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As always, the original program of the festival has skillfully been composed according to the bright composer’s fantasy … Again the polyphonic score with voices of many musicians from Russia, Germany, France, Sweden, Italy, England, Lithuania, Japan, Belgium, Chili, Switzerland, Greece, Mongolia and Korea… was created by Artistic director of the festival. The art of gifted Ukrainians are known abroad namely thanks to the "Two Days and Two Nights".
Presently, when "Two Days and Two Nights" enters in its second decade history, on my opinion, the range of activities of the Association New Music must be expanded. At the final returning of the ANM to its "patrimony nest" – cultural centre "Ukraine" it could be possible to organize regular concerts, conferences and mini-festivals, which will maintain Odessa name as one of the established European centre for contemporary art.
Marina Glushko, "On the eve of "Two Days and Two Nights", Vecherniaya Odessa, No.59, April 21, 2005.
Many of speakers at the Festival opening ceremony said that this forum of modern art will favor further integration of Ukraine in European cultural space.
Aleksandra Shevchenko, "Music of New World", Odessky vestnik, No.91, April 26, 2005.
"Live wheel of new Ukrainian culture" these words feature International festival of modern art "Two Days and Two Nights" according to opinion of Lesya Olijnyk – Secretary of the Ukrainian Composer’s Union, a member of the Ukrainian National UNESCO Committee.
For the beginning, one can imagine a huge hall "killed" in the true sense of the word, where there is no floor completely… But, it is noteworthy, that at the first quite original sounds, everything lost its meaning, you take notice nothing and… move to the stage pulsing by its own light and sound.
Oksana Maslova, "Live wheel of new Ukrainian culture", Vecherniaya Odessa, No.62, April 26, 2005.
There are no analogs to this Festival in Ukraine as well as in Europe. By the way, in our country it is known as one of established, and Europe long ago included it in the list of the most important annual musical events. The Festival itself is some kind of revolution… Creative revolution, when various genres exist freely and harmonically: theatre, dance, visual arts, performances, installations, and, surely a lot of music for different tastes…
Oksana Yeremey, "48 hours of new music", Vecherniaya Odessa, No.51, April 7, 2005.
Among favorites of this year festival there are: saxophonist Daniel Kientzy, percussionists Johannes Fischer and Akiko Yamamoto, ethno-chaos group "DahaBraha" – (director Vladyslav Trojits’kyj). Although all possible combinations from seven notes have been exhausted by humanity, there is a chance to create really new music, which has no relation to general tendency, which can be called "Drumming"as well as one of the Festival pieces.
K.R., "Drumming" will not pass, Tikva, Îr sameh, No.462, May 11, 2005.
International Festival of modern art "Two Days and Two Nights" is one of the most important events in artistic life of Odessa. Our city was transformed into true European Cultural Centre for two days and two nights this year again.
Now professional musical culture of nowadays Ukraine is maintained by "three whales" – international festivals "Kyiv Music Fest" (Kyiv), "Contrasts" (Lviv) and "Two Days and Two Nights of New Music" (Odessa). However, let music lovers of novel art will not feel offence, but for today only about Odessa festival one can say that it is true international, prestigious and respectable festival in the field of new music.
Oleg Vladymyrsky, Two 24 hour of new music, Chornomorsky Novyny, No.43, April 28, 2005.
Such things are possible in Odessa only. There is good omen: who once visited festival "Two Days and Two Nights" will come here again. Festival was initiated by Ukrainian composer Karmella Tsepkolenko and her German colleague Bernhard Wulff eleventh years ago. Since this forum became a real brand. Performance by Samdandamba Badamkhorol (Mongolia) became a true surprise not only for audience but for artistic director of the festival Karmella Tsepkolenko, because it was not included in the program. Festival manager "Roaring Hooves", created in Ulan Baator by the Odessa image, dedicated to Ukrainian colleague an ancient song "Yellow flower in emplty footprint". Ukrainian music does not have "orphan image" here. Moreover, works by Ukrainian authors are included in repertoire of foreign performers, thus, opening them to audience of other countries. Festival promotes national composers, integration of their creative activities into world cultural process. For example, musicians from Switzerland and Austria, Belgium and Germany consider as a great honor to perform works by Karmella Tsepkolenko. Julia Gomelskaya and Viktoria Poleva, Alexandr Kozarenko and Vladimir Runchak have successful active and fruitful cooperation with foreign performers.
