Spring 2002, Volume X, Issue 4

Early Music Colorado
Quarterly
April 2002
Volume X, Issue 4
Early Music Colorado is excited to present the organization's 10th Annual Fall Festival of Early Music, to be held at the Boulder Public Library
Auditorium, 1000 Canyon Boulevard, Boulder, on Saturday, October 26th and Sunday, October 27th, from 10:00 AM to 5:00 PM and 12:30
PM to 5:00 PM, respectively. A small honorarium is given to performers, courtesy of the Scientific and Cultural Facilities District. EMC invites
early music soloists and ensembles to submit audition tapes or CD's, accompanied by biographies, to the address below. Those groups and
artists that performed last year need only to submit a letter of intent. Last year there were seventeen applicants, and program coordinators
attempt to accommodate all those eligible, so be planning ahead and get your recordings and letters in early!
As in the past, we will have a period of time set aside for children and students. To qualify, participants must be under 18 years of age as of
September 1, 2002. We would love to see more school groups! Teachers please contact the event coordinators for more information. The
deadline for tapes, CD's and letters is September 6, 2002, 5:00 PM. Please indicate whether you wish to perform a 10-minute or 20-minute
program. Notification will be by September 27, 2002. Keyboard performances will be limited to harpsichord*.
Please submit materials to:
Early Music Colorado Fall Festival
c/o Kristen Murray-Todd
PO Box 19078
Boulder, CO 80308-2078
For further information, contact Kristen Murray-Todd, 720-872-1753, [email protected].
In celebration of such a successful event, Early Music Colorado has decided to expand the festival by introducing a Spring Fling to the Denver
area in 2003! Look in future newsletters for more information.
*For those solists and groups who need a harpsichord: there will be a harpsichord provided, however, the event staff cannot guarantee what
type of instrument it will be. If you have specific requirements, you may bring your own instrument to use during your performance.
Volunteers Needed
EMC needs volunteers to fill key positions in our committees to help us deliver our mission to the community. We have openings available in
every committee and are particularly in need of skilled volunteers in Fundraising, Public Relations, Outreach & Education, and volunteer coordination. If you want a rewarding project with a fun and growing team, and have the time and skills to contribute to enhancing the cultural services available in Colorado, please contact Leland G. Hoover at [email protected]. Get involved, make a difference!
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Notes from Rebecca
Early Music Colorado Quarterly is the journal of Early Music Colorado,
PO Box 19078, Boulder, CO 80308-2078. EMC is a non-profit
organization that promotes appreciation, performance, and awareness of
early music in the Rocky Mountain area.
EMC Board of Directors
During the last four years I have seen Early Music Colorado
grow from a foundering fledgling organization that did not
have a mission or real sense of direction other than playing
early music and presenting a fine newsletter. I have seen the
development of strong committees, the presentation of outstanding music concerts, exploration of programming including the rarely-seen baroque opera. I have witnessed great
growth, a defined purpose, and the cultivation of fine musical
ensembles and individual artists.
Rebecca Beshore..........................................................................President
Leland Hoover.........................................................................Vice President
Robert Keep..................................................................................Secretary
Melody English.............................................................................Treasurer
Maria van der Heijde-Zomerdijk..........................................Newsletter editor
Jann Benson..............................................................................Membership
Leland Hoover..............................................Website design & maintenance
Rex Andrews, Carol Codrescu, Joan Conlon, Mark Counts,Deborah
Kauffman, Tim Krueger, Linda Marianiello, Kristen Murray-Todd, Jocelyn
Nelson, and Michael Shasberger.................................. Members at large
As you refer to the website, you will note the by-laws have
been changed and refined, the adoption of policy and procedure is a reality, and the organization is beginning to function
positively and effectively. EMC is no longer an ugly duckling
but a beautiful swan, gracing the community with its service
and advocacy of music composed and performed prior to the
19th century. I see creativity and cultivation of this art form
abounding. EMC is no longer a staggering child but a strong
youth, full of form and function. I hope you all are as excited
about this evolution as much as I am. Please welcome Leland
G. Hoover to the Presidency as he waves his magic wand and
makes things fly.
