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Maxim was born in 1981 in Kyiv. He graduated from the National Music Academy of Ukraine as an oboist (2005) and as a composer (2009) and from the Hochschule für Musik und Tanz Köln as a composer (class of Johannes Schöllhorn, 2016). He took part in Internationa Young Composers Academy in Tchaikovsky city (2013), and reading sessions by Ensemble MusikFabrik. He is the winner of the national competitions Gradus ad Parnassum (Kyiv, 2000), Step to the Left (Saint Petersburg, 2012), Skoryk Competition (Lviv, 2021) and III Prize on Varele Komponistenpreis (Oldenburg, 2015). In 2019 he taught as a composer at the Course International Master Classes of New Music in Lviv. In 2020 he was selected to the catalogue of the Ukrainian Institute that presents the highlights of the Ukrainian contemporary music scene. In 2020 he was invited as a member of the jury at the III International Competition-Laboratory of productions of young directors Musical Art Project. Maxim is the author of two operas. One of them was presented in a concert version in October 2020 by the Kyiv Symphony Orchestra and Luigi Gaggero as conductor.
In 2023, The Metropolitan Opera commissioned Maxim an opera about the abducted Ukrainian children. His music has been performed at the international festivals: Summer New Music Courses in Darmstadt (Darmstadt), VOICES Festival (Berlin), Wiederstand der Klänge (Bonn), New Talents (Cologne), Donaueschinger Musiktage, Warsaw Autumn (Warsaw), World Music Days (Leuven), MATA-Festival (New York), Gogolfest (Kyiv), Contrasts (Lviv), Randfestspiele (Zepernick), Ukrainian Contemporary Music Festival (New York) etc. Among the performers of his music are Wiener Symphoniker (Wien), Ensemble Modern (Frankfurt am Main), Arditti quartet, Haydn-Orchester (Bozen), Ensemble MusikFabrik (Cologne), Neue Vocalsolisten Stuttgart, Amaryllis Quartett (Hamburg), Ensemble KNM (Berlin), KlangForum Heidelberg, Ensemble Proton Bern (Bern), Ascolta (Stuttgart), Lions Gate Trio (U.S. und Europe), Neo Quartet (Gdansk), Ukho Ensemble (Kyiv), the National Symphony Orchestra of Ukraine (Kyiv), Kyiv Chamber Orchestra (Kyiv), Ensemble Nostri Temporis (Kyiv), Moscow Contemporary Music Ensemble (Moscow), Vladislav Pesin (Moscow), Ian Pace (London), Helen Beldsoe (Cologne), Hayk Melikyan (Yerevan), Enno Poppe (Germany). Maxim is actively involved in arranging. Among his works are a series of compositions for the project "The Mystery of the Misty Albion", compositions by Frank Zappa, arranging classical works for the baroque music ensemble Luna Ensemble. He has also been working as a solo oboist in the Ukho contemporary music ensemble(Kyiv) since 2015, and in the Kyiv Symphony Orchestrasince 2018. As a solo-oboist played with orchestras Kyiv soloists, Kyiv Symphony Orchestra, Ukho Ensemble, Musica Camerata, Russische Kammerphilharmonie St. Petersburg. Together with the Ukho Ensemble he realized the Ukrainian premiere of the concert for oboe No.2 by Luca Francesconi, as also ensemble pieces by P.Boulez, S.Gervasoni, B.Ferneyhough, L.Berio, G. Kurtag and many others. He took part as the performer in many Ukrainian and foreign festivals and master courses: historically informed performance with Freiburg Baroque Orchestra and contemporary music with Ensemble Recherché (2007, 2008), Internationale Ferienkurse für Neue Musik Darmstadt (2010), impuls academy (Graz, 2011), Per suonare l'oboe (Freiburg, 2011), Montepulciano (Italy, 2015) as an oboist, a composer and a conductor. He was a participant of the Kyiv conductor master classes under the guidance of Luigi Gaggiero (2016). Together with Dmytro Radzetsky, he is the organizer of the KoRa art-cubeart space, which regularly hosts concerts, broadcasts, acoustic experiments and various collaborations. In 2020, the KoRa Late Night Showproject was launched in the KoRa art-cube. Well-known Ukrainian musicians are invited to the studio every week for interviews and performances. Maksym Kolomiets is the co-founder of the contemporary music ensembleEnsemble Nostri Temporis (2007), the founder of the baroque music ensemble Luna Ensemble(2014) and music curator at the Gogolfest(Kyiv) in the year 2017.
