At an early EMA board meeting, Thomas Forrest Kelly recalls ‘serious discussion of whether we wanted to be the American Dairy Council (lobbying association for the professional field), or the Rah-Rah Association of Enthusiasts (focused on amateurs). EMA, after 40 years, has still perhaps not quite figured that out, and creative discussions continue.’
EMA at 40: Musings on Our Beginnings Read More »
Restoration means bringing an instrument back to a playable condition. Conservation is about preserving an instrument in its current state and ensuring its survival. Is “restorative conservation” the solution, or just the latest trend?
State of Being: Restoration or Conservation? Read More »
How we educate future early musicians is among the most essential challenges facing the field. In historical performance, perhaps no two institutions represent the extremes of the scholarship vs performance continuum more than Cleveland’s Case Western Reserve and New York’s Juilliard School.
Different Bow Strokes, Different Folks Read More »
It all started in the basement of Boston’s Museum of Fine Arts, where a collection of historical instruments had languished for decades. Seventy years later, the Boston Camerata’s artistry and its attitudes about ‘early music’ and multicultural repertoire has influenced the entire field.
Boston Camerata’s First 70 Years Read More »
‘There’s certainly a lot to celebrate in terms of visibility of the field and the respect we’ve earned in the larger classical music world. Yet there’s still so much vital work to be done. It’s important to beg the question: What do we want the world of historical performance to look like 40 years from now?’
EMA Turns 40. What Comes Next? Read More »
