Regional open competition of violinists and cellists. Moscow Musical Society
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24.04.2013
I cordially greet you, the organizers and participants of the Moscow Regional Open Competition of violinists and cellists in Dubna!
Organized with the support of the Government of the Moscow Region and the administration of the city of Dubna, the competition is an important incentive in the work of teachers and students of music schools. Young string musicians will meet again in the science city’s concert hall to demonstrate their achievements, gain experience, and pass, perhaps for the first time in their lives, an important creative test. Let this competition be a starting point in a musical biography for someone!
I wish you, my young colleagues, creative success, and I sincerely thank your teachers for their difficult, but so necessary and noble work!
Artistic director of the KFO Mosconcert, People's Artist of Russia,
Moscow Prize laureate M.Yu. Utkin
45 students from 23 cities and 26 educational institutions of the Moscow region took part in the Moscow regional open competition of violinists and cellists: Children's Music School in Dubna, Children's Art School No. 1 named after. G.V. Sviridov, Balashikha, Children's Music School No. 2, Belozersky village, Children's Art School named after. Verstovsky, Children's Art School in Vidnoye, Children's Art School "Elegy" in Voskresensk, Children's Art School in Zheleznodorozhny, Istrinskaya Children's Music School, Children's Art School "Scarlet Sails" in Krasnogorsk, IOC named after. S.S. Prokofiev, Pushkino, Children's Art School, Korolev, Odintsovo Children's Music School, Odintsovo Children's School "Classics", Children's Music School named after. A.A. Alyabyev, Pushchino, Children's Music School No. 1, Mozhaisk, Children's Music School, Mytishchi, Children's Music School No. 1, Pushkino, Children's Music School No. 3, Serpukhov, Stupinskaya Children's Music School, Skhodnenskaya Children's Art School, Central Children's Art School, Chekhov, Central Children's Art School. Khimki, Children's Art School named after. N.N. Kalinin, Shatura, Children's Music School No. 1, Elektrostal, MOBMK im. Scriabin, Elektrostal.
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The best performance of the program was awarded by the jury.
Grand Prix winner - 1 person
Laureate of the 1st degree - 5 people
Laureate of the 2nd degree - 12 people
III degree laureate - 8 people
Diploma holder - 15 people
Participant - 4 people
Special diploma - Best accompanist - 2 people: Borovikov A.V., Stepanov A.A.
45 out of 46 declared participants arrived.
Competition jury:
- Utkin Mikhail Yurievich,
Russian cellist, winner of the First Prize at the International Competition in Prague, plays in the Moscow Trio and performs with the world's most famous orchestras and conductors. Awarded the M. Ravel gold medal, Moscow Prize laureate, People's Artist of Russia.
- Spiridonov Andrey Alekseevich
Professor, Head of the Department of Strings, Wind and Percussion Instruments, Faculty of Historical and Contemporary Performing Arts, Moscow State Conservatory named after P.I. Tchaikovsky, composer. Winner of the 1st prize held by M.L. Rostropovich competition for young cellists. He is the artistic director of the Baroque Soloists ensemble, tours abroad, and conducts cello master classes.
- Sachenko Nikolay Anatolievich
Laureate of the III International Leopold Mozart Competition (Augsburg, Germany, 1995). Winner of the 1st prize at the XI International Competition named after P.I. Tchaikovsky (1998). Concertmaster of the state symphony orchestra “New Russia” under the direction of Yu. Bashmet. Soloist of the Moscow State Academic Philharmonic. Performs as a member of the Brahms Trio, with the Russian National Orchestra, and the Russian Symphony Orchestra “Young Russia”.
- Spiridonova Margarita Igorevna
Professor of the State Musical Pedagogical Institute named after M.M. Ippolitova - Ivanova. Member of the Taneyev Musical Society, performer of all the composer's chamber works. Participates in numerous international festivals of ancient and chamber music, productions of ancient operas and ballets, and records CDs. Honored Artist of Russia.
- Krivtsova Tatyana Alexandrovna
Teacher at the Academic Music College at the Moscow State Conservatory named after P.I. Tchaikovsky, methodologist.
- Nikitskaya Natalya Alexandrovna
Director of the Dubna Symphony Orchestra, head of the orchestral instruments section of the Dubna Methodical Association.
The First International Tchaikovsky Competition was a turning point in the second half of the twentieth century, dotting the i's in the official attitude of the Soviet state to the performing arts.
New formation tournament
The First International Tchaikovsky Competition was a turning point in the second half of the twentieth century, dotting the i’s in the official attitude of the Soviet state towards the performing arts.
The spring of 1958 for a long time taught the public of our country to patriotically root for their own people and at the same time wish victory to new idols from abroad.
