Friday, October 1
Recording Event - Mad Songs
Boston Purcell Society: Amanda Forsythe, soprano; Sarah Yanovitch-Vitale, soprano; Michael Sponseller, virginal, Colleen McGary-Smith, cello; Catherine Liddell, theorbo
Amanda Forsythe and Sarah Yanovitch-Vitale will be accompanied by our amazing continuo section to record performances of 4 English Baroque "Mad Songs" for an audience of 40 people. Auditors of this recording session will be treated to an inside view of how top musicians record their songs - and will have a "sneak preview" of brand new videos which are being created for our February 8 virtual event about female actors of the Restoration era stage and English "Mad Songs" with historian Diana Solomon.
8pm - St. Anne's in the Fields, 147 Concord Rd. Lincoln, MA 01773
$50
https://www.brownpapertickets.com/event/5200811
Boston Purcell Society: Amanda Forsythe, soprano; Sarah Yanovitch-Vitale, soprano; Michael Sponseller, virginal, Colleen McGary-Smith, cello; Catherine Liddell, theorbo
Amanda Forsythe and Sarah Yanovitch-Vitale will be accompanied by our amazing continuo section to record performances of 4 English Baroque "Mad Songs" for an audience of 40 people. Auditors of this recording session will be treated to an inside view of how top musicians record their songs - and will have a "sneak preview" of brand new videos which are being created for our February 8 virtual event about female actors of the Restoration era stage and English "Mad Songs" with historian Diana Solomon.
8pm - St. Anne's in the Fields, 147 Concord Rd. Lincoln, MA 01773
$50
https://www.brownpapertickets.com/event/5200811
Jonah and the Whale
Ensemble 44: Kendra Comstock, soprano; David Mather, baritone; Nouri Newman, recorder; Ishmael Stefanov-Wagner, violin; Hannah Davidson, viola da gamba; Kathleen McDougald-Lee, harpsichord
Jonas cantata by Jacquet de la Guerre, two sonatas by Leonarda, and English sea songs by Dowland, Ravenscroft, and others.
8pm EST - First Church of Cambridge, 11 Garden St., Cambridge, MA; and Livestream
$20 suggested donation
nourinewman@comcast.net
Ensemble 44: Kendra Comstock, soprano; David Mather, baritone; Nouri Newman, recorder; Ishmael Stefanov-Wagner, violin; Hannah Davidson, viola da gamba; Kathleen McDougald-Lee, harpsichord
Jonas cantata by Jacquet de la Guerre, two sonatas by Leonarda, and English sea songs by Dowland, Ravenscroft, and others.
8pm EST - First Church of Cambridge, 11 Garden St., Cambridge, MA; and Livestream
$20 suggested donation
nourinewman@comcast.net
Saturday, October 2
AfroBaroque Music & Latin America
Rumbarocco: Adriana Ruiz & Daniela Tosic, voice; Lisa Brooke, Baroque violin; Eduardo Betancourt, Venezuelan harp; Kera Washington & Ricardo Matute, percussion; Roberto Perez, Oraa, Bandola & percussion; Laury Gutiérrez, viola da gamba & Renaissance guitar
In celebration of Hispanic Heritage, we will illustrate the intersection of early European music with the aural African and Amerindian traditions and the resulting link with current Latin-American genres, the African diaspora in Latin America and its lasting musical legacy in Ibero-American music, and the fusion of art music or “learned” music with folk and popular forms. Using musical texts from the 17th and 18th century such us the Trujillo Codex and guitar treatises by Santiago de Murcia and Gaspar Sanz, we present the European, Amerindian, and African traditions that have survived in scores, recreating them through current performance practices of Afro-Latin music traditions in Bolivia, Peru, Mexico, Puerto Rico, and Venezuela. We tap into our collective musical memory to blend past and present, connecting current Afro-Latin dances such as the Hatajo de Negritos, Joropo, Saya, and Plena with African-influenced dances such as the Cumbe, early Zarabanda, and Zarambeque in performances informed by both history and folklore. Also in the program: Early vocal music from Spain and Mexico, with texts from the Iberian Cancioneros that depict black women in endearing terms and connected Latin American dances and instrumental improvisations. For more information please visit www.bowdoin.edu/music/events and www.rumbarroco.org
2pm - Studzinski Recital Hall, 12 Campus Rd S, Brunswick, ME 04011
Free
Rumbarroco@ladm.org
Rumbarocco: Adriana Ruiz & Daniela Tosic, voice; Lisa Brooke, Baroque violin; Eduardo Betancourt, Venezuelan harp; Kera Washington & Ricardo Matute, percussion; Roberto Perez, Oraa, Bandola & percussion; Laury Gutiérrez, viola da gamba & Renaissance guitar
