Dear Friends of IMSLP, Former Users, Contributors and Supporters:
Some people have doubted that we would keep our word. Some people have questioned our competence. Some people have sworn, despite being sympathetic, that IMSLP was struck down once and forever.
I am here to prove them wrong.
It is with great joy that I bring you news of the resurrection of IMSLP. We continue to believe that the access to our culture and the Arts is a fundamental right of every human being. And holding this belief, we continue in our journey towards the goals of providing public access to the musical public domain, and the facilitation of the study of music, the understanding of music, and the enjoyment of music. ...
Differences and similarities between solo repertoire and basso continuo practice in 18th Century harpsichord music
Coach: Marco Vitale ...
Announces 2009 Festival Operatic Centerpiece
Antiochus und Stratonicaby
Christoph Graupner (1683–1760)
~~ Modern World Premiere ~~ ...
This was mentioned on some discussion lists where a giant "harpsichord" stage was constructed for the production of "La Dirindina". The selection is from YouTube. Enjoy.
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.
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