An Vedi
Grammy-Nominated Violinist & Composer

Sandeep Kulkarni (00:02.67) Today's guest is An Vedi, a Grammy-nominated violinist, composer, conductor, and visual artist. Trained at the Moscow Conservatory and honored with the UK's Edward Elgar Medal, she has built a body of work that spans orchestral composition, chamber performance, songwriting, and mentorship.

Suraaj Parab (00:25.467) Welcome, An Vedi, to The Artist Conversation, the Sanctuary of Frozen Souls podcast.

An Vedi (00:32.429) Thank you, guys, for the invitation. I'd love to talk about a few topics today.

Sandeep Kulkarni (00:39.458) We are excited to have you over here and will absolutely talk about a lot of different things in your career. Starting off with your origin and foundation, you've been performing on stage for over 25 years, beginning at a very young age. What did growing up inside music shape in you? Beyond technique, what else bloomed?

An Vedi (01:10.763) It's very interesting because to make music, to perform, and moving forward to create music was my dream and my childhood intention. I come from a family that had nothing to do with art. My parents are engineers and my mother is an architect.

It was unusual because we didn't have relatives or connections in the field. I think my parents freaked out at the early stages of my education. But a few years passed when I was super young—at four, five, six years old—something clicked. We all decided to move forward at a professional level. We have a great school here, which is part of pre-conservatory training. I was really lucky to have professors from the conservatory who were teachers for young students like me. It was super cool and carried a lot of responsibility at the time.

Beyond violin performance, I always composed music as an amateur. I really loved the theory and history of music; I was a super A student in those classes. It really paid off. Moving forward, I was a student at two faculties at the conservatory, studying as a composer too. After I graduated, I started to write songs, which was totally different because we didn't have a special faculty here for songwriting that involved creating lyrics and poetry. I completely taught myself. Later, I joined Berklee Online, and that's how it went from there. It has been a fun lifetime journey.

Sandeep Kulkarni (04:01.438) That is awesome. And all of this was in Moscow?

An Vedi (04:07.127) Yes, I was born in the Moscow region. This was the best university I could have gotten into. Actually, my name was the first on the list of all string players, and I was so proud because, as I said, my parents aren't musicians. I have been in Moscow almost all the time, besides my touring.

Sandeep Kulkarni (04:43.15) Of course. Growing up and doing all these things is amazing. It was funny when you said your parents were a little surprised when you started.

An Vedi (04:53.997) Yeah. Well, they actually sometimes still freak out because of my new, crazy ideas.

Suraaj Parab (05:05.531) That's super. An, I have met many Russian performers during my time working as a session bass player in India and collaborating internationally. One prominent thing I notice about Russian players is that their technique and playing are exceptional. I hear that in your playing as well. Training at the Moscow Conservatory is known for that rigor and excellence. How did that environment influence not just your skill, but your artistic identity?

An Vedi (05:53.347) Yeah, that's a huge question. When I first heard the sound of the violin—I believe it was on the radio in the mid-90s—there were not many common spaces for art because of things happening in the country at the time. But I was really passionate. Regarding the conservatory, it's not like I accidentally jumped from a child who just wanted to play or create music to an 18-year-old musician performing a super difficult repertoire of Paganini, Tchaikovsky, and Bach. No, it was constant growth, constant training, and self-training.

As I said, I was in a professor's class. It's a little bit different when you are working with a professor versus a teacher or assistant professor. Professors have super high standards. Because of their high-flying thoughts, they sometimes cannot describe exactly what they want to hear from a student. Sometimes I had to refer back to old recordings from David Oistrakh or other famous European and American violinists. I really liked Jascha Heifetz's and Yehudi Menuhin's performances; they were some of my favorites.

Besides the student-teacher connection, I was working on my own artistic identity. Every time I judge a competition now, sometimes I don't see an identity, even if the musician is 20 or older. Other times, I see a clear identity even in a 10-year-old. They might have a lack of technique—which is okay, we all do sometimes—but they have an identity. In violin performance, I call this one's "own sound." It is unique because we have a body, an instrument, and something in between. It's a kind of magic. I worked really hard on this during my career, and I am still trying to find new colors and shades.

