This album is an attempt to give an impartial look at the events of a hundred years ago, having viewed them through the prism of the avant-garde art of that time. The idea of ​​the album, as well as the same musical and theatrical production, was born in early 2017, while working on the reconstruction of the "The Horn Symphony" by Arseniy Avraamov. "The Horn Symphony" occupies the main place in the album, as in essence it was the music of modern times, characterized its sound - a grandiose noise mystery, which transformed overnight a whole city into one huge musical instrument. Instead of drums - cannon and machine gunshots, instead of the organ - hundreds of steam horns scattered throughout the city, thousands of choirs in the squares - a truly magnificent spectacle.

To my great regret, since that time only a few photographs have been preserved, a couple of articles by Avraamov himself, but not a single record of this industrial odes of the revolution was made. Reconstruction is only an attempt to imagine how this grandiose creation could sound. Reconstruction was based on the "Order on the Horns Symphony" in 1922, according to which it was performed in Baku. Also in the course were field recordings, so the cannon shots in the recording of the reconstruction are real, as are the buzz records that were collected from various sources, and in some places were simulated with the help of physical-modelling synthesizers and Virtual ANS. Later it is planned to present a multi-channel version of the "Symphony" reconstruction. Simultaneously with the work on the "Horn Symphony", experiments were conducted with quaternary music and a prepared piano, which can also be heard in the album. It has become traditional to use the virtual analogue of the ANS optosynthesizer - Virtual ANS. In this album, its use is very symbolic, as it is the continuation of the ideas of the restless genius Arseniy Avraamov.

Special attention should be paid to the same musical and theatrical production, where compositions from this album were first performed. The staging is filled with references to the events of pre-revolutionary and, in particular, the first post-revolutionary years, when the idea of ​​synthetic art reached its peak, where visual, musical and plastic art is closely connected. The script of the production was written in collaboration with Yana Dzhamalova, who is also the author of the composition Petrograd.

I would like to express my special gratitude to the ensemble of GROMGORA (Saint-Petersburg, Russia) and its leader Elena Zalesskaya, as well as to Nikolay Tarasov (videotape) for the tremendous assistance that they rendered in the implementation of this large-scale project.