EMC Advisory Board
Linda Lunbeck, Ann Marie Morgan
Published quarterly for donor/members of Early Music Colorado.
The suggested annual donation is $30 for individuals and families, $20 for
full-time students and seniors.
Opinions expressed in articles, reports and interviews in this publication
are those of the writers and do not necessarily reflect the views of the editor, officers or members of Early Music Colorado.
Contributions of articles are welcome!
Please send to:
Maria van der Heijde-Zomerdijk
4040 Greenbriar Blvd
Boulder, CO 80305
(303) 499-2586
E-mail: [email protected]
Do not only 'think early music', but 'live it'. "What we play is
life."--Louis Armstrong
Deadline for
Summer Issue is
July 15, 2002
©2002 Early Music Colorado, Inc.
Do you get the EMC Email Alerts
to remind you of early music
concert and events in the Rocky
Mountain region?
Table of contents
Early Music Colorado’s Tenth Annual Fall Festival,
Call for Entries............................................................................1
Early Ear Witnesses: But For Delight, by Peggy Sexton...............3
Early Music Colorado 2002 Spring Concert Series......................................4
EMC News.......................................................................................................7
Early Music Colorado Calendar of Events..................................................8
To get these free alerts,
please send an email to
[email protected]
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EARLY EARWITNESSES
II: BUT FOR DELIGHT
The Drum Music of Randle Holme III (1627-1700)
by Peggy Sexton
Peggy Sexton is known as the premier early music percussionist in Texas. She has done considerable research and has taught
classes in building renaissance percussion and in percussion technique. She lives and teaches in Austin. This is the second
installment in a a year-long series on early "earwitnesses," people who had a chance to hear and observe early percussion performance.
The Holme family of antiquarians and civic dignitaries which inhabited Chester, England, from the late fourteenth century until James II's reign,
was in a unique position to record early English ceremonial, military and social life. The four Holmes named Randle spanned the period from
1571 to 1707, leaving behind a very valuable set of records comprising nearly 270 volumes in the British Library (Harl. MSS. 1920-2177).
These records culminated in Randle Holme III's four-volume work, The Academy of Armory, which furnishes the earliest known clear identification of modern field drum rudiments: "A Roofe. A Rowle. A right and left. A Flam. A Dragg. An Almon Rowle. A Diddle, and Pou,
Rou, tou, pong." The Almon or German roll may be a single stroke roll while colleague Wayne Duesterbeck feels "Pou, Rou, tou, pong"
may correspond to the modern rudiment called No. 25 or a ruff plus two sixteenth notes and an eighth. Also included is a list of military drum
signals which evolved into the Anglo-American Camp Duty and two versions of the Old English March from before Charles I's time which has
fascinated and exasperated many scholars.
Some of the most intriguing information occurs in a listing of "recreative sounds."
"But for delight."
"A Point of Warr. An Almaine when on sings to the drum."
"A Salute, A Mascorade or Sumade, is all kind of drum beating made into one proper beating."
"With ... Beats for pleasure which a good Drum-beater can perform on his drum, as well as an other person can on his musicall Instrument."
The Almaine which inspired singing may have been an early form of jody call, the
doggerel modern soldiers chant to break the monotony of marching. Francis Grose's
Military Antiquities (1786) notes: "There was formerly another beat, called the Long
March; on the beating of which, the men ...used the liberty of talking all kind of ribaldry respecting their amours and those of their officers; this has for some time been
very properly abolished." (Driven underground is more plausible!)
The other "Beats for pleasure" could have represented improvisations to familiar tunes
or freely composed drumbeats which gave drummers a chance to display their expertise. Quite possibly that such pieces may have provided one early environment in which
jazz gradually developed.
