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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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Gustav Mahler (1860-1911)
Symphony No. 5 in C Sharp Minor (1902)

  1. Trauermarsch. Im gemessenen Schritt. Streng. Wie ein Kondukt | At a measured pace. Strict. Like a funeral procession
  2. Stürmisch bewegt. Mit grösster Vehemenz | Moving stormily. With the greatest vehemence
  3. Scherzo. Kräftig, nicht zu schnell | Strong and not too fast
  4. Adagietto. Sehr langsam | Very slow
  5. Rondo-Finale. Allegro, Allegro giocoso

Richard Wagner (1813-1883)
The Prelude and the Death of Isolde from the opera Tristan and Isolde (1857-1859)

Performers:
The musicAeterna Orchestra
Conductor Teodor Currentzis

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Johannes Brahms (1833-1897)
Concerto for Violin and Orchestra in D Major, Op. 77 (1878)
Allegro non troppo
Adagio
Allegro giocoso — Poco piu presto

Dmitri Shostakovich (1906-1975)
Symphony No. 5 in D Minor, Op. 47 (1937)
Moderato
Allegretto
Largo
Allegro non troppo

Performers:
The musicAeterna Orchestra
Soloist Olga Volkova, violin
Conductor Teodor Currentzis

 

 

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Gustav Mahler (1860-1911)
Symphony No. 5 in C Sharp Minor (1902)

  1. Trauermarsch. Im gemessenen Schritt. Streng. Wie ein Kondukt | At a measured pace. Strict. Like a funeral procession
  2. Stürmisch bewegt. Mit grösster Vehemenz | Moving stormily. With the greatest vehemence
  3. Scherzo. Kräftig, nicht zu schnell | Strong and not too fast
  4. Adagietto. Sehr langsam | Very slow
  5. Rondo-Finale. Allegro, Allegro giocoso

Richard Wagner (1813-1883)
The Prelude and the Death of Isolde from the opera Tristan and Isolde (1857-1859)

Performers:
The musicAeterna Orchestra
Conductor Teodor Currentzis

+

Johannes Brahms (1833-1897)
Concerto for Violin and Orchestra in D Major, Op. 77 (1878)
Allegro non troppo
Adagio
Allegro giocoso — Poco piu presto

Dmitri Shostakovich (1906-1975)
Symphony No. 5 in D Minor, Op. 47 (1937)
Moderato
Allegretto
Largo
Allegro non troppo

Performers:
The musicAeterna Orchestra
Soloist Olga Volkova, violin
Conductor Teodor Currentzis

 

 

+

Gustav Mahler (1860-1911)
Symphony No. 5 in C Sharp Minor (1902)

  1. Trauermarsch. Im gemessenen Schritt. Streng. Wie ein Kondukt | At a measured pace. Strict. Like a funeral procession
  2. Stürmisch bewegt. Mit grösster Vehemenz | Moving stormily. With the greatest vehemence
  3. Scherzo. Kräftig, nicht zu schnell | Strong and not too fast
  4. Adagietto. Sehr langsam | Very slow
  5. Rondo-Finale. Allegro, Allegro giocoso

Richard Wagner (1813-1883)
The Prelude and the Death of Isolde from the opera Tristan and Isolde (1857-1859)

Performers:
The musicAeterna Orchestra
Conductor Teodor Currentzis