{"id":1932,"date":"2017-02-12T20:10:44","date_gmt":"2017-02-12T17:10:44","guid":{"rendered":"http:\/\/m-c-m-e.ru\/ru\/?page_id=1932"},"modified":"2025-08-30T11:03:03","modified_gmt":"2025-08-30T08:03:03","slug":"prepodavateli_academy","status":"publish","type":"page","link":"https:\/\/m-c-m-e.ru\/eng\/academy\/prepodavateli_academy\/","title":{"rendered":"\u043f\u0440\u0435\u043f\u043e\u0434\u0430\u0432\u0430\u0442\u0435\u043b\u0438 \u0430\u043a\u0430\u0434\u0435\u043c\u0438\u0438"},"content":{"rendered":"
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PROFESSORS AND GUESTS OF 15 INTERNATIONAL YOUNG COMPOSERS ACADEMY IN TCHAIKOVSKY-CITY<\/strong><\/p>\n

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\"\"Martin Matalon, composer (France) <\/b>was born in Buenos Aires in 1958, Martin Matalon received his Bachelor degree in Composition from the Boston Conservatory of Music In 1984, and in 1986 his Master\u2019s degree from the Juilliard School of Music. In 1989, having initiated himself in conducting with Jacques-Louis Monod, he founded Music Mobile, a New York-based ensemble devoted to the contemporary repertoire (1989-96). Among his awards, Mr. Matalon received in 2007 the \u00abGrand Prix des Lyc\u00e9ens\u00bb, in 2005 the J.S Guggenheim fellowship and le prix de L\u2019Institut de France Acad\u00e9mie des Beaux Arts. In 1993, having settled in Paris, the composer collaborated for the first time with IRCAM and worked on La Rosa profunda, music for an exhibition at the Pompidou Centre on The Universe of Borges. The following year, IRCAM commissioned a new score for the restored version of Fritz Lang\u2019s silent film, Metropolis. His catalogue includes a large number of chamber and orchestral works, such as Otras Ficciones or Lignes de fuite for large orchestra, \u2026del matiz al color\u2026 for cello octet, Monedas de hierro for ensemble and electronics as well as pieces written for a large spectrum of different genres : Musical tales, choreographic works, installations, music with text, horspiels, musical theater, music with mimes\u2026 Martin Matalon has written for, among others, the Orchestre de Paris, Orchestre National de France, Orchestre Philharmonique, Orchestre National de Lorraine, Orquesta de Barcelona y Catalunya, the Ensemble Intercontemporain, Barcelona 216, Les Percussions de Strasbourg, Court-circuit, Ensemble Modern, MusikFabrik. Mr. Matalon conducts ensembles regularly and has as well a teaching activity: From 2004 until 2008 he was visiting professor at McGill University, regent professor at Bekeley University (2007), summer academy at IRCAM (2000 and 2003), Centre Acanthes (2000 & 2004).<\/p>\n

\"\"Johannes Kreidler, composer (Germany) <\/b>was born in Esslingen<\/a>, Germany.\u00a0He studied composition with\u00a0Mathias Spahlinger<\/a>\u00a0at the\u00a0Musikhochschule in Freiburg<\/a>\u00a0from 2000\u20132006, and has taught at conservatories in\u00a0Rostock<\/a>,\u00a0Detmold<\/a>,\u00a0Hannover<\/a>\u00a0and\u00a0Hamburg<\/a>. In 2019, he was made Professor for Composition and Music Theatre at the\u00a0Musikakademie Basel<\/a>. Kreidler came to prominence with a series of politically charged pieces of musical performance art, beginning with 2008’s\u00a0product placements: a 33-second recording containing 70,200 samples of other recordings, which the composer then attempted to register individually with the German copyright authorities.\u00a0This action garnered substantial press coverage, as did 2009’s\u00a0Charts Music, in which stock market data from the\u00a02008 financial crisis<\/a>\u00a0was turned into music using\u00a0Microsoft Songsmith<\/a>. Later in 2009, Kreidler realised the controversial work\u00a0Fremdarbeit\u00a0(Outsourcing), in which he ‘outsourced’ his commission from Klangwerkstatt Berlin to a Chinese composer and an Indian computer programmer to write the piece on his behalf, imitating his style, for a fraction of the commission fee.\u00a0 <\/span>These three compositions came to encapsulate the composer’s approach to ‘conceptual music’, as theorized by Kreidler himself and by the philosopher Harry Lehmann in subsequent lectures, essays and publications. Since 2010, the composer’s catalogue has included many more ‘conceptual pieces’ \u2014 often video works for gallery or online display \u2014 in addition to large-scale music theatre works like the seven-hour\u00a0Audioguide\u00a0(2014), the opera\u00a0My State as Friend and Beloved\u00a0(2018), and\u00a0Selbstausl\u00f6ser\u00a0(Self-Timer, 2020). Kreidler’s works have been performed at the\u00a0Donaueschingen<\/a>\u00a0and\u00a0Darmstadt<\/a>\u00a0festivals,\u00a0Ultima Festival Oslo<\/a>, Musica Strasbourg, Gaudeamus Music Week, and the\u00a0Huddersfield Contemporary Music Festival<\/a>, among others.\u00a0Kreidler currently lives in\u00a0Berlin.<\/a><\/p>\n

