Artistic Planning
How do I choose a program?
There are numerous factors that lead me to choose a program. The musicians of Catacoustic are basically me and people I choose for the particular project. This is both good and bad. Bad because there is a large expense that is associated with importing early music performers from around the world: travel, housing, and food. But, there is a lot of flexibility that goes along with that. I can program many types of music: Renaissance, Baroque, and Classical and vocal and instrumental. I enjoy bringing in incredibly talented musicians from whom I can learn and grow. For example, my partnership with Michael Leopold of Milano, Italy, has truly helped me grow and learn so much about Italian music, and this transfers to better concerts year-after-year for the Catacoustic audience!
I choose a program based on:
1)being inspired by a talented musician.
The program "The Virtuoso Basso" featured talented bass singer Dan Cole.
2)desire to feature a special instrument.
The "Awakening of the Harpsichord" was the inaugural concert for Catacoustic's new harpsichord. While we occasionally will have a harpsichord in a concert, it normally serves an accompanying function. This concert featured the harpsichord in a solo role, showcasing the many colors and characters of the instrument.
Several years ago, we had a program featuring the cornetto, and this season we will have a concert for the baroque oboe.
3)Genre that speaks to me.
I particularly love vocal music of early 17th-century Italy. Catacoustic's winning a national competition and release of the Italian laments CD only pushed me further into this exploration of this passionate music.
4)Particular piece of music.
Sometimes I listen to a piece and feel like I will absolutely DIE, if it is not programmed in a Catacoustic concert. An example of this is Charpentier's opera La Descente d'Orphee aux Enfers.
5)Historical period that pricks my interest.
17th-century nuns have been a delight to read about, and fortunately, their music is wonderful! Often the interest in the historical context of the music is a natural result of interest in the music, such as 18th-century French women who played the pardessus de viole.
6)Collaborations.
I chose Couperin's Lamentations of Jeremiah (Lecons de Tenebres) was on our season last year. This was a result of our collaboration with Hebrew Union College, the Roman Catholic Community, and the University of Cincinnati College-Conservatory of Music with Oberlin College. They were interest in the text, historical context, and musicological background, about which they gave lectures prior to our concert.
We also collaborated with Cincinnati's Esquire Theatre to play a concert of music from Tous les Matins du Monde following a free screening of the film.
While there is always a need to balance many factors, including fiscal responsibility and an understanding of the area where we share our music and the desires of our audience, Catacoustic has had a wonderful amount of variety of programming that has been inspiring, and educational for all!
Tuesday, June 2, 2009
Extra Expenses for Early Music Instruments?
I have been having a difficult time coming up with topics to write about in my blog, so this morning I sent a request to my Facebook friends to give suggestions. One topic was "extra expenditures required by players of period instruments versus modern instruments - or - how much money I spend maintaining my instrument."
In general, the cost of purchasing a professional quality viola da gamba is less than a violin or cello. I can buy a fine bass viol for $7-10,000, whereas the pricetag would be double that for a violin or cello of comparable quality. Thank goodness, because as a gamba player I have multiple instruments: two trebles (Renaissance consort instrument and French baroque solo instrument), a pardessus, a lirone, and two basses (consort bass and French baroque seven string). The same thing applies to bows. Ours may cost a bit less, but we need more of them...
I use a nice rosin that can be used for all my viols (and for violins), so the cost is the same. As long as it doesn't break, it lasts forever.
Strings can break frequently, especially in the summer. That is a huge expense, especially for so many instruments. Strings are one of my biggest expenses... Ugh.
I had a problem this year that can affect anyone - bow mites. Two of my bows had been taken advantage of by these pesky creatures. From what I understand, bow mites are the larvae from moths (the same ones that can eat holes through sweaters). They sawed off the hair from my bow. No damage was done to the stick, so I put moth balls in my case and closet and had the bows rehaired. That costed the same as a violin or cello rehair job - around $60 each. Ugh. I have now learned that I must store my bows out in the open, where the bugs - at least THOSE bugs - cannot get to them.