Evidently by Randle Holme III's time some military drummers had developed a level
of skill which commanded the listener's respect.
SOURCES:
Byrne, Maurice. "The English March and Early Drum Notation." Galpin Society Journal 50
(March 1997).
Earwaker, J. P. "The Four Randle Holmes of Chester, Antiquaries, Heralds and Genealogists." Journal of the
Chester Archaeological and Historical Society, 1891.
Grose, Francis. Military Antiquities. Respecting a History of the English Army from the Conquest to the
Present Time. Vol. II. London, S. Hooper, 1786.
Holme, Randle. The Academy of Armory, or a Storehouse of Armory and Blazonry ... Vol. II.
Chester, printed for the author, 1688. Facs. ed. by I. H. Jeayes, and Printed for the
Roxburghe Club, London, 1905. (British Library Harl. MSS. 2026-2035.)
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EARLY MUSIC COLORADO 2002 SPRING CONCERT SERIES
The Early Music Colorado Concert Committee presented proudly its 2002 Spring Concert Series. We saw many of you at these
exciting performances. The Early Music Concert Series is supported by donations, EMC membership dues and a few modest grants.
Ticket sales do not begin to cover Concert Series expenses. Your generous donations made this possible.
Olde Friends (Allison Guest Edberg and Ann Marie Morgan)
with guest artists Paul van Loey and Karl Nyhlin
Review by Linda Marianiello, EMC Board Member and former music critic for the Boulder Daily Camera
Early Music Colorado opened its spring 2002 concert season with a wonderful concert by Olde Friends on Wednesday, February 20th, at Grace Lutheran Church in
Boulder. The program spanned the entire Baroque period, featuring a fine variety of
works by French and Italian composers.
These four musicians showed us how to move from the theoretical to the artistic. No
knowledge of the period sources can replace a real feeling for the music that all four
of these artists clearly possess.
Their sensitivity to one another was also evident from the very first piece, “La
Catterina,” a lively, festive piece by Tarquino Merula (1623-1652). Regular eye contact and keen sets of ears characterized this concert from beginning to end, particuAfter all the concerts still Olde Friends!
larly in the continuo group.
The program order chosen for this concert couldn’t have been better: Both the opening and closing pieces involved all four players, with a solo piece each for violin, recorder and gamba.
Karl Nyhlin played theorbo (bass lute), but he also performed on baroque guitar. He mentioned at intermission that he plays these instruments, as well as all members of the lute family. Members of the audience were fascinated by the appearance of the theorbo, which by any
standards is eye catching. The range of the instrument is from GG to B-natural below middle C of the piano. Of particular interest is the fact
that the highest note, B-natural, is found on the third of seven strings.
Ann Marie Morgan played both gamba and baroque cello for this performance. She explained some of the differences between them: the
bow grips are exactly opposite for these two instruments, and their roles in the ensemble vary from highly soloistic to accompanimental.
Generally in this program, the baroque cello is was found in the role of continuo, whereas the softer gamba can appearappeared in a solo
role and often requires a much more subtle approach. The tuning of the cello in fifths reflects its relationship to the violin family, whereas the
gamba is tuned in the thirds and fourths and a third characteristic of its ancestral heritage, the vihuela or guitar family. Switching back and
forth between gamba and cello must, therefore, involve large mental and physical adjustments. It is easy to imagine that the program order
must carefully maximize the comfort of these regular changes back and forth for Ann Marie (and for Karl, as well).
The second piece on the program was the “Quatrième Concert” (Fourth Suite) by François Couperin (1668-1733). Violinist Allison Edberg
briefly described the differences in ornamentation between the previous work in the Italian style and the Couperin which they were about to
play. Essentially, there are opportunities in the Italian style for extempore (free) ornamentation, without which the music would clearly lack
something. But the French composers carefully indicate all
desired ornaments, and expect none to be added to their
Ann Marie Morgan
already florid scores.
