FANTASY on RIMSKY-KORSAKOV’S SCHEHERAZADE for Two Pianos Eight Hands
Originally written for Four Pianos. Commissioned by the "Pianissimo!", Chicago based piano quartet.
Compositions
CompositionsCALIGULA’S FAVORITE PLAY, OPERA in TWO ACTS (Libretto by Eric Nicolas and Igor Tsunsky freely inspired by ‘CALIGULA’ by ALBERT CAMUS © Editions Gallimard) for mezzo-soprano, 2 tenors, 2 baritones, bass, 2 choruses and small symphony orchestra
I have chosen to retell the story of the tyrannical Roman Emperor Caligula, a megalomaniacal, mad king seeking to prove to the world that his disastrous choices have been for the best.
WILD TURNPIKE, SHORT FILM-BALLET BASED ON PREEXISTING MUSIC
It is based on Lauren Starobin’s story of a young woman searching for a connection. Turning onto the ‘Wild Turnpike,’ she is thrust into a surreal odyssey and encounters strange characters in a series of vignettes. A strange couple, a trio of capricious girls, a man unable to move forward, and a deceptive glamazon.
LULLABY to KIRA
Poetry by Marina Tsvetaeva
for voice and piano
This lullaby is dedicated to my granddaughter. This was my reaction to good news I heard about the appearance of a girl named Kira in our family.
SUMMER from the Vivaldi’s SEASONS, transcription for Two Pianos Eight Hands
Piano concerto transcription for Two Pianos Eight Hands. Commissioned by the "Pianissimo!", Chicago based piano quartet.
FANTASY on RIMSKY-KORSAKOV’S SCHEHERAZADE for Four Pianos
Commissioned by the "Pianissimo!", Chicago based piano quartet for the Debut concert at Anne and Howard Gottlieb Hall of the Merit School of Music (Chicago, IL).
SUMMER from the SEASONS for Four Pianos
Piano concerto transcription for Four Pianos. Commissioned by the "Pianissimo!", Chicago based piano quartet, for the Debut concert at Anne and Howard Gottlieb Hall of the Merit School of Music (Chicago, IL).
MEDITATION for cello solo
This miniature was commissioned and premiered by Mirel Iancovici at the International Cello Festival in Zutphen, Netherlands. It was part of the Vox Novus program "The World Premiere of Fifteen-Minutes-of-Fame".
FOXTROT/AN ORCHESTRA REHEARSAL for string orchestra
Foxtrot is a light, jazzy and humorous piece where familiar music idioms developed in surprising ways. Subtitled "Orchestra Rehearsal", the quasi-theatrical work pokes fun at the sometimes rather adversarial relationship between conductors and musicians.
INTER/AGO, BALLET BASED ON PREEXISTING MUSIC: EXCERPTS from THE BYZANTINE CHANTS, sacred concerto for a solo cello
Choreographed by acclaimed Martha Graham dancer Tadej Brdnik as part of the international program commissioned by European choreographers at Battery Dance Festival.
DOUBLE VARIATIONS BASED ON MUSSORGSKY for piano solo
The "Variations" reflects my adoration for the genius Russian composer. It is based on two themes from Mussorgsky’s "Boris Godunov". Premiered at Summit Music Festival, US.
MUSSORGSKY AND BEYOND, DOUBLE VARIATIONS for piano solo
This is the shorter version of the "DOUBLE VARIATIONS BASED ON MUSSORGSKY ". It is based on two themes from Mussorgsky’s genius opera "Boris Godunov". Premiered by Max Lifchitz as part of the program "Piano music by Women Composers from the Americas".
I BELIEVE, PRAYER for violin solo and string orchestra
The three prayers I used as a foundation for "I Believe" - is a norm of today's world, a dream of its unification, and overall harmony. They are unbelievably powerful, passionate and energetic in their message. This work is my individual perception of this world, sculpted by the rays of three different suns.
