Curriculum vitae
Olga BOCHIHINA (b. 1980 in Kirov, Russian Federation), composer, lecturer, Associate Professor of the Moscow State Tchaikovsky Conservatory
Olga is an author whose music is concerned with ideas of movements, behavior, instrumental strategies and soundscapes.

Laureate of various All-Russian and international prizes, holder of the "Swiss Government Scholarship for foreign students" (2009-2011), Olga took part in various international workshops and academies; among them there are the «Young Composers' Meetings - 2004» in Apeldoorn (Holland, 2004), International Ensemble- and Composers- Academy for Contemporary Music «Impuls 2009» (Graz, Austria, 2009). She had workshops with H. Lachenmann, B. Furrer, T. Murail, V. Globokar, L. Andriessen, K. de Vries, A. Gaussin, G. Zinstag, and others. O.Bochikhina graduated from the Moscow State Tchaikovsky Conservatory (class of Prof. V. Tarnopolsky) and from the Musik Akademie der Stadt Basel (Specialized Master's Program in Composition) under Prof. E.Oña and Prof. J.Ullmann.

Her works have been performed by the Mariinsky Orchestra, Y.F.Svetlanov State Academic Symphonic Orchestra, «de ereprijs» orchestra (Netherlands), «Russian Philharmonic» orchestra, London Sinfonietta (Great Britain), «Ensemble Modern», ensemble «Studio of New Music», "Türmchen Ensemble" (Germany), "Cikada string quartet" (Sweden), "Quasars ensemble" (Slovenia), "Phoenix ensemble" (Switzerland), Pekarsky Percussion Ensemble; she has collaborated with conductors such as Valery Gergiev, Vladimir Jurowsky, Igor Dronov, Sergey Kondrashev, Ilan Volkov, Jürg Henneberger.

The works of Olga Bochikhina have been broadly presented at various international contemporary music festivals in Germany, the Netherlands, France, Austria, Slovenia, Switzerland, Sweden, and Italy. These include: «6th Weimarer Frühjahrstage für zeitgenössische Musik» (Weimar, 2005), «The Moscow autumn» (Moscow, from 2005), «The Moscow forum» (2007-2013), Schleswig-Holstein Musik Festival (2008), «New Horizons» (Saint-Petersburg, 2008), "Young Euro Classic" (Berlin, 2009), "World New Music Days" (Sweden, Växjö, 2009, Slovenia, Košice, 2013), Frau Musika Nova (Cologne, 2009), International Summer Courses for New Music in Darmstadt (2010), "Manca festival" (Nice, 2010), "Schein-Polyphonie 2011" (Switzerland) in a collaboration with Schola Cantorum Basiliensis, "Europe through the eyes of Russians. Russia through the eyes of Europeans" (Moscow, 2011), Venice Biennale (2015), "The Other Space" (Moscow, 2013, 2018), "Tiroler Festspiele Erl"(Austria, 2016). In 2007, with the group of composers took part at the International opera project «Boxing Pushkin» premiered in Holland (Arnhem, Neijmegen, Den Haag, Apeldoorn, Amsterdam).

In November 2018 (in cooperation with VI International Actual Music Festival "The Other Space") she developed and realized the stage and musical concept of a multimedia project for ensemble, electronic and video: "FACE: The Mute Opera" (video realization – Ivan Saharov).

Shortly about myself:
I like listening to…like listening to… hearing…too
I like looking at…like looking at … the mirror…and
I like winding air… like spins and veils
like spaces in the air
between ears
like spaces
between sails…
I like tension and…
I'm drawing a bowstring
about important things
Most often, the feeling of physical movement and gesture is important for me: rocking, sliding, pulling, sticking, spinning (maybe just because I love verbal nouns). I'm interested in tension. I'm interested in muscle tension, convolutions, movement, stretching, potential energy, panthers jumping, tension that precedes the appearance of the word, something that makes you speak, the tension of creativity as a sharpening of the problem somewhere on the verge of comprehensible. It sets me into motion, makes me vibrate.
about thoughts
I often think of the "gliding" of things: through time, through space, from one reality onto another, from "solid" to "fluid", from invisible (or transparent) into dense; about optics and the chemistry of the manifestation of the world through many intermediate steps: thinking - instrument - language – text; about the alchemy of the instrument and the ways of its "translation" onto this side of life: from the generalizing of the instrument and myth about the instrument to the formation of the instrument. I'm concerned with the chemistry of objects, forces and situations that make up the essence of the "instrument", where the composing of the thing, objectification and translation it into a sign are in the most subtle relationships with each other. I think about behavioral strategies, about the energy of force lines pulled together in a node, and again about the movement, "gliding", pulsation and blood flow of things.
about instrumental gestures
Yes, an instrumental gesture is like a process snatched from a continuing reality about which you don't know anything at the beginning, but about which you know nothing at the end. It seems to me that I cannot stop just observing: the behavior of the hands on the face of watch, the figures on the chessboard, the snake, the running cursor, the sound environment, the swinging cradle, the frozen or sticky fingers, the approaching steps, the writing pen. If what I observe is, for example, a snake, then its behavior prescribes a certain type of instrumental realization. A snake-type movement either crawls on the surface or flies like a kite, or draws something, constantly coiling. The snake itself is modeled by its formation. Indeed, in reality there is no snake (!), the snake is itself the generalizing "instrument", which is summarizing in the mind through the sound experience. In this sense sounds are a shell, materialization or objectification of this main "instrument" and they do not require a hierarchy of primary and secondary importance: one interprets the other. All interpret the whole.
why do I call my "things" projects?
I always had the feeling that what I'm working on lies a bit on a different plane than compositions, i.e. things. It's more interesting for me to think of "instrumental design" as the process of doing it, and not in terms of finished thing. In the sense of "readiness," the thing does not really catch me. Maybe that's why all the time I'm painting on something. If a thing is living, that is, it has potential - it grows, becomes clear.
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