# Inna Zhvanetskaya

The Jewish-Ukrainian composer Inna Abramovna Zhvanetskaya (Ukr. Інна Абрамівна Жванецька, Russ. Инна Абрамовна Жванецкая) was born in Vinnytsia, Ukraine, on 20 January 1937. Among Soviet composers she could be compared to rather introverted colleagues of her generation such as Sofia Gubaidulina or Alfred Schnittke, she had vivid exchanges with them and she received all of her higher musical education in Moscow, where she spent most of her life. In November 1998, she emigrated to Stuttgart, Germany, where she spent the second part of her life, as she used to say, until her death on 18 December 2024.

## Life
### Early life in Ukraine

Inna grew up in Ukraine as the daughter of the physician and pharmacologist Abram Idalevich Zhvanetsky and her music-loving mother who sang and played the guitar as an autodidact. Because the family was Jewish, it was hard for them during the Nazi occupation since 19 July 1941 to survive in Inna's hometown, the Einsatzgruppe C of the SS squad was specialised in mass murder and destroyed much of the Jewish quarter Yerusalimka, deporting and murdering its inhabitants. Nevertheless, Inna as a nine-year old girl soon became acquainted with Germany, because the family, after surviving the persecutions, moved to Potsdam which was in the Russian occupation zone after World War II. She recalled that her mother was proud of her, since she could perform a piano concerto by Mozart with an orchestra as a young girl between 8 and 9 years old in the Ukrainian town Voronizh (on the railroad between Kyiv and Moscow), and soon in Potsdam she wrote her first compositions during the family's approximately two-year stay in Germany, one of them she called "Potsdamskaya melodiya (Поцдамская мелодия)". This composition was always connected with the grateful memory of her German piano teacher Elisabeth von Unruh at Potsdam who acknowledged her remarkable talent and encouraged her to become a professional musician.

