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
Ann & Peter Law OAE Experience Scheme bassoonist Hayley Pullen continues her blog of her experiences on tour at the Ryedale Festival, performing Handel’s opera Alcina in Perth and Musselburgh, Scotland.
It had been several weeks since our group of OAE experience players performed together at the Oriental Club in London and almost two months since our debut outing at the Ryedale Festival in Yorkshire (see Tour Diary parts 1 & 2). Looking forward to joining my fellow colleagues for our final performances of Handel’s Alcina, I was a bit anxious about the journey up to Scotland by plane. Travelling with instruments (a theme threaded throughout this entry) can be a precarious business and I was immediately caught off guard at the start of the journey…Read More
Last time The Night Shift was at Shadwell’s George Tavern, we played all sorts of fun french horn music by little-known composers.
Here’s a polacca (a type of Polish dance) by Giovanni Punto, performed by Kati Debretzeni (violin), John Crockatt (viola), Jonny Byers (cello) and Roger Montgomery (horn).Read More
The Choir of the Age of Enlightenment performs its first solo a capella concert.Read More
Go and see a modern orchestra and you’ll notice they’re all using vibrato. Go and see the OAE and things might not be quite the same. Why use vibrato? And why do we only use it sometimes?Read More
Ann & Peter Law OAE Experience Scheme bassoonist Hayley Pullen writes about her adventures at the Ryedale Festival in Yorkshire.Read More
OAE Experience bassoon Hayley Pullen writes about her adventures at the Ryedale Festival in Yorkshire.Read More
Our rule-breaking, late-night series, The Night Shift, is going online:Read More
Watch does pitch mean to a period instrument player? And do you really have to carry more than one instrument around?Read More
We’re very pleased that, with help from Arts Council England’s Strategic Touring Programme, we’re going back on tour in England in 2017 with a new series called Musical Landscapes.Read More
“It’s a bit like driving on the left – doing the same thing but in a different way”. Our Principal Timpanist Adrian Bending shows us his new set of drums, the Schnellar Timpani.Read More
John Elliot introduces a rarely seen instrument – the Ophicleide, and talks about its role in Berlioz’s Symphonie Fantastique.Read More
With its very long neck and large size, the theorbo is easy to spot in any ensemble.Read More
“What makes the OAE so special?” Principal artist John Butt tells us.Read More
Cecelia was always set on being a flautist when she was growing up, and at age 11 she was offered a place at the Centre for Young Musicians.Read More
We’re an orchestra, so we love concerts. But because the traditional concert format is great for some people and not for others, we often ask ourselves the question, “how could concerts be different?” Ten years ago, we looked at the informal ways people used to listen to classical music and created The Night Shift, our rule-breaking late night format.Read More
We’ve just released what we think may be the world’s first charity single recorded on 17th century instruments.Read More
If you want info on all the concerts in our 2016-17 Southbank Centre residency in one handy place, we’ve just published our new brochure for next season.
Highlights include the return of Isabelle Faust to perform two of Mozart’s violin concertos, and international opera star Sarah Connolly tackling Berlioz’s dramatic song cycle, Les Nuits d’été. And we’re staging Bach’s mighty Christmas Oratorio over two nights at Cadogan Hall, performing for the first time with renowned Bach specialist Masaaki Suzuki.Read More
‘When we play it, it invokes the horns of the forest. Which is where we all come from, ancestrally, as horn players.’
As the OAE horn section rehearse, Martin Lawrence talks about the forest, Weber, horns and that ‘sort of ghostly sound’.Read More
OAE Education Director and oboe player, Cherry Forbes, updates us on what’s happening up in Yorkshire.Read More