Yuri Kasparov,
Russian composer and professor at the Moscow State Tchaikovsky Conservatory,
Tatiana’s composition teacher,
speaks about Tatiana:
“During her years of study at the conservatory, she composed a wide range of works. Most of them are written in a complex, deeply individual modern musical language and bear the imprint of an outstanding intellect. In addition to her musical expertise, she has gained substantial knowledge in the sciences, philosophy, linguistics, literature, and other arts. In my view, Tatiana Gerasimenok is one of the most profound, interesting, and promising young composers, capable of bringing a fresh voice to the art of composition.”
“I shall start the conversation about Tatiana Gerasimenok with the quote of doctor Breed from 'Cat's Cradle'. On the question whether he was the Head of laboratory where famous scientist Felix Hoenikker worked, Asa Breed answered: 'If I actually supervised Felix, I'm ready now to take charge of volcanoes, the ties, and the motions of birds and lemmings. The man was a force of nature no mortal could possibly control.' Exactly the same creation of nature is Tatiana! The grade of brightness and originality of Tatiana's creative ideas doesn't concede the brightness and originality of her appearance and behaviour.
Tatiana is thinking, deep person, and the extreme emotions never overshadows the work of mind, it just sharper and probably helps to feel more accurately the world around us and everything that happens at that time. In my life I have met hundreds of definitions of music as such. One of them says that the music is abstract structuralization of emotions. This is a good working definition for many romantic composers. And in certain expressions, whether consciously or intuitively, Tatiana fully shares the views of Robert Schumann: 'the mind errs, the emotion never'.
If we talk about the music in mathematical terms, the Euclid defined parallel lines as never intersecting. Lobachevsky extended the boundaries of Euclidean geometry, defining parallel lines as those that intersect at infinity. Tatiana, excluding non-Euclidean geometry to have exhausted itself, accepts the postulate that parallel lines intersect infinite number of times in the infinite number of infinities!
Tatiana belongs to the cohort, preferring continuous sounding space and far from academic voices, and I see a deep symbolism that her latest tools scores corresponds exactly to that with which people built houses and other architectural structures. Intellectual work is not just reflected in each of her score, but finds the most unexpected and unusual forms of expression!”
“I shall start the conversation about Tatiana Gerasimenok with the quote of doctor Breed from 'Cat's Cradle'. On the question whether he was the Head of laboratory where famous scientist Felix Hoenikker worked, Asa Breed answered: 'If I actually supervised Felix, I'm ready now to take charge of volcanoes, the ties, and the motions of birds and lemmings. The man was a force of nature no mortal could possibly control.' Exactly the same creation of nature is Tatiana! The grade of brightness and originality of Tatiana's creative ideas doesn't concede the brightness and originality of her appearance and behaviour.
Tatiana is thinking, deep person, and the extreme emotions never overshadows the work of mind, it just sharper and probably helps to feel more accurately the world around us and everything that happens at that time. In my life I have met hundreds of definitions of music as such. One of them says that the music is abstract structuralization of emotions. This is a good working definition for many romantic composers. And in certain expressions, whether consciously or intuitively, Tatiana fully shares the views of Robert Schumann: 'the mind errs, the emotion never'.
If we talk about the music in mathematical terms, the Euclid defined parallel lines as never intersecting. Lobachevsky extended the boundaries of Euclidean geometry, defining parallel lines as those that intersect at infinity. Tatiana, excluding non-Euclidean geometry to have exhausted itself, accepts the postulate that parallel lines intersect infinite number of times in the infinite number of infinities!
Tatiana belongs to the cohort, preferring continuous sounding space and far from academic voices, and I see a deep symbolism that her latest tools scores corresponds exactly to that with which people built houses and other architectural structures. Intellectual work is not just reflected in each of her score, but finds the most unexpected and unusual forms of expression!”
May 27, 2021 — Moscow Philharmonic
Yuri Kasparov:
“Tatiana Gerasimenok is my student. She graduated from the Moscow Tchaikovsky Conservatory two years ago. Tatiana comes from the Belarusian city of Mogilev, where she graduated from the Rimsky-Korsakov Music College. After that, she moved to Moscow and entered the Moscow Conservatory.
She now lives in Berlin and holds scholarships from various academies and residencies dedicated to contemporary academic art. These scholarships allowed her to come to Germany, live on full support, and focus entirely on composing. Tatiana has been a scholarship holder at institutions such as the Royaumont Abbey in France and the EBMF International Summer Academy in New York, among others.
Tatiana does not call herself a composer but a multidisciplinary artist. When she was graduating from the Moscow Conservatory, it was truly something remarkable. There are no “alive” sounds in her music.
One day she came to me and said:
“Can I give a concert near the conservatory cafeteria?”
“Why there?” I asked.
“There’s the floor I need. If you slide a chair across it, it makes exactly the sound I’m looking for. I’ve explored every floor in the conservatory — nowhere else has that sound.”
Indeed, Tatiana has an extraordinarily sharp and refined timbral ear. She finds a particular timbre and develops it, creating a unique atmosphere. The effect is absolutely astonishing, and every concert of hers that I have attended has been a success.”
She now lives in Berlin and holds scholarships from various academies and residencies dedicated to contemporary academic art. These scholarships allowed her to come to Germany, live on full support, and focus entirely on composing. Tatiana has been a scholarship holder at institutions such as the Royaumont Abbey in France and the EBMF International Summer Academy in New York, among others.
Tatiana does not call herself a composer but a multidisciplinary artist. When she was graduating from the Moscow Conservatory, it was truly something remarkable. There are no “alive” sounds in her music.
One day she came to me and said:
“Can I give a concert near the conservatory cafeteria?”
“Why there?” I asked.
“There’s the floor I need. If you slide a chair across it, it makes exactly the sound I’m looking for. I’ve explored every floor in the conservatory — nowhere else has that sound.”
Indeed, Tatiana has an extraordinarily sharp and refined timbral ear. She finds a particular timbre and develops it, creating a unique atmosphere. The effect is absolutely astonishing, and every concert of hers that I have attended has been a success.”