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(Historically Informed Performance) & The Flow.Zone </h2> </div> <a href="https://andrewlawrenceking.com/" rel="home"> <img id="header-image" src="https://andrewlawrenceking.com/wp-content/uploads/2013/08/copy-alk-huete-small2.png" width="269" height="252" alt="" /> </a> </header> <div id="main"> <div id="primary"> <div id="content" role="main"> <nav id="nav-above"> <h1 class="assistive-text section-heading">Post navigation</h1> <div class="nav-previous"><a href="https://andrewlawrenceking.com/2022/07/13/training/" rel="prev"><span class="meta-nav">←</span> The Wrong Trousers: can new training re-purpose Early Music skills for Historically Informed Performance?</a></div> <div class="nav-next"><a href="https://andrewlawrenceking.com/2022/12/29/enargeia/" rel="next">Enargeia – Visions in Performance <span class="meta-nav">→</span></a></div> </nav> <article id="post-3933" class="post-3933 post type-post status-publish format-standard hentry category-dream-theory category-flow category-history-of-emotions category-moving-the-passions category-music-and-philosophy category-rhetoric category-rhythm category-text tag-early-music tag-emotions tag-hip tag-history-of-emotions tag-muovere-gli-affetti"> <header class="entry-header"> <h1 class="entry-title">Three ways to make Early Music more expressive (And is there a ‘true way’?)</h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2022/07/28/three-ways/#respond"><span class="no-reply">0</span></a></p> </header> <div class="entry-content"> <p>This article is a response to a thought-provoking post by Dr Noa Kageyama <em><a rel="noreferrer noopener" href="https://bulletproofmusician.com/three-ways-to-teach-students-how-to-play-more-expressively-is-there-a-best-way/#continue" target="_blank">Three ways to teach students how to play more expressively (and is there a “best” way?)</a></em></p> <p>It also returns to some fundamental questions that I posed in my very first post for this series, back in 2013: <em><a href="https://andrewlawrenceking.com/2013/08/04/music-expresses-emotions/">Music expresses emotions? </a> </em></p> <p>As Historically Informed Performers, we may be teaching or coaching others, but we should all be perpetual students, for there are always new discoveries from period evidence, new challenges to our previous assumptions, new ways to apply the information we already have. Meanwhile our teachers are primary sources of all kinds, as well as modern-day musicians.<br><br>So here I widen the scope to include both sides of the teaching/learning process, whilst simultaneously focussing in on how the ideas in Dr Kageyama’s discussion might apply to the particular context of Early Music.</p> <h2 class="wp-block-heading">The Bullet-Proof Musician</h2> <p>Based in New York City, performance psychologist and Juilliard alumnus & faculty member <strong>Noa Kageyama </strong>teaches musicians how to beat performance anxiety and play their best under pressure through live classes, coachings, and an online home-study course. </p> <p>I’ve followed his posts over several years, and I admire his evidence-based approach. Typically, he presents an expert and well-argued summary of one or more scientific studies, showing how they might be relevant to the real-life situations of music-students and teachers.<br><br>This is very similar to what I aim to do in my own articles, by presenting translations and discussions of historical sources, and showing how these can be applied in today’s Early Music. So I thank Dr Nageyama for all his contributions, especially the particular post under discussion here, and warmly recommend<a href="https://bulletproofmusician.com/" target="_blank" rel="noreferrer noopener"> <em>The Bullet-Proof Musician</em></a> to you.</p> <h2 class="wp-block-heading">Three Ways to Teach</h2> <p>I summarise (for Early Music readers) Dr Kageyama’s summary of <a rel="noreferrer noopener" href="https://doi.org/10.2307/3653453" target="_blank">Robert Woody’s (2006) experiment</a>.</p> <p>Students were given a musical phrase to play, and then given coaching on how to make their performance more expressive. One approach was <strong>auditory</strong>, listening to a fine performance. Another approach was <strong>detailed</strong>, using written instructions, expressive markings in the score. The third approach was <strong>imaginative</strong>, suggesting an image or metaphor to shape the emotional Affekt.</p> <p>All three strategies were successful. The auditory approach led to close imitation of the expert performance. Detailed instructions required more practice-time to be assimilated. Imagery led to significantly more expressive playing, which sometimes broke out of the accepted style-boundaries.</p> <p>Dr Kageyama’s main conclusion was that an ‘artful mashup’ of all three strategies might work best. But please read his whole article, there’s more to it!</p> <h2 class="wp-block-heading">What is ‘Expressive’?</h2> <p>This question lurks behind Woody’s original study, and is briefly answered by Kagemaya as “measurable changes in dynamics, tempo, articulation”. My attempt at a short answer for HIP is here: <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2013/08/18/terms-of-expression/" target="_blank"><em>Terms of Expression</em>.