Sunday, January 1
New Year's Celebration
Boston Baroque (Martin Pearlman, director)
Boston Baroque rings in the New Year with Bach’s Brandenburg Concerto No. 6 and Telemann’s Concerto in E minor for Recorder and Flute. This hour-long program is the ideal way to kick off 2023 with family and friends both near and far.
3pm - Sanders Theater, Harvard University, Cambridge, MA
https://baroque.boston
Boston Baroque (Martin Pearlman, director)
Boston Baroque rings in the New Year with Bach’s Brandenburg Concerto No. 6 and Telemann’s Concerto in E minor for Recorder and Flute. This hour-long program is the ideal way to kick off 2023 with family and friends both near and far.
3pm - Sanders Theater, Harvard University, Cambridge, MA
https://baroque.boston
Berkshire Bach at New Year’s: A Baroque Concerto Showcase
Eugene Drucker, conductor and violin; The Berkshire Bach Players
Nine-time Grammy Award winner and Music Director Eugene Drucker leads The Berkshire Bach Ensemble in a special program that showcases the virtuosity of The Society’s individual musicians--playing violin, viola, cello, flute, oboe, trumpet, and harpsichord--in single, double, and even triple concertos. The program includes Bach’s double violin concerto, one of Telemann’s suites from his Tafelmusik, and works by Handel and Vivaldi. Start your New Year on a high note!
3pm - Troy Savings Bank Music Hall, 30 Second Street, Troy, NY 12180
$45
https://berkshirebach.org/events
Eugene Drucker, conductor and violin; The Berkshire Bach Players
Nine-time Grammy Award winner and Music Director Eugene Drucker leads The Berkshire Bach Ensemble in a special program that showcases the virtuosity of The Society’s individual musicians--playing violin, viola, cello, flute, oboe, trumpet, and harpsichord--in single, double, and even triple concertos. The program includes Bach’s double violin concerto, one of Telemann’s suites from his Tafelmusik, and works by Handel and Vivaldi. Start your New Year on a high note!
3pm - Troy Savings Bank Music Hall, 30 Second Street, Troy, NY 12180
$45
https://berkshirebach.org/events
Monday, January 2
Berkshire Bach at New Year’s: A Baroque Concerto Showcase
Eugene Drucker, conductor and violin; The Berkshire Bach Players
Nine-time Grammy Award winner and Music Director Eugene Drucker leads The Berkshire Bach Ensemble in a special program that showcases the virtuosity of The Society’s individual musicians--playing violin, viola, cello, flute, oboe, trumpet, and harpsichord--in single, double, and even triple concertos. The program includes Bach’s double violin concerto, one of Telemann’s suites from his Tafelmusik, and works by Handel and Vivaldi. Start your New Year on a high note!
3pm - The Academy of Music, Main Street, Northampton, MA 01060
$45
https://berkshirebach.org/events
Eugene Drucker, conductor and violin; The Berkshire Bach Players
Nine-time Grammy Award winner and Music Director Eugene Drucker leads The Berkshire Bach Ensemble in a special program that showcases the virtuosity of The Society’s individual musicians--playing violin, viola, cello, flute, oboe, trumpet, and harpsichord--in single, double, and even triple concertos. The program includes Bach’s double violin concerto, one of Telemann’s suites from his Tafelmusik, and works by Handel and Vivaldi. Start your New Year on a high note!
3pm - The Academy of Music, Main Street, Northampton, MA 01060
$45
https://berkshirebach.org/events
Friday, January 6
Beethoven + Mozart
Handel & Haydn Society; Aisslinn Nosky, director and violin
Our brilliant concertmaster solos in H+H’s premiere of Mozart’s youthful violin concerto, full of engaging melodies and grace. The bold tempos and dynamics of Beethoven’s First Symphony caused a stir in Vienna, and you’ll hear it as those surprised audiences did, sounding as vibrant and lively as on the day of its premiere. Opening the concert: H+H’s first ever performance of the spirited music of Marianna Martines, highly regarded in her times as a composer, keyboardist, and singer who was Haydn’s downstairs neighbor and part of Mozart’s musical circle.
7:30pm - Symphony Hall, Boston, MA
Website
Handel & Haydn Society; Aisslinn Nosky, director and violin
Our brilliant concertmaster solos in H+H’s premiere of Mozart’s youthful violin concerto, full of engaging melodies and grace. The bold tempos and dynamics of Beethoven’s First Symphony caused a stir in Vienna, and you’ll hear it as those surprised audiences did, sounding as vibrant and lively as on the day of its premiere. Opening the concert: H+H’s first ever performance of the spirited music of Marianna Martines, highly regarded in her times as a composer, keyboardist, and singer who was Haydn’s downstairs neighbor and part of Mozart’s musical circle.