In celebration of Hispanic Heritage, we will illustrate the intersection of early European music with the aural African and Amerindian traditions and the resulting link with current Latin-American genres, the African diaspora in Latin America and its lasting musical legacy in Ibero-American music, and the fusion of art music or “learned” music with folk and popular forms. Using musical texts from the 17th and 18th century such us the Trujillo Codex and guitar treatises by Santiago de Murcia and Gaspar Sanz, we present the European, Amerindian, and African traditions that have survived in scores, recreating them through current performance practices of Afro-Latin music traditions in Bolivia, Peru, Mexico, Puerto Rico, and Venezuela. We tap into our collective musical memory to blend past and present, connecting current Afro-Latin dances such as the Hatajo de Negritos, Joropo, Saya, and Plena with African-influenced dances such as the Cumbe, early Zarabanda, and Zarambeque in performances informed by both history and folklore. Also in the program: Early vocal music from Spain and Mexico, with texts from the Iberian Cancioneros that depict black women in endearing terms and connected Latin American dances and instrumental improvisations. For more information please visit www.bowdoin.edu/music/events and www.rumbarroco.org
2pm - Studzinski Recital Hall, 12 Campus Rd S, Brunswick, ME 04011
Free
Rumbarroco@ladm.org
The Harmony of Nations
Arcadia Players: Jude Ziliak, violin & leader; Michelle Liechti, Emlyn Ngai, Lisa Rautenberg, violins; Dana Maiben, Lisa Rautenberg, viola; Alice Robbins, violoncello and viola da gamba; Gregory Hayes, harpsichord
On three Saturdays in October Arcadia Players will air concerts recorded over the summer, each led by a candidate for position of new artistic director. Jude Ziliak’s program features music that showcases the divergence of French and Italian styles of the Baroque, culminating in their reunion in the "mixed style" of Telemann.
7pm EDT - online (Youtube)
$15
http://arcadiaplayers.org
Arcadia Players: Jude Ziliak, violin & leader; Michelle Liechti, Emlyn Ngai, Lisa Rautenberg, violins; Dana Maiben, Lisa Rautenberg, viola; Alice Robbins, violoncello and viola da gamba; Gregory Hayes, harpsichord
On three Saturdays in October Arcadia Players will air concerts recorded over the summer, each led by a candidate for position of new artistic director. Jude Ziliak’s program features music that showcases the divergence of French and Italian styles of the Baroque, culminating in their reunion in the "mixed style" of Telemann.
7pm EDT - online (Youtube)
$15
http://arcadiaplayers.org
Dramatic Return
Musicians of the Old Post Road with Teresa Wakim, soprano
Thrill to two epic tales of reunification in this all-French program. The Israelites make a miraculous return to their homeland in Elisabeth Jacquet de la Guerre’s cantata Le Passage sur la mer rouge. Star-crossed lovers are reunited in the land of immortals in Clerambault’s cantata Leandre et Hero. Clerambault’s Sonata La Felicité and an overture by Charpentier complete this season opener.
7:30pm - First Parish, Sudbury MA and Online
$10-300
https://oldpostroad.org/concert_series
Musicians of the Old Post Road with Teresa Wakim, soprano
Thrill to two epic tales of reunification in this all-French program. The Israelites make a miraculous return to their homeland in Elisabeth Jacquet de la Guerre’s cantata Le Passage sur la mer rouge. Star-crossed lovers are reunited in the land of immortals in Clerambault’s cantata Leandre et Hero. Clerambault’s Sonata La Felicité and an overture by Charpentier complete this season opener.
7:30pm - First Parish, Sudbury MA and Online
$10-300
https://oldpostroad.org/concert_series
Saturday, October 9
Brazilian music from Colonial Brazil to Modern Day
Cléa Galhano, recorder
This class will feature Brazilian repertory from the 19th century to the modern period, showcasing the infectious melodies, lovely and sometimes strange harmonies, and ex-citing rhythms based on African and Portuguese influence. We will play solo melodies and ensemble repertory featuring Lundu dance from the 19th century and choros. The choro, also popularly called chorinho (translated to “cry” in English), is an instrumental Brazilian popular music genre which originated in 19th-century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Geared to: intermediate to advanced recorders. Other melody instruments are welcome. Parts are in treble and bass clefs. Pitch: A = 440.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Cléa Galhano, recorder
This class will feature Brazilian repertory from the 19th century to the modern period, showcasing the infectious melodies, lovely and sometimes strange harmonies, and ex-citing rhythms based on African and Portuguese influence. We will play solo melodies and ensemble repertory featuring Lundu dance from the 19th century and choros. The choro, also popularly called chorinho (translated to “cry” in English), is an instrumental Brazilian popular music genre which originated in 19th-century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Geared to: intermediate to advanced recorders. Other melody instruments are welcome. Parts are in treble and bass clefs. Pitch: A = 440.
