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Grigoriy Chekmaryov

In the orchestra since 2011

Grigoriy Chekmarev was born in Kostroma. He studied music under Irina Gennadievna Beresneva, then graduated from the Tver music college (S.O. Miltonyan’s class).

From 2001 to 2006, he studied at the Moscow Tchaikovsky State Conservatory (class of professor G.I. Odinets) and later went on to obtain his postgraduate degree.

From 2005 to 2011, he was a member of the Russian National Orchestra directed by M. Pletnev.

Grigoriy Chekmarev is a laureate of Russian and international competitions, as well as a Candidate of Pedagogic Sciences.

He was a teacher at the Moscow Academy of Social Management.

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Since 2011, Grigoriy Chekmarev has been a soloist at the musicAeterna orchestra directed by Teodor Currentzis.

As a member of chamber ensembles, he has shared the stage with Natalia Gutman, Nikita Borisoglebskiy, Alena Baeva, Andrey Baranov, Alexander Buzlov and many other outstanding performers.

WHAT WAS THE VERY FIRST MUSICAL IMPRESSION IN YOUR LIFE?
My first musical impressions must have been related to natural phenomena and the mood they create: the wind howling, the rain falling, the grass rustling. Impressionistic feelings. Of course, they grew richer with time. The first music I remembered must have been Vivaldi’s. I was surrounded by music, though: campfire songs, radio programmes, the records that played at home.
WHEN DID YOU REALISE YOU WANTED TO BE A MUSICIAN?
Rather late — probably at the age of 15 or so. That is when I went away to another city to study and decided to take music seriously. Truth be told, my father was not quite happy about it: musicians were considered to be not quite well-off. Music is something you have to be one of the very best at.
WHAT HAS PLAYED THE KEY ROLE IN YOUR CAREER?
Nothing else but my ability to set a specific goal, reach it, then set a new one. Step by step. Nothing extraordinary. Of course, keeping in touch with good musicians is also important: it inspires me and helps me grow.
WHAT ELSE WOULD YOU LIKE TO ACHIEVE PROFESSIONALLY?
In fact, I consider myself lucky: I work in the troupe I want to work at, with the musicians I want to work with. I surely have not achieved everything I can, so I am not going to stop; but my growth will now be mostly horizontal rather than vertical. I strive to get new experience, feel new musical emotions, find new colors. Other than that, I have all I have ever wished for.
SO, ARE YOU A HAPPY PERSON?
That is true. I am a very happy one.

musicAeterna orchestra events

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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

Sold out
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June 2, 19:00
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

Sold out
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An event of Diaghilev Festival
June 20, 19:00
Perm | Great Hall of the Perm Philharmonic
Concert of musicAeterna: Bach

Johann Sebastian Bach (1685–1750)
The St Matthew Passion

a sacred oratorio for solo voices, double choir and double orchestra with libretto by Picander (Christian Friedrich Henrici), BWV 244 (1727–1729/1736)

MusicAeterna Choir and Orchestra
Guest soloists
Conductor Teodor Currentzis

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An event of Diaghilev Festival
June 25, 19:00
Perm | Soldatov Palace of Culture
Mozart: opera-singspiel The Magic Flute

Wolfgang Amadeus Mozart (1756–1791)
The Magic Flute, an opera-singspiel K.620 (1791)

Libretto by Emanuel Schikaneder
Director Nina Vorobyova
Musical Director and Conductor Evgeny Vorobyov
Guest soloists
The musicAeterna Orchestra