Musici Infaticabili, or the Indefatigable Musicians, lived up to their name when, after weeks of preparation and two elimination rounds, they took First Prize (£800) in the Finals of the Early Keyboard Ensemble Competition at Fenton House held on 29th May. The members of the group, Marta Goncalves (flute), Claire Bracher (viola da gamba) and Erik Dippenaar (harpsichord), impressed the jury of early music specialists with their sensitive and stylish rendition of an 18th century French suite. Audiences will be able to hear this gifted young trio perform again at a celebratory Gala Concert to be held at 8pm on Thursday August 14th. The Competition was the first of its kind to be held before an audience in this 17th century National Trust House. Finals Night featured the five groups that the jury had previously selected from a field of 12 in the first round and all used an 18th century English harpsichord from the Benton Fletcher Collection for their auditions. The Competition’s Audience Prize (£200) was awarded following a ballot, to the charismatic musicians of The Little Baroque Company (Helen Kruger, violin; Kinga Gábor Jáni-Szabó, cello; Laura Tivendale, harpsichord). ...
Laboratorio di musica antica
Musica vocale sacra del medioevo
direzione musicale: Claudia Caffagni
in la collaborazione del Comune di Fontevivo (PR)
Seminario Estate 2008 - dal 24 al 30 agosto
(I Mottetti latini del Codice di Bamberg)
This course will study in depth the repertory of some of the forty-four Latin Motets contained in the Bamberg Codex (Bamberg, Staatl. Libr. Ed. IV. 6), a parchment paper manuscript of probable Parisian compilation, which goes back to the last quarter of the 13th Century. Beyond the richness of its musical material, the Codex is particularly interesting from the point of view of its notation. This notation is particularly homogeneous due to the fact that it was entrusted to a single scrivener, and thus has all the characteristics of the so-called modal notation but with a series of revisions which make it easier to decipher and which allow, today, a direct reading without particular difficulties
HARPSICHORD WORKSHOP XVIII
SANTA FE, NEW MEXICO
JULY 27-AUGUST 1, 2008
LEGACIES: LANDOWSKA, O'KEEFFE
CENTENARY: HUGO DISTLER
REPERTORY STUDIES: BACH, SCARLATTI, DUPHLY
JANE CLARK and STEPHEN DODGSON (London)
LINDA RANEY and PAUL WOLFE (Santa Fe): Repertoire and Lectures
GLENN SPRING (Denver): Commissioned Harpsichord Work
LARRY PALMER (Dallas): Director and Master Classes
Join us in "the Land of Enchantment" for stimulating musical experiences, including the American premiere of Stephen Dodgson's Carillon Concertante (2 harpsichords and strings), the world premiere of Glenn Spring's harpsichord work based on photographs of Georgia O'Keeffe, Paul Wolfe's reminiscences of lessons with Wanda Landowska, and Linda Raney's look at some special organ repertoire.
Registration (including lunch) is free for WEKA members and $45 (including lunch) for non-WEKA members; for seniors over 65 the fee is $35 and for students $25. 2008 2009 membership dues are due June 1. Dues are: regular - $45, senior over 65 - $35, and students $25. WEKA dues may be sent directly to Sandy Petty at MusicSources. When sending membership dues, please indicate if you will attend the June 8 conference. ...
To what extent did music lend its voice to political and cultural ideas of its time? How did composers react to the permanently changing relations between art, politics and society? Or, how did political and religious rulers manage to involve composers in the organised spreading of their ideals?
The 2008 edition of the Festival of Flanders - Bruges, Musica Antiqua - from now on MAfestival - focuses on some of the political aspects of early music in England. What was it that incited a prominent member of the Royal Chapel like William Byrd to compose almost 200 works in Latin, including several catholic masses, at a time when the Reformation of Queen Elisabeth did forbid it? What was the hidden agenda of Thomas Morley when he composed his Oriana madrigals? 'Long live Elisabeth'? Or indeed 'au contraire'? How did John Blow succeed, at the dawn of the English opera, to insert his Venus & Adonis into the ideas of nation building? And what did Bach and Abel have in common with freemasonry? These and other political questions are to be found within the diversified offer of concerts the 45th edition of the festival is proposing. ...
Early Music Summer Courses
- Organ & Harpsichord
- Baroque Cello
- Baroque Singing - NEW!
- Chamber Music,
- Basso Continuo ...
Entertainers, stilt-walkers in fancy-dress and music for big and little Festwochen-Fans. Free entrance.
