Visit this YouTube site (Stuart Walsh) for a short video clip on the Greenwich Festival of Nov. 2009.
Santuario Madonna della Quercia
Location La Quercia (Viterbo)
Sacred music of the Venetian '600
Cristina Paolucci, soprano
Schinaia Joseph, organ
Girolamo Frescobaldi - Selection from the Mass of Our Lady (Fiori Musicali, 1635)
Francesco Cavalli - O quam suavis et decora, motet for solo voice and bc (1645)
Barbara Strozzi - Salve Regina, antiphon for soprano and bc (1655)
Natale Monferrato - Exaltabo te Deus, Glorious Mary, two motets for solo voice and bc (ca. 1650)
(US) American Innovators Series, 2009 Wright State Department of Music -- Call for papers (March 13-14, 2010)
For a non-pianist, the idea of a microtonally fluid piano might seem either no big deal or baffling. But this weekend a composer will reveal the result of a 10-year mission – nothing less than the reinvention of one of the most important instruments in western music.
“The building of keyboard instruments began over 300 years ago. The development started with the organ and the Harpsichord, continued through the pianoforte, and reached its high point with what today is known as the modern grand piano - which remains until now virtually unchanged. (The Golden Years of grand piano construction were between 1825 and 1925).
Library of Congress
May 26 to 29, 2010
“The Library of Congress will host the 39th annual meeting of the American Musical Instrument Society from May 26 to May 29, 2010.
An article on “The Influence of Leather in the Fortepiano Evolution in the XVIII and XIX Centuries” by Gustavo Adrián DEFEO F.S.L.T.C.
The Fortepiano origin
I can imagine most of the presents will have many questions on my presentation: First of all
what is the relation between Leather and the Fortepiano? Why here in the Palazzo della
Signoria? Let’s look back three centuries ago in this same room, during the baroque period, the times of the Great Prince Ferdinando de Medici.
Observations on the Development of Wood Screws in North America by Christopher White, Mellon Fellow, Furniture and Frame Conservation Lab, Museum of Fine Arts, Boston Currently: Project Conservator Arizona State Museum“The following is the result of research conducted between September 2004 and August 2005 at the Museum of Fine Arts, Boston. Physical characteristics of a series of wood screws from the museum’s collection of 18th and 19th-century American furniture are summarized and their characteristics related to curatorial-assigned dates of fabrication and to a chronology of screw manufacturing techniques.
(US) "The New-York Book of Prices for Manufacturing Piano-fortes" (paperbound) (The American Musical Instrument Society)
The meeting of great minds and music do mix! Cynthia Hiebert (harpsichord) and Jeremy Bell (violin) perform ad the Quantum 2 Cosmos Festival (Waterloo, Canada).
Follow link to view video: (scroll to the 2:45 mark to see the video) http://www.q2cfestival.com/play.php?lecture_id=7762
For several years Leopoldo Perez has administered a series of harpsichordconcerts and classes sometimes more than a dozen in a season and those concerts have developed an audience, and given harpsichordists from at least four continents a platform in Argentina. Last year a group began conversations about furthering the influence of the harpsichord and its music and that has resulted in a month-long series of concerts beginning Friday, Nov. 13/2009.
La Simphonie du Marais Hugo Reyne informs us of their latest CD release: “Viennoiseries musicales”. Out of the usual real of the Baroque era, the “Viennoiseries musicales” reflect the ambiance of the Vienese “salons” at the beginning of the XIXth century.
Visit website for more information of this latest CD: La Simphonie du Marais Hugo Reyne
When Music Professor Ruth Griffioen suggested to Evan Callaway ‘12 that he spend his scholarship money building a six-foot-tall instrument that lost popularity after the 17th Century she was joking. However, the computer science major and music minor said he "took it more as a challenge than as a joke."
Fans of early music don’t need an introduction of Claudio Monteverdi. For a long time, he was known for the first unsurpassed highlights of the early Western opera. Yet, his operas did not raise eyebrows, his madrigal bundles did. An example: in the foreword of his fifth Madrigal bundle, we read the discussion between Artusi and Monteverdi whether or not to use the new monidistic style.