A project in cooperation with echoraum and Alcôme
Supported by Stadt Wien Kultur, BMKÖS, SKE austromechana, echoraum, ALCÔME, Sacem and Copie Privée



Sergey Khismatov 


Sergey Khismatov  photo by Konrad Fersterer

Sergey Khismatov

Sergey Khismatov was born 21 February 1983 in St. Petersburg.

He took post graduate education at European University in St. Petersburg.
2010 - 2012 Sergey attended composition seminars with Moritz Eggert in Munich.
Sergey participated in workshops and open lectures of composers such as Pascal Dusapin, Enno Poppe, Helmut Lachenmann.
Sergey was fellow of Schloss Wiepersdorf and bangaloResidency scholarships 2021, as well as Saxony Working Scholarship and Schoeppingen Kuenstlerdorf Scholarship 2018. In 2017 he participated in dokumenta14. He is winner of OSSIA new music competition in NY. Sergey was selected for European Dukley Art Residence 2015 and for Villa Concordia artist-in-residence 2013-2014. His chamber opera cycle got Advocacy Award in Boston Metro Opera. He won the first prize in Hof Klang composition competition and was invited in Hof Klang artist-in-residence. In 2012 Sergey got St. Petersburg Culture Award. He is laureate of Franz Josef Reinl-Stiftung, Neue Toene and Musique Bruitiste. Luigi Russolo - Rossana Maggia competitions.

Sergey's projects are supported by Musikfonds, Musikrat, Saxony Culture Foundation, GEMA Foundation, De La Motte Music Foundation, Dirk-Oelbermann Foundation as well as by different international festivals.

Amoung performers of his pieces are Nadar, musikFabrik, Slagwerk Den Haag, Tromp percussion, Insomnio, eNsemble, Nostri Temporis, ADEvantgarde, NoName, Kuenstler Ensemble, Big Bang, Russian National Orchestra, ensemble XX century, Next Mushroom Promotion, Fedor Lednev, Alex Nowitz, Matthias Bauer, Boris Filanovsky, Moritz Eggert, Maciej Straburzynski, Johannes Schoellhorn, Feodor Amirov, Roman Yusipey, Sergey Tchirkov, Alexey Glazkov, Zoltan Almachi, Olga Vlasova, Mark Buloshnikov, Anna Korsun.

In 2010 Sergey Khismatov and Lidia Ader organized the cycle of contemporary music concerts Tax Free: territory of young composers in St. Petersburg.

Reconstruction of Arseny Avraamov´s Symphony of industrial horns

Presented within Circuit Fantôme Season 1 Episode 6.

The reconstruction is based on Mandate (1923) by Avraamov and was created by Sergey Khismatov in 2009. Original reconstruction was created for 8 or more channels around audience to imitate sounding surround of city.

The Symphony of Industrial Horns by Arseny Avraamov was created in 1922 and was performed in Baku in 1922 and Moscow in 1923.
The stage of performance is a whole city. The main instruments were industrial horns, horns of fleet and trains, cannon and machine guns, sirens, large choir, aviation and others.

The reconstruction is based on Mandate (1923) by Avraamov and was created by Sergey Khismatov in 2009. Original reconstruction was created for 8 or more channels around audience to imitate sounding surround of city.

Mandate for the Symphony of Industrial Horns

“The first cannon shot from the roadstead (in about 12 o’clock) cues the alarm horns of Zych, White City, Bibi-Heybat and Bailov plants.

The fifth cannon shot cues the industrial horns of Product Management Azneft and docks.

The tenth cues the second and the third groups of Chernogorodsky district.

The 15th cues the first group of Black town and the sirens of the fleet. At the same time the fourth company of the Armavir courses of red commanders and the brass orchestra playing Warshavyanka go to the pier.

The 18th cannon shot cues the plants of Gorrayon and the seaplanes take off.

The 20th cues the horns of the railway depot and the locomotives, that remain at the stations. Machine guns, infantry and steam orchestra, entering at the same time, get cues directly from the conducting tower.

During the last 5 cannon shots alarm gets to the maximum and terminates with the 25th shot. Pause.
Recall (signal from the Magistral).

Triple chord of the sirens. Seaplanes descend. “Hurrah” from the pier. Cue from the Magistral. “L' Internationale” (4 times). With the second half strophe the brass orchestra starts playing “La Marseillaise”. With the first repeat of “L' Internationale” melody the whole square starts to sing all three strophes of “L' Internationale” to the end. At the end of the last strophe the Armavir companies with orchestras return, met by “hurrah” calls from the square. During the performance of “L'Internationale” all the industrial horns and the railway station (depot and locomotives) remain silent.

Right after a joint triumphant chord, accompanied by cannon shots and bell-ringing, is played for 3 minutes.

Ceremonial March. «L' Internationale” is repeated two more times at cues during the final procession. After the third (final) performance the sirens cue one more joint chord of all the horns of Baku and its districts.”

Arseny Avraamov
“Horn” magazine, 1923

Further information about the project

Find more information about the Symphony of Industrial Horns of Arseny Avraamov, reconstructed by Sergey Khismatov here.
Listen to spatialized Version of Symphony of Industrial Horns of Sergey Khismatov here.

Previous performances

2019 and 2020 Nizhnij Novgorod
2019 Budapest
2019 Bratislava
2028 Vilnius
2018 Wasserschloss Reelkirchen, NRW, Germany
2017 Documenta 14 Athens
2015 Budva, Montenegro
2014 Moscow
2013 Liverpool
2010 Kiev
2009 and 2010 St. Petersburg