Soundgardening – von Walzerköniginnen und Marschweibern – concert on June 8th 2025

The starting point of SOUNDGARDENING, an open-air concert with historical roots, is the music of Luxembourg’s first female composer: Josephine Schmoll (1836-1925). The 100th anniversary of her death is an occasion to honour this composer, who was well known beyond the borders of Luxembourg during her lifetime.

Schmoll engaged with both classical and popular and entertaining music, the latter allowed her to reach a wider audience. In the 20th century, two other female composers continued this tradition of working in two fields: Helen Buchholtz (1887-1953) and Lou Koster (1889-1973). Their light music was often played outdoors.

These three composers have something else in common: they often gave atmospheric titles to their music that expressed their personal relationship to landscapes, gardens, animals and plants. And they often chose the form of the waltz or the march to convey these musical atmospheres inspired by nature.SOUNDGARDENING builds a bridge to contemporary music: Inspired by Rosenmär, a text by Luxembourgish poet Nikolaus Welter, Tatsiana Zelianko has composed a new Nocturne, taking up a musical form that was often played in gardens at night in the 18th century (world premiere).

More info here

Date and time: 8 June 2025 – 15:00-17:30
Venue: Municipal park Edouard André, Luxembourg
Price: Free of charge
Registration: http://tickets.luxembourg-ticket.lu/38401

The list of compositions has been added.

You can navigate the site or click here.

Charity Concert – Esch sur Alzette – Conservatoire – Tuesday April 1st 2025 19:00

I am so please to announce the charity concert taking place April 1st 2025 at the Conservatoire de Musique de la Ville d’Esch sur Aliette at 19:00.

At this concert, pieces from Ravel, Schumann, Debussy, Bruch, Beethoven and mine will be played.

I am delighted to be mixed with all these great composers and hope to see a large audience.

The benefits will go to the musicotherapy of SOS Kannerduerf Mersch.

More information and tickets booking here.

Diabelli Recomposed – Polish Edition – February 4th 2025 – 12:00 – Bytom

Diabelli Recomposed is played a second time in Poland, in Bytom.

17 female pianists interpret Diabelli recomposed.

Concert on the occasion of the 80th anniversary of the Fryderyk Chopin General Primary and Secondary Music School in Bytom: Diabelli Composed Project.

On the occasion of the 80th anniversary of the establishment of the Fryderyk Chopin General Music School of the 1st and 2nd degree in Bytom, a concert will be held on February 4, 2025, which will remain in the memories of the participants for a long time. 50 short variations composed by women from 23 different countries will be presented in the school’s concert hall.

The project that became the basis for this event was realized by a graduate of the school, Claudia Bigos, a piano teacher in Braunschweig (Germany). The aforementioned 50 variations are part of a broad musical project that combines contemporary works of female composers with the musical tradition from two centuries ago.

In 1819, the Viennese publisher and composer Anton Diabelli approached a dozen or so leading composers of the era, including Beethoven, Czerny, Hummel, and Schubert, with a proposal to write one variation each on his Waltz in C major for a planned collective edition for piano. Beethoven was initially reluctant to accept the project, then, as usual, he delayed fulfilling his promise, but after a long time he offered Diabelli a gift as unexpected as it was magnificent: a grand cycle of 33 variations. The delighted designer published Beethoven’s work separately, of course, in 1823, as 33 Veränderungen über einen Walzer von Anton Diabelli, Op. 120.

During the concert on February 4th in the concert hall of the General Music School in Bytom, a competing project will be performed. 200 years later, in 2019, Claudia Bigos approached 50 female composers from around the world with the proposal to compose variations on Anton Diabelli’s Waltz.

The result of this project is a fascinating collection of 50 pieces in various styles and with varying degrees of difficulty, which are a testimony to the richness and diversity of contemporary women’s music. In Bytom, during a concert, all these pieces will be presented by students and teachers of the F. Chopin General Secondary School of Music.

This event is not only a musical experience, but also an expression of support for equality in music and the promotion of women’s creativity on concert stages. The organizers invite all those who believe in the value of women’s creativity and want to support the presence of music composed by women in concert repertoires.

During the concert, Claudia Bigos herself confirmed her presence and shared her experiences related to the implementation of this extraordinary project. This event will certainly be a unique artistic experience that will remain in the memory of Bytom residents and music lovers for a long time.

source: https://www.gov.pl/web/osmbytom/04022025-koncert—projekt-diebelli-recomposed

December 1st 2024, MUSIC AND GENDER IN LUXEMBOURG features Tatsiana Zelianko

I am very proud to announce that MUGI is featuring my work and biography on their website.

I invite you to get to know more about what the important work that they produce to promote the female musicians and composers in Luxembourg, by reading this brief intro and connecting to their website. Enjoy the discovery.

