Jairo Gimeno
In the orchestra since 2022
Jairo Gimeno was born in Valencia (Spain) in 1993. He started playing horn in the Benimaclet Musical Society with Prof. Gabriel Diago. After finishing with honors, bachelor studies in Valencia and also in Esmuc (Barcelona) with Javier Bonet, who discovered him the world of the period instruments, he continued his studies of Natural Horn with Teunis van der Zwart in The Royal Conservatory of The Hague (Netherlands) finishing in 2019. He has been a soloist and an artist of the musicAeterna orchestra since 2022.
He performs regularly with period music ensembles from all over Europe as: Freiburger Baroque Orquesta (Germany), Orchestra of the Eighteenth Century (Netherlands), Le Concert des Nations, Les Musiciens du Louvre, Il Pomodoro, Les Musiciens du Prince (Monaco), Capella Cracoviensis (Poland), Die Kölner Akademie (Germany), Ensemble Cristofori (France),
Das Neue Orchestra (Germany), Forma Antiqva (Spain), L’arte del mondo (Germany), The Haydn Philharmonie (Austria), La Ritirata (Spain), {oh!} Orkiestra Historyczna (Poland), La Chapelle Harmonique (France), Le Grande Chapelle (Spain), Academia 1750 (Spain), Le Concert Lorrain (France), or Baroque Ensemble of the Spanish National Orchestra among others.
In addition to his work on the period orchestras, he has worked with several orchestras like: Stuttgarter Kammerorchester, National Orchestra of Spain, Orquesta de la Comunidad Valenciana, National Youth Orchestra of Spain, Valencia Orchestra, Balear Islands Orchestra.
This has led him to participate in festivals as important as BBC Proms festival (UK), Salzburg Festspiele (Austria), Lucerne Festival (Switzerland), Diaghilev festival (Russia), SWR Schwetzinger Festspiele (Germany), Prague Spring Music Festival (Czech Republic), Chopin International Festival (Poland), Bessançon Music Festival (France), Llangollen International Musical Eisteddfod (Wales), Gijón Early Music Festival (Spain) or Aldea dos Caputxos Music Festival (Lisboa, Portugal).
Additionally, he enjoys teaching and discovering the world of early music to new generations. He was the teacher of natural horn in the Salvador Seguí Conservatory (Spain) and participated as a teacher also in several masterclasses and courses.
Historical horns are very different from modern ones. These are simple hunting pipes without any mechanisms, valves or tubes — only a mouthpiece, a curved pipe — the invention (by changing which, you can change the tuning) and a small bell. The main feature of historical horns is that you can play notes on them only in a natural scale. This imposes some restrictions on us, but musicians of the mid-eighteenth century discovered that you can change the key if you put your hand inside the bell. Thanks to this, we can play scales and expand the repertoire, using not only more notes, but also more timbre colours. In the upcoming concerts I will play on a replica of an instrument that you could have heard in the time of Mozart or the young Beethoven. Also, in my collection there are original instruments of the beginning of the 19th century — with stunning hand-decorated bells.
musicAeterna orchestra events
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
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)
- Allegro non molto
- Adagio
- 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
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)
- Allegro non molto
- Adagio
- 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
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