The concluding part of Bassoonist Halley Pullen’s Ryedale Festival Tour Diary.
Wednesday 14th September
We arrived at the Brunton Theatre for an orchestral rehearsal. Ian Tindale, our director on harpsichord, had a few new details and changes to cadenzas for us. For the most part, our ensemble felt comfortable and familiar, apart from getting used to the acoustic, which was surprisingly helpful for hearing orchestral detail but a bit dry for the singers’ tastes. Our bass player Hannah borrowed a baroque bass from a local player (for perhaps obvious reasons to those who have seen a bass flight case) and had to quickly get used to playing a totally new instrument.Read More
‘The person who can make you cry in a major key, like no-one else can.’Read More
“The orchestra’s chief artistic mission is to make old music new. For the OAE, the importance of being involved with contemporary music has over the years become obvious and vital.”Read More
Here at the OAE, we’re known for working with the best performers to bring you the most vivid and authentic historically informed performances we can. Therefore, news of us working on a brand new commission might turn a few heads. Peter Whelan is the Bassoonist who will bring Michael Gordon’s Bassoon Concerto, a new piece written specifically for our period instruments, to life for us in early May. We conducted a quick interview with him to find out a bit more about what makes him tick as a performer…Read More
Andy Watts began his music career playing medieval and renaissance instruments and clarinet at primary school in Knaresborough, North Yorkshire, then took up the modern bassoon at the age of sixteen.Read More
Today’s pic is of Sally Jackson, bassoon.Read More