Double Basses

Artem Chirkov

In the orchestra since 2022

Artem Chirkov graduated from the Rimsky-Korsakov St. Petersburg State Conservatory and the University of Music and Performing Arts Munich. He has been working in the musicAeterna orchestra since 2022.

He is the winner of a number of reputable international competitions, including the International Society of Doublebases competition (USA), the International J.M. Sperger Competition (Germany), the International Competition in Brno (Czech Republic), as well as the Grand Prix and the first prize of the Bradetich Foundation International Competition (USA, 2010). As a member of the Bassiona Amorosa ensemble, he received the Best Quartet of the Year award from the European Cultural Foundation Pro Europa (Switzerland, 2003) and the ECHO Klassik Award in the category ‘Classics without Borders’ (Germany, 2014).

Since 2004, he has been actively performing as a soloist around the world. The musician’s extensive repertoire includes not only popular works for double bass, but also little-known compositions, original arrangements and works by contemporary composers.

On stage Artem Chirkov has collaborated with leading conductors, musicians and ensembles: Yuri Temirkanov, Zubin Mehta, Mariss Jansons, Uroš Lajovic, Gianluigi Gelmetti, Jon Kalbfleisch, Christoph Campestrini, Osvaldo Ferreira, Natalia Gutman, Eliso Virsaladze, Placido Domingo, the Bavarian Radio Symphony Orchestra, the Munich and Cologne Philharmonic Orchestras, the David Oistrakh Quartet, the St.Petersburg Philharmoniс Orchestra, the St.Petersburg Orchestra of the State Hermitage Museum ‘Camerata’, the Borodin State Quartet, etc.

He gives open lessons, master classes and seminars in leading higher educational institutions of the world. As the founder and artistic director of the annual international festival The World of Double Bass, he is engaged in the development of methods for teaching the double bass, expanding the repertoire, modernizing the instrument, and developing its performing capabilities.

WHAT MAKES THE MUSICAETERNA ORCHESTRA UNIQUE?

I first performed with musicAeterna under Teodor Currentzis as a guest musician in 2013 in Perm. Before that, we had crossed paths during rehearsals at the student orchestra of the Saint Petersburg Conservatory. The orchestra’s current level of mastery and recognition is the result of years of meticulous, daily work.

During rehearsals, Teodor always finds a precise and fresh artistic interpretation of the music. For example, before our first concert of the tour featuring Mahler’s Symphony No. 2, he asked us to approach the fourth movement as “a prayer for the salvation of a soul.” This shifted the musicians’ focus and transformed the sound. Symphony No. 2 is a demanding piece—it lasts over an hour and a half, with the final 50 minutes requiring intense concentration. Preparing physically for such a performance is crucial, and artistic guidance like this helps musicians stay focused throughout the concert.

WHAT IS YOUR ROLE IN THE ORCHESTRA?

I am the principal double bassist, which means I am responsible not only for my own performance but also for preparing the instruments of my colleagues. This role requires skills beyond musicianship—it involves logistics, management, and even psychology.

The biggest challenge is logistics. The double bass is a large instrument, and we can’t always bring our own on tour. Together with the orchestra’s managers, we begin preparing for concerts well in advance. Sometimes, I ask musician friends in the destination city to check available instruments and send recordings so we can ensure they match the sound required for a particular piece.

WHAT ARE YOUR OTHER INTERESTS?

While working in Yuri Temirkanov’s orchestra, he advised me to explore conducting. I became interested, attended masterclasses, and took private lessons with Fabio Mastrangelo. Though I never pursued it seriously, I planned to return to it later.

Last year, Teodor’s assistant reached out to tell me that he had chosen me to conduct during an open masterclass. I was completely surprised—Teodor seemed to sense my deep interest in conducting. That day, he spent over an hour working with me in front of the orchestra, which reignited my passion for it. Now, I occasionally take lessons from conductor friends and consult with Ilya Gaisin. My dream is to continue studying with Teodor and eventually conduct musicAeterna on stage.

IF YOU WEREN’T A MUSICIAN, WHAT WOULD YOU BE?

As a child, I dreamed of becoming a pilot. In my youth, I realized that a professional aviation career might not be possible, but I kept it as a hobby. I studied technical English, maintained the necessary health requirements, read aviation literature, and looked for flight schools that offered full pilot training. I had selected schools in Estonia and the Czech Republic but didn’t enroll before the pandemic hit. Now, it seems like an even more distant and unrealistic dream.

However, there are many musicians who are also pilots. One of my colleagues at musicAeterna, pianist Alexander Melnikov, balances his solo career with flying regular commercial flights. The ultimate realization of my dream would be piloting our orchestra on tour myself.

HOW DO YOU SPEND YOUR FREE TIME?

I try to spend as much time as possible with my family. My daughter plays the violin, and my son is learning the double bass, so I love teaching them and sharing my experience. I’m also interested in concert management and organization—from marketing campaigns to venue negotiations. I believe these are valuable, if not essential, skills for a modern musician.

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