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William Christie, center, performs with Joseph Monticello, Augusta McKay Lodge, Alexander Nicholls, and Thibaut Roussel at his estate in Thiré.
Photo by David Fugère

An American in Thiré

Susan Brodie

Was it coincidence that in 1979, when William Christie chose a name for his newly formed Paris-based Baroque ensemble, he found one that made reference to flowers, Les Arts Florissants? Deliberately or not, the moniker foretold the marvelous estate that has become the conductor’s primary home and haven, where he has hosted thousands of visitors for days of Baroque music and the pleasures of the garden.

Piffaro members, from left, Joan Kimball, Bob Wiemken, Priscilla Herreid, Greg Ingles, Christa Patton, and Grant Herreid.

EMAg: Piffaro Tilts at Musical Windmills

Anne Schuster Hunter

Piffaro members, from left, Joan Kimball, Bob Wiemken, Priscilla Herreid, Greg Ingles, Christa Patton, and Grant Herreid. (Photo by Church Street Studios) The Renaissance Band Brings Back the World of Don Quixote By Anne Schuster Hunter The 400th anniv …


Indianapolis Early Music Goes Gold

Jay Harvey

The festival will mark its 50th-anniversary season with a host of enticing programs. “If music be the food of love, play on,” begins the most famous opening speech in Shakespeare. The line also supplies the title for the concert that will launch the 50 …

Musical Miracles

Judith Malafronte

A recent press trip to Israel piqued my interest in that fascinating country’s early-music scene. Israel is at once ancient and new, like so much of what we are trying to do in our field, and I was curious about the history of the early-music revival, …

Anonymous 4 Press_Photo 2

Anonymous 4: Appearing and Disappearing

Susan Hellauer

The admired a cappella ensemble bids the world farewell after three decades of radiant artistry. Sunday morning, August 3, 1986. The Upper West Side of Manhattan had been deserted by anyone who could get away, and not many showed up on West 99th Street …


Spreading the Gospel: Period Style for Modern Performers

Colin Eatock

Conductors with roots in early music are taking their expertise to symphony orchestras. There was a time, not so long ago, when modern performers tended to be wary of the early-music movement. Often, these two musical communities stood with their backs …


Vibrato Wars

Judith Malafronte

Many people think a peace treaty was signed after the vibrato wars of the 1970s, when the plush string textures of the modern symphony orchestra were challenged by the leaner sound of historical instruments. Eliminating vibrato, along with playing on gut strings, was the most noticeable mark of historically informed performance style. Before it was even called HIP, employing “authentic instruments” set early-music players apart from symphony orchestras, and singing with a pristine, boy-like sound marked a new vocal coloring.


If it’s Monday, it’s Collegium

By Debra Nagy

“For some reason during tonight’s rehearsal everything I have to do in the next few weeks finally sunk in. From November 10 to 23: 5 performances, 5 instruments, 4 styles, 3 pitches, and 2 time zones. I love my job, but the universe owes me a beer.” My initial response was, “only 2 time zones?”

Johns Chapel

Cracking a Centuries-Old Tradition

By Ross W. Duffin

A prof from Ohio guides collegiate singers in Cambridge, England, in the illuminating tuning system known as Just Intonation.

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