Diana Weston is a musician and doctor living in Sydney. Since gaining her Masters in Music in 2008 with a study of harpsichord continuo styles, she has been involved with many musical activities and projects including festivals and concerts, operas and recitals. She is the director of the ensemble Thoroughbass which she formed in 2009. Thoroughbass is a group dedicated to the presentation of little known early and contemporary music on period instruments, presenting a series of concerts annually. Although the foundation of Thoroughbass is in early music with harpsichord, cello, voice and recorders at its core, Diana also commissions and arranges contemporary music for the group.
Diana is also music director for Ondine Productions and a free-lance harpsichordist. As a musician, much of her work is in accompaniment, in particular vocal accompaniment. This allows her to indulge her other great interest – words and musical storytelling.
Recordings include: Bach and Harmonious Euphony: Music for 2 harpsichords with Monika Kornel (2010), Blue Skies, Magpies and Goldfish: Music for harpsichord, recorders, voice and cello by Australian women composers (2013), Flying West: the music of Ann Carr-Boyd, a double cd (2014/15, published by Wirripang).
Major projects with Ondine Productions: Francesca Caccini’s La liberazione di Ruggiero dall’isola d’Alcina (2012 fully staged), Glass’ Akhnaten (2013, a scented opera), Britten’s Phaedra/Gorecki’s Concerto for Harpsichord and String Orchestra (2014).
Publications: Magpie Baby: A musical storybook and cd for the pre-reading child.
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Blog posts and interviews with Diana Weston
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We asked Diana a few questions
- How old were you when you decided to be a musician and what led you the instrument(s) you now play? I decided NOT to be a musician (piano) when I left school. I never not played but continued to have lessons and practice. I took on paid work as an accompanist in my mid-thirties. I completed my degree (Masters, hons in Performance Research, UNE) in my forties changing to harpsichord as I wanted to play more in ensembles and orchestras. I then became aware that I was better suited physiologically to harpsichord technique than piano (finger-work, the physical connection to the note and after a long time, the nature of continuo accompaniment). I adore the harpsichord. It has led me into so many wonderful places.
- When you’re not rehearsing/performing/teaching, where are you most likely to be? Either at my medical practise OR at our farm (researching, practising and writing music related stuff). I do get in a walk on the escarpment, and occasionally chase some sheep OR at home doing promotions, marketing, researching new programs, writing program notes, arranging music, looking for music, and practising for my ensemble Thoroughbass. I’ve just written a Musical Children’s Book, as an offshoot to our soon to be released CD which is all 20th and 21st C. music. OR travelling to Victoria to visit my daugher.
- After you finish a concert, what is the first drink you want to have in your hand? A cup of leaf tea
- If there weren’t external factors involved, how long do you think a concert should go for? One hour and 10 mins
- When should we clap? ANY TIME you are inclined. Its only a plus for the performer.
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