MUSIC AND GENDER IN LUXEMBOURG

The project, jointly initiated by the University of Luxembourg and CID | Fraen an Gender, aims to research music history from a gender perspective. In cooperation with the Hochschule für Musik und Theater Hamburg (Hfmt) and the Hochschule für Musik Franz Liszt Weimar, who are in charge of the project MUGI (Musik und Gender im Internet), as well as with the Centre national de l’Audiovisuel and the Centre national de Littérature, we:

• create digital collections on women musicians in Luxembourg,
• provide material from various public and private archives in order to make it internationally accessible,
• create new archives and hold oral history interviews with female musicians,
• research this data and publish the outcomes,
• present the results in a multimedia form on the portal MuGi.lu and
• initiate pedagogical projects and new musical performances.

For more information, visit https://history.uni.lu/mugilu/.

December 1st 2024 – Round table and Träume recital at Helen Buchholtz – 14:45

The Helen Buchholtz Salon is the perfect place to meet female composers from past and current times. The hostess of the Salon, Helen Buchholtz (1877-1953) was one of the first women in Luxembourg to devote her life exclusively to musical creation.

During a round table, chaired by radio 100.7, Tatsiana Zelianko and Nigji Sanges will explore the challenges, opportunities and innovations that have marked the progress of women in the field of musical composition. Through a dynamic dialogue between past and present, this discussion will highlight the remarkable achievements of female composers from past and present times, while examining prospects for the future of musical composition.

The day will end with the new recital Träume, conceived and performed by German soprano Gerlinde Sämann and pianist Claude Weber, which will include compositions by Tatsiana Zelianko among other dreamlike works.

More info here

November 24th 2024 – Piano Recital at Helen Buchholtz – 17:00

A piano recital by Béatrice Rauchs (piano professor at the Conservatory of Music of the City of Luxembourg) with music pieces by Robert Schumann, Clara Schumann, Johannes Brahms, Helen Buchholtz, Tatsiana Zelianko and Nigji Sanges.

Three of my new preludes will be played for the first time for this recital.

November 23rd 2024 – 13:00 – 13:30 – Philharmonie – Grand Auditorium

4 Piano pieces by John Cage, Morton Feldman and Tatsiana Zelianko

A great performance from the 4 pianists, Léna Kollmeier, Louise Kollmeier, Kae Shiraki and Sabine Meyer.
The scenery was made of 6 pianos setup as a flower

Chains were used on the cords to generate specific sounds as a tribute to Kronos

more information in the collaboration section

November 20th 2024 – 20:00-22:00

Piano recital for 4 hands, with Annie Kraus and Lynn Orazi

Musics by Clara Schumann, Marie Jaëll, Helen Buchholtz, Amy Beach, Germaine Tailleferre and No Time Anymore composed by Tatsiana Zelianko decidacted to Annie and Lynn.

In this piece, a ball is thrown in the piano. The ball represents the shot – the heavy spherical ball – at shot put. This element is a tribute to the olympics games of 2024 in Paris.
It represents the heavy weighted troubles that we are trying to throw away, to get rid of, but that come back.
The sphere is also an allegory of the planet Earth that we are silently letting down, until it hits the ground, here the strings of the piano, and generated a thunderous noise.
The noise is a complaint, is the complaint of the planet, thrown by us humans, when it reaches the ultimate point of failure.
The noise hurts as much as we hurt the Earth.
This piece founds its source, its inspiration in the recent news.
It is polythematic, with the Summer Olympics on a hand and the climate change on the other hand.
In my piece we collect the ball and restart. This represents the 3 catastrophes that the Earth survived with the Asteroid hitting the planet and eradicating the dinosaurs, the second being the industrial and post industrial era, exhausting the resources of the planet, generating that poisoning pollution, the third and ultimate being ahead of us if we don’t act.
The pianist says 3 times no time anymore, as for every catastrophe, every cataclysm, when noticed, it is too late to reverse the course of action, to stop the journey leading to the end of the know world.
The ball is also the heavy spherical ball at shot put.
Each athlete is entitled to 6 attempts. instead of measuring the distance at which the shot is put, the measurement is made by the thunderous sound generated when hitting the strings.
While the athlete heavily expires when throwing the shot, and very often shouts, it is replaced by the pianist voice no time anymore we are burning the score, with the same necessity as the athlete when putting. The score can be understood as the partition of course, but as well as the mark that the athletes reach.
The piece is polystylistic. It is inspired by and mixes the characteristics of the ancient music, namely the madrigals of Gesualdo, the neoclassical music and the tango.
The aim is to mix these styles to create a balanced mix, using the best of the bread of these universes.