Early Music Event near Montpellier (FR)
- Alain Cahagne : harpsichord, basso continuo and singing chief
- José Vazquez : viola da gamba, baroque violin and direction
- Lucia Krommer : viola da gamba and baroque cello (till the 4th august)
- Achim Schulz : singing, voacl ensemble and body trining for intrumentalists and singers (till the 4th august)
- Philippe Suzanne : traverso
- Patricia Gonzalez : singing
Agostino Steffani’s “Niobe, Queen of Thebes”
Starring: Soprano Amanda Forsythe and Countertenor Philippe Jaroussky
Cambridge, MA – June 4, 2010 – The Boston Early Music Festival has announced plans for its 2011 Festival operatic centerpiece Niobe, Queen of Thebes by the Italian composer Agostino Steffani (1653–1728). In keeping with BEMF’s internationally-acclaimed tradition of presenting little-known Baroque opera masterpieces, Steffani’s Niobe is “a stunning achievement, blending poignant drama with powerfully beautiful music to tell a story of human strength and weakness” says BEMF Executive Director Kathleen Fay.
My Lady's Chamber “Passionate Baroque”
The Warsaw Chamber Opera (Warsaw Opera Kameralna) was founded in 1961 by Stefan Sutkowski, who has served as its Managing and Artistic Director ever since. The company’s inaugural production was G.B.Pergolesi’s La serva padrona (4 September 1961).
Since October 15th 1986 the Warsaw Chamber Opera has performed in its own Theatre at Solidarnosci Avenue 76 B. It is an ancient building from 1775 having a small lovely audience with excellent acoustic. This building is entered in the register of historical monuments of Warsaw.
The Chopin project is highlighting the Pleyel piano which was specially produced for the Warsaw chamber opera by Paul McNulty.
The Chopin festival will focus on Chopin's works for piano with orchestra. The orchestra has specially commissioned early Romantic winds, horns and bows at a'= 440hz for this project, which heralds a unique effort to recreate most faithfully the performing resources of this period.
(US) Renaissance Society of America (RSA) -- Fifty-Seventh Annual Meeting of the RSA (March 24-26, 2011)
The Fifty-Seventh Annual Meeting of the RSA
Montreal, Québec Canada
24-26 March, 2011
Although the call for papers deadline is now past due, you may review the suggested round table discussions on the RSA website.
“Since 1954, the Renaissance Society of America has been the leading organization in the Americas for the interdisciplinary study of the period 1300-1650 in Western history. The RSA brings together members from many backgrounds who are interested in a wide variety of disciplines related to this period.
(NL) Call for Papers: "Music and Patronage in the Low Countries" -- KVNM Autumn Meeting (Nov. 12-13, 2010)
Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis (KVNM)
Royal Dutch Society for Music (KVNM)
Deadline for submission: 15 May 2010
In many languages the term “maecenas”, derived from Gaius Cilnius Maecenas (70 BC - 8 BC), councilor of emperor Augustus, has become synonymous with lavish and enlightened patronage of the arts. Being in service as a musician or a composer, however, did not necessarily imply that the artist had found himself a maecenas. In 1556, for instance, Orlandus Lassus dedicated his first book of motets to Antoine Perrenot de Granvelle, most likely because Lassus hoped that this influential statesman might help provide him with a position in the internationally renowned capilla flamenca of Philips II. Unfortunately for Lassus, his colleague Pierre de Manchicourt, who preceded Lassus in dedicating a music publication to Granvelle, was appointed instead.
For more than 15 years, the American Bach Soloists have presented annual performances of SummerFest in Belvedere, San Francisco, and Davis.
SummerFest returns this year in conjunction with the inaugural season of the American Bach Soloists ACADEMY, an elite training program for advanced conservatory-level students and emerging professionals in the field of Historically Informed Performance Practice.
Music of J.S. Bach and Sons
The International Baroque Institute at Longy offers a comprehensive program for professional and pre-professional singers and players of Baroque violin, cello, recorder, traverso, oboe, viola da gamba, harp, lute and harpsichord, taught by an unparalleled international faculty. Other instrumentalists or continuo players are welcome to participate in chamber ensembles or the institute orchestra.
An intensive workshop in early dance, with emphasis on baroque dance but also including a daily late-renaissance dance class. Intended for experienced dancers with a serious interest in early dance, the workshop will include classes in technique, repertoire, and dance notation, with opportunities for independent projects and performance.
