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Since then, the “Iron Curtain” has fallen, teachers of pre-revolutionary training have been replaced by their students, then by their students’ students.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 then popular idea of ​​a global expansion of the Moscow competition, right 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 control of herself, her face twisted angrily and, clenching her fist, she made some kind of threatening gesture.”

This is how 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

The competition, dedicated to the great musician, first existed in the format of a festival, then a children's competition was named after Svyatoslav Knushevitsky, and in 2012 the organizers decided to “take a swing” at an international competition. And if at first there were doubts whether it would be possible to gather an international lineup of participants in Saratov, they were dispelled immediately as soon as applications for the first competition began to arrive. And by the third, their number almost doubled. This year, 14 cellists under the age of 18 (junior group) and 21 musicians under the age of 25 (senior group) took part in the competition. Among the participants are musicians from Russia, Belarus, Hungary, Germany, Kazakhstan, China, Turkey, Uzbekistan, Ukraine, France, and South Korea.

The competition, according to participants and jury members, attracts with its friendly atmosphere, although the audition schedule is very intense, and the mandatory program is difficult and almost immediately, from the first round, highlights all the strengths and weaknesses of the contestants. In the “senior group” it is Bach, Schubert and Popper’s virtuoso piece. It happened that a contestant was instantly captivated by his interpretation of Bach - the purest intonation, the “speaking” sound of the instrument, but ahead of him was Schubert’s “Arpeggione,” which required an emotional romantic impulse, a subtle sense of style and form. And then - the rapid "Dance of the Elves" that concludes the program. It was this that turned out to be the most tricky for many competitors, determining concert endurance. As a result, not everyone was able to complete this marathon.

Based on the results of two rounds in the “junior group” and three rounds in the “senior” group, the winners were determined.

Among juniors, 14-year-old cellist from China Zhai Zi Mo won the first prize. The young musician began studying at the age of three, first on the piano, and then continued as a cellist. He is already the owner of prestigious prizes and awards, to which has now been added a victory at the international Knushevitsky competition. The second prize was awarded to Mikhail Makhnach from Belarus. The young musician studies at the Moscow Music School named after. Gnessins, performs a lot, and this is his first award. The third prize was shared by Bok Yul Ji (Republic of Korea), Bakhytzhan Tolzhuma (Kazakhstan) and Lyudmila Funtikova (Russia).

In the senior group, victory went to two Russian performers: Rustem Khamidullin and Darima Tsyrempilova. Rustem Khamidullin, who received 1st prize at the 2nd All-Russian Music Competition, entered the first round of the 15th Tchaikovsky Competition without pre-selection. An unsuccessful performance at Tchaikovsky did not break the musician, and at this competition, according to him, he no longer felt nervous, he played freely and with inspiration.

Darima Tsyrempilov was attracted by her bright artistic manner of performance. Her cello Gancino (Milan, 1700) sounded elegant and sophisticated. The jury also decided to share the second and third prizes. Silver - Madeleine Duso (France) and Alexandra Perlova (Russia). Bronze went to Hungarian Andre Stankovsky and Russian Timur Kolodyazhny.

Direct speech

Marie Therese Grisanti, French cellist, member of the competition jury:

An undertaking such as a competition associated with the name of the great Russian cellist Svyatoslav Knushevitsky must be supported, and it is very good that this competition is not held in the capital. In France, for example, everything happens only in Paris. But it is absolutely necessary to open “new” Russian cities. I adore Russia, I’ve traveled all over it from Moscow to Vladivostok, I’ve even been to Lake Baikal. I really like Saratov. And I would like the competition to develop, because it has a future. He is already quite famous in Europe - in Germany and France. Such meetings are very useful for everyone: your school and ours, German and English, Chinese... All cellists in the world can come here, they know that they will be listened to very carefully. After all, the competition bears the name of the great Knushevitsky.

Help "RG"

The Svyatoslav Knushevitsky International Cello Competition has been held under the patronage of the Ministry of Culture of the Russian Federation since 2012. Organizers of the competition: the government of the Saratov region, the Ministry of Culture of the Saratov region, the Saratov Regional Philharmonic named after. A. G. Schnittke, Moscow State Conservatory. P. I. Tchaikovsky, Saratov State Conservatory named after. L. V. Sobinova and other musical and public organizations. The organizing committee of the competition is headed by the rector of the Moscow State Conservatory. P. I. Tchaikovsky, professor A. S. Sokolov. The jury consists of famous figures of world musical art. The chairman is Knushevitsky’s student, People’s Artist of Russia, Professor Igor Gavrysh. The organizing committee of the competition is headed by the Rector of the Moscow State Conservatory. P.I. Tchaikovsky, Honored Artist of Russia, Professor Alexander Sokolov.

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.

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 selected by a competent commission and confirmed by the Organizing Committee of the Association.

Point 3.

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

Point 4.

The competition program includes two works of the participant's choice and is performed entirely 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

• Category I - 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
• V category - born in 2003 and younger up to 13 minutes
• VI category - 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
• Category IX - 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 accompanist 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

Point 5.

If a work is being performed as a premiere, it is necessary to send electronically the sheet music for this work.

Point 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
• The video recording must be sent in Mp4 format (video conversion exclusively through the converter http://convert-video-online.com/ru/)
• The video recording must show the instrument, the performer’s face and hands, and the accompanist
• The competition 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 provide a new one that meets the conditions of the competition

Point 7.

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

• Completed online application in English
• Video recording in MP4 format
• Scanned birth certificate or passport page with personal data
• Scanned confirmation of payment (form)

* Overall maximum sizeeveryone files - up to 100 MB

Point 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 (per duet)

* The commission and costs for translation are paid by the contestant.

Point 9.

The competition is held annually. Applications are accepted from February 15th to April 1st. From April 5th, video recordings of the competitive performance will be on the website www.musiccompetition.eu and on April 15th the jury will announce the results for all competition categories.

Point 10.

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

Point 11.

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

Point 12.

The jury's work is governed by rules. Famous musicians, teachers, conductors and outstanding cultural figures are invited to serve on the jury. The jury's decision is final and cannot be appealed.

Point 13.

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

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

The number of laureate diplomas is unlimited.

Point 14.

The competitor, first degree laureate, who scores the most points in the competitive nomination, receives a diploma Internet Music Champion of the World.

If several competitors in a category receive the same number of points, the competitor who is younger has an 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.

Point 15.

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

Point 16.

Association prize fund:

• All competitors are awarded diplomas
• Teachers and accompanists receive a “Portfolio Certificate” upon request.
• Invitation to the competition jury
• The overall winner receives a trophy and 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 of US$2,000 will be distributed among selected Masters Final participants. The prize fund consists of the following awards:

• Cash prize for the overall winner of the Masters Final
• Contract for concert management with the production center “MIR Production”
• Production of a full-fledged website
• Placing a photo of the absolute winner on the competition poster
• Production of concert posters
• All Masters Final participants do not pay a participation fee for the next competition
• Organizing a solo concert or concert tour
• Professional photo shoot
• Payment for travel, accommodation or entry fee to participate in the Master Class
• Payment of the entry fee to participate in a competition of the contestant's choice
• Other prizes by agreement with the organizer

MIR Production reserves the right to distribute the prize fund.

Point 17.

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

Point 18.

In case of disagreement between the Organizer and the participant, the rules in the Serbian language are considered competent.

Point 19.

By sending an application to the competition, participants automatically agree to all the conditions of the above rules.