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TWO DAYS & TWO NIGHTS OF NEW MUSIC
Idea and artistic concept: Association New Music (Ukraine)
General sponsors:
INTERNATIONAL RENAISSANCE FOUNDATION (Ukraine)
PRO HELVETIA, Arts Council of Switzerland, Cultural Exchange East - West (Under the auspices of the Swiss Agency for Development and Cooperation) (Switzerland)
PRO HELVETIA - UKRAINE Foundation
Ernst von SIEMENS Foundation (Germany)
MINISTRY of CULTURE of UKRAINE
Artistic Director: Karmella Tsepkolenko (Odessa)
President: Bernhard Wulff (Freiburg)
Director: Oleksandr Perepelytsya (Odessa)


   The International Festival of Modern Art TWO DAYS & TWO NIGHTS OF NEW MUSIC/2D2N is an annual event that appeared on the musical map of Ukraine in 1995. The festival has been organized and held by the International public organization Association New Music /ANM, the Ukrainian section of the International Society for Contemporary Music /ISCM. Its President, composer Karmella Tsepkolenko has been the festival's Artistic Director since the festival concept was being elaborated. The musician and manager Oleksandr Perpelytsya has been the Director of the festival. The festival's President, percussionist and conductor, Professor of Freiburg High Music School Bernhard Wulff has always fostered development of the festival as an international event.
   Over the years of the festival's existence hundreds of Ukrainian and foreign artists have participated in the events held by the ANM. The annual audience has included many thousands of Odessites and guests coming from other cities of Ukraine and from abroad; mass media have informed millions of readers and listeners all over the world about them. Gradually, the Odessa events have surpassed its geographical limits, they have been spreading to other regions and countries, provoking common international projects, and finding regular place in local, national and international printed and electronic media. Best recordings from the 1st to 3rd and 4th to 6th (double CD) festivals were released on the CDs. The festival's Website has been opened.
   As the festival is non-commercial, its organizing and holding costs have been received through contested grants from public, private or governmental Ukrainian, foreign and international foundations and organizations. For many years the International Renaissance Foundation has been the general sponsor of 2D2N, but lately other sponsors have been involved, namely "PRO HELVETIA" (Switzerland), ERNST VON SIEMENS FOUNDATION (Germany) and Ministry of Culture of Ukraine. The festival is also permanently supported by such foreign funds and organizations, as Austrian Embassy and Kultur Kontakt (Austria), British Council in Ukraine, Greek Culture Foundation and Greek Consulate in Odessa, Gaudeamus Foundation (the Netherlands), Goethe-Institute and Freiburg High Music School (Germany), French Cultural Centre in Ukraine and AFAA Association (France), SUISA Foundation (Switzerland), Swedish Institute, etc. Permanent support is given by Odessa Regional Administration and Odessa City.
   
