The most popular composer in the world of the 21st century. Composers of the 21st century - for children

"COMPOSER OF THE XXI CENTURY"

One day was devoted to listening to audio recordings by the jury members composer works sent by participants from far corners of Russia and abroad, and for three days competitive performances were held in the presence of listeners. I had a chance to observe an amazing commonwealth and co-creation of participants, members of the jury and the public, which, it must be admitted, is still not numerous, but definitely interested. It seems that the question of the number of listeners at such events is not removed from the agenda, and life itself is the "customer" of the new competition - precisely because there has not yet been a total awakening of interest in modern music. And I would like to think that the rumor about the competition will attract a wider audience to it in the future, because this competition is not invented because among the abundance of different competitions, this is clearly lacking in Russia, and the "Composer of the 21st Century" optimistic "small awakening" nevertheless managed.

Organizing committee and jury

The founder and organizer of the competition was the Autonomous non-profit organization"International Academy of Musical Innovations", which is celebrating its tenth anniversary this year. The president of the competition and the head of the organizing committee, Igor Evard, brought together highly professional honored musicians around the idea of ​​reviving interest in modern composing art: People's Artist Russian Federation, Chairman of the Union of Composers of Russia Vladislav Kazenin, who honorably headed the jury of the competition, Professor of the GMPI named after. MM. Ippolitov-Ivanov Efrem Podgayts, Honored Artist of the Russian Federation, Professor of the Russian Academy of Music. Gnessin Ruzanna Lisitsian, People's Artist of the Russian Federation, director of the Kaliningrad regional philharmonic society Viktor Bobkov, as well as soloists of the Moscow State Academic Philharmonic Society, laureates of international competitions Ekaterina Mechetina and Kirill Rodin.

Concept

The competition "Composer of the XXI century", of course, provided an opportunity to express themselves to both composers and performers, because it is well known that composers cannot exist separately from performers, and performers need to find their own contemporary repertoire. And in this case we are dealing with a competition within a competition that very elegantly ties together the two components of the birth of new music.

Compositions submitted to the Organizing Committee in the form of appropriate musical material and, which is especially important for remote participants, in the form of audio or video recordings, were accepted as composer works. The outlined genre of compositions was limited to their destination either for vocalists or ensembles of various compositions with the number of participants not exceeding five. As performers and composers, contestants with a special music education, students and graduates music universities and colleges (not only in Russia). Evaluation of works by a single jury was carried out in three independent nominations. Competitors aged 17 and over could participate in the composer nomination "Premier of the Year" and the performing nomination "Ensembles" (duet, trio, quartet, quintet) without setting an upper limit. In nomination " academic vocals» Two age categories were provided: group A (from 17 to 21 years old) and group B (from 22 to 40 years old).

In the nomination "Academic vocal" in groups A and B, one work by a contemporary composer of any country, written after 1980, was performed at his own choice, and the other - from among those recommended on the official website of the competition www.muzkult.ru. In the "Ensembles" nomination, although the recommended compositions could also be found on this site, the competition compositions were invited to be chosen by the authors themselves: in full or in fragments, they had to perform one or two works by composers of any country written after 2000.

In accordance with the Regulations of the competition, the winners in the composer nomination "Premier of the Year" were identified by audio audition (January 23), and then competitive performances semi-finals (January 24 and 25) in the Organ Hall "On Kislovka". On January 26, the competition continued only for performers: on stage Great Hall At the Moscow House of Composers, the finalists performed, at the choice of the jury, one of the compositions already submitted earlier, that is, the winners in the Ensembles and Academic Vocal nominations were determined based on the results of two rounds.

The total number of applications was high, and only laureates of regional and international competitions were automatically included in the number of participants in the semi-finals. A contestant wishing to participate in several nominations had additional opportunities, and the accompanist (accompanist of the vocalist) could, if desired, also act as a member of the ensemble. For four days, the jury got acquainted with the composer's works of 39 contestants, listened to 22 vocalists and 19 diverse ensembles.

