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Percussion

Aleksey Amosov

In the orchestra since 2018

Alexei Amosov was born in 1972. In 1991, he finished the Music college at the Moscow Conservatory. In 1996, he graduated from the Tchaikovsky Moscow State Conservatory.

In 1995–2005, Alexei Amosov was a soloist at the Russian Bolshoi Theatre orchestra. As a xylophone soloist, he regularly performed with the wind orchestra and brass ensemble of the Bolshoi Theatre. In 2005–2018, he was the concertmaster of the percussion section at the Kolobov Moscow “New Opera” theatre.

Since 2018, Alexei Amosov has been a member of the musicAeterna orchestra.

WHAT IS THE HARDEST PART OF WORKING AS A MUSICIAN? AND WHAT PART OF YOUR WORK GIVES YOU JOY?
Working with Maestro, collaborating with world-class professionals, playing at the world’s best concert halls — all these things give me joy. As for the hardest part, it is probably the necessity to always give your 100% and to be ready for unexpected challenges at any time. This is especially true if you play modern music. It is both complex and breathtaking, and every day brings you a new challenge to tackle.
HOW MANY INSTRUMENTS DO YOU HAVE IN YOUR ARSENAL?
I’ve lost count: there are hundreds. New tasks keep popping up, so I have to come up with new instruments and new techniques — such as playing a piece of styrofoam with a double bass bow or hitting a tam-tam with a rubber ball. I’ve had to play the water gong not long ago: I put a gong into a water-filled tub and played tremolo. In a word, there are no limits to professional growth here. I love this abundance of various percussion instruments — that’s why I switched to them from playing the piano as a child.
WHAT MUSIC DO YOU FIND MORE INTERESTING TO PLAY: MODERN OR OLD?
I love both. Modern music is certainly more inventive and unorthodox when it comes to technique, but old music has its own challenges. For instance, the cymbals in Tchaikovsky’s symphony should be played with an ideal sound. That’s no easy feat!
WHAT COULD YOU COMPARE WORKING AT MUSICAETERNA TO?
I don’t even know. Perhaps to mountain skiing in the Alps. Each concert gives me such a powerful adrenaline rush and such a euphoric feeling that I doubt I could find similar sensations in anything else.
IS THERE A PIECE OF MUSIC YOU DREAM TO PLAY?
It probably hasn’t been created yet.

musicAeterna orchestra events

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April 25, 19:00
Tashkent | Palace of International Forums «Uzbekistan»
Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet
Symphony concert

Pyotr Tchaikovsky (1840–1893)

Francesca da Rimini
Symphonic fantasy after Dante, Op. 32 (1876)

Capriccio Italien
A fantasy for orchestra, Op. 45 (1880)

Romeo and Juliet
An overture-fantasy after Shakespeare, TH 42 (1869–1880)

musicAeterna Orchestra
Conductor — Teodor Currentzis

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April 27, 20:00
Dubai | Dubai Opera
Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet
Symphony concert

Pyotr Tchaikovsky (1840–1893)

Francesca da Rimini,
Symphonic Fantasy after Dante, Op. 32 (1876)

Capriccio Italien
on folk tunes for orchestra, Op. 45 (1880)

Romeo and Juliet,
Overture-Fantasy after Shakespeare, TH 42 (1869–1880)

musicAeterna Orchestra
Conductor — Teodor Currentzis

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April 28, 20:00
Dubai | Dubai Opera
Richard Wagner: Ouvertures
Symphony concert

Richard Wagner (1813 – 1883)

Vorspiel to the opera Parsifal (1882)
Overture to the opera Tannhäuser (1843–1845)
Vorspiel und Liebestod from the opera Tristan und Isolde (1857–1859)
Vorspiel to the opera Lohengrin (1845–1848)
Overture to the opera Die Meistersinger von Nürnberg (1868)

musicAeterna Orchestra
Conductor Teodor Currentzis

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May 26, 20:00
St. Petersburg | State Academic Capella
Dvořák: Alexander Sladkovsky and musicAeterna

Antonín Dvořák (1841–1904)
Cello Concerto in B Minor, Op. 104, B. 191 (1894–1895)
Allegro
Adagio ma non troppo
Finale. Allegro moderato

Symphony No. 8 in G Major, Op. 88, B. 163 (1889)
Allegro con brio
Adagio
Allegretto grazioso — Molto Vivace
Allegro ma non troppo

The musicAeterna Orchestra
Soloist Alexey Zhilin
Conductor Alexander Sladkovsky

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June 1, 21:00
St. Petersburg | Hermitage Museum
The musicAeterna Orchestra and Choir. Ars Vivendi

Jean-Philippe Rameau (1683–1764)
The thunderstorm scene from Act II of the opera-ballet Platée ou Junon jalouse (1745)
Act IV, Scene 4: Entry of the muse Polyhymnia from the lyrical tragedy Abaris ou les Boreades (1763)
Tambourines I, II from the prologue to the lyrical tragedy Dardanus (1739)

Antonio Lotti (1667–1740)
Crucifixus a 8 voci from Credo in F Major (before 1717)

Antonio Vivaldi (1678–1741)
Concerto for Cello and Strings in C Minor, RV 401 (late 1720s)

  1. Allegro non molto
  2. Adagio
  3. Allegro ma non molto

The soloist Rabbani Aldangor

George Frideric Handel (1685–1759)
Ombra mai fu (There was never a shadow), aria of Xerxes from Act I of the opera Xerxes, HWV 40 (1738)
The soloist Andrey Nemzer, countertenor
Furie terribili! (Terrible Furies!), aria of Armida from Act I of the opera Rinaldo, HWV 7a (1711/1731)
The soloist Elizaveta Sveshnikova, soprano
Piangerò la sorte mia (I will mourn my fate), aria of Cleopatra from Act III of the opera Julius Caesar, HWV 17, (1724)
The soloist Elizaveta Sveshnikova, soprano
Venti, turbini (Winds, whirlwinds), aria of Rinaldo from Act I of the opera Rinaldo, HWV 7a (1711/1731)
The soloist Andrey Nemzer, countertenor

Johann Sebastian Bach (1685–1750)
Komm, Jesu, komm (Come, Jesus, come), motet for double choir in G minor, BWV 229 (before 1731–1732)
Lobet den Herrn, alle Heiden (Praise the Lord, all ye nations), motet for four-voice choir, dubbing instruments and basso continuo in C major, BWV 230 (n.d.)
Erbarme dich, mein Gott (Have mercy, my God), aria of the alto No. 39 (47) from the sacred oratorio St Matthew Passion, BWV 244 (1727–1729/1736)
Soloists:
Andrey Nemzer, countertenor
Vladislav Pesin, violin

George Frideric Handel
Lascia la spina, cogli la rosa (Leave the thorn, pluck the rose), aria of Pleasure from Act II of the oratorio The Triumph of Time and Disillusion, HWV 46a (1707)
Soloists:
Elizaveta Sveshnikova, soprano
Andrey Nemzer, countertenor

Jean-Philippe Rameau
Les Sauvages/Forêts paisibles (The Savages/Peaceful Forests) from Act IV of the opera-ballet The Gallant Indies, (1725/1736)

Duration: 60 minutes