Visit Innsbruck Festival of Early Music website for more information.
"Die Moral von der Geschicht" - the oratorio in the 17th Century René Jacobs and international music scholars In conversation with the audience. Free entrance.
Visit Innsbruck Festival of Early Music website for more information.
The 32nd Innsbruck Festival of Early Music 2008 focuses on Handel’s Belshazzar und further oratorio works.
The Old Testament, the text central to two world religions, relates of a mythical age when God intervened physically and by means of omens in human lives – the Age of Miracles. These biblical stories of revelation together with selected legends of the Saints furnished the Baroque period with ideal material for its preoccupation with the concept of pathos. Italy was the birthplace of a new, religious counterpart to opera which was then perfected in Rome: the oratorio. Three works based on biblical themes are at the centre of the 32nd Innsbruck Festival 2008 – two of them as staged productions. ...
This is the second International Academy for Early Music which will be organized by the Institute of Early Music and Performance Practice of the University of Music and Dramatic Arts Graz (KUG) this summer.
It will offer a broad selection of master courses, a variety of chamber music with various instruments and additional courses for professional musicians, students and highly advanced amateurs. All courses may also be attended passively. ...
For lovers of rare musical instruments, the Fiske Museum at the Claremont Colleges long has been an astonishing if somewhat mysterious collection.
Its 1,200 instruments from around the world include an 18th century Italian mandolin, unusual over-the-shoulder military brasses from the Civil War era, a gourd fiddle from Africa and a 9-foot-long temple trumpet from Tibet. ...
A summer course in baroque period string-playing with the international violinist MARGARET FAULTLESS with Lucy Robinson (viola da gamba) and Andrew Wilson-Dickson (harpsichord and organ)
This course is offered for the first time, in the delightful surroundings of a small French country village and making use of its 12th-century church and a newly refurbished salle de musique with excellent acoustics. ...
It provides a rare and stimulating opportunity for amateur and semi-professional musicians, and those studying to embark on a musical career, to immerse themselves in baroque music in a friendly environment with the aid of excellent, experienced and helpful tutors. ...
Silk, Syrup, Saffron
"The Montreal Baroque Festival proudly presents its sixth edition, Silk, Syrup, Saffron In 2008, Quebec City commemorates the 400 anniversary of its founding. In honour of this, Montreal Baroque will celebrate the wealth of musical culture brought over by French immigrants… and also the creative influences of immigrants from many countries that have peopled and shaped the artistic landscapes of Montreal. Montreal is teeming with cultural diversity! In addition to the artistic traditions of the founding fathers, the French and the Scots, the city harbours a multitude of other cultural heritages: European, Middle-Eastern, Asian, North and South American, and Caribbean, each contributing to the sumptuous cultural patchwork of our city. ...
"We welcome players over 16 years of age (15, if accompanied by an adult course member who will accept full responsibility), at all levels from elementary to advanced players.
Each morning starts with a tutorial class. There will be advanced classes (by audition), intermediate classes, and also two permanent ensembles, at advanced and intermediate level. These two ensemble classes are for people who do not wish to work on specific solo repertoire. (Visit site for a list of the 2008 tutorial music. (EMN.org ed.)) For the people joining Intermediate 1, here are some scales. (Visit site for scales.(EMN.org ed.))
There are also twice daily ensembles, graded in order of difficulty, and students can attend whichever they choose. (Visit site for a list of the 2008 ensemble music. (EMN.org ed.)) ...
It will be a veritable ensemble extravaganza! More than 50 aspiring musicians comprising sixteen different groups will be contending for prizes worth over £1000 in a completely new Early Keyboard Ensemble Competition at Fenton House in Hampstead.
The groups face two elimination rounds, both of which will be open to the public. The First Round will be held from 2-5pm on the afternoons of 7th, 8thand 9thMay at Fenton House. For the cost of admission (free to National Trust members, no booking required) visitors will be able not only to view the 17thcentury House and its collections but also to enjoy a whole afternoon of Baroque music on historic instruments. They can also leave comments for the Jury who must select up to six ensembles to advance to the finals. ...
The course covers all aspects of early music and is suitable for beginners through to advanced and solo players. ...
Alison Crum, director, with Alice Robbins (USA) and Roy Marks
A chance for viol players with a particular interest in English consort music to work with distinguished professional players and teachers. Optional sessions focus on other topics such as madrigals, consort songs, early renaissance repertoire and continuo playing. ...
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