[SEATTLE, WA]-Early Music America has published the Summer 2011 issue of its quarterly publication, Early Music America magazine. Call 1-888-SACKBUT or email firstname.lastname@example.org now to request a complimentary copy.
NOTABLE IN THIS ISSUE:
BEMF 2011: Celebrating 30 Years with Metamorphoses
Gary Freeman previews this year’s Boston Early Music Festival whose theme is spun from Metamorphoses, an epic poem written in the early 1st century by the Roman poet Ovid. The Festival's centerpiece opera features the North American premiere of Agostino Steffani's Niobe, regina di Tebe.
Excerpt: “'I have been a fan of Steffani's music for more than 20 years,' says Paul O'Dette, joint musical director with Stephen Stubbs of the Boston production. 'I started collecting Steffani's operas and eventually went through all of them, note by note, always hoping we would find an opportunity to present one at BEMF someday.'"
Also featured at BEMF: “Early Music America Events at BEMF, June 13-18” including EMA’s Young Performers Festival.
Contextual Improvisation, or Why Swat Flies with a Frisbee?
Tina Chancey argues that modeling your improvisation on written music chains you to the page and shackles a musician’s creativity. She offers a new model that is process-driven, not text-driven; collaborative, not soloistic; fluid, not fixed.
Excerpt: “Without a piece of music in front of us, what’s our safety net? Comfort with the process; trust in our collaborators; a healthy appreciation of mistakes; experience working the guidelines; and practice filling in those guidelines using re-purposed tools and new skills.”
Starting Them Early in Seattle
Anthony Martin writes about Seattle-based violinist Shulamit Kleinerman’s efforts to engage young people into early music by creating programs through Seattle Historical Arts for Kids.
Excerpt: “It is worth articulating what is significant about Kleinerman’s approach to education. It does not come from an adult performing arts organization seeking to supplement its funding by creating an educational subunit, nor is it an attempt to fit into the pre-existing curriculum of a broader educational establishment. Instead, the material and students are treated as worthy endeavors in and of themselves.”
Also in this issue:
Profile: Robert Mealy and the Yale Baroque Ensemble by Craig Zeichner
The Rebirth of the Angular Harp by Bo Lawergren
In Conclusion: Playing a game of HIP Jeopardy! by Mark Kroll
Plus Recording Reviews, Book Reviews, and Sound Bytes (news from the field).
About Early Music America
Early Music America serves and strengthens the early music community in North America and raises public awareness of early music. EMA was founded in 1985 and provides its 3,000 members with publications, advocacy, and technical support. EMA publishes the quarterly magazine Early Music America. “Early music” includes western music from the Medieval, Renaissance, Baroque, and Classical periods, performed on period instruments in historically-informed styles. For more information, contact Early Music America at 206-720-6270 or 888-SACKBUT, or visit our web site at www.earlymusic.org.
Patrick Nugent, Publicity Director
206-720-6270; fax 206-720-6290