Unser Team
Alexander Light Photography
Savva Zihs
Bandoneon player: Responsible for the melodic lead and the characteristic tango sounds on the bandoneon.
Savva Zihs completed his music studies in Latvia in 2020 with a major in accordion and further expanded his knowledge through the Erasmus program at music conservatories in Rome and Antwerp. He developed a special passion for performing Baroque music, jazz, and tango on the accordion. While playing tango in various ensembles on the accordion, he realized that the instrument was not suitable for an authentic tango sound. Since 2022, Savva has been delving into the music and performance of tango on the bandoneon. He creates also transcriptions of piano and organ works by J.S. Bach, which can be heard on his YouTube channel, along with pieces by other composers, performed on accordion or bandoneon.
Oksana Pinchuk, Violin
Violinist Oksana Pinchuk studied in Kyiv and at the Hochschule für Musik und Tanz Köln. She is active in numerous symphony projects—often serving as concertmaster—and regularly performs with ensembles specializing in historically informed performance. In addition, she teaches violin and viola and is the mother of three children.
As a musician with clear expressive power and a natural stage presence, she reaches her audience through her emotional, lively playing and warm sound. She masters the essential tango techniques and shapes the distinctive style of Tango à Quartet with her own musical ideas and careful interpretations.
"I grew up in a musical family, and the path to music seemed natural to me from the very beginning, almost predestined. At one point, I even tried to resist it, but my mother convinced me that there is no better profession. Choosing my instrument also felt completely natural: I didn’t make the choice myself. My mother decided I would play the violin—and so it happened. Later, the piano came into my life, which was difficult for me, then the guitar, which I taught myself a little, and when I studied Baroque music, I took up the viola, even though reading the alto clef still requires full concentration to this day.
On my journey, I had many teachers, and I am grateful to everyone who left a mark. Olga Korinets taught me how to practice correctly, Professor Richard Gwilt taught me to believe in myself, to speak through the bow, and to seek answers in the sources. Masterclasses with Ilja Korol, Rachel Podger, and others opened new horizons for me. I also value my friends—Kirill Sharapov, Alexander Khatiskatsi—whose trust in me and personal example have been a great inspiration. My role models have always been people who never stop learning, work with full dedication, and maintain harmony in life and family.
The music I listen to is mostly connected to work: for concert preparation, one must be constantly immersed in the material. This can be tango, Baroque music, or symphonic repertoire—depending on the program. For myself, to relax, I choose other music: Ukrainian bands, French and Italian songs from the last century, Avishai Cohen, rock ’n’ roll. But above all, I value the silence that follows concerts and travel—it becomes a luxury. Had my life taken a different path, I might have become an actress, chef, or doctor—these are possibilities I sometimes imagined.
On stage, love for the art and devotion to music help me. I always give my all, no matter how many people are in the hall, even if at the end I sometimes regret that not everyone could hear and experience what we created. Sometimes, an imbalance between emotion and rationality, or lack of language skills, can be an obstacle when it is important to communicate something precise and sincere to the audience. But recently I heard an important piece of advice: look at the audience before the concert and love them. It really works.
My rituals are simple: changing clothes, doing makeup and hair, if possible, having a cup of tea, and after the concert, a glass of red wine. The stage represents the quintessence of my profession, its core. Here, time passes differently; past, present, and future converge at a single point. The audience’s reaction is unpredictable, like a wave for a surfer, and one learns to be alive in every moment.
After tours and intense concerts, I need silence and sleep—a space to recover. With children, this is not always possible, but precisely for that reason, it becomes especially valuable. Inspiration comes from various sources: the audience’s gratitude, travel, conversations with friends, plans for the future.
Tango holds a special place in my life—a music in which one cannot exaggerate emotions, in which one can be fully oneself and play with like-minded people. Tango is not just a genre or a hobby: it is a language, a joy, and a necessity, just like music itself is for us musicians. I love Osvaldo Fresedo, Osvaldo Pugliese, Astor Piazzolla, and admire Tango Bardo, Solo Tango Orchestra, and the Piazzolla Quintet. Argentine tango has a unique nature—music created by people far from home, seeking their homeland in sound. It has absorbed voices from different cultures and speaks to everyone, even in our inner language".
