GUO HUA for flute, clarinet, violin, cello and piano
ORGANUM A-nn-A for violin, viola and cello
BETWEEN DANCE for flute, saxophone, violin, cello and piano
POINT OF THE SKY for chamber orchestra
SOB OUT for alto saxophone quartet
LAMENTO for bass flute, 8 cellos and double bass
IN CONCORD for 8 cellos, double bass and piano
PUSH-KEEN for six instruments
VOX for symphony orchestra and female voices
I KNOW, I WILL NOT FIND OUT for cello and vibraphone
POSTSCRIPTUM, version for string quartet
FLIES OF ARGOS, ballet
ORGANUM A-nn-A and HALLELUJAH for violin, viola and cello
POINT OF THE SKY for chamber orchestra
AND QUIET WIND WAS TELLING ME, bagatelle for flute and alto-saxophone
OSKRIVIK for clarinet, trombone, violin, cello and double bass
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.
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.
The Goeyvaerts String Trio explore the near-hallucinatory world of Gubaidulina, and fragmentary, distilled atmospheres from Paiberdin and Kancheli.
BBC Music Magazine, 2012
There 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.
I 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
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.
His music is fresh, bright and is not cliched, and it is obvious to me.
Oleg 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.
I’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
As 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
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.
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.
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.
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