Since then, the “Iron Curtain” has fallen, teachers of pre-revolutionary training have been replaced by their students, then by their students’ students. The world, once divided into “us” and “them,” has become one again.
The power of destiny
Only four years separated the birth of the St. Petersburg (1862) and Moscow (1866) conservatories. Tchaikovsky, a graduate of the St. Petersburg Conservatory, was destined by fate to become one of the first professors at the Moscow Conservatory. According to his recommendations, the staff of the Moscow professoriate was replenished by St. Petersburg residents: composer Mikhail Ippolitov-Ivanov, pianist and conductor Vasily Safonov, the future director of the Moscow Conservatory.
The St. Petersburg-Moscow route was repeated by many outstanding musicians of the 20th century, such as conductors Alexander Orlov and Alexander Gauk, pianists Heinrich Neuhaus and Maria Yudina, and composer Dmitry Shostakovich.
The joint efforts of the two cities formed the famous Russian performing school, which was later divided into Soviet and foreign.
Thanks to the Tchaikovsky Competition, these two lines met. Van Cliburn and Daniel Pollack, winners of the 1st and 8th prizes in the First Competition, studied at the Juilliard School (New York) with Rozina Levina, a student of Vasily Safonov. Israeli violinist Shmuel Ashkenazi, winner of the 2nd prize of the Second Competition, studied with the violinist and teacher Efrem Zimbalist. Zimbalist, a jury member of the first two Tchaikovsky competitions, studied at the St. Petersburg Conservatory with Leopold Auer. There are many such examples.
In an interview with the newspaper “Soviet Culture,” Zimbalist recalled chamber evenings at Rimsky-Korsakov’s, where he visited after classes in Auer’s class: who would have thought then that half a century later, Zimbalist’s student would become a laureate of the Moscow competition!
In 1962, the outstanding cellist Grigory Pyatigorsky worked as part of the cello jury. At the competition, after many years of separation, he met his brother Alexander Stogorsky, a Moscow cellist and teacher. Thus, human destinies became part of the history of the competition.
All this imbued the Tchaikovsky Competition with a wealth of cultural memory. Many laureates have been living or working abroad for a long time. Liana Isakadze, Paata Burchuladze - in Germany, Victoria Mullova - in the UK, Ivan Monighetti - in Switzerland, Ilya Kaler - in the USA.
Vladimir Krainev, winner of the IV competition, taught in Hannover for nineteen years, where he ended his life.
“What Stalin dreamed of - to spread the influence of our country throughout the world - was achieved by the musicians. The whole world was filled with the Russian-Soviet performing school,”
– Krainev wrote in his autobiographical book “Monologue of the Pianist”.
Piano lyrics
For the first competition, the Aprelevsky plant produced 40 thousand records with recordings of Tchaikovsky’s works. The first of the pianists opened by the competition was 23-year-old Van Cliburn. In April 1958, Cliburn was able to find the key to the hearts of Soviet music lovers. Confessing their love, listeners themselves became true lyricists:
“Dear Van! I can't help but write to you. For the first time in my life, although I am 17 years old, I cried while listening to music. You captivated me with your performance, which I will never forget. I would like to say a huge thank you to you. You opened my eyes, I realized that life is wonderful; that there is so much beauty around. I can't write anymore. Thank you, thank you..." (from the archives of the Tchaikovsky House Museum in Klin).
In 1966, the unprecedented performance of Grigory Sokolov forced the jury to recognize victory for a 16-year-old boy of pre-conservative age. Among the jury members was the authoritative Frenchwoman Nadia Boulanger, who at 78 years old was hard to surprise: among her students were Leonard Bernstein, George Gershwin, Dinu Lipatti, Darius Milhaud, Daniel Barenboim.
The Tchaikovsky Competition owes its metaphor “Musical Spring of the World” to the outstanding French pianist Marguerite Long:
“I was very excited by the invitation to join the jury of the International Tchaikovsky Piano and Violin Competition. ...not only because the competition is named after one of the most famous composers, whose magical music is loved and listened to by the whole world, but also because this spring Moscow competition will be a meeting with gifted youth from many countries, that is, a meeting with the musical spring of the world.”
Since 1966, the Tchaikovsky Competition has been held in the summer.
The first violin of the planet
Until the early 1980s, the competition remained a political and musical event in equal measure.
In his autobiographical book “Monologue of a Pianist,” Vladimir Krainev told how the decision about his participation in the competition was made personally by Ekaterina Furtseva. The distinguished guest of the first two Tchaikovsky competitions was the Belgian Queen Elisabeth, patroness of the famous competition in Brussels. For many years, the path of the Brussels and Moscow competitions seemed to be common.