Viktoria Muratova. Parallels of new music. Kievskie vedomosti.
At the beginning of the Ukrainian independence, during self-determination period, namely this forum has made a first courageous step to Europe. «Two Days…» opened eyes and ears of Europe for perception of our composers and musicians and best representatives and performers of new music have began to visit spring Odessa – to have competition, to experiment, to communicate. Organizers dedicate this year festival to the Orange revolution. The proper artistic semantic was included in the festival parade of new music, but it is not the essence. More important is that conception of the Festival 2005 itself was focused on the idea of passionarity, on the "preference" of personality and on the right to have own voice. Syncretistic, theatre and visual effects were programmed by Odessa Festival and were a part of the contemporary art ideology. And the fact, that for 10 years festival found and educates its audience, which increases every year, – result of the considered policy of its organizers, their knowledge of the perception psychology: but to listen two days and two nights only music is beyond even super professionals power. As others festivals in Ukraine, Odessa event represents itself as important form of existence of contemporary Ukrainian music. Every time it introduces new persons. According to its President Bernhard Wulff, Festival for eleven years became a net, joining together creative people from many countries. Its meaning he compared with «Warsaw autumn» and «Prague spring», which served a platform for meetings and was a single window between art of East and West.
Svetlana Korotkova, Lesya Olijnyk. Beginning of second decade of "Two Days and Two Nights", Zerkalo nedeli, May 7-13, 2005.
2004 ^ top
Every time, when I write about Odessa festival Two days and Two Nights of New Music, I had to start from ritual admiration with its unique character, originality and difference from the national (foreign) analogs.
It is rather difficult to recollect some festival, which goes in non-stop regime during two nights, where one can listen contemporary academic music by the best worldwide and national composers in adequate, i.e. skilful, performance of West European and Ukrainian musicians. 2D2N is unique, first of all, due to such combination of innovation ideas, quality of performing and time format, in which action takes place.
Anniversary edition of the Two Days and Two Nights of New Music has become, firstly, very adapted for the theatre stage, secondly, it was unexpectedly literary centered. Many of performed works were composed either by the verses of different epochs or dedicated to the famous writers. Vocal and vocal-instrumental pieces were dominating (and it is specificity of this year festival as well), respectively.
If we talk about vocal skill, then the singers of the Swiss quartet "Vox" (Ulrika Åhlén Axberg, Katarina Lundborg, Tore Sunesson and Matts Johansson) are, undoubtedly, the superstars of the festival. They are considered as national idols in Motherland, they have wide range of performing - from vanguard to jazz. Excellent four musicians in Odessa performed two programs by contemporary Swiss poets as well as by - Paul Verlaine, Boris Pasternak, Edward Lear, Paer Lagerkvist. This was true performance for four actors. "Vox" has own intonations, gestures, mimics to every composition, to every text - and it is always exact and tasteful. And audience was really admired.
The Pierrot Lunaire ensemble (Vienna, Austria) was the leader among instrumental groups. Musicians: Silvia Gelos (flute), Barbara Schuch (clarinet), Florian Wilscher (violin), Aleksandr Timotich (violoncello), Gustavo Balanesco (piano) appeal to Arnold Shonberg - famous person of the past, author of the well known piece - "Pierrot Lunaire", as well as so called New Vienna school founded by him in the beginning of XX century. In their Motherland Pierrot Lunaire - is champion, researcher of undeveloped territories: they play pieces by authors, who are seldom performed as well as by young composers, they are very attentive to the music from Eastern Europe, Mediterranean, Far East. They were true to themselves in Odessa. Four works by contemporary composers were performed, it was deep, meditative, charming music.
Two duets are worthy to be mentioned as well - Hansjörg Koch - piano and Candida Schlabach-Uhl - mezzo soprano from Germany and - Duo-Duel (Italy): Francesca Deriu - piano and Andrea Bini - percussion.
The first ones have made a fantastic excursus through the world poetry songs on verses by William Butler Yeats, Osip Mandelshtam, Sergey Esenin, Lewis Carrol, Edwar Lear were included in their repertoire: I still remember Candida Schlabach-Uhl - especially wonderful singer as well as interesting actress. Second duet was good due to the contrast of temperaments - as performers, emotional - again, some kind of theatre for two.
