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Ekimovsky, Viktor (b. 1947, Moscow). Russian composer of stage, orchestral, chamber, and piano works that have been performed throughout Europe.
Mr. Ekimovsky studied composition with Aram Khachaturian and music history with Konstantin Rosenschild at the Russian Academy of Music in Moscow and graduated in both subjects in 1971. He completed a post-graduate course in musicology with Galina Filenko at the Conservatory of Music in St. Petersburg in 1978 and earned his PhD in musicology there in 1983.
He has received commissions from pianists Thomas Bächli and Gertrud Schneider, the Bolshoy Theatre Ensemble, Ensemble ARCHEAUS, Ensemble Modern, harpsichordist Petya Kaufman, Krzysztof Penderecki, Urs Peter Schneider, the Seattle Players Ensemble, bass clarinettist Harry Sparnaay, recorder-player Conrad Steinmann, and Trio Flauti.
Mr. Ekimovsky is also active in other positions. He has written numerous articles on modern music for publications in France, Germany, Russia, and Serbia and Montenegro, as well as the first Russian monograph about Olivier Messiaen (1987, Sovetsky Kompositor). He also edited several volumes of the collected works by Dmitry Shostakovich. In addition, he has served as president of the Association for Contemporary Music in Moscow since 1996.
CONTACT INFORMATION
E-mail address: v.ekimovsky@mtu-net.ru
Street address: Mr. Viktor Ekimovsky, ul. Sovkhoznaya, d. 53, str. 1, kv. 38, 109559 Moscow, Russia
Telephone/fax: + 709 5358 3702
SELECT LIST OF WORKS
STAGE: Balletto (Composition 14) (instrumental theatre work), conductor, any ensemble, 1974; From Escher's Catalogue (Composition 63) (instrumental theatre work), 7 players, 1994; Phantom of the Theatre (Composition 71) (instrumental theatre work), composer, 10 players, 1996; Doppler Effect (Composition 75) (virtual), large orchestra (100 players) (performing in the air), 1997
ORCHESTRAL: Lyrical Digressions (Composition 9), celli, orchestra, 1971; Sublimations (Composition 10), 1971; Ave Maria (Composition 13), 48 violins, 1974; The Trumpets of Jericho (Composition 24), 30 brass, 1977; Brandenburgisches Konzert (Composition 28), small orchestra, 1979; Symphonic Dances (Composition 61), piano, large orchestra (90 players), 1993; Attalea princeps (Composition 82) (concerto), violin, orchestra, 2000
CHAMBER MUSIC: Composition 1, violin, viola, cello, piano, 1969; Composition 2, clarinet, violin, cello, piano, 1969; Cadenza (Composition 5), cello, 1970; Composition 7, string quartet, 1970; Trio-sonata da camera (Composition 8), violin, cello, piano, 1971; Kammervariationen (Composition 15), 13 players, 1974; Nocturnes (Composition 16), 3 clarinets, 1974; Quartet-cantabile (Composition 22), string quartet, 1977; Die ewige Wiederkunft (Composition 31), bass clarinet, 1980; Cantus figuralis (Composition 32), 12 saxophones, 1980; Mandala (Composition 39), 9 players, 1983; Stanzas (Composition 40), 2 violins, 1984; Up in the Hunting Dogs (Composition 44), 3 flutes, tape, 1986; Doppelkammervariationen (Composition 51), 12 players, 1989; The Assumption (Composition 52), percussion ensemble, 1989; Tripelkammervariationen (Composition 56), 15 players, 1991; Kites flying (Composition 59), 4 soprano recorders, 1992; 27 Destructions (Composition 65), percussion ensemble, 1995; The Mirror of Avicenna (Composition 66), 14 players, 1995; Swan Song (Composition 72), string quartet, 1996; Swan Song (Composition 73), conductor, string quartet, double bass, tape, 1996; Swan Song (Composition 74) (virtual), speaker, 11 winds, 1996; Musikunterricht in einer bizantinischen Schule (Composition 76), tenor recorder, 1998; Graffiti (Composition 78), 7 players, 1998; Corona di sonetti (Composition 79), recorder, harpsichord, 1999; Lexicon der nicht Gesellschaftsfähigen Ausdrücke (Composition 81), violin, viola, cello, 1999; Biriulki (Composition 83), 6 players, 2001; Rafflesia (Composition 85), piano, ensemble (oboe, English horn, clarinet, bass clarinet, bassoon, contrabassoon, French horn, trumpet, trombone, bass drum), 2002
VOCAL: Verse for the End of Century (Composition 84) (text from a 19th-century Russian folk source), soprano, bass clarinet, percussion, 2001
PIANO: Composition 4, 1969; Farewell (Composition 30), 1980; Sonata con marcia funebre (Composition 33), 1981; Composition 43, 2 pianos, 1986; People's gatherings on winter evenings (Composition 58), 2 pianos, 1992; Mondscheinsonata (Composition 60), 1993; Vers libre (Composition 80), 2 quarter-tone pianos, 1999
ORGAN: Prelude and Fugue (Composition 42), 1985
HARPSICHORD: Deus ex machina (Composition 55), 1990; La Favorite – La Non favorite (Composition 64), 1994
DISCOGRAPHY
Kammervariationen (Composition 15). (Melodiya: C 10-15747-8) (LP)
Sonata con marcia funebre (Composition 33). (Melodiya: C 10-21917-000) (LP)
Kammervariationen (Composition 15); Quartet-cantabile (Composition 22); Mandala (Composition 39); Prelude and Fugue (Composition 42); Up in the Hunting Dogs (Composition 44); Doppelkammervariationen (Composition 51). (Harmonia Mundi: LDS 288 062, CM 210)
Cadenza (Composition 5). (Melodiya: 10-00556)
Stanzas (Composition 40). (Melodiya: MLD 32131)
Doppelkammervariationen (Composition 51). (Olympia: OCD 282)
Sonata con marcia funebre (Composition 33). (Olympia: OCD 295)
Prelude and Fugue (Composition 42). (Olympia: OCD 679)
(Last updated on July 8, 2004)
