Compositions

Resurrection Concerto for violin and orchestra (2015) 31′
3(picc), 2(eh), 2(bcl), 2 – 4, 2, 2, 0 – timp, perc(5), harp, celesta, violin, str:10, 8, 6, 4, 2
3 mouvements:  1. Imprisonment  2. Ascension  3. Resolution

"Resurrection" was composed at the beginning of 2015 amid numerous documentaries marking the 70th anniversary of the end of the Second World War and the preliminary work for the piece commissioned at that time "In Luce".
My concerto consists of three movements in a classical sequence, focusing on the solo violin in its virtuosity.
For me, the solo instrument embodies the individual at the mercy of an autocratic system. In specific terms, I see a reference to the situation – especially of Jewish – musicians in a SS concentration camp – despite the degrading and devastating conditions, masterpieces were composed there like the "Quatuor pour la fin du temps" by Olivier Messiaen.
My work is based on the tonal twelve-tone row of the violin concerto by Alban Berg, composed in 1935 – g b d f# a c e g# bb c# d# f. I, of course, adopt a very different approach, renouncing the dodecaphonic, instead creating sound scapes out of the material and developing them in different stylistic directions.
In the first movement "Imprisonment" the threatened soloist faces the orchestra, symbolising his tormentor. The system forces him to collaborate – his life is at stake. In an elegiac sequence the vision of his own voice as a melancholic cantilena emerges amid the external compelling forces.
The second movement "Ascension" is at once the soul and shade of the tormented being. Virtually deprived of his bow, he stands alone at the end – all that is left to him, a sparse rune-like pizzicato. Finally, as if heeded by a choir of angels, his soul is carried up into higher spheres.
The third and final movement "Resolution" brings us back down to the ground and our multi-faceted contradictory reality. Classic minuet-style violin fragments are grotesquely juxtaposed with profane motifs from Caribbean folklore and techno beats. Following a grand eight-part double canon in fifths a new undreamed-of musicscape unfolds – in a majestic violin solo the violinist finds himself again, his dignity and beauty restored. In the stretta he defies his pursuers in a "tour de force" of mad panache. Untouchable, he scales the heavenly ladder leaving behind the absurdity of the world.

The Tatar composer Sofia Gubaidulina  comments on the score:
"…it makes a powerful impression. You really feel the profound self-commitment with which it was written. The contrast between the aggression of the orchestra and expression of the solo violin is very impressive. The text includes several dramatic, even heroic episodes. The music captivates you with its dynamic potential.
"…my congratulations on your work. Composing good works is important – for our culture. I wish you success in your efforts. You deserve recognition".