</a> In academic studies of listeners’ reactions to recorded performances, reported perceptions of “expressiveness” have often been linked to noticeable rubato. See for example the work of <a rel="noreferrer noopener" href="https://orcid.org/0000-0002-3249-0812" target="_blank">Dorottya Fabian</a>. <br><br>In Early Music, we discuss emotional communication in terms of <em>affetto</em>, of frequent and highly contrasted changes in Affekt (this loan-word from German has subtly different shades of meaning in the academic contexts of HIP and Psychology: we won’t go there for now!). </p> <p>We often cite the Rhetorical Aim of</p> <blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"><p><em>muovere gli affetti</em> </p></blockquote> <p>to ‘move the Passions’. It’s not just one emotion, it’s many different, strong passions. And they ‘move’, they shift frequently and significantly.<br><br>Most important of all, it is the <span style="text-decoration:underline;">listener’s</span> passions that are to be moved. Performers might be emotionally hot, or cool and in control. This does not matter, though there is an increasing tendency to suggest more self-conscious performer-passion as the 18<sup>th</sup>-century progresses. For a thorough over-view of historical changes in the period Science of performer emotions see Roach <em><a rel="noreferrer noopener" href="https://www.press.umich.edu/7827/players_passion" target="_blank">The Player’s Passion </a></em>(1993), very highly recommended.</p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/08/players-passion.jpg"><img data-attachment-id="1887" data-permalink="https://andrewlawrenceking.com/2017/08/31/emotions-in-early-opera/players-passion/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/players-passion.jpg" data-orig-size="120,190" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Players Passion" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/players-passion.jpg?w=120" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/players-passion.jpg?w=120" width="120" height="190" src="https://andrewlawrenceking.com/wp-content/uploads/2017/08/players-passion.jpg?w=120" alt="" class="wp-image-1887" /></a></figure> <h2 class="wp-block-heading">Tears & Laughter</h2> <p>What matters is the audience’s response. So I would like to see more studies linked to Early Music repertoire that go beyond reported perceptions. Even the best reporter tends to confuse the performer’s signalling of ‘emotion’ [vibrato, rubato, body/head/hand-movements, facial expressions etc] with their own emotional response.<br><br>The historical test, familiar from many seicento reports, is whether audience members “laughed and cried”. Avoiding the subjectivity of reported perceptions, we could observe listeners’ physiological responses, tracking even short-duration, subtle reactions with a polygraph (aka lie-detector).<br><br>And there is a reminder here that we HIP -merchants should not be too deadly serious, we should not aim only for tears. Laughter is wanted too, and another Rhetorical Aim is to Delight the audience.</p> <p>We could even link modern-day scientific observations to historical categories of emotion, by exploring the period concept of the Four Humours in modern-day performance, as experienced by listeners. </p> <p>Read more about The Four Humours here: <a href="https://andrewlawrenceking.com/2017/08/31/emotions-in-early-opera/">Emotions in Early Opera</a>. And see project reports from my 5-year international program for Australian Centre for the History of Emotions: <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/" target="_blank"><em>Text, Rhythm, Action</em>.</a> There are plenty of excellent research strands linking Early Music and Music Psychology, just waiting for investigators to follow up…<br></p> <h2 class="wp-block-heading">Three ways to learn: Listening</h2> <p>Each of Woody/Kageyama’s approaches has its equivalent in Historical Performance Practice studies. Many students and mature professionals are inspired by modern-day Early Music performances, live and recorded – this is the <strong>auditory </strong>approach, which tends to lead to close imitation. For Early Music, this raises the question of <span style="text-decoration:underline;">what </span>we are imitating.<br><br>Since we don’t have Monteverdi’s or Bach’s own CDs, when we listen to fine performances we are dealing exclusively with secondary sources. Secondary sources can be illuminating, even inspiring, but we must test them rigorously against primary sources, against period evidence. Otherwise, there is a very real danger of 20<sup>th</sup>-century quirks being passed from one recording to another.<br><br>For example, the <em>passaggio ristretto </em>in Monteverdi’s (1624) <em>Combattimento </em>is very often performed staccato until the last phrase. But this is contradicted by the general rule that melodies moving by step tend to be legato. The staccato habit seems to have been picked up from a pioneering recording (Harnencourt perhaps?) and passed on through the generations, without further thought.</p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2022/07/combattimento-passaggio.png"><img data-attachment-id="3944" data-permalink="https://andrewlawrenceking.com/2022/07/28/three-ways/combattimento-passaggio/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2022/07/combattimento-passaggio.png" data-orig-size="938,681" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Combattimento passaggio" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2022/07/combattimento-passaggio.