Famous composers of the 21st century. Contemporary Russian composers

The disc you hold in your hands is unique in its own way. For the first time in a quarter of a century, works by Moscow composers of the middle generation, whose works largely determine the face of today's Russian music, are collected on one disc. Despite all the stylistic differences, these authors are united by the fact that four of them are professors at the Moscow Conservatory, and the fact that all these works were recorded by an ensemble with which they have been collaborating for a long time and fruitfully. This is the “Studio of New Music” under the direction of Igor Dronov. Compositions by Yuri Vorontsov and Vladimir Tarnopolsky were written especially for this ensemble. All works are published on CD for the first time.

Vladimir Tarnopolsky
Chevengur for voice and ensemble to texts by Andrei Platonov (2001)

Chevengur was commissioned by Westdeutsche Rundfunk and dedicated to its first performers - Svetlana Savenko, Igor Dronov and the Studio of New Music ensemble. For me, Platonov is one of the greatest Russian writers. He reflected with piercing authenticity the spontaneous irrationalism of Russian consciousness and the entire Russian history of the twentieth century. A deep existential breakdown is captured in his novel not only at the level of plot, but also in the very structure of language - every Platonic word is extremely material, it is born through overcoming the colossal resistance of inert linguistic matter.

Following Platonov, I tried to overcome the clichéd timbre roles of instruments, composing new, non-classical sound spectrums. It was important for me to overcome the dividing line between the word, voice and instrumental timbre, so that the instruments “speak”, and the voice sounds like an instrument, so that the phonemes of words are freely distributed between them.

I wanted to recreate Plato’s idea of ​​animate a thing (“living” Plato’s locomotive) and reproduce the moments of complete merging of a person with a working mechanism. I was looking for an opportunity to convey through musical means Plato’s feeling of universal loss and melancholy, similar to that heard in the final quasi-soldier’s song “... it’s a shame to live, and it’s sad to die.” These words of Platonov became for me a kind of formula for our entire history.

Vladimir Tarnopolsky

Faraj Karaev
Three Bagatelles (2003)

Three bagatelles are nothing more than... Three bagatelles. The light concert pieces, written over several hot days in August 2003, have the same number of bars with the same meter changes and the same quasi-harmonic “grid”. These are peculiar ornamental variations, each of which could be called 1. Normal legati, 2. Strange glissandi and 3. Gay staccati. In the code, movement goes beyond the boundaries of form, taking on increasingly indistinct outlines - up to complete nonsense.

Faraj Karaev

Yuri Vorontsov
Buffatore (2011)

Buffatore is translated from Italian as glass blower. The idea for the essay was born from a fleeting episode that happened during a trip to Italy several years ago. My wife and I were in Venice for only one day. It was autumn. I think it was mid-October. It rained all day. Water was absolutely everywhere. The small workshop of a Venetian glassblower amazed with the dominance of two other elements - fire and air. The miracle of the birth of fragile glass was accompanied by the grinding of inflated bellows, heavy gusts of flame, the clanging of many metal devices and the hard physical work of the Master playfully performed.

Yuri Vorontsov

Alexander Vustin
Credo (2004)

Credo for instrumental ensemble with solo piano was written in 2004 by order of the French publishing house Le Chant du Monde for a concert dedicated to the 75th anniversary of the birth of Edison Denisov. However, in this essay I did not seek to reproduce the features of the ED style; rather, this is a kind of conversation with him from “my own positions.” This is a small, 10-minute statement piece, a kind of symbol of creative faith. At the end, at the crest of development, the timbre of a bass electric guitar appears. Credo is dedicated to the first performers - Mikhail Dubov and Alexey Vinogradov in memory of Edison Denisov.

Alexander Vustin

Yuri Kasparov
Homage to Honegger for 9 performers (2005)

Dedication to Honegger is a rather unusual play for me. It’s unusual if only because in it I basically used thematic material that was not my own. I did something similar when I wrote the play “The Devil's Trills.” But this was in 1990, and then my main task was to write something that a Soviet listener not familiar with modern music would be intrigued and captivated by. In 2005, of course, I set a completely different task. My appeal to Honegger is not accidental. It's not just because I love his music. His book “I am a composer” and his articles, Honegger’s pessimism, his intelligence and his caustic humor also made a strong impression on me during my formative years as a musician.

