Gleb Iosif Romanchukevich was born in 2001 in Moscow. He began studying music at the G.F. Handel Children's Music School, where he received instruction from Vsevolod Demidov, an Honored Worker of Culture. He continued his education at the Moscow State College of Musical Performance named after F. Chopin, under the mentorship of Associate Professor Daria Petrova. Since 2020, he has been a student at the Moscow State Tchaikovsky Conservatory, honing his skills under the tutelage of Professor Pavel Nersesyan and Associate Professor Alexey Nabiyulin. In 2014, he became the laureate of the II prize of the international competition of young pianists "Astana Piano Passion" (Astana), and in 2016, he was awarded the diploma winner of the I International Competition of Young Pianists Grand Piano Competition (Moscow). In 2017, he was the laureate of the XII Festival of Romantic Music of Young Musicians of Moscow "Virtuoso2017". In 2019, he was a finalist of the III Moscow International Competition of Pianists named after Vladimir Krainev. He is a scholarship holder of the President of the Russian Federation (2017) and the Moscow Government (2017). He actively participates in concert activities.
 
Gleb Iosif Romanchukevich: One of the most vivid impressions from my earliest age was Beethoven's "Moonlight" Sonata. Apparently, it's the first composition I ever heard in my life, even before that - my mom listened to it during her pregnancy.
Reflecting on childhood musical impressions, I cannot fail to mention my encounter with Vsevolod Vladimirovich Demidov and studying in his class at the Handel Music School. He was a remarkable educator, a professor at the Leningrad Conservatory, a professor at the Cairo Conservatory, and a marvelous pianist of the Leningrad school, a laureate of many international competitions. Among his merits is the Gold Medal at the World Festival of Youth and Students. It is thanks to Vsevolod Vladimirovich that I embarked on the path of a professional musician. He literally opened the door to the world of music for me.
 
Saint Petersburg Music House (SPMH): How do you feel on stage during a performance?
Gleb Iosif Romanchukevich: The feeling varies. Sometimes it's excitement, a sense of high responsibility to the music, and sometimes it's freedom and the sensation of spontaneity, improvisation. It's these latter two states that are particularly dear to me.
 
SPMH: Unlike musicians of other specialties who play their instruments, at concerts, you have to adapt to a new piano, a new sound every time. How do you deal with this complexity? 
Gleb Iosif Romanchukevich: I believe accumulated experience is crucial here. But one shouldn't underestimate the importance of pre-concert rehearsals, during which the pianist has the opportunity to establish a connection with the new instrument and the hall's acoustics. Although there have been occasions where very important solo performances have taken place without a rehearsal in the hall at all. The main thing here is for the performer to lead the sonic project. Then both the acoustics and the instrument will start to obey.
 
SPMH: The piano is the most popular instrument in the world. On one hand, this offers great opportunities for a musician, on the other hand, there's significant competition. How do you plan to realize the former and cope with the latter?
Gleb Iosif Romanchukevich: For me, the main thing is to explore the depths of music as fully as possible, combined with the mastery of all the secrets of piano playing. In that case, the performance becomes truly unique and incomparable, it begins to work its magic on the listener. And if the performance is one-of-a-kind, then what competition can there be? The only rival for a truly mature and original artist remains himself.
 
SPMH: At the end of last year, you performed in Morocco as part of the "Embassy of Musical Mastery" project by the Saint Petersburg Music House. What do you remember most about this trip and the performance?
Gleb-Iosif Romanchukevich: The trip to Morocco was unforgettable. Everything impressed me: the beautiful nature, sunny days, remarkable architectural monuments of the ancient city of Rabat, the warm welcome from the representatives of the Russian House, the communication and collaboration with brilliant colleagues, clarinetist Filipp Sozdatelev and violinist Andrei Zubenko. During the performance, I was inspired by the audience's response. The listeners were completely absorbed in the musical performance, and there wasn't a single empty seat in the hall! I am very grateful to the Saint Petersburg Music House and Sergei Pavlovich Roldugin for the opportunity to perform in such a wonderful country.
 
