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Partner content
‘Partner Content’ is used to describe brand content that is paid for and controlled by the advertiser rather than the Euronews editorial team. This content is produced by commercial departments and does not involve Euronews editorial staff or news journalists. The funding partner has control of the topics, content and final approval in collaboration with Euronews’ commercial production department.
CMDI

“Everything about Classic Violin Olympus is unique!”: An Interview with Pavel Vernikov

Pavel Vernikov, Artistic Director of the Classic Violin Olympus International Competition
Pavel Vernikov, Artistic Director of the Classic Violin Olympus International Competition   -  Copyright  CMDI

The Classic Violin Olympus International Competition is an electrifying new opportunity for violinists young and old to take the music world by storm.

With a groundbreaking competition programme and preselection process spanning the world’s major music capitals, not to mention an astounding prize fund of €310,000, the minds behind this project seem determined to upend the established order, offering talented violinists worldwide the chance to truly test their mettle. We met up with chief architect Pavel Vernikov, to see what he had to tell us about this latest initiative.

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Can you tell us about the thought process behind the Classic Violin Olympus International Competition, and its overarching aims?

In my life I have appeared in many competitions, both as participant and juror. I had no doubts about competitions, but there was hesitation; I felt that I was not satisfied with something. I wanted to change the established order, the tradition. I wanted to do something that would be useful not only for young performers, but also for older ones who don't have the opportunity to participate in competitions and make a name for themselves. This was my dream, and then one day I met a wonderful man – Konstantin Ishkhanov – and within a few weeks we were talking about how to make this dream a reality! 

This event has a very unique preselection process with six independent contests that circumnavigate the globe. What was the strategy behind the selection of the six locations?

The word ‘unique’ can be applied to the whole contest! Everything about Classic Violin Olympus is unique! The standard selection procedure for most contests is usually with video entries. Only a few of them do the selection in different countries, and then it is always 20-30 minutes of playing, which is not a full performance. Contestants spend a lot of money to travel to the designated locations, and then they perform in all sorts of venues, even small, tiny ones.

We didn’t want this. We chose the most famous music schools and centres in the world. We wanted to make the six qualifying events full-fledged contests in their own right,  with two qualifying rounds, very good prizes and a high-class jury. 

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A number of the preliminary events are already behind us. Is the level of quality you’ve seen so far what you would expect?

I would say that it's even higher than I expected! In Japan, for instance, the level was incredible. In many competitions there are usually two or three great violinists, but here the situation was radically different. Of the 20 contestants, I can confidently say that 14 deserved to get to the final. It was so difficult to decide who to give the prizes to. London, which is our next stop, is already looking very similar; it is an extremely high-level pool of contestants and I can’t wait to see what they have to offer us in the live performances!

The programmes of the competition are some of its most noteworthy and revolutionary aspects. What is the thought process behind this radically different approach?

I don't like the word ‘revolutionary’ because revolutions often end rather sadly. This programme has more of an ‘evolutionary’ nature; it has both traditional elements and unexpectedly new ones. Apart from the compulsory works there is also freedom for the artists, because it is important to find a personality, a true musician and not just a player. 

This is not a sporting competition. What we are looking for is someone who can convince the audience and the jury that they are a musician. We are not choosing athletes, but real artists, and this programme will allow us to see how versatile they are, and whether they have anything to say with their music. 

Notably, participants are, amongst other things, required to perform pieces by Composer-in-Residence Alexey Shor. How did you go about choosing the right composer for this role, and how crucial is it for the contemporary era to be represented?

Alexey Shor
Alexey ShorCMDI

Asking Alexey Shor to be the Composer-in-Residence was not a decision I took lightly. I know Alexey’s music very well, as well as the man himself; he is a very nice and modest person, and the fact that we are both Ukrainian – I was born in Odessa and he was born in Kiev – gives us a shared heritage. I believe that helps us to understand one another better. He has been involved with the classical music world for a long time now, and not just as a composer. During these difficult times for Ukraine, he has been a staunch supporter of the country’s cultural sector, even helping the Kyiv Virtuosi Orchestra who have been residing in Europe, and supporting them and their families during their stay here. This is commendable, and it is an attitude and an approach that I feel is reflected in his music as well.

The conversation about contemporary music is quite long, but the important thing is that, whatever kind of music there is, it has to be able to convey a message. Composers sometimes get so focused on different techniques that they forget who they are writing for. That's why music is sometimes difficult to understand and feel. Alexey's music is beautiful, sincere and sensual. There is longing, lyricism and nostalgia in it. Moreover, it resonates with a wide audience. We decided to infuse the programme with his works, as they most clearly reflect the modern era. It is also important that many artists have begun to include his music in their repertoire, such as the world-famous pianist Mikhail Pletnev and violinists Gil Shaham and Maxim Vengerov, to mention just a few, so it is music that is leaving its mark on the cultural zeitgeist of our time. 

Classic Violin Olympus is bestowed with one of the most considerable prize pools for such competitions. Do you think it is essential for a new competition to have such a major draw as this?

I have to respond, as befits any artistic director, by emphasising that money is not the most important thing. But, let's be honest, money is of course of utmost importance! Such a prize can be useful for recording an album, renting a hall, or playing with an orchestra. The idea was that the big cash prize would appeal to all levels of performers. 

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Those who can't get the top prize, however, will find their reward anyway. We have asked each of the 23 jury members to give their own award to the performers that they like. They could be invited to play a concert, perform at a masterclass, join a music festival… These opportunities will be invaluable in helping them attract the attention of music managers. We want to give all 12 contestants the chance to make a real name for themselves. So money is one important factor, but not an overwhelming one. 

How do you feel Classic Violin Olympus compares when placed against other established contests within the violin world?

I wouldn't be doing this contest if I didn't have enough doubts about other competitions. Immodestly speaking, we are definitely a contender for being one of the top contests. Many contests have already become routine: the same jury, contestants, programme and venues. Many contestants come from city to city to take part in contests, perform the same programme – which is already memorised, because nothing new appears in the repertoire – and that’s it. 

I see big competitions that have lost their impact. I know many examples of winners who receive a prize, participate in a couple of concerts and are never heard from again. Our competition is designed for results. We want all 12 finalists to be able to successfully build and continue their careers, to be in demand. They will not be forgotten in six months!

What would you say to people who are still weighing up whether to apply for Classic Violin Olympus?

 I would say don't hesitate and apply now! This competition gives a new charge of creativity to the contestants. Whether you get the coveted win or not, the main thing is that you will communicate with professors and musicians from the jury, find like-minded people and get tremendous pleasure from participation. So stop thinking about it and go register now, before it’s too late!

 

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