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Go to Old Music News Archive Home Old Music News Volume 25, Number 3 May 2002 NOTES FROM THE MUSIC DIRECTOR ABOUT MUSIC ABOUT MUSIC As we have observ’d over the Runne of this Monthe of Maying (the Yeare being 2002) the Five Visible Planets aligning and re-aligning in our Ev’ning Skye, following their Traverse of the Celestiall Choreographie, so have we called to our Minde the Powers of Musicke to mirror this Ordering and Disordering of Nature Herself, and upon this Fullnesse doe invite you to reflect: how that all the powers of Wisdom & Creation (Jupiter),Time & Darknesse (Saturn), Art & Awakening (Mercury), Love (Venus) and War (Mars), doe all together exist and acte within the Minde of the Cosmos and upon the Life and Passions of Humankinde. In the dedication of his Florilegium of 1695 Georg Muffat wrote to his German patron: “Truly I have other thought than Ære ciere viros, Martempque accendere cantu [‘To spur on the sound of arms, or to encourage the god Mars to join battle’]. The weapons of war and the reasons for them are far from me; notes, strings, and lovely musical tones dictate my course, and as I mix the French manner with the German and Italian, I do not begin a war, but perhaps rather a prelude to the unity, the dear peace, desired by all the peoples....If the stars follow their orbits in the manner of a harmonic concert (concentum eim coeli dormire quie faciet? -- who might still the heavenly song?), so these concordant constellations can only have communicated pure peace and accord.” That same year, 1695, saw the death of Henry Purcell, “Britain’s Orpheus,” who (as many attested) could charm with music the beasts of the soul, and many of whose greatest compositions directly addressed the powers and effects of music. An earlier compatriot, the physician and masquewright Thomas Campion, was also convinced of the ability of music to reflect humanity’s relation with the Divine and the efficacy of music in healing. Francis Pilkington, in a song praising the finest of Apollo’s protégées, the muse of Music herself, referred to the art as both a ‘dear solace” and a “timesporter.” Other composers sang of longing, separation and fidelity; of the wakefulness caused by a tune’s running in one’s head; of friendship and conviviality; of ecstasy and mystery; of powers of darkness overcome. On the title page of his Musical Entertainer, 1737, which included many choice songs by Henry Purcell, George Bickham engraved these words: Musick alone with sudden Charms can bind Those among you who enjoyed our December concert, “Peace upon a Winter’s Night,” will also appreciate the spirit in which Musick’s Company offers our Spring concert, “Musick’s Pleasures and Powers.” Yes, people turn to music in time of war, and also in times of grief, separation, rejoicing and celebration, times when cares need beguiling or the heart needs refreshing, - Donna Boyd Musick’s Pleasures & Powers AMY ISN’T A KID(D) ANYMORE Center for Old Music concert-goers may have noticed a youngish, yet familiar face amid the vocal ensemble’s ranks in recent Musick’s Company performances. That would be Amy Kidd Crittenden, who ten years ago was a charter member of the Center’s pioneering ensemble of student musicians — MUSICA! As a middle schooler growing up in northeastern Jefferson County outside Louisville, Amy Kidd had discovered the fruits of madrigal singing and found them quite to her taste. Her school featured a polished madrigal ensemble, whose members looked forward each year to a performance in Colonial Williamsburg, Virginia. When Amy moved to Lexington with her family, she enrolled in the choral program at her high school but found that something was amiss. Instead of her favored 16th-century vocal specialty, the emphasis was on Stevie Wonder. Soon Amy found herself active in high school musical theater instead, landing lead roles in Oliver! and The King and I. She was also pleasantly surprised to learn of an opportunity to sing early music with a small ensemble of young musicians in Lexington that was independent of any school or church. Under the auspices of The Center for Old Music in the New World, a unique pilot program was just getting started. Amy joined just in time to sing a medieval Christmas solo in the very first Center youth performance — before the group even had a name. Recently Amy looked back on her three-year-long experience in MUSICA. What she found most rewarding about it was not the “perks,” but rather the organization’s essence itself – a serious, focused and purposeful approach to learning the music. Too, she relished the opportunity to sing in several foreign languages. (Spanish became her specialty in college.) And she was especially stimulated by the rich music history perspective that vocal coach Donna Boyd brought into the rehearsal sessions. When Amy became a member of Musick’s Company in 2000, five years had passed since her graduation from MUSICA. In between, she attended Miami University, transferred to Transylvania, sang in the choral program there and graduated with a double major in History & English. She worked as an Americorps Volunteer with Habitat for Humanity, and began graduate work in the U.K. College of Architecture’s historical preservation program with a fellowship at the Bluegrass Trust. Currently Amy is employed as an editor at the Kentucky Historical Society. Perhaps it was her range of interests in things historical that brought her back to singing in historically-informed performances with the Center for Old Music. She seems to be enjoying it as she did in her previous life, and the group seems to benefit from her rejuvenating presence. Veteran Musick’s Company singer Mary Reed had this to say about her fellow high soprano: “Amy and I often sing the same line, and I love having her up there with me. Her ear is true, her phrasing sensitive, and her timbre adds a sweetness to the sound we produce. And she has a delightfully dry sense of humor with impeccable timing!” One other milestone in Amy’s fast-developing life: her marriage last summer to Ben Crittenden. For the ceremony, she chose music by a trio from the Center - which played tunes from her MUSICA days! - Reed Ruchman OLD MUSIC at the NEW DOWNTOWN ARTS CENTER The vocal ensemble of Musick’s Company will give an Art à la Carte performance Friday June 28 in the recently opened facility just across East Main from the Central Library. Art à la Carte is always at Noon and always free. . . . Musick’s Company lutenist John Hedger performed at the building’s grand opening in March. MUSIC CAMP, ANYONE? The brochures are rolling into the Center’s library with details about upcoming early music workshops and festivals this summer. Many are focusing on French themes. Here’s what’s on file so far, in chronological order: Bloomington (Indiana) Early Music Festival: In progress through 5/27. . . . Berkeley (California) Festival & Exhibition: June 2-9. . . . Tafelmusik Baroque Summer Institute (Toronto): June 20-29. . . . Oberlin (Ohio) Baroque Performance Institute — “France vs. Italy: A Musical Battle”: June 23-July 6. . . . San Francisco Early Music Society Summer Workshops: June 23-Aug.2. . . . Early Music Week at Pinewoods (Mass.) Carnival theme — “frivolous frottole from Florence”: June 27-July 4. . . . Madison (Wisconsin) Early Music Festival — French Medieval & Renaissance: July 13-20. . . . Renaissance-Medieval Music Workshop at La Roche College (Pittsburgh)— France & the Low Countries: July 14-20. . . . Vancouver (B.C.) Early Music Festival: July 28-Aug. 17. If you would like to pick up a brochure or registration form at the Center’s library, just call 269-2908.
OLD MUSIC NEWS is published by The Center for Old Music “Music about Music” Musick alone with sudden Charms can bind Musick’s Company |
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