Early Music America Fall 2014 - (Page 2)

Editor'snote I I've known George Gelles for years, since we were working stiffs in Washington, D.C., he as a music critic and then dance critic for the late-lamented Washington Star and I as editor of the League of American Orchestra's Symphony News, and then on the board of Early Music America, when he was executive director of Philharmonia Baroque. Now, with my last issue as editor of EMAg, I've ﬁnally convinced him to write for the magazine, and he's come up with something new, I think, to most of us: the involvement of violist and conductor Sam Franko in presenting concerts of early music in New York City in the ﬁrst decade of the 20th century (see In Conclusion, page 68). "Franko?" Where had I heard that name before? Right: Richard Franko Goldman, who wrote Harmony in the Western World, whose father Edwin Franko Goldman founded the Goldman Band, and whose grandmother was Sam's sister Selma. It's a fascinating story that emerged when Gelles searched the archives to discover the ﬁrst use of "early music" in The New York Times. Gelles's piece ends up with an image of Sam walking across the Lincoln Center plaza, which is where Ronald Broude's "Aetas Aurea: An Early Music Macbeth" begins (page 27). What follows is a tale of intrigue and authenticity, heralded by a certain three ladies and told as an imaginary interview with an imaginary protagonist in the New York City early music world of the second half of the 20th century. From our vantage point in the second decade of the 21st century, it's not difﬁcult to suss out the not-too-well-hidden meaning of Broude's satire, but for reasons of distance of time and language, the titles and instructions of many French Baroque compositions can pose problems of interpretation that require expert assistance. For one such case in the music of Marin Marais, musicologist Mary Cyr suggests a solution that will be of interest to numbers of viol players everywhere ("Mysterious Titles, Hidden Meaning," page 32). If John Mark Rozendaal has anything to say about it, the number of viol players in the future will increase greatly when we open ourselves up to principles of learning that involve black belts, graded repertoire, intergenerational classes, and sequential review. In "Viola da Gamba Dojo: A Cross-Generational Community Learns to Love the Viol" (page 37), Tina Chancey gives Rozendaal and his students an opportunity to explain why his classes are so powerfully motivating. Finally, for those of us who couldn't get to this year's Berkeley Festival and Exhibition (BFX) and even those who could but inevitably could only attend a small slice of the myriad events, Don Kaplan's report ("A Joyful Noise: Highlights of BFX 2014," page 41) can help fill in the gaps and give readers a sense of what all the excitement was about. * * * There comes a time in jazz, or for that matter in the slow movements of every trio sonata, where one's own improvised lick is handed off to the next player, who is free to build upon what you've come up with or to provide a contrasting element of his own invention or to do a little of both. That time has come for me as editor of Early Music America magazine. Take it, Don! Editor Benjamin Dunham formereditor@earlymusic.org After August 21: Donald Rosenberg 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, $24 US/Canada. Single Issue price: $6/$7 US/Canada. For further subscription information, please contact our office by phone or email. 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 E-mail: info@earlymusic.org www.earlymusicamerica.org 2 Fall 2014 Early Music America http://www.earlymusicamerica.org

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

Editor’s Note
Baroque Competition
Sound Bytes
Musings: Ave Atque Vale
Musings: Ave Atque Vale
Recording Reviews
Recording Reviews
Aetas Aurea: An Early Music Macbeth
Aetas Aurea: An Early Music Macbeth
Mysterious Titles, Hidden Meaning
Mysterious Titles, Hidden Meaning
Viola da Gamba Dojo
Viola da Gamba Dojo
A Joyful Noise: Highlights of BFX 2014
A Joyful Noise: Highlights of BFX 2014
Book Reviews
Book Reviews
EMA Donations
EMA Donations
Ad Index
Ad Index
In Conclusion: Sam Franko and the Origins of the Early Music Movement
In Conclusion: Sam Franko and the Origins of the Early Music Movement

Early Music America Fall 2014