Kalnits has performed as a soloist with the Voronezh and Yaroslavl Symphony Orchestras,
playing at the Main Hal of the Moscow Conservatory, representing the School in England and
playing solo with the Gnessin Virtuosi Chamber Orchestra in Japan. In 1992, Yuri began
studying at the Royal College of Music (London) with Itzhak Rashkovsky and has won several
major College prizes, including the Foundation Scholarship, W.H. Reed, Isolde Menges
prizes and Leonard Hirsch Prize for the outstanding string player of the year. In 1994, he
won the Bromsgrove and Watford Music Festivals in England and received the Yehudi Menuhin
Award from the Sudborough Foundation. In 1999/2000, he won KPMG/Martin Musical
Scholarship, received the Barthel Prize from the Concordia Foundation and represented the
Foundation in concerts in Vietnam and Hong Kong. He also took part in the Harrisons
Sisters Trust Festival in England and Young Artist Peninsula Music Festival in USA.
MOL: Tell us about your musical background.
I started to play the violin at age of four. My father is
professional violinist, therefore, I heard the sound of violin since the day I was born.
Because of the given environment, it was natural and obvious for me to play the violin.
However, I started playing the piano first because all the children in my neighbor played
the piano, however, later, I changed to violin.
We have a very musical family- my dad is violinist and my mother is
a classical dancer. I first went to study at the Moscow Central Music School, then Moscow
Gnesin Music School, then Royal College of Music and Guildhall School of Music and Drama.
MOL: Who are your teachers?
I have had many, but I am only going to mention just few. My father-
without him I wouldn't play the violin and I think, that he is one of the best teachers I
had. Sergey Fatkuline, who in my opinion, is a fantastic teacher who I can say have
contributed to shaping the way I think about music and executing violin technique; Itzhak
Rashkovsky-well, he had one of the biggest impact on my musical career. He is fantastic
person and a teacher. I had immeasurable support from him both professionally and humanly.
MOL: How did your friend, parents, etc. influence you as a
My dad influenced me a lot, because he loves music and a great
player. We always went to concerts in Moscow, and he is the person who I can look up to.
MOL: How much do you practice daily before a performance?
3-4 hours, unless I have to learn a new piece in a short time, in
that case, I may practice as much as 8 hrs.
MOL: How much or often do you practice basic?
Well, I try to start the day from the basics-scales, arpeggios etc.
I try to do this every day.
MOL: How do you select repertoire for your recital?
It is usually done after consulting with my pianist, Jeremy Limb,
and it also depens on the amount of time we have to prepare for the concert.
MOL: How do you select repertoire for your concerto
Orchestra usually selects it for me.
MOL: Do you like any other forms of art? such as painting? a
I like paintings by Miro, Degas and Kandinsky. Writer - Bunin ( I
think he is a great writer and person) and of course, Kundera.
MOL: What do you like to read? And why?
I like to read all kinds, if possible - philosophy, poetry etc.,
because they are very stimulating and there is just so much one can learn and experience
from it all be able to apply them in music.
MOL: What are some of your recent reading?
Vitaly Shentalinsky- The KGB's literary archive, Umberto Eco
MOL: What do you do for hobby, if any?
I go to movies, read books, go out and work out
MOL: What do you hope to achieve ten years from now in your
Well, I want to play the way I want to play (ideally)
MOL: How do you judge a good performance?
If it touches me spiritually, than I consider it that as a good