Violas da Gamba and Baroque Cello Instruction
Allison also explained how the baroque violin differs from our
Instruments are available. Players of modern instruments are
modern instruments. Smaller performance spaces allowed
welcome for coaching in Baroque performance practice.
for a setup with less tension, an all wood bow, gut strings and
a flatter bridge. With those features came greater flexibility Ms. Morgan is a member of Apollo¹s Fire: The Cleveland Baroque Orchestra, Olde
and subtlety of expression which are associated with the Friends Concert Artists, The Oberlin Consort of Viols and La Tempesta di Mare.
baroque style. The Couperin was performed on violin, with She has been a soloist with the Philadelphia, Cleveland and Minnesota Orchestras
and has recorded on the Dorian, PGM and Eclectra lables. She performs throughbaroque guitar and gamba continuo. This made for a lovely,
out the US and recently visited the Czech Republic to perform in the Prague
transparent texture and lightness throughout. A real surprise Festival 2000. Faculty - Interlochen Center for the Arts (1991-present), Viols West
and treat was the violin “Sonata quarta per sonar con due (2001), Peabody Conservatory (1989-2000), Amherst Early Music (1999), Oberlin
corde” of Biaggio Marini (1587-1663). It contains two innova- Baroque Performance Institute (1990-95).
tive features: a rare, early instance of double stops for the
CONTACT: (303)410-0590
violin, as well as the word ”affetto” in the score, which clearly
[email protected] www.oldefriends.org
calls for free ornamentation. The Marini sonata may well
12584 Maria Circle, Broomfield, CO 80020
have been the most beautiful work on a concert of wonderful,
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expressive music. A “Canzona” by Girolamo Frescobaldi (1583-1643) closed the first half of the program. This again featured all four performers. Recorder player Paul van Loey, a member of the Flanders Recorder Quartet, was a commanding presence in both the opening
piece and here in the Frescobaldi. There is never any doubt that he intends what he plays, a fact that unifies the entire ensemble.
The second half opened with the Sonata in F, Opus 5, Number 4 of Arcangelo Corelli (1653-1713) played on alto recorder and continuo. Paul
played an ivory copy of an original instrument, made by Peter Van der Poel. The sound of the ivory recorder was indescribably beautiful, at
once round and mellow, yet expressive, colorful. Paul spoke about the evolution of the recorder from the Renaissance to the Baroque. He
mentioned that the recorder had a more limited use, mainly in vocal music, during the Renaissance. The Hotteterre family, based near Paris,
was largely responsible for profound changes in the role of the recorder which have lasted through the present day. A bona fide solo repertoire emerges for the instrument at this time. He also points out that the Corelli sonata which they are performing illustrates the practice of
transcriptions that was common in the Baroque era. This piece was originally published as a violin sonata c. 1700.
What especially struck the listener in the Corelli was how completely organic the tempi of the fast movements were. They made sense, were
neither too fast, nor too slow for the inherent expression of the music. The interplay of recorder and cello in the final Allegro was superb!
Paul’s use of vibrato as an ornament was particularly poignant in the fourth-movement Adagio. Listeners were also advised to observe the
ornaments in the slow movements, because they so aptly illustrate the practice of free ornamentation. A “Suite in D minor” from the Fourth
Book, “Pièces de Violes,” by Marin Marais (1656-1728) for solo gamba followed. Ann Marie told the audience about a special “flattement”
ornament, a kind of two-finger vibrato with a very unique effect, which she asked everyone to listen for. Solo gamba requires another kind of
listening because of its quiet subtlety of expression and color. Ann Marie also explained that there are period books available about how to
play the gamba, written between the 16th and 18th centuries. Scored for gamba solo and played with continuo theorbo, the Marin Marais
suite was performed with special sensitivity to the dance movement characteristics. Balance was perfect between the two instruments. The
“Sonata VI in D minor” by Giovanni B. Sammartini (1700/01-1775) was performed by the entire group to close the printed portion of the program. Again the ensemble, particularly between the recorder and violin in movement one, was extraordinary. And the final Allegro was the
perfect choice to close the program. After enthusiastic and prolonged applause, the ensemble treated listeners to a short encore, a second
work by Tarquino Merula.
