Valentyn Sylvestrov

Walentyn Wassylowytsch Sylwestrow (Ukrainian Валентин Васильович Сильвестров, scientific transliteration Valentyn Vasyl'ovyč Syl'vestrov; born September 30, 1937 in Kiev) is a Ukrainian composer.

• 2.1 Foreword
• 2.2 The Kiev Avant-Garde ( 1960-1970 )
• 2.3 The transition ( 1970-1974 )
• 2.4 The new style ( 1974 )
• 2.5 The death of his wife Larissa

Life

The early years (1937-1970)

Walentyn Sylwestrow was born on September 30, 1937 in Kiev in the former Ukrainian Soviet Socialist Republic. To his immediate familial environment, such as the father's occupation, there are no accurate sources. The way the music he found, as compared to other composers, until relatively late: At 15, he took music lessons for the first time, while many things at the same time teach themselves. From the year 1955 he attended for three years, the Kyiv Evening Music School, where he attended piano lessons. During this time, he begins at the Kiev Institute of engineering and construction studies, he breaks off later.

At 21, he decides to fully support the music and begins at the Peter Tchaikovsky Conservatory to study in Kiev. For one, he visited the class in composition at Borys Ljatoschynskyj, on the other hand, he took lessons from Lyovko Rewucki in contrapuntal laws and harmony. He turns more and more to the avant-garde and starts at the beginning of the 60s with a small circle of composers and conductors from Kiev, among them Igor Blaschkow and Leonid Hrabowsky to teach himself the twelve-tone technique with Hanns Jelinek's "Guide for the twelve-tone " itself. With this knowledge, he composes in 1963 " 1 Symphony ", which he plays to the same year the state exam in composition.

The negative reaction of the conservatory was not surprising, because Sylwestrow ought therefore compose in the style of socialist realism, less free. Due to this, he got the conservatory no diploma issued, but only a certificate stating that he had completed the study.

While still a student begins Silvestrov 1963 to teach as a music teacher at various music schools. In these six years, the resulting works produced primarily in the Central Committee for Music in the Soviet Union to dislike. In 1961 he is "Piano Quintet " heavily criticized at a meeting of young composers for his composition. Within Ukraine, and therefore especially in Kiev his pieces are not played. In the late 1960s the Composers' Union of the USSR excludes him.

But outside the Soviet Union, he can assert itself: In 1967, he received for his Symphony No. 3 ( Eschtaphony ) the " Koussevitzky Prize", which goes back to the same exiled Russian composer. Since 1950 so that young modern composers are excellent, a price that among others, Stravinsky, Bartok and Stockhausen received. Another award follows in 1970 at the International Composition Competition " Gaudeamus " in the Netherlands.

New Directions (1970-1991)

At 33, he proposes a both in his compositions as well as in his professional career a new direction. Sylwestrow now trying to earn as a freelance artist his money solely through his own compositions. The change in his compositions can be interpreted as a step towards the "neo- romanticism ". This has for Sylwestrow result to be less persecuted and suppressed by the Soviet regime, as this style, the system no longer so much in question was as before, the avant-garde.

In the art style prescribed by the State, however, still does not fit into it. Nevertheless, Sylwestrows status improved as a composer until the end of the Soviet Union, even to the extent that he was appointed in 1989 to the " People's Artist " of the Ukrainian Soviet Socialist Republic.

At the end of the 1980s, increasing the number of concerts where you can hear music Sylwestrows significantly. Now He is known both in his native country, Ukraine, and Russia, as well as in the rest of Europe. But particular reputation he gained especially in America. Up to the present time he gets from there invitations to concerts of his own music, but he usually does not follow.

From 1974 to 1984 Sylwestrow going through its most productive phase as a composer.

After the end of the Soviet Union (from 1991 )

Other awards followed even after the end of the Soviet Union: he receives in 1995 with the " Sevcenko State Award " the most prestigious art prize of Ukraine and two years later the Ukrainian Order of Merit 3rd class. Five years after the end of the Soviet Union, 1996, his wife died of Larissa. She had accompanied him from the beginning of his artistic career until her death. Welch has played big role in his life, his wife becomes clear when one hears what Sylwestrow his friend, the composer Andrei Volkonski once said:

"They have in life only a mother and a woman. "

17 years after the beginning of a democratic government and an open society takes Sylwestrow, with a view of the past, the importance and impact of the Soviet regime for himself in this way true:

" [ ... ] Under the Soviet regime, it was so that an incorrect chord was enough and it was followed. This one had a certain importance, even if it was in a negative sense. [ ... ] Today, you can choose the right or the wrong chord and absolutely no one takes notice. "

In October 2011, the National University of Kiev - Mohlya Academy ( NaUKMA ) Sylwestrow awarded an honorary doctorate.