Even before the war, the Eugene Ysaÿe competition (named after Queen Elizabeth in 1951) introduced the world to violinists David Oistrakh, Boris Goldstein and Mikhail Fichtengolts (1937), and pianists Emil Gilels and Yakov Flier (1938). The 1951 Brussels winner Leonid Kogan repeatedly served on the violin jury headed by Oistrakh at the Tchaikovsky Competition. Finally, the third prize in Brussels (1967) was received by Gidon Kremer, who became the winner of the IV Tchaikovsky Competition (1970).
Since 1990, the decline in the competition's authority has become increasingly noticeable. The ideal thaw start and the level of the winners of 1960-80. looked like a living reproach to a competition that was losing prestige. Later competitions only evoked memories of past laureates.
The experience of the 1st competition, where eight of the nine Soviet violinists advanced to the third round - Valentin Zhuk, Victor Pikaizen, Zarius Shikhmurzaeva, Mark Lubotsky, Jean Ter-Mergeryan, Valery Klimov, Nina Beilina, Victor Liberman - was exceptional in its own way. In 1958, a condition was in place to exempt the winners of major international competitions from the first round. The abolition of this condition made victories at subsequent competitions more and more convincing.
At the Second Competition, Boris Gutnikov won the 1st prize among violinists, the 2nd prize was shared by Irina Bochkova and Shmuel Ashkenazi, the 3rd prize went to Nina Beilina, the 4th prize went to Albert Markov, the 5th prize went to Eduard Grach. The following competitions were also marked by upswings: Third (Viktor Tretyakov – 1st prize, Oleg Kagan – 2nd prize, Oleg Krysa – 3rd prize), Fourth (Gidon Kremer – 1st prize, Vladimir Spivakov – 2nd prize, Liana Isakadze – 3rd prize, Tatyana Grindenko – IV prize) and Seventh (Victoria Mullova and Sergei Stadler – I prize).
Celebrating the victory of the first Tchaikovsky violin laureate, Valery Klimov, in 1958, the country rejoiced.
For example, the organizing committee received a letter from a 31-year-old miner from the Stalingrad region:
“Hello, dear Chairman! With great interest I followed the preparation and holding of the international music competition named after. P.I. Tchaikovsky in Moscow. I listened [on the radio] to the entire program performed by all the participants in the competition. And now the competition is over with great joy for the Soviet people.
The young talented Soviet violinist Valery Klimov took first place and received first prize. This means he plays the best violinist in the world. It has long been said that the violin is the mother of music. If we gather all the best musicians in the world and organize a concert, then with legitimate pride we can say that the Soviet violinist plays the first violin in this concert.”
(from the archives of the Tchaikovsky House Museum in Klin).
In fact, in 1958, only the third round was broadcast on radio and TV. But this was enough for people to start writing surprisingly personal letters about the contestants...
Transforming the cello world
In 1962, a cello category appeared at the competition.
This was a logical development of the plot, which began with the participation of Tchaikovsky, whose student and friend was the cellist Anatoly Brandukov (1858-1930).
“Pezzo Capriccioso” for cello and orchestra, which became an obligatory piece of the first cello tour, is dedicated to Brandukov. Being a well-known teacher in Moscow, Brandukov organized cycles of chamber evenings. In the 1940s, after his death, Mstislav Rostropovich, a student of the Moscow Conservatory in the class of Semyon Kozolupov, often attended them. In 1944, he joined the future Borodin Quartet, where he was soon replaced by Valentin Berlinsky. In 1996, Ruben Aharonyan, winner of the 2nd prize at the V Tchaikovsky Competition, became the first violinist of the Quartet.
A new stage in the popularization of cello art was marked by the active work of Rostropovich. Cellists began to add to the works written for him, including the Cello Sonata (1949) and the Symphony-Concerto for Cello and Orchestra (1952) by Prokofiev, and the First Concerto for Cello and Orchestra (1959) by Shostakovich. Its premiere took place in October 1959. In 1962, this world-famous work was included in the program of the Tchaikovsky competition.
Shostakovich’s Concert was also remembered at the opening of the 2nd competition in the Kremlin Palace of Congresses. After Shostakovich’s welcoming speech, member of the cello jury Maurice Marechal spoke:
“I had the great joy and honor to perform after the great Soviet composer Shostakovich, whom Paris so often applauds and whose cello concerto was recently performed with great success in the Salle Pleyel by your amazing Rostropovich.”
