Even purists would weaken there, wrote the Berliner Newspaper about Asya Fateyeva's second publication Bachiana, on which she composed Bach compositions for the saxophone that didn't even exist during Bach's lifetime. On her new CD, too, the soloist strikes unusual note Ways in. This time she explores the world of the Carnival, his dramas, characters and always surprising human entanglements. For this I would like to the saxophone excellent, so Fateyeva: "The title Carneval describes the spirit of the saxophone. It likes to be disguise, try out, sound out different styles and "and take on the roles of other instruments." Thanks to this Asya Fateyeva is able to offer a wide variety of of love, friendship and also of death. As in an opera production she has soprano, alto and tenor saxophones as figures and shows, among other things, how close your instrument is to the the human voice can reach. "Massenet, Bizet and many other composers used the saxophone to play the a special, vocal color," says Asya. With Carneval she goes back to the history of her instrument. which was invented shortly after in the 19th century. in the orchestra pits of Paris.
