International Cello Competition. For objective reasons, the competition is postponed for a year

Paragraph 1.

The Association of Teachers of Musical Institutions of Serbia and the production center MIR Production (hereinafter: organizer), with the support of the Ministries of Culture and Communications, organizes INTERNATIONAL MUSIC COMPETITION - Belgrade, Serbia (International Music Competition - Belgrade, Serbia), hereinafter: competition. The competition takes place entirely online.

Point 2.

The competition is held according to the rules for participants in nominations and the rules of the jury. The jury is chosen by the competent commission, and confirmed by the Organizing Committee of the Association.

Point 3.

Performers from all over the world are invited to participate in the competition.

Item 4.

The competition program includes two works of the participant's choice and is performed completely by heart (soloists). It is allowed to perform movements (sonata, suite, symphony, concerto…) as two works. Duets and ensembles do not have to perform the program by heart. Competitors may perform accompanied by only one accompanist.

SOLOIST

• I category - born in 2011 and younger up to 8 minutes
• II category - born in 2009 and younger up to 8 minutes
• III category - born in 2007 and younger up to 10 minutes
• IV category - born in 2005 and younger up to 10 minutes
• Category V - born in 2003 and younger up to 13 minutes
• Category VI - born in 2001 and younger up to 14 minutes
• VII category - born in 1999 and younger up to 14 minutes
• VIII category - born in 1997 and younger up to 14 minutes
• IX category - born in 1991 and younger up to 14 minutes
• X category - born in 1990 and older up to 14 minutes

DUET (two identical instruments)

• XI category - born in 2011 and younger up to 8 minutes
• XII category - born in 2009 and younger up to 8 minutes
• XIII category - born in 2007 and younger up to 10 minutes
• XIV category - born in 2005 and younger up to 10 minutes
• XV category - born in 2003 and younger up to 13 minutes
• XVI category - born in 2001 and younger up to 14 minutes
• XVII category - born in 1999 and younger up to 14 minutes
• XVIII category - born in 1997 and younger up to 14 minutes
• XIX category - born in 1991 and younger up to 14 minutes
• XX category - born in 1990 and older up to 14 minutes

ENSEMBLE (from 3 to 15 participants)

Ensembles may perform with only one concertmaster and/or illustrator. The age category is determined by the average age of all participants, not taking into account the age of the illustrator and/or accompanist.

• XXI category - born in 2009 and younger up to 7 minutes
• XXII category - born in 2005 and younger up to 7 minutes
• XXIII category - born in 2001 and younger up to 10 minutes
• XXIV category - born in 1991 and younger up to 12 minutes
• XXV category - born in 1990 and older up to 12 minutes

STUDENT - TEACHER

• XXVI category - born in 2009 and younger up to 7 minutes
• XXVII category - born in 2007 and younger up to 10 minutes
• XXVIII category - born in 2005 and younger up to 10 minutes
• XXIX category - born in 2003 and younger up to 10 minutes
• XXX category - born in 2001 and younger up to 12 minutes
• XXXI category - born in 2000 and older up to 12 minutes

Item 5.

If a work is performed as a premiere, it is necessary to send the musical material of this work in electronic form.

Item 6.

The competitive video recording must meet the following requirements:

• As proof that the video recording is intended exclusively for the competition, the participant is obliged to pronounce his name, surname and year of birth before performing the competition program.
• Video recording must be sent in Mp4 format (video conversion only through the converter http://convert-video-online.com/ru/)
• The video recording must show the instrument, the face and hands of the performer, the accompanist
• The competitive program is performed in the format of a competitive performance
• Stopping the video camera during the entire recording is not allowed
• A video recording that does not meet these requirements will be returned to the participant with an offer to deliver a new one that meets the conditions of the competition

Item 7.

The application is sent directly from the site. The participant submits the following documentation:

• CompletedOnLine application in English
• Video recording in Mp4 format
• Scanned birth certificate or passport page with personal details
• Scanned confirmation of payment (form)

* Total maximum sizeall files - up to 100 Mb

Item 8.