Music is more expensive for the viol. There is much less demand for viol music than for piano or violin. And, you cannot go to the Sam Goody music store to purchase gamba music. I order my music or use the wonderful music library at the University of Cincinnati College-Conservatory of Music, which is a wonderful resource.
For the most part, a luthier who does quality work on violins, cellos, or basses can do repairs on viols. Nick Lloyd, a Cincinnati-based double bass maker does excellent work on my viols.
Frets can wear out frequently, but they are easy to fix and can be replaced with old broken strings.
Early music recordings can be more expensive, although now that recordings are more easily available over the internet, this is a levelling factor.
I don't have other regular maintenance costs. I have occasional openings in seams that are easy for a luthier to fix. I don't use different bridges for summer and winter, which would be a great deal of trouble and expense for all my instruments.
In general, the cost of purchasing a professional quality viola da gamba is less than a violin or cello. I can buy a fine bass viol for $7-10,000, whereas the pricetag would be double that for a violin or cello of comparable quality. Thank goodness, because as a gamba player I have multiple instruments: two trebles (Renaissance consort instrument and French baroque solo instrument), a pardessus, a lirone, and two basses (consort bass and French baroque seven string). The same thing applies to bows. Ours may cost a bit less, but we need more of them...
I use a nice rosin that can be used for all my viols (and for violins), so the cost is the same. As long as it doesn't break, it lasts forever.
Strings can break frequently, especially in the summer. That is a huge expense, especially for so many instruments. Strings are one of my biggest expenses... Ugh.
I had a problem this year that can affect anyone - bow mites. Two of my bows had been taken advantage of by these pesky creatures. From what I understand, bow mites are the larvae from moths (the same ones that can eat holes through sweaters). They sawed off the hair from my bow. No damage was done to the stick, so I put moth balls in my case and closet and had the bows rehaired. That costed the same as a violin or cello rehair job - around $60 each. Ugh. I have now learned that I must store my bows out in the open, where the bugs - at least THOSE bugs - cannot get to them.
Music is more expensive for the viol. There is much less demand for viol music than for piano or violin. And, you cannot go to the Sam Goody music store to purchase gamba music. I order my music or use the wonderful music library at the University of Cincinnati College-Conservatory of Music, which is a wonderful resource.
For the most part, a luthier who does quality work on violins, cellos, or basses can do repairs on viols. Nick Lloyd, a Cincinnati-based double bass maker does excellent work on my viols.
Frets can wear out frequently, but they are easy to fix and can be replaced with old broken strings.
Early music recordings can be more expensive, although now that recordings are more easily available over the internet, this is a levelling factor.
I don't have other regular maintenance costs. I have occasional openings in seams that are easy for a luthier to fix. I don't use different bridges for summer and winter, which would be a great deal of trouble and expense for all my instruments.
Tuesday, March 10, 2009
Interview with Suzanne Bona, host of Sunday Baroque
Suzanne, you are an accomplished "modern" flute player. What is it that influenced you to start a radio program about baroque music?
As a performer, I'd never thought of myself as a "modern flute" player, because I learned and performed all kinds of music in the classical tradition. I was completely unaware of the segregation that can exist between eras and types of instruments. Like many people in the arts, I needed a "day job," and found radio was a perfect fit for me. My first boss assigned me to cover Sunday mornings and told me to "play baroque music," so getting into it was really beyond my control! But the assignment gave me focus and sparked my curiosity, and I immediately began making it "my" program - exploring the music, the composers, the instruments, and the nuances. Because I'd never viewed baroque and early music as separate from the rest, I had no preconceptions, and just sought out whatever sounded good both to me and to listeners.
Cincinnati is fortunate to have you here. Traditionally, this city has focused on a romantic musical tradition, although it seems to be changing with your program, ensembles like Catacoustic, and local ensembles embracing more pre-Beethoven music (CSO's recent Mozart program with Sir Roger Norrington). What brought you to Cincinnati, and what do you think about the standing of "early music" here in this city?