In 1962, Shostakovich's First Concerto was included in the program of competitive performances by cellists Mikhail Khomitser (III prize), Toby Ellen Sachs (VI prize), Gloria Strassner, Joanna de Keyser. And Natalia Shakhovskaya (1st prize), Natalia Gutman (3rd prize), Laszlo Möze (IV prize), Lynn Harrell, Jürgen Ernst de Lemos performed with Prokofiev’s Symphony-Concerto.
Viktor Apartsev and Valentin Feygin complicated the task by including both works in their programs. This brought Feigin the second prize. His neighbor on the competition podium was the American Leslie Parnas.
“The contestants have never had to deal with such a complex program as in Moscow. Here they were given the right to choose, but to choose from works of the highest difficulty...
And almost no artist was afraid of obstacles - each played in his own way and mostly coped with the task. How interesting it was for us, the jury, to listen to different interpretations of Shostakovich’s Concerto...
How interesting it was to compare the interpretation of the Kodály Sonata, different parts of which the competitors performed in the second round. Many, like Feigin and Möse, Gutman and Parnassus, managed to find new and original expressive possibilities here,”
– said the chairman of the cello jury, Daniil Shafran.
The Tchaikovsky Competition is more than half a century old; During this time, a number of unforgettable moments were imprinted in its history. For example, the touching sympathy of the audience and participants for the American cellist Toby Sachs.
In April 1962, she was constantly surrounded by fans, but the performer was inspired primarily by the warm parting words of the authoritative Frenchman Maurice Marechal: a member of the cello jury told her something like the Russian “no fluff, no feather.”
And what wonderful words accompanied the performances of Natalia Gutman, one of the youngest contestants in 1962! Her skill and talent captivated the legendary Grigory Pyatigorsky, who admitted:
“Gutman plays charmingly, femininely, but she also has strength. She interested me very much. I kissed her once, so serious and sweet, so shy and sad. And then I noticed that she suddenly smiled. That was the only smile I saw from her during the entire competition.”
The same Pyatigorsky aptly wrote about the cello competition in Moscow:
“It is known that the cello has been in the fold for a long time. It was a, so to speak, “second-rate” instrument... an echo of these views also affected the First Tchaikovsky Competition. I was even a little angry then. But, of course, this is not the only example.
I remember I once played in an ensemble with Heifetz and Horowitz. Before going on stage, an “important” question was debated: in what order to go on stage. But I quickly put an end to the discussion by saying: “What are you arguing about? I probably know who needs to go out last - of course, the cellist..."
Of course, after cellists of the caliber of David Geringas (1970), Ivan Monighetti (1974), Alexander Knyazev and Alexander Rudin (1978), Antonio Menezes (1982), Mario Brunello and Kirill Rodin (1986) became laureates of the Tchaikovsky Competition, so the question no longer installed. This was facilitated by one of the main initiators of the Moscow competition, Mstislav Rostropovich, who headed the cello jury three times - in 1962, 1966 and 1970. Forced to leave the USSR in 1974, three years later Rostropovich established the International Cello Competition in Paris.
After Rostropovich's departure, his role in the formation of a new cello repertoire was especially noticeable. During the XIII Tchaikovsky Competition, jury member Ivan Monighetti said:
“Shostakovich’s First Concerto and Prokofiev’s Symphony-Concerto are works that revolutionized ideas about the capabilities of the cello. It was a time of incredible discoveries...
A revolutionary transformation of the cello world was taking place, bringing to life adequate performers - primarily Rostropovich. He set an incredible acceleration that continues to this day...”
Tchaikovsky from everywhere
The appearance of the vocal category at the Third Tchaikovsky Competition (1966) was due to the idea of global expansion of the Moscow competition, popular at that time, up to the introduction of opera and ballet.
The successes of the first two competitive enterprises gave rise to the utopian idea of transforming the competition into “a competition of all types of Tchaikovsky’s music.”
“Let's dream... Perhaps vocalists, conductors, orchestras will join the competition - and the competition will turn into a music festival, into that “most important” music center, a world music festival, the dream of which lives in the heart of every performing musician. And the name of Tchaikovsky, the bright spirit of his work will bring together and unite thousands of different people from all over the world,”
– the chairman of the piano jury, Emil Gilels, reasoned in 1962.
“It seems to me appropriate that from now on not only instrumentalists, but also singers, symphony orchestras, ballet and opera troupes will compete at Tchaikovsky competitions. Tchaikovsky is the creator of brilliant symphonies, operas, ballets, and romances. Instrumental works are just an addition to this grandiose creative wealth.
And if competitions should fulfill, in addition to identifying new talents, also a popularization mission, then the composer’s work should be presented in a wider scope at them.”
In fact, Neuhaus spoke about the monographic festival of Tchaikovsky’s music, apparently regretting that the competition repertoire does not include the main part of the composer’s heritage.
