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The origins of these works in private musicking, the spare accompaniment, and the musicians’ sensitive interplay make this a thoroughly intimate affair.

Jeffrey S. Sposato has carefully constructed a narrative that threads together a wealth of political, social, and musical history, bringing clarity to a topic deserving of such attention.

EMA is delighted to announce the sale of three of the remaining instruments from the Thomas Binkley collection. The proceeds from the sale will be added to the Binkley Fund.

The situation has changed largely because over the past few years some very well preserved auloi have been reconstructed by expert technicians such as Robin Howell and researchers associated with the European Music Archaeology Project.

After the death of Founder and Artistic Director, J. Reilly Lewis, in June of 2016, the Consort has been without a formal Artistic Director.

Byron Schenkman’s recent recording, “The Art of the Harpsichord from Cabezón to Mozart,” released on his own label, features performances on eight instruments in the vast collection at the National Music Museum in Vermillion, SD.

A listener could enjoy this disc for years without ever finding out (or caring) that it is a reissue of a 1979 Archiv LP. Trevor Pinnock and The English Concert’s contributions to early music and historically-informed performance are now the stuff of textbooks, yet nearly 40 years later these perfor …

The Pokorny brothers — Romaric, Corentin, and Emmeran — are deeply embedded in the musical life of Seattle and surrounding areas.

This wonderful and much-needed monograph not only provides the essential information about Cousser’s life and career, but also allows us to examine the contents of a precious little book, pocket-sized, that Cousser kept and wrote in from the 1690s until his death.

The pieces range from (largely untexted) Magnificats, motets, and anthems to French, Italian, and English secular music and more than 60 instrumental works.