The Gallery of My Most Important Performances
The gallery of my my most important performances
Surely, I will be able to narrate the consecutive history of my performances and to demonstrate the excerpts from my audio files, telling some useful educational information about the authors of the compositions executed by me once and recorded as to preserve most subtle but rather recognizable hints of my interpretation (this word embraces a lot for any artist). Actually, I never make any differences between the so-called modern music and early one.I mean, music is nothing more, but mere sounds endowed with special intonations peculiar for this or that cultural epoch, isn't it? Being green I enjoyed J. S. Bach, Chopin with his queer turns of melody (I can hardly call his music songful in the meaning of traditional bel canto).
However, my first acquaintance with modern complicated music was rather forced, when I was to learn the ‘Russian Song’ by the composer Nicolai Rakov, i.e. variations to the famous tedious melody. However, as far as I was mastering this piece, it seemed to transform into something unexpected, something that existed independently of its initial idea. My thirst for new incredible phonations was fully quenched in 1995, when Yuri Kornakov invited me to play the second piano's part in his suite ‘Lord of the Jungles’. What a pleasure it was for me. That was the first performance of the piano duet ‘Galina Ovsyankina - Asya Ardova’.
In 1996 I was appointed the secretary of the Association of Modern Music headed by the composer Gergiy Firtich.I had to conduct all the organizational work, arranging and hanging posters, agreeing about payments for executants,assisting them on the stage with listing pages at the instrument. Beside the concerts preparations one of my duties was to make oral commentaries during such gatherings. I was enthralled by avant-guarde indeed. I continued playing modern composers with Ovsyankina until December, 1997 - the gala concert of our legendary duet, which signed, meanwhile, the end of my piano ensemle landmark. My pure solo career started on December, 1996 with the Prelude and Fugue D minor by Dmitri Schostakovich. I remember my oral commentaries that evening, all that hustle and bustle connected with whimsical performers. I remember my ‘safe’ landing at the piano, reminding some refuge, when I started my music.