Generally, the theatre stage must be mentioned every time in respect of the 10th festival. Thereat, projects based on the idea of performance, were not inferior to musical groups as to the artistry, when theatre component is not main for them.
Probably, in the beginning of second decade of Two days and Two Nights of New Music it is worth probably to try such initiative as the tradition of epilogue, such kind of wandering stages in another cities of Ukraine, where would be possible to show at least a part of those splendid actions, which year from year are demonstrated to music lovers in Odessa.
Dmitriy Desiaterik, newspaper "Den'" No.85, 19.05.04, Kiev-Odessa-Kiev
Perhaps, the most important achievement of the festival Two days and Two Nights of New Music is assistance to contemporary Ukrainian composers to enter at the international musical stage. Works by Ukrainian composers have been included in the repertoire of many foreign performers thanks to the care of organizers of "Days and Nights". Cellist and artistic director of the The harmonies of the world ensemble, Sergey Scholz (Odessa) said: "Before this festival we stewed in our own juice, we had no information about musical life in Western countries. And now with every year we grasp the level of contemporary World art."
Observers of marathon had possibility to enjoy the result of such collaboration joint virtuous action of The harmonies of the world and Zigmunt Krauze - composer, pianist from Poland.
Wonderful synthesis of western professionalism and natural Ukrainian musicality were represented in another act of "friendship between nations" - Numbers for piano by Victoria Poleva and Crosswise for clarinet and cello by Oleksandr Shchetynsky were performed by musicians of the Trio Avalon from Switzerland. Emotional "exchange of fire" between piano and percussion, resulted in one more paradox - indivisible well coordinated sounding of two instruments, has brought to audience refined intense Duel-Duo No.9 by Karmella Tsepkolenko (this work was performed by Duo-Duel from Italy: Francesca Deriu (piano) and Andrea Bini (percussion).
The Swiss quartet "Vox": Ulrika Åhlén Axberg (soprano), Katarina Lundborg (mezzo soprano), Tore Sunesson (tenor), Matts Johansson (baritone) were this year favourite of audience.
Sometimes it seemed that possibilities of vocal apparatus of these performers are able to replace the whole orchestra. Pieces, different by genres and tonality, were performed by these singers with the equal lightness.
Elena Cherednichenko, Zerkalo nedeli No.17 (492), April 30 2004
It is rather complicated task to tell about unique event entitled Two Days and Two Nights and it is too long story. It is simply necessary to go there.
In the capital you can't find event, which could such impress you. The matter is not only in the original form of this Festival. We talk about informative and qualitative super concentration of the forum dedicated completely to the art of contemporary music. Music lovers of the Two Days and Two Nights enjoyed greatly joint programs of foreigner-performer and Ukrainian composer. It is impossible to forget performance of Swiss trio "Avalon" with the works by Victoria Poleva, Sergiy Pilyutykov and Oleksandr Shchetynsky or Karmella Tsepkolenko "Duel-Duet" No.9 which was skilfully scored for sound by musicians from Italy Franceska Deriu and Andrea Bini (piano and percussion).
Roman Yusipey, 2D2N, Journal PIK (Politics and Culture), No.18 (247), 14-20 May 2004, P. 42-43
Young Ukrainian composers entered at the world stage thanks to the Festival (publication of CDs, commissions of pieces, performances etc.). Besides, Association New Music is Ukrainian Section of the International Society for Contemporary Music (ISCM), which headquarters are in Amsterdam. Every year we sent our representatives to the World Music Days, where works by composers-members of the Association are performed. Ukraine is known already. Volodymyr Runchak, Alla Zagaykevych, Sergiy Zazhytko, Hanna Havrylets are already known in world too. Famous German pianist Werner Barho has programme consisting from pieces by Ukrainian composers only. He plays works by Volodymyr Runchak, Oleksandr Shchetynsky, Karmella Tsepkolenko.