   Undoubtedly, the festival 2D2N has already been recognised as one of the achievements of the young Ukrainian State. Thus, its artistic content and results, as well as the fact and context of its existence are worthy of analysing. The festival movement is an indicator and catalyst of intensity and quality of artistic life in a country. It is more intensive in developed European States. Only Germany has hundreds of festivals annually, dozens of them present new music, performing art (theatre, dance, pantomime), visual art (painting, sculpture etc.), audio-visual art (film, video), multimedia and other new synthetic forms. Other countries, regardless how big or small they are, don't seem to be behindhand. Switzerland and the Netherlands, for instance, are not at all inferior to great powers in this respect. It can be said, 'festival in European Community is always with you'. If you want to holiday all the year round, you only need to move from one city to another. Most of the festivals are different from political or commercial TV shows, although well supported by local and regional administrations, private sponsors, governments and EC. Thus, festival directors are able to engage numerous teams of first-class experts the whole year round, invite artistic stars and commission new works to composers. So, the festivals really indicate the general level of life in a city or country.
   Unfortunately, the situation in Ukraine is substantially different. Fingers on one hand only will be enough to enumerate all new art festivals happening annually. Usually, any trend of art has one, sometimes two festivals a year. As a rule, it is a privilege of some big cities. Hence, a serious artistic festival in Ukraine is an event waited for by all the country, at least by all the concerned circles that start preparing for it in good time. It especially relates to the festivals that have a some-year long tradition, their own audience, champions and fans.
   Such festivals, according to the worldwide and Ukrainian experience, become real centres that let define art trends, shape new ideas, open new unlimited horizons of creative activity. The festival is not a public holiday or entertainment, it is also a means to influence and develop aesthetic tastes and opinions, as well as to establish some ideals. At the same time the festival is meant to check novelties by practice, determine priorities, and search unbeaten tracks for art and culture development.
   As to its concept and circumstances of implementation, 2D2N doesn't want to imitate any other Ukrainian or foreign festival. This is a phenomenon that troubles imagination and lets go off the rails of commonness. Like every other festival, 2D2N must be and is extraordinary as to its principles and unique as to its form. Its specific consists of being an uninterrupted 48-hour act at 2nd or 3rd week-end of every April; to be more exact there are two 12-hour musical days, starting on Friday afternoon, breaking on Saturday from 4 a.m. to 4 p.m. then recurring and continuing until Sunday morning. Although it is not easy to listen to new music for 24 hours, such a new-art storm gives an exceptional chance to develop over-concentrated, then intuitive perception, as well as an opportunity for all the participants from Ukraine and other countries to get together and communicate. Every musical day of the festival is divided into nearly 12 musical hours conditionally constituting the First Day, the First Night, the Second Day and the Second Night. Every musical hour as a rule is filled with a new performance, sometimes more or less resembling a conventional concert, but at times rather like a theatrical action combined with acts and installations of performing, visual, multimedia and synthetic arts. Often a musical hour represents an open form, e.g. outwardly incoherent alternation of performances by two separate soloists, their play-like collision and match resulting in a 'Duel-Duo'. Unconventional acts require unconventional situation in the hall. Performers mostly don't use an ordinary stage, but a specially equipped place in the centre of the festival room. There is no conventional auditorium, or a concert ritual, the audience sitting at tables or at the bar, refreshing and feeling rather cool.
   Proceeding from the idea of free development of art, 2D2N has been promoting innovatory trends of contemporary music and synthetic kinds of art without defining the notions of New Music and New Art by any bounds of style or ideology. During the festival you can mostly hear classical avant-garde and post-modern works created in the last years and representing various live, electronic, computer and acousmatic music trends. On the other hand, 2D2N has introduced some musical forms that are new or unusual for us, for example traditional art from Armenia, Korea, Mongolia or Alaska with some concern in 'world music', too. Every festival resembles a particular work of art with specific contents, form and dramaturgy. Generally, 2D2N is aimed at joining theatre and musical art as well as all other arts, and the synthesis of various arts. This general trend received some special emphases at every event of the festival.
   Festival 1995. The festival has yet some experimental features. Emphasis is on melodramas, i.e. dramatic works, uniting instrumental music, singing and speaking. Among numerous first-class composers, soloists and ensembles from many countries of the world, that participated in it, there are to mention: James Avery, Violeta Dinescu, Ernst Helmuth Flammer, Oleksandr Kozarenko, Carin Levine, Pierre-Stephane Meuge, Ivan Yergiyev, Ensemble 2E2M, Ensemble SurPlus, Percussion Ensemble of Freiburg High Music School under Bernhard Wulff, chamber orchestra Archi, Odessa Conservatoire Choir, and perpetual participants in the subsequent festival events, Odessa ensembles of contemporary music The Harmonies of the World, and The FRESCOS. Conductor Pawlo Dlaboha represents the Ukrainian musical Diaspora. The days preceding the festival are featured by master-classes held by some participants. After the festival the Association New Music is organized. In December the first theoretical and practical conference about new art problems takes place in Odessa.
   Festival 1996.Was held at an extraordinarily high level, with a special emphasis on electronic, multimedia and acousmatic music, video-installations and ornithology (through musical birds by Messiaen, performed by Freiburg High Music School Orchestra, as well as through painting by Oleksandr Roytburd). Appeared: Christina Ascher, Philippe Cuper, Mesias Maiguashca, Jacob ter Veldhuis, Phil Williams, Rene Wohlhauser, Gabriele Wulff, ensemble neue musik zurich, Saxophone Quartet XASAX, Ensemble Contrechamps, Nomos Quartet, Wyttenbach-Trio. Musical documentaries about Sofia Gubaidulina and Valentin Silvestrov, produced by Lilia Olivier-Ogienko, were shown. The before-festival week numerous composers and performers held their large-scope master-classes. The professional filmmakers from Kiev filmed festival documentaries.
   Festival 1997. 2D2N being more and more supported by international and foreign governmental and public foundations and organizations. Marked by arrival to Odessa of such outstanding artistic groups as Moscow Contemporary Music Ensemble under Yuriy Kasparov and Austrian musical theatre troupe Arbos, which brought the premiere of a mystical comedy Concert of Birds (libretto by Dzevad Karahasan, music by several composers from many European countries). After the fire in the Cultural Centre 'Ukraine', the usual festival venue, the direction transfers the event to Odessa Sea Port Concert and Exhibition Hall. In spite of some advantages of this larger and more imposing venue, there are evident acoustic problems and atmosphere seems too much relaxed. One can hear jazz integrated with new music (Daniel Kientzy, Alina Maria Mleczko). For the first time Freiburg and Odessa academies' professors present minimalist works. Dieter Mack, Robert Suter, Kees Wieringa, Ian Willcock, Marcel R. Worms, Vsevolod Zaderatsky, and others visit Odessa. Seven Piano Forums appear at the festival. Ute Kilter and Viktor Malyarenko presented video-dance-performances and installations. The festival has contributed to international recognition of Odessa as a centre of new art development - this fact is confirmed by opening of Odessa Soros Centre for Contemporary Art specializing in visual arts.
   Festival 1998. The festival returns to its usual venue. For the first time Odessa receives Ensemble Klangheimlich, Lumina Quartet, pianist Yevhen Gromov and Ensemble Project-7, that perform works by Ukrainian composers, in particular by Sergiy Zazhytko and Liudmila Yurina. Pascal Contet, Slavik Stakhov, Barrie Webb, Trio Aulos, Duo Paul Silverthorne - Andriy Viytovych, Ensemble Zvukovye Puti (Sound Ways) under Alexander Radvilovich all is great successes. Visual artists Valentin Rayevsky, Mykola Kryvenko and Vasyl Riabchenko are presented. 2D2N has reached new international horizons. For the first time the festival organizer - Association New Music - has received the informational support from ISCM, joined by it in 1997. Before the festival a CD with the music recorded by Ukrainian sound-producers during precedent festival events was released. The article 'Odessa' is published in new edition of Musik in Geschichte und Gegenwart /MGG. It presents extensive information about the festival. All these facts stimulate and provide experience for organizing and holding many new acts, first of all WANDERING MUSIC ACADEMY /WMA, later - WANDERING ART ACADEMY /WÀA.
   Festival 1999. A festival-prelude in addition to master-classes was organized a week before the festival. Meetings with Mikhail Bronner, James Clarke, Violeta Dinescu, Friedrich Gauwerky, Carin Levine, Alfred Melichar, Arne Mellnas, Vache Sharafyan, ensembles Q-O2, Triolog, Stockholm Saxophone Quartet, ensemble neue musik zurich and others. The number of world premieres is increasing. For the first time the festival receives an artistic theme - Four Elements. For the first time the festival hosts representatives of authentic music traditions of Armenia, Korea and Mongolia - their performances give new dimensions for the development of New Music. A special emphasis is laid on various forms of music theatre. Contemporary dance-performance by Arila Siegert attracts attention.
   Festival 2000. This year's artistic theme covers physiological, social and philosophic aspects of human perception of the world. Each aspect represent changing 'visions': society - by social ones (insights, vegetation, transformation); communication - by psychological ones (shifts, playing off, sound-scapes); agregatus - by physiological ones (voice of noise, sound-scapes, mobilis); integration - by philosophic ones (irradiation-radiation, four seasons, farewell to dolls). Again the festival has exotic unit - traditional art of Mongols, Inuit. Japanese farewell dolls acquire a modern interpretation. Again particular attention is paid to European musicians of highest rank, to theatrical action and synthetic art forms.
   Festival 2001. The idea remains the same: Music theatre. The dramaturgical action remains the same: a throughout development with some repeated units (Solo-Solissimo, Duel-Duo performed by Ivo Nilsson, Jonny Axelsson, Sergeius Kirsenko and Neringa Butkute; Michel Marang; Pierre-Stephane Meuge, Ivan Yergiev and Olena Yergieva and others), starting and culmination points (Konzert-Szene's, Entr'acte-Fantasy performed by Continuum Ensemble, Freiburg Percussion Ensemble, ARCHAEUS Ensemble, Kandinsky String Trio, ARS POETICA Ensemble, Trio HAAN, Wiener Collage, Harmonies of the World and others). An emphasis is placed on trying to put into the structure of the festival (based on the priority of professional performing and composers' art) the prepared improvisation, as well as to unite the authentic music (India, Azerbaijan), the improvisational music (Duo fatale from Switzerland, dancers from different countries), and attempts to develop an own style on the base of various experiences of 'world music' (Yorgos Adamis). In general, a Millennium communication…
   
