Alexander Chernyshkov

Six years ago I wrote my first composition for musical theatre — the opera Transcription of an Error, which was performed for the first time at the Venice Biennale 2016 and became the point of departure for my collective Error Theatre. The embryo of a new musical language emerged here, taking the actual situation as a starting point and engendering a meta composition. The situation of the sound of the music, its performer and listener, up to and including random laughter — these are all building blocks for the work and are documented in the sheet music. And here you have Spokoyno — not literally concert music, but rather a hybrid of musical theatre, in all but name music and performance. The actual intersection of genres is created in accordance with musical logic. De facto this is a piece of music on how music is made: how the composer writes music and then how people come to listen to it. In virtually all my works the key is the person I am writing for: not for some instrument, but instead for an individual, and the actual work is always something more than sound and movement – you have tastes, language, the past, the nature of man. I try to “extricate” these traits and include them in the composition. In this case, MCME’s participants will be no exception —some of them I have known for a long time, others I got to know recently.