Effectively, all classical musicians are historical interpreters, and all performers are storytellers. There's a lot more context behind the music than meets the ear, so I'm working on fleshing out all dimensions of such an interpretation.
"The more unexpected something is, the more one is likely to connect to it." I'm OK with being the unexpected element that provides an otherwise-casual listener with an immersive encounter with the music we passionately love, which relays the story the composer was so passionately trying to tell, and which induces the audience to reach back through time and join hands with the unbroken line of the humanity of man.
I've been most interested in baroque music as long as I've been playing. In the last several years, I've also been studying and performing Renaissance and medieval music. In 2022, I was the first candidate to be awarded the EU Graduate Certificate 'Specialist in Medieval Music Performance Practice' from University of Lleiva (Catalonia), a new program.
Lately, I've had serial requests to play demonstration performances of early music at schools and events. Very happy to do this - music appreciation must, by necessity, precede music education. Other reasons I do this are that when I'm not playing music, I like to be playing music. Also, I find it incumbent on every musician to "grow the pie": instead of competing for a piece of the pie, grow a bigger pie. As arts budgets shrink, due to the above-mentioned paucity of music appreciation, we compete ever more vociferously for positions and funding, forming ever more resource-consuming nonprofits that self-fulfill their titles, rather than shoulder the career-long duty of expanding audiences. I like to take the most direct route to the long game of growing audiences by going directly to the audiences and engaging them.
"The more unexpected something is, the more one is likely to connect to it." I'm OK with being the unexpected element that provides an otherwise-casual listener with an immersive encounter with the music we passionately love, which relays the story the composer was so passionately trying to tell, and which induces the audience to reach back through time and join hands with the unbroken line of the humanity of man.
I've been most interested in baroque music as long as I've been playing. In the last several years, I've also been studying and performing Renaissance and medieval music. In 2022, I was the first candidate to be awarded the EU Graduate Certificate 'Specialist in Medieval Music Performance Practice' from University of Lleiva (Catalonia), a new program.
Lately, I've had serial requests to play demonstration performances of early music at schools and events. Very happy to do this - music appreciation must, by necessity, precede music education. Other reasons I do this are that when I'm not playing music, I like to be playing music. Also, I find it incumbent on every musician to "grow the pie": instead of competing for a piece of the pie, grow a bigger pie. As arts budgets shrink, due to the above-mentioned paucity of music appreciation, we compete ever more vociferously for positions and funding, forming ever more resource-consuming nonprofits that self-fulfill their titles, rather than shoulder the career-long duty of expanding audiences. I like to take the most direct route to the long game of growing audiences by going directly to the audiences and engaging them.
A sample from my "Self-Guided Early Musix Tour 2023", in which I played at several different events featuring early music, formal and informal:
