Shakhovskaya Natalya cellist. The meaning of Shakhovskaya Natalya Nikolaevna in the large encyclopedic dictionary

Laureate of the World Festival of Youth and Students (1957, 1st prize), All-Union Competition of Performing Musicians (1961, 1st prize), International Cello Competitions named after. A. Dvorak in Prague (1961, 2nd prize), named after. P.I. Tchaikovsky in Moscow (1962, 1st prize).

Member of the Association of Musical Figures of Russia, the Association of Laureates of the International Competition named after. P.I. Tchaikovsky, MSMD, Association of Musician-Teachers of Japan, Commission on State Prizes under the President of the Russian Federation.

Awarded the Order of the Badge of Honor (1971).

Studied at MSSMSH named after. Gnessins in cello class with D.B. Lyubkin, then at A.K. Fedorchenko (graduated in 1954). At the Moscow Conservatory she studied with S.M. Kozolupova (graduated in 1959), in graduate school under the guidance of M.L. Rostropovich (graduated in 1962).

Game N.N. Shakhovskaya is distinguished by its depth and content, multi-colored sound, scale and temperament. "N. Shakhovskaya is an artist of great talent. Her art is deeply meaningful, the cello in her hands sounds multi-colored and three-dimensional, she knows how to paint a large form with large strokes” (M. Rostropovich). Tours in many countries around the world. The repertoire includes almost all classical solo and ensemble literature for cello. The works of S. Berinsky, S. Gubaidullina, L. Knipper, N. Sidelnikov, S. Tsintsadze are dedicated to her. Since 1964 she has been a member of a piano trio with E.V. Malinin and E.D. Rook. She has performed with conductors K. Sanderling, D. Kitayenko, K. Kondrashin, K. Mazur, N. Rakhlin, G. Rozhdestvensky, M. Rostropovich, V. Spivakov, A. Khachaturian, M. Shostakovich.

In 1959-62 she taught cello at the Moscow Music College named after. MM. Ippolitov-Ivanov, in 1963-93 - at the music school at the Moscow Conservatory. Since 1962 he has taught cello class at the Moscow Conservatory, and from 1974-96 he was acting. Head of the Department of Cello and Double Bass, since 2000 - Head of the Department of Cello. In 1995-2000 - Dean of the Department of String Instruments of the State Musical Pedagogical Institute named after. MM. Ippolitova-Ivanov. Head of the cello department at the Reina Sofía High School of Music (Spain). Among the students are Honored Artists of the Russian Federation A. Demin, A. Zagorinsky, A. Naydenov, K. Rodin, A. Seleznev, S. Sudzilovsky, M. Tarasova; over 50 laureates of international and all-Union competitions: B. Andrianov, S. Bagratuni, V. Balshin, O. Galochkina, E. Goryunov, T. Zavarskaya, I. Zubkovsky, O. Kochenkova, D. Ozolinya, V. Ponomarev, N. Savinova, P. Suss, N. Khoma, D. Tsirin, D. Cheglakov, D. Shapovalov and others. Foreign students, concert cellists: S. Atterton (France), T. Merck (Norway), U. Schaefer, G. Torlef (Germany), D. Weiss (Czech Republic), E. Valenzuelo (Chile), D. Urba (Latvia ), and others.

Conducts master classes in Russia and in many foreign countries. Member of the jury of the International Cello Competition. P.I. Tchaikovsky (starting from the Fifth - constantly), the Prague Spring competition, the International Cello Competitions. M. Rostropovich in Paris, ARD in Germany, competition in Pretoria (South Africa), named after. W. Lutoslawski in Warsaw, competition named after. Popper (Hungary), named after. Davydova (Latvia). Since 1966, a permanent member of the jury of the All-Union Cello Competition, chairman of the jury of competitions: youth competition named after. P.I. Tchaikovsky (Japan, China), “Classical Heritage” (Moscow), competitions in Togliatti, Volgograd.

On May 20, 2017, at the age of 82, the outstanding cellist, People's Artist of the USSR, professor at the Moscow Conservatory, died after a long illness.

