FAQ

Why "Chamber Orchestra Kremlin" and not "Kremlin Chamber Orchestra"?
Is there a difference between audiences in Moscow and abroad?
How do you judge the success or failure of the concert?
Do conductors have big egos?
What is foremost in performance: transmission of the composer's intentions, or the performer's self-expression?
How does one reconcile the "binding" nature of a recording with the extemporaneous nature of performances and changing interpretations?
Do you prefer touring or staying in one place - Moscow or any other city - and working there?
Looking at your booklet, I counted 36 compositions performed on a single tour. Must be difficult to tour with such a large repertoire?
And what about musicians in your orchestra, it seems that such approach necessitates a lot of extra rehearsing?
Any recipe on how to select a good program?
You do a good number of transcriptions, both on recordings and in concerts. Transcribing, for instance, a string quartet for an orchestra, don't you lose the "intimacy" of the composition?
Your favorite composer? Composition?
How do you select the orchestra's repertoire?
Do you specialize in any period, school or composer?
How much of new music do you perform?
And what about minimalism and new age compositions?
The musicians of the orchestra are all so young. Is there an age limit in your orchestra?
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