Archives: Web Articles

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.

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

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

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

This is a haunting meoldy of loss, the loss of love and the loss of the Sephardic world. The performance shows off the way a great ensemble can make a ballad of many verses and repeats infinitely interesting. Laurie Camm Arizona Early Music Society EMA Board Member