i guess the rejection was anticipated from the get go, actually happened around the middle, came into realisation multiple times after and couldn't get a resolution within that time. the thoughts were calming down a few times though, but seemingly only to catch a breath for the next cry. relatable though
This is like putting a fresh turd on a pedestal and then charging admission fee to see the "newest work of art". You could just as easily put a toddler behind a keyboard connected to midi, tell him to go nuts for 15 minutes, record the whole thing on some music notation software, and pretend it's "high art". Which of course no one but the "initiated" can understand or enjoy.
The only way to make this song is to know how to play piano because it sounds too good but it also sounds like multiple songs are trying to be played at the same time and it’s warped. I’m guessing some type of jazz or classical piece
Kafka's principle of extending a short story (Before the Law) into a novel (The Trial) seems to be used here. In this case, that short story is Webern's sehr schnell, Part 2, Op. 27 - th-cam.com/video/YRrvATKmao8/w-d-xo.html
i wondered why this piece sounded and looked familiar, then i figured it out - a video of ian pace playing the piece. still a really good piece to listen to after all these years!
I disagree with the "gibberish" part, but I do agree with "usual new complexity". I fail to find anything distinguishing it from Brian Ferneyhough's music, and that to me is the only real valid criticism one could make. Pushing the boundaries of music and discovering new sounds is something to appreciate, regardless of whether the music speaks to you or not. I'm not particularly fond of New Complexity but I'm grateful for the doors that it opened. But it certainly is disappointing when a composer stalls progress by writing in a style/language that has already been done to death without adding any substantial new insights. Ultimately, redoing Ferneyhough is the same as redoing Mozart. It already exists, why do it again? What value is there in listening to derivative work/pastiche when you can listen to the original thing? (No offense to the composer if he reads this, just food for thought...)
That one contemporary piece everyone understands.
Maxim was born in 1981 in Kyiv. He graduated from the National Music Academy of Ukraine as an oboist (2005) and as a composer (2009) and from the Hochschule für Musik und Tanz Köln as a composer (class of Johannes Schöllhorn, 2016).
He took part in Internationa Young Composers Academy in Tchaikovsky city (2013), and reading sessions by Ensemble MusikFabrik. He is the winner of the national competitions Gradus ad Parnassum (Kyiv, 2000), Step to the Left (Saint Petersburg, 2012), Skoryk Competition (Lviv, 2021) and III Prize on Varele Komponistenpreis (Oldenburg, 2015).
In 2019 he taught as a composer at the Course International Master Classes of New Music in Lviv.
In 2020 he was selected to the catalogue of the Ukrainian Institute that presents the highlights of the Ukrainian contemporary music scene.
In 2020 he was invited as a member of the jury at the III International Competition-Laboratory of productions of young directors Musical Art Project.
Maxim is the author of two operas. One of them was presented in a concert version in October 2020 by the Kyiv Symphony Orchestra and Luigi Gaggero as conductor.
In 2023, The Metropolitan Opera commissioned Maxim an opera about the abducted Ukrainian children.
His music has been performed at the international festivals: Summer New Music Courses in Darmstadt (Darmstadt), VOICES Festival (Berlin), Wiederstand der Klänge (Bonn), New Talents (Cologne), Donaueschinger Musiktage, Warsaw Autumn (Warsaw), World Music Days (Leuven), MATA-Festival (New York), Gogolfest (Kyiv), Contrasts (Lviv), Randfestspiele (Zepernick), Ukrainian Contemporary Music Festival (New York) etc.
Among the performers of his music are Wiener Symphoniker (Wien), Ensemble Modern (Frankfurt am Main), Arditti quartet, Haydn-Orchester (Bozen), Ensemble MusikFabrik (Cologne), Neue Vocalsolisten Stuttgart, Amaryllis Quartett (Hamburg), Ensemble KNM (Berlin), KlangForum Heidelberg, Ensemble Proton Bern (Bern), Ascolta (Stuttgart), Lions Gate Trio (U.S. und Europe), Neo Quartet (Gdansk), Ukho Ensemble (Kyiv), the National Symphony Orchestra of Ukraine (Kyiv), Kyiv Chamber Orchestra (Kyiv), Ensemble Nostri Temporis (Kyiv), Moscow Contemporary Music Ensemble (Moscow), Vladislav Pesin (Moscow), Ian Pace (London), Helen Beldsoe (Cologne), Hayk Melikyan (Yerevan), Enno Poppe (Germany).
