Grace Notes

How do you go about choosing the musicians you want?

When Jo and Allan originally came to see me about forming UV Baroque, they said, “We love Baroque music; we’d like to see something done with it. What can we do?” The original idea was to look and see who’s around, pick from who’s already here and create an ensemble. But the more we understood what was here—and because of my work with Dartmouth and the Handel Society—we realized there were a lot of very good amateur groups in the area, or even some semi-professionals. If UV Baroque was going to back that up, we’d become just another one of those many groups the Upper Valley is already offering. So we thought, “How can we do something slightly different, and try to bring something that would enrich the already rich culture of the area? Why don’t we try to see if we could form a fully-professional ensemble?” And so we started looking here, we went to Boston, we held some auditions—you know it’s a small world of these musicians—and they started spreading the word that this was happening. Honestly, I’m very proud to say that in these few years we’ve created such a good reputation with this group that, with adequate funding, we’re able to pick and choose the very best musicians. Also, as a music director, I always try and create a group of people I rely on very much; so there are musicians who have really become friends, even members, of UV Baroque, and they like to come back and play with us. When that happens, it’s much easier for the music director, because they know you and you know them. They know what you want, what you like, and what you insist on; there is a real communication, a real dialogue. 

When we started, one of the things we decided was to do it on period instruments. Because I thought, you know, it makes more sense right now, especially with Boston so close—and Boston is really the cradle of early music in this country. And I’m glad we did that, because it’s been a learning experience for me too, to have these world-class musicians on these instruments. I also think it’s given this group a real identity to be able to bring in this music at such a high level.

And as a result, it’s become a valuable teaching mechanism as well.

Right. And I’m glad that, with the help of Mark (Nelson) and the Upper Valley Music Center, and other resources as well, this has somehow become a conduit to stimulate all the other activities that have been born around this, and it’s created some interest in this world of Baroque music.

So, now that things seem to be going along so well, have you had time to think about what you might like to see happen in the future?

Well, I’m happy with how we’re building musically, and very happy and grateful with how the audience is continuing to follow the group so enthusiastically. I’d like the group to grow. To continue to be rooted in the Upper Valley, but I think we have the potential to grow, to expand our seasons, and to perform in other venues where we can showcase what we do. Hopefully we’ll be able to take on recording projects, to do tours. So my hope is—and I think I can say in good faith that this group has the potential to do so—that we continue to spread our wings in the Upper Valley and outside. We’ll remain rooted here, because it’s important that the Upper Valley continues to view us as part of its own cultural and artistic offering.

Would you like to say a few words about the concert that’s coming up next?

Yes! We have a very exciting concert ahead that is all music of Handel, and of course no one dislikes Handel. He’s one of those composers that’s beloved by everyone. My composition teacher used to say, “Handel has sunshine in his music,” and it’s true. The Water Music has an interesting story: Handel’s relationship with the King had its ups and downs; Handel was often in disgrace, but always came back into favor. Handel was a great entrepreneur and he was a real superstar. He was commissioned to write this music, which was basically planned for this boat trip on the Thames. We have records that show it was a huge production, where everything was doubled; it was really a spectacle. I was reading that the King loved it so much that it was repeated over and over again on this trip, so it was immediately very popular. It was written in three suites, which are really a collection of dances featuring different instruments. We’ll do all three, and we’ll intersperse them with other works by Handel: some arias—sung by Mary Bonhag, our own local soprano soloist—and the Overture to Handel’s oratorio, Solomon, an instrumental piece that’s quite popular. The program is extremely enjoyable, Handel-focused, and rich in colors and rhythms.