WGUC brought me to Cincinnati, although not specifically for Sunday Baroque. That came later! When we came here, my previous station in Connecticut asked me to continue producing Sunday Baroque long distance because it was a successful, long running part of their schedule. And, seeing that success, WGUC realized it would be a good addition to the local airwaves too, and we agreed on making that part of my job here. Thanks to ensembles like Catacoustic Consort, I think early music is growing and becoming more accepted, little by little, here and across the country. People come to your concerts, hear the exquisite music, see these beautiful instruments like the ones you and your colleagues play, and learn about the people who played them and wrote music for them centuries ago, and they want to know more. Annalisa, you do a great job of bringing people in, making it non-threatening, enjoyable experience. You talk to the audience in layman's terms, translating foreign terms, and that's the right way to open people's minds and embrace new listeners.
How do you feel about the future of classical music and the future of baroque music?
Those perennial rumors of classical music's imminent demise are greatly exaggerated, in my opinion. For decades those dire warnings have made headlines, but it hasn't happened yet. I was a classical music geek as a kid, mostly because my parents exposed me to it, but I have noticed that once we hit our 30’s, my contemporaries started coming around to it little by little, too. Maybe people get tired of the narrow music they liked as teens and twenty-somethings, or maybe they're finally mature enough to broaden their horizons, but maybe it's just a genre that some people have to grow into. I'm also on a soapbox about breaking down the artificial barriers that exist between those who do and don't know about this music. For example, we've done a "MARVELOUS" job creating a code language to talk about music that excludes anyone who isn't familiar with musical terms, or anyone who doesn't speak fluent Italian, German, or French. It's this exclusive little club we've created, and we show you that you don't belong by using words you don't understand and literally speaking other languages. We've also perpetuated an almost oppressively intimidating environment for novices - ostracizing people who clap at the "wrong" time, for example. As a performer, I am truly tickled when someone is moved enough by the music to clap between movements, but many of us act as though it's an insult or major etiquette blunder. I'd love to see the classical music world do everything possible to make the music accessible and the concert experience less intimidating.
Annalisa, here's another way you do a great job - the atmosphere at Catacoustic concerts is relaxed and casual. You always explain what "viola da gamba" means, literally, and you describe who would (and would not) play the various instruments at Catacoustic performances. It's not professorial or condescending; it's courteous and gracious, just as you'd introduce guests to one another at a party.
You share many interpretations of baroque music, including baroque music with period instruments and on modern instruments. Do you see a new attitude of musicians today toward baroque music?
Unfortunately there are so many prejudices and misconceptions about what early music is and who should (or shouldn't) be playing it. I'd love for listeners and performers to simply experience and enjoy music for its own merit, and not get bogged down by notions of orthodoxy. I've never bought into purist dogma on
anything, really. And it frustrates me when people insist there's only one "right" way to do something. Where do you draw the line, really? If we insist on the so-called purest, most authentic experience, doesn't that mean we should sit in cold, dark churches crowded alongside people who haven't bathed? Music is a living art form, and I see no problem using a variety of instruments to play music, whether or not they are authentic to the time the music was written.
Are you seeing a new trend in recordings of baroque music? What would you advise a group like Catacoustic to consider in programming and recordings?
In the two decades since originating Sunday Baroque I've definitely seen a giant leap in the quality of what's available on cd - both performance and technical quality - and a greater variety of what's available. Once upon a time, when the interest in baroque and early music was revived in the middle of the 20th
century, it was an arcane genre and the focus was on scholarly discovery more than technical proficiency. The quality of performances is vastly improved from those early days, partly because more musicians are approaching this music, playing both period and modern instruments, and the skills and training have been absorbed by a new generation. In the past couple of years, though, the record companies have been in some trouble. There are fewer new recordings being released, and more re-releases. That reflects a desire and need to economize; recycling existing recordings is much more efficient and cost-effective than starting from scratch with a new recording project. But the good news is that it's never been easier to self-produce - lots of musicians are marketing their music online and making it available in downloads, rather than relying solely on cds. That's the way to go! Catacoustic does two things in particular that are right on target -- you build programs around "themes" - it creates cohesion and adds a dimension that can help people understand better. You also offer some historical context. Those narratives help bring music to life, especially for people who don't know a lot about the music. So, you're not only making an appealing recording, you are bringing listeners along for the future.
