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Boris Filanovsky (Russia) - ‘Rheos’ for Vn., Va., Vc.
and Pf. 동영상
The
ancient Greek word Rheos means flow. Famous everything
flows by Heraclythus sounds as panta rhei. From
rheos derive such essential concepts as rhyme
(assonance) and rhythm.
__ Why flow? Because
I am fascinated by an idea of continuity.
__ Why rhyme? Because
in physical reality we can only perceive continuity
if it is logically divided, while division as
operation is impossible without repeatedness?
which is, in its turn, nothing but similarity
in the distance (Stravinsky called it parallelism).
__ Why rhythm? Because
in my piece rhythm is far from its usual function
to measure the time; I hear rhythm as the breathe
of a flow, its streaming consisted of multispeed
amount of flows, something like a complex sound
wave shaped by many simple waves.
__ Flow means (and
Rheos presents) an integrity of components ? rhythm,
harmony, texture, line ? which exist simultaneously
in the piece being combined in different ways.
However, harmony flows into rhythm, line into
harmony, diverse kinds of figurations derived
from basic structural points shape the texture
etc., ? but each transcends its borders in juxtaposition
and interaction. The difference between the ways
of combining them all is the main formal factor.
A real continuum has no chance to be transformed
into an opus. In other words, we mentally prolong
and overcome the discontinuity of the piece by
means of parallelism and contrast, the same things
that build the form.
__ What can be caught
from first sight when listening to Rheos is the
texture. The piano part counteracts the united
sound body of strings, while this body ramificates
from time to time into microflows of different
velocities. Both piano and strings play in similar
power manner, both try to dominate. The performers’
task is extremely hard, as the rhythmic ecriture
is very complicated in terms of playing together.
And even more, the score requires a real virtuosity.
However, there is no concert style, no contest
between parts, no solo. I would describe instrumental
style presented here as a “fight under the carpet”.
__ There is actually
no motive development. The horizontal dimension
oscillates around a certain essential figure,
silent, not presenting but directing the process
from behind the curtain. This figure is being
approximated nearer and nearer by means of a kind
of stochastic-determined serial technique (applied
to melodic and harmonic structures appearing and
dissolving in the flow), which however has no
deal with classical models, neither new-Viennese
practice nor strict experiments after 1945. This
technique is based on a row of six different intervals
that produce rows of seven different notes. These
rows, attached one to another by their first and
last notes (2 to 3), unroll to theoretically endless
chains. They produce sort of dissimetrical repeatedness
whose rules are not transparent for live perception
and for analysis.
__ But the aim of
this new technique (first developed in my Polyphonion)
is just to reach the abovementioned essential
figure. It is a pure melody without any accompaniment
or counetrpoint. It appears partially in the second
half of the piece and as a whole only in the end,
played by three strings in unisono. In fact, this
melody without words is written upon a small text
by Paul Celan:
Nicht
am meinen Lippen suche deinen Mund,
Nicht vorm Tor der Fremdling,
Nicht im Aug’ die Trane.
Sieben Nachte hoher wandert Rot zu Rot,
Sieben Herzen tiefer pocht die Hand ans
Tor,
Sieben Rosen spater rauscht der Brunnen.
Do not seek your mouth next to my lips,
Neither a stranger before a gate,
Nor a tear in the eye.
Seven nights higher red wanders to red,
Seven hearts deeper the hand knocks on the
gate,
Seven roses later purls the spring. |
__ The keyword for
Celan’s text, spring, is a source of a flow, which
is the keyword for my piece. But even here there
is some silent figure: the last words of the poem
(rauscht der Brunnen) are not put in sound. Instead
of completing the “poem” the melody dissolves
itself in the new serial flow, furiously concluding
the piece. It opens the whole system to new questions,
it denies the answer that already seemed to be
found.
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Graduated in 1995 from the
Rimski-Korsakov State Conservatoire where studied under Boris Tishchenko. At the
same time (1992-1997) attended the Russian Seminare for Young Composers at
Ivanovo, under Sergei Berinski. Winner of IRCAM Reading Panel’96-97. In 1998
studied at IRCAM. Lessons and master-classes with Paul-Heinz Dittrich, Louis
Andriessen, Wolfgang Fihm. In November 2001 Arditti Quartet performed Lygoi
during their master-class in Moscow. Since 2002 he is the artistic leader of
ensemble, the only contemporary music group in ST.Petersburg, supported by the
Foundation for Culture and the Arts ‘Pro Arte Institute’. Accomplished numerous
musical projects, among them “A Tour Around Messe de Tournai”, “Pythian Games”
(annual), “Seven Words. Joseph Haydn and The Group of Authors” etc. In 2003 won
Irino Prize for Chamber Music, Tokyo (with Polyphonion). In September 2003
substituted for Louis Andriessen in a master-class for young composers, with
Orkest De Volgarding (ST.Petersburg, Conservatoire). Works performed by Avanti!
Chamber orchestra, Frances-Marie Uitti, Orkest De Volgarding, Nieuw Ensemble,
Studio for New Music Moscow, Ural Philgarmonic Orchestra. Current Works include
commissions form Doelen Ensemble, Slagwerkgroup Den Haag, Ensemble Elektra,
Nathalia Gutman. Ensemble LOOS has commissioned from him a muilimedia work for
your 2006/07.
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