Dmitri Kourliandski’s music is regularly played in concerts and at festivals held in many Russian cities, CIS, Germany (Donaueschingen, Berlin and Dresden festivals, Schleswig-Holstein and others), the Netherlands (Gaudeamus), Belgium (Music@venture), Great Britain, Austria (Aspekte Festival), France, Finland (Musica nova, Time of Music), Poland (Warsaw autumn), Greece (Hellenic festival), Serbia, Argentina, Japan and is broadcast worldwide. Dmitri Kourliandski worked with such conductors as Vladimir Fedoseev, Vladimir Ziva, Teodor Currentzis, Reinbert de Leeuw, Zholt Nagy and others. His compositions were played by many Russian orchestras and leading European ensembles, such as KlangForum Wien, ASKO and Schoenberg ensembles, Aleph, Slagwerkgroep den Haag, Champ d’action, Integrales and many others. He has received commissions from many Russian and European festivals, ensembles and foundations. Some of his works have been published by Le Chant du Monde and Jobert.
Mr. Kourliandski is the founder and editor-in-chief of Tribuna Sovremennoi Muzyki (Tribune of Contemporary Music), the first Russian journal dealing with contemporary music issues. He is a co-founder of the Structural Resistance (StRes) group of composers and member of the Composers’ Union of Russia.
From 2004, Dmitri Kourliandski designates his creative search as “objective music”. “The concept of music as an object, a visual phenomenon, is opposite to romantic concept characterized by evolution of music in time (which is largely typical of contemporary music, too). In my music, there is no evolution, there is no action. Some compositions can give the listener an impression of action, of dramaturgy. But this is simply a consequence of human perception: when something exists in time, something always happens within us. A human being can feel, experience, think in his innermost being, without this being caused by an exterior action: the action is inner”. “I love kinetic sculptures. I like something that seems static and yet at the same time provokes a multitude of thoughts. Formally, my compositions can be defined as a mechanisms whereby if you press a button all the music comes out. Listeners are invited to notice how the piece functions.” (From the interview to Makis Solomos. Logbook of the Ensemble Aleph 3rd International Forum for Young Composers. France, 2004).
Dmitri Kourliandski’s language completely rejects traditional instrumental sounding. “There can be no restrictions on art. “Abnormal” sounds do not contradict today’s language position. On the contrary, such sounds form new active fields, where the decisive element is not the reliance on available experience, but the possibility of gaining new one.” (“Objective Music. From General to Particular”. Tribune of Contemporary Music, No. 1/4, 2006).
Edited by chewtoy on 13 Jun 2013, 04:58
Registered users can edit this page. Sign up now, it’s free and you will discover so much great music :)
Generated from facts marked up in the wiki.
No facts about this artist
You can also view a list of all recent wiki changes.
From other sources.