How can our blog readers listen to your radio program and learn more about Sunday Baroque?
90.9 WGUC broadcasts Sunday Baroque on Sunday mornings from 8am-12noon. There's also an online audio stream of the most recent program, updated weekly on Mondays, at www.SundayBaroque.org
As a performer, I'd never thought of myself as a "modern flute" player, because I learned and performed all kinds of music in the classical tradition. I was completely unaware of the segregation that can exist between eras and types of instruments. Like many people in the arts, I needed a "day job," and found radio was a perfect fit for me. My first boss assigned me to cover Sunday mornings and told me to "play baroque music," so getting into it was really beyond my control! But the assignment gave me focus and sparked my curiosity, and I immediately began making it "my" program - exploring the music, the composers, the instruments, and the nuances. Because I'd never viewed baroque and early music as separate from the rest, I had no preconceptions, and just sought out whatever sounded good both to me and to listeners.
Cincinnati is fortunate to have you here. Traditionally, this city has focused on a romantic musical tradition, although it seems to be changing with your program, ensembles like Catacoustic, and local ensembles embracing more pre-Beethoven music (CSO's recent Mozart program with Sir Roger Norrington). What brought you to Cincinnati, and what do you think about the standing of "early music" here in this city?
WGUC brought me to Cincinnati, although not specifically for Sunday Baroque. That came later! When we came here, my previous station in Connecticut asked me to continue producing Sunday Baroque long distance because it was a successful, long running part of their schedule. And, seeing that success, WGUC realized it would be a good addition to the local airwaves too, and we agreed on making that part of my job here. Thanks to ensembles like Catacoustic Consort, I think early music is growing and becoming more accepted, little by little, here and across the country. People come to your concerts, hear the exquisite music, see these beautiful instruments like the ones you and your colleagues play, and learn about the people who played them and wrote music for them centuries ago, and they want to know more. Annalisa, you do a great job of bringing people in, making it non-threatening, enjoyable experience. You talk to the audience in layman's terms, translating foreign terms, and that's the right way to open people's minds and embrace new listeners.
How do you feel about the future of classical music and the future of baroque music?
Those perennial rumors of classical music's imminent demise are greatly exaggerated, in my opinion. For decades those dire warnings have made headlines, but it hasn't happened yet. I was a classical music geek as a kid, mostly because my parents exposed me to it, but I have noticed that once we hit our 30’s, my contemporaries started coming around to it little by little, too. Maybe people get tired of the narrow music they liked as teens and twenty-somethings, or maybe they're finally mature enough to broaden their horizons, but maybe it's just a genre that some people have to grow into. I'm also on a soapbox about breaking down the artificial barriers that exist between those who do and don't know about this music. For example, we've done a "MARVELOUS" job creating a code language to talk about music that excludes anyone who isn't familiar with musical terms, or anyone who doesn't speak fluent Italian, German, or French. It's this exclusive little club we've created, and we show you that you don't belong by using words you don't understand and literally speaking other languages. We've also perpetuated an almost oppressively intimidating environment for novices - ostracizing people who clap at the "wrong" time, for example. As a performer, I am truly tickled when someone is moved enough by the music to clap between movements, but many of us act as though it's an insult or major etiquette blunder. I'd love to see the classical music world do everything possible to make the music accessible and the concert experience less intimidating.
Annalisa, here's another way you do a great job - the atmosphere at Catacoustic concerts is relaxed and casual. You always explain what "viola da gamba" means, literally, and you describe who would (and would not) play the various instruments at Catacoustic performances. It's not professorial or condescending; it's courteous and gracious, just as you'd introduce guests to one another at a party.
