Of course, though neglecting my blog, I have been writing elsewhere. I’ve been very pleased to be preparing pieces for Early Music America Magazine, which you can find below.
First, there is one on William Lawes’ Harp Consorts, an assortment of pieces written for harp, violin, theorbo and viol in the early 17th century. They’re beautiful, whacky and weird, but rarely done because they present any number of performance practice issues – including questions of what kind of harp we ought to use. (Read more here.)
When I first moved to New York, Bob Craft’s death was on mind of a few new acquaintances, especially those who knew and worked with him. It was only in the last few years that I came appreciate the impact he had on the scene in New York, especially in getting Gesualdo’s music into the ears of the classical music listener. Many things have changed since then, so I decided to take a crack at asking some questions about how Gesualdo’s music might be undertaken with an eye towards historical information. (Read more here.)
Next, a slightly bitchy article, but there we are. I adore playing and performing music of the past, but I fear that the term HIP has become vacuous and little more than a code for certain types of playing that have little or nothing to do with historical inquiry. In fact, in my mind, it’s become a new form of gate-keeping. (Read more here.)
And lastly, I spent a few hours on Zoom with harpsichordist Lillian Gordis, who has quite a lot to say about the experience of being a harpsichordist. (Read more here.)