ÎÐÃÀÍÈÇÀÒÎÐÛ
ÏÐÈ ÏÎÄÄÅÐÆÊÅ
ÏÀÐÒÍÅÐ
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Åâãåíèé ÊÓÉÂÀØÅÂ Ãóáåðíàòîð Ñâåðäëîâñêîé îáëàñòè
 èþëå ýòîãî ãîäà â íàøåì ðåãèîíå íà áàçå Ñâåðäëîâñêîé ãîñóäàðñòâåííîé àêàäåìè÷åñêîé ôèëàðìîíèè âíîâü ïðîéäåò Ëåòíÿÿ îðêåñòðîâàÿ àêàäåìèÿ. Ýòîò êóëüòóðíûé ïðîåêò – äîñòîéíûé âêëàä Ñðåäíåãî Óðàëà â ðàçâèòèå ìåæäóíàðîäíîãî ñîòðóäíè÷åñòâà è ïðîôåññèîíàëüíîãî ñîâåðøåíñòâîâàíèÿ ìîëîäûõ ìóçûêàíòîâ. Êàæäûé ãîä â íàø ðåãèîí ïðèåçæàþò ñòóäåíòû è ìîëîäûå îðêåñòðàíòû èç Åâðîïû è Àçèè, ÷òîáû ïðîéòè ñòàæèðîâêó â àêàäåìèè. Îíè ïðèñîåäèíÿþòñÿ ê àðòèñòàì Óðàëüñêîãî ìîëîäåæíîãî ñèìôîíè÷åñêîãî îðêåñòðà è îáðàçóþò íîâàòîðñêèé ìóçûêàëüíûé êîëëåêòèâ. Ñ÷èòàþ, ÷òî ñîâìåñòíàÿ ðàáîòà ñ âåäóùèìè ìèðîâûìè ïåäàãîãàìè, îáùåíèå ñî ñâåðñòíèêàìè èç ðàçíûõ ñòðàí, à òàêæå çíàêîìñòâî ñ áîãàòîé èñòîðèåé è êóëüòóðîé Ñâåðäëîâñêîé îáëàñòè ñòàíåò ìîùíûì èìïóëüñîì äëÿ òâîð÷åñòâà è ñòàíîâëåíèÿ ìóçûêàíòîâ Ìåæäóíàðîäíîãî ìîëîäåæíîãî ×àéêîâñêèé-îðêåñòðà. Îòìå÷ó, âûñòóïëåíèÿ îðêåñòðà âõîäÿò â ïðîãðàììó Ìåæäóíàðîäíîé ïðîìûøëåííîé âûñòàâêè «Èííîïðîì». Ýòî äàåò ïðåêðàñíóþ âîçìîæíîñòü âñåì ïîñåòèòåëÿì âûñòàâêè áëèæå ïîçíàêîìèòüñÿ ñ îãðîìíûì êóëüòóðíûì ïîòåíöèàëîì Ñðåäíåãî Óðàëà, ñëóæèò íàãëÿäíûì ñâèäåòåëüñòâîì îòêðûòîñòè íàøåãî ðåãèîíà ê âçàèìîäåéñòâèþ âî âñåõ ñôåðàõ. Æåëàþ âñåì ó÷àñòíèêàì Ëåòíåé îðêåñòðîâîé àêàäåìèè âäîõíîâåíèÿ è òâîð÷åñêîé ñàìîðåàëèçàöèè, à ñëóøàòåëÿì – îòëè÷íîãî íàñòðîåíèÿ è ÿðêèõ âïå÷àòëåíèé!
Äîðîãèå ëþáèòåëè ìóçûêè! Ïðîäîëæàåòñÿ ïëîäîòâîðíîå ñîòðóäíè÷åñòâî Ñâåðäëîâñêîé ôèëàðìîíèè è ïðîäþñåðñêîãî àãåíòñòâà «RCCR Projects GmbH» â îñóùåñòâëåíèè óíèêàëüíîãî ìåæäóíàðîäíîãî ïðîåêòà – Ëåòíåé ìîëîäåæíîé îðêåñòðîâîé àêàäåìèè. Ìèíèñòåðñòâî èíîñòðàííûõ äåë Ãåðìàíèè è Ãåíåðàëüíîå êîíñóëüñòâî Ãåðìàíèè â Åêàòåðèíáóðãå î÷åíü ðàäû âíîâü ïîääåðæàòü ýòîò ïðîåêò, ïîñêîëüêó îí ïîìîãàåò óñòàíàâëèâàòü è óêðåïëÿòü ñâÿçè ìåæäó íàøèìè ñòðàíàìè è êóëüòóðàìè. 17 ñòóäåíòîâ èç íåìåöêèõ óíèâåðñèòåòîâ è êîëëåäæåé ïðîâåäóò äâå íåäåëè íà Óðàëå, çàíèìàÿñü ìóçûêîé, ó÷àñòâóÿ â ìàñòåð-êëàññàõ è äèñêóññèÿõ ñ ìóçûêàíòàìè Óðàëüñêîãî ìîëîäåæíîãî ñèìôîíè÷åñêîãî îðêåñòðà. Âìåñòå îíè ñîçäàäóò Ìåæäóíàðîäíûé ìîëîäåæíûé ×àéêîâñêèé-îðêåñòð è ïðåäñòàâÿò ñâîè òàëàíòû è òâîð÷åñêîå ìàñòåðñòâî íà êîíöåðòàõ â Åêàòåðèíáóðãå è Ñâåðäëîâñêîé îáëàñòè – â Êðàñíîòóðüèíñêå è Ðåâäå. Ëåòíÿÿ àêàäåìèÿ ïðåäîñòàâëÿåò âîçìîæíîñòü ìîëîäûì àðòèñòàì èç ðàçíûõ óãîëêîâ ìèðà ïîçíàêîìèòüñÿ äðóã ñ äðóãîì, óçíàòü íîâîå è îáùàòüñÿ ÷åðåç óíèâåðñàëüíûé ÿçûê ìóçûêè, âåäü ìóçûêà – â îòëè÷èå îò ÷åëîâå÷åñêîé ðå÷è – íå íóæäàåòñÿ íè â ëåêñèêå, íè â ãðàììàòèêå, íè â ñèíòàêñèñå. Âñåì íàì íàäî ïðîñòî ñëóøàòü åå! Äîêòîð Øòåôàí ÊÀÉËÜ Ãåíåðàëüíûé êîíñóë Ôåäåðàòèâíîé Ðåñïóáëèêè Ãåðìàíèÿ â Åêàòåðèíáóðãå
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Òàòüÿíà ÐÅÊÑÐÎÒ Äèðåêòîð ôèðìû «RCCR Projects GmbH Berlin»
Âîò óæå òðåòèé ðàç ñ áîëüøèì ýíòóçèàçìîì áåðëèíñêîå ìóçûêàëüíîå àãåíòñòâî «RCCR Projects» ïðîâîäèò ñîâìåñòíî ñî Ñâåðäëîâñêîé ôèëàðìîíèåé Ëåòíþþ àêàäåìèþ â Åêàòåðèíáóðãå. Ìû î÷åíü ðàäû, ÷òî Àêàäåìèÿ ñòàëà âàæíîé ÷àñòüþ ìóçûêàëüíîé æèçíè Åêàòåðèíáóðãà, à áëàãîäàðÿ êîíöåðòàì â ðåãèîíå è ïðÿìûì èíòåðíåò-òðàíñëÿöèÿì – ïðàêòè÷åñêè âñåé Ñâåðäëîâñêîé îáëàñòè. Óðàëüñêàÿ ñòîëèöà äëÿ ìíîãèõ ìîëîäûõ ìóçûêàíòîâ èç ðàçíûõ ñòðàí ìèðà, ñòóäåíòîâ íåìåöêèõ êîíñåðâàòîðèé è ñòàæåðîâ îðêåñòðîâ ñòàëà óâàæàåìîé è áëèçêîé. Îíè âñåãäà ðàäû ïðèåõàòü â Åêàòåðèíáóðã, îáùàòüñÿ è îáìåíèâàòüñÿ îïûòîì ñî ñâîèìè ðîññèéñêèìè êîëëåãàìè. Ìîëîäûå èñïîëíèòåëè èç Ðîññèè ðàäóøíî ïðèíèìàþò ñâîèõ ãîñòåé, îíè öåíÿò âîçìîæíîñòü ïðèíÿòü ó÷àñòèå â êðóïíîì ìåæäóíàðîäíîì ïðîåêòå ïîä ðóêîâîäñòâîì ëó÷øèõ íåìåöêèõ ìóçûêàíòîâ. Ìîëîäåæü ñåãîäíÿ âî âñåõ ñòðàíàõ îñòðî ðåàãèðóåò íà àêòóàëüíûå ìèðîâûå ñîáûòèÿ. Îáùåíèå ñî ñòóäåíòàìè óðàëüñêèõ âóçîâ, äèñêóññèè íà ñàìûå çëîáîäíåâíûå òåìû – îò ïðåäëîæåíèé ïî óëó÷øåíèþ ðîññèéñêîíåìåöêèõ îòíîøåíèé äî îðãàíèçàöèè ñîâìåñòíûõ êðåàòèâíûõ ïðîåêòîâ – ýòî òàêàÿ æå âàæíàÿ ÷àñòü Ëåòíåé àêàäåìèè, êàê ðåïåòèöèè è êîíöåðòû. Âñå ìû íå òîëüêî äàðèì äðóã äðóãó ðàäîñòü ñîâìåñòíîãî ìóçèöèðîâàíèÿ, íî è äåëèìñÿ åþ ñ ïóáëèêîé Åêàòåðèíáóðãà è ñàìûõ îòäàëåííûõ óãîëêîâ Óðàëà. Äàâàéòå æå ëþáèòü ìóçûêó âìåñòå. Ïóñòü îíà è äàëüøå îáúåäèíÿåò íàñ è ñïîñîáñòâóåò âçàèìîïîíèìàíèþ ìåæäó íàøèìè íàðîäàìè!