   Every festival primordially exists to obtain the holiday feeling it donates to its participants and guests, but in addition to this feeling, 2D2N has a number of important achievements and results that are worth being enumerated.
   Odessa forum has paraded Ukrainian and worldwide art achievements, showed new ideas concerning art form, contents, performing. It fulfils the function of aesthetic education of the public and artists. It also looks for new forms of art existence, and extraordinary techniques in producing and design. It has disseminated such new synthetic arts as performance - uniting musical ideas with symbolically encoded actor's movements, installation - uniting visual and acoustic ideas with vital social action, video-installation - colliding various video-forms with music etc.
   The event's fame is increasing from year to year, attracting attention and interest of experts and amateurs. Top performers and composers want to come to Odessa in order to show their oeuvres. In return, premieres of new works by Ukrainian authors are met with increasing interest. At Odessa festivals, Ukrainian New Music is not inferior to contemporary worldwide achievements. New trends and forms of music, as well as of performing, of visual and multimedia art are already present in Ukraine, and often on the equal level with any other country. It is to be noted that contemporary Ukrainian art can be really recognised at the festivals, which establish priorities and define trends of art development. These festivals give to Ukrainian music a good chance to enter the repertoire of foreign performers. The forum continues at concert halls all over the world keeping on its long-term efficiency. Ukrainian and foreign performers, composers, printed and electronic media have already appreciated this fact.
   Over the years the collaboration of the festival with foreign and international foundations and cultural centres has been established. The forum has presented Ukraine as a reliable and valuable partner of the European cultural brotherhood. The foreign participants, directors and representatives of European cultural institutions have been convinced that Europe can regard Odessa as an established venue for showing new music and art. This fact was again testified at Kiev meeting organized by the International Renaissance Foundation in February 2000 for Ukrainian artistic public organizations and foreign cultural centres, where many representatives of the latter recognized that they could not imagine Ukraine without TWO DAYS & TWO NIGHTS OF NEW MUSIC.
   The festival's educational effect is extremely important. The best achievements of Ukrainian and worldwide art have been showed in Odessa. The festival has become a very master-class for Ukrainian musicians, especially students who obtain the chance to attend the world-famous artists' classes. Everyone can not only look at and listen to experts but also communicate with them and consult them about his or her problems. Every instrumentalist, singer, composer, producer, performer or painter can benefit by. The festival has demonstrated priority trends of contemporary art, and both experts and amateurs can learn something new for them and expand their aesthetic views. It becomes evident that people and situation have been changing, and that new art has received the right of life and become a vital requirement for many.
   2D2N 's experience started to attract the representatives of developing countries. Supported by special foundations, they come to Odessa in order to learn 'festival making'. In such an Asian country as Mongolia, the festival and ANM have played a role of experience donors by providing conceptual and documentary help and organizing a tour of Ukrainian musicians to the first Mongolian festival for new and traditional music ROARING HOOFS (1999). The latter in many respects reproduced the Odessa festival 2D2N in specific Mongolian situation. After this festival - "child" of Odessa forum there is the turn of festivals - "grand-children" in Kyrghyzstan and Vietnam, being initiated by Bernhard Wulff.
   The festival movement has been increasingly spreading through Ukraine. New festivals have emerged, particularly in Kiev, Lviv, Zaporizhzhia. But today the only festival entirely dedicated to New Music remains the Odessa festival. Naturally, its results are being disseminated through Ukraine and abroad by music editions, CDs, many foreign countries' media and Internet, as well as by means of such 'live' events like WANDERING ART ACADEMY and others held by the ANM home and abroad.
   Composer Dinu Ghezzo from New York, organizer of some musical forums and participant in numerous events, said after having visited the 3rd festival (1997): 'I have not ever seen anything like this. I am impressed with manifold music programme, general performing level, beautiful organization. And I can just envy such a lucky innovative format of two-day marathon. I will help Odessa festival, as far as I can'. And now Dinu Ghezzo spreads information about Odessa festival and Odessa composers through Internet, disseminating Ukrainian music in the USA.
   It is very important that the festival has united musicians, painters, actors and producers from various countries, has let them show their ability in common artistic projects and cultural actions. The festival's results are dozens of new works, created by foreign composers for Ukrainian musicians and vice versa by Ukrainian authors to foreign performers.
   Thus, continuation of Odessa forum is especially important for Ukrainian culture, its development, and its integration to European and worldwide cultural space. It might sound like a paradox, but the festival made by and for innovatory artists has already become a tradition. This fact may be one of the festival's most important outcomes.
   