\"\"Vladimir Rannev, composer (Russia)<\/b>\u00a0was born in Moscow in 1970. He graduated in 2003 from the composition department of the St. Petersburg Conservatory, where he studied with Professor Boris Tishchenko. From 2003 to 2005 he studied electronic music at the Hochschule f\u00fcr Musik in Cologne with Professor Hans Ulrich Humpert. Rannev is a recipient of the Gartow Stiftung scholarship (Germany, 2002), the winner of the Salvatore Martirano Award of the University of Illinois (U.S., 2009), and the Gianni Bergamo Classic Music Award (Switzerland, 2010). His Opera Two Acts<\/i>, to a libretto by Dmitry A. Prigov, premiered at the Hermitage Museum in November 2012, and was awarded the Sergei Kuryokhin Grand-Prix (2013). It was nominated for a Golden Mask award in 2014. Rannev\u2019s music has been performed in Germany, Austria, Switzerland, the U.K., Finland, Japan and the U.S. by various ensembles, including the Orchestra of the St. Petersburg Conservatory Opera and Ballet Theater, the Russian State Academic Symphony Orchestra, the ensemble of the Pro Arte Institute, One Orchestra, the Studio for New Music, the Moscow Contemporary Music Ensemble, ensemble Pincode (Russia), Nostri Temporis, ensemble Contrasts (Ukraine), Orkest de Volharding, the Amstel Quartet (The Netherlands), Mosaik, Les Eclats du Son, Integrales, LUX:NM, ensemble Clair-obscur, the Singakademie Oberhausen and Cantus Domus choirs (Germany), Ums \u2019n Jip, KontraTrio, Ensemble Phoenix Basel and Ensemble Proton Bern (Switzerland). Rannev is a member of the StRes (Structure Resistance) group of composers (Russia), and a lecturer at the Rimsky-Korsakov St. Petersburg Conservatory, and St. Petersburg State University.Sergej Newski, composer (Germany \/ Russia).<\/p>\n

