Meet the Orchestra
Meet the Orchestra: Baroque Horn
In Episode 2 of our 'Meet the Orchestra' series Anneke Scott introduces us to the natural horn, shows us the differences between the modern and baroque horn and tells us about being a musical gatecrasher. Follow us on YouTube to see all the future episodes as soon as they are published.
Meet the Orchestra: Baroque Viola
In Episode 3 of our 'Meet the Orchestra' series Jordan Bowron introduces us to the baroque viola, shows us the differences between the modern and baroque versions of the instrument and tells us what it's like to play an instrument which has been on the receiving end of jokes for centuries.
Baroque Basics with Claire Duff
The Baroque Bow, part 1: What is a 17th century violin bow and how do I hold it?
In this video Claire uses paintings from the Baroque era to explore what baroque violin bows were like in the 17th century and how they were held. This video includes: - looking at paintings - demonstrating the french bow grip - showing the advantages of having a light 17th century bow. - quoatations from 17th century treatises about bow holds The Biber track at the beginning and end of this video comes from 'Flights of Fantasy; Early Italian Chamber Music' which is available via www.linnrecords.com H.I.F. von Biber: Harmonia Artificiosa Partia VI for more iconography: Traditions of Baroque Violin Playing (baroque-violin.info) Further reading about baroque playing: Judy Tarling 'Baroque String Playing - for ingenious learners' irishbaroqueorchestra.com claireduffviolin.com
The Baroque Bow, part.2 : How does a baroque bow compare to a modern bow?
In this video Claire demonstrates the differences between 17th and 18th century baroque bows, transition bows and modern bows and discusses the evolution of the violin bow from early baroque to modern day. This video includes: - comparisons of 17th and 18th, classical/transition bows and modern bows - explanations and demonstrations of the advantages and disadvantages to each type of bow - what the different bows look, feel and sound like - an explanation of the evolution of the violin bow from early baroque to modern day - a chart illustrating the differences between baroque and modern bows Music in this video: Music track at the beginning and end of this video comes from Concerti Bizarri with the Irish Baroque Orchestra Telemann Concerto for Two Violins and Bassoon in D major, TWV 53:D4 Soloists : Monica Huggett and Claire Duff (violins) Peter Whelan (bassoon) Irish Baroque Orchestra, director Monica Huggett Further reading about baroque playing: Walter Reiter ' The Baroque Violin & Viola, vol. II: A Fifty-Lesson Course' Judy Tarling 'Baroque String Playing - for ingenious learners'
Making the Past our Present
Aoife Nic Athlaoich: Baroque Behind the Scenes
In this session, cellist Aoife Nic Athlaoich will bring us into her practice room to look at different practice techniques and approaches. Through this, she examines the role of the cello in Bach's cantatas and shows us how she will prepare for IBO's upcoming 'Rejoice! Music to lift the Spirit' concert at the NCH on June 10th.
Marja Gaynor: Baroque Bows and Folk Fiddles
In this talk, violinist Marja Gaynor will talk about the folkier side of the 17th and 18th-century repertoire. She will introduce and play examples from collections like "The Division-Violin" (1684) and "The Hibernian Muse" (1786), chat about her approach to arranging and performing this kind of repertoire and explore similarities and differences in the playing techniques and ornamentation of Baroque and traditional music.
Malachy Robinson: The Generalbassist
Being a bass player in music from the 17th and early 18th centuries is an adventure. Rather than identifying primarily as the player of a particular instrument (mainly the double-bass in Malachy's case), you are a member of a team within the orchestra called the continuo group (Generalbass in german), all playing from the same part. The continuo group celebrates diversity, comprising instruments that are bowed, plucked, blown, strummed and of course keyboards. In this talk, Malachy discusses the role of the continuo player and demonstrates the varied bowed bass instruments that he plays in this role: double-basses of 3 and 4 strings, and violas-da-gamba of 5 and 6 strings.
Peter Whelan: From Paper to Performance
The IBO's Artistic Director Peter Whelan has a reputation for Irish heritage programming, which forms a core pillar of the IBO's identity. But how does he weave a narrative from source material? In this talk he takes a look at JS Cousser, a Hungarian composer who studied at the Court of Versailles and came to live in Dublin for the final 20 years of his life. His ‘Commonplace Book’ (a kind of address book/diary) is housed in Yale University and provides us with a fascinating and unique insight into the Dublin Music Trade of the early 1700s, providing us with a springboard of inspiration for concert programmes and research.