Participants pay a fee in the amount of:

• I, II, III categories - 20 euros
• IV,V, VI, VII, VIII, IX and X categories - 25 euros
• Duets - 30 euros (from a duet)

* Commission and translation costs are paid by the contestant.

Item 9.

The competition is held annually. Applications are accepted from February 15th to April 01st. From April 05, video recordings of the competitive performance will be available on the website www.musiccompetition.eu and on April 15 the jury will announce the results for all competitive categories.

Item 10.

The representative of the organizing committee checks each application and its compliance with the competition rules.

Item 11.

By participating in the competition, performers automatically waive their rights to financial compensation in connection with the publication and distribution of music videos on CD, DVD or the Internet.

Item 12.

The work of the jury is regulated by the rules. Famous musicians, teachers, conductors and outstanding cultural figures are invited to the jury. The jury's decision is final and not subject to appeal.

Item 13.

Participants are evaluated based on the average score of the jury members:

• FIRST DEGREE WINNER awarded to the participant who scores at least 90.00/100 points
• WINNER OF THE SECOND DEGREE awarded to the participant who scores at least 80.00 points
• THIRD DEGREE WINNER awarded to the participant who scores at least 70.00 points
• DIPLOMA awarded to a participant who scores at least 60 points

The number of diplomas of laureates is unlimited.

Item 14.

The contestant, laureate of the first degree, who scored the most points in the competitive nomination, receives a diploma Internet music Champion of the World.

If several competitors in their category receive the same number of points, the competitor who is younger has the advantage. If several participants in different age categories score the same number of points, the final decision on the winner is made by the jury.

Item 15.

Diploma holder Internet Music Champion of the World participates in the Masters Final. The jury selects the overall winner of the Masters Final, i.e. the entire competition.

Item 16.

Prize Fund of the Association:

• All contestants are awarded with diplomas
• Teachers and accompanists, upon request, receive a “Certificate for Portfolio”
• Invitation to the jury of the competition
• The absolute winner receives a trophy and a diploma
• State and public organizations, enterprises, sponsors, individuals, in agreement with the organizer, can establish special prizes and awards

PrizefundMIR Production www.mirproduction.com for a total amount of 2.000 US$ will be distributed among the selected participants of the Masters Final. The prize fund consists of the following awards:

• Cash prize for the absolute winner of the Masters Final
• Contract for concert management with the production center "MIR Production"
• Making a complete website
• Placing a photo of the absolute winner on the contest poster
• Production of concert posters
• All participants of the Masters Final do not pay the participation fee for the next competition
• Organization of a solo concert or concert tour
• Professional photo session
• Payment for travel, accommodation or entry fee for participation in the Master class
• Payment of the entrance fee for participation in the competition at the choice of the contestant
• Other prizes by agreement with the organizer

MIR Production reserves the right to distribute the prize fund.

Item 17.

Upon completion of all nominations of the competition, diplomas are sent to all contestants on May 9 by mail to the address of the institution that the participant represents.

Item 18.

In case of disagreement that has arisen between the Organizer and the participant, the rules in the Serbian language shall be considered competent.

Item 19.

By submitting an application for the competition, participants automatically agree to all the conditions from the above rules.

03/23/2012. TV channel "Culture"
I International Svyatoslav Knushevitsky Cello Competition

The first International Svyatoslav Knushevitsky (1907-1963) Cello Competition will be held from April 25 to May 2 in Saratov, the birthplace of the famous musician. This was told today at a press conference by its organizers.

According to the People's Artist of Russia, Vice-Rector of the Moscow Conservatory Alexander Bonduryansky, the competition was created in order to preserve the memory of the outstanding Russian cellist, who devoted his whole life to serving the national culture, educated a number of wonderful musicians in his class.

“Another task of the review is to popularize the cello performing culture in the Russian regions, identify new talented young musicians, educate young people in good memory, respect and gratitude for the personalities who have increased the glory of the great Russian culture,” added the director of the forum, a student of Svyatoslav Nikolayevich Sergey Usanov.

