»Zerbrochenes Lied hallt nach« (2022)
mit dem zitierten Duettino ,,pur ti miro'' aus Monteverdis L'incoronazione die Poppea

Hamburger Ratsmusik
Christoph Heidemann, Barockvioline
Ulrich Wedemeier, Theorbe
Simone Eckert, Diskantgambe
Birte Schultz, Altgambe
Hermann Hickethier, Bassgambe I
Heike Johanna Lindner, Bassgambe II

Uraufführung am 31.01.2023, Elbphilharmonie Hamburg

Auftragskomposition von Hamburgische Vereinigung von Freunden der Kammermusik

Aufnahme von Generalprobe, Elbphilharmonie Hamburg

Zerbrochenes Lied hallt nach (2022) für Barockvioline, Viola da Gamba Consort und Theorbe

Aria in d-minior for violin and harpsichord by Elisabeth Jacquet de La Guerre played by Copenhagen based duo AVERI :  Jesenka Balic Zunic- baroque violin and Yngvild Vivja Haaland Ruud - harpsichord.
their website: www.averibaroque.com

AVERI plays Aria In D - Minor by Elisabeth J.de La Guerre

M. Corrette - Sonata in e Minor No. 4, mov. 3 Presto
Duo Agion
Semion Gurevich - violin
Agnieszka Skorupa - harpsichord

Felix Reiff - Recording & Mastering

M. Corrette - Sonata in e Minor No. 4, mov. 3 Presto

G.F. Händel - Sonata in D major HWV 371, mov. 2 Allegro
Duo Agion
Semion Gurevich - Violin
Agnieszka Skorupa - Harpsichord

Felix Reiff - Recording & Mastering

G.F. Händel - Sonata in D major HWV 371, mov. 2 Allegro

The great progress of civilisation in the first half of the 19th century undoubtedly had a colossal impact on the mentality of the society of that time. The enormous possibilities opened up by the invention of steam engines allowed people to look into the future of human development with great optimism. It can be assumed that for the people of that era, the present and the future were more important than looking back. But at the same time, the development of archaeology, extensive research into the origin of species and humans, and the emerging interest in the art of ancient times also resulted in a fascination with the works of composers from bygone eras. At this point we come to the essence of our considerations. How would a musician living in the first half of the 19th century interpret a piece written a hundred or so years earlier? Would they try to achieve a rendition as close as possible to the original, or would they rather construct a ‘Neo-baroque edifice’, referring to the architectural practice of that time?
	The best solution at this point would be to get into a time machine, go to Leipzig in the mid-19th century and make friends with Ferdinand David. Since we do not yet have such an option, one of the substitutes for a vehicle that we can use is David’s violin transcription of the Six Cello Suites by Johann Sebastian Bach.

Zbigniew Pilch
Translated by Anna Marks

ACD 337 - CD2 Track 01 - Bach - David - Cello Suite No  1  - Prelude

ACD 337 - CD1 Track 04 - Bach - David - Cello Suite No  3  - Sarabande

Concert recording, 20/07/2024, Bratislava, recorded by Krisztina Megyeri. Performed by: Anna Lachegyi - viol, Róza Lachegyi - baroque violin, Dóra Pétery - harpsichord.  
Cover photo credit: George Logan.

Favourite Tunes

Semion Gurevich – violin, viola, composition
Agnieszka Skorupa – fortepiano, harpsichord, piano

Duo Agion is a music ensemble based in Berlin. Agnieszka Skorupa and Semion Gurevich have been playing together since the beginning of 2022. They are the winners of first prizes at early music competitions, such as the Göttingen Händel Competition 2023 and the Biagio Marini Competition in Neuburg an der Donau 2023 (as Daimona Ensemble). Recipients of the Neustart Kultur Deutschland and Paul-Hindemith-Society scholarships.

New tracks tagged #baroque violin