Little bit of history

The core of the Lundstrem Trio is a professional and family union of Leonid Lundstrem and Maria Voskresenskaya.  Leonid Lundsterm is a soloist of the Bolshoy Theatre orchestra, a
concertmaster of the Beijing State Symphony Orchestra and a founder of the early Chamber
Music Ensemble. In the middle of the 1990s he created the Chamber Music Ensemble of the Bolshoy Theater. From the very beginning, the concerts given by the Ensemble in the Beethoven
Hall of the Bolshoy theatre received engaged and favorable attention from their patrons. Sophisticated audiences - the connoisseurs of masterly performance - appreciated the Ensemble and recognized its musicians as safeguarders of tradition and true devotion to music.  Oleg Lundstrem, a famous jazz musician and a founder of the oldest big-band in Russia created many arrangements for the Ensemble led by his nephew.  The Ensemble performed successfully in Japan, the United States of America, Germany, France, Great Britain, Italy and other countries.
Later, at the end of 1990s, the Trio (Maria Voskresenskaya, Leonid Lundstrem and Vladimir Nor) were singled out of the Ensemble. The Ensemble itself became an independent
entity which includes both musicians of Boslhoy Theater and unassociated artists.  
At the moment, both Lundstrem Trio and the Chamber Music Ensemble headed by Leonid Lundstrem are fully formed groups who tour often.  They are well–known at home and abroad and play European and Russian chamber music that demands outstanding artistry and subtle understanding of the composer’s concept.

Chamber Music

Piano, violin, cello – three instruments, three voices that create a miracle of live music through endless mutual dialog and interweaving sentences.
Piano trios possess a significant place in the creative legacy of Beethoven, Mozart, and Brahms; trios were written by Shostakovich. Tchaikovsky, Schubert, Haydn, Glinka and
In pieces of this kind, a special emphasis is placed on the ability of each musician to penetrate equally both the character of his own part and the meaning of the complete musical message. Here, to a greater degree than in a large orchestra, it is necessary to coordinate the voice of your own instrument with the others in such a way that the three voices exist inseparably but without merging.
These three instruments in chamber music act as three different personalities. They build their own relationships. It is hard to tell if the contents of a piece inspire them, or if the feelings of the musician themselves color the music. The Lundstrem Trio leaves no place for doubt: the long history of collective work gives these musicians such mutual understanding that their playing expresses itself as a token of harmony and accord.


Lundstrem Trio plays classical pieces. The word “classical”, classicus, in this context should bear its initial meaning: «exemplary, first-class», i.e. nobody would ever doubt their absolute quality and profound meaning.
Specialists may count the number of fugues, operas and symphonies (without mentioning smaller- scale genres) which are known only by name, but have not been performed for a long time. There are other pieces which never slip into obscurity: time after time, year after year people appear who don’t only care about this music – they absolutely need it. Like guardians of a secret knowledge they pass a formula of true music to each other without expressing it in words or numbers; but they mysteriously make it clear to everyone who knows how to listen. Fortunately, these people make no secret of their preferences. Their audience understands them well.   
Lundstrem Trio plays classics because they know how to do it. The level of excellence is the foundation for the other levels of the musician’s cultural mission. To have courage to interpret classical works, to save them from abandonment, to lead the audience by proposing some pieces and ignoring the others – all of it is possible only through the skills that are as strong and reliable as the truth of science.  The skills of the Lundstrem Trio musicians are the results of belonging to one of the most serious performing schools.
The Lundstrem trio draws from the classical repertoire because of their belief that classical music possesses unique harmonic qualities that allow us to find sense and order in the frenzy of everyday life.  

Finally, the Lundstrem trio plays classical music because the musicians love it dearly and faithfully. “Love that moves the Sun and the other stars” moves the hands of musicians and directs their thoughts. But this love is not based only on a feeling or an emotion, at the very core of it is the recognition of the high mission of music and its reverent devotion to truth.      

Collective playing musical instruments

Chamber music was born four centuries ago from gatherings in the homes of musicians and composers. This explains both the limited set of instruments involved and, the deeper connection between the musicians and their listeners. Chamber music is a thoughtful and extremely sincere conversation not only between the musicians themselves but also between the performers and their audience. “If the very content of chamber music presupposes addressing the performers,” Theodor Adorno says, “it means it is designed for musicians who play their parts while remaining aware of the whole and measure their own contribution with its function in the piece as a collective.”
There is a special difficulty to chamber music and thus the requirements for chamber music performers are high.  It is here that exact intonation is more important than showiness and deep penetration of concept is more essential than superficial emotionality. Musicians are engaged in a dialogue amongst themselves and at the same time must address the audience; in this way the music becomes a vehicle to carry the players to the listeners.
Church music is called to serve God; music played by orchestras serves the public,.  Chamber music is something in between, and although it is not hieratic by its calling, its very spirit and mood conjure images of the Eternal, reflection, philosophy and prayer.  

Musicians and instruments

The relationship between performer and his instrument can be something of an enigma to the listener.  Why does one musician require a piano, robust and orchestral to express an idea to the world while another prefers to explore strings - relatively soft and close in sound to the human voice? For the Lundstrem Trio musicians, this choice was predestined by family tradition.  Leonid Lundstrem’s uncle Oleg Lundstrem played violin. Maria Voskresenskaya is the daughter of a famous pianist, professor of the Moscow Conservatory Mikhail Voskresensky.  
Lundstem sees each of the instruments in a chamber group as expressing their own unique qualities.  He explains that the, violin, within its very nature, holds the elements that lead to so many musician’s love for the instrument.  He describes it as “an initial imperfection”: “The human being is imperfect; imperfection creates humanity”. Thus, while the violin insinuates, it cannot fully explore an idea, allowing those listening to draw their own conclusions.
The piano is the voice of reason in the ensemble. Its ideas and possibilities are endless providing a strong foundation upon which the violin can build.    
The Cello, with its rich tone, very pleasant but more mellow than violin’s, appease the dichotomy created by the two other instruments. In combination, the three create a mélange of voices and characters that can express any subtle feeling or grand idea in a piece of music.


In addition to frequent concert activity, the musicians also teach in the Central Musical School at the Moscow Conservatory and in the Moscow State College of Musical Performance named after Chopin.   
Leonid Lundstrem and Maria Voskresenskaya have been teaching for more than twenty years. The musicians consider pedagogy an essentil part of an integrated creative process. “Pedagogy” Lundstrem says, “is identification of the truth and passing on of the craft”. Teaching helps to discover the essence of the art of music, which is not only a form of entertainment, but a means of discovering the world and connecting to it. To bring up a pupil is to pass on a special language that is capable of expressing what cannot otherwise be expressed.