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Second Violins

Ilya Gaisin

In the orchestra since 2017

Ilya Gaysin is a representative of the modern conducting school who successfully combines the careers of a conductor and a virtuoso violinist. His creative path is marked by collaborations with leading orchestras and musicians worldwide.

A graduate of the Tchaikovsky Moscow State Conservatory, he completed his studies in two specialties: as a violinist in the class of Professor Sergey Kravchenko (a student of Leonid Kogan) and as a conductor in the class of People's Artist of Russia Valery Polyansky. Ilya Gaysin participated in master-classes of conductors and violinists such as Vladimir Spivakov, Gennady Rozhdestvensky, Zakhar Bron, Eri Klas, Teodor Currentzis, Jorma Panula, Kenneth Kiesler, and many others.

As a conductor, he became a laureate of the II Kálmán International Conducting Competition in Budapest (2012) and the Opera Conducting Competition in Ruse, Bulgaria (2014). As a violinist, Gaysin won prizes at nine international competitions, including first prizes at the Novosibirsk International Violin Competition and the Rodolfo Lipizer Competition in Italy.

His conducting career began in the mid-2000s with leading the DSCH Youth Chamber Orchestra in Moscow (2005–2010). From 2010 to 2017, he led the Chamber Orchestra of the Pavel Slobodkin Centre, and from 2017 to 2018, he worked as a conductor at the Perm Opera and Ballet Theatre. Since 2017, he has been one of the principals of the musicAeterna Orchestra and an Assistant Conductor to Teodor Currentzis.

From 2018 to 2025, he worked as an assistant to Teodor Currentzis at the Berlin Philharmonic Orchestra, the SWR Symphony Orchestra (Stuttgart), and the Utopia Orchestra. In 2021 and 2022, he participated in productions at the Salzburg Festival. In 2026, he served as assistant conductor for a new production of the opera Carmen under the musical direction of Teodor Currentzis at the Salzburg Festival.

As a conductor, he collaborated with Russian orchestras such as Moscow Virtuosi and the Svetlanov State Academic Symphony Orchestra of Russia, (GASO), the Moscow State Academic Symphony Orchestra (MGASO), the State Academic Symphony Capella of Russia (GASK), the State Academic Chamber Orchestra of Russia (GAKOR), the Symphony Orchestra of the State Academic Chapel of St. Petersburg, the State Academic Symphony Orchestra of St. Petersburg (SPb GASO), the Soloists of Nizhny Novgorod, the State Academic Symphony Orchestra of the Republic of Tatarstan, symphony orchestras of Krasnoyarsk, Petrozavodsk, Saratov, Rostov, Yaroslavl, Tomsk, Tambov, etc., as well as with foreign ensembles such as the Montpellier National Symphony Orchestra (France), the Orchestra of the National Theatre of Brno (Czech Republic), the Sarajevo Philharmonic Orchestra (Bosnia), the Budapest Operetta Theatre (Hungary), the Ruse Opera Theatre (Bulgaria), the Israel Philharmonic Orchestra, the Symphony and Chamber Orchestras of the Verbier Festival (Switzerland).

In the summer of 2025, Ilya Gaisin served as the Musical Director for the production of Kurt Weill and Bertolt Brecht's The Threepenny Opera at the Diaghilev Festival with the musicAeterna Orchestra and soloists.

As a solo violinist, he has been performing on stage since the age of 11, appearing in the finest concert halls in Europe, Asia, Africa, North and South America. He performed as a soloist with the Russian National Orchestra (RNO), the Musica Viva Orchestra, and the musicAeterna Orchestra, and in his early years had the honour of playing for the legendary Yehudi Menuhin. Ilya Gaisin plays a violin by Nicolo Amati (17th century) from the State Collection of Unique Instruments.

Creative collaboration connects Ilya Gaisin with outstanding musicians, including Nikolai Petrov, Vladimir Spivakov, Valery Polyansky, Vladimir Ponkin, Anatoly Levin, Philipp Chizhevsky, Alexander Gindin, Ekaterina Mechetina, Boris Andrianov, Nadezhda Pavlova, Yulia Matochkina, Olga Pudova, Aigul Khismatullina, Asmik Grigorian, and Ildar Abdrazakov. His creative partners also included theatre and film actors: Valentin Gaft, Vladimir Vasiliev, Vladislav Pyavko, Aleksandr Mitta, Antonina Kuznetsova, and Irina Lachina.

Pedagogy occupies a significant place in Ilya Gaisin's activities. For almost ten years, he has been engaged in private teaching practice as a violin instructor, conducts master classes in various cities across Russia, and gives lectures in different educational projects. He collaborates with the Russian Youth National Symphony Orchestra (RYNSO), where he conducts master-classes for young musicians.

