I have been crafting a couple things for performances—following a consistent design. I will now use all my recorders, which are tenor, alto and soprano. The design of my candle stands follow the bicolored recorders. The rustic oak tone style already reminds of a way back past and the time travel character is supposed to be as radical as possible: No microphones and from now on no electric light.
In February I had found a guitar player and there have been a couple rehearsals with her. But she is not ready to perform and work on a program consistently. That's why I still work with play-alongs I make at my spinet Wilhelmine. Still I hope to find the right accompanist for my program to ban all electricity out of 1716. The guitar is always the ideal instrument, although an authentic lute would be better. But my violin and recorders are not historic, so I have to lower my expectations. A small clavichord or spinettino could be an option, an electric keyboard would not. Just listen to the difference in my article from August 11, 2015, "Forget Digital Harpsichords—Only the Real Thing Swings": The electronic sound is lifeless and it doesn't look right.
|My stage furniture can be dismembered and put in my backpack.|
The song & dance character of my program is authentic. In the late 1600s and early 1700s there have been soloist performers who were singing and dancing. Menuets and other dance tunes had often lyrics which made them even more popular. The profession of the chansonnier is still to find in Walter's 1732 Musicalisches Lexicon, which is long forgotten in what the 21st century calls baroque music. I have added lyrics to Menuets, Gavottes and other pieces by Bach, Handel and Telemann. These pieces have not necessarily been composed by these masters, which often arranged popular melodies in their Suites. There's a popular example: The Menuet in G Major from Bach's Notebook for Anna Magdalena Bach had been composed by Christian Petzold. For a long time we had assumed this was a Menuet composed by Bach himself, because it was part of his keyboard work. But it was the regular work of a composer back then, especially at court, to compile and arrange melodies which can be performed for amusement. We hyped the old masters and their music up to supernatural myths—I want to bring it all back down on earth.