Shakhovskaya! For more than half a century, this surname has been awe-inspiring to all the young cellists storming the conservatory. People's Artist of the USSR! The most powerful performer and the greatest teacher! Everyone dreams of being in her class. But Shakhovskaya is very strict, and she has incredibly high demands. That's why some people don't even dream. It was among them that I was. At that time, there were only men in her class, and one was better than the other - all of them were laureates. Now they are all brilliant soloists, ensemble players or concertmasters of leading orchestras. When I, probably the only one out of a huge number of her students, having graduated from graduate school, put the cello in the corner, Natalia Nikolaevna, in order to justify the time spent on me, said: “I took you to class because you make me laugh.” Both then and now I do this with the greatest pleasure, because it is difficult to describe the degree of my respect for her and admiration for her talent.

Following a long-standing tradition, Natalia Nikolaevna’s students took places on the podium of the XV competition named after. P.I. Tchaikovsky. In the case of Shakhovskaya, it could not have been otherwise. Thanks to her rare musical intelligence and vast performing experience, Shakhovskaya created her own unique teaching method, which allows her to make a real master out of each student. Having identified talent, she demands the highest results of which the student is capable. Everyone should reach their maximum, and she knows exactly how to achieve this. Her motto: “Be honest to the Music!” Shakhovskaya preaches strict self-discipline and stands up for quality, is categorical in the fight against insincerity and does not tolerate sloppiness. She doesn't teach you how to play, she teaches you how to live. Teaches you to objectively evaluate yourself and be a whole person.

The enumeration of her human qualities may sound archaic for many, because Shakhovskaya is “the last of the Mohicans”: deep inner culture, sincere love for the Motherland, a sense of duty, faith in high ideals, responsibility, integrity and uncompromisingness, sometimes even to the detriment of oneself, commitment to tradition, professional pride, morality, spirituality... The list goes on.

It is difficult to say what had a greater influence on the formation of her almost masculine character - aristocratic roots, difficult fate or Soviet hardening... Shakhovskaya has her own code of honor, which she relentlessly follows, and, apparently, it is not by chance that the Spanish queen awarded her the order of knighthood. Despite all of the above, she has kept her old plush talismans – a monkey, a hare and a bear – in her cello case for many years. Shakhovskaya has an excellent sense of humor; she regularly organizes get-togethers at home with students, where you can just chat about anything with a real Knight.

- Natalia Nikolaevna, do you know at least the approximate number of your students?

That's a very difficult question. Once upon a time I had two notebooks, in one I wrote down the names of graduates, in the other - in which city and what I played, so that, God forbid, I would not repeat myself. Then a moment came when it became no longer interesting, because there was already a lot of both. It’s hard to guess, but since I’ve been working for more than 50 years, and if I let out an average of 4-5 people a year... It’s far over a hundred. The only people I took the longest to write down were my laureates.

- Are you tired of this too?

Yes, and I'm tired of it. By the way, as long as I remember, I need to write it down - a lot has appeared again recently. (Smiles)

- When did you start teaching?

After graduating from the conservatory in 1959, I was assigned to the Ippolitov School, then I taught at Merzlyakovka (a school at the Moscow Conservatory - editor's note). In 1962 I was invited to the cello department, and since then my destiny has been connected with the conservatory.

- We once talked with you about working in other countries, but you said that you are better here.

The fact is that during my career several times I was offered to work abroad - both in England and in France, but since I am a very... Russian person, I grew up here and have strong roots, I know that I cannot live in another country.

It was always a pain for me if my tours or master classes lasted two weeks or more. I suffered madly, counting every day until I would return home.

I have grown into this land. Both creatively, physically, and in terms of communication. I really love the teaching profession. I have always treated her emotionally and with great responsibility: if I can give something to my children, then I should do it. Of course, the Moscow Conservatory is my home, where I grew up, where I continue to work and which I love very much.

- But how did Spain appear then?

