Like playing bingo, you can find “crisp” in countless early-music reviews, although such a term isn’t found in the historical record. Are musicians looking for uniformly “crisp” playing while neglecting other sonic possibilities? What’s going on here?
How Did Early Music Get So ‘Crispy’? Read More »
The countertenor’s commitment to early music remains solid, even as the larger entertainment world has discovered his unique talents. You sense that Holiday’s intense desire to communicate informs his cabaret act as much as his Baroque opera.
Enjoying the Ride with Countertenor John Holiday Read More »
If you’ve ever sung or played a madrigal from an edition on IMSLP, you’ve probably engaged with the work of Allen Garvin, whose International Music Score Library Project corpus surpassed two thousand uploads last year.Â
Art of the Amateur: A Computer Programmer Uploads a Lifetime of Renaissance Music Read More »
In February, William Christie came to New York as part of his annual residency with the Juilliard School’s Historical Performance program. He noticed a sea change in attitude on the American scene toward the study of historically informed practice.
William Christie on the American Scene Read More »
James Nicolson, the 2013 recipient of EMA’s Howard Mayer Brown Award for lifetime achievement in the field of early music, was interviewed in March 2021 by Leslie Kwan.
Chatting with a Keyboard Master: James Nicolson Read More »
