Yulia Musina wedding photographer. Family secrets of Ksenia Bashmet. Why did you decide to name your son Grant?

Yulia Monastyrskaya (Monastyrshina-Yadykina) is a blind pianist. She is a laureate of many international competitions, in particular, the J. S. Bach competitions in Leipzig and the Prague Spring competition, winner of the competition named after. L. Braille and the Philanthropist competition. Yulia is not only a performer, but also a musicologist and a candidate in art history. Therefore, all her recordings are not only the result of brilliant performing creativity, but also represent the embodiment of a certain philosophical and scientific concept of the music performed.
The pianist was born in Moscow on September 28, 1972, graduated from the Music College named after. Ippolitova-Ivanov in the class of S.N. Reshetov, then studied at the Moscow Conservatory. P.I.Tchaikovsky, class of T.P.Nikolaeva. The interview below will largely shed light on the artistic goals that Julia set for herself when creating her first studio recordings.

— Tell us about how you entered the Moscow Conservatory.
“It was a funny and at the same time instructive story that taught me to believe in myself. It was always believed that it was almost impossible to enter the conservatory without connections, no one from our school entered there, but I decided to try, I followed the “worker-peasant” path, did not study with any of the conservatory teachers, did not go to consultations with professors. I remember well that on the day when I had to play in the small hall of the conservatory (namely, where the entrance exam for applicants is held), it was extremely hot, I had to play almost at the very end, because my maiden name begins with the letter “I”. This meant: the chances that anyone from the admissions committee would listen to me after many hours of “listening” to dozens of applicants without air conditioning in a temperature of thirty-five degrees were zero or close to it. When my turn came, my teacher told me: “I watched those sitting in the hall: someone was dozing, someone was reading a newspaper or doing crossword puzzles. Your only task now is to make them put down their printed publications with which they are now fanning themselves.” I went on stage, sat down at the piano, looked into the audience and said to myself: “You will listen to me, you will listen to me, because I have something to tell you.” I played J. S. Bach's Prelude and Fugue in E flat in D sharp minor from the first volume of the HTC. This is extremely tragic and incredibly difficult music to perform. Having finished, I realized that my face was drenched in sweat, my hands were also wet, but I knew for sure that I had succeeded! There was a tragic accomplishment and catharsis at the end - there was dead silence in the hall, and nothing disturbed the sacred pause at the end of the music. Then I started playing Mozart, and after a few bars they stopped me. “So how?” - the curious people asked me backstage, to which my casual answer followed: “I got in.” There were difficulties with written exams, in particular with solfeggio and harmony. Since I am blind, I cannot write notes. They met me halfway, I played the dictation on the piano, but it didn’t come to pass the harmony exam at all, because unexpectedly for myself, I passed it during the consultation for the exam: they played us an endless harmonic sequence and asked someone to answer what chords it was made of consists of. For some reason, no one volunteered to answer, and I was terribly shy, but still, overcoming my shyness, I stood up, went to the piano and played the “chain of increased difficulty.” I was told that I did not have to come to the exam. So, having passed everything and gone through all the obstacles, I still became a student at the conservatory, without even knowing who I would study with, and I kept wondering who I would end up in class with. I went to the seaside until the start of the school year, and when I returned, my grandmother said: “Some Tatyana Petrovna Nikolaeva called you several times and asked you to call back. What does she want from you? The world-famous pianist, head of the piano department of the conservatory asked me to call me back, and on the phone I heard: “Baby, would you agree to study with me?”
— What did classes with Tatyana Petrovna Nikolaeva give you?
- A lot of things. First of all, our classes were never, or almost never, individual. All this took place in the genre of a “mini-concert”: all the students sat, as well as those invited - at least twenty people in the class. Tatyana Petrovna spoke little and was not at all inclined to talk about music, but the very fact of performing in public gave me extremely much. In addition, Nikolaeva greatly facilitated the process of memorizing new works. The fact is that I suffered terribly, trying to decipher the notes with a magnifying glass; it became more and more difficult to do this, as my vision was deteriorating. Once I showed Tatyana Petrovna the Partita in E minor by J. S. Bach, recorded on the first disc, and it turned out that when analyzing the text, I made many inaccuracies due to the fact that I simply did not see the small musical text. And then Nikolaeva suddenly said: “Why don’t you learn music from records? Well, at least from mine? At first it seemed to me that this was an unrealistic idea, but then I got involved and now I learn music quite quickly, using audio recordings