- The musical
– stage composition ‘Incarnation of Colour’ for three artists, three dancers, a
chamber ensemble and a tape was ordered by the Berlin Academy of Arts in 1995.
There is an idea of synthesis of music and other kinds of art that lies on its
base. It is the colour that has become the main constituent which unites music,
painting and plastic.
- The musical
ensemble is conditionally divided into three groups: 1st – a flute,
a clarinet; 2nd – a violin, a cello; 3rd – a piano, percussions.
Each of the groups corresponds to its own colour spectrum (i.e. an artist
incarnating this spectrum) and plastic form (i.e. its own dancer).
features of each of the three artists correspond to musical lines and micro
tunes of each of the three groups of the ensemble. Plastic of each of the three
dancers also derives from them.
- All these
Colour and plastic groups are gradually appearing first in music, then in
painting to be embodied further in dance. At first they exist as if they do not
depend on each other and only afterwards they begin to interact.
- Pictures of
each of the artists move to adjoining area occupying more and more room, mixing
with and replacing one another other. (Artists depict a plant on their
pictures. It may be some flower or a tree, and it looks like it constantly
grows in the process of creation.) The same thing is happening to dancers.
- A phonogram
joins the sound of the ensemble. There’re heard the same instruments as on the
stage. It looks as if the ensemble divides into two parts and instead the six
part score, the twelve part score can be heard.
timber of the musical instruments in the phonogram starts its deformation more
and more taking electronic inflection.
- All this
evolution instead of anticipated synthesis and alliance of these three spheres
leads to cataclysm.
substance falls to pieces and there between them long pauses bit by bit arise.
All is dieing and only at the very end of the composition a new motion springs
up as an echo or a possibility of a new attempt of incarnation, of