The 17th International Festival for Contemporary Music Moscow Forum
The Specter of the Future
A Milieu for New Music and Aesthetical Discussions
October 11–15, 2021
Rachmaninov Hall of the Moscow Conservatory
FESTIVAL BOOKLET
Human beings have always aspired to foretell the image of the future. In all the cultures of the ancient world foretellers had a special place in society, while the classical religions have institutionalized the roles of prophets and spiritual teachers. From astrology and esotericism, which aspired to foresee the future irrationally, our modern science, has germinated, which has attempted to give objective prognoses of the development of observed processes, whereas philosophy has always seen as one of its goals in prognosticating a holistic view of the world of the future. Finally, artistic imagination has appeared from the need to fill in the lacunae of what has not yet been cognized and to create a new prognosticated reality of the far future on the basis of remaking the elements of life experience into free fantasies.
The fact remains paradoxical that the great prophecies of the philosophers of the past — from “Plato’s “Republic” — to Thomas More’s “Utopia”, from St. Augustine’s “The City of God” — to the “Communist Manifesto” by Marx and Engels, not to mention the early 20th century futurist manifestos — are permeated by a sense of triumph of the ideas of a coherent world order and overall harmony, whereas the futurological prognoses of the present day are filled with disturbance and qualm. Artificial intellect and the ecological crisis, the exhaustion of natural resources and demographical problems, the post-colonial world, the “new ethics” — all of these issues have not found any positive solutions in present-day science fiction, with the possible exceptions of some kind of pop hero of the latest in a series of “Star Wars”, or a ninja turtle rushing to save humanity from its horrible future. Moreover, in the literature of contemporary times a special genre has been formed — the anti-utopia, which describes in a grotesque manner the back side of an unending uncontrolled “progress” which ultimately destroys the very concept of “humanness”. At the same time, the models of “government with eternal stability” alternative to progress, which block any other possibilities of development, appear no less frightening (George Orwell’s “1984”, Yevgeny Zamyatin’s “My” [“We”], Aldous Huxley’s “Brave New World”, etc.).
While the futurological prognoses of the past were intriguing, first of all, by their perceptions of the new wonders of technology and innovations, the present-day contemplations of the futures are of no less interest from the point of view of their immersion into those fears which grip us in our time. Essentially, in our attempt to peer into our tomorrow, we analyze critically our today, while the projections of the future increasingly become the archeology of the present. In this context our festival does not make any claims at foretelling the future, but focuses on the aim of creating it. Here and Now.
The five evenings of the “Moscow Forum” festival present the attempt of an artistic reevaluation on the part of musicians and philosophers of certain challenges of our time. It is the simultaneously “archeological” and “futurological” research of the complex, contradictory processes, which have received their reflection in the present-day art of music. It is the aspiration to glance into the future, into the not yet verbalized aspects and potentials of music, which is intrinsic to the “Moscow Forum” festival in an a priori fashion, and simultaneously the attempt to shape this future, to construct its possible traits.
Artistic Director of the festival
Vladimir Tarnopolski
List of events
Monday, October 11
Rachmaninov Hall of the Moscow Conservatory, 19:00
FUTURO // LOGOS
The opening and the conclusion of the 17th Moscow Forum festival together with the artists of the Studio for New Music ensemble shall be organized by the renewed team of the Centre for Electroacoustic Music of the Moscow Conservatory, the direction of the work of which by its very definition combines not only acoustic and electronic music, but also traditional concert practice with the newest performative formats, such as purely musical performance with multimedia means. This “digital turn”, which defines today the fundamental transformations of all the arts and their qualitatively new interaction on the basis of various digital platforms exerts absolutely new demands on musicians and visual artists. The contemporary performer is required not only to possess certain technological skills, but also, in response to new challenges, it is necessary to acquire diversified proficiency of the multifaceted artist, which a concert performer of the new formation is turned into. In these new formants of the presentation, a concert frequently ceases to be a purely acoustic event, in multimedia project the sound element becomes merged with the visual, the improvisational with the notated, and the instrumental with the choreographic.