I wouldn’t have gone there either, but Rostropovich insisted. He highly recommended me there; Paloma Oshi, the director of the Reina Sofía High School of Music in Madrid, came to Moscow especially. It was very nice to me. And I’ve been teaching there for 15 years. I am surrounded there by such warmth, such attention and such care from all sides! They even gave me an order recently! (Smiles)

- Is it true?! What kind of order?

It is called the "Order of Alfonso the Tenth the Wise". It is awarded for outstanding achievements in the field of culture and the arts.

I’m very proud of you, Natalia Nikolaevna! By the way, please tell me, did you have any hobbies in other areas of the arts?

I had different interests. At one time, I drew well and did gymnastics.

- Gymnastics?!

Yes, there were a lot of things that I wanted to implement, but when work life began, 24 hours was no longer enough. Especially when a person combines touring activities with teaching. It often happened that I came from a tour, set up my cello, ran to the Conservatory, returning from there, thinking that in a day I had to fly somewhere, and there was a new program. I had a special cello jammer, and at night I would “saw.” That's why life is crazy. Rostropovich was always indignant: “Why do you always sit there with students for so long? Are you sitting and sitting?!” Yes, I can pore over the first three lines instead of listening to the whole piece at once. On the other hand, when he recommended me to Spain, he wrote a letter to the headmistress: “I recommend you the best!” You see, lack of hack work is in my blood!

Yes, it doesn’t matter with your hack work! We know this! Can you highlight 3-4 more personal qualities that also determine your life?

It’s hard to say... Organized... Rejection of any falsehood, both in life and on the cello... I am a loving person, I love everyone and try not to offend anyone, even if it were necessary... It’s hard for me to say, you know my human qualities better.

- Yes, but I’m interested in what you think about this.

I don't think about it! (Smiles) If I could answer these questions, given the decades that I have been working, in theory I should write some kind of methodological book. I’m embarrassed to talk about this, but I created some kind of school of my own, and I should have recorded something.

- This is simply necessary!

I have no desire to record!

- This is bad, Natalia Nikolaevna!

I love communication, but I don’t like recording!

- Let me write it down then. I remember that you started studying cello quite late.

Yes, at 12 years old!

- What did you do before that?

And before that there was a war, Katenka! When I was 5 years old, my mother really wanted me to study music, I was even shown at the Central Music School, but at that time the war broke out. We were evacuated to a remote village near Krasnoyarsk, where there wasn’t even an accordion. I returned to Moscow towards the end of the war and I remember that it was hard for me, since by age I should have already been in the 3rd grade, but I had not yet gone to the 1st grade. At first I began to study the piano privately, and then, when I was about 11 years old, I went to play for Elena Fabianovna Gnessina. I was at her house on the Dog Playground. There were two pianos there, she asked which one I wanted to play, I, of course, chose the white one. But she said it was too late for the piano. This fall I enrolled in cello.

- But by that time you had already played something on the piano?

Yes, and at the conservatory I was then chosen for concerts in the Small Hall - I played sonatas with violinists, and with Valya Feigin, Prokofiev’s plays. At first, when I started teaching, I accompanied the students myself.

- What about gymnastics?

When I entered the conservatory, I lived with a guardian. It was impossible to play there, so at 6 am I got up and went to the conservatory, and studied until 9 am. Then there were lessons, classes, and after that, instead of physical education, I went to the rhythmic gymnastics section. And I even won prizes at Moscow university competitions, but then, of course, it was not the same as it is now. After gymnastics, I stood in line for the key to the class and practiced the cello again until 11 pm. This was my life then.

- That’s why you say that the conservatory is your home.

Certainly! At the age of 5 I was left without parents. My father died during the Finnish war. And my mother was a heroic woman - she worked at the Bauman Hospital as a therapist and surgeon. My uncle was in exile, the Shakhovskys - you understand. And when GlavSevMorPut was opened, they began to develop the Arctic, they had to feed their family, and my mother, for financial reasons, decided that she would go to the North, to Chukotka, to improve medicine there, it ended tragically. I’ve been planning all my life, but I never made it to Chukotka...

