Павел Карманов

Павел Карманов

Contemporary Classical Minimalism Chamber Russian Underrated
Pavel Karmanov (Павел Карманов) is one of the most popular young Russian composers. Born in Siberia in 1970, he has been working in Moscow for more than 20 years. He started to compose music at the age of 5, graduated from the Moscow Conservatory in 1995 and joined the Moscow Union of Composers a year later. Since his student years he has participated in major Russian festivals of contemporary music: Moscow Autumn and Alternative. His Read more on Last.fm More Info »
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Павел Карманов. Artist Bio

Pavel Karmanov (Павел Карманов) is one of the most popular young Russian composers. Born in Siberia in 1970, he has been working in Moscow for more than 20 years. He started to compose music at the age of 5, graduated from the Moscow Conservatory in 1995 and joined the Moscow Union of Composers a year later. Since his student years he has participated in major Russian festivals of contemporary music: Moscow Autumn and Alternative. His compositions has also been performed at the following festivals: Sound Route Tokyo – Moscow (Japan, 1999), the E. Denisov Festival (Tomsk, 2003), Warsaw Autumn (2005), the Dmitry Shostakovich Festival in Seattle (USA, 2006), etc. Karmanov’s compositions are widely performed in Moscow and St Petersburg and in significant cultural centers all over the world. Karmanov received commissions from and has been played by world-famous artists, including the violist and conductor Yuri Bashmet; the pianist and harpsichordist Alexei Lubimov; the pianists Alexei Goribol, Polina Osetinskaya, Vladislav Pesin; the violinist, violist and conductor Nazar Kozhukhar and his Pocket Symphony ensemble; the violinist Tatiana Grindenko and her Opus Posth ensemble, Mark Pekarsky’s Percussion Ensemble, Moscow Contemporary Music Ensemble, the director Yuri Kasparov; One Orchestra (Saint-Petersburg), Seattle Chamber Players ensemble (USA), and many others. Karmanov’s interests are not limited to academia and composition. He also gives concerts as a flautist and pianist as a member of a Moscow rock band Vezhlivyi otkaz (director – Roman Suslov). Karmanov’s music can be heard on stage and also in advertising trailers on radio and TV, and in soundtracks for television series. As a result of Karmanov’s lively co-operation with leading Russian film directors, he has written a number of film scores for both documentaries and movies, including works by Alexei Khanutin, Timur Bekmambetov, Nana Djordjadze, Ali Khamraev, Andrei Proshkin, Maria Mozhar, Matvey Zhivov etc. Karmanov has made music in various styles ranging from serialism and sonorism to pseudobaroque. In the early 90s, he took a special interest in post-avant-garde aesthetics and minimalism. Developed from worldwide post-avant-garde practices, Karmanov’s music is now laconic in shape, impressionist in colour, mostly tonal, though many modern styles and techniques blend in his music, and many audio-visual additions are used during concert performances. Vertep (originally is kind of puppet theatre and also a corresponding type of drama in Slavonic culture) is possibly one of Karmanov’s most extravagant compositions. In its author’s words, “it could be included in Pink Floyd’s programme!” This is a theatrical mystery play, with participation by the Synodal choir, several academic ensembles and a rock band. Its premiere took place at the Tchaikovsky Concert Hall in 2002. A premiere of some of Karmanov’s other significant composition took place in the Great Hall of the Moscow Conservatory in 2005 – Spring in January, written for Yuri Bashmet, Alexei Lubimov and the Novaya Rossiya Orchestra. In 2007 Nazar Kozhukhar and The Pocket Symphony Ensemble recorded Karmanov’s first CD (DOM-records), which represented his chamber compositions. Numerous pieces for chamber ensemble and orchestra with piano, choir, soloist singers (and tape-recorder) constitute the major part of Karmanov’s artistic luggage. Russian critics call Karmanov “ a romantic dressed in a minimalist gown.” As Petr Pospelov (Vedomosti) posits, “he is minimalist in a broad sense, but in no way a radical, -- on the contrary, his music is pleasant and easy-going, it is sincere and not burdened with metaphysics; […] Typically minimalist rhythmical and harmonic features occur here and there in his pieces, but this young Russian composer has imbued his music with a very different content: himself, his own soul and his lyrical world.” Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.