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Classical concerts featuring
Asya Fateyeva

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Upcoming Concerts

Concerts featuring Asya Fateyeva in season 2024/25 or later

March 4, 2025
Artistic depiction of the event

Ensemble Resonanz / Asya Fateyeva / Leopold Hurt

Tue, Mar 4, 2025, 19:30
Elbphilharmonie, Kleiner Saal (Hamburg)
Ensemble Resonanz, Asya Fateyeva (Saxophon), Leopold Hurt (Conductor)
An open archive as philosophy and practice. Where material and resources are open to all, boundaries become new horizons – and scores become white canvases: Asya Fateyeva and Ensemble Resonanz explore creative ways of transformation with works by Franz Schubert, Johann Sebastian Bach, Luciano Berio and others. The saxophone, a bold pioneer in the classical repertoire, explores the boundaries of the familiar and invites you to an evening full of surprising twists, transformations and new interpretations: Franz Schubert’s »Arpeggione Sonata« in a double arrangement by Luciano Berio offers a glimpse into his own work in progress, as do collectively developed versions from the Kronos Quartet’s »50 for the future« collection. Only one remains untouched: Bach’s »Air«, in which the original can once again be considered the new.
March 5, 2025
Artistic depiction of the event

Ensemble Resonanz / Asya Fateyeva / Leopold Hurt

Wed, Mar 5, 2025, 19:30
Elbphilharmonie, Kleiner Saal (Hamburg)
Ensemble Resonanz, Asya Fateyeva (Saxophon), Leopold Hurt (Conductor)
An open archive as philosophy and practice. Where material and resources are open to all, boundaries become new horizons – and scores become white canvases: Asya Fateyeva and Ensemble Resonanz explore creative ways of transformation with works by Franz Schubert, Johann Sebastian Bach, Luciano Berio and others. The saxophone, a bold pioneer in the classical repertoire, explores the boundaries of the familiar and invites you to an evening full of surprising twists, transformations and new interpretations: Franz Schubert’s »Arpeggione Sonata« in a double arrangement by Luciano Berio offers a glimpse into his own work in progress, as do collectively developed versions from the Kronos Quartet’s »50 for the future« collection. Only one remains untouched: Bach’s »Air«, in which the original can once again be considered the new.