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- VUSTIN, Alexander (1943- ); RUS
[all files]
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Agnus Dei (1993), for mixed choir percussion and organ
[10:10 · 9.3M]
- N.Danilin, Organ
- Mark Pekarsky Percussion Ensemble
- New Moscow Choir
- E.Rastvorova, Conductor
- Music for the film "Anna Karamasoff"
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Part 1
[8:29 · 7.8M]
- Mark Pekarsky Percussion Ensemble
- State Cinema Symphony Orchestra of Russia
- Y.Nikolayevsky, Conductor
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Part 2
[7:08 · 6.5M]
- Mark Pekarsky Percussion Ensemble
- State Cinema Symphony Orchestra of Russia
- Y.Nikolayevsky, Conductor
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Part 3
[8:38 · 7.9M]
- Mark Pekarsky Percussion Ensemble
- State Cinema Symphony Orchestra of Russia
- K.Krimez, Conductor
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Part 4
[16:18 · 14.9M]
- Mark Pekarsky Percussion Ensemble
- State Cinema Symphony Orchestra of Russia
- K.Krimez, Conductor
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The Birth of a Piece
[9:04 · 8.3M]
- String Quartet from the Moscow Ensemble of Modern Music
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Blessed are the Poor in Spirit, for child's voice and ensemble
[6:40 · 6.1M]
- M.Pechersky, Voice
- Ensemble of Soloists of the Moscow Region Symphony Orchestra
- Dedication to My Son
- Moscow Ensemble of Modern Music
- D.Denisov, Flute
- A.Vinogradov, Conductor
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Part 1
[8:33 · 7.8M]
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Part 2
[8:42 · 8.0M]
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Festivity, for children's choir and orchestra
[12:39 · 11.6M]
- Children's Choir of the Moscow Choir Art Academy
- V.Popov, Conductor
- Symphony Chapel Orchestra
- S.Skripka, Conductor
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Heroic Lullabies
[16:21 · 15.0M]
- Moscow Ensemble of Modern Music
- A.Vinogradov, Conductor
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Hommage à Beethoven (1984), concerto for percussion and small orchestra
[16:06 · 14.7M]
- K.Umanski, Organ
- Mark Pekarsky Percussion Ensemble
- Moscow Classical Orchestra
- Y.Nikolaievich, Conductor
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In Memory of Boris Kluzner, for baritone and string quartet
[3:25 · 3.1M]
- V.Hachaturov, Baritone
- Y.Alihanova, Violin
- V.Tonha, Viola
- A.Doljenko, Contrabass
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Lamento, for piano
[3:06 · 2.8M]
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Memoria 2 (1978), concerto for percussion, keyboards and strings
[15:08 · 13.9M]
- Mark Pekarsky Percussion Ensemble
- Moscow Classical Orchestra
- Y.Nikolaievich, Conductor
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Music for Angel, for saxophone, vibraphone, and cello
[14:54 · 13.6M]
- C.Delangle, Tenor Saxophone
- J.Geoffroy, Vibraphone
- V.Westphal, Cello
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Music for Ten (text by J-F.Harpe)
[5:05 · 4.7M]
- Studio New Music Ensemble
- I.Dronov, Conductor
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Piano Trio
[12:14 · 11.2M]
- M.Shmidt, Violin
- D.Sabee, Cello
- I.Sokolov, Piano
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Returning Home (text by Schedrovizky)
[12:51 · 11.8M]
- Moscow Ensemble of Modern Music
- V.Khachaturov, Baritone
- V.Ponkin, Conductor
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Sine nomine (2000) for orchestra
[16:31 · 15.1M]
- Moscow Classical Orchestra
- Y.Nikolaievich, Conductor
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Small Requiem
[15:30 · 14.2M]
- Y.Vasilyeva, Voice
- Quartet Sine Nomine
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Summer Music
[8:17 · 7.6M]
- String Quartet from the Moscow Ensemble of Modern Music
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Song from the novel, "Tchevengur" by Andrei Platonov (1995), for male choir and orchestra
[7:38 · 7.0M]
- K.Umanski, Organ
- Armenian Chamber Choir of Moscow
- Moscow Classical Orchestra
- Y.Nikolaievich, Conductor
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Veni Sancte Spiritus, for choir and ensemble
[7:40 · 7.0M]
- Moscow New Choir
- Mark Pekarsky Percussion Ensemble
- Moscow Conservatory Music Ensemble
- Y.Rastvorova, Conductor
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The Voice (co-authored by Yury Vustin)
[10:01 · 9.2M]
- A.Vustin, Performer 1
- Y.Vustin, Performer 2
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The Word, for winds and percussion
[8:02 · 7.4M]
- Ensemble of Soloists of the State Symphony Orchestra
- Y.Nikolayevsky, Conductor
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Zaitsev's Letter, for narrator, strings, and bass drum
[6:39 · 6.1M]
- Y.Homenko, Narrator
- Amadeus Chamber Orchestra
- A.Vedernikov, Conductor
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Alexander Vustin
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Alexander Vustin was born in Moscow in 1943. He studied composition first with Grigory Fried at a regional music college, and then with Vladimir Feré at the Moscow State Tchaikovsky Conservatory, graduating in 1969. Between 1969 and 1974, Vustin worked as a music editor at USSR Radio. Since 1974 he has been working as an editor in the Kompositor publishing house.
Vustin's compositions are grounded in basic ideas, on the imagery and message of a work, the gradual and purposeful development of which takes into account all of the temporal and spatial structure of the work. Talking about this he said: "In this case both performers and listeners become participants in a certain action, the meaning of which they clearly understand, but cannot express in words." This approach to music as to an "effective action" is manifest in his creativity in general. Vustin's musical language is distinctive by the remarkable organization of its musical texture. Influenced by the twelve-tone procedure, he devised his own system of 12-fold restatement of tonal series in which a whole musical fragment represents a "tone," which is the smallest unit of measure. Different permutations of this initial unit form series of the highest order. As this demonstrates, Vustin is a composer with an individual world outlook.
The works of Alexander Vustin are often included in the programmes of many major festivals, such as the Tage für Neue Musik (Zürich), Holland Festival, the 14th Musik Biennale Berlin, Presènce 93 (Paris), Melos-Ethos (Bratislava), Maraton Soudobe Hudby (Prague), Donaueschinger Musiktage and Deutsche Kammerphilarmonie (Germany), Kammermusikfest Lockenhaus (Austria), Moscow Forum, and Moscow Autumn (Russia). Among performers of his music are the conductors Reinbert de Leeuw, Lev Markiz, Eri Klas, Igor Dronov, Alexander Lazarev, Vitaly Kataev, Martin Brabbins, and Cristoph Hagel. Ensembles include Amsterdam Wind Orchestra, Schönberg Ensemble, Radio Philharmonic Orchestra and Nieuw Sinfonietta Amsterdam (Netherlands), the Mark Pekasky Percussion Ensemble, Studio New Music, Ensemble of Soloists of the Bolshoi Theatre, the Moscow Contemporary Music Ensemble, and the BBC Symphony Orchestra.
Reviews
"The music of Alexander Vustin is skillful. It can be serious, if the subject chosen by this committed critic of "official" Soviet music requires it: in the "Berceuse hèroïque," where a certain skepticism appears, detached from obvious military clichés, as well as from quotes of Beethoven, Mahler, or Mussorgsky. When the tone is more reserved (A mon fils), one can admire his melodic invention, and the skillful use of a sonic system where the composer exploits intervals without unleashing any theoretical riddles."
Le Monde de la Musique (France)
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