Early Music America Spring 2013 - (Page 3)

Early Music America Board of Directors President Robert A. Johnson readerforum Buchanan Ingersoll & Rooney P .C. Vice Presidents Thomas Forrest Kelly Harvard University Angela Mariani Harmonia, Altramar, Texas Tech University Secretary Charlotte Newman Arts Administrator Assistant Secretary Kathleen Spencer Franklin & Marshall College (ret.) Treasurer Christopher Bone Actuary Assistant Treasurer Marie-Hélène Bernard Handel and Haydn Society Lewis Baratz Certiﬁed Project Manager; Harpsichordist Thomas Cirillo Portland Baroque Orchestra Robert Cole Cal Performances (ret.) JoLynn Edwards University of Washington, Bothell Raymond Erickson Keyboardist; Music Historian Valerie Horst Amherst Early Music David Klausner University of Toronto Hank Knox McGill University; Harpsichordist Alexandra MacCracken Ensemble Gaudior Elizabeth Macdonald Washington University Michael McCraw Indiana University Sarah Mead Brandeis University Robert Mealy Juilliard School of Music Charles Metz Optometrist; Harpsichordist Debra Nagy Case Western Reserve University Rachel Barton Pine Violinist 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 Sally Mitchell Advertising Manager Patrick Nugent Critical Changes in NYC As an advocacy and service organization for early music in New York, GEMS has worked hard to cultivate good relationships with the many thoughtful and informed reporters and critics employed by New York media. So it is with concern that I report two developments at The New York Times that will be of interest to EMAg readers. This past September, Allan Kozinn received a new assignment as a general culture reporter after many years as a concert reviewer. Allan began writing feature articles for The Times in 1977 and was appointed a full-time staff member in 1991. During his tenure as a reviewer he became known in the early music community for his deep knowledge and appreciation of the genre. We all are grateful for his hundreds of reviews of early music concerts, his essays, his friendship, and his championing of our cause. Allan was not happy with the change, as he truly enjoyed the very demanding job of attending several concerts every week with a critical ear, doing substantial research in preparation, and writing a cogent piece for publication on a very short deadline. His recent pieces on more wide-ranging subjects have been equally informative and engaging, and, we hope, fulfilling for him. He continues to teach at NYU and to maintain his position as a world authority on the Beatles (Sir Paul McCartney acknowledged that Allan “knows it all”). It was the financial pressures facing The Times (as with many other print media) among other things that forced the change for Allan Kozinn, and it has also precipitated this month’s retirement of classical music editor and critic James R. Oestreich. Jim accepted the paper’s current buyout-offer, and concludes 24 years of service at the end of January. He will continue to advise the classical music department through the spring, and will write for the paper on a freelance basis. Jim has written numerous long essays and features about the early music movement over the years, as well as regular recording and concert reviews. He is known for his expectations of a high standard of performance in New York and his honesty in his reviews. In addition to his duties at The Times, Jim has been generous with his time and experience advising artists and organizations. In support of our community, he served on a planning committee that led to the organization of the first New York Early Music Celebration in 2004, and earlier this month, he participated in a panel entitled “Early Music in the Mainstream” at the Chamber Music America national conference. While Allan Kozinn and James Oestreich will be “moving on,” coverage of classical music and early music in particular at The New York Times will not diminish. Anthony Tommasini continues on staff, specializing in opera of all eras. Regular reviews are written by freelancers Zachary Woolfe, Vivien Schweitzer, Steve Smith, and the newly-appointed Corinna da Fonseca-Wollheim. All have demonstrated an understanding of and affinity for early music. Daniel Wakin contributes regular reports on the classical music scene as well. Readers of The New York Times around the world will sorely miss the regular contributions of Kozinn and Oestreich, but we look forward to a new era of informed coverage of our genre and a continuation of the important role the paper has played in the resurgence of activity and interest in early music in the Big Apple. Gene Murrow, Executive Director Gotham Early Music Scene, Inc. Speak Up! Early Music America magazine welcomes your commentary. Please include your name, city of residence, e-mail address, and phone number with all correspondence. Send to: Reader Forum, Early Music America, 472 Point Road, Marion, MA 02738; fax: 508-748-1928; or editor@earlymusic.org. Early Music America magazine reserves the right to edit letters for clarity, style, and length. Early Music America Spring 2013 3

Table of Contents for the Digital Edition of Early Music America Spring 2013

Editor's Note
Reader Forum
Sound Bytes
Profile: Peter Nothnagle Early Music Engineer
Musings: Best of the Year
Recording Reviews
"Skillful Singing" and the Prelude in Renaissance Italy
Almira: Handel's Fountain of Youth?
Tempesta di Mare: Making a Splash with Fasch
2013 Guide: Workshops & Festivals
What I Did at Summer Camp
Book Reviews
Ad Index
In Conclusion: Teaching Recitative in Mexico

Early Music America Spring 2013