New Trinity Baroque gets antiquated 

New Old Sounds

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The goal of New Trinity Baroque is to give audiences an early music experience that's as close to the original as possible. And since we can't very well go back in time, the group has employed a few other methods to achieve authenticity.

"In each of the six different programs, what the audience is going to hear will be as close as we know to how the music sounded in the time it was written," says College of Charleston professor of music and early music expert Steve Rosenberg.

The group performs on period instruments in order to precisely recreate the sound of 17th- and 18th-century music. Whereas modern strings tend to be made from steel or synthetic materials, instruments in the Baroque era were strung with stretched and dried gut (commonly sheep gut). The instruments used in these performances are carefully crafted to be as close to the original as possible in order to recreate the sound of early music.

The opening program, Splendors of the Baroque, will be a mix of concertos, while Vivaldi on Fire will present exactly that: works written by the master of violin at his most scintillating. Bach's Violin Concertos will explore the violin concertos of the legendary German composer as well as the music that influenced him. Concertos by Telemann and Vivaldi will mark Baroque Banquet, and Dazzling Baroque features inspiring melodies by Corelli and Vivaldi. The final performance, Venetian Carnival, will transport us to the heart of the Venetian Republic.

"These are some of the best players from around the world," Rosenberg says. "And they are also some of the most approachable players. These are very down-to-earth performances, not intended for large concert halls." Expect to learn something new about the history of the music you love and to be entertained, all at once.

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