EMAg Features

In his Canto column, historical oboist Geoffrey Burgess argues that modern circumstances too often take us far from the collaborative nature of early music and the shared goals of singers and instrumentalists. Understandably, many singers feel the need to become generalists. But now is the time to re-evaluate our current practices.

Byzantine chant treats the human voice as a fretless instrument. Its cultural roots place it at a unique intersection of 'world music' and historically informed performance.

Cree composer Andrew Balfour reimagines history and the concept of respect and dialogue between nations of the so-called New and Old World. It's charting a course for settler ensembles to collaborate with Indigenous artists.

Sometimes the musicians are so swamped by apparatus — starting with music stands, pedals for turning electronic pages on a tablet, microphones hanging over the performers, wires all over the place, and people wearing huge headphones sitting in front of yet more apparatus — that it can feel like a trio sonata on life support. 'It makes me feel that I’m a third wheel in something much more important than my own enjoyment in the moment.'

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.

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.'

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.'

'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.'

'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...'

As a composer, teacher, and America's leading Baroque bassist, Doug Balliett is devoted to radically authentic music-making. He and his all-star circle of collaborators question the notion that ‘historically informed’ ensembles should only perform historical music. This article was first published in the January 2024 issue of EMAg.