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2022/07/combattimento-passaggio.png?w=440" width="938" height="681" src="https://andrewlawrenceking.com/wp-content/uploads/2022/07/combattimento-passaggio.png?w=938" alt="" class="wp-image-3944" srcset="https://andrewlawrenceking.com/wp-content/uploads/2022/07/combattimento-passaggio.png 938w, https://andrewlawrenceking.com/wp-content/uploads/2022/07/combattimento-passaggio.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2022/07/combattimento-passaggio.png?w=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2022/07/combattimento-passaggio.png?w=768 768w" sizes="(max-width: 938px) 100vw, 938px" /></a></figure> <p>Nevertheless, we musicians are trained to listen and imitate, and we must find strategies that allow those aural skills to be applied, whilst staying closer to period sources. See my suggestions on how to <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2022/07/13/training/" target="_blank"><em>Re-purpose Early Music skills</em> </a>and, for example, Helen Robert’s marvellous <em><a rel="noreferrer noopener" href="https://www.passaggi.co.uk/" target="_blank">Passaggi </a></em>app for improvisation and ornamentation in HIP.</p> <h2 class="wp-block-heading">Detail</h2> <p>This is the ‘classic’ approach of our discipline of Historically Informed Performance. We take every possible tiny detail from period sources, and painstakingly apply it to our own playing/singing/directing. It’s rather like trying to assembe a jigsaw-puzzle, without knowing in advance what the complete picture will be. It certainly is time-consuming. </p> <p>And in the area of emotional content, there is always the danger that this academic approach leaves us so much ‘in our heads’ that we lose touch with our hearts, and (more importantly) with our listeners’ hearts.<br><br>Nevertheless, a detailed, historical approach provides a much-needed corrective to the imitation of modern-day performances. And contrariwise, listening to well-informed performers helps ‘connect the dots’ of all the small details gleaned from period studies. But the overview we obtain from such listening is inevitably someone else’s modern-day perspective. <br></p> <p>So is there a better way to rise above the nitty-gritty, and see the whole wood, not just the trees?</p> <h2 class="wp-block-heading">Visions</h2> <p>Metaphors and imagery have been shown to help performers to enter a Flow state, see <a rel="noreferrer noopener" href="http://www.artsandhumanities.org/practice-methodology-mastering-the-performers-real-time-navigation-in-the-musical-process/" target="_blank">this article by Laslo Stacho</a>, and also <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2015/04/19/flow-the-oxford-papers-part-1-whats-in-a-name/" target="_blank"><em>Flow, the Oxford Papers</em></a>, and <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2014/09/16/flow-2014-the-cambridge-talks/" target="_blank">Flow, the Cambridge Talks (2014)</a> as well as<em> <a href="https://andrewlawrenceking.com/2014/10/17/flow-accessing-super-creativity-making-connections/">Flow, making Connections.</a></em> Read more about how to enter Flow and get into the performance Zone here: <a rel="noreferrer noopener" href="http://www.TheFlow.Zone" target="_blank">The Flow-Zone</a>. For the relevance of Altered States of Consciousness to period performance, see <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2014/12/11/the-theatre-of-dreams-la-musica-hypnotises-the-heroes/" target="_blank"><em>The Theatre of Dreams: La Musica hypnotises the heroes</em>.</a><br><br>Pre-1800 Science of Emotions relies strongly on the theory of <strong>Visions </strong>expounded by Quintilian (1st cent.), whose writings on Rhetoric remained fundamental throughout the renaissance and baroque periods. Poetic imagery or a vivid metaphor in detailed verbal description (<em>Enargeia</em>, <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2018/07/19/technique-terminology-the-cremona-papers-john-mckean/" target="_blank">read </a><a href="https://andrewlawrenceking.com/2018/07/19/technique-terminology-the-cremona-papers-john-mckean/">more</a>) creates an imaginary Vision in the listener’s mind, and it is this Vision that sends the Spirit of Passion (<em>Energia</em>) from the mind to the body, creating a physiological reaction (a smile, a frown, a blush, a chill, a tear, a laugh).</p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2014/02/descartes.jpg"><img data-attachment-id="370" data-permalink="https://andrewlawrenceking.com/2014/02/03/where-are-you-martial-arts-self-awareness-and-historically-informed-performance/descartes/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2014/02/descartes.jpg" data-orig-size="1023,1183" data-comments-opened="1" data-image-meta="{"aperture":"8","credit":"Picasa","camera":"NIKON D5100","caption":"","created_timestamp":"1369334905","copyright":"","focal_length":"18","iso":"125","shutter_speed":"0.016666666666667","title":""}" data-image-title="Descartes" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2014/02/descartes.jpg?w=259" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2014/02/descartes.jpg?w=440" width="886" height="1024" src="https://andrewlawrenceking.com/wp-content/uploads/2014/02/descartes.jpg?w=886" alt="" class="wp-image-370" srcset="https://andrewlawrenceking.com/wp-content/uploads/2014/02/descartes.jpg?w=886 886w, https://andrewlawrenceking.com/wp-content/uploads/2014/02/descartes.jpg?w=130 130w, https://andrewlawrenceking.com/wp-content/uploads/2014/02/descartes.jpg?w=259 259w, https://andrewlawrenceking.com/wp-content/uploads/2014/02/descartes.jpg?w=768 768w, https://andrewlawrenceking.com/wp-content/uploads/2014/02/descartes.jpg 1023w" sizes="(max-width: 886px) 100vw, 886px" /></a></figure> <p>The interplay of psychological emotions and physiological reactions was understood within the period Science of the Four Humours. See again<a href="https://www.press.umich.edu/7827/players_passion" target="_blank" rel="noreferrer noopener"> <em>The Player’s Passion</em></a>.