SPMH: You've got another trip coming up as part of the "Embassy of Musical Mastery" project – to Laos and Vietnam. What's on the agenda for your performances?
Gleb Iosif Romanchukevich: Besides backing up my fantastic colleagues, flutist Petr Khudonogov and violinist Alexander Papushev, I'll be playing Mussorgsky's "Pictures at an Exhibition." It's a special piece for me, as it wonderfully captures the grandeur, breadth, and spirituality of Russia, in my opinion. It's no wonder Sviatoslav Richter hailed "Pictures" as the greatest Russian work for solo piano.
 
SPMH: Whose compositions are closest to you in terms of creativity?
Gleb Iosif Romanchukevich: It should be noted that at different times in my life, my pantheon has changed, and the emphasis has shifted within it. Perhaps at the moment, the composers closest to me are Bach, Beethoven, Schubert, Chopin, Rachmaninoff, and Medtner.
 
SPMH: How do you feel about modern performance formats where music is combined with other forms of art?
Gleb Iosif Romanchukevich: The idea of synthesizing arts is quite intriguing to me. For example, it can be a very vivid experience when music at a concert is interspersed with readings of poetry or composers' letters. I think such experiments are very interesting for the audience.
 
SPMH: Which musicians serve as role models for you, perhaps influencing your professional development?
Gleb Iosif Romanchukevich:  Sergei Vasilyevich Rachmaninov is an absolute idol for me. I grew up on his brilliant recordings. I've been listening to them constantly since I was ten years old. His phrasing, phenomenal virtuosity, subtle control of musical time, emotional intensity combined with the perfect balance of every detail of the musical whole elevate his performances to an unreachable peak. One of my recent impressions is Rachmaninoff's recording of Liszt's Second Ballade. The recording was made during a concert, and only a fragment has survived. But even from the fragment, one can judge how ingeniously the great pianist embodies the imagery of Liszt's canvas. The creativity of Heinrich Neuhaus (especially his interpretations of Chopin's works) and the later Glenn Gould also had a significant influence on my development.
 
SPMH: What sparks your interest in a new piece or composer that you haven't performed before?
Gleb Iosif Romanchukevich: At different points in my life, certain composers and pieces have taken time to resonate with me. Often, the initial spark of interest comes from listening to someone's outstanding recording. I can't help but recall Rachmaninov's words from his article "Ten Characteristics of Fine Piano Playing": "Without a doubt, the best way is to hear it (the piece) performed by a pianist whose authority as an interpreter is beyond question." For instance, interpretations by Andras Schiff and Malcolm Bilson helped me understand many of Schubert's compositions better, and those by Heinrich and Stanislav Neuhaus shed new light on Chopin's works for me. That's one path. Another is more complex and less easily put into words. Many compositions, initially not appreciated, continue to linger in the subconscious, and at some point, I feel that particular music becomes very close to me. The reasons for such a shift in perception can be diverse. For example, I truly grasped Rachmaninov's First Sonata, with its fluctuations, agonizing spiritual quests, periods of boundless melancholy, and inner storms, during a period of illness. Thus, music can find a way to the heart when least expected...
 
SPMH: What's your favorite piano concerto? With which ensemble would you like to perform it?
Gleb Iosif Romanchukevich: It's really difficult to choose just one piece. At the moment, perhaps it's Brahms's Second Concerto and Prokofiev's Second Concerto. I dream of performing these masterpieces with the Mariinsky Theatre Orchestra.
 
SPMH: Are there any particularly popular interests among young conservatory students right now, and what are you passionate about?
Gleb Iosif Romanchukevich: Conservatory students have a variety of interests. Some delve deeply into contemporary music, immersing themselves in it. I must admit, I'm still quite distant from contemporary music, though perhaps in the future, my musical development will lead me closer to it. Other colleagues of mine are drawn, for instance, to historically informed performance. In my creative life, I've had the experience of performing on an original Erard piano from 1848. It was extremely interesting and captivating to engage with this instrument, to hear familiar music in new shades, and to discern new meanings in it that were previously hidden from me. If we talk about non-musical interests and passions, I read quite a lot, both fiction and specialized musicological literature. I'm also gradually exploring the world of classical cinema. Some recent impressions include films by Bresson, Fellini, Bergman, and later Chaplin.
 
Interview by Tatiana Mikhailova.