O wouldst thou know what sacred charms.

Time-travelling with the Count of St. Germain ​

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Programm

Graf von St. Germain:
Sonata I in F major (from Six Sonatas for Two Violins with a Bass, London 1750)
The Maid That's Made For Love and Me (O Wouldst Thou Know What Sacred Charms), Op. 4
Sonata II in C minor (from Seven Solos for a Violin, London 1758)

G. F. Handel (1685–1759):
Spande ancor a mio dispetto, cantata for bass, strings, and basso continuo, HWV 165

 

Ensemble Ad Fontes:
Anne Simone Aeberhard (recorders) – Mojca Gal (violin) – Bruno Hurtado Gosálvez (cello) – Sebastian Mattmüller (bass) – Thomas Leininger (harpsichord)

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Already during his lifetime, rumors circulated about the Count of St. Germain's abilities as an alchemist and time traveler—rumors that later became legend. Voltaire called him “The Wonderman” and described him as “the man who never dies and knows everything.” Casanova wrote of him:

“He presented himself as a prodigy in every respect. He wanted to astonish—and he truly did. He had a decisive manner of speaking that nonetheless did not offend, for he was learned, spoke all languages fluently, was very musical, a great expert in chemistry, had pleasant features, and knew how to win the favor of all women.”

That the Count was also a brilliant violin virtuoso and composer is little known today. In his lifetime, however, his compositions and his virtuosity were well regarded (“He was too great a musician not to have been famous if he had not been a gentleman”). He was especially praised for his sweet, full violin tone and his theatrical style of performance.

The Count of St. Germain stayed in London at the same time as G. F. Handel. Handel’s favored singer, the prima donna Farsi, frequently included arias or songs by St. Germain as encores at the London opera. Thus, this programme is rounded out with songs by St. Germain and a cantata by G. F. Handel—to complete the evening in the theatrical and operatic Italian style.