DOCSLIB.ORG

2016/17 Media Pack

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2016/17 Media Pack 2016/17 MEDIA PACK www.earlymusictoday.com Innovative and dynamic opportunities to promote your brand ABOUT EARLY MUSIC TODAY Early Music Today embraces all those who enjoy playing, singing or listening to early music. It spans all aspects of the subject, with features on today’s top performers, issues of performance practice, innovative early music projects and festivals taking place all over the world. Our news and views section keep readers up to date with the latest events and discoveries in the early music world, while our reviews of CDs, DVDs, books and performances are written by some of the country’s top early music specialists. Our listings section also offers comprehensive coverage of concerts happening across the UK. For those looking for an introduction to early music right up to the conservatoire student, Early Music Today is the definitive guide to the early music scene. ‘THERE ARE VERY FEW PUBLICATIONS THAT SO EFFECTIVELY COMBINE THE WORLDS OF “THE BUSINESS” AND “THE ART” AS EFFECTIVELY AND SEAMLESSLY AS EARLY MUSIC TODAY, A MAGAZINE WHICH NO DOUBT MANY PROFESSIONALS AND AMATEUR MUSIC-LOVERS ALIKE REACH FOR TO KEEP UP WITH THE BUSY WORLD OF EARLY MUSIC. MANY CONGRATULATIONS TO THIS EXCEPTIONAL MAGAZINE FOR ITS CONTINUED SUCCESS!’ Mahan Esfahani www.earlymusictoday.com WHY ADVERTISE WITH EARLY MUSIC TODAY? Established over 20 years ago, EMT actively engages with all aspects of early music making in the UK and abroad and boasts a readership ranging from ardent medievalists to baroque aficionados. We have the largest audience for the early music genre and as part of the Rhinegold Publishing stable, we are at the centre of the classical music industry. As well as our subscribers, Early Music Today is distributed to members of several major music organisations through our digital partnership scheme, as well as with all subscription copies of our sister title Classical Music. THE FACTS » Frequency: quarterly » Readership: 12,000 (plus 20,000 Classical Music readers) » Regular advertisers: The Sixteen, American Bach Soloists, Gimell, Early Music Shop, Yale, Chandos, early music festivals, top instrument makers » Geography: Early Music Today’s audience is truly global, with only 48% of our total readership based in the UK. While almost 90% of our print readers reside in the UK, our growing digital audience is nearly 60% non-UK OUNT M KATE KATE ICHMOND R RIC Handelian experts E Adrian Horsewood speaks to the BROOK STREET BAND about their undiminished enthusiasm for the music of Britain’s best-loved German musical import pon meeting the Brook Street sense, a task begun a decade ago: the the help of the keen ears of sound Band, one quickly learns that Band’s second CD was of the Op. 5 engineer Simon Fox-Gál, who has there are two things more collection of trio sonatas, and they produced all of the Band’s CDs; he’s dear to their collective hearts released the Op. 2 set in 2013). clearly now an important part of the Uthan nearly anything else. The first, As we sat outside on some of the gang, which only adds to the openness quite naturally, is the music of Georg gravestones, basking in the late summer and good nature of the sessions). From Frideric Handel — the group takes its Norfolk sunshine, Theo talks me time to time the discussion between name from the address of the through the background to the pieces takes grows fairly animated and composer’s main London residence — they’re tackling. ‘It’s all music from fairly opinions are insistently put across, but which has been the bedrock of the early in Handel’s career, from Italy in it’s always focused, friendly, and firmly Band’s work since its founding in 1996. 1707 to his voyage to Dresden in 1719. music-orientated. Finally, the infelicities The second, slightly less expectedly, is He has such a reputation for being a are ironed out, the players loosen up, food: when I caught up with the Band it great “recycler’ of music — both his own and soon they’re all smiling, even in the was during their lunch break in the and other people’s — and if you love middle of some fiendish passages. middle of a day of recording, and after Handel as I do, it’s great fun to spot ‘We often come together for a tucking into one of the most sumptuous where the same material pops up in recording and consciously start with a Gothic revival inter-session spreads I’ve ever seen, different places! Some of what we’re clean slate, even if it’s a piece that we’ve GOTHIC VOICES made headlines in the 1980s with one of the best-selling classical most of our conversation strands seemed recording this time turns up in the later played hundreds of times before,’ to turn themselves back towards the trio sonatas and even in an organ remarks Theo in the next break. ‘We’ve albums of all time, but they’ve never rested on their laurels, as Edward Breen discovers topic of cooking, or ingredients, or concerto.’ played together so much and for so long picnics … If this sounds flippant, there is a more he re-emergence of Gothic of partially texted or completely through descriptions of music-making in serious side to this observation; namely, We’ve played together so much and for so long Voices earlier this year proved un-texted musical lines in manuscript medieval romances and with Gothic that such a lively shared interest — that we know what every gesture, every breath, just the tonic for those of us sources and was further justified by the Voices realized his findings through a ‘Food is important to us!’ laughs Tatty mourning the retirement of the inability of many pre-early music revival series of sensational albums. It is worth Theo, the Band’s cellist and founding every raised eyebrow means THilliard Ensemble. Considering that both performers to sing with clarity of revisiting some key tracks here: member — has helped to create a strong produced chart-topping discs featuring ensemble. Medieval music was therefore bond between the members of the medieval music – itself no mean feat – presented horizontally: a woven fabric of COLUMBA ASPEXIT group. This, allied to the relatively stable After the extended lunch break, the that we know what every gesture, every there is a pleasing symmetry to such a melodies each demanding aural A feather on the breath of God: Sequences and line-up of the Band — harpsichordist Band launches into a fresh piece, a breath, every raised eyebrow means! In recalibration of the medieval vocal scene. delineation. Richard Rastall once Hymns by Saint Hildegard of Bingen Carolyn Gibley joined in 1999, violinist sonata in B flat, the fiery semiquavers of fact, we don’t even always rehearse a Gothic Voices enjoy a well-earned memorably dubbed this the ‘crumhorn- Hyperion CDA66039 (1981) Farran Scott not long after, while fellow the outer movements serving to shake programme on the day of a performance reputation as trailblazers in performance with-everything’ approach. Commissioned by Ted Perry of Hyperion violinist Rachel Harris was also there at off any post-prandial torpor. It’s clear — we’re happy to take things as they practice, having recorded over 300 pieces During the 1970s a combination of Records after hearing an early Gothic the beginning with Theo but took a that spontaneity and fresh thinking are come in the concert and respond in the of music each with exquisite musicological research and deft singing Voices broadcast, this album proved a temporary sabbatical a few years ago — crucial to its way of working as, after a spur of the moment to a different thoughtfulness, precision and poignancy. disrupted that status quo. Notably, huge success. The combination of means that the group has a close-knit, couple of complete takes, the four phrasing here or a change in articulation Such collective history is neatly Andrew Parrott’s a cappella performance Hildegard’s melodic fluidity, Emma yet relaxed, dynamic, which is musicians stop for extended discussion there.’ encapsulated in their tag line: of Machaut’s Messe de Nostre Dame in the Kirkby’s soaring vocals and the mesmeric immediately clear when watching them and dissection in which each is happy The new disc will be released in 2016, ‘unaccompanied close medieval first York Early Music Festival (1977) sent effect of drones have kept this album at in action. both to offer and receive detailed to coincide with the culmination of the harmonies’, and for those unaware of ripples amongst scholars of medieval the top of Hyperion’s sales lists. The quartet had retired to their usual comments on stylistic and technical Band’s 20th anniversary season, an all- the musicology synonymous with this music. Christopher Page, the founder of venue of St Andrew’s church on the aspects. Harris remarks that the piece is Handel (of course) concert at the ensemble, allow me to indulge in a Gothic Voices, remembered how Parrott’s ROSE, LIZ, PRINTEMPS, Raveningham estate, 15 miles south-east clearly ‘the work of a composer writing Wigmore Hall featuring some of the quick recap. ‘dignity of conception, and the complete VERDURE of Norwich — all but one of their CDs keyboard lines for string instruments — group’s most popular and successful Until the late 1970s scholars of absence of triviality, gimmickry and The Mirror of Narcissus: Songs by Guillaume (all released by Avie Records) to date all the string figurations are the “wrong” repertoire. ‘Two of our longest-standing medieval music performance prescribed undue haste, left a profound impression’. de Machaut have been recorded there — to record way round for the bow!’ colleagues, soprano Nicki Kennedy and instrumental participation.
