Thank you for visiting our "Frequently Asked Questions" page. The following are answers to some of the questions that are often directed to us by our audience, critics and colleagues.
Q: Where did you name come from, and how did you start the ensemble?
A: Our name is connected to the fact that our ensemble was [re]formed at the time when our Artistic Director, Predrag Gosta, was still studying at Trinity College of Music in London, UK (in 1998). How we came to the idea of calling ourselves New Trinity Baroque is actually a bit of a funny story: since the initial group was formed by [mostly] students of Trinity College of Music, and since its first debut performance (March 27, 1998) at St. Martin-in-the-Fields in London was a part of Trinity College of Music at St. Martin's Concert Series, we wanted to find a name which will well reflect the idea who the members of the group are, as well as which kind of music we perform. However, the name "Trinity Baroque" was already taken [by a group from Cambridge). Encouraged by similar situations of adding the word "New" before the name of a group which exists or existed in the past (such as the case with New London Consort, directed by Philipp Picket), we did the same. So, we became the New Trinity Baroque.
Q: What are period instruments and why do you use them?
A: The instruments our members use are original instruments of the time of music we perform, or copies of original instruments,which are made after the original instruments that survived. Many of the instruments have survived the freight of history, many are still in regular usage, and many are preserved in museums around the world. These instruments, although some of them look very much the same as today's [modern] instruments, are quite different.The Baroque violin, for example, has a shorter neck, a differently curved bridge and the neck is at a different angle than that of the "modern" violin. We also play on gut strings, which were in use in the old times (actually, very much until the beginning of the 20th century, when they were replaced by a new invention - metal strings). Although gut strings are more sensitive to temperature changes, and in this manner need to be tuned more often, the specific sound color is what characterizes this music. Our harpsichord is a copy of an instrument from 1638, and, again, is quite different than a "modern" harpsichord that was developed in the mid-20th century, which beside its different look, also produces a very different sound. Finally, we play or sing using the techniques that were used in old times and how current scholarship interprets them. How do we know which techniques Baroque composers used and how was the sound different from the sound today? Well, there are numerous treatises that deal with the subject of historical performance practice, written by composers of Renaissance or Baroque times. We also get help from the scholarship of many musicologists and their research - including our own.
Q: Where do you find the music you perform?
A: Although you can easily find printed music such as J. S. Bach's "Air on G String", the historically informed editions of Baroque music are usually published by smaller specialized publishers. We are lucky to live in a place where we can, with not too much difficulties, obtain much of the music we plan to perform. Sometimes this becomes a bit more difficult than usual, but thanks to our networking with other ensembles and musicians, we are able to, at least, obtain the information where and how to find particular compositions. When needed, we create our own scores, based on manuscripts or other editions... Often we perform from the facsimiles of the first editions of music published or even facsimiles of composers' manuscripts. Of course, scholarly research of what we want to perform takes most of our time, while searching for music and getting the actual score is a relatively small task.
In the process of searching for music, a very special effort is put on the selection of music that we would like to perform. With so much music composed - published or unpublished - only with careful research can we get a full picture of what we have on hand, and what would be suitable for our ensemble. Our goal is to find music that will equally be exciting for both the "knowledgeable" and one not so "knowledgeable" member of the audience. We certainly want to present something new every time, and we pay special attention to every detail during this process, including how "interesting" one composition is to a common listener, as well as how exciting and virtuous is the composition for us (since we like to "show off" on stage as well). :)
Q: Do you perform anything other than Baroque music?
A: Yes, we do - however, not as often. In the past, we presented programs of music at the court of King Henry VIII, English madrigals, and series of concerts with music by Renaissance vocal composers, such as Palestrina and Lasso. Similarly, we plan to engage in projects of music by Joseph Haydn and Mozart. However, we take greatest joy in performing music of the 17th and 18th centuries, and with huge selections of this repertoire, we are kept quite busy!
Q: How are you funded?
A: Our group exist as a non-profit organization, which enables us to receive grants and sponsorships from organizations and individuals. The biggest part of our funding [at this time] comes from our friends and supporters, which are organized under the "Friends of NTB". As an integral part of our organization, the support of "Friends" helps us in our goal to present historically informed performances and masterclasses. Beside "Friends", New Trinity Baroque is able to receive a portion of funds through the ticket sales of our Greater Atlanta Concert Series, and via the support of corporate sponsors. If you too are interested to give us financial support, please contact us immediately... :)
Feel free to send us your questions...