The compositional style Sylwestrows

Foreword

To understand the compositions Sylwestrows, one must know his conception of music. One of his main beliefs to Get close with a quote from the composer Sofia Gubaidulina. Here it becomes clear how great a role does religion play in Sylwestrow:

" In his opinion, everything is already there - everything has already been written. To understand this, one has to remember the Almighty. Everything has already been created once, you have to do nothing more than listen attentively to what is already there, and the recall. Then starts again to oscillate slightly. It was actually all the time already, but now we can also feel the vibrations and perceive it as music. "

In addition, taking the composer, in Sylwestrows believes no important role, since he perceives only the vibrations and transforms them into music, as the following quote shows:

"With the creation of music, the composer is basically nothing more than a damper on the piano. One is called just Beethoven, another Mozart or x or y. Thus filters out a damper this or that, depending on his disposition. It summarizes some of the barely detectable on contractions of music and turns it into something unique. One may see it as a personal merit of the author. "

The Kiev Avant-Garde (1960-1970)

When talking about avant-garde, one must first of all clarify the concept. Avantgarde is taken from the vocabulary of the French military and actually refers to the vanguard, so the troops part of advancing the first and thus had the first contact with the enemy. Here the term then acts so far in the figurative sense that the Kiev avant-garde had turned away from the Soviet government and the progress and thus also turned to the west. The prescribed manner in which be composed, and should sound like music was given at this time by the government and called himself " Socialist Realism ". A style that was then given to other art forms such as painting and literature.

The Kiev avant-garde used but contrary to government mandates almost exclusively funds from the twelve-tone technique, which she had taught herself with Hanns Jelinek's "Guide for the twelve-tone ". This group was the government therefore a great eyesore. The funds that are Sylwestrow used at this time in his compositions typical of the twelve-tone technique and not exceptionally new. Nevertheless, he can stand out from the other composers a little already. His friend Igor Blaschkow recalls that one of the former meeting the Kiev Avant -garde: " Sylwestrow really amazed all the time because he showed that the twelve-tone system for him is something that comes natural and not a Procrustean bed into which you had to cram. "

The transition (1970-1974)

The change that is taking the Sylwestrow is no exception, both in the West and in the East changed you sit down to a pluralism of styles. The composers so keep now no predetermined shape more modern to compose such as the twelve-tone technique. Occur significantly on the one hand the preference of quotes, collages and style blends in the foreground and on the other hand the turn to religious themes. Furthermore, over technical terms from the West to the USSR who are trying to rewrite the currents: "New Simplicity ", " Neo - Romantic ", " minimalism " and " meditative music ".

Andrei Volkonski, one of the composers of the Kiev avant-garde, remembers this change: "Without denying us, we realized that this way (meaning the avant-garde; Author's note ) is not the right and something has destructive ".

The Kiev avant resolves itself completely and Sylwestrows work changed fundamentally: It is done in the years 1970-1973 a transition starting from the twelve-tone technique, a freely tonal, neo- romantic towards a tonal language. The best rewrite can change this with a quote from Sylwestrow itself:

" The avant-garde is a nothing in salt. Try a bunch of times to eat salt. On the other hand, the salt of the avant-garde is still there now - just barely noticeable ".

Sylwestrow describes itself according to the musicologist Tatjana Frumkis but until today still considered avant-garde. In his opinion, " the vanguard also has the ability to break away from her." This style is evident for example in the three-movement work " Drama " (1970/1971) for violin, cello and piano, or even in "Meditation " with the subtitle " Symphony for Chamber Orchestra " (1972). Both are equally interesting as Sylwestrow also scenic resources involving for listeners and viewers. At the peak of " meditation " disappears from the concert hall, the light, the orchestra falls silent and the musicians ignite matches, which they then delete it. Only then the music continues.

The music is Sylwestrows during and even after his change " extended, anecdotal and contains allusions to older styles."

The new style ( 1974 )

Walentyn Sylwestrows new style of composing is a very individual and can be difficult to assign to specified currents. This development, from the avant-garde out towards an individual style is very common at that time. Since 1973 he consolidates his new style, which he returns to traditional values ​​such as melodiousness and sonoristischer beauty. He now used idioms of modal and tonal music. The style, the Sylwestrow now is closest, is the above mentioned "neo- romanticism ". Composers of this style usually feel a deep admiration for the music of the 19th century. Considering on Sylwestrow notation so it is striking that he notated every pause, every agogical fluctuation and even the most short Nachklingenlassen about the specified note length with great care.

In other words: " This romantic music has gone through the process of the 20th century. " ( Dorothea speech Penning ).

Sylwestrows work can be compared to "neo- romanticism " best with a restorer of old again wants to shine in the original luster in the context of the. He composes almost exclusively tonal - euphony of the piece is intended to be so in the foreground. Also, the melody plays a very special role as they played or sung by the respective solo instrument from each accompanying instrument or by the orchestra should only be wrapped. An example of this is the song cycle " Quiet Songs ", this work for voice and piano is comparable to classic romantic song cycles such as the " Winterreise" by Schubert. In Sylwestrow the art songs based on texts by famous Russian poet.

