EarlyMusicNews.Org just wanted to remind readers of the GEMS “La Salle Adams Fund $20,000 Challenge Grant” Challenge.
“ … the $20,000 challenge grant awarded GEMS by the La Salle Adams Fund is quite serious. The Fund has given us until December 31, 2011 to raise the matching $20,000, providing GEMS with much-needed funding for our coming season. …” and also …
“In Venice, one of the 16th century’s most influential composers died. Adrian Willaert served as organist, choirmaster, and composer at St. Mark’s basilica for thirty-five years, and cultivated a style of writing for cori spezzati, or “separated choirs.” The sonic effects of Willaert’s innovative compositions were emulated by succeeding musicians at St. Mark’s, such as Cipriano de Rore and Andrea Gabrieli.
(Note: Although this is appearing late, it was decided to post this article for information purposes.)
Call for Papers: Fashioning Opera and Musical Theatre: Stage Costumes in Europe from the Late Renaissance to 1900 (15 nov 2011)
“Costumes play an essential role in the way we experience musical theater. They define character, action and belief, enhance the sonic dimension, and blur the boundaries between reality and fiction, past and present, the human and the fantastic. From court spectacles to popular entertainments, costumes, textiles, and accessories testify to the material culture of their social milieu and to the challenges facing the artists, artisans and designers who created them. This conference brings together experts of diverse backgrounds to discuss the history, economics and aesthetics of stage costumes in European opera and musical theater from the late Renaissance to 1900.
(UK) Birmingham Early Music Festival Concert: "Binchois Consort ‘A Coronation for the Virgin'" (20 nov 2011)
(US) San Francisco Classical Voice Review: "Chalice Consort: Grant Them Rest" By Anna Carol Dudley (06 nov 2011)
Check-in: 9:30 a.m.
Workshop: 10:00 to 4:00 p.m.
The workshop will be held at:
St. Mark’s Lutheran Church in San Francisco
1111 O'Farrell Street - parking information
Release Date: 01 oct 2011
Label: Harmonia Mundi Catalog
“The unprecedented expansion of music in the age of enlightenment
The eighteenth century is probably the most extraordinary period of transformation Europe has known since antiquity. Political upheavals kept pace with the innumerable inventions and discoveries of the age; every sector of the arts and of intellectual and material life was turned upside down. Between the end of the reign of Louis XIV and the revolution of 1789, music in its turn underwent a radical mutation that struck at the very heart of a well-established musical language. In this domain too, we are all children of the Age of Enlightenment: our conception of music and the way we ‘consume' it still follows in many respects the agenda set by the eighteenth century. And it is not entirely by chance that harmonia mundi has chosen to offer you in 2011 a survey of this musical revolution which, without claiming to be exhaustive, will enable you to grasp the principal outlines of musical creation between the twilight of the Baroque and the dawn of Romanticism.“
The Valencian ensemble is the leading expert in the music of the most famous Spanish Renaissance polyphony, Tomás Luis de Victoria which celebrates the 400th anniversary of its disappearance.
The Toulousians remember the 'Requiem' in Victoria that these artists had offered them in December 2009. The grand concert of November 30, 2011 entitled "Canticum, Nativitate Domini" certainly will give them the same emotion and the joy of discovering a rich repertoire and still too little known in France.
(AT) Musicological Congress: “Fugacity of future? Striking a balance and opening up new perspectives of Baroque Music” (16-18 Dec 2011)
Symposium of the Institute for History of Musical Reception and Interpretation at Salzburg Mozarteum UniversityDecember 16th–18th, 2011
“Apostrophizing “The End of Early Music” Bruce Haynes in 2007 pointed out an evident development that had been perceived as a sort of subliminal crisis for some time: a certain incrustation connected with commercialization of Early Music. Have those tendencies actually withdrawn substantial impulses, have teaching, presentation and performance actually got stuck? How has the present practice of Early Music developed? Which basic approaches – on the one hand from the studies of source material, or on the other hand from research projects of historical oriented interpretation – can be acquired for the future?
From the latest ArkivMusic Newsletter:
“Bargain label extraordinaire Brilliant Classics is on sale now at ArkivMusic, with plenty of affordable classical boxed sets that make great gifts! You will find several new collections to choose from, covering the Renaissance to the 20th century, from orchestral music to solo piano to chamber and choral, for collectors and novices alike -- all tremendous values.”
Vivaldi – Concertos for Strings
Antonio Vivaldi: Concerto in C major, RV114; Sonata a 4 in E flat major (‘Al Santo Sepolcro’), RV 130; Concerto in G minor, RV152; Concerto in D minor, RV128; Concerto in D minor (‘Concerto madrigalesco’), RV129; Sinfonia in C major (from La Senna festeggiante, RV693); Concerto in F minor, RV143; Concerto in G minor, RV157; Concerto in E minor, RV134; Concerto in A major, RV158
Arte dei Suonatori Ensemble
“We return to former Baroque church, St. John's Smith Square, on Thursday 15 December to perform Schütz's Christmas Story as part of their Christmas Festival. In addition to Schütz's masterpiece, The Choir of The English Concert will sing Monteverdi's Magnificat and Beatus Vir, and Nadja Zwiener and Walter Reiter will play two of Biber's Rosary sonatas, 'Annunciation' and 'Nativity'. Harry Bicket directs, and the Evangelist in the Schütz will be sung by tenor Christopher Gillett.“
News from Oxford University Press (OUP) that their “ 2011 Holiday Sale is underway with savings of up to 65% on our bestselling titles—how can you not take a look? Check one more person off your list and get your holiday shopping done early. “
OUP has recently revamped their online catalogue to give us a more interactive feeling … but for those who prefer the traditional view, you may still access the catalogue this way.
Recently posted on the La Petite Bande Facebook, Corelli’s La Follia, Theme and variations Violin: Sigiswald Kuijken (Picture: Caravaggio (1571-1610), Boy with a basket of fruit.) The video clip is almost 12 minutes long.
“Could the gentle Bard have been a thug? A scholar's discovery in the British Archives adds a different stroke to the portrait of one of the most admired but least-known men in English letters”. The article also points to the status of entertainment theaters of the day. (ed.)
A stirring evening that will touch your soul !
In collaboration with the Montreal Bach Festival 2011
Guest Conductor: Jaap ter Linden (Holland)
Soloist: Meg Bragle, alto (United States)
Lecturer : Carol Bergeron
Johann Sebastian Bach: Cantatas BWV 54 and 170, Brandenburg Concerto no 3, BWV 1048, Oboe concerto adapted from BWV 1056.
(US) San Francisco Classical Voice Review: "Baroque Band: Attempts to Resuscitate Charlie's Angels" By Thomas Busse (5 nov 2011)
From the “British Library - Document Supply News, November 2011 Newsletter” which may be of interest to early music research.
“52,000 full text theses now available for immediate download
At the start of 2011 EThOS moved to become a shared service delivered by the British Library on behalf of Higher Education. A new Governing Board was set up, and a new business model developed to bring improvements and enhancements to the current service.
(UK) Cambridge University Press: Why Excavate? (Selections From the Archaeological Dialogues Editors)
(Although not directly related to early music, perhaps of interest of early music research.)
“Examine this fundamental question with four free articles selected by the Archaeological Dialogues Editors.
(US) University of California (Berkeley) Cal Performances: Davitt Moroney "J.S. Bach: The Complete French Suites" (13 nov 2011)
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