PSALMODIA (excerpt from the BYZANTINE CHANTS, SACRED CONCERTO) for cello and piano
Commissioned by Alan Gampel, pianist and musicologist. Clive Greensmith, a cellist from the ‘Tokyo String quartet’ with Alan Gampel, pianist, premiered the “Psalmodia” as part of the ‘Music between East and West: Continuity and Change’ concert event. It took place at the Grace Rainey Rogers Auditorium at The Metropolitan Museum of Art.
The AGONY in the GARDEN (BASED on El GRECO), POEM for viola and piano
Combining the painting with music, I wanted to convey a special pulsation, the unreal vibes, emanating from the "heated, scorching canvas of El Greco".
LAMENTATION, MONOLOGUE for violin solo and string orchestra
While writing the "Lamentation" I was having in mind the austere and beautiful "Dido's Lament" and reflecting that it seems, that, despite the difference in the time frames, and musical methods of expression, the tragedy, the pain, the loss are felt the same.
HOMAGE II, SUITE IN THREE MOVEMENTS for violin and cello
Originally it was written as a HOMAGE for soprano and cello. Commissioned by Jasmine Lin, violin, and Jacob Braun, cello. Premiered at the "Chicago Chamber Musicians’ First Monday concert series" at the Chicago Cultural Center.
BYZANTINE CHANTS, SACRED CONCERTO for cello solo
The Concerto was commissioned and premiered by Andrey Tchekmazov. It transfers an ancient a capella vocal tradition into a meditative, prayerful and yet virtuoso performance, combined with polyphonic processing.
AUGUST. SUNSET BLOOM, SUITE IN THREE MOVEMENTS for string quartet
Commissioned by the New York Philharmonic violinist Anna Rabinova. Premiered by the musicians from the New York Philharmonic at Merkin Concert Hall as part of the "Philharmonic Ensemble at Merkin Concert Hall" series.
The LION, that COULD NOT ROAR, MUSIC FAIRY TALE FOR CHILDREN (Based on story by Robert Sherman) for narrator, piano trio and clarinet
It was a joyous and fruitful collaboration with Robert Sherman, great radio personality in the field of classical music from WQXR, who commissioned it. Premiered by Robert Sherman as a narrator, Damocles Piano Trio and Pavel Vinnitsky, clarinet.
TRIBUTE TO ROMANTICISM, CYCLE IN THREE MOVEMENTS for soprano, cello and piano (either in Russian or English)
Rustem Galich, an actor of the artistic word, commissioned me to write music for a play named a "Demon", based on Mikhail Lermontov, a Russian classic. Since a lead role was performed by a soprano, I considered her part as operatic and wrote recitatives, arias and vocalise.
HOMAGE I, SUITE IN THREE MOVEMENTS for clarinet and violin
Originally it was written as a HOMAGE for soprano and cello. Premiered at the American Composers Alliance Festival at the Symphony Space by the members of the "Second Instrumental Unit" ensemble: Sarah Beaty, clarinet, and David Fulmer, violin.
SUITE BLUE, SUITE IN THREE MOVEMENTS for piano solo
The "Suite" was written for a special occasion, when I shared the stage with the Broadway show stars, that is why there are clearly recognizable elements of jazz, rock and musical.
SOLITUDE, SUITE IN THREE MOVEMENTS for flute solo
As part of the "One World Symphony’s" (New York based group) concert series flutist Stefan Ragnar Hoskuldsson gave the suite a world premiere.
IMPROMPTU MOBILE for piano solo
This miniature is about the processes that occur in the composer's head, before an entire composition is materialized.
HOMAGE, VOCAL CYCLE IN THREE MOVEMENTS (in English and Russian, combination of both languages) for soprano coloratura (or soprano, or counter tenor) and cello
Sung Jin Hong, the artistic director/conductor of the "One World Symphony", New York based ensemble, commissioned the work for soprano and cello. Its world premiere was given as part of ensemble’s concert series in 2004.