1-2:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Dulcian Tales
Marilyn Boenau, dulcian
Join AEMF for a fun and thought-provoking class on duets for tenor and bass dulcians in the late 16th and 17th centuries. We’ll play music by Lasso, Praetorius, Buonamente, de Selma, and…Telemann! Along the way I’ll share tips, tricks, and cautionary tales. Can we expand our possible repertoire for tenor dulcian in the 17th century? Did the tenor dulcian die out, or was it transformed and reinvented? New research on small bassoons sheds light on what happened next. For tenor and bass dulcians. Geared to: dulcians Pitch: A=440.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Marilyn Boenau, dulcian
Join AEMF for a fun and thought-provoking class on duets for tenor and bass dulcians in the late 16th and 17th centuries. We’ll play music by Lasso, Praetorius, Buonamente, de Selma, and…Telemann! Along the way I’ll share tips, tricks, and cautionary tales. Can we expand our possible repertoire for tenor dulcian in the 17th century? Did the tenor dulcian die out, or was it transformed and reinvented? New research on small bassoons sheds light on what happened next. For tenor and bass dulcians. Geared to: dulcians Pitch: A=440.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Crossing Borders
Daniel Lee, violin & leader; Lisa Rautenberg, Dana Maiben, Emlyn Ngai, violin and viola; Charles Weaver, theorbo and guitar; Alice Robbins, viol and cello; Gregory Hayes, harpsichord
On three Saturdays in October Arcadia Players will air concerts recorded over the summer, each led by a candidate for position of new artistic director. Violinist Daniel Lee invites us on a musical journey around 17th- and 18th-century Europe through works that integrate different regional styles of the Baroque. Recorded in the beautiful Wesley United Methodist Church of Hadley, MA.
7pm EDT - online (Youtube)
$15
http://arcadiaplayers.org
Daniel Lee, violin & leader; Lisa Rautenberg, Dana Maiben, Emlyn Ngai, violin and viola; Charles Weaver, theorbo and guitar; Alice Robbins, viol and cello; Gregory Hayes, harpsichord
On three Saturdays in October Arcadia Players will air concerts recorded over the summer, each led by a candidate for position of new artistic director. Violinist Daniel Lee invites us on a musical journey around 17th- and 18th-century Europe through works that integrate different regional styles of the Baroque. Recorded in the beautiful Wesley United Methodist Church of Hadley, MA.
7pm EDT - online (Youtube)
$15
http://arcadiaplayers.org
Sunday, October 10
The Singer’s Toolbox: Language as Style: Early Singing Styles and Performance Today
Anne Azéma, soprano
How does language shape singing (and accompaniment of songs), and therefore performance practice? Proper diction and pronunciation are the basics to an approach to singing any song. But the in-depth work that comes next -- syntax, semantics, rhetoric -- will determine how thoroughly the performers delve into these songs, thereby revealing their fuller beauty to the listeners. This session will briefly examine various European musical styles, historically, geographically and in other ways, then and now. This course invites students to volunteer to be coached on excerpts from songs or arias that they prepare ahead of time. Anne will be in touch with those enrolled to solidify volunteers and their repertoire.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Anne Azéma, soprano
How does language shape singing (and accompaniment of songs), and therefore performance practice? Proper diction and pronunciation are the basics to an approach to singing any song. But the in-depth work that comes next -- syntax, semantics, rhetoric -- will determine how thoroughly the performers delve into these songs, thereby revealing their fuller beauty to the listeners. This session will briefly examine various European musical styles, historically, geographically and in other ways, then and now. This course invites students to volunteer to be coached on excerpts from songs or arias that they prepare ahead of time. Anne will be in touch with those enrolled to solidify volunteers and their repertoire.
3-4:30pm EDT - online course (link sent to registrants)
$25 per session
https://www.amherstearlymusic.org/weekend_online_classes
Friday, October 15
Ockeghem@600, Concert 10: Missa Quinti Toni
Blue Heron: Margot Rood, Kim Leeds, Laura Pudwell, Martin Near, Jason McStoots, Aaron Sheehan, Sumner Thompson, Paul Guttry, Steven Hrycelak, Scott Metcalfe, artistic director
The next installment in Blue Heron's complete Ockeghem cycle features his Missa quinti toni for three voices alongside motets and songs by Ockeghem, Antoine Busnoys, and others. Free pre-concert talk by Sean Gallagher (New England Conservatory) 45 minutes prior to each performance. Doors and box office open 1 hour prior to each performance.
8pm - First Church in Cambridge, Congregational, 11 Garden Street, Cambridge
www.blueheron.org
Blue Heron: Margot Rood, Kim Leeds, Laura Pudwell, Martin Near, Jason McStoots, Aaron Sheehan, Sumner Thompson, Paul Guttry, Steven Hrycelak, Scott Metcalfe, artistic director
The next installment in Blue Heron's complete Ockeghem cycle features his Missa quinti toni for three voices alongside motets and songs by Ockeghem, Antoine Busnoys, and others. Free pre-concert talk by Sean Gallagher (New England Conservatory) 45 minutes prior to each performance. Doors and box office open 1 hour prior to each performance.
