From 11–14 June 2026, Fedor Rudin joins the Intonations Festival at KühlhausBerlin, curated by Elena Bashkirova. Bringing together leading international artists, the festival explores the theme “From One to Many” through a programme spanning works from the Classical period to the twentieth century.

On 12 June, Fedor Rudin performs Olivier Messiaen’s Quatuor pour la fin du temps alongside Nathalia Milstein, Pablo Barragán and Astrig Siranossian. Composed during Messiaen’s imprisonment in a German prisoner-of-war camp, the work is regarded as one of the landmark chamber music compositions of the twentieth century.

A second appearance follows on 13 June in Johannes Brahms’ Clarinet Quintet in B minor, performed with Karl-Heinz Steffens, Kathrin Rabus, Adrien La Marca and Andrei Ioniță. Written in the final years of the composer’s life, the quintet occupies a central place in the chamber music repertoire and remains one of Brahms’ most celebrated late works.

On 3 May 2026, Fedor Rudin will make his debut at the Konzerthaus Berlin conducting ensemble unitedberlin in the programme #les autres: In the Midst of Time.

The evening brings together two works exploring questions of artistic resistance and the position of the individual within systems of political and social pressure. The first half features the world premiere of LES AUTRES by Alexandra Filonenko, a music theatre work for ensemble, voices, speaker, and electronics. Inspired by the aesthetic of 1930s Berlin cabaret, the piece combines musical performance, spoken text and theatrical elements, drawing on texts by Bertolt Brecht, Heiner Müller, William Shakespeare and others.

The programme continues with Edison Denisov’s The Blue Notebook, a cycle for soprano, narrator and ensemble based on texts by the OBERIU poets Alexander Vvedensky and Daniil Kharms. Written during the final years of the Soviet Union, the work reflects on themes of oppression, absurdity and human vulnerability through Denisov’s distinctive musical language.

Two recent recordings explore the work of composers closely connected to the Hungarian musical tradition whose music remains comparatively little known today.

Released last week, Fedor Rudin’s debut recording as conductor is dedicated to Mátyás Seiber (1905–1960), a student of Zoltán Kodály who later settled in the United Kingdom. The programme presents a sequence of works for solo instruments and orchestra, each highlighting a different instrumental voice within Seiber’s distinctive orchestral writing. Spanning works such as the Concertino for Clarinet and Strings, the Elegie and the Notturno, the recording offers a series of contrasting musical portraits ranging from virtuosic brilliance to lyrical introspection.

A second recent release features Fedor Rudin as violin soloist in a recording devoted to Hans Koessler (1853–1926), one of the central pedagogical figures of musical life in Budapest and teacher of Béla Bartók and Zoltán Kodály. The album includes Koessler’s Passacaglia Concerto for Violin and Orchestra, a large-scale work combining late-Romantic expressiveness with a strong architectural conception. It is paired with the Symphony in B minor, a substantial and rarely performed work reconstructed from surviving sources, revealing both the craftsmanship and individual voice of its composer.