Below you can find a few sound bites from what I have done over the years. Click on “Voices of Ethnicity” to listen specifically to experiments from this project dealing with ethnic polyphonic instruments and new compositions.
1 / 2Classics | Improvisation: More Air on a G StringTrump falls over a stone: Fantasia on a Bach themeMatthew Passion for a flute| O Haupt voll Blut und WundenCauchemar de PCR | Nightmare of the PCR test - A Baroque SoloINTO ZERO - Rebecca HarrisPassion for a flute | Mein Jesus schweigtLA QUERELLEUSE - The Counterpoints album trailer #2Messiah Hallelujah for solo recorder19. „KANTYCZKA WARMIŃSKA. OJ SIONKO, SIONKO”KCimprovisation01.movΒασίλης Τσιτσάνης - Αρχόντισσα. Αλκίνοος Ιωαννίδης, Baroque EnsembleTwinkalicious - Improvised Variations on Twinkle Twinkle Little StarMein Herze schwimmt im Blut, BWV 199: Wie freudig ist mein HerzHerr Jesu Christ, wahr Mensch und Gott, BWV 127: Die Seele ruht in Jesu HändenPolsketrall1 / 2
BWV 190 Jesus soll mein Alles sein – J. S. Bach
Excerpt from this beautiful aria on oboe d’amore, personal live recording December 2015.
Oboe d’Amore by Alfredo Bernardini
Doen daphne d’over schoone maeght, Modo 5 by J. van Eyck
This little excerpt shows the fantastic music to be found in “der fluyten lusthof”, the biggest collection of music for a solo wind instrument ever to have been written down. These pieces are close to me, because I used to go to school not too far from where Van Eyck used to improvise on his recorder an odd 400 years ago.
I’m also grateful to be able to play on a little recorder made to be a ‘Van Eyck Fluyt”, a copy from the drawing in the book by David Coomber, which was gifted to me from the heritage of my teacher and musical mother Dorothea Winter.
Personal live recording October 2015 house concert
With The Scroll Ensemble I also improvise using other material as a basis than just early music. In this kind of ‘cross over’ we find it important to stick to our early music techniques and the experience we have as who we are (we don’t try to fake a style we can’t fake).
This is a freely improvised interlude in between rounds of Nuno Torres Marques’s piece Nostalgia, inspired by one of my favourite kinds of music: Fado.
I play a baroque oboe by Toshi Hasegawa. Live-recording in a rehearsal in a dance studio.
Improvised diminutions on Vestiva i Colli by G. P. Palestrina
Since years I have devoted myself to historical improvisation. I play concerts and also help people learn to improvise.
Palestrina’s Vestiva i Colli was one of the most famous pieces of its time. The 5-part madrigal is here played on the harp, as was common when performing a madrigal without singers. The recorder and violin improvise on the two top parts to try and express the words on their instruments. Several treatises inform us now how this was done back then. Have a look at the improvisation resources section of The Scroll Ensemble.
James Hewitt- baroque violin; Robert de Bree- recorder; Sarah Ridy- Baroque Harp.
On a g alto recorder in A=440 by Peter van der Poel.
Recorded in 2008
Improvisations on a Polish folk song: Oj sionko sionko pod sionkiem woda
Improvisations on a Polish folk song from the Warminsk area
with Concerto da Camera