CLASSICALLY UNTRAINED: baroque music in new orleans
A-Bach-alypse Now: The 'weird' music revolution you didn’t know New Orleans was having
Report by David S. Lewis
For Paul Weber, the love affair began at an early age, when he heard Bach’s “little” fugue in G minor played on a church organ. He was hooked. “That's when I really branched out and began to explore the world of the Baroque, with its quirky shifts between improvisatory fantasy, dances, wild counterpoint, and colorful harmonic shifts. It just grabbed hold of my ear and has never let go.”
Weber is a founder and choirmaster of Krewe de Voix, a professional vocal ensemble specializing in early music, including Baroque. When he started his early music choir ten years ago, baroque got little attention locally. Now, there are at least five major ensembles playing for New Orleans in bars, churches, and just about every venue between piety and desire, many of them springing up in just the last couple years.
Bizarre music
Baroque is weird. As in, that’s literally what the word means - “bizarre” is a near analogue to the original French word. That’s because, compared to the standards of the Renaissance “plainsong” music which gave birth to it, the stylings of Baroque would have seemed utterly insane.
The 1600s marked the dawn of scientific and rational thinking and saw the first skirmishes between humanism and the clergy. The esoteric potential of science was suddenly everywhere, with alchemists attempting to convert lead into gold with arcane formulae; trade with distant lands to the East and the West was revealing to Europeans the truly massive scale of the world; and the printing press fueled flourishing universities to expand the possibilities of the human mind and map it to our spirit.
In music, a common system for establishing note tones and musical keys of sharps and flats supercharged the transition from placid melodic phrasing atop rudimentary harmonic lines to extraordinarily layered melodies and harmonies. This 'new' technique, called “polyphony,” wherein multiple voices would provide both harmonic and melodic phrasing, lead to canons and fugues. Now, multiple voices intertwined with each other in dizzying complexity. The hundred-and-fifty years between 1600 and 1750 saw a cultural revolution, compelled by technological advances in transportation and the printing press.
Early giants like Archangelo Corelli were among the first to have their music played throughout Europe (powered by technological advances in transportation and the printing press); dramatists realized the Greeks would have actually SUNG the lines of the famous tragedies, leading to the invention of opera; and Domenico Scarlatti invented and popularized the sonata, a form of theme introduction and repetition with remnants in just about every pop song with a verse and bridge or chorus.
Composers like Henry Purcell, Antonio Vivaldi, Domenico Gabrielli, George Friederic Handel explored the mathematical and spiritual boundaries of music as high art. Then, in the 18th century, Johann Sebastian Bach consummated the whole enterprise with towering, passionate, mysterious music that is still breaking brains today, leading to and influencing Western art music through the Romantic period; his works are regularly programmed in every major city in the U.S. today.
New Orleans tends to embrace the “bizarre”
In some ways, Baroque music feels like the antithesis of AI-saturated culture: people watching people pound and saw away on big wood boxes in exquisitely mathematical and deeply emotional fashion – a loose, organic arithmetic, like the clockwork of a great machine, as tightly in the groove as a jazz band and nearly as improvisatory. Those attributes provide as good a guess as any for the sudden rise in local Baroque performance ensembles: people are hungry for that which feels organic and New Orleanians love a jam.
“There's a freedom with this music that allows for ornamentation, text painting, dynamic shifts - in a word: improvisation,” said Weber. “This music was written before the composer heavily notated the score, which essentially takes much of the performance interpretation away from the performer. Baroque composers assumed an agile, improvisatory mind in his or her (yup!) singers and players. This, I think, is something very appealing, even fascinating to the modern musician, namely, that the performer is not only allowed but required to create the essential affect of the piece.”
Krewe de Voix used a facsimile manuscript held by the Historic New Orleans Collection. They resurrected music from the Ursuline Convent archives, performing “la Jeunesse Rebelle,” a song about the “dangerous vices of youth”. “There have been people performing Baroque music in New Orleans since Baroque music was new,” said Weber. “Bach is indestructible…and all great music will inspire an audience if the performer plays or sings it with conviction.”
Gut strings and gambas: Historically Informed Performance
You’ve certainly heard many Baroque composers countless times, from Yo-Yo Ma’s ubiquitous Bach cello suites to Vivaldi’s “Four Seasons” (the fourth movement “Winter” is inescapable on Instagram and TikTok). However, the majority of this music would have sounded very different when it was written.
