Ksenia Knorre biography. Knorre Ksenia Vadimovna

Member of the Moscow Union of Musicians.

Born in Moscow. In 1972 she graduated from the Central Music School (class of A. S. Sumbatyan), in 1978 - the Moscow Conservatory (class of B. Ya. Zemlyansky), in 1983 - assistant internship (supervisor - S. S. Alumyan) . In 1979-1982 worked as an accompanist at the Moscow Conservatory.

Pedagogical activities:

In 1981-2001 taught a general piano class at the Moscow Conservatory, since 1995 - associate professor, since 2007 - professor of the department of special piano under the direction of Professor V.V. Gornostaeva.
At the same time (since 1992) he is Gornostaeva’s assistant at the department of special piano; since 1998 he has had his own class.
Since 1995 he has also taught specialized piano at the Central Music School.
Since 2000, he has been teaching a special piano class at MGUMI. Chopin.

Training courses, master classes:

She conducted master classes in Germany and Italy (1991-1994), Spain (2003-2004), Lithuania (2004), Russia (2004-2006), Estonia (2006).
In 2004, 2005, 2006 took part and conducted master classes at the Festival in Kostomuksha (Karelia).

Students:

Among Knorre's students are laureates of Russian and international competitions, the music festival named after. G. G. Neuhaus.
Students: M. Galiakhmetov, S. Myasoedov, D. Glebov, T. Titova, V. Myagkova, M. Manyukov, S. Bachkovsky, A. Kabanova, A. Tsagarelli, I. Ovsyannikova, S. Tsygankova, E. Yatsuk.

Participation in the jury of competitions:

Chairman of the jury of the competition for young pianists “Tradition and Modernity” named after. M. P. Mazura (St. Petersburg, 1995).
Chairman of the jury of the 3rd open competition-festival young musicians them. N. A. Alekseeva (2005).
Foreman of the 2nd Circuit Jury open festival them. A. Glazunova (2005). Member of the jury of the competitions for young pianists named after. M. I. Glinka (Moscow, 1994, 1998).
Member of the jury of the 4th International Children's competition Rotary (2006).

Concert activities:

Performs with solo and ensemble programs in Russia, CIS countries, as well as abroad (Austria, USA, Netherlands, Germany, Finland, etc.).

Since 1981, soloist of the Mosconcert. She played with G. M. Kremer, Yu. I. Korchinsky, M. I. Vaiman and others.

She participated in international music festivals dedicated to J. S. Bach (Ansbach, 1975), W. A. ​​Mozart (St. Petersburg, 1991), T. Mann (Lithuania, 1997) and others.

“A bright, talented pianist with great musical and virtuoso abilities. Possesses a varied repertoire. Particularly gravitates towards romantic music. K. Knorre is a mature, established professional with his own creative person"(Professor S. L. Dorensky).

Scientific works. Editions. Publications:

Author of reviews and articles published in the Russian press “ Hot planet"(in the collection: Samvel Alumyan. Life and fate of a musician. M. 1997), dedicated to creativity S. S. Alumyan; author of the biographical sketch “B. Y. Zemlyansky" (in the collection "Professors of performing classes at the Moscow Conservatory (pianists)". M., 2006).

Discography:

Has stock recordings on radio (1980-1995), CDs have been released (Vilnius, 1998; Moscow Conservatory 1999, 2005).

This year the Tchaikovsky competition broke all records of audience interest - 179 countries, about 7 million views, social media were torn from nervous discussions. Traditionally, the most attention is given to pianists. By the 3rd round, the audience was divided into six groups of fans - according to the number of participants, and for each - “its” pianist became the hero of the competition. Lukas Geniušas took 2nd place. The laureate is a wonderful gift that he gave himself for his birthday: on July 1, the day the results were announced, he turned twenty-five.

Lukas Geniušas is the son of Moscow Conservatory professor Ksenia Knorre and Lithuanian pianist Petras Geniušas, grandson and student People's Artist Russia by Vera Gornostaeva. Winner of the 2nd prize of the XVI International F. Chopin Competition, 1st prize of the International J. Bachauer Competition, gold medal of the Seventh Youth Delphic Games of Russia, laureate of the German Piano Prize. Participant of the Moscow Philharmonic “Stars of the 21st Century” program.

— How do you feel after such events?

— When you play in a competitive environment, there comes a time when you get used to it, and the increased tone becomes normal condition. And when it all ends, on the one hand, you are incredibly happy that it has fallen from your shoulders, but on the other hand, you have a dramatic emptiness inside that there is nothing to fill.

I have concerts planned for a year and a half in advance, but now, when there is nothing in the next three weeks, it seems to me that no one needs this, that no one wants to listen to me anymore... Stopping in this situation is difficult and dangerous, much like for someone who has run 30 kilometers athlete. For example, Gergiev plays 300-350 concerts a year, while he has rehearsals, politics and power, and no vacation at all. And if you take him out of this rhythm and bring him to a barbecue, he will probably go crazy.

- And you are built the same way?

- No, I just like to maintain balance, and I have it in my life. But now I feel as if taken out of this crazy tension and have not yet felt any relaxation.

— They say that the finalists of the competition are those who are able to endure serious physical exercise, heavy tour schedule. This is true?

— Ideally, each finalist should be ready to win and take responsibility for upcoming engagements. But a person is not selected for the final based on this principle, and the jury does not have a detailed dossier with information about his concert experience - the jury listens to how the person plays. And sometimes it turns out that the first prize goes to the one for whom a wild touring schedule is something new. This year, unfortunately, that’s exactly what happened.

Dima Masleev, who received gold, does not seem to be ready for this regime. He had virtually no touring rhythm before, and now he is almost ill. He is an excellent pianist, and I would like to believe that he will have enough strength to accept what has befallen him. If you win the Tchaikovsky competition, a person for some time ceases to control what happens in his life. And in this sense, I am glad that I ended up in second place. This is an incredibly big recognition and high reward, which does not put us in difficult compromise situations, and sometimes even in dependence on the global music conveyor.

