Fedor Rudin

March 2026 brings a concentrated sequence of violin projects across Belgium, Germany, and the Czech Republic, reflecting the breadth of Fedor Rudin’s activity as a soloist and chamber musician.

The month opens with Fratres Trio in Brussels and Ratingen with the programme American Tempo, exploring the dialogue between European modernism and American jazz idioms.

It continues with three performances of Édouard Lalo’s Symphonie espagnole with Hofer Symphoniker under the baton of Johannes Wildner.

March concludes in Pilsen for the Smetanovské Dny Festival, with a chamber music programme featuring works by Mozart, Edison Denisov, and Schubert, together with Fedor Rudin's partners Senja Rummukainen and Boris Kusnezow.

The beginning of 2026 marks an important moment in Fedor Rudin’s conducting activity.

He makes his debuts with the Tonkünstler-Orchester Niederösterreich at the Festspielhaus St. Pölten and with the Moravian Philharmonic Olomouc at the Červený kostel. The latter programme explores transformation and continuity within the musical tradition: from Bach’s contemplative textures in Anders Hillborg’s arrangement, through Edison Denisov’s inventive reimagining of Paganini’s Caprices, to Mozart’s Symphony No. 29.

Together, these projects open the year with programmes that engage both with heritage and imagination. Fedor Rudin will also return to conduct the Tonkünstler-Orchester Niederösterreich on 24 March at the Stadttheater Wiener Neustadt.

In October, Fedor Rudin makes his conducting debut at the Elbphilharmonie in Hamburg, leading the Ensemble of the Deutschen Stiftung Musikleben in a programme including works by W. A. Mozart, Olga Rayeva and Edison Denisov. Shortly afterwards, he records works by Mátyás Seiber with the Württembergische Philharmonie Reutlingen, a project to be released in March 2026 on the Hänssler Classic label.

Mid-month, he returns to Suntory Hall in Tokyo to conduct the Japan Virtuoso Symphony Orchestra in Gustav Mahler’s Symphony No. 5. On October 23, Rudin appears in Lille for a violin and piano recital with Boris Kusnezow featuring works by Mozart, Schubert and Denisov. In November, Rudin conducts the Webern Sinfonietta in Vienna in Fest für Strauss, a festive co-production with ORF III dedicated to Johann Strauss and his contemporaries, including Constanze Geiger and Olga Smirnitskaya, to be broadcast on November 30.

He then leads the Oradea State Philharmonic in a programme pairing Mozart’s Symphony No. 39 with Mahler’s Symphony No. 4, featuring soprano Gabriela Iștoc. The month concludes with a chamber music appearance at the Vienna Ehbar Saal, performing Dvořák’s Piano Quartet in E-flat major.

This August, Fedor Rudin appeared at the Lech Classic Festival in Austria, performing a wide range of chamber repertoire. Highlights included Sarasate’s Navarra and Gypsy Tunes with Ayana Tsuji, as well as Beethoven’s Symphony No. 5 (piano trio version), Schubert’s Notturno and the Trout Quintet, and Mozart’s and Beethoven’s piano quartets — together with Gottlieb Wallisch, Julia Turnovsky, Sebastian Bru, Anna Gruchmann, and Jasminka Stancul.

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On August 17, Rudin returned to Kroměříž, Czech Republic, performing Mozart's Concertone with Dalibor Karvay and the Moravian Philharmonic Olomouc under Tomáš Netopil.

Looking ahead, he will appear at the Musik Festival Radebeul, Germany, on August 24, performing Vivaldi and Bach concertos with Albrecht Menzel, Carla Marrero, Rainer Cocron, Muriel Razavi, Annabel Hauk, David Santos Luque, and Knut Johannessen, before opening his 2025/26 season on September 9 at the Jerusalem International Chamber Music Festival, Israel, performing Brahms’s Piano Quintet alongside Alexander Melnikov, Madeleine Carruzzo, Roman Spitzer, and Astrig Siranossian.

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This summer, Fedor Rudin appears at some of France’s most vibrant chamber music festivals, performing a wide-ranging repertoire alongside longtime collaborators and new musical partners.

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At the Flâneries Musicales de Reims (June 27–28) — a cornerstone of the French summer festival season, known for its elegant programming and historic venues — he takes part in two distinct programs.

On June 27, Rudin joins Denis Pascal (piano) and Aurélien Pascal (cello) for a trio evening featuring works by Mendelssohn, Shostakovich, and the rarely heard Trio Phantasie by Joseph Marx.

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On June 28, he performs Schumann’s Piano Quartet and Dohnányi’s dramatic Op. 1 Piano Quintet alongside Denis Pascal, Aurélien Pascal, Pierre Fouchenneret (violin), and Violaine Despeyroux (viola).

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At Festival Musiques Vivantes in Gannat (July 9) — a community-centered festival with a strong educational focus — Rudin performs Schubert’s Trout Quintet paired with Ravel’s Piano Trio, joined by Adam Laloum, Manuel Vioque-Judde, Lorraine Campet, and Stéphanie Huang.

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He closes this French stretch on July 11 at the Festival de Colmar, one of the country’s most prestigious classical festivals. Together with Florian Noack and Guerino Bellarosa, Rudin takes part in American Tempo — a colorful journey through works by Gershwin, Poulenc, Milhaud, Ellington, Weill, Ravel, and more.