The melodies and songs of the Russian people inspired the work of famous composers of the second half of the 19th century. Among them were P.I. Tchaikovsky, M.P. Mussorgsky, M.I. Glinka and A.P. Borodin. Their traditions were continued by a whole galaxy of outstanding musical figures. Russian composers of the 20th century are still popular.

Alexander Nikolaevich Scriabin

Creativity of A.N. Scriabin (1872 - 1915), a Russian composer and talented pianist, teacher, and innovator, cannot leave anyone indifferent. In his original and impulsive music, mystical moments are sometimes heard. The composer is attracted and attracted by the image of fire. Even in the titles of his works, Scriabin often repeats words such as fire and light. He tried to find the possibility of combining sound and light in his works.

The composer's father, Nikolai Alexandrovich Scriabin, was a famous Russian diplomat and active state councilor. Mother - Lyubov Petrovna Skryabina (nee Shchetinina), was known as a very talented pianist. She graduated with honors from the St. Petersburg Conservatory. Her professional career began successfully, but soon after the birth of her son she died of consumption. In 1878, Nikolai Alexandrovich completed his studies and received an appointment to the Russian embassy in Constantinople. The future composer's upbringing was continued by his close relatives - his grandmother Elizaveta Ivanovna, her sister Maria Ivanovna and his father's sister Lyubov Alexandrovna.

Despite the fact that at the age of five Scriabin mastered playing the piano, and a little later began to study musical compositions, according to family tradition, he received a military education. He graduated from the 2nd Moscow Cadet Corps. At the same time, he took private lessons in piano and music theory. Later he entered the Moscow Conservatory and graduated with a small gold medal.

At the beginning of his creative activity, Scriabin consciously followed Chopin and chose the same genres. However, even at that time his own talent had already emerged. At the beginning of the 20th century, he wrote three symphonies, then “Poem of Ecstasy” (1907) and “Prometheus” (1910). It is interesting that the composer supplemented the Prometheus score with a light keyboard part. He was the first to use light music, the purpose of which is characterized by revealing music by the method of visual perception.

The composer's accidental death interrupted his work. He never realized his plan to create “Mystery” - a symphony of sounds, colors, movements, smells. In this work, Scriabin wanted to tell all of humanity his innermost thoughts and inspire them to create a new world, marked by the union of the Universal Spirit and Matter. His most significant works were only the preface to this grandiose project.

Famous Russian composer, pianist, conductor S.V. Rachmaninov (1873 - 1943) was born into a wealthy noble family. Rachmaninov's grandfather was a professional musician. His first piano lessons were given to him by his mother, and later they invited music teacher A.D. Ornatskaya. In 1885, his parents sent him to a private boarding school with the professor of the Moscow Conservatory N.S. Zverev. Order and discipline in the educational institution had a significant influence on the formation of the future character of the composer. He later graduated from the Moscow Conservatory with a gold medal. While still a student, Rachmaninov was very popular among the Moscow public. He has already created his “First Piano Concerto”, as well as some other romances and plays. And his “Prelude in C sharp minor” became a very popular composition. Great P.I. Tchaikovsky drew attention to Sergei Rachmaninov’s graduation work - the opera “Oleko”, which he wrote under the impression of the poem by A.S. Pushkin "Gypsies". Pyotr Ilyich achieved its production at the Bolshoi Theater, tried to help with the inclusion of this work in the theater’s repertoire, but unexpectedly died.

From the age of twenty, Rachmaninov taught at several institutes and gave private lessons. At the invitation of the famous philanthropist, theatrical and musical figure Savva Mamontov, at the age of 24 the composer became the second conductor of the Moscow Russian Private Opera. There he became friends with F.I. Chaliapin.

Rachmaninov's career was interrupted on March 15, 1897 due to the non-acceptance of his innovative First Symphony by the St. Petersburg public. Reviews of this work were truly devastating. But the composer’s biggest disappointment was the negative review left by N.A. Rimsky-Korsakov, whose opinion Rachmaninov greatly valued. After this, he fell into a prolonged depression, which he managed to get out of with the help of hypnotist N.V. Dalia.