</p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png"><img data-attachment-id="1888" data-permalink="https://andrewlawrenceking.com/2017/08/31/emotions-in-early-opera/the-four-humours/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png" data-orig-size="480,360" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="The Four Humours" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=440" loading="lazy" width="480" height="360" src="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=480" alt="" class="wp-image-1888" srcset="https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png 480w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/the-four-humours.png?w=300 300w" sizes="(max-width: 480px) 100vw, 480px" /></a></figure> <p><em>Energia</em>, the mind-body link, is also the lively Spirit of Passion that communicates emotion directly from performer to listener. So, especially in baroque opera, the listener gets bombarded by multiple rays of <em>energia</em>, from the words, the music, and the performer’s Action: their posture, movement, facial expressions and rhetorical gestures.<br><br>The concept of <em>Enargeia </em>implies that the metaphors and imagery are detailed, precise and accurate. The Rhetorical demand for Decorum requires all the various <em>energetic </em>elements to convey the same emotional information, down to the last <em>enargetic </em>detail. And our discipline of Historically Informed Performance challenges us to line-up all that emotional detail with period aesthetics and primary sources.</p> <h2 class="wp-block-heading">Music of the Spheres</h2> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2014/08/harmony-of-the-spheres-fludd.gif"><img data-attachment-id="871" data-permalink="https://andrewlawrenceking.com/2014/08/30/precision-tuning-early-irish-harps/harmony-of-the-spheres-fludd-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2014/08/harmony-of-the-spheres-fludd.gif" data-orig-size="400,585" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Harmony of the Spheres Fludd" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2014/08/harmony-of-the-spheres-fludd.gif?w=205" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2014/08/harmony-of-the-spheres-fludd.gif?w=400" loading="lazy" width="400" height="585" src="https://andrewlawrenceking.com/wp-content/uploads/2014/08/harmony-of-the-spheres-fludd.gif?w=400" alt="" class="wp-image-871" srcset="https://andrewlawrenceking.com/wp-content/uploads/2014/08/harmony-of-the-spheres-fludd.gif 400w, https://andrewlawrenceking.com/wp-content/uploads/2014/08/harmony-of-the-spheres-fludd.gif?w=103 103w, https://andrewlawrenceking.com/wp-content/uploads/2014/08/harmony-of-the-spheres-fludd.gif?w=205 205w" sizes="(max-width: 400px) 100vw, 400px" /></a></figure> <p>This Aristotelean concept still held force in the 18<sup>th</sup> century. The perfect movement of the stars and planets creates a heavenly music – <em>musica mondana </em> – brought into sound by the Divine Hand. This ancient <strong>Science </strong>is reflected in microcosm by the harmonious nature of the human being – <em>musica humana </em>– and imitated in our everyday music-making – <em>musica instrumentalis </em>– both instrumental and vocal.</p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2022/07/music-of-the-spheres.png"><img data-attachment-id="3961" data-permalink="https://andrewlawrenceking.com/2022/07/28/three-ways/music-of-the-spheres/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2022/07/music-of-the-spheres.png" data-orig-size="1280,720" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Music of the Spheres" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2022/07/music-of-the-spheres.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2022/07/music-of-the-spheres.png?w=440" loading="lazy" width="1024" height="576" src="https://andrewlawrenceking.com/wp-content/uploads/2022/07/music-of-the-spheres.png?w=1024" alt="" class="wp-image-3961" srcset="https://andrewlawrenceking.com/wp-content/uploads/2022/07/music-of-the-spheres.png?w=1024 1024w, https://andrewlawrenceking.com/wp-content/uploads/2022/07/music-of-the-spheres.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2022/07/music-of-the-spheres.png?w=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2022/07/music-of-the-spheres.png?w=768 768w, https://andrewlawrenceking.com/wp-content/uploads/2022/07/music-of-the-spheres.png 1280w" sizes="(max-width: 1024px) 100vw, 1024px" /></a></figure> <p>The cosmic, mystical aspect of music is itself a Vision, a metaphor for that ineffable beauty and profound significance that goes beyond quotidian concerns. However we might describe it, to be a musician is to believe that music is somehow special, with a significance beyond mere wood, strings, reeds, metal and organised noise.   </p> <p>In the 18<sup>th</sup> century and earlier, the <strong>Art </strong>of music was specified at the human level by detailed principles, complex sets of rules. </p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png"><img data-attachment-id="3112" data-permalink="https://andrewlawrenceking.com/2020/05/12/tactus-tempo-affekt-historical-principles-online-resources/cpe-bach-versuch-title-page/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png" data-orig-size="605,856" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="CPE Bach Versuch title page" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=212" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=440" loading="lazy" width="605" height="856" src="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=605" alt="" class="wp-image-3112" srcset="https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png 605w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=106 106w, https://andrewlawrenceking.com/wp-content/uploads/2020/05/cpe-bach-versuch-title-page.png?w=212 212w" sizes="(max-width: 605px) 100vw, 605px" /></a></figure> <p>By long and painstaking study, musicians can find what Quantz, CPE Bach and others called the <em>True Way </em>to play in each of the many period and national styles of the past.</p> <figure class="wp-block-image size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2022/07/essays-on-the-true-art.png"><img data-attachment-id="3963" data-permalink="https://andrewlawrenceking.com/2022/07/28/three-ways/essays-on-the-true-art/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2022/07/essays-on-the-true-art.png" data-orig-size="800,450" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Essays on the True Art" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2022/07/essays-on-the-true-art.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2022/07/essays-on-the-true-art.png?w=440" loading="lazy" width="800" height="450" src="https://andrewlawrenceking.com/wp-content/uploads/2022/07/essays-on-the-true-art.png?w=800" alt="" class="wp-image-3963" srcset="https://andrewlawrenceking.com/wp-content/uploads/2022/07/essays-on-the-true-art.png 800w, https://andrewlawrenceking.com/wp-content/uploads/2022/07/essays-on-the-true-art.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2022/07/essays-on-the-true-art.png?w=300 300w, https://andrewlawrenceking.com/wp-content/uploads/2022/07/essays-on-the-true-art.png?w=768 768w" sizes="(max-width: 800px) 100vw, 800px" /></a></figure> <p>The technical management of sound was historically termed <strong>Use</strong>, the mechanical procedures that serve the higher purposes of period Art and ancient Science. Read more about historical Science, Art & Use here: <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2013/08/26/what-is-music/" target="_blank">What is Music?</a><br><br>Musical sounds that result from such beautiful visions, detailed study and sonic expertise are one outcome, but only within the lowest sphere of the cosmic hierarchy. Ultimately, we hope for our audiences not only to hear interesting sounds and appreciate fine details, but to be moved by music-borne visions.</p> <blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"><p>These our actors, as I foretold you, were all spirits…  We are such stuff as dreams are made on</p><cite>Shakespeare <em>The Tempest</em> IV i (1611)</cite></blockquote> <h2 class="wp-block-heading">Last of All</h2> <p>There is a strong temptation for modern-day Early Musicians to begin with Sound. We love distinctive sound-worlds, that’s how many of us got into HIP in the first place. But in <em><a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2015/01/25/play-it-again-sam-the-truth-about-caccinis-sprezzatura/" target="_blank">Le Nuove Musiche</a> </em>Caccini sets the period priorities as </p> <blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow"><p>Text and Rhythm, with Sound last of all. And not the other way around! </p><cite>Caccini <em>Le nuove musiche </em>(1601)</cite></blockquote> <p></p> <p>The Music of the Spheres challenges us to seek a higher vision than mere sound.</p> <p>So, whether we are instrumentalists or singers, we need to begin with inspiring imagery suggested by period texts. This is historical <strong>Science</strong>, the study of what is profound, cosmic, even divine (in whatever sense meaningful to us). </p> <p>We should continue via the contrasts of tone-colour, dynamics, articulations and (especially) <em>affetti </em>required by each specific word or image. We should maintain a steady Tactus (see <a rel="noreferrer noopener" href="https://andrewlawrenceking.com/2018/01/28/the-practice-of-tactus-owners-workshop-manual/" target="_blank">Tactus Workshop</a><a href="https://andrewlawrenceking.com/2018/01/28/the-practice-of-tactus-owners-workshop-manual/"> </a>and search this blog for <em>Tactus</em>.) All this detail is Rhetorical <strong>Art</strong>.<br><br>And – last of all – we should experience – in real-world <strong>Use </strong>– the Sound that is produced by our detailed and imaginative historical work.