I regret having neglected this space over the past two months, but the autumn brought unanticipated distractions. Still, with another installment of "Bach Explored" on the horizon, I'll have a fresh batch of unknown composers to muse on in the coming weeks. (This time, the list includes Johann Christian Hertel [the "other" Johann of Eisenach] and two anonymous masters.)
For now, however, I've just performed for the last time this year, and this seems like an appropriate moment to re-launch my music journal as I look back on the successes of 2014. (Note: this tour of the year includes two recordings; if you don't have time for both, go for the Castello!)
Bach Explored
This season-long project (read about it in previous posts -- or, even better, attend our CBS-recommended next concert!) was conceived in February 2014, with the performances beginning in late September. Although I've been playing much of this 17th-century German repertoire for years, putting it all together in a single season, and judiciously juxtaposing these early works with some of Bach's, has been a great joy. 2014 has also seen the beginning of my commitment to perform 17th- and 18th-century music from memory; "Bach Explored" is thus not just a recital project, but a mental challenge. By May 2015, if all goes as planned, I will know a representative chunk of early German music by heart. As of today, I'm halfway through memorizing a Biber sonata -- my first time attempting to play from memory in scordatura. It's not easy!
Here's a Schenck Fantazia from the first "Bach Explored" concert:
Musica Poetica London: Reunited
I spent a significant portion of 2014 in the UK, playing with my London-based quartet. We hadn't officially performed together in about a year and a half, but in April and May we reunited for a 12-performance run of Cavalli's La Calisto (Hampstead Garden Opera Company); we also did a number of smaller recitals, and performed quartets by Becker, Biber and Buxtehude -- the music that first brought us together in 2010.
In addition to these chamber projects, I gave a memorable recital with rising theorbo star, Alex McCartney. Although we played 17th-century sonatas that have been in my repertoire for nearly a decade, I challenged myself -- consciously, at least, for the first time on this front -- not to use ornamentation as a stand-in for musical expression. Passages such as the Affetti from Castello's Second Sonata, previously mere scaffolding for my improvisations, became experiments in aural emotion. [I realize that ornamentation and emotion-infused phrasing are, in theory, not mutually incompatible; one often seems to detract from the other, though! And I needed to start somewhere.]
A recording from this recital is below, and the phrase in question begins at approximately 2:25; whether it succeeds is, of course, a matter of opinion...
Other Projects
My exploration of the Beethoven String Trios with Sinfonia New York has continued (and might even continue to continue in 2015); I did guest solo appearances for a chamber contingent of the New Bedford Symphony Orchestra; I played 6 Groupmuse house concerts this year. (Plus the usual miscellany: orchestral projects, church services, weddings, and teaching.)
Residencies and Education
In addition to the usual performing, I've expanded my educational activities quite a bit: I teamed up with an art historian to present three gallery talks at Boston's Museum of Fine Arts, examining the intersections of aural and visual aesthetics. Topics included Passions and Affections in the 17th century; uses of, and (lack of) distinction between, foreground and background in art and music; and imitation and realism (suggesting, along with Touchstone, that the truest poetry may be the most feigning). I'm also a newly-appointed Affiliate Tutor for music and arts at Harvard University's Quincy House, and the Musician-in-Residence 2014-2015 for the First Church in Boston.
Coming Soon...
If performing from memory was my professional-development project of 2014, I believe that the new obsession for 2015 will be interactive concerts. Beginning in January, I'll try to work at least one or two interactive components into all of my solo performances. More on this soon!
Happy new year!
For now, however, I've just performed for the last time this year, and this seems like an appropriate moment to re-launch my music journal as I look back on the successes of 2014. (Note: this tour of the year includes two recordings; if you don't have time for both, go for the Castello!)
Bach Explored
This season-long project (read about it in previous posts -- or, even better, attend our CBS-recommended next concert!) was conceived in February 2014, with the performances beginning in late September. Although I've been playing much of this 17th-century German repertoire for years, putting it all together in a single season, and judiciously juxtaposing these early works with some of Bach's, has been a great joy. 2014 has also seen the beginning of my commitment to perform 17th- and 18th-century music from memory; "Bach Explored" is thus not just a recital project, but a mental challenge. By May 2015, if all goes as planned, I will know a representative chunk of early German music by heart. As of today, I'm halfway through memorizing a Biber sonata -- my first time attempting to play from memory in scordatura. It's not easy!
Here's a Schenck Fantazia from the first "Bach Explored" concert:
Musica Poetica London: Reunited
I spent a significant portion of 2014 in the UK, playing with my London-based quartet. We hadn't officially performed together in about a year and a half, but in April and May we reunited for a 12-performance run of Cavalli's La Calisto (Hampstead Garden Opera Company); we also did a number of smaller recitals, and performed quartets by Becker, Biber and Buxtehude -- the music that first brought us together in 2010.
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| Sitzprobe: La Calisto |
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| Musica Poetica London |
In addition to these chamber projects, I gave a memorable recital with rising theorbo star, Alex McCartney. Although we played 17th-century sonatas that have been in my repertoire for nearly a decade, I challenged myself -- consciously, at least, for the first time on this front -- not to use ornamentation as a stand-in for musical expression. Passages such as the Affetti from Castello's Second Sonata, previously mere scaffolding for my improvisations, became experiments in aural emotion. [I realize that ornamentation and emotion-infused phrasing are, in theory, not mutually incompatible; one often seems to detract from the other, though! And I needed to start somewhere.]
A recording from this recital is below, and the phrase in question begins at approximately 2:25; whether it succeeds is, of course, a matter of opinion...
Other Projects
My exploration of the Beethoven String Trios with Sinfonia New York has continued (and might even continue to continue in 2015); I did guest solo appearances for a chamber contingent of the New Bedford Symphony Orchestra; I played 6 Groupmuse house concerts this year. (Plus the usual miscellany: orchestral projects, church services, weddings, and teaching.)
Residencies and Education
In addition to the usual performing, I've expanded my educational activities quite a bit: I teamed up with an art historian to present three gallery talks at Boston's Museum of Fine Arts, examining the intersections of aural and visual aesthetics. Topics included Passions and Affections in the 17th century; uses of, and (lack of) distinction between, foreground and background in art and music; and imitation and realism (suggesting, along with Touchstone, that the truest poetry may be the most feigning). I'm also a newly-appointed Affiliate Tutor for music and arts at Harvard University's Quincy House, and the Musician-in-Residence 2014-2015 for the First Church in Boston.
Coming Soon...
If performing from memory was my professional-development project of 2014, I believe that the new obsession for 2015 will be interactive concerts. Beginning in January, I'll try to work at least one or two interactive components into all of my solo performances. More on this soon!
Happy new year!