Ieva Saliete (harpsichord) and Rebeka Rusó (viola da gamba). The Berlin Correspondence

In the second half of the 18th century, the viola da gamba was gradually yielding its place in European musical life to the cello, yet at the Prussian court its refined, voice-like sound was still particularly cherished. This is reflected in the remarkable correspondence between the French gamba master Jean-Baptiste-Antoine Forqueray and the Prussian prince Friedrich Wilhelm, the future King Friedrich Wilhelm II. In his letters, the prince sought to uncover the secrets of the French gamba tradition and preserve an art form whose time was already drawing to a close.

The concert programme The Berlin Correspondence emerges from this historical dialogue. The music of Antoine and Jean-Baptiste-Antoine Forqueray reveals the splendour of the French Baroque — elegance and virtuosity, refinement and, at times, an almost theatrical force. In works composed in 18th-century Berlin, both the musical language and the relationship between the two instruments begin to change: in Christoph Schaffrath’s sonata, the harpsichord is no longer merely an accompanist but becomes an equal partner in dialogue with the viola da gamba.

In the second half of the programme dialogue between a world in decline and one beginning to emerge is brought to life by two specialists in early music. Harpsichordist Ieva Saliete’s artistic work spans both early and contemporary repertoire, while Slovak artist Rebeka Rusó brings particular sensitivity to the viola da gamba’s supple, singing sound.