In 1901, Rachmaninov completed work on the Second Piano Concerto. And from this moment his active creative activity as a composer and pianist began. Rachmaninov's unique style combined Russian church chants, romanticism and impressionism. He considered melody to be the main leading principle in music. This found its greatest expression in the author’s favorite work, the poem “Bells,” which he wrote for orchestra, choir and soloists.

At the end of 1917, Rachmaninov and his family left Russia, worked in Europe, and then went to America. The composer had a hard time experiencing the break with his homeland. During the Great Patriotic War, he gave charity concerts, the proceeds of which he sent to the Red Army Fund.

Stravinsky's music is distinguished by its stylistic diversity. At the very beginning of his creative activity, it was based on Russian musical traditions. And then in the works one can hear the influence of neoclassicism, characteristic of the music of France of that period and dodecaphony.

Igor Stravinsky was born in Oranienbaum (now Lomonosov), in 1882. The father of the future composer Fyodor Ignatievich is a famous opera singer, one of the soloists of the Mariinsky Theater. His mother was pianist and singer Anna Kirillovna Kholodovskaya. From the age of nine, teachers taught him piano lessons. After graduating from high school, at the request of his parents, he entered the law faculty of the university. For two years, from 1904 to 1906, he took lessons from N.A. Rimsky-Korsakov, under whose guidance he wrote his first works - a scherzo, a piano sonata, and the suite “Faun and Shepherdess”. Sergei Diaghilev highly appreciated the composer's talent and offered him cooperation. The result of the joint work was three ballets (staged by S. Diaghilev) - “The Firebird”, “Petrushka”, “The Rite of Spring”.

Shortly before the First World War, the composer left for Switzerland, then to France. A new period begins in his work. He studies the musical styles of the 18th century, writes the opera Oedipus the King and music for the ballet Apollo Musagete. His author's handwriting changed several times over time. The composer lived in the USA for many years. His last famous work is “Requiem”. A special feature of the composer Stravinsky is the ability to constantly change styles, genres and musical directions.

Composer Prokofiev was born in 1891 in a small village in the Yekaterinoslav province. The world of music was opened to him by his mother, a good pianist who often performed works by Chopin and Beethoven. She became a real musical mentor for her son and, in addition, taught him German and French.

At the beginning of 1900, young Prokofiev managed to attend the ballet “The Sleeping Beauty” and listen to the operas “Faust” and “Prince Igor”. The impression received from the performances of Moscow theaters was expressed in his own creativity. He writes the opera "The Giant" and then the overture to "Desert Shores". The parents soon realize that they cannot continue teaching their son music. Soon the aspiring composer, at the age of eleven, was introduced to the famous Russian composer and teacher S.I. Taneyev, who personally asked R.M. Gliera to study musical composition with Sergei. S. Prokofiev passed the entrance exams to the St. Petersburg Conservatory at the age of 13. At the beginning of his career, the composer toured and performed a lot. However, his work caused misunderstanding among the public. This was due to the features of the works, which were expressed in the following:

• modernist style;
• destruction of established musical canons;
• extravagance and ingenuity of compositional techniques

In 1918, S. Prokofiev left and returned only in 1936. Already in the USSR, he wrote music for films, operas, and ballets. But after he was accused, along with a number of other composers, of “formalism”, he practically moved to live in the country, but continued to write musical works. His opera “War and Peace”, ballets “Romeo and Juliet”, “Cinderella” have become the property of world culture.

Russian composers of the 20th century, who lived at the turn of the century, not only preserved the traditions of the previous generation of creative intelligentsia, but also created their own unique art, for which the works of P.I. Tchaikovsky, M.I. Glinka, N.A. Rimsky-Korsakov.

In order to allow myself to talk like a nightingale about the stated topic, I want to immediately define the terminology a little: what will we call classical music and who are the modern composers of classical music? And in these matters, I will probably completely rely on the opinion of Stephen Fry, whose book on the history of classical music I literally devoured. So if anyone disagrees with me: questions, please, not to me - to Stephen Fry :). So,

• Classical music. Strictly speaking, this term refers only to a fairly short period of classicism (approximately 1750-1830). But if we are only listeners, tell me: do we need these rigors? Therefore, the broad mass of people has developed a strong habit of calling any serious music that requires certain emotional effort and attention to listen to as classical.
• Modern composers. It is traditionally believed that classical is music that has stood the test of time, the music of the past. What contemporary composers can we talk about then? It turns out that classical music cannot be modern? No, after all, when we crossed into the 21st century and the 20th century became the past, a certain metamorphosis occurred. On the one hand: the last century allows his music to be treated as classical. On the other hand: here it is, we lived in it quite recently! Therefore, this music is modern.