And near Krasnoyarsk I lived with my grandmother, in a kindergarten, there were always hungry people there... And when I arrived in Moscow, it was only thanks to the willpower of my grandmother that my activity began. I didn’t feel any particular desire for the cello then. I played the piano all the time, even composed some operas, always in C minor (smiles). I felt the taste, the desire in the 4th grade, when they started choosing me for concerts. And then I started to really work.

- What does cello mean to you now?

Well, now I can only say that this is my life. When I first heard the cello - it was an adagio from the ballet "The Nutcracker", I simply fell in love with this sound. And therefore, in my teaching activities, first of all, I always pay attention to sincere, full sound.

- Who are your students for you?

Students? These are my children.

- Well, they must have bored you terribly during this time.

No, they never get bored. This kitchen, where you and I are sitting, is where, in most cases, students trust me with some of their personal problems. Therefore, for me, teaching work is not just a professional process, but also purely human communication. This is even some kind of school of human life. When you start communicating with talented guys, you take a lot from them. Another thing is that sometimes teaching work interferes with performing work, for example, you suddenly see: what you yourself can do easily, and you don’t think about it, a student cannot overcome it. You start inventing some things for him, and then you sit down at the instrument yourself and think: “Oh my God, how did I play?” Therefore, there is a twofold effect here. Of course, this is a mutual enrichment process. On the other hand, I understand those people who do not want to engage in teaching, preferring to engage in solo activities, because this, of course, is very distracting.

- Tell me, please, what kind of music do you like to play and in general?

I love romantic music - Schumann, Schubert, Brahms, and that in which there are conflicts - this is rather the 20th century, Shostakovich, Britten...

- What if you have to play music that you don’t like?

In this case, you need to remember that you are an artist and force yourself to love her. Good performers are often told that you have made candy out of a dubious composition. Therefore, for weak compositions, a lot depends on who the performer is.

- Please tell us, was there anything extraordinary or funny in your touring life?

It happened. I once came to Moscow after a tour in Japan, and due to the climate change there were problems with my cello. I was going to a concert with my trio partners - Malinin and Grach (pianist Evgeny Malinin, violinist Eduard Grach - editor's note). In my opinion, it was Kuibyshev. The concert was broadcast live on television. Evgeniy Vasilyevich started - Brahms's Second Concerto, and after the intermission, Grach and I had to play the Double Concerto (Concerto for violin and cello and orchestra by I. Brahms - editor's note). In the artist's room, when I was putting the cello on a chair, something accidentally hit it. Suddenly they call me - there lies in front of me not an instrument, but a corpse: the body is separate, the neck is separate, the strings are lying on the floor... Malinin is already finishing... And there is a live broadcast, and there is a very short intermission. Naturally, I urgently ask one of the orchestra members to give me a cello. But the cellos are all appropriate - not for a solo performance on air. I chose some kind of “box”, and yet we played Brahms. I don’t remember how, but they played anyway. (Smiles)

- Extreme stress!..

Yes, such things happened. There was also a terribly funny story in Norway. I played a Myaskovsky concert there, everyone really liked it. And when I finished, I go out to bow - once, twice, three times I go out. The audience is all standing, and the orchestra is playing some kind of march. I realized that this was the Norwegian anthem, and I also stood up with my cello and stood with a serious face. There was also a guy on stage with flowers. Until they played everything, I stood without moving. It turned out that they were the ones who greeted me like that. And I decided that this was a hymn, and made the guy with the bouquet hang around me.

- Soviet training, of course.

Yes Yes. If they play something and the audience stands up, it means it’s the anthem. (Laughs)

- Brilliant! Now please tell us about your family.

