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Tenors

Alexander Amosenko

In the choir since 2022

Alexander Amosenko was born in 1995 in Saint Petersburg. He graduated from the Rimsky-Korsakov Music College (the class of Сhoral Сonducting), then studied at the St. Petersburg State Conservatory. He joined the musicAeterna choir in 2022.

He has worked in the Lege Artis chamber choir, the Festino chamber choir, the ResonAns vocal ensemble, a’cappella band Plus Five, the Petersburg Serenades chamber choir. He served as a cantor in the male quartet of the Church of St. Alexander Nevsky in the village of Ust-Izhora.

He is a composer, and the laureate of the Alexander Kastalsky International Competition of Choral Writing. As a choral arranger, he collaborates with the Attaque de Panique amateur choir, the Russian Army Choir, and pop artists.

WHEN DID YOU REALIZE THAT YOU WANT TO BECOME A MUSICIAN?
According to my grandmother, I performed my first vocal composition by listening to the soundtrack from a Mexican soap opera. I was three years old. After this incident, my grandmother took me to the centre for aesthetic education, where there were classes in solfeggio, piano, and vocals. I had been struggling at these classes until fifth grade, but then I realized that nothing fascinates me more than music. In the third year of college, I became interested in composing music and creating arrangements. Composition is an important way of self-expression for me. My colleagues even say that I have formed my own style, but I still do not define it in any way. The premieres of my chamber instrumental and choral works were held in the St Petersburg State Academic Capella, arrangements were performed in the Kremlin Palace, the concert hall of the Mariinsky Theatre, as well as in Moscow and St Petersburg clubs.
WHAT IS YOUR STRONGEST MUSICAL IMPRESSION?
It is difficult for me to name my favourite composer, but Rachmaninoff and Tchaikovsky occupy a special place in my cultural code. It's probably too commonplace to say that my favourite composition by Rachmaninoff is the Piano Concerto No. 2. I would also like to mention his Trio No. 2 for cello, violin and piano. Tchaikovsky's Symphony No. 6 made an indelible impression on me. I cried when I heard this music for the first time. This experience was a turning point for me in my perception of academic music.
IF YOU DIDN'T BECOME A MUSICIAN, WHO WOULD YOU BECOME?
As a child, I was fascinated by the appearance of trains, and I even dreamed of becoming a subway or commuter train driver. And now I prefer to go somewhere by train instead of a car or a plane. I enjoy the aesthetics and atmosphere of the railways. When I was a kid, I had one toy railway that accurately reproduced real German tracks and stations. I treated her very carefully and didn't break a single coupling gear during all the games. Perhaps my five-year-old son will become interested in railways, and I will return to this hobby with him.
DO YOU HAVE A HOBBY?
I've been riding a bike for as long as I can remember. I prefer a regular urban bike, I feel uncomfortable on a sports bike because of the unnatural position of the body. The best bike path I've ever ridden is from Sestroretsk to Zelenogorsk. In Salzburg, on tour, I bought a simple bike and also explored bike paths, but I never encountered as cool ones as those we have in the Leningrad region.
WHAT KIND OF MUSIC DO YOU LISTEN TO?
My playlist is mostly modern jazz. I can also listen to Jamiroquai, Leonid Agutin, and the Scorpions. I alternate all this with the works of Rachmaninoff, Bach and Handel.

musicAeterna choir events

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Hildegardof Bingen (1098–1179)
O virga ac diadema | O branch and diadem
sequence

Teodor Currentzis
Alleluia

Φῶς ἱλαρὸν | O Gladsome Radiance
the entrance chant of Great Vespers, the Byzantine tradition

Sergei Rachmaninoff (1873–1943)
 Voskres iz groba |Christ is risen from the grave
Troparion No. 14 from the All-Night Vigil for mixed choir, Op. 37 (1915) 

Henryk Mikołaj Górecki (1933–2010)
Amen for mixed choir, Op. 35 (1975)

Ἐξομολογεῖσθε τῷ Κυρίῳ | Confess to the Lord
antiphon of the Byzantine tradition

Sub tuum praesidium | Under Your mercy we take refuge
hymn to the Virgin (3rd-4th century)

Alexander Knaifel (1943–2024)
Uteshityelyu | To thee, Comforter
Prayer to the Holy Spirit for mixed choir (1995)

Ave rex gentis anglorum | Hail, King of the English people
hymn to King Edward the Martyr (England, 11th century)

Francis Poulenc (1899–1963)
Ave verum corpus (1952)

Benjamin Britten (1913–1976)
A Hymn to the Virgin for double choir (1930)

Teodor Currentzis
Εωθινόν | Morning Chant (2022)

Improvisation on Bikapo sound sculptures

The programme is subject to change.