In terms of richness and repertoire diversity of the program, the competition turned out to be almost a pioneer of its kind. And although not all of the compositions I heard impressed me to the full, three days of “work” as a listener are remembered with a pleasant “aftertaste”.

Impressions on the background of the results

Three days of public auditions - in absolute terms, is it a lot or a little? It seems that it is not enough, but even in three days the competition managed to prove that modern music is far from being a “horror story”. New music appeared as a substance materialized in sounds, clearly with a human face. I formed an opinion that, for the most part, the composers-competitors began to write - and the performers-contestants just chose - not works with a "viscous gnash of strings" or pronounced sonoristics (although, of course, among the heard there were such examples), but music, unusually melodic for the stable cliché of modern sonorities, was chosen by opuses that definitely curtsy to the side classical tradition, but definitely experimental, and therefore certainly modern. This suggests that a new generation of musicians has formed, clearly tired of the "avant-garde" and the primacy in piece of music as an end in itself, it is the form - the form, as a rule, complex, subtly "twisted", but absolutely useless, when there is no melody, when the heart of music does not beat, and its soul is silent. Formally, any scale can be passed off as music, but not every sequence and not every combination of sounds gives rise to exactly the music that resonates in the soul of the listener. Sometimes it seems to me that only the lack of a melodic gift in some composers and nothing else provokes them to very dubious, irrational experiments that lead nowhere and clearly alienate listeners from themselves. At the same competition, simplicity and naturalness musical expressiveness over the laboratory hybrids of the composer's form unambiguously prevailed. At the same time, it is important to note that “simple” does not mean “primitive” at all, and “complex” does not mean “good” at all. So, amid the collapse that the most radical trends in today's composition led to, we missed something, didn't notice something very important - the fact that the usual listener's indifference towards modern opuses was literally stirred up at this competition and forced, finally, to listen music with genuine interest. That is why it is extremely difficult to overestimate the relevance of the event under discussion. And now, at the awards ceremony, which took place immediately after the final concert, the names of laureates and diploma winners are heard.

In the Premiere of the Year nomination, the awards were distributed as follows:
1st Prize – Tatyana Shatkovskaya-Aizenberg (Moscow)
II Prize – Alexey Pavlyuchuk (Saratov), ​​Alexander Tipakov (Kaluga);
III Prize – Elmir Nizamov (Kazan)

Vyacheslav Semyonov (Moscow), Nikolai Mikheev (Yakutsk), Selbi Niyazova (Ashgabat, Turkmenistan), Nodirbek Makharov (Tashkent, Uzbekistan), Maria Egorova (Moscow) were awarded the titles of Diplomas.

In the nomination "Ensembles" the winners are:
1st Prize – Fandango Quintet (Moscow): Maxim Fedorov (button accordion), Semyon Denisov (first violin), Ivan Muratidi (second violin), Artem Valentinov (viola), Vasily Ratkin (cello);
2nd Prize – duet “Una sinistra” (Moscow): Alexander Selivanov (button accordion), Yulia Amerikova (accordion);
III Prize – Tatiana Shatkovskaya-Aizenberg Ensemble (Moscow): Elizaveta Koshkina (violin), Maria Vlasova (accordion), Natalia Semenova (soprano), Nikita Morozov (guitar), Ramon Aizenberg (melody recitation).

The titles of diplomats were awarded to the quintet p/r Irina Krasotina (Moscow) consisting of Maria Nefedova (cello), Tatyana Fedorova (violin), Margarita Bryndina (piano), Alexei Zavodov (clarinet) and Varvara Mistyukova (flute), as well as a duet (Moscow) with Maxim Zolotarenko (cello) and Elena Zolotova (soprano).

Awards in the nomination "Academic vocal" (group B):
1st Prize – Maria Patrusheva (mezzo-soprano, Moscow), Vladislav Dorozhkin (bass, Moscow);
II Prize – Daniil Vilpert (baritone, Saratov);
III Prize – Elena Zolotova (soprano, Moscow)

Diploma titles were awarded to Gulbanu Yerzhanova (soprano, Astana, Kazakhstan), Olga Vishnevskaya (soprano, Engels, Saratov region), Dmitry Sivakov (baritone, Minsk, Belarus), Nadezhda Orlova (soprano, Moscow), and also (in group A) Dinara Taubekova (soprano, Aktobe, Kazakhstan).