\"\"Vladimir Gorlinsky, composer (Russia) <\/b><\/p>\n

Vladimir Gorlinsky (1984, Moscow) is a composer, an improviser, and author of spatial compositions and sound installations. He graduated from the Moscow Conservatory (prof. Vladimir Tarnopolski), and after graduation, he taught at the department of contemporary music. He attended the masterclasses with B.Furrer, P.Ablinger, B.Ferneyhough, R.Cendo, Ph.Leroux, G.Aperghis, etc. Vladimir is a laureate of several international competitions: Alfred Schnittke competition (Moscow, 2002), Pyotr Jurgenson competition (Moscow, 2007), \u2018Pythian Games\u2019 (St. Petersburg, 2008), Rostrum competition (Dublin, Ireland, 2008), Youtube orchestra competition Award (Moscow, 2010), Impuls Academy (Graz, Austria, 2011), the competition \u2018Open Space\u2019 (Moscow, 2015). In 2021 Vladimir won a prize \u2018Russian music 2.1\u2019, and he composed the piece \u2018Terracotta\u2019. for a large orchestra. His works have been performed by ensembles and soloists such as Klangforum Wien (Austria), ensemble Modern, KNM (Germany), Nikel (Israel), Nadar, Nemo ensemble (Belgium), Vertixe Sonora (Spain), KontraTrio (Switzerland), Insomnio, Ereprijs (The Netherlands), Nostri Temporis (Ukraine), eNsemble, NoName, MCME, Studio for New Music (Russia), trumpeter Marko Blaauw (The Netherlands), countertenor Javier Hagen (Switzerland), pianist Ma\u0142gorzata Walentynowicz (Poland), lutenist Sofie Vanden Eynde (Belgium), Sint-Niklaas Academy Orchestra (Belgium), State symphony orchestra \u2018Novaya Rossiya\u2019, Russian National Orchestra (conductor Theodor Currentzis).<\/p>\n

\"\"Svetlana Lavrova, composer (Russia)<\/b>\u00a0is a Vice-Rector for Research and Development of the Vaganova Ballet Academy, Full Doctor (Arts), Russian composer and musicologist. In 2016 she defended her doctoral Thesis on the topic “Projections of the main concepts of post-structuralist philosophy in the music of post-serialism”. Lavrova \u2013 Author of numerous publications on contemporary art, new academic music and New Media art technologies. In 1994 she graduated from the St. Petersburg Conservatory in the composition class of Professor V.I. Tsytovich. In 1996 she completed her post-graduate studies. In 2001 she trained at the Koninklijk Conservatorium in The Hague with Martijn Padding and Louis Andriessen. He takes part in international festivals of contemporary music, including the International Gaudeamus workshop in Amsterdam, the youth composer festival in Apeldoorn, Sound Ways, Moscow Forum, and Musical Spring. Participated in the Darmstadt Course 2008 where she consulted Brian Fernyhow, Wolfgang Rihm, Gy\u00f6rgy Kurt\u00e1g and Marko Stropp. Since 1995 she has been the artistic director of the Group of new music ensemble. Since 1998 he has been a member of the Union of Composers of Russia. Since 2002 – the head of the composers’ association “Multimedia”. Since 1994, she has taught composition at the St. Petersburg School-Lyceum at the St. Petersburg Conservatory, and since 2000 at the St. Petersburg State Conservatory. ON THE. Rimsky-Korsakov. Lavrova S.V. artistic director and author of the idea of the festival of contemporary music “Time of Music fin de si\u00e8cle”, as well as a number of international projects in the field of contemporary music, in particular: the Russian-German youth project “Wagner. next generation”. In 2016 she defended her doctoral dissertation on the topic “Projections of the main concepts of post-structuralist philosophy in the music of post-serialism”. Compositions by S. Lavrova are performed both in Russia and abroad. She is an author of symphonic and chamber compositions, which were performed at international festivals of new music, such as “Soundways”, “ReMusik”, “Moscow Forum”, “Pythian Games” of the ProArte Institute, the international festival of new music in Tokyo – Tokio Gen’ On Project, and others. Author of music for original films and performances. Laureate of the St. Petersburg Government Award 2021 in the field of culture and art.<\/p>\n

