A 21st Century Dilemma

So I was asked this past Monday if I could perform the solo in the Domine Fili movement of Caldara's Missa Dolorosa. They gave me the sheet music and told me I had a few hours to accept or not (the gig was this evening). Instead of reading the sheet music, I decided to go online and find a Youtube video or Naxos Music Library recording somewhere. Interestingly, I couldn't find anything. It was only then did I looked at the sheet music and accept the gig.

Conflicted over modern performances of baroque music part 1

Although I'm all for the promotion of baroque music, I’ve become conflicted after attending the most recent all-baroque concert by the National Arts Centre Orchestra. The performance included one of my all time favourites, Corelli’s Concerto Grosso Op.6 no. 4, as well as a few very interesting Handel Arias and was played at a very high technical standard. Although the performance was very ‘clean’ I couldn’t help but feel that it gave off the air that baroque music lacked depth, a common comment I hear from modern orchestra-goers. Another bothering part of the performance involved the soloists in the concerto grosso remaining in their seats and not being acknowledged at the end. The write-up in the program mentioned that Corelli’s music is usually left in the realm of ‘historically informed performers’, maybe it’s such a rarity to perform a concerto grosso that the conductor didn’t think to acknowledge the soloists? The conductor, Mr. McGegan, was brought in from the Philharmonia Baroque Orchestra so surely that must not be the case.

A Funny Coincidence

On Sunday, April 10th I performed a short recital before a performance of Stainer’s Crucifixion by a local church choir. I enjoyed myself and, as all work towards the recital was paid for, I managed to squeeze out a ‘prep’ recital with the organist at no cost to me. It was nice to perform for a completely fresh audience for once and they seemed to be very pleased by my performance (phew!). I performed the Mozart Concerto and Elgar’s Romance, Op.62.

Such a busy time!

The past few weeks have been quite interesting for me musically. I spent last week performing in the pit (on the modern bassoon) for a new opera called “Lady of the Night” and, on top of my studies, managed to get out to Montreal for a lesson.

The lady of the Night was an interesting experience to say the least. The opera included fifty students of one particular singing teacher in the area, who sung at the beginning of the performance, and, with the introduction of every new singer, I began to see (or rather, hear) the style of singing which she was teaching to her students. The music was particularly difficult to play and put together for the pit orchestra, but we pulled through by opening night. The orchestra was full of great people and I hope to play with them again soon!