Suraaj Parab (09:51.889) How did you find your love for the violin? For a beginner, it has one of the steepest learning curves at the start. Did your journey begin with the violin, or was there another instrument before you found your true love?

An Vedi (10:17.369) I don't know, because as I remember, I just heard something on the radio. I don't know exactly what it was—orchestral, chamber, or a solo performance. But it was something that inspired me. I listened to a lot of music before I entered the pre-conservatory training school. I dedicated myself to the whole perception of stringed instrument sounds—not just violin, but viola, cello, and double bass. I do love a lot of instruments, including the piano. I do a lot of work on the piano and have a good repertoire, believe me. I just like playing Chopin, which is not easy. It was something that came from within.

Sandeep Kulkarni (11:45.934) Moving on to your overall craft and the creation side of things, you move fluidly between roles as a violinist, conductor, composer, songwriter, and even a visual artist. Do you feel these are separate identities or different expressions of the same creative core?

An Vedi (12:18.925) I think it's still me. I don't have multiple personalities! Sometimes I see big classical recording stars who get stuck in one area because they didn't have enough time or the ability to explore the "neighborhood" of performance, as I call it. I did explore it because I composed, wrote songs, and even sang a little when I was small, though there was a huge gap later due to different circumstances.

Visual art is also something I have been dedicated to. In the past, I often created the artwork for my concerts myself, which is close to graphic design. I didn't get a formal education in it, but I feel the urge to express myself visually. Recently, I have started using my own hand-drawn artworks for my album and single covers, which I find very interesting. Video editing is quite close to that as well. I think they are just different angles and sides of the exact same thing.

Suraaj Parab (14:18.405) That's super. You just mentioned drawing your own album artwork by hand. Have you studied art formally, or do you just have a natural artistic background?

An Vedi (14:38.073) All the content that I produce independently, I do myself. Sometimes I find pictures to compare and collaborate with, giving credit to the photographers, visual artists, or graphic designers involved. But for a few singles from last year, I drew the artwork totally by hand myself. I have received pretty good feedback on them, which is very flattering.

Suraaj Parab (15:25.681) That's really great. Not everyone can handle multiple roles or create their own artwork. Huge respect to you for having those skills.

Sandeep Kulkarni (15:43.182) In today's world, it's an important asset for an artist. You cannot be completely dependent on external factors outside of your core music. If you don't diversify your skills nowadays, you are always dependent on other people.

An Vedi (16:10.425) Yes, it's totally okay. When it comes to being an independent artist, you are your own boss, manager, producer, costumer, makeup artist, and hairstylist. I appreciate big star crews, but managing things yourself allows you to reveal hidden talents or strengths. It helps you pursue your main goals: to create music and push it out into the world.

Suraaj Parab (17:02.945) It actually reminds me of Michael Jackson. He was a dancer and a great musician, but he also mastered every single aspect of his performance, down to the lighting systems and stage design. People were awestruck by how one man could know every facet of his show.

An Vedi (17:34.489) Yeah, and he was an incredible dancer. I'm a huge fan of musicians who can dance. I danced during a certain period of my life too, but I prefer focusing on other creative avenues now.

Suraaj Parab (17:55.255) With hundreds of originals composed to this day, how do you keep that creative spark alive after so many years of disciplined work?

An Vedi (18:15.427) It comes down to finding interesting topics and ideas. Sometimes a movie, a book, or a specific situation in my life or the lives of others will inspire me, and I try to sublime those elements. As a composer and performer, I value each note. I know how important it is to communicate your thoughts directly to the audience. Sometimes composers act like abstract philosophers, thinking, "Okay, what's next? Who is going to listen to this?" even within massive musical forms.

We live in a different era now; everyone has smartphones and endless devices, and we always know exactly where we are every second. It's hard to get lost in contemplation. When I compose orchestral, choral, or chamber music, I try to embed direct thoughts, melodies, and expressions. I build structures that prevent the listener from getting lost. It has to go directly from heart to heart and ear to ear.

Sandeep Kulkarni (20:16.204) As both a performer and a composer, what feels more vulnerable to you: interpreting someone else's work or presenting your own?

