I am a classically trained violinist with the intention to preserve and maintain the importance of classical music in the ever-changing digitalized world.
I am a laureate of the Wiener Konzerthaus “Great talent” programme for the years 2019 - 2021, and a founder and artistic director of the “Oberton String Octet” and the “Oberton+” chamber orchestra.
As the Arancio prizewinner of the 2019 Michael Hill International Violin Competition, I play the "Ex Christian Ferras" Nicolò Amati violin, Cremona 1645, which is on loan from Rare Violins In Consortium, Artists and Benefactors Collaborative. I was also awarded the Audience Prize and the third prize at this competition.
Shortly before that, I won the first prize and the prize for the best interpretation of the virtuoso composition at the 2019 Andrea Postacchini International Violin Competition.
The scope of my activity:
Solo. My first experience as a solo with the orchestra happened at the age of 7. It was a reward for winning the Saulius Sondeckis international violin competition. In subsequent years, I played with symphony and chamber orchestras in Latvia, my native country, Lithuania, Estonia, Austria, Germany, Luxemburg, Russia, Slovakia and Croatia.
At the age of 11, I performed the 24th Capriccio by Paganini for Queen Elizabeth and her spouse Prince Philip in the Arena Riga.
My debut in Austria was at age of 16, where I played two successive concerts with Grazer Philharmonisches Orchester in Musikverein Graz, both with a full house and a benevolent critique.
Yevgeny Chepovetsky had left a brilliant impression. He proved himself not only as a soloist who possesses outstanding technical and musical abilities but also as a performer who've reached maturity in his young years. His resolute self-expression will continue to evolve, although the irreproachable lightness and detailed attention with which he moves through the virtuoso complexities of the musical phrases are fascinating right now. (Kronen Zeitung)
Duo with piano. I mostly play duo music with the renowned Austrian pianist and professor Markus Schirmer, who is also the organizer of chamber festivals in Austria and abroad.
I have a long-standing duo with my sister Olga Chepovetsky, currently a piano student at the University of Music and Performing Arts Graz.
Oberton String Octet. I founded the octet in 2015, with my university colleagues. Today, four years later, we are cohesive, dynamic team with a growing reputation and extensive repertoire. It ranges from major classical octets and less known historical compositions to Viennese waltzes, tango and our own arrangements in different genres.
In 2018, we had the honour to perform for the President of Austria Alexander Van der Bellen at Hofburg presidential palace in Vienna, in commemoration 100th anniversary of Austrian Republic.
We are equally enthusiastic and responsible to showcase our art in representative concert institutions (Musikverein Graz, etc), and in non-academic venues, such as schools, churches, embassies, municipalities, banks, and private venues. We regard our educational programs for schools as a part of our social responsibility.
To date, our concert geography covers Austria, Italy, Poland, Croatia, Bosnia, Latvia, Russia and Israel.
The octet was recorded several times by leading Austrian radio and TV channels. It was presented on British “Classic FM” channel with generous response from the public.
Currently, we are the ensemble in residence at the Steirisches Kammermusik Festival.
“Oberton String Octet” also provides the basis for the “Oberton+” group, a flexible chamber orchestra which debuted in 2018 with Haydn cello concerto No.1.
Chamber music. I take part in regular classical concerts, festivals, charity and innovative projects, where the new ways of collaboration with audiences are explored and practised.
It was my pleasure to share the stage with Benjamin Schmid (violin), Marcus Schirmer (piano), Franz Bartolomey (cello), Julian Rachlin (violin), Firmian Lermer (viola), Clemens Hagen (cello), Nils Munkemeyer (viola), Thomas Selditz (viola), Karl-Heinz Schutz (flute), Sharon Kam (clarinet), Barnabás Kelemen (violin), Petrit Ceku (guitar), Julia Hagen (cello), Erich Oskar Huetter (cello), Emmanuel Tjeknavorian (violin), Sophie Rachlin (piano), Levon Avagyan (piano), and many others.
I took part in such festivals as Gstaad Menuhin Festival, Vaduz Classic, Arsonore Graz, Musikwochen Millstatt, Lindau Junge Meister Festival, Tiroler Festspiele Erl, Steirisches Kammermusikfestival, Carinthian Summer, Styriarte, Vienna Film Festival (Yekaterinburg), SVEM (Sarajevo) just to name the few.
