Konstanze Waidosch was born in 1991 in the South of Germany where she grew up in a musical environment,both parents being early music players. She got her first Cello lessons at the age of nine. As well as touring with youth orchestras and playing in chamber music groups with the modern Cello, she started dealing with early music performances by visiting workshops for Viola da Gamba, Renaissance and music from the Middle Ages, as well as for historical dancing in Germany, Italy and France.
She studied Baroque Cello at Bremen University (Hochschule für Künste Bremen), with Prof. Viola de Hoog and Viola da Gamba as a second subject with Prof. Hille Perl. Further on she visited master classes with Bruno Cocset, Kristin von der Goltz, Gaentano Nasillo and Alison McGillivray.She performed with musicians such as Rachel Podger, Dorothe Oberlinger, Christoph Prégardien, with Ensemble les Enchantans, Eroica Berlin, Vox Orchestra and did recordings with Ensemble Dolci Canti and Ensemble EST. In June 2019 she finished her Master’s degree at Conservatorium van Amsterdam and is currently studying Viola da Gamba with Prof. Hille Perl.
The Early Music Ensemble “Marsyas Baroque” (Paula Pinn – recorder, María Carrasco Gil – baroque violin, Konstanze Waidosch – baroque cello, Sara Johnson Huidobro – harpsichord) was founded after playing together at the “Trigonale” Early Music Festival 2018 (Austria). The ensemble has won a fellowship of the German Music Council, and was chosen to participate in the “Federal Selection of Young Artists 2020-2021”. In addition, they also won the special Early Music Prize from the Freiburg Ensemble Academy and recently the First Prize at the “XX Biagio Marini Competition”.
Marsyas Baroque has a wide repertoire of virtuoso music from the 17th and 18th centuries which it has performed in Germany, the Netherlands and Austria. It has been invited to Utrecht’s Fringe Festival for Early Music and to the Fringe Early Music Festival from Brügge and will perform with Michael Form at the Trigonale in 2020. It has been coached by concert artists such as Shunske Sato, Peter Trefflinger, Mienecke van der Velden and Veronika Skuplik. All members of the ensemble have a wide international activity as soloists and in renowned orchestras,
including the European Union Baroque Orchestra, Weser Renaissance, Oltremontano, Montis Regalis, to mention but a few.
The Ensemble Urstrom was founded in 2015 in Bremen and performs repertoire between 1600 and 1750 on historical instruments. The new role of the musician around 1600, the performance of the virtuoso, is captured by the Ensemble Urstrom in their programmes. With their colourful instrumentation of different plucked, keyboard and string instruments, as well as recorder and dulcian, they pick up on the creativity and joy of experimentation of this period.
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 the project you can contact me directly for a copy of the research.
August 2019 — 1st Prize Biagio-Marini-Wettbewerb with Marsyas Baroque
March 2019 — Scholarship Holder Of “Deutscher Musikwettbewerb”
2018 — Member Of The Trainee Program “Academia Montis Regalis”