At a first glance 15 years is far from being a lengthy period of time. Albeit, only in the case when there is a long established path or at least marked trail. When society is open to new trends and the government is endowed with a set cultural strategy. When there exist state support and mature organizational structures. When it is
possible to let oneself be heard within such structures… When the situation is he reverse, then each step counts for three or maybe even for five! Nonetheless, the process itself of this lengthy, stepwise movement towards a certain stated path sometimes does bring to all of us a genuine type of artistic satisfaction.

In its initial combination the Studio for New Music ensemble assembled for the first time in 1993, when Mstislav Rostropovich invited a large group of students and graduate students of Moscow Conservatory to Evian, France to participate in his music festival. This was the first large-scale activity of the great musician, which was meant to present to Europe a new generation of Russian performers and composers. Under the direction of the Maestro and with his amicable mentoring the history of the new ensemble began. Presently one cannot forget the invaluable and altruistic help of the people, who supported the new idea at its most difficult phase of formation. Thus, the rehearsals of the first program of the new ensemble in Evian took place under the inspired direction of R.O. Bagdasaryan; a considerable amount of professional interest in the development of the ensemble’s artistic make-up was manifested by professors T.A. Gaidamovich and A.Z. Bonduryansky. Pivotal support was given to this new endeavor in terms of its ideas and organization by professor A.S. Sokolov, who became an initiator of this new direction of the Conservatory’s work. As a result of his lengthy meticulous efforts the Studio for New Music acquired an official status of a Conservatory-based ensemble and thus became the first ensemble of contemporary music. During the course of all these the conductor’s podium of our ensemble is occupied by the irreplaceable professor I.A. Dronov, who stood at its very foundations and who has participated in the most active way in forming its basic artistic principles.

The initial idea of our project is simple and fathomable – it has been determined by the natural wish to hear the new sound of the contemporary world in its enormous variety. We aspired – having filled in the numerous «gaps» and «blank spots» which had accrued during the course of several long decades – to give performance of contemporary music the appearance not of a manifestation of some kind of extravagant «excess» or professional «heroic feat» but an innate part of the current musical life, a part of everyday practice. We deemed it necessary to expand the horizons of stylistic perception and to modernize the aural experience of our listeners, introducing them in a systematic way to the classics of the world avant-garde music – from Russia as well as from other countries. At the same time, when presenting the works of our composers, including the youngest ones, in the prestigious festivals in other countries, we set the aims to attune contemporary Russian music into the overall European context in the worthiest manner.

It was clear from the very beginning that carrying out these kinds of aims presented a long-term and multifaceted project, which demanded the most diverse types of activities. Hence appeared the idea of a regular international festival, which the «Moscow Forum» turned out to be, with the master classes and conferences accompanying it, the idea of the Center for Contemporary Music which would coordinate this work, the idea of systematic concert cycles, lasting for several years, of the specially developed tour programs for the Russian province regions, the numerous lectures and seminars, as well as the collaborative international projects with the most diversified genres. At that our immutable motto «Let us make contemporary music accessible!» realized itself consistently in tne basic principle – organizing concerts exclusively with free admission!

Altogether during the last few years about 500 concerts were performed by the Studio for New Music ensemble, at that, practically each one of them featured a new program. These programs included about 60 monographic concerts featuring the music of one composer each, over 100 Russian and several dozens of world premieres. Among these were works by the classics of the Russian avant-garde as well as the recently discovered unknown masterpieces of the 1910 s-1930 s and even names discovered for the first time. Here were compositions by renowned masters and works by students.

The ensemble has performed in dozens of cities in Russia and in the most important cities of America and Europe, including such prestigious venues as the philharmonic halls of Moscow and St. Petersburg, the Berlin Philharmonic Hall and the Konzerthaus, at various festivals Amsterdam, Baku, Warsaw, Vienna, Hamburg, Vienna, Hamburg, Cologne, Prague, Tallinn, in the auditoriums of Boston University, Harvard University, Oxford University and others.

A priority among the aims of our activities was to cultivate a young generation of musicians who would be open to new ideas of contemporary art, including new trends in the performing arts. Hence we have named our ensemble as the Studio for New Music. A studio is not only a place of meeting for colleagues with similar goals in life; it is also a school, where new types of professional knowledge are constantly studied. A studio is a continuous process, which gradually permeates into the Conservatory’s educational courses for musicians of various specializations, since studio also means that it is for students.

