Join in the fun at the 2010 edition of Lute Society of America’s Summer Seminar! This year, the seminar will explore the lute in Italy from the 15th through 18th centuries. (Okay, there will be lots of other lute music too!) The event will feature a distinguished faculty of lute performers, musicological specialists, and vocal coaches.
Date is: 12 to 14 March 2010 at academy BURG FÜRSTENECK in the centre of Germany, starting at 6:30 PM and ending at 1:00 PM.
We would like to call you attention to our workshops of the “10th Stage for Early Music and Historical Dance at Castle BURG FÜRSTENECK” with teacher of the international well known “Ensemble Oni Wytars” and their friends. There is a workshop for French baroque music for hurdy gurdy included, directed by Riccardo Delfino.
Fancies, chansons and dances by different authors, intabulated for Ren. Lute in Italian tablature. 31 folii / Italian tablature / Renaissance tuning . ..
“Author: Lumley, Benjamin
From 1842 to 1853 and again from 1856 to 1858, Benjamin Lumley (1811-1875) was manager of Her Majesty's Theatre in London, the great nineteenth-century English home of romantic ballet and Italian opera.
The collection of 3,421 items was donated in 1969 by New York rare book dealer Hans P. Kraus. The collection consists primarily of texts of Italian operas but also includes Italian cantatas, serenatas, oratorios, dialogues and Passions.
(DE) Tree Edition newly published: "PIERRE ATTAINGNANT: 12 Duets for Renaissance Lutes" edited by Anton Hoeger
12 chanson intavolations for 2 equally tuned Renaissance lutes from: Vingt et cinq chansons musicales..., 1530
Music for the English Court Recorder Consort played by Mezzaluna (Renaissance recorders).
Although the recorder is probably known primarily as a baroque instrument amongst the general public, it is rather the 16th century, which should actually be considered the golden age of its history. At that time, single recorders were certainly used in mixed ensembles of instruments, but from numerous sources there is clear evidence, that it was especially the homogeneous recorder consort, or "a whoall noyse of recorders", as some English sources would call it, which enjoyed an unprecedented popularity with both amateurs and professionals. The English Court however, constitutes a special case, since it is the only known establishment, where over a period of no less than ninety years, a group of specialized instrumentalists was officially enrolled as recorder players and members of a standing recorder consort: the Royal Recorders.
“The Children of Orpheus: How Composers Receive Ancient Texts”
Deadline: 26 JAN 2010!
The American Philological Association's Outreach Panel for the 2011 Annual Meeting in San Antonio, January 6-9, 2011, invites papers that discuss texts set to music from 1400 to the present that are based on, or influenced by, ancient Greek or Latin literature, and analyze how their creators engaged with these texts through direct setting, adaptation, translation, or alteration. Subjects might include, but are not limited to,song-cycles, operas, oratorios, cantatas, hymns, film scores, or popular music.
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