A collaboration such as this one, which involves American and European musicians is crucial for the performers and very important for audiences. Eighteenth-century Western music originated in Europe, and today’s Europeans simply have a closer connection to its roots than we
do here in the US. American musicians often possess an attention to sound quality and technical precision that is also important to good
music making. We get the best of both worlds through such exchanges.
R
On her new CD Linda’s playing is clear
and strong in the tradition of
the great flute teacher J.J.Quantz.
Linda Marianello, Baroque Flute,
and Frank Nowell , Harpsichord
Review by Carol Codrescu, Early Music Colorado Board Member
On Saturday, March 16, 8 p.m Early Music Colorado’s 2002 Concert
Series featured Linda Marianello on traverso and Frank Nowell on harpsichord in St. John’s Cathedral Choir Room. The duo presented a program of flute sonatas by Handel and Bach as well as a harpsichord solo
suite by Handel. The Bach Sonata in e minor featured on the program
also appears on Linda’s new CD. The program was serious and somber
in tone, with most pieces in minor keys. Marianello demonstrated technical command of the baroque flute, playing a difficult program with a lovely, pure tone. She tastefully embellished Handel’s slow movements.
Nowell improvised the basso continuo accompaniments on the harpsichord, showing sensitive ensemble playing as well as beautiful solo playing. Unfortunately, due to illness, Marianello had to abbreviate the program.
Acoustically, the St. John’s Choir Room is resonant; wide, but not too
deep. It was well suited for this concert. Many thanks to EMC for supporting fine early music like this in our region.
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The CD, featuring sonatas by Mahaut, Bach and
Monteclair, is available from:
Swineshead Productions
Attn: David Bowles
722 Wilcat Canyon Road
Berkeley, CA 94708-1537
Tel: (510) 528-0861
OR
directly from
Linda Marianiello
362 Aspen Place
Longmont, CO 80501
Price is $15.00, plus $3.50 postage.
Red Cedar Chamber Music
On the EMC Concert Series 2003!!
v Janet See, Baroque Flute
v Ann Marie Morgan, Viola da Gamba
v Augustana Vocal Ensemble (AVE)
from Denver
Review by Leland Hoover, EMC Vice President
On Wednesday, March 27th. EMC presented Red Cedar Chamber
Music. The Red Cedar concert was a charming presentation of
Viennese parlor music of the late 18th century and early 19th century. The concert featured Jan Boland on wooden flute, circa 1830, by
Ziegler; Carol Codrescu on wooden flute, 1835, by Goodlad, Dresler
improved; John Dowdall, mid-19th century guitar, gut-strung by
Hasslwanter; and Alexandra Eddy, Viola, modern, gut-strung. The
concert opened with the Trio Concertant Opus 6, for flute, viola, and
guitar by Simon Molitor (1766-1848) followed by Trio Opus 15, for
two flutes and guitar by Kaspar Furstenau (1772-1819). Carol and
John then played a lively Hungarian Dance for Flute and Guitar by
Wilhelm Popp (1829-1903). Francois Molino’s (1768-1847) Grand
Trio Concertant Opus 30 for flute, viola and guitar followed. The
finale wasan excerpt from Magic Flute by Wolfgang Mozart (17561791). Jan’s command of the wooden flute is superb and her interpretation of this unique music is most engaging. This concert presented an interesting contrast of composers, performance styles and
instrumentation, making this a great addition to the EMC Concert
Series 2002.
Diverse Passions
Review by Maria van der Heijde-Zomerdijk, EMC Newsletter Editor
Diverse Passions and Guests presented the last concert in Early
Music Colorado’s Spring 2002 concert series on Saturday, April 13.
