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Nikita Borisoglebsky

Born in 1985 in Volgodonsk. He graduated from the Moscow State P. I. Tchaikovsky Conservatory and did an assistant traineeship at the Moscow Conservatory (class of Professor Eduard Grach and Associate Professor Tatyana Berkul), improved with Augustin Dumais in Brussels and Anna Chumachenko in Kronberg. Participated in master classes with Shlomo Mintz and Ida Handel in Israel.

Winner and laureate of international competitions: in Kloster-Schontal, Josef Joachim in Hannover, David Oistrakh and P. I. Tchaikovsky in Moscow, Queen Elizabeth in Brussels, Fritz Kreisler in Vienna, Jean Sibelius in Helsinki, Montreal , Monte Carlo Violin Masters in Monaco. He has received awards from various foundations and the Government of Russia, the Virtuoso Prize and the Prize of the Stradivari Society in Cremona (Italy), the Sibelius Medal from the Sibelius Foundation in Finland.

Tours across Russia, in the countries of Europe, Asia and the CIS; collaborates with famous orchestras and outstanding conductors, took part in festivals in Salzburg, Rheingau, Dubrovnik, "December Evenings of Svyatoslav Richter", Beethoven Festival in Bonn, "Stars of the White Nights" and "Square of Arts" in St. Petersburg, Oleg Kagan Festival in Kroyte, Il Violino Magico in Italy, Crescendo, Vivacello and others. The first performer of a number of compositions by Rodion Shchedrin, Alexander Tchaikovsky, Kuzma Bodrov.

He has recorded several albums, including an anthology of works by Nikolai Medtner for violin and piano with Ekaterina Derzhavina (Profil), a collection of chamber music by Prokofiev and Weinberg (Melody). The recording of the recently found Ysaye's Violin Concerto with the Royal Philharmonic Orchestra of Liege under Jean-Jacques Kantorov was awarded the Diapason d'Or.

Since 2017, he has been performing as part of the Atrium quartet. Plays a violin by Matteo Goffriller (1720s). Honored Artist of Russia.


Nikita Borisoglebsky about music and life. Quotes from interviews over the years.

I have been playing for the last few years - four years - on an instrument by the Venetian master Matteo Goffriller , which was made in the middle of the 18th century. During this time, I “merged” with the instrument, it became a part of me. I have always treated instruments as living beings, with their own whims and characters. Moreover, ancient instruments are instruments with an established sound, with an established character. They have a flamboyant demeanor. Sometimes it is difficult with them, in different climates they sound differently. There are even days when they are a little "out of tune." Press service of the Ryazan Philharmonic

I was very lucky during my studies to capture three completely different performing schools. At first I studied at the Moscow Conservatory with Eduard Grach - this is a branch of our, Soviet school, coming from Yampolsky, Yankelevich ... After graduating from the conservatory, I went to Belgium, where I studied with the French violinist Augustin Dumais, who, in turn, studied with the famous Belgian Arthur Grumiaux is one of the pillars of the Franco-Belgian school. And after that I was a post-graduate student at the School of Music in Kronberg for some time. There I studied with Anna Chumachenko, a student of Yehudi Menuhin. Here are three different branches. From an interview with Reporter64.


I believe that it is my duty as a musician to read as clearly and deeply as possible what the composer had in mind. From an interview with the M24 portal.


Sometimes, in order to find some new, but in fact forgotten old colors, it is enough just to read the author's score well. Take, for example, the famous Tchaikovsky Trio "In Memory of a Great Artist" - I do not know of a single record in the world in which Tchaikovsky's original instructions would be performed. I myself am not accustomed to playing some places at the pace indicated there. While performing this great work with the musicians, we have never once dared to play it at the author's pace. Nevertheless, this is the only score by Tchaikovsky, at the beginning of which it is written: "The author asks the performers to strictly adhere to his instructions." He specifically wrote this remark and it is present in all publications. But none of the musicians adhere to this. From an interview with the M24 portal.


Individuality and freedom are expressed involuntarily , if a person is sufficiently original, widely educated in many forms of art, which is very useful for performing. It is important that the musician had associations with paintings, landscapes, and literary characters. Preserving my own individuality, which manifests itself, I try to enrich it with the help of all-round development. From an interview with the M24 portal.

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