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Àëåêñàíäð ÊÎËÎÒÓÐÑÊÈÉ Äèðåêòîð Ñâåðäëîâñêîé ãîñóäàðñòâåííîé àêàäåìè÷åñêîé ôèëàðìîíèè, ÷ëåí Ñîâåòà ïðè Ïðåçèäåíòå Ðîññèéñêîé Ôåäåðàöèè ïî êóëüòóðå è èñêóññòâó
Ñâåðäëîâñêàÿ ôèëàðìîíèÿ âíîâü âñòðå÷àåò ó÷àñòíèêîâ Ëåòíåé îðêåñòðîâîé àêàäåìèè! Ìû ðàäû ïðèâåòñòâîâàòü ìîëîäûõ ìóçûêàíòîâ Åêàòåðèíáóðãà è èõ ðîâåñíèêîâ èç ðàçíûõ ñòðàí ìèðà, ïðèåõàâøèõ â Åêàòåðèíáóðã! Èì ïðåäñòîèò ïðîâåñòè íåìàëî ñîâìåñòíûõ ðåïåòèöèîííûõ ÷àñîâ, ñòàòü íåäåëèìûì öåëûì è îáðåñòè íîâûõ äðóçåé, áëèçêèõ ïî äóõó è òâîð÷åñòâó. Áëàãîäàðþ îïûòíûõ ìàñòåðîâ, êîòîðûå ñîãëàñèëèñü ñòàòü íàñòàâíèêàìè ñâîèõ ìîëîäûõ êîëëåã! Äëÿ íàñ áîëüøàÿ ÷åñòü è îòâåòñòâåííîñòü ïðèíèìàòü ïðîñëàâëåííûõ åâðîïåéñêèõ ìàýñòðî, êîòîðûå äåëÿòñÿ îïûòîì ñ ìîëîäûìè êîëëåãàìè, è àðòèñòîâ, êîòîðûå íàõîäÿòñÿ â íà÷àëå áîëüøîãî òâîð÷åñêîãî ïóòè. Ïðèìåð Óðàëüñêîãî ìîëîäåæíîãî ñèìôîíè÷åñêîãî îðêåñòðà ïîêàçûâàåò, êàê ñîòðóäíè÷åñòâî ñ âûäàþùèìñÿ äèðèæåðàìè è èçâåñòíûìè ñîëèñòàìè, ìàñòåð-êëàññû è ïðîôåññèîíàëüíîå îáùåíèå ñêàçûâàþòñÿ íà óðîâíå èñïîëíèòåëüñêîãî ìàñòåðñòâà. ß óâåðåí, ÷òî ñîçäàíèå è êîíöåðòíàÿ äåÿòåëüíîñòü Ìåæäóíàðîäíîãî ìîëîäåæíîãî ×àéêîâñêèéîðêåñòðà – ýòî äåéñòâèòåëüíî áëåñòÿùàÿ âîçìîæíîñòü ïîçíàêîìèòüñÿ ñ òðàäèöèÿìè ìóçûêàëüíîãî èñïîëíèòåëüñòâà è îñîáåííîñòÿìè èíòåðïðåòàöèè ðóññêîé è çàïàäíî-åâðîïåéñêîé êëàññèêè, íàó÷èòüñÿ ñëóøàòü è ïîíèìàòü äðóã äðóãà. Äëÿ íàøèõ çàðóáåæíûõ ãîñòåé Ìîëîäåæíàÿ îðêåñòðîâàÿ àêàäåìèÿ â Åêàòåðèíáóðãå îòêðûâàåò Ðîññèþ, çíàêîìèò ñ åå êóëüòóðîé è èñòîðèåé. Æåëàþ âñåì ó÷àñòíèêàì èíòåðåñíîãî îáùåíèÿ, òâîð÷åñêîãî ïðîðûâà è îâàöèé!
«ß ðîäèëñÿ íà Óðàëå» – èìåííî òàê íà÷èíàåò ñâîþ àâòîáèîãðàôèþ Ïåòð Èëüè÷ ×àéêîâñêèé, âñïîìèíàÿ î «ïðîâèíöèàëüíîì ìåñòå÷êå Âÿòñêîé ãóáåðíèè íà Óðàëå», ãäå ïðîøëè ãîäû åãî äåòñòâà. Ìàëîé ðîäèíîé ãåíèÿ ðóññêîé ìóçûêè ÿâëÿåòñÿ Âîòêèíñê – îäèí èç ãîðîäîâ-çàâîäîâ, îòíîñèâøèõñÿ â XIX âåêå ê ñèñòåìå óðàëüñêèõ ãîðíûõ îêðóãîâ, óïðàâëåíèå êîòîðûìè îñóùåñòâëÿëîñü èç Åêàòåðèíáóðãà. Åùå òåñíåå æèçíåííûé ïóòü Ïåòðà Èëüè÷à îêàçàëñÿ ñâÿçàí ñ Óðàëîì, êîãäà â 1849 ãîäó ñåìüÿ ×àéêîâñêèõ ïðèåõàëà â ãîðîä Àëàïàåâñê, êóäà îòåö êîìïîçèòîðà – Èëüÿ Ïåòðîâè÷ – áûë ïðèãëàøåí ãëàâíûì óïðàâëÿþùèì Àëàïàåâñêèìè ÷àñòíûìè çàâîäàìè ßêîâëåâûõ. Íåäîëãîå âðåìÿ, ïðîâåäåííîå â Àëàïàåâñêå, îêàçàëîñü î÷åíü âàæíûì â æèçíè Ï.È. ×àéêîâñêîãî.  åãî ïèñüìàõ îíî ïðåäñòàåò îñîáûì ìèðîì Äåòñòâà, Ñåìüè è Ëþáâè.  ýòèõ ïÿòíàäöàòè ìåñÿöàõ – áåçìÿòåæíàÿ æèçíü â îêðóæåíèè ðîäíûõ è ïîÿâëåíèå íà ñâåò áðàòüåâ-áëèçíåöîâ. Îäèí èç íèõ, Ìîäåñò, ñòàíåò åãî áëèæàéøèì äðóãîì, ïåðâûì áèîãðàôîì, îñíîâàòåëåì Ìóçåÿ ×àéêîâñêîãî â Êëèíó è àâòîðîì ëèáðåòòî ê îïåðå «Ïèêîâàÿ äàìà». Àëàïàåâñê – ýòî è îñîáàÿ ïîðà â ñòàíîâëåíèè ëè÷íîñòè êîìïîçèòîðà, êîãäà â ïîäðîñòêå âïåðâûå çðååò, ïîêà íåÿñíîå, îñîçíàíèå ñâîåãî áóäóùåãî ïðåäíàçíà÷åíèÿ. Àëàïàåâñê ìîæíî íàçâàòü ðîäèíîé ×àéêîâñêîãî-êîìïîçèòîðà – çäåñü þíûé Ïåòÿ âïåðâûå ïîïðîáîâàë ñâîè ñèëû â ìóçûêàëüíîé èìïðîâèçàöèè. Òåì öåííåå, ÷òî êàæäûé èç íàñ ìîæåò ïðèáëèçèòüñÿ ê àòìîñôåðå, â êîòîðîé îí æèë è íà÷èíàë òâîðèòü, âåäü äîì, â êîòîðîì æèëà ñåìüÿ ×àéêîâñêèõ, íå òîëüêî óöåëåë – â íåì ñîçäàí ìóçåé âåëèêîãî êîìïîçèòîðà. È ïóñòü â 1850 ãîäó Ïåòð Èëüè÷ ïîêèíóë Óðàë, ÷òîáû ïîñòóïèòü â ó÷èëèùå ïðàâîâåäåíèÿ â Ñàíêò-Ïåòåðáóðãå, ýòî íå ñòåðëî èç åãî ïàìÿòè îùóùåíèÿ ñ÷àñòüÿ, êîòîðîå îí ïåðåæèë â Àëàïàåâñêå. Âåäü, êàê îí ñàì âïîñëåäñòâèè ïèñàë, «èñïûòàííûå â ãîäû þíîñòè õóäîæåñòâåííûå âîñòîðãè îñòàâëÿþò ñëåä íà âñþ æèçíü».
