User talk:Structural Resistance Group

Structural Resistance Group (StRes)
founded in 2005 by six Russian composers:

Boris Filanovski (1968, St Petersburg)

Dmitri Kourilandski (1976, Moscow)

Sergej Newski (1972, Berlin/Moscow)

Anton Safronov (1972, Moscow)

Alexei Sioumak (1976, Moscow)

Valery Voronov (1970, Koeln/Minsk)

The idea of grouping came from the necessity to work together and to increase the interest to newest Russian music and its status.

StRes invites to participate in its activities other composers of different generations.

In 2008 two young composers joined the Group:

Anton Svetlichny (1982, Rostov-on-the-Don)

Georgy Dorokhov (1984, Tomsk).

StRes is a free union of composers which conceives, proposes, creates and realizes original concepts and programs, both for concert performances and CDs.

Amongst our past programs are:

Structural Resistance (performed by Moscow Contemporary Music Ensemble in 2005 in many Russian cities as well as in Amsterdam, Eindhoven and Tilburg)

Orthography (performed by eNsemble (St-Petersburg) in 2006 in St-Petersburg)

Broken telegraph (performed by eNsemble (St-Petersburg) in 2007 in St-Petersburg)

Exposition (performed by Studio for New Music in 2008 in Moscow)

In 2007 Moscow contemporary music ensemble presented the Group at Musica Nova festival in Finland. The same year Schoenberg ensemble (Reinbert de Leeuw, cond.) performed a program of the Group in Hague and in Amsterdam.

Manifest
We are contemporary Russian music. StRes is a free union of very different composers. Our differences unite us. We care a lot about our creative competition. There are leftists and rightists among us, those who disseminate ideas and those who pick up ideas, contemplators and dramatists, authors of mania and depressive types, extremists and fundamentalists.

Our aesthetic platform is our approach to language and tradition.

We are against the simplification of language, against the academic using of the means of expression of the past, dalliance with the audience which, seemingly facilitating perception, in fact makes the level of communication significantly lower.

The domination of academism in the music of our time, being disappointing by new music (or by someone's abilities?) causes reaction. The concept of author's death is significant and worthy of attention, but it becomes a subject for manipulations by cultural neoconservators. On the other hand, an abstract image of the socially useless composer devaluates the music-making and the live growth of the tradition.

Music is developing the way it always did. Today its development is related to new technologies and new communicative techniques, as well as to the historic experience, which gets more and more enriched with every minute of an accelerating history.

Music is the most powerful machine of memory among all produced by culture. Music, just as sex, can reach the bottom of the unconscious.

Any machine of memory, even the most avant-garde one, runs on the fuel of remembering. That is why StRes is against the preservation of tradition. StRes will burn tradition in the sound furnaces of the new machines of memory. This is how tradition has always been preserved. To live an experience together does not mean to preserve an object of remembering. To preserve is to surrender. One can preserve a piece of architecture or a museum collection, but not music. Music stays alive only in motion.

StRes does not support tradition; StRes supports the tradition of handling tradition. History, including the history of the past, is being written today. Our aim is the continuous revision of tradition.

It is generally thought today that the misfortune of new music is that it cannot overcome the huge gap between the specialized composer's experience and the listener's experience. We believe that art itself stands on this rupture. A piece of music is neither its score nor its sounds, its perception nor product. It is a road, a communicative bridge built over the abyss between the author's experience and the experience of 'a man from the audience'. And the more dead this abyss, the more keen is the feeling and the state of no gravity and freedom from dogmata and rules.

Systems of values and stereotypes, including our own, these are the structures whose resistance StRes will overcome.

--Structural Resistance Group (talk) 10:06, 13 December 2008 (UTC)