HOW CAN AN ASPIRING MUSICIAN TELL THEY SHOULD MAKE MUSIC THEIR PROFESSION?
Generally speaking, anyone should try their hand at music. Whether to do it professionally or just for fun and self-development is a different question; the answer can be found through learning from experienced tutors. I am inclined to say, though, that you should make music when you cannot imagine your life without it.
WHEN DID YOU REALIZE YOU COULD NOT LIVE WITHOUT MUSIC?
This realization came rather late. I think I only started to fully comprehend it at the age of 16 or so. By that time, I had already been touring around the world for a few years. This had just been an integral part of my life, though. Later on, practicing became a pleasure to me; I understood I could use my “home laboratory” to produce things that brought me the feeling of creative fulfillment.
WHAT DO YOU WORK ON AT YOUR “HOME LABORATORY”?
I combine my role as a musician with that of a conductor. As the latter, I aspire to make some sort of discovery that would make each member of the orchestra not just play their part but feel responsible for the whole piece. This may sound simple but achieving such an effect in practice is quite hard.
WHAT DOES A REHEARSAL FEEL LIKE TO A CONDUCTOR AND TO AN ORCHESTRA MUSICIAN?
Having been at either side of the “barricades”, I can say that my emotional response is different. My psychology changes, almost against my will. Time flows in different ways. When I am conducting, time flies in an instant. Although when I am playing in the orchestra and Theodor is at the conductor’s stand, time goes very fast, too. But this is more of an exception to the rule.
DO YOU NEED INSPIRATION TO PLAY, OR DOES IT FEEL MORE LIKE A JOB TO YOU?
This might be the biggest secret of a conductor’s craft. With an ordinary conductor, musicians will work; with an inspiring one, that work will turn into creation of something new.
WHAT DOES MUSICAETERNA MEAN TO YOU?
Aside from the direct translation from Latin, musicAeterna means much to me. It is eternal devotion to music. It is the constant and uncompromising strive towards the ideal. It is a field for experiment and a space for friendship. It is the process of search. It is an area of challenges. Finally, it is freedom — not utilitarian freedom, not freedom from effort, but the freedom to venture through the worlds of Mozart, Mahler, Tchaikovsky, Prokofiev and many, many others…

musicAeterna orchestra events

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Sergei Rachmaninoff (1873–1943)
Rhapsody on a Theme of Paganini for Piano and Orchestra in A minor, op. 43 (1934)
Soloist – Eva Gevorgyan, piano

Pyotr Tchaikovsky (1840–1893)
Symphony No. 5 in E minor, op. 64 (1888)
Andante — Allegro con anima
Andante cantabile, con alcuna licenza
Valse. Allegro moderato
Finale. Andante maestoso — Allegro vivace

Performers:
The musicAeterna Orchestra
Conductor Teodor Currentzis

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Sergei Rachmaninoff (1873–1943)
Rhapsody on a Theme of Paganini for Piano and Orchestra in A minor, op. 43 (1934)
Soloist – Eva Gevorgyan, piano

Pyotr Tchaikovsky (1840–1893)
Symphony No. 5 in E minor, op. 64 (1888)
Andante — Allegro con anima
Andante cantabile, con alcuna licenza
Valse. Allegro moderato
Finale. Andante maestoso — Allegro vivace

Performers:
The musicAeterna Orchestra
Conductor Teodor Currentzis

+

Sergei Rachmaninoff (1873–1943)
Rhapsody on a Theme of Paganini for Piano and Orchestra in A minor, op. 43 (1934)
Soloist – Eva Gevorgyan, piano

Pyotr Tchaikovsky (1840–1893)
Symphony No. 5 in E minor, op. 64 (1888)
Andante — Allegro con anima
Andante cantabile, con alcuna licenza
Valse. Allegro moderato
Finale. Andante maestoso — Allegro vivace

Performers:
The musicAeterna Orchestra
Conductor Teodor Currentzis

+

Sergei Rachmaninoff (1873–1943)
Rhapsody on a Theme of Paganini for Piano and Orchestra in A minor, op. 43 (1934)
Soloist – Eva Gevorgyan, piano

Pyotr Tchaikovsky (1840–1893)
Symphony No. 5 in E minor, op. 64 (1888)
Andante — Allegro con anima
Andante cantabile, con alcuna licenza
Valse. Allegro moderato
Finale. Andante maestoso — Allegro vivace

Performers:
The musicAeterna Orchestra
Conductor Teodor Currentzis