Thomas Pietsch & Richard Fuller
Baroque violin                         Fortepiano

The Duo

of two international well known and excellent instrumentalists shows very good teamwork. Their aim is to interpret chamber music of the early classical and classical period as close as possible to the original sound with historical instruments. Their transparent play close to the period gives an convincing idea of how sonatas of Mozart and his contemporaries might have been sounded to a listener. Thomas Pietsch and Richard Fuller open new dimensions of listening to those who are accustomed to listen to music of that period with today's instruments.


Thomas Pietsch is an expert in the performance practice of the 17th and 18th century. He gives concerts with historical instruments and diffrent ensembles. His interpretations are clear and show perfect instrument skills, work on historical sources and knowledge of the history of civilization. He is especially interested on more or less unknown or unpublished works. Besides, Thomas Pietsch is an excellent teacher.


   Born in Potsdam near Berlin Thomas Pietsch as a pupil started to play on violins of different periods. During his studies of violin and sacred music at the conservatoires of East Berlin and Hamburg he gave concerts with instruments of elder and newer types. In 1980 he founded the Sanssouci Ensemble Hamburg – now Jupiter Ensemble Hamburg - and in 1986 the Capella Filarmonica Hamburg, both playing on instruments of the 18th century. Up to the mid 90th Thomas Pietsch gave many concerts with sonatas of the Viennese classical period accompanied by Edith Picht-Axenfeld, pianoforte, so they played all Beethoven Sonatas in Zurich. Since the late 80th Thomas Pietsch performs the complete duo-repertoire with his partners Richard Fuller, pianoforte and Bob van Asperen, harpsichord.

   From the beginning of his concert activities Thomas Pietsch is used to disk recordings, recordings at broadcasting stations and live recordings. On concert tours he played in nearly all western and eastern European countries, the United States, Israel and Argentina. He is frequently invited to play at festivals, for instance Schleswig Holstein Musikfestival, Greifswalder Bachwoche, Thüringer Bachwochen, Magdeburger Telemann-Tage, Göttinger Händelfestspiele.  


look as well:

Thomas Pietsch Violin solo | Duo Thomas Pietsch & Bob van Asperen | Jupiter-Ensemble Hamburg | Cappella Filarmonica Hamburg

Fortepiano player

RICHARD FULLER is one of the leading masters of his instrument as well as a soloist, and as a instrumental and lied accompanist. He understands it in many ways to vary his touch in order to change the articulation, and he uses the sordino, served by knees, in a skillful way.


   Richard Fuller originates from the United States where he studied piano, musicology, harpsichord and fortepiano, today he lives in Vienna. The emphasis of his artistic work lies in the interpretation of the piano, chamber music and the Lied repertoire of the Viennese Classical and early Romantic periods, performed on the fortepiano.

   Since 1982, his concert work has led him to the musical centers of North America and Europe where he appears as soloist, accompanist and member of numerous chamber music ensembles.

   Live concerts in radio and television, film music, broadcast productions as well as numerous CD recordings including a number of premiere recordings document Fuller's versatile achievements. At the moment Richard Fuller is working on a recording of the total works by Hyacinthe Jadin (1776-1800).

   In 2002, Richard Fuller received from the University of Oregon, the Distinguished Alumnus Award  for his artistic work.


see as well:

Richard Fuller as a soloist



It is no problem for Richard Fuller to travel with his own fortepiano and to take care of it.


  THE WAY MOZART LISTENED TO HIS SONATAS: Because of the artits's interpretation full of life, their complet harmony in conception and perfection in playing together the concert became an extraordinary event. 

from: Saale-Zeitung, program: compositions of W. A. Mozart, J. Chr. Bach, J. Haydn. C. Ph. E. Bach


   SOFT AS SILKY MUSIC ON THE LITTLE QUAVER STAIRS: ... Playing on historical instruments Thomas Pietsch and Richard Fuller behind a front usually made out of steel and expressive sounds showed a wooden architecture: lightweight constructed sound scaffolds without massive statics against shocks of vibrato, but slim little quaver stairs instead with plenty of room for air and light.

from: Leipziger Volkszeitung, program: compositions of C. Ph. E. Bach, J. Chr. Bach, J. Haydn, W. A. Mozart


   In a inconspicuous way dedicated to the beauty of Mozart's music they performed within a loud and hectic everyday life and brought this beauty to consciousness to a fascinatedly listening audience.

from: Neue Westfälische, program: works by Mozart


   ... The audience was enthusiastic ... the applause thundered...

from: Neue Westfälische Zeitung, program: works of  W. A. Mozart, J. Haydn, two Bach-sons

Programs    4


4Ways to MOZART






Thomas Pietsch & Richard Fuller:


Wolfgang Amadeus Mozart

Clavierduette KV 301 - 304

ambitus 97816 CD

» A rarity, if not to say a trouvaille.

   (Die Welt)

Music Shortcuts W. A. Mozart: Sonate C major, KV 303: Adagio (mp3, 44 s, 319 KB)
W. A. Mozart: Sonate G major, KV 301: Allegro con spirito (mp3, 41 s, 297 KB)