 2014 ãîäó ïî èíèöèàòèâå Ìèíèñòåðñòâà êóëüòóðû Ðîññèéñêîé Ôåäåðàöèè è â ñîîòâåòñòâèè ñ ðàñïîðÿæåíèåì Ïðàâèòåëüñòâà Ñâåðäëîâñêîé îáëàñòè íà áàçå Ñâåðäëîâñêîé ãîñóäàðñòâåííîé àêàäåìè÷åñêîé ôèëàðìîíèè áûë ñîçäàí Ìåæäóíàðîäíûé ìîëîäåæíûé êóëüòóðíûé öåíòð. Îñíîâíûå çàäà÷è Öåíòðà – ðàçâèòèå ìåæäóíàðîäíûõ ñâÿçåé â ñôåðå êóëüòóðû, ñîçäàíèå óñëîâèé äëÿ òâîð÷åñêîé ñàìîðåàëèçàöèè è ïðîôåññèîíàëüíîãî ñòàíîâëåíèÿ ìîëîäûõ ìóçûêàíòîâ, ôîðìèðîâàíèå ìåæäóíàðîäíîé ðåïóòàöèè Ñâåðäëîâñêîé îáëàñòè êàê îäíîãî èç öåíòðîâ ìóçûêàëüíîãî èñêóññòâà. Ëåòíÿÿ îðêåñòðîâàÿ àêàäåìèÿ – ãëàâíûé ïðîåêò Öåíòðà. Çàìûñåë Àêàäåìèè íàøåë îòêëèê ó ïàðòíåðà Ñâåðäëîâñêîé ôèëàðìîíèè – ôèðìû «RCCR Projects GmbH», èçâåñòíîé ñâîèìè èíèöèàòèâàìè â ñôåðå êóëüòóðû è ìåæäóíàðîäíîãî ñîòðóäíè÷åñòâà. Íà ñòàæèðîâêó â Àêàäåìèþ ïðèãëàøàþòñÿ ìóçûêàíòû, ïðîÿâèâøèå ñåáÿ â ñîñòàâå Óðàëüñêîãî ìîëîäåæíîãî ñèìôîíè÷åñêîãî îðêåñòðà, à òàêæå ìîëîäûå èñïîëíèòåëè èç ñòðàí Åâðîïû, Àçèè, Ëàòèíñêîé Àìåðèêè. Ñåññèè Îðêåñòðîâîé àêàäåìèè ïðîâîäèëèñü â Åêàòåðèíáóðãå â 2014, 2015 è 2017 ãîäàõ. Äëÿ çàíÿòèé ñ ìîëîäûìè àðòèñòàìè ïðèãëàøàëèñü èçâåñòíûå ìóçûêàíòû è ïåäàãîãè, êîòîðûå ïðîâîäèëè ìàñòåð-êëàññû, ãðóïïîâûå è îðêåñòðîâûå ðåïåòèöèè. Âèçèòíàÿ êàðòî÷êà Ëåòíåé àêàäåìèè – Ìåæäóíàðîäíûé ìîëîäåæíûé ×àéêîâñêèé-îðêåñòð, ñîçäàâàåìûé èç èñïîëíèòåëåé, ïðîõîäÿùèõ ñòàæèðîâêó.  ðåïåðòóàðå êîëëåêòèâà âñåãäà ïðåäñòàâëåíû ñî÷èíåíèÿ Ïåòðà Èëüè÷à ×àéêîâñêîãî, – êîìïîçèòîðà, ÷üå òâîð÷åñòâî çàíèìàåò îñîáîå ìåñòî â ìèðîâîé ìóçûêàëüíîé êóëüòóðå, à ñóäüáà ñâÿçàíà ñ óðàëüñêèì ãîðîäîì Àëàïàåâñêîì. Êîíöåðòíàÿ äåÿòåëüíîñòü ×àéêîâñêèé-îðêåñòðà ÿâëÿåòñÿ âàæíîé ñîñòàâëÿþùåé êóëüòóðíîé æèçíè Ñðåäíåãî Óðàëà. Êîëëåêòèâ âûñòóïàë â Åêàòåðèíáóðãå è ãîðîäàõ Ñâåðäëîâñêîé îáëàñòè – Àëàïàåâñêå è Êàìåíñêå-Óðàëüñêîì, ïðåäñòàâëÿë Ëåòíþþ îðêåñòðîâóþ àêàäåìèþ íà ôåñòèâàëå «Êëàññèêà íàä Âîëãîé» â Òîëüÿòòè, à òàêæå âûñòóïàë íà ñöåíå áåðëèíñêîãî Êîíöåðòõàóñà â ïðîãðàììå ôåñòèâàëÿ «Young Euro Classic».  2018 ãîäó ñâîå ñîãëàñèå ñòàòü õóäîæåñòâåííûì ðóêîâîäèòåëåì Ëåòíåé îðêåñòðîâîé àêàäåìèè äàë èçâåñòíûé íåìåöêèé äèðèæåð Êðèñòîô Ãåòøîëüä, êîòîðûé áóäåò ðàáîòàòü â ñîäðóæåñòâå ñ ïðîôåññîðàìè Èãîðåì Áóäèíøòåéíîì è Ìàðèàíî Äîìèíãî. Ìåæäóíàðîäíîìó ìîëîäåæíîìó ×àéêîâñêèé-îðêåñòðó ïðåäñòîèò äàòü ñåðèþ êîíöåðòîâ íà Óðàëå – â Åêàòåðèíáóðãå, Ðåâäå è Êðàñíîòóðüèíñêå. Ïðîâåäåíèå Ëåòíåé îðêåñòðîâîé àêàäåìèè – 2018 ïîääåðæèâàåòñÿ Ìèíèñòåðñòâîì èíîñòðàííûõ äåë Ôåäåðàòèâíîé Ðåñïóáëèêè Ãåðìàíèÿ. Òðàäèöèîííî âûñòóïëåíèÿ Ìåæäóíàðîäíîãî ìîëîäåæíîãî ×àéêîâñêèé-îðêåñòðà íà ñöåíå Êîíöåðòíîãî çàëà Ñâåðäëîâñêîé ôèëàðìîíèè â Åêàòåðèíáóðãå ÿâëÿþòñÿ âàæíîé ñîñòàâíîé ÷àñòüþ êóëüòóðíîé ïðîãðàììû Ìåæäóíàðîäíîé ïðîìûøëåííîé âûñòàâêè «Èííîïðîì».