At the same time, the limitless abundance of opening possibilities also has its own negative side. In Brigitte Muntendorf’s composition Public Privacy #6: voice | bright no more the issue arises of the personal and the public in the world of contemporary digital culture in which these boundaries are diffused. The dialogue of the singer with herself discloses the secret hypostases of personality and immerses the listener into the artist’s inner world. Matthias Kranebitter in his piece Nihilistic Study No.7 notwithstanding the involvement of the technical possibilities of electronics, inspires himself with the aesthetical ideas of Jean Dubuffet, one of the founders of Art Brut — the unprofessional, markedly simple art of children, self-taught people and lunatics. Lapidary juxtapositions of multicomponent chaotic motion of the ensemble’s instruments with equally chaotic sounds of the real world or electronics shape a clear relief of the musical composition’s form, simultaneously ostentatiously simple and paradoxically multiple-value, similarly to how the composer views our present-day world. The aspiration “to depart from the comfortable ghetto of present-day ‘cultural’ music in order to deal with the sound universe which surrounds us” is Fausto Romitelli’s creed, which revealed itself vividly in his final composition Green, Yellow and Blue. This piece presents a bright testimony of the composer’s wish to exit from the harsh systematization of genres; when combining the electric guitar and the musical connotations with the traditional instruments of Romitelli’s ensemble connected with it overcomes the boundaries between various genres and styles and creates its own absolutely new world of sound. This composition was created in organic unity with the works of the well-known artists — Thierry De Mey and Anne Teresa De Keersmaeker, which have transformed the composer’s sound discoveries into a remarkable visual-choreographic set created by applying special filters and algorithms which change the motion, space and colors of the exquisite gardens in which the films were shot.
The aspiration to liberate music from compulsion dictated by traditional notation brings Rafaël Cendo in his piece Foris (Latin for “forest”) to a gesture-related type of compositional writing with a dense forest of new graphic symbols representing various devices from the set of extended instrumental techniques. At the same time, the electronic domain, which transforms sound in real time, and the six-channel spatial development of sound creates the impression of a special acoustic space in which the direct connection between created and transformed sound becomes lost for the listener. In Alexander Khubeev’s The Specter of Antiutopia the transformation of performers’ motions into sound is achieved with the use not of the customary electronic, sensors, but acoustic sensors, which amplify over and over again the “visual” element and bring it out unto a separate strata of dramaturgy. Alexander Schubert’ Hello is a audio-visual piece in which the projection serves as a score to be interpreted by the ensemble. The video consists of gestures performed by the composer in his living room. “The piece is an invitation into the personal world of Alexander Schubert. Please enjoy”, as composer writes about his piece.
19:00
Brigitta Muntendorf
Public Privacy #6...bright no more for voice, electronics and video (2017) 7’ RP*)
Matthias Kranebitter
Nihilistic study No. 7 for ensemble and electronics (2013) 12' RP*)
Fausto Romitelli
Green, Yellow and Blue for ensemble, video and electronics (2003) 7' RP*)
Video — Thierry De Mey, choreography — Anne Teresa De Keersmaeker
___________________
20:00
Discussion
Participants and guests of the festival
___________________
21:00
Alexander Khubeev
Ghost of Dystopia for performer and ensemble (2014) 11'
Raphaël Cendo
Foris for cello and electronics (2011) 10'
Alexander Schubert
Hello for flexible group of instruments, live-electronics and video (2014) 8'
Alyona Verin-Galitskaya, voice
Yulia Migunova, cello
Alexey Potapov, guitar
Eleonora Kostina, percussion
Venedikt Peunov, bayan
Dmitry Batalov, piano
Ignat Krasikov, clarinet
Nikolay Popov, electronics
Eldar Sadykov, electronics
Alexander Plakhin, video
Alexander Pettay, video
Ilnur Gabidullin, sound engineer
Anton Bushinsky, sound engineer
Studio for New Music ensemble
Igor Dronov, conductor
Thierry De Mey's work is supported by the Wallonia-Brussels Federation, General Service for Artistic Creation
WP*) — World Premiere
RP*) — Russian Premiere
Tuesday, October 12
Rachmaninov Hall of the Moscow Conservatory, 19:00
ECO // LOGOS
In recent years, questions of ecology have ceased to be a subject related only to science or production technologies, but have advanced to the rank of the most crucial social and political themes. Despite the fact that ecological issues have been well-known, the realization of the critical importance of their study emerged only in the early 1970s, when UNESCO instituted a special program titled “The Human Being and the Biosphere”. It is interesting to note that artists have realized, much earlier than scientists and politicians did, the global nature of the problems of ecology, and its direct connection not only with the biosphere, but also directly with culture, ethics and art. In the 1960s the “father of acoustic ecology” Raymond Murray Schafer wrote his work “The New Sound Landscape”, followed by a second work, “The Tuning of the World”, which are becoming a theoretical foundation for the creation of “compositions for the natural medium”. The selfsame Shafer also became one of the initiators of adopting a law against noise pollution. In the 1960s John Cage declares in one of his essays: “Music as I conceive it is ecological. You could go further and say that it IS ecology” (Cage. For the Birds). The composer did not make any distinctions between nature and culture, sound and space, instrumental (or vocal) sound and noise. Back in the 1960s Luc Ferrari began working on his “Hétérozygote”, a composition for magnetic tape in which the sounds of the external environment are used for the creation of musical dramaturgy. Finally, his composition “Le lever de jour au bord de la mer” (1970), which has become a classic of the genre, is constructed entirely by means of montage of fragments of tape recording made by the composer during the course of an entire day on a beach.
