Early Music America Summer 2013 - (Page 2)

Editor’snote W When our son was in fourth grade, he was once assigned to act the part of Hernando Cortez for a research report. I remember that we searched around the house for tights (was there a time when I actually dressed in tights to play Renaissance music?), embroidered vest, helmet, etc. But my most intriguing memory comes from one of his sources, “The True History of the Conquest of New Spain” by Bernal Díaz del Castillo (1498-1585). Castillo reported that after Cortez’s horse died, he acquired El Arriero, “a dark chestnut which belonged to Ortiz the Musician..., one of the best horses we had brought.” Who was this Ortiz the Musician? Possibly a family member related to composer Diego Ortiz, author of the viola da gamba tutor Trattado de Glosas? There are no horses in the new production of Vivaldi’s Motezuma at the Montreal Baroque Festival in June, nor any character named Ortiz. But the artistic director of this production, Matthias Maute, hopes it will serve as an example of the kind of innovation that will characterize “Early Music, 21st-Century Style” (page 27). In an effort to honor the pioneering iconoclasts of the last century, Maute’s group, Ensemble Caprice, is trying out some other adventurous ideas, including performing Shostakovich on Baroque instruments. There are three other texts relating to New Spain. Martin Oliver Carrion’s article shares what we can learn about “The Indigenous Musicians of Cuzco” from an extensive repository of religious and ceremonial music surviving in the historic capital of the Inca Empire (page 32). He calls for the further protection of these manuscripts as well as an effort to restore the city’s many church organs. The In Conclusion contribution of Drew Edward Davies, “Finding ‘Local Content’ in the Music of New Spain” (page 64) is adapted from a paper he gave at the International Symposium on Latin American Music held in February at Virgina Tech. In his view, our performances of this repertoire often try too hard to give a indigenous ﬂavor to what were actually compositions written in an Old World style. And Thomas Kelly’s Musings (page 19) touches on the music of New Spain and other colonial musics in asking the question, “When does the music become ours?” The other theme readers might spot in this issue is a focus on Montreal. Beth Adelman’s Proﬁle on Christopher Jackson (page 16) celebrates the approaching 40th anniversary of his Studio de musique ancienne de Montreal, and Adeline Sire’s piece about Pallade Musica (page 43) describes how the winners of the EMA Baroque Performance Competition are a product of the ﬂourishing early music scene in what Mark Twain called “the city of a hundred bell towers.” Finally, from the West Coast campus of UC Berkeley, an area that was once part of New Spain, we are treated to “Bird Quills, the Art of Touch, and Other Pleasures,” Don Kaplan’s interview (page 36) with Davitt Moroney, British harpsichordist, organist, conductor, researcher, and professor. The interview is ﬁlled with observations and insights that will be of special interest to the participants of EMA’s Young Performers Festival at the Boston Early Music Festival (see page 15) and to the rest of us, as well. 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 © 2013 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 2013 Early Music America http://www.earlymusic.org

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

Editor's Note
Reader Forum
Sound Bytes
Profile: Christopher Jackson
Musings: When the Music Becomes Ours
Recording Reviews
Early Music, 21st-Century Style
The Indigenous Musicians of Cuzco
Bird Quills, the Art of Touch, and Other Pleasures
Pallade Musica: A Swift Rise, All'Italiana
Book Reviews
Ad Index
In Conclusion: Finding "Local Content" in the Music of New Spain

Early Music America Summer 2013