Competition, the organizing committee of which is headed by the rector of the Moscow Conservatory. P.I. Tchaikovsky Alexander Sokolov, is held in two age categories - the younger group (juniors) up to 18 years old and the older group (seniors) from 18 to 26 years old. Auditions will be held in the Great and Small Halls of the Saratov State Sobinov Conservatory, whose centenary is celebrated this year. According to the chairman of the jury of the review, People's Artist of Russia Igor Gavrysh, "there were big doubts about the number of participants." “We counted on 40 people, but it turned out to be a record number of 53. We decided to give everyone who sent an application for participation an opportunity to show their talent. For the sake of Svyatoslav Knushevitsky,” he said, adding that “the geography of the competition is amazing, Russia is represented surprisingly widely.” Thus, musicians from Moscow, St. Petersburg, Nizhny Novgorod, Kazan, Samara, Yakutsk, Ufa and other cities of the country will gather in Saratov.

The program is mainly composed of works that were part of Knushevitsky's repertoire. The competition will be held in two rounds for the junior group and three rounds for the senior group. The final stage will be accompanied by the symphony orchestra of the Saratov Schnittke Philharmonic. The winners of the upcoming review during the 2012-2013 concert season will have the opportunity to perform in Russia and other countries of the world.

As part of the competition, jury members - famous musicians from Russia, countries of near and far abroad - will give concerts, as well as master classes. And in the foyer of the conservatory it is planned to open an exhibition dedicated to the life and work of Svyatoslav Knushevitsky.

The famous cello soloist, head of the cello and double bass department of the Moscow Conservatory, professor, laureate of the USSR State Prize, Honored Art Worker and People's Artist of the RSFSR Svyatoslav Knushevitsky was born in the city of Petrovsk, Saratov Region. He graduated from the Moscow Conservatory, class of Professor Kozolupov. Thanks to the activity of the maestro as a soloist, the cello occupied a place on the concert stage equal to that of the piano and violin. For a long time he performed as part of a unique trio with brilliant musicians Lev Oborinyi and David Oistrakh. Together they successfully toured in many countries of the world.

Start of accepting applications for participation in the VII Moscow Cello Festival "CELLO GENERATIONS" November 25 - December 8, 2019

Artistic Director of the Cello Generations Festival

People's Artist of Russia, Laureate of the Moscow Prize,

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 to email:

MESSAGE

about the start of applications for participation

VI Moscow Cello Festival

"CELLO GENERATIONS"

The Moscow Musical Society regularly holds festival concerts in several of the best halls in the city of Moscow.

This is the only festival in Russia in which musicians of all ages participate, from seven-year-old children to venerable 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 year by year attracts more and more attention of the musical community.

Artistic Director of the Cello Generations Festival:

People's Artist of Russia, Laureate of the Moscow Prize, Professor - Tonkha Vladimir Konstantinovich,

Festival director- Honorary Art Worker of the city of Moscow, chief specialist of the creative department of the Moscow Musical Society - Chernova Larisa Konstantinovna.

Applications and programs of participants should be sent by e-mail: [email protected]- V.K, Tonha, [email protected] OK. Chernov.

• The time, place and order of the participants' performances is determined by the Organizing Committee.
• The participant is responsible for the provided information sent to the Organizing Committee.

• Changes in the performance program should be reported to the Organizing Committee in advance.
• Diplomas will be awarded on December 8, 2018. At the Central House of Arts at the Gala Concert.

The application specifies:

name and surname of the participant.

Full name, titles of accompanist and teacher.

the official name of the educational institution, the 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.

Planned for November - December 2018

VMoscow Cello Festival

"Cello Generations"

Concert schedule

The first Moscow Cello Generations Competition was established and is held by the Moscow Musical Society in the fifth anniversary year of the Moscow Cello Generations Festival.

