Vol. 22 No. 3; Fall 2016
ON THE COVER: Once pointed out, it is impossible to miss how thoroughly song saturates Don Quixote. There are well over 20 references to specific songs in the novel, from off-hand quotes of phrases or lines to entire episodes narrated through old ballads, or romances. It’s a pity that so few of them survive.
Vol. 22 No. 2; Summer 2016
ON THE COVER: “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 50th-anniversary season of Indianapolis Early Music’s Early Music Festival.
Vol. 22 No. 1; Spring 2016
ON THE COVER: “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, the active and retired performers and teachers, and the challenges facing musicians and presenters today.”
Vol. 21 No. 4; Winter 2015
ON THE COVER: What is it someone once said about all good things? The same happens to bad things, thank goodness. In the case of Anonymous 4, however, there is a decidedly happy ending. After nearly three decades, the a cappella quartet with some of the purest tones in the vocal business is ready to bid the world a fond farewell.
Vol. 21 No. 3: Fall 2015
ON THE COVER: 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 to each other, separated by a chilly silence. And occasionally a war of words would erupt. The violinist and conductor Pinchas Zukerman famously dismissed the early-music movement as “an aberration” and “a fad.”
Vol. 21, No. 2; Summer 2015
ON THE COVER: 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.
Vol. 21, No. 1; Spring 2015
ON THE COVER: “I play period oboes and recorders and have a second specialty in 15th-century music. As period players, we’re specialists by definition, yet we may e called upon to play or sing music from anywhere between 1100-1850. For a wind player, this means maintaining skills and associated equipment for seven to fifteen instruments.”
Vol. 20, No. 4; Winter 2014
ON THE COVER: Hans-Joachim Ketelsen sings Beckmesser’s mastersong in Act 3 of the Metropolitan Opera production of Wagner’s Die Meistersinger von Nürnberg in 2007. Photo by Beatriz Schiller, Metropolitan Opera.
Vol. 20, No. 3; Fall 2014
ON THE COVER: Portrait of Marin Marais (with manuscript of his Prelude in D Minor, No. 3, from his Premier livre) by Jean Dieu dit Saint-Jean (1654-1695). Musée des Beaux-Arts, Blois, France. © RMNGrand Palais / Art Resource, NY
Vol. 20, No. 2; Summer 2014