Róbert Šebesta (Slovak Republic)

Classical Clarinet and Basset Horn CLASS CANCELLED!


Studied modern clarinet and music theory at the Academy of Music and Dramatic Arts in Bratislava as well as historical clarinets with Gilles Thomé and Eric Hoeprich in Paris.

Since 1995 he specialises in playing historical clarinets, including all sorts of chalumeaux and basset horns. As a soloist, he regularly performs Mozart´s Clarinet Concerto on a copy of Anton Stadler’s basset clarinet. His solo repertory includes also clarinet concertos by J. and C. Stamitz as well as chalumeau concertos by G. Ph. Telemann, J. F. Fasch and J. Ch. Graupner.

As the artistic leader of the basset horn Lotz Trio, he recorded complete Divertissement Pour Trois Cors de Basset by G. Druschetzky (Hevhetia 2009), as well as unique collection of contemporary basset horn trio music (HF 2008). As a chamber musician, he performed clarinet quartets & quintets by J. N. Hummel, C. Stamitz, G. Druschetzky, F. Krommer/Kramář and W. A. Mozart with Musica Aeterna. He also participated in the first period instruments recording of Hummel`s Military Septet op. 114 (Brilliant Classics 2010) He is also co-founder of the wind sextet Maria Theresia Ensemble. Presently, he regurarly performs in a trio with Czech pianist Petra Matějová and Polish violoncellist Jaroslaw Thiel.

As a principal clarinetist he performs with Musica Aeterna, Solamente Naturali, Warszawska Opera Kameralna, Capella Cracoviensis, Capella Savaria, Orchester 1756, Wroclawska Orchestra Barokowa, The Czech Ensemble Baroque Orchestra, and Musica Florea. Among orchestral music CDs stands out at his list the premiere recording of Hummel´s opera Mathilde de Guise (Brilliant Classics 2010), with Solamente Naturali and Dvořák´s Symphonies Nos. 7& 8 (Arta 2009), with Musica Florea.

Since 1998 he worked as a curator at the Music Museum, department of the Slovak National Museum. He has taught at the music faculty of the Academy of Music and Dramatic Arts in Bratislava. His research of historical clarinets, chalumeaux, and basset horns resulted in his MA thesis, History of the Basset Horn from its Origins until 1820, and his dissertation, The Chalumeau in the 18th Century. He also published several articles focusing historical performance practice and organology in prominent specialist press, such as Journal of the American Musical Instrument Society.

About the class:

Suggested repertoire: any suitable solo or chamber compositions, before 1890. The students should inform the direction about the works they would like to study before the course starts. Modern clarinets are possible.

Maximal number of students:


Teaching language: Slovak


aktivní účastníci / active participants

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