8pm - First Church in Cambridge, Congregational, 11 Garden Street, Cambridge
www.blueheron.org
Saturday, October 16
Ockeghem@600, Concert 10: Missa Quinti Toni
Blue Heron: Margot Rood, Kim Leeds, Laura Pudwell, Martin Near, Jason McStoots, Aaron Sheehan, Sumner Thompson, Paul Guttry, Steven Hrycelak, Scott Metcalfe, artistic director
The next installment in Blue Heron's complete Ockeghem cycle features his Missa quinti toni for three voices alongside motets and songs by Ockeghem, Antoine Busnoys, and others. Free pre-concert talk by Sean Gallagher (New England Conservatory) 45 minutes prior to each performance. Doors and box office open 1 hour prior to each performance.
2:30pm - First Church in Cambridge, Congregational, 11 Garden Street, Cambridge
www.blueheron.org
Blue Heron: Margot Rood, Kim Leeds, Laura Pudwell, Martin Near, Jason McStoots, Aaron Sheehan, Sumner Thompson, Paul Guttry, Steven Hrycelak, Scott Metcalfe, artistic director
The next installment in Blue Heron's complete Ockeghem cycle features his Missa quinti toni for three voices alongside motets and songs by Ockeghem, Antoine Busnoys, and others. Free pre-concert talk by Sean Gallagher (New England Conservatory) 45 minutes prior to each performance. Doors and box office open 1 hour prior to each performance.
2:30pm - First Church in Cambridge, Congregational, 11 Garden Street, Cambridge
www.blueheron.org
The Migration of Italian Music
Andrew Arceci, viola da gamba & leader; Lisa Rautenberg, Michelle Liechti, Barbara Wright, violin and viola; William Simms, theorbo and guitar; Alice Robbins, viol and cello; Gregory Hayes, harpsichord
On three Saturdays in October Arcadia Players will air concerts recorded over the summer, each led by a candidate for position of new artistic director. Andrew Arceci’s program explores the spread of Italian styles across Europe and beyond, as far away as China!
7pm EDT - online (Youtube)
$15
http://arcadiaplayers.org
Andrew Arceci, viola da gamba & leader; Lisa Rautenberg, Michelle Liechti, Barbara Wright, violin and viola; William Simms, theorbo and guitar; Alice Robbins, viol and cello; Gregory Hayes, harpsichord
On three Saturdays in October Arcadia Players will air concerts recorded over the summer, each led by a candidate for position of new artistic director. Andrew Arceci’s program explores the spread of Italian styles across Europe and beyond, as far away as China!
7pm EDT - online (Youtube)
$15
http://arcadiaplayers.org
Monteverdi: Here I am, ready for kisses!
BEMF Vocal & Chamber Ensembles (Paul O’Dette & Stephen Stubbs, Musical Directors) Danielle Reutter-Harrah & Teresa Wakim, soprano; Cecilia Duarte, mezzo-soprano; Jason McStoots &Aaron Sheehan, tenor; Jonathan Woody, bass-baritone; Tekla Cunningham, concertmaster; Cynthia Roberts, violin; Laura Jeppesen, viola & viola da gamba; Erin Headley, lirone & viola da gamba; Maxine Eilander, Baroque harp; Michael Sponseller, harpsichord; Paul O’Dette & Stephen Stubbs, chitarrone
GRAMMY-winning Musical Directors Paul O’Dette and Stephen Stubbs lead the all-star Boston Early Music Festival Vocal & Chamber Ensembles in selections from Monteverdi’s late vocal works on the subject of love. Monteverdi is at the height of his powers as he explores the vast breadth of emotions that love inspires, ranging from soaring passion to desperate laments.
7:30pm - New England Conservatory’s Jordan Hall, 30 Gainsborough St, Boston, MA, and online
Virtual Premiere: Saturday, October 30, 2021 at 8pm (ET). Available to watch until November 13, 2021 at 11:59pm (ET)
www.bemf.org
BEMF Vocal & Chamber Ensembles (Paul O’Dette & Stephen Stubbs, Musical Directors) Danielle Reutter-Harrah & Teresa Wakim, soprano; Cecilia Duarte, mezzo-soprano; Jason McStoots &Aaron Sheehan, tenor; Jonathan Woody, bass-baritone; Tekla Cunningham, concertmaster; Cynthia Roberts, violin; Laura Jeppesen, viola & viola da gamba; Erin Headley, lirone & viola da gamba; Maxine Eilander, Baroque harp; Michael Sponseller, harpsichord; Paul O’Dette & Stephen Stubbs, chitarrone
GRAMMY-winning Musical Directors Paul O’Dette and Stephen Stubbs lead the all-star Boston Early Music Festival Vocal & Chamber Ensembles in selections from Monteverdi’s late vocal works on the subject of love. Monteverdi is at the height of his powers as he explores the vast breadth of emotions that love inspires, ranging from soaring passion to desperate laments.