Alexander Light Photography
Alexander Light Photography
Anvar Akbari, Piano
Originally from Uzbekistan, the classically trained and highly accomplished concert pianist Anvar Akbari continued his studies at the Cologne University of Music, Aachen campus, after graduating from the Tashkent Conservatory. Upon completing his degree with distinction, he was appointed as a lecturer at the same institution. For many years he has been a sought-after soloist, chamber, and orchestral musician, performing across Germany, the Netherlands, Italy, Belgium, France, and Russia. He has appeared multiple times at the Cologne Philharmonic and has collaborated closely with Theater Aachen and the Aachen Symphony Orchestra. As an accompanist for singers and instrumentalists, he has earned an excellent reputation since settling in Germany. Two years ago, he founded the Tango A Quartett together with Savva Zihs.
"I was born into a family of musicians – there was hardly another path for me. Music surrounded me from early childhood: we had a piano at home, and I was always drawn to the keys. Over time, that childish curiosity turned into a conscious desire to become a musician. My teachers played a huge role in shaping me – they helped channel my energy and taught me to truly feel the music.
I fell in love with the stage as a child. My mother was an opera singer, and I spent countless hours in the theatre watching her perform before thousands of people. Because of that, the stage became something natural and familiar to me – I almost never experience stage fright. Before going on stage, I have no special rituals: I simply go out and share my music. The stage is not a test for me, but a joy – an opportunity to tell stories through sound. Concerts don’t tire me; they give me energy and inspire me to keep exploring. My greatest source of inspiration is the person I love – without that inner warmth, there can be no creativity, no real music.
After many years in classical music, I began to feel burned out. That’s when fate brought Savva into my life, and through him I discovered a completely new world – the world of tango. It was a turning point. Tango revealed itself to me as a living organism full of passion, rhythm, and emotion. Like many others, I was inspired by Piazzolla, D’Arienzo, Troilo, Pugliese, and other great masters. Tango has a rhythm and energy unlike any other genre – it unites music and movement, intellect and heart.
Through this new love for tango, I came to the ensemble. I still remember our first rehearsal – it felt as if we suddenly began speaking the same language, even though each of us came from a different musical universe. The hardest part was understanding the various tango styles – it’s a vast world, and I’m still learning. Over time, I realized how important it is not only to play for the listeners, but also to feel the dancers. Since I started dancing myself, I’ve come to understand much better how the music should sound to make people want to move. When dancers are present, the atmosphere becomes special – at milongas I feel the greatest joy in performing.
Every performance brings something new, but the most vivid memory remains my first encounter with tango culture. That was the moment when everything clicked, when I realized I had found “my own.” The tango audience is unique – they don’t just hear the music with their ears, but with their whole body and heart. I still have only the warmest memories of those encounters. Of course, funny moments happen too – especially now that I use an iPad for sheet music. Sometimes I swipe the wrong way or open the wrong piece, but such moments remind me that a live concert will always be a little unpredictable.
Our ensemble functions like a single living organism. We share very warm, almost family-like relationships – without trust and breathing together, true art is impossible. Before every performance, we have a tradition of checking all equipment and instruments – that discipline gives peace of mind. I’m probably the strictest member of the group, yet I can also be as playful as a child – perhaps that’s the balance: seriousness in work and lightness in spirit.
Today, I see tango as something perfect. It doesn’t need radical change, but it’s always open to new inspiration. I’m eager to collaborate with musicians from other genres – because it’s at the intersection of different worlds that new energy arises. And if I speak of dreams, one of the greatest would be to perform at Carnegie Hall."
Alexander Light Photography
Andri Stukalenko
Double Bassist: Provides a powerful bass foundation in our tango ensemble.
Andri Stukalenko, with extensive experience across various genres and formats, has spent many years as a solo and tutti double bassist in symphony, opera, and chamber orchestras as well as ensembles. His musical journey is reflected in numerous performances with orchestral accompaniment. In addition to his musical engagements, Andri is distinguished by a solid musical and general education, shaped by continuous self-study and personal development. As an educator and expert in string instrument repair, he shares his knowledge and skills. Alongside his classical repertoire, he is also successfully active as an electric bassist.