Multidimensional violinist Anastasia Kozlova knows how to astound her public with exceeding interpretations, story’s and musical combinations. Born in 1979 in Leningrad, Russia into a family of musicians, Anastasia started to play the violin at the age of seven years old and half a year later was admitted to the special school for musical gifted children in Leningrad. At the age of eight she started to play recitals together with her mother Tatiana Tower, a world famous harpist. The family moved to Spain in 1991 and two years later to The Netherlands for work engagement of her father double bass player Boris Kozlov. Anastasia studied at the Sweelink Conservatory in Amsterdam, where she followed as well a special exceptional talent course taylor made for her and approved by the ministry of education with Professor V. Zuck, and later with Keiko Wataya and Professor V. Lieberman. In 1999 she entered the conservatory of Maastricht under Professor Boris Belkin, a true legend, world famous artist and pupil of Isaac Stern. She graduated in 2004 with a Bachelor Degree and graduated from the Post Graduate Master Program in 2006.
She followed master classes and private lessons with Jaap van Zweden, Mauricio Fuks, Emanuel Borok, Mark Lubotsky and Eduard Grach amongst others. In 1995 Anastasia received the first price at the Princes Christina Concourse, and the third price at the International Herman Krebbers Violin Competition. In 1999 she became laureate of the Concourse Internationale de L’interpretation de Perre Lantier in Paris. In 2000 she participate in Chiguiana Accademy in Italy and received a Best Student of the Year award and scholarship.
Anastasia performs many chamber music recitals, as well as solo concerts across The Netherlands and abroad.
She worked together with distinguished musicians such as Michael Bulychev-Okser, Katja Avdeeva, Sergei Pashkevich, Eva Tebbe, Boris Chnaider, Bernd Brackman, Klara Würtz, Natacha Kudritskaya, Daria van den Bercken, Timora Rosler, Daniel Rowland, harpduo Bilitis, Vladimir Mendelssohn, Alexander Buzlov, Sergei Stadler. World-renowned singers as dramatical soprano Anna Shafajinskaia, bariton Arutjun Kotchinian.
In 2009 she founded the Festival Gooisch Klassiek; international music festival designing concepts in order to find new public for classical music by making concerts with original combination of classical music and other disciplines, such as music and dance, music in non concert buildings, flesh mobs, projects for children together with Singer Museum and Netherlands Radio Orchestra Musical Centre, music schools and the world premiere combination of Music, Sport and Brain.
In 2018 the new music festival - Festival Groeneveld took place in Baarn, at Castle Groeneveld, in The Netherlands.
She plays on a Carlo Ferdinando Landolfi Violin and a Eugene Sartory bowl kindly borrowed by the National Dutch Foundation of Antique Instruments.
"To be able to "talk" on with your violin you need complete freedom in both hands and in your body. Every tension brings limitations. For the big and rich sound, complete relaxation is essential because you literally take the sound from your body. A relaxed hand weighs more than a tense hand.
When working on a piece of music it is important to make it your own, without harming the style and idea of the composer. My method is to study a piece step by step to first discover what the composer wanted to say. And then make it your own, to be able to let all the knowledge go ( believe me it will still be there, just to become free) and introduce your own interpretation.
It is important to know what you want to tell with every note, with every phrase, so that you as a player tell a story to your audience. So that you learn to talk with your instrument as a human voice.
I have had lessons from various players for many years. That has shaped me to who I am. Unfortunately, during that development, in the beginning, I regularly experienced pain when playing. So I know what it's like not to feel comfortable on an instrument. Because I changed my technique at a later age (18), I know that you can still make huge changes to it, without losing your formal knowledge, but gaining total freedom in playing. I teach you how to communicate with your instrument without limitations."