7:30pm - New England Conservatory’s Jordan Hall, 30 Gainsborough St, Boston, MA, and online
Virtual Premiere: Saturday, October 30, 2021 at 8pm (ET). Available to watch until November 13, 2021 at 11:59pm (ET)
www.bemf.org
Sunday, October 17
VdGSNE Special Topic: Playford Tunes as Tech Hacks
Tina Chancey, instructor
Trouble playing octaves? Keeping fast notes in time? Adding ornaments the way you want? Handle these and other technical issues the way traditional musicians do, by playing tunes that spotlight the problem. Playing John Playford’s dance tunes is a great way to learn technique in context; they're short, catchy, and generally stick to one or two musical motifs. We'll use these tunes to study some common technical problems. Your job is to notice; to listen for scratchiness or unclarity, to feel when your left and right hands go out of balance, to anticipate developing tension. We’ll address 5 issues (Subdividing, Rushing, Octaves, Fast notes, Dance rhythms) and explore 5 Playford country dance tunes (Hole in the Wall, Dargason, Emperor of the Moon, Argeers, and Daphne) For all levels and all A=415 instruments.
3-4:30pm ET - online (link sent to registrants)
$15 members/$20 non-members. Registration Deadline: October 12, 2021 to receive Zoom link and materials.
https://vdgsne.org/special-topics-classes/
Tina Chancey, instructor
Trouble playing octaves? Keeping fast notes in time? Adding ornaments the way you want? Handle these and other technical issues the way traditional musicians do, by playing tunes that spotlight the problem. Playing John Playford’s dance tunes is a great way to learn technique in context; they're short, catchy, and generally stick to one or two musical motifs. We'll use these tunes to study some common technical problems. Your job is to notice; to listen for scratchiness or unclarity, to feel when your left and right hands go out of balance, to anticipate developing tension. We’ll address 5 issues (Subdividing, Rushing, Octaves, Fast notes, Dance rhythms) and explore 5 Playford country dance tunes (Hole in the Wall, Dargason, Emperor of the Moon, Argeers, and Daphne) For all levels and all A=415 instruments.
3-4:30pm ET - online (link sent to registrants)
$15 members/$20 non-members. Registration Deadline: October 12, 2021 to receive Zoom link and materials.
https://vdgsne.org/special-topics-classes/
Friday, October 22
AfroBaroque Music & Latin America
Rumbarrocco: Adriana Ruiz & Daniela Tosic, voice; Lisa Brooke, Baroque violin; Eduardo Betancourt, Venezuelan harp; Kera Washington & Ricardo Matute, percussion; Roberto Perez Oraa, bandola & percussion; Laury Gutiérrez, viola da gamba & Renaissance guitar
In celebration of Hispanic Heritage, we will illustrate the intersection of early European music with the aural African and Amerindian traditions and the resulting link with current Latin-American genres, the African diaspora in Latin America and its lasting musical legacy in Ibero-American music, and the fusion of art music or “learned” music with folk and popular forms.
Using musical texts from the 17th and 18th century such us the Trujillo Codex and guitar treatises by Santiago de Murcia and Gaspar Sanz, we present the European, Amerindian, and African traditions that have survived in scores, recreating them through current performance practices of Afro-Latin music traditions in Bolivia, Peru, Mexico, Puerto Rico, and Venezuela. We tap into our collective musical memory to blend past and present, connecting current Afro-Latin dances such as the Hatajo de Negritos, Joropo, Saya, and Plena with African-influenced dances such as the Cumbe, early Zarabanda, and Zarambeque in performances informed by both history and folklore. Also in the program: Early vocal music from Spain and Mexico, with texts from the Iberian Cancioneros that depict black women in endearing terms and connected Latin American dances and instrumental improvisations.
7pm ET - Church of the Covenant, 67 Newbury St, Boston, MA$35, $20 and $5
www.rumbarroco.org
Rumbarrocco: Adriana Ruiz & Daniela Tosic, voice; Lisa Brooke, Baroque violin; Eduardo Betancourt, Venezuelan harp; Kera Washington & Ricardo Matute, percussion; Roberto Perez Oraa, bandola & percussion; Laury Gutiérrez, viola da gamba & Renaissance guitar
In celebration of Hispanic Heritage, we will illustrate the intersection of early European music with the aural African and Amerindian traditions and the resulting link with current Latin-American genres, the African diaspora in Latin America and its lasting musical legacy in Ibero-American music, and the fusion of art music or “learned” music with folk and popular forms.