You share many interpretations of baroque music, including baroque music with period instruments and on modern instruments. Do you see a new attitude of musicians today toward baroque music?
Unfortunately there are so many prejudices and misconceptions about what early music is and who should (or shouldn't) be playing it. I'd love for listeners and performers to simply experience and enjoy music for its own merit, and not get bogged down by notions of orthodoxy. I've never bought into purist dogma on
anything, really. And it frustrates me when people insist there's only one "right" way to do something. Where do you draw the line, really? If we insist on the so-called purest, most authentic experience, doesn't that mean we should sit in cold, dark churches crowded alongside people who haven't bathed? Music is a living art form, and I see no problem using a variety of instruments to play music, whether or not they are authentic to the time the music was written.
Are you seeing a new trend in recordings of baroque music? What would you advise a group like Catacoustic to consider in programming and recordings?
In the two decades since originating Sunday Baroque I've definitely seen a giant leap in the quality of what's available on cd - both performance and technical quality - and a greater variety of what's available. Once upon a time, when the interest in baroque and early music was revived in the middle of the 20th
century, it was an arcane genre and the focus was on scholarly discovery more than technical proficiency. The quality of performances is vastly improved from those early days, partly because more musicians are approaching this music, playing both period and modern instruments, and the skills and training have been absorbed by a new generation. In the past couple of years, though, the record companies have been in some trouble. There are fewer new recordings being released, and more re-releases. That reflects a desire and need to economize; recycling existing recordings is much more efficient and cost-effective than starting from scratch with a new recording project. But the good news is that it's never been easier to self-produce - lots of musicians are marketing their music online and making it available in downloads, rather than relying solely on cds. That's the way to go! Catacoustic does two things in particular that are right on target -- you build programs around "themes" - it creates cohesion and adds a dimension that can help people understand better. You also offer some historical context. Those narratives help bring music to life, especially for people who don't know a lot about the music. So, you're not only making an appealing recording, you are bringing listeners along for the future.
How can our blog readers listen to your radio program and learn more about Sunday Baroque?
90.9 WGUC broadcasts Sunday Baroque on Sunday mornings from 8am-12noon. There's also an online audio stream of the most recent program, updated weekly on Mondays, at www.SundayBaroque.org
Wednesday, November 26, 2008
An Early Music Christmas – Gift Ideas and Holiday Concerts
As the holiday season approaches, keep early music at the top of your wish list. The top of my list would of course be Catacoustic’s CD as a gift for friends and family, and at $10 per CD, that is a great deal. Another gift that people have purchased in the past is Catacoustic tickets. You will receive a discount for this gift offer, too! You may buy six tickets for the price of five. E-mail apappano@catacoustic.com for more information.
If you would like to hear early music performed on period instruments, I strongly recommend a drive up to Indianapolis to hear the Indianapolis Baroque Orchestra play Handel’s Messiah. Friends of Catacoustic will recognize Sherezade Panthaki (sang in February 2008 Couperin’s Lamentations of Jeremiah and January 2008 Music from the Movie concerts) as one of the soloists. There are two performances:
#1 is 7:30PM on Friday, December 5 at Trinity Episcopal Church, Indianapolis (corner of North Meridian and 33rd Streets)
#2 is 7:30PM on Saturday, December 6 at St. Elizabeth Ann Seton Roman Catholic Church at 10655 Haverstick Road, Carmel, IN (northern suburb of Indianapolis)
Call 317.926.1346 for more information. Tickets are $25 preferred seating, $20 general, and $10 students.
If you are interested in a Christmas gift that will enlarge your library, I recommend the newly available DVD of Tous les Matins du Monde (All the Mornings of the World). Catacoustic performed a concert of the music from this movie last January. The DVD is available at Amazon.com.