All laureates and diploma winners were presented with valuable gifts - sets of notes from the music publishing house "P. Yurgenson". Besides special award By unanimous decision of the jury, it was awarded to the best accompanist of the competition - Mikhail Turpanov. Those participants who did not become either laureates or diploma winners were awarded diplomas for participation. Finally, absolutely all participants received badges with the emblem of the competition.

In the live performance in the Premiere of the Year nomination, we had the opportunity to hear the compositions of only two laureates and two diploma winners. Spanish scenes to the words of G. Lorca for soprano, reciter, violin, guitar and accordion “El y Ella” (“He and She”) by T. Shatkovskaya-Eisenberg were performed by her ensemble, and this opus struck with its subtle musical and dramatic syncretism became a real hit competitive program. The reason, as if self-evident, is its refined stylized Spanish flavor. But this composition, with a pronounced gradual movement from darkness to light in the relationship of two individuals, captivates, first of all, with the bewitching depth of its vocal-verbal psychologism, and its success is largely due to the soprano N. Semenova. In my opinion, this singer also owns the most meaningful, most subtle interpretation at the competition. lyrical romance I. Evard "Guitar" to the verses of G. Lorca, translated by M. Tsvetaeva. In this intoxicatingly sensual vocal miniature, which was incredibly popular with the contestants-performers (it was performed 6 times in the semi-final), M. Patrushev’s mezzo-soprano was also good, but her manner was distinguished by a certain “constriction”, “overexposure” of the vocal-dramatic message (however, it did not lead out of the sphere of professionally built performance). This singer also presented a composition by M. Egorova, diplomat of the competition - Faina's aria (to lyrics by A. Blok) from the opera "Breguet" (after A. Kuprin). But this, as far as one can judge, the plug-in opera number did not make a particularly striking impression, although in form it resembled a completely “classical” recitative aria.

Fantasy for bass and piano "Three fellows" on words from the collection folk songs P. Kireevsky, written by A. Tipakov and provocatively and slyly performed by Vadim Prikladovsky, who did not participate in the competition, was perceived as a very effective "energy antidepressant". Through the starting folklore basis, the jubilation of a simple and unsophisticated, but very bright, sunny life suddenly appeared clearly. By the way, the music of I.Evard, which sounded magnificently at the competition, was also filled with inner light and expression of freedom: Quintet No. 3 performed the quintet conducted by I.Krasotina, and Quartet No. 3 performed the Moscow quartet conducted by Anna Yanchishina. These ensembles have brought real pleasure to their professional game form. But still, the Fandango quintet became the convincing leader in this nomination, who performed the “cosmic-experimental” piece by E. Podgaits “Ex Animo” for button accordion and string quartet. This opus, undoubtedly interesting for its sound finds, has become a kind of ode to the button accordion, the sound of which in the context of modern academic music has been comprehended relatively recently.

And yet, V. Semenov presented a real harvest of composer's works, paying a well-deserved tribute of respect not only to the button accordion, but also to the accordion. The phenomenally virtuoso duet "Una sinistra" performed two of his delightful pieces - "Holiday in the Mountains" from "Balkan Rhapsody" and "Waltz-Caprice". "Waltz-Caprice", but in a different arrangement, as well as "Musical Offering" sounded very sweet and elegant in the performance of the Moscow instrumental duet consisting of accordionist Lev Lavrov and domrist Alexandra Voronova. The use of the button accordion as a solo instrument in the concert genre, although it aroused a certain interest, left me personally indifferent. In the Concerto for button accordion and orchestra "Frescos" by V. Semenov (arranged for button accordion and piano in three parts), which was performed by an instrumental duet from Moscow consisting of pianist Denis Chefanov and bayanist Ekaterina Utkina, I was more impressed by the "orchestra-piano" part, and not a solo instrument. But this, again, is a purely personal opinion.

