Lucy van Dael (born in 1946) is a Dutch baroque violinist and member of the faculty of the Amsterdam Conservatory. Her principal violin studies were at the Royal Conservatory in The Hague.
Originally a classically trained violinist, she began her career with the Netherlands Chamber Orchestra before pursuing baroque violin studies.
Lucy van Dael began her career as a member of the Nederlands Kamerorkest under the direction of Szymon Goldberg, but soon became interested in the Baroque violin. She therefore started a long collaboration with Gustav Leonhardt, Frans Brüggen, Ton Koopman (Musica da Camera), and the Kuyken brothers, becoming in the process one of the leading figures in the revival of authentic string playing. She has appeared in concerts all over the world, appearing with many ensembles and orchestras - among them the Leonhardt-Consort, La Petite Bande and the Orchestra of the 18th Century - as violin or viola soloist. With Frans Brüggen, she founded the Orchestra of the 18th Century, and was for 18 years its concertmaster. She is also a member of the Amsterdam Fortepiano Trio and L'Archibudelli, and performs regularly with harpsichordist Bob van Asperen and cellist Jaap ter Linden. She plays in an ensemble with Bob van Asperen and Wouter Möller, as well as with Anner Bylsma, Vera Beths and Jürgen Kussmaul in L’Archi Budelli.
Lucy van Dael’s playing exhibits all of the characteristics one now has come to associate with Baroque violin playing: a clean, predominantly senza-vibrato sound, enlivened by a carefully- considered use of bow articulation and nuance, with attention to bringing out accented dissonances and reacting rhetorically to harmonic changes. Her 1996 recordings of the Bach solo violin works are remarkably consistent in quality and approach. Arguably, she can be a little hesitant or self-conscious in some places and too emphatic in others, but there is much that is well-shaped and the delivery is generally lively and exciting. Bach’s Sonatas for Harpsichord and Violin (1999) evidence similar characteristics, underpinned by intelligent and tidy harpsichord playing by Bob van Asperen; the same pairing can be heard in a suitably more emotive vein in Corelli’s Op. 5 Sonatas (2002) with van Asperen at the organ, although this recording is slightly marred by ambient noise in the background.
Lucy van Dael (born in 1946) is a Dutch baroque violinist and member of the faculty of the Amsterdam Conservatory. Her principal violin studies were at the Royal Conservatory in The Hague.
Originally a classically trained violinist, she began her career with the Netherlands Chamber Orchestra before pursuing baroque violin studies.
Lucy van Dael began her career as a member of the Nederlands Kamerorkest under the direction of Szymon Goldberg, but soon became interested in the Baroque violin. She therefore started a long collaboration with Gustav Leonhardt, Frans Brüggen, Ton Koopman (Musica da Camera), and the Kuyken brothers, becoming in the process one of the leading figures in the revival of authentic string playing. She has appeared in concerts all over the world, appearing with many ensembles and orchestras - among them the Leonhardt-Consort, La Petite Bande and the Orchestra of the 18th Century - as violin or viola soloist. With Frans Brüggen, she founded the Orchestra of the 18th Century, and was for 18 years its concertmaster. She is also a member of the Amsterdam Fortepiano Trio and L'Archibudelli, and performs regularly with harpsichordist Bob van Asperen and cellist Jaap ter Linden. She plays in an ensemble with Bob van Asperen and Wouter Möller, as well as with Anner Bylsma, Vera Beths and Jürgen Kussmaul in L’Archi Budelli.
Lucy van Dael’s playing exhibits all of the characteristics one now has come to associate with Baroque violin playing: a clean, predominantly senza-vibrato sound, enlivened by a carefully- considered use of bow articulation and nuance, with attention to bringing out accented dissonances and reacting rhetorically to harmonic changes. Her 1996 recordings of the Bach solo violin works are remarkably consistent in quality and approach. Arguably, she can be a little hesitant or self-conscious in some places and too emphatic in others, but there is much that is well-shaped and the delivery is generally lively and exciting. Bach’s Sonatas for Harpsichord and Violin (1999) evidence similar characteristics, underpinned by intelligent and tidy harpsichord playing by Bob van Asperen; the same pairing can be heard in a suitably more emotive vein in Corelli’s Op. 5 Sonatas (2002) with van Asperen at the organ, although this recording is slightly marred by ambient noise in the background.
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