In this new series, you’ll get to know OBS’s principal musicians. In the style of a Q&A, you’ll learn about their musical journeys so far, highlights with OBS, what they like to do in their free time, and more.
Next, we have bassist Rosie Moon.
Tell us a bit about yourself and your musical journey to date.
I studied at the Royal College of Music, having switched from cello to bass during my last year of school. I started the instrument very late, but the school needed a bass player for jazz band, and being the tallest in the school meant being apparently perfect for the instrument! I loved it and never looked back. I started dabbling in historical performance during my last year at college in London and moved to Switzerland a year later where I started working as a bass player in the Geneva region as well as studying modern solo playing. My playing life is very eclectic and diverse. The support and trust of people such as Ashley Solomon, colleagues, friends; in particular Tom Hammond-Davies, has enabled me to very much learn on the job. The musical and contextual knowledge that is required of historically informed players has given me permission to constantly reinvent what I’m doing, and this makes what we do so exciting!
How long have you been performing with OBS and what has been a highlight?
I’ve been working with OBS for over ten years. It started out as a little group that performed cantatas at St. Michael’s church in central Oxford and then migrated to New College Chapel which became a second home for me as we spent the first Sunday of every month there.
I have learnt so much about playing Bach through OBS. His intentions and the complex, nuanced messaging that the cantatas, in particular, deliver is storytelling at the highest level. His comprehension of human fragility, possible strength and the achievements that can be obtained through belief – combined with his writing – can send chills through you. To play this music well requires you to leave your baggage at the door, and jump into the dances that Bach writes to deliver the messages we all need, whatever your beliefs are! As a continuo player, I find Bach to be the most stimulating. You need to keep impeccable timing, phrasing, intonation and have an almost telepathic connection to the singers you’re accompanying to translate this music to your audience.
What do you enjoy most about working with OBS?
I love the energy we have in the continuo section. It feels like a group which is constantly evolving and able to handle new, exciting ways of interpreting this repertoire.
What do you like to do when you’re not performing?
Ah, so many things! I have recently started to enjoy cooking which was something I used to regard as a bit of a chore! I also love being outside, reading (another recent rediscovery!), painting, the sea, sewing (sometimes!), going to the gym, coffee, a good pub and silence.
Is there anything else you’d like to mention, talk about, plug, etc?
I’m in the final stages of making a CD featuring Dragonetti’s waltzes and Rossini’s cello and bass duet with Carina Drury! It has been a fun, enlightening, if occasionally challenging project. It will be out this January on bandcamp and hopefully a CD will be printed within the next 6 weeks. I will share with OBS audiences once I know when listeners can get their hands on it!
