I was writing a research paper in undergraduate school on Antonio Vivaldi’s L’Estro Armonico, Op. 3, discussing the differences between concerto and concerto grosso. I picked some old recording in the library to listen to, but I wasn’t particularly inspired. After meeting with my musicology professor, he said, “Oh no. Listen to THIS recording by […]
Antonio Vivaldi: “L’Estro Armonico” Op. 3 Read More »
Coinciding with the culmination of Quebec’s Revolution Tranquille (1960-1975), an increasing awareness of the non-conformist early-music movement in Europe started spreading in the province as recordings were made available in the early 1970s.
The Advent of Early Music in Quebec Read More »
My friend, the wonderful lutenist/guitarist and scholar, Daniel Zuluaga introduced this piece to me. The text is by the renowned Mexican poet and intellectual Son Juana Inés de la Cruz (1651-1695) whose beautiful poetry employs a syncopated cadence on the last word of each line. The composer and alto Andrés Flores’ (1690-1754), who was a
Andrés Flores: “A este edificio célebre” Read More »
I came to early music through my love for the traditional music of Ireland and the Irish language, so when I discovered the compositions of the blind Irish harper Turlough O’Carolan (Gaeilge: Toirdhealbhach O’Cearbhallain), it was love at first listen. Bridget Cruise was the daughter of a noble family. O’Carolan fell in love with her
Turlough O’Carolan: Bridget Cruise Read More »
Monteverdi’s “Duo Seraphim,” from the Vespers of 1610, is in my ear because I am teaching a course about Milton’s Paradise Lost (1667). This very musical English Puritan — his father was a composer; he himself played the gamba and the organ, and loved to sing — is as far removed from the Italian and
Claudio Monteverdi: Vespers of 1610 “Duo Seraphim” Read More »
