We are pleased to announce the publication of two serenatas for solo voices and strings, both attributed to "Sig.r Scarlatti," in an edition by Marie-Louise Catsalis; see Nos. 17 of the WLSCM Catalogue. Two other editions are forthcoming in the very near future–please check back!
This Year’s Theme: “France: Source of European Music”
Baroque Ballet Intensive (July 8-18, 2010)
Historical Dance Program (July 10-18, 2010)
Connecticut College in New London, Connecticut
Dance Faculty: Dorothy Olsson, Director; Kaspar D. Mainz; Peggy Murray, Dance Assistant
Dance is an integral part of the Amherst Early Music Festival (a two-week early music festival with a vast array of musical offerings). For the 2010 workshop, classes will be offered in Baroque Dance, Baroque Dance Notation, Renaissance Dance, and Music of Charpentier and Lully. Participants are also entitled to attend many other events (including English country dancing, concert and lectures) in the evenings that are part of the Amherst Early Music Festival.
(FR) "Les cantates de J.-S. Bach : Textes, traductions, commentaires" -- Newly Published from Éditions Fayard (March 2010)
Long unknown to the general public of music lovers, the cantatas of Bach are today enjoying the excitement that justifies this incomparable treasure. Recording compendiums are increasing, as well as concert series have gained increasing popularity. The spiritual content of church cantatas, along with a complex German language and the multiple connotations of booklets have hampered access to an audience filled with the Passions and oratorios. As for the secular cantatas, they still remain separate from programs.
Bach en Combrailles’ past 12 years, tells the true glory of Bach but we need more time to talk about his son. Wilhelm Friedemann Bach, who passes, by all accounts of contemporaries, to have been the most gifted, born there exactly 300 years. We pay tribute to him in several of our programs.
XII International Early Music Course
Accademia del Ricercare
July 26-August 2, 201
- - Concerts
- - Conference and exhibition of printed music and books by Musedita, publishing house directed by Alessandro Bares
- - Conference and exhibition of recorders by recorder maker Luca De Paolis
- - The European association of recorder teachers -- information about the aims and activities of the association
Concerts In London Summer 2010
The following is the summer concert listing:
Intarsi di musica e danza antica
9th early music and dance summer workshop
Artistic direction: Claudia Celi and Andrea Toschi
Roma (Italy) - August 1st to 8th, 2010
This year's edition of "L'Humor Bizzarro. Intarsi di musica e danza
antica" returns to the Eternal City, hosted by the historic Scuola
Popolare di Musica di Testaccio. Featured courses and workshops
Discover the various names of the word “Recorder” over the ages! This list has been generously compiled by Charles Fischer at Unicorn Music.
That Antonio Vivaldi’s name is know the world over can be attributed almost entirely to a single piece of music, The Four Seasons, first published in 1725 and still enjoying tremendous success today. Who would have thought that tucked away in the composers private library were hundreds of other pieces from his hand ranging from operas and sacred music to hundreds of concertos for one, two, three or more instruments. Most of it had not been published in his lifetime and was consequently forgotten after his death. Incredibly, this vast collection of music reappeared nearly intact in 1930 when it was purchased by the Biblioteca Nazionale in Turin, Italy, but it is only in recent years that this music has begun to be recorded and included in public concerts.
(IT) The courts in Europe. Musical Iconography and Princely Power (May 23-25. 2010) -- Call for Papers (June 30, 2010)
The courts in Europe. Musical iconography and princely power
Le corti in Europa. Iconografia musicale e potere principesco
Call for papers
The Istituto per i Beni Musicali in Piemonte, in collaboration with the Regione Piemonte and under the patronage of the Società Italiana di Musicologia is pleased to invite scholars from different countries and from various disciplines to participate in the
International Musicological Society
Study Group on Musical Iconography
THE COURTS IN EUROPE. MUSICAL ICONOGRAPHY AND PRINCELY POWER
LE CORTI IN EUROPA. ICONOGRAFIA MUSICALE E POTERE PRINCIPESCO
Torino (Italy), Archivio di Stato, May 23-25, 2011
New issue of Perf. Practice Review is available online.
Volume 14 (2009) includes:
- - JOHN BASS: "Improvisation in Sixteenth-Century Italy: Lessons from Rhetoric and Jazz"
- - ROLAND JACKSON: "Realizing the Continuo in Monteverdi's Lamento della ninfa and its Implications for Early Seventeenth-Century Italian Continuo Practice"
- - NOEL O'REGAN: "What can the organ partitura to Tomás Luis deVictoria’s Missae, Magnificat, motecta, psalmi et alia quam plurimaof 1600 tell us about performance practice?"
- - STEWART POLLENS: "Some Misconceptions about the Baroque Violin"
- - ROLAND JACKSON reviewing Timothy Watkins, Performance Practice:Issues and Approaches
My Lady’s Chamber July Concert Cancelled
Owing to circumstances beyond our control, My Lady’s Chamber regrets having to pull out of our 1st July concert at 7.30pm at The Red Hedgehog, Highgate, UK, which was previously advertised here. My Lady’s Chamber apologises for any inconvenience caused.Visit website for more information: My Lady’s Chamber
The Harpsichordist's Touch: A Historical and Contemporary Perspective
Touch is one of the primary means toward expressivity on the harpsichord. Seattle teacher and performer Jillon Stoppels Dupree will draw upon historical sources, the teachings of today's finest masters, and the evolution of harpsichord building in the 20th century in presenting her approach to touch.
Historical to Contemporary Harpsichord and Vocal Accompaniment
Baritone Zachary Gordin and harpsichordist Jonathan Davis will present a concert and discussion.
An opportunity to hear the finalists compete in concert in the second year of this new competition. Listen to their performances, then cast your vote for the ensemble which you think should win the coveted Audience Prize.
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.
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