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Clarinets

Sergey Eletskiy

In the orchestra since 2011

Sergey Eletskiy is one of the most talented clarinet players of his generation. Born in 1989 in Moscow, he graduated with honors from the Central Music College (under the supervision of Honored Artist of Russia and Bolshoi Theatre soloist, V. Ferapontov) and later from the Moscow State Conservatory (professor: E. Petrov). He also studied at the Lübeck Academy of Music in Germany (professor: R. Wehle).

In 2012, Sergey Eletskiy became the first Russian clarinetist to win one of the oldest and most prestigious world competitions, ARD (Munich, Germany). This was followed by numerous awards at international competitions, including the 1st place at the Carl Nielsen competition (Odense, Denmark, 2013) and the 1st place at the International Clarinetist Competition in Ghent, Belgium (2015)

HOW DO YOU WORK ON SOLO PARTS WITH TEODOR?
Teodor always knows exactly what he wants to hear from the orchestra in general and from the soloists in particular. He offers non-standard approaches to the part and tries to get his ideas across to the musician. On stage, I turn to the composer's idea expressed in the score, Teodor's point of view and, combining them, I project them on my own interpretation of this music. In the rehearsals, we follow Teodor's comments, but as it often happens, when you do something differently at a concert, bring your own vision to the music, he approves of it.
WHAT KIND OF CLARINET ARE YOU PLAYING NOW?
Most of the wind instruments are manufactured serially by certain establishments. The clarinet I play is a rare example of an artisanal instrument in this sense: every detail is brought to perfection by hand. My instrument was made to order by the German master Jochen Zeggelke — there are only two more clarinets created by him in Russia. I bought it eight years ago at a large clarinet exhibition in Madrid: its timbre stood out among all instruments that were presented there.
WOULD YOU LIKE YOUR CHILDREN TO BECOME MUSICIANS TOO?
My youngest daughter is just over six months old, while the eldest is five years old. So far, the older one does not seek to master any kind of instrument, and I do not think I will push her. Children will commune with music anyway, given my and my wife’s profession: they come to rehearsals and concerts, communicate with our musician-friends, and listen to classical music at home.
WHAT DO YOU LISTEN TO IN YOUR FREE TIME?
There is a huge variety of music in my playlist, ranging from jazz to rock, from Miles Davis and Jacques Lucier to Muse and Russian rock band DDT. There is even room for a pop-singer Valery Meladze, whose songs I really like to sing in karaoke.
WHAT DOES YOUR PERFECT VACATION LOOK LIKE?
I like to relax at the seaside: spend time with my family somewhere in a secluded place, listening to the sound of the breaking waves. My work allows me to travel a lot, discover beautiful locations, but I always have a desire to share these emotions with my wife and children.

musicAeterna orchestra events

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April 25, 19:00
Tashkent | Palace of International Forums «Uzbekistan»
Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet
Symphony concert

Pyotr Tchaikovsky (1840–1893)

Francesca da Rimini
Symphonic fantasy after Dante, Op. 32 (1876)

Capriccio Italien
A fantasy for orchestra, Op. 45 (1880)

Romeo and Juliet
An overture-fantasy after Shakespeare, TH 42 (1869–1880)

musicAeterna Orchestra
Conductor — Teodor Currentzis

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April 27, 20:00
Dubai | Dubai Opera
Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet
Symphony concert

Pyotr Tchaikovsky (1840–1893)

Francesca da Rimini,
Symphonic Fantasy after Dante, Op. 32 (1876)

Capriccio Italien
on folk tunes for orchestra, Op. 45 (1880)

Romeo and Juliet,
Overture-Fantasy after Shakespeare, TH 42 (1869–1880)

musicAeterna Orchestra
Conductor — Teodor Currentzis

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April 28, 20:00
Dubai | Dubai Opera
Richard Wagner: Ouvertures
Symphony concert

Richard Wagner (1813 – 1883)

Vorspiel to the opera Parsifal (1882)
Overture to the opera Tannhäuser (1843–1845)
Vorspiel und Liebestod from the opera Tristan und Isolde (1857–1859)
Vorspiel to the opera Lohengrin (1845–1848)
Overture to the opera Die Meistersinger von Nürnberg (1868)

musicAeterna Orchestra
Conductor Teodor Currentzis

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May 26, 20:00
St. Petersburg | State Academic Capella
Dvořák: Alexander Sladkovsky and musicAeterna

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

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June 1, 21:00
St. Petersburg | Hermitage Museum
The musicAeterna Orchestra and Choir. Ars Vivendi

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)

  1. Allegro non molto
  2. Adagio
  3. 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