Send Us Your News! EMA Notes tries to cover early-music news and newsmakers as completely as possible, but we cannot publish every new item. Email news to email@example.com. Digital photos may be sent via email as 300 dpi TIFF or JPEG images in color (CMYK) or b&w (Grayscale).
Send Us Your CDs and DVDs! EMAg welcomes news of recent recordings and videos. Please send material to be considered for review to Tom Moore, Recording Reviews Editor, 18051 Biscayne Boulevard, Apt. 1505, Aventura, FL 33160; firstname.lastname@example.org. EMAg cannot guarantee the inclusion of every CD sent for review.
Please forward books for review consideration to Mark Kroll, 59 Naples Rd., Brookline, MA 02446; email@example.com.
Articles & Features
To submit story ideas for consideration, contact Don Rosenberg, Editor, at firstname.lastname@example.org.
Don Rosenberg became editor of EMAg in July 2014 following a nearly 36-year career in daily journalism as a music critic and arts reporter. He was on the staff at The Plain Dealer in Cleveland for 21 years and previously served as music critic of The Pittsburgh Press and the Akron Beacon Journal. Rosenberg has written for Gramophone, Symphony magazine, Opera (London), Opera News, Early Music America magazine, and many other publications. He is the author of The Cleveland Orchestra Story: "Second to None" and former four-term president of the Music Critics Association of North America. Rosenberg majored in French horn at the Mannes College of Music and the Yale School of Music. He was a participant in the Aspen and Marlboro music festivals, where he performed under such conductors as Herbert Blomstedt, John Nelson, Pablo Casals, and Leon Kirchner. While at Yale, he mustered the courage to play Bach's Brandenburg concertos nos. 1 and 2 on the same program. When not editing EMAg in Shaker Heights, Ohio, he teaches music criticism at the Oberlin Conservatory and classes for Case Western Reserve University's Laura & Alvin Siegal Lifelong Learning Program. Printed correspondence can be addressed to Donald Rosenberg, 15915 Chadbourne Rd., Shaker Heights, OH 44120.
Editorial Associate-Mark Longaker
Mark Longaker became an editorial associate with Early Music America magazine in November 2011. He has written reviews, previews and feature articles about music, dance, theater and visual art since 1995 for newspapers in the Washington, DC, area and national magazines. He plays the recorder, mostly for fun, but was a member of a group that played English country music for dancers. He has also studied folk and early dance.
Advertising Manager-Patrick Nugent
Patrick Nugent joined the EMA staff in July, 2006. Patrick has worked in the publishing industry for over ten years. He was advertising manager with Seattle-based Sea Kayaker magazine and advertising executive with New Age Retailer magazine. Patrick also served as editor-in-chief and advertising manager with NAV Magazine, an Atlanta-based monthly magazine focusing on contemporary instrumental music.
CD Reviews Editor-Tom Moore
Tom Moore, who grew up in the early music paradise of Boston, Massachusetts, has been around long enough to remember when Frans Brüggen played the recorder. Tom performs on traverso, modern flute, and recorder, and as a vocalist. As a flutist he has made premiere recordings of Telemann for Lyrichord and Boismortier for A Casa Discos, and as a choral basso has recorded with the St. Clement's Choir, Pomerium, Concert Royal, and the Symphonic Choir of Rio de Janeiro. His music criticism has been published in Boston Early Music News, Fanfare, Goldberg, and other print and online publications. A recent interest has been the music of Brazil, with composer interviews published at MusicaBrasileira.org and in 21st Century Music. His ideal in the field of music criticism is George Bernard Shaw. Please forward CDs for review consideration to Tom Moore, Recording Reviews Editor, 18061 Biscayne Boulevard, Apt. 1704, Aventura, FL 33160.
Book Reviews Editor-Mark Kroll
During a career spanning over three decades, Mark Kroll has performed as a harpsichordist and fortepianist to critical praise throughout North and South America, Europe and the Middle East. He has appeared in solo recital, chamber music, and as concerto soloist with some of the world's major orchestras, and has served as the harpsichordist for the Boston Symphony Orchestra since 1979. Mark Kroll's extensive list of recordings includes music from the 17th to the 21st centuries. He is a recipient of numerous grants and awards, including the National Endowment for the Humanities, National Endowment for the Arts, Stiftung Weimarer Klassik, Council for the International Exchange of Scholars, Bogliasco Foundation, IREX, DAAD and the Aaron Copland Fund for Music. A noted authority on historical performance practice, he has contributed to both scholarly publications and general-readership magazines and published three books: Playing the Harpsichord Expressively, The Beethoven Violin Sonatas, and Johann Nepomuk Hummel: A Musician and His World. Kroll is Professor Emeritus at Boston University, where he served for 25 years as Professor and Chair of Department of Historical Performance, and is currently Visiting Professor at Northeastern University. Please forward books for review consideration to Mark Kroll, 59 Naples Rd., Brookline, MA 02446.