— I don’t know how much the final choice was influenced by the situation, but it seems to me that the jury made a lot of efforts not to politicize the competition: both at the local mafia level and at the global political level. Valery Gergiev said at a press conference that there was a colossal range of opinions, especially among violinists, when the jury members radically differed in their assessments, I heard the same thing about our pianist jury. This suggests that the victory of one or the other does not reflect the opinion of the vast majority. I have not seen the final scores - they were promised to be made public, but were never made public; the press suggested that this was due to such a range of opinions that one does not really want to reveal.

— So there is no such thing as an ideal winner?

- No, it happens. Of course, it happens that a unanimous and undisputed leader crystallizes, but at the last competition he was not there. Everyone played so well that it was much harder to find fault with anything than in situations where one is head and shoulders above. Therefore, in my second place I am even more honored. It is more interesting to be one of the strong than to be a winner among the weak.

— Have you listened to other performers? Which of your competitors did you like?

— I heard not 100%, but 60-70%, although there is an opinion that this is not worth doing when you participate in a competition, but I wanted to see my opponent in person, and not compete with an incomprehensible mass of a high level. Unfortunately, fantastic pianists worthy of playing in the finals, who won many other major international competitions, did not make it to the second round - Yuri Favorin, Andrey Gugnin, Dmitry Shishkin. Nikolai Khozyainov, a laureate of many international competitions, and Nikita Mndoyants, an outstanding musician of the great concert style, were not admitted to the first round.

— How will your life change in connection with the laureate?

- Time will tell. But my schedule was planned before. For me, participation in the competition was connected primarily with the memory of my grandmother and my teacher, Vera Vasilievna Gornostaeva. She always wanted me, one of her favorite students, to play at the Tchaikovsky competition. For her Moscow was sacred place, especially Big hall conservatory. In addition, the Tchaikovsky Competition is needed to shake up the artistic sense, for a new impulse. You need to prepare for it, bring yourself to your performing maximum. And, of course, if successful, it stimulates new offers, expansion of the geography of concerts, access to more high level engagements and greater creative independence.

After all, the industry is tailored to certain standards. Standard conditions are a specific set musical works. Although this is a large set of plays, if you have been doing this since the age of six, then by twenty-five there is a need for updating. And only a few, sought-after musicians who can do what seems appropriate to them, have the right to push the boundaries. For example, the great merit of the pianist Berezovsky is the growing popularity of the composer Nikolai Medtner. For many years he played his works around the world, forcing managers to include works by a little-known Russian composer in the program.

— The main thing that Vera Vasilyevna Gornostaeva taught you?

- It sounds pompous, but, probably, to live in this world in accordance with a clear conscience. She put into me something that gave me the opportunity, at the age of 18-20, to play the most complex compositions quite organically. As a child, she dipped me, as we always laughed, into “a thick Chopin solution,” and not only into Chopin’s. I am happy that thanks to her I am in the territory of absolute creative freedom (I mean knowledge of tradition and use of it as starting point). I see my duty as preserving and transmitting to someone else what I received from my grandmother. In this sense, I am more of a conservative pianist than a daring innovator - this is my history and the history of my family. One of my friends described my performance at the competition as “the invigorating conservatism of Russian pianism.” I liked it because now there is a general fashion for breaking the mold.

Honored Artist of Russia, Professor, Member of the Moscow Union of Musicians.

Born in Moscow. In 1972 she graduated from the Central Music School (class of A. S. Sumbatyan), in 1978 - the Moscow Conservatory (class of B. Ya. Zemlyansky), in 1983 - assistant internship (supervisor - S. S. Alumyan) . In 1979-1982 worked as an accompanist at the Moscow Conservatory.

Pedagogical activities:

In 1981–2001 taught a general piano class at the Moscow Conservatory, since 1995 - associate professor, since 2007 - professor of the department of special piano under the direction of Professor V.V. Gornostaeva.

At the same time (since 1992) he is Gornostaeva’s assistant at the department of special piano; since 1998 he has had his own class.

Since 1995 he has also taught specialized piano at the Central Music School.

Since 2000, he has been teaching a special piano class at MGUMI. Chopin.

Training courses, master classes:

She conducted master classes in Germany and Italy (1991–1994), Spain (2003–2004), Lithuania (2004), Russia (2004–2006), Estonia (2006).

In 2004, 2005, 2006 took part and conducted master classes at the Festival in Kostomuksha (Karelia).

Students:

Among Knorre's students are laureates of Russian and international competitions, the music festival named after. G. G. Neuhaus.

Students: M. Galiakhmetov, S. Myasoedov, D. Glebov, T. Titova, V. Myagkova, M. Manyukov, S. Bachkovsky, A. Kabanova, A. Tsagarelli, I. Ovsyannikova, S. Tsygankova, E. Yatsuk.

Participation in the jury of competitions:

Chairman of the jury of the competition for young pianists “Tradition and Modernity” named after. M. P. Mazura (St. Petersburg, 1995).

Chairman of the jury of the 3rd open competition-festival of young musicians named after. N. A. Alekseeva (2005).

Chairman of the jury of the 2nd district open festival named after. A. Glazunova (2005). Member of the jury of the competitions for young pianists named after. M. I. Glinka (Moscow, 1994, 1998).

Member of the jury of the 4th International Rotary Children's Competition (2006).

Concert activities:

Performs with solo and ensemble programs in Russia, CIS countries, as well as abroad (Austria, USA, Netherlands, Germany, Finland, etc.).

Since 1981, soloist of the Mosconcert. She played with G. M. Kremer, Yu. I. Korchinsky, M. I. Vaiman and others.

She participated in international music festivals dedicated to J. S. Bach (Ansbach, 1975), W. A. ​​Mozart (St. Petersburg, 1991), T. Mann (Lithuania, 1997) and others.

Scientific works. Editions. Publications:

Author of reviews and articles “Hot Planet” published in the Russian press (in the collection: Samvel Alumyan. Life and fate of a musician. M. 1997), dedicated to the work of S. S. Alumyan; author of the biographical sketch “B. Y. Zemlyansky" (in the collection "Professors of performing classes at the Moscow Conservatory (pianists)". M., 2006).

Discography:

Has stock recordings on radio (1980-1995), CDs have been released (Vilnius, 1998; Moscow Conservatory 1999, 2005).

Rem Gennadievich URASIN

Rem Urasin is a People’s Artist of the Republic of Tatarstan, an outstanding pianist, he is called “Chopin’s envoy.” He is one of those who can chivalrously sing the poet’s love in sounds, ignite with passion and soar above everyday life.