The competition is held for students of Children's music schools, colleges. As part of this competition, a competition is held for students of special music schools (MSSMSH named after the Gnessins, Central Music School at the Moscow State Conservatory named after P. I. Tchaikovsky).

The objectives of this competition are to attract interest to the instrument, improve the quality of teaching in music schools and colleges, improve the level of preparation of applicants for higher educational institutions.

The jury of the competition will include professors of the Moscow State Conservatory named after P.I. Tchaikovsky, the Gnesins Russian Academy of Music, teachers of Children's music schools and colleges, a representative of the Directorate of educational programs in the field of culture and art.

CONDITIONS OF THE COMPETITION:

1. PROCEDURE FOR SUBMISSION OF APPLICATIONS

1.1. The 1st Moscow Competition “Cello Generations” is held in three age groups: Junior, Middle and Senior.

In the younger group, performers who are not yet 11 years old on the day of the start of the competition can perform.

In the middle group, performers who are under 14 years old on the day of the start of the competition can perform.

In the senior group, performers from 14 to 16 years old (inclusive) can perform.

1.2. The competition will be held in Moscow during the period November 28 - December 1, 2017 at the Concert Hall of the International Union of Musicians (IMMD).

Address: Moscow, Bryusov lane, 2/14, building 8

1.3. To participate in the competition, the following documents should be sent to the Competition Directorate by e-mail or by registered mail, by fast mail:

REQUEST

♦ Birth certificate, Passport (copy)

♦ Full name teacher and concertmaster

♦ Program for tours with the obligatory indication of the title of the work, the composer of the time of sounding.

♦ Photo - printed or electronic jpeg format. in high resolution;

1.4. Entrance fee. The amount of the entrance fee and the form of payment will be announced later .

1.5. Address of the Directorate of the Competition: Russia, 125047, Moscow, street 1st Tverskaya - Yamskaya, 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, the second final.

All works must be performed by heart. Each piece can only be performed in one round.

All auditions are public

2.2. The order of performances is determined by a draw and is kept 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. Performers from other cities are allowed to participate in the competition.

Travel and accommodation are not paid by the organizers of the Competition.

2.5. All participants of the Competition must perform with their accompanists.

3. AWARDS OF THE COMPETITION:

3.2. The winners are the participants who take the first three places.

3.3. By decision of the jury, diploma winners of the competition can also be determined.

3.4. All participants of the competition are awarded certificates of participation (with a separate note for those who passed to the second round).

in the Organ Hall of the Moscow Gnessin Secondary Special Music School (College).

3.6. The best of the winners of the competition, as well as the best participants of the festival, will take part in the GALA CONCERT of the 5th Moscow Cello Festival "Cello Generations" in the Rachmaninov Hall of the Moscow State Tchaikovsky Conservatory on January 22, 2018.

COMPETITION PROGRAM:

Junior group

2 - 3 works, total sounding up to 10 - 12 minutes

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The 1st International Tchaikovsky Competition became a turning point in the second half of the 20th century, dotting the i's in the official attitude of the Soviet state towards performing arts.

New Formation Tournament

The 1st International Tchaikovsky Competition was a turning point in the second half of the 20th century, dotting the i's in the official attitude of the Soviet state towards performing arts.

The spring of 1958 for a long time taught the public of our country to patriotically cheer for their own people and at the same time wish victory for new idols from abroad.

Since then, the "Iron Curtain" has fallen, teachers of pre-revolutionary education were replaced by their students, then by students of students. The world, once divided into "us" and "them", has become one again.

Force of Destiny

Only four years separated from each other the birth of the St. Petersburg (1862) and Moscow (1866) conservatories. Tchaikovsky, a graduate of the St. Petersburg Conservatory, was destined to become one of the first professors of the Moscow Conservatory. According to his recommendations, the staff of the Moscow professorship was replenished by Petersburgers: the composer Mikhail Ippolitov-Ivanov, the pianist and conductor Vasily Safonov, the future director of the Moscow Conservatory.