However, “ecological music” is presented by no means only by ambient recordings or compositions for the natural medium. In the present time one of the aesthetic canons of the genre is exemplified by the music of John Luther Adams, which is broadly presented in world concert practice. According to the composer himself, during the course of his entire life he “has searched for the ecology of music, supposing that music may be conducive to the awakening of our ecological understanding”. It is noteworthy that in 2011 Adams received the Heinz Award, bestowed for his achievements in the field of environmental protection and his contribution to development of the arts. Two works by Adams are performed in our programs, reverse in their imagery, while at the same time representing adequately the composer’s style — Dark Wind and The Light That Fills the World. This is what the composer writes about himself: “In my compositions there are only… slowly changing colors on a supertemporal white plane. While its sides are blurred. Separate sounds are merged into one acoustic horizon, harmony and color are combined with space and time… Music aspires to lead us beyond the limits of syntactic meanings, even beyond the boundaries of images, in order to teach us to listen to ourselves within an enshrouded whole. These deceptively static sound fields are site of constant changes. But the experience of listening to them present not as much a journey through a musical landscape, as sitting in immobility, when the wind and the weather, light and shadows slowly change around us”.
Das Andere (The Other) by Horațiu Rădulescu, one of the strangest of the 20th century visionary composers, presents 18 minutes of continuous “fusion of the sound plasm”, which stems from the high G of the third octave to the C of the tenor octave — encompassing the entire viola range. The special abstract notation invented by the composer does not give the performer a single chance of “concealing himself” behind the notated and learned music, it provokes the musician to a constant search for new sound pertinent to the conditional notation, albeit, one which corresponds precisely to the composer’s intentions. With each subsequent performance the piece does not repeat itself, but is created here and now. It is possible to discover in it an entire encyclopedia of Rădulescu’s techniques, by means of which the composer attempted to “place the performer at a boundary between notated and substantially created sound, into a domain in which the state of trance is achieved”. The piece is built on the alternation of two types of textures, which are repeated from the beginning to the end of the piece without any special changes, thereby creating a peculiar kind of “controlled meditation”.
Dvo_YE by Anna Pospelova is based on the elements of words from Elizaveta Mnatsakanova’s poem Vesennyaya muzyka... [Spring Music…]. The fragmented poetical text here is merely the building material for the electronic sound, but it is also integrated to a certain degree into the flute part. The sound landscape of Crépuscule du soir mystique by Natalia Prokopenko is composed of rustles and glide sounds in such a way that separate phonemes help shape the respective stages of the gradual formation of Sound, Word and Meaning. The images of nature in the Sakura-Variationen by Helmut Lachenmann and The Singing of Birds by Edison Denisov have induced the classics of avant-garde music to reveal certain stylistic features untypical for them. Lachenmann’s Variations do not contain anything from his signature musique concrète instrumentale, but rather present collaged postmodernist melodic constructions with diverse stylistic connotations. On the other hand, in Denisov’s piece it is particularly the musique concrète — the sounds of the birds — which provides the foundation of the sound, generating imitational answers from the piano, the part of which is entirely notated graphically. Krichi, shurshi, ne molchi [Shout, Rustle, do not be Silent] by Elizaveta Zgirskaya presents the composer's passionate utterance in the genre of video-art about the destruction of the wooden architecture in her native city Tomsk.
