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Nikolay Mazaev

In the choir since 2020

Born in Ulan-Ude (the Republic of Buryatia), he graduated from the Glinka Choral College in 2016 (the class of Conducting with professors A.D. Nyagi and A.A. Maksimov). Currently he studies Choral Conducting (the class of B.I. Nesterov) at the Rimsky-Korsakov St. Petersburg State Conservatory. He is the laureate of All-Russian competitions, including the All-Russian Music Competition in the discipline of Choral Conducting (2019).

He is the head of the Art Sonus Vocal and Choral School Academic Choir, which won the Slavic Spring International Choral Festival-Competition in the category “Mixed Choirs” (St. Petersburg, 2019).

HOW DID YOU COME TO BE A MUSICIAN?
There are no musicians in my family. My parents and my sister are lawyers, whereas I have been attracted to music since childhood. At the Choir College, this love only strengthened. Now I am studying at the Faculty of Symphony Conducting and I am happy that I can observe the work of such masters as Teodor Currentzis. I'm learning a lot from him.
WHAT DO YOU DO IN YOUR FREE TIME?
I believe that free time can always be found. Although there is a lot of work in musicAeterna, it does not depress, but on the contrary, it inspires. When I have time, I try to go to the gym or read. At the Diaghilev Festival, I purchased Haruki Murakami's book Absolutely on Music: Conversations with Seiji Ozawa. In this book there is a contemplation of the Japanese phenomenon of "ma" – silence. The mastery of silence is very important for a musician. I also have an interest in poetry, since most of the masterpieces of vocal music are based on works of poets. I especially value the work of Alexander Blok, the great symbolist. For a while I was interested in anime and Japanese culture. Among my favourite authors in this genre, I would mention the work of the dreamer Satoshi Kon, the visionary Mamoru Oshii, and the chronicler Kentaro Miura.
WHO IS THE AUTHORITY IN MUSIC FOR YOU?
As a composer, Stravinsky. He was an innovator who influenced the evolution of music throughout the 20th century. In my opinion, from the point of view of reformation in music, he can only be compared with Johann Sebastian Bach. Just like Stravinsky, Grigory Sokolov is an adept of pure art, but in terms of performance. I happened to hear him play once in Salzburg, and I will never forget this concert. Another authority is Avenir Mikhailov, a Soviet choirmaster, one of the founders of the choral conducting department of the St. Petersburg Conservatory whom I consider my 'pedagogical grandfather' as he was my teacher's teacher. There is little information about him left in the public domain, but his personality can be judged by the words of students and eyewitnesses. He was a brilliant choirmaster and teacher who brought up a whole constellation of outstanding musicians.
WHICH COMPOSITION WOULD YOU LIKE TO PERFORM?
I would like to sing Sviridov's vocal poem Petersburg based on poems by Alexander Blok, to conduct Dvořák's Symphony No. 9 and perform something of my own, but not in the near future.

musicAeterna choir events

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April 3, 20:00
St. Petersburg | St. Petersburg Philharmonic
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 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 

 

Sold out
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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