An Vedi (20:50.969) It depends. I love to perform a wide variety of music. Recently, I've had people say, "Wow, we knew you were a songwriter and composer, but we didn't know you were that good at the violin." Other times, it's the exact vice versa: "We know you are an excellent violinist, but we didn't know you composed, sang, or drew." I'm full of surprises, what can I say?

Sandeep Kulkarni (21:35.318) When you go on stage to present your own work, does it carry more weight? Do you feel extra pressure because you want to present the piece exactly as you conceptualized it on the record, even after all your years of performing?

An Vedi (22:14.541) Performing my own music as an instrumentalist definitely carries a lot of pressure because I am the only person who can take the blame. I can't say, "Well, that's Mozart's fault or Paganini's fault, that's just how they composed it." When I perform my own work, everything is my responsibility. Some people in the audience listen to the studio recordings beforehand, and some do not. It comes down to inspiration and intense focus before stepping on stage.

Ultimately, music is a joy, not a punishment. We need to bring that joy out, even if the theme of the music is sad. I recently performed my Sonata Warzone, which I dedicated to soldiers like my great-grandfather. There was pressure, but the music contains a lot of light despite the sadness. I felt the audience drown in it with me; they didn't judge, they were just with me each second.

Regarding the second part of your question about premiering or interpreting someone else's work: I experience this a lot. Since my conservatory days, everyone knew I was a dedicated student across two faculties. Many local and international composers saw my videos and competed to hand me their newly composed pieces. I must admit, I don't agree to perform every piece I receive. I have my own judgment regarding the shape of the music and the thoughts behind it; I am a big fan of melody. I don't like noisy music that lacks substance. Premiering a great piece of music that is being broadcast or recorded is a different type of artistic expression. You only get one shot on stage, and that tape is forever. It takes a lot of time to prepare and rehearse, but it's great.

Recently, I had a similar high-pressure experience as a conductor. I am proud to have conducted the local premiere of Antonín Dvořák’s massive oratorio, Saint Ludmila, which had never been performed here across the eras of the Russian Empire, the USSR, or the Russian Federation. I led an incredible crew of vocalists singing in the Czech language. Everyone watches the conductor—especially when you are a woman. People will point out your mistakes, but luckily, there were no mistakes. We had great cues and an incredible ensemble. It is a different, highly responsible experience, but I always do my best.

Suraaj Parab (28:09.253) You have actively collaborated with many different artists across the Recording Academy and earned a Grammy nomination for your work. How do those moments of global recognition shape your inner compass as an artist?

An Vedi (28:38.019) It shapes my perspective every time I receive an invitation. I don't live in a classical bubble; I work across world music, jazz, pop, and rock. Each collaboration is unique. Sometimes I am given sheet music and must play exactly what is written, but most of the time I compose my own parts, which makes me a co-composer and co-producer of the track.

Often, collaborations require more work than my solo projects because I have to align with external visions. I try to impress everyone in a good way, but true collaboration means everyone is the main character simultaneously. Multiple main characters have to share one space without disturbing each other, and I really like working that way. Year after year, I grow through these connections. As a Recording Academy member, the primary objective isn't collecting trophies or certificates; the main goal is the collaboration itself. Being a collaborative artist is a huge honor and a massive responsibility.

Sandeep Kulkarni (32:06.318) What have you learned about the power of these global artistic networks and musical communities?

An Vedi (32:29.433) When I first joined these societies, my goal was to learn something new, meet interesting people, and get involved in international projects, even if they were online. What I ultimately learned is that I am capable of doing much more than I thought. A couple of years ago, I didn't know I could go this far or work with such legendary musicians. As I mentioned, my parents still freak out when I show them the Wikipedia pages of the artists who invite me to collaborate. They have supported me throughout my life in music, and I am trying my best to pay it off.

Suraaj Parab (34:01.303) You have developed your own unique teaching method and regularly lead masterclasses for the next generation of musicians. Beyond technical mastery, what do you believe young artists need most in today's world?

An Vedi (34:34.157) Teaching allows me to pass along the musical "luggage" I gathered from the superstar classical violinists who mentored me. I always try to help. Sometimes I see a highly talented young musician who simply lacks a clear direction in their education or life.