Maxim is actively involved in arranging. Among his works are a series of compositions for the project "The Mystery of the Misty Albion", compositions by Frank Zappa, arranging classical works for the baroque music ensemble Luna Ensemble.
He has also been working as a solo oboist in the Ukho contemporary music ensemble(Kyiv) since 2015, and in the Kyiv Symphony Orchestrasince 2018.
As a solo-oboist played with orchestras Kyiv soloists, Kyiv Symphony Orchestra, Ukho Ensemble, Musica Camerata, Russische Kammerphilharmonie St. Petersburg. Together with the Ukho Ensemble he realized the Ukrainian premiere of the concert for oboe No.2 by Luca Francesconi, as also ensemble pieces by P.Boulez, S.Gervasoni, B.Ferneyhough, L.Berio, G. Kurtag and many others.
He took part as the performer in many Ukrainian and foreign festivals and master courses: historically informed performance with Freiburg Baroque Orchestra and contemporary music with Ensemble Recherché (2007, 2008), Internationale Ferienkurse für Neue Musik Darmstadt (2010), impuls academy (Graz, 2011), Per suonare l'oboe (Freiburg, 2011), Montepulciano (Italy, 2015) as an oboist, a composer and a conductor.
He was a participant of the Kyiv conductor master classes under the guidance of Luigi Gaggiero (2016).
Together with Dmytro Radzetsky, he is the organizer of the KoRa art-cubeart space, which regularly hosts concerts, broadcasts, acoustic experiments and various collaborations. In 2020, the KoRa Late Night Showproject was launched in the KoRa art-cube. Well-known Ukrainian musicians are invited to the studio every week for interviews and performances.
Maksym Kolomiets is the co-founder of the contemporary music ensembleEnsemble Nostri Temporis (2007), the founder of the baroque music ensemble Luna Ensemble(2014) and music curator at the Gogolfest(Kyiv) in the year 2017.
Thx for his bio
i guess the rejection was anticipated from the get go, actually happened around the middle, came into realisation multiple times after and couldn't get a resolution within that time. the thoughts were calming down a few times though, but seemingly only to catch a breath for the next cry. relatable though
are there any journals that you like to read?
The pity piano tuning ruins everything...
This is like putting a fresh turd on a pedestal and then charging admission fee to see the "newest work of art". You could just as easily put a toddler behind a keyboard connected to midi, tell him to go nuts for 15 minutes, record the whole thing on some music notation software, and pretend it's "high art". Which of course no one but the "initiated" can understand or enjoy.
I’m eager to hear your music.
My exact thoughts...but then, what do I know about music?
Clearly you haven't been initiated.
The only way to make this song is to know how to play piano because it sounds too good but it also sounds like multiple songs are trying to be played at the same time and it’s warped. I’m guessing some type of jazz or classical piece
Kafka's principle of extending a short story (Before the Law) into a novel (The Trial) seems to be used here. In this case, that short story is Webern's sehr schnell, Part 2, Op. 27 - th-cam.com/video/YRrvATKmao8/w-d-xo.html
@@schizyfos thank you
nice, now play it as written
I can breath now
i wondered why this piece sounded and looked familiar, then i figured it out - a video of ian pace playing the piece. still a really good piece to listen to after all these years!
Not for me.....but maybe for others?
yes me
Congratulations! 👏👏👏
The usual new complexity gibberish.
💀
I disagree with the "gibberish" part, but I do agree with "usual new complexity". I fail to find anything distinguishing it from Brian Ferneyhough's music, and that to me is the only real valid criticism one could make. Pushing the boundaries of music and discovering new sounds is something to appreciate, regardless of whether the music speaks to you or not. I'm not particularly fond of New Complexity but I'm grateful for the doors that it opened.
But it certainly is disappointing when a composer stalls progress by writing in a style/language that has already been done to death without adding any substantial new insights. Ultimately, redoing Ferneyhough is the same as redoing Mozart. It already exists, why do it again? What value is there in listening to derivative work/pastiche when you can listen to the original thing?
(No offense to the composer if he reads this, just food for thought...)