From 16 to 20 March, in collaboration with the Alamire Foundation, the Early Music Seminars Egida Sartori and Laura Alvini took place at the Fondazione Giorgio Cini in Venice. Under the guidance of Pedro Memelsdorff and Marc Mauillon, five promising international musicians explored the influence of poet Francesco Petrarca and poet‑composer Guillaume de Machaut on the music of their own time and shortly thereafter. The multi‑day study program culminated in a final concert featuring works by Machaut and his Italian successors, performed in a historically informed manner.

That same week in Leuven, the workshop Living Notation: Marks of Use in Early Printed Polyphony was organized. It was led by Louisa Hunter‑Bradley (King’s College London) and ensemble‑in‑residence Cappella Pratensis. Over four sessions, participants examined sixteenth‑century music prints marked with annotations and marginal notes. Such traces of use reveal how musicians of the time interacted with and interpreted their sources. A visit by KU Leuven musicology students and the public concluding session highlighted the broader aim of the project: demonstrating how this centuries‑old ‘evidence’ can reshape modern understanding of notation, performance, and the experience of Renaissance music.