“The more I looked at this score, the more it continued to scream ‘Vivaldi’ at me. From that point onwards, the process of constructing a strong argument for Vivaldi’s authorship took over.”
Yet Another Misattributed (And Rediscovered) Vivaldi Work In Dresden Read More »
What seemed like a dream for artistic director Jeannette Sorrell in 1992 is today a flourishing reality. “It’s a success story largely due to Jeannette’s nearly infallible sense of how to reach her audience,” said musicologist Ross Duffin, who coined the ensemble’s name.
Raise A Glass To Apollo’s Fire’s Silvery Celebration Read More »
For a while now I have been looking for ways to help musicians develop the kind of musical understanding which might help them in non-solo repertoire, and this has led to a number of questions.
Cellist David Watkin On The Art Of Continuo Playing Read More »
Music historians traditionally choose from three methodologies to write their books: biographical, stylistic, and chronological. David Wyn Jones, however, tells us “this history takes a different approach, a slice history focusing on three epochs, 1700, 1800 and 1900, a portrait of each period that allows contrasts to emerge and continuities to be articulated.”
Fascinating Study Of Vienna’s Musical Past Read More »
The soloists and the ensemble as a whole perform exquisitely; the soloists are incredibly well suited to their roles, the instrumental ensemble is unified and well balanced, and the chorus is exceptional — the opening scenes in Part I are some of the best choral Bach in my recent memory.
Apollo’s Fire St. John A Resounding Success Read More »