Already at the age of 15, the gifted musician won the International Youth Competition named after F. Chopin in Moscow, and three years later became a laureate of the XIII International Competition named after F. Chopin in Warsaw (1995). Polish critics called Rem Urasin “chopin-like,” one of the foreign newspapers wrote: “Chopin himself played it.” Ram was born in 1976 in Kazan.

At the age of five he began studying piano at a special music school at the Kazan State Conservatory (class of M. V. Sukharenko), and at eight he performed with the symphony orchestra of the Tatar Philharmonic. At the age of 13, the pianist first appeared on stage with a solo program consisting entirely of works by Chopin. In 1994–2001 Rem Urasin studied with Professor Lev Naumov at the Moscow Conservatory and did an assistant internship.

In 2001, Rem Urasin won the Grand Prix of the prestigious International Performing Competition in Monte Carlo. 2004 brought the pianist the title of laureate at the Sydney Piano Competition and four special prizes. The pianist has given concerts in many cities of Russia and abroad: with great success passed solo concerts R. Urasina in the Gaveau Hall (Paris), Suntory Hall (Tokyo), Izumi Hall (Osaka), Sydney opera house, Beijing Concert Hall and other prestigious halls in the world. Among the musicians with whom Urasin collaborated are Mikhail Pletnev, Vladimir Spivakov, Misha Maisky, Julian Rakhlin, Kazimierz Kord, Anthony Wit, Fuat Mansurov, Veronika Dudarova, Alexander Rudin. The talented musician was applauded in Germany, France, Switzerland, Austria, Italy, Poland, Slovakia, Iceland, Japan, Australia, Taiwan and other countries. The musician has recorded several CDs. Kazan filmmakers made two films about him: “This is eternal miracle"(1993) and " Big game"(2000).

Rem Urasin's transcriptions for piano are very popular. According to the results of the annual competition of the Musical Review newspaper, Rem Urasin was recognized as “Musician of 2009”.

In 2009–2010 For the 200th anniversary of Chopin, Rem Urasin prepared a grandiose cycle “Fryderyk Chopin. Complete collection essays." The pianist's repertoire includes all works by F. Chopin. In the 2017/2018 season, on the stage of the Moscow Conservatory, the musician opens to the public his new large-scale author’s cycle - “The Great Romantics”.

The musician leads an active creative life, performing solo concerts in Russia and abroad, and teaches at the Kazan State Conservatory.

His talent, fortunately, combines sincerity, warmth, elegance with the wisdom and maturity of original, always convincing interpretations performed works. His talent is multifaceted, in constant development, in an eternal pursuit of painful and joyful searches, - this is what L.N. Naumov, professor at the Moscow Conservatory, said about his student Rem Urasin.

Alexey Olegovich KURBATOV

Alexey Kurbatov - Russian composer, pianist, teacher. He created his first work at the age of 5, and at the age of 6 he wrote a ballet. He studied composition with T.N. Khrennikov, T.A. Chudova and E.D. Teregulov. Graduated with honors from the Moscow State Conservatory in piano class with Associate Professor Yu.R. Lisichenko and Professor M.S. Voskresensky.

As a pianist, Alexey has given concerts in more than 100 cities around the world. Alexey has performed with many orchestras, including the best halls Russia and abroad. His recordings were published on CD and played on radio and TV in many countries.

Alexey actively took part in cultural programs funds V. Spivakova , M. Rostropovich , Russian Performing Arts Foundation etc., and also performed together in concerts with such worldwide famous artists, How Vladimir Spivakov , Misha Maisky , Maxim Vengerov , Vadim Repin, Gerard Depardieu.

Distinguished by the originality and individual uniqueness of the language, Kurbatov’s works continue the best traditions world symphonic and chamber instrumental music. At the same time, his work fits organically into the context of Russian culture and history. In this sense, it is no coincidence that such works as the symphonic poem “1812” (written for the 200th anniversary of the terrible events), the poem for the reader and the trio “Leningrad Apocalypse” (written by order of the widow of the famous Russian mystic writer Daniil Andreev) and The Third (Military) Symphony, which premiered in St. Petersburg on September 8, 2012, on the Day of Remembrance of the Victims of the Siege of Leningrad. The concert from the Great Hall of the Philharmonic was broadcast on the streets of the city and became big event in the cultural life of St. Petersburg.

Symphonic and chamber works Kurbatov are heard in Russia, Austria, Armenia, Belgium, Belarus, Brazil, Great Britain, Hungary, Germany, Israel, Spain, Italy, Kazakhstan, Canada, China, Latvia, Lithuania, Mexico, the Netherlands, New Zealand, Poland, Portugal, Turkey, France, USA, Ukraine, Croatia, Sweden, South Africa, South Korea, Japan in halls such as Carnegie Hall (New York), Salle Gaveau (Paris), Great Hall of the Philharmonic (St. Petersburg), Great Hall of the Conservatory (Moscow ) and many others. Many performers include his music in their CD recordings. The composer created 7 symphonies, the opera “The Black Monk” (first performed on the stage of the Great Hall of the Moscow Conservatory in 2014), 7 instrumental concerts, more than a dozen symphonic poems, many chamber and vocal works, music for films and performances. Many Russian and foreign musicians- such as Lyudmila Berlinskaya, Alexey Volodin, Mikhail Voskresensky, Alexander Gindin, Andrey Gugnin, Pavel Dombrovsky, Yaron Kolberg, Petr Laul, Konstantin Lifshitz, Nikolai Petrov, Rem Urasin, Yuri Favorin, Vadim Kholodenko (piano), Boris Andrianov, Claudio Boorges, Alexander Buzlov, Evgeny Rumyantsev, Sergey Suvorov, Denis Shapovalov (cello), Gevorg Grigoryan, Daria Zykova, Pyotr Migunov, Maxim Paster, Artem Safronov (vocals), Nadezhda Artamonova, Alena Baeva, Yulia Igonina, Gayk Kazazyan, Roman Mints, Count Murzha (violin), Sergei Poltavsky, Irina Sopova (viola), Yuri Bashmet, Alexey Bogorad, Alan Buribayev, Ilya Gaisin, Damian Iorio, Alexey Nyaga, Anatoly Levin, Yuri Medyanik, Vag Papyan, Andris Poga, Igor Ponomarenko, Vladimir Ponkin , Alexander Rudin, Anatoly Rybalko, Maxim Rysanov, Sergei Skripka, Pavel Sorokin, Yuri Tkachenko, Konstantin Khvatynets, Valentin Uryupin (conductors). In 2010-2011 he collaborated with the famous Greek composer Vangelis. Alexey took part in the creation of the musicals of the Moscow Operetta Theater - “Count Orlov”, “Jane Eyre” and “Anna Karenina”.

Alexey conducts master classes in many cities of Russia, is invited as a member of the jury of a number of music competitions. In 2012-2013, he was invited to the position of music editor for the opening ceremony of the XXVII World Summer Universiade in Kazan.

Nadezhda Viktorovna ARTAMONOVA

Born in Kyiv. She started playing music at the age of four; At the age of five she performed with an orchestra for the first time.

Graduated from KSSMSh named after N. V. Lysenko (1998; class of Associate Professor A. Panov); Moscow Conservatory (2004) and graduate school (2008), where she studied in the class of professor, Honored Artist of the RSFSR S. I. Kravchenko.

Laureate of international competitions, is active concert activities. Nadezhda’s biography includes numerous performances in prestigious concert halls, including the Great Hall of the Conservatory, the halls of the Moscow International House of Music, Concert hall named after P. I. Tchaikovsky, Moscow House of Composers, Pavel Slobodkin Center; Beethoven Hall in Bonn, Hall of Columns them. Lysenko in Kyiv, Perm Organ Hall, etc.

Collaborates with the S. T. Richter Foundation, the Vocation is a Musician Foundation, and the Foundation for the Preservation of the Creative Heritage of B. Tchaikovsky.

Much attention in its creative activity Nadezhda pays modern music. She performed for the first time the Toccata Sonata by E. Teregulov, the violin concerto by A. Komissarov, the sonata by L. Rodionova, the Fantasia for violin by A. Kurbatov and much more.

Nadezhda Artamonova is not only a bright and original violinist, but also a sensitive and attentive teacher. She worked at the Central Music School (CMS) at the Moscow Conservatory, the State Musical Pedagogical Institute named after. Ippolitova-Ivanov. IN currently Nadezhda teaches at the College of Musical and Theater Arts. G. P. Vishnevskaya. Many of her students are laureates of international competitions and scholarship holders of various foundations.

Nadezhda Artamonova gives master classes in various cities of Russia. He is a jury member of many Russian and international competitions.

Evgeniy Valerievich RUMYANTSEV

One of the brightest and most charismatic young people Russian musicians, Evgeny Rumyantsev (cello) combines brilliant virtuosity and depth of interpretation with an exciting temperament and unique cello sound. Possessing amazing artistic versatility, he successfully combines performances with orchestras and solo concerts with chamber music in a variety of compositions. His talent was highly appreciated by Mstislav Rostropovich, open lessons which the young cellist performed on numerous occasions.

Evgeny Rumyantsev was born in 1984 in Moscow. He began learning to play the cello at the age of 8 and gave his first concert at 11. Graduated from the Central Music School at the Moscow Conservatory (cello class of G.I. Zubareva) and the Moscow Conservatory named after P.I. Tchaikovsky (2007, class of Professor N.N. Shakhovskaya). Currently he is continuing his postgraduate studies with N.N. Shakhovskaya. He took master classes from Mstislav Rostropovich, David Geringas, Eberhard Finke, Sergei Roldugin. Regular participant projects of the St. Petersburg House of Music, foundations of Vladimir Spivakov, Mstislav Rostropovich and “Russian Performing Art”. Laureate of the XIII International Competition named after P.I. Tchaikovsky (2007), winner of the International Cello Competition named after A.I. Khachaturian (Yerevan, 2010).

The young artist is active in concert activities. He performed in cities of Russia, France, Germany, Switzerland, Italy, Great Britain, the Netherlands, Austria, Hungary, Croatia, Lithuania, Finland, Israel, Tunisia, Algeria, Japan. Participant of many international festivals, including: Usedomer Musikfestival, Juventus Music Festival, named after Vladimir Horowitz, named after Mstislav Rostropovich, “Moscow Autumn”, Maximafest, Ars Longa, “Mozart Days in Moscow”, “Tribute to Svyatoslav Knushevitsky”, “Moscow International Cello festival”, “Festival for the 125th anniversary of the birth of S.M. Kozolupov”, “Music of the Stars”, “Festival in memory of Svyatoslav Richter” and others. In his repertoire great amount cello music from different eras.

In addition to solo performances, Evgeniy constantly plays in ensembles, performing a large number of chamber music. Has recordings on CD, television and radio. Evgeny Rumyantsev is a member of the Association of Laureates of the International Tchaikovsky Competition. Gives master classes.

Zoya Valerievna VYAZOVSKAYA

Zoya Vyazovskaya was born in Moscow on April 10, 1990. After graduating from music schools as a pianist, harpist, violinist and flutist, she entered the AMK at the Tchaikovsky Moscow State Conservatory, where she combined her studies in the theoretical and wind departments (N.M. Lotakova class).

She graduated with honors from the Tchaikovsky Moscow State Conservatory, as well as from the Royal Academy of Music in London, having received a grant from the Association of the Royal British Schools of Music to study in the class of Professor William Bennett.

In 2010, making his debut on the international stage, becoming a laureate of the second prize at the International Flute Competition. Carl Nielsen, and then giving a solo concert at the Flute Convention in Manchester, Zoya now actively performs in Russia and abroad, both as a soloist and in orchestras. She has worked with outstanding conductors such as Martin Brabbins, Hines Holliger, Jane Glover, Daniel Barenboim, Edward Gardner, Simon Gaudens, Francesco Pascaletti, Alisa Firsova and others.
As a soloist, Zoya has performed with orchestras in Denmark (Odense Symphony Orchestra), England (Royal Academy of Music concert orchestra, Meladina ensemble, etc.), Russia (MCO "Vremena Goda", Symphony Orchestra of the Tchaikovsky Moscow State Conservatory, etc.)

