|Solyd Records is the name of Andrej Gavrilov's label. This label comes from Moscow and it publishes some of the most ambitious CDs in the East.... really interesting CDs, not avantgarde, but poetry with music, songwriters, romances. We are very excited to include this label in our catalog!
Vladimir Tarasov got known by his work in the Ganelin-Chekasin-Trio, he published Solo programs (ATTO I ... VIII) and he plays New Music in chamber- or symphonical orchestras. He came to the modern academic music and to sound-installation by playing Free Jazz and Improvised Music.
He performed with Andrew Cyrille, the ROVA SAXOPHONE QUINTETT, Butch Morris and he is head of the 'Lithuanian Art Orchestra'. He composes film- and theatre music (this together with Alfred Schnittke), he arranged 'Don Giovanni' at the Theatre-Academy INTERSTUDIO, he lives and works with friends from different arts.
Percussion instruments are ancient and therefore archetypal in the history of human civilization. At its dawn, in the childhood of culture, society's only means of aesthetic realitation was the making of sound with stone, wood an leather. Nowadays, it is nothing of the kind. Mankind has invented an endless spectrum of means of expression. But the archetypes are still alive. Vladimir Tarasov-a refined master of percussive ceremonies-leads us to depths of culture. He appeals directly to the interaction between leather, wood and metal which are as simple as sound. Music is not limited by time and is as relevant today as it was five thousand years ago. There is good reason to give Atto VI the sub-title 'for children', because the childhood of the individual and the childhood of mankind are ontological equivalents. Music is plain, laconic but polysemantic 'great-grandmusic'. From its moment of birth to this day, it has pierced the centuries-old body of culture with a tense current of sounds. Music of birth... music or children's dreams...
But... 'A little piece for children' is an appeal not only to the beginning. In this piece, one can also hear a touch of minimalism and the sonic miserliness of a rich owner of sound, as well as the European marginal 'Kleine Musik' of the last three centuries. During the concerts, each one of the six parts which make up the piece takes place in its own particular niche of the whole musical construction. But there is also a seventh pan: a spectator and a listener paying heed to 'a little piece for children' – Atto VI by Vladimir Tarasov.