"Having discussed these matters with countless students from across the world," writes John Mortensen, " I have become convinced that the classical music realm is increasingly receptive to historic improvisation."
On behalf of our Board of Directors, I am thrilled to welcome David to EMA. His deep experience in our field as a multi-instrumentalist, scholar, educator, and administrator will serve
Boston Camerata's season-opening program Nov. 6 in Boston will examine spiritual traditions from 19th-century Celtic, Shaker, and African American communities.
Playing 17th- and 18th-century music on modern instruments in a period style is old hat to Music of the Baroque, an ensemble Butt will lead for the first time Oct. 17 and 18.
The identities and contributions of women artists to music in the Baroque period remain relatively obscure in our performance narratives of music from this era.
Ever think about everything that happens between movements of music? Assuming there are no distractions— we’ve all heard them—what occurs is a meaningful silence.
With this latest opera, the company will have presented seven mostly lesser-known operatic and choral works by Handel. But just as Orlando is something of an outlier in the company’s repertoire, previous productions showcased two of the celebrated composer’s other operas – Amadigi di Gaula and Xerxes.
"After almost four years as Executive Director of Early Music America, I am leaving on August 6 to take up the position of Administrative Director of the Historical Performance program at The Juilliard School in New York."
Elam Rotem will receive the Laurette Goldberg Award for his work as founder and director of the resources website Early Music Sources. The website includes a YouTube series discussing various subjects in early music, from historical and theoretical research to issues of performance practice.
“Their tireless efforts as both artistic directors and collaborators with instrument builders have resulted in advancements in the design of early double reed instruments and singular programming that plumbs the depths of the repertoire, changing the global perception of what these instruments can do.”
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