The instruments, strung with twisted gut and older-style bows that wouldn’t look out of place in the Mos Eisley cantina. Perhaps more importantly, the players would have approached these lower-tech instruments very differently than most classical music is performed. Vivaldi played this way sounds different: there’s much more raw energy and passion than professional “classical” orchestras give you with the same repertoire. Works take on a character closer to a folk dance than a symphonic orchestra: the tones are warm, inviting, saturated with emotion.
Unsurprisingly, the majority of our virtuoso local musicians have opted to pursue as authentic a performance as they could, a practice known as Historically Informed Performance. From modern violins strung with gut strings to proper 1600s-style set-ups, period-designed bows to entire instruments, New Orleans’ Baroque players are striving for authentic spirit.
“For me, HIP is not a final answer, but a process of inquiry,” said Riccardo Leonidas, founder, conductor, and director of the Louisiana Baroque Chamber Orchestra. He is preparing for their season finale concert (this Sunday evening May 17th, at the New Marigny Theatre). “At the same time, music has always evolved. The healthiest approach combines historical awareness with living creativity. Its value lies in recovering expressive possibilities that may have been lost over time,” he added. “Many people assume it is rigid or academic, when in reality it is often emotional, sensual, theatrical, and even wild.”
Leonidas also plays violin for LABCO. Long before conductors in tails were common practice, the violinist was the de facto boss, a tradition doubtless held over from the street performance and folk dances where the violin developed, functioning much like the fiddle in a bluegrass band (musicologists might bristle at that, but I’ll stand by it).
Kate Walter would agree. A violinist with the Louisiana Philharmonic Orchestra, she’s also the owner of one of very few true Baroque-style instruments in town, and the founder, concertmaster, and artistic director of the Marais Baroque chamber ensemble. Walter sees the correlation between HIP techniques and the raw appeal it has for audiences – and herself as a musician.
“The instrument and strings do teach me a great deal, though. You cannot force mechanical and unnatural playing on gut strings; they will simply give out,” said Walter. “I also definitely find myself being more aware of what key I am playing in.
“With equal temperament and modern strings I can get away more or less with playing as if the violin were a keyboard and rely on muscle memory to place my fingers in the same place to play in tune,” she said. “With a Baroque setup, intonation is much more relative. The frequent need to retune strings is also a constant obstacle. Our cellist and gambist Jack Craft always reminds our audiences, ‘We tune because we care.’”
Marais Baroque also has its season finale tomorrow night (May 15th): Don Quixote will feature Spanish flavors from Italian and German composers, underscoring how much ideas were being exchanged across the continent. Come for da gamba; stay for da Quixote. (FEATURE CONTINUES AFTER PHOTOS)
Report by David S. Lewis
For Paul Weber, the love affair began at an early age, when he heard Bach’s “little” fugue in G minor played on a church organ. He was hooked. “That's when I really branched out and began to explore the world of the Baroque, with its quirky shifts between improvisatory fantasy, dances, wild counterpoint, and colorful harmonic shifts. It just grabbed hold of my ear and has never let go.”
Weber is a founder and choirmaster of Krewe de Voix, a professional vocal ensemble specializing in early music, including Baroque. When he started his early music choir ten years ago, baroque got little attention locally. Now, there are at least five major ensembles playing for New Orleans in bars, churches, and just about every venue between piety and desire, many of them springing up in just the last couple years.
Bizarre music
Baroque is weird. As in, that’s literally what the word means - “bizarre” is a near analogue to the original French word. That’s because, compared to the standards of the Renaissance “plainsong” music which gave birth to it, the stylings of Baroque would have seemed utterly insane.
The 1600s marked the dawn of scientific and rational thinking and saw the first skirmishes between humanism and the clergy. The esoteric potential of science was suddenly everywhere, with alchemists attempting to convert lead into gold with arcane formulae; trade with distant lands to the East and the West was revealing to Europeans the truly massive scale of the world; and the printing press fueled flourishing universities to expand the possibilities of the human mind and map it to our spirit.
