Early Music America Spring 2013 - (Page 14)
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14
Spring 2013 Early Music America
Peter Nothnagle:
Early Music Engineer
What are the decisions a leading audio engineer makes
to get just the right sound for early music recordings?
their greatness—they were great before I
at your early music CD
collection and chances are you’ll see knew them, and they would be great if I
had never met them!” he says. “HowevPeter Nothnagle listed as engineer on
er, I think, looking back, that I was there
quite a few of the iconic, made-infor them at important stages in their
America recordings you have. Seattle
Baroque and American Bach Soloists are careers, and that through the recordings
I made, they were
among the artists
able to reach many
he has worked
more listeners,
with. When you
and that has
listen to those
brought a lot of
recordings, you’ll
pleasure to a lot of
notice the clarity
people.”
and genuine
Over the
presence—
years, Nothnagle
hallmarks of
has learned a thing
Nothnagle’s work.
or two about what
Experienced as
goes into recorda performer on
ing a great early
early winds and
music CD. It’s
strings, Nothnagle
information he
has been recording music since
thinks should be
the 1970s and
shared; he says all
has made about
music majors
“Sometimes there will be a bird should be required
350 CDs and
thousands of conto take a class in
chirping. But that’s all right.
cert recordings.
how to make a
Motorcycles, I think, no.”
His first indegood recording. “If
—Peter Nothnagle
pendent project
they’re successful,
was the premiere
they’re going to
recording of the 1785 Jacques Germain reach a lot more people through their
harpsichord at the National Music
recordings than through their live perMuseum in Vermillion, South Dakota,
formances, and they should have some
featuring Arthur Haas playing the
skills,” he says.
music of D’Anglebert. The recordings
Here, then, is Nothnagle’s recipe.
he would most like to be remembered
First, “The one factor that is irreplacefor are the ones he made early in artists’
able is that it has to be absolutely dead
quiet. Background noise is just a distraccareers that helped them become more
widely known. Violinist Ingrid Matthews tion and an annoyance. We’re so used to
it in our daily life, but it really adds
and harpsichordists Byron Schenkman,
nothing to the music.”
Edward Parmentier, and Katherine
In his opinion, this rules out any
Roberts Perl are among those. “I just
urban setting. Of course, rural areas are
want to stress that I take no credit for
T
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Table of Contents for the Digital Edition of Early Music America Spring 2013
Editor's Note
Reader Forum
Sound Bytes
Profile: Peter Nothnagle Early Music Engineer
Musings: Best of the Year
Recording Reviews
"Skillful Singing" and the Prelude in Renaissance Italy
Almira: Handel's Fountain of Youth?
Tempesta di Mare: Making a Splash with Fasch
2013 Guide: Workshops & Festivals
What I Did at Summer Camp
Book Reviews
Ad Index
In Conclusion: Teaching Recitative in Mexico
Early Music America Spring 2013
http://www.brightcopy.net/allen/EMAM/22-1
http://www.brightcopy.net/allen/EMAM/21-4
http://www.brightcopy.net/allen/EMAM/21-3
https://www.nxtbook.com/allen/EMAM/21-2
https://www.nxtbook.com/allen/EMAM/21-1
https://www.nxtbook.com/allen/EMAM/20-4
https://www.nxtbook.com/allen/EMAM/20-3
https://www.nxtbook.com/allen/EMAM/20-2
https://www.nxtbook.com/allen/EMAM/20-1
https://www.nxtbook.com/allen/EMAM/19-4
https://www.nxtbook.com/allen/EMAM/19-3
https://www.nxtbook.com/allen/EMAM/19-2
https://www.nxtbook.com/allen/EMAM/19-1
https://www.nxtbook.com/allen/EMAM/18-4
https://www.nxtbook.com/allen/EMAM/18-3
https://www.nxtbookmedia.com