to this day. “Does someone else’s interpretation put a stamp on my own performance?” - you ask. Answer: “No, it doesn’t.” Any artist is engaged in copying paintings of great masters in museums. I believe that it is useful for every musician to engage in this kind of “copying”, when a pianist extremely accurately reproduces the smallest details of the performance of one of the great “piano masters” - V. Horowitz, G. Gould, S. Rachmaninov, etc. But at the end you need to say your own word, be sure to bring something of your own. I love playing well known music. It’s always interesting to follow a path that has been trodden by millions before you, and, nevertheless, to find something on it that others have not noticed. I find it interesting to discover “new meanings” in classic hits when they suddenly appear in the guise of “familiar strangers.” This perspective is important to me, so to speak, a “fresh look” at well-known things.
— What happened after the conservatory?
— There were several international competitions, victories and laureates, active concert activity, and then it all ended overnight - I was walking along the passage, did not see the last steps, fell and injured my right hand. This was the end of my pianist career, although I underwent treatment for a long time, without resigning myself or giving up. But still, as they say, “big sport” had to be abandoned. For me, this was a real tragedy, much greater than my incurable eye disease and steadily declining vision. I didn’t know, I had absolutely no idea how I would live further, what I would do. In the end, she decided to discover other talents in herself, defended her dissertation, became a candidate in art history, received an economics education and a good job. However, all this time it was as if I was not living, but existing. I could say about myself in the words of the hero of a famous film, who was asked: “What have you been doing all these years?” The answer was: “I went to bed early.” And now more than ten years have passed, the Lord heard my prayers, my hands regained the ability to play.
— You — blind musician. How do you feel about your illness?
“I don’t think that this is an illness, but rather a sign of being chosen.” The Lord “kissed” me, taking away my sight, but giving me much more - the opportunity to feel and understand the world, music through spiritual vision. Other people, looking at me, should be happy, if only because they are healthy, because, in my deep conviction, health and talent are two things in life that cannot be bought. In addition, I am a truly happy person, because there are no bad people around me - all the “bad guys” instinctively avoid people like me. And one more thing: I have long learned to turn this disadvantage into a huge advantage - there are many women in the world more beautiful than me, but none of them have my “zest” - blindness.
— What is your attitude towards recording in the studio?
— These discs are a “second life” for me, a return after more than a ten-year break. Of course, I've already been forgotten. On the one hand, I understand perfectly well that it is absolutely insane to try to start a career as a concert pianist again at my age. But on the other hand, the profession of a pianist is unique: dancers leave the stage at 35, singers finish around 50. By the age of 40, a pianist already has spiritual baggage, he has something to say, and most importantly, he has something to say. A striking example of this is the Moscow concerts of the eighty-year-old Horowitz. As for sound recording as such, for me it is a more expedient and comfortable environment for performance. In a studio environment, you achieve greater precision, greater perfection in the implementation of your plans. Many factors interfere with a concert: stage excitement, spotlights, etc. In a studio setting, it is always easy for me to imagine the audience sitting in the hall; in general, I am a studio pianist more than a concert pianist.
— What is your creative credo?
- Not “play music”, but “perform it”. Many performers follow the “momentary” that comes from above at this particular moment of performance. For me, performing a piece is the result of a lot of thought about the piece being performed and even musicological research. I love returning to what I’ve played before and discovering new facets in it. After all, the first contact with a work is just the “tip of the iceberg”, and everything else is hidden “under water”. A true interpreter can completely change the meaning of the music being played. This is somewhat reminiscent of the famous phrase, the meaning of which completely changes depending on where the comma is placed: “Execute cannot be pardoned” or “Execute cannot be pardoned.”
— What does the piano mean to you?
- Interest Ask. My favorite pianist Glen Gould once said: “By chance I became a pianist, so I play music on the piano.” I can’t say the same about myself - I was born a pianist and I can’t imagine myself playing another instrument. My vision of the piano completely coincides with how T. Mann saw and understood it: “The piano,” he said, “is not an instrument among others, since it is devoid of instrumental specificity. True, the piano gives the soloist the opportunity to show off the virtuosity of his performance, but this is a special case, or rather, a direct abuse of the piano. In fact, the piano is the direct and sovereign representative of music as such, music in its pure spirituality...” Simply put, the piano for me is a kind of “matrix” for performing not so much piano music, that is, music written specifically for the piano, but music as such. I like to play on the piano music written for other instruments, that is, music that is outside the field of piano sonority. Of greatest interest to me is “non-piano music” that can be played on the piano. This is, for example, the keyboard music of J. S. Bach.
