When the homeland becomes estranged, I turn my back to it and walk away without
looking back. Some will understand and some will not. I might be called a traitor, but I’m willing
to accept that title. It’s better to be traitor of the homeland’s unhuman policy, than of one’s own
self-esteem. Parts of the homeland’s spirit captured in its culture will stay with me, though,
because those parts contain my spirit and as long as I stay myself—those will be safe.
Elena, it is a pleasure to welcome you to Fanfare!
Hi, Hana. It’s nice to chat and thanks for your intriguing questions!
I see you’ve recorded milestones of the violin repertoire such as Bach’s solo Sonatas and
Partitas and the Six Sonatas, op. 31 by Eugène Ysaÿe. This seems to be quite well explored
terrain, but you decided to explore it anew. What has encouraged you to undertake such an
expedition?
Perhaps it has been explored all through, but by other artists. To me it feels more like a
field of innumerable possibilities to go deeper into the music and search for very personal
methods to fulfill the composer’s intention.
Have you discovered anything new?
It wasn’t my goal in the first instance, but yes. There have been some moments one could
call a realization of something new, and in a quite a few instances something unknown!
You have a huge discography, including a lot of very different pieces. Could you pick
some favorites?
Oh, they are like kids to me! No favorites; they all equally loved and cherished.
Among the many projects on your career path, are there any “key moments,” episodes
that were turning points for your career?
I could call each one a “key project,” actually.
You studied at the Central Music School in Moscow during the so-called golden era of
Soviet violin playing, and your teacher was the famous soloist Oleg Kagan (1946–1990). I didn’t
know that he was also a teacher. What was it like to be taught by an artist who was a front-rank
soloist, played a large number of concerts annually, and had probably a far tidier schedule and a
different approach to students compared to other famous teachers of that time?
Oleg Kagan was an amazing teacher. The fact that he had an extraordinary artistic
personality was crucial in his attitude toward teaching and made his method extremely thought-through and clear in giving instructions. One knew exactly what to do in order to achieve the
desired result.
How would you describe the difference between a teacher who is active as an artist and a
performer first and foremost, and one who is devoted solely to teaching?
This is a multifaceted topic. Short answer: the actual performance experience makes the
artistically engaged teacher doubtless more potent and fascinating.
In the case of a non-performing teacher, isn’t there a danger that a student could play the
role of an “avatar” for the teacher?
In some cases the students and their achievements are the “entire world” for teachers who
are focusing completely on them. This could be not just because the teacher identifies himself
with a student, but also based on a certain loneliness at some point. There is a danger of melting
with a student and losing the ability to be objective.
How have you become the true version of yourself?
Well, life is full of challenges and also opportunities to perceive oneself from the side,
revise, and adapt to the rapidly changing reality out there. A self-critical position is crucial to me.
I believe it is the milestone of the individual just as much as artistic development. I couldn’t live
in any sort of stagnancy.
Are you happy with yourself now?
No….
Why did you decide to immigrate to Austria?
I went there to work; it wasn’t out of a wish to immigrate. To me to work means to
expand my horizon and embrace artistry, learn new repertoire, and discover new venues. Also to
love to do what I do in particular. So it’s less work as such, but the essence of life to me.
What has been the most challenging part of moving to Austria?
It’s been very hard! The most challenging part of relocating is to keep the sense of
identity and primary belonging. Also, finding the balance between getting along with new
standards and values and building a new life and staying true to one’s authentic self.
Where do you feel at home?
In Moscow.
Are you nostalgic about the homeland?
Absolutely.
The homeland is quite in trouble at the moment, isn’t it?
Trouble or not, I love it and have little understanding of some who are turning their back
on it for whatever reason.
What is the difference or gap between the “Russian” and “Western” cultural spirit?
The spirit of arts or culture makes up a substantial part of the of the national spirit in
general. The gap consists in the different way of feeling and expressing those feelings. The
“Western” spirit is also very multifaceted, and therefore one couldn’t say that it is one and the
same spirit in Italy, Switzerland, Britain, and the USA. I believe that the artistic spirit is unique
in each country.
Upcoming projects?A second volume of works for violin and orchestra by contemporary composers which
have not been recorded or released previously, so world premiere recordings. The first volume
was released by TYXart.
If you caught a jinn (genie) and he said “your wish is my command, Ma’am!”
What would that be?
Many happy years for my son.
Thank you, and I’m looking forward to catching up!

