News

(DE) New Items Published by TREE Edition (Music for Lute)

Contributed by Admin on Jan 20, 2011

New for Baroque Lute

Wolff Jacob Lauffensteiner (1676 - 1754): Collected Works for Solo Lute” edited by Douglas Towne

This edition contains eight complete suites/concerts as well as fourteen single pieces for Baroque Lute, collected from libraries from all over Europe and overseas countries. The tablature has been set anew completely to present the pieces in an easy to read manner. Contains also an essay on Laufensteiners life (in german) by Michael Treder. 125 pages / French Tablature / Baroque tuning Euro 40.-


(US) Extraordinary Women From an Extraordinary Era (Magnificat) -- By Marianne Lipanovich (Concert: 2011 Feb 4,5,6)

Contributed by Admin on Jan 20, 2011
It turns out the 17th century was a great time for women composers. Magnificat Baroque and its guest soloist, soprano Jennifer Ellis Kampani, are hoping that their upcoming program, Donne Virtuose, will lead listeners to discover the wonderful work created by four of such extraordinary women.

(FR) St. Matthew Passion -- J.S. Bach (2011, March 23; April 2,3) -- Orchestre Les Passions

Contributed by Admin on Jan 16, 2011

Orchestre LES PASSIONS
Isabelle Poulenard, soprano. Guillemette Laurens, alto.
Vincent Lièvre-Picard, tenor (Evangelist). Arnaud Richard, bass (Pilate).
Jean-François Rouchon, bass (Jesus). Antonio Guirao, bass (Peter,Judas)
chorus : ARCHIPELS (Joël Suhubiette) - A CONTRETEMPS (Guy Zanesi)
ARPEGE (J. Charpentier) – Maîtrise du CONSERVATOIRE de Toulouse (M. Opstad)
Musical Direction Jean-Marc Andrieu

Halle-aux-Grains, Toulouse (2011, March 23; April 3)
Palais des Sports, Bordeaux (2011, April 2)


(US) Handel's Messiah - A Conversation with Jeffrey Thomas (YouTube)

Contributed by Admin on Jan 10, 2011

American Bach Soloists Music Director, Jeffrey Thomas, speaks about their annual performances of Handel's Messiah, one of the greatest oratorios of all time, in San Francisco's Grace Cathedral. Baritone Jesse Blumberg and the American Bach Choir are featured in performance clips.


(UK) "The Sacred Dance" (DanceBooks.co.uk)

Contributed by Admin on Jan 08, 2011

Author: Oesterley, W O E
Published: 1923, 2010

This work surveys a wide spread of old rites, practised during initiations, puberty, marriages, burials, and other major events of life. Relying on ornamental artwork on pottery and on ancient inscriptions and literature, the author examines, among other topics, Old Testament terms for 'dancing,' and forms of musical accompaniment in the time of the Hebrews; the sacred processional dance, performed by Hittites, Egyptians, Greeks, Romans, and other peoples; the ritual dance around sacred objects; and sacred dances performed during harvests and other festivals.


(US) Top Ten Discoveries of 2010 from Harmonia Early Music

Contributed by Admin on Jan 08, 2011
This is the third annual podcast to focus on some of the most interesting early music heard throughout the year. The list, whittled down from hundreds of choices, is meant to cover recordings that have been heard either on the weekly podcast or program, yet there is at least one gem that will be new to Harmonia’s loyal followers.

(US) Arcimboldo's Feast for the Eyes -- Smithsonian Magazine

Contributed by Admin on Jan 08, 2011

(Although not directly music related, this article may be of interest to some -- ed.)

The job of a renaissance court portraitist was to produce likenesses of his sovereigns to display at the palace and give to foreign dignitaries or prospective brides.


(FR) "De Paris à Versailles". Charpentier, Marais, Couperin -- Les Passions Orchestre Baroque (2011 January 22)

Contributed by Admin on Jan 08, 2011

Église du Bouclier – Strasbourg

With Italian influence and in defense of the French style, these three composers entertained contrasting rapports with the Court at Versailles. The delicacy and richness of music by Charpentier regularly attracted Louis XIV in Paris, while Marin Marais, Lully's successor, enjoyed the grace of the King in the splendor of the Court. Couperin, meanwhile, sailed incessantly from Paris to Versailles and was able to skillfully combine French and Italian styles by the subtle and learned style of his writing.


