Digital reissue 2020.
Musician, Ensembles, Recordings etc.

Music For Bandoneon, Viola, Clarinet And Piano In Two Parts
Yu. Medyanik, bayan / M. Beznosov, clarinet / A. Barsukov, viola / M. Chekalin, piano
Performed and Recorded in 2002 at Gnesins' Hall, Moscow
M.Ch. and His Neo Classic Ensemble Project

Russkaya Udalaya
“Neo Classic String Ensemble Project” by M. Chekalin, Moscow / M. Chekalin, percussion, piano and synths. Performed and recorded in 2000 at Gnesins' Hall, Moscow

Concerto For Viola And String Orchestra In Six Parts
Performed and Recorded 2001 - 2002 at Gnesins' Hall Studio, Moscow
“Neo Classic String Ensemble Project” by M. Chekalin
Viola soloist Alexander Barsukov
Violin 1: V. Minayeva, M. Anisimova
Violin 2: O. Yantchitsky, Eu. Brezanovsky
Viola: K. Anisimov, A. Balashov
Cello: O. Bobrova, O. Petrova
Bass: M. Aghebalyantz
Special thanks: V. Leonov as concertmeister and repetitor
Conducted, produced and keyboards by M. Chekalin

Three Minor Quartets
Violin 1: V. Bugrov
Violin 2: Ju. Tsuranova
Viola: A. Barsukov
Cello: O. Bobrova
Percussion and electronics: M. Chekalin
Performed and recorded at Gnesins' Hall, Moscow in 2002

Heathen Vocalize (1990)
prepared piano and electronics , vocal: M. Chekalin
Performed and Recorded 2001 - 2002 at Gnesins' Hall Studio, Moscow
“Neo Classic String Ensemble Project” by M. Chekalin

Kidnapping Europe
“Neo Classic String Ensemble Project” by M. Chekalin, Moscow / M. Chekalin, percussion, piano and synths. Performed and recorded in 2000 at Gnesins' Hall, Moscow
M. Chaplyghina, vocal

All music composed, arranged, mixed and produced by M. Chekalin
Executive Producer: Ulli A. Ruetzel

The musical progress of Chekalin (b.1959) is a tight-rope walk between solid craft training and ideologically imposed restrictions of creativity by the Soviet system. By the end of 70s he makes “his professional appearance as a key-boarder and arranger in rock-bands; f.e. the well-known ‘Samotsvety” In 1982 he abruptly stopped performing in public, coming up with an “aesthetic, social and political concept not to conform, mix or collaborate with anyone else” (The Wire. 2002 UK). He decided to work as a soloist and despite the most unfavourable conditions to experiment with electronic instruments. he became independent of the institutionally-controlled commissioning activities of the official music scene.

Influenced by the likes of Prokofiev, Stravinsky, Rachmaninoff and Eastern European folk he began to take advantage of the emerging synth/electronic technology of the late 70-s – early 80s to create radical new works. And “with a little help” of Gorbatchow’s "Glasnost"- policy he got the opportunity to produce further 14 albums with electronic music on Melodiya Records. You can find the essence of this period on his albums “Night Pulsation“ (Erdenklang 30632) and „Looking East“ (Erdenklang 29612)


Chekalin considers his electronic phase as an intense training to integrate many different styles into a dynamic flow. Now his heartfelt connection to modern classical music can bloom and flower in a classical orchestral presentation of his “Last Seasons” album (CCn’C Records 01612). Celebrating the Millennium by the “Return to Forever – timeless avant-garde striving for the essence of life and music, powerful stream proceeding from Prokofiev, say, to Pärt, in the mystical tradition of Scriabin, Stravinsky, Schostakovitch...” (ibid.) “Probability Symphony in the Style of Jazz” appeals to yet another tradition: “this music is what we used to call ‘progressive’ before the name got misappropriated by Yes, Pink Floyd” (Jazzwise. May ’02). According to JazzReview (UK), “it’s rich, eventful, consistently enjoyable”, “much gripping improv and post-modern chamber music ”. M.Chekalin has been famously called “...Schostakovitch for an Electronica Generation” (Eurock, USA, 2007) as well as “the ambient genius of Russia’s” (Julian Cope,02/07/2001).


On his new online album „Kidnapping Europe“ he continues his temporal essence of the 20th century. “We are all deeply rooted in the 20th century, our very life is deeply saturated with its spirit. The focal point is born of tension between the two poles: beginning - end, past - present, history - personal story, modern - post-modern. (M. Chekalin) ccnc - germany