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Topic: Baroque violinists

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	The Baroque German Violin Bow: A Lost Art
		But look closely at the baroque lady playing the violin in our headline illustration - the bow is convex-arched well away from the bow strings, and her thumb is placed under the bow strings.
		This was the German style of bow, which went out of fashion with the end of the baroque era in 1750, as this cartoon from the later, "gallant" or "rococco" period illustrates.
		Violinist Rudolf Gähler has made a number of recordings and tv appearances, and is well known as a concert artiste.
	www.baroquemusic.org /barvlnbo.html (1415 words)

	Baroque violin - Wikipedia, the free encyclopedia
		A baroque violin is, in common usage, any violin whose neck, fingerboard, bridge, and tailpiece are of the type used during the baroque period.
		Baroque violinists commonly play their instruments without a chin rest, as the chin rest had not yet been invented in the baroque period.
		Baroque violins have surged in popularity since the 1980s as part of the growing interest in authentic performance.
	en.wikipedia.org /wiki/Baroque_violin (509 words)

	Baroque Music - Part One
		Most of the Baroque musical instruments and forms which evolved during the Baroque period survive today, particularly as they were embodied in the most familiar European art music, the music of the Classical and Romantic periods of the nineteenth century.
		Baroque woodwinds were all made of wood, even the flute, and had few or no keys, unlike their nineteenth century descendants.
		Baroque musicians were not concerned with expressing their own feelings and emotions, rather they sought to describe with objectivity, feelings and emotions which were distinct from what they actually felt.
	trumpet.sdsu.edu /M345/Baroque_Music1.html (3432 words)

	Baroque Composers — Overview, individual biographies
		Typical of baroque musicians active in Rome was the composer and violinist Arcangelo Corelli (1653-1713), whose style of playing became the basis for the violin technique of the 18th and 19th centuries, and whose chamber music compositions were far-reaching in their influence.
		An underlying, all-pervading and inspirational influence on Italian baroque music was provided by its violin-makers, mainly centered in Cremona - the Amati family in the 16th and 17th centuries, the Guarneri and Stradivari families in the 17th and 18th.
		A sonata for violin solo is a highly exacting work both from the musical and violinistic viewpoint, and tends to confirm the theory that Pisendel's playing and style may have led to the composition of Bach's solo sonatas.
	www.baroquemusic.org /barcomp.html (4642 words)

	All Things Strings: Reviews
		British violinist Andrew Manze is celebrated, perhaps even notorious, for virtuosically flamboyant cadenzas and ornaments that would surely have made even the Baroque master violinists jealous.
		Yet for all his musical daring, Manze is also a violinist of sensitivity and intelligence, and his two most recent recordings are the best showcase thus far of Manze as a "complete" musician.
		Violinist Dmitri Tziganov of the Beethoven Quartet transcribed all but five of them for violin and piano in the 1930s; Eleonora Turovsky of the Borodin Trio made the most recommendable recording of that set in the late 1980s.
	www.stringsmagazine.com /issues/Strings123/reviews.html (2418 words)

	Oberlin College Course Catalog
		Baroque cello/viola da gamba majors must take APST 841 (Viola da Gamba Consort) for six semesters; they must also take four semesters of APST 843 (Baroque Ensemble), in two of which they must play Baroque cello.
		Violinists, cellists, oboists, and flute players may substitute one semester of an ensemble in which they play the modern equivalent of their baroque instrument.
		In order for Baroque cello/viola da gamba majors to fulfill the Junior and Senior recital requirements, each instrument must be performed on at least one-half of a recital (either the entire junior or one-half of the Senior recital).
	www.oberlin.edu /catalog04/conreq/hist.html (793 words)

	[No title] (Site not responding. Last check: )
		Given their level of activity, it is hardly surprising that Chatham Baroque is organized as a non-profit performance and educational organization and that its musicians draw salary and benefits, but such conditions are unusual in the uncertain world of classical music performance.
		She is a founding member of Chatham Baroque and also has played with the Magnificat Baroque Orchestra in San Francisco, Philharmonia Baroque, Apollo’s Fire, and with The Publick Musick at the Rochester Bach Festival and the 1997 Boston Early Music Festival.
		Chatham Baroque’s disc of Latin American music, to be released in February, includes a number of dances by the Mexican composer Santiago de Murcia, dances from a Bolivian source of the colonial period, and vocal works from both Latin America and Spain.
	www.continuo.com /dec98/tgf.htm (1820 words)