PIANO DUO, SUITE IN TWO MOVEMENTS for Two Pianos
The idea of the first movement named "Reflection" was to express the reflection in many different meanings (inside and outside of us). In the second movement, "Antiphon", I used a very attractive idea of a dialogue and a contradistinction, a repetition and an imitation.
PAN’S PASTORAL FOR A SHEPHERD for flute solo
Internationally acclaimed flutist Nina Assimakopoulos commissioned and recorded this lyric miniature for her project on the Euterpe Recordings: "Arcadian Murmurs, Pan in Pieces Vol. I.
LIFE IS BEAUTIFUL, MUSIC STORIES BASED ON CHEKHOV (in Russian) for baritone or bass and small ensemble: flute, oboe, bassoon, French horn, 2 violins (or in piano reduction)
The world premiere of this work was given by the One World Symphony, founded by students of the Conductors Institute at Bard, as part of two benefit concerts for the victims of the September 11 tragedy at the World Trade Center in New York.
MY SHE, the 1st movement of LIFE IS BEAUTIFUL, MUSIC STORIES BASED ON CHEKHOV (in Russian) for baritone or bass and piano
In 2014, at Summit Music Festival (USA), Mikhail Svetlov, an extraordinary operatic bass, performed "My, She", the first movement of the work.
MOTHER’S LAMENTATION, MONOLOGUE (either in Russian or English) for mezzo-soprano and string orchestra or in piano reduction
In 2003, the "One World Symphony Ensemble", conducted by Sung Jin Hong gave this monologue a world premiere. It is based on Chingiz Aitmatov's prose, an excerpt from his great novel "The Day That Lasts More Than a Hundred Years".
DUO, SUITE IN TWO MOVEMENTS for cello and piano
There are two movements: ‘Lullaby Dedicated to an Adult Son’ and the ‘Soliloquy’ that is based on a reworked Gregorian chant. Premiered by Evangeline Benedetti, a member of the New York Philharmonic, and Margarita Zelenaia.
TRIO IN TWO MOVEMENTS for soprano, oboe and piano
It received a world premiere in 2003 at the Tutti Festival in Ohio. There is no poetry used. The first movement ("Lyric Meditation") is a vocalise, and in the second ("Conversation with Bells") - the word "Bo-Bom" represents a bell sound.
PANTOMIMES, SUITE IN THREE MOVEMENTS for piano solo
The ‘Pantomimes’ received its world premiere by Ana Maria Trenchi Bottazzi at Isaac Stern Auditorium of Carnegie Hall.
SUITE IN STYLISTIC DANCES IN THREE MOVEMENTS for violin and piano
Each of three dances: WALTZ, TANGO or FOXTROT moves through various moods, invoking a mosaic of images with the development of each individual plot.
OH, THERE WAS SUCH A LIFE BASED ON TYUTCHEV, VOCAL CYCLE IN FIVE MOVEMENTS (in Russian) for soprano and piano
The poetry of Fyodor Tyutchev, one the greatest Russian poet of the 19th century, sounds like a confession. The poems were dedicated to his great love - Elena Denisyeva. In the eyes of the highest St. Petersburg’s society, their open relationship was defiantly scandalous, and the entire burden of condemnation fell on the shoulders of Denisyeva.
JIRTDAN, MUSIC FAIRY TALE FOR CHILDREN (in Russian) (Libretto by Tatiana Goncharova, based on Azerbaijani folk tale), for mezzo-soprano and piano
One of the most popular and beloved fairy-tale character in Azerbaijan is Jirtdan, which means "tiny" in Azerbaijani. Gaining a lion's courage when meeting with monsters and giants, the boy turns out to be the smartest among the rest of the kids. Commissioned by Esphire Lapina, mezzo-soprano. Premiered at the Moscow State Philharmonic Society.
