Early Music America Fall 2012 - (Page 18)

Baroque Performance Competition Wednesday, October 10, 2012 at 7:00 pm Corpus Christi Church 529 West 121st Street (Manhattan) New York City Tickets $20/$10 (students and EMA members) A showcase concert featuring the six nalists (shown below) in Early Music America’s competition for new and emerging baroque ensembles based in North America. e winner, selected at the concert by a panel of judges, will receive a $3,000 cash prize and engagements with four major presenters around the country. An “audience favorite” prize of $1,000 will also be awarded. GEMS presents Early Music America’s Music to Govern By? When the U.S. House of Representatives calls a vote or the Senate has a quorum call, the audio on C-SPAN’s live coverage of government proceedings switches from the sounds of the floor to classical music. The music lasts as long as the proceedings on the floor last, and then is cut off to return to the live audio feed. It’s classical music excerpted, in durations no one can predict. Still, Rob Kennedy, the president and co-CEO of C-SPAN, loves it and hopes listeners hear something that piques their curiosity and tickles their fancy. In addition to being in charge, Kennedy is also the music guy—“One of my lesser duties, but I sure do love it,” he says. He doesn’t have a music degree, but did study piano starting as a child and nowadays plays in blues cover bands in local bars. He says, “Early music is not familiar to me. But we have to go a little further than the standard repertoire, so Renaissance, early Baroque, I’d be interested in learning about that.” Kennedy says C-SPAN would like to add some new pieces to its play list. It needs music that does not seem to be setting a definite mood, conveying big emotions, or offering any commentary on the proceedings at hand—especially since they never know when the music will be cut off. For example, if a crescendo comes at the end of a vote, it might seem to be saying something about the vote. They also don’t want music that’s very familiar, since it might have specific connotations—such as the third movement of Beethoven’s piano sonata No. 12, the great funeral march—or that has come to be associated with a particular movie or advertisement. “We can’t play things like Copland’s Fanfare for the Common Man, because what are we implying?” Kennedy says. For the same reason, C-SPAN plays instrumental music only. If you have a CD of instr umental music that’s not too familiar, does not have major emotional effect, and is accessible and pleasant, Kennedy would like to hear it. Sent it to: Rob Kennedy, C-SPAN, 400 N. Capitol Street NW, Suite 650, Washington, D.C. 20001. While C-SPAN does not have the technology to display the title of the work and the name of the artists while the music is playing, it does have a Twitter feed (@C-SPANmusic) to answer any questions. —BA piece on, I might like to follow that with a little woodwind quintet as an ear cleaner.” Likewise, you won’t hear two solo piano pieces back to back, and a period performance piece might follow a Romantic orchestral work. People tend to tune in at about the same time every day, as well, so Glasford will not schedule a work by Vivaldi every day at noon several days in a row. “My overlying strategy is to look for things first of all that are new to the audience,” Glasford says. To that end, he is open to listening to CDs that are sent to him. He says self-produced recordings “just don’t have the sonic quality that matches the other things we have,” but he welcomes anything that has been commercially released on a label and fits within the Music Choice profile. CDs should be mailed, along with an artist profile, to Music Choice Programming, Attn: Richard Glasford, Music genre (Light Classical or Classical Masterpieces), 328 W. 34th Street, New York, NY 10001. The directions for artists to send in recordings are also listed under FAQs at www.musicchoice.com. Agave Baroque Ostraka Pallade Musica e Sebastians Les Sirènes Zweikampf Visit www.earlymusic.org for audio samples and information. For tickets visit www.gemsny.org. 18 Fall 2012 Early Music America I Beth Adelman has been writing for EMA magazine for more than a decade and is an educated and enthusiastic listener. If you have a project you think should be profiled here, contact her at considerthis@nyct.net. http://www.musicchoice.com http://www.earlymusic.org http://www.gemsny.org

Table of Contents for the Digital Edition of Early Music America Fall 2012

Editor’s Note
EMA Competition
Sound Bytes
Musings: Listening Forward
Profile: A Classical Playlist on Your Cable Television
Recording Reviews
Reconstructing Spanish Songs from the Time of Cervantes
Janet See: Traversist on Two Continents
Musical Mosaic Explores “Perspectives of Interspersing Peoples”
Book Reviews
Ad Index
In Conclusion: Conducting Early Music

Early Music America Fall 2012

http://www.brightcopy.net/allen/EMAM/22-1
http://www.brightcopy.net/allen/EMAM/21-4
http://www.brightcopy.net/allen/EMAM/21-3
https://www.nxtbook.com/allen/EMAM/21-2
https://www.nxtbook.com/allen/EMAM/21-1
https://www.nxtbook.com/allen/EMAM/20-4
https://www.nxtbook.com/allen/EMAM/20-3
https://www.nxtbook.com/allen/EMAM/20-2
https://www.nxtbook.com/allen/EMAM/20-1
https://www.nxtbook.com/allen/EMAM/19-4
https://www.nxtbook.com/allen/EMAM/19-3
https://www.nxtbook.com/allen/EMAM/19-2
https://www.nxtbook.com/allen/EMAM/19-1
https://www.nxtbook.com/allen/EMAM/18-4
https://www.nxtbook.com/allen/EMAM/18-3
https://www.nxtbookmedia.com