When leading a masterclass and working with a student for the first time, I look at their age, experience, and background, and I make it a point to know who their primary teacher is. Because I am both a composer and a performer, my method focuses heavily on pointing the students' attention back to the core music, which they often lose sight of amidst technicalities. I want to inspire them.

I recently conducted a masterclass in St. Petersburg, and the teachers there told me they were happy to have me because my approach felt like a breath of fresh air. I strive to be that breath of fresh air for talented people. Every person has a unique talent; it is just a matter of discovering how to develop, coach, and inspire them. It is a difficult process, but simple at its core.

Sandeep Kulkarni (38:37.23) Teaching is an incredibly noble profession. I taught at the college level for 13 years straight, alongside other teaching stints, and it is very humbling. You need an immense amount of patience, and the desire to impart knowledge must come truly from within.

Suraaj Parab (39:27.313) When you were learning music as a child, you had a certain perception of the art form. When you teach Generation Z or Generation Alpha today, what differences do you notice in how they perceive music and view the world?

An Vedi (40:05.987) At our core as human beings, we haven't changed much. We still have two legs, two hands, and one head! The real challenge today is keeping a student focused. In daily life, they are constantly tapping on devices and glued to tablets or phones. Practicing for 50 minutes in a row can feel impossible to them—which makes me laugh when I think about my own 10-hour practice sessions!

To bridge that gap, I use descriptive words, associations, and synonyms that relate directly to their lives. I rarely see a student lose focus in my classes. My sessions aren't just a brief 30 minutes; they often run up to two hours when I have the time to provide extra help. I don't see signs of boredom because I analyze the individual to find what will keep them engaged. I am not on a mission to kill a student's interest in music by solely pointing out technical flaws or speed errors. My goal is to inspire, so I tailor my approach to find a unique path to each student.

Sandeep Kulkarni (42:43.966) You have also served as a mentor and judge for international music competitions. How do you balance honoring classical traditions while simultaneously encouraging modern originality?

An Vedi (43:13.051) Sometimes I feel like I have an extra brain in the back of my head to balance it all! I love classical traditions. All of my original tracks and songs are structurally anchored in classical music rules and expressions, even when I style the emotions to feel like alternative or pop music. At the end of the day, you will always hear a foundation related to 19th-century music or orchestral arrangements.

I value tradition because I want to inspire modern listeners to trace the lineage back to classical origins. Classical music isn't just a handful of past centuries; it is our collective history as human beings. It is inherited from deep within our shared ancestry. I love and create contemporary music, but I approach it entirely through my own traditional lens.

Suraaj Parab (45:48.837) After decades of exceptional performance, composition, and leadership, what part of your artistic journey still feels unfinished? What are you still reaching toward?

An Vedi (46:10.137) I still feel like a child in the recording industry. I only started focusing on it seriously about 12 years ago. Even though I have earned a lot of credits, I am still young in that world.

The second area is conducting. I am a complete beginner there. A lot of experienced musicians say that conducting is a profession meant for the second half of your life. I don't know exactly what that means or how much time I have on this planet, but I am dedicated to it. I will keep pushing my violin boundaries, writing new songs, and expanding my horizons.

Suraaj Parab (47:16.283) Your journey is deeply inspiring, and your achievements are commendable. We wish you the absolute best. Thank you so much for spending this time with us.

An Vedi (47:45.303) Thank you very much. Interviews like this are incredibly important for artists because they force us to recap our journeys. Music is our life. Talking about it helps us remember unfinished projects from three or four years ago and inspires us to complete them immediately. Thank you, guys.

Sandeep Kulkarni (04:33.792) This conversation beautifully reminds us that mastery isn't just about a final achievement; it is about lifelong dedication, curiosity, and continuous evolution. It was amazing speaking with you.

Suraaj Parab (48:54.193) To everyone listening, thank you for tuning in. If this episode resonated with you, make sure to join our creative community on Discord, where artists from all over the world connect to discuss art and music. We look forward to talking with you there, and we will see you on the next episode of The Artist Conversation.