"If you write about him, - my friend instructed me, - you should do it in particular way: 'Anton Batagov has released a new album, Anton Batagov has released a new album, Anton Batagov has released a new album, Anton Batagov has released a new album'. That's the only way to correspond with his music".
That's the only way to correspond with his music. Still it's almost impossible to correspond with it, its meaning can not be reduced to simple repetitions. When you hear it for the first time you will probably think: "wow!" What will it mean - "wow, it sucks" or "wow, it's great" - depends on your taste, your sanity and your musical education.
In "fatherland" (yes, with small 'f') you will hear Batagov's music for television. But it's easier to believe that those musical pieces illustrate some philosophical ideas - actually, any philosophical ideas. Read the booklet: "All phenomena in the world are nothing but the illusory manifestation of the mind and have no reality of their own". So 'fatherland' is just an illusory manifestation of the mind. Anton Batagov's mind. He's playing his own games with cultural context. A huge puzzle: "the hero's death" with obvious fragments of Nyman's "Memorial", TV-music, "postcards" from Odessa or New-York, the fundamentals of geopolitics - and all these things are just small fragments of cultural context. And all these things are just small pieces of our fatherland, my friend. Of our fatherland, my friend. Of our fatherland, my friend. Of our fatherland, my friend.
Radio BBC characterized him as one of the most unusual and significant musicians of his generation. Anton Batagov, born October 10, 1965 in Moscow, studied with Anna Kantor at the Gnessin...
10 октября 1965
Подробности из жизни:
Radio BBC characterized him as one of the most unusual and significant musicians of his generation. Anton Batagov, born October 10, 1965 in Moscow, studied with Anna Kantor at the Gnessin School (piano) and with Tatiana Nikolayeva at the Moscow Conservatory (piano and composition). Prize-winner at four competitions: Concertino-Prague (1981), the All-Soviet Piano Competition (1985), the Tchaikovsky Competition (1986) and the Sydney International Piano Competition (1988). Performances in Russia, most European countries and the U.S.A. His creative position is opposite that of a "philarmonic tuxedo musician". A focal point of Batagov's concepts is its link to the post-Cagean philosophy, which cancels boundaries between the notions performance and composition by viewing all existing musical practices, from ancient music to rock / pop culture, as potential elements which might be used when performing / composing virtually any piece of music.…
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