Early Music America Summer 2014 - (Page 2)

Editor'snote T The headlines have been full of news of political and military developments in Ukraine, but who can add to our understanding of the cultural scene there, especially in the ﬁeld of early music? As it turns out, former EMAg contributor Oleg Timofeyev, a specialist in the 7-string Russian guitar, has made several trips to Ukraine in the past few years. He offered to share his notes with our readers, and the result is "Living and Breathing Early Music, the Ukrainian Way" (page 40), an introduction to a fascinating community of musicians, some of whom participated in the Kiev demonstrations these past few months. Likewise, harpsichordist Kathleen McIntosh inquired if we might want a report on the 10th Festival Esteban Salas taking place in February and March in Havana, Cuba. Of course! Her report on the Festival and the Conjunto de Música Antigua Ars Longa, the early music ensemble that puts it on, widens our knowledge about early music performance in the Western Hemisphere (page 45). Most of us know Daniel Gottlob Türk, if we know him at all, as a source of rules and observations about performance in the time of Mozart (two against three is "a beauty to which one has to grow accustomed"), but for Michael Tsalka, who has spent many years playing and recording his keyboard music, Türk is a composer of real repute who can clarify our understanding of Mozart, Haydn, and Beethoven. Tsalka's article, "Underestimating Türk" (page 30), is aimed at correcting the lesser assessment music history has handed down to us. Also in correction mode, conductor and keyboardist James Richman thinks our self-congratulations as performers, presenters, and patrons of historical performance should be checked against our lack of progress in expanding upon the successes of historical stagings of Baroque opera in the 1980s ("Baroque Opera and Historical Perfomance: A Reconsideration," page 25). For Richman, Baroque opera is a litmus test of our integrity in period re-creation. He fears that the current early music scene suffers from a "loss of philosophical inspiration and the onset of cultural amnesia." Tom Moore, flutist, sound librarian, and EMAg's Recording Reviews editor, is also concerned about cultural amnesia, lamenting the oblivion accorded the pioneers of American early music whose efforts were pressed in vinyl on long-out-of-print LP recordings. "Our Disappearing LP Legacy" (page 36) samples a wide range of notable recordings the younger generation should know about, discs that made history "before the onset of the CD deluge." These authors, together with Anthony Rowland-Jones, who sent us this issue's lovely In Conclusion piece-not to mention those who write our regular departments, our two Marks and two Toms-constitute a typically talented ensemble of editorial contributors: players, writers, scholars, and directors, whose interest in sharing their news and views make editing this magazine (and reading it, I hope) such a joy. It is a joy I will pass on after the fall issue to my successor Donald Rosenberg (see page 4). I welcome his appointment and look forward to his editorship of EMA's flagship magazine. Editor Benjamin Dunham editor@earlymusic.org Publisher Ann Felter ann@earlymusic.org Editorial Advisory Board Maria Coldwell Jeffery T. Kite-Powell David Klausner Steven Lubin Anthony P. Martin Advertising Manager Patrick Nugent ads@earlymusic.org Recording Reviews Editor Tom Moore recordings@earlymusic.org Book Reviews Editor Mark Kroll books@earlymusic.org Editorial Associate Mark Longaker emag@earlymusic.org Editorial Assistant Andrew Levy Early Music America (ISSN #1083-3633) is published quarterly by Early Music America, Inc., 801 Vinial Street, Suite 300, Pittsburgh, PA 15212. Subscription price (4 issues) Individual, U.S. and Canada $30; Institutional $80-$135; overseas add $10 for shipping and handling. Periodicals postage paid at Pittsburgh, PA, and additional mailing offices. Postmaster: Send address changes to Early Music America, Inc., 801 Vinial Street, Suite 300, Pittsburgh, PA 15212. Copyright © 2014 by Early Music America, Inc., and its contributors. All rights reserved. Reproduction or translation of any work herein without the express permission of Early Music America or other copyright owner is unlawful. EMA Office 801 Vinial Street, Suite 300, Pittsburgh, PA 15212 412/642-2278 Fax: 412/642-2279 Toll-free: 888/SACKBUT E-mail: info@earlymusic.org www.earlymusic.org 2 Summer 2014 Early Music America http://www.earlymusic.org

Table of Contents for the Digital Edition of Early Music America Summer 2014

Editor's Note
Reader Forum
Sound Bytes
Musings: The Force of Opinion
Recording Reviews
Baroque Opera and Historical Performance: A Reconsideration
Underestimating Turk
Our Disappearing LP Legacy
Living and Breathing Early Music, the Ukrainian Way
Ars Longa and the Festival Esteban Salas
Book Reviews
Ad Index
In Conclusion: The Flauto Dolce Heralds a Welcome Entrance into Heaven

Early Music America Summer 2014