×àéêîâñêèé-îðêåñòð – 2015. Ãëàâíûé äèðèæåð – Ýíõý
ËÅÒÍßß ÀÊÀÄÅÌÈß – 2014 Õóäîæåñòâåííûé ðóêîâîäèòåëü è äèðèæåð – Îëåã Êàýòàíè (Èòàëèÿ) Ñîëèñò – îáëàäàòåëü Ãðàí-ïðè XIV Ìåæäóíàðîäíîãî êîíêóðñà èì. Ï.È. ×àéêîâñêîãî Äàíèèë Òðèôîíîâ (ôîðòåïèàíî)
Ïðîôåññîðà Àêàäåìèè: Äìèòðèé Âàñèëüåâ (ñêðèïêà) Õàíñ Éîàõèì Ãðàéíåð (àëüò), Ãåðìàíèÿ Êëàóñ Òóíåìàíí (ôàãîò), Ãåðìàíèÿ Êðèñòèàí-Ôðèäðèõ Äàëüìàí (âàëòîðíà), Ãåðìàíèÿ
ËÅÒÍßß ÀÊÀÄÅÌÈß – 2015 Õóäîæåñòâåííûé ðóêîâîäèòåëü è ãëàâíûé äèðèæåð – Ýíõý (Ýíõáààòàð Áààòàðæàâ) Äèðèæåð – Ôàáèî Ìàñòðàíæåëî, Ðîññèÿ–Èòàëèÿ Ñîëèñòû: Ëàóðåàò XII Ìåæäóíàðîäíîãî êîíêóðñà èì. Ï.È. ×àéêîâñêîãî Àëåêñåé Íàáèóëèí (ôîðòåïèàíî) Ñàëòàíàò Àõìåòîâà (ñîïðàíî), Êàçàõñòàí Âàñèëèñà Áåðæàíñêàÿ (ìåööî-ñîïðàíî) Èëüÿ Ñèëü÷óêîâ (áàðèòîí), Áåëîðóññèÿ
Ïðîôåññîðà Àêàäåìèè: Ìàðèÿ Àíòîíèÿ Ðîäðèãåñ (ôëåéòà), Èñïàíèÿ Ðîäîëüôî Ýïåëüäå (âàëòîðíà), Èñïàíèÿ
ËÅÒÍßß ÀÊÀÄÅÌÈß – 2017 Õóäîæåñòâåííûé ðóêîâîäèòåëü è äèðèæåð – Áðóíî Âàéëü (Ãåðìàíèÿ) Ñîëèñòû: Îáëàäàòåëü I ïðåìèè XV Ìåæäóíàðîäíîãî êîíêóðñà èì. Ï.È. ×àéêîâñêîãî Äìèòðèé Ìàñëååâ (ôîðòåïèàíî) Ìîìî Êîäàìà (ôîðòåïèàíî), ßïîíèÿ Àëåêñåé Ïåòðîâ (ôîðòåïèàíî), Áåëîðóññèÿ
Ïðîôåññîðà Àêàäåìèè: Óëüô Êëàóçåíèòöåð (ñêðèïêà), Ãåðìàíèÿ Êðèñòèàí Êóíåðò (ôàãîò), Ãåðìàíèÿ ×àéêîâñêèé-îðêåñòð – 2017. Äèðèæåð – Áðóíî Âàéëü
Ðîäèëñÿ â Ìàãäåáóðãå. Îáó÷àëñÿ ïî êëàññó ôîðòåïèàíî è îïåðíî-ñèìôîíè÷åñêîãî äèðèæèðîâàíèÿ â Ëåéïöèãå è Ãàìáóðãå ó èçâåñòíîãî íåìåöêîãî äèðèæåðà Êðèñòîôà Ïðèêà. Ðóêîâîäèë îðêåñòðàìè Òåàòðà Ëþöåðíà, Íþðíáåðãñêîé ãîñóäàðñòâåííîé îïåðû, Áàäåíñêîãî ãîñóäàðñòâåííîãî òåàòðà.  êà÷åñòâå ïðèãëàøåííîãî äèðèæåðà ñîòðóäíè÷àåò ñ Äðåçäåíñêèì, Ãàìáóðãñêèì è Ôðàíêôóðòñêèì îïåðíûìè òåàòðàìè. Ñ 2015 ãîäà âîçãëàâëÿåò Ëåéïöèãñêóþ îïåðó.  ÷èñëå êîëëåêòèâîâ, ñ êîòîðûìè âûñòóïàë ìàýñòðî, – Ëåéïöèãñêèé îðêåñòð Ãåâàíäõàóçà, Ñàêñîíñêàÿ ãîñóäàðñòâåííàÿ êàïåëëà â Äðåçäåíå, Íåìåöêèé ãîñóäàðñòâåííûé è Ãàìáóðãñêèé ôèëàðìîíè÷åñêèå îðêåñòðû, Ìîíðåàëüñêèé è Áàçåëüñêèé ñèìôîíè÷åñêèå îðêåñòðû, Íîâûé ÿïîíñêèé ôèëàðìîíè÷åñêèé îðêåñòð â Òîêèî, Îðêåñòð Íàöèîíàëüíîãî òåàòðà Ìàíãåéìà.  ñåçîíå 2018-2019 Êðèñòîô Ãåòøîëüä äåáþòèðóåò ñ Ãþðöåíèõ-îðêåñòðîì â Êåëüíå è Ñèìôîíè÷åñêèì îðêåñòðîì Öåíòðàëüíî-íåìåöêîãî ðàäèî â Ëåéïöèãå (MDR).
Êðèñòîô ÃÅÒØÎËÜÄ Õóäîæåñòâåííûé ðóêîâîäèòåëü Ëåòíåé îðêåñòðîâîé àêàäåìèè Äèðèæåð
Âûïóñêíèöà Óíèâåðñèòåòà Öèíöèííàòè (êëàññ ïðîôåññîðà Ïåòðà Ìèëåâñêè) è Áåðëèíñêîé âûñøåé øêîëû ìóçûêè (êëàññ ïðîôåññîðà Àíòüå Âàéòõààñ). Ó÷àñòíèöà ïðîãðàììû äëÿ ìîëîäûõ ñîëèñòîâ Àêàäåìèè Êðîíáåðãà.  9 ëåò äåáþòèðîâàëà ñ Ñåóëüñêèì ôèëàðìîíè÷åñêèì îðêåñòðîì.  17 – ñòàëà ïåðâîé íà Ìåæäóíàðîäíîì ìóçûêàëüíîì êîíêóðñå ARD â Ìþíõåíå, âîéäÿ â èñòîðèþ êîíêóðñà êàê ñàìàÿ þíàÿ ïîáåäèòåëüíèöà.  20 ëåò áûëà óäîñòîåíà ïðåìèè «London Music Masters», îòêðûâøåé äëÿ íåå ñàìûå èçâåñòíûå çàëû Âåëèêîáðèòàíèè. Ñîòðóäíè÷àëà ñ Ëîíäîíñêèì ñèìôîíè÷åñêèì îðêåñòðîì, Óýëüñêèì íàöèîíàëüíûì îðêåñòðîì «ÁèÁè-Ñè», ñèìôîíè÷åñêèìè îðêåñòðàìè Áàâàðñêîãî, Ôðàíêôóðòñêîãî è Ñåâåðîãåðìàíñêîãî ðàäèî, Ìàðèèíñêîãî òåàòðà, Ìîíðåàëüñêèì, Òîêèéñêèì ñòîëè÷íûì, NHK, Êîðîëåâñêèì ëèâåðïóëüñêèì ôèëàðìîíè÷åñêèì, Âåíñêèì êàìåðíûì îðêåñòðîì è Êàìåðíûì îðêåñòðîì Áåëüãèè. Âûñòóïàëà ñ ñîëüíûìè êîíöåðòàìè â Âèãìîð-õîëëå, êîíöåðòíîì çàëå Òîíõàëëå â Öþðèõå, íà ìóçûêàëüíûõ ôåñòèâàëÿõ: â Øëåçâèã-Ãîëüøòåéíå è Ðåéíãàó (Ãåðìàíèÿ), «Ìóçûêàëüíûé Îëèìï», «Ñêðèïêè ìèðà» («Les Violons de la Paix») â Áóëîíè-ñþð-Ìåð (Ôðàíöèÿ).  ÷èñëå åå ïàðòíåðîâ ïî êàìåðíîìó ìóçèöèðîâàíèþ – Ãèäîí Êðåìåð, Àíäðàø Øèôô, Êðèñòèàí Òåöëàôô, Àíòüå Âàéòõààñ, Þðèé Áàøìåò, Ëàðñ Ôîãò, Äýíèýë Õîóï, Àëüáàí Ãåðàðäò, ßí Ôîãëåð, Ôëîðèàí Óëèã, Õüþ Óîòêèíñ, Áåíäæàìèí Ãðîññâåíîð.
