsun-themed concert; an attempt to write a «symbolic» piece based on hamsun's complimentary obituary to hitler, supposedly the only one written by a famous and respected person.

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«KADENZA» FOR THE 1ST MOVEMENT OF BEETHOVEN'S 4TH PIANO CONCERTO (2019):

pdfde

instrumentation: solo piano

duration: ~4'30

first performance: the author's final piano exam at the moscow conservatory, 20.v.19

note: an attempt to write a solo piano cadenza for a classical concerto using contemporary time feeling and techniques, but staying in beethoven's style and paradigm. ...also, one can certainly hear some vladimir martynov & soviet pop music influence.

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И / IZHE (2020): work in progress

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withdrawn pieces, alternate versions & juvenilia:

«U5» for prepared piano (2010):

pdfru

instrumentation: upright piano prepared by various means (a compact disc, a plastic lid, a lid of a can of danish cookies)

duration: ~2-3'

first performance: never performed, a recording exists

note: one of the first «completely original» works that survived. most were lost when i luckily forgot my composition notebook on the first contemporary music event i was to & couldn't find a trace of it.

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В2 (Vijedi) — for piano (2012):

pdfru

instrumentation: solo piano

duration: ~8'

first performance: never performed

note: the very first version of В.

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Г (Glagolj) — for bass singer-artist, for singing-beating pianist (2012):

pdfru

instrumentation: bass singer, piano (+singing part), woodblock or tin can (with various types of beaters), kazoo, an armchair, light projection

duration: ?

first performance: never performed

note: i tell the story in the note of Г.

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untitled sketches for a piano & balalaika piece (2012):

pdf

instrumentation: balalaika tuned various ways throughout the piece, piano

duration: ?

first performance: never performed

note: some sketches that were supposed to become «Д» but in the end the piece was scrapped completely inspite of being almost complete (at least thought to be at that moment long, long ago).

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Ж (Zhivete) — sextet (2016):

pdfru

instrumentation: two pianos, two violins, bassoon, alto saxophone, electric drill, small motor, hammer, rainstick 

duration: ~11'

first performance: never performed

note: an attempt to write a big ensemble piece knowing nothing of ensemble writing and consulting the instrumentation studybook for every small thing. in general, a pretty much unperformable piece, though it has its moments (most of which ultimately ended up in «»).

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В (Vijedi) — for air balloons, balalaika, wind instruments, duct tape, glass, piano strings and tape (2013):

pdfru

instrumentation:

duration: ~11'

first performance: never performed, a recording from a rehearsal exists

note: first not-solo-piano version of В.