"One of the most unusual and significant musicians of his generation." - from BBC Radio Broadcast
"I find it direct, moving and completely fascinating. I don't hear it as 'classical music' - just as music. I don't hear someone showing off how clever they can be, but instead someone inside the music, an explorer discovering intricate new feelings." - Brian Eno (June 1996)
Classically trained pianist, composer, arranger, and producer Anton Batagov was born on October 10, 1965 in Moscow. He began studying piano and musical theory at the Gnessin School of Music, and later attended the Moscow Conservatory, studying piano and composition. He won his first international award at the Concertino-Prague Competition in 1981 that was followed by the awards at the National Piano Competition in 1985, the Tchaikovsky Competition in 1986, and the Sydney Piano Competition in 1988. His concert experience included touring in Europe, the United States of America, Canada, Japan and Australia.
While Batagov's musical language was heavily influenced by the heritage of the Russian and European classics, he created the style of his own developing harmonic palette and motoric pulse of the Soviet avant-garde music of the 20-30s. He was also the first Russian pianist to take advantage of interpreting works by John Cage, Morton Feldman, Steve Reich, and Philip Glass among others. In the last decade of the twentieth century, Batagov came out as one of the most influential young Russian composers and performers of electronic, movie, documentary and new improvised music with trademark rhythmic vigor, unique sense of large-scale architecture, and lush, textured emotionalism. However, it is Batagov's spiritual exploration of great emotional depth and inward development, which has emerged recently as his most important contribution to the musical culture of this country.
"...Not long than thirty years ago, even if there were few ones seeking to understand the things through music and not just consuming it - at present, this is a pure entertainment... Classical music is not at all an important code carrying the Highest Knowledge: all attempts to decipher it or interpret in a "new" and "specific" way, not as is customary, by no means do not lead to a new level of knowledge - but to meaningless cultural and aesthetic games... While doing it inside a studio, not on stage, we release ourselves from the necessity to entertain others... and instead meet a challenge of that very imperfect convention, in the format of which a certain Composer tried to express something somewhere in the past..." - Anton Batagov (from "The Mistakes of Y2K").