Musical Delicacies

— Early Music Concert Series —

Plakát na koncert
Wappen derer von Magnis
Foto: Fletny, Lorenzo Cerini, cca. 1760

Music from Strážnice (Strassnitz) castle

A unique collection of 250 years old, unjustly forgotten music, played on the original instruments by the legendary cellist Christophe Coin and his friends.

Monday 16. December 2013 19:30 — Moravian Museum (Moravské zemské muzeum, MZM), foyer of Dietrichstein palace, Zelný trh 8, Brno. Wheelchair accessible

From 18:30 holders of tickets for the concert have free admission to MZM’s exhibition “Journey to the musical past / Musica Magni”, featuring music and instruments from the 18th century.

Report from Czech Television “Exhibition brings the musical culture of the Magnis family closer” (broadcast 28.11.2013 18:00, duration 01:50 minutes, in Czech).


Secondo (? – ?)Notturno Nº 3 a due flauti e basso del Sr. Secondo / Pel. S. A. M. (G dur) (CZ–Bm A73)
Allegro — Minuetto
Antonio Caputi (1720/30 – before 1800) Sonata a traversiero solo e basso del sig. D. Antonio Caputi (D dur) (CZ–Bm A42)
Andante — Allegro — Largo — Allegro
AnonymNotturno a due flauti e basso (C dur) (CZ–Bm A67)
Andante — Allegro
Giuseppe Tartini (1692 – 1770)Sonata a violoncello e basso (a moll)
Adagio — Allegro spirituoso — Aria
Archangelo Corelli (1653 – 1713)Trio sonata op. 3 No. 5 (d moll) (CZ–Bm A45)
Grave — Andante — Allegro — Largo — Allegro
AnonymDivertimento a due violini con il violongello (B dur) (CZ–Bm A61)
Allegro Má non presto — Largo Affettuoso — Folia Allegro
Carl Stamitz (1745 – 1801)Duetto di Carlo Stamiz (G dur) (CZ–Bm A83)
Giuseppe Clemens dall’Abaco (1710 – 1805)Capriccio Nº 2 a violoncello solo (g moll)
Francesco Ruge
(? perhaps Filippo Ruge, 1725 – 1767)
Solo. Flauto traverso con Basso (G dur) (CZ–Bm A118)
Largo — Allegro — Allegro
Karl Kohaut (1726 – 1784)Sonata a liuto solo (D dur)
Geis (? – ?)Trio del Sigr. Geis (D dur) (CZ–Bm A31)
Adagio — Vivace — Tempo di minuet


1. Original traverso: Lorenzo Cerino, Turin cca. 1760 (private collection, Christophe Coin)
2. Original traverso: Lorenzo Cerino, Turin cca. 1760 (Strážnice collection, Moravian Museum, Brno)
3. Original violoncello: Alessandro Gagliano, Napoli cca. 1720 (Fonds Instrumental Français)
4. Baroque lute: Lars Jönsson, Dalarö 2008, copy after Schelle 1744/Wildham 1755

Foto: Christophe Coin

Christophe Coin

Christophe Coin, born in Caen (Normandy), studied in his native city with Jacques Ripoche, then in Paris with André Navarra. He was a disciple of Nikolaus Harnoncourt and Jordi Savall, with whom he worked for several years as a member of Hespèrion XX. As a soloist he is regularly invited to appear with the most prestiguous Early Music ensembles, such as Concentus Musicus Wien, the Academy of Ancient Music, and Il Giardino Armonico. He was artistic director of Ensemble Baroque de Limoges for 20 years, winning recognition for instance for its recordings of Bach cantatas. In 1984 he founded the Quatuor Mosaïques, which he has since led. Mozart, Haydn, Beethoven, Schubert are among their main repertoire; their recordings repeatedly received the prestigious Gramophone Awards. Christophe Coin taught cello and viola da gamba at Schola Cantorum in Basel and at the Paris Conservatory. As a soloist and as a conductor he has performed in many concerts around the globe.