I have a substantial CD library of early music recordings, but I find that I end up listening to my favorites over and over. My picks are:
Buxtehude’s Membra Jesu Nostri performed by Les Voix Baroques on the ATMA label. Catacoustic soprano Catherine Webster is singing on this stunning album. This music is lush and incredibly moving.
Cavalieri’s Lamentations performed by Le Poeme Harmonique on the Alpha label.
Nova Metamorfosi performed by Le Poeme Harmonique on the Alpha label. Between these two recordings of this talented group, I have practically worn out my CD player!
La Tarantella performed by L’Arpeggiata on the Alpha label. This CD is all Tarantellas, which is a type of dance music that was done to ward off or in response to the bite of the tarantella spider. This is really wild, fun music!
Regardless of what music you have in your life, have a lovely holiday season!
If you would like to hear early music performed on period instruments, I strongly recommend a drive up to Indianapolis to hear the Indianapolis Baroque Orchestra play Handel’s Messiah. Friends of Catacoustic will recognize Sherezade Panthaki (sang in February 2008 Couperin’s Lamentations of Jeremiah and January 2008 Music from the Movie concerts) as one of the soloists. There are two performances:
#1 is 7:30PM on Friday, December 5 at Trinity Episcopal Church, Indianapolis (corner of North Meridian and 33rd Streets)
#2 is 7:30PM on Saturday, December 6 at St. Elizabeth Ann Seton Roman Catholic Church at 10655 Haverstick Road, Carmel, IN (northern suburb of Indianapolis)
Call 317.926.1346 for more information. Tickets are $25 preferred seating, $20 general, and $10 students.
If you are interested in a Christmas gift that will enlarge your library, I recommend the newly available DVD of Tous les Matins du Monde (All the Mornings of the World). Catacoustic performed a concert of the music from this movie last January. The DVD is available at Amazon.com.
I have a substantial CD library of early music recordings, but I find that I end up listening to my favorites over and over. My picks are:
Buxtehude’s Membra Jesu Nostri performed by Les Voix Baroques on the ATMA label. Catacoustic soprano Catherine Webster is singing on this stunning album. This music is lush and incredibly moving.
Cavalieri’s Lamentations performed by Le Poeme Harmonique on the Alpha label.
Nova Metamorfosi performed by Le Poeme Harmonique on the Alpha label. Between these two recordings of this talented group, I have practically worn out my CD player!
La Tarantella performed by L’Arpeggiata on the Alpha label. This CD is all Tarantellas, which is a type of dance music that was done to ward off or in response to the bite of the tarantella spider. This is really wild, fun music!
Regardless of what music you have in your life, have a lovely holiday season!
Monday, November 17, 2008
Live Music versus Recordings
In today’s busy world, where both time and money are precious commodities, why should a person participate in live music concerts?
Recordings are wonderful additions to everyday life. They can be educational tools. CDs can help one relax and provide a background of soothing or exciting music to match or enhance one’s mood. However, the highly edited, embellished or smoothed-over nature of modern recordings can make live performances seem unnecessary.
A live concert allows you to be a part of the process. Chamber music, especially, affords this opportunity. Intimate venues and the relationship between audience and performer offer a dimension that I never knew could exist until I started Catacoustic. This is not something that one learns in music school. I have also discovered the importance of having a dialogue in concerts. Catacoustic’s audience has seen us grow from a small acorn to a healthy oak tree. I think that they feel part of that process, growing with us – in knowledge of music and history, and as active observers.
Live concerts have energy and a sense of spontaneity. You never know what to expect.
As a performer, I much prefer to play in front of an audience than in a recording studio. The music is much more exciting when I have the adrenaline of the live performance.
One uses more senses at a concert: sight (body language, dress, and facial expression), sound, venue, and background contextual information combine with the whole experience to paint a multi-dimensional imaginary picture of the music.
Finally, when I attend a concert, all my attention is on the music. Music is not in the background while I am doing work around the house. Instead, I am savoring each moment as the music brought to life – the interplay of the notes, the physical space, and the dynamic between the performer and the audience, and being part of the process.