\"\"Mark Buloshnikov, composer (Russia)<\/b>\u00a0is a composer, musicologist and pianist. He was born on Dzerzhinsk in 1990. He graduated from the Nizhniy Novgorod Conservatory, where he studied with Professor Boris Getselev. Chairman of the Nizhny Novgorod regional organization of the Union of Composers of Russia. Senior Lecturer of the Nizhny Novgorod Conservatory. He was a participant of workshops with Tapio Tuomela, Sergey Nevsky, Enno Poppe, Klaus Lang, Beat Furrer, a member of composer\u2019s seminar leaded by Victor Ekimovsky (Ruza, 2010); a student of the first international MASM\u2019s composers academy in Tchaikovsky (2011) with such teachers as Pierluigi Billone (Italy) and Franck Bedrossian (France). Mark is a founder, art director and a pianist of the NoName ensemble \u2013 the first contemporary music ensemble in Nizhny Novgorod. As a performer he brought into play a number of national and world premieres of foreign and Russian composers. Mark is an initiator and a coordinator of \u00abSchool\u00bb, the first workshops of new music in Nizhny Novgorod (2013). He has participated in various festivals and projects which include \u00abPictures from the exhibition\u00bb (2008, 2012); Contemporarium (2009-2012); Concerto italiano (2011); \u00abI prefer not\u00bb (2011); Musica nova | across Russia (2011); \u00abMoscow forum\u00bb (2011); solo nostri temporis III (2012); EM (2012); \u00abExposition XXI\u00bb (2011,2012); Opus52 (2011); Dialogs (2012); \u00abfour five eighty\u00bb (2012); \u00absimple songs\u00bb (2012); \u00abLeading voice\u00bb (2012); \u00abThree Thursdays with John Cage\u00bb (2012); \u00abMe-ti: the book of changes\u00bb (2013); Marevo (heat haze) (2012,2013) etc.<\/p>\n

\"\"Dmitry Renansky, music critic and curator (Belarus \/ Russia)<\/b>\u00a0is a curator, theater and music critic. Curator of the music programs at the GES-2 House of Culture and the V\u2013A\u2013C Foundation (Moscow). Program Director of the Perm Opera and Ballet Theatre. He has worked at the Mikhailovsky Theatre and at the Taganka Theatre. From 2013 to 2016, he was Deputy Artistic Director and Program Director of the New Stage of the Alexandrinsky Theatre. He has curated exhibition projects in Moscow (GES-2 House of Culture), St. Petersburg (Marina Gisich Gallery), and Venice (V\u2013A\u2013C Zattere). He was a member of the artistic directorate of the Territory festival. Assistant to the Artistic Director of POST theatre, and co-founder of the creative association Opergroup (together with Vasily Barkhatov and Anna Makhova). Expert (2011, 2012, 2014, 2017, 2019) and Chair of the Expert Council (2021) of the Russian National Theatre Award and Festival Golden Mask. As a dramaturg, he has collaborated with directors Dmitry Volkostrelov, Marat Gatsalov, Vladislavs Nastavshevs, Andrey Prikotenko, and Evgeniya Safonova.<\/p>\n

\"\"Danil Akimov, music curator and producer (Russia) <\/b>is an artist, curator, DJ. Works in the interdisciplinary fields of contemporary art, specializing in audio-visual installations and performances, creates soundtracks for theater productions, performances and exhibitions. Since 2000, he has been a permanent member of the Kaliningrad community Koenig semiconductors, as well as a permanent participant in several musical projects: Membranoids, M_tronic, Vector of Doubts. In his practice, he uses various approaches and technologies to create sound works (scientific instruments, household appliances, factory and DIY analog synthesizers, computer programs, field recordings, sound objects, etc.). As an artist and DJ, he participated in various European festivals. Since 2004 – curator of the program “Sound Around” BF NCCA. The program promotes the consideration of current strategies in sound art, experimental and contemporary academic music. The program is implemented through educational, research, concert and exhibition events.Since 2005, several international research projects have been implemented within the framework of the program: Audiotourism, Acoustic Diagnostic, 2005-2009, international residence Sound Art Camp, 2009, a series of regular concerts (SoundArtLab since 2005). 2008 \u2013 Co-curator of the project \u201cGig\u201d in the Kaliningrad Art Gallery as part of the parallel program of the IX Baltic Sea Biennale of Graphic Arts \u201cKaliningrad-Konigsberg\u201d. 2009 \u2013 Program \u201cRussian Deutsch: Cultural Samples\u201d as part of the \u201cDays of Germany in Kaliningrad-2009\u201d. From 2011 to 2024, curator of the annual international sound art festival \u201cSound Around Kaliningrad\u201d. Since 2024 – head of the museum and excursion work department of the State Autonomous Institution of the Kaliningrad Region \u201cCathedral\u201d.<\/p>\n