Foto: Maria Tecla Andreotti

Maria Tecla Andreotti

Maria Tecla Andreotti was born in Turin. She graduated from Stanford University with the degree “Bachelor of Art”. Her interest in baroque music developed during her studies in Strasbourg, where she studied harpsichord at the Conservatoire with Aline Zylberajch and flute with Jean-François Alizon. During this time she also studied flute with Philippe Suzanne in Paris. In 1986 he obtained her soloist diploma from the Royal Conservatory of The Hague in the class of Barthold Kuijken.

She worked as a solo flutist in Ensemble Baroque de Limoges, with whom she recorded many CDs (chamber music by Telemann, Rameau, Bach cantatas, etc.). In 2006 she recorded Bach’s sonatas with the harpsichordist Willem Jansen and subsequently performed at leading Bach festivals (Leipzig, Freiberg, Salzburg, Ansbach). She is regularly invited to give seminars and masterclasses at conservatories and music colleges.

Her passion for baroque dance made her start the project Le Caprice des Passions in 2004 in collaboration with the dancers Edith Lalonger and Gilles Poirier. Since 2005 she works together with Françoise Denieau in the performance Bach Suite to choreography of Bach’s Partitas for Flute. She also created the choreography for the performance Maître à danser in 2008. From May 2012 to January 2013 Maria Tecla Andreotti performed in the production Bourgeois Gentilhomme directed by Denis Podalydès (Théâtre des Bouffes du Nord).

Foto: Marta Kratochvílová

Marta Kratochvílová

Marta Kratochvílová studied flute at the Conservatory in Pardubice and then at the Janáček Academy of Performing Arts in Brno. In 2000 began her studies in France at the Conservatoire National de Région de Strasbourg, where she specialized in baroque and renaissance flute with Jean-François Alizon and Nancy Hadden, and chamber music with Martin Gester and Patrick Blanc. She has participated in masterclasses and workshops by prominent figures such as Paul McCreesh, Barthold Kuijken, Jan Latham-Koenig and Sir Neville Marriner. In France she played baroque and renaissance flute extensively in the ensembles Le Parlement de Musique Strasbourg, Bohemia duo and NotaBene. She also performed renaissance workshops (Ferrara, Munich, Stuttgart, Basel) with a consort of traverso players from Strasbourg.

Since 2010 she lives in the Czech Republic while performing regularly throughout Europe. In chamber and solo projects she cooperates closely with artists such as Jan Čižmář, Karel Fleischlinger, Joel Frederiksen, Martin Jakubíček, Petr Kolař, Ján Krigovský, Marcin Świątkiewicz, Marc Vonau and Petr Wagner. She is also leader of the renaissance flute consort Tourdion.

As a teacher with many years of experience she is invited to presentations and masterclasses throughout Europe; she teaches also privately baroque and renaissance traverso playing and interpretation.

Foto: Jan Čižmář

Jan Čižmář

Jan Čižmář is a versatile performer focusing on historical plucked instruments. He performs regularly in Europe, Asia and the USA with ensembles such as Royal Concertgebouw Orchestra, Orchestra of the Age of Enlightenment, Orchestra of the Eighteenth Century, Rotterdam Philharmonic Orchestra and Capella Cracoviensis, and under conductors such as Frans Brüggen, Christopher Hogwood, Giovanni Antonini, Yannick Nézet–Séguin and Christina Pluhar. He appears also as soloist with of baroque and renaissance repertoire.

After graduation in guitar and musicology in his native Brno he studied at the Royal College of Music in London, where he began playing the lute in the class of Jakob Lindberg. He continued his studies at the Royal Conservatory of The Hague with the teachers Nigel North, Joachim Held, Mike Fentross and Christina Pluhar.

