PAIBERDIN

Members of the jury were unanimous, which is not surprising: we are talking about well-known and successful author, whose creativity is happily combined by excellent mastery of craft and the originality of the author's thinking, in which all technical aspects of the composition are only a means for the most organic embodiment of musical ideas. Jewelry dressing subtleties of sound, dramatic setting out his score — it is the gourmet "Chinese" piece as poetic, as the hearing, and it fully corresponds to its name.

But there is another music of our days. It can be understandable from the first listening, euphonious, while not at all banal; filled with the freshness of the author's musical language in combination with great sound recording skills, and a huge number of melodic, harmonic, textured, acoustic ideas. Oleg Paiberdin writes just such music. Oleg knows something that absolutely fascinates me. He uses the pedal ("the soul of the piano", you know) in such a way that it seems to me that it could be liked by Beethoven, the late Chopin, and Ravel. The composer has an amazing ear — you can always hear it in his music. Sometimes you are so lucky that the texture of new music falls into your hands by itself, as if it was written behind an instrument. And sometimes the brain boils up from unusual textured or rhythmic patterns. In these pieces, both are surprisingly combined.

Oleg Paiberdin makes strong impression, and Goeyvaerts Trio is possible to transfer a passionate saturation through its the music sharp interpretations.

There is a big fantasy in sound... all pieces sound very different which I like very much... totally different in everything. Actually I think that he deals very good with diatonic music. I find these pieces more interesting then the more mainstream chromatic stuff. He is influenced as it seems by repetitive music and that influence is transformed in a real original way... there is a very good use of pauses and silences. He has two faces in music. One is very soft, another is very raw. And he combines them often both in one piece. That is psychologically interesting.

The Goeyvaerts String Trio explore <...> fragmentary, distilled atmospheres from Paiberdin <...>.

I enjoy the overlapping lines, the harmonies, the range of dynamics, the way the parts interlock, but most of all the feeling behind it.

His music is fresh, bright and is not cliched, and it is obvious to me.

Oleg Paiberdin's music attracts with its naturalness, precision and cleanliness of writing, emotional richness and plasticity of the form built without prejudices. His musical language is quite simple, but at the same time it does not contain any cliche, nothing is made mechanically or from force of habit, everything has been thoroughly heard out and verified by inner hearing. That leads to very fresh sound. He widely uses diatonicism that is not an archaic tonality but modality. It is a hard job to write in new diatonic techniques, as one should make a path on a blade of the knife to not lose attractiveness and intensity of sounding. Paiberdin succeeds in this.

I have listened to this piece several times, each with growing admiration. It has a highly individual, haunting and hypnotic affect arising from a tightly disciplined structure developing hints (to me) of bird song, folksong and chants whilst the textures and interplay between the two instruments are fascinating.

As for me, my soul more gravitates towards O. Paiberdin's works. In them there are emotionality and expressiveness of natural, I would say, heathen principles. At the same time it is by amazing manner combined with clear logic of development, but without any damage for contemporary composition technique as such.

Every time, experimenting with instrumental staff, inventing new timbre, texture or in his own way using already well-known techniques of composition, he creates astonishing works, which in their own way are "breathing" music spaces. Composing his works, Paiberdin investigates nature of sound at the same time; he wants to sense natural sound as such.

Especially on that account the composer creates the special sound-substance in every work, every time applying to new devices, taking up special instrumental staffs. Moreover, in himself works O. Paiberdin investigates itself music as it is and its historical progress. Choosing this or that historically structured music genre, O. Paiberdin contemplates it as new one, thinking over ancient things in the material of contemporary possibilities. Often such links open original meanings of genres. In basis of O. Paiberdin's intentions lies legible rationalism. And this corresponds to epoch where the composer becomes author of new devices, which are not only forming any ideas, but which are ideas themselves.

As for his incarnation of himself ideas, he is exeedingly rational. Musical result is always unexpected, bright and life-capable.

There is brightness of self-expression, tendency towards audience reception, other words, openness his music and freedom in selection of means that is especially valuable.