The PRESS`voices

2001:
   Generally this Festival is a - magical fair action, where atmosphere of total creativity predominated. It has been included in the world art space as original artistic creation. In order to produce such unusual action, it is required to be a great person. Namely such persons are authors and organizers of this Festival - his President Bernhard Wulff, Director Oleksandr Perepelytsya and Art Director Karmella Tsepkolenko. First is a wonderful musician, talented conductor and great original-enthusiast. Somebody make collections from postage stamps, somebody - paintings, and professor Wulff - collects festivals of new music, which were founded by him: in Ukraine, in Mongolia ("Roaring hoofs"), in Kyrgystan ("Gold silk sound track"), in Vietnam ("Bamboo Crash")... Soul and first lady of "Two Days and Two Nights", is incomparable Karmella - she is like "fountain of creative ideas", real labor-lover with the permanent charm and, in high style words - sample of fanatical devotion to art. One can ask: And what about financial providing? And it is truth, because without this authoritative "prose" the fair tale ship with red sails will never arrive. Fortunately, Odessa festival has influential friends and supporters: Switzerland Foundation Ðãî Íålvetia and its Ukrainian Branch, International Renaissance Foundation, Foundation Ernst von Siemens (Germany), Ministry of Culture and Arts of Ukraine and Odesa State Administration.
   It is seemed, that we were concerned by the question - whose requirements is new music? After my visit in Odesa - wonderful dream city (do you remember song "There is a city, which I see in my dreams" from the repertoire of famous Odessa singer Utesov?) - answer has become not complicated: besides above mentioned persons, there are a lot of people, who can not even image their life without this music. Among these persons are students, specialists and common citizens, who two days and two nights were in the hall, where dream Theatre performed its intriguing action of mysterious Music. And be sure this was not the dream...
   Tamara Nevinchana, Journal "Nota" N 2/2001 (N6), Kyiv-Odesa-Kyiv, April 2001
   
   International Festival of contemporary art "Two Days and Two Nights of New Music"- is annual event, that appeared in Ukraine in 1995. "Two Days and Two Nights of New Music" is unique event by its form: 48 hours of contemporary academic music non-stop, and more precisely two 12-hours twenty-four musical hours, which begin in dinner time and finish is near 7 a.m.. Every twenty-four hours of the Festival has its own development according to the own specific dramaturgic conception. Every music hour,as a rule, is given to new performance, which is prevalently similar to theatrical action, which is combined with actions and installations of performers, visual, multi-media and synthetic arts. Every Festival is like a unique piece of art.
   Festival breaks all conventionality of traditional apprehending of music: stage is removed by arena in the center of night club, the stalls - on bar tables and counters. Proceeding from ideal of free development of art, Festival moves forward innovatory trends in contemporary music, it is not restricted by style, ideological or other frames.
   Hundreds of the best composers and performers all over the world - this is acquisition of seven Odessa musical springs.
   Katya Botanova, "Karmella Tsepkolenko", Magazine "Eva" - Velvet season 2001 (41)
   