The international dynamics of the competition, in which 61 musicians from 22 countries took part in 1958, 131 musicians from 31 countries in 1962, and 200 musicians from 36 countries in 1966, in the spirit of the times fueled the USSR’s desire to be “ahead of the rest.” The Minister of Culture was Ekaterina Furtseva, who patronized the Bolshoi Theater. It was on its stage that the opening of the III Tchaikovsky Competition took place with the first introduced category “solo singing”, Furtseva delivered a government greeting.
In those years, victory at the Tchaikovsky Competition largely predetermined the laureate’s future career. Moreover, both Soviet and foreign. A year after winning the III competition, Vladimir Atlantov became a soloist of the Bolshoi Theater. And the first female winner, American Jane Marsh, soon performed as Mozart’s Pamina at the San Francisco Opera.
Next to the three instrumental specialties, the vocal nomination turned out to be a “competition within a competition.” The singers performed next door to the Bolshoi Theater - in the Hall of Columns of the House of Unions. They had their own specific audience.
There were more connoisseurs of opera voices and music lovers in Moscow who obtained scarce records of opera recordings than equally savvy lovers of the piano, violin or cello. And they were more excited, although they did not shout the “boo” customary in the West, expressing extreme dissatisfaction with the performance. Programs that included Tchaikovsky's romances and Russian opera arias created difficulties unknown to instrumentalists: the Russian language was a serious problem for a foreign singer. Especially at a time when the Russian repertoire was practically unknown outside the borders of the homeland.
The stronger the impression made on the public by the guest contestants. In 1966, against the background of the impeccable performance of Vladimir Atlantov (1st prize), Muscovites were amazed by three Americans - Jane Marsh (1st prize), Veronica Tyler (2nd prize) and Simon Estes (3rd prize).
Jane Marsh was fluent not only in English, but also in French, Spanish and Italian, and studied Russian. And dark-skinned bass Simon Estes, to whom the jury awarded a special prize “for the best performance of Tchaikovsky’s romance,” frankly admitted:
“Of course, it is not easy for me, an American, to comprehend the depths of his [Tchaikovsky’s] music. But I strive for this with all my might.”
His achievements were eloquently evidenced by his imminent debut on the stage of Carnegie Hall, where the singer performed Aleko's Cavatina from Rachmaninov's opera of the same name.
Vocal jury member George London (USA) during the Third Competition tried to formulate the peculiarities of the Russian language in singing:
“Most of its vowels are clean and clear. There are, of course, some quirks that need to be overcome.”
After Italian - the international language of vocalists - singing in Russian has seriously changed the situation with the Russian repertoire on foreign stages. Laura Claycomb, 2nd prize winner at the 1994 Tchaikovsky Competition, says:
“Not long before the competition, I took part in a production of Boris Godunov in San Francisco, and for the first time I had to learn the part in Russian. Of course, difficulties arose - to take at least the alphabet... but languages have always interested me very much. And after the competition I had to master the Russian repertoire - this is how Rachmaninov, Tchaikovsky, Gliere appeared in my credits.”
The idea of the supposed ballet component of the Tchaikovsky competition resulted in the holding of the First International Ballet Competition in Moscow in 1969. The award ceremony for the artists was accompanied by a scandal: for the ovation given to diploma winner Eva Evdokimova (USA) at the Bolshoi Theater, Ekaterina Furtseva, who was presenting the awards, became angry with the audience.
Ballet historian Vadim Gaevsky describes this situation in detail:
“Ekaterina Alekseevna first smiled motherly, then frowned and began pointing at her watch. The spectators did not give up. And then the usually reserved Furtseva lost power over herself, her face twisted angrily and, clenching her fist, she made some kind of threatening gesture.”
Thus, the International Ballet Competition almost fell into official disgrace.
The systematic countdown of Soviet winning singers began with the 1970 competition. At the Fourth Competition, the first prize among women was deservedly received by Elena Obraztsova and Tamara Sinyavskaya, the third by Evdokia Kolesnik, and the fourth by Nadezhda Krasnaya. The fifth and sixth prizes went to Esther Kovacs (Bulgaria) and Edna Garabedian-George (USA). Of the male winners, only Thomas Tomaschke (V Prize) was from the GDR. The remaining laureates represented the USSR: Evgeniy Nesterenko and Nikolai Ogrenich (I prize), Vladislav Piavko and Zurab Sotkilava (II prize), Viktor Trishin (III prize), Alexander Pravilov (IV prize), Alexander Rudkovsky (V prize), Sarkis Guyumdzhyan and Valery Kuchinsky (VI Prize).