7:30pm - Symphony Hall, Boston, MA
Website
Saturday, January 7
Tunes from Tudor Times
Miyo Aoki, recorder
The long period during which the Tudor family held the English throne (1485-1603) was a time of great instability and strife which also saw remarkable cultural growth and development. A rising middle class created a market for amateur music-making in the home, music-loving monarchs like Henry VIII supported a rich musical culture at court, and shifting religious and political alignments forced composers to be flexible and creative to survive in a divided and rapidly changing society. We will explore the musical trajectory of the Tudor years through pieces that might have been heard at court, in church, or in the home, by composers such as Christopher Tye, William Cornysh, and King Henry VIII himself. Open to: recorders intermediate and up (other winds also welcome, as well as viols playing on lower lines) Pitch: A=440
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Miyo Aoki, recorder
The long period during which the Tudor family held the English throne (1485-1603) was a time of great instability and strife which also saw remarkable cultural growth and development. A rising middle class created a market for amateur music-making in the home, music-loving monarchs like Henry VIII supported a rich musical culture at court, and shifting religious and political alignments forced composers to be flexible and creative to survive in a divided and rapidly changing society. We will explore the musical trajectory of the Tudor years through pieces that might have been heard at court, in church, or in the home, by composers such as Christopher Tye, William Cornysh, and King Henry VIII himself. Open to: recorders intermediate and up (other winds also welcome, as well as viols playing on lower lines) Pitch: A=440
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
The Big Bang: Playing Percussion in Medieval and Renaissance Music
Peter Maund, percussion
This class is an introduction to the instruments that were used, their basic playing techniques,and how to create parts. We'll play percussion-friendly music from Medieval and Renaissance Spain, France, Italy and England. Participants can play melody instruments (A=440) and/or percussion instruments. (Participants without drums can use common household percussion instruments, such as pots, wastebaskets or cardboard boxes. Preferably empty.)
Open to all! Pitch: A=440
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Peter Maund, percussion
This class is an introduction to the instruments that were used, their basic playing techniques,and how to create parts. We'll play percussion-friendly music from Medieval and Renaissance Spain, France, Italy and England. Participants can play melody instruments (A=440) and/or percussion instruments. (Participants without drums can use common household percussion instruments, such as pots, wastebaskets or cardboard boxes. Preferably empty.)
Open to all! Pitch: A=440
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
A Story of Hope in the Voice of the New World
Crescendo: Rebecca Palmer, Jayne Segedy, sopranos; tenor José Ignacio Lagos, tenor; José Sacín, baritone; Job Salazar, violin, percussion; Carlos Boltes, charango, ronroco, viola; Christa Patton, harp; Christine Gevert, keyboards (Founding Artistic Director)
Voices and instruments bring alive Hispanic Renaissance polyphony from late 16th to early 17th cent. music manuscripts, found in convents of Northwest Guatemala, and vocal and instrumental music from the Peruvian Martinez Comapañón Codex. The “Latin American mss. Guatemala music manuscripts'' are a collection of vocal works of Spanish and Indigenous Renaissance compositions from c. 1570 to 1635 that were used in the villages of Santa Eulalia, San Juan Ixcoi, and San Mateo Ixtatan in the commune of Huehuetenango in northwest Guatemala. Some works were written by native Mayans, and others were brought by missionaries and are mostly Spanish works. The “Martínez Compañón Codex'', also called the “Trujillo Codex'' is a manuscript that brings together more than 1,400 watercolors and 20 scores, and which was commissioned by Baltasar Martínez Compañón, Bishop of Trujillo between 1780 and 1790. The musical pieces are mostly popular songs and tunes as well as religious songs from northern Peru. While they were mostly composed in European style, many of them show the influence of native rhythms and genres of the Peruvian coast and highlands. The watercolors illustrate the customs and ways of life of northern Peru, showing dances brought there by the native and African populations that lived in this area during the 18th century.
5:30pm - Trinity Church, Lakeville, CT, 484 Lime Rock Rd Lakeville, CT 06039
Tickets are $40 general admission, $75 premium (preferential seating), and $10 for youth under 18 years.
