The gift  

The Gift
Sainkho & Moscow Composers Orchestra

A composer does not necessarily have to play well. M.C.O. was a very indifferent player and played unwillingly. He was fatigued and infuriated by the disharmony between the lack of stamina of his music thought in the process of the contest and that exclamation-mark-rating brilliance for which it strove.Russian Textbook For him the construction of a problem differed from playing in about the same way as a verified sonnet does from the polemics of publicists. The making of such a problem began far from the scene (as the making of verse began far from paper) with the body in a horizontal position on the sofa (i.e. when the body becomes a distant blue line: its own horizon) when suddenly, from an inner impulse which was indistinguishable from poetic inspiration, he envisioned a bizarre method of embodying this or that refined idea for a problem (say, the combination of two themes, the Indian and the Bristol - or something completely new.) For some time he delighted with closed eyes in the abstract purity of a plan realized only in his mind's eye; then he hastily opened his old grand piano, tried the idea roughly, on the run, and it immediately became clear that the idea so purely embodied in his brain would demand, here on the keyboard - in order to free it of its thick, carved shell the scheme already existed in some transferred it into this one, then the compley and prolonged work on the scores would have been an intolerable burden to the mind, since to would have to concede, together with the possibility of realization, the possibility of its impossibility. Little by little the notes and chords began to come to life and axchange impressions. The crude might of the piano was transformed into refined power, restrained and directly by a system of sparkling levels; the trumpets grew cleverer; the saxophones stepped forth with a Spanish caracole. Everything had a aquired a sense and at the same time everything was concealed. Every creator has another world from which he plotters; and all the musicians inpersonating this ideas on the scene were here as conspirators and sorcerers. Only in the final instant was their secret spectacularly exposed...

Good-by, CD! Like mortal eyes, imagined ones must close some day. Onegin from his knees will rise - but his creator strolls away. And yet the ear cannpt right now part with the music and allow the tale to fade; the chords of fate itself continue to vibrate; and no obstruction for the sage exists where I have put THE END: the shadows of my world extend beyond the skyline of the page, blue as tomorrow's morning haze - nor does this terminate the phrase.

The End

(Vladimir Nabokov)

music composed by Vladimir Miller,
Vyacheslav Guyvoronski
and Sainkho


recorded live
November 1st, 1996
Tampere, Finnland
Long Arms Records, Moscow, CDLA 9708


Sainkho, voice
Vladimir Miller, piano
Vyacheslav Guyvoronski,
Yuri Parfyonov,
trumpet, pocket trumpet
Vitas Pilibavicius,
trombone, ragas
Alexander Alexandrov,
Erik Ovelian,
Vladimir Resitsky,
alto saxophone,
Edvard Sivkov,
alto & baritone
saxophones, bass
Aleks Kolkovsky,
Alex Aigi,
Vladimir Volkow,
double bass
Mikhail Zhukov,
Vladimir Tarasov,

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