POEM OF THE END, BASED ON TSVETAEVA IN SIXTEENTH MOVEMENTS (in Russian) for soprano and piano
The "Poem of the End" is a biographical work by Marina Tsvetaeva, one of the brightest, most remarkable Russian poets of the first half of the XX century. This is an internal monologue through which the heroine comes to understand the inevitability of a break in relations with a loved one.
FOUR POEMS BASED ON TSVETAEVA (in Russian) for soprano or bass and piano
This is an excerpt from the "Poem of the End" by Marina Tsvetaeva, she was one of the brightest, most remarkable Russian poets of the first half of the XX century. The "Poem" is a biographical work, an internal monologue through which the heroine comes to understand the inevitability of a break in relations with a loved one.
PICTURES IN MODES for piano solo
This cycle was written for approximately 5-6 grade to help piano students to learn the different modes in a practical way.
SIX SERVANTS, VOCAL CYCLE IN FOUR MOVEMENTS (either in Russian or English) for mezzo-soprano or baritone and piano
The "Six Servants" is written to the poems of famous English poets, such as E. Lear, R.L. Stevenson, M. Barrows and R. Kipling. Since the tessitura of the songs allows transposing them without any detriment to the sound, it is quite natural to imagine it performed by soprano or tenor.
FOUR ART SONGS BASED ON TSVETAEVA (in Russian) for bass and piano
The music is based on poems by Marina Tsvetaeva, one of the brightest, most remarkable Russian poets of the first half of the XX century.
AUGUST, ART SONG BASED ON TSVETAEVA (in Russian) for soprano and piano
The music was written to one of a few, happy, filled with vibrations of joy, poems by Marina Tsvetaeva, one of the brightest, most remarkable Russian poets of the first half of the XX century.
FIVE ART SONGS BASED ON TSVETAEVA (in Russian) for mezzo-soprano and piano
The music is based on poems by Marina Tsvetaeva, one of the brightest, most remarkable Russian poets of the first half of the XX century.
JEWISH SONGS BASED ON OVSEY DRIZ (in Russian and English) for voice and piano (band)
I discovered absolutely amazing poetry by Ovsey Driz: subtle and ironic, deep and heartfelt, exquisitely lyrical.
JEWISH SONGS BASED ON OVSEY DRIZ (in Russian and English) for voice and piano
I discovered absolutely amazing poetry by Ovsey Driz: subtle and ironic, deep and heartfelt, exquisitely lyrical.
JEWISH FORTUNE, SONG CYCLE IN NINE MOVEMENTS BASED on ZAKHODER (in Russian, English and Yiddish) for voice and piano (band)
Together with Boris Zakhoder, my co-author, we wrote this song cycle of 9 songs that based on the story by Sholom Aleichem’s novel "Motl the Boy". Some songs have been performed either by myself or by the Duet “Margo-Rita”, as well as Alla Ioshpe. Most of them have been translated into English and Yiddish. Arrangements for band made by Alexey Medvedev and Alexander Petrov.
JEWISH FORTUNE, a SONG from SONG CYCLE BASED on ZAKHODER (in Russian, English and Yiddish) for voice and band (piano)
Together with Boris Zakhoder, my co-author, we wrote this song cycle of 9 songs that based on the story by Sholom Aleichem’s novel "Motl the Boy". Some songs have been performed either by myself or by the Duet “Margo-Rita”, as well as Alla Ioshpe.
RONNY and BIRK, MUSICAL DRAMA in TWO ACTS, BASED on ASTRID LINDGREN (in Russian) (Libretto By Semen Lungin, poetry by Alexander Gorodnitsky) for drama actors and piano
It is a deeply metaphorical story, on the one hand, funny and sad on the other. Unlike an almost Shakespearean plot, this is not a tragedy, but a bright and kind fairy tale. It tells about love and friendship; it is full unexpected adventures and has funny characters. The children of the two warring gangs, Ronny and Birk, unlike Montague and Capulets, do not die, but, on the contrary, constantly save each other.