Let's get back to the vocalists. In the face of V. Dorozhkin, two very curious opuses by E. Podgayets found their ideal interpreter: the elaborate aria of the Bes from the opera "The Angel and the Psychotherapist" and, in particular, the subtly satirical vocal sketch "The Nose" to the words of I. Irtenyev. If V. Dorozhkin is the owner of a luxurious noble bass, then D. Vilpert's vocal abilities are much more modest. However, despite the resonant forceful sound of his voice, it was absolutely impossible to deny the singer artistic courage. He presented Mephisto's aria from V. Kobekin's opera "Margarita" and was the only male voice who performed "Guitar" by I. Evard. In contrast, it was very interesting, but for me the sound in this composition female voice seems to be more preferable.

Another example of artistry that clearly draws attention to itself with very modest vocal and technical data is the interpretation, perhaps, of the most “shocking” competition number, which, I think, could not leave anyone indifferent. We are talking about a rather large, seemingly endless due to numerous repetitions, fragment "The clouds in the sky are smoldering" from I. Sokolov's opera "A miracle loves to warm his heels." This quite poetic text by A. Vvedensky in the "desperately stormy" musical accompaniment concertmaster M. Turpanov and vocal, on the verge of the grotesque, interpretation of E. Zolotova unexpectedly appeared as an "explosive mixture" of musical surrealism and socialist realism. In the pandan to this, the duet of M. Zolotarenko and E. Zolotova performed "Diptych" for voice and cello by T. Smirnova with the names of the parts "Silentium" and "Scherzo pizzicato", in which in each part "in every way", in fact, they sang the names of these parts.

Vocalists - representatives of Kazakhstan G. Yerzhanova and D. Taubekova, as well as a representative of Belarus D. Sivakov - most confidently declared themselves in their national repertoire. But, speaking of diploma winners, I would especially like to say about N. Orlova, a singer who, thanks to her bright, full of life and artistic freedom to perform in the semi-finals, in my opinion, undoubtedly, should have claimed the title of laureate. But there is no reason to despair: the singer is still young, and she needs to go further, because she has all the necessary inclinations - a sensual voice and meaningful intonation, vocal drama and plastic-soft sound leading. N.Orlova is the only one who applied at the competition to I.Evard's romance "Wind" based on the works of G.Lorca translated by B.Dubin and A.Geleskul, and the musical and poetic parable about the water girl once captivated with its sad and cold romance . But the singer's performance of a fragment from M. Tariverdiev's mono-opera "Waiting" became a real revelation.

So many impressions have accumulated over the three full-fledged days of the competition that even write a whole book, but my goal is much more modest. And therefore, finishing the conversation about the vocalists and the most vivid personal impressions of this musical competition as a whole, I will again turn to the singer N. Semenova. In one of the numbers in the nomination "Vocalists" she soloed in Anna Shatkovskaya's work "The Great Stream" for voice, string quartet and piano on the text of the Sufi prayer Khatum: the Ensemble "XX Century" (Moscow), which did not participate in the competition, helped the singer, but the part the piano was performed by the composer. This work caused a lot of controversy, but personally I was really captured by its lively and bright eclecticism. The "Great Stream" carried me into the ocean of meditation, into the element of an unusual, but very organic community of vocals and sound searches, in which much was incredibly fresh and organically whole.

And the last thing I would like to say. Before the final of the competition, the Union of Composers of Russia hosted interesting conversation within the framework of a round table on the topic “Modern music – an eternal dispute?..”, and everyone could attend: the participants of the competition, and musicians, and listeners. The theme of the round table was originally proposed by its presenter - Associate Professor of the Russian Academy of Sciences. Gnessins Walid Kelle. Starting the conversation and leading to the situation at the competition, V. Kelle noticed that, apparently, someone deliberately put a question mark with a dot at the end of the topic, which was absent in its original wording, casts doubt on this eternity of the dispute. Of course, there is a dispute, but at the same time, we are once again convinced that the desire to reconcile the new and the old in the field of academic music lives latently inside each of us. However, this, as they say, is the beginning of a new chapter.

