Our collaboration on The Muse Project included five original poems and stories written especially for the occasion by five exceptional writers from Lighthouse Writers Workshop. I found these pieces astonishing in their range and power!  (We plan to add copies of these poems and stories to our website soon.) The writings explored the concept of muse and memory in various ways, and all of them had an immediacy and relevance that made me feel that myth and meaning are always present in everyday life.

I know that most of the writers (if not all) listened intently to the musical piece that their writing was paired with before beginning their writing. I am intrigued by this process of working across art forms for inspiration, with the aim of creating of something new and perhaps surprising.

For those who attended a performance of The Muse Project (and those who weren’t able to), what are your thoughts about collaborations like this? As an audience member, it’s sometimes hard to know what to expect coming into a collaborative event. Is that a positive factor… or not so positive? What role does surprise play (for good or bad)? I’d love to hear your thoughts!

Collaborate and Create

I believe that Colorado’s art scene is so vibrant and innovative partly because of an openness to creative collaborations and their possibilities. I also believe the music that the Baroque Chamber Orchestra of Colorado plays is transformed with entirely new dimensions and insights when we partner with artists engaged in art forms that are different from our own. In past seasons, our collaborations with choreographers, dancers, puppet artists, and writers have been richly rewarding and revelatory.

With these beliefs in mind, I am thrilled to be partnering with Lighthouse Writers Workshop and Stories on Stage for The Muse Project. These two outstanding organizations join the BCOC this weekend to create a performance that combines beautiful Baroque music, original work by five of Denver’s best writers, and the power of storytelling.

Our theme focuses on the muses – both ancient and modern – who ignite our imagination. And fittingly, the program will include new five new poems and stories created just for this occasion, as well as a new musical work composed for our ensemble. The creation of new art is one of the joys of collaboration!

Of course, at the heart of our program is the timeless and inspiring music of Vivaldi, Bach, Handel, Geminiani, O’Carolan, Eccles, and Fischer. I hope you will join us for one of three performances this weekend!

Frank Nowell


A New Work for Baroque Ensemble

Our upcoming concerts (The Muse Project) feature the world premiere of a new composition by Colorado composer Conor Abbott Brown. I’m very excited to play this new 10-minute work composed especially for the Baroque Chamber Orchestra of Colorado!

I asked Conor what it’s like to compose new music for a Baroque ensemble. Here is an excerpt from our interview.

Frank Nowell: What do you find “Baroque” in this new composition?

Conor Abbott Brown: There is a propulsive and cyclical feel to a lot of my favorite Baroque music that I drew on for inspiration while writing this piece. I also rhythmically reference the Baroque dance form known as the Siciliana. And I’m always excited by the ornamentation of Baroque music – as a listener, I am aesthetically aligned with the asymmetry and “mystery” of this ornamentation practice (which, sadly, much of which was lost of “straight-jacketed” later in Western music.)

What do you find very different from “Baroque?”

I use scales/modes in this piece that are quite removed from what Baroque composers used.

Is this the first time you have composed for Baroque period instruments? What was it like?

This is the second time – last year I wrote a piece for solo viola d’amore. I approach writing for period instruments just as I would writing for “modern” ones, which is to try to align what is idiomatic on an instrument with what is exciting for me as a composer during the composition process.

What would you like audiences to know about your piece? What should they listen for?

I really had fun with unequal temperament while writing this piece. Temperament describes how instruments are tuned. In the Baroque era, unlike today, there was no standardized temperament, and the distance between intervals was not the same in every key. The implications of this as a composer are that the ratios between scale degrees… can vary dramatically depending on what key you are in. I take advantage of this in Down from the Verge of Heaven by rotating the piece through a sequence that takes it into some very distant keys. In the equal temperament that most contemporary Western musicians play in, this wouldn’t really be a big deal… But in an unequal temperament, as the pattern rotates, we start to hear some strange and mind-bending new intervals!

The Muse Project

What inspires artists to create something new and beautiful in the world?

That question was the genesis of The Muse Project, a collaborative performance between the Baroque Chamber Orchestra of Colorado, Lighthouse Writers Workshop, and Stories on Stage.

