Virtuosic soloists from The Philadelphia Orchestra will be featured in five sparkling and propulsive works by J.S. Bach this Sunday. The performance is further enhanced by Baroque specialist Nicholas McGegan, who brought a fresh and animated approach to these familiar masterworks when the performances took place at Verizon Hall back in mid-April.
Bach specialist Nicholas McGegan conducts The Philadelphia Orchestra this Sunday, May 19th, 2 to 4 pm, in an all-Bach concert - bringing a special touch to the Orchestra, and throwing the spotlight on several Philadelphia Orchestra soloists.
Concertmaster David Kim, Principal Oboist Richard Woodhams, Principal Horn Jennifer Montone, and Principal Flute Jeffrey Khaner are just some of the stellar players of the Orchestra who will play major roles in a program including:
The renowned British conductor and early-music expert Nicholas McGegan is the conductor on Sunday’s Philadelphia Orchestra In Concert broadcast on WRTI.
McGegan, an accomplished harpsichordist and flutist, specializes in Baroque, and early Romantic repertoire. But as WRTI’s Jim Cotter reports, this doesn’t stop him from being a strong advocate for new music.
Listen to Jim Cotter’s full interview with Nicholas McGegan.
Nicholas McGegan talks about his different conducting style with Jim Cotter.
The renowned British conductor and early music expert Nicholas McGegan's 63rd birthday is January 14th. As WRTI’s Jim Cotter discovered, he’s a musician with a special talent for talking about music.
Nicholas McGegan’s uncomplicated, witty discourses on the works of the great composers have made him an in-demand speaker at places such as Oxford, Cambridge, and London’s Royal College of Music. What does he say is his reason for mostly conducting without a baton? He’s a klutz. "The less things I have to drop, throw, or break, the better."
In truth, says McGegan, his focus on Baroque, and early romantic repertoire means that his communication with the musicians has a different goal to those doing later and modern works.
MCGEGAN: Generally, when I'm doing the kind of music I d,o which is essentially 17th, 18th and 19th century music, the beat is fairly stable. So I don't have to do those fancy beat patterns that (you) have to do if you're doing The Rite of Spring. We don't have to count in eleven, I'm not sure I can count to 11! What I am doing is trying to communicate the gestures in the music - and hopefully there's enough of a beat that the orchestra can play together.
COTTER: Often he leads not from the podium, but as an instrumentalist, which presents a different set of challenges.
MCGEGAN: When I'm working with, say, a period instrument orchestra, I'm very often playing the harpsichord as well. And so if I were to use a baton I'd have to put it between my teeth, and then I would probably look like Carmen with a rose.