First Violins

Vladislav Pesin

In the orchestra since 2019

Vladislav Pesin was born in 1973 in Leningrad (now St. Petersburg).

He graduated with honours from St. Petersburg Conservarory as a violinist in 1998, under the guidance of professors A. Resnikovski, E. Komarova and E. Shafran, and post-graduate course for soloists in 2000. He was on a special course in the “Sweelink-Conservatoire” (Amsterdam, 1996), and also in Moscow State Conservarory (2001-2002) under the guidance of professor S. Girshenko. He participated in master-courses of V. Libermann, T. Zehetmair, G. Krebbers, M. Leonhardt.

Grant-holder of the Foundation “Gartov Stiftung” (Germany).

Laureate of international competitions: “Franz Schubert and the music of XX age” (Graz, 1997), Pietro Locatelli Competition (Amsterdam, 1997), Johannes Brahms Competition (Gdansk, 2003), special prizes of the Chamber Music Festival in Kuchmo (Finland, 1999 and 2004).

In 1998-2000 he was the leader and soloist of chamber orchestra “St. Petersburg Mozarteum”, with which has fulfilled a number of successful projects on the stage of the St. Petersburg State Philharmony Great Hall. Among others were performed series of A. Vivaldi concerts “Le Quattro Stagioni” and “L’estro Armonico”. At the same period of time Vlad made a number of records for WDR and Opus111 with the early music ensemble “Musica Petropolitana”.

As a soloist Vladislav appeared repeatedly with St. Petersburg Philharmonic Orchestra, The State Academy Symphony St. Petersburg Orchestra, Vladicaucasus and Skopje Philharmonic Orchestras, Murmansk Philharmonic Orchestra, orchestra of The State Hermitage “St. Petersburg Camerata”, Arkhangelsk State Chamber Orchestra, “MUSICA VIVA”, Niewe Ensemble (Amsterdam), “The Pocket Symphony” (Moscow), «Minsk Chamber Soloists», State Mongolian Chamber Orchestra (Ulan-Bator).

Vlad collaborated with T. Zehetmair, H. Holliger, S. Sondetskis, T. Sokhiev, F. Mastrangelo, A. Rudin, T. Grindenko, D. Zubov, N. Kozhukhar, J.M. Onken, M. Fedotova, A. Goribol, F. Lednev.

From 2005 he is the artistic director and soloist of the created by him “One Orchestra”. The ensemble collaborated with «PICCOLO-teatro» of Milan in the production of the W. A. Mozart opera «Cosi fan tutte» (producer George Streler) on the stage of The St. Petersburg Alexandrinski Theatre. With the participation of “One Orchestra” went off successfully the Russian premiere of the «Stabat Mater» by L. Boccerini (author’s version of 1800) under the guidance of the Lucca (Italy) «Boccerini-Orchestra» chief conductor maestro Rafaele Mascolo, and was realized the Russian premiere of the B. Britten’s cantata «The Saint Nicholas», under patronage of The British Council in St. Petersburg.

He takes part in prestigious international festivals of early and modern music as a soloist of The Moscow Contemporary Music Ensemble (MCME);

carries on the intensive concert activities in Russia and abroad, appearing as a member of the “Playel-trio”, the concerts and records of which are regularly transmitted by the broadcasting stations WDR-3, NDR-3, Russia Radio, Radio «Orpheus».

From 2009 to 2012 he was the first violinist of The State Glinka quartet.

In the seasons 2012-2014 he was statedly ivited as co-concertmaster of Orchestre

National du Capitole de Toulouse (artistic director T.Sokhiev).

He is a grant-holder of the Darmstadt international Music Institute (Internationales Musikinstitut Darmstadt) in the nomination «Interpretation», 2012.

He participated in the recording of more then 20 compact discs, in particular chamber music of L. Desyatnikov, V. Gaivoronski, P. Karmanov, B. Filanovski, D. Kurlyandski, B. Furrer. Together with Vasili Ilisavski (hammerklavier) they were the first in the Russia, who recorded on the historical instruments Violin Sonatas by L. van Beethoven.

AT WHAT POINT DID YOU REALIZE YOU WOULD BE A MUSICIAN?

My mother told me I used to sing during walks at the Summer Garden when I was 1.5 years old. People passing by were surprised by how cleanly I was singing — although I didn’t understand it back then. But ever since I was sent to music school by my parents (I was 5.5 at the time), I’ve seen no other option but to become a musician. That was a totally conscious decision.

WHAT INSPIRES YOU?

Sincerity and the ability to be amazed. People and their unorthodox ideas. Nature. Big creative goals. I’m inspired by what I love.

WHAT FUELS YOUR CREATIVITY?

Creativity is born in and fueled by love. Nothing else really matters.

WHAT DO YOU FEEL WHEN YOU GO UP ON STAGE?

Hours, days, weeks, months of hard work precede every time I go up on stage. When I’m performing, I strive to breathe life into what I’ve been contemplating for so long.

WHAT MUSIC DO YOU PREFER TO PERFORM: OLD OR MODERN?

I always try to observe and classify the changes happening to me; this seems like a useful thing to do. For instance, I’m interested to know how certain music affects me at different points of my life, what thoughts it provokes, what changes it brings. Personally, I don’t see much difference between old and modern music — discounting the fact that I’ve been seriously doing old music since the early 90s but have only been into modern music for about 15 years. The outcome is: the more inner freedom you have, the brighter, braver, more sophisticated and variegated your ability to share your vision of the composer’s idea becomes. You have to possess a lively, objective and thorough approach to every detail; you basically have to become the co-author of the piece you’re performing. If you have that, you’ll find joy in whatever you’re doing.

WHAT PIECE OF MUSIC DO YOU DREAM OF HEARING, AND IN WHOSE VERSION?

Beethoven’s Concerto for Violin, performed by Paganini.

WHAT MUSIC WOULD YOU LIKE TO PERFORM YOURSELF?

I dream of performing the Concerto for Violin by Valentin Silvestrov.

WHAT DO YOU VALUE THE MOST IN WORKING WITH MUSICAETERNA?

It seems that musicAeterna doesn’t have the word “routine” in its vocabulary (and I really hope things stay that way in the future). This is what I value the most, along with the orchestra’s creative vibe, the outstanding personal and professional qualities of my colleagues, the openness and readiness for creative experiments. I’m delighted to be working with Teodor: I admire his wit, intuition, broad outlook, big-time artistic sincerity, bravery and the ability to doubt. I love the way he hears music.

musicAeterna orchestra events

April 25, 19:00

Tashkent | Palace of International Forums «Uzbekistan»

Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet

Symphony concert

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April 27, 20:00

Dubai | Dubai Opera

Tchaikovsky: Francesca da Rimini, Capriccio Italien, Romeo and Juliet

Symphony concert

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April 28, 20:00

Dubai | Dubai Opera

Richard Wagner: Ouvertures

Symphony concert

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May 26, 20:00

St. Petersburg | State Academic Capella

Dvořák: Alexander Sladkovsky and musicAeterna

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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)

Allegro non molto
Adagio
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

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Valentin Silvestrov. October 25, 1893 (In memory of P.I. Tchaikovsky)

3 years ago

Moz-Art. Alfred Schnittke

3 years ago

John Cage. Nocturne for Violin and Piano

3 years ago

Chamber music. George Crumb.

3 years ago

Vladislav Pesin

musicAeterna orchestra events

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