Svetlana Korotkova, by the interview with Karmella Tsepkolenko: "Our Festival has status, but he has no support from the State", newspaper Zerkalo nedeli No.17 (492), Odessa-Kiev
2003 ^ top
Ministry for Culture and Arts of Ukraine and regional State executive power organs in cooperation with public organizations involved in the process of art and culture development make their contribution into spiritual life of society. Musical art has its specific place among actions organized in the Year of Culture. This art lives and develops enriching all its forms and genres by new achievements and inventions.
Concert halls are packed, numerous musical competitions and festivals are held, premieres take place in Philharmonic halls, on the stages of chamber, organ music and other musical theatres. Composers and performers fruitfully work, they represent Ukrainian and musical art in own country and abroad, i.e. objective process of development and enrichment of national culture is going.
Various festivals and competitions international, national, regional etc. are held in Ukraine annually. They are aimed at improvement of performing professional skill and increasing artistic authority of Ukraine in the world. First of all, this is traditional M.Lysenko International Competition, Competition for Young Pianists in Commemoration of Volodymyr Gorovets, All-Ukrainian M.Leontovych Competition, different competitions for variety performers as well as such International festivals as "Musical Premieres of Season", "Kyiv Music Fest", "Forum of Youth Music", (Kyiv), "Contrasts" (Lviv), "Two Days and Two Nights of New Music" (Odessa)
Yury Bogutsky, Minister for Culture and Arts of Ukraine - "Year of Culture in Ukraine: musical art", Journal "Myzyka", September-December, No.5-6, 2003
Everybody, who has visited Odessa festival "Two Days and Two Nights of New Music", will agree that given forum has his own certain place at culture map of Ukraine.
9th Festival had chamber character and it was less show as compared with the previous one: accent was shifted from theatre action on music experiment, on completely unusual combinations of instruments as well as artistic temperaments. There were a lot of "world premieres"; and pieces by Ukrainian composers were not worse as compared to works by foreigners. Active participation of women-composers is some more interesting characteristic of this year Festival. Although it is not surprising, because continuous leader of "Two Days and Two Nights of New Music" Karmella Tsepkolenko is fruitful working author, her new piece "Duel-Duo No.8" was performed by ensemble "Neue Flotentone" (Germany) in first evening.
Besides, CD-ROM "Candours of Mystery" (multi-media database of Ukrainian women-composers) was represented to guests of the Festival. It is really important good quality work realized by Association New Music headed by Karmella Tsepkolenko. Given disc has a great importance for professionals as well as for music lovers, since Ukrainian composers (of both sexes) are ignored completely by Ukrainian recording companies.
Performance by "Neue Flotentone" was accepted extremely warmly. Gifted musicians, and the main, especially artistic flutists Anne Horstmann and Dorte Nienstedt charmed auditory by relaxed style of performance as well as by impressive set of flutes.
Performance by duet of Elsbeth Moser (accordeon) and Nicolas Altstadt (cello) was a true peak of given action. Both are extra-class musicians, but moreover: lady Moser is a live legend of contemporary European performance art. Precisely she represented accordeon for Philharmonic performances, not only as a folklore music instrument.
It was hard to accept challenge from German duet for the next participants because they had to play not worse as compared to previous musicians. But order of performances was organized very precisely. The best musical forces were represented at the final part of maraphon. Violinist Noemi Shindler from France was not worse than musicians from Germany. She has managed to perform complicated and various program, where such unusual piece as "Macristalhias" for violine and type recorder was on proper place.
Performances by both Noemi Shindler and Moser's duet are characterized by formal refinement and high philosophic tense respectively, Swiss ensemble "Amaltea" (Barbara Bossert - flute, Andrienne Rychard - soprano, Eva Schwaar - piano) is recollected by its sensitive beauty of repertoire: "Maifeuer" and "Assedo" by Christian Henking, "Out of Gravitation" by Julia Gomelskaya on poems by Gwyneth Lewis, and the most impressive "Three watercolors" by Frangiz Ali-Zade by its refinement, specific, warm poetics, multiplied on respective performance, gave to audience almost physical delight.
Generally, it can be stated that in spite of all troubles (first of all financial, maybe, fate of all unusual initiatives) "Two Days and Two Nights of New Music" lives and evolves. It moves towards logics of cultural process in Ukraine: to be territory for artistic meeting from Ukraine and Western countries. Among Ukrainian festivals namely "Two Days and Two Nights of New Music" owing to its location in cosmopolitian Odessa has approched to this very close.
