Musical Calendar

In the early 1990’s I saw Cecilia Bartoli in recital and was very impressed with her coloratura, which has always been her signature brand. However, it was her performance of this moving and passionate aria that stuck with me for ever. The beauty of her legato lines and her breath control are inimitable. Miguel Rodriguez […]

<span data-mce-type=”bookmark” style=”display: inline-block; width: 0px; overflow: hidden; line-height: 0;” class=”mce_SELRES_start”></span> Marc Destrubé is one of the world’s foremost baroque violinists. He has few solo recordings but he has led the Orchestra of the 18th Century for many years. This recording has a beautiful warmth to it and can be listened to many many times.

I’ve been in love with this cantata for at least 20 years. For me, it rates alongside any of the composer’s other work (it also constitutes some of the music Bach re-used in his Markus-Passion). I directed it at Indiana University in April 2015, and it will open the Washington Bach Consort’s 2019-2020 season in

Here is a side of Telemann we rarely see, and one that those of us who know him through his recorder sonatas or flute fantasias may not have dreamed possible. This concerto-en-suite was a gift from Telemann to his life-long friend Pisendel, concertmaster of the famed Dresden Hofkapelle, the most admired orchestra in Europe. Written

I was writing a research paper in undergraduate school on Antonio Vivaldi’s L’Estro Armonico, Op. 3, discussing the differences between concerto and concerto grosso. I picked some old recording in the library to listen to, but I wasn’t particularly inspired. After meeting with my musicology professor, he said, “Oh no. Listen to THIS recording by