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EMA’s Emerging Artists Showcase: Trobár & Gili Loftus

June 14 @ 2:00 pm - 3:00 pm EDT

Virtual Events

Join the Watch Party on EMA’s Facebook Page at the scheduled time. Performers from each concert will be watching along, chatting, and taking your questions live in the comments. Performances will also be archived on EMA’s YouTube Channel following the Watch Party.

Trobár
Allison Monroe, voice, vielle | Elena Mullins, voice | Karin Weston, voice

PROGRAM – A ROOM OF HER OWN

Estampie Anon., Robertsbridge Codex

Part II: Lady Rectitude

Constant Women
Files a marier Gilles Binchois (c.1400-1460)

Chaste Women
Belle, bonne, sage Baude Cordier, fl. Early 15th cent.

Mistreated Women
Pour vous tenir Pierre Fontaine (c. 1380-1450)

Good Husbands
Deuil angoisseus Binchois

Part III: Lady Justice

Clotilda, Christian Queen of the French
Gaude mater ecclesia Anon., Officium et Vita sanctae Clotildis

The City of Ladies
Sanctus Johannes Tapissier (c. 1370-1410)

Conclusion: ChristineFinal Exhortation and Benediction
Gloria … et in terra pax Nicolas Grenon (c. 1375-1456)


Gili Loftus
Fortepiano

PROGRAM – “à la Clara”: Thinking Through Her Hands

In 1895, at the urging of two of her daughters, Clara Schumann put to paper notated versions for eleven improvisations in the form of introductory preludes. Of these, four were intended as introductions to specific Robert Schumann movements. The idea that these preludes constituted self-reflective, and highly personal, musical thoughts is strengthened by the fact that the two copies that were made of the original Berlin autograph were most likely meant only for the use of the two Schumann daughters. This video-animation project, originally published to accompany an article featured in Keyboard Perspectives and in which I offer my re-imagination of the manner in which Clara Schumann might have performed these short works, was a first foray into the exploration of embodiment and memory, questions of ownership and authorship, and the role of performer-as-(re)creator.

Improvisation was used as a communicative tool between performer and audience in myriad ways, both by Clara Schumann and her contemporaries. For Clara, it provided at times a pathway between the private and the public spheres, and an outlet through which emotions and ideas could be expressed. What “Clara the improvisor” can represent, and how to re-invent the improvisatory experience in a twenty-first century context lies at the heart of this concert.

View the full program with program notes and translations.

Presented by Early Music America and San Francisco Early Music Society – SFEMS
Funded in part by National Endowment for the Arts’ Art Works program
Media partner: Sunday Baroque

TrobárAllison Monroe, voice, vielle | Elena Mullins, voice | Karin Weston, voicePROGRAM - A ROOM OF HER OWNEstampie...

Posted by Early Music America on Saturday, June 13, 2020

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Date:
June 14
Time:
2:00 pm - 3:00 pm EDT
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