The roots were planted a few years ago when BCOC and Lighthouse presented “Shape and Form,” a program blending the music of Bach with original poems and stories by Lighthouse faculty members. Five musicians and six writers participated in this extraordinary brew, and the resulting performance at the Lighthouse Grotto created quite a buzz. We knew that this was just the beginning of a collaborative journey!

Lighthouse’s director Michael Henry and I began thinking about our next project, and it  became clear that we should invite Stories on Stage to join us on the adventure. This wonderful Colorado organization brings stories to life with great actors. This was a perfect fit, and our three organizations began the brainstorming for what we called The Muse Project.

In ancient times, the muses were goddesses who presided on Mount Parnassus over the various arts. Baroque music often honored or depicted the muses, and poets and story-tellers throughout the centuries call on the muses to speak through their stories. Today, the “muse” can be a person (perhaps a friend, mentor, or love interest) who inspires someone to pursue their art.

Our blended performance will feature an eclectic mix of Baroque music, plus Conor Abbott Brown’s new composition Down From the Verge of Heaven, created especially for this program. Original poems and stories by five superb writers (all faculty members at Lighthouse) will be performed by actors Anthony Powell and Mare Trevathan from Stories on Stage. Readings will mostly alternate in dialogue with the musical selections, but in some cases will be simultaneously performed with the music.

Now, back to that question: What inspires artists to create something new and beautiful in the world?

The Muse Project
February 23-25 (three performances)

Writers: Michael J. Henry, J. Diego Frey, Assetou Xango, Joy Roulier, Sawyer, Jennifer Itell
Actors: Anthony Powell, Mare Trevathan
Musicians: Martin Davids and Stacey Brady, violins; Emily Bowman, viola; Lara Turner, cello; Mark Elliot Bergman, bass;  Frank Nowell, harpsichord; Daniel Zuluaga, guitar and theorbo; Linda Lunbeck, recorder

Musical Selections:
Henry Eccles, Fantasia in C major for solo violin
J.S. Bach, Sonata No. 2 for Solo Violin, BWV 1003: Andante (arr. by Martin Davids)
Georg Philipp Telemann, Overture in G minor from La Changeante, TWV 55:g2
Telemann, Fantasia for Solo Recorder in C major, TWV 40:2
Johann Fischer, Passacaglia (Urania, Muse of Astronomy)
arranged by Frank Nowell and Alexander Vittal
Fischer, Tastada (Terpsichore, Muse of the Dance)
George Frideric Handel, Passacaille and Gigue from Terpsichore
Turlough O’Carolan, Irish Air from The Hibernian Muse
Francesco Geminiani, Concerto in G minor after Corelli op 5 no. 3: Adagio/Allegro
Conor Abbott Brown, Down from the Verge of Heaven
Antonio Vivaldi, La Folia, RV63

Arcangelo’s Circle, part 2

A big thank you to all who attended the Baroque Chamber Orchestra’s performances to begin the new year!

After two performances at the Antonia Brico Stage and Bethany Lutheran Church, we moved over to the King Center for three intensive days of studio recordings sessions, in quest of capturing the beautiful music of Corelli and his followers in our third CD recording. To quote one of our musicians, Sandy Miller, “the energy in the recording studio was both intense and joyful, demanding and transcendent.”

Our recordings are an important complement to our live music-making. They are a great opportunity to capture “snapshots in sound” of our ensemble at this point in our story, and to share our own unique take on these exceptional pieces with a wider audience… in Colorado and beyond.

During the week the orchestra was together, I kept thinking about the ways that music is passed on between generations. The violinist Geminiani paid tribute to his teacher Corelli by arranging his opus-5 sonatas, and passed on the tradition to his students, thus expanding “Arcangelo’s circle.”

Today, 300 years later, it’s not really that different. As musicians we often feel indebted to a private teacher or mentor who inspired us. And we hope to pass on what we learned to our own students in turn. Even with all the amazing technology at our fingertips, it’s still about the very human process of passing on an important tradition through mentoring and inspiration.

