EMA News Features & Press Releases

The outlines of North America’s exciting landscape of period-instrument ensembles are taking shape as the 2019-2020 season unfolds.

Chatham Baroque (above) and the presenting organization Renaissance & Baroque, which merged in 2018, are looking to build on the success of their first year together as they head into 2019-20 season.

Feelings and emotions are the glue of the human experience. And the unfailing conduit for linking us to who we always were, and will be, is music. It has existed along with humanity predating traumas like war, slavery, and injustice.

An interview with Jarrett — artistic director of Bach Akademie Charlotte, director of music at Boston University’s Marsh Chapel, resident conductor of the Handel and Haydn Society Chorus, and music director of the Back Bay Chorale — about his new role with EMA.

From the May 2019 issue of EMAg The important thing about early music is that humans do it. It is true that it is beautiful and can soothe the soul,

Life in the arts is never easy, of course, but lately I’ve seen and heard so many of my fellow musicians crying out for help, not just financially but existentially.

This has been my joy and inspiration for the past year— to discover, little by little, a cross section of Bach’s early compositional moments in Leipzig.

Seattle’s Medieval Women’s Choir, which gives the final concert of its 27th season on June 2 under artistic director Eric Mentzel, was the brainchild of the late Margriet Tindemans, the renowned scholar of medieval music and performer on early stringed instruments.

Much to my surprise, no one had been taught how to memorize, either by their music teachers or by anyone else, and the one person who did admit to having a memory technique said she had devised it herself.

After seeing five operas in four days at the Festival d’Aix-en-Provence in July, I realized that with so much going for it