International awards also include III Prize at the British Flute Society International Flute Competition (2011), Special Prize for Performance modern work International Competition named after. Carl Nielsen, numerous awards from UK foundations, as well as the. Alexander Nevsky and 1st prize at the International Flute Competition named after. V. Tsybina (2007).
Recordings of Zoya Vyazovskaya's performances are now broadcast on radio stations in Great Britain, Scotland, Slovenia, Denmark, France, Belgium, and the United States.

Zoya regularly performs as both a flutist and pianist in chamber ensembles.
In 2012, 2013 and 2014, Zoya was a flute teacher and pianist at the William Bennett International Summer Flute School.

Zoya is active educational activities, giving regular series of master classes in Russian cities and abroad. Since 2014, Zoya Vyazovskaya has been the main organizer of the annual international flute competition “My Favorite Flute” and the “Big Flute Days” festival, whose guests include world-famous flutists Trevor Vai, Matthias Ziegler, Norbert Gierlinger and Diana Schulz.
Since September 2014, Zoya has been a teacher of the flute class at the Gnessin MSMSH and the AMK at the Tchaikovsky Moscow State Conservatory.

Zoya Vyazovskaya is a soloist of the Classics-Art ensemble and conducts active concert activities as part of the group, touring in Russia and abroad.

Diana Romanovna KRIVENKO

Born in Yekaterinburg in 1990. Having graduated with honors from the Ural Music College (a ten-year school at the Ural State Conservatory named after M.P. Mussorgsky) in the flute class, she entered the Moscow State Conservatory. Tchaikovsky to the class of Associate Professor O.Yu. Ivusheykova.

In 2015, she graduated with honors from Moscow State Conservatory. P.I. Tchaikovsky, completed an internship at the United Institute of Arts in Essen (Germany); In the class of Professor M. Schmidt-Kassdorf, she studied the features of authentic performance on the traverse flute.

In 2017, she completed an assistant internship at the Moscow State Conservatory. P.I. Tchaikovsky, majoring in “The Art of Musical and Instrumental Performance” at the Department of Contemporary Music.

Since 2018 - candidate for a candidate's degree at the Moscow State Conservatory. P.I. Tchaikovsky.

From 2014 to 2015 Diana Krivenko was a flute teacher at the Moscow State Budgetary Educational Institution “Children's School of Arts named after. J. S. Bach."

In 2016, together with associate professor of the Moscow State Conservatory named after. P.I. Tchaikovsky by Philippe Nodel organized " Music studio at GBOU School No. 67,” where he is the head of the studio and a flute teacher.

Since 2017, he has been participating as a flute teacher at the Moscow International Summer School in Gnesinka.

Since 2018, he has been teaching at the Gnessin MSMSH.

Teaching experience – 5 years.

Diana Krivenko took part in many international festivals, including: Renaissance Music and Dance Festival “La Renaissanse” (2011), International Chamber Music Festival Bruchsal (2015), International Music Festival Plecrto La Rioja (Spain, 2015), International Festival EARLYMUSIC (St. Petersburg, 2016), Festival early music in Kuskovo “Gallant Baroque” (2017-2018).

She performed in many cities in Europe, China, Japan, Argentina, as well as in Russia - St. Petersburg, Yekaterinburg, Pyatigorsk, Vladimir, Kazan, Perm, Ufa. In many of these cities, Diana Krivenko regularly gives master classes.

In the last few years, he has been participating in the organization of master classes and festivals, collaborating with such famous musicians as E. Finkelstein, J. Ballint, K. Janz, F. Nodel, F. Renggli.

Irina Valentinovna YANTSEVA

Coloratura soprano. She graduated from the music school in Dimitrovgrad with a degree in choral conducting and the Kazan State Conservatory. N. G. Zhiganova, specialty " Solo singing"(Professor's class, Honored Artist of the Russian Federation G.T. Lastovki).

She improved her skills at master classes by A. Milcheva, V. Dzeani, P. Bonfanti, D. Nenov.

Since 2001, she has been a soloist of the Samara Academic Opera and Ballet Theater, where she has performed over 30 roles in various repertoire, including: Queen of the Night (“The Magic Flute”), Violetta (“La Traviata”), Gilda (“Rigoletto”), Rosina (“ Barber of Seville"), Snegurochka, Marfa ("The Tsar's Bride"), etc.

She has collaborated with conductors: Andrew Lawrence-King, Marco Boemi, Mika Aishenholz, Fuat Mansurov, Alexander Anisimov; directors: Nina Chusova, Mikhail Panjavidze, Yuri Alexandrov, Georgy Isaakyan.

Her stage partners were Viktor Chernomortsev, Boris Statsenko, Akhmet Agadi and others.

She took part in the Chaliapin Festival in Kazan (Queen of the Night), the International Festival “Seeing Music” in Moscow.

She has performed on the stages of the Bolshoi (Beethoven Hall), Mariinsky (Mariinsky-2), Musical Theater named after. Stanislavsky and Nemirovich-Danchenko, Saratov, Yekaterinburg, Astrakhan theaters.

Together with the troupe of the Tatar Academic State Opera and Ballet Theater named after. M. Jalila toured in Holland, Denmark, France, Switzerland (Queen of the Night, Donna Anna “Don Juan”).

As a concert singer, she has toured in Russia (Ulyanovsk, Kazan, Moscow), Azerbaijan (Baku), China (Shenzhen), etc. She collaborates with the Samara Academic Symphony Orchestra and the Ulyanovsk State Symphony Orchestra.

Honored Artist of the Samara Region.

Since 2018 – curator of the Youth Opera Program of the Samara Academic Opera and Ballet Theater.

Ivan Kirillovich VELIKANOV

Was born in 1986 in Paris. He began composing music as a child, and from the age of seven he began to study systematically under the guidance of composer and organist Leonid Karev.

In 1993 he moved to Moscow. IN 1997-1999 studied singing under the direction of L.A. Davydova and performed as a treble player, including as part of the Madrigal ensemble.

IN 2000-2004 studied at the Academic music school at the Moscow Conservatory at the Faculty of Music Theory, attended composition classes, studied playing the harpsichord under the guidance of Assoc. T.A. Zenaishvili.

