Since its formation in 1996 by baroque cellist Tatty Theo, the award-winning Brook Street Band has established itself as one of the country’s foremost interpreters of Handel’s music. The name comes from the street in London’s Mayfair where George Frideric Handel lived and composed for most of his working life.
The Brook Street Band has performed and taught extensively at prestigious British and European Festivals, and regular UK concert venues include Wigmore Hall, St. John’s Smith Square and The Maltings, Snape. The Band regularly broadcasts for the BBC.
The Brook Street Band has released eleven CDs, all receiving high critical acclaim; the Band’s debut disc “Handel Oxford Water Music” was selected as Gramophone Magazine Editor’s Choice, as was its “JS Bach Trio Sonatas”.
This teacher, or should I say Master, is a GENIUS, such a deep understanding of music and voicing. I'm getting massive amounts of ideas for my interpretation of baroque music after seeing her. Please upload more videos with Rachel, she needs to be seen more often, subscribed.
@@thebrookstreetband3664 Yes, I'm a violinist myself. Recently I got very interested in the baroque violin style of playing (I come from a traditional modern school) and I found this gem of a channel. So much depth to be explored within the pieces of this period is mindblowing. Thank you for providing this content for free!
You play beautifully! And a nice description of how the harpsichord works. I always thought the instrument had a plucking sound, but had no idea how that sound was produced.
Meine Lieblingstriosonate! 🙂 Herrliche Stimmführungen.& Klangfarben .... und entdeckt hatte ich sie durch die wunderbare Transkription von S. Feinberg für Klavier - unter den genialen Pianisten- Händen von Arkadi Volodos! Vielen DANK für diese grossartige Einspielung hier - aller Triosonaten! Keep the swing! ;-)
Three years later, taking up traverso again after a 35 year hiatus (yeah, I'm a bit old) - I really enjoyed this. One thing I really love about the baroque flute is its overall relative simplicity - embouchure hole, six finger holes, and a d# / eb keyed hole. My b-foot Boehm flute back in the day I think had 17 holes covered by all of the keys. I recently learned that the modern professional oboe has 45 keys. With the traverso, it's so nice to only have to worry about one keypad and spring in the mechanism. The rest lies in one's lips and fingers.
The piece is by Salomone Rossi (c.1570-1630): Sonata ottava sopra L’Aria è tanto tempo hormai. This particular sonata was published in 1642 in his 4th book.
@@baroquefiddler Many thanks, that it was an early 17th century Italian piece I understood but not the composer. However, it was more a criticism towards the scarcity of information and poor communication of the manager of this site.
Meravigliosa idea di trasporre queste sonate dall'organo agli archi. (sicuramente praticata anche da Bach & Co.) .Invito tutti i suonatori d'arco di trasporre OGNI opera " per tastiera" ( cembalo ed organo) su strumenti ad arco. Ne usciranno versioni musicali superbe ed inaspettate . Buon lavoro a tutti i violinisti, violisti e cellisti.
Interesting... I knew harpsichords plucked the string but I never knew how the jacks worked. I imagine back in the 1700s there were an awful lot of harpsichord plectrums that broke or snapped off given the natural materials. I guess "harpsichord repairman" was a good job to have. LOL
Johann Sebastian Bach had drawers filled with crowfeather's to replace the plectra and they didn't break too fast. People brought him crow feathers when they would find a dead one or kill one. The traditional little wire type spring for the back of the Jack was made out of the hair of a wild boar and a very similar substitute is fishing line
@thebrookstreetband3664 yes very true I used Delrin plectra also. Bach used to pick the largest Crow quills that would fit and cut them almost flat at the end so they had as much strength as possible and I think they are harder than Delrin by a little bit that way. I want to get a wooden Jack replacement that uses Crow quills on my harpsichord someday
Bach may have helped other people with their harpsichords like a repairman but most people pretty much had to tune it and maintain it themselves. Part of owning a harpsichord was knowing how to tune it restring it and make your plectra. Bach would sometimes ask the maker for help being Rucker's,
Modern reproduction makers are into a lot of paint these days which is semi traditional. What would you prefer? If you put together a harpsichord kit you could finish it however you want
It's a very different technique, but yes the notes are same same. Harpsichord keys are narrower than piano keys and are not weighted, so feel very different.
Yes the feel is very different. I played nothing but a harpsichord for years and the mistake notes are just as loud as the notes you want. On a piano a mistaken note is a lot of times softer but on the harpsichord they would ring right out just as loud as everything else and it makes me scared to make a mistake so it made me play a lot better. I play piano presently but there's so much effort involved in throwing the Hammers and kind of slamming the key that you don't have with the harpsichord which saves your energy and focus for the music.
Sometimes, but not always. The sizes weren't standardised in the 18th century. The Strad Magazine has some wonderful diagrams of cellos with all their measurements and one can see the huge variety between different makers.