	Baroque orchestra comes to Stephens - Pulse (Site not responding. Last check: )
		The Venice Baroque Orchestra, "Season at Stephens" second act of the year, is an ensemble of classical musicians who have been together for the past five years.
		The orchestra specializes in playing a Baroque style of classical music from a period in art and music popular during the 17th and 18th centuries.
		The orchestra is unique in that it performs with the original antique instruments that Baroque musicians used during the period.
	www.iowastatedaily.com /news/2002/10/04/Pulse/Baroque.Orchestra.Comes.To.Stephens-1092268.shtml (444 words)

	Musician Profiles (Site not responding. Last check: )
		She has taught baroque violin at Peabody Conservatory and the Oberlin Conservatory of Music, is on the summer faculty of the Baroque Performance Institute, and has led the baroque orchestra and taught baroque dance at CWRU, where she is pursuing a DMA in Historical Performance.
		On baroque violin, she is a member of Fioritura, a baroque chamber ensemble with whom she has recently recorded a CD to be released on the Centaur label.
		She has attended the Baroque Performance Institute, Tanglewood, and the Classical Workshop at Oberlin, and was a member of the CWRU Baroque Orchestra.
	www.apollosfire.org /2003_2004_Musician_Profiles.htm (5253 words)

	New Trinity Baroque > About Us
		Founded and directed by the young conductor and harpsichordist, Predrag Gosta, New Trinity Baroque's home is in Atlanta, where it continues its mission by presenting over 25 concerts and educational events each season.
		New Trinity Baroque's efforts in education are constantly praised and recognized, as the ensemble presents a number of exciting concert-lectures at major universities.
		During the Season 2005/06, New Trinity Baroque was jointly led by John Holloway as Music Director, and Predrag Gosta as Artistic Director.
	www.newtrinitybaroque.org /about/index.html (381 words)

	Chatham Baroque \| Newsletter (Site not responding. Last check: )
		The mission of Chatham Baroque, Inc. is to cultivate the professional performance of baroque music; to build a warm, ongoing relationship with a diverse audience, and; to stimulate interest in music of the 17th and 18th centuries performed on period instruments.
		While I was a boarding student, living in the oh-so-uncomfortable school dormitory, Ingrid lived off campus with her family - her father (a piano teacher at the school), her mother (a German teacher at the school), her older sister (a drama student at the school) and her twin sister (a piano student at the school).
		The Chatham Baroque concerts on December 1, 2 & 3 will be very special for me in that I'll be playing with two of the best baroque violinists in the country, both of whom I count among my closest friends.
	www.chathambaroque.org /news1100.html (2514 words)

	Portland Baroque Orchestra - Interview and the Press (Site not responding. Last check: )
		The thing about those early days with baroque violins was that it really was a case of reading the books and coming to your own conclusions, which were as important and relevant as anyone else's.
		Now, with the Bach Solo Sonatas and Partitas she joins what is still a surprisingly small number of baroque violinists to have committed these pinnacles of instrumental writing to record.
		Her playing is impeccable and those who profess to dislike the sound of the Baroque violin will surely have no grounds to quibble here… there is a warm, generous, vocal quality to much of her tone.
	www.pbo.org /Season2000/Reviews.htm (1110 words)

	Willamette Week\| Performance
		One is a composition, a project that has had her working closely for more than a year with a man who has been dead for two and a half centuries.
		The other is a concert of that work and the one that inspired it, performed with one of the foremost baroque violinists of our time.
		Huggett is among the first rank of baroque musicians, and her 1997 recording of the complete Bach Sonatas and Partitas is definitive, one of the most exciting period releases in recent years.
	www.wweek.com /html/perf0106.html (774 words)

	Vivaldi: Late Concertos - sonyclassical
		Soloist and ensemble wield Baroque bows with a power and authority thought impossible a generation ago, when most Baroque string phrases began as a thin wisp of sound and only gradually gained tonal body.
		Baroque paintings and accounts record that other instruments usually joined the principal harpsichord in providing extemporized "fill-ins" - the so-called "continuo realization." Marcon, conducting from the harpsichord, enlisted similar support from two musicians, one playing a second harpsichord in alternation with organ, the other an archlute.
		Along with an extensive touring schedule abroad, the Venice Baroque Orchestra is the resident orchestra of the Baroque Festival of Venice.
	www.sonyclassical.com /music/89362/notes.html (1559 words)