There was no stretch in such a generous distribution of prizes to the singers: they had something to work for. Or rather, for whose sake: among the members of the jury chaired by the rector of the Moscow Conservatory A.V. Sveshnikov, Maria Callas shone. The public greeted her appearance in the Hall of Columns of the House of Unions standing.
In Soviet newspapers, her photo was invariably signed: “M. Callas is a popular Italian singer." In fact, the word “popularity” was more suitable for her companion, the outstanding tenor Tito Gobbi.
Over the years, the composition of the vocal jury, as in other categories of the Tchaikovsky Competition, began to be replenished by its former laureates. “Solo singing” at Tchaikovsky competitions was repeatedly judged by Maria Bieshu (III prize, 1966), Evgeniy Nesterenko (I prize, 1970), Vladislav Piavko (II prize, 1970), Zurab Sotkilava (II prize, 1970).
Irina Arkhipova set a kind of judicial record. A two-time member of the jury under the direction of A. V. Sveshnikov (in 1970 and 1974), she herself chaired the Sixth, Seventh, Eighth, Ninth and Eleventh Tchaikovsky Competitions. Her intuition and experience resulted in victories in 1978 for Lyudmila Shemchuk (1st prize, USSR), Ewa Podles (3rd prize, Poland), Jacqueline Page-Green (IV prize, USA); in 1982 - the discovery of an outstanding “set” of male voices: Paata Burchuladze (bass, 1st prize), Gegham Grigoryan (tenor, 2nd prize), Vladimir Chernov (baritone, 3rd prize); in 1986, the III Prize was awarded to Maria Guleghina, and in 1990, the I Prize was awarded to Deborah Voigt (USA).
At the tenth anniversary Tchaikovsky Competition (1994), the jury consisted entirely of former laureates. The singers were judged by Zurab Sotkilava (chairman, Russia), Elena Obraztsova (Russia), Jane Marsh (USA), Sylvia Shasz (Hungary), Maria Bieshu (Moldova), Ivan Ponomarenko (Ukraine) and others.
For the first time in the history of the competition, the Grand Prix was awarded. The award was received by Khibla Gerzmava, now the leading soloist of the Moscow Stanislavsky and Nemirovich-Danchenko Musical Theater, known far beyond Russia.
Another participant in that competition, American soprano Laura Claycomb (2nd prize), has become a favorite of the metropolitan public in recent years; after a solo concert (2006), she returned to Moscow to participate in the Grand Festival of the Russian National Orchestra, in concert performances of operas by Donizetti and Offenbach.
“The 1994 Tchaikovsky Competition hardly helped my career much, but it opened my eyes to a lot and gave me a lot,”
- says the singer.
At the peak of musical life
Among the difficult moments in the post-Soviet history of the competition, three should be noted.
Failure into obscurity: in the early 1990s, the competition was expelled from the World Confederation for non-payment of fees. Conflict between “fathers and sons”: in 1994, by the will of the jury members - mostly laureates of the previous years' competition - so many strong competitors did not reach the finals that the first, second, third and fifth prizes were not awarded.
Finally, there was a calendar glitch that disrupted the four-year cycle: the XIII competition was held in 2007, not 2006. Otherwise, the competition changed in accordance with how our country and society lived during these years; the changes, however, did not affect the main thing - the unique alliance of four nominations.
The XIV competition, held in the summer of 2011, became a significant milestone in the history of creative competition, taking it to a fundamentally new level. The main principles of the Fourteenth Review were formulated by its new president Valery Gergiev: to raise the judging “reputation” of the competition, which has lost its former authority, to push the boundaries of the competition, which in the eyes of the music world has turned into an “internship” of professors of capital conservatories, to give an international scale to the competition, to advance the competition technologically and most importantly - organize worldwide concert engagements for the laureates.
As a result, the competition has undergone many changes. For the first time, creative competitions were held in two cities - Moscow (for the specialties “piano” and “cello”) and St. Petersburg (for the specialties “violin” and “solo singing”).
The audience of the competition increased many times due to Internet broadcasts, which were conducted from each round of the competition in Russian and English. For the first time in many years, the jury included not teachers, but world-class artists. Reputable agencies were involved in cooperation to organize post-competition tours. All this allowed the Tchaikovsky Competition to become a tournament of a new formation.
In fact, the competition has regained its function as a real career start for young performers. The absolute winner of the show - winner of the first prize and Grand Prix - pianist Daniil Trifonov received concert engagements for several years to come. But pianists Eduard Kunz, Philip Kopachevsky, Alexander Lyubyantsev, who did not make it to the finals, became real world stars thanks to Internet broadcasts after the competition.