(US) Johann Adolph Hasse: Antonio e Cleopatra - Review by Dr. Brian D. Stewart (Opera Today)

Contributed by Admin on Jan 07, 2011
Johann Adolph Hasse (1699-1783) was arguably the most successful opera composer of the 18th century. Together with his favourite librettist, Pietro Metastasio, Hasse defined the genre of opera seria for an entire generation.

(US) Worth a Reprise at Age 401 -- Monteverdi Vespers of 1610 -- Review by Steve Smith (New York Times)

Contributed by Admin on Jan 07, 2011
Almost exactly a year ago, the New York soprano Jolle Greenleaf, the Boston violinist Scott Metcalfe and a couple of dozen close associates from around the country presented the fruit of what they called the Green Mountain Project: a performance of Monteverdi’s grand and glorious Vespers of 1610, mounted in observance of the work’s 400th anniversary.

(US) GEMS Gala Showcase -- (Jan. 9, 2011)

Contributed by Admin on Jan 07, 2011

Come to a gala showcase featuring 7 of the finest world-class early music ensembles, produced by GEMS Live! and Nancy Carlin Associates.


(US) Mozart at Salzburg Festival: Don Giovanni and Così fan tutte - Review by Chris Mullins (Opera Today)

Contributed by Admin on Jan 06, 2011
Once a preserve of opulent traditional productions, the summer Salzburg Festival has become a destination for viewing more cutting edge stagings. 

(UK) Handel's Operas Workshop

Contributed by Admin on Jan 06, 2011
In a series of five lectures Manuel Minguillon will explore the main features of Baroque Operas, focusing on Handel's in particular.

(UK) Ten Years of Handel House

Contributed by Admin on Jan 06, 2011
We are thrilled that 2011 sees the tenth anniversary of the Handel House Museum and to celebrate the history of the house, the main exhibition in 2011 will focus on the building itself, its occupants and the developments it has seen over the centuries.

(UK) Dance Books retail closing sale

Contributed by Admin on Jan 06, 2011
Dear Customers, Colleagues, & Friends,

As many of you know, I've been in indifferent health for the last couple of years, and my doctors are now insisting that I must take life more easily. So, with enormous regret, I am closing the retail part of Dance Books and in future shall run the company solely as publishers. I have tried to find a buyer for the retail part of the company, but so far without success, so if there are any eccentric millionaires out there who've always dreamt of running an online dance bookselling company, do feel free to get in touch.

(US) Songs, Scribes, and Society The History and Reception of the Loire Valley Chansonniers (2010 Nov.) - Oxford Press

Contributed by Admin on Jan 05, 2011
A new kind of songbook emerged in the later fifteenth century: personalized, portable, and lavishly decorated. Five closely related chansonniers, copied in the Loire Valley region of central France c. 1465-c. 1475, are the earliest surviving examples of this new genre.

(FR) Brillamment Baroque (Brilliantly Baroque) -- 11th international Early Music and Baroque Workshop (2011 February 19-26)

Contributed by Admin on Jan 05, 2011
The international workshop in Thoiry, France (2010 February 19-26) is directed to all instrumentalists of the “Baroque” orchestra, beginner and experienced musicians, as well as modern instrumentalists wishing to learn about the practice and interpretation of Renaissance music and pre-classical Baroque. It is also directed to singers interested in the same repertoire.

(US) David Daniels: The Bold, the Baroque, and the Braves - Interview by Marianne Lipanovich (San Francisco Classical Voice)

Contributed by Admin on Jan 05, 2011
Change can be good. It certainly was for David Daniels. After studying at Cincinnati College's Cincinnati Conservatory of Music as a tenor, he switched to the highly unlikely vocal category of countertenor as a graduate student at the University of Michigan.