It was a repeat performance: the night before they performed the
same program in Denver. Diverse Passions has been one of the
most succesful and accomplished early music ensembles in the
Rocky Mountain region since 1991. Two of the founding members,
Linda Lunbeck and Michael Lightner, performed in this concert on
recorders. Soprano Jennifer Spielman, a regular member of the
ensemble, and their guests Richard Thomas, harpsichord, and
singers Cyrissa Anderson, Mary Beth Krueger, Timothy Krueger and
Brock Erickson joined them.
The program was named “Italy Circa 1600”. The program reflected
the predominantly vocal repertoire of this time period. Except for two
pieces that were accompanied by the instrumental ensemble, the
vocal pieces were performed a cappella. The voices were well
matched: the guest singers are all members of St. Martin’s Chamber
Choir and perform together regularly.
The instrumental selections in the program were really written for
instruments, and not adapted from vocal pieces. Michael’s solo on
the bass recorder in the passaggi on Anchor che col partire was
outstanding. Although the sound of the bass recorder is wonderfully mellow, these passagi are rarely done on bass recorder, because
the instrument is rather unwieldy. Linda followed Michael’s performance with an equally delightful rendition of passaggi on the soprano recorder. The program ended with a selection from Monteverdi’s
Scherzi Musicale, in which all performers participated.
d
NEWS FROM THE BOULDER CHAPTER OF THE
AMERICAN RECORDER SOCIETY
The Boulder Chapter of the American Recorder Society has elected Rosi Terada as its new President and Maria Van der Heijde as
its new Treasurer for the coming year. Rosi has many ideas and
plans to help the chapter to become more active in the early music
community. Rosi hopes to organize a Renaissance Dance project, preferably with the help of EMC and the other ARS chapters
in the Rocky Mountain area.
On Friday April 19, 2002 the chapter held its first annual benefit
concert. Members and friends played for each other, had refreshments and bid on items in the Silent Auction. The chapter raised
almost $200, to be used for the chapter library.
Watch the EMC calendar in the fall for a listing of the monthly meetings
and Boulder ARS Concerts.
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EMC NEWS
Meritorious Service Recognition
A special commendation is in order for Rebecca Beshore, our outgoing President, and Robert Keep, our outgoing Secretary. After two terms as
Vice President, Rebecca has served as President since May 2000 and has poured enormous energy into keeping our organization alive and well, while
many other arts organizations have foundered. Rebecca has written numerous grants for EMC, spending countless hours filling out forms, and has
procured funding for several of our projects in this way. Rebecca will continue to serve EMC on the board of directors.
Robert was a founding member of EMC and has served as Secretary since inception, longer than he can remember (at least nine years!).
Without Robert, we might never have had an EMC. Robert is taking a well deserved break from the board to work on personal projects and a
new business venture in his new home town of Estes Park.
I join with everyone in EMC in expressing out heartfelt appreciation for years of dedication and labor in the service of early music, far beyond
the call of duty.
Advisory Board
The board of directors has voted to create a non-voting Advisory Board as a pool of expert resources from a variety of disciplines. This is our
way of recognizing the special advisors that contribute their talents to our mission but do not serve on the board of directors.
Annual Meeting Items
Board of Directors
Rex Andrews
Leland G. Hoover
Jann Benson
Deborah Kauffman
Rebecca Beshore
Linda Marianiello
Carol Codrescu
Kristen Murray-Todd
Mark Counts
Jocelyn Nelson
Melody English
Michael Shasberger
Maria van der Heijde-Zomerdijk
The board of directors has voted to present the following slate of officers and board members for ratification at the annual board meeting, and
a rewritten set of bylaws. The annual meeting is on May 18 at 10:00 am. St. Ambrose, Episcopal Church, Library in main building, 7520 South
Boulder Road, Boulder.