Õåþí ÏÀÊ Ñêðèïêà
Âûïóñêíèê Ìîñêîâñêîé êîíñåðâàòîðèè, ïðåäñòàâèòåëü ðîññèéñêîé ñêðèïè÷íîé è àëüòîâîé øêîë. Ñîâåðøåíñòâîâàë ìàñòåðñòâî â Áåðëèíñêîì óíèâåðñèòåòå èñêóññòâ è Âûñøåé øêîëå ìóçûêè â Ëþáåêå. Èãðàë â ñîñòàâå Áåðëèíñêîãî ôèëàðìîíè÷åñêîãî îðêåñòðà, âîçãëàâëÿë ãðóïïó àëüòîâ Íåìåöêîãî ñèìôîíè÷åñêîãî îðêåñòðà Áåðëèíà. Âûñòóïàë ïîä óïðàâëåíèåì âûäàþùèõñÿ äèðèæåðîâ Êåíòà Íàãàíî è Âëàäèìèðà Àøêåíàçè. Ìåæäóíàðîäíîå ïðèçíàíèå ïîëó÷èë â êà÷åñòâå ñîëèñòà è ó÷àñòíèêà êàìåðíîãî àíñàìáëÿ. Ñðåäè åãî ïîñòîÿííûõ ïàðòíåðîâ ïî ñöåíå – ïðîñëàâëåííûé íüþ-éîðêñêèé ïèàíèñò Ãàððèê Îëññîí.  2003 ãîäó îêîí÷èë äèðèæåðñêèé ôàêóëüòåò Áåðëèíñêîé âûñøåé øêîëû ìóçûêè èìåíè Ýéñëåðà. Íà ïðîòÿæåíèè ïîñëåäíèõ 15 ëåò ñîâìåùàåò ñîëüíóþ êîíöåðòíóþ äåÿòåëüíîñòü ñ âûñòóïëåíèÿìè â êà÷åñòâå äèðèæåðà îðêåñòðà.
Èãîðü ÁÓÄÈÍØÒÅÉÍ Ïðîôåññîð Ëåòíåé îðêåñòðîâîé àêàäåìèè Àëüòèñò è äèðèæåð
Âûïóñêíèê Ìàäðèäñêîé Êîðîëåâñêîé êîíñåðâàòîðèè ïî êëàññàì êëàðíåòà, õîðîâîãî è îïåðíîñèìôîíè÷åñêîãî äèðèæèâàíèÿ. Åãî ïåðâûì êîëëåêòèâîì åùå â ñòóäåí÷åñêèå ãîäû ñòàë Äóõîâîé îðêåñòð Âèëüÿðåõî-äå-Ñàëüâàíåñà, à ïåðâûì ñèìôîíè÷åñêèì ñîñòàâîì ïîñëå îêîí÷àíèÿ ó÷åáû – îðêåñòð Êîðîëåâñêîãî òåàòðà â Ìàäðèäå. Îí òàêæå ñîòðóäíè÷àë ñî Ñòóäåí÷åñêèì îðêåñòðîì Êîíñåðâàòîðèè «Ìîíñåððàò Êàáàëüå» è âîçãëàâëÿë Äóõîâîé àíñàìáëü èìåíè Õîàêèíà Òóðèíû. ×òîáû ðàñøèðèòü ñâîè çíàíèÿ è ïðèîáðåñòè íîâûé èñïîëíèòåëüñêèé îïûò, Ìàðèàíî Äîìèíãî ïðîäîëæèë ìóçûêàëüíîå îáðàçîâàíèå â êîíñåðâàòîðèè «Ìîöàðòåóì» â Çàëüöáóðãå. Åãî íàñòàâíèêè âèäåëè â íåì «÷ðåçâû÷àéíî òàëàíòëèâîãî, öåëåóñòðåìëåííîãî ìóçûêàíòà, ñ áîëüøèì óñåðäèåì è óäèâèòåëüíîé âûäåðæêîé». À ñàì Ìàðèàíî Äîìèíãî ñòðåìèëñÿ ê ñîâåðøåíñòâîâàíèþ ïðîôåññèîíàëüíîãî ìàñòåðñòâà è ïðèíèìàë ó÷àñòèå â ìàñòåð-êëàññàõ Àíòîíè Ðîñ-Ìàðáû, Àíäðåñà Ñàðñî, Ñàëüâàäîðà Ìàñà Êîíäå, Ðàéíåðà Øòîéáèíãà-Íåãåíáîðíà, Éîãàííà Äèóéà è Ìàíóýëÿ Ýðíàíäåñà Ñèëüâû. Íà ïðîòÿæåíèè òðåõ ñåçîíîâ îí áûë ìóçûêàëüíûì äèðåêòîðîì ôåñòèâàëÿ «Oper im Berg» â Çàëüöáóðãå. Ðàáîòàë ñ àâñòðèéñêèìè è èñïàíñêèìè îðêåñòðàìè è àíñàìáëÿìè. Ïðîâåë íåñêîëüêî ëåò â Ýéçåíàõå.  íàñòîÿùåå âðåìÿ îí ðàáîòàåò ñ ñèìôîíè÷åñêèìè êîëëåêòèâàìè â Áðàíäåíáóðãå è Áåðëèíå, ðóêîâîäèò Êàìåðíûì àíñàìáëåì Ôðèäåíàó è ñîçäàííûì èì îðêåñòðîì «Ritornello». Ó÷àñòâóåò â ïðîãðàììàõ Áåðëèíñêîé ôèëàðìîíèè, âêëþ÷àÿ âûñòóïëåíèÿ â êîíöåðòíîì çàëå è ïîä îòêðûòûì íåáîì. Ìàðèàíî ÄÎÌÈÍÃÎ Ïðîôåññîð Ëåòíåé îðêåñòðîâîé àêàäåìèè Êëàðíåòèñò è äèðèæåð
ÀËÜÒÛ I ÑÊÐÈÏÊÈ Áàððàýñ Ðîäîëüôî Âàðàêñèíà Ëþáîâü Çèãàíøèíà Àëåêñàíäðà Çìååâà Êñåíèÿ Êàëóïèí Ìèõàèë Êèì Õå ×æèí Îðëîâ Ëåîíèä Ïèñêóíîâ Âëàäèìèð Ïîëÿíñêîâà Þëèÿ Ðàä÷åíêî Âåðîíèêà Ðåçíèê Àíàñòàñèÿ Ñëèïàêîâ Åâãåíèé Ñòàðîñòèíà Åêàòåðèíà Ôåäîòüåâà Îëüãà
ÌÅÆÄÓÍÀÐÎÄÍÛÉ ÌÎËÎÄÅÆÍÛÉ
×ÀÉÊÎÂÑÊÈÉÎÐÊÅÑÒÐ
II ÑÊÐÈÏÊÈ Áåñïîìåñòíûõ Äåíèñ Çàãîâåíüåâà Ýììà Êîðêèíà Åâãåíèÿ Êîðîëåâà Åëåíà Êîòåíêî Àíàñòàñèÿ Ïèíåäà Ìàðèàíà Ïëàòîíîâà Àëèíà Ïîïîâà Åêàòåðèíà Ðåáðåø Ñâåòëàíà Ñëèïàêîâà Åâãåíèÿ Óçèíãèíà Îëüãà Ôåéìàí Ìèõàèë ×åáîòàðåâà Èðèíà
Áàðàíîâà Äàðüÿ Ãåëëåð ßêîâ Êåðæåíöåâ Åãîð Êîáèëåöêèé Ïåòðî Êîíåâà Þëèÿ Îðëîâà Âèêòîðèÿ Ïåðìèíîâà Àëèíà Ñåðãèåíêî Àíäðåé Òðóá÷èíñêàÿ Äàðüÿ Øàáàëèíà Åêàòåðèíà
ÊÎÍÒÐÀÁÀÑÛ Àëåêñååâà Åëèçàâåòà Ðîùèí Âëàäèìèð Ñà Ìàøàäó Ôðàíöèñêà Ñìîëèí Âèòàëèé Ñíåãèðåâà Åëåíà
ÂÈÎËÎÍ×ÅËÈ Áåçåêêå Êëàðà Áîðèñîâà Àííà Èâàíîâ Äìèòðèé Êàëàøíèêîâà Îëüãà Êàòàåâà Åâãåíèÿ Îëüõîâàÿ Åêàòåðèíà Ïýòø Ðàôàýëà Òàìîÿí Íèêà Õðàìöîâà Ìàðèÿ ×åðíóõèíà Àíàñòàñèÿ
ÔËÅÉÒÛ Øòàéíèíãåð Ëèëÿ Øóáèíà Ìàðãàðèòà
ÐÓÊÎÂÎÄÈÒÅËÈ ÏÐÎÅÊÒÀ
ÃÎÁÎÈ Çåëåíèíà Íàòàëüÿ Íýìîòî ×èêàêî
ÂÀËÒÎÐÍÛ Êîâàëü Àíàñòàñèÿ Ìèõàéëîâ Èâàí Ñìèðíîâ Àëåêñåé Òîïîðîâ Àíäðåé
ÊËÀÐÍÅÒÛ Ðîäðèãåñ Óãî Ñòÿæêèí Ðîìàí
Ðåêñðîò Òàòüÿíà Êîëîòóðñêèé Àëåêñàíäð ÒÐÎÌÁÎÍÛ Àáðåó Æîàí Ïåäðó Ãîðÿåâ Àíäðåé
Äèáàåâ Àëåêñàíäð Õà Ìèí ×æóí
Ðåêñðîò Îëüãà Ìåõîíîøèíà Îëüãà ÈÑÏÎËÍÈÒÅËÜÍÛÅ ÏÐÎÄÞÑÅÐÛ Ðåêñðîò Íèêîëàóñ Õàñàíîâ Ðóñòåì
ÒÐÓÁÛ
ÈÍÔÎÐÌÀÖÈÎÍÍÀß ÏÎÄÄÅÐÆÊÀ
ÓÄÀÐÍÛÅ ÈÍÑÒÐÓÌÅÍÒÛ Íàçàðîâà Èðèíà ×åðíåãà Íàòàëèÿ
Áåòàíêóð Êðèñòèàí Ñòðàòóëàò Ïàâåë ÔÀÃÎÒÛ Ãîíñàëåñ Ïàáëî Êðàþõèí Èëüÿ Ëÿïóñòèí Àëåêñåé
ÄÈÐÅÊÒÎÐÀ ÎÐÊÅÑÒÐÀ
ÊÎÎÐÄÈÍÀÒÎÐÛ Öâèëü Þëèÿ
Åêàòåðèíáóðã Åêàòåðèíáóðãñêàÿ àêàäåìèÿ ñîâðåìåííîãî èñêóññòâà
Ðåâäà
Îðêåñòðîâûå è ãðóïïîâûå ðåïåòèöèè Ìàñòåð-êëàññû Èíäèâèäóàëüíûå çàíÿòèÿ
Âñòðå÷à ñ ïðåäñòàâèòåëÿìè íåìåöêîé îáùèíû â Âûñòàâî÷íîì çàëå Ýêñêóðñèè â Êðàåâåä÷åñêèé ìóçåé è Äîì-ìóçåé À.Ñ. Ïîïîâà
Âñòðå÷à-äèñêóññèÿ ñî ñòóäåíòàìè Ýêñêóðñèÿ «Êîíñòðóêòèâèñòñêîå íàñëåäèå Óðàëìàøà»
Ýêñêóðñèÿ «Óðàë – ãðàíèöà Åâðîïû è Àçèè»
Êðàñíîòóðüèíñê Êóëüòóðíî-äîñóãîâûé êîìïëåêñ
Ðåâäà Ãîðîäñêîé ôèëàðìîíè÷åñêèé çàë
Åêàòåðèíáóðã Ñâåðäëîâñêàÿ ôèëàðìîíèÿ: Áîëüøîé çàë Ïðÿìàÿ èíòåðíåò-òðàíñëÿöèÿ: ñàéò sgaf.ru
