Russian, since 1991 Canadian.

Born in Moscow, Russia, 23 January, 1947.

Award of the City of Duisburg, Germany, 1990.

e-mail: korndorf@direct.ca

Reters Musikverlag, Frankfurt, Germany.

Internationale Musikverlage Hans Sikorski, Hamburg, Germany.

(Details on materials see WHERE TO ADDRESS FOR MATERIALS)

I belong to the direction in Russian music which, independent of the composer’s style, typically addresses very serious topics: philosophical, religious, moral, the problems of a person’s spiritual life, his relationship with the surrounding world, the problem of beauty and its relationship with reality, as well as the problem of loftiness and meaning in human beings and in art, relationship of the spiritual and the anti-spiritual. All this means that most of my works were written not for fun and in no way can be classified as entertainment. As much as possible I strive to ensure that every one of my works contains a message to each listener and that my music leaves no one indifferent, but aroused with an emotional response. I even accept that at time my music arouses negative emotions - as long as it is not indifference. I compose various types of music: dramatic and lyric, ecstatic and absolutely calm, humorous and tragic. Everything depends on the aim of the specific piece. Some of my pieces are composed using contrasting material. The others - without contrasting material emphasizing a singular emotional state. I strive to make my music have many interpretations rather that one meaning. This difference of characters produces a multilayered complexity and a polyphony of texture in any cast I use. Most of my pieces last from 20 to 40 minutes. Prolonged dynamic, large culminations and an attempt to create monumentalism and colorfulness of sound are generally typical of my music. Often a piece form represents a dynamic wave or some such waves. In my music I employ different types of contemporary composing techniques and I also attempt to synthesize elements of different styles and trends, sometimes opposite to each other. I do this because I believe that our time is the time of synthesis and all treasure accumulated during the centuries of musical cultural existence ought to be used. That is why my music reflects the medieval choral, elements of modern rock music, folk music and underground music and it contains elements of romantic music, European vanguard music and American minimalism. However I seek to use and to work out all of these elements in my own way. I work in various genre but mainly in symphonic and chamber music using both traditional (for example: Symphonies # 1, 2, 3 and 4, opera MR (Marina and Rainer), brass-quintet and string trio) and nontraditional tendencies. In symphonic pieces I prefer to use a large cast which enables me to create an extended and a volumetrical sound. In chamber music I frequently employ nontraditional casts (Confessiones, Amoroso, Primitive music, Movements, Let the Earth Bring Forth, Get Out!!!) With special interest I repeatedly addressed the genre of an instrumental theater where the performers and even the instruments are the characters (Yes!!, “...si muove”, The Dance in metal in honour of John Cage). I also used the traits of an instrumental theater (dance, movements of the performers on the stage or in the hall) in some of my chamber pieces (Confessiones, Primitive music, Mozart-variationen, Get Out!!!). Sometimes I combine live sound with recording (Singing, Yarilo, Movements). I like to use the performers in unconventional ways: instrumentalists as singers, singers as instrumental performer, a conductor as a musical instrument performer (Yes!!, Victor, string Quartet, Welcome, Amoroso). Although I seek to solve a different problem in each new work and not to repeat myself there is of course some succession in some of my works (Prologue and Epilogue), the others represent the different approach to the same musical material (Hymns I, II and III). Some pieces were written in two versions for different casts (Welcome for chorus and for 6 performers, Lullaby is a version of Con sordino).

MR (Marina and Rainer), 1989. Chamber opera in one act.. Libretto Yuri Lurie (in Russian, German, French, Ancient Greek and Japanese). Soprano, coloratura soprano, contralto, tenor, baritone, bass, 3 pantomimes. Dur. 90'. Premiere: May 20,1994. Munich, Germany, Muffathalle. Munich Biennial Singers. Ulm Orchestra. S. Bachli, conductor. Commissioned by Munich Biennial, Germany. 1(=picc., basso, flauto dolce soprano)·1·2(I=picc., sax.alto; II=basso)·1(=c.-fag.), 2·1·1·0, perc. 2, arpa, celesta (=cembalo), piano I preparato (=piano II ord.), chitarra elettrica (=chitarra bassa), 1·1·1·1·1.