### The Russian composer Inna Zhvanetskaya

Between 1948 and 1949, Inna's family moved from Potsdam to Moscow. Her mother supported her daughter's musical gifts. She went first to the State Music-Pedagogical Institute Mikhail Ippolitov-Ivanov to take piano lessons between 1957 and 1959. But in the composition circle she met Vano Muradeli and Valentin Alekseevich Makarov who were impressed by her Variations on a Theme by Brahms. She had doubts, if she should dare to join the department of composition as a student, but the young Alfred Schnittke who had graduated from the Moscow Conservatory in 1958, encouraged her. She was finally accepted, after she applied twice at the Gnessin School where she could study composition under the instruction of Aleksandr Georgievich Chugaev, a student of Dmitri Shostakovich who was famous for his musicological approach to polyphony and counterpoint, Genrikh Ilyich Litinsky, a student of Reinhold Glière, and Nikolai Peiko, also a teacher of Sofia Gubaidulina until 1959. Inna graduated at the Gnessin State Musical College in 1964. Afterwards she continued as a piano teacher and in 1965, she became a lecturer in score-reading and instrumentation at the Gnessin State Musical College (today called "Gnesin Russian Academy of Music", since a huge modern flat has been built for the "Gnessin Musical College" at the Povarskaya street in 1973). She taught composition there until 1986. The Gnessin State Musical College (today Gnesin Russian Academy of Music) was the most important institution for music education of the Soviet Union next to the Moscow Conservatory, in a Russian interview with her student Natalya Korolyova she described Inna Zhvanetskaya as one of the most popular teachers at the Gnessinska (according to an institutional evaluation) and that her students were all very attached to her due to her passionate way of teaching and her personal encouragement of gifted students.
In 1966 Inna Zhvanetskaya became member of the Union of Russian Composers (the correct name was since 1957 "Order of Lenin, Union of Composers of the USSR", abbreviated in Russian "SSK SSSR") which awarded her for her merits as a composer the gold medal. It explains, why she became a well-known composer and published her opus under her Russian name, exchanging with contemporary colleagues in Moscow like Alfred Schnittke and Sofia Gubaidulina supported by the older generation Evgeny Golubev, Shostakovich (General Secretary of the Union between 1960 and 1968) and Aleksandr G. Chugaev. Soon Schnittke and Gubaidulina broke with the Union after their compositions had been banned.
As a composer Inna Zhvanetskaya favoured chamber and vocal music—her two operas dedicated to the war were both in a certain way, although called opera the composer modestly used one or few singers and a few instruments, she did not compose for an opera orchestra available at Russian theatres. As a professor of instrumentation she was interested to compose systematically for all possible instruments and reveal their possibilities carefully. As an educated music pedagogue she also composed piano albums and dance or song cycles for children, even compositions for orchestra dedicated to children. Concerning musical genres she composed three sonatas for violin and piano and several piano sonatas, no symphonies, but she loved particularly waltzes which she composed in very original instrumentations and even as a vocal genre or as an epitaph to memorise or honour a deceased artist in case of Chopin, Chekhov and Vampilov. In a very detailed article dedicated to the composer, the German-Russian journalist Greta Jonkis wrote about a musicological opinion by Inna Iglitskaya concerning Zhvanetskaya's obsession with waltzes as "a way of thinking":
   Московский музыковед Инна Иглицкая, которой её тёзка выражает глубокую признательность за то, что та всегда находила время, чтобы прийти и послушать её музыку, много писала о творчестве композитора. И поскольку Иглицкая как профессионал это делает много лучше меня, предоставим ей слово: «Вальсы занимают особое место в творчестве Инны Жванецкой. Вальсы и вальсовость. Вальсы для симфонического оркестра, вальсы для пения с фортепиано, просто для фортепиано, вальсы для двух фортепиано, для скрипки с фортепиано, для фортепиано с оркестрам – вальсы, вальсы и вальсы… Даже иногда складывается впечатление, что это не жанр для композитора, а способ мышления».
   Одно из лучших произведений Жванецкой – Девять вальсов для баритона с фортепиано на стихи Поля Верлена. Оно как сгусток трагической меланхолии: «Не очнуться душе, всё окутала мгла…»
   The musicologist Inna Iglitskaya in Moscow, to whom her composing namesake expresses deep gratitude for always finding time to come and listen to her music, has written a lot about the composer's work. And since Iglitskaya as a professional does this much better than I do, we will give her the floor: "Waltzes occupy a special place in the work of Inna Zhvanetskaya. Waltzes and waltz-likeness. Waltzes for symphony orchestra, waltzes for singing with piano, just for piano, waltzes for two pianos, for violin with piano, for piano with orchestra - waltzes, waltzes and waltzes... Sometimes you even get the impression that this is not only a genre for composers, but rather a way of thinking."
   One of Zhvanetskaya's best works is Nine Waltzes for Baritone and Piano to the Verses of Paul Verlaine. It is like a clot of tragic melancholy: "The soul cannot wake up, everything is shrouded in darkness..."
Inna Zhvanetskaya did not leave voluntarily her position at the Gnessin State Musical College in 1986, but then under Glasnost policies the Soviet Union faded away and with support of emigrated composers and of the International Society for Contemporary Music in Salzburg the Association for Contemporary Music was revived in 1990. In 1995, a song cycle about poems by Anna Akhmatova had been performed by the soprano Anna Soboleva and the pianist Vsevolod Sokol-Matsuk at the International Festival "Moscow Autumn".
   Поэзия Ахматовой, боль её сердца близки композитору Жванецкой внутренне: ведь ею создан цикл «Громкие песни Анны Ахматовой». Она выбрала стихи, где чувства обнажены и, по её выражению, «прямо в глаз бьют». Этот цикл был мастерски исполнен в 1995 году на фестивале «Московская осень» Анной Соболевой и блестящим пианистом Всеволодом Сокол-Мацуком.
   Akhmatova's poetry, the pain of her heart comes close to the internal world of the composer Zhvanetskaya. Thus, she created the cycle "Loud Songs of Anna Akhmatova". She chose those poems where the heart lays bare, in her words "hit you right in the eye". This cycle was masterfully performed at the "Moscow Autumn" festival of 1995 by Anna Soboleva and the brilliant pianist Vsevolod Sokol-Matsuk.
During the same year, she dedicated a chamber cantata «Мать Мария» ("Mother Maria") to the memory of the Russian nun Maria Skobtsova from Riga who fought for the French Resistance and was killed in the gas chambers of Ravensbrück concentration camp. In 1997, it was performed by the chamber choir of the ensemble «Zbezdy Ostankino» ("Stars of Ostankino", a former village which became part of Moscow) during a Music Festival in the Moscow House of Composers (Bryusov Lane 8-10, new name of the former "All-Union House of Composers" since 1990) as well as in the Church of All Saints at Kulishki.

