Inside

Sebastian George (ca. 1740 – 1796)
Quintett F-Dur
für zwei Flöten, zwei Violinen und Violoncello

Johann Joseph (Ivan) Kerzelli (1752 – 1820)
Trio Nr. 5 c-Moll aus „Six Trios pour Deux Violons ou Flute, Violon et Basse“

Johann Heinrich Facius (1759 – 1810)
Duetto für zwei Violoncelli Nr. 3 D-Dur aus „Trois duos pour deux violoncelles“

Johann Joseph (Ivan) Kerzelli
Trio Nr.1 a-Moll aus „Six Trios pour Deux Violons ou Flute, Violon et Basse“

Joseph Haydn (1732 – 1809)
Symphonie „Roxelane“
Anonyme Bearbeitung für zwei Flöten

Sebastian George (ca. 1740 – 1796)
Concertino G-Dur für zwei Flöten, zwei Violinen
und Violoncello

Impressions

Les Barbares Galantes

Chamber music by German composers in Russia 1770-1800

The musical culture of the 18th century produced a substantial number of excellent compositions. But history is sometimes unfair and vast amounts of music worth playing still remain undiscovered in the archives. Th is makes it immensely fascinating for us to investigate these libraries full of musical treasures.

The musical life in 18th century Russia has always been a terra incognita for European early music lovers, though music played the same pivotal role at the court of Catherine the Great as at other European courts. Most areas of life were fi lled with music, from court opera to private theatres, from concerts in the empress’ chambers to chamber assemblies in the houses of aristocrats and the bourgeois upper class. Unfortunately, we know very little about the life of 18th century musicians. Due to the 19th century’s lukewarm attitude towards the Age of Enlightenment, fi res, revolutions and archives in disarray a signifi cant number of scores is poorly preserved or even lost. In the case of the music composed in Moscow between 1770 and 1790, the question was raised as to whether it had ever existed. Th anks to meticulous research, some of this music was rediscovered.

18th century Moscow had several dozen private orchestras and theatres where key positions were held by foreign musicians. Competition among orchestras for the best kapellmeisters, soloists and the latest compositions was intense.

A number of remarkable musicians and composers were invited to Moscow. Th ey were held in high esteem in Russia but were totally forgotten aft er their demise. In Soviet times, their art used to be called “craft smanship”, which was unfair as we can see today.

Musicians

Polina Gorshkova Traverso
Instrument: Rudolph Tutz, Innsbruck 2013 (Heinrich Grenser, Dresden ca. 18. Jhd.)

Dorothee Kunst Traverso
Instrument: Martin Wenner, Singen 2018 (Heinrich Grenser, Dresden ca. 18. Jhd.)

Martyna Pastuszka Baroqueviolin
Instrument: Valentino Siani, Florenz 1638

Adam Pastuszka Baroqueviolin
Instrument from Roger Hargrave, 2016 (Guarneri del Gesu)

Pavel Serbin Baroquecello
Instrument: Anonymus, Amsterdam School, ca. 1770

Davit Melkonyan Baroquecello
Instrument: Albert Caressa, 1905, Paris