Rediscovering the Baroque Horn Todd Williams, Principal Horn, talks about his instrument This article originally appeared in our October 2006 newsletter. It has been slightly modified. Hereâs a challenge: take sixteen feet of coiled brass.
Donât worryâthe instruments in Broken Consort are in perfectly good shape. Nobody dropped a flute. The violin is fit as a fiddle. âBroken consortsâ are just called that because in the Queenâs English, Elizabethan style,.
By Anne Schuster Hunter When days are short and temperatures plummet, one sure-fire mood-raiser is Handelâs enduring holiday classic, Messiah. Fortunately, itâs not hard to find. Itâs all around. Big orchestras with great big choirs.
It wasnât just an item on the bucket list, Telemannâs visit to Paris. It was a victory lap. In 1737, Georg Philipp Telemann, who at age 56 had never left Germanyâor extremely near environsâ anytime.
These days, in Philadelphia, weâre loving our rivers. Weâre strolling with our sweeties on Boathouse Row, swinging in hammocks under glow lights at Spruce Street Harbor Park and flocking to Twilight Yoga on Race Street.
Baroque artists of all kinds created characters so vibrant that theyâre still alive for us today. Just a few literary examples: Shakespeare, Cervantesâs Don Quixote, Gulliverâs Travels, and even Charles Perrault of fairy tales fame.
âWonderful things!â Practically dumbstruck, thatâs all archaeologist Howard Carter could say at his first sight of the treasures in Tutankhamenâs tomb, glittering in their long-time hiding place. âIt felt like that for me, too,â says.
The winter holidaysâthereâs something so golden and lustrous about them. Here at Tempesta di Mareâs offices, in South Philadelphiaâs historic Italian Market, the long nights are especially beautiful. Neighbors string lights across the narrow streets.
In Telemannâs time, the city of Dresden was something out of a fairy tale. In the upcoming show Fire and Invention: Telemannâs Showpieces for the Dresden Virtuosi, Tempesta di Mare revisits Dresdenâs magic moment with.
Imagine Bach and Handel in their music rooms in Leipzig and London, sitting down, opening the fresh, clean pages of music straight off the press, and playing something new theyâd just received from their good.