\"\"Vlad Kreimer, sound producer, founder of SOMA Laboratory (Russia) <\/b>is a sound producer, multi-instrumentalist, engineer-developer of musical and audio equipment, and philosopher. He is the founder and lead developer of SOMA Laboratory, a boutique company internationally recognized for creating innovative synthesizers and audio equipment. He is the author of the music projects That Black, Nebo, Alyoka, and ULA, and has collaborated with Zemfira, Mumiy Troll, TATU, Bi-2, Jamala, The Maneken, and other stars of the Russian and international music scene.<\/p>\n

\"\"Natalia Surnina, musicologist, music critic (Russia)<\/b>\u00a0graduated from the Music History and Theory Department of the Moscow State Tchaikovsky Conservatory (2007) and completed her postgraduate course there in 2010. Since February 2019, Natalia Surnina has been a spokesperson for the Moscow Philharmonic Society, where she is also in charge of designing booklets, running educational projects and lectures before concerts. She has presented classical music concerts at St. Peter and Paul Cathedral since 2015. As a music journalist, Natalia Surnina has had her works published in Musical Life, Nezavisimaya Gazeta,<\/i> Colta.ru, Vedomosti, Kommersant, Izvestia, Mariinsky Theater<\/i>, Bolshoi Theater, Ballet<\/i> and other newspapers and magazines. Also, she has authored articles and interviews for booklets of the Bolshoi Theater of Russia and the Yekaterinburg Opera and Ballet Theater. In 2016, she won the Resonance<\/i> Young Critics award.<\/p>\n

\"\"Elina Andrianova, music critic and editor (Saint Petersburg, Russia)<\/b>\u00a0<\/b>is a <\/b>composer and the editor of the online version of the scientific journal Muzykal’naya Akademiya<\/i> (Music Academy). Head of the proofreading project for the digitalization of Sovetskaya Muzyka<\/i> (Soviet Music) journal archival issues (2024\u20132025). The author of open lectures and texts on music of the 20th and 21st centuries. Elina designed and leads the lecture course What Happened to Music in the 20th Century<\/i> at the New Stage of Alexandrinsky Theatre. She has served as a guest lecturer at prestigious venues, including the Garage Museum of Contemporary Art, the St. Petersburg and Pskov Philharmonics, Moscow’s Zaryadye Concert Hall. From 2018 to 2019, she worked as a project coordinator at the St. Petersburg Contemporary Music Center reMusik.org<\/span>.<\/p>\n

Elina holds a degree in Composition of the St. Petersburg State Conservatory and a Master\u2019s degree in Music Criticism of the Faculty of Liberal Arts and Sciences at St. Petersburg State University.<\/p>\n

\"\"Dmitry Shubin, pianist, impfroviser, sound artist (Russia)\u00a0<\/strong>is a musician, artist, founder and conductor of the St. Petersburg Improvisation Orchestra, pianist. Main areas of musical interests are the improvised music, graphic notation, electroacoustics, piano and electronics, conducted and structural improvisation.<\/span>He is also known as the ideologist and organizer of various projects in contemporary improvised music (St. Petersburg Improvisers Orchestra, School of Improvised Music, Improvisation Choir, “Graphics of Sound” as an exhibition project of graphic notation, etc.) He organized the personal concerts in Russia, Austria, Germany. Participant of international festivals CYBERFEST, SKIF, ArtbatFest and others.<\/span><\/p>\n

\"\"Sergey Ivanov<\/b> (producer, sound engineer) was born in Kungur, Perm Krai. Graduate of the Perm State Culture Institute (2002, SKD management, 2025, composition). Worked as chief sound engineer at Perm State Television and Radio Broadcasting Company (2001-2008). Head of the musical department of the Perm Puppet Theater (2006-2014). Was the head of the Perm State Puppet Theater “Center for Contemporary Musical Creativity”. Since 2020, he has been working at the Perm State Culture Institute, since 2022, the head of the Center for Sound Design and Visual Technologies. The author of the official Anthem of the Perm Krai, the Stroganov Symphony, the Concerto for Piano and Chamber Orchestra, a number of instrumental and vocal works, the author of training courses on sound design, sound synthesis, electronic composition. Producer of regional television and media projects: “Music Laboratory”, “Muses of Different Peoples”, “Access Point”. Chief director of the electronic music and visual art festival “eFest”.<\/p>\n<\/div>\n

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