www.paiberdin.com russian

A.Meleshkina
[A paper of the conference in network of the musical festival
of the Ural Branch of Russian Composers' Association, Yekaterinburg, 2004]

A search of artist priority in O.Paiberdin's creation

Current situation of artistic culture gives to any author vast opportunities for searches and experiments. Particularly, nowadays within musical practice is overseeing surprising diversification of composition techniques, methods and directions. Which way does young artist choose in order to find himself, but in the same time to be claimed?

Oleg Paiberdin is a representative of young generation of the Ural composers' school. In 1996, he graduated from the Ural State Conservatory named after M.P.Mussorgsky, and already since 1997, he became a member of the Russian Composers' Association. In entire, his creativeness is characterizing by bright innovation of his intentions and his ability for individual realization of them. Above all, O.Paiberdin is interested by nature of sound as that is, its property and its possibility. About that he says so himself and the more clearly his works. It is appreciable favour to especially instrumental works in creative baggage of the composer: String quartet (1992); Choral for string quartet (1992); Sonata for 2 piano (1993); Symphonic movement for large symphony orchestra (1994); Sonata for viola solo (1997); Sinfonia for 4 flutes, 4 horns and string orchestra (1998) and others.

The significant example of instrumental directivity his thinking is creation and further editing such composition as “Zov (Cry, Call)”. From the very beginning it was Concerto in three parts for trumpet, voice, mixed choir and symphony orchestra which was based on the principle of movement from instrumental beginning (I part) to vocal and choir in II part and Final. Already in a year “Zov” have became an instrumental work. In entire, the new orchestral arrange gives more chamber to the work (symphony orchestra is replaced by ensemble of strings and percussions). Transformations touch on form of the work too: now it is one-part composition with through development. As for literature background of the Concerto taken from the T.S.Eliot's poem “Ash-Wednesday”, in the new variant the only first line of the poem have kept as epigraph. And T.S.Eliot's line, opening II part (vocal) of “Zov”—“Because I do not hope to turn”—subsequently have gave life and name to another instrumental piece for cello solo, 4 horns, 4 trumpets, 3 trombones, tuba, piano and percussions (2001). We can say that there are variations on the self-same theme, but with different musician staffs. Thereby, displacement of emphasis form vocal sphere to instrumental one and concrete realization already transformed idea brings about qualitatively diverse result.

However, Oleg Paiberdin's ideas issue not so much from literature sources, but really from musical ones. In addition, in that, undoubtedly, we can see use certain historically existing genres by the composer, but as a rule, over contemplated by him. By devices of contemporary composition techniques and thanks to special composition feeling, he opens in category of genre its some depth basic senses. To such works we can add already named Choral, Sinfonia and Organum “A-nn-A” for string trio (2000), Bagatelle for flute and alto-saxophone (2002), Anthem in memory H.Pursell for 12 violas (2002) as well. We can see that in all these compositions are used sufficiently individual instrumental staffs by O.Paiberdin.

Thus, in Sinfonia the archaic part of the word “sin”, it is putting the main idea of the piece: co-sound groups of orchestra, theme patterns (“sin-” as “co-”). Moreover, in the same time the uncommon instrumental staff of the work puts condition to detail writing and specific composition decision. Meanwhile, in this one-part work we can see features of sonata (tonality rapprochement of main themes in the end of the piece). Thereby, the composer gives us allusion on “sim”phonism of the composition as well.

Anthem in memory of H.Pursell such ancient cantata-oratorio genre as it became in XVII epoch, is contemplating in modern source by the composer: in the first place, it is musician staff—12 violas; secondly, it is use of serial technique. Epigraph, which is taken by O.Paiberdin from creativeness of M.Heidegger, develops idea of circle. The idea of Anthem is taken shape on sound level and composition one and is comprehended by the composer culturalogically: return of distant traditions on new coil of spiral.

In Organum “A-nn-A” the author pursues aim of creation of composition, which could refer to the past, particularly, to medieval time. In this instance, the clear quart becomes the main element of the work, which is interpreted as the main mono-element of medieval time—the epoch of quart. Nevertheless, for the composer the quart becomes the only impulse for creation of the particular world. Using reverberation manner, Oleg Paiberdin obtains effect, which we can compare with church acoustics. In the beginning sounds vibrate on background of the extended quart, they enter the staff of the quart, but subsequently other sounds of full chromatic range emerge and envelop the quart. By such way renewing ancient sounding, the composer uses perfectly contemporary methods of minimalism technique.

One of recent works for clarinet, horn, trumpet, trombone, violin, viola, cello, double-bass and piano—“Flies of Argos” (2003)—is built on peculiar connection of principles of isarithm motet and series. This is an example of already more complicated genre interaction, based on combination of techniques of different epochs.

The brief review of main works of Oleg Paiberdin demonstrates that attention of the composer to sound and soundness puts conditions to priority of clearly instrumental works in his creativeness. As for conception of music immanence, it obliges of the composer to decide specific technological problems. Especially on that account, the composer creates the special sound-substance in him 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. Moreover, this corresponds to epoch, in which the composer becomes author of new devices, which are not only forming any ideas, but which are ideas themselves.

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