Alexander Ghindin
piano
World famous pianist. Graduate of the Moscow Conservatory. At the age of 17, he became a laureate of the X International Tchaikovsky Competition. Winner of the II Prize at the Queen Elizabeth International Piano Competition in Brussels and winner of the Cleveland International Piano Competition (USA). Artistic director of the international Swedish Royal Festival - Royal Swedish Festival, as well as art director of the festival "Offering to Knushevitsky" in Saratov.
Alexander Ghindin's concerts are held in the most prestigious halls in Europe, the Americas and Asia. As a soloist he performs with the national orchestras of Russia, Germany, Japan, France, England and other countries. Constantly participates in international music festivals. Has radio and television recordings and 28 solo CDs.
Alexander Ghindin owns the original piano transcription of the choreographic poem for orchestra "Waltz" by Maurice Ravel, published in Tokyo in 2001 and in St. Petersburg in 2008.
Alexander Ghindin about music and life. Quotes from interviews over the years.
People in general more often need to look not at each other, but at the sky.
Any musician needs a quality, long-term presence in the realm of Morpheus. It is very important. I will say more - sleep is part of the professional duties of a musician, especially since due to touring activities you often have to change time zones, and you need to look beautiful, fresh and rested in front of the public. From an interview with STMEGI.
If someone claims that he decided to become a musician as a child - don't believe it. Children don't decide anything. Until a certain age, parents and teachers decide everything for them. And your whole future depends on what hands you fall into. When I was little, I was very lucky: I met
excellent teachers. First of all, this is my first teacher, to whom I owe everything - Karina Ivanovna Liburkina, a unique person. Such selfless teachers no longer exist. She made a man out of me - musically. And then I passed it from hand to hand to my adored professor Mikhail Sergeevich Voskresensky, who continued to “sculpt” me into a professional. He taught me the main thing - to study all my life. I was also taught a lot by an outstanding Russian musician, a wonderful person, Nikolai Arnoldovich Petrov, with whom I played side by side for more than 10 years. From an interview with the Moscow-Baku.ru portal
The vast majority of our children begin to learn on terrifying instruments - lyre-lyric-blizzard-buyan-chord-spring ... So, oddly enough, there is something good in this. The fact is that it is the Russian pianist, like no other, who is able to pull the right sound out of any trough. From an interview with the Moskovsky Komsomolets newspaper.
A great performer is different from a small one: you can always recognize him - his own manner, some key moments in the construction of a phrase ... But turn on Svetlanov's recording - it won't take much time to hear Evgeny Fedorovich behind all this. And among the pianists… I always recognize Sokolov, Pletnev, Kissin. It's just audible. From an interview with the Moskovsky Komsomolets newspaper.
Musical age is a very different concept. Every pianist has his own. And there are plenty of examples. Here Grigory Sokolov was a very good pianist until the end of the 90s. And in the last 10 years -
became a great pianist. Either he grew up, or he matured - call it what you want, but something has changed. Or Arthur Rubinstein, who was “remarkable” in his 40s and 50s and became great in his 70s, 80s, and 90s… From an interview with the Moskovsky Komsomolets newspaper.
The concert is a living organism. Some of them are successful, some less so. A successful concert is when you don't play, but the music itself plays, it leads you. From an interview with the Moskovsky Komsomolets newspaper.