Acceptance of nominations

"Composition - full-time",

"Academic vocal",

"Ensembles"

extended until September 10th.

In the nomination "Composition - in absentia" acceptance of applications is closed

II International Competition contemporary music

"COMPOSERXXI AGE"

ORGANISERS:

Ministry of Culture and Tourism Kaluga region
- International Academy of Musical Innovations (Moscow)

MISSION OF THE COMPETITION:

Preservation and development of modern academic music

OBJECTIVES OF THE COMPETITION:

Identification and support of composers and performers of contemporary music;
- acquaintance with the work of contemporary composers;
- acquaintance with contemporary performers and various musical trends;
- strengthening the status of the listener as an indirect participant in the musical event;
- involvement of the audience Russian Federation and CIS countries to modern musical directions;
- expanding the repertoire of performers,
- creative motivation young performers to the study of contemporary music;
- holding "round tables" with contemporary composers and well-known figures musical culture, teachers, performers, music analysts - in order to create a public response to the event and attract the attention of young people and the older generation to modern performing arts;
- creation of a catalog of modern composers and performers, with the possibility of their popularization in specialized media, among musical educational institutions Russia and CIS countries;
- raising the professional level of a modern musician-performer.

PARTICIPANTS:

• Composers who presented their own academic works for vocalists or ensembles ( up to 5 performers inclusive) in person ( live performance) or in absentia (audio or video recording).
• Performers who have a diploma of special education, students of creative universities and colleges in Russia and around the world. Possible participation instrumental ensembles in any composition, as well as in mixed composition vocalists and instrumentalists no more than 5 people). Note: vocal ensembles do not participate in the competition. The composition of the ensemble throughout the competition must remain unchanged.

NOMINATIONS and AGE LIMITS:

• "Academic vocal": from 18 to 35 years old inclusive
• "Ensembles"(duet, trio, quartet, quintet): from 17 years old - without restriction
• "Composition": from 17 - no limit

PROCEDURE AND PROGRAM REQUIREMENTS:

1. "Academic Vocal":

1. "Ensembles":

1. I round- performed (fragment or whole) from one to three works by composers of any country, written after 2000 at the choice of the participants. The total duration of the sound is up to 20 minutes.
2. IItour- performed (fragment or in full) one, not performed in the 1st round, a work by a composer of any country written after 2000 Duration of sound - up to 12 minutes.

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1. "Composition": full-time or part-time participation

1. full-time participation provides for a live performance of a competition work written after 2000. The composer independently organizes their preparation and performance. The work is evaluated in the nomination "Composition". The performance is evaluated by the jury only on the condition that the musicians filed applications in a timely manner as participants in the performing nominations of the competition.
2. correspondence participation involves the work of the jury with musical material and recordings (audio or video). Works for academic vocals and works for ensembles written not earlier than 2000 are listened to. Each composer can submit up to three works. Note: Midi format is not accepted for listening.
3. Each composer enters into an Author's Agreement for permission to perform and use these works within the framework of International Competition contemporary music "COMPOSITOR OF THE XXI CENTURY". A sample contract can be downloaded from the website.

Note:

1) vocalists perform the program by heart;
2) ensemble music can be performed from notes;
3) in I andIIrounds, the work presented at the qualifying audition is allowed to be performed.

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DATES:

Until September 01, 2014- pre-registration of participants. Participants provide a complete package: Recordings, Musical Materials, Documents and Application for Participation. The application can be downloaded from the competition website. Participants from the countries of the European Union, the USA, Asia and Africa, in order to prepare an official invitation for a Russian visa, the Organizing Committee of the competition asks to provide documents before August 01, 2014.

Until September 15, 2014 - qualifying audition in the nomination "Academic vocal". The results will be published on the website and sent to the participants by e-mail.

17 October 2014- press conference, opening of the competition, full-time registration of participants and guests, draw in groups (groups are formed by the organizing committee before the start of the competition), competitive audition of vocalists, announcement of finalists in the nomination "Academic vocal".