https://crescendomusic.org
Crescendo: Rebecca Palmer, Jayne Segedy, sopranos; tenor José Ignacio Lagos, tenor; José Sacín, baritone; Job Salazar, violin, percussion; Carlos Boltes, charango, ronroco, viola; Christa Patton, harp; Christine Gevert, keyboards (Founding Artistic Director)
Voices and instruments bring alive Hispanic Renaissance polyphony from late 16th to early 17th cent. music manuscripts, found in convents of Northwest Guatemala, and vocal and instrumental music from the Peruvian Martinez Comapañón Codex. The “Latin American mss. Guatemala music manuscripts'' are a collection of vocal works of Spanish and Indigenous Renaissance compositions from c. 1570 to 1635 that were used in the villages of Santa Eulalia, San Juan Ixcoi, and San Mateo Ixtatan in the commune of Huehuetenango in northwest Guatemala. Some works were written by native Mayans, and others were brought by missionaries and are mostly Spanish works. The “Martínez Compañón Codex'', also called the “Trujillo Codex'' is a manuscript that brings together more than 1,400 watercolors and 20 scores, and which was commissioned by Baltasar Martínez Compañón, Bishop of Trujillo between 1780 and 1790. The musical pieces are mostly popular songs and tunes as well as religious songs from northern Peru. While they were mostly composed in European style, many of them show the influence of native rhythms and genres of the Peruvian coast and highlands. The watercolors illustrate the customs and ways of life of northern Peru, showing dances brought there by the native and African populations that lived in this area during the 18th century.
5:30pm - Trinity Church, Lakeville, CT, 484 Lime Rock Rd Lakeville, CT 06039
Tickets are $40 general admission, $75 premium (preferential seating), and $10 for youth under 18 years.
https://crescendomusic.org
Winchendon Music Festival (Andrew Arceci, Director)
WMF presents John Arcaro & Band
7pm - Winchendon History & Cultural Center , 151 Front Street, Winchendon, MA 01475
To reserve tickets (free, but reservations required), please follow this link.
WMF presents John Arcaro & Band
7pm - Winchendon History & Cultural Center , 151 Front Street, Winchendon, MA 01475
To reserve tickets (free, but reservations required), please follow this link.
The Road to Corelli
Tres Maresienne: Lisa Brooke, violin; Carol Lewis, viola da gamba; Olive Chris Henriksen, archlute, baroque guitar.
Sonatas, toccatas, and dances from the Italian baroque, including music by Fontana, Frescobaldi, Uccellini, Roncalli, and others, culminating in Corelli's masterpieces.
8pm - Lindsay Chapel at First Church Congregational, 11 Garden St. Cambridge, MA
duomaresienne.com
Tres Maresienne: Lisa Brooke, violin; Carol Lewis, viola da gamba; Olive Chris Henriksen, archlute, baroque guitar.
Sonatas, toccatas, and dances from the Italian baroque, including music by Fontana, Frescobaldi, Uccellini, Roncalli, and others, culminating in Corelli's masterpieces.
8pm - Lindsay Chapel at First Church Congregational, 11 Garden St. Cambridge, MA
duomaresienne.com
Sunday, January 8
Beethoven + Mozart
Handel & Haydn Society; Aisslinn Nosky, director and violin
Our brilliant concertmaster solos in H+H’s premiere of Mozart’s youthful violin concerto, full of engaging melodies and grace. The bold tempos and dynamics of Beethoven’s First Symphony caused a stir in Vienna, and you’ll hear it as those surprised audiences did, sounding as vibrant and lively as on the day of its premiere. Opening the concert: H+H’s first ever performance of the spirited music of Marianna Martines, highly regarded in her times as a composer, keyboardist, and singer who was Haydn’s downstairs neighbor and part of Mozart’s musical circle.
3pm - Symphony Hall, Boston, MA
Website
Handel & Haydn Society; Aisslinn Nosky, director and violin
Our brilliant concertmaster solos in H+H’s premiere of Mozart’s youthful violin concerto, full of engaging melodies and grace. The bold tempos and dynamics of Beethoven’s First Symphony caused a stir in Vienna, and you’ll hear it as those surprised audiences did, sounding as vibrant and lively as on the day of its premiere. Opening the concert: H+H’s first ever performance of the spirited music of Marianna Martines, highly regarded in her times as a composer, keyboardist, and singer who was Haydn’s downstairs neighbor and part of Mozart’s musical circle.
3pm - Symphony Hall, Boston, MA
Website
Recreating a Medieval Hammered Clavisimbalum - The Road Less Taken
Paul Poletti, harpsichord
The manuscript of Henri Arnaut de Zwolle (1400-1466) preserved in the Bibliothèque nationale de France is the earliest surviving text describing details of the design of the organ, the lute, and strung keyboard instruments, including not only the harpsichord and clavichord, but also the first known proposal for a hammered action. Thus when the medievalist David Catalunya approached me in 2009 with the proposal of building a hammered “clavisimbalum”, it seemed only natural to begin the process there, as a number of other makers had done. Ultimately, after a careful scrutiny of the work - including a trip to Paris to examine the original - I would come to the conclusion that the text was actually of very little practical value. In this talk, we’ll be taking a deep dive into de Zwolle’s descriptions, discovering many problems and faults overlooked by generations of musicologists, after which I’ll explain the process of starting anew to re-imagine the instrument within a medieval mindset.
