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Instruments have come a long way since 1450.  One only need explore a collection of Renaissance art to be struck by the odd assortment of instruments held by minstrels and cherubim alike.  Shawms, lutes, and lyres often catch our eyes first, but upon closer exploration we see that what appears to be a violin or cello has also undergone significant evolutionary change in these last 500 years.  My friend Marie, a devoted professional viola da gamba player, often recounts an educational concert she gave in New York.  The students in attendance, all elementary age beginning string players, were observing her closely while she played.  Their confusion over this cello-like instrument could be ascertained by their interjections.  "That lady must've broken her endpin off" and "That lady's cello has a head on it" and the even more observant "Why's she holding the bow upside down" and "She has too many strings on that thing" all came from different sides of the room simultaneously.  She was, however, less than amused by the child uttering, "She must be really bad if she's a pro and still has finger-tape" who had noticed the presence of frets (like a modern guitar) on the gamba's fingerboard.  What strikes me is that not only are the visual differences so interesting, but the sonic ones are as well. 

Here in Kansas City, a number of musicians have sought out Baroque performance equipment and playing techniques.   These folks are giving us regular opportunity to hear them alongside a number of 'period' ensembles brought in by The Friends of Chamber Music and Harriman Jewell series.  The Carray Baroque Consort, a small ensemble of Baroque players here in town, is gaining recognition of its skillful playing and educational agenda.  I spoke with Trilla Ray-Carter, the group's organizer.  

JC:  What can you tell me about making the transition from modern instruments to period-specific ones?  What is so different about them in your experience, and what works better than on a modern instrument? 

TRC: The first and biggest hurdle is perhaps psychological; the willingness to try something new, or in this case old. With each historically accurate performance I have had the opportunity to hear - especially live concerts - I have become more enamored of the characteristic sound and musical language of the Baroque. This eventually became much more motivating than the fear of trying something different. The world of modern playing carries with it a strong state of consciousness that can prevent us from looking at alternative music with open ears and minds. Although our modern day approach to music-making has its origins in this era, the recent efforts to research and illuminate historically informed performance practice feels very much like an alternative style to the modern player.

From a string player's perspective, there are some physical differences in the Baroque instrument, bow and strings, and some differences in how we hold the instrument. The greatest difference is the use of gut strings (typically dried sheep or ram intestine) and the Baroque bow, which is lighter and curves outward more like an archer's bow. These two elements have the greatest influence on the unique sound of Baroque strings. Baroque string instruments have a straighter, more vertical neck, and therefore a shorter bridge. This produces less tension, and a lighter sound. Baroque instruments also have a shorter bass bar (a long narrow piece of wood glued to the underside of the belly on the bass string side), and therefore a smaller sound. Several modern accoutrements had not yet come into use, namely the chin rest and shoulder pad on violins and violas, and the endpin for cellos. It takes some getting used to playing without these aids.

My greatest 'aha!' moment occurred when I realized that musicians of the Baroque period were not concerned with volume of sound. They played in small spaces for chamber music, concertos were written with a small ensemble accompaniment. There was not the need for, and subsequent obsession with, BIG SOUND that we have as modern instrumentalists. When we take away that ingredient from the mix, there are many more opportunities for subtlety and nuance. It is quite freeing! 
JC:  There is obviously a huge variety of potential repertoire to cover here.  What is becoming your favorite rep to play, and what are your hopes in terms of future music that you might cover? 

TRC:  There is an extraordinary variety of repertoire from the Baroque period alone. I am continually thrilled to discover new composers, who in modern terms would be considered obscure but were extremely prolific, and held quite important posts in their day. This past summer's theme at IBIL (International Baroque Institute at Longy, Cambridge, MA) was England, Ireland and Wales, and although we did a fair amount of Handel works, I was delighted to work on several Geminiani selections (yes, he's Italian, but lived in London for quite a bit of his professional life). But my surprise find this summer was a couple of sets of Cello Sonatas by the Dutch composer Willem de Fesch. They are beautiful, charming and rather quirky, and provide real delight to the player and listener. Although Bach will always remain a central part of my musical journey, exploring the works of the many, many Baroque composers who came before him puts his contribution in an ever more meaningful light.

JC:  What can you tell me about your own experience making the transition from playing this repertoire on modern instruments and bows to playing this on more historically accurate ones? 

TRC:  My initial experience with gut strings was quite frustrating. Nearly two weeks of squeaks and squawks, and since I was doing this exploration on my own without the advantage of an experienced Baroque player to guide me, it was a lot of trial and error - mostly error. So I nearly gave it up. But a call to my Baroque violist friend from Musica Angelica in Los Angeles offered a few key points in making this transition. The technique of drawing sound from the string is completely opposite from modern playing. Modern steel strings take fast, strong bow strokes, and there is an intensity in the pulling and pushing of the bow. Gut strings need slow and light strokes, and there is not the pulling and pushing of the stroke as in the modern bow. There is, in essence, nearly always a "curve" in the sound, a lightness near the end of the stroke. This becomes intuitive as soon as we recognize how the shape of the bow directs us toward this sound. We can then begin to experience how the bow and gut string provide the organic element of the Baroque phrase and color. This then opens the door to exploring the rhetorical element in baroque music. But that perhaps is another interview!

JC:  And one I hope to pursue!

Trilla and the Carray folks aren't simply happy to sit content on their own exploration of this repertoire, but are at the helm of a unique experience for other explorers later this month.  They will present alongside William Bauer, a Saint Louis-based Baroque string player, an opportunity for area string players and other interested parties to have some hands-on learning.  Bauer is in high demand throughout the country as a Baroque violist and a Baroque violinist and has played in many of the nation's leading period ensembles.   

The Kansas City Baroque Consortium presents:
A Baroque Workshop for All Strings
with William Bauer, Baroque violinist and violist
Saturday, November 29 and Sunday, November 30
Location and exact times to be announced.
$50 participation fee, $35 for auditors
For more information contact Trilla Ray-Carter at trillmont@kc.rr.com or 816 550-3375

By Jay Carter

Early Music and Vocal Contributor (Past writer)

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