Few performers have spent as much time exploring the galant as Baroque cellist Elinor Frey, who has made the style the subject of numerous concert projects, critical editions, seminars, and a fast-growing discography.
Good Manners, Good Music: Adventures in the Galant with Elinor Frey Read More »
No one is born knowing how to sight-sing, but throughout history it’s been a necessary skill for good musicianship. ‘I find it extremely annoying to work with singers who can’t sight-read. It’s essential — right up there with being a good colleague and being easy to work with.’
Toil & Trouble: Sight-Reading for Success Read More »
New and Different: the rise of amateur Baroque community orchestras with no direct links to academia or instrumental societies. These musicians play with period instruments and are just as committed to historical performance as their professional counterparts. Yet ‘we do not reject anybody because they are either too good or too bad.’
The Rise of Community Read More »
‘We’re all keenly aware of the stigma in classical music about people with hearing loss,’ writes tenor Thomas Cooley. ‘The doctor asked why I was crying. I responded: I just don’t know other singers who use hearing aids.’
Canto: Ending the Stigma of Singers and Hearing Loss Read More »
‘I suppose it would be easier for EMA to cater to just professional musicians or only arts administrators,’ writes EMA Executive Director David McCormick. ‘But there’s a vitality to the rich tapestry of our membership that allows for a collaborative spirit between professional performers, amateur players, scholars, luthiers, and listeners, to name a few. Thanks to our free and low-cost membership options for students, we have more young members than ever before…’
Membership Impacts the Entire Field Read More »