Treatises Vocal Bertrand de Bacilly ‘ Remarques curieuses sur l’art de bien chanter 1688 ks4.imslp.net/files/imglnks/usimg/f/f1/IMSLP224881-SIBLEY1802.14447.d301-Remarques_Curieuses_pt1.pdf Monteclair (in a section for singers, see link on woodwind treatises list) Woodwind - Marin Mersenne - Harmonie Universelle 1636 (this books represents the sum of musical knowledge during his lifetime) it is made of made different chapters including instruments and how to play them) For us the more interesting is part 2 published in 1637: ks4.imslp.net/files/imglnks/usimg/c/c7/IMSLP77439-PMLP156089-MersenneM_HarmUniv_Pt2_01.pdf Etienne Loulie - Methode pour apprendre a jouer da la flute douce - 1685 Jean-Pierre Freillon-Poncein - La veritable Manière d’apprendre a jouer en perfection de hautbois, de la flute douce est du flageolet - 1700 ks.imslp.net/files/imglnks/usimg/5/56/IMSLP531921-PMLP433179-Freillon-Poncein_J.P._-_La_v%C3%A9ritable_mani%C3%A8re..._du_hautbois,_1700.pdf Jacques Hotteterre - Principles de la flute Traversiere - 1707 ks4.imslp.net/files/imglnks/usimg/b/b9/IMSLP60623-PMLP124167-005hotteterre.pdf Jacques Hotteterre - L’art du preluder 1719 ks.imslp.net/files/imglnks/usimg/4/48/IMSLP279418-PMLP228362-lart_de_preluder2_hotteterre.pdf Michel Pignolet Monteclair - Principes de Musique - 1739 ks4.imslp.net/files/imglnks/usimg/9/96/IMSLP112030-PMLP149927-principes_de_musique.pdf Michel Correte - Methode Raisonnee pour aprendre aisement a jouer de la flute traversiere 1740 ks4.imslp.net/files/imglnks/usimg/f/fe/IMSLP285215-PMLP462950-corrette_methode_flute.pdf Bopismortier (lost- found a reference to it during my research but it has apparently been lost. If someone knows about it please kindly let me know!) Keyboard Couperin - L’art de toucher le clavecin (1716- first publication) ks.imslp.net/files/imglnks/usimg/2/21/IMSLP302585-PMLP09374-Couperin_-_L'art_de_toucher_le_clavecin_-1716-.pdf Books - Betty Bang Mather - Interpretation of French baroque Music from 1675 to 1775 - Betty Bang Mather - Dance Rhythms of the French Baroque - French Baroque music - J.R.Anthony - David Hennebelle - De Lully a Mozart - Aristocratie, Musique et Musiciens a Paris (17th and 18th Century) - Constant Pierre - Histoire du Concert Spirituel (1725-1790) - David Lasocki French Baroque flute series Lully and the Flute Charpentier and the flute -Michel Pignolet Montclair - Les Agreements - French Baroque ornamentation - Peacock press - The birth of the orchestra - Spitzer and Zazlow Thesis The French flute school from 1700-1760 Jane Bowers (PhD thesis - University of California, Berkeley, 1971
Hi Eugene, thank you very much for watching the Masterclass, we had a fantastic time doing it and I am so glad it is being enjoyed! I have now posted the resources I mention in the video. Hope it is helpful! All the best Lisete
Hello, why couldn't you Try Remaking A Daddy Grand Piano by putting on 88 Tuning Forks like what you did on an Upright Piano, Please do the Same Thing on a Daddy Grand Piano For Most of us RU-vidrs, It will be a much Better Idea For us so we can Try and See and Hear It Thank You.
It originated from an early zither that was just strings stretched over a box plucked with two feathers held in the hand. They created a keyboard mechanism to make playing easier and the instrument had no real official name or music at first but played along with other stringed instruments and rolled the cords like they did. Traditional continuo music is based on that, taking the chord structure of the piece and arpeggiating it
I like "Band". Of course Roy Goodman directed the "Hanover Band". In any case, no one has performed Handel's sonatas as well as the "Brook Street Band" IMO. I just had to pick up three of their CD's of those Handel masterpieces.
Thank you very much for this masterclass. Most informative and interesting. I have a question- albeit slightly unrelated but it has a connection with the French court. When Charles II brought musicians such as Cambert and his troupe to England, I am assuming they, of course, brought their own and Lully's music. Are elements of French baroque such as Inegalité and ornamentation relevant to English repertoire? Say slightly later music by Purcell, Locke and their contemporaries. Apologies as it is a long question, and thank you again for this wonderful masterclass!
So sorry for the delay in replying! Yes I believe you are indeed right, there are definite French elements to Purcell’s music and we know there were French woodwind makers in London, such as the Bressan family. This is a wonderful avenue to pursue and establishing definite links would be so very interesting. All the very best and thank you so much for your kind words. Lisete
i was wondering how this worked. i was surprised that the strings really were plucked (they sounded like they were plucked to me but i pushed that thought aside since i didn't know how it actually worked or how that would work)
A great performance! The problem with playing this work as a trio sonata lies with the fact that the bass line is obviously a pedal part. Even if we can conjecture a "trio sonata original," we would be forced to conclude that the original "basso continuo" had been simplified for the organ pedals. In arranging the work as a trio sonata then, more "compositional courage" is needed to make an idiomatic basso continuo line. Bach has left many examples which could be used as references..
Aquila F-Reds will certainly be a good upgrade for your Baroque Cello so that it holds tune better, & your Modern Cello will use D'addario Helicore Strings (4/4 Size Medium Tension). Both Cellos will be upgraded w/ Wittner Composite Tailpieces that don't have fine tuners as well as Wittner Fine Tune pegs (there's a string winder for both). You can also add Pickups to them, such as Realist Copperheads so that recording is easier. D'addario Dark Kaplan Rosin will help w/ bowing.
