Anton Svetlichny (1982, Rusija) is the author of wide variety of compositions ranged from small solo and chamber pieces to full scale musical theater works. He graduated from Rostov Conservatory, and further developed his skills under the guidance of such prominent contemporary music figures as Louis Andriessen, Beat Furrer, Pierluigi Billone, Franck Bedrossian, Raphael Cendo, Peter Ablinger and Martijn Padding.
His music is constantly performed throughout Europe (from Germany, France, Netherlands and Switzerland to Italy, Greece, and Turkey), both Americas and Asia, being a part of such events as ISCM World Music Days, Summer Courses for New Music Darmstadt, Avignon Theater Festival, Gaudeamus Musiekweek etc.
He had the luck to work with many brilliant musicians and collectives like ums’n’jip (Switzerland), Platypus and Shallfeld ensembles (Austria), MotoSontrario (Italy), dissonArt (Greece), Synchromy (USA), MCME and Studio for New Music (Russia), Ensemble Nostri Temporis (Ukraine), Natalya Pshenichnikova (voice), Sergey Chirkov (accordion) and many others.
Looney Tunes Season I (2013). Tunes stands for what this kind of music is about – rather melodies and gestures than textures or timbre qualities.
Looney is for some kind of oddity, which persists and gradually grows in these melodies.
Season is for method of formal development used here, which is to a certain extent serial, in terms of not post-war avant-garde, but TV shows production.
There is a couple of principal gesture ideas, or heroes, which are to be varied and transformed in all imaginable ways through the plot of the piece (or even several pieces, while each of them is a new season), with all the surprises, flashbacks, recaps, climaxes and cliffhangers on their places in the story arc.
Think of current realization as of a pilot episode, while you’re an executive to decide whether to start further production or not.