(in)sight-reading enlightenment/early music podcast

In this episode, I sit down with Sophie Maria Weber, young musicologist from Halle and winner of the Telemann-Forschungspreis, to talk about her research on Georg Michael Telemann — the grandson of Georg Philipp Telemann — and his fifty years working at the Riga Cathedral.

https://telemann.de/aktuelles/telemann-forschungspreis-wird-erstmals-verliehen

We dig into the adaptations Georg Michael made to his grandfather's works (spoiler: he rewrote them directly onto the originals, fully convinced he was improving them), his reportedly prickly personality, and the pupils who admitted they learned little in his lectures, mostly because he loved telling stories about his own life instead. By the end, we somehow connect it all back to a topic from my previous episode with Francesco Corti, tying together questions of heritage and copyright across the centuries.

Recorded from a hotel room in Norway, mid-tour, because the podcast must go on!

🎥 Follow behind-the-scenes moments on Instagram @darinka_smeshinka, or find the official page (in)Sight-Reading Enlightenment on Instagram and Facebook.

Music for the episode:

https://www.youtube.com/watch?v=hSsTzRs4L_o

#HistoricallyInformedPerformance #Telemann #TelemannZentrum #Musicology #EarlyMusic #BaroqueMusic #RigaCathedral #ClassicalMusicPodcast #MusicHistory #SophieMariaWeber

Okay, this episode has been such a treat to make. My guest is harpsichordist and conductor Francesco Corti, and honestly, I could have talked to him for three more hours.

This mini-series is dedicated to the Telemann Festtage Magdeburg made possible thanks to their wonderfully generous support, and a special thank-you to Fynn Liess, who helped make this whole collaboration happen.

So here's the mystery we're unpacking today: an opera called Otto — credited to both Handel AND Telemann. Two composers, one opera? How does that even work? I had so many questions, and Francesco had all the answers (plus a story that's honestly better than I expected).

https://telemann.de/event/otto-4

We also get into what it's actually like to stand in front of an orchestra as a conductor, how instrumentation gets built from the ground up, and what the real difference is between a baton and a baguette. (Turns out only one of them is edible. Barely.)

Curious, funny, full of insight: this conversation has everything. Come listen!

Huge thanks to Arcana recording label for allowing me to frame my episode with their stunning recordings!

Recordings for the episode are from Francescos` Spotify channel

JS Bach Praeludium BWV 815a

https://open.spotify.com/track/2ylClhXiW75PVQrqjcBtD6

#HistoricallyInformedPerformance #HIPP #EarlyMusic #Harpsichord #FrancescoCorti #TelemannFesttageMagdeburg #Telemann #Handel #BaroqueOpera #ClassicalMusicPodcast

🎧 Season finale | (In)Sight-Reading Enlightenment

What does it mean to perform Baroque music today?

In the final episode of Season 6, I speak with Belgian tenor Reinoud Van Mechelen, founder and artistic director of a nocte temporis, about navigating the early music world between iconic masterpieces and forgotten jewels. We talk about festivals, opera characters, curating programs from morning to night, and how to stay fresh when performing the same repertoire again and again.

While editing this episode, one thought kept returning: the audience doesn’t come to check if we are right or wrong — they come for an experience. Simply “playing a concert” is no longer enough. People are ready to receive more.

https://www.reinoudvanmechelen.be/en

Special thanks for the music intro to the conductor Martin Wåhlberg, nmy beloved Orkester Nord and Reinoud as Sandomir. Check out this wonderful recording where I had a pleasure to take part:

https://open.spotify.com/album/19J7sAU0eMMvi3UYxZjUJl

🎶 Episode 12 is out now — and with it, the close of Season 6.

Contact me: [email protected]

#insightreadingenlightenment #earlymusic #baroquemusic #anotcetemporis #reinoudvanmechelen #earlymusicensemble #historicalperformance #baroqueopera #musicprogramming #festivalmusic #classicalmusic #artisticprocess #musicianslife #earlymusicpodcast

In this final episode of our zamus mini-series, we meet two of the driving forces behind the “Creating New Spaces” symposium: Charlotte Nachtsheim, organiser of the event, and Mélanie Froehly artistic director of zamus. Together with the artistic director of the festival Midori Seiler they have shaped the structure of the symposium and brought this idea come true.