<br><br>For HIP as for mainstream music-making, we need all three approaches. And for Early Music, we might do well to begin with Vision and Detail, and study Sound ‘last of all’. </p> <div class="wp-block-image"> <figure class="aligncenter size-large"><a href="https://andrewlawrenceking.com/wp-content/uploads/2021/11/monteverdi-the-masters-voice.png"><img data-attachment-id="3655" data-permalink="https://andrewlawrenceking.com/monteverdi-the-masters-voice/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2021/11/monteverdi-the-masters-voice.png" data-orig-size="400,167" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="monteverdi-the-masters-voice" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2021/11/monteverdi-the-masters-voice.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2021/11/monteverdi-the-masters-voice.png?w=400" loading="lazy" width="400" height="167" src="https://andrewlawrenceking.com/wp-content/uploads/2021/11/monteverdi-the-masters-voice.png?w=400" alt="" class="wp-image-3655" srcset="https://andrewlawrenceking.com/wp-content/uploads/2021/11/monteverdi-the-masters-voice.png 400w, https://andrewlawrenceking.com/wp-content/uploads/2021/11/monteverdi-the-masters-voice.png?w=150 150w, https://andrewlawrenceking.com/wp-content/uploads/2021/11/monteverdi-the-masters-voice.png?w=300 300w" sizes="(max-width: 400px) 100vw, 400px" /></a><figcaption class="wp-element-caption">The Master’s voice?</figcaption></figure></div> <p>And not the other way around!</p> <div id="atatags-370373-67b3d0c963993"> <script type="text/javascript"> __ATA.cmd.push(function() { __ATA.initVideoSlot('atatags-370373-67b3d0c963993', { sectionId: '370373', format: 'inread' }); }); </script> </div><span id="wordads-inline-marker" style="display: none;"></span> <div id="atatags-26942-67b3d0c963bd3"></div> <script> __ATA.cmd.push(function() { __ATA.initDynamicSlot({ id: 'atatags-26942-67b3d0c963bd3', location: 120, formFactor: '001', label: { text: 'Advertisements', }, creative: { reportAd: { text: 'Report this ad', }, privacySettings: { text: 'Privacy', } } }); }); </script><div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-3933" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2022/07/28/three-ways/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-3933" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2022/07/28/three-ways/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Three%20ways%20to%20make%20Early%20Music%20more%20expressive%20%28And%20is%20there%20a%20%E2%80%98true%20way%E2%80%99%3F%29&body=https%3A%2F%2Fandrewlawrenceking.com%2F2022%2F07%2F28%2Fthree-ways%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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Please comment here <small><a rel="nofollow" id="cancel-comment-reply-link" href="/2022/07/28/three-ways/#respond" style="display:none;">Cancel reply</a></small></h3><form action="https://andrewlawrenceking.com/wp-comments-post.php" method="post" id="commentform" class="comment-form"> <div class="comment-form__verbum transparent"></div><div class="verbum-form-meta"><input type='hidden' name='comment_post_ID' value='3933' id='comment_post_ID' /> <input type='hidden' name='comment_parent' id='comment_parent' value='0' /> <input type="hidden" name="highlander_comment_nonce" id="highlander_comment_nonce" value="fe6c8e5fa3" /> <input type="hidden" name="verbum_show_subscription_modal" value="" /></div><p style="display: none;"><input type="hidden" id="akismet_comment_nonce" name="akismet_comment_nonce" value="2aa1213d4d" /></p><p style="display: none !important;" class="akismet-fields-container" data-prefix="ak_"><label>Δ<textarea name="ak_hp_textarea" cols="45" rows="8" maxlength="100"></textarea></label><input type="hidden" id="ak_js_1" name="ak_js" value="157"/><script>document.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() );</script></p></form> </div> </div> <nav id="nav-below"> <h1 class="assistive-text section-heading">Post navigation</h1> <div class="nav-previous"><a href="https://andrewlawrenceking.com/2022/07/13/training/" rel="prev"><span class="meta-nav">←</span> The Wrong Trousers: can new training re-purpose Early Music skills for Historically Informed Performance?</a></div> <div class="nav-next"><a href="https://andrewlawrenceking.com/2022/12/29/enargeia/" rel="next">Enargeia – Visions in Performance <span class="meta-nav">→</span></a></div> </nav> </div> </div> <div id="secondary" class="widget-area" role="complementary"> <aside id="text-4" class="widget widget_text"><h1 class="widget-title">ANDREW LAWRENCE-KING</h1> <div class="textwidget"><p>Baroque opera, orchestral & ensemble director, imaginative continuo-player, Early Harp virtuoso, specialist in baroque gesture & Historical Action, investigator of Flow, Andrew Lawrence-King is the doyen of historical harping, one of the world’s leading performers of Early Music, and an internationally renowned scholar. </p> <p>His pioneering recordings of Trabaci, Ribayaz, Handel and Carolan re-established the lost worlds of Italian, Spanish, Anglo-Welsh & Irish baroque harps; as co-director of Tragicomedia and director of The Harp Consort, he led a revolution in improvisation & continuo-playing; his research into Tactus has redefined our understanding of baroque rhythm; as guest director, he inspires musicians around the world to reach new levels of technical precision and stylish historicity with fun, energy and passion. </p> <p>Andrew has directed at La Scala, Milan & Sydney Opera House and won Russia's highest theatrical award, the Golden Mask (2012) for Cavalieri’s 'Anima & Corpo'. His direction of Handel’s 'Orlando' (2019) won the Russian Eugene Onegin Award and has been nominated for another Golden Mask. During his long collaboration with Jordi Savall, he has won a Grammy (best ensemble 2011), the Spanish Premio de la Música in duet (2010) & trio (2011), and Australia’s Helpmann Award in duet (2013) & ensemble (2018). His recording of 'Earthly Angels' with soprano Kajsa Dahlbäck was YLE, the Finnish broadcasting company’s CD of the year (2018).