   We can endlessly talk and write about this Festival, which has become traditional. It is undoubtedly, that holding of the Festival has important meaning.
   First of all - it is acquaintance with novel trends in the World contemporary art. This is integration of vanguard Ukrainian art in the World one. This is correction, education of esthetical testes of audience, attraction of attention to new art of Odessa as well as of the whole Ukraine. It is exchange of creative experience between performers, authors, advancement and demonstration of innovatory ideas. It is development, synthesis and inter-penetration of various kinds of art, search for new forms, ways for the art development in third Millennium. This is propaganda of synthetic, of all existed kinds of art - performance (joining of music with plastic of actors movement), installations (combination of acoustical with visual) and other trends. This is birth of new interesting international projects - experience of Odessa Festival has been accepted by Kyiv, Lviv, Zaporizhia, other countries. Odessa Festival give rise to "child" - festival in Mongolia, "grandson" - festival in Kazakhstan, "great-grandson" - festival in Vietnam. It is, on my opinion, wishes of many authors and performers, who have arrived from all the World, to demonstrate namely at Odessa festival (that has became prestigious) their achievements in the field of contemporary vanguard art of third Millennium.
   Liudmila Fuki, "Two Days and Two Nights", Newspaper "Yug", April 19,2001, ¹28
   
   New music is hardly classified by post-soviet person, who was educated with Mozart's music, but it is more difficult to hear it. In case you hear it, then it is quite understandable. Everybody can be a witness of this paradox or participant of the next 7th experiment under human being during the International Festival of contemporary art "Two Days and Two Nights of New Music", which take place annually at the end of April in Odessa.
   It is undoubtedly, that such music is understandable for audience. Seven Festivals had "done their part". It was surprisingly, that 15 hours, till morning a lot of witnesses observed musical action by own free will completely: youth, which is "given up for lost" by elder generation, elder generation itself and even some of the local "authorities", who were sitting as a "pupils" observing the creative process with the Program booklets in their hands… Audience in the hall was not simply listening, it understood really and separated true from artificial, original from surrogate straight away.
   Such kind of festivals is "perpetual mobile", that determines directions for the further development of art, stimulates new ideas. This is testing method for the novel in practice, to form priorities in the progress.
   Oksana Shevchenko "New music, which will overturn the World", Magazine "PiC" ("Policy and Culture"), 24-30 April 2001 ¹ 15, P. 48
   
   The Festival "Two Days and Two Nights of New Music" which has become the traditional was realized in Odessa for the seven time. With every new year it becomes more popular in the World, it attracts attention and interest of specialists as well as music-lovers. Outstanding musicians and composers aspire to visit Ukraine with the aim to demonstrate creative achievements.
   "Two Days and Two Nights of New Music" in Odessa, Magazine "Passage", May, 2001, P.108
   
   Emotions caused by the Festival action can, perhaps, be compared with the good concert of rock-music. Life sound, stage in the center of the comfortable hall, a huge quantity of witnesses, among which there are a lot of young people, really interesting performances, let still not usual for the eye-sight and hearing, altogether these created wonderful atmosphere. It is undoubtedly, that "positive moment" in the organizing of this unusual festival, which duration is 2 days and 2 nights, is in its form: free communication of the audience at the tables, and not long fragments of performance are interrupted by intervals. You may change "position", to have a rest, and to exchange impressions.
   Olga Potekhina and Valeriy Boldyrev, "Entropy of musical Universe", Newspaper "All World in the pocket", ¹1, May 2001
   
   According to its conception and realization circumstances "Two Days and Two Nights" is festival, which is not intended on imitation of any other one either in Ukraine nor abroad. Evidently, that it excites fantasy, unsettles one completely. Surely, for many people it is too hard to hear unusual and unwonted music during two days and nights , but such active "attack" of new art gives possibility to immerse in it completely.
   It is not secret, that our cognition had to adapt, to make it usual, and only then interest and understanding are being appeared. At the Festival of new music all participants and guests are in single musical-information space, and every musical hour is given to new performance - more or less traditional concert or theatre action, combined with the actions and installations of performer, visual multimedia and synthetic arts. Untraditional actions require and untraditional situation in concert-hall: special equipped space in the center of hall instead of common stage and audience, which is sitting in the bar or at the table, can feel itself rather relaxed.
   During Festival existence several hundreds of foreign and Ukrainian musicians participated in it, and its annuàl audience numbers thousands of Odessa citizens and guests from other cities of Ukraine and worldwide. The best records from 1-3 and 4-6 festivals have been produced on CDs, which were copied in Germany. And VII International Festival of contemporary art - "Two Days and Two Nights" - it is a new records, a new impressions, a new ideas and a new its realization.
   "Two Days and Two Nights in Odessa", Newspaper "All the World in Pocket", April 2001, ¹79
   
