I ordered my tickets to BEMF this
morning. I had been agonizing over how many to buy since the
brochures arrived in February, but I finally decided to go with a
minimal number. So what I got is all the Renaissance ones, all
the recorder ones, and all the 11PM ones. And a pass and a book.
The festival is a major event in the early music community,
which takes place in odd-numbered years. (In even-numbered
years, there’s an event in Berkely, California.) There are
concerts by world-renowned players, masterclasses with famous
teachers, fringe events by less-renowned players, and an
exhibition of instruments and related paraphernalia.
Two years ago, this blog was just starting to take shape, and I
announced that I would be blogging from BEMF.
I attempted to convince other people to also post about their
experiences, since there’s no way one person can cover all the
events, or even the whole set of events that are interesting to
them. I got more comments on these posts than I usually do, but
didn’t get a lot of guest blogging action, partly because a lot
of people who might have done it were out-of-town without their
usual network access. But mostly because if you’re as busy as
the really committed early music people are at BEMF, you don’t
want to add writing to it.
So this year, I’ll keep up my one post a day policy, and during
that week (June 9-14 for me) most
posts will probably be about BEMF, but I’m not going to try to
be comprehensive, even about what I’m doing. I will set up a BEMF 2009
category, and if you’d like to get a user account that entitles
you to post entries on this blog, let me know and I’ll set it
up. You don’t need my permission to post comments, and it would
be really good if my readers wanted to