Born in 1972, she graduated from the Tchaikovsky Conservatory in Moscow with two diplomas, in composition (1992) and organ (1998). In 2001 she completed the postgraduate course in musicology and composition. She is currently on the faculty of the Tchaikovsky Conservatory. She is a member of the Russian Composers’ Union and of the Association of Organists of Russia. In 1997 she founded the ‘Contemporary Music’ concert series, of which she is now Artistic Director. She has edited many collections of works for organ and was among the founders of the Bach Society at the Moscow Conservatory.
She is a prizewinner of the Russian composers’ competitions ‘Orpheus, Mystery of Ascent’ and ‘New works for organ’. She held grants from the Russian Ministry of Culture (1999–2002).
Her works have been performed at numerous festivals, including Moscow Autumn, ‘From the Past to the Future’, Byelorussian Autumn, and the Dresdner Tage der zeitgenössischen Musik. She has also developed a career as an organist.

Selected works: Epitaph for organ (1996), Les Fleurs du mal for oboe, voice and organ, a setting of Baudelaire’s poetry (1997), Benedictus and Alleluia for a cappella mixed choir (1997), Stabat Mater for soprano and organ (1998), Vocalise for a cappella mixed choir (1998), In memoriam Georgy Sviridov for a cappella mixed choir (1998), Two poems for soprano and chamber ensemble, a setting of verse by R. M. Rilke (1999), Moments for violin and piano (2000), Partita for Organ (2000), Attouchements for soprano and chamber ensemble, a setting of verse by M. Maeterlinck (2001), Tranforms on bach for piano duo (2003), Elegy in memoriam Oleg Janchenko for organ (2003), Erbarme dich, cantata for soloists, female choir and chamber ensemble (2003), A Poem of A. Block for soprano and chamber ensemble (2004), Le mots sur la nuits for chamber ensemble (2004), senza for flute (in G) and organ, dedicated to the memory of Yuri Kholopov (2004), Wie ist es möglich? for wind quintet, string quartet and piano (2005).

Wie ist es möglich?
The piece was written specially for the Moscow Contemporary Music Ensemble and the 2005 Warsaw Autumn. It is a kind of philosophical parody on the relationship between musical semantics and form, between the principles of development and texture. The work contains allusions to the styles of many composers of the past. The composer’s main goal was to find an answer to the question – how to bare music’s appearance? The formation of thematic material begins with separate sounds and noises; after a while these elements form various semantic wholes, in the style of Viennese classicism, Viennese avant-garde, pop music, etc. As the work progresses, the sequence of these semantics defines the dramaturgy of the composition.