   Festival 2D2N ("Two Days and Two Nights of New Music") took place in Odessa every year from 1995. It is presented by Association New Music, Ukrainian Section of International Society of Contemporary Music/²SÑÌ.
   Festival is supported by International Renaissance Foundation, Pro Helvetia, Ernst Von SIEMENS Foundation, Ministry of Culture and Arts of Ukraine and others. Hundreds of Ukrainian and foreign performers and musicians took part in this festival during period of its existence. The best records of 1st - 6th festivals were produced on CDs.
   During Festival one can hear the most classic vanguard and post-modern works created in the past few years, that present various trends of live, electronic, computer and acoustic music. Festival 2D2N is the most serious, the best prepared and the most visited by foreign composers and performers of contemporary music in Ukraine. It can be compared with the best world festivals of such kind. This Festival demonstrates that level of Ukrainian new music is at the highest level of contemporary world achievements.
   Magazine "Kyiv Cult", April 2001. ¹4 (40), P. 16
   

2000:
   Was im Westen Europas noch gro?ten Seltenheitswert hat, gilt in der Ukraine bereits seit Jahren als gelungen: Bei dem renommiertesten Festival fur Neue Musik des Landes hat sich das Bajan-Akkordeon unverruckbar zu einer festen instrumentalen und klanglichen Gro?e entwickelt. Das Internationale Festival der Modernen Kunst, das unter dem Motto "Two Days & Two Nights of New Music" steht und in diesem Jahr zum sechsten mal stattfand, wird jeweils von der Association New Music, der ukrainischen Sektion der Internationalen Society of Modern Music in Odessa veranstaltet. Fur die Organisation von Ort zeichnen sich Karmella Tsepkolenko und Oleksandr Perepelytsya verantwortlich, die sich als renommierte Personlichkeiten der nationalen und internationalen Musikszene einen Namen gehabt haben. Fernerhin ist es der Deutsche Bernhard Wulff von der Musikhochschule Freiburg, der sich mit dem Festival direkt verbunden zeigt.
   An den Tag und Nacht hindurchgehenden Veranstaltungen nehmen sowohl seitens der Interpreten wie auch seitens der Komponisten international bekannte Gro?en teil.
   Intermusik, Kamen, Dezember 2000 (9), Nr.12, S.6
   
   ISCM continues to move forward as a network …In 1999 as President of ISCM I have continued to visit countries, generally those with new or relatively new ISCM sections, and in connection with the festival. Odessa, the beautiful Ukrainian city at the Black Sea, is worth a visit not only because of the famous and magnificent "Potemkin stairs" down to the harbour. The "Two Days & Two Nights of New Music", the festival now arranged for the 5th time in the middle of April, is enough reason to go there. "Two days and nights" is to be taken literally: the first day programme starts on Friday at 4 o'clock in the afternoon and continues until midnight when it, logically and unnoticed, goes over in the first night, ending around 3 o'clock in the morning. The procedure of the second day and night is the same. When you are slowly walking back to your hotel in the beginning light of Sunday morning, you can look back at around 75 works performed by numerous international soloists and ensembles for an enthusiastic public that has filled the hall from the beginning to the end!
   Arne Mellnas, President of the ISCM - ISCM Report 2000, p.36
   
   Intruding into the ceremonious family of tail-coat festivals as a kind of infant terrible, the Odessa musical marathon widely opened the doors to the post-modern ... At last, we are delivered from the inferiority complex: Ukrainian music is no more out of time. ... And you see lots of people writing theses on how Ukraine turns out a homeland of the musical post-modern, and the features of the latter are found in the ancient works by the composers who have never listened to it or cannot bear it. However, the festival is not guilty of it.
   Olena Zinkevytch - "Musica Ukrainica" - Online Magazin
   
   Imagine a 24-hour non-stop of New Music, broken into two days. This marathon begins in the afternoon and continues until the cock cries. Then some hours of rest for you to somehow come to yourself, may be a "switch off" for an hour. But the main thing is to communicate with world stars and living creators of New Music, with marathon-colleagues that have become your friends during these six years, because the festival is held in Odessa for the 6th time, and those who have visited it once cannot resist coming to this music show "wheel" again... Now let us agree that New Music exists and that mother Odessa has become a star on the contemporary art map of Europe. Let there be New Music be: the music that is not no older than 20; the music composed with the help of new and most contemporary technologies of composition; the music of experiment where all things have a right to be named professional work; the music that turns us to syncretic creation... Now you can call it performance, installation, vision, transformation, multimedia, instantaneous spectacle, figures, etc, etc, etc...
   Lesia Olijnyk - Journal "Nota" - Ukrainian review of contemporary music, Kiev, ¹ 2, 2000
   
   Of the unique importance, the 6th International festival of new music "Two Days and Two Nights" will keep being the fable of Odessa city for a long time. … We are happy to learn that besides humour and criminal authorities, Odessa is rich for music authorities. ... Composer Karmella Tsepkolenko- the honoured leader of the musical avant-garde, and her offspring- Association New Music have been fused together with the local cultural landscape, at the same time infecting a cohort of musicians and students of Odessa Conservatoire by a virus of the extreme musical avant-garde to such an extent that the Southern capital is to be called the capital of radical Ukrainian music.
   Andrey Bondar - Stolichnye novosti, Kyiv, No. 16, May 16-22, 2000
   
   The level of the musicians of Odessa festival is unachievable for all the other Ukrainian festivities. But try to meet in Europe within 48 hours such virtuosos as "Accroche note", "Misikfabrik", Peter Sheppard, Teo Anzellotti and Ukrainian "Harmonies of the World"!
   Vladimir Lozovoi - Vechernie vesti, Kiev, ¹069(354), 22 April, 2000
   