### Later years in Stuttgart

Also Inna Zhvanetskaya decided, although later than her colleagues, to move to Germany after the fall of the wall in November 1998. In 2003 she became member of the German Composers' Association (Deutscher Komponistenverband, DKV) which awarded her a gold medal in honour of her 70th birthday. The town Stuttgart donated her a piano. Even after her move, most of her works were still published and performed in Moscow, especially by the couple Evgeniya and Dmitry Cheglakov, Svetlana Sovenko, Tatyana Mekheyeva and the conductor Veronika Dudarova, she always had the support of the musicologist Inna Iglitskaya, but the composer established soon relations to young musicians and professors at the local Musikhochschule and the local Jewish community, but also in Berlin and Paris, while she kept in touch with Russian musicians in Russia and abroad.
Greta Jonkis described Zhvanetskaya's restless activities of the last years and tried to imagine the difference of two worlds which the composer had gone through during her rich life at the age of 74, after having lived 12 years in Germany:
   Инна говорит о своей жизни в Германии: «Если у меня есть крыша над головой, а в моем окне – небо, деревья, то это – повод для счастья. Мне многого не надо», и она не лукавит, но, на мой взгляд, сознательно отгоняет мысль о важной утрате. В Москве ее окружали профессионалы высокого полета – учителя, коллеги-композиторы, музыканты-исполнители, музыковеды. Они приходили на заседания секции камерной и симфонической музыки в Союз композиторов, на которых звучала ее музыка. Среди них – Александр Георгиевич Чугаев, Генрих Ильич Литинский, Борис Чайковский, Мечислав Вайнберг, Александр Вустин, Инна Иглицкая, Альфред Шнитке… Однажды ее сочинение слушал сам Шостакович! Гордится она и дружбой с Софьей Губайдуллиной. Все они – Личности!
   Inna says about her life in Germany: "If I have a roof over my head and the sky and trees in my window, that is a reason to be happy. I don't need much," and she is not pretending, but in my view she deliberately suppresses an important loss. In Moscow she was surrounded by experts full of crazy ideas—teachers, composers, performing musicians and musicologists. They met at the section of chamber and symphonic music within the Composers' Union, where her music was once played. Among them Aleksandr G. Chugaev, Genrikh I. Litinsky, Boris Tchaikovsky, Mieczysław Weinberg, Alexander Vustin, Inna Iglitskaya, Alfred Schnittke... Her compositions were even listened once by Shostakovich himself! She is also proud of her friendship with Sofia Gubaidulina. They are all personalities!
These words might be useful to understand Zhvanetskaya's situation in exile, although one should bear in mind that it was rather a more definite loss concerning the personalities mentioned by Jonkis. Inna's teachers had already gone, Tchaikovsky and Weinberg died in 1996, Schnittke in 1998 (he moved to Hamburg in 1990, two years before Sofia Gubaidulina), but nevertheless, this German episode of her life with all its hardship had been productive. There is no reason to separate her life from her profession as a composer. As a musician she was dedicated to her work, as a young student she married a student of theoretical physics, but her biographer Greta Jonkis wrote that the marriage did not even last long enough to get used to each other and that she did not even bother to mention his name.
To the Russian sculptor Vitaly Safronov, who also lived in Stuttgart, Inna Zhvanetskaya wrote (and Jonkis identified so deeply with her words that she published them):
   «Находясь в Германии, я ещё больше полюбила Россию. Возможно ли это? Ответ на вопрос я неожиданно нашла у Гоголя, который признался, что никогда не имел страсти к чужим краям, но очень рано почувствовал, что ему предстоит в жизни какое-то большое самопожертвование и что именно для службы отчизне он должен будет воспитываться где-то вдали от неё. Он предчувствовал, что узнает цену России только вне России и добудет любовь к ней вдали от неё. Возможно, Гоголь объяснил смысл нашего пребывания здесь».
   “While in Germany, I fell in love with Russia even more. Is it possible? I unexpectedly found the answer to this question in Gogol, who admitted that he had never had a passion for foreign lands, but very early on he felt that he would have to make some great self-sacrifice in life and that it was precisely to serve his fatherland that he would have to be brought up somewhere far from it. He had a presentiment that he would learn the value of Russia only outside of Russia and would gain love for it far from it. Perhaps Gogol explained the meaning of our stay here.”

