Double Basses

Andrey Shinkevich

In the orchestra since 2014

Andrey Shinkevich was born on September 3, 1981 in Minsk, Belarus. He began studying music at the age of 6. In 1988–2000, he studied at the Minsk Music Lyceum of the Belarus State Music Academy. There, he saw the double bass for the first time when he was 12. Under the guidance of professor Nikolay Alexeevich Krivosheev, Andrey Shinkevich began learning to play that instrument. In 2001, he entered the University of Music and Performing Arts in Munich, where he continued his education under professor Klaus Trumpf. In 2006, he resumed his studies in Nuremberg under professor Dorin Marc.

Over those years, Andrey Shinkevich became a laureate of numerous competitions in Belarus, Moldova, Czech Republic and the USA. He is a scholar of the President of the Belarus Republic’s special foundation and the Vladimir Spivakov international charity foundation.

Since 2007, Andrey Shinkevich has been a member of the Svetlanov Russian State Orchestra. In 2008–2009, he was the concertmaster of the Württemberg chamber orchestra (Heilbronn, Germany). In 2010, he was the assistant concertmaster at Hamburg Opera. Since 2014, Andrey Shinkevich has been the concertmaster of the musicAeterna orchestra.

He is a member of the “Bassiona Amorosa” international bass player ensemble, together with which he received the Echo Preis award in Munich in 2015.

Andrey Shinkevich is the vice chairman of the Belarus Bass Players Union.

WHY DID YOU CHOOSE THE DOUBLE BASS?

This had been preceded by a number of random events. As soon as I entered music school, one of my teachers — the great professor Vladimir Perlin — told me I should consider the double bass. However, Soviet children rarely played that instrument because it was so large and there were no mini versions like the ones used in Europe. That’s why I spent the first 6 years of my studies playing the cello. Later on, the school orchestra was lacking a double bass player, so I took the spot even though I didn’t realize even half of the instrument’s capabilities back then.

WHAT MAKES THAT INSTRUMENT SPECIAL?

The double bass was originally designed as an accompanying instrument. It’s no wonder they often say that an orchestra can do without the first violin or oboe, yet it can’t perform without the foundation laid by the double bass. Remove the foundation, and the whole structure will crumble. That’s the initial basic function of the double bass. However, many composers now make music for double bass, while musicians play it as a solo instrument. I perform as a soloist and a chamber orchestra member a lot, too. Generally speaking, no matter what instrument you pick (be it violin, double bass or percussion), there are no inherent limitations to it. It’s the approach that matters.

DO YOU HAVE A CREATIVE DREAM?

There’s only one dream, or rather a goal: to keep developing. To move forward. Life is impossible without movement, so I try to comply. I hope I’m going in the right direction.

WHAT DO YOU VALUE IN WORKING WITH MUSICAETERNA?

I like the fact that this orchestra feels like a living being. Everyone here gives their 100%, and everyone has a creative approach to working here. I wouldn’t even call that “work”: it is creative art, really. The result speaks for itself.

WHAT INSPIRES YOU TO CREATE?

Sometimes, the impulse comes from talking to interesting people. Sometimes, a concert or some other event can be an inspiration. The main thing is to look for inspiration inside yourself. Your own sources of inspiration may be “sleeping”; if that’s the case, you have to take extra effort to discover them. This way, you spend your whole life looking for that inner equilibrium.

musicAeterna orchestra events

October 11, 19:00

Moscow | Zaryadye Hall

Hændel. A Dedication Ceremony to George Frideric Handel

Georg Friedrich Handel (1685–1759)

Prelude

Augelletti, ruscelletti, the aria of Maria Kleopova from the oratorio La resurrezione, HWV 47 (1708)

Zadok the Priest, Coronation Anthem No. 1, HWV 258 (1727)

Disserratevi, o porte d’Averno, the aria of Angel from the oratorio La resurrezione, HWV 47 (1708)

Ah! Crudel nel pianto mio, the aria of Armida from the opera Rinaldo, HWV 78 (1711)

Overture to the opera Agrippina, HWV 6 (1709–1710)

As with Rosy Steps the Morn, the aria of Irina from the oratorio Theodora, HWV 68 (1750)

De torrente in via bibet, duet with chorus from the psalm Dixit Dominus, HWV 232 (1707)

Oh, Let the Merry Bells Ring Round, aria with chorus from the oratorio L’Allegro, il Penseroso ed il Moderato, HWV 55 (1740)

Pena tiranna, the aria of Dardano from the opera Amadigi di Gaula, HWV 11 (1715)

Eternal Source of Light Divine, fragment from the cantata Ode for the Birthday of Queen Anne, HWV 74 (1713)

Alla Hornpipe, No. 2 from the orchestral suite
The Water Music No. 2 in D Major, HWV 349 (1716–1717)

He Saw the Lovely Youth, chorus from the oratorio Theodora, HWV 68 (1750)

Piangerò la sorte mia, the aria of Cleopatra from the opera Giulio Cesare in Egitto, HWV 17 (1724)

Ah! Stigie larve — Vaghe pupille, the recitative and aria of Orlando from the opera Orlando, HWV 31 (1733)

O Love Divine, thou Source of Fame, chorus from the oratorio Theodora, HWV 68 (1750)

Sing Ye to the Lord, chorus with solo soprano from the oratorio Israel in Egypt, HWV 54 (1739)

Performers:

artists of the Anton Rubinstein Academy
Tatiana Bikmukhametova, soprano
Yulia Vakula, mezzo-soprano
Ksenia Dorodova, soprano
Diana Nosyreva, soprano
Iveta Simonyan, soprano
Sofia Tsygankova, soprano
Andrey Nemzer, countertenor, soloist and vocal coach of the Anton Rubinstein Academy
musicAeterna Choir and Orchestra
musicAeterna Dance troupe

Music Director and Conductor Teodor Currentzis
Stage Director Elizaveta Moroz
Choirmaster Vitaly Polonsky
Assistant Conductor Evgeny Vorobyov
Production Designer, Costume Designer Sergey Illarionov
Choreographer Valentina Lutsenko

Buy Ticket

October 15, 20:30

Thessaloniki | Thessaloniki Concert Hall