"...si muove!", 1993. Play for an instrumental ensemble, actors and dancers. Dur. 56'. Picc.·0·0·Cl. picc.·0·0, 1·2·1·1, perc 3, harp, pianos 2 (man, child), organ, guitar bass, soprano, tenor-rock-singer, bass, bagpipe, grind-organ, violin solo, violoncello solo, strings (4·4·3·3·2), conductors 2 (or 1), actors 5 (incl. 1 female, 1 singer with guitar), ballet couple, Russian-folk-dancing couple, tape.

Yes!!, 1982. Ritual for 3 singers, chamber ensemble and tape. Dur. 42'. Premiere: December 17,1984. Moscow, Russia, Tchaikovsky Concert Hall, I. Barteneva, A. Pruzhansky, V. Larin, The Bolshoi Orchestra Soloists Ensemble. A. Lazarev, conductor. Commissioned by the Bolshoi Orchestra Soloists Ensemble, Moscow, Russia . Sopr., 2 ten., 0·c.ing.(=fl.dolce)· 1(=fl.dolce)·1(=fl.dolce), 1(=fl.dolce)·1·1·0, perc. 2, chit.bassa, org., tape.

The Dance in Metal in Honour of John Cage, 1986. For 1 percussion player. Dur. 14'.

Symphony No 1, 1975. For full symphony orchestra. 3 parts (II, III without interruption). Dur. 33'. Premiere: December16, 1977. Moscow, Russia, All-Union Composer House, Moscow Symphony Orchestr. N. Korndorf, conductor. 3(Il=alto, III=picc.)·3(III=c.ing.)·3(II=picc., III=basso)·3(III=c.-fag.), 6·3·3·1, perc.6, p-no (=cel.), archi.

Symphony No 2, 1980. For full symphony orchestra. 4 parts (II, III, IV without interruption). Dur. 31'. Premiere: October 5, 1982. Moscow, Russia, The Conservatoire Great Hall, The State Symphony Orchestra.. V. Verbizky, conductor. Picc.·3(I, II, III = picc.IV, III, II)·3·3(II=picc., III=basso)·3(III=c.-fag.), 6·3·3·1, perc. 6, arpa, p-no, archi.

Symphony No 3, 1989. For full symphony orchestra, boy's choir, men's choir, piano solo and narrator. 3 parts without interruption. Dur. 90'. Premiere: September 8,1992. Frankfurt-am-Main, Germany, Alte Oper Grosser Saal, The Symphony Orchestra of the Bolshoi Theatre. A. Lazarev, conductor. Commissioned by Frankfurt Feste, Germany. 4(I=picc.IV, fl. dolce sopranino; II=picc.III, alto, fl.dolce alto; III=picc.II; IV=picc.I, fl.dolce soprano)·4·4(III=picc., IV=basso)·4(IV=c.-fag.), 4 sax.(2 alti, ten., bar.), 8·5(V=picc.)·4·1, perc. 11, chit.elettr., chit.bassa, celesta, piano solo, org., recitatore, ragazzi, coro (ten. e bassi), tromba lontano, 6 trombe, archi.

Underground music. (Symphony No 4), 1996. For full symphony orchestra. 4 parts (without interruption). Dur. 39'. 3(I, II, III=picc. III, II, I)·2·3(III=basso)·3(III=c.-fag.), 4·3·3·1, perc. 4, chit.elettr.(=chit.bassa), celesta, p-no, archi.

Hymn I (Sempre tutti), 1987. For full symphony orchestra. Dur. 22'. Premiere: May 27, 1988. Munich, Germany, Gasteig, Philharmonie, Munich Philharmonic Symphony Orchestra. A. Lazarev, conductor. Commissioned by Munich Biennial, Germany. 4(IV=picc.)·3·3·2·c.-fag., 8·5·4·2, perc. 9, chit.bassa, archi.

