Early Music America Summer 2014 - (Page 3)

Early Music America Board of Directors President Christopher Bone readerforum Actuary Vice Presidents Thomas Forrest Kelly Harvard University Angela Mariani Harmonia, Altramar, Texas Tech University Debra Nagy Case Western Reserve University Secretary Charlotte Newman Arts Administrator Assistant Secretary Kathleen Spencer Franklin & Marshall College (ret.) Treasurer Marie-Hélène Bernard Handel and Haydn Society Lewis Baratz Harpsichordist Robert Cole Cal Performances (ret.) JoLynn Edwards University of Washington, Bothell Raymond Erickson Keyboardist; Music Historian Susan Gidwitz Valerie Horst Amherst Early Music Etsuko Jennings Morgan Stanley Robert A. Johnson Buchanan Ingersoll & Rooney P .C. David Klausner University of Toronto Hank Knox McGill University; Harpsichordist Alexandra MacCracken Ensemble Gaudior Sarah Mead Brandeis University Robert Mealy Juilliard School of Music Charles Metz Optometrist; Harpsichordist Rachel Barton Pine Violinist Benjamin Roe WGBH Daniel Shoskes M.D., Cleveland Clinic Melissa Smey Miller Theatre, Columbia University Nell Snaidas Soprano Murray Forbes Somerville Music City Baroque Orchestra Jeffrey Thomas American Bach Soloists Ruben Valenzuela Bach Collegium San Diego Birgitt van Wijk Heritage Helicopter Services; Ars Lyrica Houston Staff Executive Director Ann Felter Membership Director Dina Scarpino Advertising Manager Patrick Nugent Big Giver in the Bay Area On the heels of "Donors ex machina," Heidi Waleson's article about the state of giving to early music organizations (Spring 2014, page 25), I am delighted to announce that Philharmonia Baroque Orchestra has received its ﬁrst $1 million gift from The Waverley Fund to name its Conductor's Podium. The gift is timely as we have just announced the beginning of the public phase of our Campaign for the 21st Century-an $8 million comprehensive fundraising effort, the largest effort in the organization's history to develop vital artistic projects and strengthen organizational capacity. We are witnessing more passionate aﬁcionados coming forward because they care deeply about the music we bring to life and because the experience they have with us simply can't be had at larger music institutions. We are presenting music as it was intended to be heard, and there is a place for Schmelzer and Boyce alongside Handel, Vivaldi, and Haydn. This extraordinary milestone gift is the largest in the Orchestra's 33-year history. It will support recordings, video, new concert formats, touring, and the organization's signature Bay Area concert series. This visionary gift was made by The Waverley Fund, reﬂecting the deep commitment to the Orchestra's continued artistic excellence and honoring the tremendous contributions of Nicholas McGegan, who has led the Orchestra for nearly three decades. These donors are passionate about artistic innovation and preservation, and they want to make sure that our Orchestra and Chorale continue to produce its incredible series here in the Bay Area and to take its music far and wide. Nicholas McGegan is one of the ﬁnest conductors in the world, and he has put a spotlight on Philharmonia. By naming the Conductor's Podium, The Waverley Fund recognizes the impact of Philharmonia Baroque Orchestra and Chorale and its artistic director. In 2010, our board of directors launched the Campaign for the 21st Century to help ensure the Orchestra's ability to pursue important artistic projects, maintain its superior artistry, and build organizational capacity in a changing cultural landscape. To date, we have secured $6.5 million. Our campaign is addressing head-on the challenging story of all American orchestras today, knowing that we need to adapt to cultural and economic shifts to retain loyal audiences and build new ones. We are facing these challenges as opportunities. We are broadening our impact and strengthening our infrastructure in very strategic ways. Kay Sprinkel Grace, quoted in "Donors ex machina," is chairing our campaign and helping us to realize our potential by giving donors the opportunity to make impactful gifts. It's time for early music to be at the forefront, and I'm delighted to see that many of us at our respective organizations are enjoying an uptick in support. I am heartened by the support we've received from our lead contributors, and very excited about the community phase of our campaign. All of this will ensure that this important and beloved repertoire continues to thrive. Michael Costa, Executive Director Philharmonia Baroque Orchestra Correction Because of an editing error, an announcement of recent premieres by the Galax Quartet and Karen Clark of works by Joseph Schwantner and Roy Whelden was incomplete. Whelden writes, "Ms. Clark did more than 'join the quartet in works by Lassus and Gesualdo.' Schwantner's song cycle, Dream Drapery-Thoreau Songs, was written for her and for the members of the Galax Quartet. Also, credit should be given to NewMusic USA for their generous ﬁnancial support of the commission of that work." I Early Music America Summer 2014 3

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