19:00
John Luther Adams
Dark wind for ensemble (2001) 13' RP*)
Horațiu Rădulescu
Das Andere for viola solo (1983) 18' RP*)
Natalia Prokopenko
Crépuscule du soir mystique for ensemble on Verlaine's poems (2021) 9' WP*)
___________________
20:00
Discussion
Andrey Smirnov, researcher of sound art, founder of the Theremin Centre, teacher of Shaninka
and participants of the concert
___________________
21:00
Edison Denisov
Birdsong (1969) 6’
Anna Pospelova
Dvo_YE for bass flute and electronics (2019) 8' RP*)
John Luther Adams
The light that fills the World. Version for chamber ensemble (2000) 13'
Helmut Lachenmann
Sakura-Variationen for alto saxophone, piano and percussion (2000) 6’ RP*)
Elizaveta Zgirskaya
Videoart Shout, Rustle, Don't be silent (2020) 17’
Ekaterina Kichigina, soprano
Anna Burchik, viola
Mona Khaba, piano
Marina Rubinstein, flute
Studio for New Music ensemble
Igor Dronov, conductor
Wednesday, October 13
Rachmaninov Hall of the Moscow Conservatory, 19:00
COSMO // LOGOS
Light ProjectionS Project
The program of the evening is a sort of artistic exploration of certain aspects of the theme of “space in music”. In a Large, Open Space by James Tenney for instrumental ensemble is essentially an original type of spatial-sound installation. Each instrument plays in random order the tones of the pitch set written out by the composer, which gradually form a certain image of an overtone chord resonating with the space of the chord and demonstrating its individual acoustic features.
Beat Furrer compares the spatial-temporal differentiation of heterogeneous textural strata in his piece Phasma with how in the perception of a passenger of a fast train the spaces and swiftness of the motion of the objects of the proximal and the distant planes — the speedy flickering of close-by objects and the slow motion of faraway ones — differ from each other.
The multimedia French group LiSiLog in its artistic project Light ProjectionS explores the most intricate processes of transgression of sound and light, the transition of the artist’s motion into musical sound. The space of the hall itself is examined as an invisible keyboard each “key” of which is programmed into a special individual sonority and is brought into action by the choreographic motions of the dancer or the musician. The technical foundation of the project is the interactive platform Light Wall System (LWS) developed by Christophe Lebreton.
The project which united together several heterogeneous compositions is lined up as a unified performative-sound program. The inspiring impulse for the composition titled Corps invisibles was served by the graphics of Japanese writing and the new social phenomenon of the so-called “invisible people”, who live all of their lives through in closed apartments.
The core of the composition titled Transitions is the complex chain of reactions, reflections and interpretations of the musical material by means of performance gestures transformed through the LWS.
The work titled The Final Sunset is constructed as a superimposition of estranged “cosmic” side-tones of the saxophone on a recording of the sound of the Earth carried out by NASA. At the same time the saxophone sound regulated by the LWS through the performer’s motions, approaches the quality of electronic sounds, while the recording of the sound of the earth unexpectedly turns out to be close to the style of New Age Music.
Virtual Rhizome makes use of another technology — the Smart Hand Computer. On the basis of the interaction between two smartphones a performative-sound labyrinth lined up from 23 sonorous elements fixated behind certain gestures unfolds itself before us. This action becomes intertwined by choreography the succession of elements in which it incalculably changes the musical form upon each performance.