IN 2004-2009 studied at the Moscow Conservatory in the composition department (Prof. R.S. Ledenev), also attended the organ class (Prof. L.B. Shishkhanova) and symphonic conducting (Prof. V.K. Polyansky); V 2008-2012 – at the department of opera and symphony conducting (class of Prof. G.N. Rozhdestvensky; graduated with honors). At the same time, he continued studying the organ (class of Prof. A.S. Semenov) and the harpsichord (class of Rev. M.A. Uspenskaya), took conducting lessons from prof. V.A. Altshuler.

IN 2008 became a laureate of the International Competition for Young Composers named after. P. Jurgenson and won the competition Bolshoi Theater(in the category “creation of an opera or ballet for youth”). Diploma II All-Russian competition young conductors named after. I. Musina ( 2011 , Kostroma).

Participant of master classes: on conducting by K. Mazur (2006), K. Kiesler (2007), T. Currentzis (2008), Sir R. Norrington (2010), G. Gelmetti (2014), G. Lanzetta (2015), M. Yurovsky (2016, 2018), A. Polyanichko (2017); in playing the harpsichord by K. Schornsheim (2010, Germany); on playing the organetto by G. Perez (2011, France) and the zinc by J. Tubery (2011, Corsica); on the performance of Western European music of the 14th century. (2011, Italy).

IN 2009 created the first ensemble of ancient wind instruments in Russia Alta Capella and is its artistic director. As part of the ensemble, he took part in master classes by Prof. M. Lyubenova (2010, Germersheim, Germany), prof. U. Dongua (2010, 2011, 2012, Moscow), prof. B. Dickey (2010, early music courses in Urbino, Italy), prof. V. Bekyu (2011, Salzburg, Academy of Ancient Music, Bremen - International Summer Academy, Mozarteum; 2013, Moscow), prof. G. Perez (2012, 2013, Moscow), prof. E. Lawrence-King (2013, 2014, Moscow), prof. J. Tubery (2013, Moscow), prof. J.-F. Novelli (2014, Moscow), prof. G. David (2014, Bremen), prof. B. Bagby and M. Moyona (2015, Moscow). He performs as a multi-instrumentalist in various ensembles and solo.

WITH 2011 – organizer and artistic director International festival Renaissance music and dance La Renaissance , taking place in Moscow.

IN 2012 as an assistant to the musical director, he took part in the production of “Imaginations of Soul and Body” by E. de Cavalieri at the Moscow Academic Children's Theater musical theater them. N.I. Satz (artistic director - E. Lawrence-King; special jury prize of the National Theater Award "Golden Mask" - 2013). Assisted V. Yurovsky in concerts of the State Academic Symphony Orchestra of Russia. E.F. Svetlanova; ensemble Alta Capella performed in a joint program with the State Symphony Orchestra with the performance of works by G. Schütz and J. Brahms (2014).

IN 2014 founded Chamber Orchestra of Tarusa , whose repertoire includes music of the 18th-20th centuries, performed in an authentic manner on historical instruments.

IN 2014 – guest conductor at the State academic theater Opera and Ballet of the Republic of Sakha (Yakutia) named after. D.K. Sivtseva (prepared updated version and conducted the opera “The Magic Flute” by V.A. Mozart). In season 2014/2015 gg. - conductor of the chamber orchestra of the Moscow Pavel Slobodkin Center, where he performed a series of concerts from works different eras from J. Haydn to S.S. Prokofiev.

IN 2014-2017 – assistant conductor at the Moscow Academic Musical Theater named after K.S. Stanislavsky and V.I. Nemirovich-Danchenko, where he staged the opera “The Meek” by J. Tavener and the ballet “Rashomon. Variations" by G. Varlamov. He also conducted the performances “Meet the Orchestra”, “Guide to the Orchestra”, “ Magic lamp Aladdin" (opera by N. Roth); held a series of ancient music concerts in the Atrium with the participation of theater soloists.

IN 2016 performed in two concerts as a guest conductor with the orchestra Toscana Classica(Florence). In March 2017 conducted the opera “The Magic Flute” by Mozart and the ballet “Romeo and Juliet” by Prokofiev, in April-May he was musical director production of the opera “The Marriage of Figaro” by Mozart at the Mikhailovsky Theater (St. Petersburg). IN 2017 worked with D. Yurovsky at the Novosibirsk State Academic Opera and Ballet Theater (assistant and second conductor of the play “Un ballo in maschera” by G. Verdi). IN 2018 staged the opera “Chinese Women” by K.V. Gluck (director T. Mitkaleva; Tarusa, House of Writers).

Gayk Georgievich KAZAZYAN

Soloist of the Moscow State Academic Philharmonic, winner of international competitions Gaik Kazazyan is one of the most promising young musicians of his generation, performing with constant success in Russia and abroad.

Hayk Kazazyan was born in 1982 in Yerevan. In 1989 he entered the Yerevan Music School named after. Sayat-Nova to the class of Professor Levon Zoryan.
During 1993-95. won several republican competitions, won the Grand Prix of the Amadeus-95 competition and was invited to Belgium and France with solo concerts. In 1996 he moved to Moscow.

Studied with a professor people's artist USSR E. D. Grach at the music school named after. Gnesins (1996-2000) and Moscow State Conservatory named after. P. I. Tchaikovsky (2000-2006), as well as with Professor I. Rashkovsky at the Royal College of Music in London (2006-2008).

During the period of study 2002-2003. Gayk was awarded a scholarship from the President of the Russian Federation, from 2003-2004. - Russian government scholarship.

He took master classes from such outstanding musicians as I. Handel, S. Mintz, B. Kushnir, P. Frank. He performed in the St. George Hall of the Kremlin before presidents B. N. Yeltsin and J. Chirac (1997). In the period from 1997-2007. Gayk becomes a laureate and winner of many international competitions, including the International Competition named after. P.I. Tchaikovsky in Moscow (2002), International competitions named after. G. Wieniawski in Poznan, (2001), named after. J. Thibault and M. Long in Paris (2005). Awarded a Gold Medal and Prize audience choice at the violin competition in Switzerland (2004), a gold medal and the audience award at the violin competition in Tongyong ( South Korea, 2007). In 2011 he won the competition named after. G. Enescu in Bucharest.

His concerts were broadcast by the TV channels “Culture”, “Mezzo”, Brussels Television, BBC radio stations in London, “Orpheus” and others.