## International resonance

Inna Zhvanetskaya's oeuvre with her choices of poetry by Osip Mandelstam, Joseph Brodsky, Yevgeny Yevtushenko, Marina Tsvetaeva, Anna Akhmatova and many others (even traditional Hebrew poetry of the middle ages—not in a liturgical or paraliturgical context but to be sung in the concert hall, in Russian translation to make understand the universal message of great rabbis and mystic poets over centuries to mankind) can speak for itself. Poems play such a crucial role in her compositions, that she even composed instrumental pieces "according to" them like Dmitry Shostakovich did in the non-vocal movements of his Babi Yar Symphony. One might also compare certain compositions by Leoš Janáček which just had dates of street fights in Moravian towns or epic subjects as titles like in his Symphonic Poem Taras Bulba.
She might not have been the prototype of a composer according to the Stalinist concept of socialistic realism although she tried to adapt to it in some early compositions made over texts of Soviet poets, but it can be said that she never enjoyed the same publicity like rather dissident colleagues closer to her. Contemporaries such as Alfred Schnittke or Sofia Gubaidulina got an international reputation soon due to the active and long-standing engagement of famous musicians. In case of Schnittke, he enjoyed the support by the Latvian violinist Gidon Kremer who played his works regularly in concerts. Gubaidulina had to a certain degree the same privilege and especially her trio for flute, viola and harp "Garten von Freuden und Traurigkeiten [Garden of joys and sorrows]" became famous by various performances of excellent and well-known musicians like Kim Kashkashian or Tabea Zimmermann and her trio. Schnittke who could mainly live from composing due to his collaboration with Mosfilm, started to experiment with dodecaphonic technics influenced by Luigi Nono which exposed him to the accuse of being a formalist despite of the fact that Nono was known as an engaged communist, before he established his neo-classicist style based on a unique musical technique of distorted quotation which he developed in film music. Sofia Gubaidulina had a religious and organic understanding of musical form which she kept hidden during her time as a Soviet composer, but she talked about it later in exile. After she left the Gnessin State Musical College, Inna Zhvanetskaya was celebrated by the International Biographical Centre at Cambridgeshire as the "woman of the year 1992", although they did not cope to engrave her name properly and correctly on the medal assigned to her.
Schnittke and Gubaidulina composed for the great cello virtuoso and conductor Mstislav Rostropovich whose technique even changed the way, how violin makers build a cello by the end of the 20th century. He was the Russian musician who never bowed down in front of Soviet aparatchiks, but made the Russian music great again beyond the lunatic dogmas of Soviet music critics and musicologists. He even played a Bach solo sonata right at the Berlin Wall in those days, when it fell. For Inna Zhvanetskaya it was enough to dedicate him a very short song to verses of Mandelstam (nevertheless, all the music she composed for violoncello demands very high skills of the player) which opened with a hommage to France, where Rostropovich and his wife, the opera soprano Galina Vishnevskaya, found later their place to live (they had several houses in different places), before he finally returned to Russia for the last months of his life:
   Нужно ли говорить, что на стихи Мандельштама ею была написана музыка? Сочинение для виолончели и баритона «Я молю как жалости и милости, Франция, твоей земли и жимолости» (его замечательно исполнили Сергей Полянский и Дмитрий Чеглаков) она посвятила Мстиславу Ростроповичу.
   Needless to say, she wrote music to Mandelstam's poems? She dedicated her composition for cello and baritone "I beg for pity and mercy, France, your land and honeysuckle" (it was wonderfully performed by Sergei Polyansky and Dmitry Cheglakov) to Mstislav Rostropovich.
Her biography would probably be that of a talented and very excentric Russian musician who emigrated to Germany (Stuttgart was famous due to the presence of the John Cranko school at the local opera house who had liberated the classical Russian ballet worldwide with the antidot of Nijinsky's choreographic language in Diaghilev's Ballets russes) and who was warmly welcomed there, although her life started with the traumatic experience of Nazi persecution in her Ukrainian homeland. Even her teacher Aleksandr Chugaev was not so well-known outside Russia to whom she was always connected through a grateful memory and loyalty.
But towards the end of her life, the judge Ann Luipold at the civil court of Stuttgart-Bad Cannstatt decided in December 2022, obviously misled by the impact of unprecedented authoritarian health policies which looked particularly weird in Germany in the context of its history, that Inna Zhvanetskaya had to be transferred to a psychiatric home. It included as condition the clinical treatment of an experimental injection which she clearly refused as a daughter of a pharmacologist. The effect was an international outrage and an association of Holocaust survivors and their relatives "We for humanity" organised that authorities could not find her at her home on the planned day. This judgement has considerably damaged the international reputation of Germany, the country chosen by Inna Zhvanetskaya to stay there for the rest of her life, and caused a late unexpected publicity under very nasty circumstances (reassuring due to the worldwide solidarity she could experience). Thus, interviews and short films dedicated to her life as a composer were made.
Apart from desperate efforts of feminist encyclopedia to look for female protagonists who can be found against all circumstances in each period of music history (and the publication under a male pseudonym is such a circumstance), they have the merit to discover Inna Zhvanetskaya as a woman composer in 1981, although without having something substantial to add to the outdated Russian article. The quality of her musical compositions alone offers neither explanation nor justification, why musicological standard encyclopedia like the New Grove Dictionary and even the German Musik in Geschichte und Gegenwart are still lacking an entry about this exceptional and individualist composer.

