VOLUMINA is a heterogeneous programme of music and sound compositions: Classical music in its original form, new music (sound in space) and music of our time, which could be described as the end of the composer era, meet each other. Three diverging musical languages, which differ from each other in their nature and historical context, but also have intersections. This unusual programme composition was taken into account in the schedule of the concert. There is no "before the concert". The music already sounds while the audience enters the room and takes its places. With Bach, whose recognizable compositions have been regarded for centuries as the measure of all musical things, the concert begins by appealing to the traditional notion of "classical music". For many of us, the relationship to classical music begins through the contact with Bach, which is also expressed by the much-quoted bon mot "Bach is the beginning and the end of music".
Sonatas and Partitas for violin solo
„Volumina“ for organ solo
„Come in“ for violin, organ and chimes
We hear sonatas and partitas for violin solo. The "Sei solo" from the original title "Sei Solo a Violino senza Basso accompagnato" can be translated as "You are alone". In this "loneliness" not only the lonely voice of the violin and thus also that of the soloist echoes. The listener is also addressed personally in the encounter with Bach's fine sound tissue and invited, as it were, to an individual meditation. The concert is on. The contrast between Sei Solo a Violino and Ligeti's VOLUMINA could not be greater:
Imagine that you are on a North Sea beach with bad weather, but you hear nothing: the sound is off. And then you suddenly turn up the volume to full... Thus begins Ligeti's VOLUMINA for organ solo - with a violent cluster that demands all the stops and tones of the organ and confuses the auditory senses. The comparison between the North Sea storm and the powerful sound of VOLUMINA's opening may even seem understated in view of Ligeti's power of sound, but it is not a matter of noise in this composition. Ligeti urges the organ to an incredibly multi-faceted sound variety and overwhelms the listener by pushing him into an intoxicating kaleidoscope of sound forms and alternative sound clusters. Harmony in chaos.
According to Martynov, the time of composers is over. With breathtaking speed the classical music as well as the term "classical music" has developed drastically in the last hundred years, changed, adapted to new social maxims and current models of consciousness, but also chummed up. Martynov does not write "new music" in the true sense of the word. His work is characterized by a radical renunciation of the composer's traditional images and his œuvre. His music is faceless. It is simply music. When one hears it, the question: "Who is the composer? - COME IN is completely in keeping with Martynov's style: it makes no claim to innovation, is inspired by music of all times, meditative and peaceful.