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Red Priest’s Angela East discusses her approach to phrasing and sound in the first movement, and the influence of Baroque and early-Classical vibrato, bowing and style
This concerto was only ‘discovered’ in 1961, in the Prague National Museum archives. I learnt it almost immediately, although at the time I had no sense of period performance. In the 1970s, when the Early Music Movement began to develop, I bought an old school cello, had it converted and suddenly found myself on the front desk of John Eliot Gardiner’s English Baroque Soloists! I soon acquired a much better instrument, made by Peter Wamsley in 1725, which I still play today. For the next ten years we played nothing but Baroque music, with no spike and no vibrato!
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