We are contemporary Russian music. StRes is a union of very different composers. Our differencies unite us. We care a lot about our creative competition. There are leftists and rightists among us, those who disseminate ideas and those who pick up ideas, contemplators and dramatists, authors of mania and depressive types, extremists and fundamentalists.
Our aesthetic platform is our approach to language and tradition.
We are against the simplification of language, against the academic using of the means of expression of the past, dalliance with the audience which, seemingly facilitating perception, in fact makes the level of communication significantly lower.
Music is developing the way it always did. Today its development is related to new technologies and new communicative techniques, as well as to the historic experience, which gets more and more enriched with every minute of an accelerating history.
Music is the most powerful machine of memory among all produced by culture. Music, just as sex, can reach the bottom of the unconscious.
Any machine of memory, even the most avant-garde one, runs on the fuel of remembering. That is why StRes is against the preservation of tradition. StRes will burn tradition in the sound furnaces of the new machines of memory. This is how tradition has always been preserved. To live an experience together does not mean to preserve an object of remembering. To preserve is to surrender. One can preserve a piece of architecture or a museum collection, but not music. Music stays alive only in motion.
StRes does not support tradition; StRes supports the tradition of handling tradition. History, including the history of the past, is being written today. Our aim is the continuous revision of traditionIt is generally thought today that the misfortune of new music is that it cannot overcome the huge gap between the specialized composer's experience and the listener's experience. We believe that art itself stands on this rupture. A piece of music is neither its score nor its sounds, its perception nor product. It is a road, a communicative bridge built over the abyss between the author's experience and the experience of 'a man from the audience'. And the more dead this abyss, the more keen is the feeling and the state of no gravity and freedom from dogmata and rules
Systems of values and stereotypes, including our own, these are the structures whose resistance StRes will overcome.