Our family is mainly musical. Boris Sergeevich (Boris Artemyev - double bassist, editor's note) and I got married while still students at the conservatory, after my first competition - the festival of youth and students in 1957. Our life, naturally, revolved around music, around all sorts of problems with instruments, because we were poor, and we had to buy a decent cello and double bass. We were forever in debt. We lived in a 9-meter walk-through room. And only after the competition. Tchaikovsky, we moved to a separate apartment with one suitcase. Then she invested the entire prize in the conservatory cooperative. And in 1964, I made a special trip to Sverdlovsk - I bought a good instrument, which cost absolutely crazy money, and again they borrowed it wherever possible.

- Have you been playing it all your life?

- Great!

Yes, life was such that it was necessary to somehow arrange everything first in order to have a child. Olga was born to us in 1969. When she was 6-7 years old, she said that she “wanted to be like my mother, to play the cello.” As a result, she graduated from the conservatory and graduate school in my class. Before graduating from the conservatory, she also married violist Danila. But Olga, unlike me, has three children. The eldest, Vanya, is already 24 years old, he works on television, the middle one, Vitya, is studying drums. And 10 years ago Natasha appeared, who also now plays the cello. She even gives concerts and has already played with an orchestra. She is also involved in composition, and last year she received an award at some competition. So far things are going well in this direction, we don’t know what will happen next. (Smiles)

- Do you work with her?

I work out, but rarely, because I don’t have time.

- How many students do you have at the conservatory now?

10 undergraduates and three graduate students.

- How much in Spain?

In Spain it’s 10. I go to Madrid once a month for a week, and I have to give everyone 4-5 lessons, so I’m there from morning to evening...

- Horrible!

It's terrible, don't tell me. When I fly here, there’s a conservatory right there.

- Well, you like it that way, apparently?

It's already hard...

- Well, maybe we can somehow break up the rhythm?

Well, what can I say, I’ll be 80 years old the other day. Of course, you can think about it, but when you start working, you already forget about everything.

- So it’s better to work?

Better to work.

- It didn’t even occur to me to ask you, do you ever rest?

The only rest time I have is at the dacha. And at the dacha I work with my granddaughter, but mostly I cook dinners for a large family. (Smiles)

- Clearly, the question is inappropriate. Please tell me, in case someone is interested in: how to learn to understand the classics?

A person must have a desire to join in with beauty, and then he will get carried away and listen a lot. You're asking me some stupid question! This is a problem of general culture; people must have a need to become cultural. Even our cat Luchik enjoyed listening to the classics!

- Yes, he was an intelligent cat! What is the most important thing in life for you?

You're just like Posner (smiles). The most important? Kindness and love.

- And the most interesting thing?

In my life, meetings with bright personalities were of great importance - with composers, with people with whom I played.

Oh, it’s dangerous, Natalia Nikolaevna! This is a topic for the next material. Thank you very much, and not only for the conversation!

Interviewed by Katerina Sokolova

Master of Science "Cultural Management"

Director of the International Agency “Katerina Sokolova Artists”

Natalia Nikolaevna Shakhovskaya(b.) - Soviet and Russian cellist, teacher. People's Artist of the USSR ().

Biography

She performed as a solo performer, including with orchestras conducted by the world's leading conductors, as well as in chamber ensembles (since 1964 - in a piano trio with E. Malinin and E. Grach). Shakhovskaya’s repertoire includes almost all classical and modern music for cello, including works written specifically for her and dedicated to her.

In 1995–2000 ― Dean of the Department of String Instruments. In 1998-2004 he was a professor at the Gnessin Russian Academy of Music.

Awards and titles

Write a review about the article "Shakhovskaya, Natalia Nikolaevna"

Notes

Links

Excerpt characterizing Shakhovskaya, Natalia Nikolaevna

On May 20, 2017, at the age of 82, the outstanding cellist, People's Artist of the USSR, professor at the Moscow Conservatory, Natalia Nikolaevna Shakhovskaya, died after a long illness.

Studied at MSSMSH named after. Gnessins in cello class with D. B. Lyubkin, then with A. K. Fedorchenko (graduated in 1954). At the Moscow Conservatory she studied with S. M. Kozolupov (graduated in 1959), and in graduate school under the direction of M. L. Rostropovich (graduated in 1962).