Many thanks to you too

https://www.fanfarearchive.com/articles/atop/49_1/4910270.aa_I_Home_Where.html

BACH Three Sonatas for Solo Violin: in g, BWV 1001; in a, BWV 1003; in C, BWV

1005 • Elena Denisova (vn) • TYXART 19139 (67:25)
BEETHOVEN (arr. Franz Hummel) Piano Concerto No. 2 in B♭, op. 19. Fidelio: Gott!
welch’ Dunkel hier ... In des Lebens Frühlingstagen; O wär’ ich schon mit dir vereint;
Abschelicher! Wo eilst du hin? ... Komm, Hoffnung, lass den letzten Stern • Elena
Denisova (vn); Alexei Kornienko, cond; Russian NO • SONY 19439817602 (61:32)
FHEODOROFF Concerto for Violin, String Orchestra and Timpani. KOLLONTAY
Violin Concerto, “Blue Ray”, op. 61 • 1,2Elena Denisova (vn); 1,2Alexei Kornienko, cond;
1Collegium Musicum Carinthia; 2RTV O Moscow • TYXART 17093 (63:20)
VIVALDI The Four Seasons • Elena Denisova (vn, dir); Gustav Mahler Ens • DEKA
026 (41:00)
YSAŸE Six Sonatas for Violin Solo, op. 27 • Elena Denisova (vn) • TYXART 22171
(77:45)
AUS KAISERLICHER ZEIT • Elena Denisova (vn); 1–4 Alexei Kornienko (pn2–4, cond1);
Gustav Mahler Ens1 • SONY 8898558142 (65:15)
HAYDN 1Double Concerto in F, Hob. XVIII:6. 2Violin Sonatas: No. 7 in F, No. 8 in G. G.
HUMMEL (arr. Heifetz) 3Rondo, op. 11, “Rondo Favori”. VIVALDI (arr. Heifetz) 4Concerto for
Two Violins and Orchestra in d, RV 555: Larghetto
This overview of recordings by Elena Denisova acts as a pointer to her artistry. Artistry is
a word that is much bandied about, so much so that it loses all meaning (like “virtuoso”), but
Denisova is both an artist and a virtuoso. She is passionately committed to the music of our time,
deeply immersed in Baroque music, and clearly armed with a never-ending thirst for new
repertoire. Denisova studied with the great Oleg Kogan in Moscow, and with Valery Klimov
(both students, in turn, of David Oistrakh).
These discs span a variety of labels and release dates, but two zero in on Denisova’s
musical and technical command. These are the two solo discs: the Bach Three Sonatas for SoloViolin (BWV 1001, 1003, and 1005) and the Ysaÿe Sonatas, op. 27. The Bach disc is
magnificent; in such a crowded field these performances stand out for their integrity. Denisova’s
technique is rock solid, meaning one can concentrate fully on the music’s trajectory and
emotions. Recorded in Moscow in 2022–23, the sound is close and a bit airless, but not
uncomfortable. Actually, this closeness helps build a kind of symmetry between the various
strands of the Fuga from the G-Minor Sonata. Denisova maintains lyricism throughout the
slower movements while remaining always in style. She maintains clarity even in a Presto,
adjusting the tempo accordingly (as in the finale of BWV 1001).
Denisova gives each Sonata its individual character; although still in a minor key, BWV
1003 in A Minor exudes a sort of fragile dignity; the third movement, Andante, is most touching.
The C-Major Sonata (BWV 1005) almost sounds modern in its opening Adagio; it is Bach’s use
of sequence that seems to stand out here. The nearly 11-minute Fuga is a tour de force of
concentration; Denisova has the ability to thin her tone without it sounding insubstantial. We
hear this in the Largo, before the finale, Allegro assai, reminds us of the spirit of the dance
behind much of Bach’s music.
Of all the discs in this round-up, it is the disc entitled Fiedelio that I find the most
intriguing. This Sony disc, well recorded at Mosfilm, Moscow, features the Russian National
Orchestra under Alexei Kornienko. With the reasoning that Beethoven himself turned his Violin
Concerto into a Piano Concerto (he did), why not do it the other way around, and have the violin
play one of the piano concertos, in an arrangement by Franz Hummel? (The Franz Hummel born
in 1939, not the other composer with that surname.) First in order of composition, Beethoven’s
Piano Concerto No. 2 was chosen for this recording. The work is right, for sure, but contains
much lyricism, and Denisova finds a rich seam of vocal lines in among the passagework and
double-stopping. All credit to the Russian orchestra for being with her every step of the way.