The 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 later split into Soviet and foreign.

Thanks to the Tchaikovsky competition, these two lines met. Van Cliburn and Daniel Pollak, winners of the 1st and 8th prizes of the First Competition, studied at the Juilliard School (New York) with Rosina Levina, a student of Vasily Safonov. Israeli violinist Shmuel Ashkenazi, winner of the II Prize of the Second Competition, studied with 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 Sovetskaya Kultura, 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 a member of the cello jury. At the competition, after many years of separation, he met his brother Alexander Stogorsky, a Moscow cellist and teacher. So human destinies became part of the history of the competition.

All this saturates 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, the winner of the IV competition, taught for nineteen years in Hannover, where he ended his life.

“What Stalin dreamed of - to spread the influence of our country to the whole world - the musicians succeeded. The whole world was filled with the Russian-Soviet performing school”,

Krainev wrote in his autobiographical book The Pianist's Monologue.

piano lyrics

For the first competition, the Aprelevka Plant produced 40,000 gramophone records with recordings of Tchaikovsky's works. The first pianist to open 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, the listeners themselves became true lyricists:

"Dear Van! I cannot write to you. For the first time in my life, although I am 17 years old, I cried while listening to music. You won me over with your game, which I will never forget. I want to say a big thank you to you. You opened my eyes, I realized that life is wonderful; there is so much beauty around. I can't write anymore. Thank you, thank you…” (from the archive of the Tchaikovsky House-Museum in Klin).

In 1966, an unprecedented performance by Grigory Sokolov forced the jury to recognize the victory for a 16-year-old pre-conservatory youth. Among the members of the jury there was an authoritative Frenchwoman Nadia Boulanger, who at her 78 years old was hard to surprise: among her students were Leonard Bernstein, George Gershwin, Dinu Lipatti, Darius Milhaud, Daniel Barenboim.

The outstanding French pianist Marguerite Long owes the Tchaikovsky Competition the metaphor “Musical Spring of the World”:

“I was very excited by the invitation to join the jury of the International Tchaikovsky Piano and Violin Competition. … not only because the competition bears the name of 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 The Pianist's Monologue, Vladimir Krainev told how Ekaterina Furtseva personally made the decision to participate in the competition. The honored 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 Ysaye Competition (named after Queen Elisabeth in 1951) opened the world to violinists David Oistrakh, Boris Goldstein and Mikhail Fikhtengolts (1937), pianists Emil Gilels and Yakov Flier (1938). Brussels winner in 1951, Leonid Kogan, was repeatedly a member of the violin jury headed by Oistrakh at the Tchaikovsky Competition. Finally, the third prize in Brussels (1967) went to Gidon Kremer, who won the IV Tchaikovsky Competition (1970).

Since 1990, the competition's decline in prestige has become increasingly noticeable. The perfect thaw start and the level of the winners of 1960-80. looked like a living reproach to the competition that was losing prestige. Later competitions were tuned only to memories of former laureates.

The experience of the first competition, where eight out of nine Soviet violinists – Valentin Zhuk, Viktor Pikaizen, Zarius Shikhmurzaeva, Mark Lubotsky, Zhan Ter-Mergeryan, Valery Klimov, Nina Beilina, Viktor Lieberman – made it to the third round was exceptional in its own way. In 1958, there was a condition to exempt winners of major international competitions from the first round. The abolition of this condition made the victories at the following competitions more and more convincing.

Boris Gutnikov won the 1st Prize among violinists at the Second Competition, Irina Bochkova and Shmuel Ashkenazy shared the 2nd Prize, Nina Beilina won the 3rd Prize, Albert Markov won the 4th, and Eduard Grach won the 5th. The following competitions were marked by upsurge: the Third (Viktor Tretyakov - 1st Prize, Oleg Kagan - 2nd Prize, Oleg Krysa - 3rd Prize), the Fourth (Gidon Kremer - 1st Prize, Vladimir Spivakov - 2nd Prize, Liana Isakadze - 3rd Prize, Tatyana Grindenko - IV prize) and the Seventh (Victoria Mullova and Sergey Stadler - I prize).