We speak with Charlotte about the meaning of colonialism and decolonialism in the context of early music—how the field is shaped by its history, and what it means to rethink that history in today’s world. Can early music become a space for equity, awareness, and reflection?

Then, Mélanie shares her artistic vision and the story behind integrating such an important topic into a festival setting. We talk about structural challenges, curatorial decisions, and the deep personal motivation that connects both women to this work—not just as organisers, but as musicians and advocates for a more inclusive and responsible cultural scene.

Together, they explore how music and art can become a safe space—where difficult conversations are welcomed, and new perspectives can flourish.

Music in the episode:

Florence Price: Symphony No. 1 in E minor

Alice Smith (1839-1884) - Symphony in A minor

00:00 – Intro & guest introductions: Charlotte Nachtsheim & Mélanie Froehly

00:53 – Symposium theme: “Creating New Spaces”

02:09 – Colonialism & decolonisation in early music

04:49 – Problematic content & how to handle it

06:10 – Transition to Mélanie Froehly

07:07 – The concept of zamus - Center of Early Music in Cologne

08:58 – How the idea for the symposium emerged, collegial approach

11:14 – Integrating the symposium into the festival

12:40 – Present perspectives & future plans

13:18 – Personal motivation & societal change

15:22 – Sneak peek at the next zamus edition

18:40 – Outro

#EarlyMusic#DecolonisingMusic#ColonialHeritage#HistoricalPerformance#CriticalClassics#OperaReimagined#MusicAndSociety#InclusiveArts#MusicHistoryMatters#BaroqueVoices#SoundAndStory#ArtAsResistance#NewSpacesInMusic#CulturalReflection#ListeningDifferently

In this second episode of our zamus mini-series, we take a deep dive into the work of Critical Classics—an initiative that rethinks how we perform historical operas and oratorios by addressing racism, exoticism, and other forms of discrimination embedded in the original texts.

We’re joined by Leyla Ercan, co-initiator of the project, and Änne-Marthe Kühn, dramaturge and researcher, who reflect on how theatre can both reveal and reproduce harmful narratives. Together, they share the origins of the project, their guiding principles, and what it means to reframe canonical works like The Magic Flute in a way that speaks to our current world.

We discuss strategies of sensitivity reading, the role of text and subtext, and how audiences respond when difficult truths are brought to light. What does it mean to preserve tradition—and when does that tradition need to be questioned?

🎭 More about the project: criticalclassics.org/downloads
🎼 With music from Orkester Nord, courtesy of Aparte label: Watch here

Timecodes:

00:00 – Introduction of guests: Leyla Ercan & Änne-Marthe Kühn

01:10 – “I dislike theatre” – the critical power of the stage

02:02 – Änne-Marthe Kühn: background & why she joined Critical Classics

03:09 – Leyla Ercan: the roots of theatre criticism

04:15 – Aims & mission of Critical Classics

07:15 – Audience reactions & communication

09:49 – Theatre tools & character portrayal

12:44 – Strategies for working with texts

15:25 – Technical methods: how Critical Classics handles opera material

18:17 – Finding inner conflicts that speak to today

19:18 – Why we still need these old stories

20:21 – Historical context of classical opera theatre

22:04 – Outro

#EarlyMusic#DecolonisingMusic#ColonialHeritage#HistoricalPerformance#CriticalClassics#OperaReimagined#MusicAndSociety#InclusiveArts#MusicHistoryMatters#BaroqueVoices#SoundAndStory#ArtAsResistance#NewSpacesInMusic#CulturalReflection#ListeningDifferently

In this opening episode of our special series with zamus for the “Creating New Spaces” Decolonisation Symposium, we explore the colonial shadows cast over the world of early music. Historian and activist Dr. Rahab Njeri speaks about decolonial aesthetics and the need to reclaim artistic spaces through marginalized and indigenous forms of knowledge.

