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Oboes

Maxim Khodyrev

In the orchestra since 2013

Maxim Khodyrev was born in 1989 to a musicians’ family. He started to play the oboe at the age of 10: first he studied at the Novosibirsk specialized music school, then he entered the College at the Moscow State Conservatory. In 2008–2013, he studied at the Moscow State Conservatory under Alexey Utkin. As a student, Maxim became a member of the Musica Viva chamber orchestra directed by Alexander Rudin; together with the ensemble, he played much of baroque and classical music, including rarely performed chamber pieces featuring European soloists and conductors.

In 2015–2016, Maxim Khodyrev did his internship at Hochschule Luzern under Ivan Podyomov.

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Since 2013, Maxim Khodyrev has been a member of the musicAeterna orchestra. When the orchestra moved to Saint Petersburg, Maxim began combining his work at musicAeterna with engagements at the Perm State Opera and Ballet Theatre.

As a soloist, Maxim Khodyrev has taken part in programmes by Mahler chamber orchestra and Bergen Philharmonic.

Who or what brought you to the world of music? 
My father did. He is a violin player, a former student of Zakhar Bron in Novosibirsk. He taught me much and helped me to choose the instrument.
Given a chance, what other instrument would you like to master?
I’ve tried various wind instruments such as the saxophone and the tuba. Oboe, however, feels unique to me: it’s a very  complex instrument with a peculiar timbre. I love playing the piano — I used to practice it a lot but noticed that it negatively affected my oboe skills. For some reason, piano and oboe don’t go well together in my case.
Can you imagine being anything else but a musician? 
Probably not. 
What has been your strongest musical impression? 
Mahler’s symphonies, I guess. I started listening to them at the age of 16 or so, and their mood perfectly matched my own emotions at the time. That’s when I probably felt I really wanted to play such music and work in an orchestra.
What do you value the most in working with musicAeterna? 
The way music sounds here feels ideal to me. When I was making my first steps in the world of music, there were no recordings I really enjoyed. This orchestra was founded around the same time, and the approach to work here is drastically different. Everyone here feels like a perfectionist and gives their 100%. I wouldn’t even call it “work”; instead, it is the embodiment of one’s full potential.
What is your “desert island” recording? 
I’d rather take my instrument with me to a desert island: I would keep practicing there.

musicAeterna orchestra events

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April 5, 20:00
Moscow | Great Hall of the Conservatory
Сoncert of musicAeterna: Kurtág, Brahms
Symphony concert

György Kurtág (b. 1926)
Songs of Despair and Sorrow for mixed choir with instrumental accompaniment, Op. 18 (1980–1994)

So weary, so wretched to the words of Mikhail Lermontov (1840)
Night, an empty street, a lamp, a drug-store to the words of Alexander Blok (1912)
Blue Evening to the words of Sergei Yesenin (1925)
Where can I go to in this January? to the words of Osip Mandelstam (1937)
The Crucifixion to the words of Anna Akhmatova (1939)
It’s time to the words of Marina Tsvetaeva (1941)

Grabstein für Stephan | Gravestone for Stephan for guitar and instrumental ensemble, Op. 15c
(1989)

Johannes Brahms (1833–1897)
Ein deutsches Requiem | A German Requiem for soprano, baritone, choir and orchestra, Op. 45 (1865–1869)

Selig sind, die da Leid tragen | Blessed are those who weep, for they will be comforted
Denn alles Fleisch, es ist wie Gras | For all flesh is like grass
Herr, lehre doch mich, dass ein Ende mit mir haben muss | Lord, teach me that I must have an end
Wie lieblich sind Deine Wohnungen, Herr Zebaoth! | How lovely is Thy dwelling place, O Lord of hosts!
Ihr habt nun Traurigkeit | Ye now therefore have sorrow
Denn wir haben hier keine bleibende Statt | For here we have no continuing city
Selig sind die Toten, die in dem Herrn sterben | Blessed are the dead who die in the Lord

The programme is subject to change.

Performers:

Iveta Simonyan — soprano
Vladislav Chizhov — baritone

The musicAeterna Choir and Orchestra
Conductor — Teodor Currentzis 

 

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+
April 6, 20:00
Moscow | Great Hall of the Conservatory
Сoncert of musicAeterna: Kurtág, Brahms
Symphony concert

György Kurtág (b. 1926)
Songs of Despair and Sorrow for mixed choir with instrumental accompaniment, Op. 18 (1980–1994)

So weary, so wretched to the words of Mikhail Lermontov (1840)
Night, an empty street, a lamp, a drug-store to the words of Alexander Blok (1912)
Blue Evening to the words of Sergei Yesenin (1925)
Where can I go to in this January? to the words of Osip Mandelstam (1937)
The Crucifixion to the words of Anna Akhmatova (1939)
It’s time to the words of Marina Tsvetaeva (1941)

Grabstein für Stephan | Gravestone for Stephan for guitar and instrumental ensemble, Op. 15c
(1989)

Johannes Brahms (1833–1897)
Ein deutsches Requiem | A German Requiem for soprano, baritone, choir and orchestra, Op. 45 (1865–1869)

Selig sind, die da Leid tragen | Blessed are those who weep, for they will be comforted
Denn alles Fleisch, es ist wie Gras | For all flesh is like grass
Herr, lehre doch mich, dass ein Ende mit mir haben muss | Lord, teach me that I must have an end
Wie lieblich sind Deine Wohnungen, Herr Zebaoth! | How lovely is Thy dwelling place, O Lord of hosts!
Ihr habt nun Traurigkeit | Ye now therefore have sorrow
Denn wir haben hier keine bleibende Statt | For here we have no continuing city
Selig sind die Toten, die in dem Herrn sterben | Blessed are the dead who die in the Lord

The programme is subject to change.

Performers:

Iveta Simonyan — soprano
Vladislav Chizhov — baritone

The musicAeterna Choir and Orchestra
Conductor — Teodor Currentzis 

 

Sold out