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Bassoons

Igor Ahss

In the orchestra since 2018

WHAT BRINGS YOU TO THE WORLD OF MUSIC?
My mother and grandmother are musicians, so it was very natural. As long as I can remember, we were surrounded by music: children were taught to play the piano, we sang in the choir and then at the age of five I was brought to a music school and I started to play the violin.
WHY DID YOU CHOOSE THE BASSOON IN THE END?
Like many things in our lives, a coincidence. I broke my finger. This put an end to playing the violin, but then I got acquainted with an even more wonderful instrument.
WHAT IS ITS’ FEATURE?
I think many will say that bassoon has an enigmatic sound that is associated with a human voice. But not with one voice – it can be a melancholic tenor, a basso-profondo, turning into a counter-tenor or viola da gamba… It is like a chameleon, magically changing colors and shades before your eyes.

It took me many years to get to know the instrument, but when it happens, you fall in love with it for real.
HOW IS MUSICAETERNA DIFFERENT FROM OTHER ORCHESTRAS?
I think in a way of rehearsing. We work until we approach the goal that lives in the imagination.

I think our team resembles a large string quartet that spends hours and weeks together rehearsing, traveling and living together.
REMEMBER THE STRONG MUSICAL IMPRESSION?
As a kid in a music school, when everyone was just playing open strings, I heard one of the graduate students playing Ravel’s Tzigane. It made a lasting impression on me and seemed that I have never heard anything better in my life.
WHAT DISK WOULD YOU TAKE WITH YOU TO A DESERT ISLAND?
As a child, I had an amazing Cuperin’s harpsichord recording. I remember it’s sounds and association from childhood, but just can’t remember who was playing… That would be it.
WHAT ELSE EXCITES YOU BESIDES MUSIC?
Communicating with different people is something that interesting me a lot.
WHAT ARE YOU DREAMING ABOUT?
That this wonderful year never ends. But this does not happen.

musicAeterna orchestra events

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Wolfgang Amadeus Mozart (1756 – 1791)

Chorus “Alzai le flebili voci al Signor”: No. 1 from the cantata “Davide penitente”, K. 469 (1785)

Symphony No. 40, K. 550 (1788),

Maurerische Trauermusik (“Masonic Funeral Music”), K. 477 (1785)

Symphony No. 41, K. 551, “Jupiter” (1788)

Recitative and Aria of Donna Anna “Non mi dir”: No. 23 from Act II, Scene V of the opera “Don Giovanni”, K. 527 (1787)

 

Performers:

Nadezhda Pavlova, soprano
musicAeterna Choir and Orchestra
Conductor – Teodor Currentzis

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Wolfgang Amadeus Mozart (1756 – 1791)

Chorus “Alzai le flebili voci al Signor”: No. 1 from the cantata “Davide penitente”, K. 469 (1785)

Symphony No. 40, K. 550 (1788),

Maurerische Trauermusik (“Masonic Funeral Music”), K. 477 (1785)

Symphony No. 41, K. 551, “Jupiter” (1788)

Recitative and Aria of Donna Anna “Non mi dir”: No. 23 from Act II, Scene V of the opera “Don Giovanni”, K. 527 (1787)

 

Performers:

Nadezhda Pavlova, soprano
musicAeterna Choir and Orchestra
Conductor – Teodor Currentzis

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Wolfgang Amadeus Mozart (1756 – 1791)

Chorus “Alzai le flebili voci al Signor”: No. 1 from the cantata “Davide penitente”, K. 469 (1785)

Symphony No. 40, K. 550 (1788),

Maurerische Trauermusik (“Masonic Funeral Music”), K. 477 (1785)

Symphony No. 41, K. 551, “Jupiter” (1788)

Recitative and Aria of Donna Anna “Non mi dir”: No. 23 from Act II, Scene V of the opera “Don Giovanni”, K. 527 (1787)

 

Performers:

Nadezhda Pavlova, soprano
musicAeterna Choir and Orchestra
Conductor – Teodor Currentzis

+

Wolfgang Amadeus Mozart (1756 – 1791)

Chorus “Alzai le flebili voci al Signor”: No. 1 from the cantata “Davide penitente”, K. 469 (1785)

Symphony No. 40, K. 550 (1788),

Maurerische Trauermusik (“Masonic Funeral Music”), K. 477 (1785)

Symphony No. 41, K. 551, “Jupiter” (1788)

Recitative and Aria of Donna Anna “Non mi dir”: No. 23 from Act II, Scene V of the opera “Don Giovanni”, K. 527 (1787)

 

Performers:

Nadezhda Pavlova, soprano
musicAeterna Choir and Orchestra
Conductor – Teodor Currentzis

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An event of Diaghilev+

Carl Orff (1895 – 1982)
Opera De temporum fine comoedia (1973)

Director — Anna Guseva
Production Designer — Yulia Orlova
Choreographer — Anastasia Peshkova
Costume Designer — Sergey Illarionov
Lighting designer — Ivan Vinogradov
Video Design — 2BLCK
General Producer — Ekaterina Arsenyeva

Music Director and Conductor: Teodor Currentzis
Performed by the musicAeterna Choir and Orchestra, guest soloists, and performers