ÌÅÆÄÓÍÀÐÎÄÍÛÉ ÌÎËÎÄÅÆÍÛÉ ×ÀÉÊÎÂÑÊÈÉ-ÎÐÊÅÑÒÐ Õóäîæåñòâåííûé ðóêîâîäèòåëü è äèðèæåð – Êðèñòîô Ãåòøîëüä, Ãåðìàíèÿ Õåþí Ïàê (ñêðèïêà), Êîðåÿ ×àéêîâñêèé. Êîíöåðò äëÿ ñêðèïêè ñ îðêåñòðîì. Áðàìñ. Ñèìôîíèÿ ¹ 4 Âñòðå÷è è àâòîãðàô-ñåññèè ñî ñëóøàòåëÿìè ïîñëå êîíöåðòîâ
ÑÎÁÛÒÈß
Êðàñíîòóðüèíñê
ÊÎÍÖÅÐÒÛ
Åêàòåðèíáóðã Ñâåðäëîâñêàÿ ôèëàðìîíèÿ
ORGANIZERS
WITH SUPPORT OF
PARTNER
Dear friends! In July the Summer Orchestra Academy will take place in our region again, at Sverdlovsk Philharmonic. This cultural project is a worthy contribution of the Middle Urals in fostering international collaboration and professional growth of young musicians. Students and young musicians from Europe and Asia come to our region every year to have an internship with the Academy. They join the artists of the Ural Youth Symphony Orchestra and make an innovative musical group. I believe that working side-by-side with the leading professors, communicating with peers from different countries, and getting familiar with the rich history and culture of Sverdlovsk region, will be a powerful impetus for creativity and advancement of the International Tchaikovsky Youth Orchestra musicians. It’s noteworthy that the Orchestra’s performances are included in the program of Innoprom International Industrial Exhibition. This provides the visitors with an excellent opportunity to get acquainted with the great cultural potential of the Middle Urals, and serves as a clear indication of our region’s openness to collaboration in all areas. I wish all the participants of the Summer Orchestra Academy to gain inspiration and creative self-fulfillment, and listeners to have an excellent cheer and bright impressions! Yevgeny KUIVASHEV Governor of Sverdlovsk region
Dear Music Enthusiasts, Sverdlovsk Philharmonic and RCCR Projects GmbH continue cooperating on the unique project of the international Summer Orchestra Academy. The German Federal Foreign Office and the German Consulate General in Yekaterinburg are very happy to support the Academy once again as it helps to build bridges between countries and cultures. 17 Students from German universities and colleges are visiting the Ural for two weeks to make music and take part in discussions and workshops with the young musicians of the Ural Youth Symphony Orchestra. Together they will form the International Tchaikovsky Youth Orchestra and present their talents and professional excellence at the concerts in Yekaterinburg and Sverdlovsk oblast towns – Krasnoturinsk and Revda. The Summer Academy provides an opportunity for young artists from different parts of the world to get to know each other, learn something new and connect through the universal language of music, because music – as opposed to spoken words – does not need any vocabulary, grammar or syntax. We simply have to listen. Dr. Stefan KEIL Consul General of the Federal Republic of Germany in Yekaterinburg
Dear friends! For the 3rd time the Berlin-based music agency RCCR Projects together with the Sverdlovsk Philharmonic enthusiastially great enthusiasm arrange for the Summer Orchestra Academy in Yekaterinburg. We are very pleased that the Academy has become an essential part of the musical life of Yekaterinburg and almost the entire Sverdlovsk region – thanks to the concerts performed in the region and the live technology streaming. The Ural’s capital has become a respected and close place to many young musicians from around the world, students of German conservatories and orchestra interns. They are always happy to come to Yekaterinburg, to communicate and share experience with their Russian peers. Young performers from Russia cordially welcome their guests; they appreciate the opportunity to take part in a major international project under the guidance of the best German musicians. Young people in all countries are keenly responding to the current world events nowadays. Communication with students of Ural universities, discussions on the most topical issues: from proposals on the improvement of Russian-German bilateral relations to the organization of joint creative projects – this part of the Summer Academy is just as important as the rehearsals and concerts. Tatjana REXROTH All of us are not only giving the joy of the collaborative music-making to each other, but are also sharing it with Director RCCR Projects GmbH Berlin the audiences of Yekaterinburg and the most far-flung corners of the Urals. Let’s love music together. Let it further unite us and promote mutual understanding between our peoples!
