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Video & Sound


for Shakuhachi, Computer and Electronic objects 

This composition is an auditory contemplation of a world that has recently changed beyond recognition, focusing on identity and the search for new meanings and a new sense of self. In music, this means that the instrument no longer belongs to itself and cannot be itself in any sense.
“Whisperscapes” continues the composer's quest for the synergy of algorithmic and empirical methods of creating music. The original material is created empirically, and then an algorithm is developed to recreate the same material based on rules using the Bach library in the Max environment. Electronic objects are made using Arduino, and their application is also regulated by a general rule that operates for the entire composition.

Solar Wind

for Piano and Live Electronics  (2022)

“Solar Wind” refers to the ionized plasma particles that are emitted at high temperatures from the sun and travel through space as a stream of charged particles known as “solar wind” between planets in the solar system. Solar wind can affect space weather and create various phenomena such as auroras. This composition reflects the distances between the planets and the sun through the rhythm and pitch of the piano part. The piano sounds consist of fragments of a series structure with different modes for each planet and ranges, while dwarf planets are distinguished by rhythm parts without a series structure. As the intervals between the sounds vary depending on the planet, the density of the planets in the solar system is expressed metaphorically in the music. The live electronics part involves real-time sampling, filtering, and spectral processing of the piano sounds.


Interactive Audio Visual Installation

Audio-visual object that was presented at the "Sound Interaction" exhibition in Tokyo, February 2023.


The object explores several levels of communication:

Electronic Signal → Sound/Light

Sound/Light → Hearing/Sight

Hearing ←→ Sight.

Audiovisual Object ←→ Human


It is based on the idea of interpreting physical signals and interacting with them, as well as reflecting on the difference between hearing and sight.


algorithmic composition for piano and
Live Electronics (2023)

This composition uses the Bach library for Max/MSP, in which score are generated for the performer in real time based on simple mathematical calculations, the performer reading his part from the sheet. Live electronics process the sound of the piano, constantly updated and evolving in parallel with the composition. The music is created anew with each performance, but remains similar to itself because it is based on certain rules and algorithms.

Muffled voice

for acoustic guitar and live electronics (2022)

Dedicated to the Japanese POWs interned in Siberia

Operating Instructions (The Machine Doesn't Think Of War)

for the Disklavier automatic piano and live electronics (2022)

The auto-played piano part is created using spectral analysis of the audio track (aircraft noise, explosion and baby crying) from the video of a warplane attacking a house. The original sound was slowed down from 3 seconds to 4 minutes to make everything discernible and then transcribed for piano. The score was not composed or performed by human: the pitches and rhythms correspond to the original sound. The dynamics and range are have been edited to make everything audible and emphasize important details.

From the second minute the music drastically changes: a child begin to cry after the thunderous explosion.

From the Depths to the Light

for ensemble (2021)

I. Canon: The first winter

II. Fuga: 1945-1956

III. Chorale: Requiem / Return


This musical composition is dedicated to the Japanese prisoners of war who were interned in Soviet Labor Camps in the USSR after World War II from 1945 to 1956. Most of them were new recruits and did not participate in battles for a single day. More than 60000 Japanese could not survive the harsh conditions of the camps and were not allowed to return home. Most of the dead could not survive and withstand the hardships of the first winter.


This composition is based on the idea of human communication, musicians are required to listen carefully to each other's sounds. The three parts of the composition offer three different ways of communication between the performers.

Jekyll and Hide II

for alto saxophone and live electronics (2021)

This composition, like the novel, is written in the genre of the dystopian thriller (horror). Based on Robert Stevenson's novel The Amazing Story of Dr. Jekyll and Mr. Hyde, it portrays two very different characters, a murderer and a doctor, as two individuals of the same person.


performance for violin, live electronics, and hologram (2021)

At the heart of the idea of broken communication, when the virtual world gradually supersedes reality. 

The violin part implements the idea of displacement through the morphing of elements. Another material begins to sprout within one, replacing it, but then it will give way in the same way to the third, and so on (five sections in all). At the same time, the violin part contains only separate elements and variants of their development/sprouting, on the basis of which the violin performs a prepared improvisation in accordance with the idea of the form described.

The electronics part is based entirely on the sound played by the violin. Artificial intelligence algorithms analyze the sound structures, modify and build a parallel improvisation based on them for 5 virtual performers (in addition to the main violin). This creates a virtual ensemble with which a live musician interacts, while listening and responding to changes in the electronics. The artificial intelligence is based on "Omax" inside Max/MSP.

The hologram creates a sense of movement around the performer and complements the room space. The hologram's movements are regulated by the sound in real time, visualizing accents, textures, density and intensity of the sound.


for alto recorder and live electronics (2020)

As the science of neurophysiology claims, human memory involves the ability to store and recover information we have learned or experienced, constantly redefining and updating it`s content. Moreover, each time you retrieve a particular memory from that storage, the brain rewrites it, so that each time it is modified and reshaped into a new piece of memory. The more often a person remembers anything, the more their memory is interfered with and distorted.

In extreme cases, this process leads to a complete deformation of the original information.

But what if the memory is the only remain trace of the past? Each mental retrieval gradually erases original events and people, transforming them into new entities and replacing with phantoms. Music mirrors this process through constant changes in the material of the recorder: the rhythmic figure, accent, and long sound are repeated, and fixed, gradually flowing into new hybrid forms. The electronics part is based on interference and interaction with alto recorder and is expressed in the similarity of synaptic connections between musical elements, providing both the possibility of a contact with the memory and its changes.

This musical composition is about loss: synoptic connections rewrite something very important over and over again, taking the original meanings further away from the inception leaving us with no chance to ever go back.

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