Load more

Recommended publications
  • Transcripts of Dramatic Musical Works in Full Score at the Library of Congress
    TRANSCRIPTS OF DRAMATIC MUSICAL WORKS IN FULL SCORE AT THE LIBRARY OF CONGRESS MUSIC DIVISION Compiled by Susan Clermont Senior Music Specialist Library of Congress Music Division A BIBLIOGRAPHY OF TRANSCRIPTS OF DRAMATIC MUSICAL WORKS IN FULL SCORE AT THE LIBRARY OF CONGRESS This bibliography comprises close to 700 transcripts of dramatic musical works in full score copied from original music manuscripts and early imprints for the Library of Congress’s Music Division between 1903 and 1939. The original sources were located in over three dozen European libraries in Austria, Belgium, France, Great Britain, Germany, Hungary, Italy and Russia. The majority of the operas cited in this document date from the seventeenth and eighteenth centuries; about fifteen percent are reproductions of nineteenth-century works. Also included in this bibliography are transcripts of incidental music for dramas, melodramas, ballets, and pantomimes (see Appendix B). Finally, Appendix C comprises a short list of instrumental works, mostly for viola da gamba, that were transcribed over a two-year period when the parameters of this project were provisionally broadened. In 1902, a new set of guidelines for the systematic development of the newly-reorganized Music Division’s collections was instituted: opera immediately received a considerable share of attention because, “the peculiar condition of opera in the United States seemed to demand that a center of reference and research be created for the students of opera.” [Oscar Sonneck, Dramatic Music: Catalogue of Full Scores…, 1908] Accordingly, a series of “want lists” were compiled; however, when it was determined after a comprehensive search that hundreds of items included on the Music Division’s desiderata list for operas in full score were unprocurable in manuscript or print versions, the option of contracting copyists to generate transcripts was explored.
    [Show full text]
  • Kultura Liberalna, November 29, 2011 - Aleksander Laskowski
    Kultura Liberalna, November 29, 2011 - Aleksander Laskowski […] Z wielką ciekawością, podsycaną wspomnieniem ich poprzedniej płyty, sięgnąłem po nowy album zespołu Concerto de’ Cavalieri Marcello Di Lisa, nagrany ze znakomitą śpiewaczką Danielą Barcelloną (mezzosopran). Nową płytę Di Lisa w całości poświęcił muzyce Alessandra Scarlattiego. Przygotowanie tych nagrań wymagało ogromnego wysiłku, jako Ŝe najpierw konieczne było opracowanie źródeł. „Muzyka operowa Alessandra Scarlattiego - mówi Marcello Di Lisa - jeśli nie liczyć najsłynniejszych tytułów, w większości jest niewydana, nie tylko na płytach, ale brakuje teŜ krytycznych edycji i urtextów . Pierwszym krokiem było więc zebranie manuskryptów rozproszonych po bibliotekach Włoch i całej Europy. Musiałem analizować źródła i konfrontować je ze sobą. Zajęło to niemal rok, w czasie którego powstał teŜ ogólny zarys programu płyty, która zawierać miała ostatnich sześć drammi per musica Scarlattiego: trzech napisanych dla Rzymu, dokładniej zaś dla Teatro Capranica – «Telemaco» (1718), «Marco Attilio Regolo» (1719), «Griselda» (1721) i trzech skomponowanych dla Neapolu, wystawionych po raz pierwszy w Teatro San Bartolomeo – «Tigrane» (1715), «Carlo re d’Allemagna» (1716) i «Cambise» (1719)”. Z utworów tych Di Lisa wybrał uwertury i arie, które budują spójną, energetyczną narrację płyty, a jednocześnie pokazują kompozytorską wszechstronność Scarlattiego. WaŜnym elementem całego przedsięwzięcia była praca nad tekstem, zwłaszcza Ŝe libretta do jego oper pisali znani w epoce literaci, tacy jak Apostolo Zeno, Francesco Silvano, Domenico Lalli, Matteo Noris i Carlo Sigismondo Capeci, a ich dzieła wybijają się wysoko ponad operową przeciętność epoki. „TakŜe muzyka Scarlattiego, inaczej niŜ Haendla czy Vivaldiego – uwaŜa Marcello Di Lisa – zawiera istotny komponent intelektualny, bowiem kompozytor rzadko godził się na kompromis, który zaowocowałby fajerwerkami dla primadonny czy kastrata.