Arcangelo’s Circle

In 1726, Francesco Geminiani published his own arrangements of twelve violin sonatas by his teacher Arcangelo Corelli. Geminiani, who had studied violin with Corelli in Rome and later moved to London to establish a career there, transformed his teacher’s opus 5 sonatas into larger-scale pieces in the concerto grosso tradition. Why did the young virtuoso do this? Perhaps he was finding his voice as a composer and took a step in that process by arranging already existing (and well-loved) works. Or maybe he wanted to take advantage of the craze for Corelli’s music in London to generate some income. As a simpler (and sweeter) explanation, maybe he simply wanted to pay musical tribute to his celebrated teacher and all that he learned from him.

The more I listen to these wonderful concertos, the more I’m convinced it’s the latter reason! And the more I’m moved by the spirit and skill with which Geminiani took these sonatas, exquisite gems in their original form, and transformed them into something new — larger in scope and richer in sonority (employing techniques that Corelli himself practically invented).

Geminiani and his contemporary Handel, both expatriates living in London, helped feed the demand for music in Corelli’s style there, together writing over 40 pieces in the genre Handel’s publisher called “Grand Concertos.”  The circle of Corelli’s influence expanded to a third generation with Geminiani’s student Charles Avison, and with the blind organist Charles Stanley, a follower of Handel. These musicians helped to keep the Corelli tradition going in London through at least the 1780’s.

But the circle of Corelli’s influence really extended to many of the major European musical centers, as well as through time in the musical language he developed that we still “speak” today.

With all this in mind, I hope you will join us on January 6th or 7th  for Arcangelo’s Circle, a celebration of the spirit and legacy of Corelli. Here is the program we are excited to share with you:
Francesco Geminiani, Concerto Grosso in D major
(after Corelli’s violin sonata op. 5 no. 1)
John Stanley, Concerto in 7 Parts in B Minor, op. 2 no. 2
Charles Avison, Concerto in 7 Parts in D major, op. 6 no. 9
Arcangelo Corelli,  Sonata for violin and continuo, op. 5 no. 10
(featuring Cynthia Miller Freivogel, violin, and Katherine Heater, harpsichord)
George Frideric Handel,  Grand Concerto in A Minor, op. 6, no. 4 (HWV 322)
Arcangelo Corelli, Concerto Grosso in D major, op. 6 no. 4

Aspects of Joy

Thank to all who joined us for our chamber music concert in Highlands Ranch last Sunday afternoon, with music reflecting different aspects of joy by Handel, Bach, and Telemann. I received a number of comments from audience members who enjoyed the suite of French Noels that concluded the program. I love the music in this tradition – the combination of simple folk tunes and the more elaborate variations is enticing. I plan to continue arranging Noels as an ongoing project for the orchestra, trying different instrumental combinations and exploring improvisational aspects as well! 

I am interested in learning what our audiences would like to hear this time of year from the BCOC. Familiar or new, vocal or instrumental? Are you hoping to hear Baroque music composed specifically for Christmas (there’s a lot of it!) , or simply timeless Baroque music that evokes joy and peace? I’d like to hear your thoughts and suggestions; please respond to this post or send me an email at

The Joy of Noel

One of the intriguing aspects of Baroque music for me is the many intersections between vernacular traditions and the music of the court and church. The French Noel is a good example. The word Noel was used as a cry of joy, especially at Christmas, but the term also refers to a popular song with tunes joining sacred texts with secular music and dance. These songs were very popular in France throughout the Renaissance and Baroque. In his music dictionary of 1767, Jean-Jacques Rousseau stated, “the airs of Noels should have a rustic and pastoral character suited to the simplicity of the words, and to the simplicity of the shepherds who are supposed to have sung them while going to pay homage to the Baby Jesus in the manger.”

In the 17th and 18th century, French composers created instrumental variations on these Noel tunes. We can assume that performers often improvised on them as well. Part of the appeal was how familiar the folk tunes were to the public; hearing them improvised and varied in ingenious ways must have been great fun for both the performer and listener. Some of the finest ornamented variations can be found in the French Baroque organ literature. With the help of BCOC violist and arranger Alex Vittal, I’ve assembled a trio sonata/suite of six Noels that draw on some of the organ variations as well as an anonymous collection from 1725 and other sources.

By the way, it’s true that my last name Nowell is the English version of the French word Noel… which may partially explain why I’m drawn to this little corner of Baroque music!

