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Tag Archives: baroque violin
Behind the scenes 2 – Paris Rendezvous
Part of life for most musicians these days is not just playing the music and being creative, but also working hard behind the scenes to make it all happen. Unless you are in a large organization, this involves contacting other … Continue reading →
National Easter Viol School, Brisbane 2013
I felt priviledged to spend the Easter long weekend tutoring at the National Easter Viol School, held in the beautiful tranquil surroundings of the School of Music, University of Queensland. Participants of all ages, from as far afield as Adelaide … Continue reading →
Posted in Conversations, Workshops
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Tagged baroque, baroque cello, baroque violin, chamber music, Early Music, easter, Historically Informed Performance, viol da gamba
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Early French Chamber Music
I’m delighted that, at least in the first half of 2013, I will have several opportunities to indulge in performing some of my favourite repertoire – chamber music from early 18th century France – music which, although it can appear … Continue reading →
Posted in Concerts, Margaret's performances
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Tagged 18th C, baroque, baroque flute, baroque violin, Boismortier, chamber music, Early Music, French, harpsichord, Historically Informed Performance, Hotteterre, Marais, Morel, National Easter Viol School, Rameau, Rebel, Telemann, viol da gamba
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More concerts in Broadford
I’ve been delving into music libraries for an exciting programme of early Italian repertoire for two violins and harpsichord. The more I read, the more I realize how rich this repertoire is, and how little known. This concert, “More than … Continue reading →
Posted in Concerts, Margaret's performances
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Tagged 17th C, baroque, baroque violin, Broadford, Castello, chamber music, Cima, Corelli, Early Music, Frescobaldi, harpsichord, Historically Informed Performance, Legrenzi, Lonati, Rossi
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AUSTA Stringendo magazine
The latest edition of the AUSTA (Australian Strings Association) national journal Stringendo is packed full of articles and reviews to do with Baroque Performance, including a short article on playing from facsimilies by yours truly. If you’re interested in receiving … Continue reading →
Posted in Conversations, Uncategorized
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Tagged baroque performance practice, baroque violin, facsimiles, string playing
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EMSQ presents ALCHEMY 2.30pm, 28 October 2012
Looking forward to another concert with Alchemy, presented by Early Music Qld, 28 October, 2.30pm, Holy Trinity Church, 64 Hawthorne St, Woolloongabba. On this occasion the performers are baroque violinists Bridget Crouch and myself (also featured on baroque viola), viola … Continue reading →
House concerts
It was wonderful to present two house concerts with my harpsichordist colleague Peter Hagen in regional Victoria last week. The audience members were very appreciative, and many commented on how wonderful it was to be able to hear baroque instruments … Continue reading →
Posted in Concerts, Conversations, Margaret's performances
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Tagged baroque violin, chamber music, harpsichord, house concert
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Article for AUSTA Qld
An article I’ve written on Baroque Style, aimed at assisting busy string teachers, has been printed in the June newsletter of AUSTA Qld (Australian Strings Association, Queensland branch) . If anyone is interested in joining AUSTA and receiving this newsletter … Continue reading →
Posted in Conversations, Workshops
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Tagged AUSTA, baroque violin, Early Music, Historically Informed Performance, string teaching, style
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Devonshire Tea Concert June 16
Mmm, devonshire tea, with homemade jam. I’m definitely looking forward to this gig! I’ll be performing a selection of my all time favourites for baroque violin, with the wonderful Peter Hagen on harpsichord. For more details go to the trybooking … Continue reading →
How is a baroque violin different from a modern violin?
This question is frequently asked by audience members after concerts and workshops. Ironically, the most easily observable differences are those which affect the sound quality only indirectly, and are not related to the construction of the actual instrument – i.e. … Continue reading →