In music, a common system for establishing note tones and musical keys of sharps and flats supercharged the transition from placid melodic phrasing atop rudimentary harmonic lines to extraordinarily layered melodies and harmonies. This 'new' technique, called “polyphony,” wherein multiple voices would provide both harmonic and melodic phrasing, lead to canons and fugues. Now, multiple voices intertwined with each other in dizzying complexity. The hundred-and-fifty years between 1600 and 1750 saw a cultural revolution, compelled by technological advances in transportation and the printing press.
Early giants like Archangelo Corelli were among the first to have their music played throughout Europe (powered by technological advances in transportation and the printing press); dramatists realized the Greeks would have actually SUNG the lines of the famous tragedies, leading to the invention of opera; and Domenico Scarlatti invented and popularized the sonata, a form of theme introduction and repetition with remnants in just about every pop song with a verse and bridge or chorus.
Composers like Henry Purcell, Antonio Vivaldi, Domenico Gabrielli, George Friederic Handel explored the mathematical and spiritual boundaries of music as high art. Then, in the 18th century, Johann Sebastian Bach consummated the whole enterprise with towering, passionate, mysterious music that is still breaking brains today, leading to and influencing Western art music through the Romantic period; his works are regularly programmed in every major city in the U.S. today.
New Orleans tends to embrace the “bizarre”
In some ways, Baroque music feels like the antithesis of AI-saturated culture: people watching people pound and saw away on big wood boxes in exquisitely mathematical and deeply emotional fashion – a loose, organic arithmetic, like the clockwork of a great machine, as tightly in the groove as a jazz band and nearly as improvisatory. Those attributes provide as good a guess as any for the sudden rise in local Baroque performance ensembles: people are hungry for that which feels organic and New Orleanians love a jam.
“There's a freedom with this music that allows for ornamentation, text painting, dynamic shifts - in a word: improvisation,” said Weber. “This music was written before the composer heavily notated the score, which essentially takes much of the performance interpretation away from the performer. Baroque composers assumed an agile, improvisatory mind in his or her (yup!) singers and players. This, I think, is something very appealing, even fascinating to the modern musician, namely, that the performer is not only allowed but required to create the essential affect of the piece.”
Krewe de Voix used a facsimile manuscript held by the Historic New Orleans Collection. They resurrected music from the Ursuline Convent archives, performing “la Jeunesse Rebelle,” a song about the “dangerous vices of youth”. “There have been people performing Baroque music in New Orleans since Baroque music was new,” said Weber. “Bach is indestructible…and all great music will inspire an audience if the performer plays or sings it with conviction.”
Gut strings and gambas: Historically Informed Performance
You’ve certainly heard many Baroque composers countless times, from Yo-Yo Ma’s ubiquitous Bach cello suites to Vivaldi’s “Four Seasons” (the fourth movement “Winter” is inescapable on Instagram and TikTok). However, the majority of this music would have sounded very different when it was written.
The instruments, strung with twisted gut and older-style bows that wouldn’t look out of place in the Mos Eisley cantina. Perhaps more importantly, the players would have approached these lower-tech instruments very differently than most classical music is performed. Vivaldi played this way sounds different: there’s much more raw energy and passion than professional “classical” orchestras give you with the same repertoire. Works take on a character closer to a folk dance than a symphonic orchestra: the tones are warm, inviting, saturated with emotion.
Unsurprisingly, the majority of our virtuoso local musicians have opted to pursue as authentic a performance as they could, a practice known as Historically Informed Performance. From modern violins strung with gut strings to proper 1600s-style set-ups, period-designed bows to entire instruments, New Orleans’ Baroque players are striving for authentic spirit.
“For me, HIP is not a final answer, but a process of inquiry,” said Riccardo Leonidas, founder, conductor, and director of the Louisiana Baroque Chamber Orchestra. He is preparing for their season finale concert (this Sunday evening May 17th, at the New Marigny Theatre). “At the same time, music has always evolved. The healthiest approach combines historical awareness with living creativity. Its value lies in recovering expressive possibilities that may have been lost over time,” he added. “Many people assume it is rigid or academic, when in reality it is often emotional, sensual, theatrical, and even wild.”
Leonidas also plays violin for LABCO. Long before conductors in tails were common practice, the violinist was the de facto boss, a tradition doubtless held over from the street performance and folk dances where the violin developed, functioning much like the fiddle in a bluegrass band (musicologists might bristle at that, but I’ll stand by it).
