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| Vita Alexander Matrosov was born im Tschimkent, Kazakhstan in 1979. In 1989, he was the youngest student with Oleg Sharov at the Special College For Musically Gifted Children Rimsky-Korsakov in St. Petersburg. he studied with Sharov until 2002. IN 2003, he moved to germany. There he has been studying with Mie Miki, first at the Academy of Music Detmold, Department Dortmund, and then, since 2004, at the Folkwang Academy in Essen. Between 1990 and 2005, Alexander Matrosov received 20 awards ans asscolates.
In 1992, he won the Russian Federal Competition For Accordion and in 1998
the 31st International Accordion Competition in Paris. he next won first
prizes in the Gitta di Lanciano in Italy and the St. Petersburg International
Accordion Competition. That same year (2003), he was awarded the Prize
of the Ministerpräsident of Baden-Württemberg in Baden-Baden.
With the Folkwang Accordion Trio, he was given a grant by the Werner Richard
– Dr. Carl Dörken Stiftung, Herdecke, and as a solist he waon
the 2004 Folkwang Prize in Essen. His reputation continued to grow as
he received awards from the International Gaudeamus Inter-preters Competition,
Amsterdam and the Kölnisch Rückversicherungs- Gesellschaft GenRe.
In 2005, he was not only given the Young Artist Award of the GWK in Munster
/ Westfalia, but he also won 1st prize in both the 4th IAA International
Accordion Competition in Tokyo and in the Federal Competition of German
Music Academies in Hamburg.
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“Mauricio Kagel’s ‘Episodes, Figures’ is the most difficult piece of music I have played so far. It is polyphonic and rhythmic, melodic and atonal, extremely dynamic und unbelievably impressive. With it I was immersed in Contemporary Music for the first time. I like the theatrical aspects of it very much. Not only are these aspects to be found in the body movements which, as technical needs of performing, the music quite naturally demands from the player, but they also lie in the stage directions of the last episode. In this passage, starting from the last chord series that ends in a diabolically high, quiet, and long sustaining chord, which is overlayed by figures that move down step by step, Kagel wants the musician to play by heart and to gaze at the audience with his eyes open wide. The high chord is suspended as soon as the lowest notes are attained. From this moment, the player is supposed to smile at the public until the last low note sounds. The piece ends in a pause. During that pause, the musician’s smile should freeze. As for me, I can perform ‘Episodes, Figures’ only totally by heart because while I am playing I completely loose awareness of my own body, of myself. I seem to disappear into the music and into my instrument. The accordion becomes my body and, at the same time, a stranger, an autonomous person, an actor. On stage I only do what this person demands I do. When I am playing, I always imagine pictures and indulge in intense atmospheric fantasies. Magically, this music draws me through a long corridor in which episodes of a lifetime join together, differentiating into scenes, situations, and facets. To me, ‘Episodes, Figures’ bends a bow of a human life; in this piece of music I experience the search for the self – with a negative ending.” Alexander Matrosov
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