The theme and, to a certain extent, the form of this present festival, dedicated to the 15th anniversary of the Studio for New Music is derived from the famous film by Fellini, Orchestra Rehearsal. The main conflict in the plot of the film – the constant contradictions between the individual aspirations of the personality or soloist with the collective habits of society or the conductor – presents itself as extremely relevant to the present-day Russian society. In our relatively small ensemble we are working to a certain degree on developing our own model of its possible realization. For all of us such a model is personified particularly by an ensemble of soloists – an instrumental ensemble which has been formed in 20th century European music, in which each voice has individuality, is endowed with its own timbre and possesses a considerable amont of autonomy. Moreover, during the course of our Orchestra Rehearsal the leading performers of our ensemble were given the chance of an extensive individual statement «from the first person» – they will perform their own solo recitals. These personal artistic portraits will be «balanced» by the participation of these same musicians in the collective performances of the ensemble.

This year the guest of the festival will be – as paradoxical as it may sound – the «oldest» contemporary music ensemble «Die Reihe» (Austria), which is marking its fiftieth anniversary this year. This ensemble will present premieres by contemporary Austrian composers. we sincerely hope that notwithstanding our difficult conditions of climate the Studio for New Music will also turn out to be endowed with such an artistic «longevity».

In its fifteen Studio for New Music is wonderful team! The mastery and enthusiasm of our musicians is adequately evaluated by our listeners and I would like to note especially that inconspicuous yet remarkable work which for all these years has been carried out by my colleagues at the Center, especially Evgenia Izotova and Vera Serebryakova. In their work they combine the effectiveness of a Western management with a genuine type of Russian altruism and enthusiasm.

The activities of the Studio for New Music and the Moscow Forum festival have been receiving active support from Moscow Conservatory’s artistic community. We are grateful for this to the enthusiastic and amicable aid to our colleagues – the directors of the Conservatory’s various departments and artistic groups – to professors A.B. Lubimov, B.G. Tevlin, M.I. Pekarsky, V.S. Popov, S.S. Kalinin, V.M. Ivanov, N.N. Gilyarova, V.V. Sukhanov and numerous others. We wish to express our heartfelt gratitude to the rector of Moscow Conservatory, professor T.A. Alikhanov, not only for the organizational and administrative and financial support towards the ensemble but also to the numerous artistic initiatives and personal involvement in our programs.

We express our gratitude to the Austrian Cultural Forum, the Embassy of the Kingdom of the Netherlands in Moscow and the Musical Center of the Netherlands for the possibility bestowed by them of inviting the guests of our festival from abroad.

We would like to express our heartfelt gratitude to those organizations which supported our projects in the previous years and in this way enabled us to survive in the most difficult times. They are: Austrian Cultural Forum, Canadian Embassy, DoNeMus (the Netherlands), Ernst von Siemens Kulturstiftung (Germany), Finnish Music Information Center (FIMIC), French Cultural Center, French Embassy, Gaudeamus Foundation (the Netherlands), German Embassy, Goethe-Institute (Germany), Kulturstiftung des Bundes (Germany), Luses Foundation (Finland), Polish Cultural Center in Moscow, Pro-Helvetia Foundation (Switzerland), Royal Netherlands Embassy, Swiss Embassy.

With great joy we note that the present festival for the first time during the long years of its existence has received support from Russian institution – the Ministry of Culture of the Russian Federation, which enabled it to expand the content of its program to a considerable degree.

We invite everybody to the concerts of our festival.
Do not be late for the Orchestra Rehearsal!

Vladimir Tarnopolski
Artistic director
of the Studio for New Music ensemble

22 September, Monday


Early Russian avant-garde: premieres, postponed for a hundred years

Nikolai Obouhow Frenzy (arranged for chamber orchestra by Elmer Schoenberger) RP
Vsevolod Zaderatsky Chamber symphony RP


Dedications for Studio for New Music

Alexander Vustin Theatre
Yuri Vorontsov Amulet
Sergey Pavlenko Vektorraum RP
Svetlana Rumyantseva Evenness of the night spaces RP
Vladimir Tarnopolski Chevengur

Studio for New Music ensemble
Svetlana Savenko, soprano
Mona Haba, piano
Chamber choir of the Moscow Tchaikovsky Conservatoire, under the direction of Boris Tevlin
Igor Dronov, conductor