“Heinrich Schütz and Europe”
The International Heinrich Schütz Society cordially invites you to the 42nd International Heinrich Schütz Festival. From 28 October – 3 November 2010 in Kassel, under the banner “Heinrich Schütz and Europe”, plans are in place for numerous concerts, two main lectures, exhibitions, a choral project for active choristers and an international scholarly symposium in conjunction with the “Ständige Konferenz Mitteldeutsche Barockmusik e.V.” [Standing Conference of Central-German Baroque Music] focusing on “Heinrich Schütz and Europe” and “Heinrich Schütz in Kassel”. The Festival is integrated with the Kasseler Musiktage 2010 (which, until 14 November 2010, offers more events of interest under the banner “Kreuzungen – Elend und Glanz” [Intersections – Misery and Splendour]).
* Recorder and viol consorts at all levels except beginner
* Recorder master class
* Renaissance reeds
* Mixed ensembles
* Early notation
* Historical dance
* English country dancing
* All-group playing & singing
* Rogers Breukink recorder consort
The Von Huene Workshop will be in residence full time with instruments, music, and books for sale. Open to the public!
Connecticut College, New London, CT
Join us for one or two weeks of music-making with our acclaimed international faculty as we explore the musical legacy of France. Hold the dates, and plan to join us!
Festival Theme - France: Source of European Music
Venue: Cornish College of the Arts
Kerry Hall, 710 East Roy St, Seattle WA, 98102, USA
This year's workshop moves from Seattle Pacific University to Cornish College of the Arts as part of an expansion of the College's music department to encompass an early music program.
Bray Baroque announces its newest title: Playing the Baroque Harpsichord (2010)
Essays on the instrument, interpretation and performance, with relevant topics for the clavichord and organ. By C. Di Veroli.
This is an integrated collection of updated and expanded essays, some of them endorsed by leading harpsichordists. Only a few chapters are specific for the harpsichord: most of the book applies to all the Baroque keyboard instruments and some chapters to general Baroque music interpretation topics. Several colour figures are included, as well as musical examples from well-known Baroque works. The reader will find here the answer to well-known long-standing problems. Thorough guidance is provided on difficult matters such as ornamentation, articulation, tempi, registration, sesquialter rhythms, notes inégales and further topics that have been found to be useful to the modern performer of Baroque keyboard music, whether amateur, advanced student or professional player.
(FR) Festival of traditional musics and folk dances - Festival des musiques et danses traditionnelles (Aug. 15-18, 2010)
“For this 35th edition, the organizers have decided to honour the cultural heritage of Berry and have chose Mic Baudimant as the associate performer, an ardent defender of the arts and traditions of Berry.
President of the Thiaulins de Lignères (association of traditional music and dance of Cher), Vice-President of the Association Française de l’Ane Grand Noir du Berry, Vice-President of l’Union for the Ressources Génétiques du Berry, members of the association “on the steps of the Maitres Sonneurs”, Mic Baudimant is also a storyteller, piper, “brioleux” (someone who sings songs to oxen while ploughing), singer and graduate of the first competition of the festival in 1976.
The Boston Early Music Festival announce their 2010-2011 concert series.
“I have collected these pieces over the years from the internet or have entabulated and/or arranged or realized them myself. I have edited all of them and formatted them to fit nicely on US letter size paper (8.5 x 11 in), though some are formatted for US legal size (8.5 x 14 in). I have not formatted any for A4, as life is too short. Again, if you have Fronimo, it is pretty easy to reformat these to taste. I have tried to create performable copy in all cases. These pieces are mostly for renaissance lute, but quite a few are for baroque lute and archlute, and a very few for theorbo, cittern, bandora, guitar etc. Other pieces include songs and continuo pieces, listed by composer. Under Lute ensemble in the list of composers, you will find pieces for two or more lutes. Source facsimiles are now grouped together in one place.
FIRST CONGREGATIONAL CHURCH, Free and open to the public
Theme "500 Years of Vespers" informs this year's EMA Early Music conference. Modeled as part scholarly symposium, part workshop, it focuses on the Monteverdi Vespers of 1610 and its chant and Renaissance ancestors.
“Experience the magnificence of Italian music in and around 1610, from the glories of St. Mark's Cathedral in Venice to the haunting spiritual cloisters of Milan, a golden age filled with the glorious sounds of centuries past.
- - The early clavichord from first iconographical documents to the earliest extant instruments (organology and repertoire)
- - The pedal clavichord, from its origins to the XVIIIth century
- - The clavichord in the XIXth century
(US) Society for Seventeenth-Century Music 2011 Conference in Minneapolis -- Call for Proposals (April 7-10, 2011)
“The Society for Seventeenth-Century Music will hold its Nineteenth Annual Conference from Thursday through Sunday, 7-10 April 2011, in Minneapolis, Minnesota, hosted by the School of Music at the University of Minnesota. Proposals on all aspects of seventeenth-century music and its cultural contexts are welcome.
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