— The first disc consists entirely of Bach's works. What does J.S.Bach mean to you?
— Bach is my favorite composer, and besides, he is the composer who works best for me. An amazing fact: Bach has no “weak” music at all! Everything he wrote was either simply brilliant or incomprehensible... Each note of Bach carries within itself the reflection of something great and immense. When you stand on the shore, you know exactly what is in front of you: a bay, the open sea or an ocean. This knowledge arises from some elusive signs; maybe it's the strength of the wind or the height of the waves. In the case of Bach, you are always on the ocean. Bach's music is music in the last place, and the first thing in it is “musical preaching.” Everything that Bach wrote was a service to God, an interpretation of the sacred text through sounds. I discovered this quite recently - in almost every one of his compositions a miracle occurs: let’s take, for example, the Prelude in C major from the first volume of The Well-Tempered Clavier. According to Yavorsky, this is the Annunciation, the Archangel flies to Mary to tell her the news that the Messiah will be born to her. It’s amazing how the miracle of the Immaculate Conception takes place right before our eyes while the music is playing!
— What is the most important thing for you in this music?
- Drive. Bach is ideal for transferring the energy of the performer to the listener. Performing Bach's music is always “introducing” the audience into a kind of trance state, a kind of hypnosis. Eastern wisdom speaks of a person’s destiny for one specific task in life. I asked: “What if a person has lost the physical ability to do this?”, and heard the answer: “Then he will do this to himself, in his soul.” All these years I played the piano to myself, learned new pieces and worked through them with my inner ear.
— Among other Bach pieces, you play a French suite. Why her?
— I know many interpretations of Bach’s keyboard suites, and almost all performers forget that this is, first of all, a dance, and a dance of the gallant age of the Sun King. It is amazing that Bach, who never traveled outside of Germany, was able to so enchantingly accurately convey the spirit of French courtly culture. Essentially, music is an extension of small talk, but meaningful talk when life is a polite game. All this music is extremely aestheticized, refined and somewhat pretentious, there are no true feelings here, but there is a “game of feelings”, everything is “not serious”. The entire musical fabric consists of “bows”, “curtsies” and “small steps”. Kuranta, which seems to be a folk dance, is actually a stylization; it is aristocrats dressed as shepherds and shepherdesses, depicting a pastoral scene. Sarabande is the philosophical center of the suite. Bach's sarabands are difficult to play. It seems that this is improvisation, but improvisation, “chained” in an iron rhythm. The extreme emotion in improvisation is combined with the calmness of a special kind of sarabande rhythm, and this is really incredibly difficult to combine.
— There is a lot of debate about how Bach's music should be played. What do you think about it?
- For me, a Bach melody is “not a flat image”, but a “bas-relief”, when the melodic pattern, in addition to the two usual dimensions - pitch and length in time - acquires a third dimension - volume. The melody is not played, but “fashioned” like bas-reliefs on ancient Greek vases. It depicts fighting heroes, and an ornament curls between them. I have always been interested in the question: what is the main thing here, and what is the background for what - an ornament for figures or a figure for an ornament? Something similar happens with Bach. When playing Bach's music, I try not to speed up or slow down, everything is at the same tempo, with “black and white” dynamics, but there are surprises at every step!
— What are your creative plans for Bach?
— I dream of recording 2-voice inventions and 3-voice symphonies, all French and English suites and partitas. The main goal is to release an anthology of keyboard music by J. S. Bach. I have something to say in this area.
— Mozart — your favorite composer?
— Yes, it’s true, but I began to understand his music relatively recently. Mozart is one of the most difficult composers to understand. Despite its apparent simplicity and harmony, it does not “seek” to communicate with the performer, much less with the listener. To be commensurate with Mozart’s art, you need to “grow up” to it, “ripen”. Mozart’s events happen at such a “speed” that an ordinary person cannot control: suddenly, in the midst of all this radiance, an uncontrollable celebration of life, something terrible appears, “a fatal vision, sudden darkness or something like that” ( A.S. Pushkin, “Mozart and Salieri”) - one becomes uneasy, but this “something” lasts for a moment, and then - again a holiday! However, while playing, you need to have time to look through the looking glass for a second and - most importantly - come back. Such emotional “turns” are perhaps the most difficult thing in the performing arts. This is probably why there are so few people who play Mozart's music really well. By the way, all of the above also applies to another composer presented on the second disc - Franz Schubert.
