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An article from the book “Composers of Yekaterinburg”, Yekaterinburg, 1998

A composer Oleg Paiberdin

Oleg Paiberdin is a representative of young generation of composers; his way in art is just starting. Yet, he has already known how to generate interest of audience thanks to series of his works. In the works we can hear a voice of musician, which produces himself world, having own inner realized conception of work. Undoubtedly, the conception absorbs into itself the richest experience of music of XX century; and in the selfsame time, it reflects individual particularities of the composer. There is brightness of self-expression, tendency towards audience reception in his music; other words, there is openness his music and freedom in selection of means that is especially valuable. “I think that artist has a little of that, that he has to told about that,—Oleg Paiberdin speaks.—Above all, artist must size up himself creative possibilities correctly.”

O.Paiberdin considers that he is a suburbanite, although he lives in Yekaterinburg long time already. In addition, a suburbanite is not only geographical concept, although it is possible that roots of descent play big rule in his life. He was born in Altai [Russia] in 1971. After that, there was study in the music college of Asbest [the Ural region]. In 1996, he graduated and post graduated [1999] from the Ural State Conservatoire named after M.P.Mussorgsky on composition under professor A.Nimensky [Yekaterinburg]. Provincialism is specific comprehension of the world for O.Paiberdin. It is peculiar antithesis for unspirituality, tastelessness and commerce approach to art and publicity, which absorbs all around. Therefore, the composer seeks to actualize himself ideas in that sphere, where he has possible to stop on things, which are the more close to him. Currently, the composer supposes, it is one of methods for “spiritual security” of artist.

For the young composer it is particularly important to understand himself vocation and to hear inside of himself. O.Paiberdin convinced that he can write not so much music, but it must be peculiar answer for his inner impetus. Therefore, particularly, the composer says that the opera genre is alien for his artist directing. So far, he didn't feel endeavor to vocal music, although he has written two vocal circles, where is used Japanese poetry and O.Mandelshtam's verses. He gives preference to instrumental [chamber and orchestra] music. Among his instrumental works there is String quartet [1992], Sonata for 2 pianos [1993], Sonata for viola solo [1997], Symphonic movement for large symphony orchestra [1994], Sinfonia for chamber orchestra [1998]. String quartet was written in educational period, it attracts by its strict thinking, solid artistic embodiment of the quartet idea that helps to the composer to erect unit of the work. In two parts of the piece we can see different verges of the world, which is indicated as complicated interaction between static and mobility—solidified time and intensive, alarm pulse of life. As for emotion level of the quartet, there is perception of instability, disturbance and disharmony. Sometimes the music sounds rigidly and mechanically. In music language of the work traditional polyphonic manner combined with elements of contemporary composition techniques.

O.Paiberdin's works are designed for thinking audience. There is some work in progress in the pieces, which stimulates of listener for speculation. This attributes his music we can see in “Zov” for trumpet, voice, mixed choir and symphony orchestra. For the first time the work was performed by the Ural philharmonic orchestra [dir. Enhe] and the chamber choir “Lik” [dir. A.Litvina] on June 1996 [it was Paiberdin's finished study examination of the Ural State Conservatoire]. For literature basis of the work O.Paiberdin applies to complicated philosophical poetry of T.S.Eliot, particularly, to fragments of his poem “Ash-Wednesday”. Substance of the poetry is overall deep spiritualness, which are felt by us in system of multiple-valued senses. Probably, it is the more closed to the composer's contemplation of the world. Itself poetry of T.S.Eliot is multi-level: different stylistic “zones” are interact in complex synthesis of the English poet-speculator—there are associations with Old Testament or Shakespeare and Dante, or language of philosophical treatises. In the final analysis like stylistics of the poetry determined dramatic composition of the Paiberdin's work. Direction of the work form is based on such principle: there is movement from instrumental beginning [Part I], through connection of vocal [Part II], to choir final [Part III]. The poem line “And let my cry come unto Thee” is epigraph of Part I, the stanza “Because I do not hope to turn” becomes by peculiar key of Part II and, finally, in Part III there is symbol “Word” in different variations of its biblical, poetical, philosophical and everyday meaning. In September 1997, the work “Zov” was performed on the festival “Creative Workshop” at the Rachmaninov Concert Hall of Moscow. In May 1997, Oleg Paiberdin became a member of the Russian Composers' Association due to his achievements in field of music creation.

Oleg Paiberdin is many-sided artist, who tries himself as composer in different spheres of music. For example, there was an electronic music as an old flame of his. He composed some quite successful productions; there are two works for synthesizer KORG-M1 and computer [“Three Bagatelles”, 1994; “Civilization”, 1995] among them.

Now, perhaps, Oleg Paiberdin's music priorities are changing and his experiments in music will appear in the nearest time. New music and new performances will be waiting for us in the future.

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