Top list: contemporary classical music composers

Based on the points stated above, I am ready to present you my very short top. It does not pretend to list all the well-deserved names; it reflects only my personal views. I do not follow either the chronology or the ranking of works of modern classical music. So here's the list:

Maurice Ravel

His most famous work is Bolero. Attitudes towards it are very contradictory: some do not consider it classical music at all, others are delighted. I've listened to it live several times and love it.

Sergei Rachmaninov

Rhapsody on a Theme of Paganini. Paganini is a classical composer who gave modern composers an almost eternal theme!

Dmitry Shostakovich

If I'm not mistaken, he was called a classic during his lifetime. I respect him, but I still need to discover his music for myself.

Sergei Prokofiev

My favorite is the Dance of the Knights from the ballet Romeo and Juliet. This work is exactly the standard for me: both modern and classic.

Carl Orff

I don't know what the form of the work that made him famous is called. This is Carmina Burana, in our opera house it is listed as “Musical and choreographic performance for choir, soloists, ballet, orchestra.” In general, Orff took the poems of medieval vagant poets and set them to music. They say that after finishing this work, the composer ordered his publisher to destroy everything that had been written earlier.

Contemporary composers of classical film music of the 20th century

Now I want to quote Fry:

Film music - isn't it new classical music?

So, my list of film composers of the 20th century, that is, modern classical composers, is quite short. Maybe you, readers, will complement it with your favorite movie music?

Leonard Bernstein

This is not the kind of classical music that I could call my favorite, but it is very famous. I'm talking about the musical "West Side Story" - a modern variation on the theme of Romeo and Juliet.

Nino Rota

Italian composer who wrote music for many cult films of the 20th century. His version of Romeo and Juliet is amazing! For a long time I thought that this was some kind of ancient, medieval music. I was quite surprised when I found out that it was very modern.

Alfred Schnittke

Probably the most modern composer of all those listed. It was a real discovery for me, at least what I listened to and what I will now post.

There is also a whole group of modern composers who write classical music - the avant-garde. But I don’t understand it at all and I have absolutely no list in this direction! I quote Fry again:

Of course, changes always happened: frightening - even shocking - new compositions appeared, from which the public simply went dumb and was imbued with the desire to get home as quickly as possible. Remember Wagner, Beethoven, Bach - they all terrified the public. Maybe not as often as they delighted me, but they certainly did. The composers of the avant-garde wave do the following: they speak a language that does not so much terrify the audience as leave it unaware of the fact that in front of it is music and, therefore, there is a reason to be terrified.

I think it's important to be able to enjoy music that conveys feelings without words. In the age of high technology, we often forget about enduring spiritual values. One of these values ​​is (classical) music - the spiritual heritage of our ancestors.

John Towner Williams

American composer, conductor and one of the most successful film composers in history. Williams is a five-time Oscar winner (for his scores for the films Fiddler on the Roof, Jaws, Star Wars Episode IV: A New Hope, E.T., Schindler's List). It also has 49 nominations, making it the second most nominated for this award. Throughout his career, Williams wrote music for such famous films as Jaws, Superman, E.T., Indiana Jones: Raiders of the Lost Ark, Schindler's List, Jurassic Park, and the epic Star Wars. ", "Harry Potter" and many others.

When you search for his work, you will understand why he is in the first place. After all, he created melodies that simply give you goosebumps. Each of his works has its own meaning and associations. Each work is unique and perfect in its own way.

3 best works:

OST Home Alone - End Title

OST Harry Potter - Main Theme

OST Star Wars - The Imperial March

This is a South Korean composer and pianist. He became internationally famous with the release of his studio album First Love with the title track River Flows In You. There is also a rumor that the composition River flows in you was supposed to be performed in the film "Twilight" as Bella's Lullaby. But it was not heard due to the fact that it was published before the release of the film. That’s actually why Carter Burwel’s composition was approved.

