Jonny Asya Fateyeva

• Erwin Schulhoff (1894 - 1942): Hot-Sonate:
• 1Hot-Sonate: I. (M. M. = 66) (Arr. für Saxophon und Streichquartett)04:25
• 2Hot-Sonate: II. (M. M. = 112) (Arr. für Saxophon und Streichquartett)02:05
• 3Hot-Sonate: III. (M. M. = 80) (Arr. für Saxophon und Streichquartett)03:42
• 4Hot-Sonate: VI. (M. M. = 132) (Arr. für Saxophon und Streichquartett)05:03
• Adolf Busch (1891 - 1952): Quintet for Alto Saxophon and String Quartet, Op. 34:
• 5Quintet for Alto Saxophon and String Quartet, Op. 34: I. Vivace ma non troppo07:10
• 6Quintet for Alto Saxophon and String Quartet, Op. 34: II. Scherzo03:12
• 7Quintet for Alto Saxophon and String Quartet, Op. 34: III. Andante sostenuto09:44
• Anton Webern (1883 - 1945): Quartet, Op. 22:
• 8Quartet, Op. 22: I. Mäßig02:47
• 9Quartet, Op. 22: II. Äußerst schwungvoll02:56
• Ernst Krenek (1900 - 1991): Suite aus "Jonny spielt auf":
• 10Suite aus "Jonny spielt auf": Zwischenspiel zu Szene 2 (Arr. für Saxophon, Violine, Cello und Klavier)02:00
• 11Suite aus "Jonny spielt auf": Szene 3. Tempo di Tango (Arr. für Saxophon, Violine, Cello und Klavier)01:39
• 12Suite aus "Jonny spielt auf": Szene 3. Zwischenspiel & Jonny (Arr. für Saxophon, Violine, Cello und Klavier)01:46
• 13Suite aus "Jonny spielt auf": Szene 3. Shimmy (Arr. für Saxophon, Violine, Cello und Klavier)01:35
• Paul Hindemith (1895 - 1963): Trio, Op. 47:
• 14Trio, Op. 47: Erster Teil. Solo - Arioso - Duett06:24
• 15Trio, Op. 47: Zweiter Teil. Potpourri07:57
• Kurt Weill (1900 - 1950): Dreigroschenoper:
• 16Dreigroschenoper: Mackie Messer (Arr. für Saxophon, Streichquartett und Klavier)02:33
• 17Dreigroschenoper: Ballade vom angenehmen Leben (Arr. für Saxophon, Streichquartett und Klavier)02:33
• 18Dreigroschenoper: Zuhälterballade (Arr. für Saxophon, Streichquartett und Klavier)02:56
• 19Dreigroschenoper: Kanonensong (Arr. für Saxophon, Streichquartett und Klavier)02:01
• Total Runtime01:12:28

Info for Jonny

On her first chamber music album for Berlin Classics, saxophonist Asya Fateyeva looks back to the glory days of her instrument: in the Twenties of the last century, the sax was the voice of modern salon music and an equal partner to the other instruments of the classical chamber ensemble. Even as it enjoyed its heyday, dark clouds were gathering on the horizon. This is an album that occupies the territory between danceable urban rhythms, cultural ostracism and groundbreaking developments in music.

Asya Fateyeva’s album Jonny takes its title from Ernst Krenek’s “mirror-on-society” jazz opera Jonny spielt auf. This is a work pervaded by the zeitgeist of the Roaring Twenties, with a track record that reflects the cultural and social tendencies of its time: 421 performances in 45 different cities during its first season on the one hand, and the use – or misuse – of its black saxophonist on the “Degenerate Music” exhibition poster of 1938 on the other, illustrate the work’s pivotal position. But Asya Fateyeva has spread her net wider than Ernst Krenek: “I am totally fascinated by the different ways in which composers use music to talk their own language and express their own world-view. You almost have the feeling that there must be a few centuries separating them. Adolf Busch, Paul Hindemith and Anton Webern treat the saxophone as a sonic medium, virtually as a means to an end. Erwin Schulhoff, Kurt Weill and Ernst Krenek employ it essentially to express the zeitgeist and to voice the bitterness, the sarcasm and the ambivalent attitude towards life and death that marked the 1920s.”

Her chamber-music “partners in crime” are Emma Yoon and Florian Donderer on violin, Yuko Hara on viola, cellist Tanja Tetzlaff, Stepan Simonian at the piano and Shirley Brill playing clarinet. “The great thing about a chamber recording is that it’s very intimate. We are all in equilibrium, we all play an equal part in the proceedings. It’s not as if I do my thing as a soloist and they are my accompaniment. Each musician and each personality is very important.” You note this concert-seasoned togetherness, the dialogue and the interest in the various musical phenomena of the period. “It’s a kind of panorama – I really like the way you can open a window into the past and see how bold they were, striking out in new directions at that time,” says Florian Donderer. “What’s unusual is having a saxophone in chamber music. The saxophone has never established a real presence and maybe it has not always been taken at face value ...”

Asya Fateyeva has long seen it as her mission to draw attention to the saxophone in classical music. With her new album Jonny she sheds light on the moment in time when her instrument was about to take its rightful place in the established line-up of instruments.

Asya Fateyeva, saxophone
Florian Donderer, violin
Emma Yoon, violin
Yuko Hara, viola
Tanja Tetzlaff, cello
Stepan Simonian, piano
Shirley Brill, clarinet

Asya Fateyeva
Born on the Crimean Peninsula in 1990, Asya Fateyeva can draw on a wide repertoire, encompassing works originally written for her instrument as well as works from the Baroque, Classical and Romantic periods. Her training has combined the Russian tradition of soulful music-making with the methods of the French classical saxophone school. She regularly plays tenor saxophone in the renowned Alliage Quintet. Now based in Hamburg, she has taught classical saxophone at the Münster College of Music since 2014.

Asya Fateyeva has performed with numerous orchestras, including the Vienna Symphony Orchestra under Vladimir Fedoseyev at the Vienna Musikverein. She has appeared as a guest in the Tchaikovsky Symphony Orchestra of Moscow Radio, the National Philharmonic of Ukraine and the Istanbul State Symphony Orchestra. She has been invited to perform at festivals in Colmar, Fermo, Cologne, Moscow and St Petersburg and at the Festival of Mecklenburg-West Pomerania too. In 2015 Asya Fateyeva won the Berenberg Arts Award, which included prize money of 10,000 euros. In October 2016 she won the ECHO Klassik award for “Newcomer of the Year”.

This album contains no booklet.