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20200615_JZ_zapis_concerta_VIVARTE_59.jp
Yakov Kanzelson
piano

Graduate of the Moscow Conservatory named after P.I. Tchaikovsky (class of E.
Virsaladze), laureate and student of many prestigious international competitions.
Known as a brilliant interpreter of the music of romantic composers. The pianist's solo concerts are regularly held in Europe and America. Performs at international festivals, including the O. Kagan festival in Kreuth, at festivals in Montreux, Sarajevo, Utrecht, Kaposvár, Tiradentis, Erle, Moscow. Collaborates with the leading teams of the country - the E.F. Tchaikovsky, Symphony Orchestra of the St. Petersburg State Philharmonic. Since 1998 he has been teaching at the Gnessin College, and since 2001 at the Moscow Conservatory. He regularly records solo and chamber albums. J. Katsnelson's releases were highly appreciated by critics.

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Yakov Kanzelson about music and life. Quotes from interviews over the years.

In fact, for complete happiness and a good life, it is not at all necessary to be a pianist. From the interview  PianoForum

 

You can start working on a work when you have already formed your own opinion on it. Confidence, and specific, how this or that thing should sound exactly in your understanding. For me, this is a selection criterion. From an interview with the newspaper "Musical Klondike"

It doesn’t matter to me what time the music is, modern or old - the main thing is that at some point it turns out to be in tune with me. From an interview with the Karelian Philharmonic

I cannot stand falsehood, I immediately feel when a person portrays another person. Let it be better to be cold and distant, which he really is, than to portray sincerity. On the stage, falsehood is heard immediately. From the first note. Moreover, even before a person starts playing, when he first enters the stage, it is immediately clear that this is a falsehood. From the interview  PianoForum

 

My musical education began with dancing. I still live by this: I have a lot of plastic ideas in music. There are many works that I think about how I would stage it as a choreographer. Also rhythm is crucial for me. First - the rhythm, then the melody, intonation, and so on. But first you need to understand movement. This is the basis for me. Then everything else. From the interview  PianoForum

So many great works have been written for the piano that a lifetime is not enough to play a quarter of what you want. There are many works that I have long wanted to play, and I know that I will not be able to do this in my entire life. From an interview with the Karelian Philharmonic.

There are people who have some amazing things happen in their lives, tragedies, and it seems that a person has experienced so much, now something will come out of him. And nothing. As he played without any feelings, so he plays. But the opposite happens. It seems to be a minion of fate, nothing portends any depth, sits down at the instrument, and there ... space! And you don't understand where it comes from. There is no direct connection with life situations. The work of the performer is rather not creation, but performance, that is, it is acting work, reincarnation, imagination. Of course, one's own emotions are born by themselves, but one must be imbued with the composer's personality and move away from one's own emotions. From an interview with the newspaper "Musical Klondike"

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