For cellists or violinists it is self-evident to know their instruments inside and out and are, therefore, able to create a perfect, unique sound – a beautiful synergy of the artist and their instrument that is often neglected when it comes to keyboard instruments. For that particular reason, NeoBarock like to travel – depending on the repertoire – with a copy of an Italian harpsichord after Giusti or a double-manual french instrument after Blanchet (both build by Bruce Kennedy), as long as spatial distance allows for it.
Born in Novosibirsk (Siberia), Stanislav begun his piano studies in Novosibirsk Glinka Conservatory. His deep fascination for the historically informed performance practice of the music from the XVI-XX centuries drove him to the postgraduate studies in Moscow Tchaikovsky Conservatoire, where he studied the harpsichord and the early fortepiano with Olga Martynova, and in the Hochschule für Künste Bremen, where he mastered the chamber music art with Carsten Lohff. The other inspirations for his professional development were coming from master classes with the world’s leading early keyboard performers such as Gustav Leonhardt, Skip Sempé, Ketil Haugsand, Élisabeth Joyé and Christopher Stembridge.