Early Music Month (EMM) is a national, grassroots campaign sponsored by Early Music America and designed to raise awareness of early music each March throughout the North American music community. EMM seeks to connect enthusiasts, performers, presenters, scholars, builders, students, venues, and more to bring early music to its widest audience ever.


How can I get involved?

Anyone enthusiastic about raising awareness of early music can become an EMM Partner for free and join nearly 400 individuals and organizations who have already committed to celebrate Early Music Month in their own communities.

Visit our resources page for ideas about how you can join the Early Music Month celebration, how to list your EMM event, and how EMA can celebrate YOU!


Support the Future

Early Music America provides funding for members to enhance their skills at early music workshops throughout North America and helps pay for musicians to attend the Young Performers Festival and Emerging Artists Showcase. Each year, we receive many, many more qualified applicants than we can fund. 

Help EMA provide more artistic development opportunities to musicians of all ages by making a donation to the #WeAreEarlyMusic campaign during Early Music Month.


Early Music Month Daily Musical Calendar

Selections submitted members of the EMA Board, Emerging Professional Leadership Council, and Staff. Come back every day during March for more!

Vasquez: De los alamos vengo
by Nicholas Jones, March 6, 2020

March 6 is remembered the date of the final bloody battle, in 1836, between Mexican and US forces at the Mission Alamo near San Antonio. Remember the Alamo, indeed, for many reasons, not the least the United States’ present wrong-headed (in my opinion) policies towards Mexico. But early music fans may prefer (I know I do) a more serene version of the “alamo” by early 16th-century Spanish composer Juan Vazquez, the lovely Villancicos, “De los alamos venue” — “from the cottonwoods.” The tenor sings the simple tune; the other lines weave delicately about it, and the text implies a young man returning home from visiting his beloved, and telling his mother about it. The gentle motion of the branches in the breeze, figured in the gentle rise and fall of the musical lines, figures as a metaphor for the beauty of his girlfriend, his “linda amiga.” It’s an alamo I love remembering.

Biber: Passacaglia in G minor from Mystery Sonata XVI

by Georgina McKay Lodge, March 5, 2020

In honor of EMA’s #WeAreEarlyMusic campaign for artistic development, which provides scholarships for attending workshops and institutes. I first learned the Biber Passacaglia in a class with my earliest period instrument teacher, Jane Starkman, whom I met at my first Baroque Performance Institute. It is especially sentimental for me to listen to my sister [August McKay Lodge] perform it on this recording!

 

Anoymous: Canario (17th century)

by Jean Hein, March 4, 2020

I selected this piece because Ciaramella is one of my favorite early music ensembles. I love hearing the two recorders improvising together in Canarios. In addition, Adam Knight Gilbert has been a guest artist with our ensemble, Columbia Baroque, and Canarios was great to experience in a concert performance.

 

 

View All EMM Musical Calendar Entries


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