Dmytro Desiaterik, Odessa platsdarm, newspaper "Den" ("Day") No.79 13.05.2003
New music, which radicalism cancels all historical musical material, rebels against common, usual language, dealt first of all with new Viennese school (A.Shenberg, A.Berg, A.Webern). Alongside with new type of expression, its innovations gave strong impulse to the process of internationalization of music that according to outstanding art critic Theodoro Adorno has place simultaneously with the political collapse of national states. Intention to pass quickly through the information field of "alien" cognition in first years of Ukrainian State independence was realized within the forum for contemporary art "Two Days and Two Nights of New Music" founded in talented multi-national artistic media of Odessa.
Odessa represented first in Ukraine "private", i.e. Author's festival. Famous Ukrainian composer Karmella Tsepkolenko and German conductor Bernhard Wulff are creators. Director of the Festival Aleksandr Perepelytsya provides organization success. Everybody interested in contemporary art knows about unique character of this forum in Odessa. Snow-slip of experiments, which scandalized our audience at firsts editions is now decreasing and it is right time for attentive listening of creative process itself. Conception of this year Festival is original musical OIKUMENE demonstrating that there is a star which name is Ukraine. From the firsts steps the Festival intended to prove that Ukrainian music is innovating, integrating in European musical context. It is known, that musicians overcome borders between countries more successfully as compared to politicians. Last Festival has demonstrated brightly: Ukrainian music is integrated in European space and European music meets the Ukrainian one. Now foreign performers are glad to include scores by Ukrainian authors in concert programs.
The adaptation process to the new music language is rather complicated. It can be concluded that for 9 years "Two Days and Two Nights" audience grew up and they can percept and understand and to assess contemporary music.
Lesya Olijnyk, MUSICAL OIKUMENE, "Zerkalo nedeli" ("Mirror of the week"), No.18 (443) May 17, 2003
Analysis of the Festival as a specific phenomenon of contemporary European art is required. "Contemporary", because the music is modern, new, but not innovatory one. "European", because it is popular and respected, it is known in Europe. "Phenomenon of culture", because the fact of its existence is precedent and, at the same time, it reflects many typical peculiarities of the state of culture in Ukraine.
Common opinion is that this night watch of "vanguard" music, because meaning of "vanguard" is different, therefore waiting-displeasures are different as well.
This year "2D2N" was very calm and it could be correctly referred as a "meal", but not as a "banquet". "Meal" means confidential communication between friends, without excess and demonstration of self-will morals and manners appropriated to banquets. Therefore most of all this time more severe auditory and professionals were satisfied and all architectonics was constructed at emotional-intellectual (if you like - soul-spiritual) cognition of the new music ART.
When we talk about impressions (post taste) and what remains with you, when your participation in action is forgotten, then it should be said, that residue is both important and various. It was once said to me by wine-makers that taste of the high quality wine is changing 18 times; the one substance, but it can contains wealth of diversity and it is good wine. Thus for me personally the Festival "Two Days and Two Nights of New music" was and is a single and various as well.
But the unique character of 2D2N consists in the specific atmosphere resulting from the direct closeness of musicians and auditory. There are no borders between performers and auditory, music lovers can see process of origin, creation of the music miracle, it is like cooperation. And what do you think about opportunity to observe work is carefully hidden usually? One can observe the preparative process, the tuning, the tuning of mood, the breath, catching of even performer's inner rhythm. It is very interesting to follow the changing mimics of musicians. It always goes ahead of musical phrase. And a numerous discoveries are waiting on audience in future. Can you imagine mystery of creation of wonderful and lofty which is done in your presence?!
Ute Kilter, "Festival "2 Days and 2 Nights of New Music" banquet or meal?" RIO ¹ No.17 (215), 08.05.2003.