## Work

Inna Zhvanetskaya recorded about 100 compositions, among them:

### Chamber music

* Burlesque (lost according to the composer's list; violin and piano; 1959)
* String Quartet (1962)
* Six Pieces (wind quintet; 1969)
* Violin Sonata dedicated to Aleksandr G. Chugaev (violin and piano; 1971)
** Allegro
** Lento
** Presto
* Violin Sonata (violin and piano; 1972)
** Andantino
** Tempo di valzer
** Moderato
** Presto
** Allegro
* Вариации на еврейскую тему [Variations on a Jewish theme] (two violins; 1986)
* Осколки децтва [Splinters of Childhood] (violin or violoncello; 2000)
* Five Dance Pieces for Children (two cellos; 2004)
* «Обращение к Чехову [Appeal to Chekhov]» (2004)
** В старом Таганроге [At the ancient port of Taganrog] (piano)
** Мы не врачи, мы – боль [We are not physicians, we are pain] Andantino (flute, violin and piano)
** Остров Сахалин [Island Sakhalin] Tempo di valzer (piano)
** Свет в Баденвейлере [Light in Badenweiler] (flute, violin and bass tuba)
* Five Haikus according to Takuboku Ishikawa (flute, viola and a guitar with ten strings; composed for Trio Avance who performed it at the music festival 47. Haller Bach-Tage of the town Halle in February 2010)
** Die Flöte begann zu singen [The flute started singing]
** Ich weiß nicht warum [I do not know why]
** Und irgendwo streiten Leute [And somewhere people are arguing]
** Ich bin auf den Gipfel gestiegen [I came up to the mountain top]
** Angeblich irgendwann [Presumably sometimes]
* Memories of the Composer Alfred Schnittke (words by Yury Gerlovin; cello and voice; 2014)
* « La Baie » dedicated to Colette Mourey (viola and piano; 2015)

### Orchestra

* Увертюра [Ouverture] dedicated to Marcel Proust (symphonic orchestra; 1963)
* Suite (string orchestra; 1965)
* Concerto for Double Bass and Orchestra (1968)
* Piano Concerto (piano and orchestra; 1990)
* March for Brass Orchestra dedicated to Federico Fellini (1994)

### Piano

* Поцдамская мелодия [Potsdam's Melody/Melody of my Childhood] (composed in 1949, published in 2008)
* Variations on a Theme of Brahms (lost according to the composer's list; 1958)
* Toccata (1961)
* Polyphonic Fantasy dedicated to Genrikh Litinsky (1962)
* Partita dedicated to Konstantin Lifschitz (1966)
* Album I for children (1978)
** Sostenuto
** Allegretto
** Allegro
** Andante
** Tempo di marcia
** Animato
** Allegro
** Allegro
** Presto
* Album II for children (1981)
** Allegro
** Moderato
** Andantino
** Andante
** Allegro
** Sostenuto
** Tempo di marcia
** Tempo di marcia
** Allegretto
* Sonata (1982)
** Allegro
** Andante
** Con anima
** Allegro risoluto
* Piano piece dedicated to Evgeni Koroliov (2001)
* «Дорога к миру [The road to peace]» dedicated to Mieczysław S. Weinberg (piano; 2008-2009)