The composer himself describes the music he composed since 1974, as " metaphorical music." This name is due to the fact that he - as already mentioned - musical style means of composers of past eras quotes, converts and thus used as metaphors. Sylwestrow is the music by in a new contemporary context. Among the best known works of this period include the " Kitsch Music " for piano (1977). Here he provides a reference to romantic artists such as Chopin and Schumann, her, without, however, to quote directly in this work.

However, one must restrict the viewing of his work not only on this style, as it is characterized not only in the type of notation of the avant-garde, but also in the melody and harmonies. Therefore, there is also the basis of developments 1970-1974 works that are dodecaphonic or tonal in parts, as well as the " postlude " (1984) or the " meta-music " (1992).

The death of his wife Larissa

The death of his wife Larissa in 1996 represents a major turning point in his compositions dar. With numerous suggestions to almost any of his works, they always supported his artistic path.

" For Larissa there was always at the judgment of my pieces just a yes or a no "

A large part of Silvestrov's work has always been influenced by it, but only after her death, he devotes several pieces. One of them is the orchestral work " The Messenger " (1996), which can be described as "neo - classical ". It is marked by a deep sadness and a longing for Larissa. Another work is the " Requiem for Larissa" (1999), in which the shock at Larissa's death is clearly noticeable - also because it sounds very atonal. As in the Viennese classical Latin texts it refers to a requiem mass in his Requiem with a. However, he makes them sometimes hinted briefly, expands them or reduce them - and thus creating space for your own emotions of the listener.

Compositions

• Piano Sonatina (1960, rev., 1965)
• Quartetto piccolo for string quartet (1961 )
• Symphony No.1 (1963, rev. 1974)
• Mystery for alto flute and six Perkussinsgruppen (1964 )
• Spectra for chamber orchestra (1965 )
• Monodia for Piano and Orchestra ( 1965)
• Symphony No.2 for Flute, Timpani, Piano and String Orchestra ( 1965)
• Symphony No.3 " Eschatophony " (1966)
• Poem to the Memory of Borys Lyatoshynsky for Orchestra ( 1968)
• Drama for Violin, Cello and Piano (1970-1971)
• Meditation for Cello and Piano ( 1972)
• String Quartet No.1 ( 1974)
• Thirteen Estrades songs (1973-1975)
• Silence Songs after Pushkin, Lermontov, Keats, Yesenin, Shevchenko, among other things, for baritone and piano (1974-1977)
• Symphony No.4 for Brass and Strings ( 1976)
• Kitsch Music, cycle of 5 pieces for piano (1977 )
• Postlude for Solo Violin (1981 )
• Postlude for cello and piano (1982 )
• Symphony No.5 ( 1980-1982 )
• Ode to the Nightingale, cantata with lyrics by John Keats for soprano and small orchestra (1983 )
• Postlude for piano and orchestra (1984 )
• String Quartet No.2 ( 1988)
• Dedication ( Dedication ), symphony for violin and orchestra (1990-1991)
• Metamusik, symphonic poem for piano and orchestra (1992 )
• Symphony No.6 (1994-1995 )
• The messenger for synthesizer or piano and string orchestra (1996-1997)
• Requiem for Larissa for choir and orchestra (1997-1999)
• Epitaph for Piano and String Orchestra ( 1999)
• Epitaph L.B. for Viola ( or Cello) and Piano ( 1999)
• Autumn Serenade for Chamber Orchestra ( 2000)
• Requiem (2000)
• Hymn 2001 (2001)
• Symphony No.7 (2002-2003)
• Lacrimosa for Viola ( or Cello) Solo ( 2004)

Discography

• 2002 leggiero, pesante, ECM Records
• 2003 Metamusik postlude, ECM Records
• 2004 Quiet Songs, Sergey Yakovenko (baritone ), Ilya Scheps (piano)
• 2004 Requiem for Larissa ", ECM Records
• 2007 Symphony No.6, SWR Radio Symphony Orchestra, Conductor: Andrey Boreyko, ECM Records
• 2007 Bagatelles and serenades, " ECM Records
• 2008 Drama, Post Scriptum, epitaph, Jenny Lin (piano), Cornellius Dufallo (violin), Yves Dharamraj (cello ), Koch Records
• 2008 Symphony No.6, Beethoven Orchester Bonn, conducted by Roman Kofman, MDG
• 2009 Sacred Works, Kiev Chamber Choir, conductor: Mykola Hobdytsch, ECM Records
• 2009 Symphonies 4 & 5, Lahti Symphony Orchestra, Conductor: Jukka -Pekka Saraste, BIS
• 2013 Naive Music ( 1955/1993 ), etc., Elisaveta Blumina; Grand Piano, GP639 Naxos.