"The conference will be based in the Holywell Music Rooms, the oldest surviving purpose built concert hall in Europe. The Holywell Music Rooms, which are attached to Wadham College, were built in 1748 and Handel is among the many famous musicians and composers who have appeared here.
Two concerts will be given in association with the HMS Conference "Metals in Musical Instruments". Both will be held in the Holywell Music Room, Holywell Street, Oxford. Tickets at £8 each, or £14 for both concerts, are available from Tickets Oxford, Tel 01865 305305 or online at www.oxfordplayhouse.com/ticketsoxford.
- The first concert, on Friday 12 September 2008 at 7.30pm, is introduced with a talk about the Music Room by John Melvin, and features a Harpsichord Recital and talk by Steven Devine.
- The second concert, on Saturday 13 September 2008 at 7.45 pm, features a Brass Concert and talk by Crispian Steele-Perkins, accompanied by Steven Devine. ...
Lectures – Musical Demonstrations – Special Exhibit – Concert
Faculty Harry van der Kamp (Bremen)
Recorders, Violin/Viola, Viola da gamba, Cello, Harpsichord/Clavichord
"In preparation for Haydn Year 2009, this year's Summer Academy focuses on small and large scale instrumental works by the genius and his contemporaries. From the single Sonata for Piano and Violin, the solo concertos to one of the late symphonies, the unbelievably colourful creations of themaster offer a wealth of material. A programme for the official closing concert with chamber and orchestral music will be prepared during the course week. There will also be dance training and training in body posture; this will provide an enriching element to the course by improving understanding of Haydn's music as well as the ability to cope with instrumental challenges. ...
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.
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. ...
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