### Songs

* Cycle (words by A. Izaakian; voice and piano; 1960)
* Яанварские строки [January lines] (words by S. Smirnov; voice and piano; 1968)
* «Я молю как жалости и милости, Франция, твоей земли и жимолости [I pray for pity and mercy, France, for your land and honeysuckle]» dedicated to Mstislav Rostropovich (words by Osip Mandelstam; baritone and violoncello; 1988?)
* Christmas Romance (words by J. Brodsky; violoncello and baritone; 1990)
* Nine Songs of Elena Akselrod (soprano and piano; 1995)
* Loud Songs of Anna Akhmatova (soprano and piano; 1995)
* Twelve Romances (words by Zinaida Mirkina; 1997)
* Russian song for soprano solo (words by Tatyana Rebrova; soprano; 1997)
* Cycle «…и от встреч с друзьями радость» ['…and joy of meeting with friends'] (voice, violoncello, piano; 1998 & 2000)
** Hebrew song by Abraham ibn Ezra (Russian by A. Dobrinsky)
** Проходят дни [Days go by] Moses ibn Ezra (V. Lazaris)
** Сердце моё на Востоке заброшено [My heart is abandoned in the East] Judah Halevi (L. Yaffe)
** Меценату [Patron] Yehuda Alharizi (Y. Liberman)
** Любовь [Love] Immanuel the Roman (Y. Liberman)
** Свидание [Rendez-vous] Abraham ibn Sahl (M. Zenkevich)
** Я изведал вкус полыни [I have tasted wormwood] Judah Halevi (Y. Liberman)
** Субботний покой [Sabbath rest] Isaac Luria (Y. Liberman)
* Cycle of Romances «Крик Бродского» Восемь стихотворений ["Brodsky's Outcry" Eight Poems] (words by Joseph Brodsky; baritone and piano; 2005)
** Lento
** Allegretto
** Moderato
** Tempo di marcia
** Sostenuto
** Allegretto
** Moderato
** Andante
** Lento

### Oratorium

* Cantatas (words by Soviet poets; chorus and orchestra; 1964)
* Cantata «Земля! Твое творение — человек [Earth! Your creation is the human]» (words by Soviet poets; chorus and orchestra; 1972)
* Cantata «Mat' Mariya» (words by Elizaveta Skobtsova; chorus, soprano, baritone, piano and percussion; 1995-96)
* Cantata (words by Marina Tsvetaeva and Yevgeny Yevtushenko; 2004)
* Хоровая цикл-триптих «Голоса из Далёка» [Choral cycle-triptych "Voices from far away"] (mixed choir; 2006)
** Молитва «Шма, Израиль! [Prayer 'Listen, Israel!']» (words of a Hebrew prayer)
** «Она не погибнет, Россия ['She will not perish, Russia']» (words by Zinaida Gippius)
** «Скерцо» Вокализ [«Scherzo» Glossolalia]

### Opera

* Opera «Возвращение [The return]» according to a short story by Andrei Platonov (libretto by Ira Romanchuk?; ?)
** Introduction Moderato
** Allegretto
** Moderato - Andante
** Allegretto
* Камерная опера «Исповедь солдата» [Chamber opera "Confessions of a soldier"] (libretto ?; 1998-1999)

### Waltzes

* Farewell Waltz (symphonic orchestra; ?)
* Waltz "To the Dead Sea" (piano; no year)
** Tempo di valzer
* Nine Waltzes (verses by Paul Verlaine; baritone and piano; 1996)
** Tranquillamente
** Moderato
** Moderato
** Sostenuto
** Allegro
** Slow waltz
** Lento
** Andante
** Very slow waltz
* Waltz "Mallorca and Frédéric Chopin" (piano and orchestra; 2002)
** Tempo di valzer
* Waltz "Melody for Mirra Yakovleva" (violin and piano; 2002)
** Tempo di valzer
* Waltz dedicated to André Rieu (violin and piano; 2002)
* «Воспоминания о России – моя Россия [Memories of Russia—My Russia]» (piano; 2004)
** Andante sostenuto
* По волнам Люцерна – к Рахманинову [On the waves of Lucerne—to Rachmaninoff] (piano; 2006)
** Tempo di valzer
** Sostenuto "Slightly more held back"
** Tempo di valzer
* Поема — Вальц «Молчание» памяти Александра Вампилова [Poem—Waltz 'Silence'— in memory of Alexander Vampilov] (symphonic orchestra/2 pianos; 2006)
** Tempo di valzer
* Вальц «Чайки» [Waltz "The Seagull"] in honour of Anton Chekhov (2010)

## Awards

* Gold Medal of the Union of Soviet Composers (Russ. Ордена Ленина Союз композиторов СССР, abbreviated ССК СССР) which existed under this name between 25 April 1948 and 22 April 1992, after the Soviet Union had collapsed, today it still exists as Union of Russian Composers which kept the memory of Inna Zhvanetskaya's merits as a Soviet and a Russian composer alive
* 1992 "Woman of the Year" honoured with the 20th-century Award for Achievement by the International Biographical Centre
* I. E. Ginzburg Laureate Premium with a Medal for contributing to Jewish Music
* 2007 Gold Medal of the Deutsche Komponisten-Verband (DKV) offered on her 70th birthday on 20 January