Dear friends!
Alexander KOLOTURSKY Director of the Sverdlovsk Philharmonic, Member of the Russian Presidential Council for Culture and Art
Sverdlovsk Philharmonic is greeting the participants of the Summer Orchestra Academy again! We are happy to welcome the young musicians of Yekaterinburg and their peers from different countries of the world who have come to Yekaterinburg! They will spend many rehearsal hours together, become an integrated whole and find new soul-mates, congenial in spirit and creativity. I’d like to thank the experienced professors who have agreed to become mentors of their young colleagues. It is a great honor and responsibility for us to host the famous European maestros, who share their experience with their young counterparts, and the artists who are beginning their creative carriers. The example of the Ural Youth Symphony Orchestra shows what a positive impact the cooperation with outstanding conductors and famous soloists, master classes and professional communication have on the level of the performing skills. I am confident, the creation and concert activities of the International Tchaikovsky Youth Orchestra is, indeed, a brilliant opportunity to get acquainted with the traditions of musical performance and the peculiarities of interpretation of Russian and Western European classics, to learn to listen and understand each other. For our foreign guests, the Youth Orchestra Academy in Yekaterinburg opens Russia, and reveals its culture and history. I wish all the participants an interesting dialogue, a creative breakthrough and ovations!
“I was born in the Urals,” so begins the autobiography of Pyotr Ilyich Tchaikovsky, recalling “the provincial town in the Vyatka province of the Urals,” where he spent his childhood. Votkinsk was the tiny native land of this genius of Russian music – one of the many towns founded around industry and which in the 19th century were part of the system of Urals mining districts managed from Yekaterinburg. Tchaikovsky’s life path became even more closely intertwined with the Urals when in 1849 his family arrived in the town of Alapayevsk, where the composer’s father – Ilya Petrovich – had been offered the position of CEO of the Alapayevsk private factories. That brief period in Alapayevsk was very important in Tchaikovsky’s life. From his letters it is clear that he remembered it as a special world of Childhood, Family, and Love. Those fifteen months were a time of serenity, during which Tchaikovsky was surrounded by family and his twin brothers were born. One of them, Modest, become his closest friend and first biographer, the founder of the Tchaikovsky Museum in Klin and author of the libretto for the opera The Queen of Spades. Alapayevsk period played a special role in the formation of the composer’s identity, when a still vague notion of his future destiny was only beginning to take shape. It was here that Pyotr Tchaikovsky first tried his hand at musical improvisation, and hence Alapayevsk can with confidence be called the birthplace of Tchaikovsky as a composer. What is even more important is that here we can attempt to immerse ourselves in the atmosphere in which he lived and began to create, because the house in which the Tchaikovsky family lived has not only survived – it is now a museum dedicated to that great composer. And although Pyotr Ilyich left the Urals in 1850 to enroll in the Imperial School of Jurisprudence in St. Petersburg, he retained the memories of the happiness he experienced in Alapayevsk. Because, as he later wrote, “the enthusiasm one feels for the arts when young leaves a lasting impression on one’s life.”
Summer Orchestra Academy is an international educational project, a musical internship program for young professional musicians. The Academy is the work product of the International Youth Cultural Centre of Sverdlovsk Philharmonic, established in 2014 with support of the Ministry of Culture of the Russian Federation and the Government of Sverdlovsk Oblast. The Academy and the Centre promote international collaboration among young artists, providing its interns with favorable environment for creativity, professional growth, and cultural exchange. The Summer Orchestra Academy’s effectiveness has been provided for by the long-term productive collaboration of the Sverdlovsk Philharmonic with its long-term partner, RCCR Projects GmbH Company, an established player in the international cultural exchanges sphere. Having a positive debut in 2014, the Academy moved further with its next editions in 2015 and 2017. Young musicians from Europe, Asia and South America joined the artists of Ural Youth Symphony Orchestra in Yekaterinburg for an intensive and exciting two-week adventure. Participating in the master classes, group and orchestra rehearsals, working with distinguished conductors, guest soloists and professors, the Academy interns received an invaluable professional experience. Their day-to-day interaction with their foreign counterparts enlarged their worldview, provided for a deeper understanding and appreciation of the diverse cultures, and helped building friendships and creative partnerships. The Academy’s calling card is the International Tchaikovsky Youth Orchestra – the musical ensemble formed out of the Academy’s participants and presenting its results to the public as the Academy’s new concert programs. The outstanding Russian composer spent part of his childhood in Alalpayevsk a small town neighboring Yekaterinburg, where his father was a mining district manager. Hence, a work by P. I. Tchaikovsky is always included in the program of Tchaikovsky orchestra along with the other musical works. The Tchaikovsky Orchestra played concerts in Yekaterinburg and Sverdlovsk region, and presented the Summer Orchestra Academy at the Classic over Volga Festival in Togliatti, Samara region, as well as at the Young Euro Classic International Festival in Konzerthaus Berlin, Germany. The 2018 edition of Summer Orchestra Academy will be led by Maestro Christoph Gedschold (Germany) in collaboration with professors Igor Budinstein & Mariano Domingo. The International Tchaikovsky Youth Orchestra will perform a series of concerts in the towns of the Urals region, including Yekaterinburg, Revda and Krasnoturyinsk. The Summer Orchestra Academy’18 is supported by the Ministry of Foreign Affairs of the Federal Republic of Germany. The International Tchaikovsky Youth Orchestra performances in the Great Hall of Sverdlovsk Philharmonic are part of the cultural program of the Innoprom, a large-scale international industrial expo that takes place in Yekaterinburg annually.
Tchaikovsky Orchestra – 2015. Chief Conductor – Enkhe
SUMMER ORCHESTRA ACADEMY – 2014 Artistic director and Conductor – Oleg Caetani (Italy) Soloist – Daniil Trifonov (piano), Grand Prix winner of the XIV International Tchaikovsky Competition
Professors: Dmitry Vasiliev (violin) Hans Joachim Greiner (viola), Germany Klaus Thunemann (bassoon), Germany Christian-Friedrich Dalman (French horn), Germany
SUMMER ORCHESTRA ACADEMY – 2015 Artistic Director and Chief Conductor – Enkhe (Enkhbaatar Baatarzhav) Conductor – Fabio Mastrangelo, Russia–Italy Soloists: Alexey Nabiulin (piano), winner of the XII International Tchaikovsky Competition Saltanat Akhmetova (soprano), Kazakhstan Vasilisa Berzhanskaya (soprano) Ilya Silchukov (baritone), Belarus
Professors: Maria Antonia Rodriguez (flute), Spain Rodolfo Epelde (French horn), Spain
SUMMER ORCHESTRA ACADEMY – 2017 Artistic director and Conductor – Bruno Weil (Germany) Soloists: Dmitry Masleev (piano), 1st prize winner of the XV International Tchaikovsky Competition Momo Kodama (piano), Japan Alexei Petrov (piano), Belarus
Professors: Ulf Klausenitzer (violin), Germany Christian Kunert (bassoon), Germany Tchaikovsky Orchestra – 2017. Conductor – Bruno Weil
Principal conductor, Leipzig Opera. Born in Magdeburg. Studied piano and conducting in Leipzig and Hamburg with famous German conductor Christof Prick. Led the orchestras of Theatre Lucerne, the State Theatre Nuremberg, and the Baden State Theater. Has been leading the Leipzig Opera since 2015. Regularly performs as a guest conductor at the Dresden Semperoper, Hamburg State Opera House and Oper Frankfurt. Maestro also performed with the Leipzig Gewandhaus Orchestra, Staatskapelle Dresden, Hamburg Philharmonic State Orchestra, Montreal Symphony Orchestra, Frankfurt Opera House and Museum’s Orchestra, National Theatre Mannheim Orchestra, State Philharmonic of Rhineland-Palatinate, Nuremberg’s Philharmonic State Orchestra, Symphony Orchestra Basel and the New Japan Philharmonic in Tokyo. In the season of 2018-2019 he will debut with the Gurzenich Orchestra Cologne and the MDR Leipzig Radio Symphony Orchestra.
