Edition: III


Alexey Sysoev

Country: Russia

The Artist's Music


Alexey Sysoev was born in 1972 in Moscow. Graduated Moscow College of Improvisation Music and performed as a jazz pianist for a long time. He participated in various jazz, electronic and experimental projects. In 2003, he started his further musical education at the Moscow P. I. Tchaikovsky Conservatory where he is a postgraduate student since 2008.


Works of Alexey Sysoev have been performed by “Studio for New Music” (cond. I. Dronov, V. Gorlinsky), “Moscow Contemporary Music Ensemble” (cond. F. Ledneov),“eNsemble” (cond. F. Ledneov), “de Ereprijs” (Apeldoorn), “Nostri Temporis” (cond. V. Gorlinsky), “Mark Pekarsky Percussion Ensemble” and been presented at festivals “Moscow autumn” (2007, 2008, 2010), “Moscow forum” (2008, 2010), “Pythian games” (S.-Petersburg, 2008), “Other space” (Moscow, 2009, 2010), Schleswig-Holstein Musikfestival (Kiel, 2008), “World Music Days 2008” (Vilnius), “45′ Internationale Ferienkurse Fur Neue Musik” (Darmstadt, 2010), “Transart festival” (Bolzano, 2010), “Klangspuren festival of contemporary musik” (Schwaz, 2010), «Europe through the eyes of Russians. Russia through the eyes of Europeans» (Moscow, 2011), «Territoriya» (Sochi, Kazan, 2011), «La Folle Journee» (Nantes, Tokyo 2012). Furthermore, Alexey wrote the music for a theatrical performances by K. Serebrennikov and F. Grigorian. In 2011, Sysoev formed the ensemble of free improvisatory music «Error 404» together with Yury Favorin (piano) andDmitriy Schyolkin (percussion).This ensemblecooperated with great musicians, as there are Sachiko M (Japan), Toshimaru Nakamura (Japan) andVladimir Tarasov (Lithuania). In 2008, Sysoev was awarded the “eNsemble prize” at the festival “Pythian games”. He is a also a member of the group “Sound Plastic” since 2008.

Notes on the Musma Composition


In the piece “Zaum”, the deliberately absurdist text of the poem Alexey Kruchyonykh’s “Military call Zau” (1922) is used: Military call Zau Uu – a – me – gon – a – beau! Om – chu – gvut – on Za – beau! Gva – gva… uge – pru-gu… pa – u… – Ta – bu – a – shit!!! Bag – uun – a – yz Miz – ku –a – bun – o – kuz. SA – SSAKUI!!! ZARYA!!! KACHRYUK!!! Kruchenykh defended the poet’s right to use “cut the words, halfwords and his bizarre combinations,” calling this abstract language of “Zaum” (“nonsense”). In this poem there are practically no words in the usual sense, only syllables. This gave me the freedom that I could rearrange the syllables in the proper sequence to me. The piece is a small suite in four movements, where the idea of repetition is observed only at the level of the poetic text.