    [Show full text]
  • La Cultura Italiana
    LA CULTURA ITALIANA ALESSANDRO SCARLATTI (1660-1725) This month’s essay is about one of the important composers of the Italian Baroque period— Alessandro Scarlatti. He was most famous for his operas and chamber cantatas. During his life- time, he composed over 600 cantatas, more than 115 operas, many oratorios, serenatas, sonatas, and also many important works of sacred vocal music. Although very popular during his lifetime, his historical position declined soon after his death and his reputation was not rehabilitated until the early 20th century. He is considered the founder of the Neapolitan School of opera that was so influential in the development of 17th- and 18th-century opera. It rapidly improved the predominantly provincial status of music in Naples, changing it into a sophisticated and enduring tradition. (Some critics argue that modern opera as we know it begins with Scarlatti). His compositions include some of the most popular operas of his day, among them Gli Equivoci nel Sembiante (The Misunder- standings in the Countenance, 1679) and La Griselda (1721). His secular cantatas also merit rec- ognition, as they are often considered the final flowering of that genre. In addition, he was also the father of two 18th-century composers: one of whom was the most famous keyboard composer of the 18th century, Domenico Scarlatti, (see my previous essay about him under “La Cultura Italiana” on our website) and Pietro Filippo Scarlatti. PIETRO ALESSANDRO GASpaRE SCARLATTI was born in Palermo, Sicily (then known as the Kingdom of the Two Sicilies) on May 2, 1660 to Pietro Scarlata (an older form of the family name) and Eleonora d’Amato.
    [Show full text]
  • Venetian Opera Libretti Author Index
    Venetian Opera Libretti Author Index A., A. [Aureli, Aurelio] (revisions); [Riva, Pietro] Abbati, Gio. Battista (text); [Boniventi, Gr; W; Son (text); Colletti, Agostino Giuseppe] Gr; W; Son; NG (music). Bonaventura (music). La Virtu' Tra' Nemici. L'Ifigenia. Venezia Appresso Marino Rossetti, in Merceria Venezia Appresso Marino Rossetti Libraro alla Pace all'insegna della Pace. MDCCXVIII in Merzeria. MDCCVII 1718 no. 4; Consacrato A Sua Eccellenza il Sig. 1707 no. 1; 30 leaves, pp. [1-2] 3-59 [60].; Three acts Francesco Bembo.; 30 leaves, pp. [1-10] 11-59.; (I.19 II.20 III.10).; Title page [1]; "Argomento" (3-6); Three acts (I.11 II.15 III.[17]).; Title page [1]; "Al lettore" by A. A. [Aurelio Aureli] who states he dedication by Gio. Battista Abbati [3-5]; has revised the text and who cites the composer (7-8); "Argomento" [6-7]; "Cortese lettore" [8]; "Attori" (9); "Scene" (10); text (11-59); in ms. "Interlocutori" in which the singers are cited; a new "Dom.co Molino" and some notations [60]. list is pasted over the last five, changing the order [see below, in brackets] [9]; "Mutazioni di scene" Genre: Dramma per Musica [10]; text (11-59). Roles: Agamenone, Ifigenia, Erifile, Deidamia, Achille, Patroclo, Aiace, Coro di Genre: Drama per Musica Vergini Micene, Coro di Capitani e Soldati, Roles: Olderico, Aspasio, Amage, Sofisbe, Coro di Guardie Reali, Sacerdote Silvio, Ormonte, Berenice Theater: S. Angelo Theater: S. Moisè Singers: Braganti, Francesco (Olderico); Reel: 22 Natali, Francesco, detto il Perugino (Aspasio); Machari, Costanza, Romana (Amage); A., An. [Arcoleo, Antonio] Gr; Sal; Son; NG [Machari, Costanza, Romana (Amage)]; (text); Gabrieli, Domenico (music).