A complete rewrite of the bylaws is approved by the board and presented for ratification. The old bylaws document served us well for many
years but is seriously outdated from a legal and operational point of view, and is impeding the board’s ability to carry out our mission effectively. This is the result of a five-month research, deliberation, and approval process, spearheaded by Leland G. Hoover, our Vice President and
business consultant by day. The board is confident this is a substantial improvement over the current bylaws in all respects. These bylaws are
modeled very closely on those of Augustana Arts; a cultural presentation organization similar to our own.
Officers (2 year terms)
President - Leland G. Hoover
Vice President - Kristen Murray-Todd
Secretary - Jann Benson
Treasurer - Melody English
Most important is what has not changed. The EMC mission continues to be “to promote the performance and appreciation of ‘early’ music in
the state of Colorado, and in furthering scholarship, education, and awareness of appropriate styles and performance practices for this genre of
music.”, and this has been our guiding light throughout the process. Our conservative financial policy continues unabated. The new bylaws
continue to support the same high-quality services to our donor/members and the community.
What has changed is updating a lot of legal “boiler-plate”, creating director and officer term limits, and authorizing the board to directly manage bylaws
revisions and elections and vacancies for the board and officers. We feel these changes will insure we have a solid legal and governance framework
to support our mission, and a vigorous and healthy board to manage the effort. Term limits are not in effect for this election
The bylaws are available for your perusal on the EMC website at www.EarlyMusicColorado.org by clicking on “about” then “board manual” then
“bylaws”. Bylaws may not make the most exhilarating reading, but they are the legal framework under which our nonprofit corporation operates.
If you have any questions, please email them to [email protected] and I will try to answer your questions. Updating the bylaws is
critical to EMC’s ability to function effectively, raise funds for our performance and educational projects, and continue our growth into a major
cultural presentation and educational organization in Colorado.
I hope to be writing about our exciting new projects in the next issue, so stay tuned!
- Leland G. Hoover, Vice President
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EARLY MUSIC COLORADO CALENDAR
Sunday, May 5 at 5:30 p.m.: Fortepiano solos and duets by Mozart and Johann Christian Bach performed by Theresa Bogard and Frank Nowell.
The program will be performed on a fortepiano based on the Viennese pianos of Mozart's era. Admission at the door is $10 ($7 for seniors and
students). Proceeds from the concert will benefit the St. Andrew's Organ Fund. on in Denver at St. Andrew's Episcopal Church, 2015 Glenarm Place.For more information, call 303-870-0368.
Sunday, May 5 at 2 p.m. and 4 p.m.: Boulder Bach Festival presents free children's concerts at the Boulder Public Library. Info: 303-494-3159.
Friday, May 10 at 8 p.m.: Augustana Arts, Ballet Arts Theatre, The Cherry Creek Chorale, and Trinity Arts Network present exerpts from Verdi’s Il Trovatore, Handel’s
Acis and Galatea, Mozart’s The Marriage of figaro and The Magic Flute and Monotti's "The Unicorn, the Gorgon and the Manticore". : Trinity United Methodist Church,
18th and Broadway, Denver. Adults $15 / Seniors and Students $12. A group rate of $10 per ticket for groups of ten or more is available. Information: 303-388-4962
Saturday, May 11 at 8 p.m.: Augustana Arts, Ballet Arts Theatre, The Cherry Creek Chorale, and Trinity Arts Network repeat May 10th program. Location, time and tickets same as May 10th.
Friday, May 17: Ars Nova Singers present "Music on the Edge of the Future: The New Art" -- a truly unique adventure, with new music from our Second Young Colorado
Composers Competition, and 20th and 21st century a cappella masterpieces. First United Methodist Church, Boulder. Tickets $15 adult/ $12 students and seniors. Info:
303-499-3165.
Saturday, May 18: Ars Nova Singers repeat "Music on the Edge of the Future: The New Art" at Bethany Lutheran Church, Denver. Tickets $15 adult/ $12 students and
seniors. Info: 303-499-3165.