</p> <p>2017 saw the premieres of Andrew Lawrence-King’s first two operatic compositions: 'Kalevala: the Opera', setting the Finnish national epic to ancient traditional melodies; and 'Arianna a la recherche', a remake of Monteverdi’s lost 1608 masterpiece from Rinucini’s libretto and the surviving musical fragment, the famous Lamento. Andrew’s latest recording traces the roots of favourite Christmas carols from the Finnish 'Piae Cantiones' (1582) with the Helsinki Utopia Choir, released on Jordi Savall’s AliaVox Diversa label (2019).</p> <p>From 2010-2015, Dr Lawrence-King was Senior Visiting Research Fellow for the Australian Centre for the History of Emotions. He is Professor of Early Harp and Continuo at the Guildhall School of Music & Drama, London and Director of Opera Omnia, Academy for Early Opera & Dance, Institute at Moscow State Theatre 'Natalya Sats'. He is currently working on an English translation of 'Il Corago', the anonymous c1630 guide for baroque opera directors. Inspired by 'Peter & the Wolf' and the 'Young Person’s Guide to the Orchestra', his latest operatic composition, 'The Play of Music & Time: an Explorer’s Guide to Early Opera' will be premiered in 2020.</p> <p>Andrew Lawrence-King directs The Harp Consort, combining state-of-the art early music performance with stylish improvisation & entertaining stage presentation; Il Corago, the production team for historical staging of early opera; the International Baroque Opera Studio and Opera Omnia Moscow. </p> <p>Andrew's hobbies include marathon running, sailing, kayaking, fencing (modern epée & historical rapier) and Tai Chi. He is a qualified hypnotist.</p> </div> </aside><aside id="search-3" class="widget widget_search"><h1 class="widget-title">Search this Blog for content</h1><form method="get" id="searchform" action="https://andrewlawrenceking.com/"> <label for="s" class="assistive-text">Search</label> <input type="text" class="field" name="s" id="s" placeholder="Search" /> <input type="submit" class="submit" name="submit" id="searchsubmit" value="Search" /> </form> </aside><aside id="media_gallery-3" class="widget widget_media_gallery"><h1 class="widget-title">Andrew Lawrence-King</h1><p class="jetpack-slideshow-noscript robots-nocontent">This slideshow requires JavaScript.</p><div id="gallery-3933-1-slideshow" class="jetpack-slideshow-window jetpack-slideshow jetpack-slideshow-black" data-trans="fade" data-autostart="1" data-gallery="[{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-sinfonietta-riga.jpg?w=440","id":"1678","title":"ALK directs Sinfonietta\u0026nbsp;Riga","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-st-p-baroque-opera-studio.jpg?w=440","id":"1679","title":"ALK directs St P baroque opera\u0026nbsp;studio","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-from-small-harp.jpg?w=440","id":"1673","title":"Alk directs from small\u0026nbsp;harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-harpsichord-harp-2.jpg?w=440","id":"1674","title":"ALK directs harpsichord \u0026amp; harp\u0026nbsp;2","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/09\/alk-irish-baroque.jpg?w=440","id":"93","title":"ALK Irish baroque","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs.jpg?w=440","id":"1680","title":"ALK directs","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/09\/alkzampieri.jpg?w=440","id":"938","title":"ALK\u0026amp;Zampieri","alt":"","caption":"ALK with Rainer Thurau\u0026#8217;s \u0026#8220;Zampieri\u0026#8221; Italian baroque harp","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/09\/introduction-to-single-action-harp.png?w=440","id":"118","title":"Introduction to Single Action\u0026nbsp;Harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/alk-with-huete.jpg?w=440","id":"10","title":"alk-with-huete","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/the-flow-zone-mashup-2015.jpg?w=440","id":"1550","title":"The Flow Zone mashup\u0026nbsp;2015","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/il-corago.jpg?w=440","id":"12","title":"Il corago","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-lha.jpg?w=440","id":"1676","title":"ALK directs LHA","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-harpsichord-harp.jpg?w=440","id":"1675","title":"ALK directs harpsichord \u0026amp;\u0026nbsp;harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/09\/fingernails.jpg?w=440","id":"908","title":"fingernails","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-rovaniemi-orchestra.jpg?w=440","id":"1677","title":"ALK directs Rovaniemi\u0026nbsp;Orchestra","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-arpanetta.jpg?w=363","id":"1670","title":"ALK \u0026amp; Arpanetta","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/02\/inquartata.jpg?w=340","id":"380","title":"inquartata","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-psaltery.jpg?w=247","id":"1683","title":"ALK psaltery","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-masterclass.jpg?w=440","id":"1682","title":"ALK