Viola is my second instrument to play. I performed the solo and chamber viola repertoire with Marcus Schirmer (piano), Julian Arp (cello) and Milana Chernyavska (piano).
Artistic groups I collaborate with on a regular basis:
"Hagn Art", a producer of spectacular, compelling performances which unite musicians, dancers, light engineers and drama actors. I partnered here with Friedrich Kleinhapl (cello), Andreas Woyke (piano), renowned drama actors Peter Simonischek and Brigitte Karner.
"Wien International Soloists Ensemble", advanced music group with innovative ideas about a modern concert practice.
"Karklina Trio" (2014-2017) which performed mainly classical piano trio repertoire. We had several concerts recorded by ORF radio and won several competitions and grants.
Concertmaster. Four years' experience of leading youth symphony orchestras - Wiener Jeunesse Orchester, International EUphony orchestra, KUG Orchestra – touring Austria and Europe and appearing in the famous European concert halls such as Musikverein Wien, Wiener Konzerthaus, Romanian Athenaeum Bucharest, Hungarian National Philharmonic, and others.
Recordings. More than 20 recordings on Austrian radio ORF1 in different formations, including the world’s first recording of Double quartet by Andreas Romberg (1767-1821).
I was recorded on Swiss Radio with the sonata for violin and piano by Karol Szymanowski. A number of recordings were made on Latvian radio in my early years.
I had also several radio interviews on ORF1 in the series “Austrian musicians in portrait”.
University activity. I am completing the Master's degree at the University of Music and Performing Arts Graz (KUG) under the Professor Boris Kuschnir. In 2018, I also joined the Royal Academy of Music in London, violin class of the Professor György Pauk.
I was a delegate from my University at the Classical NEXT 2017 in Rotterdam, a global annual meeting for all art music innovators, as well as in Austrian embassy in London to mark the 200th anniversary of the University, where I performed a piano trio programme. On the same occasion, “Oberton String Octet” was elected to represent the student activity in the KUG commemorative documentary.
I am also a student community representative for the professor's elections at KUG.
My artistic preferences and personal tastes are in many ways influenced by the period in violin history which lasted from the late 19th to mid-20th century and is often called The Golden Age.
Historically, the development of classical violin style was closely related to the romantic opera singing. It possessed the same strong emphasis on the inner world of feelings and the human voice as the most perfect instrument of expression. In a sense, the violin could be substantially equated with belcanto, with the only difference of using the bow and strings instead of the words and the voice box.
Not the stunning virtuosity in the manner of Paganini and Ernst, but tremendous expressivity and charm in the manner of belcanto was the core of the violin style at the turn of the 19th and 20th centuries.
In general, virtuosity turns out to be critically limited when it comes to express the real richness and complexity of feelings. Lyrical, dramatic, sublime, tragic, sacramental, mystical and other existential aspects of human drama are the vocal expressions ahead of everything else.
In my view, The Golden Age was the peak of musical expression relating to the feelings. It was the time of remarkable lyrical individualities that exercised particular artistic freedom, personal manner of expression and a voice of an instrument that was easily recognizable.
Today, it is not the same. The industrialisation of the 20th century and digitalization of the 21st century affected the style of playing, making it more regimented and focused on instrumental perfection. Classical musicians began to sound more alike, presenting a uniform “correct” manner of playing. The former spontaneity and individual freedom of lyrical expression have faded. Nowadays, it is quite impossible to recognise any particular player by ear.
It is my belief that this kind of discolouration of violin playing significantly contributes to the general marginalization of classical music in our time.
This is why the return to the artistic and technical freedom and individualism similar to The Golden Age offers a chance to improve the situation. This could make classical music less artificial and more native, interesting, and attractive to the public.
I consider my personal musical development a kind of transition from the pure virtuosity to the lyrical expressivity under the guidance of my “old school” teachers, whom I was lucky to have. The following two amateur videos taken at the age of 10 and 16 might illustrate the subject.