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On June 12, 2025, Fedor Rudin will take part in the opening concert of Intonations – The Jerusalem Chamber Music Festival, held at the Kühlhaus Berlin. This year’s festival, running from June 12 to 15, explores the quintet in its many forms, bringing together renowned musicians for a weekend celebrating chamber music’s diverse expressions.

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At the opening concert, Rudin will perform in two major works: Ottorino Respighi’s Il Tramonto, a poem for voice and string quartet, alongside Dorothea Röschmann (soprano), Madeleine Carruzzo (violin), Joaquín Riquelme Garcia (viola), and Kian Soltani (cello); followed by Johannes Brahms’ Piano Quintet, Op. 34, with Fabian Müller (piano), Kathrin Rabus (violin), Adrien La Marca (viola), and Kian Soltani (cello).

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Intonations – The Jerusalem Chamber Music Festival gathers world-class artists and offers a rich program featuring works by Mozart, Brahms, Mendelssohn, Dvořák, and more.

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On June 13, 2025, Fedor Rudin will perform at the beautiful Basilique Notre-Dame-de-la-Trinité in Blois, France, as part of Festival BAM 2025. The program features Benjamin Britten’s Les Illuminations, opus 18, set to poems by Arthur Rimbaud; selected excerpts from Hector Berlioz’s Les Nuits d’Été, based on poems by Théophile Gautier; and Felix Mendelssohn’s vibrant String Octet in E-flat major, opus 20.

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Joining Fedor on stage will be an outstanding group of colleagues: soprano Chloé Chaume; violinists Fanny Robilliard, Igor Pikayzen, and Marie Radauer‑Plank; violists Julia Turnovsky and Ezgi Pikayzen; cellists Senja Rummukainen and Aurélien Pascal; and double bassist Weiyu Chang.

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Festival BAM is a renowned celebration of chamber music held annually in Blois, France. The festival is organized by Accords Centre-Val de Loire and is dedicated to bringing exceptional musical experiences to audiences in the heart of the Loire Valley.

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On June 10, 2025, Fedor Rudin makes his debut as a conductor at Vienna’s prestigious Wiener Konzerthaus, leading the Webern Symphonie Orchester in Gustav Mahler’s Symphony No. 1 — performed in its five-movement version including the rarely heard “Blumine.”

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This concert marks a new chapter in Rudin’s work as a conductor, taking place in one of Vienna’s most iconic venues. With the Webern Symphonie Orchester — a dynamic and curious ensemble he’s led for several years — he brings a fresh and thoughtful approach to Mahler’s First Symphony, promising an interpretation full of energy and depth.

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The performance will be recorded for a future release, ensuring that this special evening will be remembered and enjoyed beyond the hall’s walls.

On May 27, 2025, Fedor Rudin began recording a new album with the Württembergische Philharmonie Reutlingen, featuring orchestral works by Hungarian-British composer Mátyás Seiber. The recording, set to be released on the hänssler CLASSIC label, features several pieces that have never been recorded before.

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Known for his remarkable stylistic range, Seiber was a pioneering 20th-century voice whose music effortlessly bridges classical form, jazz language, and modernist invention. The featured program includes Tre Pezzi for cello and orchestra, Elegie for viola and small orchestra, Pastorale und Burleske for flute and strings, Concertino for clarinet and strings, Notturno for horn and strings, and Quatre chansons populaires françaises for soprano and string orchestra.

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Fedor Rudin is joined this week by an outstanding group of soloists: Katharina Ruckgaber (soprano), Pirmin Grehl (flute), Hervé Joulain (horn), Roland Glassl (viola).

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The recording will continue in October. This project reflects Rudin’s ongoing dedication to uncovering lesser-known repertoire and bringing new perspectives to 20th-century music.

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On May 18, 2025, Fedor Rudin performs in a special chamber concert as part of the Ravel Festival at Musikhuset Aarhus, Denmark. Together with renowned pianist Alexandre Tharaud and esteemed cellist Eugene Hye-Knudsen, he presents a rich and refined program exploring the inner world of French music at the turn of the 20th century.

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The program includes Debussy’s final work, the poetic Sonata for Violin and Piano, as well as Ravel’s enigmatic Sonata for Violin and Cello. Tharaud, one of France’s most admired pianists, will also perform solo works by Ravel, Satie, and his own dazzling transcription of Dukas’ The Sorcerer’s Apprentice.

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This concert offers a rare opportunity to hear three exceptional musicians in an intimate setting, bringing to life the subtle colors, rhythmic energy, and emotional depth of some of France’s most iconic composers.

On May 22 and 23, 2025, Fedor Rudin returns to Musikhuset Aarhus as a soloist in Maurice Ravel's Tzigane, performing with the Aarhus Symphony Orchestra under the direction of Dmitry Matvienko, the orchestra's newly appointed Chief Conductor.

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These concerts are part of the Ravel Festival, a celebration of the composer's vivid sound world. Tzigane, written in 1924, is one of Ravel's most distinctive concertante works-an homage to the style and spirit of Romani music, demanding both lyrical sensitivity and virtuosic flair from the soloist.

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