Trumpets

Zhassulan Abdykalykov

In the orchestra since 2019

Zhasulan Abdykalykov was born on July 1, 1992 in Kazakhstan. In September 2003, he entered the Kazakh National Music Academy (tuba class under Pyotr Zhizhila); in 2010, he was accepted to the 2nd year of the Academic Music College at the Tchaikovsky Moscow State Conservatory. In 2018, he graduated from the Tchaikovsky Moscow State Conservatory. He also studied at the Hamburg University of Music and Theater under professor Matthias Höfs.

Zhasulan Abdykalykov won the 3rd prize at the “Music Assemblies of Syberia” All-Russian Open Festival, a contest for young brass and percussion players (Novosibirsk, 2008). He also won the 2nd place (in 2011) and the 1st place (in 2016) at the International contest for young brass and percussion players held by the Moscow State Conservatory.

He is a laureate of the 1st prize at the International contest for young brass and percussion players (2011). In 2016, he became 1st at the Elise Meyer contest (Hamburg); in 2019, he was 8th at the 16th Tchaikovsky International Contest.

Since August 2019, Zhasulan Abdykalykov has been the regulator of the tuba group at the musicAeterna orchestra.

CAN YOU REMEMBER YOUR FIRST PERFORMANCE?

It must have been around 2001, when I was still playing the recorder (all brass players start with it since other instruments are too heavy for a child). However, I don’t think I gave much thought to going up on stage as a kid. Only in the 6th or 7th grade did I realize people were looking at me while I was performing; that’s when I started feeling the responsibility. Of course, I now feel way more confident about it, but I still get the feeling of creative anxiety. You can’t really go and perform without that feeling.

HOW DO YOU GET READY FOR A PERFORMANCE?

The day before, I try to imitate the day of the performance. This helps me understand how my body is going to react. I do some practice in the morning, take a nap after lunch, perform in the evening — and then I repeat it all on the next day. Just like a sportsman warms up and gives his muscles some rest, I prepare my body for the concert. I also used to do emotional preparation in the past: I tried to focus my mind on playing to the best of my ability. However, you get wiser with age: you stop caring about impressing someone and simply do what you love doing.

CAN YOU IMAGINE BEING ANYTHING ELSE BUT A MUSICIAN?

I could see myself being a sportsman. I adore soccer — both playing and watching it. In fact, music and sports have much in common: both require discipline, daily practice, a strive towards success, an on-the-road lifestyle, and teamwork of course.

WHAT MAKES MUSICAETERNA SPECIAL TO WORK WITH?

It’s more than just another orchestra. We even play standing up, as if each of us were a soloist. And it’s true, in fact. Most of the orchestra members are also successful soloists. At musicAeterna, they are all united by a common ideal.

musicAeterna orchestra events

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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June 2, 19:00

St. Petersburg | Hermitage Museum

The musicAeterna Orchestra and Choir. Ars Vivendi

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

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

Sold out