Using musical texts from the 17th and 18th century such us the Trujillo Codex and guitar treatises by Santiago de Murcia and Gaspar Sanz, we present the European, Amerindian, and African traditions that have survived in scores, recreating them through current performance practices of Afro-Latin music traditions in Bolivia, Peru, Mexico, Puerto Rico, and Venezuela. We tap into our collective musical memory to blend past and present, connecting current Afro-Latin dances such as the Hatajo de Negritos, Joropo, Saya, and Plena with African-influenced dances such as the Cumbe, early Zarabanda, and Zarambeque in performances informed by both history and folklore. Also in the program: Early vocal music from Spain and Mexico, with texts from the Iberian Cancioneros that depict black women in endearing terms and connected Latin American dances and instrumental improvisations.
7pm ET - Church of the Covenant, 67 Newbury St, Boston, MA$35, $20 and $5
www.rumbarroco.org
Faithful and Pious Heart: Devotional Music in Seventeenth-Century Italy
In Stile Moderno: Agnes Coakley Cox, soprano; Nathaniel Cox, cornetto and theorbo; Parker Ramsay, harp; Hideki Yamaya, theorbo and guitar
Bringing together the lightness of secular song with the gravity of religious themes, canzonette spirituali emerged in seventeenth-century Italy as a form of sacred vocal music intended not for the church, but for private devotion. With texts in the vernacular Italian, rather than Latin, these songs were often inspired by, or even parodied, the popular songs of the day—but together with the catchy bass lines and hummable melodies came texts that described the passion of Christ, the nature of the Trinity, or the path to Heaven. We present a selection from this little-heard repertoire, with works by Benedetto Ferrari, Domenico Mazzocchi, and others. Accompanied by the magical timbre of theorbo and baroque harp, and complemented by instrumental works for cornetto, harp, and theorbo, these “spiritual songs” will make for an enchanting and unforgettable evening.
7:30pm - Brattleboro Music Center, 72 Blanche Moyse Way, Brattleboro, VT
instilemoderno.com
In Stile Moderno: Agnes Coakley Cox, soprano; Nathaniel Cox, cornetto and theorbo; Parker Ramsay, harp; Hideki Yamaya, theorbo and guitar
Bringing together the lightness of secular song with the gravity of religious themes, canzonette spirituali emerged in seventeenth-century Italy as a form of sacred vocal music intended not for the church, but for private devotion. With texts in the vernacular Italian, rather than Latin, these songs were often inspired by, or even parodied, the popular songs of the day—but together with the catchy bass lines and hummable melodies came texts that described the passion of Christ, the nature of the Trinity, or the path to Heaven. We present a selection from this little-heard repertoire, with works by Benedetto Ferrari, Domenico Mazzocchi, and others. Accompanied by the magical timbre of theorbo and baroque harp, and complemented by instrumental works for cornetto, harp, and theorbo, these “spiritual songs” will make for an enchanting and unforgettable evening.
7:30pm - Brattleboro Music Center, 72 Blanche Moyse Way, Brattleboro, VT
instilemoderno.com
October 23-24
City Recorder Workshop
AEM offers two days of classes by an array of faculty. Workshop extras include a Discussion with Eric Haas on Saturday (free for everyone), and a concert on Sunday with Tom Beets and Joris Van Goethem: Something Old, Something New, Something Borrowed, It's FR2! Join us from wherever you are in the world!
Classes are $25 each and concert tickets are $10.
https://www.amherstearlymusic.org/city_2021
AEM offers two days of classes by an array of faculty. Workshop extras include a Discussion with Eric Haas on Saturday (free for everyone), and a concert on Sunday with Tom Beets and Joris Van Goethem: Something Old, Something New, Something Borrowed, It's FR2! Join us from wherever you are in the world!
Classes are $25 each and concert tickets are $10.
https://www.amherstearlymusic.org/city_2021
Saturday, October 23
Music for the Royal Fireworks
Boston Baroque
Boston Baroque’s season opens with Handel’s Music for the Royal Fireworks, Rebel’s Les Élémens, and more, all led by Music Director Martin Pearlman. Boston Baroque returns to the stage in GBH’s stunning Calderwood Studio, welcoming both live studio audiences and streaming audiences around the world. *The 8pm performance will be streamed on Idagio.
3pm and 8pm* - GBH Calderwood Studio, 1 Guest St. Boston MA
https://baroque.boston
Boston Baroque
Boston Baroque’s season opens with Handel’s Music for the Royal Fireworks, Rebel’s Les Élémens, and more, all led by Music Director Martin Pearlman. Boston Baroque returns to the stage in GBH’s stunning Calderwood Studio, welcoming both live studio audiences and streaming audiences around the world. *The 8pm performance will be streamed on Idagio.