2002 ^ top
"Two Days and Two Nights of New Music" is the Festival of vanguard, post-vanguard and post-modern art, generally, exhibition of novel creative ideas, novel by time of creation as well as by musical-grammatical and musical-semantic backgrounds. "Art of break" sounds mainly here, art symbolizing striving for drafting new shape of culture. Some accent on works from Ukraine was noticeable, and there were large team of musicians from Germany. As to me personally, I can say that all best performed pieces were dealt namely with the Ukrainian composers and it is direct indication on the renaissance of the Ukrainian creativity. It is important that the festival program includes chamber compositions, sometimes namely musical, sometimes close to musical, with decisive or accompanying participation of music. This is set of strictly elite intonation ideas. The most important things: let's imagine hall with the stage in the center. There were approx. 500 seats, which were occupied during 24- hours. In some cases two persons occupied one seat. People were sitting on stairs, standing in gangway. Part of audience changed by rotation principle, another part stoical endured marathon. The age of majority audience was somewhere between 16 and 25 years old. Attention of people in the hall was particularly concentrated. They waited and wanted. And they found. All reactions were very precise. All original and truthful works met warm applauses, artificial ones - received rare praise to fussy performers, external and empty pieces were merry whooped, "approved for courage". It is seen, that auditory is interested in process, it is interested in the selection and appreciation. And it proves that new elite is born.
We used to that the youth is consumer of mass culture first of all. Surely it is neither stadium or multi thousands hall. But for such idea there were maximum loading. And it is appeared: young people are main consumers of novel music! And it is seen, that there are not only those who has professional attitude to music. Of course there are a lot of musicians, but at the same time there were different people. However atmosphere is perfect. Silence was kept even at very disputable and evident doubtful moments. Patience of auditory is impressive: it stoical endures the most, as it seemed, intolerable demonstrations of "artistic egoism" dealt with extreme persistent tautologies, with provocative buffoonery. Everything meets politeness. Shortly, in reaction of auditory there is some similarity to "academism", i.e. educated attitude to everything proposed to their attention.
First explanation for such phenomenon is perfect guessed form. The "non-stop" principle and transfer into night, accent on pieces, with the unexpected elements, all these are really inviting moments for young souls. But it is not rather good explanation of stable filling of the hall by young music lovers first of all. According to the traditional classification, art could not be free of nation. Does this idea correspond to vanguard or postmodern of second part of XX century? It is hardly. Mass culture is a symbol of globalization. But vanguard and post-vanguard intentions as well are products of globalization intentions. Universal character of methods leads to continental level and further - to meta-continental. New product of European continental culture takes planetary spreading. And it also could be explained as response to requirements of "new conformity". And representatives with a large forehead, first of all, young elite searches for its cultural space in this side...
But here again we had to solve a problem of the ratio "civilization culture". In other case it is impossible to understand this Odessa phenomenon of "Two Days and Two Nights". Evidently that young intellectual elite searches for his «comfort of conformity» in new art. In vanguard, really, there are aggression and sensitivity. But there are third part as well - hermetical reservation of themselves, complete repulsion of practical life reflection (such imperfect and vicious) in forms of life itself, high level of abstraction, opening of individually colored fantasy. Hermetic vanguard means principal going away off old culture, declaration of belonging to new. But this declaration is hasty. Hermetical is lacked of fixation enzyme in the sense of artistic constant, prolonged and intensively claimed by time. It is supposed that all "hermetical" is required by certain moment in the transition process. And young elite feels (instinctively) its inclusion in the course of great cultural mutation.
Vsevolod Zaderatsky, "Others will come after use", magazine "Musical Academy", 2002, Chapter "Festivals", pp.12-18
Grandiose International Festival of modern art "Two Days and Two Nights of New Music" involving hundreds of composers and performers from different cities of Ukraine, former USSR and many foreign countries as well as thousands lovers of vanguard music, takes place in Odessa every April during eight years. Precisely this Festival became noticeable event in the World artistic space and it has no enough time predetermined for it. A lot of people wish to participate and to perform a numerous music pieces at this unique music holiday. Undoubtedly, Festival "Two Days and Two Nights of New Music" is one of noticeable international achievements of young Ukrainian State.
Georgiy Vorotniuk, Fantasies by Karmella Tsepkolenko, newspaper "Golos Ukrainy", December 5, 2002, No.229-230 (2980-2981)
"Spoiling and playing" on wide space of different culture languages, our rioters and bullies prove that art is able to live without instructions, expanding cultural space of freedom. There are places for "left" or "right" person who has a talent. Model of such free World of music is represented at "Two Days and Two Nights", where is high spirit of antique Menippos: old dogmas are rejected with laugh, genres and styles are mixed, slapstick is neighboring with serious, virtual - with real and all truth and values are disputable. And let's repeat words by Jean Cocteau about spirit of creative work, which is the highest manifestation of creativity, is not it?
