Vadim Neselovskyi "Spring Song for Piano and Orchestra"

Vadim Neselovskyi "Spring Song for Piano and Orchestra"
Vadim Neselovskyi: composition, orchestration, piano soloist
Natalia Ponomarchuk: conductor
INSO LVIV Symphony Orchestra
Live at Lviv Philharmonic Hall on June 7, 2017
Sound and Video: Vladimir Kaminski and Kate Dovgoteles
Postproduction: Inna Dudukina
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A 65-piece symphony orchestra with the full complement of strings, woodwind and brass builds up sound into mountainous peaks, and then makes it fall back into deep valleys. The sound of a piano is the central focus here - sometimes ripples of sound, or quiet and restrained as if under the breath, or making shapes like pieces of volcanic rock. Bez Mezh (which means 'no limits' in Ukrainian) is the latest project from the Odessa-born pianist and composer Vadym Neselovskyi with the International Symphony Orchestra, INSO, from the city of Lviv in the Ukraine. "For me, this project is something like Hermann Hesse's novel The Glass Bead Game," says Neselovskyi, explaining his enthusiasm for this large-scale endeavour breaking down stylistic boundaries. "Just as everything that human race has ever learned is interconnected, this orchestral project brings together everything I have learned and experienced in my life as a musician."
For Neselovskyi, this collaboration does indeed bring together several strands of his creativity. First of all, he is able to reconcile the two sides of his musical personality, composition and improvisation, and to take them to a new level aesthetically, aligning the multitude of possibilities in symphonic sound with the playful exuberance of a jazz virtuoso. Bez Mezh is a major composition for orchestra and jazz piano, written by Neselovskyi on a big canvas in collaboration with the International Symphony Orchestra Lviv. And the jazz soloist interacting with the orchestra here - is none other than Neselovskyi himself.
The second important connection is Neselovskyi's collaboration with the ensemble from Lviv, the largest city in western Ukraine. Through this work with them he has returned very close to his own origins in Odessa, the port city on the Black Sea where he was born in 1977. At the age of 7, the young Vadym was already working hard at the piano, becoming familiar with the music of the great Russian composers, Rachmaninov, Mussorgsky for example. By the age of 8 he had received his first composition lessons, and it was at the age of 14 that he experienced the liberating force of jazz improvisation for the first time. Three years later the family moved to Dortmund in Germany where he completed his classical education at the conservatoire.
Around the turn of the millennium he ventured across the Atlantic with a scholarship to Berklee College in Boston, the ultimate jazz academy. Vibraphonist and Berklee director Gary Burton has described him as a "true genius" and has said that he had "more surprises in store than any other improviser". Neselovskyi's reputation grew, and before long he was working at the level where his colleagues included John Zorn, Randy Brecker, Jimmy Haslip and Craig Taborn. Pianist Fred Hersch has characterized him as "one of the greatest pianist/composers" of the present day, and Get Up And Go, the latest album of Neselovskyi's trio, was ranked in the "Best Of 2017" list at US jazz magazine Downbeat.
The INSO is a young orchestra. It is characterised by an extraordinary enthusiasm and the kind of desire to take on new challenges which is perhaps more typical of smaller ensembles or jazz bands rather than orchestras. It was their enthusiasm that sparked Neselovskyi to set about the task of composing. "Writing for an orchestra feels like running a large corporation all by oneself. You don't have any helpers, no secretary, no assistant. And if you make a mistake, the whole building collapses. That's how it feels anyway."
Neselovskyi sets himself the highest standards. He does not just want to launch another attempt to underpin jazz improvisation with anodyne string textures, but rather to create something new that removes stylistic boundaries, and the key to his method is in the way he deals with rhythm. Instead of integrating a jazz drum kit into an orchestra, he makes the rhythmic function much more fluid, and distributes it around the orchestra's various instruments, thus avoiding both the abstraction of the classical avant-garde and the mechanical rigidity and constraints of conventional grooves. The acid test was how it actually worked in practice: "I had a feeling I've never experienced on stage before, that everything I am capable of is actually coming together in one moment."
Stefan Hentz
English translation by Sebastian Scotney

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