Natalia Shakhovskaya's playing was distinguished by its depth and content, multi-colored sound, scale and temperament.

“Natalia Shakhovskaya is an artist of great talent. Her art is deeply meaningful, the cello in her hands sounds multi-colored and three-dimensional, she knows how to paint large forms with large strokes,”

- said Mstislav Rostropovich.

Natalia Shakhovskaya has toured in many countries around the world. The repertoire includes almost all classical solo and ensemble literature for cello. The works of S. Berinsky, S. Gubaidulina, L. Knipper, N. Sidelnikov, S. Tsintsadze are dedicated to her.

Since 1964, she has been a member of a piano trio with E.V. Malinin and E.D. Grach. She has performed with conductors K. Sanderling, D. Kitayenko, K. Kondrashin, K. Mazur, N. Rakhlin, G. Rozhdestvensky, M. Rostropovich, V. Spivakov, A. Khachaturian, M. Shostakovich.

In 1959–62 she taught cello at the Moscow Music College named after. M. M. Ippolitova-Ivanova, in 1963–93 - at the music school at the Moscow Conservatory. Since 1962 he has taught a cello class at the Moscow Conservatory, and from 1974–96 he was acting. Head of the Department of Cello and Double Bass, since 2000 - Head of the Department of Cello.

In 1995–2000 - Dean of the Department of String Instruments of the State Musical Pedagogical Institute named after. M. M. Ippolitova-Ivanova. Head of the cello department at the Reina Sofía High School of Music (Spain).

Among the students are Honored Artists of the Russian Federation A. Demin, A. Zagorinsky, A. Naydenov, K. Rodin, A. Seleznev, S. Sudzilovsky, M. Tarasova; over 50 laureates of international and all-Union competitions: B. Andrianov, S. Bagratuni, V. Balshin, O. Galochkina, E. Goryunov, T. Zavarskaya, I. Zubkovsky, O. Kochenkova, D. Ozolinya, V. Ponomarev, N. Savinova, P. Suss, N. Khoma, D. Tsirin, D. Cheglakov, D. Shapovalov and others.

Foreign students, concert cellists: S. Atterton (France), T. Merck (Norway), U. Schaefer, G. Torlef (Germany), D. Weiss (Czech Republic), E. Valenzuelo (Chile), D. Urba (Latvia ), and others.

Natalia Shakhovskaya conducted master classes in Russia and in many foreign countries. Member of the jury of the International Cello Competition. P.I. Tchaikovsky (starting from the Fifth - constantly), the Prague Spring competition, the International Cello Competitions. M. Rostropovich in Paris, ARD in Germany, competition in Pretoria (South Africa), named after. V. Lutoslawski in Warsaw, competition named after. Popper (Hungary), named after. Davydova (Latvia).

Since 1966, she has been a permanent member of the jury of the All-Union Cello Competition, chairman of the jury of competitions: the Youth Competition. P.I. Tchaikovsky (Japan, China), “Classical Heritage” (Moscow), competitions in Togliatti, Volgograd.

Natalia Shakhovskaya is a laureate of the World Festival of Youth and Students (1957, 1st prize), All-Union Competition of Performing Musicians (1961, 1st prize), International Cello Competitions named after. A. Dvorak in Prague (1961, 2nd prize), named after. P.I. Tchaikovsky in Moscow (1962, 1st prize).

Member of the Association of Musical Figures of Russia, the Association of Laureates of the International Competition named after. P.I. Tchaikovsky, MSMD, Association of Musician-Teachers of Japan, Commission on State Prizes under the President of the Russian Federation.

She was awarded the Order of the Badge of Honor (1971) and the title People's Artist of the USSR (1991).

The memorial service for Natalia Nikolaevna Shakhovskaya will take place on Wednesday, May 24, 2017, at 11 a.m. in the foyer of the Great Hall of the Moscow Conservatory. Funeral service - at 13.30 in the Church of the Small Ascension on Bolshaya Nikitskaya.

The funeral will take place at 15:00 at Troekurovskoye Cemetery.

website