He was the founder and editor of the Czech guitar magazine Kytara and contributes regularly to other musical periodicals. He is also intensely involved with publishing and research activities in the field of early music.

Jan Čižmář taught lute and related instruments at the Karol Szymanowski Academy of Music in Katowice in Poland; currently he is teaching at the Academy of Ancient Music at Masaryk University in Brno. He regularly gives courses and masterclasses in Europe and overseas. Currently he is a doctoral student in the field of early music at the Janáček Academy of Music and Performing Arts (JAMU) in Brno and at the Institute of Musicology, Masaryk University.

About the programme

In the Czech reception today, the name Strážnice is primarily associated with folklore music. In fact Strážnice has a different historical context which is evident from the archives of the Department of the History of Music of the Moravian Museum in Brno (MZM), but this is only gradually being discovered in the last few years.

This programme presents the virtually unknown music collection from the Strážnice chateau and the extensive musical activity in the second half of the 18th century at the court of the Magni family, which in 1637 had been raised to the status of hereditary imperial counts. This collection of around 470 items of music has so far escaped the wider interest of musicologists and performers; research in the last few years, however, unveiled a whole range of previously unknown music. Most of the pieces in this concert are — according to on our current knowledge — unique in the Strážnice collection.

In 1919 count Franz Anton von Magnis donated the collection to what today is the Moravian Museum, where it became the first comprehensive collection when Vladimír Helfert created the musical archives, today’s Department of the History of Music. Before this time all music from the property of the Magni family was housed at the chateau in Strážnice. In 1748 the family was expanded by a Prussian branch when Johann Franz von Magnis married countess Maria Franziska von Götzen. When their grandson Franz Anton von Magnis died without issue in 1848, the Strážnice estate passed to the Prussian-Silesian line of the family, whose members took residence at the Silesian castle Eckersdorf (today Bożków), such that Strážnice gradually became a place of occasional residence.

The whole collection consists of two major groups of music. The first group — the manuscripts heard in today’s programme — can be dated to the second half of the 18th century. Its authors are often unknown, not only to a modern audience (in our programme, Ruge and Caputi), but also to the contemporary and most up-to-date specialized music dictionaries (Pissani, Geis, Salino, Secondo). Some pieces are completely anonymous. A small part of the collection represents well-known names such as Stamiz, as well as older titles, such as Corelli’s and Tartini’s sonatas. It consists primarily of chamber music for strings and wind instruments, as well as several symphonies and concertos. The second group consists mostly of prints from the first half of the 19th century, especially music for and with fortepiano.

The collection contains an unusually large number of compositions for two traverse flutes and bass — due traversiere e basso, or traverso solo (sonatas and concertos). The abundant representation of flute music in the collection suggests that the flute was a very popular instrument in Strážnice. This is also reflected by the fact that the inventory of the castle from 1810 lists two ivory traversos made by Lorenzo Cerino, Turin, c. 1760. One of them is still preserved in MZM’s collection. As parts of a larger research project, there are plans to edit and record selected music, and to use the instruments on special occasions. The second flute you will hear in the concert is from a private collection in France. It is the only other surviving baroque flute from Cerino’s workshop; it is made of ebony (and thus surely not the missing second flute in the Strážnice inventory). In the hands of the legendary cellist Christophe Coin you will hear a masterpiece violoncello by Domenico Montagnana. This concert is not just a music performance, but also a unique meeting of the original instruments.

We wish you a pleasant listening and expansion of your musical horizons with a programme which almost could transfer you to the chateau’s salon 250 years ago. Enjoy a brilliant music with charm and beauty, and the rare fine original sound of flutes of ivory and ebony — so different and at the same time beautifully complementing materials — to the accompaniment of cello and baroque lute.


Thank you

The concert takes place with kind support by the Ministry of Culture of the Czech Republic and the Statutory City of Brno.
We thank the management and staff of the MZM for facilitating and promoting this project of musical research and interpretation.

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