Published in 2010 solo album entitled “Opera Fantasies”, recorded by the American company Delos.

Since 2002 is a soloist of the Moscow State Academic Philharmonic.

Since 2008 he has been teaching at the Moscow Conservatory in the violin department under the direction of Professor E. D. Grach.

Hayk Kazazyan performs in the largest halls in the world, including Carnegie Hall (Stern Grand Hall) in New York, Victoria Hall in Geneva, Barbican Hall and Wigmore Hall in London, the Chatelet Theater and the Gaveau Hall. in Paris, Usher Hall in Edinburgh, Royal Concert Hall in Glasgow, Big, Small and Rachmaninov Halls of the Moscow Conservatory, Concert Hall. P.I. Tchaikovsky, Chamber Hall of the Moscow International House of Music, State Central Concert Hall "Russia", Great Hall of the Philharmonic in St. Petersburg and others.

He is a participant in such music festivals as the International Music Festival in Sion (Switzerland), the Verbier Festival (Switzerland), the Yuri Temirkanov Festival “Arts Square” in St. Petersburg, the Nikolai Petrov Festival “The Musical Kremlin” in Moscow, the International Music Festival in Tongyong (South Korea).

Performs with famous orchestras such as the Royal Scottish Orchestra, the Russian National Orchestra, the Prague Philharmonic Orchestra, the Irish National Orchestra, National Orchestra France, Munich Chamber Orchestra, Chamber Orchestra of Russia, Chamber Orchestra "Moscovia" conducted by E. Grach, State Academic Symphony Orchestra of Russia. E. F. Svetlanova, State Symphony Orchestra conducted by P. Kogan, Symphony Orchestra conducted by V. Ziva.

Among famous musicians of our time, with whom G. Kazazyan collaborates, conductors A. Lazarev, K. Orbelyan, A. Polyanichko, A. Buribaev, E. Litton, A. Liebrich, P. Kogan, V. Ziva, J. van Steen, pianists F. Kempf, A. Kobrin, E. Mechetina, R. Urasin, A. Shibko, V. Kholodenko, violinists G. Nikolich, B. Brovtsyn, cellists A. Buzlov, S. Antonov, B. Andrianov and others.

Alexandra Georgievna GROT

Born in Moscow in 1981. She began studying music at the age of 6, first on the piano under the guidance of her mother. Having heard the famous flutist James Galway at the age of 8, she decided to play the flute. From the age of 12 she studied at the Special Music School them. Gnessins in the class of Prof. Albert Hoffman. Becoming a laureate youth competitions in Moscow and Togliatti, was soon noticed by the New Names charity foundation and the foundation named after. Vladimir Spivakov, from whom she performed concerts throughout Russia, and then abroad - in Poland, Sweden, Israel, Greece, Croatia, Bulgaria. At the age of 15, having received first prize at the international competition “Jeunesses Musicales” in Bucharest / Romania /, she decided to continue her studies abroad and in 1999 she entered the Paris National Conservatory in the class of prof. Pierre-Yves Artaud. During her years of study in Paris, Alexandra was awarded scholarships from the SYLFF Tokio Foundation, Academie Villecroze, Banque Société Generale; took master classes with such flutists as Emmanuel Pahu (France), Jean-Claude Gerard (Germany), Ransom Wilson (USA), Benoit Fromanger (France). In 2000, Alexandra won 2nd prize at the international competition “Pacem in Terris” in Bayreuth / Germany /. In the 2002-2003 season, she was invited by Vladimir Spivakov to a festival in Colmar, and also played solo concerts at the Musee d'Orsay and the Louvre Auditorium in Paris, broadcast on French radio.

In 2004 she became a laureate of the Juventus festival under the auspices of Secretary General Council of Europe; In this regard, the famous European music magazine "Diapazon" dedicated two articles to her, including a portrait, which noted the density of her sound, the confidence of her playing, as well as her passionate and restrained musicality. In 2004, Alexandra Grot moved to permanent place residence in Germany, and soon entered graduate school at the Higher School of Music in Munich in the class of prof. Andras Adoryan. The result of creative collaboration with this outstanding teacher won 1st prize and three special prizes at the largest international competition for flutists. Carl Nielsen in Denmark in 2006. In the same year, the French company Harmonia Mundi released her first solo disc dedicated to Russian music (Stravinsky, Denisov, Schnittke, Prokofiev).

In 2008, Alexandra became a laureate music award concert association of the city of Ingolstadt, in 2009 received special prize at the international flute competition in Kobe, Japan. In the 2007-2009 seasons she performed with solo and chamber concerts in Denmark, France, Germany, Switzerland, as well as as a soloist with the Capella Orchestra in St. Petersburg, with the National Philharmonic Orchestra of Ukraine in Kiev, with Philharmonic Orchestra Bad Reichenhall and the Georgian Chamber Orchestra in Germany, Symphony Orchestra Odense in Denmark. The performances were broadcast many times on radio and television in France and Denmark. Currently lives in Düsseldorf.

Teacher High school music Essen, Germany.

Ksenia Vadimovna Knorre(born December 3, Moscow, RSFSR) - Russian pianist, professor. Honored Artist of the Russian Federation ().

Biography

Born into a Moscow family of musicians; her mother, Vera Gornostaeva, is a professor at the Moscow State Conservatory. P.I. Tchaikovsky. On her paternal side, she is the granddaughter of the famous scientist Georgy Knorre.

