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Terem kvartetEnsemble
Date of Birth: .
Country:  Russia |
Content:
- The Uncategorizable Music of "Terem-Kvartet"
- Rising to Prominence
- Early Successes and International Recognition
- International Exposure and Acclaim
- Recognition and Honors
- Continued Success and Innovation
- The Musicians
The Uncategorizable Music of "Terem-Kvartet"
Origins and StyleEstablished in 1986, Terem-Kvartet stands apart as an enigmatic ensemble that defies musical categorization. Their performances employ a unique blend of musical styles, incorporating citations, allusions, and hints, often playfully presented. This eclectic approach captures the essence of the late 20th century, embracing stylistic diversity and fostering dialogue within different musical trends.
Rising to Prominence
Despite the initial challenges of not conforming to established genres, Terem-Kvartet's performances have gained widespread recognition. From playing before Putin and Schroeder in Moscow to the Pope and Mother Teresa in the Vatican, the ensemble has become synonymous with Saint Petersburg, along with the Hermitage Museum, Mariinsky Theatre, and Russian Museum.
Early Successes and International Recognition
In 1989, Terem-Kvartet released their first and only album under the Soviet record label "Melodia." They also emerged as winners of the 13th World Festival of Youth and Students in Pyongyang, receiving the prestigious Leningrad Komsomol Prize. Their debut solo concert further cemented their status as a formidable musical force.
International Exposure and Acclaim
The 1990s marked significant milestones for Terem-Kvartet. They became laureates of the 4th All-Russian Competition for performers on folk instruments and released their first compact disc. The ensemble made its acclaimed debut at the renowned WOMAD festival (World of Music and Dance) and performed on the remnants of the Berlin Wall during the celebration of German reunification.
Recognition and Honors
In 1993, Terem-Kvartet received the "Golden Ostap" award for humor in music. Three years later, they were personally blessed by the Pope and Mother Teresa during a concert in the Vatican that drew a massive audience of 120,000. In 1997, the Russian newspaper "Muzikalnoye Obozreniye" named them "Collective of the Year."
Continued Success and Innovation
Terem-Kvartet's performances at the Edinburgh Festival in 1998 were hailed as some of the best shows and received the highest five-star rating from the newspaper "Scotsman." Their collaborative project with the musical theater "Zazerkaliya" earned the prestigious "Golden Soffit" award for the 1997/1998 season. In 2002, their album "Russian Sufferings" was presented at the Olimpa club.
The Musicians
Andrei Konstantinov (born 1963): Born on the Volga River, Andrei's childhood took place amidst the heroic legacy of Volgograd, where wartime relics posed a constant danger. Initially rejecting music as "girlish," he was drawn to the guitar for its masculine appeal and its powers of persuasion. As fate would have it, he found himself playing the balalaika and later the domra in his local House of Culture.
Mikhail Lopatin (born 1962): Growing up in Vyborg, a "pure proletarian family" shaped Mikhail's formative years. He began his musical journey on the cello, later spending weekends in Leningrad to retrain on the double bass. His ability to navigate between the musical world and the working-class environment left a lasting impression.
Sergei Teleshev (born 1976): At the tender age of five, Sergei dreamed of becoming an astronaut. His passion for music led him to play the piano at the age of seven, but financial constraints pushed him towards the domra. Through experimentation, he discovered the instrument's manageable size compared to the piano. Despite excelling in sports and technology, Sergei ultimately chose music as his calling.
Andrei Smolyakov (born 1963): A self-described "cunning trickster," Andrei excelled in his studies with ease. His desire for greatness led him to pursue his passion for playing folk music in a "small" and "necessarily" folk instrument ensemble. The founding of Terem-Kvartet, he believes, was both a conscious choice and a divine intervention.