(UK) Die Entführung aus den Serail, Queen Elizabeth Hall, London (Review by: Claire Seymour)

Contributed by Admin on Dec 20, 2010
“With its tricky ‘orientalist’ connotations, Singspiel-originating spoken dialogue, not to mention the problem of finding five outstanding singers who can cope with the considerable demands of the solo roles (and the commercial challenge presented by the need to pay a chorus who sing barely a few bars of music), Mozart’s Die Entführung aus den Serail does not receive as many stagings as it deserves.

(UK) Lost Vivaldi concerto found in the National Archives of Scotland

Contributed by Admin on Nov 16, 2010
The discovery of a previously unknown score of a flute concerto by Antonio Vivaldi (1678-1741) in the National Archives of Scotland has been announced. Andrew Woolley, Research Fellow at the University of Southampton, has identified the score of 'Il Gran Mogol' as a lost part of series of four ‘national’ concertos by Vivaldi. The manuscript score (GD40/15/54/2) is in the hand of a copyist, and is among the family papers of the Marquesses of Lothian, an important collection that was purchased by the National Archives of Scotland in 1991.

(DE) New Items Published by TREE EDITION (2010 Nov.)

Contributed by Admin on Nov 12, 2010
Easy Dances for Renaissance Lute,  selected from sources in the  Leipzig music library.

35 easy dance pieces for Renaissance Lute. Music for lute does often come in form of complete lute books from the period, but sometimes music is found bound together with totally different books. From these  appendices we have made this edition: from an appendix of Leipzig Ms II.66. and Leipzig II.5.32b. Expect enjoyable dance pieces that are not difficult to play. French tablature / Renaissance tuning (Euro  20.-)


(US) Witchcraft and Madness in Restoration England

Contributed by Admin on Nov 12, 2010

Restoration Theater (in brief)

In 1660, Charles II was crowned King of England. The country had been in a political and parliamentary dictatorship for many years, and had now been restored. Hence, a new chapter in English history called the Restoration. It wasn’t just the restoration of the monarchy, however, but the return of a culture that had been shut down during the dictatorship, such as public theaters.


(US) Rameau’s Zéphyre, New York (Review by John Yohalem) (2010 Oct. 21)

Contributed by Admin on Nov 11, 2010

In sports they say, “Winning isn’t the most important thing—it’s the only thing.” In the theater, getting the show on the boards out front is the key.

All else is, if not irrelevant, subservient: the look, the style, the star, the archival accuracy. You can pull any strings you like; just get out there and dance. Or sing.


(US) Clarion Warms the Holidays with the Return of its "Bach for Christmas" Concert (2010 Dec. 15)

Contributed by Admin on Nov 11, 2010
In a season bursting with Messiahs, the Clarion Music Society celebrates the holidays with a repeat performance of its popular Bach for Christmas concert, which sold out in December 2008. 

On Wednesday, December 15th, young Early Music maestro Steven Fox once again conducts the Clarion Choir together with the period-instrument Clarion Orchestra and an outstanding group of soloists in Bach’s celebratory Cantata No. 133 ‘Ich freue mich in dir’, and the 2nd and 5th Cantatas from the Christmas Oratorio, ‘Und es waren Hirten’ and ‘Ehre sei dir, Gott, gesungen.’  The concert, which takes place at Park Avenue Christian Church (1010 Park at 85th Street), features soloists Sherezade Panthaki, soprano; Melissa Attebury and Virginia Warnken, altos; Oliver Mercer, tenor (Evangelist); Daniel Mutlu, tenor; John Boehr, baritone, and Douglas Williams, bass.


(US) "The Magic Flute" -- New release by Harmonia Mundi

Contributed by Admin on Nov 11, 2010
This recording represents in a sense the accomplishment of René Jacobs’s Mozartian enterprise: after showing us another way of looking at the Da Ponte trilogy and taking a profoundly innovative approach to the two great opere serie (Idomeneo and La clemenza di Tito), he has now set out to harmonise the multitude of viewpoints exposed more or clearly in Die Zauberflöte, ranging far beyond its Masonic rituals and mixture of dramatic genres. As a result, Mozart’s most ‘nocturnal’ work is illuminated as if by . . . magic.

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