— Opus 110 by L. Beethoven, why did you decide to perform it?
— “Perform” is a bit of a wrong word, this music cannot be performed, at least in this world, you can only get closer to it and be in the “reflection of its radiance.” I have been playing opus 110 for many, many years, since my early youth, and only now have I realized that I am internally ready to communicate with this great work. Note that Beethoven's other sonatas up to the thirty-first are called simply sonatas, but this one is always called "opus 110", as if such a mundane word as "sonata" is not worthy of calling this music. For me, opus 110 is a deeply personal story. I’m not lying if I say that this particular work by Beethoven has been my “guiding star”, my “guardian angel” all these years. Beethoven and I have somewhat similar fates: he became deaf, I became blind, he was abandoned by everyone, and at some point I lost myself in life. When it was especially difficult for me, I sat down at the instrument and began to play opus 110, and music gave me what I needed so much - strength of spirit, the strength to live and survive. It is very difficult to say what the music of Beethoven’s late piano sonatas is about, since it is not music in the generally accepted sense, it is “rather an objectivity leaning towards convention rather than the most despotic subjectivism” ( T. Mann, "Doctor Faustus"). However, I will take the liberty to say that I know what this music is about: it is about how, having lost every single external motivation, to find within yourself the meaning to continue living. The finale of opus 110 has a very complex structure: tragic adagios alternate with life-affirming fugues - I just said this and clearly understood that words are not able to even in the slightest degree reflect all the cosmic revelations of this sonata. Simply put, in an adagio you need to die, and in a fugue you need to “resurrect”, “rise from the ashes”. But is joy possible after such sadness? Is a meeting possible after such a breakup? Beethoven replies: “Yes, if you want to be happy, be happy!” No external circumstances, blindness, deafness, etc. can interfere with this!
— Why did you decide to record such a well-known and, one might say, “stuck in everyone’s ears” composition as “The Seasons” by Tchaikovsky?
— Because this is the best of what Tchaikovsky wrote for piano, and in general, “The Seasons,” in my opinion, is one of the most significant masterpieces of piano music in general. You ask: “What about the First Piano Concerto?” Yes, of course, the brilliant introduction in the style of a polonaise will completely captivate you, but everything that follows is several orders of magnitude inferior to the beginning. The “Seasons” cycle is so perfect that it is impossible to subtract or add a single note. Remove even one brick from this “building” and it will crumble. In addition, this is a work of cosmic scale. A landscape sketch of the seasons is probably only a hundredth part of the meanings and revelations that exist here. The titles of the plays are just the “tip of the iceberg”; everything else is hidden “underwater”. I thought about this music for a long time, “nurtured” it for a long time, and the more I played it, the more meanings of this amazing music were revealed to me. There is a clear tripartite pattern in the cycle: “Christmastide” (December) is a kind of reprise of January “At the Fireplace”; “Troika” (November) - reprise of “Maslenitsa” (February); “Lark” is a harbinger of “Autumn Song” (October) - after it it is very difficult to continue playing. This is one of the most tragic and hopeless creations in music, these are heavy raindrops falling wearily on gravestones, and a funeral bell at the end. Thinking about this play, you understand that Tchaikovsky would have committed suicide in any case, even if external circumstances had not forced him to do so. “Lark” is music about a bird with a broken wing, about a bird that will never fly again. “Maslenitsa” - I never thought that sounds could paint such a living genre scene: almost in reality I see someone climbing a mountain, a snowball is thrown at him, and he rolls down head over heels; a schoolgirl flirts with a schoolboy, suddenly a drunk wedges himself between them, etc. “The Harvest” is not just a picture of peasant life; the title of the play should be understood in the medieval sense, where “harvest” during plague epidemics was understood as “harvest of death.” “At the Fireplace” is perhaps my favorite play; here the “fireplaces of life”, warmth, comfort, the closeness of a loved one and the cold, loneliness, lifelessness of what is “outside the window” side by side. “Barcarolle” (June) - I have never before seen a barcarolle that is not three, but four quarters. The last piece, “Christmastide,” is a waltz of fluffy, sparkling white snow; excited Natasha Rostova dances her first waltz at her first ball in her life, and at the end - suddenly awakened sensuality, a spark running between these two - and again shimmering white snow. I really hope that my performance will at least a little “reveal” to the listener what I know and feel in this music - the melancholy that drove the Russian intelligentsia to suicide.

