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Igor Fedorov

Born in 1978 in Moscow. Graduated from the Moscow Music School and the Gnessin Russian Academy of Music and postgraduate studies at the Russian Academy of Music (class of Professor Ivan Mozgovenko). Trained at the master courses of Julius Milkis, Michel Lethiek, Sabina Meyer (clarinet), Maurice Bourg (chamber ensemble). He studied conducting under the guidance of Professor Margarita Samorukova. He was a scholarship holder of the foundations of Vladimir Spivakov, Mstislav Rostropovich, New Names, Yamaha.

He spoke to Queen Elizabeth II of Great Britain and Pope John Paul II, Prince Michael of Kent. The name of the musician is included in the Golden Book of Young Talents of Russia "XX century - XXI century".

Winner of Buffet Crampon in Kharkiv and TIJI in Bratislava. Performs in the largest halls of the world with solo and chamber programs, plays accompanied by leading orchestras. Stage partners include Yuri Bashmet, Denis Matsuev, Khibla Gerzmava, Vladimir Spivakov, Dmitry Sitkovetsky, Alexander Gindin, Daniil Kramer, Gauthier Capuçon, Alexander Rudin, Alexander Rozhdestvensky, A.P. Borodin Quartet, Terem-Quartet, etc. .

Participated in the festivals of Vladimir Spivakov in Colmar, Mstislav Rostropovich's "Evian Meetings", the Royal Swedish Festival in Stockholm, "Orpheum" (Switzerland), Boguslav Martin in Prague, A. D. Sakharov in Nizhny Novgorod, Yuri Bashmet in Yaroslavl and Sochi , “December Evenings of Svyatoslav Richter”, “Return”, “Russian Winter”, “Cherry Forest”, Crescendo, “Stars on Baikal”, Vivarte, “Musical Expedition”, Trans-Siberian Festival, “Opera Apriori”.

He repeatedly took part in the jury of the Nutcracker TV contest (TK Kultura). He regularly gives master classes at the Children's Academy of the CIS and Baltic States Yuri Bashmet, as well as at the Sirius Educational Center. Member of the Expert Council of the New Names Foundation. He teaches at the Central Music School at the Moscow Conservatory.


Igor Fedorov about music and life. Quotes from interviews over the years.

Almost all brass players tend to play in an orchestra - this is a long-standing, established tradition. A wonderful job, but a completely different specificity, even a somewhat different profession. Since childhood, I have wanted to do something extraordinary on the clarinet, to bring this instrument to the stage where the piano, violin, and cello have been on for hundreds of years. This is a very difficult path ... From an interview with


I started playing the piano. There are a huge number of pianists in the world (there are several million in China!) and in order not to get lost, to be truly in demand, you just need to have an incredible talent, an innate adaptability to the instrument. From an interview with

There is more written for the clarinet than it seems. I would compare the solo repertoire for clarinetists with the repertoire for cellists. There is a lot of music for clarinet - both ancient and modern. For the last ten years I have not played arrangements - I play original music. From an interview with the Vechernyaya Kazan newspaper


My clarinet is me. This is what I say. It's like the vocal cords of a singer. From an interview with the Vechernyaya Kazan newspaper


Until the age of thirteen, nothing was clear about my future, either to me or to adults. I had other plans for life: I wanted to play in an orchestra. By the way, they came true: at the age of 14 I was the youngest orchestra player in the history of the Bolshoi Theatre. I played a number of "The Barbers of Seville", "Giselles" and that was the end of my orchestral career. Now I think that I did the right thing, that I left the theater then. Unexpectedly for everyone, I won the All-Union competition. Then all of a sudden I got an instrument. It didn't sound before. Didn't sound - that's all! And then suddenly, as if some new button was found in me. And I realized that I could be a soloist: I sound! From an interview with the Vechernyaya Kazan newspaper

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