Musical Director and Conductor Teodor Currentzis
Stage Director Anna Guseva
Choirmaster Vitaly Polonsky
Choreographer Aisylu Mirhafizkhan
Lighting Designer Natalia Tuzova

Performers:

musicAeterna Choir
musicAeterna Dance
musicAeterna Orchestra soloists and guest artists:
Alexander Shirunov, accordion
Sasha Listova, piano
Andrey Baranenko, organ
Alexey Amosov, Andrey Volosovsky, Maxim Sanin, percussion
Yiorgos Kaloudis, classical Cretan lyra
Maria Zorkina, lever harp
Olga Komok, organetto

Bikapo improvisation performers:
Lada Raskolnikova
Alexey Sulin
Mikhail Myasoyedov
Eleonora Myasoyedova

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Hildegardof Bingen (1098–1179)
O virga ac diadema | O branch and diadem
sequence

Teodor Currentzis
Alleluia

Φῶς ἱλαρὸν | O Gladsome Radiance
the entrance chant of Great Vespers, the Byzantine tradition

Sergei Rachmaninoff (1873–1943)
 Voskres iz groba |Christ is risen from the grave
Troparion No. 14 from the All-Night Vigil for mixed choir, Op. 37 (1915) 

Henryk Mikołaj Górecki (1933–2010)
Amen for mixed choir, Op. 35 (1975)

Ἐξομολογεῖσθε τῷ Κυρίῳ | Confess to the Lord
antiphon of the Byzantine tradition

Sub tuum praesidium | Under Your mercy we take refuge
hymn to the Virgin (3rd-4th century)

Alexander Knaifel (1943–2024)
Uteshityelyu | To thee, Comforter
Prayer to the Holy Spirit for mixed choir (1995)

Ave rex gentis anglorum | Hail, King of the English people
hymn to King Edward the Martyr (England, 11th century)

Francis Poulenc (1899–1963)
Ave verum corpus (1952)

Benjamin Britten (1913–1976)
A Hymn to the Virgin for double choir (1930)

Teodor Currentzis
Εωθινόν | Morning Chant (2022)

Improvisation on Bikapo sound sculptures

The programme is subject to change.

Musical Director and Conductor Teodor Currentzis
Stage Director Anna Guseva
Choirmaster Vitaly Polonsky
Choreographer Aisylu Mirhafizkhan
Lighting Designer Natalia Tuzova

Performers:

musicAeterna Choir
musicAeterna Dance
musicAeterna Orchestra soloists and guest artists:
Alexander Shirunov, accordion
Sasha Listova, piano
Andrey Baranenko, organ
Alexey Amosov, Andrey Volosovsky, Maxim Sanin, percussion
Yiorgos Kaloudis, classical Cretan lyra
Maria Zorkina, lever harp
Olga Komok, organetto

Bikapo improvisation performers:
Lada Raskolnikova
Alexey Sulin
Mikhail Myasoyedov
Eleonora Myasoyedova

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György Kurtág (b. 1926)
Songs of Despair and Sorrow for mixed choir with instrumental accompaniment, Op. 18 (1980–1994)

So weary, so wretched to the words of Mikhail Lermontov (1840)
Night, an empty street, a lamp, a drug-store to the words of Alexander Blok (1912)
Blue Evening to the words of Sergei Yesenin (1925)
Where can I go to in this January? to the words of Osip Mandelstam (1937)
The Crucifixion to the words of Anna Akhmatova (1939)
It’s time to the words of Marina Tsvetaeva (1941)

Grabstein für Stephan | Gravestone for Stephan for guitar and instrumental ensemble, Op. 15c
(1989)

Johannes Brahms (1833–1897)
Ein deutsches Requiem | A German Requiem for soprano, baritone, choir and orchestra, Op. 45 (1865–1869)

Selig sind, die da Leid tragen | Blessed are those who weep, for they will be comforted
Denn alles Fleisch, es ist wie Gras | For all flesh is like grass
Herr, lehre doch mich, dass ein Ende mit mir haben muss | Lord, teach me that I must have an end
Wie lieblich sind Deine Wohnungen, Herr Zebaoth! | How lovely is Thy dwelling place, O Lord of hosts!
Ihr habt nun Traurigkeit | Ye now therefore have sorrow
Denn wir haben hier keine bleibende Statt | For here we have no continuing city
Selig sind die Toten, die in dem Herrn sterben | Blessed are the dead who die in the Lord

The programme is subject to change.

Performers:

Iveta Simonyan — soprano
Vladislav Chizhov — baritone

The musicAeterna Choir and Orchestra
Conductor — Teodor Currentzis 

 

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+

György Kurtág (b. 1926)
Songs of Despair and Sorrow for mixed choir with instrumental accompaniment, Op. 18 (1980–1994)

So weary, so wretched to the words of Mikhail Lermontov (1840)
Night, an empty street, a lamp, a drug-store to the words of Alexander Blok (1912)
Blue Evening to the words of Sergei Yesenin (1925)
Where can I go to in this January? to the words of Osip Mandelstam (1937)
The Crucifixion to the words of Anna Akhmatova (1939)
It’s time to the words of Marina Tsvetaeva (1941)

Grabstein für Stephan | Gravestone for Stephan for guitar and instrumental ensemble, Op. 15c
(1989)

Johannes Brahms (1833–1897)
Ein deutsches Requiem | A German Requiem for soprano, baritone, choir and orchestra, Op. 45 (1865–1869)

Selig sind, die da Leid tragen | Blessed are those who weep, for they will be comforted
Denn alles Fleisch, es ist wie Gras | For all flesh is like grass
Herr, lehre doch mich, dass ein Ende mit mir haben muss | Lord, teach me that I must have an end
Wie lieblich sind Deine Wohnungen, Herr Zebaoth! | How lovely is Thy dwelling place, O Lord of hosts!
Ihr habt nun Traurigkeit | Ye now therefore have sorrow
Denn wir haben hier keine bleibende Statt | For here we have no continuing city
Selig sind die Toten, die in dem Herrn sterben | Blessed are the dead who die in the Lord

The programme is subject to change.

Performers:

Iveta Simonyan — soprano
Vladislav Chizhov — baritone

The musicAeterna Choir and Orchestra
Conductor — Teodor Currentzis