‘Leader of the Free World’ says no word being afraid to loose the White House. Powerful national security agencies seem being paralyzed. American media including ‘World Leaders in the News’ and all those pathetic ‘Crime Stoppers’ keep silence…
I don’t go to church here in America because I’m afraid to be molested. I’m also afraid, that after composing and publishing “March of Proud American Pedophiles”, my music will never be performed in the US. For sure not by Condoleezza Rice.
What am I talking about?
As you know porn sites are the most popular sites in the US. Websites like amazon.com sell books educating big and powerful American pedophile society:
“The Pedophile’s Guide to Love and Pleasure” is one of them: http://edition.cnn.com/2010/US/11/11/pedophile.guide/index.html
Among millions of items sold at amazon.com – these books are Amazon’s bestsellers. These books help spreading American ‘democracy’ throughout the world, especially in Afghanistan and Iraq.
The US government has no right or will to shut amazon.com down. No lawyer, no-one out of millions of Amazon customers including millions of loving parents dares to sue Amazon! Why? Because they know that they will loose. What!? Are pedophiles protected by the US government? It looks so.
Amazing democracy… For me, it looks more like a sexual disorder.
Enjoy “March of Proud American Pedophiles”. It will be published soon. My ‘cultural learnings in America’ to be continued.
While a billionaire Alki David is offering you 1m $ for being caught on camera naked in front of Obama I’m offering you the same 1m $ for selling rights for recordings of Grammy award winners. If you are a potential buyer it can be a 1m $ kickback.
To see if CDK Music artists – Richter, Oistrakh, Rostropovich, Pletnev, Bashmet, Van Cliburn, Kremer – are indeed Grammy award winners check here: http://www2.grammy.com/GRAMMY_Awards/Winners
Just read two articles about American Requiem I album at Gramophone Magazine. The reviewers complain about Russian accent, microphones which in some cases were put too close to the instruments, etc..
I agree with those points. At the same time I doubt that Gramophone Magazine would criticize British singers for British accent in “Boris Godunov”.
Interesting that Peter Baumann wrote very different article about American Requiem I. It is available for public at http://www.cdkmusic.com/American%20Requiem.htm
If Gramophone reviewers would be capable navigating internet they would read it. If they would be serious people they would interview Kostitsyn. His email address is posted at http://www.cdkmusic.com and http://www.kostitsyn.org.
The Gramophone overlooked the most important achievements by Kostitsyn as a composer – stylistically new, impressive artistic results and development of a new compositional technique now known as synchronous music.
Musical virtues of any composition differ from virtues of its recordings.
Virtues of American Requiem I by Kostitsyn have nothing to do with Russian accent of his musicians or microphones.
I contacted Evgeni and asked if he can provide any independent data – sale numbers for his American Requiem for example – which would shed more light about public interest in his music.
Evgeni sent me statistics of http://www.cdkmusic.com. There are thousands of files at http://www.cdkmusic.com – 1200+ MP3s featuring Richter, Rostropovich, Bashmet, Pletnev, Van Cliburn and other Grammy award winners. 7 out of 10 the most downloadable files are mp3s with Kostitsyn’s music. American Requiem I is among those 7 mp3s. The statistics shows more than 10,000 monthly downloads of Kostitsyn’s MP3s from http://www.cdkmusic.com alone. This number makes Kostitsyn one of the most salable classical composers of the XXI century. It contradicts Gramophone articles. I’m wondering why Evgeni Kostitsyn has not been nominated for Grammy award yet.
Most works of classical music composed in the Western countries are financed by the government and affiliated structures. It means that if composer wants to say something different from what his government says he wont be paid. The situation leads to self-censorship and limitation of topics. Only sweet topics can find financial support – patriotism(on no matter what basis), love, flowers, fairy tales and abstract compositions which mean and express nothing. Other topics are not recommended if a Western composer pays mortgage, medical bills and supports his family. Of course composers are free to write whatever they want but… for free. Do you think that US government would ever finance creation of music composition like this: http://www.kostitsyn.org/memory_alfred.php
or this: http://www.kostitsyn.org/address_nation.php ?????????
The similar situation was in the USSR during the Stalin time.
