“There is an irresistible appeal to playing with another musician.” In this blog post, Kathy Blackwell discusses the history of duet playing in classical music, and the benefits it can have for musicians.
From Teresa Carreno to Samuel Coleridge-Taylor, this blog post features composers who experienced barriers to music education within their lifetimes, leading to their exclusion from the historical canon.
In England, we have the expression ‘Carrying coals to Newcastle’ – a pointless action, since the place in question already has a bountiful supply. In Spain, they take oranges to Valencia and in Portugal, honey to a bee-keeper. If not quite as plentiful as oranges or honey, publishers’ lists are filled with beginner violin repertoire – what possible motivation could there be to write and publish more?
Bach’s superlative works for violin are considered the pinnacle of achievement for any violinist. Both the unaccompanied Partitas and Sonatas and his violin works with keyboard accompaniment require great technical mastery of the instrument alongside a mature musicality. Players who haven’t yet scaled these heights are also keen to access his music and develop their understanding of Baroque playing techniques.