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Horns

Leonid Voznesensky

HOW DIFFERENT DO REHEARSALS AND CONCERTS FEEL TO A MUSICIAN?
Rehearsals have a more relaxed vibe. Of course, concerts require maximum focus. At the concert, one should present the result of all the rehearsals.
HOW DO YOU GET READY TO PERFORM?
First of all, you need a good night’s sleep. And you should not drink coffee: before the concert, you feel nervous as is, and coffee will make your heart beat even faster. I think it is crucial to feel nervous: those who do not care cannot do great on stage. It should be a natural feeling of nervousness on stage. I have no special rituals as I am not superstitious. I do believe in God and have a small leather cross on my french horn. I make the sign of the cross and go up on stage.
WHAT DO YOU FEEL AFTER CONCERTS?
After concerts, I am super emotional. Sleeping is out of the question: I want to move and have fun. Even on the hardest day I feel as fit as a fiddle. After each concert, I feel life is only beginning.
WHAT ELSE CAN GIVE YOU SUCH STRONG EMOTIONS?
Fishing.
COULD YOU NAME THREE MUSICAL PIECES YOU CONSIDER THE PINNACLE OF MUSIC?
Speaking of the french horn, I would name all Mahler’s symphonies. They are very exciting and convenient to play on the french horn. The music itself is immaculate, too. Then, of course, comes Beethoven. And Wagner — his music is something otherworldly.

musicAeterna orchestra events

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Maurice Ravel (1875–1937)

Suite No. 2 from the ballet Daphnis and Chloe (1912)
Lever de jour. Lent
Pantomime
Danse générale

The Waltz, a choreographic poem for orchestra, M. 72 (1919–1920)

Ottorino Respighi (1879–1936)

The Pines of Rome, a symphonic poem, P. 141 (1924)
I pini di Villa Borghese | The Pines of the Villa Borghese
Pini presso una catacomba | Pines Near a Catacomb
I pini del Gianicolo | The Pines of the Janiculum
I pini della Via Appia | The Pines of the Appian Way

The musicAeterna Orchestra
Conductor Teodor Currentzis

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Maurice Ravel (1875–1937)

Suite No. 2 from the ballet Daphnis and Chloe (1912)
Lever de jour. Lent
Pantomime
Danse générale

The Waltz, a choreographic poem for orchestra, M. 72 (1919–1920)

Ottorino Respighi (1879–1936)

The Pines of Rome, a symphonic poem, P. 141 (1924)
I pini di Villa Borghese | The Pines of the Villa Borghese
Pini presso una catacomba | Pines Near a Catacomb
I pini del Gianicolo | The Pines of the Janiculum
I pini della Via Appia | The Pines of the Appian Way

The musicAeterna Orchestra
Conductor Teodor Currentzis

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+

Anton Rubinstein (1829–1894)

Piano Concerto No. 4 in D Minor, Op. 70 (1864/1872)
Moderato assai
Andante
Allegro

Maurice Ravel (1875–1937)

Suite No. 2 from the ballet Daphnis and Chloe (1912)
Lever de jour. Lent
Pantomime
Danse générale

The Waltz, a choreographic poem for orchestra, M. 72 (1919–1920)

Ottorino Respighi (1879–1936)

The Pines of Rome, symphonic poem, P. 141 (1924)
I pini di Villa Borghese | The Pines of the Villa Borghese

Pini presso una catacomba | Pines Near a Catacomb
I pini del Gianicolo | The Pines of the Janiculum
I pini della Via Appia | The Pines of the Appian Way

musicAeterna Orchestra
Soloist — Andrey Baranenko, piano
Conductor Teodor Currentzis

Sold out
+

Anton Rubinstein (1829–1894)

Piano Concerto No. 4 in D Minor, Op. 70 (1864/1872)
Moderato assai
Andante
Allegro

Maurice Ravel (1875–1937)

Suite No. 2 from the ballet Daphnis and Chloe (1912)
Lever de jour. Lent
Pantomime
Danse générale

The Waltz, a choreographic poem for orchestra, M. 72 (1919–1920)

Ottorino Respighi (1879–1936)

The Pines of Rome, symphonic poem, P. 141 (1924)
I pini di Villa Borghese | The Pines of the Villa Borghese

Pini presso una catacomba | Pines Near a Catacomb
I pini del Gianicolo | The Pines of the Janiculum
I pini della Via Appia | The Pines of the Appian Way

musicAeterna Orchestra
Soloist — Andrey Baranenko, piano
Conductor Teodor Currentzis

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Anton Bruckner (1824–1896)
Symphony No. 9 in D Minor, WAB 109 (1887–1896, unfinished)
I. Feierlich, misterioso
II. Scherzo. Bewegt, lebhaft; Trio. Schnell
III. Adagio. Langsam, feierlich

The musicAeterna Orchestra
Conductor — Teodor Currentzis