“Great suggestive power unites the captivating women's ensemble with youthful freshness.” — Donaukurier

The legend of the flute-playing satyr Marsyas is about passion, courage, talent, cruel revenge and a musical duel ...

Paula Pinn (recorders), María Carrasco Gil (baroque violin), Konstanze Waidosch (baroque cello, viola da gamba) and Sara Johnson Huidobro (harpsichord) also came together on the occasion of a competition: Without ever having played music together before, they decided without further ado in 2019 to participate as Marsyas Baroque in the German Music Competition (Deutscher Musikwettbewerb) of that year. They were successful and received a scholarship from the German Music Council (Deutscher Musikrat), combined with admission to the BAKJK (Bundesauswahl Konzerte Junger Künstler), and the special prize of the Ensemble Academy Freiburg. A short time later, the ensemble also won 1st prize at the renowned Biagio Marini Competition in Neuburg an der Donau.

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Their passion for the so-called historical informed practice unites the musicians in the exploration of a playing style that is as authentic as possible for each epoch - of course on the appropriate historical instruments. They never forget to inspire the audience with their commitment, enthusiasm and virtuosity at every performance. Following this vision, the ensemble made it to the final of the CIMA competition in France in June 2021 and later became the new Rheinsberger Hofkapelle 2021/22 appointed by the Music Academy in Rheinsberg. 

Konstanze owns a cello with the original label "Antonius Bachmann// Königl. Preuß. Hofinstrumentenmacher// Berlin 1782".

The striking thing about this cello is its small size: 64,1cm body length, a half cello we would say today. This raises the following questions:

Was this cello specially designed to be used by a child or does its size refer to a high tuning? Can we then consider this instrument an exception, or does it tell me something about a common cello practice in Berlin/Potsdam in the late 18th century? 

In her research Konstanze tried to establish a relation between surviving original instruments, cello technique and the repertoire in Berlin to approach a hypothesis of what the historical framework of this Bachmann instrument might have been.

If you are interested in reading my research, please contact me!