23 September, Tuesday


Russian avant-garde: premieres, postponed for a hundred years
Afterword for the program of 22 September

Ekaterina Vlasova A Few Questions Regarding the Repertoire Policy in the Music of Stalin’s Time
Elmer Schoenberger (Netherlands) On «Frenzy» by Nikolai Obouhow
Vsevolod Zaderatsky Per aspera: about Chamber symphony by Vsevolod P. Zaderatsky


Marina Rubinstein, flute

Heinz Holliger
Faraj Karaev ...messeur bee line – eccentric
Luciano Berio Musica Leggera
Michael Levinas Arsis et thesis
André Jolivet Chant de Linos


Olga Galochkina, cello

Emmanuel Nunes Einspielung
Bernd Alois Zimmermann Sonata
Kirill Umansky Long and Short Lines
Pierre Boulez Messagesquise


Setpoint position
Structural Resistance Group

Dmitry Kourliandsky prePositions WP
Sergey Nevsky Countdown
Boris Filanovsky schmozart

The musicians, taking part in the concerts:
Anastasia Alferova, harp,
Natalia Cherkasova, piano,
Stanislav Malishev, violin,
Anna Burchik, viola,
Olga Kalinova, cello
* Conference hall of the Conservatory (Rakhmaninov building)

24 September, Wednesday


Conference «Contemporary Music in Contemporary Society»


Anastasia TABANKOVA, oboe

Luciano Berio Sequenza VII
Brian Ferneyhough Coloratura
Svetlana Lavrova WP Gestures of despair
Klaus Huber Noctes intelligibilis luces


Homage to Lourié’s «Formes en l’air»
Sound Plasticity Group

Arthur Lourié Formes en l’air
Olga Bochikhina Voice far away RP
Andrey Kuligin Contours of the Nebula RP
Vladimir Gorlinsky Smorzando
Nikolai Khrust l’Air en formes RP
Alexey Sisoev Beta Taurids RP
Alexey Sioumak Improvisation RP

Studio for New Music ensemble
Igor Dronov, conductor


Stanislav Malishev, violin

Salvator Sciarrino Capriccio
Alfred Schnittke a Paganini
Edison Denisov Five Paganini Capriccios
Studio for New Music ensemble
Monika Khaba, piano,
Natalia Cherkasova, piano

25 September, Thursday


Oleg Tantsov, clarinet

Alexey Nadzharov Contradiction
Georges Aperghis Simulacre IV
Helmut Lachenmann Allegro sostenuto


String quartet Studio for New Music

Alexander Mosolov String Quartet
Igor Stravinsky Three pieces for string quartet
Edison Denisov Trio
Viktor Ekimovsky Swansong


… for clarinet and quartet

Magnus Lindberg Quintet
Salvatore Sciarrino Quintettino RP
Gérard Pesson Nebenstück RP

Mikhail Dubov, piano
String quartet Studio for New Music:
Stanislav Malishev, violin,
Inna Zilberman, piano
Anna Burchik, viola,
Olga Kalinova, cello

26 September, Friday


Svetlana Mitriaikina, flute

Pierre Boulez Sonatina
Philippe Hurel Loops
Jonathan Harvey Nataray RP
Salvatore Sciarrino
D’une faune


Mona Khaba, piano

Toru Takemitsu Rain Dreaming
Oleg Paiberdin Bagatelle WP
Luciano Berio Sonata
John Cage Suite
Yuri Kasparov Prelude, toccata and fugue MP


Dmitry Schyolkin, percussion

Iannis Xenakis Rebonds
Morton Feldman
The King of Denmark
Iannis Xenakis Psappha

The musicians, taking part in the concerts:
Mikhail Dubov, piano
Natalia Cherkasova, piano

27 September, Saturday


Ensemble Die Reihe - 50!

Austrian premiers

Manuela Kerer Oachale
Norbert Sterk Teile dich Nacht
Alexander Wagendristel Stormy weather
Roland Freisitzer Songlines - Music for harp and ensemble
Thomas Heinisch Charon als Maler - Eine Schattenmusik für 6 Spieler
Anselm Schaufler drop

Ensemble Die Riehe (Austria)
Anna Verkholantseva, harp
Roland Freisitzer, conductor