The exploration of the old masters’ artistry and technique, especially in the context of the modern cultural state, are part of my present activities. I have a personal blog “Classical music and digital natives” which I launched in 2016 to reflect on the new tendencies and challenges classical music faces in the digitalized world.
I was born in Riga, Latvia in 1995. My first violin lessons came from my parents and a private teacher.
At the age of 5 I was admitted to Riga's Emils Darzins Musical School for Gifted Children, and at the age of 12, to the Konservatorium Wien Privatuniversität, the violin class of Professor Boris Kushnir.
Currently, I am completing a Master's degree at the University of Music and Performing Arts Graz under Professor Boris Kuschnir (see the photo above). In 2018, I also joined the Royal Academy of Music in London, the violin class of Professor György Pauk.
I received my general secondary education in the private school in Riga, and in addition, completed certified distance programs “Introduction to mathematical thinking” at the Stanford University (USA) and “Introduction to mathematical philosophy” at the Ludwig Maximilian University of Munich.
At the age of 9, I began to study music composition under the renowned Latvian composer Peteris Vasks. Two years later I won the 1-st prize in the Latvian Competition of Young Composers.
At the age of 11, I was selected to play for the English Queen Elizabeth II and UK diplomatic corps in the Arena Riga.
Starting from school age, I was an active participant of national and international competitions in Latvia, Europe, and Russia. I won
three Latvian State Violin Competitions in the years 2004, 2008, 2014 in different age groups,
two Saulius Sondeckis International Violin Competitions in the years 2003, 2006 in different age groups
Grand Prix at Balys Dvarionas International Competition (2004),
Grand Prize Virtuoso Salzburg Competition (2019)
I was the prize winner at such prestigious competitions as
David Oistrakh International Violin Competition (2009), second prize
Luis Spohr International Violin Competition (2013), third prize
Michael Hill International Violin Competition (2019), third prize.
and also won XXVI International Violin Competition "Andrea Postacchini" in 2019, first prize.
My special prizes at the competitions include:
The best interpretation of the virtuoso piece (XXVI International Violin Competition "Andrea Postacchini", 2019)
The best interpretation of the contemporary piece (Latvian state violin competition, 2014)
Audience Prize (Michael Hill International Violin Competition, 2019)
Arancio Prize - two-year loan of the 1645 "Ex Christian Ferras" grand pattern Nicolò Amati violin (Michael Hill International Violin Competition, 2019)
Masterclasses with Pierre Amoyal, Zakhar Bron, Julian Rachlin, Michael Frischenschlager, György Pauk, Galina Tourchaniniova, Vadim Gluzman and other renowned artists and teachers were the part of my education. Including Mozarteum International Summer Academy, Académie de Musique de Lausanne “Violin & Piano Masterclasses”, "Lac Leman Music Masterclasses" with Michelangelo Quartet, etc.
At the age of 16, I had a debut in Austria, in Graz Musikverein (Stefaniensaal) playing Mozart concertos with Grazer Philharmonisches Orchester under Maestro Gabriel Feltz.
In 2018, I was a winner of the Wiener Konzerthaus “Great talent” programme for the years 2019 - 2021.
I am a founder and artistic director of the “Oberton String Octet” (2015) which was designed as a modern musical formation with integrated artistic goals. We are keen to revive rarely played or forgotten octet compositions and to deal with a much broader classical and non-classical repertoire. Our intent is to make this music relevant to the modern technologically affected audiences.
The Octet is steadily expanding its concert repertoire and geography, also appearing on leading radio channels and in social media.
In 2018, we were invited to play for the President of Austria Alexander Van der Bellen at Hofburg presidential palace in Vienna, in commemoration 100th anniversary of the Austrian Republic.
I am also the artistic director of the flexible chamber orchestra “Oberton+” which had a successful debut in 2018 with J. Haydn concerto for cello and orchestra.
The festivals I took part include Gstaad Menuhin Festival, Vaduz Classic, Styriarte, Arsonore Graz, Carinthian Summer, Lindau Junge Meister Festival, Vladimir Spivakov International Festival “Moscow Meets Friends” and many others.
The “Oberton String Octet” is the ensemble in residence at the Steirisches Kammermusik Festival.
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