19:00
Yui Sakagoshi
to be (2019, 2021) 5'
Music by Sergio Rodrigo: BHZ.2019 — Corpos morrentes nas baladas dos acertos, desacertos e correrias
Text by Kobo Abe: The Box Man
Pierre Jodlowski
I.T. for percussionist and electronic dispositif (2019) 5’ RP*)
Vladimir Tarnopolski
Last Sunset for saxophone and Light Wall System (2021) 13’ WP*)
Nikolai Popov
Transitions for percussionist and Light Wall System (2021) 8’ WP*)
Sami Naslin
Corps invisibles for saxophone, dance and Light Wall System (2021) 12’ WP*)
Vincent Raphaël Carinola
Virtual Rhizome for Smart Hand Computer and dance (2018) 12’ RP*)
Collectif LisiLog (France)
Meng-Fu Hsieh, percussion
Yui Sakagoshi, saxophone
Axel Poulsen, dance
Sami Naslin, electronics
Christophe Lebreton, interactive sound scenography
Jean Geoffroy, artistic director
___________________
20:00
Discussion
Evgeny Asse, architect, professor of the MARCHI, rector of the MARSH school
and participants of the concert
____________________
21:00
Beat Furrer
Phasma for piano (2002) 23’ RP*)
James Tenney
In a large, open space for any 12 or more sustaining instruments (1994) 15’ RP*)
Dmitry Batalov, piano
Studio for New Music ensemble
Thursday, October 14
Rachmaninov Hall of the Moscow Conservatory, 19:00
SOCIO // LOGOS
The program of the Studio for New Music ensemble is a sort of artistic immersion into the theme of social criticism, which has swept throughout the art of Europe, from the undisguised irony regarding the complacency of the bourgeois in Jean Vigo’s silent film À propos de Nice with “live music” by François Paris (2005) to the bitter breakdown in Rolf Riehm instrumental-theatrical composition Lenz in Moskau, in which the tragic story of German poet Jacob Lenz, who the German burghers failed to understand, and who was compelled to flee and to die incongruously in Russia, little understood by him, becomes a symbol of loneliness and humiliation of an artistically minded person. The related idea of a forcible and destructive incursion of reality into artistic fiction also appears in Romitelli’s work which was inspired by Francis Bacon’s painting Blood on the Floor, Painting 1986 and which absorbed into itself the explosive potential of rock music and the beauty of fancifully deformed Spectralism.
Mauro Lanza in his Quartet brings in a sort of “sound investigation” of one of the first hacker’s attacks which took place in Chicago in 1987, when during the time of a broadcast of a next scheduled television series on the screens a certain character appeared in a mask of a popular computer interviewing character Max Headroom from one television anti-utopia which identified the future with the diktat of television and large-scale corporations. A man holding a can of Coca Cola was groaning, shouting and laughing, pronouncing random phrases and, at the end, having stuck out his middle finger and humming a fragment from the hit song “I am losing you” disappeared from the screen. The hackers were never found, while the described case became the first link of a dangerous social phenomenon — encroachment on security systems.
A cycle of three compositions bearing the general title of Riss (German for “break” or “severance”) by Mark André was inspired by the composer's study of a religious essay by Margaret Gruber titled Der Vorhang Zerreisst, where the curtain becomes a symbol of the hidden presence of God in mundane life. In this cycle the composer discloses to the listener sound worlds which are concealed from his everyday perceptions, and which are based on soft, estranged noise-like sounds of instruments which provoke us by their very subtlety and tension to a most concentrated type of listening. At the same time, Mark André brings out the sound sources of his compositions directly from the texts of the Gospels themselves, such as, for instance, the murmur of the congregants in the resounding acoustics of the temple or the rustle of fire.
The performative group Waldgang has expressed its vision of the path towards the spiritual through the process of melting metallic coins equivalent to the minimal wage into a church bell, to the ensoulment of the material element, so that what is bereft of voice would obtain sound.
19:00
Mauro Lanza
The 1987 Max Headroom Broadcast Incident for string quartet and electronics (2017) 10’ RP*)
Fausto Romitelli
Blood on the floor, Painting 1986 for ensemble (2000) 10’
Mark Andre
Riss I for ensemble (2017) 12’ RP*)
Team Waldgang
Performance The Voice of Hunger. IV part. Enclume
___________________
20:00
Discussion
Dmitry Gutov, artist, art theorist
and participants of the concert
____________________
21:00
Rolf Riehm
Lenz in Moskau (2011) 20’ RP*)
François Paris
À propos de Nice (2005)
Music for a silent film by Jean Vigo (1929) 25’
Studio for New Music ensemble
Igor Dronov, conductor
Studio for New Music String quartet
Stanislav Malyshev, violin
Inna Zilberman, violin
Anna Burchik, viola
Olga Kalinova, cello
Team Waldgang
Varvara Ivanchik
Anna Amatuni
Ivan Man'ko
Danila Zudinov
Konstantin Ksenofontov
Pavel Polyakov
Friday, October 15
Rachmaninov Hall of the Conservatory, 19:00
TECHNO // LOGOS
A Project of the Centre for Electroacoustic Music of the Moscow Conservatory (CEAMMC)
Biomechanics. Evolution
Biomechanics. Evolution is a multimedia project of the Centre for Electroacoustic Music of the Moscow Conservatory (CEAMMC) within the frameworks of which traditional instruments interact with various types of media – electronics, video and light, and the performers themselves occasionally demonstrate themselves in uncustomary roles, playing various objects and specially created instruments.