3pm and 8pm* - GBH Calderwood Studio, 1 Guest St. Boston MA
https://baroque.boston
Faithful and Pious Heart: Devotional Music in Seventeenth-Century Italy
In Stile Moderno: Agnes Coakley Cox, soprano; Nathaniel Cox, cornetto and theorbo; Parker Ramsay, harp; Hideki Yamaya, theorbo and guitar
Bringing together the lightness of secular song with the gravity of religious themes, canzonette spirituali emerged in seventeenth-century Italy as a form of sacred vocal music intended not for the church, but for private devotion. With texts in the vernacular Italian, rather than Latin, these songs were often inspired by, or even parodied, the popular songs of the day—but together with the catchy bass lines and hummable melodies came texts that described the passion of Christ, the nature of the Trinity, or the path to Heaven. We present a selection from this little-heard repertoire, with works by Benedetto Ferrari, Domenico Mazzocchi, and others. Accompanied by the magical timbre of theorbo and baroque harp, and complemented by instrumental works for cornetto, harp, and theorbo, these “spiritual songs” will make for an enchanting and unforgettable evening.
7:30pm - Church of the Good Shepherd, 9 Russell Ave. Watertown, MA
instilemoderno.com
In Stile Moderno: Agnes Coakley Cox, soprano; Nathaniel Cox, cornetto and theorbo; Parker Ramsay, harp; Hideki Yamaya, theorbo and guitar
Bringing together the lightness of secular song with the gravity of religious themes, canzonette spirituali emerged in seventeenth-century Italy as a form of sacred vocal music intended not for the church, but for private devotion. With texts in the vernacular Italian, rather than Latin, these songs were often inspired by, or even parodied, the popular songs of the day—but together with the catchy bass lines and hummable melodies came texts that described the passion of Christ, the nature of the Trinity, or the path to Heaven. We present a selection from this little-heard repertoire, with works by Benedetto Ferrari, Domenico Mazzocchi, and others. Accompanied by the magical timbre of theorbo and baroque harp, and complemented by instrumental works for cornetto, harp, and theorbo, these “spiritual songs” will make for an enchanting and unforgettable evening.
7:30pm - Church of the Good Shepherd, 9 Russell Ave. Watertown, MA
instilemoderno.com
Sunday, October 24
A Health to the Company
Seven Times Salt: Elise Groves, soprano; Matthew Leese, baritone; Karen Burciaga, violin, guitar, alto; Dan Meyers, recorders, flutes, bagpipes, percussion, baritone; David H. Miller, bass viol, baritone; Matthew Wright, lute, cittern, tenor
17th-century London roars to life in this convivial program of jovial drinking songs, love ballads both naughty and nice, and rustic catches for carousing with friends. We share tales of pickpockets and punks, wise maids and goodfellows, the wonders of tobacco, the pitfalls of gambling, and the delights of good ale. Between toasts, we contemplate the meaning of life and reflect on unrequited love. Rounding out the evening’s merriment are works by Wilbye, Ravenscroft, and Sumarte, along with our original settings of lively country dances. Raise your glass and voice and sing along!
3pm - Outdoor concert at private residence in Medford, MA.
$20 suggested donation. RSVP to reserve your spot
BYOB, snacks, and lawn chair!
www.seventimessalt.com
Seven Times Salt: Elise Groves, soprano; Matthew Leese, baritone; Karen Burciaga, violin, guitar, alto; Dan Meyers, recorders, flutes, bagpipes, percussion, baritone; David H. Miller, bass viol, baritone; Matthew Wright, lute, cittern, tenor
17th-century London roars to life in this convivial program of jovial drinking songs, love ballads both naughty and nice, and rustic catches for carousing with friends. We share tales of pickpockets and punks, wise maids and goodfellows, the wonders of tobacco, the pitfalls of gambling, and the delights of good ale. Between toasts, we contemplate the meaning of life and reflect on unrequited love. Rounding out the evening’s merriment are works by Wilbye, Ravenscroft, and Sumarte, along with our original settings of lively country dances. Raise your glass and voice and sing along!
3pm - Outdoor concert at private residence in Medford, MA.
$20 suggested donation. RSVP to reserve your spot
BYOB, snacks, and lawn chair!
www.seventimessalt.com
Music for the Royal Fireworks
Boston Baroque
Boston Baroque’s season opens with Handel’s Music for the Royal Fireworks, Rebel’s Les Élémens, and more, all led by Music Director Martin Pearlman. Boston Baroque returns to the stage in GBH’s stunning Calderwood Studio, welcoming both live studio audiences and streaming audiences around the world.