What are your thoughts about live music versus recordings?
Recordings are wonderful additions to everyday life. They can be educational tools. CDs can help one relax and provide a background of soothing or exciting music to match or enhance one’s mood. However, the highly edited, embellished or smoothed-over nature of modern recordings can make live performances seem unnecessary.
A live concert allows you to be a part of the process. Chamber music, especially, affords this opportunity. Intimate venues and the relationship between audience and performer offer a dimension that I never knew could exist until I started Catacoustic. This is not something that one learns in music school. I have also discovered the importance of having a dialogue in concerts. Catacoustic’s audience has seen us grow from a small acorn to a healthy oak tree. I think that they feel part of that process, growing with us – in knowledge of music and history, and as active observers.
Live concerts have energy and a sense of spontaneity. You never know what to expect.
As a performer, I much prefer to play in front of an audience than in a recording studio. The music is much more exciting when I have the adrenaline of the live performance.
One uses more senses at a concert: sight (body language, dress, and facial expression), sound, venue, and background contextual information combine with the whole experience to paint a multi-dimensional imaginary picture of the music.
Finally, when I attend a concert, all my attention is on the music. Music is not in the background while I am doing work around the house. Instead, I am savoring each moment as the music brought to life – the interplay of the notes, the physical space, and the dynamic between the performer and the audience, and being part of the process.
What are your thoughts about live music versus recordings?
Tuesday, October 14, 2008
Musician Spotlight: Webb Wiggins, Harpsichordist
Webb Wiggins will be the featured musician in Catacoustic's upcoming concert, "Awakening of the Harpsichord." The following is an interview with this exceptional musician:
First, how would you describe the harpsichord?
Essentially, a harpsichord is an inherently un-expressive instrument! There is no sustain or dynamic variation in the sound. There are subtle differences in the timbre of the sound if there is more than one set of strings. The strings are plucked by a plectra (originally of crow quill, now usually delrin). The variety of length of note and the variety of articulation is how we create the illusion of dynamic and expression: ie, a longer note implies and is perceived as louder than a shorter note; a note sounding out of silence implies and is perceived as louder than a note sounding while first note is still sounding.
What drew you to early music?
It was the specific difference between consonant and dissonant harmonies. In the seventeenth and early eighteenth centuries most music uses traditional harmony (that which we still enjoy in most popular music of today). When a note foreign to other notes in a chord is introduced, dissonance occurs. These dissonances can occur between chords (weak beats and softer dissonances) or simultaneous with the introduction of a chord (strong beats and louder dissonances). This 'pain and relief effect' truly moves me.
What are some of the types of early music, such as ballads, dance, etc.?
Many new forms were created in baroque music: toccatas, cantatas, opera, dance suites to name a few. The first four are of Italian origin; dance suites are essentially French-based. Most baroque music is either specifically or loosely based on dance rhythms, many from much earlier times. Non-dance-based music is perhaps the other major area - improvisational: pieces either truly improvised (in church services or as preludes to dance pieces). Aside from dances, most other forms of baroque music are multi-sectional, having various styles and moods in one longer piece; the precursor to multi-movement works (sonatas, symphonies, etc).
Tell us how you approach the upcoming “Awakening” concert.
This is a little different from most concerts I play in that I'm essentially choosing most of the music. Unlike most of the ensembles with whom I play, you'll probably hear more seventeenth century than eighteenth century music, since I'm drawn to it, and I think I communicate it successfully.
Who are your favorite composers?
Johann Jacob Froberger (1616-1667) is my favorite. I have the greatest respect for JS Bach of course, and there are many composers I adore who are not baroque. But if I limit this to keyboard music, including Froberger, there's Louis Couperin, Dietrich Buxtehude, Jan Pietersson Sweelinck, Girolami Frescobaldi - all seventeenth century composers. I also have to say I like the decadent French composers at the end of the baroque: Jacques Duphly, Claude Balbastre, Armand-Louis Couperin.
What single piece of music is your favorite?