Dedication to Valentin Zagoryansky (Gleb Sedelnikov)

At the end of 2011, the music publishing house Artservis released three discs by pianist Yulia Monastyrskaya with music by Bach, Mozart, Beethoven, Schubert and Tchaikovsky's The Seasons. I can’t help but say this, I’m not afraid of this word, Event. When you listen to these recordings, you immediately get the feeling that this is the only way these works should be performed. However, you will read about the compositions and the artist’s credo in the disc annotations and on her page on the publishing house’s website. Now I would like to remember how a 17-year-old girl once came to me and began to play Chopin’s Fantasia in F minor. I will try to describe what suddenly happened. Instead of this girl and my old broken piano, a huge incomprehensible living creature appeared in the room - music, a true miracle was created two meters from me! Yulia Yadykina played!..

At lectures and concerts in the Rachmaninov House we will talk about where Russian classical music begins; who are the composers of the “Mighty Handful” and what did they share with Tchaikovsky; why Glinka is our first great composer; who Tchaikovsky considered his successor and what happened to Russian music in the 20th century.

First concert. Forgotten names of the 18th century: I. Khandoshkin, L. Gurilev, D. Bortnyansky, V. Karaulov

It is traditionally believed that Russian classical music begins in the second half of the 18th century. We joined European music quite late, having successfully skipped the entire Baroque era. The 18th century for us is the time of mastering the European style. But we mastered it surprisingly quickly, and already in the 19th centuryIn the 1st century, Russian composers began to influence European music. We'll talk about how it all began. And, of course, we will listen to the works of “musical pioneers”: anonymous, I. Khandoshkin, D. Bortnyansky, L. Khandoshkin, L. Gurilev and others.

Lecture-concert program:

Anonymous: from “The Book of Bass General Avdotya Ivanova”
- I. Khandoshkin: Variations on the theme of the Russian folk song “Will I go out to the river”
- D. Kashin: Russian song “I drove a herd into the field”
- D. Bortnyansky: Allegro moderato from Sonata in B flat major; Larghetto from Sonata in F major; Rondo from Sonata in C major
- L. Gurilev: Six Preludes
- O. Kozlovsky: Polonaise-pastoral; Two country dances; Polonaise on the theme of the Ukrainian folk song "Please, madam"
D. Saltykov: Siciliana
V. Karaulov: Variations
In May we will see a continuation of the project (the entire cycle consists of 7 concerts)

“Say a word about poor Khandoshkin.”
How fast everything is in the world of music. 1795 Variations for the clavier by Ivan Efstafievich Khandoshkin are published (what a name! Just pronounce it it sounds simply charming), and less than 100 years later in 1874 Mussorgsky writes “Pictures at an Exhibition”, and another 60 years later Shostakovich writes 24 Preludes. When we were studying and the music history course was going on, it seemed like everything was so leisurely
Little is known about Khandoshkin. From a family of serf musicians, he served with Count Naryshkin, played the violin superbly (it seems that even he was sent abroad to study), then in the orchestra of Peter III. Not even a portrait of Khandoshkin remains. He wrote more than 100 works; not many have reached us, including these variations. You can listen to them.

