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Andrey Serdyukovsky

In the orchestra since 2011

Andrey Serdyukovsky was born in Moscow in 1981. His musical talent was apparent since his very early childhood. When he was just 6 years old, he became a laureate of the Moscow young violinists competition.

In 1993, Andrey took part in the “International Children’s Symphony Orchestra” project. In 1994, he received a scholarship from the “New Names” programme and performed both as a soloist and as a concertmaster at a chamber orchestra.

In 1998, Andrey Serdyukovsky became a laureate of the “Classic Heritage” Russian youth competition.

In 2001, he finished the Gnessin music school (D.V. Frolovich’s class); in 2005, he graduated from the Maimonid academy (prof. I.I. Boguslavsky’s class). In 2002, Andrey started working for the Bolshoi Theatre. In 2003, he became a member of the Russian National orchestra conducted by M.V. Pletnev.

Since 2011, Andrey Serdyukovsky has been a member of the musicAeterna orchestra.

WHO HAS THE BIGGEST AUTHORITY TO YOU IN THE MUSIC WORLD?
Right now, it is definitely Teodor Currentzis. He must be my guiding star in the world of music. Due to him, I got introduced to authentic performance of baroque music and discovered the true meaning of works by modern composers, who I had been quite skeptical of. Over the time spent with musicAeterna, I have felt my perception of all kinds of music become so much broader.
WHAT ELSE WOULD YOU LIKE TO LEARN?
I would probably like to learn more about modern music. The musical language of modern composers is something special and completely new to me. This equally concerns new ways of sound-producing and expressive capabilities of traditional instruments. I am still not quite knowledgeable in this area, so this is what I want to develop.
WHAT IS YOUR SOURCE OF INSPIRATION?
Talking to other musicians is the primary one. My social circle has a lot of very talented people engaged in exciting projects. This inspires me, gives me food for thought, and stimulates my own creative search.
WHAT ARE YOUR HOBBIES ASIDE FROM MUSIC?
I go in for extreme sports: in the past, it was roller skating and jibbing, now it is snowboarding. I think it is more than a mere coincidence: extreme sports give me the same kind of adrenaline rush as being on stage does.

musicAeterna orchestra events

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Richard Wagner (1813–1883)
Der Ring Ohne Worte | The Ring without Words
Symphonic suite based on the opera tetralogy The Ring of the Nibelung
Compiled by Lorin Maazel (1987)

I Das Rheingold |The Rhinegold
II. Die Walküre | The Valkyrie
III. Siegfried

IV. Götterdämmerung |
The Twilight of the Gods

The musicAeterna Orchestra
Conductor Teodor Currentzis 

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Richard Wagner (1813–1883)
Der Ring Ohne Worte | The Ring without Words
Symphonic suite based on the opera tetralogy The Ring of the Nibelung
Compiled by Lorin Maazel (1987)

I Das Rheingold |The Rhinegold
II. Die Walküre | The Valkyrie
III. Siegfried

IV. Götterdämmerung |
The Twilight of the Gods

The musicAeterna Orchestra
Conductor Teodor Currentzis 

+

Richard Wagner (1813–1883)
Der Ring Ohne Worte | The Ring without Words
Symphonic suite based on the opera tetralogy The Ring of the Nibelung
Compiled by Lorin Maazel (1987)

I Das Rheingold |The Rhinegold
II. Die Walküre | The Valkyrie
III. Siegfried

IV. Götterdämmerung |
The Twilight of the Gods

The musicAeterna Orchestra
Conductor Teodor Currentzis 

+

Richard Wagner (1813–1883)
Der Ring Ohne Worte | The Ring without Words
Symphonic suite based on the opera tetralogy The Ring of the Nibelung
Compiled by Lorin Maazel (1987)

I Das Rheingold |The Rhinegold
II. Die Walküre | The Valkyrie
III. Siegfried

IV. Götterdämmerung |
The Twilight of the Gods

The musicAeterna 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 

 

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