Composer Oleg Paiberdin
russian official site

BETWEEN DANCE for flute, saxophone, violin, cello and piano
performed by GAMEnsemble (Russia),
at Concert Hall of Surgut State Music Collage, 2017

GUO HUA for flute, clarinet, violin, cello and piano
performed by Moscow Contemporary Music Ensemble
at Concert Hall of Sverdlovsk Philharmonie, Yekaterinburg, Russia, 2011

IN CONCORD for 4 cellos and piano
performed by GAMEnsemble directed by Oleg Paiberdin
at Chamber Hall of Moscow Philharmonie, 2018

LAMENTO for bass flute and strings
performed by Moscow Chamber Orchestra directed by Sergey Pospelov
and Edyta Fil (bass flute)
at Concert Hall of Moscow House of Composers, 2017

ORGANUM A-nn-A for violin, viola and cello
performed by “Goeyvaerts String Trio” (Belgium),
Challenge Records International B.V., the Netherlands, 2012

AVE for piano
performed by Mona Khaba (Russia),
at Concert Hall of Surgut State Music Collage, 2017

POINT OF THE SKY for chamber orchestra
performed by Chamber Orchestra “Soloists of Nizhny Novgorod”
at Old Concert Hall of Nizhny Novgorod Lobachevsky State University, 2014

SOB OUT for alto saxophone quartet
performed by GAMEnsemble (Moscow)
at Evangelical Lutheran Cathedral of Saints Peter and Paul, Moscow, 2012

LOCUS NASCENDI for flute quartet
performed by Syrinx Flute Quartet (Moscow)
at Grand Hall of Moscow Conservatory, 2007

SINFONIA for orchestra
performed by Ural State Philharmonic Orchestra (Yekaterinburg)
at Ural State Philharmonie, 1998

PUSH-KEEN for six instruments
performed by Moscow Contemporary Music Ensemble
at Concert Hall of Moscow House of Composers, 2008

performed by Viola Ensemble of Yekaterinburg, conductor A. Averin
at Grand Hall of Ural State Philharmonie, 2003

Video of VOX for symphony orchestra and female voices performed by State Symphony Orchestra

VOX for symphony orchestra and female voices
performed by Svetlanov Symphony Orchestra
(conductor Vladimir Jurowski)
at Tchaikovsky Concert Hall, Moscow, 2016

IN CONCORD for 4 cellos and piano
performed by GAMEnsemble directed by Oleg Paiberdin
at Chamber Hall of Moscow Philharmonie, 2018

I KNOW, I WILL NOT KNOW for cello and vibraphone
performed by UmeDuo (Sweden)
at H95, Basel, Switzerland, 2017

POSTSCRIPTUM, version for string quartet
performed by Romantic String Quartet (Moscow)
at Sterkh Gallery, Surgut, Russia, 2014

performed by Laboratory for New Music Ensemble (Novosibirsk)
(conductor Sergey Shebalin)
at Concert Hall of Novosibirsk Philharmonia, Russia, 2014

ORGANUM A-nn-A and HALLELUJAH for violin, viola and cello
performed by “Goeyvaerts String Trio”, Sint-Niklaas, 2014

POINT OF THE SKY for chamber orchestra
performed by Chamber Orchestra Soloists of Nizhny Novgorod
(conductor Yevgeny Kirillov)
at Old Assembly Hall of Lobachevsky State University, Nizhny Novgorod, Russia, 2014

AND QUIET WIND WAS TELLING ME, bagatelle for flute and alto-saxophone
performed by GAMEnsemble (Moscow)
at Centre Des Arts d'Enghien, France, 2010

OSKRIVIK for clarinet, trombone, violin, cello and double bass
performed by eNsemble (St. Petersburg)
at Central Museum of Wireless named after A.S.Popov, St.Petersburg, Russia, 2008

Y.Musaelyan Members of the jury were unanimous, which is not surprising: we are talking about well-known and successful author, whose creativity is happily combined by excellent mastery of craft and the originality of the author's thinking, in which all technical aspects of the composition are only a means for the most organic embodiment of musical ideas. Jewelry dressing subtleties of sound, dramatic setting out his score it is the gourmet “Chinese” piece as poetic, as the hearing, and it fully corresponds to its name.

Da capo al fine, 2014

Oleg Paiberdin makes strong impression, and Goeyvaerts Trio is possible to transfer a passionate saturation through its the music sharp interpretations.

De Standaard, 2012

The Russian composer Oleg Paiberdin surprises with Organum A-nn-A, the piece that starts very meditative like Pärt but turns into raw string sounds. <...> The trio brings every piece with the maximum of intensity.

