Sunday, 2006 July 30th, 7PM
Riga Dome Cathedral
Tatiana GRINDENKO (violin)
and ensemble OPUS POSTH. (Russia)
THE FOUR SEASONS
Program: Vivaldi, Bach, Mendelssohn, Pärt, Martinov
Tatiana Grindenko was born in the Ukraine and began her musical career at the age of six. She studied at the Tchaikovsky Conservatory (Moscow) with Professor Yankelevich. In 1968 Ms.Grindenko won The First Prize and The Golden Medal at the World Youth Competition in Sofia, Bulgaria, in 1970 she became a Prize Winner at the IV International Tchaikovsky Competition. Two years later she was awarded The First Prize at Wieniawski Competition in Poland.
The scope of her musical interest is unusually broad. Although her reputation is that of a romantic violinist, she also champions modern music, including avant-garde, jazz, rock and experimental electronic music. In 1982 she co-founded the first Baroque ensemble in Eastern Europe, the Moscow Academy of Ancient Music. T.Grindenko also devotes her energy to bringing back to life forgotten compositions of the 20th century such as Roslavetz’s Violin Concerto, the first public performance of which she gave in Moscow in 1989.
Many composers have dedicated works to her, including Schnittke, Artiomov, Martinov, Part and Silvestrov. Luigi Nono’s last composition, "Hay gue camminar" for two violins, is dedicated to her and Gidon Kremer. In 1999, Tatjana Grindenko was the Mentor of the Hannover International Violin Competition’s "Musikalisches Collegium" for contemporary music.
In 1999 Tatiana Grindenko founded the unique ensemble "OPUS-POSTH." Together with the leading artists of video art as well as with the poets the Ensemble realized following multimedia projects: "Bach-2000", "Night at Galicia", "Seasons", "Russian-German Requiem", "Plays of Angels and people", "Song of songs". Repertoire of the Ensemble includes compositions of V.Martynov, A.Part, F.Glass, J.Xenakis, A.Knaifel, G.Kancheli and others.
Vladimir Martinov: “It feels ridiculous trying to be a composer when you exist in a post-composition era, writing and pretending to ignore the fact that the age of the composer has already passed. But it's not that simple to deny the composer in oneself. Not everyone has had the luck to meet one's own Vanya Rublow. Now you have to rely on your own strengths and define the borders for yourself. The natural borders of composition are the first opus and the last one. They are the first and last point in a cyclical idea of composition, the idea of the opus. But what lies beyond these borders?
Is it possible to break the shell of this form and reach out beyond it and touch some other? I always wanted to be the monk in medieval illustrations that having reached the end of the world pushed his head through the firmament and saw the wheels and machinery, which moves the planets! To go beyond the borders of the beginning and the end - isn't that the real purpose of life?
I was once told that man touches the truth twice. The first time is the first cry from a newborn baby's lips and the last is the death rattle. Everything between is untruth to a greater or lesser extend. So why not try to go all the way from the death rattle to the first cry, from the last opus to the first? But that might lead us to see Stalin standing on the Mausoleum as innocent and lofty as a swallow, and a swallow gulping a mosquito in flight would seem no less nightmarish and monstrous than Stalin, who destroyed millions of lives. All this is terribly confusing and it is much better to forget all the conundrums and sink into sweet melancholy. And let this melancholy last as long as possible; I suppose that's the only answer to the question of reality”.