There is something so captivating about Anne Azema performing trobairitz and trouvères poetry. The necessity of story telling in performance is one of my favorite things about studying vocal music, and early music especially. I return to this recording often for inspiration – it’s one that always makes me slow down and re-center during the […]
Anonymous 13thc.: “L’on dit q’amors est dolce chose” Read More »
In my experience, Student Crisis Mode is the most important stage of the learning process; it reminds us why we choose to continue studying what we love even when it tests us and, in our desperate need to feel capable again, opens our hearts to embracing radical ideas and new interpretations.
The Liberating Necessity of Student Crisis Mode Read More »
I love this Christmas adaptation of the Monteverdi madrigal “Chiome d’oro” with a Latin contrafactum by Lawrence Rosenwald. I contacted Voices of Music asking permission to perform the music with the Lawrence Rosenwald text. David Tayler replied giving his permission and sending us the music. I am still grateful. Jean Hein Director, Columbia Baroque EMA
Claudio Monteverdi: “Puer Natus (Chiome d’oro)” Read More »
This Early Music Month, Early Music America applauds the work of terrestrial radio and streaming audio broadcasters who see the value in providing a home for early music.
Early Music On-The-Air Read More »
L’Arpeggiata reconstructs the piece (via varied instrumentation and “orchestration“) in a way that allows one to truly appreciate the immense freedom we have as historically-informed performers. When all one has in a score is two voice parts and a basso continuo line (as in this case), one’s imagination is invited to run wild to create
Giovanni Girolamo Kapsberger: “Sonino, scherzino” Read More »