Kate Walter would agree. A violinist with the Louisiana Philharmonic Orchestra, she’s also the owner of one of very few true Baroque-style instruments in town, and the founder, concertmaster, and artistic director of the Marais Baroque chamber ensemble. Walter sees the correlation between HIP techniques and the raw appeal it has for audiences – and herself as a musician.
“The instrument and strings do teach me a great deal, though. You cannot force mechanical and unnatural playing on gut strings; they will simply give out,” said Walter. “I also definitely find myself being more aware of what key I am playing in.
“With equal temperament and modern strings I can get away more or less with playing as if the violin were a keyboard and rely on muscle memory to place my fingers in the same place to play in tune,” she said. “With a Baroque setup, intonation is much more relative. The frequent need to retune strings is also a constant obstacle. Our cellist and gambist Jack Craft always reminds our audiences, ‘We tune because we care.’”
Marais Baroque also has its season finale tomorrow night (May 15th): Don Quixote will feature Spanish flavors from Italian and German composers, underscoring how much ideas were being exchanged across the continent. Come for da gamba; stay for da Quixote. (FEATURE CONTINUES AFTER PHOTOS)
The members of Marais Baroque (photos courtesy of Marais Baroque)
Backing Bach
Baroque music is so closely associated with its principal instruments it’s impossible to separate them (although a lot of metal is heavily influenced by its style and structure). Most of the instruments are familiar: violins, violas, cellos, and basses. There are some exotic variants of those, of course; Craft, perhaps better known for his keyboard work with local French rock band Sweet Crude, is also an excellent cellist and plays viola da gamba, a partially fretted chimera of cello and contrabass. He also plays with the Marais Baroque chamber group and owns the only violin shop in town. Of course, there are several guitarists, organists, vocalists and of course, the harpsichord players.
The instrument underpinning the whole musical movement is a monovolume keyboard instrument that looks a bit like a piano dressed for Pride month but sounds unlike anything else, its strings struck not with felt-clad hammers but plucked by quills when the keys are depressed. Military drums, timpani, and pitched percussion wouldn’t make their way into orchestras until much later. Even Bach, late in the Baroque period and an innovator in every sense, rarely scored for drums.
“In Baroque ensembles, the harpsichord plays a central role through something called basso continuo, a kind of musical foundation in which the composer provides only a bass line and chord symbols, leaving the keyboard player to improvise the harmonies in real time. This makes the harpsichordist both accompanist and creative collaborator,” said Paul Mauffray, who performs concertos and other works for harpsichord here and in Europe (I’ve seen a lot of Baroque music in town, and he is at almost every show, either playing or listening).
“In many ways, it resembles the role of a jazz pianist: the left hand supports the bass line together with the cello or bass, while the right hand fills in the harmonies and shapes the rhythm of the ensemble. In fact, the harpsichord often functions as the rhythm section of a Baroque orchestra.” Harpsichord cooks: those driving, satisfyingly jangly plucks amplified by a broad maple soundboard cut through the mix, even in larger chamber orchestras. “That harpsichord functions as a small rhythm section, the trap set of the baroque band, if you will,” noted Weber, who also plays harpsichord for Krewe de Voix and is the principal organist of Trinity Episcopal Church uptown. “In very good baroque ensembles, that harpsichord part (or organ, or lute, or theorbo part, etc.) is being improvised.”
What was old is…
I asked our musicians why they thought there was so much local action in the baroque scene. Is it a fad? Maybe, but studies have suggested a growing fascination with early art music, particularly with Gen Z listeners desperate for something that gives Instagram vibes but is separate from their devices. For people that have grown up online, human connection at heady events in pretty places can be pretty appealing, and yet also familiar.
“I think Baroque music tends to be very palatable, and thus can serve as a great way of inviting previously unknown audiences into the experience of live classical music,” said Bogdan Mynka, artistic director of the Marigny Opera Ballet and founder of Verismo Opera. “I'm finding younger audiences want to engage with work that is authentic and doesn't try to have some sort of ‘air’ around it - which can be tricky given the history of baroque art in general and where those works premiered and which environments they were heard in.”
Mynka is working with Amalia Najera, resident choreographer for Marigny Opera Ballet's upcoming season of 4 ballet-operas, two of which are baroque operas. You probably haven’t heard anything quite like this. He is energized by the other performers in the baroque space. “I hope to work with Paul Weber very soon! I'm a big fan of Krewe de Voix and the Marais ensemble - they approach the music with utmost sincerity and craft, and the performances are breathtaking,” he said. “Kate [Walter] has some fantastic ideas about programming and engaging audiences and I'm excited to see what they'll do next."
