Anna Seminenko, Violoncello | Uliana Lovchikova, Fortepiano
‘Saros-412’ is the artistic collaboration of young performers musicians with immense repertoire capabilities. Be it an avant-garde serial music of the intricate euphony of the Baroque era, the young musicians can surpass the expectations of the audience by their playing and attitude towards it.
Being students at the Department for Art of Performance on Historical and Contemporary Instruments they took classes from the worldly acclaimed professors specializing in the historically informed performance — Olga Martynova (harpsichord, fortepiano, chamber music), Igor Bobovic (historical cello), Olga Filippova (cembalo, chamber ensemble, improvisation), Pavel Serbin (historical cello, baroque orchestra). They are also frequent participants of master-courses, lead, for example, by part Costantino Mastroprimiano, Tobias Koch, Alexei Lubimov.
The true explorers of music (as the ‘Saros-412’ were called by their colleagues) are greatly interested in all kinds of manuscript and autographs research, as well as studying of other sources — which helps greatly to develop their own performance style. With their energetic takeaway Anna and Uliana find cooperation with different museums of musical instruments (‘The Family of Pianos’ mansion, Museum of Piano in Rybinsk), organize recitals (appearing on the foremost chamber venues of Moscow at the Conservatory and Gnessin Institute) hold meetings and educational discussions. Their debut recordings album is soon to appear.
One of the main artistic aims of ‘Saros-412’ is to unveil the seldom played repertoire of the Classicism and early Romanticism, to reveal the methods of historically informed performance hence – as mentioned in its name — fulfilling the cycle of the changing seasons in musical culture.
On our favourite piece.
It’s quite hard to choose one, because every piece of music has its own character for us, its special image and the long story of how we studied it. Maybe it was even more riveting to know more about the music which was written ‘around’ Beethoven’s legacy — to hear the common and particulat, to find the influence of one author to another.
Preparation during quarantine.
No restrictions could diminish our will to participate in the competition. We studied a great corpus of works, reconsidered the repertoire and selected pieces as well as searched for some venues still open for performing the required competition programme. In some ways it was even easier to find an auditorium for our preparation in comparison with the regular academic schedule.
Was there something surprising while working on your competition repertoire?
Fear of playing the historical instruments? Absolutely not. Beethoven’s cello Sonata No. 3 was the first piece ever performed by Saros – 412 as an ensemble. But we wanted to surpass the limits of the academic plan, and the preparation for the competition was a perfect chance to do so. The difficult part was, however, to find the appropriate instrument — the hammerklavier at Moscow Conservatory is way too short to match the diapason of some pieces, Dulсken at my Music School was unavailable… Thanks God, the Professor allowed us to work in his studio.
How we’ve got to know about the competition.
As far as we’re studying at the department which is specialiased in historical performance, we are very interested in the major music events of this field taking place in Europe. It would also be a great experience to play the very precious instruments — introduced in the competition rules — still unavailable in Russia. Unfortunately, it’s out of option during these hard times we are all facing now.