	Untitled Document
		It was not directly a part of the Adelaide Cabaret Festival but Adelaide Baroque's Friday night concert presentation of rarely performed vocal solos and duets from 17th and 18th Century Italy illustrated a period of change in the form of popular song from madrigals to smaller works such as these.
		Newer faces on the scene, violinist Emma Luker and baroque flautist Tim Nott also added zest, and there was flute-flavoured ear candy aplenty between the rich, dark-chocolate sonorities of Nott's transverse instrument and the edgier, brighter and lighter sounds of Jayne Varnish's and Lynton River's recorders, an interplay that featured throughout the afternoon.
		Adelaide's doyen of baroque music, Lesley Lewis, was in fine fettle, too, notching up her opening run-rate with an energetic, quite racy performance of the big, bustling Allegro from Bach's Sonata in G. This she was aided and abetted by the brilliant colours of her magnificent Schaumlöffel harpsichord.
	www.adelaidebaroque.com.au /reviews.htm (1633 words)

	BaroqueViolin WebRing
		While this ring is designed primarily for baroque violinists, violists, cellists and original stringed instruments players, all players in this genre are welcome to join.
		Baroque violin/viola player, Scandinavian fiddle player, musicologist, music teacher and linguist Olve Utne's Early Music resource site focusses on historic performance practice of classical and traditional music from Europe, including Hebrew and Castilian (Spanish) historic phonology/pronunciation.
		The group is led jointly by its founder, Predrag Gosta, who is New Trinity Baroque's artistic director, and baroque violinist, John Holloway, as the music director.
	w.webring.com /hub?ring=baroqueviolinweb (194 words)

	NYBDC: People (Site not responding. Last check: )
		The ensemble has been at the forefront of the Baroque and Classical revival in the United States, with innovative performances of the major repertoire of the period featuring the foremost performer/scholars in the field.
		Christopher Hogwood conducts repertoire ranging from the baroque to contemporary, always with the prevailing philosophy of revealing the original sound-world of the composer.
		A champion of such Baroque masters as Handel, Rameau, Bach and Vivaldi, his repertoire also encompasses Mozart and Haydn, the complete symphonies of Beethoven, and extends to Stravinsky, Britten, Tippett, and Glass.
	www.nybaroquedance.org /htmls/people-musician1.html (1380 words)

	American Baroque: Spectacular Baroque and Classical chamber music
		An ensemble of eclectic, accomplished, and artful musicians, the performances bridge a gap between the edges of the new music frontier and the familiar roads to music of the past, and expands the repertoire and scope of historical instruments into the new millenium.
		In 1992, American Baroque began exploring the territory of performing new music written for historical instruments through its collaboration with composer, member and gambist Roy Whelden and his pieces Quartet After Abel and Gamba Quartet, which resulted in a CD release on the New Albion label in 1993.
		Stephen Schultz, founder of American Baroque, is principal and solo flutist with the Philharmonia Baroque Orchestra, Musica Angelica of Los Angeles, and performs with the American Bach Soloists, the Portland Baroque Orchestra, and Joshua Rifkin's Bach Ensemble.
	www.magnatune.com /artists/american_baroque (1485 words)

	Seattle Baroque Orchestra's Artists
		Recently lauded for her “invigorating verve and imagination” by the Washington Post, Julie Andrijeski is among the leading baroque violinists in the U.S. She is a full-time member of the early-music trio, Chatham Baroque, an award-winning ensemble that performs throughout the Americas.
		Violinist Ingrid Matthews, Music Director of Seattle Baroque Orchestra, is well established as one of today’s most respected exponents of her instrument.
		Violinist Peggy Spencer recently moved to the Seattle area from Vermont where she was concertmaster and frequent soloist with the New England Bach Festival and a member of the Arcadia Players Baroque Orchestra in western Massachusetts.
	www.seattlebaroque.org /about/artists.htm (5628 words)

	CON
		She is currently on the faculty of the University of Southern California and has taught at the International Baroque Institute at Longy and the Baroque Performance Institute at Oberlin.
		Lisa Weiss performs regularly as a concertmaster and soloist with Philharmonia Baroque, American Bach Soloists, and the Arcadian Academy, and is a frequent guest artist with early music chamber music groups such as Earplay and the Empyrean Ensemble.
		In 1997, she organized a project to perform the quartet works of Schubert in honor of the composer's 200th birthday; this was the first complete Schubert cycle performed on historical instruments.
	www.johnschneiderman.com /Galanterie.htm (1285 words)