Klassieke Zaken, 2012

The Goeyvaerts String Trio explore the near-hallucinatory world of Gubaidulina, and fragmentary, distilled atmospheres from Paiberdin and Kancheli.

BBC Music Magazine, 2012

M.PaddingThere is a big fantasy in sound... all pieces sound very different which I like very much... totally different in everything. Actually I think that he deals very good with diatonic music. I find these pieces more interesting then the more mainstream chromatic stuff. He is influenced as it seems by repetitive music and that influence is transformed in a real original way... there is a very good use of pauses and silences. He has two faces in music. One is very soft, another is very raw. And he combines them often both in one piece. That is psychologically interesting.

composer M.Padding,
Amsterdam, 2009

Clarinetist Alex SouthI enjoy the overlapping lines, the harmonies, the range of dynamics, the way the parts interlock—but most of all the feeling behind it (about the work “Sob out”).

musician of the Scottish Clarinet Quartet A.South
Edinburgh, 2007

.Besides of the hit in pictures of Man Ray's film the Emak Bakia, there are very exact, capacious, fresh sounds, and the epoch has started talking in these ones. If to ask him(her)self a question: how to express in sounds the thought about culture of 20th years of XX century? And it sounded like in the work.
(About the work “Cantus Firmus”)

M.Shalaev (Hubris-ipod)
www.livejournal.com, 2010

B.FrankshteinHis music is fresh, bright and is not cliched, and it is obvious to me.

composer B.Frankshtein,
Musical Review,
Moscow, 2009

Composer Alexandor ShchetinskyOleg Paiberdin’s music attracts with its naturalness, precision and cleanliness of writing, emotional richness and plasticity of the form built without prejudices. His musical language is quite simple, but at the same time it does not contain any cliche, nothing is made mechanically or from force of habit, everything has been thoroughly heard out and verified by inner hearing. That leads to very fresh sound. He widely uses diatonicism that is not an archaic tonality but modality. It is a hard job to write in new diatonic techniques, as one should make a path on a blade of the knife to not lose attractiveness and intensity of sounding. Paiberdin succeeds in this.

composer A.Shchetinsky
Kharkov, 2001

composer Peter OwenI’ve listened to this piece several times, each with growing admiration. It has a highly individual, haunting and hypnotic affect arising from a tightly disciplined structure developing hints (to me) of bird song, folksong and chants whilst the textures and interplay between the two instruments are fascinating (about the work “Bagatelle”).

psychologist and composer P.Owen
Leeds, United Kingdom, 2007

Music critic Gennady SakharovAs for me, my soul more gravitates towards O.Paiberdin’s works. In them there are emotionality and expressiveness of natural, I would say, heathen principles. At the same time it is by amazing manner combined with clear logic of development, but without any damage for contemporary composition technique as such.

music critic G.Sakharov
Radio channel “Gorod-FM”, Yekaterinburg, 2004

Every time, experimenting with instrumental staff, inventing new timbre, texture or in his own way using already well-known techniques of composition, he creates astonishing works, which in their own way are “breathing” music spaces. Composing his works, Paiberdin investigates nature of sound at the same time; he wants to sense natural sound as such.

musicologist A.Meleshkina
The Ural State Conservatoire, Yekaterinburg, 2005

Especially on that account the composer creates the special sound-substance in every work, every time applying to new devices, taking up special instrumental staffs. Moreover, in himself works O.Paiberdin investigates itself music as it is and its historical progress. Choosing this or that historically structured music genre, O.Paiberdin contemplates it as new one, thinking over ancient things in the material of contemporary possibilities. Often such links open original meanings of genres. In basis of O.Paiberdin’s intentions lies legible rationalism. And this corresponds to epoch where the composer becomes author of new devices, which are not only forming any ideas, but which are ideas themselves.

musicologist A.Meleshkina
The conference of the Ural Composers' Association Musical Festival, Yekaterinburg, 2004

Composer Sergey BerinskyAs for his incarnation of himself ideas, he is exeedingly rational. Musical result is always unexpected, bright and life-capable.

composer S.Berinsky
The Music Academy 3-4, Moscow, 1998

There is brightness of self-expression, tendency towards audience reception, other words, openness his music and freedom in selection of means that is especially valuable.

musicologist N.Ivanchuk
From the book “Composers of Yekaterinburg”, Yekaterinburg, 1998

Composer Oleg PaiberdinI think that artist has a little of that that he has to tell about that.

composer O.Paiberdin

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