Why play a new instrument when we make music for old instruments?
Our Principal Horn Roger Montgomery performs a section from Schumann’s showstopping Konzertstück for Four Horns, and introduces a new ‘19th century-style’ horn. This instrument has valves, which makes performing such challenging repertoire possible.
Hear it in our upcoming concerts with Sir András Schiff, also featuring Brahms’ blockbuster piano concertos. Find out moreRead More
“People complain a lot about the space that I take up”.
Lutenist Elizabeth Kenny explains how and why the theorbo was developed in the 17th century, what it was used for, and what it’s like to carry it around on the tube.Read More
“This is the clarinet that Mozart would have expected to hear when he wrote for it.”
Our Principal Clarinet Antony Pay takes us through the staple instrument of the time – the 5 key clarinet, and shows us the type of basset clarinet he believes enables you to play Mozart’s Clarinet Concerto best.Read More
Our Principal Artist John Butt introduces a spectacular bespoke chamber organ, built to recreate the sounds of Handel’s era.Read More
What is this big beast of the orchestra, and where did it come from?
David Chatterton introduces the contrabassoon as heard in Beethoven’s Fifth Symphony and Haydn’s Creation.Read More
“It really changes the way we think about the music”.
Our Co-Principal Keyboard, Steven Devine, introduces the predecessor of the modern piano, the fortepiano.
It’s the type of instrument Haydn, Mozart and the young Beethoven would have known and composed for.Read More
Who called who a nanny goat bassoonist? Our Co-Principal bassoon Peter Whelan tells all as he introduces the baroque bassoon.Read More
‘The gut strings make a more gutsy sound’
If you think a violin from the 18th Century is the same as one made yesterday, think again…
Violinist Huw Daniel reveals the differences between the baroque instrument and the modern one.Read More
‘The lack of keys on this instrument should never be seen as a disadvantage.’
Our Co-Principal Oboe Katharina Spreckelsen on why the quirks of the Baroque oboe make it so exciting.Read More
“The wood makes the sound gentler and more… woody”
Meet the flute that our principal Lisa Beznosiuk uses for playing Bach, Handel, Rameau and people like that.Read More
‘It’s much longer and doesn’t have any valves whatsoever.’
OAE Principal Trumpet David Blackadder introduces the Baroque trumpet, including the instrument Bach only ever wrote one piece for.
‘It’s quite a direct, unfiltered sound.’
OAE Principal Horn Roger Montgomery takes us through the Baroque Horn and shows us how it differs from the modern instrument.Read More
In part 2, violinist Kati Debretzeni explores how Vivaldi uses the violin as a virtuoso instrument.
Hear her perform the Four Seasons at our Turning Points concert at Kings Place on 11 Feb.Read More
Ahead of our Turning Points: Vivaldi’s Four Seasons concert at Kings Place on Sat 11 February, Kati Debretzeni takes an in depth look at Vivaldi’s innovative writing for the violin.Read More
Watch does pitch mean to a period instrument player? And do you really have to carry more than one instrument around?Read More
“It’s a bit like driving on the left – doing the same thing but in a different way”. Our Principal Timpanist Adrian Bending shows us his new set of drums, the Schnellar Timpani.Read More
‘When we play it, it invokes the horns of the forest. Which is where we all come from, ancestrally, as horn players.’
As the OAE horn section rehearse, Martin Lawrence talks about the forest, Weber, horns and that ‘sort of ghostly sound’.Read More
Lisa Beznosiuk shows us the flute she is playing in Bruckner’s 6th Symphony.
Hear it this Friday at the Royal Festival Hall, London:
Sir Simon Rattle conducts BrucknerRead More
Bruckner trombone? Beethoven trombone? Philip Dale takes us through the differences between the two and which one he’ll be choosing to play in Bruckner’s six symphony on Friday 22 April 2016.Read More
“It’s easy to think Mahler 2 is all about horns. Which it is really.”Read More