The countertenor’s commitment to early music remains solid, even as the larger entertainment world has discovered his unique talents. You sense that Holiday’s intense desire to communicate informs his cabaret act as much as his Baroque opera.
Enjoying the Ride with Countertenor John Holiday Read More »
If you’ve ever sung or played a madrigal from an edition on IMSLP, you’ve probably engaged with the work of Allen Garvin, whose International Music Score Library Project corpus surpassed two thousand uploads last year.Â
Art of the Amateur: A Computer Programmer Uploads a Lifetime of Renaissance Music Read More »
The only known extant works for viola da gamba in British Colonial America are found in the James River Music Book, a manuscript that has resided in Virginia since the 1730s and contains 15 works for solo viola da gamba, among other musical items. The earliest layer of the JRMB holds music by Lully, Purcell, and Handel, nearly doubling the page count of surviving instrumental music from the period and contributing repertoire for viola da gamba, organ, harpsichord, violin, and voice to the music now known to have been played in colonial Virginia. This article was first published in the May 2020 issue of EMAg.
Viols to Virginia, Music in Colonial America Read More »
In February, William Christie came to New York as part of his annual residency with the Juilliard School’s Historical Performance program. He noticed a sea change in attitude on the American scene toward the study of historically informed practice.
William Christie on the American Scene Read More »
Celebrating International Women’s Day: The careers of Viennese composer Marianna Martines and Roman composer Maria Rosa Coccia mirrored one another in key respects. But the differences are fascinating, and revealing: While one was born into privilege and carefully cultivated her public image, the other seemed to suffer from fewer social connections and a more bold approach to her public persona.
Women Composers and the Risks of Authorship Read More »