https://frauengeschichtsverein.de/2023/08/22/dr-des-rahab-njeri/

We then turn to musician and researcher Jorge Silva, who guides us through the African and South American origins of familiar Baroque dances. What colonial narratives are hidden in the elegant sarabande—and what happens when we start to listen differently?

https://www.jorgesilvahpd.com/

Timecodes

00:00 – Intro & ZAMUS collaboration

01:18 – Dr. Rahab Njeri: Picasso & African art

03:01 – Cultural appropriation spectrum

04:31 – Critical diversity

06:15 – Institutional change

07:35 – Power vs. African philosophy

09:11 – Empathy & decoloniality

11:24 – Gaze into the future

13:00 – Jorge Silva: Baroque dance & origins

14:27 – Hidden narratives in dance

16:19 – The sarabande’s transformation

18:40 – Performance & research

20:52 – Lundu & Brazilian sources

23:45 – Generational trauma & music

26:23 – Layers of history in Baroque

27:40 – Being a musician today

28:35 – Outro

Music in this episode from the playlist of Midori Seiler: https://youtube.com/playlist?list=PLQt6ev5eI6q_ZyMJrIyN898Fd0RGuxkug&si=h6sx4-49tD48Ugr4

#EarlyMusic
#DecolonisingMusic
#ColonialHeritage
#HistoricalPerformance
#CriticalClassics
#OperaReimagined
#MusicAndSociety
#InclusiveArts
#MusicHistoryMatters
#BaroqueVoices
#SoundAndStory
#ArtAsResistance
#NewSpacesInMusic
#CulturalReflection
#ListeningDifferently

In this second part of my conversation with the internationally acclaimed flutist, researcher, and author Rachel Brown, we continue our journey into the world of 18th-century flute culture.

We speak about the flute makers who shaped the sound of our time, the virtuoso players of the 18th century and their repertoire, and the surprising way dissonance can be described in terms of taste experiences. Our conversation also touches on the role of historical clothing and why women were often excluded from playing wind instruments, and Rachel shares her own creative voice as a composer, including her projects inspired by Telemann’s Twelve Fantasias for solo flute.

This episode of (In)Sight-Reading Enlightenment is kindly supported by the Christoph Merian Stiftung.

💌 I’d love to hear from you: write me at [email protected].

#RachelBrown #Quantz #Telemann #BaroqueFlute #Traverso #EarlyMusic #HistoricalPerformance #Bach #FlutePodcast #BaroqueMusic #18thCenturyMusic #WomenInMusic #ChristophMerianStiftung

In this episode of (In)Sight-Reading Enlightenment, I sit down with the brilliant flutist and researcher Rachel Brown(Rachel’s website).

We explore the world of original Quantz flutes and discover their surprising personalities — not unlike the Three Tenors, each with their own temperament and flair. Our conversation also touches on the colours and expressive power of tonalities such as E-flat major, G minor, and F minor, and the fingering quirks and possibilities they reveal on the traverso.

The music featured in this episode is Rachel Brown’s recording of Johann Joachim Quantz’s Sonata in B-flat major, QV 1:272 — listen here: YouTube link

This is part one of our conversation — part two will follow with even more insights into Quantz’s world and the art of the flute.

✨ If you enjoyed this episode, don’t forget to follow, rate, and share the podcast — it really helps others discover it. And I’d love to hear your thoughts! You can always reach me at insight [email protected]

#Quantz #Traverso #EarlyMusic #RachelBrown #FlutePodcast #HistoricalPerformance #BaroqueFlute #InsightReadingEnlightenment

In this episode, I speak with Margalith Eugster and Elisa Rumici about the first edition of the Feminale Festival Basel, held in April 2025. We talk about how this student-led festival at the Hochschule für Musik FHNW brought attention to female composers, institutional structures, and the necessity of sharing both responsibility and space in the musical landscape.

From blind concerts to panels on gender quotas and parenthood, from curating with care to navigating helplessness and female rage — we reflect on what it means to stay constructive, collaborate meaningfully, and imagine the future of a festival like Feminale.