Open to all. Pitch: n/a
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Paul Poletti, harpsichord
The manuscript of Henri Arnaut de Zwolle (1400-1466) preserved in the Bibliothèque nationale de France is the earliest surviving text describing details of the design of the organ, the lute, and strung keyboard instruments, including not only the harpsichord and clavichord, but also the first known proposal for a hammered action. Thus when the medievalist David Catalunya approached me in 2009 with the proposal of building a hammered “clavisimbalum”, it seemed only natural to begin the process there, as a number of other makers had done. Ultimately, after a careful scrutiny of the work - including a trip to Paris to examine the original - I would come to the conclusion that the text was actually of very little practical value. In this talk, we’ll be taking a deep dive into de Zwolle’s descriptions, discovering many problems and faults overlooked by generations of musicologists, after which I’ll explain the process of starting anew to re-imagine the instrument within a medieval mindset.
Open to all. Pitch: n/a
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
A Story of Hope in the Voice of the New World
Crescendo: Rebecca Palmer, Jayne Segedy, sopranos; tenor José Ignacio Lagos, tenor; José Sacín, baritone; Job Salazar, violin, percussion; Carlos Boltes, charango, ronroco, viola; Christa Patton, harp; Christine Gevert, keyboards (Founding Artistic Director)
Voices and instruments bring alive Hispanic Renaissance polyphony from late 16th to early 17th cent. music manuscripts, found in convents of Northwest Guatemala, and vocal and instrumental music from the Peruvian Martinez Comapañón Codex. The “Latin American mss. Guatemala music manuscripts'' are a collection of vocal works of Spanish and Indigenous Renaissance compositions from c. 1570 to 1635 that were used in the villages of Santa Eulalia, San Juan Ixcoi, and San Mateo Ixtatan in the commune of Huehuetenango in northwest Guatemala. Some works were written by native Mayans, and others were brought by missionaries and are mostly Spanish works. The “Martínez Compañón Codex'', also called the “Trujillo Codex'' is a manuscript that brings together more than 1,400 watercolors and 20 scores, and which was commissioned by Baltasar Martínez Compañón, Bishop of Trujillo between 1780 and 1790. The musical pieces are mostly popular songs and tunes as well as religious songs from northern Peru. While they were mostly composed in European style, many of them show the influence of native rhythms and genres of the Peruvian coast and highlands. The watercolors illustrate the customs and ways of life of northern Peru, showing dances brought there by the native and African populations that lived in this area during the 18th century.
4pm - Saint James Place, 352 Main Street Great Barrington, MA 01230
Tickets are $40 general admission, $75 premium (preferential seating), and $10 for youth under 18 years.
https://crescendomusic.org
Crescendo: Rebecca Palmer, Jayne Segedy, sopranos; tenor José Ignacio Lagos, tenor; José Sacín, baritone; Job Salazar, violin, percussion; Carlos Boltes, charango, ronroco, viola; Christa Patton, harp; Christine Gevert, keyboards (Founding Artistic Director)
Voices and instruments bring alive Hispanic Renaissance polyphony from late 16th to early 17th cent. music manuscripts, found in convents of Northwest Guatemala, and vocal and instrumental music from the Peruvian Martinez Comapañón Codex. The “Latin American mss. Guatemala music manuscripts'' are a collection of vocal works of Spanish and Indigenous Renaissance compositions from c. 1570 to 1635 that were used in the villages of Santa Eulalia, San Juan Ixcoi, and San Mateo Ixtatan in the commune of Huehuetenango in northwest Guatemala. Some works were written by native Mayans, and others were brought by missionaries and are mostly Spanish works. The “Martínez Compañón Codex'', also called the “Trujillo Codex'' is a manuscript that brings together more than 1,400 watercolors and 20 scores, and which was commissioned by Baltasar Martínez Compañón, Bishop of Trujillo between 1780 and 1790. The musical pieces are mostly popular songs and tunes as well as religious songs from northern Peru. While they were mostly composed in European style, many of them show the influence of native rhythms and genres of the Peruvian coast and highlands. The watercolors illustrate the customs and ways of life of northern Peru, showing dances brought there by the native and African populations that lived in this area during the 18th century.