Hymn II, 1987. For full symphony orchestra. Dur. 21'. Premiere: March 18, 1989. Moscow, Russia, Tchaikovsky Concert Hall, Moscow State Philharmonic Orchestra. A. Lazarev, conductor. 4(=picc.)·3·3·3·c.-fag., 8·5(III=picc.)·4·1, perc.9, archi.

Hymn III (in Honour of Gustav Mahler), 1990. For full symphony orchestra and soprano. Dur.36'. Premiere: May 8, 1991. Duisburg, Germany, Mercator-hall, Duisburger Symphoniker. A. Lazarev, conductor. Commissioned by Köhler-Osbahr-Stiftung, Duisburg, Germany. 4(=4 picc.)·3·c.ing.·2·cl.basso·cl.contrabasso·2·c.-fag., 4·4·4·1, perc. 7, chit.bassa, 2 tr-be lontano, sopr.solo, archi.

Prologue, 1992. For full symphony orchestra. Dur. 17'. Commissioned by Schlezwig-Holstein Music Festival, Germany. 4(III,IV = I,II picc.)·4·4·4, 6·4·4·1, perc. 10, org., archi.

Epilogue, 1993. For full symphony orchestra. Dur. 24". Premiere: December 7,1994. Montreal, Canada, Salle Wilfrid-Pelletier (Place des Arts), Orchestre symphonique de Montreal. A. Lazarev, conductor. 3(III=picc.)·3(III=c.ing.)·3(III=cl.basso)·2·c.-fag., 4·3·3·1, perc.4, arpa, archi.

Victor (The Victor), 1995. For full symphony orchestra. Dur. 37'. 3(I=picc.III; II=picc.II, alto; III=picc.I)·3·3(III=cl.basso) ·2(III=c.-fag.), 4·4·3·1, perc.6, archi, flauto dolce soprano (playing by conductor).

Concerto capriccioso, 1986. For violoncello solo, string orchestra and percussions. 2 parts. Dur. 24'. 0000,0000, perc. 9, arpa, celesta, cembalo, archi (leggi 8·7·6·5·4).

Con sordino, 1984. For 16 string instruments and harpsichord. Dur. 15'. Premiere: September 10, 1984. Kosciol w Zakliczynie, Krakow, Poland, Krakow chamber orchestra. R. Delekta, conductor. Commissioned by K. Penderecki for III Festival of Chamber Music at Luslawici-Dworze, Poland. 8 v-ni, 4 v-le, 3 v.-c., 2 c.-b., cemb.

Tristful songs, 1983. For chamber choir and percussion (1 player). 4 parts. No text. Dur.37'.

Welcome!, 1995. For female choir and instruments played by singers. No text. Dur.40'.

Get out!!!, 1995. For any 4 or more instruments (unlimited). Dur. 21'. Premiere: January 31,1996. Munich, Germany, Carl-Orff-Saal im Gasteig. H. Graf, S. Schneider, G. Quellmelz, S. Mauser. Commissioned by Bayerischen Staatsoper, Munich, Germany.

Confessiones, 1979. For 14 players and tape. Dur 21'. Premiere: December 15,1979. Moscow, Russia, All-Union Composer House, The Bolshoi Orchestra Soloists Ensemble. A. Lazarev, conductor. Commissioned by the Bolshoi Orchestra Soloists Ensemble, Moscow, Russia. 1·1·1·1, 1·1·1·0, perc. 2, p-no, 1·0·1·1·1, tape.

Amoroso, 1986. For 11 players. Dur. 20'. Premiere: April 25,1987. Witten, Germany, Teatersaal, The Bolshoi Orchestra Soloists Ensemble. A. Lazarev, conductor. Commissioned by "Witten Tage für neue Kammermusik", Witten, Germany. 1(=picc.)·1·1·0, 2·0·0·0, perc. 2, arpa, 0·0·1·1·1.

