Jongerenopera Canti d'Amor II - DAG 8: Audio-interview with Lucas Peres

Dinsdag 26 augustus 2014

Since Lucas Peres, the orchestra coach, left yesterday to return on Friday, I took my chance to sit down with him for a few minutes and ask him about the early music practice, the lirone, and the art of accompaniment. The interview itself is actually 'accompanied' by Lies Wyers, who plays cello and viola da gamba, but who has been playing the lirone for less than two weeks. The following is an abstract of the interview. You can hear the full interview below (with my favorite moment on 3:55). 

Lucas: 'Neither of the instruments I play have contemporary descendants. The lirone has only been around for about 20 years. It’s kind of a fantasy instrument. The 17th Century, the music of Monteverdi, reinvented the emblematic instrument of Greece, the lira, which is the instrument of the poets.

The lirone, or big lira, has absolutely nothing to do with the Greek Lira: it is close to the cello in shape and size, but with a different structure and technique. The lira is the function, and not the instrument. We mostly accompany singers; that’s what we call the basso continuo. It’s very close to jazz: a jazz player has the singing and harmony, but the chord he is going to play changes according to the mood of the song.

What’s very exciting about working with young people, whether they are trained in baroque or not, is that they are so used to have a modern score that tells them what to do, and when. But in baroque, a lot is not written out. So they must guess.

A good part of this is instincts, and they have it, but we need to wake them up. People who are expansive, people who are shy, they will not play the same way, especially if they don’t know the music. They are encouraged to express their personality, though. The best expressions are the true ones.'


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