There are some intriguing alterations (octave displacements and the like), while the
“conversations” between violin and woodwind see remarkably cordial. I presume the cadenza is
also by Hummel; it just sounds so violinistic, and Denisova’s command is peerless. The slow
movement sounds on the one hand like a violin obbligato to an operatic aria, but at times stands
out as an aria itself. If the tempo is slow, Denisov can sustain it; the finale is a dance with a
spring in its step, although it does droop in tension at times.
It is the three arias that really fascinate, collectively named Fidelio. Florestan’s cry from
his dungeon, “Gott! Welch’ Dunkel hier,” and the yin to its yang, “In des Lebens
Frühlingstagen,” finds Kornienko setting up an appropriate atmosphere. Florestan’s outburst is
more of an intensifying, mid-range crescendo than a cri de coeur; it is Denisova’s interior
musings that cut to the quick. There is some ornamentation to the line, and it works in that it
sounds perfectly stylish. In a very different vein, Marzelline’s act I aria, “O wär’ ich schon mit
dir vereint” is a song of dreaming about domestic bliss with her boyfriend, Jacquino. The
arrangements are so clever but retain the imprint of the original well. After a cy of anguish and
essentially an aria that is part of the opera’s only comic scene comes Leonore’s great
“Abschelicher! Wo eilst du hin? ... Komm, Hoffnung, lass den letzten Stern.” Rarely have violin
double-stoppings been so dramatic. Having “voice” as the same instrument that the upper lines
of the tutti sings means that the dialogue between them is so much more meaningful, as if the
solo “voice” becomes one strand of something bigger. Fascinating. Of course, if one is familiarwith the opera, it is near-impossible not to hear the words; but Hummel’s triumph is to bring
parts of this close to the Violin Concerto by Beethoven. Little “winks,” if you like.
Contemporary music is very much part of Denisova’s life, and we see that in the coupling
of two 21st-century violin concertos. The first is by Nikolaus Fheodoroff (1931–2011), his
Concerto for Violin, String Orchestra, and Timpani of 1994. Although the composer’s own
booklet notes are, to be polite, broad-brush, the work itself is remarkable. A composer, pianist,
and Tonmeister, Fheodoroff studied conducting with Hans Swarowsky. There is no doubt that
Denisova completely understands this work and has absorbed it. Melodies in the first movement
positively fly. Understandably, given the title, timpani have a part to play in the cadenza, but it is
the sweet-toned performance of the lovely Adagio cantabile that is the high point. The Collegium
Musicum Carinthia is clearly a fine band, and together with Denisova, they locate the pastoral
heart of this movement. A Poco mosso creates necessary contrast. It is the finale that reminds us
of Denisova’s command, timpani in dialogue with Denisova’s hailstorms of notes. This finale is
superbly composed, too, unpredictable and yet clearly closely controlled on a melodic/harmonic
level. The rhythmic precision from the orchestra is a major contributing factor to the success of
this performance.
The second half of this 21st-century repertoire coupling is the Violin Concerto, “Blue
Ray,” by Mikhail Kollontay. I imagine this is the same Mikhail “Kolontai” so lauded by Robert
Carl in Fanfare 20:3 (it made his Want List that year). While we move to more modernist
territory, it is important to realize there is much beauty here, not least in one of the inspirations:
the Sufi story of the Rose and the Nightingale, a song of love contemplated (and some shape-
shifting for good measure). The music is that type of modernism that is often hyper-beautiful.
The notes do not explain the “Blue Ray” aspect; I wonder if it is something to do with the
mystical “rays” discussed by the likes of Blavatsky and Alice Bailey? Or maybe fish? The
orchestra is superb (here, the Radio and Television Orchestra of Moscow) and Denisova is
undaunted by the many challenges, technical and lyrical. Her “shrieks” in the second movement
are hard-hitting and visceral. As a diehard modernist myself, my bias lies with the Kollontay, but
that may well be exactly that: bias. There is no doubting that the Fheodoroff (written for
Denisova and Kornienko) is a fine piece indeed. Both composers, within their individual
languages, demonstrate absolute mastery.