Olena Zinkevich, Odessa Menipposes, magazine "Kritika", May 2002, No.55
This year almost maximal number of Ukrainian musical works performed by Ukrainian and foreign musicians were represented. According to Karmella Tsepkolenko: "West is already used to the fact, that contemporary Ukrainian music exists. Only three names: A.Shnittke, E.Denisov and S.Gubaidullina were known before". Therefore now a lot of Ukrainian composers create their works specially for "Two Days...", where their music is premiered by colleagues from Western countries.
Oksana Shevchenko, Preparation of music, magazine "PIK" - "Politika i kultura", 30 April-13 May 2002, No.15 (146)
Festival is expanded year from year. Two days and two nights are not enough. There are master-classes and creative laboratories besides "preludes" and "postludes". Folklore (mostly authentic) is represented alongside with the contemporary music and improvisation moments are included. This Festival has his own festivals-satellites, in particular "Wandering Academy of Music". Audience prepared to the perception of new art is expanded year by year. A lot of music by Ukrainian composers is performed at Odessa forums. It is extremely important: being tested here these works enter in the World music space. "Two Days and Two Nights..." is only one Ukrainian musical festival, which releases and distributes CDs all over the World.
Roman Brodavko, To protect a soul against malicious winds, newspaper "Odesskiy Vestnik", January 9, 2002, No.4 (2506)
New music, composers and musicians, who compose and perform such music, are required. There is no need to prove necessity of such reflection of World and oneself in it. One of the most complicated tasks of contemporary art is an attempt to harmonize chaos, to control it creatively, at emotional level. It means to clear oneself. It is true happiness, when many people have a gift to play music.
Sergey Proskurnia, To check chaos by harmony, newspaper "Stolichnye Novosti", 30 April - 13 May, 2002, No.16
The audience of "Two Days and Two Nights..." is probably the most surprising at this Festival. It is difficult to imagine at some another festival and, moreover in another city - all day and night jeans "nonformals" with ear-rings, thick-set bald-headed citizens in leathern jackets, respectable bourgeois and motley Bohemians listen music which is complicated for perception (to put is mildly) with bated breath. It is understandable that citizens of Odessa like this Festival. Completely unique atmosphere that is extremely far from standards of philharmonical estrangement is also important. Naturally, it is a merit of founder and permanent leader of the Festival Karmella Tsepkolenko, composer from Odessa. Her relationships, non female purposefulness and love of new art maintain this Festival at good level almost ten years. Original format of this action, unusual for academic performance as well, favors to this fact also: two large-scale concerts, beginning in early evening and finishing in the small hours, with the break for sleep and meal. Every concert consists of thematic blocks-parts and has clear dramaturgy. Namely in the context of Eight Festival it could be said that it is dramaturgy in direct meaning.
Precisely this year "Two Days and Two Nights..." is specifically focused on theatre, which is inherent, as it appeared, in contemporary music completely.
Dmitry Desiaterik, Power of night and power of day, newspaper "Den" ("Day"), April 25, 2002
Odessa Festival "Two Days and Two Nights..." is a bright example of event that can organize only one person owing to own talents. Yes, surely, there are a number of people, who assisted and assist to Karmella Tsepkolenko, permanent manager of this action. Although, precisely purposefulness and composer's gift of this charming and strong woman had transformed this musical forum created by her on worthy "factor of influence" within both Ukraine and Europe. Status of the Festival as a laboratory for contemporary art, allows new and new performers be involved every year (it should be noted that most of them are representatives from Western countries).
Another important fact is that Karmella Semenovna is able to compose Festival Program. "Two Days and Two Nights..." has rather attractive structure. Unique marathon of performance follows after three evenings of preludes and concerts. Actually, non-stop contemporary music sounds from early evening until late night in the Festival hall that looks like a ring with the circle of chairs. Marathon consists of units-parts with personal title and meaningful soundings, and generally everything looks like constructed piece as a symphony.
