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Boris Filanovsky's
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Schmozart (2006) 10'

piano, violin, cello

The piece parodies an idea of composer as a medium and the situation of transmitting/receiving revelation. Mozart was chosen as a source of signal, i.e. as a figure representing the divine or, rather, Mozart representing the divine. The author positions himself as a transmitter of Mozartean stylistics and parasites on it. Do thus composed wrenches value or they remain just distortions? Is something added sure not to Mozart but to Mozart or it would be better to listen to the original?

Premiere recording, October 24, 2004: Nikolay Mazhara, Vlad Pessin, Taras Trepel (mp3, 11 MB)

score: please contact Verlag Neue Musik Berlin