Tanya Anisimova

Cellist, Composer, Artist

Artsong Update. Virginia Beach, VA, May, 2014

Both (Tanya Anisimova, cello; Daria Scarano, piano) are well-traveled, prize-winning freelance soloists who have built successful careers in chamber and orchestral music around the world. Both have been recorded and praised for their playing.


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Port Fairy Music Festival 2011

What she [Anisimova] does is on the verge of the impossible. Such a harmonious, an effortless synthesis of the past (the inner, the eternal) with the future (yet undiscovered cosmos), while bypassing the present. Such a masterful combination of instinct, uncompromising spirit, and intellect. Only a handful of artists are able to accomplish this.

Eleonora Sivan,
Port Fairy Music Festival
Australia, October, 2011

International Music Festival, Mexico 2009

At noon, on Saturday, 21st of November, we gathered in La Sala Ninos Cantores of Conservatorio de las Rosas to be present at one of the most anticipated concerts of the festival. It was offered by cellist Tanya Anisimova and pianist Alexander Pashkov. Both are Russian, but have left their country. The concert has fulfilled the expectations of warmth, beauty, emotionality, and masterful interpretations. It is indeed impossible to select my most favorite from the Sonata for Cello and Piano No.1, by Brahms, The Gypsy Airs, by Pablo de Sarasate, in Tanya's own transcription, or Abendlied (The Evening Song) by Schumann, which was offered as an encore. Tanya decided not to do an improvisation, which are stunning.

XXI Morelia
International Music Festival, Mexico
by Rogelio Macias Sanchez
Monday, November 23, 2009

Washington Post 2007

The performance was exhilarating in the way that Anisimova's interpretations were invariably full of personality and character

Daniel Ginsberg, The Washington Post October 6, 2007

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Culture, Issue No. 22 (7583), July 7-13, 2007

Tanya Anisimova is not only a performer but a composer; each of her return visits to her native soil is accompanied by a premiere of a new composition. This time Tanya and her teacher, I. Gavrysh, played an interesting piece for two cellos called Caravan. Anisimova is fascinated by Eastern cultures and Sufism, and the fabric of her piece contained echoes of Orientalism.

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Mi Morelia. Cambio de Michoacan. Cultura. February 8, 2005

It is an incredible force that distinguishes these performers, their way of interpreting Beethoven could not have been more wonderful or intense.

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Washington Post 2003

Tanya Anisimova spent most of the program alone onstage ... alone with her cello ... But that was all the company she needed

Joseph McLellan, The Washington Post April 21, 2003

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ARTSONG UPDATE - December, 2002

Creo's Winning Contemporary Music Recital

Picture a stage, bare except for a lithe female seated on a chair playing a cello and you will have an image of the experience of Tanya Anisimova playing Bach's Sonata No.1 in G Minor for solo violin, BWV 1001. Imagining the sound of the music is more difficult to conjure. Ms. Anisimova arranged this violin piece for cello. Creatively she has re- imagined this familiar piece as Bach might have written it had he all the resources of the contemporary cello. The concert at Chandler Hall, December 2, 2002 also featured Song on Mt. San Angelo, a solo piece written by Ms. Anisimova (b.1966) as part of a project while a resident at the Virginia Center for Creative Arts housed at Mt. San Angelo, an estate in Northern Virginia. Most impressive in this two-part composition, which makes extensive use of double stops, is the second section's somber, deeply moving beauty and richness with a second and third voice created on a solo instrument.

After intermission Ms. Anisimova returned to play a piece written for her by Ezra Laderman (b.1924) at Yale, Single Voice (1993). It is a highly structured improvisation and was performed by her with great freedom. As with much modern music, it is an assemblage of musical statements. With Ms. Anisimova playing it became a virtuosic showpiece.

ARTSONG UPDATE - December, 2002
by John Campbell

Washington Post, 1999

the women [Cellist Tanya Anisimova and pianist Jessica Krash] played as if they were one person, gracing technical precision with spiritual authority

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