Arsentiy Kharitonov, composer & pianist

Who or what are the most significant influences on your musical life and career as a composer?

Funny enough, it was my elder sister who brought me to music school when I was five, so I suppose she was the primary influence. Later, I discovered the music of Rachmaninoff, Scriabin, Schumann, and many others, which inspired me to pursue a career as a classical pianist and composer.

What have been the greatest challenges of your career so far?

The greatest challenge in my career is refusing to compromise my artistic integrity and my art by playing the “success” game – a paradigm that prioritizes flashiness, fame, and clickbait over substance. At the same time, I want my music to reach people who care about its depth and meaning, not just its popularity. This constant tension of wanting to be heard without selling out makes career challenging.

What are the special challenges/pleasures of working on a commissioned piece?

I’m not always comfortable composing on commission. Very often I dedicate pieces to musicians I admire. And when I compose, I learn about person’s style, their approach to phrasing, level of virtuosity, musical proclivities, etc. Ultimately, I want the piece to feel challenging yet natural for the performer.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles or orchestras?

My main responsibility as a composer is to ensure my work can stand on its own, independent of my presence, so I don’t have to be there every time micromanaging its interpretation. That is why I get restless when I hear modern composers talk endlessly about their new music. It seems as if they aren’t sure about the intelligence of their own work. Even the most complex musical concepts should have an intuitive coherence. That said, I love working with various musicians. As a concert pianist myself, I fully understand the performer’s role in shaping the final product. However, once the premiere or concert begins, I let go of all concerns and fully entrust the performers on stage.

Of which works are you most proud?

I’m proud of most of my works, but my Violin and Piano concertos stand above other works so far.

How would you characterise your compositional language?

I’d contrast my music with Minimalism – perhaps calling it Maximalism. More seriously, it’s difficult to define my own music. In essence, it has a deeply human element: emotional, intense, and rooted in the musical traditions of the past.

How do you work?

It is a very uneven and almost subconscious process. I rely on my intuition and reactions when I improvise finding new ideas. When the ideas are found in form of melodies or harmonic foundation, they begin to evolve in my mind, as I imagine them becoming part of something bigger. It’s a long process and I let it be as long as necessary. I don’t rush to write things down until the concept is fully formed in my head. Honestly, this process is not always pleasant, and it’s very difficult for me to balance it with other activities. It cannot be forced into a routine or system. Of course, later on, when all the musical ideas are aligned in my head, I shift to a more craftsman-like approach, consciously working on the form, texture, instrumentation, etc.

As a musician, what is your definition of success?

Success is when my music is widely performed and becomes a meaningful event in the lives of those who hear it.

What advice would you give to young/aspiring composers?

Be honest to your art.

What do you feel needs to be done to grow classical music’s audiences?

Music education must change. Nowadays, conservatories and universities produce professional musicians like a conveyor belt but they often neglect audience education, which is crucial for attracting people to classical music. The idea of an ivory tower, where professional classical musicians form a closed club, is harmful. However, I don’t believe great classical music should be reduced to entertainment department to please the masses. The concept of “three tenors singing at the stadium” is just as wrong. Complex musical language can and must be taught through deliberate listening and engaging presentations of the material, starting as early as kindergarten.

What’s the one thing in the music industry we’re not talking about but you think we should be?

One thing we aren’t talking about enough is the music itself. And I don’t mean the trivial aspects, but the phenomenon of music: the truth of the creation, the magic of it, its power to transform reality. As Shostakovich said, music is the “last hope and final refuge”. People need to be able to express their emotions and impressions after listening to music.

What next – where would you like to be in 10 years?

I hope to still be a composer creating music that gives me a sense of purpose.

arsentiykharitonov.com