This composer with his works is more suitable when you need to think about something sad, but at the same time you do not want to feel emptiness in your soul. His music will perfectly help you feel the beauty not only on happy days, but also on sad days.

3 best works:

River Flows In You

Ludovíco Eináudi (Ludovico Einaudi)

Italian composer and pianist. His works combine classical traditions with elements of pop, rock, folk music and other modern trends. He imbues his music with sensual and deeply emotional imagery, and this is the main reason why Einaudi is one of the most respected and sought after composers today.

Whether you want to feel a powerful surge of inspiration or just sit in silence, I can provide you with the perfect composer whose melodies will simply capture your heart and soul.

3 best works:

In un"altra vita

Alizbar (Elizbar)

Russian-Hungarian multi-instrumentalist and composer. He founded the ensemble "Ann" Sannat. He also flawlessly plays several dozen instruments, including folk ones (among them are bouzouki, citterns, charango, mandolin, boyran, kobza, many varieties of flutes, percussion and hang). Since 2002, his passion for the Celtic harp, to which for some time he devoted himself almost completely.

If you are too tired and want to rest. This composer has already provided you with the opportunity to relax your soul and body, all you have to do is turn on his work. Turning on his melodies, you just want to lie down and dream of taking a break from reality, just closing your eyes for a couple of minutes.

3 best works:

Last Fallen Leaf

Whisper of the Stars

Vanessa-Mae (Vanessa-Mae)

She is a British violinist and composer. She became known mainly for her techno adaptations of classical compositions. Her performance style: “violin techno-acoustic fusion” or pop violin.

If you like to listen to the violin play, but at the same time you love not only calm, but also catchy, funny songs or melodies, then this is the ideal option for you. She has melodies and songs for absolutely everyone.

3 best works.

The International Union of Composers of the XXI CENTURY is a non-profit association of professional composers.

Since the implementation of the project and its functioning takes place in different countries, it was decided for each specific country to choose the most convenient and least problematic form of existence. For Russia, this is “a public organization without forming a legal entity.”

Thus, on the territory of the Russian Federation our activities are regulated by:

1. Federal Law “On Public Organizations”
2. Civil Code
3. Federal Law “On Non-Profit Organizations”

The central representative office of the Union is located in Spain (the exact address can be found in the “Contacts” section). The term “central representation” is conditional here, since the principles and technologies of the functioning and development of our Union of Composers presuppose universality and collegiality of management, and modern means of communication allow the instant exchange of information beyond the borders of regions and states.

You can learn more about the principles of existence of the International Union of Composers of the XXI CENTURY

The criteria for approval of applications are described in and assume the candidate’s professional skills and the presence of completed projects.

The International Union of Composers of the XXI CENTURY is not a narrowly focused organization. We are happy to cooperate with conductors, and with directors of choirs and orchestras, and with performers, and with creative people in other specialized fields.

Dear Colleagues!

The need to communicate with colleagues is a vital feature of composer creativity, as well as creativity in general. For music, which is the universal language of communication of humanity, regardless of nationality and religious affiliation, issues of mutual exchange of ideas, methods and creative experience are especially relevant. This is equally useful for the composers themselves, for the performing musicians, and for the listeners.

Another important aspect of the organization’s activities should be strengthening ties between composers and performers from different countries. Because situations often arise when a performer or orchestra needs contemporary works of a certain genre and style, and the opportunity to turn to the authors of the works, and even more so the opportunity to choose from the works of several authors, is very limited. Or, conversely, the composer has a composition designed for a specific composition or performer, but there is no opportunity to present this composition. We set our task, at a minimum, to inform musicians about the compositions of members of our organization, for which there will be a special section on its website.

Modern technologies designed to optimize the process, composition, performance, as well as both musical notation and sound recording of musical works will not be left without attention. Of course, preference will be given to works of academic genres, although the possibility of presenting worthy works of light genres is also not excluded.

We are open to any legal forms of cooperation, as well as to constructive criticism, so we will gladly consider all suggestions and wishes of interested parties.

Honorary member of the “International Union of Composers - 21st Century” - Honored Artist, State Prize laureate, Professor of the Department of Composition and Instrumentation of the Gnessin Russian Academy of Music, - Alexey Muravlev.