In his Canto column, historical oboist Geoffrey Burgess argues that modern circumstances too often take us far from the collaborative nature of early music and the shared goals of singers and instrumentalists. Understandably, many singers feel the need to become generalists. But now is the time to re-evaluate our current practices.
CANTO: Phrase it Like a Singer? Read More »
Byzantine chant treats the human voice as a fretless instrument. Its cultural roots place it at a unique intersection of ‘world music’ and historically informed performance.
I psaltikà téchni – Discovering Byzantine Chant Read More »
Cree composer Andrew Balfour reimagines history and the concept of respect and dialogue between nations of the so-called New and Old World. It’s charting a course for settler ensembles to collaborate with Indigenous artists.
Truth meets Reconciliation: Renaissance Music meets Indigenous Arts Read More »
Sometimes the musicians are so swamped by apparatus — starting with music stands, pedals for turning electronic pages on a tablet, microphones hanging over the performers, wires all over the place, and people wearing huge headphones sitting in front of yet more apparatus — that it can feel like a trio sonata on life support. ‘It makes me feel that I’m a third wheel in something much more important than my own enjoyment in the moment.’
Musings: Is a Live Audience the Third Wheel? Read More »
Few performers have spent as much time exploring the galant as Baroque cellist Elinor Frey, who has made the style the subject of numerous concert projects, critical editions, seminars, and a fast-growing discography.
Good Manners, Good Music: Adventures in the Galant Read More »
