« What is giving birth to music - as to any art - is not an abstract exterior inspiration but an intrinsic force of human life in its historic evolution. To work on music of the time between about 1550 and 1850 connects me with a source of still unbroken aspiration to the human potential of communication and communion. »
I believe that the music of earlier times can be brought to life again if played with an inner involvement, and a willingness to put into practice modern research into historical contexts and performing practices. This approach leads to a wide range of interesting ideas and open questions with which to work: differing playing techniques, reading from original notation, varying national stylistic characteristics from a range of epochs, ornamentation, diminution – all of which are essential parts of the music.
Another interesting question of mine is to investigate the differing performing situations of earlier times and then to look for new settings and situations for a 21st century public. This means I enjoy presenting early music in contemporary contexts, such as joining baroque and contemporary dance on stage.
My focus is on repertoire from the late Renaissance to the early Romantic, and I play on two recently-built models of historic violins with many different bows. This flexibility allows me to explore the many shades of musical language as well and as truthfully as possible.