Mynka is bullish on baroque in Bulbancha. “I'm continually inspired and encouraged by New Orleans audiences - who may not have a strong history of going to opera or classical music recitals, but who surely have an incredible collective history of connection to music and art in the city, and supporting and engaging with it year round.”
Riccardo Leonidas, of the LABCO, seconded Mynka’s assertion. “Audiences increasingly want experiences that feel personal, expressive, and human-scaled. Baroque performance can create a very direct relationship between performers and listeners,” he said. “The flexibility of this repertoire also helps. Baroque music can live in churches, galleries, gardens, historic spaces, and community venues, not only in traditional concert halls.”
In fact, nearly every musician I spoke with echoed that experience: audiences are finding something inviting about this 'new' old music, something that serves as a connection not to the past, but to the present and each other. “In many respects, Baroque music is not simply another style of classical music; it is an entirely different musical world,” said Paul Mauffray. “Perhaps this is why modern audiences are increasingly drawn to it. In an age of digital perfection and uniformity, listeners seem hungry for something more human, expressive, and authentic.”
For Kate Walter, it could just be the familiar groove doing the heavy lifting with audiences, or its relentless humanity. “I am not sure if it is the familiar harmonies and dance-able meter choices or the use of tone-painting and storytelling that makes this music so widely appealing, but there is something about music from the Baroque period that speaks to the human experience in ways music from the Classical and Romantic periods do not,” she said.
“For one, Baroque music doesn't take itself so seriously. The divertimento was born in this period purely as a diversion, or amusement, for the noble class it was written for. In "La Bourse," (Georg Phillip) Telemann wrote a symphony satirizing a European stock market crash,” she added. “There is even a work by Johann Heinrich Schmelzer about a bean festival with a very flatulent bassoon part.”
That’s 'historically informed' for you...
Upcoming concerts:
Friday, May 15th
Marais Baroque Ensemble's Don Quixote @ Trinity Episcopal Church (1329 Jackson Ave). Doors at 6:30pm; music from 7-9pm
Sunday, May 17
Louisiana Baroque Chamber Orchestra Season Finale: The Four Seasons @ New Maringy Theatre (2301 Marais St.), Doors 4:30pm; music 5pm
HELP SUPPORT CLASSICAL AND ART MUSIC COVERAGE IN NEW ORLEANS FROM A COUPLE OF DOLLARS A MONTH!
THIS MONTH'S CLASSICAL AND ART MUSIC CALENDAR
MORE CLASSICAL AND ART MUSIC FEATURES
Baroque music is so closely associated with its principal instruments it’s impossible to separate them (although a lot of metal is heavily influenced by its style and structure). Most of the instruments are familiar: violins, violas, cellos, and basses. There are some exotic variants of those, of course; Craft, perhaps better known for his keyboard work with local French rock band Sweet Crude, is also an excellent cellist and plays viola da gamba, a partially fretted chimera of cello and contrabass. He also plays with the Marais Baroque chamber group and owns the only violin shop in town. Of course, there are several guitarists, organists, vocalists and of course, the harpsichord players.
The instrument underpinning the whole musical movement is a monovolume keyboard instrument that looks a bit like a piano dressed for Pride month but sounds unlike anything else, its strings struck not with felt-clad hammers but plucked by quills when the keys are depressed. Military drums, timpani, and pitched percussion wouldn’t make their way into orchestras until much later. Even Bach, late in the Baroque period and an innovator in every sense, rarely scored for drums.
“In Baroque ensembles, the harpsichord plays a central role through something called basso continuo, a kind of musical foundation in which the composer provides only a bass line and chord symbols, leaving the keyboard player to improvise the harmonies in real time. This makes the harpsichordist both accompanist and creative collaborator,” said Paul Mauffray, who performs concertos and other works for harpsichord here and in Europe (I’ve seen a lot of Baroque music in town, and he is at almost every show, either playing or listening).