Nice picture, right? Don't want to try on this lifestyle?
Smart people say that music conveys the spirit of an era like no other art. Let's take some poetry from the 18th century:
"Without love and without passion,
All days are unpleasant:
You need to sigh so that passions
They were noble lovers.”
(Trediakovsky)
You can giggle, but the spirit is not really felt here
But 18th century music is a completely different matter. These are Viennese classics. It is unfair to compare Russian composers with these celestials, but they all had a common attitude:
“There are so few joyful and contented people in this world,” wrote the seventy-year-old Haydn, “everywhere they are haunted by grief and worries; perhaps music will serve as a source from which a person full of worries and burdened with affairs will draw peace and relaxation.”
I play Bortnyansky and draw, I play Khandoshkin with Gurilev and draw

All children are different, and each of them needs an approach, says Ksenia Yuryevna Bashmet, a graduate of the Moscow State Conservatory. P.I. Tchaikovsky, winner of international festivals and competitions. Her children know when mom is “on edge” and it’s better not to bother her. Ksenia spoke in more detail about “subtle psychological aspects”, “threats and blackmail” in an interview.

Why did you decide to name your son Grant?

When I started to think about it, for the middle name and last name Vladlenovich Ovanesyants, for balance, I needed a suitable short and clear name! Plus, the name Grant is not very popular in Armenia, so his reputation is “not spoiled.” The only acquaintance named Grant is a trumpeter from the New Russia orchestra, our friend, a very real and whole person.

If I had known that my son’s surname would later change to Bashmet, I would have chosen a less pretentious name.

And now that’s it, there’s nowhere to go, Grant Bashmet is bound to become a star!

How do your children get along with each other? Does your son help you raise your daughter?

They simply adore each other. Grantik plays with her very sincerely. He’s not just “serving his duty,” but he’s making things up to make his sister interested. They already have their own jokes between themselves, he constantly films Maya, shows it to everyone, he’s proud!

This is all amazing to me.

Remembering myself as a child, being 6 years older than my brother, I was touched by him, of course, I loved him, but my mother’s rare requests to keep an eye on him were a burden to me - I was just serving this very duty! Therefore, I try not to stress my son too much, but he copes well with simple tasks to distract or look after his sister.

Do kids listen to music willingly?

Yes of course! But not the classic one! My son is always wearing headphones. Quite often he lets me listen to what he likes at the moment. We share our impressions. It happens that I draw his attention to something of ours, professional, some elements that he will later study in solfeggio and theory, but I’m not sure that this is stored in his head. Occasionally I ask you to take off your headphones in the car and, as a favor to me and for educational purposes, listen together, for example, to part of some symphony that I really like! I try to choose short and quick parts. He reluctantly agrees, but so far he hasn’t gotten carried away - he immediately puts the headphones back on.

I'm sure it won't be in vain. Someday Grant will be hooked on classical music!

And Mayechka is amazingly musical! From a very early age she intonates well (you can recognize the melody in her performance), this is rare for that age. Loves to dance, feels and reacts very subtly to changes in tempo. Depending on the nature of the music, he changes his movements and loves to play the piano.

What does Grant dream of becoming?

It seems that now he dreams of becoming a football player, although, in fact, he studies at the Central Music School at the Moscow Conservatory. P.I. Tchaikovsky in violin class...

What principles, in your opinion, are basic in raising children?

My principle is simple. I am one of those who have no affection for children in general; they are all “read” from childhood: you can understand how their character will be formed in the future. But they need to be forgiven, they get away with everything. I treat my children as individuals: I talk, I try to listen... They have never heard dismissive phrases from me, such as “you don’t need to know this, you’re still young” or “don’t interfere, it’s not your time now.” I always explain what I’m doing and why I can’t devote time to them right now, I try to creatively avoid questions beyond my age, even under my own breakdown, I always adjusted the concept after the fact!

My parenting masterpiece is the phrase of three-year-old Grantik: “Mom, I’m sorry you yelled at me.”

My children are adored by those who don’t like children at all!

Grant and Maya have repeatedly surprised me with how subtle psychological aspects they understand at their age, how accurately they guess what to say or do if I’m “on edge” (I’m late, looking for something important, setting up a router, etc. ) I’m running around the house and cursing myself, fate, the HOA, alto notes, my garden-variety head, in general, I’m talking nonsense, letting off excess steam into the atmosphere. There is a feeling that they are the parents who love their psychopathic daughter and accept her as such a priori.