In 2015, the competition has a double anniversary status - it will be held for the fifteenth time, celebrating not only its own anniversary, but also the 175th anniversary of the Russian classic whose name it bears.
In many ways, the powerful vector of development set by the last competition will continue this time. Once again, the venues for young musicians will be the halls of Moscow (nominations “piano” and “violin”) and St. Petersburg (nominations “cello” and “solo singing”), viewers can expect online broadcasts, and a wide arsenal of modern technical capabilities. Famous performers will serve on the jury.
Despite the difficult economic situation, the competition is planned to be held at the proper level. This was stated by Deputy Prime Minister of the Russian Federation, Chairman of the Organizing Committee of the XV Competition Olga Golodets. The anniversary competition will see an unprecedented increase in the Grand Prize to 100 thousand dollars, and this amount will be added to the 30 thousand dollars for the first prize. This is the largest competitive award in the world of classical music.
ClassicalMusicNews.Ru, based on media materials
International cello competition
nameSvyatoslav Knushevitsky
S. Knushevitsky
InternationalWITHelloWITHcompetence
The history of the competition began in 2012. Today, the Knushevitsky Competition, named after the outstanding representative of the Russian cello school, is the only independent international competition in the specialty “Cello” in our country and has already become a noticeable phenomenon in international musical life.
The organization of the competition was dictated by the desire to preserve the memory of the wonderful Russian musician, to popularize the art of cello performing, and also to give an opportunity to young musicians, both from Russia and from countries near and far abroad, to demonstrate their talent.
The jury of the competition includes famous figures of world musical art. The jury was headed by a student of S. N. Knushevitsky, professor of the Moscow Conservatory, People's Artist of Russia Igor Gavrysh. The Chairman of the Organizing Committee of the competition is the rector of the Moscow State Conservatory. P. I. Tchaikovsky, Honored Artist of Russia, Professor Alexander Sokolov.
The competition is held thanks to the charitable financial and organizational support of the foundation "SAFMAR".
The creative competition is held in two age categories: the younger group - up to 18 years old and the older group - from 18 to 26 years old. Every year the competition expands its geography. This year, young cellists from Russia, Belarus, Ukraine, Hungary, France, Germany, Kazakhstan, China, Turkey, Uzbekistan, and South Korea are competing. According to tradition, after competitive performances on the stage of the Saratov Regional Philharmonic named after A. Schnittke, the laureates will give a concert in the city of Petrovsk, Knushevitsky’s homeland. The winner of the 1st prize in the Senior age group in the 2016-2017 concert season will be invited to perform in Italy with the Genoa Symphony Orchestra.
Chairman of the competition jury, People's Artist of Russia Igor Gavrysh, summing up the results of the II competition, noted: “I am very glad that history is being made before our eyes - the Knushevitsky Competition is expanding and growing. Naturally, it reveals a lot of new things to us: it gives participants an amazing opportunity for creative development, searching for new paths in the performing arts; becomes the beginning in their own musical destiny... We hope that the competition will have a chronicle rich in events and names, it will live and develop...”
Press service of the III International Cello Competition named after Svyatoslav Knushevitsky.
Start of accepting applications for participation in the VII Moscow Cello Festival “CELLO GENERATIONS” November 25 – December 8, 2019
Artistic director of the festival “Cello Generations”
People's Artist of Russia, Moscow Prize Winner,
Professor - Tonkha Vladimir Konstantinovich,
Festival Director - Honorary Artist of the City of Moscow, Chief Specialist of the Creative Department of the Moscow Musical Society - Chernova Larisa Konstantinovna (tel. 8 925 8332709)
sent by email:
MESSAGE
about the start of accepting applications for participation
VI Moscow Cello Festival
"CELLO GENERATIONS"
The Moscow Musical Society regularly holds festival concerts in several of the best halls in Moscow.
This is the only festival in Russia in which musicians of all ages participate, from seven-year-old children to seasoned cellists. These concerts provide a creative opportunity for communication between young and mature performers, which we consider one of the main conditions for the development of a musician. The festival attracts more and more attention from the music community every year.
Artistic director of the festival “Cello Generations”:
People's Artist of Russia, Moscow Prize Laureate, Professor - Tonkha Vladimir Konstantinovich,
Festival Director- Honorary artist of the city of Moscow, chief specialist of the creative department of the Moscow Musical Society - Larisa Konstantinovna Chernova.
Applications and participant programs should be sent by email: [email protected]- V.K, Tonkha, [email protected] OK. Chernova.
- The time, place and order of performances of participants are determined by the Organizing Committee.
- The participant is responsible for the information provided and sent to the Organizing Committee.
- Please inform the Organizing Committee about changes in the performance program in advance.