Public interest to classical music is lost because today number of subjects in classical music is very limited. New subjects – they would bring new means of expression – are ignored. It’s all the same but not as beautiful as Mozart. It leads to stagnation. The limitation prevents classical music from further development.
You may listen to Symphony #3 and look at the score. You’ll see that all tempo correlations are correct. Orchestral synchronous music is performable. Some conductors are scared of the ‘difficulties’ because they feel comfortable only when an orchestra is playing in unison by quarter notes. There is always one principal conductor. Appointed orchestra members are ’sub-conductors’. They lead groups playing in different tempi. Different tempo is one out of many available musical means to emphasize differences of simultaneously sounding compositions. Principal conductor shows entrances, balances and shapes musical form. It is possible to play the entire texture a little faster or slower than indicated in my score. Number of strokes per minute is less important than correlations between different tempi.
Currently I’m looking for a studio to record my 23 Preludes and Fugues. I would also consider to give masterclasses and concerts with a program of selected Preludes and Fugues. As you know 24(23) P&F cycles are not composed each year, or even each 10 years. To have the cycle introduced, performed and recorded by a composer is a rare opportunity. Shostakovich for example recorded only few P&F from his cycle.
“Synchronous music leads to new artistic results”. If ‘the results’ are impressive, synchronous music will be studied. I have a question about poly-conductor technique. Your symphony #3 requires 9 conductors. Do you mean one principal and 8 ’sub-conductors’? Do you use orchestra members as sub-conductors? For example: two compositions – 80 and 88 strokes per minute are performed simultaneously. What if one sub-conductor would make 79 or 81 strokes instead of 80? It’s very likely. All correlations would be ruined. Or it’s allowed playing a little faster-slower, all together and within reasonable limits, in order to keep correlations? How did you record the symphony? It might be a good idea if you would give masterclass and introduce synchronous music.
‘Leader of the Free World’ says no word being afraid to loose the White House. Powerful national security agencies seem being paralyzed. American media including ‘World Leaders in the News’ and all those pathetic ‘Crime Stoppers’ keep silence…
I don’t go to church here in America because I’m afraid to be molested. I’m also afraid, that after composing and publishing “March of Proud American Pedophiles”, my music will never be performed in the US. For sure not by Condoleezza Rice.
What am I talking about?
As you know porn sites are the most popular sites in the US. Websites like amazon.com sell books educating big and powerful American pedophile society:
“The Pedophile’s Guide to Love and Pleasure” is one of them:
http://edition.cnn.com/2010/US/11/11/pedophile.guide/index.html
Among millions of items sold at amazon.com – these books are Amazon’s bestsellers. These books help spreading American ‘democracy’ throughout the world, especially in Afghanistan and Iraq.
The US government has no right or will to shut amazon.com down. No lawyer, no-one out of millions of Amazon customers including millions of loving parents dares to sue Amazon! Why? Because they know that they will loose. What!? Are pedophiles protected by the US government? It looks so.
Amazing democracy… For me, it looks more like a sexual disorder.
Enjoy “March of Proud American Pedophiles”. It will be published soon. My ‘cultural learnings in America’ to be continued.
My first ballet “Ali Baba and the Seventy Virgins” was published today at
http://www.kostitsyn.org/alibaba-seventy-virgins.php
The complete music score is available for free download.
While a billionaire Alki David is offering you 1m $ for being caught on camera naked in front of Obama I’m offering you the same 1m $ for selling rights for recordings of Grammy award winners. If you are a potential buyer it can be a 1m $ kickback.
To see if CDK Music artists – Richter, Oistrakh, Rostropovich, Pletnev, Bashmet, Van Cliburn, Kremer – are indeed Grammy award winners check here:
http://www2.grammy.com/GRAMMY_Awards/Winners
Notice of CDK Music Sale: http://www.cdkmusic.com/CDK_Music_Sale.html
Just read two articles about American Requiem I album at Gramophone Magazine. The reviewers complain about Russian accent, microphones which in some cases were put too close to the instruments, etc..
I agree with those points. At the same time I doubt that Gramophone Magazine would criticize British singers for British accent in “Boris Godunov”.