I don’t know whether this is good or bad, but my children have the only and indisputable authority - Mom.

This suits me quite well, but it infuriates other adults.

Yulia Aleksandrovna Monastyrshina is one of the most sought-after piano teachers in Moscow. Her work is distinguished by virtuosity, excellent classical sound and rich dynamic shades, repertoire diversity. Born on September 28, 1972 in Moscow.

Achievements and professional skills cover a wide range of areas in the field of music teaching: famous pianist, laureate of international competitions named after. J. S. Bach in Leipzig and Concertino Prague, Candidate of Sciences in Art History, Honored Teacher, Lecturer. Gives master classes all over the world, works in Australia, Japan, Austria, Germany, and the USA. The formats of master classes are different: lecture course, open lessons, combined options, etc.

The first musical skills were laid in childhood; she was a student of T. P. Nikolaeva.

After graduating from the Moscow Conservatory. P.I. Tchaikovsky, Yu. A. Monastyrshina participated in international competitions, receiving the title of laureate and winner of many of them, and performed in concerts.

After an unsuccessful fall, which resulted in a hand injury, Yulia Alexandrovna stopped her concert activities, concentrating on scientific and teaching activities.

Having received the title of candidate of art history, she did not stop there, supplementing her education with the Faculty of Economics.

Ten years after the injury, the ability to perform musical works with her inherent virtuosity was restored, and Yulia Alexandrovna returned to performing activities. In particular, she recorded discs, one of which is entirely dedicated to the performance of works by I.S. Bach.

Today, the main place of work: Associate Professor of the Department of World Musical Culture at the Moscow State University of Design and Technology (formerly the State Classical Academy named after Maimonides).

Yulia Aleksandrovna Monastyrshina is the author of many techniques that reveal the peculiarities of performing musical works, as well as those devoted to the technique of playing the piano.

For his students and listeners he gives a personal author’s course in educational and methodological centers in Moscow and the Moscow region.

On the website you can find out a full biography, look at photographs, and also order professional literature - books and teaching aids.

Julia, tell us how you combined receiving a general education, that is, studying ordinary subjects, with a music education.

- The music college very organically combines general education and specialized music curriculum. It’s very convenient that you get all the necessary knowledge in one place. And you don’t have to travel to different educational institutions in different parts of the city.

A musician is one of the few professions that you need to study for from early childhood. Did you have any doubts when choosing a path? Have you ever thought about quitting everything?

It's hard to force a person to love music. You can, of course, guide your child through childhood, show him something, introduce him to the magical world of art. But you can’t decide for him. After all, being a musician is a very difficult path. There is no slacking here, so the child must be responsible and capable of full dedication. You need to exercise a lot and every day - of course, this is not suitable for everyone.

I also had doubts, especially during periods of unsuccessful performances at competitions. No matter how well prepared you are, anything can happen. At such moments, it is especially important that your loved ones support you. Because over time you still realize that this is life, and there are ups and downs. And if you fall, it's okay. You just need to get up and move on, constantly set new goals and achieve them.

I know that you are now teaching at the Secondary Specialized Music College, in the department of special piano. Tell us a little about your students. Is the chosen path difficult for them?

They are all talented and very different. Each requires a separate approach. I try to see every student, even the smallest one, as an individual. They feel it and therefore become more responsible and strive forward. It is very important. Most of my students who graduate from college continue their studies at music universities in the republic and Russia.

I have had the opportunity to support and guide my students through difficult periods in their lives, when they doubted their choice of profession and did not want to continue.

A child always needs advice from an adult, wise person, support and a kind word. The main thing is to make it clear that this can happen to anyone and it’s not difficult for him alone. It’s hard in any profession, and every profession requires work.

- Is it possible to get into a music school or university without talent, but with a lot of perseverance and diligence?

Talent, in principle, consists of perseverance and diligence. This is a cumulative concept. Any person at any age can be taught to play any musical instrument. The question is how well he will do it in the end. Abilities can be innate, but they can also be acquired. You can develop any ability if you work hard.