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An excerpt characterizing Knorre, Ksenia Vadimovna

The next day after the theater, the Rostovs did not go anywhere and no one came to them. Marya Dmitrievna, hiding something from Natasha, was talking with her father. Natasha guessed that they were talking about the old prince and making up something, and this bothered and offended her. She waited for Prince Andrei every minute, and twice that day she sent the janitor to Vzdvizhenka to find out if he had arrived. He didn't come. It was now harder for her than the first days of her arrival. Her impatience and sadness about him were joined by unpleasant memory about a meeting with Princess Marya and the old prince, and fear and anxiety for which she did not know the reason. It seemed to her that either he would never come, or that something would happen to her before he arrived. She could not, as before, calmly and continuously, alone with herself, think about him. As soon as she began to think about him, the memory of him was joined by the memory of the old prince, of Princess Marya and of the last performance, and of Kuragin. She again wondered if she was guilty, if her loyalty to Prince Andrei had already been violated, and again she found herself remembering in the smallest detail every word, every gesture, every shade of play of expression on the face of this man, who knew how to arouse in her something incomprehensible to her. and a terrible feeling. To the eyes of her family, Natasha seemed more lively than usual, but she was far from being as calm and happy as she had been before.
On Sunday morning, Marya Dmitrievna invited her guests to mass at her parish of the Assumption on Mogiltsy.
“I don’t like these fashionable churches,” she said, apparently proud of her free-thinking. - There is only one God everywhere. Our priest is wonderful, he serves decently, it’s so noble, and so is the deacon. Does this make it so sacred that people sing concerts in the choir? I don’t like it, it’s just self-indulgence!
Marya Dmitrievna loved Sundays and knew how to celebrate them. Her house was all washed and cleaned on Saturday; people and she were not working, everyone was dressed up for the holidays, and everyone was attending mass. Food was added to the master's dinner, and people were given vodka and roast goose or pig. But nowhere in the whole house was the holiday more noticeable than on Marya Dmitrievna’s broad, stern face, which on that day assumed an unchanging expression of solemnity.

I crawled along the wall from the dentist. The doctor spent an hour and a half in my mouth, and I’m not sure that he didn’t use a jackhammer and TNT in his manipulations.

The five-year-old daughter was skipping along the corridor. She spent the entire hour and a half of my torture under the door with a book and coloring book. She tactfully did not hear the delighted gasps of the nurses and did her best to behave like a Very Good Girl, and now, naturally, she had to jump, jump and have fun. Therefore, she ran along the long empty corridor of the medical facility, and I crawled behind her, pressing against the wall and clearly illustrating the thesis that walking is a series of successive falls. From time to time I stopped and, extending my hand in the manner of leaders, addressed her conscience:

Stop... please... don't... run... wait...

However, firstly, after half a meter my weak call was lost, and secondly, from the anesthesia I could barely move my lips, and my calls, most likely, could be taken as congratulations on the New Year, and as gratitude to the Lord for all the good things . The daughter rushed past and, without slowing down, disappeared behind the repeat.

Well, the dog is with you,” I muttered. The clinic was empty, we weren’t bothering anyone, she had nowhere to go, and getting rid of the accumulated energy was vital. Mentally going through these arguments, I suppressed the desire to increase my speed and crawled on.

And then a scream was heard around the bend. It was not my child who screamed, but an adult. Acoustics of old medical institutions with their ceilings, vaulted arches and floor-to-ceiling windows, they give any loud sound depth, solemnity and stunning sonority.

What are you doing? - they shouted around the bend. “Don’t you hear what your mother told you?!” Now she's going to kick you!

At this point I forgot about the tooth and the anesthesia, quickened my pace and nervously jumped out from around the corner.

The disposition is this: in the middle of the corridor my frightened child froze, and on a bench near one of the offices there was sitting, you know, an aunt. More precisely, Auntie - I can’t add anything more to this description, and on her face is the expression of a person doing difficult but necessary work.

What is your mother telling you?! A?! Why don't you listen to her?!

When she saw me, she put her hands on her hips and looked at you with that, you know, look of solidarity. I walked up to my daughter with a soldier’s gait and hugged her tightly.

Thank you,” I said firmly without the slightest speech impediment, “but I can handle it myself.”

When mom says, you have to... - and she froze with her mouth half open with a face like I turned out to be a green alien or a talking kangaroo.

“No,” I said even more firmly. - There is no need to teach my child to obey his mother, I will deal with him.

But I wanted to help you...?!

No, thanks!! - I said rather angrily, simultaneously pushing my daughter towards the exit.

Aunt’s face clearly changed from perplexed to offended.

But she...

BEFORE! SVI! TRIBUTE! I!

On the street, an unusually quiet child obediently minced nearby for some time. I held her hand tightly.

How is your tooth? – she finally asked.

Tooth? – I didn’t remember right away. - Oh, okay, okay...

We walked a little more, and I commanded:

She stopped in fear. I squatted down in front of her. The eyes, already huge, covering half the face, look at me intensely, waiting for a reprimand, scolding or a boring lecture. And I hugged her tightly, and said to her as sternly as to that aunt:

You are my best child in the world. Clear?

“I see,” she answered and also pressed herself very tightly to me. And then she kissed me somewhere around my ear, and I felt that she was smiling.

PS Quite often we easily stand on a par with those who scold our children - with an unknown old woman who does not like that our child does not stand quietly in line, with a teacher who is not happy with his inattention, with a fellow traveler, at whose time the children were much more obedient. According to my observations of the only non-representative example, we are usually forced to hastily agree with a stranger (or not so stranger) for several reasons:

Feeling of our own parental failure - we are bad parents, we cannot force our own child to behave decently,

Feeling guilty that our child is causing inconvenience to someone,

Feeling guilty for not being able to raise a child properly

and other similar sensations that are deadly for parental adequacy.

Of course, a special place is occupied by not just comments, but attempts to raise our child, which directly tell us that we are not coping with our responsibilities, as well as cases of spontaneous help to parents, which they did not ask for.

Naturally, in the life of any child there are moments when he is really wrong - and the dissatisfaction of a stranger whose coat he soils with his foot, a teacher who received a snarl in the forehead (an incident involving me, alas), and a neighbor whose doorbell rang is quite understandable and ran away. Naturally, we've all seen parents for whom their child is always right, and everyone who doesn't like something should go to hell, but if you're reading this, you're probably not one of them.

I came up with two rules for myself. The first thing is to take a break: if they tell you what a bad child you have, first think, analyze and listen to the accused party, and only then attack it. Second, if possible, do not sing in chorus with those who accuse. Tell an angry adult - thank you, I understand, I’ll sort it out. If you make a suggestion to a child, then; if you slow him down, then in a neutral tone, without swearing and accusations in unison, especially since cases of the so-called bad behavior are much more often explained by reasons other than malicious intent. And one more subpoint of the second rule - if you scold in chorus with everyone, then half a tone lower.

In his life there will probably still be a lot of people who want to scold and criticize - and in our country, alas, this is generally the background of life, so give him an invaluable gift - a feeling of a reliable and unconditionally loving rear, growing from childhood, and therefore strong, indestructible, final .