Russian-born violinist Evgeny Sviridov has succeeded both as a player of the modern violin and in historically informed performances. He is one of the few upcoming players to cultivate talents equally in both fields. Sviridov was born on February 17, 1989, in St. Petersburg. He told Jumpstart Jr.: "As my both parents are musicians I think the choice of me becoming a professional musician was already made before I was born." He studied both violin and piano as small child, beginning lessons on the former with Elena Bolotovskaya at age five. Sviridov was introduced to historical-performance thinking by his father, who, unusually for a Russian in the 1990s, had a large collection of recordings by historically oriented Western conductors. Nevertheless, he played modern violin, studying at the St. Petersburg Conservatory with Pavel Popov. On a lark, he entered a Bach competition in Leipzig, Germany, and won. This stimulated him to explore new ways of playing Baroque music, and he began taking lesson with Russian violinist Andrey Reshetin. Sviridov believes that historical studies have influenced his interpretations of mainstream repertory as well. He has appeared with the St. Petersburg Philharmonic and Moscow Symphony orchestras. Sviridov won top prizes at the early music-oriented Concours Corneille in Rouen, France, and the Musica Antiqua Competition in Bruges, Belgium, and he began to attract attention in early music circles. In 2016 he was made concertmaster of the Concerto Köln ensemble and has lived in that city (Cologne) since then. In 2014 Sviridov and a group of other students also formed their own Baroque ensemble, Ludus Instrumentalis, which has won several prizes. Sviridov released an album of sonatas by Bach and Biber on the Genuin label in 2011, and in 2018 he signed to the Belgian label Ricercar and released an album of violin music by Tartini. He plays a Gagliano violin from the year 1732. ~ James Manheim
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Musique de chambre - Released September 21, 2018 | Ricercar
Hi-Res Booklet Distinctions 5 étoiles de Classica
The Russian violinist Evgeny Sviridov, winner of the MA Festival Bruges Competition in 2017, has chosen to devote his first recording to the sonatas of Giuseppe Tartini. As heir to the Baroque tradition of the early eighteenth century, Tartini developed technical concepts much bolder than those of his predecessors, thus preparing the violin for the language of the Classical period. His treatise served as a model for Leopold Mozart and his reputation was still very much alive in the Romantic era, which continued to propagate the famous anecdote of his dream during which the Devil suggested to him how to perform reputedly impossible trills... © Ricercar
Classique - Released July 5, 2011 | Genuin
Winner of the 2010 International Bach Competition, violinist Evgeny Sviridov has chosen for his Genuin album debut a selection of violin works by Bach and his contemporary Heinrich Ignaz Biber. While Bach's solo partitas and sonatas -- of which Sviridov has chosen the E major Sonata for this disc -- are extremely well known to listeners, the sonatas with harpsichord are curiously less common despite their equally exemplary writing and true equality of interplay between the two instruments. Lesser known still are Biber's sonatas for violin and continuo. Unlike Bach, Biber's often more overtly ostentatious, virtuosic works employ techniques such as scordatura to extend the sonic possibilities of the violin. The Eighth Sonata, heard on this disc, is scored for two violins or one highly talented artist covering both parts. Sviridov is just such a violinist, possessing an abundant and polished technique that delivers crisp performances that are brilliantly in tune and seemingly effortless in their execution. His approach to Bach and Biber is not Baroque performance practice, nor is it the highly romanticized, overwrought interpretation of others. Rather, Sviridov meets listeners in the middle. His sound is not heavy, but still produces a nice, solid core with warmth and a variety of colors. Vibrato is used throughout, but still maintains its function as an ornament rather than a constant feature of the sound. Pacing is driven but not rushed. Indeed, Sviridov delivers an album worthy of his accolades, and one that is worth checking out.
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