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Vocalist - Instrumentalist

Voice: Although a mezzo-soprano, O'Scannell explores her truly amazing range, both in tecatura and in timbre , trying to create as many different sounds as she can in the interpretation of early styles. The emphasis is on flexibility in every regard, and an ability to convey the meaning and emotion within the text. In addition to her mastery of singing convincingly in many languages, O'Scannell brings a theatrical background to bear on her highly charged performances. Early influences include such musicians such as Andrea von Ramm and Rene Jacobs.

Sound Bite: From Baylado!
Eres Agueda Gloriosa 2
Con Pavor
Fata la Parte

Shawm: O'Scannell is a virtuoso on this exotic and high-energy instrument. She explores a more soloistic and historic approach to playing by leaving the reed virtually free to resonate. Many early players play out on the tip of the reed, as do modern players, which creates a pinched and tight tone. In addition to the construction of early double reeds which were more flared, suggesting the reed was all the way in the mouth while played, one has only to listen to the sounds of double reed players throughout the world to hear that tone consistently wins over intonation. It is the brilliant, and vibrant tone that can allow the shawm to truly have its individual voice in the musical world. O'Scannell also explores the world of ethnic bagpipe playing throughout Europe to create her unique style, including a sparse use of tonguing, and the use of fingered ornaments to create articulations.

Sound Bite: From Baylado!
Eres Agueda Glorisa 1

Recorder: O'Scannell has been playing this ubiquitous instrument since the age of ten. She has striven to play with a tone free from tension and an improvisatory style showing off her virtuosity and imagination, with the incorporation of fingered ornaments to create fire and drama.

Sound Bite: From Baylado!
Eres Agueda Glroiosa 2

Viola da Gamba: O'Scannell began study of this instrument with Carol Herman while in her twenties. Over twenty years later she is still playing the tenor viol, and has developed a robust and fiddle-influenced style that is in keeping with her ensemble's interpretations of early music. She also can play with the pure effortless tone that befits the viol consort sound, which is where her training began.

Sound Bite: From Renaissance en Provence
La fe Coumando de crèire

 
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Pat O'Scannell
pat@4pato.com


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