4pm - Saint James Place, 352 Main Street Great Barrington, MA 01230
Tickets are $40 general admission, $75 premium (preferential seating), and $10 for youth under 18 years.
https://crescendomusic.org
Thursday, January 12
All the Long Echoes - Virtual Premiere
Seven Times Salt: Karen Burciaga, violin, guitar; Dan Meyers, recorders, flutes, bagpipes, percussion; David H. Miller, viola da gamba; Josh Schreiber, viola da gamba; Matthew Wright, lute; with Elise Groves, soprano; Elizabeth Hardy, bagpipes, recorder, dulcian; Barbara Allen Hill, mezzo/soprano; Teri Kowiak, mezzo-soprano; Jaya Lakshminarayanan, soprano, harp; Joshua T. Lawton, baritone; Jean Monroe, soprano, melodica, piano; Ari Nieh, bass-baritone; Beth Schreiber, soprano, guitar; Matthew Stein, dulcian, baritone
Enjoy the solstice at home! December marked the 20th year of our beloved winter solstice concerts. This holiday program features seasonal music of Europe, the British Isles, and North America. You'll hear a pleasing variety of festive wassailing songs, carols and dances from the Renaissance to the modern day, rugged shapenote hymns, upbeat Irish reels, and a hearty helping of STS originals to welcome back the Sun.
8pm - Premieres on our YouTube channel
FREE to watch; $20 suggested donation
seventimessalt.com
Seven Times Salt: Karen Burciaga, violin, guitar; Dan Meyers, recorders, flutes, bagpipes, percussion; David H. Miller, viola da gamba; Josh Schreiber, viola da gamba; Matthew Wright, lute; with Elise Groves, soprano; Elizabeth Hardy, bagpipes, recorder, dulcian; Barbara Allen Hill, mezzo/soprano; Teri Kowiak, mezzo-soprano; Jaya Lakshminarayanan, soprano, harp; Joshua T. Lawton, baritone; Jean Monroe, soprano, melodica, piano; Ari Nieh, bass-baritone; Beth Schreiber, soprano, guitar; Matthew Stein, dulcian, baritone
Enjoy the solstice at home! December marked the 20th year of our beloved winter solstice concerts. This holiday program features seasonal music of Europe, the British Isles, and North America. You'll hear a pleasing variety of festive wassailing songs, carols and dances from the Renaissance to the modern day, rugged shapenote hymns, upbeat Irish reels, and a hearty helping of STS originals to welcome back the Sun.
8pm - Premieres on our YouTube channel
FREE to watch; $20 suggested donation
seventimessalt.com
Friday, January 13
Music of the Madonna
Sarasa: Meg Bragle, mezzo soprano; Elizabeth Blumenstock, Christina Day Martinson, Jesse Irons, Emily Dahl, violins; Jenny Stirling, viola; Jennifer Morsches, Timothy Merton, cellos; Michael Beattie, organ
No doubt the life of the Virgin Mary, the Madonna, has been a focal point of sacred music in Western classical music, especially in the Baroque era. This program features two beautiful Marian Cantatas, as well as glowing works for strings and continuo by Händel, Corelli, Rosenmüller, and Leonarda.
7pm - Brattleboro Music Center, 72 Blanche Moyse Way, Brattleboro VT
$20
https://www.sarasamusic.org/madonna
Sarasa: Meg Bragle, mezzo soprano; Elizabeth Blumenstock, Christina Day Martinson, Jesse Irons, Emily Dahl, violins; Jenny Stirling, viola; Jennifer Morsches, Timothy Merton, cellos; Michael Beattie, organ
No doubt the life of the Virgin Mary, the Madonna, has been a focal point of sacred music in Western classical music, especially in the Baroque era. This program features two beautiful Marian Cantatas, as well as glowing works for strings and continuo by Händel, Corelli, Rosenmüller, and Leonarda.
7pm - Brattleboro Music Center, 72 Blanche Moyse Way, Brattleboro VT
$20
https://www.sarasamusic.org/madonna
Saturday, January 14
Music of the Madonna
Sarasa: Meg Bragle, mezzo soprano; Elizabeth Blumenstock, Christina Day Martinson, Jesse Irons, Emily Dahl, violins; Jenny Stirling, viola; Jennifer Morsches, Timothy Merton, cellos; Michael Beattie, organ
No doubt the life of the Virgin Mary, the Madonna, has been a focal point of sacred music in Western classical music, especially in the Baroque era. This program features two beautiful Marian Cantatas, as well as glowing works for strings and continuo by Händel, Corelli, Rosenmüller, and Leonarda.
8pm - Pickman Hall, Longy School of Music, 27 Garden St, Cambridge MA 02138
$25
https://www.sarasamusic.org/madonna
Sarasa: Meg Bragle, mezzo soprano; Elizabeth Blumenstock, Christina Day Martinson, Jesse Irons, Emily Dahl, violins; Jenny Stirling, viola; Jennifer Morsches, Timothy Merton, cellos; Michael Beattie, organ
No doubt the life of the Virgin Mary, the Madonna, has been a focal point of sacred music in Western classical music, especially in the Baroque era. This program features two beautiful Marian Cantatas, as well as glowing works for strings and continuo by Händel, Corelli, Rosenmüller, and Leonarda.