Christoph GEDSCHOLD Artistic Director of the Summer Orchestra Academy Conductor
A graduate of the University of Cincinnati (Prof. Piotr Milewski’s class) and Hanns Eisler School of Music Berlin (Prof. Antje Weithaas’ class). Participant of Kronberg Academy’s Young Soloist program. Hyeyoon made her orchestral debut at the age of nine with the Seoul Philharmonic Orchestra. At the age of seventeen, she became the youngest ever first prize winner of the ARD International Music Competition in Munich. At the age of twenty she received the London Music Masters Award in 2012, which led to numerous concerts in prominent venues throughout the UK. She has worked with London Philharmonic Orchestra, BBC National Orchestra of Wales, Symphonieorchester des Bayerischen Rundfunks, hr-Sinfonieorchester Frankfurt, NDR Elbphilharmonie Orchester, Mariinsky Orchestra St. Petersburg, NHK Symphony Orchestra, Tokyo Metropolitan Symphony Orchestra, Orchestre Symphonique de Montreal, Royal Liverpool Philharmonic Orchestra, Chamber Orchestra of Belgium and Wiener KammerOrchester. She has given recitals at the Wigmore Hall, Tonhalle Zurich, Schleswig-Holstein Festival, Rheingau Musik Festival, Musical Olympus Festival and Les Violons de la Paix. As a chamber musician she has collaborated with Gidon Kremer, Andras Schiff, Christian Tetzlaff, Antje Weithaas, Yuri Bashmet, Lars Vogt, Daniel Hope, Alban Gerhardt, Jan Vogler, Florian Uhlig, Huw Watkins and Benjamin Grosvenor.
Hyeyoon PARK Violin
Shortly after being appointed as fellow at the Berliner Philharmoniker, Igor Budinstein became the principal viola player of the Deutsches Symphonie-Orchester Berlin, the position he holds since 1995. As a violinist and violist, he studied at the Moscow Conservatory, Universitat der Kunste in Berlin and the Musikhochschule Lubeck. Since 2003 he has been increasingly active as a conductor and graduated from the Musikhochschule Hanns Eisler in Berlin in conducting studies. In addition to maintaining a full schedule as a conductor, Budinstein has drawn international praise for his work as a distinguished viola soloist and chamber musician, collaborating among others with such artists as Kent Nagano, Vladimir Ashkenazy and Garrick Ohlsson.
Igor BUDINSTEIN Professor of the Summer Orchestra Academy Violist and conductorS
Mariano Domingo graduated from the Real Conservatorio Superior de Musica (Madrid) with degrees in clarinet playing, choral and orchestra conducting. In his student years he debuted with the Banda de Musica de Villarejo de Salvanes, and at the end of his studies he joined Orquesta Escuela at the Teatro Real in Madrid. He also collaborated with the Conservatorio “Montserrat Caballe” student orchestra and was the conductor of the “Joaquin Turina” band. To expand his knowledge and acquire new performing experiences, Mariano Domingo continued his musical education at the Mozarteum University Salzburg. His mentors saw him as “an extremely talented, purposeful musician, with great zeal and amazing stamina”. Striving to improve his professional skills Mariano Domingo participated in master courses by Antoni Ros Marba, Andres Zarzo, Salvador Mas, Rainer Steubing-Negenborn, Johann Diujh and Manuel Hernandez Silva. For three seasons he was the music director of the Salzburg-based Oper im Berg Festival. He worked with Austrian and Spanish orchestras and ensembles and spent several years in Eisenach. Currently he works with symphony orchestras in Brandenburg and Berlin, and directs the Friedenauer Kammerensemble, as well as the Orquesta Ritornello formed by him. Maestro regularly participates in the indoors and open air programs of Berlin Philharmonic.
Mariano DOMINGO Professor of the Summer Orchestra Academy Violinist and conductorS
VIOLAS FIRST VIOLINS Barraez Rodolfo Fedotyeva Olga Kalupin Mikhail Kim Hye Jin Orlov Leonid Piskunov Vladimir Polyanskova Yuliya Radchenko Veronika Reznik Anastasia Slipakov Evgeny Starostina Ekaterina Varaksina Liubov Ziganshina Aleksandra Zmeeva Kseniia
INTERNATIONAL YOUTH
TCHAIKOVSKYORCHESTRA
SECOND VIOLINS Bespomestnykh Denis Chebotareva Irina Feiman Michail Korkina Evgeniya Koroleva Elena Kotenko Anastasiia Pineda Mariana Platonova Alina Popova Ekaterina Rebresh Svetlana Slipakova Evgeniya Uzingina Olga Zagoveneva Emma
Baranova Daria Geller Jakov Kerzhentsev Egor Kobiletskiy Petro Koneva Yulia Orlova Viktoriia Perminova Alina Sergiyenko Andrey Shabalina Ekaterina Trubchinskaya Daria
DOUBLE BASSES Alekseeva Elizaveta Roshchin Vladimir Sa Machado Francisca Smolin Vitalii Snegireva Elena
CELLOS Baesecke Clara Borisova Anna Chernukhina Anastasia Ivanov Dmitrii Kalashnikova Olga Kataeva Evgeniia Khramtsova Mariia Olkhovaia Ekaterina Paetsch Raphaela Tamoian Nika
FLUTES Shubina Margarita Steinger Lilja
PROJECT MANAGERS
OBOES Nemoto Chikako Zelenina Natalia
HORNS Koval Anastassiya Mikhaylov Ivan Smirnov Aleksei Toporov Andrey
CLARINETS Rodriguez Hugo Stiazhkin Roman
Rexroth Tatiana Kolotursky Alexander TROMBONES Abreu Joao Pedro Goryaev Andrey
Dibayev Aleksandr Ha Minjoong
Rexroth Olga Mekhonoshina Olga EXECUTIVE PRODUCERS Rexroth Nikolaus Khassanov Rustem
TRUMPETS PERCUSSION
INFORMATION SUPPORT Nazarova Irina Chernega Natalia
Betancourt Cristian Stratulat Pavel BASSOONS Gonzalez Pablo Kraiukhin Ilia Liapustin Aleksei
ORCHESTRA DIRECTORS
COORDINATORS Tcvil Yuliia
Yekaterinburg Yekaterinburg Academy of Contemporary Art
Revda
Orchestral and group rehearsals Master classes Individual consultations
Meeting with representatives of the German community at the Exhibition Hall Tours of Local History Museum and Memorial House of A.S. Popov
Meeting and discussion with students Walking tour: Constructivism heritage of the Uralmash district
Bus tour: Ural – the Border between Europe and Asia
Krasnoturyinsk Cultural and Recreational Complex
Revda City Philharmonic Hall
Yekaterinburg Sverdlovsk Philharmonic, Great Hall Live streaming on www.sgaf.ru
NTERNATIONAL YOUTH TCHAIKOVSKY ORCHESTRA Artistic Director and Conductor – Christoph Getschold, Germany Hyeyoon Park (violin), Korea Tchaikovsky. Concerto for violin and orchestra. Brahms. Symphony No. 4 Meetings and autograph sessions with audiences after concerts
EVENTS
Krasnoturyinsk
CONCERTS
Yekaterinburg Sverdlovsk Philharmonic