Conducting and Music Direction
Most of the music I perform was conceived of as conductor-less. Leading music from the harpsichord or organ allows me to guide and shape the music in a much more direct way than "straight" conducting, and it suits Baroque music perfectly. With large works like operas or Bach Mass in B minor, this means a mix of playing and arm-waving, or sometimes both simultaneously—eyes and shoulders do a lot of work. Of course, for modern music there's no substitute for a conductor.
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Monteverdi:
Vespro della Beata Vergine, SV 206
TENET Vocal Artists -
Bach:
St. Matthew Passion, BWV 244
the Sebastians and TENET Vocal Artists -
Bach:
St. John Passion, BWV 245
the Sebastians and TENET Vocal Artists
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The Welcome News:
Choral Music of Carson Cooman
Cambridge Consonance -
Carson Cooman & Erin Morgenstern:
Flax-Golden Tales (2013) for storyteller and chamber orchestra
CLARET -
Bach:
Mass in B Minor, BWV 232
Impromptu Bach
Ensemble
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Vivaldi:
Trio Sonata in D minor, RV 63, "La Folia"
the Sebastians -
Bach:
Cantata, BWV 51 "Jauchzet Gott in allen Landen!"
with Katharine Dain and the Sebastians -
Bach:
Sonata for violin and harpsichord in G major, BWV 1019
with Daniel Lee -
Le Chevalier de Saint Georges:
Sonata no. 1 in B-flat major for violin and harpsichord
with Daniel Lee
Solo
- Bach: Prelude and Fugue in F major, BWV 856
- Bach: Partita No. 4 in D major, BWV 828
- Cooman: Prelude, Fughetta, and Allegro (2014), op. 1064
- Storace: Monica, from Selva di varie compositione d'intavolatura per cimbalo ed organo
- Rossi: Toccata settima
Piano
In a past life, I played a lot of piano! These days, I rarely do, but here are a few examples from my past.
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New Dawn:
Song Cycles & Piano Music of Carson Cooman
with Amanda Forsythe, soprano
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Leland Smith:
Chamber Music
with Sarah Darling, violin and viola - Keith Barnard: Cosmic Light