Let the Earth Bring Forth, 1992. For chamber ensemble. Dur. 35'. Premiere: September 29, 1992. Amsterdam, Paradiso, Schonberg Ensemble. R. de Leeuw, conductor. Commissioned by Schonberg Ensemble, Amsterdam, Holland. 1(=picc., fl.dolce sopr.)·1(=c.ing)·2(II=cl.basso)·1(=c.-fag.), 1·0·0·0, org.(=cemb.I, p-no I), cel.(=cemb.II, p-no II), 1·1·1·1·1.

Music for Owen Underhill and his magnificent eight, 1997. For chamber ensemble. Dur. 21'. Commissioned by Vancouver New Music. 1(=picc., basso)·1(=c.ing)·1(=cl.basso, picc.), perc. 1, p-no (=cel.), 1·0·0·1·1, cond.(church bell, fl.dolce sopr., jap.temple bell).

Movements, 1981. For the percussion ensemble. 3 parts (No movement. Moving in a dance. Moving in a march.) without interruption. 12-15 players. Dur. 22'. Premiere: November 30,1981. Moscow, Russia, All-Union Composer House, N. Korndorf, conductor. Commissioned by The Percussion Ensemble of the Bolshoi Theater Orchestra.

The Magic Gift of Segnoro Luigi, 1991. With V. Ekimovsky, V. Tarnopolsky, A. Raskatov, W. Shut, A. Wustin, V. Martynov, S. Gubaidulina. For the percussion ensemble. 8 parts (without interruption). 6 players. Dur. 42'. Premiere: April 12, 1991. Moscow, Russia, Tchaikovsky Concert Hall, Mark Pekarsky percussion ensemble.

Primitive music, 1981. For 12 saxophones. 2 parts (Appeal. Competition). Dur. 17'. Premiere: 25.04.1984. Moscow, Russia, All-Union Composer House, Moscow Saxophones Ensemble. N. Korndorf, conductor. Sopranino, 2 soprani, 3 alti, 3 tenori, 2 baritoni, basso.

Mozart-variationen, 1990. For string sextet. Dur. 20'. Premiere: May 11,1991. Berlin, Germany, Grossen Sendesaal des Funkhauses Berlin, S. Molhoff, S. Tast, S. Fliegel, V. Sprenger, K. Carnarius, G. Schwarzky. Commissioned by Berlinerrundfunk, Germany. 2 v-ni, 2 v-le, violoncello, contrabasso.

Brass-quintet, 1985. For 2 trumpets, horn, trombone and tuba. 4 parts (II, III, IV without interruption). Dur. 19'.

Quartet, 1992. For 2 violins, viola and violoncello. Dur. 60'.

“Are You Ready, Brother?”, 1996.. Trio for piano, violin, and violoncello. Dur. 21'. Premiere: July 2, 1996. Amsterdam, Holland, Waalse Kerk, Escher-Trio. Commissioned by Jellinek Consultancy, Holland.

In Honour of Alfred Schnittke (AGSCH), 1986. Trio for violin, viola and violoncello. 3 parts without interruption. Dur. 32'.

Welcome!, 1995. Version for 6 female voices and instruments played by singers. No text. Dur.40'.

Singing, 1982. For mezzo-soprano and a tape. No text. Dur. 20'. Premiere: March 14, 1983. Moscow, Russia, All-Union Composer House, N. Rosanova.

Yarilo, 1981. For piano and a tape. Dur. 21'. Premiere: June 8, 1981. Moscow, Russia, All-Union Composer House, T. Sergeeva.

Lullaby, 1984. For 2 pianos. Dur. 15'. Premiere: October 8,1984. Moscow, Russia, All-Union Composer House, V. Lobanov, N. Korndorf.

Continuum, 1991. For organ and a tape (bells, gongs and tam-tams). Dur. 80'.

Rachmaninoff S. Preludes op. 23. NN 3, 4, 5, 6, 7, 10. For full orchestra. 3·3·3·3, 4·3·3·1, perc. 5, arpa, archi.

Rachmaninoff S. Preludes op. 32. NN 2, 4, 6, 7, 10, 11. For full orchestra.. 3·3·3·3, 4·3·3·1, perc. 5, arpa, archi.