Celebrating in 1958 the victory of the first violin laureate "named after Tchaikovsky" Valery Klimov, the country rejoiced.

The organizing committee, for example, received a letter from the Stalingrad region from a 31-year-old miner:

“Hello, dear Chairman! With great interest, I followed the preparation and holding of the international music competition. P. I. Tchaikovsky in Moscow. I listened [on the radio] to the entire program performed by all the contestants. 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 the first prize. So he plays better than all the violinists 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 archive of the Tchaikovsky House-Museum in Klin).

In fact, in 1958, only the third round was broadcast on radio and TV. But even this was enough for people to write surprisingly personal letters about the contestants ...

Transformation of the cello world

In 1962, a cello nomination 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).

Brandukov is dedicated to "Pezzo Capriccioso" for cello and orchestra, which became an obligatory piece of the first cello tour. Being a well-known teacher in Moscow, Brandukov organized cycles of chamber evenings. In the 1940s, after his death, they were often visited by a student of the Moscow Conservatory in the class of Semyon Kozolupov, Mstislav Rostropovich. In 1944 he became a member of the future Borodin Quartet, where he was soon replaced by Valentin Berlinsky. In 1996, Ruben Aharonian became the Quartet's first violinist, winner of the 2nd prize at the 5th Tchaikovsky Competition.

A new stage in the popularization of the cello art was marked by the active work of Rostropovich. Cellists began to add to the compositions written for him, including the Cello Sonata (1949) and the Symphony-Concerto for Cello and Orchestra (1952) by Prokofiev, the First Concerto for Cello and Orchestra (1959) by Shostakovich. Its premiere took place in October 1959. In 1962, this work, already known in the world, was included in the program of the Tchaikovsky Competition.

The Shostakovich 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 Maréchal spoke:

“It was a great joy and honor for me to follow the great Soviet composer Shostakovich, who is so often applauded by Paris 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 (3rd prize), Toby Ellen Sachs (6th prize), Gloria Strasner, Joanna de Keyser. Prokofiev's Symphony Concerto was performed by Natalia Shakhovskaya (1st prize), Natalia Gutman (3rd prize), Laszlo Meuse (4th prize), Lynn Harrell, Jurgen Ernst de Lemos.

Viktor Apartsev and Valentin Feigin made the task more difficult by including both compositions in their programs. This brought Feigin II prize. His neighbor on the competitive podium was American Leslie Parnassus.

“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 - everyone played in his own way and basically coped with the task. How interesting it was for us, the members of the jury, to listen to different interpretations of the Shostakovich Concerto...

How interesting it was to compare the interpretation of Kodai's Sonata, different parts of which the contestants performed in the second round. Many, like Feigin and Meuse, 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 have been 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, first of all, 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 conquered the legendary Grigory Pyatigorsky, who admitted:

“Gutman plays charmingly, feminine, but she also has strength. She got me very interested. I kissed her once, so serious and sweet, so shy and sad. And then I noticed that she suddenly smiled. It was the only smile I saw on 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 pen for a long time. It was a “second-class” instrument, so to speak… an echo of these views also affected the First Tchaikovsky Competition. I even got a little angry at the time. But, of course, this is not the only example.

I remember once playing in an ensemble with Heifetz and Horowitz. Before entering the stage, an “important” question was debated: in what order should they enter the stage. But I quickly ended the discussion by saying: “What are you arguing about? I certainly know who needs to go last - of course, the cellist ... "

Of course, after cellists of the level 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, the question is no longer set. 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 the departure of Rostropovich, his role in the formation of a new cello repertoire is especially noticeable. During the XIII Tchaikovsky Competition, jury member Ivan Monighetti said:

“Shostakovich's First Concerto and Prokofiev's Symphony-Concerto are compositions that turned the notion of the possibilities of the cello upside down. 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 nomination at the Third Tchaikovsky Competition (1966) was due to the then popular idea of ​​the global expansion of the Moscow competition, up to the introduction of opera and ballet.