	About Musica Pacifica
		A frequent soloist, concertmaster, and leader with Philharmonia Baroque Orchestra, Los Angeles-based Musica Angelica, American Bach Soloists, Chicago Opera Theater, and the Italian ensemble, Il Complesso Barocco, she is also a member of several of California's finest period instrument chamber ensembles, including Musica Pacifica, the Arcadian Academy, Trio Galanterie, and Trio Galatea.
		She is instructor of baroque violin at the University of Southern California and teaches regularly at the International Baroque Institute at Longy in Cambridge, MA, and is available for residencies in Baroque style at conservatories and universities.
		With the ensemble American Baroque, he is active in the field of contemporary music and was awarded the 2000 ASCAP Award for Adventurous Programming.
	www.musicapacifica.org /Indivbios.html (829 words)

	Tafelmusik Baroque Orchestra & Chamber Choir - About Us - Tafelmusik's 25th Anniversary
		The orchestra the crowds flocked to hear was the "Festival Baroque Orchestra," and the concert the finale of "A Spring Festival of Baroque Music," organized by a an instrumental trio named Tafelmusik and the Toronto Chamber Music Collective, both spearheaded by oboist Kenneth Solway and bassoonist Susan Graves.
		Finally, on May 9, a great experiment was presented to the public: a baroque orchestra made up of a combination of experienced period players and modern players with baroque instruments in their hands.
		A full baroque orchestra on original instruments means an incredible amount of extra work and preparation than is normally needed for a concert presentation.
	www.tafelmusik.org /about/beginnings.htm (987 words)

	Monica Huggett (Conductor, Violin) - Short Biography
		During her studies of the modern violin at the Royal Academy of Music in London she was introduced to the baroque violin and immediately felt a complete empathy with the instrument.
		She has worked with many of the great directors of the baroque world and particularly values her work with Ton Koopman, as the leader of the Amsterdam Baroque Orchestra from 1980 to 1987.
		She is also the founder/director of the baroque Ensemble Sonnerie who tour extensively in Europe and the USA in many of the major Festivals including Ansbach in Germany, Spitalfields and Aldeburgh in the UK.
	www.bach-cantatas.com /Bio/Huggett-Monica.htm (329 words)

	New Trinity Baroque > Press > Reviews
		Temko's pleasing timbre of voice and confidence with Baroque phrasing and ornaments is a major enrichment of the local period-instrument scene.
		New Trinity Baroque is faultless in interpretation, and Brad Hughley is an enormously talented organist.
		New Trinity Baroque, founded by harpsichordist and musical director Predrag Gosta, who made some introductory remarks about the opera, uses period instruments to achieve an authentic sound in their concerts.
	www.newtrinitybaroque.org /press/reviews.html (2772 words)

	Chatham Baroque \| About Chatham Baroque (Site not responding. Last check: )
		Andrijeski's unique performance style is greatly influenced by her knowledge and skilled performance of baroque dance, and she often teaches both violin and dance at workshops.
		Andrijeski has been on the faculty of the Baroque Performance Institute at the Oberlin Conservatory for the past ten years and this year also taught at the Madison Early Music Workshop and a Suzuki Institute in Greenville, South Carolina.
		She has recorded for Dorian Recordings and Centaur, among others, and looks forward to Chatham Baroque's first recording with Sono Luminus this year.
	www.chathambaroque.org /about2.html (311 words)

	Shevchenko Society hosts lecture/recital on Baroque music in Ukraine (06/26/05) (Site not responding. Last check: )
		Legkyy's lecture was that Baroque music in Ukraine was not a separate phenomenon, but drew influence from diverse Western influences.
		Baroque violinists Halyna Lehka and Halyna Remezova play delightfully well and Mr.
		Selections from the 17th century manuscripts, "Silva Rerum" and the Vietoris Codex displayed a variety of Baroque forms, and the tendency to incorporate local folk dance-music forms into the music of the city guild musicians who were served by these manuscripts.
	www.ukrweekly.com /Archive/2005/260536.shtml (338 words)

	The Kingsbury Ensemble (Site not responding. Last check: )
		Baroque violin, is one of the most sought after Baroque violinists in Europe.
		Baroque Cellist, performing throughout the United States and England as a solist an chamber musician.
		Her love of Baroque music has led her to attend the summer Baroque Institute at Vancouver under the guidance of Ellen Hargis.
	www.artsci.wustl.edu /~sacarlin/kingbury/ensemble/people.html (318 words)

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