Can't even begin to imagine. Often I discover my fave in the midst of preparing for a concert, then it's replaced by another piece at the next concert.......
Is there anything else you would like to add for our readers?
I'm very honored to be asked to give this program. I've enjoyed working with Catacoustic in the past and look forward to becoming introduced to Catacoustic's new harpsichord.
Saturday, September 27, 2008
From the first minute I held a treble viola da gamba as a fifteen-year-old high school student, I knew I was meant to play this instrument. As a former violinist, my preference for the treble end of the spectrum led me to favor the treble viol and pardessus de viole. And, a music history class research paper in university led me to teach myself to play the lirone, which I absolutely adore.
The viol has offered me many wonderful opportunities to travel, meet interesting people, and create special bonds of friendship through music. I have found my voice with this instrument and am able to express myself in new and exciting ways. The viol hasenabled me to combine my love of reading and scholarship with my enjoyment of creating things. As a child, I was always organizing the neighborhood kids to put on shows for our families. I still remember performing “Diamonds Are a Girl’s Best Friend” as a kid, dressed up in a gaudy yellow satin-like dress, a terrible black wig, and silver sequin-encrusted high heel shoes – thinking I must have been just like Marilyn Monroe...
I have been privileged to be able to incorporate a knack for envisioning exciting programs, a love for developing a relationship with my audience, and a passion for the viola da gamba in my ensemble, the Catacoustic Consort. When I decided to devote my life to the viol, I had no illusions that this would be an easy life choice or a career path. I knew that if I wanted work as a viol player, I must create the work. Fortunately, along the way I learned skills in running a non-profit organization that have enabled music to be the focal point of my life.
Several years ago, Catacoustic received donations of eight violas da gamba to use as rental instruments. This made it possible for people in Cincinnati to learn to play the viol and find their own voice through this magnificent instrument. One early music group was started as a result – the Noyse Merchants. Additionally, this is my second year teaching viola da gamba at the prestigious University of Cincinnati College-Conservatory of Music.
My daily life as a professional viol player is varied: teaching, practicing, and rehearsing for concerts. In addition, for Catacoustic much of my time is spent writing program notes for our concerts, writing grants proposals and blog entries, working on budgets, and meeting with our board of directors. I have been honored to have the viol in my life and to be able to share it with others.
The viol has offered me many wonderful opportunities to travel, meet interesting people, and create special bonds of friendship through music. I have found my voice with this instrument and am able to express myself in new and exciting ways. The viol hasenabled me to combine my love of reading and scholarship with my enjoyment of creating things. As a child, I was always organizing the neighborhood kids to put on shows for our families. I still remember performing “Diamonds Are a Girl’s Best Friend” as a kid, dressed up in a gaudy yellow satin-like dress, a terrible black wig, and silver sequin-encrusted high heel shoes – thinking I must have been just like Marilyn Monroe...
I have been privileged to be able to incorporate a knack for envisioning exciting programs, a love for developing a relationship with my audience, and a passion for the viola da gamba in my ensemble, the Catacoustic Consort. When I decided to devote my life to the viol, I had no illusions that this would be an easy life choice or a career path. I knew that if I wanted work as a viol player, I must create the work. Fortunately, along the way I learned skills in running a non-profit organization that have enabled music to be the focal point of my life.
Several years ago, Catacoustic received donations of eight violas da gamba to use as rental instruments. This made it possible for people in Cincinnati to learn to play the viol and find their own voice through this magnificent instrument. One early music group was started as a result – the Noyse Merchants. Additionally, this is my second year teaching viola da gamba at the prestigious University of Cincinnati College-Conservatory of Music.
My daily life as a professional viol player is varied: teaching, practicing, and rehearsing for concerts. In addition, for Catacoustic much of my time is spent writing program notes for our concerts, writing grants proposals and blog entries, working on budgets, and meeting with our board of directors. I have been honored to have the viol in my life and to be able to share it with others.
Subscribe to:
Posts (Atom)
