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Macedonian-born and British-based pianist and composer
Nikola Kodjabashia (1970) operates at the junction of
orchestral, electronic and "concrete" music.
His career began with the electronic suite Die Hamletmaschine (1997) but
he soon turned to orchestral music with
Sinphonia (1998) and Hymn (1998).
The electroacoustic phase yieled
Yellow Sostenuto (1999) for chamber ensemble and electronics,
and the (unfinished) opera Explosion of a Memory (2000) for singers, actor, dancer, orchestra and live electronics.
Besides chamber music such as Ludus Gothicus (2001) for violin and piano
and Gaudi's bed (2001) for seven strings,
Kodjabashia returned to score for the full orchestra with
the piano concerto Neuromancer (2001),
the symphonic poem Bildbeschreibung (2001) and
the choral Single Will (2002).
The Birds (2002) for percussion, ethnic instruments and electronics
opened a new front of eclectic fusion.
He designed a highbrow version of world-music on
Reveries of the Solitary Walker (ReR, 2004), a cycle of nine songs
for chamber ensemble based on a traditional Byzantine chant.
The Most of Now (ReR, 2008) is a 17-movement
instrumental
suite for chamber ensemble that indulges in danceable easy-listening world-music,
evoking the Penguin Cafè Orchestra with a drum machine.
digital exotic lounge music (1)
to solo piano meditations
to minimalist arias with Mitteleuropean overtones (8)
to melancholy orchestral preludes (13)
to orchestral new-age music (14)
to melodramatic film music (16).
The Most of Now (ReR, 2008) was another work fragmented in surreal vignettes
that ran the gamut from remixed folk music to atonal chamber music.
Explosion of a Memory (ReR, 2010) collects more ambitious and
extended compositions:
Bildbeschreibung (2001), that sets
a Stravinsky-ian melody (played by the winds with funereal pomp)
in an expressionist atmosphere
further corroded by minimalist repetition and booming percussion;
Secular Gothic / Neuromancer (2004), a sea of languid drones;
Explosion of a Memory (2008), a percussion concerto that exudes
joyous gamelan-like childishness and soaring horn fanfares only to end in
tragic overtones.
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