Prokofiev S. Etudes op. 2. NN 1, 2, 3, 4. For full orchestra. · 3·3·3, 4·3·3·1, perc. 5, arpa, archi.

Debussy C. L'Isle joyeuse. For full orchestra. 4·4·4·4·, sax. 2, 4·4·3·1, perc. 5, 2 arpe, cel., archi.

Scriabin A. Sonata No. 8. For ensemble. Dur. 25'. Premiere: September 9, 1992. Groningen, Holland, De Oosterpoort, Schonberg Ensemble. R. de Leeuw, conductor. Commissioned by Schonberg ensemble Amsterdam, Holland. 1(=picc., alto)·1(=c.ing.)·2(I=sax.sopranino, II=cl.basso)·1(=c.-fag.), 2·0·0·0, arpa, cel., cembalo, 1·1·1·1·1.

1. RETERS MUSIKVERLAG, FRANKFURT, GERMANY

1. MR (Marina and Rainer)

2. Get out!!!

3. Let the Earth Bring Forth

4. Hymn II

5. Prologue

6. Epilogue

7. Con sordino

8. Victor (The Victor)

9. Movements

2. INTERNATIONALE MUSIKVERLAGE HANS SIKORSKI, HAMBURG, GERMANY

1. Hymn III (in Honour of Gustav Mahler)

2. Amoroso

3. Confessiones

4. In Honour of Alfred Schnittke (AGSCH)

5. Mozart-variationen

6. Hymn I (Sempre tutti)

7. Symphony No 1

8. Yarilo

9. Yes!!

3. FOR OTHER MATERIALS PLEASE ADDRESS THE COMPOSER DIRECTLY:

1. "...si muove!"

2. The Dance in Metal in Honour of John Cage

3. Symphony No 2

4. Symphony No 3

5. Underground music. (Symphony No 4)

6. Concerto capriccioso

7. Tristful songs

8. Welcome! (both versions)

9. Primitive music

10. Music for Owen Underhill and his magnificient eight

11. Brass-quintet

12. Quartet

13. “Are You Ready, Brother?”

14. The Magic Gift of Segnoro Luigi

15. Singing

16. Lullaby

17. Continuum

Hymn I: ART AND ELECTRONICS, Russia-U.S.A., CD AED - 68017

Hymn II: SONY CLASSICAL, SK 66824.

Hymn III: SONY CLASSICAL, SK 66824.

Confessiones: MELODIA, Russia, C 10 - 15169 - 70

“Are You Ready, Brother?”: AVRO CD, Cataloge # 140362.

Yarilo: MELODIA, Russia, C 10 - 21917 - 000

Symphony No 1: "SOVIETSKY COMPOSITOR" (“Soviet Composer”), Moscow, Russia, 1983

Hymn III: EDITION SIKORSKI, Hamburg, Germany, 1995

Confessiones: "SOVIETSKY COMPOSITOR" (“Soviet Composer”), Moscow, Russia, 1989

Brass-quintet: "SOVIETSKY COMPOSITOR" (“Soviet Composer”), Moscow, Russia, 1989

Yarilo: "SOVIETSKY COMPOSITOR" (“Soviet Composer”), Moscow, Russia, 1985.

Kuzina Olga. Nikolai Korndorf. Kompozitory Moskvy (Moscow’s Composers). 4th issue. Moscow. “Kompozitor”, 1994. pp. 142-165. (in Russian).

Ferenc Anna. The Association for Contemporary Music in Moscow: An interview with Nikolai Korndorf. Tempo, 190. September, 1994. pp.2-4.

Guljanitskaja Natalia. Zametki o stilistike sovremennych duchovno-muzykalnyh kompositsij. (On the style of contemporary spiritual musical compositions.) Musikalnaja Akademija., 1, 1994. pp.18-25. (in Russian).

Baker's Biographical Dictionary of Musicians. 7th edition. Schirmer books. A Division of Macmillan, Inc. New York. Maxwell MacMillan, Canada, Toronto, 1984. 8th edition, 1992.

Contemporary Composers, St. James Press, Chicago, London, 1992.