Interesting that Peter Baumann wrote very different article about American Requiem I. It is available for public at http://www.cdkmusic.com/American%20Requiem.htm
If Gramophone reviewers would be capable navigating internet they would read it. If they would be serious people they would interview Kostitsyn. His email address is posted at http://www.cdkmusic.com and http://www.kostitsyn.org.
The Gramophone overlooked the most important achievements by Kostitsyn as a composer – stylistically new, impressive artistic results and development of a new compositional technique now known as synchronous music.
Musical virtues of any composition differ from virtues of its recordings.
Virtues of American Requiem I by Kostitsyn have nothing to do with Russian accent of his musicians or microphones.
I contacted Evgeni and asked if he can provide any independent data – sale numbers for his American Requiem for example – which would shed more light about public interest in his music.
Evgeni sent me statistics of http://www.cdkmusic.com. There are thousands of files at http://www.cdkmusic.com – 1200+ MP3s featuring Richter, Rostropovich, Bashmet, Pletnev, Van Cliburn and other Grammy award winners. 7 out of 10 the most downloadable files are mp3s with Kostitsyn’s music. American Requiem I is among those 7 mp3s. The statistics shows more than 10,000 monthly downloads of Kostitsyn’s MP3s from http://www.cdkmusic.com alone. This number makes Kostitsyn one of the most salable classical composers of the XXI century. It contradicts Gramophone articles. I’m wondering why Evgeni Kostitsyn has not been nominated for Grammy award yet.
Most works of classical music composed in the Western countries are financed by the government and affiliated structures. It means that if composer wants to say something different from what his government says he wont be paid. The situation leads to self-censorship and limitation of topics. Only sweet topics can find financial support – patriotism(on no matter what basis), love, flowers, fairy tales and abstract compositions which mean and express nothing. Other topics are not recommended if a Western composer pays mortgage, medical bills and supports his family. Of course composers are free to write whatever they want but… for free. Do you think that US government would ever finance creation of music composition like this: http://www.kostitsyn.org/memory_alfred.php
or this: http://www.kostitsyn.org/address_nation.php ?????????
The similar situation was in the USSR during the Stalin time.
Public interest to classical music is lost because today number of subjects in classical music is very limited. New subjects – they would bring new means of expression – are ignored. It’s all the same but not as beautiful as Mozart. It leads to stagnation. The limitation prevents classical music from further development.
Most composers and musicologists pronounced Western classical music dead. What do you think about it?
You may listen to Symphony #3 and look at the score. You’ll see that all tempo correlations are correct. Orchestral synchronous music is performable. Some conductors are scared of the ‘difficulties’ because they feel comfortable only when an orchestra is playing in unison by quarter notes. There is always one principal conductor. Appointed orchestra members are ’sub-conductors’. They lead groups playing in different tempi. Different tempo is one out of many available musical means to emphasize differences of simultaneously sounding compositions. Principal conductor shows entrances, balances and shapes musical form. It is possible to play the entire texture a little faster or slower than indicated in my score. Number of strokes per minute is less important than correlations between different tempi.
Currently I’m looking for a studio to record my 23 Preludes and Fugues. I would also consider to give masterclasses and concerts with a program of selected Preludes and Fugues. As you know 24(23) P&F cycles are not composed each year, or even each 10 years. To have the cycle introduced, performed and recorded by a composer is a rare opportunity. Shostakovich for example recorded only few P&F from his cycle.
“Synchronous music leads to new artistic results”. If ‘the results’ are impressive, synchronous music will be studied. I have a question about poly-conductor technique. Your symphony #3 requires 9 conductors. Do you mean one principal and 8 ’sub-conductors’? Do you use orchestra members as sub-conductors? For example: two compositions – 80 and 88 strokes per minute are performed simultaneously. What if one sub-conductor would make 79 or 81 strokes instead of 80? It’s very likely. All correlations would be ruined. Or it’s allowed playing a little faster-slower, all together and within reasonable limits, in order to keep correlations? How did you record the symphony? It might be a good idea if you would give masterclass and introduce synchronous music.
All inquiries and business proposals should be sent to Evgeni Kostitsyn at evgeni.kostitsyn@kostitsyn.org.
I like “Address to the Nation” the most. Will it be premiered soon? How to arrange performance of this work in our town?