New York Pro Musica


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New York Pro Musica

(New York Pro Musica Antiqua), vocal and instrumental ensemble, founded in New York City in 1952 by Noah Greenberg. One of the earliest groups to attempt historically correct performances of early music, it specialized in compositions of the era 1200 to 1700 and researched and reconstructed much of the music it performed. Instruments such as the sackbutsackbut
, Renaissance name for the slide trombone, probably derived from the old French word sacqueboute, which means "pull-push." The instrument achieved its present form in the 15th cent., the only differences being a narrower bore and a smaller bell.
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, shawmshawm
, double-reed woodwind instrument used in Europe from the 13th through the 17th cent. The term denotes a family of instruments of different sizes. The shape and tone of the soprano shawm are comparable to those of the oboe, of which it is a precursor.
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, crumhorncrumhorn,
J-shaped, double-reed musical instrument used throughout Europe from the 15th cent. through the 17th cent. It possesses a soft, reedy tone. The reed is enclosed by a wooden cap with a hole at the top through which the player blows.
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, zinke, viola da gamba, and portative organ were also restored or constructed. The ensemble was famous for its annual production of the Play of Daniel, a medieval music drama. The group disbanded in 1974.
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References in periodicals archive ?
On this side of the pond, New York's Noah Greenberg, a former Trotskyist, gave up the Revolution and became one of the guiding lights of the early-music revival of the 1960s with his New York Pro Musica. Greenberg and his associates went back and forth between New York, London, Amsterdam, Germany, and Switzerland, which had all become centers of early-music scholarship and performance.
The book pays particular attention to her time teaching Baroque dance at Juilliard and at Stanford University, and to her collaborations with the New York Pro Musica Antiqua and the Ensemble for Early Music, and with numerous renowned musicians.
These were followed in the 1950s and 60s on LP by The History of Music in ,Sound (RCA Victor, LM 6057-[1950?], LP) edited by Gerald Abraham and similar anthologies, as well as by recordings of such accomplished groups as Noah Greenberg's New York Pro Musica, David Munrow's Early Music Consort of London, Musica Reservata, the Studio der fruhen Musik, and the Waverly Consort, to name just a few.
She has performed with the New York Pro Musica Antiqua, the Vienna Symphony, Stuttgart Philharmonic, Ensemble Moderne in Berlin, Ensemble Kontrapunkte in Vienna, the Washington Bach Consort, Baltimore Choral Arts Society, Oregon Repertory Singers, Amor Artis Orchestra (New York) and Seattle Philharmonic.
He tens of receiving his first recorder, and how much it meant to him; it was a Dolmetsch plastic descant, one of those handed out free by the New York Pro Musica when they toured Russia in the early 1960s.
The New York Pro Musica's flowering under Noah Greenberg was not so long ago (the dozen years from 1954 to 1966), but it seems, along with Greenberg's peregrinations before the Pro Musica, remarkably distant, a different world, one almost as remote as Schubert's Vienna, or Gilbert and Sullivan's London.
Gollin's narrative is focused on the personalities that came together to make the New York Pro Musica, the impact the group had on audiences in New York, the forces that fragmented it, and finally on Greenberg himself, who must have been a compelling personality.
From 1957 to 1961 he was vice president and director of publications for Associated Music Publishers, Inc., and from 1961 to 1981, he served as president of New York Pro Musica. He edited Music and Criticism: A Symposium (Cambridge: Harvard University Press, 1948) and translated A Book about Stravinsky by Boris Asafyev (Russian Music Studies, no.

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