The suite will conclude our December 3 chamber concert that will also feature music by Bach Handel, and Telemann, as I’m joined by my BCOC colleagues Jubal Fulks and Brune Macary (violins), Linda Lunbeck (recorder), and Sandy Miller (cello). Handel will be represented with two trio sonatas, and Bach by two selections from the Well Tempered Clavier and solo violin Partita in E major. The Prelude from the Partita is one of those pieces by Bach that I equate with pure musical joy! It’s been arranged in many different ways for different instruments, but it’s always wonderful to hear it in its simple original form – for unaccompanied violin.

The Fantasia Factor

Thank you to all who attended to our season opener The Glories of Venice last weekend. The BCOC core ensemble thoroughly enjoyed working with some of Denver’s finest early-music singers to perform gems by Claudio Monteverdi. It was also wonderful to welcome bassist Anne Trout, filling in for our principal bassist David Crowe for this concert weekend. Anne told me that Monteverdi is her “mantra,” so having her for this particular program was a treat. One of the basses she regularly plays in Boston is an Italian instrument from 1610 that may have actually been played in the first performance of Monteverdi’s Vespers.

A highlight of the weekend for me was welcoming music students from El Sistema to our Saturday concert. Soprano Kathryn Radakovich, BCOC violist Alex Vittal, and I had an opportunity to chat with them briefly before the concert about the instruments, voices, and what it’s like to play music that is over 300 years old.

Though the Monteverdi selections were thrilling, I keep coming back to the violin sonata by Fontana performed by Cynthia Miller Freivogel. A free fantasia of a sonata, this piece unfolds over six minutes in a way that seems entirely out of time, alternating between moments of intimacy, whimsy, and passion. It was a reminder of Baroque’s exploratory and improvisational roots. This “fantasia factor” became an animating force, even as Baroque music evolved and became more structured over time.

And back to Monteverdi. I am excited to announce that we are laying the groundwork for a concert production of his monumental opera Orfeo in 2019!

Musical Mavericks

The origins of the word Baroque probably began with an insult. The Portuguese word barroca means misshapen or oddly shaped pearl. When applied to music it wasn’t meant as a compliment. For those who valued symmetry and order in music, the Baroque style in music represented something strange and even grotesque.  

Standing at the dawn of the 17th century in Venice, Claudio Monteverdi was one of several Italian composers exploring bold new dramatic forms of musical expression. He found himself in a fierce controversy as a result. A music theorist attacked him for breaking the time-honored rules of counterpoint, for taking too much license, and creating music that was crude. Monteverdi responded primarily through his music, not words. In his madrigals, operas, and sacred music, he continued to explore new musical paths, tapping into the depths of human emotion. In the words of Robert Hollingworth, “There’s very little artifice in Monteverdi’s music. It’s his own blood directly on the page.” 

Fast-forward a couple of generations in Venice, and Antonio Vivaldi was making a statement of his own. In a period where Arcadian values of balance and restraint were popular, Vivaldi in 1725 published the collection known as Il cimento dell’armonia e dell’inventione, with 12 concertos including The Four Seasons. The title suggests a hypothetical contest between Harmony and Invention. “Harmony” referred to the science of composition, the accepted rules of composition, whereas “Invention” referred to the composer’s (and performer’s) inspiration and free imagination. Like Monteverdi, Vivaldi spoke through his music; it’s clear from these 12 concertos that he came down firmly on the side of Invention. 

So here’s to the rule breakers and musical mavericks of the past, and the odd-shaped pearls they created. Their music still has the power to astonish and move us!


As we enter October (or “Rocktober” for Colorado baseball fans like me), the Baroque Chamber Orchestra of Colorado is hard at work preparing our season opener The Glories of Venice on October 13-15. The first concert of a new season of the BCOC always evokes memories for me of our debut 12 years ago. Our core ensemble has evolved and grown since then, and includes both charter members and newer colleagues. I am always excited to work with these wonderful collaborators! I’m also looking forward to sharing the stage next week with some of the area’s finest early music singers in works of Monteverdi, complemented with instrumental works by Fontana and Gabrieli. The second half is all Vivaldi, culminating in a fiery violin concerto from Harmony and Invention, with Cynthia Miller Freivogel as soloist. I hope you will join us! Find out more on our Concerts page.