8pm - Pickman Hall, Longy School of Music, 27 Garden St, Cambridge MA 02138
$25
https://www.sarasamusic.org/madonna
Sunday, January 15
Music of the Madonna
Sarasa: Meg Bragle, mezzo soprano; Elizabeth Blumenstock, Christina Day Martinson, Jesse Irons, Emily Dahl, violins; Jenny Stirling, viola; Jennifer Morsches, Timothy Merton, cellos; Michael Beattie, organ
No doubt the life of the Virgin Mary, the Madonna, has been a focal point of sacred music in Western classical music, especially in the Baroque era. This program features two beautiful Marian Cantatas, as well as glowing works for strings and continuo by Händel, Corelli, Rosenmüller, and Leonarda.
7pm - Follen Community Church, 755 Massachusetts Ave, Lexington MA 02420
$25
https://www.sarasamusic.org/madonna
Sarasa: Meg Bragle, mezzo soprano; Elizabeth Blumenstock, Christina Day Martinson, Jesse Irons, Emily Dahl, violins; Jenny Stirling, viola; Jennifer Morsches, Timothy Merton, cellos; Michael Beattie, organ
No doubt the life of the Virgin Mary, the Madonna, has been a focal point of sacred music in Western classical music, especially in the Baroque era. This program features two beautiful Marian Cantatas, as well as glowing works for strings and continuo by Händel, Corelli, Rosenmüller, and Leonarda.
7pm - Follen Community Church, 755 Massachusetts Ave, Lexington MA 02420
$25
https://www.sarasamusic.org/madonna
Friday, January 20
Beethoven Eroica
Handel & Haydn Society
Feel the power of Beethoven’s “heroic” symphony, celebrating “the memory of a great man”—from its two bolts-out-of-the-blue opening chords to the brilliant finale—as H+H, led by Václav Luks, breathes exhilarating life into this majestic masterpiece. We begin with power of another kind: a storm at sea, as the symphony’s nickname promises. The composer (a friend of Mozart) raises thunderous effects of all kinds, reserving the mightiest for the last movement, with the bass drum front and center.
7:30pm - Symphony Hall, Boston, MA
Website
Handel & Haydn Society
Feel the power of Beethoven’s “heroic” symphony, celebrating “the memory of a great man”—from its two bolts-out-of-the-blue opening chords to the brilliant finale—as H+H, led by Václav Luks, breathes exhilarating life into this majestic masterpiece. We begin with power of another kind: a storm at sea, as the symphony’s nickname promises. The composer (a friend of Mozart) raises thunderous effects of all kinds, reserving the mightiest for the last movement, with the bass drum front and center.
7:30pm - Symphony Hall, Boston, MA
Website
Saturday, January 21
Leçons de Ténèbres by François Couperin
Les Bostonades: Zachary Wilder & Aaron Sheehan, tenors; Emily Walhout, viola da gamba; Akiko Sato, organ, director
Regarded as the most famous ecclesiastical works by François Couperin (1668–1733), an eminent French Baroque musician during the rule of Louis XIV, the Leçons de ténèbres (“Tenebrae Readings”) are a surviving collection of three vocal pieces for one and two high voices and continuo for Maundy Thursday. (The other two collections of lessons for Good Friday and Holy Saturday are lost.) Published in 1714 and presumably written for the nuns of the Longchamp Abbey in the outskirts of Paris, the three lessons use the Latin text of the Book of Lamentations from the Old Testament, in which Jeremiah mourns the fall of Jerusalem to the Babylonians.
4pm - Gordon Chapel at Old South Church, 645 Boylston Street, Boston, MA
$25 general/$20 seniors/$10 students
www.bostonades.org
Les Bostonades: Zachary Wilder & Aaron Sheehan, tenors; Emily Walhout, viola da gamba; Akiko Sato, organ, director
Regarded as the most famous ecclesiastical works by François Couperin (1668–1733), an eminent French Baroque musician during the rule of Louis XIV, the Leçons de ténèbres (“Tenebrae Readings”) are a surviving collection of three vocal pieces for one and two high voices and continuo for Maundy Thursday. (The other two collections of lessons for Good Friday and Holy Saturday are lost.) Published in 1714 and presumably written for the nuns of the Longchamp Abbey in the outskirts of Paris, the three lessons use the Latin text of the Book of Lamentations from the Old Testament, in which Jeremiah mourns the fall of Jerusalem to the Babylonians.