The successes of the first two contest enterprises gave rise to the utopian idea of ​​turning the contest into a "competition of all kinds 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 very different people from all over the world”,

- argued in 1962 the chairman of the piano jury Emil Gilels.

“It seems to me expedient that from now on, not only instrumentalists, but also singers, symphony orchestras, ballet and opera troupes compete at the Tchaikovsky competitions. Tchaikovsky is the creator of brilliant symphonies, operas, ballets, romances. Instrumental works are only an addition to this grandiose creative wealth.

And if competitions are supposed to carry out, in addition to revealing new talents, also a popularizing mission, then the composer’s work should be presented at them in a wider volume.”

In fact, Neuhaus was talking about the monographic festival of Tchaikovsky's music, apparently regretting that the main part of the composer's heritage was not included in the competition repertoire.

The international dynamics of the competition, which in 1958 was attended by 61 musicians from 22 countries, in 1962 - 131 musicians from 31 countries, in 1966 - 200 musicians from 36 countries, fueled the desire of the USSR to be "ahead of the rest of the planet" in the spirit of the times. 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 nomination "solo singing" introduced for the first time, Furtseva delivered a government greeting.

In those years, the victory at the Tchaikovsky competition largely predetermined the further career of the laureate. Moreover, both Soviet and foreign. A year after winning the III competition, Vladimir Atlantov became a soloist of the Bolshoi Theater. And the first winner among women - American Jane Marsh - soon performed the role of Mozart's Pamina at the San Francisco Opera.

Next to the three instrumental specialties, the vocal nomination turned out to be a “competition within the competition”. The singers performed next to the Bolshoi Theater - in the Hall of Columns. They had their own specific audience.

There were more connoisseurs of operatic voices and music lovers in Moscow who got scarce records of operas than equally savvy lovers of the piano, violin or cello. And they were more passionate, although they did not shout the “boo” accepted 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 homeland.

The stronger was the impression made on the public by the contestants-guests. In 1966, against the background of the impeccable performance of Vladimir Atlantov (1st prize), Muscovites were struck 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 the 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'm trying my best to do it."

His early debut at Carnegie Hall eloquently testified to his achievements, where the singer performed Aleko's cavatina from Rachmaninoff's opera of the same name.

Member of the vocal jury George London (USA) in the days of the Third Competition tried to formulate the features of the Russian language in singing:

“Most of the vowels in it are clean and clear. There are, of course, some features 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:

“Shortly before the competition, I took part in the production of Boris Godunov in San Francisco, and for the first time I had to learn the part in Russian. Of course, there were difficulties - to take at least the alphabet ... but languages ​​\u200b\u200bare always very interested in me. And after the competition, I had to master the Russian repertoire - so Rachmaninov, Tchaikovsky, Gliere appeared in my asset.

The idea of ​​the alleged ballet component of the Tchaikovsky Competition resulted in the holding in 1969 in Moscow of the First International Ballet Competition. The awards ceremony was accompanied by a scandal: Ekaterina Furtseva, who presented the awards, became angry with the audience for the ovation given at the Bolshoi Theater to diploma student Eva Evdokimova (USA).

Ballet historian Vadim Gaevsky describes this situation in detail:

“Ekaterina Alekseevna at first smiled like a mother, then frowned and began to point at her watch. The audience did not give up. And then the usually restrained Furtseva lost control of herself, her face twisted angrily and, clenching her fist, she made some kind of threatening gesture.

So the International Ballet Competition almost fell into official disgrace.

