A Russian composer born in Dniepropetrovsk (1955). He studied composition at the Moscow Tchaikovsky Conservatory with Edison Denisov and Nikolai Sidelnikov. His graduate work, the Concerto for Cello (1980) was selected by the prominent Russian conductor Gennady Rozhdestvensky for a series of concert programs, titled “From the History of Russian Music”. Since then works by Tarnopolski are regularly performed in Russia and abroad by numerous famous musicians, such as Mstislav Rostropovich, Valery Gergiev, Ingo Metzmacher, Vladimir Yurovsky, Reinbert de Leeuw, Alexander Lazarev, Vasily Sinaysky, Natalia Gutman, Yury Bashmet and many others.
Tarnopolski is a frequent guest in many Western contemporary music festivals, such as: Almeida Festival London, Beethovenfest Bonn, The Berliner Festwochen, Dresdner Tage fur Neue Musik, Frankfurter Musikfest, Holland Festival, Hommage aux Russes Paris, Huddersfield Contemporary Music Festival, Klangspuren festival in Austria, La Biennale di Venezia, Make Music Together in Boston, Manca festival in Nice, The Mannes festival in New York, Münchener Biennale, The Schleswig-Holstein Musikfest, Sonic Boom New York Festival, Tage fur Neue Musik Zurich, Warsaw Autumn, Wien Modern, The World Music Days of the ISCM and many others.
Tarnopolski has written pieces on commission for some of the world’s leading orchestras, among them the Symphonieorchester des Bayerischen Rundfunks, Ensemble Modern, Ensemble InterContemporain, Musikfabrik, Schönberg Ensemble, Ensemble of Soloists of the Bolshoi Theatre, Klangforum Wien and others. His stage works were premiered at the Münchener Biennale, Beethovenfest Bonn, Barbican Hall London, Rencontres Musicales d’Evian, Contemporary Dance Festival Netherlands, Bergen Festival and others.
Tarnopolski’s compositions contain a fulminently charged musical substance fitting into a concisely articulated, well-balanced construction. The composer’s music combines in a paradoxical manner two aesthetical aspects. The first is a search for a new euphony, which is developed on the basis of a complexly constructed sound material, which abolishes the juxtaposition between consonance and dissonance, sound and noise, harmony and timbre, as well as electronic and acoustic instruments. The second is a refined post-modernist theatricality, filled with either joyful irony or surrealistic grotesquerie.