4pm - Gordon Chapel at Old South Church, 645 Boylston Street, Boston, MA
$25 general/$20 seniors/$10 students
www.bostonades.org
Sunday, January 22
Beethoven Eroica
Handel & Haydn Society
Feel the power of Beethoven’s “heroic” symphony, celebrating “the memory of a great man”—from its two bolts-out-of-the-blue opening chords to the brilliant finale—as H+H, led by Václav Luks, breathes exhilarating life into this majestic masterpiece. We begin with power of another kind: a storm at sea, as the symphony’s nickname promises. The composer (a friend of Mozart) raises thunderous effects of all kinds, reserving the mightiest for the last movement, with the bass drum front and center.
3:00pm - Symphony Hall, Boston, MA
Website
Handel & Haydn Society
Feel the power of Beethoven’s “heroic” symphony, celebrating “the memory of a great man”—from its two bolts-out-of-the-blue opening chords to the brilliant finale—as H+H, led by Václav Luks, breathes exhilarating life into this majestic masterpiece. We begin with power of another kind: a storm at sea, as the symphony’s nickname promises. The composer (a friend of Mozart) raises thunderous effects of all kinds, reserving the mightiest for the last movement, with the bass drum front and center.
3:00pm - Symphony Hall, Boston, MA
Website
Friday, January 27
El Canto del Caballero: Renaissance Music from Spain 1530-1630
El Dorado Ensemble: Michael Collver, countertenor, cornetto; Carol Lewis, Karen Burciaga, Mai-Lan Broekman, James Peretta, & Alice Mroszczyk, viols; Olav Chris Henriksen, vihuela, archlute
Come hear villancicos, tientos, canzonas, fantasias & dance music by Guerrero, Ortiz, Vasquez and others! There will be some beautiful instrumental variations by Antonio de Cabezón and his son Hernando, as well as vihuela solos by Pisador and Milán, and some seldom-heard vocal music by Andrea Falconiero.
8pm - Lindsay Chapel at First Church Congregational, 11 Garden St. Cambridge, MA
duomaresienne.com
El Dorado Ensemble: Michael Collver, countertenor, cornetto; Carol Lewis, Karen Burciaga, Mai-Lan Broekman, James Peretta, & Alice Mroszczyk, viols; Olav Chris Henriksen, vihuela, archlute
Come hear villancicos, tientos, canzonas, fantasias & dance music by Guerrero, Ortiz, Vasquez and others! There will be some beautiful instrumental variations by Antonio de Cabezón and his son Hernando, as well as vihuela solos by Pisador and Milán, and some seldom-heard vocal music by Andrea Falconiero.
8pm - Lindsay Chapel at First Church Congregational, 11 Garden St. Cambridge, MA
duomaresienne.com
Saturday, January 28
William Byrd: Gentlemen of the Chapel Royal
Schola Cantorum of Boston (Frederick Jodry, Director)
In honor of Byrd's 400th anniversary (1543-1623) Scholar Contorum performs selections from the three Masses, Tribue Domine, Ne Irascaris, Siderum Rector, and other favorites!
Saturday January 28, 2023
8pm - St Martin's Church 50 Orchard Ave Providence
$30 general, $10 students. Tickets only at the door - cash or check.
ScholaCantorumBoston.com
Schola Cantorum of Boston (Frederick Jodry, Director)
In honor of Byrd's 400th anniversary (1543-1623) Scholar Contorum performs selections from the three Masses, Tribue Domine, Ne Irascaris, Siderum Rector, and other favorites!
Saturday January 28, 2023
8pm - St Martin's Church 50 Orchard Ave Providence
$30 general, $10 students. Tickets only at the door - cash or check.