    [Show full text]
  • Musicians' Mobilities and Music Migrations in Early Modern Europe
    Gesa zur Nieden, Berthold Over (eds.) Musicians’ Mobilities and Music Migrations in Early Modern Europe Mainz Historical Cultural Sciences | Volume 33 Editorial The Mainzer Historische Kulturwissenschaften [Mainz Historical Cultural Sciences] series publishes the results of research that develops methods and theories of cultural sciences in connection with empirical research. The central approach is a historical perspective on cultural sciences, whereby both epochs and regions can differ widely and be treated in an all-embracing manner from time to time. Amongst other, the series brings together research approaches in archaeology, art history, visual studies, literary studies, philosophy, and history, and is open for contributions on the history of knowledge, political culture, the history of perceptions, experiences and life-worlds, as well as other fields of research with a historical cultural scientific orientation. The objective of the Mainzer Historische Kulturwissenschaften series is to be- come a platform for pioneering works and current discussions in the field of historical cultural sciences. The series is edited by the Co-ordinating Committee of the Research Unit His- torical Cultural Sciences (HKW) at the Johannes Gutenberg University Mainz. Gesa zur Nieden, Berthold Over (eds.) Musicians’ Mobilities and Music Migrations in Early Modern Europe Biographical Patterns and Cultural Exchanges The print was financed by the Research Unit Historical Cultural Sciences (HKW). Publication of the HERA-JRP »MusMig« financed by: An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative in- itiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3504-5.
    [Show full text]
  • Venetian Opera Libretti Reel Listing
    Venetian Opera Libretti Reel Listing B., G. [Badoaro, Giacomo] Gr; Sal; NG (text); Busenello, Gio. Francesco (text); [Cavalli, [Monteverdi, Claudio] Gr; Sal; NG (music). Francesco] Gr; Sal; Son; NG (music). Il Ritorno d'Ulisse in Patria. Gli Amori D'Apollo, E Di Dafne. 1641 Venetia Appresso Andrea Giuliani Si vende da 1640-41 no. 8; di G. B. G. V.; 60 leaves, pp. [1-120]. Giacomo Batti Libraro in Frezzaria. MDCLVI Entirely manuscript; all pages unnumbered.; 1640-41 no. 1; 34 leaves, pp. [4] 1-64. Page 36 Prologue and five acts (I.9 II.7 III.7 IV.3 V.10).; Act misnumbered 32.; Prologue and three acts (I.8 II.8 III scene 3 contains a ballo.; 1. Qui escono 8 Mori III.6).; Prologue ends with a ballo; Act I scene 4 and che fanno un Ballo Greco cantato con li seguenti Act III scene 5 contain balli.; 1. Ballo de Fantasmi; 2. versi.; Title page [1]; "Interlocutori" [3]; "Prologo" Ballo [di Ninfe e Pastorelli]; 3. Ballo de Fiori; Title [4-5]; text [5-120]. page [1]; dedication by Gio. Francesco Busenello to "Eminentissimo Prencipe" [Cardinal Ottoboni, see Genre: [unspecified genre] no. 52], dated Venice, 10 September 1656 ([3-4] 1- Roles: Prologo Il Fato, La Prudenza, La 5); "Argomento" (6-7); "Interlocutori" and "Indice Fortezza; Giove, Nettuno, Minerva, Giunone, delle Opere" (8); "Prologo" (9-10); text (11-64). Mercurio, Ulisse, Penelope, Telemaco, Antino, Pisandro, Anfinomo, Eurimaco, Genre: Rappresentati In Musica Melanto, Eumete, Iro, Ericlea, Choro di Roles: Prologo Sonno, Panto, Itaton, Morfèo; Naiadi, Choro di Sirene, Choro di Nereidi, Titon, Aurora, Cirilla Vecchia, Alfesibèo, Choro di Celesti, Choro di Maritimi, Choro di Dafne, Filena, Cefalo, Apollo, Procri, Penèo, Feaci, Choro di Itacensi Pan, Giove, Venere, Amore, Choro di Ninfe, Theater: [S.
