Dmitri Kourliandski: saturation, globalization and pluri-disciplinarity
Résumé
It could be that the Russian composer Dmitri Kourliandski (1976) synthesises various topics of our time. First of all, if the word “contemporary” still applies these days, then something like a globalization of “contemporary” music is pertinent in his case. More precisely, a new bridge between France and Russia seems to have been built : What some French observers of present day music call the new “saturation of sound”, for instance, is apparent in the works of several French composers (Raphael Cendo, Franck Bedrossian, Yann Robin), but also in the works of Kourliandski himself. A new “aesthetic tendency” may be born, perhaps a new “school” (when post-modernity, in first analysis, had caused the decline of every aesthetics or school, every “ism”, at least assumed by the composers themselves). But this school, here, may no longer be a national one (like “the 5” of the Russian romanticism, or “the 6” of French neoclassicism) but might appear like a new international one. The end of U.S.R.R., at least, is clearly involved here. A good illustration of this would perhaps be this concerto “for Porsche and orchestra” (Emergency survival guide, 2006) composed by Kourliandski, like a comic (but not only) sign of the new ultra-capitalist views of Eastern Europe.
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