- Diplomas will be awarded on December 8, 2018. At the Central House of Arts at the Gala concert.
The application indicates:
first and last name of the participant.
Full name, title of accompanist and teacher.
official name of the educational institution, full name of the Director.
In the performance program, indicate the title of the work, the composer’s surname with his initials.
FIRST MOSCOW COMPETITION
"CELLO GENERATIONS".
For objective reasons, the competition is postponed for a year.
Scheduled for November - December 2018
VMoscow Cello Festival
"Cello Generations"
Concert schedule
| December 2nd | Opening of the festival. MSSMSH named after. Gnesins. "Organ Hall" | start 18-00 |
| December 3 | Concert Hall named after. N.Ya. Myaskovsky MGC | start 19-00 |
| December 4 | "Big Hall" of the school named after. Gnessins | start 19-00 |
| December 6 | FIAN "Column Hall" | start 18-15 |
| December 7 | Living room of the Shuvalova House | |
| 9th December | Library of Foreign Literature. Big hall | start 18-00 |
| December 10 | CDRI. Gala concert Exhibition hall | start 17-00 |
The first Moscow competition “Cello Generations” was established and held by the Moscow Musical Society in the fifth anniversary of the Moscow Cello Festival “Cello Generations”.
The competition is held for students of Children's music schools and colleges. As part of this competition, a competition is held for students of special music schools (MSMSH named after the Gnessins, Central Musical School at the Moscow State Conservatory named after P. I. Tchaikovsky).
The objectives of this competition are to attract interest in the instrument, improve the quality of teaching in music schools and colleges, and increase the level of training of applicants for higher educational institutions.
The competition jury will include professors from the Moscow State Conservatory named after P.I. Tchaikovsky, Russian Academy of Music named after the Gnessins, teachers of Children's music schools and colleges, representative of the Directorate of educational programs in the field of culture and art.
CONDITIONS OF THE COMPETITION:
1. PROCEDURE FOR SUBMITTING APPLICATIONS
1.1. The 1st Moscow competition “Cello Generations” is held in three age groups: Junior, Middle and Senior.
The junior group can include performers who are under 11 years of age at the start of the competition.
The middle group can include performers who are under 14 years old on the day the competition starts.
In the senior group, performers from 14 to 16 years old (inclusive) can perform.
1.2. The competition will be held in Moscow from November 28 to December 1, 2017 in the Concert Hall of the International Union of Musical Workers (UIMU).
Address: Moscow, Bryusov lane, 2/14, building 8. (entrance from Bolshaya Nikitskaya street) Directions - Metro: Arbatskaya, Alexandrovsky Garden).
1.3. To participate in the competition, the following documents should be sent to the Competition Directorate by e-mail or registered mail, fast mail:
APPLICATION
♦ Birth certificate, Passport (copy)
♦ Full name teacher and accompanist
♦ Program for tours with the obligatory indication of the title of the work, composer and playing time.
♦ Photo - printed or electronically in jpeg format. in high resolution;
1.4. Entrance fee. The amount of the entry fee and the form of payment will be announced later .
1.5. Address of the Competition Directorate: Russia, 125047, Moscow, 1st Tverskaya - Yamskaya street, building 4. Moscow Musical Society - Directorate of the Cello Competition.
2. ORDER OF THE COMPETITION:
2.1. Competitive tests in the younger age group will be held in one round. In the middle and senior groups, the competition is held in two rounds: the first qualifying round, the second final.
All pieces must be performed by heart. Each piece can only be performed in one round.
All auditions are held publicly
2.2. The order of performances is determined by drawing lots and remains until the end of the competition. The draw will take place on Monday 27 November 2017.
2.3. Participants who have scored at least 18 points (according to a 25-point system) will be admitted to the second round (middle and senior groups)
2.4. Non-resident performers are allowed to participate in the competition.
Travel and accommodation are not paid for by the organizers of the Competition.
2.5. All participants in the Competition must perform with their own accompanists.
3. COMPETITION AWARDS:
3.2. The winners are the participants who take the first three places.
3.3. By decision of the jury, the winners of the competition can also be determined.
3.4. All participants in the competition are awarded certificates of participation (with a separate note for those who made it to the second round).
in the Organ Hall of the Moscow Secondary Special Music School (College) named after the Gnessins.
3.6. The best of the competition laureates, as well as the best festival participants, will take part in the GALA CONCERT of the V Moscow Cello Festival “Cello Generations” in the Rachmaninoff Hall of the Moscow State Conservatory named after P. I. Tchaikovsky on January 22, 2018.
COMPETITION PROGRAM:
Junior group
2 - 3 pieces, total sound duration up to 10 - 12 minutes