October 18 2014- full-time registration of participants and guests, drawing lots in groups (groups are formed by the organizing committee before the start of the competition), competitive audition of ensembles, announcement of finalists in the "Ensembles" nomination. Master class for vocalists.

October 19 2014- II round of the competition in the nominations "Academic vocal", "Ensembles", round table, the closing ceremony of the competition.

THE TERMS OF PARTICIPATION:

• To participate you need until September 1, 2014 send a package of documents to the address [email protected]
• For remote listening, it is necessary to provide the Organizing Committee with recordings of any one or two pieces performed by the contestant.

A contestant can participate in several nominations.
- Vocalists perform with their accompanist. If necessary, upon the preliminary application of the participant, the Organizing Committee can provide its own accompanist free of charge. An accompanist can also act as a member of an ensemble (guitar, harp, piano).
- The organizing committee reserves the right to broadcast concerts and auditions of the competition on radio and television. The coverage of the competition is carried out on the portal of a single information system"Music and Culture" www.muzkult.ru.
- If the participant does not appear for registration, the entrance fee is not refundable.
- Each participant can register in the "Music and Culture" system (muzkult.ru) and become an active participant in the internal Forum of the competition. This will allow you to send messages from your personal account in the system to both the participants of the competition and members of the organizing committee, to be aware of all the news and events related to the competition. To join the forum, after registering in the "Music and Culture" system, you must write an email to the competition's e-mail indicating your full name. And Email. IN personal account in the "Subscriptions" section, the "Contest Composer of the 21st Century" group will become available.
- The Organizing Committee provides hotel reservations upon prior requests from participants, and issuance of invitations for obtaining a visa. Transportation, medical insurance, meals and all other necessary expenses are covered by the participant of the competition.
- By obligatory agreement with the Organizing Committee, the participant of the competition can independently organize an amateur recording of his competition.

To register: go to the website www.muzkult.ru and on the left side, click the "Registration" button. After the registration procedure in your personal account, click muzkult.ru (beginning) and select "Moscow". Find "Composer of the 21st Century" in the list of sites and click the "Join" button.
You can download the application form, the form of the agreement with the author, the details for paying the registration fee on the competition website at the link:

REQUIRED DOCUMENTS FOR PARTICIPANT REGISTRATION:

1. Application for participation (with a full indication of the program being performed by tours, the order of execution, indicating the name, as well as the name and surname of the authors).
2. CV (in free form - strictly up to 800 characters);
3. Information about participation in other performing competitions and received titles - if available;
4. Photo;
5. A photocopy or scan of the paid receipt (only for participants of the 1st round);
6. A photocopy or a scan of the Passport or ID (for citizens of Russia - including the page of the passport of a citizen of the Russian Federation with registration at the place of residence);
7. Musical material (only for composers);
8. Audio or video recording (only for non-laureate vocalists and part-time composers).
9. In the "Ensemble" nomination, one application is submitted, indicating all participants, contact details and instruments. The photo can be both general for the whole ensemble, and in the form of individual photos for the participants. A summary is given for the entire ensemble or with a brief creative biography (volume by the number of characters - 300) each performer (examples of resumes can be found on the competition website or in the booklet).

An application submitted without a complete set of the specified documents will not be accepted.

WINNERS ARE AWARDED

diplomas of laureates of the 1st, 2nd, 3rd degree, winners of the competition, cash prizes and valuable prizes.

"Academic Vocal"

1 prize - 35,000 rubles.
2nd prize - 25,000 rubles
3rd prize - 15,000 rubles

"Ensembles"

1 prize - 40,000 rubles.
2nd prize - 30,000 rubles
3rd prize - 20,000 rubles

"Composition" (in absentia)

1 prize - 35,000 rubles.
2nd prize - 25,000 rubles
3rd prize - 15,000 rubles

"Composition" (in-person)

1 prize - 35,000 rubles.
2nd prize - 25,000 rubles
3rd prize - 15,000 rubles