“In many ways, it resembles the role of a jazz pianist: the left hand supports the bass line together with the cello or bass, while the right hand fills in the harmonies and shapes the rhythm of the ensemble. In fact, the harpsichord often functions as the rhythm section of a Baroque orchestra.” Harpsichord cooks: those driving, satisfyingly jangly plucks amplified by a broad maple soundboard cut through the mix, even in larger chamber orchestras. “That harpsichord functions as a small rhythm section, the trap set of the baroque band, if you will,” noted Weber, who also plays harpsichord for Krewe de Voix and is the principal organist of Trinity Episcopal Church uptown. “In very good baroque ensembles, that harpsichord part (or organ, or lute, or theorbo part, etc.) is being improvised.”
What was old is…
I asked our musicians why they thought there was so much local action in the baroque scene. Is it a fad? Maybe, but studies have suggested a growing fascination with early art music, particularly with Gen Z listeners desperate for something that gives Instagram vibes but is separate from their devices. For people that have grown up online, human connection at heady events in pretty places can be pretty appealing, and yet also familiar.
“I think Baroque music tends to be very palatable, and thus can serve as a great way of inviting previously unknown audiences into the experience of live classical music,” said Bogdan Mynka, artistic director of the Marigny Opera Ballet and founder of Verismo Opera. “I'm finding younger audiences want to engage with work that is authentic and doesn't try to have some sort of ‘air’ around it - which can be tricky given the history of baroque art in general and where those works premiered and which environments they were heard in.”
Mynka is working with Amalia Najera, resident choreographer for Marigny Opera Ballet's upcoming season of 4 ballet-operas, two of which are baroque operas. You probably haven’t heard anything quite like this. He is energized by the other performers in the baroque space. “I hope to work with Paul Weber very soon! I'm a big fan of Krewe de Voix and the Marais ensemble - they approach the music with utmost sincerity and craft, and the performances are breathtaking,” he said. “Kate [Walter] has some fantastic ideas about programming and engaging audiences and I'm excited to see what they'll do next."
Mynka is bullish on baroque in Bulbancha. “I'm continually inspired and encouraged by New Orleans audiences - who may not have a strong history of going to opera or classical music recitals, but who surely have an incredible collective history of connection to music and art in the city, and supporting and engaging with it year round.”
Riccardo Leonidas, of the LABCO, seconded Mynka’s assertion. “Audiences increasingly want experiences that feel personal, expressive, and human-scaled. Baroque performance can create a very direct relationship between performers and listeners,” he said. “The flexibility of this repertoire also helps. Baroque music can live in churches, galleries, gardens, historic spaces, and community venues, not only in traditional concert halls.”
In fact, nearly every musician I spoke with echoed that experience: audiences are finding something inviting about this 'new' old music, something that serves as a connection not to the past, but to the present and each other. “In many respects, Baroque music is not simply another style of classical music; it is an entirely different musical world,” said Paul Mauffray. “Perhaps this is why modern audiences are increasingly drawn to it. In an age of digital perfection and uniformity, listeners seem hungry for something more human, expressive, and authentic.”
For Kate Walter, it could just be the familiar groove doing the heavy lifting with audiences, or its relentless humanity. “I am not sure if it is the familiar harmonies and dance-able meter choices or the use of tone-painting and storytelling that makes this music so widely appealing, but there is something about music from the Baroque period that speaks to the human experience in ways music from the Classical and Romantic periods do not,” she said.
“For one, Baroque music doesn't take itself so seriously. The divertimento was born in this period purely as a diversion, or amusement, for the noble class it was written for. In "La Bourse," (Georg Phillip) Telemann wrote a symphony satirizing a European stock market crash,” she added. “There is even a work by Johann Heinrich Schmelzer about a bean festival with a very flatulent bassoon part.”
That’s 'historically informed' for you...
Upcoming concerts:
Friday, May 15th
Marais Baroque Ensemble's Don Quixote @ Trinity Episcopal Church (1329 Jackson Ave). Doors at 6:30pm; music from 7-9pm
Sunday, May 17
Louisiana Baroque Chamber Orchestra Season Finale: The Four Seasons @ New Maringy Theatre (2301 Marais St.), Doors 4:30pm; music 5pm
HELP SUPPORT CLASSICAL AND ART MUSIC COVERAGE IN NEW ORLEANS FROM A COUPLE OF DOLLARS A MONTH!
THIS MONTH'S CLASSICAL AND ART MUSIC CALENDAR
MORE CLASSICAL AND ART MUSIC FEATURES