Jenny and Anthony discuss their upcoming album with Philip Pogson
Philip (PP): Anthony and Jenny, can one of you describe how you first met and started playing together?
Anthony: We were introduced through the Musica Viva in Schools’ ensemble ‘Sounds Baroque,’ which Jenny invited me to join in 2010 once I’d completed my studies at the Sydney Con. Touring rural NSW with this group remains one of my happiest memories. In the meantime, I became involved in The Marais Project and have since enjoyed playing alongside Jenny.
PP: Anthony, how was it that you came to take up the harpsichord and fortepiano?
Anthony: I wanted to play harpsichord since I was in primary school. I’d heard the instrument on my mum’s mixtape, which was a mishmash of radio recordings from ABC Classics. After playing piano at Sydney Conservatorium for one year, I transferred to harpsichord and haven’t looked back. While studying, I became acquainted with the fortepiano as well and enjoy playing some Mozart and Haydn on it from time to time.
PP: You both moved to The Netherlands to undertake post graduate studies, at different times and institutions of course. What are some of your memories?
Jenny: I was overwhelmed by the beauty of the architecture of Amsterdam where I lived for three years: the churches, canals and amazing museums. In the mid to late 1980s when I was there the early music movement was still a relatively new thing. It was possible to have lessons with legendary figures like Jordi Savall, Wieland Kuijken, Ton Koopman, Frans Bruggen and Walter van Hauwe. You could go to concerts every night of the week. I even got to perform in Gustav Leonhardt’s home as I played chamber music with some of his wife, Marie Leonhardt’s violin students. The lessons I had with my teacher, Jaap ter Linden were filled with life changing advice. My bowing was dissected and rebuilt from the bottom up. For about a year I played open strings. After that Jaap said “Now we can begin!” We enjoyed summer holidays in different countries but not the long winter months!
Anthony: Living in a city like The Hague meant you were always a close cycle ride away from friends. Dinner parties were held at least three times a week. Watching live jazz in smoky bars with a large variety of cheap Belgian beers on tap is another fond memory. Occasionally, you might even end up doing some practice. Studying in The Netherlands meant you learned from some of the greats in the early music movement. We had the opportunity to play a lot of chamber music with gifted musicians. I encourage all my students to have an overseas stint if possible.
PP: Who are some of the performers on your instrument that have most influenced you, and what do you most admire about them?
Anthony: I’m most influenced by Gustav Leonhardt, whose Dutch Calvinistic stoicism struck me as staid, elegant and emotive all at once. Along with Leonhardt, I must mention my own teacher, Jacques Ogg, who taught me to communicate with listeners and invite them into your performance.
Jenny: Jaap ter Linden’s ability to shape a continuo line is second to none. He also led the cello sections of the Amsterdam Baroque Orchestra and the English Concert and is a distinguished conductor. His energy and intelligence bought life and breath to the music. Then there is Jordi Savall. I truly love the tone Jordi makes and can always recognise his playing. He has such reverence and presence on stage: he performs likes he is telling a story. At almost 85 he still tours the world putting together new and innovative programs.
PP: ‘Exquisite Harmonies’ is clearly a labour of love. Can you give us an overview of the music you recorded?
Jenny: What a joy it was to collaborate with Anthony on the repertoire for the album. It would seem obvious to include a Bach gamba sonata in a viola da gamba-harpsichord album. But Anthony and I believe that Telemann is too often left out of programs like ours. So, we chose a Telemann gamba sonata, the first one I ever learned. Anthony has recorded a Fantasia Telemann and improvises a Sonata in the style of Telemann. In addition, we included a delightful Sonata for gamba and continuo by Carl Friedrich Abel, one that is rarely performed. Abel went to St Thomas School at Leipzig and was taught there by J.S. Bach. The main feature, however, is a ‘Grand French Suite.’ I had the idea of assembling a composite suite, taking movements from several important French Baroque viola da gamba composers. Finally, Anthony gives a fantastic rendition of piece by Couperin which sounds just amazing!
PP: Finally, beyond music, do you have any favourite hobbies or ways to relax?
Anthony: For me, no week is complete without at least four trips to the swimming pool. Feeling suspended in water cures anything from worries to lack of sleep.
Jenny: I run about 8ks most days and complete a half marathon each December on my birthday. Like Anthony, I love to swim! This year I am missing my swims in the lakes of Scandinavia where we spent the summer of 2025. When not playing the traditional viol repertoire I work on my electric gamba, writing repertoire for this instrument and playing with some amazing jazz musicians.