   Serhy Zazhyt'ko: We should create independent "teams" that would look for money, organize different events, find extraordinary forms for them like for instance "Two Days and Two Nights" in Odessa.
   Halyna Kon'kova - Ukrainian Musical Newspaper, No. 3(37), July-September 2000
   
   Like any other art born nowadays, new music reflects fully "looking for a genre" by its creators and performers. Someone is taking the traditional melodic way; someone is trying to create new forms of emotional sounding combining what has been incompatible before. But the talented, uneven, and discussable music of the 20th century due to the democracy of combination of the very program of the Festival gives quite a complete picture of music culture.
   Svetlana Korotkova - The Mirror of the Week, No. 16 (289), April 22, 2000
   
   Probably one of the most important features of the Festival is its text-like structure, every time based on a new principle of its dramaturgical composition. Well, the experimental character of the avant-garde music selected for the festival is evident; well, "Two days" differs from anything taking place in Ukraine owing to its extreme concentration in space and time, but the sonata- or baroque-concert-like structure of the Festival really is a unique event. The idea of Karmella Tsepkolenko, who is not only an art-manager and organizer but also a composer, is to "compose" the festival as one piece. But the units the author operates are not sounds, accords and timbres but individual works, solo and ensemble recitals, whole concert programs.
   Yury Chekan - The Mirror of the Week, 2000
   

1999:
   The typhoon of post-modernism after walking for a long time throughout the world, has again reached the coast of Ukraine. For the fifth time already, it brings down the avant-garde imaginations on Odessa and frightening purists, attracting people who are thirsty for novelty, and presenting to the city a festival-performance of such professional and informational saturation, that Iron march of best pop groups when compared to it, looks like a harmless entertainment of young pioneers. While Odessa festival is writing its annual April Theses, Ukraine takes a high rating place in the global musical opinion, because the presence of Two days and two nights on the festival map of Ukraine means that Ukrainian music has entered a civilized phase, where neither circulars nor interdictions, but a law of cultural self-development is effective.
   Elena Zinkevich - ArtLine (Kiev), ¹ 5-6, 1999
   
   The festival Two days and two nights has triumphed as temporary deliverance from prevailing compulsion and cancelled hierarchical levels. The relations between public and musicians were so relaxed, that it was possible to approach any world star in the most innocent way. It was a feast of complete dismissal from functionality of the time with its conditional and programmed attitudes. It looked into the uncompleted future.
   Valeriy Bodylev - Yug (Odessa), May 6, 1999
   
   The organizers created around the festival Two days and two nights a completely surprising atmosphere of universal genuine interest, gravity of tone, and at the same time some ease, freedom, not descending up to a level of a light show. I admired the programmes of Odessa festivals and their artistic set up. There is nothing accidental in them.
   Sergiy Kravtsov - Kopyto Pegasa (Novosibirsk, Russia), ¹1, November 1999
   
   Festival - break-through, festival - explosion, festival - process, festival - chrono-cubism, festival - removal of informational blockade, festival - meta-composition, festival - opera, symphony, suite, festival - laboratory, festival - avoidance of curtseys, only something new, only fermentation and movement…
   Natalia Stepanenko - Svit Mystetstva (Kiev), October 1999
   

1998:
   The extra-class of performing is a visiting card of Two days and nights, and each year the festival fills up the "star" list with new revelations. Elena Zinkevich - Golos Ukrainy (Kiev), July 11 1998
   
   The concert programme lasting for 10-12 hours brings about either dumb admiration or real horror. And again Ukraine has struck snobbery Europe: the audience was not enticed by anybody, and nobody did try to keep it, - but they were sitting and listening to the real - the most serious and not so serious - new music.
   Victoria Muratova - Segodnya (Kiev), April 18 1998
   
   The sound shape of Odessa spring action is without compromise, it really is new music - exclusively from an experimental-avant-garde row … Two days and two nights of new music today is the unique festival in Ukraine that gives us an opportunity of a short but deep plunge to a completely original sound world. The nerve endings of many and different tendencies of avant-garde art are converged here. The festival has unique character, not duplicated by anything in the Ukraine; I dare say - not even in the whole world.
   Yuriy Chekan - ArtLine (Kiev), ¹ 7, 1998
   
   Two days and two nights of new music has got such a solid reputation in the European music circles, that it is necessary to make quite a selection among the people wishing to come to our city. The evident elitism of the festival does not cancel its popularity among the broad audience of the music lovers. For cultural life of Odessa, the festival Two days and two nights has a determining importance: it is the first creative forum in the history of the city, which popularity has gone out far beyond the frameworks of the city and even of the country in whole.
   Alexander Galyas - Porto-Franko (Odessa), April 9 1998
   
   The atmosphere is relaxed and informal… The artistic level of all performers, from both East and West, is strikingly high… Through the contact with people from the East we may find the way back to what music is about: emotion and vitality.
   Thea Derks - Tempo (The Netherlands), October 1998
   