Sunday, May 19: Greater Denver Chapter, American Recorder Society monthly meeting, topic to be announced. Christ Way CommUNITY Church, 3021 South University
Blvd., Denver. Info: 303-791-7402.
JUNE
Friday, Jun 7: St. Martin's Chamber Choir presents: "The American Spirit." The featured work will be Randall Thompson's Mass of the Holy Spirit, as well as his beloved
Alleluia. Other works will include Samuel Barber's Reincarnations, the Cecil Effinger Four Pastorales with oboe, Timothy Krueger's Lamentations of Jeremiah, and other
works celebrating the Spirit. St. Elizabeth's Church, Denver. For tickets and information call 303-298-1970.
Sunday, Jun 9: St. Martin's Chamber Choir repeats "The American Spirit." St. Elizabeth's Church, Denver. For tickets and information call 303-298-1970.
Sunday, Jun 16 at 2 p.m.: Greater Denver Chapter, American Recorder Society annual party -- details to be announced. Info: 303-791-7402.
JULY
Saturday, Jul 13, at 7:30p.m.: Renaissance Dance Workshop, Co-sponsored by Early Music Colorado and Boulder American Recorder Society. Come to learn various
renaissance dances from the bansle to the volta. See and hear the dances and music that have entertained folk for centuries. St. Ambrose, Episcopal Church, Fellowship
Hall, 7520 South Boulder Road, Boulder. Admission $10 Information: (303) 666-4307 or (720) 304-6255. www.EarlyMusicColorado.org
Sunday, Jul 28 at 7:30 p.m.: The Colorado Music Festival, Michael Christie, conductor, presents "The Floating City", Venetian Vesper Music from Selva Morale e
Spirituale -- works by Monteverdi, Picchi and Gabrielli. Chautauqua Auditorium, 900 Baseline Rd., Boulder. Tickets at CMF, 1525 Spruce St., Ste. 101, or at the
Chautauqua Auditorium ticket kiosk (303-440-7666). Info 303-449-2413.
AUGUST
Sunday, Aug 4 at 7:30 p.m.: The Colorado Music Festival, Michael Christie, Conductor, and John Thiessen, Natural Trumpet, perform Rameau's Suite from "Nais",
Telemann's Concerto for Trumpet & Strings, Torelli's Concerto for Trumpet & Strings, and Bach's Orchestral Suite No. 3. Chautauqua Auditorium, 900 Baseline Rd., Boulder.
Tickets at CMF, 1525 Spruce St., Ste. 101, or at the Chautauqua Auditorium ticket kiosk (303-440-7666). Info 303-449-2413.
Tuesday, Aug 6 at 7:30 p.m.: Red Priest performs Vivaldi's Four Seasons, Biber's Easter Sonata (The Crucifixion), Corelli's Christmas Concerto, and Van Eyck's
Nightingale. Chautauqua Auditorium, 900 Baseline Rd., Boulder. Tickets at CMF, 1525 Spruce St., Ste. 101, or at the Chautauqua Auditorium ticket kiosk (303-440-7666).
Info 303-449-2413.
Friday, Aug. 9 at 8:00 p.m.: Renaissance SummerFest: a concert of early music, Boulder Renaissance Consort. Sponsored by Early Music Colorado. Performing
Gabrielli, Banchieri, Di Lasso, Dances by Gesualdo and Holborne. Location: Boulder Admission $12, Information: (303) 442-4144 www.EarlyMusicColorado.org
Saturday, Aug. 10, 7:30 PM - Renaissance SummerFest: a concert of early music, by BoulderRenaissance Consort. Performing Gabrielli, Banchieri, Di
Lasso, Dances by Gesualdo and Holborne. Location: Hempl Auditoriun, YMCA of the Rockies, Estes Park, Admission Free, Information: (303) 442-4144