PLEASE NOTE: Dr Xenia Pestova will be on research leave in Semester 2 (Spring), 2016-17. Described as "outstanding" (Tempo), "stunning" (Wales Arts Review), "ravishing" (Pizzicato) and "remarkably sensuous" (New Zealand Herald), pianist Xenia Pestova's performances and recordings have earned her a reputation as a leading interpreter of uncompromising repertoire of her generation. Lauded for "dynamic energy and crystalline precision" (RTE Nova), Pestova is featured at major festivals and venues around the world, including appearances at the Queen Elizabeth Hall in London, Glasgow Royal Concert Halls, Philharmonie Luxembourg, Festival Archipel (Geneva), Christchurch Arts Festival (New Zealand), Cluster New Music and Integrated Arts Festival (Canada), Frontiers+ (Birmingham), Holland Festival (Amsterdam), Lanaudière (Canada), Festival Musica (Strasbourg), Sonorities (Belfast), Spark (USA) and Voix Nouvelles Royaumont (France). She is equally at home in experimental concert settings, and has performed in an underground World War II fortress, tropical gardens and a natural cave system inhabited by hibernating bats. Pestova's commitment and dedication to promoting music by living composers led her to commission dozens of new works and collaborate with major innovators in contemporary music. Her widely acclaimed recordings of core piano duo works of the Twentieth Century by John Cage and Karlheinz Stockhausen with pianist Pascal Meyer are available on four CDs for Naxos Records. Her recording of Stockhausen's "Mantra" was praised as "a highly accomplished presentation of one of the landmark pieces in the second half of the 20th century" in the Guardian. Her evocative solo debut of premiere recordings for the Innova label titled "Shadow Piano" was described as a "terrific album of dark, probing music" by the Chicago Reader. Currently, she is the Director of Performance at the University of Nottingham, and continues to mentor emerging musicians in workshops at conservatories and universities around the UK, Europe, Canada, New Zealand, USA and Brazil. Follow on Twitter or Facebook. (Photo credit: Carla Rees)
Please visit the Extended Performance Practice page. I enjoy working on performance practice issues in a wide range of repertoire. My particular interests lie in contemporary performance, collaboration with composers on new repertoire and performance with live electronics and new technologies. I am also excited about working with new instruments and different keyboard interfaces including toy pianos and digital instruments. My secondary research interests include the music of Olivier Messiaen, piano music of the early Russian and Soviet Avant-garde, approaches to music and health and improvisation.
My teaching at Nottingham will include modules on collaboration between performers, composers and music technologists, chamber music and ensemble performance and musicians' health. I will also be… read more
Collaboration with composer Ed Bennett on a large-scale piece for piano and electronics. This work was commissioned by INTER/actions Festival for Interactive Electronic Music / Frontiers+ Festival… read more
XENIA PESTOVA, 2016. Approaches to notation in music for piano and live electronics: the performer's perspective. In: FRIEDEMANN SALLIS and VALENTINA BERTOLANI, eds., Live-electronic music: composition, performance, study Routledge. (In Press.)
2014. John Cage: Music for Two Keyboards, Volume 2 . Naxos. 04/01/2014 00:00:00
2014. John Cage: Music for Two Keyboards, Volume 3 . Naxos. 07/01/2014 00:00:00
2014. Arlene Sierra: Urban Birds . NMC Records. 07/21/2014 00:00:00
My teaching at Nottingham will include modules on collaboration between performers, composers and music technologists, chamber music and ensemble performance and musicians' health. I will also be leading performance workshops for soloists exploring a range of issues that affect instrumentalists and singers.
I am interested in supervising postgraduate students working on all aspects of contemporary performance practice, music with new technologies, live electronics, extended techniques, collaborative creation of new repertoire, Twentieth Century repertoire, approaches to improvisation, and any of my secondary research interests. Please visit the Extended Performance Practice page to get an idea of my research and supervision interests.