Since the 1970 competition, a systemic countdown of Soviet winning singers began. At the Fourth Competition, Elena Obraztsova and Tamara Sinyavskaya deservedly received the first prize among women, Evdokia Kolesnik the third, and Nadezhda Krasnaya the fourth. Fifth and sixth prizes went to Esther Kovacs (Bulgaria) and Edna Garabedian-George (USA). Of the male winners, only Thomas Tomaschke (5th prize) was from the GDR. The rest of the laureates represented the USSR: Yevgeny Nesterenko and Nikolai Ogrenich (1st prize), Vladislav Piavko and Zurab Sotkilava (2nd prize), Viktor Trishin (3rd prize), Alexander Pravilov (4th prize), Alexander Rudkovsky (5th prize), Sarkis Guyumdzhyan and Valery Kuchinsky (VI Prize).

There was no exaggeration in such a generous distribution of awards to the singers: they had something to try for. Or rather, for whose sake: among the members of the jury, chaired by the rector of the Moscow Conservatory A.V. Sveshnikov, Maria Kallas shone. Her appearance in the Hall of Columns of the House of Unions was greeted by the public standing up.

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 replenish its former laureates. Maria Bieshu (III prize, 1966), Yevgeny Nesterenko (I prize, 1970), Vladislav Piavko (II prize, 1970), Zurab Sotkilava (II prize, 1970) were repeatedly evaluated for "solo singing" at Tchaikovsky competitions.

A kind of judicial record was set by Irina Arkhipova. A two-time member of the jury under the leadership of A. V. Sveshnikov (in 1970 and 1974), she herself chaired the Sixth, Seventh, Eighth, Ninth and Eleventh Tchaikovsky Competitions. Her intuition and experience turned into victories in 1978 for Lyudmila Shemchuk (1st prize, USSR), Eva Podles (3rd prize, Poland), Jacqueline Page-Green (4th 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 - by awarding the III Prize to Maria Guleghina, and in 1990 - the I Prize to Deborah Voight (USA).

At the jubilee Tenth 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 Shash (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 went to Khibla Gerzmava, now the leading soloist of the Moscow Musical Theater of Stanislavsky and Nemirovich-Danchenko, known far beyond the borders of Russia.

Another participant in that competition - the 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 of the post-Soviet history of the competition, three should be noted.

Fall into the unknown: in the early 1990s, the competition was expelled from the World Confederation for non-payment of the fee. The conflict of "fathers and sons": in 1994, at the behest of the jury members - mostly laureates of the competition of previous years - so many strong contestants did not reach the final that the first, second, third and fifth prizes were not awarded.

Finally, a calendar failure that broke the four-year cycle: the XIII contest was held in 2007, and not in 2006. The rest of the competition changed in accordance with how our country and society lived during these years; However, the changes did not affect the main thing - the unique alliance of four nominations.

The 14th competition, held in the summer of 2011, became a significant milestone in the history of the creative competition, which brought it to a fundamentally new level. The main principles of the Fourteenth Review were formulated by its new president, Valery Gergiev: to raise the judicial "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 a "cabal" of the professors of the capital's conservatories, to give an international scale to the competition, to advance the competition technologically and most importantly - organize world 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 (in the specialties "piano" and "cello") and St. Petersburg (in the specialties "violin" and "solo singing").

The audience of the competition has 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, not teachers, but world-class artists worked on the jury. Reputable agencies were involved in cooperation to organize post-competition tours. All this made it possible for the Tchaikovsky Competition to become a new type of tournament.

In fact, the competition has regained the function of a real career start for young performers. The absolute winner of the review - the owner of the first prize and the Grand Prix - pianist Daniil Trifonov received concert engagements for several years in advance. But the pianists Eduard Kunz, Philip Kopachevsky, Alexander Lyubyantsev, who did not qualify for the final, became real world stars after the competition thanks to Internet broadcasts.

In 2015, the competition has a double anniversary status - it will be held for the fifteenth time, marking not only its own round date, 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 be preserved this time as well. 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"). technical possibilities. The jury will be famous performers.

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 jubilee competition is waiting for an unprecedented increase in the Grand Prix to $100,000, and this amount will be added to the $30,000 for the first prize. This is the biggest competitive award in the world of classical music.

ClassicalMusicNews.Ru, based on media materials