1997:
   The unique quality of this musical "perpetuum-mobile" is the presence of something entirely certain and intelligent which is embodied in the life conception... The New music of Ukraine is not simply its "gold fund", but it is a guarantee of its international authority which is foregoing to politics or economy.
   Victoria Muratova Zerkalo nedeli (Kiev), April 19, 1997
   
   I can say that Two days and two nights is an elegant festival and it seems to be the most important one in the contemporary art. The elegance is present in its form and symbolism, in the staff of the performers, in the organization and composition of the programme. Odessa festival has a special charm and magic. Îleksandr Kozarenko - Îdes'ki visti, April 18 1997
   
   I attended many festivals in Europe and, certainly, in New York. I was within 11 years the director of the musical festival in Italy, but I never saw anything similar. There are a lot of novelties here including tremendous atmosphere and magnificent perfprmance. A variety of the programme and of the music sounding at the festival is unusual. As to its form - a two-day marathon is unique in itself, there is nothing similar in Europe. The level of organization amazes, everyone works very professionally.
   Dinu Ghezzo (USÀ) - Slovo (Odessa), ¹5, April 1997
   
   All performances during this unprecedented musical marathon were marked by originality, brightness and plenty of individuality. The New music is the inner music revealing both the author's and the performer's soul.
   Alexander Liapin - Kyiv Post, April, 24-30, 1997
   

1996:
   Das Festival Two Days & Nights Of New Music, das im April in einem alten Theater in Odessa zum zweiten Mal uber die Buhne ging, ist durchaus wortlich zu verstehen: Hier wurde non-stop Musik gespielt. Das Programm zog sich jeweils nahtlos durch bis morgens um 5 Uhr. "Die Atmosphare war absolut einmalig", betont Pawlo Dlaboha, der einmal mehr voller Inspirationen und Begeisterung aus Odessa zuruckgekehrt ist.
   Pirmin Bossart - Neue Luzerner Zeitung (Switzerland), May 25, 1996
   
   It is necessary to do justice to the administration of the festival - they managed to organize such a grandiose event without a hitch on the high European level. The composers and performers have had an opportunity for dialogue, mutual exchange of experience and ideas, and the audience - to join a world of art, spiritual culture, that has a special attractive force at our present time of pragmatism and militant ignorance.
   Lilia Novitskay - Delovaya Odessa, ¹ 16, 1996
   
   Everyone who has got into an orbit of this musical feast has tested on himself an inexpressible atmosphere of creative freedom, pleasures of dialogue, love, mutual understanding and belief in kindness that is made by art. The ablution with the music, strengthened by visual and theatrical pictures makes all the audience participants of the fantastic, emotionally filled action.
   Svetlana Korotkova - Zerkalo nedeli (Kiev), April 20 1996
   
   This festival is unique because it has become a delightful anthology of the centenarian history of the avant-garde from Tsar Igor (Stravinsky) and the pioneer of genius Charles Ives to Ê. Penderecki and G. Crumb. Thanks to this, the call-over between different avant-garde epochs and schools has been discovered clearly. The New music, which as a rule lives in the festival "reservations", has to come out and to sound in the mixed programmes... It is always the premonition of the future, always in front. Is it not interesting?
   Olena Zinkevych - Suchasnist (Kyiv), 1996
   
   ...A sensation of sound as a sensation of life. A sensation of colour and light. Each sound has its own smell. Its own volume. Its own time - space... When it is a deep night, and the eyes have already got tired to look, and ears - to listen, when the dream almost becomes a reality, and reality becomes something far and belonging to another world - then acuteness of sensation of the seen and heard is being born. Then, it seems, there comes the moment of Truth... And do you know, how the "prepared piano" looks? And how to play it?.. And how the delicate flute can growl?.. Can you imagine?... All that was born in Odessa, it will live here, it will be cherished by Odessites. By Karmella Tsepkolenko and Oleksandr Perepelytsya. They have made it. Have woken up those who slept like a log, have forced their eyes to see and ears to hear…
   I.D - journal Odessa, ¹ 2, 1996
   

1995:
   The festival occurred at the Ukrainian Cultural Centre in the hall covered with iron scaffolding. The illusion of an incomplete construction which seemed to stimulate the musicians - to build, to build, to build!..
   Vadim Merems - Slovo (Odessa), April 1995
   
   The festival passed in an atmosphere of fruitful creative contacts and made an indelible impression on all participants, visitors and amateurs of new music.
   Odesskie izvestia, April 26, 1995
   
   There has not been a similar festival in our country hitherto. It is totally unique due to its original form of realisation - as acontinuous musical action within two days and two nights... The festival can become the territory, where the samples of the best European and Ukrainian modern art will co-operate in the common creative space.
   Lilia Novitskaya - Delovaya Odessa, ¹17, 1995
   
   Such a festival serves to the mutual enrichment of the musicians from the different countries, helps the development of culture... The festival by all means should have continuation. Now musical Europe begins to look more attentively at Odessa, at Ukraine, because Two days and two nights of new music has shown, that one more festival of a real European level was born.
   Pawlo Dlaboha - ÀiF-Plus (Switzerland), ¹ 15, 1995
   
   Due to the festival, the amateurs of music have obtained a unique opportunity to feel an atmosphere of the intensive creative searches of modern Europe.
   Oleg Fesenko - Ukrainskie delovye novosti, ¹ 14, 1995

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