🕒 Time Codes:00:00 Intro music from JAHRE DORA PEJAČEVIĆ – EINE FEMMAGE02:44 Organising Feminale & Christmas story time07:11 The idea of Femmage07:40 Music excerpt: Scherzo No. 2, Op. 14 by Clara Schumann, performed by Elisa Rumici👉 https://www.youtube.com/watch?v=ku1azFsRgHo10:05 Discussing quotas, stereotypes & parenthood14:02 Composers and collaboration — the geographical aspect16:14 Lili Boulanger, Germaine Tailleferre, Clara Schumann, Fanny Hensel, and others18:20 Music excerpt from JAHRE DORA PEJAČEVIĆ – EINE FEMMAGE20:45 Blind concerts22:30 Helplessness as a present feeling — building islands24:09 Personal motivation: female rage and dignity27:57 Thoughts on the future of the Feminale29:32 Outro music from FEMINALE Hamburg – Hedwig Janko Trio Jazz Concert

🎶 Music featured in this episode:– https://www.youtube.com/watch?v=ODUz5_7RrrA– https://www.youtube.com/watch?v=ZL7tuhKGNeY

📩 Feedback & contact: [email protected]📸 Instagram: @insight_reading_enlightenment

#feminalebasel #feminale2025 #femalecomposers #genderinmusic #insightreadingenlightenment #elisarumici #margalitheugster #quotendiskussion #parenthoodinmusic #femalerage #musicaldignity #clarschumann #dorapejacevic #liliboulanger #fannyhensel #inclusivemusicmaking #blindconcerts #stayconstructive #buildingislands #festivalmaking

Hello dear friends,

What does it mean to be a “superwoman” in music—then and now? In this episode, we travel from the finely tuned mechanics of 19th-century fortepianos to the bold visions of contemporary curators as we explore Superwomen—a newly launched festival in Basel by pianist and researcher Laura Granero and piano restorer Sebastian Bausch, the duo behind Klavieratelier Mignon 1904.

Together, we unfold a multi-sensory conversation, from salon culture to technological time capsules. Expect to meet the dazzling Fanny Davies—not only a pianist of Schumann’s inner circle but also a visual artist and chronicler of her musical world (hear her play Davidsbündlertänze here). We’ll also discuss diva, entrepreneur, and Rossini’s first wife Isabella Colbran (profile), whose fortune helped fund the composer’s comfort.

And yes, there were bread sculptures. The 19th-century salon scene was full of unexpected flourishes—often led by female artists who shaped cultural trends far beyond the concert hall. We dive into the curious tale of musical baking, the gender politics of programming, and the enduring influence of the salonnières.

Adding a present-day sparkle, we taste a bottle from Cava Hispania and raise a glass to Darina's second podcast, Why White Wine, celebrating the role of wine in collaboration and storytelling.

With fortepiano improvisations on John Field’s Nocturne No. 5 (performed by Laura Granero), reflections on feminist agency in curation, and a touch of irony, this episode invites you to rethink tradition with intelligence, warmth, and a generous pour.

🕰 Full time codes:00:00 – Intro + Field Nocturne No. 503:19 – On artistic design choices04:24 – What is Atelier 1904?09:45 – Piano roll technology as time travel14:05 – Who curated the concerts back then?20:45 – What concert culture felt like in the 19th century23:21 – Performing vs. hosting27:30 – Inside the Superwomen Festival41:34 – How to research female creators47:30 – Sebastian on being a feminist in classical music50:00 – Wine tasting on air: Cava Hispania + Why White Wine54:14 – Tips for discovering women composersOutro – Fanny Davies plays Schumann

💌 Don’t forget to subscribe, rate, and share if this inspired you to seek more hidden heroines of music history.

Contact me: [email protected]

#EarlyMusicMatters#ForgottenVoices#WomenInMusicHistory#SalonCulture#HistoricalInstruments#PianoRollRevival#FortepianoVibes

#SuperwomenFestival#FeministMusicology#ReclaimHerStory#MusicalTrailblazers#ClassicalFeminism#HiddenHeroines#SalonSisters

#MusicPodcast#ClassicalMusicPodcast#PodcastForMusicLovers#InSightReadingEnlightenment#ListenLearnUnwind#BaselCulture