    [Show full text]
  • Die Offiziumskompositionen Von Alessandro Scarlatti
    Benedikt Poensgen Die Offiziumskompositionen von Alessandro Scarlatti I. Band: Zur Biographie und zu den Offiziumskompositionen Alessandro Scarlattis DIE OFFIZIUMSKOMPOSITIONEN VON ALESSANDRO SCARLATTI I. Band: Zur Biographie und zu den Offiziumskompositionen Alessandro Scarlattis Dissertation zur Erlangung der Würde des Doktors der Philosophie der Universität Hamburg vorgelegt von BENEDIKT JOHANNES POENSGEN aus Düsseldorf Hamburg 2004 1. Gutachterin: Frau Priv. Doz. Dr. Dorothea Schröder 2. Gutachter: Herr Professor Dr. Hans-Joachim Marx Tag des Vollzugs der Promotion: 15. Dezember 2004 Inhalt Einleitung VI I. Zur Biographie von Alessandro Scarlatti unter besonderer Berücksichtigung seiner Karriere als maestro di cappella in Rom und Neapel 1. Palermo und Rom, 1660-1683 1 2. Neapel, 1683-1703 11 3. Rom und Florenz, 1703-1709 24 4. Neapel und Rom, 1709-1725 43 II. Quellenkritische Untersuchungen an den autographen Handschriften mit einer Analyse der Entwicklung der Notenschrift Alessandro Scarlattis 1. Die datierten Autographe 1.1. Salve Regina [I], Februar 1703 60 1.2. Nisi Dominus [I], [1708] 68 1.3. Exultate Deo, [1708] 71 1.4. Cantantibus organis [I], 1720; Laetatus sum [II], 1721; 76 Lauda Jerusalem, [1721]; Nisi Dominus [III], [vor 1716] 2. Die undatierten Autographe 2.1. Laudate pueri [II] 98 2.2. Dixit Dominus [II] 103 III. Quellenkritische Untersuchungen an den Abschriften der Offiziums- kompositionen unter besonderer Berücksichtigung der Überlieferungs- geschichte der einzelnen Handschriften 1. Die datierten zeitgenössischen Abschriften 1.1. Domenico Scarlatti 112 1.2. Tommaso Altavilla 119 1.3. Kopist IX 124 1.4. Antonio Angelini und die Kopisten I, III und VIII 126 1.5. Kopist V und Kopist VI 133 2.
    [Show full text]
  • SCARLATTI, OPERA ARIAS, Rassegna Stampa Completa
    Muse Baroque, September 2011 - Pedro Octavio Diaz ENTRETIEN AVEC MARCELLO DI LISA Alessandro Scarlatti a fait ses débuts dans le palais de la reine Christine de Suède à Rome, il avait 19 ans. Il a eu de ce fait une des carrières musicales les plus longues de l’histoire. Trouve-t-on une évolution dans son style entre 1679 et 1725? Alessandro Scarlatti a vécu et créé dans une période cruciale pour la culture européenne, et plus particulièrement pour l’histoire de la musique. Il s’agit de l’époque où le style concertant s’imposait de plus en plus face au style traditionnel d’ascendance palestrinienne. Les œuvres de Scarlatti sont une preuve éloquente de cette évolution, dans le sens où les éléments traditionnels, appliqués avec un savoir faire raffiné, coexistent souvent avec l’intention d’introduire et d’expérimenter toutes les formes de la modernité. Scarlatti, dans les faits, peut-être plus que ses contemporains, a développé la tradition du XVIIème siècle et a accru son potentiel, inspirant de ce fait beaucoup de compositeurs qui deviendront les fers de lance de leur temps. Pouvez-vous définir l’originalité des œuvres dramatiques d’Alessandro Scarlatti en comparaison de celles de Händel ou Vivaldi, pour situer le génie de ce compositeur? Haendel autant que Vivaldi doit à Alessandro Scarlatti une grande partie de son succès opératique, et la musique de Haendel en général s’appuie sur les œuvres du vieux maître italien. À la différence des deux précédents, Scarlatti, néanmoins, a toujours composé d’une manière intellectuelle, ex cathedra , pour ainsi dire, très rarement en tombant dans le piège de la mode pour mettre en avant les talents de la prima donna ou du castrat.
    [Show full text]