Dmitriy Desiaterik, Odessa Time, Internet-newspaper, http://for-ua.com
2001: ^ top
Generally this Festival is a magical fair action, where atmosphere of total creativity predominates. It has been included in the world art space as original work of art. In order to produce such unusual action, it is required to be a personality. Namely such persons are authors and organizers of this Festival President Bernhard Wulff, Director Oleksandr Perepelytsya and Artistic Director Karmella Tsepkolenko. The President is wonderful musician, gifted conductor and great original-enthusiast. Somebody makes collections from postage stamps, somebody - paintings, and professor Wulff - collects festivals for new music founded by him: in Ukraine, in Mongolia "Roaring Hoofs", in Kyrgyzstan "Gold silk sound way", in Vietnam "Bamboo Crash"...The soul and the first lady of "Two Days and Two Nights", is incomparable Karmella she is like "fountain of creative ideas", true workoholic 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 the truth, because without this authoritative "prose" the fair tale ship with red sails will never arrive. Fortunately, Odessa festival has influential friends and supporters: Swiss Foundation PRO HELVETIA and its Ukrainian Branch, International Renaissance Foundation, Foundation Ernst von Siemens (Germany), Ministry of Culture and Arts of Ukraine and Odessa State Administration.
It seems, that we were concerned by the question whose requirements is new music? After my visit in Odessa - wonderful dream city (do you remember song "There is a city, which I see in my dreams" from the repertoire of famous Odessa singer Utiosov?) - answer has become not complicated: besides above-mentioned persons, there are lots of people, who can not even imagine their life without this music. Among these persons there were 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" No.2/2001 (No.6), Kiev-Odessa-Kiev, April 2001
Every Festival is like a unique art work. The Festival breaks all conventionality of traditional apprehending of music: stage is replaced by arena in the centre of a nightclub, the stalls on the bar tables and counters. Proceeding from the ideal of free art development, the Festival moves forward innovatory trends in contemporary music; style, ideological or other frames do not restrict it. 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)
The Festival "Two Days and Two Nights of New Music" with every year 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
Surely, for many people it is too hard to hear unusual 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 is 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 centre of hall instead of common stage and audience, which is sitting in the bar or at the table, can feel itself rather relaxed. Several hundreds of foreign and Ukrainian musicians participated in this Festival for the years of its existence, and its annual 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 7th International Festival of modern art "Two Days and Two Nights of New Music" 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, No.79
Hundreds of Ukrainian and foreign performers and musicians took part in this festival during period of its existence. The best records from 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 Ukrainian new music is at the highest level of contemporary world achievements.
Magazine "Kyiv Cult", April 2001. No.4 (40), P. 16
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 takes 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 during 15 hours, until morning a lot of people observed musical action by own free will completely: the youth, which is "given up for lost" by the elder generation, elder generation itself and even some of the local "authorities", who were sitting as "pupils" observing the creative process with the Program booklets in their hands. Audience in the hall was not simply listening, it really understood and separated the true from the artificial, the original from the surrogate straight away. Such a kind of festival is "perpetuum mobile", that determines directions for the further development of art, stimulates new ideas. This is testing method for the innovation 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 No.15, P. 48
2000: ^ top
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 and 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 Two Nights of New Music" 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 tailcoat 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 their 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 had never listened to it or could not bear it. However, the festival is not guilty of it.
Olena Zinkevytch - "Musica Ukrainica" - Online Magazine
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 New Music be: the music that is not older than 20; the music composed with the help of new and most contemporary technologies of composition; the experimental music, where all things have a right to be included into 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, No.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 too... 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
Like any other art born nowadays, new music fully reflects "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 Festival program 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 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 art work and 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: ^ top
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), No.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), No.1, 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: ^ top
The extra-class of performing is a visiting card of Two days and two 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), No.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: ^ top
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.
Oleksandr Kozarenko Odes'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 performance. 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 (USA) - Slovo (Odessa), No.5, 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: ^ top
Das Festival Two Days & Nights Of New Music, das im April in einem alten Theater in Odessa zum zweiten Malueber die Buehne 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 Atmosphere war absolut einmaligh, 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, No.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 E.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 - Odessa, No.2, 1996
1995: ^ top
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 a continuous 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, No.17, 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 - AiF-Plus (Switzerland), No.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, No.14, 1995