Xenia Zinoviev plays Bach, Mozart, Beethoven
Piano Concerto ¹19 F-dur, K.459
1 Allegro 11’49”
2 Allegretto 7’25”
3 Allegro assai 8’28”
4 - 5 Prelude and Fugue in Fis-dur WTK, Bd.I 3’28”
6 Fughetta in G-dur WTK, Bd.I 0’58”
7 - 8 Prelude and Fugue in C-dur WTK, Bd.I 3’35”
9 Sonata Nº6 in F-dur (P.I), op.10 Nº2 5’09”
10 «Song without words» in fis-moll, op. 67 Nº2 2’19”
11 Etude «By a creek» 2’14”
12 «Campestre» («Tres Apunts») 1’53”
13 «Urba» («Tres Apunts») 0’44”
14 «Elegy» 5’18”
15 «Wedding Day at Troldhaugen» 6’54”
Xenia Zinoviev, the 14-year-old pianist, was born in
Munich, to the family of Alexander Zinoviev, the Russian
writer who had become a legend a long time before her
birth. In 1976 he published “The Yawning Heights”, a book
that provoked a massive paradigm shift in the
consciousness of those who lived in the late XX century,
became a bestseller in 30 languages and resulted in the
exile of the writer and his family from the USSR. Both of
Xenia’s older sisters are artists. She grew up in a
cosmopolitan atmosphere of a house where music,
literature, art and history fused together harmoniously
and served as common interests uniting the children and
Xenia has been playing piano ever since the age of 5.
Her first teacher in Germany was Nelli Albrecht. After
the family had moved to Russia in 1999, Andrew
Djangvaladze, a meritorious follower of Heinrich
As a soloist, Xenia took part in the German National Bela
Bartok Festival, the French Saint-Riquier Festival, and
also the Russian Europe-Asia Festival.
Over the time that has passed since 1996, the pianist
has won 15 first prizes and grand prix at a number of
international pianist competitions in Germany, Hungary,
Ireland, Italy and Russia and taken part in live, radio and
television performances in Berlin, Budapest, Dublin,
Hamburg, Moscow, Munich and Paris.
Xenia is a young jury member of the “Europe-Asia”
International Pianist Contest.
Her repertoire consists of oeuvres by J. S. Bach, L. van
Beethoven, W. A. Mozart, E. Grieg, P. Tchaikovsky, F.
Chopin, A. Scriabin, J.-F. Burgmuller, F. Mendelssohn, V.
Kalinnikov, I. Bajic, A. Khachaturian, W. Oltra etc.
Mozart’s Concerto No. 19 for Piano and Orchestra
occupies a special place among the 28 concertos that he
had written. It doubtlessly ranks as one of his primary
masterpieces, and this is by no means an exaggeration.
It was dubbed “The Coronation Concerto”, likewise
Concerto No. 26 D Dur, KV 537, since its first
performance took place during the coronation festivities
in the honour of Emperor Leopold II in Frankfurt am
Main on 15 October 1790, although it had been written
several years earlier. It has to be mentioned that this
name stuck for reasons other than historical, since this is
Mozart presenting us with the absolute epitome of the
One would think that the main theme of the first
movement should therefore be of a grandisonant
nature, corresponding to the ostentatious nature of the
event. However, Mozart’s theme isn’t quite a march in
review, although it definitely is ceremonial to some
extent; it is theatrical – hardly custom-designed for an
official ceremony, in other words. It emphasizes a
certain conventionality of the event, and therefore has a
hue of succinct, implicit humour; this trait is rather
characteristic for Mozart.
Despite the fact that there are two secondary parts in the first movement, they hardly
contrast the primary part, supplementing it instead,
albeit in a more refined and convoluted manner in case
of the second part. The development begins to ring
somewhat anxiously, since the main part is already
transformed into various harmonic juxtapositions in the
minor key. In theory, they should evolve dramatically
and seriously – however, once the anxiety reaches its
peak, Mozart dulcifies things and proceeds with the
harmonizing reprise in F-Dur. What we hear in the
reprise as complementary to the main parts is a brief but
significant fragment of an unexpected philosophical
message along the lines of “vanitas vanitatum, the crux
The second movement of the concerto reveals amazing
depths of Mozart’s lyricism. Already in the rather
elaborate introduction, which, in a way, contains the
programme for the movement’s subsequent musical
development, we hear an almost tragic transition in the
middle. The part is written in a sonata form sans
developments, exposing the intrinsic Mozartesque
mood swings and atmospheric modulations. The mellow
main theme in major suddenly transforms into the lucid
melancholy of the secondary part, which is so
emblematic for Mozart. This chiaroscuro, in turn,
transmogrifies into the canonical lineation of the initial
theme with iridescent timbre play of the orchestral
woodwinds and the piano.
Certain researchers compare
this music to the famous arias from his operas; one
often hears that the themes inherent in operas affected
the instrumental art of Mozart. I happen to be of the
opinion that his instrumental opuses are more likely to
have influenced his vocal music, and substantially so.
The third part, written as a rondo sonata, can by rights
be counted among the most vivid finales of Mozart’s
concertos. It is truly amazing how Mozart managed to
transform the ingenuous refrain theme into this
amplitudinous and impressive an oeuvre.
his humour completely in the finale; we hear
scintillating themes and mockingly serious plethoric
fugue-like constructions in the development. However,
it is the cadence that one has to linger on specifically.
Apart from the primary theme material, we can
distinctly hear the clucking of hens at the end of the
cadence, doubtlessly involved in some process that they
consider important. One can only muse on what exactly
Mozart was trying to express in this manner; however,
one may draw a parallel with cerebral activity here,
possibly of the emperor-to-be, or some other royalty.
We cannot deny Mozart the familiarity with the dire
consequences of their intellectualizing, especially in
what concerned the appraisal of his art.
Excerpt from "Mozart's Concertos" by Professor Andrew Djangvaladze
The Moscow State Chamber Orchestra “The Seasons”
conducted by Vladislav Bulakhov, a Merited Artist of the
Russian Federation, enjoys national and international
renown as a collective of young performers from the
Moscow Conservatory and the Gnessin State Musical
College whose average age is around 30. The collective
celebrated its tenth anniversary this year. The repertoire
range of the collective spans more than 300 musical
oeuvres, from the Baroque masters to modern
composers. The Seasons Orchestra took part in the
“Russian Winter” and “The Talents of Russia” festivals,
and organized the International Festival "The Seasons" in
2002 that takes place every year in Moscow, St.
Petersburg, Nizhny Novgorod, Sochi and Krasnodar.
W. A. Mozart’s Piano Concerto No. 19 F-Dur was
performed by Xenia Zinoviev and the The Seasons
Orchestra in May 2004 in the Great Hall of the Moscow
Conservatory, which had been the first time in about