There is no shortage of performances of Vivaldi’s Four Seasons. Denisova has a trick up
her sleeve, though: each is played on a different violin, appropriate to the mood of the piece. So a
bright Stradivarius (Cremona, 1711) furnishes RV 269 (La Primavera) with sunshine. The
performances (all are at A = 443 Hz) shine most in the slow movements, fragile, expressive. It is
a Francesco Ruggeri (Cremona, 1639) that is used for L’Estate, with a little more body here.
Denisova is up to all of Vivaldi’s demands; the orchestra could do with just a touch more vim, a
little more attack (the finale of Summer makes this clear).
It is a Guarneri del Gesù (Cremona, 1750) that is heard in Autumn. The deliberately
slightly noble take on the Allego in the first movement is interesting; harpsichord takes center
stage nicely for the Adagio before the bounding figure of the hunt takes over for the finale. The
landing on each downbeat is effective here, as is Denisova’s stopped imitation of hunting horns.
Finally, another Stradivari, this time “ex-Hammerle, ex-Adler,” a violin of almost trumpet-like
strength, tensile yet decidedly earthy, an amazing sound. All credit to Denisova for bringing outthe best of each instrument and, together with her players, aligning that to each season. And how
Denisova’s instrument sings in the aria-like (against raindrops) Largo. A most thought-provoking
release.
The Ysaÿe Sonatas, op. 27, are a test for any violinist (or viola player—Fanfare’s own
reviewer Hana Gubenko recorded them with notable success—see Fanfare 47:1). Famously, each
is dedicated to a famous musical persona. All of the traits of Denisova’s playing are writ large
there: confidence, technical mastery, alignment with the composer. The only thorn in the disc’s
side is the recording, which is rather too resonant for the G Minor (No. 1: six sonatas, six venues,
six dates; No. 1 was recorded in the Leopold Museum). It is in the A Minor that Denisova reveals
her true mastery, the Paganini mutations more like nightmarish transmogrifications. The sheer
spirit, and abandon, here is that of an edge-of-the-seat live performance; and how the ensuing
“Malinconia” offers contrast. Recorded three years earlier in St. Peter’s Crypt, this could be seen
as the finest of the set.
A more recent recording (2021, Bösendorfer-Salon) reveals a Ballade (D Minor, op. 27/3)
of huge power. Denisova’s instrument seems like a super-violin in dynamic range. The Fourth
Sonata, the one dedicated to Kreisler, was recorded in the Arnold Schoenberg Center in March
2021, the opening Allemande’s stopping preternaturally accurate. The pizzicato of the Sarabande
is nicely caught, but it is the helter-skelter finale that is near-perfect, an ideal melding of verve
and polish.
The G-Major Sonata is, to my ears, the most fascinating, the most enigmatic. L’aurore
seems to stretch itself into being, its alternation of arco and pizzicato lovely, but listen also to the
beauty of Denisova’s upper reaches. The Danse rustique indeed has a whiff of the countryside to
it. That was captured in 2021. Finally, the E-Major Sonata, challenging for both violinist and
listener, triumphed upon here.
And lastly for this round-up, Aus Kaiserlicher Zeit (From Imperial Vienna), which
includes some Hummel (the earlier one), Haydn, and Vivaldi. Haydn’s Concerto for Violin,
Keyboard, and Orchestra is a delight. Originally for violin and organ with orchestra, it is
perfectly formed, and Denisova and Kornienko are the most cordial of soloists. The central
Largo is glowing in the strings and given lots of space (it lasts over 10 minutes, outlasting the
first movement considerably and dwarfing the last).
Five minutes of Hummel (arranged by Heifetz) for violin and piano acts as something of
a diverting interlude. It is bright and buoyant: Denisova’s pinpoint tuning means it shines. The
other slice of bread in the Haydn sandwich is an arrangement of a string quartet for violin and
piano from op. 77, Hob. III:82. It works when it really shouldn’t, is all I can say. It really sounds
is if it could be a sonata for violin and piano. And once more Denisova and Kornienko are in
perfect accord (a fine recording, too). Heifetz’s arrangement of Vivaldi—notably dark at times
here—could also be described as working when it has no right to.
Finally, Haydn. Who better to round off both disc and article? Another violin sonata, this
one after the String Quartet, Hob. III: 81, that is pure joy; the boy (alright, Papa) could do
nothing wrong. And it is clear Denisova and Kornienko have a lot of fun, too.
I did enjoy this disc. There are arrangements of various sorts galore, but why should that
be a killjoy aspect?

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