SET OF JEWISH SONGS BASED ON KHAIM BEIDER (in Yiddish, Russian and English) for voice and piano
In his poetry, Chaim Beider, a Yiddish poet and a true guardian of Jewish culture, tried to convey the constant feeling of lost time.
FOUR ART SONGS BASED ON RUSSIAN POETRY (in Russian) for countertenor or soprano and piano
Stylistically, the music of this set is written in the genre of so-called urban art song, which existed in Russia at the end of the XIX - the first half of the XX century. Distinctive features of such an art song I have followed are: romantic mood, lyricism, catchy, expressive melody. Performed at the SummerFest Recital Series 2015, Pittsburgh, PA by Andrey Nemzer.
FOUR ART SONGS BASED ON RUSSAN POETRY (in English) for tenor and piano (translated by Eugene Zelenyi)
Stylistically, the music of this set is written in the genre of the so-called urban art song, which existed in Russia at the end of the XIX - the first half of the XX century. Distinctive features of such an art song I have followed are: romantic mood, lyricism, catchy, expressive melody.
VINYL, BASED ON DMITRY KEDRIN (in Russian) for voice and guitar
Stylistically, the music is written in the genre of the so-called urban art song, which existed in Russia at the end of the XIX - the first half of the XX century. Distinctive features of such an art song I have followed are: romantic mood, lyricism, catchy, expressive melody.
RUMOR (in Russian) for voice, violin and guitar
Stylistically, the music is written in the genre of the so-called urban art song, which existed in Russia at the end of the XIX - the first half of the XX century. Distinctive features of such an art song I have followed are: romantic mood, lyricism, catchy, expressive melody.
BOUQUET OF FORGET-ME-NOTS, BASED ON SEVERYANIN (in Russian) for voice and piano
Stylistically, the music is written in the genre of the so-called urban art song, which existed in Russia at the end of the XIX - the first half of the XX century. Distinctive features of such an art song I have followed are: romantic mood, lyricism, catchy, expressive melody.
IT WAS LONG TIME AGO (in Russian) for voice, violin and piano
Stylistically, the music is written in the genre of the so-called urban art song, which existed in Russia at the end of the XIX - the first half of the XX century. Distinctive features of such an art song I have followed are: romantic mood, lyricism, catchy, expressive melody.
DON JUAN, VOCAL CYCLE IN THREE MOVEMENTS BASED ON TSVETAEVA (in Russian) for soprano and piano
I was attracted by the thoughts of Marina Tsvetaeva, an outstanding Russian poetess, about how the relationship between a man and a woman is built, and whether Don Juan really searched all his life for the one who could make him happy.
BEFORE YOU COME, A POEM BASED ON ROZHDESTVENSKY (in Russian) for bass and piano
Robert Rozhdestvensky is one of the brightest representatives of so-called ‘poets of the sixties’ in the former USSR. The tense emotional degree of his poem conveys the desperate, to the point of madness, love of the lyrical hero for his beloved one, and, also, his readiness for forgiveness. A free monologue form with use of catchy song intonations is dominated in the music.
FIVE MONOLOGUES BASED ON RILKE (in Russian) for mezzo-soprano and piano
The monologues are based on the poems of the outstanding German symbolist poet Erich Rainer Maria Rilke, who had a cosmic, universal poetic gift. The cycle contains the following range of feelings: loneliness and helplessness, catastrophism and defenselessness.
THE BLIND, MONOLOGUE BASED ON RILKE (in Russian) for soprano and piano
In this poem Erich Rainer Maria Rilke, an outstanding German poet - symbolist, used sharp shifts in rhythm, bringing poetic speech closer to prose. In an effort to convey the greatest confusion of a person who has lost her sight, it is the "ragged rhythm", which changes its volume and rhythmic nature from line to line, that found its musical refraction.
Success
Message sent successfully