3pm and 8pm - GBH Calderwood Studio, 1 Guest St. Boston MA
https://baroque.boston
Boston Baroque
Boston Baroque’s season opens with Handel’s Music for the Royal Fireworks, Rebel’s Les Élémens, and more, all led by Music Director Martin Pearlman. Boston Baroque returns to the stage in GBH’s stunning Calderwood Studio, welcoming both live studio audiences and streaming audiences around the world.
3pm and 8pm - GBH Calderwood Studio, 1 Guest St. Boston MA
https://baroque.boston
Italian Virtuosi, Part 1
Guts Baroque: Sylvia Schwartz, baroque violin, and John Ott, baroque cello
When Arcangelo Corelli put his Opus 5 violin sonatas into the world in 1700, they made a bang so big that it rippled across Europe, forever changing the way people wrote classical music for the violin, and seriously upping the ante for the way people played it. Join us in our living room via the power of the Internet to see and hear what all the ruckus was about. Corelli’s Opus 5 #9 sonata, one of the works that kicked it all off...his student Carbonelli’s Sonata #1, by turns gorgeous, grand, and playful...his student Locatelli’s Sonata #2, a piece reminiscent of CPE Bach (who was 15 when it was written) with its tender moodiness...and contemporary Vivaldi’s Opus 2 Sonata #1, a.k.a. “The Saddest Vivaldi Ever,” a different take on the same sonata structure.
7pm EDT - Online (link emailed to attendees 90min before the concert)
$20 suggested donation, free for Patreon supporters
https://gutsbaroque.com/concerts
Guts Baroque: Sylvia Schwartz, baroque violin, and John Ott, baroque cello
When Arcangelo Corelli put his Opus 5 violin sonatas into the world in 1700, they made a bang so big that it rippled across Europe, forever changing the way people wrote classical music for the violin, and seriously upping the ante for the way people played it. Join us in our living room via the power of the Internet to see and hear what all the ruckus was about. Corelli’s Opus 5 #9 sonata, one of the works that kicked it all off...his student Carbonelli’s Sonata #1, by turns gorgeous, grand, and playful...his student Locatelli’s Sonata #2, a piece reminiscent of CPE Bach (who was 15 when it was written) with its tender moodiness...and contemporary Vivaldi’s Opus 2 Sonata #1, a.k.a. “The Saddest Vivaldi Ever,” a different take on the same sonata structure.
7pm EDT - Online (link emailed to attendees 90min before the concert)
$20 suggested donation, free for Patreon supporters
https://gutsbaroque.com/concerts
Wednesday, October 27
Pilgrims' Progress
Seven Times Salt: Karen Burciaga, violin, guitar, voice; Dan Meyers, recorders, flute, percussion, voice; Josh Schreiber Shalem, bass viol, voice; Matthew Wright, lute, cittern, voice
The Plimoth colonists, or “Pilgrims” as they were later called, brought with them music experiences as varied as their reasons for coming to the New World, and the Plimoth Colony heard not just solemn English psalms, but also catches, ballads, and dance tunes. The colonists worked hard and worshipped, and also found time to entertain themselves with singing and games in their new town. This 1-hour program follows the settlers from their homes in England’s cities and countryside to religious refuge in the Netherlands, and onward to their challenging though fulfilling life in Plimoth Colony. You’ll hear music of the Elizabethan tavern and theater, spirited catches by Ravenscroft, selections from the Dutch ‘t Uitnement Kabinet, psalms from the Ainsworth Psalter and The Whole Booke of Psalmes, and vigorous tunes from The English Dancing Master. You'll also hear fictitious "diary entries" of the colonists read aloud in Original Pronunciation, as English sounded in the time of Shakespeare, Queen Elizabeth I—and the Pilgrims!
8pm - Plymouth Public Library
FREE; please register to attend
Seven Times Salt: Karen Burciaga, violin, guitar, voice; Dan Meyers, recorders, flute, percussion, voice; Josh Schreiber Shalem, bass viol, voice; Matthew Wright, lute, cittern, voice
The Plimoth colonists, or “Pilgrims” as they were later called, brought with them music experiences as varied as their reasons for coming to the New World, and the Plimoth Colony heard not just solemn English psalms, but also catches, ballads, and dance tunes. The colonists worked hard and worshipped, and also found time to entertain themselves with singing and games in their new town. This 1-hour program follows the settlers from their homes in England’s cities and countryside to religious refuge in the Netherlands, and onward to their challenging though fulfilling life in Plimoth Colony. You’ll hear music of the Elizabethan tavern and theater, spirited catches by Ravenscroft, selections from the Dutch ‘t Uitnement Kabinet, psalms from the Ainsworth Psalter and The Whole Booke of Psalmes, and vigorous tunes from The English Dancing Master. You'll also hear fictitious "diary entries" of the colonists read aloud in Original Pronunciation, as English sounded in the time of Shakespeare, Queen Elizabeth I—and the Pilgrims!
8pm - Plymouth Public Library
FREE; please register to attend