The concert is in a certain sense a continuation of the previous projects Biomechanics, Biomechanics 2.0, Biomechanics 2.1, Biomechanics 3.0, Biomechanics.NEXT, Biomechanics.EXTRA, Biomechanics.MIX, which have been held in the Rachmaninoff Hall of the Moscow Conservatory, in the Small Hall of the Nizhny Novgorod Conservatory, in the halls of the Moscow Philharmonic Society, as well as in the Museum of Moscow. The CEAMMC presents pieces by the leading composers in Russia and in other countries, who work in the sphere of electronic music and multimedia.
In Matthias Wettl’s Nocturne four performers direct 16 lamps with the help of 16 light switches. The musical part of the piece is comprised only of sounds created by the switches. But when the performers turn the lamps on and off, the premises, which is lighted up in a special way by means of flickering light fixtures, becomes yet another important dimension of the composition, so it turns out to be a work not only of music, but also of the art of audio-vision.
New Piece by Alexei Nadzharov tests possibilities of a reflecting stage situation on the basis of the interaction of live sound and video with the traditional form of concert performance. In his piece ARTRA for percussion instruments, electronic sounds and video, composed for a project commemorating the centennial anniversary of Stravinsky’s “The Rite of Spring”, Nikolai Popov uses a fragment of the “Danses des adolescents” from the gold covered disc of the “Voyager I” space probe, which was sent off beyond the Solar system. In Alexander Khubeev’s composition Luce, inspired by Scriabin’s ideas, the part of the light is concisely noted down and programmed, while the performers put into effect not only the musical part, but also affect the performance of the “light part”, thereby also creating a special type of visual theater by means of shadows and glints.
Edges by Frank Bedrosyan are based on the effect of superimposing the sound layers of the piano and the electronics, until they are completely merged with each other. Cologne-based composer Sergei Meinhard in his composition HeroIn for electric guitar, electronics and video explores the boundaries of both the aesthetic principles of contemporary music and of our aural perception.
Star Me Kitten is a lecture about the connection between sound and content”, as Alexander Schubert writes about his composition. This lecture contains quotations which are typical for this genre — from a musical fragment from the horror movie “Something”, as well as a fragment from Romitelli’s music. There are also subtle references present — to a tennis game and to cats.
Between the compositions there is a performance of Stanislav Makovsky’s Interludes, which are based on the use of rhythms and figures of various dance genres. The composer calls his method of work with electronics in this piece “electroacoustic composition in reverse: here the computer controls the acoustic instrument, while all the sound transformations are carried out by means of elementary preparation”.
19:00
Mátyás Wettl
Nocturne for 4 performers (2017) 5'
Alexey Nadzharov
new piece for accordion, electronics and video (2015)7'
Nikolai Popov
ARTRA for percussion, electronics and video (2013) 8’
Alexander Khubeev
Luce for six performers, electronics and light (2016) 10'
Video — Dmitry Mazurov
Light programming — Alexey Nadzharov
___________________
20:00
Discussion
Alexandra Persheeva, art critic, Associate Professor at the HSE School of Design
and the concert participants
___________________
21:00
Franck Bedrossian
Edges for piano and percussions (2010) 10'
Sergej Maingardt
HeroIn for electric guitar, electronics and video (version 2021) 10' RP*)
Alexander Schubert
Star Me Kitten for voice, ensemble, electronics and video (2015) 15'
Stanislav Makovsky
Interludes for prepared disklavier (2017) 10'
Alena Verin-Galitskaya, voice
Venedikt Peunov, accordion
Yulia Migunova, cello
Alexey Potapov, guitar
Dmitry Vlasik, drums
Dmitry Batalov, piano
Ignat Krasikov, clarinets, saxophones
Nikolay Popov, electronics
Eldar Sadykov, electronics
Alexander Plakhin, video
Alexander Pettay, video
Ilnur Gabidullin, sound engineer
Anton Bushinsky, sound engineer