Masterclass","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/thc-logo-2011-with-background.jpg?w=440","id":"13","title":"THC logo 2011 with\u0026nbsp;background","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/lord-of-the-strings.jpg?w=440","id":"1562","title":"Lord of the\u0026nbsp;Strings","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/alk-in-rehearsal.jpg?w=431","id":"688","title":"ALK in rehearsal","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/copy-alk-huete-small2.png?w=269","id":"25","title":"copy-alk-huete-small2.png","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/no-conducting.png?w=240","id":"684","title":"No conducting","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-irish-2014.jpg?w=440","id":"1681","title":"ALK Irish 2014","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-single-action.jpg?w=440","id":"1671","title":"ALK \u0026amp; Single\u0026nbsp;Action","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/09\/thc-20-years-ago-web.jpg?w=440","id":"947","title":"THC-20-years-ago-web","alt":"","caption":"Pat O\u0026#8217;Brien, ALK \u0026amp; other founder-members of The Harp Consort, at the recording sessions of Luz y Norte in 1994.","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/08\/the-theatre-of-dreams.png?w=440","id":"846","title":"The Theatre of\u0026nbsp;Dreams","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-at-eihf.jpg?w=440","id":"1672","title":"ALK at EIHF","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/05\/the-perfect-musical-director-mattheson-by-alk.png?w=440","id":"1657","title":"The Perfect Musical Director Mattheson by\u0026nbsp;ALK","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-irish-harp-bordeaux-boat.jpg?w=440","id":"1686","title":"ALK, Irish Harp, Bordeaux\u0026nbsp;boat","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-sheffield.jpg?w=440","id":"1684","title":"ALK sheffield","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/alk-tra.jpg?w=440","id":"764","title":"ALK TRA","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/10\/golden-mask.png?w=235","id":"1374","title":"Golden Mask","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/alk-peri.jpg?w=440","id":"1579","title":"ALK \u0026amp; Peri","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-with-chromatic-irish-harp.jpg?w=440","id":"1685","title":"ALK with chromatic Irish\u0026nbsp;harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/08\/enargeia.png?w=278","id":"847","title":"Enargeia","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/alk-director-bow.jpg?w=440","id":"11","title":"ALK-director-bow","alt":"","caption":"","itemprop":"image"}]" itemscope itemtype="https://schema.org/ImageGallery"></div></aside> <div id="atatags-286348-67b3d0c96d730"></div> <script> __ATA.cmd.push(function() { __ATA.initDynamicSlot({ id: 'atatags-286348-67b3d0c96d730', location: 140, formFactor: '003', label: { text: 'Advertisements', }, creative: { reportAd: { text: 'Report this ad', }, privacySettings: { text: 'Privacy', } } }); }); </script></div> <div id="tertiary" class="widget-area" role="complementary"> <aside id="text-2" class="widget widget_text"><h1 class="widget-title">Visit the websites</h1> <div class="textwidget"><p><a href="http://www.TheHarpConsort.com">The Harp Consort</a></p> <p><a href="http://www.TheFlow.Zone">The Flow Zone</a></p> <p><a href="http://www.iLCorago.com">iL Corago</a></p> <p><a href="http://www.opera-omnia.org">OPERA OMNIA</a></p> <p><a href="https://www.facebook.com/StradHarp/">Stradivarius Harp 1681</a></p> <p><a href="https://www.facebook.com/PlayMusicTime/">The Play of Music & Time</a></p> <p><a href="https://www.facebook.com/PerfectMusicalDirector/">The Perfect Musical Director (1739)</a></p> <p><a href="https://www.facebook.com/BaroqueGesture/">The Art of Gesture</a></p> </div> </aside><aside id="facebook-likebox-2" class="widget widget_facebook_likebox"><h1 class="widget-title"><a href="https://www.facebook.com/andrew.lawrenceking.9">Like ALK’s blog on Facebook</a></h1> <div id="fb-root"></div> <div class="fb-page" data-href="https://www.facebook.com/andrew.lawrenceking.9" data-width="200" data-height="432" data-hide-cover="false" data-show-facepile="true" data-tabs="false" data-hide-cta="false" data-small-header="false"> <div class="fb-xfbml-parse-ignore"><blockquote cite="https://www.facebook.com/andrew.lawrenceking.9"><a href="https://www.facebook.com/andrew.lawrenceking.9">Like ALK’s blog on Facebook</a></blockquote></div> </div> </aside></div> </div> <footer id="colophon" role="contentinfo"> <div id="supplementary" class="three"> <div id="first" class="widget-area" role="complementary"> <aside id="blog_subscription-2" class="widget widget_blog_subscription jetpack_subscription_widget"><h1 class="widget-title"><label for="subscribe-field">Follow Blog via Email</label></h1> <div class="wp-block-jetpack-subscriptions__container"> <form action="https://subscribe.wordpress.com" method="post" accept-charset="utf-8" data-blog="56032818" data-post_access_level="everybody" id="subscribe-blog" > <p>Enter your email address to follow this blog and receive notifications of new posts by email.</p> <p id="subscribe-email"> <label id="subscribe-field-label" for="subscribe-field" class="screen-reader-text" > Email Address: </label> <input type="email" name="email" style="width: 95%; 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