ScholaCantorumBoston.com
Sunday, January 29
Bon Jour, Bon Mois - New Year’s Songs by Dufay and Anonymous
Annette Bauer, early notation, recorder
Playing from original notation - we’ll look at two early 15th century chansons related to the New Year: one by Dufay in Ox Misc. 213 (white mensural notation), the other by Anonymous transmitted in the beautiful Escorial MS V.III.24 (black mensural notation). These two songs share some text, even though the music does not seem to be related. Open to: all who have basic knowledge of original notation, including rules for triple mensuration (tempus perfectum). Reference sound files are on recorders. Pitch: A = 440
1-2:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Annette Bauer, early notation, recorder
Playing from original notation - we’ll look at two early 15th century chansons related to the New Year: one by Dufay in Ox Misc. 213 (white mensural notation), the other by Anonymous transmitted in the beautiful Escorial MS V.III.24 (black mensural notation). These two songs share some text, even though the music does not seem to be related. Open to: all who have basic knowledge of original notation, including rules for triple mensuration (tempus perfectum). Reference sound files are on recorders. Pitch: A = 440
1-2:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Duets, a Didactic Delight
John Mark Rozendaal, viol
During the Renaissance, bicinia, contrapuntal compositions for two voices or instruments, were a source of pleasure and a wonderful way for musicians two learn some basics of the language of counterpoint, lyrical rhetoric, and the joy of musical dialogue. Our class will enjoy looking at duos by Thomas Morley, Orlando Lasso, and Giovanni Coprario. The upper parts are suitable for treble viol; and the lower parts can be played on either tenor viol or bass viol. Open to: viols, other instruments or voices welcome to join. Pitch: A=415
3-4:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
John Mark Rozendaal, viol
During the Renaissance, bicinia, contrapuntal compositions for two voices or instruments, were a source of pleasure and a wonderful way for musicians two learn some basics of the language of counterpoint, lyrical rhetoric, and the joy of musical dialogue. Our class will enjoy looking at duos by Thomas Morley, Orlando Lasso, and Giovanni Coprario. The upper parts are suitable for treble viol; and the lower parts can be played on either tenor viol or bass viol. Open to: viols, other instruments or voices welcome to join. Pitch: A=415
3-4:30pm EST - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Tufts Sunday Concert Series: Les Caractères de la Danse
Tufts Early Music Ensemble with Camilla Finlay and Ken Pierce, dancers. Heloise Degrugillier, recorder & baroque flute, Frances Conover Fitch, harpsichord, and Jane Hershey, viola da gamba (director)
Music and Dance from France's "Ancien Règime" featuring Camilla Finlay and Ken Pierce, dancers. Ballroom and theater dances reconstructed from Beauchamps-Feuillet dance notation, and original choreography in period style. Music for solo dancers includes works by Marin Marais and Jean-Fery Rebel. Additional chamber music by Jean-Marie Leclair and J.B de Boismortier.
3pm - Distler Performance Hall, Granoff Music Center, 20 Talbot Ave. Medford MA
Free; no tickets required
Website
Tufts Early Music Ensemble with Camilla Finlay and Ken Pierce, dancers. Heloise Degrugillier, recorder & baroque flute, Frances Conover Fitch, harpsichord, and Jane Hershey, viola da gamba (director)
Music and Dance from France's "Ancien Règime" featuring Camilla Finlay and Ken Pierce, dancers. Ballroom and theater dances reconstructed from Beauchamps-Feuillet dance notation, and original choreography in period style. Music for solo dancers includes works by Marin Marais and Jean-Fery Rebel. Additional chamber music by Jean-Marie Leclair and J.B de Boismortier.
3pm - Distler Performance Hall, Granoff Music Center, 20 Talbot Ave. Medford MA
Free; no tickets required
Website
El Canto del Caballero: Renaissance Music from Spain 1530-1630
El Dorado Ensemble: Michael Collver, countertenor, cornetto; Carol Lewis, Karen Burciaga, Mai-Lan Broekman, James Peretta, & Alice Mroszczyk, viols; Olav Chris Henriksen, vihuela, archlute
Come hear villancicos, tientos, canzonas, fantasias & dance music by Guerrero, Ortiz, Vasquez and others! There will be some beautiful instrumental variations by Antonio de Cabezón and his son Hernando, as well as vihuela solos by Pisador and Milán, and some seldom-heard vocal music by Andrea Falconiero.
3pm - Somerville Museum, One Westwood Road, Somerville, MA
$20 general, $15 Museum members/students/seniors
Website
El Dorado Ensemble: Michael Collver, countertenor, cornetto; Carol Lewis, Karen Burciaga, Mai-Lan Broekman, James Peretta, & Alice Mroszczyk, viols; Olav Chris Henriksen, vihuela, archlute
Come hear villancicos, tientos, canzonas, fantasias & dance music by Guerrero, Ortiz, Vasquez and others! There will be some beautiful instrumental variations by Antonio de Cabezón and his son Hernando, as well as vihuela solos by Pisador and Milán, and some seldom-heard vocal music by Andrea Falconiero.
3pm - Somerville Museum, One Westwood Road, Somerville, MA
$20 general, $15 Museum members/students/seniors
Website
William Byrd: Gentlemen of the Chapel Royal
Schola Cantorum of Boston (Frederick Jodry, Director)
In honor of Byrd's 400th anniversary (1543-1623) Scholar Contorum performs selections from the three Masses, Tribue Domine, Ne Irascaris, Siderum Rector, and other favorites!
4pm - First Lutheran Church, Boston, 299 Berkeley St,
$30 general, $10 students. Tickets only at the door - cash or check.
ScholaCantorumBoston.com
Schola Cantorum of Boston (Frederick Jodry, Director)
In honor of Byrd's 400th anniversary (1543-1623) Scholar Contorum performs selections from the three Masses, Tribue Domine, Ne Irascaris, Siderum Rector, and other favorites!
4pm - First Lutheran Church, Boston, 299 Berkeley St,
$30 general, $10 students. Tickets only at the door - cash or check.
ScholaCantorumBoston.com