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!
Already subscribed? Please sign in
We’re delighted that you are enjoying our website. For a limited period, you can try an online subscription to The Strad completely free of charge.