Abstract
"Giuseppe dall’Oglio, the great violoncellist ... took care, with his beautiful tone, to support the singers with some big chords and, thus, to keep them on pitch."
or
"Why I play chords in recitative, how it's not why I started playing chords in recitative, and how I rely on my colleagues to support me."
The majority of this presentation is concerned with my last question, in particular the composition, placement, and layout of the continuo group. With a few nods to history, I reflect on where my practice is now, what I listen to whilst performing, and why my practice has evolved in this direction.
or
"Why I play chords in recitative, how it's not why I started playing chords in recitative, and how I rely on my colleagues to support me."
The majority of this presentation is concerned with my last question, in particular the composition, placement, and layout of the continuo group. With a few nods to history, I reflect on where my practice is now, what I listen to whilst performing, and why my practice has evolved in this direction.
| Original language | English |
|---|---|
| Publication status | Published - 29 Apr 2023 |
| Event | The performance practices of the continuo on the cello in the 18th century - Le Conservatoire royal de Bruxelles, Brussels, Belgium Duration: 29 Apr 2023 → 29 Apr 2023 |
Conference
| Conference | The performance practices of the continuo on the cello in the 18th century |
|---|---|
| Country/Territory | Belgium |
| City | Brussels |
| Period | 29/04/23 → 29/04/23 |